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

My Dinner with Bob Porterfield

Posted by Bruce Miller

In the winter of 1968, about six months after Barksdale’s Stop the World residency at Barter (see Barksdale and Barter, Aug 28), and about four months before my high school graduation, I was invited to dinner with Robert Porterfield--"please call me Bob"--Barter’s legendary founder. Here's a photo of Bob (taken about a quarter-century earlier) with First Lady Eleanor Roosevelt.

This was nothing like my mealtime encounter with Arthur Miller (see My Lunch with Arthur Miller, Aug 12), where I sat respectfully and anonymously at his elbow with neither one of us saying a word. This was an animated three-hour dinner conversation with only four of us in the room.

A little background... In high school, I met one of my lifelong friends, Terry Bliss (pictured to the left). She’s co-author with me of Hugs and Kisses, and she works today as a practicing attorney and Artistic Director of North Street Playhouse in Onancock, VA. I was also good friends with Terry’s younger sister, Kathy. Through Terry and Kathy, I became friends with their mother, also named Terry Bliss. Terry Bliss (the mother) was the director of PAVE (Performing Arts in Virginia Education) after it became independent of the Virginia Museum of Fine Arts and just before it morphed again into the Virginia Commission for the Arts.

Terry Bliss (the mother) is now named Terry Showalter, and doing great things in Harrisonburg, VA.

Terry Bliss (the mother) had met the late Mason Bliss (the father) while he was working as the booking agent for Barter Theatre after WWII. (Below and to the right, you can find a photo of the Barter touring bus from the post-war years, parked in front of the Algonquin Hotel in NYC.)

In 1946, Mason was trying to book a Barter touring production into Limestone College in Gaffney, South Carolina, where Terry headed the theatre department. He didn't win the booking, but apparently he won the heart of the drama chair. Six months after their first meeting, Mason and Terry were married in Abingdon. Southwest Virginia was “dry” in those days, so Ernest Borgnine (pictured to the right) drove to Tennessee to pick up the wedding champagne. Bob Porterfield was the Best Man. The happy couple moved into the Barter Inn, company housing for the theatre. It was in the Barter Inn that Terry Bliss (the daughter) was conceived and lived the first several months of her life.

Soon after his daughter’s birth, Mason Bliss needed to earn money. He established The House of Bliss Celebrity Bureau, Inc.—yes, that really was the name—and he moved his family to Richmond. From here he ran one of only three producing and nationally touring theatre operations to be located outside of New York or Los Angeles. Terry (the mother) was a respected local actress. (A photo of her on the cover of a Richmond Summer Theatre playbill appears above and to the left.) Each year The House of Bliss would produce touring productions starring the likes of Pernell Roberts, Dennis King, Sir Cedric Hardwicke and Hal Holbrook. Google ‘em if you’re too young to know who they are.

When Mason died in the mid-60s, the House of Bliss died with him. Terry (the mother) went on to direct the state agency PAVE, and it was her job to book arts programs into Virginia’s schools. She relied on her good friend Bob Porterfield and the artists from The House of Bliss to help her with her job.

In 1968, Bob Porterfield was coming to Richmond, and he called Terry Bliss (the mother) to invite himself over for an evening’s meal. She told him about her daughters’ friend (that would be me), a high school student who was, as Moss Hart famously said, "drunk" on “the smell of the theatre.” Bob was renowned for how much he enjoyed talking with students who wanted to go into theatre professionally. He encouraged her to include me in their get together.

Terry (the daughter) was off in college, so Terry (the mother), Kathy, Bob and I met for dinner in February, and the rest of my life was molded, at least in part, in that one funny, moving and passionate conversation.

Bob spoke enthusiastically about the founding of Barter, and about his good friends Pete and Nancy Kilgore and Muriel McAuley (who, at that time, I had yet to meet). He expressed how much he admired Barksdale, because they were going through so much of what he went through in Barter's early days. He professed that theatre was the noblest vocation anyone could accept, and convinced me that, should I decide to pursue such a career, it would be a privilege and an honor that I could not take lightly.

He discussed the work that he and others had done with President Kennedy to create the National Endowment for the Arts, which had finally been established by President Johnson only three years prior to our dinner. Bob passionately believed that encouraging and showcasing artistic excellence would rekindle America’s creative energy, enrich a national cultural landscape that he believed was in danger of stagnation, and engender in average Americans an understanding of what true civilization really meant.

He believed that, due to our nation’s emerging prosperity, we in the U. S. had inherited from Europe the responsibility of being the caretaker of Western culture. He was convinced that the best way to lure developing countries away from communism and toward democracy was through artistic expression, a tool that the Russians were funding at the time with unparalleled vigor.

Decades before the social economist Richard Florida began discussing the "creative class," Bob Porterfield (pictured in the pencil portrait to the left) discussed American business’s need for the creative education and inspiration that only an arts-rich environment can provide.

It was heady stuff. It changed my life.

Bob Porterfield, Pete and Nancy Kilgore, and Muriel McAuley were great leaders not only because of the institutions they founded and sustained, and certainly not only because of the plays they produced. They were great leaders because of the imaginations they ignited, the opportunities they provided, and the dreams they applauded, encouraged and embraced.

