octc-148562

Streetcar Ready to Scorch the OCT Stage

Thu, 22 Jan 2026 23:02:58 GMT

OCT Produces Its Fourth Award-Winning Show of the 50th Golden Season

Old Courthouse Theatre’s 50 ^th Golden Season has seen fantastic success with its first three shows of 2025-2026. Faster than anyone thought it would happen, the fourth show is ready to hit the stage: Tennessee William’s 1947 award-winning drama, A Streetcar Named Desire .

This highly-acclaimed play, set in New Orleans’ French Quarter, is known for its raw, honest portrayal of life in the post-World War II American south. As the title suggests, it explores the theme of desire, as well as the clash between classes and the fragility of beauty and one’s mental health. It also tackles the tricky balancing act that swings between illusion and reality.

When the play premiered at the Ethel Barrymore Theatre on Broadway, the play became an instant hit, not only because of its powerful script but also due to its all-star cast. The cast included Jessica Tandy as the fragile and delusional Blanche DuBois, Marlon Brando as the masochistic and remorseless Stanley Kowalski, Kim Hunter as the nurturing and passive Stella Kowalski, and Karl Malden as the sensitive Harold “Mitch” Mitchell.

Brando, Hunter, and Malden, among other cast members, would go on to reprise their roles four years later when the play was adapted for the big screen in 1951. Vivien Leigh would tackle the role of Blanche. Elia Kazan, who directed the stage version, also returned in the same capacity for the film version.

A Streetcar Named Desire won the 1948 Pulitzer Prize for Drama and Tandy received the Tony Award that same year for Best Actress in a Play. Three of the actors received Academy Awards (in 1952) for their roles in the movie adaption: Vivien Leigh for Best Leading Actress, Kim Hunter for Best Supporting Actress, and Karl Malden for Best Supporting Actor.

When OCT opens its production of A Streetcar Named Desire on Thursday, February 12, 2025 at 7:30 p.m., Julia Howard (last seen on the OCT stage last year in Post Mortem Player’s The Crucible as Abigail Williams) will take on the role of Blanche DuBois, while Matthew Ensley and Sophie Newman star opposite her as Stanley and Stella Kowalski.

Joining Howard, Ensley, and Newman on stage will be Lauren Newell (as Eunice Hubbell), Aaron Zimmerman (Steven Hubbell), Andrew Williams (as Harold “Mitch” Mitchell), Faraz Hamraz (as the Young Collector), Jacob Brayton (as Pablo), Will Baysinger (as the Doctor), and Meri Anne Flagg (as the Nurse).

The show is directed by Stuart Jonap, who last directed Arsenic and Old Lace in 2024 at OCT.

Curtains for A Streetcar Named Desire go up at 7:30 p.m. on February 12-14 and February 20-21, and at 2:30 p.m. on February 15 and 22 on the OCT main stage. Tickets can be purchased at www.octconcord.com , by calling the box at 704-788-2405, or at the door.

OCT’s Golden Anniversary season opened last August with Larry Shue’s The Foreigner , followed by the Stephen Sondheim favorite Company in October, and ended 2025 with Michael Paller’s unique adaption of the classic Christmas tale, A Christmas Carol . The 2025-2026 season ends on a literal high note with Kiss Me, Kate , running from April 30 through May 10, 2026.

Other chances to catch great theatre at the OCT over the next couple of months include the two Black Box Series productions of Driving Miss Daisy (February 26-March 1) and If All the Sky Were Paper (May 14-17), the OCT NextGen’s Shrek, Jr. on the mainstage (March 19-29), OCT’s annual 10-Minute Play Festival in the Wilson Family Black Box (June 4-7), and Post Mortem Player’s X on the mainstage (June 18-28). OCT also continues to host the Living Room Reading Series on the first Sunday of the month and Papa Capp’s Variety Shows on the first Tuesdays of the month.

If you have any questions, please do not hesitate to contact us through our website, social media, or phone.

As always, we hope to see you at the theatre!

OCT Announces Its 51st Season: Around the World in Five Plays

Fri, 19 Dec 2025 21:41:23 GMT

Old Courthouse Theatre is excited to introduce its historic 51st season. Kim Baysinger, chair of the theatre's Programming Committee said at our live announcement: “The traditional anniversary gift for those experiencing their 51st year together is MARBLE. And like that coveted stone, OCT is set to gift you with a 51st season that is solidly beautiful!”

After a year-long vetting, reading, and voting process, the Programming Committee sent its season recommendations to the OCT Board of Directors. For this knock-out season, the vote was unanimous.

Our season opener, set in long ago France, is a swashbuckler full of action and adventure; a classic tale turned on its comedic ear by America’s preeminent comic playwright. We begin our season with Ken Ludwig’s The Three Musketeers !

What better way to enter fall with all its spooky thrills than to be mesmerized by the greatest selling novelist of all time? From the UK, a tale of murder, police, invisible ink, hidden doorways and secret drawers. OCT offers up the comedy thriller from Agatha Christie… Spider’s Web !

Our eyes look to New York City and the time of the Great Depression for our holiday show this season. On the heels of our successful last few years of holiday shows, we are leapin’-lizards-over-the-moon-a-tingle to bring you the most iconic musical of all time, Annie .

Likely a new title for you, our February show comes from a writing team known for their ‘knock it out of the park’ comedies. Trust us when we say: This one is off-the-charts funny! Put together a wedding at a venue across the country, a Mama who won’t get on an airplane, and a quirky set of characters getting in a car together, and you’ve got: HILARITY. Otherwise known as Mama Won’t Fly . This is a ‘please don’t miss this one’ type of show, and we are thrilled to be producing it.

We end our season with a title that just belongs on the OCT stage. It brings so much of OCT, Concord, and our mission together in one place, and when the rights became available, OCT pounced with no hesitation. The Avett Brothers started here. Their roots are here. They belong here. Their success has been a blessing for our community for years, and (for those who haven’t followed them) they recently extended their work from the concert stage to Broadway. We are absolutely awe-struck and humbled to be producing the newly-released and regional premiere of: Swept Away .

It is our hope that we are offering a little something of solid beauty for everyone in our 51st season. As we continue to grow, expand, and work to serve our community, the OCT board and volunteers promise to devote all of our talents, time, and energy to producing the best versions of these plays for you, our family of supporters. See you at the theatre.

