Many people ask “what does it take to put on a show at The Wilton Playshop?” Here is where you’ll find out.

Community theater is a unique means of contributing to the artistic advancement of a city, town, or even a neighborhood. Any number of people may be involved in the delivery of a single production, from the largest of musicals to one-man shows. On stage, backstage, and everywhere in between, an extraordinary amount of work goes in -- well before the curtain goes up, or the lights come on.
To get a full understanding of how venues like The Wilton Playshop put on a show, it’s best to see the process from the absolute beginning (deciding on a season’s shows) to the bittersweet conclusion (striking the set).
Along the way, we’ll point out the person(s) involved, the capacity in which they contribute, and which of them anyone can volunteer for in seasons to come!

The earliest stages of getting a show together actually occurs before the theater has even begun its scheduled season.
The shows that will be produced and performed during a Wilton Playshop season are chosen at the close of the prior season, so that publicity, advertising and sponsorship details can begin as early as possible.
The committee that handles this process is led by the Board of Directors Play and Director Selection Chair.

At the point in the previous season that time comes to review and select plays and directors, the chairholder from the board designated for that purpose (aptly named the Play & Director Selection Chair) draws together a committee.
They review any submissions that have come in through the course of the season by those interested in directing particular shows, as well as compiling lists of shows recommended by members and patrons who have made suggestions through the current season. Over the course of a few meetings, the committee starts gathering lists of potential productions.

Is the production of such magnitude that the Playshop may have difficulty casting all the parts?

Some shows require such widely variant scene changes, elaborate mechanics or special effects, that the committe may feel the venue could not “do it justice”.

Publishing and licensing firms are often very tricky groups to work with. Often times as a result of the popularity of a script, recent professional (or other equity level) productions, or other concerns may render a show unavailable to a community theater.

Being a family-oriented facility, certain expectations are made regarding the type of productions that the Playshop puts on. This is not an exact science, but more of an unwritten guideline regarding the nature of a script’s intended audience.