Barksdale's Bifocals Theatre Project Opens Today

Posted by Bruce Miller
Barksdale produces nine mainstage productions each year in our Signature Season, presented at our intimate Willow Lawn theatre and at the historic Empire, and our Country Playhouse Season, presented at Hanover Tavern. For most theatres, producing nine mainstage shows would be plenty.

Not so for the “little theatre that could.” When Pete Kilgore, Muriel McAuley and their four co-founders created Barksdale in 1953, and for the forty years that followed under Pete’s, Muriel’s, and Nancy Kilgore’s exemplary leadership, service to the community was always just as important as service to the art form.

Some professional theatres are arts for arts sake; some are arts for the community’s sake. Barksdale is the latter.

Barksdale may not be "little" anymore, but this component of the Kilgore/McAuley legacy lives on, enriching Greater Richmond today in many ways that are “outside the box,” and go well above and beyond the call of duty.

Barksdale’s Bifocals Theatre Project is one of the service initiatives of which we are particularly proud. (Pictured to the left: a previous Bifocals production.) Bifocals is a program in which senior producers, directors, actors, designers etc. are paid to create and present short theatrical programs for senior audiences. The name comes from the notion that these performances are presented both near, on the lobby stage at Willow Lawn, and far, on tour to senior centers and retirement facilities throughout Central Virginia.

The Bifocals name and mission was created about 15 years ago by Jewell Sanford and several other veteran theatre professionals, under the auspices of the Henrico Dept. of Rec and Parks. The original incarnation was 100% volunteer. Do in part to that fact, the program lost considerable steam after a season or two, and ceased to exist.

When Theatre IV and Barksdale joined forces in 2001, one of the first things Phil and I did was revive the defunct Bifocals Theatre Project, with permission and encouragement from its founders, under Barksdale’s banner—only this time, everything was and is structured so that these talented senior professionals are paid for their work, just as they are when they're involved in a mainstage Barksdale production.

The Community Foundation and Isabella Witt provided the seed money needed to launch the program. Today, the program exists without any additional funding from outside forces. All of the revenue needed to pay the senior artists comes from ticket sales and fees paid by sponsoring senior centers.

My favorite component of our Bifocals program is this commitment: no senior center that wants to receive programming is turned down due to inability to pay. All centers pay on a sliding scale, based on means. Everyone is served.

The three volunteer co-captains of Bifocals have made all the difference in the success of this program. They are Dr. Pat Walker, Ellen Bode, and Cindy Yuoconis. Greater Richmond should be and is extremely appreciative of their generous example of servant leadership.

If you would like to attend today’s opening of the Bifocals’ season, join us for a reading of The Cedar Chest Letters, produced by Ellen Bode and directed by Barbara Plymale. The performance will begin at 1 p.m. in the lobby of Barksdale Theatre at Willow Lawn. Tickets are $5.

Prior to and following today’s home theatre opening, this reading has toured or will tour to St. Mary’s Woods, Cross Ridge, Lifelong Learning, Dominion Place, Imperial Plaza, Cedarfield, Crossings at Bon Air, and St. Francis.

For more information about Bifocals, to book a performance, or to become involved, contact our staff liaison, Brittany Taylor at 783-1688 ext 1113.

I suspect it is difficult to appreciate the full value of the Bifocals Theatre Project until you’ve seen, as I have, your 92-year-old mother, who spent her entire life loving theatre, reaching the point where she can no longer sit through a two-hour production or leave her retirement home to venture out to a performing arts facility. Then a Bifocals performance comes to her new residence, and her face lights up like the Fourth of July just to have something different to do, and something theatrical to see.

The Bifocals Theatre Project is as important as anything Barksdale Theatre does. It is a star in our crown, and another reason why the “little theatre that could” is still such a unique, vital, irreplaceable thread in the fabric of our community.

--Bruce Miller

McAuley-Kilgore Theatre Library Begins to Take Shape

Posted by Bruce Miller
When Theatre IV was asked by the Barksdale Board of Trustees in the summer of 2001 to assume artistic and business management of Central Virginia's longest standing professional theatre, we immediately responded with an enthusiastic "yes!" One of the programs that came with this new package of responsibilities was the McAuley-Kilgore Theatre Library, named in honor of Barksdale's legendary leaders: Muriel McAuley, David (Pete) Kilgore, and Nancy Kilgore.

In 2001, and throughout the decade that followed, the McAuley-Kilgore Library was distinguished only by a name posted in gold letters over the double doors that are positioned between the library and the lobby at Barksdale Willow Lawn. There were no book shelves in the library. There were no books--actually, there were quite a few old scripts and reference volumes, but they were all packed away in boxes.

As we marked the tenth anniversary of the Barksdale / Theatre IV alliance this past summer, we were able to shed a wee bit of embarrassment as we proudly noted that the Shameful Case of the Library that Wasn't was finally being addressed. Custom bookshelves had been installed last spring by David Powers, our über-hardworking tech director for Barksdale Theatre at Hanover Tavern. And the treasured tomes that had once known the touch of Muriel, Pete and Nancy themselves had been released again into the fresh air and light of day.This fall we plan to organize more effectively the Library and its invaluable theatre collection. All of our books are being recorded into an on-line card catalogue, lending policies are being established, bookplates are being designed and printed to acknowledge all individual donors, and, most importantly, additional volumes are being sought to add to our growing collection.

The photo posted at the top of this article shows mostly empty shelves. It's an old photo. The shelves are now actually filling up quite nicely (see photo below)--but there's always room for more.

Anyone who has ever tried to locate a script or theatre reference work in the Richmond, Chesterfield or Henrico public libraries knows that there is a definite need in Central Virginia for an expanded theatre collection. It is our goal for the McAuley-Kilgore Theatre Library to help to address that need. We are confident that Muriel, Pete and Nancy would be pleased, proud and honored to know that their books and their legacies were being put to good use.

If you have any scripts, theatre recordings (audio or video), theatre reference works or texts, stage novels or biographies etc. (and who among us doesn't?), and you would like to donate these pieces and parts of your own legacy to the McAuley-Kilgore Theatre Library, either now or in your will, please contact my assistant, Brittany Taylor, at 783-1688 ext 1113, or at b.taylor@ (insert the name Barksdale here) Richmond.org. We will be grateful to receive your tax deductible donation to Central Virginia's newest public access, lending and perusal library for the theatre arts.

