Gerald Slavet: 1972

At this time in the Theatre’s history, activities had developed to the point that additional staff were required.  In 1972, two full-time staff positions were added.  Barbara Swink became General Manager and brought to the position her extensive theatre background.  She was highly successful in publicizing the various theatre programs along with spreading the name of Wayside throughout the area.  Helen Royall was added as the full-time secretary.  In her duties, “she will be handling all subscriptions, early reservations and group sales, rentals and housing for actors and staff and maintenance and operations and payroll and accounting for the theatre” (“Mrs. Royall ….” NVD. 19 Mar. 1973).  Both women worked at the Theatre in these positions for a number of years.  

To hire actors for the 1972 season, Wayside held auditions in New York that were announced in various trade journals.  One audition headline stated, “Leads, Chorus for Equity Theatre” that will be held on May 12 from 2 -5 and May 13 from 9 -12 at the Royalton Hotel, 44 W. 44th Street.”  Specific roles were indicated: 

an actress to play Somina in Forum; Dr. Wooley in Write Me a Murder and the
mean brother (30s) in Write Me a Murder.  Equity talent needed … Equity and
non-Equity men and women are needed for the chorus (also need a Linus in
Charlie Brown).  Apprentices are also sought (Show Business (?).  11 May 1972).

And, with the arrival of 1972, Wayside Theatre observed its tenth birthday.  The date for the anniversary, however, is based on the assumption that 1962, the year given for the Maralarrick Players, was the date for Wayside’s beginning, despite the lack of information for that year.  Nevertheless, this season was heralded with articles in the local papers offering congratulations to the theatre for surviving ten years in a venture that began somewhat shakily.  One writer cleverly compares the theatre with a ten-year old child:

There’s an intriguing youngster down Middletown way that’s just turning 10
years old.  Shows lots of promise, even at that tender age.  Should have a great
future …. It’s (sic) guardian for the last five years, Gerry Slavet, stays in a dither
about the health and survival of his young charge.  But he remains cautiously
confident that his child is well on the way to becoming a strong and vigorous
adult (“A Lusty 10-Year ….” NVD. 31 May 1972).

The same tribute, published in a different paper, includes information on Slavet’s history and tells how a person with a major in psychology ended up in the theatre profession.  The writer concludes with an accolade to Slavet’s efforts in keeping the theatre alive and functioning in Middletown, stating, “[theatre] brings visitors to our restaurants and motels, and we lose no natural resources in the process … but, in the larger and more important sense, it provides us with a type of culture and artistic achievement we otherwise would miss” (Davis, J.  “Personally ….” WES.  23 Mar. 1989).

Another tribute to the Theatre’s ten years of existence is found in an extended article comparing Wayside’s success to that shown in the fairy tale, Cinderella.  Selections from the well-written opening passages follow:

For years [the Wayside Theatre] languished like the girl who slept in the ashes,
dreaming of love, recognition and happiness - - somehow, some day. And then it
all came true, just like the old French fairy tale.

The love came from Leo M. Bernstein, who founded the Wayside and nourished
it financially during the lean years.  Recognition came five years ago when a Prince Charming in the form of Gerald Slavet became its energetic director and attracted professional actors from the stages of Washington and New York.  And success
came through the efforts of its patrons and friends who hail from as far away as Hagerstown on the north and Staunton on the south (Longaker. The Commonwealth. 
23 July 1972).

Other writers continue with the Cinderella metaphor by comparing the transformation of the “old pumpkin of a building” into a theatre with an elegantly white pillared façade.  The ten-year success story recognizes Slavet’s talents and his ability to attract actors, directors, and designers from Washington’s Arena Stage.  A by-product of this work, along with the educational program, “is an increased commitment for the … summer’s offerings” (Longaker.  23 July 1972).  One review for Last of the Red Hot Lovers noted that the director, along with some of the cast of this production, were from DC, stating, “It looks as if Arena Stage has moved from DC to the Valley which is a good omen for the high quality of theatre this year” (1972 Scrapbook.  Review).  Eller’s lengthy review of the play goes into great detail as she analyzes each character and how the respective actor succeeds in their portrayal.  She also credits the excellent work of the costumer in accenting the characters along with the John Lee Beatty’s use of color in the set (Eller.  “Audience is Highly ….” NVD.  13 June 1972).

