The Widow's Blind Date
At the Firehouse Theatre -- November 13 - December 6, 2008




I missed the opening night last week -- something I don't often do; in the 16 years of the company I've not made it to the openings of six or so of our more than 60 productions. Anyway, I'm going this weekend. Any members of the billion-eyed audience within the range of my voice should try to make it, too -- be warned. This is an emotionally fraught play that packs a wallop. Not a light night at the theater.

Don't take my word for it. The review from the Times-Dispatch's Susan Haubenstock got saddled with a lackluster head and subhead, but once you get past that, she has some good observations. She writes:

"Horovitz's play is intense, dramatic and violent, and in director Bill Patton's production, the actors embody the shifting levels of threat, humor and sexuality with emotional and physical precision."

Read the whole thing here.

The playwright will be in town Dec. 5 for a talk-back session following the play.

The Widow’s Blind Date

by Israel Horovitz

The Story

(Photo by Jay Paul. Pictured are Ford Flannagan, Landon Nagel, and Jennifer Massey)

The scene is a wastepaper processing plant in a blue-collar Massachusetts town. Two workmen, Archie and George, are drinking beer and swapping stories, mostly about their apparently extensive sexual conquests. Archie mentions that Margy, a friend from high school and now a widow, has invited him to join her for a dinner. When she arrives to pick Archie up, the mood of the play shifts. Suddenly, the play’s original macho bantering takes on new and dangerous meanings. Margy will subtly set the two men against each other while gradually revealing her contempt for her former classmates, whose lives have remained in a rut, she says, while she went on to bigger and better things living in the big city. But this is only the beginning of Margy’s complaint…

“Mystery, menace, confrontation, violence, resolution - these are the phases of Israel Horovitz’s remarkably naturalistic play The Widow’s Blind Date.”
- NY Post

“...the playwright’s toughest, grittiest play.”
- Variety

Tickets

Individual - $25; Seniors - $22; Student - $10 with valid ID. Tickets may be purchased online at www.firehousetheatre.org, or by calling (804) 355-2001.

Showtimes

8:00 p.m. Thursdays - Saturdays; Sunday matinees 11/16, 11/23 and 11/30 at 4:00 p.m. Doors open a half-hour before showtime.

Special Events

(There were a bunch and I missed most of them).

Friday, November 21 - Talk Back Night - join Virginia Commonwealth University’s Dr. Tawnya Pettiford-Wates and The Conciliation Project, a social justice theatrical group, after the show for a discussion about the production.

Friday, December 5 - Talk Back Night - join playwright Israel Horovitz after the show for a discussion about the production.

The Playwright

One of America’s most celebrated dramatists, Israel Horovitz has written more than 50 produced plays, many of which have been translated and performed in more than 30 languages worldwide. Among his best-known plays are Line (which is now in its 33rd year of continuous performance at off-Broadway’s 13th Street Repertory Theatre), Park Your Car in Harvard Yard, The Primary English Class, The Widow’s Blind Date, The Indian Wants the Bronx for which he won the Obie Award for Best Play, and My Old Lady which ran on Broadway in 2002.

His 1982 film Author! Author!, starring Al Pacino, is a largely autobiographical account of a playwright dealing with the stress of having his play produced on Broadway while trying to raise a large family. Other Horovitz films include the award-winning Sunshine, co-written with Istvan Szabo (European Academy Award - Best Screenplay), 3 Weeks After Paradise (which he directed and in which he starred), James Dean, an award-winning biography of the actor, and The Strawberry Statement (Prix du Jury, Cannes Film festival, 1970), a movie adapted from a journalistic novel by James Simon Kunen that deals with the student political unrest of the 1960s.

He has won numerous awards for his work, including two Obies, the Drama Desk Award, The Sony Radio Academy Award, an Award in Literature from The American Academy of Arts and Letters, The Governor of Massachusetts’ Leadership Award, and many others.

Horovitz is the former artistic director of the Gloucester Stage Company in Gloucester, Massachusetts, which he founded in 1979. He founded The New York Playwrights Lab in 1975, and still serves as the NYPL’s Artistic Director.

Previously produced plays by Horovitz at Firehouse Theatre Project include: North Shore Fish, Lebensraum, Fast Hands, Compromise, The Secret of Mme Bonnard’s Bath, and Acrobats.

The Cast and Director

Bill Patton (Director)has directed eight shows for the Firehouse Theatre Project: Kingdom of Earth, The Heidi Chronicles, Speed-the-Plow, The Big Slam, Lebensraum, Buried Child, Edmond, Because He Can, and Death of Bessie Smith. The Firehouse was grateful and honored to have him back to perform in last season’s The Late Henry Moss. He also played the lead in Fast Hands. Patton holds an MFA in directing from New York University, an M.Th. in counseling from Duke University, and an M.Div. from Philadelphia Seminary. He served as the Artistic Director of the Force 13 Theater Co. in NYC and the Director-in-Residence at Southampton College in Long Island, New York. In 1976, he directed the acclaimed Off-Broadway production of Tennessee Williams’ Kingdom of Earth at the IRT Theater, and was honored by several visits from Williams, himself. Patton has also served as Executive Director of the Beaufort Marine Institute in South Carolina and has been a commercial fisherman in Alaska. His most recent academic position was as a professor at the College of Charleston, where he taught Acting and Theater History. He currently teaches acting classes at the Firehouse.

Ford Flannagan (George Ferguson) is making his first appearance with the Firehouse. Local credits include Barksdale Theatre’s productions of The Full Monty (Malcolm), Into the Woods (Narrator/Mysterious Man), Scapino (Carlo), and The 1940’s Radio Hour (Neal Tilden); Theatre IV’s productions of Crimes of the Heart (Barnette Lloyd), Of Mice and Men (George), DA (Charlie then), Four Part Harmony (Swen), and Peter Pan (Peter); Swift Creek Mill Playhouse’s productions of Greater Tuna (Arles, etc.) and Little Shop of Horrors (Seymour); and Theatre Virginia’s The Robber Bridegroom (Goat). Ford can also be seen in the Terrence Malick film, The New World and the HBO Mini Series, John Adams.

