Being There for the Birth of a New Play

Posted by Bruce Miller
I first met my buddy David Robbins about a quarter century ago. A theatre major from William & Mary, David had followed his undergrad work with four years at the W & M Law School, followed by a year's work as an environmental attorney in SC.

Sometime around 1982, David gave up his law practice and returned to Richmond to be a freelance writer. If memory serves, he worked mainly for the ad agencies at first. That's when we met. Whatever he was writing, he seemed to be successful at it from the beginning. He's always been one of those smart guys who works hard--compliments I don't award easily. He's always seemed destined for great things.

He spent some time acting. He played a major role in Theatre IV's production of Isn't It Romantic? by Wendy Wasserstein, and he was Dracula at Dogwood Dell. Last night Joe Inscoe said he remembered David as a "sailor on roller skates," and he seemed to be referring to something theatrical rather than a wanton evening on Canal Street.

When Theatre IV purchased the Empire in 1986, David wrote (for free) the copy for the fundraising video we used to help pull together the $2.3 million we needed to purchase and execute Phase I of renovation. The video starred Dee Slominski, Meredith Strange-Boston and Jody Smith Strickler as the three twisted sisters from Macbeth. It was a hoot. More importantly, it worked; we raised the needed funds.

Sometime in the 90s, David began working fulltime as a novelist. His first book, Souls to Keep, is a voodoo mystery of sorts set in the Florida Keys (if memory serves) and has to do with switched personalities. Or maybe I'm getting mixed up. It was published in 1998 with little acclaim, but I bought (and still own) something like four copies cause I like to support my writer buds.

His second book, War of the Rats, was a HUGE success. Overnight it seemed, little ole David Robbins (actually big ole David Robbins--he stands something like 6' 4" tall) became David L. Robbins, the best selling author. War of the Rats focuses on the Russian / German snipers fighting in and around Stalingrad in WWII. It served as the inspiration for Jean-Jacques Annaud's hit film Enemy at the Gates starring Jude Law.

Rats was followed in quick succession by The End of War, Scorched Earth, Last Citadel, Liberation Road, The Assassin's Gallery, The Betrayal Game, and Broken Jewel. He's now hard at work on his next novel, The Devil's Waters. In preparation for that assignment, he's been travelling around the world on cargo ships and conferring with genetic scientists. You can read all about his writerly adventures on his website: davidlrobbins.com.

I haven't read all his books--there's a short stack of them in my yet-to-get-to pile--but of the several I've read, Scorched Earth has always been my favorite. It concerns racial tensions in today's rural Virginia. It's a courtroom drama, full of flesh and blood characters, suspense and stirring action.

I was thrilled when David and his attorney, Barksdale Board member Bennett Fidlow, recently asked if I'd be interested in reading a stage version of Scorched Earth that David has just completed.

Last night, a small team of familiar Richmond stage faces--Ronnie Brown, Joe Inscoe, David Janeski, Thomas Nowlin, Jeanie Rule, Janine Serresseque, Jill Bari Steinberg, Ali Thibodeau, Scott Wichmann, Aly Wepplo, Eric Williams, and Irene Ziegler--performed a table read of the new script for David, Bennett, Phil Whiteway, Chase Kniffen and me. It went really well; we all were excited.

Barksdale is always eager to explore new work, and we are strongly considering producing David's new play, Scorched Earth, sometime in the near future.

Many thanks to David and all the actors who gave of their time and talents last night. I think I speak for everyone when I say it was a privilege for each of us to be together in that room.

I'll tell you more about Scorched Earth as things develop. Till then, hope to see you at the theatre!

--Bruce Miller

"The Perfect Family Summer Musical"

Posted by Bruce Miller
The extraordinary musical that brings down the curtain on both the Barksdale and Theatre IV Seasons earned its first rave review this morning from Susie Haubenstock. She LOVED it, writing a review almost as glowing as last week's review of Henley Street Theatre's A Doll's House.

Considering that The Sound of Music is America's favorite musical, and that pre-sales in advance of opening have already hit a record high, I strongly urge everyone to get their tickets to 1938 Austria as soon as possible. I'm convinced that the Times-Dispatch review will be only the first of several great notices. No one should miss out on the fun.

Here's what Susie has to say:

"What does it take to revive Rodgers and Hammerstein's The Sound of Music? Seven adorable children -- check. A Maria who's full of fun and energy and sings like an angel -- check. A Mother Abbess with a thrilling, inspiring voice -- check.

