The Themes of Karen Karen Zacarías's "Legacy of Light"

Posted by Bruce Miller
It's cliché, but nonetheless true. You'll never please all of the people all of the time.

More and more I believe this is particularly true with theatre, that most accessible of art forms. Virtually everyone considers theatre to be something they "get." Thank God for that. Theatre has never been highbrow or esoteric; it never will be.

Sure, there are the Waiting for Godot's and Rhinoceros's of the world (Beckett's Godot will be produced this spring by Henley Street, and Terrie and I saw Ionesco's Rhinoceros last Saturday at William & Mary). But even with these purposefully nebulous masterpieces, most audience members join in on the laughs and then have further fun discussing the deeper meanings of these multi-faceted literary classics.

And there are high caliber contemporary works like Stephen Adly Guirgis's The Last Days of Judas Iscariot (currently under co-production by Henley Street and Triangle) and Tom Stoppard's Arcadia (produced earlier this season by Richmond Shakes). These great plays let the audience know early on that they intend to intellectually challenge and, perhaps, spiritually provoke. The audience "gets" this, and winds up loving the show (or not) based at least somewhat on whether they like to be invited into the fray.

Then there are plays like our current production of Legacy of Light by Karen Zacarías. Everyone seems to be appreciating this production. But some people walk away LOVING it--over the top in all caps--while others walk away with something like a shrug.

Legacy is not purposefully nebulous; it doesn't seek to challenge or provoke. So within the first few scenes, some audience members think they "get" what Legacy is all about, or they try to "get" it, and then some of them sit through the rest of the 2 hour 5 minute production somewhat indifferent as the unfolding action fails to further amplify the theme they think they "got."

Part of this may be my fault. Early on I've discussed with our various marketing staffers that Legacy can be viewed as a "girl power" play, focusing as it does on the lives of two great women scientists. I've called it a "mother/daughter" play, and indeed it is. "Girl power" and "mother/daughter" are two strong marketing themes you can hang your hat on. Those people who study these things tell us that, unless you're the Triangle Players or mounting a production of Lombardi, between 70 and 80% of all your ticket buyers will be women. And so, as we've attempted to sell Legacy to the Richmond theatergoing public, we've been hyping the "girl power" and "mother/daughter" themes.

Maybe this is why some people think that Legacy is principally about women trying to balance their personal and professional goals, or gender equality. Certainly the play addresses those themes, and was inspired by the playwright's personal experience of those issues. But I don't think that's what the play is principally about. And the trouble is, if one decides that Legacy is meant to thoroughly discuss those concerns, then the contemporary scenes, as Karen Zacarías has written them, may fall a little flat. In the contemporary scenes, "gender equality" is more or less a given.

May I humbly suggest that the principal themes of Legacy of Light are:
1 legacy - what do we get from our forebears and what do we leave to our children;
2 life, death and immortality; and
3 the interconnectedness of all things across time and space.

Among the many who LOVE Legacy of Light, these three themes are the ones most frequently discussed. The play examines these themes in terms that are scientific, spiritual and personal.

Like our previous productions of Boleros for the Disenchanted, The Clean House, Well, Melissa Arctic and James Joyce's The Dead, Legacy of Light is about lots of things. With plays like these, I think there is a danger, while watching and after, in trying to pin them down. They are best experienced, in my humble opinion, by allowing them to wash over you and lead you simultaneously on two or five different spiritual and intellectual journeys.

The fun, for me, comes at the end, in trying to piece all the various journeys together.

These productions are not esoteric, but, like great poetry, or music, or art, or dance, they also may take a while to pin down.

That is their strength.

--Bruce Miller

Who's in the pics? - 1 Ricardo Melendez and Patricia Duran, 2 Tamara Johnson and Maggie Horan, 3 Larry Cook and Tamara Johnson

L is for Language

Posted by Bruce Miller
I love our audience. I think you folks are smart, adventurous and appreciative. I admire your receptive imaginations and expansive hearts.

I know many of you are sensitive to language. I’m thankful for that. Language is a key ingredient in theatre—perhaps the key ingredient. Sensitivity to it is a very good thing.

Boleros for the Disenchanted has some of the most beautiful, evocative and distinctive language you’ll hear from a contemporary playwright. Like Sarah Ruhl, the playwright who gave us The Clean House, Jose Rivera can turn a phrase in a way that sends your spirit soaring.

