The Oyster Mill Playhouse, housed in an 1820s mill, has never been a stranger to the troubles of water, as its occasionally bothersome proximity to the creek was once a blessing to the workers of the old mill. The old structure where the theater currently stands was named not for the popular seafood, but instead, for the German family who operated the mill. The theater has brought performances to the Camp Hill area since its purchase in 1987, when the then Metropolitan Repertory Company (as the Oyster Mill Playhouse was known) bought and renovated the old building. Ever cognizant of its history, the board members had always been familiar with the dangers of being so close to rising tides, but, before 1996, they never had a real reason to worry. Then the water started pouring in a little, then a little more, then a little more until it stopped and left the theater submerged in 12 feet of water.

Once the flooding had stopped and the damage was assessed, the board members and volunteers of the Oyster Mill Playhouse — a completely volunteer-run organization — found themselves in a compromising situation. There was no obvious choice other than to close the theater, but the timing of the flood could not have been worse, as it completely disrupted their production season. Left with nothing else to do, the board patiently waited, and, when the time came, began a reconstruction process that is just now in its final stages. Finding itself on a limited budget, the volunteers of the Playhouse performed much of the initial demolition themselves, until they reached the point where the structure needed repair beyond their means and they took out a second mortgage. According to Board president and actor Stephen Martin, who has been involved in the Playhouse for ten years, the damage and resulting reconstruction, while definitely not classified as wholly positive, has indeed enabled them to modernize the theater. Over the past three years, the reconstruction process has included the addition of a second story, a fly space for sets, the renovation of the dressing rooms and the installation of additional lighting, just to name a few changes. Whatever good that has come about as a result of the flood and its related renovations, however, has come with its fair share of negatives, as well. The main concern is the slow return of patrons in the past two seasons as compared to the attendance numbers of the seasons before the flood.

Of the 100 available seats in the theater, Martin figures an audience would have to fill about “75 – 80 percent of the capacity” to adequately pay the bills. To be sure, the flood and reconstruction of the Playhouse has made for a rough time, but it is clear in talking to him that he and the other members of the board have utter faith in their loyal patrons. “To really survive, we need to have more than half a house,” he said. “We have a very good patron base.”

It is the hope of Martin, the board members, and the other volunteers of the Oyster Mill Playhouse that the public return to the theater or attend for the first time to witness the quality of the renovated structure and the quality of the productions themselves.

Each season, the Playhouse produces six shows, two of which are musicals and all of which highlight the acting talent of the local area. This season, the theater opened with a successful performance of   “School House Rock” and will continue to produce the high quality productions that it is known for until its season ends in November. Unlike many theaters, the Oyster Mill Playhouse is in operation from March to November instead of the traditional September to May. The reason for the unique scheduling of the season, while beneficial in many ways, is mainly to prevent audiences from dealing with that pesky wonder of nature mentioned earlier — snow. Because of the roads leading to the theater, the powers that be at the Playhouse have decided to stay dark during the snowy months, from Thanksgiving to March, choosing to capitalize on the good weather of the warmer part of the year.

When asked whether he feared the future of theater at the Playhouse in reference to the upcoming completion of the city’s new Whittaker Center, Martin denied harboring any thoughts in that direction. Instead, he emphasized Oyster Mill Playhouse’s position in its own market, stressing that it fulfilled its “niche” in society as a theater known for producing family-oriented performances that “offer a different level of entertainment, a different experience” than many of the other local theater companies.

While Martin is quick to point out that the theater is by no means desperately lacking in audience, he is also eager to let it be known to the public that the Playhouse is as good as ever. While grateful for the loyal patrons and the gradual return of the audience numbers to their original level, he enthusiastically urges the area’s theater-going public to experience Oyster Mill Playhouse for themselves, adding, “We’d like to experience new people … we’d like new people to know about us.” It’s been three long years since the damage of the flood took its toll on the structure of the old mill, but the theater is up and running, the stage lights are bright, a production of Curious Savage, a dramedy, arrives in mid-May, and The Oyster Mill Playhouse is more than ready to live up to its reputation as “the best kept secret in Camp Hill.”