Bradley Belongs on Broadway

Posted by Bruce Miller
Corey Bradley made his Broadway debut in the recent revival of Ragtime. But he made his stage debut 18 years earlier playing a Munchkin in The Wizard of Oz at Theatre IV. I think I'm right about that. Corey was in a lot of Theatre IV shows during his formative years in Richmond. I'm not completely sure which one came first. I'll have to do some checking.

Hannah and I had the chance to visit Corey at the stage door of Ragtime last weekend, after enjoying his terrific performance at the Neil Simon Theatre. Ragtime was on our list of shows to see because:
* it was scheduled to close on Sunday, our final day in town,
* neither Hannah nor I had ever seen Ragtime on Broadway before, and
* Chase had let us know, after his earlier trip north to catch this revival, that Corey was in the cast.

After curtain call, we went to the stage door as soon as we could clear the crowds. We figured Corey would probably be leaving early, as ensemble members often do. I didn't want to miss him.

The stage door was jammed, so I almost didn't see Corey as he made his exit onto the sidewalk and then turned right, slipping past the crowd-control barricades into the open air rather than turning left to run the gauntlet of autograph hounds.

As soon as I saw him break away from the pack, I grabbed Hannah and we dashed out onto 52nd Street to avoid the crowds, chasing Corey as he walked down the sidewalk. When we were close enough, I hollered out his name, and he turned and saw us.

It's been a few years, and I have the extra pounds and gray hair to prove it. Also the last time Corey saw Hannah, she was probably in first grade. So as we walked up, I held out my hand and said, "Bruce Miller, Theatre IV."

Corey's face lit up, he knocked my hand out of the way and gave me a big hug. "I'm so proud of you," I said. "You cast me in my first show," he beamed. "It's so good to see you. How's everything at Theatre IV?"

I know this is the exact conversation that takes place somewhere on Broadway every night, as proud teachers and directors unexpectedly visit former students and actors who've now made it to the big time. No matter how many times I have this conversation, it always tears me up (feel free to pronounce the word "tears" whichever way you choose). I'm a sentimental slob, I know, but there's something endlessly affirming about seeing kids you've enjoyed working with turn out so well.

I think Corey's last role with us was playing Tommy Djilas in The Music Man during one of our summer seasons at Collegiate. After graduating from high school, Corey earned his BFA in Musical Theatre / Dance at Elon University in North Carolina. Since then, he's achieved non-stop success, appearing in the national tours of Mamma Mia!, Fosse, Chicago, and West Side Story. In Las Vegas, he appeared in We Will Rock You and with Hugh Jackman in Hugh Jackman: In Time, directed by George C. Wolfe and choreographed by Kathleen Marshall.

In addition to The Music Man (Theatre IV), Corey's regional credits include Hot Mikado (Westchester Broadway Theatre), Showboat (North Show Music Theatre), La Cage aux Folles (North Carolina Theatre), Joseph... (Downtown Cabaret Theatre), and Ragtime (Kennedy Center).

Film and television credits include being a principal dancer in Disney's Enchanted, Sex and the City, and Spike Lee's He Got Game.

Corey asked me to send greetings to all his friends in Richmond, which I'm more than happy to do. I assured him that all of us at Barksdale and Theatre IV send all best wishes right back to him.

So many talented actors make their way through Richmond each year, and a great many of them (I'm thinking now of Matts Polson and Shofner, who close in Putnam County Spelling Bee this afternoon) return to appear in subsequent shows even as they build careers in major markets. Few theatre communities can claim this degree of success. With all the talk on other blogs of what's professional and what isn't, we should all be very proud to be exactly what we are.

I hope to see you soon at a Richmond theatre, as we all catch the current performance, perhaps, of one of Broadway's future stars!

--Bruce Miller

Star of Stage, Screen and Richmond

Posted by Bruce Miller
Today we’re pleased to wish Betty Ann Grove a very happy 81st birthday. Betty Ann is Richmond’s own Broadway Baby—and she’s such a good friend and familiar face that it’s way too easy to forget what an amazing national career she had before moving to Richmond with her late husband Roger twenty or so years ago.

How big a deal is our friend Betty Ann? Consider these brief anecdotes from the wealth of articles that pop up when you type her name into Google.

