New Podcast Episode - Butterflies are Free

David Janeski interviews actor Matthew Bloch from Butterflies are Free, on stage now at Hanover Tavern. Matthew wasn't aware of the questions before hand, and David threw some pretty crazy ones at him. The results are hilarious...

New weekly podcast

New weekly podcast!

A funny and irreverent look behind the scenes at Barksdale Theatre and Theatre IV.

Hosted by David Janeski,because who else is dedicated enough to jump out of a trash can to get the whole story?!

Take a look at episode 1 and subscribe to our youtube channel

Sister Theatre Has a Hit!

Posted by Billy Christopher Maupin

It looks like Theatre IV has a huge hit on it's hands with the reunion of the original 1988 cast (Gordon Bass, Larry Cook, Jenny Hundley, Jacqueline Jones, and Debra Wagoner) of Jack and the Beanstalk (Book and Lyrics by Douglas Jones; Music by Ron Barnett). The production began student matinee performances on Tuesday of last week and had it's official opening Friday night to an incredibly responsive house. Here are a few of the quotes we'll be pulling from Susan Haubenstock's review in Sunday's Richmond Times-Dispatch:

"...playwright Douglas Jones rings an ingenious change on
the much-loved fairy tale"




"wild version of the familiar yarn,
more fun and fanciful than the original"

"While the kids in the audience giggle at the silliness, adults can enjoy razor-sharp performances by the actors"

"light and funny" "cheerful" "playful and snappy"

And also Kate Hall with RichmondMom.com rang in with a thrilling review last night. A few quotes:

"both adults and kiddos were swept into Jack’s playful, imaginary world"

"a fabulous way to spend an afternoon"

"a must-see for Richmond families who want a great laugh
and to create a memory together"

Tickets really are selling fast! So fast, that a performance was added to the final day, even before the show opened! Get yours today!

See you at the theatre!

(Photos on the left side of the page are from the 1988 production [Photos by Eric Dobbs]; photos on the right side are from the currently running 2010 production [Photos by Aaron Sutten].)

Part C: Replacing Brahms with Wayne and Underwood, or "Vox Populi, Take the Wheel"

Posted by Bruce Miller
If this is your first look at my three-part blog response to A. Barton Hinkle's Op/Ed piece, Picking Apart Arguments for Funding the Arts, published in Friday's (March 5) Times-Dispatch, you may want to scroll down and read Parts A and B first. I would provide a link to Hinkle's original dissection, but I can't locate Picking Apart ... on the Times-Dispatch website. I found the other two Op/Ed pieces that shared a page with Hinkle, but his piece isn't there, at least not as of this writing. If anyone can find it, please provide the web address in a comment. Thanks.

As he gleefully "picks apart" the statements of those of us who believe it would be unwise for Virginia to become the first state in the nation to eliminate its arts commission, as recommended by the Virginia House of Delegates, Hinkle states: "Some arts advocates also imply that the arts in Virginia will disappear without state support. There is no denying that some arts organizations will suffer and might even fold. But it is simply not true that closing the VCA would mean the end of drama, the end of symphony music, the end of gallery exhibits in the Old Dominion."

"Some with a soft spot for Brahms and Bryars, for Tallis and Telemann, may be inclined to snicker at the indulgence which confers the name of artist on the likes of Lil Wayne or Carrie Underwood. But a heart moved by pop music is moved no less because the music enjoys commercial success (all the more reason to doubt claims that shutting the VCA will leave Virginians stranded in a world bereft of uplift)."

So there it is. Hinkle is telling us that eliminating all arts funding from the state budget may bring about the demise of arts institutions that generations of Virginians have dedicated their lives to building. But so what? We'll always have pop culture. Seriously. Hinkle reassures by asserting his belief that there's no real difference between Brahms and Telemann, Lil Wayne and Carrie Underwood.

Are you scared yet?

"This touches on another difficulty," Hinkle continues, "namely the tension between artistic merit and latitudinarianism."

All right. I had to look it up too. Latitudinarianism means "holding or expressing broad or tolerant views, especially in religious matters."

In other words, in the gospel according to Hinkle (and you'll find the same in the playbook of many social conservatives), there is tension between artistic elitists (that's you and me, friends) and our pop culture brethren who express their "broad and tolerant" views by embracing rap music and American Idol.

Call me crazy, but I don't feel the tension.

I admit I'm not into rap, but some of my best friends are. I caught most episodes of Simon and Paula last season, and I've always thought Carrie Underwood was cute as a bug. The first time I heard her heartfelt rendition of Jesus Take the Wheel, it brought a tear to my eye. Seriously. I like that song a lot. As anyone will tell you, I'm as corny as Kansas in August, I cry unapologetically at Hallmark commercials, and I teach Sunday School to boot.

I also subscribe to a dogma that has been passed on to me by my parents and teachers from first grade forward. It's a firm belief, a way of living that I'm also trying to pass on to my own children. And that's where Hinkle nails me.

The dogma says this. There is a unique value to great art. Contemporary society has the wonderful opportunity (obligation?) to benefit from and enjoy the classic works of Beethoven, Rostand, Petipa and Benoist, as well as more contemporary masters like Bartók, Nottage, Bausch and Bearden. It is only through the preservation and presentation of great art from the past that we can truly discover, develop, celebrate and pass on to our children the great artists of our present.

The noble work of the nonprofit arts sector is not to dwell on or live in the past, but it is to offer and entertain new perspectives on great work, should that work be a product of the previous week or the previous century. If we don't, if we as a society rely solely on the more accessible delights of the popular and commercial, we will be failing our responsibility to our children and our heritage, to history and world culture.

That brings us to the core of the ideological argument.

"The demand by the anointed for continued favoritism," Hinkle proffers, "is not necessarily ennobled just because it is dolled up in gauzy sentiment." In other words, I can write these blogs till I'm blue in the face, but it doesn't matter. We can dress up our art all we want, friends, but we can't take it out to dinner.

And when we do dare to ask, plead for, demand our seat at the table, Hinkle suggests, the populists who think that Lil Wayne is all that and a bag of chips have every good reason to drive us back into our ivory towers and cut off the funding that allows us to survive.

A. Barton Hinkle is entitled to his opinion. So am I. It's time to take sides. Which side are you on?

During this statewide debate that will probably last the rest of my lifetime, if we allow ourselves to be overcome by fatique, fear or frustration, and throw our hands up and off the wheel, who's going to drive?

I leave you with the immortal words of one of Lil Wayne's biggest hits. Well, at least all the words up to the part where he begins using words I can't print on a family-friendly blog.

