What to Do When You Have No Power?

Posted by Bruce Miller
About three or four times a year we lose power at Hanover Tavern on a show night, causing the cancellation of a performance. Last night was the first time we’ve ever had to pull the plug on an Opening Night. Bus Stop by William Inge is now set for a delayed debut this evening at eight.

Power at Hanover Courthouse is a sometimes thing. Years ago, Barksdale co-founder Muriel McAuley, an avid student of ancient cultures, explained it this way.

Thor (not the Marvel Comics superhero but the ancient Germanic god of thunder, lightning and electricity) flew in his chariot over Hanover on the first of August, 1953. As all you scholars of ancient Germanic mythology remember, Thor’s chariot is powered by two billy goats named Toothnasher and Toothgrinder. As all you scholars of Richmond theatre history remember, August 1, 1953, was the day the six NYC actors who co-founded Barksdale Theatre moved into the Tavern.

The goats looked down as they flew over these hallowed grounds and noticed two sows being dumped unceremoniously into the back yard of the historic property. The two porcine princesses were named Sheba (after the titular pet in William Inge’s first Broadway hit, Come Back Little Sheba) and Tallulah (after the celebrated star who, in Souvenir, laughed so hard during Florence Foster Jenkins’ legendary recital at Carnegie Hall that she had to be carried out of the theatre by friends). Or was that Greta Garbo? Hmmm.

Anyway, the ever optimistic co-founders of Barksdale had acquired two piglets weeks before actually purchasing the Tavern, sure that their dream would soon be a reality. They planned for the pigs to be a thrifty way to “take care of the garbage and provide meat.” However, between the dates of piglet purchase and hog transport, the two sows had grown to 70 lbs each.

On August 1, the pigs were chauffeured to the Tavern by co-founders Muriel McAuley and Pat Sharp. (Pat would play Cherie in the Tavern's 1958 production of Bus Stop.) Quoting from Muriel’s book, Going On … Barksdale Theatre, The First 31 Years: “Until you’ve driven 30 miles with two trussed up, screaming, crapping pigs in the back of an overheated station wagon, you’ve missed one of life’s unique moments.”

Toothnasher and Toothgrinder apparently looked down, saw, heard and smelled the roly-poly garbage disposals, and collapsed in laughter. They knew full well that the co-founders should have foregone the purchase of pigs for the far more sensible choice of goats. This moment of hilarity caused the chariot to jolt, and in retribution, Thor sent a bolt of lighting thundering down onto an unsuspecting Hanover.

Along with the lighting came a curse, which has been buzzing and sizzling along the power grid ever since.

Our policy is this. If the electricity has been out for at least two hours, and it continues to be out three hours prior to showtime, we will cancel the show. It’s the only way we have a prayer of reaching the majority of ticket holders, all of whom we try to call within 30 minutes of the decision to cancel.

Last night’s call turned out to be a good one. As of this morning at 8 a.m., power had returned to the community of Hanover Courthouse, but there was still no power in the Tavern. As of this writing, I'm pleased to report that everything is finally back up and running.

Cancellation policies have not always been so practical. I remember performing in Old Wives’ Tale at the Tavern, three decades ago almost to the day. It was a fun vampire mystery comedy written by former Richmonder Ed Sala and directed and designed by Pete. I co-starred with the late Carol Chittum, the late Will Keys, the late Anne Goodwyn, and the very much still with us Glenn Crone.

One night the power went out in the Tavern during dinner. Rather than cancel the show, Pete, Nancy and Muriel asked every table to carry their hurricane-globed candle with them into the theatre. The candles were placed around the perimeter of the stage, and we performed the entire show in candlelight. Nancy sat to the side and hummed the incidental music and Pete made all the sound effects (wind, thunder crashes etc) by mouth.

It was one of the most fun and exciting performances I’ve ever been privileged to be a part of. But in these more practical days of fire marshals and liability litigation, it will never happen again.

Now that the lights are back on, I look forward to seeing you at the theatre!

--Bruce Miller

Donuts, Delusions and Delights

Posted by Bruce Miller
William Inge is the greatest 20th century playwright of the American Midwest. It’s true that fellow “Great American Playwright” Thornton Wilder was born in the Midwest (Madison, Wisconsin), but Wilder grew up in China and California before settling in New England. His Midwestern influences were few.