When she was only 21 years old, Betty Ann began her seven year stint as co-star of Stop the Music, a mega-hit musical quiz show that began on radio in 1949 and soon transferred to the up-and-coming medium of television. When Cole Porter saw adorable Betty Ann on TV for the first time, his people immediately called her people and offered her the chance to replace Lisa Kirk as Lois Lane / Bianca in the original Broadway production of Kiss Me Kate—Betty Ann’s Broadway debut.

And it wasn’t just Cole Porter who loved her. Betty Ann was so popular and appeared in so many TV shows in the early 50s that her beautiful face wound up on the cover of Look Magazine over a caption that read “America’s Most Televised Women.” And what are the TV credits that earn her recognition as one of the great women pioneers of the new medium? Stop the Music, The Bert Parks Show, The Big Payoff, All in Fun, Ozark Jubilee, The Red Buttons Show, Summer Holiday, The Merv Griffin / Betty Ann Grove Show, The Arthur Murray Party, and many others.

At the peak of her success as a television singer/actress and recording artist, Betty Ann was dating her manager, Peter Dean. Peter Dean took Betty Ann with him on frequent visits to see his niece, a little girl named Carly Simon. Betty Ann had such a strong influence on young Carly that to this day Ms Simon credits Betty Ann as the singer she wanted to be when she grew up.

When Betty Ann returned to Broadway in George M! in 1968 (the second of her four Broadway shows), she was so well known in the entertainment industry that she received second billing after Joel Grey. All the advertising materials for the original production list Betty Ann’s name on its own line, just below the title, in type about twice the size of the names that immediately follow beneath her name, names like Broadway stars Jill O’Hara and Bernadette Peters.

If you decide today that you'd like to buy on an Internet auction site the autographed photo of Betty Ann you see at the top of this post, you can! And if you Buy It Now, you can pick it up for only … oh ... $399!

“Betty Ann Grove is an American actress,” Wikipedia states. “A petite redhead with a powerful voice, she recorded in the 1950s and debuted on Broadway in Kiss Me Kate.”

Even though the Wiki article goes on, it tells such a small part of her story.

Richmonders love Betty Ann for her star turns in The Music Man and Da at Theatre IV, and Driving Miss Daisy and Smoke on the Mountain at Swift Creek Mill Theatre, among others. But as we celebrate with her the joy of turning 81 years young, let’s not forget that Betty Ann Grove is not just our sweetheart, but America's sweetheart as well.

We love you, Betty Ann. Happy Birthday!!!

--Bruce Miller

He's a what? He's a what? He's a Music Man!

By Joseph Pabst

Henrico Theatre Company's production of The Music Man opened on November 7 and will be on stage at the Cultural Arts Center at Glen Allen until November 23. View the performance calendar.

The title of this article is one of my favorite fun lines from Meredith Willson’s The Music Man! It’s spoken in rhythm as salesmen on a train discuss what a blight this “swindlin’ two-bit thimble rigger” Harold Hill is to the Sales profession. Henrico Theatre Company is producing this classic musical gem, with me at the helm directing. We are in the final stage of the rehearsal process right now, adding lights, sound, orchestra, costumes and props. The show opens on Friday, November 7 at the Cultural Arts Center in Glen Allen. It has a three-week run, closing on November 23.

This show is filled with great musical numbers: “Trouble”, “Pick-A-Little, Talk-A-Little”, “Goodnight, My Someone”, “Lida Rose”, “The Wells Fargo Wagon”, “Shipoopi”, “Till There Was You”, “Gary Indiana”, and of course, “76 Trombones”. And its story uses all the elements that made traditional musical theatre great – romance, conflict, change of heart, and an ending that wraps you up in all kinds of warm feelings. The only thing it’s missing is a big finale; it ends without a big, rousing group number.

The late Robert Preston made the role of musical con man Harold Hill his signature piece. He won the Tony Award in 1957 for his portrayal, and starred in the unforgettable film version in 1962. The role followed him for the rest of his life. My wife, Debra, mentioned that Preston worked on a movie in Richmond in 1985 called Finnegan Begin Again (one of his final performances before his passing in 1987). Someone on the set bet him $50 that he couldn’t remember all of the words to the song, “Trouble”. Preston hopped right up on a chair and performed the song, beginning to end, without missing a beat! What a guy!

