Harnessing Honaker

Posted by Bruce Miller
First of all there’s the pronunciation. You put the emphasis on the first syllable—just like you would expect. But the first syllable rhymes with “bone,” not “don.”

Then there’s the matter of the second and third syllables. You say them just as if you were talking about an “acre” of land, with the “a” getting more emphasis than the “ker.”

So it’s Hone’-ake’-er, with each syllable getting slightly less emphasis than the one that preceded it. Like homemaker. Not Hahn’-ah-ker.

I’m talking of course about Audra Honaker, who is now starring in Barksdale’s I Ought To Be In Pictures at Hanover Tavern (see pictures above and to the right and below and to the left).

About her performance, critic Celia Wren wrote in the Richmond Times-Dispatch: “If America could harness the vim that actress Audra Honaker brings to her latest gig, the country’s energy problems would be solved.” That’s the first sentence of the review.

In STYLE Weekly, Mary Burruss issued similar compliments: “Hackman and Honaker hit dramatic heights. Honaker delivers a strong performance.”

If Richmond has stars--and I think we do--she's one.

So who is this theatrical powerhouse whose talent and energy are capable of lighting up a stage and a nation?

1. She’s the youngest of that elite group known as “the most talented professional actors in Greater Richmond.” No group’s really known as that, but you know what I mean. I’m not talking the top 50; I’m talking the top ten. I don’t use these words lightly. (That's Audra in Seussical to the right, and in Brooklyn Boy below and to the left.)

2. She’s one of the two or five actors in town so enjoyed and remembered by the theatre-going public that her name above a title can actually sell a significant number of tickets.

3. Like most of the greats, she’s a quadruple threat: she can act, sing and dance, and she’s very good looking.

4. She has a healthy self confidence. But her most endearing quality is that she honestly seems to have very little sense of her elevated place in the pecking order. I don’t think she knows there is a pecking order. And if she ever finds out there is one, I don't think she'll give a peck. She accepts roles in the ensemble just as happily as she accepts leads. In her spare time you can find her spray painting props, power washing sidewalks, laundering costumes, and tending to abandoned kittens. Whatever around the theatre needs doing, Audra is happy to do it. All these things I’m saying, she’d never say herself … or even think.

5. Like all the greats, she works all over town. Barksdale, Stage 1, Swift Creek Mill and Theatre IV (in alpha order) are all regular employers. (That's Audra with Drew Seigla, as Little Red and Jack, outside Willow Lawn on the sidewalk for Into the Woods.

6. She is equally adept at comedies, dramas and musicals. She has the instincts of a seasoned performer. She always takes direction eagerly. I’ve never once seen her roll her eyes as if she knew better.

7. She takes quickly to accents and with little or no effort can sound as eloquent and British as anyone could want. But in real life, she speaks with an unselfconscious Hopewell drawl that is easy to imitate as the Audra-voice. She probably (and proudly) has the most frequently impersonated accent in town.

8. She’s SMART. I should have put this as the first comment, because it may be the most important. (That's Audra to the left with Jan Guarino in the world premiere of Mona's Arrangments.) Audra's blog, and I won’t give you the address because it’s completely unselfconscious and I don’t want to freak her out, is laugh-out-loud-funny and warmly enjoyable. Other than boy genius Matt Hackman, Audra’s usually the first one off book. She sight reads vocal music like a pro, and is almost always the first one off score.

9. She’s nice, thoughtful and is friends with just about everybody. Seriously, does anyone know someone who knows Audra and doesn’t like her a lot?

So now for the shameless self-promotion part, except it’s not really self-promotion, it’s Barksdale promotion. Come see Audra in I Ought To Be In Pictures, playing now through June 21, and Audra may be missing a couple shows the last week, so come soon. Audra plays the wonderful role that won a Tony for Dinah Manoff (Best Supporting Actress, 1981) and should win Audra her second Richmond Theatre Critics Circle Award next fall. (Audra won Best Actress last fall for her star turn in Once Upon a Mattress at the Mill.)

I Ought To Be In Pictures is a funny and sweet play. Audra, Matt and Lisa are wonderful in it. Hope to see you at the theatre.

--Bruce Miller

Best of Broadway / Benefits of Barksdale

Posted by Bruce Miller
Rehearsals for Thoroughly Modern Millie began this evening. An eager cast of 22 assembled under the knowing eyes of director / choreographer Patti D’Beck, musical director Paul Deiss, and stage manager Ginnie Willard. I welcomed everyone. Off the top of my head, I'm thinking that nine of the Millie cast members are new to the Barksdale family, including two of the leads. Other than seeing them at auditions, I met these nine for the first time tonight.

One of the leads who is NOT new to Barksdale is Zak Resnick (pictured above and to the right). Zak arrived at rehearsal tonight directly from his drive down from Carnegie Mellon School of Drama in Pittsburgh, the prestigious university theatre program from which he just graduated. His car was still packed to the roof with everything he owns.

There must be something special about Richmond’s relationship with C M. Other Richmond theatre notables who went to Carnegie Mellon and then vaulted almost immediately into their professional careers include Tony nominee Emily Skinner and Hollywood superstar Blair Underwood. Like Zak, both Emily and Blair shared their talents with Theatre IV, Barksdale and other Richmond theatres before making it big on the national scene.

Like Emily and Blair, Zak seems destined for great things. Many Richmonders remember Zak for his memorable portrayal of Rapunzel’s Prince in our 2007 summer musical Into the Woods. But in New York, Zak is known by his growing fan base as one of the Broadway Boys, a six-man super group comprised of Broadway’s hottest tenors. (Six sing at any one time. There are actually 25 or so talented young men who have been selected for the ensemble.) “A fusion of funk, soul and gospel, the Broadway Boys create an out-of-control energy that makes you want to just get up and dance,” states Amy Birnbaum of the Jujamcyn Theatre organization. “Their arrangements of Broadway and pop tunes give way to a myriad of sound, color and grit. An experience you can’t afford to miss!”

