The Case for Confidence

Posted by Bruce Miller
(This is a re-posting of a previously published blog entry.)

"At Barksdale and Theatre IV we remain cautious but confident." That's what I said at the end of the previous blog posting, and that's how Phil and I respond to queries from national arts leaders who bring up the bad news from Wisconsin. With the demise of great colleague theatres such as TheatreVirginia, Madison Rep, Mill Mountain Playhouse in Roanoke, and Charlotte Rep, we expect to entertain questions about our financial health.

The good news is this. For years, our Boards of Trustees have been working intelligently and strategically to ensure that Barksdale and Theatre IV will not follow in the footsteps of these now defunct nonprofit companies. We have engaged in prudent and responsible business planning.

What follows are the five cornerstones that support our confidence, particularly as it relates to the recent closing of Madison Repertory Theatre.

1. The Greater Richmond metro area population as of 2008 is 1,225,626--more than twice the 555,626 people who comprise the metro area population of Madison, WI. This means our population should be two times more able to sustain both the for-profit "Broadway" series co-produced by CenterStage and a nonprofit major professional theatre like Barksdale.

2. According to IRS forms 990 for the year 2008 (the most recent year available):

Barksdale and Theatre IV had combined annual revenue of $5,049,376; Madison Rep had annual revenue of $2,023,579.

74% of Barksdale and Theatre IV's annual revenue was earned through ticket sales and tour fees, and only 26% came in through contributions. Only 53% of Madison Rep's annual revenue was earned through ticket sales, and 47% was dependent upon contributions.

Barksdale and Theatre IV ended fiscal 2008 with a positive fund balance of $1,761,395; Madison Rep ended fiscal 2008 with a negative fund balance of -$424,688.

3. Theatre IV fully owns and is able to borrow against the multi-million dollar historic Empire Theatre.

4. Barksdale Theatre and Theatre IV have developed highly diverse revenue streams, earning significant funds from ticket sales at three major venues and extensive touring throughout Virginia and 32 surrounding states.

5. During all the years when Barksdale and Theatre IV were asked to assist with various efforts to develop Richmond CenterStage, the Richmond leaders of CenterStage pledged not to compete with Theatre IV with regard to our core business--story-based plays and musicals for children and their families. CenterStage pledged not to book in our competitors' productions of major titles in which Theatre IV has invested millions of dollars, the productions we regularly revive from our repertoire. These major titles include Annie, A Christmas Carol, The Best Christmas Pageant Ever, Disney's Beauty and the Beast, Disney's High School Musical, Peter Pan, Rodgers and Hammerstein's Cinderella, Seussical, The Sound of Music, and The Wizard of Oz.

Conversely, Barksdale and Theatre IV have acknowledged CenterStage's need to mount an annual "Broadway" series for adult audiences, and to book in non-competitive, television-based children's programs such as Sesame Street Live, Dora the Explorer, etc.

If CenterStage honors its promises, we believe that Barksdale Theatre, Theatre IV and CenterStage's "Broadway" series will all thrive in our mid-sized market. Surely that is the goal. If CenterStage's leaders are true to their word, we will have a win-win for the entire community.
As I said, we remain confident, but we are not throwing caution to the wind. We continue to do all we can to ensure the success of CenterStage, while working hard also to build up the financial health of Barksdale Theatre and Theatre IV, Richmond's major professional theatre.

--Bruce Miller

Standin' By My Girl

Posted by Bruce Miller
No matter what show Theatre IV chooses to produce, some parents and teachers are going to be offended. I don’t mean one or two. I mean 25 to 50. Every year, a growing number of those who are offended insist that their personal viewpoint is “moral” and that those with differing viewpoints are “immoral.” With the assurance of those who know they are right, they insist that their perspective is the only one that matters.

I’ve been in my job 34 years. It didn’t used to be this way. Adults used to be more open-minded and accepting of diversity. They viewed each show as a whole. If they loved nine tenths of it, they focused on that and went away happy. They never called me and demanded their money back because of the tenth they didn’t like.

