Warner Crocker: 2003-2004

Early in January, 2003, an article, measuring four columns in width, appeared in The Winchester Star and featured Wayside’s upcoming season, giving information as to what the upcoming season would be like following the recent budget cuts.  Crocker states confidently the Theatre will do well in 2003 due to the increase in season subscriptions which were at 600 when he arrived and were now at 1000.  He felt the increase in subscriptions is due to the number of new people who attend the theatre and to the extended season.  The two shows performed in that slot, Greater Tuna and The Fantasticks, “were well attended and very successful.”  He also credits the success of 2002 to the work of the educational program, stating “we brought more children into the theater with our acting classes and tours.”  But cautions, that due to the budget cuts, “We had to start saving money wherever we could, because ticket sales cover only about 40 percent of our costs.”  After listing the proposed 2003 season, he concludes, “We’re very pleased with last year and looking for even more success this season” (McCarty.  “Cuts Can’t Dampen ….”  TWS.  8 Jan. 2003).

The 2003 season was scheduled to begin in March, but a last minute decision was made to insert The Complete Works of Shakespeare into a February slot, as the rights to the play had unexpectedly became available.  The opening night on February 14 featured a special Valentine’s Day reception during intermission of champagne and chocolate for ticket holders in the Curtain Call.  The reviews praise the high energy antics of the three actors who play many characters and have frequent costume changes.  But, all agree that the Hamlet skit “first in fast forward mode and then backwards with not only a reverse of the action” was probably the funniest part of an already very funny show.  One writer concluded, “It is definitely a great way to spend an evening and laugh your head off”(Lowe. “Hilarious Portrayal of ….”  TWS. 18 Feb. 2003).

My Way was a tribute to the music made famous by Frank Sinatra into a show that strung together about 50 of his songs, making for a very pleasant evening.  The performance occurred in a slightly different fashion, as the stage included a bar, along with some tables and chairs, where audience members could sit.  Most of the action took place on a small platform that extended from the stage into the audience, behind which the three member combo sat. “Members of the audience can request to sit on the stage (in the nightclub area) and be a part of the action if they like” (Wayside does Sinatra ….” TWaS.  20 Mar. 2002).  The four-member, elegantly clad cast, all performed well, singing familiar titles that Sinatra fans would recognize and perhaps hum along.  The dialog contains many biographical references to “one of America’s most endearing musical personalities” (Hefferman.  “Wayside’s musical tribute….”  NVD. 18 Mar. 2003).

Actor Ray Ficca’s theological background was of great benefit in preparing and performing Cotton Patch Gospel. Although he had trained in this area, upon graduation he had auditioned and was accepted into the three year program of the Conservatory of Dramatic Arts in DC, which led him into the field of theatre.  Ficca was supported by a wonderful blue-grass band where each band member took on small roles in the show.  A reviewer wrote, “Ficca enthralls the audience with his sincere portrayal of the Biblical characters.  He gets into the message of the gospel so avidly that audience members actually answer him back, much like a church meeting …” (Lowe.  “ ‘Cotton Patch Gospels’ ….”  TWS.  10 Apr. 2003).  Reviewers agreed that Cotton Patch was a very strong production that approached the religious subject matter with a different and enjoyable slant.

What might be referred to as the ‘regular season’ began with The Odd Couple, a play that had appeared on Wayside’s stage in 1967 and 1982.  At the opening night festivities, it was announced that the Wayside Foundation of American History and Arts was donating the building’s deed along with a gift of $100,000 to Wayside Theatre.  Heretofore, Wayside paid $1.00 in rent to Bernstein each year!  The festivities continued on stage with a rollicking performance of the play.  The two main actors, Ray Ficca and Tony Gudell, created their own characters and never stray into mimicking what had been seen by thousands either on film or on TV.  Horan writes, “Each actor has assembled an array of quirks and tics that round out their characterizations, and both are adept at physical comedy.”  The reviewer praises the Pigeon sisters for their zaniness and coiffures (Horan. “ ‘Odd Couple’ delivers ….”  NVD.  3 June 2003).  Another writer notes, “This production is both hilarious and thought-provoking with excellent performances by all actors.  Definitely no weak links in this production” (Lowe.  “ ‘The Odd Couple’ Familiar ….” TWS.  3 June 2003).

