Randy Raucous Ridiculous Rocky

There are few things I like more than being genuinely surprised by a live theater production. So I was particularly happy that the current production of “The Rocky Horror Show” at Firehouse Theatre packs quite a few genuine surprises. As a theatrical experience, the production is a bit of a mess – endearingly so – but it’s an undeniable good time and unlike anything else I’ve seen on stage in a while.

Surprisingly, an overabundance of sexual salaciousness is not one of the evening’s surprises. Oh, there’s plenty to get hot and bothered about but the most overt stuff – specifically, the from-behind ravaging of both Brad and Janet by Dr. Frank – is handled comically and with relative discretion. I guess after seeing masturbation and S&M-tinged sex played out somewhat explicitly a couple of times on the prim and proper November Stage in the past few weeks, some randy breast-grabs and comic humping don’t seem so shocking.

The most striking surprise to me about the production was the ferocious performance by Nick Aliff as Riff-Raff. When the character first came out on stage, I had no idea who the actor was, Aliff has so completely transformed himself. And even when he wasn’t front-n-center, Aliff made Riff-Raff full of tripwire energy, an edgy element of entropy in the midst of the already chaotic Castle.

Among the other “wow” moments offered by the production are some inspired costumes by Holly Sullivan, rousing choreography by Maggie Marlin, and a fabulous star turn by Terence Sullivan as Dr. Frank N. Furter. Sullivan’s costumes consist of some of the most striking and intricate leather and bondage-ware I’ve ever seen; though I’m hardly an expert, the costumes set the mood more effectively than any other production element. The ensemble numbers were some of my favorites because of Marlin’s choreography, energetically performed by director Jase Smith’s young and physically fit cast.

And Sullivan just owned the stage from the moment he made his entrance. His imposing physicality – amped up by 6 inch heels – made his presence overwhelming in all the right ways. There were times I didn’t know what exactly he was going for in terms of his accent, but his body language was as important as the words he was saying. There was no doubt that Dr. Frank dominated this dungeon and he did so in a winning and consistently engaging way.

I had some problems with the production. I had heard about some technical issues during opening night and one of the entrance doors to The Castle fell apart on the night I saw the show. The stage seemed cramped at different times, in stark contrast to the expansive and airy set the Firehouse constructed for their last production, “Dessa Rose.” I don’t think the female characters came across as strongly as I would have expected, even though they were played by some of my favorite actresses in town (Maggie Horan as Columbia, Joy Newsome as Magenta, etc.) Having said that, Aly Wepplo as Janet ravaging Chris Hester’s Rocky during “Touch-a Touch-a Touch-a Touch Me” was definitely a highlight.

But my biggest problem with show has to do with the pretty ridiculous storyline which, while also being the source of a lot of the fun, just seems more thrown together and random than I remembered it. If you didn’t know the key role of Eddie (here played by Matt Beyer) from the movie or previous productions, I don’t know that you’d totally get it here. Maybe I’m just turning into an old fuddy-duddy, but a little bit of narrative cohesion even in a show as envelope-pushing as RHS would be nice. Smith seems to be trying valiantly to add some depth with the addition of new material like Horan’s quiet and sweet “Love you like a Record” but his efforts are largely for naught.

Which isn’t meant to dissuade anyone from seeing this show. The pleasures are many; in addition to what I’ve already listed, Leilani Giles has assembled a great band and their onstage accompaniment of Brad (Nick Shackleford) when he sings “Once in a While” is another highlight. Chris Hester makes a buff and perky Rocky; eye candy that can also sing really good.

Perhaps most of all, the show is a good time. While there is no audience participation allowed, there were plenty of raucous hoots, hollers, and catcalls flowing the night I attended. This is a show that engages the audience and you can’t help be caught up in the fun, whether it’s in hailing the dramatic entrance of Frank or hanging on as he teases you with “antici…..pation.” So throw on some leather and head on down to the Firehouse. Just leave your expectations for sense behind and open up to your affinity for buff bodies in bondage-ware. It’s really not that difficult.

First Things First

I want to talk about “The Rocky Horror Show,” the fun, sometimes frenetic production I saw at the Firehouse on Saturday (review in the T-D last week). But first, there are a few other items I need to put out there.

First, since this is more of a journalistic thing versus a strictly theater-related thing, you might not have heard that Arts and Culture editor Don Harrison has left the staff of Style Weekly magazine. If you are a theater admin type, you probably know Don and you know that he has always been a supporter of live theater in Richmond. As the number of pages has continued to shrink in print media, Don gave the go-ahead on more stories and reviews that would show-up online only. He has always been open and amenable to the various and sundry theater-related pitches I’ve thrown his way over the years.