Charles Dickens’ “A Christmas Carol” Through the Ages

Thu, 20 Nov 2025 22:26:26 GMT

How One Timeless Tale Continues to Inspire Generations

The Enduring Legacy of “A Christmas Carol”

OCT’s upcoming performance of “A Christmas Carol” follows a long tradition of presenting this classic holiday production. In December, OCT presents Michael Paller’s adaption of “A Christmas Carol”. This fresh approach to the classic tale faithfully conveys the magic of Dickens. On Christmas Eve in 1843, friends and family gathered at Dickens’ home ask him to tell a story, but he refuses to work on Christmas Eve. If there is going to be a story, each must take a part in the telling. Performances run through December 4 to 14 on OCT”s historic main stages. Ticket information is available on our website at www.octconcod.com.

Few stories have captured the imagination and hearts of readers across the globe like Charles Dickens’ “A Christmas Carol.” First published in December 1843, this novella has transcended its Victorian origins to become a cherished part of holiday traditions around the world. But what is it about this story of Ebenezer Scrooge’s redemption that has allowed it to endure and evolve through the ages?

The Victorian Roots: A Story Born of Its Time

When Dickens wrote “A Christmas Carol,” England was in the midst of profound social and economic change. The Industrial Revolution had transformed society, but poverty, child labor, and stark inequality were rampant. Dickens, himself familiar with hardship, channeled his concern for social justice into the character of Scrooge—a cold-hearted miser who eventually learns the value of compassion and generosity.

The novella was an instant success, selling out its first printing in days. Its vivid characters, supernatural elements, and powerful message resonated deeply with Victorian readers, many of whom were grappling with questions about morality, charity, and the true meaning of Christmas.

Adapting to New Media: Stage and Screen

As the decades passed, “A Christmas Carol” found new life beyond the printed page. The story was adapted for the stage almost immediately after its publication, and soon became a staple of British theater during the holiday season. With the advent of film, radio, and television, the tale was reimagined in countless ways—each adaptation reflecting the tastes and concerns of its era.

From classic black-and-white films to animated versions for children, from musical renditions to Muppets and modern-day retellings, “A Christmas Carol” has proven endlessly adaptable. Each version highlights different aspects of the original story—sometimes emphasizing the supernatural, other times focusing on Scrooge’s emotional journey or the social commentary at its core.

Modern Interpretations: A Universal Message

What makes “A Christmas Carol” so enduring is its universal themes. The journey from selfishness to empathy, the possibility of personal transformation, and the importance of kindness and community are messages that remain relevant no matter the century. Modern adaptations often update the setting or characters to reflect contemporary issues, but the heart of the story stays the same: it’s never too late to change, and small acts of generosity can have a profound impact.

In recent years, “A Christmas Carol” has also inspired new forms of storytelling, including graphic novels, podcasts, and immersive theater experiences. Each generation finds its own way to connect with Dickens’ message, ensuring that the tale remains a living tradition.

Why “A Christmas Carol” Still Matters

As we celebrate the holidays, “A Christmas Carol” invites us to reflect on our own actions and attitudes. Are we reaching out to those in need? Are we open to change? The ghosts that visit Scrooge may be fantastical, but the story’s call to compassion and self-reflection is real—and as urgent today as it was in Dickens’ time.

Whether you’re reading the original novella by candlelight, watching a beloved film adaptation with family, or seeing the story performed on stage, “A Christmas Carol” continues to remind us of the best parts of the human spirit: hope, generosity, and the power of redemption.

John Harris Named 2025 Theatre Person of The Year by Metrolina Theatre Association

Wed, 22 Oct 2025 00:43:20 GMT

Old Courthouse Theatre’s President Proves Theatre Magic Isn’t Just on Stage—It’s in the Work You Don’t See

You may not see John Harris in the spotlight at the Old Courthouse Theatre (OCT), but his presence is unmistakably felt in every corner of the historic Concord venue. Whether he’s working concessions, running lights, repairing equipment, promoting performances, or simply vacuuming the aisles, Harris is the engine behind the scenes—keeping the community theater thriving with tireless dedication and heart.

On Sunday, October 5, that behind-the-scenes magic was officially recognized when Harris was named the 2025 Theatre Person of the Year by the Metrolina Theatre Association (MTA) during its annual awards ceremony at the newly renovated Carolina Theatre in Uptown Charlotte.

Now in his second year as Board President at OCT, Harris was honored for his exceptional leadership, hands-on involvement, and commitment to nurturing a strong volunteer culture within the organization. Accepting the award, he credited his parents for sparking his lifelong love of theater and shaping his personal values.

“I dedicate this, first of all, to my mom, who—when I was in the fifth grade—drove me to a local production of ‘Hello, Dolly!’ That night, I fell in love with theater,” Harris said during his acceptance speech. “I also dedicate this to my father, who passed 30 years ago. He taught me that dignity, work, and a man’s word is his bond.”

Although Harris is sometimes described as a jack-of-all-trades, it’s his warm personality, servant-leader mindset, and unwavering humility that leave a lasting impression on those who work alongside him. True to form, Harris downplayed the award as an individual honor and emphasized the collaborative spirit that fuels the theatre's success.

“While this award celebrates individual achievement, it is truly a testament to the collaboration and shared vision that defines the great work Old Courthouse Theatre produces,” he said. “It was great to share my award with OCT's other award winners on Sunday night.”

In addition to Harris’s recognition, several other OCT members were honored at the 2025 MTA Awards, further highlighting the organization’s artistic excellence and community impact:

· Brian Rassler – William E. Rackley Award for Technical Excellence

· Jordan McKenzie Deese – Emerging Artist Award

· Sara Gross and Freda Linker – Outstanding Costume Design for a Musical (Cabaret)

As Old Courthouse Theatre celebrates its 50th anniversary season, Harris’s recognition underscores the enduring value of volunteerism, leadership, and community engagement in the performing arts.

Company 101: A Look at a Sondheim Masterpiece

Sun, 05 Oct 2025 15:43:08 GMT

Company 101 - A Primer on Sondheim's Masterpiece

What is Company about?

