In the fall of 2018, m’luv Wendy was inducted into our local community theatre’s Walk of Fame. She gave me the honor of introducing her that evening. As I was going through some old files this weekend, I found the text of the introduction that I prepared and delivered that night. Please indulge me. I’d like to post this tribute to Wendy so that it will be preserved on the world-wide interweb until, and perhaps beyond, the apocalypse. She deserves that.

“I have taken a billion photographs of Wendy. I take a lot of photographs period, and over the years I’ve noticed that I have this mysterious internal catch in my spirit when a certain photograph rises to the level of a personal favorite. I don’t always know why. I just know it’s special, and I have to spend time with it to figure it out. This photograph of Wendy is one of those. I’ve meditated on why it’s special and I’d like to share a few reasons why.

The first time I saw Wendy Hall was in the same place this photograph was taken. Our daughter Taylor and I were new residents of Pella and had been cast in USP’s South Pacific. We sat at the back of the Joan Kuyper Farver Auditorium as Wendy, Prop Master for the show, made her way to the front to make an announcement. I saw her from behind just like this photograph as she strode with purpose and intensity up the aisle toward the stage. First impressions. Oh my, that hair – which I’ve come to love as metaphorical of the wild-child, the explosion of passion tinged with red.

Wendy stood on that stage and gave the well-known rule for all large cast shows filled with children and teens: “Look!” she said, “Rule number one! If it’s not yours, DON’T TOUCH IT!” That little bit of a thing with the wild, red-streaked hair spoke with such assured, intense authority. I knew in that moment I was NOT going to touch a prop that wasn’t mine. I was a little scared.

In this photo, we see Wendy in the off-stage darkness, which is where I first got to actually know Wendy Hall during South Pacific. What I learned about Wendy back stage is that she knew theatre, she cared about doing theatre well, and in her arena of responsibility things were going to be done well down to the minute details. While on-stage as Captain Brackett, I had to eat a sandwich.

“What kind of sandwich do you like?” she asked me in one early rehearsal. 

“Why?” I asked honestly, caught off-guard by the question.

“If you have to eat a sandwich on stage it might as well be something you like,” she responded as if it was the most logical question in the world. 

But as a stage veteran, it wasn’t the most logical question in the world. Anyone who’s been involved in theatre of any kind, especially in community theatre, knows that props are thrown together at the last minute using whatever is expedient by half-hearted volunteers who aren’t sure what they’re doing. I expected a sandwich that was two slices of cheap white bread hastily purchased at the Dollar General before tech rehearsal two weeks ago and by opening night it’s dry and crusty with hints of mold.

But Wendy Hall was in charge. She was Prop Master. You’re going to have a freshly made sandwich, a real sandwich that is something you like. Because, I was Commander Bracket (dammit!), and Commander Bracket would eat a sandwich he wanted prepared for him by the mess cook. 

In one of my South Pacific scenes, I had to sit on stage for a period of time while action and dialogue were focused elsewhere. During the final weeks of rehearsal, each night I found on Captain Bracket’s desk clipboard different things to read. A Shakespeare sonnet one night, a list of corny jokes the next, a Robert Frost poem. Prop Master Wendy Hall figured if you have to sit there on stage looking at a clipboard you might as well have something interesting to read. I’d never met a Prop Master or Stage Manager who cared about the actors and their experience down to the smallest of details. 

An unknowing person looking at this photograph is likely to see only a dark, contrasting figure. A two-dimensional shape: “Female figure in black.” Over the years I’ve observed that people who don’t really know Wendy, this is what they see. A simple figure contrasted by her intensity, her strong opinions, her kick-butt and take-charge attitude which is so easy to dismiss just as simply: Female figure in black. 

I look at this photo and observe she is not in the spotlight but in the shadows off-stage because Wendy, the amazingly capable and talented leading lady, has no need for the spotlight. In fact, she does her best work on-stage during the rehearsal process. Her best work off-stage is in the shadows where she is intensely focused on what’s happening on-stage and thinking of every detail that will make this production sing – not just for the audience but for the actors and the crew members. She cares, not just for the show that takes place on stage but the experience of the entire production from the first audition to the post-production cast party. Those who only see and hear an oft intense director demanding exactly what she expects and exactly the ways she wants it do not see her on the couch at home obsessing about actors not having to be at rehearsal if they don’t have to be, parents being able to count on a well-thought-out rehearsal schedule that will make for worry-free planning, or people having a great experience from first to last.

When I look at the woman in this photograph I see someone who knows what she’s doing. She’s standing tall, intensely focused, doing the work, orchestrating the action; Pen in one hand and the other hand open and ready to edit the show and the production if they are the right changes to advance the quality of the show and the good of the whole.

From 2003 through 2017 Wendy has been credited with 43 roles in USP productions, only 12 of them as an actor. Seven of those 12 roles I had the privilege of playing opposite her, and there is no one I would rather be on stage with than Wendy because I’ve rarely met another actor who shares my passion for the process of bringing a character to stage. Thirty-one of Wendy’s roles were off-stage roles: Producer, Director, Assistant Director, Front of House, Make-up, Costumes, Props, Publicity – she’s done it all and that doesn’t count some 15 years of continuous service on the USP Board of Directors, organizing Award Nights, helping organize Drama Camp registrations, Picnics,  Costume Shop help, and of course making lots-and-lots of cheesecake.

The final thing I want to point out in this photo is the mystery it makes me feel. You don’t see this woman. You don’t really see her. You see just an impression of her. When I look at this photo, I both enjoy the mystery and experience the selfish satisfaction of being a secret keeper. I do know her. I have been granted the privilege of seeing what no one else sees. 

My theme song for Wendy, and I’m not sure I’ve ever shared this with anyone, contains these lyrics:

Tonight as I stand inside the rain
Ev’rybody knows
That Baby’s got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

In this journey of theatre with Union Street Players I have shared her public triumphs and wiped away her private tears. I can tell that both spring from love: love of God, love of doing things well, love of theatre, love of this crazy organization, and most of all love for each of you with a depth and passion you likely know not – from this two-dimensional, female figure in black.

May I present to you my leading lady, my best producer, my life director, my muse, and my partner on Life’s journey. M’luv! And the newest member of Union Street Players Walk of Fame, Wendy Vander Well...”