Final Words of Wisdom & Friendship from Evan Nasteff

It's our farewell conversation with Evan Nasteff who plays Chris, son of the title character in Becky's New Car. Becky's continues to cruise at Barksdale's Hanover Tavern home, and will be delighting audiences through Nov 6. Pretty much everyone agrees that this is a Barksdale show you won't want to miss. And if you've never been out to the Tavern, this is a perfect introduction. The historic Tavern dates back to the 18th Century and the lifetimes of Patrick Henry, Thomas Jefferson and George Washington, but Becky's New Car couldn't be more fun and fresh. Don't miss it!

Q - Welcome back, Evan, for our third and final set of questions.

A - Fire away! I'm having fun.

Q - Okay. Lots of actor hopefuls say it's impossible to arrive new to the scene in Richmond and get cast in your first audition, and yet ... you did it. What's it been like to join the Barksdale family with this production? Will we be seeing more of you in the future?

A - I will be auditioning for as many shows as I can. Being in this play, with this awesome cast, and under the amazing direction of Billy Christopher Maupin...the experience has reignited me. As for the other part of your question, what I find appealing is how welcoming everyone in the whole community has been. In terms of our cast, I didn't know who Melissa Johnston Price was, even though she's in STYLE Weekly as one of Richmond's favorite actors. I didn't know Gordo or Dave or Daniel or Christine. I'd met Maggie because I saw her kick butt in You're a Good Man, Charlie Brown and Dog Sees God, both directed by BC, on back-to-back nights; but I didn't really know her, or anybody. As I started to learn who these people were, and how incredible they are and how rife they are with professional theatre experience ... then I freaked out. But they were all so welcoming, so nice, that if they didn't have so many damn stories of past plays together, you'd think that they could be on their first show too.

All the new people I've met now in the theatre community, I'll shake their hand and say, "Hi, I'm Evan Nasteff, nice to meet you" and they'll say, "Oh, you're the one in Becky's New Car!" and I'm like, "How the hell did you know that?" Everybody's been so welcoming to me, and that's what's been so appealing. I was a complete outsider, scared out of my mind of these amazing actors, and now I'm a part of it and I get to act right alongside of them. And now that I'm friends with all of them, they don't impress me at all anymore. Kidding.

Q - What do you think is the message of Becky's New Car, if there is one? What does the play have to say to people in our age bracket?

A - Um, I think we all imagine that the grass is greener on the other side of the fence, and that we all worry about becoming complacent and not achieving our goals and dreams; and, without spoiling anything, Becky's explores what MIGHT happen if someone decided to just hop over that fence really quick and just check shit out. Becky wonders if maybe she can attain greater things in life. I don't want to sound too corny, but Becky's message is that life is about the journey. It's not where you've been and where you're trying to get to, but it's the journey that matters, and we all find that out in this show. Hey, come to Becky's New Car! Dave Bridgewater will give you free beer! That's another message.

Q - Being new, you can see things from a fresh perspective. Do you have any constructive suggestions to offer to Barksdale or the Richmond theatre community in general?

A - Everybody seems to get along really well. I think. It just seems like everyone supports everybody else. All the different theatre companies go to see each other's shows. I met the artistic director from the Firehouse Theatre, Carol Piersol, on Opening Night of Becky's. And I read the great things Bruce said about going to see Cat on a Hot Tin Roof at Firehouse, and I know he went out to the Mill too to see the Carter Family show. I guess I always thought the different theatre companies met in the streets and had West Side Story knife fights. That's what Maggie said in her interview, right?

Q - What does the future hold for Evan Nasteff? Any dreams you can share?

A - I'm moving to Hamburg, Germany! I'm going to go work at the Hollister store there. They have a Hollister in Germany. They speak English fluently in Hamburg, and the store is completely English-speaking! I need to brush up on my German, and by that I mean I need to LEARN German, but at least while I work I will have no communication barrier to break down. I've worked at Hollister in the past, and the opportunity arose and I decided to jump on it. I figured, if I didn't, I would regret it forever, plus Melissa Johnston Price told me I had to, so there wasn't really choice involved anyways. I'm going to give myself at least a year there, maybe more if I love it, which is likely, but as soon as I get back I'm going to dive right back into theatre and acting in general, so nobody get out of the pool while I'm gone, okay?

(Photo captions: top, middle and bottom - Evan the bartender with some of the beautiful women in his life.)

Evan Chews Fat on Tats & Tips to Attract 20-Somethings

We're back again with Evan Nasteff, the young but seasoned pro (college level) who is new to Richmond theatre but knockin' 'em dead nonetheless at every performance of Becky's New Car. So far our actor interviews have run veteran (Frank Creasy), 20/30-something (Maggie Roop), veteran (Jill Bari Steinberg), and 20-something (Evan Nasteff). Evan brings a youthful perspective and a lot of energy to the production. We're glad he was discovered by the director of Becky's, Billy Christopher Maupin. Becky's must close on Sunday, Nov 6. Now would be a GREAT time to call 282-2620 to buy tickets, or order tickets online at www.barksdalerichmond.org!

Q - Thanks again, Evan, for putting up with all the questions. This one's a bit cliche, but ... do you have any favorite moments or scenes in Becky's?

A - See, this is really tough. I knew you'd ask me this, but I'm still finding it hard to answer. There are so many amazing moments, and this thing is hilarious. If I had to pick one, I would say that there's a part at the end of the play where the mood is incredibly tense and somber, and Steve, played by Daniel Moore, is just completely oblivious to it. He's in his own world, talking about Pomegranate Spritzer and hiking, and it's just completely perfectly ridiculous and hysterical. When you're playing a character like that, you can't shy away from that obliviousness, and Daniel goes all the way. He gives an amazing performance, and I'm laughing in my head right now thinking about the way he says the line "Trail-friendly gorp."

Q - Bruce Miller and Phil Whiteway have been making it pretty clear that they're all about attracting younger audience members into the theatre. Becky's New Car has a lot to say, I think, to audience members of all generations. For me, it's good to look up on stage and see someone like you who's approximately my same age. Are you personally having any success convincing 20-somethings to come see you at the theatre, or do you think Barksdale in general is having any success, based on who you're seeing at Becky's New Car? Do you have any ideas on how to attract our demographic?

A - Um, it's hard. It's extremely difficult, and I know because I've been struggling with it every day. The people I've been trying to bring in are young, and some of them would rather go pay fourteen bucks to see Michael Bay blow some shit up in 3-D than see a quality theatre experience that would stick with them for a lifetime, you know? What would I do, or what should Barksdale be doing? Well, I guess I would advertise on some medium that young people are going to look at every day. We don't read the paper, we watch TV and check Facebook. STYLE Weekly is good, though: it's free, and free is pretty affordable to young people, and STYLE takes time to talk about and review theatre, which is great. That, and doing shows that young people might recognize or at least be intrigued about, like Spring Awakening, which Barksdale will be doing next summer.

Q - Are your co-workers and friends from the bar coming to see you in the show?

