Category: Musical

“And let us consider how we may spur one another on toward love and good deeds, not giving up meeting together, as some are in the habit of doing, but encouraging one another—and all the more as you see the Day approaching.” – Hebrews 10:24-25 (NIV) 

“The theater is a communal event, like church. The playwright constructs a mass to be performed for a lot of people. She writes a prayer, which is really just the longings of one heart.” – Marsha Norman, playwright 

“What is community?” “What does it mean to be a part of a community?” “How does tragedy affect a community?” These are some of the questions Godspell asks. In tandem, I ask “What does it mean to do theater?” “What is necessary to put on a show?” Although I had a deceptively religious upbringing – a grade school so Lutheran that it broke away from the synod because the synod wasn’t Lutheran enough, a devoutly Catholic grandma with whom I was very close – the place I found the feelings of a religious community was theater. We didn’t attend church on Sundays, but we did have Sunday matinee tickets to the Weidner center. We usually prayed before meals, but my family was most connected when watching old musicals or movies. And, strangely, at my very Lutheran grade school, we put on full scale secular musicals every year. These musicals were the main times I felt like I fit in or could contribute something to that community.

So for this production, I took Stephen Schwartz’s note about Godspell not being a literal playing out of the book of Matthew but as a formation of a community, and set it in my/our/your community – Abrams Spotlight Productions, now, mid-rehearsal process for an upcoming show. You will not find finished sets, costumes, disco balls, confetti cannons, or magical flying cars (which is totally sacrilege for me), but you will find the essence of performing: actors trying to get their message to the audience and holding the mirror up to nature (paraphrasing Hamlet). The answers to those questions above and what is that message? Just as we interpret the bible, that is for you, the audience, to come to individually. Now more than ever, community is important. Wanting to spread one’s messages, one’s “gospel,” not isolate ourselves from those who do not agree, is vital. “Do justice, love mercy, and walk humbly with your God” – Micah 6:6 (NIV)

“Whatever we accomplish belongs to our entire group, a tribute to our combined effort” – Walt Disney – and I would be remiss if I did not say that Godspell, despite the note above, where I talk about me, is surely the effort of every single person you see here today, and many you don’t see, and many who have influenced and taught me. 

Thank you for being a part of our community, even if only for this performance, and enjoy the show! 

-Elizabeth Jolly- Haslitt, Director of Godspell

Godspell is a timeless tale of friendship and love based on the Gospel of Matthew. In this new age production, Jesus’ message of kindness, tolerance, and love plays out onstage using a blend of parables, songs, games, and dare we say tomfoolery!

Liz Jolly-Haslitt offers insight into the upcoming production as only the director can! Liz shares that an incredibly unique element of Godspell’s script is that it is pretty open-ended, which means it is up to the theater putting on the production to determine the setting of the show. So the setting that will be seen on stage will be none other than our very own community!

The production setting will be set in our very own theater, as a kind of rehearsal for a production. This unique spin will create a one of a kind theater experience for the audiences! Firstly, the costumes will be pieces pulled from ASPI’s stock from past shows. Secondly, the theater will be utilizing their seating in a unique way! Not only will actors be playing in the house at times, there will also be some audience seating on the stage. 

In addition to the significant creativity from the openness of the script, the production is also extremely lucky to have such a talented cast! They are really working well as an ensemble and meeting the challenge of the advanced listening to each other required of this show.

Purchase your tickets NOW! Showtimes are March 13, 14, 15, 19, 20, 21, and 22 at 7pm and March 16 and 23 at 1pm. For more information please visit https://abramsspotlightproductions.com/ and call the Box Office with any questions, 920-826-5852.

Oklahoma! is a musical that is not only one of my all time favorites, it is near and dear to my heart.  Back in 2002, I was a 22 year old college student, coming home to visit my parents.  My mother was Directing a production of Oklahoma! at the Community Theater in my hometown.  Now I had been to many rehearsals to watch my mother at her craft… but this production just felt different.  I knew a lot of the main actors, but my older sister played “Dream Laurey”.  My sister, being an amazing ballet dancer, captivated me- and I was hooked.  This would be the last show my mother would Direct- she died of cancer in August of 2002.

Moving on, I never forgot about this show.  Although my life took many different directions, there never was a good time or a good venue to start my own Oklahoma! directing journey.  It wasn’t until 2020 that I really started pursuing Directing this landmark show at ASPI.  Well COVID hit, and then it would be multiple years of applying for rights before that Spring 2023 day when Debra Jolly called me to ask if I was sitting down- we had gotten the rights!  I cried with JOY!  

