Richmond Theatre Critics Circle Awards

Posted by Bruce Miller
The nominations for the RTCCAs (popularly pronounced Artsies or Ratcocs, depending on the sassiness of the one doing the pronouncing) were posted on Dave's Theater Blog late Monday evening. Many also refer to the actual awards as "hockey pucks," because of the circular design of the handsome acrylic trophies that are handed out. Meaning no disrespect, I've chosen a Canadian hockey puck to illustrate this article because: A - I couldn't find a photo on line of an actual Artsy, and B - well, I'll let you speculate about B.

Because I swim in the technological backwaters, I knew nothing about the announced nominations until Tuesday morning when I read a nice message that Jacquie O'Connor wrote on my Facebook wall. Our Managing Director, Phil Whiteway, received some sort of message on his blackberry, or whatever phone thing he has, on Monday night. From all reports, the phone of our Associate Artistic Director, Chase Kniffen, began ringing furiously shortly after Dave's initial posting.

I'm so out of the loop that it sometimes startles me.

Anyway, what a nice surprise to discover that Barksdale and Theatre IV are parties to 48 nominations--49 if you count our connections to Neil and SaraBelle November. I greatly appreciate all this recognition.

I really really really don't envy the Richmond theatre critics and the challenges they face in trying to come up with this list of nominees. I think it's great that they're giving kudos to theatres and theatre artists in Richmond. As an economic sector, we need all the attention we can get. But their job is next to impossible. With so many worthy performances, how can anyone possibly choose one set of theatre artists over another. All I can say is, I'm glad I don't have to do it.

My job is an easier one. I get to Monday morning (Wednesday night?) quarterback and make some additional "nominations" of performances that I admired, performances that didn't make it on to the final roster selected by the critics. My "nominations" represent nothing more than one humble opinion--which ain't worth squat. Like the critics, I'm sure I too will leave out people I really liked and am now forgetting, but since these nods of mine carry no weight whatsoever, I hope everyone will put up with my whimsy.

I also get to toss out some comments that have little to do with anything, but interest me nonetheless. It's a blog. So sue me.

First off, I loved everyone in the acting and design teams of the three shows I had the privilege to direct this season: Boleros for the Disenchanted (the wonderful and nominated Carmen Zilles is pictured to the left, next to the wonderful and not nominated Michelle Guadalupe), First Baptist of Ivy Gap, and On Golden Pond. Since I'm completely biased in their favor, I won't single out any one of them individually for recognition here. Except one. I know Joe Inscoe is nominated several times for other performances, but not to nominate him for On Golden Pond?? I thought he was exceptional. I'm just sayin'.

I'm a little surprised (but delighted) to see that Souvenir is considered to be a musical. At the end of the day, I don't care if the critics call it a musical, a non-musical, or an egg salad sandwich--I'm really glad that the excellent work that went into this show was recognized.

I already wrote to Jase Smith individually, and told him I thought his direction of Rent represented his best work thus far and deserved a nomination. I also think that Terence Sullivan was terrific in Rent. In my opinion, he was the major new "discovery" of the year. I thought Durron Tyre was incredible in Rent and deservedly nominated, but I don't think the character of Tom Collins is a lead. In my little world, Durron should be up for Best Supporting Actor in a Musical.

In like manner, I was surprised to see that Ford Flannagan's wonderful performance in Putnam County Spelling Bee was nominated in the Leading Actor category, while Debra Wagoner's performance in the same show in a role that was actually larger than Ford's was recognized in the Supporting Actor category. It seems like both of them were outstanding supporting actors to me.

And speaking of directors--I was, a couple paragraphs back--I thought Molly Hood (pictured to the left) did a terrific job with Twelfth Night. Here again, I applaud each of Barksdale's and Theatre IV's directors, but I'm biased so I won't single them out.

I enjoyed noting that The Sound of Music was abbreviated SOM and Servant of Two Masters was abbreviated SOTM. It reminded me of the previous season when Barksdale did Children of a Lesser God and Stage 1 did Children's Letters to God almost simultaneously. Good times. It made me try to think of other plays we might have produced last season with titles that could be abbreviated with some variation of SOM. But I came up with bupkis. It's late at night.

