By AJ Jaffari
There’s something special about seeing theatre outside of your usual stomping grounds.
Recently, I had the opportunity to make the trek to Columbia, California, to catch Sierra Repertory Theatre’s production of Don’t Touch That Dial, written and directed by Roger Bean. Nestled in the heart of California Gold Country, Columbia feels like stepping into another era entirely, making it the perfect setting for a show that celebrates the golden age of television. I arrived early to explore the town and, honestly, I’m already eager to return. The town is filled with charming little shops, emporiums, candy stores, blacksmiths, museums, and even a bowling house! It’s the perfect destination for history buffs or anyone looking to escape the fast-paced Bay Area and immerse themselves in a slower-paced environment.
The production takes place at the historic Fallon House Theatre, one of the most charming venues I’ve had the pleasure of visiting. The intimate space immediately invites audiences into the world of the play, creating the feeling that you’re not simply watching a performance, but participating in a shared experience. The lobby of the theater houses an ice cream parlor, which offers a unique experience in itself. The evening feels like an event from the moment you arrive, with Columbia’s rich history and the theater’s unique atmosphere.
As someone who spends a great deal of time attending productions throughout the Bay Area and beyond, I always appreciate discovering theaters that offer something a little different. Sierra Rep has built a reputation for producing high-quality work in a uniquely welcoming environment, and this visit only reinforced that reputation.
Then there’s Don’t Touch That Dial itself.
Filled with nostalgia, humor, and plenty of heart, the production is a loving tribute to the early days of television. Whether you’re familiar with the era or simply enjoy clever comedy and strong performances, there’s plenty to appreciate. The cast embraces the show’s playful spirit, and the audience response made it clear that everyone was having just as much fun as the performers onstage.
One of the highlights of my visit was the opportunity to sit down with Roger Bean, the show’s creator and director. Known for creating audience favorites such as The Marvelous Wonderettes, Bean brings a deep love and appreciation for nostalgia-driven storytelling to his work, and it was fascinating to learn more about the creative process behind Don’t Touch That Dial.
Below is our conversation.
Interview with Roger Bean
AJ: Tell me about the show
Roger Bean: Our hero gets himself trapped in a TV game show. He doesn’t know what the rules are; he has to play along and sing along and it’s all about his childhood memories, which are all these TV theme songs. The rules don’t make sense and the numbers keep changing, so it’s confusing to him. It’s a jukebox musical, but a weird one. The least jukeboxy of all!
AJ: Where did you draw inspiration from for this piece?
Roger Bean: You know, I’m not really sure… I wrote it years ago for Milwaukee Rep. And so I never came back to it, which, for clearing of licenses and rights, cause it’s almost 100 songs in the show (about 30 seconds long for each one).
AJ: What is the most challenging part of conceptualizing this whole project?
Roger Bean: I’m pretty good with all that [at meshing songs together]. It’s really the back office stuff that was the toughest thing because I would really want certain songs that they gave me rights for once, and they said “not anymore.”
AJ: How did you find all the songs [that you wanted in the show]?
Roger Bean: I grew up watching syndicated TV. It was on in the afternoon in the 60s and 70s. So that’s where I would see Gilligan’s Island and the Brady Bunch [on in the evening]. Bewitched was in the afternoon. So this is king of about my childhood.
AJ: Do you like directing or writing more?
Roger Bean: I like writing more. I started writing shows to give myself more work [at Milwaukee Rep] and I did 12 shows for them over the course of 12 years. There’s still some favorite shows of mine that I never got to direct, but I’m not sad about not having done that because I have a different career than I have because I wrote all these shows and figured out how to license them out and publish them.
AJ: So what brought it here [to the Fallon House Theater with Sierra Rep]?
Roger Bean: I’m good friends with the artistic director [Jerry Lee] and they’ve done a lot of of my shows here. So I wrote a show for them that we did three years ago, a sequel to one of my jukebox musicals and it went well. [This show] went to a couple theaters in Florida where it could find its audience. So at the same time, I said “will you guys be interested in a west coast premiere?” So I kind of “un-retired” from directing [when they asked me to put it on its feet].
AJ: For this one, did you adapt it for the space or is it pretty much the carbon copy?
Roger Bean: It is. I added a couple of things, but what I learned by putting it up in Florida is what I learned to make this final piece.
AJ: Is there a jukebox show you still want to do?
Roger Bean: I’m currently working on one that has a lot of boy band songs. I love the 60s, I’ve done a couple of things in the 70s but I’d like to do more. I wrote one country show and I think I’m going to do another one as well because that is really good storytelling.
END.
Whether you’re planning a weekend getaway to Gold Country or simply looking for a unique theatre experience, Sierra Repertory Theatre offers something truly special. Between the historic charm of Columbia, the intimate atmosphere of the Fallon House Theatre, and the joy of Don’t Touch That Dial, this was a memorable theatrical adventure from start to finish.
For more information about Sierra Repertory Theatre and upcoming performances, visit their website and consider making the trip yourself. It’s well worth the journey.
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