Each year, Pentacle Theatre members elect three new members to the board to replace three members whose terms have expired. The outgoing board members are Ed Arabas, Lisa Godwin and Matt Woolsey.
The board presents the following slate of candidates for three-year terms beginning Jan. 1, 2019: Brett Hochstetler, Todd Logan and Lizabeth Rogers. Scroll down to read their statements.
2018 Pentacle Theatre members in good standing will receive ballots next week. There are due no later than 5 p.m. Monday, Dec. 17, 2019.
Brett Hochstetler
What steps will you take to ensure the financial health of Pentacle Theatre?
We have a solid base of generous donors and volunteers, and we are currently operating within our budget and yielding a profit, which indicates strong financial health and speaks to the aforementioned support of our community. It cannot be overstated how important that support is, especially from our longtime members who have sacrificed ample time, energy and resources to make what happens at Pentacle possible every year, and they provide the solid foundation and experience from which our theater is based upon. However, we need to constantly be looking for ways to widen our volunteer base, as the demographic of our theater (both on and off stage) is admittedly older, and I want to help focus on bringing in more new blood. New people provide fresh perspective and talent, and as long as we cultivate a welcoming environment, many of these new volunteers will eventually become donors (and potentially sponsors) for years to come. Without the future generation, our theater cannot last.
One of the most effective ways I’ve seen us bring in new people is through some of our fundraiser shows. Classic, big-name productions are appealing to people of all ages and backgrounds. They traditionally have larger casts, which generates more people auditioning, more interest from friends and family which in turn brings in more audience members, and in the end that ultimately generates more revenue. Why shouldn’t this be a natural segue into more productions like these at our unique theater in the woods, which would only cultivate more anticipation and excitement about what’s going on in our theater community and more continuity among production volunteers?
A production that is able to cast a parent and his/her child, for example, is a great way to get kids started early in theater and keep that interest growing from their more primitive years into adulthood, and we can be an even bigger part of that process than we already are. It’s admittedly difficult in the 21st century, with all the instant access to entertainment we have, to keep people, especially young people, engaged in what we do, but there’s not a more real, raw way to share and experience a story than through live theater, and more family-friendly classics are a mutually beneficial way we can keep people engaged and constantly coming back to Pentacle, all the while ensuring our theater’s financial viability!
This is all predicated on the fact that we need directors interested in these kinds of productions, straight plays and musicals alike, as a production without the creativity and vision to see it through is dead before it begins. I am also aware of the finite amount of resources we have at our disposal, the significantly higher costs for rights associated with big-name productions, and that many may feel some of these shows are overdone, but these shows are simply a smart investment and a part of doing what’s best for our theater. The rewards most certainly outweigh the risks.
I personally got my start in this community as an actor in musical theater because of the classics, both in Oliver as a young boy and then in Fiddler on the Roof a year out of high school, and I never would’ve developed as a performer nor been such a fixture and believer in Pentacle Theatre without these productions to build off of! So while we’ve maintained fundraisers like Beauty and the Beast and The Little Mermaid, in recent years I’ve felt we’ve gone almost entirely away from these productions in our regular season and have gone nearly exclusively for edgier. Having been a part of a number of musicals the last five or so years, I’ve made many lasting relationships with some very talented performers, and many of these people among our current and former volunteer base share in this sentiment and would be back on stage more if we did these kinds of productions more frequently.
I’m all for variety in genre, subject matter, cast size, time period, and age appropriateness when it comes to putting together a season; these are all essential aspects in gaining and maintaining audience members while producing a well-balanced season, and I’m not pushing for a majority family-friendly season. I just want as many people as possible to see our theater as an avenue for continued participation and a beacon of our community, and I see approaching more of these shows as a primary way to do that, which will ensure our financial health for many years to come.
Describe how you will act as ambassador for the theater.