My vision for this show is very intentional.  Minimalism meets artistic visuals, dance meets song.  Less is more with me, and having the space to truly bring the iconic choreography of Agnes DeMille to life was very important to me.  With this being said- I could not have brought this vision to life without my amazing production crew.  My Assistant Director, Heather, who kept me grounded.  My Music Director Leah who was always so positive and the biggest cheerleader with the entire cast, my Scenic Designer Paula who amazed me with her talents every time I came to visit her every Thursday at the theater, and to my Tech Director Bill who understood that less is always more.  My AMAZING Stage Manager Alaina- who I absolutely loved seeing her growth every single rehearsal. But most important a BIG shoutout to my 2 amazing choreographers Lisa and Debra for bringing the DeMille essence to all the dance numbers. (we made it Lisa and Debra!)  My heart swells with gratitude.

I hope the audiences of ASPI are hooked, just like I was over 22 years ago, and I hope they leave the theater with a smile on their faces, joy in their hearts, humming and remembering all the iconic numbers in Oklahoma!

This one is for Mom.

Ali Carlson

Director

“The truest expression of a people is in its dances and its music.

Bodies never lie.” 

– Agnes de Mille

Oklahoma! was choreographed by American dancer and choreographer Agnes de Mille. Born in 1905 New York, she graduated with an English degree from UCLA in 1933. It wasn’t until after college that de Mille considered that dancing could be a career. 

Oklahoma! the musical was innovative not only because it brought together the minds of Rodgers and Hammerstein. The musical also introduced the “dream ballet” sequence. 

Choreographer Agnes de Mille created a fifteen-minute dream ballet where leading lady Laurey struggles with her feelings for her two suitors, Curly and Jud. In a dream ballet there is no dialogue, only movement, and can feature advanced dancing techniques! Dream ballet sequences take place outside of the continuum of the production with the intention of providing clarification, foreshadowing, or symbolism. 

De Mille believed that the ballet was essential to the audience’s understanding of the characters because it conveyed emotions that words could not. Oklahoma! was de Mille’s first time choreographing a Broadway musical, and she made history! De Mille went on to choreograph musicals like Carousel and Brigadoon!

ASPI’s production of Oklahoma! will feature some original choreography from Agnes de Mille herself. 

Tickets are selling FAST! Showtimes are March 14-17 and 21-24. 

Tickets can be purchased at https://abramsspotlightproductions.com/ and please call the box office with any questions (920)826-5852!

In preparing for a role, actors and actresses go beyond learning lines to embody a character.  They need to convey emotion, and depending on where the play or musical takes place, they may also need to learn to speak in an accent. 

An accent is “a way of pronouncing a language that is distinctive to a country, area, social class, or individual.” Those that study language and its structure are called linguists. 

The musical Oklahoma! is set in 1906 in farm country of the Oklahoma territory. Oklahomans pattern of speech is categorized by linguists as a South Midland dialect. Their Southern speech patterns can be traced back to early settlers who came from the Southeastern United States to settle in Oklahoma. Many accents in the United States can be traced back to when and by whom an area was settled.

The most notable speech patterns in this specific dialect include:

• Speech pattern is much slower
• Vowels tend to be drawn out
• Vowel breaking – short vowels like cat and dress turn into diphthongs (or even triphthongs). Example: cat becomes ka-yut, dress becomes drey-ess.
• Monophthong – The diphthong in words like ride and lime tend to be pronounced as a monophthong. Example: rah’d vs. rah-eed
• Rhotic – voiced  “r” before consonants
• The vowel in words like thought and long tend to take the “oh” sound. Example: thote and lohng versus thawt and lawng
• E to I and I to E reversal – Example: pen becomes pin, been becomes bin, tin becomes ten, etc.

Come join us at the theater March 14-17 and 21-24 and be transported to 1900s Oklahoma! We got a beautiful feelin’ that everything’s goin’ your way!

Tickets are selling FAST! Get yours now! Tickets can be purchased at https://abramsspotlightproductions.com/ and please call the box office with any questions (920)826-5852!

 I got a beautiful feelin’, Everything’s goin’ my way

• From the enduring classic, Oklahoma!

While considered by many to be the most influential work in American musical theater, many may not know that the musical is based on a 1931 play, Green Grow the Lilacs. The play itself was not a success, but the concept seemed like it would make for a good musical plot.

