It's a Wonderful Art Form

Posted by Bruce Miller
I confess. I’ve never enjoyed opera. I take no pride in admitting this. I consider it a grave shortcoming.

It’s not from lack of trying. I’ve seen great opera. In the early 1970s, I trekked northward with a group of fellow theatre students from U of R to see Norman Treigle’s legendary performance at New York City Opera in the title role of Boito's Mefistofele. The fires of hell left me cold.

I’ve attended Verdi’s La Traviata at the Met; Offenbach’s Tales of Hoffmann at the Baltimore Opera Company; and Puccini’s Madama Butterfly, Tosca and La Bohème, Donizetti’s Lucia di Lammermoor and Mozart’s The Marriage of Figaro at the Virginia Opera. Others in the audience were enraptured and on the edge of their seats. I was the brain-dead imbecile fighting to stifle a yawn.

All hope is not lost. I loved Menotti’s Amahl and the Night Visitors on TV as a child. I was dazzled and captivated by the scenes from Mozart’s The Magic Flute included in the film of Amadeus. Stephen Sondheim is called “operatic” by many. I hang on every note he’s ever written.

I’ve come to believe the reason I don’t cotton to opera is because, to me, it goes against so much of what I love about theatre. Great theatre seems “real” to me. Great opera frequently seems “fake.” I hear others say this about musicals and I think they’re insane. I guess it’s all about where we come from. So don’t yell at me. I’m admitting to a dearth of intelligence, taste and sophistication. It’s not opera’s fault; it’s mine.

I write this confession, this mea culpa, as prelude to this: I know there will be some in the world who are so enamored of action/adventure and spectacle that Scotty Wichmann’s one-man performance in This Wonderful Life, which opened last night at Barksdale Willow Lawn, may seem "slow" or "small" or "tame." I suspect these same people won’t watch the original Frank Capra film unless it is colorized and even then keep waiting for the car chase and the explosions.

I suppose they're entitled to their opinions, but I really don't share them.

I’m a terrible cry baby and I’m ashamed to be. No matter how hard I try to keep my cheeks dry, it gets worse the further into my dotage I advance. I’m easily and instantly overcome by sentiment. My one consolation is that my father, a.k.a. “the greatest guy who ever lived,” was the same way. He couldn’t make it through a blessing at the Thanksgiving or Christmas dinner table without becoming so feklempt he was unable to speak.

Last night I’m not sure which made me cry more—the heartfelt sentiment of one of my favorite Christmas stories, or the one hour and 50 minute glimpse I had into the utter majesty of this art form to which I have devoted my life. I don’t want to overstate things so as to build up unreasonable expectations, but in this case I don’t see how overstatement is possible. Scott’s performance is brilliant. He should be on Broadway. He should win a Tony. Richmond is unbelievably fortunate to have him in our midst.

And to be just, it’s not solely about Scott. John Moon’s direction is invisible and outstanding. Every detail--and it’s all about the details--is just right. The pacing is perfect and the ebb and flow of emotion couldn’t be better. Lynne Hartman’s light design is world-class and adds immeasurably to the art. There must be 150 light cues illuminating Adam Karavatakis’s tasteful, evocative and effective set and Sue Griffin’s spot-on costume(s).

Which brings me to Rick Brandt, our stage manager. Do you know how hard it is to call a show that has a different sound or light cue every few seconds? And the irreplaceable Linwood Guyton, our sound and light op. Do you have any idea how crazy you can get trying to focus on and perfectly execute that many rapid fire cues?

Last night went off without a hitch and EVERYONE involved should be intensely proud. This is masterful storytelling at its very finest. I feel so gratified and grateful. Christmas is here; theatre is wonderful and life-changing; all’s right with the world.

I know. My passions are out of control and over the top. Talk about operatic. I’ll stop writing now.

Hope to see you at the theatre! I’ll be the one with the handkerchief poised and ready.

--Bruce Miller

Moonlight Makes Movie Memory Magic

Posted by Bruce Miller

I just returned from the Opening Night of Moonlight and Magnolias, and I’m psyched at the prospect of having a second holiday hit on our hands. While Swingtime Canteen continues to leave ‘em cheering in its second week at Hanover Tavern, Moonlight and Magnolias is rocking the house with laughter at Willow Lawn.

In the photos that follow, Jennings Whiteway and Michael Hawke prepare a sumptuous Magnolia-themed buffet for the Opening festivities.





Brian Barker, our extremely talented set designer, celebrates the evening’s success with his lovely wife.






Joy Williams, who is a laugh riot as the all-sacrificing Hollywood secretary Miss Poppenguhl, lets her hair down (or at least takes off her wig) to join in the party. And Wendy Vandergrift, our intrepid stage manager, puts her feet up on the on-stage desk for a much needed post performance break.












Former Theatre IV board member Charlotte McCutcheon enjoys the cranberry brie with managing director Phil Whiteway.






Bruce Rennie, the best theatre tech director in Virginia history, finally gets a moment to relax before launching into tech for A Christmas Story, which opens next week at the Empire.





Neil and Sara Belle November can’t stop smiling at the raucous comedy. Co-star Joe Pabst accepts the compliments of our volunteer coordinator Jean Hartley.












Our ever faithful light console operator, Linwood Guyton, shares credit for a job well done with our exceptional light designer, Lynne Hartman.







Co-star Dave Bridgewater enjoys discussing the play with Daren Kelly, who just returned to town after an acting gig with Yale Rep. Our fascinating Gone with the Wind lobby display can be seen in the background.

Keri Wormald (director of our upcoming Doubt) and Steve Perigard (director of Moonlight), discuss the evening’s success with acclaimed actor and director Robert Throckmorton.