Inge on the other hand was born in a small town in Kansas and, except for a brief college stint in Tennessee, remained in the Midwest for the first 35 years of his life. While working as a theatre critic for a newspaper in St. Louis, Inge met fellow St. Louisian Tennessee Williams. It was after befriending Williams and seeing The Glass Menagerie, Williams’s first major play, that Inge was inspired to become a playwright himself.

Inge’s first play, The Dark at the Top of the Stairs, is dedicated to Tennessee Williams.

In all of his plays, Inge wears his American homespun heart on his sleeve. Each of his major works focuses on everyday men and women of America’s heartland. His characters are less tortured than those of Eugene O’Neill, less poetic than those of Tennessee Williams, and less iconic, heroic and/or anti-heroic than those of Arthur Miller.

Inge casts his light on the common men and women who are more often overlooked by other Great American Playwrights, and finds in them a dignity and humanity—an American-ness—worthy of our time and consideration.

Bus Stop is a perfect introduction to the plays of William Inge. It takes place in 1955 in a modest roadside diner (bus stop) during a howling blizzard that closes down the highways east of Kansas City, at least for the night. When the northbound bus pulls in seeking refuge, a diverse group of passengers pile into Grace’s Diner seeking coffee and donuts, human contact and love, and, well, grace.

Inge set the play during the last snowstorm of March. Due to the timing of this production, we’ve set ours during the first snowstorm of December. Grace and her niece Elma have decorated the diner, simply, for the upcoming holidays. Without wanting to stretch a point, it occurred to me during last night’s run through that the low income wayfarers requesting warmth around Grace’s two-burner stove are at least somewhat reminiscent of that traveling couple who nearly 20 centuries earlier asked for shelter from another innkeeper.

Bus Stop is a comedy, a holiday heartwarmer, and a representative work of a playwright who was the most popular Broadway dramatist of the 1950s. With Come Back, Little Sheba, Picnic, Bus Stop and Dark at the Top of the Stairs, Inge produced one Broadway smash after another. The Broadway run of Bus Stop was such a success that it was immediately turned into an Oscar-nominated movie starring Marilyn Monroe, Don Murray and Eileen Heckert. After the film’s commercial success, Bus Stop was expanded into a TV series in the early 60s, with Inge himself serving as a script consultant.

I hope you’ll join us for this chance to reconnect with “an American Chekhov,” “the poet-laureate of the Midwest.”

See you at the theatre!

--Bruce Miller

"Bus Stop" is Barksdale's Next Classic

Posted by Bruce Miller
Let’s revisit the tantalizing subject of the Greatest American Playwrights as a lead-in to my next post on William Inge, the author of Barksdale’s upcoming Hanover Tavern production of Bus Stop. Anyone’s personal list of great playwrights will be highly subjective, of course. So I’ve compiled a consensus list drawn from about 20 or so other lists I’ve found hither, thither and yon.

There seems to be rough agreement about which names to include in the top five American dramatists. In alpha order, they are Edward Albee, Arthur Miller, Eugene O’Neill, Tennessee Williams and August Wilson. The middle three are carved in stone. The two more contemporary bookends are the only playwrights who appear on virtually everyone’s list of the top ten.

In trying to identify the next five, I find myself on much shakier ground. Relying on the tried-and-true, as most such lists tend to do, you wind up with five giants of the 20th century, whose works continue to be revived on and off Broadway, in major regional theatres, and internationally. Each was a household name in his or her time. Each had an extended career, and their great plays still appear in text books and anthologies around the world as representative American dramas.

What follows is my best stab at the consensus B Team. I make note below of their most acclaimed work for the stage (plus a handful of notable screenplays*). Again, they are in alpha order.