A - It's been tough because I've been having some issues getting some of my co-workers to come. With the Hookah staff, though, it's not an issue of wanting to come. They have all been very excited for me, and very supportive. The problem is that most of the shows fall on nights when they have to bartend, so it's been tough getting some of them out to the Tavern. Those who have come to the shows we've had on Wednesdays and/or Sundays have raved about it to their friends and the staff, so we'll see what happens here in the home stretch.

Q - One of the benefits of that towel scene--see, I'm just like that girl who talked to you on Opening and fixated on your few scantily clad moments--anyway, one of the benefits is you get a chance to show off your tattoos, which are cool I think. What are they and do they have any special meanings to you?

A - Well, I have four. On my left wrist is a Triforce, from Zelda. Yeah, a video game. It stands for Power, Wisdom, and Courage, and if you can be the master of all three parts, well, you're pretty much set. On my chest is a symbol from Super Mario Brothers. I know, I know...

My right arm is a scene of a young me and my grandfather. We're sitting on a bench near the Chesapeake Bay and he's teaching me how to play the harmonica. It's a beautiful scene of a beautiful memory, and I wanted to remind myself that, although he's gone, the lessons he taught me are not.

My left arm is a quote from "Strawberry Fields Forever" by The Beatles: "Living is easy with eyes closed, misunderstanding all you see." What I take from that quote is that it's easy to get through life unaware of your full potential, but it's something else entirely to open your eyes and fully realize your true capabilities. That, or Lennon was on a lot of acid. But it serves as a constant reminder to me to pursue success in things that matter to me-- like theatre-- and to be the best me I can be.

(Part 3 coming this weekend!)

Jill Bari Steinberg - Part III

After introducing you to Evan Nasteff yesterday, today we're back for Part 3 of our interview with Jill Bari Steinberg. I guess we're testing your ability to multi-task. I'd know for sure what we're doing but I'm too confused. Anyway, in case you need reminding, Jill Bari is appearing this weekend and next in Kimberly Akimbo, the quirky comedy that is attracting new fans every day. Kimberly is produced by Cadence Theatre Company in partnership with Barksdale's Theatre Gym. Following unanimously rave reviews, its final five performances are as follows: Saturday Oct 29 @ 8 pm, Tuesday Nov 1 @ 7 pm, Thursday Nov 3 @ 8 pm, Friday Nov 4 @ 8 pm, Saturday Nov 5 @ 8 pm. We hope you'll join us for the fun!

Q - Hi Jill Bari. We're glad to have you back. Sorry we had to bump Part 3 of your interview so we could sneak in a little promo for Becky's New Car?

A - Is that what that Evan the Bartender thing was all about?

Q - Well, sort of.

A - Yuuuch. (a Yiddish noise that sounds like a shoulder shrug) I did like his joke about the top hat. (deep, dirty chuckle)

Q - Anyway, Kimberly Akimbo concerns a dysfunctional family, and your character is a major part of the dysfunction. What does this family have to say to us? Why should we spend two hours with them?

A - “What dysfunction? I’m just trying to get to Miami . I don’t understand the question. Do you have a spare $20?” – That’s what Debra would say. I have yet to meet a family that was dysfunction-free. For that reason alone people should like this play. Either they will recognize themselves, recognize their family members, they will be happy they're not as crazy as the Levacos, or probably a little of all the above. Through the Levaco’s dysfunction there is a real positive message about living life.

Q - Speaking of living life, how did you meet Steve and how does he deal with your theatre habit?

A - I met Steve because of theatre. I was in a Firehouse show and the stage manager, Kathleen Boyle, had a birthday so we took her to a place she liked called Chuggers. I had never been there. Steve's band was playing a gig there and then we got married. It only took 8 years. As a musician he understands being an artist and has only ever supported me and encouraged me. He was even in Hedwig with me at the Firehouse. He was great!

Q - Barksdale strives to be a major national theatre. Does Richmond need a major national theatre, or would our community's artists and audiences be just as well served if all the theatres were of a smaller size?

A - I think the more theatre the better, that being said I do prefer quality over quantity, that being said many smaller theatres in Richmond put out great quality shows, that being said...oh, I don't know what I'm saying anymore. These questions are too hard.

It would be great if Barksdale was a major national theatre. They already are in my mind. And it would be great for our city if Barksdale gained even more national attention.

Q - All of us at Barksdale believe we benefit from constructive suggestions. If you could change one thing at Barksdale, what would it be?

A - A year ago I would have said please bring back Theatre Gym but that's what you just did! Now I wish only for calm seas and smooth sailing, financially speaking. And I know that's not easy.

Q - What's the weirdest audition experience you've ever had?

A - Years ago I was at an audition and I was in a packed room full of actors I didn't know. I read the scene and the director asked me to read it again. That was all he said – “Read it again." I don't like auditioning in front of crowds of other actors. Auditions are hard enough and that is a lot of pressure, especially in a room full of strangers. So I was already not feeling very confident and I had only been cast in two plays in Richmond at that point and didn't know a lot of people but I read it again anyway. The director looked at me and said loud enough so everyone could hear, "When I asked you to read it again I meant with more personality, not less." I must have looked like someone punched me in the gut. I just walked out. Now that I have been in this city so long I always make it a point to introduce myself to the new guys at the auditions if I can. I remember that feeling of being sort of an outsider and it sucked.

I have never had an experience like that since then and I never auditioned for that director again. But I hope he saw The Syringa Tree.

Coincidentally that was also the day I won a Phoebe Award for A View from The Bridge. After I left that horrible audition I ran into my friend Paul James in the lobby and he said “Congratulations, Jill Bari!” I looked at him like he had two heads and said “What do you mean, Congratulations? I was just humiliated in that audition!” He just smiled and said “You just won a Phoebe.”

It ended up being a pretty good day after all.

(Photo captions: top - hosting the first RTCC Awards, with Duke Lafoon and Vicki McLeod; middle - appearing in The Laramie Project with Theatre IV; bottom - her legendary performance in The Syringa Tree)

Bartender to Barksdaler--The Secret Life of Evan Nasteff

We've decided to save Jill Bari 3 to sneak in another plug for the final two weekends of Becky's New Car. So today we begin our--is it too soon to say "traditional"?--three-part interview with Evan Nasteff, the attractive young bartender who's setting aside his martini shaker Thursdays through Sundays to stir up some mischief in BNC at Hanover Tavern. When you're strategically seeking to attract a younger audience--and yes, Barksdale is making steps in that direction--it's not stupid to recruit the talents of a guy like Evan. He's young, he's hip, he's tatooed, he's completely comfortable appearing in swimwear--and at the same time, he's clean cut, polite, smart, and would make a good impression if you took him home to meet your mother. In short, he has the potential to attract a younger crowd while also pleasing American theatre's more traditional ticket buyer. Not a bad skill set--behind a bar or onstage at Barksdale. Becky's New Car runs this weekend and next before driving away and into the sunset. Everyone loves this quirky, contemporary comedy. What's the matter with you? You haven't seen it even once!?

Q - Hi Evan. Thanks for agreeing to talk with us. You're a new face in professional theatre in Richmond! Welcome. Where was your previous acting experience?

