Much Ado About Shining Boleros

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

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

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

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Jack Parrish

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"

Second Tuesdays Staged Reading Series

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

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…