On the night of his 35th birthday, confirmed bachelor, Robert, contemplates his unmarried state. Over the course of a series of dinners, drinks and even a wedding, his friends – "those good and crazy people [his] married friends" – explain the pros and cons of taking on a spouse. The habitually single Robert is forced to question his adamant retention of bachelorhood during a hilarious array of interactions.

In a series of comedic vignettes, Bobby interacts with his (or her, depending on the production) married friends — some of whom have happy marriages, others on the brink of divorce. And through it all, the character wonders, "What do you get?"

Diep Tan with the New York Theater Guide wrote: “At the time it was written, in 1970, Company was revolutionary in exploring dating and relationships in the modern age, when phones and the fast-paced world of New York City have made it seemingly impossible to find a real connection. As Sondheim wrote in his book Finishing the Hat, Company is about "the challenge of maintaining relationships in a society becoming increasingly depersonalized." And a real connection, as the musical points out, is the key to "being alive." Talk about a musical that's only grown more relevant with time!”

So what is a Linear Musical? A Concept Musical?

A linear musical play is one where the story progresses in a single, continuous chronological order from beginning to end, much like a traditional narrative or a completed recording. It follows a clear plot structure with a defined starting point, middle, and ending, without significant interruptions, digressions, or interactive elements that would change the order of events.

A concept musical is a Broadway show that emphasizes a central theme, idea, or message over a traditional, linear plot, often using vignettes or a series of scenes to explore different facets of the concept. Pioneered by directors like Harold Prince and composers like Stephen Sondheim, these musicals, such as A Chorus Line, Company, and Chicago, blend form and content to explore a singular vision, creating a tapestry-like theme rather than a conventional story.

When did Company premiere?

Company actually began in the late '60s as a series of short plays about marriage written by the playwright George Furth. Stephen Sondheim read the plays and asked famed Broadway director Harold Prince for his thoughts. Prince had the idea to turn the plays into a musical, and he would go on to direct the original production of Company. Sondheim then realized that in all of the plays, there was one outsider character looking in on the action. For the musical, the outsider characters were merged into one character named Bobby. Company had its pre-Broadway tryout in Boston at the Shubert Theatre beginning March 24, 1970. Despite mixed reviews, Company opened on Broadway at the Alvin Theatre just a month later, on April 26, 1970, and was a success.

What notable songs are in Company?

The musical includes the showstoppers "Being Alive" and "The Ladies Who Lunch," the speedy tongue-twister "Getting Married Today," and the slower and more pensive "Marry Me a Little."

What awards has Company won?

Company is a crowd-pleaser and a critical hit. Here is a partial list of the honors that Company has won. Including these awards, Company has won awards from Drama Desk, Drama League and Outer Critics Circle Awards.

1970 Broadway production: It won six Tony Awards, including Best Musical, Best Book of a Musical, Best Score, Best Lyrics, Best Direction of a Musical, and Best Scenic Design.
1995 London revival: It won three Olivier Awards, including Best Actor in a Leading Role in a Musical, Best Performance in a Supporting Role in a Musical, and Best Director.
2006 Broadway revival: It won one Tony Award: Outstanding Revival of a Musical.
2018 West End revival: It won four Olivier Awards, including Best Musical Revival, Best Actress in a Supporting Role in a Musical, Best Actor in a Supporting Role in a Musical, and Best Set Design.
2022 Broadway revival: Company won five Tony Awards — the most out of any musical. Company wins included: Best Revival of a Musical, Best Performance by a Featured Actor in a Musical (Matt Doyle), Best Performance by a Featured Actress in a Musical (Patti LuPone), Best Direction of a Musical (Marianne Elliott), and Best Scenic Design of a Musical (for Bunny Christie).

What Celebrities have performed in Company?

Company is catnip for celebrities. Many big names have starred in the show, either in fully staged productions or in concert productions, attracted to the witty wordplay and the showstopping songs. Here are some notable people who've starred in Company. Celebrities include: Neil Patrick Harris, Patti LuPone, Elaine Stritch, Stephen Colbert, and Christina Hendricks.

Company definitely fits the criteria of award-winning shows for OCT’s Golden Anniversary Season. Company has a Broadway Pedigree that all shows aspire to. It has numerous awards. Get your tickets today you do not want to miss this special attraction. Sondheim comes to OCT’s historic theatre.

Why Your Support Matters: Rallying Together for Old Courthouse Theatre’s Annual Fund Drive

Tue, 09 Sep 2025 01:39:46 GMT

Help Us Raise $60,000 by May 31, 2026 to Keep the Magic Alive

Old Courthouse Theatre (OCT) is more than entertainment—it’s the living, breathing soul of Concord and surrounding communities. On our local stage, stories unfold, connections are forged, and dreams take flight beneath the glow of the lights. This is a place where laughter resounds, tears are shed, and each applause reminds us that we belong. As we launch our annual fund drive, with a goal of raising $60,000 by May 31, 2026, we invite you to help ensure that our theatre remains a vibrant, welcoming home for creativity and culture.

Why does my donation matter?

Every dollar you contribute powers the magic of live performance.

Old Courthouse Theatre is a non-profit organization fueled not by big box office receipts, but by the generosity of patrons like you. Ticket sales alone do not cover the costs of lights, costumes, sets, scripts, and the skilled artists who dedicate themselves to bringing unforgettable stories to life. Your support bridges the gap, sustaining not only our productions but also our educational programs, outreach initiatives, and vital building maintenance.

Support Local Talent: When you give, you nurture the dreams of aspiring actors, directors, designers, and technicians from right here in our neighborhood.
Preserve, Maintain, and Improve Our Historic Home : OCT’s beloved building is a local treasure—standing for over 100 years, However, with age comes the ongoing need for maintenance and restoration. Your donation helps ensure this historic space is not only safe and welcoming but also improved for future generations. We are committed to essential repairs, accessibility upgrades, and protecting the unique character of our theatre.
Invest in Tomorrow: Equipment and Technology Upgrades : As we look ahead, keeping pace with modern production needs is crucial. Your support allows us to invest in new lighting, sound systems, and backstage equipment—ensuring that every show is as magical and memorable as the last. These upgrades mean more dynamic performances, greater safety for cast and crew, and new possibilities for creativity on stage.

What is the impact of my generosity?

Every gift, large or small, adds up to something extraordinary.

