August 22, 2025 • 50 mins
Dive into the fascinating world of forgotten theatrical treasures with our premiere episode of Steps to the Stage Inland Empire! We're pulling back the curtain on Agatha Christie's "Towards Zero," a mystery play with a remarkable history that vanished from the stage for decades after its American debut in the 1940s.
Director Christopher Diehl and cast members Emma Kuhn and Veronique Poutre' take us behind the scenes at Riverside Community Players, now celebrating its astonishing 101st season. Together they unravel the mystery of how this Christie gem disappeared from theatrical history after being commissioned for Broadway during World War II. What makes this production particularly special is its rarity - unlike Christie's well-known works, this play has been performed only a handful of times since its rediscovery.
"Towards Zero" turns the traditional murder mystery formula on its head. Rather than beginning with a murder and following the investigation, it builds methodically toward the crime itself. As one character poignantly observes within the play, "Murder mysteries are done all wrong - the murder should be at the end, not the beginning." This meta-commentary on the genre predates similar self-aware approaches by decades!
The drama unfolds entirely outdoors on a cliffside estate called Gull's Nest, where a famous sportsman has uncomfortably invited both his current wife and his ex-wife for a holiday visit. The tension between these women, portrayed brilliantly by our guest actresses, forms the emotional core of a story filled with atmospheric elements and psychological depth. Staging this outdoor setting in Riverside's intimate theater-in-the-round creates a uniquely immersive experience where audience members sit mere inches from the unfolding mystery.
Whether you're a dedicated Christie enthusiast or simply love discovering hidden theatrical gems, join us for this production running August 29th through September 14th. Experience a side of the Queen of Mystery you've never seen before, and discover why community theater continues to be the beating heart of performing arts in the Inland Empire.
www.riversidecommunityplayers.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
All righty, we are recording.
Speaker 2 (00:02):
There's no inner peace in this show, so you're
totally fine.
Speaker 1 (00:06):
So we've started off properly.
Yes, exactly.
All right, I love this.
Welcome to Steps to the StageInland Empire, where we talk to
the community theaterprofessionals from the vibrant
Inland Empire theater community.
Welcome to Steps to the Stage.
My name is Kirk Lane and I'llbe your host today.
(00:27):
We'll be talking with thetheater professionals you know
and love.
We're really excited becausetoday is actually our premiere
episode of what we're going tobe calling Steps to the Stage
Inland Empire or Steps to theStage IE Inland Empire or Steps
to the Stage ie.
As you all know, we primarilyhave been covering productions
(00:48):
at the local theater in Chino7th Street, but we've also
expanded into our dramadepartment.
We want to give some more loveto the whole theater community
in the Inland Empire because itis thriving and has been
thriving for long before I camealong, and so we're really
hoping that now, as we expandinto some of the other theaters
within the Inland Empire, we canget some more involvement, we
(01:08):
can learn some more abouttheater and really just get
people out to see these amazinglive productions at multiple
different theaters and venuesthroughout the Inland Empire.
So today we're really excitedbecause we are at the Riverside
Community Players Venue and wehave a really cool.
(01:29):
Really cool because I'm justfinding out before we got on the
air that this is something thatreally has.
It's an Agatha Christieproduction Towards Zero and it
hasn't really been out there.
That much.
Am I getting that correct?
You are correct.
All right With us.
We have Chris who is ourdirector, we have Veronique who
(01:51):
is part of the cast, and we haveEmma who is part of the cast,
and we're going to be talkingabout this amazing production
today as well as a little bitabout this theater.
Chris, I know you've done someproductions here before.
Speaker 2 (02:12):
Why don't you give us a little bit of an intro to the
Riverside Theater?
Well, I've only been workingwith the Riverside Community
Players for a small fraction oftheir existence.
This is actually the 101st, ifyou can believe it.
101st, 101.
Season, yes, 101st season thatthey've been here, and it's
really quite amazing.
(02:32):
They have been a mainstay ofthe Inland Empire for
generations, so I'm so pleasedto be able to kick off their
next century.
Speaker 1 (02:44):
That is pretty crazy to think, and I know that some
of the other local theaters havehad a couple of decades of of
productions, but to think thisis the 101st season is very,
very impressive.
So well, that's great, and I'msure we're going to do some more
episodes here and we're goingto learn more.
Maybe we'll do a specialepisodes with some of the people
(03:04):
that that work here directlyand that are part of it.
We can 100% that's great.
So here we are.
Speaker 2 (03:30):
This is Agatha Christie.
This is Towards Zero.
We want to hear more about it.
Well, one of the things,speaking of the theater, that
they are known for is they do alot of Agatha Christie here.
They do a lot of murdermysteries in general, but Agatha
Christie, of course, is thequeen of them, so they have done
a lot of her plays over theyears, and one thing they wanted
to do for their 101st seasonwas to do a season of entirely
(03:54):
new shows, at least as far asnew shows to their theater,
because they repeat shows overtheir audience favorites and
stuff like that.
Speaker 4 (04:07):
Their last season, the 100th season, was a um.
Speaker 2 (04:10):
The last 100th season was a retrospective so this is
a kind of a spin on they didshows they've done before.
Yeah, they let.
So they let their patrons kindof choose.
Speaker 1 (04:21):
That's great, their season of past shows that
they've done, but intentional,though.
Yes, that's great, and you'repaying homage to those that have
been here before and thenbringing new stuff on now, which
is fantastic.
Speaker 2 (04:32):
Yeah, starting a new century, new shows.
So they wanted to do a seasonof that and they know Agatha
Christie is popular.
But what are they going to do?
They've pretty much doneeverything she's written.
But I actually brought thisplay to one of the board members
(04:52):
and I said did you know thisplay had actually only recently
been discovered, in the pastdecade?
And it was.
I'll try to give a quick historyof it because it's rather
tortured.
Yeah, uh, but uh, theschubert's, uh, the schubert
brothers, I think I think theyare the famous producers for
(05:14):
broadway right, uh, back in theday, uh, this is we're talking
the 1940s, so we're talkingworld war ii era and agatha
christie's very, very popular,uh, novelist, and she had had
her first Broadway hit, whichwas and Then there Were None in
New York, and it was produced bythe Schubert's and they wanted
to have a follow-up.
(05:35):
So they actually commissionedher to write this script, which
was based on her current popularnovel Toward Zero.
At the time, wow, that wasgetting a lot of good reviews
and very popular.
So they commissioned thisscript and they did a tryout
(05:56):
production in Martha's Vineyard.
So this is actually the onlyAgatha Christie play to actually
make its debut in the UnitedStates.
Wow, they usually start inEngland and then they may
transfer over to Broadway.
Which is what?
And then there were none didRight.
But this is the first one thatactually made its debut here and
(06:17):
just strangely it just kind ofvanished after its initial
production.
The Schubert's apparentlywanted some tweaks before it
went to Broadway.
They had asked Agatha Christieto come to America and perhaps
work with them.
Why it never happened.
(06:38):
She never got there.
It was the end of the war.
Speaker 1 (06:41):
Okay, could have had a bit of a factor.
Speaker 2 (06:43):
Travel was not easy necessarily at that time, and
she was also a very, verypopular novelist.
So she had so many things goingon so it never got produced on
Broadway.
The script just kind of wentback into the archive.
Their option lapsed on it so itnever got produced by them and
(07:07):
it just kind of got lost.
And another author years laterdid an adaptation of his own
Towards Zero and that kind ofbecame the standard version of
it.
If anybody did the show it washis version of it.
Speaker 1 (07:22):
And so when that happened, was Agatha still
around?
Does she need to approve whatwas happening?
Speaker 2 (07:29):
Or her foundation or whoever were her, they would
have needed to approve that.
So it is kind of strange whyshe didn't say, well, I already
have my own script.
Speaker 1 (07:38):
Such a popular name, it's surprising that it doesn't
have.
Speaker 2 (07:41):
Yes, and it's funny because this title has actually
recently become a bit more knownbecause there's a BBC BritBox
series of it that just came outwith Angelica Houston and a few
more prominent people.
And I haven't watched it yetbecause I kind of want to keep
myself pure for this.
(08:03):
Sorry, I don't want to beinfluenced.
And I know they padded outbecause it's like four episodes
or something like that, so it'slonger, but I believe they keep
pretty close to the story.
But yeah, we're excited aboutthat Because it really has only
just recently been available fortheater companies to produce.
(08:25):
So there really are very fewpeople that have seen this
actual production.
Speaker 1 (08:30):
Definitely it's not been done in the Inland Empire.
Speaker 2 (08:33):
No, not that I know of.
I know I think in Long Beachrecently they might have done a
production of this, but it wasnot this particular Agatha
Christie script, Because one ofthe things that's interesting
about this particular versionthe other version is set inside
in like a drawing room.
You know, kind of typical whatyou think of like British you
(08:54):
know, drawing room.
You know they're drinking tea,somebody drops over dead.
But this is set outdoors.
The whole play is set outdoors.
But this is set outdoors.
The whole play is set outdoors.
It's on a cliffside,overlooking Easterhead Bay and
this hotel across the way.
It's called Gull's Nest.
(09:16):
Gull's Nest is the name of thisbig home that's on the cliff,
and so it's very evocative, it'svery atmospheric.
So I'm really hoping that youknow one of the things.
Speaker 1 (09:32):
I neglected to say about.
Speaker 2 (09:32):
Riverside Community Players.
Is it's in the round?
Yeah, so it's one of the fewtheaters in the area.
Speaker 3 (09:36):
I don't know of any other theaters close by Redlands
.
Could technically be it, butit's more, that's.
Speaker 2 (09:41):
Footlighters yeah, they have a.
They're more of a stadium kindof yeah, set up, but this is
completely in the round, so wehave we don't have a lot of
opportunities for set guys.
So you know, we're we're goingto try to do as much as we can
in other ways.
But that is one thing aboutthis theater it's it's in the
round and it's very intimate,like if, if, if you sit in in
(10:01):
watch one of these shows, youalmost feel like you're on stage
with the actors.
It's not that it shouldn'tscare anybody You're not
actually on stage with theactors, but it is a very
intimate experience.
And so if you like kind oftheater like that, where you're
not like miles away from and youcan really see everything and
all their expressions andeverything like that, it's a
(10:24):
great theater.
Speaker 1 (10:24):
Sounds like a wonderful playground for an
actor.
Speaking of which, why don't wetalk with our two friends that
are with us here today and get alittle bit on their background
as well as their involvement onthe current production we're
discussing towards zero?
Speaker 3 (10:39):
Emma, I don't even know what to say, but with
Riverside I wanted to commentthat I think it's the most
immersive and recently I've beendoing a lot of immersive
productions.
So to have that in thecommunity theater in the Inland
Empire, I think it's a greatthing to do.
And it especially gives theguests a look inside.
(11:03):
You know how Chris described it.
We don't make a set, but withhow this theater is and with how
we have the direction and agreat crew, we like this place
has become so many things.
Speaker 1 (11:15):
Yeah.
