The AEAMCC (Aerospace Employees Association Musical Comedy Club) was formed in 1988, with the intent of providing a forum for Aerospace Corporation and Los Angeles Air Force Base employees, their friends, and their families to participate in the "lively arts." This is not to imply that the productions are purely recreational; the club has always maintained the belief that working hard to produce quality shows will increase the enjoyment of its members. As the Air Force Base and Aerospace have a combined population in excess of 10,000 people, there is quite a bit of theatrical, musical, dance and production talent available. As friends and family of Air Force and Aerospace personnel are also welcome to participate, the talent pool can be quite substantial.
The nature of our productions have changed over time. "Grease," our first show, was performed in the TRW forum (which is primarily a cafeteria), on a tile floor, using wooden risers to elevate the back rows of the audience. Sets were minimal, lights and sound limited by what could easily be carried in, and the music was largely pre-recorded, with a single musician playing accompaniment to the tapes on certain songs. No admission was charged; audiences were urged to make donations. Attendance averaged between 100 and 150 people per show. However, due to the popularity of the early shows, the scale of the productions gradually increased, moving first to an auditorium in the Recital Hall at El Camino College, where small productions of a number of shows were produced between 1989 and 1993. The 1993 production of "Bye Bye Birdie" marked the first time that the club used a live orchestra and a "movable" painted drop (it had to be hung, removed and then re-hung from a series of hooks suspended from the auditorium ceiling). The orchestra was forced to sit in a cramped backstage area, and the conductor, who also played keyboards was unable to see the stage; in at least one scene, someone would watch the action on stage for a visual music cue, then sprint into the conductor's view to indicate to him that the cue had been reached. As the production ended, it became apparent that the club had outgrown the El Camino venue, and that some changes were needed.
In 1994, the club mounted its first production in a "real" theater. "Guys and Dolls" was performed in the Armstrong Theater in the Torrance Cultural Arts Center, a 500 seat theater, complete with orchestra pit, large banks of lights, overhead fly space, and, a true novelty, curtains!! A full orchestra of 20+ musicians was recruited, full scale sets were scrounged out of the theater's shop and various holdings of eccentric club members. Admission was charged for the first time, at the exorbitant rate of $5 for adults, and $3 for kids, seniors and students. The show drew a then-record audience of 800 people for four shows; the response from cast members and audiences alike was immensely positive, and it became clear that a permanent change in the scope of club productions had been made.
Since 1994, the club has produced four shows in the Armstrong Theater, typically performing to club-record houses; the 1996 production of "Fiddler on The Roof" drew 2000 patrons to six performances, including a closing night sell-out. The popularity of these shows increased interest in the club to the point that, in 1997, a decision was made to stage two productions per year; a "small" winter show, and a "large" summer show. The intent was to produce shows with a limited cast, reduced orchestra, and simple production values. So, in 1997, the club made its debut performance in the Hermosa Civic Theater, with a March production of "Once Upon a Mattress." And shortly after the completion of this show, a production of "Hello Dolly" was mounted in the Armstrong Theater. The two shows drew a combined attendance in excess of 2500, and involved well over 150 people.
Despite the growth in scope of the productions, and the increased level of interest from the general public (club auditions have attracted professional acting talent in recent years), the original goal of the club to provide theatrical participation for Aerospace, Air Force personnel and their families is still observed. "Insiders" play most of the leading roles in the productions, and anyone who auditions for a "large" summer show is guaranteed a role.
Throughout the club history, the effort level of show participants has been quite extraordinary: rehearsal schedules usually involve practices 2-4 evenings per week for 2 1/2 to 3 months. And other activities such as set building, orchestra rehearsal, production planning, and line memorization often require significant additional time. Despite the levels of sacrifice involved, the enthusiasm and good spirits of the club members in general has been remarkable. Show participants will often convene after rehearsals or on weekends to socialize. And it has been a "de rigeur" club standard that no performance is complete until the party is finished - seasoned club members know that there is ALWAYS a cast party after a performance! In fact, rumor has it that some members only join for the parties ... which is fine.
The club hopes to continue the atmosphere and traditions described above throughout the following years, while maintaining the current level of productions. With any luck at all, this will be possible.
Additional history as relayed by Chuck Gustafson (8/7/98).