The Sound of Education

Originally posted by Bruce Miller on The Barksdale Buzz 5/25/10

Chase Kniffen (director and choreographer of The Sound of Music [TSOM]), Brian Barker (set designer, TSOM), Janine Serresseque (Barksdale's liaison with Richmond Public Schools [RPS]), and I had the wonderful opportunity of conducting an after-school Educator Training Workshop last week with a dozen or so teachers from RPS. The workshop was organized and facilitated by Susan Damron, theatre resource teacher in the RPS Arts & Humanities Center.

For the last eleven years, Theatre IV and RPS have partnered as Central Virginia's only affiliate of the Kennedy Center's prestigious Performing Arts Centers and Schools program. Through this national arts-in-education initiative, we present workshops that train teachers how to use the arts to enhance instruction across the curriculum at all grade levels. Teachers receive continuing education credits for their participation.

About half of the workshops involve master educators from the Kennedy Center's roster of the nation's best arts-in-education specialists. These days, about half of the workshops are developed here in Richmond by Susan Damron and various artists and educators from Theatre IV.

Earlier this year, we created a workshop entitled Beyond the Wiz. In response to teacher requests, the goal was to enable educators with no expertise in theatre--with the exception of George Wythe, RPS middle and high schools have no drama teachers--to learn where and how to look for plays that feature African American casts and themes but have little name recognition among the general public.

We assembled a panel comprised of Dr. Tawnya Pettiford-Wates from VCU (director, The Grapes of Wrath), April Jones - guest theatre artist at the University of Richmond, Derome Scott Smith - Artistic Director, African American Repertory Theatre (director, Black Nativity), and me. Together we discussed the history of African American theatre in the United States, and explored a large number of plays that have had successful revivals with African American casts even if they were not originally written from an African American perspective.

Each participating teacher left with a new appreciation for the wealth of material out there, an expanded knowledge of where to search for new titles, and an understanding of how to obtain reading copies of less well known scripts.

The subject of last week's workshop was Creating the Team Needed to Produce a Musical. Using The Sound of Music as our case study, I spoke about assembling the lead artists, Chase talked about how the director works with the stage manager and designers to move the process forward, Janine (who works overhire in our costume department) spoke about the various steps followed to create the costumes for a show, and Brian dazzled the crowd with his models and computer work, ably revealing how a designer in 2010 can use technology to more effectively communicate with the rest of the production team.

Throughout the entire workshop, we provided tips on how to create a musical on a budget--a subject near and dear to the educators' hearts and pocketbooks.

This afternoon, I will be accompanying the teachers on a tour of the Holocaust Museum. Again we will use TSOM as our case study, and discuss how to use theatre to enhance instruction across the curriculum by showing how TSOM is being used throughout Greater Richmond's school systems to teach the history of WWII.

This Friday evening, the teachers who have been participating in this workshop series will all come to see The Sound of Music, and take a behind-the-scenes tour after the show.

For decades, education has been at the heart of our work at Theatre IV and Barksdale. As early winners of the Excellence in Arts Instruction Award from the Virginia Dept of Education and the Virginia Commission for the Arts, we're proud to be a valued partner with public and private school systems throughout the Commonwealth.

Hope to see you (and the students in your life) at the theatre!

--Bruce Miller

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

Original post by Bruce Miller on The Barksdale Buzz 3/7/10

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?

--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"

Original Post by Bruce Miller on The Barksdale Buzz 3/6/10

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," he 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 while embracing the spending of $56.8 million to support the 140 jobs that Rolls-Royce has promised?

In today's competitive environment, it's sound business 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 now, but they hope to build their eventual work force to 500 Virginians. Still, 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.

As one example, Theatre IV tours nationally to about 32 states each year. This tour generates just over $1 million in out-of-state revenue that comes back to Virginia, and 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 their expenditures. 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 receives zero dollars in state 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 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

Original post by Bruce Miller on The Barksdale Buzz 3/5/10

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 don't choose even to consider?

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

--Bruce Miller

The REAL case for arts in Virginia

Originally posted by Bruce Miller on 2/25/10 on the Barksdale Buzz:

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 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 275% return on 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

P.S. 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.

Bruce's letter to the editor

Original post by Bruce Miller on 2/22/10 on The Barksdale Buzz:

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 call your legislatures tomorrow. 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 support of retirement plans, and increased the employee's share of health insurance. To adjust to the eliminated positions, many on our staff work an 80-hour work week 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 loss of $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, and 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
1901 Belleau Drive
Richmond, VA 23235
(804) 513-6775

The Sun'll Come Out ... Today!

