The Real Transylvania Mania

Posted by Bruce Miller

Very quickly (it's past my bedtime), I attended TheatreVCU's production of Dracula this evening, written by Steven Dietz, directed by Barry Bell, and produced by David Leong. It was an exciting, impressive and creepy ride.

I especially appreciated the five leading men: Brandon Crowder as Dracula, Joe Carlson as Renfield, Joseph Sultani as Seward, Landon Nagel as Van Helsing, and Andrew Donnelly as Harker. All five inhabited their characters with distinct personalities and histrionic expertise, creating some heart-pounding suspense.

Of the five, Landon Nagel is the Barksdale vet, having played the minister and other roles in The Full Monty a couple summers ago.

Ron Keller's set, Toni-Leslie James's costumes, Mike Mauren's lights, and especially Thomas Vecchione's sound were all chill inducing. Ron Keller is another Barksdale and Theatre IV vet, having designed The Laramie Project and supervised the designs of countless other shows at Willow Lawn, including our upcoming productions of Doubt and The Little Dog Laughed.

The two leading ladies, Jaci Camden and Marie Weigle, spent most of the show as young lovelies, but became more interesting after becoming "unclean." Barry Bell staged it all with style, classical titillation, and a fun sense of the unexpected.

More than half the seats were empty this evening, which is a terrible shame. Students can attend for only $7 (adults are something like $18). This evening was further proof that even when exciting theatre is presented super-cheap in their own backyard, it's really difficult to convince the majority of university students to come to the theatre.

The last two performances will be tomorrow evening (Friday) at 7:30, and, if you want to be really creepy, Saturday evening at MMIIDDNNIIGGHHTT - AHH HHAA HHAA!! (That's me using my deep Transylvania voice with lots of reverb.)

Anyway, for an eerie good time, you won't go wrong with this new edition of Dracula. The VCU theatre department is full of talent. And you can't beat the price.

--Bruce Miller

The Night I Spent on Henley Street

Posted by Bruce Miller
I have good news and good news.

1 - The Night Thoreau Spent in Jail, the inaugural production of the new Henley Street Theatre, is well worth seeing, and …

2 - Good seats are still available for every performance between now and the show’s closing on October 13.

If you haven’t purchased two full-price tickets for Thoreau yet, why not do so right now? You can find Henley Street online at http://www.henleystreettheatre.org/.

Henley Street Theatre needs the support of everyone in Richmond’s theatre community if they are to succeed. From the quality of the acting and directing now on display in the intimate theatre at Pine Camp, Henley Street deserves to succeed. Alex Previtera and company are working their hardest to earn your support.

If you care about growth in Richmond’s professional theatre scene, now is the moment to invest 2 ½ hours of your time and $40—the price of two full-price tickets. Talk is cheap; professional theatre isn’t. Let’s all put our money where our mouths are. You’ll see an interesting show, and make a sound investment in Richmond theatre’s future.

Tonight at Thoreau I saw at least ten fine performances from Richmond actors whom I’ve never seen or heard from before. I all too frequently delude myself into thinking that I know all the good actors in town. Tonight's visit to Walden Pond, pictured to the right and above, was proof positive that such delusion is spun from pure air.

Alan Criswell as Ralph Waldo Emerson (pictured to the right) knocked my socks off. Laurie Follmer was completely believable and persuasive as Emerson’s wife, Lydian. Rebekah Spence made a fine, grounded Mrs. Thoreau (Henry’s mother). Patrick Bromley demonstrated real charm and great acting chops as older brother John.

Julia Rigby, David Bromley, Kern Dowdy and Dean Knight all established well-rounded characters and made the most of their scenes. Stan Baranowski, Kaye Weinstein Gary, Josh Lushch and David Settle equipped themselves well in smaller roles.

Max Follmer has to be the most delightful second grader you’ll see on stage this year. My good friend Frank Creasy, the one actor with whom I have significant experience, prompted an evening’s worth of laughs and tears. What a sweet and genuine stage presence.

Michael Sater as Thoreau himself was terrific, honestly embodying Thoreau’s energy, idealism, prickliness and humanity in every second of a large, large role.

I’d be proud and lucky to work with these actors in the future, and I hope to see them at Barksdale and Theatre IV auditions throughout the coming months.