A - I'm four years out of college and thrilled to be returning to the theatre scene. Becky's is the first professional play I auditioned for in Richmond, and it will not be the last. I acted in high school, and ended up as a theatre major at Hampden-Sydney College. Hampden-Sydney has a small theatre program. As a result, everyone involved in it is completely immersed and extremely passionate. I had the privilege of studying under the amazing wife-and-husband team of Shirley Kagan and Matt Dubroff. Together they run the theatre program at H-SC, and they take turns directing plays, demonstrating their unique and contrasting styles. Because they're so different in their approaches, but equal in passion, their shows always feel fresh.

Q - What were your favorite shows with Kagan and Dubroff?

A - Playing Buckingham in Shakespeare's Richard III, which Matt set in the modern era and re-titled K-R:III. We were flying on wires, shooting each other, and fighting in slow motion. Very cool. Acting in Rashoman, a sort of murder mystery classic adapted for Broadway by Faye and Michael Kanin from an even more classic Japanese film, the 1950 masterwork by Akira Kurosawa. The film in turn was adapted from two dark Japanese short stories by Ryūnosuke Akutagawa. Just like many Japanese film classics, the story in the play--a murder mystery told from several different perspectives--starts out quietly, the storytelling is very subtle, and then everything slowly builds momentum. There was some incredible work done in that show.

I loved performing in Noises Off!, a farce to beat all farces--just about the funniest thing I've ever read, seen, or been a part of. Shirley pulled out all the stops and we crashed over, under and through the revolving set to packed houses every night. I also flipped out over every single second of playing Marc in Yasmina Reza's Art, and every nanosecond of working with the amazing people in that show. It was my thesis. Grant Mudge from Richmond Shakes came and reviewed me. I got an A! Fun was had.

Also, in Noises Off!, I got to have my pants systematically fall down every night exactly when I wanted them to. Gotta love that.

Q - You're a much-acclaimed bartender at Off the Hookah, or so I've been told by several of your fans. Do you find any similarities between your work behind the bar and your work on stage?

A - Actually, being a bartender has a lot in common with theatre. Whether you're grinding out crushed red pepper in fine dining or slinging vodka-cranberries at a nightclub, people come expecting some kind of show. It's my job to give them that show. In fine dining, paying customers at the bar expect to be provided for, and in most cases, engaged in some sort of conversation. At Off The Hookah, we have different actors playing different roles. We have machines, bartenders who dispense drinks as fast as humanly possible; we have the girls, the eye candy behind the bar who keep the guys coming in droves; and we have the circus, the bartenders that throw bottles way up in the air and breathe 151-proof fire. I fall in the "machine" category. I would say "eye candy," but I'm not sure a sparkling sequin glitter-bra would look very good on me.

Q - I don't know. In Becky's your character comes on stage for one scene wearing nothing but a towel. And no one in the audience complains. How do you feel being exploited as a hunk of man candy?

A - Oh shit. You know, I didn't even feel that way at all, and--I haven't told the cast this, I was going to save this story for our cast party. On Opening Night, we had a party afterwards in Hanover Tavern's tap room, and... well, there was an open bar. This cute girl comes up to me, and I had never seen her before, and she goes, "So what were you wearing under your towel?" Not, "Good job!" Not, "I'd like to discuss your political stance on withdrawal from Iraq," but, "So what were you wearing under your towel?" That's one of the few times when I sorta thought, oh, maybe they are using me as a steaming hunk of whatever-you-called-it. But, the way I see it, whatever sells tickets, man. Everyone who knows me knows that I really don't have any boundaries at all, and I'm not afraid of anything--except spiders-- so it isn't an issue for me.

So she says, "What were you wearing under your towel?" and I said, "A top hat."

(Coming Soon - Part 2. Photo captions: top right - promo shot for Becky's with Melissa Johnston Price, center left - at the Artsies with his new friend Audra Honaker, bottom right, on stage in Becky's New Car)

Jill Bari/JB - Call Her Anything 'cept Late for Casting Call

We're back for another visit with Richmond favorite (and Theatre Gym veteran) Jill Bari Steinberg. From what I've observed, most of Jill Bari's friends call her "Jill Bari" ("Bari" being pronounced exactly the same as "Barry"), although JB also seems to be popular. At least one close friend consistently calls her Jill. Jill Bari is married to musician Steve Organ.
Q - Thanks again for taking the time to talk with us. Should I call you Jill Bari, or JB, or Jill?

A - Yes.

Q - Do you have a day job, other than acting?

A - I work at the Library of Virginia. It's wonderful being surrounded by history, genealogy, and so many books. It's also nice to see people research their own family records. Corrie Barton, Jacquie O'Connor and Dan Stackhouse also work there, so one of us is always promoting one Richmond production or another. There's a group of my co-workers that comes to see most of my shows, and that group seems to be growing, so that's nice. We all have to do what we can to build the Richmond audience.

Q - You've had the opportunity to play a great variety of characters. Does any one role stand out as being particularly challenging or invigorating?

A - There's something challenging about every role and every performance. Sometimes I feel good about my work, and sometimes I fail miserably, but there is always a lot to learn from every experience and from every person you get to work with. I think I've had the chance to work with and learn from the best directors in town--Anna (who's directing Kimberly), Steve, Keri, Bruce, Scotty, Bo, Rick (St Peter--I'm new and had to ask), to name a few. The role I'm currently playing is challenging and fun because she's crazy and grounded at the same time. Luckily, I'm not alone. I have Anna to guide me, and an amazing cast of actors to listen to on stage. With Irene Ziegler, Debra Wagoner, Richard Koch and Matt Mitchell by my side, performing the role of Aunt Debra is a real blast.

Q - What's the best thing about working with Anna Senechal Johnson?

A - She's positive and supportive and wicked smart. This production is her vision of this great material brought to life. It's not easy to tell a bunch of seasoned (ie: old) actors what to do, but Anna always knows what will work best for the play. She directs with equal parts listening, problem solving, kindness and skill.

One of my favorite Anna directing moments happened during rehearsals for My Children! My Africa! (mid-90s). There's a moment in the script when the character I was playing has a complete meltdown--she screams, cries and even collapses. At the time that seemed like the scariest thing in the world to me, so I tried convincing Anna that it would be a lot stronger moment if I held back and didn't go there. She didn't agree and said something like, "That's what that moment is all about, losing all your confidence and comfort and control. Use your fear. I know you can do it." What resulted was--for me--a real breakthrough and one of my favorite moments ever on stage. That is something cool that the best directors I've worked with all have in common--they have always said something along the lines of "This is something you can do." That confidence in you from someone you admire goes a long way.

Q - If you go just by the numbers, one could say that the majority of the Richmond mass audience attends only touring blockbusters like Wicked or The Lion King, touring shows at the Landmark. What would you say to these masses to encourage them to attend a locally produced production?

