Tina Jo’s Playhouse
by Gioia Patton/Arts Insider
Because the Arts Insider has been attending Derby Dinner Playhouse productions in Clarksville, In. steadily for 25 years, explains why she is exceedingly familiar with and is also a big fan of a number of their performers, including Tina Jo Wallace, who, in the years since Wallace (then Tina Jo Hagens), landed her first role there (Piglet in WINNIE THE POOH in 2002), she’s repeatedly impressed this writer by showcasing a diversity of creative skills. From that first role at DDP, to becoming a Footnote (the pre show singers who also act as waitstaff) for 10 years, the Dillsburg, PA. native’s resume lists her having acted in, directed or written over 90 shows at the Playhouse, in addition to being Director of its Children’s Theatre, that is until March 1st of this year, when Wallace accepted the role of a lifetime by becoming Derby Dinner Playhouse’s newest Producing Artistic Director.
No surprise then, when at the top of Wallace’s Today’s Woman interview, she’s asked if there was any hint, even a whisper, perhaps, that her career in the theatre would eventually encompass multiple categories, after her initial 2000 arrival to Louisville for an acting role in Kentucky Shakespeare’s 40th season.
“It was not a whisper, for sure,” Wallace replies. “But one lesson I have always passed on to my students is that if you want a life in the theatre, learn EVERYTHING! There is not always going to be a role for you, so if you want to continue to work consistently, be open to opportunities where you can gain skills in all facets of the theatre. I have been blessed to do that and gained a lot of skills out of necessity over the years. I was also blessed to have Bekki Jo Schneider (the co-owner and producer of Derby Dinner Playhouse for 33 years until her death in 2018), as a mentor, and I learned so much from her about theatre, and community, and honestly, life. And then I already had this great working relationship with Cindy Knopp (our General Manager and part owner) and Annie Myers, two women who are fierce and were already leading our company with Lee (Buckholz), DDP’s Producing Artistic Director until his retirement last month. So, it does feel like a natural progression, despite being a surprise,” she admits.
As to how and when Wallace came to be at DDP in the first place, she explains “My then boyfriend, Matt Wallace, and I auditioned sometime in 2002. We were working for Kentucky Shakespeare and wanted to find more work in the area.”
It’s at this point Wallace is told that in the 25 years since the Arts Insider has been attending DDP productions there have only been four productions that were disliked- such has been the impressive A-level quality of every single aspect, my naming as recent A-level standouts Agatha Christie’s “Murder on the Orient Express”, and the musicals “Grumpier Old Men” and “Jersey Boys.” Additionally, I said I believed the musicals “A Christmas Carol The Musical”, and “Sweeney Todd” were excellent to the point (that) they seemed like miniaturized versions of Broadway productions.
This leads to the subject of DDP’s search for new material process, and if Wallace would provide Today’s Woman readers with a glimpse into what it takes to mount six-week productions that are so good (that) as of May 21st DDP launches its 51st season.
“Selecting each season is a full time job in itself,” she begins. “Though we just recently finished choosing and securing the rights for season 51, I have already begun reading plays and researching shows for season 52. And I don’t do it alone. We have a team and we start early and work all year. And then, what your audience may not know, is that many times, we are not granted the rights to some of the shows we have selected. We are in a unique location in the country where multiple tours of shows can affect whether or not we will be granted rights. Even if a touring show isn’t coming to Louisville/Southern Indiana, it may be close enough that it necessitates blocking the performance rights for us,” she continues. “So we frequently have to create multiple lists to complete a solid season. And of course, we also reach out to our stakeholders, our patrons, and survey them during this process. So, yes, it can take the whole year (in addition to everything else we are doing).”
Reputation-wise, to its longtime patrons DDP is also known for how well its choreographers create dance numbers on its tiny in-the-round stage (*20 x 20, but most of the time for big musicals the stage is a 28 foot circle). And this writer mentions her recollection of a particularly impressive number choreographed by the late Barbara Cullen, and which was so Busby Berkeley-like in intricate line-up choreography (that) my jaw dropped open in wonder. I also reveal (that) my pick of the most recent example of that choreographic skill, and which occurred during the 2023-’24 season, was “A Christmas Carol The Musical”, choreographed by Heather Folsom.
With the size of DDP’s stage still being discussed, I wondered if there had ever been a production idea that came up in conversation that DDP had to pass on because it seemed too difficult to produce on its stage, or because of the size of the cast?
“Absolutely!” Wallace declares. “There are shows that have technical requirements that can’t be adequately done in our space, or that would be so cost prohibitive, that we couldn’t do them. But I won’t name names. There have been some we thought we couldn’t do, and then we created a new way to do it and did!”
Improvements to DDP, from the season Wallace began to present day include the addition of a shop on site, actor housing on its campus, and a rehearsal studio with classroom spaces. “We also started the Performing Arts Academy and have served thousands of kids in the Kentuckiana area,” she mentions.
Reading like a play’s synopses about its two lead-characters; with Wallace’s new position at Derby Dinner Playhouse, that brings the Producing Artistic Director count in her household to two, as her husband, former actor Matt Wallace, has been Kentucky Shakespeare’s Producing Artistic Director since 2013.
In what way does this help Mrs. Wallace? “It helps tremendously!” she exclaims. “I was with him every step of the way when he took his position at Kentucky Shakespeare and every year since. We BOTH learned a lot and continue to learn a lot about effective and competent leadership. We have each other as sounding boards/advisors and both have such a strong passion for Derby Dinner Playhouse and Kentucky Shakespeare, (that) we can’t help but help each other.”
