Now that the Meridian Little Theatre has a new marquee sign and roof, and funds are in hand for replacing the stage floor, advocates for this beloved institution can begin shifting their attention to a longer-range goal: commemorating its 100th anniversary.

 

The centennial doesn’t happen for another seven years, in 2032, but Artistic Director Tiffany McGehee and other key players are mulling it over. “It’s time,” the director said. “There’s going to be a lot to celebrate.”

 

So true, as almost anyone around Meridian knows, given the quality-of-life impacts of an organization roughly tied with Vicksburg for community-theater longevity in Mississippi. The Meridian organization was founded by local writer Majorie Woods Austin, who – before the MLT had a building – initially staged dramatic readings beneath an old oak in Highland Park. Everyone should raise a toast to loyalists who kept the theater going all these years through their time, talents and donations, as we secure seats for its May 1-4 rendering of “My Fair Lady.”

 

Meridian would not be the same without its community theater, one of the more accomplished in the Deep South. Supported by 400-plus members and lots of businesses, with four main stage plays a season currently, the MLT has hosted hundreds of productions, workshops and other events. For a long time, youth programs have been a priority.

 

One aspect of this theater’s DNA that will influence the 100th commemoration is the generational connections through its history. Young or mid-career area professionals drawn to live theater (musicals, serious drama, children’s plays, etc.) carve out time to try out for a part, or take on a back-of-stage role, and then pass on that rich experience to their children or grandchildren, or to other close associates.

 

“There’s something about knowing them (volunteer actors) personally, or collegially – maybe you work with them – and it’s like, ‘I could do that, it looks like fun,’” McGehee said.

 

The MLT’s longtime business manager, Stacey Hutcheson, was influenced by her grandparents’ past involvement in the theater, as well as her association with legendary former Director Jimmy Pigford. The past efforts of Bea Mitchell, as MLT office manager and advocate, influenced donation of a stunning new sign for the theater beside Highway 39 by business executive Manny Mitchell (Bea’s son) and wife Melanie.

 

Sometimes, the generational influence seems to work in reverse. McGehee noted that two of the individuals cast in the pending “My Fair Lady” production, Matt and Tiffany Farmer, made that commitment after their teenage son Ellis had a run of good MLT experiences.

 

I’m one of many who fall under the MLT’s generational shadow. My mother taught theater at Meridian Junior College in the ‘60s and was part of the theater’s support network. Old newspaper clippings preserve images of her and close friend Rhoda Herzog when they filled key roles in the 1961 Monique production, adding the teaser: “’Monique’ is a mystery filled will terrifying suspense, and with a surprise ending.”

 

Years later, Mama directed “The Miracle Worker,” an intense play based on blind tutor Anne Sullivan’s transformative influence on the early life of blind, deaf and mute Helen Keller. My older sister Debbie was cast in the Helen role, and I remember watching her plow into furniture and grapple with her devoted tutor from the audience of the original MLT building (a one-time schoolhouse on old 52nd Street, lost to fire in 1972).

 

The play created powerful memories for our family. Debbie, who suffered lots of leg bruises during practices, says “The Miracle Worker” left her with a deep appreciation for all that goes into a theater production, and for the potential for positive community impact.

 

“It brought people together,” she said. “If you’re part of the production, you understand that you’re giving a message.”