I must say, as much as I have loved working on this show, I had to sort of reboot my director’s brain! You see, this is the fourth show I’ve directed in the last year and a half. The first three all had relatively small casts – Neil Simon’s The Odd Couple (8 actors), Greater Tuna (2 actors) and Driving Miss Daisy (3 actors). The Music Man has thirty-six people on stage. At times, I feel more like a traffic cop than a director!

Or maybe it’s more appropriate to say I feel like a football coach. To keep everyone straight and moving in the right direction, I often chart out the moves each actor will make in sequence. These diagrams tend to look like football plays (except everyone is an “O” – there are no “X’s” on my team!). You can see an example of one of my more elaborate charts pictured.

This production benefits from the tremendous talents of Paul Deiss as Music Director, and an 8-piece live orchestra. Amy Perdue is choreographing the show with great style. Our cast is includes folks both familiar and little-known to Richmond audiences. David Janosik plays the title role, with Amy David as the lovely Marian the Librarian. Scott Melton and Amy Berlin play Mayor Shinn and his wife Eulalie. Terri Moore appears as Mrs. Paroo, with Davis Mercer as Marcellus.

This is a family show in more ways than one, too! The cast includes Terri Moore’s daughters – Leah (Ensemble) and Georgi (Amaryllis); Davis Mercer’s sisters – Kaylin (Zaneeta) and Makenzie (Gracie); and Ben Dacus (Ensemble) and his children – Charlie (Winthrop) and Lucy (Ensemble).

And as if keeping 36 people straight isn’t hard enough, we have: 3 David’s and a Davis (plus Amy David); 3 Amy’s (including Amy Perdue); 2 Christy’s and a Chris; a Rick and a Richard; and a Marty, a Margie, and a Marie. Some days, I swear I’ll never cast another show with people that have the same name!

Now you know why I use football diagrams! I just hope this “play” scores a touchdown with audiences! (Sorry for the puns… It’s football season, after all!)

Hail and Farewell to Betty Ann Grove

Posted by Bruce Miller
On Friday at noon, a small group of us met for lunch to toast our lovely, charming and funny friend, Betty Ann Grove, who moves this week to the Actors Home in Englewood, New Jersey. Going left to right, that's me, Robyn O'Neill, Lauren Leinhaas-Cook, Janine Serresseque, Eric Williams, Larry Cook and Betty Ann. Phil's the one taking the picture.

On the Richmond theatre scene, Betty Ann has been the cream in our coffee for just over 16 years now. We celebrate with her during this transition, and we look forward to hearing all the news about her new New Jersey adventure. We especially look forward to bringing Betty Ann back home to Richmond for an upcoming production or special appearance.

Betty Ann was a cultural treasure in our very midst, and thankfully we had the good sense to appreciate her. She appeared at Swift Creek Mill in Driving Miss Daisy, Something’s Afoot and Smoke on the Mountain. She joined us at Theatre IV in Da and The Music Man. Most recently, Betty Ann dazzled our Bifocals’ audience with her one-woman presentation, My Life on the Great White Way.

So what was Betty Ann’s showbiz life like before she and her late, beloved husband Roger Hunting brought their good will to Richmond? Well, I wouldn’t be telling a lie to say that for about five years in mid-century, Betty Ann Grove was America’s sweetheart. The photos of Betty Ann scattered throughout this post are merely what I could find in one evening on eBay.

She graduated with stars in her eyes from Cambridge Public Schools in Massachusetts just at the end of WWII. To tell the truth, there must be something in the water up there. Other Cambridge graduates include Walter Brynnan of The Real McCoys, the great American poet e e cummings, Peggy Cass of all those game shows we used to watch in the 60s, Donald Regan (Chief of Staff for President Ronald Reagan), Olympic Gold Medalist and NY Knicks superstar Patrick Ewing, Orson Bean (I seem to remember him with Peggy Cass on those game shows and also in Dr. Quinn, Medicine Woman), and a couple of mugs named Matt Damon and Ben Affleck.

