Warner Crocker: 2004-2005

Wayside’s 2004/2005 season opened in June 2004 with a huge gala using as its theme, “Romp in the Swamp in keeping with the wetlands setting of the family musical, Honk!”  The picnic-cocktail buffet was held in the Curtain Call at 5:00 p.m., and guests were encouraged to participate in “duck diving contests and perhaps win a brick on the Wayside Theatre’s new sidewalk of fame!”  Among the changes in the Theatre’s new year-round schedule “was moving the season opening to June instead of January [as] this is more in line with other regional theaters in the U. S.” (“Wayside Opening.” TWS.  3 June 2004). 

Three LEO awards were also given that night.  (SEE: Appendix. LEO Awards).  But, the biggest surprise was the changing the name of the Theatre to ‘The Leo M. Bernstein Wayside Theatre.’  The unveiling of the new name took place “in front of the theater where a red drape covering the name was lowered” (Lowe.  “New Theater Name ….”  TWS.  10 June 2004).  This name-change was short lived, however, as the Bernstein name was removed shortly afterwards.

HONK! was an evening of pure fun. The cast consisted of Wayside regulars and featured some children from the area.  Reviews mention the work of all cast members and compliment the great set and colorful costumes.  Making his first appearance on Wayside’s stage was Helen Hayes Award nominee, J. J. Kaczynski. Guest director Norman Hart, head of the musical theatre program at James Madison University in Harrisonburg, VA, also made his Wayside debut.  Reviewer Lowe states that Honk! was “an evening of pure fun and entertainment [and] spectators will enjoy all the antics!” (Lowe.  “ ‘Honk!’ If You Love Comedy.” TWS.  10 June 2004). 

By contrast, Shaw’s The Importance of Being Ernest followed.  Horan refers to this production as a gem. “The acting company is exemplary, delivering both distinctive individual performances and seamless teamwork” (Horan. “Cast, crew work together ….” NVD. 17 July 2004).  The beautiful set and elegant costumes were a visual highlight.  Relating to costumes, Wayside offered an afternoon of instruction dealing with costume design from the 19th century to the modern day.  This was attended by some “30 women who sipped lemonade and tea while listening to Tamara Carruthers, Wayside’s costume designer, explain the intricacies of stitching a 19th century dress for the stage“ (Arenschield. “Theater Offers Fashion-ating ….”  TWS.  19 July 2004).  As to the performance, one reviewer concluded the play to be “spot on with its impeccable casting˜ and mentions each actor by name along with giving their strong points, concluding, “because of all these high points, the show is surprisingly good and strong.  It is worth the three hours and the admission fee” (Baumberger. “Ernest Worthing engaged ….”  TWaS.  15 July 2004).

During the run of Ernest, the Theatre announced a ‘Showcase of Wayside Stars,’ billed as a festive evening held at the Wayside Inn.  The showcase was set in a ‘Nightclub atmosphere’ under a large tent erected behind the Inn that featured music from various Broadway shows sung by actors who had appeared in recent Wayside productions.  Other than that one announcement in the files, no additional information for this event can be located.

The next title in the season was the exact opposite of the British sophistication that had been seen in Ernest.  Spitfire Grill was set in a typical small town eatery “complete with Green Bay Packers’ paraphernalia and duct-taped seats” (Baumberger.  “Something’s cookin’ ….”  TWaS. 19 Aug. 2004).  Costumes were matched appropriately to the set.  And, the show was a crowd pleaser.  One writer states, “from the beginning, Wayside’s production … is chock full of strong performances that leave the audience rollicking with laughter one moment and wiping away tears the next” (Burton. “ ‘The Spitfire Grill’ Serves ….”  TWS.  13 Aug. 2004).  While most reviewers found many strong points in the play, one observed it was gloomy and dreary, as it “features unappealing characters singing unattractive music, often very loudly” (Horan.  “ ‘Spitfire Grill’ fizzles ….” NVD. 13 Aug. 2004).

The premier of a new work, Robert E. Lee and John Brown, Lighting the Fuse, written by Artistic Director, Warner Cocker, was next to be staged. The story had been mulling around in Crocker’s mind for some time waiting for the right moment to be put on to paper, to workshop it, and schedule a performance.  Several articles appeared in the local press describing the workshop process that used Wayside actors and interns.  Prior to the play’s opening, lectures were held on the subject.  One was given by historian, Dr. Merrill D. Peterson, professor emeritus of the University of Virginia, who led a 45 minute discussion of his book, “John Brown: The Legend Revisited,” on September 30, 2004 prior to the 8:00 curtain.  A similar lecture, given by Mark Snell, director of the George Tyler Moore Center for the Study of the Civil War at Shepherd University, took place on October 6 prior to the performance. These pre-performance lecture/discussions appear to be the first of their kind in the Theatre’s history. 

The cast of the world premier of Robert E. Lee and John Brown featured three main actors:  John Alcott, playing John Brown; John Dow, playing Robert E. Lee; and Stephen Seals, playing Frederick Douglas.  They were supported by a six-man cast that played multiple roles.  In addition, visuals were projected on a background screen along with music clips inserted to support dramatic moments.  In addition to writing the script, Crocker is credited for his “skillful use of the nine-man cast that depict more than 50 characters - - from soldiers and citizens to politicians and raiders (Horan.  “Original play vividly ….” NVD.  16 Sept. 2004). 

The classic Noel Coward work, Blithe Spirit, first performed at Wayside in 1966, made a wonderful contrast to the Civil War story just performed. The actors were all  perfectly cast for their roles.  Even the last minute replacement for Ilona Dulaski, who had become ill with pneumonia, was credited for capturing “just the right essence of British eccentricism, especially when she is roaming about the room and rolling quite unladylike on the floor …” (Farruggia.  “ ‘Blithe Spirit’ is just ….” TWaS.  28 Oct. 2004).  After crediting the set and the costumes, another critic concludes, “ ‘Blithe Spirit’ may be an old chestnut … it’s a true classic in the sense that it can stand up to multiple revivals over the decades.  This one is as good as they get in regional theatre” (Lawrence. “Hail to this ….”  CN.  29 Oct. 2004).            

About the time that Blithe Spirit was ending its run, another ‘play’ was beginning to materialize.  A short clipping tells of a meeting of the Planning Commission for Middletown where the expansion of Wayside Theatre was proposed.  Although this project had been talked about for some time, this was the first time that an actual plan was created.  (SEE: Appendix: Expansion project).

The 2004 December production was a transfer of a Christmas staple from Chicago to Middletown, The Christmas Schooner.  Most reviewers welcomed this change.  Dominating the stage was the hull of a a ship that cleverly became a kitchen and served as the backdrop for a party or a cozy fire-side in a home.  The acting and staging received high comments. One reviewer sums up the story as “a tale of generosity and selflessness [that] offers a refreshing change from some of the venerable Christmas classics” and suggests it should be seen more often (Seabrooke.  “Wayside’s The Christmas Schooner ….”  TWaS. 2 Dec. 2004).  Another critic writes that it is a solid, but not overly dynamic piece of theatre, “It boasts some excellent vocalizations and some lovely visual effects.  Also, unlike most of what comes around this time of year, you’ve probably seen it three dozen times before” (Lawrence.  “Holiday plays prove  ….” CN.  10 Dec. 2004).  As had become Wayside’s practice, this Christmas production was also double-cast.

Right after the New Year, titles were announced for the pre-June slots, that usually consisted of either some type of musical or a light comedy.  For 2005, Wayside’s first title was “Hank Williams:  Lost Highway.”  Playing the role of Hank Williams was singer/guitarist Robbie Limon, a Middletown resident, who performed widely in the area.  Because Limon bears a striking resemblance to Willliams and sounds a great deal like him, Crocker approached Limon about doing the show. He writes, “Seeing Robbie perform locally inspired the choice of the play.”  Crocker continues, “As a regional theatre part of our mission is to discover and present the best local talent in our area. I think audiences will be amazed [at] Mr. Limon’s performance and how he captures Hank Williams on stage” (“Wayside brings Hank Williams ….” TWaS. 3 Feb. 2005).  Although Limon had no theatre experience and commuted a great distance for his full-time job, accepting such an offer required some serious thought.  The consensus of the reviewers was that Limon made the correct decision. Fortunately, he had excellent musicians and a strong cast to back him.  The scenery and cow-boy costumes were appropriate, and “The music is definitely worth the trip [to] Middletown, making [it] a great evening of entertainment for adults” (Lowe.  “Journey Worth Taking ….” TWS.  4 Feb. 2005).  

The 2004/2005 season ended with the high-energy marathon for three actors, The Complete History of America – Abridged.  All reviewers compliment the actors for managing the rapid costume changes, their creation of a variety of characters, and their impeccable teamwork played on a set “that turns the entire theater into a patriotic candy box” (Horan. “Play abridging American history ….” NVD.  9 Apr. 2005).  Other reviewers also acknowledge that the humor in this play “might not be everyone’s cup of tea and may seem too irreverent for some theatergoers” (Farruggia. “Complete History of America ….” TWaS.  7 Apr. 2005).  Nevertheless, it was a high energy, most amusing, successful performance.  Plus, it was memorable way to end the 2004/2005 season.