Beckett via Pinter via Tuggle

Posted by Bruce Miller
A couple people lately have said, “I liked your review of Henry IV (or Little Shop, Austin’s Bridge, This Is Our Youth etc etc). I appreciate their gracious comment, and so I thank them before quickly adding that I don’t write reviews. I understand the confusion and know that I’m responsible for it. So let me explain.

I write cheers, toasts and compliments, but I don’t write reviews. I’d be a lousy critic. I’ve found things to admire, but I’ve never honestly enjoyed a production of Annie, Cats, Joseph / Dreamcoat, and Nunsense. On the other end of the spectrum, I seem to always walk away cold from anything by Strindberg, Gorky’s The Lower Depths, and most Mamet. Need I say more? I’d be a terrible critic.

But almost every time I go to the theatre, there’s something that gets me excited. I love going, and watching, and talking about it afterward. Theatre is in my life blood, and so I’m happy to talk about those things in any given production that make me happy. I’m aware that the position I’m blessed to hold has certain responsibilities, and one of those responsibilities is being a cheerleader for all of Metro Richmond’s theatres. It’s a responsibility I take seriously and enjoy. It's one of the reasons that this blog exists.

So, here’s what I loved about The Dumb Waiter, which I saw last night at the Little Theatre at Theatre IV.

I loved revisiting Harold Pinter. He won the Nobel Prize for Literature in 2005, and is generally considered the finest and most influential British playwright of the latter half of the 20th Century. In world opinion, he comes out ahead of Alan Ayckbourn, Michael Frayn, David Hare, John Osborne, Tom Stoppard and the other greats--although, if I were Pinter, I'd be looking over my shoulder for Stoppard.

I first encountered Pinter in college when Jack Welsh directed a studio production of The Lover starring Bev Appleton and Mary Atkins. I had the privilege of running the light board. I thought the show was GREAT!

Far more recently, Phil and I sat in the front row for a revival of Betrayal in London that knocked our socks off.

The Dumb Waiter is early Pinter. He was clearly connected with and influenced by Samuel Beckett in those days, and The Dumb Waiter is in many ways an homage to Waiting for Godot and Endgame. At least that’s the way it seemed to me—two existential killers waiting for instructions from a faceless master who never appears, bouncing around in a featureless landscape and exploring the master/servant aspects of their own relationship.

I loved experiencing Pinter again, and The Dumb Waiter for the first time, remembering the intellectual thrill of exploring the various themes presented by the great playwright, not only during the 45 minutes that the show was going on, but also during the ride home and long after.

I loved seeing again the crisp, boyish charm and intelligence that David Janeski brings to every role. I’m sure David is sick of hearing the word “boyish,” but that innocence and freshness inhabits everything he does. Trade on it, David; it works for you.

I loved seeing, for the first time, the talented Carl Calabrese—a new actor on the Richmond theatre scene. Sturdy, handsome young men are often what we see the fewest of in casting calls, and Carl should find lots of opportunities to share his talents with the Richmond audience. Welcome!

Most of all, I loved seeing the fluid, impassioned direction of Brad Tuggle, who clearly loves this project as much as he loves his emerging role in the Richmond theatre scene. It is the youthful energy, developing talent and mature commitment that come from the Brad Tuggles, Chase Kniffens and Alex Previteras of the world that keeps Richmond theatre at the top of its game.

I recommend this energized, 45-minute, $5 production to anyone who cares about world literature, Richmond theatre, or the unique passions of young men. Open your mind; challenge your intellect. Run, don’t walk, to the box office today!

--Bruce Miller

For The Dumb Waiter dates and ticket information, click here.

A Journeyman Arrives

The day has finally come. After talking about this production for over a year, I am finally producing Harold Pinter's The Dumb Waiter in the Little Theatre in the Historic Empire Theatre complex. Many people have been asking "Why is he doing a show in the Little Theatre if it has been closed?" The answer to this is that I have just completed a "Journeyman's Year" where I was half-intern and half-employee. Part of my compensation for doing this year was the use of the Little Theatre. (You may remember Chase Kniffen's production of Godspell in the space. That production was done under the same agreement.) Our production was originally scheduled for February, but both David Janeski (who plays the role of Gus) and I were given the opportunity to work on Smoke on the Mountain at Barksdale Theatre at Hanover Tavern (I as assistant director and David as Dennis, one of the twins- "he's the boy") and couldn't pass up that opportunity. It turns out for the best because now that the show is going up in August, Carl Calabrese is able to join the cast as Ben.

Carl, David, and I attended Longwood University together, Carl graduating one year after I. Though he is new to the Richmond scene, Carl is sure to be loved by all. The Dumb Waiter is the third show in which I have directed Carl; the other two being The Skin of Our Teeth by Thornton Wilder and The Brute by Anton Chekhov, Carl having played the lead in both. Another interesting fact: Carl and I played opposite each other as the Antipholus twins in Shakespeare's Comedy of Errors at Longwood.

David and I have worked on several shows together over the last year including two shows at Barksdale Theatre at Hanover Tavern: Agatha Christie's The Mousetrap and the aforementioned Smoke on the Mountain, as well as Bill C. Davis' new work, Austin's Bridge, at the Firehouse Theatre Project.

To give a brief overview: The Dumb Waiter is a time-honored classic of the absurdist theatre, written in 1960 by Harold Pinter, who would later go on to win the Nobel Prize for Literature in 2005. This dark comedy is the story of two contract killers waiting in a basement for their next job. Tension runs high due to decidedly contrasting personalities and it only escalates as they are sent encoded commands through an old dumb waiter. The twisting tale is sure to leave you guessing until the very last moments, and it's shocking conclusion! (Dun-Dun-Dun).

