Keith Kalinowski recently appeared in our production of PANACHE, and will begin performances at the Williamston tomorrow night for THE COMPLETE WORKS OF WILLIAM SHAKESPEARE, ABRIDGED!

I thought we had a pretty good rehearsal yesterday. The show flowed from beginning to end, and some new discoveries were found, which is always a plus. After you have been doing a show for so long, like we have, you start to get too comfortable and you forget that the audience will be seeing the show for the first time. Tony has frequently told us to just "tell the story," and that's really what its all about. Communication. If you keep it simple, the audience will gladly go along for the ride.

But along with "telling the story" comes "Wow, this stage is a lot harder than the one at Tipping Point. I'm going to break my arm!" or "Why is it so HOT up here on the balcony?"

But, we're actors. And an actors job is to change. Change costumes. Change characters. Change within a character. The set is a bit different at Williamston in that we dont have the backstage space we had over at Tipping Point, so all of our costume changes need to be done in the wings. Consequently, there are a few costume changes that are a bit hairy, requiring me to say a line, exit the stage, make sure I dont fall off the balcony, throw my helmet down to our Assistant Stage Manager while flying down a very narrow "flight of stairs", put on a another hat, slip on Polonius' overcoat, grab his cane, and re-enter the stage all in about 10 seconds. Its about 95% repetition and 5% luck, but when its done well its the proverbial "theatre magic." Tony was commenting the other night about a show he was working on where they actually sold tickets to patrons so they could sit backstage and watch all the commotion. I think that would be a great way to experience a show, and It's something that should be done more often...giving the audience a little peek into our world.

We've got one more rehearsal tonight and then it's Previews. We're looking great and I can't wait to put it up in front of an audience. Its the kind of show thats a bear to rehearse and repeat, but once it gets in front of people and they get to hear those words for the first time and (hopefully) bust a gut laughing, you realize that its what we, as actors, live for. We get to tell stories and make people forget about the economy, or the job market, or whatever they come to the theatre to escape from.

Now the only thing we need to do is put some bubble wrap under the stage....

Keith Kalinowski
The Complete Works of William Shakespeare, Abridged
The Williamston Theatre

Aral Gribble, currently starring in The Complete Works of William Shakespeare, Abridged, shares his version of the exciting tech week we just went through, including how we accidentally installed the set 8 inches away from where it was supposed to be! :)


Well, I'm writing this on my day off, Monday, (which, by the way, is AWESOME! Actor's NEVER get a "case of the Mondays") because I actually have time to write today.

To be honest, I thought re-staging this show would be a little easier than it was...physically. Mentally, it was great! No real problems adjusting the blocking or figuring out costume changes and traffic patterns backstage, but physically...well, let me sum up: I rolled an ankle, Tony bumped his head, Kevin majorly skinned his knee (even though it was during tape-ball and not a run) and I think Keith saw his life flash before his eyes going down what is deceitfully being referred to as a staircase behind the set. The lack of space and the abundance of action in this play create the possibility for some REAL comedy. Real painful comedy. Although, the funniest moment, to me, was about a week and a half ago when they moved the set in and I went out to check out the amount of space we had to work with behind the set. We knew it would be tighter than Tipping Point, so we all just wanted to make sure I fit.

I didn't.

For those of you who don't know me, I'm what physicians refer to as "Obese." Somewhere along the line calculations got miscalculated and where they thought they were 3 inches short on the set placement...they were 8. I showed up, and before Tony had the chance to tell me this, I was sucking in my gut and squeezing my chubby self between the set and the wall, mumbling "make it work...make it work." After coming to the realization that I couldn't do this show in that little space unless one of our props was the jaws of life, I told Tony, "This ain't gonna work." But no worries. Tony and the construction crew had realized this a few hours earlier: A few minor adjustments later and there's room backstage for me AND Keith to pass by each other to get to our spots (even though we still suck in our guts when we do it)...and it's all totally worth it. I LOVE my job. Is it easy? Not always, but through the buckets of sweat, the bruises and the burning calves, one fact remains: there is NOTHING I would rather be doing. I can't imagine living a life behind a desk, or a counter, or in a boardroom. I would go insane. I mean, I love my job so much that on my day off, I'm sitting here writing about it because I can't stop thinking about how lucky I am. So thank you Tony, for giving me the best job ever.

