Warner Crocker: 2001

Early in 2001, an announcement was made that Wayside had a season sponsor! It seems that Crocker was approached by representatives of The Power Warner Communications Group, Inc. about their sponsoring a season of shows.  Crocker states that their sponsorship “is going to allow us to do more with the theater than we could in the past” (Killen.  “Wayside Theatre gets ….”  NVD.  25 Jan. 2001).  While details of this offer are unclear, it was obviously one of financial assistance that enabled Wayside to begin its season earlier in the year than had previously been possible.

Most likely, it was because of this sponsorship that Crocker was able to expand Wayside’s performances during the normally ‘dead months’ prior to the opening of the summer season. This can be seen as being the first step in making Wayside a year-round organization rather than one that operated during the summer months.  This had been a goal of Crocker’s since assuming leadership of Wayside and had been hinted at at some point by previous Artistic Directors.  While Owens expanded the summer season, it never became a year-round schedule, nor does it appear that such an operation was ever in his plan.  Another approach Crocker brought to Wayside was the attempt to use more actors from within the community, whether they had professional training/experience or not. 

The inclusion of the early season for 2001 and expanding opportunities for members in the community is seen in a January, 2001 interview, where Crocker speaks about the upcoming season and mentions that the Theatre is taking a slight change of focus.  He states,

Wayside has largely been seen as a place to view entertainment …. Now, the
39-year-old professional theater is focusing on becoming a community based professional theater.  He adds, While we continue to provide the highest quality
of professional entertainment around, we have opened our doors wide to the
community for all segments to participate at the level they desire with Reader’s
Theatre (McCarty.  “Wayside Opens Curtain on ….”  TWS.  25 Jan. 2001). 

He explains that this extended block of time will vary between …

evenings of popular songs in the Curtain Call, followed by two evenings on
the Civil War, three concert readings and in March and April there were to be
short plays presented in the Curtain Call. Added to all this was a strong mission
towards youth in the Education in Action program and Young Performer’s Work-
shop (McCarty. 25 Jan. 2001).  (SEE:  Appendix: Reader’s Theatre). 

Of course, education had been a major activity of the Theatre from its earliest years.  Included in the expanded season was the announcement of a partnership with Winchester’s Handley Regional Library that would provide a location for young people to study acting.  Crocker sums up the expanded approach for Wayside by stating, “If you are looking for entertainment, if you are looking for a creative outlet, if you are looking for tradition and new directions, if you are looking for fun, if you are looking for celebration you need to look at Wayside Theatre”  (McCarty.  25 Jan. 2001).

In addition to the staged readings and other pre-season evenings, an evening of Bluegrass music, headlined by the Lynn Morris Band, was held on March 9 and 10.  There is no information in the Theatre’s files regarding this evening other than the announcement found in The Winchester Star, but it is assumed this was a fundraiser for the theatre as well as combined with a musical program to fill in the pre-season slot (McCarty.  “Lynn Morris Band ….”  TWS.  7 March 2001). 

Also in the schedule was a joint event between the Dance Department of Shenandoah University that took place on April 19, 2001, when a dance performance took place on Wayside’s stage.  (SEE:  Appendix, Reader’s Theatre).

The official season opened in June with the musical, Kiss Me Kate.  All the reviewers praise the production, particularly the two leads, Thomasin Savaiano and Russell Rinker, a local lad who had recently graduated from William & Mary. “[They bring] an interesting aggressiveness to their roles … [Rinker] is commanding yet pensive and [Savaiano] heartfelt and even occasionally demure.  Both sing beautifully” (Horan.  “Talented singers, vivid ….”  NVD.  5 June 2001).  Another writer singles out the “strong dance routine as well as the tap dance and vocal performances of two other actors, LoDuca and Albright” (Rehbock.  “Humor Me Kate; …” TWS.  5 June 2001).  The high point of the production was the comedy number, ‘Brush Up Your Shakespeare,’ performed by Rich Follett and William Diggle, who bring “great teaming and a swaggering sense of the comic possibilities [that] brought the house down” (Lawrence. “One kissable Kate ….” CN.  A-6). 

