Masquers History 1975-1985

MASQUERS HISTORY — 1975 to 1985

Be it ever so humble, there's no place like your own theater.


Isabelle Austria & Joseph Rodrigues South Pacific 1977	Michael Gilbert & Shelli Ireland Guys and Dolls 1978

When the Masquers began in 1955, they met an immediate need for live theater on the east side of the S.F.Bay. As other amateur theaters sprang up, Masquers discovered that their venue provided a uniquely intimate theatrical experience: just 97 seats in 8 tiered rows, a 20 ft x 16 ft stage only 2 inches off the floor, and actors within spitting distance of the patrons, not that that ever happened! (Well, almost never.)

Theatergoers marveled at how Masquers overcame their small stage. Shows were regarded as "excellent for taking children to see. The theater is small so you can get close enough to see the details and notice the nuances," one wrote. On South Pacific (directed by Jo Camp, musical direction by J. Michael Speakman), "The Masquers fit a whole chorus line on that tiny stage with ease. They didn’t seem at all crowded. I still can’t figure out how they did it." Another wrote about Guys and Dolls (dir. Jo Camp; mus. dir. Laurie Battle), "Even with a dozen or more onstage, they remain well-blocked, confident, and pleasing to the ear with their chorus and harmonies."

In a 1982 Benicia Review article supertitled "Where is Point Richmond?" the author was surprised that Neil Simon’s Chapter Two comedy in the Masquers' "tiny theater" was one of the finest community theater efforts she had ever seen. Abel Kessler noted "somehow the gags come through sharper and funnier," praising director/set designer Doug Ham’s "clever staging" as an "improvement over the movie."

Doug Ham
Brigadoon 1980

A San Rafael writer showcasing the Masquers said: "This small, professional troupe has standards and abilities far beyond its size. One of the most remarkable things about the company is its use of its extremely small space. In the case of 'La Mancha', the stage was transformed into a Spanish prison during the inquisition. In this case [Born Yesterday] it is a luxury Washington D.C. hotel room. In both cases, the job is exceptional. Jerry Johnson’s direction is equally good, providing strong pacing and rapid-fire comedy. The Masquers is a fine theater and well worth the jaunt across the Richmond Bridge." Point Richmond, he continued, is "a community in the process of revitalization, its main street is a combination of chic shops and some excellent restaurants, a fine place to spend an evening having dinner and attending the theater." Therein lay the rub. Rents were increasing as were housing prices. Masquers were well established in this historic building in Point Richmond but would they be able to stay?

Actors, Directors, Stage Managers, Set Designers, Costumers, Painters, Musicians

Through it all, Masquers continued to attract new talent and gave newcomers and veterans alike ample opportunities to use and expand their abilities. The physical space was small, but there was always plenty of room to pitch in. From individuals to whole families, the young and old, experienced and beginners, all worked happily to solve a variety of creative challenges that went into putting on a show.

Mainstays Mary Jo Campbell, Kaye Parisho, and Marie Wedell welcomed other costumers and upholsterers. Jo Camp accepted many new stage managers. Though Donna Ham stage-managed 15 shows this decade, the other 35 shows needed 22 stage managers.

From retired art teacher Freeman Sargent to Chuck and Daphne Haacker to the Collins family, the Nelsons, and many others, new people added a wealth of talent to the Masquers. Freeman acted and painted each show’s billboard on the outside wall of the building.


George Johnson 20th Century 1976	Rob Cresante & Christine Dover Dames at Sea 1979

Chuck and Daphne, who met at the Masquers, thrived as actors, directors, stage managers, and more. A professional photographer, Chuck took all the pictures of the period and also did set construction and light design, and Daphne took a stint as business manager.

Two generations of Collins (Eddie, Theo, and Chris) and two generations of Nelsons (Pat and daughters Julie and Debbie) came in this decade. Dentist Eddie Collins could act, construct sets, and make videos of all the shows, and was perfectly suited for making vampire fangs for Dracula and his victims. With academic training in theater arts and experience acting in Oakland Civic Theater, Theo could act, direct, design, and construct sets. So teenage son Chris grew up on the Masquers stage, first playing gawky teenagers and by the end of the decade, a well-to-do sophisticate. Behind the scenes he was a drummer in Joe Cravotto’s newly formed combo and for special effects in Dracula, he masterminded the scary bat that flew over the audience.

Dozens more Masquers in this decade graced the stage with their can-do attitude and devoted time and talent to putting on shows that patrons enjoyed. The choice of shows pleased the patrons and they appreciated ingenuity and flair on a small stage with a shoestring budget, particularly evident in the musicals.


Rhoda Plymack George M 1984	Jo Camp Jane 1980

For Guys and Dolls, R.S. Pease wrote, "George Johnson created ingenious low-budget sets . . . the pianist Arthur Davis, doubles as a magazine vendor, his piano cleverly disguised as a magazine stand." The piano and accompanist (as for past Masquers musicals) was tucked in the right corner between the audience and the curtain. Lance Gilmore praised director/set designer George Johnson’s Dames At Sea: "constantly funny, terrific sets, and excellent use of the matchbox theater." Another recommended the show saying it was "choreographed beautifully, you don’t want it to end." Abel Kessler called George’s next musical Very Good Eddie a "theatrical treat often surpassing high-priced, over-produced performances by touring national companies." For Moss Hart’s Light Up The Sky directed by Scott Campbell in 1977, R.S. Pease wrote, "All the principals play together and off each other with such attention to timing you’d think they were the Boston Symphony Chamber Orchestra."

