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…