Richmond Shakespeare

The Ghost of Christmas Present

2011-12-22T14:56:00.000-08:00

Three posts are in order on fourteen (14) years of history with A Christmas Carol for Two Actors. At Richmond Shakespeare, we’ve loved theatre of the imagination, storytelling, and the craft and profession of acting. Performing this story of an old miser presented with a last chance at reclamation every year has certainly been a labor of love, and it’s thrilling to see veterans and “newbies” in the audience. The veterans always amaze me; by now they know the piece almost as well as we. I think they partly love watching the reaction of newbies, and the return to a familiar piece--- yielding new insights every year---that makes the trip worthwhile.

Many of you know I began performing the story as a solo show for family and friends in 1996.

In 1998, the first year of this two-actor adaptation, Cynde and I opened the show for a rural bank Christmas party in far southwest Virginia. It was a longer show then; admittedly we were still working out the kinks. I was panicky--- forgetting the ever-present, and ever-vital, “Scrooge glasses” in the dressing room. (Much of the story centers on what he can---and cannot---see.) In fact, apart from a couple of experimental years it’s been the same pair of glasses and has always been the same outer-coat: it was donated by Trustee Rita Mattia.). I don’t know if the character exists without that coat.

Some weren't---but some of the bankers were a bit tipsy, and for a Christmas party, this longer version (which we weren’t sure would work), was all a bit much.

But it's the nearly disastrous transition Cynde never lets me forget.

Picture a raised platform in a large conference room, wider by far than it was deep. Dinner all around on three sides, and we’d just finished with the Ghost of Christmas Past. The transition language is quite similar, and maybe I didn’t quite have it down just yet:

“Scrooge glanced about him for the ghost, but saw it not, and then, as the last strokes of twelve ceased to vibrate, lifted up his eyes, and beheld-----“

From some early days, with Liffick, '02

Cynde’s voice echoed from behind me “Come in, Ebenezer!! Come in and know me better, man!” (It was her next line, I’d nearly skipped the entirety of Christmas Present.) “A solemn phantom” follows the line above, and the draped and hooded Ghost of Christmas Yet to Come, itself as clearly an image of the Grim Reaper, Charon, take your pick, glides into the room and finishes the appearance of Spirits influencing Scrooge.

She'd made a great save, and for once I instantly knew what she meant, switching into

“the room was filled with a ghostly light that seemed to come from the adjoining room…”

We learned quite a bit that night, and apart from the glasses and the near time-travel skip of the here and now, the audience was kind and seemed to enjoy themselves.
Next time: perhaps I’ll describe touring the show to the wild winter of Jackson Hole, Wyoming, or Scrooge in a private Carriage House---in front of a roaring fire, complete with pig on a rotating spit.

Both, however, are stories from Christmases Past, (Click the title label below for older posts on this show) and I’m now thinking very much about Christmas Present. To you and yours, Merry Christmas----we hope you can join us at one of the three final performances, but if not, fond wishes for a happy holiday.

Audition Turnout Challenge!

2011-04-04T19:02:00.000-07:00

Hello Friends & Colleagues,

"I feel the need. The need for Speed!!"

No, not Tom Cruise and Anthony Edwards in Top Gun----nor Sandra Bullock, Keanu Reeves and Dennis Hopper in...well, Speed. No, "SPEED" is one of the great clowns in Shakespeare's arsenal, exceeded only by his counterpart in Two Gentlemen of Verona, Launce---with a live dog to steal the scene.

They're the stuff of comic legend. And we need 'em!

The play bears some of the richest linguistic fruit an actor will speak, and an audience will devour in a year.....

O, how this spring of love resembleth
The uncertain glory of an April day,
Which now shows all the beauty of the sun,
And by and by a cloud takes all away!

and

What light is light, if Silvia be not seen?
What joy is joy, if Silvia be not by?
Unless it be to think that she is by,
And feed upon the shadow of perfection.
Except I be by Silvia in the night,
There is no music in the nightingale;
Unless I look on Silvia in the day,
There is no day for me to look upon;

In order for director Molly Hood to have a great turnout for this coming weekend's auditions on Two Gentlemen of Verona, our goal is for her to see 125 people; we're on our way, but we could use your help. To reserve a slot, they e-mail Info@RichmondShakespeare.com or phone 804-232-4000.

May I ask you to please share the Facebook event?

We need great women in the show, every bit as much as we need men-------However, do please think of men, especially, with whom you'd like to work, see on stage, or whom you think would enjoy summer at Agecroft.

Molly has a particularly terrific direction in which to take the show, and it's going to be a real treat for the summer. Most of you know how exquisite it is to do perform---or see a show as part of the Richmond Shakespeare Festival at Agecroft Hall.

Finally, please do invite several friends to the audition, tweet it----and ask friends to share it on their walls and/or tweet. FB has recently made it difficult to invite a large group at a time, so I am asking for you to help. The aud's are this Sat and Sun, April 9 & 10 during convenient actor hours. Can't go Sat? go Sunday 1230-430. Can't make the weekend? Join us at callbacks Wed night, April 13. Do make an appointment.

Full audition notice is below, and of course is on the RS website.

Thank you,
-Grant

--

Grant Mudge

Artistic Director

Richmond Shakespeare

Changing How Young We Teach Shakespeare

2011-03-25T10:13:00.000-07:00

We often post advisories about plays: good for all audiences, good for children aged 10 & up, or good for children aged 13 & up, "adult language" advisories, etc. But it's almost always above age 7. Children aged five have loved the plays, but we hardly think of them speaking the text. So too, in Richmond Shakespeare's Education offerings, we often start at 5th grade (age 10), 4th grade (age 9), and occasionally even younger, but over the two+ decades of the company's existence, these age groupings were pretty well set.

Max Cole may have changed how we think about kids and Shakespeare. Now it's true, Max's parents are both associate artists with the company, between them they've performed Beatrice, Romeo, Iago, Hamlet, Princess Katherine and this summer Max's Mom will be a daughter of King Lear. But take a look at Max's work on the Romeo & Juliet prologue and tell us your thoughts. Here's a link to Mom Sarah's blog about preparing Max to see the show---they talked about its violence and (eek) the kissing---Dad Jeff was Romeo---but Max's own interest and enthusiasm led to learning the prologue. Heck, he only calls for line twice. Have a great weekend, and send us your thoughts!

R&J Acts of Faith Discussion - THIS SAT (2/19/11)

2011-02-17T14:19:00.000-08:00


Rev. Donna Holder

For Richmond Shakes' AOF discussion this year, following Saturday evening's show (2/19), we're prvilieged to host Donna Holder, Pastor of Westover Hills UMC, and Dr. Craig Kinsley, professor of Psychology (neurobiology and neurochemistry, among other things!) at UR. Pastor Holder will focus on the interaction the young lovers have with the church, God, sin and the afterlife----as well as the recent theory likening Juliet to Jesus and Romeo to the Roman Catholic Church.

Dr. Kinsley will tell us about the areas of the brain that light up when we're thinking about religion or God. Both fascinate me greatly.

Dr. Criag Kinsley

Finally, I'll likely chime in on Shakespeare's references to fate, fortune and the stars---they're "star-crossed lovers," after all. And, you'll have a chance to meet and interact with members of the acting company. I hope you'll join us for the production and for this discussion, which is sure to be a lively one.

-Grant Mudge

David Timberline Reviews "Arcadia"

2010-11-03T08:05:00.000-07:00

I've said before that David Timberline serves as a kind of senior voice among Richmond's theatre critics. In an ideal world, the theatre-going public could also have heard from John Porter on Arcadia, or Joan Tupponce in addition to Susan Haubenstock's review, and Rich Griset's less favorable take, but John was handling personal concerns and we were not able to get ahold of Joan.

However, David has also known Richmond Shakespeare's work since the earliest years of my tenure, in the first year of the Richmond Shakespeare Festival and our touring programs. He's seen the company grow over the years, and brings that perspective to everything he writes.

Here's a link to David's review of Arcadia. I'm grateful for his thoughtful review.

I'm reminded that our goal remains to impart an appreciation of outstanding language as it reflects, proclaims and examines human ideas with the resonating power of the human voice. Arcadia fits securely within that mission.

Thank you to all who came out to give Arcadia your thought, time and energy. I hope you'll join us for Scott Wichmann's turn as Tartuffe in our next Second Tuesday Staged Reading on November 9.

-Grant

The Rehearsal Process: Arcadia (Postscript)

2010-10-30T10:23:00.000-07:00

My assignment was to write on the rehearsal process. Three weeks ago, rehearsals ended and we opened the show.

But that doesn’t mean the production has stopped evolving. Circumstance comes into play--perhaps even more so than in rehearsal--during the performance. A charcoal stick that’s rolled just out of reach offers the opportunity to actually let Thomasina become truly exasperated with the day’s lesson. A glance that, for whatever reason, is held a little longer makes a realization of the end of an education that much more poignant. An audience member viscerally and audibly reacts to the challenge to a duel heightening the seriousness of the otherwise quite comic scene.

And when Thomasina stumbles a little more in the final waltz than even the actor herself is accustomed to, she finds that Septimus is there to steady her.

There is a joy in realizing that this cast in particular truly embodies that spirit - we steady each other, make each other laugh, attempt to teach each other to play cribbage (long story), warm up together, walk to our cars together. Maybe it sounds a little too Brady Bunch, but there is a sense of play, and a sense of family that perhaps is the truest treasure of this production--especially since I think it really shows in the performance. Even on the nights when one or another of us feels that we’ve had a bumpy performance, I don’t think there’s been a moment when any of us hasn’t wanted to be there. How can it feel like work when you get to spend a few hours with people about whom you care so much?

As we close Arcadia tonight, that joy is mingled with an impending sense of loss. I honestly don’t know what I’m going to do with myself next Thursday night when I don’t need to drive down to the theater, get my hot rollers plugged in, and play with this wonderful group of people who now seem more like family than anything else.

It is a testament to this cast that this sense of family even exists. We spent most of the rehearsal period segregated from one time period’s cast or the other. Maybe it’s just that this is a really incredible group of individuals. Maybe it’s the magic of this play--that “everything is mixing together, irreversibly...”

I’m inclined to think that it’s both. That thought is the only thing keeping me from being an absolute mess right now. Even though everything must tend toward chaos--in 12 hours, it may be that this group is never fully assembled ever again--but that there is at least one bond that can’t be broken, and it’s built on the six weeks we’ve spent together.

Perhaps I am showing an extreme lack of professionalism by confessing all of this, but it’s all true--and I’ve always been accused of being a terrible liar. I hope that you’ll join us tonight or tomorrow before “the heat goes into the mix,” irretrievable and irreversible. The audience is often said to be the last member of the cast in any production, but here I hope you’ll find that you’re actually the last member of a talented, hilarious, giving, wonderful family. I know I have.

With love and gratitude,

Alex

Whatever Experience You Bring to Arcadia, It Illuminates

2010-10-28T13:59:00.000-07:00

We are all Thomasina Coverly, in our own way.

In her innocence and youth, she embodies the persistence of curiosity, the puzzled determination in finding answers, and the explosive excitement of wanting to be the first to have ever thought a specific thought. Arcadia’s budding intellectual, played so delightfully by apprentice Alex Wiles, (whose blogs on the process of creating her character have been in this space over the last month) brings wonder to all that unfolds in front of her. Though we may be older than 13, we remember Thomasina and carry her with us.

Thomasina’s tutor, Septimus Hodge inspires plenty of laughs, and in his eyes one easily sees the ebbing of youth: he is challenged and provoked by his younger pupil. We laugh because we experience ourselves, as parents or teachers or older siblings, within him.

The rigorous and independent scholar in Arcadia, (Hannah Jarvis), strongly played by Jennie Meharg, evades introspection and delightfully misses her primary subject: herself. The splashy rock-star scholar, brought to life by Adrian Rieder, makes glaring errors in his research that we find funny----his gut-reactions blind him to the facts.

And on and on. We find parts of ourselves in each of the characters.

Director Foster Solomon and his company of actors, crew, and designers have created a beautifully haunting, delicious romp between two time periods. Becky Cairns is designing in her favorite period, and it shows. The costumes reflect her brilliance and excitement. Brian Barker (Sound of Music, others) has crafted an elegant set---designing each piece to fit through a barely-six-foot-wide door into the Gottwald. Some are as high as 16’ and complete an arc across that expanse, but in sections. No mean feat. Gregg Hillmar’s lights include sunrises and sunsets, echoes of fireworks, chandeliers and wall lamps that flicker so believably you’d swear they were gas. Our volunteers gave time, effort, and (sometimes back-breaking) work. I want to say thank you to all of them. I have been (and am) thrilled with the work of every single artist on Arcadia, and proud to be associated with them.

Light, love, life and energy flow out of all their work, (and Stoppard’s) in which

“…the unpredictable and the predetermined unfold together to make everything the way it is. It’s how nature creates itself, on every scale, the snowflake and the snowstorm.”

…And human beings. “It’s wanting to know that makes us matter.”

It’s for this reason that Richmond Shakespeare is performing Arcadia. It’s why I selected the play, and why our artists, staff, board and volunteers struggled to bring it to you---to our audiences. It’s the closest to Shakespeare we’re likely to find for many years to come. Daniel Hannan from the London Telegraph gives his thoughts on Shakespeare and Stoppard:

“I’ve made this observation before about the greatest writer of them all – whom Stoppard rather sweetly refers to as “The Champ”. Not many authors in the intervening 400 years achieve the same effect – which is perhaps the highest compliment I can offer our chief living playwright.”

Hannan describes:

“I recalled, in particular, staggering out of a performance of Arcadia 15 years ago, convinced that it was the supreme theatrical work of our era. Whatever experience you bring to it, it illuminates your experience more than your experience illuminates it.” [emphasis mine]

Watching Arcadia, we see how elements combine, how time periods intertwine, how people and aspects of human nature interact. Sometimes they are quiet and clear, sometimes producing tension or explosions. This play is music and gunfire. It contains Byron’s poetry, Newton’s science, sex, travel, nature, and religion. These are not what this play is about, but merely elements used to demonstrate Stoppard’s reaching out to teach the Thomasina in each of us.

“When we have found all the mysteries, and lost all the meaning, we will be alone, on an empty shore.”

Come see this play. Bring your experiences. Find yourself surrounded in childlike wonder at finding the meaning within.

Grant Mudge
October 27, 2010

Dear Friends...an Appeal from Grant

2010-10-22T11:09:00.000-07:00

Dear Friends,

I’d like to take a moment to encourage you to see Arcadia. Bring your spouse, your love, your partner, a date. Grab a friend. Join us.

Beyond my usual enthusiasm for RS’ work, this is a play so lovely, inspiring, funny, and important that I just want to share it with as many of our devoted audiences as possible. Arcadia is about the very core of who we are, the stuff of which we’re made. It’s a rare chance to hear Stoppard’s brilliant language, laugh at his comedy, and realize more of the world. It absolutely will affect your perspective.

If you’ve already seen it, come back. There is so much to ponder, uncover and enjoy that the play is even more enjoyable on subsequent viewings. The actors's, designerr's and crew team's work is really outstanding. It's our best set-and-lights work ever. Becky's costumes are fantastic. (As of Sunday, she's a two-time critics' circle award winner)

There are outstanding seats still available; at every performance the front two rows are just $18+$2. The best seats are $36+$2 and still-fabulous-seats (it's only 135 seats, after all) for $24+$2. Students pay just $15. If you haven’t yet seen our beautiful new Gottwald Playhouse, you owe it to yourself to come on out, and participate in the conversation.

Why the “+$2?” I want our audiences to understand some of the expense of operating: $1 of that fee goes directly toward operating CenterStage. Not part of that fee, but out of each ticket, RS also pays rent, security, housekeeping and front of house staff. The other $1 goes to the Community Development Authority (CDA), which has been responsible for street, sidewalk and parking improvements in the neighborhood. At the theatre door, you pay no other fees. Online or on the phone, there’s a small convenience fee, and that way on a sold-out night you know your tickets are already set. (And that advance fee is much less than last year.) Of course, our subscribers never pay any fees at all.

You only have a few chances before all the energy of Arcadia is dispersed back into the ether---its final performance takes the stage OCTOBER 30. So please, pick up a ticket at the company’s website, or phone us at 804-232-4000. You’ll be glad you did.

Don’t miss this show. Here's the link for tickets.

Yours truly,

-Grant Mudge

Artistic Director

Richmond Shakespeare

The Rehearsal Process: Arcadia (Installment 4)

2010-10-15T11:05:00.000-07:00

Well, we've reached opening night of Arcadia! and thus the final installment in Alex Wiles blog of glimpses behind-the-scenes. Now, you must come to see the performance, which runs only through October 30. Alex is a marvel, and the entire cast is truly outstanding. I hope you will join us. Grab tickets here. -GM

I guess you could say acting is a way of taking a walk in someone else’s shoes, only they more than likely don’t exist in reality, and if you’re doing it right, they’re kind of your shoes, too.

A few weeks ago as we began to have final costume fittings, Liz Blake White (playing Chloe) told me how excited she was to get her shoes for the show and start wearing them in rehearsal: “They just add something special to getting into character!”

She’s quite right--and it’s not just the shoes, either. While the clothes don’t make the man (or woman), they certainly help you craft your character’s movement vocabulary, particularly in a period play. Grant teased me one day in rehearsal that I moved as though I live in jeans.

Well, I do.

For the past four days or so, I’ve been living in long, airy Regency-period dresses with big pouffy sleeves in lovely, feminine fabrics.

While corsets weren’t typical of the period (the Regency empire waist freed ladies up for era from full-torso corsets for a little over a decade), a little foundational structure helps remind me of the extent to which my movement is constrained, but not so much that I can’t aim for the physicality of a 13-year-old girl.

After a few hours of wearing dresses that fit rather closely to the upper body, I get to change into my nightgown, which is equally lovely, though far more billowy. It’s dreamy and ethereal, and ridiculously comfortable. (Also, it is what my four-year-old self would have termed “a good twirler.” This is particularly important, and if you see the show, you’ll know why.)

Everyone’s costumes are incredible. Rebecca Cairns and Annie Hoskins have outdone themselves again! Their work is beautiful, functional, and informs so much of the work we do as actors.

The funny thing is that this applies to the 1993 cast as well! As a child of the early 90s, I didn’t pay much attention to fashion in the first place. Little Mermaid shoes went with everything, even a white and black polka-dotted ruffle dress with matching bolero jacket trimmed with yellow ric-rac. (Oh yes, it was quite a sight, especially when topped off with that 90s classic, the bowl cut.)

I suppose it never really occurred to me that there was a style in the 90s.

Oh, but there was.

Turtlenecks. Big sweaters. Pants that come up to your ribcage. Pleats--everywhere. “The Rachel” was becoming a singular trend in ladies’ hairstyling. It’s all here!

It’s so wonderful to be working in, on, and around the gorgeous set (designed by Brian Barker) in these delightful costumes, juggling so many fabulous props against a backdrop of music and light. If you pause and look around in the quiet of backstage, you think, “hey, this looks like a show.”

I am so pleased and honored to be a part of a production that is coming together so brilliantly.

With that, I believe it’s time to review some dialect notes and go to bed. We preview tomorrow and open on Friday! Please join us--and stick around afterward to say hello! For now, enjoy a teaser of the phenomenal hair design--here’s the first trial of Thomasina’s Hair, Look #2 of 3.

The Rehearsal Process: Arcadia (Installment 3)

2010-10-01T07:13:00.000-07:00


Alex Wiles as Thomasina Coverly

When your rehearsal schedule says “one-on-one,” that’s both exhilarating and a little intimidating. It means you’re going to sit down with the director, who’s going to ask you to bare the deep dark secrets of your character’s soul (okay, not always dark)--things that you may not have explicitly told anyone yet.

Luckily, we actors tend to be a pretty extroverted bunch and sharing is a big part of what we do.

When your rehearsal schedule says “two-on-one,” somehow it seems twice as exhilarating (and almost twice as intimidating). You’re sharing with the director, yes, but you’re also sharing with one of your primary scene partners - in this case, Jonathan Conyers as Septimus. It somehow feels like the stakes are higher--the implications of your character decisions on those of the other actor are thrown in to starker relief. It’s almost like a first date: do your ideas and decision jive with those of the other person? --and in this case, two other people?

Now, it’s not that everyone has to agree--in fact, some of the most interesting moments we’ve found were instances in which the characters are on two entirely different wavelengths.

Septimus and Thomasina have a pretty significant relationship arc throughout the course of the play (I won’t ruin it for those who don’t know it), so that was a major topic of conversation. I’d expected that. How long has Septimus been Thomasina’s tutor? What does Thomasina think of Septimus intellectually and as a person--and what does he think of her? All of these were exciting questions I’d anticipated going into this meeting.

Then Foster (Solomon) turns to me and asks me to explain the arc of Thomasina’s mathematic and scientific interests throughout the course of the play.

Cue the chirping cricket, please.

Now, I’d done my research about the concepts Thomasina explores--an effort very much bolstered by the work of our dramaturg, Twyla Kitts. Deterministic chaos theory? Yup. The second law of thermodynamics? Got it. Fractals? Sure thing.

But how on earth does it all fit together?

We batted the question around a bit, looking at both Thomasina’s and Septimus’ lines for clues, noting the way she responds to Septimus’ teaching about the accepted knowledge of the time, trying to draw from that some through-line from one theory to the next. We decided that it was her own effort to develop the Grand Unified Theory (which gets hung up on the issue of gravity, if memory serves), but somehow it didn’t quite feel satisfying. I couldn’t figure out why.