Personally, I’ll always be grateful to Don because he was the first Style editor who considered my reviews worthy of submission at the Virginia Press Awards, resulting in a 3rd place in critical writing in 2010 and a 2nd place last year. Professionally, I have ongoing respect for his fervor for holding city officials accountable for the management and development of CenterStage. If you are a city resident, or if you eat in restaurants in the city, you are paying for CenterStage and you should be more concerned with what’s happening with that money (I say that with the acute sense that I should be more concerned). Don can’t do all of the work, though apparently he is among the only people paying attention, as per this $250,000 a year “oops” he uncovered just recently.

If you want to continue to follow the things that Don is interested in, you can tune into his blog for the latest.

A week ago, I was lucky enough to catch “As You Wish: An (un)staged reading of ‘A Princess Bride’” down at Sycamore Rouge, and, if you missed it, well, you missed out on a treat. Putting the classic movie on stage diminished the fun visual moments inherent in the story but put the focus squarely on the fantastic dialogue throughout the script. And even if it was a reading, there were some standout performances, the trio responsible for kidnapping Buttercup being most prominent. Foster Solomon garnered the most laughs with his Fezzik the giant, Walter Schoen was a spot-on Vizzini and Jeff Cole a stalwart Inigo Montoya. An additional shout-out must be given to Stacie Rearden Hall who made the most of her “ancient booer” tirade: “Bow to the Queen of Slime, the Queen of Filth, the Queen of Putrescence!”

I saw “Spring Awakening” for the second time last Thursday. As many shows as I see in a year, I don’t usually make a point to see a production twice (unless there’s a Timberline directly involved somehow…) But besides indulging my lovely wife in her ongoing SA fanaticism, I was curious to see what the difference might be between the opening night performance and a show later in the run. I think there were differences and though they might have been subtle, they were significant. I think the Sandy Dacus’s band rocked a little bit more; in particular, I heard more percussion on some songs than I remembered hearing on opening night. Also, I think rather than trying to take in the production as a whole, I spent more of the show zeroing in on specific aspects. I spent less time watching the video screen which made it on ongoing pleasure to turn my attention back to it and notice how the images enhanced the production. While transfixed by Ali Thibodeau on opening night, this time around I had trouble taking my eyes off Oliver Houser. Within a sometimes extreme and emotional production, he gave a stunningly naturalistic and honest performance.

Perhaps most of all, the stirring “Purple Summer” at the show’s end grabbed a great deal more than on opening night. I felt the intense emotion of that song like I hadn’t before and it made the whole night a bit more cathartic.

The night I saw the show, the orchestra was nearly full and the overwhelming majority of folks in the audience were older folks (i.e., like me). But unlike opening night, I didn’t notice any major holes in the crowd when I came back for the second act, signifying a lack of major walk-outs during intermission. Maybe it took until the last week of the show, but it seems like people finally understood what they were in for with the show and didn’t turn away shocked or dismayed. So that’s a good thing.

As for that other possibly shocking musical making a splash this summer, stay tuned for my take on the Rocky Horror Show tomorrow. Oh, and RiverCityRapids.com, in case you happen to read this, I love getting your arts calendar email blasts but there’s no “Picture” in this show. Just FYI.

Inconceivable

I’ve been lucky enough to enjoy two wonderful entertainment experiences this week: the (un)staged reading of “The Princess Bride” at Sycamore Rouge on Wednesday and a second viewing of “Spring Awakening” on Thursday. This morning, I’m sickened and saddened and just stunned in the aftermath of the Aurora shooting. I try to imagine what it would have been like if a gunman had invaded either of my previous nights’ experiences. But I don’t think there is any way to imagine the terror and confusion unless you were there.

Smarter and more eloquent people than me will pen insightful or stirring responses to this tragedy. Personally, I’m beyond any kind of comprehension right now. I remember my sense of thrill and anticipation at a midnight showing of the last “Harry Potter” movie last year. The thought of that excitement being turned completely on its head is heartbreaking and just despicable.

I’d like to talk about the Princess Bride reading and renew my thoughts on Spring Awakening sometime. But for now, I think some quiet mourning is all I can muster. Be safe everyone.

Of Wives, Brides, and Girls

I think some people aren’t going to like my review of “The Merry Wives of Windsor” in this week’s Style because I start out talking about a production that happened many years ago. What relevance, you might wonder, does the old production have to a current audience?

That question rang in my head as I was writing the review and I considered other directions but in the end I thought the comparison was relevant. To me, “Merry Wives” is a great comedy to go a little crazy with. Falstaff is Shakespeare’s great comic gift and, as broad (both physically and dramatically) as he is, I think you can go pretty far toward the absurd around him without risking being just flat-out ridiculous. And even if you err on the side of ridiculous, the opportunity for fun can make the show a winner.

