A Community on Stage

(Written by Dayana Moreno - 2021)

Although there were theatrical performances before the establishment of the country's republican era, Panamanian theater activity formally began on October 1, 1908, with the inauguration of the National Theatre of Panama in the San Felipe neighborhood. This theater became the seed of Panama City's cultural life and opened doors to the country’s theatrical and artistic offerings today. However, due to its scale, it has undergone various restorations over a century, causing closures in the 1920s, 1960s, early 2000s, and more recently from 2015 to 2019. As a result, although it is the country's oldest theater, the title of the theater with the longest continuous operation belongs to The Theatre Guild of Ancón (Panama, 2019).

The history of community theater is difficult to pinpoint. It emerged in the mid-19th century in the United States, influenced by European artistic movements, and saw a defining moment of consolidation in the early 20th century. Known as "Community Theater," it went by many other names until 1917, when Louise Burleigh coined the term. Its importance lies in being the largest segment of all theater forms and the one most accessible to everyday citizens and their families. It’s the type of theater that involves the most people on both full-time and part-time bases, including schools and universities (Theatre, 2000).

In 1939, in Cristóbal, Province of Colón, the first steps were taken for the theater team that would later move to Building 429 at the foot of Ancón Hill, dedicating over 70 years to creating a wide range of productions. Known as the Cristóbal Little Theatre, their mission was to raise funds for various charities through wholesome entertainment, producing diverse shows for the troops stationed nearby during World War II (Miller, 2009).

The Theatre Guild of Ancón's mission is to stimulate interest in the dramatic and related arts through study, practice, and production of plays in the English language, for and by community members and the general public. It aims to redefine the spirit of community theater in the country, while upholding the quality of actors as craftsmen, promoting the performing arts, and providing artists with a stage to present their works in any language, instilling principles of excellence in actors, directors, and technical personnel in Panama (Governors, 2021).

That group of theater enthusiasts who began in Colón — Alberto Motta, Ralph Lindo, Stanley Fidanque and their families — moved to Panama City. Along with Roy Glickenhouse and theatre groups from the Canal Zone like the Masks & Wigs Club, plus other members of Panamanian society, they reorganized under the name Theatre Guild in September 1950, staging their first production in the 1950/1951 season. The name of the theater is spelled “Theatre,” as in England, since the first president of its board was Jim Roberts, of English descent. It is called a “Guild” because the community members aspire to work in the performing arts as craftsmen, making the group’s essence one of “an organization composed of people with similar cultural interests, doing theater (actors, directors, costume designers, stagehands, set designers, etc.)” (Miller, 2009).

The Guild, as it is also known, has been serving Panama’s theater community for 74 years, creating bonds between people from diverse backgrounds. Notable national figures such as Rodrigo Portuondo, Adolfo Arias, Eduardo Frangias, Isabel de Nachio, Maritza Diez de Morales, Rubén Blades, Bruce Quinn, Carlos Williams, and Edwin Cedeño have taken the stage here. Additionally, Pat Quinn, Sarah Knapp, George Scribner, Martin Halpern, Catherine Hopkins, Robert Loggia, John Aniston (Jennifer Aniston's father), and Rick Belzer represent part of its American legacy. Actors, technicians, and other performing arts professionals return to The Theatre Guild of Ancón as volunteers, continuing their artistic and educational work (Miller, 2009).

The Panama Canal Company ceded Building 429 in Ancón, originally used as a clinic by the United States Army, to be converted into a theater space. Thanks to volunteer efforts, chairs, a stage, dressing rooms, lights, and later The Porch were installed. In 1996, under Bruce Quinn's guidance, the dressing rooms were expanded to include a green room, kitchen, and workshop. Initially, it had 166 seats, reduced to 120 after restoration work in the 2000s, and it also has an outdoor bar and light/sound booth (Miller, 2009).

It is impossible to discuss The Theatre Guild of Ancón without mentioning its building or its iconic porch, an integral part of community life for theater members and audience alike, so much so that it’s featured in one of the most popular phrases among the self-titled "Guildies": “See you at The Porch!” Additionally, the influence of Zone-style architecture, a legacy of the American and French periods, can be seen in its understated wooden building from the early 20th century. Built on concrete stilts, it reflects the utilitarian character of the Army Corps of Engineers' constructions in the Canal Zone. Although by the 1930s wood construction was being phased out in favor of reinforced concrete, certain buildings, houses, and smaller establishments, like the Guild, continued to be built in this material (Tejeira-Davis, 2006).

Over the years, it has been known as The Isthmian Theatre Guild, The Theatre Guild of the Canal Zone, The Ancon Playhouse, and finally, The Theatre Guild of Ancon (Miller, 2009), a name it still holds today. The theater occupies a lot of about 600m², currently leased from the Panama Canal Authority, with facilities of 340m², and a stage 10.67m wide, 7.62m deep, and 7.75m tall (Braga, 2019). Lovingly referred to as “The Old Dame,” the building has become a cherished part of the community.

