Thursday, November 20, 2014

Q & A with Director Scott Tramel

An Interview with Scott Tramel
By Don Redman

King Perseus XLIV Scott Tramel strikes a royal pose.
(Photo source NOLA.com | The Times-Picayune)
From an early age Scott Tramel was a fan of acting from an audience members perspective, but  it wasn't until after college that he really got involved in theater.

“I was living near Laurel, Miss. and friends asked me to try out for a play,” he recalls. “It was Mister Roberts, which is a heavy male cast, and, as with most productions at little theaters, there was a lack of men trying out -so I easily got a part.”

He acted in a couple more plays, worked as an assistant director, helped with lighting and was even elected to the theatre’s board of directors. 

A change in jobs eventually brought him brought him to the Northshore.

“I worked with Gary Darnell, who was heavily involved with SLT and who produced some dinner theater.  I did a couple of murder mysteries with him, which is where I met my wife Christine (Barnhill).  She is a huge supporter of SLT- so that makes me a huge supporter. For a couple of years I was known as Mr. Barnhill because Christine is so well known in the area.”

Scott also acted at the former Ricky Luke's Brisket and Broadway Dinner Playhouse including a role in The Bible: Complete Word of God (abridged), and as a Spanish pilot in the female version of The Odd Couple. He also volunteered at SLT as a show producer and assistant director. But most of the time, he says, he was perfectly content to limit his theater participation as an audience member.
Scott Tramel, left, with Paul Page and Rickie Luke.

At his wife’s urging, he ran for a position on the board and served as the chairman of Hospitality and later as board president. It was sometime during that time, he says, that he “began to be called Scott Tramel instead of Scott Barnhill.”

Scott agreed to take a break from rehearsals for A Good Old Fashioned Redneck Country Christmas, to tell us more about him.

Q: What was your earliest involvement in theatre?

TRAMEL: In 2nd grade there was a little presentation we did for the parents.  It was the typical thing with all of the kids standing on stage and singing. The theme was Hawaii and we sang about poi and grass shacks. Several kids had individual parts to say and I was one of them, I think because I pestered the teacher until she gave in. Well, I said my part and was so excited that I had finished it that I started applauding myself until I realized what I was doing. Quite embarrassing. 

Q: What attracted you to theatre to begin with? 

TRAMEL: By nature I am an observer and usually do everything I can to not volunteer but when there was a need for male cast members at Laurel Little Theater I joined in. I'm sure drinking was involved. My rationale was that if I was enjoying the plays then I should do my part to help out. So I got involved due to my twisted sense of community duty.

Q: What is it about theatre that holds your interest today?

TRAMEL: I like being entertained plus I'm incredibly lazy so my main interest comes from being in the audience. 

Q: What are five plays that you’ll never forget and why?

TRAMEL: I saw a production of The Bad Seed at Le Chat Noir that was mostly men in drag. They hardly changed a line but it was one of the funniest things I have ever seen. They over did all the acting and this play turned from being about a little girl that is killing people to a play about drinking and bad parenting. 

Spamalot. I am a Monty Python fan and this musical has some of their most clever and witty jokes. Christine is not a fan but it had Tim Curry in it so she agreed to go.  We both loved it. 

Peace, Love and Murder. It was a murder mystery and that was where I met my beautiful wife. I don't think it was a very well written play but it was one of those great pivotal moments of my life.

WOLF NOTE - Scott's wife Christine, far left,
in Donald G. Redman's adult comedy
Who's Afraid of Virginia's Wolf Note?
with David Jacobs, Fred Martinez and the late
Rita Stockstill O'Sullivan
Who's Afraid of Virginia's Wolf Note. This probably seems like a huge kiss up since the person asking me these questions wrote it. But this was the first play that I saw that was funny and entertaining that was written and performed by local talent. 

Wicked. I lucked into getting tickets 3rd row center on Broadway and it was impressive.  The costumes, sets and singers were incredible. That production really transformed the stage into a different world.



Q: What play do you think people should see, but probably haven’t?

TRAMEL: I guess I should say Waiting for Godot or The Birds by Aristophanes which are two very good plays but for me I think everyone should jump at the chance to see Shakespeare performed on stage. I know folks think that it is inaccessible because of the language but if it is well produced the language is part of the beauty.  If I have to pick one I would suggest Othello.  Iago is such a horrible manipulator, he lies and cheats and is so evil that you can't look away.

Tramel's humor is infectious
Q: What was the oddest play you ever saw, directed or starred in?