Rehearsal continued with the first unification of the 1993 and the 1809 casts in the last scene of the play, full of waltzing, dress-up, and as Chloe (played by the talented and effervescent Liz Blake White) says “a lot of sexual energy!” Needless to say my mind was directed away from math and science for awhile.

The epiphany, if you will, occurred the next morning in the shower, which was probably the least convenient time or place for such a realization to occur. I had no pencil, no paper, nothing to write down all that hit me in a matter about 60 seconds.

Fortunately it stuck with me long enough to get to that pencil and paper, and 20 minutes later I had my diagram.

It’s a mess, but it works.

The problem with our initial approach, it seemed, was that we were trying to cram all of these concepts under one umbrella, while it seems now that they’re connected like links of a chain. With that, I humbly submit “The Diagram.” (You can click on the image for a better view.)

For all I know, these scribblings are as convoluted to everyone else as the mysterious hermit character’s tens of thousands of “cabalistic proofs.” The important thing in the grand scheme of this production is that they help make sense of a critical aspect of one character’s arc throughout the production.

The idea is not that this is all explicitly stated in performance. The idea is not that the audience has to understand the fine points of complex equations or theories of physics. The idea is that if we as artists and performers are doing our job well, and turn this thought process into something actable, you as the audience member will be able to come along on--and enjoy--the journey.

After all, while it’s great fun as an actor--or just someone with a wide variety of interests--to gambol through this play and discover all the brilliant little Easter eggs that Tom Stoppard has dropped for us along the way, I don’t think that’s what attracts people to Arcadia. Every character in this play cares passionately about something; they take something incredibly intellectual and infuse it with an energy that somehow makes it deeply emotional--and makes us feel something about it, not just think something about it. In expressing that passion, these characters bare some deep, dark part of their souls to us--exposing the vulnerabilities and desires that they all--that we all--often try so hard to hide.

It’s exhilarating to stand at the brink of knowledge looking out into a vast field of feeling. That’s where Stoppard leaves us: teetering on the edge, leaving us to decide how to balance the two.

As Valentine (played by Andrew P. Ballard) tells Hannah (played by Jen Meharg) with almost breathless excitement:

“it’s the best possible time to be alive, when almost everything you thought you knew was wrong.”

Also, the jokes are just plain fun. More soon!

The Rehearsal Process: Arcadia (Installment 2)

2010-09-16T18:40:00.000-07:00

Our series of posts from behind-the-scenes continues. Here again, is Alex Wiles. Down at Richmond Shakes, we think you'll soon see why she's won us all over.

Alex Wiles as Thomasina Coverly

Over the course of the last four days, the 1809 cast spent 14 hours together. When you spend that much time with a group of people, it’s either going to result in disaster or the best 14 hours of your week.

I can’t speak for the rest of the cast, but my opinion falls in line with the latter possibility.

Since Arcadia shuttles between two time periods--1809-1812 and 1993--the rehearsals--and thus the cast--naturally break into two groups. While the focus of last week’s rehearsals were 1993 (as our own Jonathan Conyers--playing Septimus, my tutor--performed in the opening week of the Firehouse Theater Project’s phenomenal Who’s Afraid of Virginia Woolf?), we 1809ers got our own chance to dig into the play over the past few days.

Fourteen out of 96 hours may not seem like a lot, but it’s surprising how quickly one gets to know one’s cast mates when the emphasis is on play. As we develop our characters and relationships even as we flesh out the blocking (where we move and when), you pick up on bits and piece of personalities--even of people you thought you already knew well.

Take Julie Phillips, Richmond Shakespeare’s Education Manager. I’ve had the pleasure of working with her through my work as an intern and a stage manager over the past couple of years, and my impression of her was that she is one of the sweetest, gentlest people I know. Then I watch her play Lady Croom (my mother) in rehearsal and get to meet a whole new side of Julie: still sweet, but with an imperiousness, power, and sensuality that is absolutely Lady Croom--but also still very Julie. It’s an absolute delight.

Then somebody flubs a line, and you can’t help but smile or laugh. Tom Stoppard has endowed Arcadia with beautiful language, but it’s not all easy to get through in early readings. For example: someone else (who we won’t name) accidentally says “guinea pig” when the script says “guinea,” as in the piece of currency. (My claim to fame is running into stationary objects.) Rehearsal has to be a safe place where it’s okay for actors to make mistakes--because we all do. A lot! That’s part of what rehearsal is for - trying things out to see if they work or not. Sometimes they don’t, but sometimes you try something on the fly and it sticks.

You know the “family ties” of the cast are beginning to take hold when the prop letter that’s being passed to you is covered in doodles of everything from explorations of Fermat’s last theorem (which figures prominently in the first scene) to tic-tac-toe boards to be filled out during the next break, to quick sketches of particularly vivid descriptions in the script--like Mrs. Chater’s drawers (and no, we’re not talking an armoire!), waltzing, geometrical solids...you name it, it’s somewhere on those prop pages.

In a way, it’s quite fitting for this play. So much of the interplay between the 1993 and 1809 action is the 1993 characters’ discovery and wrestling with letters, drawings, and diagrams written and left behind by the 1809 characters. As rehearsals shift to focus on the 1993 cast for the next few days, they’ll have more than a few surprises waiting for them in those hundreds of sheets of paper that we spread across the table during rehearsals.

As Septimus so eloquently states in one of his lectures to Thomasina, “we shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind...”

It’s not that rehearsals aren’t productive, or that they don’t involve hard work; they do. Time constraints increase the pressure to move efficiently, to take direction and “get it right” the first or second time, not the fifth or sixth.

My accounting professor, Dr. Hoyle, jokingly remarked that he hoped I would say that everything I learned in accounting came in use in working on this production. I don’t know about everything, but here’s a metaphoric connection: the ideal balance sheet in a financial statement is one that, well, balances--assets, liabilities, and stockholder’s equity, that is. To me, that’s not so different from a good rehearsal: it’s a balance of task and relational behaviors--between getting through the work at hand and building relationships with your cast members. (Are you impressed yet, Dr. Hoyle?)

Maybe this is my amateur status showing through, but I’ve always loved rehearsals for this reason. I’ve been blessed to work with a lot of wonderful people in theater, and I love this incubation period every bit as much as I love performing. Not only are we creating a wonderful story to share with audiences, we’re in many ways creating a family. Perhaps that sounds corny, but it’s how I honestly feel. After all, what else is a group of people with whom you’re comfortable enough to open yourself up to being vulnerable, to spending a lot of time together, to creating something bigger than the sum of its parts? Sounds like family to me.

The Rehearsal Process: Arcadia

2010-09-04T19:38:00.000-07:00

We spend a lot of time talking about events, performances and reviews. As an audience member, it may be the final product, the "magic" of the theatre that draws you. But for the staff at Richmond Shakespeare, and the hard-working actors and crew, the work behind the scenes is "magical" too. The entire process of creating a production has its rewarding and difficult moments (and sometimes downright terrifying moments) before everything comes together on opening night.

We wanted to invite our audiences to experience a little bit of that process we work on Tom Stoppard's Arcadia. We've asked actress Alex Wiles to share her experience with you.

For her first blog, Alex shares her experience leading up to (and at) the very first read through of Arcadia, our first show of the season, opening October 15th. (with a 1-night preview October 14) - Sarah Cole

* * *

“We’d like you to play Thomasina for us this fall in Arcadia.” Those were the words that, for the first time in my life, left me completely and utterly speechless in the best of ways. Luckily I came to my senses within the next 24 hours and found the one word I needed: “Yes!”

It was the best kind of shock. Two years ago while volunteering in the Richmond Shakespeare offices, I snuck a peek at the planning board, deciphering the acronyms for the plays that would comprise the next four or five seasons. “12N” clearly stood for Twelfth Night, “A&C” for Antony and Cleopatra...but what’s this? “ARC.”

Not wanting to appear ignorant about Shakespeare in the Richmond Shakespeare office, I spent a good five minutes contemplating the acronym. Unable to match it to a play, I gave in and asked Grant.

“Oh, that’s Arcadia, by Tom Stoppard. Have you read it?”

“Not yet.”

“Here’s a copy. I think you’ll like it.”

As he handed me his copy of the script, Grant had made the understatement of the year. It was love at first read, particularly with Thomasina Coverly: too intelligent for her own good, witty, at once young in experience and old in wisdom, and she gets to waltz with a gentleman that gives Mr. Darcy a run for his frock coat? Yes, I think I do like that.

Here I formally apologize to everyone with whom I have spent any time in the past two years for talking their ears off about this marvel of a play.

It wouldn’t leave me alone--I found myself researching things that I never would have touched before. Deterministic chaos theory? Thermodynamics? Iterated algorithms? Fractals? I loved it all, even if my understanding was entirely elementary. I loved the way Stoppard used these concepts and theories to weave the fabric of the play itself.

It’s been said that if we have a contemporary equivalent of Shakespeare, it’s Stoppard. I am by no means an expert on either of the two writers, but I believe that Arcadia supports that claim. It may not be in verse, but it’s poetry nonetheless. The beauty of the speech, the endless puns, a liberal peppering of double-entendres, the comedy, the romance, the existential questions...Arcadia offers so much at every level of enjoyment. I truly believe it has something for everyone.

Two years of researching, reading, and dreaming were validated in one short moment on June 1 when that offer was made. I thought things couldn’t possibly get better. How wrong I was!

After a summer of more research and memorizing those beautiful lines, most of the cast met for a read-through this past Wednesday, August 1. There were faces both new and familiar to the Richmond Shakespeare scene, all bringing their talent, enthusiasm, and fabulous British accents together, over boxes of Chex Mix, chocolate chip cookies, and homemade Rice Crispy treats from our fabulous stage manager, Brittany Dilliberto.

After all, we must set our priorities.

As we began our work, something magical happened: it felt as though I was experiencing the play for the first time. As an actor (or, more to the point, someone who just really enjoys theater), I sometimes find myself hearing the characters’ voices as I read to myself--particularly since Stoppard did such beautiful work in giving each character a truly distinct voice. Hearing the cast read it aloud brought those voices to life more wonderfully, hilariously, and poignantly than I ever could have imagined--and that was just the first read!

It is a joy and a pleasure to embark on this adventure with such a talented, wonderful group of individuals. I can’t wait to experience all that the coming weeks have in store, and hope that you’ll join us on our journey to Arcadia.

Speaking of the Court (1 of 2)

2010-08-26T18:53:00.000-07:00

Or rather to the court....

Several of you have been kind enough to inquire about a mid-day, luncheon series talk I gave this week at the Richmond Circuit Courts building, and to post my remarks. We began, at the request of my host, with a little overview of what it means to be an actor as well as serving full time with a theatre company. What’s it like? It’s amazing. How so, they asked? And come to think of it, why Shakespeare? What's the big deal with Shakespeare? (A frequent question, and a good one.)

A little illustration served, just then, with explanations of vested engagement in "play," by the audience, in the moments that happen when we share a common space together. (Benedick and Macbeth)

"I do much wonder that one man, seeing how much another man is a fool when he dedicates his behavior to love, will, after he hath laughed at such shallow follies in others, become the argument of his own scorn by falling in love!" and,

"Life's but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more..."

But one main thing, you learn about people. From the plays, and in meeting so many audience members. You know inherent things about where people are from, mostly by how they sound. You know, instinctively, when you’re being lied to. Maybe not about what, but you know. Actors know acting when they see it.

That all seemed a useful jumping-off point for a talk on acting, Shakespeare, and the courts:

Acting, Shakespeare, and the Courts

After as many performances as we've given, both locally and touring twenty-three states, you also begin to get a feel for what life must've been like for Shakespeare’s acting company: to tour, to visit towns repeatedly and see familiar faces, to be that traveling actor, is all very exciting. Perhaps we even vicariously felt a little bit of what it must've been like to be Shakespeare. A little bit.

Can you slide that understanding now, of a writer, an actor, the keenest insight of his day, perhaps, into the world of justice and the courts? Shakespeare was no stranger to the English court system. But can we know his views on justice and the courts through biographical record?

His father, John Shakespeare was bailiff or constable of Stratford—more ceremonial than we think of it, but a prominent member of the town. As bailiff, it’s possible John Shakespeare would have welcomed traveling players to town--one theory of how young William became so interested in players and playing…Were some invited to the Shakespeare's home?

….John eventually fell on tough times, some of his own making---he dealt illegally in the black market for wool, at the time highly regulated. Three courts were involved, from the Court of Common Pleas in London at Westminster, to the Court of Queen’s Bench, (representing her perhaps, but not quite as regal as it sounds) —to the Court of Record in Stratford-Upon-Avon. John once presided over the last of these, and now faced it as the accused. But I’m sure that would never happen today...

John's opponent? His brother-in-law, Edmund. Who having loaned John a bond to help him in lean times, later refused payment and kept John's inheritance. Here’s what’s interesting here: John had once so loved his brother-in-law that he named his youngest son (William’s brother)----Edmund. In William’s play of King Lear, an evil character named Edmund steals the preference, patrimony and even the love of their father. Further, he steals it of the King’s Court itself! Autobiographical? Maybe. But interesting! Bailiffs, constables, judges, witness and testimony. The Shakespeare family even had a lawyer, between 1588 and 1590, arguing one case in London. (It was settled out of court.)

By the way, Shakespeare’s siblings all together? Anne, Joan, Edmund, Richard, Margaret! …..and Gilbert. Well, five out of six isn’t bad. In fact, the plays are full of references to people William most likely knew, and who are mentioned in surviving legal documents.

The Mountjoy’s, from whom he rented an apartment, and whose father was sued by his son-in-law for not paying a dowry. Shakespeare is recorded as giving testimony. Montjoy is a reputable character in Henry V. And on and on. Familiar names from William’s life, some of whom end up legal trouble. Montjoy’s case with his fellow French? Too long to debate here.

Court references are also interesting when we recall that Shakespeare’s plays were performed at the law schools themselves, likely with the playwright in the cast.

But what about the playwright’s views on justice? Many of you know “the quality of mercy is not strained.” It of course comes from The Merchant of Venice.

Which we'll turn to that most famous of legal speeches in installment two. (It was an hour-long talk)

8-9-10----1100! Twelfth Night Posts RS Record

2010-08-16T19:42:00.001-07:00

One week ago tonight, Richmond Shakespeare hosted its largest ever single-performance audience, with 1,100 patrons attending Twelfth Night at Dogwood Dell, helping to round out this year's Festival of Arts. The tally was reported to us by the Dell's staff, and Festival legend Lou Dean remarked that behind the 4th of July and the musical Pippin, it was the best-attended night of the summer. It was a lovely night for those patrons, and the cast found it exhilarating.

At right is a quick image of the arriving audience.

We were carrying on a tradition that dates back to the fifties, in fact. For more than two decades, from the mid to late 1950's through the 1970's (and possibly into the early 80's), a community theatre troupe called the Richmond Shakespeare Players performed each summer at the Dell.

What's in a Name?
Richmond Shakespeare is a completely different organization, officially created by University of Richmond alumni as the Encore! Theatre Company in 1984. We created the Richmond Shakespeare Festival after another company tried for two years in the mid 1990's.

Our Director's Own History
Many of you on 8-9-10 heard me tell the story of Molly Hood, the terrific young director of Twelfth Night. For those who couldn't attend: the last time Shakespeare was performed out at Dogwood Dell it was 1996, with the same play. Cynde Liffick and I were fortune enough to be in the cast. (Just prior to joining Encore!) We recall a rainstorm bringing the audience very close to the stage. In the crowd that night, sometimes standing, sometimes sitting, was a very young.......Molly Hood. It's been a privilege to help bring her splendid production of Twelfth Night back to that Dell stage. Follow the tags for other tales of Molly and her own fan club, the Hoodwinkers--whose founders were both in attendance Monday night, along with Molly and most of her family.

Many, many thanks to all involved, from the tremendous Twelfth Night company of actors, designers and crew, to the very helpful Dogwood Dell staff and volunteers. More folks participated in bringing this about than I'm able to thank here---but do know that you're a part of this adventure, and that we're grateful to be sharing it with you.

Season Subscriptions and ticketing information

2010-05-26T13:08:00.000-07:00

Dear friends,

It has come to our attention that due to a glitch in our ticketing website an "error" message has been appearing during the ticket purchasing process. We have been in continual contact with tix.com since the problem was brought to our attention want to ensure our patrons that our ticketing system is and always has been 100% secure. We apologize for the inconvenience and this glitch has been fixed. We thank you very much for your feedback and for bringing this error to our attention.

Please continue to contact us with your thoughts and concerns.

We look forward to celebrating the summer with us at Twelfth Night and Antony & Cleopatra !!

Click here to purchase tickets.

2010-03-08T23:33:00.000-08:00

To All the Audiences, Supporters, Artists, Staff, Trustees, Fans and Volunteers of Richmond Shakespeare:

The time is now.

If you haven’t yet contacted your legislator, please, take a moment and do so now---today.

I’m writing today to ask each and every one of you who follows the work of Richmond Shakespeare to act, not on the stage, but by faxing, e-mailing, or phoning your Virginia delegate and senator a letter.

Who to write? Easy: http://legis.virginia.gov/1_cit_guide/contacting_my.html

What to say? Also easy: Virginians For the Arts talking points

The plan is simple. Communicate the support of all our many constituents who reap the benefits of the arts in the Commonwealth. In addition to the 20,000 jobs and the $300 million economic impact of the arts organizations, Virginians have, for more than thirty years, known the value of supporting the Commission.

Now, without equivocation, is the time to remind our representatives of that heartfelt belief.

If you have further questions, please don’t hesitate to e-mail me from the RS website, or to phone our offices at 804-232-4000. We’re happy to help in any way we can.

Catching up: Romeo and Juliet Without Words

2010-02-12T20:53:00.000-08:00

I've known and loved Prokoviev's Romeo and Juliet score for more than fifteen years, but until last month, I'd never seen the ballet. Films, musical theatre adaptations, puppet shows (in miniature and well, puppet-sized), directed the play twice (three when you count a staged reading); I've performed the text, all seen and done. But never the ballet? How's that possible?

The opening night included sumptuous costumes (by the dozens), outstanding dancing, and an absolutely perfect take on the tragedy. A couple of favorite moments: Richmond Ballet master and, on RJ, choreographer Malcolm Burns allows Igor Antonov and Vallerie Tellmann the time needed to fall in love through prolonged eye contact---such a rarity in any theatre. He also even has the chorus land one dance in which bodies stop moving a second before dresses settle around the dancers, to the last notes of the moment. Simply brilliant.

It was a gorgeous treatment throughout, delighting small children, adults, everyone, and had me a little choked up. At Mercutio's wounding, a man two rows in front of me leaned over to his wife and whispered, with a big smile on his face:

"A scratch, a scratch."

Richmond's terrific offerings include outdoor folk and Shakespeare festivals, performances by symphonies on piers beside the river, (in RJ the Symphony seemed so delightfully comfortable with the dancers---how cool to see their collaboration with the ballet grow with the advantages of the new home), but the ballet company, from design and conception (ages ago, with sets refurbished and looking great), to the astounding artists on stage, I was just thrilled to call myself a Richmonder.

Moving "Merchant" to Feb 24

2010-02-08T10:38:00.001-08:00

Among all the weather postponements you're now juggling in your calendar, place the staged reading of "The Merchant of Venice," featuring Alan Sader and Erin Thomas Foley to February 24. I know, it's not a Tuesday---in fact, it's not even a second Wednesday, it's a fourth.

Tuesday, February 24, 2010 - 7:30pm
$15, includes a glass of wine/juice

Directed by Freddy Kaufman in the beautiful new Gottwald Playhouse at CenterStage. "Merchant" was first produced by RS in 2004, with Kaufman as Old Gobbo and Tubal. It was also the first Acts of Faith production in 2005 and though it's not our primary entry in the festival this year, will prove great fodder for conversation, as always. The new date will have tickets fo rsale at richmondshakespeare.com soon. Join us.

Shakespeare and Co. Coming to Richmond Shakes

2010-02-02T15:28:00.001-08:00

Some fifteen years ago it was my great fortune to attend a weekend intensive offered by Shakespeare & Co. Based in Lenox, MA, S&Co. is the grand-daddy of them all in terms of actor-training. Their tremendous insights were for me astounding; they delve expertly and excitingly into the physical, mental and spiritual rigors of performing these remarkable roles.

Later I was also very fortunate to attend a weeklong clown intensive, working with the utterly wonderful Jane West. Her clown is something to behold: fearless, utterly profane, forever childlike even as the physical age of the actor increases. Amazing.

Their training department is headed by Dennis Krausnick, (at right) who simply put is a holy man. You know it in how he approaches actors, in their relationship to text; he exudes such a reassurance that even if you must face something terrifying, the spirit within will emerge.

The acting company is led by Tina Packer, a titan of humanity in a tiny frame. As proof of their method, here's a quick final anecdote: at a recent Shakespeare Theatre Association conference, Tina was performing excerpts from her one-woman show, to all of our delight. Asking for people to stand in for missing other characters, I stood in for her Romeo, a mere couple of decades separating us.

Outside the room was an aviary---a rare conference held in Baja, Mexico---and just as Tina spoke these words of the young lovers' first farewell, the entire aviary awoke and begin singing and twittering:

"'Tis almost morning; I would have thee
gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand…
And with a silk thread plucks it back again,
So loving-jealous of his liberty."

The birds awoke and fluttered, twittered and sang---the entire audience was amazed.

Tina and I both turned, in unison, toward the sound, and then in a moment connected with the air, the sea, all those Shakespeare producers and something profound, turned back to each other. Somehow I remembered Romeo's reply:

"I would I were thy bird."

