Director Hopes ‘Annie’ Will Inject New Life Into New Deal Theater

“The sun’ll come out tomorrow, so you’ve got to hang on till tomorrow, come what may!” --Broadway musical “Annie”

If the sun shines on the production of “Annie” playing at Barnum Hall Theatre in Santa Monica, it could mean the survival of the embryonic Santa Monica Civic Light Opera. It could also bring closer the restoration of the dilapidated Art Deco theater that houses it.

Those are the hopes of director Frank Ford, drama professor at USC and Santa Monica High School, and the motivating force behind both projects.

The show opened Friday and plays through Aug. 26. “The reason we’re doing “Annie” as our inaugural production may be corny, but it’s appropriate,” Ford said, during a rehearsal. “I specifically chose it because of its New Deal/Depression-era motif about overcoming hard times.”

“The Barnum is a New Deal theater that has fallen on hard times, yet we’re optimistic” about its recovering, he said.

Ford, 48, has taught and directed in USC’s drama division for 16 years and also teaches its graduate playwrighting program. (He has two Ph.D’s, in cinema and drama.)

It was when he took on the added job of drama teacher at Santa Monica High School four years ago and discovered Barnum Hall, a little-used, 1,463-seat theater on the campus grounds, that the idea of a local civic light opera company began to take shape.

“I fell in love with the community and the hall,” Ford said. “It’s a beautiful Art Deco theater, crying out for restoration. It was built in 1937 by the Work Projects Administration as a sort of showplace for the community, but was later supplanted by the Santa Monica Civic Auditorium.”

“I think everyone shied away from Barnum Hall because it’s on a high school campus, and since it is not in prime condition, there hasn’t been a lot of interest in using it as a community center.”

Ford is quick to point out, however, that he is following a precedent: Both the Long Beach and Fullerton Civic Light Operas started in high school auditoriums.

Barnum Hall’s chipped paint and tile, frayed seats and carpets, vividly attest to a hard-knock life, but underneath its beige drabness, bold geometric lines and curves hint at what it could be if Ford can gain the support of the community.

The “Annie” cast is volunteer, a combination of professionals and “talented amateurs,” and is “whopping good,” Ford says.

“We’re operating under the nonprofit umbrella of the Santa Monica School District--it’s their theater,” Ford said. “Our immediate goal is to build community enthusiasm and restore the theater.”

Even though the emphasis is on restoration, Ford stressed that “we’re not interested in developing a rental facility, but a real community theater, as good as it can possibly be.”

It is an evening early in the “Annie” rehearsal schedule. On Barnum Hall’s musty stage, Kimberly Ann Morris, 13, as Annie, has just learned that her real parents are dead and mourns that now she has no one. Stephen Reynolds, playing Daddy Warbucks, tells her that he loves her, and they embrace.

Director Ford stops the action. “If we don’t get ‘em here every night, we have to give half their money back,” he says. He’s smiling, but not altogether joking.

Kimberly and Reynolds repeat the scene. This time, there are real tears in their voices--and in the eyes of fellow cast members.

“You got me!” Ford exclaims.

Ford has just spent almost two hours moving sets, blocking action, conferring with his music director, his adult actors and with Annie. He has put the enthusiastic orphans, ages 7 to 13, through their paces--stopping to roll their sleeves up to make them look less like designer waifs, and reminding them to keep their energy up and to project.

He has a subdued but decisive manner, and both the child and adult cast members respond quickly to his suggestions. Kimberly, professionally self-assured, tall and slender with the requisite big “Annie” voice, lets slip a relieved giggle at his praise.

“About a third of the cast are professional actors--I have a lot of SAG and AFTRA people,” Ford said. “A third are very talented amateurs with extensive theater experience, but not necessarily as paid professionals. And a third are newcomers--most of the orphans have limited stage experience.

Ford also has a choreographer, a music director and a technical director, and community volunteers have helped with publicity and promotion, ticket sales, costumes and sets.

Ford said he’s not daunted by the task of finding “donors, patrons, subscribers and founding members.”

“The reason I’m doing it is twofold,” he explained. “One, I’ve been fairly successful in what I’ve done with my life, and two, I’m willing to do the legwork.

“I’m very hopeful, though,” Ford said with a laugh, “like Annie.”