They never were astonished that the public was not forewarned about this “objectionable” content or that. They never had the arrogance to demand that all future productions be rewritten to suit their personal perspectives. “And I know it’s against the law to rewrite,” I was told yesterday by a teacher, “but it’s time Judo-Christians (sic) took a stand and stood up for what’s right.”

In the old days, if adults objected to one particular aspect of a show, they seized the opportunity to talk with the children in their care about their personal beliefs and preferences. They made teachable moments out of content they considered to be non-desirable. They didn’t assume or expect the world to be in sync with each of their personal feelings and beliefs. They accepted that it was their responsibility to discuss issues with children.

They chose not to try to “protect” their children from any and all “objectionable” content. Instead, they felt good knowing they were with their child, and talking with their child, as the child encountered such content in the world.

From 1975 until about 1995, I rarely if ever heard complaints from parents about content and language. And the shows we did then were no different from the shows we do now.

In the mid- to late-90s, we entered into the current “just say ‘no’,” “I’m mad as heck and I’m not going to take it anymore,” “zero tolerance” period. Nowadays, most of the angry letters, emails, phone calls etc I receive come from parents and teachers in their 20s, 30s and maybe early 40s.

As a general rule, adults born before 1970 remain open-minded and eager to expose children to the world. But there’s a vocal, frequently angry minority of younger adults born after 1970 who seem to believe and insist that the entire world should fall in line with their personal perspective. They don’t care what anyone else believes. They don’t want to discuss values with children; they want to force their values on the world before allowing their child to enter into it.

They object to Winnie the Pooh because A. A. Milne “doesn’t make it clear enough that Mr. and Mrs. Rabbit are married.” They object to Treasure Island because “no one warned us that there would be all those pirates and rum.” They object to Hansel and Gretel, Rumpelstiltskin, Disney’s Beauty and the Beast, Sideways Stories from Wayside School and The Wizard of Oz because they “celebrate satanic forces.” They object to The Best Christmas Pageant Ever because the minister uses the word “sexy” when describing the subject matter preferred by some of the older Herdman children. "How am I supposed to explain ‘sexy’ to my eight year old?!” one mother asked me.

They object to the euphemisms that the father in A Christmas Story uses as a substitute for vulgar language. They are livid when Peter Pan (written in 1904) uses the word “ass” even though he's clearly referring to a jackass or donkey. And they are beside themselves with righteous rage when in Annie (written in 1977) Daddy Warbucks and President Roosevelt's cabinet members use the words “damn” and “hell” a handful of times when discussing the Great Depression.

The most recent objection I received, and this from a student who was writing with her class under the direction of an offended teacher, mentioned the pain caused by Annie herself singing that she liked to imagine her parents collecting things “like ashtrays and art.” "Why," I was asked, "did you have to use the word ashtray?"

I guess I’m old fashioned. I believe it would be unwise for me or anyone to rewrite classics like Annie and Peter Pan to be in step with a vocal minority. I think it’s regrettable that teachers encourage children to write to nonprofit leaders and ask them to knowingly break the law. I think in an age when Christian conservative icons like President George W. Bush and Vice President Dick Cheney openly used words far more vulgar than “damn” and “hell” in the Oval Office and on the floor of the U. S. Congress, it’s actually helpful to see Annie and afterwards talk with children about language and the pressures placed on adults in power.

Regarding adults in Annie using the words “damn” and “hell” a dozen times (I think it's 10 "damns" and two "hells"): “It is immoral,” I’m told, “for you to expose my children to this terrible behavior.” Not a single one of these adults has mentioned any discomfort with their children being exposed to the behavior of the character Rooster, who alludes to the fact that he’s going to take Annie away and dispatch her with a knife. That behavior, apparently, fails to meet the “terrible” threshold of saying “damn” and “hell.”

Anyway, I’m whining. We try our hardest to offer positive, uplifting experiences to children, families and schools. It depresses me that an increasing number of adults would prefer to see us not do Annie at all than see us abide by the law and present Annie, an American classic, the way it was written.

--Bruce Miller

Betting Our Bottom Dollar

Posted by Bruce Miller
Between December 2007 and March 2008, the Boards of Trustees, Phil and I made two big, proactive decisions. We scheduled the elimination of five positions from the staff of Barksdale/Theatre IV, and we announced three Depression Era plays/musicals for our upcoming seasons.