Thoreau, Emerson and their contemporaries are fascinating and intriguing company. I’ve seen this script produced twice before, at the University of Richmond and TheatreVirginia. Of the three productions, this was my favorite—principally because of the compelling chemistry between Thoreau and the Emersons.

Would the show be better with bigger production budgets? Of course. But those budgets don’t exist yet, and Alex Previtera and his designers make the most of their modest resources.

I don’t write reviews, I cheerlead and offer encouragement regarding shows I enjoy. I enjoyed The Night Thoreau Spent in Jail, and I encourage you to go see it. Thanks.

--Bruce Miller

Bidding Bye Bye to "Birdie"

Posted by Bruce Miller

I was sad to be out of town (or otherwise engaged) during the recent run of Bye Bye Birdie at Dogwood Dell. The original "rock ‘n’ roll musical" was performed six times from August 3 until 11 as the grand finale in the Dell’s 51st annual Festival of the Arts, produced by Richmond’s Dept. of Parks, Recreation and Community Facilities. From all reports, it was a huge success, attracting, I’ve been told, the largest Dell crowds in a decade.

Bye Bye Birdie won the Best Musical Tony in 1961, and put Charles Strouse on the road to earn the Broadway legend status he enjoys today. Charles has quite a few Richmond connections, and that’s one reason I really wanted to see Birdie. But more about that in a future blog entry.

The main reason I wanted to see Birdie was to enjoy the work of all of my friends who were involved in the production.

The show was directed by Tony Sharpenstein, a fine fellow who co-starred in a production of The Prince and the Pauper that I directed years ago at Theatre IV—a production I remember fondly. It would have been my first time seeing Tony’s work as a director, so I’m really sorry that my schedule didn't allow me to attend.

I’m embarrassed to say that I don’t know who choreographed, music directed and/or designed Bye Bye Birdie. The press releases that I can find on line simply don't list that information. If someone wants to leave me that info in a comment, I’d appreciate it.

Among Birdie's adult cast, Robert Fuhrman is an alum of Barksdale’s Where’s Charley?, David Janosik appeared as a child in Theatre IV’s Charley and the Chocolate Factory, Dee Lynch co-starred in Theatre IV’s production of Cowgirls and music directed Barksdale’s productions of The Full Monty and Anything Goes, and Terri Moore was wonderful in that same production of The Prince and the Pauper that I mentioned earlier.

Among the young people in the Birdie cast, Charlie Dacus recently dazzled me with his backbends in Theatre IV’s The Wizard of Oz; Ryan Lynch, Hannah Martin and Liz Van’t Reit were a joy to direct in The Best Christmas Pageant Ever (also at Theatre IV); and Sarah Pruden, Robert Watkins and Chris Withers simply knocked my socks off in last summer’s Greater Richmond High School All Star Musical, Grease, co-produced by Barksdale Theatre and The Steward School.

I'm told that Robbie Fuhrman and Sarah Pruden were terrific as the leads in Birdie, playing Albert Peterson and Kim McAfee, respectively, so I’m especially sorry to have missed their performances.

Anyway, I’m proud of all our Theatre IV and Barksdale veterans, and look forward to the next time when I’ll be able to catch them on stage. If Birdie was half as good as friends told me it was, you all did a GREAT job.

--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.

Majesty, Magic and Mayhem at Agecroft Hall

Word on the street is that Henry IV, Part I may be Richmond Shakespeare Theatre’s best effort to date. I know plenty of theatre lovers who would fight for their own favorite, but it's good to see that this new entry is so clearly joined in the competition.

I’m ashamed to say I haven’t seen enough RST productions to assert which one may or may not be the best of all. But I can say this. Henry IV offers pleasures to spare, and if other productions have been better, then they must have been pretty sensational.

I love seeing theatre at Agecroft. I loved Henry IV, Part I.

I wish I were smart enough, or educated enough, to be able to watch Shakespeare and actually understand all the language. That’s a criticism of me, not of Shakespeare or any particular production—certainly not this one. Truth is, I fully understand about 50%—particularly if we’re talking about the histories and the tragedies.

In my youth, I used to hang on every word, trying to cogitate my way through each sentence. I learned long ago that that was just too exhausting. Now I let the language flow over me like beautiful music and through me like red wine, understanding all the words I can and feeling fulfilled by following the characters, emotions and story. That is fulfillment aplenty.

