Showing posts with label White C. Show all posts
Showing posts with label White C. Show all posts

Wednesday, September 15, 2010

CenterStage Hires Theatre Pro as New Executive Director

Posted by Bruce Miller
Richmond CenterStage announced the hiring of Richard M. Parison Jr. as its new Executive Director in yesterday morning's Times-Dispatch. I don't know Richard yet, but I look forward to meeting him. He comes to Richmond with an extensive theatre background, having provided able leadership to some very impressive regional theatres.

For the last two years, Richard has been working as Producing Director of Barrington Stage Company, a highly acclaimed AEA theatre in Pittsfield, MA, nestled in the Berkshire Mountains. Pittsfield is minutes away from the western border of Massachusetts—actually closer to Albany New York than Boston.

Barrington was co-founded in 1995 by Artistic Director Julie Boyd. In 2004, Barrington developed, workshopped and premiered The 25th Annual Putnam County Spelling Bee, which Barksdale produced to great critical and audience acclaim last December. After its world premiere run at Barrington, Spelling Bee moved to Off Broadway for a run at Second Stage, and eventually transferred to Broadway, winning two Tony Awards (for Best Book and Best Featured Actor).

Stars who have recently performed at Barrington include Marin Mazzie, Jeff McCarthy and Harriet Harris. The 2009-10 Barrington Season included Carousel, Sleuth, A Streetcar Named Desire, and The Fantasticks on the Mainstage, and Freud’s Last Session and Underneath the Lintel on Stage 2.

Prior to his work at Barrington, Richard served for four years as the Associate Producing Director of the Prince Music Theatre in Philadelphia. Before that Richard worked for eight seasons as Associate to legendary Producing Artistic Director Bernard Havard at Philly’s Walnut Street Theatre.

Walnut Street Theatre (the building) is the oldest theatre in America, having opened its doors on February 2, 1809. Walnut Street Theatre (the nonprofit regional stage company) was founded by Havard in 1982. With over 56,000 subscribers annually, the Walnut Street Theatre is the “most subscribed theatre company in the world.”

The 2010 summer musical at Walnut Street, Fiddler on the Roof, starred Theatre IV alum Mary Martello as Golde (Mary played Sally Bowles in our Cabaret and the senior military wife in our World Premiere of Four Part Harmony) and Barksdale favorite Rita Markova as Tzeitel (Rita played Cinderella in our Into the Woods and Sarah Brown in Guys and Dolls). The upcoming holiday musical at Walnut Street will be Irving Berlin's White Christmas, just like here at Barksdale.

During his dozen years in Philadelphia, Richard was nominated twice for the Barrymore Award in the category recognizing Outstanding Direction of a Musical: Dreamgirls at the Prince and The Big Bang at Act II Playhouse.

A native of northeast Ohio, Richard began his professional career working for six years with Gerald Freedman (Artistic Director), Victoria Bussert (Associate Artistic Director) and Anne DesRosiers (Managing Director) at the Great Lakes Theatre Festival. Another Richmond connection--Phil Crosby, Managing Director of the Richmond Triangle Players, served as the Marketing Director of the Great Lakes Theatre Festival at about the same time.

We join all of Richmond’s theatre community in welcoming Richard to town. I know his expertise and energy will add greatly to our performing arts community.

--Bruce Miller

Friday, May 14, 2010

Announcing Barksdale's 2010-11 Signature Season

Posted by Bruce Miller
"Brilliant" - defined by TheFreeDictionary.com as "Full of light. Shining." Exactly how I feel about the five plus one shows in Barksdale's 2010-11 Signature Season.

Somewhere near the top of the list of my most important responsibilities is selecting which plays we will produce. Play selection is not something I do alone or in a vacuum. Suggestions come from virtually everywhere (Board members, subscribers, single ticket buyers, teachers, theatre artists of all stripes, contributors). I honestly appreciate and benefit from all the ideas you throw my way.

Direct input into the process comes from Phil Whiteway (of course, he's the one who has to pay the bills), Chase Kniffen (he will assist me in selecting the artistic teams that will bring each title to life), Sara Marsden (she'll sell the tickets), Judi Crenshaw (she has to articulate the strengths of each title to the media outlets and the general public), plus Joy Ross Davis (group sales), Sue Griffin (costumes), Bruce Rennie (tech director), and several others.

At the end of the day, the buck stops with me. If you hate (or love) a play produced by Barksdale, I'm the guy to blame (or congratulate).

From the millions of titles that exist (surely the world must have given birth to at least several million comedies, dramas and musicals by now), there are perhaps a couple hundred titles that make it on to one or another of the lists that always float around the Barksdale offices. From this wealth of great work, five or six titles ultimately emerge. The criteria against which each title is assessed are:

* is it a "great" play (Barksdale's mission is to produce "the great comedies, dramas and musicals--past, present and future")

* do we have the capacity, based on existing resources, to produce a first class production (our mission charges us to create "national caliber productions")

* will our production be fresh, unique and alive

* will it captivate the audience

* does it have the potential to expand our subscription base (lots of lengthy and very personal discussion here; remember, the productions that have passed this test include everything from Guys and Dolls to Intimate Apparel to Boleros for the Disenchanted to The Little Dog Laughed to Cyrano de Bergerac to Melissa Arctic to Is He Dead?)

* does it add to the diversity and breadth of our work and offer new opportunities to our artists and audiences (we try very hard not to produce on our Willow Lawn season the same type of play over and over again)

* is there or will there be a considerable font of energy created around this title among our artistic leadership and family

* is there a unique "hook" that will allow us to extend this energy to single ticket buyers, group sales leaders, and playgoers / playmakers at large

* does the season feel good as a whole--is the total greater than the sum of its parts

* would the season make our founders (Pete, Muriel and Nancy) proud; will it engender pride among our Board of Trustees and staff

This year there was a special emphasis on a final criteria.

* Will it make money?

With the continuing sluggishness in the economy, the significant declines in governmental and corporate support, and the increasing competition coming from CenterStage and the "Broadway" season, there is no margin for financial error. I know that admission is not very high-minded. I'm just being honest.

Five titles (with a sixth subscriber option) have run this gauntlet and emerged with colors flying. I'm very excited to announce Barksdale Theatre's 57th Signature Season!

Shipwrecked! An Entertainment - by Donald Margulies
White Christmas - Music & Lyrics by Irving Berlin, Book by David Ives & Paul Blake
Legacy of Light - by Karen Zacarias
Contemporary Broadway comedy - title TBA
Dirty Rotten Scoundrels - Music & Lyrics by David Yazbek, Book by Jeffrey Lane
The Bluest Eye - by Lydia Diamond, based on the novel by Toni Morrison

More to come tomorrow about each of these wonderful shows. I hope you'll subscribe!

--Bruce