The new Theatre IV/Barksdale Theatre co-production at the Empire Theatre has all that and much, much more. Under the ebullient direction of Chase Kniffen, The Sound of Music is the perfect family summer musical, with much for each generation to love.

Even after a thousand viewings of the movie, it's possible to forget that there are serious political themes here, as well as grown-up relationships. Rodgers and Hammerstein were romantics, of course, but the Howard Lindsay/Russel Crouse book takes on Nazism, patriotism, pragmatism, moral relativism and religious faith -- and the show won the 1960 Tony Award to boot.

No need to recap the moving story of the von Trapp family in Austria; suffice it to say that Kniffen has reinvigorated what might be a saccharine bore and infused it with youthful enthusiasm. Most of the underpinnings are lush, from Brian Barker's opulent set to Sarah Grady's charming costumes to Lynne M. Hartman's beautiful lighting.

The orchestra, under Sandy Dacus' direction, is almost full enough, sounding thin only on the first-act finale, Climb Ev'ry Mountain, and Derek Dumais' sound design is nearly perfect despite its complexity.

The splendid cast is led by the delightful Stacey Cabaj as Maria, who bursts with warmth and joy and sings clear as a chapel bell. Jody Ashworth plays Captain von Trapp with admirable liveliness but a near-total lack of romantic appeal; nevertheless, his voice is stirring, his Edelweiss moving.

Susan Sanford and Michael Hawke are perfectly cast as the worldly Elsa and Max, more wryly lovable than despicable, and Kara Charise Harman provides that fabulous voice for Mother Abbess, as well as her loving manner.

All seven von Trapp children are delightful -- Ali Thibodeau, Eric Pastore, McKelvey Ewing Harrison, Cooper Timberline, Meghan Rose Cordner, Sydney Morgan Hall and Ellie Wilson -- and nowhere is Kniffen's deft touch more evident than in their performances; he elicits great work from young actors. His deceptively simple staging of The Lonely Goatherd is one of the highlights of the show.

All but the youngest kids in the audience were kept entertained by the 2½-hour show. My grandma took me to see The Sound of Music when I was little, and I've always been grateful. Given this lovely production, any grandma -- or mom, or dad, or aunt or big brother -- shouldn't hesitate to do the same."

Susan Haubenstock - The Richmond Times-Dispatch

You can reach our box office at 282-2620. I hope to hear from you soon. And I look forward to seeing you at the theatre.

--Bruce Miller

First Baptist of Ivy Gap

Posted by Bruce Miller
When First Baptist of Ivy Gap plays at Hanover Tavern from Feb 5 through Mar 14, it will once again connect Barksdale with Barter Theatre, the State Theatre of Virginia and our sister stage company in Abingdon.

Barksdale and Barter have been close ever since 1967 when Barter's legendary founder, Bob Porterfield, invited Pete, Muriel and Nancy to send Barksdale's hit production of Stop the World, I Want to Get Off out to Barter, marking the first time that a guest company performed on Barter's landmark stage.

More recently, Phil and I have been good friends and professional colleagues with Rick Rose, Barter's current artistic director, since his arrival in Virginia 16 years ago. Next month we'll be partnering with Barter on Poetry Out Loud. Theatre IV facilitates this national poetry recitation program for high school students throughout Virginia. Barter will be hosting our regional competition in Southwest VA.

First Baptist of Ivy Gap was first introduced to a live audience when the script was produced as a staged reading during Barter's 2002 Appalachian Festival of Plays and Playwrights, a component of the Virginia Highlands Festival. The new comedy was so popular with Barter's audience that it was remounted during the 2003 Festival as a "mini-production." Based on popular demand, Barter mounted a full production (the World Premiere) as part of their mainstage season in 2004.

First Baptist is written by Ron Osborne (above and to the right), a St. Louis playwright who is enjoying being "discovered" in his 60s. He's writing a new play every year, and four have been produced either as readings or mainstage productions at Barter.

Recently, Osborne's new play Ruby's Story premiered Off-Off Broadway at New York's 13th Street Repertory Theatre. Firehouse Theatre supporters may recognize 13th Street Rep as the home of the longest running play in Off-Off Broadway history, Line by Israel Horovitz. In 2006, 13th Street Rep was named the "Best Off-Off Broadway Company to Act With" by Backstage.

First Baptist of Ivy Gap is Osborne's most successful play. It is a sweet and sentimental comedy about six Tennessee church women who gather during World War II to roll bandages (historical photo to the right) and plan for their church's 75th Anniversary. In Act II, they reunite during the height of the Vietnam War. Amidst the laughter (there's a LOT of laughter), world and local events test the women's friendship and faith. They pass the tests.