You can hear and see Zak and the Boys singing "Defying Gravity" at http://www.youtube.com/watch?v=NJfIYzhLnt8. Zak is the guy to the far left of the screen (stage right). The camera-work is a little shaky, but you'll get the gist.

Taking time off this summer from his develop-ing NYC career as a Broadway Boy, Zak will be playing the male lead of Jimmy in our production of Thoroughly Modern Millie at the historic Empire Theatre. Last Monday, just before leaving New York for Pittsburgh, Zak took Broadway by storm one more time before heading south. After being selected as one of the 16 rising stars to be featured in this year’s Leading Men benefit concert for Broadway Cares / Equity Fights AIDS, Zak performed onstage last Monday side by side with fellow “leading men” including Jonathan Groff (Tony nominee for Spring Awakening), Nick Adams (currently achieving major celebrity buzz in the Broadway cast of Guys and Dolls), and Michael Kadin Craig (now starring Off Broadway in Altar Boyz). Lest you miss the import of being included in this august group, let me remind you that previous Leading Men concerts have featured the talents of current stars including Matt Cavenaugh, Cheyenne Jackson, Aaron Lazar, Matthew Morrison, Hugh Panaro and Christopher Sieber.

You can catch Zak’s star-to-be turn on YouTube, singing "The Streets of Dublin" from A Man of No Importance. http://www.youtube.com/watch?v=WIBomyh5cAg. The last time I heard Zak sing this song was in the cabaret that the cast of Into the Woods performed on Barksdale’s Willow Lawn lobby stage to benefit the Richmond Theatre Artists Fund. This time he sounded just as great, but he was introduced by Tony nominee John Tartaglia (Avenue Q, Shrek The Musical). I loved hearing John announce to the packed Broadway audience that Zak would be appearing this summer at Barksdale Theatre in Richmond, VA.

Those of you who listen to the Broadway channel on SIRIUS satellite radio will be interested to know that Zak was accompanied by none other than Seth Rudetsky.

As the Broadway in Richmond series reopens this fall with David Copperfield’s magic show at the new CenterStage, it’s good to remember that more Richmonders get their Broadway at Barksdale than anywhere else. If you really want to catch Broadway stars past, present and future, head on downtown this summer for Thoroughly Modern Millie, and catch the Best of Broadway with the Benefits of Barksdale.

See you at the theatre!

--Bruce Miller

"I Ought To Be In Pictures" Opens

Posted by Bruce Miller
Neil Simon's I Ought To Be In Pictures opened on Friday, just in time to make up for the fact that Annie and Well were closing on Sunday. Thoroughly Modern Millie begins rehearsal this evening. Ah, the circle of life!

It's been fun working the past four weeks on Pictures. Fun because I was able to spend evening after evening with Audra Honaker, Matt Hackman and Lisa Kotula--three funny, smart and kind-hearted friends. I've said it for years. The greatest blessing of my job is that I get to work with wonderful people.

It's been fun to work with a play written in 1980 and update cultural references (the names of popular movie and television stars, cars, baseball heroes etc.) so that the play continues to be set, as the author has written, "in the present." The one popular movie star who needed no updating after 29 years? Jack Nicholson.

It's fascinating to see how a comedy plays when its 29-year-old bones are all dressed up in 2009 duds. (I'm using "duds" in the context of "clothing," not in the context of "a bomb that fails to explode." Yikes!) Is there some friction when dialogue written three decades in the past rubs up against cultural references from the present? You bet there is. Fun!

In theatre, it can't be only about recreating--or creating in the case of Bo and Steve's wonderful Mona's Arrangements--the comedies and dramas of today (Well, The Clean House). It can't be only about honoring the great plays of the past (Children of a Lesser God, Driving Miss Daisy). Sometimes it's fun to mix the past and present together and see what happens.

I was honored that Celia Wren, a great national theatre writer who happens to live in Richmond, reviewed Pictures for the Richmond Times-Dispatch. Here are the quotes we're pulling from her terrific review:

“Funny, Poignant Play!

If America could harness Audra Honaker, the country’s energy problems would be solved!

Super-Competent, Shrewdly Choreographed

Hackman exudes the right kind of world-weary cantankerousness

Smart! Agreeable! Droll!

Kotula displays apt wistfulness

Exactly the Right Place

God is in the Details!”

--Celia Wren, Richmond Times-Dispatch

I hope you'll find the time to come out to Hanover Tavern to check in on this lesser known Neil Simon comedy. It's fun and sweet and I'm proud of it.

See you at the theatre!

--Bruce Miller

Standin' By My Girl

Posted by Bruce Miller
No matter what show Theatre IV chooses to produce, some parents and teachers are going to be offended. I don’t mean one or two. I mean 25 to 50. Every year, a growing number of those who are offended insist that their personal viewpoint is “moral” and that those with differing viewpoints are “immoral.” With the assurance of those who know they are right, they insist that their perspective is the only one that matters.

I’ve been in my job 34 years. It didn’t used to be this way. Adults used to be more open-minded and accepting of diversity. They viewed each show as a whole. If they loved nine tenths of it, they focused on that and went away happy. They never called me and demanded their money back because of the tenth they didn’t like.

They never were astonished that the public was not forewarned about this “objectionable” content or that. They never had the arrogance to demand that all future productions be rewritten to suit their personal perspectives. “And I know it’s against the law to rewrite,” I was told yesterday by a teacher, “but it’s time Judo-Christians (sic) took a stand and stood up for what’s right.”

In the old days, if adults objected to one particular aspect of a show, they seized the opportunity to talk with the children in their care about their personal beliefs and preferences. They made teachable moments out of content they considered to be non-desirable. They didn’t assume or expect the world to be in sync with each of their personal feelings and beliefs. They accepted that it was their responsibility to discuss issues with children.

They chose not to try to “protect” their children from any and all “objectionable” content. Instead, they felt good knowing they were with their child, and talking with their child, as the child encountered such content in the world.

From 1975 until about 1995, I rarely if ever heard complaints from parents about content and language. And the shows we did then were no different from the shows we do now.