I said he's so sweet
Make her wanna lick the rapper
So I let her lick the rapper

Shawty said l-l-lick like a lollipop
She said l-l-lick like a lollipop
Shawty said l-l-lick like a lollipop
She said like a lollipop

Shawty wanna thug
Bottles in the club
Shawty wanna hump
And oh I like to touch ya lovely lady lumps
She wanna lick the rapper

--Bruce Miller

Photo Subjects (top to bottom): Carrie Underwood, Ludwig van Beethoven, Edmund Rostand, Marius Petipa, Marie-Guillemine Benoist, Bela Bartok, Lynn Nottage, Pina Bausch, Romare Bearden, Lil Wayne

Part B: Rolls-Royce and “a Medicaid Patient’s Physical Agony"

Posted by Bruce Miller
After trying to compare, illogically, the arts to scouts, grocery stores, newspapers and places of worship in yesterday's Times-Dispatch (see my previous post, Taking On Those Who Buy Ink by the Barrel - Part A), A. Barton Hinkle moves on to pick apart the argument offered by those who believe that arts funding should stay in the state budget because of the jobs that such funding makes possible.

"Any entity that employs people provides jobs by definition," Hinkle states, "and might be said to contribute to the economic vitality of a community. If that is the standard upon which we justify state funding, then there is very little in the commonwealth that would not qualify."

This argument is gratuitous, and Hinkle knows it. He fails to mention the tens of millions that the state spends each year to create jobs in Virginia and to support the creation and sustenance of small businesses. He asks his readers to compare the nonprofit arts industry to Virginia's thriving for-profit businesses, rather than to the new and/or struggling businesses that receive state support, or the libraries and parks that are the more appropriate comparison.

Here's one specific example. Rolls-Royce is certainly a thriving for-profit business. Yet they successfully made the argument to the Virginia legislature that they needed state support if they were to build a new aircraft engine production plant in Prince George County, about 25 miles southwest of Richmond. In fact, the commonwealth put together a $56.8 million incentive package to lure Rolls-Royce to our state, and no arts-eliminator even suggests that a penny of that package be cut from this year's budget.

For the record, I think the legislature was wise to negotiate this funding, and is wise to keep it in tact. Economic development is vitally important. As Hugh Keogh, CEO of the Virginia Chamber of Commerce told the Times-Dispatch, "If you're going to play in the big leagues, you're going to have to come to the field with more than your glove. Virginia has learned that over the past 15 years."

But if you're pro-economic development, and what reasonable person isn't, how can you scoff at spending a measly $4.4 million to support the 20,000 jobs made possible by the Virginia Commission for the Arts, and still embrace the spending of $56.8 million to support the 140 jobs that Rolls-Royce has promised?

In today's competitive environment, it's sound policy and practice to offer incentives to lure successful businesses to Virginia. If Virginia didn't do it, we'd lose employers to other neighboring states. Rolls-Royce plans to begin hiring 140 workers in the fourth quarter of 2010, but they hope to build their eventual work force to 500 Virginians. Why exactly does Hinkle think the 140 to 500 Rolls-Royce jobs matter, and the 20,000 VCA-enabled jobs don't?

Perhaps he is uninformed. Perhaps he hasn't interviewed any arts leaders, and so he has no idea that our leading arts organizations are routinely wooed by other states that would be all too happy were we to relocate our jobs to their jurisdictions.

Consider this one example. Theatre IV tours nationally to about 32 states each year. This tour generates just over $1 million in out-of-state sponsor fees that come back to Virginia. This revenue is spent by our nonprofit company to pay Virginia salaries and rents, and to buy Virginia goods and services. The Maryland Arts Council has on several occasions mentioned that they would like for Theatre IV to consider relocating its national tour to their state. As incentive, Maryland and its localities contribute to nonprofit arts organizations approximately 15% of each nonprofit's documented revenue. Were we to move our HQ to Maryland, our $1 million in national tour revenue would likely be matched by $150,000 in state and local funds. In Virginia, our national tour revenue is matched by zero dollars in state and local support.

Theatre IV has no desire to move to Maryland. Make no mistake, our HOME is here. But if the Virginia Commission for the Arts is eliminated, costing Theatre IV the approximately $95,000 that we now receive from the VCA in support of the touring instructional programs we present in about 600 Virginia schools each year, we would be idiots not to consider the viability of a move north. With his disregard for Virginia arts jobs, Hinkle may not care. But I suspect there are plenty of other Virginians who would consider the loss of the nation's second largest children's theatre to be a devastating consequence of ill-advised legislation.

Hinkle continues with the manipulative and deplorable tactic of comparing arts funding to the help needed by "a Medicaid patient's physical agony" and "a teenager with severe psychiatric problems (who) can no longer lead a semi-normal life because (the state) has chosen to fund a ballet instead?"

Friends, there is not a single artist I know who is arguing that the arts are more important than health care or mental health. Hinkle and his buddies are making up this hogwash. We cannot let the ideologues fabricate OUR side of the debate and then put it out there in the press as if we actually said it. It may be their intention to make us look self-serving and ridiculous, but we shouldn't sit quietly by and let them do it.

The point is not that anyone believes the arts are more important than helping those in need. The point is that cutting VCA funding will hurt the state budget, not help it. As I've said before, if you want more money to support the worthy causes that the state is honor-bound to fund, then argue in favor of funding the VCA. It's an economic development argument, not a matter of either / or.

The case we are making for state funding is sound. Please read my previous blog post, The REAL Case for the Arts in VA (Feb. 25, 2010). When these arguments are not taken seriously, and preposterous arguments are put in their place, the debate is no longer worthy of respect. It is politics, pure and simple.

Coming tomorrow – Part C: Replacing Brahms with Wayne and Underwood, or "Vox Populi, Take the Wheel"

--Bruce Miller

Taking on Those Who Buy Ink by the Barrel - Part A

Posted by Bruce Miller
A. Barton Hinkle's Op/Ed piece in this morning's Times-Dispatch (Picking Apart Arguments for Funding the Arts) is a classic example of how ideology can trump rational thought and respectful debate. I often hold Mr. Hinkle's editorial writing in high regard because he usually builds his arguments on facts. In this case, as he joins the chorus seeking to eliminate the Virginia Commission for the Arts (VCA), he is either unaware of the facts or he chooses to ignore them.

I appreciate his mentioning that my friend Phil Whiteway "scores a nice point when he notes that politicians are quite happy to trot out the arts ... when trying to court Fortune 500 companies," although Phil's comments were more respectful and serious than A. Barton's condensation.

But Hinkle goes on to say "stripped of the rhetorical filigrees at which the arts community is so adept, the plea reduces to: The arts are nice and do good, so they should get taxpayer support." He misrepresents the position of most arts supporters in an attempt to paint us as frivolous and flighty.