We have assembled an All-Star cast (with one terrific newcomer). Jan Guarino (Mona's Arrangements, The Clean House) is playing Edith, the pastor's wife who holds everything together while her husband gets all the credit. Joy Williams (Driving Miss Daisy, Barefoot in the Park) appears as Luby, the very worried mother of a WWII soldier.

Harriet Traylor (The Little Foxes, To Kill a Mockingbird) introduces us to Vera, a pillar of the church and wife of the local bank president. Maggie Roop (Doubt, Annie) is Mae Ellen, the church's rebellious organist. Ali Thibodeau (Thoroughly Modern Millie, The True Story of Pocahontas) plays Sammy, a sweet young woman from the wrong side of the tracks. And Sarah Pruden (new to Barksdale's mainstage) creates the role of Olene, a vivacious Tennessee mountain girl with her eye on Hollywood.

I'm having a ball directing the show. It's our Hanover entry into Central Virginia's Acts of Faith Festival.

If you're looking for a funny, sweet and reaffirming evening of theatre, I hope you'll join us.

--Bruce Miller

Winning Smiles at Children's Hospital

Posted by Bruce Miller
One of the great pleasures of the Christmas, Hanukah and Kwanzaa holidays is the opportunity to give the gift of theatre to those who have no chance to enjoy our work under other circumstances.

Throughout the year, Barksdale and Theater IV regularly donate approximately 10% of all our tickets to those who otherwise could not afford to attend. We've been doing this since Theatre IV's founding in 1975.

Most of the free or deeply discounted tickets are distributed through about 40 different nonprofit organizations that regularly work with us on two service initiatives: Barksdale's Bounty at B'dale and Tickets for Kids at Theatre IV.

At Christmastime, we also enjoy taking smaller performances out to children and seniors who can't make it in to one of our theatres to see us perform in our native habitat. One of our annual holiday visits is to the wonderful children at the Children's Hospital on Brook Rd.

On Wednesday, Dec 9, the Richmond Kiwanis Club and nine performers from Barksdale Theatre and Theatre IV joined together to bring some holiday fun to about 30 kids, many of whom live in their wheelchairs and hospital beds at the Children's Hospital full time. The annual Holiday Party is made possible by a donation from the Kiwanis Club, all of which is used to buy refreshments and gifts for the hospital's inpatients and day patients.

During this year's party, Kiwanis members helped the children unwrap their gifts, and carolers from Theatre IV's production of A Christmas Carol (Charlie Dacus, Robin Harris-Jones, Billy Christopher Maupin, Mark Persinger and Ali Thibodeau) plus Chase Kniffen, Jennings Whiteway, Snow Bear and I donated time to sing for and with the hospital's patients and staff.

The ultimate event of the party is, of course, a visit from Santa.

"Most of our inpatients will be spending the holiday season at the hospital this year," said Stephanie Allan, Special Events Coordinator at Children's Hospital. "This event allows the children to enjoy the holiday spirit by bringing the festivities to them."

"Our club takes great pride in our long relationship with the Children's Hospital," said Bill McAllister, Co-Chairman of the Children's Hospital Committee of the Kiwanis Club of Richmond. "This will be the 56th year of our sponsorship of the Holiday Party. What a great way to kick off the season."

"Providing access to the theatre arts is part of Theatre IV's mission," said Jennings Whiteway, Donor Stewardship and Events Manager for Barksdale Theatre and Theatre IV. "We are grateful for partners like Children's Hospital for giving us the opportunity to share the wonder of live theatre with these kids, lifting their spirits, especially during this time of year. It is a rewarding experience for everyone involved and something we love to be part of each year."

Many thanks to the performers who volunteer their talents each year to service initiatives like this one. If you'd like to participate or assist in future programs, please let me know. I can't think of anything we did this holiday season--and we did a LOT--that put me more in touch with the Christmas spirit.

Until next year's holidays, I look forward to seeing you at the theatre!

--Bruce Miller

Something Old, Something New

Posted by Bruce Miller
We decided to try something different this year on Theatre IV’s mainstage season at the Empire. Change is good.
Our audience for this series includes children age 3 to around 12—and their families. In the past, we’ve offered four shows for everyone. We’ve asked the wigglers to stretch to reach the shows with more developmentally advanced content; we’ve asked the children approaching adolescence to remain comfortable with shows clearly directed to their younger siblings.