TRAMEL: I was in a play called Here We Sit that had one scene with a bunch of stuffed animals sitting on chairs facing the audience while classical music played. That was the whole scene.  Very strange. 
    
Q: What was the best advice you ever received about acting?


TRAMEL: Listen and react. Actors should hear the dialog like it is their first time and the reaction should be true to their character. 

Sunday, November 16, 2014

'Redneck' Director Talks Vision

“Redneck Christmas” is this is the directorial debut for Scott Tramel. He jokes that while most directors have certain qualifications such as vision and storytelling ability, it appears that his main quality was his availability.
Scott Tramel
Photo by Paul Wood Photography

Actually, his playful good-naturedness and ability to find humor in almost anything is precisely why he was the perfect candidate to direct A Good Old Fashioned Redneck Country Christmas: The Musical.  

We caught up with Scott during rehearsals for “Redneck Christmas” to learn about his vision for the show – and yes, his joking aside, he does have a vision.

Q: Tell us about your vision and inspirations for your production.

TRAMEL: I want the production to be funny, entertaining, and filled with Christmas spirit. The heart of the play is about relationships and there is a lot of humor to be had there. These characters are people we have met before and we have been in these types of situations so the play holds a mirror up to us and shows us how funny life can be. 

As I read the script I kept thinking of the sitcoms from the ’70s and ’80s. The humor comes from the situations and the characters. So I approached the directing of this as if it were a sitcom. This is one of the Christmas specials from one of those sitcoms.

Q: What are the challenges to staging this production?

TRAMEL: I really wanted a funny play and there were some areas in the script where I thought the humor could be amped up. Also, this is a musical and I have absolutely no musical ability. 

To boost the humor quotient, we put together a production staff and cast that are funny and they have responded perfectly. Everyone contributed to creating a production that draws out every bit of funny that the play has to offer.

For the music we had great people that are able to make up for me being tone deaf. We have some real talent at SLT and they helped out greatly. Also, to help make the songs more entertaining, we added dancing girls to the mix. Any song is that much better with dancing girls.

What can audience expect to see?

TRAMEL: A funny and sweet Christmas musical. In this production we really have some of the things that make community theater so great. We have experienced actors but we also have actors that have never been on stage before. We have people back stage that work hard together to bring the vision to the stage. All these folks put in long hours to make this production happen and all for the love of live theater. So expect to see a fun play brought to you by your friends at SLT.

A Good Old Fashioned Redneck Country Christmas: The Musical  is on stage at Slidell Little Theatre weekends November 28 - December 14.

Scott Tramel, center, helping with scene change.
Photo by Christie Roy

Thursday, November 13, 2014

Audition Tips for "A Midsummer Night's Dream"

Julie Generes, director of SLT’s production of William Shakespeare’s A Midsummer Night’s Dream, shares her Top 10 Audition Tips and a description of characters ahead of the upcoming auditions.


Auditions will be held on Sunday, November 30 and Monday, December 1, at 7 p.m. both nights, at Slidell Little Theatre. Auditions are open to the public and to all ages.

A rehearsal schedule will be available on the evening of auditions. Performance dates are January 16, 17, 18, 23, 24, 25, 29, 30, 31 and February 1.

Synopsis:
Lysander loves Hermia, and Hermia loves Lysander. Helena loves Demetrius; Demetrius used to love Helena but now loves Hermia. Egeus, Hermia's father, prefers Demetrius as a suitor, and enlists the aid of Theseus, the Duke of Athens, to enforce his wishes upon his daughter. According to Athenian law, Hermia is given four days to choose between Demetrius, life in a nunnery, or a death sentence. Hermia, ever defiant, chooses to escape with Lysander into the surrounding forest.  And then things get really complicated.

Top Ten Audition Tips

    1.        READ THE PLAY. If some of the Shakespeare-speak is baffling, No Fear Shakespeare online gives you modern text right next to the original text. It is MOSTLY accurate and will give you a feel for how to say the lines
    2.        Be prepared for cold readings from the script. No monologues required.
    3.        Don’t even show up to auditions if you like your Shakespeare stuffy. This is going to be fun. I mean it.
    4.        Please do not stab, gun down, or run over anyone with your car who you perceive to be your competition. I hate that.
    5.        We need lots of fairies. If you are not given a speaking role, please consider it. Fairies will be very busy in this show, If you have a young child who wishes to be a faerie,  they will not be required at all rehearsals, and will never stay late until tech week. Small children must audition, but I’m not telling ANY little kid they aren’t cast. So if they show up, they’re in. It’s up to you if you share that last bit with them.
    6.        I like to be told how pretty I am
    7.        I may ask you to stop and read something in a totally different way. This is not me messing with you. I want to see that you can take direction. I also have wacky ideas for this play
    8.        Consider smaller roles. ALL the roles in this show are fun. Even Hippolyta. Actually, especially her. Consider not just putting “Puck or nothing” on your audition sheet.
    9.        If you wear flip flops to auditions, I will make you take them off. Barefoot is preferable to that flappy noise
 10.        Dress comfortably (except for flip flops), try not to be nervous, BREATHE, come to have fun.