Jennifer Massey (Margy Burke) previously played all the female roles in Horovitz’s The Secret of Madame Bonnard’s Bath at the Firehouse. Other Firehouse credits include: The Vagina Monologues and Dinner with Friends. Local credits include Barksdale’s Intimate Apparel, The Fifth of July, and Light Up the Sky; and Richmond Ensemble Theatre’s Tally’s Folly. Regional stage
credits include performances with The Alliance Theatre (Atlanta); Flat Rock Playhouse (NC); for the new playwright’s project at Arena Stage (Washington, DC); and with the renowned Women’s Shakespeare Company (LA). In Los Angeles, she also performed with the Deaf, including numerous productions at acclaimed Deaf West Theatre. Television credits include principal roles on One Tree Hill, Surface, Hack, The Practice, 7th Heaven, Charmed, Melrose Place, and Married...with Children among others. Film credits include The Wedding Crashers ("uncorked edition"), End of the Spear, and the recently released Graduation. She appears locally in various commercials and as the host of Richmond’s Comcast Newsmakers program.

Landon Nagel (Archie Crisp) is making his Firehouse debut with this production. Local credits include Barksdale’s Guys and Dolls (Benny SouthStreet); TheatreVCU’s Cabaret (Cliff), When You Comin’ Back Red Ryder (Teddy), Medea (Jason), and A Funny thing Happened on the Way to the Forum (Pseudolus). Landon has been acting in the Richmond area for over ten years. He has performed with SPARC, Theatre IV, The Barksdale Theatre, Paramount’s Kings Dominion, and Spirit Cruise Lines on the Annabel Lee. Look for him next in Barksdale’s Children of a Lesser God.

I'm Not Dead, Just Dozing
The challenge of blogging when you're just too damn busy and tired and there's all this yammering election coverage

Image of yours truly, by Jay Paul, taken at Old City Hall, Richmond, Va. One of a series he made to get an "Author's Photo" for Richmond In Ragtime: Socialists, Suffragists, Sex and Murder. Jay came out on a wretched rainy afternoon about a month ago, almost on a moment's notice, and we got the image-making accomplished almost at the 11th minute. Praise Jay -- and technology.

Where I've Been

My intuition has alerted me that some members of the billion-eyed audience are restive and wonder what the hell I'm doing; the nerve of me to have a life and a job and stuff. Well, I know. Some Richmond bloggers have figured out a way to have something up every day, or at least refresh each week.

But I'm a laggard. A distracted laggard.

Occurred to me just today, that if I'd stopped watching cable news six months ago, I'd not be ignorant of much about the current political contest than I am now. That is to say, so much that passes for news is just idle speculation and chatter for chatter's sake. We didn't know who was going to win six months ago, and we still don't.

I would like to report that my cynicism pertaining to the U.S. electorate and that my distrust of the process and general disdain for the two-party system have been overswept by a tide of good feeling. But it's not the case.

Oh, I'm going to get up early on Tuesday and amble over to my p0lling place, because it is three blocks away, and I like to experience the majesty of democracy in action. But I'm not making any predictions, and feel as though something could go quite awry. That's just my own internal pessimist.

Meanwhile, I've Been Reading

I finished William Gibson's All Tomorrow's Parties and picked up Robet K. Massie's hulking but engrossing and detailed Dreadnought: Britain, Germany, And The Coming of the Great War. I'm working up to a kick-ass Nov. 11 posting, which, if you're a long-time listener, I reserve for ranting about the injustice and illogic of the First World War, and urge that it be stopped.

Today I learned, for example, that Bismarck had tiny hands and feet and a reedy voice.

And that's all I'm saying for now. I'll be back, don't panic. Well. Panic only slightly.

Happy Halloween. We're going to see the No BS Brass lead a crazy second line from Monroe Park to Hollywood Cemetery. May not do costume. Who's got the time?

Oh, finally. On this very eve of Hallowe'en, some 16 years ago, the Firehouse Theatre Project formed. No trick, but a treat.

EURYDICE OPENS THURSDAY SEPTEMBER 18, 2008!


The Firehouse Theatre Project presents Eurydice by Sarah Ruhl. Pictured: Laine Satterfield. Jay Paul photograph.

The play opens FTP's 2008-09 Season on Thursday, September 18, and runs through Saturday, October 11. Directed by Rusty Wilson and featuring Laine Satterfield as the titular character, Joe Inscoe as her Father, Chris Hester as her lover Orpheus, and Andy Boothby, Larry Cook, Lauren Cook, and Jenny Hundley as the chorus.

Eurydice ushers in the most unique and complex technical elements ever seen at The Firehouse, including pools of water and rain, as executed by set/lighting designers Phil Hayes and Rich Mason.

Director Rusty Wilson previously directed last season's Mr. Marmalade by Noah Haidle, featuring Laine Satterfield, Andy Boothby (Richmond Theatre Critics Circle Award Nominee - Best Actor, Play), and Larry Cook. Joe Inscoe was last seen on the Firehouse stage in Curse of the Starving Class by Sam Shepard. Chris Hester (RTCC Award Nominee - Best Supporting Actor, Musical) starred in last summer's hit production of Reefer Madness: The Musical by Dan Studney and Kevin Murphy.

Pictured: Joe Inscoe (left) and Laine Satterfield. Jay Paul photograph.

Tickets: Individual - $25; Seniors - $22; Student - $10 with valid ID. Tickets may be purchased online at www.firehousetheatre.org, or by calling the 24-hour ticket line at 1-800-595-4TIX (595-4849).

Showtimes: 8:00 p.m. Thursdays - Saturdays; Sunday matinees 9/28 and 10/5 at 4:00 p.m. Doors open a half-hour before showtime.


Cast and Crew

Andrew C. Boothby (Big Stone) was seen last season as Mr. Marmalade in the FTP production of Mr. Marmalade. Since moving to Richmond in 1991, he has appeared on many of the stages around town, including performances in The Constant Wife and the world premieres of Money Matters and Turn of the Screw at Barksdale, ‘Twas the Night Before Christmas (twice!) and A Christmas Carol (thrice!) at Theatre IV, and A Few Good Men and Lend Me a Tenor at Swift Creek Mill. Andrew is a graduate of Shenandoah College and Conservatory of Music in Winchester, Virginia, and is a member of the Screen Actors Guild. He is thrilled to be back at the Firehouse and to be a member of this cast.

Larry Cook (Man, Lord of the Underworld) was last seen at the Firehouse as Larry in Mr. Marmalade. Prior to that, he was a part of the ensemble of the first Firehouse Theatre Cabaret. Some of Larry’s favorite roles include Bernard Kersal in The Constant Wife, Sir Evelyn Oakleigh in Anything Goes, Beverly Carleton in The Man Who Came To Dinner, Johnny Cantone in The 1940’s Radio Hour and Brad Majors in The Rocky Horror Show at the Barksdale Theatre. Audiences may also remember Larry as Bill in Lobby Hero at Theatre Gym, Harold Hill in The Music Man at Theatre IV, Sky Masterson in Guys and Dolls, Smudge in Forever Plaid, and Bill Snibson in Me and My Girl at Swift Creek Mill Theatre. Larry is so excited to “play” with some of his favorite people and to share the stage with his wife Lauren (Loud Stone) again.

