Art and Theater and Life
A good weekend to be in either in St. Augustine, Fla., or Richmond, Va.


St. Augustine is the nation's oldest continually occupied, European-settled city (founded by the Spanish in 1565 (!)); and also near Florida's beckoning summer beaches. Thus, it is right and appropriate that my partner-in-art-for-life, Amie Oliver, and our friend, Ruth Bolduan, should have an exhibition titled "Drawing From History" opening there and that their work features the figure and often historical or classical settings. And you have almost the entire season to get down there to the Dow Museum and see the show.

Unlike Amie's and Ruth's work, the Firehouse Cabaret is in its last days. For members of the billion-eyed audience who think in terms of a 2 million number possible audience and a rotating cycle of bus tours, it's Richmond, and a smaller market, and we're a strained shoe-string non-profit. That all said:

Last Two Weekends! "The Firehouse Theatre Cabaret"

Better than Botox!*

Does The Firehouse Cabaret , directed by and starring Scott Wichmann, have magical properties? Can you actually leave this show looking years younger? Can you afford not to find out?!

Read the stellar reviews below and make up your own mind! (Then buy some tickets!)

"The sort of program Richmond can use more of." - Mary Burruss, Style Weekly, in her review, "Snacking on Actors".

and

"Firehouse Theatre Project Courts Controversy With Latest Production" - S.E. Parker's interview with staff and cast in RVA Magazine.

Quick! You've only got until next Saturday, (the 17th) to see for yourself what the hubbub is about - and be seriously entertained in the process.


*not verified by scientific means.

Actin' up: (top to bottom)Jude Fageas, Alia Bisharat, Lisa Kotula & Scott Wichmann Image by Jay Paul Photography

Special Events: See Firehouse Theatre Fire Ball auction winners Caroline Gottwald (Thursday, May 15) and Debbie Walton (Friday, May 15) onstage in The Cabaret!

Short on cash? No problem! Sunday, May 11 is "Pay What You Will" matinee day! Doors open at 3:30 for a 4 p.m. matinee. First come, first served!

Tickets & Showtimes:
General: $25, Seniors: $22.
Students $10 with valid ID. Click here to buy tickets online, or call the 24-hour ticket line at 1-800-595-4TIX (595-4849) Showtimes: 8:00 p.m. Thursdays - Saturdays. Sunday matinee at 4:00 p.m. Doors open a half-hour before showtime.

Readers Theatre is Back!

Readers Theatre, Tuesday, May 13th, 7:30 p.m. - Free. Kerrigan Sullivan directs John Tyler Community College students performing this scaled-back, staged reading of Baby with the Bathwater by playwright Christopher Durang.

Mother is a frustrated novelist; Father's an unemployed alcoholic; and Nanny's a warped Mary Poppins who gives Baby rattles of asbestos and Red Dye #2. Durang's wicked wit sheds light on our foibles and follies as no one else in theatre can.

Do You Know Where Your "UGG" Is?

Hey, we know times are tight, and you'd support us if you could. Fret no more, dear Firehouse friend - Ukrop's Golden Gift program is in full swing, and for the price of a postage stamp, you can support your favorite theatre.

Your UGG certificate is lolly-gagging around the foyer, or lurking in the home office, waiting to be useful, so help it find a home! Drop it in the mail by May 31 to:
Firehouse Theatre Project/UGG
1609 W. Broad Street
Richmond, VA 23220

Lazy friends? Rescue their UGG certificates from the recyle bin, and send them on, too! Thanks for your support!

About The Firehouse Theatre Project

The Firehouse Theatre Project, a non-profit theatre company, was founded in 1993 to present important contemporary American theatre pieces with an emphasis on plays not previously produced in the metropolitan Richmond area. The company, which is under the direction of Carol Piersol, Founding Artistic Director, is housed in the former Richmond Fire Station #10 at 1609 West Broad Street. For more information about the Firehouse Theatre Project's 2007/08 season, please call 804.355.2001 or visit the website.

Website: http://www.firehousetheatre.org

The Firehouse Theatre Project Stacie Birchett Public Relations and Marketing email: stacie@firehousetheatre.org phone: 804-355-2001

And this wonderful piece from a concerned journalist, via RVA Magazine in which it is revealed all the actors keep their clothes on. Fort this show, anyway.:

Firehouse Theatre Project: Cabaret - S.E. Parker

Firehouse Theatre Project Courts Controversy With Latest Production Actors Remain Fully Clothed in ‘Cabaret’ The fingernails of Founding Artistic Director Carol Piersol have seen better days. She's nervous, and despite her calm exterior, her hands betray her. "This is the most normal show we've done in years at the Firehouse," she says, over a cup of chamomile tea and a scone in a popular Fan District coffee house. The tea calms her nerves, she says, and the scone is a guilty pleasure. "I knew we might offend some patrons by doing this kind of show, but it was a risk I was willing to take. I think our audience can handle it." She's talking about The Firehouse Theatre Cabaret, an entertaining assemblage of ten-minute plays and songs, accompanied by jazz music that opened April 24th and runs through May 17th. Unlike the generally expected Firehouse plate of edgy, thought-provoking drama however, "The Cabaret" dishes up a night of pure, unadulterated pleasure. "There's absolutely nothing to think about afterwards," Piersol says, "and that might disappoint some long-time season-ticket holders. But I've seen

Carol

My colleague, comrade, and co-founder of the Firehouse Theatre Project, Carol Piersol, is among the 25 arts and cultural makers and creators as assessed by Style Weekly. I'm happy to say that I count a number of these folks as my acquaintances, and have seen, at one point or another, all of their work.