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 workforce. 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 participate 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

Three Hits (No Strike!) and We're In

Posted by Bruce Miller

Last Thurs, Nov 29, the strike ended and all of Broadway returned to work. The following evening, Fri, Nov 30, Theatre IV opened A Christmas Story at the historic Empire Theatre, the third mainstage opening in 15 days for the Barksdale/Theatre IV team. Today, Sun, Dec 2, the first Christmas Story review came out in the T-D, and, just as with the first two openings of our holiday trifecta, it looks like another winner coming out of the gates!

To paraphrase a song from Swingtime Canteen, “Praise the Lord and pass the approbation!”

Under the headline: “Caution: This Play Could Lead You to Fits of Laughter,” Susan Haubenstock writes, “Theatre IV’s holiday show A Christmas Story may be too funny for children. Well, too funny for them to fully appreciate. The adults who bring them to the Empire Theatre will be laughing out loud.”

Technical glitches aside (see my Opening Night coverage), Susie basically loved the whole thing: “Off Center and Always Hilarious!” “Clever Theatrical Devices!” “Incredibly Funny!” She loved our director and designers: “Director Chase Kniffen hits every laugh.” “The house set designed by Mercedes Schaum looks like it’s laughing.” “Matthew Landwehr’s lighting contributes mightily to the scene transitions.”

She especially loved our cast: “Eric Pastore has the charisma to keep our focus throughout the play’s 2 ½ hours.” “Michael Thibodeau and Eric Evans play his buddies with thorough 1938 credibility. Chandler Hurd is delightful as a coonskin-cap-wearing bully; and Lillie Izo and Lyla Rossi are wonderful as the neighborhood girls.”

“Above all, tiny R. Cooper Timberline is hilarious as Randy, whether whining, hiding, waiting for Santa, or needing to wee-wee.”

“Tony Foley plays the narrator (the adult Ralph) with heart, and Gordon Bass is perfect as the cursing, growling Old Man. Julie Fulcher’s long suffering Mother is great, and costume designer Sarah Grady even provides her with the requisite pink chenille bathrobe. And Jacqueline Jones puts in another of her high-octane performances as Ralphie’s teacher.”

If you and your kids would like a good laugh this Christmas, and who wouldn’t, please call for your Christmas Story tickets ASAP. If you’d like to revisit comic hijinks associated with the screen-writing of Gone with the Wind, please call for tickets to Moonlight and Magnolias at Barksdale Willow Lawn. And if you’d like to tap your feet and sing along to the boogie woogie hits of the 40s in a colorful recreation of a USO Christmas show, head on out to Hanover Tavern for Swingtime Canteen.

Better yet, go see all three! And remember, theatre tickets and gift certificates make GREAT Christmas and Hanukkah presents!!

See you at the theatre.

--Bruce Miller

"Stuart Little" Delivers Presents from Iraq

Posted by Bruce Miller

From the It’s a Small World After All Dept. …

Sgt P. J. Whiteway IV, Barksdale and Theatre IV’s envoy to Iraq (through the Virginia National Guard), was discussing “folks back home” with a friend and fellow guardsman, Sgt Ernest Woods, earlier this week. Sgt Woods happened to mention that his son and wife were looking forward to an upcoming school field trip to Richmond to see Stuart Little.

Bells of recognition rang in P. J.’s head, and he told his buddy that the son and wife must be going to Theatre IV. P. J. knows these things because, although he may look like a soldier today [that's Peej 2007 in the photo to the left], it wasn't long ago that he played a Munchkin on the Empire stage. After P. J. 'fessed up to his TIV connections, the two military men came up with the seed of a plan.

Sgt Woods missed his son Jacob a lot. Was there any way that P. J.’s contacts at Theatre IV could obtain and deliver a small present to Sgt Woods’ son as a surprise gift from his dad in Iraq? (The photo to the right was taken by Mike Morones for the Free Lance-Star at the most recent deployment of the Virginia National Guard.)

After a couple of inter-continental phone calls and emails, it all came to pass. Yesterday morning, as the bus from Central Elementary in Palmyra, Virginia pulled up to the Empire to unload, Jennings Whiteway (P. J.’s sister and Theatre IV’s Events, Access and Food Services Manager) was on hand to identify covertly the targeted mother and son.