There is much to like about the current “Merry Wives” production, as I hope comes across in the review. The key triangle of Todd Schall-Vess as Falstaff, Melissa Johnston Price as Mistress Page and Cynde Liffick as Mistress Ford all do great work and I loved all of their scenes together. But a key to where the production could have gone lies in the performances of Evan Nasteff and Brooke Turner. Nasteff does everything short of salivate to make Dr. Caius the image of a hyper-egotistic Frechmen. On the other side of the emotional scale, Turner is like a lusty little sprite flittering about her scenes, occasionally singing her lines. The two of them were the flirty/furious yin/yang of the piece and the source of much of my enjoyment with this production.

There are a lot of great comic performers involved in this show – Thomas Cunningham, David Janosik, Stephen Ryan, etc. – and while they are nicely entertaining here, I’ve seen all of them do better work in other shows. It could be a problem of expectations: I guess I was hoping for a more furiously funny production. Still, there are plenty of laughs here and, after hearing mixed things about “Cymbeline,” I was happy that the show seems like a solid return to form for Richmond Shakespeare. I just hope they don’t shy away from pushing the envelope a little further in the future.

I’ll be trekking down to Petersburg for “As You Wish,” the staged reading of “The Princess Bridge” tonight. The show is a pay-what-you-will benefit for Sycamore Rouge and features quite an exceptional cast. It’s inconceivable that people would pass up the chance to see this show! They’re doing it again tomorrow night so you don’t have to.

I also just heard that the Indigo Girls are playing at Maymont next Thursday. This has nothing to do with theater really except that I used to be such an Indigo Girls geek that I bought their take on the music from “Jesus Christ Superstar” way back in the mid 1990s. Funny thing: all the proceeds from the sale of that CD went toward supporting gun control. Wow, those were some idealistic days!

Finally, just to follow up on my “Dark Knight” mention yesterday: apparently commenters on Rotten Tomatoes have gone so far as to make death threats against critics who have published negative reviews about the movie. Really? I can understand passion about art but that’s just crazy. I expect some people won’t love my “Merry Wives” review (and feel free to post any rebuttals or counter-criticism) but the level of crazy here in our little community isn’t as high as in the public at large. Or at least, so I hope.

Counter-programming

So possibly the biggest selling movie of the summer – maybe even of all-time when all is said and done – will be opening in a few days. “The Dark Knight” currently sits at #4 in all-time domestic box office. Given the acclaim of that movie, plus the promise that it’s the last of the Christopher Nolan trilogy, there is a chance that “The Dark Knight Rises” will beat out “The Avengers” for the summer’s box office crown. (Of course, without the Heath Ledger effect, I’d say that chance is 60/40 versus guaranteed.)

I mention this because it means that movie theaters are going to be swamped this weekend. Beyond the Batman saga, “Spider-Man” is still selling, the kids have “Ice Age” and “Brave,” big boys have “Ted,” and little girls have “Katy Perry.” The Cineplex is awash in content.

So I’d recommend avoiding the crowds and checking out the parallel cavalcade of live theater in town. Specifically, SPARC is offering two new productions that sound very promising. SPARC’s summer musicals have always been spectacular – I know I’m biased but last year’s “Ragtime” had some truly breath-taking moments in it – and I expect “Chicago” will not disappoint. This summer, the Summer Stock program takes on a new challenge – the slamming-door comedy, “Noises Off.” Just like young energy can make old musicals seem fresh and alive again, youthful vigor can enervate the funny and farcical. There are several veteran actors in town that have slogged through a dozen or so such comedies in their careers; with SPARC, you’ll be seeing many performers discovering this genre for the first time. What they bring to it will be intriguing to watch.

I’m very interested in seeing Firehouse’s “Rocky Horror Show” because of the oft-repeated warnings being issued about the production pushing of the envelope. “Not your parents’ Rocky Horror” definitely peaks my interest since I’m probably one of the parents they’re talking about. With “Spring Awakening” already making patrons blush at VA Rep, I can’t wait to see more unabashed programming heating up this summer.

Both “Nice People Dancing to Good Country Music” and “Merry Wives of Windsor” received good reviews from the T-D in the past few days, Ms. Lewis even using the word “flawless” in reference to “Nice People.” With all of this good – and challenging and different and entertaining – theater around, the playhouses in town are the best places to stay cool this summer, not the movie houses.

Critical Departure

“Nice People Dancing to Good Country Music” opens out at the Tavern tonight. Who wants to take the over/under with me on the number of patrons who are confused because this is not a musical? It sure looks like it’s going to be a fun show though, based on the preview pictures. Who doesn’t love a set dominated by a pick-up truck?

That production is sponsored in part by Altria. As you may have heard, Altria recently sprang for the naming rights to the former Mosque Theatre for $10 million. I’m not sure whatall comes with naming rights but I hope some of that money goes to spiffing up the place. It’s an OK place to see a show I guess, but it also still has a 1960s feel to it in some ways, and I don’t mean in a good way.