I’ve lived in Salem all my life and know many people associated with Pentacle and the surrounding communities, so I’m in a great position to advocate on Pentacle’s behalf with grace and humility. I’ve lived and breathed what the theater is about now long enough as an actor, audience member, and donor that I believe it’s time to take that next step and be a leader for this organization. I will do whatever it takes to help make Pentacle more successful and, with the advice of those around me, fill whatever roles Pentacle needs me in most and those which I fit best. There’s a reason I don’t actively participate in any other community theater; I believe in who we are and care deeply about everyone involved, and more people deserve to have the same kind of positive experiences like the ones I’ve had here.
What volunteer work have you done for Pentacle Theatre?
I’ve performed in musicals: 1) 2003: Oliver — Orphan, Ensemble. 2) 2010: Fiddler on the Roof — Yussel, Ensemble. 3) 2011: Rent — Mr. Jefferson, The Man, Paul, Ensemble. 4) 2013: Legally Blonde — Bailiff, Ensemble. 5) 2013: The Secret Garden — Captain Albert Lennox, Ensemble. 6) 2014: *A Star is Born (Musical Revue) — Various. 7) 2014: Les Mis —Grantaire, Ensemble. 8) 2014: You’re a Good Man, Charlie Brown — Linus. 9) 2015: Young Frankenstein — The Monster. 10) 2015: Chicago — Fred Casely, Aaron, Ensemble. 11) 2015: The Addams Family — Fester. 12) 2016: Urinetown — Officer Lockstock. 13) 2016: 9 to 5 — Dwayne, Ensemble. 14) 2017: *Seussical — Horton. 15) 2017: Jesus Christ Superstar — Peter. 16) 2017: Spamalot — Sir Robin, Guard 1, Brother Maynard. 17) 2019: *The Little Mermaid — Chef Louis, The Pilot.
*Season Fundraiser
I also served on the Play Reading Committee in 2016 and 2017.
What is your day job? What is your level of responsibility at this job?
I work in parts and small engine equipment sales at Rickreall Farm Supply, which is about 10 miles west of Salem on Hwy 99. Most of what I do involves customer service, mainly dealing with homeowners and hobby farmers, and I’ve grown quite accustomed to our customer base and am pleased with the family atmosphere we’ve continued to develop there. You might be surprised by how many people do business with us who are audience members, as well as those involved in productions. I place special orders, daily orders and stock orders for parts for customers and shop technicians, as well as receipt those orders and check pricing/margin/inventory (primarily on parts for our main line of Kubota products), sell chainsaws, weed eaters, blowers, hedge trimmers, pole saws, pressure washers, etc. (almost all of which are made by STIHL) and some lawn mowers. Every day is an adventure, as you never know who’s going to walk through the door or what issues may potentially arise, but I’ve learned a lot about how to deal with people and problem solve as a result, and it makes my job that much more rewarding!
Please describe the skills and core competencies that you will bring to the board.
I’m a good listener and don’t make decisions without thoroughly thinking them through. I am able put my own personal desires and ambitions in the background by putting myself in others’ shoes in an effort to always lean on the side of what is best for the greater good. I tend to be a people-pleaser and will always look for ways to make the jobs of those around me less cumbersome. I’m a firm believer in transparency and communication, and as simplistic as that is on the surface, I’ve found over the years that a lot of conflict can be solved and altogether avoided by being up front and ensuring that everyone has a basic understanding of where everyone else is coming from.
Tell the members why you want to be a member of the Pentacle Board.
I believe strongly in what Pentacle Theatre provides. It’s an ongoing education for those who wish to perform in and produce shows; it’s a place where people of all backgrounds and beliefs can come together to accomplish a common goal, all because they love what they do and put those around them ahead of personal gain; it produces an art-form through volunteerism that at its best is of a professional quality. None of this is possible without people stepping up to do the work that needs to be done behind the scenes, and as much as Pentacle has provided me opportunities on stage, it is high time I did my part off of it. I also want to thank my friend, previous fellow cast member, and former board member Matt Woolsey, for his belief in me and for nominating me for this position, and it is truly an honor to even be considered. Matt is a high-character individual and someone who will always be invaluable to this organization. As I’m sure you’ve all experienced during his three-year term, he is very knowledgeable and thoughtful, and most importantly treats everyone with the utmost respect. It took a bit of careful consideration on my part to officially put my name on the ballot, but it really is because of his example that I ultimately did.