It may not have been clear to everyone at the time, but for those of us whose job it was to keep our eyes on the books on a day to day basis, the writing was on the wall.

The positions we eliminated amounted to approximately 11% of our total administrative workforce (staffers, not actors and other theatre artists). Like all RIF actions, these eliminations were painful. They continue to strain our operations.

The eliminations were also necessary. They reduced annual expenditures by approximately $140,000.

The five positions that were eliminated, two by attrition, included Associate Artistic Director, Special Projects Manager, Marketing Associate, Group Sales Manager, and Receptionist/Bookkeeping Associate. If and when the economy rebounds, we hope to be able to restore each of these sorely needed positions.

The shows we announced related to the Depression, but they were all upbeat and inspirational, and reflected the current zeitgeist. They were Barksdale’s productions of A Sanders Family Christmas at Hanover Tavern and This Wonderful Life at Willow Lawn, and Theatre IV’s production of Annie, which just opened on Friday at our historic Empire.

The public seems to appreciate our decision. These have been three of the four biggest hits of our 2008-09 Seasons (Driving Miss Daisy being the fourth).

Susie Haubenstock’s review of Annie appears in this morning’s Metro section. “In tough times,” the headline trumpets, “this musical is just what the doctor ordered.”

“Think that Annie is just for kids? The 1977 powerhouse musical by Thomas Meehan, Charles Strouse and Martin Charnin is a favorite of young audiences, surely, but rarely in history has it seemed so appropriate for older ones as well. Theatre IV’s current production is big and stylish and full of fun—and loaded with Depression-era nostalgia that’s all too pertinent today. But being Annie, the attitude is sunny, hopeful and positive—a real tonic for us veterans of bailouts and layoffs.”

“The story of those plucky orphans under the yoke of the tippling Miss Hannigan still works like a well-oiled machine. There’s a super-sized cast of 26 people and one irresistible dog, and a sumptuous scenic design by Mercedes Schaum. No skimping here. Robin Arthur’s direction hits just the right note—she’s an ace with the orphans, who are cute but never cloying, and her choreography (especially for Easy Street) is fresh and funny.”

Susie continues to praise the entire cast, the remaining designers, and the production as a whole.

So no matter what your age, if you need a lift from the recession-riddled headlines, trundle on down to the historic Empire and take part in Barksdale and Theatre IV’s own stimulus program. You’ll have a GREAT evening in the theatre, laugh and cheer, and help our nonprofit companies triumph, God willing, over this economy that continues to kick us in the shins.

We need you. Hope to see you at Annie, Well, I Ought to be in Pictures, and all our other upcoming productions.

--Bruce Miller

U-Tkts Help Students Escape the Box

Posted by Bruce Miller
Beginning Wednesday, April 15, we will launch at Barksdale Theatre and Theatre IV a new ticket discount program designed to enable and encourage more college and university students to attend our productions. The tickets, to be called U-Tkts (for University Tickets), will cost $10 each. Normal ticket prices at Barksdale are $38 for a non-musical and $40 for a musical.

Students can reserve U-Tkts in advance over the phone or in person for any performance, pending availability. A student may purchase two U-Tkts to be used by himself/herself and a guest. The guest may be a student or a non-student. A student may not purchase a pair of U-Tkts and give them to a pair of theatergoers who are not students. Students must show a valid student ID at the box office when they pick up their U-Tkts.

It practical terms, U-Tkts will be on the honor system. If you’re not a student, please don’t try to cheat the system just to save a few bucks. We all know how tough the economy is right now. Neither Barksdale nor Theatre IV can afford to lose revenue.

The first shows to be covered by our new U-Tkts program are Well, opening at Barksdale Willow Lawn on April 17, and Annie, opening at the historic Empire Theatre on April 24.

Information about the new U-Tkts program will be distributed next week to all colleges and universities within a 60 minute drive of one of our theatres. The colleges and universities include Hampden-Sydney, J. Sargeant Reynolds, John Tyler, Longwood, Mary Washington, Randolph-Macon, U of R, UVA, VCU, Virginia State, Virginia Union, and William & Mary.

