Gerald Slavet: 1971

Readers of the local newspaper always knew when a new Wayside season was approaching, as a flurry of articles would appear either announcing the name of an actor who had been hired for the season, the titles of the plays to be presented, or a list of items the Theatre needed in order to stage the plays.  One such article appeared before the 1971 season that mentioned, there “was a core of 17 high school and college students that had been selected as apprentices for the season” along with cast and staff.  There is some pressure on the director and scenic designer for the season’s first show, The Owl and the Pussycat, as it is actually” four one acts that take place in four different New York apartments and involves four different sets of characters” (“ ’71 Opening at Wayside ….” NVD. 26 May 1971).  Other articles tell of the season’s auditions that were held locally as well as in Washington, DC and New York.  In addition, there were notices in the papers announcing a variety of staff positions required for the thirteen-week season:  directors, designers, technicians, box office managers, and the like (“Wayside Thr. Casts ….” Scrapbook, 1971).

When the Theatre was not in play-production mode, the space would sometimes be used for other activities, such as the Cinema Circus, an event that took place on Sunday evenings between March 7 and April 25, 1971 (SEE:  Appendix, Cinema Circus). 

The theatre space was also used that year for a one-night performance by Broadway actors from the comedy hit, Story Book Theatre, based on Grimm’s Fairy Tales.  This performance represented, “the first time that members of the cast of a currently running broadway hit, which opened to universally rave reviews, have made such an appearance simultaneously with the show’s Broadway run” (Eller. “Stars of Broadway ….” NVD.  5 Mar. 1971). They were accompanied by the instrumental group, Skylarkers (another source called this group Skymonters).  Performers of the Story Book group included, Hamid Hamilton Camp, a recording artist who appeared in the CBS-TV series, “He and She.”  Also in the group were Lewis Arquette of the Jonathan Winters show, Richard Libertini from the film Catch 22, Melinda Dillon, who appeared in the original stage version of Whose Afraid of Virginia Wolf, Paul Sand from Second City Review in Chicago, and Rusdi Lane who had played the mailman on the TV series, “The Good Guys.”  It appears that Slavet had offered the Wayside space stage to the group for this performance even though it was not a benefit for the Theatre.  Rather, it was to benefit the Skymount Cultural Center in Front Royal and for persons connected with the Spiritual Brotherhood of Subud (Eller. “Stars of Broadway ….” 5 Mar. 1971).  Unfortunately, information regarding this performance is lacking.

A totally different activity took place during May of that year - - it was for the beautification of the theatre and cleaning of the building.  This large endeavor was under the direction of W. Raymond Jennings, with crews from Howard Shockey and Sons of Winchester.  Other companies that took part included Joseph Zuckerman, Joseph Rosenberger and Company, Glaize Bros., Shenandoah Brick and Tile, Bill Block Electric Heating and Insulation, and McPhail Paints.  The sum total of the efforts of these companies resulted in the new look that is …

a combination of crisp modern lines and the charm of brick terraces and redwood fencing.  The new sign for the theatre utilizes the block lettering style of the theatre
logo.  On one side, an enclosed kiosk houses two display boards with items of interest about the theatre.  Opposite this, is a small benched area with shrubs and flower boxes of white petunias.  The exterior is bathed in directional light and the effect is delightful.

Additional information is found further in the article, stating, 

The beautification is an added treat to the theatre … but in a larger sense, it is a handsome contribution to the town itself …. Thousands of dollars and materials
and incredible number of man hours of labor given by members of the communities
to their theatre is the kind of commitment that will keep Wayside Theatre alive and
a vital integral part of the cultural life of the Shenandoah Valley (“Wayside Theatre is Beautified ….” TMJ. 14 June 1971).

This cleaning-up activity was most likely held in connection with Wayside Theatre Week that celebrated the work of this organization.  The files show a photograph of Winchester Mayor, William Battaile, with Gerald Slavet, along with a representative of the Ladies Committee, and Charles Jones, President of the Board of Directors of the Wayside Foundation for the Arts.  In the accompanying article, Mayor Battaile cites the work of the Wayside Foundation for the Arts over the past nine years by providing entertainment for the community.  Slavet also states that, “despite an extremely limited budget, we have won a battle that most small theatres throughout the country have lost - - we are still in operation.”  He concludes, “Wayside Theatre Week is not only an honor.  It is a strong declaration of our governing officials’ faith in our contribution to the communities in the Valley” (“Wayside Week Begins ….” WES.  15 May 1971).

Plans for the 1971 season started early.  New York director, Rod Browning, who directed the first show, Lovers and Other Strangers, stated that the play created a unique challenge with its four different New York locations.  Prior to moving to Middletown, Browning met with set designer, Lawrence Miller, “to coordinate their thinking and create a visual style for the plays.”  Once the season begins, he stated, “advance preparation is essential to making the most out of their limited time” (“ ‘71 Opening at Wayside ….”  NVD.  26 May 1971).  All the preparation worked, as on opening night, “it was fun, fun, fun – nothing too sacred to escape the laugh-poised pen” of the writers (“Wayside Season Opener …” WES.  9 June, 1971).  The four actors appearing in the production were all from New York, each with a great deal of professional experience.

