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A SUMMARY OF THEATRE ACTIVITY IN GADSDEN Live theatre activity in Gadsden can be traced back to the 1870’s: a few years of drama in a pretty Greek temple-style building in the 300 block of Broad Street. After 1878, there follows a dearth of information until the 1930’s. The curtain went up in 1931 when “The Guardsman” opened in the J.M. Elliott carriage house on the site of the present Court House parking lot. This show features actors Hazel Sproul, Hazel Agricola, Harry Disque, Ruby Clair Christopher (Duncan) and others. The director, Don Marye of Chicago, was happy to receive room and board as compensation during this time of severe economic depression. Eventually he was paid a salary and the theatre continued in operation until 1934, closing with a play appropriately entitled “Journey’s End.” Among the driving forces in the development of theatre during this period were Nan Callan, Irene Sutherlin, and Otis Wragg. Following World War II the Dramatic Arts Committee of the Gadsden Woman’s Club, chaired by Willie Warren Silvey, revived the theatre in 1947 and a stage home was provided by local contractor J.P. Burke, who rented the group one of his warehouse buildings for about 13 years. Named Town Creek Playhouse, it had a sawdust floor, seats from the old City Hall courtroom and a discarded curtain from Gadsden High School. It stood on North Fourth Street approximately where Meighan Boulevard intersects today. With the loyal help of theatre stalwarts such as Clyde and June Hill, Susan China, Sara Cox Worley, Mary Whorton (Harris), John and Hazel Rogers and J.Q. Davidson some 86 high quality shows were presented there. Among these were “Arsenic and Old Lace”, “The Little Foxes”, “Cain Mutiny Court Martial”, “Little Mary Sunshine”, and “George Washington Slept Here”, to name only a few. Another hiatus in dramatic activity occurred at the end of the 1962 – 63 season when Town Creek Playhouse was condemned as a fire trap. Although homeless, the Theatre Board continued to hold regular meetings and invited Town and Gown Theatre of Birmingham to present occasional shows in the Gadsden High School auditorium. Finally a decision was made to merge the Little Theatre and the Gadsden Civic Music Association in 1964, and Gadsden Civic Theatre resulted. In 1970 GCT bought the old Ritz movie theatre in Alabama City and converted it into a playhouse. Since the opening production, “Born Yesterday”, in October 1971, approximately 145 plays have been presented there. Among those who worked tirelessly onstage, backstage and elsewhere were Sara Cox Worley, John Powell, Ron Townsend, Arby and Nellie Joe Talley, Mildred Robertson, Roy and Margaret Rouse, Sarah Culberson, Dottie McCollum and many, many others. Until the year 1978 the theatre group had used only volunteer directors from the membership. By soliciting patrons who gave $150 per year, a fund was started to hire a professional director. The first person to hold this position was Thomas Smith of Phoenix City, Alabama, who led us during the 1978-79 season. In 1979 Dot Moore of Guntersville was employed and led GCT in seven successful seasons (39 plays), notable among these being “Man of LaMancha”, “South Pacific”, “The King and I”, “On Golden Pond”, and “The Tempest”. During this time plays were presented in other cities, dinner theatres and summer plays for children were presented, and summer workshops held. The GCT bank account was adequate, though never excessive, and things seemed to go smoothly until money became tight again and we could no longer afford any paid employees. Dot Moore’s last production was the musical, “Anything Goes” in 1986. A long time theatre supporter, actor and director, Basil Gilchrist, could occasionally be prevailed upon to direct a show and his were consistently fine presentations. “The Effect Of Gamma Rays on Man-In-The-Moon Marigolds”, “The Odd Couple”, and “One Flew Over The Cuckoo’s Nest”, are three examples. He also starred in “Paint Your Wagon” and in shows presented by Town and Gown Theatre in Birmingham. One tireless worker, whose loyalty and enthusiasm for theatre were never questioned, was Dr. William S. Warren, who served as secretary of GCT for 14 years before moving to Foley, Alabama. Although he was never loath to do janitorial work for the theatre, his brilliant mind was constantly turning out something clever. GCT presented two of his musicals, “Fairy Tale” and “Mardi Gras”. Dr. Warren received the Governor’s Arts Award in 1983. Around the early 1980’s a small group of GCT workers formed a summer theatre group which evolved into Actors Community Theatre. In 1986 this group merged with Gadsden Civic Theatre to form Theatre of Gadsden, and the first show was “You’re a Good Man, Charlie Brown”. Stepping out on faith, a new director, Jim Sturgell, was employed and his first show was an excellent “Music Man” in October, 1987. He left after two seasons and we once again realized that money simply was not available to pay a director. By this time the old Ritz building was somewhat the worse for wear, and in 1990 with help from the city a renovation was undertaken, new seats purchased and once more local theatre-goers had an attractive, clean place in which to enjoy the art. “A Chorus Line” was the first presentation in the “new” Ritz, directed by Mike Beecham, and was a profession-calibre show. Since the 1980’s performances for students have been included in the run of each show. The schools cooperate by bussing the students to the theatre during the day, thereby exposing students to live theatre and providing extra income for the local organization. However, broad audience support has been lacking and it has become necessary once again to seek volunteer directors for our shows. In the forefront of these volunteers have been Mike Beecham, Jeff Roper, Red Yates, Randall Gregerson and Kristi Nichols. Although the great majority of TOG’s productions are of professional caliber and elicit high praise from those who attend, audience support is not sufficient to cover the enormous cost of putting on shows, particularly musicals. In this high-tech day of instant professional entertainment in one’s own living room, it will require a magical formula to entice these viewers to the theatre. We have high quality shows. We have a nice theatre in which to present them. What is the missing ingredient? It is the secret to our future existence.
Sarah A. Culberson - 2000 ADDENDUM: |