Enter Rodgers and Hammerstein! While now an iconic pair, Oklahoma! was the first musical written together by composer Richard Rodgers and lyricist Oscar Hammerstein. Both Rodgers and Hammerstein had their preferred writing processes. Rodgers preferred to set completed lyrics to music, and Hammerstein preferred to write lyrics before they were set to music. A match made in heaven!

This writing partnership allowed Hammerstein to create lyrics that strengthened the musical’s plot and evoked emotion. In the past, lyrics, music, and dance numbers did not necessarily work in harmony. Instead of furthering the plot, the intention was purely to amuse audiences. 

Because of Rodgers and Hammerstein, we now have the “book musical”, “a musical play in which the songs and dances are fully integrated into a well-made story, with serious dramatic goals, that is able to evoke genuine emotions other than amusement.” A concept first recognized in Hammerstein’s earlier work, Show Boat. 

Another innovation to come from Oklahoma! is the “dream ballet” number! Choreographer Agnes de Mille created a fifteen-minute dream ballet where leading lady Laurey struggles with her feelings for her two suitors, Curly and Jud. In a dream ballet there is no dialogue, only movement, and can feature advanced dancing techniques! Dream ballet sequences take place outside of the continuum of the production with the intention of providing clarification, foreshadowing, or symbolism. Oklahoma! was de Mille’s first time choreographing a Broadway musical, and she made history!

Another interesting choice by Rodgers and Hammerstein was their cast! In the past, roles were given to actors who could sing. Instead, Rodgers and Hammerstein cast singers who could act. This means no known stars were in the initial Broadway production!

Before Oklahoma! went to Broadway, the title of the production was actually Away We Go!. It was retitled to Oklahoma! after the musical number of the same name. 

The show opened on Broadway to rave reviews! After opening on March 31, 1943, the production ran for 2, 212 performances before closing on May 29, 1948. In 1944, Rodgers and Hammerstein were awarded a special Pulitzer Prize for Oklahoma!, and in 1993 the original Broadway production was awarded a Special Tony Award for its 50th anniversay! The Tony Award wasn’t founded until 1947, after the initial Broadway production opened.

Rodgers and Hammerstein personally oversaw the stage-to-film process of the 1955 film of the same name! And it is said the film “followed the stage version more closely than any other Rodgers and Hammerstein stage-to-film adaptation.” The 1955 Oklahoma! film starring Gordan MacRae and Shirley Jones won Academy Awards for Best Music, Scoring of a Musical Picture and Best Sound Recording.

With their musical Oklahoma! Rodgers and Hammerstein are believed to have ushered in the “Golden Age” of musical theater, and ASPI is honored to bring this production to the stage once more!

Tickets are selling FAST! Get yours now! Showtimes are March 14-17 and 21-24. 

Tickets can be purchased at https://abramsspotlightproductions.com/ and please call the box office with any questions (920)826-5852!

Have you been an avid attendee of ASPI productions? So enthralled by the musical numbers and magical scenes, that you wonder how you can be involved in a production yourself?

Did you know that you don’t need to be the next Tony winner to volunteer???

Some volunteer roles require more of a time commitment than others, but we are generally able to accommodate! So whether you have 3 hours, 3 days, 3 weeks, or 3 months (you get the point) available to share your talents with ASPI, let us know and we will match the tasks to our volunteer’s time availability!

For productions, we can use people who are skilled in set design, construction, painting, sewing/costumes, etc… We are able to teach some of these skills, but if someone is familiar with how to use power tools or a sewing machine, it helps! This type of time commitment varies from a couple hours to more (it depends on the job). We are able to match the job to a volunteer’s time availability, so we don’t want people to think they can’t raise their hand to help!

We also need people to assist with shows backstage (scene changes) and sounds & lights. These are areas that require more of a scheduled time commitment. For consistency, we usually want these volunteers to be available for most of the full run through, dress rehearsals, and all shows.

Only have time to volunteer for an individual showtime? We are always in need of ushers, box office workers, and a concessions crew! Signups can be found on the ASPI’s Facebook page a few weeks prior to the first showtime.

Work days are another great way to volunteer at the theater! There is quite the list of to-dos including, cleaning, maintenance, and yard work. If you would like to learn more about work days, please read our past blog post.

Please follow ASPI’s Facebook page for future updates on workdays and other volunteer opportunities!

Tickets are on sale NOW for ASPI’s upcoming production of Oklahoma!, and they are selling FAST! Tickets can be purchased at abramsspotlightproductions.com. Please call the Box Office at (920) 826-5852 with any questions!