James Kirkland: 1978
In announcing Wayside’s 1978 season, a brief notice appeared in a Washington, DC paper that stated, “Wayside Theatre, Middletown VA will open its Equity season June 6 under the direction of James Kirkland. There will be some non-Equity roles for which actors may apply” (Coe. “Theatre Notes.” TWP. 30 Mar. 1978). Closer to home, there was the usual flurry of articles in the local papers that gave the titles of the plays and the names of actors who had been engaged for the season. Included in the list were the names of staff members who would be designing and building the sets and costumes, hanging the lights, along with the latest news about the Theatre’s upcoming season. This activity is reflected in a newspaper article stating, “The theater colony has arrived. The town already is taking on an off-Broadway air as the Wayside crew prepares for the opening of the summer stock theater on June 6.” Further along one reads, “On summer evenings, Middletown attracted people from afar, many coming from DC …. A typical summer scene might find scores of people in evening dress wandering up-and-down the streets waiting for curtain time” (Williams, L. “Middletown Welcomes ….” WES. 31 May 1978).
Another paper devoted a full-page spread to Wayside’s summer visitors, along with comments made by Middletown residents who shared their opinions of these ‘summer theatre folk’ and how the theatre’s presence has affected life in the community. One resident stated, “Wayside Theatre is the only thing that puts this town on the map;” while another acknowledged, “We get to meet people we wouldn’t otherwise get to know.” Another confessed, “They really liven up the town,” while still another openly admitted, “I’m glad they brought culture to Middletown.” Others bravely confessed that they resented the Theatre when it first opened, but conceded that “ … [we] are getting used to it.” Of particular interest is the observation of another resident, “They always compliment us on how clean our town is but they also complain sometimes because there isn’t anything for them to do after a performance.” One local was far-sighted enough to note, “We would certainly be hurt if Wayside Theatre ever closed down” (Ackley, “Middletown residents ….” WES. 14 July 1978). This last statement is particularly poignant when seen in the light of the Theatre’s closure in 2013. This subject would have made a good follow-up article if some reporters had been available to ascertain the reactions of the town’s residents when it was announced that Wayside was closing its doors.
In addition to information on the upcoming season, there are articles reporting on the resignation of Lou Furman paired with those welcoming James Kirkland, who had begun his duties as the new Artistic Director in January of 1978. Kirkland had previously worked at the Virginia Museum Theatre in Richmond where he directed productions and taught classes in acting and improvisation. His technical training included experience both as a carpenter and as a lighting technician (“Kirkland Moves to Wayside.” Loudoun Times-Mirror. 8 Dec. 1977). In addition to his stagecraft skills, Kirkland was also an actor who had been recognized for his “excellent performance as Lennie in Harold Pinter’s ‘The Homecoming’ ” (“Wayside Gets New ….” TMJ. 23 Nov. 1977).
Among the items for 1978 found in the Archives is an envelope filled with theatre ads clipped from the area newspapers announcing titles of Wayside’s shows. These small ads give the title of the show along with performances times and dates. All use the exact same format, regardless from which paper they were taken. An unknown staff person in the theatre office wrote the name of the paper where each ad had been taken. Despite the repetition, the clippings illustrate the breadth of advertising done by the theatre as well as the number of newspapers that were in operation in the area at that time.
Another item of interest in the Archives for 1978 is an invitation sent by the Board of Directors of the Wayside Foundation for the Arts for the official opening of Wayside’s 1978 season. Curtain was at 8:30 with a grand reception at the Wayside Inn following the performance (Archives. Invitation). Theatre-goers in the 21st century are probably surprised at seeing the late starting time. But, records show that Wayside’s June through September season operated with the following performance schedule: Tuesday through Friday, curtain at 8:30 p.m.; Saturday at 5:00 p.m. and 9:00 p.m.; with Sunday at 6:30 p.m., and Wednesday matinee at 2:30 p.m.
