Those Canaan Days

Posted by Bruce Miller
Being, as it is, the first day of Autumn, I would be remiss to say goodbye to the Summer of ’09 without recognizing that a quarter century has passed since Barksdale began the most prosperous two years of its history. It was on Friday, June 29, 1984 that Barksdale opened Randy Strawderman’s production of Joseph and the Amazing Technicolor Dreamcoat, a success of Biblical proportions. The smash hit musical took Richmond by storm. It ran for over two years at Hanover Tavern and then headed out of town on national tour. Joseph was directed and choreographed by Randy, with music direction and arrangements by Barry Hayes, setting and costumes by Jann Paxton, and lighting by Katrina Allison. James Hughes, a virtual unknown with no professional stage experience, starred in the title role, with Sandee Flores (née Hayes) co-starring as the Narrator, the role of her career.

The incomparable Jay Lundy appeared as the patriarch Jacob, and the now ubiquitous David Clark, Larry Cook, and Cynde Liffick (née Cindy) made their first big splashes on the Richmond theatre scene.

The rest of the original cast included Robin Arthur, Regina Christopher, Karen Elaine Cress, Holly Dudley, Robert Easter, Adam Harris, Paul Haynes, Kevin Henshaw, Tyler Lincks, Connie Manson, Harry McEnerny, Robert Pemberton, Don Semmens, Bernard Toliver, and Bryan Wade. Tracy Adams, Graham Cheek, Michael Cole, Philip Jowdy, Rhonda Lipscomb, Bobby Mauney, and Norvell Robinson Jr. joined as replacements and alternates later in the summer.

Terry Little served as Production Stage Manager. Barbara Stanitski stage managed (to be replaced later in the summer by Sybel Crone). Richmond artists Bill Nelson (poster graphic) and Clifford Earl (sun sculpture that held center stage) added immeasurably to the production. Rook Strong and Doug Draucker (alternating with David Jewett) joined Barry Hayes in the onstage combo.

In those days gone by, Barksdale did not have a “season” or “subscribers,” and when a show was a hit, it simply kept running. Joseph certainly was a hit, and its phenomenal run broke Richmond longevity records for all time.

So as we bid farewell to this Silver Anniversary Summer, all of us at Barksdale offer many thanks to the innumberable theatre artists who have added so much to our company’s history. Your incomparable efforts and talents will live on our stage / your stage forever, long after the final curtain of any one particular show.

Your presence is felt and honored.

--Bruce Miller

Betting Our Bottom Dollar

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

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

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

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

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

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

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

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

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

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

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

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

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

--Bruce Miller

A Reading of Dead Man's Cell Phone by Sarah Ruhl

Posted by Billy Christopher Maupin

"You know what's funny? I never had a cell phone. I didn't want to always be there, you know."

What would you do in response to an incessantly ringing cell phone as you were trying to enjoy your lobster bisque in a near-empty cafe? Jean, who lies at the center of Sarah Ruhl's most recently published (and my personal favorite) play, Dead Man's Cell Phone, answers it. As it turns out, the owner of the phone, Gordon, is dead. But Jean continues to answer Gordon's phone and finds herself meeting his family, falling in love with his brother -which results in a room full of floating stationery in "classic" Sarah Ruhl style-, meeting his mistress...AND his wife, and becoming involved in organ trafficking.


Charles Isherwood writes in the New York Times:

"A beguiling comedy ... a hallucinatory poetic fantasy that blends the mundane and the metaphysical, the blunt and the obscure, the patently bizarre and the bizarrely moving. As Dead Man's Cell Phone takes surprising twists and leaps, the lament for the supposed coziness of pre-digital culture takes on layers of nuance and contradiction. Characters in Ruhl's plays negotiate the no man's land between the every­day and the mystical, talking like goofs one minute and philosophers the next. And her characters' quirkiness is in keeping, too, with the play's doleful central theme, that each human being is a book full of surprises even to intimates, and that one is destined to be left unfinished. Ruhl's affec­tion for the unexpected phrase, the kooky observation, the unlikely juxtaposition, is essential to her central belief that the smallest and most trivial things in life can be charged with meaning. She writes surrealist fantasies that happen to be populated by eccentrically real people, comedies in which the surface illogic of dreams is made meaningful­ -made truthful- by the deeper logic of human feeling."

