Theatre Education

Wayside’s commitment to providing theatre education for children and adults was long standing and well documented.  While there is no evidence of any theatrical instruction taking place in 1963, this changed with the arrival of Owen Phillips in 1964, thus establishing a pattern for education that continued throughout Wayside’s history.  Information on this topic comes from the theatre’s playbills, from announcements found in the local press, and from a few course outlines found in the Theatre’s files. 

PHILLIPS (1964 – 1968)

The first announcement of theatre education was for a ten-week program created by Owen Philips called Drama Workshop or Wayside Theater Workshop. This program was announced in the local papers and by a one-page leaflet that listed the upcoming summer theatre season on one side with the season’s ticket prices on the other side.  The brief note about the Drama Workshop states that it is scheduled to begin October 12, 1964 with the purpose of providing theatre classes for adults, teen-agers, and children.  It states,

If interested in acting, directing, public speaking, scene designing or any phase of Theatre production, join our Drama Workshop to be conducted during the coming season by Wayside’s own Director, Owen Phillips.  Day & Night Groups or Adults & Children.

These classes include: Acting, Director, Public Speaking, Speech, Make-up, Set-design, Interpretation, Pantomine, Costuming, and ALL phases of Theatre production.

Phillips was in charge of the program and enlisted Barbara Sambol and “Anne Marie Borger, who does Wayside’s publicity and teaches children’s theatre classes” to assist him (Scrapbook, 1964).  The curriculum for the workshop states,

All the classes start out by teaching the same things - - basic fundamentals of
speech, pantomime, use of the body.  Then the individuals branch out into what
they most want to learn - - acting, directing, lighting, make-up, stage design.  Tom McKeehan teaches the technical end.  He was with Barter Theatre for four seasons
and for five years was production manager and had charge of scene design and
lighting at Miami’s Coconut Grove Playhouse” (“Wayside Theatre Opens  ….”
Undated clipping.  Scrapbook, 1964).   

Another announcement for the Fall classes indicated there were to be two adult sessions:  one on Wednesday mornings at 11:00, the second met on Thursdays at 7:30 p.m.  The younger students met on Saturday with classes at 10:00 a.m. for children ages 6 – 10; junior high classes from 11:00 to noon; and a high school laboratory session from 10:30 – 12:30 taught by Pam Taylor.  It was also noted that “Mr. Phillips can also be heard over Radio Station WFTR every Tuesday at 10 a.m. on the ‘Owen Phillips Drama Workshop of the Air.’ ” (“Wayside Workshop Takes ….” TWaS.  22 Oct. 1964).  At this writing, this is the only information that has surfaced for this radio class. 

Notices appeared in the local papers announcing the second term of the Wayside Theatre Workshop Classes that were scheduled to begin February 1, 1965.  These offerings were advertised as “Learn to Act by Acting” that featured classes in all phases of play production for beginners and advanced students.  The class schedule was also included in the announcement along with the times for the children and the high school offerings.

Phillips’ interest in providing theatre training for local residents was a program not only for their own personal development, but he hoped that through this training, he would develop a local pool of talent that could be tapped for work at Wayside.  Regarding this idea, he states: 

Wayside Theatre has had a financially successful season, which is something of
a record for a brand-new summer stock company in an area where there has never
been one before.  It is time to look ahead to make long-term plans.  I feel the urge
to develop a group of trained theatre people in this area, so that when the professional(s) leave in the fall, the resident talent will be here to keep the theatre running with workshop productions.  This means the local group will share in the
casting opportunities for next summer’s schedule at Wayside (Scrapbook. 1964.
Undated clipping).

A photo in the Theatre’s files shows Phillips directing a theatre class that met in the Wayside Art Gallery, the location for lectures and speech work.  The other sessions that dealt with acting, stage movement, set-design, costuming, lighting and public speaking, took place in the theatre, most likely on the main stage. 

