21 minute read
THE SHOW MUST GO ON
the SHOW
SPRINGFIELD LITTLE THEATRE IS CELEBRATING 50 YEARS AT THE LANDERS AND IS GOING STRONG. BY JULIANA GOODWIN PHOTOGRAPHY BY BRANDON ALMS
must go !ON
THERE IS NOTHING LITTLE ABOUT THE IMPACT OF SPRINGFIELD LITTLE THEATRE.
t has been an educational and entertainment gem for 87 years, and it all started in 1934 when a handful of friends, including Bruce Lemmon, formed Springfield Little Theatre. The group weren’t trained actors or directors; they were simply passionate about the performing arts. Lemmon was actually a medical student, and his daughter Dorothy Lemmon used to follow him to rehearsals.
As this group of theatre buffs started putting on shows, the community surrounding Springfield Little Theatre grew.
The troupe eventually caught the attention of Larry Ollis, who, at age 24, had been serving as the chief usher at the Shrine Mosque. It was his time at the mosque that sparked his love for the performing arts, and when Ollis eventually discovered Springfield Little Theatre, he fell in love with the mission and joined the board.
Today, it’s hard to imagine SLT without its home at the Historic Landers Theatre, but back in the 1930s, the theatre troupe was pretty much homeless. Without a theatre to call their own, SLT performed wherever they could, from churches and the Central High School auditorium to the basement of City Hall and the theatre on Drury University’s campus.
Over the years, the group grew to the point where it absolutely needed to have a permanent stage.
When the Historic Landers Theatre was for sale, board members Ollis and Virgil Anderson were instrumental in purchasing the building, and in 1970, these two helped secure a $100,000 loan to buy the theatre. “Virgil and I personally guaranteed the loan,” Ollis says. “SLT didn’t have any credit, and I was too dumb to worry about that.”
The Landers Theatre was built in 1909 by John and D.J. Landers and R.W. Seward. The opulent brick and terracotta building was originally part of the Orpheum circuit of theatres, and over the years, it showcased vaudeville and tabloid shows, musicals and motion pictures, and it was the first television studio to broadcast in color outside New York or LA. But by the 1970s, the storied building had seen better days. Springfield Little Theatre started raising seed money to give The Landers a good scrubbing. There was gum on the seats, empty light sockets, chipped paint and so much more. Troops of volunteers showed up to scrub, paint, sweep and bring the theatre back to its glory. Ollis still remembers opening night. “My goodness, it was wonderful,” he says. “We served champagne in the lobby.” Fay, Ollis’ wife, even baked cookies for the event.
After 36 years, three American wars, an untold number of shows and thousands of supporters, Springfield Little Theatre finally had a home.
ed raising seed money to give The Landers a good scrubbing. There was gum on the seats, empty light sockets, chipped paint and so much more. Troops of volunteers showed up to scrub, paint, sweep and bring the theatre back to its glory. Ollis still remembers opening night. “My goodness, it was wonderful,” he says. “We served champagne in the lobby.” Fay, Ollis’ wife, even baked cookies for After 36 years, three American wars, an untold number of shows and thousands of supporters, Springfield Little Theatre finally
PICTURED: WYATT MUNSEY AS SPONGEBOB REPRESENTING THE PRODUCTION OF SPONGEBOB SQUAREPANTS THE MUSICAL
MISSION EDUCATION
Today, you’ll find SLT being steered by Executive Director Beth Domann. Domann has been the face of SLT for years, but back in 1978, she was a member of Y.E.S.
Troupe—one of SLT’s many youth acting troupes—and she was joined by Lemmon, who never stopped following her dad to the theatre. Throughout its long history, SLT has been teaching kids about theatre in one form or another. Some of Dorothy
Lemmon’s earliest memories involve
SLT classes that date back to 1950.