Chris Hester (Orpheus) is a local Richmond actor and singer. He hails from North Carolina, where he received his degree in the arts from Duke University. Since coming to Richmond and getting back into theater, Chris has been featured in a number of shows over the past 2 years. Most recently, Chris played Jack/Jesus in Firehouse Theater Project’s production of Reefer Madness, for which he has been nominated by the Richmond Theater Critics Circle for Best Supporting Actor in a Musical. Prior to this, he produced and developed his own one-man show, Stages: The Defining Phases on One Man’s Life, which debuted at the newly renovated Henrico Theater in April. Other local credits include, Donner/Prancer in The Eight: Reindeer Monologues, Richard Loeb in the musical Thrill Me, and Ty Williamson in Sordid Lives – all with the Richmond Triangle Players. He also had the chance to play Billy Bigelow in Carousel, with the Theater Company at Fort Lee. Chris is a veteran of many professional, community, and college productions in his native state of North Carolina. Some of his most memorable roles include the Leading Player in Pippin, King Arthur in Camelot, and Nicely-Nicely Jonson in Guys and Dolls. In his “real life,” Chris is a Senior Information Technology Manager at Capital One Financial Corporation. Thanks to Rusty for an amazing rehearsal experience – a true joy, experiment, and adventure – and the rest of his Eurydice cohorts for being so welcoming. Let the music play.

Joe Inscoe (Father) is celebrating his 30th year as a professional actor. During that span, he has performed roles in most of Richmond’s theaters, as well as some in D.C. and Los Angeles (two world premieres). He has also done many roles in television and film, including work with screen luminaries Jodie Foster, James Earl Jones, Andy Griffith, Gwyneth Paltrow, Christopher Plummer, Colin Farrell, Geena Davis, George C. Scott, Pierce Brosnan, Liam Neeson, James Woods, Sharon Stone, and Martin Lawrence – not to mention Lassie, Johnny Cochran, a Blue Man, two of the Desperate Housewives, and one of their on-screen sons. For two years he was a regular on Showtime’s critically acclaimed series, Lincs. Until now, he’s been able to say, “I’m not a teacher, but I’ve played some on TV.” This fall, however, he will actually be teaching acting at the University of Richmond as Artist in Residence. His last role for Firehouse was as a dreadfully abusive father in Curse of the Starving Class. Now, as Eurydice’s father, his parenting skills should appear considerably more refined.

Jenny Hundley (Little Stone) Jenny is thrilled to be working with such a talented group of folks! She received her BFA (1986) and MFA (2005) from Theatre VCU and has been performing, directing, and teaching locally for over 25 years. Jenny’s previous work at the Firehouse has been as a director for Anton in Show Business, Red, Hot and 10, and The Firehouse Cabaret (2004). Her favorite acting projects include The Kathy and Mo Show, Vagina Monologues, and Five Women Wearing the Same Dress. Love and hugs to Paul, Will, and Lydia for their constant support and to her father, Bill Jones, who is the best daddy in the whole wide world! Cheers to all the “Daddy’s Girls” – Eurydice isn’t the only one!

Lauren Leinhaas-Cook (Loud Stone) made her Richmond theatre debut in 1982 as one of Major General Stanley’s daughters in Barksdale’s The Pirates of Penzance and has since appeared in over 30 productions at Barksdale Theatre, Theatre IV, Swift Creek Mill Theatre, Dogwood Dell and others. Favorite roles include Helen in And A Nightingale Sang…, Mother in Ragtime, Elieri in A Child’s Christmas in Wales, Vera in Stepping Out, The Witch in Into the Woods, Phyllis in Follies, Rosa Bud in The Mystery of Edwin Drood, Kay in The Taffetas, Daughter in Quilters, Lady Angela in Patience, Peep Bo in The Mikado, and Adriana in The Comedy of Errors. Lauren is delighted to make her first appearance on the Firehouse stage with so many dear friends, including her darling husband, Larry. Many thanks to Matt and Sam for letting mom and dad “play” together!

Laine Satterfield (Eurydice) has performed in, taught, choreographed, and created theatre both nationally and internationally. Recent Richmond roles include Lucy in Mr. Marmalade (Firehouse Theatre Project), Ellen in The Little Dog Laughed, Marie-Louise in The Constant Wife (Barksdale), Vagina Monologues (Firehouse), and Lady MacBeth in MacBeth (Richmond Shakespeare). Other favorite roles include Principal in Book of the Dead (The Public Theatre, NYC), Paulina in Death and the Maiden, Elena in Uncle Vanya, Molly Ivors in James Joyces’ the Dead, Ariel in The Tempest, Beth in Dinner with Friends, Shelley in Buried Child (Company of Fools, Idaho), Morgan Le Faye in Morgana (Teatro Proskenion, Italy, Denmark – original solo show), Anna in Peter and the Wolf (Lincoln Center, NYC), Juliet in Romeo and Juliet (A Cry of Players, NYC), Bride/Raven in Where Ravens Rule: a theatrical response to Bosnia (Edinburgh Fringe First award winner), Cordelia in Lear’s Daughters (New York Fringe Festival), Dame Ellen Terry in An Actor’s Nightmare (Women’s Work Festival, NYC), and others. She holds a BFA from Tisch School of the Arts at NYU and has trained at the University of Eurasian Theatre (with Eugenio Barba and Odin Teatret), Yoshi Oida, Stella Adler Conservatory, Carnegie-Mellon University, and the University College of London (dramaturgy - Shakespeare and modern British). She currently teaches acting for SPARC and has taught at New York University, Stella Adler Conservatory, Aquila University in Italy, Virginia Governor’s School for Arts and Humanities, Company of Fools in Idaho, Artspower, and various workshops in the states and abroad. She is a member of Actors’ Equity Association.

Rusty Wilson (Director) has been a working director, teacher, and actor for the past twenty-seven years and currently heads the theatre program at St. Christopher’s School. He also served as the founding artistic director for Company of Fools, Idaho’s leading professional theatre, from 1992-2004. Favorite directing credits during this time include The Tempest, Waiting for Godot, James Joyce’s The Dead, Uncle Vanya, How I Learned To Drive, Death and the Maiden, Eleemosynary, Danny and the Deep Blue Sea, and The Glass Menagerie to name a few. Recent Richmond directing credits include Where’s My Money and Mr. Marmalade for the Firehouse Theatre and Macbeth for Richmond Shakespeare. Rusty is a graduate of the SUNY, College at Purchase Professional Actor Training Program.

