Somerset Valley Players set to open ‘The Homecoming’ on Friday evening.
By: Minx McCloud
Editor’s note: This is the third part in a series on the Somerset Valley Players production of "The Homecoming," the basis of the popular TV show "The Waltons." As one of the first community theater presentations of the original play ever staged, the theater group must work through the challenges that arise while crafting a production. In the first story, Director Debra Case Schulze was auditioning for her cast; in the second, the crew worked out staging and set problems. With the show opening Friday, we take a look at the final preparations.
On Monday, just days before opening night for the Somerset Valley Players production "The Homecoming," the cast was rehearsing a scene when the main curtain didn’t open on cue.
A group of children stood awkwardly for a moment stranded twixt barn and living room sets.
"Oops, sorry." A muffled apology from behind the curtain.
Then, laughter. It’s a way to ease the tension, something that helps the cast and crew work through the stresses of organizing such a production.
The medieval setting of a previous play has been replaced by a set that converts from warm homey living room/kitchen/barn to in turn country store, church, and stately mansion.
Producing this play has been an arduous journey, director Debra Case Schulze says. Many obstacles that the audience cannot even imagine have been overcome. Hundreds of small glitches have been addressed.
After searching, the necessary props were obtained from a local prop warehouse, various people’s homes, and the basement of the Somerset Valley Playhouse.
In conjunction with the sets, the effect will be to take the audience back to the time of the Great Depression in a West Virginia locale called Spencer’s Mountain.
It is a time when, according to Ms. Schulze, "the love of family and friends were enough; when caring and loving your brothers and sisters and showing it in public was OK .. . and a pretty Christmas tree, food on the table and good health were all you needed."
An old-fashioned eggbeater, cast iron skillets, and cuckoo clock adorn the walls of the Spencer home, along with pictures of Earl Hamner Jr., creator of the fictional Spencer family.
A group shot of TV’s Walton family sits on a table.
The play includes narration as the TV show did, which has been recorded by Jim Bunce of Hillsborough, who also plays the part of Clay Spencer Sr.
Originally, Ms. Schulze had discussed the narration with Mr. Hamner, who narrated television’s "The Waltons," but neither he nor actor Richard Thomas (who played John-Boy Walton) were able to do the narration for this production.
Mr. Bunce recorded the narration with homey, countrified tones that even Mr. Hamner would admire.
The floor of the stage still needs painting seemingly a small detail but for those who will be on their hands and knees after rehearsal Thursday night (Dec. 1), it is another chore than must be completed before the performance for local senior citizens Friday (Dec. 2) night.
During these last rehearsals, the eight youngsters in the cast are still a bit hesitant at times, but their dedication to getting it right is obvious.
Zach Berteletti, 11, who plays "John," sums it up like an old trouper.
"The hardest part is finding the character inside you; the real depth into what your character is like in terms of personality," he said. "It’s tough to find that in a play. I look at the people’s lines and try to interpret what they’re thinking and then tie it together."
The scene changes are sometimes difficult. During one change, there is whispering and scuffling from behind the curtain; another time, a clearly articulated curse as a chair cracks under an actor’s weight.
"We need to do these scene changes without mouths," Ms. Schulze yells to the unseen actors.
For both adults and children, the sSouthern accents, at first difficult for most to grasp, have become lilting drawls.
"The hardest part was trying to get the West Virginia accent down," James J. Houston of Bound Brook, who plays "the sheriff," said with an exaggerated East Coast accent. "I’m from ‘Joisey City,’ y’know? So dis is a bit rough for me."
Sounds during a play had to be collected, coordinated and cued: the sounds of a howling December wind accompanies Clay-Boy’s trek through the snow.
A church bell chimes and the magic of Christmas Eve fills the theater as the children hope the animals in the barn will talk.
But the sound of a car proves to be a bit of a problem. Should it be the end of one scene or the beginning of the next?
After experimentation and a bit of a delay, the decision is made. Ten minutes of discussion over a five-second sound byte.
It is much the same with lighting. The lights go on or off; a character is spotlighted; a stage is darkened. However, each change in lighting has been carefully discussed between lighting designer Dan Schulze and the director, who happens to be his mother.
Each point of discussion includes input from assistant director Joan Diaz of South Bound Brook and stage manager Joanne Bunce of Hillsborough.
"The inconsistency is a little scary," Ms. Schulze says. "It would be one thing if there was one specific part that always had problems you just cross your fingers and say a prayer. But some things are good one rehearsal and not at the next."
However, these things are taken in stride, and laughter is the best medicine.
At the mansion of the elderly Staples sisters, Emily and Etta play music for Clay-Boy, but there is no music recorded for the old-fashioned Victrola yet.
Marie Harvey of Hillsborough (Emma) pantomimes setting the needle to the old record, and a voice, sounding like Rudy Vallee (but belonging to the versatile Jim Bunce) sounds from behind the curtain. "Hello, my baby, hello my honey, hello my ragtime gal."
Struggling to stay in character, Ms. Harvey tries to say her next line.
"That is Mr. Enrico Caruso," she says proudly, and then, there is no way to keep from laughing. Cast and crew alike are reduced to hysterics.
Costumes for most characters were serviceable overalls and warm winter jackets. Shoes were a problem because of the period, but were eventually either found or suitably faked.
One actor’s shoes were two sizes too big, and steel-tipped, accounting for many of the backstage clumping sounds. They are being replaced. The women wear dresses that are matronly and look homemade, as would be normal for the era.
Some of the actors supplied their own apparel. Todd Moyle of Hillsborough, who plays "Birdshot," originally rehearsed in his own "cowboy" hat, which was replaced by a bumpkinish version that he does not care for as much. Ms. Schulze prefers it for his character.
Ms. Schulze said that when she started directing the show, she totally envisioned the cast, the set and the lighting.
"Now, in retrospect, I have made tremendous compromises," she said. "The audience will never know my original visions for the set, and my interpretations of the characters and their personalities. The show is no longer mine, and perhaps it never really was."
She is willing to let the show take its own shape now, confident that the audience will see a finished product that envelops the entire cast and crew’s vision as well as hers.
"My only hope now is that the audience will feel these emotions that I have tried so hard to create through the Spencer family and their friends," she said. "I want the audience to stop, if even just for a couple of hours, and remember the true meaning of the holidays."
"The Homecoming" has touched me in a very special way for a lot of reasons and will remain, always, in my heart as my most special directing experience. My job is done."
This family show, sponsored by Reading Ridge Pharmacy, will be presented 7 p.m. Saturdays and 2 p.m. Sundays, Dec. 3-18. All tickets are $10. For reservations, call 369-SHOW (7469) or log on at www.svptheatre.org. The theater is handicap-accessible.

