Showing posts with label Smoke on. Show all posts
Showing posts with label Smoke on. Show all posts

Wednesday, September 14, 2011

Maupin Masterminds Mischief in Modern Merrymaker

Posted by Bruce Miller (liberally quoting B C Maupin)
With Becky's New Car, we're glad to welcome Billy Christopher Maupin back into the driver's seat at Hanover Tavern. B C has to be among the most turbocharged theatre artists working in Virginia today. As his German friends opine, he is mit turboaufladung. (Sorry. Sometimes these amazing things pop up in a word search and I can't help myself.)

Billy Christopher starred at the Tavern as the Reverend Mervin Oglethorpe in all three musicals in the Smoke on the Mountain trilogy. Back in 2010, he directed our heartwarming Hanover hit, Butterflies are Free.

More recently, B C earned great acclaim for his staging of Dog Sees God and You're a Good Man, Charlie Brown at the Firehouse.

Billy Christopher was honored last spring by STYLE Weekly as one of Richmond's "Top 40 Under 40." In the recent build-up to the Richmond Theatre Critics Circle Awards, he is a Best Actor nom for his work in Something Intangible, also at the Firehouse. When not involved in evening rehearsals, he spends his daytime hours as Marketing Manager here at Barksdale/Theatre IV.

Billy Christopher was the one who introduced me to Becky's New Car. His director's notes indicate that when he encountered this new comedy, the attraction was immediate.

"My first professional job in the theatre was in 2000 in a production of Bram Stoker's Dracula adapted by Steve Dietz. Thus began my love affair with Dietz' work. A master of dramatic tension, zany plots, tender moments, and incredibly natural dialogue, Dietz is a rare treasure of the American theatre.

When his newest play, Becky's New Car, was published last year, it jumped to the top of my list of plays to read. And when I did, I fell in love before it was even over. I remember finishing the first act and immediately calling Melissa (Johnston Price) and saying, 'I think you might need to look at this play that I just started reading.' As soon as I finished it, I called her back: 'Melissa, you need to read this play.'

I feel so fortunate to be able to be a part of creating theatre in a community that is so rich in artists. It is such a thrill to be able to explore this wonderfully funny and beautiful play with such an incredibly talented cast, crew and design team.

I hope you enjoy the ride.

Billy Christopher Maupin"

If you're a fan of Billy Christopher's work, I hope you'll join him and his stellar cast as they put the pedal to the metal beginning September 23. You'll be glad you did.

--Bruce Miller

Sunday, September 12, 2010

A Smile a Day Keeps the Mortician Away

Posted by Bruce Miller
New research from Wayne State University in Detroit indicates that those who are most likely to be photographed with a big grin on their face can count on living a longer life.

Kathleen Doheny reports in HealthDay News that scientists have completed a study involving the evaluation of photographs of 230 Major League Baseball players, all of whom began their careers prior to 1950. The size and intensity of each ball player's smile was rated on a scale from nonexistent to robust. "People who had the most intense smiles lived the longest," said Ernest L. Abel, a professor of obstetrics, gynecology and psychology at Wayne State.

"The more intense smile, we infer, indicates an underlying happiness, if you will, a more positive attitude," he said. "It's hard to fake an intense smile."

As of June 1, 2009, all but 46 of the 230 players had died. On average, the longevity of the non-smilers was 72.9 years, 75 years for the partial smilers, and 79.9 years for the big smilers. The big smilers had what is known as a Duchenne smile, named after the French neurologist who discovered it. Cheeks and the corners of the mouth are raised, and crows-feet wrinkles appear around the eyes.

To get your Duchenne smile (and the extended lifespan that comes with it), we invite you to come see Shipwrecked! An Entertainment, opening this Friday at Barksdale Theatre at Willow Lawn, starring Joe Inscoe, Scott Wichmann and Carolyn Meade.

Then you can keep smiling with Smoke on the Mountain Homecoming, the bluegrass gospel musical, starring Drew Perkins, Kelly Kennedy, Aly Wepplo, David Janeski, Emily Cole, Billy Christopher Maupin, and Eric Williams. Smoke ... Homecoming is Part III in the Sanders Family trilogy, and it opens the following Friday at Barksdale Theatre at Hanover Tavern.

I can think of few more enjoyable ways to get crows-feet wrinkles to appear around your eyes. Hope to see you at the theatre!

--Bruce Miller

Wednesday, September 9, 2009

Star of Stage, Screen and Richmond

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

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

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

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

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

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

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

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

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

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

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

--Bruce Miller

Wednesday, September 2, 2009

Love On Stage

Posted by Bruce Miller
May the “rough magic” of Barksdale’s ancestral home never cease.

During the Tavern run of Smoke on the Mountain, Aly Wepplo and David Janeski fell in love. (They met during the run of Mame at Willow Lawn.) After a rousing performance of Sanders Family Christmas, David proposed…immediately following curtain call. I’m not sure who was more amazed and enamoured, Aly or the audience.

Last night, again on the Tavern stage, Aly and David were married, in one of the most beautiful and heartfelt weddings you can imagine.

It couldn’t be happening to a nicer pair. David and Aly have been sharing their many talents with Richmond audiences for a few years now, mostly at Barksdale, Theatre IV and the Mill. You couldn’t have seen Smoke, Sanders, Mame, Little Women, Altar Boys, Rumplestiltskin’s Daughter, or Of Mice and Men without getting drawn in by the special talents of one or both.

