Jane Reid can still recite every line from her first production in grade school. She shared. “The production was a tribute to mothers. My role consisted of a recitation of a poem on a basket of pansies. It wasn’t until many years later that the stars aligned, and I stepped on the Bonner school stage in the 1990 Danville Summer Theatre production of Fiddler on the Roof. Although I did not have a speaking role, the acting bug had bitten me.” While the stars’ aligning might have helped, Reid attributes the help of some other individuals in her life to getting her into community theatre. One of her coworkers was also involved in this production and encouraged her to “come along for the fun.” Whilst in this show, Reid met another cast member who was the board president of The Little Theatre of Danville. This person encouraged her to audition for their upcoming season. She said, “The rest is history.”
Reid’s favorite show she has worked on is Over the River and Through the Woods. She is very fond of this work, having directed it once and performed it three times. Each time playing the role of Emma. She said, “Over the River and Through the Woods is a slice of life. The actors and audience members can recognize themselves or other family members as various situations are played out. It’s a touching show, filled with laughter, lessons, and tears. The characters are rich and wonderful with powerful dialogue to share. I would relish the opportunity to step into Emma’s shoes one more time.”
Reid’s experience had led to her being skilled at many roles. She has played both Ouiser and Clairee in different productions of Steel Magnolias, Carol in Last Romance, Charlotte in Moon Over Buffalo, Lexie in Dixie Swim Club, and Dorothy in Southern Fried Funeral. That is only a snippet of her resume.
Reid puts a lot of preparation into every role. She explained, “Sanford Meissner, American actor and teacher, is quoted as saying, ‘Acting is behaving truthfully under imaginary circumstances.’ When in rehearsal for a show, my script is my constant companion. To ‘behave truthfully,’ I like to begin work on a role by having an understanding of the show and all the characters. Audiences are smart and will readily recognize if actors are not committed to the story being presented. I feel character development begins with the first read through of the script and continues throughout the run of the production. Because the use of association is extremely helpful to me when working on a show, serious work on memorization of lines begins once the blocking of the show has been provided. Listening is vital. Listening to the other characters is essential, but so is listening to your own delivery.” Though every show Reid has been in is different (even though sometimes the script is the same), a lot of the parts of the process are not. She has three rituals she follows before every show. “Never eat before a performance. Always have my script backstage (normally a copy on stage right and stage left.) Prior to the performance, I never want to know who is in the audience or where they are seated.” These routines help ensure Reid can do her very best work.
Like the many roles, productions, and companies Reid has worked with—some things change, and some things always stay the same for community theatre. With over 30 years of experience, Reid has witnessed many changes. She claimed, “It has become more active and encompassing. From training camps, to improv, to stage shows, and reenactments, there are many opportunities available for those who want to be involved.” One thing that has not changed is the dedication of local audience members. There is just something special about going out for an evening of entertainment where the performers are your relatives, friends, and neighbors.