One piece of news that may have slipped past some people this week: Susan Haubenstock and her lovely husband are leaving Richmond at the end of the summer, meaning Susie will no longer be writing theater reviews for the Times-Dispatch. Thanks to the Richmond Theatre Critics Circle, I’ve gotten to know Susie a bit and so her departure saddens me personally very much. She is a lovely, generous person who is also clear-headed, intelligent, and charming. Meeting her and finding her so easy and interesting to talk to was one of the main reasons I thought something like the RTCC could even happen. Getting to know her and Mike a little better was one of the best side-benefits for me that came from creating our little group.

But beyond my personal feelings, I am also very sorry her voice will be missing from local theater commentary. Susie’s knowledge of theater springs from an earnest love of the art form and it seems to me that her criticism always starts out from that place. In her 10 years here, she not only saw literally 100s of local productions but traveled regularly to Washington DC and New York to see shows there. Her perspective has been forged by many hours seeing both the best and worst ends of the theatrical spectrum. I always found her criticism to be concise and engaging, not too flowery or effervescent. She has always given the benefit of the doubt to local productions but has not shied away from sharper criticism when warranted. I don’t remember her ever being mean.

Susie and I haven’t always agreed on shows but some of my favorite conversations have been with her, debating the pros and cons of different productions. I have great respect for her insight and more than once I’ve read one of her reviews and thought, ‘she made that point better than I did.’ The declining number of column inches given to critical content in print media has constricted all of us reviewers. Susie always made the most out of the space she was given.

So long, Susie, I will miss you. And everyone else, be prepared for a new (if perhaps not unfamiliar) byline in the T-D’s reviews down the road a piece.

Midnight Blogging

After a week’s vacation (ahhhhh…), I am back in town and trying to organize both my wits and the scattered aspects of my life. I’m not having a whole lot of luck yet so the following is a pretty random collection of theater-related thoughts.

I had planned to attend the performance of “The Merry Wives of Windsor” this past Saturday but it was canceled because of the excessive heat. While I was disappointed, I’m glad the management made that decision because I don’t expect actors passing out from heat exhaustion would have enhanced the entertainment value of the play at all.

I came back for the Sunday performance, where unfortunately the audience numbered only a couple more than the cast. The skies threatened throughout the evening but they never opened up, making me think it would have been the perfect night for a performance of “The Tempest:” built-in celestial lighting design!

Richmond Shakespeare’s next season was listed on the “Merry Wives” program (spring show = “The Tempest”) and I was particularly excited to see “King John” listed. This is one of those Bard plays that doesn’t get produced very often so I’ll be looking forward to seeing it staged. It also seems to have a couple of particularly meaty roles; who could resist a character called simply “the Bastard?”

Because I can’t seem to leave this subject alone (and it doesn’t seem to be going away), I was intrigued by this Playbill ettiquette item on handling patrons who text during a performance. I also found it interesting that the second question concerns snoring, a more prevalent problem in my experience but one that doesn’t seem to result in the same kind of vehement reaction.

I don’t know whether to be amused or horrified to think of “Magic Mike: The Musical.”

The theater season doesn’t come to a screeching halt in the summer like it used to, but it does taper off a bit. If you are finding holes in your social calendar, you might consider taking in a show at ComedySportz improv. Beyond the regular “Hams” vs “Legends” go-rounds, they have been doing some interesting alternative programming lately. For instance, last Friday there was a Middle School league versus the Major League show (in the interest of full disclosure, I should say there was a Timberline on the Middle School team). The ‘young and cute’ versus ‘old and clever’ dynamic made for some unexpected highlights. As always, you never know what’s going to happen at an improv show.

And just to bring everything Full Circle (and hey, did you hear there’s a new theater company in town called Full Circle?), one of the highlights of “Merry Wives” was the performance of Brooke Turner as Mistress Quickly. Turner has trod the ComedySportz stage on numerous occasions and joins the ranks of other prominent Richmond thespians (Jeff Clevenger, Jennifer Frank, Chris Evans who has since moved to NYC, etc.) who have used improv to keep their talents honed. Pretty nice company to be in!

The Apocalypse

Many people (several of whom I work with) view today’s Supreme Court ruling on the Affordable Care Act as a sign of the apocalypse.

In the local theater world, many might consider Va Rep’s announcement of “tweet seats” for tonight’s production of “Spring Awakening” a surer sign. The reaction to my posts about allowing texting in theaters last year (first here and then followed up on here and then here) was often very spirited and the word “apocalypse” was specifically used in an article on the subject.

I’ll be very interested to see how the experiment plays out. If I didn’t have the schedules of 5 other family members to juggle, I would be in those seats tonight, tweeting my heart out. To Va Rep I ask humbly: please do this again. Specifically, please do it on Thursday, July 19th, when I’m planning to go see the show for a second time.

