Lou Furman: 1977
Like the other Furman years, the information for 1977 relies almost entirely on reviews of productions found in the local papers. Based on these, it can be assumed that Wayside continued with its busy summer season of productions as well as by providing theatrical opportunities for young people of the area. (SEE: Appendix. Classes)
Prior to the opening of what was labeled as Wayside’s fifteenth season, the Beau Geste organization was hard at work “contacting former subscribers, new residents, colleagues and friends to seek subscribers for the 1977 Summer Season, pushing ticket sales with the slogan ‘Think Summer … Think Wayside’ ” (“Wayside Theatre Opens ….” NVD. 13 May 1977). The list of Beau Geste members illustrates the wide geographical range of the organization. One paper’s full-spread article about the Theatre gives the schedule for the 1977 season under the banner, “We’re Live.” Included in this are the names of organizations that support the theatre (TMJ. 2 June 1977). Another paper ran a full-page ad for the season opener, The Fourposter, including the resume for actress Marilyn Allen, and stating that she had been selected out of 700 actresses who had auditioned for the role in New York. Also included were interviews with the four main people involved in the production of The Fourposter: the two leads, Marilyn Allen and Ryan Hilliard, the season’s director, Bill Koch, and stage manager, Allen Hughes (Stoddart. “ ‘Out of 700 ….’ ” WES. 3 June 1977). A great kick-off for the season!
Despite some flaws in the opening night performance regarding costumes, set design, and staging, one review called the performance a hit and concludes, that “If, ‘The Fourposter’ production as a whole is any indication, this season should be one of Wayside’s finest” (Robinson. “ ‘The Fourposter’: ….” WES. 9 June 1977).
Actress Marilyn Allen also played the lead in the season’s second show, Wait Until Dark. Two leading roles in succession makes for a busy schedule for any performer - - starring in one play while simultaneously rehearsing for another. But, this type of work is what actors accept when doing summer stock.
Casting notices were placed in the local papers for a twelve-year-old girl to play the role of Gloria in Wait Until Dark, giving the audition dates and times. The notice stated that the person auditioning for the role of Gloria should not be over 5’ 3” and look no older than twelve years of age, as well as be able to act that age. Obviously, the person cast should be available for rehearsals and performances, which may mean adjusting the school schedule. Furman stressed that “Previous experience is not necessary, but the ability to memorize is,” as Gloria plays “an integral part in the show, appearing in four separate scenes, all with several pages of dialogue and action with the leading character” (“Wayside Needs Local Girl ….” WES. 19 May 1977). Tina Lantz of Middletown was cast in the role, winning the part over two dozen young ladies who had auditioned.
Wait Until Dark opened on schedule, and Marilyn Allen received an excellent review by one local critic, as did Ryan Hillard, who had to perform with a cane due to a last minute foot injury incurred prior to the opening night performance. The set was highly praised as was the directing, despite one critic feeling the “production does not draw spectators into a thriller-type suspenseful experience” (Kinley. “Wayside Play Lacks ….” DNR. 23 June 1977). Yet, another wrote, “So stunningly played was this edge-of-the-seat thriller, and so caught up was Sunday’s audience in this play of terror onstage, that when the curtain call came they responded as if the characters were either ‘the good guys’ or ‘the bad guys’ and applauded accordingly” (Powell. “Drama playing at Wayside ….” Morning Herald. 1 July 1977). In a lengthy review, another writer adds, “But when all is said and done, Marilyn Allen as the blind woman and Ryan Hilliard as the meanest criminal of all, with his crippled walk, cane, and sardonic delivery, will be most remembered from this most engrossing production” (Powell. “Gripping, eerie drama ….” TDM. 28 June 1977).
The season’s third title, She Stoops to Conquer, was praised for the “Splendid sets, creative costuming and dazzling dialogue … and just plain fun.” The writer adds that the antics of actress Patti Allison “drew unsolicited and very well-deserved, spontaneous applause,” and concludes, “It’s worth the price of the production just to see her as the bustling, boisterous, blustery Mrs. Hardcastle” (Robinson, P. “ ‘She Stops to Conquer’: ….” WES. 9 July 1977).
Commenting on Once Upon a Mattress, one reviewer referred to it as a “musical fairy tale surely to delight even the most somber of playgoers,” but he found “some of the dance routines a little weak.” The writer concluded, “If you choose to see it, you won’t be sorry” (Saffell. “ ‘Once Upon a Mattress’ ….” WES. 23 July 1977).
Willliam Inge’s Bus Stop, the next show of the season, was labeled “not a fast-paced production [but] a show rich in characterization” and called it, “not boring” (Saffell. “ ‘Bus Stop’ Said …. WES. 6 Aug.1977, p. 14).
