Springfield Little Theatre

The Crown Jewel of The Ozarks

Menu

Singer and Educator Kim Snyder Ends Performing Hiatus with SEUSSICAL at SLT

Home The Sound of Music

Singer and Educator Kim Snyder Ends Performing Hiatus with SEUSSICAL at SLT

By

When singer Kim Snyder first saw THE SOUND OF MUSIC on stage at Kickapoo High School, she knew where she wanted to be. At just eight years old, Snyder began dreaming of taking her own turn on the stage.

“I told myself and everyone who would listen, ‘I’m going to be up there one day. I’m going to do that,’” she recalled. “High school came around and yes, I did that.”

After graduation, Snyder stepped back from performing and felt unsure about her future in musical theatre. Then came an opportunity she had been waiting for since childhood. Springfield Little Theatre announced auditions for THE SOUND OF MUSIC. It was a full circle moment she couldn’t resist.

“I thought, I will be lucky if I even make a callback,” Snyder admitted. “Lo and behold, my first show out I had a small role. I was Sister Sophia and after that, I was hooked. I couldn’t stop.”

A string of lead roles at the Landers followed. Snyder found she was drawn to Rodgers and Hammerstein titles including CAROUSEL and OKLAHOMA! Other favorites included MARY POPPINS and PETER PAN. Music was always a passion for Snyder, and she enjoyed diving into so many classics.

“My mom would always sing with my sister and I,” she recalled. “I was singing harmony on stage at church when I was two. It was just a gift. God gives us gifts. That was just one of them. My mom really helped me with that, and I started taking piano lessons and everything just grew from there.”

Snyder began her career as a music teacher in Springfield. She transitioned to 2nd and 3rd grade classroom in Rogersville and has now returned to music education.

After grabbing attention with show stopping vocal performances, Snyder’s music and education training stood out to SLT staff. As the education department grew and added more youth opportunities, Snyder was tapped to teach.

“I did that first show and [SLT Executive Director] Beth Domann said, ‘Hey, you’re a music teacher. We could use some help at Summer Stages doing some of these kid shows. Are you interested?’ I was like, ‘Well, absolutely!’” Snyder explained.

She began teaching voice through summer programs and six-week education series classes. Her vocal expertise and ease with children was apparent. A solid track record culminated in an offers to be music director. She began with THE LITTLEST ANGEL and BUGSY MALONE JR. Suddenly, the tally of shows she has music directed reach an incredible 35 over 20 years. She specializes in youth shows but has also music directed on the mainstage for titles including A CHRISTMAS STORY: THE MUSICAL, FOOTLOOSE, and ALL SHOOK UP.

“I was counting them up and I was like, are you kidding me? 35 shows at SLT. Pretty crazy,” Snyder marveled. “I have all the scripts in my back bedroom closet. They’re all lined up. I cherish those so much.”

One of Snyder’s greatest joys as a teacher is watching her students develop their skills and talents. Over two decades, she has watched several of her pupils grow into professional careers.

“I just wanted to fill you all with the love for performing and then give you the confidence that you could do anything you set your mind to,” Snyder explained. “I hope that I really was able to be a part of that.”

Snyder has been grateful to be involved in the SLT programs for so many years and has enjoyed watching the programs grow.

“We started out with just a few people in the classes and now there are so many opportunities. It’s just grown leaps and bounds. Ever since [Education Director] Lorianne [Dunn] was able to procure The Judy, it’s grown even more. I’m so proud of what she’s done there. I’m so happy to have had a small part in it since the beginning.”

Former SLT students include performer Amelia Jo Parish and even two members of the SEUSSICAL creative team – Josh Inmon and Brandon Russell. Russell performed nationally as an opera singer and is now MT/Pop/Rock Voice Specialist at Missouri State University. After years of guiding young artists, Snyder still learns things from the people she once taught.

“I used to music direct Brandon in shows. He is phenomenal,” Snyder praised. “By far the best music director I’ve ever worked with. He’s amazing. I’ve learned so much from him just in the last month.”

Returning to perform in a high energy musical has not been an easy road. Snyder stars as Mrs. Mayor in SEUSSICAL, her first role since PETER PAN nearly a decade ago.