Talk about sensitivity to language. Jose Rivera is SENSITIVE to language. I like to think I am as well.

I also know that sensitive people are the easiest to offend. This is because our feelings are readily accessible. We wouldn’t have it any other way even if we could. In many ways, that too is a very good thing.

A great playwright—and I believe Rivera is a great playwright—paints with language chosen to evoke strong feelings from the hearer. Particular words and phrases are chosen to stimulate a comic or dramatic effect. Characters speak from their authentic places; they live in real worlds. When they speak, they use real words.

They sometimes use real words that we ourselves may not use. They are not us.

As we all know, real worlds and real words can delight, injure, inspire and offend us in equal measure.

On occasion, I hear from audience members who are offended by the language they hear on our stage. "Why didn’t you warn us?", they ask. This is a reasonable question. I’ll try to provide a reasonable response.

I believe that 85% to 95% of the people who attend our plays are not offended by the language they hear on our stage. Or they are appropriately offended, I should say.

When they hear vulgar, coarse or profane language, they sometimes gasp. They may even be stunned. Nonetheless, they appreciate the way in which the playwright's carefully chosen words and phrases illuminate the character or the situation and draw them into the play. They enjoy experiencing a world that is not their own. They want to ride the emotional roller coaster with the characters, and language helps them do so.

For maybe 10% of you, offensive language jars you out of the world of the play. You hear a word or phrase that you don’t want to hear, a word or phrase that you would never use yourself, a word or phrase that you were always taught should not be spoken in polite society, and the moment you hear it, you are so shaken that you’re no longer taking a journey with the actors. You find yourself sitting self-consciously in a theatre, feeling embarrassed and even a little angry, concerned solely with what just happened in your world, not the world of the play.

I know this; I respect this. I don't like it. I apologize for it.

The theatre artists involved in each production share the job of drawing the audience into the characters’ world. When we suddenly send you reeling into a personal reaction happening in real time, we fail to transport you. We fail at our job.

When faced with this failure—not a failure of intent, but a failure of effect—I struggle deciding what to do.

Here’s what I’ve decided. We will continue to produce plays with strong language—who wants to produce plays with weak language? When a play contains language that approximately 10% of our audience may find personally offensive, I’ll ask our marketing department to place an L in the lower left hand corner of our promotional materials for that play.

L is for language. S is for sexual activity that is seen, not just discussed. N is for nudity. V is for violence.

These letters are not “ratings.” Every play I select to present to you is rated W for Wonderful. If I don’t think the play is Wonderful, then we’re not going to produce it.

These letters are not “warnings.” I would never select any play that I felt required me to warn audience members not to come.

These letters are “advisories.” Understated advisories to be sure. Understated because I don’t want to misrepresent the content of the play and advise anyone that the content is improper or ill conceived. I believe in and stand in support of every play we produce.

These understated advisories are there to prepare the 10% or so of you who find that offensive language takes you out of the play. If you see such an advisory, you can call our box office or check our website and we will provide you with a very detailed description of the content that is being referenced. If you choose not to attend a play after seeing such an "advisory," we will, of course, be happy to refund your ticket price.

This may not all be in place immediately. It will all be in place soon.

Regarding Boleros, the L will soon be appearing in our ads. Boleros is a beautiful, spirit-lifting, heart-warming play. It is filled with wonderful characters and magnificent language. The script includes a few words and phrases that may take some of you out of the play. I encourage each of you to see it.

As always, I welcome and ask for your thoughts. Thanks for your support of Barksdale Theatre.

--Bruce Miller

All is "Well" at Barksdale

Posted by Bruce Miller
One of the strongest influences on my notion of what distinguishes a great theatre from the rest of the crowd comes from the 20 or so years I subscribed to Arena Stage, the granddaddy of all major professional theatres, still going strong in Washington D. C. I began my Arena journey in my junior year of college, 1970 – 71. Two of my professors and mentors were subscribers—Jack Welsh and Ruth Salisbury. They were looking for someone to round out the car pool. If memory serves, Jack fronted me the money and I paid him back bit by bit over the school year.

I renewed my subscription annually after that, working my way over two decades into the best seats in the house. For many years I continued to subscribe with Jack and Ruth (Phil Whiteway joined our intrepid group sometime in the early 70s). Later Phil and I struck out on my own, eventually recruiting our girlfriends / wives, Donna and Terrie. Dianne Graham was with us for several years. Then Phil and Donna dropped out around the time that PJ was born in the early 80s, and Terrie and I called it quits when she became pregnant with Hannah during the 1989 – 90 Season. After the kids, who had the time or money?

