Jackie Jones Explains Why the Artsies Were So Much Fun

We recently received this very gracious email from veteran Richmond actress Jackie Jones. It's filled with so much of Jackie's signature joie de vivre that we asked her if we could post it here. We think the spirit of her note captured the evening's excitement perfectly. If you were unable to attend, this is what the Artsies felt like.

To my Friends at Theatre IV,

Please accept my thanks for hosting the Richmond Theatre Critics Circle Awards 2011. Also, please pass along my appreciation to all the staff involved. I had a ball!

I was grateful that the strike after our final Cat on a Hot Tin Roof performance ended early enough for me to curl my hair. Yet all the hairspray that kept it together even with the force of Big Daddy’s hand every performance of Cat was not enough to help when a man fell into me and uncoiled my coif.

Some of my favorite RTCCA 2011 moments were:

~ The valet parking! Wow, they were expedient.

~ Being escorted to my seat by the stunning peach-satin-clad usher who only hours before had been striking at Firehouse. Annella Kaine was our Cat on a Hot Tin Roof sound tech and I forgot that she might have a life outside of a dark theatre and her crew blacks.

~ Telling the man next to me to stop texting (and he did … and then moved at intermission!).

~ Audra Honaker’s bird (see photo of Audra and Jackie at top of post). Kim Jones Clark’s golden mermaid dress. Terry Snyder’s authentic Davy Crockett scarf. Everyone’s gorgeous self.

~ Chatting with Regina Carreras before the Awards began, peeking back at her when Morrie Piersol won her necklace, and looking forward to Carol Piersol wearing that necklace to the next big soiree!

~ Bryan Harris and his amazing RTCC band. Thank you to the playbill compilers for naming Stephanie, Craig, Steve and Bryan in the playbill.

~ The script. Funny and insider and what a kick.

~ David Janeski’s imitation of John Porter!

~ Terry Snyder’s thank you song and everyone snapping with him.

~ His students’ loving tribute to Ernie McClintock and then later, J Ron Fleming’s proud proclamation that without Ernie’s inspiration, J Ron would not have become an actor.

~ Michael Gooding’s heartfelt swell and Don Warren’s fond remembrance of Jay and his laugh. During the pre-show reception, Don noted how many of us wearing purple and commented that it was Jay’s favorite color.

~ The audience response to what we thought was the end of “9 People’s Favorite Thing” (see photo of cast above and to the left) and after a forever ovation, the tag to their song--especially since [title of show] did eventually tie for Best Musical!

~ Scott Wichmann’s eloquent toast to his challenges of the past year and the new ones to come.

~ The concept of The People’s Choice Award: more Fundraising and FUN-raising.

~ 2 Men / 1 Dream - starring Jason Roop and Jack Lauterback and featuring caricatures of a few favorite Richmond directors and choreographers played by themselves. Side note: Frances Wessells was my choreographer for Youth on Stage in 1974. We toured the state; her life experience and wisdom made a profound impact on me. I realize now as I type that even then she was further along in her life than I am now in my own! Maybe I still have time to catch up.

I missed the grand promenade of the RTCC members from Artsies of old. I hope next year the powers-that-be will reinstate that segment so we can see all the critics standing together and applaud their efforts to put on this wonderful celebration of our theatre community, for bestowing nods and awards which stroke our egos, offer terrific marketing tools for the companies and individuals, most especially for supporting the Richmond Theatre Artists Fund - and of course providing a perfect “theatre prom” to don my purple sparkly dress, new rhinestone combs, and University of Richmond loan of my Big Mama necklace, courtesy of Heather Hogg.

The evening went by in a flash! My one suggestion might be to include phonetic spellings for the more unusual names to spare the presenters/hosts embarrassment. Oh, and also for the mics to be a bit louder or more well-placed--there were some presenters who were hard to hear. I mention this hint for presenters not used to hard copy scripts: perhaps they should consider either marking their cues with tabs OR carrying their scripts to follow along. (I guess that was three suggestions. Oh well, good things come in threes.)

I can hardly wait for next year.

Warmly,

Jackie Jones

Why Are Certain Actors Pre-Cast?

Posted by Bruce Miller
A noteworthy comment was posted to the previous blog entry. I appreciate the perspective of the writer and the kind words (not included below). I will definitely take the stated opinion to heart. I also offer some additional perspective of my own.

The comment reads, in part, as follows: "I honestly believe there are some in the community (a large number, actually) who DO feel that you tend to favor and precast one particular actor in town. I need not mention his/her name because EVERYONE knows who I am speaking of. Is this person talented? Without question. Should he/she be HANDED 2-3 leading roles per year without auditioning? No. Being "Richmond's favorite actor" comes a little easier when you are in Bruce Miller's back pocket. Why not let said person get in line with all the actors and fight for the part? Who knows, maybe someone else in line will surprise you! Just two cents to add to the pot."

To be fair to Joe Inscoe and Scott Wichmann (pictured at the top in Shipwrecked - I'm not sure which one the commenter is referring to, since both fit the bill), let me say that both guys audition regularly at theatres around town, including ours. And sometimes they don't get cast. If anyone incorrectly perceives that either actor thinks he's above the audition process, let me put that idea to rest. Joe and Scott get in line with all the other actors in town all the time.

So the issue is all about the directors and producers doing the casting, not the actors being cast.