Midsummer Character Breakdown

Theseus - Duke of Athens. Age 20-50 Regal, full of himself

Egeus - father to Hermia. Age 35-100 Typical Dad who wants his daughter to marry who he tells her to – or die.

Lysander - in love with Hermia. age 16-30

Demetrius - in love with Hermia. Was in love with Helena, but that was like ages ago. At least a week or two. Age 16-35

Philostrate - Master of the revels to Theseus. Age -20-100

Quince, Snug, Flute, Snout, Starveling- These are the Mechanicals. Any Age. Their sole purpose in the play is to rehearse and perform a show for Theseus on his wedding night. They do this in an hysterical manner.

Bottom - Friend and fellow thespian of Quince, Snug, etc. Accepts fantasy as being just as tangible as reality. Any age

Hippolyta - Queen of the Amazons. Engaged to Theseus. Age 20-40

Hermia -daughter to Egeus, in love with Lysander. Age 16-30

Helena -in love with Demetrius. Age 16-30

Oberon- king of the fairies Age 20-100

Titania - queen of the fairies. Age 20-100

Robin Goodfellow (Puck) - Maker of mischief. Age 16-100

Peas-blossom, Cobweb, Mustard-seed - fairies with speaking roles. Will also dance. Age-10-100

Lots and lots of fairies- Boys, girls, men, women. Any age. Wear crazy costumes, irritate and entertain the audience. Throw candy, dance, acrobatics, silliness, and whatever else we think up.

The Northshore’s premier community theatre since 1963, Slidell Little Theatre is a 501 (c) 3 nonprofit, all-volunteer organization dedicated to engaging, educating, and involving members of the community in high quality theatrical productions. SLT is supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the St. Tammany Commission on Cultural Affairs.

--30--

Sunday, October 5, 2014

Director Renee Saussaye Talks ‘Move Over Mrs. Markham’


By Don Redman

Fresh from last season’s closing production of Kiss Me Kate, Renee Saussaye is back at the helm, directing an ensemble cast in the British bedroom farce, Move Over, Mrs. Markham.
Renee Saussaye

Written by John Chapman and Ray Cooney, veterans of the Whitehall Theatre in London famously known for its farces, the play is a real throwback to the golden age of bedroom farces where misunderstanding, confusion and illicit affairs abound, making for a fun evening of adult entertainment.

We caught up with Renee to learn more about what she has in store for audiences when the show opens Friday, October 10, 2014.

Tell us about your vision and inspirations for MOMM.


SAUSSAYE: Move Over, Mrs. Markham is a non-stop British bedroom farce set in the 70's.  I tried to keep true to the era with the costumes and set decoration and I hope that we successfully accomplished that.  My inspiration for the overall look of the show was the Austin Powers movies.  Oh.....and also the fact that I went to high school in the mid 70's!!
Can't have a bedroom farce without a bed! This round bed
is an important character in the comedy.

What are the challenges to staging this production?

SAUSSAYE: I believe the main challenge is to try and convince the audience that we are actually in 1970's London.  Developing a British accent for everyone is also a big challenge.  It's difficult to strike the right balance to achieve the right accent - not too much and not too little.  Also, this is a very fast-paced comedy with lots of near misses, mistaken identities, and general confusion.  Snappy and brisk delivery of lines and action is crucial to the success of this show.

Set is coming together as show nears opening night.


What the audience can expect to see?
SAUSSAYE: Comedy at its finest!!



Onstage Oct. 10 -26

Thursday, September 18, 2014

'Redneck Christmas' Director Offers Top 10 Audition Tips

Scott Tramel, the director of SLT’s December production of “A Good Old Fashioned Redneck Country Christmas: The Musical,” shares his Top 10 Audition Tips ahead of auditions on October 13 and 14, at 7 p.m. both nights, at Slidell Little Theatre.
 