Anyway, one of the things I learned during this double decade experience was that some of the shows I enjoyed the most were the ones I knew the least about. They may or may not have been “great” plays—time is the only judge of that. They were “of the moment,” almost ephemeral, often loosely crafted works of whimsy and/or drama, not necessarily meant to stand the test of time. They were part of the zeitgeist. They gave us lots to talk about on the ride home.

I particularly recall History of American Film and The Marriage of Bette and Boo, both by Christopher Durang, Pueblo, Isn’t It Romantic? by Wendy Wasserstein, The Sign in Sidney Brustein’s Window by Lorraine Hansberry, Moonchildren by Michael Weller, Status Quo Vadis by Donald Driver, Streamers by David Rabe, and Nightclub Cantata by Elizabeth Swados, among many, many others.

I LOVED the fact that Arena, under the brilliant artistic direction of Zelda Fichandler, had the daring to mix it up. Interspersed with the Arthur Millers and Thornton Wilders, with the Ibsens and Chekhovs and Brechts, would be young and current writers who were testing the boundaries and breaking the molds.

At Barksdale Theatre, my artistic decisions are influenced absolutely by Zelda’s aesthetic. I wish we had the resources to do more Millers, Wilders, Ibsens, Chekhovs and Brechts. I’m proud that we have the daring to include in each season new, lesser known (at least in Richmond) works such as our current production of Well by Lisa Kron, and our recent productions of The Clean House by Sarah Ruhl, The Little Dog Laughed by Douglas Carter Beane, Brooklyn Boy by Donald Margulies, Intimate Apparel by Lynn Nottage, The Drawer Boy by Michael Healey, and Melissa Arctic by Craig Wright.

Only by exploring new work do we grow as artists and audiences.

If you’d like to join us on the journey, we invite you to round out the car pool.

See you at the theatre.

--Bruce Miller

The Galeski Foyer - Part II

Posted by Bruce Miller
Our foyer at Barksdale Theatre at Willow Lawn may not be as elegant as the foyer of the National Theatre of Prague (see Progress Continues on Galeski Foyer, posted below), but it’s becoming more impressive bit by bit. Our thanks go out for:
* the hard work, leadership, and financial contributions of Barksdale Board leader John Moon;
* the volunteer design support of Emmy-winning art director David Crank; and
* the major sustaining operational support of Carrie Galeski.

In no small part, these three are leading the charge forward as we continue to build an inviting and exciting entryway to our theatre at Willow Lawn.

That's our friend Carrie Galeski in the photo above and to the right. She's the one holding the award she earned for her work with the Executive Women's Golf Association.

In my last blog report on efforts to spruce up our Willow Lawn facilities (see The Clean Lobby, Sept. 23, 2008), I commented on the fresh crimson paint job, the new hanging lights outside the box office, the sparkling track lighting, the “etched logo” on the glass of our front door, and plans for several more improvements. Now that several of the “several more” have been completed, it’s time to take another look.

Foremost among the recent improvements is a flat screen TV (pictured above and to the left) that constantly runs a video loop of our Emmy Award-winning Barksdale commercial (http://www.youtube.com/watch?v=k5Pmj8iFxp0) preceded and followed by stills from currently running shows at Hanover Tavern (Sanders Family Christmas) and the historic Empire (The Best Christmas Pageant Ever). John Moon not only created the video montage, he also bought and contributed the flat screen TV and the professional grade digital player.

Now anyone waiting in line at the box office will have something interesting to watch.

Equally impressive, our tech director at Hanover Tavern, David Powers, has custom designed and built two bench/storage units to provide seating opposite the door of our elevator. Each bench is designed to store the various pieces of hardware employed by our new photo display system. There’s even a hand-crafted logo built into the benches, making them unique works of craftsmanship.

Our photo display area is still somewhat under construction, but it's coming along nicely. We’re continuing to try out various component parts during the runs of The Clean House and This Wonderful Life, determined to find out which components work best. Cast headshots now are hung individually from vertical rods in handsome new frames. We’re also in the process of replacing the large photo display units that ultimately will house the show shots of each production.

