This month we shine our Merc spotlight on Cindy Williams Guttiérrez, the much-lauded local playwright and poet who created The House. In addition to authoring the play, Cindy is directing its world-premiere production at The Merc, opening October 3, 2024. The Merc had the opportunity to chat with Cindy between rehearsals so we could bring you this sneak peek into this creator’s inspiration and backstory.   
 
Cindy, what inspired the story behind The House?
I once heard playwright Craig Wright talk about beginning his plays with a seemingly unanswerable question that is resolved as the play unfolds. The question that was the catalyst for my play was, “What if we could relive our childhood memories in the home where they took place and that home could serve as the objective observer and keeper of familial memory, interrupting us every time we misremember?”
 
Did you face any moments in the writing process where the characters or plot took an unexpected turn?
Yes, the ending surprised me.
 
We don’t want to publish any spoilers! What stands out to you about the character development process?
I love character development. The characters in the play are complex. We dedicated significant time in the rehearsal process to exploring the different facets of these characters, to humanizing them and to deepening the actors’ embodiment of their contradictions.
 
What was the most challenging aspect of creating this script?
I play with time in the first half of the play. Act I is not linear – because memories are not linear. I don’t recall that the writing process was challenging, but it does pose quite a challenge to direct a nonlinear series of scenes in a way that conveys a semblance of chronology to the audience.
 
What led you to choose The Merc to stage the world-premiere performance of your creation?
I love the Merc! I am so honored to see this work come to life in this community that means so much to me.
 
In addition to being the playwright, you’re also the director. How has this influenced the production?
Since this is a new work, we have been workshopping and producing the play simultaneously. That means that I have been making changes to the script along the way. It has been a gift to have the cast and stage manager co-create with me. I am deeply grateful to the actors: Nathan Sundt, Micah Lee, Kira Wood-Cramer, Megan Schmidt, Tim d’Auteuil, Emily Doran; and Stage Manager Ronda McHugh.
 
What excites you the most about directing a script no one has seen performed yet? What challenges has it introduced?
What’s exciting is that it’s a blank canvas. We get to be the first ones to interpret the script and bring the show to life. The challenge is that the script has evolved through the rehearsal process, so it requires tremendous patience and flexibility on the part of the actors and stage manager.
 
Are there particular moments you're especially eager to see come to life?
Yes, but I won’t give them away! Well, I will say that a scene takes place in a part of the Merc where a scene has never been blocked before. Hmm…
 
That’s hard to imagine and intriguing! One of the great things about theatre is there’s always something new to try. How have your actors contributed to shaping characters, given they have no previous interpretations to draw on?
This is a very smart and talented cast. I have been blown away by their instincts and their questions. Their intelligence and dedication have contributed enormously to this production. I have learned a lot from them.
 
Can you share any surprising discoveries you and/or the cast have made during rehearsals?
What I love are the discussions of the backstory, the stories the actors imagine that have brought their characters to each moment in the play. One thing I appreciate is that Emily Doran, who plays The Other Woman, gave her character a name as a way to humanize her. Through character work, we discovered that when Mama sees The Other Woman as a figment of her imagination, she looks more provocative than when she appears in real life. For me, this is true to how our minds work – how we fixate on people and things and make them bigger than they are.
 
How did you decide on technical elements like set design, lighting, and sound for a first-time production? In what ways did the fact that it’s a new script make it easier and/or more challenging?
Well, it’s a complex set – it’s a house! Trying to fit four rooms and the exterior of a house on the Merc stage was quite the challenge. It took a village to settle on the set: my friend and designer Ann Wilson from Portland, Karter Layfield (the Merc’s Technical Director), Rose Weagant, my husband Michael, Kira and me. You can’t just furnish a house on the stage – you have to leave room for the actors to move! And it has to make sense to me as both playwright and director.
 