“The dancing is much harder than I remember. Honestly, I’m not even doing that much dancing, but I have to write it down,” Snyder laughed. “It used to be a lot more natural for me, but luckily in this one, everything rhymes, so it’s a lot easier to remember. It’s a good way to get back in.”

Keeping up with director Lorianne Dunn’s big, bold choreography is a challenge for any performer, but particularly for Snyder who had major surgery only a year ago. She had a spinal operation and is still feeling physical and mental effects from the procedure. Snyder admits she missed being on stage, but she didn’t feel confident auditioning. Luckily, her fiancé was rooting her on.

“[SEUSSICAL] came up and just something inside of me said, ‘Just try out. Just do it. Just do it.’ I thought I was too old, I thought I would never make it, but here I am,” she smiled. “My fiancé encouraged me to try out. I was like, ‘No, I’m not gonna do it.’ And he was like, ‘You have to. You have to try out because you’ll never know if you don’t try out.’ I made it and he was like, ‘It’s perfect!’”

Despite clocking hours at late night rehearsals, Snyder is still teaching full time and instructing at SLT. She shows up for Honor Choir at 7:00 am many mornings then sings and dances late into the night. “I go go go, then I go to rehearsal after that. I thrive on that. If I don’t have something to do, then I’m totally bored.”

As a long-time educator, Snyder still loves learning, especially from former students. She has continued to explore and grow throughout SEUSSICAL rehearsals and encourages everyone in SLT programs to take advantage of the immense creativity and knowledge around them.

“I would just tell people to listen to your directors and just be still and allow what they say to sink in,” Snyder urged. “Lorianne is so brilliant and she has such amazing things to say. Same thing with Brandon. Same thing with Josh. Same thing with Jessica [Bower]. If everyone, including adults, would just be still and listen to them, who knows what that could do for not only your performance, but your life in general.”

SEUSSICAL THE MUSICAL tickets are available now through May 10.

Cruise Headline Entertainer Ashley Rose Smith Learned from Every ‘Yes’ and ‘No’

By

Performer Ashley Rose Smith has been captivating audiences on the high seas for more than seven years as a fan favorite entertainer on Princess Cruises. Back on land, she has thousands of Facebook followers who tune in for her peek below deck as she shares the logistics of living on a boat. Smith covers topics like battling sea sickness and where she stores her magnificent costumes in tight quarters. On stage in her glittering sequin outfits with a rock-solid voice, Smith seems like she was born into stardom. In reality, she began working on that polished presentation, which she crafted from scratch, years before she commanded her own show.

Smith remembers that her love for musical theater began as a child when her mom introduced her to Broadway cast recordings. Their favorites tracks included JESUS CHRIST SUPERSTAR, FUNNY GIRL, and MAMMA MIA! Performing since the age of three, Smith’s interest in musicals kept growing as she did. As a teenager, she and her mom began searching for theatrical opportunities together.

“We wanted to find out what auditions were happening in town. It was back when they had things posted in the newspaper,” Smith laughed. Among the listings, they found an audition call for THE SOUND OF MUSIC at Springfield Little Theatre. “We found an audition notice for it and were like, ‘Okay. We’re just going to show up and try out.’”

The mother-daughter activity didn’t quite turn out as they expected. While Smith’s mother was offered a spot in the ensemble, Smith herself wasn’t cast. Unfazed, she jumped into a different role. Rather than standing in the spotlight, she learned to operate one. “Since [my mom] was doing [the show], I was like, well I definitely still want to be involved, so that’s why I did the spotlight. I remember being really nervous. Jennifer Wilhelmi was stage managing, so she was the one to always tell me when to turn the spotlight on. It was really fun.”

The early rejection taught Smith to persevere until her undeniable singing talent was matched with the right opportunity. In the meantime, the SLT community made her feel welcome and working backstage stoked her excitement for live performance.

“After doing tech, that’s when I fell in love with the theatre. By the time I was hanging around [SLT] all the time, I wasn’t even [cast] in a show yet,” Smith recalled.

She kept showing up for auditions, making herself familiar to directors, learning the best songs to show off her talents, and weathered five more rejections. Any time she was told she wasn’t right for the cast, she volunteered to work on crew. What she couldn’t predict at the time was that the skills she picked up backstage were preparing her to develop her own professional production. In the moment, she just enjoyed being a member of the SLT family.

