Showing posts with label Foxes. Show all posts
Showing posts with label Foxes. Show all posts

Thursday, October 15, 2009

In Memoriam: Jack Parrish

Posted by Bruce Miller
Sharing the sadness that so many in the Richmond theatre community are feeling this evening, I’m sorry to report on the passing of Jack Parrish (pictured to the right with Cathy Shaffner standing and Jan Guarino in Money Matters). Jack was an outstanding Richmond theatre artist and a longtime friend to many of us who’ve been walking these boards for a while. After a lengthy battle with lung cancer, Jack only recently went into hospice care and died this afternoon.

I met Jack in the early 70s when I was rising in the ranks of the theatre program at U of R and Jack was similarly placed in the theatre program at VCU. One of my favorite Jack memories from those early days was when he starred in a wonderful VCU production of As You Like It, I think during one of the FanFare summers. FanFare was VCU’s erstwhile summer theatre operation.

Jack moved out of town after graduating from VCU, worked a few years in New York, landed some soap opera work, and then worked mainly in regional theatre. He played Dexter Haven in The Philadelphia Story, Uncle Ernie in The Who’s Tommy, Petruchio in The Taming of the Shrew, and many other dashing roles (Jack was good at dashing). He appeared at prestigious professional theatres including The Alabama Shakespeare Festival, Asolo Theatre in Florida, and Mill Mountain Playhouse in Roanoke.

Jack returned to Richmond in the late 80s, maybe early 90s, to star at Theatre IV as the dashing spy in the classic Civil War melodrama, Secret Service. His other major Theatre IV roles were as The Man in the Yellow Suit in Tuck Everlasting, and as an unforgettable Captain Hook in Peter Pan.

At Barksdale, Jack starred in Gross Indecency: The Three Trials of Oscar Wilde, The Little Foxes, The Crucible, James Joyce’s The Dead, Scapino!, the world premiere of Money Matters, and Anything Goes.

Shortly after his foray into Cole Porter, Jack moved to Lexington KY to share a city with his great friend, Rick St. Peter, and to lead the theatre program at a local university. He returned to Richmond during the summers to star in the Henry plays at Richmond Shakespeare, having to leave his role two summers ago when he was first diagnosed and began chemotherapy.

Jack also was an acclaimed director, rallying the forces of several of Theatre IV's touring productions. His contributions to Richmond theatre are immeasurable, and he will be greatly missed. Our deepest sympathies go out to Jack’s wife, Kathy, their son, Clay, and the rest of his family.

With love and respect, Barksdale will dedicate The Grapes of Wrath, our upcoming co-production with TheatreVCU, to Jack’s abiding memory.

--Bruce Miller

Friday, July 18, 2008

Casting and Comments - Part II

Posted by Bruce Miller
In a previous blog, I jumped recklessly into the ongoing debate regarding whether Barksdale and I (and by extension all Richmond theatres and directors) are open to casting newcomers. As I have stated, I believe that all of us are not only open to new talent, we’re downright eager to introduce new faces to our audiences.

Still, the perception persists that directors prefer to cast a disproportionate number of those whom we already know and love.

To test my belief against that perception, I decided to go back and review my casting record for the dozen shows I’ve directed at Barksdale since becoming artistic director in 2001. Here are the results.

I use the words “pals,” “friends” and “colleagues” interchangeably. If I say someone was “new to me” or “never worked with me,” I mean I hadn’t cast or directed them before, not necessarily that I’d never made their acquaintance, heard of them, or seen their work, although that is often true. In like fashion, the term “newcomer" means new to Barksdale.

I suspect I’ve made a mistake or five. A fair amount of this was done from memory. As you notice that I’ve left someone out, screwed up the math, misspelled a name, or mislabeled a “newcomer” or a “veteran,” please let me know and I’ll fix it.

I’ll leave it to you to determine what, if anything, this casting history suggests.

