Spielberg Dolls Up the Empire for Her 100th Birthday

Posted by Bruce Miller
We're gavotte-ing into rehearsals for My Fair Lady this week, the 100th Anniversary production of the historic Empire Theatre. Our fair (and historic) theatre opened on Christmas Day, 1911! The consensus among those in attendance seemed to be that last night's read through/sing through went incredibly well. Tonight Leslie has her first choreography rehearsal. I'm excited and scared to be underway. The Empire herself must be pretty excited too. Steven Spielberg and his actors will be filming inside our landmark performance hall soon. They've completely transformed the inside of the theatre--removing seats, leveling the floor, constructing a full, beautiful period set on stage. I'm not allowed to say much more than that. But what I can say is that the design team for this film, led in part by Richmond-based art director David Crank (who also works, when we're lucky, as a Barksdale designer), is extraordinarily talented. What a nice pre-centennial birthday tribute for the magnificent Empire. Spielberg is going to make her a star!

What better way to celebrate Halloween than by going to the theatre, where people wear costumes all year long! We have two treats running this weekend: Becky's New Car at the Tavern and Kimberly Akimbo (special Wednesday matinee tomorrow at 2) at Theatre Gym. Call 282-2620 for your tickets today! Also, the restored art deco marquee is going up on the Empire this week, and we're repainting the lobby at Willow Lawn (with help from Altria volunteers!). And, we're presenting 51 live performances. Here's some of what's happening at your theatre.

Monday, Oct 24
Frog Prince - 1 show Flint MI
Hugs and Kisses - 2 shows Richmond VA
Sleepy Hollow - 1 show Topeka KS
Tales as Tall - 2 shows Henrico Co VA

Tuesday, Oct 25
Hugs and Kisses - 2 shows Caroline Co VA
Little Red Hen - 1 show Spotsylvania Co VA
Snow White - 1 show Halifax Co VA
Tales as Tall - 2 shows Henrico Co VA

Wednesday, Oct 26
Kimberly Akimbo - 2 pm Theatre Gym
Frog Prince - 2 shows in Albemarle Co VA
Hugs and Kisses - 1 show Norfolk VA, 1 show Isle of Wight Co VA
Little Red Hen - 2 shows Rockbridge Co VA
Sleepy Hollow - 2 shows in Roscommon MI
Tales as Tall - 2 shows Henrico Co VA

Thursday, Oct 27
Becky's New Car - 8 pm Hanover Tavern
Frog Prince - 1 show Dinwiddie Co VA, 1 show Chesterfield Co VA
Hugs and Kisses - 2 shows Suffolk VA
Little Red Hen - 2 shows Chesterfield Co VA
Sleepy Hollow - 1 show Euclid OH
Snow White - 2 shows Louisa Co VA
Tales as Tall - 2 shows Henrico Co VA

Friday, Oct 28
Becky's New Car - 8 pm Hanover Tavern
FIELD Arts Project - 2 classes Henrico Co VA
Frog Prince - 2 shows Chesterfield Co VA
Hugs and Kisses - 2 shows Isle of Wight Co VA
Little Red Hen - 1 show Henrico Co VA, 1 show Richmond VA
Sleepy Hollow - 2 shows Fairfax Co VA
Snow White - 1 show Hanover Co VA, 1 show Richmond VA
Tales as Tall - 2 shows Henrico Co VA

Saturday, Oct 29
Becky's New Car - 8 pm Hanover Tavern
Kimberly Akimbo - 8 pm Theatre Gym
Snow White - 2 shows Phoebus VA

Sunday, Oct 30
Becky's New Car - 2 pm Hanover Tavern

Hope to see you at the theatre!

--Bruce Miller

The Empire Theatre's Design Firm Wins Top State Award

Posted by Phil Whiteway
Congratulations to our good friends at Commonwealth Architects. They have been selected to receive the 2011 T. David Fitz-Gibbon Award, the highest honor given by the Virginia Society of the American Institute of Architects. Commonwealth Architects is the firm we've contracted to design the restoration of the neo-classical and art deco facades of the historic Empire and Little Theatres, known jointly as the Empire Theatre Complex. Kjellstrom and Lee is managing the construction. The facade should be fully restored to its 1911 glory, as pictured above and to the right by Feb 2012.

The Fitz-Gibbon Award recognizes a Virginia firm that has consistently produced distinguished architecture during the preceeding decade. The award will be presented at the Virginia AIA's Visions for Architecture Gala, to take place at the Virginia Museum of Fine Arts on November 4. In his letter of nomination, Richard Sliwoski, director of the Virginia Dept. of General Services said, "Commonwealth Architects' ... philosophy of reinforcing communities by rehabilitating existing buildings and encouraging compatible infill development is their hallmark.

Robert "Bob" Mills, a founder of the firm in 1999, states that the Richmond-based company has built its practice around a mission of "rebuilding community." The three recent projects that helped to convince us that they were the right firm for our job included:
* the adaptive renovation of the historic Chamberlin Hotel at Fort Monroe into a continuous-care retirement community,
* the transformation of the historic Miller & Rhodes Department Store in downtown Richmond into a mixed-use project featuring condominiums and a Hilton Garden Inn, and
* the redesign and reuse of a historic locomotive manufacturing plant into Bowtie Cinema's Movieland at Boulevard Square.

Commonwealth Architects specializes in pedestrian-scaled, mixed-use urban infill architecture and adaptive use. Over the next decade, as we expand our historic Empire complex to include the property to the west, which we have purchased, and the two properties to the east, on which we hold a right of first refusal, we know that Commonwealth Architects is providing an excellent foundation upon which we can build our expansion.

Commonwealth is also highly experienced in the use of state and federal historic tax credits, a skill set that is now integral to all historic renovations. Investment tax credits can save owners like Theatre IV as much as one-third of a project's rehabilitation costs.

We're proud to know that we're partnering with such a distinguished firm as we continue to exercise appropriate stewardship of our historic treasure--the oldest major theatre in the Commonwealth of Virginia.

--Phil Whiteway

Emergency Escape Routes Shut Down to Keep Casts Cool

Posted by Bruce Miller
If you happened to be driving down Broad Street not too many days ago, and you noticed it was blocked off to traffic, and you wondered why, here's your answer.

Theatre IV finally replaced the giant air conditioning unit that sits atop what historically was the Little Theatre and then the Maggie Walker Theatre. This is the unit that provides cooling to our dressing rooms, costume shop and rehearsal hall. Fortunately, it was this unit, not the one that sits atop the Empire and provides cooling to the theatre itself, that went on the fritz just prior to the final two weeks of Dirty Rotten Scoundrels.

There were a couple of cast members who would not agree with me about the "fortunately" part. When the cooling suddenly stopped in the dog days of August, our initial plan was to repair the unit and immediately restore a livable environment backstage. We tried, but were quickly told that repair was no longer possible. The unit was dead; no one of this world was going to be able to bring it back to life.

So we rented a portable air conditioning system that had giant plastic tubes that I could crawl through running down all the hallways, and enormous fans creating gale force winds that were capable of cooling the backstage spaces while at the same time blowing your wig into Kentucky. It was not an ideal situation. But it was manageable, and we thanked our hard-working cast profusely for putting up with it all.