You’ve been involved in productions at the Merc before. Which productions have you been a part of & what has been your role? Any favorite memories or anecdotes?
I co-produced my play Words That Burn at the Merc in 2017, the same year it won the Oregon Book Award for Drama. I brought the cast and director from Portland for public performances and a matinee for Liberty Bell High School students. I had a fabulous time performing a part in Love, Loss and What I Wore in a 17-woman cast directed by Rose Weagant. And last January, I was thrilled to play Hertha Ayrton in The Half-Life of Marie Curie.
 
A fun anecdote is that I had never met Gwen Vernon (who played Marie Curie) until we auditioned together. We ran into each other later that evening at Mistletoe Madness. We looked at each other and one of us said, “Hey, I know you. I felt chemistry auditioning with you this morning.” The other of us said, “Me, too!” Two days later, we found out we had been cast.
 
In your opinion, what role does a community theater like The Merc play in a small, rural area such as the Methow Valley?
The Merc is essential to the creative vitality of the Methow Valley. It is a place to co-create, to collaborate in bringing something to life. There is room for everyone, whether you want to be onstage or backstage. It takes so many open hands and hearts to raise a play onto its feet.

As a playwright, my vision is community-focused: my commitment is to bring the themes raised in the play from the stage into community dialogue. I am thrilled to involve Methow Valley leaders in two community engagement events following the Sunday matinee performances on October 6 and 13. One panel will explore “Opening the Door to Healing: The Role of Memory”; the other will discuss “Reimagining Home: The Role of Community.” I invite folks to stay tuned for details.
 
On top of all things related to The House, you’re also a poet … how do your experiences as a poet influence your work as a playwright?
Funny you should ask… Poetry is a character in the play. It’s one of the narrators. The other thing that comes to mind is that the actors have noted that there are multiple interpretations to many of the lines in the play – they are often open or have a double-entendre. This definitely comes from my life as a poet – everything is a metaphor, everything has layers of meaning. I am also rooted in rhythm. In playwriting, this sometimes shows up as “braided” and "echoed" dialogue. And I’m a fan of juxtaposition: holding two seemingly opposite things in proximity to reveal something interesting.
 
How is the writing process for poetry and playwriting similar? How is it different?
Over the years, I have written many dramatic monologues, also called persona poems. So I have written poems in voices other than my own. This is similar to writing monologues for a play. One of the main differences is that a play normally moves through time. But a poem transcends time – you can make enormous leaps of thought and you can expand the moment through meditative reflection. Perhaps this is why I play with time in Act I!
 
How do you think being part of a smaller creative community (Methow Valley as opposed to New York City, for example) influences your work?
It’s personal. Theatre is an intimate experience. The rehearsal space is sacred. It is a place to take risks, to experiment, to be vulnerable. It is a very special experience to share this with people in my own community.
 
Would you encourage other established creatives to get involved in community theater? How does the theater inform your other work?
Absolutely! I would encourage everyone to get involved. There is so much problem-solving involved in theatre-making, a constant stream of choices to be made – it’s a lot like life. This experience of bringing The House to life will certainly inform how I think about developing my new play, How to Measure a Life.
 
What one piece of advice would you give to other aspiring playwrights? Particularly folks who have written for other genres.
 A long time ago a theatre-maker told me, “Plays are about relationships.” Try writing a scene between two interesting people. Before you do, write each person’s obituary."

​

 
MERC: Your daughter Zahra was in Beauty and the Beast last year and James and the Giant Peach this past winter. What were some of the roles you took on in the theater?

PATTI: I helped backstage during the performances to make sure that the kids were being quiet, which for the most part they were. I also helped selling refreshments. I helped with tear down and that’s about it. I didn't really do any costuming, but I would like to.

MERC: You had a child rehearsing & learning songs. What did that make home life like?
 
