Transition from Phillips to Slavet

In January of 1968, a change was made in Wayside’s Managing Director’s position.  Owen Phillips announced his resignation scheduled to take place at the beginning of that year, stating,

I felt that the requirements as executive director were of necessity taking my efforts more and more away from the artistic, educational and community activities, which is really my chosen field … I felt it was necessary to resign in order to pursue this work (“Phillips Resigns Post ….”  TWS. 24 Jan. 1968). 

In looking back over the Theatre’s fifty year history, there have been times when this conflict of duties has occurred.  It seems that when one person attempted to combine artistic responsibilities with that of financial management, some sort of conflict always developed.  This has certainly been the case in Wayside’s history.

In his resignation announcement, Phillips graciously acknowledged the warm hospitality bestowed on him by the people in the community and indicated that it was his wish to continue living in the northern Virginia area.  He alluded to the possibility of working with local civic organizations as well as with a dramatic group at James Wood High School.  History tells us that Phillips did not stay in the area, but returned to Barter Theatre where he worked as a Director of Productions for several years.  Phillips took the position of Robert Porterfield, the head of Barter, who had been hospitalized (“Phillips Takes ….” NVD. 20 Feb. 1968).

A type-written memo found in the Wayside files states, “At a meeting of the Board of Directors of the Wayside Foundation for the Arts, and interested citizens held Monday evening [January 22, 1968] at the Wayside Inn, Mr. Owen Phillips, submitted his resignation as managing director of The Wayside Theatre.” Further along in the memo it is noted that the “Board accepted with regret his submitted letter indicating that he had been active in this role since 1962” (Memo.  28 Jan. 1968). 

It should be noted, however, that the final sentence in the above mentioned memo is incorrect, as Phillips did not arrive at Wayside until 1963.  This error is another example of the confusion regarding Wayside’s early years.  The year 1962 is supposedly the year the Maralarrick Players were in residence.  And, it also muddies the exact date that Phillips arrived at Wayside.  In all records for the years 1962 and 1963 found to date, there is no mention of Phillips.  His name first appears for the 1964 season, which is confirmed as being his first year with Wayside Theatre. 

Regardless of this confusion, it is universally agreed that much of the success for Wayside’s early years can be directly attributed to the leadership and guidance of Owen Phillips.  This is succinctly stated by an actress who worked at the Theatre during Phillips’ tenure who said, “He knew how to market Wayside” (Sambol. Email. 27 Mar. 2011). 

Phillips’ marketing skills are in evidence and well-documented.  He frequently spoke to local civic organizations and social clubs and worked hard to create a season of plays that would attract audiences to the theatre.  His networking skills within the community were widely recognized.  And, it was certainly to his advantage that Phillips had the trust and financial support of Leo Bernstein.

Upon Phillips’ departure, Bernstein assumed temporary management of the Theatre until a replacement could be hired, naming himself as “… the managing producer of the Wayside Theatre” and stating, “I am planning to take a very personal interest in all of its activities.”  He assured the public that the summer season would continue as planned, with the “usual 14 weeks of productions presenting seven plays during the official season” (1964 Scrapbook). 

One the first tasks that Bernstein undertook during that year was to purchase the fourteen-room Dominion Motel located just north of Middletown “to house actors and actresses who will be working with the theatre this summer.” In the previous seasons, all actors and staff had been housed at the Wayside Inn or in private homes.  Bernstein felt the motel had everything for actors, and called it “one of the finest of its kind in the country for summer stock.  It is completely air-conditioned and equipped with TV .… There will be a rehearsal hall and sport facilities for the use of the visiting actors” (“Former Motel ….” WES. 26 Jan, 1968).  This facility was used for actor housing for several years, and while it still stands, it no longer has any connection with the theatre.