The Song (or Whatever) of Mulan

Posted by Bruce Miller
Every time I think of The Song of Mulan, I remember what happened eight years ago when we first contracted Paul Deiss to create the show for our touring operation. Schools were crying out for a fun way to support the new SOLs on ancient China, and the epic poem about the young girl who went to war to save her nation from the Mongol (Tartar) horde definitely fit the bill.

It had everything--an inspiring story that illuminates authentic history, a classic work of Chinese literature, and the name recognition that could come only from a recent Disney adaptation.

Paul wrote a beautiful script and score, and when the tour first went on the road, the Richmond Times-Dispatch covered the opening. This was back in the days when we could still get some ink for the arts. There was a beautiful color photo and a sizable caption, all surrounding a prominent headline that proudly proclaimed "Theatre IV Opens The Fish of Mulan."

That's what it said, my friends. We never knew why, but somehow someone in the newsroom changed the title of the play from The Song of Mulan (the actual title of the epic poem, sometimes translated as The Ballad of Mulan) to The Fish of Mulan.

It didn't matter. Then as now, all PR was good PR.

That first tour went so well under Susan Sanford's expert direction, that we soon commissioned Paul to expand his musical into two acts for a mainstage production. Susan again served as director/choreographer, and the show again earned raves from audiences, educators, and critics alike.

Mercedes Schaum created the magnificent sets; Jason Bishop designed a brigade of handsome, authentic costumes; and Steve Koehler worked his usual magic with lights. (Lynne Hartman takes on the lighting responsibilities this time out.)

Now that it's time to revive this Theatre IV favorite, how fortunate we are to have been able to reassemble several members of the original team. (In terms of costumes, Jason has moved to New York, but we have been able to retrieve all his original garments.) Susan Sanford long ago moved to Los Angeles to pursue new career opportunities with her husband, Foster Solomon. But thanks to funding from the Louise Moon Fund, we were able to bring her back to town--a blessing for one and all.

The Louise Moon Fund was created in the late 1990s, shortly before Mrs. Moon died. Throughout her life, she had been a great supporter of the arts. She was on the founding committee of the Richmond Symphony, and she had a long history of support for both Theatre IV and Barksdale.

Before our two nonprofit companies began our strategic partnership in 2001, we worked together to establish the Louise Moon Fund in Mrs. Moon's honor. The fund enabled Barksdale and Theatre IV to bring back to Richmond outstanding theatre artists who had moved on to larger markets. Mrs. Moon had fallen in love this idea after we brought her son, John, back from NYC following his earning his masters in directing from Columbia and his subsequent work with Joseph Papp's Public Theatre.

Susan is only the most recent artist to return due in part to the largesse of Mrs. Moon and her friends.

We have a great new cast for Mulan this year. The titular role is played by Yvonne Samé, recently from the cast of The 25th Annual Putnam County Spelling Bee. Her mother and father are played by Hannah Zold and Jason Marks. Mulan's romantic interest is portrayed by Chris Stewart. Lucas Hall, Audra Honaker, Paul Major and Durron Tyre all provide admirable support in a variety of roles.

If you haven't been out to see this wonderful show, please head on down to Theatre IV's historic Empire Theatre. We'd love to have you join us on our return visit to all the wonders of ancient China.

--Bruce Miller

(Note on the images: Whether she is allegorical or real, the character of Mulan has inspired countless works of Chinese art, several examples of which are pictured. First is a painting on silk, then a wooden carving, followed by the oldest surviving copy of the epic poem, circa 1200, found in the British Museum. The original poem dates from the 6th century. Last is a porcelain vase.)

Betting Our Bottom Dollar

Posted by Bruce Miller
Between December 2007 and March 2008, the Boards of Trustees, Phil and I made two big, proactive decisions. We scheduled the elimination of five positions from the staff of Barksdale/Theatre IV, and we announced three Depression Era plays/musicals for our upcoming seasons.

It may not have been clear to everyone at the time, but for those of us whose job it was to keep our eyes on the books on a day to day basis, the writing was on the wall.

The positions we eliminated amounted to approximately 11% of our total administrative workforce (staffers, not actors and other theatre artists). Like all RIF actions, these eliminations were painful. They continue to strain our operations.

The eliminations were also necessary. They reduced annual expenditures by approximately $140,000.

The five positions that were eliminated, two by attrition, included Associate Artistic Director, Special Projects Manager, Marketing Associate, Group Sales Manager, and Receptionist/Bookkeeping Associate. If and when the economy rebounds, we hope to be able to restore each of these sorely needed positions.

The shows we announced related to the Depression, but they were all upbeat and inspirational, and reflected the current zeitgeist. They were Barksdale’s productions of A Sanders Family Christmas at Hanover Tavern and This Wonderful Life at Willow Lawn, and Theatre IV’s production of Annie, which just opened on Friday at our historic Empire.

The public seems to appreciate our decision. These have been three of the four biggest hits of our 2008-09 Seasons (Driving Miss Daisy being the fourth).

Susie Haubenstock’s review of Annie appears in this morning’s Metro section. “In tough times,” the headline trumpets, “this musical is just what the doctor ordered.”

“Think that Annie is just for kids? The 1977 powerhouse musical by Thomas Meehan, Charles Strouse and Martin Charnin is a favorite of young audiences, surely, but rarely in history has it seemed so appropriate for older ones as well. Theatre IV’s current production is big and stylish and full of fun—and loaded with Depression-era nostalgia that’s all too pertinent today. But being Annie, the attitude is sunny, hopeful and positive—a real tonic for us veterans of bailouts and layoffs.”

“The story of those plucky orphans under the yoke of the tippling Miss Hannigan still works like a well-oiled machine. There’s a super-sized cast of 26 people and one irresistible dog, and a sumptuous scenic design by Mercedes Schaum. No skimping here. Robin Arthur’s direction hits just the right note—she’s an ace with the orphans, who are cute but never cloying, and her choreography (especially for Easy Street) is fresh and funny.”

Susie continues to praise the entire cast, the remaining designers, and the production as a whole.

So no matter what your age, if you need a lift from the recession-riddled headlines, trundle on down to the historic Empire and take part in Barksdale and Theatre IV’s own stimulus program. You’ll have a GREAT evening in the theatre, laugh and cheer, and help our nonprofit companies triumph, God willing, over this economy that continues to kick us in the shins.

We need you. Hope to see you at Annie, Well, I Ought to be in Pictures, and all our other upcoming productions.

--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.