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

You Gotta Have Heart

Posted by Bruce Miller
I learned last night that John Porter, my good friend and one of our fair city’s most respected theatre critics, suffered a heart attack a few days ago and remains in the hospital. If someone knows which hospital, please comment and let me know. That’s John, pictured above in his days as a staff leader at TheatreVirginia.

My good friend Joe Inscoe preceded John to the cardiac care center about a month ago, enduring a minor heart attack, thank God, and rising from his hospital bed a day or two later to return to the rehearsal hall in preparation for Shining City. As we all know, the Joe must go on! From all accounts, Joe is now moving full speed ahead.

My good friend and Theatre IV’s longtime insurance broker, Kemp Matthews experienced chest pains a week or so ago, took a stress test and was rushed to the hospital, mid-test, for an immediate catheterization procedure, during which stints were placed in his clogging arteries, preventing a heart attack which appeared imminent. I remain thankful for the miracles of modern medicine.

God speed to these three irreplaceable men with great, albeit clogging, hearts. We’re all in our late 50s, early 60s. I guess it’s our time. They are in my prayers—especially John. Hang in there, buddy.

--Bruce Miller

Porter Posts Plaudits for "Souvenir"

Posted by Bruce Miller
John Porter has written a lovely review of Souvenir, now inspiring hearty laughter and a wee lump in the throat at the historic Hanover Tavern. You can find the full review at "Souvenir."

Here are some review quotes we’ll be pulling:

“Magical!
The story of triumph when one stays true to a dream
Two top-notch performers
Jenkins is deliciously played by Debra Wagoner –
She turns every second into another great moment.
Jonathan Spivey comes across as a great raconteur –
a Cole Porter or Noel Coward.
Superior ~ Inspired ~ Impressive
A Triumphant Production!”

--John Porter, WCVE-FM

Terrie and I have tickets for Boy’s Life tonight at the Firehouse. Hope to see YOU at the theatre sometime (many times) soon!

--Bruce Miller

No Extra Qualifier Needed

Posted by Bruce Miller
Thanks to Dave Timberline's blog, I found John Porter's blog, where John publishes print copies of his reviews. You can find it too, at John Porter's review of "Boleros" .

John wrote a very lovely review, which I appreciate.

So far we've received two raves and possibly the best word of mouth we've had in years. And the phone's not ringing. There's always a danger, when you reach out to an underserved part of the metro population, that your regular ticket buyers will think this play is not for them.

In my opinion, nothing is further from the truth. As Susie Haubenstock stated in her review, "Funny yet poignant, Boleros touches a universal chord." Jose Rivera is such a gifted writer that this very personal story about his parents becomes everyone's story. I LOVE the play, and I hope everyone will come.

Anyway, John Porter's entire review is worth reading, so I encourage you to click on the link above and check it out. Until then, here are the review quotes we're pulling to include in our future marketing efforts:

"Remarkable!

This play is one of the most exciting evenings I have spent in a theatre. No extra qualifier needed.

Who knows how long it will be until we are treated to something so beautiful again?"

John Porter, WCVE-FM

If you'd like to meet the amazing cast of Boleros, please join us tomorrow morning at 11 a.m. for our monthly Bifocals meeting. All six cast members will participate in a panel discussion entitled, A Long Way from West Side Story - What it means to be Latino in the USA Today.

Hope to see you at the theatre!

--Bruce Miller

Random Ramblings on "Boleros"

Posted by Bruce Miller
I'm told by friends who heard the review on WCVE-FM yesterday afternoon that John Porter has written a glowing assess-ment of Boleros for the Disenchanted. This would be great. The show is getting amazing word-of-mouth, but it's a lesser known title. Every bit of positive PR helps. As of this morning, John's review is not posted on the WCVE-FM website. I'll let you know how to access a copy as soon as I can figure it out.

