They Like Us; They Really Like Us

Posted by Bruce Miller
What a weekend! On Friday we opened our colossal hit production of Guys and Dolls. On Saturday we won an Emmy Award. On Sunday we bid a fond farewell to Greater Tuna at Hano …

Wait a minute! What happened on Saturday? Did you say, “WON AN EMMY!!”??

Well, yes, as a matter of fact I did. The 50th Annual Emmy Awards were presented by the National Academy of Television Arts and Sciences (Capital Region) on Saturday, June 14, at the Ritz Carlton in Washington D. C.

And Barksdale Theatre WON!!! (That's Katherine Heigl of Grey's Anatomy kissing our Emmy!)

To quote from their press release, “The Academy’s Emmy Award is the industry’s benchmark for the recognition of television excellence.” The Capital Region includes all of Virginia, Maryland and Washington D. C. So we were up against some pretty serious competition.

In the category “Commercial – Single Spot,” there were five nominations and Barksdale came home a WINNER. All right, I think, actually, WWBT – Joel Traylor, Producer came home a winner. At least it looks like he or they get to keep the tchotchke. But when they read the name of the winner from the dais on Saturday night, they read “Barksdale Theatre Commercial,” and so, as far as I’m concerned, WE WON AN EMMY! (That's Ryan Seacrest of American Idol admiring our Emmy!)

After all, we initiated the commercial, we paid for it, our Marketing Director Sara Marsden art directed it, our actors performed in it, our designers created the sets and costumes that appear in it, our staff brainstormed about what to include in it, our Board approved it, and our theatre’s name is the only name listed in the title.

I in no way want to shortchange or under-recognize the masterful work and creative talent exerted by Joel Traylor and our other friends at WWBT-12. They all did a great job and we couldn’t have done squat without them. But hopefully they won’t mind my swelling with pride over our part in all this either. (That's Jeremy Piven of Entourage smelling our Emmy!)

Congratulations on a job well done to our marketing staff; our directors, choreographers and designers; and our actors: Rachel Abrams, Ford Flannagan, Audra Honaker, Amy Hruska, Katrinah Lewis, Katherine Louis, Billy Christopher Maupin, Robyn O'Neill, Joe Pabst, Steve Perigard, Zak Resnick, Andrea Ross, Russell Rowland, Craig Smith, Eddie Tavares, Harriet Traylor, Jennings Whiteway, Eric Williams and Hannah Zold.

And ... pssst ... if anyone knows where I can acquire an extra one of those attractive statuettes to display in our lobby, call me. Until then, we will simply sign off as – Barksdale Theatre, Central Virginia’s Emmy Award-Winning Stage Company.

I mean, after all, WE WON AN EMMY!!

Here's the Emmy winning commercial:



--Bruce Miller

Word of the Week - HALLOING

Posted by Hannah Miller
On Saturday March 22, the world wished a very happy 78th birthday to STEPHEN JOSHUA SONDHEIM, so this edition of Word of the Week is created in his honor. This week’s word is HALLOING.

Stephen Sondheim is one of the most respected composers and lyricists of the 20th century. He has won more Tony Awards than any other composer on Broadway. Sondheim developed his love for theatre and music after attending his first musical at the age of nine. He was hooked when the curtain rose and a piano was revealed.

Never fitting easily with his parents, Sondheim spent many afternoons learning from his “surrogate father,” Oscar Hammerstein II, of Rodgers and Hammerstein fame. The Hammersteins and the Sondheims lived near each other on the upper West Side of NYC. When Sondheim wrote By George, a musical for his high school, Hammerstein spent an entire day teaching him what he could do to make the musical better. In Sondheim’s words, he “learned more about songwriting and the musical theatre” in that one afternoon “than most people learn in a lifetime.” Sondheim continued his apprenticeship with Hammerstein until he left New York to attend Williams College in Massachusetts.

In 1957, Sondheim made history by writing the lyrics to West Side Story, and then to Gypsy in 1959. Though both of these shows brought him great success as a lyricist, Sondheim knew that what he really wanted to do was compose. Three years later, he received that opportunity and wrote both music and lyrics for A Funny Thing Happened on the Way to the Forum, another hit. His string of commercial success was broken in 1964 when he wrote Anyone Can Whistle, which lasted for only nine performances.