The Little Dog Laughed – Cast of four. I brought veteran Susan Sanford back from LA, and I cast Laine Satterfield, who had been in one Barksdale show previously but was new to me. I also cast two newcomers, John DeBoer and Matt Hackman.

Swingtime Canteen – Cast of five. I cast Vilma Gil, Jan Guarino, Audra Honaker, Katrinah Lewis and Debra Wagoner, all of whom had worked at Barksdale before.

Smoke on the Mountain – Cast of seven. I cast Julie Fulcher and Eric Williams, who were Barksdale veterans and longstanding friends of mine. I cast David Janeski who had acted at Barksdale in two previous shows, but had never worked with me. I cast Billy Christopher Maupin and Aly Wepplo, both of whom had acted once previously at Barksdale, but had never worked with me. I also cast two newcomers, Emily Cole Bitz and Drew Perkins.

Over the River and Through the Woods – Cast of six. I cast Dave Bridgewater, Jolene Carroll, Matthew Costello, Jackie Jones and Stephanie Kelly (Dray), all of whom were Barksdale veterans, and four of whom had worked previously with me. I also cast newcomer Christopher Clawson in the lead.

No Sex Please, We’re British – Cast of nine. I cast Dave Bridgewater, Dave Clark, Larry Cook, Jan Guarino, Cathy Shaffner and Erin Thomas, all six of whom were Barksdale veterans and longstanding pals of mine. I cast Jeff Cole and Chris Stewart, both of whom had worked with me and with Barksdale on one show prior to this one. I also cast newcomer Monica Dionysiou.

The Lark – Cast of 15. I cast Andy Boothby, Rick Brandt, Dave Bridgewater, Larry Cook, Matthew Costello, Debbie Gayle Taylor and Erin Thomas, all seven of whom were Barksdale veterans and prior colleagues of mine. (Allow me to note that Debbie Gayle hadn’t done a show at Barksdale in more than 20 years.) I cast Stephanie Kelly (Dray) and Roger Gregory who were new to me, but who had done one Barksdale show previous to this one. I also cast five newcomers: Pam Arkin, Jeff Cole, Jeff Hendrickson, Stephanie O’Brien and Chris Stewart, three of them in leading roles.

The Man Who Came to Dinner – Cast of 24. I cast Larry Cook, Lauren Leinhaas Cook, Matthew Costello, Thomas Cunningham, Robyn O’Neill, Joe Pabst, Derek Phipps, Susan Sanford, Jill Bari Steinberg, Jody Strickler and Joy Williams, all 11 of whom were Barksdale veterans. I also cast 13 newcomers: Brett Ambler, Josh Bufford, Jeff Clevinger, Sam Cook, Frank Creasy, Barry Ellenberger, Jonathan Hardison, Leigh McSweeney, Scott Melton, Curt Miller, Daniel Strickler, Kim Weeda and Lynn West.

Anything Goes – Cast of 24. I cast Larry Cook, Heather Fox, Jan Guarino, Jennifer Hammond, Robin Harris, Audra Honaker, Chase Kniffen, Richard Koch, Mollie Meagher, Robyn O’Neill, Jack Parrish, Derek Phipps, Russell Rowland and Cathy Shaffner, all fourteen of whom were Barksdale veterans and had worked with me before. I cast Matt Shofner, Jonathan Spivey and Alex Teachey, all three of whom were appearing at Barksdale for the second time, but had never worked with me. I also cast seven newcomers: Brandon Becker, Liz Blake, Charlie Chan, Ryland Dodge, Alexis Goldstein, Travis Kendrick and Eddie Tavares.

Fifth of July – Cast of eight. I cast Steve Perigard, Jody Strickler and Scott Wichmann, three Barksdale veterans who’d worked with me before. I cast Riley Koren, who had done one show with me and Barksdale previously. I cast Chris Evans and Jennifer Massey, both of whom had acted in one Barksdale show previously but had never worked with me. I also cast two newcomers: Peter Schmidt and Jill Bari Steinberg, plus a third newcomer Kristen Swanson, who replaced Jen Massey when she had to leave the show for a prior commitment.