Lillian Hellman
The Children’s Hour [1934], The Little Foxes [1939], Watch on the Rhine [1941], Another Part of the Forest [1946], The Autumn Garden [1951], The Lark—adaptation of the French play by Jean Anouilh [1955], Candide—original libretto of the Bernstein operetta [1957], Toys in the Attic [1960]

William Inge
Come Back, Little Sheba [1950], Picnic [1953], Glory in the Flower [1953], Bus Stop [1955], Dark at the Top of the Stairs [1957]) A Loss of Roses [1959], Splendor in the Grass* [1961], Natural Affection [1962], The Last Pad [1972]

George S. Kaufman (pictured on the 1st Time cover) and his collaborators
Merton of the Movies—with Marc Connelly [1922], Beggar on Horseback—with Marc Connelly [1925], The Butter and Egg Man [1925], The Cocoanuts—libretto with Morrie Ryskind of the Irving Berlin musical [1925], The Royal Family—with Edna Ferber [1927], Animal Crackers—libretto with Morrie Ryskind [1928], June Moon—with Ring Lardner [1929], Once in a Lifetime—with Moss Hart [1930], Of Thee I Sing—libretto with Morrie Ryskind of the Gershwin musical [1931], Dinner at Eight—with Edna Ferber [1932], Merrily We Roll Along—with Moss Hart [1934], You Can’t Take It with You—with Moss Hart [1936], The Man Who Came to Dinner—with Moss Hart [1939], George Washington Slept Here—with Moss Hart [1940]

Clifford Odets (pictured on the 2nd Time cover)
Waiting for Lefty [1935], Awake and Sing! [1935], Paradise Lost [1935], Golden Boy [1937], Rocket to the Moon [1938], Clash by Night [1941], Humoresque* [1946], The Big Knife [1949], The Country Girl [1950], The Sweet Smell of Success* [1957], Wild in the Country* [1961]

Thornton Wilder (pictured on the 3rd Time cover)
The Long Christmas Dinner [1931], The Happy Journey to Trenton and Camden [1931], Pullman Car Hiawatha [1931], A Doll’s House—translation and adaptation of the Ibsen masterwork [1935], Our Town [1938], The Merchant of Yonkers [1938], The Beaux’ Stratagem—adaptation of the Farquhar masterwork [1939], The Skin of Our Teeth [1942], Shadow of a Doubt* [1943], Our Century [1947], The Matchmaker [1954], Alcestiad [1955]

I’m proud to note that, in keeping with our mission to produce the great plays—past, present and future, Barksdale has staged 30 productions of major works by eight of the top ten American dramatists. The only two we’ve yet to explore are August Wilson and Clifford Odets. I’ve made a note.

Barksdale productions of the top ten playwrights include (in chronological order):
1956 Our Town – Wilder
1958 The Matchmaker – Wilder
1958 Bus Stop – Inge
1959 The Crucible (revived in ’60) – Miller
1960 Picnic – Inge
1960 A Streetcar Named Desire – Williams
1961 The Rose Tatoo – Williams
1962 The Solid Gold Cadillac – Kaufman and Teichman
1965 Come Back, Little Sheba – Inge
1966 Who’s Afraid of Virginia Woolf? (revived in ’67) – Albee
1967 The Night of the Iguana – Williams
1972 George Washington Slept Here – Kaufman and Hart
1974 Long Day’s Journey Into Night – O’Neill
1974 You Can’t Take It with You (revived in ’76) – Kaufman and Hart
1975 Ah! Wilderness – O’Neill
1977 The Royal Family – Kaufman and Ferber
1979 The Man Who Came to Dinner – Kaufman and Hart
1983 George Washington Slept Here – Kaufman and Hart
1993 Death of a Salesman – Miller
1994 Our Town – Wilder
1995 The Glass Menagerie – Williams
1999 Three Tall Women – Albee
2001 The Little Foxes – Hellman
2002 The Crucible – Miller
2004 The Man Who Came to Dinner – Kaufman and Hart
2006 The Lark – Hellman
2009 Bus Stop – Inge

Hope to see you at each of our upcoming shows: Bus Stop at Hanover Tavern, The 25th Annual Putnam County Spelling Bee at Willow Lawn, A Christmas Carol at the historic Empire, and Black Nativity (co-produced with African American Repertory Theatre) at the Gottwald Playhouse.

--Bruce Miller

"Bus stop, bus go, she stays, love grows"

Posted by Bruce Miller
I've always loved the pop song Bus Stop by the Hollies. It was part of the soundtrack of my first romance. Ann Bristow and I started dating on Valentine's Day 1966, and by August we had exchanged high school rings and were officially going steady.