There were a couple folks who wondered aloud why we didn't just replace the unit that had died, as if it were something you could just pop out of a window and toss into the dumpster. The reasons it took us several weeks were:

1 - money (it cost $22,000 and we didn't have that amount just sitting in a drawer),

2 - finding a final resting place for the old unit which was about the size and weight of a '68 Buick, and

3 - getting the necessary permits to close off Broad Street so that we could hire a crane to take down our old deceased buddy and hoist up our new one.

If you've ever tried to close off Broad Street, you know it's not the easiest thing to do. Probably since the Civil War, Broad Street has been THE legally designated emergency escape route that will allow hundreds of thousands of Richmonders to flee whatever and head to Charlottesville. Look out UVA, we're comin'. It takes practically an act of Congress to shut it down. Well, more accurately, it takes about seven weeks.

But finally all the pieces and parts were put into place, including the giant crane pictured above.

So now, all that ominous tubing that looked like something pulled from where IT lived in A Wrinkle in Time has been removed. And if you'd like to come cool down in our rehearsal hall, dressing rooms or costume shop, please, as Lumière and all his kitchen companions would say, be our guest.

--Bruce Miller

The Empire Gussies Up to Make History Yet Again

Posted by Bruce Miller
By now, many of you have seen or heard about the scaffolding that is covering the entire front of our historic Empire Theatre. That old rusting marquee that's been an embarrassment for the last 25 years has been dismantled and thrown into the dumpster. We all cheered watching it happen.

If all goes according to Hoyle, the new marquee (an historically accurate reconstruction of the original 1930s marquee for the Maggie Walker Theatre) will be up, and the scaffolding will be down prior to the first preview of Kimberly Akimbo on Oct 13 and the Richmond Theatre Critics Circle Awards on Oct 16.

Owning an historic property is a dramatic exercise in any case. Owning an historic theatre ... well ...

The Empire first opened its doors in downtown Richmond on Christmas Day, 1911. I'll be writing more about that in the coming weeks. The Richmond Empire was modeled after the close-to-iconic Empire Theatre in NYC, built in 1893, the first theatre in New York to feature electrical lighting. The legendary Empire (NY) was only the second theatre to be built in the Times Square theatre district. Located at 1430 Broadway, between 40th and 41st, the Empire (NY) is credited with establishing the artistic and cultural phenomenon that the world now knows as Broadway. The Empire (NY) was demolished in 1953 to an outcry of public protest.

History-making Broadway productions that played the Empire (NY) include the American premiere of The Importance of Being Earnest by Oscar Wilde (1895), the American premiere of Peter Pan by James Barrie (1906), the American premiere of Three Penny Opera by Kurt Weill and Bertold Brecht (1933), Life with Father by Howard Lindsay and Russel Crouse (1939–45, still the longest running non-musical in Broadway history), and Member of the Wedding by Carson McCullers (1950).

Our historic Empire (Richmond) is the more intimate of Central Virginia’s two Broadway-style theatres. With 604 seats, it approximates Broadway’s smaller theatres, like the Helen Hayes (seating capacity 593). With roughly 1,800 seats, the Carpenter Theatre approximates Broadway’s larger theatres, like the Gershwin (seating capacity 1933). Both theatres are invaluable, irreplacable cornerstones in the cultural foundation of our community.

The photo above and to the left was taken in 1893 when the Empire (NY) was brand new. I'm very proud to say that we just purchased a small, 1893 print of this historic photo, museum quality, and we will soon be displaying it prominently as we continue our ongoing, public interpretation of the historic facility we call home.

In the photo, the streetcar is heading down Broadway. The Oriental Hotel is on the corner, and the Empire Theatre (NY) is one building to the right of the intersection. Make special note of the first floor archway entrance to the theatre.

The photo to the left was taken in 1915, and shows a closer view of the grand arch entrance, framed on both sides by two classical columns. The name Empire has been added, as well as signage advertising the legendary actor, John Drew (uncle of Ethel, John and Lionel Barrymore). Handsome show card boxes have been placed at the base of each pair of columns to further promote the current offerings.

The reason I call your attention to this section of the facade is because it is this section that was duplicated almost exactly when the Richmond Empire was designed and built in 1911. If you remove the added signage from the image to the left, it will more closely represent the original design of the Empire (NY).

Posted to the right is an image of the Booker T. Theatre (one of the Richmond Empire's several incarnations), taken sometime in the 1940s, before the millwork on the original facade was removed for "modernization" in the 1950s. If you can imagine the Empire (NY) without the added signage, and compare it to the Empire (Richmond) without the Booker T marquee, you should be able to notice that the Richmond Empire focuses on a distinguished copy of the hallmark entrance to the history-making theatre that launched Broadway.

With all the recent brouhaha over how challenging it is to renovate and operate a major performing arts center in downtown Richmond (and it certainly is), it is easy to overlook the fact that Theatre IV has sucessfully operated and maintained the landmark Empire with nothing but public acceptance and acclaim for the last quarter century.

As you may have read a couple weeks ago, the recent hurri-quake added additional stress to our aging (and crumbling) stucco façade, requiring the scaffolding to go up and renovations to begin even though we don’t have quite all the money we need in the bank … yet. As we raise these funds, we’re very excited to know that the façade will be secure again in a couple weeks, and fully restored to it’s original grandeur (or very close to it) sometime early next year.

The historic Empire is a Central Virginia treasure, which will celebrate its 100th Birthday on Christmas Day of this year. It is the oldest major theatre in the Commonwealth. I hope everyone in Richmond will join us as we reintroduce this incredible asset to the community that has loved it throughout all its various incarnations.

--Bruce Miller

The Empire is Alive with the Sound of NEW Speakers

Posted by Bruce Miller
Owning the historic Empire Theatre, which will celebrate its Centennial (100th Birthday) this coming Christmas Day, is a privilege and a blessing--an expensive privilege and blessing. We've been raising funds quietly over the last several years to make home improvements to the only performance facility we own outright. Both Willow Lawn and Hanover Tavern are rented spaces--but even there, we pay for all the light and sound equipment.

In April of 2008 we replaced our old analog sound board with a new 40-channel, digital Yamaha LS9-32, and immediately heard our sound quality improve. Cost - $9,000.

In March of 2009 we replaced a dozen 15-year-old house mics and six tour mics (all wireless) due to the national DTV transition that rendered all our old frequencies useless. Our new mics are Sennheiser Evolution 100s, with a price tag of $18 K.

In June of 2009 we spent an additional $9 K (K means thousand for those who don't recognize the abbreviation) to replace an additional 18 tour wireless mics with new Sennheiser Evolution 300s.

In October of 2009 we replaced two handheld mics (originally purchased for a long ago production of Beehive) with Sennheiser Evolution 300s - another $1,400.

In the spring of 2010, we purchased a new Meyer MM-4 Frontfill Speaker System Amplifier, Processor for right around $2,200.