In the mid- to late-90s, we entered into the current “just say ‘no’,” “I’m mad as heck and I’m not going to take it anymore,” “zero tolerance” period. Nowadays, most of the angry letters, emails, phone calls etc I receive come from parents and teachers in their 20s, 30s and maybe early 40s.

As a general rule, adults born before 1970 remain open-minded and eager to expose children to the world. But there’s a vocal, frequently angry minority of younger adults born after 1970 who seem to believe and insist that the entire world should fall in line with their personal perspective. They don’t care what anyone else believes. They don’t want to discuss values with children; they want to force their values on the world before allowing their child to enter into it.

They object to Winnie the Pooh because A. A. Milne “doesn’t make it clear enough that Mr. and Mrs. Rabbit are married.” They object to Treasure Island because “no one warned us that there would be all those pirates and rum.” They object to Hansel and Gretel, Rumpelstiltskin, Disney’s Beauty and the Beast, Sideways Stories from Wayside School and The Wizard of Oz because they “celebrate satanic forces.” They object to The Best Christmas Pageant Ever because the minister uses the word “sexy” when describing the subject matter preferred by some of the older Herdman children. "How am I supposed to explain ‘sexy’ to my eight year old?!” one mother asked me.

They object to the euphemisms that the father in A Christmas Story uses as a substitute for vulgar language. They are livid when Peter Pan (written in 1904) uses the word “ass” even though he's clearly referring to a jackass or donkey. And they are beside themselves with righteous rage when in Annie (written in 1977) Daddy Warbucks and President Roosevelt's cabinet members use the words “damn” and “hell” a handful of times when discussing the Great Depression.

The most recent objection I received, and this from a student who was writing with her class under the direction of an offended teacher, mentioned the pain caused by Annie herself singing that she liked to imagine her parents collecting things “like ashtrays and art.” "Why," I was asked, "did you have to use the word ashtray?"

I guess I’m old fashioned. I believe it would be unwise for me or anyone to rewrite classics like Annie and Peter Pan to be in step with a vocal minority. I think it’s regrettable that teachers encourage children to write to nonprofit leaders and ask them to knowingly break the law. I think in an age when Christian conservative icons like President George W. Bush and Vice President Dick Cheney openly used words far more vulgar than “damn” and “hell” in the Oval Office and on the floor of the U. S. Congress, it’s actually helpful to see Annie and afterwards talk with children about language and the pressures placed on adults in power.

Regarding adults in Annie using the words “damn” and “hell” a dozen times (I think it's 10 "damns" and two "hells"): “It is immoral,” I’m told, “for you to expose my children to this terrible behavior.” Not a single one of these adults has mentioned any discomfort with their children being exposed to the behavior of the character Rooster, who alludes to the fact that he’s going to take Annie away and dispatch her with a knife. That behavior, apparently, fails to meet the “terrible” threshold of saying “damn” and “hell.”

Anyway, I’m whining. We try our hardest to offer positive, uplifting experiences to children, families and schools. It depresses me that an increasing number of adults would prefer to see us not do Annie at all than see us abide by the law and present Annie, an American classic, the way it was written.

--Bruce Miller

Access - A Key to Success

Posted by Bruce Miller
One of the many wonderful things about theatre is that almost everyone likes it, from the Ivy League intellectual to the high school dropout. Of course not every Tom, Dick and Harry is going to be blown away by the same production. The show that is treasured by Tom and Dick is likely to be trashed by Harry and his lovely wife Harriet. But you’d be hard-pressed to find anyone who, if he or she were to keep at it for a while, wouldn’t find one show or another to love.

Jill may prefer Tom Stoppard’s The Coast of Utopia while Jack gets his kicks from The Great American Trailer Park Musical. But with theatre, each boy and girl who makes it up the hill is going to find, in pretty short order, those particular shows that rock his or her world.

So it’s been for centuries. Theatre prompted many a spirited gathering at the well in days BC just as it encourages vigorous water cooler conversations today. Theatre is not elitist and never has been. It’s populist. And theatre companies, especially nonprofit theatre companies, belong not to the select few, but to the community-at-large.

It follows then that each nonprofit theatre has a responsibility to be accessible to the broadest possible audience—welcoming everyone, excluding no one. This is an easy tenet to write into a vision statement or embrace as a core value. But on a day-to-day basis, a commitment to accessibility is devilishly hard to put into action.

At Barksdale, we are addressing accessibility through five focus areas:
opportunity for leadership,
diversity of programming,
reduction of financial roadblocks,
elimination of physical barriers, and
commitment to broad-based marketing.

In 2005, Barksdale's Board of Trustees created and adopted a multi-year Accessibility Plan to help us organize our efforts and assess our progress related to our commitment to inclusion. We are now well on our way to enacting that plan. I invite you to join us in determining the extent to which our efforts have been successful or misguided, beneficial or detrimental to the overall strength of your theatre.

Over the next several days, I’ll be writing blog posts about what policies and practices we’ve put into place in each focus area, and what the results have been. Coming up first, we’ll discuss Opportunities for Leadership. Be thinking about that issue, and please comment on the upcoming postings if you feel so inclined.

Like all planning efforts, accessibility planning is always a work-in-progress. Hopefully we are learning from both our successes and our failures, and making changes accordingly. Your input is not only most welcome, it is invaluable as we attempt to build a theatre on the intellectual foundation of an entire community, not merely the opinions of a chosen few.

So, please read and respond to the previous post as well as this one. Until my next entry, I hope to see you at the theatre!

--Bruce Miller

Planning the Future of Richmond Theatre

Posted by Bruce Miller
I would like to post a question.

What do we as a community—artists, audiences and residents at-large—want Richmond theatre to look like in ten or fifteen years? Where do we see Richmond theatre connecting and contributing both locally and nationally?

For the sake of this exercise, don’t try to answer the question for anyone other than yourself. You don’t have to provide the full answer, only your own. Try not to be excessively practical to the extent that you fail to dream. Try to resist being shamelessly extravagant and wind up with dreams that have no chance of ever coming true.

Don’t worry about the current recession or a swine flu pandemic shutting down all places of public assembly.

