Learn More About "Lend Me" Over Coffee and Danish

Posted by Bruce Miller
Our first regularly scheduled Coffee & Conversations event is tomorrow, Tuesday, October 11, in the Barksdale Willow Lawn lobby. I hope you'll join us for this fun and informative program. Doors will open at 9 a.m., and the continental breakfast buffet will be set up by 9:10. The program will begin at 9:30 a.m. and last one hour.

Tomorrow's program will be Behind the Scenes of Lend Me a Tenor. Jill Bari Steinberg will moderate a panel comprised of three members from the Lend Me a Tenor cast: Nick Ciavarella, Frank Creasy, and Susan Sanford.

Nick (pictured to right) plays Max, the young, eager beaver assistant to the general manager of the Cleveland Opera. Nick himself is a dashing, NYC-based newcomer to Richmond theatre. He earned his Equity card with this production. Acting and other theatrical pursuits are his only job. His perspective will be a little different from the local professionals we all know well and love.

Frank (pictured below and to left) plays Saunders, the general manager, father of the beautiful young woman whom Nick's character would like to wed. Frank himself has been working in Richmond theatre for the last 30 years, and is one of our most respected and reliable character actors. He is not a member of Actors Equity. Frank is married, owns a home here, and is employed full-time by Anthem Blue Cross Blue Shield.

Susan (pictured below and to right) plays Maria, the passionate Italian wife of the world renowned operatic tenor of the title. Susan herself is, in terms of her life's commitments, somewhere between Nick and Frank. She's one of the finest comic actresses you'll find anywhere. She is married to another theatre artist, Foster Solomon, and they are the proud parents of two sons. She earned her Actors Equity card a few years ago, I think, in either a Barksdale or Theatre IV production. She is Richmond-based. She tries, and mostly succeeds, to earn her living exclusively with work in the theatre. As she'll tell you, it ain't easy.

One of the defining features of professional theatre in Central Virginia is that we're sort of betwixt and between. Ever since the collapse of TheatreVirginia, we haven't had a LORT theatre that uses full-time professional theatre artists almost exclusively. In my opinion, and I think I can be trusted on this one, Richmond doesn't have a LORT theatre today because Richmond cannot support a LORT theatre under current realities. When you add up the resources available in terms of contributions and ticket sales, and divide those resources among ten professionally-striving theatres, there simply is not enough money to elevate any one theatre to LORT status. If you want a #1 reason why TheatreVirginia went belly up, in my opinion, that's it.

So at Barksdale and Theatre IV you'll see a mix of AEA artists and non-union theatre professionals who earn their living working 9 to 5 somewhere else. Out of town professionals who come here to work are frequently stunned that we rehearse only in the evenings. Personally, I LOVE the mix, and think it's a strong part of what makes our theatre community so rich. The majority of theatre artists you'll meet in a Richmond theatre are REALLY invested in our community.

One of the reasons we have programs like Coffee & Conversations is so that we can talk about the unique aspects of Richmond theatre, and the impact these realities will have on the future of our artists, audiences and institutions. Everyone I know who comes to Coffee & Conversations has a REALLY good time. I hope you'll join us for this and subsequent programs, so that you can see what really goes on behind the scenes. We hope to see you there, sometime before 9:30 a.m. I know you'll be glad you came.

--Bruce Miller

Four NEW High-Flying Talents Lend Lift to Boeing-Boeing

Posted by Bruce Miller
Boeing-Boeing closes today (Sunday) at Hanover Tavern with a 2 p.m. matinee performance. After seven weeks of relatively full and very happy houses, the popular consensus is that this classic French/British farce from 1960/62 is one of the funniest plays to hit Central Virginia's boards in quite a while.

A good deal of the credit for the general hilarity goes to the two-thirds of the cast who are working in a Barksdale show for the first time. Returning favorites Susan Sanford (pictured above and to the left) and Derek Phipps (to the right) may well be leading the laugh fest with their inspired clowning, but newcomers Maura Burroughs, Donna Marie Miller, Caylyn Temple and Denis Riva each bring unique and highly honed talents to the task at hand.