The U-Tkts program was designed with input from 14 university theatre students from throughout the community who responded to questions posted on Facebook.

TenSpot tickets ($10 tickets for high school students) have been in place for the last year and are made available to any high school student who joins our high school connections group, Barksdale Theatre Workshop. More info about this program will be posted soon.

As Greater Richmond’s leading professional theatres, Barksdale Theatre and Theatre IV remain committed to being accessible to all theatre lovers, regardless of financial means or physical disability.

--Bruce Miller

Wear Black for Broadway??

Posted by Bruce Miller
On Facebook—yes, as many of you know, I’ve ventured recklessly into that brave new world—a “global rally” is being promoted. On Jan 4, it is suggested, any and everyone who loves theatre should show their support by wearing “Black for Broadway.” A black show tee shirt is recommended, but any black garment will do.

My friend Lizzie Holland—no one loves Broadway more than my friend Lizzie—has signed up for the event. Facebook being the fervent social secretary that it is, I was informed immediately. That's Lizzie below and to the left with Raúl Esparza.

The well intentioned ideas behind this pro-Broadway, pro-theatre demonstration are these:

Sunday, Jan 4 will mark the closing of four Broadway musicals and one comedy: 13, Boeing Boeing, Grease, Hairspray and Young Frankenstein. Closing notices have also been posted later in January for Gypsy, Spamalot, Spring Awakening, Forbidden Broadway (Off Broadway), and “many others.”

The creator of the event, which was originally listed on Facebook as a “protest” and later changed to a “rally,” believes that the closings are premature and the result of our troubled economy. I doubt that this is actually the case, nonetheless ... “This event,” he or she writes, “is just a bunch of theatre fans showing our love and showing our support for something we care about during these difficult times. It’s a day of honor.”

I'm certainly in agreement with that sentiment, and so I'm getting my black Peter Pan tee washed and ready.

As of this writing, 7,548 theatre lovers on Facebook have signed up for the event, a figure that will no doubt increase exponentially over the next few days.

One cogent commenter, Chris Leavy of Orlando FL, added, “I'm actually going to a show on the 4th. Not on Broadway, but still—the best thing we can do to rally support is to keep seeing shows—any shows we can, as often as we can. Broadway is killing itself with $120 ticket prices. Hopefully some good will come of this recession and soon many more people will be able to afford to see live theatre.”

Apparently Phil and I are on the same wavelength with Chris. Hefty ticket prices are a problem not only in NYC, but also right here in River City. When the economy tightens, people look for bargains. At Barksdale and Theatre IV we’re trying to address these current realities by launching our Entertainment Stimulus Package, announced in a news story last week on Channel 12. Click here for more information and to view the YouTube coverage of the news broadcast: http://www.barksdalerichmond.org/stimulus.html#12

So what are we up to? The truth is this—thus far, ticket sales are doing really well. We’ve exceeded budgeted goals for Driving Miss Daisy and Sanders Family Christmas at Hanover Tavern, This Wonderful Life at Willow Lawn, and The Best Christmas Pageant Ever at the Empire.

But as we look to the future, we’ve come to believe that additional stimulus will be needed if we’re to match projections for Children of a Lesser God and Well at Willow Lawn, the World Premiere of Mona’s Arrangements and I Ought to Be in Pictures at the Tavern, and Sideways Stories from Wayside School and Annie at the Empire. With the exception of Annie, these shows have less name recognition that our recent hits. And if any of you are wondering if name recognition is a factor in ticket sales, I assure you in all caps, IT IS.

So we are continuing to sell our best seats at normal ticket prices (appromimately $38), reducing our second best seats to a very affordable $20 (you must purchase by Jan 31), continuing our $15 rush tickets for any and all theatre lovers who don’t mind waiting until 3-hours before curtain to purchase their seats, and providing Hanover County Students with $9 (same as a movie) tickets to all shows at Hanover Tavern.

And if these prices aren’t low enough, we welcome folks to write to me, tell me how much you can afford (on the honor system), and we’ll find a way to make tickets available to you for the price you name. This has always been our policy. We’ve never turned anyone away because of inability to pay.