They’ve also been much in demand at Barksdale’s sister theatre, Company of Fools in Hailey Idaho, where Aly in particular has earned a significant following following her performances in Spitfire Grill and Steel Magnolias.

Last night Aly assured me that their plans are to remain in Richmond. After all, Aly is soon to charm our socks off in The 25th Annual Putnam County Spelling Bee at Barksdale Willow Lawn, and David will be prompting chills and laughs in The Mystery of Irma Vep at the Mill. Hopefully there will be many more shows to come.

Many congratulations to this wonderful, talented, much loved pair.
--Bruce Miller

Sunday, December 14, 2008

"Sanders" Creators Wish Sweethearts Well

Posted by Bruce Miller
It was fun to log on this afternoon and find a comment to my last post about David and Aly's onstage proposal. The comment congratulates the happy couple and wishes them well. It's written and posted by none other than Alan Bailey and Connie Ray, conceiver and writer, respectively, of Smoke on the Mountain and Sanders Family Christmas.

I love it when nationally successful theatre artists, who may well have never even heard of Barksdale Theatre, take the time to establish contact. Douglas Carter Beane and Lewis Flinn, playwright and composer, respectively, of The Little Dog Laughed, made it down to Richmond to see the show. Playwright Israel Horovitz came to Richmond last week to catch performances of his play The Widow's Blind Date at the Firehouse.

One of my favorite "contact with the big time" stories happened in the early 80s during Theatre IV's run of To Gillian on Her 37th Birthday. Emily Skinner, who is now a Broadway leading lady and Tony nominee herself, was playing the teenage daughter in our production. On opening night a letter arrived at the theatre addressed to Emily. It was a friendly and considerate "break a leg" note, warmly written and sent from NYC by the teenage actress who had originated the role Off Broadway the year before. That actress, who didn't know Emily from Eve, was relatively unknown herself at the time. But she wanted to wish Emily well and tell her how much she had enjoyed playing the same role. Today, that actress is "unknown" no longer. You all know her today as Sarah Jessica Parker.

When you get right down to it, the theatre community is a relatively small and close knit group. It means a lot to artists working in regional theatres to hear from our brethren who have made it to the big show.

Unless my Googling has led me down some wrong paths, it appears that Alan Bailey and Connie Ray (pictured in the two photos) both currently reside in L. A. In addition to their phenominal success with the three Sanders Family musicals, Bailey enjoys an active career as a stage director, and Ray pursues a busy career as an actress on television and film.

All of us at Barksdale wish the two of them well, and thank them for keeping track of our production of their wonderful musical. Alan and Connie, if you ever make it to Richmond VA, we have tickets waiting with your name on 'em. Sanders Family Christmas is going really well. It's a beautiful show, with five rave reviews, sold out houses and standing ovations at every performance. I think you'd be pleased and proud.

Thanks for dropping us a line.

--Bruce Miller

The Best Christmas Curtain Call Ever

Posted by Bruce Miller
Last night, Terrie, Hannah, Phil, Donna and I all drove out to Hanover Tavern to catch the curtain call of Sanders Family Christmas. For the Miller half of the Miller/Whiteway clan, that’s about a half-hour trek. But it was well worth it. It was The Best Christmas Curtain Call Ever.

Spoiler Alert: If you’re planning to see Sanders Family Christmas, and you haven’t seen it yet, you may want to stop reading. I’m about to discuss a significant plot point that occurs near the end of the show. It’s nothing too dramatic. No one bombs Mt. Pleasant Baptist, Denise doesn’t announce she’s pregnant with David O. Selznick’s love child … or anything like that.

But it is a significant plot point, and I don’t want to give anything away to some unsuspecting soul who’s looking forward to experiencing the show without already knowing how it ends.

OK, if you’re still reading, consider yourself warned.

Near the end of Sanders Family Christmas, Rev Oglethorpe (Billy Christopher Maupin) proposes onstage to June Sanders (Aly Wepplo). It’s a really nice, funny, sweet scene, and the audience always gets a little teary and feels warm and fuzzy all over. When June accepts the proposal, the audience always bursts into applause.

WELL … last night David Janeski (the actor who plays Dennis Sanders) topped all that. For those of you who don’t know, David Janeski and Aly Wepplo met in Barksdale’s production of Mame, and began dating during Barksdale’s production of Smoke on the Mountain. In the intervening year and a half, it’s been pretty clear to any and everyone that David and Aly had fallen in love. And why not, they’re a perfect couple.

Yesterday, David graduated from grad school at VCU, and so his parents were in town for the graduation ceremony. Last night, his family also turned out for Sanders Family Christmas. If I’m not mistaken, Aly’s family all came down for the show last night as well.

Following David’s careful planning, our stage manager Christina Billew informed the cast that I had asked if they would all return to the stage following curtain call for an encore. With everyone in the know except Aly, they all followed instructions, danced up the aisle as always, and then came running back onto stage for the “encore” I’d requested.

That’s when David took over. He introduced himself to the audience as David the actor, not Dennis the character who is a brother to Aly’s character June. He invited the audience to sit back down, and asked them for a few minutes of their time. “My family is here tonight,” David said sincerely, “and over the years they’ve given me just about everything I have. But the one thing they couldn’t give me…” (it was at this moment he began choking up and Aly got a strange look on her face) “… is standing right over there.”

