Summer is a wonderful time for children to relax, enjoy many leisure activities, vacation and just have fun.  What about trying something new or being a little creative with your summer time?  This is exactly what the Clear Space Theatre Summer Intensives are all about.  Five weeks of creativity and fun.  Explore the inner-workings of the world of musical theatre and acting through five fabulous shows. 

Each week, students learn the techniques behind acting which help them bring a character to life on stage.  What they don’t realize is that at the same time, they are learning life skills that will go beyond their week(s) at Clear Space.  The confidence to speak in front of others, the self-esteem to be themselves and the ability to work together with others as an ensemble, will all come in handy as they continue their education and eventually head into the working world in their future.

Our students learn and perform a scaled down version of a famous Broadway musical or play in one week—hence the ‘intensive’ part. The complete immersion in musical theatre is designed to show students what life is really like behind the scenes of a professional production. 

This summer, the students will bring to life CINDERELLA for 1^st – 3^rd grades.  First graders must be able to read at a second grade reading level.  Then, journey along to MARY POPPINS for the 4^th – 6^th graders.  Take a week to join in the ADVENTURES OF SINBAD for all ages with a focus specifically on acting only.  For the 7^th – 12^th grade crowd, say HELLO, DOLLY! We then have a “by recommendation” only week for those students who have a more serious desire to learn about the performing arts.  This is open to all ages with a recommendation letter from a vocal, acting or dance instructor showing their already strong interest in the performing arts.

It is always such a delight to see the students begin the week with a sense of question and uncertainty; yet, when they step on the stage Friday at the end of the week to perform, they have a strong sense of self-confidence and joy when they’re showing the audience all of their hard work from the summer intensive.

REGISTER NOW – spaces are filling very quickly.  Clear Space’s summer intensives have sold out every year since they began in 2004.

Go to www.ClearSpaceTheatre.org, click on Education and then Musical Theatre Summer Intensive.  The registration form is located on the right hand side of the page.  You can click, download, print and mail in with the $275 tuition payments.  SCHOLARSHIPS are available for anyone who would like to attend.  This form is also located on the same webpage.  If you have any further questions, please contact Jennifer Hayward, Managing Director at 302.227.2270.

Being a front-of-house volunteer is a rewarding opportunity for me. It’s an ideal way, even after years of participation, to connect with community and support the arts. The work involves assisting staff and patrons in whatever way needed at the time, without actually getting IN the way (hopefully). 

I’ve been fortunate to work all of the positions, i.e., greeter, usher, box office assistant, and bartender (thankfully, not all at once).  Prior to show time, I stock the bar, collate programs and escort early arrivals to an outdoor bench in good weather or to a seat in the office corridor. After the technical director completes light and sound checks, usually one-half hour prior to show time, I begin to usher ticket holders to their seats and distribute programs.

Answering visitors’ questions is quite gratifying, too.  Here are a few typical Q&A’s: 

Q: If I buy a season ticket, can you guarantee me a good seat?
A: Yes! There are no bad seats. Now that we have a thrust stage, you’ll have a great seat.”

Q: Do you get to keep the tips at the bar?
A: No - all tips are donated back to the company to supplement sales.

Q: Can I go backstage and talk with the actors?
A: No, but feel free to say hello to them after the show after they exit from the “alley” door. (We have got to find a name for that alley!)

Summer theatre has a special vibe (though shows run all year long) and is a great time to be here in any capacity. The place buzzes with vacationing families. Walk-ins might arrive at the last minute to find ticket availability. I’ve recognized recent theatre-goers returning with a newcomer to very proudly show off what they have recently experienced. How could I NOT volunteer here?

The wall at the theater entrance (which I lovingly refer to as the “wall of fame”) holds photos of performers for each show. Intermission is an ideal time for chatting with audience members who are relating an actor’s picture to a character they’ve just seen on stage. Their remarks are insightful, and I invite them to share them on a comment card right there in the lobby, while enjoying a refreshing drink from the bar. 

