The Song (or Whatever) of Mulan

Posted by Bruce Miller
Every time I think of The Song of Mulan, I remember what happened eight years ago when we first contracted Paul Deiss to create the show for our touring operation. Schools were crying out for a fun way to support the new SOLs on ancient China, and the epic poem about the young girl who went to war to save her nation from the Mongol (Tartar) horde definitely fit the bill.

It had everything--an inspiring story that illuminates authentic history, a classic work of Chinese literature, and the name recognition that could come only from a recent Disney adaptation.

Paul wrote a beautiful script and score, and when the tour first went on the road, the Richmond Times-Dispatch covered the opening. This was back in the days when we could still get some ink for the arts. There was a beautiful color photo and a sizable caption, all surrounding a prominent headline that proudly proclaimed "Theatre IV Opens The Fish of Mulan."

That's what it said, my friends. We never knew why, but somehow someone in the newsroom changed the title of the play from The Song of Mulan (the actual title of the epic poem, sometimes translated as The Ballad of Mulan) to The Fish of Mulan.

It didn't matter. Then as now, all PR was good PR.

That first tour went so well under Susan Sanford's expert direction, that we soon commissioned Paul to expand his musical into two acts for a mainstage production. Susan again served as director/choreographer, and the show again earned raves from audiences, educators, and critics alike.

Mercedes Schaum created the magnificent sets; Jason Bishop designed a brigade of handsome, authentic costumes; and Steve Koehler worked his usual magic with lights. (Lynne Hartman takes on the lighting responsibilities this time out.)

Now that it's time to revive this Theatre IV favorite, how fortunate we are to have been able to reassemble several members of the original team. (In terms of costumes, Jason has moved to New York, but we have been able to retrieve all his original garments.) Susan Sanford long ago moved to Los Angeles to pursue new career opportunities with her husband, Foster Solomon. But thanks to funding from the Louise Moon Fund, we were able to bring her back to town--a blessing for one and all.

The Louise Moon Fund was created in the late 1990s, shortly before Mrs. Moon died. Throughout her life, she had been a great supporter of the arts. She was on the founding committee of the Richmond Symphony, and she had a long history of support for both Theatre IV and Barksdale.

Before our two nonprofit companies began our strategic partnership in 2001, we worked together to establish the Louise Moon Fund in Mrs. Moon's honor. The fund enabled Barksdale and Theatre IV to bring back to Richmond outstanding theatre artists who had moved on to larger markets. Mrs. Moon had fallen in love this idea after we brought her son, John, back from NYC following his earning his masters in directing from Columbia and his subsequent work with Joseph Papp's Public Theatre.

Susan is only the most recent artist to return due in part to the largesse of Mrs. Moon and her friends.

We have a great new cast for Mulan this year. The titular role is played by Yvonne Samé, recently from the cast of The 25th Annual Putnam County Spelling Bee. Her mother and father are played by Hannah Zold and Jason Marks. Mulan's romantic interest is portrayed by Chris Stewart. Lucas Hall, Audra Honaker, Paul Major and Durron Tyre all provide admirable support in a variety of roles.

If you haven't been out to see this wonderful show, please head on down to Theatre IV's historic Empire Theatre. We'd love to have you join us on our return visit to all the wonders of ancient China.

--Bruce Miller

(Note on the images: Whether she is allegorical or real, the character of Mulan has inspired countless works of Chinese art, several examples of which are pictured. First is a painting on silk, then a wooden carving, followed by the oldest surviving copy of the epic poem, circa 1200, found in the British Museum. The original poem dates from the 6th century. Last is a porcelain vase.)

Essie Simms is in the Hospital

Posted by Bruce Miller
Essie Simms, a dear friend to many of us, is in the Intensive Care Unit at St. Mary’s Hospital. She is recovering from what may have been a fall related to her diabetes. It does not appear that she has had a stroke. She has been “stabilized,” but remains in serious condition.

That’s all that I can tell you about her condition and prognosis. That’s all anyone would tell us.

Essie has to be Richmond’s most steadfast theatre supporter. She goes to see EVERYTHING. And I do mean EVERYTHING. And if she likes the show, she goes twice, or many times more than twice. And she always buys a ticket.

Essie has seen every Barksdale production since our very first show--Gold in the Hills in 1954.

I learned from a contact at Westminster-Canterbury early yesterday evening that Essie had been taken via ambulance to St. Mary’s Hospital. She was found unconscious on the floor of her room after neighbors reported that she hadn't picked up her Saturday or Sunday papers.

Phil and I visited Essie this morning in the ICU, only to find her unresponsive and semi-conscious. The good news is this: when I returned to visit Essie this afternoon, she was speaking a few words, although she still couldn’t open her eyes. She called me by name.

Julie Fulcher, who has been like a daughter to Essie for years, has been with her most of the day today. Audra Honaker also stopped by this afternoon for a visit. When I asked Essie if she’d like me to come back and visit again tomorrow, she said “Yes, please.”

The ICU discourages visitors, so I’m not meaning to encourage them. Visitation is limited to family only. But the truth is, we are Essie’s family—her only family. And we certainly don’t want her to be alone during this recovery.

If you are very close to Essie, and I know many of you are, please comment to this post and we’ll put you on a list of folks who are willing to visit Essie to make sure she has an appropriate amount of company during her recovery. Julie mentioned that she’d like to put together such a list, and I offered to help.

In the meantime, please keep Essie in your thoughts and prayers. She's a tough cookie, and I don't think she's through with us yet. Thanks.

