What’s in a name? Maybe nothing, maybe everything — and the administration, staff and board of the Little Theatre of Winston-Salem are hoping it’s a little bit of both. For nearly 75 years, the Little Theatre has been the quintessential definition of a community theater for Winston-Salem and the Piedmont Triad — an ingrained part of the social fabric of the region.
In October of 1935, Dorothy Knox presided over a meeting at Salem Academy in which she stated “a need of organized dramatics for Winston-Salem with the aim of building a permanent organization to present the best in dramatic art for the citizenry.”
It’s safe to say that the mission has been fulfilled — perhaps several times over — in the ensuing years. (A previous incarnation of the Little Theatre didn’t survive the early years of the Great Depression.)
The state of North Carolina issued a certification of incorporation to the Little Theatre of Winston-Salem in June 1950. Seven years later, the theater established its home base in what is now the Arts Council Theatre on Coliseum Drive in Winston- Salem.
Late last year, the North Carolina Theatre Conference named the Little Theatre Theatre of the Year — only the latest in a long list of state and national accolades that the organization has been awarded during its history.
Successive generations of families in Winston-Salem and from the area have been a part of the Little Theatre’s family over the decades. People went there with their future spouses, followed by their children a generation later, and their grandchildren a generation after that. It’s no exaggeration to say that people have grown up there. This has been the community’s “little theater” since Franklin Delano Roosevelt was in the White House.
To say that the Little Theatre of Winston- Salem has a history unique to community theater in the region would be something of an understatement, and the decision to change the theater’s name was not taken lightly, according to Carrie Collins, the president of the theater’s board, and Norman Ussery, the theater’s executive director.
The name “didn’t incorporate everything that the theater does in the community,” Collins says. “It didn’t portray the professionalism of the organization. The name ‘Little Theatre’ maybe sounds a little quaint.”
Ussery agrees. “Perhaps it sounds a little too precious. This is a coming of age. We’ve outgrown the name.” As a result, it was decided to change the name of the Little Theatre of Winston-Salem to Twin City Stage. As a nod to the historical significance of the “old name,” the Twin City Stage motto is: “Put a little theatre in your life.” Twin City Stage “sounds a little more prestigious,” says Ussery.
Were there other ideas for the new name? With perfect timing, Ussery deadpans: “’The Big Frickin’ Theatre of Winston-Salem.’”
But, he points out: “We’re not distancing ourselves from being a community theater.
We’re
very proud of it. It’s important to retain the history.” Both Collins
and Ussery concur that Twin City Stage better exemplifies what the
former Little Theatre is all about.
“We didn’t set out to
change the name,” says Ussery. “We were looking to educate the
community who we are, what we are and what we do… and to find a path to
reach the widest possible audience.”
An 18-month marketing
study, financed by a grant from the Winston-Salem Foundation, was
conducted to ascertain that path. It may seem unthinkable that many
long-time and even life-long residents of Winston-Salem and the
Piedmont Triad had no idea that the Little Theatre even existed, and
many who did perceived it as being a theater that catered exclusively
to children.
“We wanted to find a way to ‘un-confuse’ people,”
Ussery says. The Little Theatre/Twin City Stage is still headquartered
in the Arts Council Theatre, and although there has been occasional
talk of relocating over the years, there is where they will stay for
now. The decision to change the name of the theater coincided, rather
fortuitously, with the renovations to the Arts Council Theatre, which
began late last year after the United Way relocated its Family Services
to downtown Winston-Salem and its previous offices at the theater
demolished. (“We’ve got a lot more parking now,” quips Ussery, “and
another women’s bathroom.”) During the demolition, the theater’s staff
was relegated to sharing a trailer behind the theater, where classes
were also being taught, and in the grand tradition of theatrical
showmanship, other venues had to be found for performances. The Mount
Tabor High School Auditorium and the Theatre Alliance performance space
became temporary venues for the Little Theatre — yet another gesture of
artistic cooperation that seems to flourish in the region.
There
was a concern that audiences wouldn’t go to the “new,” albeit
temporary, venues — but the box-office revenue indicated that the
Little Theatre faithful remained just that, much to everyone’s relief
What was not a relief was luggingcostumes, props and
sets from the Scene Shop, which is located directly behind the Arts
Council Theatre, across town for the performances.