With this production, I was captivated. I still couldn’t understand every word, but I certainly understood the story. And the rest didn’t matter. There are four reasons why.

In alpha order, they are Phil Brown, Jack Parrish, Daryl Clark Phillips, and James Ricks.

I don’t want to take away from the many other fine actors on stage, or the capable direction and fight direction, or the beautiful setting, or Grant Mudge’s growing expertise as a producer, etc etc etc. But I don’t think I’ve ever before seen four such capable actors in a Shakespearean play in Richmond, VA. Unless maybe it was an As You Like It at VCU in the early 70s that may have starred, now that I think of it, Jack Parrish. Forgive me, Jack, if I’m wrong. The main thing I remember about that gorgeous production was a radiant Roxanna Prosser as Rosalind.

Anyway, all four of the gentlemen noted above knocked my socks off. Anyone who loves theatre in Richmond is CRAZY to miss their performances.

Phil Brown came over from England to play Prince Hal and I wish he would stay in Richmond forever. Are there any other roles you’re dying to play, Mr. Brown? Have your people call my people.

Phil is a good looking guy, and he fits the rake to champion character to a tee. He and Jack Parrish, who plays King Henry IV, have a wonderful father son chemistry, and he and Daryl Clark Phillips have an equally wonderful Hal / Falstaff chemistry. It starts out with Falstaff being the dominant force, leading Hal down the rosy path of debauchery, but then reverses in a really moving role-playing scene, when Hal begins to mature into the princely presence he will so fully inhabit by play’s end.

And then there’s James Ricks. I was prepared to be in a snit with James, because as I read the playbill before the show I noticed he failed to mention in his bio that he first came to Richmond to work at Barksdale, and that’s just how petty and persnickety I am. But about five sentences into his performance, all was forgiven.

In an ideal world, Hotspur should be a strapping lad, a physical equal to Prince Hal. At least in my ideal world. And James is not what one would call physically imposing. But once he started speaking, who cared. For my money, he completely mastered the language and, even when I couldn't instantly translate a 17th century sentence into my 21st century vernacular, I could read his inflections and his face like a book.

All four of these guys were terrific, and I selfishly hope they all four work at Barksdale sometime really soon. Three of them have in the recent past, and it's time for their return.

Before going, I want to say that the final fight between Hal and Hotspur was really well staged. It was gasp-worthy. If you don’t believe me, ask Jackie Jones.

I know how hard it is to assemble four such expert actors in one production. Thanks to Grant and everyone on the Henry IV team for a wonderful, rejuvenating evening.

--Bruce Miller

Photo captions: top center - James, Phil, Jack, Daryl, Grant; first right - Agecroft Hall; second right - portrait of King Henry IV

SPARC's "Little Shop" Ignites Firehouse

With Little Shop of Horrors, SPARC is trying something different—a small, Off Broadway style musical performed by actors identical in age and experience to those actors used by many of Richmond’s other producing theatres. Watching this fun production of Little Shop is like watching Austin’s Bridge, Bat Boy or any of the other terrific Off Broadway musicals that the Firehouse has produced. It’s like watching Little Shop at the Mill, or Olympus on My Mind at Barksdale.

Let me amend that, slightly. The only difference I can see is that those other shows used a live band, or at least a live acoustic piano, and SPARC hasn't chosen to go that route. But Blanton Bradley is a great music director, and his “accompaniment track” adds real energy to this production. The accompaniment sounds very much like the original cast album.

SPARC’s current production of Little Shop is very different from Cats, Pippin, Grease or Disney’s High School Musical. I’m not sure why I wasn’t expecting that difference, but I wasn’t.

So welcome, Jenny and Larry, to the relatively small circle of Richmond theatrical producers. A lot is being written and said about Henley Street being the new theatre on the block. But with Little Shop, SPARC is clearly staking its claim to being a new, adult-audience producer, which is somewhat different from being the educational theatre producer that SPARC has been in the past.

Welcome, welcome, welcome!

If you haven’t seen Little Shop, by all means race down to the Firehouse to catch this production. The cast is great, and SPARC’s powerhouse team of Width, Bradley and Turner are at the top of their form.

And Jason Marks! Good grief, Jason. You get better and better with every show. Jason is simply one of the best Mr. Mushnik’s I’ve ever seen, and I’m old enough to have seen the original Off Broadway production—twice.