And yesterday we installed and tweaked a new Nexo Geo S8 Tangeant Line Array as our central cluster, including nine boxes, an amp and a processor. Total cost for this week's purchase--$22,000. The new speakers add stunning clarity and cover all our seating areas, including our hard-to-reach Governor's Box (available on command for all of Virginia Governors and Lieutenant Governors, current or past) and our Congressional Box (available on command for our Virginia and U. S. legislators).

We think you'll notice and appreciate the difference when you join us for Dirty Rotten Scoundrels this summer! The magnificent Empire truly benefits from being Central Virginia's only theatre built for the human voice before the age of sound amplification. Nonetheless, the new speakers help to make every word and note crystal clear.

In addition, we recently spent $22 thousand on lighting upgrades, with another $100 thousand needed and coming soon. More about that later.

All of this equipment, with the exception of the Meyer speakers, was purchased locally (Backstage Inc.), and all installation was performed by local professional labor (mostly our resident staff), significantly benefiting the Greater Richmond economy.

Special thanks to our old pal, Fred Brumbach, formerly of Backstage Inc., currently of On Stage Gear, for his invaluable consultation. And, of course, extra special thanks to our irreplaceable Tech Director, Bruce Rennie, and our exemplary Sound Manager, Derek Dumais, for working together to make all of this happen.

--Bruce Miller

Poetry Out Loud State Final 2011

Thank you, Virginia's 2011 Poetry Out Loud: National Recitation Contest participating teachers and high school students! This year 227 teachers and 8,653 high school students participated in Poetry Out Loud holding recitation contests in their classrooms, schools and advancing their school champion to the regional contests throughout the commonwealth.



Of the 76 school champions competing in the regional contests, 16 regional finalists advanced to the State Finals in Richmond at Theatre IV's historic Empire Theatre on March 17, 2011. After three rounds of poetry recitation, Carol V. Decker of Tuscaroara High School in Leesburg, Loudoun County was declared the highest scoring student and Virginia's 2011 Poetry Out Loud State Champion. Colleen Murphy of William Monroe High School in Greene County was declared State Runner-Up.



The National Endowment for the Arts and the Poetry Foundation, partners with state arts agencies across the nation to support Poetry Out Loud. The contest serves 350,000 students throughout the nation. Poetry Out Loud encourages the nation's youth to learn about great poetry through memorization and recitation and helps students master public speaking skills, build self-confidence, and learn about their literary heritage. Here in Virginia, the Virginia Commission for the Arts, Peggy J. Baggett, Executive Director sponsors the contest. Theatre IV and Barksdale Theatre are proud to be the administrator of this program throughout Virginia.

Theatre IV Accomplishments - 2009-10

Posted by Bruce Miller
As the end of the year approaches, it's always good to look back and see what we all accomplished. Nonprofit theatres rely on contributed funds, and we have to earn those contributions every year.

Today I'm listing highlights from the 2009-2010 Theatre IV Season, which ends on June 30 (tomorrow). Tomorrow I'll post a similar listing for Barksdale.

During the fiscal year that will end on June 30, 2010, Theatre IV served a total audience of 581,950 children, parents and teachers.

We produced and presented 129 performances of six plays and musicals on our mainstage Family Playhouse Season in our historic Empire Theatre: The Ugly Duckling, A Christmas Carol, The Song of Mulan, Jack and the Beanstalk, Buffalo Soldier, and The Sound of Music.

These six mainstage productions received excellent reviews from the critics and audiences (and yes, there were a couple times we got burrussed). They were well attended by 42,140 children, parents and teachers.

In partnership with Prevent Child Abuse Virginia, we produced and presented 175 touring performances of Hugs and Kisses, Virginia’s principal child sexual abuse prevention program.

The 2009-2010 tour was seen by 56,270 children in 127 schools spread out over every region of the state. One hundred and eleven children, slightly less than 2% of the total audience, were referred to the Virginia Department of Social Services based on post-performance disclosures. An additional 661 children came forward following the performance to ask pertinent questions.

In other touring, we produced and presented 16 additional instructional programs, including Ben Franklin and His Kite, The Boy Who Cried “Wolf!”, Buffalo Soldier, A Christmas Carol, Harriet Tubman and the Underground Railroad, "I Have a Dream" – The Life and Times of Dr. Martin Luther King Jr., The Jungle Book, The Legend of Sleepy Hollow, Lyle Lyle Crocodile, Patchwork – The Little House Life of Laura Ingalls Wilder, The Shoemaker and the Elves, Snow White and the Seven Dwarfs, Sojourner Truth, The True Story of Pocahontas, ‘Twas the Night Before Christmas, and The Velveteen Rabbit.

We performed these programs live before 187,950 Virginia students in 537 Virginia schools. These same touring shows were performed live before an additional 277,350 students who saw the touring shows in 394 performances in 28 states.

In partnership with CenterStage, the Latin Ballet of Virginia, Richmond Public Schools, Chesterfield Public Schools, and Henrico Public Schools, we launched the FIELD Project (Family Involvement in Early Literacy Development), addressing the reading deficits faced by economically disadvantaged students in Central Virginia’s pre-school programs. We serve as the administrator and controller of this landmark arts-in-education program.

As a part of our partnership with Richmond Public Schools in the Kennedy Center’s national arts-in-education program, Performing Arts Centers and Schools, we produced and presented three continuing education workshops with a total of 46 teachers. The three workshops were: “Beyond The Wiz—The Multi-Faceted History of African American Theatre,” “What It Takes to Produce a Musical,” and “Using The Sound of Music to Teach the Holocaust” (co-produced with the Holocaust Museum).

Through our Tickets for Kids program, we made free tickets available to 2,345 economically disadvantaged children in Greater Richmond. Our 2009-2010 partners included 64 local nonprofits including Art 180, Association for the Support of Children with Cancer, Big Brothers Big Sisters, Children’s Hospital, Dominion School for Autism, Flagler Home at St. Joseph’s Villa, Friends Association for Children, Garfield Childs Memorial Fund, Hospital Hospitality House, International Hospital for Children, Massey Cancer Center Children’s Ward, Richmond Area Association for Retarded Children, Ronald McDonald House, Sacred Heart Center, Salvation Army, STEP, United Methodist Family Services, Very Special Arts Virginia, Virginia Home for Boys, William Byrd Community House, and Whitcomb Court Community Center.

With our holiday mascot, Snow Bear, we provided free-of-charge entertainment for the annual Christmas Party at the Children’s Hospital. Snow Bear also participated in numerous community events during the holiday season.

With St. Andrew’s School, we assisted in our fourth year of after-school instruction for economically disadvantaged fourth and fifth graders. This year SPARC took the lead, and we were happy to partner with them.

With Barksdale, we implemented our annual Stage Explorers Summer Day Camp, serving 117 children over a six-week period.

We staged the 13th Annual Fairy Tale Ball, Richmond’s only family gala, entertaining 703 children, parents and grandparents while raising funds for our outreach programs.

We participated as full partners in the Acts of Faith Festival and Minds Wide Open: Virginia Celebrates Women in the Arts.

At the request of the Virginia Commission for the Arts, our artistic director, Bruce Miller, facilitated the annual meeting of Virginia’s major arts organizations, held during the Art Works for Virginia conference.

