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C.C. Fracker, the founding father of Greater Hamilton Civic TheatreClick to enlarge

C.C. Fracker and Jean Wright in 'The Me Nobody Knows,' 1973-74 season.Click to enlarge

Gayle (Hogg) Niehaus, Judi Drake, Denise Twigg, Peggy Fisler and Darlene Sharp perform in 'Celebration,' 1972.Click to enlarge

Pat Ganz and Bill Keeler in 'Wait Until Dark,' 1971.Click to enlarge

Claire Fitton, Dan Murrell and Jim Ward in 'Company,' 1976Click to enlarge

Jerry McMahon and Al Miller in 'Inherit the Wind,' 1963-64 season.Click to enlarge

Lowell Bowling, Vaughn Allen, Dick Freuler, Bart Drake and Henry Cepluch in 'The Odd Couple,' 1969-70 season.Click to enlarge

Henry Cepluch, Shirley Moser, Dick Frueler and Pat Ganz performin '6 Rooms River View.'Click to enlarge

HAMILTON — Fifty theater seasons ago, a group of local actors and business people got together "to advance the appreciation and knowledge of the performing arts in the greater Hamilton area" by creating Greater Hamilton Civic Theatre.

The Hamilton Little Theatre, which was sponsored by the YWCA, was already in town, but many of the people involved in that group felt that the Y's sponsorship was too limiting, according to GHCT president Pat Ganz, so they splintered off to form their own group.

"There was no ill will between the YWCA and the theater," Ganz said, and on July 23, 1959, an organizational group met and decided to become an independent theater company, adopting a constitution three days later.

C.C. Fracker, an executive at Champion Papers and an avid theater fan, is considered the founding father of GHCT, Ganz said.

"I'm sure there are many who remember Frack and his many creative contributions to our civic theatre," she said. "Frack was not only a gifted and talented leader and director he was a very fine gentleman. He served as a mentor to those of us who were lucky enough to know him."

GHCT began with one show the first season, "Light Up the Sky," which Fracker directed. In the second season two commercial productions were done.

By the 1966-67, the group had expanded to four productions, including for the first time a small musical, "The Fantasticks," directed by Claire Fitton.

"Like Frack, Claire's leadership and talent through the years had an enormous impact on those of us who were very young and just getting started at the time," Ganz said. "People like Claire and Frack and numerous others set a standard that raised this group to a new level of excellence not often found in community theater."

In the beginning, the group rehearsed at the old Coolidge school on Grand Boulevard, which has since been torn down and is now the site of the Boys and Girls club, and performances were presented at George Washington Junior High.

"We brought in a portable mirror and the band room became our makeup space," Ganz said. "We used the choir robe storage closets for changing into costumes. But I don't remember anyone ever complaining about what we didn't have. I do remember laughter, encouragement, a lack of ego and a feeling of community in the truest sense of the word.

"To date 32 directors have presented 68 comedies, 58 dramas and 62 musicals for a total of 188 full-length commercial productions," she added, "but that does not include one-acts, community service plays, Fine Arts week productions, children's plays, religious plays or the musicals done by Encore Summer Theatre for youth."

To celebrate its 50th season, GHCT will have a booklet for sale with information on its previous productions and will create lobby displays during its productions this season.

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NOW SHOWING:

WHAT: Greater Hamilton Civic Theatre presents "Putting It Together" by Stephen Sondheim

SYNOPSIS: A musical revue of the songs of Stephen Sondheim, drawing its title from a song in "Sunday in the Park with George"

CAST: Connie Baesel, Maria Balfour, Jason Hutson, Ben Schneider and Jim Ward. Directed by Henry Cepluch, with vocal/musical direction by Tisha Patton

WHERE: Parrish Auditorium, Miami University Hamilton Campus

WHEN: Friday, Oct. 10, and Saturday, Oct. 11, at 8 p.m.; Sunday, Oct. 12, at 2 p.m.

COST: $15

MORE INFO: (513) 737-7529; www.ghctplay.com

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CIVIC THEATRE MEMORIES

JESSICA PARKER: I have played in a couple pit orchestra's with GHCT including; Sound of Music, and Leader of the Pack. I'm looking forward to playing with them this December as well. My favorite memory with GHCT was Sound of Music. The musical itself is very emotional and the whole cast was just superb. I remember after the final show, a Sunday matinee, just about everyone in the pit had tears in their eyes. I remember Michelle Lewis hugging all of us and sobbing. It was such a wonderful show and experience that I will never forget. To this day I still tell everyone my favorite show that I've ever played is Sound of Music with GHCT. They are a special group of people with a true love of theater and its fans. Thanks for letting me share.