As a volunteer, I am offered one complimentary ticket for each show worked so that I may return at a future date without distraction from on-deck-duty. Making friends with Clear Space staff and volunteers is another perk, as is greeting a return patron or two. The smiles I get when greeting them by name are delightful. Imagine how I feel when some of them remember me! Finally, I am always rewarded afterwards with hearty “thanks” or “great show” from visitors. I expect to be at many more performances and hope to welcome you there soon. 

Hello, my name is Gladys, and you are…? Enjoy the show and please tell all your friends! 

I manage the Encore Thrift Shop, which is a non-profit organization whose business completely benefits Clear Space Theatre Company.  I have been with Encore two and a half years and made many changes from the original operation of the store.  To date, Encore has provided a good deal of financial support for Clear Space, as well as finding costume, prop and furniture needs for productions.

             We at Encore recognize customer needs and wants and we strive to find ways to supply those products; this means repurposing, refinishing, or repairing items that are known commodities.  For example, if a piece of brown furniture comes in, it most likely will not sell.  If that same item is freshened up with paint and a treatment, repurposed for another use, or decorated to meet today’s decoration standards, it will sell - most often within hours of being returned to the floor.

            Customer service is a priority at Encore.  The staff keeps track of customer requests and contacts those people first when an item meeting their requirement is donated. Furthermore, we know many of our regular customers and are able to point them to items they like or are able to keep them posted on when items may arrive.

            A popular attraction is closeout jewelry from major department stores and boutiques.  Customers can purchase quality costume and sterling jewelry at up to 80% off department store prices.  Our jewelry is great for gifts as well updating personal wardrobes.  This keeps me busy finding more deals on a monthly basis.  Another hot item last year was sunglasses from major department stores with values of up to $29 that we were able to offer for $5 and sold out by September.

            Keeping the store clutter free and clean as well as providing daily refreshments helps to maintain a shopper friendly atmosphere where the customer can enjoy shopping.  The volunteer staff greets all customers with a smile and with an offer of the daily sale items.  The store has been completely reorganized this year for a better flow and better appearance of merchandise.  New glass shelving and fresh paint have created a brand new look for our space.

            Our customers are very complimentary of Encore’s offerings and frequently refer to us as the “Thrift Boutique.” If you have not visited Encore, you are missing a great opportunity for great shopping values!   

“So, where are you from?”

An innocuous question. An icebreaker. A weekend standard. In this town, it usually garners the response of Philly/D.C./New York/I’m a local. However, my answer is a little different.

“I’m from Dayton, Ohio originally, but I live here now.”

-Slight pause.-

“Wow. How did a boy from the Midwest end up out here?”

The story of Chris in Rehoboth began one year ago in January. I was finishing up at the University of Dayton when I received an email from Lori, a staff member in the theatre department. She had sent me a link to the Clear Space website with information about auditioning for “Chicago.” She told me how she had spent her summers growing up in Rehoboth and how much of a positive impression it had on her. So, while visiting my brother in New York, I drove down on a whim and auditioned. I was cast, and when the summer rolled around, I found myself immersed in the Rehoboth lifestyle. I didn’t take long to realize that I was completely in love with the town. The people, the sights, the sounds—it was delicious, and I was hooked.

But unfortunately, all good things must come to an end, and when August came, it was time for me to return to Dayton. I was going back to dance with the Gem City Ballet, a pre-professional company in my hometown, and their season was just beginning. While I was very excited to start performing with the ballet, it was a deeply saddening experience to leave behind everyone I had come to know and love during those sunny months at the beach.

            Immediately upon my return, I was thrust into a rigorous schedule of ballet classes and rehearsals six days a week. I practically lived at the studio, and I was met with many unique and fun performance opportunities. I had the chance to dance incredibly classic roles, like the Snow King in The Nutcracker and Hilarion in Giselle. I also danced in several shorter works in repertory performances by area choreographers. Under the guidance of Barbara Pontecorvo, the executive director, my skills grew tremendously. I loved the work that I was doing, but another opportunity soon presented itself.

            Around the holidays, I received an email inquiring if I would be interested in returning for Clear Space’s 2012 season. Of course, the offer was tantalizing. In the weeks that followed, we hammered out the details, made final plans and I accepted a position with the theatre. I was sad to leave the ballet, but the opportunity to gain professional credits in a town I loved wasn’t something I could pass up!