It goes without saying that we need to continue to sell tickets at all price ranges in order to stay afloat. And we WILL stay afloat. I say this emphatically because literally every time we announce a new fundraising campaign or ticket sale initiative, friends and supporters suspect that we’re going under. Such is the legacy of the surprise closings of TheatreVirginia in 2001 and Broadway Under the Stars in 2006.

Friends. I promise. We are in no danger of closing. We’re merely trying to address strategically the economic challenges that ever business is facing.

So, you can wear your black show tee shirt on Jan 4, or you can pull out a $20 (or two tens and a five if you want to wait for Rush) and show your support by buying a ticket. This is a time for all of us who love theatre to stand shoulder to shoulder and rally behind the art form and the several nonprofit theatres that make our lives so much more fulfilling.

All of Richmond's nonprofit theatres need your support. I hope to see you soon at one of them!

--Bruce Miller

The Solomon Islands

Posted by Bruce Miller
So did you see Jerold Solomon on the Tony Awards last Sunday? He was there, singing and dancing his heart out as one of the Navy SeaBees in South Pacific, which won a whopping seven Tony Awards including Best Revival. Jerold has been in South Pacific since it began previews on March 1 and opened to rave reviews on April 3. South Pacific is playing on Broadway at Lincoln Center. Jerold plays the role of Seaman James Hayes.

In the last few years, Barksdale and Theatre IV were privileged to feature Jerold’s talents in several casts. At Barksdale he appeared in Gross Indecency and starred in Olympus on My Mind (pictured below and to the right with Richard Travis). With Theatre IV, he starred in King Island Christmas and You’re a Good Man, Charlie Brown (pictured above and to the left with his cousin-in-law Susan Sanford).

Best of all, God bless him, Jerold lists all of his Richmond credits in his Broadway bio.

Since moving to NYC, Jerold’s credits have included the national tours of Big River, Ragtime and Annie. South Pacific is his Broadway debut.

Jerold’s a good man and a very talented actor, singer and dancer. If you’re planning a trip to NYC this summer or next fall, why not order your tickets for South Pacific NOW. The show is a mega-hit, selling out every performance. And if you go, after curtain call, hurry down to the stage door and give Jerold Richmond’s fondest regards.

--Bruce Miller

"Birdie's" Strouse Has Roots in Richmond

Posted by Bruce Miller
While writing the Bye Bye Birdie blog, I promised that I'd soon write about Richmond's connections to legendary composer Charles Strouse. Here goes.

In 1961, Charles Strouse made American musical theatre history when he composed the first Broadway score to be written in the rock and roll vernacular. Seven years before Hair, Bye Bye Birdie became Broadway’s first "rock musical." Of course the rock 'n' roll of Birdie is of the Elvis Presley / Bobby Rydell / Connie Francis variety, with several pop numbers and a bit of salsa thrown in for good measure.

Nonetheless, the songs in Bye Bye Birdie (including the title tune, One Last Kiss, Honestly Sincere, Lotta Livin’ to Do and One Boy) sounded a lot more like what we were listening to on our transistor radios in 1961 than had the songs from Broadway’s biggest hits of the preceding five years (My Fair Lady [56], West Side Story [57], The Music Man [57], and Gypsy [59]).

If Charles Strouse had stopped with Bye Bye Birdie, he would have earned his place as a significant Broadway composer. But he didn’t stop. He went on to write ten more Broadway musicals since Birdie, and several musicals that never made it to Broadway. Best of all, he’s still going strong.

All of this is important to Richmond because, to a degree that can be applied to no other major Broadway composer, Richmond has some strong connections to Charles Strouse. To a certain extent, we can honor him as one of our own.

Since Birdie, Charles has written diverse and amazing musicals, collaborating with impressive co-creators:

1962 – All American, starring Ray Bolger, with a book by Mel Brooks. It was Brook’s second Broadway musical, preceding by nearly four decades Brooks’ masterwork, The Producers, which won more Tony Awards (12) than any musical in Broadway history.