When you invest in our theatre, you invest in people—volunteers who devote countless hours, children who discover confidence in their first role, and audiences who leave inspired. The ripple effect of your generosity is felt across our entire community.

Arts Education : Your donation funds workshops and summer camps that introduce young people to stagecraft, building artistic skills and lifelong friendships.
Inclusion and Diversity : We strive to foster diverse voices on our stage and behind the scenes, ensuring that everyone’s story can be told and heard.
Economic Vitality : A thriving theatre attracts visitors, supports local restaurants and businesses, and creates jobs—making our town a more vibrant place to live.

Where will my gift be invested?

OCT’s Board made the decision to invest the funds in several areas. These are:

Lobby Renovations – Our lobby was last renovated over 25 years ago. An investment in subfloor improvements, new carpeting, painting, ceiling repairs, electrical and select replacement of furnishings is needed.
Improvements to our Audio System – Our recently conducted Season Survey confirmed that OCT must improve our sound system. The first order of business is purchasing the needed wireless microphones and peripherals. If possible we will address overhead microphones.
Improvements to Wilson Family Black Box The plan is to obtain similar chairs for the black box. This is to improve the comfort of our patrons.
AED Units For the safety of cast, crew, volunteers and patrons , the plan is to purchase two AED units for the Main Stage and the Wilson Family Black Box.
Improvements to our Network OCT would like to improve the ability to scan tickets, improve the speed of check out in concessions and monitor energy usage 24 hours a day. Our current network will not support that. Also, OCT would like to improve production capabilities that require consistent and a robust network usage.
Reserve Funds Like every family and organization, OCT needs to maintain a rainy-day fund. For nonprofits, the guidance is to hold in savings at least six (6) months cash to cover overhead expenses. OCT needs to grow our savings to meet that guidance.

Any excess funds will be invested in planning for handicap access to the Wilson Family Black Box Theatre and exterior facility needs.

What does the annual fund mean to our community?

If you’ve ever watched a child beam with pride after their first curtain call, or witnessed an audience moved to tears by a powerful performance, you’ve seen the difference OCT makes. For many, this is a sacred space—a second home, a launching pad for dreams, and a source of life-long memories.

Consider the student who found their voice in our summer camp, the retiree who rediscovered a love of acting, or the family who made our annual holiday show a beloved tradition. Your support keeps these stories unfolding, year after year.

The Urgency: Why now?

Our goal is ambitious: we need to raise $60,000 by May 31, 2026. With rising costs for materials, utilities, and licensing, the need for support is greater than ever. Added to this are the increased demands of maintaining and improving our century-old building, as well as investing in the equipment that keeps our productions running smoothly and safely. This fund drive is not just a routine appeal—it’s a call to action to sustain the lifeblood of our artistic community.

If we fall short, we risk programming cutbacks, fewer educational opportunities, and falling behind on needed facility repairs. Your timely gift ensures we can plan a full season of performances, keep our historic theatre safe and accessible, and maintain the technical resources that bring stories to life.

How can I help?

Make a Donation : Every contribution, whether $25 or $2,500, brings us closer to our goal. Consider becoming a monthly donor for sustained impact. You can make a one-time donation at: https://octconcord.app.neoncrm.com/forms/season-50-annual-fund .

If you prefer, you can make a monthly donation at: https://www.octconcord.com/support#FoundersCircle

Share Our Story : Spread the word among friends, family, and colleagues—your voice can inspire others to give.
Attend Our Events : Enjoy a show, participate in a workshop, or volunteer your time. Your presence supports us as much as your dollars do. Here is the link to our season: https://www.octconcord.com/50th-season
Corporate and Matching Gifts : Ask your employer about matching donations, or sponsor a performance to give back to the community in a meaningful way.

Can I trust my donation will be used for its purpose?

We are committed to using your donations wisely. Every dollar raised goes directly into programming, education, equipment and building improvements, and maintaining our venue.

A Personal Invitation

Imagine a world without the laughter, connection, and inspiration that theatre brings. Imagine a community less vibrant, less united, and less hopeful. Together, we can ensure that doesn’t happen.

By giving to our annual fund drive, you are not only sustaining our theatre, the memories of countless artists and audiences, and ensuring that a 100-year-old landmark continues to be a beacon of creativity, you are helping to write the next chapter of OCT’s story: one filled with light, laughter, and limitless possibility.

Join us, and let your generosity take center stage.

See you at the theatre……

Let's Talk About Stage Managers

Thu, 21 Aug 2025 20:18:57 GMT

The Center of the Practical Process of Theatre

Every play that is produced has at least one stage manager, sometimes a stage manager with an assistant or two. But what does a stage manager really do?

In a nutshell, the stage manager is the workhorse of the production, and holds most of the responsibility for making sure a show runs smoothly and professionally. Without a stage manager, the whole operation would likely fall into chaos, and much communication would likely break down. This all-important position is the anchor, the center, the heartbeat of all that happens in rehearsal and backstage. If the creative director is the center of the creative process, the stage manager is the center of the practical process.

In the beginning of the rehearsal process, the stage manager sets up all modes of communication for the company and ensures that all design and planning personnel are on the same page with the director. S/he facilitates auditions, fulfills the directives of the director, and prepares all needed materials for auditions and beginning rehearsals. A great stage manager gets the ball rolling in a positive, smooth, and efficient way.

As rehearsals begin, the stage manager compiles a contact list, disseminates rehearsal schedules, and secures rehearsal conflicts from the actors. When actors report to rehearsal, they check in with the stage manager, and the stage manager contacts anyone not attending. After rehearsal begins, the stage manager manages time, records stage movement and rehearsal notes, and attends to the director’s needs. When rehearsals end, the stage manager secures the building and sends out a rehearsal report to all those who need it to prepare for the next rehearsal.

For the backstage work, the stage manager coordinates and plans all changes of set, use and storage of props, and helps actors with anything they might need. In most productions, there is a dedicated prop table on both sides of the stage with each prop taped off and marked, and closely monitored by…you guessed it…the stage manager.

Whew! That sounds like a huge job! My friend, that is just for rehearsals!! Let’s talk now about: The performances.