--Bruce Miller

Come to the Cabaret, Old Chum!

Posted by Bruce Miller
Tonight’s the big night! Broadway Today, a cabaret benefiting the Richmond Theatre Artists Fund, opens in Barksdale’s living room tonight at 8. Tickets are still available, so by all means, COME!

When I say "living room," I mean the loft-like lobby of our intimate Willow Lawn theatre. Audience members will sit in comfortable chairs pulled up to our vintage tavern tables, enjoying some of Richmond’s finest musical theatre voices. The bar will be open throughout the evening, and a fun time will be had by all.

The program is a benefit for the Richmond Theatre Artists Fund. All of the performers are volunteering their time to raise funds for the endowment, which is administered by the Richmond Alliance of Professional Theatres and managed by the Community Foundation. Barksdale is contributing the space, cabaret license, etc., and the goal of the cabaret is to raise around $2,000, which will take the Theatre Artists Fund from its current corpus of approximately $22,000 much closer to the benchmark of $25,000, which we hope to reach prior to Christmas.

Broadway Today is masterminded by that most energized of impresarios—Billy Christopher Maupin. The guiding theme is this: from July through December 2009, Barksdale is running three (count ‘em) new American musicals, all of which originated in the 21st century. The three new shows are Thoroughly Modern Millie at the Empire, Souvenir at Hanover Tavern, and The 25th Annual Putnam County Spelling Bee at Willow Lawn.

Mr. Maupin has assembled stars from the casts of these three new musicals to sing other songs written in the last few years for today's Broadway. Nancy Crawley (actor photos appear in the order listed), Timothy Ford, Zak Resnick and Ali Thibodeau from the cast of Thoroughly Modern Millie, Audra Honaker from the cast of Spelling Bee, and special guest star Debra Wagoner from the cast of Souvenir will lead the audience on a whirlwind tour of these other 21st Century Broadway hits: Avenue Q, Curtains, Disney’s The Little Mermaid, Spring Awakening, Urinetown, Wicked and more!

Maggie Marlin, Millie herself, was to have appeared in the cabaret, but due to last minute vocal strain, she has been replaced by Robin Harris Jones.

The program is conceived and directed by Mr. Maupin, with musical direction by Sandy Dacus and Paul Deiss.

The Richmond Theatre Artists Fund provides emergency relief to local actors, directors, designers and theatre artists and administrators in all disciplines when, through no fault of their own, accident or ill health places one of them in an untenable financial situation. Recent recipients have included Liz Marks, who was able to pay her mortgage during the final months of her life because of support from the Fund, and one of our leading directors who recently was able to avoid having his electricity turned off when the Fund covered his electric bills in the two months following his stroke.

There will be two performances: Sunday (tonight) at 8 and Monday (tomorrow) at 8. Only overflow seating remains for Monday evening’s performance, so why not come tonight. Tickets can be purchased at the door for $15. Barksdale subscribers, students and RAPT Card holders can purchase tickets for only $10.

Hope to see you at the theatre!

--Bruce Miller

Harnessing Honaker

Posted by Bruce Miller
First of all there’s the pronunciation. You put the emphasis on the first syllable—just like you would expect. But the first syllable rhymes with “bone,” not “don.”

Then there’s the matter of the second and third syllables. You say them just as if you were talking about an “acre” of land, with the “a” getting more emphasis than the “ker.”

So it’s Hone’-ake’-er, with each syllable getting slightly less emphasis than the one that preceded it. Like homemaker. Not Hahn’-ah-ker.

I’m talking of course about Audra Honaker, who is now starring in Barksdale’s I Ought To Be In Pictures at Hanover Tavern (see pictures above and to the right and below and to the left).

About her performance, critic Celia Wren wrote in the Richmond Times-Dispatch: “If America could harness the vim that actress Audra Honaker brings to her latest gig, the country’s energy problems would be solved.” That’s the first sentence of the review.

In STYLE Weekly, Mary Burruss issued similar compliments: “Hackman and Honaker hit dramatic heights. Honaker delivers a strong performance.”

If Richmond has stars--and I think we do--she's one.

So who is this theatrical powerhouse whose talent and energy are capable of lighting up a stage and a nation?

1. She’s the youngest of that elite group known as “the most talented professional actors in Greater Richmond.” No group’s really known as that, but you know what I mean. I’m not talking the top 50; I’m talking the top ten. I don’t use these words lightly. (That's Audra in Seussical to the right, and in Brooklyn Boy below and to the left.)

2. She’s one of the two or five actors in town so enjoyed and remembered by the theatre-going public that her name above a title can actually sell a significant number of tickets.

3. Like most of the greats, she’s a quadruple threat: she can act, sing and dance, and she’s very good looking.

4. She has a healthy self confidence. But her most endearing quality is that she honestly seems to have very little sense of her elevated place in the pecking order. I don’t think she knows there is a pecking order. And if she ever finds out there is one, I don't think she'll give a peck. She accepts roles in the ensemble just as happily as she accepts leads. In her spare time you can find her spray painting props, power washing sidewalks, laundering costumes, and tending to abandoned kittens. Whatever around the theatre needs doing, Audra is happy to do it. All these things I’m saying, she’d never say herself … or even think.

5. Like all the greats, she works all over town. Barksdale, Stage 1, Swift Creek Mill and Theatre IV (in alpha order) are all regular employers. (That's Audra with Drew Seigla, as Little Red and Jack, outside Willow Lawn on the sidewalk for Into the Woods.

6. She is equally adept at comedies, dramas and musicals. She has the instincts of a seasoned performer. She always takes direction eagerly. I’ve never once seen her roll her eyes as if she knew better.

