ACT I

There once was an Englishman who had a dream to start an English-speaking theatre in Costa Rica. His name was Bert Williams and in 1949 he founded The Little Theatre Group — hence the spelling of “theatre” the British way. Despite earthquakes, financial disasters, loss of costumes, sets and performing spaces, LTG’s claim to fame is that it is the oldest continuously running English-language theatre in Central or South America.

In the early days, plays were presented at the National Theater and the inaugural presentation of Claudia an auspicious, highly illuminated occasion caused a brownout in San José! Undaunted the LTG continued to perform in the city’s historical playhouse and later at the Eugene O’Neill Theater in the Centro Cultural Costarricense Norte Americano. However, in 1977 during a clean up in preparation for the visit of U.S. First Lady, Rosalyn Carter, LTG’s sets and properties were mistaken for a load of rubbish — who are we to reason why — and discarded. As a result of this shattering event the relationship between the LTG and The Centro Cultural waned. They eventually moved out returning only for a momentous occasion; LTG’s Golden Anniversary in 1999, when the inaugural production of Claudia was revived and dedicated to the late Bert Williams.

ACT II

For many years the LTG was homeless and like a group of roaming troubadours, produced in many different theaters, or whatever space they could find in and around the city. Devoted fans had a hard time with these wanderings and often missed the shows because they failed to keep up. Even actors missed rehearsals because they could not remember where and in whose house or garden the next one was taking place. Rising rents caused financial doom and the final curtain call appeared imminent. However, in 1998 our then president and fairy godmother Blanche Brown came to the rescue. She proposed the back of her house be turned into a theater; little did she know what she was letting herself in for! The LTG has been eternally grateful and in acknowledgement of her generosity the new venue was named The Blanche Brown Theatre. Members contributed to our new home by purchasing seats at $100 each. Despite the plaque with a name on it, nobody is possessive about his or her seat. However, you can always check whose lap you are sitting on.

ACT III

Having our own home has resulted in higher production standards and a dedicated audience, who now expect shows of a professional caliber even though the LTG still sticks to the golden rule — nobody gets paid for their talent and slave labor.

Today the LTG puts on four major productions a year, plus special events that include hilarious skits as seen in Midsummer Madness. A Hallowe’en Costume Party saw members and friends don costumes and spook each other out. At our annual Christmas concert, musicians from the National Symphony donate their time and talent to raise funds or gifts in kind for the Hogar Tom & Norman, a home for abandoned old folks in Guapiles. This occasion has become a much-enjoyed tradition. The theater is never dark, if there is no show there are the inevitable rehearsals or an invited group is using the stage for their own fundraising performance.

The founding members of the LTG wanted to offer the English-speaking community a choice of comedies, dramas, and musicals in English. Today, the LTG does just that, while also maintaining the theater’s original mandate by regularly donating to charity, taking productions on the road and sponsoring high school drama festivals and talented students in the arts. We are delighted that more and more Costa Ricans have joined the ranks, on stage, backstage and as audience members. The LTG has certainly become a cosmopolitan, international community theater.

Happiness is having a theatre, hearing the audience laugh, sometimes cry, and listening to their appreciative applause.