I make a thousand decisions a year (in close association with Phil Whiteway, Chase Kniffen and lots of other folks) regarding how to keep Barksdale and Theatre IV artistically and financially sound. Phil Crosby, Larry Gard, Grant Mudge, John Knapp, Carol Piersol, James Ricks, kb saine, Derome Scott Smith, Tom Width, and the good folks at CAT, HAT, SPARC et al do the same regarding their theatres. All of us have the responsibility to keep our nonprofit companies afloat.

When a director and I precast Joe or Scott, it is because we know they will turn in terrific performances. I also know their names in ads will help sell tickets. Again, I've heard a lot of ticket buyers talk on the other side of that one-way mirror, and the names Joe Inscoe and Scott Wichmann are spoken with regularity.

Every other artistic director in town knows this too. Therefore, we've gotten to the point where if I don't nail down Joe and Scott many months in advance, another artistic director will nail them down and I'll lose them. This is not always the case, but it often is. Joe and Scott are regularly offered work at theatres (and on films) both in town and out of town, and I almost always compete with other directors to secure a contract.

The same thing can be said (at varying degrees) for Brian Barker, Stacy Cabaj, Desiree Roots Centeio, Larry Cook, Sandy Dacus, Patti D'Beck, Paul Deiss, Ford Flannagan, Jan Guarino, Lynne Hartman, Audra Honaker, Tamara Johnson, Jackie Jones, Ron Keller, Kelly Kennedy, Joe Pabst, Steve Perigard, Melissa Johnston Price, Adrian Rieder, Ali Thibodeau, Debra Wagoner, Aly Wepplo, Ginnie Willard, Joy Williams, Irene Ziegler, and several others. They've each worked their way into that place where artistic directors (and/or freelance directors like Billy Christopher-Maupin) talk to them and begin wooing them for projects many months in advance.

That's not the way it used to be, but it is the way it is now. Actually, I was behind the eight ball on this one. James Ricks, Tom Width and Rusty Wilson led the charge to get actors to commit to projects really early. It was a smart move on their parts. I've learned from them, and have begun to copy in order to keep up.

For the artists, it's a good thing. For Richmond theatre in general, it's a good thing. I love the fact that Richmond is starting to have "stars" and I'm doing what little I can to increase that trend. I think it adds to overall interest in theatre, and appropriately recognizes the amazing talent that exists here.

I think we should all love that. But with the increased buzz comes this reality: competition for "star" talent is growing more and more intense. Increasingly, this means that the talents of certain individuals will be secured months in advance.

Another component that drives this trend is health insurance. Several of Richmond's finest theatre artists rely on their unions for their and/or their family's health insurance. They begin negotiating a year in advance to ensure that they'll book enough work weeks from a company that pays for health insurance in order to guarantee that there will be no gaps in their coverage.

The last thing to be considered in this discussion is the notion of an ensemble company. There are independent artists within the community, including all of the names mentioned above, with whom I seek and to whom I offer a long term commitment. I think this helps those artists remain in Richmond (everyone likes a sense of security), and it helps us develop a loose knit ensemble company at Barksdale and Theatre IV that enables us to create better theatre.

Again, I'm not trying to "defend" casting decisions or the casting process. Things are as they are; different people will have different opinions. No "defense" is offered or needed. I'm trying to share with you what goes on in my head and behind the door of my office as the leadership of Barksdale works hard to create a nationally recognized, professional, resident theatre here in Central Virginia.

Sharing perspectives is a good thing. I greatly appreciate all those who share their perspectives with me.

Thanks.

--Bruce Miller

Richmond Theatre Critics Circle Awards

Posted by Bruce Miller
The nominations for the RTCCAs (popularly pronounced Artsies or Ratcocs, depending on the sassiness of the one doing the pronouncing) were posted on Dave's Theater Blog late Monday evening. Many also refer to the actual awards as "hockey pucks," because of the circular design of the handsome acrylic trophies that are handed out. Meaning no disrespect, I've chosen a Canadian hockey puck to illustrate this article because: A - I couldn't find a photo on line of an actual Artsy, and B - well, I'll let you speculate about B.

Because I swim in the technological backwaters, I knew nothing about the announced nominations until Tuesday morning when I read a nice message that Jacquie O'Connor wrote on my Facebook wall. Our Managing Director, Phil Whiteway, received some sort of message on his blackberry, or whatever phone thing he has, on Monday night. From all reports, the phone of our Associate Artistic Director, Chase Kniffen, began ringing furiously shortly after Dave's initial posting.

I'm so out of the loop that it sometimes startles me.

Anyway, what a nice surprise to discover that Barksdale and Theatre IV are parties to 48 nominations--49 if you count our connections to Neil and SaraBelle November. I greatly appreciate all this recognition.

I really really really don't envy the Richmond theatre critics and the challenges they face in trying to come up with this list of nominees. I think it's great that they're giving kudos to theatres and theatre artists in Richmond. As an economic sector, we need all the attention we can get. But their job is next to impossible. With so many worthy performances, how can anyone possibly choose one set of theatre artists over another. All I can say is, I'm glad I don't have to do it.

My job is an easier one. I get to Monday morning (Wednesday night?) quarterback and make some additional "nominations" of performances that I admired, performances that didn't make it on to the final roster selected by the critics. My "nominations" represent nothing more than one humble opinion--which ain't worth squat. Like the critics, I'm sure I too will leave out people I really liked and am now forgetting, but since these nods of mine carry no weight whatsoever, I hope everyone will put up with my whimsy.

