Warner Crocker: 2006-2007

There is a different type of clipping found in the Wayside files for 2006/2007 that does not deal with finances nor with production reviews.   Rather, it tells of a tour bus, parked in front of the theatre, unloading its passengers to attend a Wayside matinee.  The group was from Lake of the Woods retirement community located in Orange County, Virginia who, according to the article, call themselves “the Lake of the Woods Ramblers. The aim of the group is to see plays in Richmond and Washington, as well as Middletown.”  On this visit, the group learned a bit about the theatre’s history.  Crocker shared that “Patrons constantly praise the theater’s intimacy, its charm and quaintness.”  But, adds, “charm and quaintness might translate as ‘old and inadequate,’ as the basic plant needs work.” One example of its aging was the inadequate water pressure in the women’s restroom that prompted the placing of a sign near a cup for contributions that reads, “Yes, we know the water pressure is low, but with your help we can make it flow. Your support is appreciated. Thanks.”  At the conclusion of the visit, the group heard of the push for a new theatre space that would permit two shows taking place simultaneously: one for those that admire more traditional theatre, and one for those that prefer the more cutting edge and adventurous performances” (Anderson. “By the Wayside.”   Town & Country. 29 July 2006).  One wonders if every tour group had such an opportunity to visit with the Artistic Director.

The June opening of the 2006/2007 season was the production of Are We There Yet? This four-person, high energy musical was a song and short-scene revue.   The show dealt with numerous topics ranging from the …
current head-line-making issues with references to gay partners becoming parents
and adults who are adopted as children finding birth parents …. It is a performance
worth seeing and one that will tickle your funny bone while bringing to light many
serious and familiar issues families face” (Lowe.  “Musical Portrays Life’s ….” TWS. 
15 June 2006). 

Another writer credits the cast for displaying “a wide range of comedic skill, leavened with dollops of pathos, and they all sing well, both in solos and as a group” (Horan.  “Wayside production brings ….”  NVD. 8 June 2006).

An uncluttered stage with a coffin placed up-stage center was the setting for Lying in State, guest directed by Tim Pinnow from the American Southwest Theatre, Las Cruces, NM.  Lowe sums up the evening as funny, but “not side-splittingly hilarious, the production has some great lines, mostly on the irreverent side and biting political references while no party affiliation is evident … Strong acting, satirical jabs, and poking fun at politicians combine for a great evening of theater and comedy” (Lowe.  “Nothing dead about ….” TWS. 26 July 2006).  Some felt the play was too long, others commented that it was a one-joke script stretched beyond credibility.  But, all agreed it was an evening of high energy, funny, as well as a bit over the top.

Actress, Liza Vann, was cast in two plays for this season: as the lead in Lying in State and as one the three women in The Smell of the Kill.  Vann’s background was featured by several local papers that told of her New York career. She states that she learned of Wayside’s auditions for the 2006/2007 season while visiting friends in Winchester, auditioned, and was cast in two plays. It is interesting to see the amount of coverage that was devoted to a New York actress appearing at Wayside. It seems people had forgotten that, in the early days of the organization, New York was where most of the actors came from.  Smell of the Kill was a delightful comedy directed by guest director, John Healey.  While a comedy, some of the humor is dark, with “many a truth told in jest,” writes one reviewer, who adds “the truths in dark humor must be the hardest truths to address.  We should be thankful that Wayside Theatre has given us a chance to look at these truths and have a lot of laughs while we do” (Sackrider.  “ ‘The Smell of the Kill’ Slays ….”  PG.  18 Aug. 2006). Another reviewer sums up the play saying,
This play focuses on the three women – their differences, similarities, wants,
needs, and yearnings … The comedic script is balanced by moments of sobering
thoughts … and we are kept guessing until the very last second how it’s all going
to end” (Cobb. “Wayside’s ‘Smell of the Kill’ ….”  TWS.  17 Aug. 2006).

Smell of the Kill called for male actors who are heard off stage but never seen on stage.  While in rehearsal and to keep themselves busy, Vaughan Irving and Doug Wilder prepared two one-act plays, The Siren Song by Benjamin Bettenbender and The Author’s Voice by Richard Greenberg, to perform in the Curtain Call following the main stage production.  No information about this post-performance event has been found in the files.

An amazingly strong production of Othello was the next title in the schedule.  This was not the first time a Shakespeare work had been performed at Wayside, as Crocker had begun his Wayside tenure in 1999 with Measure for Measure. In 1968, a two-person production of Macbeth was staged for the benefit of local schools. In 1979, six scenes from different Shakespeare plays were performed under the title, Shakes & Co!   And, Hamlet was performed later in that year as part of the ill-fated extended season. Other Shakespeare performances took place during Crocker’s time, but these were part of the Theatre for Youth program and were not performed on the main stage.

Othello was stunningly done.  Horan credits Wayside for attaining new artistic heights “from marshaling a credible cast and staging the action convincingly to merely making the Elizabethan dialog understandable … Wayside succeeds on all counts.” The set was dominated by large columns that “facilitate the furtive exchanges and asides” and the “lighting greatly augments the dramatic effects.”  Horan notes that while the play is dominated by male characters, “their machinations are leavened by the female characters, especially Ann Marie Siegwarth’s Desdemona” (Horan. “Wayside takes on ….” NVD.  14 Sept. 2006). Another writer states that Elliot Dash (Othello) and Ray Ficca (Iago) are standouts in this excellent and strong production. He also notes that some productions of Shakespeare are directed with the need to make the text ‘relevant’ to the 21st century audience. He applauds the Wayside’s actor’s skill with the text, stating “the words are enough, they’re plentiful in meaning already.  And, in the hands of this remarkably skilled cast, those words pack a resonating punch full of life, vigor, and deplorable tragedy” (Guill. “Powerful acting enhances ….”  TWS.  15 Sept. 2006).