When he pointed to Aly, the light went off in her head, and she knew what was coming. David professed his abiding love, invited Aly to center stage, and then he recreated the scene we’d just seen where Rev. Oglethorpe dropped to one knee and presented June Sanders with a ring. Only this time it was real. And when Aly tearfully and enthusiastically nodded yes, the audience once again leapt to their feet applauding, providing the second standing ovation of the evening.

After heartfelt hugs and kisses, David announced, “We’re really going now. Thank you.” And the cast once again danced up the aisle and out into the lobby.

It was the perfect ending of a perfect show, and an ideal beginning for a wonderful couple.

I’m crazy about David and Aly both individually and together. It all began with the Sanders Family. The proposal was the Best Christmas Curtain Call Ever. and along with everyone who knows and loves them, I wish the newly engaged couple a Wonderful Life.

--Bruce Miller

Friday, November 21, 2008

Déjà Vu All Over Again

Posted by Eric Williams

Eric appears as Stanley in Sanders Family Christmas. By day he is the Director of Tour Operations for Theatre IV.



Tonight is Opening Night again - sort of. It will be 1941, and the Sanders Family will descend once more on Mount Pleasant Baptist Church in the Appalachian foothills of North Carolina.

Sanders Family Christmas has been in rehearsal for several weeks now and the experience has been both exciting and scary. About two years ago Bruce Miller gathered together a motley collection of actors who also sing and play instruments and guided us to what became Smoke on the Mountain. It was a successful venture with theatre lovers having to be turned away because so many of the performances were sold out—exactly the kind of problem any theatre would like to have.

The cast and theatre had conflicts making it impossible to extend the run, so when the idea was floated that we could reunite at Christmas time and do the sequel, we all jumped at the chance.

The entire cast and director are back. It was like putting on a pair of your favorite old shoes when we got together--very comfortable. We already knew all of the characters, so all that was left was to learn the new script and music. Piece of cake! None of us had actually seen the new script and music but how hard could it be? After all, we’d done it before and this sequel was just like the original, right?

Well, not exactly. While the format of Sanders Family Christmas is similar to Smoke on the Mountain, the two-hour script certainly was all new. And the music … well let’s just say I had to go on the Internet to find out how to play some of the newfangled power chords asked for in this new score.

Rehearsal was fun but urgent. We had some big, and I mean big, laughs. But there was business to be done too. Billy Christopher Maupin, a.k.a. Reverend Oglethorpe, plunked our notes over and over and over again. And that was just the vocals. We had not added the instrumentation yet.

Our cast was still a bit far flung. Our music director extraordinaire Drew Perkins was in Blowing Rock, NC until 3 weeks before opening. Aly Wepplo was in a show in Idaho at Company of Fools. David Janeski was performing at Busch Gardens (when he wasn’t off to Idaho to visit Aly).

Ok, now I was scared. We all had to learn 105 pages of new and difficult (at least to my fingers) music. Thank goodness we have really talented cast members who stepped in to plunk and help musically (the aforementioned Billy Christopher, Emily Cole and Julie Fulcher). There were several music rehearsals with just three or four of us. Bruce kept giving reassurances that everything would be just fine.

Finally, when Drew returned to Virginia, it all began to come together. Nonetheless, this has been a most challenging time—but challenging is good, isn’t it?

Our hard work is about to get the final test - the audience. As rehearsals come to an end and performances start we have a couple of things that you should know. The entire cast enjoys each other and we want you to enjoy yourselves too. Come slip on that old pair of shoes that is the Sanders Family and spend a little Christmas down home.

--Eric Williams

Sanders Family Christmas runs through January 25, 2009 at Hanover Tavern. Performances are already selling out quickly. Call (804) 282-2620 or purchase tickets online.

Friday, October 3, 2008

Three More Rave Reviews

Posted by Bruce Miller
We received three more rave reviews this week, drawing crowds of laughing, loving theatregoers.

Weighing in on The Clean House, Dave Timberline provided the following quotes:

“Masterful!
A Smart Story ~ an Air of Enchantment
Amusing, Moving and a Little Bit Magical
Exceptional Performances ~ Sweet, Supportive Chemistry
Refreshing and Inspiring!”

--David Timberline, STYLE

Adding their kudos to the glowing review written earlier for Driving Miss Daisy by Susie Haubenstock of the R T-D, Joan Tupponce and John Porter contributed the following:

“Remarkable!
Depth and Feeling ~ A Joy to Watch
As comfortable as a plump easy chair
Derives its humor and tenderness from life
Just Plain Fun!”

--Joan Tupponce, Richmond.com


“Tremendous!
A Great Script ~ A Good Cast
The chemistry between Williams and Bynum is especially strong
An old sweet song, fresh in our hearts
A Great Evening!”

--John Porter, WCVE-FM

Daisy is joining Barefoot in the Park and Smoke on the Mountain as our biggest Hanover hits since reopening the theatre almost three years ago. Joy Williams, Jim Bynum and Garet Chester continue to earn standing ovations at every performance.

The Clean House is proving to be a real crowd pleaser at Barksdale Theatre Willow Lawn, adding immeasurably to the success of the Sara Ruhl Festival, coproduced by Barksdale Theatre and the Firehouse Theatre Project. Audiences are loving discovering a joyous new play by a dazzling new playwright.