Within three years after graduation, Betty Ann found herself starring on the hit TV variety show, Stop the Music. Cole Porter saw her, loved her, and selected her to replace Lisa Kirk in the major role of Bianca in Broadway's original Kiss Me, Kate (see photo to the left), a gig that she continued until 51.

For a while, she was starring on TV (Stop the Music, The Bert Parks Show [see photo to the right]) at the same time she was starring on Broadway, dashing from TV studio to Broadway playhouse and often just making it in time for curtain. One day when her TV broadcast ran late, she had to start changing into her Broadway costume as she was running down the New York streets.

After Kiss Me, Kate closed, it was back to the small screen for Betty Ann. She starred in The Big Payoff (51), The Red Buttons Show (52 – 54), Summer Holiday (with co-star Merv Griffin in 54), and the Jane Froman Show (she shared guest host honors with John Raitt while Jane was on vacation). For a while, she and Merv Griffin co-starred again in the Merv Griffin / Betty Ann Grove Show (see photo above to the left).

In 1953 she made the cover of TV Digest. Shortly thereafter, she was on the cover of Look Magazine as one of “America’s Most Televised Women.” Her recording of Waltzing Down the Aisle was a chart-topping hit.

In the late 50s, she co-starred on radio with Jim Backus in The Jim Backus Show. In the early 60s she moved on to regional theatres and the straw hat circuit, starring in stock productions of The Sound of Music, Hit the Deck and many others.

In the late 60s, it was back to Broadway, where she created the role of George M. Cohan’s mother in the hit Broadway musical George M!, starring with Joel Grey and Bernadette Peters. Shortly after George M! closed, Betty Ann married the love of her life, Roger Hunting, a successful trial lawyer and, eventually, New York City Civil Court Judge.

Betty Ann returned to Broadway in 1979 with I Remember Mama, opposite Liv Ullman, and again in a revival of Rodgers and Hart's On Your Toes in 83 and 84, appearing with Natalia Makarova and Dina Merrill.

In the early 90s, Betty Ann and Roger moved to Richmond, and we fell in love with the both of them.

Betty Ann, please know how much we’ll miss you, and how much more we’ll be thrilled to see you again when you return to us down here and/or we visit you up there. You’ve earned your way into our hearts, and no matter how famous you are on the national stage, all of us in the Richmond theatre community will always claim you as one of our own.

--Bruce Miller

Meet Our Touring Actors - Part II

Posted by Bruce Miller

Theatre IV is the Children's Theatre of Virginia. Since our founding in 1975, we have toured national caliber educational programs to Virginia's public and private schools. It's a major part of our mission as a nonprofit organization.

It's also a major component of our business model. The total of the combined annual budgets of Barksdale Theatre and Theatre IV is approximately $5 million. Of that amount, approximately $1.4 million is generated by touring operations.

The same performances that we tour to Virginia schools for a significantly discounted fee (averaging about $1.40 per student) sell in the national market for approximately $3,000 per day. We regularly tour throughout Virginia, 32 other states on the eastern half of the U. S., and the District of Columbia.

Yesterday and today I'm introducing you to the talented professional actors who work full time for our touring company and make all of this possible. I've tried to subdivide a picture that was taken at our annual Tourmite Party; I apologize for the photos looking a bit like puzzle pieces pulled from a larger image. That's exactly what they are.

In the first photo (seen above and to the left), we have Faith Boles at the top, with her chin half obscured by the curly head of Mike Bash. Mike's left arm is around the shoulder of Michael Ruff (wearing the baseball cap), and just below Mike Bash's curly head is Garrett Weeda, with his right arm raised in, I think, some sort of hip hop gesture. The two smiling faces below Garrett and Michael are Jennifer Zubernick and Jonathan Niotis. Stephanie Hill is the lovely face at the bottom of the puzzle piece.

Faith Boles, Michael Ruff and Garrett Weeda are all in the cast of The True Story of Pocahontas. Mike Bash and Stephanie Hill are in The Legend of Sleepy Hollow. Jonathan Niotis and Jennifer Zubernick will be touring with Jack and the Beanstalk. Garrett, Jennifer and Stephanie are returning to Theatre IV for a second year; Faith, Jonathan, Michael and Mike are joining us for their first season.