Certainly there are a few in the arts community who have been focusing their defense of the VCA on the intrinsic values of arts in society, and that is their right. But many if not most of us have been saying that the main reasons to keep the VCA in the Virginia budget have to do with economic development, education and tourism. Hinkle, like his ideological cronies, deliberately avoids these more conservative arguments.
Hinkle compares the arts to the "Boy Scouts and Girl Scouts," "health-food stores," "newspapers," and "churches, synagogues and mosques," stating that they also are “nice and do good.” He then reasons, if these nice organizations receive no state funding, why should the arts?

The answers are simple, so it is hard to understand why Hinkle even poses the question.

The Boy Scouts and Girl Scouts, both of which I support, are membership organizations that admit some and fail to admit others. Fundamentally, they exist to meet the needs of their members. Unlike nonprofit arts organizations, their programs are not open to everyone and they do not exist solely to serve the public good.

Now, if someone wants to argue that not all nonprofit arts organizations put the public good front and center, I'll agree with them in that argument, and together we can go after those slackers. But that has nothing to do with the industry as a whole.

Looking at health-food stores and newspapers, both of which I support, anyone among us can point to entrepreneurs who have made their fortunes owning and operating such businesses. That business model exists in abundance. Nonprofit arts organizations are not owned by anyone. They belong to the public, just like libraries and parks.

I co-founded Theatre IV 35 years ago, but I don't own it. When I retire, there's nothing for me to sell and no financial rewards for me to reap. We can all name grocery and newspaper magnets who have made tens of millions and more, but I challenge anyone to point out to me a person of any wealth whose fortunes came from founding a nonprofit arts organization. Such a person and such a business model simply do not exist.

Considering churches, synagogues and mosques, all of which I support, they are religious organizations. They admit members who share a common religious belief. Fundamentally, they exist to exalt the particular religious belief that is shared by their members, and to serve the community in the name of their God. And God bless them for it. But the reality is this. They have existed for centuries in the United States without public support.

Conversely, there are virtually no thriving nonprofit arts organizations that now exist or have ever existed in our nation without public support from their state government. You will be able to find a few unfunded nonprofit theatres, orchestras, dance companies and visual arts organizations, but it will be impossible to find any that maintain professional standards and thrive without state support.

I'm not speaking only of Virginia. Hinkle fails to mention that if Virginia were to eliminate its arts commission, it would be the first state in the union to do so. Are all the other states just stupid, or might it be that they understand sound financial arguments that the ideologues of Virginia simply choose to ignore?

Coming tomorrow – Part B: Rolls Royce and “a Medicaid Patient’s Physical Agony”

--Bruce Miller

Subscriptions Growing at Hanover Tavern

Posted by Bruce Miller

In the midst of an avalanche of challenges (snow cancellations, threats to the Virginia Commission for the Arts), there is some GREAT news coming from Hanover Tavern. Bucking all trends, local and national, subscription sales are UP by 10.5%!

First Baptist of Ivy Gap is doing exactly what we hoped it would. It’s selling well and sending happy and heart-warmed Hanover audiences into the cold night air feeling uplifted. We’ve just extended the previously announced six-week run by two more weeks. Many thanks to our extraordinary actresses--Ali, Harriett, Jan, Joy, Maggie, Sarah and Audra (Audra is filling in this week while Sarah is auditioning at SETC) for making this show such a crowd-pleasing hit.

Thanks also to Chase (stage manager), Jeannie (house manager), Terrie and David (set design), Sue and Marcia (costume design), and Slade (light design) for their fine work transporting us to a Tennessee church hall in 1945 and 1970. And major kudos to Ted Soto, Barksdale's Board of Trustees leader extraordinaire. It was Ted who first saw Ivy Gap at Cumberland County Playhouse and brought the play to my attention.

Ivy Gap is helping to define our Country Playhouse Season at Hanover Tavern as the type of pops series that provides a warm haven for those seeking easy-going, well produced, graciously performed, unabashedly pleasant comedies and musicals.

There are those who consider shows like Ivy Gap to be “popular,” and mean the word “popular” to be pejorative. At Hanover Tavern, we’re embracing the “popular.” Seriously, what else are “pops” series all about?

We’re doing our best to entertain and delight audiences at all our venues. We want the great plays in our Signature Season at Willow Lawn to be entertaining, and we work hard to make the entertainments at Hanover Tavern artistically rewarding. But in an attempt to draw a distinction, we program Hanover Tavern to appeal to those who love theatre that reaffirms rather than challenges, that cares more about being lighthearted than serious.

All told, Barksdale and Theatre IV have about 3,000 subscribers at Willow Lawn, 2,000 subscribers at the Family Playhouse, and 1,000 subscribers at Hanover Tavern, equaling six thousand subscribers total. Last season, Hanover subscriptions dropped to 953 subscribers, comprised of 839 renewals, 85 new subscribers, and the return of 29 former subscribers who had lapsed in previous years.

This year (and we won’t complete our subscription campaign until the close of Ivy Gap on March 28) we have 1,053 subscribers at the Tavern thus far, comprised of 900 renewals, 106 new subscribers, and the return of 47 former subscribers who had previously lapsed.

We couldn’t feel more satisfied and grateful. To our loyal supporters, THANK YOU! As we begin our five year plan to grow total subscriptions to the 8,000 level, we’ll do our best to continue to earn your vote of confidence.

--Bruce Miller

Video - The Grapes of Wrath - Interview with the Director

The Grapes of Wrath - Now through March 21, 2010 at Willow Lawn - Interview with the director - Dr. Tawnya Pettiford-Wates

The Grapes of Wrath performance schedule More information about the play

The REAL Case for the Arts in VA

Posted by Bruce Miller
At least 150 Virginia arts supporters lined the halls of the Virginia Capitol today. It felt like more, but that's how many stickers saying "Save the Arts" were distributed. However many of us there were, we packed the place, and certainly made a strong statement in favor of continuing state funding for the Virginia Commission for the Arts.

Everywhere we went, smart and well-intentioned individuals asked something like, "Why should the state support the arts when we can't do all that we should be doing for disabled children, for education, for health care for the poor?"

If there were a true choice between these very worthy causes and the minimal financial support required to save the Virginia Commission for the Arts, I too would pick disabled kids, education and health care. The arts will never and should never win the argument that we are "more important" than these very worthy efforts. The case for disabled children, education and health care for the poor has already been argued and won in the hearts and minds of virtually everyone I know. Especially artists.

But in the real world, there is no such choice. Pretending that such a choice exists is an ideological exercise, lacking any foundation in real world economics.

The one choice is this: should Virginia continue to fund the Virginia Commission for the Arts, cutting it proportionally with other agencies, services and efforts, or should the Old Dominion become the first state in the nation to turn its back on its own nonprofit arts industry.

