Celebrating 60 Years Of Local Theater

In the 1930s a group of Sharon residents decided to form a play-reading group for their own enjoyment. Soon, however, it was attracting a neighborhood audience.  This fledgling effort was the first indication that Sharon’s destiny was to become a theater town.

Indeed, in the late 1940s a group of theater lovers from Hartford’s Trinity College decided Sharon was ideal for summer stock.  They convinced the Sharon Inn — which had fallen on hard times — that a playhouse would revive business. They converted the Inn’s 100-year-old carriage barn into The Pitchfork Playhouse with seats for 175 people. Three years later, Judson Philips, a well-known mystery writer, took over, renamed the theater and the first iteration of The Sharon Playhouse was born.

It was a “play” house, not a musical theater.  They did Maugham’s “The Circle,” and Shaw’s “Pygmalion.”  Their success demanded a larger venue.  So, in 1955, architect Frank Poehler was enlisted to build the theater that stands today. 

As with every regional theater, ticket sales did not cover costs.  Donations were needed.  To encourage them, The Sharon Creative Arts Foundation (SCAF) was formed as a tax-exempt corporation so donations became tax deductible. 

The Playhouse thrived in the ’60s and ’70s.  The program broadened.  An annual operetta was added to the plays — the first inclusion of musical theater. Alas, in the ’80s and early ’90s The Playhouse lost continuity.  Outside companies came and went.  The Playhouse was often dark. 

One bright spot happened in 1989, when SCAF president Betty Snyder brought in Broadway actor/director Ray Roderick to direct a production of “The Music Man.”  Roderick had a unique approach.  Along with professional actors, he cast talented community members.  It was a formula he would reprise in the next chapter of The Playhouse’s life.  

The Sharon Playhouse, Sharon Stage — or TriArts?

Following Roderick’s successful staging of “The Music Man,” things changed.  From 1991-1994 the Playhouse sat empty.  Then a theater company called Clockwork Tower bought the property and changed the name to “Sharon Stage,” producing dramas and comedies.  

Meanwhile, Roderick and Sarah Combs, inspired by the success of “The Music Man” and its combination of local and professional actors, inaugurated a new entity: Tri-State Center for the Arts (TriArts). Roderick was Artistic Director, Combs, Board President and Michael Berkeley was Musical Director.  Under a tent in Pine Plains and later at the Carvel Warehouse they established an excellent community-wide reputation.

In 1999, against the wishes of many, a very determined board president, Lori Belter, returned the theater to Sharon.  A capital campaign was undertaken by Pat Best and Bill Suter to purchase the original Playhouse complex and, with major help from Scott and Roxanne Bok, to build the Bok Gallery.  A burst of innovation followed with the addition of plays, a Young Playwrights Festival and youth theater programs in addition to the musicals.  Plus, something new:  a themed musical revue.  The idea was conceived by Belter who was so impressed with the talents of the women who auditioned, wanted to find a way to use them.  Michael Berekley agreed and came up with the title: “Divas!”  It would feature as many as 50 local women and become one of the most anticipated events of each season.   Subsequently Michael Berkeley became Artistic Director. Pam Chassin was Executive Director and Pat Best assumed the presidency of the TriArts board.

In 2011, Artistic Director John Simpson and Executive Director, Alice Bemand, created the Collegiate Company of actors studying musical theater at college who came to Sharon for the summer and participated in all the shows.  Late night cabarets, following the shows, made use of the new patio.  

In 2014 the board voted to return to the “Sharon Playhouse” name in order to make the company and the venue one and the same.

At the end of 2017, the two-man team of Alan M-L Wager and Robert Levinstein were brought on as Artistic and Managing Director, respectively, returning The Playhouse to its roots of bringing together the best of local and professional talent plus expanding the season to become a year round performing arts center.  A robust educational program of classes in acting, singing, dancing and more is shortly being introduced for both children and adults. 

Every theater has ups and downs.  The Playhouse is no exception. But with the support of the Northwest Connecticut community and beyond, the present board and management team are confident it will remain a thriving asset in the region for at least another 60 years.

This article was submitted by Robert Levinstein, managing director and Emily Soell, board president of The Sharon Playhouse.