Two days from now, on Friday Sept 25 at 11 a.m., the cast of Boleros will assemble on our Willow Lawn stage for the first of two panel discussions: A Long Way from West Side Story - Being Latino in the USA Today. Two of our six actors are of Puerto Rican lineage, three have Mexican roots, and one is of Cuban ancestry. All are proud Latino Americans. I'll be moderating the discussion, and we'll be talking about the many gifts that their heritage has bestowed upon them. This panel discussion is one of the monthly meetings of our Bifocals Theatre Project. It is free and open to the public.

Immediately following the one hour discussion, we'll move to the lobby for a casual buffet lunch consisting of lunchmeats and cheeses, breads, lettuce and tomatoes, snack and dessert items, and beverages. A $5 free-will donation is suggested for lunch.

Jose Lorenzo, the Cuban balladeer who opens the show with his stirring rendition of the classic bolero Toda una vida, is also the artist who painted the beautiful and evocative landscapes on display in our lobby. More about Jose later.

We expanded our lobby stage by approximately 64 sq ft to create the Plaza Stage used as a performance space by the Latin Ballet during intermission of Boleros. Dance has been a central component of Hispanic and Latino theatre since its inception. In Hispanic tradition, the dancers are not confined to the stage of the theatre. The dances, always designed to reflect the themes of the play, frequently spill out into the audience and onto plaza stages constructed outside the theatres walls. Rather than invade the Willow Lawn parking lot, we’ve constructed our Plaza Stage inside. Audiences are enjoying this cultural exploration.

Simple platform plaza stages similar to ours have been growing in popularity over the last several years as the impact of Latino culture spreads nationally. You will find plaza stages in most major cities throughout the west, southwest and Florida. Perhaps the most well known plaza stages are the ones used by the Today Show for their summer music series, and the ones found at Disneyland in California and Universal in Orlando,

John Glenn, former artistic director of Barksdale, and R. L. Rowsey, former associate artistic director of TheatreVirginia, are in town to direct and music direct Souvenir, opening this Friday at Barksdale Theatre at Hanover Tavern. I was honored that both talented men were able to join us for opening night of Boleros. It was GREAT to have a few minutes to visit with these two friends, and to hear how much they enjoyed the show. For John, it was his first visit back to Barksdale since he left a dozen or so years ago.

Bernardo Cubria, the WONDERFUL Mexican American actor who plays Manuelo in Boleros and thrills audiences during two of the plays funniest scenes, is also a professional translator. It is his voice that can be heard speaking in Spanish on our pre-show announcement (along with Janine Serresseque, speaking in English). Bernardo is also creating the translation that will be used in October when we begin projecting the dialogue in Spanish super-titles onto the western wall of the theatre during selected performances.

Last tidbit—Michelle Guadalupe, the talented actress who charms as Petra, has now added a second “Whiteway” to her resume. Two summers ago, Michelle acted with the prestigious Eugene O’Neill Theatre Center in Connecticut. The Executive Director of the O’Neill is none other than Preston Whiteway, Phil’s super-achieving, 27/28-year-old nephew (pictured to the left). Those of you who knew Phil in his late 20s will note the strong family resemblance.

See you at the theatre!

--Bruce Miller

Another Rave for "Children of a Lesser God"

Posted by Bruce Miller
John Porter, theatre critic for WCVE-FM, has written a glowing review of Children of a Lesser God. You can hear the review by visiting our Signature Season page, or you can read the transcription right here:
John Porter's Review of Children of a Lesser God

"Few pieces of theatre history have had the lasting impact that Children of a Lesser God has had on mainstream America. When it first premiered in the mid-80s, and when the film version was released, it had a profound effect on raising the consciousness of audiences worldwide towards the issue of deaf rights. You would have to look back to the efforts of Helen Keller to find someone who had more of an impact.

So I was curious to see how the play had held up. I had not seen it since maybe the late 80s, and I was wondering if it would appear dated and didactic. I am delighted to say that it is neither. Children of a Lesser God, now playing at Barksdale Theatre at Willow Lawn, is powerful beyond words, shattering with emotion, the kind of play that holds you in its powerful grip long after the show has ended.

