Pivotal players recall historical highlights of BPA

Published 12:17 pm Thursday, September 29, 2016

Sixty is an interesting birthday to consider.

Upon notching that particular benchmark, one is old enough, or so they say, to know better. One is old enough to have learned a thing or two; to be wise (or least be wily enough to pretend to be). The weight of experience buoys a lightness of spirit — you know who are and what’s important to you. It’s the kind of self assurance and confidence that can only come from honesty, and a lot of mistakes well marked.

It takes skill to get older. It’s hard work. It is, in the words of Bette Davis, “no place for sissies.”

Or, said a bit more eloquently — but no less truthfully — by Stanislaw Jerzy Lec: “Youth is a gift of nature, but age is a work of art.”

In its six decades of peerless production, Bainbridge Performing Arts has created a lot of works: plays, musicals, comedy, concerts, classes, exhibitions, readings and parties — a great gathering being its own kid of masterpiece — have all come to life on, behind and before Bainbridge Island’s most central stage since 1956.

No simple timeline, no mere list of productions past, could possibly serve to commemorate the island institution on the year of its 60th birthday. Instead, read on and spend some time with those who have known it best, loved it most: the pivotal players, the constant contributors. The directors, actors, crew, assistants and fans who have made BPA what it is today. When asked, some chose to memorialize island icons no longer around, some recalled lessons learned — both professional and personal — and still others used the milestone to reflect on treasured relationships born of the stage that continue to this day.

Having shared these memories, collectively recalled these gaffes and glories, there can be little else for the rest of us to say except:

Happy birthday, BPA.

Bob Cederwall and I met in the production of H.M.S. Pinafore in 1982, performed in the theater across from the high school in Poulsbo. I was a cousin, he a sailor. We were married in 1983 and continued performing together throughout the next 30 years. Our last performance together was in “Shrek,” the fall of 2013, me a witch, he a bishop…only his passing put an end to his ongoing love of being on stage.

– Denise Harris

Theater is our most temporal and transformative art form. It begins on a bare stage and emanates from mere words and notes on a page. It is created in collaboration and exists only in the presence of an audience. At the conclusion of a run, the stage is swept bare again and the show disappears into the atmosphere, like fairy dust, reminding us all of our own impermanence.

BPA is the very heart of our island community. The BPA family is all inclusive and is regenerated and reborn each season through the courage and genius of writers, artists, designers, actors, musicians, volunteers and tireless staff.

We all stand on the theatrical shoulders of outstanding community members who have loved and nurtured BPA over the decades, like Jim Hodges, Anne Fleming, Bob Zinn, Louise Mills, Bob Cederwall, Lyman Black and Bob McAllister.

Jim Hodges, whose name hangs over the door of BPA’s performance hall, provided philanthropic vision and financial acumen for BPA’s Capital Campaign in the late ’80s. Though Jim was not a singer himself, he loved musicals and appeared in many of BPA’s early light opera productions when he wasn’t minding BPA’s financial house in his main role as board member. Jim was an extremely tough-minded businessman, but he never failed to cry when the lovers would finally get together at the end of the show.

Stylish Louise Mills proudly told everyone that she was one of the founders of BPA and she also liked to say that she was an expert at getting people to do things they didn’t even know they wanted to do. And when they did them, Louise was the one to dress them all up in her gorgeous gowns and tuxedos. Her musical revues, galas and fashion shows filled the theater year after year and helped to keep BPA in the black.

Anne Fleming was BPA’s most lovable diva — appearing in iconic roles such as “Mame” and “Kiss Me, Kate.” No matter the requirements of her role, her hair and makeup were invariably perfect.

