New Actor Brings Positive Energy to "Lend Me a Tenor"

Posted by Bruce Miller
According to this morning's scale, I gained 1.8 pounds at yesterday's Opening Night cast party of Lend Me a Tenor. It was worth it. As always, Jennings Whiteway prepared a tasty table of treats for everyone to enjoy post-performance. But it was the good company and overall sense of celebration that prompted my indulgence. The show was TERRIFIC. All parties involved had one heck of a good time.

Allow me introduce you to one of the actors (a star of Lend Me a Tenor) who is actuating all this good cheer--Barksdale newcomer, Nick Ciavarella (pronounced Shiv-a-rel'-la).

Nick plays Max, the eager beaver young assistant to the Executive Director of the Cleveland Opera in 1934. Max is fervently in love with the director's daughter, and a definite divo wannabe.

Nick lives in NYC, where he is artistic director of Sound and Space Theatre, a new company that specializes in site-specific productions. He holds an MA in Classical Acting from the prestigious Central School of Speech and Drama in London. While in England, he appeared in The Factory's production of Hamlet, touring throughout the UK.

We discovered Nick this summer when he ably starred with the Virginia Shakespeare Festival in Comedy of Errors (Antipholus of Syracuse) and Hamlet (Horatio). The Virginia Shakespeare Festival is presented each summer in Williamsburg under the direction of Christopher Owens, husband of Barksdale actress Tamara Johnson.

Casting often requires very specific qualities. For example, the role of Otello in the opera-within-the-play is described as huge, manly and intimidating. In several lines, the Lend Me a Tenor characters wax lyrical about Otello's great size and prowess. We knew that the actor who would play Tito Merelli (who would be cast as Otello in the opera-within-the-play) had to be tall and robust. Tito is played in our production by Joe Pabst.
Therefore the character of Max had to be of equal height, since Max and Tito must be mistaken for each, at extremely close quarters, several times during all the farcical goings on. (The picture above and to the left show Nick and Joe in their Otello costumes and makeup.)

At the same time, much is made of the fact that Max isn't large enough to play Otello, so we knew we needed an actor who was very tall but also very thin--someone who matched Tito's profile only after he donned considerable padding. Nick, God bless him, is tall and trim--exactly what we needed.

He also has all the other qualities we were looking for--leading man good looks, the ability to appear kind of nebbishy before his glasses and insecurities come off, great comic timing, and an overall ability to command the stage. Nick also appears to be right on the cusp between youthfulness and manliness--exactly where Max needs to be.

When our brilliant director, Scotty Wichmann, saw Nick's video audition and became aware of his abundant talents, he knew he'd found the right man for the job. We're very fortunate that Nick is joining us for this comic romp. We hope and trust this first gig in Richmond won't be his last.

During the run of Lend Me a Tenor, Nick is living in Bon Air in one of Theatre IV's five actor/intern houses. Actually, he's in the same house and room occupied by Jeff McCarthy during our summer run of Dirty Rotten Scoundrels. When Nick arrived via train about a month ago, he graciously commented on how this was the best actor housing he'd ever been provided.

Little did any of us know that a week or so into rehearsals Nick and his new Bon Air home would be visited by that vixen Irene. Neither did we foresee that Nick's adopted neighborhood would be one of the last to be blessed with a restoration of power.

New to town, with no friends except the few he had just met, Nick lived ten days in the dark with no refrigeration or hot water. He learned his lines by candlelight, but also had the good sense to turn lemons into lemonade. "It was a blessing in disguise," he says. "It forced me to leave the house every morning and explore all of Richmond's many neighborhoods and attractions. I had a great time. Richmond now feels like home."

If you'd like to meet Nick (pictured to the left in a previous production of The Philadelphia Story) and experience firsthand his joie de vivre, call the Barksdale box office today at 282-2620 to purchase your tickets to our new comedy smash, Lend Me a Tenor. I know you'll be glad you did.

--Bruce Miller

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

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.