If you still haven't seen Driving Miss Daisy or The Clean House, why not make your plans today. They are both wonderful shows that I know you'll enjoy. $15 rush tickets are available for all seats that remain unsold three hours before curtain. Call the box office for more information - 282-2620. We're extremely proud of this outstanding pair of heartwarming hits.

See you at the theatre!

--Bruce Miller

Friday, July 18, 2008

Casting and Comments - Part II

Posted by Bruce Miller
In a previous blog, I jumped recklessly into the ongoing debate regarding whether Barksdale and I (and by extension all Richmond theatres and directors) are open to casting newcomers. As I have stated, I believe that all of us are not only open to new talent, we’re downright eager to introduce new faces to our audiences.

Still, the perception persists that directors prefer to cast a disproportionate number of those whom we already know and love.

To test my belief against that perception, I decided to go back and review my casting record for the dozen shows I’ve directed at Barksdale since becoming artistic director in 2001. Here are the results.

I use the words “pals,” “friends” and “colleagues” interchangeably. If I say someone was “new to me” or “never worked with me,” I mean I hadn’t cast or directed them before, not necessarily that I’d never made their acquaintance, heard of them, or seen their work, although that is often true. In like fashion, the term “newcomer" means new to Barksdale.

I suspect I’ve made a mistake or five. A fair amount of this was done from memory. As you notice that I’ve left someone out, screwed up the math, misspelled a name, or mislabeled a “newcomer” or a “veteran,” please let me know and I’ll fix it.

I’ll leave it to you to determine what, if anything, this casting history suggests.

The Little Dog Laughed – Cast of four. I brought veteran Susan Sanford back from LA, and I cast Laine Satterfield, who had been in one Barksdale show previously but was new to me. I also cast two newcomers, John DeBoer and Matt Hackman.

Swingtime Canteen – Cast of five. I cast Vilma Gil, Jan Guarino, Audra Honaker, Katrinah Lewis and Debra Wagoner, all of whom had worked at Barksdale before.

Smoke on the Mountain – Cast of seven. I cast Julie Fulcher and Eric Williams, who were Barksdale veterans and longstanding friends of mine. I cast David Janeski who had acted at Barksdale in two previous shows, but had never worked with me. I cast Billy Christopher Maupin and Aly Wepplo, both of whom had acted once previously at Barksdale, but had never worked with me. I also cast two newcomers, Emily Cole Bitz and Drew Perkins.

Over the River and Through the Woods – Cast of six. I cast Dave Bridgewater, Jolene Carroll, Matthew Costello, Jackie Jones and Stephanie Kelly (Dray), all of whom were Barksdale veterans, and four of whom had worked previously with me. I also cast newcomer Christopher Clawson in the lead.

No Sex Please, We’re British – Cast of nine. I cast Dave Bridgewater, Dave Clark, Larry Cook, Jan Guarino, Cathy Shaffner and Erin Thomas, all six of whom were Barksdale veterans and longstanding pals of mine. I cast Jeff Cole and Chris Stewart, both of whom had worked with me and with Barksdale on one show prior to this one. I also cast newcomer Monica Dionysiou.

The Lark – Cast of 15. I cast Andy Boothby, Rick Brandt, Dave Bridgewater, Larry Cook, Matthew Costello, Debbie Gayle Taylor and Erin Thomas, all seven of whom were Barksdale veterans and prior colleagues of mine. (Allow me to note that Debbie Gayle hadn’t done a show at Barksdale in more than 20 years.) I cast Stephanie Kelly (Dray) and Roger Gregory who were new to me, but who had done one Barksdale show previous to this one. I also cast five newcomers: Pam Arkin, Jeff Cole, Jeff Hendrickson, Stephanie O’Brien and Chris Stewart, three of them in leading roles.

The Man Who Came to Dinner – Cast of 24. I cast Larry Cook, Lauren Leinhaas Cook, Matthew Costello, Thomas Cunningham, Robyn O’Neill, Joe Pabst, Derek Phipps, Susan Sanford, Jill Bari Steinberg, Jody Strickler and Joy Williams, all 11 of whom were Barksdale veterans. I also cast 13 newcomers: Brett Ambler, Josh Bufford, Jeff Clevinger, Sam Cook, Frank Creasy, Barry Ellenberger, Jonathan Hardison, Leigh McSweeney, Scott Melton, Curt Miller, Daniel Strickler, Kim Weeda and Lynn West.

Anything Goes – Cast of 24. I cast Larry Cook, Heather Fox, Jan Guarino, Jennifer Hammond, Robin Harris, Audra Honaker, Chase Kniffen, Richard Koch, Mollie Meagher, Robyn O’Neill, Jack Parrish, Derek Phipps, Russell Rowland and Cathy Shaffner, all fourteen of whom were Barksdale veterans and had worked with me before. I cast Matt Shofner, Jonathan Spivey and Alex Teachey, all three of whom were appearing at Barksdale for the second time, but had never worked with me. I also cast seven newcomers: Brandon Becker, Liz Blake, Charlie Chan, Ryland Dodge, Alexis Goldstein, Travis Kendrick and Eddie Tavares.

Fifth of July – Cast of eight. I cast Steve Perigard, Jody Strickler and Scott Wichmann, three Barksdale veterans who’d worked with me before. I cast Riley Koren, who had done one show with me and Barksdale previously. I cast Chris Evans and Jennifer Massey, both of whom had acted in one Barksdale show previously but had never worked with me. I also cast two newcomers: Peter Schmidt and Jill Bari Steinberg, plus a third newcomer Kristen Swanson, who replaced Jen Massey when she had to leave the show for a prior commitment.