Oh, one last side note: MVP award goes to the unsung hero, Josh, our Assistant Stage Manager, who's backstage helping w/ props & costumes. Without him, there is no show...and nobody even knows he's there. All right. That's all for now. I'm gonna go enjoy the rest of my day off by hanging out in my boxer-briefs on the couch eating ice cream, putting on all the weight I lost over the weekend. See you @ the SHOW! (well, I'd better, or I'll hunt you down...I know where you live...)

Aral Gribble
The Complete Works of William Shakespeare
The Williamston Theatre

The Stage Manager is the person who holds the production together by managing the communication and details of the process. In rehearsal, the SM is the director's right arm, in Tech Rehearsals the SM coordinates all the efforts AND the results of the director, designers and crew, and in the run of the show the SM calls all the cues, oversees every aspect of the show, and is the liason back to the producer. The director isn't around much after the show opens - the SM maintains the production by giving notes to the crew, actors and company. It's a vital role for any theatre company.

And today we give you some thoughts from OUR Stage Manager!
-Tony Caselli, Artistic Director


It’s 2:30am after our first rehearsal of the re-launch of The Complete Works…Abridged. It could be the venti Frappuccino I chugged before rehearsal in place of eating dinner, or the sheer excitement of Stage Managing my first show since getting out of college a few years ago, but I sure can’t sleep.

I have been working as a Production Assistant to the Stage Manager (PASM) for about 10 months at Williamston… that’s five of the season’s six shows. When I began my job at the theater I was a candidate to join the union of stage managers and actors called Actors Equity Association, or AEA, and needed to work 43 of my 50 total weeks running a show [I had earned 7 weeks already at another theatre]. Throughout my 10 months with the theatre, I worked backstage (during performances), maintained the set and all the props and costumes, organized the backstage duties, and assisted in running rehearsals. It doesn’t sound like much, but boy is it a lot of work! I loved nearly every day of it, and absorbed quite a lot of information about what makes a good stage manager. When Flyover, USA closed a week ago, it became my time to make the move from PASM to SM.

When a show closes at W’ston, there is at least a week before the next show begins rehearsals. During the time, the SM must do a lot of paperwork and get the theatre ready to begin the rehearsal process. One of the proudest, and most embarrassing, moments of my adult life came last week when I came in to clean the space and copy scripts. Tony came into the dressing room for me to sign my first Equity contract and brought the whole W’ston staff to come congratulate me. I stood there, blushing and avoiding eye contact with everyone while they clapped and cheered, but felt so proud that I had finally done it. I finally worked my way up to what I have worked so hard to be for the last six years of my life.

I looked around that room, in the faces of Emily, John, Tony, Chris, and Josh (my PASM), and felt so happy that they were so happy for me. I specifically remember a quote you will hear Tony say often: It’s a good day to be working in the American theater.

Erin Snyder, AEA Stage Manager
The Complete Works Of William Shakespeare, Abridged
The Williamston Theatre

The Complete Works Of William Shakespeare, abridged will start rehearsals on Tuesday at the Williamston Theatre.



This show is a co-production with Tipping Point theatre, in Northville Michigan. I directed it there a couple of months ago, and it packed houses for the 6 week run. Now it's our turn to bring the show to Williamston, and we're thrilled! We've got one "pay what you can" preview on July 2nd, and open on July 3rd!

If you missed the review of the production when it opened at Tipping Point, here it is:
"Shakespeare's Never Been This Much Fun!"

Over the course of the short re-staging/rehearsal period for this show, we'll be posting a variety of journal entries from folks on the adventures, challenges, pluses and minuses of running a show for 6 weeks at one theatre, and then moving it to another! Hope you stop in and share in our fun!

