Thoughts on Offending the Audience - Intro

Posted by Bruce Miller

I don’t enjoy offending people. Honestly I don’t. The graphic to the right, I've been told, is borrowed from boy's lacrosse. It's a signal that relates to "offensive screening." It was mailed to me by an audience member who wanted to remind me that what I do is potentially offensive.

I value this signal. I also increasingly buy into that old saw that says if you’re not making somebody mad, you must not be doing it right.

Offending someone is, of course, not the same thing as boring someone. Two of my favorite productions at Barksdale (The Crucible by Arthur Miller and The Lark by Jean Anouilh, adapted by Lillian Hellman) bored some members of our audience. I directed both productions.

Both plays relate to history (the Salem witch trials and the McCarthy era in the case of The Crucible, the Joan of Arc story and the McCarthy era in the case of The Lark). Both plays are politicized (we’re talking Arthur Miller and Lillian Hellman after all). Both plays are narrative and language-heavy, written by playwrights who thrive on polemics, unapologetically requiring audience members to care about the issues the playwrights care about. Both plays are long by 21st century standards—The Coast of Utopia notwithstanding.

I love(d) both plays and both productions. And I know lots of other people who do (did) too. But on different nights during the runs of both shows I found myself sitting next to John Q Public audience members who fell asleep about ten minutes into Act I, clearly bored out of their minds.

Offending someone is, of course, not the same thing as confusing someone. The Lark confused some people in addition to boring them—two, two, two mints in one. Two other personal favorites at Barksdale (James Joyce’s The Dead, written by Richard Nelson with music by Shaun Davey, and The Member of the Wedding by Carson McCullers) confused some members of our audience as well. The remarkably talented Steve Perigard and Scott Wichmann (does Richmond know how lucky it is to have these guys?), respectively, directed those two productions. They directed them beautifully.

The Lark is character and theme-driven; The Dead and The Member are both character and language-driven. Unlike most dramatic literature, these three plays are not particularly plot-driven. Take away a strong linear plot, and some people feel lost. “What the hell was that all about?” was a question I heard more than once after each of these three shows.

To me, these plays were “about” a hundred things, and I felt emotionally richer for having seen them. Again, I know lots of other people who also loved these productions.

Offending someone can be the same thing as challenging someone. Personally, I like my beliefs, feelings and thoughts to be challenged. More to the point, I need my deeply held convictions to be challenged. Unless and until they are tested, how do I know what I really value and hold dear?

But many people have different brain chemistry, I know. The minute you challenge one of their beliefs, they perceive you are heaping contempt on their innermost selves. This is never our intention. Nonetheless, they are offended.

There are scores of ways to offend audience members, but over the years it seems to me that we’ve offended people in three main arenas: language, race and sex. What different people find to be offensive interests me. And since this season seems to be offending its fair share, and, come Little Dog Laughed, promises to offend lots more, I figure now’s a good time to discuss these issues.

Part of the value of this discussion will be to organize and clarify my own thoughts. An equally important part will be to ask for and welcome your opinions.

So plug in your offendometers (I pronounce it with the emphasis on the third syllable) and get ready to rumble. Coming soon – language!

--Bruce Miller

Rambling Thoughts on a Running Theme

Posted by Bruce Miller

The playwrights from this year’s Signature Season are a somewhat diverse lot, but there’s a common thread that ties several of them together.

The late Carson McCullers (The Member of the Wedding) wrote with the distinctive voice of a young woman reared in a small Southern town during the 1930s and 40s. Ron Hutchinson (Moonlight and Magnolias) is an Irish-born playwright who came to fame in England and now lives in LA, working predominantly for the film industry.

John Patrick Shanley (Doubt, pictured to the left) is a former Marine who was raised in the Bronx. His writing has earned him an Oscar (Moonstruck), a Tony Award and the Pulitzer Prize (Doubt). Douglas Carter Beane (The Little Dog Laughed) is a gay playwright who grew up in rural Pennsylvania, and wrote the libretto for the current Broadway musical Xanadu, a re-make of the 1970s cult film. Beane is currently writing the libretto for the upcoming stage musical remake of The Band Wagon, now re-titled Dancing in the Dark.