The smiles and gentle laughter were a delight. The performances connect us to our world, help us understand it, and shed light on what it means to be alive.

Don't miss this weekend intensive, if at all possible. You'll never forget it.

Spelling Bee

2010-01-03T14:13:00.000-08:00

I’ve been lax on these posts, but several of you have been kind enough to prod me with very kind words to return to them. For a guy who loves language, last night’s play was a great excuse…so, first, I'll go back to Souvenir, from the Hanover Tavern, then switch to B'Dales' other venue, Willow Lawn, and write about 25th Annual Putnam County Spelling Bee.

January 2, 2010
(Much was made on Facebook of the date being a palindrome.)

Went to the Barksdale Theatre at Willow Lawn, and there saw the 25th Annual Putnam County Spelling Bee. Singing its praises will hardly be an ineffable task…

It was a delightful, funny, a bit bawdy and sweet. Wait, sorry---it was delectable, effervescent without being capricious, and sweet without being saccharine. I would use sacchariferous, but that’s really reserved for chemicals containing or yielding sugar. Regardless, what this “Bee” contains (and yields) is nicely and not overly sweet.

We first meet Rona Lisa Perretti, the inimitable Debra Wagoner, and Vice Principal Branch, adorably played by Ford Flannagan, who explain “The Rules of the Bee.” Ask for a definition. Ask to have the word used in a sentence. Ask for language of origin. Audience plants are listening carefully and nervously.

“Bee” is a musical take on all our childhood experiences with spelling bees in specific and competitions in general. More, it’s an inventive look at identity, particularly the contributions thereto made by the defining experiences of childhood. Transpiring in front of an audience, some are certainly traumatic, these experiences shape us. No surprise, of course, but fun. Metaphors for a life in the theatre abound, so what at first might seem strange grist for the stage soon becomes clear.

Musically it’s rich, fun and outstandingly sung by the cast. But its ability to connect with us, while it uses the music to do so, goes beyond the score.

Partly it’s our own memories: at the start, almost immediately, the singular spelling bee moment of my life came to mind. In the 5th or 6th? Grade, my recollection is that the entire school was required to participate. Union Chapel Elementary, Parkville, MO. I didn’t make it past my very first word. The huge challenge given me? “Kindergarten.” Now, every rational adult (and child) knows that here, I’ve just spelled it correctly. But even today, even now typing it, I’m grateful for spell check; “Kindergarten” always creates a little reverberation in my head: ---shouldn’t it be spelled just like “garden?” An assortment? A safe haven for small children? An innocent array of nutritious morsels of learning? A GARDEN for, in fact, KINDERS? All these went through my 10 year-old brain, and they still do. In front of the whole school, I reached that moment of singularity, an event horizon in time and space: was it D-E-N or T-E-N?? I thought and thought---all the thoughts listed above---wanted to say D-E-N because even-if-that’s-not-how-it’s-spelled-it-should-be! But no! Both “kinder” and “garten” come from the German, of course, dating back to the Indo-European roots for “stoopid” and “GARDEN.” I said neither.

“Awww, P-D-Q.”

And sat down. Moron.

Always try! It might have been right! In education we stigmatize mistakes---but for the arts, students are wary of making them. Especially the ‘tweens, in front of their peers. Younger children will risk it---they’ll play, they’ll try. But older? Fill in the wrong bubble, and colleges, careers, lives are shattered. Creativity requires accepting the risk of being wrong. But I digress.

This awkward and solipsistic phase of life, for most thankfully brief, nonetheless has tremendous influence on the folks around us. And through the lens of Bee, quite enjoyably so. We’re meant to learn of course that all the phases of life exert tremendous influence on those around us. Hardly new material, but the show communicates it in a novel and not blatantly didactic manner.

It’s achieved mostly through the wit of its silly comic writing—last night’s audience laughed wholeheartedly throughout—and strong character choices. Many are especially moving, both in development, (several characters really significantly learn winning isn’t everything), and in physical and vocal distinctions (three of four main finalists have speech impediments). Their growth is palpable, especially the decisive moments stuck in a spotlight of Audra Honaker, Aly Weplo, Eric Stallings and Yvonne Same. Honaker’s leap into the caretaker’s arms—the actor also plays her father, well, one of them—was beautiful and heartbreaking, and Weplo’s main number, sung partly with Debra Wagoner and William Cortez-Statham, tear-inducing. “The I Love You Song,” saved for last, was clearly the standout of the production. All great stuff. But then, I’m a softie.

There’s quite a bit in the ‘losing victories’ of both Honaker and Same, suffering through onerous parental expectations, and overcoming a kind of cultural determinism---true too for the ‘caretaker’ role of Cortez-Statham, but for the most part, Bee is about self-determinism and life itself.

A couple of brief items: I wanted to see Matt Shofner’s “Leaf Coneybear” get more chance to dance---but Leaf fit superbly into what made each of the “children” adorable.

And I was all set to be perturbed with Matt Polson for not mentioning Richmond Shakespeare in his bio (he was Lorenzo in The Merchant of Venice ’04, Lucentio in Taming of the Shrew,’06 and Ferdinand in The Tempest in ’07) but he was so committedly playful and silly (and had a kind of bumpy week), so I gladly gave the guy a break.

Richmond loves and should celebrate even more the talent of Debra Wagoner. I’ve loved her voice and actors’ intuition for that suspended moment—when we catch an emotion with an actor and share it. Debra knows these moments so well, and can use them like a laser. She sings a refrain that even describes it---“Her Favorite Moment of the Bee,” was an instant in which we process emotion on stage. We recall the emotion, and we’re brought to the moment with the actor. Sympathy. Syzygy! (Yes, it’s a word. If you’ve seen the show you know why I mention it here) Debra was also in high gear in this same fashion last month in Souvenir at the Hanover Tavern. --With the fantastic Jonathan Spivey---who juggled (jongleur!) the difficult task of accompanying and performing. Lovely performances, both. I've written a bit more on Souvenir here .

But it’s Weplo’s “Olive Ostrovsky” that the show centers on—educators (like Douglas Branch and Rona Lisa Perretti) are perennially thrilled by a stand-out gifted student discovering a talent, and the show’s repeated focus on what makes ‘a winner’ shine particularly bright in her happiness for a newfound friend, a newfound talent, and an enjoyment of recognizing that talent in her friends. Far more winning, indeed. Weplo is the perfect choice for her. What a treat.

Also lovely to see the spot-on direction of Steve Perigard. The assembled team, inexorably swift timing, particular guidance to actors in character development, and terrific use of the Marjorie Arenstein Theatre stage. I wanted to see more of the band, wonderfully led by Musical Director Sandy Dacus (clearly phenomenal work with her singers, as well), especially post curtain call--the scrim panel hiding them was so good that the audience tended to forget they were there. But that’s just being nit-picky.

A final word on some of the participatory/improvisatory elements of the show. Spoilers follow, so read these after you’ve seen the production….It’s a great device, to place adult actors playing children beside audience members. So, too to have audience members spell ludicrous words, easy and difficult, and poke fun at them even as the characters are also embarrassed. (Is there, after all, a more embarrassing thing than to misspell a word in front of hundreds of people? Well, perhaps only a physical embarrassment for males could be worse, and that’s in the show, too)

But I learned that Ford Flannagan, selects words for the audience members, writes the sentences that may be requested for each word, and improves the scenes with the ‘ringers.’ The unpredictability could have led to awkward disruptions in the flow of the show, but they were beautifully chosen, deftly handled, and tons of fun for the audience. Debra and the whole cast gets into the act.

Congratulations to the whole cast and crew---it’s flawlessly called by Rick Brandt, btw, and attractively designed by Ron Keller, Lynn Hartmann, Derek Dumais and Liz Hopper (no small task, costuming adult actors as children—here it’s a nice balance). I had a great time, and encourage you to catch the show before it closes on January 17.

Then go see RS’ first Second Tuesdays Staged Reading of 2010 on the 12th, Ben Jonson’s delicious Volpone, directed by Jeff Cole. $15 and you get a glass of wine. Jeff was of course our most recent Hamlet, and I’m eagerly awaiting Jeff’s performance as Iago in our mainstage production of Othello, beginning in February, also at CenterStage

Cheers, Happy New Year, and see you at the theatre.

-Grant

Othello Auditions

2009-12-17T07:43:00.001-08:00

Othello - Auditions

Auditions by appointment for Richmond Shakespeare and African American Repertory Theatre co-production of Othello, the Moor of Venice will be held from 6:00-9:00PM on Wednesday, December 23 and Monday December 28 from 6:00-9:00pm at the company's new main offices, 1801 E. Cary St. (One block east of Bottom's Up Pizza) Free Parking is immediately adjacent to the building; offices are on the first floor.

Director Jamie Rees seeks 10 men and 3 women. Experience with Shakespeare is a plus. You will be asked to perform a memorized 60-second monologue. It's best to use one you know very well, and can play with adjustments. Jeffrey Cole (Hamlet '08 and '09, Henry IV.1 and Henry V [The History Cycle] is pre-cast in the role of Iago.

All ethnicities are strongly encouraged to audition.

An appointment is required. Please call 804-232-4000, e-mail at info@richmondshakespeare.com or direct-msg via Twitter: RichmondShakes. Performers paid. Some academic internships available. A list of roles is available on the RS Facebook Fanpage.

Rehearsals will begin on Monday, January 4and the run will be from February 11 - March 14, in the exciting new Gottwald Playhouse at Richmond CenterStage.

Othello: Male, 30s-40's
Cassio – Male, 20s
Roderigo – Male, 20's
Brabantio – Male, 40-60
Duke – Male, 40-60
Montano – Male, 40-60

And about five other male roles that are not age-specific

Desdemona – Female, 18-25
Emilia – Female, 25-40
Bianca – Female, 20-30's

HAPPY HOLIDAYS!

Ebenezer Scrooge Rides Again

2009-11-12T22:14:00.000-08:00

It's that time of year again, amazingly. For the twelfth consecutive year, I'll have the pleasure of sharing Charles Dickens' incredibly rich language and moving story about the miser in us all. Our adaptation is called A Christmas Carol for Two Actors, and this year, after first performing the piece with me in 2007, Julie Phillips returns to the production. Molly Hood returns too, this time to direct.

Dickens' prodigious gifts for producing text that also sounds simply gorgeous certainly echo those of Shakespeare, and "Carol" is one of the best examples. The novella was first adapted for the stage almost immediately after publication in 1843, and we're delighted to revive its wonderful sounds. It begins with one miser, seemingly without a single redemptive quality.

We've learned that of the three (3) public performances, the first, 12/7 is already sold out.

The shows are on Monday evenings this year, Dec 7/14/21.

Showtimes are still 8pm as the show is under 70 mins. Tickets are available at RichmondShakespeare.com, and at all Ukrop's, Macy's, at the CenterStage box ofc (M-F 11-4 and 2 hrs before each show), and by calling 1-800-745-3000.

Souvenir

2009-10-29T22:36:00.001-07:00

Making indellible impressions in both was Debra Wagoner. I first saw Debra Wagoner as Cinderella at Swift Creek Mill Playhouse, in a show I've never forgotten, except for the date. Debra isn't old enough for this to be true, but it may very well have been during my college years.
At that time, it would've been impossible for me to have less knowledge of Richmond's regional theatres. I knew TheatreVA (now six years gone), Theatre IV (Bruce Miller was my first director in town, guest-directing Wait Until Dark at the University of Richmond in the autumn of 1988); Swift Creek Mill was a itself distant fairy tale of a place, beside a rushing river dam. It may have been in 1995 or 6, well after college. Hopefully someone will remind me? There may have been a re-mount…

I do remember climbing the stairs to the theatre amid the buzz of performance night excitement. I remember much of the show, from Paul Deis and Larry Cook as dueling princes/wolves, to pondering what seemed then an enormously wide stage with little vertical clearance: the enormous 'hand' of the giant 'falling' out from the wings onto the stage was priceless. Other Richmond fav's were also in that cast, including Robyn O'Neill and Robin Arthur—the latter of whom was in attendance tonight at Souvenir. I hope people will comment and list others who were in that production. More, I recall being brought that night into Stephen Sondheim's wonderfully magical world of fairytales, themselves conveyed into the modern mindset, the remarkable Into the Woods.

Debra is a pro, a marvelous comic actor, and tremendous at the art of theatrical story. Her final turn of the head in the show, singing Ave Maria as the lights fade was an inspiration, a moving moment--a master of the craft.

I won't bother describing characters and plot. If you've seen it, you know. Jonathan Spivey first came to my attention after seeing his performances at my alma mater, the University of Richmond. He's too young to have been in the TheatreIV/UR collaboration of Secret Service, which included Julie Amos Waugh, Dan Stackhouse and of course, Jack Parrish. But I recalled skill with text, comedic dexterity, and a maturity beyond his years---all qualities he has honed into a splendid professional career. (Might it have been Mother Courage?)

He wasn't too young for RS to cast him soon thereafter, though, in The Merchant of Venice in 2004. I'm glad to see him return to town. While here, Jonathan was hilarious as Thurio in our very first Second Tuesdays Staged Reading at CenterStage, a performance of Two Gentlemen of Verona.

In Souvenir, Jonathan also spent much of the evening actually accompanying Debra. His character is so solid you barely notice that he's working his pinkies off on the keys. It was very satisfying.

Congrats to both, as well as director John Glenn, Stage Manager Joe Pabst, and the design team on Souvenir, whose set was really outstanding: elegant, simple, and inventive---as well as fun to light. They were, in no particular order: Sue Griffin on Costumes, Jenn Rush on Wigs, Ted Macklin on Sound, Joe Lavigne on the marvelous set, and lighting design by the director. John's tenure in Richmond theatre (both at B'Dale and Theatre IV) pretty much predates my own, but I'm glad to see him back; his work here is delightful.

Finally, a word on musical direction—R.L. Rowsey and Debra did an astounding job crafting this "fantasia" on the true story of Florence Foster Jenkins. The impossible task of performing so many pieces so very far out of tune, (or musicianship or rhythm) may sound easy (does it?)---but it's precisely done, and always hilarious--sometimes painful, but always with a delightful payoff. And there's that final moment---payoff indeed.

If I had known it was a musical about, and performed by, a character who couldn't sing, or if I'd read the reviews, I would most likely have busied myself in work and missed the show. After several birds chirped "go see it," (and once we closed Much Ado) I finally listened, and I was very glad that I did.

Much Ado About Shining Boleros

2009-10-23T09:32:00.001-07:00

We're into the final performance weekend of Much Ado About Nothing, our inaugural show in the Gottwald Playhouse at Richmond CenterStage, and I'll make no bones about it: I think you should see this show. Come see the new venue, come see how we've begun to make use of its outstanding acoustics, new lighting and sound equipment and amenities. The bar will be open. Tickets are $15, $26, and $38.

That said, it's only one night of three. For your Friday, Saturday or Sunday afternoon, if I can make a recommendation for two not spent watching Much Ado, let me give a shout out to Boleros for the Disenchanted at Barksdale Theatre's Willow Lawn space and Henley Street Theatre's The Shining City.

I saw Shining City on the same night as Barksdale's Bruce Miller, and he's done an excellent job summing up the night, here. I was absolutely thrilled by Joe Inscoe's performance, as always, and pleased with everyone else. It's a big step up for Henley and one that Richmond should embrace.

However, I will admit to just thoroughly loving Boleros for the Disenchanted at Barksdale. I cared about its characters far more deeply than I thought possible; I felt connected to the story, and was delighted by its structure, its terrific comedy (with beauty, laughter, sadness and terrific language all thrown in), and its flawless execution. Kudos to Rick Brandt, Jason Winebarger and the entire crew at Willow Lawn. Bruce Miller's direction is spot-on, some of his best. There's a nifty video interview on the B'dale website here.

However, it's Bruce's casting here that has Boleros shining so strongly. He talks about the casting in the video; the actors are excellent. Rivera's play is in wonderful hands, and this love story to his parents and to the island of Puerto Rico itself is a real treat for theatergoers. I loved it.

There is an initial sample of the Latin Ballet of VA, dancing boleros at the top of the show and again at intermission---led by the exquisite Ana Ines King. She is a tremendous athlete, a terrific dancer, producer and an elegant lady. Virginia is desperately lucky to have her residing in our midst.

So, tonight, come see Much Ado. Tomorrow and Sunday? Go see Shining City or Boleros for the Disenchanted.

Our Play is Preffered: Best Ensemble

2009-10-18T23:00:00.001-07:00

Last night, Richmond Shakespeare was proud to sit with the theatre community of greater Richmond and celebrate the achievements of our colleagues. We were also honored with three nominations, including Rebecca Cairns and Annie Hoskins--nominated again for Best Costume an award they won last year.

This year we had two award-winners: a special recognition for Vanessa Passini's terrific fight work in Henry V [The History Cycle], and the company of actors from A Midsummer Night's Dream, who won as a cast for Best Ensemble. Those actors are Sandra Clayton, Brandon Crowder, Kerry McGee, Stacie Rearden Hall and Adam Mincks.

This recognition in particular was satisfying for me, as we set out many years ago to craft a company in which the collective efforts of actors, designers, directors, musicians and volunteers all work together; perhaps more so than any other, the theatre is a collaborative art form.

I first saw the five-actor format (yes 5) of performing William Shakespeare in the early 1990's at the University of Richmond: a program called Actors from the London Stage. Five gifted players create all the roles in a given Shakespeare. My first experience was with As You Like It, which was honored last year in several categories. It's a thrilling challenge, to craft more than one role, often alternating between them onstage—few challenges in the acting world can match it (solo shows of 'full commitment' come to mind), and I'm very grateful these lovely actors were so recognized.

They, and the supporting team behind them were indeed the best ensemble: Andrew Ham, Bryan Laubenthal, Jake Allard, Holly Harris, Holly Lucas, Richard Moxley, David White and J. David White, Rebecca Cairns, Annie Hoskins, Flora Vassar. Congratulations to each and all.

Not a word of me. All that I will tell you is that the duke hath dined. Get your apparel together, good strings to your beards, new ribbons to your pumps. Meet presently at the palace. Every man look o'er his part. For the short and the long is, our play is preferred.

Actor and director "Jack" Parrish / Times-Dispatch

2009-10-18T09:55:00.001-07:00

Actor and director John Linwood "Jack" Parrish Jr. dies Richmond Times-Dispatch

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Jack Parrish

2009-10-15T18:37:00.000-07:00

All of us in the Richmond Theatre community were saddened to learn of today's passing of Jack Parrish, longtime Richmond actor, director, and friend. Jack fought a lengthy battle with cancer, and reportedly went into hospice very recently and died this afternoon. He will be missed.

Tonight at 8:30, Richmond Shakespeare and CenterStage dimmed the big marquee at 6th & Grace and dedicated this evening's performance to Jack. It was quite a sight. We heard, via Facebook, that Sycamore Rouge gave Jack a special intermission curtain call. We're sure that other tributes will surely follow, and will pass on any related info as it comes available. Our thoughts and prayers go out to Kathy and Clay Parrish--I and many others are holding you in mind and heart tonight.

David Timberline Joins the Chorus of Critics Praising "Much Ado"

2009-10-08T19:45:00.000-07:00

Second Tuesdays Staged Reading Series

2009-10-07T21:11:00.000-07:00

Each Second Tuesday between Oct-May.

Produced by Liz Blake.

October 13 - Two Gentlemen of Verona, directed by Jamie Rees
November 10 - Two Noble Kinsmen, directed by Rebecca Jones
December 8 - A Lion in Winter, by James Goldman, directed by 'Rick Gray, featuring Larry Gard and Joy Williams
January 12 - Volpone by Ben Jonson, dir. by Jeff Cole
February 9 - Galathea by John Lyly, dir. by Grant Mudge
March 9 - Taming of the Shrew, dir. by Molly Hood
April 13 - Edward III [The History Cycle] dir. by Julie Phillips
May 11 - Love's Labors Lost, director TBA

Richmond Shakespeare Opens Gottwald Playhouse

2009-10-05T10:06:00.001-07:00

We knew opening night was approaching quickly when the company's name and that of the play went up in lights on the big marquee.

On Saturday night, Richmond Shakespeare entered its second quarter-century.

By all accounts it was a sparkling, delightful evening, filled with love, warmth, hugs and laughter. Our new home, The Gottwald Playhouse at Richmond CenterStage, will be shared by several small companies including our dear friends at African American Repertory Theatre, and we couldn't be more delighted with it. Situated on the east half of the block, in the part of the building called Dorothy Pauley Square (facing Grace Street and bounded by 6^th and 7^th) the Gottwald Playhouse is an intimate space—seating under 200 and offering outstanding acoustics: I've often told the story of the first music rehearsal in which James Wingo, our composer for Much Ado About Nothing, brought his guitar into the space and began to play: I shushed everyone so we could hear—and he stopped! ("No, you—please, keep playing!") We began to realize that the designers and architects of the Gottwald have created a phenomenal space for sound, be it the spoken word of Shakespeare, a jazz band or a string quartet. We felt as if we were seated inside the sound chamber of that guitar. It was amazing; I hope you'll come and hear a play in this remarkable venue.

"How much better is it to weep at joy, than to joy at weeping!" Leonato, Much Ado I.i

For me, last night was a whirlwind, beginning with final adjustments and warm-ups with the actors. On opening night there is a kind of lap-running that every director (and producer) reading this will immediately recognize. Delivering final notes, cards or gifts are all part of the process—perhaps a final talk to the actors (More volume please, crisper, less air please—in short: louder/faster/funnier); added to this are greeting guests, attending to opening night receptions and guest lists, and all the challenges of a new box office system.