Working in partnership with the Virginia Commission for the Arts and the National Endowment for the Arts, we managed Virginia’s statewide Poetry Out Loud national recitation contest. Virginia’s winner was among the top nine finalists nationally.

With Commonwealth Girl Scouts, we hosted four theatre overnights and/or learning days in the historic Empire, providing workshops and performances necessary for 208 girls to earn their theatre badges.

With CenterStage, we participated in and loaned sound equipment for the Grand Opening. We also offered leadership, master classes, workshops and performances for Lights Up - CenterStage’s Open House for Young Artists.

At the request of Henley Street Theatre and Actors’ Equity Association, we served as paymaster whenever union actors accepted contracts at Richmond's smaller theatres. This was our 9th year volunteering our services in this manner.

Our staff volunteered their time for 14 career days; we provided 356 free tickets to charity auctions throughout Greater Richmond.

We owned, operated and maintained the historic Empire Theatre on behalf of the greater community, sharing the facility, often free of charge, with eight other nonprofit groups.

We achieved all of this while maintaining a balanced annual operating budget of $3,167,403 (Theatre IV only, pre-audit) in a very challenging year.

None of this would have been possible without the tireless work of our exemplary staff, and without your support. Many, many thanks.

--Bruce Miller

"Black Nativity" Makes Joyful Noise

Posted by Bruce Miller
Today is the final performance of Black Nativity, co-produced by African American Repertory Theatre and Barksdale. Dave Timberline said this about the show in his STYLE review:

"The holidays are celebrated on stage in a myriad of ways, but I have never seen an observance more exuberant than the African American Repertory Theatre's Black Nativity. The production — one part musical theater, two parts tent revival — nearly burst through the confines of the intimate Gottwald Playhouse at CenterStage, the cast of 27 conjuring big voices in support of a slew of Christian spirituals.

The show's highlights are provided by a half-dozen lithe and lovely dancers — most of them still in middle school and members of the City Dance Theatre (the two boys — Johnnie Mercer Jr. and Brandon Penn — perform in every show, two groups of four girls alternate performances). They bound across the stage with wondrous abandon, expertly choreographed by Willie Hinton. Backed by a peppy four-piece combo (musical direction by James Henley) and evocatively outfitted by costume designer Margaret Joyner, both the singers and the dancers lend a contemporary energy to the tried-and-true story of Mary and Joseph and their trip to Bethlehem.

Narration and inspirational rhetoric are provided by Alfred Powell, a charismatic preacher. Director Derome Scott Smith has chosen his ensemble members well and several of them are given moments to shine — Topaz Wise’s solo on Now Behold the Lamb and Michael Braxton’s uplifting Mary Did You Know each gave me goose bumps."

Reviews don't get much better than that. The show has now transferred to the historic Empire, and if you'd like to catch today's final performance at 3 p.m., good seats are still available at the Empire box office. You can call 344-8040 or just show up prior to performance. All tickets are $20.

It's been a thrill for us to work with Derome and his exceptionally talented cast on this terrific production. It was our first partnership with AART in a while, our first residency at CenterStage, and Richmond's first production of Langston Hughes somewhat amorphous classic. I think I can speak for everyone when I say that all of us have learned a lot.

The leadership teams of AART and Barksdale will be making decisions in the coming weeks about whether or not to bring a new and improved version of Black Nativity back next year. In most cities where Black Nativity is presented, it has become a not-to-be-missed annual tradition, much like The Nutcracker.

Many thanks to the talented singers, dancers and designers who have brought this Broadway Christmas classic to such vibrant life right here in River City.

--Bruce Miller

Curtain Up, Lights Out, Fun's ON!

Written by Tracy Coogle
Last Friday night was anything but quiet. Sixty-five Girl Scouts, 20 or so chaperones and scout leaders, plus about 15 volunteers and theatre teachers all packed into the historic Empire Theatre for Theatre IV’s first ever professional children’s theatre camp-in.

Barksdale has worked in strategic partnership with Theatre IV, the Children's Theatre of Virginia, since 2001. As a general rule, Barksdale works with teens, adults and seniors; Theatre IV works with children, families and schools. And now scout troops too.

This theatre camp-in was designed as a fun way to introduce young girls and boys to the wonderful world of theatre. The program meets Girl Scout and Boy Scout badge requirements, and (shhhhh….don’t tell the kids it was educational) The Legend of Sleepy Hollow (the performance presented at the camp-in) also address several SOLs.

Friday night was all girls and all scouts. The evening began with all the kids checking in and getting their sleeping assignments. Many brought bag dinners and giggled and chatted excitedly, waiting to enter the theatre.

At 6:45, all 100 of us were seated in the beautiful, 98-year-old Empire for our own private performance of the creepy October classic, The Legend of Sleepy Hollow. This is the same show Theatre IV takes on tour around the country. Did you know Theatre IV tours to 32 states?!

Following the performance, the cast answered a barrage of questions from the excited girls, ranging from the theatrical—“How do you change costumes so quickly?”—to the personal—“What’s your favorite food?” I think the cast enjoyed it as much as the Brownies and Girl Scouts..

Following the Q&A, the kids were sent out to the first of five workshop stations: Stage Combat, Lights and Sound, Acting, Mask Making, and Stage Makeup. The teachers at each station were theatre professionals—actors, teachers, technicians and designers. Since Theatre IV is the Children’s Theatre of Virginia, we have a LOT of outstanding resources at our disposal.

After the first three busy, fun-filled stations, the girls all went to their assigned sleeping spaces, rolled out their sleeping bags on the floors, and went to bed. Bedtime was 11, lights-out 11:30. So that I could “keep an eye and ear” on the lobby (I’m a light sleeper when I’m working with kids), I decided the Box Office would be the best place for me to sleep…WRONG!!! City buses come by every five minutes!

We repeat the program tonight, and I’ve already staked out a cozy, out-of-the-way spot in the balcony. Bring on the ghosts and spiders; I don’t care as long as they’re quiet.

This morning (Saturday), my fellow volunteer Stephanie and I set up breakfast tables at 6:00 am. Christina and Slade Billew picked up the coffee (hallelujah), milk, juice and bagels (yum) from Panera, a generous sponsor of our sleep over program.

The girls ate between 7 and 7:45, packed their bedrolls, and then went on to the two final stations.

Two girls were nearly in tears and threatened to quit their soccer teams when they had to leave the theatre early to attend soccer games. One leader said it was “the best overnight camp-in we’ve ever attended!” I responded, “Great…since this is our first, we welcome any constructive comments that we can apply to future camp-ins.” The scout leader stared in disbelief. “No,” she said, “you must be wrong. This can’t be your first. It’s so well run and organized!”

I assured her that this sleep over was indeed our first, and it began as just a fleeting suggestion on a train ride home from New York last March. (Thanks, Bruce & Phil, for humoring my crazy idea!!)

But trying to be objective, I have to say I agree with her. As an observer and “extra pair of hands” volunteer, it was the best-run camp-in I had ever seen. I lead two Girl Scout troops, and co-lead a third—so I have 7+ years of kid camp-in experience!

All the well-deserved kudos go to Christina Billew, our head teacher and organizer. Her children’s education background, acting experience, and the fact that she grew up with Theatre IV made her the perfect staff choice to run this event. None of us realized HOW perfect. I was very impressed with her level of detail, organizing every little aspect of the evening.