I also get to toss out some comments that have little to do with anything, but interest me nonetheless. It's a blog. So sue me.

First off, I loved everyone in the acting and design teams of the three shows I had the privilege to direct this season: Boleros for the Disenchanted (the wonderful and nominated Carmen Zilles is pictured to the left, next to the wonderful and not nominated Michelle Guadalupe), First Baptist of Ivy Gap, and On Golden Pond. Since I'm completely biased in their favor, I won't single out any one of them individually for recognition here. Except one. I know Joe Inscoe is nominated several times for other performances, but not to nominate him for On Golden Pond?? I thought he was exceptional. I'm just sayin'.

I'm a little surprised (but delighted) to see that Souvenir is considered to be a musical. At the end of the day, I don't care if the critics call it a musical, a non-musical, or an egg salad sandwich--I'm really glad that the excellent work that went into this show was recognized.

I already wrote to Jase Smith individually, and told him I thought his direction of Rent represented his best work thus far and deserved a nomination. I also think that Terence Sullivan was terrific in Rent. In my opinion, he was the major new "discovery" of the year. I thought Durron Tyre was incredible in Rent and deservedly nominated, but I don't think the character of Tom Collins is a lead. In my little world, Durron should be up for Best Supporting Actor in a Musical.

In like manner, I was surprised to see that Ford Flannagan's wonderful performance in Putnam County Spelling Bee was nominated in the Leading Actor category, while Debra Wagoner's performance in the same show in a role that was actually larger than Ford's was recognized in the Supporting Actor category. It seems like both of them were outstanding supporting actors to me.

And speaking of directors--I was, a couple paragraphs back--I thought Molly Hood (pictured to the left) did a terrific job with Twelfth Night. Here again, I applaud each of Barksdale's and Theatre IV's directors, but I'm biased so I won't single them out.

I enjoyed noting that The Sound of Music was abbreviated SOM and Servant of Two Masters was abbreviated SOTM. It reminded me of the previous season when Barksdale did Children of a Lesser God and Stage 1 did Children's Letters to God almost simultaneously. Good times. It made me try to think of other plays we might have produced last season with titles that could be abbreviated with some variation of SOM. But I came up with bupkis. It's late at night.

I think the strongest category may be Best Supporting Actor in a Play. All five nominees are equally deserving. And I can think of more than a few others who turned in equally impressive performances in this category--too many to single out. I'm excited that there's a new category for original work--something lacking in the past.

Maybe next year the critics can consider recognizing a break-through performance by someone previously unnoticed, or maybe a "Most Outstanding Debut" category. I thought Laurel Maughan, who is new to our ranks, contributed greatly to Twelfth Night. In the veteran category, I though Jackie Jones was particularly noteworthy playing Golda Meir in her one woman show at the JCC. Somewhere in between, Joe Carlson impressed, I thought, in Grapes of Wrath, carrying a difficult show on his emerging shoulders. Joe will contribute greatly to Richmond theatre's future, should we be lucky enough to hang on to him.

I'm so pleased that Hanover Tavern received some recognition this year; the Tavern was completely shut out in years one and two. I know there will always be those who feel under-appreciated, just like all of us at Hanover Tavern felt in 2008 and 2009. But I think the critics do an outstanding job trying to recognize good work everywhere, and trying to maintain a balance.

Richmond theatre lives and dies by its breadth and depth, and the critics work hard to find examples of excellence almost everywhere. Our theatre community would be greatly diminished without the estimable talents found at our dozen colleague nonprofits: African American Repertory Theatre, Cadence Theatre Company, Carpenter Science Theatre, Chamberlayne Actors Theatre, Firehouse Theatre Project, HATTheatre, Henley Street Theatre, Richmond Shakespeare, Richmond Triangle Players, Swift Creek Theatre, Sycamore Rouge, and the brand new Theatre in Battery Park.

Last but not least, I'd like to tip my hat to the kids in The Sound of Music--maybe in the best ensemble category. They were amazingly talented, professional and accomplished throughout a lengthy run, and were at the very heart of Central Virginia's most popular show of the past season.

So, those are a few random thoughts, signifying nothing. Again, I think the critics are doing a great job and I don't envy them. There's no way they could satisfy everyone. So I salute them, and thank them for their service.

--Bruce Miller

Sister Theatre Has a Hit!

Posted by Billy Christopher Maupin

It looks like Theatre IV has a huge hit on it's hands with the reunion of the original 1988 cast (Gordon Bass, Larry Cook, Jenny Hundley, Jacqueline Jones, and Debra Wagoner) of Jack and the Beanstalk (Book and Lyrics by Douglas Jones; Music by Ron Barnett). The production began student matinee performances on Tuesday of last week and had it's official opening Friday night to an incredibly responsive house. Here are a few of the quotes we'll be pulling from Susan Haubenstock's review in Sunday's Richmond Times-Dispatch:

"...playwright Douglas Jones rings an ingenious change on
the much-loved fairy tale"




"wild version of the familiar yarn,
more fun and fanciful than the original"

"While the kids in the audience giggle at the silliness, adults can enjoy razor-sharp performances by the actors"

"light and funny" "cheerful" "playful and snappy"

And also Kate Hall with RichmondMom.com rang in with a thrilling review last night. A few quotes:

"both adults and kiddos were swept into Jack’s playful, imaginary world"

"a fabulous way to spend an afternoon"

"a must-see for Richmond families who want a great laugh
and to create a memory together"

Tickets really are selling fast! So fast, that a performance was added to the final day, even before the show opened! Get yours today!