We’ll soon be adding headshots of all the volunteer members of our Board of Trustees, and activity shots portraying Barksdale’s various service initiatives that add so much to the cultural life of Central Virginia.

The vintage Barksdale sign is hanging proudly once again just inside and to the right of the front door. Soon there will be an informative plaque explaining the sign’s history. There’s a new rug inside the front door that bears the Barksdale logo in shades of gray. And there’s a new wooden rack card display unit mounted next to the box office window, better enabling us to promote upcoming productions in all our venues.

In an effort to improve accessibility, two bright overhead lights have been added directly over the box office windows, shining straight down, enabling customers to see clearly the paperwork that is presented to them at the box office. Two mini-blinds have been added to the interior of the box office windows, making it possible to secure our ticket center more effectively during non-business hours.

A museum-quality dedication display has been installed to the left just inside the entry door, recognizing the many contributions of Carrie Galeski and her late husband Ed. Carrie Galeski provided the generous gift that made it possible for us to construct the foyer in 1996. Her steadfast support continues to sustain our operations.

The dedication reads as follows:

“Barksdale Theatre’s Entry Foyer is Dedicated to Edward Whitlock Galeski and Carrie Taylor Galeski.

Ed Galeski was born in Richmond and graduated from M.I.T. with an aeronautical engineering degree. During World War II, he was an Army Air Force flight instructor and was instrumental in testing the B-28 Super-Fortresses which did so much in winning the war in the Pacific.

After the war he went into the photo processing business where he established Galeski Photo Center. Ed showed his intellectual and mechanical aptitude becoming one of the first companies good enough to receive the first color processing machines from Kodak. He continued to expand his business to such a high degree of efficiency that it was sought after and finally purchased by a national chain.

In 1971 he married Carrie Taylor. They enjoyed a deep and binding relationship as they worked together for mutual goals. 'Eddie and I moved to the Hanover Courthouse area in 1980, and there we forged a lasting friendship with Pete and Nancy Kilgore along with Muriel McAuley. This was the beginning of our relationship with Barksdale.'

Ed died in 1986, but Carrie continues to be one of Barksdale Theatre’s strongest supporters. We are eternally grateful.”

Indeed we are.

--Bruce Miller

Sign Interpreted Performance this Sunday at Willow Lawn

This season, we are launching a program to provide American Sign Language (ASL) interpretation for one performance per title in our Signature Season, with some expert guidance from Sign Master Carol-lee Aquiline. Two interpreters will sign all of the dialogue during each selected performance. The online reservation system has been tailored to provide convenient ticket purchasing. Please click a show title for ticket information. We're hoping that many people will take advantage of the interpreted performances!

Our first ASL Interpreted performance in the 08-09 Signature Season is this Sunday, October 26th at 2 PM at Willow Lawn.

The Clean House

The Clean House has gotten rave reviews!

"Perfect!
Free-Spirited, Romantic Comedy"
Richmond Times Dispatch

"Masterful!
Amusing, Moving and a Little Bit Magical"
Style Weekly

"A Delight!
Funny and Poignant"
WCVE - Public Radio

ASL Interpreted Performances this season:

The Clean House
This Sunday, October 26, 2008 at 2 PM

This Wonderful Life
Sunday, December 28, 2008 at 2 PM

Children of a Lesser God
Sunday, March 8, 2009 at 2 PM

Well
Sunday, May 17, 2009 at 2 PM

Thoroughly Modern Millie
(at The Empire Theatre) Sunday, July 12, 2009 at 2 PM

A Reading of Dead Man's Cell Phone by Sarah Ruhl

Posted by Billy Christopher Maupin

"You know what's funny? I never had a cell phone. I didn't want to always be there, you know."

What would you do in response to an incessantly ringing cell phone as you were trying to enjoy your lobster bisque in a near-empty cafe? Jean, who lies at the center of Sarah Ruhl's most recently published (and my personal favorite) play, Dead Man's Cell Phone, answers it. As it turns out, the owner of the phone, Gordon, is dead. But Jean continues to answer Gordon's phone and finds herself meeting his family, falling in love with his brother -which results in a room full of floating stationery in "classic" Sarah Ruhl style-, meeting his mistress...AND his wife, and becoming involved in organ trafficking.