A - First I'd say, "Good for you! You went to the theatre! Didn't you love it?" Then I'd gently suggest that they're really missing out if that is all that they're seeing. If they love musicals, I'd tell them to go see whatever musical is currently playing at Barksdale or Theatre IV or Swift Creek, and suggest we talk about it afterward. Dirty Rotten Scoundrels, Putnam County Spelling Bee, Once on This Island, Joseph, Annie, Seussical, Urinetown, The Sound of Music--the list of truly great, splashy, locally produced musicals goes on and on, and all of them were better than any bus and truck show I've ever seen. We buy local produce and goods because they are just better. It's the same with theatre. Not that I'm biased or anything.

(Part 3 coming soon to a blog near you! Photo captions: as the daughter in On Golden Pond with Joe Inscoe, as the mother in Last Days of Judas Iscariot with Jesse Mattes, as the niece in How I Learned to Drive with Gordon Bass)

Theatre Gym Veteran JB Steinberg Discusses "Kimberly"

This week we're posting a three-part interview with Jill Bari Steinberg, one of Richmond's finest. JB is currently starring as the truly dysfunctional Aunt Debra in Kimberly Akimbo, by Pulitzer Prize-winning playwright David Lindsay Abaire, running for two more weekends at Theatre Gym, the 81-seat studio theatre space in the historic Empire Theatre complex. Kimberly is directed by Anna Senechal Johnson, and produced by Cadence Theatre Company in partnership with Barksdale's Theatre Gym. Theatre Gym used to be the name of Theatre IV's initiative through which facilities and other services were shared free-of-charge with independent artists who wanted to co-produce outstanding, contemporary, provocative theatre. Today, Theatre Gym is the name of not only the initiative, but also the facility itself. The 81-seat studio space is no longer named The Little Theatre--it's now Theatre Gym. New signage will be coming soon! Jill Bari is practically a founder of Theatre Gym. The Barksdale Buzz was pleased to catch up with her to discuss present and past experiences.

Q - Thanks for talking with us, Ms. Steinberg. I'm told you grew up in Portsmouth. What brought you to our fair city?

A - I came to Richmond for VCU and stayed. My first professional Richmond production was Boys' Life, directed by Dan Ruth and produced by Keri Wormald. For a couple wonderful years Dan and Keri had a small stage company called Shadowcast Theatre Works. It was a great experience. The show was performed upstairs at what was then the Paradise Cafe-- now it's the deLux Diner & Lounge--one of the many Richmond theatre spaces that have come and gone.

Q - Has Richmond theatre changed that much over the years?

A - I think we have more theatre companies around now. That's a good thing in that it gives more people a chance to develop their craft.

Q - You've performed a lot in Theatre Gym. What's the experience like?

A - I love Theatre Gym because of its intimacy. In its early days, Theatre Gym provided a venue to a lot of actors and directors when not many other spaces were open to them, a way to produce something yourself to show the world what you had to offer. I feel like I grew up there in an artistic sense, having acted in My Children! My Africa!, How I Learned to Drive, Heathen Valley, The Cripple of Inishmaan, A Devil Inside, and the initial run of The Syringa Tree--as well as working behind the scenes on Jack and Jill and Raised in Captivity.

The intimacy of the space is great, but it also offers challenges. For some reason, people in the front row think it's OK to rest their feet on the stage. I guess it's nice that they're so comfortable there, but it drives me crazy. One night during The Syringa Tree, a gentleman's cell phone rang, which would have been bad enough but he decided to answer it, and then, while talking to his friend, he proceeded to walk across the stage to the actors' exit door. All 24 characters in my head wanted to scream at him. But I stayed cool, ignored him and continued the play.

One of my funniest moments on stage happened during A Devil Inside (pictured to the right). My character was dead after throwing herself under a moving train. Bill Blair and Bridget Gethins were playing a scene next to my decimated body. Bridget was supposed to shoot Bill at the end of the scene, and then he dies--I think just about everybody in that play died in the end. Anyway, Bridget goes to shoot Bill and the gun doesn't make a sound. So Bill grabbed his chest, started to collapse with a final death groan and haltingly shouted, "Oh! A silencer!!"

My poor little train-ravaged body started shaking with laughter and I couldn't stop. Since the audience was only three feet away, someone had to have noticed. Now if only I'd had that silencer when the guy with the cell phone walked across stage...

(To be continued... Photo captions: middle photo--Jill Bari with her husband Steve Organ; bottom photo--the cast of A Devil Inside: [back row, left to right] Steve Perigard, Bill Blair, Rick Brandt, [front row, left to right] Jill Bari Steinberg, Bridget Gethins, and an actress whose name Bruce can't remember, 'cause he doesn't think it's Donna Coghill but he might be wrong. Can someone help us please?])

Part 3 - Sister Maggie from "Doubt" Explains It All for You

Well, we promised this post for Monday, but since the Sunday post isn't quite ready yet, we have Maggie 3 one day earlier than expected. This is the conclusion of our interview with Maggie Roop, one of Richmond's finest 20-something/30-something actors. Maggie will be continuing to perform in the new comedy, Becky's New Car, for another three weekends at Hanover Tavern. Don't miss her!

Q - Just a few more questions, Maggie, and then we'll set you free. You're married to one of Richmond's finest scenic artists. Are there any advantages to having a partner "in the business"? Any disadvantages?

A - I don't think Adam's work in the theatre has really affected mine in a positive or negative way. Except that we are especially invested and supportive of one another because we are both working in the same field and community.

Q - We at Barksdale know that we greatly benefit from constructive suggestions. If you could change one thing about Barksdale Theatre, or Richmond theatre in general, what would it be?

A - Well, this is probably going to make me sound like a super idealistic hippie flower child...but I think that we all need to support each other more. There's enough drama in theatre already! This is probably another unavoidable downside to being a theatre artist but sometimes I wish that we could all just get along. I don't mean to say that anything terrible is happening interpersonally in our theatre world here (and this is not directed at any one person or theatre by any means) but I think an extra pinch of sensitivity and tact would make our recipe for success as a community almost perfect!! Harmony and understanding, man.

Q - Sympathy and trust abounding. What is the most unusual, funniest or scariest thing that has ever happened to you on stage?

A - I thought of so many answers right away that I had to call my friend Audra (of the Honaker variety) to help me remember the best one and here it is: First Baptist of Ivy Gap (five of the six cast members are pictured to the left) was directed by Bruce Miller at Hanover Tavern last year. In one scene Jan Guarino's character jokingly smacked Ali Thibodeau (I'm laughing as I tell the story) on the forehead, in the style of a charismatic evangelist, and then Ali would fall backwards into my arms. One night Jan accidentally put a little more force than usual into said smack, or Ali's head was in the wrong place--I don't know; these things happen. Anyway, the smack left a visible, hand-shaped mark on Ali's forehead. When Ali turned around and I noticed this mark I completely fell to pieces. Which I guess wasn't very helpful, but ... Ali was reeling a little from the experience, and I spent the remainder of the very long scene trying and failing to recover from the fit of laughter and tears. I would say this falls under "unusual", "funny" AND "scary." Phew.

Q - What about your work as an actress may come as a surprise to others who aren't "in the business"?