Maura Burroughs (to the left) plays Gloria, the American air hostess who flies with TWA, and spends her free time during Paris layovers cavorting with playboy architect Bernard. A native Richmonder, Maura trained at NYC's prestigious Circle in the Square Theatre School, and has been living and working in the Big Apple for the last four years. Favorite credits include Juliet in Romeo and Juliet, Shelley in Bat Boy the Musical, Soupy Sue in Urinetown the Musical, and Hippolyta / Titania in A Midsummer Night's Dream. http://www.mauraburroughs.com/.

Donna Marie Miller (to the right) is Gretchen, the German air hostess who flies with Lufthansa and is as passionate about her men as she is her career. Donna was a theatre major at James Madison University, and spent her immediate post-grad years in Los Angeles doing theatre, television, films and commercials. Favorite roles included Nurse Ratched in One Flew Over the Cuckoo's Nest, Anita in West Side Story, and Princess Winifred in Once Upon a Mattress. Currently, Donna is pursuing her second passion, teaching kindergarten in Chesterfield County Public Schools.

Caylyn Temple (to the left with Denis Riva) brings "la dolce vita" to the role of Gabriella, Bernard's voluptuous Italian mistress (and true soul mate). She's an air hostess for Al Italia. Caylyn is a 2010 theatre grad from VCU, and she spent all of last school year touring with Theatre IV. She plans to move to NYC this fall to pursue her career further. Favorite roles include Mrs. Walker in The Who's Tommy and Mrs. Forrest in Psycho Beach Party, both at Theatre VCU.

Last but certainly not least is Denis Riva (to the right with Derek Phipps), who portrays the cock of the roost in this quintessential bedroom farce. He received his BA from Washington and Lee University, his MFA from the University of North Carolina at Chapel Hill, and his JD from the University of Richmond Law School. New York theatre credits include A Woman of No Importance at BITS Players and In My Dreams ... at the Vortex Theatre Co. Regional credits include Hay Fever, Gross Indecency, and All's Well that Ends Well at PlayMaker's Rep; Our Town and Fiddler on the Roof at CalRep; and Narnia at Playhouse on the Square.

If you'd like to catch Boeing-Boeing before it flies away forever, come today (Sunday) for our final performance at 2 p.m. As of this writing, tickets are still available. The number of our box office, which opens at noon, is 282-2620. Hope to see you there.

--Bruce Miller

World Famous Playwright You May Never Have Heard Of

Posted by Bruce Miller
Our mystery playwright lived from 1923 until 2003. During his 80 years, he wrote 40 plays that have been produced professionally in 55 different countries. His most famous play ran for 19 years in one of the world's greatest theatre capitals, and seven years in another. Ten of his plays have been translated into hit films and television adaptations. It is estimated that 20 million (and growing) people have attended live performances of his work, and a half billion more have enjoyed his plays in their recorded adaptations. For his contributions to international arts and letters, he received one of his nation's highest honors.

Who is this giant of world theatre? Marc Camoletti, the author of Boeing-Boeing.

Boeing-Boeing concludes its seven week run at Barksdale Theatre at Hanover Tavern with performances at 8 pm tonight (Saturday) and 2 pm tomorrow (Sunday). Half-price rush tickets may be available two hours prior to performance by calling the Barksdale box office at 282-2620.

It's a well known fact that creators of comedies seldom receive the respect awarded to creators of dramas and/or musicals. Except in France. Good thing for Camoletti he was French. Sort of. Camoletti was born in Geneva, Switzerland in 1923, into a family of Italian origin. His grandfather, also named Marc Camoletti, was an internationally renowned architect who designed and built the landmark Victoria Theatre in Geneva, given to the citizens of Switzerland by the British consulate in the 1890s, in honor of Queen Victoria.

By the time grandson Camoletti's first play was produced in 1958 (in fact, his first three plays were all produced that year), he was living in Paris. The City of Lights loved Camoletti's first play, La Bonne Anna, and they instantly claimed this luminous new playwright as a native son.