On Monday, October 6, on the Barksdale Theatre Lobby Stage at 8PM, Barksdale and The Firehouse Theatre Project will co-produce a reading of Ms. Ruhl's Dead Man's Cell Phone featuring cast members from our production of The Clean House (see Rave Reviews below) and Firehouse's production of Eurydice. This continues as part of the Sarah Ruhl Festival. (Don't forget that audience members who see both Eurydice and The Clean House receive a discount on tickets!)

The reading will feature Laine Satterfield - currently appearing as the title character in Eurydice - as Jean (played in the New York production by Mary Louise Parker, Tony Award winner for her performance in Proof by David Auburn, also the star of the hit Showtime series, Weeds), Andy Boothby - Big Stone in Eurydice - as Gordon, the "Dead Man" of the title, Robin Arthur - Ana and A Woman in The Clean House - as Mrs. Gottlieb, Lauren Leinhaas-Cook - Loud Stone in Eurydice - as Gordon's widow, Hermia, John Moon - Charles and A Man in The Clean House- narrating, Bianca Bryan - Matilde in The Clean House - as The Other Woman, and Chris Hester - Orpheus in Eurydice - as Dwight. The reading will be staged by Jase Smith from The Firehouse Theatre Project.

Both Bruce Miller and Carol Piersol (Artistic Director of The Firehouse Theatre Project) will speak prior to the reading. A cash bar will be available in the lobby beginning at 7PM and will also be available at intermission. There is no admission charge and seating is general admission.

Don't miss out on this exciting collaboration!

Our First Review for "The Clean House"

Posted by Bruce Miller

We welcome Julinda Lewis to the growing fold of Richmond theatre critics. She wrote a complimentary review for The Clean House in this morning’s T-D (more about that in a moment). Ms Lewis has been reviewing dance in Richmond for four or five years now, and she’s critiqued other theatrical shows and companies over the last 18 months, including one show at Theatre IV. This is her first review of a Barksdale production, and we’re pleased to be working with her.

Ms Lewis is director of the Ayinde2 Children and Ayinde2 Youth Dance Ministries at St Paul’s Baptist Church in Richmond. Prior to moving to Richmond, she was the founding director of the Spiritual Walking Liturgical Dancers at Emmanuel Baptist Church in Brooklyn, NY, where she grew up and studied dance with George Faison, Fred Benjamin, Eleo Pomare, Maurice Hines and Pepsi Bethel. She also studied with the Dance Theatre of Harlem.

Ms Lewis holds BS and MA degrees in Dance and Dance Education from NYU’s School of Education, Health, Nursing and Arts Professions. She has been a dance writer and critic for more than 25 years. She is the author of a young adult biography, Alvin Ailey: A Life in Dance, and editor of Black Choreographers Moving Towards the 21st Century, which has been used as a textbook in dance programs throughout the nation.

Ms Lewis is enrolled in the PhD in Education program at VCU. Her dissertation examines the needs and perspectives of gifted performing arts students. She is currently a teacher with the SPACE Program (Special Program for Academic and Creative Excellence) with Richmond Public Schools, and a frequent contributor to Dance and Pointe magazines. Just like her esteemed T-D colleague, Susan Haubenstock, Ms Lewis works as a “Special Correspondent” for the Times-Dispatch.

Here are the quotes we'll be pulling and publishing from her glowing review of The Clean House:

“Perfect!
Free-Spirited, Romantic Comedy
Vivacious, Mystical, Defies Convention
The best tantrum ever seen on a stage!
An Analogy for Love ~ Poignant ~ Beautifully Designed
Everyone is Laughing!”

--Julinda Lewis, Richmond Times-Dispatch

We’re so proud of this beautiful production of a great play by Sarah Ruhl, and honored to be partnering with the Firehouse on the Sara Ruhl Festival. If you haven’t made your reservations yet to see The Clean House at Barksdale and Euridice at the Firehouse, I hope you’ll call the box office today at 282-2620.

See you at the theatre!

