How Sherlock Holmes: The Final Adventure came to be

(L to R) Matthew Carlton as Dr. Watson,
David Compton as Sherlock Holmes

Sir Arthur Conan Doyle himself authored the first version of this script in 1896 or so. He submitted it to the great American impresario and theatre syndicate monopolist Charles Frohman, who suggested it be given to American actor/playwright/producer William H. Gillette for further development. Doyle agreed, cashed his option check and washed his hands of it. During rewrites, Gillette cabled Doyle, “May I marry Holmes?” Doyle’s reply was succinct. “Marry him, murder him, do what you like!”

The play Sherlock Holmes, by Arthur Conan Doyle and W.H. Gillette, with Gillette in the title role, was a sensation in the 1899-1900 Broadway season and on subsequent tour throughout America, and was the first American play (and actor) to achieve financial and artistic success in London. Gillette’s performance originated many of the trademark details that the public has come to associate with the character; the houndstooth Inverness cape and deerstalker cap, the meerschaum pipe, the self-designation of his deductions to be of an elementary nature, and a scene between Holmes and Moriarty so electrifying that over a hundred years later, only geeky Sherlock Holmes nuts (we call them “Sherlockians” in America) know that the encounter is purely an invention of Gillette. He played Holmes on the stage for more than twenty years, but dominated the public’s expectations of the character for more than a century.

The play being a star vehicle for the co-author, Dr. Watson was, unfortunately, relegated to the background, functioning primarily as a sounding board for Holmes. Hollywood later compounded the situation by utilizing the good doctor as comic relief. Only readers recognized that this steadfast friendship between two seemingly mismatched companions – the stalwart man’s man and the brilliant, remote intellectual – was the central thread of the canon.

In 2006, American playwright and certifiable Sherlockian Steven Dietz adapted Gillette’s adaptation of Doyle’s own stage adaptation, retaining Gillette’s basic plot lines while bringing the characters more into line with Doyle’s original intent and, most importantly, returning Watson to his rightful place at center stage with Holmes. Sherlock Holmes: The Final Adventure has played at “adult” regional theatres across America, and wherever it has played, critics have acclaimed it as a wonderful piece “for the whole family.” I quite agree, in fact, I thought it the perfect play to launch our own foray into full-length presentation for our family audience.

The game is afoot, dear friends. Enjoy.

Scot Copeland

NCT Producing Director and

director of NCT's Sherlock Holmes: The Final Adventure

The Trouble with Tape - an actor's on stage surprise

During a recent production of Goodnight Moon, our young mouse had more trouble with the tape dispenser than the script said she should.

How the scene is SUPPOSED to happen:


Account by Amanda Card-McCoy (the above mentioned mouse):
So, the normal routine is that Rona Carter gives me the tape dispenser, I grab the tape, stretch it out so that I get as long a piece as possible, and then repeat until Bobby Wyckoff calls me over. I usually have three really long strips, and when I run to Bobby they flap behind me in the breeze like streamers. Then I wrap Bobby's arm and my face in the tape.

This one particular time, when Rona handed me the tape dispenser, I grabbed on, pulled the tape as hard as I could, and a piece about an inch long ripped off, leaving the end of the tape lost on the roll. I put my little postage stamp sized piece of tape on the table, and proceeded to try to find the end of the tape. As I desperately searched for the invisible end of the tape, I started sinking closer and closer to the ground.

At this point, Sam Whited starts chuckling in the wings.

Then - finally! victoriously! - I find the end of the tape, breathe a sigh of relief, and give the tape a good tug.

Only to have another postage stamp sized piece of tape rip off.

At this point, Sam Whited starts laughing in the wings.

Then Bobby calls me over. He has been so wrapped up in his tissue paper that he has no clue that any of this has happened.

Until, that is, I grab my two little postage stamp sized pieces of tape and run over.

At this point, Bobby starts laughing on the stage. Then I start laughing on the stage. Then Sam Whited starts dying in the wings.

Trying to cover, I scream, "You're getting tissue paper on me!" and Bobby responds, through tears of laughter, "You're getting tissue paper on your own self!"

Aaaaaaand scene.

Interview with Scot about Jason and the Golden Fleece

Jason’s story is an ancient one.
Apollonius of Rhodes first recorded his adventures in the epic poem Argonautica, written in Alexandria in the late 3rd century BC. In the following interview, Scot Copeland, NCT Producing Director, discusses what attracted him to this version of Jason and the Golden Fleece.

The story of Jason and the Golden Fleece is an ancient one. What excites you about sharing this classic story with NCT audiences?
It really should not be surprising that primitive struggles find great resonance with young audiences, because their daily struggle to grow up is fairly primal -- particularly in adolescence. Whether Greek myth (The Odyssey), Celtic (Sir Gawain and the Green Knight) or even Hindu (The Ramayana), some of our most satisfying artistic connections with this age group have been the drum-pounding tales of powerfully motivated, flawed heroes struggling to find themselves in the face of all-powerful, hostile forces aligned against them. Such tales are extraordinary metaphors for adolescence itself.