Imagine a supportive and growing audience (that’s what we have), a vibrant talent pool (ditto), a conservative giving community (alas, ditto again), and declining media coverage (it doesn’t take much to imagine that, does it?). Build on these strengths; find creative ways to fix these problems.

How many theatre companies should there be, how big should they be, what types of plays should they be producing, how much should they charge, how should they promote their offerings?

You can comment anonymously or take credit for your wisdom and creative thinking. You can comment once and then comment again if something new occurs to you. You can focus on the big picture, or talk at length about that one aspect of Richmond’s theatre world that really blows up your skirt or gets your knickers in a twist.

Be kind—we won’t publish anything that is unduly negative toward anyone or any entity. But it’s OK to be constructive and critical. Cast a knowing eye.

Your vision, opinions, ideas and constructive criticisms will inform the ongoing strategic planning process at Barksdale Theatre and Theatre IV. But you need not limit your discussion to Barksdale Theatre and Theatre IV. In fact, you don’t have to talk about us at all, if you’d rather not.

This is your chance to have an impact and change the world.

I hope we’ll get lots of comments.

See you at the theatre!

--Bruce Miller

Buzzin' and Bookin' to Beat the Band

Posted by Bruce Miller
I admit my relationship with the Barksdale Buzz has been an on-again, off-again affair. The reasons are several, having to do with the pull of other responsibilities both personal and professional, a fierce desire to avoid conflict, my tendency to become bored by routine, and a schoolboy’s response to the flirtations of other IT applications.

I believe it’s an important part of the job of the artistic director of any major professional theatre to communicate regularly and publicly about this most popular of all performing art forms. Like it or not, and I admit that I like it, there is a platform that comes with my position. I enjoy speaking in our Coffee & Conversations and Bifocals monthly programs. I’ve been known to get giddy leading walking tours in NYC or London during our annual theatre trips with Covington Travel.

But enjoying communication doesn’t make it easy or effective. Worthwhile, informed, articulate communication takes time and focus.

Not everyone agrees. Blogs and other new technologies encourage casual and free-wheeling correspondence. Several friends insist my writing is way too stuffy for a blog. But the minute I put on my artistic director hat, and more and more I’m realizing that I’m never allowed to take it off, every word I write becomes writ in stone. Sometimes people make judgements about Barksdale and Theatre IV based on little more than my syntax. Each of these judgments has a cash value, and I have 40 to 80 people counting on me every two weeks for their pay checks.

As I was contemplating all this last fall, the siren call of Facebook began to fill my ears. Facebook is not about writing; it’s about connecting. Perhaps here, I thought, I could continue to promote the two nonprofit theatres I represent without needing to pontificate. I kissed blogger goodbye, or at least farewell, and jumped into F’book like a skinny dipping kid on a hot night at the local swimmin’ hole.

Now, 1,575 friends later, I’m beginning to learn the ins and outs of Facebook. Without ever intending to, I’ve made people frustrated and upset; I’ve hurt feelings. I’ve learned to be cautious and to keep a much lower profile.

With only a couple early exceptions, I don’t play the Facebook games or take the surveys or join the causes or throw sheep at people.

Currently I use Facebook, professionally, as follows. I try to keep up with Theatre IV and Barksdale alum, to let them know they will always be remembered and appreciated. I try to befriend theatre students at VCU, Carnegie Mellon, and the University of Oklahoma, hoping they will audition for us as they grow their professional careers. I try to befriend professional actors in Broadway, Off Broadway and nationally touring shows, wanting to spread the names of Barksdale and Theatre IV widely throughout our national talent pool. I network with “friends” and supporters of other theatres in town, including the upcoming “Broadway” series at CenterStage, hoping that Barksdale and Theatre IV will show up on everyone’s radar screen. I keep in touch with a full roster of civic and business leaders, reminding one and all that Barksdale and Theatre IV are worthy nonprofits that need broad-based community support.

Will any of it work? Who knows. But I’m trying.

And now, perhaps, I’ll begin writing a bit again on the blog. If and when I do, I hope you’ll all begin reading again, and commenting. Most of all, I hope each and every one of you will become a constant player in the Richmond professional theatre scene. It won’t happen without lots of energy coming from lots of people in lots of places.

Hope to see you at the theatre.

--Bruce Miller

Betting Our Bottom Dollar

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

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

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

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

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

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

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

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

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

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

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

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

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

--Bruce Miller

All is "Well" at Barksdale

Posted by Bruce Miller
One of the strongest influences on my notion of what distinguishes a great theatre from the rest of the crowd comes from the 20 or so years I subscribed to Arena Stage, the granddaddy of all major professional theatres, still going strong in Washington D. C. I began my Arena journey in my junior year of college, 1970 – 71. Two of my professors and mentors were subscribers—Jack Welsh and Ruth Salisbury. They were looking for someone to round out the car pool. If memory serves, Jack fronted me the money and I paid him back bit by bit over the school year.

I renewed my subscription annually after that, working my way over two decades into the best seats in the house. For many years I continued to subscribe with Jack and Ruth (Phil Whiteway joined our intrepid group sometime in the early 70s). Later Phil and I struck out on my own, eventually recruiting our girlfriends / wives, Donna and Terrie. Dianne Graham was with us for several years. Then Phil and Donna dropped out around the time that PJ was born in the early 80s, and Terrie and I called it quits when she became pregnant with Hannah during the 1989 – 90 Season. After the kids, who had the time or money?

Anyway, one of the things I learned during this double decade experience was that some of the shows I enjoyed the most were the ones I knew the least about. They may or may not have been “great” plays—time is the only judge of that. They were “of the moment,” almost ephemeral, often loosely crafted works of whimsy and/or drama, not necessarily meant to stand the test of time. They were part of the zeitgeist. They gave us lots to talk about on the ride home.

I particularly recall History of American Film and The Marriage of Bette and Boo, both by Christopher Durang, Pueblo, Isn’t It Romantic? by Wendy Wasserstein, The Sign in Sidney Brustein’s Window by Lorraine Hansberry, Moonchildren by Michael Weller, Status Quo Vadis by Donald Driver, Streamers by David Rabe, and Nightclub Cantata by Elizabeth Swados, among many, many others.