All of Camoletti's plays are crowd-pleasing comedies. No one appreciates screwball comedy more than the French. Camoletti's 1960 play, Boeing-Boeing, debuted to rave reviews and instantly became one of the classic farces of the 20th century. It ran in Paris for 19 years, and after opening on London's West End in 1962 in an English adaptation by Beverley Cross (Dame Maggie Smith's late husband), it ran for another seven years in London.

Recently it was revived in a Tony Award-winning production on Broadway.

Camoletti's two plays to achieve fame and name recognition in the U. S. are Boeing-Boeing and its sequel, Don't Dress for Dinner. Boeing-Boeing is listed in the Guinness Book of World Records as the "most performed French play worldwide." Take that, Tartuffe.

Camoletti is greatly beloved and respected in France. In the 1980s he was awarded the Chevalier de la Légion d'honneur, one of his adopted nation's highest honors.

If you'd like a taste of what makes Camoletti so great, I hope you'll stop by Hanover Tavern for one of our final two performances. Our terrific cast (Maura Burroughs, Donna Marie Miller, Derek Phipps, Denis Riva, Susan Sanford and Caylyn Temple) are having the times of their lives, and they'll be happy to jet you to Paris for a hilarious trip back to the 60s--Camoletti style.

--Bruce Miller

"The Perfect Family Summer Musical"

Posted by Bruce Miller
The extraordinary musical that brings down the curtain on both the Barksdale and Theatre IV Seasons earned its first rave review this morning from Susie Haubenstock. She LOVED it, writing a review almost as glowing as last week's review of Henley Street Theatre's A Doll's House.

Considering that The Sound of Music is America's favorite musical, and that pre-sales in advance of opening have already hit a record high, I strongly urge everyone to get their tickets to 1938 Austria as soon as possible. I'm convinced that the Times-Dispatch review will be only the first of several great notices. No one should miss out on the fun.

Here's what Susie has to say:

"What does it take to revive Rodgers and Hammerstein's The Sound of Music? Seven adorable children -- check. A Maria who's full of fun and energy and sings like an angel -- check. A Mother Abbess with a thrilling, inspiring voice -- check.

The new Theatre IV/Barksdale Theatre co-production at the Empire Theatre has all that and much, much more. Under the ebullient direction of Chase Kniffen, The Sound of Music is the perfect family summer musical, with much for each generation to love.

Even after a thousand viewings of the movie, it's possible to forget that there are serious political themes here, as well as grown-up relationships. Rodgers and Hammerstein were romantics, of course, but the Howard Lindsay/Russel Crouse book takes on Nazism, patriotism, pragmatism, moral relativism and religious faith -- and the show won the 1960 Tony Award to boot.

No need to recap the moving story of the von Trapp family in Austria; suffice it to say that Kniffen has reinvigorated what might be a saccharine bore and infused it with youthful enthusiasm. Most of the underpinnings are lush, from Brian Barker's opulent set to Sarah Grady's charming costumes to Lynne M. Hartman's beautiful lighting.

The orchestra, under Sandy Dacus' direction, is almost full enough, sounding thin only on the first-act finale, Climb Ev'ry Mountain, and Derek Dumais' sound design is nearly perfect despite its complexity.

The splendid cast is led by the delightful Stacey Cabaj as Maria, who bursts with warmth and joy and sings clear as a chapel bell. Jody Ashworth plays Captain von Trapp with admirable liveliness but a near-total lack of romantic appeal; nevertheless, his voice is stirring, his Edelweiss moving.

Susan Sanford and Michael Hawke are perfectly cast as the worldly Elsa and Max, more wryly lovable than despicable, and Kara Charise Harman provides that fabulous voice for Mother Abbess, as well as her loving manner.

All seven von Trapp children are delightful -- Ali Thibodeau, Eric Pastore, McKelvey Ewing Harrison, Cooper Timberline, Meghan Rose Cordner, Sydney Morgan Hall and Ellie Wilson -- and nowhere is Kniffen's deft touch more evident than in their performances; he elicits great work from young actors. His deceptively simple staging of The Lonely Goatherd is one of the highlights of the show.

All but the youngest kids in the audience were kept entertained by the 2½-hour show. My grandma took me to see The Sound of Music when I was little, and I've always been grateful. Given this lovely production, any grandma -- or mom, or dad, or aunt or big brother -- shouldn't hesitate to do the same."

