“Lovely” Wrap-Up
“I’m sick of living life without risk, Jane.”
Risk. That’s a word that I’ve been thinking about a lot in the last couple of years. The word has a negative association with many, but it has always rung a much more positive tone with me. If you aren’t risking or sacrificing, is the reward even that high? Are you holding yourself back?
“If your dreams don’t scare you, you need to find bigger ones.”
I hit a point in my life where I realized that I wasn’t taking risks anymore. I was too afraid of my risks seeming foolish to others, no matter how I felt about them. I wasn’t trusting myself. I knew my value and worth to the world, but I was letting it slip away.
Enter 2026 and I didn’t just dip my toes into risk; I dove into deep into the fire.
Producing theatre in general can be an unpredictable venture. Add to that a completely new and original script, with heavy themes, and under a fairly new production company…the road ahead can be even more unpredictable.
With our production of “Lovely” we faced many obstacles. Some of them were expected, but many were unanticipated as well. They were difficult, they were trying, they packed a damn punch. There were days where the stress and difficulties almost killed me. However, the power of perseverance always comes through. We put on 4 performances of this original piece of theatre to great responses and tremendous impact. Despite the hurdles we faced, we had a strong group of supporters in the Kansas City theatre community
Scars hurt, but they leave a mark for a reason. They remind you of the road you’ve traveled, in life. The road of this production was one of the most valuable roads that I have ever traveled. There is no way that I could have made it to the end of the road without some extremely valuable people surrounding me.
THE CAST
The cast was absolutely incredible with this show. Not only through their performances but what they brought to the daily rehearsal process. Seasoned veterans like Greg Butell and Matt Henrickson brought a sense of professional and dedication to every rehearsal that helped push the show along, despite the setbacks.
Then there were people like Julie DeLana and Skylar Walton in this production who not only had great performances, but helped complete my vision of having a group of people that I loved working with. I love when a rehearsal doesn’t feel like a rehearsal, but it just feels like a hang with your friends where you just-so-happen to be creating art. Skylar and Julie were a huge part of that.
Austin Hodges and Sapphire Engel made my job so much easier. These two had roles that were very isolated at times. They made so many incredibly strong choices, without my direction, that made me proud and impressed. Austin brought a jovial joy to every performance and Sapphire moved storms.
Lastly, Ruthie We stepped into the leading role of this show just a couple of days before opening night and I can’t rave about her enough. Not only from a performance perspective, but she is such a natural go-getter. She is so fearless in her approach and I can’t thank her enough for what she did to help this production.
THE CREW
Every single member of our crew is a valuable joint in the skeleton of this production.
It all revolves around Hazel Condor, our stage manager and assistant director. The second I met Hazel, I knew she would be the MVP of this show…and she was. Not only did she keep the show organized, like any great stage manager, but she constantly brought new and valuable ideas to the production. Several key moments in the show wouldn’t have happened without her.
Allison Nickel continues to be my favorite costume designer and makes that aspect of the show such a breeze. Her balance of creative ideas and flexibility make her such a joy to work with. That woman works her ass off and deserves ALL the recognition.
Paul Molnar worked as our intimacy coordinator and took so much weight off of my shoulder with coordinating our intimacy moments. Producing a show of a sexual natures, such as this one, you need to have a proper intimacy coordinator and Paul was that for us. Being able to sit back and watch him work was a thrill. I am forever grateful for him.
Catie Combs and Minnie Washington joined this production later in the process but were both such a massive help. I have had Minnie as an ASM before and she is always so reliable and hard-working. She really helped lighten the load. Catie stepped in as our lighting designer, not long before tech, and genuinely was an absolute gem to work with. I like to surround myself with smart people who are also a “good hang” and Catie checked both of those boxes with flying colors.
WHAT’S NEXT
The dreaded but important question of “what’s next?”
There will be a moment of assessment and revaluation, but eventually I will be back with another production. A break is in order but you’ll see Ghost Theatre again in 2027.
Perhaps it will be a film production, maybe an adaptation of some classic works…only time will tell.
Thank you to everyone who contributed, showed up, or had anything to do with this production.
You’re the real ones.
Brian Duskey
Creative Director
Ghost Theatre