We have our second camp-in tonight, and this time, MY troops and three daughters get to attend. I’m really excited to be returning. I love my job!

--Tracy Coogle, CPA and Controller of Theatre IV and Barksdale Theatre, recipient of 40 Under 40 recognition from STYLE Weekly, 2009

"Ugly Duckling" Earns Beautiful Review

Posted by Bruce Miller

Julinda Lewis has penned a nicely written review of The Ugly Duckling, the theatrical divertissement now delighting pre-K through 2nd graders at Theatre IV's Empire Theatre. I'm not saying this simply because the review is favorable. I think it's a well written review, and I appreciate it.

You can find the full review at http://www2.timesdispatch.com/rtd/entertainment/theatre_arts/article/UGLY05_20091004-230803/297547/, or you can read the quotes we'll be pulling, which are as follows:

“Rollicking Good Comedy!
Bright and child friendly
Sweet and charming ~ Clear and confident
A combination of classic and contemporary
An enjoyable evening of theatre
Very Agreeable!”

--Julinda Lewis, Richmond Times-Dispatch

Many thanks to all of Richmond's critics for their hard work and dedication. I'm looking forward to the "Artsies" next week.

--Bruce Miller

Best of Broadway / Benefits of Barksdale

Posted by Bruce Miller
Rehearsals for Thoroughly Modern Millie began this evening. An eager cast of 22 assembled under the knowing eyes of director / choreographer Patti D’Beck, musical director Paul Deiss, and stage manager Ginnie Willard. I welcomed everyone. Off the top of my head, I'm thinking that nine of the Millie cast members are new to the Barksdale family, including two of the leads. Other than seeing them at auditions, I met these nine for the first time tonight.

One of the leads who is NOT new to Barksdale is Zak Resnick (pictured above and to the right). Zak arrived at rehearsal tonight directly from his drive down from Carnegie Mellon School of Drama in Pittsburgh, the prestigious university theatre program from which he just graduated. His car was still packed to the roof with everything he owns.

There must be something special about Richmond’s relationship with C M. Other Richmond theatre notables who went to Carnegie Mellon and then vaulted almost immediately into their professional careers include Tony nominee Emily Skinner and Hollywood superstar Blair Underwood. Like Zak, both Emily and Blair shared their talents with Theatre IV, Barksdale and other Richmond theatres before making it big on the national scene.

Like Emily and Blair, Zak seems destined for great things. Many Richmonders remember Zak for his memorable portrayal of Rapunzel’s Prince in our 2007 summer musical Into the Woods. But in New York, Zak is known by his growing fan base as one of the Broadway Boys, a six-man super group comprised of Broadway’s hottest tenors. (Six sing at any one time. There are actually 25 or so talented young men who have been selected for the ensemble.) “A fusion of funk, soul and gospel, the Broadway Boys create an out-of-control energy that makes you want to just get up and dance,” states Amy Birnbaum of the Jujamcyn Theatre organization. “Their arrangements of Broadway and pop tunes give way to a myriad of sound, color and grit. An experience you can’t afford to miss!”

You can hear and see Zak and the Boys singing "Defying Gravity" at http://www.youtube.com/watch?v=NJfIYzhLnt8. Zak is the guy to the far left of the screen (stage right). The camera-work is a little shaky, but you'll get the gist.

Taking time off this summer from his develop-ing NYC career as a Broadway Boy, Zak will be playing the male lead of Jimmy in our production of Thoroughly Modern Millie at the historic Empire Theatre. Last Monday, just before leaving New York for Pittsburgh, Zak took Broadway by storm one more time before heading south. After being selected as one of the 16 rising stars to be featured in this year’s Leading Men benefit concert for Broadway Cares / Equity Fights AIDS, Zak performed onstage last Monday side by side with fellow “leading men” including Jonathan Groff (Tony nominee for Spring Awakening), Nick Adams (currently achieving major celebrity buzz in the Broadway cast of Guys and Dolls), and Michael Kadin Craig (now starring Off Broadway in Altar Boyz). Lest you miss the import of being included in this august group, let me remind you that previous Leading Men concerts have featured the talents of current stars including Matt Cavenaugh, Cheyenne Jackson, Aaron Lazar, Matthew Morrison, Hugh Panaro and Christopher Sieber.

You can catch Zak’s star-to-be turn on YouTube, singing "The Streets of Dublin" from A Man of No Importance. http://www.youtube.com/watch?v=WIBomyh5cAg. The last time I heard Zak sing this song was in the cabaret that the cast of Into the Woods performed on Barksdale’s Willow Lawn lobby stage to benefit the Richmond Theatre Artists Fund. This time he sounded just as great, but he was introduced by Tony nominee John Tartaglia (Avenue Q, Shrek The Musical). I loved hearing John announce to the packed Broadway audience that Zak would be appearing this summer at Barksdale Theatre in Richmond, VA.

Those of you who listen to the Broadway channel on SIRIUS satellite radio will be interested to know that Zak was accompanied by none other than Seth Rudetsky.

As the Broadway in Richmond series reopens this fall with David Copperfield’s magic show at the new CenterStage, it’s good to remember that more Richmonders get their Broadway at Barksdale than anywhere else. If you really want to catch Broadway stars past, present and future, head on downtown this summer for Thoroughly Modern Millie, and catch the Best of Broadway with the Benefits of Barksdale.

See you at the theatre!

--Bruce Miller

Mill and Firehouse Win Top RTCC Awards

Posted by Bruce Miller
Urinetown at Swift Creek Mill Theatre swept the first Richmond Theatre Critics Circle Awards last night at the Firehouse, receiving the most nominations of any production (11) and the most awards (5):

Best Musical
Best Direction (Musical) – Tom Width,
Best Choreographer – Brandon Becker,
Best Actress in a Supporting Role (Musical) – Debra Wagoner, and
Outstanding Achievement in Lighting Design – Joe Doran.

The Late Henry Moss, produced by Firehouse Theatre Project, conquered the competition in the play categories, receiving:

Best Play,
Best Actor (Play) – Justin Dray, and
Best Actress in a Supporting Role (Play) – Jennie Meharg.

All told, Swift Creek Mill Theatre garnered six RTCCAs, as did Barksdale in the very even-handed awards event. Firehouse Theatre Project earned three awards, Richmond Shakespeare captured two, and ComedySportz won one. Enjoying good company in the “no wins” camp were African American Repertory Theatre, Carpenter Science Theatre, Chamberlayne Actors Theatre, Henley Street Theatre, Mystery Dinner Theatre, Richmond Triangle Players, Sycamore Rouge, and Theatre IV.

