Ever wonder what goes on behind the curtain? Come with us backstage to see what it takes to bring a play to life.
Welcome behind the scenes
When the curtain rises on July 9, the spotlight will beam down on Jim and Capt. Smollett and Dorothy and Toto from this summer’s featured productions of Treasure Island and The Wizard of Oz. That very spotlight has shone on so many actors from Pine Tree Players’ 172 productions, since this community theatre group first began in 1978. This piece, however, flips that beam backwards to cast a glow on some of the behind-the-scenes artisans whose skills are critical to the success of any Pine Tree Players’ production.
These talented creatives — including light and sound designers, special effects and makeup, costume and set designers, carpenters, intimacy and fight directors as well as dance and movement choreographers — are busy fine-tuning the work behind this summer’s festival. But let’s take a look at some of the extraordinary work that’s gone into the backstage action of Little Shop of Horrors, Dracula: A Feminist Revenge Fantasy, Stage Kiss, Young Frankenstein, Romeo and Juliet, I Was a Rat and so many others.
it starts with the first read through
The cast and production team at the first read-through of the 2025 One Act Play Festival. Before the sets, the costumes, the lights… it starts with a table full of volunteers.
setting the stage
The set tells the audience where they are, what kind of world they’ve entered, and who lives there. For I Was a Rat, scenic designer Liv Witkowski painted the text from three different Cinderella stories – originating from Egypt, China and Germany – onto the walls.
special effects
Director Shelby Reinitz made the blood for Dracula: A Feminist Revenge Fantasy before every show. The recipe was developed with the fight director over several iterations. Besides looking authentic, it had to be edible and easily washed out of the costumes every night.
shining a spotlight on technical direction
Pine Tree Players technical director Martin Finnerty is involved in every production. Technical elements in Young Frankenstein included projections of paintings by local artist Candice Perry, shadow effects from a tree gobo and lighting up 21 actors and 10 musicians.
Martin Finnerty and Jon Frolick set up the wireless microphones for the Canmore Summer Theatre Festival. Outdoor theatre brings special challenges in terms of range and weather but the technical team works hard to keep everyone sounding good.
finding just the right props
Having the right props is key to a successful production. For Little Shop of Horrors (April 2024) the puppets used for Audrey II were borrowed from Cochrane High School. There were four puppets in total – all voiced by one actor and operated by four more. Oh and the big one had to be able to eat people.
For July 2023 production of The Snow Queen, Tangle McClaron designed the Ice Troll masks, with input from costume designer Katherina Joy. Each actor decorated their own mask, resulting in unique character traits being expressed in each mask.
intimacy direction
Anastasia St. Amand has been working with Pine Tree Players since 2018 – as a performer and fight director but mostly as an intimacy director. An Intimacy Director helps choreograph intimate moments — ensuring every touch, glance, and pause is safe, consensual, authentic, and grounded in the story.
For the November 2023 production of Stage Kiss, Intimacy Directors Anastasia St. Amand (mentor) and Rebecca Lashmar (mentee) choreographed 49 kiss moments between characters HE and SHE, played by Jeremy White and Shannon Andrew.
keeping everyone organized
Stage managers keep the whole show on track. From managing rehearsals to calling cues to organizing the cast and crew, they’re the calm in the storm and the glue that holds everything together. Mike Walters is seen here operating the sound board for the Canmore Summer Theatre Festival.
Having fun backstage at the Stan Rogers Stage – stage manager Cat Roscoe strikes a pose with the Snow Queen (Shelby Reinitz) and her sisters Queen of Spring (lily Burden), Queen of Summer Erin McQueen) and Queen of Fall (Isis Burnett).
In a farce, the comedy comes from a fast pace. If it’s not timed well, it’s just not funny.
As to why, sort of like wine, “farce” has survived since as far back as the 15th century, Christie says: “I think that people are drawn to farce because it’s a way to escape from the mundane parts of everyday life . . . and, frankly, who doesn’t love to laugh?”
Let’s toast to that!
I was in awe by the level of talent in that production. Now, almost 10 years later, I’m still amazed by the talent and creativity that goes into each production, and I’m so proud to be a part of it.
It takes a village — on stage and off. Interested in stage management, sewing, set-building or lending a hand with front of house, green room or set-up and tear down? We’d love to have you backstage.
Questions? contact us
Deb Cummings
About the Author: Deb Cummings is a retired journalist (mostly) who is terrified to sit in the front row of any theatre for fear of being called up on stage. She does, however, have aspirations to be a doo- wop girl (although she can’t sing) and spends a surprising amount of time watching plays or reading books that normalize the mortifying experience of being human.
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