Erica Siegel as the deaf and hard-to-reach Sarah Norman runs her emotions back and forth at full breakneck speed. One minute hostile, the next curious and loving, she is impossible to predict, and as such remains a powder keg waiting to explode. Some actors get into a comfortable rhythm during a performance, but Siegel never settles down, even when you think she has. Siegel delivers a bravura performance that leaves you breathless.

Landon Nagel as James Leeds has the difficult role of portraying a man falling in love while also serving as Siegel’s interpreter for the audience. He sails through these tricky waters easily, and carries much of the emotions of the show on his shoulders. Nagel is a powerful performer, and has blossomed by constant work in the area, and shows a great deal of promise for roles to come.

Other standout performances include Richard Gregory as Orin, the rabble-rouser who fights for deaf rights, Linda Poser as Mrs. Norman, Sarah’s mother, who has been hurt by her daughter and lives mostly in isolation, unsure how to support her daughter and never stopping loving her. Also Kenneth Waller as Mr. Franklin, the man in charge of the school who strives to make life better for his staff and students, but doesn’t deny the difficulty each will face in the world.

On the technical side, director Bruce Miller has chosen very strong artists. Katie Fry’s set is workable, Sarah Grady’s costumes are solid, and Lynne Hartman’s lights are perfect mood setters. At once introspective, other times straightforward, they play through the characters’ memories and evoke the proper moods at every turn.

Over the years I have been accused of only loving so-called serious plays and nothing is further from the truth. I enjoy a light evening’s entertainment as much as the next person. But when offered a deeply satisfying adult evening of theatre that makes you ask questions about the world around you, well, it doesn’t get much better than that.

Children of a Lesser God is a rare play that offers satisfying entertainment, and helps you examine lives you may not otherwise have experienced.

That's a rare evening indeed.

For WCVE Public Radio, I'm John Porter."

"Theater Talk" Talks Back with Barksdale

Posted by Bruce Miller
Theater Talk is an acclaimed PBS television series devoted to the world of the stage. To the best of my knowledge, it provides the nation’s preeminent in-depth, theatre-focused TV coverage. The show began on New York television in 1993, and continues to be co-hosted today by Michael Riedel (Broadway columnist for the New York Post) and the series producer Susan Haskins, pictured above and to the left.

Theater Talk is one of the few independent productions on PBS and now airs weekly on Thirteen/WNET in New York and WGBH in Boston. CUNY TV also rebroadcasts the show each week, offering NYC viewers additional opportunities to catch each new interview.

Thirty-five other PBS affiliate stations around the country pick up the program, including WHTJ in Charlottesville, WUNC in Raleigh/Durham/Chapel Hill, WUNE in Charlotte, and WHUT and WETA in Washington D. C. Alas, the show is not currently being aired on WCVE in Richmond, but that gives us (and John Porter?) something we can work on in 2009. If enough of us in the community begin to promote the same idea, our Community Ideas Station may respond positively by broadcasting the show.

For the time being, theatre aficionados in Greater Richmond can keep up with the show on line, by visiting the program’s website at http://www.theatertalk.org/. You can watch streaming videos of current and/or archived programs, and subscribe to their podcast.

I bring all this up because I was delighted to receive a comment to our blog, on New Year’s Day no less, from Susan Haskins, producer and co-host of Theater Talk. She had recently read Billy Christopher Maupin’s article of Monday March 10, 2008 announcing an upcoming episode of Theater Talk during which Haskins and Riedel planned to interview the all black Broadway cast of Cat on a Hot Tin Roof. Apparently that show never took place, and she wrote in to the Barksdale Buzz to explain why.

She didn't have to write. The post was nearly nine months old, and her responsibilities to explain her program to theatre lovers in Richmond VA are minimal, seeing as how the show isn't even broadcast in this market. But write she did. I was mightily impressed.

