SPOTLIGHT: Jane Orme

​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.

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