Blog Archives
Spotlight On The Board: The Underpants
Welcome to The Underpants, a hilarious comedy by Steve Martin based on Die Hose, German play written in 1910 by Carl Sternheim. The play begins with a most unfortunate wardrobe malfunction that briefly leaves a young woman caught with her pants down, both literally and figuratively. Everyone involved in the incident, including her husband, gets their knickers in a knot as they try to iron out the wrinkles this delicate situation has caused. What’s revealed is an intimate piece of comedic schadenfreude that is sure to charm your pants off.
What I love about Waukesha Civic Theatre is the many opportunities available to get involved. In my tenure here at WCT, I have been an actor, costume assistant, stage crew, production director, and Board Director. This spring, I will take on a new role as Props Designer for The Giver (May 2-19, 2019).
This particular production of The Underpants continues the tradition of providing opportunities for participants to try some new skills. WCT audiences are used to seeing Gwen Ter Haar and Phil Stepanski playing various characters on stage. This time, they have taken on new challenges as Costume Designer and Director, respectively.
If you’ve ever thought about volunteering at Waukesha Civic Theatre, please consider joining our team where you can share your talents or discover new ones!
Thank you for choosing to spend your time at Waukesha Civic Theatre and enjoy the show!
Peter Kao
Secretary
Board of Directors
MAD Corner: Billy Elliot The Musical
WCT is both proud and delighted to present Billy Elliot The Musical. Inspired by and based on the powerful movie from 2000, with additional music by Sir Elton John, this incredible musical tells the story of Billy, a boy torn between his unexpected love of dance and the disintegration of his family. Guided by Mark E. Schuster, one of WCT’s premier directors, and featuring a talented cast of actors from our community, I am confident that our production will astound everyone who sees it.
I would like to thank everyone that supports WCT! We wouldn’t be here without you. All of our volunteers help us out in any number of ways by acting, ushering, serving on the board of directors, providing maintenance or office support, or working on sets, costumes, props. Our patrons come to WCT see quality live entertainment, the fruits of our volunteers’ labor. Our donors help keep us financially sound by their gifts to the Annual Operating Fund, the Endowment Fund, or by including us in their planned giving.
The generosity of the Waukesha community astounds me, and I truly appreciate all the time, talent, and money that you give to WCT.
One way, and arguably the best way, to support WCT is to spread the word about Waukesha’s best kept secret. It always amazes me when I meet someone in Waukesha who has no idea what a fantastic organization we have right here in the heart of the community. Tell people about what we do and all we offer.
Enrich. Challenge. Entertain. That says it all, so keep watching, keep participating with, and keep supporting this cultural cornerstone. We couldn’t do it without you.
John Cramer
Managing Artistic Director
Theatre Vocabulary
Theatre, like any other business, is full of jargon. If you’re onstage for the first time, will you know what to do when a director tells you to cheat out? Why is everyone talking about strike? Who is a choreographer and what do they do?
WCT has put together this handy list of theatre terms to help you out anywhere you might be, from the front of house to the green room.
ACTING
ARTICULATION: The clarity with which a person speaks. To speak with proper articulation is to speak clearly, pronouncing letters and words properly so the audience can understand.
BLOCKING: The actors’ movement and stage positions during a performance.
CHEAT OUT: When an actor turns his body so the audience has a better view. Two actors cheating out would not face each other directly, but turn enough so that the audience sees their faces and bodies instead of just their profiles.
CROSS: A move from one part of the stage to another.
CUE: For actors, the part of a script or show immediately before an actor’s line or action that signals the actor to proceed (i.e. entering, saying a line, answering the door, etc.)
CURTAIN CALL: The cast bow at the end of a show.
DICTION: The quality or style of speaking an actor uses to demonstrate his character. It includes elements such as accent, enunciation, and inflection.
IMPROVISATION: Acting done spontaneously and without a script; everything is made up on the spot. Often used in rehearsals to strengthen understanding of character.
PACING: The rate at which a scene is played.
PROJECTION: The volume at which you speak. If a director tells an actor to project, that actor is not being loud enough vocally to fill the space.
TECHNICAL THEATRE
COSTUME: The clothing worn by characters on stage.
CUE: In technical terms, the prompt (be it a line or an event) for an action to be carried out at a specific time. Lighting and sound cues are called for by the stage manager, following along in the script with the events of the show.
DESIGN: The plan or convention for the construction or creation of an element of a play. Sets, lighting, sound, costume, plots, and make-up all require designs.
LIGHTING: The deliberate use of light to illuminate the stage or convey a location or emotion.
PLOT: In technical terms, the plot refers to the design of the lights. The lighting plot maps out the color, location, brightness, and shift between lighting cues.
PROPS/PROPERTIES: The objects actors interact with onstage. Items such as books, knives, and parasols are props.
SOUND: The deliberate use of auditory effects, music, and voice to enhance the story told onstage.
STRIKE: At the end of the run of a show, when the set and all other technical aspects are taken apart, clearing the stage for the next show. Strike generally occurs immediately after the close of the last performance.
THEATRE PEOPLE
ACTOR: The person who portrays a character in a play.
CAST: The group of actors who play all the characters in a show.
CHOREOGRAPHER: The person who designs and teaches the dancing and other specialized movement such as stage combat.
DESIGNER: The person or persons responsible for devising and creating technicals aspect of the show such as lighting, sound, costume, make-up, or props.
DIRECTOR: The individual who oversees the mounting of a stage play. He or she is in charge of all designers, bringing everything together to a cohesive whole. He or she also oversees the actors and all action onstage.