I LOVED the fact that Arena, under the brilliant artistic direction of Zelda Fichandler, had the daring to mix it up. Interspersed with the Arthur Millers and Thornton Wilders, with the Ibsens and Chekhovs and Brechts, would be young and current writers who were testing the boundaries and breaking the molds.

At Barksdale Theatre, my artistic decisions are influenced absolutely by Zelda’s aesthetic. I wish we had the resources to do more Millers, Wilders, Ibsens, Chekhovs and Brechts. I’m proud that we have the daring to include in each season new, lesser known (at least in Richmond) works such as our current production of Well by Lisa Kron, and our recent productions of The Clean House by Sarah Ruhl, The Little Dog Laughed by Douglas Carter Beane, Brooklyn Boy by Donald Margulies, Intimate Apparel by Lynn Nottage, The Drawer Boy by Michael Healey, and Melissa Arctic by Craig Wright.

Only by exploring new work do we grow as artists and audiences.

If you’d like to join us on the journey, we invite you to round out the car pool.

See you at the theatre.

--Bruce Miller

Ignoring Curse, B'dale Partners on "Darwin"

Posted by Bruce Miller
Among Greater Richmond's major nonprofit arts organizations, Barksdale and Theatre IV lead the pack when it comes to successful partnerships with colleague organizations. For decades we have been proud of our record as the partnership kings. We were doing partnerships long before partnerships were cool.

Barksdale’s current partnership with the Carpenter Science Theatre Company of the Science Museum of Virginia is running full speed ahead. Terrie Powers, resident designer with Barksdale and Theatre IV, designed the set for Endless Forms Most Wonderful, a new play about Charles Darwin written by Douglas Jones (author of numerous touring shows for Theatre IV, as well as Songs from Bedlam, Bojangles and The Turn of the Screw, all of which had their world premieres at Barksdale).

Billy Christopher Maupin, publications manager and marketing associate at Barksdale, is stage manager of the educational science production. Lynne Hartman, who seemingly designs lights for four out of every five shows we do, has created the light design. And most important, Barksdale’s technical team constructed and installed the set; the Carpenter Science Theatre Company has no set construction shop or crew of its own.

We hope this will be the start of a long and beautiful relationship.

Every aspect of Barksdale’s work on the show has come off without a hitch. At least so far…knock on wood. Several other aspects of the production have been the apparent victims of Darwin’s Curse.

Darwin’s Curse is explained on the Internet as follows: “In most games, an enemy has one set of ‘physical’ and ‘behavioural’ characteristics and follows them. In Darwin’s Curse, the powers-that-be randomly assign the enemy with certain characteristics, and then check to see if the design is successful or not. If it was successful, the design is kept; if not, the design goes back to the drawing board. This is what is called Artificial Evolution.”

Well, the “enemy”of Endless Forms Most Wonderful must have been successful all right, because his evil machinations repeated themselves week after week during the rehearsal process, coming close to shutting down the show for good!

In week one, Larry Gard, artistic director of the Carpenter Science Theatre Company and the actor playing Darwin himself in the two-actor show, cut his hand seriously with hedge trimmers, requiring a trip to the emergency room and more stitches than anyone would want. Rehearsals and opening were postponed for a week.

In week two, the original stage manager had to be let go after it was determined by security at the Science Museum that he once had been arrested for skinny dipping in his youth. That was when Billy Christopher Maupin stepped in to take over for his fallen comrade. We were all pleasantly surprised to discover that, as of now, Billy Christopher has no arrest record—at least none that anyone has found out about.

In week three, the director, Tim Ireland, wrenched his back and temporarily lost his ability to walk. That was when Douglas Jones, playwright, stepped in to assume the directorial reins. Tim Ireland, we are pleased to report, is now beginning to feel much better.

The day before opening, Kimberly Jones Clark, the female lead in this two-person show (playing Darwin's wife), ripped a leg muscle while doing the splits in a rehearsal for The Great American Trailer Park Musical at the Firehouse. She missed the final rehearsal of Darwin, but made it, barely able to move, to the first performance the following morning.

Partnerships are a valuable component of nonprofit operations during this tough economy. We are pleased to partner with the Carpenter Science Theatre Company on this brave new play, running Wednesdays through Sundays through May 10. We’re mightily glad, thus far, to have seemingly escaped the dreaded D. C.

Now, as long as no one’s security department finds out that I was sent to detention once in the third grade for chewing gum. Sshhh. Mum’s the word.

--Bruce Miller

"Chicago," "nor.mal" and "Well." Oh My!

Posted by Bruce Miller
I'm just winding up another great theatre weekend right here in River City. I had the pleasure of flying solo to the Opening Night of Chicago at TheatreVCU on Friday. Hannah and I made it to the second weekend of nor.mal at Stage 1 on Saturday (I was at the Fairy Tale Ball for last week’s nor.mal opening). Tonight I caught the first dress of Well, which we open at Willow Lawn this Friday.

I love going to theatre in Richmond, and found lots to admire in these three productions.

At VCU, Maggie Marlin co-starred with Kim Exum, lending their triple-threat talents to the showgirl femme fatales, Velma and Roxie. This summer Maggie will be starring with us in the titular role of Thoroughly Modern Millie. Mike Rieman charmed his way into the hearts of America as the song-and-dance attorney, Billy Flynn. And Jake Ashey stole the show as Amos, Roxie’s long suffering husband.

Patti D’Beck’s creative and energetic choreography showed off the strengths of her talented cast. And Ron Keller’s terrific set provided all the visual jazz (and pizzazz) anyone could want. Patti and Ron directed / choreographed and designed last summer’s Guys and Dolls, and will reprise their roles in this summer’s Millie.