(The Jay Paul photos seen above picture the following outstanding cast members: [top left] Bianca Bryan and Robin Arthur, [top right] Kelly Kennedy, [mid left] Bianca Bryan and Robin Arthur, [mid right] John Moon and Robin Arthur, [lower left] Jan Guarino, [lower center] Jan Guarino and Bianca Bryan.)

--Bruce Miller

You Scream, I Scream, We All Scream for

Posted by Bruce Miller

It was a dark and stormy night, on stage and in the “real world,” as we kicked off the fall season at Barksdale Hanover Tavern with tonight’s opening of Deathtrap by Ira Levin. After directing last fall’s successful production of Agatha Christie’s whodunnit, The Mousetrap, John Moon returned to direct this fall’s thriller, Deathtrap. He's done a terrific job. We’ve yet to decide which trap will be used to ensnare John’s services for next season.

Screams and laughs accompanied all the flashes of lightning and claps of thunder as John’s talented cast kept things edgy until the final curtain. Michael Goodwin made a terrific Barksdale debut in the leading role of has-been playwright Sydney Bruhl. One of our nation’s finest actors, Mike has built a stellar career at Seattle Rep, the Guthrie in Minneapolis, Arena Stage in D. C., the American Conservatory Theatre in San Francisco, the Long Wharf in New Haven, and the New York Shakespeare Festival under Joseph Papp. Broadway credits include A Patriot for Me, Cyrano, Ambassador, and a revival of Charley’s Aunt. TV credits include recurring roles on Dynasty, Falcon Crest, St. Elsewhere, McGyver and Matlock, among many others.

Christopher Evans returned from New York to rejoin his Barksdale family in the role of novice playwright Clifford Anderson. Chris appeared with us before in The Full Monty, Melissa Arctic, Fifth of July, and Gross Indecency: The Three Trials of Oscar Wilde. He even filled in for a week in the lead role of Paul Bratter in last year’s Barefoot in the Park.

Robin Arthur, Jacqueline Jones and ‘Rick Gray round out the cast of potential murderers and/or murderees. Robin is well remembered at Willow Lawn for her role as Vera Charles in Mame, and she counts among her Hanover Tavern credits everything from Nunsense to Amanda Wingfield in The Glass Menagerie. Jackie starred in Das Barbecu, the last show before the start of Barksdale’s ten-year hiatus from the Tavern in 1996, and Over the River and Through the Woods, one of the shows in the first season back at the Tavern in 2006. ‘Rick makes a point to come play with us every six years or so, having last appeared at Barksdale in my 2001 production of The Little Foxes at Willow Lawn.

Sharing in the Opening Night festivities were Barksdale Board members Rick Arenstein and Kevin Kilgore, and longtime supporters Roy Burgess and Ed Ramsey. Steve Moore and Derek Phipps, two of the poker playing pals from The Odd Couple, came back to experience life on the other side of the footlights. Chase Kniffen and his mom, Bev Kniffen, were overheard making book during intermission as to who on stage was and who wasn’t who or what they seemed to be. Brad Tuggle, our able stage manager, and Alex Whiteway, his weapon wielding assistant, hovered over the food tables at the post-show party, glad that their responsibilities had gone off without a hitch. Terrie Powers (my wife) beamed with pride as crowds of fans congratulated her on another fantastic set.
(From left to right: Michael Goodwin, 'Rick Gray, Brad Tuggle, Chris Evans, Jackie Jones, John Moon and Robin Arthur)

If you weren’t there for Opening, you have six weeks to get caught in the Deathtrap before it becomes just another scream in the night. After breaking all records as the longest-running thriller in Broadway history (5 years), Deathtrap promises to be a hot Barksdale ticket during this most haunting time of year.

It was a great Opening. Hope you’ll call 282-2620 for your tickets today!

--Bruce Miller

Happy Half-Birthday to the Buzz

Posted by Bruce Miller

Tomorrow marks the sixth month anniversary of the Barksdale Blog--although I suspect you can't have an "anni" anything until you've reached at least a year. But as all parents know, up to the second birthday you always count by months.

So here we are. It will be six months ago tomorrow, on March 15, that we began this cyber adventure. You can click into our archives to revisit that first blog entry and almost every posting since.