7. She takes quickly to accents and with little or no effort can sound as eloquent and British as anyone could want. But in real life, she speaks with an unselfconscious Hopewell drawl that is easy to imitate as the Audra-voice. She probably (and proudly) has the most frequently impersonated accent in town.

8. She’s SMART. I should have put this as the first comment, because it may be the most important. (That's Audra to the left with Jan Guarino in the world premiere of Mona's Arrangments.) Audra's blog, and I won’t give you the address because it’s completely unselfconscious and I don’t want to freak her out, is laugh-out-loud-funny and warmly enjoyable. Other than boy genius Matt Hackman, Audra’s usually the first one off book. She sight reads vocal music like a pro, and is almost always the first one off score.

9. She’s nice, thoughtful and is friends with just about everybody. Seriously, does anyone know someone who knows Audra and doesn’t like her a lot?

So now for the shameless self-promotion part, except it’s not really self-promotion, it’s Barksdale promotion. Come see Audra in I Ought To Be In Pictures, playing now through June 21, and Audra may be missing a couple shows the last week, so come soon. Audra plays the wonderful role that won a Tony for Dinah Manoff (Best Supporting Actress, 1981) and should win Audra her second Richmond Theatre Critics Circle Award next fall. (Audra won Best Actress last fall for her star turn in Once Upon a Mattress at the Mill.)

I Ought To Be In Pictures is a funny and sweet play. Audra, Matt and Lisa are wonderful in it. Hope to see you at the theatre.

--Bruce Miller

"I Ought To Be In Pictures" Opens

Posted by Bruce Miller
Neil Simon's I Ought To Be In Pictures opened on Friday, just in time to make up for the fact that Annie and Well were closing on Sunday. Thoroughly Modern Millie begins rehearsal this evening. Ah, the circle of life!

It's been fun working the past four weeks on Pictures. Fun because I was able to spend evening after evening with Audra Honaker, Matt Hackman and Lisa Kotula--three funny, smart and kind-hearted friends. I've said it for years. The greatest blessing of my job is that I get to work with wonderful people.

It's been fun to work with a play written in 1980 and update cultural references (the names of popular movie and television stars, cars, baseball heroes etc.) so that the play continues to be set, as the author has written, "in the present." The one popular movie star who needed no updating after 29 years? Jack Nicholson.

It's fascinating to see how a comedy plays when its 29-year-old bones are all dressed up in 2009 duds. (I'm using "duds" in the context of "clothing," not in the context of "a bomb that fails to explode." Yikes!) Is there some friction when dialogue written three decades in the past rubs up against cultural references from the present? You bet there is. Fun!

In theatre, it can't be only about recreating--or creating in the case of Bo and Steve's wonderful Mona's Arrangements--the comedies and dramas of today (Well, The Clean House). It can't be only about honoring the great plays of the past (Children of a Lesser God, Driving Miss Daisy). Sometimes it's fun to mix the past and present together and see what happens.

I was honored that Celia Wren, a great national theatre writer who happens to live in Richmond, reviewed Pictures for the Richmond Times-Dispatch. Here are the quotes we're pulling from her terrific review:

“Funny, Poignant Play!

If America could harness Audra Honaker, the country’s energy problems would be solved!

Super-Competent, Shrewdly Choreographed

Hackman exudes the right kind of world-weary cantankerousness

Smart! Agreeable! Droll!

Kotula displays apt wistfulness

Exactly the Right Place

God is in the Details!”

--Celia Wren, Richmond Times-Dispatch

I hope you'll find the time to come out to Hanover Tavern to check in on this lesser known Neil Simon comedy. It's fun and sweet and I'm proud of it.

See you at the theatre!

--Bruce Miller

Virginia This (Tuesday) Morning

Audra Honaker and Jan Guarino. Photos by Jay Paul

This Tuesday, March 17, Jan Guarino and Audra Honaker, from the musical comedy Mona's Arrangements, will be chatting it up on WTVR Channel 6 – the only live morning program in Central Virginia, Virginia This Morning, which airs from 8:55 - 10 AM.

Interviewing them will be co-anchors Greg McQuade and Julie Bragg. Barksdale Theatre and Theatre IV actors have become favorite guests for Greg and Julie, because they always seem to have a lot of witty things to say!! Jan and Audra won’t be in costume, but they will project the lively, spunky spirit of Mona’s Arrangements.

Mona's Arrangements Online Tickets
Or CALL (804) 282-2620

Many thanks to Vogue Flowers for the beautiful flowers used throughout the show.
Thanks also to our season and show sponsors - The Supply Room Companies, JetBlue, Weinstein Properties, Union Bank & Trust and our media sponsor, the Richmond Times-Dispatch.

Video Interview - Bo Wilson & Jan Guarino of Mona's Arrangements

Mona's Arrangements - our World Premiere Musical Comedy - opens this Friday, Feb. 27 at Hanover Tavern.
More information | Tickets

Visit the set of Mona as playwright Bo Wilson and actress Jan Guarino discuss the inspiration behind the show and the role the audience plays in tweaking a new production.

In Praise of Richmond Theatre

Posted by Bruce Miller
People are suggesting I add my voice to the comments on Dave Timberline’s fine blog, specifically his post of last Wed, Jan 7, entitled “Comment-ary.” To be honest, I tried to post a comment, but it didn’t work. I never seem to be able to post a comment from my home computer anymore. I don’t know what’s wrong; it just ain’t workin’.