Also, we are seeking to expand our significant collection of Richmond theatre playbills, posters, etc. into a comprehensive, readily available, theatre archive representing ALL of Richmond's theatrical endeavors. Unique originals will be copied and donated to the official archives at the Library of Virginia. Copies and duplicate originals will be kept in regular (not archive quality) files in the McAuley-Kilgore Library, for perusal only.

No matter which theatre your old playbill collection may represent, if it's a theatre with a Richmond connection, we'd love for you to consider donating your programs to the Library.

All donations to Barksdale Theatre are fully deductible to the extent allowed by law.

Finally, we are also seeking Library volunteers. If you'd like to put in a few hours every now and then, cataloging the collection, please let Brittany know. We'd feel honored to work with you.

Thanks for helping support Richmond's nonprofit, resident professional theatre as we seek to improve the McAuley-Kilgore Library and its collections.

--Bruce Miller

What to Do When You Have No Power?

Posted by Bruce Miller
About three or four times a year we lose power at Hanover Tavern on a show night, causing the cancellation of a performance. Last night was the first time we’ve ever had to pull the plug on an Opening Night. Bus Stop by William Inge is now set for a delayed debut this evening at eight.

Power at Hanover Courthouse is a sometimes thing. Years ago, Barksdale co-founder Muriel McAuley, an avid student of ancient cultures, explained it this way.

Thor (not the Marvel Comics superhero but the ancient Germanic god of thunder, lightning and electricity) flew in his chariot over Hanover on the first of August, 1953. As all you scholars of ancient Germanic mythology remember, Thor’s chariot is powered by two billy goats named Toothnasher and Toothgrinder. As all you scholars of Richmond theatre history remember, August 1, 1953, was the day the six NYC actors who co-founded Barksdale Theatre moved into the Tavern.

The goats looked down as they flew over these hallowed grounds and noticed two sows being dumped unceremoniously into the back yard of the historic property. The two porcine princesses were named Sheba (after the titular pet in William Inge’s first Broadway hit, Come Back Little Sheba) and Tallulah (after the celebrated star who, in Souvenir, laughed so hard during Florence Foster Jenkins’ legendary recital at Carnegie Hall that she had to be carried out of the theatre by friends). Or was that Greta Garbo? Hmmm.

Anyway, the ever optimistic co-founders of Barksdale had acquired two piglets weeks before actually purchasing the Tavern, sure that their dream would soon be a reality. They planned for the pigs to be a thrifty way to “take care of the garbage and provide meat.” However, between the dates of piglet purchase and hog transport, the two sows had grown to 70 lbs each.

On August 1, the pigs were chauffeured to the Tavern by co-founders Muriel McAuley and Pat Sharp. (Pat would play Cherie in the Tavern's 1958 production of Bus Stop.) Quoting from Muriel’s book, Going On … Barksdale Theatre, The First 31 Years: “Until you’ve driven 30 miles with two trussed up, screaming, crapping pigs in the back of an overheated station wagon, you’ve missed one of life’s unique moments.”

Toothnasher and Toothgrinder apparently looked down, saw, heard and smelled the roly-poly garbage disposals, and collapsed in laughter. They knew full well that the co-founders should have foregone the purchase of pigs for the far more sensible choice of goats. This moment of hilarity caused the chariot to jolt, and in retribution, Thor sent a bolt of lighting thundering down onto an unsuspecting Hanover.

Along with the lighting came a curse, which has been buzzing and sizzling along the power grid ever since.

Our policy is this. If the electricity has been out for at least two hours, and it continues to be out three hours prior to showtime, we will cancel the show. It’s the only way we have a prayer of reaching the majority of ticket holders, all of whom we try to call within 30 minutes of the decision to cancel.

Last night’s call turned out to be a good one. As of this morning at 8 a.m., power had returned to the community of Hanover Courthouse, but there was still no power in the Tavern. As of this writing, I'm pleased to report that everything is finally back up and running.

Cancellation policies have not always been so practical. I remember performing in Old Wives’ Tale at the Tavern, three decades ago almost to the day. It was a fun vampire mystery comedy written by former Richmonder Ed Sala and directed and designed by Pete. I co-starred with the late Carol Chittum, the late Will Keys, the late Anne Goodwyn, and the very much still with us Glenn Crone.

One night the power went out in the Tavern during dinner. Rather than cancel the show, Pete, Nancy and Muriel asked every table to carry their hurricane-globed candle with them into the theatre. The candles were placed around the perimeter of the stage, and we performed the entire show in candlelight. Nancy sat to the side and hummed the incidental music and Pete made all the sound effects (wind, thunder crashes etc) by mouth.

It was one of the most fun and exciting performances I’ve ever been privileged to be a part of. But in these more practical days of fire marshals and liability litigation, it will never happen again.

Now that the lights are back on, I look forward to seeing you at the theatre!

--Bruce Miller

August 30, 2009

Posted by Bruce Miller

Resonance.

Richness or significance, especially in evoking an association or strong emotion.

Intensification and prolongation of sound, produced by sympathetic vibration.

Yesterday was a wonderful day. It was the last show of Fully Committed and a packed house once again leapt to its feet in appreciation of and wonder at Scott Wichmann’s talent.

It was also Scott’s 36th birthday. Twenty-six of his family members were there, along with over a hundred friends from Richmond’s theatre community. Love, friendship and respect were palpable.

Immediately after curtain call, Scotty made a heartfelt speech about how special this all was. “I moved here ten years ago,” he said. “I had no intention of staying. I also had no idea of the community I was joining—a community that immediately embraced me and has supported and sustained me. A community like family, that even introduced me to my beautiful wife. This is an amazing birthday because all of you are here.”

After the show, we celebrated with Scotty and each other during a picnic in the Tavern’s back yard. As you all know, yesterday was also Scotty’s last day before joining the Naval Reserve. He checks into a hotel room this evening and hops on a bus tomorrow morning for basic training.

