Gerald Slavet: 1974

Gerald Slavet resigned from Wayside Theatre in March of 1973, ending his eight-year tenure as Artistic Director.  Before departing, it was agreed that he would plan the 1974 season engaging Norman Gevanthor, Sue Lawless, and Davey Marlin-Jones to direct the up-coming six-show season.  However, it is not totally clear who was in charge of managing the day-to-day duties of running the theatre during that season.

The 1974 thirteen week, six show season opened with 6 Rms Riv Vu, a replacement for the originally scheduled Prisoner of Second Avenue, as rights for that title were not available.   Norman Gevanthor from Arena Stage was the director for this play, giving assurance to the audience that the upcoming season would be one of high calibre performances.  Nevertheless, the black-tie attired audience for opening night had to wait at least 30 minutes for the curtain to rise due to last minute set construction.  Despite the delay, some display of actor’s nerves, and a few small opening night glitches, the production was hailed a huge success.  Ackley writes, “If this show is any indication of what can be expected at Wayside Theatre for the rest of the summer, it looks like there just might be some refreshing evenings for those hot, hot days ahead” (Ackley. “Wayside Opener: ….” WES. 5 June 1974).  The writer adds that if there is an attendance problem with the season opener, it is because it is being performed as a staged production after being aired on national TV.  Claire Kincannon’s review was broadcast on station WAGE radio from Leesburg.  She gave kudos to the two leads, pointing out that they had only met nine days before the opening, and “through [their] acting skills, managed to develop … for the pleasure of the audience … a relationship on stage from strangers to lovers” (Kincannon. Radio Review).

Once again, two theatres in fairly close proximity scheduled the same title for their summer season.  Olney Theatre had scheduled The Miser for late summer;  Wayside’s production was the season’s second offering. It was described as a high-paced production directed by the “most talented lady, Sue Lawless,” who was commended “for the unique blocking of the play and the cast’s comedic energy” (Eller. “Miser called ….” NVD.  20 June 1974).  The raked stage used for the performance caused one reviewer to observe that “it was quite obvious … that many hours of planning and research were spent on this production.  Detail was the key to the authenticity and believability of this 17th century French comedy … enhanced by the costuming, lighting and music …” (Zwior.  “ ‘The Miser’ ….” TMJ. 21 June 1974).  Another reviewer recognized the vast experience many of the actors brought to this production, especially the comedic work of Ronn Robinson and Ron Bishop, and extolled the hilarious work of Ken Olfsan as the Miser, “in his depiction of self-imposed penury.”  The reviewer continues, “But for an actor who has played a raisin in a TV commercial, this characterization must have seemed a mere walk.”  Lawless’ directing is praised for “cleverly manipulating so many people on Wayside’s small stage without making the action seem like an Elks convention.” Hudson concludes by praising the work of the set designer and costumer (Hudson. “Wayside Gives ….” Daily News-Record. 20 June 1974). In return, actor Olfson spoke highly of Lawless’ directing, saying “she stages to clarify the meaning of the play, and she knows how to talk to actors because she’s an actress” (Bovey, E. “To Ken Olfson ….” TMJ.  18 June 1974).

The 8:30 opening of the next show, Born Yesterday, was once again delayed due to last minute finishing touches being added to the set.  Considering that the turn-around time from taking down the previous production was only 24 hours, it is amazing the curtain was only a few minutes late!  All who attended felt the play was an excellent production, especially considering how the plot of “payola of congressmen in the 1940s has all the undertones of greed and graft currently related to the Watergate affair” that was taking place at that time (Powell. “ ‘Born Yesterday’ Has ….” TDM. 9 July 1974).  Mickey Hartnett was recognized for her fantastic combination of a “June Allyson voice, Barbara Streisand accent, Carol Burnett body, and Ethel Merman energy” in the role of Billie Dawn.  Powell concludes, “As usual, Wayside producers have amassed a strong supporting cast whose presence is so important to the success of this production” (Ackley, J. “Wayside’s ‘Born Yesterday’….”  WES.  3 July 1974).  Another reviewer notes “the card scene at the close of the first act [that] comes off with the customary hilarity” and refers to the tension in a scene in act three that “keep the audience properly on edge” (Seiter, D. W. “ ‘Born Yesterday’ ….”  CSE.  5 July 1974).  In addition to the spectacular acting performances given by the cast, one reviewer singled out the “bright, fast-paced lighting” and memorable set that “together form one of the most spectacular stage settings at Wayside that we have seen in recent years, as well as some of the most effective uses of space and light” (Eller, C.  “ ‘Born Yesterday’ Is ….” NVD. 5 July 1974).  The set must have been stunning, and it is no wonder that the opening night opened a bit late.  Hudson, in his review, gives a humorous evaluation regarding the life of a set designer. 

