Everything's Coming Up Halenda

Posted by John Steils

Kathy Halenda, the wonderful Richmond-raised actress who starred in Barksdale’s recent productions of Mame and Disney’s High School Musical will be lighting up another stage about an hour down the road next week. Kathy is starring as Mama Rose in the national tour of Gypsy (see photo), stopping for one night at Charlottesville’s Paramount Theatre.

Her national reviews thus far have been unanimous raves:

“Gypsy has at least three things going for it -- the beautiful melodies of Jule Styne, Stephen Sondheim's witty lyrics, and American stage veteran Kathy Halenda, a woman big-voiced enough to sing the U.S. national anthem at Fenway Park, and bold enough to make us care about the original stage mommie dearest.” – London Free Press

“Great sets, great costumes and a great Rose!” – Binghamton Sun-Bulletin

“Everything’s Coming Up Rose!” – New Haven Advocate

“Halenda—taking charge the moment she arrives onstage—brings exuberance, energy and physical bravado to her character, making Rose larger than life. The other actors rarely show as much depth as she does, and rarely command such attention.” – Yale Daily News

Also appearing in the national tour of Gypsy is another Barksdale all-star. Rachel Abrams plays Mazeepa (the stripper with the helmet to the right of the photo). Rachel starred with Barksdale during each of the last two summers. She played Janis Joplin, Connie Francis and others in Beehive in 06, and the Baker’s Wife in Into the Woods in 07. In Gypsy, she’s also understudying Kathy as Mama Rose.

Called “the greatest of all American musicals” by the New York Times, Gypsy is the story of a quintessential stage mother, her dreams for her children, and the daughter who dared to live her own dream. From the first trumpet blast to the last hot spotlight, this classic Broadway show packs a powerful wallop, serving up one popular standard after another—songs like “Everything’s Coming Up Roses,” “Let Me Entertain You,” “You Gotta Have a Gimmick,” and “Together Wherever We Go.”

The Paramount performance will be Wednesday, November 7 at 8 pm. A group from the cast of Mame is planning on going up, and we hope lots of Richmonders will drive to C’ville to welcome Kathy back to her home state.

Gypsy was written by three virtuosos of American musical theater: Arthur Laurents (book), Jule Styne (music), and Stephen Sondheim (lyrics). The original production starring Ethel Merman and directed by Jerome Robbins was an instant hit when it opened at the Broadway Theatre in 1959. Subsequent revivals have garnered a total of three Tony Awards and featured such talents as Angela Lansbury, Tyne Daly and Bernadette Peters in the role of Rose.

Tickets are $58.50, $61.50, $64.50, and $69.50. (Barksdale's prices are starting to look pretty good, aren't they?) Half-price student rush seats and group discounts are also available. Tickets are currently on sale online and through the Paramount's box office at 434-979-1933. Also, as of this writing, Chase Kniffen has a couple or three great seats that he needs to sell. You can reach Chase at C.Kniffen@BarksdaleRichmond.org.

--John Steils

Greater Richmond H S Musical Returns

During the first year of Theatre IV, 1975-76, our nonprofit company took in either $14,000 or $17,000 during the entire 12-month fiscal year. For some reason I can’t remember which of those two figures is correct. What I do remember is that every penny of that gross revenue went to pay bills, including very meager salaries for everyone except Phil and me. Phil and I didn’t earn any salary from Theatre IV for the first three years.

We earned our living during those salad days waiting tables and acting (I mention waiting tables first cause that’s where the money was) at the Haymarket Dinner Theatre and Swift Creek Mill Playhouse. We talked about waiting some at Barksdale, but, if memory serves, we never actually did. We acted there, but I don’t think we waited there.

We also worked the midnight cash control shift at King’s Dominion during the summers, collecting and counting money, mostly late at night. And I worked as the Drama Director at Collegiate Schools. I didn’t teach any classes, but I directed Barefoot in the Park, Carousel, Agatha Christie’s The Mousetrap, As You Like It, No No Nanette, and Seven Keys to Baldpate. Phil and Lynn Keeton helped with choreography on the two musicals.

