McAuley-Kilgore Theatre Library Begins to Take Shape

Posted by Bruce Miller
When Theatre IV was asked by the Barksdale Board of Trustees in the summer of 2001 to assume artistic and business management of Central Virginia's longest standing professional theatre, we immediately responded with an enthusiastic "yes!" One of the programs that came with this new package of responsibilities was the McAuley-Kilgore Theatre Library, named in honor of Barksdale's legendary leaders: Muriel McAuley, David (Pete) Kilgore, and Nancy Kilgore.

In 2001, and throughout the decade that followed, the McAuley-Kilgore Library was distinguished only by a name posted in gold letters over the double doors that are positioned between the library and the lobby at Barksdale Willow Lawn. There were no book shelves in the library. There were no books--actually, there were quite a few old scripts and reference volumes, but they were all packed away in boxes.

As we marked the tenth anniversary of the Barksdale / Theatre IV alliance this past summer, we were able to shed a wee bit of embarrassment as we proudly noted that the Shameful Case of the Library that Wasn't was finally being addressed. Custom bookshelves had been installed last spring by David Powers, our über-hardworking tech director for Barksdale Theatre at Hanover Tavern. And the treasured tomes that had once known the touch of Muriel, Pete and Nancy themselves had been released again into the fresh air and light of day.This fall we plan to organize more effectively the Library and its invaluable theatre collection. All of our books are being recorded into an on-line card catalogue, lending policies are being established, bookplates are being designed and printed to acknowledge all individual donors, and, most importantly, additional volumes are being sought to add to our growing collection.

The photo posted at the top of this article shows mostly empty shelves. It's an old photo. The shelves are now actually filling up quite nicely (see photo below)--but there's always room for more.

Anyone who has ever tried to locate a script or theatre reference work in the Richmond, Chesterfield or Henrico public libraries knows that there is a definite need in Central Virginia for an expanded theatre collection. It is our goal for the McAuley-Kilgore Theatre Library to help to address that need. We are confident that Muriel, Pete and Nancy would be pleased, proud and honored to know that their books and their legacies were being put to good use.

If you have any scripts, theatre recordings (audio or video), theatre reference works or texts, stage novels or biographies etc. (and who among us doesn't?), and you would like to donate these pieces and parts of your own legacy to the McAuley-Kilgore Theatre Library, either now or in your will, please contact my assistant, Brittany Taylor, at 783-1688 ext 1113, or at b.taylor@ (insert the name Barksdale here) Richmond.org. We will be grateful to receive your tax deductible donation to Central Virginia's newest public access, lending and perusal library for the theatre arts.

Also, we are seeking to expand our significant collection of Richmond theatre playbills, posters, etc. into a comprehensive, readily available, theatre archive representing ALL of Richmond's theatrical endeavors. Unique originals will be copied and donated to the official archives at the Library of Virginia. Copies and duplicate originals will be kept in regular (not archive quality) files in the McAuley-Kilgore Library, for perusal only.

No matter which theatre your old playbill collection may represent, if it's a theatre with a Richmond connection, we'd love for you to consider donating your programs to the Library.

All donations to Barksdale Theatre are fully deductible to the extent allowed by law.

Finally, we are also seeking Library volunteers. If you'd like to put in a few hours every now and then, cataloging the collection, please let Brittany know. We'd feel honored to work with you.

Thanks for helping support Richmond's nonprofit, resident professional theatre as we seek to improve the McAuley-Kilgore Library and its collections.

--Bruce Miller

All God's Children Got "Crowns"

Posted by Bruce Miller
In association with the African American Repertory Theatre, Barksdale opened the revival of Crowns yesterday afternoon at the Gottwald Playhouse at CenterStage. Based on that terrific opening (and the enthusiastic audience response that accompanied it), we have every reason to hope for a replay of the critical and popular success we enjoyed when our two theatres first co-produced Crowns at Willow Lawn in 2005.

Yesterday's wonderful opening was all the more satisfying knowing how hard so many people worked to get Crowns back on its feet. Both in 2005 and again in 2010, we hit a few bumps in the road on the rugged path between first rehearsal and first performance.

When Crowns premiered at NYC's Second Stage in 2002, I read the review in the Times and knew I should take a trip north to see it. The show was only a moderate success in the Big Apple, but it had all the hallmarks of being a mega-hit here in Richmond.

Penned by the great African American actress Regina Taylor, the fervent gospel musical is adapted from Michael Cunningham and Craig Marberry's book Crowns - Portraits of Black Women in Church Hats. The interviews that comprise the text of the book are the stories that are retold in the show. Most of the interviews were conducted with church women throughout the South. Many of the stories take place in Richmond.

The women of Crowns talk of their experiences buying hats at Thalhimer's and Montaldo's. They relive their university days, participating in sit-ins at segregated lunch counters. Anyone who grew up in Richmond (as I did), and read the book and/or saw the show, immediately recognized the moving (and frequently hilarious) stories of courage and faith.

When I saw the show in New York, it all seemed a little too glitzy and showbizzy to be real. At least that was my opinion. The actresses in New York really knew how to sing, but they sounded more like Broadway divas than Southern gospel singers. Their dances seemed more designed for the stage than the sanctuary. Everything seemed a little too rehearsed and lacking in spontaneity. Most important, the actresses' connection to the moving and outright funny stories often seemed to be at arm's length.