Charles Isherwood writes in the New York Times:

"A beguiling comedy ... a hallucinatory poetic fantasy that blends the mundane and the metaphysical, the blunt and the obscure, the patently bizarre and the bizarrely moving. As Dead Man's Cell Phone takes surprising twists and leaps, the lament for the supposed coziness of pre-digital culture takes on layers of nuance and contradiction. Characters in Ruhl's plays negotiate the no man's land between the every­day and the mystical, talking like goofs one minute and philosophers the next. And her characters' quirkiness is in keeping, too, with the play's doleful central theme, that each human being is a book full of surprises even to intimates, and that one is destined to be left unfinished. Ruhl's affec­tion for the unexpected phrase, the kooky observation, the unlikely juxtaposition, is essential to her central belief that the smallest and most trivial things in life can be charged with meaning. She writes surrealist fantasies that happen to be populated by eccentrically real people, comedies in which the surface illogic of dreams is made meaningful­ -made truthful- by the deeper logic of human feeling."

On Monday, October 6, on the Barksdale Theatre Lobby Stage at 8PM, Barksdale and The Firehouse Theatre Project will co-produce a reading of Ms. Ruhl's Dead Man's Cell Phone featuring cast members from our production of The Clean House (see Rave Reviews below) and Firehouse's production of Eurydice. This continues as part of the Sarah Ruhl Festival. (Don't forget that audience members who see both Eurydice and The Clean House receive a discount on tickets!)

The reading will feature Laine Satterfield - currently appearing as the title character in Eurydice - as Jean (played in the New York production by Mary Louise Parker, Tony Award winner for her performance in Proof by David Auburn, also the star of the hit Showtime series, Weeds), Andy Boothby - Big Stone in Eurydice - as Gordon, the "Dead Man" of the title, Robin Arthur - Ana and A Woman in The Clean House - as Mrs. Gottlieb, Lauren Leinhaas-Cook - Loud Stone in Eurydice - as Gordon's widow, Hermia, John Moon - Charles and A Man in The Clean House- narrating, Bianca Bryan - Matilde in The Clean House - as The Other Woman, and Chris Hester - Orpheus in Eurydice - as Dwight. The reading will be staged by Jase Smith from The Firehouse Theatre Project.

Both Bruce Miller and Carol Piersol (Artistic Director of The Firehouse Theatre Project) will speak prior to the reading. A cash bar will be available in the lobby beginning at 7PM and will also be available at intermission. There is no admission charge and seating is general admission.

Don't miss out on this exciting collaboration!

Three More Rave Reviews

Posted by Bruce Miller
We received three more rave reviews this week, drawing crowds of laughing, loving theatregoers.

Weighing in on The Clean House, Dave Timberline provided the following quotes:

“Masterful!
A Smart Story ~ an Air of Enchantment
Amusing, Moving and a Little Bit Magical
Exceptional Performances ~ Sweet, Supportive Chemistry
Refreshing and Inspiring!”

--David Timberline, STYLE

Adding their kudos to the glowing review written earlier for Driving Miss Daisy by Susie Haubenstock of the R T-D, Joan Tupponce and John Porter contributed the following:

“Remarkable!
Depth and Feeling ~ A Joy to Watch
As comfortable as a plump easy chair
Derives its humor and tenderness from life
Just Plain Fun!”

--Joan Tupponce, Richmond.com

“Tremendous!
A Great Script ~ A Good Cast
The chemistry between Williams and Bynum is especially strong
An old sweet song, fresh in our hearts
A Great Evening!”

--John Porter, WCVE-FM

Daisy is joining Barefoot in the Park and Smoke on the Mountain as our biggest Hanover hits since reopening the theatre almost three years ago. Joy Williams, Jim Bynum and Garet Chester continue to earn standing ovations at every performance.

The Clean House is proving to be a real crowd pleaser at Barksdale Theatre Willow Lawn, adding immeasurably to the success of the Sara Ruhl Festival, coproduced by Barksdale Theatre and the Firehouse Theatre Project. Audiences are loving discovering a joyous new play by a dazzling new playwright.

If you still haven't seen Driving Miss Daisy or The Clean House, why not make your plans today. They are both wonderful shows that I know you'll enjoy. $15 rush tickets are available for all seats that remain unsold three hours before curtain. Call the box office for more information - 282-2620. We're extremely proud of this outstanding pair of heartwarming hits.

See you at the theatre!

