A rolling coral reef ready to go on stage. (Photo by Laurie Byrne)

Behind The Scenes And Under The Sea

 

CHATFIELD, MN – For 20 years, Wits’ End Theatre has been producing annual shows that coincide with Chatfield’s Western Days townwide celebration in August. The community of actors, musicians and directors give up much of their summer, rehearsing five nights a week, to put on phenomenal shows.

But there is another cast of characters who aren’t seen – but who are just as essential to the show’s success.

The Village

It’s said that “it takes a village to raise a child.” It also takes a village of volunteers to produce a show – many hands and many hours to create playbills, costumes, props, set pieces and more.

A mural that was the backdrop of the mountain found in this year’s show, The SpongeBob Musical, is a perfect example of something made by many hands. Literally. Tiny handprints in this mural were painted by Hugh Manahan’s children with added help from 7-year-old Sophia Chaffee (who played Gary in the show). The adults later swooped in to fill in the mural as needed.

Nick and Kelly Manahan volunteered with Wits’ End for years. Kelly stated that their involvement was “technically (son) Theo’s fault” when he landed the lead in Once Upon a Mattress (2005) and their shop, Manahan Machine Shop, helped create spring shoes for the jester. This year Nick created a shoe system for Squidward.

Manahans began helping with “strike.” Strike in theatre lingo is the deconstruction of the set. Pieces are disassembled and either thrown or saved for the next set build. 

Although Kelly had been helping with set builds, Nick didn’t join her until 2014 when their son, Hugh, became the head of building. Nick, Hugh and Kelly – despite owning and running their own business – have spent their summers building ever since.

 

“Helping teach the crew new skills each year, especially the teenagers, is my favorite part,” Nick said.

Puzzles to Solve

When asked if she had a favorite set, Kelly said, “All sets have their own story. When you start building you have to fast forward your thoughts to how will we move them in the show.”

 

 

Many factors need to be considered such as set pieces being one-sided or two-sided, and one or two stories.  Once these questions are answered, more follow such as, “If this is two-sided, how will we move it? Can we attach several pieces and get enough crew muscles to spin a 24-foot set that’s connected?”

 

Kelly humbly gives credit to the volunteers that help stating, “Set building is only possible because of the crew that shows up on Saturdays.”

Coral Reefs, Hamburgers And Cake

Props are another creative addition to the show.

Vicki Dietz has used her artistic abilities for many years in painting the sets and prop pieces. This year she was joined by Richie Van, who also is the resident stage manager at Rochester Civic Theatre, to create the props for this show.

Although some props were purchased by another theatre, Vicki worked her magic to bring the pieces new life and pizzazz.

Backstage you can find a table loaded with props ready for the show.

The general rule is that once you are done with a prop, it returns to its designated space so that the “Prop Master” can make sure everything is ready for the next show!

 

Gowns, Mermaids And Flounder

Rev. Debra Collum has been involved in community activities since moving to Chatfield in 2011 to become the pastor of  Chatfield United Methodist Church and she became an integral part of Wits’ End Theatre in 2015 when she was asked to assist with costuming for Cinderella.

 

 

Wits’ End wasn’t her first experience in costuming as she’s created costumes for her own high school theatre and for her own children’s productions. She now works for other theatres in the area such as RCTC and the Rochester Repertory Theatre.

Like other preparations in the theatre, costuming begins shortly after casting. Clothing is altered or created from scratch. Googly eyes are glued to hats (The SpongeBob Musical, 2024), lab coats are dyed (Mad Scientist in Chitty Chitty Bang Bang, 2018), and seagull costumes are constructed (The Little Mermaid, 2016).

Collum mentioned that she does some of the work at church which gives her flexibility. It seems that working in the theatre is an extension of her vocation as she enjoys having “the opportunity to be with young people” and believing and supporting them, no matter where they are in their journey as “children of God”. It’s also important to her to support and advocate for those in the LGBTQIA community.

 

 

Collum enjoys the creative process. Like in set building, there are questions. How long will the actor have to make the costume change? Are there changes that can be made to an actor’s appearance quickly in the wings or even while on stage that will portray a change?

An example of this in The Spongebob Musical is when Plankton becomes a pirate. She said that it was best to creatively look at the situation, thinking as if Plankton is just playing dress up and is now a pirate. Elements of Plankton stay the same but something is added to transform into a pirate.

 

 

Some of Collum’s favorite projects were doing historical research to create the period pieces for Lincoln’s Last Defense and Dolly’s blue dress (Hello, Dolly!, 2023) because of the grand entrance Dolly makes into the scene.

Each member of the village comes with unique skill sets that help to create the world we see on stage. When all these people work together for a common goal, that’s when the magic happens!

 

 

During August, the Chatfield Center for the Arts gallery is exhibiting “20 Years of Wits’ End Community Theatre” in which past costumes and memorabilia can be viewed.

Wits’ End will also be presenting White Christmas at the end of November. Tickets and additional information are available here.

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Contributor

Laurie Byrne is a small business owner in Chatfield. Art, hiking, cooking, and reading are just a few of her favorite things.

Root River Current’s coverage of the arts is made possible, in part, by the voters of Minnesota through a grant from the Southeastern Minnesota Arts Council thanks to a legislative appropriation from the arts & cultural heritage fund.