When opening night comes, it’s the stage manager who now runs the show. Often, the director has now gone on to other projects! Our all-important stage manager now makes sure all needed personnel are present for the performance, communicates with the house personnel on lobby and auditorium issues, makes sure all props and set pieces are in place and functional, and is available for all needed things pre-show. S/he calls times to the actors and crew leading to curtain time, ending with the ever-famous word: Places!!

After ‘Places’ is called, the stage manager runs the show. Typically, the stage manager is on a head-set with the light and sound board operators, and s/he calls all of the technical cues for the performances. S/he is backstage at all times to handle any and all emergencies that might arise, and is also the time-keeper and facilitator for smooth transitions into intermission and back into the second act of the show.

After the performance, the stage manager cleans, re-sets for the next performance, and handles any other issues that arose that evening. And, at the end of the night, the stage manager is the last person out of the building, turning on the ghost light, and securing the space for next time.

An exhausting job? Absolutely. But so incredibly vital to the success of the production. The stage manager may never see the ‘limelight’--but s/he shares the applause and accolades with all those who rely on him/her to launch the production. It truly takes a special person to be amazing in this role–OCT has been VERY fortunate to have enjoyed MANY “stage manager extraordinaires” during our rich history. We all give you–our anchors–a standing ovation!!

It's All About the Money

Tue, 22 Jul 2025 01:32:36 GMT

Community Theatre seems like a pretty inexpensive endeavor, wouldn’t you say?

Community Theatre seems like a pretty inexpensive endeavor, wouldn’t you say? Grab a script, score some volunteers (actors, tech crew, house crew) and go to town. It would probably cost, what, a hundred bucks or something? Well…..

There is no one set of costs or a standard formula for costs at a community theatre. Many things factor into the budget: Does the organization own its own space? Does the organization have a stock set of set pieces with which to build the sets? Are there in-stock costumes? Are there sponsors in place? If the organization does own its own space, there are multiple costs: mortgage payments, utilities, insurance, internet…lordy, the list goes on and on. And if the organization does NOT own its space, there is the ultimate challenge of finding rehearsal and/or performance space (often not free). At OCT that’s about $5,000 a month in overhead costs! It’s starting to add up…

But let’s start at the very beginning: The play. To secure rights to any script that is not in the public domain, anyone looking to produce a play has to secure the rights to that play. It’s not well-advertised, but it is true that there are precious few companies that hold the rights to these plays you’re seeing. If OCT wants to produce, say, Company (our second show of the 50th season), we have to apply for performance rights to Music Theatre International (MTI). That is the ONLY company who holds the performance rights. We are at the mercy of MTI to grant those rights, and we have to pay whatever they set as the royalty rates for that play. There is usually a production package you have to buy on top of the royalties…so, depending on whether the play is a musical or non-musical, rights can vary from $100/show to $1,500/show. You would, of course, also have to buy or rent the actual scripts. Non-musical scripts run about $15/script and for musicals it’s usually a rental of about $800. If you are keeping track the rights, scripts, and music tracks for Company will cost OCT around $3500.

Let’s keep adding, shall we? Although it is traditional in community theatre to secure volunteer actors, personnel such as the director, music director, choreographer, and stage manager are typically paid positions. Do you have your calculator? Director fees vary wildly, but if we need to ballpark it, let’s call it $1,000-$2,500 per play. Same range for music directors, perhaps a tiny bit less for choreographers…and stage managers would pull in $500-$1,000. OCT has a great collection of costumes, set pieces and props, but on occasion we need to supplement those. So those items are not in stock then get the purchasing card out…..

Whew! Well, that’s a lot. I guess we can’t get by with just $100. Oh, no! We’re not done! How about program printing, cleaning supplies for the facility, concessions (although these typically pay for themselves), maintenance, landscaping…

We would love for this thing called theatre to be all about the art. We revel in the art part of it, and our focus is primarily on high-quality art. So, no, it’s not all about the money. But if we didn’t address the monetary aspects, we wouldn’t be able to bring you the art. Which is what we are here to do.

Do we sometimes ask for money? Yes. Do we always need money? Yes. Would it be ideal if some millionaire decided we were worthy of their money and just handed us a fortune? Absolutely. Do we hope for the day when we don’t have to worry about money? We sure do. But, for now, we will forge ahead balancing art and practicality, magic and money. Stay tuned.

What Happens When The Theatre is Dark.

president@octconcord.com (John Harris) — Mon, 07 Jul 2025 18:55:44 GMT

What Happens When The Theatre is Dark

You will hear the phrase: The theatre is dark. So what does that mean? “Going dark” means there are no active performances scheduled for a certain time in a theatre space. July is a rare month when the OCT’s Main Stage and Wilson Family Black Box do not have any ticketed performances and, therefore, have technically gone “dark.”

While there are no performances in July at OCT, our Foreigner cast and crew are busy with rehearsals, set building and light design. Later in the month, we host auditions for Youth Theatre-Next Gen, and, at the end of the month, Post Mortem Players will audition for Rocky Horror Show.

Our facilities team is working to catch up on maintenance projects. They are also planning to start work on bell tower renovations and the last phase of HVAC work. The lobby renovation project is in the design phase. Our production team is organizing prop and storage rooms. In the costume shop there is always cleaning and organizing and securing costumes for Season 50.

Marketing and development are working on marketing plans for all nine Season 50 shows, working on grant submissions, learning our new CRM system and updating the website.

In administration, we are finalizing our Season 50 goals, looking at board retreat ideas, conducting new board member orientation, and looking at our long-term strategic plan.

Of course it is not all work. OCT volunteers enjoyed the long 4th of July weekend and taking much-needed vacations.

While there are no “live” ticketed performances in July and the theatre is “dark,” OCT is busy preparing for its Golden Anniversary Season. Maybe you can say we aren’t completely dark. You might call it…semi-darkness.

See you at the theatre………..

OCT Celebrates 49th Season at Annual Awards

Thu, 19 Jun 2025 17:46:51 GMT

Old Courthouse Theatre Celebrates 49th Season at Annual Gala

Honoring Outstanding Performances and Technical Excellence in Community Theatre

Concord, N.C., June 19, 2025 — Old Courthouse Theatre (OCT), Concord’s premier community theatre, hosted its annual gala this past weekend, capping off its 49th season with an evening of celebration, recognition, and community spirit. The event honored standout performances and exceptional design work, as voted on by season ticket holders, and the volunteers who bring live theater to life on the OCT stage.

