Lights! Camera! Action! Interview With The Regina Little Theatre
Join us for a thoughtful conversation with Nora Berg and John Chaput as we discuss the Regina Little Theatre (RLT) and the local performing art’s scene in Regina. RLT is a volunteer lead non-profit community theatre company. RTL has been dedicated to providing high quality productions since 1926. For more information on upcoming performances or how you can get invloved please check out their website at: https://www.reginalittletheatre.com/
Nora Berg has been involved with RLT as an active member since 1981. She has also served on the board of Directors on and off since 1983. John Chaput is RLT’s current President and has been involved with the organization since 1985.
Cast of "Officer 666" presented by the Regina Little Theatre Society
February 28, 1927
Can you tell me a little bit about the history of the RLT and how it came to be?
NB: The Regina Little Theatre was founded in 1926 by a group of British expats who wanted to bring theatre to the Prairies. We had our very first meeting in May of 1926. Later we ended up incorporating and became an official society. We started off mounting only one act plays until November of 1926 when we did “Officer 666.” This was the first main stage play that we ever did. By main stage I mean a play of more than one act. Since then, we've gone on to producing five shows a year, five performances for each show. We also have two sets of one-act plays, one in the spring, one in the fall. They are made up of a variety of smaller plays.
JC: There was a movement across much of North America in the 1920s called the Little Theatre movement. if I recall it correctly, it was geared towards making things more locally accessible Instead of having big productions that would tour all over North America. This was to get more people involved at the grassroots level. So, the Regina Little Theatre was part of that. Unlike many of the others who undertook that challenge, we've stuck around.
Left image: Stage at Regina Performing Arts Centre where RLT productions are currently staged, 2024.
Right image: Cast of “Regina Revisited” presented by the Regina Little Theatre Society, 1982.
2. What are some of the ways the RLT supports local artists?
JC: We provide opportunities for them to get involved! One of the most important aspects about Regina Little Theatre is that it is all volunteer. Nobody gets paid. All the administrative work, all the directing, all the acting, none of it gets any financial reward. So, it's all done for love of theatre. Where can you get this opportunity elsewhere? If you want to act with the University of Regina, you've got to be a student. If you want to act with Globe, you've got to be a professional and you're probably going to be imported from another province. When we just finished up this last season, a tally was done of all the people who took part as volunteers. The total came to 159 individuals, many of whom served in more than one capacity.
We're there for who want to get involved, whether it's in acting, directing, backstage, front of house, providing food for people, whatever. We're coming up on our 100th season. We're making plans to really make it big. Our slogan for that 100th season is “A Century of Creating Community.” We think of ourselves not only as serving community, but building our own community of people who want to be involved and don't have another outlet for it.
NB: We also provide scholarships! We have three that we give away each season of $400. that's to go directly towards an institution that someone wants to attend that provides some sort of training in theatre. It can branch out into film, it can branch out into backstage, or it can be as typical as an acting class.
Cast of “Sinners” presented by the Regina Little Theatre Society
April 2016.
3. What are some of the strengths (or weaknesses) of Regina’s performing arts community?
NB: Well, a strength is that we've been going for this long. We must be doing something right! Regina has a lot of groups but most of them tend to be musical groups, except for us. So, we are kind of the anomaly that we're solid enough financially and in volunteers that we're able to put on large-scale productions. Whereas some of the other groups that are non-musical-based, they tend to have to do smaller projects because they have a smaller base, they have smaller funds, etc. The challenge is always trying to keep things current and honouring the past while moving forward. Trying to please our long-time members and then also wanting to be edgy enough to attract the young people.
JC: I think one of the weaknesses, when you talk about the performing arts community, is funding. We've been able to keep afloat for nearly a century now because, for the most part throughout our history we have followed sound business practices. We've just had a wonderful season. We got our attendance back up to pre-COVID levels. I think very few cultural groups can make that boast. We're even going to show a surplus and we've received donations from some individuals. We've been able to make a full recovery from COVID with practically no corporate sponsorship and very little in terms of grants. So, we've been fortunate that way! The challenge is always there to draw enough of an audience to make it economically feasible while also presenting art the way they think it should be done.
4. What are some of the roles required of RLT volunteers to ensure a smooth performance?
NB: Well, aside from everything, we have a functioning board of directors. They basically drive whatever we're going to be doing in the theatre. Also, each production has to have everything from a director, a stage manager, assistant stage manager, properties person, costumer, lighting tech, a set designer, a set builder, somebody who does the soundscape. We are lucky because we do have a group of retired gentlemen and women who are our set building crew. We call them the shop boys and ladies. They do all of our sets for us, which is great because I've been around long enough to remember when we didn't have this team and we'd have to find someone to build each set.
JC: As far as I'm concerned, the most important people at RLT are the audience. They're the people we serve. So, everybody who serves the audience is vital. It's not just the people who are involved in putting on the production, but also the people who are upstairs taking care of people as they come in. The ticket takers, the people in the canteen, the people who hand out the programs. Everything to make things convenient and enjoyable for the audience. They all are essential.
Left image: RLT costume room
Right Image: Tool station in RLT carpentry room
5. What is the process of selecting productions and performers you would like to work with?
JC: We have a play selection committee, which is headed by Bonnie Senger, one of the members of our board. Once our annual general meeting is done in September, that committee goes to work looking over plays for the following season. Right now we're about to head into season 99. So, the committee will read all those plays, and then usually by January, they will come back to the board and report on which plays they think should be done and which directors should be there. Once that has board approval, then we go about the laborious process of obtaining the rights. Once we have secured all those rights, then we're able to announce the upcoming season. This is generally done around May. The play selection committee works independently. The board gives Bonnie a little bit of an idea of what they should be looking at, but we don't go tell them specifically this is what we want. However, we have learned what works with our audiences, and I hate to keep throwing out slogans, but our basic everyday slogan is "Little Theatre, Big Entertainment."
We believe that people want to come to the theatre to be entertained, to have a good time. If it's a dramatic production, then it ought to be one that will be thought-provoking but not, shall we say, jarring. Although it costs a lot to procure the rights, the scripts and to rent space in the auditorium upstairs we do it at a very reasonable price. That's the thing, we are making theatre not only accessible for people who want to take part in it, but for people who want to support and attend it. It's one thing to support theatre, but if you can't afford it, we can't expect people on fixed incomes or moderate means to come in here and spend their money on us.
Cast of "Bunty Pulls the Strings" presented by the Regina Little Theatre Society
February, 1932.
6 . Do you have any advice for local aspiring artists and performers?
NB: Volunteer! Work backstage! It's a great way to learn how our various directors work, to pick up tips, to just kind of get a feel for what the organization is about. But also, audition! Just come to our auditions and throw your hat in the ring and see what happens. We have a very informal audition process. It's simply readings from a script. You don't have to prepare anything. We're looking more to find out what you are like and if you'll mesh with the people we're working with. If we're on the same wavelength, that sort of thing.
JC: Pursue your interests! If they're your dreams, try to keep yourself grounded. Theater is an emotionally tough business. Even for a non-professional company like ours, money is always involved. It is a very tough field to crack and make a true living out of. The advice I have for local aspiring artists and producers is to get involved in as many ways as you can. Get all the enjoyment you can out of it. If it leads to something bigger and better, wonderful. If this is going to be it, then by all means enjoy it for its own sake.