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Special Section: Community Theatre Courtesy of Jillian Stones Design on a Dime How three top-notch community theatres produce spectacular-looking shows By Lisa Mulcahy A moment from the Temecula Valley Players’ production of Little Shop of Horrors Today's tough economy is presenting financial challenges for theatre companies everywhere—especially community theatre groups. When money's tight, lighting, sets and SFX are often the first production elements community organizations scrimp on. Sure, it seems logical to cut corners, but a cheaply executed look can drag down your entire show—and your reputation—in a flash. Here are three highly respected community theatres who use imagination and ingenuity when it comes to inexpensive design. Their end result: striking, critically praised productions that draw big audiences over and over again. Low-Cost Lighting When it comes to stretching any show's design dollars, a smart lighting design can be invaluable. The proper preparation is crucial, however. At the Old Temecula Community Theatre in Temecula, Calif., lighting designer/technical director Bill Strawn uses a combination of strong experience and sound planning, saving his company critical capital. Old Temecula Community Theatre itself is a joint effort between the city and its local theatre foundation; three local playmaking groups rotate productions within the venue. Strawn supervises an economical in-house crew of a master electrician, a tech assistant and six stagehands. “I encourage cross-training,” Strawn says. “We're a non-union house with no department heads, if I need people to move to specific and diverse positions on a production, they should be able to do it.” Strawn says building a highly versatile equipment set-up saves money in the long run as well. “My primary lighting system is ETC; front of house control, an Expression 2 with Emphasis,” he details. “I have a pretty decent inventory of Source Fours as well, and about 30 Strand 1k Fresnels. As far as FX goes, I've got about 26 color changers, and about a dozen Rosco I-Cues for moving lights. Pretty much anything everybody would need is there.” Building these components into your facility, one by one, will save money; each time you purchase a new piece, take the time to experiment and integrate it with what you’ve already got. Strawn also believes that the best and cheapest lighting end results are directly due to good, detailed planning. “I've encouraged as much as our local company personnel to have as much as their paperwork done, as much as their design on paper as possible, before we get to the process of working on a show,” he stresses. “That way, from the beginning we can minimize labor. Having been on the road for close to 20 years previous to this job, I'm very well-versed in the concept of ‘get it in, get it up, and get it going.’ Typically in community theatre, people don't really think in terms of economy—a lot of people are volunteers, and they take their time doing things—they're less concerned with really banging it in. When you actually have a labor bill at the end of the run, though, the cost can be very substantial. I encourage people to be as prepared as possible—hand me a real lighting plot! When I open the dock door, we should know how we're going to attack each load in.” Strawn is pleased to report that the local companies he works with have learned this lesson well. “It's been a very positive evolution—over the past three years, these companies have become very organized and look at the productions they do in terms of show business,” he says. “In today's economy, everyone is pinching pennies. The right approach gives you extra bang for your buck, and a much better end-product onstage.” 16 April 2009 • www.stage-directions.com
For a production of The Hobbit, the Backstage Theatre built a dragon head from muslin-covered flex foam which was painted with sparkly gold glue paint to suggest armored scales. “I have a tendency to go down into my theatre’s basement and look around before I spend money on anything.” —Steve Dupry Set Strategies When it comes to creating a fantastic set for less, never underestimate the power of ingenuity. “I have a tendency to go down into my theatre’s basement and look around before I spend money on anything,” says Steve Dupry, director of numerous productions for the critically acclaimed Geneva Theatre Guild and their 1500-seat house in Geneva, New York. Sometimes, the most common hardware can solve the most challenging set issues. “When planning our production of Sweeney Todd, I wanted to be able to clear the stage completely at specific points in the show,” Dupry recalls. “I achieved this effect inexpensively by simply mounting every piece on wheels, so that the entire 16-foot-by- 16-foot set could be rolled off and on.” Dupry has found over time that sightlines play a crucial role in making sure a low-budget set strategy works. “My advice is, of course, to always consider the distance between the front row and the stage when considering equipment you have and may use in a different way, to make sure your adjusted effect will play fine visually.” With Sweeney Todd, for example, Dupry was stumped as to how to build a properly sinister-looking oven without spending a lot of money. “I was searching for metal doors that would read well, and in our office shop suddenly came upon a plain old shelving unit,” he recalls. “We took it apart, cut, pasted and painted each shelf, and it looked completely authentic! The point is, imagination can save you money, if you try to look at a common object in a new way.” SFX for Lots, Lots Less When your group is running low on funds, elaborate SFX no doubt seem completely out of the question. According to Christopher Willard, artistic director of the highly-respected Backstage Theatre in Breckenridge, Colo., though, top talent can make it happen. “Our recent production of The Hobbit employed the talents of master puppet-maker Cory Gilstrap,” says Willard. “Cory was given the task of bringing to life three humungous trolls, a giant spider, and a 50-foot dragon, all on a stage that measures 22 feet by 18 feet, with an offstage wing space of only 5 feet from curtain line to offstage wall!” Despite these significant challenges, Gilstrap exercised incredible budget smarts. “Cory loves to build with PVC pipe, bike brakes and foam rubber,” marvels Willard. “Foam was shaped, glued and air-brushed with www.stage-directions.com • April 2009 17
Page 1: • Polite Interview with Austin’
Page 5 and 6: Publisher Terry Lowe tlowe@stage-di
Page 8 and 9: In the Greenroom theatre buzz Get t
Page 10 and 11: Tools of the Trade Chauvet COLORado
Page 12 and 13: Theatre Spotlight | By Jessica Hird
Page 14: Feature | By Jacob Coakley Hit the
Page 17: faculty, and they’re not alone in
Page 22 and 23: Special Section: Community Theatre
Page 24 and 25: Special Section: Community Theatre
Page 26 and 27: Plays & Musicals AmericanPlaywright
Page 28 and 29: Off the Shelf | By Stephen Peithman
Page 30: Answer Box | By Eric Gebhard A Deli

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