-Tony Caselli, Artistic Director

The Williamston Theatre has been nominated for some awards!

The "Pulsars", which are the theatre awards given out by the Lansing City Pulse, announced their nominations today, and I'm pleased to say that the Williamston Theatre got some!

We received 13 nominations spread out over 4 productions, including Best Play, Best Director, Best Lead Actor, Best Lead Actress, Best Supporting Actor, Best Supporting Actress, Featured Actor in a Play, Featured Actress in a Play, Lighting Design, Props and Set Design.

It's always nice to have hard work recognized - congrats to all the nominees, and thanks to the City Pulse for supporting theatre in Michigan!

Stone Soup Storytelling at the Williamston Theatre

The Williamston Theatre is thrilled to announce the newest part of its Entertainment Stimulus Package, "Stone Soup Storytelling." On Saturday, May 9, the Williamston Theatre will open its doors for a concert of story and song featuring Dawn Daniels - a singularly compelling experience for adults and children ages 5 and up.

Dawn Daniels is noted as a radiant artist of the spoken and sung word devoted to creating an entertaining, transformative, and empowering experience for her listeners. A seasoned actor, vocalist, director, writer, teacher and counselor, Dawn brings all of her gifts to storytelling. She has performed for audiences of all ages in venues ranging from stage to pulpit to classroom to campfire, from the East Coast to her native Midwest including The Detroit Institute of Arts, Alma College, the Ypsilanti Heritage Festival and the East Lansing Public Library. Dawn's performances are an eclectic weaving of stories and songs drawn from a wide-ranging repertoire of world folklore, literary classics, sacred works, mythology, legend, fairy tale, and original creations. Stone Soup Productions is a cultural arts enterprise dedicated to the creation, presentation, and promotion of quality story art for the purpose of inspiring individual and community growth, transformation, and empowerment.

"Stone Soup Storytelling" will be held on four Saturdays from 11am-noon: April 25, May 9, June 13 and July 11. Each concert will be a unique set of stories and songs. The cost is $5.00 per person at the door. Please note seating is limited and will be on a first come first serve basis. Doors open at 10:30am.

Sarab Kamoo, currently starring in our production of Panache, is no stranger to Michigan audiences, and we've been lucky enough to have her in our building for the last couple of months working on this show!

Here, she shares her thoughts about working on Panache:

Well, I waited 3 years to work at this theater and it was definitely worth the wait. I have had the most wonderful experience working on Panache at Williamston. I couldn't have asked for a better group of professionals to be around...from the great cast, to the amazing stagemanagers, to the incredible director and the fantastic four who run that place!! I think Panache is such a beautiful story of finding love when and where you least expect it even when you think you don't necessarily deserve it. The last couple weekends of the show, I have been waiting for my entrance backstage and thought in my head, I can't believe I get to tell stories for a living, I am so blessed. This whole experience has been a joy and I am sad to have it end this weekend. However, I am so glad that it happened at all.
-Sarab

It's closing week of Panache!

This show has gotten all rave reviews, if you've not seen it - this is your last chance! :)

For a taste of a couple of the reviews, here are some links:

The Lansing State Journal says the show is "a delightfully funny evening of fast, smart banter, real human emotion and absolutely terrific acting."

Encore Michigan says Panache "delivers some of the most endearing theatre of the season"!


This show has been a delight to have on our stage. It's a big challenge for us - in our little space and with the economy worsening, a cast of 5 can be a financial challenge. It's one we were excited to tackle, though, because we really liked the story in this play. And we really liked these actors! We're truly grateful for all of the support from audiences and critics - Director Suzi Regan did a fabulous job of leading the team of designers, crew and cast and creating a piece of theatre that really fits what we like to do here at the Williamston! It makes you laugh, it chokes you up a bit, it makes you think, and when you leave you want to re-connect with the people you love. In our book, that's a good evening of theatre!

Here's a grainy cell-phone photo taken during tech weekend of Panache at Williamston Theatre. (click for the big pic!)