            The day finally came for me to leave Ohio for good. It was strange to leave the place where I had been born and raised. I had many mixed feelings. The thought of leaving what I had known to be home with no plan to return was thrilling, terrifying, exhilarating, and everything in between.  But I knew one thing for sure: I was ready. I packed my life into boxes, said heartfelt goodbyes to my friends, hopped in my car, and headed east. I have yet to look back.

            As I rolled down Highway 1 into town, I was met with a rush of excitement—relief that I had made it. I was finally out on my own! Luckily, Rehoboth is an easy town to return to. It retains that certain “je ne sais quoi,” an allure that draws us all back to its sandy shores.  Now that I’m back and settled, working for the wonderful people at Clear Space Theatre Company, I can only say one thing: It feels so good to be home.

Ever wonder what it would be like to have multiple personalities? I’m pretty sure I have first-hand experience with it this season. Since we began rehearsals for “Broadway Rhythms” this past August while we were still performing our first summer repertory season, I have not been without at least one script or musical score in my hands while in performance for a completely different show.

Such is the life of an Acting Company member at Clear Space.  This group of local performers was officially assembled in the beginning of 2011. Actors who had performed frequently with the company over the previous years were invited to join the first official Clear Space Acting Company – a group that had been informally created by their numerous appearances on the stage and unparalleled talent. I count myself lucky to be a part of this ensemble and to perform as often as I do.

With that said, there are a whole lot of words, music, and characters swimming about in my head at the moment. This season, I have gone from performing in “100 Years of Broadway” and “Chicago” while rehearsing “Broadway Rhythms”:

To performing “Broadway Rhythms” while rehearsing for “Scrooge!” – and even a “Broadway Rhythms” performance at the Schwartz Center in Dover the week before “Scrooge!” opened:

To performing “Scrooge!” while attempting to memorize the extreme wordiness of “Blithe Spirit”:

As it stands, this week looks to be my toughest yet. Having just opened “Blithe Spirit” this weekend, I have my first rehearsal for “My Fair Lady” this afternoon, followed by a “Blithe Spirit” matinee tomorrow and “My Fair Lady” rehearsal tomorrow evening, as well as “Blithe Spirit” performances the rest of the weekend. Oy – my head hurts.

Not only do I have my own personal crazy thoughts milling around upstairs, but I’ve now got two British gentlemen with distinct personalities dueling in my head as well. This is the first real struggle with creating two distinct characters for me, and the time frame in which to do it makes it all the more urgent. As an actor in a repertory company, I have a responsibility to give distinctive, authentic performances in each production – not a carbon copy or lame adaptation of something hundreds of patrons have just seen me do less than a month before. It’s no easy feat.

I’m sure my fellow Acting Company members share in my exhaustion and joy – more so the latter than the former. Yes, I’m looking at you, David Button and Dana Peragallo. As tired and haggard as we may look the next time you see us, trust that the moment we step on stage, whether in rehearsal or performance, all of that goes away. The thrill of live theatre and the constant reminder that I get to do what I love for a living wipe away the bags under my eyes and the mornings I would rather stay in bed. Well, that – and a few cups of coffee. 

Picture this: 1937, an English country house, Tommy Dorsey on the phonograph, your hand still chilled from shaking that dry martini. Simply lovely. But what the in the world are you wearing? Perhaps a beaded chiffon creation, or that go-to black velvet frock you’ve had since the fall of ‘35. These are the questions I have the pleasure of answering daily.

When approaching a piece like “Blithe Spirit,” my goal is to make people look like real people, not a bunch of actors in 2012 dressing up in costumes. I have a near obsession with all things vintage and old, especially the time period in which we have decided to set “Blithe Spirit.” While it originally opened in London’s West end in 1941 at the height of the Blitz, “Blithe Spirit” calls back that pre-war ease and glamour, something I especially wanted to convey in the design of the show. 

To create “clothing” rather than “costumes” of the time, I always begin by looking at original fashion images and sewing patterns from the period.  This is easy with 20^th century shows because many companies now produce exact reproductions of sewing patterns from these time periods. I then look at what we currently have in our costume stock and to various sources like Ebay, Etsy, and online vintage shops for ready-made clothing that fits with the concept of the show. Pulling, purchasing, and ultimately creating new garments to fill in the gaps.