Susan Haubenstock - The Richmond Times-Dispatch

You can reach our box office at 282-2620. I hope to hear from you soon. And I look forward to seeing you at the theatre.

--Bruce Miller

The Song (or Whatever) of Mulan

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

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

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

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

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

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

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

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

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

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

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

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

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

--Bruce Miller

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

Mystery Solved! Juli Hits the Big Time

Posted by Bruce Miller
Many thanks to Duke Lafoon (and Juli Robbins’ family friend Sara) for responding to my last blog post. Turns out that the Juli Robbins who is now costarring with Duke in A Wonderful Life at Westchester Broadway Theatre is the same Juli whom I fondly remember as “the girl that I marry” in Barksdale’s 2003 hit production of Annie Get Your Gun. She's pictured to the left.

In Annie Get, I decided to ask a woman from the ensemble to join in the number "The Girl That I Marry" with Russell Rowland (Frank Butler) and Robyn O’Neill (Annie Oakley). I wanted someone who was petite and picture perfect to represent the ideal “sweet young thing” whom Annie Oakley imagines when Frank Butler describes the girl of his dreams. I picked Juli because she was, and is, about as adorable as a woman can be.

“The girl that I marry,” sings Frank Butler, “will have to be as soft and as pink as a nursery. A doll I can carry, the girl that I marry must be.”

In true Annie Oakley fashion, Robyn began referring to Juli, good naturedly, as “pretty perfect little Juli.” As in … when I would say something like, “Robyn, when you come out in this ball gown to meet Frank for the first time in years, I want you to dazzle him.” To which Robyn would reply … “Well why don’t you bring on pretty perfect little Juli?”

I guess you had to be there. But it was all good clean fun, having to do with the fact that Juli was remarkably pretty and fully capable of sweeping every guy in the room off his feet without even having to try.

It’s great to know that Juli’s many talents are gaining recognition now in markets larger than Richmond. From what I can gather from a quick Google search, Juli’s last two years have been pretty busy as she continues to build a career on both coasts.

On Feb 9, 2007, she opened in a revival of the Off-Broadway hit Song of Singapore at the International City Theatre in Long Beach, CA. When that show closed in March 2007, she moved immediately into the role of Lady Anne in the national tour of Camelot, starring Michael York (originally) and Lou Diamond Phillips (replacement), produced by McCoy Rigby Entertainment, the professional production company of Cathy Rigby and her husband.

She stayed with the national tour for more than a year, finally leaving to play a featured role in the World Premiere of a new opera version of Paradise Lost at Boston Court in Los Angeles (see photo immediately above and to the right). After the opera closed in September, Juli was cast in another production of Camelot, only this time she won the leading role of Guenevere and appeared opposite the King Arthur of Broadway leading man Robert Cuccioli (Jekyll & Hyde) at the White Plains Performing Arts Center in New York (see the photo below with Cuccioli and the photo two above with other cast members). That show closed in October, and she opened opposite Duke in A Wonderful Life in November at the Westchester Broadway Theatre just a few weeks later.

I continue to think it’s GREAT when a rising Richmond star establishes a national career. Just as we were able to lure Duke back for Doubt (and David Winning for The Full Monty and Susan Sanford for The Little Dog Laughed, etc. etc. etc.), perhaps we will one day welcome a nationally prominent Juli back to Richmond for a return engagement.

Until then, see you at the theatre!

--Bruce Miller

The Solomon Islands

Posted by Bruce Miller
So did you see Jerold Solomon on the Tony Awards last Sunday? He was there, singing and dancing his heart out as one of the Navy SeaBees in South Pacific, which won a whopping seven Tony Awards including Best Revival. Jerold has been in South Pacific since it began previews on March 1 and opened to rave reviews on April 3. South Pacific is playing on Broadway at Lincoln Center. Jerold plays the role of Seaman James Hayes.