To cast actors for the summer season, audition notices were placed in various locations. One stated that Wayside “will open its Equity season on June 6, [and] there are some non-Equity roles for which actors may apply” (TWP. 30 Mar 1978?). Another announcement is from the theatre periodical, Backstage, stating that Wayside would hold auditions at the Guild Studios, Ansonia Hotel in New York City, on April 10 and 11 for Equity actors, with an open-call on April 12. Both James Kirkland and Barbara Swink, Wayside’s Business Manager, would be in attendance. The announcement lists the titles for the 1978 season, adding that all roles were open and that four of the six shows had openings for non-Equity actors (Back Stage. 7 Apr. 1978).
A special item for the up-coming 1978 season was the inauguration of a new subscription plan. For those who wished to attend opening-night performances, they were urged to select the Series I subscription plan, which …
offers the best bargain in today’s professional theatre world. Dinner at the
Wayside Inn and six opening nights at Wayside Theatre for only $55.20. That’s
only $9.20 per evening. No other professional theatre in the country can compare
to these prices (“Wayside Theatre Plans New Season.” Apr. 1978).
For those selecting the Series II option, patrons were assured that they had the same guaranteed seating subscription that had been offered in previous years.
Wayside’s 1978 season opened with Round and Round the Garden by Alan Ayckbourn, one of the plays in The Norman Conquest trilogy, directed by the very successful DC director, Davey Marlin-Jones. Local reviewer, Pat Robinson, called the season opener worthy of a standing ovation! Along with the cast of six strong actors, Robinson gives credit to a trellis-lined set of bright yellow and orange, and the colorful costumes that makes a “very appealing show visually” (Robinson. “Wayside Opener: ‘All for …..’ ” WES. 7 June 1978).
Marlin-Jones also directed the season’s second production, Vanities. Although Robinson gave high praise for the play, he criticized the theatre staff, along with the very talented cast, for not having had sufficient rehearsal time, noting that the three actors in Vanities had just completed Round and Round the Garden. Robinson assures his readers that after a couple of performances, Vanities would be in top form. He further recommends that, if people can only attend one show this season, be sure they select Vanities (Robinson. “The Play ‘Vanities’ ….” WES. 28 June 1978).
The bi-level gazebo winter garden setting along with colorful costumes made the production of Ring Round the Moon visually appealing. Assessing the production, Robinson suggests,
If you like to be confused, then amused, you’ll love it. If not, forget it. If you like
pretty costumes and pretty plays, you’ll love it. If not forget it … If you want to see
some very fine performances, you’ll love it. And everyone loves that … (Robinson.
“ ‘Ring Round the moon’ ….” WES. 8 July 1978).
Charley’s Aunt, the season’s next show, received kudos on all fronts. Robinson states, “It is a rare treat to be able to write a review of a Wayside production and be able to say honestly that the show is good, everyone in it is good,” including the sets and costumes. One of the reasons for this show’s success is the clever way it was produced. For this production,
Wayside is transformed into an old English music hall, ‘The Mermade Music Hall
at Middlesex’ … and the cast appear as actors and actresses in musical or comical numbers before and after the show and in ‘olios’ between acts; and get the audience involved by having it participate in ‘sing-alongs’ of period tunes before and after the show.
Additional music was provided by musical director, William Stancil, playing “some old standards and piano accompaniments …” (“ ‘ Charley’s Aunt’ Is Wayside ….” WES. 1 Aug. 1978).
In the following production of Volpone, Kirkland appeared in the role of Mosca and is highly praised for his acting. On a whole, setting the play in the 1930s and failing to update the language did not seem to make sense to one reviewer. The cast seems to have given strong performances, especially the seven Wayside apprentices who earn the bulk of the laughter appearing as scribes, officers and servants (Robinson. “ ‘Volpone’ … Palatable if Not Pleasing.” WES. 11 Aug .1978).
