Stretchin' at Barksdale - Great Way to Relax

Posted by Bruce Miller
One of Barksdale’s terrific but lesser known programs is Stretchin’ at Barksdale, a homegrown, organic, Sunday night concert series produced and hosted by B J Kocen, one of Greater Richmond’s most enthusiastic music impresarios. The kickoff concert of the 08-09 Stretchin’ Season—our third—took place Sunday evening before a crowd of about 40 music lovers, all assembled at tables spread out in front of the lobby stage in our comfortable Willow Lawn “living room”—that’s “lobby” for those of you who resist the urge to be homey.
There are about five great things to be enjoyed at a Stretchin’ concert. The first, of course, is the music. Each month, B J (or Beej to those who know and abbreviate him) assembles a stellar roster of talented singers and instrumentalists from both near and far. Past Stretchin’ All-Stars have included Paul Curreri, Slash Coleman, Harry Gore, Susan Greenbaum, David Janeski, Browning Porter, Devon Sproule, Brad Tuggle, Sheryl Warner and the Southside Homewreckers, and, of course, Beej himself. This Sunday’s lineup, pictured above, included (left to right) George Garrett on cajon, Jackie Frost on rhythm guitar, Beej on rhythm guitar, Brad Tucker on bass, and Jim Wark on lead guitar. Jackie, Beej and Brad were the principal vocalists.

A second crowd-pleasin’ aspect of the Stretchin’ experience is the price. Most Sunday evening concerts (almost always 6 pm to 8 pm) carry a cover of only $5 with no drink minimum. You won’t find a better bargain than that.

A third attribute of the series is the venue. Turns out Barksdale’s living room is about the perfect place to hear authentic music up close and personal. The acoustics and sound system are great and you never sit more that 15 or 20 feet away from the performers. Seating is cabaret style, at tables, so you can purchase a Blue Moon (or the beverage of your choice) and perhaps a snack from the Barksdale bar and then have a place to set it down. And, of course, the living room is smoke-free.

Then there’s the spontaneity. All the performers are there for the love of the music; they split the meager box office and whatever tips the appreciative crowd cares to toss into the on-stage bucket. So there’s not a lot of rehearsing. It’s mainly great musicians jamming together, often for the first time, giving the whole evening an improvisational, jazzy feel, except the tunes trend a lot more to Van Morrison and Eric Clapton than Miles Davis or Thelonious Monk. Requests are often shouted up from the audience to the stage, and when they know ‘em, they play ‘em.

Last but certainly not least, there’s B J Kocen, about as charming an emcee as you’ll ever want to meet. He establishes a laid back, comfortable tone while liberally sharing his true passion for this music that he loves. You can’t help but go wherever the music is taking you when Beej is driving the cab.

You won’t see any ads in the paper for our Stretchin’ evenings—with these prices, who can afford ads? But you can sign up for the Stretchin’ email list by writing B. J. at bjkocen@gmail.com. Or you can sign up for the Barksdale email newsletter and receive reminders from us as well. No reservations are required. Just show up at the door with your fiver and a pal or two in hand, and then sit back for a relaxing evening of good music with good friends.

You’ll be glad you did. Hope to see you at the theatre!

(Note: Many thanks to Scott Elmquist, Photo Editor at STYLE, for the great pic of Sunday's concert; Brad Tuggle who serves as staff liaison for the Stretchin' series; and the Glave Kocen Gallery for letting B J share his artistic energy with the performing arts as well as the visual [B J co-owns and co-runs the place with his beautiful wife Jennifer Glave].)

--Bruce Miller

The McAuley-Kilgore Memorial Library

Posted by Bruce Miller

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

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

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

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

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

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

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

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

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

--Bruce Miller

How We Help ... Girl Scouts

Posted by Bruce Miller
I walked into Barksdale Theatre at Hanover Tavern yesterday (Tuesday) morning to help Terrie and David Powers map out the all-but-completed set design for Shirley Valentine. This was our one chance to envision on-site exactly where the complex set would sit on the stage. This is the final design step before building begins.

"Help" is probably the wrong word for what I do. I sit there while Terrie and David are working, saying “Don’t forget about this” or “Have you considered trying it this way” or “Where are you ever going to find a (fill in an impossible-to-find prop here)” or “Are you sure the people in these seats over here will have decent sight lines?”

I walked in ready to begin the process, only to find a group of what appeared to be fourth and fifth grade girls playing theatre games on the bare stage, laughing their heads off. David had cleared out the set for Greater Tuna on Monday, so all that remained were a row of toupee and hairdo-sporting wig stands lined up against the upstage wall, looking down at the girls. From all appearances, the wig stands were smiling.