“I liked the community aspect of it,” Smith shared. “I never felt like I truly belonged to any clique or anything like that until I did theatre. Then it felt like you’re part of a family. To me, that’s what really drew me in.”

After working tech for several shows, Smith found her name on the cast list of the new musical MISSOURI! which made its debut at SLT under the direction of then SLT Executive Director Mick Denniston. She remembers being grateful for the opportunity but jokes that she skirted the rules a bit to make the cut.

“It said on the audition notice that you had to be 16 to audition. I just didn’t put my age on the audition form. I pretended like I forgot to write it down,” she laughed. “That was my first ever role ever. [Mick] gave me a chance.”

Having proven her talent, drive, and professionalism, Smith began nailing auditions. She joined Y.E.S. Troupe and performed in several shows at SLT throughout high school. She admits that her love of music only grew during this period, but she steered toward more traditional career paths for stability. Her artistic talents, however, were actually providing financial support for her schooling.

“I had to do a bunch of music and theater scholarships because I couldn’t afford to go to school without those scholarships on top of everything else. I quickly realized I didn’t want to give up the music side of things,” Smith explained.

Smith graduated from Missouri State University with a Business degree, but her theatre ties kept her in the loop on performance opportunities. With a gift for connecting with audiences, she couldn’t escape the pull. Smith joined friends, many of whom she met at SLT, who were auditioning in Branson and worked her way into the scene.

A contract with Silver Dollar City brought Smith into the fold and opened her to working with Dean Z, God and Country Theatre, and the Jim Stafford Christmas Show. She also toured the country with Pullen Productions in a four member ABBA Tribute group titled Thank You For the Music: A Modern Tribute to ABBA.

After years of professional contracts, Smith was ready for a big lifestyle shift. “By the time I was 30 years old, I had never once left the country and I was like, if I don’t start now, then I’m not gonna see what I want to see,” she recalled.

Smith took a leap and began auditioning for cruise lines where she would have solid employment and travel opportunities. However, cruises are one of the most competitive contracts to break into. She repeatedly put herself out for calls with disappointing results, but her relentless spirit persisted. “Once I set my mind on something, I usually go 10 out of 10 on it. I usually don’t give up until I figure it out.”

The casting season also conflicted with her ten-month contracts at Silver Dollar City. She began receiving offers from cruise lines, but they didn’t align with her off season. Finally, Smith received a call that would devastate most performers – her Silver Dollar City show wouldn’t be renewed. Instead of despairing, she used it to make the next major jump in her career.

“They fired the entire cast and musicians and everybody, and it was too late in the season to audition for anything else because every other theater had already had their auditions, so there were no openings in town,” Smith explained. “So, I immediately emailed a guy who had given me an offer before and said, ‘Look, I’m not gonna go back to Silver Dollar City. I want to do cruises and now that I don’t have this other job that I’m locked into.’ I’m not going to take anything until some cruise company hires me.”

Princess Cruises called her back and offered her a production singer position. As for travel, Smith got all that she ever dreamed of. Production singer contracts kept her on board for six months at a time and gave her opportunities to explore while they were docked at port. She began sharing incredible experiences online from the distant locales she visited.

Smith eventually met her now husband, former Cruise Director Kevin Tugwell, on board and she began building a solo show. Remember her love for the MAMMA MIA! cast recording and that 2013 ABBA Tribute show she starred in? So did her husband. Turns out, it had all been leading to her big moment.

“I was just writing a variety show. I have another show that is just a variety of different kinds of music including like pop, rock, and opera, a little musical theatre. As for the ABBA show, it started out with just one ABBA medley and it kept getting longer and longer and then my husband was joking around and said, ‘Why don’t you just make a full ABBA show?’ I was like, ‘Oh my god, I should. That’s amazing.’ I’m so glad because it worked out so well. I can’t believe I didn’t think of it myself.”

Having seized every opportunity at SLT on and off stage, Smith had the full picture for how to build an entire show from scratch. As she began developing her shows, she caught the eye of entertainment bookers. Her preparation collided with demand, and she landed one of the most coveted spots in cruise performing – headline entertainer.

“It was just one of those things where I got my show in front of the right people and was able to kind of have a paper trail of my scores and guest comments,” Smith explained. “I wrote my show when I was a production singer on a ship, but I was able to perform them because during COVID, we had a lot of guest entertainers that got sick and couldn’t make the ship. A lot of flights were being cancelled. They were like, ‘Alright, we’re short a show. We need somebody to go on.’ I was like, ‘Put me in! I have a show.’ So, because of that, that’s how the booker was able to get to know my scores and then offered me dates to be a headliner.”