PATTI: So, Zahra likes to make a recording of the script, leaving out her part. She then listens to it on her headphones and says her part when the line comes up. I helped her a little bit with running lines, but honestly, for the most part she did it on her own. She also got her brothers to help every once in a while. The music was pretty fun because she got to kind of do her own thing a little bit, and it was really exciting for her. It was the first time for her to sing solos, so that was pretty thrilling.  She sang those a lot for me and I helped her with her cadence. She was basically a kid walking around with headphones on, ignoring me.  It's amazing how fast those little brains can pick it up and learn it.  She's not a nervous kid, really, so there weren't a lot of nerves about it — she's pretty confident.
 
MERC: When did you realize that your child would have star power?
 
PATTI:  She was in Annie in a Methow Valley Community Theatre performance when she was about five as a little orphan — the orphans pretty much steal the show.  They were adorable, dirty faces with little aprons on, dancing, all at the age of five!  I was like ‘yeah this is her jam!’  She thoroughly enjoys this.  If you want to take it back even further, at Little Star they had a graduation performance. She was Tinkerbell, and she's my kid, but she was like ‘no problem, I’m right up there with the lead role.’ She’s amazing. I think she kind of came out of the womb like that though. Her older brothers are not into it but she has no issues.
 
MERC: Is there a show that would lure you on stage as a theater parent?
 
PATTI:  That is a good question. I'm not a stage performer but I would do something involving my daughter and I; I would have to be fully masked.  I don't really have it in me to stand up there on stage and perform for people, but you never know.  Maybe something not musical —  I couldn't sing, but the kid shows are amazing so you know you never know. Never say never, right?
 
MERC: If you had to describe or pitch The Merc to someone who’s never been there before, what is your elevator pitch?
 
PATTI: I would tell them that The Merc Playhouse is the best little theater in the West!  To put on the caliber of performances the Merc does is amazing!  Anybody who's anybody who loves theater should go and check it out because it's always a high-quality performance — not exactly what you would expect on the corner of Glover and 2nd Street in Twisp, you know.

We shine our Merc spotlight this month on Carolanne Steinebach, who, along with her late husband Egon, founded our beloved community theater twenty-five years ago.  Both Steinebachs had a rich history with all things theater, as well as a loving two-decade  familiarity with our valley, so on a visit, when they stepped into the then-Mercantile Store, they recognized at once the excellent natural acoustics of the place. The building went for sale; the couple made arrangements, and by 1999, Twisp could boast its own theater.

Carolanne traces her deep love of theater to a childhood where she and her brother and sister indulged imaginative play centered around a costume box from which kings and princesses and little Dutch girls emerged. Carolanne can name the plays she took part in during grade school, year by year. Years later, while living in Vancouver, she enrolled in theater school; the instructors accepted her reluctantly — their first student over the age of twenty-five — but soon recognized the wisdom of working with an experienced adult who had no professional aspirations.

The Merc Playhouse applauds one of our most ardent supporters. Carolanne has acted, directed, and instructed; she supports us with her attendance, serves on the Play Reading Committee, and is a loyal Friend of the Merc. We are honored to have our founder with us today in such active roles.
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By Kira Wood-Cramer

This month’s spotlight shines on Emily Doran, The Merc Playhouse House Manager for the last five years, with a COVID interruption. She has also been a volunteer, a board member, prop master, costume designer, window dresser, cake cutter, box office, and concessionaire extraordinaire for 15 lovely years. 

Why is live theater important in a small community like the Methow Valley?
When Emily moved here with her family 15 years ago she called The Merc and said, “I'm new in town, what can I do?” Julie Wenzel was working on the children's show Robin Hood at the time and she asked if I could sew? Emily said “kind of, but my sister-in-law Lisa can and off they went making little elastic waisted britches and pirate shirts on Grandma Doran's sewing machine. From that point on, whether it was on stage or backstage, Emily has been involved in almost every show at The Merc. “Since being in the Methow Valley for the last 15 years I’ve seen a lot of people have the same beautiful experience as I have had at The Merc. I have especially loved watching the children's productions come together. All the rehearsals, dances danced, songs sung, diva moments and hard work comes together, and it's been a joy and a privilege to witness how proud these kids are of themselves and each other. Their confidence grows with every show and that's what it's all about. These kind of creative experiences are vital in a small town, not just for children but for people of all ages. Especially during the long winter months, we are compelled to come together and create something beautiful entertain each other. Performing arts are unique because it can be framed, sculpted, or captured. Even if it only lasts for a moment on stage, it will live in on your heart and mind forever.”