I panicked. “Oh great,” I thought. “The Tavern has rented out the space for some sort of summer camp, and they forgot to tell us.” Thankfully, such was not the case. When I looked more closely, there on the third row sat Brad Tuggle, Assistant to the Managing Director of Barksdale and Theatre IV, directing the girls through their paces. He seemed to be having as much fun as the young ladies in his charge.
Turns out that what I walked in on was the tail end of one of Brad’s scout sessions. Brad manages Barksdale and Theatre IV’s Boy Scout, Girl Scout, Cub Scout and Brownie enrichment programs. This particular group came from the Pamunkey Ridge Girl Scout Camp in Hanover, and they were there to work with Barksdale on earning their try-it in theatre.

Throughout the year, Barksdale and Theatre IV work for free with scout troops of all shapes and sizes (and both genders) as they earn their various badges and patches in theatre and the dramatic arts. This is one of our many community service initiatives, and any scout troop that is interested in working with us can contact Brad at b.tuggle@barksdalerichmond.org, or 804 783-1688 ext 12. If you would be interested in helping with our scout program, please let Brad know that too. We love to work with volunteers.

Turns out this is the third year in a row that we’ve welcomed our young friends from Pamunkey Ridge onto our stage. As you’re considering why Barksdale is important to you and/or the community-at-large, please remember to add “working with scout troops” to your list. It’s fun for us and the scouts, and an excellent way to meet the needs of the community in non-traditional ways.

--Bruce Miller

Barksdale's Sunday Music Series is Back!

Posted by John Steils

Barksdale Theatre serves the community in a LOT of ways, including co-producing a live music series on selected Sunday nights. The series is called Stretchin’ at Barksdale, and it’s a heck of a lot of fun.

Our partner and co-producer, BJ Kocen, does most of the work. Brad Tuggle, Assistant to the Managing Director at Barksdale and Theatre IV, is staff liaison and general coordinator on Barksdale’s behalf.

But it’s BJ Kocen (that's him, grinnin' to the right) who selects, books and promotes the acts, and hosts every Stretchin’ performance. BJ is a man of many talents, and a charmer to boot. He is a singer and guitarist, songwriter, actor (he played the young lover in Italian American Reconciliation in Barksdale’s 01-02 Season), art gallery manager (he and his wife Jennifer Glave Kocen own the newly opened Glave Kocen Gallery), impresario, and all round great guy. No wonder STYLE Weekly selected him in 2006 as one of the Top 40 Under 40.

Stretchin’ is back for its second year of great music performed live on the intimate lobby stage in Barksdale’s “living room.” Stretchin’ guests (that means you) sit at cabaret tables, enjoy light fare and libations from the cash bar, and groove to some of the best singing and playing you’ll find in any of Greater Richmond’s clubs and pubs.

Six top notch shows are scheduled for the 07-08 season, and each will hold true to the feel that B. J. has established for the series – loose, fun, intimate.

The first show on Sunday, December 9, 6 to 8 p.m., is a whopper. And admission is only $10 at the door—an unbelievable bargain.

Justin Townes Earle, (singing to the left) is the son of international recording artist Steve Earle. He will fill the Barksdale “living room” with songwriting, singing and storytelling that will knock you out. Just back from his gig with the Old Crow Medicine Show and a tour that took him all over the globe, Justin has been compared by the critics with Bruce Springsteen circa Nebraska. His mini-lp, Yuma, is a quiet masterpiece. The amazing Susan Greenbaum will open the show, and BJ will kick it off with Justin for a season opener not to be missed.

Remaining shows in the season are as follows:

Jan 13 – Paul Curreri and Devon Sproule

Feb 17 – Jackie Frost, BJ Kocen and Brad Tucker (The Gobstoppers)

Mar 9 – Sheryl Warner & the Southside Homewreckers (CD Release Party) (photo to right)

Apr 13 – Slash Coleman and Browning Porter

May 11 – All Star Jam

Many thanks to the other co-producers of the Stretchin’ at Barksdale series: Creative Mortgage (http://www.creativemortgage.cc/), The Community Idea Stations (http://www.wcve.org/), and the Glave Kocen Gallery (http://www.glavekocengallery.com/).

For more information about the series, call BJ Kocen at 358-1990. Also, you can check out Justin Townes Earl at http://www.myspace.com/justinearle and Susan Greenbaum at http://www.susangreenbaum.com/.

Come December, we’ll once again be Stretchin’ at Barksdale. We hope you’ll join us for the fun!