But for all of the apocalyptic rhetoric, what would truly be an earth-shattering event IMHO would be the closing of Sycamore Rouge in Petersburg. The end-of-June deadline is quickly approaching for the company to raise the funds they need. They seem to be confident enough to be planning for next season but no one should be complacent. Furthermore, people who love Sycamore Rouge should post a testimonial at the IAmSycamoreRouge.com website. I’m hoping to get mine together this weekend…
And speaking of this weekend, it’s the last chance to see Cymbeline at Agecroft. What better way to cool off than some hot theater?

Stopping Just Short of Rapturous Adoration

My review of “Spring Awakening” is available on newsstands as we speak and will probably be online momentarily. Also in this week’s Style is Mr. Griset’s rave about “Blithe Spirit.”

First off, I feel like I have to apologize for “ribald” being used in the photo caption. I don’t write the captions and whoever wrote that one had no real sense of the show. Maybe that’s my failing in my review for not making it perfectly clear that the show is not a “saucy romp” in any sense. In fact, I’ve been surprised how often the words “dark” and “disturbing” have come up in my few discussions with people who saw the show and weren’t familiar with it beforehand. (UPDATE: I just noticed that Mr. Houser's name is also misspelled in the caption. Oy. Sorry. Also, here are links to the "Spring Awakening" review and to the "Blithe Spirit" review.)

But to me, this darkness is one of the most powerful aspects of the show. It is not a joyful show, by any means, but it is still a show full of joy, primarily the joy of discovery. The teen years can be intensely painful if for no other reason than you are being introduced to a whole new category of feelings. The genius of a song like “The Bitch of Living” is that it captures both the specific anxieties of sex-discovering boys but also the universal existential angst, e.g., “It’s the bitch of living / Just getting out of bed.” What working class stiff doesn’t feel that on some Monday mornings?

It’s inevitable that as soon as you find out how rapturous love can be that you find out that, just by entering into the world of adult relationships, you have opened the door to a lot of suffering. Of course, “Spring Awakening” piles on the pain by stacking up a wide litany of calamities -- incest, abuse, abortion – in addition to the plain old first-time-falling-in-love circumstances. This is the nature of theater – particularly musical theater – to take this kind of situation to ‘11’ as it were. As I wrote last summer after watching a production of the non-musical version of the same story, it’s also the strength of musical theater in general and this show in particular that the music taps into and amplifies the universal feelings of rebellion and longing and desperation that characterize the teenage years.

I hope my review gives a sense of what I love about this show. What was harder to communicate was the ways the show itself (not this particular production) falls short. Specifically, I think the end is a cop-out and a bit dissonant, something I felt more strongly after seeing the Broadway version than the VA Rep version. You have Melchior who is almost revered because of his atheism (among other things) who is saved by mystical, other-worldly spiritual communication. As I said to my wife, if this was Shakespeare, Melchior would have just killed himself. But that kind of downer punchline at the end of a bleak-ish show would have been pretty relentless. Still, the promise of a “Purple Summer” seems a little wimpy after the intensity of death, loss and heartbreak. Also, the portrayal of the parents is always a bit problematic. The idea is brilliant – being played by the same actors, all the adults come across as nearly interchangeable obstacles to happiness. But as written, the roles vacillate wildly from fairly realistic to cartoonish, getting in the way of that universal adult idea. (The straight play version I saw had all of the adults in masks, which was a great way to enhance this idea.)

Zeroing in more specifically on the VA Rep production, I think Liz Jewett’s review at Richmond.com and mine make a good pair. I think Ms. Jewett and I both saw Chase Kniffen’s steady hand clearly in control at the helm of this production. Mr. Kniffen brings a great sense of stagecraft to the show in smashingly creative ways. I loved the monster projection screen, I liked the swings, I liked Starrene Foster’s choreography apparent in the movements of the players across the stage. As much as I liked the production, I also felt that the whole enterprise could have benefitted from a little more freewheeling fun and/or in-your-face intensity. I’m not sure if the actors were a little tired on opening night or a little reluctant to go bonkers with the older opening night patrons. But the one thing I remember clearly from the Broadway production was the sense of kids physically and emotionally busting free from the restrictive bounds of their lives. There was a lot of that kind of energy visible in the video projections; I wanted to see and hear more of that energy on stage.

I think Ms. Jewett wanted more of that kind of energy from Ms. Thibodeau and Mr. Houser in the lead roles. Personally, I think the two of them play out the dance of their courtship perfectly. In particular, I think the minute of masochism that punctuates their affair happens fairly organically versus when I saw it on Broadway and the violence truly seemed to come out of nowhere. Overall, the cast was exceptional and the ensemble numbers were great. Daniel Cimo and Owen Wingo had a great “attraction of opposites” chemistry. My companion for the evening remarked on Josh Marin several times, while I was impressed with Richard Chan. Both of us were sad not to see and hear more from Allison Gilman and Lucy Dacus stuck over in the onstage seats.