In its 71 years of history, The Theatre Guild of Ancón has kept its doors open even through some of the country's most challenging periods, such as Panama’s military era from 1968-1989. During this time, many city theaters closed, Panamanian writers went into exile, and the few remaining productions focused on adapting Broadway works with Panamanian actors or on themes that championed the Panamanian people’s feelings about the American presence in the Canal Zone without criticizing the government in power (Rodríguez, 1984).

The theater currently faces a dangerous situation. As a wooden structure in a region heavily affected by tropical rains, its wooden beams are increasingly corroded by mold and termites. The front porch beam was replaced in 2016, and the rear section of the right side beam in 2020. However, after a professional inspection in August 2021, it was deemed urgent to proceed with further beam replacements to save the building's structural integrity.

The Theatre Guild of Ancón community is one of the country's oldest examples of a community center, with an open-door policy and a commitment to creating safe spaces for fostering beneficial interdisciplinary and intergenerational relationships. Volunteers from various nationalities — Panamanian, American, German, Colombian, Venezuelan, Spanish, Indian, and more — work in the theater as actors, directors, waitstaff, producers, stagehands, and first-rate technical crew, all united by a desire to express themselves creatively.

The Guild is a nonprofit organization, with RUC 1211-3-4811 DV 00, holds a tax-deductible status to those who contribute. Since its inception, the Guild’s mission, beyond promoting the performing arts, has been to support the community. Notable initiatives include the establishment of a scholarship in 2016 to support young talent in achieving their artistic goals and contributions to the Enlaces Program of the Fundación Espacio Creativo, which has helped dance students from vulnerable backgrounds pursue studies abroad.

Currently, the theater is managed by the Board of Governors, elected by the majority vote of registered members each year, per the organization's constitution. The board consists of at least four officers and a minimum of three and no more than eight board members, with roles including president, vice-president, secretary, and treasurer as described in Section 6 of the theater's constitution. The board's duty is to oversee all organizational activities, designate committees, and ensure the organization runs smoothly (Governors, AnconGuild.com, 2015).

After the American departure on December 31, 1999, the Guild’s future seemed uncertain. However, thanks to the dedication of volunteers like Gale Celucci and other producers, it continued operating and welcoming new generations. Today, the Board of Governors consists of members aged 23-45, and the community is made up of individuals aged 10 to 90, who see the members of The Theatre Guild of Ancón not only as colleagues and friends but as family. It's also worth noting that the season calendar changed when the permanent American presence in the Canal Zone ended, as the theater used to halt its activities during the Northern Hemisphere summer months when Canal workers went on vacation (see appendix at the end).

The Theatre Guild of Ancón exemplifies perseverance and a love for the performing arts. The Old Dame welcomes everyone and evolves to keep pace with the times. Evidence of this is the inclusion of shows in languages other than English, particularly Spanish. Plans are underway for new productions to strengthen community bonds and ensure that the whole city feels welcome within its walls. The Guild is approaching its 75th anniversary, and the founders’ seed is expected to reach the centennial as a living history of Panama's performing talent.

The Guildies work tirelessly to keep the Guild running, but support is needed from everyone who feels the need to help the performing arts and cultural centers in the country, in any way possible. Information about upcoming plays and the Guild's history can be found on their social media (@anconguild). The Guild hopes you feel called to aid this place that, sometimes quietly, has contributed so much to the country’s performing arts.

SEE YOU AT THE PORCH!!!

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Bibliography

• Thieme, R. (1969). 1969 Front TGA. Theatre Guild of Ancon, Panamá, Panamá, Panamá.
• Panama, T. N. (2019). Teatro Nacional de Panamá. Retrieved Octubre 2021, from Historia: https://teatronacional.org/historia/
• Theatre, A. A. (2000). AACT. (T. Lynch, Producer) Retrieved Octubre 2021, from Community Theatre History: https://aact.org/community-theatre-history
• Miller, G. (2009, Marzo 10). Flickr.com. Retrieved Octubre 2021, from Focus El Teatro Guild de Ancón: https://www.flickr.com/photos/rupertomiller/albums/72157615013446981/
• Governors, B. o. (2021). AnconGuild.com. Retrieved October 2021, from About The Theatre Guild of Ancon: https://anconguild.com/about/
• Tejeira-Davis, E. (2006). La Arquitectura del Canal de Panamá: Colonialismo, sincretismo y Adaptación al Trópico. (F. P. Desarrollo, Ed.) Panamá, Panamá, Panamá: Instituto de Arquitectura Tropical.
• Braga, A. M. (2019). Medidas del Escenario. 2019. Theatre Guild of Ancon, Panamá.
• Arias, A. (2021). 2021 TGA Opening Odd Couple. Panamá, Panamá, Panamá.
• Rodríguez, H. C. (1984). Monografías.com. Retrieved Octubre 2021, from Primera historia del teatro en Panamá, 1984: https://www.monografias.com/trabajos78/teatro-panameno-periodo-militar/teatro-panameno-periodo-militar.shtml
• Governors, B. o. (2015). AnconGuild.com. Retrieved Octubre 2021, from Constitution of the Theatre Guild of Ancon: https://anconguild.com/constitution-of-theatre-guild-of-ancon/