--John Steils

(Added by Jessica in Marketing: Also there's a full list of dates with ticket information on Barksdale's Stretchin' page.)

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

Beckett via Pinter via Tuggle

Posted by Bruce Miller
A couple people lately have said, “I liked your review of Henry IV (or Little Shop, Austin’s Bridge, This Is Our Youth etc etc). I appreciate their gracious comment, and so I thank them before quickly adding that I don’t write reviews. I understand the confusion and know that I’m responsible for it. So let me explain.

I write cheers, toasts and compliments, but I don’t write reviews. I’d be a lousy critic. I’ve found things to admire, but I’ve never honestly enjoyed a production of Annie, Cats, Joseph / Dreamcoat, and Nunsense. On the other end of the spectrum, I seem to always walk away cold from anything by Strindberg, Gorky’s The Lower Depths, and most Mamet. Need I say more? I’d be a terrible critic.

But almost every time I go to the theatre, there’s something that gets me excited. I love going, and watching, and talking about it afterward. Theatre is in my life blood, and so I’m happy to talk about those things in any given production that make me happy. I’m aware that the position I’m blessed to hold has certain responsibilities, and one of those responsibilities is being a cheerleader for all of Metro Richmond’s theatres. It’s a responsibility I take seriously and enjoy. It's one of the reasons that this blog exists.

So, here’s what I loved about The Dumb Waiter, which I saw last night at the Little Theatre at Theatre IV.

I loved revisiting Harold Pinter. He won the Nobel Prize for Literature in 2005, and is generally considered the finest and most influential British playwright of the latter half of the 20th Century. In world opinion, he comes out ahead of Alan Ayckbourn, Michael Frayn, David Hare, John Osborne, Tom Stoppard and the other greats--although, if I were Pinter, I'd be looking over my shoulder for Stoppard.

I first encountered Pinter in college when Jack Welsh directed a studio production of The Lover starring Bev Appleton and Mary Atkins. I had the privilege of running the light board. I thought the show was GREAT!

Far more recently, Phil and I sat in the front row for a revival of Betrayal in London that knocked our socks off.

The Dumb Waiter is early Pinter. He was clearly connected with and influenced by Samuel Beckett in those days, and The Dumb Waiter is in many ways an homage to Waiting for Godot and Endgame. At least that’s the way it seemed to me—two existential killers waiting for instructions from a faceless master who never appears, bouncing around in a featureless landscape and exploring the master/servant aspects of their own relationship.

I loved experiencing Pinter again, and The Dumb Waiter for the first time, remembering the intellectual thrill of exploring the various themes presented by the great playwright, not only during the 45 minutes that the show was going on, but also during the ride home and long after.

I loved seeing again the crisp, boyish charm and intelligence that David Janeski brings to every role. I’m sure David is sick of hearing the word “boyish,” but that innocence and freshness inhabits everything he does. Trade on it, David; it works for you.

I loved seeing, for the first time, the talented Carl Calabrese—a new actor on the Richmond theatre scene. Sturdy, handsome young men are often what we see the fewest of in casting calls, and Carl should find lots of opportunities to share his talents with the Richmond audience. Welcome!

Most of all, I loved seeing the fluid, impassioned direction of Brad Tuggle, who clearly loves this project as much as he loves his emerging role in the Richmond theatre scene. It is the youthful energy, developing talent and mature commitment that come from the Brad Tuggles, Chase Kniffens and Alex Previteras of the world that keeps Richmond theatre at the top of its game.

I recommend this energized, 45-minute, $5 production to anyone who cares about world literature, Richmond theatre, or the unique passions of young men. Open your mind; challenge your intellect. Run, don’t walk, to the box office today!

--Bruce Miller

For The Dumb Waiter dates and ticket information, click here.

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

Mr. Tuggle Goes to NYC

It is not often that you are able to say you don’t mind having dirt kicked on you, but when it’s being kicked by Kevin Spacey and Eve Best, it’s a little different. Let it never be said that you can’t find a good discount in New York, as this weekend I went to see Talk Radio and A Moon for the Misbegotten both as part of the theatres’ student rush ticket programs. For “Moon” we ended up in row AA, the row that was added on IN FRONT of the front row, specifically for student rush tickets. To give you an idea of how close we were, the stage was sitting over my legs like a desk. It was quiet an experience.