A rehearsal schedule will be available on the evening of auditions. Performance dates are Nov. 28, 29, 30, Dec. 4, 5, 6, 7, 12, 13, and 14.
Synopsis:
What if the three wise men weren’t really all that wise? What if they were just three ordinary guys, avoiding conflicts at home, who happened upon the greatest story ever told?
Even though it’s Christmas Eve, Bill, Dave, and Jimmy decide to high-tail it into the mountains for a little hunting and a lot of beer. This protest does nothing to improve the mood of their women back in town. It’s gonna take a Christmas miracle to get these redneck families back together! Thank God one just came to town!
Scott Tramel goofing off.
 Top 10 Audition Tips
1.    Warm up a bit before you take the stage. You wouldn’t run a race without stretching out first so stretch out your vocal muscles and get yourself in the proper mind set. Sing a little, repeat some tongue twisters, and get ready to use your inner comic.
2.    Be bold. If you think you shouldn’t say something then that is exactly what you should be saying.  We need improv input to get the most out of our script.  Now is the chance to show us what you are capable of bringing so bring it!
3.    Ask questions. Feel free to ask the production crew anything about the script or characters.  Ask whatever you need to form an idea of how you want to play a character.
4.    Make eye contact and don’t hide your face.  It doesn’t matter if you stubble over a line or two during a cold read.  We want to see you interact with your other actors so you need to make eye contact.  Also, don’t hold the script over your face, drop it and do the best you can. We don’t expect you to have the words down pat at the audition.
5.    Focus. When you are on stage listen to the other actors and respond. You need to focus on what is going on so that you can have a come-back line.  Don’t be caught like a deer in the headlights because you were not paying attention.
6.    Quiet please. Please show respect to your fellow actors and keep it down when you are not on the stage.
7.    Don’t be set in your ways. Be ready to follow suggestions and make changes to how you are interpreting a character.
8.    Read the script like the character.  Don’t worry so much about getting out every word exactly as it is written.  Get into character and say the words as you think they would say them.  You could speak every word on the script but have a bad audition because you didn’t convey the character.
9.    Check out the rehearsal calendar.  Please let us know of any conflicts so that we can work around them.  We have a very limited time for stage time so we need to be as productive as possible.
10. Have fun.  No one is going to be killed and eaten.  This is your chance to show your comic chops and have a laugh.  If someone is funny on stage then by all means LAUGH. 
Characters
Lou (Louise) Wexler: Owner of the diner and wife to Bill. Intelligent and in charge. Full of home grown wisdom and always ready to share it. Only empty space in her energetic life is the lack of children.
Bill Wexler: Lou 's husband. Retired Marine Has the air of an ex - military man  and loves the outdoors.  He seems to understand women more than the other men but his knowledge is somewhat limited.
Dave Fox: Husband of Barbie John and father of two. Loves a good joke and his family. He does have a tough time with his mother in law and chooses avoidance as the best way to deal with her.
Barbie John Fox: wife of Dave and mother of two. Works at the diner. She is caught in the middle between Dave arnd her mother. She is a bit frazzled and tries hard to please everyone but is failing.
Jimmy Weaver: Co sides himself a ladies man but isn't the brightest bulb in the box. Loves the outdoors.  He is dating Darlene but doesn't consider it serious yet. His family owns a pig farm.
Darlene Fulmer: sweet beautiful and has a huge heart. Not very bright  She wants to take her relationship with Jimmy to the alter. Works at the diner and loves everything to do with Christmas.
Bob/Narrator: Truck driver that has gotten stuck in town during Christmas.  He is a philosopher and educated.  He isn't happy with being stuck but likes the story that is unfolding in front of him.
Mary Sue Archer: Single girl who has no one in the world and carries everything she owns on her back. She is pregnant but does believe that there is goodness in people. Tends to blend in to the background.
Mark Riley: Son of the local doctor and is following in his footsteps.  He is bright but a bit nerdy. Not overly comfortable in social situations.  He has a secret crush on Darlene but would never act on it.
Three Chorus Girls: They will sing backup and dancing. Several costume changes to fit with the song.
Charlie Reynolds: Cameo character that we will fill in with someone.
 
Scripts can be found here.

Friday, August 22, 2014

Costuming: Dressing the Characters of Anatevka

By Molly Roy

Theater has delighted audiences since the times of Ancient Greece. Of all the elements that catch our imaginations--the sounds, the stories, the songs--one of the most important has always been the visual element. From the way the actors move to the expressions on their faces, from the set designs to the clothes they wear, the visual elements bring aspects of theater to life in a way no other element can match.