Sharon Gregory (Stage Manager) is happy to be returning to the Firehouse after a short stint working professionally in New York City. Favorite NY credits include Feast of 2012 for the NY International Fringe Festival ’07, Dreams of Home for Monarch Theatre Company, Welcome to New Jersey and The Littlest Light on the Christmas Tree for Vital Children’s Theatre, and the KNF Play Reading Festival. Previous Firehouse credits include As Bees in Honey Drown, Bat Boy the Musical, Reckless, Volume of Smoke, Where’s My Money, and Dinner with Friends. Other Richmond credits include The Syringa Tree and Jesus Hopped the A Train at Theatre IV/Barksdale, Long Day’s Journey into Night with Essential Theatre Company; A Midsummer Night’s Dream, Romeo & Juliet, and Macbeth for Richmond Shakespeare, numerous productions with the Carpenter Science Theatre Company, and she just finished serving as Assistant Production Manager for the 2008 Summer Festival of the Arts season at Dogwood Dell. She would like to thank Rusty for this opportunity to work together again as well as the Firehouse staff for hiring her back!

Amy Wight (Producer) is excited to be producing her 13th play for the Firehouse Theatre! Although her truest passion is singing, she has been involved in theatre for many years in a variety of capacities, from acting and singing, to set design and construction, to producing. Although primarily fond of producing, Amy has also appeared on stage, singing for a few Firehouse fundraisers (Hair, Red, Hot, and Ten, Firehouse Cabaret, & Hearts on Fire). Favorite Firehouse producing credits include As Bees in Honey Drown, The Last Five Years, I Am My Own Wife, The Secret of Mme. Bonnard’s Bath, Spinning Into Butter, and The Late Henry Moss. Amy wishes to thank her fiancé John for his constant support and enthusiastic encouragement.

Tad Burrell (Technical Director) Tad’s past Firehouse credits include Sound Engineer for The Heidi Chronicles and The Firehouse Cabaret, Set Designer for Kingdom of Earth and Reckless, Technical Director and Master Set Carpenter for I Am My Own Wife, This is Our Youth, Reckless, Volume of Smoke, The Last Five Years, Where’s My Money?, The Goat, Or Who Is Sylvia?, Birth, Compromise, and Dinner with Friends, as well as Sound Designer for Where’s My Money?, Birth, and This is Our Youth.

Bryan Harris (Sound Designer) has sound design and composition credits that include The Secret of Mme. Bonnard’s Bath, Reckless, and Kingdom of Earth for the Firehouse Theatre Project and Richmond Shakespeare Festival productions of Much Ado About Nothing and The Tempest. Bryan has also served the FTP as musical director of Bat Boy: The Musical, Hair: In Concert, and Hedwig and the Angry Inch. In his regular life, Bryan teaches guitar at James River High School, and would like to thank Jen, Frodo, and Sam for their unwavering support.

Rich Mason (Lighting Designer) is happy to be working with Firehouse Theatre Project for the very first time. Rich is a graduate of Theatre VCU and a veteran scenic and lighting designer in the Richmond area. Rich recently moved back to the area from New York City where he was Head of Design & Production for the Horace Mann School and 2nd Stages Coordinator for Adelphi University. For the past six summers, Rich has traveled to Traverse City, Michigan, working as Faculty Instructor and Scenic Designer for Interlochen Center for the Arts Summer Camp. There he has designed such shows as Guys & Dolls, Jekyll & Hyde, Rags, and The Laramie Project.

Phil Hayes (Scenic Designer) is thrilled to be designing for the Firehouse for the first time and working with Rusty. Currently he finished his Master’s degree in Scene Design/Technical Theatre from VCU last May. He has also been the Assistant Technical Director for the Department of Theatre and Dance at the University of Richmond for the past 5 years. He has had the opportunity to travel to Russia as an Assistant Technical Director to many theatres in the cities of Samara, St. Petersburg, and Saratov. Along with being a Technical Director, Phil has been in numerous movies and television show either as an actor, stuntman, or special effects technician. His latest design was for Barksdale’s production of Doubt: A Parable, which opened in February.

Samantha Kittle (Properties Mistress/Co-Costume Designer) is pleased to be working on another great Firehouse production. She has a degree in Theatre Studies and Women’s Studies from Guilford College and plans to attend VCU’s School of Social Work next year.

Special Events: Thursday, September 18 - Opening Night Reception - provided after the show by Bacchus. Friday, September 19 - Talk Back Night - join the director, cast, and designers after the show for a discussion about the production. Thursday, September 25 - Wine Tasting - Doors open at 7:00 for a special wine tasting provided by Strawberry Street Vineyard. Show starts at 8:00 p.m.

THE STORY


On the day Eurydice is to marry her true love Orpheus, a tragic misstep sends her plummeting to the surreal depths of the Underworld. Memories are forbidden in this world of the dead, but an unexpected reunion with her father vividly awakens Eurydice's mind with the love she felt in Life.

When Orpheus braves the gates of hell to find her, Eurydice must painfully decide
whether to remain with her father or return to her Earthly love. A modern tale of loss and love, Eurydice is the classic myth of Orpheus retold from the heroine's point of view, abounding with surprising plot twists and quirky humor.

"Like all fine poems, songs, and paintings, it's a love letter to the world...a magical play...among the most moving moments I can remember seeing on a stage...you may find yourself taken to heights of emotion that theater too rarely achieves..." -The New York Times

"...wild flights of the imagination, some deeply affecting passages, and beautiful imagery provide transporting pleasures." -Variety

"...exhilarating...we enter a surreal world, as lush and limpid as a dream, where both author and audience swim in the magical and thrilling flow of the unconscious." -The New Yorker

THE PLAYWRIGHT

Playwright Sarah Ruhl studied under Paula Vogel at Brown University (A.B.,
1997; M.F.A., 2001), did graduate work at Pembroke College, Oxford, and currently lives in New York.

Ruhl gained widespread recognition for her play The Clean House, which won the prestigious Susan Smith Blackburn Prize in 2004. It was a Pulitzer Prize finalist in 2005.