There were several wonderfully talented students who played major roles in more than one of those plays, including Page Bauder, Beth Freeman, Meg Hardt, Bill Hickock, Tommy Kastenbaum, Steve Kelly and Mary Lloyd Sinnott.

I remember all of them loving theatre and wishing there were some summer opportunities. In 1977, the Richmond Department of Recreation and Parks provided just such an opportunity. They produced the Greater Richmond High School All Star Musical at Dogwood Dell. In ’77, it was Kismet. It starred Steve Kelly. I remember that Phil and I went to see it, and we were so proud of Steve we could hardly stand it.

Immediately after that summer, I stopped working at Collegiate (my Theatre IV responsibilities were getting to be too much), and the Dell stopped producing the Greater Richmond High School All Star Musical. The two stoppages were not related.

Throughout the nearly 30 years that followed, Phil and I wanted to start once again a summer program that allowed high school drama kids from throughout the entire community to have the chance to audition for and work together on a summer musical that would showcase all their talents. We wanted to revive the Greater Richmond High School All Star Musical, that terrific community-wide program from the past.

Until last summer, the only similar opportunities that existed were available only to those kids who could afford to pass on a summer day job to attend daytime rehearsals, and, in most cases, pay several hundred dollars in tuition to be in the show. And many of the leads in the shows that existed were actually played not by high school kids, but by adult professionals and/or college theatre majors.

There was absolutely nothing wrong with the programs that existed, and everything right with them. They were terrific programs. But they weren’t free, community-wide programs like that fondly remembered production of Kismet at Dogwood Dell.

In the fall of '05, Chase Kniffen and I met with a group of high school drama teachers from throughout Greater Richmond and asked what Barksdale Theatre could do to support their students. No surprise, the number one unfilled need mentioned by these teachers was this: as Metro Richmond’s major professional theatre, wouldn’t it be great if Barksdale could produce a musical every summer in which high school kids could all act together free-of-charge, with evening rehearsals so that kids who needed to could hold down day jobs.

Two days after this meeting, Craig Smith and Andy Mudd, who head the great theatre program at Steward School, called Chase to ask if Barksdale would be interested in filling this unmet need by starting exactly such a program in partnership with Steward School. Barksdale would fill the production responsibilities, and Steward would provide the facility.

That’s how Greater Richmond’s High School All Star Musical came back into being. Last summer we produced Grease at Steward’s fantastic Cramer Center--show photos are included above. This year we will be producing Disney’s High School Musical, opening day after tomorrow, with a cast of 38 wonderfully talented high school students from 20 different schools. Two supporting roles will be played by adults—Kathy Halenda and Michael Hawke.

We hope you’ll support this vital, community-wide program. In many ways, it’s a dream come true. We’re proud to be partnering with Steward School, and we hope you’ll join us at the theatre to see many of Richmond’s finest kids in action.

--Bruce Miller

All Halenda's About to Break Loose

When director Chase Kniffen was casting the two adult roles in Disney’s High School Musical, he decided to keep it all in the family. All in the Mame family, that is. Chase played grown-up Patrick in Mame last winter, and his character’s surrogate parents were Auntie Mame herself (Kathy Halenda) and her new husband, Uncle Beau (Michael Hawke). Starting tonight, Halenda and Hawke join the rehearsals for DHSM, playing the supporting roles of Mrs. Darbus, the over-the-top high school drama teacher, and Coach Jack Bolton, the “keep your head in the game” basketball coach and dad of leading guy Troy.

This is a textbook example of type casting in both cases. No one ever accused either Mrs. Darbus or Kathy Halenda of being restrained and demure. And both Coach Bolton and Michael Hawk are somewhat gym obsessed.

Bringing Halenda back to town was not cheap, but Chase convinced me she’d be worth every penny. It didn’t take much convincing. Not only is Kathy perfect for the part. More importantly, she’s perfect for keeping the cast’s spirits at a constant high and providing our 38 high school actors with a first-hand example of what true theatre professionalism looks like.