And, at some point during one of the performances of Kate, there was a unique moment - - one that is memorable for cast and audience.  Near the end of Act One, the two leads perform a very strong duet during which a whip was thrown around the waist of actress Thomasin Savaiano that accidentally dislodged a snap on her skirt.  As the number continued, the skirt slipped lower and lower.  Finally, after trying valiantly to pull the skirt back to its proper location, she ripped off the skirt, finishing the number with a fully costumed top, but dressed only in her panty hose from the waist down!  Actors upstage watched the event as it took place stifling laughter until they were off stage.  This writer remembers it all too well!

The Valley critics all had strong praise for Barefoot in the Park, while calling attention to its ‘60s humor that seemed rather dated.   They found the set perfect for giving the impression of a small apartment and gave strong praise to the actors, especially for their breathless distress after climbing five flights of stairs!  While all cast members are mentioned for their fine work, all credit Jefferson Arca for his delivery of “humorous come-backs during arguments … [creating] some of the play’s most hilarious moments” (Rehbock. “ ‘Barefoot’ Is Almost ….”  TWS.  20 July 2001).  Despite the generally strong reviews, there was something different about the performance on July 18, 2001.  About 30 minutes into the first act, the play was disrupted when Crocker walked on stage and announced to a nearly packed house that the theatre had received a phone call from the police regarding a bomb in the building and it was necessary to evacuate the house immediately (Tyson, D.S. “Bomb Threat Disrupts ….” TWS . 20 July 2001).  Many of those who waited outside wondered if the performance would continue, while other audience members left.  All who departed were guaranteed a ticket to a future performance.  And, the theatre re-opened the following morning without any problems.

The set for On Golden Pond was one of the most stunning that ever appeared on Wayside’s stage. It was the perfect summer cabin in Maine, complete with a beautiful view of the lake and even a squeaking screen door. All reviewers give high praise to the small cast for their work.  “As is typical for Wayside, they deserve four stars for this production … It is an excellent choice for an escape from the heat and an evening of entertainment that has depth and amusement” (Currie.  “Wayside Theatre’s ‘Golden Pond’ ….”  TSVH.  15 Aug. 2001).

Yasmin Reza’s delightful play, Art, featured only three actors:  Russel Rinker, who had appeared earlier in Kiss Me Kate; John Alcott, who had been seen several times at Wayside over the past two years; and, Herbert Mark Parker, who had performed at Wayside a few years earlier.  The black and white set, “a pentagon-shaped platform framed by three white panels separated by darkness” and expertly lit with “stark lighting [that] switches to blood red for the interior monologues” was perfect for performing of the play (Horan.  “Friendship is tested in ‘Art.’ ” NVD.  15 Sept. 2001).  All the reviewers praised this three-actor, no intermission work for its brisk dialogue, and the energy exhibited by the actors.  They all point out the underlying meaning behind the dialogue when they purge their anger and deal with their real “thoughts and feelings toward one another” (Rehbock. “Play Portrays Disagreement ….”  TWS.  18 Sept. 2001).

In time for Halloween, Dracula was next on the schedule.  Written and directed by Artistic Director, Crocker, it was designed to fit Wayside’s small stage.  All reviews praise the work of Thomas Adrian Simpson, who was making his Wayside debut.  “He’s downright devilish and makes the count come alive as he swoops across the stage … his accent never slips” (Currie.  “Creepy count scores ….” TSVH. 17 Oct, 2001).  Another states, “[Simpson] is absolutely superb in his interpretation ….  His booming, melodic voice, dominatng presence and commanding acting make him a Dracula for all times” (Birchenall.  “Wayside’s ‘Dracula’” amusing, ….” Fauquier Times.  31 Oct, 2001).  However, some reviewers did not feel that the play had been equally cast, with a few actors overshadowing others, which created some weakness in the overall performance.  But, all seem to agree that it was an evening well spent.

Many writers comment that scheduling Yes, Virginia, There is a Santa Claus in the December slot was a welcome change after the many years of A Christmas Carol performances.  One writes, “Artistic Director Warner Crocker should be commended on his choice, his selection of cast and his willingness to break from status quo” to stage this title (Currie. “Change of pace turns ….” TSVH. 5 Dec. 2001).  Like the previous Christmas play, this production was also double-cast and included in the cast some students majoring in theatre from Shenandoah University.  The set shifted smoothly through various scenes: from a living room to a street scene to the office of The New York Sun.  Some actors were recognized for their work, but in general, the press credits the show as an enjoyable evening and appropriate for the season.

And on this, the 2001 season concludes!