I didn’t have space to comment on Sarah Grady’s costuming in my review because my feelings were a bit mixed. I was told after the show that the ensemble members mixed into the onstage seating were each wearing outfits from a different decade. I wondered whether some of that sensibility figured into the costumes for the rest of the cast because there was such a disparity between pieces like Ilse’s jumpsuit. Wendla’s airy white outfit and Martha’s buttoned-down look. I liked a lot of what I saw but wondered about some other things I saw. As always, Sandy Dacus’s band did a great job, though I wanted more of a rock concert feel to the proceedings, as I alluded to in my review. I expect that may not be a universal feeling and that musical theater goers in general might think the rocking score already pushes things far enough without having someone demolishing the drum kit or lighting a guitar on fire.

One of my favorite movies is “Thelma and Louise” and there is a similar vibe to it as “Spring Awakening.” The leads discover a new world and are free for the first time but that freedom comes at a cost. I’ve felt exhilarated at the end of “T&L” every time I’ve watched it and I feel similarly at the end of “Spring Awakening,” enough so that I’m trying to arrange my schedule to see it again. I was hoping to spend some time in the “tweet seats” during this Thursday’s performance but I couldn’t make that work, unfortunately.

A friend I talked to last weekend remarked on how Theatre IV got complaints about Peter saying “Ass” in “Peter Pan” a few years ago, and now that same company (essentially) is doing “Spring Awakening.” Wiping away mock tears, she said, “I’m so proud of Richmond.” This production does represent a step forward for the Richmond theater world and it’s remarkable in many ways that VA Rep chose this as its first show. Of course, now the challenge falls to the larger community: if we want companies to take the leap and produce hipper, edgier, more challenging work, we have to do our part and urge friends, neighbors, and strangers we meet at Martin’s to go see the show. If lack of audience causes big companies like VA Rep to reconsider shows like “Spring Awakening,” then in my view, Richmond will be like Melchior: “Totally Fucked.”

Names (CultSha Expo)

Naming something is important. I've played a part in picking 4 children's names and a last name and it's a tricky business with lots of different factors to take in account. Naming inevitably has unforeseen consequences. When the RTCC awards were created, no one involved foresaw what that acronym would prompt and now (and probably forever more) the awards are saddled with a nickname that for some is a silly joke, others is a derisive putdown, and still others just an amusing sidelight.

I expect a lot of thought and study went into choosing Virginia Repertory Theatre as the new moniker for the Barksdale / Theatre IV mashup. I've heard discussion among some people who are confused, others who are disapointed, and still others who like the crisp, conciseness of "Virginia Rep."

Which is all lead-up to a quick discussion of the CultSha Expo. First off, everyone should go. I expect anyone reading this probably already is planning on going because your organization has a booth or a performance there. Anyone else not in that category should go because it's going to be a lot of fun and a great chance to see previews and highlights of the work that a bunch of organizations are doing.

The name, however, is confusing, particularly if you don't know the origin of it. CultureWorks is trying to create a committed group of local arts patrons, called Cultural Shareholders, which they've shortened to "CultSha" members. I think it's kind of clever but it's another one of those things that people may be confused about. Confusion shouldn't keep anyone away from the event though. Check out the line-up -- there's going to be a lot of cool things happening. Take a break from the pool and come on down!

Tempest(s)

In case you haven’t picked it up yet, this week’s Style is chock-full of theater-related stories. Most prominent is the news story talking about Richmond Shakespeare’s change of direction, switching the staging of their non-summer productions from CenterStage to St. Catherine’s. This is concurrent with the RichShakes announcement of their new partnership with St. Catherine’s but is also a reaction to ongoing issues with getting locally-produced shows up-and-running at CenterStage. I have been blissfully unaware of the specifics of these issues but I know there are folks who have grumbled about CenterStage since the beginning. I’ve never been able to tell how much of the grumbling was because of political issues and how much was actual functional issues. This article – and the clearly illustrated impact working with CenterStage seems to have on a company’s finances – makes me think there are more functional aspects to the problem than I thought.

Speaking of finances, there is also a story about Sycamore Rouge in Style as time starts to run short on their deadline to raise the needed funds to keep the company afloat. There are only so many big money patrons out there that can write the big checks so keeping the company alive seems like it is going to take dozens of us writing the small checks. Think about it.

There is a review of “Cymbeline” in Style and Richmond.com delivers the second review I’ve seen of “Spring Awakening.” I’m anxious for mine to come out next week so I can talk about the show more. In the meantime, I strongly recommend you go out and see it yourself. This is a show you’ll want to see and talk about, whether you fall into the “roll your eyes” category Ms. Jewett describes, or if you think it’s the best show ever.

The Power of Enthusiasm

I wasn’t in Chicago this past weekend. Several of my colleagues were there for the annual American Theatre Critics Association conference. Honestly, I hadn’t even thought about it until some Facebook pals started posting. Now I’m feeling a little retroactive melancholy. Not only would I have loved to be there to see all of the shows, but I haven’t been back to Chicago, the city of my birth, for more than a decade. I wonder if I would even recognize the place.

