Showing posts with label L West. Show all posts
Showing posts with label L West. Show all posts

Friday, October 21, 2011

"Blue Ridge Mountain Christmas" on Hardscrabble Knob

Posted by Phil Whiteway
We're pleased to announce the cast of Blue Ridge Mountain Christmas, our world premiere holiday musical at Hanover Tavern, running Nov 25 - Jan 8. Returning from our Smoke on the Mountain trilogy will be five beloved actor/musicians: Emily Cole, David Janeski, Drew Perkins, Aly Wepplo and Eric Williams, all members of Barksdale's version of the Sanders Family. Joining the fun for the first time will be Katrinah Lewis, Nick Shackleford and Anthony Smith.

Direction is by Anna Senechal Johnson, with music direction by Drew Perkins. The original script is by our artistic director, Bruce Craig Miller (he uses his middle name only as a playwright, to avoid confusion with another writer named Bruce Miller). The music is mostly traditional mountain music with English and Irish origins. All instruments (guitar, fiddle, mandolin, banjo, dulcimer, flute, piano, harp, bass, etc.) are played by members of the cast. Kelly Kennedy is offering assistance with music and choreography. Set design is by Terrie Powers, and costume design by Lynn West.

A Little Background - In 1912, a team of U.S. Forest Service employees headquartered at an inn named Mountain House, located about 20 miles outside Staunton. They walked, drove, rode on horseback, and surveyed the mountains and valleys of Virginia's Highland, Bath and Augusta Counties. Their work led to the 1913 purchase of more than 38,000 acres on and around Shenandoah Mountain--some of the first property to be acquired for the Shenandoah National Forest.

Connecting Mountain House with Hardscrabble Knob, the second highest peak on Shenandoah Mountain, a creek called Ramsey's Draft flows freely through these high Allegheny Mountains. From its headwaters of mountain springs at nearly 4,000 feet in elevation, the stream drains the wilderness's 6,500 acres. In the 1930s, the Civilian Conservation Corps build a road that roughly followed the path of the draft, allowing Shenandoah Valley residents unique and previously unavailable access to Hardscrabble Knob.

On cold December evenings in the 20s and 30s, the mostly poor Appalachian residents who once owned this land would travel in horse drawn wagons, up the new rough road, toward Hardscrabble Knob. Before reaching the peak, they'd leave their wagons at road's end, and climb through a dense stand of old growth hemlock, giant trees that had begun as seedlings at about the time that Columbus was "discovering" America. At the rocky peak, they would join as a community to perform their treasured holiday traditions, sing and play their ancestral songs, and celebrate this Garden of Eden that their English, Irish, Scotch-Irish and German ancestors had settled in the 1700s.

Historian and writer Lella Smith, who's family has lived in the Blue Ridge Mountains since before the American revolution, writes that in the 1930s, two areas in the United States were acknowledged as sacred: the Four Corners area of Arizona, New Mexico, Utah and Nevada; and the mountains surrounding the Shenandoah Valley of Virginia. Several peaks contained "dancing grounds, sacred places where paths crossed and people gathered to dance by moonlight."

Today, Mountain House is nothing but a wayside parking lot with picnic tables. The road constructed by the Civilian Conservation Corps was washed away by Hurricane Camille in 1969. The majestic hemlocks have been devastated by an infestation of the wooly adelgid, and nearly all of the 500-year-old trees now have died.

In Blue Ridge Mountain Christmas, we'll venture back to December, 1938, to Hardscrabble Knob on Shenandoah Mountain (from which you can look east to the Blue Ridge), and revisit a merry night during the Great Depression when a group of warm-hearted Appalachians gathered in joy on a cold mountaintop to honor a sacred season and celebrate a magical land that was no longer theirs.

--Phil Whiteway

Saturday, October 24, 2009

Essie Simms, Alan Flannagan, Lynn Keeton and "We the People"

Posted by Bruce Miller
It was a good afternoon at Westminster-Canterbury.

First, the latest news about Essie Simms. Phil and I had a chance to drop off some flowers at Essie’s room in the health care section of W-C today. There is still a “no visitors” sign on her door, but when the nurse told Essie we were there with flowers, Essie asked if we would step in for a few minutes.