I'm certainly not complaining—I love this busy time, as the director's work subsides and the acting and technical company take the show and welcome the audience into the world of the play.

The cast gave their best performance to date, winning huge laughs and especially at Dogberry's arrivals and exits—I would argue Shakespeare intended—ovations of applause. The audience loved our clowns, and Bob Jones' hilarious performance in this role, and his work with his fellow actors, (especially his fellow officer Verges, played by the adorable Thomas Cunningham) is a show-stealer, and should not be missed. I absolutely love the entire cast---every single performer has moments to shine; each actor takes Shakespeare's outstanding material and really delves into its truths and resonances. They plumb the darkest places and explore the most joyous just as ardently. Each is also dearly likeable; we've had a marvelous time preparing the production.

Rebecca Cairns and Annie Hoskins have outdone themselves yet again, creating an entire world of costumes. It's my professional goal to get these ladies a proper costume shop—can you imagine what they'll create when they don't have to work in a spare bedroom and their dining room? I'm delighted with the entire design team---the production matches our RS aesthetic precisely: focus on the actor's relationship to the audience, highlighting and serving but not overwhelming the story created on stage. It's a tough balance to execute with style, and they certainly have succeeded. Thanks to all of them.

Other treats on opening night included our new concessions lounge, which boasted cappuccinos, pumpkin cookies (executive sampling was requried), and other edibles, wines, beers and soft drinks. Our guests were of course welcome to take these into the theatre with them.

I'm grateful also to the SMG staff for handling more folks than we anticipated at the post-show reception. The exquisite donor lounge is a perfect venue for post-show celebrations. I look forward to making use of it often. Photographs of the event abound on Facebook---it seemed the perfect end to a joyous and thrilling opening. It was exhausting, but well worth the effort and the long wait for our new home.

Much Ado About Nothing runs only through October 25…and given the buzz our final weeks usually sell out, so I would encourage you to join us this week or next. Come downtown for the Folk Festival and just saunter up 6^th street to Richmond CenterStage…

Goodbye to the Olde | Style Weekly

2009-08-26T06:31:00.001-07:00

Goodbye to the Olde

Richmond Shakespeare gets tricked out at the Gottwald Playhouse.

by Mary Burrus
Moving in: Grant Mudge, artistic director of Richmond Shakespeare, inside the flexible Gottwald Playhouse. Photo by Eric Dobbs

Four hundred years ago this fall, William Shakespeare moved his players into the Blackfriars Theatre, its first indoor home. Richmond Shakespeare repeats that exercise in September by moving into its first indoor space built specifically for live performance.

Its new residence in the Gottwald Playhouse at CenterStage — along with the African American Repertory Theatre — takes the 25-year-old company from a comfortable but technically unsophisticated home to a state-of-the-art, tricked-out pad in the new downtown venue. That means new toys and production possibilities.

Richmond Shakespeare has long touted its Spartan production style as being much the way Shakespeare would have produced plays rather than as a limit imposed by performance space. Traditionally there’s been no formal set, just a few props such as a throne for the random king and uniform lighting so the audience can be better incorporated into the action.

Gottwald, however, provides the opportunity to expand technical applications. Artistic Director Grant Mudge assures that having access to a higher level of technical capability won’t alter the artistic philosophy of the company. “Moving into the Gottwald enhances it,” he says. “We will continue to make use of Shakespeare’s traditions in a modern setting using only key set pieces to create a different imaginary look, but will have the advantages of enhanced sound and lighting for special effects.”

During a recent tour of the playhouse, Mudge seems more excited about the abilities of the theater to morph into different staging possibilities than its high-tech capabilities — such as the 20 individually moving panels in the floor at the center of the space. “We have always been able to change the seating configurations at Second Presbyterian,” he says, “but in this space we can do so much more to enhance the personal way we like to engage our audiences. By lowering these panels we can create a thrust stage, a pit — or by leaving them floor-level, [offer] a different type of experience.”

The public will get a taste of how Richmond Shakespeare will play with the new space in October with the opening of Shakespeare’s most lively comedy, “Much Ado About Nothing.”

Richmond Theatre Critics Circle Award Nominations Announced

2009-08-19T18:02:00.001-07:00

Congratulations to Richmond Shakespeare artists! But before I list the nominations, let me give a special shout to Vanessa Passini. Selected for an award before the event even takes place, Ms. Passini has won an award for outstanding Fight Choreography to Vanessa Passini for her work on Richmond Shakespeare's Henry V [The History Cycle].

We're also nominated in a new category, "Best Ensemble Acting" for which I'm delighted to report that the cast of A Midsummer Night's Dream has very rightly been recognized. They should be nominated just for enduring emotional rainouts.

Finally, our exquisite costumers, Rebecca Cairns and Anne Hoskins are nominated for their truly outstanding work, also on Henry V [The History Cycle]. I always feel like I hand these two ladies a pocketful of lint for supplies and they return with the most gorgeous costumes a director could hope for. They are the 2008 winners in the same category; I couldn't be more pleased that their work is receiving recognition again.

One can always gripe and moan about artists not nominated (Joe Carlson's stunning Laertes comes to mind! as does James Bond's marvelous direction on Henry V--so there's mine!) but I want to take a moment to thank the critics as they attend, ponder, enjoy, endure, and evaluate the productions that make up our theatrical culture. They do it for very little compensation--sometimes none, I'll wager---factoring in the gas to see Sycamore Rouge or Swift Creek Mill (not far, but it adds up), and I couldn't be more pleased that the success of last year's ceremony has led to year #2.

Let me go on record right here to invite the RTCC awards for year #3 to Richmond's newest performing arts venue, Richmond CenterStage.

Cheers!
-Grant Mudge

AUDITIONS - MUCH ADO ABOUT NOTHING

2009-07-31T07:22:00.000-07:00

MUCH ADO ABOUT NOTHING
Director: Grant Mudge
Tuesday and Wednesday, August 4th and 5th, 630-930pm, at Tabernacle Baptist Church, 1925 Grove Avenue. (at Meadow & Grove)

Auditions for Much Ado About Nothing, the inaugural production in the Gottwald Playhouse at Richmond CenterStage, will be held Tuesday and Wednesday, August 4 and 5, from 630-930pm in the Richmond Shakespeare offices, located at 1925 Grove Avenue. Entry is off the alley behind Tabernacle Baptist Church. Director Grant Mudge seeks 13 men and 4 women, ages 20-70. Experience with Shakespeare is required. Those auditioning will be asked to present a monologue (under 2 mins) and to read from the script. An appointment is required. Please call 804-232-4000, e-mail at info@richmondshakespeare.com or direct-msg via Twitter: RichmondShakes. Performers paid. Some academic internships available.

Rehearsals begin August 24. Previews start October 1, and the show will run Thurs-Sun from Oct 3-25. (Performances are Ths-Sat at 8pm and Sundays at 2:30pm, with some weekday matinees.)

List of primary roles
1. Don Pedro, Prince of Aragon
2. Benedick
3. Beatrice, Niece of Leonato
4. Hero, Daughter of Leonato
5. Leonato, Duke of Messina
6. Antonio, his brother
7. Balthasar
8. Claudio
9. Conrade
10. Borrachio
11. Don John, Bastard Brother of Don Pedro
12. Margaret
13. Ursula
14. Friar Francis
15. Verges
16. Sexton
17. Dogberry, a Constable

Too Like the Lightning

2009-07-29T07:17:00.000-07:00

After thirteen years, you'd think I'd get accustomed to rainouts. On average, we lose three (3) performances per summer. At that rate, for 2009, we're officially done with 'em. Someone please tell the weather deities.

That said, I love all the weather references in the first 20 minutes of Midsummer, besides "I will move storms;" there's

"Brief as the lightning in the collied night
That, in a spleen, unfolds both heaven and earth
And ere a man hath power to say 'Behold!'
The jaws of darkness do devour it up,"

and, upon being asked why her chekk is so pale, Helena responds, "Belike for want of rain(!), which I could well beteem them from the tempest of my eyes!" Will's was an open-air playhouse---these lines can't be mere coincidence; they help bond us together----actors and audience in one experience. Magic.

We'll be back for more tonight.

Timeless 'Hamlet' has modern feel

2009-07-19T08:46:00.000-07:00

SUSAN HAUBENSTOCK SPECIAL CORRESPONDENT
Published: July 19, 2009

Like your "Hamlet" to have a colloquial, of-the-moment feel? The revamped Richmond Shakespeare production at Agecroft Hall has a Hamlet whose manner is so contemporary, you expect at any moment to see him texting Horatio.

There's no effort here to change the period of the tragedy, which is probably the 17th century, but Becky Willet's lovely costumes are not tied to any particular age. What's notable is the 21st-century sensibility -- lots of sarcasm and heavy irony in the line readings, and Jeff Cole's thoroughly extroverted Hamlet, with many modern mannerisms.

Grant Mudge directed both this and last fall's indoor-season version of the tragedy, and there are some differences. Jay Banks' Horatio is just as intelligent as Andrew Hamm's, but he's not the staunch friend Hamm's was. There's less romance and more insanity between Cole and his Ophelia, Liz Blake. And the production works better overall because of the more conventional thrust stage at Agecroft; Mudge can move his actors naturally, without the constraints of the long rectangle he had for a stage in the fall.

All the best elements of the production remain: high-quality spoken verse (Rebecca Jones was text and verse consultant), Blake's touching vulnerability, Cole's unflagging intensity. Timothy Saukiavicus is an even more craven Claudius than he was before, and Joseph Anthony Carlson is magnetic as Laertes -- his execution of Vanessa Passini's fabulous fight choreography includes a full-out leap that left audience members gasping.
A three-piece ensemble provides lovely background music, and the summer stage makes possible some effective stagecraft, like the entrance of Ophelia on her bier, hauntingly lit by designer J. David White.

In the customary Richmond Shakespeare style, 11 actors play 22 roles. But most of the principals play only one apiece, which leaves Katie Ford, 'Rick Gray, Shirley Kagan and LaSean Green playing 13 parts, and they do admirable work.

Susan Haubenstock is a freelance writer and editor based in Henrico County. Contact her at shaubenstock@gmail.com

Richmond Times-Dispatch

'Midsummer' Gets Final Added Performance

2009-07-17T14:55:00.000-07:00

We had hardly communicated the addition of July 29 when it became clear it well sell out---in less than five days, there are now only two (count ‘em, 2) remaining seats for that Wednesday added show.

As such, I’m pleased to announce a final additional night (once it’s gone, folks, there will be no more) of A Midsummer Night’s Dream on Tuesday, July 28, 2009. Visit the website below and click on tickets---before someone else grabs yours.

Catch the fastest-selling show in town….before it’s gone.

Grant Mudge
Artistic Director
Richmond Shakespeare
804-232-4000 Admin
804-232-4400 Fax
http://www.richmondshakespeare.com/

NOW OPEN! – the 2009 Richmond Shakespeare Festival
THRU JUN28.09 – Henry V [The History Cycle]
JUL2-12.09 – A Midsummer Night’s Dream (Seven Shows Only!)
JUL16-AUG2.09 - Hamlet

Richmond CenterStage - Performing Arts Center

2009-07-13T09:09:00.000-07:00


Grant Mudge 9:09am Jul 13th	Richmond CenterStage - Performing Arts Center Checkout CenterStage on Facebook! Grant has shared a link with you. To view it or to reply to the message, follow this link: http://www.facebook.com/p.php?i=688396137&k=Z4G642SYP42EUCD1QB63U3SVTPBA

"RS has done [Henry V] proud..a fine evening of entertainment." Review, STYLEWeekly

2009-06-17T11:27:00.000-07:00

King Me

Richmond Shakespeare’s “Henry V” proves sequels can improve on the originals. by Mary Burruss

Princess Katherine (Sarah Jamillah Johnson) is wooed by Henry (Phillip James Brown) and his authentic English accent in “Henry V.” Photo by Bruce Parker

Anglophiles, history buffs and drama nerds rejoice! It is summer and the long-awaited Richmond Shakespeare production of “Henry V” has opened. For those of you not listed in the aforementioned categories of the anticipatory, the excitement is akin to the release of the next “Harry Potter” or “Twilight.” But unlike some sequels, this production is wonderful.

“Henry V,” the fourth installment of Shakespeare’s tetralogy chronicling the reigns of Richard II, Henry IV and Henry V, is the best of the four and Richmond Shakespeare has done it proud. Director James Alexander Bond has selected a stellar cast of local actors and directed deftly around the central figure, played by London-based actor Phillip James Brown, who returns to Richmond for the third summer to take his crown as King Henry (the sovereign formerly known as Prince Hal). The actors are planets that revolve around Brown’s handsome sun. He makes as fine a warrior motivating his troops in the famous St. Crispin’s Day speech as he makes a nervous beau courting Princess Katherine.

In sharp contrast to Brown’s regal Henry is Bob Jones’ equally savvy incarnation of the comedic Captain Fluellen. Jones makes the larger-than-life character believable and multifaceted, while including wild gestures and a hilarious overblown Welsh accent, making Shakespeare’s jibe on Welshmen all the funnier.

Joseph Carlson masters his portrayal of Pistol this season, deftly executing comic bits and pouncing about the stage in Vanessa Passini’s excellently choreographed fight scenes. He has matured as an actor in the past year, turning last year’s great performance into an outstanding one this season.

This play has something for everyone: humor, battle scenes, romance and a winning underdog. “Henry V” is a fine evening of entertainment for anyone who can stay up past 10:30. “Henry V” plays June 11- 28, Thursday-Sunday at 8 p.m. at Agecroft Hall. Tickets are $13-$25. Visit http://www.richmondshakespeare.com/ or call 866-BARD-TIX.

"The Peak Theatrical Experience in Richmond Is Back" Henry V Review, Richmond Times Dispatch

2009-06-14T23:25:00.001-07:00

‘Henry V’ ends cycle on passionate, comedic note

HENRY V
Theater review
At: Agecroft Hall, 4305 Sulgrave Road Through: June 28 Tickets: $25 (16 and under $13) Info: 866-BARDTIX

SUSAN HAUBENSTOCK SPECIAL CORRESPONDENT
Published: June 15, 2009

The peak theatrical pleasure to be had in Richmond is back: summer Shakespeare at Agecroft Hall.

It's a happy mystery how hot, humid days can switch to cool evenings just as the Elizabethan verse gets going, but it seems to happen every time.
This season's opener is "Henry V," the culmination of three years pursuing the Henry cycle. James Alexander Bond has directed all three plays, and Phillip James Brown has played the younger Henry throughout, granting audiences a marvelous artistic continuity.

And again Bond, aided by Master of Verse Cynde Liffick, has brought us a rousing and gripping production, full of action (including Vanessa Passini's fight direction and Cecile Tuzii's movement coaching), passion and comedy.
The formerly roguish Prince Hal is now King Henry, and the English clergy are urging him to seize France as rightfully his. The French dauphin insults him, and Henry prepares for war.

There are combat scenes and interludes of diplomacy; there are remarkable moments when Henry goes incognito among his soldiers on the eve of battle. And there are stirring moments when Henry exhorts his troops -- "Once more unto the breach" and "We few, we happy few, we band of brothers."

Though there are comic and touching diversions, "Henry V" has no Falstaff, so Henry himself is the clear focus -- and Brown is powerful and magnetic enough to keep us riveted throughout. He shows just a few signs of the slacker he was; Brown is regal with a common touch. Wonderfully musical with the verse, he's also an inspiring leader, a steely judge, and a warm and awkward suitor in his final scene with the French princess.

Bond has balanced the production by emphasizing Shakespeare's varied comedic turns. The strongest of these is Bob Jones' Fluellen, the Welsh captain. Jones delights with his mastery of language and his unexpected physicality. Joseph Anthony Carlson, returning as Pistol, is a delightfully comic blusterer, and the pair of Phillip Reid and Thomas L. Cunningham as Bardolph and Nym amuse as well.

The cast of 19 performs 37 roles, with particularly strong supporting performances by Brandon Crowder, Nicholas Aliff, Tim Saukiavicus, Alan Sader, Joseph Sultani, Jamie Rees, Sarah Jamillah Johnson, Jeffrey Cole, Michael Hamilton and Jacqueline O'Connor. J. David White's lighting is dramatic, and the reliable Rebecca Cairns and Ann Hoskins contribute wonderfully detailed costumes.

This "Henry V" is a fully satisfying end to the saga.

RTD PREVIEW: "The Bard is Back at Agecroft"

2009-06-11T07:05:00.000-07:00

Shakespeare Festival kicks off with “Henry V”
BY MELISSA RUGGIERI TIMES-DISPATCH STAFF WRITERPublished: June 11, 2009

Richmond Shakespeare Festival Productions: "Henry V" (tonight-June 28); "A Midsummer Night's Dream" (July 2-12); "Hamlet" (July 16-Aug. 2) Where: Agecroft Hall, 4305 Sulgrave Road. Gates open at 7 p.m., and the Festival Young Company entertains on the grounds; all performances begin at 8 p.m. Tickets: http://www.richmondshakespeare.com/ or 1-866-227-3849

With a trio of productions this summer and only three more months until its new permanent indoor home, Richmond CenterStage, is ready, the folks at Richmond Shakespeare are understandably excited.

On his desk, Artistic Director Grant Mudge even has a mini version of the CenterStage countdown clock currently facing Broad Street.
But before that fall season launches -- it will mark the 25th year of Richmond Shakespeare -- its popular summer shows on the grounds of Agecroft Hall will commence tonight.

This season, the group is tackling "Henry V," "A Midsummer Night's Dream" and "Hamlet," which Mudge is also directing.
Last year, "Henry IV, Part 2," was the centerpiece production. Mudge said the cycle of Shakespeare's histories will be completed by 2012.
"The stories are universal," he said of Shakespeare's ongoing appeal. "They're personal stories, personally told, and doing them at Agecroft really is something special. It's 500 years old and came from England, so we play in the courtyard just as Elizabethan actors would."

Starring in the role of King Henry in "Henry V" is London-born actor Phil Brown, who played Prince Hal the past two summers in "Henry IV, Part 1" and "Part 2."

Brown came to Richmond two years ago after being recruited by director James Bond -- who also is helming this year's "Henry" -- and the self-described "Shakespeare geek" said playing King Henry is tricky yet rewarding.

"When Shakespeare was writing 'Henry V,' one of his challenges was that he was writing about the king, the be all and end all of great kings. He had two tasks: to present the king in a way that wouldn't get him into trouble with Elizabeth and also to write a real human character facing real problems," Brown said last week.

"In 'Henry V,' the crown almost acts like a mask. The prince becomes the man, and the man has to deal with the responsibilities of the crown. In that respect, it's very complex, because you're trying to find where the voice is the king and where the voice is the prince and where to find the human balance."

Brown trained for three years at the American Academy of Dramatic Arts in New York, where he participated in many Shakespearean workouts.
"A good drama school training gives you the solid foundation, and every professional play you do after that, you learn more as you go along," said Brown, who, along with the rest of the cast, has been rehearsing the past five weeks, including rigorous fight scenes.

"Our choreographer, Vanessa [Passini], has been putting us all through our paces with sword drills," Brown said. "Hopefully, fingers crossed, the sword fighting will look quite cool."

Though Brown and his wife, Emily, plan to move back to New York at the end of the summer, he is still looking forward to CenterStage opening.
"Hopefully, once it's established, it's the kind of thing that breeds more art, essentially," he said.

But for the next couple of weeks, the only art Brown will be concentrating on his nightly portrayal of Henry.

"James [Bond, the director] says that Shakespeare is the most muscular form of theater," Brown said. "It kind of forces you to use your technique more than anything else. I believe if you can do Shakespeare well, you can do anything well."

Mission Meeting May 23

2009-05-14T13:21:00.000-07:00

Dear Friends,

It's time to get together!

Please join us on the afternoon of May 23, from 1-4pm.

If you're reading this, it's because Richmond Shakespeare holds special meaning for you. Now, we need your story, your input and your voice. We're in the same theatre together quite often-but we rarely get the chance to interact, to sit and talk to one another. As we launch our 25^th Anniversary Season in a new $75 million dollar performing arts center, Richmond CenterStage , we wanted to hear from you! You're a part of that effort. So, consider this your call to action!

On May 23, from 1-4pm (this coming Saturday) Richmond Shakespeare will hold a Mission Meeting at Agecroft Hall . What's a Mission Meeting? It's a process we undertake from time to time, but never like this: we'll re-craft, re-write and re-dedicate the very mission of Richmond Shakespeare.

Please join me at Agecroft Hall for a gathering of all the many kinds of people touched by the work of this remarkable company over 24 years. From actors to interns and from students to Trustees, we'll gather to hear, to speak, and to write about what Richmond Shakespeare means to each of us.

You'll get a sneak peek inside CenterStage and hear a preview of the summer Richmond Shakespeare Festival 2009-you'll also get to meet Phil Brown, returning for year three to play the title role in Henry V [The History Cycle.]

The day will be facilitated by Vanessa Womack Easter. A Senior Consultant with the STRATEGIC LEADERSHIP DEVELOPMENT GROUP, LLC., Easter brings 25 years of experience in business operations, marketing and administration management in both corporate and nonprofit environments, performing facilitation and training /development functions, as well as strategic advising and corporate marketing. She comes to us referred by the Center for Non-Profit Excellence. Look for a more detailed invitation very soon! Space is limited, so we'll ask you to register for the meeting now by e-mailing our offices at MissionMeeting@RichmondShakespeare.com . Attending is free, and light refreshments will be provided.

Please join us!