Past experience with theater: 
Emily’s moms is a theater nerd and her dad is a band geek, so she grew up in a musical and theatrical household. Her mom was a bit of a stage mom, and had Emily enrolled in piano lessons, ballet, tap, and jazz dancing. She encouraged Emily to sing Christmas carols while she played piano, slowly but joyfully, when she was growing up in Clatskanie, Oregon. There was a music shop and VHS rental place in town called Victor’s Music. Mrs. Victor taught lessons on every instrument and would put on plays in town to showcase the local talent. “My dad would be in the band in the orchestra pit, and my sister and I would be up on stage. I think the first show that I did for Mrs. Victor was called ‘Not Just Another Anne’. For one musical number I played Anne Boleyn and my sister was little princess Elizabeth. I was probably in about third grade, dressed up in a gorgeous gown and dripping in fake jewels. A friend of mine played Henry the Eighth and sang ‘I’m Henry the 8th, I am’ and when he was done, the executioner came on the stage and escorted my sister and I offstage to our doom. 
I didn’t have one line, but a star was born.”

What excites you about live theater?
I love the absolute crazy, controlled chaos of theater. Anything can happen, and that fact is very exhilarating and absolutely terrifying. You have to trust others and trust yourself and the collaborative process. It’s quite a powerful moment when you're all working as a team and people are laughing, or very quiet, you know that you're reaching them. Feeling that energy exchange from performer to audience member is pure elation. I highly recommend it, 

Can you share a unique experience you have had in a theater setting?
Golly, I don't even know where to start because there are so many, but probably the time The Merc backstage flooded during ‘The Book of Liz’ could be considered a unique experience. I mean, in hindsight the show probably shouldn't have gone on, but it's how we do at The Merc — The show MUST go on! 

Favorite show? (Of all time, and at The Merc)
Evita - Emily’s mom took her to a performance of Evita when she was a self-proclaimed bratty teenager. The performance brought tears to her eyes, even when recalling the show to me over lunch. There was a moment in the show that inspired her greatly, and we are so grateful for the fire that was lit in her theatrical heart.

It's a Wonderful Life was Emily’s first onstage production at The Merc, and she played the role of the mean bank examiner Ms. Carter. Not only did I have the time of my life, but I met some of my dearest friends in the valley, my tribe. Lady Jane Pappitas as Clarence the angel? Still one of my favorite performances ever on our stage. Looking out during the curtain call and seeing our beautiful town on its feet cheering, it was magical to be a part of.”

​
Having Emily on our Merc team has been an absolute delight. My first encounter with Emily was at The Merc, when she costumed me for our children’s theater production of The Hobbit. I will never forget fighting with her in the dressing room over the large green nose that she gave me for my character (The Goblin King) in The Hobbit. At 14, it was not the best look. Emily gave me the confidence to commit to my character and step onto the stage with that monstrosity, and I will forever be grateful for that alongside all of the other lessons that I’ve learned from our brilliant House Manager. I would say we will miss you, but I know that you will always be here. Though Emily has decided to step away from her role as House Manager, she will always have a home at The Merc. Thank you for all that you have done to keep the show going.     -Kira

“I’m so impressed that a community this size has thriving live theater. I never dreamed I could follow my passion without living in a big city.” 
​
The Merc Theater’s new Technical Director Karter Deane is thrilled to practice her craft right here in the Methow Valley. She expected she would have to live in a big city for that dream to come true. She’s not the only one who is thrilled. The Merc lucked out to have such a qualified person living locally to fill the position. 