An equally fast-paced musical revue, featuring four fine actors, followed on the heels of The Odd Couple.  Describing I Love You, You’re Perfect, Now Change, one writer states, “it is a charming musical revue that features four actor/singers who experience every phase of the dating game, from first date to marriage to finding a new mate later in life.  It has all the bumps, grind, ups and downs, comedy and poignancy of the mating game …” (“Wayside Theatre presents …” TWaS.  31 July 2003).  Other writers credit each actor mentioning a particular aspect of their performance and call attention to the excellent staging, singing, costumes, lighting, and set.

A note in the files states the Wayside interns performed the play, Wasp, on July 11 and 12 following performances of I Love You, You’re Perfect, Now Change.  Most likely this took place in the Curtain Call, but, to date, no additional information has been located.  

In commenting on the next production, Loot, one writer begins by stating, “Any good farce, particularly farce that is so wildly no-holds-barred, requires of its actors excellent timing and a very controlled high energy … Wayside director Warner Crocker has a very capable cast of six handling matters on stage and a seriously talented production staff behind them.”  Lawrence credits each actor on their performance as well as the excellent set and lighting (Lawrence. “Isn’t it rich? ….” CN.  15 Aug. 2003).  Another review calls the “acting superb, [but] the play itself does not measure up to the performance of the group” (Lowe.  “Acting superb in Wayside’s ….”  TWS.  14 Aug. 2003).  And still another concludes, “The wildly off-kilter proceedings are perfectly executed by the Wayside cast, superbly directed by Warner Crocker” (Horan.  “Orton’s farce mocks ….”  NVD.  12 Aug. 2003).  All in all, it was farce at its highest level.

A note in the files states that the Wayside interns performed Hamletmachine following Loot.  Again, there is no record of these performances, but they most likely took place in the Curtain Call.

The deeply endearing approach to life, found in Grace and Glorie, was a stark contrast to the zaniness seen in Loot.  Bev Appleton, who had performed as Kris Kringle in December’s Miracle on 34th Street, served as guest director.  The play was set in a ‘grannie cabin’ complete with an “enameled wood cook-stove and drinking cups, streamlined Frigidaire, and a hand-pumped kitchen sink” provided the perfect setting.  The lighting “completes the action outside the small shack with moving headlights, warm sunrise transitions and other spectacular lighting effects” (Hille. “ ‘Grace and Glorie’ Deeply ….”  TWS.  11 Sept. 2003).  The two-person cast succeeds admirably, one playing the grannie set in her ways, the other exhibiting “emotional depths that make Glorie more sympathetic” and supportive of the terminal cancer patient (Horan. “Characters transcend plot, ….”  NVD. 9 Sept. 2003).

One of the most beautiful sets ever designed for a Wayside production was created for Ten Little Indians. This popular play had appeared at Wayside in 1965 and in 1996. All reviews were positive with the writers naming each actor and giving credit for their work “in representing certain society stereotypes, [they] make them more than cardboard figures” (Horan. “ ‘Indians’ splendid.” NVD.  14 Oct. 2003).

Once again, A Christmas Carol was the December production appearing in pretty much the same guise as in previous years.  A few songs were added, the ghosts were in a different form, “but it remained fresh, appealing, and meaningful.” One writer commented on the set, noting the sliding features were “especially dramatic as they move forward to bring the scenes to the front of the stage and glide back to reveal a street scene” (Lowe.  “Fresh, Lively Version ….” TWS.  28 Nov. 2003). Another review felt the pace of the production was slow, adding,

With a cast of twenty, many of whom are community members getting a first taste
of performance, this is not necessarily a bad approach. This is especially true since
there are two casts playing different schedules.  Still, there is an occasional urge to speak up and recommend ‘let’s get on with it!’ ” (Potomac Stage. 19 Dec. 2003).