Speaker 3 (11:16):
But with my background I would say, like
I've been doing this for a fewyears, almost 10.
Yeah, actually no 10.
I lied, I started 17.
And I've actually.
My first show here was inAgatha Christie.
Okay, appointment with Deathwas the first one I did, which
(11:37):
actually, interestingly enough,I think is kind of brings some
similarities to this one which Ireally enjoy, kind of brings
some similarities to this onewhich I really enjoy.
I would tell the audience forthis show, come and be really
surprised that, you know, eventhough it may not have the
famous Perrault, but it has suchgreat characters and it really
(12:00):
she lends each character totheir development.
Speaker 2 (12:05):
Okay, and even though it is a Especially with these
two that I have here today.
They have two of the juiciestparts in the show, because they
shared the same man.
Speaker 4 (12:16):
Uh-oh yes.
Speaker 2 (12:18):
Uh-oh.
Speaker 3 (12:18):
Yes, we have, we are technically both strange
Technically, but yeah, I shouldexplain technically both strange
Technically, but yeah.
Speaker 2 (12:27):
You should explain that perhaps yes, that's their
name yes, it's our name.
Speaker 3 (12:33):
I play the character Kay Strange, which I am, the
second wife to Neville Strange.
Speaker 1 (12:39):
Okay.
Speaker 3 (12:41):
Would you?
Speaker 2 (12:42):
say maybe he was the Tiger Woods of his day.
Speaker 3 (12:47):
There is a little bit of golf in here.
Speaker 2 (12:49):
Juicy, juicy, juicy.
He's famous.
His character is famous.
Speaker 3 (12:53):
He's a bit of golf.
Speaker 2 (12:55):
Yeah, and perhaps a little bit of cheating.
Speaker 4 (12:59):
Just a womanizer, that may have happened.
Speaker 2 (13:02):
Maybe a little bit of overlap he's, he's, he's a very
, uh, he's, he's a ratherwell-known, okay, sports figure.
God you know who, kind ofalmost all around you know he
does all sorts of things, uh,but anyway, he k is his second
wife, his second wife and andveronique plays audrey, his
first wife, and he's trying tobring them together to be
friends Wonderful.
Speaker 4 (13:22):
And why would he want to do that?
What?
Speaker 2 (13:26):
Why would anybody want to do?
Speaker 4 (13:27):
that.
Why would they?
Speaker 2 (13:28):
Especially with these two, well, kay is.
A cat.
Talk about Kay a little bit,maybe Emma, because she's
interesting.
Speaker 3 (13:35):
Yes, Kay is very interesting.
She is very stubborn.
She's a strong-headed woman whoknows what she wants.
Speaker 1 (13:43):
Okay.
Speaker 3 (13:44):
And regardless of whoever is married to her, in
charge of her, she will get herway and she knows that.
But you get to kind of see inthis show a bit of, I would say,
a breakdown of all of that.
I think what's reallyinteresting about this show
again is looking at this fromlike a psychology point of view.
(14:05):
There are, so there's againthey're such meaty, juicy
characters in that she made themwell-rounded.
I think a lot of characterssometimes are very one note,
this is them and a lot of peoplecan just be like okay, well,
she's like the villain or he'sthe hero.
This one is very leveled andwith Kay, I believe she's young
(14:29):
but she's smarter than I thinkmost people think she is Okay
and she may put on more of afacade than we give her credit
for.
I really adore this character.
She can be a lot of fun but shecan be really serious at times,
um, but she, she can be caringas well.
(14:55):
I think a lot of people whenthey see the show, I want them
to go on the journey with herbecause there's a lot that she
has to grow up and go through.
But I think you know,especially back in those times,
women, we knew our place or wefelt a certain way about who we
were and the housewife or thisor that.
(15:16):
But with, I think, even thesetwo characters you kind of see
the heart of them, that I thinka lot of people like a lot of
characters that I've seenrecently in Murder Mysteries you
just kind of see, like I said aone note.
But Agatha Christie does such agood job in getting to the
(15:38):
meaning of these characters andwhy they're in, like what
conflicts are in, and givingthem a purpose.
Speaker 2 (15:44):
Beyond, just as suspects.
Speaker 3 (15:46):
Yes, yeah Well.
Speaker 1 (15:47):
I think the character's in good hands,
because I've known you for anumber of years and I've seen
several of your productions, andso I'm very excited to see this
production and to see you at adifferent theater, because all
of the times I've seen you havebeen at the 7th Street.
Speaker 3 (16:01):
And.
Speaker 1 (16:01):
I know you've done work at some of the other
theaters as well too.
Speaker 3 (16:04):
I've done.
Yes, Technically, my firstproduction was actually at
Rialto Community Theater.
Speaker 1 (16:09):
Okay.
Speaker 3 (16:10):
It was a production of Little Shop of Horrors.
I was ensemble but I loved itand it was so much fun.
And then I got into Farce,which was extremely fun.
Speaker 1 (16:20):
Yes, I love.
Several of the productions I'veseen have been farce that
you've been on A little funny,but I know our characters in
good hands and I've known youfor a while and I appreciate you
giving us that insight.
But this is our first time thatwe've been able to meet, so I'd
love to hear a little bit aboutyour journey to your character.
Speaker 4 (16:42):
Oh well, boy, my journey to my character.
I mean, I've loved acting sinceI was little and I've started
my community theater career in2017 at this theater with
Dracula.
That was very fun.
I got to be British and that'smy heart's content.
I've done a few things atRedlands, one at Rialto and
(17:11):
mostly here.
I really enjoy this round.
Everyone asks me about tryingfilm.
I don't like film, I don't likethe camera, but I do feel like
this theater is as close as youcan get to being on stage, is
what it feels like to be on film, because it is so intimate.
Speaker 1 (17:22):
I love that.
I love that description, and soI would love to hear about some
of the other characters, ormore about a little bit of your
history, since I've not had thehonor of seeing you perform yet.
Speaker 4 (17:35):
Oh well, I.
Speaker 2 (17:36):
She's a star here.
She'd probably be embarrassedfor me to say that, but she's
been in a lot of shows this yearand she's a favorite.
I love that.
She's spectacular.
Speaker 3 (17:45):
She really dives into each character and works off of
like the person who's on stagewith them.
I feel like a connection isalways there when I walk on
stage with her.
Speaker 2 (17:57):
Emma, thank you, you're welcome and she's very
she's just a very sensitiveactress and this part that she's
playing is especially sensitiveand I knew that I needed
somebody that would be able torespond to that and who could
handle such a sensitivecharacter with sensitivity I'm
(18:19):
saying that word way too much,but still, you know what I mean
Like these kind of roles couldbe done in a crude or, you know,
just in a way that, yeah,that's just not fair, or to the
character.
And, like Emma said, these arenot just one note characters and
(18:42):
I wanted to make sure that wehad people that can find all the
layers to it, even if we can'talways reveal all the layers all
at once, right, but and Audreyis certainly one of the most
mysterious characters thatyou're just kind of wondering-
so Audrey Strange.
Speaker 4 (18:59):
Audrey Strange.
Speaker 1 (18:59):
And in in line of wives is she.
She's number one, number oneGot it?
Speaker 2 (19:06):
Yes, in many ways yes , I think.
Speaker 1 (19:09):
And is were you familiar with this production at
all before you auditioned?
Speaker 4 (19:14):
Not at all.
I've honestly had a little bitof a lower opinion of Agatha
Christie.
Okay, because I've never workedon an Agatha.
Speaker 1 (19:22):
Christie, that's going to be my next question, so
I'm glad that you shared thatwith us.
Speaker 4 (19:26):
Last year I assistant directed at Footlighters and I
was very sad to not have been onstage.
I couldn't believe that Idecided to assistant direct
instead of audition.
Um, and I knew that I wouldlove to work with Chris Steele.
Um, he's the King of Agatha I I.
I've almost worked with himbefore and we won't go into that
(19:49):
right now, but, um, I'm reallygrateful to be able to be under
his direction.
He he has a very in the in themost constructive sense, a very
critical eye and he really wantsthe show to be exactly what his
vision is.
And it only because he can seeit so clearly and then he's able
(20:09):
to express that to us andthat's amazing as an actor, to
know what I'm supposed to bedoing.
I mean, the text gives youenough, but it's very helpful to
know the meaning behind it forthe entire show.
When you're just looking atyour own lines, you're focused
on what you're doing, butgetting blocked on stage is, I
(20:30):
mean, it's been very we're donealmost yeah, yeah.
For the meat of it, we are done.
Speaker 1 (20:36):
And your production doesn't open until the 29th of
August.
Speaker 2 (20:40):
Right, so you're in a good spot.
They still have to be off book.
Speaker 1 (20:43):
Yes, right.
Speaker 2 (20:45):
So, as you know, that's a journey in itself.
Yes, it is.
So that's where the real funbegins, and I'm glad to hear you
say that, veronique, becausesometimes you sit and you're
like, should I just let themkeep going or should I say
something here?
Should I stop them?
(21:06):
Am I not letting them haveenough freedom to explore some
of these scenes?
And hopefully I feel like Igive there's freedom within a
framework.
Speaker 3 (21:21):
Yes.
Speaker 2 (21:21):
I'm hoping that that's kind of what my goal is
that I show them what I want andthen within that I kind of let
them go, with maybe sometimespushing them in certain
directions at certain times, butI always want it to be a
collaboration.
I've had directors that havejust told me this is what you're
(21:43):
doing and if you challenge them, it's almost like they just
don't hear you, and I've been inthat situation as an actor and
I never want to put my actors inthat situation.
So I try even if they ask mesomething and I know that it's
not what I want I try not toshut them down immediately and
(22:05):
always want to work with acompromise, because you don't
want your actors to go on stagehating something that they're
supposed to do, that you wantthem to do and they do not want
to do it.
Speaker 1 (22:14):
And sometimes in the process.
It's nice for them to find thatdirection there, maybe without
from you, and maybe if you knowthat they're going to get there
eventually, it will help them toabsorb that during that process
.
I've had a great experiencewith Chris.
I've only acted a couple oftimes and you were the director
of the first production that Iwas in, so I appreciate that,
and I was an adult, very mucholder, had never acted I'd been
(22:37):
a performer, you know, as amusician but the kids were very
involved and so Chris and I hadthe opportunity to work there
and it was a fantasticexperience.
So I hear what you're saying,because there was a lot of
nerves on my part, because I wasnot a trained actor per se I
didn't mind being on stage,things of that nature, but it
definitely.
I felt like you gave us theopportunity to be a part of that
(23:00):
character.
While giving us the directionsthat were needed, you allowed us
to give it a little bit of ourpersonality and help us to find
those, those, those parts orthose characters.
Speaker 2 (23:12):
So that's great.
Speaker 1 (23:12):
I appreciate that you do that and I think being an
actor as well has helped.
Speaker 2 (23:16):
Yeah, and I can tell you that the nerves never really
leave you.
With every new production thatyou're in as an actor, it you
feel like you're starting over.