The Queen of the Night

Posted by Bruce Miller

Last night was a very rewarding Opening Night for Souvenir at Hanover Tavern. Many, many thanks to:

Debra and Jonathan for their terrific performances,
John and R. L. for their knowing stage direction, light design and musical direction,
Sue for her world-class costumes,
David for his masterful tech direction,
Slade for his invaluable electrics work,
Joe for his expert stage management,
Chase and Dee for their backstage magic, and
all the amazing theatre artists and administrators who are making this charming production possible.

This true story of Florence Foster Jenkins and Cosme McMoon is inspiring as it challenges our assumptions regarding what is art, which artistic performances have value, and who gets to decide.

As much as we in the audience find ourselves doubled over with laughter at Madame Flo (as Cosme calls her) and her vocal stylings that surely must be sending countless Pamunkey pups running for the hills, we simultaneously find ourselves falling in love with her confidence and generous spirit.

If none of this makes sense, then come see Souvenir, a delightful evening that takes you back to NYC during the glory days of American musical performance. When Cosme begins the show talking about Cole Porter, Elsa Maxwell and the Aga Khan, it took me back to the glory days of the original production of Randy Strawderman’s Red Hot and Cole in the mid-70s, when those same names were recalled on stage during the opening of that most famous of Barksdale world premieres.

If you would like to learn more about the real Ms Jenkins or Mr McMoon, you can sample their recordings at:

http://www.amazon.com/gp/recsradio/radio/B000003F97/ref=pd_krex_dp_001_001?ie=UTF8&track=001&disc=001

and/or you can read the transcript of a radio interview conducted with Mr McMoon in the early 90s in Berlin:

http://listproc.ucdavis.edu/archives/mlist/log0402/0004.html.

The photos used in this blog post are of the real Florence Foster Jenkins. To see Debra Wagoner’s gracious, hilarious homage to Ms Jenkins, buy your tickets to Souvenir today. Like Boleros for the Disenchanted, it’s not to be missed.

--Bruce Miller

Holiday Benefit Cabaret is Postponed

Posted by Bruce Miller

The fates were not with us regarding this year's Home for the Holidays benefit cabaret. All performances have been cancelled. Reservation holders will be called today, full refunds made, and we will begin exploring plans to mount this fundraiser for the Richmond Theatre Artists Fund sometime later in the first half of 2009.

Janine Serresseque, who masterminds and organizes the cabaret, did a wonderful job as always. Nonetheless, ticket sales were sluggish, our emcee Joe Pabst called in at the end of the week with no voice, and then on Saturday, our music director and accompanist, Tony Williams, checked into the hospital with a nasty bug.

Yesterday, Sunday, Tony let us know, with great regret, that he'd be unavailable for this year's run of the cabaret. Tony has been our pianist for the Holiday Cabaret since its inception, and the party just wouldn't be a party without him. Last night, Phil and I decided to pull the plug.

Thanks to all who volunteered to sing, and to all who made reservations. If anyone wants to make a tax deductible contribution to the Richmond Theatre Artists Fund anyway, please feel free to make a check payable to that entity and send it in or drop it off at Barksdale or Theatre IV, attention Phil Whiteway. Phil will deliver all checks to the Community Foundation, which manages the Fund on behalf of the Richmond Alliance of Professional Theatre.

Please keep your eyes and ears open for other upcoming events that benefit the Fund. And thanks for your understanding regarding this cancellation.

--Bruce Miller

So Many Openings, So Little Time

Posted by Bruce Miller
I’m in crazy time crunch mode this month. Practically every breathing minute is spent in a theatre, a rehearsal hall, or an administrative office. I’m directing Sanders Family Christmas for Barksdale Hanover Tavern, which means evening rehearsals Monday through Thursday, and daytime rehearsals in three-hour slots on Saturday and Sunday. When I’m not in rehearsal I’m trying to raise money, honor my community and family obligations, and/or plan for Barksdale and Theatre IV’s future.

I like all of it, so I can’t complain about what I’m doing. My complaint is about what I’m not doing—specifically, going to see the shows my friends are in. Even more specifically, I’m really upset with myself for missing Side Show at the Mill. I’m Robyn O’Neill’s biggest fan, and I let her performance (which everyone said was wonderful) slip by unseen, at least by me. (I love your work on stage too, Angie; we don’t go back as far.)

