I had fun working on my first plays and concerts.
Living in Sayville I had another opportunity to work in Theatre with the Sayville Musical Workshop.At the time it was the oldest community theatre group in New York State.
It had a long history of quality productions and I was lucky to have had a chance to work with them.
I was saddened years later when I learned that they disbanded in the 1980’s after 35 years of productions.
One of their last productions was all White production of “The Wiz”.
I think someone in charge might have missed the point, but I was not there.
***[Update 02-27-14: I am glad to find out that I was wrong about the Wiz and at least there was some Black actors in the show. In the world of Theatre where most people say that they support "Colorblind" casting it is sometimes hard to pull off. I have seen it work well many times and in other productions it causes some awkward moments. I was young when I worked with the SMW and learned a great deal about how to work in Theatre.]***
In it’s heyday there was a great core of people running the Workshop.
People from the professional business world brought their own specialties to running the Workshop.
Business people took care of the money, a retired Broadway stage hand designed the sets, many real carpenters and electricians helped with the building of the sets and running the lights.
As I remember many of the actors were young school teachers.
A few professional or semi-professional actors were also in the mix.
My first production with them was “Hello Dolly”.
The Workshops’ treasurer was a friend of the author Jerry Herman, they knew each other from summers on Fire Island I was told, and our production was one of the first amateur productions of the musical.
15 and still learning about theatre, I was part of the backstage crew moving set pieces during the show.
I remember that there was very little room backstage and that I sat on, under or behind set pieces to move them during set changes.
In one memorable scene change the actors spun a large set piece on castors around and around during a song and sent it fly off stage left for the crew members to catch before it smashed into the rest of the set.
BAM!
I was there each night as it smashed into my outstretched foot trying to stop it.
Recently I found a link in the Sayville Library webpage to photos of the show.
http://sayville.suffolk.lib.ny.us/sayville%20musical%20workshop/sayvillemuscialworkshop.htm
I think these are the earliest photos I have of any plays that I have worked on.
Living in Sayville I had another opportunity to work in Theatre with the Sayville Musical Workshop.At the time it was the oldest community theatre group in New York State.
It had a long history of quality productions and I was lucky to have had a chance to work with them.
I was saddened years later when I learned that they disbanded in the 1980’s after 35 years of productions.
One of their last productions was all White production of “The Wiz”.
I think someone in charge might have missed the point, but I was not there.
***[Update 02-27-14: I am glad to find out that I was wrong about the Wiz and at least there was some Black actors in the show. In the world of Theatre where most people say that they support "Colorblind" casting it is sometimes hard to pull off. I have seen it work well many times and in other productions it causes some awkward moments. I was young when I worked with the SMW and learned a great deal about how to work in Theatre.]***
In it’s heyday there was a great core of people running the Workshop.
People from the professional business world brought their own specialties to running the Workshop.
Business people took care of the money, a retired Broadway stage hand designed the sets, many real carpenters and electricians helped with the building of the sets and running the lights.
As I remember many of the actors were young school teachers.
A few professional or semi-professional actors were also in the mix.
My first production with them was “Hello Dolly”.
The Workshops’ treasurer was a friend of the author Jerry Herman, they knew each other from summers on Fire Island I was told, and our production was one of the first amateur productions of the musical.
15 and still learning about theatre, I was part of the backstage crew moving set pieces during the show.
I remember that there was very little room backstage and that I sat on, under or behind set pieces to move them during set changes.
In one memorable scene change the actors spun a large set piece on castors around and around during a song and sent it fly off stage left for the crew members to catch before it smashed into the rest of the set.
BAM!
I was there each night as it smashed into my outstretched foot trying to stop it.
Recently I found a link in the Sayville Library webpage to photos of the show.
http://sayville.suffolk.lib.ny.us/sayville%20musical%20workshop/sayvillemuscialworkshop.htm
I think these are the earliest photos I have of any plays that I have worked on.
Over the next few years I would work on many more shows with the Workshop; moving from the backstage crew to running a follow spot, then running the lighting board and finally I designed the Lighting for “No, No Nanette” after my first year in college .
I will write more about my experiences with the Workshop in upcoming posts.
Dear Gary
ReplyDeleteWas a trip back to read your blog referencing Sayville Musical Workshop. I choreographed The Wiz and we cast a gifted black singer whom I worked with at Dowling College...she grew as a performer and scholarshipped for her work at the workshop...I was proud to cast her sisters and cousins as dancers and the went on to other theater endeavors after having gained the confidence to brave the arts in a lily white community. I did not miss the point Gary we were very aware of the interracial talent locally. I directed and choreograhed Show Boat the following year and had attracted some of the most talented black talent on Long Island. That was the point to bring diversity to a Theater that was stagnant from its cronyism. I brought Karen Hassleis back as musical director because we had a gift in her locally. I choreographed Chicago there as well and enjoyed bringing so many young talents to the workshop and they went on to succeed as singers and dancers on regional and Broadway stages. The point was we opened the door to musical theater for our community and you and i am proud of both...break a leg!
Hello Barry, I've been trying to find you for 33 years... My name is Tiger Williams, and I played Jenny Diver in your production of A Threepenny Opera. You can find me on FB by the name of Ana Abendroth. Hope this finds you well!
DeleteTiger you have always been my Pirate Jenny holla back if you get this...561-929-7604
ReplyDeleteI'm here, still alive (amazingly)... to whom do I have the honor...?
DeleteBarry
DeleteDearest Barry!!! So strange and so wond5 to hear from an old friend in these times, when human contact is currently at a premium. I am hoping you are well! We have much catching up to do. I will be calling you soon. In the meantime, find me on Facebook under the name of Ana Abendroth (long short story, lol). Hugs and kisses! Tiger
ReplyDeleteDearest Barry!!! So strange and so wond5 to hear from an old friend in these times, when human contact is currently at a premium. I am hoping you are well! We have much catching up to do. I will be calling you soon. In the meantime, find me on Facebook under the name of Ana Abendroth (long short story, lol). Hugs and kisses! Tiger
ReplyDeleteMy family was involved in many Workshop productions in the 60s and early 70s. My dad was Merlin in the production of Camelot which starred Brian Dennehey as Arthur. And Karen Hasseleis, her husband Sven, and her daughter Tovah were family friends.
ReplyDelete