Please describe your goals for your three-year term, if elected:
- Elsinore Theatre is a wonderful centralized location and beautiful performance space for our fundraising productions, and as long as it works out for both parties involved in the future I’m not necessarily opposed to continue having our fundraiser hosted there, but it seems to me there could be a great benefit at some point to having our local high schools host the event on a rotational basis. It would be lower cost, and it could spark a lot of interest in involvement in our productions from area high school students. Our student nights get local theater kids out to our productions, but from a more integral standpoint, I think students would be more drawn to trying out for our productions if they saw us on their school stages. By the time my three-year term is up, it would be encouraging to see us doing a rotation of Disney musicals, for example, between the Salem area schools and by doing so developing inroads there for future volunteers, all while supporting our local theater students.
- I’ve studied at the collegiate level, but I’ve never completed a degree, so theater continues to be a primary form of education for me, and as such, given my history with Pentacle, I believe strongly in our student scholarship program. I want to see us increase our efforts to fundraise specifically for that scholarship fund and simply bring more awareness to it. It’s important philanthropy for us, a way of giving back to our community that also helps Pentacle grow. theater members can directly witness the fruitful results of the funds they give and how these eager, smart, responsible theater students grow into equally eager, smart, responsible adults who will continue to be a part of the Pentacle family because of the investment we make in them.
- We have a number of longtime theater participants who have a lot of valuable knowledge and experience to share, and as part of our continued efforts to grow our community and develop more volunteers in every aspect of our theater, I would like to see us host more workshops. Jo Dodge has had an acting class for many, many years, and lots of people will attest to how those workshops have helped them become better performers. If others have specific skills they’d be willing to share and expound upon, why not give them the platform to do so? Workshops could regard anything from tech ones like light board operation and how to use sound equipment, to how to best prepare for an audition, to conducting an audition, to makeup tutorials, to set building, to what the process is like for putting together and making costumes. These are but a few ideas, and I believe the more we are willing to share what we know, the better off our theater will be in the long term.
- I ultimately want to be a sounding board for everyone in the audience, on stage, back stage, and our leaders on the board as well as those on our committees. I want to be approachable to anyone who’s a part of our community, anyone who has an idea or concern of any kind. Listening is often more imperative to progress than speaking, and as much as I can talk about what I’d like to see happen during my term, this job should be more about seamlessly allowing our creators and visionaries to do what they do best, helping provide them the best tools and resources necessary to be successful based on the approved budget and proposals given to us, and I am excited at the prospect of how much I will learn in this position while being able to give back.
Todd Logan
What steps will you take to ensure the financial health of Pentacle Theatre?
As someone who has incorporated non-profit companies and obtained 501(c)(3) status for one nonprofit, I am passingly if not recently familiar with the nonprofit statutes and with the responsibility of a board member to serve as a fiduciary for the organization. I would take that responsibility seriously and make the theater’s best interests the guiding principal in any board vote. A theater requires money to meet and maintain contemporary standards of quality in production. Since ticket revenue has a cap and concession sales don’t fund operations, I’d look to identify additional grant opportunities and explore the possibility of expanding performance into new venues, such as offering Pentacle cabaret performances.
I’d focus on efficient expenditures. I’m also in favor of spending money when it is appropriate, both on productions and to maintain quality office staff and technical systems. I think the long-term financial health of a theater requires regular reinvention to keep up with changing tastes and standards, and also requires continual assessment of the pulse of the theater’s patrons. Part of the covenant between a community theater and its audience is that the theater will keep finding ways to challenge the audience, but in a way in which the audience is comfortable being challenged. The highest priority in maintaining ongoing financial strength is having a product that people want to see.
Describe how you will act as ambassador for the theater.