And then there’s Audrey. Lovely Audrey. Hayley Roberts is dynamite in this hilarious and heart-breaking role. She has a wonderful singing voice and great acting chops. You never know whether to laugh or cry. I loved her.

David Watson as Seymour and Elliott Lau as Orin (he of the rusting drill) are two young men to watch. Hayley, David and Elliott are all students at VCU, but they’re apparently not theatre majors. Who would know? All three have vocal and acting talent to spare, and I hope they continue to swim in the Richmond talent pool for years to come.

Word has it that Hayley's even married to a dentist in real life.

The three doo wop girls have big voices—I particularly liked the two with Meadowbrook H S connections. And T. J. Ellis as the Voice of Audrey II is ready for his recording contract. He has a wonderful and expressive voice—look out American Idol. Eric Stallings as the Audrey II manipulator also does a great job.

Mercedes Schaum makes the most of Firehouse’s tiny stage; Kym Mincks creates a real environment with her evocative costumes; Joe Doran continues to be a master of lights—and about the nicest guy you’ll ever meet.

So, for a little summertime fun, why not dive in to the Firehouse for Little Shop from SPARC.

Congratulations one and all. I hope you have the most successful run ever.

--Bruce Miller

A "Bridge" to Cherish

Early in the performance of Austin’s Bridge, now enjoying a wonderful World Premiere with Firehouse Theatre Project, the character of Austin Quinn sings that his actions are about to finally set him free. Watching the musical play that follows, I kept thinking that author Bill C. Davis was also experiencing a sort of freedom.

Much of the action of Austin’s Bridge is set in a residential community for mentally and developmentally disabled adults in Upstate New York. For four summers, I lived and worked at a similar residential facility, Camp Baker in Chesterfield County, and for one full year thereafter I was employed at the Development Training Center in Richmond.

I remember as if it were yesterday how strange the residents of those facilities seemed to me at first. I felt like 95% of their physical, psychological and emotional traits were different from mine. By the end of that first summer, I realized that the opposite was true. In 95% of the ways in which we thought and felt and acted, we were exactly the same.

Except they had one major strength that I lacked. Freedom. I was living my life behind a wall of self-consciousness, social mores, artifice and subtext. I regret that I still do. The residents seemed to me to be completely free of these obstacles. They said exactly what they felt, they asked for exactly what they wanted and needed, their emotional lives were rich and layered and unencumbered by a desperate need to appear to be “normal.”

Lacking this freedom, I began to feel like I was the one who was disabled.

Very early in his career, Bill Davis (pictured to the left) wrote a super-hit—Mass Appeal, which has been internationally successful both on stage and screen. Mass Appeal is a beautiful play. We produced it years ago at Theatre IV with an African American cast.

I’m sure that writing a super-hit can provide traps just as easily as it can provide freedom. I’m so glad that, at least at this stage in his career, Bill Davis seems to have chosen to be free.

Austin’s Bridge is not like most contemporary plays. It wears its heart on its sleeve. It is honest and gentle and sweet in a way that reminded me of The Fantasticks, except it is of course completely different. Like the residents it portrays, it makes no attempts at artifice or subtext. It’s all about freedom and feeling and shucking off the need to hide. To be honest, it took me a while to get used to its simplicity and sweetness. But ultimately, I found myself caught up in its spell, in a very similar way to the manner in which I remember becoming enthralled by the unencumbered emotions of the Camp Baker residents.

Depending on what kind of person you are, Austin’s Bridge may seem beautiful or sappy, baldly honest or sentimentally manipulative. I’m sure that Bill Davis knows this, and he has written freely the play that shows the inner-workings of his heart. He openly shares emotions with us, writing honestly with the courage of his convictions.

Chalk me up among those who found his work to be beautiful and honest. When one central couple explains, in two or three words, the absolute necessity of marriage, my heart leapt into my throat.

And let me express my admiration for the wonderful cast, who entered into their roles with body, mind and soul. Not to mention the fact that they sing their hearts out. You guys knocked me out.

By all means, go see Austin’s Bridge. However you respond, you will surely be impressed by the fact that this World Premiere is happening right here in River City. And just like Bill Davis, his startlingly gifted composer Brett Boles, and the multi-talented cast, the Firehouse itself is going for it with everything its got.

