--By DAVID EMANUEL and ANNETTE ESTERHELD

The play's the thing - actually, it's everything for Bowie Community Theater.

Before the curtains are ever opened on a production, the stage is ready, the actors costumed, lights set and props in place, the sets all have to be built, costumes sewn and scenes rehearsed.

And even before that there is all of the behind-the-scenes work that goes on once a new play is chosen.

Brochures fly back and forth, ideas are tossed about, and there's a general feeling of excitement in the air as producers, directors and technicians gather to discuss just what's going to take place on stage for their latest show at Whitemarsh Park.

In this case, it's "An Inspector Calls," set to open April 15 and run through April 30.

The first meeting was held in a small conference room at Bowie City Hall.

At this group's first production meeting, you felt like you were in the midst of a game of 20 Questions - but every question was aimed at getting the details exactly right for the play.

Joan MacDonnell, president of the BCT board of directors, held it all together with publicist and producer Lin Mascia, director Richard Atha-Nicholls, technical director Craig Miller, lighting designer and theatre technician Garrett Hyde, set designer R.C. Bates, scenic designer Jill York and costumer Suzi Reams.

BCT often selects one mystery or thriller each year.

It is a period piece, one that takes place in a specific time frame, (in this case, the late 1800s/early 1900s) and it presents an extra challenge - as every article of clothing, piece of furniture and prop, right down to the tiniest ones like a pocket watch and a ring - must be carefully selected.

And this play also involves cigars and cigarettes.

How do you get around that when there's no smoking in the theatre?

And where in the world can you purchase a British port glass?

What about the double doors? Do they open in or out?

And the lamp?

"A very important piece, a prominent piece, in the show," said Atha-Nicholls.

"Since when did we start wearing wristwatches in this play?" he also asked.

The wingback chairs are hopefully no problem. There's a chance they can be borrowed from Prince George's Community Theater.

Miller, who has spent 25 years working in theater, mostly on the stage, will be building the set.

"A suggested set comes with the script that talks about things like lighting, costumes and lists props and things," Miller said, "but then you have to adapt the set to your stage."

"In the case of the Bowie Playhouse, it's not a deep stage," he said. "You have to be careful how you build the set because nearly half the audience is right on you."

"That's when things like angling set pieces and walls come in," he added, "and that kind of attention to detail helps you avoid seeing actors' backs during the scenes."

Hyde, who works for the city of Bowie as theatre technician, will do lighting design for the play, and he agrees that the set should be dark and that "we will pop the people out with lights."

He suggests "amber lighting" and then cautions "you have to be careful with blues on stage with amber lighting."

So, who or what is most important?

"Everyone is most important," said MacDonnell. "No one can really function without the other."

For example, Reams, who has to do the research for costuming (she referred to a large tome at the meeting on costumes and furniture from the late 1800s called The Art of Dress - "she has books on everything," said one colleague) has to figure out, in the words of MacDonnell, "how to find it, where to buy it, and whether we can borrow it."

"The colors should be muted. It's a dark show," said Atha-Nicholls. "It's a dark and stormy night. There's rain. You don't want brilliant lighting."

The play, it should be noted, takes place in England a few years before the sinking of the Titanic. Set in a Yorkshire household of wealthy industrialist Arthur Birling, the show revolves around the visit of an inspector named Goole to investigate the mysterious circumstances behind the death of a young woman named Eva.

Very specific pants and a coat, "the Sherlock Holmes-type," are needed for this show.

"It's a lot of fun, and so much more challenging to find these costumes for shows like this," said Reams. "I remember one time, someone said to me after a show, 'why are there pleats in the men's pants? They didn't have pleats then.' "

"So someone is always paying attention to the smallest detail," said York.

"And," added Mascia, "you have to realize, this is all volunteer. We have no money. Everything we do comes from us having to beg, borrow and steal."

"Our money comes from ticket sales, donations and acknowledgments of those people in our programs," said MacDonnell. "We used to get money from grants, but we just don't anymore."

"People must always remember that our efforts are a labor of love," said York. "No one gets paid. Volunteers work on every aspect of the play. Pound a nail, paint a flat, pass out a play flier, usher, sell a ticket, bake a cookie, make it happen. Sometimes we break even, sometimes we don't. Any profit just goes toward the next show. It's the thrill of the chase that makes it all happen.

"Unless more folks get involved, community theater may not be around any longer. And unless people understand how local theater groups operate, I don't think our community will realize how vital their involvement is to the continuation of a theater presence in Bowie."

Coming soon: The audition process. Auditions are scheduled for Feb. 9, 10 and 11.