And last but not least, longtime supporter Beth Sinnenburg enjoys raising a glass with our third hilarious co-star, Scott Wichmann.

For a great evening’s entertainment, come to Moonlight and Magnolias to see a hilarious new comedy about the making of the classic movie, Gone with the Wind. It’s a wonderful way to add a full share of laughter to your holiday activities.

See you at the theatre!

--Bruce Miller

Fond Farewells to Fantastic Fall Fare

Posted by Phil Whiteway

I can’t believe we’ve already closed the curtains on the first three mainstage shows of our 2007-08 seasons. Wasn’t Labor Day just last week? Time flies when your audiences are having fun. (Special thanks to iweiss.com for letting us borrow the interactive graphic. Please visit them for all your theatre supply needs.)

The first show to take its final bows was Stuart Little at the historic Empire Theatre, followed about an hour later by Deathtrap at Hanover Tavern. We bid adieu to both of these crowd-pleasers on Sunday, October 21. I attended the last Stuart performance (it was great!) and then hustled out to Hanover to join Bruce in raising a glass to our wonderful and talented Deathtrap cast and crew (pictured above and to the right) at their closing festivities.

This past Sunday, October 28, it was time to make my famous chili for the wedding reception--The Member of the Wedding, that is. And I actually remembered to bring my camera this time.

Gathered around the groaning board (as Nancy Kilgore's portrait sings a supportive tune) are (left to right) cast members Joe Pabst, Carl Calabrese, Lexi Langs (arm only), Katy Burke, Erin Kate Bradner, David Bridgewater, Katherine Louis (holding her beloved grandbaby), and Eric Evans in the red t-shirt.

To the left, our brilliant and beautiful Berenice Sadie Brown (Katherine Louis) beams in the embrace of her two biggest fans - her equally beautiful daughter and granddaughter. Quoting from Crowns, her last Barksdale show, Katherine called to everyone's attention the way her granddaughter was "workin' that hat."

In the photo to the right, our stage manager Bo Wilson sneaks a hug with our other leading lady, 13-year-old Lexi Langs, with Pete Kilgore's portrait keeping a watchful eye. Joe Pabst (standing to the right of the photo) filled in as Lexi's stage father for the last two weeks of the run, and was a perfect stand-in for Dave Bridgewater, who had been called south for two weeks for some film work. Dave's movie schedule allowed him to come back to town on Sunday so that he could see the show from out front.

Lexi's real-life mom, who lived with Lexi for nine weeks in the comfortable company housing provided by our good friends at Studio Plus Deluxe Studios, smiles for the camera with Jill Bari Steinberg, Lexi's on-stage aunt.

The man of the hour was our Wedding director, Scott Wichmann, (standing to the left in the photo below and to the right) who is not only a gifted theatre artist but also, clearly, a connoisseur of great chili. A quick plug--Scotty, Joe Pabst and Dave Bridgewater joined co-star Joy Williams and director Steve Perigard yesterday to begin rehearsals for the next show in Barksdale's Signature Season at Willow Lawn, Moonlight and Magnolias, a hilarious comedy about the making of Gone with the Wind.

And please note the two stellar theatre talents located just behind Scotty's stage right shoulder. As is so frequently the case, they are in dim lights and in the background. But they are invaluable members of the Barksdale family and add immeasurably to the success of our productions. They are Renee Jones (wardrobe chief and dresser to the stars) and Linwood Guyton (light board operator extraordinaire).

Many, many thanks to all the terrific artists who made Stuart Little, Deathtrap and The Member of the Wedding the great shows that they were. Please know how much we appreciate and value your talent, dedication and hard work.

--Phil Whiteway

"Intimate" Opening Wins Hearts and Minds

I just returned from the great Opening Night of Intimate Apparel by Lynn Nottage. Joining in the warm reception awarded the show were past and present Board leaders Ric and Rhona Arenstein, Roy Burgess, Phyllis and Paul Galanti, and Charlotte and Andy McCutcheon; Bifocals stalwarts Carlene and Tom Bass, Vaughan Gary, Lyde Longacre and Tom McGranahan; and audience member extraordinaire Essie Simms (a painful bout of sciatica was not about to keep her away from an Opening Night).

Also making merry were beloved volunteers Bob Boyd, Jean Hartley and Elizabeth Prevatt; loyal staff members Ford Flannagan, Jackie Gann, Lucas Hall, Russell Rowland, Wendy Vandergrift, Jennings Whiteway and Ginnie Willard; and alumna of our recent London/Paris trip Anne Ayer.

As always, several of our treasured actors were at the head of the line to welcome this terrific show to its new life in Richmond, including Robin Arthur, Tony Foley, Scott Melton, Robyn O’Neill, Stacey Reardon, Jill Bari Steinberg, Eddie Tavares, Erin Thomas and Robert Throckmorton. To whomever I’m leaving out, please forgive me. It’s late.

Director Steve Perigard, Stage Manager Chase Kniffen, Lighting Designer Lynne Hartman, and Light Op Lynwood Guyton all graciously accepted kudos as the audience waited for the actors to emerge from the dressing rooms and join the party. When they finally appeared, the six actors who comprise our remarkable cast (Adanma Onyedike [Ida to her friends], Tawnya Pettiford-Wates, Jennifer Massey, Andy Nagraj, Katrinah Lewis and Chris Lindsay) were showered with justly deserved praise and affection.

I will leave it to others to critique the show, but suffice it to say that Phil Whiteway and I are very proud of the production and all of the talented artists involved. We’re looking forward to a long and glorious run of this beautiful and important new play. If you enjoy great theatre, this is one you won’t want to miss.