In the last few years, Barksdale and Theatre IV were privileged to feature Jerold’s talents in several casts. At Barksdale he appeared in Gross Indecency and starred in Olympus on My Mind (pictured below and to the right with Richard Travis). With Theatre IV, he starred in King Island Christmas and You’re a Good Man, Charlie Brown (pictured above and to the left with his cousin-in-law Susan Sanford).

Best of all, God bless him, Jerold lists all of his Richmond credits in his Broadway bio.

Since moving to NYC, Jerold’s credits have included the national tours of Big River, Ragtime and Annie. South Pacific is his Broadway debut.

Jerold’s a good man and a very talented actor, singer and dancer. If you’re planning a trip to NYC this summer or next fall, why not order your tickets for South Pacific NOW. The show is a mega-hit, selling out every performance. And if you go, after curtain call, hurry down to the stage door and give Jerold Richmond’s fondest regards.

--Bruce Miller

Keeping Up with Kevin

Posted by Bruce Miller
Kevin Hoffman, pictured to the right with Erin Thomas, Susan Sanford and Matthew Costello in Barksdale's 2003 production of Proof, just won a significant shot at the big time. We couldn't be happier for him.

After earning his BFA in Acting from Elon University, NC, Kevin came to Richmond to appear in Proof. He did a terrific job. Since then he's been pursuing his career out of NYC. After two soap opera gigs on All My Children and As the World Turns, lead roles in four independent films, four NYC stage acting credits, ten regional theatre gigs, and one theme park stint with Universal Studios in Orlando, Kevin is about to take a big step forward.

He has just been accepted into the prestitious Old Globe/USD MFA Acting program starting in the fall. This nationally recognized actor training program only accepts seven students each year to participate in a two and a half year training period focusing on classical theatre while performing at the Old Globe Theatre in San Diego. It includes a full tuition scholarship, living stipend, as well as an expenses paid trip to London to study in the second year.

Needless to say, Kevin is ecstatic. We wish him all the best.

--Bruce Miller

Little Dog's Opening Night - with Playwright & Composer in the house

By Judi Crenshaw, Barksdale's Publicist

By the time opening night of The Little Dog Laughed rolled around, those of us involved in the build up to the show were relieved that the public was finally going to see what we’ve been promoting, defending, gushing over, justifying, and generally maneuvering our way around. It’s been an exhilarating and challenging few weeks. But through it all we have loved the play. When I first read it last year --- belly laughing and gleefully muttering to myself, “Are we really going to do this?” --- I loved the language, envied the wit, and poured over illegal Little Dog video of Julie White and Tom Everett Scott on YouTube.

I watched some legit internet clips too, and quickly zeroed in on interviews with playwright Douglas Carter Beane. Funny. Razor sharp. Self-effacing. You gotta love those Broadway big-wigs. But mostly they stay on Broadway. To be admired from my computer. Like Julie White and Tom Everett Scott (with some extra Google Images time devoted to Tom). So when Susan Sanford let it slip that DCB might actually be coming to our opening night I was elated for about 3 seconds, and then my stomach started slipping south. In the theatrical world of non-stop measuring up, with a guy who clearly is way past any mark I’ll ever know, would the Barksdale production come anywhere close?

Doug Beane walked in the Barksdale door with a wide grin and extended hand. He was genuinely friendly. Doug came with Lewis Flinn, his partner of many years and composer of Little Dog music as well as loads of other Broadway and TV scores. I was relieved that these two guys were regular people. Okay, über successful, smart, and witty regular people. They seemed downright tickled to be here. They oogled over the photos in the lobby (which are stunning, thanks to Jay Paul). They introduced us to Lewis’ parents who are Barksdale patrons. They bounded up the stairs greeting everyone and spreading goodwill.

But my stomach had not caught up with how jolly our guests seem to be. I am still nervous about the measuring up. I keep sneaking glances at them during the show. They are getting a kick out of Susan’s performance and looking around at everyone else getting a kick out of Susan. Every time Laine Satterfield comes on, DCB inches forward in his seat and smiles. I think these are good things and I relax. Then the bed gets stuck halfway along its intended downstage trajectory. John is slyly propping up a set panel while lying on the stuck bed and I am praying that Matt will not whack his head on the panel looming over the crazy stuck bed. The crew is trying to yank it from behind, pull it, FIX IT! FIX IT! There is some banging and dropping of metal. I am no longer relaxed. Susan has been masterfully “working” her laryngitis but it is getting a tighter grip. I am now avoiding any glances whatsoever in the direction of Doug and Lewis.