Faith Boles was hired in our Memphis auditions. She graduated from Shenandoah Conservatory in Winchester, VA, and came to us after acting gigs with the Lake Dillon Theatre in Colorado. We cast Mike Bash out of our Boston auditions. Mike hails from Red Bank, NJ, and graduated from Emerson College in Boston. His previous acting work was with Zeropoint Productions and the Longwood Players, both of Boston.

Michael Ruff is another one of our Memphis hires. He is a native of Oklahoma, and graduated from Southeastern Oklahoma State. His last acting contract before moving to Richmond was with the Off Square Theatre in Jackson Hole, Wyoming (pictured to the left). Nice work if you can get it. Garrett Weeda is a Madison grad, and spent the summer with the Park Playhouse in Albany, NY.

Jennifer Zubernick graduated from Wilkes University in PA, and lists the Shea Theatre in New York among her previous credits. Jonathan Niotis was cast out of our Atlanta auditions. He graduated from the University of Miami and recently performed with the Jerry Herman Ring Theatre in that same city. Stephanie Hill spent the summer in between her two Theatre IV tours working for The Lost Colony. She is a VCU grad, and appeared on Theatre IV's mainstage in Disney's Beauty and the Beast.

Our next group of actors, pictured to the right, includes (left to right) Renee Monico, Liz Ballard and Jon Perez. Now before you think that any of our actors are truly bizarre (they may be; I don't know them that well yet), I remind you that this group photo was taken at a party with a Western / Hawaiian / pirate theme (it's a bit of an inside joke), and our intrepid trespians outfitted themselves in their best Yee-haw, Ahoy and/or Aloha-inducing garb. Renee and Liz are new to us this year, and they both will be appearing in The Legend of Sleepy Hollow. Jon is returning for his second touring season, and he's in the cast of Jack and the Beanstalk.

We cast Renee out of our Boston auditions. She graduated from The Hartt School at the University of Hartford, and came to Richmond after a contract with New England's prestigious (and beautiful) Goodspeed Opera House, pictured to the left. Liz was cast in Atlanta, and graduated from Catawba College. She's a native of Culpepper, VA. Jon was cast in our Charlotte auditions. He graduated from Southern Illinois University, and previously toured with the California Theatre Company.

Our final group of touring actors includes (left to right) Ronnie Brown, Meghan Kelleher, Brian Tarter, Nicole Wakefield and Darrick Penny. Ronnie and Meghan are in the cast of Jack and the Beanstalk; Brian and Nicole perform in The True Story of Pocahontas. Derrick is in The Song of Mulan. Nicole is returning for her second touring season with Theatre IV; the other four are new to our company this year.

Ronnie Brown graduated from Penn State, and recently worked on the HBO Miniseries, John Adams (pictured to the left with biographer David McCullough). Last spring and this summer, he was employed on the running crews of Theatre IV's The Wizard of Oz and Barksdale's Into the Woods. Meghan Kelleher was hired in Atlanta. She graduated from Emory and Henry, and performed previously in the company at Mill Mountain Theatre. Brian Tarter (our tallest actor at 6' 4" or more), graduated from Ashland University in Ohio, and performed previously at the Huron Playhouse.

Nicole Wakefield (partially obscured in the photo) was cast out of Memphis, but appeared as a child in Theatre IV's productions of Babes in Toyland and The Music Man. Other local theatre credits include roles at Swift Creek Mill Theatre and the West End Assembly of God. Last but not least, Darrick Penny was cast out of our Atlanta auditions. He graduated from Elon with a BFA in Musical Theatre and a minor in Spanish.

We wish all of our fine actors a most successful first semester, and thank them for their talent and hard work.

--Bruce Miller

"Birdie's" Strouse Has Roots in Richmond

Posted by Bruce Miller
While writing the Bye Bye Birdie blog, I promised that I'd soon write about Richmond's connections to legendary composer Charles Strouse. Here goes.

In 1961, Charles Strouse made American musical theatre history when he composed the first Broadway score to be written in the rock and roll vernacular. Seven years before Hair, Bye Bye Birdie became Broadway’s first "rock musical." Of course the rock 'n' roll of Birdie is of the Elvis Presley / Bobby Rydell / Connie Francis variety, with several pop numbers and a bit of salsa thrown in for good measure.