That is the choice. And as we debate the pros and cons, the only truly germane question, given current budget realities, is this: will spending $4.4 million to maintain the Virginia Commission for the Arts result in a net loss for the state budget or a net gain. If we all agree that we want more money to go to the aforementioned worthy causes (and who doesn't), the question is not whether or not the state should fund the arts, the question is whether such funding will be a sound investment resulting in more revenue to devote to all the things the state is honor-bound to fund.

The Virginia economy, like any large economy, is very inter-connected and complex. An economic impact study conducted in 2000 documents that the nonprofit arts generated $1.1 billion per year in Virginia a decade ago. Wise leaders recognize that the arts are like roads, libraries and state parks. They are among the quality of life components that attract businesses to a community, that attract top students and faculty to universities, that bring out-of-state money into local and state cash registers.

Gone are the days when a thriving American city or town (or state) can be "art free" and still expect to attract jobs. The vast majority of major employers don't move into cities until they determine that a thriving arts and cultural community pre-exists. They require a robust arts community not only because they want their employees to have something fun to do on Friday night, but also because virtually all business studies indicate that the most educated work forces, the most creative work forces, the work forces most adept at the skills that 21st Century companies need to compete come from communities that are rich in the arts.

Don't believe me? Check out Richard Florida's (PhD, Columbia University) several best-selling business texts: The Rise of the Creative Class, Cities and the Creative Class, and The Flight of the Creative Class. Follow that with a perusal of Daniel Pink's immensely popular A Whole New Mind: Why Right-Brainers Will Rule the Future.

As for small businesses ... the Virginia economy is based on small businesses. Every legislator says so, especially those who favor eliminating the Virginia Commission for the Arts. The ironic thing is that arts organizations ARE small businesses, employing over 20,000 professionals in Virginia each year.

Eliminating the Virginia Commission for the Arts (as has been proposed by the House) will not save money, it will cost money. Lots of money. If you truly want to get more money for your favorite worthy cause--and we all agree that education, health care etc are worthy causes--then do NOT destroy the infrastructure that enables and sustains 20,000 jobs and offers a $250 return for every $1 of investment.

Virginia's arts organizations have already accepted cuts exceeding 30%. We haven't whined. We haven't cried "Wolf!" We understand that we need to tighten our belts and sacrifice just like everyone else.

All we ask now is for the Virginia legislature in its entirety to go with the budget recommendations of Gov Kaine, Gov McDonnell and the Virginia Senate. Only the House budget recommends eliminating the Virginia Commission for the Arts.

All we ask is that the legislature in its entirety think big picture. Save the Virginia Commission for the Arts, and allow our nonprofit industry to continue to provide tens of thousands of real jobs, lure hundreds of thousands or more jobs into Virginia, support education, and increase tourism.

We know the job of balancing the budget is extremely hard. But please, examine the concrete evidence. Think long term and big picture. The voters of Virginia deserve no less.

--Bruce Miller

PS For those who are twittering and facebook messaging that the story is over and the VCA is gone, be patient. The battle will not be fought, won or lost until March 5, and we won't know the result until a few days after. March 5 is when conferees from the House and the Senate begin meeting to duke it out, finding a common ground between their two versions of the budget. The Senate budget proposes the same 16% cut offered by Gov Kaine. The House budget (which passed today along party lines) proposes a 50% cut in year one and elimination in year two. Now is the time to work even harder to convince House conferees to consider the wisdom of maintaining the VCA.

Legislators Propose Elimination of Arts Funding

Posted by Bruce Miller
I'm absolutely heartsick about today's news from the House Appropriations Committee. Here's a letter I've written to the T-D. I have no idea if it will run, so I'm printing it again here. PLEASE fax or call your legislators ASAP. Legislator contact information can be found on the web at http://legis.virginia.gov/1_cit_guide/contacting_my.html.

Editor - Times-Dispatch:

The House Appropriations Committee is proposing the elimination of the Virginia Commission for the Arts. I have been the artistic director of Theatre IV, The Children's Theatre of Virginia, for the last 35 years. In an effort to create significant cost efficiencies, the staff of Theatre IV also has managed Barksdale Theatre for the last 8 1/2 years.

As a nonprofit administrator, I have always been trained to speak publicly only of success. With regard to this new proposal, it would be irresponsible for me to pretend optimism when I know first-hand the certain disaster that will follow the passage of such misguided legislation.

Every day, Theatre IV and Barksdale, two of our state's most exemplary nonprofits, deal with the fact that Virginia historically and consistently funds the arts at a level lower than any state in our region. We continue to serve over 600,000 Virginians annually, despite the fact that the legislature eliminated direct funding of arts organizations four years ago, and over the last two years has already reduced indirect funding (through the Virginia Commission for the Arts) by 30%.

In the last 16 months, Theatre IV and Barksdale have eliminated 6 positions and have plans to eliminate 2 more (20% of our lean work force). We have reduced salaries by up to 17%, cancelled company contributions to retirement plans, and increased the percentage of health insurance premiums that must be paid by the employee. To adjust to the eliminated positions, many on our staff work 80-hour work weeks just to keep our nonprofit companies alive.

The elimination of state funding to the Virginia Commission for the Arts will cost Theatre IV and Barksdale Theatre an additional $190,000 per year. That will mean the elimination of seven more jobs. Despite all our best efforts, we will not be able to operate under these conditions.

What the House Appropriations Committee is proposing is the elimination of the nonprofit arts infrastructure that tens of thousands of hard-working Virginians have taken decades to build. Hundreds of jobs will be lost. The economic repercussions will not be positive; they will be disastrous.

To avoid causing lasting harm to economic development, education, tourism and quality of life, please ask your legislators to oppose the current proposal of the House Appropriations Committee.

Sincerely,
Bruce Miller
Artistic Director, Theatre IV and Barksdale Theatre

My Job Responsibilities Include What?!

Posted by Bruce Miller
Ah, so much to write about and so little time. I have a list of about ten theatrical matters that I'd meant to address on this blog by now--and I'll get to them, honestly I will. But something caught my eye this morning that has elbowed its way to the top of the heap.

One of the links that is being promoted on my start-up page over at MSN.com this morning reads as follows:

Paramedics & Cops Only Make How Much?
10 stressful jobs you'd think would pay more

And underneath this headline appears this enticing tickler:

Find a job by salary range

Seeing as how Phil and I are facing our third salary cut in as many years (isn't this economy fun?), I thought I might just check out what the employment professionals are saying I should be making.

Three years ago, Phil and I made salaries that were only a little shy of principals in Greater Richmond's high schools. That salary range is pretty comfortable, actually, and seemed appropriate considering the breadth of our responsibilities.

Then as the economy began to shrink, we took a 7% cut in 08-09. In 09-10, we and everyone else at Theatre IV were asked to assume more of the costs of our health insurance. Pretty soon, if things continue to go as they're going now, we'll be taking an additional 10% cut in 10-11.