I think the strongest category may be Best Supporting Actor in a Play. All five nominees are equally deserving. And I can think of more than a few others who turned in equally impressive performances in this category--too many to single out. I'm excited that there's a new category for original work--something lacking in the past.

Maybe next year the critics can consider recognizing a break-through performance by someone previously unnoticed, or maybe a "Most Outstanding Debut" category. I thought Laurel Maughan, who is new to our ranks, contributed greatly to Twelfth Night. In the veteran category, I though Jackie Jones was particularly noteworthy playing Golda Meir in her one woman show at the JCC. Somewhere in between, Joe Carlson impressed, I thought, in Grapes of Wrath, carrying a difficult show on his emerging shoulders. Joe will contribute greatly to Richmond theatre's future, should we be lucky enough to hang on to him.

I'm so pleased that Hanover Tavern received some recognition this year; the Tavern was completely shut out in years one and two. I know there will always be those who feel under-appreciated, just like all of us at Hanover Tavern felt in 2008 and 2009. But I think the critics do an outstanding job trying to recognize good work everywhere, and trying to maintain a balance.

Richmond theatre lives and dies by its breadth and depth, and the critics work hard to find examples of excellence almost everywhere. Our theatre community would be greatly diminished without the estimable talents found at our dozen colleague nonprofits: African American Repertory Theatre, Cadence Theatre Company, Carpenter Science Theatre, Chamberlayne Actors Theatre, Firehouse Theatre Project, HATTheatre, Henley Street Theatre, Richmond Shakespeare, Richmond Triangle Players, Swift Creek Theatre, Sycamore Rouge, and the brand new Theatre in Battery Park.

Last but not least, I'd like to tip my hat to the kids in The Sound of Music--maybe in the best ensemble category. They were amazingly talented, professional and accomplished throughout a lengthy run, and were at the very heart of Central Virginia's most popular show of the past season.

So, those are a few random thoughts, signifying nothing. Again, I think the critics are doing a great job and I don't envy them. There's no way they could satisfy everyone. So I salute them, and thank them for their service.

--Bruce Miller

A Spritz on Both Our Houses

Posted by Bruce Miller
In My Big Fat Greek Wedding, the mega-hit movie from 2002, the father of the bride uses Windex as a cure-all. “Put some Windex!” he continually shouts as he sprays every ailment from facial blemishes to curvature of the spine.

At last night’s Bootleg Shakespeare production of Romeo and Juliet, Windex’s “medicinal” properties did an about-face. The Smurf-blue solvent stood in as the poison that brought about the final demise of our title characters.

Jacquie O’Connor, in the role of the Apothecary, rummaged through her bag of tricks for the toxicant Romeo requested. She pulled out a bra, a pop culture magazine, and a few other dainties before finally retrieving the powerful venom (in a convenient spray bottle) for which she had been searching.

By design, the actors in Bootleg Shakespeare provided their own props. Anything can and did happen. After the Windex arrived on stage, it was a slippery slope to the climactic reconciliation of Capulet and Montague.

When young Paris tried to prevent Romeo from entering Juliet’s crypt, Romeo dispatched his rival not with a dagger or sword but with a quick spray of Windex to the face. Soon thereafter, Romeo removed the spray nozzle and guzzled the Windex down, immediately responding with the exact grimace and gurgle one would expect should one contemplate a greedy gulp of household cleanser.

Suffice it to say, last night was not your daddy’s Shakespeare.

But it may have been somewhat reminiscent of your great great great…(add however many greats it takes to get you back to the late 16th century) granddaddy’s experiences with the Bard.
Scholars advise us that Shakespeare’s plays at the Old Globe were performed after only minimal rehearsal (Bootleg Shakespeare was rehearsed over the course of one day), and that they almost certainly were not directed (the concept of a stage director uniting a cast’s intentions did not emerge until two to three hundred years later).

Also, all of Shakespeare’s women were played by men. So when all the world was Shakespeare's, seeing the wonderful Molly Hood as Juliet would have been far more jarring than seeing the equally wonderful Fredrick Kaufman as Juliet’s Nurse.