If there is an eternal punishment to which errant set designers are damned after
death, it must be having to create scenery for a stage the size of Wayside’s.  Atkin
Pace has earned at least partial absolution for his “Born Yesterday” set, a wonderful
two-level hotel site with art deco echoes.  Anyone capable of creating the illusion of
that much space in so small an area is deserving of some kind of reward (Hudson.
“ ‘Born Yesterday’ Is ….” DNR. 5 July 1974).

The season’s next offering was Ernest in Love, a musical version of the Oscar Wilde play, The Importance of Being Earnest.  The classic style of satire and wit were retained in this adaptation, that even included a soft-shoe dance number!  Included in the cast was Tandy Cronyn, daughter of well known actors, Jessica Tandy and Hume Cronyn.  Directed by Davey Marlin-Jones, this was an all-star company that reaped many glowing reviews.  One reads,  

… take a classic comedy, add catchy tunes and a very funny lyrics, set it against a
unique black-and-white scene designed by Atkin Pace, costume it with lovely details conceived and executed by Colleen Callahan, choose a totally professional cast,
direct it superbly, and the end result has to be an evening of total fun and enjoyment” (Lawson, J. “ ‘Ernest in Love’ ….” PN&C. 25 July 1974). 

Another reviewer commented on the set saying, “[Pace] designs for the actor, which allows the performers to use all of the set to their advantage.  His current set is imaginatively subtle and is quite different from any of his previous work in Middletown” (Atkins. “Wayside’s ‘Ernest in Love’ ….” WES.  17 July 1974).   Add to this, that the two pianos and bass that were located ‘backstage’ serving as accompaniment that was “highly serviceable, everybody manages to stay on pitch, their tempo is solid, and above all, we can understand every word” (Seiter. “ ‘Ernest’ Written for Summer.”  CSE. 22 July 1974).

An added event occurred during the run of Ernest in Love when British born Nina Dova, who played the role of Miss Prism, gave a vocal solo recital on Monday evening, July 22 at 8:00 p.m.  Miss Dove presented “An Evening of International Songs” and accompanied herself on the guitar in this program of songs in ten languages.  The concert was free for season subscribers and patrons were urged to arrive early “to insure good seats” (“Wayside’s Nina Dova ….” WES.  20 July 1974). 

In retrospect, Slavet can be credited for broadening the Theatre’s repertoire, developing tours, and working with the local schools.  Despite his well-documented success in outreach, the touring ensemble, the creation of the Cinema Circus, and the quality of the staged productions, it was felt by some that Slavet was not as successful in marketing Wayside to the community as his predecessor had been, due to the fact that he never completely understood the environs in which the Theatre was located.  It was felt that Slavet’s background and orientation were geared to a more urban life, rather than to a small Virginia town.  Yet, late in his time at Wayside, Slavet and members of his staff, Barbara Swink and Carol Ebert, remained “available to speak to clubs and organizations about theatre related topics” including “the new touring company, and the up-coming summer season.”  The files indicate that Slavet spoke at the Women’s Auxiliary to the Eastern Panhandle Medical Society in Shepherdstown, WV in May of 1974 and Barbara Swink spoke to the Martinsburg, WV Rotary Club.  For these types of presentations, the speaker was accompanied by a new slide show “which is the basis of the twenty to forty minute program” (“Wayside Speakers Available ….” Clarke Courier, 1974). During his time at Wayside, Slavet should be credited for bringing a high quality of professionalism to the Wayside productions, for spreading the word of Wayside to various organizations as well as for making an honest attempt to adjust his life to the rural atmosphere of Middletown.