--Bruce Miller

"Clean H" Earns B'dale National Wiki Notice

Posted by Bruce Miller
All right, I confess. It’s one of my goals to get Barksdale Theatre and Theatre IV into Wikipedia. The Richmond Symphony has been thusly immortalized, as well as the Virginia Opera and the Landmark. Why not B’dale and TIV?

I’m not talking about being mentioned in someone else’s Wiki article. We’ve already achieved that distinction. Stefan Sittig (a choreographer who worked with us in days gone by) lists both Barksdale and Theatre IV among his credits in the Wikipedia article that’s all about him. And the Wiki article on Richmond itself includes the following (oddly worded) copy under its Arts and Culture listing:

“Barksdale Theatre- Founded in 1953, originally as the Hanover Tavern. Created the nation's first dinner theatre. The Barksdale was Virginia’s first performing arts organization to open its doors to integrated audiences. Continues today as The Hanover Tavern, in Hanover Virginia, Barksdale Theatre in Richmond.

Theatre IV- founded in 1975 by Bruce Miller and Phil Whiteway and is one of the largest running theatres in Virginia. Tours children's shows all over the country. Now a family playhouse after Bruce and Phil took over Barksdale Theatre in Willow Lawn in 2001.”

Hmmm. Guess I’ll have to try to edit that a little. But it’s fun to know that Wiki and we are on a first name basis.

What I’m talking about is articles of our own, so that when you see us listed in someone else’s article, the names Barksdale and Theatre IV appear in blue and you can click on them to link instantly to the big articles that’re just about us.

I just discovered that our current production of The Clean House has taken us one step closer to achieving that goal. In the Wiki article about The Clean House and it’s current prominence in world theatre, Barksdale made the cut—which makes me mighty proud. Here’s what the operative part of the article says, word for word:

“Overview

The Clean House won the 2004 Susan Smith Blackburn Prize, awarded annually to the best English-language play written by a woman, and was a Pulitzer Prize finalist. It has received glowing reviews from certain critics: Variety called the play a “…wondrously mad and moving work…” and Charles Isherwood of The New York Times dubbed it a deeply romantic comedy, “…visionary, tinged with fantasy, extravagant in feeling, maybe a little nuts.”

Other publications, such as The Village Voice and The New Yorker were more critical, registering complaints about the play's style and its treatment of Mathilde. At the end of 2006, Entertainment Weekly magazine named the New York production one of the top ten theatrical attractions of the year.

The Clean House has been produced at South Coast Repertory (West Coast premiere, January 2005), the Goodman Theatre (spring 2006, in Ruhl's native Chicago), The Woolly Mammoth Theatre Company, Washington, D.C. (July 11 — August 14, 2005) [1], Lincoln Center Theater at the Mitzi E. Newhouse Theater (New York premiere, October 2006), Crucible Theatre, Sheffield, England (April 2006, European Premiere) and at Northampton's Royal & Derngate theatres (Feb 08 then UK tour).

The Sheffield production featured Patricia Hodge (Lane) and Eleanor Bron (Ana/Mathilde's mother). It was directed by Samuel West. Both actors revive these roles for Northampton and UK tour, directed by John Dove.

The Lincoln Center production featured Blair Brown (Lane), Jill Clayburgh (Virginia), John Dossett (Charles/Mathilde's father), Concetta Tomei (Ana/Mathilde's mother), and Vanessa Aspillaga (Mathilde).

The Clean House was shown at The Marlowe Theatre in Canterbury in March and April 2008. A French version was played in Montreal a the Espace Libre theatre in February 2008 called "Une maison propre".

Will run at the Barksdale Theatre in Richmond, VA from Sept. 26-Nov. 2nd, 2008.”

And that’s it, folks. No other theatres are mentioned. Barksdale is in some proud international company, and we didn’t even put ourselves there, I swear.

Anyway, I thought that was pretty interesting. So, if you have yet to see the lovely Sarah Ruhl play that earned this national notice for little old Barksdale, please make your reservations for The Clean House ASAP. You’ll be glad you did.

See you at the theatre!

--Bruce Miller

Hats Off to Barksdale's Mighty Volunteers

Posted by Bruce Miller
Volunteers come in all shapes and sizes, ages, races and creeds. God bless them every one.

About 120 of Barksdale and Theatre IV’s finest volunteers gathered last evening for our annual Volunteer Rally in our Willow Lawn lobby. Jean Hartley (our Volunteer Coordinator), her husband Dorman, Jennings Whiteway (our Events, Access and Food Service Manager), Jeanette Blaylock (volunteer chef extraordinaire), and Bob Albertia (our Group Sales Manager) provided the management, food and decoration for the event.