But, again and as always, the show must go on — and the Little Theatre/Twin City Stage has had it going on for nearly 75 years.
Hardly a week goes by that the New York Times doesn’t
have a story (or stories) about the devastating effect of the economic
recession upon theater in general and Broadway in particular. As goes
the economy, so go the arts. Many Broadway producers are looking for
sure bets, if there is such a thing, by mounting revivals of big-name
shows or wooing bigname stars (like Jane Fonda, Will Ferrell, Jeremy
Irons and Joan Allen, all of whom are currently treading the boards on
the Great White Way). The Jan. 26 cover story in the weekly edition of Variety detailed
the woes and worries of contemporary theater, equating it to the period
during the Great Depression when the Federal Theatre Project was
created as an offshoot of President Roosevelt’s “New Deal.” In a
recession such as this, many theaters may not survive, even if they
were to receive financial assistance from the government.
No
one at the Little Theatre is expecting a government bailout anytime
soon, but having weathered a fair share of crises over the years,
including those of a financial nature, the staff and administration are
experienced in making the most out of potentially catastrophic
situations. It’s not uncommon for staff and volunteers to work overtime
(on a consistent basis), especially when times are tight.
“When
I first came here, I told people that the only thing I’d never done is
costumes,” says Ussery, who filled that function for the production of
the family musical Seussical — “and I had a great time doing
it!” Some of the stories are legendary, and are often told with a weary
smile, a rolling of the eyes and sometimes a groan — but they are also
told with an unmistakable affection and a palpable pride. Whatever the
hurdles, the show always went on. It’s that kind of dedication and,
yes, love that has been a big component of the Little Theatre’s
enduring success. But, in an economic climate as uncertain as this one,
they’re not taking any chances.
“It has not affected
attendance adversely,” says Oldis, “but it has affected donations.” As
a result, there will be fewer staged readings scheduled, but the Second
Stage productions will be larger — and a close eye will be kept on the
wants of the audience.
“We’re going to behave,” says Ussery
with a smile. “We’ve got to make sure that the season is audience
friendly and that we don’t make many risky choices.
We’ve been
spending a lot of time doing entertainment research, and the shows we
present have to be something we’ve heard of.” A familiar or popular
name “cuts through the noise faster,” says Ussery.
Collins has
been a member of the board for the last five years, “and I was very
impressed by the organization as a whole,” she says. “The Little
Theatre gives the community a theatrical organization right here in
town.” The only organizations now housed in the Arts Council Theatre
are Twin City Stage, the North Carolina
Black Repertory Company (which presents the National Black Theatre
Festival every other year in Winston-Salem), and the Children’s Theatre
of Winston-Salem… which may have also added to the confusion. For
although the Little Theatre (or Twin City Stage) offers programs for
children, it is an entirely separate entity from the Children’s Theatre. That the two
organizations
have co-existed in the same building, and use the same stage, didn’t
help to clear the issue any. The new name and logo of Twin City Stage
were announced and unveiled at the pre-show reception for I Love You, You’re Perfect, Now Change in January.
“It’s
a season-long transition,” Collins says. “We wanted to get the name out
there, get people talking and get people involved. By doing it in the
thick of the season, we hope to see [the name change] take root more
quickly, so that by the time our 75 th season rolls around, people will
know just who we are.” “It’s the same building and the same history,”
assesses Oldis. “Now, it’s on to the first page and the first chapter
of a new history.”
Of course, there’s also the matter of sending off the 74 th season in style. Next up is the classic Agatha Christie mystery Spider’s Web (which opens March 27), followed by the season capper, Ken Ludwig’s cross-dressing comedy of mistaken identity, Leading Ladies (which
opens May 15). The name change “will create discussion, which is good,”
observes Ussery. “We’re certainly not trying to hide who we are, and I
don’t think anyone’s going to walk away because of it.” There are
those, however, who believe that the name Little Theatre of Winston-
Salem has been good enough for 74 years and is fine just the way it is.
Ussery and Collins encourage the debate.
“I asked one of our
volunteers what they thought of the name change, and they told me they
didn’t like it” Ussery says. “But, they added, ‘I’m old so I don’t much
like change, anyway.’”
If it gets people talking about Twin City Stage, that’s the important thing.
STORY BY MARK BURGER • PHOTOS PROVIDED BY TWIN CITY STAGE
