LOCALadk Magazine

LOCALadk 17 How did such an unlikely combination come about? Let's backtrack and set the stage. The depot, considered the finest functioning exam- ple of Victorian-era small-town train station architec- ture in America, was constructed in 1876. But for a pair of three-year-long intermissions, it has welcomed passenger trains ever since. Executive Director and Westport native Kim Rielly says it was scheduled to be torn down in 1979. Plans called for it to be replaced by "an ugly, miserly" bus-stop shelter, remembers long- time theatre patron Betsy Tisdale, who summers near Essex. "The Westport Historical Society decided to save it and created the theatre as a purpose," Rielly contin- ues. Tisdale adds, with a hint of awe in her voice even 46 years on, that "the people of Westport organized, raised money (Bingo played a role), re- stored the original waiting room and ticket office to their nineteenth-century elegance, and designed the theatre – backstage, stage, auditorium, light and sound booths – to fit a rather small space." "Small" is an under- statement, especially in comparison with big-city mega-theaters that can hold all of Westport (pop- ulation about 1,200) with room for Willsboro (pop- ulation 605) in the balco- nies. Seating capacity at "The Depot" is 134. The Depot Theatre be- gan as a wholly communi- ty company, populated by local amateurs who were drawn to live theater. In 1988, though, the board upped its game, affiliating with the Actors' Equity Association, the union of professional actors and stage managers, and the Stage Directors and Chore- ographers Society. That step rendered the non-profit organization "the only professional Equity theatre in the Adirondacks," Rielly says. "It's a truly unique collaboration: the tracks and building are owned by CP [Canadian Pacific] Rail, while the station is leased by the Town of Westport and subleased to, managed, and maintained by the theatre, supported by Amtrak," the logotype of the National Railroad Passenger Corpora- tion, a subset of the federal Department of Transpor- tation. "We typically hire different directors and actors each year," Rielly says. "Many are from New York City, but not all." One of those many is Beth Glover, an actor, direc- tor, and current artistic production manager at "The Depot," as well as a member of its Advisory Board. She says, "In 1998, I was hired as Adelaide in Guys & Dolls. I fell instantly in love. I could feel the history and more important, the dedication to the art of theatre. Per- forming in the intimate old freight area is heavenly. The proximity of the actors to the audience creates a wonderful exchange of energy and communication. "Small communities should have access to theatre," Glover continues. "I feel like my work is even more important in these smaller venues. I'm originally from Mississippi, so I know the important impact theatre can have on people in rural areas," says Glover, who adds that she has "taken the train many times from the City to Westport and back. It's always a lovely (scenic) trip," and it delivers her from Broadway to the literal doorstep of her workplace. Another doorstep the actors and crew cross opens to their accom- modation while they're in town. "They stay at a nine-bedroom farmhouse that the theatre owns," Rielly says. "As an Equity theatre, we are required to provide transporta- tion and housing, as well as contributing to their health insurance and pension accounts, for all members. It's a wonder- ful asset for us, but it requires a lot of work and funding to maintain." Back at the station, trains aren't the only external disrupter. During a performance of The Devil and Dan- iel Webster, at the moment when old Lucifer appeared on stage, thunder crashed – not a sound effect, but "real Adirondack thunder," Fink says. "It was perfect." That was one of many shows the Depot Theatre, now approaching its 46th season, has presented. The roster is a palette of favorites from the worlds of dra- ma and music: The 39 Steps, Ain't Misbehavin', My Way (a Frank Sinatra revue), Smokey Joe's Café, Working (based on the Studs Terkel book), a Martin Luther King Jr. documentary, The Addams Family, Forever Plaid. Summer 2023 saw Heidi Schreck's What the Consti-

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