I arrived at yesterday’s festivities leading a van filled with young actors who had just travelled from their homes in New York to connect with the Richmond theatre community for the first time. They are amazing actors, and all of them are Latino. They came here on faith to perform in our upcoming production of Boleros for the Disenchanted.

Our six Boleros actors have to be wondering … What is this Richmond theatre community like? Did I make the right choice to leave my home in New York to come here?

The minute I saw the Tavern, as I was driving up, my heart and head filled with … what? Fifty-six years ago this month, six actors from New York came to Richmond, saw the derelict tavern for the first time, and made the decision to pool every penny they had in the world, buy it, and devote their lives to saving this building and building this theatre.

Before the Richmond Symphony or the Richmond Ballet, before the Virginia Museum Theatre, these New York émigrés founded Central Virginia’s first professional performing arts organization. As they wove their passions and perspectives and talents and intelligences into the very fabric of our community, they changed it forever.

They heard about the Jim Crow laws that made it illegal to admit black audience members into their new theatre. When the county sheriff came to tell them, they offered themselves up for arrest, saying that there was no way in hell they were going to welcome some of their new neighbors into their theatre and home while excluding others. They broke the back of those insane laws by becoming the first Virginians to simply stand up for what was right.

No arrests were made.

How proud Pete, Nancy and Muriel would be, I thought, to know that Barksdale is about to launch Richmond’s first Hispanic Theatre Project. How pleased they would be to welcome these six new New York actors into the home they loved. How thrilled they would be to witness Scotty’s amazing performance, to meet his family, to see the Richmond theatre community gather here again to honor the great spirits that live in this place, in Scotty’s talent and in his heart as he ventures off to join the Naval Reserve.

I saw Phil when I arrived, and shared these thoughts with him.

As he was packing up after the wonderful day and getting ready to drive home to Ashland, Phil's heart and head also filled with a sense of ... connection. He turned the steering wheel of his car, and for the first time in four years, he visited Pete and Nancy’s burial site, located just a few minutes from the theatre. He had thoughts to share.

When he arrived, he looked down at their markers and discovered something that neither of us had remembered. Yesterday was also Pete Kilgore’s birthday. And Nancy’s birthday is Sept. 18, opening night of Boleros for the Disenchanted.

Standing in the dusk in the churchyard, Phil called me on his cell so that I would know.

Resonance.

A subatomic particle lasting too short a time to be observed directly.

I hope to see you at the theatre.

--Bruce Miller

New Music

Posted by Bruce Miller
It’s been a busy few evenings. On Saturday, the Miller family of four made it out to Eurydice at the Firehouse. All of us at Barksdale are honored to be partnering with Carol Piersol and the Firehouse Theatre Project on the Sarah Ruhl Festival. Eurydice is a greatly acclaimed component of this effort. We enjoyed it very much.

On Sunday, Terrie, Curt and I attended the kick-off concert of Stretchin’ at Barksdale—another terrific evening of entertainment. On Monday, I had a great time at Dead Man’s Cell Phone, a slightly staged reading directed by the talented Jase Smith and featuring half the cast of The Clean House and half the cast of Eurydice. Tonight, Phil and I joined the throng of celebrants at the One Night Only Concert Event—Ragtime, The Musical, presented as a fundraiser by Chase Kniffen, Peggy Thibodeau and Stage 1 Theatre Co.

I've irked some folks in the past when, on this blog, I've pointed out the Barksdale and Theatre IV connections of various theatre artists working at other stage companies. I've been accused of adopting an inappropriately paternal attitude when I say I'm proud of theatre artists, in a familial way, when they're working for someone else or for themselves. I'll probably irk someone again now. I'm sorry.

There were two things that moved me deeply tonight at Ragtime.

1. When Desiree Roots Centeio’s wide-eyed young son toddled onstage during the stirring conclusion, portraying Coalhouse and Sarah’s surviving son, while all 55 members of the cast joined in a rousing reprise of Wheels of a Dream, I was swept away by the overpowering realization that Barack Obama was at that very moment concluding his second debate, taking him one step closer to becoming President of the United States. The Wheels of a Dream indeed. I thought it was very moving.

2. When I looked up onto the stage, and into the audience, and throughout the lobby, and across to the various backstage tech positions, and saw face after familiar face, with the great majority of faces coming from the ranks of people I’ve worked with time and time again, all turning out to support Chase and Peggy and Richmond theatre itself, I was intensely proud of our theatre community in general and the Barksdale and Theatre IV family in particular.

I don't know why, but I’ve always had a strong sense of being a small part of a far greater whole. When I began my career at the feet of my teachers Bernard Schutte, Marian Waymack and Jack Welsh, and my more senior colleagues Buddy and Betty Callahan, Pete and Nancy Kilgore, and Muriel McAuley, I greatly appreciated the opportunity to learn from them and work to earn their friendship and respect. I hope my playbill bios over the decades have reflected this. Now I find myself on the other end, having the opportunity to learn from younger colleagues who are charting new paths and working together to achieve great things.

Actors, directors, designers, musicians, stage managers, technicians, house managers, contributors, subscribers and staff members with strong Barksdale and Theatre IV connections turned out in droves tonight to support Stage 1. These same artists and enthusiasts proudly support and work with many other nonprofit theatres in town as well. I think this spirit of cooperation and support for the Richmond theatre community in toto is something relatively new. It has not always been like that, and in some quarters, it's not like that today. It was great to see.

My friends did a beautiful job this evening, and they should be thrilled. It was especially gratifying to see Jerold Solomon take time off from his Broadway gig in South Pacific to return to Richmond for this benefit concert. He and Desi brought down the house more than once, ably assisted by Katrinah Lewis. Jan Guarino's "wheeee's" accompanied by that unforgetable Haynes smile were a hoot and a half. The incomparable Debra Wagoner amped up the power grid and stopped the show on Back to Before. The remarkable Eric Pastore showed once again how much old timers like Chase Kniffen have to look forward to from the next generation. And Tom McGranahan was younger than springtime as a feisty and lovable codger of a grandfather.

Richard Koch, Michael Hawke, Chris Stewart, James Opher, Lillie Izo, Brett Ambler, Joe Thibodeau, Mark Persinger and Robyn O'Neill ably added to the momentous achievement. And music director Sherri Matthews and her 17-member band of renown gave Richmonders a rare sense of a true Broadway sound.