Sincerely yours,

Grant Mudge
Artistic Director
Richmond Shakespeare
1-866-Bard-Tix Box Ofc
804-232-4000 Admin
804-232-4400 Fax

2009-05-10T16:41:00.000-07:00

Phil Brown, 2009

May 10 - Have you seen the 'countdown clock?' It faces Broad Street between 6th and 7th, hung on the construction trailers at Richmond CenterStage. All of us at Richmond Shakespeare are enormously excited about our new theatre---opening in very short time! In fact, I have a little miniature version of the clock on my desk and today, both of them read 124 Days.

In two days, on May 12, at 7:30pm we'll hold our last event of the indoor season at 2nd Presbyterian, a staged-reading of Cymbeline, about which you may already have heard. Daryl Clark Phillips (Falstaff '07 and '08) leads a stellar cast including Ray Bullock, Richard Koch, Vicki McCleod, David Janeski, Billy Christopher Maupin, Asher Nicholson, Brad Tuggle, Lucas Hall, Alan Sader (Exeter in Henry V), Ally Wepplo, and James Wingo. Cymbeline is directed by David White and produced by Liz Blake. Catch Liz herself in this summer's reprsise of Hamlet.

This fall (in four months!), Richmond Shakespeare will indeed move our indoor season to the new Gottwald Playhouse inside Richmond CenterStage. Look for an inaugural season announcement (it's also our 25th Year) right at the start of the summer Richmond Shakespeare Festival.

Those performances come first---we'll continue to bring great summer shows to marvelous Agecroft Hall, beginning this 12th annual festival with the performances we've all been waiting for: Phil Brown's Henry V and the return of Jeff Cole's Hamlet. Sandwiched in between, I'm happy to annouce another return--for a limited run--of Andrew Hamm's critically acclaimed production of A Midsummer Night's Dream.

Just prior to the summer festival on Saturday, May 23, I invite you to our first public "Mission Meeting." We'll gather at Agecroft Hall, from 1-4pm, to re-craft, re-dedicate and help to re-write the mission of Richmond Shakespeare. To RSVP and to receive more information, e-mail us at MissionMeeting@RichmondShakespeare.com. Come be a part of charting our next 25 years.

Thank you for joining us on this adventure, and be sure to keep in touch! Call, write, and comment or e-mail me here. Of course, you can always just catch my arm at a performance of Richmond Shakespeare.

Cheers,

Grant Mudge
Artistic Director

Harry's Back!

2009-05-07T16:10:00.000-07:00

Henry V
The History Cycle
June 11-28

Jackie Jones on 'Midsummer!'

2009-05-02T17:58:00.000-07:00

Local and beloved actor Jackie Jones (also a baker of muchly sought goodies), saw A Midsummer Night’s Dream recently and sent this lovely e-mail:

One is A MIDSUMMER NIGHT'S DREAM at

http://www.richmondshakespeare.com/

Andrew Hamm's Dream cast IS a dream cast and

does the show in all its Shakespearean bawdiness.

Each of the cast portrays numerous characters to

definite distinction. This production really gives its

audience members the flavor of Shakespeare's

fun with words (be forewarned: no joke is left

unturned) without any of the stuffiness sometimes

used to cover it up! I'd say this would be great for

highschoolers, and middle-schoolers - and maybe

even precocious upper-elementary with the right

homework in advance. And there is original (and

traditional) music!

You’ve only five (5) chances left to catch it at

2^nd Presbyterian’s perfectly Elizabethan chapel!

Richmond Shakespeare
804-232-4000 Admin
804-232-4400 Fax
www.richmondshakespeare.com

NOW PLAYING
APR16.09 to MAY10.09 – A Midsummer Night's Dream, by William Shakespeare

ONE NIGHT ONLY
MAY12.09 - Cymbeline, by William Shakespeare (Staged Reading)

Style Weekly

2009-04-22T06:41:00.001-07:00

Do you have your tickets yet?

Issue Date: April 22, 2009, Posted On: 4/21/2009

STYLE Weekly review of 'A Midsummer Night's Dream' The cast of Richmond Shakespeareare's "A Midsummer Night's Dream," at rest. Clockwise from top, it's Brandon Crowder, Stacie Rearden Hall, Adam Mincks, Kerry McGee and Sandra Clayton.

There was a moment during Richmond Shakespeareare's "A Midsummer Night's Dream" when I literally could not stop laughing. Near the play's end, the sheer lunatic brilliance of director Andrew Hamm's off-kilter rendering of the Shakespeare classic reached such a fever pitch that I found myself lost in the sea of silliness. I would have been more embarrassed about my guffaws if there weren't several others in the audience doing the same thing.

Possibly the Bard's most endearingly romantic comedy, Midsummer's plot involves fairies, love potions, a man semitransformed into an ass, and quite a bit of mayhem. As if that were not enough, Hamm's inspired cast pushes every envelope available. Sensual interludes between lovers stray into serious PG-13 territory. Characters who are supposed to be bad actors are hilariously horrendous. Some of the physical comedy looks downright painful, thanks to fight choreography help by David White.

Ensemble members throw themselves into multiple roles with abandon. Brandon Crowder leads this rowdy band, effecting breakneck changes between the regal Duke of Athens to the almost aggressively swishy Flute and eliciting laughs with as little as a well-placed glance along the way. Adam Mincks chews the scenery ravenously as donkey-eared Bottom, who attracts the affection of Fairy Queen Titania (Stacie Rearden Hall) thanks to the juice of a magical flower administered by Puck (Kerry McGee). Hall's lusty looks are bracing while McGee is alternately fervent as the love-struck Hermia and delightfully impish as Puck. Sandra Clayton rounds out the crew ably with several small but vital bit parts.

It seems peckish to note that some of Shakespeare's lyrical language gets lost in modernisms such as "Sweet!" and "Awesome!" But Hamm makes up for it by inserting charming musical interludes into the action with a cast (particularly Hall) in spectacular voice. For a show not billed as a musical, this "Dream" sings. David Timberline

"A Midsummer Night's Dream" plays at the Second Presbyterian Church, 5 N. Fifth St., through May 10. Tickets are $13-$26. Call 1-866-BARD-TIX or visit www.richmondshakespeare.com.

Zany Cast Makes 'Dream' a delight

2009-04-19T19:37:00.000-07:00

Richmond Shakespeare’s season finale a fun one

JULINDA LEWIS SPECIAL CORRESPONDENT
Published: April 19, 2009

“A Midsummer Night's Dream," Richmond Shakespeare Theatre's final production of its indoor season under the direction of Andrew Hamm, roars delightfully into its raucous conclusion, which includes a play within a play and a wedding celebration.

There is something old (the play by William Shakespeare), something new (the cast and the indoor location at Second Presbyterian Church), something borrowed (costumes and props from previous "Dream" productions), and something . . . (well, there's got to be something blue in there somewhere).

With costumes and set kept to a bare minimum, the cast of five takes on 21 roles, resulting in effects and situations that might have surprised the Bard himself.

This "Dream" features a tight-knit and lovable ensemble. Some of the casting contrasts are startling and ingenious. Sandra Clayton is the elitist Egeus as well as the simple carpenter; Peter Quince, leader of the local community of actors, also known as the Mechanicals; Brandon Crowder is both the noble Theseus, Duke of Athens, and Francis Flute, the bellows mender who plays the role of Thisbe in the play-within-a-play.

And while it is not unusual for men to play women's roles in Elizabethan theater, Crowder's over-the-top Thisbe, dressed in a contemporary beauty queen evening gown and some killer black stilettos, leaves an indelible impression.

Kerry McGee gives Robin Starveling, the tailor member of the acting troupe, a round-shouldered, slumped posture, slow movements and delayed reactions that suggest poor Starveling may have either mental or chemically induced challenges.

The cast is rounded out by Stacie Rearden Hall, who plays Demetrius's lover Helena as well as three other roles, and Adam Mincks, who plays Demetrius, as well as Nick Bottom, who, as the unfortunate object of Puck's prankishness, ends up with a donkey's head and the magically induced love of the fair queen, Titania.

Shakespeare's words, juxtaposed against modern-day clothing and props, and in the hands -- and mouths -- of this enthusiastic and zany cast made 2½ hours in uncomfortable chairs in an overheated chapel fly.

First Review Snippet, "Midsummer"

2009-04-19T06:28:00.000-07:00

"I took in Richmond Shakespeare’s “A Midsummer Night’s Dream,” which basically had me laughing until I was crying. I have a new person to envy and that’s the husband of Stacie Reardon Hall. This is a production where everything is set to 11, including the sensuality part and, if Mrs. Hall brings even half of the lusty energy she shows on the stage home with her, well, Oh My, Mr. Hall must be a happy man." - David Timberline, RichmondVATheater.blogspot.com

Have you read or seen any blog postings about 'Midsummer!?' Send them to us! info@richmondshakespeare.com

A Midsummer Night's Dream opens next week!

2009-04-11T16:05:00.000-07:00

A Midsummer Night's Dream opens next week, with performances Friday and Saturday at 8pm and Sunday at 2:30. (Check out the discounted preview on Thursday, 8pm.)

The actors are (clockwise from Sandra Clayton at top left, Brandon Crowder, Stacie Rearden Hall, Adam Mincks and Kerry McGee. Directed by Andrew Hamm , with costumes by Rebecca Cairns.

April 16 - May 10
Tickets: http://www.richmondshakespeare.com/

Bard Bite

2009-04-08T18:19:00.000-07:00

More than four hundred years after his birth, William Shakespeare remains the most influential writer the English language has yet produced. In celebration of the playwright’s 445th birthday this month, actor and Artistic Director Grant Mudge brings this first in a series of “Bard Bites.” First installment:

Returning from Richmond, Abraham Lincoln Recounts Macbeth.

Airing on 4/9 at 8:49am—Thursday morning! 88.9fm in Richmond or http://www.ideastations.org/ worldwide. Please pass it on!

Make that 158 Days

2009-04-07T10:18:00.000-07:00

A recent low-res photo (just a little cell-phone shot).

Richmond CenterStage countdown clock - 165 days until Grand Opening!

2009-04-01T04:08:00.000-07:00

NEWS RELEASE

Richmond CenterStage Announces Grand Opening Performances, Unveils Countdown Clock

Artists announced for September 12-13 Grand Opening; Clock on Broad Street starts ticking away time until doors open

RICHMOND – One-hundred and sixty-five days: The countdown is on to the Grand Opening of Richmond CenterStage, with a brand new clock on Broad Street that will tick away the moments until the September 12th grand opening of the world-class performing arts complex.

“The opening of Richmond CenterStage has been a long time coming, and the cultural impact this facility will bring to the city is within sight,” said Jim Ukrop, Chairman of the CenterStage Foundation, the fundraising arm of the performing arts center. “When CenterStage opens this year, it will become the cornerstone of this up-and-coming arts district in Virginia’s capital city.”

The Countdown Clock and signage measure 8 feet high by 16 feet long, and contain 1,280 digital LED lights. The 120-pound clock, designed by Chester-based Holiday Signs, will stand on the CenterStage construction site until the Grand Opening, 165 days from today. The clock was unveiled by school-age local performers.

Located on Grace Street between Sixth and Seventh Streets, Richmond CenterStage includes the fully-renovated, 91-year-old Carpenter Theatre with nearly 1,800 seats, along with four other venues: the multi-use space Rhythm Hall, the Genworth BrightLights Education Center, the intimate Gottwald Playhouse and the Showcase Gallery, for exhibition of the visual arts.

“When you consider where Broad Street was just five years ago, it is amazing to imagine that we have come so far and to think about where we are going. But none of this could have been done without support of individuals who looked at this area and saw what it could be, once again,” said Carthan F. Currin III, Richmond’s Economic Development Director. “It is also important to remember that, though ‘Richmond’ is in the name of this project, Richmond CenterStage is a place for everyone from our neighboring counties and elsewhere to visit and enjoy. There is something for everyone here.”

In addition to the clock unveiling, CenterStage officials announced the Grand Opening lineup. The theme of the Grand Opening weekend is “Opening the Doors to Serious Fun,” and will include performances by each of the producing resident companies that will call the venue home:

§ African American Repertory Theatre: Poetry and readings celebrating the inspirational works of noted African American writer Langston Hughes;

§ Elegba Folklore Society: Mandiani, featuring performances of songs, music and dances celebrating the South African culture and traditions;

§ Richmond Ballet: Stoner Winslett’s Windows IV, with 38 dancers and an original score by Virginia composer Jonathan Romeo;

§ Richmond Jazz Society: “Generations of Jazz,” popular masterworks performed live by a quintet of notable Virginia jazz musicians;

§ Richmond Shakespeare: Songs and sonnets by William Shakespeare on the 400th anniversary year of their first publication, with the Richmond Symphony Orchestra;

§ Richmond Symphony: Bernstein’s overture from Candide and Dmitri Shostakovich’s Festive Overture, and live accompaniment from four groups: Richmond Ballet, Virginia Opera, Richmond Shakespeare and SPARC;

§ School of the Performing Arts in the Richmond Community, or SPARC: Excerpts from Les Misérables with SPARC students and alumni performing for the first time with the Richmond Symphony Orchestra;

§ Theatre IV – Barksdale: Fuente Ovejuna, with the Latin Ballet of Virginia, a 15th century work from the Golden Age of Spanish Theatre; and,

§ Virginia Opera: The cast of La Bohème performing excerpts from the most popular works in the operatic repertory.

The acts include more than 200 performers from the nine producing resident companies, with nearly 50 additional crew members. The groups are ethnically diverse, with performers who range in age from younger than 10 to nearly 90 years old.

“While CenterStage is going to draw some high-profile national acts, it is foremost the home of our local arts groups to express their diverse and creative performances,” said Managing Director of Richmond Ballet Keith Martin, who is directing the CenterStage Grand Opening performances. “This unprecedented collaboration is going to showcase the best that each art form has to offer. I cannot imagine a more appropriate way to celebrate such an incredible venue, a facility that will offer unlimited possibilities for Richmond’s future.”

The opening weekend will include to two identical productions. The first will be Saturday evening at 8:00 p.m. followed by a Sunday matinee at 2:00 p.m. Ticket prices range from $35 to $100, and will go on sale on July 1st through Ticketmaster.

For more information about CenterStage, please visit RichmondCenterStage.com.

###

Cultural Action Plan Released

2009-03-10T07:46:00.000-07:00

From today's front page of the Richmond Times Dispatch: www.tinyurl.com/aumypg

Read the whole report here: www.wolfbrown.com/richmond

New Blog Review of 'Amadeus"

2009-03-02T14:17:00.000-08:00

Check it out:

http://tinyurl.com/rsamadeus

STYLE review of Amadeus

2009-02-23T20:40:00.000-08:00

"Salieri’s conflict of faith is
fine food for conversation as part of
the Acts of Faith Festival."

"Hamilton captures the maddening,
childish charm of Mozart

through his impish giggle and teasing tones."

Mary Burrus, STYLEWeekly

Read the whole review here.

Two Sets of Auditions

2009-02-16T07:43:00.000-08:00

A MIDSUMMER NIGHT’S DREAM
Director: Andrew Hamm Saturday, February 21, 1pm., at Tabernacle Baptist Church, 1925 Grove Avenue. (at Meadow & Grove) Those auditioning should prepare a 1-minute monologue, and come prepared to move. Seeking women, aged 20-60, for the downtown season finale. Experience with Shakespeare required. Show runs at 2nd Presbyterian Church April 16-May10. Phone 804-232-4000 or E-mail info@richmondshakespeare.com for an appointment.

HENRY V (The History Cycle)
Director: James BondMonday & Tuesday, February 23 and 24, 6-9pm, at 2nd Presbyterian Church, 5 North Fifth Street. (A few steps up from Fifth & Main) Those auditioning should prepare a 1-2 minute monologue. Seeking men, aged 20+, for the summer festival opener. Rehearsals start April 27, and the show opens at Agecroft Hall June 12. Phone 804-232-4000 or E-mail info@richmondshakespeare.com for an appointment.

RICHMOND SHAKESPEARE REPLACES SEASON FINALE

2009-01-20T15:50:00.000-08:00

RICHMOND, VA, January 16, 2009 — Richmond Shakespeare announced on Friday that it will perform A Midsummer Night’s Dream as its season finale in place of the earlier planned production of Cymbeline.

“We decided to go with one of the Bard’s best-beloved comedies for our final production at Second Presbyterian Church, says Grant Mudge, artistic director for Richmond Shakespeare. “The Dream appeals to a larger audience because it speaks so readily to the heart. We all know what it means to get a little lost in the woods of love.”

Mudge continues, “We’ve never done a full run of Midsummer indoors, and the company was ‘blown away’ by the demand for last month’s staged reading,” dubbed Midsummer in December.
Andrew Hamm, associate artistic director says, “The beauty of Cymbeline is, unfortunately, overshadowed by the economic realities facing all of us, actors and audiences alike. It’s just not the time to explore the more obscure of Shakespeare’s plays.”

Traditionally Richmond Shakespeare performs A Midsummer Night’s Dream outdoors at Agecroft Hall during its summer Richmond Shakespeare Festival, about every four years. The company last performed the play in 2004 and 2005, respectively in Richmond and touring it as far west as Jackson Hole, Wyoming. The 2005 production featured Scott Wichmann and was broadcast on WCVE-TV PBS later that year.

Ticketholders for Cymbeline may use their tickets for A Midsummer Night’s Dream; exchange their tickets for Amadeus; or receive a full refund by contacting the company’s offices.

Peter Shaffer’s Amadeus, a Tony award winner for Best Play, opens February 12. The production is part of Richmond’s annual Acts of Faith festival, America’s largest faith-inspired theatre event. James Bond will direct.

Richmond Shakespeare’s downtown performances are located in the very Elizabethan-looking Chapel of Second Presbyterian Church, 5 North 5th Street. Regular season performances are held Thursday through Saturday at 8 p.m. and Sundays at 2:30 p.m. Tickets, $26 for adults, $15 for students and
$13 for children under 12, are on sale here or 1-866-227-3849 (1-866-BARD-TIX).

Dedicated to making the works of William Shakespeare and other playwrights accessible to all audiences, Richmond Shakespeare is a 501(c)(3) not-for-profit organization based in Richmond, Virginia. Richmond Shakespeare offers training, educational outreach and performance tours throughout the country. Richmond Shakespeare’s downtown season will move to CenterStage in October 2009. For more information, call (804) 232-4000.

Acts (and Flights) of Faith

2009-01-17T18:16:00.001-08:00

I'm listening to Garrison Keillor just now, who on "A Prairie Home Companion" is singing a song in tribute to the crew of the US Air flight that had to ditch into the Hudson River this week, and especially to its pilot Chesley Sullenberg. Keillor will be in Richmond tomorrow, to perform at the Modlin Center and I'll be attending.

I've been thinking about the astounding feat of that pilot and crew. Raised among aviation, the world of airports and aircraft has always been familiar and dear to me. My father Michael Mudge managed operations at JFK airport for TWA In the 1970's and just out of the Air Force, just a few miles south of LaGuardia, where "Sully's" flight took off. I loved visiting my Dad at the airport, fascinated by the smells and bustle, always mesmerized by the beauty of that old terminal, (now the home of JetBlue) and I was privileged to fly often. I still love flying, though I must admit to a moment of panic on every flight---at "throttle-back," when, having reached cruising speed, the plane's engines are slowed and the speed eases off a bit. You need less thrust to keep a plane in the air than to get it there. It's a moment that profoundly scares me. Every flight. But I still love the perspective from those heights.

I can imagine the panic of those passengers and crew. Amazingly, everyone survived. My father and I have a little fun phrase we use for bumpy or upsetting flights, which here is truer than ever: any flight you can walk away from is a good flight.

You've heard by now that once they were in the water, these folks didn't panic. I remember cynical "guides" to surviving crashes that advised, among other tactics, climbing over the backs of seats (and other passengers) to be first to exit. These passengers didn't fight to get out of that sinking plane—they helped each other. Maneuvering an airbus without power at any speed is impossible. Cruising speed is more than 500mph. Of course, without engines it would be moving more slowly. Still.

Pandemonium, surely, but when that plane stopped moving, calm and caring ruled the day—for women and children, for the elderly, for each other.

Apart from the inaugural, this is the seminal story of early 2009. I'm certain the new President will mention the water landing. Many have proclaimed it a miracle. Doubtless you've heard Mayor Bloomberg's phrase: "Miracle on the Hudson." One view I heard yesterday held that the miracle was a change in perspective. That a plane could be saved. That when we're in trouble Americans care for each other. That human beings do.

Whatever your politics, it's a shift in perspective you can't help but notice, of both recollection and renewal—not only in across our great nation, but right here in our community.

Last night, most of the theatre companies in Richmond gathered in the sanctuary of 2^nd Presbyterian Church and previewed the plays of Acts of Faith, a festival of faith-themed theatrical performance this year lasting between January 16 and March 31. Some 200 people gathered, representatives of more than a dozen faith communities and others just interested in great theatre and discussions related to the very heart of what makes us human. There were so many great performances, from the ladies of the African American Repertory Theatre, to Wolfgang Amadeus Mozart to the Altar Boyz—too many others to highlight, all terrific.

What connects these two stories for me is the sense renewed of collaborating with and caring for each other. In a spirit I've not seen since the days following 9/11: we care for one another, we're interested in one another. In a time of challenges great and small---this is a great sign for theatre---an art from that depicts human story more tangibly than any other. Whatever your religious faith---our faith in each other seems strengthening all the time.

Good flight, Sully. Good Faith, Richmond. Good luck, Mr. President-elect.