Our summer musical, the great American classic Guys and Dolls, features music and lyrics by Frank Loesser (pictured to the right) and a book by Jo Swerling and Abe Burrows. Frank Loesser, born in 1910 in NYC, also wrote Where’s Charley? (produced by Barksdale in 2003), The Most Happy Fella, How to Succeed in Business Without Really Trying, and the songs "Praise the Lord and Pass the Ammunition" and "I Don’t Want to Walk Without You" (currently heard in Swingtime Canteen) and "Baby, It’s Cold Outside" (recently heard in our Holiday Cabaret).

Jo Swerling (co-author of the Guys book) was born in Russia in 1897 and, as a child, fled the Czarist regime with his family, arriving in New York’s lower East Side via Ellis Island. Before working on Guys and Dolls in the late 40s, he was called to Hollywood by Frank Capra, where he helped to “polish” the screenplays of both It’s a Wonderful Life (recently produced as a radio drama by Barksdale’s Bifocals Theatre Project) and Gone With the Wind (the re-screenwriting of which is the subject of Moonlight and Magnolias).

Abe Burrows (the other co-writer of the Guys book, pictured to the left) was a renowned radio writer and comedic performer, who went on to serve as “script doctor” for numerous Broadway and radio shows. Interestingly, Abe Burrows is also the father of James Burrows, the legendary television director of The Mary Tyler Moore Show and co-creator of Cheers.

As Moonlight continues its laugh-a-minute run at Barksdale Willow Lawn (I saw it again last night and it was GREAT), it’s interesting to follow the theme of the un-credited “script doctor” and re-write artist. In Moonlight, Ben Hecht, played by Scott Wichmann, is brought in to rewrite the screenplay for Gone With the Wind. Moonlight playwright Ron Hutchinson (pictured below and to the right) earns a very lucrative living doing the same thing today.

Discussing the movie industry, Hutchinson writes, “Now, as back then, in the last weeks, days and hours before shooting, there’s a mad scramble to finally get the script right. That’s where guys like Ben Hecht came in then and where guys like me come in today. In 25 years as a rewrite man, I’ve been parachuted into movie locations in places such as Morocco, Mexico, Australia, South Africa and really bizarre places such as Burbank.”

Carson McCullers (pictured to the left) has always given credit to her principal “script doctor,” fellow Southerner Tennessee Williams. Douglas Carter Beane (pictured below and to the right) is becoming somewhat of a specialist in rewriting the librettos of vintage movie musicals for contemporary Broadway audiences. And his real-life experience in which unnamed “script doctors” transformed the lead character from gay to straight in the Hollywood adaptation of his Off Broadway hit, As Bees in Honey Drown, inspired the comic story he tells in The Little Dog Laughed.

Both Jo Swerling and Abe Burrows were considered among the foremost “script doctors” working to polish other author’s work in both Hollywood and New York in the 40s through the 70s. In Deathtrap, produced by Barksdale at Hanover Tavern earlier this fall, the lead character of Sidney Bruhl offers to serve as a “script doctor” for a young playwright, citing the fact that George S. Kaufman (pictured to the left) served as his “script doctor” when he was polishing his first play. In his memoirs, Abe Burrows credited his success in the theatre to his work under George S. Kaufman, director of Guys and Dolls.

For many years, the expression, “Get me Abe Burrows!” remained Broadway shorthand for “this script is awful and needs an emergency rewrite.” Burrows himself downplayed his “script doctor” role in his memoirs. “I have... performed surgery on a few shows, but not as many as I'm given credit for. I've been involved in 19 theatrical productions, plus their road company offshoots. Only a few of these have been surgical patients. And I don't usually talk about them. I feel that a fellow who doctors a show should have the same ethical approcah that a plastic surgeon has. It wouldn't be very nice if a plastic surgeon were walking down the street with you, and a beautiful girl approached. And you say, "What a beautiful girl." And the plastic surgeon says, "She was a patient of mine. You should have seen her before I fixed her nose."

Of all our playwrights this season, John Patrick Shanley seems to be the only one who has little to no experience rewriting the scripts of others and/or putting up with others who are brought in to rewrite his work. Long may he wave.