The evening was a tribute to Richmond theatre in general, and testament to the talent, commitment and can-do leadership that Chase and Peggy are bringing to their new venture. I can’t wait to see each of the shows in Stage 1’s great new season.

I hope to see you at the theatre—be it one of ours or someone else’s.

--Bruce Miller

The McAuley-Kilgore Memorial Library

Posted by Bruce Miller

Under the exemplary leadership of John Glenn, Barksdale Theatre moved from Hanover Tavern to its new digs at Willow Lawn in 1996. The plan at the time was to create a theatre library in honor of our founders, Nancy and Pete Kilgore and Muriel McAuley (pictured above, left to right). A tasteful room was built off the southern end of the lobby, and the words “McAuley-Kilgore Memorial Library” were emblazoned over the elegant French entry doors in letters of gold.
Predictably, the renovation that transformed the former second floor warehouse area into the intimate and comfortable theatrical setting we enjoy today required a larger investment of time and money than originally planned. And so the construction of permanently installed bookshelves in the “Library” was postponed until such time as resources became available for their design and assembly.

One thing led to another, and now, in 2008, we still have yet to transform our “Library” into a library.

Countless boxes of scripts, theatrical texts, showbiz biographies and original cast albums remain in storage, waiting for over a decade for their promised homeland. The collection of tomes has grown over the years as loyal Barksdalians have contributed their home libraries to our long anticipated public “Library.”

In the interim, a private theatre library was started at VCU in memory of the great director and theatre prof Ken Campbell. More recently, in association with RAPT, David Sennett has generously launched an internet-connected lending library from his home.

But the McAuley-Kilgore Library, when it finally comes to pass, will still fill an important void. When the general public wants to walk into a room and peruse shelves filled with theatrical scripts and reference works, there’s still no place in Central Virginia for them to go. For all their many strengths, our local public libraries are woefully short on scripts. Many a professional and amateur actor and/or theatrical student has searched for even a well-known play only to learn that a well stocked, “open to the public” theatrical library still doesn’t exist in Greater Richmond.

Until that day when the McAuley-Kilgore Library finally opens to meet at least part of that need, our “Library” is being put to good use. The Richmond Playwrights Forum has been meeting there on a monthly basis for years. Theatre IV’s Board of Directors and Barksdale’s Board of Trustees call the “Library” home for the lion's share of their Board and committee meetings. Countless production meetings have been held there, not only for shows at Willow Lawn, but also for shows at the Tavern and the Empire. Small armies of students and children have gathered around the table engaged in seminars and summer camp experiences.
Most tastefully of all, the “Library” has welcomed a cornucopia of buffets and party spreads in service to an endless parade of cast soirees and group outings.

Hopefully, the longed for end will soon be in sight. David Powers, our Technical Director at Hanover Tavern and carpenter extraordinaire, has designed and priced the shelves, and this year we will be in the process of raising $12,000 in capital funds to refurbish and install the inner workings that will one day allow our “Library” to live up to its name. If you or any of your associates would like to help with this fundraising effort, please email Emily Cole. If you would like to donate books and/or recordings of a theatrical nature, please contact Brad Tuggle at the same address.

Our goal is to refinish the handsome conference table and chairs donated by the Markel Corporation in 1996, enabling us to continue to use the “Library” for all of the multi-purposes that have emerged over the last 12 years. We also plan to continue to display the historic portraits of Pete, Nancy, Muriel and Pat Carroll. Surrounding these practical and cherished features, we’ll one day have a fine collection of theatrical reading and listening materials to meet our community's need.

Muriel, Pete and Nancy (especially Muriel) had the greatest reverence for books. One day soon, we’ll all be able to enjoy and benefit from the Library built in their name, with the greatest reverence for their memories, and all they meant to Central Virginia.

--Bruce Miller

Oh Christmas Tree! Oh Christmas Tree! Look!! The Show I Did in '63!!!

Posted by John Steils

The good men and women of Barksdale’s Bifocals Theatre Project—our dynamic initiative for senior theatre artists and audiences—are launching a new program. During the next several months, they will be working independently and with Barksdale’s artisans to create handcrafted Christmas tree ornaments to represent each of the approximately 300 mainstage shows that Barksdale has produced since its founding as Richmond’s first professional performing arts organization in 1953.

Simultaneously, we will all begin creating ornaments for each of the mainstage productions at Theatre IV and the Virginia Museum Theatre / TheatreVirginia, the two other great stage companies whose resources and energies contribute so much to make Barksdale the powerhouse it is today.

Eventually, all these ornaments will be hung each year on the festive trees located in the lobbies of our Willow Lawn, Hanover Tavern, and historic Empire performance facilities. Christmas and Hanukkah are an ideal time to remember and celebrate all the great professional productions that have made Richmond the theatrical capital of the region. Who knows, maybe other theatres will join in the project to create memory trees of their own.

During my three months at Barksdale, I’ve had the privilege to meet and talk with many of the hundreds of theatre artists, Board leaders etc. who make up this landmark institution. Kevin Kilgore, Jacqui O’Connor, Essie Simms (she’s seen every B’dale production since 1953!) and many, many others have shared stories of the Tavern that have made the historic Barksdale come alive for me. Ford Flannagan, Gordon Bass, Terrie Powers and their pals have related stories that go back to Theatre IV’s founding in 1975, allowing me feel like I was in those touring vans myself. Did Jan Guarino really learn the entire score to Jubilee! while riding in the van on the way to a Newport News performance?

Sue Griffin, Meredith Stanley Scott (pictured with husband Alfred in the '70s to the left), Bob Albertia and dozens of others have shared their tales of VMT / TVA, keeping that company very much alive in the hallways, dressing rooms and rehearsal halls of Barksdale. Did you know that six of our current staff members, scores of our talented theatre artists, even our artistic director are all VMT / TVA vets? Shoot, the evening gown that Jan Guarino wears nightly in Swingtime Canteen was first created for and worn in Bubbling Brown Sugar at TheatreVirginia, and Jan herself starred in countless TheatreVirginia productions (in between those notorious van rides at Theatre IV).