Eurydice recently finished an extended run at New York's Second Stage Theatre. Prior to that it, had seen stagings at Yale Rep, Berkley Rep, and Circle X Theatre Company. Ruhl is also known for her Passion Play cycle that opened at Washington's Arena Stage in 2005.
Her play Dead Man's Cell Phone recently finished an extended run at New York's Playwrights Horizons theater in a production starring Mary-Louise Parker. It premiered at Washington D.C.'s Woolly Mammoth Theatre Company in 2007. Other Plays include Orlando, Late: A Cowboy Song, and Demeter in the City.

In September, 2006, Ruhl won a MacArthur Fellowship. The announcement of that award described her as "a playwright creating vivid and adventurous theatrical works that poignantly juxtapose the mundane aspects of daily life with mythic themes of love and war."


THE 'SARAH RUHL FESTIVAL' A PARTNERSHIP WITH
THE BARKSDALE THEATRE

"I'm so thrilled and honored to be part of this festival. I confess that when I started writing plays I never imagined that there would be a festival with my moniker on it. I love the ethos of a theater town in which different companies collaborate on one large project together, and the goal of low ticket prices with great regional actors is dear to my heart. Eurydice and Clean House and Dead Man's Cell Phone are in a way linked as a cycle of plays in which I'm dealing with different versions of the afterlife. Thanks for having my plays to Richmond; I'm thrilled to be done in different theaters and a fire house." - Sarah Ruhl

Eurydice is part of the Sarah Ruhl Festival, a partnership between the Firehouse Theatre and the Barksdale Theatre. The Barksdale will present Ruhl's The Clean House starting September 26, 2008 and running through November 2. This wildly funny play takes a whimsical and poignant look at class, comedy and the true nature of love.

The Firehouse offers Barksdale season subscribers and any individual who sees both shows $5 off its regular $25 ticket price for Eurydice. Likewise, The Barksdale Theatre is offering Firehouse Theatre season suscribers and any individual who sees both shows discounted tickets of $25 ($13 off regular ticket prices) for The Clean House.

Call the Firehouse box office at 804-355-2001 and the Barksdale box office at 804-282-2620 to purchase tickets, and mention the Sarah Ruhl Festival to receive the discount.

SARAH RUHL FESTIVAL EVENTS

Eurydice - a Firehouse Theatre production
September 18 - October 11
at The Firehouse Theatre

The Clean House - a Barksdale Theatre production
September 26 - November 2
at Barksdale Theatre (Willow Lawn)

Post Show Talk-Back
September 19
Open discussion with director and cast members of Eurydice immediately following the 8 pm performance at the Firehouse Theatre

Bifocals Theatre Project
September 26, 11 am
Discussion of Contemporary Women Playwrights: Sara Ruhl, Lynn Nottage, Lisa Kron - moderated by Barksdale Artistic Director Bruce Miller at Barksdale Theatre (Willow Lawn)

Film Offering - Black Orpheus
Sundays, October 5 & 12, 7 pm
A 1959 film based on the Greek legend of Orpheus and Eurydice provided by Yellowhouse Films at the Firehouse Theatre. $3 cover charge

Dead Man's Cell Phone
Monday, October 6, 8 pm
A reading featuring cast members from Eurydice and The Clean House, directed by Jase Smith
Invited guests to include VCU, UR drama students, all theatre artists at Barksdale Theatre (Willow Lawn)

Coffee & Conversations
Tuesday, October 14, 9:30 am
Discussion with cast members/directors from Eurydice and The Clean House - moderator TBA at Barksdale Theatre

ACTING CLASS with actor/director BILL PATTON

Starts October 2008 - Saturday Mornings
Get in on the act through theater training provided by esteemed actor/director Bill Patton. Bill will be directing his 10th Firehouse Theatre production this fall with the opening of Israel Horovitz's The Widow's Blind Date on November 13. Bill starred in two recent Firehouse productions, Fast Hands and The Late Henry Moss, and has been a judge for our Festival of New American Plays since its inception. This year, he takes on a new role as director of the winning scripts. Many students have gone on to feature in Firehouse productions. This will be our 16th session - come join the fun!

Dates: This session begins Saturday, October 4, 2008 and runs through Saturday, November 22, 2008. Classes are held on Saturday mornings from 10 a.m. - noon, upstairs at the Firehouse Theatre. Students will perform a showcase of scenes at 7 p.m. on Sunday, November 23, with a rehearsal the same day from 4-6 p.m.

Instructor: Bill Patton, actor/director.
Cost: New students, $160, returning students, $120 for an eight-week session.
For more information and to enroll: Call 804-355-2001 ext. 4 or register online here!


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 or its regular season, please call 804.355.2001 or visit the website.

Firehouse Theatre Project
1609 West Broad Street
Richmond, VA 23220
804-355-2001

Signs of The Times
An object lesson on the Avenue


The horse representing Robert E. Lee's Traveller, of the Lee statue on Monument
Avenue, peering off the pedestal, via David Rencher at lumis.com.


Dear billion-eyed audience:

I'm just busy. And drugged.

Yesterday spent bulk of afternoon in specialist dental chair and then again this morning, and now on a course of painkillers and penicillin. Up to three in the a.m. killing my lovelies in Ragtime In Richmond. Tonight, a board meeting at the Firehouse Theater, then home for more finessing, eradicating and revising. Rewriting is writing. I keep telling myself.

I'm also behind at the office on numerous things, and kind of woozy headed. I have a root canal in my future, and an "implant." Not that kind. But in my upper jaw. A tooth that is not a tooth.

But this I want to share.

So it's past four in the afternoon, and I'm bustling across loverly Monument Avenue, that I'm fortunate to traverse perhaps two or three times a day, and , and I hear the click clock of high heels on sidewalk pavement; these are not Sunday heels, these are I'm Sexy On Tuesday heels.

I assume this, of course, as my attention gravitates across the green median of the urbane boulevard as I'm walking, and there she is, a blonde with a bounteous pony tail, a silky green baring blouse, lithe arms, black pants and strappy pumps, also black. She is preparing to enter an apartment house. A hostess at a restaurant, perhaps, or going to a party, I'm not sure, but as I am watching her progress, she veers away from the steps and makes a deliberate negotiation into the scruffy grass in front of the first floor balcony where, as I see for the first time, a McCain-Palin sign has been thrust.

Our Girl, with an annoyed twist of her mouth, yanks the political advertisement out of the ground, and her elbows bent in that angry way, she pushes through the apartments front door as though intending to slap the sign over the head of whoever is in there.

Now, I realize, this scene is getting enacted across the country and I surmise, perhaps, that the other guys got a few signs pulled up and tossed away in just this way, somewhere else in the City of Richmond this afternoon. Statistical chances are good in that way.

