Save The Civic

The Ocala Civic Theatre, or The Civic, has presented a wide variety of programming, including plays, classes and camps, over its 75 years in Marion County. [Photos by Bruce Ackerman/composite image by Dani Eskridge/Ocala Gazette/2025]

Marion County’s only community playhouse, the Ocala Civic Theatre, will turn 75 years old this week and is using the milestone to take stock and make plans to ensure its survival.

“The time to reshape community theater for the future is now,” said Executive Artistic Director Greg Thompson.

For 75 years, OCT has been run as a professionally produced volunteer-driven theater that provides opportunities for talent who make a significant time commitment to deliver ambitious productions. In honor of that civic engagement, the theater has taken on a new nickname for its birthday, The Civic.

The last five years have not been a walk in the park for the nonprofit 501(c)(3) organization, which has struggled to recover from the impacts of losing its audience during the pandemic, then state cuts to funding for the arts as they also worked to recover, and, add to that, a backlog of maintenance issues, which the organization’s leadership said has critically impacted cash reserves to the point of threatening its survival.

In response, the leadership team has launched a Save The Civic fundraising campaign with a goal of raising $750,000, which will culminate in a gala in October called “Setting the Stage.”

Although the theater is sounding the alarm that it is cash-strapped, it has one thing to its advantage—it does not carry any debt—which Thompson pointed to as a sign that those behind the organization have been “good stewards.”

“For 75 years, The Civic has held only two major fundraising events where we’ve asked the community to help us. One was 40 years ago when we built this building, and another was 26 years ago when we expanded it to include additional bathrooms and space for administration and education,” Thompson said.

“We’ve cut expenses as far as we can and increased revenue, but we are like every other arts organization that relies heavily on philanthropic giving and government and foundation grants,” he added.

Thompson estimates The Civic needs 58% of its revenue from philanthropic giving, foundations and government grants.

One of the unique challenges The Civic faces is that unlike other top local art spaces, the nonprofit owns its building and is responsible for the costs of maintenance. Other local arts institutions like the Reilly Arts Center, the Appleton Museum of Art and Marion Cultural Alliance facilities are owned by a foundation or the city of Ocala, which those leaders can lean on when significant maintenance issues arise.

Thompson said the nonprofit theatre has had to deplete its cash reserves to the current low extent to address the significant backlog of maintenance issues to the valuable community asset.

The Civic offers on-site and remote year-round training in the theatre arts for learners ages 6 and up. Group classes and private coaching are available for performing arts (acting, singing and dancing) and production. Virtual and in-person performance classes happen several times throughout the school year. In the summer, the organization offers two multi-week conservatory-style performance camps.

Jackie Eastman, board president for The Civic, expressed gratitude for federal pandemic relief that helped keep the core team paid and preparing to return to production, but added that since then, “we’ve been playing catch-up in audience return while simultaneously investing in the very facilities this community helped us build during previous campaigns, ensuring we can welcome patrons and schoolchildren across our region back into safe facilities.”

“Despite other factors, like the loss of state funding, we have made deliberate choices, decisions that demonstrate our commitment to our community, knowing we have to be the quality organization we promise to be,” Eastman added.

Thompson acknowledged there is a lot at stake right now but said he is committed to seeing the theater thrive.

“Leading this company is an honor and a responsibility I don’t take lightly, and I love being here working with this team, these volunteers, this board—this community. Even when it’s tough, there’s nowhere I would rather be. With the leadership of this board and the dedication of the staff and volunteers, we’ve accomplished a lot. I’m proud to say we already have a substantial number of leadership pledges, or we wouldn’t be bringing this campaign to the public to ask that you join us in making this investment,” he said.

Thompson added, “If you love The Civic, if it has added something to your life, your children’s lives, now is the time to step forward and help us secure the future for your children’s children, too. We still have so many great things to teach and share. So many great stories to tell.”

In addition to the Save The Civic fundraising initiative, the theater has announced an exciting 2025/26 season and encourages patrons to purchase subscription packages to support it. Additionally, the theater is looking for 2025-26 season sponsors.

For more information, visit ocalacivictheatre.com

The Civic’s proposed 2025-26 lineup for its 75th season
The play reading committee, led by chair Jason Bartosic, has proposed this lineup for season 75. “Into The Woods,” “The Crucible,” “Little Shop of Horrors,” “Steel Magnolias” and “Children of Eden.”

Other members of the play reading committee were Roe Agnese, Joel Brahim, Wayne Dilts, Gregory Doss, Joan Elizabeth, Kiara Feliciano, Danuta Jacob, Jessica Mongerio, Susan G. Moring, Mark A. Neidig Sr., Megan Taylor, James Taylor, Laurie Reeder and Ginny Riley.

• “Into the Woods”: The story follows a baker and his wife, who wish to have a child; Cinderella, who wishes to attend the King’s festival; and Jack, who wishes his cow would give milk. When the baker and his wife learn that they cannot have a child because of a witch’s curse, the two set off on a journey to break the curse. Everyone’s wish is granted, but the consequences of their actions return to haunt them later with disastrous results. One of Sondheim’s most popular works, Into the Woods is a musically sophisticated show with the opportunity to feature actors adept at dark comedy.
• “The Crucible,” set in Salem, Massachusetts, is a timeless classic that challenges American ideas of power, intolerance and justice. In the Puritan community of Salem, a servant girl accuses a farmer’s wife of witchcraft. One accusation spirals into many, uncovering a web of bigotry and deceit that changes their lives forever. Among the most produced plays since its 1953 debut, this is a gripping historical drama and an evergreen parable of contemporary society.
• The “Little Shop of Horrors,” described as a deviously delicious Broadway and Hollywood sci-fi smash musical, has devoured the hearts of theatre goers for more than 30 years. Meek floral assistant Seymour Krelborn stumbles across a new breed of plant he names “Audrey II,” after his co-worker crush. This foul-mouthed, R&B-singing carnivore promises unending fame and fortune to the down and out Krelborn as long as he keeps feeding it blood. Over time, Seymour discovers Audrey II’s out of this world origins and intent towards global domination.
• In the classic “Steel Magnolias,” the action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, (“I’m not crazy, I’ve just been in a bad mood for 40 years.”); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby, who is a diabetic, risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others but also draws on the underlying strength—and love—that gives the play and its characters the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.
• “Children of Eden” features a large cast and orchestra. From musical theatre greats Stephen Schwartz and John Caird comes a joyous and inspirational musical about parents, children and faith… not to mention centuries of unresolved family business. An expansive and ambitious musical, the original production used a cast of 60. Adam, Eve, Noah and the “Father” who created them deal with the headstrong, cataclysmic actions of their respective children. The show ultimately delivers a bittersweet but inspiring. message: that “the hardest part of love… is letting go.” A large cast is needed to take on the story of the Old Testament in this moving, foot-stomping musical. “Children of Eden” is a wonderful show for faith-based groups looking for a large-scaled pageant with sweeping music.

OCT File Art for Composite and Gallery

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