The adult classes met in the evenings.  Those that met on Saturdays find the
gallery and theatre filled with the students in the ‘younger set’.  A children’s
creative dramatics class meets at 10:00 am, for ages 6 – 10.  The junior high
school class meets from 11 – 12 noon.  Pamela Taylor teaches a high school
laboratory from 10:30 until 12:30.  The students in the workshop range in age
from 6 to ‘I’m not telling!’ Adult experience ranges from productions in school
and community to none.  Some said they were taking the class to get away from
their husbands, or to keep their minds working again, or to gain poise, good
speech and self-confidence ….  The workshop participants will culminate their
work in two productions.  The adults and teens will present Two on an Island by
Elmer Rice and directed by Owen Phillips, while the children’s group will write and
act in their own Christmas play.  Both productions will be given at Wayside Theatre (“School Days ….”  WES. 23 October, 1964). 

Cinderella, a play written by the children was performed in December 12, 19, and 27, 1964.  Members of the cast included children taking the classes along with summer interns or Theatre staff.

This type of theatre education program existed during Phillips’ tenure as Artistic Director.  He was assisted either by members of the acting company or by local artists such as Barbara Sambol or Lindé Hayen.

1965

The Wayside Theatre Workshop classes that were introduced in 1964 continued and culminated in two one-act productions given in March, 1965. The double bill consisted of The Happy Journey to Camden and Trenton by Thornton Wilder and The Stolen Prince by Dan Totherot.  A notice about these plays states,

Casts for these plays will be made up of members of the Wayside Theatre
Workshop and will be double cast in order to give more students a chance to
work before live audiences.  The twin bill will be directed by Owen Phillips; sets
by Lynn Sams; sets/lights by Tom McKeehan” (TWaS, 4 March, 1965). 

Some roles were double-cast in order to give more students a chance to work before a live audience. The cast included Jane Caspar, who enjoyed every minute of her role as Ma Kirby and Bill Martin as the stage manager, who “was properly relaxed and unobtrusive as he talked to the audience, moved chairs around the stage when needed and played various minor characters” (1965 Scrapbook).  A review of the performances appeared in both The Warren Sentinel, 18 March 1965, and also in The Winchester Star, 18 March, 1965, p. 9.

1966

Keeping with the successful tradition of providing theatrical training for people in the Shenandoah Valley, a notice appeared in the Warren Sentinel announcing that Fall Workshop classes would begin October 8, 1966.  These were divided into three group:  classes for children ages 7–11 to be held on Saturdays from 11:30 – 12:30; classes for Junior High students, ages 12 –14 held on Saturdays 10:30 – 11:30; and workshops for high school students and adults to be held on Saturday from 10:30 – 12:30.  For these, Lindé Hayen was scheduled to teach the children and junior high; while Owen Phillips will teach the adult and high school groups. (1966 scrapbook).  The play scheduled for the end of these classes was Hansel and Gretel that was performed in November 29 and 30, and December 3 and 4, 1966.

1967

There is no information for theatre education in the files for 1967.  Most likely, it continued and was similar to what had taken place earlier.

SLAVET (1968 - 1974)

When Gerald Slavet assumed the position of Artistic Director, he continued the program in theatre education that had been firmly established by Phillips.  Slavet had a keen interest in using theatre as an educational tool.  He believed that theatre itself could be instructive whether in performance or in a classroom, and that the use of theatre-like techniques could be positive tools of instruction for teachers.   

Slavet’s effort to bring drama into the local schools is well documented.  He worked with high school English teachers to show how drama techniques can be used in their curriculum for better presentation and comprehension of the material (“Gerald Slavet .….” NVD. 31 Aug. 1972).  Slavet also encouraged the use of theatre games and showed teachers how this technique would be beneficial in the classroom (“Winchester teachers ….” NVD. 11 Oct. 1972).

There is a detailed review of Slavet’s work with teachers in the using Chekhov’s one-act play, The Marriage Proposal, to illustrate that,

beyond the enjoyment of the theatrical experience … drama could stimulate
thinking on related topics.  For example, students might begin to think about
the validity of human arguments and their effectiveness.  From a social studies
point of view, the young audiences might learn a number of things about Russia
- - names, clothing styles, social strata, occupations, food, music, etc.” (Hudson.
“Theater Explored ….” DNR. 1972 Scrapbook). 