More and more the national theatre scene is noticing what’s going on here at Barksdale and in Richmond, and this is all to the good. The more our theatre community connects with national institutions and artists, the stronger we become.

We appreciate Ms Haskins taking notice and corresponding with us. We hope to begin a friendly grassroots campaign to bring Theater Talk to WCVE on a regular basis.

--Bruce Miller

John's Joy - "The Perfect Richmond Holiday Play!"

Posted by Bruce Miller

John Porter's rave review of Sanders Family Christmas was finally aired on WCVE-FM, and it was worth the wait. It seems to be the radio station's policy to air one review a week, so when shows open one on top of another, you have to wait your turn.

Rather than excerpt, I'll quote the entire review, since it is not available elsewhere in print. Many of you may have missed the radio broadcast.

Thanks, John, for your kind words. Here's the review!

. . . . . . . . .

"Sometimes writing these theatre reviews is easy, and sometimes it is much more difficult. This is one of those easy times, because it is my privilege to talk about Sanders Family Christmas, which is now playing at Barksdale Hanover Tavern. It is very close to being the perfect Richmond holiday play.

It’s a musical, with great seasonal tunes. It looks back at an earlier time—the United States entry into WWII—with nostalgia and reverence. The cast and crew are greatly talented and they know how to put on an entertaining show.

If you’re looking for deep truths revealed through a dark, twisted, psychological drama, you’re probably going to be disappointed. But if you’re looking for a fast show featuring good music, a little story telling, and a warm and fuzzy glow afterwards, then by all means, you’ve come to the right place.

The stellar cast includes Drew Perkins, a strong actor and great musician, as Burl Sanders, the leader of the gospel singing family, who has arrived in the snow to sing songs and witness during the holiday season. Julie Fulcher plays Vera, his equally talented wife and partner in the family business.

Eric Williams is Stanley, the brother, who despite his shady past has moved on to enjoy fame singing on the radio and in the movies. The twins, Denise and Dennis, are played with gusto by Emily Cole and David Janeski, and they manage to wring out their own separate identities despite being lumped together all the time. This may be Dennis’s last appearance with the family, as he is shipping off to boot camp right after the holidays.

The oldest child, June, is warmly played by Aly Wepplo, who despite her character’s self-professed inability to play or sing still joins in with great support and occasional sign language, if anyone needs it. Her wide-eyed innocence is heartwarming, and Ms Wepplo shows a great deal of promise in this role.

Lastly, the Rev Oglethorpe, who has arranged this evening, is delightfully played by Billy Christopher Maupin. His portrayal is of an earnest young man who will do anything to keep his church open, and who is very sincere in his affection for one special member of the Sanders Family. Don’t worry; it becomes very obvious very quickly.

Director Bruce Miller has once again made his job easier by putting together a winning cast and a very capable design team. The old country church that has been created by set designer Terrie Powers and David Powers is comfortable, cozy, and gives you the feeling of a landmark held together more by love and prayer than by brick and mortar.

Lights are by Slade Billow, and costumes are by Sue Griffin, who once again does a terrific job with her creation.

Sanders Family Christmas is solid family entertainment from beginning to end, and features some of Richmond’s best talent performing in an intimate space in the country.

For this critic’s money, you just can’t go wrong with that combination.

For WCVE Public Radio, I’m John Porter."

--Bruce Miller

Three More Rave Reviews

Posted by Bruce Miller
We received three more rave reviews this week, drawing crowds of laughing, loving theatregoers.

Weighing in on The Clean House, Dave Timberline provided the following quotes:

“Masterful!
A Smart Story ~ an Air of Enchantment
Amusing, Moving and a Little Bit Magical
Exceptional Performances ~ Sweet, Supportive Chemistry
Refreshing and Inspiring!”