I’m jealous of theatrical intentions and exercises and institutions that are so pure, and simple, and free. I wish this run, and whatever runs may follow, all the success in the world.

--Bruce Miller

Funny Femmes Fatale Fan Flames at Firehouse

Jack Welsh and I had a rollicking good time this afternoon seeing our friends Melissa Johnston Price, Harriet Traylor, John Moon and Alice Schreiner acting up a (psychological) storm in The Tale of the Allergist’s Wife at the Firehouse.

About three seasons back, this raucous and ribald script from veteran Off-Broadway bard Charles Busch updated the Neil Simon style of comedy for 21st Century Broadway. Busch enlivened his comic urban phantasmagoria with contemporary situations and language that ran the risk of making the more traditional Mr. Simon blush. The play had a long and successful Broadway run.

Now Firehouse’s talented, attractive cast, under the direction of Dan Ruth, looks like they think it's a high hoot to bring this very-Manhattan tale to life in Richmond’s Fan.

Melissa Johnston Price proves once again that she can be gorgeous and funny at the same time. Harriet Traylor develops a character that is both irresistibly seductive and slightly scary--a femme fatale with a not quite fatal attraction. John Moon brings his years as a New Yorker back to the forefront as the titular allergist, proving an able match for both beautiful women. Alice Schreiner prompts one to recall the words “potty mouth.” Joey Chahine, new to me, is terrific as the fifth cog in Busch’s oh-so-modern take on one New Yorker’s search for inner truth.

Three cheers to the Firehouse for giving Richmonders a chance to catch this hip NYC comedy. Broadway laugh-leaders have changed a lot since the classic days of Neil Simon, Mary Kerr, Muriel Resnick, Bob Randall et al. It’s good for Richmonders to have a chance to feel the force of the most recent comic haymaker to knock Broadway off its feet.

If you hanker for contemporary comedy with an edgy twist, rush to the Firehouse to catch Allergist’s Wife before it closes on May 19. As always, the Firehouse is proving how indispensable it is in Metro Richmond’s theatrical mix.

Bruce Miller

"Five Women" Leaves You Laughing at Triangle

Posted by Bruce Miller

There’s another fun show in town that you may want to see. It’s called Five Women Wearing the Same Dress, and it’s produced by the Richmond Triangle Players. A large contingent of theatre types near and dear to Barksdale's heart (Brian Baez, Sherry Burgess, Jason Campbell, Dorothy Holland, David Janeski, Billy Christopher Maupin, Robyn O’Neill, Jeanie Rule, Janine Serresseque, Brad Tuggle, Aly Wepplo and I) went to cheer on our pals Noreen Barnes (director) and Monica Dionysiou, Stephanie Dray, Amanda Durst and Jenny Jones Hundley (cast) on their Opening Night. A good time was had by all.

Noreen Barnes did a beautiful job directing a script that is an early work by Alan Ball, who went on to write the screenplay for the Oscar-winning American Beauty and the much acclaimed HBO series, Six Feet Under. Under her steady hand, this early script rolls along from one laugh to the next. The cast is terrific. In addition to the wonderfully talented quartet of women mentioned above, Chandra Hopkins and Danny Devlin deliver enjoyable performances.

The five bridesmaid dresses by Leon Wiebers are all appropriately flouncy, and the plenteous laughs were balanced by a few dramatic turns that all worked well. Personally, I’ll never get enough of Stephanie Dray and Jenny Jones Hundley on stage, and they both have major roles in this show. It’s worth the price of admission just to hear a duet of their infectious laughs.

Triangle makes a huge contribution to Metro Richmond’s cultural life. If you ever wanted to know what it was like to be an American bridesmaid in the early 90s, this is the show for you. But move fast; it runs only through May 5.

--Bruce Miller

The Joint is Jumpin' at VCU's "Smokey Joe's"

I had the greatest time last night at the opening of Smokey Joe’s Café at TheatreVCU. Everywhere I turned I bumped into another longstanding friend (notice I no longer use the word “old”). David Leong (VCU theatre chair) and Patti D’Beck (director and choreographer extraordinaire) were practically bursting with pride as their talented students brought back to life the era of my very early youth (notice I use the words “very early”). David and Patti are two national theatre treasures whose abundant talent is surpassed only by their friendliness.