This year we’re offering six shows and allowing subscribers to choose the three or four best suited to their child’s age and maturity. For the pre-schoolers and primary grades, we have The Ugly Duckling (which opened last Friday at our historic Empire Theatre), The Song of Mulan, and Jack and the Beanstalk. Upper elementary types may find more enjoyment in A Christmas Carol, Buffalo Soldier, and The Sound of Music. Families are free to mix and match to their hearts’ content.

The Ugly Duckling is one of our oldest and most successful shows for the squirm and learn set. It was written and composed about 30 years ago by Richard Giersch, a former Richmonder now living in Northern Virginia. Throughout the decades, it’s been one of our most parent-and-teacher-requested titles for K-3.

For me, watching The Ugly Duckling is like being visited by the Ghost of Children’s Theatre Past—an oddly satisfying experience. There’s audience participation (everyone is invited to stand in front of their seats and join in dancing the Funky Eagle), humans in animal suits, a moral lesson that is clear as day--even a chase scene. It’s a revival of a classic form, to be sure. Nothing like this would be written today.

It even asks children to have an attention span of more than 60 seconds and listen to extended narrative. How well I remember when extended narrative was the norm. But those were before the days of the explosion of rapid-fire children’s television.

So if you’d like to see an old fashioned play in our new format, please join us for The Ugly Duckling, running two more weekends, in Technocolor, starring Gordon Bass, Eric Pastore, Ali Thibodeau, Duron Tyre, and Aly Wepplo under the direction of Jan Guarino,

Hope to see you and your little ones at the theatre!

--Bruce Miller

Come to the Cabaret, Old Chum!

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

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

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

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

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

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

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

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

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

Hope to see you at the theatre!

--Bruce Miller

Stage 1 Did Everything Right

Posted by Bruce Miller
Don’t get me wrong. By design, no theatre company is perfect. The minute art becomes perfect it ceases to be art. So when I suggest that Stage 1 did everything right, I’m talking about process, not product.

As most if not all of you have heard by now, Stage 1 Theatre Company is closing its doors. There is no mystery here. Chase Kniffen, founding artistic director, comes right out and says it. Stage 1 is closing due to insufficient financial resources.

This should surprise no one. Nonetheless it does. “How can other companies continue,” some ask, “while Stage 1, which has produced four hit musicals in a row, finds it necessary to fold its tent?”

The answer is simple. From day 1 Stage 1 has operated at a level of professionalism that exceeded that of other fledgling companies. I'm not talking professional intent; I'm talking money.

Stage 1 had its own theatre with enough lighting and sound equipment to stand toe to toe with companies far more established. Chase hired actors, designers and music directors from Richmond’s top tier. If a score called for five musicians, Chase hired five musicians. He aspired to create first class sets and costumes, and produced some memorable designs (and outstanding shows) even while the nonprofit company was still completely wet behind the ears.

I challenge anyone to name any other Richmond theatre company that has worked at this level during its first season, or its second. Or third. The only ones I can think of are Swift Creek Mill, which when it opened in 1965 was a privately funded commercial operation, and perhaps the Renaissance Theatre, which I know only through hearsay. The Renaissance was created in the late 50s when two of Barksdale's original founders split off to start their own company, which burned brightly for two seasons before closing in financial disarray.

The Virginia Museum Theatre (1955) and StageCenter (approx 1970) both started at a high level of professionalism in most departments, but neither paid their actors. VMT was funded by no less a resource than the Virginia Museum of Fine Art, and StageCenter was funded in full by the recent inheritance of Tom Crane-Baker, one of its cofounders. When that inheritance ran out, so did StageCenter.

Professional theatre is what Chase knows. It challenges and inspires him; he is committed to it. From his own accounting, he has little interest in working within the artistic limitations that come with a shoestring budget.

Good for him! One can argue (I certainly do) that Richmond needs more shoestring theatres far less than it needs more major professional productions that will finally give our theatre community as a whole the national standing it's always longed for and never quite achieved.

Stage 1 and all who had the privilege of being involved with it lit up the Richmond theatre scene with ambition, youthful energy, passion and talent. And Stage 1’s driving forces achieved everything they set out to achieve. They broke no promises. When it became obvious that what they had created was a $300,000 theatre with a $200,000 budget (I’m sort of making these numbers up, but I’ll bet I’m close), they had the wisdom and maturity to call it a day.

Nothing is lost. The energy and drive and vision of Stage 1 will continue to live on and ignite the Richmond theatre scene for years to come.