Annie Get Your Gun – Cast of 24. I cast Dave Bridgewater, Billy Dye, Robert Fix, Jan Guarino, Michael Hawke, Chase Kniffen, Robyn O’Neill, Steve Perigard and Susan Sanford, all nine of whom were Barksdale veterans and old pals. I cast Crystal Bailey and Annie Hulcher, both of whom had done one show previously at Barksdale, but were new to me. I also cast 13 newcomers: Gray Crenshaw, Heather Fox, Emily Gatesman, Josh Lane, Craig McFarland, Andy McLeavey, Mollie Meagher, Juli Robbins, Russell Rowland, Gavin Waters, Cory Williams, David Winning and Tamia Zulueta.

The Crucible – Cast of 19. I cast Dave Bridgewater, Matthew Costello, Lou DiLalla, Richard Koch and Jack Parrish, all five of whom were Barksdale veterans who had worked with me before. I cast Kelly Kennedy, who was a Barksdale vet but was working with me for the first time. I also cast 13 newcomers: Pat Anthony-Aleman, Amy Barrett, Dale Church, Jamme Coy, Stephen Coy, Kady Fleckenstein, Chelsea Franges, Arthelia Gatling, Audra Honaker, Riley Koren, Joe Mattys, Alice Schreiner and Dan Summey.

The Little Foxes – Cast of ten. I cast Matthew Costello, Jack Parrish and Jody Strickler, all three of whom were Barksdale veterans and longstanding colleagues of mine. I cast Kweli Leapard and Robbie Winston, both of whom had been in one previous Barksdale production. I also cast five newcomers: ‘Rick Gray, Daniel Moore, Erin Thomas, Timothy Thomas and Harriet Traylor.

Total Actors Cast – 156
Total Newcomers – 65 (42%)

Among the “newcomers” – Brett Ambler, Frank Creasy, Audra Honaker, Heather Fox, Daniel Moore, Russell Rowland, Jill Bari Steinberg, Chris Stewart, Erin Thomas, Harriet Traylor and David Winning – all of whom would now be considered Barksdale Theatre and/or Richmond Theatre All-Stars.

--Bruce Miller

Saturday, August 25, 2007

Wepplo, Carter Todd and Wagoner Succeed as Fools

Posted by Bruce Miller

Great news from our friends in Idaho! Richmond actress Aly Wepplo (the shy daughter in Smoke on the Mountain at Hanover Tavern and Older Patrick's wife at the end of Mame) was such a hit in this summer's Spitfire Grill in Hailey that she's been invited back for Company of Fools' Fall Season opener, Doubt by John Patrick Shanley. She'll be playing Sister James. The show runs in Idaho Oct 17 through Nov 3.

Barksdale will be staging Doubt (winner of the 2005 Tony Award and Pulitzer Prize) this season as well on our Signature Season at Willow Lawn, February 15 - March 16, starring Irene Ziegler under Keri Wormald's direction.

Adding icing to the Idaho cake, the four person cast of Doubt at Company of Fools will also feature another of Richmond's talented alumnae, Michelle Carter Todd (Fairy Godmother in Theatre IV's Cinderella) as Mrs. Muller. Michelle and her husband Cliff have been living in L A for the past several years, and doing quite well. It's been a pleasure to keep up with them as their careers have continued to flourish.

The only actor already cast in the Barksdale production of Doubt is Irene Ziegler.

A final congratulation goes out to Debra Wagoner (Glenda in Theatre IV's most recent Wizard of Oz). After her many roles at Company of Fools, she was named a Company Artist this summer in Idaho, an honor she shares with world-famous Demi Moore and Bruce Willis, and Richmond-famous Dennis Rexroad, Laine Satterfield, Robert Throckmorton, and Joel Vilinsky.

You can learn more about the wonderful work at Company of Fools by visiting http://www.companyoffools.org/ . As always, we're so happy for their continuing success.

--Bruce Miller

Tuesday, July 31, 2007

A Journeyman Arrives

The day has finally come. After talking about this production for over a year, I am finally producing Harold Pinter's The Dumb Waiter in the Little Theatre in the Historic Empire Theatre complex. Many people have been asking "Why is he doing a show in the Little Theatre if it has been closed?" The answer to this is that I have just completed a "Journeyman's Year" where I was half-intern and half-employee. Part of my compensation for doing this year was the use of the Little Theatre. (You may remember Chase Kniffen's production of Godspell in the space. That production was done under the same agreement.) Our production was originally scheduled for February, but both David Janeski (who plays the role of Gus) and I were given the opportunity to work on Smoke on the Mountain at Barksdale Theatre at Hanover Tavern (I as assistant director and David as Dennis, one of the twins- "he's the boy") and couldn't pass up that opportunity. It turns out for the best because now that the show is going up in August, Carl Calabrese is able to join the cast as Ben.

Carl, David, and I attended Longwood University together, Carl graduating one year after I. Though he is new to the Richmond scene, Carl is sure to be loved by all. The Dumb Waiter is the third show in which I have directed Carl; the other two being The Skin of Our Teeth by Thornton Wilder and The Brute by Anton Chekhov, Carl having played the lead in both. Another interesting fact: Carl and I played opposite each other as the Antipholus twins in Shakespeare's Comedy of Errors at Longwood.