The final production of the season was the highly successful Bells Are Ringing, directed by Harold Herman. Robinson felt the accompaniment of only piano and drums “leaves something to be desired,” and complained that the show was over two hours in length, despite it being very entertaining. Robinson mentions all of the cast members, particularly praising the fine work of the leads, adding that any show directed by Herman is noted for his effective staging of the chorus which, in this production, is “very much in evidence …. Every character regardless of the minuteness of his part has some character or identifiable action in a Herman show; every performer in this show did.” In conclusion, Robinson observes that this successful production contained fifteen Equity cast members along with some local actors. He thought the use of the revolving stage “worked very effectively, despite its being slow in turning” (Robinson. “At Wayside the ‘Show ….” WES. 30 Aug. 1978).
Of the six shows scheduled for the 1978 season, Kirkland directed only two: Charley’s Aunt and the Christmas show. For the remainder of the season, Kirkland used guest directors: John Ulmer from the Roundabout Theatre in New York, who directed Ring Around the Moon; Keith Fowler for Volpone; and Harold Herman for the musical, Bells Are Ringing.
Closing out the 1978 season, Wayside presented the Charles Dickens classic, A Christmas Carol, in a version adapted by William Stancil. If the chronology of Wayside performances is correct, this marks the first appearance of this seasonal favorite on Wayside’s stage. The five performances of the show were scheduled over two weekends. Six professional actors were used in the cast, along with people from the community who appeared in minor roles. To obtain these local people, an audition notice appeared in the “What’s Going On” column of a local paper that stated,
Nine amateur performers - - seven children and two adults - - are needed to
supplement the cast of six professional actors for Wayside’s production …. No
audition appointments are necessary. Children who audition should be prepared
to recite a short poem and sing a Christmas carol of their choice. Adults will be
asked to read from the script (“Auditions for ‘A Christmas Carol.’ ” NVD. 1 Dec. 1978).
The young actor, Eric Tull, who was cast to play the role of Scrooge, was featured in an article in the Winchester paper that stated, “Tull is probably the youngest Scrooge ever cast in a professional theatrical production” of this seasonal favorite. “He’s a young man who plays an old man well, and that’s not an easy assignment for any performer - - unless he’s as gifted as Tull proves he is” (“ ‘A Christmas Carol’ will ….” WES. Dec. 12, 1978). A copy of the script for this version of A Christmas Carol dating from either 1978 or 1979 can be found in the Archives.
This 1978 performance of A Christmas Carol, that would later become a holiday staple, was highly successful. The costumes and the set “add so much to the production that they deserve at least co-starring billing” wrote a reviewer, who confesses “the inability to distinguish between the professionals from the local performers …, and that is a tribute to the non-pros as well as to their director, James Kirkland” (Robinson. “ ‘A Christmas Carol’ ….” WES. 22 Dec. 1978).
Although the 1978 season proved to be highly successful, the title that received major coverage in the press was the Wayside Theatre on Tour’s production of Virginia Ghost Stories of the Civil War. (SEE: Appendix, WTOT).
As has all too often been the case in Wayside’s history, the financial status of the theatre had taken a precarious turn during 1978. It was announced in the fall of that year, that the expected revenue for the summer season had fallen below the amount anticipated and that $35,000 was needed in order to assure another summer season of plays. Fund raisers were proposed by the Board, and it was hoped that the Theatre would be the recipient of grants from various organizations. To be assured of additional funds, “The Board has voted to extend the fund raising drive until January 8, at which time the directors will decide the fate of the 16-year old Equity theatre.” (NVD. 30 Nov. 1978 ?). Two letters, written by residents of Harrisonburg, Virginia, appeared in their local paper that praised Wayside’s work. The writers urged support of Wayside, as the theatre “could not continue its programs wihout financial assistance” (Letters to the Editor. HDNR. 8 Oct. 1978). The men and women of the Beau Geste chapters in Harrisonburg and Rockingham County had set a goal of $35,000 as their contribution to off-set the deficit.