Out of all the mythological stories to pull from, what specifically drew you to Jason and the Golden Fleece?
It’s an archetypical hero myth: man goes on a terrible quest to find or avenge his father and, instead, discovers himself. I was interested in exploring that in classic form as a companion piece to our production of Bud, Not Buddy earlier in the season, as that story is a contemporary piece that strums those same chords. Jason and the Golden Fleece further intrigues me because, within this tale, we see the faint beginnings of the arrogance and obsession that students will encounter again later when they study the tragic destruction of Medea.

Jason and his crew have some pretty epic adventures. Are there particular moments you are looking forward to exploring on stage?
The Argonauts encounter any number of supernatural forces and occurrences, and I’m looking forward to some exciting experiments in the rehearsal hall in how to fully realize those moments theatrically. And, of course, I think there is great potential for subtle-but-significant fireworks in the development of Jason and Medea’s early relationship.

Goodbye from Julee

For the last six years, I have been proud to call Nashville home. The new year, however, brings exciting possibilities (and weather) for my family as we relocate to Los Angeles! I am thrilled to be the new Associate Director of Public Affairs with The Help Group, a large nonprofit in San Fernando Valley that provides comprehensive educational services to families and children with autism, ADHD, learning disabilities and related disorders. I will be charged with programming for a beautiful theatre space that is part of the Help Group’s brand new center for children with autism. Through my work at NCT, I have discovered that designing curriculum for children with special needs is something that I am driven to do. And, of course, I eagerly await was lies ahead for my husband, Ross, in Hollywood!

My time as Director of Education at Nashville Children's Theatre has been full of many incredible opportunities (and some challenges, no doubt), and it has been particularly exciting to be here during such a significant era in the evolution of this organization.

When I first arrived at NCT in January 2005, NCT had just been ranked by TIME magazine as one of the top 5 children’s theatre’s in the country. I was thrilled to join the team at a theatre with such a tremendous history and reputation. Even that TIME article, though, referenced NCT’s humble space, and when I arrived I was definitely surprised to find broken seats, a box office that had been a broom closet, and that no one even had voicemail (in 2005!). To be part of the phenomenal transformation of this organization through a capital campaign, a building renovation and the program expansion to fill that new space has been exceptionally rewarding to me. However, most thrilling is that due to the hard work and commitment of the Board, staff and community, children and families enjoy the spectacular space they deserve!

I am also immensely proud of the work I have done here at Nashville Children’s Theatre, both onstage and off. Being able to bring new and expanded programs that serve so many children, families and educators from this community has been an honor.

While we really couldn’t be more excited about our upcoming move, it is somewhat bittersweet as we are leaving so many families and friends in Nashville that we have come to know and love. However, knowing that NCT will thrive and continue its great work in service of these families and the children of Middle Tennessee, and that I have been a part of that, is enormous consolation.

And not to be shortchanged, during my time in Nashville, I have also gained an amazing husband and a beautiful baby boy. And I’m taking them with me!

Again, thank you for the many, rich experiences my family and I have received at Nashville Children’s Theatre. I wish this organization, the Board, the staff and its community all the best in the years to come.

My Very Best,
Julee Brooks

What's in a name?

On Sunday, November 14, 2010, Nashville Children’s Theatre will host its annual fundraiser, Grand Day. While the event is taking on an entirely new persona this year with a pre-show tea party and a post-show carnival, there is still one element that remains the same – its spotlight on family. At Grand Day we celebrate that generations of Nashville grandparents, parents and children have come together to share numerous stories within the walls of NCT.
This year we honor grandparent Betty Witherspoon who, as a pediatric nurse, has spent her life caring for many of our own children when they needed love most.

I first met Betty five years ago just weeks after I had begun as Education Director at NCT. I remember sitting next to her in the two old chairs in the lobby (pre-renovation) and helping her select a class for Josh, a young man who she thought would benefit from acting classes. I helped her with the registration form and sent her on her merry way. I thought it lovely that she was creating opportunities for kids she knew and understood what the arts can do for them, but being new to Nashville and its darlings, I never thought twice about her name. Witherspoon.
Over the next ten weeks, Ross, who has been in many shows at NCT (and is now my husband who endlessly reminds me that he was here long before I arrived on the scene), taught Josh’s class. Josh and Ross, somewhat kindred spirits, quickly identified with each other, and Ross and I both were delighted to watch Josh’s work in class and onstage. And, of course, Betty was watching carefully, too.
Week by week, Josh emerged more confident and disciplined. He dug Ross, who embodies “cool” in a kind, responsible way and Ross saw in Josh his own shy 12 year-old self.

