PHOTOGRAPHY COURTESY OF WORKSHOP THEATRE
Over a 35-year career, Randy Strange has designed sets for a number of productions at Workshop Theatre, including Little Shop of Horrors.
Donna Harvey, costume design began when her son was cast in a play at Town Theatre. She took the term “community theatre” literally and decided to volunteer her time to help the costume director. Four years and 15 shows later, Donna is costume shop coordinator at Town Theatre and is immersed in enough costumes, fur coats, top hats and shoes to sink a ship. Town Theatre typically performs six shows a year, though Donna is unable to do every show because she also stays busy as an elementary schoolteacher. In those cases, she contributes in a consultant role. Town Theatre is blessed with a large costume inventory, a culmination of donations, trips to thrift stores and costumes Donna has made. She also rents costumes when needed. The bigger the show, obviously, the more she has to do. “We had a huge cast for Beauty and the Beast,” says Donna. “I had two racks of costumes for children that I made. Fortunately I can do a lot at home, though it took me about six
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weeks to prepare for it.” She estimated she worked 10-hour days for about a month to get ready for that show. Dress rehearsals are helpful in eliminating costume malfunctions. However, once the show begins, Donna stands ready. “I come in every night to mend costumes or to help if something has to be located such as lost clothing.” She works closely with the director to make sure they are on the same track as far as costume preferences. “I’ve gotten to know what the directors want, and I can see what they see.” Donna also works with the set director to coordinate colors for the set and with the producer to get time frames for each show. Though Donna has a creative streak, she admits her creations don’t always magically pop into her head. Costume plots are available sometimes, but more times than not Donna will search online to find what she will need. “Thank God for the Internet,” she says with a grin. “Sometimes I’ll search other productions of shows I’m not familiar with to get a feel for the plot or the era in which it takes place.” As each play unfolds, Donna is always planning ahead. “My next show is The Odd Couple. Once they cast I’ll talk to the director.” Casting usually takes place six weeks before the show opens, and then the costume coordinating cycle begins. Sandra Willis, the executive director of Town Theatre, says without people like Donna, there would be no theatre. “Being a community theatre, we rely on a lot of volunteers to make it work,” Sandra says, though Donna receives a stipend for her work. Town Theatre, which specializes in familyoriented musicals and comedies, is the oldest continuously running community theatre in the country. Sandra began helping the theatre 25 years ago and has always enjoyed the casual feeling. “We try to be accessible,
warm and welcoming to everyone. We like to say, ‘Dress up or dress down, but come to Town.’” For Randy Strange, designing sets for Workshop Theatre has been a 35year process. “I began as a volunteer in 1975,” Randy says, “and I’ve been doing it ever since.” He also serves on the play selection committee. He reads each script so he can envision what the set should look like. “If you don’t read the script beforehand, you’ll be lost,” he says. Each play offers a unique challenge, like High School Musical, where up to 30 actors dance on stage. “With a play like High School Musical, you have to design your sets so you can still give the cast as much footprint to dance on as possible.” Randy works closely with the director and the choreographer to see what they want, laying down ideas of the stage for them to visualize. “Sometimes I’ll build models of sets, and sometimes I’ll do ground plans, which is the footprint of the stage drawn out on paper.” With shows like The Producers and High School Musical, Randy makes use of the cast to move the sets around in between scenes. “Once the show starts, I try not to get in the way unless there’s something missing.” Before opening night begins, rehearsal is crucial for finding glitches and removing the kinks. Though Randy does the design work, he has volunteers to help him build and paint. Still, his dance card is always filled. “I work 10-hour days seven days a week when preparing for shows. It’s labor intensive, so you have to love it or you wouldn’t do it.” The show must go on, as they say. For local theatre, the show can’t go on without the dedication of hard working people who truly love the theatre and who love what they’re doing. It’s true – the theatre would be nothing without the actors, but if not for the crew and slew of people who work tirelessly behind the scenes, opening night would never be a reality.
O C T O B E R 2009