I am forever in their debt.

--Bruce Miller

Addendum: On the "Six Degrees" front, Bob Porterfield's secretary at Barter was Byrd Jervey. When Mason Bliss founded The House of Bliss, Byrd accepted a job as his secretary, moving with him back to Richmond so that she could be closer to her sister. Her sister was Helen Jervey, who was Muriel's first friend and office mate at AAA, and would subsequently become a legendary Barksdale All Star, beginning with Barksdale's first mainstage production, Gold in the Hills.

Barksdale and Barter

Posted by Bruce Miller

Exactly forty years ago, Barksdale Theatre was about to wrap up its one-week run of Stop the World—I Want to Get Off at Barter Theatre. This was a history-making engagement, as Barksdale was the first guest company ever to be invited to perform on the Barter Stage.

The following newspaper coverage is quoted in Muriel’s book. She doesn’t identify the newspaper, but I suspect it was either the Richmond Times-Dispatch or News Leader. No publication date is provided.

“Barksdalians To Do Play at Barter

The telephone lines and the mails are humming these days between Abingdon, Va., and Hanover Court House, respective homes to two of the state’s best-known theaters.

Barter Theater, the State Theater of Virginia and perhaps the most famous professional company in the nation, is located in the tiny mountain town of Abingdon. It’s an improbable site for a major theater, but no more so than founder Robert Porterfield’s original idea during the depression of exchanging entertainment for food.

Three hundred miles away is Hanover Court House, another small hamlet that never expected to claim the state’s first dinner-theater, Barksdale. On August 22 through August 29, Barter will be host to Barksdale’s highly-praised production of “Stop the World—I Want to Get Off.”
It all began last fall, when Porterfield saw the off-beat musical at Barksdale Hanover Tavern. What began as a casual suggestion that Burt Edwards and Nancy Kilgore re-create their leading roles at Barter, gradually ballooned into the entire Barksdale company, with the original sets and costumes by Lyde Longaker, guesting at Abingdon for a full week. All of the Barksdale cast will be together again for the event, with some taking leaves from other summer stock jobs in order to do the show.

Rehearsals begin this week, under the direction of Jay Lundy, musical direction of Dougee Zeno and choreography of Frances Wessells, who will also travel to Barter for two days of rehearsals on that stage prior to the opening.

With Edwards, who plays Littlechap, and Mrs. Kilgore, who appears as his wife and as several other women in his life, will be Carol and Bobbie Hamblett, Richmond twins who will again play the two daughters, and the singing and dancing chorus composed of Judy Ward, Patricia Story, Carol Rogers, Gina Vetter, Libby Jarratt, Henrietta Near and Melvina Gooch.”

The history-making aspect of all this, as Bob Porterfield would shortly thereafter explain to me himself (see the upcoming My Dinner with Bob Porterfield), was that in 1967 Barter Theater honestly was, as the newspaper article says, “the most famous professional (theatre) company in the nation.” Please remember that in 1948, Bob Porterfield received the first Regional Theatre Tony Award for his “Contribution to the Development of Regional Theatre.” The next such award was not presented until 1976, when it was won by Arena Stage in Washington, D. C.

The actors whom Barter hired included Gregory Peck (pictured to the right), Ernest Borgnine, Patricia Neal (pictured up and to the left), Ned Beatty and Hume Cronyn. When Bob Porterfield visited Barksdale, loved Stop the World, and invited Nancy and Burt to star in the same musical at Barter, it was a huge deal. And when Pete and Muriel responded by saying, to quote Muriel, “None of that, if you want them, you’ll have to take everybody,” they were taking a huge gamble.

Mr. Porterfield must have had tremendous respect for Barksdale, and he certainly was committed to the developing regional theatre movement. But no matter how you look at it, it was downright amazing that, in Barter’s 34th year of existence, founder Bob Porterfield invited Barksdale to be the first guest company ever to perform in his nationally prominent theatre.

In the next few days, I’ll interview Frances Wessells, Lyde Longaker and others about their Barter experience. Stay tuned.

--Bruce Miller

More photo credits: The two young lovelies are Carol Rogers and Julie Crump from the Stop the World ensemble. That's Nancy and Burt perched atop the Barter marquee, in their full Stop the World get-up. Can't you just hear the Abingdonians shouting, "Who are those two clowns on the marquee?!" The painting of Nancy, which regularly hangs in the Barksdale Willow Lawn lobby, dates back to that famous Stop the World run.

Happy Birthday Barksdale! - Part III

Muriel McAuley is not the only one who compiled a written record of Barksdale’s founding. The recorded deed and early press clippings validate her story. The longest article appeared in the Herald-Progress on Thursday, August 20. It is reprinted here, with spelling, grammar and punctuation exactly as they appeared in 1953. Before anyone gets too enamored of the history outlined in the article, be sure to read the upcoming Part V in this series for a more factual enumeration. With regard to those instances when this article seems to disagree with the facts included in Muriel’s account (published here in Parts I and II), I have every reason to believe that Muriel’s account is the correct one.