Then the more I thought about it, the less inclined I felt to jump in. I have too much to say, and it wouldn't really work as a comment.

The post and the 15 comments that follow it on Dave's blog discuss two, and only two, anonymous opinions that were among the several comments posted online at the Style website, responding to Dave’s year-end wrap-up article. The first comment reads:

“My husband and I moved here from Bethesda, MD almost seven years ago. We were frequent patrons of the theater in Washington, although we never subscribed anyplace. We have been disappointed by the lack of professional theater in Richmond. Most of the shows in Richmond are more like the community theater shows in Washington, which has an excellent community theater scene, but it's just that - community theater. The things that Richmond theaters consider cutting edge look like old hat in other cities. I agree that Scott Wichmann is a wonderful actor, and I look forward to seeing Audra Honaker soon. We would love to see more talent in Richmond. If that means more union theaters, that is what we should try to get.”

I pretty much agree with this comment, and I don’t feel in any way offended by it. None of us should. She’s basically saying that when Richmond theatre features talent like Scotty and Audra, she feels satisfied. When the cast is less talented that these two A-teamers, she feels like she’s watching community theatre. I could add ten names of Richmond actors whom I consider to be in the same league as Scotty and Audra, and my guess is that the Bethesda theatre fan hasn’t seen those ten, or at least hasn't seen them doing their best work. I’ll bet she’s seen other shows that feature B-teamers, or C or D-teamers, and when she does, she longs for her theatres back home in D. C. that can afford to hire Scotty’s and Audra’s all the time. She makes the “if that means more union theatres” comment seemingly unaware that Audra is non-union.

I basically feel the same way she does. I think Richmond has some shows that come off as “professional,” and a lot of shows that come off as “community theatre.” As Ms Bethesda hastens to add, there’s nothing wrong with good community theatre. Would all of Richmond’s theatres like to offer “professional” shows and nothing but? Probably. Do we? No way. Why? Money.

Of course it's not just about actors. Set, costume and light design and construction also effect considerably whether or not a show comes off as "professional." Ditto direction, choreography and music direction. Each of these components is also tied to that old standby ... money.

And yes, what Richmond audiences consider "cutting edge looks like old hat in other cities." Other larger cities, yes. You could say the same thing about any other aspect of Richmond's culture--music, dance, restaurants, bars, clubs, museums, etc etc etc.

The second comment is so much the same-old-same-old that I bet I know who wrote it. It reads:

“Much of the problem, and one of the distinguishing features of Richmond's theatre scene from that of other, demographically similar communities, is the lack of professionalism in the industry in Richmond. There is almost no serious union work, which means the most talented and dedicated professionals have to go to some other, more supportive market to ply their trade. With just a single union theatre, operating on the lowest paying union contract, and the occasional "Special Performance" contract non-union theatres use (terrible money, no benefits), and very limited union TV/film work, there's no incentive for talent to remain here. And audiences are to be congratulated for opting not to spend large sums of money to see theatre which is less than fully professional. The symphony and opera and ballet would never dare use non-professionals (except for children in the Nutcracker, of course) why is theatre allowed to get away with doing so?”

I think this comment is mostly hogwash. With only a few exceptions, Richmond does NOT offer less AEA work than most “demographically similar communities”; Richmond offers more. Richmond's "single union theatre"--I presume he means Barksdale--does NOT operate on "the lowest paying union contract." There are several AEA contracts that pay less. Some talented and dedicated professionals leave Richmond for work in other markets; others stay—Scotty and Audra being two prominent examples. As I've opined before, this is a sign of Richmond theatre's strength, NOT its supposed weakness. Who would say, "Several VCU grads moved on to pursue their doctorates at Harvard and Yale," and consider that to be a negative?

Those who always see “other, more supportive markets” as being greener, should check-in on a regular basis with actors in the D. C. talent-pool. I hardly ever hear from a D. C. actor who doesn’t complain that there’s “no work” in D. C., and talk about how lucky we are here in Richmond. And as for the symphony, opera and ballet never using “non-professionals”—I will in no way disparage my talented colleagues who perform with these great organizations, but if Anonymous is defining “non-professional” as “non-union,” and he is, a significant number of them are non-union and work with compensation packages similar to or less than the compensation packages offered at Barksdale.

I agree that Richmond theatre should be better funded and be able to employ more AEA actors, thereby encouraging more AEA actors to move to or remain in our community. I’m all for better pay for all theatre artists. But wishing for money doesn’t make it magically appear. And I’ll be damned if I’m going to congratulate audience members for ignoring Richmond theatre simply because state and local funding falls so far below national norms. There’s a lot of great theatre in Richmond, and those who can’t see it are, for whatever reason, blinded to the truth.

I’m not trying to say we can shrug off constructive criticism. I don’t think we can or should. I don’t think we do. The Richmond theatre community lacks nothing when it comes to being self-critical and self-assessing. I know very few members of the theatre crowd who support the status quo. My worry is NOT that we sit around congratulating ourselves and basking in glory. My worry is that we eat our young. Negative voices are often the loudest and get the most attention.

Friends, there are people out there with axes to grind. They are resentful of Richmond theatre’s successes. They’ve been hurt, they feel abused, they can’t stand someone or other’s guts. Probably mine.

And they blog on and on, almost always anonymously, and then we debate on and on regarding the validity of their beefs. I think it’s time to be positive and move on.

It’s time we start appreciating what we have here. Often, our published voices paint a picture for the rest of the community that says we don’t think we're very good. The published voices supporting dance, music and opera in Richmond are not nearly as self-critical.