The Richmond Shakespeare entry for this year's Acts of Faith festival is Peter Shaffer's Tony Award-Winning play, Amadeus. Talk-back discussions are set for two Sundays: Feb 22 and March 1 after the matinee performances. Tickets are available here or by calling toll-free 1-866-BARD-TIX (227-3849).

Announcing the cast of "Amadeus"

2009-01-08T14:12:00.000-08:00

Antonio Salieri - Andrew Hamm
Wolfgang Amadeus Mozart - Mike Hamilton
Constanze Weber - Liz Blake
Emperor Joseph II - Cynde Liffick
Count Johann Killian Von Strack - Katie Ford
Count Franz Orsini-Rosenberg - Jamie Reese
Baron Gottfried Van Swieten - Joseph Sultani
Venticelli - Jake Allard and David Janosik

Richmond Shakespeare is proud to announce the cast of our next production, Peter Shaffer's modern masterpiece Amadeus, directed by James Alexander Bond. The company is a mix of veterans and newcomers, continuing our commitment to introducing Richmond's theatre scene to fresh talents and developing the artists we have with challenging pieces and roles.

Richmond Theatre Critics Circle Award nominees Andrew Hamm and Liz Blake share the stage for the fourth time (The Taming of the Shrew, Measure for Measure, and Hamlet previously), alongside longtime Richmond Shakes veteran Cynde Liffick (more shows than we can count). Three actors are making their second appearances for the company: Katie Ford (Hamlet), Jake Allard (As You Like It) and David Janosik (The Compleat Works of Wllm Shkspr, Abridged). Jamie Reese makes his memorized-role debut for the company, having appeared in December's staged reading of A Midsummer Night's Dream, and Mike Hamilton and Joseph Sultani once again remind us of how powerful an influence VCU's theatre department is on our local culture.

James Alexander Bond (as seen on Letterman) is directing his fifth production for Richmond Shakespeare, having orchestrated some of the most compelling work the company has ever produced: Julius Caesar, Henry IV Part 1, Measure for Measure, and Henry IV Part 2. He will be returning in the summer to direct Henry V, a unique opportunity for a director to tackle the entire Henriad. Costumes for the show will be designed and constructed by RTCC award-winning (As You Like It) designer Rebecca Cairns with Anne Hoskins.

Amadeus, by Peter Shaffer, will be performed by Richmond Shakespeare from February 12 - March 8 as part of the "Acts of Faith" Festival.

Stay tuned for updates and blogs!

Photo of the live billboard!

2009-01-04T18:05:00.000-08:00

Here's how the second of the four (4) billboard images looks from the road. Do send comments, gentle readers.

Did you see it during the day? Night? What do you think of the new bardhead? Send along some comments, folks, we'd love to hear them.

PS - Keep an eye on this blog for cast announcements in the next week on Amadeus, by Peter Shaffer----opening at 2nd Pres on FEB 12!

New Year, New Brand, New Billboard!

2008-12-29T09:26:00.000-08:00

As we get ready to welcome 2009, the year in which RS will move our downtown season to Richmond CenterStage, the company will also introduce a new look. It will begin in phases, the first of which is our new billboard!

If you're driving in Richmond, try the southbound lanes of I-195 (Powhite Parkway) between I-64 and Broad Street. You'll see a sequence of images like the one pictured here.

Be sure to drive the route a few times----there are four (4) fun images and you'll want to see them all. We'll post them here over the next month as well. Enjoy! And don't forget to pick up your tickets for Amadeus, our Acts of Faith entry for 2009. Performances begin February 12 at 2nd Presbyterian Church.

Happy New Year!

“Scrooge & Molly’s”

2008-12-22T08:01:00.001-08:00

Eleven years of A Christmas Carol for Two Actors came to a close yesterday afternoon, and I just wanted to post a little thank you, most especially to Molly Hood, and write a little bit about gift-giving. "A Christmas Carol for Two Actors" is a whirlwind show, very physical, and can be surprisingly draining emotionally. Molly is an outstanding actress, the most punctual I've ever met, detailed and organized, and a very dear friend. It's been a treat to have her back, and we had a blast on this abbreviated run.

Every single time I said "Marley's voice" or "Scrooge and Marley's" this time, I had to pronounce that "r" verrrry carefully. I'm absolutely certain the sign over the door of Scrooge's office more than once inadvertently read "Scrooge & Molly's!"

Many other thanks are due, from the terrific Richmond Shakespeare board, many of whom attended the show again, to Bryan and Jennifer, Andrew, Cynde, Julie, and James Sved, the most recent Building Manager at 2^nd Presbyterian Church. The Sextons at 2^nd Pres, too, have been marvelous help: Carey, Cliff and Nat embody service.

But there are so many of you who've come to see the show over the years, and so many new faces---it makes one want to express the same gratitude to all of you. "A Merry Christmas to everybody!" exclaims Scrooge, upon waking from his ordeal. "A Happy New Year to the World!"

What does it mean, to do this show, year after year? Well, perhaps most importantly, there are the magical children's faces. The show is ideal for about age 6 and upwards---or a sophisticated 5. Their wide eyes upon seeing Ebenezer Scrooge materialize for the first time are priceless. And I've written elsewhere about preparing the show each year. But somehow I forget that there are always new faces.

The other new faces, the adults, I forget to expect each year. I forget that "newbies" to the show, as they watch the performance, are just as much fun for the vets to observe as the show itself! Martha Cratchit, the fiddler, Dick Wilkins and the three "Miss Fezziwigs" are old hat to Scrooge, sure, but to the new audience member, they're every bit as silly, as wonderful and as heartfelt as they were when I first played them for my parents, in front of the fire, more than a dozen years ago now.

You may already know---it's our custom after each performance of "Carol" to take up a collection for CARITAS, a local collaboration of various faith organizations who provide shelter to the region's homeless—especially in the winter months. Several nights during the run, the box office took in more in donations to CARITAS than we did walkup ticket sales. They're a terrific organization, and truly do make a difference in the lives of the poor. If you would like to join those who gave at the performances, you can do so by following this link. Just click on "get involved," and "donate."

What started as a gift for just my parents and a few family and friends has evolved into something much larger than I ever imagined. And of course in all that giving, one realizes that the greatest reward comes to the giver.

Merry Christmas, Richmond. Thank you for my wonderful present.

-Grant Mudge

Midsummer in December!

2008-12-05T10:15:00.000-08:00

Richmond Shakespeare presents

Midsummer in December

A Midsummer Night's Dream

December 15, 2008

7:00 PM

The weather outside is frightful, but love and fairies are so delightful. Join us for a magical staged reading of the Bard's most beloved comedy, A Midsummer Night's Dream, featuring some of Richmond's most beloved theatre artists: Scott Wichmann, Jennifer Meharg, Audra Honaker, Joe Carlson, Harry Kollatz, Daryl Clark Phillips, David Janosik, Cynde Liffick, TJ Simmons, Liz Blake, Sarah Jamillah Johnson, Shanea Taylor, Julie Phillips, Frank Creasy and more!

Directed by Andrew Hamm, the show features music by Liz and Andrew, with Jake Allard on percussion. The pre-show music is a mix of Richmond Shakes' greatest hits from Midsummer, Hamlet, and The Tempest, as well as love songs from summer's acclaimed production of As You Like It. Come early or you'll miss it.

Monday, December 15, 2008 at 7:00 PM at Second Presbyterian Church (5 N. 5th Street). $15 Adults, $10 Students and Children. All proceeds benefit the Richmond Shakespeare Annual Fund.

James Bond on Letterman!

2008-11-15T15:17:00.000-08:00

James Alexander Bond, my dear friend and director of many Richmond Shakespeare hits, is going to be on David Letterman on Monday night!

He's reading the top ten list, which is James Bond-themed. Apparently, the producers called James Bonds in New York to audition on Friday, and James lives 10 blocks from the studio. Also his middle name starts with "A," so he wasthe first one in the phone book.

There exists the possibility that the producers will pull him at the table read, but the gig is currently his. Don't miss it!

Workshop canceled

2008-11-11T08:31:00.001-08:00

Due to circumstances beyond our control, the workshop for this evening has been canceled. We will try to reschedule it for later in the year. I apologize for any inconvenience.

Cheers,

Andrew

Richmond Shakespeare's November Workshop

2008-11-07T08:07:00.000-08:00

Dialects
(French and Scots)
with David Sennett
Tuesday, November 11, 7:00-9:30 PM

Offend men. Romance women. Or romance men. Offend women. Nothing says romance more than speaking with a French accent, and nothing puts people off quite like the Scots dialect. Learn both in just one evening! Come prepared to leave with a new relationship or a new bruise.

David Sennett, instructor for this workshop, has offended nearly everyone in nearly every dialect. Ever since high school, he has failed at romance, but he suspects that has more to do with his behavior than his accents.

20 students maximum, high school age and older. Cost: $20. Call 232-4000 to make your reservation today!

All classes and workshops are held at Second Presbyterian Church (5 N. 5th Street). Participants should bring a bottle of water and dress for moderate physical activity.

The reviews are in: "Hamlet" is a hit!

2008-10-27T15:32:00.000-07:00

Critics and audiences love Richmond Shakespeare's Hamlet.

Read what they're saying!

The Richmond Times-Dispatch's Susan Haubenstock calls it:

"...an intriguing "Hamlet"...

...Most striking is the choice to have Jeffrey Cole's Hamlet speak the "To be or not to be" soliloquy to Ophelia in the midst of love-play. This has a very different effect from that of the classic downstage delivery to the audience, and while surprising, it has a truly organic feel in the context of the scene. It seems like a late-night revelation from one lover to another, and as such it is thoroughly believable.

...Cole's Hamlet is an authentic punk, from his first sullen appearance in a moss-colored hoodie through the symphony of emotions he plays for us. The performance is always intense, but it is modulated throughout the three hours of the play so that we see the many authentic moods of a young man in mourning, in fury, in love."

Style Weekly's Mary Burruss praises

..."a Spartan version of the play, a version that will appeal to Shakespeare novices and die-hard purists alike.

...Jeff Cole as Hamlet does wonderful things with the words during the famous speeches (especially the “to be or not to be” speech), a gentle rolling quality. But the play is not so word-focused that it becomes dreary.

...The focus on words in the production heightens the action that much more. A brilliantly staged fight scene between Joe Carlson’s fiery Laertes and Hamlet snaps the audience to attention. Passini creates such realistic and electrifying swordplay in the tight audience-packed space that it caused gasps of amazement (and maybe some fear) from the audience. At one point I caught myself actually looking for blood from fictional nicks on actors’ flesh."

Richmond VA Theater blog's David Timberline raves:

"...Mr. Cole is princely without being ostentatious and his extreme emotions don’t seem to emerge from an outsized personality but from a well-meaning, loving son being compelled to vengeance and acts sure to wreck his life. It is a nicely contained but still compelling portrayal.

And his relationship with his Ophelia is heartbreaking.... It doesn’t hurt that Liz Blake plays Ophelia with such a sweet devotion to her prince.

...Richmond Shakespeare’s growing tradition of adding pre-show and intermission entertainment is a great addition to their performance philosophy.

...I cannot let it go without mentioning Timothy Saukiavicus’s powerhouse performance as Claudius. He is convincingly regal but has the self-aggrandizing pomp of a true politician and the slimy edge of someone willing to kill his own brother. I’ll be hoping to see Mr. S. in more local productions in the future."

WCVE Radio's John Porter concludes:

"One aspect of Hamlet which was especially nice was seeing the work of fight choreographer Vanessa Passini as she brought the duel between Joe Carlson's Laertes and Jeffrey Cole's Hamlet to a slow boil. The energy exuded by these two fine actors along with her choreography make the three of them individuals to watch for the future.

Richmond Shakepeare's production of Hamlet has obviously been produced with great love and devotion to the play. Th actors are poised, the direction is swift, otherwise the show could run long into the night, and the climactic moments pack the right punch. I would say that the company has gotten it off to a good start for what looks like a promising season."

Don't miss the show everyone is raving about. Get your tickets now!

The Play(ing)'s the Thing

2008-09-23T09:20:00.000-07:00

Catherine Bryne said something at Hamlet rehearsal last night that I think a lot of us are feeling: "I feel terrible saying this, but I didn’t realize how much I would enjoy playing this character."

You would expect that getting cast in a play with the reputation of Hamlet (um, okay, perhaps there’s only one play in that category) would bring a serious actor a lot of joy. But it seems that I’m not the only one around suffering from Paul Rudnick’s Disease (a serious psychological disorder characterized by an illogical, unnatural dislike or distaste for the greatest play in the history of blanket statements). Since writing the first-read-through post below, I have had several people whom I didn’t even know read blogs remark on how much they enjoyed reading it, how they have similar feelings about Hamlet.

It turns out that there are more than a couple of us with similar responses to the play, and especially to being part of it. I generally prefer tackling lesser-known works like Richard II and Measure for Measure, where the audience knows of the play more than they know it, and where the preconceptions are less likely to be obstacles for them to accept a bold acting or directing choice. (And we certainly made our share of those in Measure.) But Hamlet is more than a play, it's a fixture in the canon of world literature, it's scripture, it's pop culture. It's all those famous speeches and moments and scenes. And it's locked in the collective subconscious in a certain way: Gertrude is a certain way, Ophelia is a certain way, Hamlet is a certain way.

So it's a thrill to talk to Catherine, and to other actors, about the discoveries they're making with characters so deeply rooted in our cultural literature that they may as well be pure tropes. It's a delight to see some non-traditional casting (Prasad Tupe and Katie Ford's Rosincrance and Guildensterne) bear great fruit, and my favorite part of the night is when Jeff Cole and Liz Blake come rushing up to me individually or in a pair, thrilled to share what they've discovered about the extremely dynamic relationship they have developed between Hamlet and Ophelia. As for Horatio, well, let's just say that the "loyal friend" stereotype doesn't quite satisfy me as an actor, and that I'm working hard below the surface.

Strong, bold choices are growing all across the board, from 'Rick Gray (the Ghost), Margie Mills (Voltemand, etc.), Tim Sakiavicus (Claudius), and Jonathan Adams (Polonius), and the fight between Jeff and the wonderful Joe Carlson (Laertes) is looking fantastic even in early stages. Vanessa Passini's fight choreography is a wonderful mix of the urbane and desperate, and the actors have such a long stage to work on that it should be absolutely epic. Hamlet is shaping up to be unexpected and thrilling.

One actor asked me when I cast him in the show, "Andrew, are you sure I can do this?" I say to them all: Yes, you can. We can do this. We're doing it. As long as we treat this play like a play and not like a dusty, holy museum piece, we can do anything with it.

The NEA's "Artists in the Workforce" Study

2008-09-05T14:09:00.000-07:00

Kerry Hugins, our excellent bookkeeper and dear friend, sent me this report after a delightful lunch discussion today. It was released in June of this year, but I hadn't read it.

It is the National Endowment for the Arts' "Artists in the Workforce" study. Every American professional artist should read at least the Executive Summary. Click here for the full 150-page version.

I've copied the cover page, hoping it will entice you to read more:

June 12, 2008

Washington, DC -- Today, the National Endowment for the Arts (NEA) announces the release of Artists in the Workforce: 1990-2005, the first nationwide look at artists’ demographic and employment patterns in the 21st century. Artists in the Workforce analyzes working artist trends, gathering new statistics from the U.S. Census Bureau to provide a comprehensive overview of this workforce segment, its maturation over the past 30 years, along with detailed information on specific artist occupations.

“Artists now play a huge but mostly unrecognized role in the new American economy of the 21st century,” said NEA Chairman Dana Gioia. “This report shows how important American artists are to both our nation’s cultural vitality and economic prosperity of our communities.”

Numbering almost two million, artists are one of the largest classes of workers in the nation, only slightly smaller than the U.S. military’s active-duty and reserve personnel (2.2 million). Artists now represent 1.4 percent of the U.S. labor force. While Artists in the Workforce is not an economic impact study, it does report the average income of various artist categories. Based on those statistics, artists earn an aggregate income of approximately $70 billion annually. The study compares artists with the labor force in general, reporting on factors such as geographic distribution, racial, ethnic, and gender composition, employment status, age, and education level. Among the key findings:

Demographic trends

Between 1970 and 1990, the number of artists more than doubled, from 737,000 to 1.7 million – a much larger percentage gain than for the labor force as a whole. Between 1990 and 2005, the growth of artists slowed to a 16 percent rate, about the same as for the overall labor force.
Women remain underrepresented in several artist occupations. Men outnumber women in architecture, announcing, music, production, and photography. Women outnumber men in the fields of dance, design, and writing.
Like the larger labor force, the artist population is becoming more diverse. The proportion of Hispanic, Asian, and American Indian artists grew from about nine percent of artists in 1990 to almost 15 percent by 2005.

Geographic distribution

Opportunities for artistic employment are greater in metropolitan areas. More than one-fifth of all U.S. artists live in Los Angeles, New York, Chicago, Washington, and Boston. Half of all artists live in 30 metropolitan areas.
Unique regional concentrations emerge. New Mexico has the highest share of fine artists, Vermont has the highest proportion of writers, and Tennessee, the highest proportion of musicians.

Employment and income

Artists are entrepreneurial – 3.5 times more likely to be self-employed.
Artists are underemployed – one-third of artists work for only part of the year.
Artists generally earn less than workers with similar education levels. The median income from all sources in 2005 was $34,800 for artists, higher than the $30,100 median for the total labor force, and lower than the $43,200 for all professionals.

Education level

Artists are more educated. Artists are twice as likely to have a college degree as other U.S. workers.
The share of degree-holding artists rose between 1990 and 2005.
Among artist occupations with the highest educational attainment levels are architects, writers, and producers.

In addition, the report profiles 11 artist occupations, including actors; announcers; architects; art directors, fine artists and animators; dancers and choreographers; designers; entertainers and performers; musicians; photographers; producers and directors; writers and authors. Each occupation profile describes key characteristics such as median age and income, and includes data on employment sectors, such as non-profit, business, or self-employed. Artists in the Workforce also features 60 supporting tables with detailed information about artists by state, region, and metropolitan areas, gender, racial, and ethnic designations, and other categories.

“This report brings cohesion to a large, diverse, and important constituency served by the NEA,” said Sunil Iyengar, NEA Director of Research and Analysis. “It recognizes artists as a distinct and dynamic component of the total labor force.”

Artists in the Workforce assembled data from primary sources such as the U.S. Census Bureau’s 1990 and 2000 decennial censuses and the U.S. Census Bureau’s American Community Survey (ACS) averages for 2003-2005. This report is the first attempt to study artists by using ACS data. The study focuses on Americans who named an artist occupation as their primary job. It is estimated that 300,000 Americans have secondary employment as artists.

NEA Office of Research and Analysis
Artists in the Workforce is the latest offering from the NEA Office of Research and Analysis, which has conducted authoritative and comprehensive research on artist workforce patterns and other subjects for more than 30 years. The NEA Research Division issues periodic research reports and briefs on significant topics affecting artists and arts organizations. Artists in the Workforce and other reports are available in print and electronic form in the Research section of the NEA website, www.arts.gov.

I have not yet delved into anything deeper than the executive summary, but it's an eye-opening study, painting some very clear pictures of how far we've come--and how far we have yet to go. It also gives an interesting perspective on an angle we artists have yet to capitalize on in getting a stronger voice in community affairs, the angle that we are an irreplaceable part of the economy, both as service providers and consumers.

Lloyd Shockley

2008-09-04T07:17:00.000-07:00

Please see this post from Bruce Miller on the recent passing of Lloyd Shockley, on the Barksdale Theatre blog.

Lloyd was a friend, and a terrific actor. His many roles include two that are quite connected to Richmond Shakespeare just at the moment: Claudius in Hamlet opposite David Bridgewater (our Henry IV this past summer), directed by Gary Hopper, and McMurphy in One Flew Over the Cuckoo's Nest, in which our very own 'Hamlets', Jeff Cole and 'Rick Gray (son and father, respectively) will also appear later this year for Henley Street Theatre. Lloyd's "McMurphy" in the Barksdale 'Cuckoo' is indeed now the stuff of legend. Thanks to Bruce Miller for the post.

-------Good night, sweet prince,
And flights of angels sing thee to thy rest.

This is the Big One.

2008-09-02T12:21:00.000-07:00

It begins tonight with the first read-through.

Richmond Shakespeare begins our fourth season of the Richmond Shakespeare Theatre at Second Presbyterian Church with a little-known work called Hamlet, Prince of Denmark. A cast of eleven makes the largest ensemble we have yet assembled for our downtown space. It seemed only fitting to give this grand play an epic-sized (comparatively) cast.

I'm sure Grant, who's directing (his first time directing a Richmond Shakespeare production in three years), will have some very interesting perspectives on the show. I'm also sure they will be much smarter than mine. But I'm in the cast, and I'm going to write about that point of view.

My secret shame is that I've never been terribly crazy about this play. I have always preferred the antics of A Midsummer Night's Dream, the poet-politics of Richard II, and lately the raw passions of Measure for Measure. It's not exactly that there's anything wrong with Hamlet, it's just that other plays speak more to me. I'm more moved by King Lear's intensity and As You Like It's love-devotion than by Hamlet's inner struggle.

I think we all have an idea of what Hamlet is. It's "To be or not to be." It's "O, that this too, too solid flesh would melt" (also a Dream Theater lyric, by the way). It sure as heck is a bunch of "Words, words, words;" it's a long, long play. It's a guy in black with ruffles about his neck complaining and procrastinating. It's a play that could be over in ten minutes if Hamlet would just get up off his butt and do something, right? Take the Olivier picture here for example. This is just everything people who hate Hamlet hate about Hamlet.