At Stage 1, despite nagging laryngitis, Julie Fulcher acted her heart out as a mother trapped in a downward emotional spiral. Knowing as I do that Ford Flanagan (who plays the dad) shies away from dance roles, I’m pleased to say he looked right at home in the “boxing” choreography given to him by Chase Kniffen. Ali Thibodeau and Dave Amadee turned in persuasive performances as the brother / sister teens. Dave is that commodity that is all too rare in professional theatre: a handsome, masculine young man who can act, sing and dance. He has a career ahead of him if he wants it.

Sandy Dacus did her usual masterful job as music director. And Debra Wagoner proved yet again that she has a voice made for musical theatre. The new music created for nor.mal, like a lot of new theatre music, combines dissonance with unusual harmonies and unexpected intervals to create a contemporary feeling. Those who sing this music best have perfect intonation, hitting pitches dead on rather than sliding into them or approximating them. Debra Wagoner gives a master class in nor.mal in how to do just that.

Chase loves this new and complex musical, and deserves special congratulations for daring to bring such a challenging work to Richmond audiences.

We at Barksdale deserve some of those same congratulations. Well by Lisa Kron is not your usual comedy. Ms Kron is an established memoirist—an acclaimed master of the one-woman show. In this first Virginia production of her new Broadway hit, she plays fast and loose with the form, inviting her mother to join her onstage, and hiring several guest actors to play the roles of people from her past.

Watching the show is like peeling back the layers of an onion. It’s fun and funny, with a quirky sensibility. Jenny Jones Hundley and Jody Strickler are gonna be great as Lisa and her mother. And before the evening ends, there will be more than a few sniffles as mother and daughter resolve their issues with warmth and humor.

Next weekend I hope to make it out to Pulp, Altar Boyz (Mill version), and, of course, the opening of Well. Hope you too will make the effort to support professional theatre in Richmond. Call a box office, buy a ticket or two, and then go spend some time where the acting is.

Hope to see you there.

--Bruce Miller

U-Tkts Help Students Escape the Box

Posted by Bruce Miller
Beginning Wednesday, April 15, we will launch at Barksdale Theatre and Theatre IV a new ticket discount program designed to enable and encourage more college and university students to attend our productions. The tickets, to be called U-Tkts (for University Tickets), will cost $10 each. Normal ticket prices at Barksdale are $38 for a non-musical and $40 for a musical.

Students can reserve U-Tkts in advance over the phone or in person for any performance, pending availability. A student may purchase two U-Tkts to be used by himself/herself and a guest. The guest may be a student or a non-student. A student may not purchase a pair of U-Tkts and give them to a pair of theatergoers who are not students. Students must show a valid student ID at the box office when they pick up their U-Tkts.

It practical terms, U-Tkts will be on the honor system. If you’re not a student, please don’t try to cheat the system just to save a few bucks. We all know how tough the economy is right now. Neither Barksdale nor Theatre IV can afford to lose revenue.

The first shows to be covered by our new U-Tkts program are Well, opening at Barksdale Willow Lawn on April 17, and Annie, opening at the historic Empire Theatre on April 24.

Information about the new U-Tkts program will be distributed next week to all colleges and universities within a 60 minute drive of one of our theatres. The colleges and universities include Hampden-Sydney, J. Sargeant Reynolds, John Tyler, Longwood, Mary Washington, Randolph-Macon, U of R, UVA, VCU, Virginia State, Virginia Union, and William & Mary.

The U-Tkts program was designed with input from 14 university theatre students from throughout the community who responded to questions posted on Facebook.

TenSpot tickets ($10 tickets for high school students) have been in place for the last year and are made available to any high school student who joins our high school connections group, Barksdale Theatre Workshop. More info about this program will be posted soon.

As Greater Richmond’s leading professional theatres, Barksdale Theatre and Theatre IV remain committed to being accessible to all theatre lovers, regardless of financial means or physical disability.

--Bruce Miller

Rostov's Coffee & Conversations this Tuesday at Willow Lawn

Rostov's Coffee & Conversations programs are free and open to the public and take place on the second Tuesday of each Month from 9:30 am until 10:30 am in the lobby at Barksdale Theatre at Willow Lawn, except as noted. No RSVP is required.

Tuesday Apr 14, 9:30 AM
Casting the Net - Audition Policies and Practices

Moderator -
John Moon: actor (The Clean House), director (This Wonderful Life), member - Barksdale Board of Trustees

Panel -
Chase Kniffen: artistic director (Stage 1), director (nor.mal)
Bruce Miller: artistic director (Barksdale Theatre), director (Children of a Lesser God)
Ginnie Willard: production manager (Barksdale Theatre), stage manager (Thoroughly Modern Millie)

Rostov's Coffee and pastry bar opens at 9:15 a.m., program begins at 9:30 a.m., program ends at 10:30 a.m. Free - a cash jar is placed on the coffee and pastry bar to accept donations, average donation $1 to $3

Special Events, Mona's... closing 4/5, & WELL opening 4/17

Virginia Arts & Letters Live this Saturday, March 28 ONLY! 8 PM at the Empire Theatre
In the tradition of NYC's celebrated "Selected Shorts," an A-team of Virginia’s finest actors, authors, and musicians mixes it up in a lively and literate celebration of theatrical derring-do, all taped live for broadcast on WCVE-FM.
Buy Tickets

Mona's Arrangements closes Sunday, April 5 at Hanover Tavern
so get your tickets and head over to the Tavern before you miss this world premiere musical comedy that's received 5 rave reviews! Jan Guarino, Scott Wichmann and Audra Honaker star in a musical comedy that’s as charming as it is funny. A successful business woman (Guarino) and a “wild and crazy guy” who is 20 years her junior (Wichmann) connect in this hilarious and tuneful love story set in a flower shop. When the free-spirited niece (Honaker) begins playing Cupid, opposites not only attract, they ignite!

WELL opens April 17 at Willow Lawn.