Other awards recipients included:

Stephen Ryan – Best Actor in a Supporting Role (Play) – Richard II (Richmond Shakespeare),
Sandy Dacus – Best Musical Direction – Guys and Dolls (Barksdale),
Jason Marks – Best Actor in a Supporting Role (Musical) – Guys and Dolls (Barksdale),
Rebecca Cairns – Outstanding Achievement, Costume Design – As You Like It [indoor] (Richmond Shakespeare),
Ron Keller – Outstanding Achievement, Set Design – Guys and Dolls (Barksdale),
Audra Honaker – Best Actress in a Leading Role (Musical) – Once Upon a Mattress (Swift Creek Mill Theatre),
Scott Wichmann – Best Actor in a Leading Role (Musical) – Guys and Dolls (Barksdale),
Bruce Miller – Best Direction (Play) – The Little Dog Laughed (Barksdale), and
Irene Ziegler – Best Actress in a Leading Role (Play) –Doubt (Barksdale).

The fact that major artists (and exceptional productions) like Katherine Louis, Laine Satterfield, David Bridgewater, Patti D’Beck, Leslie Owens Harrington, Paul Deiss, Joy Williams, Richard Koch, Robert Throckmorton, Sue Griffin, Liz Hopper, Lynne Hartman, Rachel Abrams, Ford Flannagan, Steve Perigard, Morrie Piersol, Keri Wormald, Margarette Joyner, Katie McCall, Susan Sanford, Duke Lafoon, Doubt, and Guys and Dolls failed to win in their appointed categories is a testament to the depth of talent in the Richmond Theatre Community.

As she herself mentioned during her hosting duties, Jill Bari Steinberg wasn’t even nominated.

A special award recognizing an Ongoing Contribution to Richmond Area Theatre was named in honor of Liz Marks, and presented to her daughter and brother. The festivities were fast moving and fun, and helped call attention to many, many achievements in Richmond’s 2007-08 theatrical season. Next year the awards ceremony will be at the Empire, which will allow for far greater attendance. Mark Sunday evening, Oct 18, 2009 on your calendars now. They’ll be plenty of tickets, and all proceeds will go once again to support the Richmond Theatre Artists Fund, an outstanding cause.

Congratulations and three cheers to all the winners and nominees. Congratulations also to the Richmond Theatre Critics Circle and the Firehouse for making the first iteration of this new annual event such a soaring success.

--Bruce Miller

Appearance of Theatres Fails to Pass Muster

Posted by Bruce Miller
I received the following unsigned letter in my office this morning. It’s worth sharing.

“Oct 2, 2008

Dear Mr. Miller:

I write to you without including my name in the interest of simplicity, and hope that I do not offend.

I have found much to love and enjoy in the numerous Barksdale productions that I have seen over the past few years. My first was The Full Monty; the most recent was Guys and Dolls. Doubt was, for me, the most powerful.

When attending Barksdale productions, I feel you should know what a big impression the atmospherics of the Willow Lawn and Empire venues have made on me, and I do not mean in a positive sense.

The Willow Lawn lobby cries out for re-modeling. It puts one in mind of a neglected moose lodge. Its current appearance is jarring and does not do justice to, or reflect, the level of excellence on stage. This is not an expensive proposition and could be solved with some cans of paint and a few trips to Ikea. It needs light colors, modern lighting and sleek, updated furniture. You have talent on your technical staff who would no doubt do a fabulous job of re-modeling.

The Empire Theater is obviously a treasure and beloved by Richmond. I remain mystified, however, by the abject and, frankly, embarrassing appearance of the outside presentation of the theater. It looks abandoned and neglected. The marquee must be lit up! The front of the Empire Theater needs to be lit up to look alive and welcoming! Right now, it looks like it is closed and waiting for demolition. The presentation window boxes which face the street are not lit and do not feature the posters of the show that is currently playing. I cannot understand this. It’s as though what is going on inside the theater is beside the point based on what the outside of the theater is telling the public. One of the presentation windows has broken glass. This makes a very bad impression of neglect.

I realize that keeping a theater in running order is very expensive. The solutions to the above problems, however, do not require huge investments of money.

Best of everything and keep up the otherwise very good work.”

I agree with much of what is included in this letter, and appreciate receiving it. I’ll respond in a subsequent blog posting. Please feel free to offer your opinions.

Hope to see you at our rundown theatres!

--Bruce Miller

Student Opportunities in the ARts

Posted by Bruce Miller
No, it’s not a typo. The reason the R is capitalized in the word ARts in the headline flying jauntily above this post is because we’re making an acronym. SOAR. I know, I know … it’s a bit forced. But Creative Residency with Arts Professionals wasn’t really working for us.

SOAR is an interactive externship program for high school juniors and seniors with a serious interest in the performing arts. Students who enroll in this after-school initiative have the chance to meet and talk every two weeks with Central Virginia’s top performing arts professionals, from actors/ dancers/ musicians/directors to marketing gurus to scenic designers to fundraisers et al. Each colloquium takes place in a different location—complete with a behind-the-scenes tour. We meet at the Firehouse one week, Richmond Ballet two weeks later, then the Modlin Center, the historic Empire, etc. etc. etc.

The program used to be called an internship, but after receiving some guidance from our friends in education, we now call it an externship. An internship happens when a fully trained student has the opportunity to put her/his training to practical use in a professional environment. An externship happens when an interested student has the opportunity to interact with professionals in the field of interest, providing the student with the insight s/he will need to make an informed decision about her/his future education.

Students who complete the course, which includes attending the sessions and maintaining journals throughout the experience (a grand total of 75 hours of work), receive academic credit from their home high school. It’s pretty cool.

SOAR began under a different name a few years ago as a program of the Carpenter Center. From the beginning a lot of the energy that powered the program came from Barksdale. Most of the funding that has enabled the program in the past came from the Markel Corporation’s donation to the Carpenter Center. On behalf of Greater Richmond’s arts students, we thank them from the bottom of our hearts.

About three years ago, the program was featured as a national model in Time magazine, including a photo of a Richmond public school student exploring the light board at our historic Empire Theatre.

Last year the SOAR program became an official partnership between Barksdale Theatre and CenterStage, the new name for the expanding Carpenter Center. Barksdale provided the design and management of the program; CenterStage did the fundraising and served as liaison with the schools.

Last spring, CenterStage completed a strategic planning process with Mitchell Korn, a national arts-in-education consultant. They have now announced that their future arts-in-education programs will focus on in-school activities. Consequently, this year, SOAR will be the responsibility of Barksdale Theatre alone.

Information and applications for SOAR 08-09 will be distributed to all Central Virginia high schools, public and private, in October. If you know a teacher or a student who would like to have more information about SOAR, please encourage them to email Janine Serresseque.
Our other SOAR job this fall is to find funding for the program, which is made available to Central Virginia students free-of-charge. If you or some entity you know would be interested in talking with us about this funding opportunity, please encourage them to email Emily Cole.

SOAR is one component of the BTW (Barksdale Theatre Workshop), our comprehensive program designed to connect Barksdale with Greater Richmond's high school drama students and teachers. SOAR is a valuable and nationally-recognized way in which Barksdale Theatre can work with Central Virginia’s many exemplary performing arts organizations (and freelance arts professionals) to meet the needs of our community’s students and schools.

Please help us spread the word about this little known program with your colleagues and friends.
--Bruce Miller

"Guys and Dolls" Lights Up Downtown

Posted by Bruce Miller
The figures are in for total attendance at Guys and Dolls this summer at the historic Empire, and if I were a bell I’d go … well, you know.