Before the show began, Andy Boothby took the stage. After the familiar theatre manners speech, he continued:

“We’re especially happy this morning to welcome two new members to the Theatre IV family, only they don’t know it yet. Will Amanda and Jacob Woods please stand?”

With looks of surprise on their faces, they both arose.

“One of our longstanding family members here at Theatre IV, Sgt P. J. Whiteway IV, is serving with the Virginia National Guard in Iraq. We’re proud of him, and think about him every day. We were pleased and surprised earlier this week to hear from Sgt Whiteway, and learn that one of his best pals in Iraq was thinking about Amanda and Jacob Woods, and their upcoming field trip to see Stuart Little right here at Theatre IV.

Jacob’s father, and Amanda’s husband, is Sgt Ernest Woods, also with the Virginia National Guard. After he learned that his friend and fellow soldier in Iraq was part of the Theatre IV family, Sgt Woods asked if he could work with Theatre IV to send a special gift to his son and wife, to let them know that he was thinking about them and missing them every day.

So Amanda and Jacob, we’re honored to pass on to you this small present from your husband and dad, who asked also that we tell you that he can’t wait for the day when he’ll be home with you again.”

Jennings Whiteway then delivered a gift bag (Theatre IV t-shirt, etc) to the startled mom and son, and everyone in the audience applauded. The applause was for Amanda and Jacob Woods, I’m sure, but also for the tens of thousands of men and women who represent our nation abroad and the tens of thousands more who wait for them back home.

The lights went down, and Stuart Little and company began their joy-filled message of family and friends and growing up. The message seemed to resonate with the children in the audience even more than usual. And as Stuart rode off in his toy car into the sunset, all of us said a silent prayer for the safe and speedy reunion of all families now separated by the troubles of our world.

--Bruce Miller

Theatre Calendar - Sept 30 - Oct. 7, 2007

Posted by Bruce Miller

Here are the highlights of what’s happening at Theatre IV and Barksdale Theatre this week.

Sunday, Sept 30:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 2 pm)
Barksdale's Deathtrap (Hanover Tavern - 2 pm)

Monday, Oct 1:
in performance -
Hugs and Kisses (Richmond schools)
Tales as Tall as the Sky (Waynesboro schools)
The True Story of Pocahontas (Hanover schools)
in rehearsal -
Jack and the Beanstalk (tour)
The Legend of Sleepy Hollow (tour)
The Song of Mulan (tour)
Stuart Little (Empire – Family Playhouse)
class -
St. Andrew’s School

Tuesday, Oct 2:
in performance -
Hugs and Kisses (Richmond schools)
Tales as Tall as the Sky (Halifax schools)
The True Story of Pocahontas (Prince William schools)
in rehearsal -
Jack and the Beanstalk (tour)
The Legend of Sleepy Hollow (tour)
The Song of Mulan (tour)
Stuart Little (Empire – Family Playhouse)

Wednesday, Oct 3:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 2 pm and 8 pm)
Barksdale's Deathtrap (Hanover Tavern - 8 pm)
Hugs and Kisses (Bon Air Presbyterian - 7 pm)
Hugs and Kisses (New Kent schools)
Tales as Tall as the Sky (Patrick schools)
The True Story of Pocahontas (Bridgewater College)
in rehearsal -
Jack and the Beanstalk (tour)
The Legend of Sleepy Hollow (tour)
The Song of Mulan (tour)
Stuart Little (Empire – Family Playhouse)
meeting -
Bright Lights High School Internship Program
Oliver Hill Project

Thursday, Oct 4:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 8 pm)
Barksdale's Deathtrap (Hanover Tavern - 8 pm)
Hugs and Kisses (St Catherine's and Richmond school)
The Legend of Sleepy Hollow (Rockbridge schools)
The True Story of Pocahontas (Danville schools)
in rehearsal -
Jack and the Beanstalk (tour)
The Song of Mulan (tour)
Stuart Little (Empire - Family Playhouse)

Friday, Oct 5:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 8 pm)
Barksdale's Deathtrap (Hanover Tavern - 8 pm)
Stuart Little (Empire Theatre - 10:30 am)
Hugs and Kisses (Hanover schools)
Jack and the Beanstalk (St Michael's and Chesterfield school)
The Legend of Sleepy Hollow (Campbell schools)
Tales as Tall as the Sky (Campbell schools)
The True Story of Pocahontas (Willett Hall - Portsmouth)
in rehearsal -
The Song of Mulan (tour)
event -
First Friday - (Empire - all evening)

Saturday, Oct 6:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 8 pm)
Barksdale's Deathtrap (Hanover Tavern - 8 pm)
Stuart Little (Empire Theatre - 3 pm and 7 pm)

Sunday, Oct 7:
in performance -
Barksdale's The Member of the Wedding (Willow Lawn - 2 pm)
Barksdale's Deathtrap (Hanover Tavern - 2 pm)
Stuart Little (Empire Theatre - 2 pm)

See you at the theatre!