One of the most important features of the visual element is costumes. Four types of costumes are used for theatrical performances: modern, dance, historical, and fantastical. For Fiddler on the Roof, the costumes are historical. For help, director Paula Thompson turned to Sally Ann Buras to design costumes suited for commoners and Orthodox Jews in early 20th Century tsarist Russia.
“In general, the costume along with the stage sets, convey the mood of the play,” says Sally Ann. “Dark costumes may equate to ‘doom and gloom’ or poverty.  Lighter costumes: joy and frivolity. The costumes are the catalyst by which the playwright helps create the message of the play.”   

Sally Ann grew up in a family where playing dress up and costuming for Mardi Gras was a way of life.

"I was the only girl," she says, "so that was my identity, to be feminine."

She took ballet at a young age, and began costuming for herself when she was a teenager. After she was married and had children, her daughter also took ballet and musical theatre. As always with the arts, her daughter's troupes needed someone to make costumes.

This was the beginning of Sally Ann's life as a costumer.



David Jacobs as Tevye wears the tallit katan (“small tallit”),
a fringed garment worn by Jewish males.
Special twined and knotted fringes known
as tzitzit are attached to its four corners.
(Photo by Valerie Morgan)
As a show’s costumer, the first thing that Sally Ann does is familiarize herself with the script. Once she has done this, she uses the reference material she owns as well as the Internet to research the time period and fashion trends of the play's setting. Set in a small Jewish village in Eastern Europe, Fiddler on the Roof required clothing of tsarist-ruled Ukraine, especially Orthodox Jews of the period.

The attention to detail is an important aspect of costume designers, she says. “The purpose of the costumes is to sublimely set the mood to the time period, social and economic situation and the culture of the people in the play. When you look at Fiddler, for instance, you see a poor, pastoral community, committed to their faith and family.”

Once Sally Ann has a good idea of the styles she wants to design, she checks the theatre's costume shed for any available costumes. To personalize the play and to better help the actors understand their characters, Sally Ann sends the actors to check their own closets and local thrift stores in search of clothing or articles that will fit the play. The cast then brings in their findings and supplements them with pieces from the costume shed or from other costumers. Sally Ann refits any article of clothing as needed; the time it takes to sew a costume depends on the piece. A period piece, for instance an antebellum dress, could take up to six hours to complete. She also ensures that the clothing chosen by the actors fits their interpretation of their characters' personalities.

For Fiddler on the Roof, Sally Ann will use traditional Jewish prayer shawls (tzitzits) to costume the cast, as well as kippot (or yarmulkes), brimless skullcaps that the Jewish men wear.

“The biggest challenge in Fiddler is the prayer shawls for the men,” she says. “The kind worn then is not the present day tallis, consequently, I will make them. The other is the formal ceremonial coat to wear at the wedding. And men's hats are always a challenge. Fiddler is such a popular play that you can find several varieties to choose from.  Cost is another concern but we have found some economically priced ones. Hopefully they will fit, if not, plan B - modify!”

Regardless the show she’s costuming for, Sally Ann encourages the actors to embrace their character and look at clothing items in an imaginative way. One tip she gives to actors on the lookout for their own costumes is to look at the garment with a fresh eye. She suggests that rather than simply seeing a shirt, the actors "envision what it could become." For instance, '70s clothes can become Victorian attire. A long skirt can be made into an elegant gown.

As famed costumer Edith Head explained: “What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not….”

And so it is Sally Ann’s task to transform local actors in the 21st Century into early 20th Century Orthodox Jews eking out a living in rural Ukraine.



Yente, the local matchmaker (Carla Costanza, left) 
plots with Golde (Sara Pagones) to marry off one of her daughters.


Dana Anderson and Michael Willman model their wardrobe
in the early stages of costuming.

(Photo credit: Don Redman)


Tevye’s Daughters played by (from left) Martha Braud, Alex Barron, Hannah Jennings, Jamie Skiles and Georgia Peck (Photo: Valerie Morgan)



Thursday, August 21, 2014

Set Design - Building the Set for 'Fiddler on the Roof'

By Kim Hickey 




It starts with an empty stage. 

Much like a painter starts with a blank canvas or a composer begins from the new page of staff paper, the set design starts with the similarly blank canvas of an empty stage. 

Undeniably, an artist needs the canvas to put forth their artistic endeavors.  Likewise, most music is committed to paper from which to be performed.  Does it follow that a set is necessary for a play?  After all, one could argue that the necessary ingredients are a script and an actor. 