David and I have worked on several shows together over the last year including two shows at Barksdale Theatre at Hanover Tavern: Agatha Christie's The Mousetrap and the aforementioned Smoke on the Mountain, as well as Bill C. Davis' new work, Austin's Bridge, at the Firehouse Theatre Project.

To give a brief overview: The Dumb Waiter is a time-honored classic of the absurdist theatre, written in 1960 by Harold Pinter, who would later go on to win the Nobel Prize for Literature in 2005. This dark comedy is the story of two contract killers waiting in a basement for their next job. Tension runs high due to decidedly contrasting personalities and it only escalates as they are sent encoded commands through an old dumb waiter. The twisting tale is sure to leave you guessing until the very last moments, and it's shocking conclusion! (Dun-Dun-Dun).

This process has been incredibly enjoyable and enlightening. Outside of the obvious duties of a director, so many other things fall onto one's plate when one decides to independently produce a show. From sending out press releases, to painting the set and rigging lights, everything comes at a rapid pace. I have been very fortunate to have many wonderful people give me and advice and help me immensely.

Thank you to Sara, Judi, Wendy, Jessica, both Bruce's, Phil, Catherine, Billy Christopher, and everyone else at Barksdale/Theatre IV who have donated their time to help with things that I could never have done on my own.


Also see the article that appeared in the August 1 STYLE Weekly.


Brad Tuggle
Assistant to the Managing Director

Monday, July 2, 2007

Barksdale Vets Provide Fireworks in Idaho

Most of you know about Company of Fools, the regional theatre in Hailey, Idaho founded a dozen or so years ago by former Richmonder Denise Simone, current Richmonder Rusty Wilson (he was “former” during his Hailey years but now he’s back), and Denise’s old college buddy, Bruce Willis. Yes, that Bruce Willis.

Willis provided the initial funding, but Denise, Rusty and several Richmond pals provided the blood, sweat and tears. And believe me, its all about the b, s and t.

Then, about eight years ago, Barksdale’s former Artistic Director, John Glenn, moved to Hailey with his partner, R. L. Rowsey, who had been serving as Associate Artistic Director at TheatreVirginia. John and R. L. became part of the four-person leadership in Hailey. And when Rusty moved back to Richmond a couple years ago to become theatre director at St. Christopher’s School, Denise, John and R. L. settled into a Muriel, Pete and Nancy lifestyle that has continued to advance the Company of Fools to new heights.

This summer, two more Barksdale All-Stars are joining the team to launch the Fools’ first Summer Fools Festival—three shows running in rep during five weeks in July and August. Debra Wagoner (she of the amazing voice – and wife of Odd Couple director Joe Pabst) and Aly Wepplo (who recently stole hearts as the signing sister in Smoke on the Mountain – yes, that is signing, not singing – right after marrying grown-up Patrick at the end of Mame) are starring with John Glenn in The Spitfire Grill, a feel-good musical that Music Director R. L. Rowsey describes as “Appalachian Broadway.”

Many of you may have caught the wonderful Richmond premiere of this new musical a few years back at Swift Creek Mill.

As much as we miss Debra and Aly in Richmond this summer, we’re thrilled to see them join other beloved Richmond theatre alum at Company of Fools. Not since the founding of the Renaissance Theatre in Bon Air and the Wedgewood Dinner Theatre in Toano (both in the late 50s and early 60s) have so many former Barksdale artists gone off to start and then nurture another theatre in another place.

We always wish the Company of Fools well, and we send special good thoughts their way this summer as Debra and Aly prepare to open during the Fourth of July celebrations in The Spitfire Grill. We love the fact that Barksdale artists are continuing to spread artistic sparks nationwide. We look forward to welcoming Debra and Aly back home later this summer. Until then, break a leg one and all!

http://www.companyoffools.org/

--Bruce Miller

Tuesday, May 1, 2007

Hiatus in Hanover

The question I’m being asked most frequently this week is, “Why is Barksdale taking such a long break at the Tavern.” And every time someone asks it, it’s easy to hear the concern in their voice.

Please be assured that nothing is going wrong. In fact, everything is going right. It’s quite true that Smoke on the Mountain closed this past Saturday, April 28, and that The Odd Couple will not open until Friday, June 29. That’s a break of two months—pretty unusual for a resident theatre.

But the reason for the hiatus could not be more “usual” in the nonprofit sector. We’re taking a two-month break from Hanover Tavern because of money.

You see, Hanover Tavern is itself a nonprofit organization, and Barksdale Theatre is a separate nonprofit organization. From 1953 until 1990, Hanover Tavern was owned by Pete and Nancy Kilgore and Muriel McAuley. The Tavern was their home, both literally and artistically. They raised their children and their pets there, and they worked tirelessly and selflessly to save the historic Tavern for future generations.

In 1990 they made a difficult decision. They realized that the 18th Century Tavern that they loved needed millions of dollars of work if it was to remain standing into the 21st Century. They also realized that their job was making great theatre, and that they wanted to turn the responsibility of raising the millions that were needed over to a broad-based community foundation.

And so they sold their beloved Tavern to the Historic Hanover Tavern Foundation. They used the proceeds of the sale to fund a meager retirement account—the only pension they ever received from their lifetime of work at Barksdale Theatre. In 1993, Pete, Nancy and Muriel retired after 40 years of exemplary service. And in 1996, they lent their support as Barksdale Theatre, under the staff leadership of new artistic director John Glenn and the Board leadership of Carrie Galeski, Ted Linhart and Neil November, moved theatrical operations to the beautiful new space at Willow Lawn that we occupy today.