You generous people in Richmond’s vibrant theatre community have had the good sense to combine and unite your passions to create a current company that thrives on all the strengths of the various companies that preceded it. That’s a pretty amazing achievement, and I don’t think there are many theatre communities that could pull it off. Pete, Nancy and Muriel (and Leslie Cheek, Robert Telford et al) must have been amazing people to have created the family you have become. Now, the three memory trees you are creating will represent their and your star-studded history in all its glory. You have my undying admiration.

Sadly, sort of, for me, this is my last blog entry. I came to Richmond at the end of September to be with my sister, who was seriously ill. The wonderful news is that she is now SO much better and I am able to return home. While I was here, Barksdale was kind enough to welcome me into the fold, and give this theatrical fish-out-of-water a temporary home. My part-time internship with the marketing department has been a lifeline for me during a somewhat stressful time, and I can’t thank you all enough.

So Merry Christmas and Happy Hanukkah! I will miss you all, and I thank you for being the most amazing theatre I’ve ever had the privilege to know. Long may you thrive!

--John Steils

Heaving Hedgehogs in Hanover

Posted by Bruce Miller

After a 12 noon meeting in Ashland on Wednesday, Phil and I decided to drop in on our Swingtime Canteen company at Hanover Tavern before their 2 pm matinee. Our gorgeous ladies were in their costumes and our dashing men were stepping up to their piano, bass and drums in an effort to begin the show, when word came down from Michelle (of the restaurant that bears her name) that she had just been called by a bus group of 45 South Carolinians. They were traveling up 95 and would be about 25 minutes late for the performance. Could we hold?

Three groups comprised most of the sold out house that day. The Henrico Rec and Parks group and the Red Hat Ladies were already sitting patiently in their seats. And right smack dab in the middle of all of them were 45 empty seats for the gentle folk from Charleston.

Situations similar to this happen from time to time, and Phil and I frequently are called upon to do our “dog and pony show.” I’ve never been sure which one of us is the dog and which the pony. Perhaps we’re both donies. Or pogs. But our goal is to keep the on-time audience members happy until the “held up in traffic” audience (usually arriving by the busload) actually shows up.

When it’s a children’s theatre audience, and Christmas, I haul out my audience participation versions of Rudolph the Red-Nosed Reindeer, the Snow Bear Boogie, etc. We put our right paw in and our left paw out, and we parents jangle our car keys to Jingle Bells until the errant playgoers finally make it into their seats. At Easter-time I’ve been known to resort to Little Rabbit Foo Foo.

With an audience of spirited senior citizens, it’s not quite that easy. Making antlers with our hands every time we get to the word “reindeer” doesn’t seem to float their boats. So Phil and I took to the stage and announced that we’d be happy to answer questions about the history (fascinating, actually) of Barksdale Theatre and Hanover Tavern.

After breezing through my less than encyclopedic (but fairly accurate) knowledge of Patrick Henry and Hanover real estate circa 1776, the questions started getting tougher. “Who is the Montgomery Room named after?” (The Montgomery Room is the dining room in which the group had just eaten lunch, and I don’t have a clue how it earned that moniker.) “Did Thomas Jefferson really visit Hanover Tavern and which room did he stay in?”

I felt myself missing Nancy Kilgore.

Nancy, God bless her soul, knew all the answers. And when she didn’t, she was an unrivaled expert at making them up. She was at her most dazzling when the “real” answer was either fleeting or unknown. Watching Nancy lead groups through the Tavern and/or other historic Hanover properties was like watching Maggie Smith captivate the tourists visiting an historic British manor house in Lettice and Lovage.

In that wonderful play by Peter Shaffer, the character of Lettice, hilariously played on Broadway and in London’s West End by Dame Maggie, repeats the same historical narrative to a different group of tourists four times, and each time her docent declamation becomes more fantastical and compelling. In the final iteration, she has the tourists spellbound with a tale of British gentry vaulting down the grand staircase holding aloft platters brimming with baked hedgehogs.

I must admit I resorted to a bit of hedge-hogwash myself when I described the fiddle contest that Henry and Jefferson are alleged to have had "just on the other side of that door" during the Christmas season of 1759. We know from his journal that TJ visited the neighboring estate of Nathan Dandridge that year on his way to William and Mary. Who’s to say that the fiddling legend is untrue?

Of course, the Hanover Tavern in which Patrick Henry worked and played actually burned to the ground sometime in or just prior to the 1780s, and the one we know and love today (at least the northern section in which the theatre is located) was not rebuilt until 1791. But that’s not the way that Nancy Kilgore told it. And if I have the choice of being true to history or true to the memory of Nancy’s wildly enthusiastic embrace of the Tavern’s spirit, I’ll pick the latter any day of the week.

After all, as Nancy once said, “Once you’re sitting in those seats, darling, you’re not in a museum, you’re in a THEATRE!!” Here here.

--Bruce Miller

Images (from the top): Hanover Tavern, Swingtime logo, Rudolph in Claymation, the new Thomas Jefferson gold piece, Nancy Kilgore in Stop the World, Maggie Smith in Lettice and Lovage, Patrick Henry.

Taking Stock, Giving Thanks

Posted by Bruce Miller and Phil Whiteway

Thanksgiving is one of our favorite holidays. All of us at Barksdale Theatre and Theatre IV have many reasons to be thankful.