See you at the theatre!

(Photos on the left side of the page are from the 1988 production [Photos by Eric Dobbs]; photos on the right side are from the currently running 2010 production [Photos by Aaron Sutten].)

Artsies and The New Century

Posted by Bruce Miller
Everyone seems to have had a grand time last night at the RTCC Awards presentation at the historic Empire.

For me it was a little like hosting a party for 500 people in my home. We almost immediately had to restock the toilet paper and paper towels in the ladies room. (Thanks Erin and Jackie for the heads up.) I sat through the entire evening praying that no one would fall into the pit. (Note to self: next year, make sure that railings are on BOTH sides of the stairs leading to the stage.)

The mics seemed to work almost perfectly (give or take about 2 seconds of feedback), which was a miracle considering there was virtually no rehearsal. The stars twinkled with maybe a little too much enthusiasm. (Was it just me or did they start twinkling even faster whenever Audra Honaker came onstage?)

Many thanks to all who helped to make it happen without a major hitch.

Prior to the Artsies, I headed out west for The New Century and the Triangle Players. Here’s what I liked:

* Getting to see HATTheatre for the first time. I know, I should be embarrassed and I am. HATTheatre has occupied its intimate headquarters since sometime in the 90s. I’m ashamed this is the first time I’ve made it to the western border of Henrico County to enjoy the space. I love seeing new theatrical digs in Greater Richmond—even if they’re “new” only to me.

* Experiencing first hand and for the first time the expert comic timing of Annie Zannetti. This woman is a pro at delivering a punch line for maximum effect. She absolutely knows what she’s doing. I look forward to the honor of working with Annie sometime in the future, should I be so lucky.

* Every word that came out of Jackie Jones’s beautiful mouth. Not only do I love Jackie Jones, I also preferred her section of the play, entitled Crafty. It was sweet, and warm, and funny. This says more about me than it does about the rest of the play or the performances.

To be honest, I didn’t “get” about 25% of the rest of the play. I know; I’m old and unusually un-hip. Every time I trick myself into believing I’m “with it,” I discover I’m not. I sort of hate to admit it, but with the exception of Crafty, the playlets in The New Century are more “insider” and “New York” than I am. I didn’t really understand about a quarter of what they were talking about. All right—maybe a fifth.

A catchphrase much bandied about at Richmond Triangle Players is “if we didn’t do it, who would?” In the case of The New Century, and many other Triangle productions as well, I think they’re right. And that's all to the good.

Other theatres in town have produced more “mainstream” theatre with gay themes. Barksdale and Theatre IV have presented The Boys in the Band, The Normal Heart, The Fifth of July, Love Valour Compassion, Gross Indecency: The Three Trials of Oscar Wilde, The Laramie Project (co-produced, Phil Crosby reminds me, with RTP), and The Little Dog Laughed. The Firehouse has done Hedwig and the Angry Inch. The New Century, in my opinion, is a little more “niche” than any of those plays. If Triangle Players didn’t do it, I expect no other theatre in Richmond would.

I also loved the exuberance of my buddies Michael Hawke and Matt Hackman, who threw caution to the wind and gave everything they’ve got to their two roles.

If you love gay comedies, don’t miss The New Century. It’s loaded with laughs, leather and lasciviousness. It's not for everybody, but what theatre is? I applaud Richmond Triangle Players for making professional theatre in Richmond broader and more inclusive.

--Bruce Miller

In Memoriam: Jay McCullough

Posted by Bruce Miller
Jay McCullough, a very active and well-loved member of Richmond’s theatre community, died today after a long and courageous battle with cancer. At the request of his close friends Debra Wagoner and Joe Pabst, the remainder of the run of Souvenir will be dedicated to Jay’s memory.

At Barksdale, Jay sang up a storm in Ernest in Love at the Tavern and She Loves Me at Willow Lawn. With Theatre IV, Jay starred opposite his dear friend Jackie Jones in Isn’t It Romantic?.

Jay also appeared recently at the Mill in Urinetown, at Dogwood Dell as Buddy in Follies, at Chamberlayne Actors Theatre in 84 Charing Cross Road, at Henrico Theatre Company in On the 20th Century, and in Hysterical Blindness with the Triangle Players, where he also recently directed Four Queens in Hawaiian Shirts.

Jay is survived by a full cast of friends and his longtime companion, Don Warren. Our hearts and prayers are with Don in this time of great loss.

Jackie Jones visited with Jay yesterday in hospice at St. Mary’s, and noticed that there were original cast albums playing quietly in the background, helping Jay and his friends feel at home. When Jackie mentioned how much she appreciated this, Don told her that some time before her visit, Buddy’s big number from Follies began to play. Jay’s eyes were closed, he was breathing with the help of a respirator, but as soon as the song started he knew his cue. His feet began replicating the tap steps he’d worked so hard to learn for his star turn at Dogwood Dell.

Old actors never die. Jay’s talents, his friendship and his many performances will live on in Richmond theatre history forever.

--Bruce Miller

Addendum: I've just heard from Michael Hawke that services will be at Bliley's Funeral Home - Central (3801 Augusta Ave, Richmond 23230). Visitation will be Wed Oct 7 at Bliley's from 6 pm until 8 pm. A Celebration Service will be held at Bliley's on Thursday afternoon at 2.