She now gets called on demand to appear on ships to perform her two shows, ABBA’S Greatest Hits by Ashley Rose Smith and A Singer’s Journey. Being a solo act has earned her a more manageable schedule. Smith’s contracts are closer to a week than the months she was away before. When one ends, she heads to the next ship or comes home to spend time with her cat and husband.

Smith has come a long way since operating her first spotlight, but she appreciates her days at SLT. “Doing shows in [Y.E.S.] Troupe teaches you so much about theatre and the way that things work. You get really good on the job training doing shows at SLT. You end up knowing how everything works. You know how rehearsals run. You learn a lot of dance and choreography stuff, like musical theatre and jazz choreography. When I started ships, there was really not like any learning curve because I had already learned. When I started in Branson, it’s everything that I learned at Springfield Little Theatre that I just did with them as well.”

Smith also credits fellow SLT alum Brandon Russell with strengthening her vocals to meet the demands of singing an entire show alone. “He was a fellow Trouper with me, but even when he was in his early 20s, he was the most amazing voice teacher ever,” she said. “So anytime I need help with anything vocally or any time I need a voice lesson or need to figure out how to sing a certain song, I always go to him.”

Smith hopes that her success can inspire other Springfield hopefuls. Pursuing a career on cruise ships can be intimidating, but after rising to the top of her field, Smith is more than open with her tips for breaking into the business.

“I like sharing my adventures and my story with people,” she offered warmly. “I think a lot of times in universities and schools, they push to you that you have to move to New York or LA to be successful. I want people to know there are a lot of other opportunities out there outside of those two cities that you can still make a living performing.”

Explore opportunities to get involved and start your theatre training at Springfield Little Theatre.

MSU Library Associate Jeffrey Lawson Has Spent Years Organizing SLT’s 90 Year History

By

Performance talents, social connections, and self-confidence are all valuable skills that Springfield Little Theatre alumni build, but the most cherished takeaway for participants is often memories made. Missouri State University Library Associate Jeffrey Lawson shepherds the theatre’s records across its 90-year history. He has spent years cataloging and archiving photos, documents, and mementos that help Springfieldians reconnect and remember SLT’s remarkable story.

Lawson began his career at Meyer Library in the Circulation department nearly 25 years ago. After gaining experience as Shelving Supervisor then Overdue and Billings Supervisor, management tapped him to assist in Special Collections and Archives. A self-proclaimed SLT “groupie”, Lawson has been attending performances since he began watching his theatrical friends in high school. His passionate support proved to be useful for the project.

“They knew that I was familiar with the [Springfield Little Theatre] organization and with a lot of the people that worked and performed down there,” he said. “They thought, well, Jeffrey would probably be the best person to help process this collection because I could probably look at a picture and know what show it was as opposed to the other people up here who aren’t as familiar with theatre. About five or six years ago I began coming up here working with that collection and then working with other collections and it just kind of snowballed.”

Lawson has worked fulltime in Special Collections and Archives since 2020. He has been continually cataloguing multiple projects, including mountains of SLT related content. He carefully handles all the materials serving as a historical detective to uncover its significance. Not every item is immediately identifiable.

“A lot of it you have to go through maybe two or three times. You can’t just go through a box and start throwing stuff away because you never know,” Lawson cautioned. “That second or third time you go through a box or a folder may be the time that you find the treasure that you’re looking for, or something that’s very important to the collection. I just like to go through things a couple of times before I end up discarding anything because I don’t want to throw out anything that’s important.”

For every item that is entered into the archive, Lawson tries to uncover as much accompanying information as he can. Rather than just describe what’s visible, he hopes to file as many details as he can.

“Sometimes you’ll pull out a photograph that has no date, you don’t know when it was taken. Part of my job is as I put these online, I like to find out who is in the photo, when it was taken, why it was taken, how it was used, where it was taken, and sometimes you get none of that.” Lawson admitted to occasionally running into frustrations when a piece eludes him. “You just have to put ‘undated’ on something. I hate doing that. I like to know exactly when and where something was taken and who is in it. There’s a mystery in every box, trust me.”