Steve Moore tickled the ivories beautifully throughout the evening. Speakers included Jean Hartley, Joy Ross (our Community Relations Manager), Bob Albertia, Phil Whiteway and me. Jeanette Blaylock’s famous artichoke dip, crab dip, fresh salsa and brownie bites complemented the crudités and ham biscuits provided by our friendly and generous downstairs neighbors, Padow’s Deli. From all appearances, a fun time was had by all.

Present in everyone’s hearts was Elizabeth Prevatt, one or our foremost and longest-serving volunteers, who died last month at age 82. Elizabeth was the elegant, prim, white-haired lady who for many years greeted audience members and took their tickets as they entered the lobby at the top of our stairs. With love and respect, our current production of The Clean House is dedicated to Elizabeth's memory.

Volunteers at Barksdale and Theatre IV work as ushers at our Willow Lawn, Hanover Tavern, and historic Empire theatres. They also assist with concessions, man the Will Call Window in our box office during some performances, assist with lunch service responsibilities during Bifocal’s matinees, and provide administrative support as needed.

Barksdale Theatre and Theatre IV would not survive without our able, talented and generous volunteers. If you would like to join our growing volunteer family, please call Jean Hartley at 355-3434.

See you at the theatre!

(Photo note: The youthful volunteers pictured above and to the left served on the all-volunteer crew for Barksdale and Steward School's co-production of Disney's High School Musical during the summer of 08.)

--Bruce Miller

Our First Review for "The Clean House"

Posted by Bruce Miller

We welcome Julinda Lewis to the growing fold of Richmond theatre critics. She wrote a complimentary review for The Clean House in this morning’s T-D (more about that in a moment). Ms Lewis has been reviewing dance in Richmond for four or five years now, and she’s critiqued other theatrical shows and companies over the last 18 months, including one show at Theatre IV. This is her first review of a Barksdale production, and we’re pleased to be working with her.

Ms Lewis is director of the Ayinde2 Children and Ayinde2 Youth Dance Ministries at St Paul’s Baptist Church in Richmond. Prior to moving to Richmond, she was the founding director of the Spiritual Walking Liturgical Dancers at Emmanuel Baptist Church in Brooklyn, NY, where she grew up and studied dance with George Faison, Fred Benjamin, Eleo Pomare, Maurice Hines and Pepsi Bethel. She also studied with the Dance Theatre of Harlem.

Ms Lewis holds BS and MA degrees in Dance and Dance Education from NYU’s School of Education, Health, Nursing and Arts Professions. She has been a dance writer and critic for more than 25 years. She is the author of a young adult biography, Alvin Ailey: A Life in Dance, and editor of Black Choreographers Moving Towards the 21st Century, which has been used as a textbook in dance programs throughout the nation.

Ms Lewis is enrolled in the PhD in Education program at VCU. Her dissertation examines the needs and perspectives of gifted performing arts students. She is currently a teacher with the SPACE Program (Special Program for Academic and Creative Excellence) with Richmond Public Schools, and a frequent contributor to Dance and Pointe magazines. Just like her esteemed T-D colleague, Susan Haubenstock, Ms Lewis works as a “Special Correspondent” for the Times-Dispatch.

Here are the quotes we'll be pulling and publishing from her glowing review of The Clean House:

“Perfect!
Free-Spirited, Romantic Comedy
Vivacious, Mystical, Defies Convention
The best tantrum ever seen on a stage!
An Analogy for Love ~ Poignant ~ Beautifully Designed
Everyone is Laughing!”

--Julinda Lewis, Richmond Times-Dispatch

We’re so proud of this beautiful production of a great play by Sarah Ruhl, and honored to be partnering with the Firehouse on the Sara Ruhl Festival. If you haven’t made your reservations yet to see The Clean House at Barksdale and Euridice at the Firehouse, I hope you’ll call the box office today at 282-2620.

See you at the theatre!

(The Jay Paul photos seen above picture the following outstanding cast members: [top left] Bianca Bryan and Robin Arthur, [top right] Kelly Kennedy, [mid left] Bianca Bryan and Robin Arthur, [mid right] John Moon and Robin Arthur, [lower left] Jan Guarino, [lower center] Jan Guarino and Bianca Bryan.)