Tevye Takes His Final Bow

Posted by Bruce Miller
I just returned from Lou Rubin’s funeral and graveside service. Phil and I joined Tom Width, Jackie Jones and Glenn Crone in representing the theatre community. If others were there, I apologize for missing you.

Phil and I arrived about 15 minutes before the service, but it was obvious that the crowd that kept pouring in was not going to fit inside the cemetery facility. So the two of us and Tom Width and about 30 others gladly took our places outside and listened to the service over speakers. I'm sure Lou loved the fact that his service was SRO.

One of Lou’s favorite roles at the Mill was Tevye in Fiddler on the Roof. He played it at least twice to great acclaim. His family wanted to include something from Fiddler in the service, but secular music is prohibited in a Jewish funeral. So after consultation with the powers-that-be, it was decided that Sunrise Sunset would be performed as a sort of overture, before the service actually began. It was very moving.

Later in the service, a granddaughter said that Lou had mentioned that he wanted helium balloons at his funeral, to cheer things up. His daughter Claudia Biegler told him that she was concerned that a balloon launch would not be environmentally friendly, and maybe not even legal.

Lou, we were told, then suggested bubbles, and his family agreed. So small containers of soapy liquid with bubble wands were handed out to the overflowing crowd. During the graveside service, 50 or more family members and friends began blowing bubbles until the entire area around the graveside was shimmering with fragile, shining bubbles wending their gentle way toward a beautiful blue sky. It was impossible not to smile. It was a PERFECT Lou moment.

Now might be a good time to reprint an article that appeared in the Petersburg Progress-Index, and was picked up nationally by the Associated Press, announcing the Mill’s opening in Dec 1965. It’s a fitting tribute to Lou and Buddy, who died last March.

Under the headline “Old Grist Mill Becomes Weekend Dinner Theater,” the following article appeared on December 9, written by Pat Matthews. I've left all the grammar and punctuation intact.

"Three enterprising young couples, convinced Southside Virginians share their love of the theater, have converted a 302-year-old grist mill into a weekend dinner theater.

The partners in the Swift Creek Mill Playhouse are Wamer Callahan, a high school teacher and the only member with professional theatrical experience; Dr. Louis Rubin, Petersburg optometrist who has appeared in numerous amateur productions; and Wesley Richardson, operator of a drive-in restaurant in Petersburg.

They are being assisted by their wives, each with her own special skill to contribute.

Sally Richardson is not only acting in the opening production of “Carnival”, but she has also been the innovator of many of the decorating schemes for the historic old mill.

Betty Callahan has worked with her husband on many amateur productions in the past and specializes in coordinating the rehearsal schedule.

Fran Rubin is assisting her husband in public relations and is also handling the important jobs of reservations and make-up.

The couples have already encountered enough obstacles to discourage most new business partners. Contractors, looking over the building believed to be the oldest grist mill in this country, found it sound but needing a great deal of renovation.

The 2 1/2 –foot thick walls of the foundation and first floor were solid, but the floors were lopsided. To even the floors, the huge structure had to be jacked-up five inches.

Then the opening had to be delayed two months because the mill was built partly on granite, and this had to be removed before work could progress on a kitchen addition.

The partners say that the mill plays will be of like caliber with the operation similar to other theaters in the state. There will be buffet style dinner for guests before the play on two dining levels.

The theater will seat 250. The stage is slightly elevated in the manner of a Greek amphitheater and there is no curtain."

More commentary to follow.

--Bruce Miller

The Reviews are in for RD

Posted by Billy Christopher Maupin

What some are saying about Rumpelstiltskin's Daughter at Theatre IV:

Mary Burruss (a regular theatre critic for STYLE Weekly) writes on the RichmondVATheater Blog:

"[My seven-year-old daughter and I] both walked out with big smiles on our faces."

"Engaging for kids of a variety of ages and the adults who escort them, funny, enlightening with it's message, politically correct for our time, colorful and just the right length"

"new, well directed, well acted, well designed and crafted set, sound, and lighting, appropriate, fun, well thought out costumes, excellent make-up, choreography that is appropriate for the show and its actors, and wonderfully talented cast who's abilities are utilized properly to make a show that flows seemingly flawlessly across the stage"

"hilariously wicked duo of Jackie Jones and Matt James"

"fell in love with Richard Koch as the King"

"really great theatre"

Susan Haubenstock writes in today's Richmond Times-Dispatch review:

"Dawn A. Westbrook is the director/choreographer, and she brings lots of fun to the show, aided especially by Elizabeth Weiss Hopper's witty costumes and Greig Leach's brightly colored scenic design. Westbrook's dance numbers are especially amusing, and she gives her villains--the hilarious Jacqueline Jones as the Queen Mother and Matthew James as the Duke of Bonfire--loads of funny business to do."

"Richard Koch, who gives a hysterical performance as the King. He's greedy, he's vain, he dresses funny, and he talks silly -- he's a perfect buffoon."

YAY! Congrats to Theatre IV!!! Get your tickets! It closes in only two weeks on February 10.

Also be sure to be on the look out for another free ticket contest and the "An Actor Prepares" blog at http://www.theatreiv.blogspot.com/.

Tickets can be purchased online or by calling the box office at 344-8040. (Or you can purchase tickets through the Barksdale Theatre box office with the same phone call, while you're purchasing tickets for Doubt: A Parable [Starring Duke Lafoon, Irene Ziegler, Maggie Roop, and Katherine Louis]).