Original fashion images used as inspiration for Elvira (left) and Ruth (right).

Specifically with “Blithe Spirit,” we have created and produced many of the dresses for the show in our costume shop.  We have used reproduction patterns from 1932-1937, modern fabrics of the same type and weight the dresses would have been made from, and a few lucky finds of unused fabric from the time.  This may be where I sound a bit crazy, but there is something magical about taking a piece of 80 year old fabric and creating a garment from an 80 year old pattern. They were meant to go together; we just had to do it. 

Looking at designs from other productions of “Blithe Spirit,” the ghosts always seem to be done in a gray scale with washed out hair and make-up.  From the start, director Jeff Haslow and I wanted to go in a different direction.  Looking at original evening gowns from the 1930’s, a clear color pattern formed. Countless examples of scarlet and sapphire dresses turned up.  This became the color story for the design of the production, with Elvira taking the scarlet “hot” tones and Ruth taking the sapphire “cool” tones. From here, I began to incorporate the blue throughout Ruth’s living dresses and intensifying the palette after her death. Husband Charles remains neutral throughout with hints of his wives popping up through a carnation buttonhole, a sweater vest, a tie, etc.  Madam Arcati, the eccentric psychic, takes a coppery natural palate with accessories rooted in nature and eccentric details such as Victorian jewelry, a turban, and an oversized carpet bag.

Elvira (left) and Ruth (right). Ruth’s blouse is one of the garments constructed in the costume shop with original fabric from the time period.

The back of Elvira’s dress (left), with an original buckle from the 1930’s. 

Overall, as with any design, we aim to have all of the pieces come together in a pleasing cohesive picture, with the details connecting the actors and furthering the characters’ impact on stage.  When you see “Blithe Spirit,” which opens February 3, witness how these minute details in design, color and construction come together to aid the actors in their craft and support the intentions of the playwright.

We all know the three R’s – Reading, wRiting and aRithmetic.  However, before a student jumps into those, we should focus on the three C’s.  After all, C comes before R in the alphabet, so it just makes sense.  What am I talking about?  Creativity, Confidence and Completion.  A student who has the opportunity to experience the 3 C’s will be able to take on the 3 R’s with a new perspective and establish a foundation for the rest of their life that will allow them the strength to try and Conquer the world.  Yet, another C!  (And the best part, it doesn’t matter what age the student).

Creativity allows one’s mind an escape outlet, a place to freely be oneself and explore where it takes you.  Add movement to the mix and amazing things happen.  The idea that you can move your body through open space to create a story or leave your body still in one place to punctuate that story is incredible. 

My first opportunity to experience this was on the ice.  The ice rink was my stage and the thought that I could glide across the ice seamlessly and feel like I was floating on a pond or flying in the clouds as a child couldn’t have been more exhilarating.  Of course, the thrill of speeding by and coming to an abrupt stop to change direction and create something entirely new was just as exciting.

Fast forward to 2012 and imagine a student in the Clear Space Arts Institute leaping across the stage or hitting a kick-ball-change, step, turn and you’ll have the start of their creative process.  Maybe picture a student tackling the vocal score to some of the most classic musical theatre pieces in history and doing so at a point in their life when they’ve pretty much mastered the 3 R’s.  What creativity gives to each of these students is a sense of confidence.  The ability to explore and find that while they are in the midst of creating, the confidence to approach the dance or vocal score in the beginning slowly grows into the strength to master and perform it in the end.

Confidence to be.  Confidence to learn.  Confidence to succeed.

 There is no greater moment in the Arts Institute semester than, hmmm…. just about every moment.  However, the start of the semester, when the students enter class and see what lies ahead for them couldn’t be better.   What songs are we working on? What dance steps will we learn?  What acting choices will we be asked to explore?  “WAIT!!  We can’t do ALL of this! And certainly not in 10 weeks!”  The looks on the students’ faces after that first day are fantastic.  It’s a combination of scared and thrilled, terrified yet enthusiastic – you see the contrast.  Yet, slowly, week by week, this back and forth struggle begins to turn, as each pirouette is landed and each note hits the right pitch.  The looks on their faces become a sense of pride, joy, accomplishment and completion.  They stand a little taller, sing a little louder and dance a little stronger.  What started as just lyrics, choreographed steps, actions and beats, have now become a song, a dance and acting leading into the final performance.

