The Backstreet Players theatre troupe in Junction is attracting audiences from around the area. “Come along and listen to the lullaby of Broadway” whispers a popular song, but in the Hill Country it fairly shouts.

In 2000, about six local people had an idea, placed an ad in the newspaper and held a meeting for those interested in starting a community theatre. Within months, a dinner theatre production of Who Dunnit was performed at the Kimble Senior Citizens Center.

In 2001 the organization was incorporated as a 501(c)(3) non-profit officially called The Junction Backstreet Players Community Theater, Inc. Throughout the years the name has been spelled numerous ways, but no matter how you spell it or what acronym you use, BP is united in its dedication to bringing performing arts to the area.

The group continued, using various locations, and then in January 2003, moved into their very own building on Main Street. Originally constructed as a restaurant, the metal building had been painted and appropriately renamed The Red Barn. Local business owners John and Kathy Cashman generously donated the building to the BP. According to Board of Directors President Betty Byars, “since receiving this wonderful gift, we have added on two dressing rooms with restrooms and replaced the existing air conditioning and heating unit. This was accomplished with grants from the Tourism Board and the Junction Economic Development Corporation. We have also received generous donations from businesses in the community and many hours of volunteer labor”.

Workers altered the main room by building a stage and installing professional lighting and sound systems. The house seats 70 for regular shows and 50 for dinner theatre productions.

JoElla Bolt has most often directed BP productions. A graduate of the University of Houston with a double major in drama and speech with special emphasis on theatre, Bolt taught speech and drama at Gregory-Portland High School and Junction ISD and for 20 years directed the well-known Junction Easter Pageant. During the years away from her Kimble county home, Bolt still conducted her family ranching business, which she continues, now having retired from her teaching career.

Bolt is obviously well-respected by her casts and crews. She seems to get the best from her actors with a firm, but softer approach, which garners her high praise. “Her method of directing is more of explaining and showing by suggestion. She doesn’t talk down to you, but explains in a way that’s understandable,” said Doris Herring. Jeff Gentry agreed, saying “One of the reasons I enjoy acting here is working with and learning from JoElla.” Their comments were echoed time and again by others interviewed.

Herring, one of the earliest BP members, was involved in the very first show plus eight more, including Smoke on the Mountain, Dearly Departed and You Can’t Take It With You. She has had the difficult task of stage manager of many shows and although she has performed, Herring prefers her behind-the-scenes job. “I get to boss everyone,” she laughs. “It’s an opportunity to meet different kinds of people and I enjoy getting to know them better.” Director Bolt says Herring is her right-hand person whom she depends on greatly. “I couldn’t ask for anyone better as stage manager. Doris is just the best!” Bolt said.

Don Baugh has worked on many productions, acting in five plays, including The Foreigner and Curious Savage. Baugh, who is a “character” himself, mused about times when things go awry. “When you drop a line and you see this blank stare . . . it’s funny. During Solid Gold Cadillac we were supposed to toast the company and one of the actors didn’t hear his cue, so we had to keep toasting and toasting - it just went on and on,” he laughed.

An audience can be totally unaware of some of the things that happen onstage. Baugh recalled a scene in They Came From Somewhere. “Unknown to me, Jeff had put throw pillows all around on this cushy couch we were using, placing them just so, in spots that would make it easier for him to sit on and get up from that couch.” Gentry picked up the story: “I had worked through that whole scene to get those pillows just right, then Don came along and moved them all!”

“In a scene from Solid Gold Cadillac, Gentry recalled, “Don, Larry (Harrison), Earl (Bryant) and I gave Kay (Beam) her cue to enter. She was standing in front of the stage and was supposed to walk through. Don kept saying the line, but Kay didn’t move.” Baugh laughed, “I said it different ways, time after time, but she still didn’t move. It took a while.” Beam also recalled the incident, saying she was a little nervous and the theatre so small that the audience members were right beside her. “I just didn’t even realize it was my cue,” she laughed.

Harrison, who has acted in eight shows including Arsenic and Old Lace and The Secret Affairs of Mildred Wild recalled a time onstage when an actress obviously wasn’t remembering her lines, so there was some ad libbing going on until he finally threw her a line to which she loudly replied, “That’s my line - I know that one!”

One of Harrison’s most enjoyable moments on stage occurred when he played the lead in The Nerd. His family was in attendance and he had purposely not revealed details of the show to his elderly mother. “My mother was quite surprised, but loved it when in one scene I had to pull my britches down and I was wearing underwear with Halloween goblins and ghosts - and the same kind of socks, too!”

Byars has been involved with BP almost from the beginning, doing just about every job at one time or another. “I am a people person. In Do Not Go Gentle I got to play a real estate lady, which I really enjoyed. There are a lot of unhappy people in the world and if you can put a smile on their face - well, I like that.” Organization is her strong suite and she admits “I enjoy shuffling papers around,” so she also composes many of the programs.

