PLAYHOUSE HISTORY

1920s–1940s: The Beginning

The roots of the Sharon Playhouse trace back to the late 1920s, when a group of Sharon residents gathered to read plays together—first for their own enjoyment, and soon for the delight of friends and neighbors.

By 1947, that informal tradition blossomed into the Pitchfork Playhouse, led by producer George Dessart and director Don Craig. In a remarkable feat of ingenuity, a carriage barn at the Sharon Inn was transformed—through round-the-clock effort—into a working theater. That summer, the company launched its first season with The Male Animal, soon followed by Dear Ruth, All My Sons, and Arms and the Man, establishing a lively summer destination for theater in Northwest Connecticut.

1950s: Growth and Transformation

As audiences grew, so did ambition. Under the leadership of Judson Phillips and Guernsey LePelley, the Playhouse became a professional Equity theater. When the Sharon Inn property became available, the company seized the opportunity to build a permanent home.

In 1955, a new theater rose on Amenia Road—where the Playhouse still stands today—designed by architect Frank Poehler. The Sharon Creative Arts Foundation (SCAF) was formed to support the theater’s future, ushering in a new era of stability and growth. Productions during this period ranged widely, from The Barretts of Wimple Street to The Glass Menagerie and The Mousetrap, reflecting both classical roots and contemporary tastes.

1960s–1980s: A Theater Sustained by Community

Through the 1960s and 70s, the Playhouse thrived on a rich and varied repertoire—The Crucible, The Fantasticks, A Flea in Her Ear, The Music Man, South Pacific—while welcoming a mix of professional artists and dedicated local performers.

Behind the scenes, the theater was sustained by the extraordinary commitment of community leaders, including Dr. Walter Fairservis and Janno Fairservis, and William and Elizabeth Landis, whose stewardship helped keep the Playhouse active and “in the black” through changing times.

Like many regional theaters, the Playhouse also experienced periods of transition in the late 1970s and 80s, with evolving leadership and producing models—but its identity as a community-centered cultural home remained constant.

Late 1980s–1990s: Renewal and Reinvention

A turning point came in 1989, when Bettie Snyder invited actor/director Ray Roderick to helm a production of The Music Man, bringing together professional and local talent in a way that reignited excitement and possibility.

That spirit carried forward into the creation of Tri-Arts, led by Roderick and Sarah Combs, with Michael Berkeley joining as Resident Musical Director. Their work—beginning under a tent in nearby Pine Plains, NY and expanding into a full producing entity—redefined the Playhouse’s model, blending high-quality professional artistry with deep community involvement.

By 1999, a successful capital campaign brought the Playhouse back fully to Sharon and secured the current campus, ensuring a permanent home for future generations.

2000s: Expansion, Education, and New Work

With Michael Berkeley as Artistic Director and Pamela Chassin as Executive Director, the Playhouse entered a period of creative expansion. The construction of the Bok Gallery in 2003—made possible by the generosity of Scott and Roxanne Bok—created a year-round hub for rehearsals, performances, and new work.

This era saw a vibrant mix of programming: musicals like Cabaret, Chicago, and My Fair Lady, original works such as Imagine That!, I Love a Piano, and Dirty Doings in Deadwood, and the beloved “Divas” series, which became a signature community event.

Education programs also flourished, laying the groundwork for what would become a defining pillar of the Playhouse’s mission.

2010s: Growth, Evolution, and Renewal

Under Artistic Director John Simpkins and Managing Director Justin Ball, the Playhouse embraced its identity as a “teaching theater,” expanding its use of Equity actors while continuing to involve local performers. Productions such as 42nd Street, RENT, Les Misérables, and Hairspray reflected a growing artistic ambition and polish.

In 2015, the organization formally reclaimed the name Sharon Playhouse, unifying the company and its home.

Later in the decade, the Playhouse entered a period of renewed focus and collaboration. The producing team of Robert Levinstein and Alan M-L Wager led a successful turnaround season highlighted by a celebrated production of Anything Goes, reaffirming the Playhouse’s strength in combining professional and community talent and restoring momentum both onstage and off. This renewed spirit of community support would continue to grow in the years that followed, ultimately leading to the naming of the mainstage in honor of Bobbie Olsen in recognition of her extraordinary commitment to the Playhouse’s future security. 

In 2020, Michael Kevin Baldwin joined the Leadership Team, bringing new energy to the Playhouse’s education and community programs. Expanded classes, youth productions, and school partnerships created new opportunities for engagement and helped deepen the Playhouse’s connection to the region.

2020–2021: Resilience and Creativity

When the COVID-19 pandemic halted live performance, the Playhouse responded with imagination and heart. An outdoor stage rose in the parking lot, and in partnership with Robin Hood Radio, audiences experienced live performances from their cars—honking instead of applauding.

These inventive seasons kept artists working and audiences connected, reaffirming the Playhouse’s role as a vital cultural gathering place even in the most challenging times.