As if missing Side Show were not enough, I’m also about to miss Hamlet at Richmond Shakespeare (I really wanted to see my buddy Jeff Cole); Starting Here, Starting Now with my longtime pals Dee Lynch and Ed Polich at St. Michael’s; and The Music Man at Henrico Theatre Company, directed by brother-in-arms Joe Pabst. Shoot!

I missed young chum Elliot Lau (sounds like a Chinese dish, doesn’t it?) in that play about the Hawaiian shirts at Triangle, but I may be able to catch him in Bite Me. I’ve promised good friend Matt Hackman that I’d make it out to The Nerd at Chamberlayne Actors Theatre. God willing and the crick don’t raise, I’ll be able to honor that promise this coming weekend.

I did make it out to three must-see productions last week – one on Friday night (the annual cabaret at Trinity Episcopal School), one on Saturday night (Shadow Play at Theatre VCU), and one on Sunday afternoon (tick; tick … boom! at Stage 1).

The Trinity cabaret was a one-night affair and my daughter Hannah sang Green Finch and Linnet Bird, performing at this annual songfest for her fifth and final time. She was GREAT, and I couldn’t be more proud. Brian Phillips (who includes theatre director among his many jobs at Trinity) and Brian Rollins (music director extraordinaire) do amazing jobs every day inspiring Trinity students to love the performing arts with not just passion but also intelligence and grace. Every high school should be so lucky as to have teachers like these two.

Shadow Play was the world premiere of a bold, savvy and frequently hilarious performance piece developed over the last several years by David Leong, Gary Hopper and Leland Faulkner. It’s a mind-bending montage of shadow and light, movement and music, comedy and magic—90 or so minutes of tremendous fun. It runs through Nov 23. If you have the chance, you should really go see it.

tick, tick … boom! marks the world premiere not of a particular show, but of a theatre company itself—Chase Kniffen and Peggy Thibodeau’s remarkable Stage 1 Theatre Company. There are those who like their theatre raw and those who prefer a little professional polish. I’ve been known to enjoy both. But I say without hyperbole that tick, tick … boom! is the most impressive, professional, fully realized opening of a new theatre company that I’ve seen in Greater Richmond … ever.

Chase and Peggy have dotted all the i’s and crossed their t’s. They’ve recruited a top notch cast made up of Brett Ambler, Audra Honaker and Durron Tyre—three of the most talented musical theatre performers of their generation. Let’s just face it; Audra Honaker is a phenomenon that Richmond can barely contain.

They have hired a fantastic pit band led by the inimitable Sandy Dacus, and coaxed terrific design work out of three exemplary professionals: Mercedes Schaum (set), Sarah Grady (costumes), and Kenny Mullens (lights). Chase’s direction is first rate. Anyone who would like to see Richmond theatre grow and prosper should go see tick, tick … boom! and support this new and vibrant company.

Well, it’s time to rush off to this morning’s Coffee & Conversations. Hope to see you there. If not, hope to see you in a Richmond theatre soon!

--Bruce Miller


Photo notes: top left: Brett and Durron flying high in tick tick; mid right: Brett and Audra having fun with the green dress; bottom left: all right, it's not from Shadow Play, but rabbit hand puppets appear in Shadow Play, so it's close.

He's a what? He's a what? He's a Music Man!

By Joseph Pabst

Henrico Theatre Company's production of The Music Man opened on November 7 and will be on stage at the Cultural Arts Center at Glen Allen until November 23. View the performance calendar.

The title of this article is one of my favorite fun lines from Meredith Willson’s The Music Man! It’s spoken in rhythm as salesmen on a train discuss what a blight this “swindlin’ two-bit thimble rigger” Harold Hill is to the Sales profession. Henrico Theatre Company is producing this classic musical gem, with me at the helm directing. We are in the final stage of the rehearsal process right now, adding lights, sound, orchestra, costumes and props. The show opens on Friday, November 7 at the Cultural Arts Center in Glen Allen. It has a three-week run, closing on November 23.

