Back to "Trodding the Boards"

by Paula Gail Benson 

COVID changed a lot of activities, including one that is dear to me: working with our actors and crew in our church’s drama ministry. In 2020, we had to cancel our bi-annual production of the Living Last Supper (just after we had received a new back drop for the stage) and our last December presentation was given in 2019.

Finally, this year, we were able to resume the Living Last Supper at Easter. As the Fall approached, I began getting a lot of questions about what we would be doing for the holiday season.

 

I had planned to write a new musical based on a short story by a good friend, retired Judge Bert Goolsby. I spoke with him and his wife Prue in the summer and both were enthusiastic to see his “A Christmas Tale,” in which a drunken Santa Claus must be defended by a disgraced attorney, presented on stage.

Then, in October, I received a call that Prue was in the hospital. She had pancreatic cancer.

I went with a friend and former co-worker to visit her. We were fortunate that she was still able to communicate with us. Again, I mentioned writing a play from Bert’s short story. He and Prue encouraged me to do so. In fact, Bert asked if there was a role for him.

Since it takes place in a courtroom, we needed a judge. Bert was a natural.

There wasn’t time to write music, so I concentrated on developing a one act, which I called A Santa Claus Story. Then, I received word that Prue passed away.

Bert continued to say he wanted to go forward with the play. I assembled a group of actors. We had numerous obstacles to overcome. One actor had COVID and did not test negative for the virus until the end of our rehearsal period. Fortunately, he was a quick study. Another actor was helping as a care giver for a person in another state. It became difficult to get everyone together for a run through, but we persevered.

 

We presented the production as a dinner theater. The price of the meal had gone up by a third, but we kept the charge to the audience low and subsidized the remaining costs with contributions.

In addition, as we usually do, we selected a “cast project” for which we solicited donations. This year, the project was the Veteran Experience Action Center (VEAC), a program sponsored by the American Legion Department of South Carolina in partnership with the SC Department of Veteran Affairs and US Veteran Affairs Regional Office, that assists eligible veterans and their dependents with any questions they have about VA healthcare benefits including VA disability claims, appeals, or other healthcare issues. We were incredibly pleased to raise $700 for the VEAC.

Thanks to several co-workers who volunteered their time, talents, and items they found and created, we were able to decorate the set and the tables, giving our auditorium a festive atmosphere. Our cast included: John Arnold as Nickie Claus; Mark Wade as the attorney Alva Fortuna; Tim Clark and Janie Fulmer as members of the Manger Society (collecting for charities); Jan Jenny and Brenda Brinkley Byrd as a couple engaged for 15 years; Sid Ballentine as the arresting and prosecuting officer; and Bert Goolsby as the judge. Billy Itter ran lights and sound.

 Have you been able to resume theatrical activities since COVID?

Trodding the Boards

by Paula Gail Benson

Either at year’s end or the first of the new year, my post is about the Christmas musical dinner theatre production held at my church. I’m both the writer and director for this effort--a great responsibility that is accomplished with lots of assistance from many folks, including not just the cast and company, but our great supporters who provide contributions, food, and encouragement throughout the process.

Participating in this operation makes me think I have a little insight into how Shakespeare worked. He knew something of his audience expectations (and, if we can believe Shakespeare in Love, had to deal with the commands of the sovereign). He was very familiar with his company of players, understanding their strengths and what made their performances shine. Having been an actor himself, he also could imagine the performers’ desires for new challenges. All those elements (along with limitations and innovations with staging, props, costumes, and sound effects) factored into the plays he wrote.

It’s an exhilarating, yet complicated process. Warren Bull understands, as you can see from his recent posts about “plotting songs.” (See: his initial and subsequent posts.)  From a writer’s standpoint, you get to see all aspects of your work come alive in great detail, including the characters, the settings, and the descriptions of all that takes place. You view how hand movements and facial expressions convey emotions. And, from a visual perspective, you learn about editing by seeing when something is overplayed or repeated too often.

Jinny Nantz, Asa Arnold, Jim Jarvis, Mark Wade, John Arnold, Olin Jenkins, Janie Fulmer, and the director silhouetted!
Photo by Colleen Fannin Arnold. 

When music is added to the mix, it gives the author and cast another means of exploring the themes of the play. Devotees of musicals and opera know that song can heighten and focus on a particular moment in ways monologue or dialogue are ineffective.

This year, I began planning an original work that would have taken ten or twelve actors. After canvassing the players, I learned that a number of our regular cast members could not participate due to other commitments. I had seven performers, and I knew my initial idea could not be converted for such a small group.

I began looking for adaptable short stories. I thought of O. Henry’s “The Gift of the Magi,” but it’s been done often and probably didn’t need as many as six actors.

Then, I came across an O. Henry short story called “A Cop and an Anthem.” It’s included as one of five O. Henry stories in an anthology film (O. Henry’s Full House) narrated by John Steinbeck. The story is about a homeless man, named Soapy, who tries to get arrested for three months so he has a warm place to stay for the winter. At the end of the story, while listening to a church organ, he’s ready to try a new life. However, that’s the moment he’s apprehended by the law and taken into custody.

Much of the story had to be revised and updated for a modern audience. And, I have to admit opting for a happy ending where our homeless hero, named Buddy, is embraced by the community and saved from a prison sentence. What made the tale special for our congregation is that we recently had our pipe organ restored. I found a company in the neighboring state of Georgia that created a backdrop for us featuring the image of our church and recorded our organist playing from the restored organ.

A view with our backdrop. Photo by Fran Bush.

One of our parishioners enjoyed the production so much he came to both performances! That’s a sure sign you have a hit.

As always, I’m tremendously proud of our actors, our musical director, and our sound and lighting crew. Our producer, John W. Henry, who usually commented on this post, passed away during the summer. This first show without him was bittersweet. But, he would have been proud that we raised over a thousand dollars to benefit a homeless ministry program.

I’m tremendously grateful for the opportunity I have to hear my words, lyrics, and music performed. It’s been an incredible benefit in all aspects of my writing.

Are you a theatre enthusiast? I hope so!

Our Cast with Crew Billy Itter and Dean Long and Music Director Margaret Davis.
 Photo by Heather Coats.