This process has been incredibly enjoyable and enlightening. Outside of the obvious duties of a director, so many other things fall onto one's plate when one decides to independently produce a show. From sending out press releases, to painting the set and rigging lights, everything comes at a rapid pace. I have been very fortunate to have many wonderful people give me and advice and help me immensely.

Thank you to Sara, Judi, Wendy, Jessica, both Bruce's, Phil, Catherine, Billy Christopher, and everyone else at Barksdale/Theatre IV who have donated their time to help with things that I could never have done on my own.


Also see the article that appeared in the August 1 STYLE Weekly.


Brad Tuggle
Assistant to the Managing Director

Closing Thoughts on "Smoke on the Mountain"

Tonight was the closing performance of Smoke on the Mountain at Barksdale Theatre at Hanover Tavern. It was a bittersweet time, I suppose. We had, after all, been working on the show since January (including rehearsals), so we definitely had a healthy run of (so I'm told) around 40 performances. Several Broadway productions have run for less than that (Carrie-the musical- officially ran for 5, not counting 16 preview performances, which still only comes up to 21).

But I suppose I'm not really feeling the humor tonight. Although there was lots of humor to be had and was had during the run of Smoke, onstage and off. If you happen to run into one of the cast members, be sure to ask them about Aunt Judy, a special figment of Julie Fulcher (Vera)'s brilliant mind.

Smoke on the Mountain, I think, is quite possibly the most fun I have ever had doing any show. The chemistry in this cast was sensational. Every single one was a delight. I do hope that the Sander's Family and Reverend Oglethorpe might emerge on a Richmond stage again someday not too far away. No matter where I am, I think the call to step back into Reverend Oglethorpe's shoes would be a temptation too alluring to pass up.

The love, comraderie, and joy that was shared on that stage each night is something that doesn't come with every show. Perhaps it's something that happens only once in a lifetime. I hope that's not true, but if it is, I'm glad I was there on that stage with Aly, Julie, Drew, David, Eric, and Emily. It's an experience that I will never forget.

A much-deserved "Thank you" goes out to director Bruce Miller for allowing the seven of us to be together on that stage 40 times and to stage manager Joseph Papa for holding it all together.

And that, dear readers, is my small love letter.

Hail and Farewell to

Our sold out production of Smoke on the Mountain closes this Saturday evening. I’m going to be sorry to see it go. Along with Brooklyn Boy at Barksdale Willow Lawn (another show that I loved), Smoke was our entry in this year’s Acts of Faith Festival. I couldn’t have had more fun directing (and watching) this small but heartwarming musical.

Every time you pick or direct a show, it says a little bit about you. I like what Smoke says about me. It connects two important parts of my life—my life as a theatre professional and my life as a person of faith.

I enjoy being an elder, liturgist and Sunday School teacher at Bon Air Presbyterian Church. But like many Presbyterians, I’m not particularly comfortable wearing my religion on my sleeve. To tell the truth, I’m feeling a little uncomfortable now writing this blog entry.

Religion is a personal thing to me; my faith is something I hold on to with a quiet humility. Smoke on the Mountain is not quiet, but it’s certainly humble. It takes place in a small Southern Baptist church in 1938. The central message of the play, to me, is Jesus’ teaching that we should love and accept each other rather than judge and exclude.

In Smoke, Eric Williams is really wonderful as a recovering alcoholic who has recently been released from prison. In Act II, he delivers a moving monologue about how Jesus shared the loaves and fishes with a multitude of men including unlikely congregants like himself. That monologue always chokes me up.

If there’s one thing I’m sure about in my faith journey, it’s this. God loves and extends his grace equally to all of us. Those Christians who choose to judge and shun rather than embrace their fellow men are missing the point.

Smoke was my breath of fresh air. I thank so much the wonderful cast: Emily Cole Bitz, Julie Fulcher, David Janeski, Billy Christopher Maupin, Drew Perkins, Aly Wepplo and Eric Williams. They lit up the stage every night with their open, loving hearts—and their great talents.

I thank our inspired designers: Bennett Fidlow, Heather Hogg, Terrie Powers and David Powers. Their church in the valley by the wildwood was a sanctuary of good will in these troubling times. More than once in the past couple of weeks have I recalled my favorite lyric from the show.

Soft as the voice of an angel breathing a lesson unheard

Hope with a gentle persuasion whispers a comforting word

Wait till the darkness is over, wait till the tempest is done

Hope for the sunshine tomorrow after the darkness is gone

Whispering hope, oh how welcome thy voice

Making my heart in it’s sorrow rejoice

I rejoice in Smoke on the Mountain. Thanks to artists and audiences alike for this opportunity.

Smoke Cast to Appear at Poe's Pub

The talented bluegrass cast from Smoke on the Mountain, our hit musical at Hanover Tavern, has been invited to entertain at Poe's Pub tomorrow evening. If you're one of the many who are crying out to hear more from the "Sanders Family Singers," show up at Poe's at around 9 p.m. for another evening of good times and good tunes.

Emily Cole Bitz, who plays Denise (one of the twins; she's the girl - pictured above with David Janeski, the other twin; he's the boy) reports, "The term 'hodgepodge' can definitely be used to describe our set list. It should be a rockin' good time. Trust me, you don't want to miss the reggae version of 'Jesus Is Mine.' Lest visions of fire & brimstone deter you from coming, assorted non-religious songs will be performed as well! There might be a nominal cover. Hope to see y'all."

One of our goals at Barksdale is to connect with the community in an ever increasing number of ways. We're delighted that Poe's Pub sees fit to share the many talents of our amazing Smoke on the Mountain cast with their customers.