This show is filled with great musical numbers: “Trouble”, “Pick-A-Little, Talk-A-Little”, “Goodnight, My Someone”, “Lida Rose”, “The Wells Fargo Wagon”, “Shipoopi”, “Till There Was You”, “Gary Indiana”, and of course, “76 Trombones”. And its story uses all the elements that made traditional musical theatre great – romance, conflict, change of heart, and an ending that wraps you up in all kinds of warm feelings. The only thing it’s missing is a big finale; it ends without a big, rousing group number.

The late Robert Preston made the role of musical con man Harold Hill his signature piece. He won the Tony Award in 1957 for his portrayal, and starred in the unforgettable film version in 1962. The role followed him for the rest of his life. My wife, Debra, mentioned that Preston worked on a movie in Richmond in 1985 called Finnegan Begin Again (one of his final performances before his passing in 1987). Someone on the set bet him $50 that he couldn’t remember all of the words to the song, “Trouble”. Preston hopped right up on a chair and performed the song, beginning to end, without missing a beat! What a guy!

I must say, as much as I have loved working on this show, I had to sort of reboot my director’s brain! You see, this is the fourth show I’ve directed in the last year and a half. The first three all had relatively small casts – Neil Simon’s The Odd Couple (8 actors), Greater Tuna (2 actors) and Driving Miss Daisy (3 actors). The Music Man has thirty-six people on stage. At times, I feel more like a traffic cop than a director!

Or maybe it’s more appropriate to say I feel like a football coach. To keep everyone straight and moving in the right direction, I often chart out the moves each actor will make in sequence. These diagrams tend to look like football plays (except everyone is an “O” – there are no “X’s” on my team!). You can see an example of one of my more elaborate charts pictured.

This production benefits from the tremendous talents of Paul Deiss as Music Director, and an 8-piece live orchestra. Amy Perdue is choreographing the show with great style. Our cast is includes folks both familiar and little-known to Richmond audiences. David Janosik plays the title role, with Amy David as the lovely Marian the Librarian. Scott Melton and Amy Berlin play Mayor Shinn and his wife Eulalie. Terri Moore appears as Mrs. Paroo, with Davis Mercer as Marcellus.

This is a family show in more ways than one, too! The cast includes Terri Moore’s daughters – Leah (Ensemble) and Georgi (Amaryllis); Davis Mercer’s sisters – Kaylin (Zaneeta) and Makenzie (Gracie); and Ben Dacus (Ensemble) and his children – Charlie (Winthrop) and Lucy (Ensemble).

And as if keeping 36 people straight isn’t hard enough, we have: 3 David’s and a Davis (plus Amy David); 3 Amy’s (including Amy Perdue); 2 Christy’s and a Chris; a Rick and a Richard; and a Marty, a Margie, and a Marie. Some days, I swear I’ll never cast another show with people that have the same name!

Now you know why I use football diagrams! I just hope this “play” scores a touchdown with audiences! (Sorry for the puns… It’s football season, after all!)

Meet the Cast of Driving Miss Daisy: Jim Bynum – “Hoke”

By Joseph Pabst (Director of Driving Miss Daisy)

(Note: Driving Miss Daisy runs through November 2, 2008 at the Barksdale at Hanover Tavern. Over the last several weeks, we have highlighted the other two members of the cast – Garet Chester and Joy Williams.)

If you attend a performance of Driving Miss Daisy, you may find yourself wondering, “Why does the guy playing Hoke seem so familiar to me?” Depending on your familiarity with & experience in the Richmond area, the answer may be, “From TV.” Jim Bynum was one of the regular spokespersons (spokespeople?) for “The” Grocery Store, when it was still in business. Along with K Strong, another Richmond theatre favorite, Jim came into everyone’s living room on a regular basis (via television, that is) to let Richmonders know about the specials on “The” Grocery Store’s shelves. For a time, Jim & K were firmly seated in Richmond’s pop culture, although Jim concedes, “K is prettier, of course, and was the real star of the ads!”