I say “almost” because a few articles that found their way onto our blog for brief periods of time are no longer with us. For example, there was some blog editing (purging?) late at night on July 23, the “most read” day in our brief blog lifetime. During the course of that day we experienced a riot of anonymous comments, a few of which were fairly intense about our theatre or one or another of our respected colleague theatres.

As word of the riot spread around town—and wouldn’t you know I was the last to hear—a record 315 people logged on to view the carnage. When I discovered what was happening, I shut down the blog, temporarily, removed the posts that somehow prompted the blood bath and scrubbed them of all incendiary comments before reposting them the next day.

In another instance—I believe it was on August 6—I wrote what I considered to be an affectionate and respectful (but also satirical) post in homage to Robin Arthur. A few days before I had written some favorable comments about Henry IV, Part I at Richmond Shakespeare. Jacquie O’Connor, who was in IV/I, quite naturally wanted people to come see it. So she was encouraging friends to read my blog entry. Robin Arthur, it turns out, is blog averse, so she finally turned to Jacquie and said, “Jacquie, I wouldn’t read Bruce Miller’s blog if he wrote about my #&*@* !”

Now, I’ve learned my lesson and therefore substituted all those punctuation marks for the word Robin used, a word that is synonymous with “burro.” And "buttocks."

Robin told me this story herself so that I would get a good laugh out of her blog aversion, rather than hear the story through the grapevine and assume that she was intending to speak ill of me. I thought the story was a hoot. I also thought that the gauntlet had been thrown down.

I was determined to write a blog post about Robin’s … “burro.”

So I did. Just for fun. It was titled ROBIN ARTHUR’S ASS in big bold letters. And let me remind you all that “ass” is a perfectly acceptable word that I’ve read from the pulpit of my church. It’s a word that’s included in the script of Peter Pan, which Theatre IV will be producing this spring. It’s the moniker that Peter tells us Tinker Bell has assigned to Wendy. If you play the old Mary Martin tape from the Peter Pan TV special of the 1950s, you’ll hear it loud and clear ... with no one objecting.

But the language police are a lot pickier now than they were in the 50s, more’s the pity. So when my blog post told the tender story of Robin’s pet donkey, recounting it’s many adventures and including quite a few fun photos I found on line, the ladies in our Marketing Department, who are far more wise than I, reminded me that the Barksdale blog reaches out to all kinds of people who may be somewhat less “accepting” than we crazy theatre types. They suggested that perhaps I should disseminate my satire in a less public forum. They were of course right; the post went down.

But I saved it as a word document. So, if anyone really wants to read it and see the photos, just drop me a line and I’ll send it to you in a plain brown email.

Are all such blog purges the equivalent of censorship and therefore inherently evil? Yes. Do we do it anyway? Yes. Hey, business is business.

Basically, we’re learning the blog business as we go along. We're making some mistakes, and we're certainly not pleasing everybody. I know I still tend to be too long winded and formal (BORING is the word one commenter chose to put in all caps). Others on our blog tend to write far more whimsically and/or shorter. Hopefully we find a balance.

I know we sometimes post content too frequently for some (my pal Mr. Timberline comes to mind), too sparingly for others. Some want our blog to be more "educational," some want a good deal less of that. We appreciate all opinions and points of view. The business studies we're reading suggest that daily postings and multiple perspectives increase blog readership. Readership is what we're after.

Our prodigal Heifetz ("giving in abundance") has brilliantly suggested some 15-second video blog posts that we're going to be trying soon to promote our various productions.

And here’s where you come in. Now that we’ve established critical mass (138 blog posts; 719 people, shows, companies and places etc. indexed in our labels), we want to invite any and all of you to submit blog posts to us. Just write whatever you want to put out there, and email it to j.daugherty@barksdalerichmond.org with the word BLOG in the subject line. If the posts you submit contain content related to professional theatre in Metro Richmond or beyond, and/or if we think your post will be of interest to the Richmond theatre community, we’ll likely publish it. The exceptions will be blog posts that we consider to be mean spirited about our theatre, our artists, or any of our respected colleagues, be they individuals or organizations.