SHIRLEY MOSER: My first involvement with the local theatre was in the '50s with the group that preceded the Greater Hamilton Civic Theatre. One-act plays were presented on the stage at the YWCA. My first role was in the play "Fumed Oak." Jack Thomas was one of the actors in that play.

My favorite roles were in "The Glass Menagerie" (I played the mother); "The Cemetery Club"; "The Foreigner"; and "Barefoot in the Park" (again I played the mother).

Acting has been an interest almost all my life. I began in elementary school and continued through high school and college and into adulthood. It is hard work but very satisfying. The production crew and cast members of plays in which I have been involved are supportive and provide a lasting relationship.

My love of theatre is all-inclusive. I enjoy being a part of a production and also being in the audience.

I can't choose a favorite actor because the list would be so long. I have enjoyed working with all my fellow thespians.

JOY GALBRAITH, Costume Gallery: They have always been great to work with and appreciative of our help. It so nice to work with a group that appreciative your talents.

JOY SHARP, Association of Community Theatres president and GHCT member: The first production I performed in was "California Suite" in 1981. The best production I've performed in was "Sweeney Todd." A broadway producer was in the audience and said the show was so good it was better than what was done on Broadway - can't get a better compliment than that. The cast involved the best performers from the Southwest region as well as the very talented actors we were blessed with from Hamilton. Unfortunately, because of several tragedies, many of those theater friends have passed from us. "Evita" was also one of my GHCT favorites.

Performing in theater for over 35 years has enabled me to meet friends that I now cherish as an important part of my life, plus I got in touch with my creative side that of which I wasn't aware was a hidden part of my soul. My children and grandchildren have also performed in many productions. I always encourage people to join their local community theater groups. It is a way to involve the whole family in a creative and loving way!

My favorite performer has to be Jim Ward. Not only is he talented and a joy to watch on stage, he also is one of the most absolute and genuinely nicest and supportive persons you will ever have the opportunity and graciousness of knowing. This has been reiterated by all who know him - theater and overall community. Never a harsh word about Jim Ward.

BURT "FUZZY" McCOLLOM: I've been an actor/director associated to GHCT since the early 1970s. My first involvement was in "Wait Until Dark" (1971) at George Washington School. Significant shows: "Light Up The Sky" (cast member of first performance at Parrish Auditorium), "Rimers of Eldritch," "Company," "Sweeney Todd," "Mister Roberts," "A Man For All Seasons."

Favorite Performers: Again way too many over the years. However, standouts for me include: Henry Cepluch for his leadership, dedication, talent; Jim Ward — loyal, supportive, talented, fun to work with; Bruce (Downie) Stegmann — super-creative choreographer (1960s-1980s) who made us non-dancers look great!

GHCT has essentially been my "home" theatre group, my hometown "creative community" where life-long friends reside. I have more stories and reasons for loving GHCT than you have time.

JOE NAGLE, GHCT board member: Who knew in 1991 that my attempt to make a memory with my son would evolve into a sustained passion? Auditions for A Christmas Carol ended with an invitation to join my son on stage as the Schoolmaster to his young Ebenezer. I had just tagged along, really. Adam was a 9 year-old member of the Cincinnati BoyChoir and sang like a pro. So he was a shoo-in. I just croaked a few bars of Good King Wenseslaus and got cast, no singing really required. This turned out to be Adam's first and last on-stage appearance. He had fun with it and was done with it. I, on the other hand, was hooked. Since then, GHCT has been a sometime second home. I've acted, produced, directed, produced program copy, and served on the Board. I love the fact that people who would likely never know one another, now do. Paths cross. Lives mingle, even for a few weeks. Memories are made, friendships forged. Skills are developed. Audiences laugh and cry. And nothing builds friendships like shared struggle. Does it look easy? Good! We've fooled you. So, hats off to GHCT's 50 years of struggle and sustained success. You are one shining gem in the crown of our community, a sign that, despite obstacles, there is a hunger for the "community" in community theater! And, when Adam, now 26 comes home and sees me in a show with my friends... well, I like to think he's proud of the old man.

DICK GENTRY: My first involvement with GHCT was in the 1971 season's "Man of La Mancha," directed by C.C. Fracker. I was right out of high school and was star-struck by the some of the most talented people I have ever met. Not only to work with Frack but a Hamilton Stage icon Vaughn Allen and was asked to do a duet with him. Then to top it off to dance with Claire Fitton! This was even before Dancing with The Stars. In those days we would rehearse at the old Coolidge School and performed at George Washington Junior High. It has taken 50 years for us to finally have a place to rehearse have meetings and create together at The Palace Theater. Greater Hamilton Civic Theater has come a long way.

What a wonderful opportunity to express myself and a learning experience than through community theater. New friends are are made with each show. I have made friends that I will keep for a lifetime.

It is a real joy to be a part of Greater Hamilton Civic Theatre and to serve on the Board as Publicity Chairman.