--Bruce Miller

The Clean Lobby

Posted by Bruce Miller
When you come to see The Clean House, opening this Friday, you’ll notice that our theatrical house is, in fact, noticeably cleaner. After a few weeks’ investment of sweat equity, our hardworking Board is about to complete a redesign of our downstairs lobby.

This is Phase III in the gradual renovation of our Willow Lawn theatre facilities. Phase I was the installation of our new sidewalk awning at the top of the 07-08 Season. Phase II was the addition of our new exterior signage last spring.

As you’ve no doubt discerned, we’re transforming our duckling into a swan step by step, as time and contributed funds allow. We began with those components that you first encounter when walking toward the theatre from the parking lot. Now we’re making our way indoors.

Phase IV will be the cosmetic renovation of our elevator, and then we’ll move onward and upward to our box office and, thereafter, the atrium that surrounds our stairway as it ascends to the theatre proper.

The work on the downstairs lobby is not yet finished, but we’re promising completion of at least the painting before the end of the week.

All thanks go to the two guiding lights of this noble effort:

John Moon (actor, director and past Board President), who has organized and implemented the work. When not laboring in theatre, John is engaged professionally as a designer of exhibits and installations at museums and other cultural institutions nationwide.

David Crank (set and costume designer and former Board member at TheatreVirginia), who has shared with us his design expertise. David just won an Emmy Award for his Art Direction of the John Adams miniseries. Before John Adams, David worked as Art Director of last year’s multiple Oscar-winning film, There Will Be Blood.

Both men have generously donated their time and talents to this project, and we thank them for their gracious contribution to the cause.

You may remember that the downstairs lobby was originally painted a peach / cream color. Various viewers have described the particular tint and its twelve-year patina as “Silly Putty” (Phil), “Band-Aid” (me), and “Nipple” (Page Bond).

Since last the roller met the wall in 1996, the interior surface has become markedly scratched, dinged and smudged, so it was time (past time really) for Extreme Make-Over: Barksdale Edition.

The new color is a deep, dramatic crimson, serving as an elegant background for new photo displays enhanced by new track lighting. A good deal of clutter has been removed from the lobby. We’re creating new, more coordinated and informative interior signage, and constructing a new, comfortable seating area opposite the elevator.

The work was performed on a volunteer basis by Barksdale Board members (ably assisted by Emily Cole from our development staff). David Powers, our Tech Director at Hanover Tavern, is constructing the new seating. Many thanks to all those who made this renovation possible.

As you experience our spruced up digs, please let us know what you think. The theatre’s public spaces are always a work in progress, just as are our continually changing stage sets. We welcome your input, and look forward to seeing you at the theatre!

(Notes on photos: top right - today's view of the wall where our photo boards will go, the church bench will soon be replaced with other seating; top left - the new "etched" logo on our glass front doors, reflecting this morning's sunny parking lot; mid right - Pardon Our Dust; lower left - new lighting outside the box office window; lower right - our staging area in the atrium, the vintage Barksdale sign will soon be re-hung by the front door with a plaque explaining its history.)

--Bruce Miller

In Memoriam: Elizabeth Prevatt

Posted by Bruce Miller
I am sad to write today about the passing of our dear friend, Elizabeth Prevatt. With love and respect, we will dedicate our upcoming production of The Clean House to her memory. Her physical house (a neat-as-a-pin apartment on Malvern Ave.) and her spiritual home (her army of friends from Miller & Rhoades and Barksdale) were always comfortable, welcoming and especially well tended.

Elizabeth worked for years at M & R as Assistant Merchandise Controller, using her watchful eye to ensure that product sales and purchases stayed in proper balance. After her retirement, Elizabeth soon became one of Central Virginia’s most hard working and omnipresent volunteer theatre ushers, not only at Barksdale, but, on occasion, at venues all around town.

Many of you will remember her as the elegant, prim, white haired lady who tore your tickets as you entered the lobby at the top of the stairs. Elizabeth was here for almost every performance, year after year. She worked throughout the run of Guys and Dolls. She was a kind, loving, openhearted member of our theatre family, and we will miss her and treasure her memory for years to come.

Elizabeth was pre-deceased by her beloved son, and well cared for by her loving daughter-in-law, Gloria. A memorial service will be held in her honor on Friday at 1 pm at Battery Park Christian Church, 4201 Brook Road.

--Bruce Miller