BARRIE, Ont. – Long before the curtain rises on opening night, community theatre begins with a boardroom decision.
For volunteers behind Kempenfelt Community Players’ latest production of Cinderella, months of planning, auditions and rehearsals unfolded before audiences filled the theatre.
“Our production actually starts when the board selects a show,” said Julie Underhill, chairperson and stage manager of the organization. “We put an all-call out for interested artistic team members to apply for it, and then we interview and select that artistic team.”
Unlike the traditional fairy tale, this adaptation expands the story beyond romance, introducing political themes and new characters that shift the focus toward leadership and justice within the kingdom. The script, one of several modern revisions, provided the creative team with a more contemporary framework.
Auditions for Cinderella were held in early September, with rehearsals beginning in October. From there, the creative team, including director Dani Rito, who also served as choreographer, began shaping the production.
“In order to get the job, you need a vision,” Rito said. “Then we really established it as a team, what the vision is, how we want to go, meeting with the set people and trying to get it all going.”
Rehearsals typically run two weeknights and Sundays, with additional time added as opening approaches. Cast members, who range in age from 17 to their 70s, commit to the schedule before accepting roles.
“It was clearly laid out for additions, and people had to sign off that they understood that commitment,” Underhill said. “We really rely on everybody being there.”
While performers rehearse music and choreography, volunteers work behind the scenes building sets, sewing costumes and preparing props. Some are students completing community service hours, while others are retirees or full-time workers donating their time.
As a non-profit organization, budget decisions also shape the artistic process. Underhill said the board allocated funds, but they can be adjusted depending on production needs. For this show, hiring eight musicians required additional financial considerations.
“The board decided to make the budget a little bit bigger in certain areas so the director could present the vision that they wanted,” she said.
Creative decisions continued to evolve throughout rehearsals. Rito said her interpretation of certain characters shifted after auditions.
“I went into it thinking you want the typical Prince Charming,” she said. “Then we had Braedan come in, and he brought this quirkiness and a sense of uncertainty that fit the story so much better. It completely changed how I viewed the prince.”
She added that cast members often shape the production in unexpected ways.
“The cast really does shape the show, even from their auditions,” Rito said.
For Underhill, one of the most complex aspects of the production was calling nearly 400 lighting cues during performances, many timed precisely to choreography and music.
“Especially through tech runs, it's hard because your head's in a lot of different spaces,” she said. “But we like challenges like that.”
Both women said the most rewarding part of the process is watching the cast grow.
“To see that the magic they created, like, in that whole ball scene, with the massive dance number expected of them,” Rito said. “They really rose to the occasion.”
Underhill agreed.
“For me, it’s always working with the people,” she said. “It’s a true volunteer piece. Everybody does it because they love it.”
Now in its 49th season, Kempenfelt Community Players began as a teacher's performance group designed to help educators learn how to stage musicals. Over time, it evolved into a multi-generational organization focused on community involvement and youth development.
“We've had the granddaughter, the daughter, and the grandmother all involved in the production,” Underhill said. “Husbands and wives, parents and their kids come out, and we work together.”
She said community theatre offers more than entertainment.
“It's an integral piece of our society,” Underhill said, “It changes a society or a city when they have arts organizations that people can be part of.”
Barrie city council has approved plans for a new performing arts centre on the waterfront, reflecting what Underhill sees as growing recognition of the arts’ cultural and economic role in the city.
“I don't know how you can live without arts and performing,” she said.
On this night, that belief was visible in the audience as much as on stage. Families filled the theatre, and children arrived in glittering dresses, eager to see the fairy tale unfold. Laughter followed the show’s comedic turns, and applause swelled during the ballroom scene.
By the final bow, the months of volunteer effort transformed into something shared between cast, crew and community.
