Ed Steele: 1982
Wayside survived the tight financial demands of the three-play 1980 season, and appeared back to a normal routine for 1981, so it is no surprise that the 1982 season returned to the customary six-play schedule. This season was announced as Wayside’s twentieth season, which is calculated on the assumption that 1962 was the theatre’s first year of operation. Observing such a landmark elicited warm congratulations from a variety of sources that were printed in the playbill for all to read. Governor Charles S. Robb said “I join the Wayside Foundation for the Arts in a warm welcome” for this achievement. William A. Truban, representative for the 27th senatorial district, wrote “Congratulations for the past 20 years!” The mayor of Harrisonburg, Roy Erickson, wrote “May I offer congratulations to the Wayside Theatre…,” and Senator Harry F. Byrd wrote, “I am most interested to learn that this summer the Wayside Theatre in Middletown is celebrating its 20th Anniversary. This is splendid indeed.” Finally, Andy Guest of the Virginia House of Delegates stated, “Dear Mr. Steele: On this, the 20th anniversary of Wayside Theatre, I am delighted, on behalf of the citizens of the Northern Shenandoah Valley …” (Wayside Playbill. 1982).
The opening show for the 1982 season was I Ought To Be in Pictures, Neil Simon’s most recent play and required only three actors. One reviewer noted, the play was acted quite well with “simply perfect costumes,” and “Ed Steele’s set contributes a poignant note to the comedy, saying so effectively just how down and out Herb has been ….” (Cameron. “Wayside Opens 20th Season ….” TWS. 3 June 1982). While everything about the play seemed effective, Robinson felt that the script was “just too talky in spots, leaving the audience breathless not with anticipation, but with boredom.” Despite this fault, he concludes, “It’s a delightful play with some delightfully skillful performances” (Robinson. “Wayside’s 20th Season …,” NVD. 5 June 1982).
Da, the season’s second play, will make “the tears well up in your eyes – even if it’s a comedy” writes reviewer, Cameron, who continues, “of all the plays on the Wayside bill this summer, this one may be the most worth seeing - - for the language, the sentiment, the staging, and the acting” (Cameron. “ ‘Da’: The Best ….” TWS. 16 June 1982). Another critic states, “It’s a grand play and the Middletown theatre’s players do it perhaps more than justice” (Robinson. “Performers Excellent in ….” NVD. 21 June 1982).
Despite a lavish and authentically decorated Victorian set, Arsenic and Old Lace had a disappointing opening night, causing one reviewer to state, “The Wayside staff has had high hopes that this production would be the artistic and financial equal of last seasons’s Life With Father,” that also used a Victorian set. “However, that show was much better acted and directed. By comparison, Arsenic and Old Lace was rated as a bore!” (Cameron. “ ‘Arsenic and Old Lace’….” TWS. 1 July 1982).
The high ratings of the fourth show, The Bat, were credited to the directing of E. James Hooks, head of the University of Florida’s drama department. The one available review singles out several members of the cast for their strong characterizations. Cameron makes the observation that it is interesting to see how the actors who comprise Wayside’s summer acting company perform differently depending on which of the four directors is in charge (Cameron. “ ‘The Bat” Is ….” TWS. 22 July 1982).
Cameron writes effusively regarding the performances of the cast in Cat on a Hot Tin Roof, giving compliments to each actor. However, she finds fault with the set and states the “furniture doesn't really fit in with the costumes and the lighting seems a bit harsh.” The reviewer concludes by reminding the residents of the Valley that, “audiences are lucky indeed to get a chance to see one of the great modern American plays so capably directed by George Black of the University of Virginia” (Cameron. “Don’t Miss ‘Cat on a Hot ….’ ” TWS. 5 Aug. 1982). Another reviewer echos this thought when, after naming each actor’s strengths, concludes, “If you like strong drama most beautifully performed, this Wayside production is just your cup of tea. But remember, it’s not for the squeamish or the prudish” (Robinson. “ ‘Cat’ Wowing Wayside ….” NVD. 9 Aug. 1982).
The season came to a close with Neil Simon’s The Odd Couple. One reviewer mentions the “kind of simian crouch” Ed Steele uses to portray the disheveled Oscar, Ken Lambert’s “excellent Felix, complete with every possible strange ailment known,” and praises Carol Hanpeter and Jerri Zoochi who “practically stole the show as the totally zany Pigeon sisters” (MacCracken, J. “Wayside’s ‘Odd Couple’ ….” NVD. 19 Aug. 1982)
The tradition of presenting A Christmas Carol continued in December, and most probably used the script from the 1980 production. Dan Leonard played Scrooge in this production, and was praised for his “small touches: the loud buildup for a sneeze that happens suddenly a couple of minutes later, the way he pokes at his dressing gown as he searches his bedroom for spirits, and his joyous dancing on one of the trips with a ghost.” Despite this, there was a flaw in the production: “Marley’s voice has been recorded and is not at all believable. The tape machine occasionally malfunctioned and the machine hummed in the background” (“Wayside Does Wonders ….” TWS. 17 Dec. 1982).
In addition to the theatrical productions there were other events at the Theatre. The Youth Ensemble’s production of The Silence of Chan Foh took place on May 7, 8, and 9, 1982. And, the New Orleans jazz artist, Ronnie Kole, appeared in a benefit performance on Valentine’s Day. At this event, Kole appeared as piano soloist rather than with his trio as he had done on his previous visit. For this appearance, the “Funds raised by the performance will go toward the new William G. Gilmore playwriting contest, and the winning script will be produced as part of Wayside Theatre on Tour’s 1983-1984 season” (New Orleans Jazz ….” TWS. 2 Feb. 1982). It would be of interest to know more about the playwriting contest and which play was produced during WTOT’s 1983-1984 season, but information is not available.