Sondheim went on, of course, to write other history-making hits such as Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd, all in partnership with director Hal Prince. He was disappointed by the short run of their next show, Merrily We Roll Along. Following this commercial flop, he considered quitting theatre to write murder mysteries. Instead he switched directors, breaking with Prince and teaming with James Lapine (pictured with Sondheim to the left), who not only directed his subsequent musicals but also wrote the books. The first Sondheim/Lapine triumph was Sunday in the Park with George (my favorite musical), based on the artistic genius of French painter Georges Seurat, the father of Neo-impressionism. Sunday in the Park is one of only seven musicals to have won the Pulitzer Prize for Drama.

Other Sondheim/Lapine musicals include Into the Woods (produced at Barksdale last summer), Passion, and Assassins.

I study voice with Amy Hruska, and one of the songs she has me singing currently is Green Finch and Linnet Bird from Sweeney Todd. Inspired by the beautiful warbling of caged birds, the character of Johanna sings:

Green finch and linnet bird,
Nightingale, blackbird,
How is it you sing?
Whence comes this melody constantly flowing?
Is it rejoicing or merely HALLOING?
Are you discussing or fussing or simply dreaming?
Are you crowing?
Are you screaming?

When I first sang the word HALLOING, I assumed it meant something like “saying hello.” But this is Sondheim, so of course there are other layers of meaning. In 16th and 17th century England, to hallo or halloo was to shout an exclamation in a hunt when the quarry was spotted. In Coriolanus, Act I, Scene 8, Shakespeare writes, “If I fly, Marcius, halloo me like a hare.” Considering the plot of Sweeney Todd, certainly the birds were halloing when they spotted Johanna—or perhaps when they spotted the Judge.

Our word hello, issued as a greeting rather than a shout, dates from the mid-19th century, and fell into popular usage when Thomas Edison proclaimed it the appropriate way to greet someone when answering a telephone. Alexander Graham Bell preferred the phrase Ahoy, as used on ships. But by 1889, telephone operators were known as hello-girls due to the public acceptance of the Edison-inspired hello.

Today, Sondheim continues to write, create and inspire young admirers like me. His 2003 original musical Bounce has failed thus far to receive a NYC production. But in 2007, he composed incidental music for the Public Theatre production of King Lear, directed by Lapine. In that same year he had a bit part as himself on The Simpsons episode Yokel Chords.

--Hannah Miller

"Into the Woods" Singers Knock 'Em Outa the Park

Posted by Bruce Miller

The Musical Theatre Cabaret that cast members from Into the Woods performed this past Saturday night at midnight (and will trot out again this Tuesday evening, Aug 7, at 8pm) is nothing short of fantastic. The lively, 2-hour show is presented on the lobby stage at Barksdale Willow Lawn, with the audience sitting at tables and enjoying unbelievably delicious homemade baked goods from the kitchen of Zak Resnick’s mom, and spirited libations from mix master Russell Rowland at the cash bar.

All proceeds go to support the Richmond Theatre Artists Fund, which is a good and important cause. The Fund exists to provide immediate financial relief to members of our theatre community if and when severe illness or accident places them in a financially untenable position. Over the past 15 or so years, I can remember at least four times when beloved theatre artists found themselves in desperate situations through no cause of their own. In each instance, the whole community jumped in to help with thousands of dollars of life-saving support.

Some of us old timers started the fund, which is administered by RAPT and managed by the Community Foundation. But in this instance, it’s the young Turks who have decided to lend their voices, literally, to get us one step closer to raising our ultimate goal of $200,000—enough to pay out about $10 K per year without dipping into the principal. I know, I know, it may take 15 years to reach our goal, but Rome wasn’t built in a day.

Tickets are $25, or $20 for Barksdale and Theatre IV subscribers, or $10 for cast members from other shows. Or if you can’t afford the $25 or the $20 and you want to come, I’m sure no one will object terribly if you pick a show that you’d like to be in and ask for the $10 rate. But come hungry. Proceeds from the scrumptious desserts also go to the Fund.