I knew that when we did the show in Richmond, I wanted to recruit a cast made up entirely of Southern church women who would approach the play not only as a performance, but also as a spiritual revisit to their personal and family memories. I wanted the experience to be authentic.
Both in 2005 and again in 2010, we cast one of Virginia's premier gospel singers in the lead. In both years, the singer began with an enthusiastic "yes"--a "yes" that eventually turned out to be a "no" once the rehearsals were underway.

In both years, the incredibly talented actress / singer whom we had cast called me three or four weeks before the opening to tell me that she had changed her mind. "God told me not to do the show." she said. She was very apologetic, very professional (in gospel terms), and very nice. She sincerely believed (and believes) that God spoke to her during prayer and told her to leave the production.

I like to believe that I too have experienced the "still small voice." I'm a Presbyterian, not a Southern Baptist, and we phrase things differently. I come from a theatre tradition and not a gospel tradition. Nonethelesss... . In 2005, and now again in 2010, I in no way impugn her belief or statement.

You want authentic, you get authentic.

Recasting a lead once rehearsals are underway can upset the apple cart a bit. Recasting a lead in 48 hours when you're stranded in Ireland (as Phil and I were) due to a volcano in Iceland can be one of those experiences you won't quickly forget.

Thankfully, Chase Kniffen was in constant contact with Phil and me when we were stuck for seven extra days on the Emerald Isle. Even more thankfully, when Chase called Margarette Joyner, a very talented singer, actor and gospel artist who happened to work in our costume shop, Margarette said "yes!"

During Crowns 2005, our second pick as leading lady was the luminous Almeida Ingram Miller. Her performance was extraordinary. In Crowns 2010, Margarette Joyner is igniting the stage once again. In both instances, I firmly believe, we wound up with the gospel queen we were meant to have.

In addition to losing our lead, Crowns had to overcome a few other challenges. We had to change pianists mid-stream after realizing that our first pianist played a very contemporary sounding gospel, while the show requires a more traditional flavor. Then our new pianist helped to pull things together by agreeing to accept additional responsibilities as our new music director.

Midway through this process, one of our highly professional and spiritual actresses bowed out of the show for a week when she feared that our changing musical leadership would not allow the show to be all that it should be. Only when the new team was firmly in place did we win our beloved actress back. Talk about committed and demanding--the Crown ladies believe in this show so much, they always put quality and authenticity first.

Once again, you want authentic ...

Then we found out the hard way that another cast member was allergic to the sawdust that drifted up from our shop into our rehearsal hall. When it became impossible for her to speak after a late night rehearsal, we knew it was time to move to another space, which we did.

Eventually, everyone joined in on and/or returned to the task at hand. Phil and I finally returned from Ireland and moved the opening back by nine days, giving us the time we needed to accommodate all the ups and downs. Things were going swimmingly until the day before opening. That's when Chase took the wooden furniture out into the alley to spray paint it black. He left it outside for five minutes to dry. When he came back, the furniture had been stolen, wet paint and all.

Of course, all of this mayhem was happening while we were preparing to open The Sound of Music--the largest show in Theatre IV and Barksdale history--on the same weekend.

Like I said, considering all this, we were THRILLED yesterday when the show went beautifully. The actresses pulled all of the love out of their souls and the magic out of their hats. The audience leaped to their feet at curtain call.

Now we can sit back and watch with pleasure as the show gets better and better as it relaxes and tightens up a bit. I don't want to understate the crazy little challenges we still face with flying fur balls and the occasional renegade hat that insists on going this way when the actress goes that. But I thank all our stars for graciously putting up with me as we on the producing end do our best to work out every kink.

The heroines / heroes of the day include our beautiful and inspired cast: De'Shionay Adkins, Desiree Roots Centeio (also serving as vocal director), Shalimar Hickman Fields, Margarette Joyner, Katherine Louis, Rose Watson and J. Ron Fleming. Once again, Leslie Owens Harrington's inspired direction and choreography continue to shine.

Sue Griffin and Audra Honaker (with a lot of help from Ms. O-H) pulled together a closet crammed with vintage church hats and matching dresses. Chase Kniffen and Trevor Riley (our stage manager) kept the show moving forward in an organized manner. The very talented Francine Jackson stepped in at the last minute as Music Director and Pianist. Our greatly appreciated Tony Williams passed on all the secrets he learned during the first Crowns run, serving as Musical Supervisor extraordinaire. David Powers built a set and a central stained glass window that take your breath away. Kenny Mullins painted everything with light to make it all look finished and beautiful.

Sound man Andrew, who joined the team (bless you, Andrew) so late that his name hasn't yet made it into the playbill, only saw two run-throughs before his first audience. Now he's working tirelessly to get all the right mics live for each of the moments when each the individual women need to be heard--a harder job than anyone could imagine until they've tried to do it.

God may have told one actress not to do this show. Thankfully, He gave everyone else a thumbs up. If you've never seen Crowns before, or if you saw it five years ago and enjoyed it so much you're ready to return, then please join us soon for the one show where the Big Guy Himself has chosen to work directly with our casting department.

Hope to see you at the theatre!

