Final Words of Wisdom & Friendship from Evan Nasteff

It's our farewell conversation with Evan Nasteff who plays Chris, son of the title character in Becky's New Car. Becky's continues to cruise at Barksdale's Hanover Tavern home, and will be delighting audiences through Nov 6. Pretty much everyone agrees that this is a Barksdale show you won't want to miss. And if you've never been out to the Tavern, this is a perfect introduction. The historic Tavern dates back to the 18th Century and the lifetimes of Patrick Henry, Thomas Jefferson and George Washington, but Becky's New Car couldn't be more fun and fresh. Don't miss it!

Q - Welcome back, Evan, for our third and final set of questions.

A - Fire away! I'm having fun.

Q - Okay. Lots of actor hopefuls say it's impossible to arrive new to the scene in Richmond and get cast in your first audition, and yet ... you did it. What's it been like to join the Barksdale family with this production? Will we be seeing more of you in the future?

A - I will be auditioning for as many shows as I can. Being in this play, with this awesome cast, and under the amazing direction of Billy Christopher Maupin...the experience has reignited me. As for the other part of your question, what I find appealing is how welcoming everyone in the whole community has been. In terms of our cast, I didn't know who Melissa Johnston Price was, even though she's in STYLE Weekly as one of Richmond's favorite actors. I didn't know Gordo or Dave or Daniel or Christine. I'd met Maggie because I saw her kick butt in You're a Good Man, Charlie Brown and Dog Sees God, both directed by BC, on back-to-back nights; but I didn't really know her, or anybody. As I started to learn who these people were, and how incredible they are and how rife they are with professional theatre experience ... then I freaked out. But they were all so welcoming, so nice, that if they didn't have so many damn stories of past plays together, you'd think that they could be on their first show too.

All the new people I've met now in the theatre community, I'll shake their hand and say, "Hi, I'm Evan Nasteff, nice to meet you" and they'll say, "Oh, you're the one in Becky's New Car!" and I'm like, "How the hell did you know that?" Everybody's been so welcoming to me, and that's what's been so appealing. I was a complete outsider, scared out of my mind of these amazing actors, and now I'm a part of it and I get to act right alongside of them. And now that I'm friends with all of them, they don't impress me at all anymore. Kidding.

Q - What do you think is the message of Becky's New Car, if there is one? What does the play have to say to people in our age bracket?

A - Um, I think we all imagine that the grass is greener on the other side of the fence, and that we all worry about becoming complacent and not achieving our goals and dreams; and, without spoiling anything, Becky's explores what MIGHT happen if someone decided to just hop over that fence really quick and just check shit out. Becky wonders if maybe she can attain greater things in life. I don't want to sound too corny, but Becky's message is that life is about the journey. It's not where you've been and where you're trying to get to, but it's the journey that matters, and we all find that out in this show. Hey, come to Becky's New Car! Dave Bridgewater will give you free beer! That's another message.

Q - Being new, you can see things from a fresh perspective. Do you have any constructive suggestions to offer to Barksdale or the Richmond theatre community in general?

A - Everybody seems to get along really well. I think. It just seems like everyone supports everybody else. All the different theatre companies go to see each other's shows. I met the artistic director from the Firehouse Theatre, Carol Piersol, on Opening Night of Becky's. And I read the great things Bruce said about going to see Cat on a Hot Tin Roof at Firehouse, and I know he went out to the Mill too to see the Carter Family show. I guess I always thought the different theatre companies met in the streets and had West Side Story knife fights. That's what Maggie said in her interview, right?

Q - What does the future hold for Evan Nasteff? Any dreams you can share?

A - I'm moving to Hamburg, Germany! I'm going to go work at the Hollister store there. They have a Hollister in Germany. They speak English fluently in Hamburg, and the store is completely English-speaking! I need to brush up on my German, and by that I mean I need to LEARN German, but at least while I work I will have no communication barrier to break down. I've worked at Hollister in the past, and the opportunity arose and I decided to jump on it. I figured, if I didn't, I would regret it forever, plus Melissa Johnston Price told me I had to, so there wasn't really choice involved anyways. I'm going to give myself at least a year there, maybe more if I love it, which is likely, but as soon as I get back I'm going to dive right back into theatre and acting in general, so nobody get out of the pool while I'm gone, okay?

(Photo captions: top, middle and bottom - Evan the bartender with some of the beautiful women in his life.)