The high wattage cast includes Zak Resnick (who headed the whole thing up and is a Broadway star in the making if ever there was one), Amy Hruska, Jackie Jones, Katrinah Lewis, Rita Markova, Kim Reuter, Drew Siegla, Craig Smith and Hannah Zold. Robyn O’Neill makes a great cameo appearance, and Rachel Abrams is a high hoot as host. Best of all is the incomparable Sandy Dacus, making the piano sing during every number.
Every number is a high point, but if I had to pick out a few to highlight, I could not resist praising:

Opening – The New World from Songs for a New World by Jason Robert Brown, sung by the entire cast;

Unusual Way from Nine by Arthur Kopit & Maury Yeston, sung by Rita Markova;

Run Away with Me from The Unauthorized Autobiography of Samantha Brown by Kerrigan and Lowdermilk, sung by Zak Resnick;

Way Back to Paradise from Marie Christine by Michael John LaChiusa, sung by Katrinah Lewis;

Captain Piggle Wiggle from The Magic Mrs. Piggle-Wiggle by Chad Henry, sung by Jackie Jones; and

Run, Freedom, Run! from Urinetown by Greg Kotis & Mark Hollman, sung by the entire cast. (And don't forget, Urinetown opens soon at the Mill and it should be really great!)

All in all, it’s a glorious night at the theatre. Please call for tickets today at 282-2620.

--Bruce Miller

"Into the Woods" Gives Back

As if doing a full length Sondheim weren’t enough, several of the rising young stars of Into the Woods, now playing on our Signature Season at Willow Lawn, are joining forces to produce and present a Musical Theatre Cabaret as a benefit for Richmond's Theatre Artist Fund.

Zak Resnick (one of our charming Princes, pictured to the left), Rita Markova (our lovely Cinderella) and Drew Seigla (Jack of “fee fi fo” fame) will be joined by Amy Hruska, Jackie Jones, Katrinah Lewis, Robyn O’Neill, Kim Reuter, Craig Smith and Hannah Zold as ten of Virginia’s finest theatre voices come together to present a harmonious evening of musical magic.

There will be two performances of the Cabaret on the lobby stage at Barksdale Willow Lawn. Performance dates and times are Saturday, August 4, 12 midnight (following the Saturday evening Into the Woods performance) and Tuesday, August 7, 8 pm. Patrons will sit at tables, cabaret style, and the house and cash bar will be open 30 minutes prior to curtain.

Tickets are $25 ($20 for Barksdale and Theatre IV subscribers and anyone holding Into the Woods tickets for August 4, $10 for our young company members from Disney’s High School Musical). All but $10 of each ticket price is tax deductible. Everybody who’s anybody in the theatre community will be there, and it’s going to be FUN. So call the Barksdale box office to make your reservations today – 282-2620.

All ticket proceeds will be donated to the Richmond Theatre Artists Fund, a program of the Richmond Alliance for Professional Theatres (RAPT) and the Community Foundation. The Richmond Theatre Artists Fund helps with the emergency needs of metro Richmond theatre artists who are confronted by insurmountable financial challenges due to major illness or some other tragedy beyond their control.

Prior to the establishment of the endowed fund, the theatre community raised emergency funds on a case by case basis. Over the past dozen or so years, theatre artists have raised tens of thousands of dollars to:
provide new housing for an actor with AIDS who lost his job and was thrown out onto the street when his condition was disclosed,

make mortgage payments for a lifelong theatre administrator who was about to lose her home as her husband (a theatre tech director) struggled for more than a year with brain cancer, and

pay for critical medications for a cherished actress fighting against terminal cancer.

So why not support a GREAT cause and enjoy a wonderful evening’s entertainment at the same time? Three cheers to Zak and company for this wonderful gift to our community. I hope to see you there.

--Bruce Miller

Helping "Into the Woods" into their clothes

We would be a cast of bedraggled actors on Barksdale's stage if it wasn't for one special woman keeping us together during every performance of Into the Woods. That person is Renee Jones and she is the Dresser/Quickfixer/Magician, and every actors' best friend behind the scenes. Ever wonder how an actor can somehow magically appear three lines of dialogue later entering on the other side of the stage in a completely different costume head to toe and no sweat? .... No we do not conjure up magical fairy dust .... it has a name and that name is Renee Jones.