KAREN BUCHANAN: I have only been involved for about 10 years in choruses, set decor, as a board member and as a producer. I regret that I didn't take the initiative to become involved earlier. Everyone was extremely welcoming, especially Barb Noonan. Barb has put countless hours into the establishing of GHCT. She has worked on dozens of shows making sure our costumes are the best. And she has served on the board as chairman and in other positions to help create our award winning group. I love working with Sue Combs. She is a talented actress and director and an amazing musician. Several times when I was producing she put in many extra hours to make sure everyone was as good as they could be. She wants us to shine and her patient and gentle manner make you want to do your best. Chris Beiser is another reason that I regret that I didn't get involved earlier. He is an outstanding choreographer. He can make a bunch of middle age ladies look like the rockettes and while we practice a lot he doesn't make any movement too hard. And if you have dance ability he makes you sparkle. Of course, he is an amazing performer. There are very few who have a voice as fine as his. And not only does he teach dancing but I love to watch him dance. He is also a great actor. In musicals and dramas and especially in comedies. I'll never forget him in Smokey Joe's cafe as the lost pilot in the song "Gotta Find Her" crawling through Ethan Bryant's lanky legs. I always want to be in a show that Chris directs. You know before it starts that it will be outstanding. He creates beautiful pictures with his staging. He not only tells you what he wants but he is right with you on stage showing you. He has creative ideas about set and costumes as well as acting. Another reason I love being involved is that it has involved my family. My husband, Fuz Buchanan, has designed and built dozens of sets which was especially helpful when I was the producer. And my daughter, Katie Buchanan, has also been on stage in several performances with me. I also like that I have become friends with people who I normally would not come in contact with. Many of my good friend are 30 years younger, like Ben Schneider, who helped me through some difficult choreography 8 year ago and is now starring in several productions. The people I have met in theater have now become my best friends and I treasure the experiences I have had.

CONNIE (BEALE) BAESEL: My first GHCT show was "Side by Side by Sondheim" (and it remains my favorite show) in the early '80s. After that I was in lots of musicals and comedies — "110 in the Shade," "On Golden Pond," "Oh Coward," "A Little Night Music" and a few others that were probably more fun to be in than to watch. I consider my best achievement to be music directing "Evita" and "Sweeney Todd." My favorite role was Miss Fancy in "Sly Fox." I think of Bruce Downie and Chris Beiser trying to teach me how to dance. Now after 20 years, I'm back again with Stephen Sondheim in this week's "Putting it Together."

When I think of the local theater, I think of Henry Cepluch and Pat Ganz, of every show Mary Lou Hyatt, that beautiful woman with that beautiful voice, Vaughn Allen Smalley who kept us laughing (and told us "it's only the last four performances that count"), and Wayne Wright have ever been in, and of wonderful supporting, behind-the scenes people who make it happen and never get the applause.

That this theater thrives after 50 years is a great credit to the Hamilton community. I have seen (and been a part of) some unbelievably wonderful moments — live theater, live performance of any kind—may it never die. It gives a town character. GHCT has given us a chance to "get out, get away, get over" whatever else is happening in your life. It is a chance to become lifelong friends with people you might never have shared a conversation with. It gives you a chance to put on a costume, lots of makeup, be on a stage, and for a few days, pretend you can dance.

DANIEL BRITT: My first show with GHCT was "Boys Next Door" with the likes of Chris Kramer, Brian Smith, Tom Redmon, Andy Rogers, Ernie Rowland, and Lyndal Murray. Certainly the best possible group of experienced actors for my first time on stage. And the more I do this art form, the more I realize that is has everything to do with who you share the stage with. So my memories are as much about who I've had the good fortune to work with as it has to do with any particular script or role. "Biloxi Blues" with a very solid young cast and one of my favorite scenes was that memorable drunken scene with Justyn Rampa. I don't think we rehearsed that scene more than 5 times before we were in front of an audience — talk about being "in the moment." The final scene in "Death of a Salesman" was enriched by a personal friendship with John Meaux who played Biff which made it easier to reach those emotional highs. I have spent more time on stage with Chris Kramer than any other single actor — that makes for trust on stage and allows me to change things up in the moment knowing he can and will work with me. I continue to miss Andy Rogers — always a pleasure to work with. Working one on one with Rhonda Lucas in "The Lion in Winter" was something I looked forward to with great anticipation and I still hold that experience dear to my heart. No one works harder with more intelligence and creativity than Rhonda Lucas. She is always the first one "off-book" and can analyze a scene or passage with the best of them. When I did "See How They Run," I had a moment when I hung my coat on a coat rack with me in it - an attempt to hide from discovery. Tom Redmon and I had worked out an audio cue between us so that I would know when he sat back down and I could continue my escape — my back was to the audience and stage. The audience laughed loud and long, and being the inexperienced actor that I was, I almost panicked thinking I wouldn't hear the cue. Well, Tom was experienced and held his timing until the laughter died down. I learned in that instant how important it is to be there for your acting partners. In my opinion, Brian Smith is one of the most honest actors to grace the GHCT stage. When I directed "A Lesson Before Dying," I initially asked Brian to produce it, but soon saw that I needed his honest qualities in the role of the deputy. Never has an actor done more with less lines than that performance.