To help with tickets sales in an area where Shakespeare is not a popular choice, a unique lure was initiated by the theatre to make attending Othello more desirable. It was the option to ‘pay-what-you-think-the-performance-is-worth.’ “To take advantage of this offer” one must “make a reservation for a Wednesday or Thursday performance and bring a copy of the ad running each week in the local newspaper.  Once the performance is over, a donation, or not, may be made as to the worth of the performance” (Lowe.  “To pay or not ….”  TWS.  15 Sept. 2006).  It would be interesting to know if this ploy were a success.

Black Coffee, the first play written by Agatha Christie, made a nice contrast to Shakespeare. The strong cast of Wayside regulars was highlighted with the work of James Fleming as Poirot, “played with remarkable consistency and considerable humor … His portrayal of the mustachioed continental is exquisite, from the fastidious obsession with the proper placement of a vase to his prim posture whether seated or gliding around the play’s single set” (Sackrider. “Very Strong ‘Black Coffee’….”  PG.  20 Oct. 2006). The strong cast all performed well on an attractive set wearing appropriately designed apparel.  One writer concludes, “If you’re looking for a fun mental exploit … the presentation of this little known Hercule Poirot mystery is sure to entertain” (Dunham. “ ‘Black Coffee’ jolts ….”  TWS.  19 Oct. 2006).

In December 2006, Wayside added a new item to its history when it produced two totally different Christmas shows in two different locations at the same time!  In the Middletown location, was the repeat of the very successful A Christmas Story, that had been the Christmas selection from the previous year.  Horan notes that “while Ebenezer Scrooge remains exiled from Wayside Theatre the welcome mat was out again for Ralph Parker’s … quest for a Red Ryder BB gun.” He adds, the new production retains the warmth and good humor [of last year’s show. but] the cast isn’t quite as strong because some of the actors who played key roles last year are appearing in Winchester …” (Horan.  “Wayside favorite returns ….”  NVD.  30 Nov. 2006).  Despite this, it was an enjoyable event especially since Daniel Russell, who had played Ralphie so successfully the previous year, was re-cast in this role.  Lowe concurs, writing “… the basic elements are the same with a little reworking … so it is definitely worth a second visit” (Lowe.  “Wayside’s ‘A Christmas Story’ ….”  TWS.  1 Dec. 2006).

While A Christmas Story was taking place in Middletown, Winchester was hosting Sanders Family Christmas performed in the Old Town Events Center, previously the home of Sacred Heart Catholic Church.  This second Sanders family show used basically the same actors who that had performed in Smoke on the Mountain the previous year. Using about two dozen songs, most of which were Christmas carols, the story centered around a family Christmas as well as the departure of one of the family members to World War II. All the cast played multiple instruments, sang well, and related to each other in the various stories they tell.  The play was skillfully directed by John Haeley, from Frederick, Maryland, who had been the director for the previous Sanders family show. 

By having Christmas productions in two locations, it was thought this would be an attractive option for theatregoers. Winchester residents would not have to drive to Middletown, or, on a whim, they might decide to attend both shows.  And, it afforded a choice for those living in other locations. It also prepared Wayside’s audience for what would take place the following year when the Middletown building was undergoing renovation and Wayside would be using two locations:  the space in Front Royal as well as the Glaize Theatre at Shenandoah University. 

In February 2007, Wayside staged another ‘juke-box musical’ similar to the Hank Williams show from the previous year.  This time Robbie Limon was featured show-casing the music of Buddy Holly “singing and playing most of the hits recorded in the short 18 months of the singer’s rise to fame” (Lowe.  “It’s like going ….”  TWS.  3 Feb. 2007).  Another writer praises the energy and flamboyant musicianship of the performers that “raises the roof and threatens to jump-start renovation plans for the old theater” (Horan.  “Buddy’ rocks the house.”  NVD.  1 Feb. 2007).  All of the members of this high-energy show sang and performed quite well. Limon also performed the music of Buddy Holiday in a concert at Sherando High School that benefited the Child Advocacy Center.  Whether this was a solo performance by Limon or if the entire cast participated in this fund-raiser is unclear.

The season closed with an amazing bit of theatre - - Stone in His Pocket, first produced in Belfast in 1996 and based on an event in Ireland where a man had put stones in his pocket, walked into a cow pond, never to reappear.  The play was a tour-de-force for two talented actors who created a movie crew, movie extras, and several villagers through a slight shift in their body or adjusting voice and speech patterns.  While it took a few minutes for the audience to understand what is taking place, those in attendance on opening night rose to their feet immediately at the end exhibiting enthusiastic applause.  One reviewer states the show “is briskly timed and recommended for audiences teen-age and above.  It is highly recommended for acting students looking for a fine demonstration of the art of mime and characterization” (Lawrence. “Buoyant performance ….”  CSE.  20 Apr. 2007).  Another positive review stated that, at first, audiences may “lament the absence of props, costumes, and scenery. However, it soon becomes clear that these usual theater accoutrements would be distractions” if used in this play.  The reviewer warns that some of the harsh language might make this an inappropriate work for young teens or a “straight-laced grandmother.”  She also suggests that patrons arrive on time to “review the very helpful program addendum … that provides background to the play and Irish culture, as well as a handy glossary of film terms and Irish slang” (Ball. “Stripped down with ….”  TWS.  5 Apr. 2007).  Not all praised the production, as one reviewer became “bored and increasingly exasperated by what seemed more akin to a two-hour acting class” (Horan.  “Stones’ sinks ….” NVD. 5 Apr. 2007). 

And, on that note, the 2006/2007 season came to a rousing conclusion!!