Teachers were not the only group that profited from Slavet’s visit to schools.  The students benefitted greatly from the performances by Wayside’s actors.  In addition, Slavet worked with the superintendent of Winchester Schools, J. L. Johnson, to use a Title I program to encourage theatre performances in the local schools. 

First through sixth graders in the Winchester Public Schools are well on the
way to becoming ardent theatergoers.  During the past school year the pupils
saw three plays:  The Marriage Proposal by Anton Chekov, the famous turn-of-
the-century Russian writer; Time, Here: Place, Now!, a musical based on Aristotle’s
Poetics; and The Proposition Circus, a totally improvisational show created on the
spot from the audiences’ suggestions (“Young group to present ….” 1972 Scrapbook).

During his time at Wayside, Slavet presided over these classes as well as worked with teachers and school administrators in the local school system, reinforcing his theory that teaching could be enhanced with the use of theatre techniques. 

1969

In the fall of 1969 there was an announcement that theatre classes would take place between October 4 – November 29. The acting class schedule was as follows: Pre-Teens (ages 10-13), Saturdays 2:00 – 4:00; Teens, Monday 7:30 – 9:30; Adults:  Wednesday 7:30 – 9:30 (“Drama Workshop ….” NVD.  8 Sept. 1969).  The classes for pre-teen and teens were taught by local actress, Barbara Sambol.  The adult class, taught by Gerry Slavet, centered “around theatre games, a technique of improvisational theatre developed by Viola Spolin, with whom Mr. Slavet had studied. The material in these classes will consist of scenes “… selected from plays and will be presented in class for discussion” (“Wayside Theatre Plans ….” Un-named source. 11 Sept. 1969).  Slavet announced that “All classes will be geared towards developing the imagination, creativity, and skills of each student.  The classes will aim towards individual instruction.  No experience is necessary” (“Wayside Theatre Plans…..” 11 Sept. 1969). 

The 1969 classes were taught by Barbara Sambol and Gerry Slavet.  At the conclusion to the ten-week session, a performance of One in Every Crowd, a play written by fourteen-year-old Paul Sambol of Winchester, was performed.  The play dealt with the problems young people encounter in their daily lives.  Paul is the son of Barbara Sambol, who had appeared in many Wayside productions in addition to serving as teacher for Wayside’s acting classes.

1971

In addition to providing support for the actors, one of the interests of the WWC “in using the resources of the Wayside Theatre as an educational adjunct, offering new opportunities for creativity for Valley children.”  The geographical representation of this group was extensive. Locations listed were,

Winchester/Frederick County, Strasburg, Woodstock, Mount Jackson, New
Market, Front Royal/Warren County, Harrisonburg/ Rockingham County, Martinsburg,
WV, Luray/Page County, Clarke County, Leesburg-Loudoun County and Fauquier
County (“New Wayside Theatre Group …” 5 Nov. 1971). 

The instruction for children continued and at the conclusion of the session for grades three to six, “Mothers and Fathers watched their children perform exercises and theater games designed to improve concentration and awareness and stimulate imagination.”  Barbara Sambol’s Junior High students presented the play, “The Centerville Ghost” as their concluding exercise.  The Teenage Theater, the Scene Study, and the Adult Theater workshop completed their course with a trip to Baltimore’s Center Stage to attend a performance of “Danday Dick” where they had the opportunity to speak with actors following the performance.  At the conclusion of this event, Slavet stated “Actually, we don’t teach acting in our workshops.  What we do is to experience, explore and discover with each individual” (“Drama Workshops ….” WES. 19 Dec. 1972). 

It was during the 1971 season that the Wayside Women’s Committee (WWC) was organized (SEE: Appendix: Beau Geste and PROPS).  In addition to the Theatre’s various activities, one project that attracted some attention in the education world was when Wayside hosted a seminar on arts and education.  Those expected to attend were officials from the State Department of Education and the Virginia Commission of the Arts and Humanities, as well as “the new supervisor of drama from the State Office of Instruction, a representative from Title I and Title II offices, [and] a representative from the Office of Elementary Education.”  Slavet served as the leader in this meeting and stated,

During the last several years the Board of Directors of Wayside Foundation for
the Arts, as well as the Wayside Women’s Committee, have urged me to explore
ways in which Wayside could be more of an asset to local public education ….