Completion.  A start.  A middle.  An end.  The concept that a student can start fresh, maybe never having taken a class before and possibly even having no idea what it means to participate in a musical theatre or acting class allows the story to begin.  The story continues and all of a sudden the student realizes just how important they are to telling the story.  The choices may be different for each individual, but it weaves together an amazing picture.  The story builds, the picture becomes sharper and the end result is a final production in which the students have the occasion to show off everything they’ve learned during the semester for family, friends, teachers, neighbors - anyone and everyone who wants to be enlightened with the chance to see just what the educational component of the performing arts can do for someone.  The students finish this final performance with a strong sense of ownership.  We created this.  We confidently mastered what was asked of us.  We completed it from start to finish.

The 3 C’s give you a path to travel down and a journey to enjoy.  The Clear Space Theatre Company offers classes for students in musical theatre and acting for all ages, first grade through adult.  In this month of resolutions, why not Challenge (now the 5^th C - math never was my favorite subject) yourself or your student to see where the 3 C’s will lead you? 

It’s hard to imagine that Clear Space has been bringing performing arts to the community for over 87 years. More accurately – 7 years – but it most certainly feels like 87 in the most wonderful way. Clear Space fits in this community as if it’s been here for ages. All of its programming revolves around the community need and its Mission: To inspire audiences, artists, and students through high-quality performance and educational experiences. Many of you are aware of the scope of the programming that Clear Space offers, but it’s always nice to get a new perspective – so I invite you to indulge in the following request, set aside a moment in your day with a friend, spouse, lover, parent, roommate, niece, or reading partner, to partake in the following exercise. After all, ‘tis the season for warming hearts.

Please imagine the following scenarios …

(This exercise works most efficiently if someone else does a dramatic reading while you have your eyes closed. Character voices are encouraged.)

*Disclaimer: The following circumstances are based on true events. Only the names have been changed. They have been formatted to fit this screen.

A 5^th grade student in a local elementary school, Alex struggles with his academics. His test scores are below average and he is known for his behavioral problems in the classroom among his teachers. It’s difficult to reach out to Alex because he has so much energy and not a lot of focus. He is obviously brilliant and is simply facing the obstacle of finding purpose and reason in his work. Those are some of the most frustrating circumstances – when a student’s potential is yearning to be released but its access is being denied.

When a grant comes through from the Department of Education for a partnership with Clear Space, coupling arts and literacy skills in an after-school program, Alex is recommended to join the program with the hopes that he can improve his work during the school day. When I met Alex for the first time, I knew. This kid has something special: How do I reach him and why does he feel the need to act out in a group setting? Alex’s behavioral problems wavered for his first two years in the program and his continuing participation was a serious consideration. After a collective teacher meeting, we wanted him to continue, knowing that the arts portion of the programming would be changing format to include scenes from a musical. I assigned a challenging acting role to Alex under this format with a large amount of memorization required. Alex smiles a lot in my class, but you would have thought he just won a trip to Disney World. “ALL of these lines, Miss Dana?” “Yes, Alex, can you do it?” Then, he did the running man (a popular 80s dance move) to show his excitement.

The following week during class, Alex had all of his lines memorized, informed me that he had worked on his projection and articulation, and was ready to “perfect” his acting.

Alex was brilliant in the rehearsal process as well as the public performances of the show. I wouldn’t have expected anything less of him. Stepping into the spring semester of the after-school program, Alex’s test scores are above average, he accepts the challenges in his academic classes with determination and a smile, and acts as a behavioral role model for other students in the program.

Molly started doing plays after swim practice when she was in third grade as an extracurricular activity, not to mention that she would also run around the house playing movie star with her mother. Aiming for an Oscar at 15, Molly thought that she was the bee’s knees.