To explain more about the phenom that is Renee, we must understand where she comes from and what brought her to us here at Barksdale Theatre. She lives in the house she was born in right here in Richmond. Renee is a graduate of the dance program at Henrico High School's Center for the Performing Arts which, coincidentally is where Into the Woods director Robin Arthur was the school's first Head Director. Renee is also a graduate of UNC Wilmington. You may recognize the campus from Dawson's Creek episodes, as it was used as the set for the High School in the series. Her first professional production in Richmond was Theatre IV's Charlotte's Web at the Empire Theatre followed by Proof at Barksdale Theatre. Following other local shows she headed off to HersheyPark in PA to hone her skills even more. Recent credits since her return to Richmond include Mame, Intimate Apparel, and Beehive. On the right is a picture of Renee making sure everything is perfect on Adanma Onyedike's costume during Intimate Apparel.

It takes a person with a strong constitution to see and do the things Renee does. We're talking actors sweating buckets everywhere and people literally falling out of costumes. This woman has seen it all. Each costume change is like a choreographed dance between Renee and each actor. As you can imagine each actor has a different "modus operandi" so she has to accomodate each one. Although I do enjoy my time with Renee, I am lucky enough to have only one real costume change....of course this change is from a carniverous wolf in full make-up exiting stage left, and coming in 1/2 a page later as a dashing (sweat-free) prince entering stage right (see photo on the left). Not only does she keep us dressed, she also keeps us in good repair. The costume designers and staff do a superb job at assembling all our phenomonal costumes, but as you can imagine falls, tears, weight loss....or gain, and missing buttons happen. Renee can be seen post-show, intermission, and at many times doing upkeep on our costumes. She is a huge asset to this summer's production of Into the Woods, she is truly a star.

-Russell Rowland

* Firsthand account by Amy Hruska, one of Renee's "Dance Partners":

"After I walk onstage as "Sleeping Beauty", I have 3 lines and then appear again as "Granny". Renee has my "Granny" wig sitting atop her head and as she is velcroing me in, I snatch the wig off of her and place it on my head. A pair of glasses completes the ensemble. Remember all is done in 3 quick tempo lines. Renee stays calm through all of this and gets me back onstage on time every time."

** Sidenote: We also have a "Set" Dresser, in a way. His name is Ronnie, and among his other jobs is fitting Amy Hruska two times a show, in and out of a 9'-10' tree "costume" , moving branches and all.

*** Personally I miss my appearance as a large piece of white celery (Prize to the first person,vegetable , or mineral who can guess the show)

Barksdale Theatre and Theatre IV employees void.

Anyone else like to share their strangest or most outrageous costume?

Meet the Cast of "Into the Woods" – Part II

Every few months, someone will step forward to complain that Barksdale and Theatre IV keep casting the same people over and over, and that new people may as well not audition, because Richmond’s theatres run closed shops.

It is completely true that Barksdale and Theatre IV benefit greatly from an informal company of national caliber/Richmond-based actors who, if we’re lucky, perform once or twice a year on our stages. We believe this practice serves both audiences and artists well.

However, it is completely untrue to say that newcomers don’t stand a chance. During the Signature Season that is now concluding at Willow Lawn, we cast 62 different roles in five productions. The great news is that 31 of the actors who performed those roles were performing at Barksdale Willow Lawn for the first time since we assumed leadership in 2001.

Three of these exceptional “newcomers” are playing leads in our hit summer musical, Stephen Sondheim’s Into the Woods. All three attended high school in Greater Richmond, and have since moved on to larger markets to pursue their careers. All three are performing with Barksdale for the first time.

Rita Markova is doing an absolutely magnificent job as Cinderella. She’s beautiful, as anyone can see in an earlier blog entry, and acts and moves with intelligence and assurance. But it’s her voice, an exceptional lyric soprano, that simply knocks me off my feet. Rita recently played Maria in West Side Story at the Arts Center of Coastal Carolina and New Jersey Concert Opera. She also appeared in Cats at Northern Stage, Titanic at Media Theatre, and Godspell, A Chorus Line and Grease at Shawnee Playhouse. Coincidentally, Rita originated the title role in the world premiere workshop of Rumpelstiltskin’s Daughter at the Edinburgh Fringe Festival. Theatre IV will be presenting the official World Premiere of the finished script during our 07-08 Season.