--Bruce Miller

Meet Our Touring Actors - Part II

Posted by Bruce Miller

Theatre IV is the Children's Theatre of Virginia. Since our founding in 1975, we have toured national caliber educational programs to Virginia's public and private schools. It's a major part of our mission as a nonprofit organization.

It's also a major component of our business model. The total of the combined annual budgets of Barksdale Theatre and Theatre IV is approximately $5 million. Of that amount, approximately $1.4 million is generated by touring operations.

The same performances that we tour to Virginia schools for a significantly discounted fee (averaging about $1.40 per student) sell in the national market for approximately $3,000 per day. We regularly tour throughout Virginia, 32 other states on the eastern half of the U. S., and the District of Columbia.

Yesterday and today I'm introducing you to the talented professional actors who work full time for our touring company and make all of this possible. I've tried to subdivide a picture that was taken at our annual Tourmite Party; I apologize for the photos looking a bit like puzzle pieces pulled from a larger image. That's exactly what they are.

In the first photo (seen above and to the left), we have Faith Boles at the top, with her chin half obscured by the curly head of Mike Bash. Mike's left arm is around the shoulder of Michael Ruff (wearing the baseball cap), and just below Mike Bash's curly head is Garrett Weeda, with his right arm raised in, I think, some sort of hip hop gesture. The two smiling faces below Garrett and Michael are Jennifer Zubernick and Jonathan Niotis. Stephanie Hill is the lovely face at the bottom of the puzzle piece.

Faith Boles, Michael Ruff and Garrett Weeda are all in the cast of The True Story of Pocahontas. Mike Bash and Stephanie Hill are in The Legend of Sleepy Hollow. Jonathan Niotis and Jennifer Zubernick will be touring with Jack and the Beanstalk. Garrett, Jennifer and Stephanie are returning to Theatre IV for a second year; Faith, Jonathan, Michael and Mike are joining us for their first season.

Faith Boles was hired in our Memphis auditions. She graduated from Shenandoah Conservatory in Winchester, VA, and came to us after acting gigs with the Lake Dillon Theatre in Colorado. We cast Mike Bash out of our Boston auditions. Mike hails from Red Bank, NJ, and graduated from Emerson College in Boston. His previous acting work was with Zeropoint Productions and the Longwood Players, both of Boston.

Michael Ruff is another one of our Memphis hires. He is a native of Oklahoma, and graduated from Southeastern Oklahoma State. His last acting contract before moving to Richmond was with the Off Square Theatre in Jackson Hole, Wyoming (pictured to the left). Nice work if you can get it. Garrett Weeda is a Madison grad, and spent the summer with the Park Playhouse in Albany, NY.

Jennifer Zubernick graduated from Wilkes University in PA, and lists the Shea Theatre in New York among her previous credits. Jonathan Niotis was cast out of our Atlanta auditions. He graduated from the University of Miami and recently performed with the Jerry Herman Ring Theatre in that same city. Stephanie Hill spent the summer in between her two Theatre IV tours working for The Lost Colony. She is a VCU grad, and appeared on Theatre IV's mainstage in Disney's Beauty and the Beast.

Our next group of actors, pictured to the right, includes (left to right) Renee Monico, Liz Ballard and Jon Perez. Now before you think that any of our actors are truly bizarre (they may be; I don't know them that well yet), I remind you that this group photo was taken at a party with a Western / Hawaiian / pirate theme (it's a bit of an inside joke), and our intrepid trespians outfitted themselves in their best Yee-haw, Ahoy and/or Aloha-inducing garb. Renee and Liz are new to us this year, and they both will be appearing in The Legend of Sleepy Hollow. Jon is returning for his second touring season, and he's in the cast of Jack and the Beanstalk.