As a result, … a free performance of ‘Story Theatre’ will take place.  The Story
Theatre Program, composed of improvised stories, has caused great conversation amongst educators not only because of its effects on the students, but also because
of its many teacher training possibilities. 

Slavet concludes, “If we put our heads together, we may find new avenues for creating exciting education.  In any case, all will find Story Theatre a most interesting technique applicable in the schools” (“Education Officials …” NVD.  7 Nov. 1971).

1972

A clipping from the local Winchester paper tells of “250 preschool tots filing into the theatre … to see Nobody Knows Where It Came From, an instructional skit directed by Slavet.”  Havron writes that “for the most part they were leaning forward in their seats, some hanging their elbows on the seatbacks in front of them … all beady little eyes on the bright stage, transfixed in rapt attention on the colorful goings on” (Havron.  “Theatre Outing Transfixes Tots.”  WES. 29 July 1972).  The play was part of a preschool enrichment program for upcoming first-graders living in Frederick County.  The files have no additional information on this title.

1973

Slavet confesses that, when he came to Wayside, he did not place much emphasis on the area of children’s theatre, preferring to provide drama workshops and touring companies.  He obviously had a change of heart, for the 1973 playbill announces the opportunity to explore theatre through Drama Workshops in order to develop creativity and self-confidence.

Available to adults and juniors and seniors in high school who have had some experience in performance or workshops in a Scene Study class applying the
elements of acting and role interpretation with an emphasis on performance qualities
in two-person scenes … No experience is necessary to enrolled in the four drama workshops conducted at adult, teenage, and children’s levels (Wayside Playbill, 1973). 

Additional information appeared in ads in the local papers as well as by brochures sent through the mail.  Instructors for the Children’s Theatre project, Lindé Hayen, and Marjorie Lewis, who were both salaried.  The intention for this project was to create plays that would be performed by children for children. The class offerings were:

Creative Dramatics for the Elementary School Students (taught by Marjorie Lewis
with an enrollment of 10 students);
Improvisation and Beginning Acting Techniques for Junior and Senior High School Students (taught by Lindé Hayen Herman with an enrollment of 9 students);
Scene Study for Adults and High School Students (taught by Gerald Slavet with an enrollment of 21 students)

The first play performed by the youth was Androcles and the Lion, using a cast of  twenty youngsters.  After an evaluation made by the staff, the production was deemed as being partially successful, despite requiring use of the resident theatre staff to provide the sets, the costumes, and the running crew.  It had been anticipated that a greater number of tickets would be sold, and that more children would audition for roles as well as volunteer for off-stage participation.  It was estimated that only about 650 children attended the nine performances given over the two-week period. 

Despite this minimal success, there was some concern at the theatre over this project, as it conflicted with on-going theatre projects.  A mis-understanding developed among the staff as to the division of energies devoted towards the professional portion and the effort needed for the children’s project.  Despite this consternation, it was decided to mount a second production.  Unfortunately, a lower number of children than expected auditioned, which caused the cancellation of the Children’s Theatre project for that year.

The offerings for the 1973-1974 season pretty much followed the outline of previous years. The Fall Drama Workshop schedule was:

Creative Dramatics for the Elementary School students (taught by Marjorie Lewis;
10 students enrolled).
Improvisation and Beginning Acting techniques for Junior and Senior high school students (taught by Lindé Hayen Herman (9 students enrolled).
Scene Study for Adults and High School students. (taught by Gerald Slavet, 21
students enrolled).

The files contain a schedule for the ‘Drama – Improvisational’ class for November, 1973 taught in twenty Arlington Country schools.  For most days, there were two appearances:  one from 10:00 – 11:00 a.m. in one school, followed by another from 1:30 – 2:30 in a different school.  Unfortunately, no information has surfaced as to the content of these sessions or who did the instruction. 