--Bruce Miller

The Queen of the Night

Posted by Bruce Miller

Last night was a very rewarding Opening Night for Souvenir at Hanover Tavern. Many, many thanks to:

Debra and Jonathan for their terrific performances,
John and R. L. for their knowing stage direction, light design and musical direction,
Sue for her world-class costumes,
David for his masterful tech direction,
Slade for his invaluable electrics work,
Joe for his expert stage management,
Chase and Dee for their backstage magic, and
all the amazing theatre artists and administrators who are making this charming production possible.

This true story of Florence Foster Jenkins and Cosme McMoon is inspiring as it challenges our assumptions regarding what is art, which artistic performances have value, and who gets to decide.

As much as we in the audience find ourselves doubled over with laughter at Madame Flo (as Cosme calls her) and her vocal stylings that surely must be sending countless Pamunkey pups running for the hills, we simultaneously find ourselves falling in love with her confidence and generous spirit.

If none of this makes sense, then come see Souvenir, a delightful evening that takes you back to NYC during the glory days of American musical performance. When Cosme begins the show talking about Cole Porter, Elsa Maxwell and the Aga Khan, it took me back to the glory days of the original production of Randy Strawderman’s Red Hot and Cole in the mid-70s, when those same names were recalled on stage during the opening of that most famous of Barksdale world premieres.

If you would like to learn more about the real Ms Jenkins or Mr McMoon, you can sample their recordings at:

http://www.amazon.com/gp/recsradio/radio/B000003F97/ref=pd_krex_dp_001_001?ie=UTF8&track=001&disc=001

and/or you can read the transcript of a radio interview conducted with Mr McMoon in the early 90s in Berlin:

http://listproc.ucdavis.edu/archives/mlist/log0402/0004.html.

The photos used in this blog post are of the real Florence Foster Jenkins. To see Debra Wagoner’s gracious, hilarious homage to Ms Jenkins, buy your tickets to Souvenir today. Like Boleros for the Disenchanted, it’s not to be missed.

--Bruce Miller

John's Joy - "The Perfect Richmond Holiday Play!"

Posted by Bruce Miller

John Porter's rave review of Sanders Family Christmas was finally aired on WCVE-FM, and it was worth the wait. It seems to be the radio station's policy to air one review a week, so when shows open one on top of another, you have to wait your turn.

Rather than excerpt, I'll quote the entire review, since it is not available elsewhere in print. Many of you may have missed the radio broadcast.

Thanks, John, for your kind words. Here's the review!

. . . . . . . . .

"Sometimes writing these theatre reviews is easy, and sometimes it is much more difficult. This is one of those easy times, because it is my privilege to talk about Sanders Family Christmas, which is now playing at Barksdale Hanover Tavern. It is very close to being the perfect Richmond holiday play.

It’s a musical, with great seasonal tunes. It looks back at an earlier time—the United States entry into WWII—with nostalgia and reverence. The cast and crew are greatly talented and they know how to put on an entertaining show.

If you’re looking for deep truths revealed through a dark, twisted, psychological drama, you’re probably going to be disappointed. But if you’re looking for a fast show featuring good music, a little story telling, and a warm and fuzzy glow afterwards, then by all means, you’ve come to the right place.

The stellar cast includes Drew Perkins, a strong actor and great musician, as Burl Sanders, the leader of the gospel singing family, who has arrived in the snow to sing songs and witness during the holiday season. Julie Fulcher plays Vera, his equally talented wife and partner in the family business.

Eric Williams is Stanley, the brother, who despite his shady past has moved on to enjoy fame singing on the radio and in the movies. The twins, Denise and Dennis, are played with gusto by Emily Cole and David Janeski, and they manage to wring out their own separate identities despite being lumped together all the time. This may be Dennis’s last appearance with the family, as he is shipping off to boot camp right after the holidays.

The oldest child, June, is warmly played by Aly Wepplo, who despite her character’s self-professed inability to play or sing still joins in with great support and occasional sign language, if anyone needs it. Her wide-eyed innocence is heartwarming, and Ms Wepplo shows a great deal of promise in this role.

Lastly, the Rev Oglethorpe, who has arranged this evening, is delightfully played by Billy Christopher Maupin. His portrayal is of an earnest young man who will do anything to keep his church open, and who is very sincere in his affection for one special member of the Sanders Family. Don’t worry; it becomes very obvious very quickly.

Director Bruce Miller has once again made his job easier by putting together a winning cast and a very capable design team. The old country church that has been created by set designer Terrie Powers and David Powers is comfortable, cozy, and gives you the feeling of a landmark held together more by love and prayer than by brick and mortar.

Lights are by Slade Billow, and costumes are by Sue Griffin, who once again does a terrific job with her creation.

Sanders Family Christmas is solid family entertainment from beginning to end, and features some of Richmond’s best talent performing in an intimate space in the country.

For this critic’s money, you just can’t go wrong with that combination.

For WCVE Public Radio, I’m John Porter."

--Bruce Miller

The Galeski Foyer - Part II

Posted by Bruce Miller
Our foyer at Barksdale Theatre at Willow Lawn may not be as elegant as the foyer of the National Theatre of Prague (see Progress Continues on Galeski Foyer, posted below), but it’s becoming more impressive bit by bit. Our thanks go out for:
* the hard work, leadership, and financial contributions of Barksdale Board leader John Moon;
* the volunteer design support of Emmy-winning art director David Crank; and
* the major sustaining operational support of Carrie Galeski.

In no small part, these three are leading the charge forward as we continue to build an inviting and exciting entryway to our theatre at Willow Lawn.