It's a little hard to tell, but in the photo are Alex Leydenfrost, Maggie Meyer and Sarab Kamoo, who are all doing very fine work in the show!

It's been a very good weekend - lots of hard work from a bunch of talented people - the show is coming together very nicely! Previews start on Thursday!

We've now completed 3 of our 6 shows for the 2008-2009 season.

Panache has begun rehearsals.

This is an exciting show for us, in a couple of ways: It's the first time the show has been done professionally in Michigan, and we're proud to be the ones doing it. It's also a play with 5 actors we're thrilled about having on our stage for the first time. And, we're fans of the script. It's billed as a "Romantic Comedy" which, in essence, is true. But, it's a romantic comedy for adults. It's a love story, sure, but it's a deeper exploration of a couple of people who are, like many of us, flawed. There are real life things at stake, and real life experiences have shaped these people.

I had a great moment today. Director Suzi Regan and her cast have had their first week of rehearsal, and I breezed through the building this afternoon on my way to another project. I'm always inspired when I catch even a glimpse of people working when it's people who are good at what they do, and love doing it. You can see it as they work, as they talk to each other. It was a great moment today, because I wasn't really thinking about Panache, I had my destination in mind, but there was the company rehearsing a moment... and I got caught up for a second in the process, and how great it was: the set is looking wonderful, the director was shouting ideas, the cast bouncing around the couch and staircase while the stage managers kept a watchful eye on the whole affair. I watched this team of people breathe life into this moment and I got lost in it. And I was reminded about how simple our goal is, really, when we make a play - we want people to get lost in it. To lose themselves and then, when it's over, come back to their own lives with a fresh perspective. We want to tell stories that move people (us included) in all sorts of ways, and we hope that it always leaves us all with some new (or renewed) sightline into our world.

So, Panache. It's funny, heartbreaking, life-affirming, thoughtful and sweet. Most of all, for me, it's about the power of second chances, of not giving up, of following one's heart - and THAT, especially right now, is the kind of theatre I want to see.

Tony Caselli
Artistic Director

The Effect Of Gamma Rays On Man-In-The-Moon Marigolds closed a great run yesterday, and we're really appreciative of all the support the show was given by audiences and critics.

This was a great week for us at Williamston Theatre.

See, a couple of years ago, when we sat around a table and made plans to start the theatre, a few of the things that we knew we wanted to do were: to do good theatre that moved people, to provide another place for Michigan artists to be employed, to work with up-and-coming generations of theatre artists, and to work on collaborations with other groups.

Well, we've managed to do all of those things, but over the last week we had a bunch of those happen all in the span of a few days. A show at Williamston Theatre that involved several MSU students onstage and off, and some faculty designers, closed to full houses and great reviews. A show that I directed at MSU had a great 2 weekend run and the student actors and designers there put in some very fine work. And we began production meetings for the show that we're co-producing with Tipping Point Theatre in Northville, MI. A show that will have performance runs at both theatres, and give several actors, designers and crew people over 3 months of work.

Now, there are things that could be better. The economy could be better. Overall attendance could be better. The sightlines around the poles in our theatre could be better, and corporate donations could be better.

Still... there are some things that are working quite nicely.

One more week to go of the Williamston Theatre production of The Effect Of Gamma Rays On Man-In-The-Moon Marigolds. Our reviews have been excellent, and we're playing to great houses!

We're incredibly grateful for the nice reviews and the wonderful audience response!

Some brief quotes from the reviews:
...an excellent show, with plenty of high-quality drama sprinkled with just the right amount of humor.

Williamston's production is daring and impressive.

...powerfully poignant night of theater.

You know a play is good when you find yourself still talking and thinking about it two days after seeing it.

And, in case you want to see full reviews:
This is a link to the Lansing State Journal review!
This is the Encore Michigan review!
The Lansing City Pulse review is here.