One of Lawson’s most pressing goals is digitizing the SLT archives. He hopes to eventually make most of the collection searchable for researchers to easily navigate. As SLT alumni follow their careers and passions across the globe, he would like for anyone with a tie to the theatre to be able to search for cherished memories.

“We have a very large digital collection of items that we have online,” Lawson explained. “I would really like to have a lot of this [SLT collection] online so that people can access it from home and not have to come into the library. In the long-range plan, that is the goal. We can’t digitize everything, but I would love to have a really good selection of programs, historical items, posters, photographs, online for the public to look at.”

Lawson’s efforts have already been utilized by historian Kara DeBacker for a book about SLT’s home, the Landers Theatre. Lawson and DeBacker collaborated on researching both the organization and building history.

“I would just bring out box after box to Kara,” Lawson recalled. “She is such an experienced researcher. She really knows what she’s doing, and she didn’t need a lot of guidance from me. Basically, I just gave her a box and brought it out there and let her go through it. She took from it what she needed.”

Since DeBacker began that project five years ago, Lawson has made major headway in organizing the collection. He says that they have many photos, but also other interesting items like posters, photos, and even paperwork like forms filed to acquire rights to a show. He has prioritized making the documents easily searchable to more casual researchers. Many users are looking for connections to shows they’ve been involved with in the past, or even past generations in their family who may have performed.

“What we try to do is figure out when someone comes in to use this collection; how are they going to use it? What kind of things are they going to be looking for? So, you try to break things up and organize the materials in a way that is going to make sense to someone from the outside coming in to look at it,” he explained. “I figure most people who come in that want to look at Little Theatre are probably going to be looking for things that either they were in or that their parents were in or that their kids may have been in. We have a lot of people that come in for MSU theatre and dance who come in and say, ‘My mom was in this play back in 1968. We don’t have any pictures of it. Do you have any pictures of it?’ And yeah, we do. That’s really fun to be able to pull up a slide from 50 years ago and show somebody a slide of a picture of their mom that they’ve never seen.”

Lawson has uncovered some surprises during the project including original posters for a concert at Landers Theatre by Family Tree in 1972. The band would later be renamed The Ozark Mountain Daredevils. He has also poured over records of big-name stars coming for guest performances including Betty Buckley in OLIVER! and Patrice Munsel in THE SOUND OF MUSIC. Even the smallest details can be an entertaining glimpse into the past.

“Seeing all those photos like of the receptions that they had at the Lamplighter [Inn] from when Patrice Munsel came in, things like that are just great,” Lawson smiled. “I love reading the board minutes from the early years, like the 60s and 70s. It’s fun to see what kind of pie Donna Crosby was going to serve at the meeting. Things like that are just hilarious to read.”

As a whole, the collection is a humbling reminder of the enduring power of SLT volunteers. As a community organization, the level of talent and dedication is remarkable across the decades and only continues to grow.

“It’s interesting to see how a relatively small group of people built something,” he marveled. “You know when you go back and you look at things from the 50s and 60s and even the 70s, there’s just a small group of people puttin’ on a show. They may have designed the program themselves back in the early days. But now, it’s such a huge thing with sponsors and underwriters. It’s amazing how much it’s grown.”

In addition to the SLT collection, Lawson oversees the history of many Springfield organizations through the Special Collections and Archives including the Frisco Railroad, OLGA LGBT, a local labor union, and the Ozark Jewish archives. Springfieldians can rest easy with their records in Lawson’s caring hands. He is just as invested in their preservation as the researchers he serves.

“I feel lucky to get to handle all of this stuff and go through it and look at it and preserve it. I’m the lucky one.”

Read more about Springfield Little Theatre’s history in The Landers: Biography of a Theater.

MSU Music Department Head Paula Patterson Cherishes SLT as Brightest Among Community Theatres

By

Missouri State University music department head Paula Patterson has toured the country as a performer and even sang with the Spanish National Opera in Madrid, but she has come to realize in her travels that nothing quite rivals her hometown theatre.

“I lived in cities much larger than Springfield and discovered nobody had a community theater like we do,” she declared. “I just assumed that big cities would have a community theater like we do, but nobody does. They’re like a small room with folding chairs and the talent isn’t nearly at the same level.”