--Bruce Miller

Meet the Stars for Cocktail Hour Conversation

Posted by Bruce Miller
Join us tonight, Monday, Sept 24, in the lobby at Barksdale Willow Lawn for a fun, free evening, as we kick off a brand new Community Connections series: Meet the Stars!

Director Scott Wichmann, leading lady Katherine Louis and several other members of our cast and creative team of The Member of the Wedding by Carson McCullers will be on hand to give you an insider’s glimpse behind the scenes of this exciting and important new show.

A fun and informative panel discussion will be accompanied by light hors d’oeuvres (free) and a cash bar. Attendees will sit at tables cabaret style as the informal panel fills you in on all the behind the scenes activity that will really bring the production to life.

The cash bar opens at 6:30, and the panel discussion takes place on the welcoming lobby stage from 7 until 8. The bar will remain open during the entire event, and we hope you’ll buy a drink if for no other reason than to help us cover our expenses. Otherwise, attendance is free and open to the public.

So come one, come all. Be there to Meet the Stars!, and end your Monday with a little luster.

--Bruce Miller

Finding the We of Me - Opening Night at "The Member of the Wedding"

Posted by Bruce Miller

I've just returned from the wonderful Opening Night of The Member of the Wedding by Carson McCullers at Barksdale Willow Lawn. Along with James Joyce's The Dead, The Member of the Wedding is that rare commodity on our Signature Season--a highly theatrical evening that is language- and character-driven rather than plot-driven. I love the variety and depth that it adds to our roster. I especially love this production.

Scott Wichmann has directed an evocative evening that emotionally transports us back to the sultry Southern summers of Carson McCullers' early adolescence. The Member of the Wedding is a part of our continuing Women's Theatre Project, and the story it tells is certainly born in a woman's heart.

At least one vibrant post-show discussion revolved around whether McCullers' classic tale is the story of Berenice Sadie Brown, the big-hearted domestic brilliantly played by Katherine Louis in a star-making performance, or the story of Frankie Addams (or F. Jasmine Addams as she prefers to be called), the lonely and precocious 13-year-old played with staggering sensitivity by real-life 13-year-old Lexi Langs.

Part of the magic woven by McCullers, Wichmann and our two outstanding actresses is that the evening somehow manages to focus alternately and simultaneously on both. It's almost as if the soul of the play combines both women into one: half adult and half child, half grounded and half lost, half privileged and half trodden down. Not unlike Carson McCullers herself (pictured above and to the left with the original Berenice, Ethel Waters).

Joining in the standing ovation awarded the production were steadfast supporters Mr and Mrs Reid Ashe, Tom and Carlene Bass, Page Bauder, Rosanna Bencoach, Dr. John and Mary Jane Board, Cammie Carlton, Carrie Galeski, Bev Kniffen, Charlotte and Andy McCutcheon, Suzanne Pollard, Essie Simms and Isabella Witt. That's the back of Charlotte's head in the photo above and to the right talking with director Scott Wichmann at the post-show party.

Other theatre artists in attendance included Jan Guarino and her children Nora and Zack (Jan is starring in our upcoming Swingtime Canteen at Hanover Tavern); Julia Greer, Hannah Miller and Ali Thibodeau from the cast of Disney's High School Musical (Julia and Hannah are pictured to the left); Annie Hulcher from Annie Get Your Gun; Alex Samawicz and his date (Alex played trumpet in Into the Woods); Melissa Johnston-Price and her daughter Meg (Melissa rushed in from rehearsal for Spinning Into Butter at the Firehouse); Terrie Powers (our designer extraordinaire at Hanover Tavern); Stacy Reardon (actor alum from The Full Monty and The Wizard of Oz); and Russell Rowland fresh from his Princely duties in Into the Woods.

Hard working staff members on hand included Emily Cole Bitz, Andy Boothby, Judi Crenshaw, Catherine Dudley, Jackie Gann and her newlywed husband Bobby, Jean Hartley, Lucas Hall, Chase Kniffen, Sara Marsden, Billy Christopher Maupin, Steve Perigard, Joy Ross, Janine Serresseque, Wendy Vandergrift, Jennings Whiteway (responsible for the wonderful party), Phil Whiteway (laughing with our leading lady at the post-show celebration), and Ginnie Willard.