During the Owen Phillip’s era, Wayside had performed a few plays for children, some were performed by adults for children and others were performed by children for children.  When Slavet became Artistic Director, he is said to have confessed that he did not place much emphasis upon children’s theatre, preferring in-school touring programs.  However, in 1973, he felt that Children’s Theatre might make sense.  At that time both Lindé Hayen and Marjorie Lewis were hired as salaried directors/producers of a Children’s Theatre, the purpose of which was to perform children’s plays performed by children.  The first of these was Androcles and the Lion, performed by 20 children on three nights between Christmas and New Year.    Reviewer Nancy Talley suggests that local children should express thanks to Wayside for providing them the opportunity to perform a work under the direction of Lindé Hayen, as “few small productions for children show such careful attention to detail nor such admirable pacing” (Talley.  WES. 19 Dec. 1973).  Despite the success, fewer children auditioned and fewer tickets than expected were sold.  This extra program in Wayside’s schedule also caused some conflicts with on-going projects along with a mis-understanding regarding Wayside’s productions, as to what was professional and what was amateur.

Despite the low attendance and the conflicts mentioned above, the newly formed Wayside Theatre for Children elected to schedule a second production, The Rude Mechanicals, a comedy adapted from Midsummer Night’s Dream.  An audition notice was posted in the newspaper giving a bit about the plot of the work (“Wayside Children’s Theatre ….” WES.  24 Jan. 1974). Even though some adults had been enlisted to assist with their carpentry and sewing skills, fewer children than expected auditioned, and the production did not take place.   

1977

There were acting classes for children that took place at Winchester’s Handley Library under the leadership of Cephe Fahnestock and Doug Saffell, who had developed this program in 1975.  A photograph from 1977 shows Ryan Hillard, a resident actor at Wayside, working with students in a Handley Library class for developing mime and pantomime skills. Saffel explains that “… each two-month class ends in a regular production for the children open to the entire community” (Haemer. “More than 40 ….” WES.  12 July 1977).

There is a gap in available information for the next few years in the Theatre’s files regarding theatre classes and productions for children.  One article dealing with Wayide’s financial improvement, makes a brief comment of a children’s show in 1981 entitled The Remarkable Mr. Pennypacker that was performed by the Youth Ensemble (Cameron, L.  “Wayside Theatre ….” TWS.  10 Oct. 1981). 

On page 20 of a 1981 Playbill, a bit of information on the Wayside Youth Ensemble mentions the group’s performing twice a year, once in the Fall and once in the Spring. It states that the Ensemble’s purpose is to underscore and build on the area’s public and private school systems, as well as other programs intended to assist in the training, as as Lindé Herman’s program at the Shenandoah College and Conservatory of Music and Cephe Fahnstock’s program at the Handley Library.

The article in the playbill adds that Wayside’s Youth Ensemble was formed in the Spring of 1981 for the express purpose of allowing youth performers to produce young people’s plays for an audience of their peers. The initial production, The Great Rhyme Crime, was a critical success with “Mother Goose ably played by 14-year old Jeanettee Sorrell” who solved the crime. Sorrell is currently the founder/director of Apollo’s Fire, a Baroque orchestra. (Lynch. Email 11 June 2021). From the Ensemble’s first group of participants came two Wayside apprentices for the 1981 season, Jeff Seen and Hilamah Holiday.

In 1982, a production of The Silence of Chan Foh performed by the Wayside Youth Ensemble, was given high marks by Dean Kinley who calls the young actor’s work “a comedy with intrigue and some good fun.”  Music for the play was provided by Jeanette Sorreel at the piano with her sister, Christine, playing hand instruments, who sat on stage throughout the performance.  Kinley suggests, “The hour-long play would be a great outing for any family this weekend” (Kinley. “Great Outing at Wayside.”  DNR. 8 May 1982).

There is a gap in available information regarding theatre education after 1982. The next year covered is 1997

OWENS (1987-1998)

Information regarding the Theatre’s educational offerings for 1997 is sparse.  A brochure announces two performance by Ceilia’s Marionettes of Juliaana and the North Wind on March 29, 1997.  The following month, The Legend of Sleepy Hollow was performed in the style of a 1940’s Radio Hour on April 16 – 26. 