Commenting on the Theatre’s ten-year existence, another article refers to the struggles it has endured in order to stay afloat. It reads,

Ten years ago the Wayside Theatre was established in Middletown.  It was the
Valley’s only full-time professional theatre.  People shook their heads and said
it wouldn’t last.  They were wrong.  It has not only lasted but Wayside Theatre
has become a very vital and secure part of the cultural life of the Valley.

The writer adds the obvious conclusion, “But, it hasn’t been easy” (“10th Anniversary Season ….”  TWS.  14 June 1972).  

Certainly it had not been easy, especially in the area of financial backing.  Even with the support of the Wayside Foundation for the Arts, and the energetic Artistic Director (Slavet), and a hard working board of directors, “as Wayside has successfully fought for and gained the security of having become an integral part of the Valley’s expanding cultural interest, the financial health so necessary to promote its continued contributions has been slower in materializing.”  If any of these writers could have projected into the future, they would have seen that finances were a constant problem throughout the organization’s history.

A different twist is put on the sales pitch for subscription purchases when one writer declares “they are not going to use the phrase ’Wayside needs your help.’  To use that phrase makes it sound too much like a charitable contribution.  It’s not that way at all.  For every dollar you spend for a season ticket for 1972, you will receive more than a dollar in top-notch professional entertainment.” The writer then shifts the approach by stating, “Instead of asking for a handout,” the Theatre “asks for the backing of the people in the area” in the form of purchasing season subscriptions.  After this build-up, the closing ‘clincher’ states that, One does this because “It’s an investment in a way of life - - your life - - from which the return will be as limitless as is your capacity for enjoyment” (Scrapbook 1972. NVD. Editorial, 31 May 1971). 

Season subscriptions, the back-bone of any theatre, were less than 100 when Slavet took over the leadership of Wayside.  In 1972, he announced, “Last year they had jumped to 550 and this season numbers more than 800” (Scrapbook, 1972.  NVD. 26 June 1972).  The increase in ticket subscription ticket sales can be directly attributed to the work of the sixty-member Women’s Council.  But, ticket sales were certainly not the only monetary support the Theatre received.  Additional financial backing came from “angels” in the form of support from major foundations.  These included the National Foundation for the Arts, the Virginia Commission on the Arts and Humanities, The Old Dominion Foundation, the Mellon Foundation, the Armstrong Foundation, and the most faithful angel of all, Leo Bernstein (“Wayside Theatre: Cinderella ….” ­RTD.  23 July 1972).

A tribute to the work of two volunteer groups, the Women’s Committee and the Business Industrial Committee, was exhibited when Wayside’s Board of Directors hosted a dinner for these groups honoring them as guests of honor.  The Board, along with the cast of Last of the Red Hot Lovers, expressed their appreciation publically to these energetic volunteers.  “The Theatre is receiving more support than in any previous year, and we feel this is due to the work these two hard working groups of community volunteers,” said chairman, Frank Armstrong, III.  In appreciation, “we decided to do something for them as a change since they’ve done so much for Wayside” (“Wayside Board Host ….” PN&C. 1 June 1972).   

