Crackling radio signals emanate from what looks like a lava lamp, stage
left. A four-foot-tall gangster and his girlfriend stop by to extort money
from Pete, and they start a flood by turning on the washroom faucets.
There is nothing, apparently, that Pete can do about this, or about his
overbearing mother, or about the sudden appearance of Mongo, a creature
from the center of the earth who sucks knowledge right out of kids'
brains.
GIRL ONE: Nothing seems normal!
GIRL TWO: No telling what will happen!
BOY ONE: The whole world seems topsy-turvy!
ENSEMBLE (singing): Strange things are happenin' everywhere! Strange
things are happenin' everywhere!
Choreography for the "Strange Things Are Happening" number is simple:
One-two-three-CROUCH; one-two-three-LEAN. But everyone in the house
will get a good view of all fifty kids in the chorus line, which is an
absolute necessity if you are going to put on Little Luncheonette of
Terror and put it on right.
"The show opens in three weeks," Karen Gilchrist says, at 8:05 a.m.,
with rehearsal over and the cast on its way to the first aca- demic class
of the day. "We only get to rehearse twice a week, but it's amazing what
these kids will accomplish in the last week. You may have noticed--we
exclude no one. I have sixth-graders standing up there like zombies, and
eighth-graders who can do anything. We will pack this house."
This is not just because Little Luncheonette of Terror, now in
its third reprisal at Flood Middle School, strikes the exact farcical tone
beloved by middle-schoolers everywhere, but also because Gilchrist has a
reputation for putting on some of the best junior-high entertainment in
the city. Honored last year by the Colorado Association for Middle Level
Educators, she stages two full-length musicals each year, as well as
melodrama workshops, an evening of mystery dinner theater and a
Shakespeare unit. And all this production from a small-town Oklahoma girl
who began her entertainment career playing French horn in the local pit
orchestra.
Gilchrist came to Flood fifteen years ago, with plans no more grandiose
than organizing a choir and getting the kids to practice their band
instruments regularly. "But then our principal said, 'How about a play?'"
she recalls.
Eager but clueless, Gilchrist contacted a local company called Pioneer
Drama Service and was connected to its founder, Shubert Fendrich. "He told
me to come on over," Gilchrist remembers. "They had a little
hole-in-the-wall office on Colorado Boulevard, with plays stacked up to
the ceiling. Shubert knew every one of them and was extremely anxious to
please. He gave me a pile of twelve scripts."
Gilchrist ended up producing a musical called Drabble, based on
the cartoon character. "It worked," she says. "But then, Shubert always
had a real sense of what would work for me."
Although Shubert Fendrich died in 1989, the show must go on--and today
Pioneer Drama Service is the nation's top-grossing publisher of
middle-school, high-school and community-theater plays, thanks to the
efforts of Shubert's widow, Anne, son Steve and daughter-in-law Deb.
Gilchrist remains one of the family's most loyal customers. "They'll
always talk to me on the phone," she says. "Deb Fendrich has a genius for
knowing what play we should do next. She'll say, 'No, that's too mature
for your kids.' Then she'll say yes to something else."
Like Ducktails and Bobbysox, a Fifties romp written by Shubert
Fendrich himself. Like Gone With the Breeze, a sweeping drama about
the filming of a Scarlett O'Hara-style story. Like the patriotic World War
II-era Kilroy Was Here, complete with jitterbugs and bebop numbers
written by composer Bill Francoeur of Longmont.
"All the Pioneer plays have lots of parts for all the kids to play, and
they're mostly equal," Gilchrist says. The same cannot be said for, say,
The Sound of Music. "We could never afford the royalties on that,
anyway," she adds. "Besides, there's no heavy romance. The kids would be
so uncomfortable with that."
Pioneer Drama Service would never do anything to make kids feel
uncomfortable--any more, that is, than the kids already are when they take
the stage. Pioneer's hundreds of middle-school offerings are carefully
tailored to fulfill needs more specific than even parents of
twelve-year-olds might guess. They're filled with that particular brand of
seventh-grade humor: spritely, stupid--goofy, even. There is a break every
seven minutes--as often as commercials interrupt TV programming. Lighting
is no more complicated than the on/off switch at the average middle-school
"cafetorium." Same with the set--there is usually just one, preferably a
luncheonette or soda shoppe. And the cast must take into account the fact
that four times as many girls as boys show up for auditions. Plenty of
parts can be written unisex--e.g., Police Officer, News Stand Proprietor,
Junior High School Youth. And don't forget cleanliness. No dirty words, no
dirty thoughts, no dirty concepts.
For example, here's a snippet of Act One, Scene Five of Kilroy Was
Here, written by Pioneer's most prolific playwright, Tim Kelly:
ANGIE (a USO hostess): Good news! They delivered the bananas! Banana
splits in the soda bar!
VOICES: Wow! banana splits!
Just like home!
Chocolate, vanilla, strawberry!
Whipped cream!
I could eat six or seven all by myself.
"We did Kilroy last spring as an all-school unit," Gilchrist
remembers. "The play was somewhat deeper than Little Luncheonette of
Terror, and everyone in the school was involved. We invited
grandparents and people in the community, and the last big number--a
wonderful patriotic, rousing number called 'We Are One,' but it has
'America the Beautiful' woven into the middle of it--well, there were
tears in the audience."
Pioneer Drama Service started as just another one of Shubert Fendrich's
hobbies.
"Life with Shubert was never, never dull," says Anne, his widow. "He
was my creative pragmatist. He would get suddenly bored and have to find
something new to do."
He always found it.
"Our basement," says Steve, prompting his mother.
"Oh, yes, there are all those trays with Marilyn Monroe lying on them
nude," Anne says. "I don't even remember what he ordered those for. Maybe
now they're worth money? Late in his life, I gave Shubert a wine-tasting
class for a present. When he died, there were more than 250 bottles in
that basement."
"And the mail-order novelty business," Steve recalls. "Things like
plastic ice cubes with flies in them."
"Oh, those are still down there," Anne says. "What wasn't he into?
Well," she decides, "there was nothing temperate about him."
xxxxxx |