And the calendar year of 2003 closes but the Wayside calendar continues!!

Jumping into a new calendar year, but continuing in the 2003/2004 season, Wayside mounted its first Patsy Cline production, entitled A Closer Walk with Patsy Cline starring actress, Morgan Duke.  What a perfect show to schedule at Wayside, as Cline had grown up in near-by Winchester.  While Duke did not resemble Patsy Cline physically she had perfected Cline’s vocal style.  She “has the same combination of brass and soulfulness in both her upper and lower registers.  She has also mastered the vocal embellishments and catches that made Cline’s singing distinctive” (Horan.  “ ‘Closer walk’ comes ….”  NVD.  3 Feb. 2004).  The production was enhanced by the musical backing of the house band from Strasburg’s Hungry Dog Café, plus a couple of additional musicians who provided superb accompaniment.  The only other character in the show was Little Big Man, played by Jim Fleming, “who knows no bounds when it comes to humor and exaggeration.  His quick jabs and one-liners, as well as his facial expressions and gestures, keep the audience totally engrossed …”  (Lowe. “ ‘A Closer Walk ….’ ”  TWS.  6 Feb. 2004).  One local paper, and there could have been more, received some positive comments regarding the show.  Some of these notes were published in the Letters to the Editor column thanking Wayside for a wonderful evening of music.

The Neil Simon comedy, The Sunshine Boys, was a sharp contrast to the music of Patsy Cline.  The zany one-liners, the bickering of the two actors destined for a retirement facility add up to an evening where “Arguing and bickering is taken to new heights by the timing and delivery of the actor.  No hesitations exist as each line is quickly and expertly delivered” (Lowe. “ ‘The Sunshine Boys’ Radiates ….” TWS.  9 Apr. 2004).  The show opened in a seedy apartment that was appropriately crummy, that easily transferred to the skit scene set in the doctor’s office, and smoothly shifted to the bedroom scene, thanks to the rotating stage, for the final set change.  One critic sums up the show as being “a hilarious confection leavened with insights about the burdens of old age … studded with Simon’s patented laugh lines, is well crafted with a satisfying, surprise ending” (Horan.  “Comedy shines ….”  NVD.  8 Apr. 2004, A-11).

For those attending the first two shows of the 2004 calendar year, there was an announcement that patrons could enjoy more theatre.  “Don’t rush home after the last curtain” urged the opening sentence, as there was more entertainment just next door in The Curtain Call Café (Hille.  “Wayside Theatre Beginning …” TWS. 26 Mar. 2004).  These added shows were performed by members of the intern company. The first was called “Cabaret,” that used a five-member cast and followed the Saturday evening performance of A Closer Walk with Patsy Cline.  The second title was The Last Five Years, featuring actors Joseph Bishara and Amanda Johnson, that followed performances of The Sunshine Boys.  While these two were announced events, no additional information regarding them has surfaced.

An interesting event took place during the Fall of 2003 that was not recognized until January of 2004 when a poignant article appeared in the local press.  This told of the work of the fourth-grade class of the Middletown Elementary School, under the guidance of their teacher, who decided to respond to the challenge to raise funds for the proposed expansion of Wayside Theatre.  Although most of the students had probably never attended any of the Theatre’s productions, they became involved and contributed change from their lunch money or gave up ice cream.  Just before Christmas, they contributed $521.00 to the Theatre, earning them a brick in Wayside’s Sidewalk of Fame. In addition, Wayside assured the students that the next children’s play, “Tom Sawyer” would perform at their school in appreciation for their work (Hille.  “Students Raise Funds ….”  TWS. 31 Jan. 2004). 

With that meaningful conclusion, it would not be too long of a wait before the 2004-2005 season would be up and running!