Of Marquees and Misperceptions

Posted by Bruce Miller
I love coming home at the top of every month to find my hot-off-the-press edition of Richmond Marquee waiting for me in my mailbox. It reminds me what a great theatre town Richmond is. Is there a comparable monthly newsletter about what's going on among Richmond's diverse dance companies? How about Central Virginia's symphony and orchestra scene, or our opera troupes? I don't think so.

Richmond is a THEATRE town, with a remarkable wealth of talent and audience interest for a city our size. Thank God for that. We should all be glad that Lisa Kotula (actress, theatre administrator, and Publisher / Managing Editor of the Richmond Marquee) continues to commit her energies and resources to the creation of a monthly newsletter that celebrates and promotes the great things happening on ALL of Greater Richmond's many stages.

The September edition includes coverage of 18 different local theatres: AART, Barksdale, Cadence, CAT, Firehouse, HATTheatre, Henley, Henrico, Huguenot Community Players, I Am She Productions, K Dance, Mystery Dinner Playhouse, Richmond Shakespeare, Richmond Triangle, Saint John's Players, Swift Creek Mill, Sycamore Rouge, and Theatre IV. And there was Road Trip info from other Virginia theatres as far afield as Barter Theatre in Abingdon, Riverside Dinner Theatre in Fredericksburg, and Signature Theatre in Alexandria.

The newsletter costs only $2 per month, and you can purchase subscriptions in three, six or twelve month packages. Lisa needs all our support. You can contact her and/or subscribe online at www.richmondmarquee.com. I hope you'll consider doing so.

One of the things I learned in this month's issue of the Richmond Marquee is that Tom Width at Swift Creek Mill Theatre makes life easier for veteran actors than I do at Barksdale. In the article announcing auditions for It's a Wonderful Life: A Live Radio Play, playing throughout the holidays at the Mill beginning Nov 17, the following paragraph appears.

"Any questions may be directed to Tom Width at Twidth@aol.com. If your work is well-known to Mr. Width, please email for alternate audition information (callback-only auditions are possible.)"

We at Barksdale, Cadence and Theatre IV are not being as generous with our longstanding friends. Instead of having individual auditions for each of the 16 mainstage productions we produce each season, we are beginning this fall to have open calls three times a year: September (Oct 1 in 2011), January and May. We ask every Richmond-based actor, age 18 and up, who is interested in working with us to attend at least one of these auditions each year.

We have already heard, of course, from actors who have conflicting plans on Oct 1, and we will make every effort to include them in callbacks when we believe their talents are well suited to the needs of a show. However, we are also asking these same actors to plan now to attend the open calls in either January or May (exact dates to be determined and announced soon).

It's not that we fail to see that our veteran performers have earned special treatment. In fact, we believe they have. However, we are also aware that there is a misperception out there that Barksdale is a closed shop, privately casting only the same favorite actors over and over again. We know this misperception is not true. In any given year, more than 1/3 of the actors we cast are new to us. But we fear that the perception may keep talented actors whom we do not know, or don't yet know well enough, from attending an open call. Therefore we have a commitment to make every effort to treat all actors exactly the same. If our veteran actors can work with us to address this commitment, we will greatly appreciate it.

As Greater Richmond's resident professional theatre, we hope that all of the talented actors in our metro area will audition for us at least once a year. As we all know, casting happens in callbacks, not open calls. But having open calls, and creating a culture that demonstrates equal respect for all actors--those with whom we are familiar and those with whom we are not--is, we believe, the best way to identify the very best actor for every role.

Ultimately, that is our job. We greatly appreciate everyone's understanding and cooperation.

--Bruce Miller

Tevye Takes His Final Bow

Posted by Bruce Miller
I just returned from Lou Rubin’s funeral and graveside service. Phil and I joined Tom Width, Jackie Jones and Glenn Crone in representing the theatre community. If others were there, I apologize for missing you.

Phil and I arrived about 15 minutes before the service, but it was obvious that the crowd that kept pouring in was not going to fit inside the cemetery facility. So the two of us and Tom Width and about 30 others gladly took our places outside and listened to the service over speakers. I'm sure Lou loved the fact that his service was SRO.

One of Lou’s favorite roles at the Mill was Tevye in Fiddler on the Roof. He played it at least twice to great acclaim. His family wanted to include something from Fiddler in the service, but secular music is prohibited in a Jewish funeral. So after consultation with the powers-that-be, it was decided that Sunrise Sunset would be performed as a sort of overture, before the service actually began. It was very moving.

Later in the service, a granddaughter said that Lou had mentioned that he wanted helium balloons at his funeral, to cheer things up. His daughter Claudia Biegler told him that she was concerned that a balloon launch would not be environmentally friendly, and maybe not even legal.

Lou, we were told, then suggested bubbles, and his family agreed. So small containers of soapy liquid with bubble wands were handed out to the overflowing crowd. During the graveside service, 50 or more family members and friends began blowing bubbles until the entire area around the graveside was shimmering with fragile, shining bubbles wending their gentle way toward a beautiful blue sky. It was impossible not to smile. It was a PERFECT Lou moment.

Now might be a good time to reprint an article that appeared in the Petersburg Progress-Index, and was picked up nationally by the Associated Press, announcing the Mill’s opening in Dec 1965. It’s a fitting tribute to Lou and Buddy, who died last March.

Under the headline “Old Grist Mill Becomes Weekend Dinner Theater,” the following article appeared on December 9, written by Pat Matthews. I've left all the grammar and punctuation intact.

"Three enterprising young couples, convinced Southside Virginians share their love of the theater, have converted a 302-year-old grist mill into a weekend dinner theater.

The partners in the Swift Creek Mill Playhouse are Wamer Callahan, a high school teacher and the only member with professional theatrical experience; Dr. Louis Rubin, Petersburg optometrist who has appeared in numerous amateur productions; and Wesley Richardson, operator of a drive-in restaurant in Petersburg.

They are being assisted by their wives, each with her own special skill to contribute.

Sally Richardson is not only acting in the opening production of “Carnival”, but she has also been the innovator of many of the decorating schemes for the historic old mill.

Betty Callahan has worked with her husband on many amateur productions in the past and specializes in coordinating the rehearsal schedule.

Fran Rubin is assisting her husband in public relations and is also handling the important jobs of reservations and make-up.

The couples have already encountered enough obstacles to discourage most new business partners. Contractors, looking over the building believed to be the oldest grist mill in this country, found it sound but needing a great deal of renovation.

The 2 1/2 –foot thick walls of the foundation and first floor were solid, but the floors were lopsided. To even the floors, the huge structure had to be jacked-up five inches.

Then the opening had to be delayed two months because the mill was built partly on granite, and this had to be removed before work could progress on a kitchen addition.

The partners say that the mill plays will be of like caliber with the operation similar to other theaters in the state. There will be buffet style dinner for guests before the play on two dining levels.

The theater will seat 250. The stage is slightly elevated in the manner of a Greek amphitheater and there is no curtain."

More commentary to follow.

--Bruce Miller

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