But for me, the pleasure of hearing those 4 o'Clock Heels on the sidewalk, and her expression and the decisiveness with which she carried out her removal of the message that irritated her, was yet another reason why I enjoy walking where I'm going whenever I can.

Now forgive me, I have much to do and not much time. Back in a couple days.

Will it be the same ole thing, or The West Wing?
"Yes We Can"... do what?

Image of the cast, via West Wing, summary of "Shibboleth" episode here.

"Senators Barack Obama and Joseph R. Biden Jr. in Springfield, Ill., Saturday." via The Caucus, New York Times political blog, here.

Billion-eyed audience, I realize that The West Wing was just a television show, and political porn for us trapped in the reign of George II, but I was addicted and loved it for most of the run--at least long as Aaron Sorkin was writing until his own deviltries and frailities unseated him. And it was OK after that, with some major gaffes (that whole thing with Leo in Cuba and the spy mission --echhh) and the series ending with a Hispanic elected as President. H'mmm. How unlikely did that seem?

I got hooked on the series during reruns on Bravo and brought up to speed. I even liked the West Wing ads...you see an empty office until Donna jumps up, "A-hah!" Or the announcer, underscoring the multiple times the show ran, repeating. "The West Wing...The West Wing...The West Wing," with some kind of funny tag line, I think about a copy machine, delivered by Josh.

So forgive me if, when watching some of these scenes of BHL and JRB and the attendant families and dignatorial functionaries in flag-draped scenes among clamoring crowds, that I get an attenuated form of cultural vertigo--that feeling you may know from when the elevator tops but you feel as though it is still moving. This is not just a campaign. This the Best West Wing Episode Ever.

I thought it interesting how in a slip of the tongue, Obama almost introduced Biden as the next President of the United States, and Biden referred to his running mate as "Barack America," like a spoken word poet, or, a superhero. Or perhaps both. And that Biden came out of the gate "literally" (as he so often said yesterday) running was fun to see. (I had a PBR to drink from each time he said "folks" and my guess is one of his media people told him to lay off the phrase--so I had just two sips by that word).

"Damn It Jim, I'm A Politician, Not An Actor."

You can tell Obama is tired. He didn't sell his lines quite right. His statement, "Joe Biden will give some real straight talk to America" was kind of a throwaway when the emphasis should've been on "some real straight talk" and that would've been a more direct jab at McCain. But, having made a few score curtain speeches, I know how difficult remembering all your notes can be, especially if you don't want some bright piece of paper distracting the audience's attention. Then again, he's a politician, not an actor.

I recall how years ago--when Tim Kaine was a Richmond City Councilman, and not even mayor, the Firehouse invited him to participate in a fund raiser and he accepted. Tim is one of the primary reasons there is a Firehouse today. Anyway, I wrote the show that had this Laugh-In style Advent Calendar-esque door opening-and-closing-quip-tossing scene. At the time, radio personality Jim Jacobs was broadcasting on WRVA here, and rather popular.

As written, Jacobs popped his head out and set up a joke, to which Tim replied, "Damn it Jim, I'm a lawyer, not an actor!" My little nod to Star Trek. OK. So Tim comes to me and asks if he can change the line to "politician" not an actor. Not only was this line alteration funnier, as it proved, but accurate. Tim then had his sights on the next thing, and as so happened he's gone a considerable distance.

The Climax of Climaxes So Far

The climax of climaxes of the Obama Experience thus far will be the stadium-sized acceptance speech. Seems to me this is an idea Sorkin might've had in some West Wing variant, and rejected due to the implausibility. When BHC came down here last year and his nervy staff had to hide art work at Plant Zero for fear of sending the wrong message (another West Wing-esque moment), I couldn't have anticipated where his candidacy would go.

I will say this: all politicians fail to live up to expectations. The younger, first-time voters may learn this the hard way. Also, placing too much faith in anybody running for office is a one-way ticket to Disappointment Junction. Even if the wellspring of a candidate's motivation is of the most pure and idealistic, the way to the highest level of governance is a chutes and ladders game of moral and ethical deviations and compromise. Also, there is something fundamentally wrong with anybody who wants the job of President of the United States. The massive ego and a certain level of arrogance required to endure an inhumane and over-long campaign and a constant assault on one's character and personal history means the possession of almost superhuman levels of confidence.

An Ambivalent Cynic

And, further, to place one's full faith in any leader--temporal or spiritual-- is dangerous. To think that any one person can undertake an overhaul of such a vast maelstrom of corruption as the government at Washington and do so without, to borrow a phrase, massive resistance, is foolish. To paraphrase Twain, our world is either governed by well-intentioned mediocrities or malicious idiots. I tend to think there is a bountiful combination of the two.

And that we have all these sitting senators running--does this not indicate some kind of rift in the Millionaire's Club that is the Senate? This reflects, too, the split in the country. And if we had a functioning non-money-special-interest polluted political system, a parliamentary style--not this show biz thing we have now--there'd be more voices and greater choices. And I'm not going to get started about the electoral college and manipulated voting and how we are today a corporatist nation. That elections today are about as profound as an "American Idol" and with fewer voters. Call me and ambivalent cynic. Hell, I voted for John Anderson in my first time out, and once even for Ross Perot.

In conversation this weekend with a neighbor, he told of how a friend who was accused of being a "liberal" once too often finally snapped, "I'm not a liberal, I'm a radical. I don't think any of it works." Or, as acquaintance of mine from years ago remarked, shrugging, "Why vote? It just encourages them."

"What Do We Do Now?"

Well, I don't think any of it works. I mean, not really. So much of what passes for action is just momentum. And voting encourages a misplaced hopefulness -- yet I vote whenever I get the chance. The real politics happens in your civic associations, community gardens, your theaters, and neighborhoods, on your front stoop. When the power goes out and the InterTubes crash, you're left with the people living to around you. That's where the solutions get worked out, and what has the most affect on you.

Some in the billion-eyed audience may be familiar with the 1972 film The Candidate, featuring Robert Redford, as a young vital politician who goes through a rigorous campaign that at times barely acknowledges his existence, and in the end, victorious and arms raised, he says through his smile, "What do we do now?" Read more here.

And here is just one reason why I liked that show so much; the crackling dialogue, the tangled situations--Sorkin and Thomas Schlamme-- the cinematic lighting and camera, and the great doors. West Wing had awesome doors.

"Well, Here I Am, Anyway."