Deck the Halls with Bows so Jolly

Posted by Bruce Miller

The talented cast and crew of Theatre IV's new production of A Christmas Story took their first curtain call tonight, and then gathered in the historic Empire lobby for that merry ritual known as Meet and Greet. The Opening Night cast party was put on hold for a half hour or so until all playbills were signed and every jolly juvenile was sent on his or her way home with a smile and an autograph. Meet and Greet is so rewarding for cast and audience members alike at each Theatre IV production, I often wonder why we never try it for adult audience shows at Barksdale.

A Christmas Story was our third mainstage opening in as many weeks. If I were to put on my MARKETING AND PUBLIC RELATIONS hat, I'd tell you that the evening was an unqualified success. And in many ways it was. The audience LOVED the show, awarding it a million laughs and an enthusiastic ovation. The cast did an outstanding job.

But if I were to put on my LET'S PEEK BEHIND THE SCENES FOR THE TRUTH hat, I'd have to say that we encountered a few glitches this evening, more in my opinion than we encountered at this morning's final dress rehearsal. But such is the joy of live theatre. When you mount three major mainstage productions and four national tours in 15 days, glitches are gonna happen. Having been down this road more than a few times before, we know that now is the time to iron out some of the technical kinks that tripped us up in a few places tonight. I'm confident that every aspect of this big show will soon be in sync with every other aspect, creating the holiday heartwarmer that this production is destined to be.

Gracing the cast party were our Ralphie and Ralph (the same character as a boy and a man), played with wonderful humor and charm by Eric Pastore and Tony Foley (pictured to the left). Tony is well remembered as the young lawyer husband in Barefoot in the Park, and the innkeeper husband in Agatha Christie's The Mousetrap.

When not rubbing shoulders with his adult self, Eric Pastore decided to hang with his compadres Michael Thibodeau and Eric Evans, who play Ralphie's best pals Flick and Schwartz. These three multi-talented young men (pictured to the right) are all Barksdale veterans, having appeared in leading roles in Mame, The Member of the Wedding, and Mame, respectively (yes, the role of Young Patrick in Mame was triple-cast).

And let us not forget the fourth hooligan who contributes so much to this production. Chandler Hurd, a sixth grader at Byrd Middle School, plays the hooliganiest of all--Scut Farkas, bully to the stars. Chandler was taken ill during our opening weekend, but as one would expect from such a young trooper, he's been there for every rehearsal and performance, twisting arms and laughing villainously. In fact, the only thing he's missed was the Opening Night Party! We missed him, too.


Gordon Bass and Julie Fulcher (pictured to the left) do a terrific job playing Ralphie's dad and mom, known affectionately by grown-up Ralph as "Mother" and "The Old Man." It's Gordon who wins the leg lamp as a "major prize," and Julie who keeps trying to disconnect it so that the neighbors won't see. And in case you're starting to wonder if the cast party for A Christmas Story was a slumber party, remember that Meet and Greet is conducted in costume.

The three other stage wunderkind's who are knocking everyone's socks off are R. Cooper Timberline as baby brother Randy, Lillie Izo as brainiac Helen, and Lyla Rossi as Ester Jane, the young girl whose heart Ralphie has won. They are pictured to the right in front of the sign recognizing our wonderful sponsors for this production: Dominion, PriceWaterhouseCoopers, The Supply Room, STYLE Weekly and Radio Disney.

This is Lyla's second show with Theatre IV, having appeared in The Wizard of Oz as a Munchkin last spring. But this is the first time she's been part of a mother/daughter act. Lila's mom, Theatre IV All Star AnnaMarie Rossi, shares the role of Miss Shields, the teacher, with another Theatre IV All Star, Jackie Jones.

Chase Kniffen, our talented young director, goes cheek to cheek with STYLE critic Mary Burress at the post performance cast party. And our hard working stage manager, Ariel Osborne, and house manager, Catherine Dudley, survey the joyous goings on from the historic marble and forged iron staircase that leads to the balcony. Terrie Powers (Swingtime's exemplary set designer) and Virginia actors extraordinaire--Jill Bari Steinberg, Robert Throckmorton and Robyn O'Neill--discuss the latest theatre news in the background.

As the party wore on, one little bro had to call it a night in the comforting arms of his dad, Dave Timberline, henceforward known as "Cooper's old man."

So, before you get too tired, make your plans to join us for A Christmas Story at the historic Empire Theatre. It's 2 1/4 hours of holiday delight for young and old.

--Bruce Miller

"A Christmas Story" Opens Tomorrow

Posted by Billy Christopher Maupin

Tomorrow night at Barksdale Theatre's "sister theatre," Theatre IV, A Christmas Story opens. Not the movie, of course, but a stage adaptation of the movie. And it took a heckuva lot of people to get it to the stage. The author billing credit is required by the publisher to read:

A Christmas Story
Adapted by Philip Grecian. Based on the motion picture A Christmas Story,
© 1983 Turner Entertainment Co., Distributed by Warner Bros.,
Written by Jean Shepherd, Leigh Brown and Bob Clark;
Also based on the book In God We Trust, All Others Pay Cash by Jean Shepherd.

Now that's a mouthful. But all those writing credits make me think of all the people who are involved in getting the show onstage after the script is written. There's a talented team of people on this one.

