"Pippin," or My First Experience Doing Community Theater

Kristen Ritter is one of our wonderful, smiling ticket sellers at the Alaska Center for the Performing Arts CenterTix box office. In addition to helping you find a great seat at your next performance, Kristen is part of Theatre Artists United’s current production of “Pippin” running March 21-30. For tickets, visit www.CenterTix.net.

My name is Kristen Ritter and I work at the PAC which stands for Penguin Advisory Committee.  Just kidding, it stands for Pelican Advisory Committee; penguins generally have their act together.  

One of the great things about working at the PAC is that I can see all the amazing shows that come through our theaters and, after watching some of the most talented, consummate performers I have ever witnessed, I found myself thinking what any logical person would think:  I should do that.  So I decided to audition for Pippin.

The process was nerve wracking and when I actually made it into the cast as Lead Chorus Member (even though they keep telling me “that’s not a thing” and “you’re just a chorus member” and “stop standing on your chair like that during vocal warm ups”), I was ecstatic.  I texted my brother who has been the star of multiple Theatre Artists United productions in the past.  “I’M IN PIPPIN!!! WHO’S THE HOT SHOT NOW????!!??” I wrote, to which he replied: “did you take my ipod?”

Soon, rehearsals began. The dance rehearsals were extremely fun despite the fact that I often demonstrated the kind of coordination and motor skills more commonly associated with newborn giraffes or, you know, jello.  Blocking was easier because blocking is theater for standing and I’m pretty good at that. 

During this time, I also took on the duties of “rehearsal manager.”  Since I had never been a rehearsal manager before, nor even heard of such a thing, I wasn’t exactly sure what to do.  Occasionally I took roll call and when someone was not at practice I would leave lengthy, vaguely threatening messages vis-à-vis the safety of their family on their voicemail in an Italian accent.  It wasn’t a bad gig.

Then we were into tech week.  The costumes came together.  A local girl scout troop generously made all our dynamite (presumably for their explosives and pyrotechnics badge).  We found an excellent crate to play the role of “Crate.”  Most of my time was spent in the actor’s lounge eating cookies.

Tech week was also when I tried to ramp up the marketing.  A lot of my marketing involved telling people what Pippin is about, since I have scientifically deduced that no one outside the cast has ever heard of it.  In case you’re wondering, it’s about a young Russian boy who, unable to use his powers of necromancy to raise a beloved duck from the grave, is overcome with guilt and resorts to a life of exile in a small village where he eventually gets really good at choreographing farm chores to music.  If you’re thinking this is an overdone plot, let me assure you we put our own spin on this old favorite.

And then, before I knew it, we were opening.  Reflecting over the past nine weeks, I can’t believe how much I’ve learned.  

For example, I learned new vocabulary such as “artistic choice,” which is when you forget your lines and have to make up entirely new ones or, in my case, when you could not get the military uniform off in time during the quick change and now have to walk on stage wearing a dress over army fatigues and carrying someone else's prop (or something that looked like a prop in the dim light of the side stage but now just looks like an important piece of lighting equipment).

Most importantly I learned to always be conscious of where the dancers are, especially when they are doing their fouettés en tournant, which is a French phrase that means “get the hell out of the way.”

All in all, it's been an absolutely incredible experience and I hope everyone has a chance to come see Pippin.  Maybe afterwards, if you’re lucky, you can get the Lead Chorus Member to sign your program.

(In all seriousness, I’ve had so much fun being a part of this production.  I’m proud of the opportunities local artists have and I’m grateful for the professional space we have to perform in.)