11,421 people came streaming downtown to catch our sizzling summer hit. In comparison with other recent winners, 11,307 rushed out to get a peek at The Full Monty, and 10,418 believed that Mame charmed the husks right off of the corn. Both of those musical blockbusters were at Barksdale Theatre at Willow Lawn.

Convincing all of Barksdale’s large and vibrant audience, many of whom live in the suburbs, to venture into downtown without a parking deck was not without its challenges. We offered valet parking (free to subscribers, $5 per car to everyone else), hired an off-duty policeman for each performance, and engaged in a LOT of positive and proactive communication.

It worked! Not only did a great many suburbanites make the trek back to the heart of our city, even better, they had a wonderful experience! To the best of our knowledge, there was not a single frown-inducing moment during the ten-week run.

Now I know, a lot of you come downtown all the time and are sitting back now saying, “What’s the big deal? Who doesn’t love downtown?” I’m with you. I’ve been down here on Marshall (my office) and Broad (our theatre) pretty much every day since 1986.

But the perception persists among many of those who have yet to become downtown denizens that once you cross Belvedere all hell breaks loose. Shoot, a lot of folks misperceive that all hell breaks loose once you cross the Boulevard.

Thankfully, this summer, a wonderful time was had by all. That bodes well for Barksdale Theatre and next summer’s Empire run of Thoroughly Modern Millie, for our many downtown neighbors, and for the CenterStage facilities set to open a little farther downtown only one year from now.

Our good neighbors at Tarrant’s Cafe and Bistro 27, two of the eight outstanding restaurants that have opened within two blocks of the Empire, wrote us letters to express their appreciation for our bringing the big summer musical down to the Arts District. “In one summer,” wrote Ted Santarella, owner and chef at Tarrant’s, “Barksdale Theatre has single handedly brought thousands of new faces to our neighborhood. Speaking with other merchants, particularly restaurant operators, we have not only seen an increase in foot traffic into our businesses, but felt the positive impact on our bottom lines. Barksdale has brought a new market of customers who ‘haven’t been down here in years,’ and may now return on their own to enjoy another evening out.”

Carlos Silva, owner and chef at 27 (pictured to the right), agrees: “I have been enjoying the benefits of your play (Guys and Dolls). Every weekend my restaurant is full between 5:30 and 7:30. Normally on a Saturday the crowd doesn’t start to grow until 8:00. Thanks to you, I have a full turn of tables before my usual crowd arrives. My revenue has increased across the board.”

When we joined the first urban pioneers and invested $2.3 million in the historic Empire way back in 1986—and gambled our future—this is exactly the type of neighborhood transformation and downtown revitalization we imagined. It’s been a long time coming, but the Richmond Arts District, which runs for five blocks along Broad and Marshall from Henry Street on the west to Art 6 on the east (just a few steps beyond Foushee), is now one of Greater Richmond’s hottest neighborhoods.

We’re proud to have been here from the beginning, and to be contributing still to the vitality of this community. We now know that nothing but great things are on the way for this upbeat corner of downtown Richmond!

--Bruce Miller

RTP Announces Move to New Home

Posted by Bruce Miller
Three cheers and more for the Richmond Triangle Players. In the latest edition of their newsletter, Playergram, they announced that the rumors we’ve all been bandying about are true. RTP is acquiring a new home!

“A fabulous opportunity has been made available,” the article begins. “Following our Gala last September, Robb Moss came to us with the offer to make available a building for a new home. During the past eight months, the RTP Board has worked to make sure this would be the Next Stage for RTP. Architects, engineers, as well as legal and financial advisers studied the details to ensure a viable project. We have also received encouragement from some funding sources to help us get started.”

“We have now signed a lease for space that will become a 4,000 square foot performing arts facility. The plans call for a 90-seat theater, a graceful lobby, a generous bar, catering capability, and comfortable restrooms. The location is centrally located at 1300 Altamont Avenue, in historic Scott’s Addition, at the corner of W. Marshall Street, one block from Broad, and two blocks west of the Boulevard. The theatre will accommodate a stage that is double the area of the old one, with a high ceiling for proper lighting and technical equipment, backstage space and large dressing areas.”

“What we need now is to raise the necessary construction funds. Total cost is estimated at $500,000. In addition to capital costs, we hope to get commitments for $180,000 over the next three years to cover the additional costs of operating and maintaining the building.”

The first two shows in Triangle’s 2008-09 Season will be presented in a cabaret setting at Highwater Restaurant at Toad’s Place downtown on the Canal. The third production, Altar Boys, is searching for a “church setting in the Fan,” exact location TBA. Builders are telling the Triangle Board that their new facilities could be ready in “less than a year,” so the locations for the third show, opening in March, and the fourth show, opening in May, are yet to be determined.

Theatre IV purchased the historic Empire Theatre in 1986, a couple months into our 12th year of operations. Triangle has just celebrated its 15th season of successful operations. The time is right to move into a new home. Nothing energizes a Board of Directors more than an enthusiastic capital campaign, and nothing puts a nonprofit theatre company on the map more than new and improved facilities.

We wish our friends at RTP nothing but the best as they take this important and impressive step forward. Barksdale and Theatre IV will be happy to help out in any way we can.

--Bruce Miller

Dave's Dithyramb

Posted by Bruce Miller

Richmond currently has two major theatre critics—Susan Haubenstock at the Times-Dispatch and Dave Timberline at STYLE Weekly. I don’t mean to diminish the importance of Mary Burruss (Dave’s colleague at STYLE), Joan Tupponce (writing for both Richmond.com and, sometimes, WCVE-FM), John Porter (sharing the WCVE-FM beat with Tupponce), Jerry Sober (Petersburg Progress-Index) and/or other scrappy scribes at smaller or more distant papers throughout Virginia. And I’m not intending to overlook the blogs.

But in today’s media environment, the T-D and STYLE still rule the roost. Because of publication schedules, Susie’s review in the T-D almost always hits the streets first, and Dave’s opinions appear in STYLE usually a week and a half later. Lucky are we that Dave somehow managed to beat the deadline this time. His review lit up the pages of STYLE yesterday, and it’s another RAVE. Looks like we’re off to the races!

Under the headline “Broad Comedy,” David Timberline begins his review as follows:

“The sexes may share equal billing in the title of the classic musical Guys and Dolls, but the show focuses more on the male side of the equation. Nothing makes that clearer than the scintillating, showstopping number, Sit Down, You’re Rockin’ the Boat, that comes near the end of Barksdale’s Broadway-caliber production, playing at the Empire Theatre.”

“The always-amiable Nicely-Nicely Johnson (Jason Marks in excellent voice) leads a ragtag bunch of shysters, hoodlums and lowlifes in a rollicking song of sin and potential redemption. It’s an exuberant, testosterone-fueled high point in a show filled with exceptional ensemble scenes expertly assembled by director and choreographer Patti D’Beck.”

And in what follows, the glow grows even brighter. There’s even a great, half-page color picture of the craps game taken by our Marketing Director Sara Marsden, because our photographer was out of town last week!