I'm not complaining. I'm lucky to have my job. It seems everyone is being asked to sacrifice these days. Being a glass half-full kind of guy, I prefer to focus on the notion that sacrifice is good for the soul.

But just for the heck of it, I decided to click on the little box that suggested I could "find a job by salary range." I thought I'd check out just how the high school principals are doing these days, and how theatre directors are doing in comparison.

The link took me to CareerBuilder.com, and a specific off-shoot of their site called cbsalary.com. I was asked to type in a job title. I typed in "Theatre Director." I was invited to search for actual salaries within a particular community, and I typed "Richmond" and "VA."

Particulars immediately popped up, and I was glad to see that my job was included in CareerBuilder.com's data base. But I was puzzled to see my job described thusly:

"Theatre Director:
Supervise and coordinate activities of correctional officers and jailers"

There it was. That was it. And "theatre" was even spelled with an "re."

Now I know that when one is fighting in a world war, the global battlefield is divided into "theatres." I guess it makes sense for prisons to adopt similar language. So I'm not dismayed to learn that someone who supervises jailers calls himself or herself a "Theatre Director."

Actually that's kind of cool.

But I am disappointed to learn that this is the only type of "theatre" job to have earned the attention of CareerBuilder.com. The type of "theatre" that you and I love, my friends, completely escapes their attention, at least in terms of "directors." Are there really more "theatre directors" working in Central Virginia's prisons than there are working in Greater Richmond's theatres? Or, once again, are jobs in the arts being overlooked and/or dismissed as somehow being less worthy than "real jobs."

With attitudes like this being developed and propagated by employment specialists, no wonder politicians continue to make cuts in the arts (one of the most labor intensive industries out there) while calling for more expenditures directed toward "job creation."

Stop the madness!

--Bruce Miller

The Song (or Whatever) of Mulan

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

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

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

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

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

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

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

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

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

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

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

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

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

--Bruce Miller

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

Oh the Weather Outside is Frightful

Posted by Bruce Miller
There's good news and there's bad news.

Let's do the good news first. Yesterday in sunny Las Vegas, a 22-year-old VCU broadcast journalism major named Caressa Cameron won a $50,000 scholarship as she was crowned Miss America 2010. Many congratulations to Ms Cameron for representing Richmond, her home town of Fredericksburg, and the Commonwealth so well. Your good news is GREAT news. All of us at Barksdale and Theatre IV are proud of you.

And the bad news? As Ms Cameron was basking in the sunshine and paparazzi flashes of Vegas, her friends back home in Richmond were finding themselves buried under a foot of snow. (It measures 14" in my backyard in Bon Air.)

I know, I know. Snow is also good news! Unexpected time off, sledding down wintry slopes, chestnuts roasting on an open fire. In many ways, snow is festive and fun.

Not to be a buzz-kill, but there's another side to the story. When you are responsible for a $5 million annual budget for a nonprofit touring theatre, all that pretty white stuff that brings activity to a standstill across a wide swath of the mid-Atlantic quickly becomes the stuff of nightmares.
For years now, the snow begins to fall, my kids jump up and down in jubilation, and I sit in the corner and sulk.

This past Friday, Theatre IV opened our wonderful mainstage production of The Song of Mulan. Due to the snow, we've had to cancel two Mulan performances on Saturday and Sunday, costing us --at least on paper--approximately $8,000.

The good news is that, traditionally, most of our wonderful ticket buyers will accept a transfer to another performance, so the actual loss will be in the hundreds rather than the thousands. Nonetheless, it's painful for all concerned.

Also at Theatre IV, we currently have four shows on tour to schools nationwide: Harriet Tubman and the Underground Railroad, Hugs and Kisses, I Have a Dream - The Life and Times of Dr. Martin Luther King, Jr., and Sojourner Truth. If we have to cancel half of their bookings this coming week, which seems optimistic considering the geographical breadth of this storm, we will lose an additional $12 to $20 thousand--depending on which shows get cancelled.

And in this case, the losses are truly losses. Our tours are virtually sold out for the rest of their runs. In almost every case, there will be no opportunities to reschedule performances.

Then there's the matter of First Baptist of Ivy Gap, the fun and heartwarming new comedy that was scheduled for all day and evening tech rehearsals yesterday and today at Hanover Tavern, leading to an Opening Night on Friday. Both days of tech have been cancelled, due to the fact that it would be irresponsible to require cast and crew to trek across 30 miles of unplowed roads to park in an unplowed lot. At the end of the day, Ivy Gap is only a play--not worth the potential loss of life, limb or crankshaft.

At this moment, without having the full day tech rehearsals, I don't see how it will be possible to open on time. Nothing is definite yet, but if we have to postpone our well-sold opening weekend, that could cost Barksdale an additional $12,000.

Add it all up, and we're looking at a potential loss of $40,000 or more. In this already chilly economy, a loss of this size would be crippling. And it's only January.

We've weathered these storms before, and we'll weather them again this time. But if you get a friendly call from any Richmond box office asking if you'll accept an exchange rather than require a refund for a cancelled performance, please consider the situation we nonprofit theatres are in, and be kind.

Many, many thanks.

--Bruce Miller

Mixing with the Majors

Posted by Bruce Miller
Twenty-one nonprofit arts organizations with annual operating budgets in excess of $1,000,000 currently receive funding from the Virginia Commission for the Arts. These 21 organizations are referred to by the VCA as "the majors." They are invited to come together twice a year for roundtable discussions concerning the events, policies and practices that most effect the arts industry in Virginia.

In Central Virginia, the majors include Barksdale Theatre, the Richmond Ballet, the Richmond Symphony, Theatre IV, the Visual Arts Center of Richmond, and the Virginia Opera, which is headquartered in Norfolk but has a strong Richmond presence.

The first of the two annual roundtable discussions takes place each year in January in Richmond in association with the annual ArtWorks for Virginia Conference and Arts Advocacy Day at the State Capitol. I was asked by Peggy Baggett, our extraordinary Executive Director of the Virginia Commission for the Arts, to moderate this year's January meeting.

This past Thursday, from 11 a.m. to 2:30 p.m., it was my privilege to facilitate a healthy, robust conversation among a roomful of the Virginia arts administrators whom I most admire. The last time I was asked to moderate was May 2007.