Another brochure tells of the offerings for 1998.  During February, and designed for Kindergarten through grade 5. was a 45 minute production of Aesop’s Fables which included renditions of “The Monkey and His Shadow,” “The Milkmaid,” “The Two Crabs” and ended with “The Fox and The Crow.”  The leader for this was New York actress, Nina Edgerton.  The offering that was more appropriate for middle and high school students was David Mamet’s adaptation of “The Frog Prince” offered from March 31 through April 11, 1998, and was directed by Tamara Johnson, “the primary acting instructor for Wayside’s theatre classes for young people” (Press Release  2 Feb. 1998).   

This latter title might have been connected with the Centerstage Saturday Workshop Program for young actors in which Tamara Johnson was instrumental in developing.  Some playbills in the ‘80s refer to this program, but little information regarding it has surfaced.

CROCKER (1999-2013)

During the Crocker years, a great deal of activity took place developing programs for youth, often under the leadership of Thomasin Saviano and Sarah Blackwell.  The program’s offerings were divided into several groupings, depending upon the interest and the age of the participants.  For one year, the following offerings were offered:

Young Peoples Playhouse (ages 4 – 6)
Young Peoples Workshop (ages 7 – 12)
Young Peoples Workshop II (ages 13 – 18)
Young Peoples Workshop – Music Theatre (ages 13 – 18)
Young Peoples Workshop – Shakespeare (ages 13 – 18)
Young Peoples Workshop – Improvisation (ages 13 – 18)

Those who had completed the Young Peoples Workshop programs were eligible to participate in the Emerging Artists Program.  During the Fall term, the group dealt with writing and performing an original work, while the spring term was devoted to the performance of a Shakespeare work or a play from the classical period.  The participants were between 13 – 18 years of age and, if needed, included non-professional adults or members of Wayside’s acting interns to fill out the cast.  As a practical matter, the text of some of the classical titles was edited in order to keep the performance time to an hour and a half.  The Emerging Artist performances took place either on the Theatre’s main stage, or in the auditorium of a local school. 

The announcement of Wayside’s Second Annual Shenandoah Valley 2002 Regional Playwright’s Festival for Students appeared in the local press.  Guidelines were included, the prize money was announced, along with a photo of the cast of Rebecca Morrison’s play, Perfection, the previous winner. (McCarty,  “Wayside Invites Young Writers ….”  TWS.  24 Oct. 2001).

Listed below are the titles and cast of previous productions based on available information:

2006, May 8 - -  T. Carter Fussell Young Playwright’s Festival world premier
staged reading of Hey You by Kelsey Ritter, directed by Thomasin Savaiano. 
Readers were: Maria -- Caroline Search; Charlie - Daniel Russell; Alice, his mother - Elizabeth Albert; Allen, a social worker - Wade Mowles
2007, October 5 -- George Washington: Young Man, Young Country by Rebecca Shelor, Performers: Samantha Strong, and J. J. Wakeman
The Extraordinary Jamestown Adventure.

Unfortunately, a list of the cast for the 2007 productions is not available.

Emerging Artists Program

A brief clipping found in the files sheds some light on the Emerging Artists program.  The Theatre had received notice that they had been chosen for the final round for the Pepsi Refresh Project.  This was a grant of $25,000 that would support Wayside’s education program, particularly the development of works by young playwrights.  One would visit a Facebook site to vote within a specific time period.  If Wayside were chosen by this program, this playwriting project would continue to help young authors.  (Wayside Theatre is finalist.”  TWS.  12 Nov. 2011).

The productions performed by The Emerging Artists productions include:

2008, March 27 - 29 - - Romeo & Juliet
2008, October 24 – 26 - - Virginia Ghost Stories by Molly Knudsen, Katie Hemmen, Jennifer Davison, Jessica Davison
2009, April 17 – 19 - - The Comedy of Errors
2009, September 18 – 20 - - Belle Boyd: Civil War Spy written by Jennifer Davison, Jessica Davison, Molly Knudsen, Brandon Shockey
2010, March 5 – 7 - - A Mid-Summer Night’s Dream
2010, October 1, 2 - - Houdini:  The Truth About the Myth by Joshua Shelor, Spencer Trask, Charlie Lyons
2011, Macbeth by William Shakespeare.  April 8 – 10, 2011 (performances at Warren County Middle School, Front Royal).  Dir., Sarah Blackwell; Set, Wes Calkin; Costumes, Sara Jane Palmer; Lighting, Wes Calkins; Original music, Steve Przybylski; Stage Manager, Megan McShea
Witch 1 – Carly Cramer (high school student)
Witch 2 - - Jennifer Davison (high school student)
Witch 3 - - Jessica Davison (high school student)
Duncan - - Matthew Baldoni
Malcolm - - Josh Shelor (high school student)
Donalbain - - Jake Adams (7th grader)
Macbeth - - Aaron Mann (intern for the 2010 season)
Lady Macbeth - - Jessie Kraemer (high school junior)
Seyton - - Clare Lewis
Servant - - Hana Smith
Porter - - Brandon Shockey (high school sophomore)
Banquo - - Forrest Sassaman (college student)
Fleance - - Patrick Bauserman (middle-school student)
MacDuff - - Eddie Staver III (intern for the 2010 season)
Lady Macduff - - Katie Hemmen
Son Macduff - - Forrest Limon (middle-school student)
Lennox - - Daniel Russell (high school student)
Ross - - Brandon Shockey
Caithness - - Margot Cramer
Mentieth - - Sarah Hoffman
Siward - - Forrest Sassaman
Young Siward - - Jake Adams
2011, November, 11, 12 - - Mary Shelley:  A Spark of Being by Kaitlin Duley, Claire Haskins, Emily Lunde, Libby Powell
2012, April - - Love Through the Ages by Molly Kaufman. (SEE: NVD. 28 April, 2012, D-1)
2012, November 9 -10 - - Charlie Chaplin: The Price of Art by a group of four: Joshua Shelor, Metanah Betko, etc.  (SEE: NVD. 10 Nov. 2012, D-1, 2)    

The production for 2013 was to be The Tempest.  Auditions were scheduled for January 16 and 18,  2013, and rehearsals were to begin in February with performances at the Barns of Rose Hill, Berryville on April 19 and 20, 2013.  This event did not take place due to the closing of the Theatre.

Young Performers Workshop
2008 – The Whites of Their Eyes  
2009 – On the Spot

Other activities designed for pre-college students involved a 15-week, after school class, called “The Play is the Thing,” that was designed to meet Virginia’s SOL requirements for English and would culminate in a performance.  Another activity was the “24 Hour Theatre Project” where students met to write, rehearse, and produce a play within the allotted 24-hour time period.

The Theatre files contain additional documentation for the Education in Action programs for the years 2000 to 2008.  These handouts were distributed to area schools and other locations and document how the theatre announced their education programs for youth.  These handouts indicate how, by attending a rehearsal or performance of a Wayside production, a student would meet some Virginia’s SOL requirements. 

In 2011, a newsletter was published by the Theatre that announced various summer events and lists the winners of the T. Carter Fussell Awards.  One of the scheduled activities was Shakespeare in the Park, a program for students in the YAG (Young Ambassador’s Guild) would present a 40 minute performances at 7:00 before the musical concert scheduled at 8:00.  It is not known if this actually took place.

In the heat of the 2013 financial crisis, an extended, multi-column article in the local paper told of Wayside’s history of working with children.  It is a highly informative article, despite the error in stating that, prior to 1999, the Theatre had not been involved with providing theatre instruction for children, despite there being a long history of the Theatre’s work in this area. This type of educational program was expanded and took on a different approach during the Crocker years. (McFarland.  “Wayside’s stage opens ….” TWS.  9 Feb. 2013).

The complete history of the Theatre’s work with children has yet to be fully documented. 

NOTE: Regarding the May 2000 production of You’re a Good Man, Charlie Brown that featured Scott Ruble, who at the time was a student at Lord Fairfax Community College, it is unclear if this were a joint effort between the Theatre and the College, or if it were a project of LFCC’s Performing Arts Club and was performed on Wayside’s stage.  There is an excellent article detailing this production found in The Winchester Star, 17 May 2000, Frederick County section, pages 1 and 2.