But Jim is no stranger to live theatre by any means. He has enjoyed a rewarding on-stage career playing many diverse and challenging roles. He’s played senior citizens (Do Lord Remember Me, Driving Miss Daisy), the mentally challenged (The Boys Next Door), the physically challenged (Shadow Box), the psychologically challenged (Fences), and even the musically challenged (Mayor Shinn in The Music Man).

The most exciting roles of his career have come about as the result of “blind casting”, casting without regard to race or physical type. These highlights include Mayor Shinn in The Music Man, King Duncan in Macbeth, and Troy in Fences. “Troy is listed because the role called for a much larger man,” says Jim. “As a rotund citizen, I need to restate that. Fences called for a much TALLER actor. The director felt that my loud mouth would make up for loss in size.”

This production marks Jim’s second opportunity to play Hoke. He first chauffeured Miss Daisy around in a production staged by the Swift Creek Mill Theatre (or Playhouse, as it was known then) in 1991, playing opposite Betty Ann Grove as Daisy, and Joe Inscoe as Boolie. So what brought him back to the role this time? “I was drawn to Driving Miss Daisy because I love everything about the show. Actually, I would have missed the audition had Alice Shreiner not called to inform me. Thanks, Alice!”

Jim has a lot of admiration for the character he plays on stage. “Hoke is a survivor, and so am I. He is a proud man who quietly circumvents cultural and educational barriers to establish unlikely, life-long friendships.” Jim is also taken with Hoke’s loyalty and perseverance. “I would love to have those characteristics!”

Life off stage is very busy for Jim. Or “as Hoke would say, ‘… a mess.’” He has a strong background in education, even having served as the spokesperson for Richmond City Schools. “That was an exciting job, except the times when unpopular decisions caused some to want to shoot the messenger – and not with a camera!” Now, on any given day, he can be found teaching in a university classroom, conducting a workshop for educators in another city, editing dissertations, or delivering food to those who can’t get around. The work and service he provides through the Rotary Club of Richmond is enjoyable and very rewarding. His greatest joy is interacting with his grandchildren, Justin and Jayla. He’s also kept busy “loudly saying ‘yes’ to whatever my wife tells me to do around the house, around the car, around the neighborhood. (That’s what Hoke and I really have in common!)”

While Jim’s character spends most of his life driving as a career, Jim has spent most of his adult life traveling for the fun of it. He’s been to every state in the Union, and even visited five continents. “That’s right! Plans are in the works for Antarctica!”

It’s a good bet he won’t be driving to get there…

--Joe Pabst

Meet the Cast of Driving Miss Daisy: Joy Williams – “Daisy”

By Joseph Pabst (Director of Driving Miss Daisy)

(Note: Driving Miss Daisy has been extended through November 2 at Barksdale at Hanover Tavern. This is the second in a series in which we shine the spotlight on each of the three members of the cast. Part 1 is available here.)

If you were to see Joy Williams on the street or in the grocery store, you would hardly confuse her for a 72-year-old woman. She is a tall, strong vibrant woman with a friendly smile, infectious laugh and a full head of blond hair. And she runs marathons – literally!

Still, Joy transforms herself into the elderly role of “Daisy Werthan” for each performance of Driving Miss Daisy. She starts the play at an astonishingly convincing 72 years old, and then continues to age over the course of an hour or so until she reaches 97. Because of the time constraints and fluidity of the play, this can only be partially accomplished with wigs, clothes and make-up. The real transformation is in Joy’s acting, her body, her voice. Before stepping on stage, Joy is well aware of the age she must portray, and fully inhabits the character at that age.

Joy is no stranger to Richmond stages, performing steadily at Barksdale at Hanover Tavern, Barksdale at Willow Lawn, Theatre IV and the Swift Creek Mill Theatre since she moved back here 18 years ago. Some of her personal favorite roles include: Bella in Lost in Yonkers, Charlotte Hay in Moon Over Buffalo, Edith Banks in Barefoot in the Park (welcoming Barksdale audiences back to the Hanover Tavern in 2006, after 10 years), and now, of course, Daisy Werthan. She is also a resident actor in the Swift Creek Mill’s youth theatre season. Younger audiences may know her (if they don’t recognize her) as Drifty the Snowman, a character created and written by Paul Deiss.