As has been the case, all too often in the history of Wayside Theatre, the constant shortage of funds was again an issue that evolved towards the end of Slavet’s tenure.  This need was seen in the appeal for the remodeling of the Theatre.  Evidently, some monies were given, but there must have been some question as to the use of these funds, as a short article, entitled “What’s the Catch?” found in a 1974 Wayside Playbill, attempted to answer these queries.  The article addresses the question raised by those who had contributed generously but were still finding that, “The seats have not been replaced nor re-upholstered, legroom has not been increased, and the walls certainly look the same.”  Further along, it states, “Although many of you contributed generously toward the project, not enough money was raised to make a real beginning on our renovation” (Wayside Playbill, 1974), and concludes with the explanation that the money was diverted to another project - - that of dealing with better accommodations for actor housing.  The purchase of the Old Dominion Apartments seems to have been done to address the issue of actor housing. (SEE: Appendix:  Beau Geste). 

Records indicate that in 1971 the town of Middletown first observed Wayside Theatre Week.  This event was repeated in 1974 when “twelve business and industries from Martinsburg to Harrisonburg were honored by the Theatre at a recognition dinner held at the Wayside Inn.  Honorees from up and down the valley and as far east as Arlington received plaques citing their continued support of Wayside Theatre in varied and substantial ways.  The groups included: 

Shenandoah’s Pride, Valley Apparel (for their donation of industrial sewing
machines). Aileen Incorporated of Edinburg has continually made large contributions
of fabrics as has Perfection Garment Company in Martinsburg; and Nu-Look Cleaners
of Winchester has gratuitiously cleaned all of Wayside’s costumes for four years.  Winchester Servisoft and James Butcher were given an appreciation plaque for the contribution of washing machines and dryers as well as for their servicing of the machines.  Western Union of Middletown and FMC in Front Royal were thanked for
their contributions toward mailing systems. The Wayside Theatre on Tour traveled in
a Ford van donated by Kent Parsons Ford of Martinsburg.  Arthur Parrish, donates services for accounting during the year.  And IBM in Arlington made the secretarial
work easier with an IBM Selectric typewriter (“Wayside Gets ….” Clarke Courier. 13
May 1974).

In the files for 1975, there is a single-page flier that was probably distributed to patrons by either the Theatre or the Inn.  On one side is a Wayside Inn menu with the many tempting dishes one could expect to enjoy when staying there. On the reverse side is information about the Wayside Theatre showing a list of “some possible productions for the Summer 1975,” along with curtain times and ticket prices. A short paragraph entitled “Virginia’s #1 Summer Theatre,” mentions that Wayside has been acclaimed “by noted Washington critics,” that it is “located in the rural seclusion of the Shenandoah Valley,” and the theatre has caught “the attention of suburban and urban audiences alike.”  The tribute quotes Roy Meachum of Metromedia News that urges people to visit Middletown to experience the work of Gerald Slavet, noting “A trip anytime to see his latest wizardry has got to be worth the while.”  He concludes with, “… but frankly what makes me happiest is the professionalism that reigns throughout” (Flier.  Wayside Theatre and Wayside Inn. c. 1975).  Just one more example of the reputation that Wayside had earned in a short period of time.

It was with these words of praise from Washington critics, along with the admiration of theatre patrons, that the very successful tenure of Gerald Slavet came to a close.  It is agreed that Slavet brought to Wayside’s stage a wide variety of productions featuring actors of superb talent.  It is no doubt that one of the high points in the life of Wayside Theatre was during the years that Slavet served as its Artistic Director.