Warner Crocker: 2009-2010

Without too much fanfare, other than the usual pre-season announcements, Man of La Mancha opened the 2009/2010 season.  When seeing this title that had appeared on Wayside’s stage in 1977, the first thought that most likely comes to mind is how could a show of this size be produced on such a small stage?  But, it did take place and it was successfully done, complete with descending staircase into the prison area. All reviews center around the excellent work of two Washington actors:  Thomas Adrian Simpson (Don Quixote) and R. Scott Williams (Sancho).  Simpson is cited as “the perfect dreamer [who] convinces the audience to dream along with him.  His singing and acting are extremely effective, making him the perfect knight and honorable gentleman” (Lowe.  “Wayside’s ‘Man of La Mancha’ …. ” TWS. 11 June 2009).  Williams is credited for expertly adding “humor and compassion to the overall effect” (Lowe.  11 June 2009).  Another writes that Nancy O’Bryan (Aldonza) nails the part “… and is especially captivating in the song “What does he want of me?’ ” (Lawrence. “Still seeking ….”  CSE.  2 July 2009).  The excellent set was filled by the large cast.  In addition to the actors, there were seven or eight instrumentalists, some of whom played small roles, on stage at all times.  One reviewer concludes, that “Crocker crafts an enthralling production, full of raw energy and distinctive characterizations and ideally suited to the tight confines of the Wayside space” (Horan. “Musical is a study.…”  NVD. 11 June 2009).

From a very full stage to one using only two characters, Wayside’s next production was The Gin Game.  On an appropriately designed set, two veterans of Wayside, James Laster and Faith Potts, “prove beyond measure their abilities to create characters who seem alive and real because their frustrations and fears are those shared by everyone in the audience”  (Farruggia. “ ‘Gin Game’ brings ….”  TWaS.  23 July 2003). Another writer highly praises the actor’s work who “layer in a complex mix of frustration, humor, defiance, and hope” (Lawrence. “ ‘The Gin Game’ is ….”  CSE.  30 July 2009).  One critic seems to give the best summary of the play, stating,
This production provides wonderful performances and direction, numerous
occasions for laughter, and the opportunity to ponder the poignancies of life.  It’s
dark and contemplative at the end, just as life can be when the body, the mind,
and relationships all falter at the same time, and time is slipping away (Ball. 
“Masterful performance in ….” TWS.  23 July 2009).

The Civil War drama, Robert E. Lee & John Brown – Lighting the Fuse, that premiered during the 2004/2005 season, was repeated during the 2009/2010 season. It also used the same actors for the roles of Brown, Lee, and Douglas. The six additional actors play “scores of characters, including politicians, who in effective vignettes, illustrate the sectional tensions that preceded Brown’s mad foray, and the townsfolk unwittingly caught up in history” (Horan,  “Contradiction of convictions ….” NVD.  3 Sept. 2009).  Another reviewer states that one way to look at history is to read about it in books.  He concludes that Crocker and the production “have taken a more perilous and rewarding path, giving us history with humanity.  This we can’t just leave smouldering in the grave with John Brown’s body.  This is something we take from the theatre to think about” (Sackrider. “Who are they?  PG.  18 Sept. 2009).

In addition, Wayside planned ‘talk-back’ sessions following two of the performances.  The first of these was led by Crocker and members of the cast.  The second featured Robert J. O’Connor, author of The Perfect Steel Trap: Harpers Ferry 1859, who gave an introductory presentation prior to a performance.  At the same time the Wayside production was taking place, there was an exhibit in Winchester mounted by the Winchester-Frederick County Historical Society of artifacts borrowed from private collectors, the Archives of the Winchester Public Library, and the historical society’s own collection. This exhibit was held in recognition of the 150th anniversary of the raid.

It was Sherlock Holmes who next appeared at Wayside. Reviewers praise the set, the lighting, and the music – all of which lend support to the production.  One reviewer praised John Alcott, who plays Sherlock, saying, “[his] every gesture is logical, emphatic, meaningful, and poised.  His voice, … mesmirizes.  He is one of those actor’s actors who could read the phone book and hold an audience.”  She concludes, “If you are not well-schooled in Sherlock Holmes tales, but like a little intrigue, this show is a good introduction to Holmes, Watson and Moriarty.  Very few will not enjoy the play” (White.  “Wayside’s new show ….”  TWS.  16 Oct. 2009).  Horan assures readers that this work by Steven Deitz and based on a play by Conan Doyle, “may be jolted by an amorous detour out of character for the literary Holmes” (Horan.  “Wayside’s ‘Sherlock’ ….”  NVD.  15 Oct. 2009).  Costumes, set, and lights are commended by all the reviewers.

Miracle on 34th Street, which had been the Christmas show for the 2002/2003 season, closed out the calendar year.  Like previous December productions, this show was also double-cast. Horan praises the production and states, “Although most of the characters represent stock viewpoints, they also possess a degree of depth that makes them credible” (Horan.  Wayside’s ‘Miracle’ is a….” NVD.  1 Dec. 2009).  Another writer picks up on the message that Christmas “is more than a day. It’s a frame of mind –never ceases to be relevant as the true meaning of kindness and giving to others is once again brought to life …” (Lowe.  “Wayside’s ‘Miracle’ ….”  TWS. 4 Dec. 2009).  The show was most enjoyable, effectively done, and was a hit with audiences.

“Rock and roll is alive and well on the stage at Wayside Theatre, as early songs of the music genre define the current production” began the review for Buddy: The Buddy Holly Story.  The show “opened to a packed playhouse with vibes reminiscent of the rollicking late 1950s and early 1960s and brought it back with most of the original cast…” who welcomed the return of the show that had been such a hit during the 2007/2008 season (Lowe.  “Rockin’ and a-rolllin’ ….”  TWS.  4 Feb. 2010).  Limon once again played Holly and seemed perfectly cast for this role.  His back-up group of excellent musicians, some of whom played additional roles, provided the right sound and energy for the show.  One musician in particular, Clay Arthur, was noted for his “shenanigans with the bass fiddle which are a hoot to watch, sometimes playing it sideways or some other crazy position” (Lawrence. “It’s so easy to fall ….”  CSE.  19 Feb. 2010).  When the show previously appeared, it “broke box office records at Wayside …” writes one reviewer.  “This production certainly will help the theater pay [its current bills].” Patrons who saw the earlier production “won’t chafe at a replay of the easy-going musical and newcomers will find it an infectious romp” (Horan. “Wayside’s ‘Buddy Holly …’ ” NVD.  4 Feb. 2010).

Theatre goers were encouraged to attend Harvey at Wayside, “but don’t expect to see Harvey” began one reviewer.  He praises Larry Dahlke for putting his own stamp on Elwood, a role James Stewart portrayed indelibly in the film … [Dahlke] is a callow eccentric, content in his illusory world and oblivious to the turmoil his imaginary friend generates” (Horan. “Wayside’s ‘Harvey’ ….”  NVD. 1 Apr. 2010). The set, lighting and costumes received high marks in all the reviews.  In White’s review, each member of the cast is credited and concludes with Elwood’s lines, “I wrestled with reality for 40 years.  I’m happy to say I finally won out over it” (White. “ ‘Harvey’ offers ….”  TWS. 1 Apr. 2010). 

In the shadow of an imaginary rabbit, the 2009/2010 season came to a successful conclusion!