We are thankful for:

the legacy of hard work, unflappable commitment and uncompromising artistic passion that is our birthright, a gift beyond measure that has been passed on to us by Pete and Nancy Kilgore and Muriel McAuley

a family of theatre artists whose number and talents belie the size of our community, who constantly challenge us to lead and to serve

an intelligent, energized audience that bucks all national trends and continues to grow year after year—an audience that celebrates our successes and pardons our turkeys—an audience that encourages us to risk failure and expects us to do our best

a large and vigilant staff that works selflessly and creatively behind the scenes to generate the energy needed to sustain a major institution (unless you’ve seen them work their magic first hand, you probably have no idea)

financial contributors who believe in the necessity of what we do and are willing to put their money where their hearts are—corporate and foundation donors who understand that it is only through their support that nonprofit arts organizations can work to ensure that everyone has a seat at the table (or at least in the theatre)

trustees who provide the expertise we need to provide ongoing and effective management, who serve as our eyes and ears in the community, who take personal responsibility for the care and feeding of our mission, and who form a bulwark that protects us when times get tough

volunteers who contribute that most precious commodity—time, and who lend encouragement with an unwavering smile

the Virginia Commission for the Arts, under the exemplary leadership of Peggy Baggett (pictured to the right), always caring, always communicating, always holding us to the highest standards

institutional partners like Greater Richmond’s many senior centers and retirement living facilities (Barksdale’s Bifocals Theatre Project); the Hanover Tavern Foundation (our Country Playhouse Season at Hanover Tavern); James River Writers and the READ Center (Virginia Arts & Letters Live); the Latin Ballet of Virginia (Latino Theatre Project); Prevent Child Abuse Virginia and the Virginia Dept of Social Services (Hugs and Kisses); Second Presbyterian Church (the Acts of Faith Festival); Bon Air Presbyterian, Forest Hill Presbyterian and Tabernacle Baptist (rehearsal space); and the Steward School (our summer High School All Star Musical)—all of which help us build capacity to better meet the needs of our community

esteemed colleagues at the African American Repertory Theatre, the Carpenter Science Theatre, the Chamberlayne Actors Theatre, the Firehouse Theatre Project, the Henley Street Theatre, the Richmond Ballet, the Richmond Shakespeare Theatre, the Richmond Symphony, the Richmond Triangle Players, Swift Creek Mill Theatre, Sycamore Rouge, the Virginia Opera Association and many other nonprofit performing arts organizations who help to create the critical mass that keeps all of us afloat

thriving university theatre programs at Randolph Macon, the University of Richmond and Virginia Commonwealth University—their faculty expertise and student talent adds to the lifeblood of our theatre

remarkable youth training programs including the Christian Youth Theatre, HATTheatre, SPARC and many others—enabling children to engage in the arts both as participants and appreciators

and most importantly, the hundreds of thousands of individuals who go nameless here, who buy the tickets, book the tours, assemble the groups, make the contributions, and simply do their part each year to ensure the success of Barksdale Theatre and Theatre IV.

Thank you. We couldn’t do it without you.

Have a blessed and peaceful Thanksgiving.

--Bruce Miller and Phil Whiteway

1920s Playwright Believed in Herself - and Triumphed!

Posted by Bruce Miller

We’re excited about our wonderful production of The Member of the Wedding by Carson McCullers, playing through October 28 at Barksdale Willow Lawn. If you haven’t seen it, please come. We’re proud that it is the latest production in Barksdale’s ongoing Women’s Theatre Project.
In celebration, I’ve been researching the four remarkable women playwrights whose work made it onto Barksdale’s stage during our first decade (1953–1962). In past weeks I have profiled Nancy Mitford (see Barksdale’s First Woman Playwright – Nancy Mitford, Sept 6), Vera Caspary (see Femme Fatale / Femme Fantastique, Sept 10), and Mary Hayley Bell (see Foregoing Fame for Family, Sept 21).

Today I post the final entry in this series, as we re-discover the life and work of …

ANNE NICHOLS (1891 – 1966)

Anne Nichols was a one hit wonder. But what a hit it was. On May 23, 1922, the Broadway lights came up on Abie’s Irish Rose at the Fulton Theatre. Abie's is a whimsical family comedy about the tumult that arises among the in-laws when a stalwart Jewish American soldier and a lovely Irish American (Catholic) nurse meet and marry in France during WWI. It earned mixed reviews from the leading theatre critics of the time (Alexander Woollcott found it charming; Haywood Broun found it abominable). The public, however, seemed to be of one mind. They loved it. And I do mean LOVED it.

Abie’s Irish Rose ran on Broadway for 2,327 performances before closing on October 1, 1927, and remained the longest running play in Broadway history until its record was broken eleven years later by Tobacco Road. Today, Abie's is still the third longest running play, following Tobacco Road and Life with Father. Lorenz Hart immortalized the popularity of the show (and some sophisticates’ displeasure with that popularity) in this lyric from I’ll Take Manhattan:

“We’ll take our babies
To go see Abie’s
Irish Rose.
We hope they’ll live to see
It close.”
The Broadway hit launched 16 road companies that toured the U. S. The play was produced successfully around the world, including a musical version in Newfoundland (pictured above) and a hit production in Berlin, where it was closed only by the rising popularity of Adolf Hitler and his rabid anti-Semitism.

Abie’s was first filmed in the silent era (1928) directed by Victor Fleming (a character in our upcoming comedy about the making of Gone with the Wind - Moonlight and Magnolias), and filmed again as a talkie in 1946. It became a smash hit radio serial that ran for 2 ½ years on NBC in the pre-war 1940s, playing in over five million homes coast to coast each week. It was often referenced in the 50s and 60s by the Jewish/Irish, husband/wife comedy team of Jerry Stiller and Anne Meara. It provided the premise for the hit 1972 TV series Bridget Loves Bernie, starring Meredith Baxter and David Birney. Despite consistently placing in the Top Five in the Neilson ratings, Bridget Loves Bernie was cancelled in response to public protest over the subject matter of inter-faith marriage. Reality soon showed just how ludicrous the protest was. The Irish and Jewish actors, Baxter and Birney, married in real life soon after their TV show was cancelled.

Long before she was dubbed by Time Magazine as "the most successful business woman in the U. S.," Anne Nichols was born into a strict Baptist family of mixed ethnic heritage (Irish and Russian) in Dales Mill, Georgia in 1891. At age 16, she ran away to Philadelphia where she found work as a singer and writer for the theatre. In 1915 she married Henry Duffey, an Irish Catholic actor and producer, and later converted to Catholicism. She never changed her name, which was highly unusual for the time.

By the early 1920s, Nichols had written several successful plays and vaudeville sketches. Abie’s Irish Rose, she later recalled, took her “three hours” or “three days” to write, depending on which article you reference. It opened in San Francisco and then Los Angeles, and proved immensely popular. Eager to bring the show east to NYC, Nichols could not find a producer willing to back the play. Her California producer, Oliver Morosco, thought the play was not sophisticated enough for New York. New York producers didn’t believe there was an audience for so far-fetched a concept as an Irish-Jewish marriage.