Nonetheless, the songs in Bye Bye Birdie (including the title tune, One Last Kiss, Honestly Sincere, Lotta Livin’ to Do and One Boy) sounded a lot more like what we were listening to on our transistor radios in 1961 than had the songs from Broadway’s biggest hits of the preceding five years (My Fair Lady [56], West Side Story [57], The Music Man [57], and Gypsy [59]).

If Charles Strouse had stopped with Bye Bye Birdie, he would have earned his place as a significant Broadway composer. But he didn’t stop. He went on to write ten more Broadway musicals since Birdie, and several musicals that never made it to Broadway. Best of all, he’s still going strong.

All of this is important to Richmond because, to a degree that can be applied to no other major Broadway composer, Richmond has some strong connections to Charles Strouse. To a certain extent, we can honor him as one of our own.

Since Birdie, Charles has written diverse and amazing musicals, collaborating with impressive co-creators:

1962 – All American, starring Ray Bolger, with a book by Mel Brooks. It was Brook’s second Broadway musical, preceding by nearly four decades Brooks’ masterwork, The Producers, which won more Tony Awards (12) than any musical in Broadway history.

1964-66 – Golden Boy, starring Sammy Davis Jr. in Broadway’s first musical to feature an inter-racial marriage. The book was written by none other than the great American agitprop playwright from the 1930s, Clifford Odets, who died during the Detroit tryout, prompting the engagement of “co-writer” William Gibson.

1966 – It’s a Bird, It’s a Plane, It’s Superman, starring Jack Cassidy and Linda Lavin, produced and directed by Hal Prince. Considered by many to be ahead of its time, the campy, pop-art sensibility of It’s a Bird was obviously copied in the hit ABC-TV series Batman, which began to air only months after It’s a Bird closed. Moreover, Robert Benton and David Newman, co-authors of the It’s a Bird book, went on to co-author the Superman movie with Christopher Reeve.

1970-72 – Applause, starring Lauren Bacall, with a book by Betty Comden and Adolph Green

1975 – The Member of the Wedding, featuring incidental music by Strouse, with Virginia’s own Glenn Close understudying Mary Beth Hurt in the role of Frankie Addams!!

1977-83 – A little something called Annie. ‘Nuff said.

1980 – Charlie and Algernon

1981 – Bring Back Birdie, featuring Richmond’s own Porter Hudson, who, as John Hudson, choreographed Theatre IV’s production of Cabaret at the Empire Theatre only months after Bring Back closed

1983 – Dance a Little Closer, featuring Richmond’s own Diane Pennington in the role of Shirley, with book and lyrics by Alan Jay Lerner

1986 – Rags, starring Teresa Stratas and Larry Kert, with lyrics by Stephen Schwartz

1991 – Nick & Nora, starring Barry Bostwick, Joanna Gleason and Christine Baranski, with book by Arthur Laurents and lyrics by Richard Maltby, Jr.

2005-06 – Chita Rivera: The Dancer’s Life, featuring songs by many composers including Strouse

In addition to the two Richmonders who performed in Strouse musicals on Broadway, one of Richmond’s powerhouse talents, Katherine Tracy (pictured to the left in the title role of the Mill's 1980ish production of Mame), served as Charles Strouse’s personal assistant in NYC for a couple years later in the 80s. After her tenure with Strouse, Katherine returned to Richmond to work as Marketing Director of Theatre IV, and then Managing Director of Barksdale. At least partially through Katherine’s contacts, Barksdale produced in 1993 the Strouse revue, By Strouse, and the world premiere of the new Strouse musical, Bojangles, based on the life of Richmonder Bill Bojangles Robinson, with a book by Richmond playwright Douglas Jones.

On the Theatre IV side, I asked Charles if I could adapt his musical teleplay of Lyle Lyle Crocodile for live touring, and he graciously agreed. For several years, Theatre IV produced the national tour of Lyle Lyle Crocodile, with music and lyrics by Charles Strouse and book by yours truly. During one of the first trips I made to New York to work with Charles on my tour adaptation, he invited me to a backers’ preview of Nick & Nora. It was so cool to sit in the studio with all these Broadway types, listening to Barry Bostwick, Joanna Gleason, Christine Baranski and Debra Monk stand around Charles at the piano, singing his Nick & Nora songs for the first time.