But Carol is the special one for me. Since Halloween Eve of 1992, when me, Bill Gordon, and Anna Senechal now Johnson, (and, to be honest, Jeff Clevenger who was there that first meeting and assisted with technical elements and acted in a slew of Firehouse shows), and we were soon thereafter joined by actors, director and writer Janet Wilson. We were founded on the cornerstone of Sanford Meisner and in as authentic an urban space as you can get: a century-old fire station.


Above is the Richmond Fire Department Station #10, circa 1944, future home of the Firehouse Theatre Project, 1609 W. Broad St. All buildings pictured remain though some in altered forms. The Firehouse lost its bell tower in the 1950s, deemed as unsafe by city building inspectors and removed. I think this was in response to Hurricane Hazel that roared through in October 1958 and took down some mighty church steeples. Wish we still had the tower though, we could've mounted a Klieg up there for our opening nights.

In the image below, you see the place in 2005, from the perspective of the wonderful Lowe's parking lot, where Firehouse patrons are allowed to park. That's architect William L. Bottomley's Stuart Circle Apartments building in the background. Go here, the down to the MAIR, and look in the 1600 block for a somewhat better view. I've always enjoyed how the housings and cupolas of its roof resemble an Italian hillside village.

On the left is the spire of Bethlehem Lutheran Church, which has an exquisite building. The metal facade of the Nationwide Insurance building obscures the pediment of what was an auto repair place, pictured above. 1607 W. Broad, on the other side, is the birthplace of Pleasant's Hardware, a Richmond commercial institution.



[That's Anna, foreground, in a recent production of A Body of Water, with the Company of Fools, in Hailey, Idaho, via their site.]

Carol and me are the remaining founders still associated with the theater and she's there just about every day. The Firehouse is her fourth child. And I was one of the midwives. The Firehouse and its turning 15 in 2008. That achievment is in no small measure a testimony to her role as he theater's artistic director. The FTP's steadfast commitment to producing contemporary theater pieces of the United States, encouraging and developing new work, and emphasizing the actor, is due to her clear vision of how the company should develop.

This gives me the opportunity to push our show opening on September 13, Noah Haidle's Mr. Marmalade. Its a twisted dark children's story that Shel Silverstein would appreciate. But it's not for children. Well, I guess that depends on your kid.

The cast features the incandescent Laine Satterfield, officious and brooding Andrew Boothby, wondrous Erin Thomas, the always excellent Larry Cook, and the surprising Billy Christopher Maupin.

Opening night may very well be sold out at this writing, but you've got until October 6 to see this wild play.

photo by Scott Elmquist

September 5, 2007

Sex, Drugs and High Ceilings

Carol Piersol
by Valley Haggard

In 1993, when Richmond city began to look for a new firehouse, Carol Piersol and several of her acting classmates jumped on the opportunity to create a theater space already outfitted with the requisite high ceilings. Thus, the Firehouse Theatre was born, and Piersol’s been the artistic director ever since.

Piersol, 55, had been in Richmond since 1985, and knew immediately that the theater company she wanted to form would be different from any other in the area. Since its inception, the Firehouse has produced only contemporary American plays that have never been brought to Richmond.

“We’ve never tried to do something for the masses,” Piersol says. “We only want plays that are thought-provoking, on the edge. Our audience is growing, and I think that’s because we’ve stuck with our mission.”

In addition to producing its own full season, offering acting classes, an annual playwriting contest and the musical Firehouse Cabaret, the Firehouse opens its doors to poetry, film, assorted festivals and other theater companies, including the Yellow House films and Just Poetry Slam!

“We try to partner with companies to keep our rent down because we know how hard it is to get started,” Piersol says, “and the city was so generous to help us.”

The Firehouse has gained the trust of Richmond audiences, Piersol says: “Its notoriety has changed from, ‘Oh, I don’t want to see the stuff that they do, it’s going to be that avant-garde, inaccessible stuff that I’m not interested in.’

“The audience understands now that cutting edge doesn’t mean it has no value or will be of interest to only a small group,” Piersol says. “It’s become legitimate. If we approach nudity, drugs and profanity it’s not done gratuitously or for shock value, it’s got value as part of the play. A play can be thought-provoking, profound and highly entertaining at the same time.”