We cast Renee out of our Boston auditions. She graduated from The Hartt School at the University of Hartford, and came to Richmond after a contract with New England's prestigious (and beautiful) Goodspeed Opera House, pictured to the left. Liz was cast in Atlanta, and graduated from Catawba College. She's a native of Culpepper, VA. Jon was cast in our Charlotte auditions. He graduated from Southern Illinois University, and previously toured with the California Theatre Company.

Our final group of touring actors includes (left to right) Ronnie Brown, Meghan Kelleher, Brian Tarter, Nicole Wakefield and Darrick Penny. Ronnie and Meghan are in the cast of Jack and the Beanstalk; Brian and Nicole perform in The True Story of Pocahontas. Derrick is in The Song of Mulan. Nicole is returning for her second touring season with Theatre IV; the other four are new to our company this year.

Ronnie Brown graduated from Penn State, and recently worked on the HBO Miniseries, John Adams (pictured to the left with biographer David McCullough). Last spring and this summer, he was employed on the running crews of Theatre IV's The Wizard of Oz and Barksdale's Into the Woods. Meghan Kelleher was hired in Atlanta. She graduated from Emory and Henry, and performed previously in the company at Mill Mountain Theatre. Brian Tarter (our tallest actor at 6' 4" or more), graduated from Ashland University in Ohio, and performed previously at the Huron Playhouse.

Nicole Wakefield (partially obscured in the photo) was cast out of Memphis, but appeared as a child in Theatre IV's productions of Babes in Toyland and The Music Man. Other local theatre credits include roles at Swift Creek Mill Theatre and the West End Assembly of God. Last but not least, Darrick Penny was cast out of our Atlanta auditions. He graduated from Elon with a BFA in Musical Theatre and a minor in Spanish.

We wish all of our fine actors a most successful first semester, and thank them for their talent and hard work.

--Bruce Miller

On the Road Again - TIV Actors Launch Tour

Posted by Bruce Miller

Barksdale is sister theatres with Theatre IV, the Children’s Theatre of Virginia. Our two independent nonprofit companies share a common staff. (Hence why you will also find this post on The Barksdale Buzz at www.TheBarksdaleBuzz.Blogspot.com)

Theatre IV on Tour is employing 28 fulltime company actors this fall, and 25 of the 28 gathered this evening for our annual Tourmite Party in the Empire Theatre lobby. Next week, the first of September’s six touring troupes will begin performing in schools and other theatrical facilities throughout Virginia and 32 additional states. It’s challenging and exciting work, and our talented and intrepid actors seem more than up to the task.

Between now and Thanksgiving, Theatre IV will be touring Hugs and Kisses by Terry Bliss, Bruce Craig Miller and Richard Giersch, Jack and the Beanstalk by Douglas Jones and Ron Barnett, The Legend of Sleepy Hollow and The Song of Mulan by Paul Deiss, Tales as Tall as the Sky by Cliff Todd, and The True Story of Pocahontas by Peter Howard and Ron Barnett. You can check our weekly calendar to keep up with performance locations.

Ford Flannagan, Company Manager, supervises the professional touring companies and hosted this evening’s festivities. After setting a pirate / Western / Hawaiian theme (don't ask), he distributed his annual door prizes consisting of everything from emergency ponchos to waving mechanical hands to tropical lip balm. In the photo to the right he and his assistant for the evening, Wendy Vandergrift – Assistant Technical Director in charge of our touring production needs, are about to deliver a Vibrating Soap Bar to actress Nicole Wakefield. All I can say is, every September, Spencer’s Gifts is very happy to see Ford Flannagan.

The annual touring actor party (along with our annual Fairy Tale Ball and other events) is planned by Jennings Whiteway, wearing the straw hat in the photo to the left, standing beside our Annual Fund Manager, Emily Cole Bitz. Jennings is Events, Access and Food Services Manager for Barksdale Theatre and Theatre IV. She is a trained events planner and manages Barksdale Events. Whatever your needs are for upcoming meetings, parties, weddings or other activities, Jennings and her Barksdale co-workers would be happy to discuss them with you. Just give our Artistic Director, Bruce Miller, a call at 783-1688 ext 17.

The actors in this year’s professional company come from throughout the United States, and contribute greatly to Central Virginia's arts scene. Immediately after this evening's pizza party, a van full of our touring actors rushed down the street to catch a performance of Mr. Marmalade at the Firehouse. Please join us in welcoming their talents and energies to the Richmond theatre community.

--Bruce Miller