I've acknowledged to myself recently that maybe this is the problem: I don't dislike Hamlet, I just don't love the idea of what I remember Hamlet to be. So I'm looking at it with fresh eyes as we begin this process, throwing my preconceptions aside, open to finding the wonder that the world has seen in this play for 400 years.

We're fortunate in this production to have a Hamlet named Jeff Cole to breathe his own kind of life into the role. Jeff is a dear friend of mine from years past, and he brings an openness and honesty to the role that I think we'll find refreshing in the shadow of our ideas of the play's awe-inspiring intellectual poetry. He's also a great guy and a blast to work with.

The late, great Dr. James Parker, who shared my passion for the History Plays, and in particular Richard II, once spoke to me of Hamlet. We were sitting in his cave-like office in the VCU Performing Arts Center discussing Shakespeare and musicals, and he intoned like a religious pronouncement: "Andrew, Hamlet isn't about procrastination. It's about waiting for the right moment."

Richmond Shakespeare is no longer waiting for the moment to produce Hamlet. We start tonight. And while I don't get to say any of the Dane's famous lines, I do get Horatio's gorgeous "Good night, sweet prince, And flights of angels sing thee to thy rest." No small peanuts. That would be the best last line ever if Fortinbras didn't walk in. Rewrite!

Richmond Mayor's Race '08

2008-08-29T12:16:00.000-07:00

Richmond Mayor’s Race Is On
Five mayoral hopefuls agree to candidate forum series.

The five men vying to become Richmond’s next mayor have agreed to engage in a three-part series of candidate forums kicking off Sept. 23.

The series, “Richmond Decision ’08,” is in response to the intense interest in this election by Richmond citizens, as well as many community groups, neighborhood associations and special-interest organizations.

The forums are produced by The League of Women Voters and Style Weekly, with the support of a diverse group of community organizations: Alliance for the Performing Arts, Arts Council of Richmond, Downtown Neighborhood Association, Homeward, OPUS, Partnership for Smarter Growth, Falls of the James Sierra Club, Venture Richmond and the Virginia Interfaith Center for Public Policy.

“Voters are eager to hear side-by-side discussions by the mayoral candidates on a broad range of significant issues facing the community,” Style Weekly Editor Jason Roop says. “This is an unprecedented opportunity for that discussion. Who will replace Mayor L. Douglas Wilder?”

Roop will moderate the series, during which a panel of three journalists representing a variety of local media will pose questions to the candidates. The format is designed to give each candidate a fair, engaging platform to present his views.

The three forums are scheduled as follows:

Forum I: The Future of Downtown Richmond, Sept. 23
The Renaissance Conference Center, 107 W. Broad St.
Topics to include development, revitalization, city services and the master plan.

Forum II: Living and Working in Richmond, Oct. 14
Virginia Historical Society, 428 N. Boulevard
Topics to include growth, safety, environmentalism, housing, health care and workforce issues.

Forum III: Arts, Culture and Education, Oct. 28
The Library of Virginia, 800 E. Broad St.
Topics to include the area’s arts and culture and Richmond Public Schools.

Each event begins with a reception at 5:30 p.m., with the candidate forum starting between 6 and 6:15. The program will run no longer than 8 p.m.
In addition, voter registration tables will be active at the event in order to increase citizen participation in the democratic process.

Forums are open to the public, although space is limited.

The panel for the Sept. 23 forum will consist of Edwin Slipek Jr., architecture critic and senior contributing editor at Style Weekly; Aaron Gilchrist, anchor at NBC 12; and Jimmy Barrett of WRVA’s “Richmond’s Morning News.”

The five candidates for mayor are:

• Paul Goldman is a former adviser and now frequent critic of Mayor L. Douglas Wilder. He was a key proponent and grassroots advocate of the city’s charter change to an elected-mayor form of government.

• Robert J. Grey Jr., former president of the American Bar Association, is a partner at the law firm Hunton & Williams. He’s also served as chairman of Mayor L. Douglas Wilder’s Committee on the Performing Arts.

• Dwight C. Jones, the pastor of First Baptist Church in South Richmond, is a Democratic state delegate for the 70th District in the General Assembly. He’s previously served as chairman of the Richmond School Board.

• William J. “Bill” Pantele is a private attorney who serves as City Council President, and has been a frequent voice in opposition to Mayor L. Douglas Wilder. He has represented the 2nd District on City Council for seven years.

• Lawrence E. Williams Sr., a previous candidate to represent the 6th District on City Council, owns his own architectural practice and has worked with several community development corporations.

Jason Roop
Editor
Style Weekly

1313 E. Main St., Suite 103
Richmond, VA 23219
(804) 358-0825, ext. 323
jason.roop@styleweekly.com

Performing an Old Contracting

2008-08-12T19:53:00.001-07:00

First, a quick congratulatory cheer for Jim Warren and Ralph Alan Cohen on the announcement of their winning the Governor's Award for the Arts. Truly well-deserved. Their work at the American Shakespeare Center is an inspiration to thousands, and to me. Below, you'll find my thoughts on Measure for Measure, playing at the Blackfriars Playhouse in Staunton, which would not exist but for the vision of Jim and Ralph -Grant Mudge.

...Went to the Blackfriars' last Sunday night and saw Measure for Measure performed by the resident company. They have really settled into terrific productions over the last two years and it's a treat to see them doing so well.

It was fun, too, to see the play with James Alexander Bond's Spring '08 Richmond Shakespeare Theatre production so freshly in mind. Just the lyrics of the play's primary song, for instance, brought Andrew Hamm's spelndid melody back so forcefully there were tears in my eyes. More on that in a minute.

This production was directed by Patrick Tucker, whose "Original Shakespeare Company" appeared several times at the Globe in London, and whom I had the pleasure of meeting at several conferences, including the Teaching Shakespeare Conference in Chicago in 1998. Also---David Hall, whom we had in to teach a class this past January on Sound and Rhythm in Performance (see pics and video post here), was a part of Tucker's 'original' company.

Patrick's work with cue scripts has been thoroughly interesting. The likely argument is that Shakespeare's company received only their own lines of a play---the whole text being too valuable and too time consuming to keep recopying for rehearsals. See Patrick's book: Secrets of Acting Shakespeare: the Original Approach.

With incredibly strong performers in the ASC's resident company (like John Harrell, Allison Glenzer--deliciously "Overdone" in her role--- Gregory Jon Phelps and Rene Thorton, Jr. to name a few) the rich language of Shakespeare is deliciously clear in this production. So too, with last year's Winter's Tale and Love's Labours Lost, both of which I enjoyed very much but the latter of which I adored.

(Sidenote, it was during that LLL last November that an infant gurgled aloud just before Berowne says "...and when Love speaks!" He looked up into the balcony toward the child and smiled--the audience laughed, and he finished the line: "the voice of all the Gods makes heaven drowsy with the harmony." Only in live theatre, and only when you can SEE the audience.)

This, in contrast to such empyrean sentiments, is as profane Measure as you're likely to see, even by the play's own ribald standards. True, it is about lechery, illegitimate pregnancy, the lust of an apparently virtuous man, pimps, prostitutes and ultimately imprisonment and death-by-beheading. Syphillis jokes, flatulence jokes, body part jokes, and bawds abound. So we're not really looking for loftiness. And apart from one erection joke that I could tell was hugely informative in rehearsal (but should have remained there), none of the bawdiness ran afoul of the play's, ahem, meatier matter.

And there it is. Amongst all of the tawdry bawdry, among all the intricacies of a convoluded plot (Angelo will never know he's sleeping with the wrong woman, it'll be dark!) is a perplexing leading character, Vincentio--the Duke of Vienna, who manipulates and manuevers everyone in the play toward one end or another. He places the strict conservative Angelo in power and "leaves town," then donning a Friar's habit to pass among his citizenry ostensibly to improve their morals in ways he can't as the Duke. We are left to guess at his motivations, and shake our heads at his outright cruelty to the novitiate nun, Isabella.

The Duke tells her that her brother is dead (I'll let you see the play to ascertain his truthfulness), but the manner in which he does it cannot be considered anything but cruel. Why, then?

As the Duke, Blackfriars' newcomer John Pasha is able to carry the play--it feels like the Duke is in every scene---and his strength of voice and presence are terrific. I wanted to see more vulnerability in him, but his choices were certainly valid on their own. But the question of what Shakespeare was getting at with the Duke comes down to two bits of text, and one's a song:

Duke:
He, who the sword of heaven will bear
Should be as holy as severe;
Pattern in himself to know,
Grace to stand, and virtue go;
More nor less to others paying
Than by self offences weighing.
Shame to him whose cruel striking
Kills for faults of his own liking!
Twice treble shame on Angelo,
To weed my vice and let his grow!
O, what may man within him hide,
Though angel on the outward side!
How many likeness made in crimes,
Making practice on the times,
To draw with idle spiders’ strings
Most pond’rous and substantial things!
Craft against vice I must apply:
With Angelo to-night shall lie
His old betrothed but despis’d:
So disguise shall, by the disguis’d,
Pay with falsehood false exacting,
And perform an old contracting. [Exit.]

This song pops up seemingly out of nowhere. It takes us into an act break, but scholars disagree about it. Some say it's Middleton, others argue "obvious" lacunal chunks. Personally I like the feeling of finality it gives to the first half but must acknowledge the weirdness of its verse structure.

In the ASC production, Pasha (as the Duke) really begins to sing. He has an enormous, Broadway voice, which he uses here to hint that the Duke might be a little mad. But the passage does still feel a bit out of place.

Which leads me to the core of it all. Are we to see the Duke as playwright? As puppeteer manipulating the strings of everyone onstage? Or do we see him through a kind of divine-right-of-kings lens in which he plays the role of God? Dressed as a holy man but always deciding things for his people, are we to think Shakespeare is angry at this God? That the Duke, for all his 'divine benevlence' is a venomous depiction of the cruelty of God? Shakespeare certainly knew the difficulty of pregnancy before wedlock. It's almost as if he is finally coming round to proclaim justice on his own actions:

The very mercy of the law cries out
Most audible, even from his proper tongue,'
An Angelo for Claudio, death for death!'
Haste still pays haste, and leisure answers leisure;
Like doth quit like, and MEASURE still FOR MEASURE.

In general I don't think we're meant to know. Ultimately, Shakespeare leaves it up to us to decide Isabella's choice at the end of the play, sisterhood or marriage, chastity or adult knowledge. Which moment you'll now have to see to ascertain. If you saw the RS production in Febraury, you know the choice our Isabella made.

Otherwise in the ASC production: Harrell is a delightful Lucio, one I'd like to have seen push his insolence with others even a little farther. But the performance recalls much of Harrell's great skill with words, always deliberate, always fun, and always crystal clear: from Holofernes to Camilo to Benedick and Tartuffe, (just to name a few that it's been my privilege to see) Harrell remains an excellent example of the kind of performer that would have drawn audiences back to the Blackfriars of 400 years past--over and again even as they do today. Wishing I'd seen his Volpone or Richard III. He'll try the supreme wordsmith monarch next with a different Richard: the Second.

James Keegan's Pompey reflects a versatile leading man who can ribbon his beard right along with the clowns and succeed in the task. It's not necessarily comic genius--while he IS funny, he just feels a little out of his element in the direct address comedy---but the strength of the fey Pompeii, the delightful character he's created we enjoy tremendously. I'm looking forward to his Lear.

Our own alum Stephen Lorne Williams (Prospero in the RSF Tempest in 2007) joined the ASC company this season and is a delightful and authentic Escalus. His trial scene of the bawd Pompey and the drunken fool Froth (a nicely convincing Alyssa Wilmoth) was simply a treat, very sweet and ringing completely true. Keegan coming to sit on his lap, nothing compared to Williams' embarrssed grin at the bizarreness of the situation.

I've been wanting to see Sarah Fallon ever since the Professional Theatre Training Program (PTTP) at the University of Delaware began inviting me up to audition their students. We've hired several actors from the school, all fabulous, and Ms. Fallon seems no exception. Her Isabella is at one and the same time somehow the hesitant novitiate in a sisterhood and a woman coming into the peak of her life's strength, vibrancy and adulthood. It's a fascinating portrayal, marked by her shattered visage upon arriving to see the Duke, to plead for justice, thinking her brother dead.

Word among the actors and staff is that the King Lear they're performing is truly outstanding. With Keegan in the title role, Williams as Gloucester, Glenzer and Fallon as Goneril and Regan, Phelps and Pasha as Edmund and Edgar and Harrell as the Fool, I can't wait.

RTCC Award Nominations Are Out!

2008-08-05T10:45:00.000-07:00

The first annual Richmond Theatre Critics Circle award nominations have been announced.

The award ceremony will be held on Sunday, October 19th at the Firehouse Theatre. Visit the Richmond VA Theater Blog for the full listing of nominees, but right here we're going to crow about Richmond Shakespeare's eight honorees!

Best Play
As You Like It (indoor), Richmond Shakespeare

Best Direction - Play
Andrew Hamm, As You Like It (indoor) (Richmond Shakespeare)
James Ricks, Richard II (Richmond Shakespeare)

Best Actor in a Supporting Role - Play
David Bridgewater, Henry IV, Part 2 (Richmond Shakespeare)
Joseph Anthony Carlson, Henry IV, Part 2 (Richmond Shakespeare)
Stephen Ryan, Richard II (Richmond Shakespeare)

Best Actress in a Supporting Role - Play
Liz Blake, Measure for Measure (Richmond Shakespeare)

Outstanding Achievement, Costume Design
Rebecca Cairns, As You Like It (indoor) (Richmond Shakespeare)

We're incredibly proud of all of our nominees, and would like to add our gratitude to the full casts and crews of all of our shows for the past year. No actor, director, or designer works alone; it takes an ensemble to create a play with a truly standout performance. Similarly, it takes a commitment to quality work the year round to empower an individual show or performer. You are all nominated.

Congratulations to all our friends and colleagues around Richmond who have been recognized. It truly is an honor to be nominated.

Our Humble Author Will Continue the Story...

2008-08-04T10:22:00.001-07:00

Our humble author "Will" continue the story....

During last night's final performance of RSF 2008, I found myself wondering not only how many closing performances I'd seen at Agecroft Hall, but how many I'd seen overall.

Richmond Shakespeare has just begun its 24th year, just concluded its 11th summertime festival, and after a brief rest, will gear up for our 4th season downtown at 2nd Presbyterian Church. August 1 marked the beginning of my 13th year with the organization, a fact which still surprises me.

In that time, while other activities have precluded my seeing all the performances, I've certainly witnessed the majority, somewhere in excess of 300 evenings in the unequaled beauty of Agecroft Hall's grounds and gardens, looking out over the James River. Night falls, the stars come out---last night one shot across the sky---it's truly one of the most special places on earth.

In fact, last night was one of the best of all, with a large and appreciative crowd out for the closing of Henry IV, Part Two. The weather was unseasonably mild, with a cooling breeze and crystal clear sky. Lower than average temperatures meant for a wonderful evening, and after the patrons finished their picnics and ambled on into the courtyard theatre, the cast gave them one heck of a performance.

It hadn't been an easy birth---Henry IV-2 is a complex play both in psychological and dramaturgical terms. Its Elizabethan jokes need careful preparation to be understood, its many scenes need vibrant stage electricity to keep the momentum flowing.

I can't possibly list what thrilled me about all the performances of this sixteen-member ensemble, led by our now frequent guest director James Alexander Bond----there are moments I will treasure from each and every actor in that company. To list just a few: Cynde Liffick's vomiting into her purse as "Doll Tearsheet" (Indeed, all 3 productions had vomit jokes this summer---what can we say? It's an elite art), Zach Arnold's deep focus as Bardolph, the ruddy-nosed compatriot to Daryl Clark Phillips' rich, deep and satisfying Falstaff, Suzanne Ankrum---our warrior turned summer bird, the wild rhythm and dance of the "Rumorettes," the silly combat (which I love) of the Eastcheap Tavern, and of course most especially, the final scene between Prince Hal and King Henry.

It began early in the run: actors, dressers, ushers, box office staff, board members, anyone working the show would draw close, inching nearer to the stage to listen to David Bridgewater and Phillip James Brown go at each other in one of the most compelling scenes in all of Shakespeare. It's an epic scene, and as intimate as any father-son argument. The language roared through the clouds each night, and each audience was pin-drop silent in the moment before father embraced heir and, after a moment, said "Oh, my son."

People called it breathtaking, fabulous, and even "one of those moments in the theatre when you feel privileged to have been allowed in the same room while it was going on." They were right. These two actors were simply amazing.

If you missed Henry IV, Part Two I feel sorry for you---it was an incredible experience. The good news is, there's a final episode in the saga, one that you needn't have seen the first two to understand, but if you have---your enjoyment will be all the more rich. We'll stage Henry V next summer, and Phil will be returning to finish this first tetralogy in Shakespeare's History Cycle.

So, whether you were in the audience, on the stage, behind it, taking tickets or hanging lights, distributing posters or pouring champagne, thank you for joining us for the Richmond Shakespeare Festival 2008---thousands of you---we look forward to seeing you this October for our indoor season kickoff, Hamlet, and of course back at Agecroft Hall as soon as summertime rolls back around.

Do keep in touch and e-mail me with your thoughts---I try to answer as many as possible; it's grant@richmondshakespeare.com.

Until then, the closing lines of last night's performance are freshly in my mind, as we think of returning to this story---we start rehearsals in less than a year----about 8 months:

I will lay odds, that, ere this year expire,
We bear our civil swords and native fire
As far as France. I heard a bird so sing,
Whose music, to my thinking, pleas’d the king.

Times-Dispatch: "Henry IV Part 2" is "another knockout production"

2008-07-20T05:58:00.000-07:00

From the Richmond Times-Dispatch:

Shakespeare troupe offers a fun time with Henry IV

Drama, comedy keep audience involved in Agecroft production

Sunday, Jul 20, 2008 - 12:08 AM

By SUSAN HAUBENSTOCK

SPECIAL CORRESPONDENT

If the staid Tudor presence of Agecroft Hall is too tame for you, check out the roller coaster they've installed.

It's called "Henry IV, Part 2," and it's another knockout production by Richmond Shakespeare Festival.

Having brought us the first two plays in the Henry IV story--"Richard II" and "Henry IV, Part 1" -- we're up to the 15th-century moment in which Henry is dying, worried to be leaving his kingdom to his wastrel son, Prince Hal.

Hal has been hanging out with the hilarious but shady Falstaff, though in Part 1 he stepped up and fought the rebels who sought to wrest England from Henry.

Part 2 veers between the high drama of the continuing political rebellion and the low comedy of Falstaff and the thieves and prostitutes in his orbit. It's a kind of emotional whiplash, and it's exceedingly fun.

The nominal leading roles -- Henry and Hal -- are not so large, though David Bridgewater's Henry has a marvelous scene late in the play.

As Henry berates his son, believing Hal is eager to become king himself, Bridgewater's face seems to take on the hollows of a dying man as he blasts Hal with the last gout of power left in him.

Phillip James Brown is back as Hal, and he doesn't have too much to do here, but he is powerful in the role. Happily, Daryl Clark Phillips returns as a bigger-than-life, rollicking Falstaff, whose version of a Shakespearean soliloquy is a worshipful discourse on his favorite booze.

And although all the secondary players speak beautifully under Melissa Carroll-Jackson's verse coaching, there are standouts. Cynde Liffick and Jacquie O'Connor are hysterical as Doll Tearsheet and Mistress Quickly, pursuers of Falstaff.

Joseph Anthony Carlson is scarily intense as the outlaw Pistol, and he steals focus as the revolting recruit Wart, while Brandon Crowder is breathtaking in the complete switches he makes between the three roles he plays.

Director James Alexander Bond manages this circus, using the stage masterfully and somehow making the emotional changes work. Once again, Rebecca Cairns, assisted by Ann Hoskins, has created rich and varied costumes, and Andrew Hamm provides a subtle musical backdrop.

Carlson did the excellent fight choreography -- and in case that's not physical enough, several cast members do an amazing all-tumbling pre-show.

Apparently Shakespeare thought his audiences couldn't take their history without a good dose of laughs. "Henry IV, Part 2" turns us all into satisfied groundlings.

Now Playing: "Henry IV, Part 2"

2008-07-17T09:28:00.000-07:00

Preview performances begin Thursday, July 17 for the latest installment in the History Cycle, Henry IV, Part 2, opening Saturday, July 19.

Beginning mere minutes after the events of Part 1 (performed last summer), the production features the returns of Phil Brown as Prince Hal and Daryl Clark Phillips as the incomparable Sir John Falstaff, and the addition of David Bridgewater as King Henry. The cast is a talented mix of Richmond Shakespeare Festival veterans and newcomers. It all happens under the direction of Master of Play James Alexander Bond, who has directed many of Richmond Shakespeare's best-received shows (Julius Caesar, Henry IV, Part 1, and Measure for Measure), and Master of Verse Melissa Carroll-Jackson, a remarkably gifted newcomer to the company.

Last summer's Part 1 may have been the most acclaimed production in Richmond Shakespeare's 23-year history, but you don't need to have seen the first part to appreciate the excitement, the hilarity, and the emotion of Part 2. It absolutely stands on its own, and is in fact even bawdier than its predecessor.

Performances are Thursday through Sunday nights at 8:00 through August 3. Visit our website or call 1-866-BARD-TIX for your tickets.

"Compleat Works" Returning for Encore Performance!

2008-07-17T08:56:00.000-07:00

The wacky trio responsible for the Richmond Shakespeare Festival's hit production of The Compleat Works of Wllm Shkspr (Abridged) are returning for a one-night-only encore performance on Wednesday, July 30 at 8:00 PM.