In terms of appearance, Essie looked the best we’ve seen her. In terms of speech, she was talking in entire paragraphs—short paragraphs—but still her communication was improved since previous visits at St. Mary’s. She had a smile on her face, but stated that she was still feeling “pretty punk.” She appeared still to be unable to open her eyes.

She asked us to thank those who have been sending cards and including her in their prayers. She seemed to want to continue to hear from people, to want to be cheered up. She seemed a little down that her recovery was progressing so slowly. So please keep those cards and letters coming.

Essie appeared to be very tired, so we visited with her for only about three to five minutes before allowing her to rest.

We were at Westminster-Canterbury to present a 35-minute performance of We the People, a musical revue featuring authentic 18th century songs tied together by a historical narrative. The program was directed by Chase Kniffen, and beautifully performed by Chris Stewart, Ali Thibodeau, Aly Wepplo and Eric Williams, with Sandy Dacus recorded on piano.

We the People was performed twice for W-C residents and their guests, once at 4 p.m. and once at 7 p.m. Barksdale’s appearance was funded by Neil and Sara Belle November. A fun time was had by all.

We presented We the People for the first time in the summer of 1975, as a program created to celebrate the nation’s Bicentennial. At that time it was called Jubilee. In the audience for this afternoon’s performance were Alan Flannagan and Lynn Keeton, a husband/wife team of Richmond actors who just moved back to town after decades of success in New York. Lynn was in the original production of Jubilee with Phil, Dianne Graham, Steve Rosser and myself in the summer of 75. When Steve Rosser and Dianne Graham left the show to return to the University of Richmond, Alan and Lynn West took their places, and the five of us toured the show for many months.

It was great to see Al and Lynn today, and truly weird to see them at this performance of We the People. Both Al and Lynn were at W-C to visit with Lynn’s Aunt Florence, who has been a W-C resident for the last year.

I visited also with my own mother, who is 93 and lives with advanced Alzheimers. It was GREAT to see her face light up when she saw Phil, whom she hasn’t seen, I imagine, for over a year.

So welcome back to Richmond, Alan and Lynn. It will be great to bring you back into the fold after your years of Broadway success. Essie, get well soon. We really miss you. And everyone, remember to be kind to your elders. Every ounce of attention we give is returned many times over within their appreciation.

I’m proud that Barksdale is so actively involved with Central Virginia’s growing senior citizen community. It's a privilege.

--Bruce Miller

Sunday, November 25, 2007

"Moonlight and Magnolias" Makes Many Merry

Posted by John Steils

The first review is in for Moonlight and Magnolias. Under the headline Having a Ball with ‘Gone With the Wind’, it appeared in this morning’s Times-Dispatch. The beautifully written kudos are penned by Celia Wren.

“An amiably romping production!” Wren exclaims. “Hutchinson’s comedy takes a behind-the-scenes look at the frantic 1939 creation of the screenplay for Gone With the Wind.”

David Bridgewater and Scott Wichmann are praised as “theatrical powerhouses.” Admiration is awarded to Joe Pabst’s “comic poise”. Director Steve Perigard’s “witty sight gags (sound gags, too)” and Brian Barker’s “handsome set, with its peach-colored walls and sleek art deco furniture” also earn Wren’s approbation.

Even the seldom appreciated, at least in print, props department received a nod. “In an ongoing joke,” Wren writes approvingly, “Selznick’s office becomes increasingly messy—so a special nod must go to this production’s properties mistress, Lynn West, for coping with the piquant slovenliness.”

“A key asset of director Steve Perigard’s staging is Wichmann, whose dry interpretation of Hecht ballasts the show’s farcical elements. Bridgewater takes a far hammier approach to Fleming: In one particularly droll sequence, he minces, his head in a kerchief, imitating Scarlett O’Hara’s maid. At another point, he does a mean Clark Gable imitation.”

Having a Ball with ‘Gone with the Wind’ seems to us to sum up everything perfectly. We’re delighted that the critics and audiences seem to be having such a wonderful time. We hope you’ll call for YOUR tickets soon!

--John Steils

(Photo credits: Our Moonlight and Magnolias poster by Robert Meganck. David O. Selznick [producer] with Vivien Leigh after she won her Oscar for GWTW. Ben Hecht [screenwriter]. Victor Fleming [director].)