“The public restrooms needed sprucing up,” said Byars, so she asked local artist and BP supporter, Jan King for ideas. King readily agreed to decorate the rooms, resulting in King’s unique black and white artwork, depicting a 1950s stage glamour theme, combined with programs and playbills from past BP productions.

In November 2008 the BP successfully produced their 18th show, Greater Tuna, which in many ways was the most challenging play to date, in part due to its overwhelming popularity, having been seen all over the country, on Broadway, an HBO special and overseas.

Written by Jaston Williams, Joe Sears and Ed Howard, all parts, men’s and women’s, are played by Williams and Sears. The irreverent, socially and politically incorrect fall-down funny comedy is set in a small Texas town and portrays 20 citizens, each of whom is well-known to us all as a friend, neighbor or relative, and gives an outlet to laugh at ourselves. But as in the best of comedies, once in a while there is a poignant moment when the audience is stricken in contemplation, only to be almost torn out of their seats in fits of laughter with the next lines spoken or the next character on stage. The BP performed Greater Tuna in a resoundingly successful fashion. Director JoElla Bolt cast her characters perfectly and in the BP production, four men and one woman played the extensive lineup of characters.

I visited backstage before a performance, as some of the actors were still being transformed into their opening characters. Stage mgr. Herring laughingly told me as I spoke with Gentry, “Jeff’s having a hard time. He’s got on pantyhose and he can’t stand up or sit very easily.” There Gentry sat, in his overalls and bright plaid shirt, awaiting his opening scene as radio personality Thurston Wheelis and underneath it all, the pantyhose that would later help transform him into the outrageously funny, polyester-clad Aunt Pearl. “The things just kind of pull and I can’t put my legs together or move around . . .” Gentry remarked as he squirmed, sending Herring and I into fits of laughter.

Jim Kistler, making his BP debut in Greater Tuna, also brought women’s polyester and pumps to a whole new level. His portrayal of Vera Carp (name=personality) and droll,cigarette-smoking Didi Snavely, in cotton housedress, socks with pumps, headscarf and bobby-pinned frizz was priceless.

Beam has acted in eight productions, including being the only “real” woman in the Greater Tuna cast, and enjoys being a makeup artist. “I really love people’s reaction. Even long after a show has closed, people still stop and tell you how much they enjoyed it. And I like being on stage because I can be someone completely different. I am no longer my age, or 4'7" tall. I can be whatever character I’m playing.”

Don Rhamy made a big splash with his first BP stage appearance as Arles Struvie, Stanley Bumiller and numerous other characters in Greater Tuna. He also served as photographer for this production. Rhamy had a military career in broadcasting and other journalistic media as well as substantial stage experience, winning numerous awards. “I find that each performer brings a whole new set of life experiences” to his characters.

Rhamy got involved with BP when “Betty asked me to prioritize future projects. A local builder had drawn plans and when I saw that about half had already been done and paid for, it really impressed me what this group had completed out of a long list of things proposed.” Herring added “We have no debt. We have never borrowed any money” to complete projects.

BP is headed by a seven-member Board of Directors elected from the membership, serving in staggered two-year terms. Other Directors are: Dave Shelley, Vice President; Patsy Sorrell, Secretary; Herring, Treasurer; Rhamy; Nancy Jacoby and Beam.

Members are not from any special social group, affiliation or click. Many are retired from careers such as bank officer, teacher, legal secretary, corporate manager and the military. Housewife, architect, attorney, funeral home owner and many more professions represent all walks of life.

New members are welcome. Annual dues are $10; meetings are held the 4th Tuesday of each month at 5:30 p.m. at the Red Barn Theater. Whether experienced or not, you will find a place here. In addition to acting, help is always needed for set construction, costuming, makeup, lighting, design, work on the building, newsletters, programs and other preparation for productions.

For information regarding future performances, contact the Kimble County Chamber of Commerce: 325-446-3190 or 800-KIMBLE-4. www.junctiontexas.net or email junctiontx@cebridge.net

Landscaping and adding curb appeal to the public entrance has recently been completed using funds secured from the Junction Economic Development Board. But the BP have bigger goals, and will seek grants and donations to make their dreams a reality. Future plans include new signage on Main St., a maintained website, ticket sales office, a children’s theatre and eventually a cultural arts center.

Junction is a long way from Broadway or Hollywood and thankfully, the BP members display none of the puffed-up egos of many people in the limelight. They put on their costumes and makeup, everyone is equal to the task, and they pull together as a team to make a great show. The group that “plays” together stays together!

Their motive is clear and Beam put into words what every other Backstreet Player interviewed had said in one way or another: “I love giving joy back to the community.”