Tevye Takes His Final Bow

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More commentary to follow.

--Bruce Miller

In Memoriam: Lou Rubin

Posted by Bruce Miller

In my 20s, I acted a lot in Richmond’s theatres. My first “professional” gig was at Barksdale Experimental, a one-season-wonder that spun off from Barksdale Theatre at Hanover Tavern and took place in the vacated Massey, Wood and West offices on Lombardy St. Barksdale Experimental lit up the Richmond theatre scene in 1969-70, and then closed, due to lack of financial resources, just before launching their second season.

Some things never change.

My second acting gig outside the University of Richmond, where I was a theatre student, was at Swift Creek Mill Playhouse. “Theatre” now; “Playhouse” then. I was called at around 3 in the afternoon and asked if I could drive out immediately, rehearse for about an hour, and play the small role of the Russian tenor that night in Fiddler on the Roof. The actor who had been playing the role had been in an accident and they needed to replace him for the run of the show. Apparently I fit the costume and rumor had it I could hit the high notes.

Rehearsal went great. I can’t remember whether it was with Wayne or Jane Batty, the two of whom shared the responsibilities of musical director. I learned the song and the simple choreography and agreed to work my way into other scenes during upcoming performances. At least the bottle dancers would have a tenor that evening to accompany their dance.

When showtime came, it turned out that the other Batty was conducting. In performance, the tempo for the song was, I swear, about twice as fast as what I’d rehearsed. The lyrics were in Russian. I totally botched the number.

I tell this story today not to criticize the Battys, whom I love. It wasn’t their fault; it was just one of those things—and they were very kind to me. I tell the story because it was immediately after my botched number that I met Lou Rubin for the first time.

He was playing Tevye, one of his three classic roles at the Mill, and he certainly had no time to spend with the new kid whom he’d never met. Nonetheless, he had heard, perhaps even witnessed, my tongue-tied performance, and as soon as we both were offstage at the same time, he ran up to me, gave me a big hug and said, “You were very good. No one out there speaks Russian. They didn’t even notice. Oh, I’m Lou Rubin, by the way. Good to meet you. I play Tevye.” Then he ran back on stage.

Today at 2, I’ll be going to Lou Rubin’s funeral. He died on Thursday at age 87. A sweeter man never lived.

The Mill was founded by two great couples: Buddy and Betty Callahan and Lou and Fran Rubin. When Buddy died earlier this year, Phil and I were in New York and we missed his funeral. I continue to be heartsick that I wasn’t there.

I loved and benefited greatly from my long association with Buddy and Betty, Lou and Fran. We dedicated our recent production of Annie to Buddy’s memory. We will be dedicating our upcoming production of The 25th Annual Putnam County Spelling Bee to Lou.

I’ll write more soon about both incredible men and the huge impact they had on Richmond theatre in general and the founding of Theatre IV.

--Bruce Miller

New Music

Posted by Bruce Miller
It’s been a busy few evenings. On Saturday, the Miller family of four made it out to Eurydice at the Firehouse. All of us at Barksdale are honored to be partnering with Carol Piersol and the Firehouse Theatre Project on the Sarah Ruhl Festival. Eurydice is a greatly acclaimed component of this effort. We enjoyed it very much.

On Sunday, Terrie, Curt and I attended the kick-off concert of Stretchin’ at Barksdale—another terrific evening of entertainment. On Monday, I had a great time at Dead Man’s Cell Phone, a slightly staged reading directed by the talented Jase Smith and featuring half the cast of The Clean House and half the cast of Eurydice. Tonight, Phil and I joined the throng of celebrants at the One Night Only Concert Event—Ragtime, The Musical, presented as a fundraiser by Chase Kniffen, Peggy Thibodeau and Stage 1 Theatre Co.

I've irked some folks in the past when, on this blog, I've pointed out the Barksdale and Theatre IV connections of various theatre artists working at other stage companies. I've been accused of adopting an inappropriately paternal attitude when I say I'm proud of theatre artists, in a familial way, when they're working for someone else or for themselves. I'll probably irk someone again now. I'm sorry.

There were two things that moved me deeply tonight at Ragtime.

1. When Desiree Roots Centeio’s wide-eyed young son toddled onstage during the stirring conclusion, portraying Coalhouse and Sarah’s surviving son, while all 55 members of the cast joined in a rousing reprise of Wheels of a Dream, I was swept away by the overpowering realization that Barack Obama was at that very moment concluding his second debate, taking him one step closer to becoming President of the United States. The Wheels of a Dream indeed. I thought it was very moving.

2. When I looked up onto the stage, and into the audience, and throughout the lobby, and across to the various backstage tech positions, and saw face after familiar face, with the great majority of faces coming from the ranks of people I’ve worked with time and time again, all turning out to support Chase and Peggy and Richmond theatre itself, I was intensely proud of our theatre community in general and the Barksdale and Theatre IV family in particular.

I don't know why, but I’ve always had a strong sense of being a small part of a far greater whole. When I began my career at the feet of my teachers Bernard Schutte, Marian Waymack and Jack Welsh, and my more senior colleagues Buddy and Betty Callahan, Pete and Nancy Kilgore, and Muriel McAuley, I greatly appreciated the opportunity to learn from them and work to earn their friendship and respect. I hope my playbill bios over the decades have reflected this. Now I find myself on the other end, having the opportunity to learn from younger colleagues who are charting new paths and working together to achieve great things.

Actors, directors, designers, musicians, stage managers, technicians, house managers, contributors, subscribers and staff members with strong Barksdale and Theatre IV connections turned out in droves tonight to support Stage 1. These same artists and enthusiasts proudly support and work with many other nonprofit theatres in town as well. I think this spirit of cooperation and support for the Richmond theatre community in toto is something relatively new. It has not always been like that, and in some quarters, it's not like that today. It was great to see.

My friends did a beautiful job this evening, and they should be thrilled. It was especially gratifying to see Jerold Solomon take time off from his Broadway gig in South Pacific to return to Richmond for this benefit concert. He and Desi brought down the house more than once, ably assisted by Katrinah Lewis. Jan Guarino's "wheeee's" accompanied by that unforgetable Haynes smile were a hoot and a half. The incomparable Debra Wagoner amped up the power grid and stopped the show on Back to Before. The remarkable Eric Pastore showed once again how much old timers like Chase Kniffen have to look forward to from the next generation. And Tom McGranahan was younger than springtime as a feisty and lovable codger of a grandfather.

Richard Koch, Michael Hawke, Chris Stewart, James Opher, Lillie Izo, Brett Ambler, Joe Thibodeau, Mark Persinger and Robyn O'Neill ably added to the momentous achievement. And music director Sherri Matthews and her 17-member band of renown gave Richmonders a rare sense of a true Broadway sound.

The evening was a tribute to Richmond theatre in general, and testament to the talent, commitment and can-do leadership that Chase and Peggy are bringing to their new venture. I can’t wait to see each of the shows in Stage 1’s great new season.

I hope to see you at the theatre—be it one of ours or someone else’s.

--Bruce Miller