Here are quotes we’ll be excerpting from Dave’s review:

"Excellent!
Barksdale’s Broadway-caliber production
Scintillating! Rollicking! Exceptional!
Heartwarming and highly amusing
Barksdale seems determined to make
Summertime Sizzle!"

The phones are ringing off the hook every day at our box office, so please consider joining the throng and reserving your tickets now. I think this is, in several important ways, a “Broadway-caliber production.” I’m proud as a peacock to be associated with all the wonderful artists who are thrilling our audiences night after night.

So far, we've had standing O's at every performance. Call for your tickets TODAY! We look forward to seeing you at the theatre!

--Bruce Miller

In Memoriam: Murry DePillars

Posted by Bruce Miller
Our friend Murry died last Saturday at his Richmond home. He was only 69 years old, which surprised me. It’s not that he seemed older; he didn’t. Spiritually he was perpetually vibrant and young. But he was such a towering figure in the Richmond arts community, I always imagined that he had to be more than a mere 12 years older than I.

I’m elevating Phil and myself by calling Murry our “friend.” If he thought of us at all in recent years, I’m sure he didn’t honor us with so personal a moniker. It would be more accurate to call Murry a mentor—a mini-mentor perhaps, not one of the ones who made it into our playbill bios, but a mentor nonetheless. More than anyone else, Murry DePillars convinced us that the arts were meant to be populist rather than elitist. He taught us that an artist who elevated himself over his community may not be an artist at all.

After serving as an assistant dean, Murry was promoted to Dean of VCU’s School of the Arts in 1976, one year after Phil and I founded Theatre IV. He held that position for 19 years. During his entire tenure, there was little institutional reason for Murry to take notice of Phil or me. He was a visual artist and a lover of jazz, and we were theatre upstarts with, during most of those years, little influence and even less power in the Richmond arts community.

And yet, from day one, Murry acted like we were worthy of his notice and friendship. He was Dean of the School of the Arts—a huge deal—and yet he willingly and eagerly gave us his attention and respect. And it wasn’t just us. He gave full credence to artists who chose to remain in Richmond, and never made us feel like anyone worth their salt would have moved on to New York. If anything, he made us feel like he awarded extra points to those who chose to grow where they were planted.

When Theatre IV purchased the historic Empire in 1986, Murry was among the few who made it possible.

Here's a brief history. In the mid-70s, a dashing and successful Varina home developer named Mitchell Kambis bought and cosmetically renovated the Empire. After a financially challenging stint as an impresario, Mitchell turned over ownership of the Empire to the mortgage holder, Central Fidelity Bank. The late Carroll Saine, who was Chairman and CEO of CFB at the time, was a close friend of the late Richmond icon Nina Abady. In the early 80s, Nina was a volunteer on the Theatre IV Board, but she was employed as Director of the Virginia Opera Association (VOA) – Richmond Office. Central Fidelity Bank donated the Empire to the VOA, under the condition that they continue to own it for at least two years.

Unfortunately, the Empire was too small for most operas. So as soon as the VOA’s two-year commitment concluded, they sold the Empire to a real estate developer from Roanoke.

In 1986, this developer began to actively seek buyers for the facility. Three parties expressed interest in the building: a Richmond-based developer who planned to convert the building into retail space and condos, Murry DePillars on behalf of VCU’s School of the Arts, and Theatre IV. Obviously, VCU could have outbid Theatre IV (we had no assets to speak of at the time), but the minute Murry learned that we were interested, he called us in for a meeting.

He said that his main interest was in preserving the historic building and keeping it out of the hands of those who wanted to convert it into commercial use. He said that if we were seriously interested, VCU would support us in our efforts to buy the building rather than bid against us. He made suggestions as to where we could go for financial support, and stood by our company until the building was purchased later that year and securely in our hands.

There were no power plays and no conditions—only encouragement and support.

Phil and I have missed Murry DePillars ever since his retirement from VCU in 1995. And we’ll continue to miss him and remember him with the greatest affection and respect. He was a giant in the development of Richmond’s arts community. When Theatre IV produces A Year with Frog and Toad in the Empire next spring, complete with a jazzy score Murry would have loved, we will dedicate the show to the memory of Dr. Murry N. DePillars, our mentor and friend.

--Bruce Miller

Perfect Showbiz Moment

By Scott Wichmann

NEW - Listen to Scott talk about Guys and Dolls on B103 FM.
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I was sitting backstage during this afternoon’s rehearsal for Guys and Dolls and I had a perfect ‘Showbiz’ moment, and I became impelled to reflect on my good fortune as a performer.

As I sat on a step unit in the wings just off stage right, I began to think about the historic Empire Theatre and how many performers it has been home to through the years. I thought, This old vaudeville house sure has seen its share of magic. What a tradition!!

To be a small part of that tradition is a joyous and humbling thing.

I glanced around and saw actors running lines by themselves, possessed of that slightly ‘crazy’ look, evidenced by the downward-directed muttering that we all do when we’re trying ever-so-diligently to whisper our lines letter-perfect.

Our Director, Patti D’Beck, stood in the front row of the audience, commiserating with our Stage Manager, Wendy Vandergrift, as they went over the blueprint for the set design. Wendy was probably saying what I’ve heard her say about a trillion times: We Can Do That. When she says it, she means it.

Our Musical Director, Sandy Dacus was wrapped up warmly in a cute little knit sweater as she played one of the duets for Sky and Sarah on a portable keyboard. Every now and then she’d pop a cookie into her mouth without missing a note.

As Rita Markova’s incredible singing of ‘I’ll Know’ was giving me goosebumps, I scanned the theatre some more.

I looked over to see the dance ensemble running through their choreography in the adjacent wing. Some were spinning, some were watching the action onstage. Even when they are at rest, they look graceful, I thought.

Our ‘Harry The Horse,’ John Winn, was sitting by the stage door, reading a newspaper, dressed in shorts, a T-shirt and a fedora. Two of our walking wounded, Jason Marks and Landon Nagel—one battling severe laryngitis and the other a recent arm injury—were chuckling about something mischievously while running lines together. Great, I thought, Nicely-Nicely can’t talk and Benny can’t move!! What a pair!!

Almost everywhere I looked, I saw smiles. I saw people getting to know one another. I saw friendships blossom and rare talent on display. And not an ‘ego’ in sight.

I looked out into the audience--where a few more cast members were amiably chatting and getting to know one another-- past the tech table, up into the balcony to the vast, welcoming expanse of what is truly one of Richmond’s treasures.

And I felt incredibly lucky.

Lucky to be around such great people. Lucky to be working for a class organization in a historic setting on one of the greatest of All-American musicals. And lucky to be making new friends while doing what I love most in all the world.

This group is a really fun bunch. They make me laugh. I always leave rehearsal smiling. And we’ve only really been around each other a few weeks. I’m really looking forward to this run and the time I’ll spend with my new ‘Summer Family.’

I cannot accurately describe the amount of talent, energy and enthusiasm being infused into this project. You’ll simply have to see it for yourself. Come spend some time with the cast of Guys and Dolls at The Empire Theatre this summer. I can guarantee that, you too, will have a perfect ‘Showbiz moment.’ More I cannot wish you.

-Scott Wichmann

Read more from Scott at his blog, www.scottwichmann.blogspot.com