Lemmon and Domann, like so many members of the SLT tribe, left Landers once it was time to go to college, but both eventually returned to SLT to train other aspiring performers. Lemmon actually oversaw the theatre’s growing education program in the early 1990s, and it was growing rapidly even back then. While Lemmon was involved, it grew tenfold from 45 students to 450. Then in 1996, Domann took over as education director before assuming the role of executive director. In 2003, Domman handed the reigns to Lorianne Dunn, which was a “game changer,” Domann says. Under Dunn’s leadership, the education department exploded. The number of classes has mushroomed from nine a week to 90. The theatre offers acting, musical theatre, dance, voice, ballet, tap, jazz, script analysis, film lab, improvisation, classes in production and so much more.
There are now 11 Youth Performance Troupes ranging from elementary to high school students. Summers at the theatre used to be quiet, but now there are a series of summer camps and workshops that stretch all summer long.
In 2009, SLT joined Any Given Child, an initiative that started at The Kennedy Center for the Performing Arts in Washington, D.C. The mission is to provide art experience to all children nationwide. Every school year, every fourth grader in the Springfield Public School system sees a live performance at The Landers.
Adding to SLT’s educational repertoire, SLT tacked on The Pre-Professional Track (PPT), which is designed for teen students who want to pursue musical theatre performance as a career. It is an intensive program created to develop skills in the three critical disciplines of musical theatre: acting, dance and music. “It was developed because there was a group of students who felt like they needed more,” Dunn says. “They knew if they were going to audition for conservatory programs throughout the world, they would need to develop their technique. We created a program to support their needs and dreams.”
While SLT spent decades fulfilling student dreams, Dunn and others at SLT had dreams of owning a fully dedicated education facility. The space at Landers was limited, and with the education division of SLT continuing to grow, SLT needed a whole lot more room.
er aspiring performers. Lemmon actually oversaw the theatre’s growing education program in the early 1990s, and it was growing rapidly even back then. While Lemmon was involved, it grew tenfold from 45 students to 450. Then in 1996, Domann took over as education director before assuming the role of executive director. In 2003, Domman handed the reigns to Lorianne Dunn, which was a “game changer,” Domann says. Under Dunn’s leadership, the education department exploded. The number of classes has mushroomed from nine a week to 90. The theatre offers acting, musical theatre, dance, voice, ballet, tap, jazz, script analysis, film lab, improvisation, classes in production and so much more.
There are now 11 Youth Performance Troupes ranging from elementary to high school students. Summers at the theatre used to be quiet, but now there are a series of summer camps and workshops that
PICTURED: BRANDON LOONEY AS BRANDON LOONEY AS LOLA REPRESENTING LOLA REPRESENTING THE PRODUCTION OF THE PRODUCTION OF KINKY BOOTS KINKY BOOTS THE MUSICAL THE MUSICAL
THE JUDY
In 2019, SLT found the space it needed—the McDaniel school building. SLT received a $1 million gift from the C.W. received a $1 million gift from the C.W.
Titus Foundation and additional support from the community to purchase the building, and after a little sprucing up, all educational aspects moved to what is now called The Judith Enyeart
Reynolds School of the Performing
Arts—lovingly called “The Judy.” “This is truly a dream come true and something we had enviand something we had envisioned for quite some time,” sioned for quite some time,” Dunn says. “McDaniel was built in 1908. Landers was built in 1909, so it feels built in 1909, so it feels in synchronicity with our beloved home base. our beloved home base. The Landers construcThe Landers construction company built the tion company built the McDaniel building. It was perfect.” Both buildings are perfect.” Both buildings are on the National Registry on the National Registry of Historic Places. of Historic Places. Domann also Domann also proudly proudly points points out out that SLT is the largest art organization in that SLT is the largest art organization in town that owns its own buildings. town that owns its own buildings.
The Judy is now home to education proThe Judy is now home to education productions, administrative offices, classes, ductions, administrative offices, classes, workshops, film labs, a black box theatre, a workshops, film labs, a black box theatre, a learning lab for the arts and the newest addilearning lab for the arts and the newest addition of The School of Fine & Performing Arts. tion of The School of Fine & Performing Arts.