The final production for this successful season took a look into Don Quixote’s dreamworld with the musical, Man of La Mancha. Ryan Hilliard, playing the role of Cervantes/Quixote, is credited for his strong performance and versatility, and the singing of both Mark Hattan (The Padre) and Toni Dorfman (Aldonza/Dulcinea) were vocal standouts. Sancho, played by Ernie Semento, is recognized for giving “an enchanting, humorous performance that is sure to delight even the most discriminating of theatre-goers” (Saffell. “ ‘Man of LaMancha’ ….” WES. 23 Aug. 1977).
Something a little different occurred following the final performance of Man of La Mancha. Rather than tear down the set and store all the costumes and equipment as is the custom, this fully-staged production was packed up and transported to Richmond where it was performed in a different space the following day. A newspaper account, telling of this venture, states,
At the end of the Wayside 1977 Summer Season … staff members will pack up
the set, properties, costumes and actors to effect the move to Richmond’s Dogwood
Dell where ‘Man of La Mancha’ will become a part of the Summer’s End Festival sponsored by the Federated Arts Council of Richmond, Inc. (“Wayside Theatre to
make ….” CSE. 3 Sept. 1977).
No doubt this move required careful planning and execution, because the performance in Richmond was only for the evening of September 5!!
One writer observed that Wayside’s performance in Richmond will provide two firsts for the Theatre. “Never before has a summer season show been transported in its entirety to another stage, nor has a summer season show ever been performed out doors.” The Dogwood Dell is a 3000-seat amphitheater, “equivalent to twelve Wayside theatre-fulls. That’s also the total number of people to see the entire two week run of some shows at Wayside” (“Wayside Theatre to make ….” 3 Sept. 1977). The admission-free performance in Richmond, was made possible through grants from the Mobile Foundation, Inc; the Virginia Commission of the Arts and Humanities; and the Richmond Department of Recreation and Parks. As far as theatre records show, this was the only time a Wayside Theatre production took place at the Dogwood Dell. But, records show that at least two other Wayside shows were performed in locations other than Middletown. In October of 1966, during the run of The Moon is Blue, a performance was given in Culpeper, VA for the Benefits of Mental Health Association. It is not clear if any of the set pieces, lighting, or other stage necessities were transported from Middletown to this performance site. Records also show that the 1973 production of It’s Funny … was transferred to the Theatre Club in DC for a two-week run. For this, the set, costumes and other equipment were moved to the new performance space.
Much of the success for the 1977 season is credited to the hiring of the “international director, choreographer, concert musician and published poet,” William Koch, as the resident director (“William Koch ….” NVD. 6 April 1977). Koch was hired by Furman to direct five of the six plays scheduled for that season. Koch’s international background, experience in all forms of theatre were well served for the variety of titles offered this season.
In addition to a full summer season of plays performed in Middletown, there were other events that occurred during this season. The most significant was the continuation of Wayside Theatre on Tour (WTOT), one of the theatre’s most successful ventures that began in 1971, during the Slavet years. Furman continued this program into its sixth season.
To find actors, Wayside continued to hold auditions in New York and other cities. Notices would appear in trade publications such as Back Stage, and other theatre rags. For this particular year, Wayside announced an open-call at New York’s George Morrison Studios and while this audition was similar to ones held in previous years, the emphasis this year would be on locating five actors, either Equity or non-Equity, for the Wayside’s touring show that would travel for seven weeks throughout Virginia. The audition notice indicated that preference would be given to actors who could sing and play a portable instrument (i.e. flute, guitar, recorder, etc), as music was an integral part of WTOT’s production that was based on five folk tales (Back Stage, 2 Sept. 1977). (SEE: Appendix. WTOT).
In an effort to publicize activities taking place at the Theatre, a small four-page news-sheet, entitled Wayside Theatre News, was begun sometime in the mid-70’s. It is not known how long this publication existed as only two issues of this paper have surfaced to date, both from 1977: one is numbered as Volume 3, no. 2 for September, 1977, the other as Volume 3, no. 3 for December, 1977. The contents contain reprints of articles from the local papers that deal with some aspect of the theatre, along with short bios of theatre staff members. In addition, each issue contained a subscription form for ticket purchases. It is assumed that these publication were mailed to theatre patrons, or could be obtained when attending a performance.
It was in one of issues of Wayside Theatre News that announced the resignation of Lou Furman. The principal reason Furman gave for resigning was his desire to pursue his new interest of theatre education and “to spend more time working with teachers and children.” In a later announcement he stated, that “running a year-round theatre does not allow the producing director any indulgence in preference; all programs must receive proportionate attention.” Perhaps this is the reason that, during Furman’s tenure, he changed the title of his position from Artistic Director to Producing Director, which he indicated, “was a more realistic description of his job.” The resignation announcement also lists Furman’s accomplishments stating, “he has inaugurated the Wayside Winter Series; has expanded and reorganized the junior staff and apprentice program; has improved actor and staff housing; [and] has innovated an intern program” (“Lou’s Leaving WT.” Wayside Theatre News. Dec. 1977).
And, with that, the Furman years end and the Kirkland era begins!