Beckett via Pinter via Tuggle

Posted by Bruce Miller
A couple people lately have said, “I liked your review of Henry IV (or Little Shop, Austin’s Bridge, This Is Our Youth etc etc). I appreciate their gracious comment, and so I thank them before quickly adding that I don’t write reviews. I understand the confusion and know that I’m responsible for it. So let me explain.

I write cheers, toasts and compliments, but I don’t write reviews. I’d be a lousy critic. I’ve found things to admire, but I’ve never honestly enjoyed a production of Annie, Cats, Joseph / Dreamcoat, and Nunsense. On the other end of the spectrum, I seem to always walk away cold from anything by Strindberg, Gorky’s The Lower Depths, and most Mamet. Need I say more? I’d be a terrible critic.

But almost every time I go to the theatre, there’s something that gets me excited. I love going, and watching, and talking about it afterward. Theatre is in my life blood, and so I’m happy to talk about those things in any given production that make me happy. I’m aware that the position I’m blessed to hold has certain responsibilities, and one of those responsibilities is being a cheerleader for all of Metro Richmond’s theatres. It’s a responsibility I take seriously and enjoy. It's one of the reasons that this blog exists.

So, here’s what I loved about The Dumb Waiter, which I saw last night at the Little Theatre at Theatre IV.

I loved revisiting Harold Pinter. He won the Nobel Prize for Literature in 2005, and is generally considered the finest and most influential British playwright of the latter half of the 20th Century. In world opinion, he comes out ahead of Alan Ayckbourn, Michael Frayn, David Hare, John Osborne, Tom Stoppard and the other greats--although, if I were Pinter, I'd be looking over my shoulder for Stoppard.

I first encountered Pinter in college when Jack Welsh directed a studio production of The Lover starring Bev Appleton and Mary Atkins. I had the privilege of running the light board. I thought the show was GREAT!

Far more recently, Phil and I sat in the front row for a revival of Betrayal in London that knocked our socks off.

The Dumb Waiter is early Pinter. He was clearly connected with and influenced by Samuel Beckett in those days, and The Dumb Waiter is in many ways an homage to Waiting for Godot and Endgame. At least that’s the way it seemed to me—two existential killers waiting for instructions from a faceless master who never appears, bouncing around in a featureless landscape and exploring the master/servant aspects of their own relationship.

I loved experiencing Pinter again, and The Dumb Waiter for the first time, remembering the intellectual thrill of exploring the various themes presented by the great playwright, not only during the 45 minutes that the show was going on, but also during the ride home and long after.

I loved seeing again the crisp, boyish charm and intelligence that David Janeski brings to every role. I’m sure David is sick of hearing the word “boyish,” but that innocence and freshness inhabits everything he does. Trade on it, David; it works for you.

I loved seeing, for the first time, the talented Carl Calabrese—a new actor on the Richmond theatre scene. Sturdy, handsome young men are often what we see the fewest of in casting calls, and Carl should find lots of opportunities to share his talents with the Richmond audience. Welcome!

Most of all, I loved seeing the fluid, impassioned direction of Brad Tuggle, who clearly loves this project as much as he loves his emerging role in the Richmond theatre scene. It is the youthful energy, developing talent and mature commitment that come from the Brad Tuggles, Chase Kniffens and Alex Previteras of the world that keeps Richmond theatre at the top of its game.

I recommend this energized, 45-minute, $5 production to anyone who cares about world literature, Richmond theatre, or the unique passions of young men. Open your mind; challenge your intellect. Run, don’t walk, to the box office today!

--Bruce Miller

For The Dumb Waiter dates and ticket information, click here.

A Journeyman Arrives

The day has finally come. After talking about this production for over a year, I am finally producing Harold Pinter's The Dumb Waiter in the Little Theatre in the Historic Empire Theatre complex. Many people have been asking "Why is he doing a show in the Little Theatre if it has been closed?" The answer to this is that I have just completed a "Journeyman's Year" where I was half-intern and half-employee. Part of my compensation for doing this year was the use of the Little Theatre. (You may remember Chase Kniffen's production of Godspell in the space. That production was done under the same agreement.) Our production was originally scheduled for February, but both David Janeski (who plays the role of Gus) and I were given the opportunity to work on Smoke on the Mountain at Barksdale Theatre at Hanover Tavern (I as assistant director and David as Dennis, one of the twins- "he's the boy") and couldn't pass up that opportunity. It turns out for the best because now that the show is going up in August, Carl Calabrese is able to join the cast as Ben.

Carl, David, and I attended Longwood University together, Carl graduating one year after I. Though he is new to the Richmond scene, Carl is sure to be loved by all. The Dumb Waiter is the third show in which I have directed Carl; the other two being The Skin of Our Teeth by Thornton Wilder and The Brute by Anton Chekhov, Carl having played the lead in both. Another interesting fact: Carl and I played opposite each other as the Antipholus twins in Shakespeare's Comedy of Errors at Longwood.

David and I have worked on several shows together over the last year including two shows at Barksdale Theatre at Hanover Tavern: Agatha Christie's The Mousetrap and the aforementioned Smoke on the Mountain, as well as Bill C. Davis' new work, Austin's Bridge, at the Firehouse Theatre Project.

To give a brief overview: The Dumb Waiter is a time-honored classic of the absurdist theatre, written in 1960 by Harold Pinter, who would later go on to win the Nobel Prize for Literature in 2005. This dark comedy is the story of two contract killers waiting in a basement for their next job. Tension runs high due to decidedly contrasting personalities and it only escalates as they are sent encoded commands through an old dumb waiter. The twisting tale is sure to leave you guessing until the very last moments, and it's shocking conclusion! (Dun-Dun-Dun).

This process has been incredibly enjoyable and enlightening. Outside of the obvious duties of a director, so many other things fall onto one's plate when one decides to independently produce a show. From sending out press releases, to painting the set and rigging lights, everything comes at a rapid pace. I have been very fortunate to have many wonderful people give me and advice and help me immensely.

Thank you to Sara, Judi, Wendy, Jessica, both Bruce's, Phil, Catherine, Billy Christopher, and everyone else at Barksdale/Theatre IV who have donated their time to help with things that I could never have done on my own.


Also see the article that appeared in the August 1 STYLE Weekly.


Brad Tuggle
Assistant to the Managing Director