Warner Crocker: 2012-2013

In June of 2012, the Theatre announced the titles of the shows for the upcoming season along with a statement regarding its financial status.  After the financial issues of last season, there was some doubt as to whether there would be a 2012/2013 season.  Fortunately, many people responded to the $90,000 appeal, but, despite their generosity, Crocker stated, “We are not out of the woods yet …; we are doing okay as far as day-to-day management that we weren’t able to do since 2008.”  As far as the new season, Crocker added, it is a good mix “with something for everybody” (Lowe.  “Wayside Theatre opens ….” TWS. 1 June 2012). 

The season opened with a repeat from the 2004/2005 season, Hank Williams: Lost Highway.  The cast needed to work fast and hard to get the show into performance level as they had only two weeks of rehearsal time instead of the usual three.  Some members of the cast had been in the earlier production and other actors were engaged for this particular presentation.  It was noted that Limon, who played the role of Hank eight years ago, “breathes excitement and energy into his interpretation of Williams.” Lowe also credits Pam Pendleton, who had appeared on Wayside’s stage in several of the Sanders family productions, for “her vigor and humor in her portrayal of the proud mother who finds joy in talking about her boy …”  (Keelor. “ ‘Lost Highway’ is …”  NVD.  8 June 2012).  Another writer praises the cast, costumes, and set, and notes, “Photos are projected on the back of the stage to illustrate parts of the singer’s life, from his funeral to the bars and diners he frequented” (Lowe.  “Masterful musical ….”  TWS.  9 June 2012).  Another sums up the performance best when she calls it, “Tight ensemble work, solid musicianship, and the special talents of Robbie Limon to put it over” (Lawrence. “Can’t help it if ….”  CSE.  7 June 2012).

The season’s next play, Private Lives, had appeared at Wayside in 1985 and 1990, and its return was welcomed.  The set used for acts II and III made Wayside’s stage look almost twice its actual size by using lovely furniture and a view of the Eiffel Tower recreating a long passed era.  One critic praises the cast for their excellent accents, and airs of sophistication that depict the right mood for the 1930s.  She also credits the Theatre, in a slightly back-handed manner, for even selecting this play stating, “… while this is a diversion for the Wayside stage from more simplistic comedies and musicals, it is a treat that shouldn’t be missed” (Lowe.  “Sophisticated comedy ….”  TWS.  20 July 2012).   Another writes in her review,

Though comedies traditionally feature characters acting worse than they would
normally, the symmetry of the unlikely honeymoon conversation from two couples
who arrive at the same time each for a honeymoon neither has yet consummated
seems a little too absurd.  Still, if you make it through Act One, ‘Private Lives’ is worth
it (Keelor.  “Good acting, bad behavior ….”  NVD.  25 July 2012).

The general consensus was that this excellently performed work was awarded high praise for its acting, for the costumes, and the beautiful set.

Tuna Does Vegas made its first Wayside appearance during the 2012/2013 season, and Greater Tuna had had been seen at Wayside during four earlier seasons.  As is the pattern for these shows, two actors play nineteen or so characters and change clothes every few minutes, requiring quick costume changes for their different persona.  Tuna Does Vegas fell comfortably into this pattern.  The set and the many costumes and wigs were praised by all reviewers. One writes, “If you didn’t know the two of them were hidden beneath the mustaches, wigs, glasses, dresses, jumpsuits or women’s bathing suits, it would be all too easy to believe that Wayside was hiding a cast of uncredited people backstage” (Keelor. “Costume changes bring ….”  NVD.  31 Aug. 2012).  Another reviewer notes that the two actors “are relaxed with each other and both give incredible performances … Not only do these two men have many lines to commit to memory, but stage business to learn as well so that each character comes alive” (White. “Wayside’s ‘Tuna’ ….”  TWS.  31 Aug. 2012).  Making all this happen were four highly trained interns who managed the costume changes back stage in a matter of seconds.  Fortunately, they were recognized for their work during the curtain calls alongside the actors. 

Wait Until Dark was the ‘scary’ play for this season. Like its earlier appearance in 1977, this performance was also highly successful.  All reviewers credit the set which looked exactly as a New York basement apartment should look, along with the mid-‘60s appliances and the clothing of the period.  In addition to the set, the lighting effects were exemplary.  All extol the work of Thomasin Savaiano, cast as Suzy, for her convincing performance as a blind woman.  “Playing blind when you can see invites the audience to watch for the tiniest slip, but she carries it off very well with a combination of optimistic determination and her innate vulnerable appeal” (Lawrence.  “ ‘Wait until Dark’ ….” CSE.  26 Oct. 2012).  As to the bad guys, “they come and go so often to try and trick [Suzy] that the audience is left reeling from the constant door closing and multiple entrances and exits … all three give admirable performances of shifty characters who are not above tricking the handicapped” (Lowe. “Wayside’s ‘Wait Until Dark’ ….”  TWS.  12 Oct. 2012).  It was a frightening evening!  As in other productions that use younger actors, the role of Gloria was double cast.