We cordially invite you to join us in the merry mayhem of blog land. Tell us your stories about theatres and productions of days gone by. Tell us what your life is like after moving from Richmond into a larger or smaller market. Tell us how you’re doing in college, or what it felt like to perform with that company in Idaho. Or Poughkeepsie. Tell us your opinion of what we could or should be doing better. We’re open to any and all voices; we welcome your input.

Six months from now, when we hit our One Year Anniversary, we hope you’ll consider the Barksdale Buzz to be YOUR blog too, not just ours.

--Bruce Miller

PS - Should you venture into the archives and discover that many of the pictures are still down, be assured that we know this and will be working, over time, on their restoration. Thanks.

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

Our Policy Regarding Understudies

Posted by Bruce Miller

A couple comments have crossed my desk in the last few days focusing on our policy and practice regarding understudies. Phil and I had a vigorous discussion this afternoon around this issue, arguing pro and con so that we could both wind up on the same page. It was a fascinating debate.

Let me sum up where our thoughts now stand. I do so partially because we're curious how each of you might feel about these matters.

If an actor becomes incapacitated and is unable to go on stage for one or a few performances, we will try to perform the show with an emergency understudy, if such a remedy seems appropriate, and if a capable replacement can be found on an emergency basis. Recent examples include the following.

* Scott Wichmann injured himself during a performance of Scapino! Because of the unique nature and size of his role, we felt it would be impossible to find a suitable replacement with no notice. We cancelled three performances until Scott was well enough to perform again. The cancelled ticket holders were disappointed.

* Robin Arthur became ill during the run of Mame. The director/choreographer of the show, K Strong, was able to go on in her place, albeit with no rehearsal. The show went on as scheduled with no cancellations, and the audience was pleased.

* Robin O’Neill lost her voice during the final weekend of Into the Woods. The director/choreographer of the show, Robin Arthur, was able to go on in her place, book in hand, for one performance. The show went on as scheduled with no cancellations, and the audience was pleased.

If an actor informs us of a performance conflict before rehearsals begin, we have the choice of hiring that actor or someone else. If we choose to hire the actor with the conflict, it is our responsibility to hire and rehearse a capable understudy to take over the role in the original actor’s absence. The expectation is that there will be no appreciable drop in artistic quality while the original actor is away. Recent examples include the following.

* Susan Sanford informed us before accepting her role in The Man Who Came to Dinner that previously arranged vacation plans made it impossible for her to perform during one week of the run. We hired and rehearsed Jan Guarino to replace her during that week. Jan did a great job and the audience thoroughly enjoyed the show. Coincidentally, Susan had stepped in for Jan several months earlier when Jan had to leave the cast of Annie Get Your Gun to begin another contract.

* Emily Cole Bitz informed us before accepting her role in Smoke on the Mountain that she had a family commitment that would cause her to be out of town during one week of the run. We hired and rehearsed Marianne Minton to replace her during that week. Marianne did a great job and the audience loved the show.

* Scott Wichmann and Jen Meharg informed us before accepting their roles in The Odd Couple that they had an out-of-town wedding obligation that would cause them to miss one week during the run. We hired and rehearsed Richard Koch and Vickie McLeod to take their places for one week. Richard and Vickie were outstanding, and the audience saw just as good a show as they would have seen with Scott and Jen.

In every instance that an actor has become sick and we have sent a talented but less-than-fully-prepared understudy on stage to play the part, every audience member who has communicated with us has expressed appreciation for us not canceling the show, despite the less than total preparedness of the understudy.

In every instance when an actor has taken a planned leave of absence and we have sent a fully prepared understudy on stage to play the part, the audience has seemingly loved the show. A few audience members, however, have complained that our box office staff failed to notify them of the actor’s planned absence when they purchased their tickets.

When an actor’s absence is planned, we always issue a press release in advance of the understudied performances. Local media outlets sometimes run these press releases; often they do not, or they run them after the fact. We also always announce the planned for cast replacement on this blog. Ticket buyers who want to know about any and all planned cast replacements can always come here to find out what’s up.

In emergency and planned situations, we follow national theatre protocol. We do not ask our box office staff to inform ticket buyers of cast replacements or understudies. There are several reasons why.

1. What we sell at our box office are tickets to shows, not tickets to the solo performance of one actor.

2. We believe it demeans the work of the remaining cast and the understudies to “alert” ticket buyers to a cast change, indirectly implying that the new cast is somehow less worthy than the original cast.