A Christmas Story is directed by Chase Kniffen, with scenic design by Mercedes Schaum, lighting design by Matthew Landwehr, costume design by Sarah Grady, stage management by Ariel C. Osborne, and a whole slew of electricians, sound technicians, scene painters, costumers, and more.

And it's A Christmas Story onstage! I can hardly wait to see it! Especially because of the great cast: Tony Foley, Julie Fulcher, Gordon Bass, Eric Pastore, Jacqueline Jones/AnnaMarie Rossi, R. Cooper Timberline, Eric Evans, Michael Thibodeau, Lillie Izo, Lyla Rossi, and Chandler Hurd.

It's the holiday classic, live and on-stage! To order tickets, call the box office at 344-8040 or visit the Theatre IV website at http://www.theatreivrichmond.org/. I hope to see you at the show!

(Photos by Jay Paul. From top to bottom: Eric Pastore; Julie Fulcher and Gordon Bass; Michael Thibodeau, Eric Pastore, R. Cooper Timberline, and Eric Evans; Tony Foley)

--Billy Christopher Maupin

Jacqueline Jones Teaches Us Many Things in Her Responses to "The Questionnaire"

Posted by Billy Christopher Maupin

Theatre IV’s production of A Christmas Story opens this Friday at the beautiful, historic Empire Theatre. One of Richmond’s favorite ladies is featured as Miss Shields (well, at some performances, but I’ll let her explain that later). Jacqueline Jones, known to most as Jackie, you may remember from Deathtrap, Over the River and Through the Woods, or Agatha Christie’s The Mousetrap at Barksdale Theatre at Hanover Tavern, or from Into the Woods at Barksdale Theatre at Willow Lawn, or perhaps even more likely, as Mrs. Piggle-Wiggle at Theatre IV (the first show I saw at the Empire Theatre). Jackie has taken on the Pivot/Lipton questionnaire and shared some fantastic stories!

1. What is your favorite word?

Onomatopoeia

I like saying it different ways and in different voices and with different meanings. Have a whole conversation using only onomatopoeia. It's a good word. Honk.

I also like to say kiwi – and banana. Those are fun to say in different voices, too.

Mmeep, Mmeep.

2. What is your least favorite word?

Any word that is whined.

3. What turns you on [creatively, spiritually or emotionally]?

Cool crisp fresh air – autumn is my favorite season, spring is a close second. Unless it is spring. Then autumn is a close second.

Singing in tight harmonies when they are right – it takes me a long time to learn them, so when I finally get them, I feel pretty and enjoy a sense of accomplishment – pulling weeds does that for me too, but it's not as fun.

My mother and my best friend Walker always suggested that I'd better hone my acting skills 'cause I'd never make it as a singer. When I was in college (Boston University, SFA '78), I took Voice for Theatre Students from a BU School of Music opera teacher. She carried her dog, Chloe, to every class (hmmm, I cannot remember the teacher's name, but I'll never forget the dog's). The dog, a tiny little thing the teacher carried under her arm, was there to show us how to breathe. I am really good at panting. My jury song (that's just too fancy a word for what we did, but what else shall I call it?) was "Will You Remember (Sweetheart)?" Maybe you've heard a Jeanette MacDonald and Nelson Eddy recording of it. After I finished singing, our teacher turned to my fellow students and proudly proclaimed, "Now class, didn't we turn this sow's ear into a silk purse!" Hmmm.

I usually refer to myself as a character singer.

(Jackie and Walker pictured together to the right)

4. What turns you off?

Dishonesty. Betray my trust and your name is mud.

I almost included "Rudeness," too. But I console myself that if not for the varied people and behaviors in the world, character actors would be out of a job.

5. What sound or noise do you love?

Quiet.

Shhhh of the overhead fan as it cools me to sleep while I am under a heavy quilt.

Train whistle – we live just close enough to the tracks, but not too close.

My children's *happy* voices: their laughter and humming and storytelling. My kids are "all grown up" now. Their happy voices still make me reel. (Jackie's son Madison pictured at left)

The garage door late at night: everyone's home and I can sleep soundly.

6. What sound or noise do you hate?

The bass vibrating my car from someone else's vehicle … even after they've driven a block away.

Our dog whining.

7. What is your favorite curse word? (have it at it. I obviously won't post it for real, but in some approved somewhat censored fashion) (Note: Jackie did her own censoring)

My favorites are not ones I actually use; in fact people tend to apologize when they curse around me. Maybe I make them feel guilty.

I did not grow up in a cursing home.

(Jackie's mother, Bea, pictured to the right; Bea is on the left in the picture with her mother, Jackie's Oma, on the right)

Our kitchen was divided into two parts by a bar which housed the stovetop. One day when I was about 13, I was on one side of the divider at our table. My mother was on the opposite side where she was hidden by the open refrigerator door. She did not know I was present.

Suddenly there was a crash followed by "S#!+!"

"Mom?"

Brief silence before her nonchalant, "Yes?"

I'd never heard my mother curse before and rarely since.

My college pal Bruce MacVittie (his birthday was October 14 – I always remember it because he told me no one ever remembered his birthday – part friendship, part challenge) is from Rhode Island. Oh boy, did he cuss! Those words just rolled off freely like I'd never heard (really never heard) before. Bruce wanted to teach me how to sling 'em too. We practiced. I learned to say "A$$H@!*" with a terrific New England accent just like his and one time I even tried it on for real. He glowed.