--David Timberline, STYLE

Adding their kudos to the glowing review written earlier for Driving Miss Daisy by Susie Haubenstock of the R T-D, Joan Tupponce and John Porter contributed the following:

“Remarkable!
Depth and Feeling ~ A Joy to Watch
As comfortable as a plump easy chair
Derives its humor and tenderness from life
Just Plain Fun!”

--Joan Tupponce, Richmond.com

“Tremendous!
A Great Script ~ A Good Cast
The chemistry between Williams and Bynum is especially strong
An old sweet song, fresh in our hearts
A Great Evening!”

--John Porter, WCVE-FM

Daisy is joining Barefoot in the Park and Smoke on the Mountain as our biggest Hanover hits since reopening the theatre almost three years ago. Joy Williams, Jim Bynum and Garet Chester continue to earn standing ovations at every performance.

The Clean House is proving to be a real crowd pleaser at Barksdale Theatre Willow Lawn, adding immeasurably to the success of the Sara Ruhl Festival, coproduced by Barksdale Theatre and the Firehouse Theatre Project. Audiences are loving discovering a joyous new play by a dazzling new playwright.

If you still haven't seen Driving Miss Daisy or The Clean House, why not make your plans today. They are both wonderful shows that I know you'll enjoy. $15 rush tickets are available for all seats that remain unsold three hours before curtain. Call the box office for more information - 282-2620. We're extremely proud of this outstanding pair of heartwarming hits.

See you at the theatre!

--Bruce Miller

Dave's Dithyramb

Posted by Bruce Miller

Richmond currently has two major theatre critics—Susan Haubenstock at the Times-Dispatch and Dave Timberline at STYLE Weekly. I don’t mean to diminish the importance of Mary Burruss (Dave’s colleague at STYLE), Joan Tupponce (writing for both Richmond.com and, sometimes, WCVE-FM), John Porter (sharing the WCVE-FM beat with Tupponce), Jerry Sober (Petersburg Progress-Index) and/or other scrappy scribes at smaller or more distant papers throughout Virginia. And I’m not intending to overlook the blogs.

But in today’s media environment, the T-D and STYLE still rule the roost. Because of publication schedules, Susie’s review in the T-D almost always hits the streets first, and Dave’s opinions appear in STYLE usually a week and a half later. Lucky are we that Dave somehow managed to beat the deadline this time. His review lit up the pages of STYLE yesterday, and it’s another RAVE. Looks like we’re off to the races!

Under the headline “Broad Comedy,” David Timberline begins his review as follows:

“The sexes may share equal billing in the title of the classic musical Guys and Dolls, but the show focuses more on the male side of the equation. Nothing makes that clearer than the scintillating, showstopping number, Sit Down, You’re Rockin’ the Boat, that comes near the end of Barksdale’s Broadway-caliber production, playing at the Empire Theatre.”

“The always-amiable Nicely-Nicely Johnson (Jason Marks in excellent voice) leads a ragtag bunch of shysters, hoodlums and lowlifes in a rollicking song of sin and potential redemption. It’s an exuberant, testosterone-fueled high point in a show filled with exceptional ensemble scenes expertly assembled by director and choreographer Patti D’Beck.”

And in what follows, the glow grows even brighter. There’s even a great, half-page color picture of the craps game taken by our Marketing Director Sara Marsden, because our photographer was out of town last week!

Here are quotes we’ll be excerpting from Dave’s review:

"Excellent!
Barksdale’s Broadway-caliber production
Scintillating! Rollicking! Exceptional!
Heartwarming and highly amusing
Barksdale seems determined to make
Summertime Sizzle!"

The phones are ringing off the hook every day at our box office, so please consider joining the throng and reserving your tickets now. I think this is, in several important ways, a “Broadway-caliber production.” I’m proud as a peacock to be associated with all the wonderful artists who are thrilling our audiences night after night.

So far, we've had standing O's at every performance. Call for your tickets TODAY! We look forward to seeing you at the theatre!

--Bruce Miller