Evan Chews Fat on Tats & Tips to Attract 20-Somethings

We're back again with Evan Nasteff, the young but seasoned pro (college level) who is new to Richmond theatre but knockin' 'em dead nonetheless at every performance of Becky's New Car. So far our actor interviews have run veteran (Frank Creasy), 20/30-something (Maggie Roop), veteran (Jill Bari Steinberg), and 20-something (Evan Nasteff). Evan brings a youthful perspective and a lot of energy to the production. We're glad he was discovered by the director of Becky's, Billy Christopher Maupin. Becky's must close on Sunday, Nov 6. Now would be a GREAT time to call 282-2620 to buy tickets, or order tickets online at www.barksdalerichmond.org!

Q - Thanks again, Evan, for putting up with all the questions. This one's a bit cliche, but ... do you have any favorite moments or scenes in Becky's?

A - See, this is really tough. I knew you'd ask me this, but I'm still finding it hard to answer. There are so many amazing moments, and this thing is hilarious. If I had to pick one, I would say that there's a part at the end of the play where the mood is incredibly tense and somber, and Steve, played by Daniel Moore, is just completely oblivious to it. He's in his own world, talking about Pomegranate Spritzer and hiking, and it's just completely perfectly ridiculous and hysterical. When you're playing a character like that, you can't shy away from that obliviousness, and Daniel goes all the way. He gives an amazing performance, and I'm laughing in my head right now thinking about the way he says the line "Trail-friendly gorp."

Q - Bruce Miller and Phil Whiteway have been making it pretty clear that they're all about attracting younger audience members into the theatre. Becky's New Car has a lot to say, I think, to audience members of all generations. For me, it's good to look up on stage and see someone like you who's approximately my same age. Are you personally having any success convincing 20-somethings to come see you at the theatre, or do you think Barksdale in general is having any success, based on who you're seeing at Becky's New Car? Do you have any ideas on how to attract our demographic?

A - Um, it's hard. It's extremely difficult, and I know because I've been struggling with it every day. The people I've been trying to bring in are young, and some of them would rather go pay fourteen bucks to see Michael Bay blow some shit up in 3-D than see a quality theatre experience that would stick with them for a lifetime, you know? What would I do, or what should Barksdale be doing? Well, I guess I would advertise on some medium that young people are going to look at every day. We don't read the paper, we watch TV and check Facebook. STYLE Weekly is good, though: it's free, and free is pretty affordable to young people, and STYLE takes time to talk about and review theatre, which is great. That, and doing shows that young people might recognize or at least be intrigued about, like Spring Awakening, which Barksdale will be doing next summer.

Q - Are your co-workers and friends from the bar coming to see you in the show?

A - It's been tough because I've been having some issues getting some of my co-workers to come. With the Hookah staff, though, it's not an issue of wanting to come. They have all been very excited for me, and very supportive. The problem is that most of the shows fall on nights when they have to bartend, so it's been tough getting some of them out to the Tavern. Those who have come to the shows we've had on Wednesdays and/or Sundays have raved about it to their friends and the staff, so we'll see what happens here in the home stretch.

Q - One of the benefits of that towel scene--see, I'm just like that girl who talked to you on Opening and fixated on your few scantily clad moments--anyway, one of the benefits is you get a chance to show off your tattoos, which are cool I think. What are they and do they have any special meanings to you?

A - Well, I have four. On my left wrist is a Triforce, from Zelda. Yeah, a video game. It stands for Power, Wisdom, and Courage, and if you can be the master of all three parts, well, you're pretty much set. On my chest is a symbol from Super Mario Brothers. I know, I know...

My right arm is a scene of a young me and my grandfather. We're sitting on a bench near the Chesapeake Bay and he's teaching me how to play the harmonica. It's a beautiful scene of a beautiful memory, and I wanted to remind myself that, although he's gone, the lessons he taught me are not.

My left arm is a quote from "Strawberry Fields Forever" by The Beatles: "Living is easy with eyes closed, misunderstanding all you see." What I take from that quote is that it's easy to get through life unaware of your full potential, but it's something else entirely to open your eyes and fully realize your true capabilities. That, or Lennon was on a lot of acid. But it serves as a constant reminder to me to pursue success in things that matter to me-- like theatre-- and to be the best me I can be.

(Part 3 coming this weekend!)