One of the roles in The Effect Of Gamma Rays On Man-In-The-Moon Marigolds was a challenging role to fill: the role of Peter, the pet Rabbit. We auditioned several human actors, both union and non, but ultimately decided to go with a young newcomer who actually IS a rabbit.

Here are his thoughts on being in the show:


My name is Willie and I portray Peter in the Theatre’s current production of The Effect of Gamma Rays on Man-In-The-Moon Marigolds.

After an exhaustive search by the creative team on the show, I was discovered through a twist of fate when my family had to give me up to return to their native Korea. I considered several offers before taking the WT folks up on their offer to make me a star. Let me be perfectly frank, the life of the actor is not an easy one. There are endless rehearsals, so many lines to memorize and the personal sacrifices abound.

The WT folks got me hooked up with a great doctor, Dr. Wayne Beasley over at the Cedar Creek Veterinary Clinic. He is a terrific guy and gave it to me straight. “Willie,” he said, “you’re a little chubby. We need to tone you up so that it’s convincing to audiences that you are living with this crazy family in Staten Island in 1955.” He put me on a great diet of Timothy Hay. Seriously, Oprah should look into this stuff. In one short week I have slimmed down and I have more energy than I’ve had in years. Every morning, when the WT folks let me out of my cage, I run my laps around the office and do my drills behind the couches. I’m like a young bunny again.

Despite the sacrifices, this life is totally worth it. I get held several times in the show by three babelicious MSU students, Jenn, Kellyn and Stephanie. I make with the cute eyes and they hold me just a little closer. Then when the crazy one walks over to my cage in Act II, I take my cue and come to the edge of the cage and put my feet up and just look at her. You could cut the tension with a knife. It’s really a great moment. My favorite is the curtain call though. That applause is like music. I’m really going to miss it when we close on March 1.

It’s true, I am looking for a new home. Although the WT folks have been wonderful, I just don’t think I have another show in me. It’s always a good idea to retire when you’re at the top. I’m hoping for some new digs that allow me the same creative freedom I’ve had here. I’m thinking of taking up painting.

It’s been a great experience, working here at the Williamston Theatre. The staff is great and my Bunny Wrangler, Erin Snyder, is simply the best in the business. I encourage everyone to see the show. The cast is pretty good, but really, when can you get another chance to see this quality of bunny-acting?

Best,
Willie

From Noon to 6pm today we're having a big sale at Williamston Theatre.

It's our "Entertainment Stimulus Package"!

All tickets for the run of The Effect Of Gamma Rays On Man-In-The-Moon Marigolds are on sale for only $15. This sale only lasts from 12 Noon to 6pm today, February 11th.

It's 12:15 now, and the phones are ringing off the hook already - don't miss your chance!

My name is Kellyn Uhl and I have the pleasure of playing Ruth Hunsdorfer in The Effect of Gamma Rays on Man-in-the-Moon Marigolds. So far we have had four preview performances and one more to go until our opening this lucky Friday the 13th!

Being a college student who usually rehearses over the period of a month for a total run of six or eight performances …this whole preview thing has been a HUGE treat. After the bows and the removal of red lipstick each night, we meet in the green room with John to receive notes about the show. I cannot tell you how fantastic it is to still be able to rehearse and work…we don't have to feel like some perfectly polished product, we are a constant work in progress.

Also, the theatre itself has proved to be quite a challenge and a delight for me personally. I have never played in such an intimate space before and even after four previews I am still learning…the audience is so close, but we must always strive to keep it between each other on that stage. And yet we cannot ignore the fact that the audience is always there, breathing with us and laughing with us and sniffling with us. Like today, the audience had an amazing energy- I could feel them right there with us on the edges of their awesome red leather seats, and they filled us up and we told our story.

I LOVE THIS PLAY! I said at the top that Ruth was a pleasure to play, but maybe I should have said guilty pleasure…I really get my kicks playing her! And like Emily said in an earlier entry, she has been able to give Beatrice humanity; I believe and hope that I have found the human that is Ruth…she has a whole lot of trouble trying to find her own little place in the world. And sharing the stage with Emily Sutton-Smith…let's just say that when she looks you in the eye, I'm pretty sure that she can see down into your knee caps! I love every member of this cast and recommend that everyone come and see this play just to experience the magnificent fruits of their individual labors.