I know, easy for me to say. A new venture is no more; a promise-in-the-making has been put to rest. I in no way mean to belittle the broken hearts which always accompany such difficult decisions.

But as a community of support let's not misperceive that a flame has been extinguished. All that talent is still here. The brightest days lie ahead.

Lessons to be learned? Who knows, who cares? Theatres aren't about answers; they're about questions.

As the incomparable Peter Brook wisely said, “Every audience has the theatre it deserves.” Those of us who care about professional theatre in Greater Richmond need to pull in the same direction. We need to buy tickets. We need to make contributions. We need to lobby our local and state governments to measure up to national standards regarding public support for the arts.

And as that lover of life Edna St. Vincent Millay rapturously penned, “My candle burns at both ends; it will not last the night. But, ah, my foes, and, oh, my friends…It gives a lovely light.”

Let us all celebrate the lovely light that was and is Stage 1, and rejoice that all of its candles are still within our midst.

(Photos: Robyn O'Neill in Summer of '42, Brett Ambler and Durron Tyre in tick, tick ... BOOM!, Cooper Timberline in Children's Letters to God, Julie Fulcher and Ali Thibodeau in Normal, Ali Thibodeau and Chase Kniffen at Ragtime: In Concert)

--Bruce Miller

"Chicago," "nor.mal" and "Well." Oh My!

Posted by Bruce Miller
I'm just winding up another great theatre weekend right here in River City. I had the pleasure of flying solo to the Opening Night of Chicago at TheatreVCU on Friday. Hannah and I made it to the second weekend of nor.mal at Stage 1 on Saturday (I was at the Fairy Tale Ball for last week’s nor.mal opening). Tonight I caught the first dress of Well, which we open at Willow Lawn this Friday.

I love going to theatre in Richmond, and found lots to admire in these three productions.

At VCU, Maggie Marlin co-starred with Kim Exum, lending their triple-threat talents to the showgirl femme fatales, Velma and Roxie. This summer Maggie will be starring with us in the titular role of Thoroughly Modern Millie. Mike Rieman charmed his way into the hearts of America as the song-and-dance attorney, Billy Flynn. And Jake Ashey stole the show as Amos, Roxie’s long suffering husband.

Patti D’Beck’s creative and energetic choreography showed off the strengths of her talented cast. And Ron Keller’s terrific set provided all the visual jazz (and pizzazz) anyone could want. Patti and Ron directed / choreographed and designed last summer’s Guys and Dolls, and will reprise their roles in this summer’s Millie.

At Stage 1, despite nagging laryngitis, Julie Fulcher acted her heart out as a mother trapped in a downward emotional spiral. Knowing as I do that Ford Flanagan (who plays the dad) shies away from dance roles, I’m pleased to say he looked right at home in the “boxing” choreography given to him by Chase Kniffen. Ali Thibodeau and Dave Amadee turned in persuasive performances as the brother / sister teens. Dave is that commodity that is all too rare in professional theatre: a handsome, masculine young man who can act, sing and dance. He has a career ahead of him if he wants it.

Sandy Dacus did her usual masterful job as music director. And Debra Wagoner proved yet again that she has a voice made for musical theatre. The new music created for nor.mal, like a lot of new theatre music, combines dissonance with unusual harmonies and unexpected intervals to create a contemporary feeling. Those who sing this music best have perfect intonation, hitting pitches dead on rather than sliding into them or approximating them. Debra Wagoner gives a master class in nor.mal in how to do just that.

Chase loves this new and complex musical, and deserves special congratulations for daring to bring such a challenging work to Richmond audiences.

We at Barksdale deserve some of those same congratulations. Well by Lisa Kron is not your usual comedy. Ms Kron is an established memoirist—an acclaimed master of the one-woman show. In this first Virginia production of her new Broadway hit, she plays fast and loose with the form, inviting her mother to join her onstage, and hiring several guest actors to play the roles of people from her past.

Watching the show is like peeling back the layers of an onion. It’s fun and funny, with a quirky sensibility. Jenny Jones Hundley and Jody Strickler are gonna be great as Lisa and her mother. And before the evening ends, there will be more than a few sniffles as mother and daughter resolve their issues with warmth and humor.

Next weekend I hope to make it out to Pulp, Altar Boyz (Mill version), and, of course, the opening of Well. Hope you too will make the effort to support professional theatre in Richmond. Call a box office, buy a ticket or two, and then go spend some time where the acting is.

Hope to see you there.