But, imagine for a moment, going to see a play with nothing but a blank stage and a couple of actors.  This might work for some productions – Waiting for Godot and other more intimate shows.  But would this always be the case?

The set, as well as costumes and make up, add to suspension of disbelief.  Imagine seeing Romeo and Juliet without the balcony; Othello without the bedroom; Cats without the junkyard; Phantom without the underground lair and the opera house; or Les Mis without the barricade.  The list goes on and on. 

Now most of those examples are musicals.  And I will admit that most of my theatre-going experiences have been musicals.  While there is something surreal and sublime about going to a darkened theatre to watch actors on a stage perform a beloved play before a crowd of a hundred or a thousand, a musical is that much more.  After all, the actors occasionally burst into song and dance.  This is not normal behavior (for many people).  Therefore, the suspension of disbelief must be greater than for your average play.  For that to happen, to my mind, it's all about the details. 

A well-thought out production, including a detailed set design, authentic costumes, fantastic make up that projects to the back of the theatre, great light design that enhances the production's high notes and subtler moments, sound design that supports the vocals, a great orchestra that is led by a sensitive music director - all of these things, plus of course the actors and director - make suspension of disbelief possible.  But the backbone of the production, the place where it all happens is, of course, the stage.  What do we do with the stage?

There are essentially two options at this point – the director can choose to go with a pre-designed kit or can have a set designer create a new plan for their production. For Slidell Little Theatre’s 2014-2015 season, the opening show is Fiddler on the Roof.  Director Paula Thompson has gone with a kit for her production. 

A kit designed specifically for "Fiddler on the Roof"
contained a series of blueprints for the entire set.
On a traditional show like Fiddler, using a kit lends authenticity to the production as well as saving time in pre-production.  There are also cost considerations as well.  While there are costs involved in purchasing the blue prints to a pre-designed kit, these are generally less than hiring a set designer to create an entirely new design for the production.  And again, with a traditional show such as Fiddler, there is a certain expectation of what the show will look like, so using a "tried and true" version of the set is by no means a compromise.

Fiddler on the Roof chronicles the lives of a Jewish family in Russia in the early years of the twentieth century.  Therefore, the buildings and set pieces reflect this time and place.  There are rough wooden buildings, as well as the furnishings common to the time - important among these are the table for Shabat dinner and Tevye's milk cart. 

The interior of a home in the fictional Anatevka
Photo By Kim Hickey 
Building the set is not the end.  Once the pieces are put together and painted, they must be decorated - props placed to add dimension and detail.  Many of these are small things that the audience may not directly notice, but would notice them for their absence:  plates and cups, a curtain over a window, chairs and stools, candlesticks.  All the items of everyday life, or at least, the everyday life of the characters whose life we are watching for a few hours.

Fred Martinez, board member for SLT, is in charge of the set for Fiddler.  For the last several weekends, Fred and his gang of volunteers have been busy at the theatre, marking, measuring, cutting, nailing and painting the set pieces to help bring life to the opening production of this year's season.  
Dana Anderson (above) transfers the blueprints drawings for a wagon onto
a sheet of plywood divided into a series of grids. Ken Thompson, below,
uses a jigsaw to cut out the wheels to Tevye's cart used in the play.
Photos by Kim Hickey
Cut out wagon pieces await assembly.
Fred, like all the people under his charge and all the people involved with this production, is volunteering his time to the cause of bringing live theatre to Slidell. That is the unique experience that is community theatre – volunteers from all walks of life uniting together to build sets, design costumes, direct, choreograph and of course, act. Since 1963, Slidell Little Theatre (SLT) has been bringing together the entire community for unforgettable performances filled with music, drama and laughter.
“SLT provides an environment that fosters appreciation of and participation in theater for all ages and levels of experience,” says Charlie Barron, PhD – oceanographer and local actor who is appear in "Fiddler" with his daughter Alex. “The shared memories among friends and between parents and kids will last a lifetime.”


It Takes a Village to Build a Village

A salute to some of our many volunteers who helped with set construction


Mike White and Kathy Dalcarpio work on making risers for set pieces.
Blaze D'Amico, a volunteer from Hammond, spent a day painting set pieces.

Charlie Barron adds extra safety features to a rolling staircase.
Jeremy Himel steadies the ladder while Mitch Stubs adds roof tiles. Kathy Delcarpio continues painting other set pieces.


Find out more about Kim Hickey here.