Christopher Owens: 1988

When Christopher Owens announced Wayside’s 27th season, it was proclaimed as being the largest, the longest, and the most luminous season in the theatre’s history.  The longer season was created by extending the run of each of the seven plays from the usual two weeks to three weeks.  An un-named theatre officer explained that by experimenting with a couple of titles the year before, “What we found out was that the third week was always the most successful … giving time for word-of-mouth to let people know it was a good show” (Quillen. “Wayside Theater Expands ….” DNR.  4 Mar. 1989). Thus began the longer season which also provided longer preparation time for the productions.

To promote the new season as well as to celebrate the renovations that had taken place in the Theatre, Stutzman Chevrolet-Cadillac agency, a major supporting organization for the Theatre, ran a newspaper ad that not only advertised their automobiles, but also served as a great promotion for the Theatre. The advertisement also lists the renovations that had been done to the theatre. These included:

— seats rearranged to give easier access, better leg room and better visibility;
— fresh paint inside and out;
— ‘Curtain Call’ completely remodeled, and open for light refreshments before and after shows & at intermission;
— new carpeting;
— renovated restrooms.

In addition to listing information about improvements at Wayside and promoting sales for the new Cadillacs, Stutzman also supported the theatre by offering “two free passes to a show of one’s choice when you take a demonstration drive in a sophisticated ’88 Cadillac before May 31, 1999.  If you purchased a new Cadillac before May 31, 1988, one received two free season ticket passes for all of the season’s seven shows.” (Stutzman.  Advertisement, NVD.  26 May 1988). Stutzman was serving as a member of Wayside’s Board of Directors at the time this advertisement appeared.  He remained a loyal supporter of the Theatre when he was no longer a board member.

Festivities for the opening of the 1988 season began with a candle-lit champagne reception held in the newly painted Curtain Call.  The 150 or more formally dressed guests had paid $100 per couple to attend this event that preceded the opening of Cole. 

The reception formally commenced when several personalities wheeled up to
the theater in 1950s convertibles …. Guests Mary Ellen Stuart and Mark Lewis,
actors from “The Guiding Light,” along with theater critic-director Davey Marlin-
Jones … and actress Anne Gartlan – the star of “Cole” led the jovial crowd into
the newly renovated theater (Camlin, M. “Wayside’s Opening Night ….” TWS. 26
May 1988).   

None of the local critics had any praise for Hound of the Baskervilles, an adaptation by Christopher Owens of an early detective story by Conan Doyle.  “The nicest thing to say about [the play] is that it is filled with variety: both fine acting and bad, interesting theatrical effects and fizzles, and humor, both intentional and unintentional” (Horan. “Wayside’s Sherlock Holmes ….” NVD. 6 Aug. 1988).   Another called Wayside’s Hound, “A play that ultimately limped to a very unsatisfying conclusion” (Hendrix.  “It’s Elementary.”  TWS. 5 Aug. 1988).  Other critics were of the same opinion:  that the script was not that good along with some unusual acting styles by the company.  Opening night had a few errors that included an errant set piece, a missed cue for a bell, actors confusing their lines, plus “something that flew into the theater and swooped around the stage …. Some said it was a bat, others said it was a small nighthawk.  Whatever it was, it added a little extra oomph to the gothic set” (Earehart.  “Misfortune Stalks ….”  HNR.  6 Aug. 1988). 

The negative opinions heaped on the previous production were reversed as the reviews were all positive for the very strong production that followed. Directed by Wayside’s Managing Director, reviews for The Good Doctor were all positive. Each of the five actors plays multiple roles and it was these performances that are credited at length in the reviews.  After praising each actor, one writer concludes, “This group of actors is the best at Wayside this summer. They are excellent together.”  But, while the critic felt this was not a particularly good production, he concludes, “[it] is better than watching television or going to the movies.  It’s good family entertainment” (Earehart.  “ ‘The Good Doctor’ ….” DNR.  20 Aug. 1988).  Another writer calls attention to the set for “its unique construction of room-high building blocks, filled with all kinds of toys and gadgets …. Several hanging patchwork quilts bring to mind the way the play itself beautifully pulls together a range of Chekov’s tales and Simon’s themes and ideas” (Camlin.  Wayside’s ‘Good Doctor’ Is ….”  TWS.  19 Aug. 1988).  There is a footnote written in italics at the end of the review that notes “ ‘The Good Doctor’ is sponsored by Jim Stutzman-Chevrolet-Cadillac, which is also the production’s corporate co-producer.”  Not all of the local paper’s reviews contain this information.

The summer closed with Bullshot Crummond, another zany comedy full of sight-gags and fantastically funny scenes.  Calling the cast, ‘excellent’ one reviewer added, “When I read that the play would include car and plane crashes, I couldn’t imagine how such things could be accomplished on a small stage like Wayside’s” (Earehart.  “Summer Bows With ….”  DNR.  10 Sept. 1988).  One assumes these effects were successful as there are no details given.  Another writer concluded, “It’s an elaborate comedy with a few good thrills, hair-raising special effects, and colorful acting” (Camlin.  “Wayside Ends Season ….” TWS.   9 Sept. 1988).  The set must have been quite unique, as one writer notes that “The inventive set completes the effect.  A series of panels opens to reveal, at various times, a drawing room, a hotel dining room and a torture chamber” (Horan.  “ ‘Bullshot Crummond’: Shades ….”. NVD.  10 Sept. 1988).  

The 1988 season closed with A Christmas Carol, a production that became a holiday staple for many years.  Despite the size of the stage, one reviewer credits Owens with creating an entertaining version of this classic.  He states,

Owens accepts the challenge and has his ghosts arriving in most unusual style
…. Much credit for the success of this performance must be given to L. R. Hults,
who makes his Wayside debut as Ebenezer Scrooge … A tremendous voice is his
most obvious asset, but Hults depends greatly on body language to relay the true Scrooge hidden under the gruff exterior.

The review concludes, “This play will fill even the truest Scrooge with the Christmas spirit (Earehart. “ ‘Christmas Carol’ Loses Nothing ….” DNR.  2 Dec. 1988). The multi-level set designed by Bill Marshall “allows the action to move quickly from scene to scene while Scrooge and his companion look down from above” is an asset for Wayside’s small stage, but also causes some confusion with repeated climbing and descending (Horan.  “Wayside’s middling ….”  NVD. 5 Dec. 1988). 

Among the cast for this 1988 production of A Christmas Carol were three members of the Fedorka family from Front Royal.  One reviewer states, “I would be remiss if I didn’t mention the three Fedoryki children … for the quality performances they give in this production.  The talent of these special children never ceases to amaze me” (Earehart.  2 Dec. 1988).  He notes that the eight children in the Fedoryki family, ages 6 – 18, “are all trained by their mother in the Suzuki Method and play string instruments as well as piano. The entire family has performed before many local groups and has taken part in the International Children’s Festival … held at the Kennedy Center in DC on May 31, 1988” (Graham.  “For Fedorykas, music ….” NVD.  26 May 1988).

And on that high note, the 1988 season concludes.