Arsenic and Old Lace , directed by Stuart Jonap, took home top honors for Best Show as well as technical awards Best Set Design (Roger Watson) and Best Costume Design (Kim Baysinger).

Other awards for OCT’s five mainstage productions included:

Best Lighting Design : Lee Franklin ( Cabaret )
Best Sound Design : Jon Kadela ( Miracle on 34th Street The Musical )
Best Actor : Wesley Scott as “Kris Kringle” ( Miracle on 34th Street The Musical )
Best Actress : Lindsey Litka-Montes as “Sally Bowles” ( Cabaret )
Best Supporting Actor : Nathan Brooks as “Marvin Shellhammer” ( Miracle on 34th Street The Musical )
Best Supporting Actress : Kara Barnette as “Dr. Herman Einstein” ( Arsenic and Old Lace )
Best Featured Performer : Marc Anderson as “Officer O’Hara” ( Arsenic and Old Lace )
Best Cameo : Herchelle Smith “Mr. Witherspoon” ( Arsenic and Old Lace )
Best Featured Youth Performer : Chloe Weathers as “Susan Walker” ( Miracle on 34th Street The Musical )
Best Youth Ensemble Member : Tyler Opel ( Miracle on 34th Street The Musical )

Favorite Newcomer was awarded in a tie to both Nathan Brooks and Lindsey Litka-Montes , each recognized for their dynamic debut performances.

The evening also included the presentation of the People’s Choice Awards , celebrating fan favorites from the 2024–2025 season:

Steel Magnolias : Rachel Mackall
Arsenic and Old Lace : Linda Jones
Miracle on 34th Street The Musical : Wesley Scott
The Complete Works of William Shakespeare (Abridged) [Revised] : Kevin Leichman
Cabaret : Lindsey Litka-Montes

In addition, OCT’s newly renovated Black Box theater was named in honor of The Wilson Family, recognizing their exceptional service and nearly five decades of dedication to OCT.

Finally, OCT recognized outstanding volunteers for their contribution and commitment to the theater:

Wilson Family Volunteerism Award: The Garrido Family
Mary Thompson Award for Volunteerism: Brian Rassler

As Old Courthouse Theatre looks forward to its Golden Season, celebrating 50 years of delivering exceptional community theater to Concord, NC, and the surrounding neighborhoods, the gala served as a heartfelt reminder of the passion, talent and dedication within Concord’s vibrant arts community.

For more information about OCT’s upcoming season and how to get involved, visit www.octconcord.com.

The 10-Minute Play Festival: A Celebration of Creativity and Community

john_c_farrell@yahoo.com (John Farrell) — Mon, 12 May 2025 02:51:11 GMT

The 10-Minute Play Festival Returns to the Black Box on June 6-8, 2025

On June 6-8, 2025, the Old Courthouse Theatre’s (OCT) Black Box plays host to an event that has quickly become a fan favorite: the annual 10-minute play festival. This unique event celebrates the power of short-form theater, inviting playwrights, directors, actors, and audiences to satisfy their theatrical aspirations on a smaller scale than what you would find in a main-stage production. If you want to try your hand at performance for the first time or it’s been years since you last stepped into the spotlight but don’t know if you’re yet ready for the big stage, the 10-minute play festival may be just what you’re looking for.

The festival began in 2013 when long-time OCT patron and volunteer, Andy Rassler, presented a proposal to the board. She had seen similar events have success at other theaters and thought it could work here.

Rassler stated, “As a playwright, I had submitted to a number of these festivals around the country and it suddenly occurred to me that we could have one right here in Concord, NC! It does take some time to coordinate and read, but it is such a fun project and it gets people doing theatre!”

After humble beginnings on the mainstage, the festival branched out to surrounding venues, such as the Cabarrus Brewery. Although going on the road took the festival to the masses and helped spread OCT’s name throughout the community, it was not without its challenges. A couple years later, it returned to the OCT’s mainstage and eventually it found its current, permanent home in the Black Box.

What Exactly Is a 10-Minute Play Festival?

The 10-Minute Play Festival is, at its core, a celebration of short-form storytelling. As the name implies, each play performed in the festival runs approximately ten minutes. The brevity of each piece forces playwrights to focus their storytelling, creating compact, powerful narratives that pack an emotional punch in a short amount of time.

The festival features playwrights from North Carolina and surrounding states (i.e., South Carolina, Georgia, Tennessee, Virginia, and Kentucky). With the close proximity of the playwrights to Concord, it is OCT’s hope that the playwrights will be able to see their creations come to life!

Over the years, the festival has been fine-tuned to where it’s now a well-oiled machine. According to Rassler, “We start by coming up with a theme, advertising submission opportunities for all, collecting those submissions, reading them (as a committee), and then voting on our favorites. We then assemble a director’s team and have auditions.”

Selecting the Plays

All received scripts are blind submissions, allowing the play-reading committee to judge the plays based solely on their merit without any bias toward the playwright’s identity. This impartial process ensures fairness and allows for a wide range of voices to be heard. The committee has a few weeks to read and score them. After all of the scripts have been read and scored individually, the committee discusses the scripts together and vote on the six or seven that will make up the festival. According to Rassler, “Sometimes fairly high scorers are rejected because of content or technical demands, but mostly the best win.”

This method of selection has led to an eclectic mix of works each year, drawing from both veteran and new playwrights alike. Last year, the festival received a record 57 submissions, illustrating the growing interest in the event and the caliber of talent it attracts.

Each season, Rassler comes up with a new theme, which guides the submissions. When asked how she comes up with, she replied, “I ask friends and colleagues for ideas first, then percolate for a week or so. I look for things out in the world, inspiration on TV, the community, the world. Many times, as this year, it’s just random things that somebody says.”

Previous themes, such as "Underneath," “At the Movies,” and "Thrift Shop," have inspired a wide array of creative interpretations, allowing playwrights to explore both serious and comedic topics with equal energy. From intimate dramas to laugh-out-loud comedies, each festival offers a unique blend of genres, ensuring that no two editions are the same.

This year’s theme is broader as the only requirements are that each play’s set must include two chairs, a table, and a lamp. Additionally, a key must be included as a prop in some fashion in each play.