And John Lepard…what a great guy! As Jenn (playing Tillie in the show) might put it, "Don't you love the twinkling in his eyes when he talks about the play or the characters?" I truly believe that that twinkling is a sincere presence and openness to collaboration. I have learned through his direction the meaning of give-and-take…he encourages us to create and then he gently shapes us, and then he creates and we shape, and so on. Also, Stef and Erin- our stage managers, are absolutely exceptional with the work that they do!

On that note, please come and enjoy The Effect of Gamma Rays on Man-in-the-Moon Marigolds. This play is our collaborative soul and an awe-inspiring story.

Some thoughts from one of the cast of our current show, which started previews last night...


First preview down! And I didn’t forget too many words. At least I don’t think so…

My name is Emily Sutton-Smith and besides being the Development Director and a co-founder of the Williamston Theatre, I’m currently playing Beatrice in our production of “The Effect of Gamma Rays on Man-In-The-Moon Marigolds.” It’s a really beautiful play and a challenging part for me. I’m grateful to be on our stage once again (previous appearances were in “Maidens, Mothers and Crones” in 2008 and “Additional Particulars” in 2006).

When director John Lepard first told me that he wanted me to play Beatrice, I was pretty skeptical. It’s very against “type” for me. As I read the play the first time, I pictured someone older, more broken down. I knew that I would be able to play her; technically I am the correct age… actually a little older. But, very frankly, I wasn’t sure that audiences would “buy” it. As we started talking more about her, I began to understand John’s vision, and realized that it could actually heighten the tragedy of her character to have her not be so physically broken down. From the outside, the mileage is not so obvious. It’s her spirit that is struggling.

In some pre-production discussions with designers, Beatrice kept being referred to as “crazy.” Not a difficult assumption to make, since most of the people in her world view her through that lens. But I admit I found myself very protective of her, primarily because I don’t think she’s crazy. Scarred, yes. Wary of the world, yes. But not “crazy.” There’s no doubt that in today’s world she would probably be diagnosed with some level of bi-polar disorder. But in 1955, mental illness was not acknowledged the way it is today. Beatrice would have suffered, and coped, in silence. It’s been a wonderful journey for me to discover her coping skills and to give her humanity. She’s not a loon… she’s not arbitrarily mean. Her actions come from a place of despair and defeat. She’s a mother who loves her girls and is doing the best that she can. The fact that it’s not very good is not necessarily her fault.

Another element of this process that’s been fun has been working with John. John and I were married on our stage last October 19. The last time we worked on a production together was onstage at the Purple Rose Theatre in “The Underpants” in 2004. Just before rehearsals started, a friend of his from grad school asked me how I thought we would “handle” working together. The question kind of caught me off guard, although I suspect it lurked in many people’s minds when they heard John would be directing me in this show. John’s my director, so I do what he tells me. And he is a wonderful director. I think because he’s an actor, he’s especially good at speaking to actors and communicating what needs to be accomplished at any given moment. He’s nurturing. He’s flexible. And it’s been great to watch him with the MSU students who are in this production (who have been just a joy to work with, incidentally). That he’s my husband is just a bonus because I get to spend so much time with him. Do we take our work home? Of course. How could we not? Delving into a production like this is all encompassing. It takes over all your waking, and some sleeping, moments. But we love our work. We wouldn’t be doing it otherwise. So it’s ok that we dissect moments and character traits over coffee in the morning.

My fondest wish would be to work onstage with John again. He is one of the most present and alive actors I’ve ever seen or shared the stage with. Logistically speaking, I’m not sure that would ever happen again. Maybe once we raise the money to start that apprentice program and get a few more hands on deck around here!

Preview #2 tonight. I hope I remember all my words.