The Winchester Evening Star featured an article dealing with all the activity that is required to mount a show: rehearsals, set building, and other back stage activities.  One busy intern, “a college senior from Long Island, leaves the set building area and rushes upstairs to rehearse her part in the new play” then back to set building (“Wayside Theatre Materializing ….” WES.  2 July 1971). This brief article is followed with an entire page of photographs that illustrated all the work required prior to the opening of a production. 

There are a couple of interesting bits regarding Woody Allen’s play, Play It Again, Sam.  Slavet is quoted as saying, that when actor Bob Sacchi auditioned for the role of Humphrey Bogart, he “almost felt ill at ease … I felt that surely I was speaking with the ghost of Humphrey Bogart” as the physical resemblance was so real.  One reviewer liked the production very much, but felt that the set was not up to standard.  She noticed that when the doors opened and closed, the scenery flopped a bit, and felt the costumes suffered from shop creases (Smith. “Convicts Visit Theatre….”  TWS. 3 July 1971). 

Records show that a very special event took place during the run of Play It Again, Sam that was never repeated in the theatre’s history.  For one of the performances, a totally different type of audience was in attendance. This was a group of 37 inmates [some sources say 27, others state 40] from Field Unit Seven of the State’s Department of Correction at Double-Toll Gate.  Photos in newspapers show the men all dressed in white jump-suits, entering the theatre in an orderly line.  Other photos show the group sitting in the balcony for the performance.  Some people might have voiced concern about these men attending the play, but records indicate there were no problems.  Slavet pronounced the group to be a great audience despite a problem. “The problem was providing transportation to get them to and from the theatre - - no state funds.  Finally, the Jaycees provided city buses rented by local businesses for the men attending” (Smith. “Convicts visit ….” WES. 3 July 1971). 

An interesting follow-up to this event is found in a lengthy article sharing the comments of various Rotarians who had taken part in this endeavor.  One mentioned that, in doing so,

We were not motivated by any feeling of charity toward the convicts, but we saw
the need, the need for any diversion from the daily bind of working on the high-
ways, the need for communication, and the need for understanding where they
stood in relation to society (Smith. 3 July 1972).  

It should be further noted, that, on the Sunday following their visit to theatre, the Jaycees played baseball with the men from the Correction Unit.  In addition, some of the Rotarians offered further help by offering and teaching of classes for the detainees.

The run for Summertree was for only one week.  It was called a “welcome change of pace”
as the “production has many moments of power and truth and is a memorable dramatic experience.”  One reviewer’s concluded, “the company works as an ensemble and the evening is one that will touch your heart” (Martelle.  “Summertree—A change ….” WES.  11
Aug. 1971).

The season’s final show proved to be “Fresh and Delightful,” according to one headline.  The writer praises the actors imported for the run, and calls the choreography by Mickey Hartnell “superb.” Hartnell had previously performed in Washington’s Theatre Club.  The review concludes, “What a wonderful topper to an already successful season” (Martelle.  “ ‘Stop the World’ ….” WES.  20 Aug. 1971).  Stop the World I Want to Get Off was well attended, and Slavet announced that the final three performances played to standing room only.  But, one reviewer, who praised this production asked the question, “Where [can] the line be drawn between good and bad taste with the bad language and the sexual references?”  She justifies her comments by saying this was just her opinion.  However, in a later issue of the Star, a letter to the editor expressed total agreement with Eller’s observations (Eller. “ ‘Good’ And ‘bad’….” NVD. 12 June 1971).

In addition to Slavet’s work with teachers in the local public schools, he also directed two plays at Shenandoah College and Conservatory of Music [now Shenandoah Conservatory of Shenandoah University].  For the fall semester, a rock musical, Your Own Thing, patterned after Shakespeare’s Twelfth Night, was scheduled.  The nine-member cast was made up of both Shenandoah students and faculty.  The performances took place in Armstrong Auditorium on December 3 and 4, 1971.  A reviewer observes that the production  “… is an ambitious pastiche of prerecorded sound, slides projected behind the actors, and rock music, dances and lyrics banged out by the talented student cast.”  Slavet employed various types of improvisation exercises and other theatre games to train those participating in both acting and movement areas (Smith, D. “Rock Musical ….” WES. 1 Dec. 1971). This co-operative venture between Wayside and Shenandoah was done as “an accredited drama course that is an extension of the University of Virginia School of General Studies …” (“The Wayside Foundation.” Playbill 1971).  It was also announced that Slavet would mount a second production in April as part of the spring semester.  But, no printed program or supporting data has been found to confirm whether this actually took place.   

Lord Fairfax Community College announced courses to be offered by Slavet during the Spring quarter of 1971.  The class, “Introduction to the Theatre Arts” was one of five new offerings Slavet would teach (“Lord Fairfax College ….” NVD.  22 March, 1971).  There is no indication if there were sufficient enrollment for this class to be taught, or if Slavet were offered other opportunities to teach at Lord Fairfax.