Directors

Resident Director Jo Camp was adept at directing every genre and consistently delighted audiences with her solid fast-paced shows. Though Jo directed many shows this decade (16), they constituted barely a third of all the productions. The rest of the shows were now open for others eager to direct on the Masquers stage. Unlike past decades, over two dozen other actors got to stretch their directorial wings.


Pat Nelson Curse of the Devil’s Eye (olio act) 1979	Theo Collins Royal Gambit 1975

Theo Collins directed six productions: Finishing Touches, Jane, Bus Stop, Night Must Fall, Rain, and The Devil’s Disciple. Besides Dames at Sea and Very Good Eddie, George Johnson directed Skin of our Teeth and Something’s Afoot.

Pat Nelson directed Man of La Mancha and The Fantasticks, and George M. Rhoda Plymack directed Prisoner of 2nd Avenue, The Odd Couple, and Middle of the Night. Doug Ham was the director of Come Back Little Sheba, Chapter Two, and Bedroom Farce.

Virginia Cherniak helmed She Loves Me and Fiorello! Ivan Paulsen directed Shadow and Substance and The Late George Apley. Daphne Haacker directed Royal Gambit and Godspell. Scott Campbell directed Light Up The Sky and Brigadoon.

Most directed only one: Charles Haacker Solid Gold Cadillac, Jerry Larue Time of Your Life, Charles Tisher Strange Bedfellows, Richard Miami Dracula, Jerry Johnson Born Yesterday, Nancy McKinnon Kiss Me Kate, and Jama Clark Dark of the Moon.

Left to right: Charles Tisher in Royal Gambit (1975), Richard Miami & Pat Moses in Strange Bedfellows (1976), Nancy McKinnon in Ramshackle Inn (1980), Paul Drake & Dorothy Rands in Bus Stop (1982), Jama Clark in The Skin of Our Teeth (1983), Arlene Getz in Prisoner of 2nd Avenue (1981)

Left to right: Jerry LaRue in Fiorello (1976), Chuck and Daphne Haacker in Strange Bedfellows (1976), Ivan Paulsen in The Time of Your Life (1976), Virginia Cherniak & Ralph Miller in The Great Sebastians (1975), Scott Campbell in The Fantasticks (1983)

Actors

Paul Drake, who played the cowboy in Bus Stop, headed for Hollywood right after this show and landed choice parts in Beverly Hills Cop and Sudden Impact. "A well-staged, well-acted show." Others could also have pursued fame and fortune, judging by their lavish accolades.

Aubrey McClellan, Ed Collins, Chris Collins
The Devil’s Disciple 1983

Henry Bers's performance in Man of La Mancha one columnist called "one of the two best Sancho Panzas I have seen in the 11 different productions I’ve witnessed over the years, and that includes the original Broadway version." Abel Kessler wrote, "Arlene Getz is an actress-comedian who has divine-given timing — a rare asset on any stage." San Rafael’s Rob Weinstein called Born Yesterday lead actor Wayne Hansen "excellent as the oafish thug of a junk magnate, bullying his way over anyone who gets in his way."

Will We Be Evicted?

Every 3 years, Masquers anxiously awaited the proposed terms for their next lease. Would it be more than they could afford? To produce the shows and pay the bills, the I&G reported, "the troupe relies on revenue from ticket sales, along with annual dues from its members and occasional small gifts from patrons." The possible sale of the building to someone else loomed large. Rumor had it that if the building were sold, rent could triple (from $500 per month to $1500). A Masquers task force looked into the choices: buy the building, find another location, or disband. The impetus to try to buy the building was at last strong enough that the decision was made and fund-raising began: "The Masquers membership is agreed that the group should make every effort to remain at the present location by means of purchasing the theater outright. Donations are tax-deductible."


Joel Avery & Dahlia Alspaugh Dark of the Moon 1984	John Hull & Donna Turner George M 1984	Don Waight, Joan Combs (Nelson) Kiss Me Kate 1983

Heartened by public response to the fund-raising campaign, an article reported in 1982, "Good news about the Masquers. It now appears that there will be future shows." But then a new buyer came on the scene. A few months later when the sale did not go through, Masquers were determined to be the qualified purchaser. "The building that houses the theater is up for sale and if the Masquers can’t acquire it, we can lose the Masquers." The goal was $200,000 for purchase and repairs; an advisory committee was formed to direct the campaign. The Richmond I&G ran a huge cover story in their Sunday magazine on Masquers Playhouse and Contra Costa Civic Theater. "The Masquers perform a real service" producing quality revivals — not just Broadway hits but New York’s "should-have-been-hits, and near misses." 1984: Two papers reviewed favorably Something’s Afoot. "The cast plays well together, pulling off some very fast-paced scenes with impressive precision."

The final show of Masquers 3rd decade was Bell, Book & Candle. Ticket prices after ten years were still low: $5.00 for all shows ($4.50 for matinees). The show attracted capacity crowds, Callete! the cat who played Pyewacket delighted audiences with her "well-timed meows," and most of all, the program notes included wonderful news: "TO OUR LOYAL AUDIENCES: We have made the $30,000 down payment on the theater—thanks to all of you. We now own the theater—and a large mortgage!"

Photos this decade were by Chuck Haacker.