It's very energizing and great fun to direct and structure a spirited debate involving the likes of David Fisk (Executive Director of the Richmond Symphony), Gus Stuhlreyer (General Director and CEO of the Virginia Opera), Keith Martin (Managing Director, Richmond Ballet), Keith Stava (Managing Director, Virginia Stage Company), Evalyn Baron (Director of Outreach, Barter Theatre), Jo Kennedy (President and CEO, Visual Arts Center of Richmond), Rob Cross (Executive and Artistic Director, Virginia Arts Festival), Bill Hennessy (Director, Chrystler Museum of Art), Elizabeth Murphy (Executive Director, Fairfax Symphony Orchestra), Beth Pline (Executive Director, Roanoke Symphony Orchestra), Phil Whiteway (Managing Director, Barksdale and Theatre IV), and several others whom I know less well.

At Thursday's meeting, Peggy Baggett began by explaining how and why the Commission viewed Virginia's upcoming Minds Wide Open celebration to be a success. Keith Martin followed with a power point presentation outlining the details of Minds Wide Open: Virginia Celebrates Women in the Arts. Then Gus Stuhlreyer, newly appointed chair of the 2012 Minds Wide Open planning committee, led a discussion of possible themes.

After lunch, I led sessions on various leadership initiatives that the majors could consider for future implementation, statewide reaction to the recent NEA study regarding arts attentance, and potential dates and locations for our summer/fall meeting.

The arts are a two billion dollar industry in Virginia. The overall goal of the majors rountables is to determine the best ways for our states most prominent arts professionals to work together to transform our industry into a force that both the general public and the state legislature will understand, appreciate and respect.

Many thanks to David Fisk for hosting last week's meeting at the Symphony's new digs at CenterStage. It was rewarding to connect again with others who care so passionately about the arts in Virginia.

--Bruce Miller

Time Again for "Acts of Faith"

Posted by Bruce Miller
It is time once again for Central Virginia's Acts of Faith Festival--the largest faith inspired theatre event in America. Now in its sixth year, Acts of Faith is a collaboration between faith communities and Richmond's professional theatre companies. This year's Festival began on Jan 15 and will run through Mar 21.

The Festival was initiated and continues to be convened by Second Presbyterian Church. Joining Second Pres as co-sponsors are Bon Air Presbyterian (my church), Congregation Or Ami, First English Lutheran, First Presbyterian, St. Bridget's Catholic Church, St. James Episcopal Church, and Tabernacle Baptist. If your congregation is interested in joining in this annual celebration, you and they would be most welcome.

The good folks who manage the Festival describe the mission as follows: "The Acts of Faith is a way to bring the community together in a shared discussion about how faith and values shape our public and private life. Using theatre as a vehicle to illuminate issues and questions, the Festival facilitates conversations about the arts and faith and encourages unity within diverse traditions.

Throughout the winter, fourteen Central Virginia theater companies will offer a selection of plays and will sponsor discussions after many of the performances. These post-performance conversations are intended for audience participation and will include the plays' director, cast members and theologians.

Discussions will address topics such as why the play was chosen for the Festival, how cultural norms and values are portrayed in the play, and how an individual play might impact one’s faith journey. In addition to the talkback sessions at the theatres, co-sponsoring churches and synagogues encourage adult and youth groups to see the plays together and continue the discussions within their own faith communities."

Barksdale and Theatre IV will be presenting three plays in this year's Festival: The Grapes of Wrath by Frank Galati, Adapted from the novel by John Steinbeck (Barksdale Theatre at Willow Lawn), First Baptist of Ivy Gap by Ron Osborne (Barksdale Theatre at Hanover Tavern), and Buffalo Soldier by Bruce Craig Miller (yeah, that's me--at Theatre IV's historic Empire Theatre).

On Friday, Feb 26, 11 a.m., we will conduct in Barksdale's Willow Lawn lobby a panel discussion entitled "The Big Soul Ever'body's a Part Of" - Steinbeck's Humanist Faith. Along with a panel of area theologians, we will explore the faith perspectives embraced by Steinbeck and his characters during the Great Depression, and discuss how these perspectives relate, connect and contrast with historical and contemporary thinking and practice.

Steinbeck received the 1939 Pulitzer Prize for The Grapes of Wrath, and won the 1962 Nobel Prize for Literature.

This program is free and everyone is welcome. Following the discussion, there will be a build-your-own sandwich buffet and fellowship time. A free-will offering of $5 for lunch is suggested but not required. In case of inclement weather, you can call our box office at 282-2620 for information.

During the next few weeks, I'll be posting personal ruminations about the Acts of Faith Festival, which I think is a very impressive project. I hope you'll stop back by and join in the discussion.

--Posted by Bruce Miller

First Baptist of Ivy Gap

Posted by Bruce Miller
When First Baptist of Ivy Gap plays at Hanover Tavern from Feb 5 through Mar 14, it will once again connect Barksdale with Barter Theatre, the State Theatre of Virginia and our sister stage company in Abingdon.

Barksdale and Barter have been close ever since 1967 when Barter's legendary founder, Bob Porterfield, invited Pete, Muriel and Nancy to send Barksdale's hit production of Stop the World, I Want to Get Off out to Barter, marking the first time that a guest company performed on Barter's landmark stage.

More recently, Phil and I have been good friends and professional colleagues with Rick Rose, Barter's current artistic director, since his arrival in Virginia 16 years ago. Next month we'll be partnering with Barter on Poetry Out Loud. Theatre IV facilitates this national poetry recitation program for high school students throughout Virginia. Barter will be hosting our regional competition in Southwest VA.

First Baptist of Ivy Gap was first introduced to a live audience when the script was produced as a staged reading during Barter's 2002 Appalachian Festival of Plays and Playwrights, a component of the Virginia Highlands Festival. The new comedy was so popular with Barter's audience that it was remounted during the 2003 Festival as a "mini-production." Based on popular demand, Barter mounted a full production (the World Premiere) as part of their mainstage season in 2004.

First Baptist is written by Ron Osborne (above and to the right), a St. Louis playwright who is enjoying being "discovered" in his 60s. He's writing a new play every year, and four have been produced either as readings or mainstage productions at Barter.

Recently, Osborne's new play Ruby's Story premiered Off-Off Broadway at New York's 13th Street Repertory Theatre. Firehouse Theatre supporters may recognize 13th Street Rep as the home of the longest running play in Off-Off Broadway history, Line by Israel Horovitz. In 2006, 13th Street Rep was named the "Best Off-Off Broadway Company to Act With" by Backstage.

First Baptist of Ivy Gap is Osborne's most successful play. It is a sweet and sentimental comedy about six Tennessee church women who gather during World War II to roll bandages (historical photo to the right) and plan for their church's 75th Anniversary. In Act II, they reunite during the height of the Vietnam War. Amidst the laughter (there's a LOT of laughter), world and local events test the women's friendship and faith. They pass the tests.

We have assembled an All-Star cast (with one terrific newcomer). Jan Guarino (Mona's Arrangements, The Clean House) is playing Edith, the pastor's wife who holds everything together while her husband gets all the credit. Joy Williams (Driving Miss Daisy, Barefoot in the Park) appears as Luby, the very worried mother of a WWII soldier.