When Barksdale returned to the Tavern in January 2006, we did so as a rent-paying tenant. We are one of three major tenants of the Tavern. The other two (our partners, so to speak) are:
· the Historic Hanover Tavern Foundation, which not only owns the Tavern but also presents numerous historical programs and interpretations year round, and
· Michelle’s Restaurant.

As the Historic Hanover Tavern Foundation seeks to fulfill it’s fiduciary responsibilities for the Tavern’s finances and future, it works with its two partners (Barksdale Theatre and Michelle’s) in an attempt to maximize earned revenues. Let’s face it, 18th Century Taverns may be cool, but they're not inexpensive to maintain.

One of the things that the Foundation has learned is that a major revenue source for the Foundation and Michelle’s is the income received from weddings and wedding receptions held at the Tavern during the months of May and June. Due to sound issues, plays cannot be presented in the theatre at the same time that weddings or wedding receptions are taking place elsewhere on the property.

And so the Tavern has asked Barksdale Theatre to forego theatrical programming during the months of May and June, so that they and Michelle’s can maximize the revenue they receive from springtime weddings. We are happy to oblige.

So, during the next 60 days, please come visit us at Willow Lawn for Intimate Apparel, or visit our sister company, Theatre IV, for The Wizard of Oz at the Historic Empire Theatre. And plan now to join us on or after June 29 for The Odd Couple at Hanover Tavern.

Sunday, April 29, 2007

Closing Thoughts on "Smoke on the Mountain"

Tonight was the closing performance of Smoke on the Mountain at Barksdale Theatre at Hanover Tavern. It was a bittersweet time, I suppose. We had, after all, been working on the show since January (including rehearsals), so we definitely had a healthy run of (so I'm told) around 40 performances. Several Broadway productions have run for less than that (Carrie-the musical- officially ran for 5, not counting 16 preview performances, which still only comes up to 21).

But I suppose I'm not really feeling the humor tonight. Although there was lots of humor to be had and was had during the run of Smoke, onstage and off. If you happen to run into one of the cast members, be sure to ask them about Aunt Judy, a special figment of Julie Fulcher (Vera)'s brilliant mind.

Smoke on the Mountain, I think, is quite possibly the most fun I have ever had doing any show. The chemistry in this cast was sensational. Every single one was a delight. I do hope that the Sander's Family and Reverend Oglethorpe might emerge on a Richmond stage again someday not too far away. No matter where I am, I think the call to step back into Reverend Oglethorpe's shoes would be a temptation too alluring to pass up.

The love, comraderie, and joy that was shared on that stage each night is something that doesn't come with every show. Perhaps it's something that happens only once in a lifetime. I hope that's not true, but if it is, I'm glad I was there on that stage with Aly, Julie, Drew, David, Eric, and Emily. It's an experience that I will never forget.

A much-deserved "Thank you" goes out to director Bruce Miller for allowing the seven of us to be together on that stage 40 times and to stage manager Joseph Papa for holding it all together.

And that, dear readers, is my small love letter.

Friday, April 27, 2007

Hail and Farewell to

Our sold out production of Smoke on the Mountain closes this Saturday evening. I’m going to be sorry to see it go. Along with Brooklyn Boy at Barksdale Willow Lawn (another show that I loved), Smoke was our entry in this year’s Acts of Faith Festival. I couldn’t have had more fun directing (and watching) this small but heartwarming musical.

Every time you pick or direct a show, it says a little bit about you. I like what Smoke says about me. It connects two important parts of my life—my life as a theatre professional and my life as a person of faith.

I enjoy being an elder, liturgist and Sunday School teacher at Bon Air Presbyterian Church. But like many Presbyterians, I’m not particularly comfortable wearing my religion on my sleeve. To tell the truth, I’m feeling a little uncomfortable now writing this blog entry.

Religion is a personal thing to me; my faith is something I hold on to with a quiet humility. Smoke on the Mountain is not quiet, but it’s certainly humble. It takes place in a small Southern Baptist church in 1938. The central message of the play, to me, is Jesus’ teaching that we should love and accept each other rather than judge and exclude.

In Smoke, Eric Williams is really wonderful as a recovering alcoholic who has recently been released from prison. In Act II, he delivers a moving monologue about how Jesus shared the loaves and fishes with a multitude of men including unlikely congregants like himself. That monologue always chokes me up.

If there’s one thing I’m sure about in my faith journey, it’s this. God loves and extends his grace equally to all of us. Those Christians who choose to judge and shun rather than embrace their fellow men are missing the point.

Smoke was my breath of fresh air. I thank so much the wonderful cast: Emily Cole Bitz, Julie Fulcher, David Janeski, Billy Christopher Maupin, Drew Perkins, Aly Wepplo and Eric Williams. They lit up the stage every night with their open, loving hearts—and their great talents.

I thank our inspired designers: Bennett Fidlow, Heather Hogg, Terrie Powers and David Powers. Their church in the valley by the wildwood was a sanctuary of good will in these troubling times. More than once in the past couple of weeks have I recalled my favorite lyric from the show.

Soft as the voice of an angel breathing a lesson unheard
Hope with a gentle persuasion whispers a comforting word
Wait till the darkness is over, wait till the tempest is done
Hope for the sunshine tomorrow after the darkness is gone
Whispering hope, oh how welcome thy voice
Making my heart in it’s sorrow rejoice

I rejoice in Smoke on the Mountain. Thanks to artists and audiences alike for this opportunity.