That's our friend Carrie Galeski in the photo above and to the right. She's the one holding the award she earned for her work with the Executive Women's Golf Association.

In my last blog report on efforts to spruce up our Willow Lawn facilities (see The Clean Lobby, Sept. 23, 2008), I commented on the fresh crimson paint job, the new hanging lights outside the box office, the sparkling track lighting, the “etched logo” on the glass of our front door, and plans for several more improvements. Now that several of the “several more” have been completed, it’s time to take another look.

Foremost among the recent improvements is a flat screen TV (pictured above and to the left) that constantly runs a video loop of our Emmy Award-winning Barksdale commercial (http://www.youtube.com/watch?v=k5Pmj8iFxp0) preceded and followed by stills from currently running shows at Hanover Tavern (Sanders Family Christmas) and the historic Empire (The Best Christmas Pageant Ever). John Moon not only created the video montage, he also bought and contributed the flat screen TV and the professional grade digital player.

Now anyone waiting in line at the box office will have something interesting to watch.

Equally impressive, our tech director at Hanover Tavern, David Powers, has custom designed and built two bench/storage units to provide seating opposite the door of our elevator. Each bench is designed to store the various pieces of hardware employed by our new photo display system. There’s even a hand-crafted logo built into the benches, making them unique works of craftsmanship.

Our photo display area is still somewhat under construction, but it's coming along nicely. We’re continuing to try out various component parts during the runs of The Clean House and This Wonderful Life, determined to find out which components work best. Cast headshots now are hung individually from vertical rods in handsome new frames. We’re also in the process of replacing the large photo display units that ultimately will house the show shots of each production.

We’ll soon be adding headshots of all the volunteer members of our Board of Trustees, and activity shots portraying Barksdale’s various service initiatives that add so much to the cultural life of Central Virginia.

The vintage Barksdale sign is hanging proudly once again just inside and to the right of the front door. Soon there will be an informative plaque explaining the sign’s history. There’s a new rug inside the front door that bears the Barksdale logo in shades of gray. And there’s a new wooden rack card display unit mounted next to the box office window, better enabling us to promote upcoming productions in all our venues.

In an effort to improve accessibility, two bright overhead lights have been added directly over the box office windows, shining straight down, enabling customers to see clearly the paperwork that is presented to them at the box office. Two mini-blinds have been added to the interior of the box office windows, making it possible to secure our ticket center more effectively during non-business hours.

A museum-quality dedication display has been installed to the left just inside the entry door, recognizing the many contributions of Carrie Galeski and her late husband Ed. Carrie Galeski provided the generous gift that made it possible for us to construct the foyer in 1996. Her steadfast support continues to sustain our operations.

The dedication reads as follows:

“Barksdale Theatre’s Entry Foyer is Dedicated to Edward Whitlock Galeski and Carrie Taylor Galeski.

Ed Galeski was born in Richmond and graduated from M.I.T. with an aeronautical engineering degree. During World War II, he was an Army Air Force flight instructor and was instrumental in testing the B-28 Super-Fortresses which did so much in winning the war in the Pacific.

After the war he went into the photo processing business where he established Galeski Photo Center. Ed showed his intellectual and mechanical aptitude becoming one of the first companies good enough to receive the first color processing machines from Kodak. He continued to expand his business to such a high degree of efficiency that it was sought after and finally purchased by a national chain.

In 1971 he married Carrie Taylor. They enjoyed a deep and binding relationship as they worked together for mutual goals. 'Eddie and I moved to the Hanover Courthouse area in 1980, and there we forged a lasting friendship with Pete and Nancy Kilgore along with Muriel McAuley. This was the beginning of our relationship with Barksdale.'

Ed died in 1986, but Carrie continues to be one of Barksdale Theatre’s strongest supporters. We are eternally grateful.”

Indeed we are.

--Bruce Miller

Susie's Sizzle - "A Warm Holiday Treat"

Posted by Bruce Miller
I know I'm not supposed to care about reviews. But the truth is, I rush to read Ms. Haubenstock's opinion the minute I wake up on a Sunday morning following a Friday opening night.

I form my own opinion about whether a show has opened well or not before the first set of bowing actors return to an upright position. And that opinion seldom changes based on the opinions of the critics. I respect what the critics have to say, but sometimes I agree and sometimes I don't.

I'm a producer as well as a director. And any producer who tells you s/he doesn't care about reviews is pulling your leg. Historically, a good review in the Times-Dispatch is worth about $20,000 at the Barksdale box office. And for this I'm not supposed to care?!

Anyway, I was thrilled to read Susan Haubenstock's review this morning of Sanders Family Christmas. It's a review that will sell tickets. And it will make all the artists involved, including myself, happy because she says nice things about everybody. I read the review, and immediately felt a 20,000 lb. weight lift from my shoulders.

In order to meet budget, Theatre IV and Barksdale combined need to sell about $70 K worth of tickets and tour shows and raise about $30 K in contributions every week of the year. Our $5.2 million annual budget covers the cost of a staff of 40 or so who are paid every two weeks, over a hundred theatre artists who are paid for performances, the mortgage and/or rent payments on four major facilities, and significant other expenses. Meeting budget is not an easy task in today's economy. Susie's nice review will help in all quarters.