We saw Talk Radio on Friday night, and it lived up to all of its hype. I am very skeptical about “movie stars” moving onto the Broadway stage, and this was no exception, in spite the fact that Liev Schreiber (The Manchurian Candidate, The Omen) had some notable stage credentials. He of course got entrance applause when he entered onstage for the first time, which always irks me. I would prefer not to applaud an actor on his previous accomplishments and disrupt his current labors, but give them a hearty ovation once I have seen the work.

The play is about a talk radio host, and is virtually a one man show, with other actors stepping in momentarily for brief witty retorts, or to give information about their relationship with the central character, for really no other reason that to build the dynamic protagonist. All of these things lead to the fact that the “hero”, or “anti-hero” in this case, must be a very strong performer. I would not rank it amongst the best productions I have ever seen, but it was well worth the time and meager price.


A Moon for the Misbegotten on the other hand trumps virtually ever other play I have seen, in the realm of artistic merit. Taking on a Eugene O’Neill opus is a hearty task, but through their intensive energy, and conscious effort to not make it melancholy to the point of gloom, the cast and director developed a fantastic product.

The play was staged by the Old Vic Theatre, based in London, and then transported to Broadway after a great run in its home theatre. Kevin Spacey is not only one of the stars of the play, but also the Artistic Director of the theatre. He put on a fantastic performance, as would be expected, but was outshined remarkably by the shows heroin Eve Best.

Looking through Eve Best’s credits in the playbill looks more like a theatre history reading list, than a career. She has played some of the toughest roles for a modern actor, and this experience was evident in performance. Her ability to take the tough bull like qualities of Josie, which are apparent in the script, and intertwine them with humor and light heartedness is what made her such a lovable character capable of so much pathos. She moved the audience with her, from giddy child-like love, to the deep anguishes of a wasted life, without a single misstep.

Both shows, and the trip as a whole were fantastic. A Moon for the Misbegotten only has an eight-week run, so if you are in New York soon and have a chance to see it, do not pass it up at any cost. It will give you a love for O’Neill you never thought possible.

Brad Tuggle
Assistant to the Managing Director
Barksdale Theatre / Theatre IV


**Here is a great interview with Kevin Spacey about A Moon for the Misbegotten. In the interview he also talks about what an amazing experience live theatre is-not only for the actor but for the audience as well.

Kevin Spacey Interview

A Second Great Year at Ettrick Elementary

Many theatres are arts-for-art’s-sake organizations. Barksdale Theatre and Theatre IV, from their inceptions, have been arts-for-the-community’s-sake organizations. Those who knew Muriel, Pete and Nancy often tell stories about their amazing community interactions. Having worked with Bruce and Phil for the last 15 years, I’ve learned first-hand that their commitment to community impacts every decision they make.

At B’dale and TIV, we spend hours working tirelessly to find new, often non-traditional ways to serve our region, and even more hours implementing those ideas. We strive to provide not only national-caliber mainstage productions, but also exemplary service initiatives that reach out to hundreds of thousands of Virginians who never make it inside the walls of our theatres.

Last week, Brad Tuggle (Assistant to the Managing Director) and I completed a 12-week stint at Ettrick Elementary in Chesterfield County. Audra Honaker and Jen Meharg will soon complete a sister program at Beulah Elementary. At Ettrick, Brad and I have been working with about 40 students who are part of the After School Achievement Program (ASAP). Created by Chesterfield County Public Schools, this excellent program gives students an opportunity for continued instructional support in a fun after-school setting. David Leath and Antoinette House head up the ASAP program at Ettrick, and both have done extraordinary work with their students. Our theatres have been privileged to be involved in this program for the past two years, and plans are now underway for year three.

As part of this program, Brad and I worked with students to create and produce four one acts dealing directly with Virginia Standards of Learning, reinforcing what the students are working on in school. For twelve weeks, we worked with students on basic principles of theatre: public speaking, blocking, costumes, props and, above all, self-confidence. Throughout this period we saw students come out of their shells and grow into assured and accomplished young people who braved getting up in front of their teachers, parents and fellow students to bring to life the social studies “facts” they’d been learning in class. The results were remarkable.

It’s of great importance to me to foster a new generation that appreciates theatre and the many roles that the arts play in our lives. Programs such as this certainly pave the way. Just as important, programs like this help to teach the 21st Century workplace skills that these students will need to succeed on the job in the years ahead.

On May 18th, our new friends from Ettrick will be our guests-of-honor at The Wizard of Oz, and we’ll treat them to an in-depth backstage tour. I hope this will reinforce the interest and excitement about the performing arts that they developed over our twelve weeks together. There’s nothing more important than that.

--Chase Kniffen
Special Projects Manager
Barksdale Theatre/Theatre IV