I LOVE theatre in Richmond, warts and all. I believe there are a million ways to make it better. I feel like I’m dedicating my life to doing just that. So are a lot of other talented people. When it comes to talking about Richmond theatre to the general public, I'm going to say it's GREAT, because in many ways it is, and because that's an important step to bringing in new audience members.

Many of the naysayers, in my opinion, have their own agenda that has little to do with improving theatre in Richmond. Maybe I’m all wet. I don’t think so.

--Bruce Miller

So Many Openings, So Little Time

Posted by Bruce Miller
I’m in crazy time crunch mode this month. Practically every breathing minute is spent in a theatre, a rehearsal hall, or an administrative office. I’m directing Sanders Family Christmas for Barksdale Hanover Tavern, which means evening rehearsals Monday through Thursday, and daytime rehearsals in three-hour slots on Saturday and Sunday. When I’m not in rehearsal I’m trying to raise money, honor my community and family obligations, and/or plan for Barksdale and Theatre IV’s future.

I like all of it, so I can’t complain about what I’m doing. My complaint is about what I’m not doing—specifically, going to see the shows my friends are in. Even more specifically, I’m really upset with myself for missing Side Show at the Mill. I’m Robyn O’Neill’s biggest fan, and I let her performance (which everyone said was wonderful) slip by unseen, at least by me. (I love your work on stage too, Angie; we don’t go back as far.)

As if missing Side Show were not enough, I’m also about to miss Hamlet at Richmond Shakespeare (I really wanted to see my buddy Jeff Cole); Starting Here, Starting Now with my longtime pals Dee Lynch and Ed Polich at St. Michael’s; and The Music Man at Henrico Theatre Company, directed by brother-in-arms Joe Pabst. Shoot!

I missed young chum Elliot Lau (sounds like a Chinese dish, doesn’t it?) in that play about the Hawaiian shirts at Triangle, but I may be able to catch him in Bite Me. I’ve promised good friend Matt Hackman that I’d make it out to The Nerd at Chamberlayne Actors Theatre. God willing and the crick don’t raise, I’ll be able to honor that promise this coming weekend.

I did make it out to three must-see productions last week – one on Friday night (the annual cabaret at Trinity Episcopal School), one on Saturday night (Shadow Play at Theatre VCU), and one on Sunday afternoon (tick; tick … boom! at Stage 1).

The Trinity cabaret was a one-night affair and my daughter Hannah sang Green Finch and Linnet Bird, performing at this annual songfest for her fifth and final time. She was GREAT, and I couldn’t be more proud. Brian Phillips (who includes theatre director among his many jobs at Trinity) and Brian Rollins (music director extraordinaire) do amazing jobs every day inspiring Trinity students to love the performing arts with not just passion but also intelligence and grace. Every high school should be so lucky as to have teachers like these two.

Shadow Play was the world premiere of a bold, savvy and frequently hilarious performance piece developed over the last several years by David Leong, Gary Hopper and Leland Faulkner. It’s a mind-bending montage of shadow and light, movement and music, comedy and magic—90 or so minutes of tremendous fun. It runs through Nov 23. If you have the chance, you should really go see it.

tick, tick … boom! marks the world premiere not of a particular show, but of a theatre company itself—Chase Kniffen and Peggy Thibodeau’s remarkable Stage 1 Theatre Company. There are those who like their theatre raw and those who prefer a little professional polish. I’ve been known to enjoy both. But I say without hyperbole that tick, tick … boom! is the most impressive, professional, fully realized opening of a new theatre company that I’ve seen in Greater Richmond … ever.

Chase and Peggy have dotted all the i’s and crossed their t’s. They’ve recruited a top notch cast made up of Brett Ambler, Audra Honaker and Durron Tyre—three of the most talented musical theatre performers of their generation. Let’s just face it; Audra Honaker is a phenomenon that Richmond can barely contain.

They have hired a fantastic pit band led by the inimitable Sandy Dacus, and coaxed terrific design work out of three exemplary professionals: Mercedes Schaum (set), Sarah Grady (costumes), and Kenny Mullens (lights). Chase’s direction is first rate. Anyone who would like to see Richmond theatre grow and prosper should go see tick, tick … boom! and support this new and vibrant company.

Well, it’s time to rush off to this morning’s Coffee & Conversations. Hope to see you there. If not, hope to see you in a Richmond theatre soon!

--Bruce Miller


Photo notes: top left: Brett and Durron flying high in tick tick; mid right: Brett and Audra having fun with the green dress; bottom left: all right, it's not from Shadow Play, but rabbit hand puppets appear in Shadow Play, so it's close.

Mill and Firehouse Win Top RTCC Awards

Posted by Bruce Miller
Urinetown at Swift Creek Mill Theatre swept the first Richmond Theatre Critics Circle Awards last night at the Firehouse, receiving the most nominations of any production (11) and the most awards (5):

Best Musical
Best Direction (Musical) – Tom Width,
Best Choreographer – Brandon Becker,
Best Actress in a Supporting Role (Musical) – Debra Wagoner, and
Outstanding Achievement in Lighting Design – Joe Doran.

The Late Henry Moss, produced by Firehouse Theatre Project, conquered the competition in the play categories, receiving:

Best Play,
Best Actor (Play) – Justin Dray, and
Best Actress in a Supporting Role (Play) – Jennie Meharg.