Harriet Traylor (The Little Foxes, To Kill a Mockingbird) introduces us to Vera, a pillar of the church and wife of the local bank president. Maggie Roop (Doubt, Annie) is Mae Ellen, the church's rebellious organist. Ali Thibodeau (Thoroughly Modern Millie, The True Story of Pocahontas) plays Sammy, a sweet young woman from the wrong side of the tracks. And Sarah Pruden (new to Barksdale's mainstage) creates the role of Olene, a vivacious Tennessee mountain girl with her eye on Hollywood.

I'm having a ball directing the show. It's our Hanover entry into Central Virginia's Acts of Faith Festival.

If you're looking for a funny, sweet and reaffirming evening of theatre, I hope you'll join us.

--Bruce Miller

I Love Luxford

Posted by Bruce Miller
I had a great morning today delivering two "Meet the Author" workshops at Luxford Elementary in Virginia Beach. I got up at 3 a.m., pulled out of Bon Air at 4 a.m., and made it through the tunnel by 5:30. Then everything came to a stop. Why is there always an accident on I 64 on one side of the tunnel or other?
Thankfully, I allowed plenty of time, and arrived at the Hardee's a few blocks from Luxford just in time for a 6:30 a.m. breakfast biscuit and coffee. Lots and lots of coffee. When I checked into Luxford at 7, I was able to load in my puppets, costumes and crocodile suit before the students arrived. From 8 a.m. until 8:30, all I had to do was relax backstage.

Luxford has been a steadfast supporter of Theatre IV for decades. They have a wonderful administration, faculty and student body. I'm not sure how they train their kids to be so well behaved, but whatever they're doing, they should patent it. I couldn't have asked for a more receptive audience. It was great fun to be able to visit Luxford--just this once--with my workshop rather than a performance.

I worked with K, 1 and 2 for 45 minutes beginning at 8:30. Then I met with grades 3, 4 and 5 from 9:30 until 10:15. My last half hour was spent with a small group of E.D. kindergartners. All in all, I think the day was a success. The students at Luxford really made me excited to be back in the classroom--even if the classroom this time was a "cafetorium," and the class size was 200.

I spent the first 15 minutes of each workshop talking to the kids about my childhood, explaining how I became interested in writing, reading and theatre. Then I began a half hour interactive discussion of five or six basic principles of playwriting. Volunteers from the student body joined me on stage, got into costumes they selected from a rack, or helped me with puppet manipulation, as together we "acted out" a few simple "rules" that any young playwright would be well-advised to consider.

I can hardly believe it, but I've written 36 plays for young audiences, that have been performed in over 12,000 performances in 4 different languages before over 4 million children from Puerto Rico to Guam to Tel Aviv, and from Florida to Montana and Texas to Maine. I guess I can finally call myself a playwright without feeling presumptuous.

Part of the method to this madness of getting into the field of "Meet the Author" is this. In 6 years and 4 months I retire. I'm hoping that in-school workshops and other consultancy opportunities will be able to bring in a little revenue during my golden years.

If you know of a school that's looking for an author, and they'd consider a playwright, please send 'em my way.

Till then, hope to see you at First Baptist of Ivy Gap (Hanover Tavern), The Song of Mulan (Empire Theatre) and The Grapes of Wrath (Barksdale Theatre at Willow Lawn). Three plays and all of them have "of" in their titles. Hmmm.

--Bruce Miller

Young Talent Lit Up Weekend

Posted by Bruce Miller
Yesterday's Lights Up! program at CenterStage (the performance component will be repeated today) went off with hardly a hitch. I'm proud to have recruited my good friend Sabrina Squire to be our Mistress of Ceremonies. We've known each other since her early days in radio (and my less early days at Theatre IV). She did an amazing job, providing more than enough candlepower to help the celebration of young talent live up to its name.

Like her colleague Aaron Gilchrist, who served so ably at the Richmond Theatre Critics Awards, Sabrina Squire is one of the few local "celebrities" whose presence actually makes an event seem more special. She brings great beauty, elegance, intelligence and class to every event she hosts. She did a terrific job this weekend and I'm very grateful that she said "yes."

Sabrina was skillfully assisted by Bo Wilson, who wrote an inspired and inspiring script that hit all the right notes throughout the evening. Again, I'm proud to have recruited Bo. His contribution to the success of the event should make the theatre community proud.

Both Bo and Sabrina worked as volunteers, as did the vast majority if not all of the young performers. I think I'm speaking truthfully when I say that, with the exception of a couple musicians who accompanied singers and dancers from the Virginia Opera and the Latin Ballet of Virginia, all the performers were 21 or younger--many were a lot younger. In terms of talent, expertise and poise, they were in many ways equal to adult professionals.

As I mentioned a few days ago, I think we all should give special credit to two individuals who have been working tirelessly for months to pull all this off--without receiving a penny in compensation. Aimee Halbruner, Director of Education and Community Engagement with the Richmond Symphony worked longer and harder to make this event possible than anyone I know, and she received no recognition from the stage last night. (I hope the recognition part changed at today's matinee.)

Coming in a very close second is Brett Bonda, who directs the Minds in Motion program for the Richmond Ballet. Brett has also been working skillfully and tirelessly for months. Thankfully, he was recognized from the stage last night, along with several of his co-workers at the Ballet.

Janet Krogman, Chuck Metzgar, the tech crew, several key arts educators from Hanover, Henrico and Richmond, and many others from CenterStage also contributed exemplary efforts to make this weekend a success. Central Virginia should be proud and appreciative of one and all.

And let's not forget the good people at Genworth for funding the program, and Sue FitzHugh for raising the funds.

I was well pleased with Theatre IV's and Barksdale's several contributions to the weekend. The Richmond Boys Choir never fails to amaze and inspire, and last night's performance was no exception. The RBC was conceived of, founded by, funded and operated by Theatre IV for the first three years of its existence. From the outset, we all hoped and planned for the RBC to become independent in year four, and that's what happened. Making a successful transition to independence is itself a major achievement, and all of us on the theatre side should be proud of that also.

The RBC was included in this weekend's program because we at Theatre IV chose to share our allotted ten minutes of performance time with two of our partners--the RBC and the Latin Ballet. Only resident companies received time allotments on stage in this weekend's performances. I'm proud that Theatre IV chose to showcase not only our talented young performers, but also our partnerships with two colleague nonprofits that add significant diversity and depth to Richmond's performing arts community.

Like the Boy's Choir, the Latin Ballet also brought their traditional exuberance to last night's program.