You're just on the ground flooragain, and and so I know that
you know so.
Every time I work with peoplethat I've worked with many times
, like Emma, you know I'm alwaysamazed that when she seems like
(23:38):
she's like it was like, okay,you know, am I doing all right?
No, like, of course.
Like you know, I've worked withyou so many times like you're
brilliant, you know how did theynot know that?
But you know, you have to betold these things.
Speaker 1 (23:49):
That's good, though if you know that your actors are
feeling that with each time.
I mean, I know that as aperformer, like if I go out and
I don't feel the excitement orthe nervousness, something's
probably not right.
That energy is really what getsus out there.
So who else do we have in thecast?
How large is the cast, and arethere other people you want to
(24:09):
mention?
Speaker 2 (24:10):
It is, I believe, 13.
Okay, so it's a rathersubstantial cast for a play,
yeah, and especially for thisrather small, intimate space.
I don't think there's ever ascene where everybody is on
stage.
I think it's the curtain call.
It's basically the first timeeverybody's on stage at the same
time, everybody's on stage atthe same time.
(24:31):
But we have several people thatare kind of mainstays here at
Riverside, like Rory Dyer, whoI've worked with before and
she's wonderful.
She plays Lady Tresillian.
She's the kind of matriarch ofthe place that we're at, so it's
her home that she's coming toand she's a very home that she's
(24:54):
coming to and and she's, she'svery, very colorful character,
Love her it's perfect becauseshe's the president of Riverside
Community.
Speaker 1 (24:58):
Players.
Thank you, love it.
Thank you for mentioning that.
Thank you for bringing that up.
Speaker 2 (25:00):
That's fantastic.
Yes, and help, help me out.
We have a Mark Anthony Flynnwho plays.
In fact he was in our if yousaw the Poirot double bill here,
he was in that, along with Emmaalso was in that, and he plays
Neville.
We've already talked aboutNeville.
And who else?
(25:22):
Ralph Griffey is playing ourIrish butler.
We have a lot of accents inthis show.
Speaker 1 (25:29):
Typical.
Speaker 2 (25:29):
Agatha Christie.
We have Scottish yeah, we haveScottish, we have Irish and we
have lots of various English,various English yes, for sure.
And we have a few people fromthat were recently in man of La
Mancha.
Speaker 4 (25:48):
Including Rory.
She played Sancho, and then wehave Marlon Kane, who played Dr
Carrasco in man of La Mancha,and then Aaron.
Speaker 2 (25:58):
Ramos.
Thank you and.
Speaker 4 (25:59):
Aaron Ramos, who was a very terrifying Inquisition
member muleteer.
Yes, he had a mask on theentire time and now I get to see
his sweet face as the sergeant.
Speaker 1 (26:12):
He's such a dear, I love him, so it sounds like you
have a pretty experienced cast.
Speaker 2 (26:14):
Yeah, any newbies or everyone.
Speaker 1 (26:17):
Well.
Speaker 2 (26:18):
Alison Harris.
She has, I believe, only doneone other show, okay, and it was
a murders announced here atRiverside Community Players.
So another Agatha Christie.
So she's come out and I'mthrilled to have her.
She's excited to be back on thestage and Mark Robertson is I
(26:40):
don't know if he's ever done ashow at Riverside.
He's directed Christmas Caroland he had to step in as
(27:06):
Cratchit Okay scenes with Audrey, and you know he in fact he's
the one that gives the show itstitle.
Kind of the general conceit ofthe show is Angus's, where he
says he thinks murder mysteriesare done all wrong, where he
says the murder should be at theend instead of the beginning
and that the most interestingparts are all the things that
(27:30):
lead up to a murder.
And he's kind of like, you know,scream years later where
characters in Scream are talkingabout the tropes of their own
genre that they're in.
You know, and that's exactlywhat Angus is doing you know
decades earlier where he'stalking about murder mystery
tropes and his own theory aboutmurder mysteries and basically
(27:51):
setting the audience up for whatthey're about to see.
Speaker 3 (27:54):
Really, and I would say that with this one, like
actually speaking of that, Ifeel that this one, each of our
characters, is very much what Iwould call a murder mystery
trope, but with such detailBecause Agatha Christie didn't
really.
You know, this was years beforeScream, this was years before.
You know, the prom queen, theTexas.
Speaker 4 (28:14):
Chainsaw Massacre.
Speaker 3 (28:15):
Exactly Like.
So I think what she did was shelike again we, she is the queen
of mystery and murder mysteryand what she does with each of
the characters.
Now, thinking about it, it'svery much that she could have
given Kay just such a one note.
Audrey's such just you're justmysterious, whatever.
And then Angus, even like likeAngus and Audrey, you can kind
(28:39):
of see the mystery between them.
But again she delve into it.
She delve into her like thoughtprocess and really gave us such
amazing work to work with.
Speaker 2 (28:53):
And I don't think you know where this is going.
Like, I think I feel like inintermission people are going to
be like where is?
this going, Like what's going tohappen?
It's, it's interesting, but youjust don't see, like, like with
the typical murder mystery, youthink of people, you know, like
I said, sitting around drinkingtea, somebody dies, an
(29:15):
inspector's on the scene, theyinterrogate everybody and then
you have a solution at the endwhere he gives the big solution.
That is not what this is at all.
So if that's what you thinkyou're coming to, you'll be
pleasantly surprised, I think,Because at a certain point
you're just gonna be like, whereare these, where is this going?
What are these characters?
And you really are not sure.
And that's what I love about it, one of the things that I love
about it.
Speaker 1 (29:35):
What I'm excited about is I wouldn't say that I'm
an Agatha Christie aficionado,but I grew up watching various
different Poirot movies orseries and so you kind of have a
you know the popular ones, Iguess I'll say that and you kind
(29:56):
of have exactly like you say,you know the formula.
What I'm excited about this isI know nothing about it and so,
like I might have a preconceivednotion in that it's Agatha
Christie, so I'm going to belooking for those things, but I
don't know what happens when Isee any other Agatha Christie.
I know what happens, so I'mcritiqu be looking for those
things, but I don't know whathappens when I see any other
Agatha Christie.
I know what happens, so I'mcritiquing the performance or
the delivery of it.
So I'm excited for you guys, inthat your audience gets to not
(30:19):
only see your wonderfulperformances but they get to
learn about this actualproduction that doesn't have,
say, the popularity as some ofthe other stuff, the popularity
as some of the other stuff.
Speaker 4 (30:42):
So that's got to be fun as actors to kind of know
that you have the ability tocreate that character per se, in
that you haven't looked at 15other adaptations of it, if that
makes sense.
And even since there are, Imean I tried to watch the
Brickbox one and I don't know ifwe should say that Angus is not
in that.
Speaker 3 (30:49):
Yes, there's so much that is actually like they've
added too much.
What I feel is a little likethis one, like how I think chris
picked the perfect where it'sthe amount of characters you
want to like invest in.
It's not like other little ministuff that you're like wait,
hold on.
Where are we?
Speaker 4 (31:06):
going with this, but well yeah, it's, it's not, it's,
it is.
I think it's beyond a murdermystery.
It is that meta kind of I mean,and especially in this space.
I mean with all the sound.
I know Chris keeps telling usto be louder in rehearsal
because we're going to haveoutdoor sea sounds.
Speaker 2 (31:25):
Yeah, gull sounds.
It's called Gull's Nest, so wegot to have gulls.
Speaker 1 (31:28):
Well, let's transition into that, because of
this is our first episode hereand we have not seen a
production.
That's me Sorry.
I would love to know how areyou going to accomplish that in
the round and how much of theaudio and the video and
costuming and props and thingsof that nature are involved to
get the story across.
Things of that nature areinvolved to get the story across
(31:49):
.
Speaker 2 (31:50):
Well, we're going to do our best.
As far as you know, the roundgoes, we have Patricia
Scarborough is right out there.
She's working on our wonderfulstage floor because that's one
of the things that can be.
A star at Riverside CommunityPlayers is a great stage floor
because everybody's kind ofsurrounding it and looking down
on it.
So we're outside, so we have alittle grass, we have some patio
(32:14):
, we have the wonderful CarrieJones, who is a brilliant scenic
artist, who does work at UCRand also Rialto Community
Players, and she's done stufffor me at Chino Community
Theater, but she's wonderful andshe's going to help create some
(32:37):
of the.
There's not a whole lot ofplaces where we can put, kind of
you know, a backdrop, right,but we do have one little place
that we can show, you know, thewater and the hotel across the
way that we talk about so much.
And then you know Kylie Reeves.
So she's done so much with meand I drug her to this show and
(33:04):
she's going to work some of herlighting magic and you know, to
try to make it.
As you know, we have one thingwe have an impending storm in
one scene that I really love.
So you know we're going to havea lot of thunder and lightning
and so we're going to do ourbest.
You know this is not the sphere, you know.
So there's.
(33:24):
You know we're a little limitedto what we can do in that
regard, but we're going to tryto do our best as far as to make
it as atmospheric as possibleand evoke the outdoor setting.
Speaker 3 (33:33):
Yeah, and to go with what Veronique was saying
earlier about your direction,like to just kind of give you
even more credit.
Where you need it is that youhave such a critical eye in
seeing where we've been too long, because that's the thing.
And in the round you have to beconsistently moving so everyone
can feel and see what thatspecific character is doing and
(33:54):
feeling and going through.
And, like we were discussingearlier, you, chris, bring up
discussion versus, I think, anargument.
I think that's a big thing thata lot of directors have a hard
time with.
It becomes either an argumentor a discussion With Chris.
It's always a discussion.
It's always oh, hey, I just Ithink we need to move you or we
need to do this and you, youhave such a great eye for the
(34:16):
round and I've just I've I feelso comfortable and I like not
only with the actors but withyou like it's hard, it is
extremely hard, I feel, to be inthe round and I think what the
best thing is is he willconsistently move throughout
rehearsals, like one time he'lljust be at one spot and then
other time like he'll move.
Speaker 1 (34:35):
Become an audience member at each part of the
theater to understand how it'sbeing received.
Speaker 2 (34:40):
As an actor, you just like.
There are times where I saidyou know whoever I'm talking to.
(35:02):
I've seen your back for the lastfive minutes, you know and it's
a beautiful back, but yeah butif you're an actor and you're,
you know, kind of in the zone,you're not going to think of
those things necessarily, butyou do in this theater and you
kind of have to drum it intosome people's heads that you
just always have to.
The audience is really part ofthe show here and you really
(35:25):
have to take the audience intoaccount at all times.
And it's especially that's truefor anything theater, but
especially here.
Speaker 1 (35:36):
Your acting is.
I mean, you can't hide behindthe set.
You can't hide behind anything,You're right out there.
You're right out there.
Speaker 2 (35:46):
Sometimes they're within inches from you, Like if
you're sitting, you know, on alittle table on the side of the
stage, they could be just aninch from you.
And so that's even true of ourprops.
We have to make sure our props,if they're reading a newspaper,
it can't be the Daily Bulletinyou know, with a pasted headline
on.