Rita attended Godwin High School during several of her student years, and is a graduate of New York University with a Bachelor of Music degree in Vocal Performance.
Visit Rita's website

Zak Resnick cuts a dashing figure as Rapunzel’s Prince and a second Wolf. Again, I refer you to the photo that appears in a previous blog entry. A rising junior at Carnegie Mellon, Zak is truly someone to watch. Last summer, Zak vaulted to the big time when he was cast in Broadway and Beyond with the legendary Ann Reinking and Ben Vereen. Shortly thereafter, Zak made his NYC debut in Scott Alan’s prestigious Monday Night’s New Voices series.

But Richmond audiences are not unfamiliar with Zak’s many talents. At the Firehouse, he appeared in Bat Boy and starred in The Last Five Years. He also saved our necks once a couple of years back. Due to some difficulty I can no longer recall, we were forced to cancel a performance of one of our Willow Lawn productions—it may have been Anything Goes. As fate would have it, the Virginia Museum of Fine Arts had booked a large number of seats for the cancelled performance on behalf of a group of supporters who were coming in from out-of-town. We couldn’t bring the group in to see our show, so, at the last minute, faithful friend Stephen Rudlin put together a full evening’s cabaret performance to take to the Museum, and Zak agreed to perform. Not only was he terrific, he helped us fulfill a major responsibility and defuse a potentially explosive situation.

The third “newcomer,” at least to us, is Drew Seigla, who is charming everyone’s socks off as Jack (of Fee Fi Fo Fum fame). Drew is studying classic voice as an undergrad at Juilliard in NYC (probably the most prestigious performance training program in the nation). He made his opera debut with Le Nooze di Figaro in Rome two summers ago. Last summer, he was an apprentice at Flat Rock Playhouse, the State Theatre of North Carolina. One earlier summer during his Richmond high school years, he appeared with SPARC in Footloose at Theatre IV’s Empire Theatre.

Referring back to Part I in this Meet the Cast series, if anyone can give Ford Flannagan a run for his money in the physically fit competition, Drew is probably the man to do it.

One of the best features of the Into the Woods cast is that the supporting roles are filled by new and veteran talents who are just as amazing as the leads. Amy Hruska (Cinderella’s Mother, Granny, Giantess, Sleeping Beauty) was our hard-working music director and pianist for Annie Get Your Gun, James Joyce’s The Dead, Olympus on my Mind, They’re Playing Our Song and Where’s Charley?, but she hasn’t acted on Barksdale’s stage since appearing as one of the sisters and the cousins and the aunts in Gilbert and Sullivan’s H.M.S. Pinafore at Barksdale Hanover Tavern way back in 1981.

Jackie Jones, on the other hand, is back as Jack’s Mother in Into the Woods, but she works so steadily in Richmond’s theatres that it’s hard to think of her as “back.” Jackie recently brought down the house as Letitia Peabody Primrose in Henrico Theatre Company’s On the Twentieth Century, somehow shoehorning that star turn in after two consecutive gigs at Barksdale Hanover Tavern in Over the River and Through the Woods and Agatha Christie’s The Mousetrap, which immediately followed her critically acclaimed turn at Swift Creek in Steel Magnolias. As busy as she is beloved, Jackie is a true charmer.Visit Jackie's website

Katrinah Carol Lewis (Lucinda) is back after performing so beautifully in Intimate Apparel.




Kim Reuter (Rapunzel) lends her magnificent voice to Into the Woods after completing a year of touring with Theatre IV.





Craig Smith (Cinderella’s Father) is sharing his talents with us at Willow Lawn while simultaneously sharing his theatre with us at Steward School. All right, the state-of-the-art Kramer Center is not exactly his theatre, but it’s where he teaches Acting and English and heads the theatre program during the school year. And Steward School will be sharing the Kramer Center with us for the second incarnation of the Greater Richmond High School All Star Musical, which opens in July.

Harriet Traylor (Cinderella’s Stepmother) is truly a Barksdale favorite, having graced our stage as Regina in The Little Foxes and Miss Maudie in To Kill a Mockingbird.




Eric Williams (Steward) is being all aristocratic now, but a few months ago he brought tears to every eye as the brother recently released from prison in Smoke on the Mountain at Barksdale Hanover Tavern.



Completing our cast of 17 is Hannah Zold (Florinda), who is fast becoming a Barksdale and Theatre IV musical mainstay. She recently turned in wonderful performances in The Wizard of Oz, Mame and The Full Monty.