Providing all the luster were the stars of the evening: director Wichmann; designers Brian Barker (sets), Derek Dumais (sound) and Lynne Hartman (lights); stage managers Bo Wilson and Jody Smith Strickler; console operator Lynwood Guyton; props master Lynn West; and cast members Katherine Louis, Lexi Langs, Eric Evans, Carl Calabrese, Christine Schneider, David Bridgewater, Jill Bari Steinberg, Alec Stephens III, Tony Cosby (WELCOME HOME TONY!), Erin Kate Bradner, Katy Burke and Zac Wilson. That's Eric, Zac and Lexi in the photo above and to the left, at the post-show party.

No one can say what the critics will think, but please know that Phil Whiteway and I are very proud of this production. We hope you'll join us soon for this compelling, soul-stirring and uniquely American classic.

--Bruce Miller

Life Upon the Wicked Stage

Posted by Lexi Langs
My name is Lexi Langs (pictured to the left in the white shirt, with fellow cast members Eric Evans, Erin Kate Bradner and Katy Burke, photo by Jill Bari Steinberg), and I’m currently working on The Member of the Wedding at Barksdale Theatre. I've been living in Virginia with my mom in company housing provided by Barksdale for the past three weeks, but my home is in Orlando, Florida.

This isn’t the first time I’ve spent time away from home…I spent the last fourteen months working at the American Girl Place in New York City. I saw auditions listed on the American Girl website early last year and decided to go for it. Over six hundred girls showed up in March of 2006, and they cast eleven new actresses – I was lucky to be one of them. I was cast as the American Girls Molly McIntire and Kaya. I started rehearsing that August at Chelsea Studios and over the next few months was able to ice skate at Rockefeller Center, see some amazing Broadway shows, drink lots of Starbuck’s, and master the subway system.

As my contract was ending, I saw the audition for Frankie Addams at Barksdale. I decided not to re-sign with American Girl, and went to the audition in Virginia on August 6. After meeting our director, Scott Wichmann, I knew I wanted to be a part of this show.

Rehearsals began a week after I started school in Florida, so I had to meet all of my new teachers and let them know that I would be gone for the next nine weeks – they were a bit surprised, but have been great about it. So far, rehearsals have been so much fun, and the cast is awesome! We’re currently in the middle of tech-week…so costumes, wigs, and props have just been added into the mix, and everything is really taking shape.

The Member of the Wedding is a three-act play by Carson McCullers about a tomboy named Frankie Addams who wants to grow up and is trying to find where she fits in the world. The housekeeper Berenice and her cousin John Henry are with her on the journey and the way they interact with each other will at times make you laugh, and at other times make you cry.

Katherine Louis (Berenice), Eric Evans (John Henry), and I are very excited about opening night this Friday and can’t wait to have a live audience to share our story. Hope to see you there!

--Lexi Langs

Barksdale's Women's Theatre Project

Posted by Bruce Miller

As I begin my seventh season as Barksdale’s Artistic Director, the question I’m asked most frequently is, “How do you decide which plays to produce?” The process has so many layers (and so many players) it requires its own publication.

Part of the answer, however, involves a key commitment we made when we began selecting our first Barksdale Season in 2001-02. We pledged to ourselves, our artists and our audiences that we would, each season, produce at least:
· one work by a woman author,
· one work staged by a woman director, and
· one work that focuses on a strong, central woman.

We call this commitment our Women’s Theatre Project. The Member of the Wedding by the brilliant and legendary Southern author, Carson McCullers (pictured below and to the right), will open our Signature Season at Willow Lawn on September 21. It is a part of this Project.

At first glance, the commitment seems hardly necessary. What theatre wouldn’t, without even trying, produce such a season? And yet, if you review Barksdale’s history prior to 2001 and Richmond theatre history in general up to today, you’ll find that the majority of seasons fail to meet these minimal standards.

In the last seven seasons, we’re proud to have selected 15 plays and musicals by women authors. Several of these productions have been among our biggest hits, including The Little Foxes by Lillian Hellman, Annie Get Your Gun co-written by Dorothy Fields, To Kill a Mockingbird by Harper Lee, Crowns by Regina Taylor, and Intimate Apparel by Lynn Nottage—to mention only a few.