With two boys (Cory, 12; and Sean, 9), the Williams’ house has become the hub for neighborhood kids – always busy, loud and a little crazy. Joy is very active at Sean’s school, serving on the PTA Board, helping out in class, taking charge of the after school enrichment program and talent show. “I’d like to help out at Cory’s school,” Joy says, “but he won’t let me anywhere near his school!” Joy also has the good fortune to be the stepmom to two wonderful young men: Arle, almost 24, and Michael, nearly 21. “They came into my life when they were 7 and 4 … hard to believe.” Now they are both in college, and she and her husband, Eric, try to see them as much as they can. Besides taking care of all her boys (Eric included!), Joy gets a real kick out of gardening as well. “Roses are my favorite flower. Over the years, I’ve planted over 100 rose bushes in the garden and around the yard.” And in the midst of it all, she and her wonderful husband “try to eke out moments to be together!”

Joy shares a great sense of humor with her character. And like Daisy, she is very strong willed and independent. As Daisy says, “I was brought up to do for myself.” That “do-it-yourself” philosophy is part of Joy’s personal mantra as well. But while both the actress and the character are mothers, Joy is far more demonstrative of her affections than Daisy. “I’m a very touchy-feely, huggy person. The sun rises and sets with my kids. I make sure they know it, too.” Joy has a very close relationship with her mother as well, which is also very demonstrative. Daisy’s relationship with her son Boolie is more reserved, though they know how to push each other’s buttons and do so often. (Joy gets a real kick out of playing those scenes with Garet Chester.) “My kids know my buttons also, but I’m forever hugging them, kissing them… they have to ask me to stop!”

The parent/child dynamic in Driving Miss Daisy really speaks to Joy. “It’s a show that everyone can relate to on some level, whether you’re in the position of watching a parent age and faced with those challenges, or you’re the one aging and having to come to terms with giving up some of your independence.” Then there’s the unlikely friendship that develops between Daisy & Hoke. “I love the way their relationship remains throughout their entire lives. I love the humanity and the realness in the play. I love their friendship. And it’s a gift to be able to play this role with Jim Bynum.”

Oh, and about those marathons: She’s run 3 full and 5 half marathons. “I like the personal glory of running the full marathons, but it takes an amazing amount of time to train for them. And right now, I don’t have the time to devote to the extensive training.” She’ll be running her 6th half marathon in November. So marathoners beware: You may be outrun by “little ol’ Daisy”!


Tickets to Driving Miss Daisy are available online. Many performances have sold out, so please reserve early to avoid disappointment.

Meet the Cast of Driving Miss Daisy: Garet Chester – “Boolie”

Posted by Joseph Pabst (Director of Driving Miss Daisy)
(Note: Driving Miss Daisy runs from September 19 through October 26, 2008 at the Barksdale at Hanover Tavern. Over the next several weeks, we will shine the spotlight on each of the three members of the cast.)

Garet Chester has been on hiatus from the professional stages of Richmond theatre for nearly 15 years. But Driving Miss Daisy has drawn him back onto the boards. Why? “Because of its wholesome nature,” says Garet. “It’s a show that you can bring your teenagers to see. This show is not just wholesome … it’s warm, touching, thought provoking, and it will definitely make people laugh and smile.”

Portraying “Boolie Werthan” (Daisy’s son) has given Garet an acting challenge as well. He is a comedic actor at heart, but this character is written to be a bit of the straightman – providing some humor while basically being a thread that keeps the show level. Like Boolie, Garet is a very playful guy who loves to “get people’s goat” whenever he can. However, Garet is less concerned about keeping up appearances than his on-stage counterpart. “I don’t think I’m afraid of what people will think about certain unorthodox actions I may take. If I believe it, I do it. I don’t worry about the status quo.”