Here are the quotes I'll be hanging in the Tavern lobby:

“Lovely!
Runs away with the audience’s hearts
Expertly Handled ~ Just Right
Old hymns and beautiful harmonies warm the soul
The humor is gentle; the laughs are big;
the smiles don’t quit
A Warm Holiday Treat!”

--Susan Haubenstock, Richmond Times-Dispatch

Best of all, in my opinion, every word of the praise is deserved. This great cast and design team manage the impossible--they deliver a very corny and sentimental script with the utmost sincerity, winning laughs and tears while maintaining complete respect and affection for their oversized characters. And on top of all that they play a whole orchestra of bluegrass instruments and sing fit to beat the band.

Aly, Billy Christopher, David J., Drew, Emily, Eric, Julie, Brad, Catherine, Christina, David P., Jeannie, Slade, Sue and Terrie are the BEST. I loved the show on opening night, and I believe it will be a huge hit.

If you have the chance to see it, and if you have an open heart, I think you'll have a grand time.

I hope to see you at the theatre!

--Bruce Miller

The Clean Lobby

Posted by Bruce Miller
When you come to see The Clean House, opening this Friday, you’ll notice that our theatrical house is, in fact, noticeably cleaner. After a few weeks’ investment of sweat equity, our hardworking Board is about to complete a redesign of our downstairs lobby.

This is Phase III in the gradual renovation of our Willow Lawn theatre facilities. Phase I was the installation of our new sidewalk awning at the top of the 07-08 Season. Phase II was the addition of our new exterior signage last spring.

As you’ve no doubt discerned, we’re transforming our duckling into a swan step by step, as time and contributed funds allow. We began with those components that you first encounter when walking toward the theatre from the parking lot. Now we’re making our way indoors.

Phase IV will be the cosmetic renovation of our elevator, and then we’ll move onward and upward to our box office and, thereafter, the atrium that surrounds our stairway as it ascends to the theatre proper.

The work on the downstairs lobby is not yet finished, but we’re promising completion of at least the painting before the end of the week.

All thanks go to the two guiding lights of this noble effort:

John Moon (actor, director and past Board President), who has organized and implemented the work. When not laboring in theatre, John is engaged professionally as a designer of exhibits and installations at museums and other cultural institutions nationwide.

David Crank (set and costume designer and former Board member at TheatreVirginia), who has shared with us his design expertise. David just won an Emmy Award for his Art Direction of the John Adams miniseries. Before John Adams, David worked as Art Director of last year’s multiple Oscar-winning film, There Will Be Blood.

Both men have generously donated their time and talents to this project, and we thank them for their gracious contribution to the cause.

You may remember that the downstairs lobby was originally painted a peach / cream color. Various viewers have described the particular tint and its twelve-year patina as “Silly Putty” (Phil), “Band-Aid” (me), and “Nipple” (Page Bond).

Since last the roller met the wall in 1996, the interior surface has become markedly scratched, dinged and smudged, so it was time (past time really) for Extreme Make-Over: Barksdale Edition.

The new color is a deep, dramatic crimson, serving as an elegant background for new photo displays enhanced by new track lighting. A good deal of clutter has been removed from the lobby. We’re creating new, more coordinated and informative interior signage, and constructing a new, comfortable seating area opposite the elevator.

The work was performed on a volunteer basis by Barksdale Board members (ably assisted by Emily Cole from our development staff). David Powers, our Tech Director at Hanover Tavern, is constructing the new seating. Many thanks to all those who made this renovation possible.

As you experience our spruced up digs, please let us know what you think. The theatre’s public spaces are always a work in progress, just as are our continually changing stage sets. We welcome your input, and look forward to seeing you at the theatre!

(Notes on photos: top right - today's view of the wall where our photo boards will go, the church bench will soon be replaced with other seating; top left - the new "etched" logo on our glass front doors, reflecting this morning's sunny parking lot; mid right - Pardon Our Dust; lower left - new lighting outside the box office window; lower right - our staging area in the atrium, the vintage Barksdale sign will soon be re-hung by the front door with a plaque explaining its history.)

--Bruce Miller

The McAuley-Kilgore Memorial Library

Posted by Bruce Miller

Under the exemplary leadership of John Glenn, Barksdale Theatre moved from Hanover Tavern to its new digs at Willow Lawn in 1996. The plan at the time was to create a theatre library in honor of our founders, Nancy and Pete Kilgore and Muriel McAuley (pictured above, left to right). A tasteful room was built off the southern end of the lobby, and the words “McAuley-Kilgore Memorial Library” were emblazoned over the elegant French entry doors in letters of gold.
Predictably, the renovation that transformed the former second floor warehouse area into the intimate and comfortable theatrical setting we enjoy today required a larger investment of time and money than originally planned. And so the construction of permanently installed bookshelves in the “Library” was postponed until such time as resources became available for their design and assembly.

One thing led to another, and now, in 2008, we still have yet to transform our “Library” into a library.

Countless boxes of scripts, theatrical texts, showbiz biographies and original cast albums remain in storage, waiting for over a decade for their promised homeland. The collection of tomes has grown over the years as loyal Barksdalians have contributed their home libraries to our long anticipated public “Library.”

In the interim, a private theatre library was started at VCU in memory of the great director and theatre prof Ken Campbell. More recently, in association with RAPT, David Sennett has generously launched an internet-connected lending library from his home.

