Backstage at The Lofte: What it takes to make a show look just right.
-- contributed by Bob Pinkerton and Kat Cover

The set for the show "Charley's Aunt" was more than a little daunting. First, the show takes place in the 1890's, so it had to look authentic. The construction as well as the dressing of the set (paintings, books, fireplace, tables, chairs) had to fit the time period. Second, the play has three acts with each act requiring a separate set. Three completely different areas had to be designed and built. And then there had to be a plan for where all of the set pieces would be housed while not on stage, how each piece would be moved onto the stage, and who would do this moving!

Lofte artistic director Kevin Colbert and technical director Larry Bauers decided to try something different to save some time. They enlisted the services of a set design company. This proved to be a great idea, as it saved time and gave them a set of plans that could be made to conform to the specific needs of the Lofte stage. That served as a start; however, there was still the matter of construction!

Think about what it would take to add three separate rooms to your house, and you have some idea of the scope of this undertaking. The lumber, screws, nails, paint, and everything else that went into the set is hard to calculate. When you see the production, though, you can see for yourself the large amount of materials that were used. Kevin estimates that in construction alone, more than 400 man hours were expended, primarily by Kevin, Larry, and volunteer Jeff Johnston. Other volunteers -- Bob Pinkerton, Brenda Jones, David Jones, John Plucknett, Scott Pope, Jamion Biesterfeld, Ken Snyder, Christy Snyder, Scott Seelhoff, Will Cover, Donna McCabe and Millard Carnes – rounded out the crew that constructed the three scenes. The huge amount of work done to make the set come to life through paint and interior design was placed once again in the capable hands of artist Linda Dabbs and her volunteer crew of Lynn Plucknett, Jean Colbert, Betty Colbert, Brenda Jones, Bob Pinkerton and Anne Riha.

There may have been bigger or more complex sets for Lofte productions (Man of LaMancha and Noises Off come to mind), but none have been quite the challenge that had to be faced for this to be a success . . . and from the reactions from the audience, it can be said that it indeed IS a success!

Costumes for any show set in a time period other than current, are always a challenge. Charley’s Aunt was no exception. The detail of the 1890s, the English upper class and comedic effects involved in the design and execution of this show were formidable.
The process started months ago when the show was announced. Research into styles and cut was first followed by finding affordable appropriate fabrics – which even involved a trip to Haywarden, IA.

Every woman’s costume was built from scratch, including petticoats, purses and all but one hat. The volunteer hours of seamstresses Margie Pinkerton, Molly Kelly and Leesa Kraeger made this show possible. The dress worn by Lord Fancourt was a great project in fit and usability. When you see it on stage, you will know why!

On opening night, when the first two women stepped on stage and you could hear the ahhhhhhhs of the audience made all the hours and work worthwhile. The process continues. Even as The Lofte performs Charley’s Aunt work has already begun on The Sound of Music. Know anyone who can sew?