A - Well, I never think I'm any good. It's true that I'm proud of my work and encourage people to come to my performances, but I'm also never convinced that I am doing very well. I think this is the conflict all artists experience. If I felt like I had really done a bang-up job and patted myself on the back, then I wouldn't have anywhere to go from there. It is the constant desire to build and improve that keeps me auditioning and keeps me hard at work.

Roop Raps on Shofner, Maupin, Nasteff, Hanover Tavern

We're in the midst of an interesting interview with Maggie Roop, who is playing the ingénue role of Kenni in the new comedy, Becky's New Car, playing now through November 6 at Barksdale Theatre at Hanover Tavern. This is Part 2 in a three-part series. In the photo below, we see Maggie with Durron Tyre and Mark Persinger in Theatre IV's 2011 production of Honk!)

Q - Thanks again, Maggie, for talking with us about your experiences in and around Richmond theatre. Enquiring minds want to know.

A - Don't you mean "inquiring"?

Q - Well, yes, but ... It's a slogan used in the 80s by the National Enquirer, so ...

A - Now you're starting to scare me.

Q - I'm sorry. I'll try to sound less like someone who's lurking in the shrubbery with Bat Boy. Do you supplement your acting with a day job? What is it?

A - I'm very lucky. During the day I work at Romp n' Roll in Midlothian. The company is locally owned and provides classes in Gym, Art and Music for children under 5. I'm the manager there and I also get to teach classes. It's a great way to spend my days before I head to the theatre. In addition to my love of theatre, my next great passion is educating children and nurturing their development.

Q - What are your long term career aspirations?

A - Some Richmond theatre community members may not know that Matt Shofner (VCU grad, actor/singer/dancer and all around fantastic person and pal, pictured to the right) has just moved backed to RVA. Matt and I have a strong desire to bring something more to the theatre community so we are currently working on a new project together. We will be producing some exciting new events starting in the New Year which will help to bring the theatre community together and showcase the rich talent that our fair city has to offer. Stay tuned for more news!!

Q - Now you're the one being cryptic. I like that.

A - Happy to oblige.

Q - You've worked with a variety of directors over the years. How much specific blocking / character advice etc. do you like to receive from a director? Or do you prefer a more organic process?

A - I think one of my greatest strengths as an actor is my willingness to be a piece of clay. At the beginning of my process I really like to give in to what the director is offering me and flow with it. This is something I have honed since school. I find it easier to start out not resisting what the director gives me (within reason) and then as the process continues I start to build on that foundation with the character nuances and specific choices I've found along the way. I think this is what makes Billy Christopher Maupin (pictured to the left) and me such a good team. We have a great push-pull relationship and we speak the same language. Which is why, if you look at my resume, you will see his name peppered generously upon it!!!

Q - You recently had the chance to meet the Staadeckers, the couple that contributed the funding to originally commission Becky's New Car in Seattle. What was that experience like?

A - It was, for lack of a better word, magical. Their passion for this play and for the process of commissioning a play is so inspiring. I hope they are paving the way for more people to take a chance and do what they did, so that theatre across the country and the world can continue to flourish in such a collaborative way.

Q - This is your second show at Hanover Tavern. Can you describe for our readers one example of something that makes the Tavern experience unique?

A - There's no denying that it is a wonderful experience to work in such a beautiful, historic building. The story behind the Tavern makes me feel like I am part of something special. I love the Tavern audiences too! Richmond is blessed with an exceptionally supportive and growing base of theatre patrons. But there's something about the folks who come to Hanover Tavern. They have an energy and appreciation for the shows we do that is palpable.

Q - Some people think of Richmond theatre as a closed shop, or Barksdale as a closed shop. What is your opinion about that issue?

A - I think this is an unavoidable issue in any theatre community. But honestly, I feel like I'm meeting new theatre artists and seeing new actors in Richmond theatre all the time. Evan Nasteff (Chris in Becky's New Car, that's Evan peering over Maggie's shoulder in the Becky's promo shot to the right, with Gordon Bass) and Christine Fonsale (Ginger in BNC) are perfect examples of this. Becky's New Car is Evan's first show in a few years, and Christine is a Williamsburg actor making her Richmond debut. They are both new, fresh faces on a Richmond stage. There's always going to be a core group of people at any theatre who are consistently cast because of their talents and abilities, or because directors and producers know how great they are to work with. A wonderful aspect of Richmond theatre, to me, is that we have both--a broad base of experienced professionals always welcoming a new crop of fresh talent. I like the mix, and wouldn't want to lose one for the other.

(the third and final installment coming next Monday)

Maggie Roop Buckles Up for Interview 'bout "Becky's" etc.

Maggie Roop has been earning admiration and loyal fans for a while now at Barksdale, Theatre IV, and other theatres around town. She contributed mightily to the musical merriment of Honk!, Seussical, Annie and Guys and Dolls, played a conflicted nun in Doubt (see photo below and to the left, with Irene Ziegler), and a recalcitrant organist in First Baptist of Ivy Gap. Now, in Becky's New Car, she's the young heiress who longs for a life more real. The Buzz caught up with Maggie to ask her a few questions about her flourishing career.

Q - Thanks, Maggie, for agreeing to take a test drive in our new interview series on the Barksdale blog. Billy Christopher Maupin, the director of Becky's New Car, made me promise not to ask anything that might give away plot points, so forgive me in advance if any of my questions sound cryptic.

A - No problem. I like cryptic.

Q - Before we all fell in love with you on our three stages, you must have come from somewhere. Where?

A - That wasn't cryptic at all.

Q - I haven't gotten to the cryptic part yet.

A - I grew up in Herndon, VA which is in the D.C. area near Dulles airport. My first show was a production of Oklahoma! with a children's theatre company in Northern Virginia in which I played one of a herd of gingham-clad square dancing children and I loved it. Then in High School I was cast as Essie in You Can't Take It With You and I was completely hooked. That was when I really knew that I needed to be in theatre. I originally went to the Boston Conservatory as a musical theatre major. It was an excellent program but it didn't focus enough on the theatre side of things for me. I liked the productions I saw at VCU prior to attending and my friends who went there had great things to say about the instructors. So I applied and ... that's how I wound up in Richmond.

Q - Were there any professors who influenced you significantly?

A - Joe Sampson was my acting professor for one semester my first year at VCU and he really taught be to be fearless. He pushed us to make strong choices and I learned from him how to compose a character in terms of the intensity of that character's needs within a play and a scene. My junior year I had Dr. Tawnya Pettiford-Wates as an acting instructor for Shakespeare. Her instruction, in conjunction with the work I was doing that year with Janet Rogers in Voice and Speech, helped me make a huge step forward in my actor training.

Q - You married a fellow VCU theatre grad, the talented scenic artist, Adam Dorland (see picture to right). How did you and Adam meet?

A - Actually, Adam and I met in middle school. We both grew up in Herndon and became close friends in high school. At first we went separate ways for college but we both wound up transferring to VCU (ok, it wasn't exactly a coincidence). We've basically been together since I first moved to Richmond and then we got married last year!

Q - Like a lot of actors, you made the move to NYC following graduation. What was that experience like? What brought you back to Richmond?