But the McAuley-Kilgore Library, when it finally comes to pass, will still fill an important void. When the general public wants to walk into a room and peruse shelves filled with theatrical scripts and reference works, there’s still no place in Central Virginia for them to go. For all their many strengths, our local public libraries are woefully short on scripts. Many a professional and amateur actor and/or theatrical student has searched for even a well-known play only to learn that a well stocked, “open to the public” theatrical library still doesn’t exist in Greater Richmond.

Until that day when the McAuley-Kilgore Library finally opens to meet at least part of that need, our “Library” is being put to good use. The Richmond Playwrights Forum has been meeting there on a monthly basis for years. Theatre IV’s Board of Directors and Barksdale’s Board of Trustees call the “Library” home for the lion's share of their Board and committee meetings. Countless production meetings have been held there, not only for shows at Willow Lawn, but also for shows at the Tavern and the Empire. Small armies of students and children have gathered around the table engaged in seminars and summer camp experiences.
Most tastefully of all, the “Library” has welcomed a cornucopia of buffets and party spreads in service to an endless parade of cast soirees and group outings.

Hopefully, the longed for end will soon be in sight. David Powers, our Technical Director at Hanover Tavern and carpenter extraordinaire, has designed and priced the shelves, and this year we will be in the process of raising $12,000 in capital funds to refurbish and install the inner workings that will one day allow our “Library” to live up to its name. If you or any of your associates would like to help with this fundraising effort, please email Emily Cole. If you would like to donate books and/or recordings of a theatrical nature, please contact Brad Tuggle at the same address.

Our goal is to refinish the handsome conference table and chairs donated by the Markel Corporation in 1996, enabling us to continue to use the “Library” for all of the multi-purposes that have emerged over the last 12 years. We also plan to continue to display the historic portraits of Pete, Nancy, Muriel and Pat Carroll. Surrounding these practical and cherished features, we’ll one day have a fine collection of theatrical reading and listening materials to meet our community's need.

Muriel, Pete and Nancy (especially Muriel) had the greatest reverence for books. One day soon, we’ll all be able to enjoy and benefit from the Library built in their name, with the greatest reverence for their memories, and all they meant to Central Virginia.

--Bruce Miller

The Importance of Being British

Posted by Bruce Miller
One of the things that make producing a show like Shirley Valentine such fun for me is the chance to dip my toes in the waters of another culture. Shirley is a very British play. Too bad I didn’t have the sense I should have had after so many years of toe dipping. Had I been smart, I would have recruited a “British consultant” to advise us on all aspects of the production. But I wasn’t and I didn’t. Consequently, I received this very nice and constructive (and slightly embarrassing) note from a friend of our theatre.

In the end, I think this correspondence is informative, very positive, and kinda fun. So I’ll share the constructive note first, and then our responses.

Here's the nice constructive note...

Dear Barksdale,

I saw the performance of Shirley Valentine last night at Hanover Tavern and while the acting was quite good, the set and prop designs were completely inappropriate. I understand designers and directors often reset plays in different eras than the action was originally set---Shakespeare in modern dress etc.--but the presence of a bottle of Fairy Liquid and a couple of boxes of Weetabix led me to assume the action was indeed still supposed to be set in an English kitchen.

Apart from those props, however, everything else was completely wrong for an English kitchen--from the huge refrigerator to the curtains, cabinets, faucets, and even a cookie!!! jar. The English do not eat cookies; they eat biscuits. It may be nit-picking, but even the color of Shirley's passport was wrong. While it is true that today's passports are a burgundy color, in Shirley's time it would have been navy blue.

And no respectable English person-of-the-period would serve ketchup with egg and chips--it has to be HP Brown Sauce--in a bottle of course!.

I am a subscriber to Barksdale Theater and both my husband and I have really enjoyed all the plays at Willow Lawn. I understand you work with a tight budget, but a little more effort at authenticity would have been appropriate.

But then again, being English myself, maybe I am the only one who noticed these things and the only one who was bothered by them.

Sincerely,

xxxxx

Here's the first response from Jessica Daugherty, our webmaster who receives all emails first and lives in New Zealand…

Dear Ms. xxxxx,

Thank you for taking the time to write. I currently work from New Zealand and have learned some of the things you spoke about while living over here, where they also use slim refrigerators and say biscuits instead of cookies. I'm sorry you were disappointed with the set and props, but glad that you still enjoyed the acting.

I'm forwarding your message on to our Artistic Director, Bruce Miller, so that he can see your comments.

Kind Regards,
Jessica Daugherty
Internet Services
Theatre IV and Barksdale Theatre

And now here's the response from me…

Dear Ms. xxxxx,

Thanks for your support of Barksdale Theatre, your thoughtful letter, and your valuable constructive criticism. May I keep your name and contact info on file to use as a "British consultant" in the future? Your points are all very well taken, and I appreciate the constructive input. We certainly could use your help.

All the matters you mention regarding inaccuracies in our depiction of Shirley Valentine's home and its contents relate to my responsibilities. I manage props, furniture and set decoration for all Hanover Tavern shows. I did a fair amount of research for Shirley, but clearly not enough.