Richmond theatre is blessed to have so many talented artists working in its midst. I hope you’ll catch their inspired performances this summer in Into the Woods.

--Bruce Miller

"Into the Woods" for a Wonderful Summer

It was so much fun to attend the exhilarating Opening Night of our ’07 Summer Musical, Stephen Sondheim’s glorious Into the Woods. Joining in Friday evening’s celebration of Director/Choreographer Robin Arthur’s magnificent production were past and present Board leaders (and spouses) Rhona Arenstein, Roy Burgess, Kevin and Jeannie Kilgore, Charlotte and Andy McCutcheon, and Sara Belle and Neil November. Bifocals All-Stars Tom and Carlene Bass, John and Mary Jane Board, Vaughan Gary and Lyde Longacre lent enthusiastic support, as did Richmond theatre luminary Suzanne Pollard, who was beaming ear to ear throughout intermission.

The irresistible Essie Simms, who, legend has it, hasn’t missed a Barksdale production since the founding in 1953, brought Connie Sarvay, former Program Director at Westminster-Canterbury. Melinda Scott, Theatre Coordinator at Westminster, came as a special guest of the Novembers. Isabella Witt, who has been irreplaceable in the Barksdale family for decades, joined them for the evening’s festivities.

Also raising a glass to the new production were steadfast volunteer Jean Hartley, and dedicated staff members Sara Marsden, Andy Boothby, Joy Corbin, Judi Crenshaw, Catherine Dudley, Jackie Gann, Sarah Grady, Amy Sullivan, Wendy Vandergrift and Jennings Whiteway (who staged the tantalizing post-show reception).

Chase Kniffen, director of this summer’s Disney’s High School Musical, escorted his sister, Mary Carter Kniffen, in celebration of her high school graduation earlier this week. High School Musical cast members Gray Crenshaw, Hannah Miller and Andrea Ross eagerly soaked in the performances, anticipating their rehearsals that begin on Monday.

Several of Central Virginia’s most talented theatre artists were particularly enthused to realize that this was Barksdale’s first Sondheim since Sweeney Todd in 1982. Sandy Dacus, Paul Deiss, Tony Foley, Richard Koch, Dee Lynch, Jennifer Massey, Vickie McLeod, Joseph Papa, Melissa Johnston Price, Jim Smith-Parham, Linda Snyder, Jill Bari Steinberg, Erin Thomas, Robert Throckmorton, Lynn West, Donna Whiteway and Joy Williams enhanced the evening with their presence.

To whomever I’m leaving out, please forgive me. It was a busy night.

Director and Choreographer Robin Arthur, Musical Director Jimmy Hicks, Lighting Designer Lynne Hartmann, Costume Designer Terry Snyder, Props Master Jay Dempsey, Light Op Lynwood Guyton, and deck crewmates Virginia Varland and Jason Weinbarger all graciously accepted kudos as the audience waited for the actors to transform from witches, wolves etc. and join the party. Stage Manager Ginnie Willard, Assistant Stage Manager Rick Brandt, and Sound Op Wendy Vandergrift worked diligently to address various technical issues that needed their attention.

When at last they appeared, the 17 actors who make up our amazing cast were greeted with praise and admiration. The multi-talented ensemble includes Rachel Abrams, Ford Flannagan, Audra Honaker, Amy Hruska, Jackie Jones, Katrinah Lewis, Rita Markova, Robyn O’Neill, Steve Perigard, Zak Resnick, Kim Reuter, Russell Rowland, Drew Seigla, Craig Smith, Harriett Traylor, Eric Williams and Hannah Zold.

Appreciation was also showered upon our gifted orchestra, including musicians named above plus Claire Archer, Taylor Barnett, Jay Calabro, Bentley Cobb, Sarah Davis, Susan Davis, Doug Draucker, Rusty Farmer, Damian Muller, Roxanne O’Brien, Robert Quallich and Alex Samawicz.
As always, I will leave it to others to critique the show. But Phil Whiteway and I are thrilled with the production and proud of all the talented artists involved. We look forward to a long and glorious run of this enchanting American musical.

If you love great theatre, don’t miss this funny, soaring masterpiece from the foremost Broadway composer and lyricist of the last forty years.

Richmond Times-Dispatch review

Special thanks to the Title Sponsor of Into the Woods, Village Bank, who helped make this production possible.

--Bruce Miller