Grace Billingsley reflects on why Little Shop of Horrors became High Tide Theatrical’s biggest feat yet, from a sold-out five-week run and alternating casts to ambitious technical elements, community partnerships, and the infrastructure needs behind the Level Up campaign.
Kyler J. Sherman-Wilkins reflects on returning to the role of Audrey II for the third time, tracing how Little Shop of Horrors shaped his relationship with theatre, identity, belonging, and the strange freedom of becoming someone, or something, larger than himself.
High Tide’s first permanent tech booth is built, and the LEVEL UP campaign is halfway to its goal. Now we need help filling the booth with the equipment that will power future productions.
Go behind the scenes of Little Shop of Horrors as High Tide Theatrical enters tech week, the demanding final stretch where lighting, sound, costumes, props, transitions, and backstage communication come together before opening night.
College Night at High Tide Theatrical offers discounted student tickets, a lively audience experience, and a post-show talkback with the cast and creative team. Learn how this initiative makes theatre more accessible while building the next generation of audiences.
Where does a $25 theatre ticket actually go? At High Tide, each ticket supports far more than what you see on stage—from licensing and production staff to the materials and infrastructure that make live theatre possible. This breakdown offers a transparent look at the real cost of producing a show and why every ticket matters.
At High Tide Theatrical, choosing a season starts with a simple but essential question: Can this story live in our space? From there, we consider our community, our mission, and the stories Springfield needs most right now. Every production is a balance of creativity, logistics, and intention—resulting in seasons that are not only entertaining, but deeply meaningful.
High Tide Theatrical believes representation in theatre matters. In this blog, Imari explores how inclusive storytelling challenges harmful narratives, broadens empathy, and allows audiences to see the full spectrum of human experience reflected on stage.
A walk through downtown Springfield prompts cast member Ben Isaacs to reflect on community, violence, and belonging — and what The Laramie Project asks us to confront in our own city.
A full house may look like success, but in theatre, sold out does not mean profitable. Executive Director Grace Billingsley reflects on the hidden economics of producing live performance and why philanthropy plays a critical role in sustaining organizations like High Tide Theatrical.