Best of all, there was no reverence whatsoever in last night’s friend- and fund-raiser for the up-and-coming Henley Street Theatre. For one night only, Shakespeare’s work was light on gravitas and rife with spontaneity—which I suspect was VERY much what the Bard himself expected and experienced in merry old London.

And in the middle of everything, was Joe Carlson's magnificent portrayal of Mercutio.

Just like Shakespeare, last night’s event was popular with the masses. Granted, it was free and there was only one performance. Nonetheless, what a thrill it was to drive into the parking lot at Willow Lawn at 6:10 pm and see a line of well over a hundred stretching from Barksdale’s front door half way to Staples.

Now if they'll only return for the sheer delight of The 25th Annual Putnam County Spelling Bee.

All of us at Barksdale felt privileged to have had the opportunity to work in cooperation with Henley Street as they brought to Richmond this fun and exciting new venture. If you couldn’t make it last night (or arrived too late to snag a ticket to the sold-out event), you missed a night to remember.

Congratulations to all involved!

--Bruce Miller

"Boys' Life" -- 3 Adolescent Men in the 80s

Posted by Bruce Miller
I was happy to see Boys’ Life at the Firehouse tonight. Here’s what I liked a lot:

The young and very talented cast has to top everyone's list of prime assets. Joe Carlson is one of the most talented actors in town. I hope to have the privilege of working with him one day. My buddies Landon Nagel and Maggie Marlin were both terrific, particularly in their scenes with each other. Andrew Donnelly was somewhat new to me—I’d seen him in Dracula and Shadow Play at VCU—and I thought he certainly held his own tonight with the Carlson/Nagel power team. Amy Sproul, daughter of a good friend, once again impressed me no end. I raved about Amy and Joe when they first appeared together in This Is Our Youth at Firehouse a couple years back.

Lauren English, Alison Haracznak, Carter Lowery, and London Ray were all terrific. I was particularly enamoured of the natural charms of whichever actress it was who played the character who jogs. The characters aren’t listed in order of appearance in the playbill, and I can’t remember which female character had which name.

Director Morrie Piersol is a master at getting believable, edgy performances from his impressive cast.

Eddie Slipek once again shows his great eye as a scenic designer. Bryan Harris’s sound design, Nikki Osborne’s costumes, and Geno Brantley’s Lighting Design all serve the play well.

And how about those new seats. I’m so jealous. The new seats are comfortable and attractive. I want some for Barksdale Willow Lawn. Ah well. Someday.

Once again I was struck by how complimentary Firehouse and Barksdale are. Truth be told, I would probably never pick a play like Boys’ Life for Barksdale, and Carol perhaps would never pick a play like Boleros for the Disenchanted for the Firehouse. In like manner, some audiences will prefer one of these titles over the other. With Barksdale and Firehouse offering different types of plays, Richmond audiences have the chance to see both types of theatre.

Tomorrow I’m going to see The Ugly Duckling at Theatre IV, and Saturday it’s off to TheatreVCU and Psycho Beach Party. Next week, I’ll try my hardest to catch Shining City, The New Century, and Much Ado. Later in the Fall … Irma Vep and Mahalia,

See you at the theatres!

--Bruce Miller

The Real Transylvania Mania

Posted by Bruce Miller

Very quickly (it's past my bedtime), I attended TheatreVCU's production of Dracula this evening, written by Steven Dietz, directed by Barry Bell, and produced by David Leong. It was an exciting, impressive and creepy ride.

I especially appreciated the five leading men: Brandon Crowder as Dracula, Joe Carlson as Renfield, Joseph Sultani as Seward, Landon Nagel as Van Helsing, and Andrew Donnelly as Harker. All five inhabited their characters with distinct personalities and histrionic expertise, creating some heart-pounding suspense.

Of the five, Landon Nagel is the Barksdale vet, having played the minister and other roles in The Full Monty a couple summers ago.

Ron Keller's set, Toni-Leslie James's costumes, Mike Mauren's lights, and especially Thomas Vecchione's sound were all chill inducing. Ron Keller is another Barksdale and Theatre IV vet, having designed The Laramie Project and supervised the designs of countless other shows at Willow Lawn, including our upcoming productions of Doubt and The Little Dog Laughed.