If you are one of the unfortunate people (including me) who came out on Compleat Works' closing night only to have the show rained out after only fifteen minutes of hilarity, this is your chance to come see the rest of the ridiculousness. Jeffry Clevenger, LaSean Pierre Greene, and David Janosik--and, of course, Bob--are all returning to reprise their roles.

Visit our website or call 1-866-BARD-TIX for tickets to this special event.

Style Weekly: "As You Like It" is "charming, funny, unique, and unexpected"

2008-07-12T18:47:00.000-07:00

From Style Weekly online:

The Dance Number Big Willie Didn’t See Coming

Even after a quarter century, Richmond Shakespeare keeps us guessing. Even if we already know who’s really a lady and who’s not.
by Katy Johnstone

“As You Like It,” Richmond Shakespeare’s most recent undertaking, is also its oldest.

Eleven years ago, the fledgling company cut into this play, already 400 years old, and have been fine-tuning it ever since. The play, one of Shakespeare’s most frequently performed comedies, has all of the ingredients of a great production: girls masquerading as boys, love triangles (and pentagons, quadrangles and other assorted geometric shapes), an abundance of physical comedy and witty dialogue.

And typical of Richmond Shakespeare’s unwillingness to present the conventional play, directors Andrew Hamm and Julie Phillips (who refer to themselves as the Masters of Play and of Verse, respectively) incorporate thoroughly modern bits into the works, anachronisms dating back as far back as May 2007. Here the cross-dressing comedy includes a large song-and-dance number near the end in which the cast bursts into an impromptu rendition of the “Soulja Boy” dance.

The actors, for the most part, handle their characters beautifully. Sunny LaRose’s Rosalind is strong and endearing, and works well with the love-struck fervor of Orlando (Patrick Bromley). She also has great chemistry with Julia Rigby, who plays her cousin Celia; their scenes are filled with girlish glee and are enjoyable to watch. And as in most of Shakespeare’s plays, the court clown delivers many of the best lines; Adam Mincks’ brilliantly funny Touchstone is definitely up to the job.

But it’s Liz Blake who steals the show. Her role as Amiens in the play’s first half allows her to show off her lovely, lilting singing voice -- this is only topped by her portrayal of the crass shepherdess Phebe, who falls madly in love with the cross-dressing Rosalind, in the second half.

The production is not flawless, though. With the exception of the wrestling scene near the opening, the first half becomes dry whenever Rosalind or Touchstone is not onstage. And while the production’s several musical numbers work well for Blake, LaRose and Bromley each struggle during their few sung lines.

But “As You Like It” is a charming, funny production that bears the unique, often unexpected flavor that Richmond Shakespeare has spent 23 years stewing.

Rainouts

2008-07-06T08:14:00.000-07:00

Last night just after intermission, the opening performance of "As You Like It" was rained out. It followed an initial pause due to lightning (closer than we'd like), during which the audience filed dutifully into the inner courtyard and lobby. We then resumed performing, but not ten minutes later the clouds opened: sprinkles turned into light rain, then became an actual, honest-to-goodness, can't deny it, plain old rain. I've seen stronger, but the stage manager's report listed it as "pouring rain;' it was enough to call the show for good.

I've often told people that there's no need to wonder at my mood in the summertime---just take a look at the weather. If we get more than light rain between about 8pm and 11pm any Thursday through Sunday evening, I'd tell them, you know I feel terrible.

With so much work going into both our performances and our audiences anticipation, picnic preparations and excitement at coming out to the Festival, it's always disappointing to get rained out.

But then I remember Robert Henry the fifth.

Robert Henry first started coming to the festival at two and a half years old, at a performance of Henry V, (of course) and has been out with his family to see each summer since. A few years back, during a rainout pause, when Robert Henry must have been about 6, he really wanted the show to go on. In Agecroft's inner courtyard, where the rainwater collects a bit toward the drain, he began a barefoot 'anti-rain' dance, chanting at the top of his lungs, "NO MORE RAIN, NO MORE RAIN."

There's an excitement to the crowd all moving together from the Courtyard Theatre, gathering in the lobby and drying off---then there's more coversation and socializing while our dedicated crew attacks the stage and dries it for the actors; we often use a blower to push the majority of rainwater off the seats.

If the weather arrives during pre-show activities, the Festival Young Company typically comes into the lobby to perform excerpts of Shakespeare for the patient guests. The FYC are high school performers, who stroll the grounds nightly between 7 and 8pm performing for picnickers. Their fantastic costumes are designed by the fabulous Julie Wilson.

So it's in that spirit that I approach rainouts---I watch our youngest patrons. They will long remember the time they came out to the Festival and had to come indoors as a blustery storm cell passed over; they'll remember seeing young people, not too much older than themselves, performing in the lobbies and courtyards.

And with a little luck, they'll remember fondly the performances they saw, which resumed after the weather.

-Grant Mudge

"As You Like It" has five more performances: tonight, and Thursday through Sunday of next week. Artistic Director Grant Mudge was the company's original Orlando in the 1997-1998 season, and appears this summer in our season finale, "Henry IV, Part Two."

Times-Dispatch: "You'll Like It"

2008-07-04T07:13:00.000-07:00

From the Richmond Times-Dispatch:

The Shakespeare play at Agecroft--you'll like it

BY SUSAN HAUBENSTOCK
SPECIAL CORRESPONDENT

Midsummer may be nearing, but the peak of the summer theater season at Agecroft Hall has just arrived.

In the lovely Tudor courtyard, Richmond Shakespeare Festival's reprise of "As You Like It" is a laugh-filled, updated take on the Bard's comedy.

It's a reprise in two ways: The company opened with this play 11 years ago, and it did a rollicking five-actor version this past spring. Those five actors have returned in this production, along with director Andrew Hamm. Nine additional merrymakers join them to create a show that is full of contemporary style and plays hard for every laugh.

Yet with all the liberties taken, Master of Verse Julie Phillips keeps a steady hand on the language, which she tunes to a lovely, understandable vernacular that loses none of its poetry.

Hamm, for his part, contributes pleasant musical accompaniment, plays the two-line role of Hymen, and infuses the proceedings with all the subtlety of a Judd Apatow film. There's a strong physical component, whether comedy or combat (or spitting), and an especially clever use of upstage plays-within-the-play that enact some of the major speeches while they are delivered.

The story has two pairs of embittered brothers, one pair of faithful cousins, a clown, a melancholy thinker, a wrestler, servants and shepherds, and a trip through the Forest of Arden, where lovers find each other and things come to a happy end.

In lovely Rebecca Cairns costumes, and with well-designed lighting by James David White (who illuminates the outdoor space with seeming effortlessness), the simple set is enriched by humans playing trees, and the cast is augmented by stuffed animals. (It was hard to ignore the lively chipmunk in one of the trees.)

All the performances are delightful, although Adam Minks' Le Beau could have been reined in a tad -- but his Touchstone is hilarious and just this side of outrageous.

Sunny LaRose is the gender-switching Rosalind and Patrick Bromley her adoring Orlando; they are both a treat to watch, as is Julia Rigby as Rosalind's loyal cousin Celia.

Danny Devlin is an engaging Oliver, Orlando's cruel older brother, and Jeffry Clevenger is endearing as the old servant Adam and amusing as the shepherd Corin. Michael Dunn and Dan Summey make regal dukes, and Liz Blake is riotous as the adoring shepherdess Phebe. In smaller roles, Jay Banks and Jennifer Vick make pleasing debuts, and Jake Allard steals focus and hearts as the lovesick shepherd Silvius.

Frank Creasy gives the most impressive performance in two roles. As Charles the wrestler, he goes all-out physically, with pro-wrestling costume and attitude; and as Jacques, the melancholy courtier, he goes all-out emotionally, describing the seven phases of life and musing that "all the world's a stage." If the world were indeed a stage, I would be pleased to see Creasy on it.

Now Playing: "As You Like It"

2008-07-03T07:01:00.000-07:00

Last night saw the first preview performance of the Richmond Shakespeare Festival's As You Like It. The show previews again tonight (Thursday) at 8:00, then opens officially on Saturday. It's an abbreviated run; just two previews and six performances, closing July 13, so don't miss it.

It's been a unique challenge and opportunity for Master of Verse Julie Phillips and I to restage a very successful production. Questions abounded: How many moments from the spring production do we duplicate? Do we change things just for the sake of changing them? What different perspective would Julie bring to a show that I had already seen through a complete production process and run? And how would the addition of nine new actors change what the play looks like and what it's about?

Well, Julie and I working together is never a problem. We co-directed Doctor Faustus in winter 2007, and had a long-standing mutual admiration society established before then. Julie has great ideas that I would never have thought of; she is the perfect example of how the two-headed directing process can work. Where I see physical choices, she sees verbal, and where I think something is funny that no one else ever possibly could, she reins me in. It's a great partnership; I never have more fun on the directing side of the table as when I'm working with Julie. And the new actors are a special bunch, five seasoned veterans and four apprentices to create the unforgettable characters which give As You Like It its texture and charm.

All five original actors have returned: Sunny LaRose's Rosalind, Patrick Bromley's Orlando, Julia Rigby's Celia, Frank Creasy's Jaques and Charles, and Adam Mincks's Touchstone and LeBeau all have a chance to live again, and to breathe a little more deeply now that the actors don't have to play all the other characters as well. The new actors have freely reinterpreted their roles: Dan Summey and Michael Dunn as the good and evil dukes, Liz Blake and Jake Allard as Phebe and Silvius, Jay Banks and Jennifer Vick as William and Audrey, Danny Devlin as Oliver and Sir Oliver Mar-Text, Cabell Neterer as Dennis, and Jeffry Clevenger as Adam and Corin all bring very different stuff to the table.

We've also added to the music. Jake Allard on drums and Todd Borden on bass round out the new Festival trio: Liz Blake and the Caliband. The play begins at 8:00, but the show starts at 7:30 with a preshow mini-concert and impromptu love poetry by Pat, Danny, and Adam.

Lighting designer J. David White has done a wonderful job establishing the beautiful dappled light of the forest of Arden, and Becky Cairns' and Annie Hoskins' costumes are a wonderful expansion of the already-gorgeous palate from spring. The trees are a personal favorite. Will Hankins and Agecroft's Richard Moxley have built some wonderful two-sided benches to delineate city from country. There are even a couple treats for Star Trek fans in there, as well.

What could be more charming than Shakespeare's most romantic play after a picnic on the grounds of Agecroft Hall? If you saw the show in April, you owe it to yourself to come out to the Richmond Shakespeare Festival for what we've been calling As You Like It 2: Like Harder!

What's a Preview? (For the first-time RSF patron, and for veterans who've wondered!)

2008-06-30T11:23:00.000-07:00

Each show needs a test audience....

The RSF opens the gates on two (2) special nights per summer show--only one in the fall-to-spring season--with reduced price tickets! While the artists are putting finishing touches on their work, they need an audience to complete the rehearsal process; after all, you're the key ingredient in everything we do. We joke about the sixth-man in our five-actor shows, but it's really true, the audience completes the performance.

With this expanded version of our downtwon season finale, "As You Like It" has increased to fourteen actors, so count yourself as the fifteenth man.

In a preview, the directors (Master of Play and Master of Verse, in RSF lingo), stage manager and designers still have the right to stop the show and fix an item, although they rarely do; they want the actors to really get a feel for the momentum of the show, of course. Similarly, if a costume or set piece isn't working, or could be damaged, the show could be briefly halted. In the festival history, it's only happened once or twice.

It's also a great opportunity for students of all ages to secure very affordable tickets to the summer festival, as well as see the show as it's coming together.

So, join us for a romantic evening under the stars at beautiful Agecroft Hall, and catch a sneak peek of "As You Like It" before anyone else! Look for July 2 and 3 on the tickets page of our website, and we'll see you out at the Festival!

"Unprecedented Feet"

2008-06-22T11:30:00.000-07:00

It's been six (6) years since last we produced The Compleat Wrks of Wllm Shakspr (Abridged), and lately I've been asking myself why we waited so long. True, those six years have been blindingly fast, but this is a show that our audiences and artists alike just both seem to love.

So I hope you're ready to laugh. Because the new production is just as funny as anything we've ever done. We've assembled a terrific team under the expert guidance of Matthew Ellis (Visiting us from the University of Oklahoma where he specializes in movement and clown work: if you missed his weeklong Clown intensive last week, you missed a tremendous exercise for actors and a hilarious final performance), but after two weeks of "Compleat Wrks," I wanted to share with the Blog readers how much fun the audiences at Agecroft Hall are having. ---Heck, so am I. Even during their rehearsals, one night I laughed so hard I could no longer see straight; the tears were rolling down my face.

You know the feeling---when your eyelids close so tightly they bend backward on themselves?

What an absolute delight.

Jeff Clevenger is an actor I've long wanted to bring to the Richmond Shakespeare stage and here he leads a cast of three in the astounding feat of this show: Perform the entirety of Shakespeare's plays in a single evening. David Janosik and LeSean Green bring a terrific comedic camaraderie to the group; thus far they seem to me to be having more fun than human beings should be allowed to have.

Of course, it's also very physical---that's hard work, nailing all these laughs. But they've really hit their stride: the last two nights have been large, near-capacity crowds and both have graced the trio with standing ovations. Bring a picnic, bring your stadium cushion, bring your kleenex, bring your friends, your co-workers, your kids.

The show runs tonight and for just four more performances: Thursday through Sunday next week. It must close June 29.

Next up: Andrew Hamm's expanded cast production of As You Like It takes the stage; you don't want to miss either one.

For longtime fans, here's a quick shot of our original production in 2002; the show performed both at Agecroft Hall and on a floating stage down on the Canal Walk.

The 2008 company has earned two great reviews for their delightful production. Scroll on down to read the perspectives of Ms. Haubenstock and Mr. Timberline.

See you all out at Agecroft Hall.

-Grant Mudge

Style Weekly: " 'Compleat Works' strips the Bard down to his funny bone"

2008-06-19T06:33:00.000-07:00

From Style Weekly:

Broad Comedy
Silliness is sublime in Richmond Shakespeare’s "Compleat Works."
by David Timberline

The best thing about “The Compleat Works of Wilm Shkspr (Abridged),” the giddily antic production kicking off this summer’s Richmond Shakespeare Festival, is that it takes nothing seriously, including its own concept. While the show purports to present all of the Bard’s plays in a scant two hours, it condenses all of the comedies into a single skit called “The Love Boat Goes to Verona,” tosses off the histories in a pantomime football game, and skips the tragedy “Coriolanus” entirely (the “anus” part proving too scandalous for one cast member).

But the remaining plays (mostly the tragedies) provide ample grist for comic mayhem, at least in the capable hands of this production’s three-man cast. Longtime Richmond favorite Jeffry Clevenger sets the irreverent tone, breezing through the gory “Titus Andronicus” (performed as a cooking show) and infusing “Hamlet” with hilariously overwrought diction.

He bickers with adolescent humor specialist David Janosik, who can’t seem to end a play without vomiting. LaSean Pierre Greene is the affable emcee of the evening, though his cohorts’ conflicts eventually reduce him to performing yo-yo tricks (quite well!) to fill dead time. You can tell these guys are good because they even manage to pull off an extended crowd-participation bit without completely killing the show’s momentum.

Amidst all the silliness, there’s actually real knowledge being served up (do you know what Shakespeare’s Apocrypha is? I didn’t) and some excellent acting on display (Janosik’s second-act soliloquy is splendid). Jennifer Dryden’s costumes — rife with Converse tennis shoes and silly hats — enhance every scene. “Compleat Works” strips the Bard down to his funny bone, with exceedingly entertaining results.

Times-Dispatch: "Compleat Works" is "loaded with laughs"

2008-06-17T05:33:00.000-07:00

From the Richmond Times-Dispatch:

Brevity is the soul of this troupe's wit

Saturday, Jun 14, 2008 - 12:08 AM Updated: 12:14 PM

By SUSAN HAUBENSTOCK

SPECIAL CORRESPONDENT

You might call it an amuse bouche. It's amusing, all right, and it's a little warm-up to Richmond Shakespeare's summer festival at Agecroft Hall.

It's "The Compleat Works of Wllm Shkspr (Abridged)," and it's loaded with laughs.

The 1987 comedy careens through the entire Shakespeare canon in an irreverent couple of hours, dismissing comedies and histories left and right to concentrate on the tragedies. Oh, and the sonnets are covered by having the audience pass around an index card.

Adam Long, Jess Borgeson and Daniel Singer wrote this hodgepodge, and though it may be a little dated (the rap version of "Othello" is very old-school), it's still hilarious. Three actors play themselves and most of the characters in the plays, with room left for improvisation and local color.

Matthew E. Ellis directs this production, with Jeffry Clevenger, LaSean Pierre Greene and David Janosik as the misguided actors who attempt this feat. Precise timing is as important for the combat scenes as for the jokes, and Ellis provides a good sense of fun and relentless pacing.

Each actor brings something special, too. Greene is the affable emcee, entertaining with yo-yo tricks before and after intermission, in addition to taking on roles ranging from the Nurse in "Romeo and Juliet" to Polonius in "Hamlet."

Clevenger is sort of in charge, wowing the audience with accents that range from a thick Scottish brogue for "Macbeth" to Laurence Olivier British.

And Janosik is the wild man who plays most of the girls in a motley assortment of wigs, then stuns with a low-key but moving rendition of the "What a piece of work is a man" soliloquy from "Hamlet." And he does a mean Christopher Walken, too.

Jennifer L. Dryden's costumes and James David White's lighting contribute much to the staging, and an array of silly props appears, from puppets to swords to the requisite asp for "Antony and Cleopatra."

There's a Julia Child-style cooking-show version of "Titus Andronicus" and a football version of the history plays.

The most extensive sendup is given to "Hamlet," which is done fast, faster and finally backward. "We don't have to do it justice," Clevenger reminds his colleagues; "we just have to do it."

Richmond Shakespeare's Summer Intensive - New Time and Tuition!

2008-05-19T14:43:00.000-07:00

"Clown Intensive "
with Matthew Ellis
June 16 - 20, 2008, 6:00-9:30 PM
$250

To accommodate the many parties who have expressed interest in this class but who could not make the daytime hours, we have moved the Clown Intensive into evenings. If you wanted to take this class but could not do it before, now is your chance!

Matthew Ellis, Professor of Movement at the University of Oklahoma and director of this summer's Richmond Shakespeare Festival production of The Compleat Works of Wllm Shkspr (Abridged), will teach a five day Clowning Intensive for Richmond Shakespeare's Training Department.

Matt says: “The clown is not just a circus performer or a birthday party attraction. The clown is the part of us that lives in a simpler place. Our inner clown is rife with problems to solve, and he or she solves those problems in a variety of ‘creative’ ways.”

The classes will focus on the discovery of that inner clown through a process developed by world renowned teacher Jacques LeCoq, taught to Matthew by the world famous clown Avner Eisenberg and master teacher Jonathan Becker. “You won’t learn how to ride a unicycle or how to walk in big shoes. This is an acting class that develops strong awareness and a powerful presence on stage. This work will improve all aspects of your performance, not just the slapstick comedy.” The workshop will consist of technique training and sketch development, culminating in a short show for the public on the final day.

The class is open to actors of advanced high school age and up. Participants should, as always, bring a bottle of water, a lunch, and be prepared to move. Some scholarships are available for interested participants with financial needs, and actors who have worked with Richmond Shakespeare in he past year are eligible for discounted tuition.

Email Andrew@richmondshakespeare.com or call him at 804-232-4000 for more information or to make a reservation.

Check out some images from Matthew's previous clown classes at the University of Oklahoma:

Richmond Shakespeare's May Workhop

2008-05-13T14:13:00.000-07:00

"Auditioning for Shakespeare"
with Daryl Clark Phillips
Tuesday, May 13, 2008, 7:00-9:30 PM
$20 to participate/ $10 to audit
at Second Presbyterian Church (5 N. 5th Street)

This workshop is designed to help actors develop focused and clearly understandable monologue material from Shakespeare’s plays. Actors are guided through the “how to” of finding a suitable selection from the plays, how to use the whole body of the play to create an environment which supports their delivery, and how to create an appropriate aesthetic distance and focus which can maximize their efforts. They are also guided through simple techniques for physical realization of the environment and tips on how the poetry in the language can aid them in the creative process.

Each participant must have a monologue either completely memorized or be VERY familiar with it with book in hand. High School seniors (seriously committed) and older. Previous experience performing Shakespeare is not important, just a love of the process. Actors should wear comfortable clothing in which they will feel free to get down on the floor, if needed.

Daryl has been a professional Actor, Singer, and Speech and Theatre Arts educator for 30 years. He has a B.A. in Speech, Communication and Theatre from Monmouth University and an M.S. in Speech and Oral Interpretation from Emerson College. The colleges, universities and private schools at which he has taught include: The Ranney School, Ocean County College, Northeastern University, Monmouth University and The University of Richmond. He was an Associate Artist at TheatreVirginia for many years and created the noted, “No Holds Bard” in-class teaching supplement program for TVA, which toured middle and high schools in Virginia for 10 years. Daryl is also a free-lance Theatre Arts and Voice, Articulation and Dialect Coach who has worked with actors and singers all across the country to prepare material for a wide range of audition situations. He currently lives in Richmond and teaches Theatre Arts at Prince George High School. He can be seen this summer in the Richmond Shakespeare Festival's production of Henry IV, Part 2, wherein he will reprise his critically acclaimed performance as Falstaff.

Email Andrew@richmondshakespeare.com or call him at 804-232-4000 for more information or to make a reservation.