All told, Swift Creek Mill Theatre garnered six RTCCAs, as did Barksdale in the very even-handed awards event. Firehouse Theatre Project earned three awards, Richmond Shakespeare captured two, and ComedySportz won one. Enjoying good company in the “no wins” camp were African American Repertory Theatre, Carpenter Science Theatre, Chamberlayne Actors Theatre, Henley Street Theatre, Mystery Dinner Theatre, Richmond Triangle Players, Sycamore Rouge, and Theatre IV.

Other awards recipients included:

Stephen Ryan – Best Actor in a Supporting Role (Play) – Richard II (Richmond Shakespeare),
Sandy Dacus – Best Musical Direction – Guys and Dolls (Barksdale),
Jason Marks – Best Actor in a Supporting Role (Musical) – Guys and Dolls (Barksdale),
Rebecca Cairns – Outstanding Achievement, Costume Design – As You Like It [indoor] (Richmond Shakespeare),
Ron Keller – Outstanding Achievement, Set Design – Guys and Dolls (Barksdale),
Audra Honaker – Best Actress in a Leading Role (Musical) – Once Upon a Mattress (Swift Creek Mill Theatre),
Scott Wichmann – Best Actor in a Leading Role (Musical) – Guys and Dolls (Barksdale),
Bruce Miller – Best Direction (Play) – The Little Dog Laughed (Barksdale), and
Irene Ziegler – Best Actress in a Leading Role (Play) –Doubt (Barksdale).

The fact that major artists (and exceptional productions) like Katherine Louis, Laine Satterfield, David Bridgewater, Patti D’Beck, Leslie Owens Harrington, Paul Deiss, Joy Williams, Richard Koch, Robert Throckmorton, Sue Griffin, Liz Hopper, Lynne Hartman, Rachel Abrams, Ford Flannagan, Steve Perigard, Morrie Piersol, Keri Wormald, Margarette Joyner, Katie McCall, Susan Sanford, Duke Lafoon, Doubt, and Guys and Dolls failed to win in their appointed categories is a testament to the depth of talent in the Richmond Theatre Community.

As she herself mentioned during her hosting duties, Jill Bari Steinberg wasn’t even nominated.

A special award recognizing an Ongoing Contribution to Richmond Area Theatre was named in honor of Liz Marks, and presented to her daughter and brother. The festivities were fast moving and fun, and helped call attention to many, many achievements in Richmond’s 2007-08 theatrical season. Next year the awards ceremony will be at the Empire, which will allow for far greater attendance. Mark Sunday evening, Oct 18, 2009 on your calendars now. They’ll be plenty of tickets, and all proceeds will go once again to support the Richmond Theatre Artists Fund, an outstanding cause.

Congratulations and three cheers to all the winners and nominees. Congratulations also to the Richmond Theatre Critics Circle and the Firehouse for making the first iteration of this new annual event such a soaring success.

--Bruce Miller

They Like Us; They Really Like Us

Posted by Bruce Miller
What a weekend! On Friday we opened our colossal hit production of Guys and Dolls. On Saturday we won an Emmy Award. On Sunday we bid a fond farewell to Greater Tuna at Hano …

Wait a minute! What happened on Saturday? Did you say, “WON AN EMMY!!”??

Well, yes, as a matter of fact I did. The 50th Annual Emmy Awards were presented by the National Academy of Television Arts and Sciences (Capital Region) on Saturday, June 14, at the Ritz Carlton in Washington D. C.

And Barksdale Theatre WON!!! (That's Katherine Heigl of Grey's Anatomy kissing our Emmy!)

To quote from their press release, “The Academy’s Emmy Award is the industry’s benchmark for the recognition of television excellence.” The Capital Region includes all of Virginia, Maryland and Washington D. C. So we were up against some pretty serious competition.

In the category “Commercial – Single Spot,” there were five nominations and Barksdale came home a WINNER. All right, I think, actually, WWBT – Joel Traylor, Producer came home a winner. At least it looks like he or they get to keep the tchotchke. But when they read the name of the winner from the dais on Saturday night, they read “Barksdale Theatre Commercial,” and so, as far as I’m concerned, WE WON AN EMMY! (That's Ryan Seacrest of American Idol admiring our Emmy!)

After all, we initiated the commercial, we paid for it, our Marketing Director Sara Marsden art directed it, our actors performed in it, our designers created the sets and costumes that appear in it, our staff brainstormed about what to include in it, our Board approved it, and our theatre’s name is the only name listed in the title.

I in no way want to shortchange or under-recognize the masterful work and creative talent exerted by Joel Traylor and our other friends at WWBT-12. They all did a great job and we couldn’t have done squat without them. But hopefully they won’t mind my swelling with pride over our part in all this either. (That's Jeremy Piven of Entourage smelling our Emmy!)

Congratulations on a job well done to our marketing staff; our directors, choreographers and designers; and our actors: Rachel Abrams, Ford Flannagan, Audra Honaker, Amy Hruska, Katrinah Lewis, Katherine Louis, Billy Christopher Maupin, Robyn O'Neill, Joe Pabst, Steve Perigard, Zak Resnick, Andrea Ross, Russell Rowland, Craig Smith, Eddie Tavares, Harriet Traylor, Jennings Whiteway, Eric Williams and Hannah Zold.

And ... pssst ... if anyone knows where I can acquire an extra one of those attractive statuettes to display in our lobby, call me. Until then, we will simply sign off as – Barksdale Theatre, Central Virginia’s Emmy Award-Winning Stage Company.

I mean, after all, WE WON AN EMMY!!