--Bruce Miller

A Penchant for Movies on Stage

Posted by Billy Christopher Maupin

After last week's successful opening of A Christmas Story (and a smash hit, it would seem, with ticket sales for today already exceeding 200 tickets for A Christmas Story alone!) at Theatre IV's historic Empire Theatre, Barksdale Theatre's Bifocals Theatre Project opens It's a Wonderful Life - A Live Radio Play this Thursday on Barksdale Theatre at Willow Lawn's Lobby Stage at 1PM, with lunch served at 12:30PM. Tickets for that are already looking like they may sell out (with under twenty seats available for either performance- Thursday or Friday).

Bifocals Theatre Project generally features artists ages 55 and older; this production features Robert Albertia, Tom Bass, Woody Eney, Joel Grow, and Donna Knicely, as well as two younger faces, Chase Kniffen and Ali Thibodeau, filling out the cast as George and Mary (respectively, of course).

Next week, the cast will take it on the road(!) touring to retirement communities and the like. How exciting!

Also, after Friday's performance, audience members are invited to hang around for the first-ever Bifocals Holiday Party!

So get thee to the phone and order your tickets today! They're only $10 for lunch and show and $5 for show only. (I just looked at ticket sales again, and we've sold eight more tickets in the time that it took me to write this blog...so get them today!)

For tickets to It's a Wonderful Life- A Live Radio Play, Swingtime Canteen, Moonlight and Magnolias, or A Christmas Story, call the Barksdale Theatre Box Office at 282-2620 or the Theatre IV Box Office at 344-8040. Join in the fun!

--Billy Christopher Maupin

They're Not Called All Stars for Nothing

Needless to say, the most impressive people associated with Disney’s High School Musical, which opened this evening to a well-deserved standing ovation, are the 38 students and two adults who comprise the magnificent cast. We use the moniker Greater Richmond’s High School All Star Musical to describe this annual summertime initiative. These great kids have earned the right to be called “All Stars.” I thank them for their talent and commitment.

Dave Amadee and Nadia Harika head the terrific cast as Troy and Gabriella. Dave is a rising home-schooled senior who comes to us from extensive experience with Christian Youth Theatre—an exceptional training program. At CYT, Dave played The Beast in another Disney musical that I bet you can guess, and more recently Joseph in Joseph … Dreamcoat. Nadia is a rising junior at Deep Run H S, where she most recently performed as Ronnette in Little Shop of Horrors. She has also received training and experience at CYT, as well as SPARC and the Richmond Dance Center.

Ali Thibodeau and Chris Collins play the “second leads”—the Evans twins, Sharpay and Ryan. Ali is a rising junior at Lee-Davis H S, and a dance teacher and performer at Shuffles Dance Center. Ali’s last two shows have been Joseph … Dreamcoat at Swift Creek Mill Theatre and The True Story of Pocahontas at Theatre IV. Chris is a rising senior at Godwin H S, and he’s thrilled to be returning to the beautiful Steward stage this summer after playing Eugene with us last summer in Grease.

Filling our two major supporting roles are Eric D. Brown, Jr. as Troy’s best bud Chad, and Brittney Germaine Slater as Gabriela’s new pal Taylor. Eric comes from a very musical family, his mother being a singer and his father a drummer. He has played saxophone and percussion with the Varina H S Marching Blue Devils, sung with the Varina show choir, and performed with the Ebony Esquire Drum Corps. Brittney is a rising senior at Henrico H S, where she participates in the Honors Chorus and the Center for the Arts.

Rounding out our young featured players are Jessica Harika as Kelsi Nelson (the composer of the musical within the musical), Zac Moon as Jack Scott (the velvet-voiced master of morning announcements), and Andrew Schappacher as Zeke Baylor (the dude who loves to bake and would love even more to be Sharpay’s boyfriend). Jessica, Zac and Andrew all three appeared with us in Grease last summer.

Jessica just graduated from Deep Run H S and will be studying voice at VCU’s School of Music next fall. Zac just graduated from Collegiate and will be studying theatre next year at UNC-Chapel Hill. Andrew, one of our youngest cast members, is a rising freshman at Clover Hill’s Math and Science Center. Andrew has received excellent training at the Jessica Morgan School of Dance. When you see the show, look up on stage for the guy who’s dancing his socks off. That will be our Andrew.

Well, it’s getting to be 2 a.m., and I’m bushed. I hope the rest of the cast will forgive me if I now hit the sack and talk with you more tomorrow about the remaining All Stars who will be gracing our stage for the next three weeks in Disney’s High School Musical.

--Bruce Miller