3. We fear that the mere act of informing ticket buyers of the presence of an understudy may make them feel compelled to choose another week, thereby placing an unfair burden on the remaining cast and the understudy who are then forced to perform for half-houses or worse.

4. It is not possible or appropriate to provide our box office staff with all the information they may need to answer questions about why the actor is absent, how large is the role of the absent actor, how close is the skill set of the understudy to the skill set of the original actor, is the understudy fully prepared, how does the cast change impact the show.

5. We have no way of knowing which audience member is determined to see which actor, and we don’t want to put ourselves in a position of second-guessing who is coming to Annie Get Your Gun specifically to see Jan Guarino, or The Man Who Came to Dinner specifically to see Susan Sanford, or Smoke on the Mountain specifically to see Emily Cole Bitz, or The Odd Couple specifically to see Scott Wichmann and/or Jen Meharg. We welcome questions from ticket buyers about whether this or that favorite actor is going to be in this or that performance. Our box office staff will do its best to answer those questions, but we don’t initiate them.

6. Finally, if a single ticket buyer is dissatisfied with any aspect of a Barksdale performance, we welcome their constructive criticism and we apologize for their disappointment. If a subscriber is dissatisfied with any aspect of a Barksdale performance, we offer them a cash refund, no questions asked.

We always announce understudies to the audience prior to the performance in which the understudy will be appearing. And if we were to ever believe that any given Barksdale performance were to be less than professional, we would offer refunds to all ticket buyers who requested them, be they single ticket buyers or subscribers.

This is our policy regarding understudies. We believe it is in keeping with national best practices. We believe the refund policy goes well beyond national best practices. We welcome your input and opinions.

--Bruce Miller

Arms and the Giantess

Ah, Picasso's Guernica. My second most favorite painting in the world. Ever since it appeared on the cover of my high school Sunday School book in the late 60s, I've been bowled over by this mural. And once, when it was on tour to the U. S., I had a chance to see it at MOMA live and in person. It was incredible--huge and devastating--a perfect depiction of the chaos and suffering of senseless, meaningless war. Violence visiting unannounced.

When we first started talking about the lady giant's arm in Into the Woods, Guernica is the image that popped into my head, specifically the lower left corner of this majestic painting. But Robin Arthur, our brilliant director, was far wiser than me, and wanted not a surrealistic arm, but a realistic one.

One that would take lots of time and money to make.

I’m writing this blog entry to correct a misperception brought about by the questions of a fellow scribe (one whom I respect mightily, by the by). While sorting through his thoughts on Into the Woods on his wonderful blog, he speculates that he’s seen the giantess’s arm from Act II of I the W in a past Theatre IV production!

After receiving my fourth or fifth guess as to which Theatre IV production featured said appendage, I want to set the record straight and put the guessing game to rest. Every inch of the arm is brand new. It was made specifically for this production of Into the Woods by the same guys who build props for GWAR. And it cost about the same as a 1990s Accord with 150,000 miles on it—dare I say an arm and a leg.

After spending all that money, I want to squelch the rumor that this pivotal prop is nothing more than some odd bit of brachial detritus pulled from a dusty bin of leftovers from shows gone by. I confess that I didn’t want to spend the money—partly cause I’m cheap and partly because the arm languishes for such a short time on stage. But Robin really wanted a realistic three-dimensional arm, and in the end, Robin won. I may be cheap, but I’m not stupid. Robin has a mean left hook.

Anyway, to the left and above are pictures of the hand part of the arm, before the arm itself was stuffed and costumed. The real arm looks much better than the photo, so that's why I led off this posting with a Picasso.

I guess I should have listed the arm’s credits in the playbill, so that everyone could see that she was making her Richmond stage debut.

If anyone would like to buy her after the show’s over, I’m open to offers. Otherwise I’ll have to see what I can get for her as a trade-in.