I do look around, though, at everyone else in the audience and they are completely engrossed in the play. They are rooting for the two guys to be together. They are laughing, intrigued, appalled, touched, engaged. I know these things are good. And I know that this was an important choice for Barksdale and a deeply personal quest for Bruce Miller. I know we have pushed some patrons past their comfort zone and we are grateful to the people who will give this play a chance. I know we measure up for all the right reasons, even with the f***ing bed malfunction. I think that Doug Beane knows this too.

After the show, there was a rare chance to celebrate play and playwright, director and cast, supporters and friends. Host Bill Hall put together a truly elegant bash that would have been the envy of any New Yorker. I felt a little silly with my Kodak One-Shot and home camcorder in hand, but we wanted to share the love!

THANK YOU Douglas Carter Beane and Lewis Flinn!!

- Judi Crenshaw

In Memoriam: Curtis Morrisette

Posted by Bruce Miller
We were saddened to learn yesterday of the recent passing of actor and theatre enthusiast Curtis Morrisette, who died on Saturday, Nov 17, after a spirited battle with lung cancer. Curtis last appeared on the Barksdale stage as the crusty old stage door manager, Pops Bailey, in The 1940's Radio Hour.

The two photos that begin and end this post are from the Yellow House film, Hitiro the Peasant, in which Curtis appeared. Thanks to Stephanie Kelley and Justin Dray for use of the photos.

The bio Curtis wrote for the playbill of The 1940's Radio Hour read as follows:

“CURTIS MORRISETTE (Pops Bailey) is pleased once again to be on the stage of Barksdale Theatre. This is his third production with Barksdale. It has been his distinct privilege to work with Barksdale, Firehouse, CAT, HTC, RPAC, Jazz Actors, as well as the VCU Writers, Directors and Actors groups over the past several years. He gives grateful and heartfelt thanks to the present and past directors, stage managers, casts and crews with whom he has had the pleasure to work. ‘They are, and have been, my mentors. If I display any talent in my craft, it is because of their willing and unforgettable help.’”

In addition to his work as an actor, Curtis was a faithful Barksdale usher and friend.

Since 1940's Radio Hour, Curtis appeared as Vincentio with Susan Sanford as Kate in The Taming of the Shrew at Richmond Shakespeare Theatre. Susan was Curtis’s director in The 1940's Radio Hour, and both actors are pictured together in the Shrew photo to the left. The photo was taken by Eric Dobbs. Andrew Hamm, who worked with Curtis on Shrew, has written a thoughtful remembrance of Curtis on his blog, http://andrewhamm.blogspot.com/.

Curtis was subsequently scheduled to appear in Flowers for Algernon at the Mill, but had to leave the show when he was diagnosed with lung cancer and required by his doctor to undergo immediate treatment.

As many times as I talked with Curtis, I have to admit we never discussed his family. Sadly, no one thus far knows if Curtis had any family members with whom he'd been in touch. That being the case, his final arrangements are being tended to by the Veterans Administration Hospital and the manager of the Berkshire Apartments downtown, where Curtis lived. Jil Wilson-Robinson, Vice President of the Virginia Actors Forum, is working with the apartment manager. If anyone knows anything about Curtis’s family, please contact Jil at jwrobinson@toast2.net. Or you can call the apartment manager directly at 804-644-7861.

Jil and others are also planning a memorial service for Curtis. More word on that will be coming.

Curtis seems to be best remembered for his good natured feistiness, his comical way of inventing a line when he had trouble remembering the one that was written, and his frequent visits to Lift, the coffee shop down the street from the Empire. In every instance, he was a positive force in our community and lots of fun. There’s not a minute with Curtis that we don’t remember with a smile, and not a jot of this vital, clever, generous man that we won’t miss.

With respect and affection, Barksdale's upcoming production of Doubt will be dedicated to Curtis's memory.

--Bruce Miller