I enthusiastically talk up Pentacle all the time, as a production venue, as an organization, as a cultural landmark. An ambassador, though, is more than a salesperson; an ambassador is a diplomat, and I generally try to be diplomatic in my dealings with others. Pretty much everyone associated with Pentacle is an ambassador for the theater to the community. (Some folks recognize that more clearly than others). Diplomacy aligned with passion can be a productive combination, and I am passionate about the theater. I’d seek to communicate that enthusiasm whenever involved in theater business–whether it’s talking up a show at a social event or addressing issues in a Board meeting. Also, for diplomacy’s sake, I’d avoid eating garlic before Board meetings.
What volunteer work have you done for Pentacle Theatre?
Volunteer work: I’ve acted on multiple occasions in the last decade, worked on sets, put up posters, did a publicity interview. I am also a member of the Human Resources Committee (formerly Personnel). My work at the theater has largely involved my theater background, but being a Board member would probably also tap my legal and organizational backgrounds, which I hope would prove to the theater’s benefit.
What is your day job? What is your level of responsibility at this job?
I work as an administrative law judge for the State of Oregon. I hear mostly cases for the Department of Transportation, including challenges to Implied Consent, medical and insurance-related suspensions of driving privileges. (I’ve also done cases for the Employment Department and the Department of Human Services). I conduct full and fair contested case hearings, make evidentiary rulings, make findings of fact, apply facts to law, develop conclusions, write opinions and issue legally-sufficient orders in a timely manner. I’ve done this job for 10+ years. Before that I was a Deputy Long-Term Care Ombudsman, working to promote the health, safety, welfare and rights of residents of long-term care facilities. I also practiced law privately for about four years.
Please describe the skills and core competencies that you will bring to the board.
My background as an advocate, judge and actor has made me an expert in written and oral communication. I enjoy collaborative approaches, respect the opinions of others, and value teamwork and negotiating solutions. I’m passionate about what I believe and respect passion in others. I’m skilled at analyzing complicated situations, identifying problems and developing solutions. I have enthusiasm for the theater and the people who run and support it and so am motivated to work for its ongoing success. I work hard, I respect confidentiality, I avoid conflicts of interest, and I usually have fun in everything I do, despite people thinking I’m glowering at them sometimes.
Tell the members why you want to be a member of the Pentacle Board.
I want to serve on the Pentacle Board because I really, really like the Pentacle Theater. I think Pentacle has a reputation as the best community theater in the mid-Willamette valley, and I think the reputation is deserved. Pentacle has more demanding quality standards, better resources, sounder management, and a stronger volunteer core than any other local theater I’ve worked at or attended. I want to see all of that continue. I’ve been treated generously by the theater and its members, I’ve had a lot of good times working on shows here, and I’d like to give back to the institution and the people who have made that possible.
Please describe your goals for your three-year term, if elected:
No stated goals at this time, other than to develop constructive working relationships with the members of the Board, learn more about the business of the theater, respond to the issues arising, and continue the positive work already being done to support the goals of the theater.
Lizabeth Rogers
What steps will you take to ensure the financial health of Pentacle Theatre?
I’ll need to spend some time with the board, getting my feet planted and educating myself on the needs of the theatre and what I can do to help meet those needs. Ticket sales, sponsorships and donations are our revenue base and making sure that the quality of our productions and engagement with the community at large are a priority.
Describe how you will act as ambassador for the theater.
As a board member, one must be mindful of one’s behavior and countenance and its reflection on the theatre and its reputation. Presenting a friendly, warm and welcoming persona and attitude is the basis on which healthy relationships are developed and built.
What volunteer work have you done for Pentacle Theatre?
My involvement with Pentacle theatre began in 1982 when I joined the cast of Carousel directed by Ken Collins and Yvonne Ulmer. In following years I was cast in The Elephant Man and The Miracle Worker directed by Jo Dodge, Lil’ Abner and How the Other Half Loves directed by Katie Lindbeck and Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean directed by Ken Collins. I was cast in another production of Jimmy Dean in Reno, Nevada at the Reno Little Theater and in 2002 performed in The Vagina Monologues with Tony winner Tonya Pinkins (Jelly’s Last Jam) at the Pacific Design Center in Hollywood. Since my return to Salem I helped provide music and sound effects and music for Blithe Spirit directed by Debbie Neel. I look forward to auditioning again when the time and role are right.