We’re proud that sixteen of our plays and musicals have been directed by leading women artists, including Robin Arthur, Nancy Cates, Jan Guarino, Leslie Owens Harrington, Susan Sanford, K Strong, Dawn Westbrook and Keri Wormald.

We’re proud of the powerful starring roles performed on our stage by Kathy Halenda, Dorothy Holland, Kelly Kennedy, Liz Mamana, Adanma Onyedike, Robyn O’Neill, Jill Bari Steinberg, Erin Thomas, Harriet Traylor and Irene Ziegler (to name a few), setting a standard for strong, active images of women.

In The Member of the Wedding, actress Katherine Louis (pictured to the left) and playwright Carson McCullers will join this roll of honor. We hope you’ll recognize, appreciate and support the commitments of our Women’s Theatre Project.

Throughout the run of Wedding, we will be exploring the issue of Women and the Arts in our Coffee & Conversations series, our new Cocktail Hour Conversations program, and here on the blog. Please join us in the discussion.

--Bruce Miller

Katherine Louis, playing Berenice in the upcoming production of The Member of The Wedding Breezes Through to Answer Lipton's Questionnaire

Posted by Billy Christopher Maupin

Katherine Louis, whom I love and adore, had a brief moment last week, when she came through my office for all of about ten minutes with many other pressing things on her plate, so I promptly asserted that this questionnaire is vitally important, so she sat down with me to answer the questionnaire that Proust inspired, than Pivot picked up on, and James Lipton (Inside the Actor's Studio) ripped off...OK...not ripped off...he always gives credit to Pivot...and he changed a couple of things. So it really is all very above board. If anyone is ripping off, it's really me. But we won't talk about that.

So...Katherine's repsonses...oh wait...I want all to know that Katherine, who I saw most recently in Living Word Stage Company's (now African American Repertory Theatre) African American Trailblazer's storytelling series at various venues around Richmond (very cool stuff...very educational and also very dynamic and captivating). ANYway...back to Katherine's answers...
(drum roll please...)

(are you doing it?)

(no, really, do a drum roll
on your desk right now...)

So here goes:

1. What is your favorite word?
happy

2. What is your least favorite word?
no
3. What turns you on [creatively, spiritually or emotionally]?
I’m just going to say the first thing that pops into my head: When people really listen to me.

4. What turns you off?
Stupid turns me off like crazy. Stupid anything. Stupid people. Stupid comments. Stupid clothes. (Oh, that sounds so shallow.) We all know I’m so beyond being shallow like that. Are you listening to me!?

5. What sound or noise do you love?
My granddaughter’s laughter.

6. What sound or noise do you hate?
Brakes screeching. That’s the first thing that came into my head.

7. What is your favorite curse word? (have it at it. I obviously won't post it for real, but in some approved somewhat censored fashion)
It’s funny you should ask me this because I actually know the answer. My favorite curse-word is **** (think of sugar honey iced tea). It kind of hits everything doesn’t it. It’s a word your grandma can say.

8. What profession other than your own would you like to attempt?
Culinary Instructor. I don’t want to be in the kitchen all day, but I can teach others how to be in the kitchen all day.

9. What profession would you not like to do?
Garbage man.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
Well done.

Stay tuned for more "interviews" with the cast, crew, and artistic team of Barksdale Theatre's production of Carson McCuller's The Member of the Wedding.

-- Billy Christopher Maupin

Wichmann Steps Up to the Plate and Answers Lipton's Questionnaire (Is that a long title? I'll work on it.)

Posted by Billy Christopher Maupin

So...once upon a time...wait...Into the Woods just closed (that was the first line of the show)...umm...Seems to me this old arbor has shrunk...ok...so maybe the first line of Carson McCullers' beautiful play, The Member of the Wedding, also isn't the best way to start this post, even though this post bears a strong connection to Barksdale's upcoming production of said play in our very exciting Signature Season at Willow Lawn.

So, scratch all that, I'm just gonna jump right in: Marcel Proust used to do this questionnaire thing that inspired Bernard Pivot, who among other things was a French talk show host, he himself being French as well, not just the talk show...anyway...at the end of his show, Bouillon de Culture(1990-2001), he would ask all of his guests a set of questions. James Lipton, host of Inside the Actor's Studio, was inspired by this and decided to adapt it (just slightly) to end all of his shows. (Inside the Actor's Studio airs on Sundays at 8 pm, I believe, and is often incredibly interesting. You can also find a lot of the episodes with some really great stars-Kevin Spacey, Kate Winslet, Teri Hatcher, the cast of Will & Grace-on YouTube...oh how I love YouTube.)