Bartender to Barksdaler--The Secret Life of Evan Nasteff

We've decided to save Jill Bari 3 to sneak in another plug for the final two weekends of Becky's New Car. So today we begin our--is it too soon to say "traditional"?--three-part interview with Evan Nasteff, the attractive young bartender who's setting aside his martini shaker Thursdays through Sundays to stir up some mischief in BNC at Hanover Tavern. When you're strategically seeking to attract a younger audience--and yes, Barksdale is making steps in that direction--it's not stupid to recruit the talents of a guy like Evan. He's young, he's hip, he's tatooed, he's completely comfortable appearing in swimwear--and at the same time, he's clean cut, polite, smart, and would make a good impression if you took him home to meet your mother. In short, he has the potential to attract a younger crowd while also pleasing American theatre's more traditional ticket buyer. Not a bad skill set--behind a bar or onstage at Barksdale. Becky's New Car runs this weekend and next before driving away and into the sunset. Everyone loves this quirky, contemporary comedy. What's the matter with you? You haven't seen it even once!?

Q - Hi Evan. Thanks for agreeing to talk with us. You're a new face in professional theatre in Richmond! Welcome. Where was your previous acting experience?

A - I'm four years out of college and thrilled to be returning to the theatre scene. Becky's is the first professional play I auditioned for in Richmond, and it will not be the last. I acted in high school, and ended up as a theatre major at Hampden-Sydney College. Hampden-Sydney has a small theatre program. As a result, everyone involved in it is completely immersed and extremely passionate. I had the privilege of studying under the amazing wife-and-husband team of Shirley Kagan and Matt Dubroff. Together they run the theatre program at H-SC, and they take turns directing plays, demonstrating their unique and contrasting styles. Because they're so different in their approaches, but equal in passion, their shows always feel fresh.

Q - What were your favorite shows with Kagan and Dubroff?

A - Playing Buckingham in Shakespeare's Richard III, which Matt set in the modern era and re-titled K-R:III. We were flying on wires, shooting each other, and fighting in slow motion. Very cool. Acting in Rashoman, a sort of murder mystery classic adapted for Broadway by Faye and Michael Kanin from an even more classic Japanese film, the 1950 masterwork by Akira Kurosawa. The film in turn was adapted from two dark Japanese short stories by Ryūnosuke Akutagawa. Just like many Japanese film classics, the story in the play--a murder mystery told from several different perspectives--starts out quietly, the storytelling is very subtle, and then everything slowly builds momentum. There was some incredible work done in that show.

I loved performing in Noises Off!, a farce to beat all farces--just about the funniest thing I've ever read, seen, or been a part of. Shirley pulled out all the stops and we crashed over, under and through the revolving set to packed houses every night. I also flipped out over every single second of playing Marc in Yasmina Reza's Art, and every nanosecond of working with the amazing people in that show. It was my thesis. Grant Mudge from Richmond Shakes came and reviewed me. I got an A! Fun was had.

Also, in Noises Off!, I got to have my pants systematically fall down every night exactly when I wanted them to. Gotta love that.

Q - You're a much-acclaimed bartender at Off the Hookah, or so I've been told by several of your fans. Do you find any similarities between your work behind the bar and your work on stage?

A - Actually, being a bartender has a lot in common with theatre. Whether you're grinding out crushed red pepper in fine dining or slinging vodka-cranberries at a nightclub, people come expecting some kind of show. It's my job to give them that show. In fine dining, paying customers at the bar expect to be provided for, and in most cases, engaged in some sort of conversation. At Off The Hookah, we have different actors playing different roles. We have machines, bartenders who dispense drinks as fast as humanly possible; we have the girls, the eye candy behind the bar who keep the guys coming in droves; and we have the circus, the bartenders that throw bottles way up in the air and breathe 151-proof fire. I fall in the "machine" category. I would say "eye candy," but I'm not sure a sparkling sequin glitter-bra would look very good on me.

Q - I don't know. In Becky's your character comes on stage for one scene wearing nothing but a towel. And no one in the audience complains. How do you feel being exploited as a hunk of man candy?

A - Oh shit. You know, I didn't even feel that way at all, and--I haven't told the cast this, I was going to save this story for our cast party. On Opening Night, we had a party afterwards in Hanover Tavern's tap room, and... well, there was an open bar. This cute girl comes up to me, and I had never seen her before, and she goes, "So what were you wearing under your towel?" Not, "Good job!" Not, "I'd like to discuss your political stance on withdrawal from Iraq," but, "So what were you wearing under your towel?" That's one of the few times when I sorta thought, oh, maybe they are using me as a steaming hunk of whatever-you-called-it. But, the way I see it, whatever sells tickets, man. Everyone who knows me knows that I really don't have any boundaries at all, and I'm not afraid of anything--except spiders-- so it isn't an issue for me.