On the stage, Garet considers playing the Wizard in Theatre IV’s The Wizard of Oz among his personal favorites. Having grown up watching the movie, it allowed him to play a childhood fantasy role. It was also an acting challenge to play three different characters – the Wizard, Professor Marvel and the Emerald City Gatekeeper. In Rosencrantz & Guildenstern Are Dead, Garet took the opportunity to stretch his acting skills playing Alfred, the young man who plays all the female characters in a Shakespearean troupe. He portrayed Allistair Spenlow in a production of Move Over Mrs. Markham, a mistaken-identity role which kept the audience guessing… and laughing a lot – a reaction he never objects to!

But rather than his stage work, Garet is probably best known to Richmonders for his voice. His career on Richmond radio stations as the “morning guy” made him a celebrity all over town, affording him the opportunity to speak in person at all kinds of events and to be the frontman for a number of charities and causes. On television, he has hosted telethons, appeared on interview programs, and even had his own show on Channel 8 for over 2 years: All Night Long. Garet describes the show as:

“… a cross between USA's Up All Night or Elvira and Saturday Night Live...with one cast member. It was a great experience in improv and quick-change comedy. Since it ran from 11:00 PM to 6:00 AM, my audience was ‘diverse’. My usual stream of fan mail included regular correspondence from several of Virginia's finest correctional facilities. That was quite interesting!”

This style of character comedy mixed with improv became Garet’s trademark. He was Chameleon Boy, making personal appearances in costume as famous movie stars, presidents or other crazy characters. And he continues his “impressionovisational” work to this day. Lite 98 listeners will be glad to know that Garet Chester and “Bubba Massey Valentine III” are one and the same! (Now you know why they never appear in the same room together…)

His life offstage is filled with a mixture of work and family. Most Richmonders may be unaware that Garet is a successful businessman in his own right, constantly ranking in the top 5-10% of Richmond Real Estate agents. Because his business is home-based, he is fortunate to spend lots of quality time with his wife and family. His daughter, son-in-law and two grandchildren live with him; and his son and daughter-in-law live close by as well.

Garet considers his life a ministry, and his musical and comedic talents are his tools. He sings for seniors around Richmond, and performs slapstick for the underprivileged around the world. For the past twenty years, he has spent a few weeks each year on foreign mission trips.

“Bringing a smile to otherwise somber faces is my most rewarding pastime.”

--Joseph Pabst

Miss Daisy Wows the Crowds and Wins Raves

Posted by Bruce Miller
Driving Miss Daisy, our funny and poignant fall show at Hanover Tavern, opened on Friday evening and today earned it's first rave and fourth standing ovation! Daisy was directed expertly by Joe Pabst. The heartwarming play stars Joy Williams, Jim Bynum and Garet Chester.

In this morning's T-D, Susan Haubenstock writes: "Nostalgia is the first emotion elicited by Driving Miss Daisy--nostalgia for the play's period, the post-WWII years up through the civil rights era, and for the 1987 play itself. Alfred Uhry's Pulitzer Prize-winning work pointedly and touchingly looks at race relations in the South by focusing on one well-to-do elderly Jewish widow and one slightly less elderly black man. Through their interactions over 25 years the playwright delicately reveals the prejudices, blind spots and humanity representative of many Americans, yet particular to these two people."

Susie goes on to praise just about everything. Here are the review quotes we'll be pulling and publishing for anyone who'll read them:

“A Godsend!

Three FINE actors:

Joy Williams is a marvelous Miss Daisy.

Jim Bynum inhabits Hoke fully, giving us his dignity, warmth and humor.

Garet Chester is the mirror for both of them.

Joe Pabst directs with emphasis on the comedy,
but he doesn’t short-change the serious moments at all.

A touching, excellent ride!”

--Susan Haubenstock, Richmond Times-Dispatch

The wonderful costumes, wigs and make-up are by Sue Griffin. The attractive set design is by Amy Bale and David Powers, with outstanding scenic painting by Terrie Powers. The evocative lighting is by Bennett Fidlow. But at the end of the day, it's Joy, Jim and Garet who will knock your socks off.

The show is already selling well, and the box office should catch fire after this morning's review. So please plan to join us now for this very funny, very touching look at a meaningful and good-humored American story.