Hot Child In The City / Runnin' Wild And Lookin' Pretty


If you are late to the billion-eyed audience, you may not know that these two women, displaying the classic Greek tragedy/comedy duality, represent -- well, here at the Blue Raccoon, anyway -- the arrival of First Friday High Art Hike throughout midtown Richmond. And the ladies will enjoy the summery evening, suitable for their abbreviated dress. It's gonna be a scorcher this weekend.

If you know the story behind the above image, please repeat along. This was taken, and not by me, at an opening several years ago at the vanished Three Miles Gallery and that this space, and an adjacent one, is now the busy Tarrant's Café.

Tonight's gonna be a busy one.

You need to check out Squirrel-O-Rama at the 1708 Gallery featuring the combined talents of the Squirrely Girls. [Image from the exhibition]

The mad cap creatives include James Busby [a Girl, but not a girl], Melanie Christian, Sandra Luckett, and Katie Shaw Sweeney. All attended Virginia Commonwealth University's School of the Arts.

Something for everyone is promised, including music and a campfire, which you may not need tonight, but maybe they'll have marshmallows. With this group, it's bound to be arty and enjoyable and even, dare I say so? Provocative. Here's an indication of what you may expect:

"Several years ago in graduate school The Squirrelly Girls decided to create an outlet from all the heaviness of art and actually use art for enjoyment but remaining focused on their work. Melanie Christian and Sandra Luckett took it upon themselves to throw in some fun and stage a mock wedding celebration between the two. One afternoon the school closed down for an aqua color themed fake wedding with Sally Bowring presiding over the vows. Everyone in the room had to be dressed in the color Aqua. The next event was an Orange Rave in the elevator of the School of Fine Arts. The next event was a miniature winter parade down Broad Street where each Squirrelly Girl construed ‘Mardi Gras’ like winter floats."

There's also a new bi-weekly arts and entertainment publication hereabouts, Live Canvas Mag. The outfit trumpets itself with the great pride: "No opinion. No politics. No BS." OK fine.

But the calendar needs to be updated; the Firehouse Cabaret isn't up at the Firehouse Theater anymore...it's Reefer Madness! Which I saw last night, and it's exuberant, crazy, man, crazy fun.

Years ago, I vowed that the Firehouse, of which I'm a co-founder and a former president, would never produce musicals. Which goes to show that one should never say never. But that was before such strange delights came along as Batboy: The Musical, Hedwig and the Angry Inch and The Last Five Years, among others --and we've done all of them, in addition to our cabarets.

I love watching the singing and dancing excitement explode all over the stage, and into the audience and throughout the place.

Like Batboy!: The Musical, which uses the framework of Greek tragedy to tell an absurd story that's actually affecting, the sort of dramatic scarecrow that Reefer Madness clothes is Shakespearean, that is, Romeo and Juliet -- and zombie movies.

Director Jase Smith understands that in the world of the production, Reefer Madness is a high school anti-drug play that gives license for uptight kids to let loose their ids and their libidinal energies. So the play isn't camp so much as just gosh darn funny because for most of the time, it's played straight-faced with earnestness. At least that's what I think. Or I could be high.

Matt Beyer, as the Lecturer, is the serious center around which the hurly burly hummer muggery swirls. He also assumes several rolls and wears a mean pair of ram's horns.

I don't know if Mike Rieman (Jimmy) and Jacquelynn Camden (Mary Lane) studied Mickey Rooney and Judy Garland movies, but they play it as if they did. Camden reminds me of a cross between Cheri Oteri and Ellen Greene.

The titian-haired Kimberly Jones-Clark gets one of the show's meatier roles--and has one of its better voices-- as the drug house moll Mae whose addiction to the weed keeps her in a violent and co-dependent relationship with Jack (Chris Hester) who is a hissable evil pusher and a hipster Jesus (with a noticeable Mondrian tattoo on his right shoulder--reflecting the many parts and multi-hued characters of the Son of Man and Jack?). [Image via Whimsyspeaks.com]

But two of my favorite characters were the Placard Girls, Caylyn Temple and Jackie Prater. I loved'em. They come up to the podium and in stereo highlight the moral teachings of the play with their cards. If I'd seen the show a week ago, like I'd thought I would, I would've hired them to come along as my Historyettes for the Kollatz Does Richmond tour tomorrow.

I attended this performance in the accompaniment of an orchestra from the arts support group OPUS. These are swell folks, and much better looking than me. I sat in the "Reefer Den" which is an assortment of couches where you can eat munchies while you down your adult beverage. I enjoy a show that is just perfect for the space, and happy that the Firehouse is there to provide the stage.

After the show, I got to ride a River City Rickshaw twice on my way, first, to the Metro Grill and then to the New York Deli. Fun to clap my hands and shout, "Rickshaw!" Closest you can get in Richmond to hailing a cab. That's arriving in eco-friendly style.

Finally, as though the mellow of Richmonders wasn't harshed enough today by the stock market falling like an elevator without brakes due to greater unemployment figures and spiking gas prices, then the climbing mercury and sticky humidity didn't help, nor a gray pall that hung over the city.

This morning, many of us here went sniffing around our houses suspecting a fire or one nearby. Nope, turns out that the Sargasso Sea atmospheric conditions is sending us the smoke from a huge Eastern North Carolina forest fire. This is occurring in a nature preserve --which means that unless there's substantial rain on that piece of the country, the fire could burn for two months. It stinks, all the way around.

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

The Firehouse Gets Style Appreciation
On trying to make art and theater in Richmond, Virginia

The Ensemble: Lisa Kotula, Jude Fageas, Scott Wichmann, Alia Basharat

Style Weekly's reviewer Mary Burruss gave the Firehouse a positive mention in this week's issue, on stands now, as they say.

Mary also interviewed TheatreIV/Barksdale's Bruce Miller about the recent kerfluffle about the Barksdale's production of The Little Dog Laughed and even TheatreIV's Peter Pan. How strange it is, to me, seeing a kind of role reversal. The Firehouse has had people naked on its stage, and produced plenty of plays with strong language.

Now, the Firehouse has on its boards a musical revue with short plays, directed by and featuring Scott Wichmann, that may have a total of four PG-13 words involved, no nudity, and one slinky spangly outfit with a pleated skirt. And Alia Basharat is a red head, with a powerful voice. She also wears the pleated skirt. There's also a clown nose and wig--Lisa Kotula dons those--and some frightening clown make up--Alia puts that on. A scary Ferris Wheel ride is simulated, with Scott and Lisa. And some rap is also presented by Jude that may jar some people, though the words have an ultimate positive message. And, among my favorites, a musical number in which the ensemble wears hats.