The Christmas show, Glory Bea, was a repeat of the show that had premiered at Wayside the previous year.  Many of the cast who had performed at that premier appeared in this year’s version as well.  The authors had made a few changes in the script, but it was basically a repeat performance of the same show.  Favorable comments were awarded to the three angels who narrate the story and provide some of the antics. One reviewer pronounces the show “even more entertaining and delightful than the previous season,” and notes that the repeat of this title was due to “popular demand according to artistic director, Warner Crocker.” (Lowe.  “Wayside holiday production ….”  TWS.  29 Nov. 2012).

Due to large attendance and excellent ticket sales for the highly successful run of Glory Bea the previous year, it was expected that scheduling it again would have similar results.  This was not the case. Unfortunately, attendance for the 2012/2013 production rather low, causing a major loss of income for the Theatre.

Only a few days into January of 2013, the headline for the Northern Virginia Daily read, “Wayside Theatre considers closing doors.” This dire announcement was because the fundraising efforts had not been as successful as hoped along with the low attendance of the December show.  The annual campaign goal was $106,000 but only about $30,000 was raised.  Crocker stated that ticket sales for the fall shows “were way, way down.  You know, our Christmas show missed projections this year by about $20,000.  Which is huge.”  He sums up the situation as “we’re about as thin as thin can be” (Keelor. “Wayside Theatre considers ….”  NVD.  8 Jan. 2013).  Crocker also mentioned the theatre was no longer scheduling Wednesday matinees which at one time had been a draw for individual tourists as well as bus tours.  Despite the situation, the spring shows for 2013 would be performed as scheduled, but the “theatre is not selling subscriptions for the 2013/2014 season.”  He concludes “…perhaps it’s time for Wayside Theatre to either close its doors or reevaluate what its mission is” (Keelor. 8 Jan. 2013). 

On that gloomy note, the new calendar year began.  According to the schedule circulated some months earlier, Good ol’ Girls, a musical celebrating the modern southern woman, was to have started the new season.  Information does not indicate why this was replaced with the Sanders family title, Smoke on the Mountain: Homecoming, a show that had been performed at Wayside during the 2007/2008 season.  It was also a true homecoming to have the show back at Wayside as this was a reunion of cast members from previous Sanders family productions.  The show was well attended, despite the tentative future that lay ahead for the Theatre.  “But, no one could tell a dark cloud looms over the theater on Main Street of Middletown with the excellent acting and musical performance of the cast” (Lowe.  “Wayside’s ‘Smoke on ….’ ”  TWS.  1 Feb. 2013).  Another review sums up the performance by stating, “The ability of the actors to not only perform the script so well, but simultaneously play an instrument version of musical, is stunning.”  The writer continues, “Watching ‘Homecoming’ is like witnessing a master-piece constructed live on stage—having no idea what goes into it until you see it performed, and afterward still not knowing how they made it work” (Keelor.  “Musical hits high notes ….”  NVD.  2 Feb. 2013). These Sanders family productions had become a staple of Wayside’s performance schedule and were favorites with the public.

Rounding out the season was the staging of The 25th Annual Putnam County Spelling Bee.  One of the strong points of this production was that Wayside cast real teenagers, along with actors in their early twenties.  This gave the production the required youthful appearance.  By not using more mature actors to play younger teens, the performance lost the experience that more experienced actors would bring to their characters.  But, the decision to actually use real teens made it visually correct. Fortunately, the teens cast in this show were products of Wayside’s Young Performers Workshop where they had gained valuable stage experience.  One critic wrote that the music, while entertaining and well performed, was not memorable.  It was also disconcerting, she wrote “to see Leaf Coneybear ‘contorting himself into knock-kneed pretzels,’ unless that is what he was directed to do.”  The reviewer concludes,

This [show] is a slightly different kind of territory for Wayside and it’s nice to see
a not-overdone show come to this forum; however, the tone is jarringly inconsistent.
While some characters are playing for truth, others seem to have found themselves
in a farce and the two are difficult to reconcile” (Lawrence. “Putnam County Bee …. 
CSE.  25 Apr. 2013).

Although the 2012/2013 season had begun with a tentative feeling, it ended successfully.  But, despite its success, the heavy financial cloud continued to loom over the Theatre.