--Bruce Miller

Helping "Into the Woods" into their clothes

We would be a cast of bedraggled actors on Barksdale's stage if it wasn't for one special woman keeping us together during every performance of Into the Woods. That person is Renee Jones and she is the Dresser/Quickfixer/Magician, and every actors' best friend behind the scenes. Ever wonder how an actor can somehow magically appear three lines of dialogue later entering on the other side of the stage in a completely different costume head to toe and no sweat? .... No we do not conjure up magical fairy dust .... it has a name and that name is Renee Jones.

To explain more about the phenom that is Renee, we must understand where she comes from and what brought her to us here at Barksdale Theatre. She lives in the house she was born in right here in Richmond. Renee is a graduate of the dance program at Henrico High School's Center for the Performing Arts which, coincidentally is where Into the Woods director Robin Arthur was the school's first Head Director. Renee is also a graduate of UNC Wilmington. You may recognize the campus from Dawson's Creek episodes, as it was used as the set for the High School in the series. Her first professional production in Richmond was Theatre IV's Charlotte's Web at the Empire Theatre followed by Proof at Barksdale Theatre. Following other local shows she headed off to HersheyPark in PA to hone her skills even more. Recent credits since her return to Richmond include Mame, Intimate Apparel, and Beehive. On the right is a picture of Renee making sure everything is perfect on Adanma Onyedike's costume during Intimate Apparel.

It takes a person with a strong constitution to see and do the things Renee does. We're talking actors sweating buckets everywhere and people literally falling out of costumes. This woman has seen it all. Each costume change is like a choreographed dance between Renee and each actor. As you can imagine each actor has a different "modus operandi" so she has to accomodate each one. Although I do enjoy my time with Renee, I am lucky enough to have only one real costume change....of course this change is from a carniverous wolf in full make-up exiting stage left, and coming in 1/2 a page later as a dashing (sweat-free) prince entering stage right (see photo on the left). Not only does she keep us dressed, she also keeps us in good repair. The costume designers and staff do a superb job at assembling all our phenomonal costumes, but as you can imagine falls, tears, weight loss....or gain, and missing buttons happen. Renee can be seen post-show, intermission, and at many times doing upkeep on our costumes. She is a huge asset to this summer's production of Into the Woods, she is truly a star.

-Russell Rowland

* Firsthand account by Amy Hruska, one of Renee's "Dance Partners":

"After I walk onstage as "Sleeping Beauty", I have 3 lines and then appear again as "Granny". Renee has my "Granny" wig sitting atop her head and as she is velcroing me in, I snatch the wig off of her and place it on my head. A pair of glasses completes the ensemble. Remember all is done in 3 quick tempo lines. Renee stays calm through all of this and gets me back onstage on time every time."

** Sidenote: We also have a "Set" Dresser, in a way. His name is Ronnie, and among his other jobs is fitting Amy Hruska two times a show, in and out of a 9'-10' tree "costume" , moving branches and all.

*** Personally I miss my appearance as a large piece of white celery (Prize to the first person,vegetable , or mineral who can guess the show)

Barksdale Theatre and Theatre IV employees void.

Anyone else like to share their strangest or most outrageous costume?

Meet the Cast of "Into the Woods" – Part I

There’s an age-old theatrical saw that says that casting is 80% of the director’s job. If you cast a show well, the saying goes, everything else takes care of itself.

Well, not exactly. But it’s certainly true that casting well is a unique and invaluable skill. Director and choreographer Robin Arthur (along with musical director Jimmy Hicks) has cast Into the Woods brilliantly, with a mix of talented actors both proven and new.

Blog entries are not meant to go on forever—our blog chiefs are trying very hard to drum this into my thick skull. So today, I’m going to talk about six returning veterans, and then later I’ll focus on three incredible newcomers and our amazing supporting cast.

Steve Perigard and Rachel Abrams play the Baker and the Baker’s Wife, the two “everyman” characters around whom the fantasy swirls. Steve is Barksdale and Theatre IV’s not-so-secret weapon, our Associate Artistic Director. In many ways he is the artistic conscience of our theatres—the partner who is always advocating for more artistic risk-taking and professionalism. He is also an acclaimed actor, having appeared in leading roles in The Constant Wife, Fifth of July and They’re Playing Our Song at Barksdale; You’re a Good Man Charlie Brown, Seussical the Musical and Honk! at Theatre IV; A Devil Inside and Fit to be Tied at Theatre Gym; and Avow and Bat Boy at the Firehouse.