But what I thought would be way cool would be to put those same questions to some our Richmond artists and have a sort of series of these posts. In the coming weeks, leading up to and during the run of The Member of the Wedding, you will get to read what these actors, designers, technicians, etc. had to say in response the questionnaire. Today...I'm getting goosebumps, I'm so excited...we have director Scott Wichmann's responses to the Bernard-Pivot-Slightly-Adapted-for-Inside-the-Actor's-Studio- Questionnaire (I keep spelling questionnaire wrong...oh, how I also love spell check- which it is now telling me is two words).

LET THE FUN BEGIN!
(Oh, wait, before the fun begins, I suppose we should note that all comments and opinions expressed in these responses are the sole opinion of the interviewee and do not represent the opinions of Barksdale Theatre or its affiliates, blah blah blah:)

And now the fun!:

1. What is your favorite word?
MUKLUKS!! The eskimo footwear made popular by the Sketch Comedy troupe 'Radio Free Vestibule' in their classic four-minute sketch 'Bulbous Bouffant' back in 1994. You can listen to the audio of 'Bulbous Bouffant' at http://www.ferin.com/words.mp3/ it is HILARIOUS. Having fun with words and their goofy sounds always makes me happy.

2. What is your least favorite word?
NO. I think I've always been averse to that one. Especially when it is in answer to my query, "Honey, are there any more cookies left?"

3. What turns you on [creatively, spiritually or emotionally]?
I really get a charge out of being plugged into the creative process with other committed artists who are not afraid to take risks and fall on their faces. I think as I get older, and hopefully more emotionally mature, I'm learning that it is best to just put yourself out there (whether onstage or off) and let yourself respond honestly and fearlessly. That's where the good stuff always is, and that is how you learn to evolve as a human being.

4. What turns you off?
The perpetuation of willfull ignorance, the current info-tainment based political and cultural scene, Brussels sprouts, and the New York Yankees.

5. What sound or noise do you love?
My dog Elliot's hound-dog bay, the crack of a wooden bat, the lightsaber noise, the Godzilla roar, and the meditation bell. Oh, and the words "The Red Sox Win!"

6. What sound or noise do you hate?
Styrofoam. I absolutely cannot stand it. It's like my kryptonite. I hear it, and I'm like, "If.. just...can..reach...utility belt..."

7. What is your favorite curse word?
It isn't a curse word, per se, but my father used to say "You can just go pound sand" whenever he was really upset at someone for something. The futile image of someone 'Pounding sand' was just hilarious to me as a kid. Every now and then I'll use that one, keeping in mind that I hope one day I can turn out to be the kind of gentleman my father is.

8. What profession other than your own would you like to attempt?
I would seriously love to go into politics one day. I'm very concerned about the state of the country right now, and I feel that to a large extent, the people in Washington don't really address the pressing concerns of everyday Americans. I continually find that people of all party affiliations deeply share that view. It is really sad that one has to be a quadrillionaire to run for President in this day and age. I could probably talk politics all day long with anyone, anywhere. I love it.

9. What profession would you not like to do?
Anything that harms animals or makes me have to juggle fire. Or chainsaws.

10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
MUKLUKS!!! Then I'd know we're cool with each other.

So come check out Scott's direction of Carson McCuller's The Member of the Wedding, September 21 through October 28 at Barksdale Theatre at Willow Lawn. I'm really excited about seeing this production for several reasons, not the least of which is that I think it's a marvelous, beautifully written play. Another being that once upon a time, I worked on Theatre IV's production of Ben Franklin and His Kite (Shout out to BFK'04!) that Scott wrote and directed, creating a really fantastic production. Oh, I should mention that to get tickets to The Member of the Wedding, you can call the box office at 282-2620 (or you can order them online, but my recommendation is that you call and speak with one of the fabulous box office staff)!

-- Billy Christopher Maupin
w/Scott Wichmann's illuminating responses