It has to look real and so itchallenges you for sure, and
(36:08):
thankfully we have a great Ihave a great crew, that's-.
Speaker 1 (36:12):
Did you mention who's doing costuming?
Speaker 2 (36:14):
Rory is she-.
Speaker 4 (36:16):
Fabulous.
Speaker 2 (36:17):
And she has such an eye for this period too.
And in fact, behind you rightnow is the costume and if you go
in there it's almost like itsuddenly all pops out.
Speaker 4 (36:28):
It's amazing how much and it's dedicated to her
father.
Yes, it's the Dyer CostumeLibrary.
Speaker 1 (36:35):
So by your reaction I'm assuming you've worked with
her before and you don't reallyneed to say anything to me,
because I saw your reaction whenyou said her name, Chris.
But I mean, tell me more abouthow you've worked with her
before and what she's been ableto accomplish.
Speaker 4 (36:51):
Well, I first worked with Rory as a costumer and she
costumed me in Little Women atRedlands Footlighters back in
2022.
Speaker 1 (36:58):
Okay.
Speaker 4 (36:58):
And she was just.
I mean, she's lovely and I saythis with so much love.
She's the most curmudgeonlylovely lady and she is just Got
so much on her plate.
She cares so much about thistheater and does so much for it.
Usually she'll come out andshe'll do the greeting welcome
to everybody, but when she's ina show she will give that up,
(37:20):
hopefully, Especially doing thisshow, being in it and costuming
.
I've never really seen her dothat before.
It's either one or the other.
Speaker 2 (37:28):
Well, she doesn't have to worry about blocking for
this one.
She's in a wheelchair the wholetime, so she just gets pushed
around.
Speaker 3 (37:55):
That's what you know, younger lover and she, from
scratch, sewed this gorgeousdress and I was so obsessed and
I was like, is there any way?
Any way I could get it.
Speaker 1 (38:09):
And she was so sweet she let me buy it.
Speaker 3 (38:11):
But again, it's just she, like Chris said, she has
such an eye for each era andalso, very like Chris, gets
people who are very critical,just as he is, so that he can
get the best of the best.
And even the costumes that shehas had us try on just recently
are perfect, even, like you know, just discussing, she was
(38:34):
talking even about the length ofsome dress.
She's like I don't even knowabout this, is it too long, is
it too short?
She's very, very particular andeven just like, even though
she's in the show, she's stillseeing like each character for
who they are and what they wouldhave.
Like I would say Kay is veryfashion forward.
She very much is probablyreading every magazine she can
(38:57):
get and making sure that she hasshe's on the trends, like she's
.
Honestly, she'd probably be aninfluencer if she was here today
, but with Audrey it's a very,you know, different.
She's Rory's very particularabout making sure every
character has their particularstyle Because it just, you know,
sometimes you go into a showand you watch and if the
(39:18):
costumes aren't what they are,it's like, well, I'm not
involved.
And even with props, like youwere saying, like if we had like
a magazine that said like TMZ.
It's like, well, okay, what eraare we in?
Speaker 2 (39:30):
It's very easy to get pulled out of the story.
You know so.
If everything is right, youjust don't want to do that.
You know I hate this phrasewhen people say, well, if
they're looking at this, thenwe're doing something wrong.
Well, somebody's always lookingat that.
There's always an eye that'sgoing to something.
Speaker 1 (39:49):
And you're in the round.
Speaker 2 (39:50):
And if you can do it.
You know like sometimes yourbudget.
You know you can't always doeverything you want to do, but I
always like to see that peoplehave tried.
Speaker 1 (39:59):
Yeah.
Speaker 2 (40:00):
You know, and I feel like we try, we at least try.
Speaker 1 (40:04):
And what's amazing for me to hear and you know,
being a part of so manydifferent of these episodes but
also productions at the 7thStreet Theater that community
and the people that it takes tomake it happen.
Just before I came here, I washelping with one of the
children's which was just like aweek-long camp thing, and then
(40:25):
they do a little production atthe end.
Who knows, one of those 25 kidsmay be that next superstar
actor that's out there, and soyou hear these stories at all
these community theaters acrossnot only Inland Empire but all
over the place in Europe,because we know we have a lot of
listeners in Europe.
Sorry, I'm doing a realstraightforward plug here.
(40:46):
Theater to the next level,right, make community community
and allow the patron to come inand forget everything that's
going on and be immersed in thisAgatha Christie production or
Seussical or whatever it may be.
You want to just forget aboutthat stuff.
And so costuming, lighting,audio, set, props, all of those
(41:08):
things are so important, so-.
Speaker 2 (41:11):
May I mention a couple people that I have out.
Speaker 1 (41:13):
I was just going to ask you is there other people
that we need to talk about?
Speaker 2 (41:17):
Well, we have Philip Kaczynski who's playing Thomas
Royd.
We love Philip.
We have Charlotte McKenzie, whoshe is another one who's done
so many things here and she'sCollie.
She plays Lady Tresillian'scompanion.
Okay, and she's very funny.
Speaker 4 (41:36):
She's a wonderful board member as well.
Love that.
Yes, yes.
Speaker 2 (41:39):
And I also have Takira Williams.
She's playing Dr Wilson and Ithink that is it.
Speaker 1 (41:46):
I think I hit everybody else and I apologize
to anybody in the cast if Iforgot you Cast crew and
especially this theater as well,which we're so very excited to
have been able to do our firstepisode here.
So you guys open the 19th andyou no, no no, no 29th 29th
sorry, that's why I probablyshould have looked down here at
my notes and it goes throughSeptember 14th and tell us how
(42:10):
we can get tickets.
Speaker 2 (42:12):
Well, you can go on the Riverside community players
a website.
You can also find them onFacebook or Instagram and they
and they always have like a QRcode that they post on on their
social media things.
So it'll take you right to beable to purchase the tickets or
you can call them, and I'm surethe number is.
The number is on that piece ofpostcard you have there, our box
(42:35):
office is area code951-686-4030.
Speaker 1 (42:40):
Again, that number is 951-686-4030.
Speaker 3 (42:45):
And the times have changed as well.
Speaker 1 (42:48):
Thank you for bringing that up.
Yeah, because I'm reallyappreciative of how much we've
(43:23):
been doing it on Facebook andsocial media.
Thank you for bringing that up.
Yeah, the 30s panelists let usknow what's going on in your
country, because we want tolearn about community theater
outside of the us as well.
We want to thank all of ourlisteners, as always, for tuning
in.
We want to thank our guestshere today for spending some
time to give us a little bitmore about towards zero, chris,
anything you want to leave uswith uh, no, uh, except, come to
(43:47):
the show.
Speaker 2 (43:47):
It's going to be great.
Check out the riversideideCommunity Theater, riverside
Community Players social mediaaccount, because they do do.
We will be having a video kindof promo of our show.
So if you cannot come to see it, if you are one of the European
listeners or whatever and youcheck out the video, you can at
least get a little taste of theshow and what we're doing.
Speaker 1 (44:10):
Thank you for bringing that up, Ladies.
Anything else you want to?
Speaker 4 (44:15):
I do have something real quick.
I had a realization last showdoing man of a Mancha Um it, it
wasn't really my favoriteexperience.
I love that show a lot and as Iwas going out there to do it,
um, I realized we had it was ashow full of members Not members
(44:35):
, they're season ticket holders.
Speaker 1 (44:37):
Okay.
Speaker 4 (44:38):
And I realized, oh, this is like Netflix.
What we're doing this is asubscription service.
You don't have to watch Netflixfor the month that you.
You don't have to come to thisshow, this man of La Mancha but
there are people that do.
There are people that click onthe latest Netflix thing that
they're going to see andsometimes it's good, sometimes
it is what it is, and I justthink it's really interesting to
(45:00):
think of what we do atCommunity Theater as a
subscription service to sell, toget an idea, to sell more of
that season ticket holder.
It's a good deal.
Sell more of that season ticketholder it's a it's a good deal.
The season tickets, it's like40, maybe 65 dollars for tickets
to five shows which are 20 ofpop yeah, I mean, you can't beat
that you know, and it'scommunity theater.
Speaker 3 (45:24):
I think the biggest thing for, uh, like I would, my
last thing to say is that thisis community theater.
Please come and support the.
This is where most people start, um, and get their passion and
their love, and I am so gratefulfor such an amazing and
talented welcoming cast, andthank you, chris, for this
opportunity again.
Um, and yeah, I think this is a.
(45:45):
This is you had said earlier.
It is not the formula thatagatha usually does.
Speaker 2 (45:50):
So I think to you know, get a fresh take on her,
if you may not like formula thisis not formula and to enjoy
that kind of aspect of her justwanted to give a little plug to
(46:13):
community theater in general,because sometimes it gets a bad
rap and because it is the placewhere people start and because
it's in perhaps a smallercommunity or it doesn't get the
same funding or budgets that youknow professional theaters get.
You know the Geffen or whereverPantages I've seen some of the
best theater ever that I've seen.
(46:36):
You know.
I've seen Broadway.
I've seen the West End.
I've seen, you know,professional shows in LA.
One of the performances here,terranova that they did quite a
few years ago was incredible.
It was one of the best actedshows I've ever seen and it was
just amazing.
And I've seen so many amazingcommunity theater productions
(46:57):
and that people are shocked thatyou know this podcast started
over in 7th Street and Chino butthe other drama departments.
Speaker 1 (47:17):
But seeing all the people that are listening to our
episodes all across the countrybut all across the world.
We know there's an audience outthere.
We know there's a biggeraudience that hasn't had the
pleasure of experiencing some ofthese moments.
I'm a sports guy, I guess, iswhat you would say.
That's why I grew up right.
I didn't start acting until Iwas in my late 40s, as we
(47:40):
mentioned.
My children were all involvedand that's how I got involved.
Speaker 3 (47:44):
And they're extremely talented.
Speaker 1 (47:46):
Well, I'm biased and I'll receive that, share that
with them and appreciate that.
And they are talented and I amvery proud of that.
But I'm proud of all thefriends that I've made over the
course of this oh, just under 10years that I've been involved.
But I don't see a future thatI'm not involved one way or
(48:06):
another in community theater.
My job is in tech so I get toput on shows all the time, but
there's nothing like thismorning going in firing up that
system and seeing 25 kidsprobably most of them their
first performance ever and theirfamilies.
(48:27):
They're just absorbing this onthis beautiful stage with lights
and and in all the number ofproductions that I've seen.
So I thank you so much, chris,for bringing that up, because I
think it's so important and Idon't think we get as much love
as we should on the communitytheater side.
But we're growing and peopleare telling two friends and
telling two more friends and soon and so forth.
Speaker 3 (48:48):
You can find love there too.
I mean, I'll say, some peopleare a result of that.
Speaker 2 (48:54):
We've had some marriages at Chino Community.
Theater I don't know if they'vehad them here, but yeah, it
certainly brings people together.
Speaker 1 (49:02):
So thank you everyone .