Two of my favorite moments in my GHCT experience may surprise you. When my wife Ruth and I produced "Always... Patsy Cline," I would find a place stage left each night so that I could listen to Julie Joyce Smith hit that one tough note in "Sweet Dreams." I get chills just thinking about it. What I wouldn't give to see Julie and Brian on stage together. That would be something powerfully honest and professional. In doing "Never the Sinner," I had to sit onstage for an entire act before finally speaking about eight lines at the end of Act 1. Each night I looked forward to studying Bill Balfour's exquisite lighting as I sat there. He's the best.

Perhaps my most profound experience was in directing "A Lesson Before Dying" — the first African-American themed play to be produced by GHCT. Ruth and I worked long and hard to get to that moment. But, perhaps even more rewarding was seeing some of the Black actors in that cast show up again and again in other area productions including GHCT shows.

I have learned so much about this art form from all of those involved with GHCT including Pat Ganz, Henry Cepluch, Bill Balfour, Rick Carson, Kevin Brunck — a debt I cannot repay. The knowledge, experience, creativity and commitment of so many involved not only in GHCT over the decades, but in community theatre in the Cincinnati area is both humbling and inspirational. Looking back at some of the monumental productions undertaken by GHCT, it is no wonder that I believe that if I can think it I can do it. Why not? I have seen it happen again and again.

LINDA GETZ: As a 1963 Taft Senior High School "senior" in Hamilton, a friend ask me to accompany him to GHCT's production of Tea and Sympathy. Having only seen junior and senior high productions, I was duly impressed and wanted more of these productions in my life.

I did not get back to GHCT until 1968 to see "A Thurber Carnival." Both productions were directed by the late C. C. Franker, a 9-5 guy at Champion Papers and a serious director by night. "Frack" was among those founding patrons of GHCT, who without their faith none of this would have been possible. (Their names appear in every program!)

Soon, it was time for me to become involved. As much as the stage called me, behind the stage was where I found my way or assisting directors. In the 1982-83 season, I got my big break with a role in "The Man Who Came To Dinner." You know the line about there are no small actors. That same season, I produced my first show, "Pippin" for Henry Cepluch.

Since that time, I have continued to produce shows and look forward to our 50th Anniversary Season producing "Something's Afoot," directed by good friend, Burt McCollom.

My favorite show to see was "Godspell," directed by the talented Pat Ganz. My favorite GHCT actors: The late Roger Tewskbury, who assured the audience of a good time; Henry Cepluch, whose versatility is beyond words; Ritch Stoops, who could sing me the phone directory; and the late Dan Murrell, who was a crowd pleaser. We always expected the unexpected.

Music/Vocal directors like Sue Combs, Janet Manley, Tisha Patton, Michelle Lewis and Bob Borden are the songbirds of our group who teach others. Outstanding choreographers like Bruce Stegman and Chris Beiser guaranteed entertainment.

Aside from those aforementioned, directors, I have much admiration for Claire Fitton, Rick Carson, Burt McCollom and Kevin Brunck. The set designers I worked with put a certain amount of awe into a production are an integral part of any show. Jack Armstrong, Tom Huff, Rick Kuhl, Bill Balfour and Wally Getz have lent their talents to many shows. While set construction folks like Phil Hansel, Fuz Buchanan,

Producers Dave Delaney, Herb Cox, Diane Noonan, Lynn Huff and Joellyn Goos, to mention a few, tackled the monumental task of pulling the show together from beginning to end.

Costumes by Barb Noonan and Susan Hendrickson are trademarks of a well clothed cast. Props by Pat Renners and Melanie Winsted are on target every time. Set Décor by Mary Slocum, Brett Sandlin Julie Joyce-Smith and Julie Smith took us into any needed period. Stage managers are unsung heroes, and among the best are Tom Redman, Steve Tunning, Jeff Tunning and Carrie Maletta. The late Dave Gushurst lent us his media expertise, while Rhonda Lucas brought together those special sound effects. Jacki Bowling's make up was steadfast and believable.

GHCT is a central part of my life, whether I am working on a show or making decisions with the Board of Trustees, or attending a show. GHCT has never failed to educate me culturally. I still get a thrill from sitting in the audience, or peeping from behind a curtain into a full house. It excites me to see how community theater opportunities impact those willing to learn.