– Kate Carruthers

I’m remembering my first show at Timber Lodge in 1981 (or ’82 or ’83?). It was “Company.” We were all so excited because Sondheim is tough and we all worked so hard just to get the words in order, let alone the music and choreography! Come opening night the adrenaline was boiling. This was a pretty big undertaking for BPA. Karen Rice, musical director, and Dennis South, director, were sure excited! It was a sell out and away we went. Unfortunately, the weather gods weren’t in on the deal. As only Bainbridge Islanders can attest…. Be prepared in October for storms. And that year it was a doozy. We managed to get through the show, but as I recall, lights were pretty much out by curtain call. Dick and I were hosting the cast party and we did it all from the driveway of our garage on a big grill.  The clam chowder was hot, the sausages juicy and the party great fun. And so was the show! Many current day friends were made that night! We love BPA!

– Marilyn and Dick Dearsley

I have been involved with BPA for over 20 years. I’ve been in many, many musicals, both on the stage and in the pit and even one with my daughter! I also served on the board for three years. But probably my best memories are playing with the orchestra.

When I first started we had more orchestra members on the stage than audience members. Since then I have served on a number of conductor searches, the last one being the most satisfying and rewarding. Under Wesley Schulz, we now have sold out audiences and have developed into a good community orchestra! It’s been amazing to watch the increase in quality performances and professional musicianship. Many of the members will certainly be friends for life. I am proud that little Bainbridge Island can boast having such an excellent symphony.

– Patti Beasley

I miss Bob Cederwall.

He and I were doing a show in North Seattle at the Jane Adams Theater with a Russian troupe from Tashkent. We were the last people to show up at a Seattle church that was hosting the Russians for dinner. A woman came out to greet Bob and I as we stepped out of the cab of Bob’s old flatbed truck. As we got out, the woman spoke very slowly while gesturing through the language barrier — clearly thinking we must be Russian as well. Bob and I looked at each other and began speaking fake Russian to one other as we let the woman lead us all the way into the church and to a wonderful dinner. This is only one of many stories to tell of my 30-year relationship with my best friend from Bainbridge Performing Arts, Bob Cederwall.

– Justin Gellé

It was in 1980 when I directed “Music Man,” and since Mac was doing “42nd Street” at the high school and had every teenager there involved in that production, I was forced to cast middle school and grade school kids. It was a stroke of luck. Those kids became a core for BPA and the Children’s Theatre we formed, and for which we based our workshops. In ’81, I returned from Maui and produced (with BLOA’s help) and directed “Peter Pan” – with 120 kids in the cast. We created Never Never Land in the old gym at Fort Ward. It was (with all due modesty) a gorgeous production and a great success (buses from Seattle, Gray Line tour boats). It was an astounding experience!

– Dennis South

We started The EDGE in 1995, and after a number of months, we hadn’t grown very much in attendees. Frankly, we were hanging on by our fingertips. My friend, Marilyn Brandenburg (no longer with us) told me, “We all need a good laugh on this island; let me see what I can do to keep it rolling!” And she did. She organized parties of fellow members of St. Barnabas, they’d have a dinner at someone’s home and then all come to the show. Our audiences doubled overnight, and soon word of mouth worked its magic and we caught on. We are now in our 22nd year of performing, and we owe a lot to our dearly departed Marilyn.

It’s safe to say I was very inexperienced in musicals (none!) when I was cast as Daddy Warbucks in “Annie” at BPA. Andrew Shields, the musical director for The EDGE, was the musical director for this show and he was amazing at being able to conduct around my “creative” vocal skills. It worked!

Then I was cast in the role of Nicely Nicely Johnson in “Guys and Dolls” — no Andrew to catch me this time, and we had a recorded score that once started… it marched on. The very first song cue of the show was mine, and to ensure that everything else worked, I would have to hit that first note on time every show. To do that, Jennifer Jett, as Benny Southstreet, would take her racing form and swat me on the right beat and off I’d go, in time with the music. Theatre magic. Thanks Jennifer. A friend for life.

– John Ellis

The Review wishes to thank Sally Jo Martine for her considerable assistance with the gathering of input for this piece.