The class performed their scenes at the end of the session, and Josh came alive onstage. We all were immensely proud of him, but of course, none more so than Betty. After the show, Betty met me by the edge of the stage and thanked me for what NCT had given them. Betty wanted Josh to take more classes including an upcoming summer camp that interested him.
“The only problem,” Betty said, “is that it’s a two-week camp, and I can only bring him the first week. I need to be in California the second week to keep my grandkids.”
“Oh, your family’s in California?” I asked.
“Yes, when my daughter’s on set, I help with the kids,” she replied matter-of-factly.
“On set? Is she in movies?” And still, with her love of acting and children and her ability to recognize young talent and the name Witherspoon, I had never put it together.
“Yes, her name is Reese Witherspoon. You might have heard of her,” she replied innocently.
I might have heard of her? I might have heard of her? Three months after Reese’s Oscar for Walk the Line and her beautiful, perfectly Southern acceptance speech, Betty’s humility completely endeared me to her. Yes, of course, I had heard of her. And so had the kids and the parents who stood nearby as the conversation unfolded. While I smiled and was nearly at a loss for words (a rarity for me), I simply replied that I loved Reese’s work and that Ross and I would try to help her make sure Josh got to NCT.

Betty and I had become friends. Not because I was aware enough to even figure out that that she was a famous mom, but rather because she was exactly like every other mom or dad or parent or friend who brings a child to NCT. She believes that NCT is a place where young people build confidence, discover themselves and maybe even find their place in this world. Because, to borrow from Reese’s homage to another Tennessee legend, June Cash, we all “just wanna matter.”
After five years, I still see Betty as exactly the same person I did when I met her, as a parent who wants the best for her children and every child she loves.

Julee Brooks
NCT Director of Education

Drama Camp 2010 in the books

Another summer has come and gone at NCT. Every year we say that the next summer can't possibly be any bigger or better than the past, but it seems that somehow each camp season is the most rockin' we've ever seen!

Here's how summer 2010 broke down for us:
10 weeks
56 shows on NCT's stage
61 different camps
912 campers

In those ten weeks, we saw our share of kings, queens, pirates, animals, mythical creatures, fairies and even a ninja or two. We ventured into fantastical worlds and ancient places. We saw many heroes reign victorious and many villains get their just desserts. We witnessed battles with dramatic deaths, zany circus acts and disco dance parties. We stepped inside some of the greatest stories every told and got to know characters we'd only read about before. And of course we did it all before moms and dads and grandmas and babysitters arrived in the pick-up line at 3:00pm.

We love that so many families grace us with their children every year. We love seeing so many familiar faces arrive each Monday morning, and we love meeting new friends that will be familiar faces next summer. We love the excitement that permeates every square foot of NCT on Friday in anticipation of the shows. And most of all, we love watching your kids grow and become who they're meant to be. We are grateful that you let us be a part of that.

So thank you all for another wonderful summer, thank you for allowing your children to play with us, and thank you for your loyalty to NCT.

And while we say that every summer seems like it can't get bigger and better, we honestly know that there is always more room in the NCT family.

Julee Brooks
NCT Director of Education

New Plays: New Visions/New Voices part 2

Over the three days of the symposium, we saw five staged readings of new American plays, as well as one from South Africa and one from Australia. For me, the following three plays were the highlights:

Jeffrey Hatcher’s adaptation of Philip Pullman’s THE SCARECROW AND HIS SERVANT (commissioned by the Children’s Theatre Company of Minneapolis) might surprise fans of Pullman’s HIS DARK MATERIALS, because there was nothing dark about this one – in fact, this one was a delightful brew of both high and low comedy in pretty equal measure. I’ve never read this book, so I’m not sure if the rapier wit of the dialogue is more Mr. Hatcher or Mr. Pullman, but – judging from Mr. Hatcher’s hilarious comments in the post-show talkback session, I have a good guess. I’ll find out soon, because I’ve put the book on my summer reading list.

Many of us were looking forward to our first look at the third play of Suzan Zeder’s Ware Cycle, THE EDGE OF PEACE, commissioned by Seattle Children’s Theatre. I directed the first play of that trilogy, MOTHER HICKS, here at NCT in about 1988 or so, and I consider that play to be one of the best American plays of the last quarter of the last century. The second installment was an absorbing prequel entitled THE TASTE OF SUNRISE. This third, and final, piece continues and resolves the stories and characters from the first two plays, connecting them in some surprising and satisfying developments. Girl, the much-loved young protagonist from MOTHER HICKS, makes her entrance in the third play, all grown up – by parachute! The symposium moderator stated after the performance that this one, for many of us, was both a new play and a sort of family reunion, and so it was – and I think, successful on both counts.

The play that really rocked my world – and that I am most eyeing for future production at NCT -- was Y York’s DON’T TELL ME I CAN’T FLY, commissioned by First Stage Milwaukee. This play focuses on a nine-year-old African American girl named Tonia who is struggling to balance the family conflicts presented by her own emerging creativity. The play, inspired by the life and works of multi-media collage artist Della Wells, is warm, humane, deliciously funny and thoroughly life-affirming. It’s just a terrific play, written by a master of the field. After viewing this one, a playwright colleague observed, “Leave it to Y to remind us of how to write a play!” The play will premiere in Milwaukee season-after-next, and I hope to put it on NCT’s stage soon thereafter! The reading was greatly served by Mark Lutwak’s restrained, assured direction, and by a terrific ensemble cast!

Scot Copeland
NCT Producing Director