Regarding the appliances, I contacted Biasco - The Kitchen Specialists, a major English wholesaler and retailer of refrigerators and washers. I asked them what brand of mid- to low-price refrigerator and washer would have been installed in a British flat in the 1950s, about the time we imagined Shirley's 1985 kitchen to have been constructed. Among the brand names they suggested as meeting that criteria were a Frigidaire refrigerator and a Bendix washer. Our Tech Director for Hanover Tavern, David Powers, searched for, found and purchased a 1950s Frigidaire refrigerator and a 1950s Bendix washer. The refrigerator is small by contemporary American standards and appears to be the same size as the refrigerator used in the West End production of Shirley Valentine. The script says only that the refrigerator must have a built-in freezer and this one does.

I'm glad you noticed the Fairy Liquid and Weetabix. The Fairy Liquid was a generous loan from a friend of our director, Amy Berlin. I bought the Weetabix along with every other British-seeming grocery item I could find at Ukrops. Several of the other pantry stuffers (King Arthur Flour, Old London Melta Toast, Wellington Toasted Sesame Crisps) were less visible on the set but nonetheless there. We had British beer in the fridge, purchased from Total Wine and Beverage. We re-covered the Biz laundry detergent box (too American) with blow-ups of the British detergent logos for Daz. We printed can labels for Harry Ramsden's Mushy Peas and Batchelors Bigga Marrowfat Processed Peas (the most mid-80s British-looking labels I could find on the Internet) and covered over the Food Club labels that were too recognizable, too American and too 21st century. These counterfeit cans were among the items that filled the shelves.

Regarding the condiments to accompany the chips, I went to Icons-A Portrait of England online (http://www.icons.org.uk/), and found this: "Who can bear the thought of the perfect, soft-centred chip without a generous splash of malt vinegar to provide an extra burst of flavour? No self-respecting chippy is without the obligatory bottle of malt vinegar on the counter, along with salt and perhaps tomato ketchup." So I purchased a jar of malt vinegar and replaced the American-looking label with a computer-generated mock-up of the authentic British label (London Pub Malt Vinegar). When Shirley served her "chucky eggs and chips," she salted them first and then placed glass bottles of London Pub Malt Vinegar and Heinz Ketchup (that's the brand all the British grocery sites carry) on the table with the chips, in keeping with the instructions found on icons.org.uk.

Regarding the cookie jar, you got me! That was sheer stupidity on my part. I know better and appreciate the constructive criticism.

Regarding the British Passport, I Google Imaged "British passport 1985," and literally every photo of a British passport that appears on the Internet in response to that search shows a burgundy passport with the gold British crest. All the U. S. passports from that period are navy blue. So I photocopied the burgundy passport cover with gold British crest, did away with the words "European Union," and applied the forged cover over my mother's navy blue U. S. passport from the 80s. I'm sorry my research on passport color and appearance wasn't exact enough.

My research indicated that British Airways was the most likely carrier to transport Shirley from London to Greece, so I found some vintage photos online and created the fairly authentic British Airways ticket you saw in the show.

Curtain fabrics, window treatments, cabinet and faucet design are the work of our set designers, Terrie Powers and David Powers. They tell me that the curtain fabric and treatment were inspired by "Ironing Hopes in a British Kitchen," a Flickr photo found via Google Images online after searching for "British kitchen." The cabinets and faucets were modeled after images found on BritishFlats.com.

All of this is meant to show that there was a significant "effort at authenticity" even if the results of those efforts didn't pay off. In the end, the lesson I need to learn is that all the Internet research in the world can't replace the input we can receive from someone who actually lived there.

Thanks again for your support of Barksdale and for your excellent input. We'll try to do better in the future.

All the Best,

Bruce Miller
Artistic Director
Barksdale Theatre

Note: There were two sets in Shirley Valentine, occupying opposite sides of a turntable. The first was Shirley's tiny British kitchen, the second was a Greek Island cliffside adjacent to the surf. Both are pictured above.

--Bruce Miller

Susie's Satisfaction

Posted by Bruce Miller
Our thoughtful new comedy, Shirley Valentine, just opened at Hanover Tavern, and it's already prompting gales of satisfied laughter. The first review appeared in the R T-D this morning, and it brought a burst of sunlight to today’s otherwise rainy dawning. Based on Susan Haubenstock’s positive reactions, it’s looking like we may have another hit on our hands.

All right, Ms. H didn’t love everything. She thought the set change was a little “cumbersome,” one wig was a little "silly," the lights were a little “dramatic,” and the original incidental music a little “thin.” We’re working on it.

But she LOVED lead actress Jill Bari Steinberg, director Amy Berlin, set designers Terrie Powers and David Powers, and costume designer Sue Griffin.

And even more encouraging than Haubenstock's glowing review, the Opening Night audience gave the show a standing ovation, something we usually don’t see at Hanover Tavern.

So if you want to spend a warm, funny and “DELIGHTFUL” evening in the theatre, don’t miss Shirley Valentine. It’s a perfect “girls night out.” And Jill Bari Steinberg, as she so ably proved in The Syringa Tree, is the perfect actress for a joyous and meaningful one-woman triumph.

Here are the quotes we’re pulling from Susie’s favorable review:

“Delightful!
Quiet Power, Impressive, Just Right
Steinberg deftly connects us with Shirley’s yearning for life.
Amusing and Touching
Authentic evocations of 1986 Liverpool
Wins Laughs!”