Bus stop, wet day, she's there, I say
Please share my umbrella
Bus stop, bus go, she stays, love grows
Under my umbrella
All that summer we enjoyed it
Wind and rain and shine
That umbrella we employed it
By August she was mine

Sondheim lyrics they ain't.

The song has nothing whatsoever to do with the classic American play Bus Stop by Pulitzer Prize-winning playwright William Inge. Bus Stop the play will open at Hanover Tavern on November 27, playing throughout the holidays.

The plots of the play and the song, however, are certainly similar. Weather conditions bring boy and girl into close proximity with each other. By the time the bus goes, the girl has decided to stay and romance is in the air.

Ah youth.

Our production of Bus Stop will be directed by Amy Berlin, who last manned the helm for Shirley Valentine. Terrie Powers and David Powers, who have co-designed every Tavern set since our return, are again creating this slice-of-Americana set, with lights by Slade Billew and costumes by Marcia Miller Hailey. Jonathan Hardison, who last acted with us in The Man Who Came to Dinner, will serve as Fight Choreographer. Tiffany Shifflett is providing stage management. Chase Kniffen is our Production Manager for Hanover Tavern.

Amy has assembled a top drawer cast.

Alia Bisharat will play Cherie, the Kansas City "chanteuse" who catches the eye of Bo Decker, a lovesick and decidedly not worldly wise ranch hand played by Jonathan Conyers. Alia and Jonathan are the two fresh-faced lookers in the top right photo.

Bill Brock is Carl, the driver of the bus that unloads our entire cast into a rural Kansas bus stop and diner in the midst of an unseasonably early blizzard. The object of Carl's affections is Grace Hoyland, the owner, chief cook and bottle washer of the roadside diner, played by Jacquie O'Connor.

Grace's teenage waitress, Elma Duckworth, is played to wide-eyed perfection by Emily Bradner. She catches the roving (lecherous?) eye of Dr. Gerald Lyman, an aging professor much too old to be casting his gaze upon teenage girls. Dr. Lyman is played by Christopher Dunn, last seen at Barksdale Willow Lawn in To Kill a Mockingbird.

Keeping watch over this diverse group of wayfaring strangers is the local sheriff Will Masters, played by Michael Hawke (The Full Monty, Mame), and Bo's mentor and best friend, Virgil Blessing, played by Eric Williams (Smoke on the Mountain and Sanders Family Christmas).

I love this funny, heartwarming, holiday play about finding ourselves in the love we find in others. We're now taking reservations for individuals, families and groups. Hope you'll join us for this colorful and charming American classic from 1955!

--Bruce Miller

My Lunch with Arthur Miller

Posted by Bruce Miller

Four years before Phil Whiteway and I started Theatre IV, I worked summer stock in Southbury, Connecticut. The year was 1971, and I had just finished my junior year at the University of Richmond. None of us knew it at the time, but many if not most of the wonderful summer stock theatres that had thrived throughout New England for over 30 years were on their last legs. After the glory days of the 40s, 50s and 60s, true summer stock theatres were fast becoming a thing of the past.

A true summer stock theatre—at least this is how it was explained to me—produced ten shows in ten weeks, or twelve shows in twelve weeks. During each one week run, the show ran for eight performances, opening on a Tuesday and closing Sunday night.

If you worked for an official straw hat theatre (named for the fashionable headgear that gentlemen donned when the temperatures began to rise), the acting companies were booked in. They brought their own costumes and hand props, and the theatre built the sets and provided lights and sound. If you worked for a summer stock company that wasn’t a part of the official straw hat circuit—the Southbury Summer Playhouse wasn’t—then you created everything from scratch and nothing was booked in. The actors were part of a rep company, half of whom did nothing but act while the other half acted occasionally and worked their donkeys off every minute they weren’t on stage.

Our ten shows at Southbury in the summer of ’71 were Arsenic and Old Lace, Barefoot in the Park, Boys in the Band, Bus Stop, Cactus Flower, The Mousetrap, See How They Run, Under the Yum Yum Tree, West Side Story, and Who’s Afraid of Virginia Woolf? At least that’s what my fading memory tells me they were. I was the props master for all ten shows, I helped out with any and everything else as needed, I played a lead in See How They Run and tiny supporting parts in Arsenic and Cactus.