Lisa just wants to put on a nice, orderly play about growing up and how she was cured of her allergies. But her mother, watching from her La-Z-Boy, keeps offering snacks to the audience and interrupting with her version of events. Soon Lisa loses control of her autobiography when the actors she hired to help tell the tale begin siding with her mom, and a bully from elementary school crashes the narrative. “Wonderful and delirious. Well has warmth and accessibility that make you want to recommend it to everyone.” - The New York Times.
Buy Tickets


Lots more coming up in April:
Theatre IV's Fairy Tale Ball at the Empire, Sat. April 4
Coffee & Conversations at Willow Lawn, Tue. April 14
Stretchin' Musicians at Willow Lawn, Sun. April 19
Bifocals Theatre Project for Seniors at Willow Lawn, Fri. April 24
(and Bifocals also meets this Friday, March 27 as well!)


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Virginia This (Tuesday) Morning

Audra Honaker and Jan Guarino. Photos by Jay Paul

This Tuesday, March 17, Jan Guarino and Audra Honaker, from the musical comedy Mona's Arrangements, will be chatting it up on WTVR Channel 6 – the only live morning program in Central Virginia, Virginia This Morning, which airs from 8:55 - 10 AM.

Interviewing them will be co-anchors Greg McQuade and Julie Bragg. Barksdale Theatre and Theatre IV actors have become favorite guests for Greg and Julie, because they always seem to have a lot of witty things to say!! Jan and Audra won’t be in costume, but they will project the lively, spunky spirit of Mona’s Arrangements.

Mona's Arrangements Online Tickets
Or CALL (804) 282-2620

Many thanks to Vogue Flowers for the beautiful flowers used throughout the show.
Thanks also to our season and show sponsors - The Supply Room Companies, JetBlue, Weinstein Properties, Union Bank & Trust and our media sponsor, the Richmond Times-Dispatch.

Mona's Arrangements on stage now!

Mona's Arrangements - our World Premiere Musical Comedy runs through April 5, 2009 at Hanover Tavern.
More information | Tickets | (804) 282-2620

Book by Bo Wilson
Music by Steve Liebman
Lyrics by Steve Liebman and Bo Wilson

Starring Jan Guarino, Scott Wichmann and Audra Honaker
Photos by Jay Paul








See the full photo album on our Facebook page.

The Two Lydias

Michelle Schaefer (left) who portrays Lydia in Barksdale Theatre’s production of Children of a Lesser God is pictured here with Allison Gompf Clark (right) who played Lydia in the film version of the acclaimed play.

Over the years, the two ladies have become good friends – never dreaming they would have this particular role in common!

We're thrilled that Allison will be attending our ASL Sign Interpreted performance of Children of a Lesser God at Willow Lawn on Sunday, March 8 at 2 PM along with another cast member from the film, Georgia Ann Cline. She will be staying after the performance to meet informally with audience members who would like to say hello.

Tickets for March 8 are available online at these links:
South & West SectionTickets | East Section Tickets for the Hearing Impaired


Allison Gompf Clark

Allison Gompf Clark portrayed ‘Lydia’ in the film version of Children of a Lesser God opposite Marlee Matlin and William Hurt. Allison was born deaf, attending the Maryland School for the Deaf (MSD) and graduating from Model Secondary School for the Deaf (MSSD) in 1985. The acting bug bit Allison when she was just four years old -- while acting in school and at the Temple, the blue eyed actress was hooked the minute she heard those audiences applaud.

In 1985, while a senior at MSSD, Allison was “discovered” by two casting directors searching for a young actress to play Lydia in a groundbreaking film featuring the deaf and hard of hearing community. A few months later, Allison felt like she was in a dream and couldn’t believe that she went to New Brunswick, Canada to join the movie cast of Children of a Lesser God. To coax the desired performance out of her new young actress, Director Randa Haines told Allison that ”Lydia has to be energetic, wears no makeup, and is the star!”

Allison portrayed Lydia again, in 1988 on stage at Haunted Fulton Opera House in Lancaster, Pennsylvania . Nowadays Allison still gets recognized, especially around hearing people who recollect Lydia’s voice.

Allison attended Gallaudet University for two years. She is married to Jamie Clark and has two beautiful teenage daughters, Clarissa and Samara. Currently living in Maryland, Allison continues to show her love of theatre by supporting fellow deaf performers. Her best advice is to “Sign Big and Sign Slow!”

Michelle Schaefer with Landon Nagel in Barksdale's Children of a Lesser God
Photo by Jay Paul

Video Interview - Bo Wilson & Jan Guarino of Mona's Arrangements

Mona's Arrangements - our World Premiere Musical Comedy - opens this Friday, Feb. 27 at Hanover Tavern.
More information | Tickets

Visit the set of Mona as playwright Bo Wilson and actress Jan Guarino discuss the inspiration behind the show and the role the audience plays in tweaking a new production.

Video Interview - Landon Nagel from Children of a Lesser God

Judi Crenshaw interviews actor Landon Nagel about using ASL (American Sign Language) and Signed English as the lead role of James in Barksdale's Children of a Lesser God, on stage at Willow Lawn through March 22, 2009.
More information | Tickets

Our ASL sign interpreted performance for the hearing impaired will be Sunday, March 8 at 2PM. Tickets

Another Rave for "Children of a Lesser God"

Posted by Bruce Miller
John Porter, theatre critic for WCVE-FM, has written a glowing review of Children of a Lesser God. You can hear the review by visiting our Signature Season page, or you can read the transcription right here:
John Porter's Review of Children of a Lesser God

"Few pieces of theatre history have had the lasting impact that Children of a Lesser God has had on mainstream America. When it first premiered in the mid-80s, and when the film version was released, it had a profound effect on raising the consciousness of audiences worldwide towards the issue of deaf rights. You would have to look back to the efforts of Helen Keller to find someone who had more of an impact.

So I was curious to see how the play had held up. I had not seen it since maybe the late 80s, and I was wondering if it would appear dated and didactic. I am delighted to say that it is neither. Children of a Lesser God, now playing at Barksdale Theatre at Willow Lawn, is powerful beyond words, shattering with emotion, the kind of play that holds you in its powerful grip long after the show has ended.