With only two weeks to go before the actors start breathing some life into this script, I am really excited about what we have so far. Jodi Ozimek and Kirk Domer have come up with some great ideas for the set and costumes. Kirk's set allows several entrance areas and some nice open spaces, while keeping the feel of a cluttered, crowded little living room. Jodi's costumes for each of the characters are just beautiful, and I think they will help clarify each individual personality on the stage. Donald Fox has some nice Ideas for the lights, including a shaft of light streaming down the long hallway where Nanny makes her entrance. Gives me chills to think about it.

We will set the play in 1955. There is no indication in the script as to when the play takes place, but I think "55 is an ideal year. It seemed to be a time when prosperity and success were measured by a strong marriage, a nice house, Jell-o molds, and job security. The only thing our family might have would be the Jell-o mold, and they probably couldn't find that... So, this off-center, dysfunctional family, set in this particular time period, makes things just a little more tricky. Beatrice (our mother ) is embarrassed of her position, so she is a recluse. Ruth (oldest daughter) fights against the stereotype, and Tillie (younger daughter) finds her salvation in the knowledge of her creation, and the possibilities born from the atom. It is through Tillie that we see hope, and the strength to seek a better life.

I love this script, and can't wait to start working with this fine cast.

-John Lepard, Director The Effect Of Gamma Rays On Man-In-The-Moon Marigolds

This show is having a wonderful run, and we're very grateful. It's an honor and a privilege for everyone who works in the theatre to have an appreciative audience, and everyone at Williamston Theatre feels blessed by the response our last couple of productions have gotten.

As we head into the Holiday Season, we're very excited about what the future holds, and very thankful for everything we've had happen in the last couple of years here.

The next couple of productions promise to be really exciting for us:
The Effect Of Gamma Rays On Man-In-The-Moon Marigolds is a beautiful, powerful piece! We're in pre-production for that already, and the design team and production staff is top-notch. In addition, this is our collaboration with Michigan State University, so director John Lepard will have a great time working with some students and faculty from MSU!

Following that Gamma Rays, we'll have a wonderful romantic comedy called Panache. Director Joey Albright has cast a fabulous group of Michigan actors in this show, all of whom will be making their first appearance on Williamston's stage - that's a great thing! And this is the first time that Joey will be directing for us! (Audiences will recognize him, though, from his work on our stage in Guys on Ice, Music From A Sparkling Planet and Every Christmas Story Ever Told!!)

One more week of Every Christmas Story Ever Told!! (and it's almost sold out already), but there's more theatre on the way!

And we're WEEKS behind in updating this journal!

Whoops!

Sometimes, we get a little bit busy around here - as you can imagine - and some things have to get put aside. We'll try and keep a bit more current on the rehearsal blog.

The show is open, though, and we've gotten a wonderful review from Encore Michigan!

You can read it right here!

The nice bottom line quote, though, is this:

As a total package, Every Story is a neatly wrapped holiday experience, drawing on familiar traditions and stories to create a fun and unique night of theater. Three great performers and a laugh-a-minute script are sure to put you in the holiday spirit.

This afternoon we closed Leaving Iowa at Williamston Theatre.

I'm pleased to say that the show not only broke our previous "best selling" Box Office record, it also brought in a ton of first-time patrons to our theatre. Thanks to great reviews and great word of mouth, we're continuing to build our audience!

It's an odd thing, closing a show that you really love. You know it's time to move on, but it's hard to let it go - the familiar, the comfortable... especially if it's been well received and the company enjoys doing it as much as the audience enjoys seeing it! When it works, you fall in love with it, with all of it: the people, the routine, the story.

But, the nature of our business is transition. There's no celluloid, or digital video, to record what we've done for all time - it's here today, and literally gone tomorrow.

For instance... we've run this show for 6 weeks. At 4pm today, our theatre was the home of Leaving Iowa, and our workspace looked like this:



At 6:30 today, our theatre was home of the upcoming Every Christmas Story Ever Told!!, and our workspace looked like this:



Always changing, our workspace.

That's okay, though - because our stories are always changing too!