The work was grueling, pretty much 9 a.m. until midnight or 1 seven days a week. Our only off time was Wednesday from noon until 6, when about 12 of us would pile into two cars and drive into NYC to buy standing room tickets to a Broadway hit. There was no TKTS booth, but standing room cost only $3, if memory serves.

I had the time of my life!

Even in those days when summer stock theatres were still fairly plentiful, jobs were hard to come by. You more or less had to know someone. I knew my college roommate and best pal Rick Gehr from Binghamton, New York. Rick knew his high school buddy Richard Ebeling, who had somehow managed to get a job at Southbury in 1970, and was not returning in ’71. Ebeling put in a good word for Gehr, and Gehr put in a good word for me. Rick Gehr and I took a bus up to Southbury to interview and audition with the producer, W. Thomas Littleton, and we both were cast.

We were paid $75 a week, and each of us paid $25 a week to rent a bed from Mr. and Mrs. Anderson, who owned a big white frame house about ten minutes up the road in Woodbury (pictured to the left). If we wanted to eat dinner at the Andersons, that was an additional $3 per meal. All in all, we scraped by.

I have a million stories, but one of my favorites involved Arthur Miller, who lived about 8 minutes away in Roxbury. That's his house in the picture to the right. Early in our 12-week contract, one of the locals drove us around to visit the houses of the famous people who were our neighbors in the Litchfield Hills—Arthur Miller, Alexander Calder, Jerzy Kosinsky, William Styron, John Updike, Richard Widmark, Sylvia Sidney, etc. Today you can add Dustin Hoffman, Frank McCourt and Stephen Sondheim to the list.

When we got to Arthur Miller’s house, I was stunned to see that his mailbox had Miller written on it in big block letters just like my parents’ mailbox at home in Virginia. I made them stop the car and take my picture next to the mailbox. I have no idea where that photo is today. Behind and to the side of Miller's white frame house is the studio he build in the late 40s, pictured above and to the left. It was in this studio that he wrote Death of a Salesman, The Crucible, and most of his other great plays.

Anyway, one day I was taking a lunch break from my desperate search for free props, and I sat down at the lunch counter at Canfield Corner Pharmacy in Woodbury. I was sitting by myself eating a sandwich when a man in his 50s sat down on the counter stool next to me. The man who ran the lunch counter came over and said, “Hello, Mr. Miller.” I looked up, thinking he was talking to me, and wondering how he knew my name. It was instantly obvious from his gaze that he was talking to the fellow sitting next to me. I glanced over just long enough to realize that the man sitting five inches from my elbow was none other than the legendary Arthur Miller himself. He ordered a corn beef on rye, and we sat there silently until both of us had eaten our sandwiches and he went on his way. I never had the nerve to say anything, but I tried to soak it all in as much as I could.

Last week, I took my family back up to Southbury, Woodbury, Roxbury and Washington CT. Washington made the list because it’s the neighboring town that served as the inspiration for Stars Hollow on one of my family's favorite TV shows, The Gilmore Girls. The interior and signage of Crossroads Cafe, the diner that served as a model for Luke's on The G G, are featured in the photos to the left and right. As you can see, the church is across the street in Washington just as it is in Stars Hollow.

Unfortunately, the barn that served as home to the Southbury Summer Playhouse was torn down decades ago, but we still had a grand time visiting my old haunts.

While there, we stopped in a framing shop in Woodbury to ask for directions to Alexander Calder’s house, and met with a lovely young lady who asked if I knew Bill C. Davis. I told her that I’d just met him at the world premiere of Austin’s Bridge at the Firehouse in Richmond, and that he seemed very nice. Turns out she’s his hiking partner, and he now lives in that part of the world as well. She told me that he really is the nicest guy in the world, and asked me all about what I thought about Austin’s Bridge. I shared my opinions, and referred her to my earlier entry in this blog.

It was a great trip, and a wonderful chance to remember again my lunch with Arthur Miller.

--Bruce Miller