Annie Get Your Gun – Cast of 24. I cast Dave Bridgewater, Billy Dye, Robert Fix, Jan Guarino, Michael Hawke, Chase Kniffen, Robyn O’Neill, Steve Perigard and Susan Sanford, all nine of whom were Barksdale veterans and old pals. I cast Crystal Bailey and Annie Hulcher, both of whom had done one show previously at Barksdale, but were new to me. I also cast 13 newcomers: Gray Crenshaw, Heather Fox, Emily Gatesman, Josh Lane, Craig McFarland, Andy McLeavey, Mollie Meagher, Juli Robbins, Russell Rowland, Gavin Waters, Cory Williams, David Winning and Tamia Zulueta.

The Crucible – Cast of 19. I cast Dave Bridgewater, Matthew Costello, Lou DiLalla, Richard Koch and Jack Parrish, all five of whom were Barksdale veterans who had worked with me before. I cast Kelly Kennedy, who was a Barksdale vet but was working with me for the first time. I also cast 13 newcomers: Pat Anthony-Aleman, Amy Barrett, Dale Church, Jamme Coy, Stephen Coy, Kady Fleckenstein, Chelsea Franges, Arthelia Gatling, Audra Honaker, Riley Koren, Joe Mattys, Alice Schreiner and Dan Summey.

The Little Foxes – Cast of ten. I cast Matthew Costello, Jack Parrish and Jody Strickler, all three of whom were Barksdale veterans and longstanding colleagues of mine. I cast Kweli Leapard and Robbie Winston, both of whom had been in one previous Barksdale production. I also cast five newcomers: ‘Rick Gray, Daniel Moore, Erin Thomas, Timothy Thomas and Harriet Traylor.

Total Actors Cast – 156
Total Newcomers – 65 (42%)

Among the “newcomers” – Brett Ambler, Frank Creasy, Audra Honaker, Heather Fox, Daniel Moore, Russell Rowland, Jill Bari Steinberg, Chris Stewart, Erin Thomas, Harriet Traylor and David Winning – all of whom would now be considered Barksdale Theatre and/or Richmond Theatre All-Stars.

--Bruce Miller

Saturday, September 1, 2007

Barksdale's Women's Theatre Project

Posted by Bruce Miller

As I begin my seventh season as Barksdale’s Artistic Director, the question I’m asked most frequently is, “How do you decide which plays to produce?” The process has so many layers (and so many players) it requires its own publication.

Part of the answer, however, involves a key commitment we made when we began selecting our first Barksdale Season in 2001-02. We pledged to ourselves, our artists and our audiences that we would, each season, produce at least:
· one work by a woman author,
· one work staged by a woman director, and
· one work that focuses on a strong, central woman.

We call this commitment our Women’s Theatre Project. The Member of the Wedding by the brilliant and legendary Southern author, Carson McCullers (pictured below and to the right), will open our Signature Season at Willow Lawn on September 21. It is a part of this Project.

At first glance, the commitment seems hardly necessary. What theatre wouldn’t, without even trying, produce such a season? And yet, if you review Barksdale’s history prior to 2001 and Richmond theatre history in general up to today, you’ll find that the majority of seasons fail to meet these minimal standards.

In the last seven seasons, we’re proud to have selected 15 plays and musicals by women authors. Several of these productions have been among our biggest hits, including The Little Foxes by Lillian Hellman, Annie Get Your Gun co-written by Dorothy Fields, To Kill a Mockingbird by Harper Lee, Crowns by Regina Taylor, and Intimate Apparel by Lynn Nottage—to mention only a few.

We’re proud that sixteen of our plays and musicals have been directed by leading women artists, including Robin Arthur, Nancy Cates, Jan Guarino, Leslie Owens Harrington, Susan Sanford, K Strong, Dawn Westbrook and Keri Wormald.

