Tickets on sale now!
Save the date: WCT’s 4th Annual Raise the Curtain Celebration is happening Saturday, April 20th!
Any self-respecting adventure includes dangerous situations, narrow escapes, mysterious people and strange creatures, and problems to be solved through intelligence, skill and brave deeds. This coming season, there will be plenty to go around at WCT.
Afraid of the dark and plagued by power failure, Henry Quealy is living in the shadow of terror. Returning one day from his job as a door-to-door salesman selling doors, Henry discovers a hitherto hidden portal in the wall of his home. The government declares Henry a shadow of his former self — literally — and he is taken away through the mystery door. Hinterland is a satirical comedy about the divided self and the paranoia of the insular state.
Proof is the first show, in WCT's new location, for which our high schoolers had to audition to participate. Each year we will continue this tradition with our second blackbox production of the year, casting not only our actors and understudies, but stage managers, assistant directors and crew members as a true theater company. Actor Headshots by Lucy Brown, Lucy B Photography.
We did it! Thank you to all of our supporters—our community, our patrons, our donors, our volunteers, our actors—who helped make Raise the Curtain a successful event. After final tally (adding ticket sales, and absentee donations) we have not only met, but surpassed our goal of $15,000 toward our 35th Anniversary Season!!
Whidbey Children's Theater is thrilled and honored to announce Lucy Pearce as the director of Proof by David Auburn!
From the Director, David Mayer
All photos by Lucy Brown
A long path has wound itself to the next crossroads. The high school kids of WCT and I began a journey in late September, not all with the same goals, but all ready to have fun and experience something new.
For me, it was the first time directing a play in full, and I relished the opportunity to work with kids old enough to learn and apply specific technique to their innate and WCT-nourished capacity for play. I wanted to be a part of the bridging from children's to adult theatre, helping to develop talent and skill, while encouraging finding joys that I had dug up in my time working the craft. Yes, any play comes stocked with that "away at camp" feeling, and the opportunity to create lasting friendships, and the chance to live through many sets of eyes boldly in front of the world and then go back into hiding when we are done; and, of course, the rush of the applause. But there are also joys to be found in unraveling the mysteries laid out by the writer; in finding abilities we didn't realize could be taught; in knowing that you are creating something and someone new and almost real... real enough to pull each viewer in for their own emotional experience; and in happening upon those transcendent moments that, like the perfect chord or color at just the right time, seem to break down the walls between technical requirements and the realm of magic. All this and more lie in wait for those willing to put in immense work. I hoped to give all of these gifts to my charges.
For the actors, well, I can't speak for them. I know we had those who had never acted in anything other than children's shows; and one who had never acted a lick at all. Coming in, some may have suspected we'd just be putting on a show, and they knew that process. But the length of time we had to prepare gave us the opportunity to really workshop the craft, and to slowly build characters and stories bit-by-bit. And when traveling the more well-known road of blocking and scene work, they were brought more deeply into the process than most productions of any kind get a chance to. Suggestions explained and options often given, so that the actors could think and apply, solve problems, and act with confidence. My mantra was to create a safe place actors to be strong and the characters to be vulnerable. And we agreed together to fail big. All of us would make mistakes and learn just how hard it could be at times to prepare to the level that allowed us not to think so much when the curtain rose. We would slowly but surely meld goals: To tell one coherent story, engage the audience, and be there for each other, true to each second.
And you know what? I feel that we did it. I doubt anyone got all the same rewards that they expected going in. But we got new, exciting rewards—the kind that spark lasting memories and stoke fires for the future. I couldn't be more proud or grateful, and I think the actors really feel they gained something beyond a show under the belt.
And so, the path hits not an end but a crossroads. What will I do next with all I've taken in? Rest, process, reflect. And after some more acting, I know I'll direct again. What will each actor choose to do with what they learned and felt? I have a sneaking suspicion we'll see many of them acting again soon, searching for their own joys for which they got a taste in The Mousetrap.
David Mayer is an actor/writer/director who trained at Freehold Theatre in Seattle and has been walking the boards of South Whidbey for more than a decade.
Happy 125th Birthday to the Queen of Crime, Agatha Christie!
Whidbey Children's Theater was originally set to produce Christie's infamous crime show And Then There Were None this December, but we are happy to announce that we have replaced it with The Mousetrap—the longest running play of all time!
The Mousetrap is set in the winter, better-suited to our casting, and is an all-around more exciting play with rich history. :)
From Wikipedia: "The Mousetrap opened in the West End of London in 1952, and has been running continuously since then. It has by far the longest initial run of any play in history, with its 25,000th performance taking place on 18 November 2012. It is the longest running show (of any type) of the modern era."
Read more about the history of The Mousetrap, now in its 63rd year, at the official website.
Then tell your friends and come see the WCTeen Black Box Production of The Mousetrap this December!