Just as Phillips had done during his tenure, Slavet continued to keep Wayside Theatre in the forefront with presentations before local civic groups - - a task he did on a regular basis.  One article pointed out that Salvet was not the only person qualified to speak about the theatre, as there were others.  “… Slavet has just announced that guest speakers from Wayside Theatre are available free of charge for local clubs and organizatons.” These speakers were “Wayside’s new director of publicity, Barbara Swink, and folk singer, Madeline MacNeil, [who] are both available to talk about Wayside’s tenth anniversary season” (Wayside Will Provide ….” NVD. 3 May 1972).  Other clippings from the 1973 and 1974 years announce the availability of the theatre staff to speak to local groups and organizations about Wayside.  In addition to speaking on theatre-related topics, they might use a slide show varying from 20 to 40 minutes in length (“Wayside Will Provide….” 3 May 1972).  It can be assured that these presentations promoted the broader programs the theatre offered.  “We shouldn’t think of Wayside only as a theatre, for it sponsors other cultural activities such as drama workshops, school visiting programs, film festivals, art exhibits, drama training, and possibly in the offing are federally and state funded school drama programs for teachers and students” (1972 Scrapbook. 1 June 1972).

Cara Duff-MacCormick, a cast member in Last of the Red Hot Lovers, had an interesting experience while performing in Middletown.  She received a Theatre World Award for her performance in Moonchildren that had been mounted at Arena Stage in DC and, later, transferred to New York by David Merrick.  As she was on stage at Wayside at the time of the presentation, her mother, Frankie MacCormick, accepted the award for her (Wayside Actress Receives ….” NVD.  22 June 1972).

The season’s second offering, Spoon River Anthology, featured Vince Sorrells of DC’s Arena Stage as the balladeer “singing appropriate folksongs, both original and familiar.”  In this production, Sorrells served “not only as singer but musical director and composer of the original songs” (Talley.  “Spoon River Anthology ….” NVD. 26 June 1972).   Slavet was keen to assure theatre patrons that this Spoon-River Anthology was more than a solo performance or a reading of the poetry.  “There’s dramatic conflict here.  The people of Spoon River in our dramatized version, confront each other with their loves and hates, which they often never expressed during their lives.  It’s quite a lively show” (Talley. 26 June 1972).  While the music in the show could stand on its own, the versatility of the actors was outstanding.  Talley continues with praise for the lighting, calling it “a sixth actor on the stage” and praises the ingenious set of John Lee Beatty (Talley. 26 June, 1972).

The 1972 mainstage season was also very successful, as seen in articles that awarded rave reviews for two productions in particular.  Tartuffe was called “delicious fun … a master portrait of a hypocrite … a true joy to see” (Powell. “’Tartuffe’ at Wayside …."  TDM.  18 July 1972).  Another stated that Tartuffe “seems likely to qualify as the best piece of theater offered in the Shenandoah Valley this summer [with] settings and costumes [that] have a visual richness to match the script and acting” (Hudson. “ ‘Tartuffe’ May Be ….”  DNR.  13 July 1972).  Another reviewer pointed out that it may be surprising to learn that the wonderful set for Tartuffe, plus the fifteen elegant costumes, complete with wigs, cost a mere $270, the price some professional theatres would use for a single outfit! 

While Tartuffe was playing on the Wayside stage, the same version of the play was running simultaneously at Olney Theatre in Mayland.  Richard Lebherz wrote a marvelous review of the two productions pointing out strengths and weaknesses of each, comparing the performances of the two leads:  John McGiver at Olney, and Richard Bauer at Wayside.  His final judement:  “take your pick!” (Lebherz, R.  “Which Tartuffe has the Toni?” Frederick News-Post.  19 July 1972).

Favorable comments were also awarded for the production of A Funny Thing Happened on the Way to the Forum.  But, it should have been a strong production as it starred Arena Stage’s Richard Bauer, described by Slavet as “the finest living actor in his age range” (“6 Girls Needed ….” WES.  3 July 1972).  One review stated,

In what has been thus far a stellar season at the professional summer stock theatre,
‘A Funny Thing’ is a gem of a beautifully-cast, excellently directed show filled with
laugh after laugh, lovely girls, and enough confusion to divert even the sourest and gloomiest disposition, all backed by a talented and superbly trained technical crew … (Eller. “ ‘A Funny Thing’ ….” NVD. 27 July 1972 ). 