Community Theater brings peopletogether.
You're going to see an amazingproduction here.
Thank you so much to our guests.
Thank you so much to Riversidefor supporting the community
theater world and listeners.
Come get your tickets, come bea part of this, go to wherever
you're from, go support yourlocal theater, community theater
(49:23):
at your schools.
Go see your kids' plays, enjoyit, support it.
Thank you everyone.
Have a great day.
Speaker 2 (49:29):
Thank you, Kirk, for letting us be your debut.
Speaker 1 (49:42):
Thanks, kirk, thank you everyone.
Have a great day.
Thank you, kirk, for letting usbe your debut.
Thanks, kirk.
Thank you.
Or visit our website.
Steps to the Stage was createdby Joey Rice and Kirk Lane.
Logo created by Marlee Lane.
Original music by Joey Rice.
Executive producer, editor andsometimes host, kirk Lane.
All righty, we are recording.
Speaker 2 (00:02):
There's no inner peace in this show, so you're
totally fine.
Speaker 1 (00:06):
So we've started off properly.
Yes, exactly.
All right, I love this.
Welcome to Steps to the StageInland Empire, where we talk to
the community theaterprofessionals from the vibrant
Inland Empire theater community.
Welcome to Steps to the Stage.
My name is Kirk Lane and I'llbe your host today.
(00:27):
We'll be talking with thetheater professionals you know
and love.
We're really excited becausetoday is actually our premiere
episode of what we're going tobe calling Steps to the Stage
Inland Empire or Steps to theStage IE Inland Empire or Steps
to the Stage ie.
As you all know, we primarilyhave been covering productions
(00:48):
at the local theater in Chino7th Street, but we've also
expanded into our dramadepartment.
We want to give some more loveto the whole theater community
in the Inland Empire because itis thriving and has been
thriving for long before I camealong, and so we're really
hoping that now, as we expandinto some of the other theaters
within the Inland Empire, we canget some more involvement, we
(01:08):
can learn some more abouttheater and really just get
people out to see these amazinglive productions at multiple
different theaters and venuesthroughout the Inland Empire.
So today we're really excitedbecause we are at the Riverside
Community Players Venue and wehave a really cool.
(01:29):
Really cool because I'm justfinding out before we got on the
air that this is something thatreally has.
It's an Agatha Christieproduction Towards Zero and it
hasn't really been out there.
That much.
Am I getting that correct?
You are correct.
All right With us.
We have Chris who is ourdirector, we have Veronique who
(01:51):
is part of the cast, and we haveEmma who is part of the cast,
and we're going to be talkingabout this amazing production
today as well as a little bitabout this theater.
Chris, I know you've done someproductions here before.
Speaker 2 (02:12):
Why don't you give us a little bit of an intro to the
Riverside Theater?
Well, I've only been workingwith the Riverside Community
Players for a small fraction oftheir existence.
This is actually the 101st, ifyou can believe it.
101st, 101.
Season, yes, 101st season thatthey've been here, and it's
really quite amazing.
(02:32):
They have been a mainstay ofthe Inland Empire for
generations, so I'm so pleasedto be able to kick off their
next century.
Speaker 1 (02:44):
That is pretty crazy to think, and I know that some
of the other local theaters havehad a couple of decades of of
productions, but to think thisis the 101st season is very,
very impressive.
So well, that's great, and I'msure we're going to do some more
episodes here and we're goingto learn more.
Maybe we'll do a specialepisodes with some of the people
(03:04):
that that work here directlyand that are part of it.
We can 100% that's great.
So here we are.
Speaker 2 (03:30):
This is Agatha Christie.
This is Towards Zero.
We want to hear more about it.
Well, one of the things,speaking of the theater, that
they are known for is they do alot of Agatha Christie here.
They do a lot of murdermysteries in general, but Agatha
Christie, of course, is thequeen of them, so they have done
a lot of her plays over theyears, and one thing they wanted
to do for their 101st seasonwas to do a season of entirely
(03:54):
new shows, at least as far asnew shows to their theater,
because they repeat shows overtheir audience favorites and
stuff like that.
Speaker 4 (04:07):
Their last season, the 100th season, was a um.
Speaker 2 (04:10):
The last 100th season was a retrospective so this is
a kind of a spin on they didshows they've done before.
Yeah, they let.
So they let their patrons kindof choose.
Speaker 1 (04:21):
That's great, their season of past shows that
they've done, but intentional,though.
Yes, that's great, and you'repaying homage to those that have
been here before and thenbringing new stuff on now, which
is fantastic.
Speaker 2 (04:32):
Yeah, starting a new century, new shows.
So they wanted to do a seasonof that and they know Agatha
Christie is popular.
But what are they going to do?
They've pretty much doneeverything she's written.
But I actually brought thisplay to one of the board members
(04:52):
and I said did you know thisplay had actually only recently
been discovered, in the pastdecade?
And it was.
I'll try to give a quick historyof it because it's rather
tortured.
Yeah, uh, but uh, theschubert's, uh, the schubert
brothers, I think I think theyare the famous producers for
(05:14):
broadway right, uh, back in theday, uh, this is we're talking
the 1940s, so we're talkingworld war ii era and agatha
christie's very, very popular,uh, novelist, and she had had
her first Broadway hit, whichwas and Then there Were None in
New York, and it was produced bythe Schubert's and they wanted
to have a follow-up.
(05:35):
So they actually commissionedher to write this script, which
was based on her current popularnovel Toward Zero.
At the time, wow, that wasgetting a lot of good reviews
and very popular.
So they commissioned thisscript and they did a tryout
(05:56):
production in Martha's Vineyard.
So this is actually the onlyAgatha Christie play to actually
make its debut in the UnitedStates.
Wow, they usually start inEngland and then they may
transfer over to Broadway.
Which is what?
And then there were none didRight.
But this is the first one thatactually made its debut here and
(06:17):
just strangely it just kind ofvanished after its initial
production.
The Schubert's apparentlywanted some tweaks before it
went to Broadway.
They had asked Agatha Christieto come to America and perhaps
work with them.
Why it never happened.
(06:38):
She never got there.
It was the end of the war.
Speaker 1 (06:41):
Okay, could have had a bit of a factor.
Speaker 2 (06:43):
Travel was not easy necessarily at that time, and
she was also a very, verypopular novelist.
So she had so many things goingon so it never got produced on
Broadway.
The script just kind of wentback into the archive.
Their option lapsed on it so itnever got produced by them and
(07:07):
it just kind of got lost.
And another author years laterdid an adaptation of his own
Towards Zero and that kind ofbecame the standard version of
it.
If anybody did the show it washis version of it.
Speaker 1 (07:22):
And so when that happened, was Agatha still
around?
Does she need to approve whatwas happening?
Speaker 2 (07:29):
Or her foundation or whoever were her, they would
have needed to approve that.
So it is kind of strange whyshe didn't say, well, I already
have my own script.
Speaker 1 (07:38):
Such a popular name, it's surprising that it doesn't
have.
Speaker 2 (07:41):
Yes, and it's funny because this title has actually
recently become a bit more knownbecause there's a BBC BritBox
series of it that just came outwith Angelica Houston and a few
more prominent people.
And I haven't watched it yetbecause I kind of want to keep
myself pure for this.
(08:03):
Sorry, I don't want to beinfluenced.
And I know they padded outbecause it's like four episodes
or something like that, so it'slonger, but I believe they keep
pretty close to the story.
But yeah, we're excited aboutthat Because it really has only
just recently been available fortheater companies to produce.
(08:25):
So there really are very fewpeople that have seen this
actual production.
Speaker 1 (08:30):
Definitely it's not been done in the Inland Empire.
Speaker 2 (08:33):
No, not that I know of.
I know I think in Long Beachrecently they might have done a
production of this, but it wasnot this particular Agatha
Christie script, Because one ofthe things that's interesting
about this particular versionthe other version is set inside
in like a drawing room.
You know, kind of typical whatyou think of like British you
(08:54):
know, drawing room.
You know they're drinking tea,somebody drops over dead.
But this is set outdoors.
The whole play is set outdoors.
But this is set outdoors.
The whole play is set outdoors.
It's on a cliffside,overlooking Easterhead Bay and
this hotel across the way.
It's called Gull's Nest.
(09:16):
Gull's Nest is the name of thisbig home that's on the cliff,
and so it's very evocative, it'svery atmospheric.
So I'm really hoping that youknow one of the things.
Speaker 1 (09:32):
I neglected to say about.
Speaker 2 (09:32):
Riverside Community Players.
Is it's in the round?
Yeah, so it's one of the fewtheaters in the area.
Speaker 3 (09:36):
I don't know of any other theaters close by Redlands
.
Could technically be it, butit's more, that's.
Speaker 2 (09:41):
Footlighters yeah, they have a.
They're more of a stadium kindof yeah, set up, but this is
completely in the round, so wehave we don't have a lot of
opportunities for set guys.
So you know, we're we're goingto try to do as much as we can
in other ways.
But that is one thing aboutthis theater it's it's in the
round and it's very intimate,like if, if, if you sit in in
(10:01):
watch one of these shows, youalmost feel like you're on stage
with the actors.
It's not that it shouldn'tscare anybody You're not
actually on stage with theactors, but it is a very
intimate experience.
And so if you like kind oftheater like that, where you're
not like miles away from and youcan really see everything and
all their expressions andeverything like that, it's a
(10:24):
great theater.
Speaker 1 (10:24):
Sounds like a wonderful playground for an
actor.
Speaking of which, why don't wetalk with our two friends that
are with us here today and get alittle bit on their background
as well as their involvement onthe current production we're
discussing towards zero?
Speaker 3 (10:39):
Emma, I don't even know what to say, but with
Riverside I wanted to commentthat I think it's the most
immersive and recently I've beendoing a lot of immersive
productions.
So to have that in thecommunity theater in the Inland
Empire, I think it's a greatthing to do.
And it especially gives theguests a look inside.
(11:03):
You know how Chris described it.
We don't make a set, but withhow this theater is and with how
we have the direction and agreat crew, we like this place
has become so many things.
Speaker 1 (11:15):
Yeah.
Speaker 3 (11:16):
But with my background I would say, like
I've been doing this for a fewyears, almost 10.
Yeah, actually no 10.
I lied, I started 17.
And I've actually.
My first show here was inAgatha Christie.
Okay, appointment with Deathwas the first one I did, which
(11:37):
actually, interestingly enough,I think is kind of brings some
similarities to this one which Ireally enjoy, kind of brings
some similarities to this onewhich I really enjoy.
I would tell the audience forthis show, come and be really
surprised that, you know, eventhough it may not have the
famous Perrault, but it has suchgreat characters and it really
(12:00):
she lends each character totheir development.
Speaker 2 (12:05):
Okay, and even though it is a Especially with these
two that I have here today.
They have two of the juiciestparts in the show, because they
shared the same man.
Speaker 4 (12:16):
Uh-oh yes.
Speaker 2 (12:18):
Uh-oh.