A Hub for Local Talent

The 10-Minute Play Festival is particularly important to the local community, as it provides a platform for regional playwrights to showcase their work. While the festival has grown in size and reputation over the years, the heart of its mission remains centered on providing a stage for voices from Concord and the surrounding areas.

Moreover, the festival invites audiences to witness the talents of both seasoned actors and newcomers. The rapid rehearsal and performance process forces both actors and directors to think on their feet, often leading to memorable, spontaneous moments. These experiences are not just enriching for the performers but also for the audience, who can enjoy the energy and enthusiasm of live theater at its finest.

A Focus on Community Impact

As with many grassroots arts initiatives, the 10-Minute Play Festival at OCT is as much about community as it is about art. The festival serves as an important fundraiser for the theater, generating revenue that supports not just the festival itself but also the theater’s other programs and outreach efforts. The festival’s ability to draw in a broad audience—both seasoned theater lovers and newcomers—helps strengthen OCT’s connection to the local community and ensure the theater's sustainability.

The festival’s intimate setting in the Black Box allows for a unique connection between the performers and the audience. This smaller-scale environment creates a sense of shared experience, where each laugh, gasp, or cheer from the crowd feels personal and immediate. For both the audience and the performers, the festival is a celebration of the connection that theater can foster.

This Year’s Festival Lineup

After all the scripts were read and selected, and auditions held, here are the seven plays chosen this year to be a part of the 10-Minute Play Festival and the playwright, director, and actors.

“Budget Cuts”

Written by Linda Smith
Directed by Denise McKercher

Cast
Detective ….. Andy Rassler
Mrs. Farthingham ….. Linda Smith
Officer ….. Marc Anderson
Production Assistant ….. Meri Anne Flagg
Stage Crew A ….. Shalil Hogue
Stage Crew B …..Zyalon Simmon

…

“A New Lease on Love”

Written and Directed by May May

Cast
Leah ….. Allison Graham
Kaelee ….. Chrissy Nefe
Agatha ….. Marnie Stoker

…

“The Door”

Written by Aarja Day
Directed by Lynn Fesenmeyer-Johnson

Cast
Bella …..Keitt Courtney
Ava … Harmoni Simmon
Luna ….. Denise McKercher

…

“Nothing Really Matters”

Written by Andy Rassler
Directed by Berryl Torrence

Cast
Mia Joyson ….. Melissa Steele
Captain Hooke ….. Roger Watson
Johnny Jake ….. Trevor May

…

“Future Proof”

Written by Greg Akerman
Directed by Marc Anderson

Cast
One ….. Christine Hull
Two ….. Nicole Cunningham

…

“Settling Up”

Written by Kimberly Saunders
Directed by Chrissy Nefe

Cast
Lena ….. Nicole Cunningham
Cal ….. Trevor May
Izzy ….. Allison Graham

…

“Unlocking Potential”

Written and Directed by Kara Barnette

Cast
Parker ….. Kimberly Saunders
Alex ….. Carmen Smith
Quinn ….. Kelly Durden

For those interested in experiencing a unique and dynamic celebration of the arts, the Old Courthouse Theatre’s 10-Minute Play Festival is an event not to be missed. Whether you're a longtime theatergoer or new to the stage, this festival promises an unforgettable experience that demonstrates the power of short-form theater to entertain, inspire, and connect us all.

For more information about the 10-Minute Play Festival, click here .

'Cabaret': Where Music and History Collide

Mon, 05 May 2025 22:07:10 GMT

Travel back in time to 1929-30 Germany this weekend with Old Courthouse Theatre.

If you’ve never been to the Old Courthouse Theatre (OCT) or you haven’t visited in a while, I have one reason why you should change that this weekend: Cabaret .

Cabaret , the final show of OCT’s 49 ^th season, is a 1966 musical that takes the audience back to a time that most people today weren’t alive to witness (and those who did experience it probably don’t want to remember): 1929-30 Berlin, just as the Nazis were rising to power.

The thought-provoking musical was based on the 1951 play, I Am a Camera , by John Van Druten, which was based on Christopher Isherwood’s Goodbye to Berlin , a 1939 novel. It features music by John Kander with lyrics by Fred Ebb and a book by Joe Masteroff.

“ Cabaret is set during a very brief time in Germany’s history—the Weimer Republic, nestled between the fall of Imperial Germany after WWI and before the rise of the Third Reich during WWII,” said the show’s director, Heather Wilson-Bowlby. “The republic experienced a time of relaxed censorship in all forms of art, entertainment, and lifestyle, during which cabaret artists were able to explore themes of sexuality, politics, and social issues with greater openness, including LGBTQ+ themes that were previously taboo.”

What to Expect

The musical’s plot follows Sally Bowles, an English cabaret performer in Berlin’s Kit Kat Klub, as she enters an unlikely relationship with Clifford Bradshaw, an aspiring novelist from the United States. The action bounces between Clifford’s apartment flat in a boarding house owned by Fräulein Schneider and the seedy Kit Kat Klub, which is overseen by the Master of Ceremonies.

Because the show can be a little risqué with mature topics, I wasn’t sure how Wilson-Bowlby and her crack production team would present it. If you go too over the top, you run the risk of offending some theatregoers; however, if you present a watered-down version, you upset those who know the story and want to see it done in a way that is faithful to what was happening at that time in Germany, and, quite frankly, it lessens Cabaret ’s message and impact.

Instead, what Wilson-Bowlby and her team, including a stellar cast of actors and actresses, give us is nothing short of perfection.

A re You a Bystander to History?

After watching the final dress rehearsal, I was at a loss for words. I, along with the few others in the audience that night, sat in silence for several minutes after the show ended. While I can’t speak for the others, the impact of the closing scene (really, the entire show) and everything I had just seen transpire on stage made me think about my role and place in society. Am I just a bystander to history or would I do something about the injustices I witness around me?

Wilson-Bowlby sums it up beautifully: “As a modern audience, we know all too well what comes with WWII and Nazism with their racial laws created to exterminate human beings they found undesirable. Cabaret poses the question, ‘What would you do?’

“We all would like to view ourselves as the hero, but that is only in hindsight. Cabaret offers several points of view: the observer, the survivor, the optimist, the dreamer, and the guide.”