I’m sure there are people who couldn’t think of anything worse than hanging out with a bunch of critics for a long weekend. I expect the image persists that such a gathering would involve a gang of persnickety humorless sad sacks looking down their noses and harrumphing about everything they see, the hecklers from the Muppets multiplied exponentially.

In an effort to dispel any such image, here is a link to the text of the keynote “Perspectives on Criticism” address, delivered by Terry Teachout, the Wall Street journal drama critic. I love this address because Teachout says crisply and clearly things I have always thought and have at times tried to state, if perhaps less expertly. Two of the highlights: “[Criticism is] about enthusiasm, and passion, and love—and if it’s not about those things, then it’s no good.”

Furthermore, “The awful truth is that I don’t really like writing bad reviews. I can’t understand critics who live to write stinkers. Why on earth would anybody want to sit through a bad performance, just so he can pan it? I have better things to do with my evenings.”

I regularly hear from or about people who think critics serve no purpose, particularly in this age when the Internet and social media can give just about anybody the reach and impact of a “professional” critic. And even so, almost every production I’ve ever seen uses pull quotes from critics in their advertising. There must be some reason for this.

Beyond the advertising benefit, there are plenty of other good things that spring from criticism, at least 6 of them outlined in this piece from the Guardian. The people who go to conferences like ATCA's take the job of criticism seriously; it's not like a lavish corporate junket or anything. With fewer full-time critics on publication staffs than ever before, most attendees pay their own way (I did when I went). Sure, it’s a great excuse to see a bevy of shows and commiserate with others in the critical trenches. But it’s also an opportunity to reflect on the importance of the job and to gain insight into becoming better at it. It’s been a decade since I went to an ATCA conference. Methinks I need to go again.

Yellowman

What I liked most about “Yellowman” is that it’s a show that actually delves into an issue, gets to the meat of it, and dramatizes the very real effects of it on people’s lives. The issue for this play is racism, specifically racism within the African-American community where darker skinned blacks are considered brutish and ugly while lighter-skinned “high yellow” blacks are thought to be more attractive but also privileged and lazy.

I’ve felt some frustration with recent shows that have a racial element but don’t really go anywhere with it. In “Scorched Earth,” a mixed-race baby initiates the play’s action but race is just a hook to get your attention and ends up tangential to the rest of the “who-done-it” plot. I felt manipulated by “Earth.” In one of the first scenes the local plant foreman talks about a diversity committee but real issues involving race are never explored. Worst of all, in a show that uses race as its hook, none of the African-American characters end up being essential to the denouement. Even Elijah, the character at the heart of the plot, ultimately ends up being mute and peripheral.

“Dessa Rose” is a musical with some hot-button issues at its core but, to its credit and detriment, race is not really one of them. Or at least, not any cohesive perspective about race. Instead, the story uses race – or more exactly, slavery – as a pivot that individuals and relationships move around. One slave owner is bad and brutal, another is clever and opportunistic. One interracial relationship is bad, another is redemptive. Ruth is kind to slaves so she is good because all of the slaves are honorable and brave. More intricate and interesting are the relationship dynamics between Dessa and Ruth, but in those dynamics, race is a simple fact, not an issue with complicated facets.

In “Yellowman,” issues of race are about as complicated as they can be. And instead of presenting anything sanctimonious or pat, the play clarifies those issues via the lens of a long-term relationship between Alma (Patricia Alli) and Eugene (KeiLyn Jones). The two of them live in a world – a southern, intrinsically racist world – where no one truly escapes the ravages of hate based on skin color. Animosity creeps into every nook and cranny of their lives so that, while race is at the foundation, the real pain comes via familial relationships, friendships that are built and destroyed, and ultimately, self-hatred that taints even passionate interludes that are supposed to be expressions of joy.

This all sounds like heavy stuff, and it is, but Dael Orlandersmith’s script keeps things moving quickly enough and creates such engaging characters that the play rarely feels bogged down. Under J. Paul Nicholas’ steady hand, the production steers clear of the morose and, particularly when hope for escape starts building late in the play, the joy of discovery is palpable. Alli and Jones are exceptional actors. In additional to creating rich and complex central characters with Alma and Eugene, both do a great job portraying Alma’s and Eugene’s parents and friends.

As I said during the talkback session after I saw the show last Friday, what makes “Yellowman” compelling is that it’s a good story. It’s a love story, it’s a story of the urban/rural dichotomy of a particular city, it’s a story about two families, it’s both a tragedy and a redemption story. Sure, it’s an African-American story but more than that, it’s an American story. Tapping into the abundant variations of experience provided by this glorious melting pot of a country, Orlandersmith creates story about how many shades of gray – or yellow – are mixed in between the black and the white, making watching this play profoundly satisfying on emotional, historical, personal, and all sorts of other levels. Perhaps most of all, it's refreshing and invigorating to see a show that is actually about something, and that is not just an entertainment that plays bait-and-switch with more serious issues.