Speaker 3 (12:18):
Yes, we have, we are technically both strange
Technically, but yeah, I shouldexplain technically both strange
Technically, but yeah.
Speaker 2 (12:27):
You should explain that perhaps yes, that's their
name yes, it's our name.
Speaker 3 (12:33):
I play the character Kay Strange, which I am, the
second wife to Neville Strange.
Speaker 1 (12:39):
Okay.
Speaker 3 (12:41):
Would you?
Speaker 2 (12:42):
say maybe he was the Tiger Woods of his day.
Speaker 3 (12:47):
There is a little bit of golf in here.
Speaker 2 (12:49):
Juicy, juicy, juicy.
He's famous.
His character is famous.
Speaker 3 (12:53):
He's a bit of golf.
Speaker 2 (12:55):
Yeah, and perhaps a little bit of cheating.
Speaker 4 (12:59):
Just a womanizer, that may have happened.
Speaker 2 (13:02):
Maybe a little bit of overlap he's, he's, he's a very
, uh, he's, he's a ratherwell-known, okay, sports figure.
God you know who, kind ofalmost all around you know he
does all sorts of things, uh,but anyway, he k is his second
wife, his second wife and andveronique plays audrey, his
first wife, and he's trying tobring them together to be
friends Wonderful.
Speaker 4 (13:22):
And why would he want to do that?
What?
Speaker 2 (13:26):
Why would anybody want to do?
Speaker 4 (13:27):
that.
Why would they?
Speaker 2 (13:28):
Especially with these two, well, kay is.
A cat.
Talk about Kay a little bit,maybe Emma, because she's
interesting.
Speaker 3 (13:35):
Yes, Kay is very interesting.
She is very stubborn.
She's a strong-headed woman whoknows what she wants.
Speaker 1 (13:43):
Okay.
Speaker 3 (13:44):
And regardless of whoever is married to her, in
charge of her, she will get herway and she knows that.
But you get to kind of see inthis show a bit of, I would say,
a breakdown of all of that.
I think what's reallyinteresting about this show
again is looking at this fromlike a psychology point of view.
(14:05):
There are, so there's againthey're such meaty, juicy
characters in that she made themwell-rounded.
I think a lot of characterssometimes are very one note,
this is them and a lot of peoplecan just be like okay, well,
she's like the villain or he'sthe hero.
This one is very leveled andwith Kay, I believe she's young
(14:29):
but she's smarter than I thinkmost people think she is Okay
and she may put on more of afacade than we give her credit
for.
I really adore this character.
She can be a lot of fun but shecan be really serious at times,
um, but she, she can be caringas well.
(14:55):
I think a lot of people whenthey see the show, I want them
to go on the journey with herbecause there's a lot that she
has to grow up and go through.
But I think you know,especially back in those times,
women, we knew our place or wefelt a certain way about who we
were and the housewife or thisor that.
(15:16):
But with, I think, even thesetwo characters you kind of see
the heart of them, that I thinka lot of people like a lot of
characters that I've seenrecently in Murder Mysteries you
just kind of see, like I said aone note.
But Agatha Christie does such agood job in getting to the
(15:38):
meaning of these characters andwhy they're in, like what
conflicts are in, and givingthem a purpose.
Speaker 2 (15:44):
Beyond, just as suspects.
Speaker 3 (15:46):
Yes, yeah Well.
Speaker 1 (15:47):
I think the character's in good hands,
because I've known you for anumber of years and I've seen
several of your productions, andso I'm very excited to see this
production and to see you at adifferent theater, because all
of the times I've seen you havebeen at the 7th Street.
Speaker 3 (16:01):
And.
Speaker 1 (16:01):
I know you've done work at some of the other
theaters as well too.
Speaker 3 (16:04):
I've done.
Yes, Technically, my firstproduction was actually at
Rialto Community Theater.
Speaker 1 (16:09):
Okay.
Speaker 3 (16:10):
It was a production of Little Shop of Horrors.
I was ensemble but I loved itand it was so much fun.
And then I got into Farce,which was extremely fun.
Speaker 1 (16:20):
Yes, I love.
Several of the productions I'veseen have been farce that
you've been on A little funny,but I know our characters in
good hands and I've known youfor a while and I appreciate you
giving us that insight.
But this is our first time thatwe've been able to meet, so I'd
love to hear a little bit aboutyour journey to your character.
Speaker 4 (16:42):
Oh well, boy, my journey to my character.
I mean, I've loved acting sinceI was little and I've started
my community theater career in2017 at this theater with
Dracula.
That was very fun.
I got to be British and that'smy heart's content.
I've done a few things atRedlands, one at Rialto and
(17:11):
mostly here.
I really enjoy this round.
Everyone asks me about tryingfilm.
I don't like film, I don't likethe camera, but I do feel like
this theater is as close as youcan get to being on stage, is
what it feels like to be on film, because it is so intimate.
Speaker 1 (17:22):
I love that.
I love that description, and soI would love to hear about some
of the other characters, ormore about a little bit of your
history, since I've not had thehonor of seeing you perform yet.
Speaker 4 (17:35):
Oh well, I.
Speaker 2 (17:36):
She's a star here.
She'd probably be embarrassedfor me to say that, but she's
been in a lot of shows this yearand she's a favorite.
I love that.
She's spectacular.
Speaker 3 (17:45):
She really dives into each character and works off of
like the person who's on stagewith them.
I feel like a connection isalways there when I walk on
stage with her.
Speaker 2 (17:57):
Emma, thank you, you're welcome and she's very
she's just a very sensitiveactress and this part that she's
playing is especially sensitiveand I knew that I needed
somebody that would be able torespond to that and who could
handle such a sensitivecharacter with sensitivity I'm
(18:19):
saying that word way too much,but still, you know what I mean
Like these kind of roles couldbe done in a crude or, you know,
just in a way that, yeah,that's just not fair, or to the
character.
And, like Emma said, these arenot just one note characters and
(18:42):
I wanted to make sure that wehad people that can find all the
layers to it, even if we can'talways reveal all the layers all
at once, right, but and Audreyis certainly one of the most
mysterious characters thatyou're just kind of wondering-
so Audrey Strange.
Speaker 4 (18:59):
Audrey Strange.
Speaker 1 (18:59):
And in in line of wives is she.
She's number one, number oneGot it?
Speaker 2 (19:06):
Yes, in many ways yes , I think.
Speaker 1 (19:09):
And is were you familiar with this production at
all before you auditioned?
Speaker 4 (19:14):
Not at all.
I've honestly had a little bitof a lower opinion of Agatha
Christie.
Okay, because I've never workedon an Agatha.
Speaker 1 (19:22):
Christie, that's going to be my next question, so
I'm glad that you shared thatwith us.
Speaker 4 (19:26):
Last year I assistant directed at Footlighters and I
was very sad to not have been onstage.
I couldn't believe that Idecided to assistant direct
instead of audition.
Um, and I knew that I wouldlove to work with Chris Steele.
Um, he's the King of Agatha I I.
I've almost worked with himbefore and we won't go into that
(19:49):
right now, but, um, I'm reallygrateful to be able to be under
his direction.
He he has a very in the in themost constructive sense, a very
critical eye and he really wantsthe show to be exactly what his
vision is.
And it only because he can seeit so clearly and then he's able
(20:09):
to express that to us andthat's amazing as an actor, to
know what I'm supposed to bedoing.
I mean, the text gives youenough, but it's very helpful to
know the meaning behind it forthe entire show.
When you're just looking atyour own lines, you're focused
on what you're doing, butgetting blocked on stage is, I
(20:30):
mean, it's been very we're donealmost yeah, yeah.
For the meat of it, we are done.
Speaker 1 (20:36):
And your production doesn't open until the 29th of
August.
Speaker 2 (20:40):
Right, so you're in a good spot.
They still have to be off book.
Speaker 1 (20:43):
Yes, right.
Speaker 2 (20:45):
So, as you know, that's a journey in itself.
Yes, it is.
So that's where the real funbegins, and I'm glad to hear you
say that, veronique, becausesometimes you sit and you're
like, should I just let themkeep going or should I say
something here?
Should I stop them?
(21:06):
Am I not letting them haveenough freedom to explore some
of these scenes?
And hopefully I feel like Igive there's freedom within a
framework.
Speaker 3 (21:21):
Yes.
Speaker 2 (21:21):
I'm hoping that that's kind of what my goal is
that I show them what I want andthen within that I kind of let
them go, with maybe sometimespushing them in certain
directions at certain times, butI always want it to be a
collaboration.
I've had directors that havejust told me this is what you're
(21:43):
doing and if you challenge them, it's almost like they just
don't hear you, and I've been inthat situation as an actor and
I never want to put my actors inthat situation.
So I try even if they ask mesomething and I know that it's
not what I want I try not toshut them down immediately and
(22:05):
always want to work with acompromise, because you don't
want your actors to go on stagehating something that they're
supposed to do, that you wantthem to do and they do not want
to do it.
Speaker 1 (22:14):
And sometimes in the process.
It's nice for them to find thatdirection there, maybe without
from you, and maybe if you knowthat they're going to get there
eventually, it will help them toabsorb that during that process
.
I've had a great experiencewith Chris.
I've only acted a couple oftimes and you were the director
of the first production that Iwas in, so I appreciate that,
and I was an adult, very mucholder, had never acted I'd been
(22:37):
a performer, you know, as amusician but the kids were very
involved and so Chris and I hadthe opportunity to work there
and it was a fantasticexperience.
So I hear what you're saying,because there was a lot of
nerves on my part, because I wasnot a trained actor per se I
didn't mind being on stage,things of that nature, but it
definitely.
I felt like you gave us theopportunity to be a part of that
(23:00):
character.
While giving us the directionsthat were needed, you allowed us
to give it a little bit of ourpersonality and help us to find
those, those, those parts orthose characters.
Speaker 2 (23:12):
So that's great.
Speaker 1 (23:12):
I appreciate that you do that and I think being an
actor as well has helped.
Speaker 2 (23:16):
Yeah, and I can tell you that the nerves never really
leave you.
With every new production thatyou're in as an actor, it you
feel like you're starting over.
You're just on the ground flooragain, and and so I know that
you know so.
Every time I work with peoplethat I've worked with many times
, like Emma, you know I'm alwaysamazed that when she seems like
(23:38):
she's like it was like, okay,you know, am I doing all right?
No, like, of course.
Like you know, I've worked withyou so many times like you're
brilliant, you know how did theynot know that?
But you know, you have to betold these things.
Speaker 1 (23:49):
That's good, though if you know that your actors are
feeling that with each time.
I mean, I know that as aperformer, like if I go out and
I don't feel the excitement orthe nervousness, something's
probably not right.
That energy is really what getsus out there.
So who else do we have in thecast?
How large is the cast, and arethere other people you want to
(24:09):
mention?
Speaker 2 (24:10):
It is, I believe, 13.
Okay, so it's a rathersubstantial cast for a play,
yeah, and especially for thisrather small, intimate space.