Kathy has been working in the theatre nonstop for the last 30 years. Immediately prior to Mame, she was the first Singing Ringmaster in the history of New York’s prestigious Big Apple Circus. Immediately following Disney’s High School Musical, she’ll be off to star as Mama Rose in the national tour of Gypsy—a 12 month gig.

Many actors with Kathy’s national credentials let it be known by their behavior and attitude that they expect to be treated like a star. Kathy’s not cut from that cloth. When you’re looking for someone to work hard, stay up late, come in on time, keep everything ahead of schedule, and respond to every up-and-down of the rehearsal process with nothing but positive energy—Kathy’s your gal. She held the Mame cast together like glue during a really difficult tech rehearsal period, with never a harsh word for the process or anyone involved.

Leads always set an example that other cast members emulate. The example set by Kathy in Mame guaranteed that we’d have a happy and healthy cast throughout the 11-week run. And indeed we did.

We can’t wait for our high school theatre students to get a taste of Kathy’s moxie and charm. If providing these kids with examples of true professionalism is part of our responsibility—and it is—then Chase scored a hundred when casting Halenda.

And as for Michael Hawk, you couldn’t find a nicer guy. He has talent to spare, and a coach-like physique to boot. He’s another one who moves easily from one show to the next. While performing in Disney’s High School Musical, he’ll also be in rehearsals for Urinetown at Swift Creek Mill Theatre.

So don’t miss Disney’s High School Musical. And if you notice two actors on stage whom everyone else seems to be looking up to, know that we’ve cast two of our nation’s finest troopers to set the perfect example for the 38 students who comprise the rest of the cast.

--Bruce Miller

The Good Side of Being Big: Dan Ruth to Direct "The Tale of the Allergist's Wife" for Firehouse

Working collaboratively, Barksdale and Theatre IV have an annual operating budget of about $5 million. To put that in perspective, we’re about the same size as the Richmond Symphony, and about two times bigger than the former TheatreVirginia in its prime. In fact, we’re the largest professional theatre in Virginia history, in terms of both annual audience and annual budget.

The downside of all this is workload. If you don’t count the two weeks a year when we take vacation, we have to raise $30,000 in contributions during each of the remaining 50 weeks. That’s what it takes to raise the $1,500,000 we need each year in order to meet budget.

Equally daunting, we have to sell $70,000 per week in tickets and tour shows in order to reach our earned revenue goal of $3,500,000 per year. Needless to say, it takes a lot of work on the part of a lot of people to meet these goals. For 32 years, my workload has been about 80 hours a week. That's the challenging side of working for a large and successful organization.

But being big is good in that it gives you artistic opportunities. For recent and current productions, we were able to spend what it takes to bring in the likes of Harrison White, Dave Winning and Jay Lustig for The Full Monty, Liz Mamana for The Constant Wife, Kathy Halenda and Amy Prothro for Mame, Drew Perkins for Smoke on the Mountain, and Dan Ruth for Brooklyn Boy.

When we bring these seasoned pros into town, it helps not only Barksdale Theatre and the particular shows in which they appear, it also helps the entire Richmond theatre community. Richmond’s finest theatre artists benefit from having the chance to work and network with talented professionals from outside our community. Nothing stunts artistic growth more than working in a closed environment.

And sometimes, the artists we bring to town are then able to work for other local theatres as well. As one example, Dan Ruth (pictured above with Joe Pabst in Brooklyn Boy) began directing The Tale of the Allergist’s Wife for Firehouse Theatre Project while he was still performing in Brooklyn Boy. Now that Brooklyn's over and Allergist's Wife rehearsals are in full swing, Dan is still living in the house of Barksdale staff member Bob Albertia, and Barksdale will still be paying for his transportation back to New York, once Allergist’s Wife opens.

It was great to be able to bring Dan back to Richmond this season, and to see his wonderful work again in Brooklyn Boy. It will be equally great to see his directing expertise back in play at Firehouse. Richmond will enjoy two artistic efforts from Dan while only paying once for his housing and transportation expenses. This double-header represents an efficient use of limited community resources, and an excellent example of cooperation among two Richmond theatres. We’re proud to be a part of it.