Refusing to accept “no” for an answer, Nichols filed suit to take control of her play away from Morosco. She moved to New York, mortgaged her house to raise $5,000, and produced the Broadway production of the play herself. She even hired herself as director, and women directors were unheard of on Broadway in the 1920s.

The production opened at the Fulton Theatre on W 46th Street (pictured to the right, originally built as the Follies Bergere, now known as the Helen Hayes). Standing bravely in the heart of the Broadway theatre district, Abie's opened with everyone except Anne Nichols expecting disaster.

But disaster was not to happen. Abie’s represented classic vaudeville ethnic humor taken to a new level to reflect second and third generation concerns and aspirations of Irish and Jewish America. Abraham Levy (Abie) met Rosemary Murphy in a hospital in France during World War I. She was working at a field hospital as a nurse when he was admitted with wounds suffered while serving as a pilot in the Army Air Corps. Despite their religious differences, they fall in love and get married (by a Baptist minister).

When Abie brings Rosemary home to meet his father Solomon, a very traditional Jew eager to see his son marry within his faith, he introduces her as a “friend” named Rosemary Murpheski. The ruse does not last very long and Solomon eventually discovers the truth. To placate his father (a widower), Abie agrees to have a second wedding ceremony performed by a rabbi. Just as the ceremony is about to take place, Rosemary’s father (also a widower) arrives with Catholic priest (Father Whalen) in tow.

In an earlier era, a scene so fraught with tension and stock ethnic characters would have quickly disintegrated into a melee. (Decades later, such culture clash would result in the "very Richmond" pleasures of O'Briensteins. Remember?) But this was the 1920s and Anne Nichols was aiming her play at a middle-class American audience (Irish, Jewish, or otherwise) that frowned on intolerance. Broadway, in other words, was a long way from the Bowery and the scene is resolved amicably as the rabbi and priest recognize each other from their service in World War I. American patriotism and open mindedness win the day as they recount ministering to soldiers of all faiths.

“Shure they all had the same God above them,” observed Father Whalen. “And what with the shells bursting, and the shrapnel flying, with no one knowing just what moment death would come, Catholics, Hebrews and Protestants alike all forgot their prejudice and came to realize that all faiths and creeds have about the same destination after all.”

Even though Father Whalen performs a third wedding ceremony to make matters right in the eyes of the Catholic church, Abie and Rosemary remain at odds with their fathers until a Christmas dinner (with Kosher food for the Levys) at which the couple present their newborn twins – a girl named Rebecca (for Abie’s mother) and a boy named Patrick (for Rosemary’s father).

True to form, Abie’s was a big hit at Barksdale when Pete and Muriel selected it for their 1960 season, starring Joseph Lowenthal as Abie and Sandy Wade as Rosemary. Harold Goldman played Solomon Levy (the father), Bill Rothenberg played the Rabbi, and Louis Steinberg played the neighbor, Mr. Cohen. (Any relation, JB?)

Abie's opened shortly after the real life wedding of Pete Kilgore and Nancy Masters Kilgore, and almost immediately following the opening of Barksdale’s first Workshop Theatre, a tiny performance space carved out of the downstairs of the Annex. And what was the first production in Barksdale's new Workshop Theatre? The Diary of Anne Frank.

Anne Nichols made many millions by betting on herself and on the simple humanity of Abie’s Irish Rose. She died from a heart attack in Englewood Cliffs, New Jersey, at the age of 75, never again writing anything to equal the mega-hit of her youth.

--Bruce Miller

Deathtr ... errr ... Birdtrap

Posted by Jacqueline "Jackie" Jones

A new acquaintance once asked me what kinds of roles I play. My friend Holly came to the rescue: "Jackie tends to play quirky characters," she said. Yeah, I thought. That and moms. Helga "I am psychic" Ten Dorp, my delicious current role in the production of Deathtrap now playing at Barksdale Hanover Tavern, definitely falls into the quirky category.

At Barksdale’s Hanover home, the cast dressing room is affectionately known as "the Pat Carroll Room" because it was the bedroom Ms Carroll occupied during her earliest runs of Nunsense. It shares the Tavern’s third floor with the business office of Michelle's Restaurant, and in this upper sanctum, actors and culinary artisans co-exist side by side.

About a year ago, Agatha Christie’s Mousetrap was my first show back at the Tavern since its renovation. During the run, we actors had been instructed not to open the windows because of the new alarm system. Till last week, I had never been tempted to disobey.

But on the Thursday evening of Deathtrap's Invitational Dress Rehearsal, I climbed the crooked “servant” stairs at the Tavern’s southwestern corner and entered the long and winding hallway that leads to our northwestern dressing room. Was it my imagination? A pigeon flew overhead. “There’s a bird up here!” I shouted.

Back and forth my new feathered friend frantically flew, seeking escape. That's when I noticed a broom-wielding bartender rushing forward from the other end of the hall, holding his “weapon” aloft like Sweeney Todd. And an arm-flapping waitress (Mrs. Lovett?) began squawking at my back. The pigeon, knowing an animal lover when he saw one, assessed the situation and headed straight toward me.

Quick as a bunny, I turned to the eastern windows looking out toward the historic Hanover Courthouse, hastily removed the "security nail" and tapped with all my might until the top window dropped. The bird, knowing a good thing when he saw one, circled my head like a plane attempting to land at JFK and then whizzed past my ear and out the window into the freedom of beautiful Hanover County.

“Give me liberty,” I thought. Patrick Henry tended bar in the original Hanover Tavern, you know. And his immortal words seemed to be working just as well for pigeons in 2007 as they had for patriots in 1775.

The restaurant staff, relieved by the speedy departure of our uninvited guest, headed back to their stations as I sauntered into the dressing room. My fellow actors were oblivious to all the excitement.

Soon the show began, and I headed downstairs in all my theatrical regalia to prepare for my first entrance. Except for a brief introduction the previous evening (and our Hitchcock moment a half hour earlier in the upstairs hall), Michelle’s new bartender and I had never met. Even if he were able to recognize me in street clothes, he'd never seen me all done up for the play in Helga's Little Dutch Boy wig and blue beret. Perhaps that explains the very curious look he gave as I strode past the bar on my way to the stage door and whispered, "You really didn’t need the broom, you know. It's good luck to have bird-poop on your head."