When one reads the above paragraph, it is uncanny how familiar it sounds. By merely changing the date, one could be reading about Wayside’s financial crisis that took place in 2011 that ultimately resulted in the 2013 closing of the theatre.
It is also at this point in the Theatre’s history where, once again, there is some confusion regarding the names, titles, and dates of service in the theatre’s leadership. The lack of clarity regarding the theatre’s early years, particularly 1961 and 1962, is repeated when listing the Theatre’s leadership for the years 1978 and 1979. In all information published by the Theatre, James Kirkland is listed as serving as Artistic Director for only one year, 1978. Kirkland’s successor, Ed Steele, is listed as beginning this position in 1979. Articles in various newspapers cloud the accuracy as well. In a review praising the production of A Streetcar Named Desire, the writer states that Director Davey Marlin-Jones “has brought a level of credibility that has eluded producing Director Jim Kirkland for two seasons” (Strohmeyer. “ ‘A Streetcar ….’ ” NVD. 28 July 1979). In an article discussing the debt that the Theatre had incurred in a rather short period of time, there is a reference to Kirkland’s tenure that states, “The magnitude of the Wayside debt was made public when Jim Kirkland, Wayside’s producing director for two seasons, announced in January that he was leaving” (Strohmeyer. “Wayside Theatre Is ….” NVD. 11 Feb. 1980). And, in yet another source, a reference is made to Kirkland being at Wayside for two years, and, “ … it has been estimated that Wayside lost $20,000 during each of Kirkland’s seasons and close to $30,000 on an ill-fated fall season of Shakespeare that failed to click” (Strohmeyer. “I Do! I Do! …. ” NVD. 11 July 1980). It appears the local papers were more accurate in stating Kirkland’s tenure than the Theatre’s records.
Wayside’s chronology of Artistic Directors shows that 1979 was Ed Steele’s first year in that position. With the above references to Kirkland’s being at the theatre for two seasons, and that his second year in this position is the one normally listed as being Ed Steele’s first year, the confusion is understandable. Contrary to the Theatre’s listings, James Kirkland was at Wayside for two years, 1978 and 1979, which is the chronology this document will use.
Records also show that there was a production of A Christmas Carol in December of 1979. Unfortunately, no playbill exists in the Archives, but it can be confirmed that the script was the joint effort of Kirkland and Stancil. In this production, Ed Steele played the Ghost of Christmas Past, which confirms that Kirkland and Steele were both working at the theatre that year. Comparing the cast for the 1979 production, one notices that many actors had appeared in Christmas Carol the previous year. An undated script of Christmas Carol can be found in the Archives.
Regardless of the confusion over the dates Kirkland served as Artistic Director, there seems to have been mixed reactions as to the quality of the productions staged during his tenure. Some felt the works chosen were more ‘artistic’ as opposed to an artistic-financial scheme” and did not appeal to the clientele (Strohmeyer. “Wayside Theatre is ….” NVD. 11 Feb. 1980). Dr. George Moore, who was president of the Wayside Board, defended Kirkland’s work, saying, “There was no widespread dissatisfaction with Jim Kirkland.” Moore adds that one should remember that “Kirkland was saddled with a deficit when he took over two and a half years ago from Jerry Slavet,” and while the debt is blamed on Kirkland, it is really due to the board not taking a more active part in the direction of the Theatre (Strohmeyer. “Wayside Theatre is ….”). In Moore’s statement, reference is again made to Kirkland’s two year tenure.
While the 1978 season appeared to have been a success, the Theatre was still saddled with a serious deficit. The fund drive did not meet its goal, leaving a deficit of $35,000 needed to assure another season of plays. The Board of Directors was scheduled to meet on January 8, 1979) and, at that time, “will decide the fate of the 16-year old Equity theatre” (NVD. 30 Nov. 1978). Despite this dire situation, Wayside did have a 1979 season!