Other writers concurred. Nancy Talley, writing for the Clarke Courier, Barbara Heady of the Warren Sentinel, David Stuart Hudson at the Daily News Record, Libby Powell for the Daily Mail, and Charlotte Wagner for an un-named newspaper, along with an anonymous writer for the Piedmont Virginian, were all in agreement in their praise for this show.  There was a general consensus that all the actors in Forum were excellent with one writer awarding special kudos for the superb belly dancing of Anne Lippe!  All expressed their enthusiasm for the work of two of the designers, as seen in Talley’s review that states, “John Lee Beatty’s set and Gwynne Clark’s costumes give the atmosphere of Rome with the air of comedy” (Talley. “Nothing pretentious ….” WES.  26 July 1972).  But, there must have been a need for additional cast member, as a casting request was made for six actresses for the production who were “show-girl types” (“6 Girls Needed ….” WES. 3 July 1972).

The production of Write Me a Murder, directed by Sue Lawless, was scheduled to run for only one week.  This shorter time was not because it was a weaker work, but because of the schedule.  Havron writes that “the play’s most important quality … is its ability to sustain the audience’s interest through three acts and two intermissions” and that he liked the lighting, “in particular the car headlight effect on the backstage curtain.”  He adds that the “ironic ending, reminiscent of an O’Henry short story, is worth waiting for, although an alert observer can glimpse it coming for the last couple of scenes.”  He adds that at one of the performances of Write Me a Murder, a unique visitor appeared in the theatre.  Havron writes,

One of the high points of the evening from an audience participation point of
view was a brief visit during the first act of a small wayward bat, who was apparently attracted by the prospect of finding flying insects around the bright stage lights.  Undoubtedly aware of an uneasy murmur from the audience, he confined his
fluttering investigation to the rafters, and after a short time, satisfied with his
inspection, he left as he had come (Havron. “Suspense Play at Wayside ….”  WES.
9 Aug. 1972).

You’re a Good Man Charlie Brown played to standing room only and was such a huge success that many people were turned away at the door.  Eller called it “a delightful evening of light entertainment that many adults will enjoy a great deal” and continued to say that it is “the finest selection of a play which children may be introduced to the theater that Wayside Theater has ever shown here” (Eller. “Charlie Brown and ….” NVD.  15 Aug. 1972).  One item that was consistently pointed by the reviewers was that the placement of the musicians, “was very original, with the orchestra placed at the rear of the stage, in full view of the audience and behind the action of the play, instead of hidden away ….”  It had been the practice for earlier musical productions to place the musicians “down below and in front of the stage and action of the play” ( Eller. “Charlie Brown and Company ….”).  Nevertheless, one reviewer states that “Wayside has managed to collect a good crew of musicians to accompany the song and dance routines.  The vibes add a particular good effect to the playful quality of the action (Havron. “Spillover Audience Sees ….” WES.  16 Aug. 1972).  Several years later, a similar placement of a single keyboard musician occurred in the 2013 production of Church Basement Ladies.  In this performance, the keyboard was placed upstage-center with all the action played downstage requiring the musician to remain extremely still during the scenes where there was no music.

On a totally different note, during the 1972 season Wayside Theatre patrons were treated to something more than just a theatrical performance.  For the Wednesday evening performances, a demonstration of various crafts took place in the Art Gallery thirty minutes prior to curtain as well as at the intermission.  During the run of Last of the Red Hot Lovers, candle-making was featured; during, Spoon-River Anthology, “fancy designs using crochet needles” were featured, while macrame was the choice during the run of A Funny Thing Happened on the Way to the Forum ….  The recently revived art of patchwork will accompany the opening of Write Me a Murder,” while “games and toys for the ‘children of all ages’ will be seen during You’re a Good Man Charlie Brown” (“Wednesday Night is .…” NVD. 22 June 1972).  A very interesting idea, but to date there are no comments as to how successful this venture was.

Thus ended the successful 1972 season!