This new partnership with Springfield This new partnership with Springfield Public Schools completed its first year in Public Schools completed its first year in 2020. The magnet school program is for 2020. The magnet school program is for children in fifth grade who are interested in children in fifth grade who are interested in performing arts. A lottery system is used to performing arts. A lottery system is used to select the 50 lucky students in the program. select the 50 lucky students in the program. “They come to school every day at the Judy. We “They come to school every day at the Judy. We provide theatre and dance instruction, and SPS provide theatre and dance instruction, and SPS provides classroom teachers and specials,” provides classroom teachers and specials,” Dunn says. “They have had myriad incredible Dunn says. “They have had myriad incredible experiences.” experiences.”
The Judy has also given SLT more freeThe Judy has also given SLT more freedom to experiment with shows. The Judy dom to experiment with shows. The Judy has two stages; one seats 50 and another 150. has two stages; one seats 50 and another 150. Unlike The Landers, which seats 525 people Unlike The Landers, which seats 525 people for each show, these smaller stages give SLT for each show, these smaller stages give SLT the chance to try out less well-known shows. the chance to try out less well-known shows. Fewer seats means the company doesn't have Fewer seats means the company doesn't have to worry about selling 5o0+ tickets. to worry about selling 5o0+ tickets.
With every classroom and stage at The Judy With every classroom and stage at The Judy booked, SLT hired four full-time education booked, SLT hired four full-time education staff and about 45 part-time instructors— staff and about 45 part-time instructors— many are past SLT troupers. “Much of the many are past SLT troupers. “Much of the heart and commitment of our program lies heart and commitment of our program lies in its legacy,” Dunn says. “Our students end in its legacy,” Dunn says. “Our students end up becoming our teachers. Many are inspired up becoming our teachers. Many are inspired by what the education program did for them, by what the education program did for them, and they want to pass it on. They know the and they want to pass it on. They know the value it had in their life.” value it had in their life.”
While SLT’s education department has been a constant success story, the future didn’t always look bright for SLT. When an organization is nearly 87 years old, it’s bound to see some tough times, and for SLT, those tough times came in the 1990s when Springfi eld’s downtown scene started to shrivel up.
As more businesses started shuttering downtown, Domann and the rest of SLT wondered how downtown would survive as businesses neighboring The Landers closed up shop. Then in 1995, The Heer’s building, which had been a retail staple, closed. “Heer’s was a fi nal nail,” Domann says. At that point, it felt like SLT was one of the few places still open downtown. “We were here when everybody left. We were just hanging out.” Determined as ever, SLT and The Landers remained a hub of entertainment and a destination. In many ways, SLT was a backbone for downtown and continued to attract spectators as the city started to revitalize downtown and new shops and businesses eventually moved back in.
For years, SLT and downtown enjoyed new growth and increasing crowds, then the pandemic hit. “It’s one of those things we’ll look
back on and think, ‘Holy crap, how did we survive that?’” Domann says. One of the ways they survived was by reimagining live theatre. For safety measures, SLT could only fi ll 25% a constant success story, the future didn’t of the seats. “That was maximum and that hurts always look bright for SLT. When an organi- a lot,” says Eli Cunningham, creative director. “A whole weekend of shows equals one normal some tough times, and for SLT, those tough performance.” Luckily, SLT’s ticketing software company downtown scene started to shrivel up. was one of the fi rst to adapt and allow stream-
As more businesses started shuttering ing. Cunningham has a history in television, so they purchased equipment to broadcast the wondered how downtown would survive as shows. If they couldn’t fi ll Landers, they would fi ll people’s homes with the sights and sounds up shop. Then in 1995, The Heer’s building, of SLT. As is the SLT way, high school students which had been a retail staple, closed. from their fi lm lab at The Judy volunteered to operate the cameras. Volunteers have always been the heartbeat of SLT. one of the few places still open The e ort paid o , and the 2020 season condowntown. “We were here tinued—although altered. But the real impact was to the theater’s bottom line. A family could were just hanging out.” now buy one ticket instead of a ticket for each person in their household. The economic impact was painful as ticket sales dropped substantially. “We don’t get funding from the City,” Domann says. “Forty-four percent of our budget comes from ticket revenue. That is a lot.” Part of what kept SLT going was PPE funding. for downtown and continued Owning an historic theater is not cheap. The to attract spectators as the city theater is known as “The Crown Jewel of the started to revitalize downtown and Ozarks” but keeping that jewel shining is costly. new shops and businesses eventually In the past few years, SLT has spent $1.5 million moved back in. on repairs and renovations. Domann jokes her