--Susan Haubentock, Richmond Times-Dispatch

And don’t forget about our discounted RUSH tickets. Call the Barksdale box office three hours or less before curtain, and purchase whatever tickets remain for that evening’s performance of Shirley Valentine at the bargain price of only $15. (Guys and Dolls RUSH tickets are $20.) It's your super-cheap passport to an evening of pure pleasure.

See you at the theatre!

--Bruce Miller

How We Help ... Girl Scouts

Posted by Bruce Miller
I walked into Barksdale Theatre at Hanover Tavern yesterday (Tuesday) morning to help Terrie and David Powers map out the all-but-completed set design for Shirley Valentine. This was our one chance to envision on-site exactly where the complex set would sit on the stage. This is the final design step before building begins.

"Help" is probably the wrong word for what I do. I sit there while Terrie and David are working, saying “Don’t forget about this” or “Have you considered trying it this way” or “Where are you ever going to find a (fill in an impossible-to-find prop here)” or “Are you sure the people in these seats over here will have decent sight lines?”

I walked in ready to begin the process, only to find a group of what appeared to be fourth and fifth grade girls playing theatre games on the bare stage, laughing their heads off. David had cleared out the set for Greater Tuna on Monday, so all that remained were a row of toupee and hairdo-sporting wig stands lined up against the upstage wall, looking down at the girls. From all appearances, the wig stands were smiling.

I panicked. “Oh great,” I thought. “The Tavern has rented out the space for some sort of summer camp, and they forgot to tell us.” Thankfully, such was not the case. When I looked more closely, there on the third row sat Brad Tuggle, Assistant to the Managing Director of Barksdale and Theatre IV, directing the girls through their paces. He seemed to be having as much fun as the young ladies in his charge.
Turns out that what I walked in on was the tail end of one of Brad’s scout sessions. Brad manages Barksdale and Theatre IV’s Boy Scout, Girl Scout, Cub Scout and Brownie enrichment programs. This particular group came from the Pamunkey Ridge Girl Scout Camp in Hanover, and they were there to work with Barksdale on earning their try-it in theatre.

Throughout the year, Barksdale and Theatre IV work for free with scout troops of all shapes and sizes (and both genders) as they earn their various badges and patches in theatre and the dramatic arts. This is one of our many community service initiatives, and any scout troop that is interested in working with us can contact Brad at b.tuggle@barksdalerichmond.org, or 804 783-1688 ext 12. If you would be interested in helping with our scout program, please let Brad know that too. We love to work with volunteers.

Turns out this is the third year in a row that we’ve welcomed our young friends from Pamunkey Ridge onto our stage. As you’re considering why Barksdale is important to you and/or the community-at-large, please remember to add “working with scout troops” to your list. It’s fun for us and the scouts, and an excellent way to meet the needs of the community in non-traditional ways.

--Bruce Miller

NPR offers XOXOXO to "The O C"

It took a while, but the National Public Radio review of The Odd Couple at Hanover Tavern is in, and it’s another rave! The O C runs for only four more weeks—it’s gotta close on August 19 so that we can load in Deathtrap. It’s great to see a 40-year old play come so beautifully to life—a true American classic in the making. Don’t miss it. For a good time, call 282-2620, and make your reservations TODAY!

Here are a few highlights from John Porter’s review:

“Writing a review of Neil Simon’s The Odd Couple, now playing at Barksdale Hanover Tavern, is a relatively simple task. I’ve just got to find ways to say, 'It’s brilliant' for the next three minutes or so.

First of all, there’s the script. This is one of Simon’s early works that shows just how much of an American genius he really is. The dialogue sparks like an electric live wire and it gives the actors a broad canvas on which to paint their characters.”

“Then there’s the cast. How do you go wrong with two very strong leads who are on the top of their game? David Bridgewater is delightful as the king-sized larger than life slob known as Oscar Madison. He feels free to let loose with an over-the-top performance that breathes new life into one of the premiere characters of the American comedy stage. His partner in crime, the always strong Scott Wichmann, is just about dead-on perfect as uberneat Felix Unger.”

“The supporting cast includes a mix of well-known performers and new faces. The veterans include Steve Moore, Jeff Clevenger, Jennifer Frank and Jen Meharg, who all turn in strong performances.”

“On the technical side, the costumes by Heather Hogg evoke the early sixties very well. No, nobody is dressed up in tie-dyed bell bottoms, this was a different class altogether. The set by Terrie Powers and David Powers has a nice touch with autographed sports pictures on Oscar’s walls, lending credence to the proper era and telling us a little bit more about his character at the same time. The lighting design is by Bennett J. Fidlow and adds well to the evening.

Director Joe Pabst shows a deft touch with Simon’s dialogue. On the surface it can seem deceptively simple, but like Shakespeare or Mamet, Simon’s words have a distinct ebb and flow. If it’s not played just right, forget it, the whole thing comes crashing down like a house of cards.

In this case, the house stays up and rocks with laughter all night long.”

“I can always use more laughter in my life, and an evening of Neil Simon’s The Odd Couple, may just be the perfect way to pass a summer’s night.”

ocococococococ

It would be hard to beat a review like that! Insider’s Tip: Scott Wichmann and his wife Jen Meharg will be out of the show from August 8 through 12, replaced by the wonderful Richard Koch and his wife Vickie McLeod. Then Scott and Jen will be back for closing week. So if you’re a big fan of either couple, be sure to catch the show during the week they’ll be playing. Or if you're a fan of both couples ... come see it twice!

--Bruce Miller