I don't think there's ever ascene where everybody is on
stage.
I think it's the curtain call.
It's basically the first timeeverybody's on stage at the same
time, everybody's on stage atthe same time.
(24:31):
But we have several people thatare kind of mainstays here at
Riverside, like Rory Dyer, whoI've worked with before and
she's wonderful.
She plays Lady Tresillian.
She's the kind of matriarch ofthe place that we're at, so it's
her home that she's coming toand she's a very home that she's
(24:54):
coming to and and she's, she'svery, very colorful character,
Love her it's perfect becauseshe's the president of Riverside
Community.
Speaker 1 (24:58):
Players.
Thank you, love it.
Thank you for mentioning that.
Thank you for bringing that up.
Speaker 2 (25:00):
That's fantastic.
Yes, and help, help me out.
We have a Mark Anthony Flynnwho plays.
In fact he was in our if yousaw the Poirot double bill here,
he was in that, along with Emmaalso was in that, and he plays
Neville.
We've already talked aboutNeville.
And who else?
(25:22):
Ralph Griffey is playing ourIrish butler.
We have a lot of accents inthis show.
Speaker 1 (25:29):
Typical.
Speaker 2 (25:29):
Agatha Christie.
We have Scottish yeah, we haveScottish, we have Irish and we
have lots of various English,various English yes, for sure.
And we have a few people fromthat were recently in man of La
Mancha.
Speaker 4 (25:48):
Including Rory.
She played Sancho, and then wehave Marlon Kane, who played Dr
Carrasco in man of La Mancha,and then Aaron.
Speaker 2 (25:58):
Ramos.
Thank you and.
Speaker 4 (25:59):
Aaron Ramos, who was a very terrifying Inquisition
member muleteer.
Yes, he had a mask on theentire time and now I get to see
his sweet face as the sergeant.
Speaker 1 (26:12):
He's such a dear, I love him, so it sounds like you
have a pretty experienced cast.
Speaker 2 (26:14):
Yeah, any newbies or everyone.
Speaker 1 (26:17):
Well.
Speaker 2 (26:18):
Alison Harris.
She has, I believe, only doneone other show, okay, and it was
a murders announced here atRiverside Community Players.
So another Agatha Christie.
So she's come out and I'mthrilled to have her.
She's excited to be back on thestage and Mark Robertson is I
(26:40):
don't know if he's ever done ashow at Riverside.
He's directed Christmas Caroland he had to step in as
(27:06):
Cratchit Okay scenes with Audrey, and you know he in fact he's
the one that gives the show itstitle.
Kind of the general conceit ofthe show is Angus's, where he
says he thinks murder mysteriesare done all wrong, where he
says the murder should be at theend instead of the beginning
and that the most interestingparts are all the things that
(27:30):
lead up to a murder.
And he's kind of like, you know,scream years later where
characters in Scream are talkingabout the tropes of their own
genre that they're in.
You know, and that's exactlywhat Angus is doing you know
decades earlier where he'stalking about murder mystery
tropes and his own theory aboutmurder mysteries and basically
(27:51):
setting the audience up for whatthey're about to see.
Speaker 3 (27:54):
Really, and I would say that with this one, like
actually speaking of that, Ifeel that this one, each of our
characters, is very much what Iwould call a murder mystery
trope, but with such detailBecause Agatha Christie didn't
really.
You know, this was years beforeScream, this was years before.
You know, the prom queen, theTexas.
Speaker 4 (28:14):
Chainsaw Massacre.
Speaker 3 (28:15):
Exactly Like.
So I think what she did was shelike again we, she is the queen
of mystery and murder mysteryand what she does with each of
the characters.
Now, thinking about it, it'svery much that she could have
given Kay just such a one note.
Audrey's such just you're justmysterious, whatever.
And then Angus, even like likeAngus and Audrey, you can kind
(28:39):
of see the mystery between them.
But again she delve into it.
She delve into her like thoughtprocess and really gave us such
amazing work to work with.
Speaker 2 (28:53):
And I don't think you know where this is going.
Like, I think I feel like inintermission people are going to
be like where is?
this going, Like what's going tohappen?
It's, it's interesting, but youjust don't see, like, like with
the typical murder mystery, youthink of people, you know, like
I said, sitting around drinkingtea, somebody dies, an
(29:15):
inspector's on the scene, theyinterrogate everybody and then
you have a solution at the endwhere he gives the big solution.
That is not what this is at all.
So if that's what you thinkyou're coming to, you'll be
pleasantly surprised, I think,Because at a certain point
you're just gonna be like, whereare these, where is this going?
What are these characters?
And you really are not sure.
And that's what I love about it, one of the things that I love
about it.
Speaker 1 (29:35):
What I'm excited about is I wouldn't say that I'm
an Agatha Christie aficionado,but I grew up watching various
different Poirot movies orseries and so you kind of have a
you know the popular ones, Iguess I'll say that and you kind
(29:56):
of have exactly like you say,you know the formula.
What I'm excited about this isI know nothing about it and so,
like I might have a preconceivednotion in that it's Agatha
Christie, so I'm going to belooking for those things, but I
don't know what happens when Isee any other Agatha Christie.
I know what happens, so I'mcritiqu be looking for those
things, but I don't know whathappens when I see any other
Agatha Christie.
I know what happens, so I'mcritiquing the performance or
the delivery of it.
So I'm excited for you guys, inthat your audience gets to not
(30:19):
only see your wonderfulperformances but they get to
learn about this actualproduction that doesn't have,
say, the popularity as some ofthe other stuff, the popularity
as some of the other stuff.
Speaker 4 (30:42):
So that's got to be fun as actors to kind of know
that you have the ability tocreate that character per se, in
that you haven't looked at 15other adaptations of it, if that
makes sense.
And even since there are, Imean I tried to watch the
Brickbox one and I don't know ifwe should say that Angus is not
in that.
Speaker 3 (30:49):
Yes, there's so much that is actually like they've
added too much.
What I feel is a little likethis one, like how I think chris
picked the perfect where it'sthe amount of characters you
want to like invest in.
It's not like other little ministuff that you're like wait,
hold on.
Where are we?
Speaker 4 (31:06):
going with this, but well yeah, it's, it's not, it's,
it is.
I think it's beyond a murdermystery.
It is that meta kind of I mean,and especially in this space.
I mean with all the sound.
I know Chris keeps telling usto be louder in rehearsal
because we're going to haveoutdoor sea sounds.
Speaker 2 (31:25):
Yeah, gull sounds.
It's called Gull's Nest, so wegot to have gulls.
Speaker 1 (31:28):
Well, let's transition into that, because of
this is our first episode hereand we have not seen a
production.
That's me Sorry.
I would love to know how areyou going to accomplish that in
the round and how much of theaudio and the video and
costuming and props and thingsof that nature are involved to
get the story across.
Things of that nature areinvolved to get the story across
(31:49):
.
Speaker 2 (31:50):
Well, we're going to do our best.
As far as you know, the roundgoes, we have Patricia
Scarborough is right out there.
She's working on our wonderfulstage floor because that's one
of the things that can be.
A star at Riverside CommunityPlayers is a great stage floor
because everybody's kind ofsurrounding it and looking down
on it.
So we're outside, so we have alittle grass, we have some patio
(32:14):
, we have the wonderful CarrieJones, who is a brilliant scenic
artist, who does work at UCRand also Rialto Community
Players, and she's done stufffor me at Chino Community
Theater, but she's wonderful andshe's going to help create some
(32:37):
of the.
There's not a whole lot ofplaces where we can put, kind of
you know, a backdrop, right,but we do have one little place
that we can show, you know, thewater and the hotel across the
way that we talk about so much.
And then you know Kylie Reeves.
So she's done so much with meand I drug her to this show and
(33:04):
she's going to work some of herlighting magic and you know, to
try to make it.
As you know, we have one thingwe have an impending storm in
one scene that I really love.
So you know we're going to havea lot of thunder and lightning
and so we're going to do ourbest.
You know this is not the sphere, you know.
So there's.
(33:24):
You know we're a little limitedto what we can do in that
regard, but we're going to tryto do our best as far as to make
it as atmospheric as possibleand evoke the outdoor setting.
Speaker 3 (33:33):
Yeah, and to go with what Veronique was saying
earlier about your direction,like to just kind of give you
even more credit.
Where you need it is that youhave such a critical eye in
seeing where we've been too long, because that's the thing.
And in the round you have to beconsistently moving so everyone
can feel and see what thatspecific character is doing and
(33:54):
feeling and going through.
And, like we were discussingearlier, you, chris, bring up
discussion versus, I think, anargument.
I think that's a big thing thata lot of directors have a hard
time with.
It becomes either an argumentor a discussion With Chris.
It's always a discussion.
It's always oh, hey, I just Ithink we need to move you or we
need to do this and you, youhave such a great eye for the
(34:16):
round and I've just I've I feelso comfortable and I like not
only with the actors but withyou like it's hard, it is
extremely hard, I feel, to be inthe round and I think what the
best thing is is he willconsistently move throughout
rehearsals, like one time he'lljust be at one spot and then
other time like he'll move.
Speaker 1 (34:35):
Become an audience member at each part of the
theater to understand how it'sbeing received.
Speaker 2 (34:40):
As an actor, you just like.
There are times where I saidyou know whoever I'm talking to.
(35:02):
I've seen your back for the lastfive minutes, you know and it's
a beautiful back, but yeah butif you're an actor and you're,
you know, kind of in the zone,you're not going to think of
those things necessarily, butyou do in this theater and you
kind of have to drum it intosome people's heads that you
just always have to.
The audience is really part ofthe show here and you really
(35:25):
have to take the audience intoaccount at all times.
And it's especially that's truefor anything theater, but
especially here.
Speaker 1 (35:36):
Your acting is.
I mean, you can't hide behindthe set.
You can't hide behind anything,You're right out there.
You're right out there.
Speaker 2 (35:46):
Sometimes they're within inches from you, Like if
you're sitting, you know, on alittle table on the side of the
stage, they could be just aninch from you.
And so that's even true of ourprops.
We have to make sure our props,if they're reading a newspaper,
it can't be the Daily Bulletinyou know, with a pasted headline
on.
It has to look real and so itchallenges you for sure, and
(36:08):
thankfully we have a great Ihave a great crew, that's-.
Speaker 1 (36:12):
Did you mention who's doing costuming?
Speaker 2 (36:14):
Rory is she-.
Speaker 4 (36:16):
Fabulous.
Speaker 2 (36:17):
And she has such an eye for this period too.
And in fact, behind you rightnow is the costume and if you go
in there it's almost like itsuddenly all pops out.
Speaker 4 (36:28):
It's amazing how much and it's dedicated to her
father.
Yes, it's the Dyer CostumeLibrary.
Speaker 1 (36:35):
So by your reaction I'm assuming you've worked with
her before and you don't reallyneed to say anything to me,
because I saw your reaction whenyou said her name, Chris.
But I mean, tell me more abouthow you've worked with her
before and what she's been ableto accomplish.