A - I moved to New York for one year after I graduated from VCU. Adam graduated two years prior and had been in "the city" during all that time, so I wanted to be with him and give New York a whirl. I had some really wonderful experiences that year teaching theatre to kids. I loved that opportunity. But the city itself wasn't right for me. The culture was thrilling and it is a dynamic and wonderful place, but we all know how expensive it is. I missed a more intimate city with a more laid back pace, like RVA. Someplace that made sense financially. My experience living in NYC and RVA has created in me a great passion for the smaller theatre community. I am a strong believer in this town and the ability we have as a cohesive and tightly involved theatre community to keep growing and maturing and making theatre that is at the caliber of the larger cities and beyond. So, Adam and I decided to make the move back. And we're glad we did.

(to be continued)

Interview with "Lend Me a Tenor"'s Frank Creasy - Part 3

This is the final installment in a three-part interview with Frank Creasy, one of the stars of Lend Me a Tenor. We greatly appreciate his taking the time to talk with us. The picture to the right is a recent promo shot Frank made for the Virginia State Fair.

Q - You've played some terrific parts over the years, and your current role in Lend Me a Tenor is certainly among them. Are there any dream roles that you'd still like to play?

A - Can I send you the complete list in an Excel spreadsheet? Okay, okay...truth be told, I’ve had some dream roles already, such as George Schneider in Neil Simon’s Chapter Two at CAT (that's a role I’d like to do again, actually). And although I love character parts and I love comedies (see previous question and answer in yesterday's installment), I’d like to have the chance to tackle the role of Johnny in Frankie and Johnny in the Clair de Lune by Terrence McNally. Probably without the nudity. As a “man of a certain age,” I’m not sure that would appeal to ANYONE. But I absolutely love the play and the role.

Q - Have you dabbled in any other arts activities?

A - Believe it or not, I did a semester with the modern dance company at Longwood. You’ll notice I’ve never been asked to dance in any Richmond theatre productions; I guess that speaks to my skill as a dancer more than anything else I could say.

Q - Does your wife Carol (pictured with Frank to the left) share your interest in the arts?

A - Carol sang in the UVA women’s chorus and still has a lovely voice to match those beautiful eyes. She also did all the interior design and decorating in our home. Guests always ask who we hired. "I didn’t hire someone," I tell them, "I married someone."

Q - When you're not at work at Anthem, or acting in a production at a Richmond theatre, what are your other interests? What other aspirations have you pursued?

A - I was a “jock” in school – wrestling was my thing, and during my first year of college at George Mason (before Longwood), a pinched nerve in my neck led to an x-ray. That’s when I learned about an injury two years before that had caused a dislocated cervical vertebra. I'd been wrestling for two years with a dislocated vertebra! I'm very lucky that I didn't wind up in a wheelchair. I quit wrestling after that, under doctor's orders. I got healthy, took up acting after transferring to Longwood, and the rest, as they say, is history.

Q - Why do you think theatre has held your interest all these years?

A - I just really enjoy it, I guess. I come to the theatre to have fun. But I approach what I do very seriously. It could be a farce like Lend Me a Tenor (the picture to the right shows Frank with Tenor co-star Jan Guarino), or a violent epic like The Spanish Tragedy (Henley Street Theatre), or a brand new avant garde piece where I’m playing an apartment building, like I did in Crumble (Lay Me Down, Justin Timberlake), a show I did last year at the Firehouse. Whatever show it is, first and foremost, I try to be entertaining and interesting because the people who work hard and pay for their tickets deserve that.

I try to be versatile, to honor the play and the role and the direction, to create a character who is unique, who has a little bit of “Frank” in him, but is still, hopefully, different from anything else I’ve done before. I'm not really interested in rehashing a previous performance or falling back on some schtick from my acting “bag of tricks."

To me, my highest achievement would be for an audience member to see my name in a playbill and think, “Frank Creasy is in this play. That should be fun. Wonder what he'll do this time.”

Creasy Talks More about "Tenor" and Richmond Theatre

We're pleased that Frank Creasy, one of the leading actors in Lend Me a Tenor, agreed to talk with us about his experiences on and off stage. Both show shots are from Lend Me a Tenor (the first picture also features Aly Wepplo, the second also features Chris Stewart). This is Part 2 in a three-part interview with Mr. Creasy.

Q - Thanks again, Frank, for responding to all these questions. You've been in a lot of shows, and participated I'm sure in a lot of auditions when you weren't cast. What advice would you give to actors who feel like they audition and audition, and seldom get offered the roles they want?

A - The same advice I give to myself. Be ready to give your strongest audition initially so that you're invited to call backs. Listen carefully to the directions given during call backs. Come prepared to read the character you want to play in a variety of ways, based on what the director asks for. If you get to read several times, try it slightly differently each time. Perhaps most important, be ready to throw out everything you’ve prepared and do something completely different on the fly if requested.

You can’t control whether you’re too tall or short or skinny or fat or young or old for a role. Just be flexible, commit to your choices, and have fun. And by all means, be pleasant, friendly and courteous to everyone in the theatre. No one wants to work with someone who’s a pill or a pain in the neck.

Q - What's most fun about performing in Lend Me a Tenor?

A - I don’t think you'll have enough space to include all the things that are fun. Some highlights: the role (Saunders) is a gem; the script is extremely well written, every single character and scene; the actors I work with are absolutely first rate, top to bottom, and I love and respect what each one of them brings to the production. Our director, Scott Wichmann, put together an amazingly tight, funny, wonderful production, and behind the scenes, our stage manager Rick Brandt and our dresser Caron Sinnenberg keep things running seamlessly.

Q - Other than that Opening Night wine bottle, has anything else funny or unusual happened thus far in the run?

A - Usually things go smoothly, but with that much running around something is bound to happen. One night, as I ran into the bedroom with Max (Nick Ciavarella) in Act II, I pushed the door open and accidentally caught my jacket on the door handle, suddenly getting yanked backwards. In “Saunders fashion” I blamed Max and barked at him as if it was all his fault.

Q - What don't people in the rest of the world realize about Richmond theatre?

A - The vast amount of talent we have here. Truth be told, there are some folks at auditions or in some local productions and, honestly, I don’t believe they're all that wonderful. But then-- and this happens all the time--I'll see someone I've never seen before, and they just impress me greatly with their talent. All in all, it confirms for me how lucky I am to work so often with such talented, interesting, fun people.

Q - Do you prefer comedies or dramas, classical works or contemporary pieces, musicals or non-musicals? Why?

A - TOUGH question, and I know so many actors would say “Oh I love them all” and such...but if I had to choose one, I’d probably say contemporary comedies. I love Neil Simon and I love well written comedic roles and I love to hear audiences laugh, because then I KNOW they’re enjoying it. Hard to tell if they’re enjoying an intense drama until the curtain call and the applause lets you know where you stand.
Doing comedy well is really hard, because timing, delivery, expression and body language all have to come together in just the right way to tickle the vast majority of people. And some of those skills, sorry to say, are innate: you have to feel it. I don't think it can be taught.

Comedies don’t usually win lots of acting awards, but they’re tremendously challenging. They entertain and make people happy. What could be better than that?

