Grove Guild June Event - “70’s Dance Party” Tech Rehearsal (and some Spamalot ‘extras”)

(Rescheduled to July 7, 2026)

Our initial role as Grove Guild members at the “70s Dance Party” tech rehearsal was to be “flies on the wall” at the back of The Grove amphitheatre, so as not to disrupt the dynamics of the rehearsal. This was the first opportunity for the directors, managers, cast and crew to run through all the elements of the show together—set, sound, choreography and music. As Tim explained, the cast was both excited and nervous. Perhaps it was because Jennifer Harding, Director of the tribute shows, was in attendance!

The visual impact of the stage was a definite WOW—decked out in silver and black. The shiny tinsel panels curtaining the stage are wonderfully GLITZY and instantly reminiscent of 1970s disco. Some of us also recognized the black, diamond-patterned doors, repurposed from last season’s set.

We noted several exciting improvements to the venue:

• New stairs and “royal box” seating at the south end of the amphitheatre, adding a dozen or so seats while making the area safer and easier to navigate. This new seating area is already proving popular.

• An improved speaker system, built to spec for The Grove.

• New lighting positions, trusses and lights, providing better reach and coverage.

The Grove is grateful for the funds raised through the community-driven Light Up The Grove campaign, along with an Ontario Trillium Foundation grant, which helped make the permanent sound and lighting equipment possible. The new systems reduce the need to rent outdoor equipment each season and, as Tim explained, provide a safer setup for the theatre.

It was fun to see familiar faces in action: Peter Aylin, Music Director and Sound Design Assistant; Luke Hockett, Technical Director; Allison Bjerkseth, Production Manager and Costume Designer for “70s Dance Party”; and Jennifer Harding, Director of the tribute shows.

Isaac Bell is also back on stage this season and, oh - he’s so talented! We saw several crew members and plenty of moving pieces that audiences would never notice during a live performance.

Tim gave us an overview of the production team: fourteen cast members this season and eleven people on the crew, plus dressers who assist with wardrobe and followspot operators who take their cues from Luke.

And then there’s “Spamalot”.

Tim explained that the entire Grove team has been buried headfirst in what he calls “a beast of a show,” thanks in part to fast-paced prop changes in a non-fly house space (meaning there is no overhead loft or rigging system to hoist scenery out of sight), as well as a whopping 106 costumes requiring multiple changes by the cast. Another WOW!

Tim also explained his process for building “Spamalot’s” castle and archway out of broken styrofoam from Handley’s Lumber. He showed us where the upper section of the castle rests when it is not in use, while the castle doors are stored in the cast and crew area and swapped in between shows. That’s a lot of work when productions can change every other night!

The evening’s focus, of course, was “70s Dance Party,” which Tim described as a mix of recorded tracks, live music and tap dancing.

We heard snippets of songs by Stevie Wonder, The Beatles, Tina Turner, KC & The Sunshine Band, Sister Sledge, Billy Joel and Chic, along with sound checks where each cast member sang a few notes so the team could test and adjust their microphone levels.

Microphones were placed on the tappers so their footwork would be clearly picked up by the audience, while handsets and headsets were recalibrated for optimal sound quality.

We heard Jenn call out, “Ready for keyboard?”

Performer Scott Pietrangelo replied, “What volume would you like it set at?”

Luke answered, “Take it all the way up.”

We also watched Tracy Lynne Cann, The Grove’s Stage Manager on duty, managing that important space “where technical and performance meet,” as Tim explained.

Jenn directed with calls like, “Hold that,” “Pull it,” “Cue that,” “Hold up!” and “Levels sound good!”

Yes, Jenn, it was a bit of wonderful, organized chaos—but also a great teaser for the full show!

And then, suddenly, we were no longer flies on the wall. We became the chorus or, more accurately, the practice audience for “The Piano Man.”

Apparently, “we were all in the mood for a melody,” and Scott certainly “got us feeling alright.” Tim joked that Scott was just itching to perform. We’re looking forward to seeing more of Scott this season!

Tim reminisced about being a one-man practice audience for the Canadian Legends dress rehearsal last summer. He sang along to every number, had a great time—and promptly lost his voice.

His point was that before actors perform for a paying audience, they essentially perform for each other. Having an audience in the room helps them experience the energy and interaction of a live performance. Scott certainly went for it. This was no mere formality!

Speaking of theatre formalities, Jenn then called for the “lift call,” which takes place before the “hour call.” This is when performers practise any tricky or potentially dangerous elements of the show, such as dance lifts or other physical sequences, so they can be performed safely and confidently.

It is also an opportunity for the cast to run through as much choreography as possible. Tim noted that by the third or fourth performance, these sequences should be running smoothly.

We learned that cast member Eric Dahlinger has the additional responsibility of “dance captain”, overseeing the dance sequences. We also learned that Sean is the “fight captain”, since he carries a sword throughout “Spamalot.” He helps oversee the more complicated stage choreography and ensures that performers are working safely.

Speaking of safety, a sprung floor had to be installed in the rehearsal space (our regular meeting spot at the United Church) because the existing floor was too hard for the dancers. A new floor was also laid on The Grove stage. Tim referred to it as the “deck,” explaining that the dancers’ taps had been catching in the cracks of the main floor. And, in true Tim fashion, he mentioned that he painted it himself during a board meeting. Talk about multitalented!

Then Tim announced the start of the “costume parade.” Not an actual parade, he explained, but the first opportunity to see the costumes on stage and assess what needs fixing, adjusting or tweaking. Some of Allison’s multitalented work was on display, giving us another glimpse into just how many details go into creating the look of a production.

Jenn took some time to explain how the music for “70s Dance Party” was chosen. The process began with a friend-based focus group that helped compile a list of 80 favourite and memorable songs. Jenn and Peter then curated, mixed and whittled that list down to 26 songs for each of the two acts. It was a six-month process of selecting the pieces that audiences would remember, recognize and love.

Thanks to Tim and the entire Grove team for giving us this sneak preview of “70s Dance Party.”

We learned some new theatre lingo, witnessed the first hour of a technical rehearsal, and gained an even greater appreciation for everything that happens behind the scenes to make a live performance look effortless.

That may be one of the best things about being a Grove Guild member: getting to see not just the finished product, but the creativity, skill, teamwork, problem-solving and sheer amount of work that goes into making it happen.

P.S. Let’s not forget to check out Tim’s paint job at our next meeting!