Sometime in the mid-90s, Charles and Bernard Waber, author of the Lyle books, had a parting of the ways. Thereafter Theatre IV had to negotiate with Waber’s agents directly. The version of Lyle that we perform today no longer benefits from the Charles Strouse music and lyrics. Now I’m the sole author of all three – book, music and lyrics. Which is cool. But I certainly enjoyed my years in the sun as a partner of Charles Strouse.

There’s one reason why working with Charles, albeit on a limited basis, was so much fun. Despite being the composer of two of the “Top Ten Most Frequently Produced Musicals in America” (Bye Bye Birdie and Annie), Charles Strouse is about as nice, genuine and generous a guy as you’ll find. I’ll always treasure our too brief association.

So, the next time anyone does a Charles Strouse musical in Richmond, all Richmond theatre aficionados should take some pride in knowing that on several occasions, Charles has been down here and Richmond artists have been up there to collaborate on new musicals. In some significant ways, Richmonders can claim Charles Strouse as an honorary member of River City.

--Bruce Miller

Shining as Alexandra in Arlington

The Whiteways and the Millers made it up to Signature Theatre yesterday, and had a grand time seeing Emily Skinner’s terrific performance in The Witches of Eastwick. We were dazzled by (and envious of) Signature’s beautiful new home, which opened in Arlington in January.

Within a great cast, Emily stood out as Alexandra Spofford, the earth mother among the three “witches.” Her acclaimed singing, her accomplished dancing—I’d forgotten how good a dancer Emily is, and especially her engaging acting abilities provided a warm heart and open arms at the center of what is, for the most part, a musical burlesque.
In the original 1980s Witches novel, John Updike kept the three women at its center, and had satiric fun imagining what witchcraft would look and feel like in the 20th Century. It's been a long time since I read the book, but if memory serves, the attractive man (Darryl Van Horne) who moves to Eastwick in the book seduces readers with his charms just as he seduces the three women, and it's not until we're well into the story that we knew for sure that he's not just a devilish rake, but the Devil himself.

In the musical, as in the Jack Nicholson movie from the 1990s, it’s Darryl Van Horne who takes center stage. Particularly in this production, we’re completely aware of his satanic identity from his first entrance, with all that such an identity implies. And as directed by Eric Schaeffer and performed by the very talented Marc Kudisch, Van Horne is one hell of a Devil. A full evening of snakelike tongue flicking, Elvis-like pelvic thrusting, genital grabbing and profane proclamations ensues.

There is fun to be had, to be sure, with a large number of crowd-pleasing songs and dances. The Devil is one funny dude. Eric Schaeffer is a great director—I still fondly remember his Passion, one of the highlights of the Kennedy Center’s Sondheim Celebration. In my opinion, it was a much better Passion than the original version that James Lapine directed on Broadway. And Marc Kudisch is a dazzling and magnetic actor. Maybe it was because I saw Kudisch play the Snake in The Apple Tree on Broadway only a few months ago, but I tired of all the satanic shtick before show’s end. And I kept wishing for the three women to be returned to the center of the story.

A show about the three women would be much more interesting to me than a show about how devilishly cute Satan can be. I had read a couple of reviews comparing Witches to The Music Man. To me, the much more apt comparison would be Damn Yankees.

Three cheers and countless more to Signature for their continued commitment to producing new work. What an amazing asset they are to Virginia and the nation. When we spoke with Emily after the show, she said that there was considerable interest from New York regarding a 2008-09 Broadway production. We wish all involved the greatest success.

Most of all, it was GREAT to see Emily. Having watched her grow up in Theatre IV’s productions of To Gillian on her 37th Birthday, Quilters, Biloxi Blues and several more, we’re incredibly proud of her and all that she has achieved. Watching her greet her many fans after the show, people she’d never met before, and seeing how exceptionally gracious she was with everyone, we realized why she’s one of the ones who’s made it so far. She’s not only a world-class talent; she’s a genuinely good person.

--Bruce Miller

Photos: Emily's headshot, Signature's new exterior, Signature's lobby, and the "sculpture" Emily's character creates in Act II of The Witches of Eastwick. The "sculpture" is on display in the lobby as the audience leaves the theatre.