In 2005, she auditioned for Clear Space’s first production of SCROOGE! She was cast. Although the environment was welcoming, she was only 12 and it was clear the expectations were high. As the rehearsal process continued, she was pushed to give all of her energy into this craft of the performing arts, soaking up new skills and performance techniques. With this being one of the most incredible experiences for her, Molly was inspired to continue to enhance her skills through her middle and high school years as she continued to work with Clear Space and their teachers in every way possible, challenging her and motivating her to move to a new level of performance. In her freshman year of high school, Molly was performing a solo with Clear Space’s Broadway Bound On Tour program: “If They Could See Me Now” from Sweet Charity. After several grueling rehearsals, Ken (the program’s director and choreographer) encouraged, “I’m not going to pay for seats when you get to Broadway!” This was her moment. Well, if he thinks I can do it … Regardless, this was obviously hard work. Maybe the Oscar would have to wait a few years …

Molly is currently attending one of the top acting programs in the country at Towson University. She was the only freshman cast in a main stage production (as one of two women in the whole cast, I’ll add).  Molly is excelling academically and in performance. Meryl Streep, watch out!

Those of you who may know me a little too well know that I could continue with my dramatic storytelling for several hours. I’ll spare you now and just ask you to take me to lunch at a later date. I’ll leave you with one final scenario.

Mrs. Jones lives in Lewes. She moved here 8 years ago from New York, where she attended the theatre often. After moving to Delaware, she knew that she would have to travel north (at least to the city of Wilmington) to attend high-quality theatre. She heard about Clear Space through some friends, and, in turn, attended their rendition of Rodger & Hammerstein’s SOUTH PACIFIC in the summer of 2008. Since then, she has seen every show, and has let her neighbors and friends know that they should do the same. Every show has captured her in a way that leaves her talking about it for weeks, more than comparable to what she’s seen in the city. Recently, after seeing Clear Space’s holiday tradition of SCROOGE!, she was having a chat with Mrs. Smith about something she heard in the curtain speech that she simply hadn’t put together before. “Clear Space’s ticket sales only cover a small portion of their costs. Even with the educational programming they have, a large portion of their income is left to individual contributions from the community.” The two women thought about what a difference Clear Space has made not only in their own lives, but in students’ lives and in their community - through high-quality performing arts. They decided to become a member at the Sponsor level, donate $100 each to the organization, and help Clear Space continue to do great things. After all, ‘tis the season.

25,000 people saw Clear Space perform over the past year. If each of those people donates only $11, we would cover necessary operating costs, moving towards permanent sustainability. 

“At this season of the year, we look to our past…” (to quote a lyric from “Scrooge!”) and how true that is.  Putting Ebenezer Scrooge away for another year always brings happy memories of my association not only with this iteration of the classic, but of Christmas Past.

        We all share some basic knowledge of the Dickens’ classic, but I could probably qualify for some sort of special “Christmas Carol” PhD.  In 1984 I was approached by the Denver Center for the Performing Arts to “spruce up” their version of the show.  They were using one of the many versions available to theatres and found it lacking in many regards.  The score to their seasonal offering was serviceable at best, and the Artistic Director wanted a creative team with a new vision.  I borrowed a score and starting hacking away.  Every time I read through a song I thought, “I could write a better score than this!”  I’d had a long association with another theatre in Denver and had created three new holiday musicals for them, and offered to write a new score for the Denver Center.  Though I think my offer tempted the director, there wasn’t enough support to go for a full-out re-write.  Consequently, I ended up re-orchestrating the show for brass quintet and keyboard and added one dozen of the English carols which were popular in the Dickensian era.  

          I moved to the east coast the next year and the saga continued.  I was hired to direct the SAME version of the show in Annapolis.  I started hacking away thinking I would finally create the version I really wanted to direct, but was warned by the producers that they were quite happy with the show the way it was.  I finally talked them into replacing the song Scrooge’s fiancée, Belle, sings with one of my songs.  It turned into the big hit of the show and I was asked to write an original version of the show for the next season.  As so often happens in regional theatre, the producers were replaced by the board of directors and by the time I submitted my show I was told that they were moving in a different direction.