Patterson made her Springfield Little Theatre debut at the Landers in the late 1970s. After graduating from MSU with a bachelor’s degree in music education and a Performer’s Certificate in voice, her studies and stage career took her to Austin, TX, Charlotte, NC, and Santa Barbara, CA throughout the 1980s. When she moved back around 1990, she was craving to rekindle the connection she had with arts in the Ozarks before she left.

“I was looking for opportunities to perform and I went down to Springfield Little Theatre. It kind of became my family,” she smiled. “It was a great thing to come home to and be able to do and make new friends and reestablish old friendships.”

Although she has performed professionally for many years, Patterson never felt hesitation in skipping a paycheck for projects that she loved. When an opportunity came along that sparked her creativity, the money didn’t matter.

“When I moved back here, I felt like I had more performing opportunities than [my friends] did in New York,” she explained. “I had a day job, I wasn’t always getting paid for my performing, but it’s what I love to do. The fact that I didn’t have to rely on it to make a living meant that I could pick and choose what I wanted to do.”

When Patterson initially returned to Springfield, she was performing in NUNSENSE and working temp jobs. When the SLT education director at the time left, she even stepped up to that post for an interim period when, then executive director, Mick Denniston offered her the job.

“The education program, obviously, is not what it is with Lorianne [Dunn], but I agreed to do it,” she said. “Beth helped me a lot and so she kind of took over when I left and built up the program, then ultimately became executive director and Lorianne has the program now. But anyway, I did serve as the Y.E.S. Troupe director for a few months. It really was fun. I had a great time doing that.”

As a teacher, Patterson was a natural with kids, even young performers appearing in their first productions. She appeared as Mother Rabbit in THE WIND AND THE WILLOWS with Mick Denniston’s young daughter, Emily, and son, Colin, who went on to be a professional performer. She also worked with children in SLT productions of SECRET GARDEN, CADDIE WOODLAWN, and AMAHL AND THE NIGHT VISITORS. In THE SOUND OF MUSIC, she was Maria alongside Michael Spyres as young Kurt who is now the artistic director of Ozarks Lyric Opera.

SLT Executive Director Beth Domann even benefitted from Patterson’s vocal coaching when they auditioned together with their friend, Sharon Rector, for NUNSENSE in 1990.

“I helped Beth learn a song because I’m a voice teacher and she’s not a singer,” Patterson laughed. “We all auditioned and went to Village Inn like we always used to do in the 70s and we all got cast. So, it was special.”

During one performance, Patterson needed a little help of her own. She was playing the role of Sister Amnesia who suffers from memory loss after a crucifix falls on her head. When Patterson got off track, she found a creative way to cue the conductor that she was out of sync.

“One night, I literally got lost in the middle of [my song]. So, I kind of stayed in character and the band was dressed like priests and nuns,” she explained. “I was like, ‘Father Casey, I’m lost, and I don’t know where I am.’ I had to do that three times. The third time, I went over, and I was like, ‘Father Casey, I just need to look at the music.’ Well, it was the perfect role, doing Amnesia if you’re gonna forget where you are. I didn’t realize that in comedy, you do things three times. People in the audience thought it was real. So doing NUNSENSE with Beth and Sharon, that was probably my favorite experience and my funniest story of things that happened.”

In addition to NUNSENSE and THE SOUND OF MUSIC, she lists Eva in EVITA and Anna in THE KING AND I as two of her favorite SLT roles. Patterson is content with her catalog of work, but she still encourages students to get involved at the Landers Theatre.

“I had an opportunity to do all my dream leading roles 30 years ago and just had a great time. So, it was a real lifesaver for me. I still love it. I just got married and I got busy and never had time to do as much as I would like,” she admitted. “I make sure that when our incoming [university] students have auditions that I tell them about it. I teach voice, and we have voice majors who come in that really want to be musical theater majors, but our musical theater department is so competitive, so I will tell them about all the opportunities to do musical theater.”

Decades after first auditioning at SLT, Patterson still cherishes friendships, including with Beth Domann. The reward of those lifelong relationships has been worth every volunteer hour spent on the Landers Stage, she said. “[Beth] is still a dear friend and I’m so thrilled with everything she’s done for the theatre.”

See the upcoming Springfield Little Theatre audition schedule for opportunities to join us on stage.

Ticket sales cover only 44% of our costs.

Your support keeps the curtain rising.

Donate
MENU