The German equivalent of "A$$H@!*" was my Oma's favorite and she taught it and all the other German curse words to her coworkers in the shoe department at Thalhimers where she and my Opa were tops. Oh the stories! I don't really like the word in German or English, but just the way Bruce MacVittie said it. Aside from that one time, I don't use it at all, but the "Sugar Honey Ice Tea" cuss has slipped from my lips on rare occasions.

One more cursing story. This one took place in 1982 on a Theatre IV tour of the musical The Golden Goose by Ford Flannagan; see him in Theatre IV's upcoming Peter Pan!

The cast included my current tag team Teacher in A Christmas Story. AnnaMarie Rossi and I share the role of Miss Shields in Theatre IV's upcoming holiday offering at the historic Empire Theatre (I do the weekday student matinees; she does weekend matinees and we split the evenings). In The Golden Goose, AnnaMarie played The Princess Who Could Not Smile. I portrayed Goldie, the Golden Goose, and at the time I was even still Jackie Goldberg. Hmmm, I wonder if Ford did that on purpose. Ford? We traveled with The Queen, The Guard, The Jester and Simpleton. All six actors but Goldie and Simpleton played multiple roles.

Ford, who wrote the book and lyrics and directed our show, was once quoted as saying, "the play is based on the Grimm stories about Simpleton and the Golden Goose. It has nothing to do with the goose that laid the golden egg.''

The publicity material said "The story takes place in a gloom-filled kingdom, the result of a spell cast by an evil Jester. The Queen holds a contest to find someone to break the spell, which can be done by making the melancholy Princess laugh. Simpleton, the hero of the tale, is aided by the title character."

The Queen was also our company manager on that tour. She was the liaison between Theatre IV and our venue contact person (usually a school "prince – i – pal" – ha-ha); she made big decisions on tour, a Queen Mother if you will. Coincidently, she is the person instrumental in my diligence in always wearing a seatbelt, even before it was a state law.

One of our Princes had major potty mouth. MAJOR. Our Queen on the other hand may as well have been called the Virgin Queen, my own dumb joke, because that title has little to do with the fact that she did not did not did not like cussing ... or overuse of the word hate. The Queen's disapproval of cursing fueled Mr. Potty Prince even more.

One day, his word du jour was … well … it was ... "f*%#wad." I'd never even heard that word. Have you? After hearing it all morning, our Queen went into a royal tizzy (she never raised her voice, even on this occasion) and decreed that the cursing must stop. It did. For a while. Until ... Later that day.

In our production of The Golden Goose, in an effort to make The Princess Who Could Not Smile happy again, the Queen throws a ball during which three Princes made cameo appearances to dance with The Princess Who Could Not Smile. Afterwards, she sings a lovely solo about when the good ol' days were so ... good, and how sad she is now. (Ford writes lyrics better than I do. He wrote Theatre IV's Little Red Hen, too. I was the title character in its premier in 1981. My sister Laura still asks me to twang the title song to her on the phone.) (Promo shot of The Little Red Hen at right, with Jackie at bottom left, AnnaMarie Rossi at left and Ford center, also pictured are Debbie Gale Taylor, seen as Joan's mother in Barksdale Theatre's production of The Lark last season, and Richard Travis)

Anyway, this particular show, the third dance partner, our very own Potty Prince, entered and twirled The Princess Who Could Not Smile as usual till the point at which he faced upstage (away from the audience). As The Princess Who Could Not Smile faced downstage, her face in full view of the audience, Potty Prince opened his mouth to reveal to her a tiny note neatly placed on his tongue, a tiny note with the word " f*%#wad " on it.

The Girl Who Could Not Smile must not smile now or the curse would be broken and the play would be over! So. She cried. And she cried and she cried. And she cried through her song and ran off stage "in tears." And her Queen mother did not know why the Princess was crying so hard since the Queen's throne was positioned where she could not see what had transpired. As you can imagine, this fairytale had no happy ending except that it is a good one to tell when someone asks about curse words.

I still hum that song sometimes.

8. What profession other than your own would you like to attempt?

I like to type. I edit a few newsletters, publicity and scripts on a volunteer basis. Sumpeen like dat, maybe? But just edit. Not write from scratch. That thing about writers sweating blood – not for me.

"Writing is easy. All you do is stare at a blank sheet of paper until drops of blood form on your forehead." - Gene Fowler -

I am so thankful my Dad insisted I take typing. Nowadays with computers, keyboarding is a given for youngsters. But when I was growing up, typing was a high school elective. I didn't know then that nerve damage would eventually make writing difficult for me. But typing – piece o'cake.

While I attended BU, I picked up some secretarial classes at Fisher Jr. College, Evening Division. I took Stenoscript, a new (at that time) kind of shorthand that I never used again. I don't think anyone has ever used it. I still have the book. Oh! It holds two long-forgotten letters of recommendations from my teachers. In my typing class was a guy who wrote pornography for a living. His editor told him that if he didn't type better, he would lose his job. He didn't "look like" a pornographer.

9. What profession would you not like to do?

Proofreading. Makes me nervous. I MIGHT MISS SOMETHIINNG. Math makes me nervous, too.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

You finally made it; the children will be fine.

(Jackie's daughter, Jasmine, pictured to the left.)

Be sure to check out Jackie and the rest of the cast of A Christmas Story at Theatre IV at the historic Empire Theatre November 30 - December 23. For tickets, call the box office at 344-8040.

You can also check out Jackie online at www.jacquelinejones.net