Karter attended college in Colorado and graduated with a Bachelor’s Degree in Fine Arts with a focus in Technical Theater. Her training and experience includes all aspects of live theater from set design, lighting, acting and directing.  “Collaborating with people in different roles is what makes the work interesting”, she said.  She performed in several productions in high school including, Little Shop of Horrors, Joseph and the Amazing Technicolor Dreamcoat and MIdsummer Night’s Dream to mention a few. In college her focus shifted toward the tech side of theater.

Karter’s life experiences have given her exposure to a wide range of people and rich adventures. She worked seven seasons on an Alaskan fishing boat where she met her husband Elliott Layfield (who graduated from Liberty Bell High School). They moved from Anacortes to the Methow Valley to raise their young family which includes their two-year old son Ridge and eight-month old daughter Ryett. Along with being a wife and mother, Karter has a diverse work history in the service industry, construction trades, painting and recently working for a CPA during tax season. She still finds time to sing karaoke and make music a big part of her children’s life. 

Karter is looking forward to more community involvement.  She is especially excited to work with Liberty Bell High School drama students to help grow the program and to teach students the tech side of theater.  “Theater is a cool way to bring all types of people together to work on one project to create something”, she said.

Next time you are sitting in the darkened theater and the performance is enhanced with a sound effect or special lighting, think about Karter.  She is an important part of creating the magic that is live theater!!

​As primarily a children's director, what benefits do you think the kids gain at The Merc?
Children walk into The Merc ready to work hard and totally commit themselves to telling a magical story. I know that because they tell us they love every moment of the experience. The Merc provides opportunities for them to expand their imagination and creativity as well as their confidence and self-awareness. They love the idea of telling stories to audiences in the best way possible. When they’re not on stage, they find ways of developing friendships with others. I watch actors play games with a sort of sign language when they are backstage and having to wait silently for the show to start. And I love that!
 
Cast members of any show can create bonds with each other. It seems to always happen at The Merc. The actors work together for a long time and become a team. They learn each other’s lines, and I am assured that they’re ready to cover for each other on stage if need be.
 
The live performances, the interaction of the cast, and the palpable energy in The Merc all contribute to creating an unforgettable experience for the actors.
 
What was your first theatrical experience?
In 8th grade, I was in a school talent show, and I sang “Modern Major General” from The Pirates of Penzance. My costume, resized for me, had been my father’s Mardi Gras costume, all glitter and satin with rhinestones and epaulets. It was the first and last time I performed on stage, primarily because I couldn’t carry a tune even though I thought I could at the time. I like directing much more.
 
What was your original connection to the Merc?
Before I directed for The Merc, I was the junior high/high school drama teacher/director for many years, and often produced/directed shows at The Merc. The last two before I “retired” were Treasure Island and The Two Gentlemen of Verona. Both hold sweet and enduring  memories for several reasons.
 
Which play that you’ve directed was the greatest challenge, and why?
I was asked to direct The Miss Firecracker Contest by Beth Henley in 2017. Instead of having auditions, I precast it mostly with teachers I worked with and friends. Some were seasoned actors but others were not. We had about two and a half months of rehearsal and when we were off script, one of the actors couldn’t remember any of her lines no matter what. By the time we were close to opening night, I had moved her into my house, so I could keep her from dropping out at the last minute. We ran her lines for what seemed like hundreds of times but she still couldn’t come up with anything. At this point we were opening, so I bought a fashion magazine and glued her lines on various pages. The audience saw a character thumbing through a magazine during dialogue with another actor, but in reality she was accessing her lines.  When she wasn’t on the couch looking through the magazine, I put her lines near her props– the telephone, bouquet of flowers and the makeup case. No one ever knew it, and she was fabulous, but it was very distressing to me as you can imagine, because it was the first full length adult show I’d ever directed.
 
Which play was the greatest ease, and why?
I’m not sure any show is easy, but Fantastic Mr. Fox was easier than most, and I believe most rewarding. It was the show that was sadly shut down the day of dress rehearsal because of COVID. Then two years later, the set and costumes were ready, and about half of the cast came back. It was a terrific cast with lots of heart. There was much to celebrate.
 