Hope to see you at our Hanover Tavern theatre!

--Bruce Miller

Singing to Help Others

Posted by Bruce Miller
A concert reading of the songs from the Tony Award-winning musical Parade will be presented tonight and tomorrow in benefit performances at Barksdale Willow Lawn. Thirty-three great singers will join together to celebrate the music of Jason Robert Brown, one of Broadway’s hottest “new composers.” The benefit concert is being coordinated by Hannah Zold, an alum of several Barksdale musicals including Into the Woods, The Full Monty and Mame. Music direction is by Damas E. Boudreaux.

The volunteer cast is comprised of many of the finest theatre voices from Richmond and beyond. All funds raised are being contributed by Zold and her performers to Barksdale’s Bifocals Theatre Project (which takes touring one-acts into senior centers throughout Greater Richmond at little or no charge) and Barksdale’s hospital audience program (which makes tickets to musicals and comedies available free-of-charge to families who come to Richmond to be with a child undergoing treatment at an area hospital).

Parade, with music and lyrics by Jason Robert Brown and book by Alfred Uhry, is one of the most acclaimed new musicals of Broadway's last decade. It opened at Lincoln Center ten years ago, and received the 1999 Tony Award for Best Book (Uhry) and Best Score (Jason Robert Brown). It was nominated for Best Musical, but lost that year to Fosse, the tribute to Bob Fosse’s legendary choreography.

Quoting from Wikipedia, “The musical concerns the real-life 1913 trial of Jewish factory manager Leo Frank, who was accused of raping and murdering a 13-year-old employee, Mary Phagan. The trial, sensationalized by the media, aroused anti-Semitic tensions in Atlanta and throughout Georgia. When Frank's sentence was commuted due to possible problems with the trial, he was transferred to a prison in Milledgeville, Georgia where a lynching party kidnapped him from the prison. Frank was taken to Phagan's hometown of Marietta, Georgia, and he was hanged. The Anti-Defamation League was formed partly in response to Leo Frank's trial and lynching.”

Broadway director Harold “Prince turned to Brown (pictured to the left) to write the score after Stephen Sondheim turned the project down. Prince's daughter, Daisy, had brought Brown to her father's attention. Uhry, who grew up in Atlanta, had personal knowledge of the Frank story, as his great-uncle owned the pencil factory run by Leo Frank.”

“The show was Brown's first Broadway production. His music has ‘subtle and appealing melodies that draw on a variety of influences, from pop-rock to folk to rhythm and blues and gospel.’ The plot hews closely to the historical story. The true villains of the piece are portrayed as the prosecutor Hugh Dorsey (later the governor of Georgia and then a judge) and the rabid publisher Tom Watson (later elected a U.S. senator).”

The Murder of Mary Phagan, a movie based on the same historical incident, was filmed in locations throughout Greater Richmond in 1987, starring Jack Lemmon as Georgia Gov. John Slaton and Peter Gallagher as Leo Frank.

Parade is the third in playwright Alfred Uhry’s “Atlanta Trilogy.” The first play in the trilogy, Driving Miss Daisy, will be presented at Barksdale Hanover Tavern this fall, starring Joy Williams, Jim Bynum and Garet Chester, and directed by Joe Pabst.

Jason Robert Brown's new musical 13 (pictured to the right) is set to open on Broadway this September. The entire cast of 13 is made up of 13 teen actors, and the entire band is comprised of teen musicians. The story of the musical concerns a happy 13-year-old from NYC who, weeks before his bar mitzvah, moves with his parents to Indiana where he must begin a new life.

If you love great singing, new musicals and/or stirring drama, or if you want to support this cast of magnificent performing artists as they raise funds for two worthy programs, please come to Barksdale Willow Lawn for the 8 pm performance tonight (Sunday) or tomorrow (Monday). Tickets are available at the door for $15, or you can purchase them in advance at the box office for $12.

Having listened in on two rehearsals, I can report that the singers are amazing. I can’t wait to see and hear this huge and talented cast performing these rousing songs.

See you at the theatre!

--Bruce Miller

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