           There I was with what I thought was the “perfect” version of the show and no producer.  I had collaborated with an old friend from Denver on the songs and libretto and he was determined not to let it die.  Within two weeks he had secured two productions!  The show premiered off-Broadway with a multi-ethnic cast (a brilliant production!) and in a terrific old Vaudeville house in West Virginia.  As thrilled as I was to have a show off-Broadway, I was suddenly faced with re-writing the score for both versions.  The NYC cast was 14 actors and an orchestra of 8.  The West Virginia cast was 45 strong and was fortunate enough to have a musical director from Shenandoah Conservatory who could pull talented students for the orchestra.  In 45 days I had finished both versions and continued to prepare for both opening nights.  Naturally, there were requests made from both theatres which kept me burning the midnight oil until the last moment.  The show enjoyed many years of production around the country and made enough in royalties for me to look back on those harrowing openings with a smile.

           When Ken Skrzesz and I moved to the beach, we decided to create yet ANOTHER version of the show!  Did I really have another full score for this show in me?  As it turns out, after seven years of refining the show we have written nearly two scores for this one show.  I hadn’t realized how much had been written and re-written until I began to compile the score for this year, incorporating the new changes and preparing to re-orchestrate the show.  It was truly a visit to Christmas Past when I started looking at the original orchestrations I had done in 2005 – flute, clarinet, French horn, bassoon and keyboard.  The horn part was dropped in production and not used since, but this year I had a talented brass player who thought I should re-write some parts.  This year the orchestra was one player tripling on flute, piccolo and clarinet, another on clarinet, the brass player doubling on trumpet and flugelhorn, percussion and keyboard.  I began to glance through all of the numbers we had discarded over the years.  Gone was the opening number with families out shopping along with the characters of the candle seller and holly seller.  Gone was the polonaise for the entrance of Christmas Present, the music box waltz for Christmas Past… I started thinking about all of the wonderful actors who had been in the show over the years, as well as the young performers who had grown up with the show.  Seven young men had played Tiny Tim, five actors have played Scrooge (and I’ve done it three times now!), four actors have played Bob Cratchit, and too many others to possibly remember an exact number.

          Although this was the first year that Ken didn’t hand me re-writes for next year before we had closed the show this year, I’m certain that more changes will occur over the years.  It’s much like decorating a new Christmas tree with favorite old ornaments.  You recognize many things you love, but you know it isn’t quite the same as it’s always been.  Whatever the changes in script, score or casting, you can bet that Scrooge will remain a vital part of the holiday season at Clear Space!  Thank you for allowing me to ramble through this trip down memory lane, and as Tiny Tim says, “May God bless us, everyone!”

For over a year now, I have worked side by side with Elaine Faye, our marketing director, to create all of the print pieces that we use to promote Clear Space - rack cards, posters, flyers - and many incidentals along the way. Elaine is an undisputed master of all things graphics-related and I lend my hand in creating the supporting text.

For the 2012 season, Elaine and the creative team have reached the decision to move toward using existing production images (supplied by the talented team at Carolyn Watson Photography) to promote future shows. We are able to do this because of our repertory acting company - many actors appear in several productions each season, so we have a huge backlog of photos of many actors in our company. Many of our actors are recognized by our patron base (like “local favorite” Erin Williams) and can now draw audience members simply by being billed with the show title.

Our first venture into this is the rack card and poster for BLITHE SPIRIT, opening February 4th. Two of the leading ladies, Valorie Jarrell and Dana Peragallo, are veterans of our stage and finding era-appropriate photos of these women was a relatively easy task. (Bonus points if you can identify the production from which the photos are taken!) I have the pleasure of acting opposite these talented women this winter. However, there are no photos of me in stock that fit the mood of the piece.

Cut to me in my first ever photo shoot. I figured that I have watched enough episodes of “America’s Next Top Model” and learned enough about “smeyesing” (a real term – Google it!) to get the job done. Boy, was I wrong. With Elaine coaching me and taking the photos, I was trying to juggle the correct angle of my head, getting the light to hit my face in the right way, and envisioning the photos of the two women that had already been set. No easy task.

Thanks to the masterful skills of Elaine Faye, I think the finished product is practically perfect – it sets the mood of the production wonderfully and lets regular Clear Space patrons identify the leading players. Look for this wonderful piece of marketing in your mailbox very soon!

And my big lesson in all of this – stick to acting, Michael. You’re no Tyra Banks.