(to be continued)

Interview with "Lend Me a Tenor"'s Frank Creasy - Part 1

Frank Creasy is among Central Virginia's most reliable character actors, and he's now playing the leading role of Saunders, the opera manager, in Lend Me a Tenor. The Buzz caught up with Frank to discuss his background, his three decades in Richmond theatre, and his backstage experiences during the run of this riotous farce. This is Part 1 of that interview.

Q - Thanks for talking with us today, Frank. You're doing a terrific job in Lend Me a Tenor. (That's Frank in Tenor to the left, with Nick Ciavarella.) It's so much fun to watch you work.

A - Thanks. All of us are having a great time because the audience is having a great time. I'm going to be really sorry when this one closes on October 16.

Q - Tell us a little bit about yourself. Where did you go to college? What was your major? What brought you to Richmond?

A - I grew up in Winchester, VA, and went to Longwood, majoring in sociology. I first moved to Richmond in the summer of 1979, between years at Longwood. I've always had relatives in the Richmond area. My father's mother grew up on Church Hill and attended St. John's Church all her life. Several aunts and uncles also live in Richmond. When I was growing up, my family always came to Richmond every Thanksgiving and Christmas. Also, a lot of the friends I made in college were from here. It just seemed like a natural place to settle down, I guess. Although I'm not sure exactly when the "settling down" part happened.

Q - What was your first job after graduation?

A - Believe it or not, my first job out of college was at Theatre IV in the 1982 production of Mister Roberts. (That's Frank in the picture to the right, just a couple years before Mister Roberts.) Theatre IV rented the Little Theatre a few years before buying the entire Empire complex in 1986. Ford Flannagan was part of that cast, along with some other terrific actors.

Q - Where do you work now? Are your co-workers aware of your theatrical activities? Do they come see you in shows?

A - Anthem Blue Cross and Blue Shield is my employer. I work as a help desk manager supporting the Anthem website. At least three co-workers have come to see Lend Me a Tenor, and others at Anthem outside my department have seen it and very graciously stopped by my desk to tell me how much they loved the show.

Q - After Mister Roberts, what were your next theatre jobs in Richmond? How did it feel to audition in a new city where you were not that well known?

A - I was cast in Mister Roberts almost right away, in the spring of 1982. Auditioning back then was a little scary for me, right out of college. I auditioned once for Muriel McAuley, one of Barksdale's co-founders, when she was casting Elephant Man at the Tavern. She called to tell me that I read wonderfully but I was just too young for the role. It was a lovely rejection--the first of many to come. Muriel's kindness sticks with me to this day.

Q - Like many actors, you started out in smaller roles, and over time worked your way up to leads. What was that experience like?

A - You know, I played my fair share of leads in college (Paul in Barefoot in the Park, Mortimer in Arsenic and Old Lace, among others). And I've had good experiences playing leading roles at other theatre companies in town. But as a character actor, supporting roles are often where I land, and I'm glad to do them. (That's Frank to the left, as Charlie Martin in On Golden Pond at Barksdale Hanover Tavern.)

I would like to think that my talents have improved, because I've worked purposefully to get better show by show. I've tried to take direction and carefully watch what successful local actors do onstage: David Bridgewater, Scott Wichmann, Joe Inscoe, to name a few who I've watched and worked with, studying how they approached their performances.

I've always believed that if you want to be one of the best, there's no better training than watching what the best in the field do and then modeling your behavior accordingly. It works in all walks of life; acting is no different. Of course, those guys I mentioned have talents some of the rest of us may only aspire to but never fully achieve. My hope is that one day I'll be close enough, in that regard, that someone would think of actors of that caliber as my "peers." To me, that would be the highest compliment.

(to be continued)

Jonathan Sale Forges a Career in NYC

Posted by Bruce Miller
Back in the mid-90s when Theatre IV was still in the theatre-for-adult-audiences business, we produced what I thought was a wonderful production of a play called Stand Up Tragedy (pictured below). John Moon directed. Rusty Wilson, Ben Hersey, Rick Brandt, Richard Travis, Tye Heckman and others co-starred with several talented young teens who played New York gangbangers. One of the teens (maybe he was in his early 20s by then) was a young Richmonder named Jonathan Sale (pictured as he looks today above and to the right). Although he was a clean cut student at the University of Richmond, he had a great urban vibe that served him well in the show.

After graduating from U of R with a double major in theatre and Spanish, Jonathan toured for a year or so with Theatre IV, and then headed to San Francisco where he earned his MFA in acting from the prestigious professional theatre grad program at American Conservatory Theatre. He moved to NYC, married in 2003, and for the last several years has been building an impressive career Off Broadway and in television and film, finding work both as an actor and director.

Recently Jonathan made a fun national spot for Holiday Inn Express, using the rap skills he first honed as a street punk in our fondly remembered production of Stand Up Tragedy. You can catch his commerical star turn at http://www.youtube.com/watch?v=ZlCLuIwuVgQ. Jonathan's the white guy, and this credit sits proudly on his resume alongside several gigs on Law and Order, Ed, Guiding Light, As the World Turns, a growing list of independent films, some Off Broadway plays, and numerous other TV commercials.

Most recently, Jonathan directed and produced the short film Sovereignty (http://www.sovereigntymovie.com/), written by Rolin Jones, the Pulitzer Prize-nominated writer and producer of Showtime's Weeds. Sovereignty began its life as a short play in the Humana Festival at the Actors Theatre of Louisville, starring Jonathan’s wife, Heather Dilly (pictured to the right, and below and to the left). Sovereignty the film just won Best Short Film at the 2008 Artivist Film Festival, the 2008 Peace on Earth Film Festival, and the 2008 Non Violence International Film Festival. Heather Dilly, star of the film as well as the play, won Best Actress for her work in Sovereignty at the 2008 Long Island International Film Festival.

As Jonathan’s career becomes more impressive year by year, it was interesting to find on the www this interesting coverage of an acting project a few years back. Prior to devoting his time to becoming an award-winning filmmaker, Jonathan made his mark on the world of video games. He was the “motion-capture” actor for the main character of Tommy Vercetti, the antihero of the video game Grand Theft Auto: Vice City. The character's snarling voice is provided by well known film actor Ray Liotta, but the body and movement are all computer generated on top of the actual movement provided by Jonathan Sale.

When asked by a video game reporter to describe the experience, Jonathan said, “I wore a Spandex/Velcro body suit that included hats and shoe wraps with 33 balls covering the suit. Each of the white spheres was a little smaller than a ping-pong ball. About 20 feet off the ground there was a grid of 14 cameras that read only the light reflected back to them from the balls. The cameras compiled this info in the computer and made a moving model that they later put the skins over for the game. They also filmed all of the scenes with two digital video cameras and later cut that footage together for the voice actors to work with. Ray Liotta spent a week in the booth matching my performance. I always thought that was pretty cool.