So she says, "What were you wearing under your towel?" and I said, "A top hat."

(Coming Soon - Part 2. Photo captions: top right - promo shot for Becky's with Melissa Johnston Price, center left - at the Artsies with his new friend Audra Honaker, bottom right, on stage in Becky's New Car)

Roop Raps on Shofner, Maupin, Nasteff, Hanover Tavern

We're in the midst of an interesting interview with Maggie Roop, who is playing the ingénue role of Kenni in the new comedy, Becky's New Car, playing now through November 6 at Barksdale Theatre at Hanover Tavern. This is Part 2 in a three-part series. In the photo below, we see Maggie with Durron Tyre and Mark Persinger in Theatre IV's 2011 production of Honk!)

Q - Thanks again, Maggie, for talking with us about your experiences in and around Richmond theatre. Enquiring minds want to know.

A - Don't you mean "inquiring"?

Q - Well, yes, but ... It's a slogan used in the 80s by the National Enquirer, so ...

A - Now you're starting to scare me.

Q - I'm sorry. I'll try to sound less like someone who's lurking in the shrubbery with Bat Boy. Do you supplement your acting with a day job? What is it?

A - I'm very lucky. During the day I work at Romp n' Roll in Midlothian. The company is locally owned and provides classes in Gym, Art and Music for children under 5. I'm the manager there and I also get to teach classes. It's a great way to spend my days before I head to the theatre. In addition to my love of theatre, my next great passion is educating children and nurturing their development.

Q - What are your long term career aspirations?

A - Some Richmond theatre community members may not know that Matt Shofner (VCU grad, actor/singer/dancer and all around fantastic person and pal, pictured to the right) has just moved backed to RVA. Matt and I have a strong desire to bring something more to the theatre community so we are currently working on a new project together. We will be producing some exciting new events starting in the New Year which will help to bring the theatre community together and showcase the rich talent that our fair city has to offer. Stay tuned for more news!!

Q - Now you're the one being cryptic. I like that.

A - Happy to oblige.

Q - You've worked with a variety of directors over the years. How much specific blocking / character advice etc. do you like to receive from a director? Or do you prefer a more organic process?

A - I think one of my greatest strengths as an actor is my willingness to be a piece of clay. At the beginning of my process I really like to give in to what the director is offering me and flow with it. This is something I have honed since school. I find it easier to start out not resisting what the director gives me (within reason) and then as the process continues I start to build on that foundation with the character nuances and specific choices I've found along the way. I think this is what makes Billy Christopher Maupin (pictured to the left) and me such a good team. We have a great push-pull relationship and we speak the same language. Which is why, if you look at my resume, you will see his name peppered generously upon it!!!

Q - You recently had the chance to meet the Staadeckers, the couple that contributed the funding to originally commission Becky's New Car in Seattle. What was that experience like?

A - It was, for lack of a better word, magical. Their passion for this play and for the process of commissioning a play is so inspiring. I hope they are paving the way for more people to take a chance and do what they did, so that theatre across the country and the world can continue to flourish in such a collaborative way.

Q - This is your second show at Hanover Tavern. Can you describe for our readers one example of something that makes the Tavern experience unique?

A - There's no denying that it is a wonderful experience to work in such a beautiful, historic building. The story behind the Tavern makes me feel like I am part of something special. I love the Tavern audiences too! Richmond is blessed with an exceptionally supportive and growing base of theatre patrons. But there's something about the folks who come to Hanover Tavern. They have an energy and appreciation for the shows we do that is palpable.

Q - Some people think of Richmond theatre as a closed shop, or Barksdale as a closed shop. What is your opinion about that issue?

A - I think this is an unavoidable issue in any theatre community. But honestly, I feel like I'm meeting new theatre artists and seeing new actors in Richmond theatre all the time. Evan Nasteff (Chris in Becky's New Car, that's Evan peering over Maggie's shoulder in the Becky's promo shot to the right, with Gordon Bass) and Christine Fonsale (Ginger in BNC) are perfect examples of this. Becky's New Car is Evan's first show in a few years, and Christine is a Williamsburg actor making her Richmond debut. They are both new, fresh faces on a Richmond stage. There's always going to be a core group of people at any theatre who are consistently cast because of their talents and abilities, or because directors and producers know how great they are to work with. A wonderful aspect of Richmond theatre, to me, is that we have both--a broad base of experienced professionals always welcoming a new crop of fresh talent. I like the mix, and wouldn't want to lose one for the other.