Because the production is true to the story and what was going on in late 1920’s Germany, don’t arrive to the theatre expecting a feel-good story that will make you laugh uncontrollably or leave you with warm fuzzies. It’s not meant to be that type of show.

“Good art doesn’t always make you feel good. Sometimes it’s best if it makes you think,” stated Wilson-Bowlby. And it definitely makes you think.

The original 1966 Broadway production of Cabaret won eight Tony Awards, including Best Musical, Best Original Score, Best Featured Actor in a Musical, Best Featured Actress in a Musical, Best Direction of a Musical, Best Choreography, Best Scenic Design, and Best Costume Design. It also won the New York Drama Critics’ Circle Award and the Outer Critics Circle Award for Best Musical.

Order Your Tickets Today!

Take a step back in time with us for the last three performances of Cabaret on Friday, May 9, and Saturday, May 10 at 7:30 p.m.; and Sunday, May 11 at 2:30 p.m. The house opens 30 minutes before the show starts.

To purchase tickets, click here .

Theatre Can be a Dirty Business

Mon, 05 May 2025 15:54:23 GMT

Theatre Can Be a Dirty Business

The actor in the spotlight sings a show-stopping number as beautiful chorus members execute stunning choreography and bring the house down. This is one side of the business of theatre—the magical side, the clean and beautiful ‘there’s-no-business-like-show-business’ side. There is another side, though - a dirty, dusty, grimy, gross side. And I have witnessed this side many, many times in my decades of work in community theatre.

I have seen volunteers, people who are being paid NOTHING, crawl through the murky underside of OCT’s stage (yes, there is a crawl space under our stage!) to investigate an electrical issue. I have seen them shovel tens of hundreds of pounds of plaster they’ve removed from our ceilings and walls into wheelbarrows and roll them out to the dumpster. I have seen them vacuum carpets, mop floors, scrub toilets, haul scrap set pieces, put up set walls, take down set walls, paint, trim weeds, fix windows (and roofs, and ceilings, and…), wrangle loads of costumes, wash popcorn makers, and countless other grubby, mucky jobs. I’ve seen it, and I’ve done some of these things, too. Some. Definitely not all. Ish. I’m not going to lie: it can be really yucky work.

So, theatre can be a “dirty” business, and the people I’ve witnessed dive into this dirtiness do this, not because they are insane (well, not certifiably insane), but because they understand how important their contribution is. And their commitment and drive are contagious. Like the best and most beautiful virus you can imagine, this commitment and drive catches on, and then—before you know it—other people are spreading this beautiful virus to even more people…and creating a passionately “infected” COMMUNITY. The dirty work gets done, and the people doing the dirty work have found that the work they are doing is building a foundation for the transformative things that happen on the stage. Somehow, everyone’s got the virus, and no one wants to be cured. Everyone wants to dig in and ‘get dirty’ because it makes their lives better. This ‘dirty’ work has been fundamental in building friendships, supporting passions, and making this little corner of Spring and Grove a more magnificent place.

Theatre can be a very, very dirty business with very, very (but not certifiable!) crazy people. But there truly is no business like show business. It is all completely worth it. Let’s hope there is no cure.

Welcome to Our New Website!

john_c_farrell@yahoo.com (John Farrell) — Mon, 07 Apr 2025 15:51:45 GMT

Although we have so many things happening, the first post is dedicated to our newly designed website.

First off, welcome to our brand-new blog on Old Courthouse Theatre's redesigned website. We hope you find everything you're looking for; however, since our goal is to make this website the best go-to resource for everything OCT, if there is something you think is missing or if you notice anything wrong, please reach out to us through the "Contact" tab at the top of the page.

There are a lot of great things happening in and around the theatre that would be worthy of the first post: the upcoming production of Cabaret (the fifth and final mainstage show of our 49th season); the 10-minute play festival; Post Mortem Player's The Crucible , coming to life on or mainstage; the season-ending Gala; the next production of the Living Room Reading Series in the Black Box Theatre; the many different summer camp offerings that are sure to be a hit; all the different renovation projects in process and upcoming at the Old Courthouse Theatre; all the growing excitement surrounding OCT: NextGen (Old Courthouse Theatre's youth theatre group); and, of course, our upcoming 50th Season.

Although we have so many awesome things happening at the theatre, this first blog is dedicated to this: our newly designed website. But don't worry, there will be blog posts in the future on everything listed above and much, much more. Trust me!

When the previous website design was unveiled about eight years ago, it was aesthetically appealing, but it didn't allow us to do everything we wanted. Therefore, updating and redesigning the website to be more user-friendly and beautiful while offering more elements for our patrons was on our wish list for several years. Fortunately, through a grant and many volunteer hours, the OCT was able to design a new website, one that is packed with all the bells and whistles we've always wanted.

"We want our website to reflect the excellent work being done at OCT, to tell our story, and improve the user experience," stated John Harris, the President of OCT's Board of Director.

All of this is achieved with the new website. Before embarking on this long journey, the theatre conducted a detailed review of its current website, ticketing software, CRM database, and volunteer management software. After looking at several options, NeonOne was tabbed to move us into this new era. NeonOne will continue to provide its ArtsPeople software and it will implement their CRM for donor management. Additionally, they are assisting us in redesigning the website and will host it.

The website will be a vital tool in showcasing and further strengthening OCT's brand, not just here in Concord but throughout Cabarrus County and the surrounding areas. Of course, it will highlight our main stage shows, but it will also serve as an additional vehicle to promote everything else that is happening at the theater, both on the main stage and in the Black Box. There is a special section for everything that is going on with our newly rebranded youth theatre program: OCT: NextGen.

But we're not stopping there. We have future plans to make the website even better than it already is. In the near future, we will be unveiling an online merchandise store where you can purchase all kinds of OCT-branded products. For those of you who spend many of your waking hours at the OCT, whether it's ushering, working in concessions, helping during work calls, we will be integrating our Volunteer Management Software with the website. Of course, more on both those to come in the future.

As you can see, there is a lot going on at the theatre and on our website. I invite you to explore the website and enjoy all it has to offer. If you have any questions, comments, or issues, please feel free to contact us.

We do truly hope you'll find this website to be a great resource in helping you learn all about the Old Courthouse Theatre and everything we have going on at 49 Spring Street NW.

See you at the theatre!

John Farrell