We filmed the project six to eight hours a day, five days a week, with two weeks of rehearsal and one week shooting . After rehearsing for two weeks we all knew each other pretty well. We were in this terrific studio in Brooklyn in which every room is decorated as a different set. And I don't mean the rooms that we shot in; I mean every room. The room where the staff would meet looked like a spaceship boardroom. The hallway looked like the inside of an Egyptian tomb; the lunchroom looked like a tropical forest. It was really cool.

The studio where we shot was a huge concrete room with a big square taped off on the floor. That was the playing area. Outside of the taped area, some of the cameras couldn't see us and therefore the computer couldn't calculate us fully and we would disappear.

When we showed up and donned the spandex for the first time, we were all a bit shy, but it wasn't nearly as embarrassing as we thought it would be. We kind of looked like blue/black or red/black superheroes. Everyone was creative and great to work with.”

Asked for any advice he could offer to future motion capture actors, Jonathan wisely offered this: “The more I treated it like a regular acting job, the better. When I was really acting well, it showed through the motion capture. Also, stuff your Spandex mo-cap suit. That's the key.”

There you have it, my friends. And all this time we thought cod pieces were only for Shakespeare.

--Bruce Miller

Meet the Cast of Driving Miss Daisy: Garet Chester – “Boolie”

Posted by Joseph Pabst (Director of Driving Miss Daisy)
(Note: Driving Miss Daisy runs from September 19 through October 26, 2008 at the Barksdale at Hanover Tavern. Over the next several weeks, we will shine the spotlight on each of the three members of the cast.)

Garet Chester has been on hiatus from the professional stages of Richmond theatre for nearly 15 years. But Driving Miss Daisy has drawn him back onto the boards. Why? “Because of its wholesome nature,” says Garet. “It’s a show that you can bring your teenagers to see. This show is not just wholesome … it’s warm, touching, thought provoking, and it will definitely make people laugh and smile.”

Portraying “Boolie Werthan” (Daisy’s son) has given Garet an acting challenge as well. He is a comedic actor at heart, but this character is written to be a bit of the straightman – providing some humor while basically being a thread that keeps the show level. Like Boolie, Garet is a very playful guy who loves to “get people’s goat” whenever he can. However, Garet is less concerned about keeping up appearances than his on-stage counterpart. “I don’t think I’m afraid of what people will think about certain unorthodox actions I may take. If I believe it, I do it. I don’t worry about the status quo.”

On the stage, Garet considers playing the Wizard in Theatre IV’s The Wizard of Oz among his personal favorites. Having grown up watching the movie, it allowed him to play a childhood fantasy role. It was also an acting challenge to play three different characters – the Wizard, Professor Marvel and the Emerald City Gatekeeper. In Rosencrantz & Guildenstern Are Dead, Garet took the opportunity to stretch his acting skills playing Alfred, the young man who plays all the female characters in a Shakespearean troupe. He portrayed Allistair Spenlow in a production of Move Over Mrs. Markham, a mistaken-identity role which kept the audience guessing… and laughing a lot – a reaction he never objects to!

But rather than his stage work, Garet is probably best known to Richmonders for his voice. His career on Richmond radio stations as the “morning guy” made him a celebrity all over town, affording him the opportunity to speak in person at all kinds of events and to be the frontman for a number of charities and causes. On television, he has hosted telethons, appeared on interview programs, and even had his own show on Channel 8 for over 2 years: All Night Long. Garet describes the show as:

“… a cross between USA's Up All Night or Elvira and Saturday Night Live...with one cast member. It was a great experience in improv and quick-change comedy. Since it ran from 11:00 PM to 6:00 AM, my audience was ‘diverse’. My usual stream of fan mail included regular correspondence from several of Virginia's finest correctional facilities. That was quite interesting!”

This style of character comedy mixed with improv became Garet’s trademark. He was Chameleon Boy, making personal appearances in costume as famous movie stars, presidents or other crazy characters. And he continues his “impressionovisational” work to this day. Lite 98 listeners will be glad to know that Garet Chester and “Bubba Massey Valentine III” are one and the same! (Now you know why they never appear in the same room together…)

His life offstage is filled with a mixture of work and family. Most Richmonders may be unaware that Garet is a successful businessman in his own right, constantly ranking in the top 5-10% of Richmond Real Estate agents. Because his business is home-based, he is fortunate to spend lots of quality time with his wife and family. His daughter, son-in-law and two grandchildren live with him; and his son and daughter-in-law live close by as well.

Garet considers his life a ministry, and his musical and comedic talents are his tools. He sings for seniors around Richmond, and performs slapstick for the underprivileged around the world. For the past twenty years, he has spent a few weeks each year on foreign mission trips.

“Bringing a smile to otherwise somber faces is my most rewarding pastime.”

--Joseph Pabst

JB Takes the Stage, and her place in STYLE Weekly's Top 40 Under 40, and the Questionnaire

Posted by Billy Christopher Maupin

The incomparable Jill Bari Steinberg, currently appearing in our production of Carson McCuller's stunning play The Member of the Wedding, was just named one of STYLE Weekly's Top 40 Under 40- the young men and women who are transforming Richmond! Which means it's high time for me to get on the ball and get Jill Bari's answers to Pivot/Lipton's questionnaire.

JB has also appeared in Barksdale's productions of Brooklyn Boy, The Constant Wife, The Syringa Tree (after a Phoebe-award winning turn in Theatre Gym's production), Fifth of July, The Man Who Came to Dinner, and The Laramie Project (in association with Richmond Triangle Players). AND she appeared in Theatre Gym's productions of My Children! My Africa!, A Devil Inside (by Pulitzer-Prize winning playwright David-Lindsay Abaire), Heathen Valley, The Cripple of Inishmaan, and How I Learned to Drive. AND at Theatre IV in Peter Pan and Babes in Toyland. AND at the Firehouse Theatre Project in As Bees In Honey Drown, Hedwig and the Angry Inch and Bat Boy: the Musical.

Where have I been? It is so past time! So here goes:

1. What is your favorite word?
Such a hard question. Words are amazing. I love them all. But one of my favorites is Life.

2. What is your least favorite word?
I really love all the bad words too but Extermination is a bad thing.

3. What turns you on [creatively, spiritually or emotionally]?
Humor, wit, humility, vulnerability

4. What turns you off?
Arrogance, conceit and when somebody THINKS they are funny.

5. What sound or noise do you love?
My Father's Voice

6. What sound or noise do you hate?
Gun shots

7. What is your favorite curse word? (have it at it. I obviously won't post it for real, but in some approved somewhat censored fashion) !@#$%^ &*()_+ is hilarious but it is so hard to pick just one. I am also learning some interesting lingo from the kids in the cast of MOTW such as “What the Krunk?” and “That is so sketch!”

8. What profession other than your own would you like to attempt?
OK – This is seriously the hardest question to answer. The list is long but to narrow it down as much as possible I will say food critic, art curator or art historian, wine maker, photographer, children’s talent agent, judge on Top Chef.

9. What profession would you not like to do?
Knife throwers assistant or anything involving Clowns. (please do not post a clown pic here or it will scare me)

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates? Welcome Jill Bari, meet your Grandfather Bernard. We have been waiting for you for a long time.

--Billy Christopher Maupin