The two leading ladies, Jaci Camden and Marie Weigle, spent most of the show as young lovelies, but became more interesting after becoming "unclean." Barry Bell staged it all with style, classical titillation, and a fun sense of the unexpected.

More than half the seats were empty this evening, which is a terrible shame. Students can attend for only $7 (adults are something like $18). This evening was further proof that even when exciting theatre is presented super-cheap in their own backyard, it's really difficult to convince the majority of university students to come to the theatre.

The last two performances will be tomorrow evening (Friday) at 7:30, and, if you want to be really creepy, Saturday evening at MMIIDDNNIIGGHHTT - AHH HHAA HHAA!! (That's me using my deep Transylvania voice with lots of reverb.)

Anyway, for an eerie good time, you won't go wrong with this new edition of Dracula. The VCU theatre department is full of talent. And you can't beat the price.

--Bruce Miller

"This is Our Youth" - Fireworks at the Firehouse

Posted by Bruce Miller

I had the great good fortune to see This is Our Youth last Friday evening at the Firehouse. It was a terrific production. Youth was the first NYC hit of Kenneth Lonergan, one of my favorite currently-working playwrights. Lonergan hit the big time with This is Our Youth in 1996, and then followed in '99 with The Waverly Gallery (also produced by the Firehouse a few years back). In 2002, Lonergan wrote the Off-Broadway hit Lobby Hero, produced in Richmond shortly thereafter by Theatre Gym.

I admire all three Lonergan plays, but it was the 2000 film You Can Count on Me, written and directed by Lonergan, that really knocked me off my feet. It stars Laura Linney and Mark Ruffalo, and if you've never seen it, by all means rent it--as a follow up, of course, to going to see This is Our Youth during the next two weeks. Youth closes at the Firehouse on March 31.

This is Our Youth concerns three privileged, dysfunctional young adults who are struggling to find themselves in NYC during the Reagan years. Their dialogue and actions are profane and misguided, but their desperate search for purpose and connection in an alienating world earns our empathy and respect. At least it earned mine.

Morrie Piersol's direction is invisible, which is the highest compliment I can give it. The drama has shape and drive, to be sure, but you never see the director at work. What takes place on stage seems completely organic and in-the-moment, making the play all the more riveting--kind of like an accident that won't allow you to turn away.

Two young men from VCU's theatre program--Joe Carlson and Jacob Pennington--deliver wonderful, quirky, fleshed out performances. Amy Sproul, a high school student from the Appomattox Governor's School, keeps up with the men every step of the way. Less distanced from her upper-crust upbringing, Amy's character moves and talks with a social sophistication that the male characters have abandoned. At the same time, Amy the actress continues to let us see the little-girl-lost desperately reaching out for acceptance.

All of this makes the show sound despairing, and to an extent, I guess the characters are desperately seeking an elusive meaning for their lives. But the show is so much more than that. Please let me add quickly that it is also very funny, very smart, deeply poignant and thought provoking. It's the kind of play that gives you a lot to talk about for days to come.

There was an Acts of Faith talk-back following the Friday evening performance I attended, and one small section of the post-show discussion centered on whether or not there was hope for the characters' future. One audience member stated that she found little basis for hope. I felt exactly the opposite. My faith is of the progressive, inclusive variety, and I clearly felt the characters finding their hope in that most likely of all places--the friendships they shared with each other. Dysfunctional as those friendships may be, I felt in the performances of these three actors an extraordinary give and take of affection and need. The Bible says that God is Love. The love that these three floundering souls try so awkwardly and desperately to share with each other--in that love, the God I believe in is there. And that gives me every reason to hope.

Set, costumes and lighting were all well suited to the play. But it was the acting and direction that made this a wonderful evening for me. I went with my wife, our 16-year-old daughter, and two good friends from church. We all had a rewarding and entertaining night in the theatre.

If you like edgy contemporary theatre--and I certainly do--don't miss This is Our Youth. And keep your eye out for more from the three talented, adventurous and compelling young actors who bring This is Our Youth to such bracing life.

--Bruce Miller