Do you have a dream role or show to direct?
I have a dream show, either directed by me or someone else. It’s To Kill a Mockingbird, a new adaptation written by Aaron Sorkin, and one I recently saw on tour. I have always loved the book. I grew up not far from Harper Lee’s hometown, so I have some connection to that world.
 
Any final thoughts?
Yes, I must say we are so fortunate to have The Merc Playhouse in our community. It is indeed a “community theater.” Our audiences are so supportive, and volunteers and donors never waiver. Our board is hard-working, and the staff gives it their all. Everyone is present, helping when we need anything. I’m directing James and the Giant Peach, and I am so grateful to the number of businesses and volunteers who are helping us put on this show. I know we couldn’t do it without our community who love this little theater as much as the people who work in it.

By Amanda Fine

Our spotlight this month is aimed at Don Linnertz, Don Linnertz and his husband Scott Wallace are community advocates, generous donors, and passionate patrons of the arts. When they moved to the Methow Valley and became “Friends of the Merc” they knew they were in for a fun season of theater, but they had no idea how involved they would become “outside the building” working with many others to secure broad support for the arts in our community. I caught up with Don for a coffee at Blue Star Coffee Roasters in Twisp recently to learn a bit more about his “we are all in this together” experience supporting The Merc Playhouse to be the best it can be. 

What was the first show that you attended at The Merc Playhouse?
You know, I can’t remember. We moved to the valley full time in June of 2014. That was the summer of the Carlton Complex fires; shows were canceled, the doors at the Merc — like many others — were closed. 

Although disappointing I’m sure, it sounded like landing in the Methow Valley in the summer of 2014 only intensified Don’s and Scott’s intentions to be active members of the community and involved wherever they could contribute. Soon Don’s “we can go farther faster together” mantra was a part of collaborative efforts across the valley. 

When did you first become involved at the Merc? 
We did start with season tickets and enjoyed going to every show, sitting in our reserved seats! [a practice that is no longer an option at the Merc] But I really got involved when I stepped in as the interim, and then full time, Executive Director at TwispWorks. Until I retired from the position in 2021, I loved being a part of the “XD’s”, an informal group of arts directors in the valley including the Merc’s Executive Director at the time, Missi Smith. We shared concerns about realities in the valley like housing needs, and imagined a future where we could do even more for our community if we used talent efficiently and pushed hard for collaboration. The establishment of a Creative District in Twisp was one of the outcomes that emerged from that time.

Don then told me a funny story about former Merc Board Chair and children’s show director, Jane Orme, who invited Don and Scott to an “open house” at the Merc one evening. They arrived to learn they were auditioning for a play! Don dutifully read the parts (Scott passed!) but they did not take the bait. Scott volunteered to come back to the Merc and clean up all the cobwebs he saw in the rafters that evening. To this day Don has resisted reviving his North Dakota childhood acting career (as Ebenezer Scrooge in A Christmas Carol in elementary school, and as Peter in a high school production of Heidi) on The Merc’s stage. 

What have you enjoyed the most about your involvement with The Merc? 
I love the sense of community coming together at the Merc. There are not many places you get to see people you know on stage. You witness them transform and we all break free from who we are in our everyday lives. 

What do you think is unique about The Merc? 
I was able to meet, and many of us know, the Merc Playhouse founders Egon (before his death) & Carolanne Steinebach, which is very special. I have fond memories of times at the Merc that are linked to non-theater events like a Valentine’s concert of the Methow Valley Chamber Music Festival or a reading of The Last Salmon by author Phil Davis. I do not know other theaters that do that — that open their doors so wide. The space is well used and that definitely helps build community.