Speaker 4 (36:51):
Well, I first worked with Rory as a costumer and she
costumed me in Little Women atRedlands Footlighters back in
2022.
Speaker 1 (36:58):
Okay.
Speaker 4 (36:58):
And she was just.
I mean, she's lovely and I saythis with so much love.
She's the most curmudgeonlylovely lady and she is just Got
so much on her plate.
She cares so much about thistheater and does so much for it.
Usually she'll come out andshe'll do the greeting welcome
to everybody, but when she's ina show she will give that up,
(37:20):
hopefully, Especially doing thisshow, being in it and costuming
.
I've never really seen her dothat before.
It's either one or the other.
Speaker 2 (37:28):
Well, she doesn't have to worry about blocking for
this one.
She's in a wheelchair the wholetime, so she just gets pushed
around.
Speaker 3 (37:55):
That's what you know, younger lover and she, from
scratch, sewed this gorgeousdress and I was so obsessed and
I was like, is there any way?
Any way I could get it.
Speaker 1 (38:09):
And she was so sweet she let me buy it.
Speaker 3 (38:11):
But again, it's just she, like Chris said, she has
such an eye for each era andalso, very like Chris, gets
people who are very critical,just as he is, so that he can
get the best of the best.
And even the costumes that shehas had us try on just recently
are perfect, even, like you know, just discussing, she was
(38:34):
talking even about the length ofsome dress.
She's like I don't even knowabout this, is it too long, is
it too short?
She's very, very particular andeven just like, even though
she's in the show, she's stillseeing like each character for
who they are and what they wouldhave.
Like I would say Kay is veryfashion forward.
She very much is probablyreading every magazine she can
(38:57):
get and making sure that she hasshe's on the trends, like she's
.
Honestly, she'd probably be aninfluencer if she was here today
, but with Audrey it's a very,you know, different.
She's Rory's very particularabout making sure every
character has their particularstyle Because it just, you know,
sometimes you go into a showand you watch and if the
(39:18):
costumes aren't what they are,it's like, well, I'm not
involved.
And even with props, like youwere saying, like if we had like
a magazine that said like TMZ.
It's like, well, okay, what eraare we in?
Speaker 2 (39:30):
It's very easy to get pulled out of the story.
You know so.
If everything is right, youjust don't want to do that.
You know I hate this phrasewhen people say, well, if
they're looking at this, thenwe're doing something wrong.
Well, somebody's always lookingat that.
There's always an eye that'sgoing to something.
Speaker 1 (39:49):
And you're in the round.
Speaker 2 (39:50):
And if you can do it.
You know like sometimes yourbudget.
You know you can't always doeverything you want to do, but I
always like to see that peoplehave tried.
Speaker 1 (39:59):
Yeah.
Speaker 2 (40:00):
You know, and I feel like we try, we at least try.
Speaker 1 (40:04):
And what's amazing for me to hear and you know,
being a part of so manydifferent of these episodes but
also productions at the 7thStreet Theater that community
and the people that it takes tomake it happen.
Just before I came here, I washelping with one of the
children's which was just like aweek-long camp thing, and then
(40:25):
they do a little production atthe end.
Who knows, one of those 25 kidsmay be that next superstar
actor that's out there, and soyou hear these stories at all
these community theaters acrossnot only Inland Empire but all
over the place in Europe,because we know we have a lot of
listeners in Europe.
Sorry, I'm doing a realstraightforward plug here.
(40:46):
Theater to the next level,right, make community community
and allow the patron to come inand forget everything that's
going on and be immersed in thisAgatha Christie production or
Seussical or whatever it may be.
You want to just forget aboutthat stuff.
And so costuming, lighting,audio, set, props, all of those
(41:08):
things are so important, so-.
Speaker 2 (41:11):
May I mention a couple people that I have out.
Speaker 1 (41:13):
I was just going to ask you is there other people
that we need to talk about?
Speaker 2 (41:17):
Well, we have Philip Kaczynski who's playing Thomas
Royd.
We love Philip.
We have Charlotte McKenzie, whoshe is another one who's done
so many things here and she'sCollie.
She plays Lady Tresillian'scompanion.
Okay, and she's very funny.
Speaker 4 (41:36):
She's a wonderful board member as well.
Love that.
Yes, yes.
Speaker 2 (41:39):
And I also have Takira Williams.
She's playing Dr Wilson and Ithink that is it.
Speaker 1 (41:46):
I think I hit everybody else and I apologize
to anybody in the cast if Iforgot you Cast crew and
especially this theater as well,which we're so very excited to
have been able to do our firstepisode here.
So you guys open the 19th andyou no, no no, no 29th 29th
sorry, that's why I probablyshould have looked down here at
my notes and it goes throughSeptember 14th and tell us how
(42:10):
we can get tickets.
Speaker 2 (42:12):
Well, you can go on the Riverside community players
a website.
You can also find them onFacebook or Instagram and they
and they always have like a QRcode that they post on on their
social media things.
So it'll take you right to beable to purchase the tickets or
you can call them, and I'm surethe number is.
The number is on that piece ofpostcard you have there, our box
(42:35):
office is area code951-686-4030.
Speaker 1 (42:40):
Again, that number is 951-686-4030.
Speaker 3 (42:45):
And the times have changed as well.
Speaker 1 (42:48):
Thank you for bringing that up.
Yeah, because I'm reallyappreciative of how much we've
(43:23):
been doing it on Facebook andsocial media.
Thank you for bringing that up.
Yeah, the 30s panelists let usknow what's going on in your
country, because we want tolearn about community theater
outside of the us as well.
We want to thank all of ourlisteners, as always, for tuning
in.
We want to thank our guestshere today for spending some
time to give us a little bitmore about towards zero, chris,
anything you want to leave uswith uh, no, uh, except, come to
(43:47):
the show.
Speaker 2 (43:47):
It's going to be great.
Check out the riversideideCommunity Theater, riverside
Community Players social mediaaccount, because they do do.
We will be having a video kindof promo of our show.
So if you cannot come to see it, if you are one of the European
listeners or whatever and youcheck out the video, you can at
least get a little taste of theshow and what we're doing.
Speaker 1 (44:10):
Thank you for bringing that up, Ladies.
Anything else you want to?
Speaker 4 (44:15):
I do have something real quick.
I had a realization last showdoing man of a Mancha Um it, it
wasn't really my favoriteexperience.
I love that show a lot and as Iwas going out there to do it,
um, I realized we had it was ashow full of members Not members
(44:35):
, they're season ticket holders.
Speaker 1 (44:37):
Okay.
Speaker 4 (44:38):
And I realized, oh, this is like Netflix.
What we're doing this is asubscription service.
You don't have to watch Netflixfor the month that you.
You don't have to come to thisshow, this man of La Mancha but
there are people that do.
There are people that click onthe latest Netflix thing that
they're going to see andsometimes it's good, sometimes
it is what it is, and I justthink it's really interesting to
(45:00):
think of what we do atCommunity Theater as a
subscription service to sell, toget an idea, to sell more of
that season ticket holder.
It's a good deal.
Sell more of that season ticketholder it's a it's a good deal.
The season tickets, it's like40, maybe 65 dollars for tickets
to five shows which are 20 ofpop yeah, I mean, you can't beat
that you know, and it'scommunity theater.
Speaker 3 (45:24):
I think the biggest thing for, uh, like I would, my
last thing to say is that thisis community theater.
Please come and support the.
This is where most people start, um, and get their passion and
their love, and I am so gratefulfor such an amazing and
talented welcoming cast, andthank you, chris, for this
opportunity again.
Um, and yeah, I think this is a.
(45:45):
This is you had said earlier.
It is not the formula thatagatha usually does.
Speaker 2 (45:50):
So I think to you know, get a fresh take on her,
if you may not like formula thisis not formula and to enjoy
that kind of aspect of her justwanted to give a little plug to
(46:13):
community theater in general,because sometimes it gets a bad
rap and because it is the placewhere people start and because
it's in perhaps a smallercommunity or it doesn't get the
same funding or budgets that youknow professional theaters get.
You know the Geffen or whereverPantages I've seen some of the
best theater ever that I've seen.
(46:36):
You know.
I've seen Broadway.
I've seen the West End.
I've seen, you know,professional shows in LA.
One of the performances here,terranova that they did quite a
few years ago was incredible.
It was one of the best actedshows I've ever seen and it was
just amazing.
And I've seen so many amazingcommunity theater productions
(46:57):
and that people are shocked thatyou know this podcast started
over in 7th Street and Chino butthe other drama departments.
Speaker 1 (47:17):
But seeing all the people that are listening to our
episodes all across the countrybut all across the world.
We know there's an audience outthere.
We know there's a biggeraudience that hasn't had the
pleasure of experiencing some ofthese moments.
I'm a sports guy, I guess, iswhat you would say.
That's why I grew up right.
I didn't start acting until Iwas in my late 40s, as we
(47:40):
mentioned.
My children were all involvedand that's how I got involved.
Speaker 3 (47:44):
And they're extremely talented.
Speaker 1 (47:46):
Well, I'm biased and I'll receive that, share that
with them and appreciate that.
And they are talented and I amvery proud of that.
But I'm proud of all thefriends that I've made over the
course of this oh, just under 10years that I've been involved.
But I don't see a future thatI'm not involved one way or
(48:06):
another in community theater.
My job is in tech so I get toput on shows all the time, but
there's nothing like thismorning going in firing up that
system and seeing 25 kidsprobably most of them their
first performance ever and theirfamilies.
(48:27):
They're just absorbing this onthis beautiful stage with lights
and and in all the number ofproductions that I've seen.
So I thank you so much, chris,for bringing that up, because I
think it's so important and Idon't think we get as much love
as we should on the communitytheater side.
But we're growing and peopleare telling two friends and
telling two more friends and soon and so forth.
Speaker 3 (48:48):
You can find love there too.
I mean, I'll say, some peopleare a result of that.
Speaker 2 (48:54):
We've had some marriages at Chino Community.
Theater I don't know if they'vehad them here, but yeah, it
certainly brings people together.
Speaker 1 (49:02):
So thank you everyone .
Community Theater brings peopletogether.
You're going to see an amazingproduction here.
Thank you so much to our guests.
Thank you so much to Riversidefor supporting the community
theater world and listeners.
Come get your tickets, come bea part of this, go to wherever
you're from, go support yourlocal theater, community theater
(49:23):
at your schools.
Go see your kids' plays, enjoyit, support it.
Thank you everyone.
Have a great day.
Speaker 2 (49:29):
Thank you, Kirk, for letting us be your debut.
Speaker 1 (49:42):
Thanks, kirk, thank you everyone.
Have a great day.
Thank you, kirk, for letting usbe your debut.
Thanks, kirk.
Thank you.
Or visit our website.
Steps to the Stage was createdby Joey Rice and Kirk Lane.
Logo created by Marlee Lane.
Original music by Joey Rice.
Executive producer, editor andsometimes host, kirk Lane.
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