Here's the Emmy winning commercial:



--Bruce Miller

Three Notes and Two Beautiful Women

Posted by Bruce Miller

What was the best thing about last night’s Home for the Holidays benefit cabaret? Betty Ann Grove (pictured in her heyday to the right) was there—all smiles, looking like a million bucks and back in Richmond once again. We almost lost her to New Jersey, but turns out this Broadway Baby is a true Richmonder after all. When it came time to return home for the holidays, Richmond was the home that called to her the most.

You may remember that not too long ago we said “God Speed, not Goodbye” to Betty Ann (Oct 7, 2007), as she moved to the Actors Home in New Jersey. It was one of those moves that was supposed to be forever. Years ago, when Betty Ann was starring on Broadway, her dear mother had moved into the Actors Home and lived quite happily within commuting distance of NYC. And so Betty Ann thought that she too would be happy there.

But that was then. “When I got there, I couldn’t find anyone who would smile,” Betty Ann said last night. (That's B A again in the pic to the right, beaming down at her TV co-star Bert Parks.) More importantly, her “family”—that’s all of us, my friends—and her heart were here in River City. After making this discovery, she quickly called her old landlords in Richmond and re-leased the same apartment that she had released not more than a few weeks ago. “If I’d called two days later it would have been gone,” she said. She trundled her downsized possessions back to town, bought a replacement sofa at The Dump, and re-established the old homestead.

We couldn’t be more thrilled. I’ve already made her promise to sing a number at next year’s benefit cabaret.

What was the weirdest thing that happened last night? Well, it all began just as we were about to open the house. A nice older gentleman who arrived early to see the show walked up to one of our veteran actresses, who shall remain nameless. (It was not Audra Honaker or Janine Serresseque, pictured to the left). The actress looked gorgeous by the way in her sparkling cabaret get-up. “Has anyone ever told you you’re aging?” he asked. Both the actress and I, who happened to be standing nearby, thought we had misunderstood. “Excuse me,” she said.

“I’ve been watching you on stage and on television for years and years,” he continued. Then he proceeded to recall performances and commercials from the 70s, 80s and on. Our beloved actress smiled and nodded along, and as I remembered those same performances that he was recalling, I couldn’t help but look at her and think how unbelievably young and beautiful she was. “So, I just can’t believe you’re aging,” he said.

“Ageless,” she blurted out, diplomatically determining to keep that beautiful smile on her face. “I’m going to take it that what you’re meaning to say is ‘you’re ageless.’ And thank you for that.”

“I can’t believe you’re aging,” he repeated, with a huge admiring grin.

I’m convinced he was trying to be complimentary. Obviously he hasn’t spent a lot of time around actresses. Or a dictionary.

On a third note, our hearts go out to Durron Tyree, whose grandfather passed away yesterday morning. Durron has had to bow out of these final two performances to be with his family. We miss him. He was one of the four new voices in this year’s cabaret, and added immeasurably to the performance. I hope he’ll join us again next year.

Tonight’s Home for the Holidays benefit concert is SOLD OUT! Thanks to one and all for making this year’s fundraiser a HUGE success.

--Bruce Miller

Great Spirit, Great Music, Great Cause

Posted by Bruce Miller

Singing to raise spirits and charitable funds is a time honored Christmas tradition.

I’ve just returned from our first Home for the Holidays cabaret. The 16 or so patrons who attended tonight really had a grand time, but I confess I’m disappointed because it appears that the crowds this week are going to be small. As of this writing, we only have 14 reservations for tomorrow evening (Tuesday, Dec 11 at 7:30).

I sure would like to see that change.

The show itself is wonderful. Brett Ambler, Corey Davis, Audra Honaker, Katrina Lewis, Jason Marks, Robyn O’Neill, Fernando Rivadeniera, Janine Serresseque, Erin Thomas, Durron Tyree and Tony Williams sing and play their hearts out for 90 minutes, entertaining with a combination of holiday favorites and Broadway standards. Jan Guarino is sick this week (say a prayer for her recovery by Thursday’s Swingtime Canteen), but tomorrow Cathy Motley-Fitch will be filling in for her. The singers are all volunteering their talents to raise money for the Richmond Theatre Artists Fund. And yet only a few folks are turning out for these first two performances.

Tomorrow (Tuesday’s) show will be a pay-what-you-can performance, and 100% of ticket revenues will go to the Richmond Theatre Artists Fund, governed by RAPT (the Richmond Alliance of Professional Theatres) and managed by the Community Foundation. So if you can’t afford the $25 suggested donation, please come tomorrow (Tuesday) evening—and bring five or six of your friends. It’s a GREAT way to jump start the holiday spirit, and it’s an even better way to support the volunteer performers, who would much prefer to be singing to a full and enthusiastic house than a room half-filled with empty tables.

If don’t understand what the Theatre Artists Fund is all about, and therefore don’t feel inclined to support it, let me try to change your mind. In the past ten years of so, there have been five times when the theatre community came together on an emergency basis to help one of our members deal with a life threatening situation.

We raised $6 thousand or so to keep a roof over the head of one of our colleagues during the final months of his life when he was too sick to work but was nonetheless evicted from his apartment. We raised $8 thousand or so to prevent a lifelong theatre administrator from losing her home when her husband was diagnosed with terminal brain cancer, had to stop working, but needed to be out of work for six months before his disability insurance kicked in. We raised several thousand to install a new furnace in the home of a beloved director who was returning from open heart surgery to an unheated home in the dead of winter.