I recall how, way back in 1976, when what was then known as Virginia Museum Theatre presented Romulus Linney's Childe Byron and the word "damn" and caused a ruckus. Similarly, in Peter Pan the word "ass" is used, in reference to, well, a donkey. Horrors!

Which is why there wasn't a professional presentation of, for example, Glengarry Glen Ross until the Firehouse gave it in 2002 (!) That show did quite well, as did I Am My Own Wife, which also featured Scott Wichmann, and he performed most of it in a black dress. And between them both was Hedwig and The Angry Inch. And I could go on.

When Edward Albee visited the Firehouse a few years ago, he said in his remarks that it is the duty of a little theater like ours to not produce art that people think they want to see, but give them art they should see. So, the newspaper fulminated a few days later that Albee was an elitist who just wanted to insult people. Sigh.

I would argue, however, about what is more elitist than expecting all facets of art to resemble nothing more than watered-down entertainments that require no more thought or consideration that turning on the television and curling up on the couch with a bowl of popcorn? Sometimes, of course, this is what we want; to enjoy something, and sometimes what we seek is comfortable, reassuring or at least, familiar. And that's fine, but should we live in a city where that kind of theater (or art) was the only thing offered, it'd be like living where there's only one television station to watch, or one movie theater that only showed musicals.

Sure, we've had a few people walk out of shows in our 15 years. But mostly, they know what they're getting because the Firehouse is the Firehouse. And there is a certain amount of self-responsibility here; read the season brochure, for example, or a review. Some people in Richmond--and I really remember this from attending TheatreVirginia productions--would come to the show just so they could walk out in a cloud of indignation. That the Barksdale produced The Little Dog Laughed is to the theater's credit. But they're a big house, with overhead we don't have, and reactions like this in Richmond, Virginia, makes producing theater--or art--a challenge. Sometimes it feels like cultural mission work. But, we keep doing it because, well. Somebody has to.

The contrary view isn't new. In 1909, Richmond novelist James Branch Cabell's The Cords of Vanity: A Comedy of Shirking was published by Doubleday. He'd intended to write a droll comedy of manners, as though Oscar Wilde was transferred to Williamsburg and Richmond, which in the book are rechristened Fairhaven and Lichfield.

At one point, the protagonist, Robert Townsend -- a snob, though on occasion amusing-- and his mentor, the novelist John Charteris, are attending a production of Romeo and Juliet at Fairhaven's Willoughby Hall. Afterward they encounter Mrs. Adrian Rabbet, wife of Fairhaven's rector. "A most enjoyable performance," Charteris says, not thinking anybody would say different. Not so, with Mrs. Rabbet.

"Such a sad play," she chirped, "and, do you know, I am afraid it is rather demoralizing in its effects on young people. No, of course, I didn't think of bringing the children, Mr. Charteris --Shakespeare's language is not always sufficiently obscure, you know, to make that safe. And besides, as I often say to Mr. Rabbet, it is sad to think of our greatest dramatist having been a drinking man. It quite depressed me all through the play of him hobnobbing with Dr. Johnson at the Tabard Inn, and making such irregular marriages, and stealing sheep--or was it sheep, now?"
I said that, as I remembered, it was a fox, which he hid under his coat, until the beast bit him.
"Well, at any rate, it was something extremely deplorable and characteristic of a genius, and I quite feel for his wife." Mrs. Rabbet sighed, and endeavored, I think, to recollect whether it was Ingomar or Spartacus that Shakespeare wrote. "However," she concluded, "they play Ten Nights in a Barroom on Thursday, and I shall certainly bring the children then, for I am always glad for them to see a really moral and instructive drama. And that reminds me! I absolutely must tell you what Tom said about actors the other day --"
And she did....Mrs. Rabbet said toward the end that it was a most enjoyable chat, although to me it appeared to partake rather of the nature of a monologue. It consumed perhaps a half hour; and when we two at last relinguished Mrs. Rabbet to her husband's charge, it was with the feeling not altogether unakin to relief."

The Firehouse Theatre Cabaret: Opening Tonight!
Featuring and directed by Scott Wichmann
Through the sponsorship of Mr. and Mrs. W.E. Singleton



It’s BACK! The Firehouse Theatre Cabaret, opening Thursday, April 24th.

SEE the Firehouse interior transformed into an intimate cabaret-style setting!

BE ENTERTAINED by Director Scott Wichmann, Alia Bisharat, Jude Fageas, and Lisa Kotula playing various roles in these ten-minute, one-act plays:

Clowning Around by Jamie Brandli, in which two women compete for a job neither want, but both desperately need; Isabelle by Ellen Melaver, in which a man projects his old dreams onto his ex-girlfriend’s new life; The Award by Jeffrey Sweet, in which a scientist’s trophy becomes a catalyst for revenge; Ferris Wheel by Mary Miller, in which two lonely souls are trapped on a stuck ferris wheel at a county fair; and Date With a Stranger by Cherie Vogelstein, in which two impetuous people meet in a diner and act out the rest of their lives over breakfast.

GROOVE to the live music ensemble led by Ryan Corbitt playing jazz interludes.


(Photo, L-R: Scott Wichmann, Jude Fageas (rear), Lisa Kotula, Alia Bisharat. Photo by Jay Paul Photography)

April 24 - May 17, 2008.

Special Events:
Thursday, April 24th: Opening night! Post-show reception provided by Davis & Main.
Friday, April 25th: Post-show talk back with cast and crew.
Friday, May 2: Doors open at 7:00 for a special wine tasting provided by Strawberry Street Vineyard. Show starts at 8:00 p.m.
Thursday, May 15: See Firehouse Fire Ball auction winners Caroline Gottwald and Debbie Walton in their debut performances on the Firehouse stage!

Tickets: Individual - $25; Seniors - $22; Student - $10 with valid ID.
Showtimes: 8:00 p.m. Thursdays - Saturdays; Sunday matinees at 4:00 p.m. Doors open a half-hour before showtime.

Click here to buy tickets online, or call the Firehouse at 355-2001.

Off To The Merle, too...



Despite having too many things and not enough clock, we're making the annual journey to the Merelefest in N. Wilkesboro, N.C. This is massive four-day event of bluegrass, blues, alt-country--what Page Wilson has termed "purebred American mongrel music," which is as good a description as I know of. Anyway, I tank up on banjo sounds until I don't need to hear anymore the rest of the year. Well, OK, for a few weeks.