Rachel works out of New York, and this is her second summer gig at Barksdale. Last season she performed in the Joplin track in our revival of Beehive at Steward School. Those who have been involved in Richmond theatre for a while will enjoy knowing that Rachel was “practically raised” by R L Rowsey after he moved from Richmond to Maryland, Rachel’s home turf, in the 1990s.


Barksdale cornerstone Robyn O’Neill returns to play the Witch, a role she’s been longing to play for years. Robyn is cursed with the reputation of being “Bruce’s favorite,” (sorry, Roby) because I cast her as Reno Sweeney in Anything Goes, Annie Oakley in Annie Get Your Gun, and Sonia Walsk in They’re Playing Our Song. “Richmond favorite” is a more apt descriptor. Outstanding directors Robin Arthur, Tom Width, John Glenn and Steve Perigard cast her in leading roles in Into the Woods, Seussical the Musical, Children of Eden, Floyd Collins, Me and My Girl, You’re a Good Man Charlie Brown, Sunday in the Park with George, and James Joyce’s The Dead.Visit Robyn's website

Audra Honaker is knockin’ ‘em dead every night (literally?) as Little Red Riding Hood. I think I’m right in crediting Susan Sanford for introducing Audra to the Richmond audience in Theatre IV’s production of The Secret Garden. I know that’s when I first had the pleasure of seeing Audra on stage, and subsequently wooed her for the role of Mary Warren in The Crucible here at Barksdale. Since then, Audra has become a Richmond All-Star, dazzling audiences in Brooklyn Boy and The 1940’s Radio Hour at Barksdale; The Miracle Worker and The Diary of Anne Frank at Swift Creek; and Seussical the Musical and Sing Down the Moon at Theatre IV.

It’s great to have Russell Rowland back on stage at Barksdale as Cinderella’s Prince and the Wolf. It’s hard to believe, but Russell started his career with us when he was a child. If memory serves, he was in 9th or 10th grade, somewhere in Chesterfield County Public Schools, when he auditioned with lots of other children for a Theatre IV production of ‘Twas the Night before Christmas. He was so tall, and sang with such a rich baritone, I cast him in the adult ensemble. It’s been all uphill from there. Russell played El Gallo in the national tour of The Fantasticks; Frank Butler in Annie Get Your Gun, the Captain in Anything Goes, Sir Francis Chesney in Where’s Charley?, Teddy in The Full Monty, and Valvert in Cyrano de Bergerac (all here at Barksdale); and Sky Masterson in Guys and Dolls, Lancelot in Camelot, and Tommy Albright in Brigadoon in regional theatres outside of Richmond.Visit Russell's website

Last but in many ways first is Ford Flannagan. Among the various talented cast members, Ford is the one I’ve known the longest (with Jackie Jones and Amy Hruska—we’ll talk about them later—tied for close second). Ford’s been working for Theatre IV for 28 years, but I actually met him when he was still in high school. Ford’s brother Alan, who began working with Theatre IV in ’76, had been a college buddy of mine in the early 70s at the University of Richmond. When U of R students would have theatre parties, Ford would occasionally accompany his brother. You seldom see Ford today without a GI haircut, but in those days, his hair was really long, cut well below his shoulders, very blond and very straight.

Ford may be playing the Mysterious Old Man and Narrator in Into the Woods, but in many ways he’s forever young. He’s probably in better shape than almost anyone else in the cast, and his fanciful personality keeps him eternally youthful. In fact, in the spring of ’08, he’ll be returning once again in the title role of Peter Pan at Theatre IV. Ford is another of Barksdale and Theatre IV’s not-so-secret weapons. He’s won the hearts of Richmond audiences in The Full Monty, Scapino! and The 1940’s Radio Hour here at Barksdale; in Greater Tuna, Little Shop of Horrors and The Hasty Heart at Swift Creek; The Robber Bridegroom at TheatreVirginia; and Peter Pan, Da, Of Mice and Men, Four Part Harmony, Crimes of the Heart and Cotton Patch Gospel at Theatre IV.

I hope all of you will join us this summer for Into the Woods. The stellar cast is not to be missed.
--Bruce Miller