Patti’s clever and joyful direction and choreography showcased all of her young performers’ many strengths. The unending highlights included:
· You’re the Boss, featuring the stylish vocals of Gerron Atkinson and Joy Newsome—two dynamos who have everything it takes to perform this show on Broadway tomorrow;
· Ryan Murvin’s channeling of Elvis’s spirit in Jailhouse Rock, while avoiding an outright impersonation;
· the powerhouse and performance-savvy voices of Jaci Camden and Calvin McCollugh;
· the blond bombshell shimmy of Katie Bradley;
· the read-his-face-like-a-book attractiveness of Joshua Boone;
· the gentle giant tenor of Joshua Grace; and
· the knock-it-out-of-park determination of Margie Mills, even as her mic decides to take a break at the outset of her biggest number.

Be sure to catch this terrifically entertaining show during it's three-week run. Tickets are only $18—what a bargain for a first rate musical! Richmond’s theatre community is immeasurably enriched by the contributions of the great theatre programs at VCU and U of R, and more Richmonders should take advantage of these wonderful resources. When they produce a crowd-pleaser as rousing and beautifully performed as Smokey Joe's Cafe, you're crazy to miss it!

"This is Our Youth" - Fireworks at the Firehouse

Posted by Bruce Miller

I had the great good fortune to see This is Our Youth last Friday evening at the Firehouse. It was a terrific production. Youth was the first NYC hit of Kenneth Lonergan, one of my favorite currently-working playwrights. Lonergan hit the big time with This is Our Youth in 1996, and then followed in '99 with The Waverly Gallery (also produced by the Firehouse a few years back). In 2002, Lonergan wrote the Off-Broadway hit Lobby Hero, produced in Richmond shortly thereafter by Theatre Gym.

I admire all three Lonergan plays, but it was the 2000 film You Can Count on Me, written and directed by Lonergan, that really knocked me off my feet. It stars Laura Linney and Mark Ruffalo, and if you've never seen it, by all means rent it--as a follow up, of course, to going to see This is Our Youth during the next two weeks. Youth closes at the Firehouse on March 31.

This is Our Youth concerns three privileged, dysfunctional young adults who are struggling to find themselves in NYC during the Reagan years. Their dialogue and actions are profane and misguided, but their desperate search for purpose and connection in an alienating world earns our empathy and respect. At least it earned mine.

Morrie Piersol's direction is invisible, which is the highest compliment I can give it. The drama has shape and drive, to be sure, but you never see the director at work. What takes place on stage seems completely organic and in-the-moment, making the play all the more riveting--kind of like an accident that won't allow you to turn away.

Two young men from VCU's theatre program--Joe Carlson and Jacob Pennington--deliver wonderful, quirky, fleshed out performances. Amy Sproul, a high school student from the Appomattox Governor's School, keeps up with the men every step of the way. Less distanced from her upper-crust upbringing, Amy's character moves and talks with a social sophistication that the male characters have abandoned. At the same time, Amy the actress continues to let us see the little-girl-lost desperately reaching out for acceptance.

All of this makes the show sound despairing, and to an extent, I guess the characters are desperately seeking an elusive meaning for their lives. But the show is so much more than that. Please let me add quickly that it is also very funny, very smart, deeply poignant and thought provoking. It's the kind of play that gives you a lot to talk about for days to come.

There was an Acts of Faith talk-back following the Friday evening performance I attended, and one small section of the post-show discussion centered on whether or not there was hope for the characters' future. One audience member stated that she found little basis for hope. I felt exactly the opposite. My faith is of the progressive, inclusive variety, and I clearly felt the characters finding their hope in that most likely of all places--the friendships they shared with each other. Dysfunctional as those friendships may be, I felt in the performances of these three actors an extraordinary give and take of affection and need. The Bible says that God is Love. The love that these three floundering souls try so awkwardly and desperately to share with each other--in that love, the God I believe in is there. And that gives me every reason to hope.

Set, costumes and lighting were all well suited to the play. But it was the acting and direction that made this a wonderful evening for me. I went with my wife, our 16-year-old daughter, and two good friends from church. We all had a rewarding and entertaining night in the theatre.

If you like edgy contemporary theatre--and I certainly do--don't miss This is Our Youth. And keep your eye out for more from the three talented, adventurous and compelling young actors who bring This is Our Youth to such bracing life.

--Bruce Miller