If you had a crystal ball what would you predict is in The Merc’s future? What would you hope for? 
I would love to get to the point where the team at the Merc can focus all of their energy on putting on the next best play without worrying about a leaking roof or backstage plumbing. The pandemic was a shock to the collective system, but it also reminded us how important community theaters like The Merc are to all of us who call this place home and to the future of Twisp and the Methow Valley as a destination. I hope we find a shared vision and really go for it together, so we continue to have a performing arts center that serves the Creative District and each and every one of us. 

If you met someone who has never supported theater or experienced live theater, what would you say to entice them or sell them on the idea?
I would invite them to a show. I would say “come in and see the magic”. You will see a broad swath of our community — we have all landed here. 

Don’s answer made me think about supporting The Merc. Walking through the door is really all it takes and everyone is welcome. For live theater, the audience is as important as the actors on stage. By putting your hands together at the end of a show, or adding your energy to the room, you are part of the performance. What The Merc pulls off with the support of an army of volunteers (including the actors), a talented and dedicated skeleton team of staff, and a community that loves this spot truly is magic. 

When will we next see you at the Merc?
We loved The Half-Life of Marie Curie directed by Carolanne Steinebach, and isn’t James and the Giant Peach coming right up? I heard about the play from one of our youngest community members who is in the cast. She popped her head out of her mom’s car to tell me not only about the epic giant peach, but also that she and all the other kids in the play are dead!

How can one stay away after an endorsement like that? We are looking forward to seeing Don and Scott and all of YOU at the next event at the Merc. Come out and enjoy a bit of live theater, be a part of this fun community, and help in any way you can. Every bit counts and it is all appreciated. 

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Interviewed by Phil Quevillon

Our spotlight this month is aimed at Kristin McFadyen, a familiar face behind the concessions counter during productions.  Kristin is the owner-operator of Yo Dog Pet Grooming in Twisp. A former resident of Illinois, Kristin joined the Methow Valley community on September 2, 2010 and was the catalyst that later brought her father, mother, and later her best friend and Merc board member Phil Quevillon to our slice of paradise. I asked Kristin what she thought about volunteering and attending shows at The Merc.
 
What was the first show that you attended at the Merc Playhouse?
It must have been Proof.  I believe Donald McLaine was one of the actors.
 
When did you first become involved volunteering at the Merc?
Probably back then or after I stopped working at Sunny Pine, so two years after I moved here, which would be about 12 years ago.
 
You have volunteered in many spots at the Merc, including the tech booth, concessions and backstage. What have you enjoyed doing the most?
I think a mixture of volunteer jobs. I like mostly working behind the scenes; however, I do like running concessions. While working at the counter, you have opportunities to hear and see audience members talking about the play, but when you’re behind the scenes, such as backstage as a stagehand or other position, you get kind of a secret backstage view of all the nervous actors before and after they are on stage.  I think both volunteer positions are fun.
 
If you met someone that had never been to theater or experienced live theater, what would you say to entice them or sell them on the idea of buying a ticket and being part of an audience?
It’s real people, real community people expressing and doing an art form that they feel pulled towards. I think that seeing any kind of creativity with people is good even if it’s bad.
 
KristIn, I’ve been interviewing you while you’ve been washing a bulldog. What's the Bulldog’s name?
His name is Douglas.
 
Douglas, do you have any thoughts on live theater?
(nervous) Thank you thank you for the belly rubs (heavy panting)
 
And we thank Kristin for stepping into The Merc and being part of our volunteer community. 

This month, we are pleased to spotlight Jamie Petitto, aka Miss Scarlet in Clue. Jamie also serves as our trailer videographer extraordinaire and prior to Clue, has found her way to our stage in The One Act Play That Goes Wrong and Diner on the Way (2019). In addition, Jamie volunteers on our Programming Committee that reads scripts for the next season’s shows.
 
Recently, Jamie and board member Jim Ditto met up on the banks of the Twisp River. As the rushing water provided background, they talked middle names (she won’t tell you hers), favorite dinosaurs (brontosaurus), theater, acting for pay, acting on camera, and what makes people laugh. 