Young People Plan Permanent Theatre In Ancient, 33 Room Hanover Tavern
By Evelyn Christian Hughes

“It takes a little time to go into 33 rooms—and after all, we’ve only been here a few days, so it’s no wonder we’ve not explored two of the rooms.”

So speaks one of the group of nine young people, aged 2 to 29, who have just bought the ancient Hanover Tavern, with ideas of using the old building as a residence and theatre.

The ones who intend to do the work, however, are aged 22 to 29. The 2 and 3-year olds, children of the only married couple in the crowd, intend to cause as much work as possible.

The seven “old enough to vote” are combining their incomes, to save toward a year-round, in-the-round theatre, and to work on the tavern’s restoration. Because it takes a little time to get a permanent theatre started, and because they need money for restoration, they are now working at a variety of jobs. Television has lured two. One works for the Automobile Association of America, one is a teacher and two work in television. “We all work at what we can, and we pool our money to work on the Tavern.” They pool their chores, too. Carlin is cook.

Flies are such a problem now (no screens and they haven’t counted the windows!) that they are already looking forward to the winter. They’ve each bought an electric blanket.

Attracted to the Hanover Tavern because it is an ideal place for their presentation of circular theatre, the crowd has been temporarilyly (sic) sidetracked by the tavern’s history, and they hope to restore the building.

“We think it’s the oldest tavern in Virginia,” says Tom Carlin one of the WTVR employees. But it is a known fact that it was built in the early 1720’s and among other claims to fame, it housed Cornwallis and his staff on their way to Yorktown. It is older than Hanover Courthouse, exactly across the road, which a Virginia circuit court judge, Leo M. Bazile, calls the most historic building on the North American continent. Once owned by Patrick Henry’s father-in-law, the bar was tended by the great patriot himself.”

Washington and Jefferson must have stayed here, as it is on the old stage coach route from Williamsburg to New York. All this, Hanover school children know by heart. It takes a Michigan actor to recall a little-known fact of its history. According to Carlin, P. T. Barnum kept his menagerie here on his grand tour of the last century.

The Barksdale Memorial Theatre had its genesis with Carlin, Stewart Falconer and David Kilgore, who had a summer stock theatre in St. Claire Michigan in ’49 and ’50. They just gathered up the others as they rolled, a little moss from Florida, more from New York, until they came to Virginia.

Falconer gained impetus from being stage manager for Circle in the Square Theatre's production of Summer and Smoke in New York. Muriel McAndy (sic) was doing modeling, television and radio work in New York. One by one they gathered.

Now the tavern has fascinated them, and with the restoration, and jobs (after all they must eat!) they “doubt if we can do anything theare-wise (sic) before spring.”

They named their theatre for their inspiration, the late Barbara Barksdale, whose parents, Mr. and Mrs. Albie Barksdale, live in Charlottesville. A victim of multiple sclerosis, Miss Barksdale helped get the group started in summer theatre in St. Claire, Mich. “She would scrub floors from her wheel chair,” they say about her. She died while attending the University of Tampa.

The group consists of Mr. and Mrs. David Kilgore, their attractive (all are attractive!) blond children 3-year old Kate and 2-year old Peter; Tom Carlin, Stewart Falconer, Bud Colvis, Miss Pat Sharpe and Miss Muriel McAuley. and Miss Muriel McAuley. (sic)

In the midst of their frantic painting, plastering, cleaning, cooking, rewiring, and after only three days in the place, they all got cleaned up and went to the neighborhood church, St. Paul’s Episcopal.

The neighbors say it created a sensation, to see all the theatrical folk, “nice young people, too,” at church. “Nearly filled the church.” And they hope it’s a good omen. They recall how Bob Porterfield tells to this day how his world famous Barter Theatre got a start in Abingdon by the actors and actresses going to church, and “singing like all getout.”

There is one photo that accompanies the article, showing the Tavern photographed from what is today the back yard, but was originally the front yard in the 1700s. The photo caption reads, “Hanover Tavern, built in the early 1720’s, just purchased from Jourdan Woolfolk by a group of young theatrical people.”

My big question, after reading this article is, “Who is Bud Colvis?” He’s like the fifth Beatle. No where else is he mentioned in Muriel’s book. He doesn’t even appear in the index! Nor have I ever heard his name mentioned by one of the Barksdale old-timers. If anyone can identify Mr. Colvis, or has ever even heard of him, please click comment and let me know what you know. Thanks.

--Bruce Miller

Photo captions: This photo of Muriel is cropped from a larger pic of Muriel, Pete and Nancy, taken in the early 80s. The Herald-Progress masthead dates from the present, not the 50s. The WTVR photo is a snapshot of the station identification screen as it appeared in the early 50s, with the settlers trudging in their covered wagon beneath the call letters WTVR. Cornwallis is wearing the large hat; Patrick Henry has the high forehead and collar. Washington and Jefferson are, of course, from Mt. Rushmore. And the Barnum poster specifically mentions his travelling menagerie. Geraldine Page starred in the revival of Summer and Smoke that Stu stage managed at Circle in the Square. I'll write more about that super-historic production in a future blog. The Barter Theatre photo shows how this Abingdon landmark looked both then and now.