Oh, those crazy theatre people, I’m sure he thought, probably not identifying me with the pigeon rescuer from the upstairs hall. I smiled. Pete and Nancy Kilgore (animal lovers extraordinaire) would have been so proud.


--Jacqueline “Jackie” Jones
http://www.jacquelinejones.net/

My Dinner with Bob Porterfield

Posted by Bruce Miller

In the winter of 1968, about six months after Barksdale’s Stop the World residency at Barter (see Barksdale and Barter, Aug 28), and about four months before my high school graduation, I was invited to dinner with Robert Porterfield--"please call me Bob"--Barter’s legendary founder. Here's a photo of Bob (taken about a quarter-century earlier) with First Lady Eleanor Roosevelt.

This was nothing like my mealtime encounter with Arthur Miller (see My Lunch with Arthur Miller, Aug 12), where I sat respectfully and anonymously at his elbow with neither one of us saying a word. This was an animated three-hour dinner conversation with only four of us in the room.

A little background... In high school, I met one of my lifelong friends, Terry Bliss (pictured to the left). She’s co-author with me of Hugs and Kisses, and she works today as a practicing attorney and Artistic Director of North Street Playhouse in Onancock, VA. I was also good friends with Terry’s younger sister, Kathy. Through Terry and Kathy, I became friends with their mother, also named Terry Bliss. Terry Bliss (the mother) was the director of PAVE (Performing Arts in Virginia Education) after it became independent of the Virginia Museum of Fine Arts and just before it morphed again into the Virginia Commission for the Arts.

Terry Bliss (the mother) is now named Terry Showalter, and doing great things in Harrisonburg, VA.

Terry Bliss (the mother) had met the late Mason Bliss (the father) while he was working as the booking agent for Barter Theatre after WWII. (Below and to the right, you can find a photo of the Barter touring bus from the post-war years, parked in front of the Algonquin Hotel in NYC.)

In 1946, Mason was trying to book a Barter touring production into Limestone College in Gaffney, South Carolina, where Terry headed the theatre department. He didn't win the booking, but apparently he won the heart of the drama chair. Six months after their first meeting, Mason and Terry were married in Abingdon. Southwest Virginia was “dry” in those days, so Ernest Borgnine (pictured to the right) drove to Tennessee to pick up the wedding champagne. Bob Porterfield was the Best Man. The happy couple moved into the Barter Inn, company housing for the theatre. It was in the Barter Inn that Terry Bliss (the daughter) was conceived and lived the first several months of her life.

Soon after his daughter’s birth, Mason Bliss needed to earn money. He established The House of Bliss Celebrity Bureau, Inc.—yes, that really was the name—and he moved his family to Richmond. From here he ran one of only three producing and nationally touring theatre operations to be located outside of New York or Los Angeles. Terry (the mother) was a respected local actress. (A photo of her on the cover of a Richmond Summer Theatre playbill appears above and to the left.) Each year The House of Bliss would produce touring productions starring the likes of Pernell Roberts, Dennis King, Sir Cedric Hardwicke and Hal Holbrook. Google ‘em if you’re too young to know who they are.

When Mason died in the mid-60s, the House of Bliss died with him. Terry (the mother) went on to direct the state agency PAVE, and it was her job to book arts programs into Virginia’s schools. She relied on her good friend Bob Porterfield and the artists from The House of Bliss to help her with her job.

In 1968, Bob Porterfield was coming to Richmond, and he called Terry Bliss (the mother) to invite himself over for an evening’s meal. She told him about her daughters’ friend (that would be me), a high school student who was, as Moss Hart famously said, "drunk" on “the smell of the theatre.” Bob was renowned for how much he enjoyed talking with students who wanted to go into theatre professionally. He encouraged her to include me in their get together.

Terry (the daughter) was off in college, so Terry (the mother), Kathy, Bob and I met for dinner in February, and the rest of my life was molded, at least in part, in that one funny, moving and passionate conversation.

Bob spoke enthusiastically about the founding of Barter, and about his good friends Pete and Nancy Kilgore and Muriel McAuley (who, at that time, I had yet to meet). He expressed how much he admired Barksdale, because they were going through so much of what he went through in Barter's early days. He professed that theatre was the noblest vocation anyone could accept, and convinced me that, should I decide to pursue such a career, it would be a privilege and an honor that I could not take lightly.

He discussed the work that he and others had done with President Kennedy to create the National Endowment for the Arts, which had finally been established by President Johnson only three years prior to our dinner. Bob passionately believed that encouraging and showcasing artistic excellence would rekindle America’s creative energy, enrich a national cultural landscape that he believed was in danger of stagnation, and engender in average Americans an understanding of what true civilization really meant.

He believed that, due to our nation’s emerging prosperity, we in the U. S. had inherited from Europe the responsibility of being the caretaker of Western culture. He was convinced that the best way to lure developing countries away from communism and toward democracy was through artistic expression, a tool that the Russians were funding at the time with unparalleled vigor.

Decades before the social economist Richard Florida began discussing the "creative class," Bob Porterfield (pictured in the pencil portrait to the left) discussed American business’s need for the creative education and inspiration that only an arts-rich environment can provide.

It was heady stuff. It changed my life.

Bob Porterfield, Pete and Nancy Kilgore, and Muriel McAuley were great leaders not only because of the institutions they founded and sustained, and certainly not only because of the plays they produced. They were great leaders because of the imaginations they ignited, the opportunities they provided, and the dreams they applauded, encouraged and embraced.

I am forever in their debt.

--Bruce Miller

Addendum: On the "Six Degrees" front, Bob Porterfield's secretary at Barter was Byrd Jervey. When Mason Bliss founded The House of Bliss, Byrd accepted a job as his secretary, moving with him back to Richmond so that she could be closer to her sister. Her sister was Helen Jervey, who was Muriel's first friend and office mate at AAA, and would subsequently become a legendary Barksdale All Star, beginning with Barksdale's first mainstage production, Gold in the Hills.