Theatre IV and Barksdale presented several workshops and programs yesterday afternoon, all of them seemed to be very well received. Christopher Hudert, our puppet master for several Theatre IV productions, led Phil, Chase and me in our Puppetry on Parade workshop. Twenty five children had a hands-on experience with over 30 of our hand puppets, marionettes, rod puppets and specialty puppets. It was very informative, thanks to Christopher, and a lot of fun.

Sue Griffin, Marcia Hailey, Lynn West and a fourth member of our costume shop wowed the crowds with their creative Let's Make a Hat! workshop. All afternoon, you could see kids running around crowned as princesses, wizards, jesters and Egyptians. More proof that our amazingly talented costume department is second to none.

Slade Billew (Theatre IV / Barksdale) and Chris Blake (Richmond Shakespeare) team-taught a stage combat workshop. From all reports they had the kids wrapped around their fingers. Leslie Owens-Harrington did a wonderful job on a 75-minute master class in theatre dance, with a respectable and admiring audience in the Carpenter Theatre watching her every move.

I was also particularly proud of our production of I Have a Dream - The Life and Times of Dr. Martin Luther King Jr. The show is written for grades 3 and up, but it held the attention of nearly everyone in the Gottwald Playhouse audience, from toddlers to senior citizens. I was proud of the cast.

In the mainstage performance, our cast of Oh the Thinks You Can Think from Seussical the Musical was terrific. We couldn't have asked for a more talented and hardworking group of teenagers. Their costumes looked terrific, as did Chase's stage direction.

It was an honor to share the stage, also, with African American Repertory Theatre, City Dance, Richmond Ballet, Richmond Shakespeare, Richmond Symphony Youth Orchestra, SPARC and Virginia Opera.

If all this sound like I'm bragging, I am. One thing I continue to re-learn at these community-wide events is that several of my respected arts administration colleagues are far more skilled than I at promoting the vital contributions made by their organizations. Some are true masters, promoting their nonprofits endlessly at every turn, and receiving for their nonprofits contributions far exceeding what we receive at Barksdale and Theatre IV. They're doing it right; I'm not as skilled.

I know our case statement is just as impressive as theirs, if not more so. For one thing, through Hugs and Kisses, our theatres literally save children's lives everyday. The failure comes in my (and Phil's) tendency to keep quiet about so much that Barksdale and Theatre IV do. I'm trying my best to turn that situation around. I need to start being a braggart for Barksdale.

Along with many others, Theatre IV and Barksdale worked long and hard to make this weekend's programs a success. If you were able to make it, I hope you had a grand time.

--Bruce Miller

Great Family Fun This Weekend

Posted by Bruce Miller
Lights Up - Youth Open House at CenterStage is a free event for you and the children in your life. It takes place this weekend, Saturday and Sunday, and everyone is invited! The mini-festival will occur, of course, at CenterStage, marking the public opening of the Genworth BrightLights Education Center.

Theatre IV and Barksdale are proud to be resident companies of CenterStage, and we're excited about helping to produce and present the free performances and workshops that are part of the weekend's festivities. Other resident companies that are participating include African American Repertory Theatre, Elegba Folklore Society, Richmond Ballet, Richmond Shakespeare, Richmond Symphony, SPARC and Virginia Opera.

The Jazz Society is also a resident company. They will not be joining in this weekend because all events are designed to involve children and teens, and the Jazz Society has no performers in and presents no workshops for this age group.

Theatre IV and Barksdale have invited two of our partnering companies to share our allotted time slots: The Latin Ballet of Virginia and the Richmond Boys Choir. African American Repertory Theatre has done the same with one of their partners, City Dance. The Richmond Symphony also will be working in one activity with a community partner, the Richmond Philharmonic.

I served on a steering committee of three that has been working hard for several months to pull the Open House together, with lots of leadership and help from CenterStage staff and volunteers. Area arts educators have also been key leaders in this effort.

To give credit where credit is due, the bulk of the work was done by the other two members of the steering committee--Aimee Halbruner, Director of Education and Community Engagement with the Richmond Symphony, and Brett Bonda, Director of Minds in Motion with the Richmond Ballet. These two outstanding artists are cornerstones of our community's arts leadership.

Events will begin on Saturday, Jan 23, with an afternoon of fun and informative arts workshops, master classes, lecture-demos and live performances for children and teens. Attendees must register for the activities of their choice. Registration begins at 10:30 a.m. in the Carpenter Theatre lobby. Everything is free, but on-site registration is required, on a first-come first-served basis.

The interactive fun will begin at noon and continue throughout the facility until 5 pm. Theatre IV and Barksdale will be offering the following:

I Have a Dream: The Life and Times of Dr. Martin Luther King Jr. - A live performance of one of Theatre IV's acclaimed touring productions, co-produced with the Virginia Historical Society. In the Gottwald Playhouse, Saturday, 1:30 pm. Most appreciated by audiences age 9 and up.

Let's Make a Hat! - A hands-on workshop conducted by our brilliant costume shop. Participants will use everyday materials to construct fun and festive hats. In room 3137, Saturday noon. Most appreciated by children of all ages.

Puppets on Parade - Using Theatre IV's extensive puppet collection, kids will learn about hand puppets, marionettes, rod puppets and body puppets. In room 3140, Saturday noon. Most appreciated by children of all ages.

Careful Combat - Produced in association with Richmond Shakespeare and co-led by Slade Billew, our fight coach extraordinaire, this workshop will teach kids how professional actors can appear to fight on stage, with nobody getting hurt. In room 3140, Saturday 3 p.m. Most appreciated by kids age 11 to 14.

Master Class: Musical Theatre Dance - Our brilliant director and choreographer, Leslie Owens Harrington (Crowns, Annie Get Your Gun, Peter Pan, Anything Goes, many others) will offer a 75-minute intensive class for experienced dancers ages 16 to 18, covering tap, jazz and myriad other musical theatre styles. Pre-registration required by this Friday. Interested participants should contact Christina Billew at (804) 783-1688 x 1132 or c.billew@theatreivrichmond.org. Non-participants can observe the class as well. On the stage of the Carpenter Theatre, Saturday 3:30 p.m.

In addition to the open house activities, a concert program featuring many of Richmond's most talented young performers (ages 6 to 21) will be presented in the Carpenter Theatre on Saturday night at 7 and Sunday afternoon at 3. Both performances are free. To obtain tickets or more information, visit the CenterStage website at http://www.richmondcenterstage.com/. Free tickets will be awarded on a first-come first-served basis.

The wonderful Sabrina Squire will be our host for both performances. Bo Wilson leant his impressive talents to the short script that will hold each performance together.

Young artists from Theatre IV will present the opening number from Seussical the Musical, accompanied by the Richmond Youth Symphony.

Theatre IV and Barksdale are proud to participate in the leadership of exciting arts education events like this one. Hope to see you at CenterStage this Saturday and Sunday!

--Bruce Miller