We’re proud of the powerful starring roles performed on our stage by Kathy Halenda, Dorothy Holland, Kelly Kennedy, Liz Mamana, Adanma Onyedike, Robyn O’Neill, Jill Bari Steinberg, Erin Thomas, Harriet Traylor and Irene Ziegler (to name a few), setting a standard for strong, active images of women.

In The Member of the Wedding, actress Katherine Louis (pictured to the left) and playwright Carson McCullers will join this roll of honor. We hope you’ll recognize, appreciate and support the commitments of our Women’s Theatre Project.

Throughout the run of Wedding, we will be exploring the issue of Women and the Arts in our Coffee & Conversations series, our new Cocktail Hour Conversations program, and here on the blog. Please join us in the discussion.
--Bruce Miller

Saturday, April 7, 2007

Meet the Woman Behind "Intimate Apparel"

All of us at Barksdale are excited about the next play in our Signature Season at Willow Lawn, Intimate Apparel by Lynn Nottage. Introducing this beautiful new drama to the Richmond audience doesn't exactly make us trailblazers. Intimate Apparel was America’s most produced play in 2005-06. It won the American Theatre Critics New Play Award and was short-listed for the Pulitzer Prize in 2004. And Nottage was first presented to Richmonders in Benny Sato Ambush’s lovely production of Crumbs from the Table of Joy at TheatreVirginia in 2001-02.

Nonetheless, Lynn Nottage is a brilliant, fresh and inviting voice in American theatre—a playwright whom Richmond theatre artists and audience members need to know. Last year, she was one of three women pictured and identified on the cover of American Theatre Magazine as America’s most impressive emerging female playwrights.

I’m told that Nottage rhymes with “cottage.” It’s revealing that when I first encountered this amazing African-American playwright, I mispronounced her name with a continental élan, guessing incorrectly that you put the emphasis on and softened the second syllable, rhyming it with the visual art term “collage.” It’s quite true that Nottage finds eloquence, poetry and zest in everyday lives. She explores the extraordinary exuberance of individuals who would otherwise almost certainly appear to be lost in the mundane. But I fear that what was revealed by my mispronunciation was not my enthusiasm for her joyous and poetic language or the acute sensitivity of her character studies. More likely it was the subconscious association I made between “African American woman playwright” and the exotic and rare.

Lorraine Hansberry (A Raisin in the Sun), Suzan-Lori Parks (Top Dog / Underdog) and Regina Taylor (Crowns) notwithstanding, African American woman playwrights are still struggling to find their well-deserved place in the front ranks of American arts and letters. In fact, women playwrights in general find themselves in a similar boat.

But here’s where Richmond can step forward with pride and say that Barksdale Theatre is ahead of the pack. Not only have we produced the plays of Hansberry, Parks, Taylor, and now Nottage, but we’ve included the works of women authors in every season since Barksdale and Theatre IV began working cooperatively in 2001. In fact, if you count our soon-to-be-announced seventh season (2007-08), the new Barksdale will have produced 14 plays and musicals written by women authors in half that many years. No other theatre in Virginia and few theatres nationally, can equal this record of commitment and inclusion.

Many if not most theatres produce seasons on a regular basis that include only works by male writers. In Barksdale’s ten years prior to the 2001 connection with Theatre IV, five of the ten were all male.

In 2001, we established our Women’s Theatre Project, committing ourselves to producing great plays by women authors. Many of our biggest hits have been produced as a part of this project: The Little Foxes by Lillian Hellman, To Kill a Mockingbird by Harper Lee, Crowns by Regina Taylor, Annie Get Your Gun co-authored by Dorothy Fields, The Exact Center of the Universe by Joan Vail Thorne, The Syringa Tree by Pamela Gien, and our current Hanover Tavern hit, Smoke on the Mountain by Connie Ray.

We’re very proud of Intimate Apparel, and in the next few weeks we’ll be discussing it in greater depth in these blog entries. I hope you’ll do yourself the favor of coming to see it. Until then, please help us spread the word about Barksdale’s Women’s Theatre Project, and read more about Lynn Nottage and her important work. You can find terrific interviews with the playwright at: