Warner Crocker: 2005-2006

The long-held dream for expanding the Theatre building continued.  The desire for a second performing space, with better facilities for costume construction and set-building, along with concern regarding the structure of the building itself, were matters that needed to be addressed.  In a comprehensive interview with artistic director, Warner Crocker, information regarding operating expenses was revealed. It was stressed that, although Leo Bernstein had begun the Theatre, he was not the ‘cash-cow’ who supported the organization – the Theatre had to support itself.  The interview revealed additional information about the organization’s financial status.  The annual budget was around $720,000 with income coming mostly from ticket sales with additional funding coming from grants, individual gifts, and corporate donations. The report showed that the cost for mounting a show ran between $30,000 and $35,000 with musicals costing more. “Sets typically cost about $1,100 per show, and costumes run $1,500 and lighting, props and advertising about $450 …” said Crocker. He explained that a single ticket purchased for admission “normally only cover(s) about half a show which means the second act has to be paid for in another way.”  He confesses that the theatre’s attempts at fundraising have not always been successful and that other factors affect the budget: such as high gas prices, the weather, and the state of the economy.  Keeping long-time season subscribers as well as finding new ones is a perpetual goal.  The status of the theatre’s facilities, in particular the women’s rest-rooms, is another concern.  Crocker concludes, “We cannot exist as a small professional theater unless we expand. It’s expand or die - - or change fundamentally what we are” (Heffernan, J. “Falling by the Wayside.” NVD.  15 Oct. 2005). 

Before any season can begin, it is necessary to hold auditions.  A very interesting insight into this process is the work that the Artistic Director must do to find the right people.  Based on Crocker’s attendance at UPTA (Unified Processional Theatre Audition) held in Memphis each year, he revealed, “Consider this: for the chance at a place in this year’s Wayside Theatre ensemble, actors will wait for hours in a line of a thousand hopefuls, just to get 90 seconds in front of [a director].” If the auditionee wants to sing, he is given “30 seconds for a few bars of a song and 60 seconds to present their acting skills, or 60 seconds [total] if they choose not to sing” (Peterson.  “Auditions: Theater’s ….” NVD.  25-26 May 2005).  The interview was an illuminating insight into a very competitive business.

The season began with the musical, Sister Amnesia’s Country Western Nunsense Jamboree.  Prior to the opening performance, a buffet was held in the Curtain Call with entertainment provided by The Arthur Boys + One.  While Sister Amnesia featured a fine cast, it did not sit well with several reviewers.  One concluded. “A great deal of energy and work is evident in this production, but better material would definitely have added to its success” (Lowe.  “Nonsense Dominates ‘Nunsense.’ ”  TWS.  10 June 2005).  Another writer pans the show by comparing it to weeds: “ ‘Nunsense.’ The theatrical equivalent of kudzu, has taken root at Wayside Theatre. It is an aggressive weed pulsing with energy, emitting banal music and lame jokes …” (Horan. “ ‘Nunsense’ fails to survive ….” NVD.  9 June 2005).  On a slightly more positive side, another reviewer wrote “ … it makes for a pleasant summer evening for the entire family” (Farruggia. “ ‘Nunsense’ translates ….” TWaS.  9 June 2005). 

Things fared better with the next title, The Underpants, written by Steve Martin.  The play is an adaptation of a 1911 work by the German author, Sternheim, a well-known playwright and commentator on society at the time.  The stunning set was praised in all the reviews who agreed that Thomasin Savaiano’s role “is the most completely delineated character … she ably registers distress, passion and frustration …” (Horan.  “Martin’s ‘Underpants’ risque, ….”  NVD.  14 July 2005).  Another recognizes Savaiano’s performance for her “transformation from a head-in-the-clouds young bride to a mature woman in command of her situation is entertaining to follow” (Seabrook.  “One size fits all …”  TWaS.  21 July 2005).  All in all, it was an entertaining play that was beautifully staged!

The three-man play that followed, God’s Man in Texas, was guest directed by Jack Young from the University of Houston.  This intriguing comedy featured two Wayside staples, James Fleming and Larry Dahlke, and introduced Bob Payne, who would appear in several productions in the following years.  All three men created distinct characters. Payne “is superbly believable as a preacher and as an executive who has built an empire he can’t relinquish … He is a bit young to play the part of an 82 year old, but his … vigor can readily be accepted” (Potomac Stage.  14 Aug. 2014). The new co-pastor, played by James Fleming, “captures sincerity and forth-rightness of a man” trying to avoid his past (Seabrook.  “ ‘God’s Man in Texas’ ….” TWaS.  25 Aug. 2005).  Most of the humor comes from Larry Dahlke playing “the fallible broadcast operations guy caught up in the frenzy of the sometimes dueling pastors” (Mullinax.  “Humor, Preaching prevail.”  TWS.  19 Aug. 2005). The play was obviously more enjoyable to those in the audience who had experience with various church activities.

A Civil War play, The Killer Angels, was next in the season.  However, it paled in comparison with the Civil War drama, Robert E. Lee & John Brown: Lighting the Fuse, seen the year before.  One of the faults seemed to be in the adaptation of the novel “[which] seems more like excerpts from the book rather than a play to be staged.”  In addition, one reviewer thought the casting was uneven, as seen particular on opening night.  Yet, he lists the strong performances of the cast, especially “Larry Dahlke [seen] in a variety of roles” (Horan. “With poor acting, design ….”  NVD.  15 Sept. 2005).  Another observed, there were technical problems in evidence when “nine actors portray 52 characters, attempting to give different characterizations to each” (Peterson. “Top Generals Jaw ….”  TWS.  16 Sept. 2005).  The undertaking of a work with such a large scope also had its limitations when performed on a small stage.  For anyone steeped in the history of Civil War, its dress and military equipment, they would have noticed some flaws in the attempt to create authentic uniforms, flags, and props.  One reviewer noted the Union troops carried a modern 50 star flag when the correct one at the time had only 34 stars.  When this was pointed out, the response was “the primary reason for the lack of authentic flags was ‘a question of money.’ ” It was revealed that every cent was “poured into the uniforms, [we] did not have enough left over to have authentic flags made for this production” (Farruggia.  “ ‘Killer Angels’ a success.”  TWaS.  15 Sept. 2005).  In reading the varying opinions expressed by the reviewers, one isn’t quite sure about the success of this production.

The reviewers were very cautious when writing about Sleuth as they did not want to include too many details, fearing they would give away the surprise ending.  Sleuth was first produced in London in 1970 and made into a Tony-award film two years later.  It had first appeared on Wayside’s stage in 1975.  The 2005 production used a magnificent two-level set that reviewers praised along with the lighting and costumes. The cast received high marks with DC actor, Bill Largess, noted as being “quite believable inhabiting the character that inspires laughter, loathing and pity” (Seabrooke.  “Gem of a mystery ….”  TWaS.  20 Oct. 2005).  Actor Ray Ficca is said to be “ the more sympathetic character [who] reacts to his evolving tribulations with an edgy sincerity …”  (Horan.  “Mystery looms within ….”  NVD.  20 Oct. 2005).   Another writer gives the best summary by stating, “ ‘Sleuth’ is not your typical murder mystery, nor is it a parody on murder mysteries.  It’s an intense, oddly funny, frightening runaway train of suspense” (Lawrence,  “ ‘Sleuth’ – The art ….”  CSE.  21 Oct. 2005).

Wayside continued its traditional Christmas show in December with the 2005 production of A Christmas Story.  “[The Christmas show] is a unique animal,” states Crocker.  “Not only is it performed more often than other shows, a number of area school systems send their children to the matinees.” He adds, “Wayside always has a Christmas show, but it is not always the same one” (Eller.  “Holiday star.”  NVD.  3 Nov. 2005).  This year’s production was a familiar story know to many through its earlier versions in film and as a cable TV program.  As the narrator, Larry Dahlke sets the scenes and is “a wry presence, seemingly detached from the proceedings but still a part of them” (Horan.  Christmas spirit, ….” NVD.   1 Dec. 2005).  Horan notes that a highlight of the evening is where “the hilariously manic Old Man (James Fleming) and Mom (Thomasin Savaiano) spar over whether a lamp could be on or off [culminating] in a raucous pas de deux to the strains of ‘The Nutcracker’ ballet” (Horan. 1 Dec. 2005).  Another writer, commenting on the fun-filled show, concludes, “Like Christmas candy, it’s high calorie and low sustenance - - but that’s what we want this time of year” (Lawrence.  “Plenty under the tree ….”  CSE.  9 Nov. 2005).  Like previous December shows, this production was double cast. 

A different type of drama took place on the Wayside Theatre stage on January 25, 2006 -- the wedding ceremony of Eric DeFrattis and Jennifer Hockcock.  Eric was a member of the stage crew and did some acting; Jennifer was an actress as well as a teacher in the Young Performer’s Workshop program. They came to Wayside as a couple without wedding plans, but decided that their year at Wayside had been quite special and they wanted to be married on stage.  The whole company got involved with the setting, running sound, planning a reception, and welcoming guests for the civil ceremony that took place on Wayside’s stage (Farruggia.  “Lights, Places, Action!” TWaS.  1 Feb. 2006).

The extended season continued in January, 2006 with Smoke on the Mountain, the first of several productions that would feature the Sanders family. The seven-member cast sang approximately 30 gospel songs and played a variety of instruments.  Each character also had opportunity for an extended monolog that “gives his own testimony - - charming, colorful funny and in one case, tinged with darkness” (Lawrence. “A smokin’ show ….”  CSE.  4 Feb. 2006).  Another writer suggested that those who are from “a more urban environment may find the show’s humor funny and quaint [like] they are on the outside looking in.”  But, others “who grew up in a “rural church [environment] will enjoy the nuances of the characters and maybe even wax a little nostalgic by the child-like faith” as exhibited by the Sanders family.  (Farruggia. “ ‘Smoke on the Mountain’ leads ….” TWaS.  2 Feb. 2006). Guest director, John Healey, from the Weinberg Center in Frederick, Maryland, is credited with “successfully making the rural characters that are the core of this show [to be real, as they] are more than caricatures” (Horan.  “Smoke on the Mountain’ sure ….”  NVD.  2 Feb. 2006).

Concluding the season was a two-person play written by James Still based on two of Mark Twain’s stories: “Extracts from Adam’s Diary” and his subsequent tale ‘Eve’s Diary.”  In this show, Act One dealt with the creation of Eve, the couple becoming acquainted, naming creatures and the like.  Act two, set in modern time, had the couple dealing with some marital difficulties, but maintaining “a deep and abiding love for each other … and returning to the Garden for a weekend getaway finding love again” (Potomac Stage. 14 April 2006).  Horan writes that the actors “do yeoman service trying to energize the play … each exudes warmth and pluck.”  But, he finds Eden to be sterile with “no serpent, no God, apples but no tree, just a man and a woman roaming around, interacting” (Horan. “As told by playwright ….”  NVD. 6 Apr. 2006).  Despite varying opinions, all reviews credit the success of the show to the excellent work of the two actors. 

In March of 2006, as a way to raise funds for the Theatre, the Board of Directors staged a live auction.  In addition to visual art, ceramics, and oriental rugs that were for sale, a unique item was on the auction bloc – a performance by the rockabilly group, The Vault Cats, who had donated their services to play an evening of music for a party, for background music, or whatever the bidder wished.  Auction guests were advised to attend the event comfortably dressed – but no jeans or tuxes. (Voth.  “Going, going gone.”  NVD.  13 Mar. 2006). Unfortunately, the files contain no information on the results of this event. 

And, on that note, this exciting year of theatre came to a halt!