1964-66 – Golden Boy, starring Sammy Davis Jr. in Broadway’s first musical to feature an inter-racial marriage. The book was written by none other than the great American agitprop playwright from the 1930s, Clifford Odets, who died during the Detroit tryout, prompting the engagement of “co-writer” William Gibson.

1966 – It’s a Bird, It’s a Plane, It’s Superman, starring Jack Cassidy and Linda Lavin, produced and directed by Hal Prince. Considered by many to be ahead of its time, the campy, pop-art sensibility of It’s a Bird was obviously copied in the hit ABC-TV series Batman, which began to air only months after It’s a Bird closed. Moreover, Robert Benton and David Newman, co-authors of the It’s a Bird book, went on to co-author the Superman movie with Christopher Reeve.

1970-72 – Applause, starring Lauren Bacall, with a book by Betty Comden and Adolph Green

1975 – The Member of the Wedding, featuring incidental music by Strouse, with Virginia’s own Glenn Close understudying Mary Beth Hurt in the role of Frankie Addams!!

1977-83 – A little something called Annie. ‘Nuff said.

1980 – Charlie and Algernon

1981 – Bring Back Birdie, featuring Richmond’s own Porter Hudson, who, as John Hudson, choreographed Theatre IV’s production of Cabaret at the Empire Theatre only months after Bring Back closed

1983 – Dance a Little Closer, featuring Richmond’s own Diane Pennington in the role of Shirley, with book and lyrics by Alan Jay Lerner

1986 – Rags, starring Teresa Stratas and Larry Kert, with lyrics by Stephen Schwartz

1991 – Nick & Nora, starring Barry Bostwick, Joanna Gleason and Christine Baranski, with book by Arthur Laurents and lyrics by Richard Maltby, Jr.

2005-06 – Chita Rivera: The Dancer’s Life, featuring songs by many composers including Strouse

In addition to the two Richmonders who performed in Strouse musicals on Broadway, one of Richmond’s powerhouse talents, Katherine Tracy (pictured to the left in the title role of the Mill's 1980ish production of Mame), served as Charles Strouse’s personal assistant in NYC for a couple years later in the 80s. After her tenure with Strouse, Katherine returned to Richmond to work as Marketing Director of Theatre IV, and then Managing Director of Barksdale. At least partially through Katherine’s contacts, Barksdale produced in 1993 the Strouse revue, By Strouse, and the world premiere of the new Strouse musical, Bojangles, based on the life of Richmonder Bill Bojangles Robinson, with a book by Richmond playwright Douglas Jones.

On the Theatre IV side, I asked Charles if I could adapt his musical teleplay of Lyle Lyle Crocodile for live touring, and he graciously agreed. For several years, Theatre IV produced the national tour of Lyle Lyle Crocodile, with music and lyrics by Charles Strouse and book by yours truly. During one of the first trips I made to New York to work with Charles on my tour adaptation, he invited me to a backers’ preview of Nick & Nora. It was so cool to sit in the studio with all these Broadway types, listening to Barry Bostwick, Joanna Gleason, Christine Baranski and Debra Monk stand around Charles at the piano, singing his Nick & Nora songs for the first time.

Sometime in the mid-90s, Charles and Bernard Waber, author of the Lyle books, had a parting of the ways. Thereafter Theatre IV had to negotiate with Waber’s agents directly. The version of Lyle that we perform today no longer benefits from the Charles Strouse music and lyrics. Now I’m the sole author of all three – book, music and lyrics. Which is cool. But I certainly enjoyed my years in the sun as a partner of Charles Strouse.

There’s one reason why working with Charles, albeit on a limited basis, was so much fun. Despite being the composer of two of the “Top Ten Most Frequently Produced Musicals in America” (Bye Bye Birdie and Annie), Charles Strouse is about as nice, genuine and generous a guy as you’ll find. I’ll always treasure our too brief association.

So, the next time anyone does a Charles Strouse musical in Richmond, all Richmond theatre aficionados should take some pride in knowing that on several occasions, Charles has been down here and Richmond artists have been up there to collaborate on new musicals. In some significant ways, Richmonders can claim Charles Strouse as an honorary member of River City.

--Bruce Miller