In the first place, we can't really, officially, figure out how old we are. Do we count from our first performance? In that case, we've been around since 1976. From the first year there was an elected board? That moves it up to 1979. Or from our first full season? That makes it 1982. In any case, we've been around for quite a while.
At some point, the re-enactors of the Killing of Sam Bass every year for Frontier Days split off from the rest, and the last time there was any real contact between the two groups was a party in 1984, at which SSS got falling-down drunk and abusive in front of a lot of very nice people (but that's another story).
Like all organizations, we've had our ups and downs--personality conflicts, feuds, financial difficulties, artistic differences and moments of malaise.
However, one thing has been constant--the quality of our productions and programs has increased. We now offer four or five mainstage productions each year, plus two or three others. We have a Youth Guild that provides a scholarship or two to graduating seniors, and puts up one or two performances each year. We have a training program for directors, which gives us a Spotlight production. We have a One-Act Play competition every few years, showcasing new playwriting talent. In other words, we keep busy. And, all of this happens in a 50-seat theater inside an old railroad depot.
Our constant improvement in quality eventually brought us to the attention of Austin theater critics, and The Austin Circle of Theaters. We have received many nominations, and quite a few awards from that organization. Some of these have been for our own, home-grown talent, and others for people who have seen us as a stepping-stone to bigger and better things.
Now there is a movement afoot to start a second theater. Because of the differences between those of us who want to continue our traditional path of providing quality entertainment to our (largely conservative) audience, and those who want to be more edgy and experimental, thus appealing to the more "sophisticated" Austin audiences.
I have nothing against "edgy." I like to do one such play each season. It can be "edgy" for any number of reasons--language, content, subject matter--as long as it works. A good season for a small-town theater, IMO, includes a mystery, a classic, one or two comedies, and maybe a musical, a Shakespeare, as well as a children's show and a Christmas show.
We've been doing this quite well, thank you very much, and I'd like to continue.
Besides, if we make this all-out effort at sophistication, those of us who came upon this theater, bringing our talents and skills to help build it to what it is today, will no longer have a place to play. The semi-professional actors and directors from the Big City, seeing our stage as a stepping stone to Austin, and then...Broadway, will blow us all out of the water.
I wish the new Round Rock theater group all the best of luck. I sincerely hope we can be cooperative and friendly. Round Rock has grown to upwards of 60,000--I am confident that the city can support two theaters.
Heck, people--I just want a place to play. I came into this theater in 1983, with no experience. All I had was a knack for a British accent and an ability to project. Over the years, I've been a dresser, AD, stage manager, seamstress, and costumer; I've run props, lights, and sound, as well as acted in more plays than I can count. Many in tiny roles that barely made the program. Somebody has a nervous breakdown and can't do their small part--ask Ronni. There's a little role that needs somebody to bring some character to it--ask Ronni. Roll all the servants into one, and (you guessed it)--ask Ronni!
There's nothing else I'd rather do!
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