Wednesday, April 11, 2007

A Smokin' Pinch Hitter


The cast of Smoke on the Mountain had quite a twist last weekend when Marianne Minton came in to pinch hit for Emily Cole Bitz who plays Denise, one of the twins. She’s the girl. It’s kinda fun because Emily is the annual fund manager for Barksdale Theatre/Theatre IV, while Marianne is the annual fund manager for the Richmond Symphony! I mean, come on, does it get more Twilight Zone than that! (Pause for you to listen to the theme music in your head.)

Emily deserted…er…left for a time for Arizona, a trip planned long before Smoke. We did miss her terribly, but did have an absolutely fantastic time with Marianne in her short time with us. Below you can see how much fun Marianne was having with Reverend Oglethorpe (Billy-Christopher Maupin) in the dressing room (3 flights above the onstage action)!

Saturday, April 7, 2007

Meet the Woman Behind "Intimate Apparel"

All of us at Barksdale are excited about the next play in our Signature Season at Willow Lawn, Intimate Apparel by Lynn Nottage. Introducing this beautiful new drama to the Richmond audience doesn't exactly make us trailblazers. Intimate Apparel was America’s most produced play in 2005-06. It won the American Theatre Critics New Play Award and was short-listed for the Pulitzer Prize in 2004. And Nottage was first presented to Richmonders in Benny Sato Ambush’s lovely production of Crumbs from the Table of Joy at TheatreVirginia in 2001-02.

Nonetheless, Lynn Nottage is a brilliant, fresh and inviting voice in American theatre—a playwright whom Richmond theatre artists and audience members need to know. Last year, she was one of three women pictured and identified on the cover of American Theatre Magazine as America’s most impressive emerging female playwrights.

I’m told that Nottage rhymes with “cottage.” It’s revealing that when I first encountered this amazing African-American playwright, I mispronounced her name with a continental élan, guessing incorrectly that you put the emphasis on and softened the second syllable, rhyming it with the visual art term “collage.” It’s quite true that Nottage finds eloquence, poetry and zest in everyday lives. She explores the extraordinary exuberance of individuals who would otherwise almost certainly appear to be lost in the mundane. But I fear that what was revealed by my mispronunciation was not my enthusiasm for her joyous and poetic language or the acute sensitivity of her character studies. More likely it was the subconscious association I made between “African American woman playwright” and the exotic and rare.

Lorraine Hansberry (A Raisin in the Sun), Suzan-Lori Parks (Top Dog / Underdog) and Regina Taylor (Crowns) notwithstanding, African American woman playwrights are still struggling to find their well-deserved place in the front ranks of American arts and letters. In fact, women playwrights in general find themselves in a similar boat.

But here’s where Richmond can step forward with pride and say that Barksdale Theatre is ahead of the pack. Not only have we produced the plays of Hansberry, Parks, Taylor, and now Nottage, but we’ve included the works of women authors in every season since Barksdale and Theatre IV began working cooperatively in 2001. In fact, if you count our soon-to-be-announced seventh season (2007-08), the new Barksdale will have produced 14 plays and musicals written by women authors in half that many years. No other theatre in Virginia and few theatres nationally, can equal this record of commitment and inclusion.

Many if not most theatres produce seasons on a regular basis that include only works by male writers. In Barksdale’s ten years prior to the 2001 connection with Theatre IV, five of the ten were all male.

In 2001, we established our Women’s Theatre Project, committing ourselves to producing great plays by women authors. Many of our biggest hits have been produced as a part of this project: The Little Foxes by Lillian Hellman, To Kill a Mockingbird by Harper Lee, Crowns by Regina Taylor, Annie Get Your Gun co-authored by Dorothy Fields, The Exact Center of the Universe by Joan Vail Thorne, The Syringa Tree by Pamela Gien, and our current Hanover Tavern hit, Smoke on the Mountain by Connie Ray.

We’re very proud of Intimate Apparel, and in the next few weeks we’ll be discussing it in greater depth in these blog entries. I hope you’ll do yourself the favor of coming to see it. Until then, please help us spread the word about Barksdale’s Women’s Theatre Project, and read more about Lynn Nottage and her important work. You can find terrific interviews with the playwright at:

Tuesday, March 20, 2007

Smoke Cast to Appear at Poe's Pub

The talented bluegrass cast from Smoke on the Mountain, our hit musical at Hanover Tavern, has been invited to entertain at Poe's Pub tomorrow evening. If you're one of the many who are crying out to hear more from the "Sanders Family Singers," show up at Poe's at around 9 p.m. for another evening of good times and good tunes.

Emily Cole Bitz, who plays Denise (one of the twins; she's the girl - pictured above with David Janeski, the other twin; he's the boy) reports, "The term 'hodgepodge' can definitely be used to describe our set list. It should be a rockin' good time. Trust me, you don't want to miss the reggae version of 'Jesus Is Mine.' Lest visions of fire & brimstone deter you from coming, assorted non-religious songs will be performed as well! There might be a nominal cover. Hope to see y'all."

One of our goals at Barksdale is to connect with the community in an ever increasing number of ways. We're delighted that Poe's Pub sees fit to share the many talents of our amazing Smoke on the Mountain cast with their customers.