DRAMATURG: This person deals mainly with research and development for plays and operas. He or she primarily deals with the historical and cultural aspects of the play.
HOUSE MANAGER: The person in charge of the front of house, including ushers, concessions, playbill distribution, etc.
PLAYWRIGHT: A person who writes plays.
STAGE/RUN CREW: The people behind the scenes who keep the play running. They change scenery, control the elements that fly on and off the stage, help actors with quick changes, and more.
STAGE MANAGER: This person has the overall responsibility of making a show run smoothly. He or she is in charge of all of the stage crew and technicians once the show begins, calling cues and overseeing scenery changes, etc. During rehearsals, the stage manager often acts as a prompter, keeping track of the script for the director and actors.
STAGE DIRECTIONS
CENTER / CENTER STAGE: The center position of the stage. Generally considered the most “powerful” position on the stage.
DOWNSTAGE: The section of stage nearest to the audience.
DOWN LEFT: The front left of the stage, when facing the audience.
DOWN RIGHT: The front right of the stage, when facing the audience. After center stage, this is generally considered the second-most powerful section of the stage as it’s the first place audiences trained to read from left-to-right usually look.
STAGE RIGHT: The section of stage to the actor’s right as he faces the audience.
STAGE LEFT: The section of stage to the left of an actor as he faces the audience.
UPSTAGE: The section of stage furthest from the audience.
UP LEFT: The back left section of the stage, when facing the audience. Generally considered the ‘weakest’ position on stage as it is the last place the audience is likely to look.
UP RIGHT: The back right section of the stage, when facing the audience.
THEATRE BUILDING
BACKSTAGE: The wings, or the parts of the stage off left and off right, unseen by the audience.
BOX OFFICE: The place where tickets are sold.
CONTROL BOOTH: Often in the back of the theatre behind the audience, this is the room where lights and sound are controlled.
COSTUME SHOP: The room where costumes are designed, built, altered, and mended.
DRESSING ROOMS: The rooms where the actors get into their costumes and make-up.
GREEN ROOM: A room backstage for actors to gather, relax, and prepare before or during a show.
HOUSE: The place where the audience sits to watch the performance. A “full house” means every seat for that performance is sold.
LOBBY: An entrance hall or area outside the theatre and house where audiences can wait before a show begins or during intermission.
MAINSTAGE: Usually the largest performance space in a venue and the place where bigger productions are staged.
SCENE SHOP: The place where play sets, scenery, and props are built and prepared for a show.
STUDIO THEATRE: A smaller performance space, often used for experimental productions.
Director’s Note & MAD Corner: Annie Get Your Gun
My very first community theatre show was Annie Get Your Gun in 1976 when I was 13 years old, and now I am directing it in 2016 for the community theatre that I have been leading for 13 years. Talk about full circle! I know I say it about every musical I direct, but this really is one of my favorite shows, if not my all-time favorite! In addition to being my first community theatre show, it was one of the first shows that I directed when I was fresh out of college in 1986, and my wife played Annie in Drury Lane Oakbrook’s production in 1996, winning a Joseph Jefferson Award for her performance. Kelli and I performed “Anything You Can Do” at the WCT Gala in 2006, and now our daughter is playing Annie in 2016 – one more full circle moment? Maybe. Maybe.
Based on the amazing and inspirational true story of Annie Oakley, Frank Butler, Colonel William F. Cody, Sitting Bull, and Major Gordon W. Lillie, and featuring one of the best musical scores ever written by one of the greatest American composers, it truly is a masterpiece. I’m a history buff, and I thoroughly research every show I direct. As I reacquainted myself with Annie’s story, I fell in love with her all over again. She was an amazing woman, and way ahead of her time.
The creators of the show did take quite a few liberties with the facts … this is afterall musical comedy! The show takes place over a span of ten months, and a lot of the story is based on actual facts, but the truth is that most of what you see in the show actually took place over a span of decades. Annie and Frank didn’t actually meet Buffalo Bill until 1885, ten years after they met in 1875. When they met each other Bill was 29, Sitting Bull was 44, and Pawnee Bill was 15. In 1885 when Annie and Frank joined Buffalo Bill’s show Annie was 25, Frank was 38, Buffalo Bill was 39, Sitting Bull was 54, and Pawnee Bill was 25. When Buffalo Bill and Pawnee Bill merged their shows Buffalo Bill was 62 and Pawnee Bill was 48. Annie and Frank were no longer with Buffalo Bill’s show, having left it seven years earlier. In the program I’ve included a timeline of some prominent moments in her lifetime.
I can’t thank the cast, crew, and staff enough for all of their hard work, focus, patience, creativity, and humor. We have had a marvelous time putting this incredible show together and I hope each and every one of you enjoys it as much as we have.
Our Spotlight On The Future is still active, and still needs your help! So far we have raised 45% of our $750,000 goal and have already put these donations to good use, implementing upgrades that enhance the theatre experience, increasing advertising revenue, decreasing operating expenses, and providing for building maintenance. Current improvements include a new HVAC unit, our new lighting catwalk, our new retractable movie screen and projector, a new sound board for the Mainstage, and new sound and lighting equipment for the Studio Theatre and Rehearsal Hall. We still need your help. If you haven’t given to the Spotlight On The Future campaign yet, please consider a gift! If you have already given, thank you, and please consider an additional gift to help us reach our goal.
The generosity of the Waukesha community astounds me, and I truly appreciate all the time, talent, and treasure that you give to WCT. Keep watching, keep participating with, and keep supporting this cultural cornerstone!
Director / Choreographer
Managing Artistic Director