Q. Tell us about your past experience with theater?
 
After booking the role of narrator in Stone Soup in second grade and watching everyone stare at me and tell me how good I was because I could read [STILL TRUE] and I had a cute hat, I knew that’s what I wanted to do forever.
 
And so in my junior year of high school, I decided to audition for Romeo and Juliet. I thought I could get Juliet. I got the nurse, which makes sense now — the comedic relief. Because of auditioning and booking, I was demoted from the varsity soccer team to JV because they said I couldn’t do both. So they called me Big Mama because that’s the year that Chicago came out — the musical with Queen Latifa as Big Mama — because I was the only junior on the JV team. It was all freshmen and sophomores, then me.
 
I just always realized that being in theater was going to be a sacrifice and not my profession because I liked doing too many things. It wouldn't be my college major — it didn't seem practical and I never considered it a career — acting or theater. I just thought theater was a way to hang out with people who were like me, and I almost always did comedies. Even as the nurse, I was doing Shakespearean comedy.
 
What excites you about live theater?
 
Even if you say the same words, in the same order, for the same amount of time, every night, seven days a week, you’re still going to have a different show because there are different people, with different reactions, and they’re bringing different concepts and realities and expectations to the table. It changes you on stage, whether you realize that or not. I like that you feel differently, even if you’re saying the same thing over and over again. I’ve never had such a monotonous variance in all my life. Heh heh heh. It’s addicting. It’s like “What are we having for dinner?” And you’re like, “Chicken.” And you’re like, “I don’t know why it tastes different tonight. It just tastes different tonight.” Tonight’s lemon chicken because the audience brought lemon that night. It’s garlic chicken because the audience brought garlic.
 
The audience brings the seasoning to an entree that is the same. Same entree, different seasonings every night.
 
Plus you never know. It’s not safe! You could, at any point… Isn’t everyone’s nightmare if they’re in acting, that they’re on stage and they can’t remember their line? Haven’t you had that dream? That you were on stage and you were just given the script? That you haven’t had time to prepare… So to go on stage, that’s still an option. It’s back there in your subconscious and you’re like, “I could say whatever I want and sabotage this. Someone in the audience could stand up and sabotage this.” I guess I like that you show up and we’re all on the same page, that we’re all going to be supportive and we’re all going to have fun. And they’re ROOTING for you!
 
Why do you think it’s important for the Methow Valley to have live theater?
 
When you live in the Methow Valley, I think you share a set of experiences that all relate to one another. You all know what it’s like to maybe garden or to recreate outside. Or you’re all going to the same restaurants because there’s a handful… So you can relate to all of these people all of the time. You’re going to the same events. And if you love theater, then we can bring in stories that aren’t the Methow. They’re in a second story apartment in New York City. They are in Namibia. They are underwater. They are… you know? And I imagine most of the material we bring, even if it’s The Wizard of Oz, that the Methow hasn’t experienced and this allows them to go to the same restaurants or your same riverside hole and have your mind expand and and come up with a friend that you’ve seen every day for thirty years and having maybe a new opinion on something, a place, or experience you haven’t thought about before. Live theater brings this novel concept to your mind, even if your body does the same thing on repeat in this valley, that you can relate to. I like that actors are leading the audiences into a new expansive world that’s different in their mind.

Live theater in the Methow allows people to think about other things. It’s a way of traveling, like the Armchair Traveller. I think, maybe it’s just projecting because I like traveling, but I think getting someone to sit in a seat and have their mind travel elsewhere is actually a healthy thing to do, whether it’s to appreciate this local area more, or as much, or whether it inspires them to get out, for a second, of this small community and then come back? I don’t know.
 
I think that there’s something charming about community theater.  It’s people doing it because they just really enjoy telling a story. And they’re just like, “Hey, sit back,” And they’ll just go around the fire — except it’s a theater. It’s a story.
 
 
“The Merc loves the stories Jamie tells as an actor and a videographer. Thank you Jamie, for sharing your insights as well as your stories and inspiration!” 
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