In every instance I’ve counted myself blessed to be a part of a community that cared so much about taking care of its own. The Richmond Theatre Artists Fund lets us begin to meet these emergency needs before they happen. It lets us raise funds on a strategic rather than a crisis basis. The Fund doesn’t exist to help someone out when they’re between jobs and having trouble paying their cable bill. The Fund exists to meet the critical needs of our brothers and sisters when accident or illness stops them in their tracks. No matter how much insurance we have, none of us can protect ourselves from everything. God willing, the Richmond Theatre Artists Fund will be there to help with emergency expenditures when we need help the most.

Isn’t that worth a few bucks and 90 minutes of your time? Don’t you want to support your colleagues who are giving up seven nights in December to try to help others?

Upcoming shows are tomorrow (Tuesday) at 7:30, this Saturday at 11 pm, and next Monday and Tuesday at 7:30. All performances are in Barksdale’s Willow Lawn lobby. Please call the Barksdale box at 282-2620 to make your reservations.

I hope you’ll join us for this wonderful, joyous and very worthwhile performance.

--Bruce Miller

Holiday Happenings Kick Off This Week

Posted by John Steils

If you’re looking for a way to jump start your holiday celebration, you need look no further than Barksdale Theatre and Theatre IV. Our upcoming roster of eight different productions and special events is bound to include something smile-inducing for you and yours. We’re YOUR theatre, so please join in the fun.

1. Home for the Holidays
This is Barksdale’s third annual benefit concert for the Richmond Theatre Artists Fund. Not only will you enjoy a great 2-hour evening of entertainment from some of Richmond’s finest theatre singers, you’ll also be supporting a great cause. This year’s line-up of super-stars includes Brett Ambler, Corey Davis, Jan Guarino, Audra Honaker, Katrinah Lewis, Jason Marks, Robyn O’Neill, Fernando Rivadeniera, Janine Serresseque, Durron Tyree, and Tony Williams at the piano. Erin Thomas is our emcee. Performances are on the starlit Barksdale Willow Lawn lobby stage, with attendance limited to 80 guests sitting cabaret-style at reserved tables. Click for more details.

2. Bifocals Theatre Project
If you’re 55 or older, or if you know a theatre lover who is 55 or older, you really should connect with Barksdale’s Bifocals Theatre Project, our fun and fast-moving initiative designed to serve Greater Richmond’s senior theatre artists and audiences. On Thurs Dec 6 and Fri Dec 7, our Bifocals troupe will present a half-hour version of the radio drama It’s a Wonderful Life, directed by Bob Albertia, and featuring the acting talents of Bob himself plus Tom Bass, Woody Eney, Joel Grow, Donna Knicely, Chase Kniffen and Ali Thibodeau. The performance will take place on the lobby stage at Barksdale Willow Lawn. Seating for lunch (optional) begins at 12 noon, and the performance begins at 1 pm. Attendance is limited to 80 guests, and tickets must be reserved in advance. Following the Friday performance will be the annual Bifocals Christmas Party, which is open to all theatre lovers 55 and over, free of charge. Click for more details.

3. Indonesian Shadow Puppet Performance and Concert - FREE
Also this Fri Dec 7, in partnership with the Modlin Center for the Arts at Bruce and Phil’s alma mater (the University of Richmond), Barksdale will present free performances of a traditional Indonesian shadow-puppet performance featuring Dr. Andrew Clay McGraw (ethnomusicologist and music professor at the University), Gusti Putu Sudarta, Dalang (shadow master and musician), and John MacDonald (gamelan musician). Free performances will be at our historic Empire Theatre, conducted as a part of First Fridays. Call Catherine Dudley for more information, 643-2477. And while visiting the historic Empire on First Friday, be sure to enjoy the art photos of Jay Paul, now on display in our lobby gallery. Click for more details.

4. Stretchin’ at Barksdale – only $12 for a GREAT concert
Stretchin’ at Barksdale is our free-wheeling, grab-a-beer-and-chill-to-the-music concert series, presented on Sunday evenings in the “living room” lobby at Barksdale Willow Lawn. This Sun, Dec 9, 6 pm, national rising star Justin Townes Earle, son of country superstar Steve Earle, will be taking the stage with Richmond great Susan Greenbaum. B J Kocen is our impresario and emcee. It’s the best deal on the best music in town. If you enjoy live music in a laid back “at home” atmosphere, you’d be crazy to miss it. No reservations. Purchase tickets at the door. Click for more details.

5. Rostov’s Coffee & Conversations - FREE
Get outa here! You’ve NEVER been to a Coffee & Conversations event??!! Well, there’s no time to start like the present. Next Tues, Dec 11, 9:30 am, join us in the lobby of Barksdale Willow Lawn to hear all the backstage stories directly from the horses’ mouths. Our three leading men of Moonlight and Magnolias will answer all your questions and reveal all the backstage insights you’ve been dying to know. And if you can, come a little early. Rostov’s delicious coffee, hot tea and pastries are available for a suggested donation of $3. No tickets or reservations required. Click for more details.

6. A Christmas Story – Empire Theatre
A great, hilarious play, suitable for the entire family age 6 to 106. You can read review quotes elsewhere on the blog, or call the Theatre IV box office for more info. 344-8040.

7. Moonlight and Magnolias – Barksdale Willow Lawn
A laugh-fest comedy about the making of the screenplay of Gone with the Wind. You can read review quotes elsewhere on the blog, or call the Barksdale box office for more info. 282-2620.

8. Swingtime Canteen – Barksdale Hanover Tavern
A joyous, toe-tapping, boogie-woogie recreation of a USO show from Christmas 1944. You can read review quotes elsewhere on the blog, or call the Barksdale box office for more info. 282-2620.

See you at the theatre!

--John Steils