(the third and final installment coming next Monday)

New Faces and Old Favorites Rev up for Becky's New Car

Posted by Bruce Miller
When Steven Dietz's brand new comedy, Becky's New Car, starts its engines in 11 days at Barksdale Theatre at Hanover Tavern, the audience will be charmed by a high octane cast of seven, three of whom will be performing at Barksdale for the first time.

Becky is played by none other than Richmond acting queenpin, Melissa Johnston Price (pictured to the right). Believe it or not (I scarcely believe it myself), this will be Melissa's first, full-fledged Barksdale production.

It's true. At least I think it is. Melissa's credits have been the stuff of legend in Richmond for the last three decades, but her reputation for excellence has all been earned elsewhere.

To be precise, Melissa did appear last fall in the Bootleg Shakespeare production of Titus Andronicus, co-pro'ed by Henley Street Theatre and Barksdale. But the wonderfully wacky Bootleg performances, by design, are barely fledged at all. The entire cast rehearses all morning and afternoon on the day of performance, and that's it.

Also, Melissa starred in The Full Plate Collection, co-pro'ed by Erin Thomas Foley, Jenny Jones Hundley, Irene Ziegler Aston and Barksdale during 2010's Minds Wide Open--Virginia Celebrates Women in the Arts. Our role in that partnership was to provide a performance space and a little advice every now and then, and otherwise stay out of the way. So I don't think we can count Full Plate as Melissa's Barksdale debut.

Melissa also has appeared with Theatre IV, but it was quite a while ago, in our co-productions of Who's Afraid of Virginia Woolf (with The Production Company) and Boom Town (with Essential Theatre). Even then, Theatre IV's involvement in the actual artistic product was next to nothing.

So, here she is, identified only a few months ago as one of Central Virginia's two favorite actresses by the readers of STYLE Weekly, FINALLY joining the pit crew at Richmond's nonprofit, resident professional theatre. We're counting our lucky stars.

The other two newcomers in Becky's cast are Christine Fonsale (pictured above and to the left), a Virginia actress who is well known to audiences in Williamsburg and the DC area, and Evan Nasteff (pictured below and to the right), best known by those Richmonders who savor him as the suave and sultry bartender at Off The Hookah in Shockoe Slip.

Christine is an audio book narrator for the Library of Congress. She received theatrical training at the Theatre Lab School of the Dramatic Arts' Honors Conservatory Program in Washington, DC, and participated in Master Classes at DC's nationally renowned Shakespeare Theatre Company. Her credits include Tales of Love and Sausages for Faction of Fools, DC Microfictions for the Alliance Française of Washington, and I Ought to Be in Pictures for the Little Theatre of Norfolk.

In her hometown of Williamsburg, Christine appeared in Polly Honeycombe, Cry Witch!, A Salute to Our Nation, His Excellency's Pleasure Garden, and Lady Dunmore's Ball, all for the Colonial Williamsburg Foundation's Evening Programs.

Evan holds a BA in Theatre from Hampden-Sydney College. Previous stage credits include MacBeth, Richard III, Rashomon, Art (by Yasmina Reza, author of God of Carnage), Waiting for Godot, and Noises Off!

Rounding out the terrific cast under Billy Christopher Maupin's direction are Barksdale favorites:
* Gordon Bass (green shirt - To Kill a Mockingbird, Melissa Arctic, Das Barbecu),
* David Bridgewater (yellow shirt - Is He Dead?, Moonlight and Magnolias, The Drawer Boy, The Lark, The Crucible, Cyrano de Bergerac, Annie Get Your Gun, Over the River and Through the Woods, The Odd Couple),
*Daniel Moore (red tie - Circle Mirror Transformation, The Little Foxes), and
*Maggie Roop (green bracelet - First Baptist of Ivy Gap, Doubt, Guys and Dolls).

I look forward to seeing you at the theatre, in whatever colored clothing and/or accessories you choose to wear. In 11 short days the garage door opens and Becky's New Car finally hits the road.

--Bruce Miller