I was elected to the Pentacle board in the early 80s but resigned soon after when my job was transferred to California. My brief involvement on the board at that time was unremarkable and I made no significant contribution during my brief tenure.
What is your day job? What is your level of responsibility at this job?
I retired from Warner Bros. in 2000 but did consulting work for several other studios in Hollywood for the following year. My areas of expertise in these positions was designing and implementing software systems for managing feature film and television post production stages, Foley, scoring, sound mixing and downstream ancillary market and theatrical delivery requirements. I spent off hours in training on sound mixing stages, working on television shows including Seinfeld, Friends, Ellen, Will and Grace and Everybody Loves Raymond doing voice over work on several episodes.
For the past decade I’ve been a documentary filmmaker, producer and director. I have two documentary films Hot Water and On Sacred Ground which are in distribution, along with Catching Dreams (Producer) and GMO OMG on which I was a contributor. I am currently completing construction of an editing studio in my home where my work will continue with audio and video production, and internet streaming content supporting my work to protect clean, safe water and protecting the environment.
Please describe the skills and core competencies that you will bring to the board.
In the nearly forty years since I first joined the Pentacle family, my professional skill set has broadened significantly and will take a bit of explanation to clarify.
NOT FOR PROFIT
I am one of the founding members and on the board of The Hestia Gaia Foundation, with a mission statement to support the development and education of documentary filmmakers focused on environmental issues, sustainable agriculture and ecology. My work with HGF has given me a healthy foothold on the workings and governance of a not for profit organization.
AUDIO/VIDEO
My background in film and television post production and documentary filmmaking has given me a solid background in video, sound and music editing and mixing, graphic design and layout, publishing, print. advertising and marketing.
STUDIO
I’ve recently completed construction of an editing and small recording studio in my home. I can help with music, vocal and effects recording, mixing and output for Pentacle productions and output these assets in any required format. The studio is too small for a large band, but effective for the types of video and audio effects that most productions require.
STAY CALM AND CARRY ON
During the recent election cycle, I spent four months in the swing state of Ohio, working on a political campaign (2018 Gubernatorial primary) while living with the candidate and his family. I filmed and edited live events, private interviews and radio and television spots, and designed much of the graphic and artwork for the print and online social media and fundraising campaigns. This was my third political campaign (2008 Presidential and 2012 Congressional), the cumulative experience of which has also added the “works well under pressure” badge to my banner.
WRITER/EDITOR
I’m currently writing my first play, titled “FIREFLIES”. Based on a true story, Fireflies is an ensemble piece featuring five mature female roles. Five hilarious sisters face a world where grief and anger carve wounds that are the base for grafting together of a family tree.
I am also editing and doing the graphic design and layout for a book titled Anthology, a series of essays and poems written by women in Malawi about the struggle to achieve education and equality in an oppressive and patriarchal culture. In addition, I’m editing, formatting and doing the graphic design for a book by former Congressman Dennis Kucinich titled The Courage to Survive as well as recording and editing the audio book.
Tell the members why you want to be a member of the Pentacle Board.
I am putting my name forward for consideration in this upcoming election for several reasons not the least of which is my passion for the arts, my love of theatre in general and Pentacle Theatre in particular. Pentacle Theatre has been a part of me since I walked into the lobby for my first audition in the early 1980’s. The theatre was there for me during a difficult time in my life and became my friend, therapist, source of renewed self-confidence and the home I came to when I needed family. Now at 65 years of age, I want to give back, be that friend and that donor of whatever skills I have to offer that Pentacle was for me. I’m ready to pay it forward.
Please describe your goals for your three-year term, if elected:
In my early Pentacle years, I painted sets, constructed costumes and cleaned the theatre. The years since have honed a skill set that I would love to offer to the theatre. It is my hope, if elected, that with the help and direction of existing board members, that I can use those skills to better serve the board and the community I love while enhancing and expanding the theatre going experience for the public.