For years, SLT and downtown enjoyed new goal used to be “world domination. But now I growth and increasing crowds, then the pan- will settle for butts in seats.” demic hit. “It’s one of those things we’ll look While the pandemic was brutal, it united people in and around the theater. “One of the silver linings in all of this is we went global,” Cunningham says. “It was the not so little theatre. We had alumni, families in Ireland, in Africa that were able to participate as audience members. People with family members who have never been able to see their grandkids in shows, it was an opportunity for them to be part of this.” Because of that opportunity, some events will continue to be streamed in the future, such as youth performances. Springfi eld Little Theatre has always been a tight-knit community and now it is a community with a global reach. “Here is what I love about community theater: you work with so many di erent people from ages 4 to 80, from every socioeconomic background,” Domann says. “It is one of the most diverse experiences you will be part of. You have their back, they have your back. It’s so fun to create that shared experience.” And that shared experience continues to grow. SLT now averages eight mainstage performances a year plus scores of smaller shows. Over the years, actors who trained on The Landers stage have found fame such as Kathleen Turner, Kim Crosby, Lucas Grabeel and Tess Harper. Those who have been part of its history are tickled by its incredible legacy. Ollis says it’s an honor to know he had a hand in something that has touched so many lives. Lemmon echoed a similar sentiment. “It would be such a joy for my father to see where his e orts have fi nally landed in the biggest way,” she says.
back on and think, ‘Holy crap, how did we survive that?’” Domann says. One of the ways they survived was by reimagining live theatre. of the seats. “That was maximum and that hurts a lot,” says Eli Cunningham, creative director. “A whole weekend of shows equals one normal performance.” was one of the fi rst to adapt and allow streaming. Cunningham has a history in television, so they purchased equipment to broadcast the shows. If they couldn’t fi ll Landers, they would fi ll people’s homes with the sights and sounds of SLT. As is the SLT way, high school students from their fi lm lab at The Judy volunteered to operate the cameras. Volunteers have always been the heartbeat of SLT. tinued—although altered. But the real impact was to the theater’s bottom line. A family could now buy one ticket instead of a ticket for each person in their household. The economic impact was painful as ticket sales dropped substantially. “We don’t get funding from the City,” Domann says. “Forty-four percent of our budget comes from ticket revenue. That is a lot.” Owning an historic theater is not cheap. The theater is known as “The Crown Jewel of the Ozarks” but keeping that jewel shining is costly. In the past few years, SLT has spent $1.5 million on repairs and renovations. Domann jokes her goal used to be “world domination. But now I will settle for butts in seats.” people in and around the theater. “One of the silver linings in all of this is we went global,” Cunningham says. “It was the not so little theatre. We had alumni, families in Ireland, in Africa that were able to participate as audience members. People with family members who have never been able to see their grandkids in shows, it was an opportunity for them to be part of this.” will continue to be streamed in the future, such as youth performances. tight-knit community and now it is a community with a global reach. ater: you work with so many di erent people from ages 4 to 80, from every socioeconomic background,” Domann says. “It is one of the most diverse experiences you will be part of. You have their back, they have your back. It’s so fun to create that shared experience.” grow. SLT now averages eight mainstage performances a year plus scores of smaller shows. Over the years, actors who trained on The Landers stage have found fame such as Kathleen Turner, Kim Crosby, Lucas Grabeel and Tess Harper. tickled by its incredible legacy. Ollis says it’s an honor to know he had a hand in something that has touched so many lives. Lemmon echoed a similar sentiment. “It would be such a joy for my father to see where his e orts have fi nally landed in the biggest way,” she says.
— LORIANNE DUNN, — LORIANNE DUNN, EDUCATION DIRECTOR EDUCATION DIRECTOR
Haunted Ghost Tour
october 1 & 2, 2021
hour-long tours for groups of 15
june 2, 2022 a theatrical wine tasting event