Erica Siegel as the deaf and hard-to-reach Sarah Norman runs her emotions back and forth at full breakneck speed. One minute hostile, the next curious and loving, she is impossible to predict, and as such remains a powder keg waiting to explode. Some actors get into a comfortable rhythm during a performance, but Siegel never settles down, even when you think she has. Siegel delivers a bravura performance that leaves you breathless.

Landon Nagel as James Leeds has the difficult role of portraying a man falling in love while also serving as Siegel’s interpreter for the audience. He sails through these tricky waters easily, and carries much of the emotions of the show on his shoulders. Nagel is a powerful performer, and has blossomed by constant work in the area, and shows a great deal of promise for roles to come.

Other standout performances include Richard Gregory as Orin, the rabble-rouser who fights for deaf rights, Linda Poser as Mrs. Norman, Sarah’s mother, who has been hurt by her daughter and lives mostly in isolation, unsure how to support her daughter and never stopping loving her. Also Kenneth Waller as Mr. Franklin, the man in charge of the school who strives to make life better for his staff and students, but doesn’t deny the difficulty each will face in the world.

On the technical side, director Bruce Miller has chosen very strong artists. Katie Fry’s set is workable, Sarah Grady’s costumes are solid, and Lynne Hartman’s lights are perfect mood setters. At once introspective, other times straightforward, they play through the characters’ memories and evoke the proper moods at every turn.

Over the years I have been accused of only loving so-called serious plays and nothing is further from the truth. I enjoy a light evening’s entertainment as much as the next person. But when offered a deeply satisfying adult evening of theatre that makes you ask questions about the world around you, well, it doesn’t get much better than that.

Children of a Lesser God is a rare play that offers satisfying entertainment, and helps you examine lives you may not otherwise have experienced.

That's a rare evening indeed.

For WCVE Public Radio, I'm John Porter."

Jonathan Sale Forges a Career in NYC

Posted by Bruce Miller
Back in the mid-90s when Theatre IV was still in the theatre-for-adult-audiences business, we produced what I thought was a wonderful production of a play called Stand Up Tragedy (pictured below). John Moon directed. Rusty Wilson, Ben Hersey, Rick Brandt, Richard Travis, Tye Heckman and others co-starred with several talented young teens who played New York gangbangers. One of the teens (maybe he was in his early 20s by then) was a young Richmonder named Jonathan Sale (pictured as he looks today above and to the right). Although he was a clean cut student at the University of Richmond, he had a great urban vibe that served him well in the show.

After graduating from U of R with a double major in theatre and Spanish, Jonathan toured for a year or so with Theatre IV, and then headed to San Francisco where he earned his MFA in acting from the prestigious professional theatre grad program at American Conservatory Theatre. He moved to NYC, married in 2003, and for the last several years has been building an impressive career Off Broadway and in television and film, finding work both as an actor and director.

Recently Jonathan made a fun national spot for Holiday Inn Express, using the rap skills he first honed as a street punk in our fondly remembered production of Stand Up Tragedy. You can catch his commerical star turn at http://www.youtube.com/watch?v=ZlCLuIwuVgQ. Jonathan's the white guy, and this credit sits proudly on his resume alongside several gigs on Law and Order, Ed, Guiding Light, As the World Turns, a growing list of independent films, some Off Broadway plays, and numerous other TV commercials.

Most recently, Jonathan directed and produced the short film Sovereignty (http://www.sovereigntymovie.com/), written by Rolin Jones, the Pulitzer Prize-nominated writer and producer of Showtime's Weeds. Sovereignty began its life as a short play in the Humana Festival at the Actors Theatre of Louisville, starring Jonathan’s wife, Heather Dilly (pictured to the right, and below and to the left). Sovereignty the film just won Best Short Film at the 2008 Artivist Film Festival, the 2008 Peace on Earth Film Festival, and the 2008 Non Violence International Film Festival. Heather Dilly, star of the film as well as the play, won Best Actress for her work in Sovereignty at the 2008 Long Island International Film Festival.

As Jonathan’s career becomes more impressive year by year, it was interesting to find on the www this interesting coverage of an acting project a few years back. Prior to devoting his time to becoming an award-winning filmmaker, Jonathan made his mark on the world of video games. He was the “motion-capture” actor for the main character of Tommy Vercetti, the antihero of the video game Grand Theft Auto: Vice City. The character's snarling voice is provided by well known film actor Ray Liotta, but the body and movement are all computer generated on top of the actual movement provided by Jonathan Sale.

When asked by a video game reporter to describe the experience, Jonathan said, “I wore a Spandex/Velcro body suit that included hats and shoe wraps with 33 balls covering the suit. Each of the white spheres was a little smaller than a ping-pong ball. About 20 feet off the ground there was a grid of 14 cameras that read only the light reflected back to them from the balls. The cameras compiled this info in the computer and made a moving model that they later put the skins over for the game. They also filmed all of the scenes with two digital video cameras and later cut that footage together for the voice actors to work with. Ray Liotta spent a week in the booth matching my performance. I always thought that was pretty cool.

We filmed the project six to eight hours a day, five days a week, with two weeks of rehearsal and one week shooting . After rehearsing for two weeks we all knew each other pretty well. We were in this terrific studio in Brooklyn in which every room is decorated as a different set. And I don't mean the rooms that we shot in; I mean every room. The room where the staff would meet looked like a spaceship boardroom. The hallway looked like the inside of an Egyptian tomb; the lunchroom looked like a tropical forest. It was really cool.

The studio where we shot was a huge concrete room with a big square taped off on the floor. That was the playing area. Outside of the taped area, some of the cameras couldn't see us and therefore the computer couldn't calculate us fully and we would disappear.

When we showed up and donned the spandex for the first time, we were all a bit shy, but it wasn't nearly as embarrassing as we thought it would be. We kind of looked like blue/black or red/black superheroes. Everyone was creative and great to work with.”

Asked for any advice he could offer to future motion capture actors, Jonathan wisely offered this: “The more I treated it like a regular acting job, the better. When I was really acting well, it showed through the motion capture. Also, stuff your Spandex mo-cap suit. That's the key.”

There you have it, my friends. And all this time we thought cod pieces were only for Shakespeare.

--Bruce Miller