I tried

Yoda famously said, “Try not. Do, or do not. There is no try.” As silly as most of Yoda’s twisted syntax is, this is actually an aphorism I’ve taken to heart. But sometimes resolve cannot overcome inertia when it comes to emotional affairs.

Which is all to say that I tried to care about the Tonys. Really I did. I read predictions and previews and, even though I knew I was going to miss it live, I dutifully taped it and sat down to watch from the top perhaps 80 minutes after the broadcast began. Neil Patrick Harris – loved him. Cute bit from “Book of Mormon” to start the show. Energetic dancing from “Newsies” that seemed to confirm that every exceptional male dancer in the tri-state area got cast in this show.

But the “Follies” number had me fast-forwarding; same with the “Ghost” scene. Somewhere along the line I’ve grown allergic to Matthew Broderick and I sped through a lot of the “Nice Work” number too. “Jesus Christ Superstar” is one of my favorite scores of all time but I wasn’t fond of the electric blue Judas. Even with the great low-key jokes (Mustafa headdress!), I lost interest quickly and finally chose slumber versus more acceptance speeches.

I’ve still got the whole show on the DVR. And I’ll probably get back to it to watch the details of the “Once” sweep and watch NPH’s closing number – always a highlight. But the problem is that I didn’t see any of the shows in contention. “Once” opened 3 months ago, “Clybourne Park” less than 2. Even when I advocated a trip to “JCS,” my family was not interested. Besides the somewhat prurient cross-media interests – both Amanda Seyfried and Hugh Jackman from the “Les Mis” movie were there! wouldn’t it be interesting if Andrew Garfield won right before “Spiderman” opens? – I didn’t have an investment in anything going on.

Sorry to be a Tonys party-pooper. I think I need to arrange my life better so next year I can go to the Triangle Players’ Tonys party so that, even if I don’t care about the show, I can enjoy the company and the ambiance.

Can anyone tell me if I missed anything truly spectacular so I can fast-forward directly to it?

Also, Ms. Lewis at the T-D didn't seem totally enthralled with "Cymbeline," which opened this past weekend. Did you see it and what did you think? Beyond this one review, a more important development for RichShakes will probably be this new partnership with St. Catherine's, a good strategy to ensure long-term strength for the company IMHO.

Live Art Moments

Be sure to check out this week’s Style that is chock full o’ stories by my critical compatriot Rich Griset. He talks about the Virginia Rep announcement, quotes Scott Wichmann in a piece about Seal Team workouts, and reviews Henley Street’s “Yellowman.” You’ll see in the “Yellowman” review that I’ll be one of the panel members for the “Yellowman” talk-back this Friday. So come on out and talk back to me!

As mentioned yesterday, here is a quick listing of some of my thoughts about the Live Art concert event on Sunday. Please feel free to add your own highlights in the comments.

I was surprised and delighted by Jason Mraz’s humility and accessibility as a performer. He let himself be fussed at by one mime and then upstaged by another when raising the curtain. Even when the spotlight was on him, he didn’t just bask, he interacted with his piano player and the performers around him. He even lent his bare feet to the instant art of Dancing Feet. If there is a word that means the opposite of prima donna, it is Jason Mraz.

I don’t know whose idea it was to tie everything together with the mimes but it was pretty brilliant. And from the stalwart Xavier Dobbins to the bossy Annie Hulcher to the antic T’Arah Craig and Brendan Kennedy they were a great troupe and an entertaining sidelight all their own.

I loved Samson Trinh’s energy and the voices of Allyson Mills Steele and Terri Simpson. The Upper East Side Big Band provided a sonic foundation for almost everything that occurred and it was as rock-solid as you could ask for.

How can you not be impressed by Susan Greenbaum’s voice? I had the pleasure of chatting briefly with Anne Holton after the show and she remarked how she couldn’t believe Susan doesn’t have a bigger national reputation and following. I couldn’t agree more.

Catherine Dudley was leading the students doing sign language on stage throughout the concert. Even if you aren’t deaf, Ms. Dudley’s signage is just a joy to watch. She’s not just an interpreter; she’s a full-fledged performer herself.

Throughout the concert, I was repeatedly struck by the way so many of the professionals involved in the project seemed to glow with an inner light, people like Willie Hinton, Danae Carter, Josh Small, Jenna McClintock, and many others. I don’t think there is any way you could fake the looks of pride, joy, and jubilation that were plain on their faces.

I enjoyed the way Steve Bassett interacted with the Dreamer Theater performers and the way the crowd enthusiastically responded to the duets with each of the “guest performers.”

Though it ultimately went on a little long for my tastes, the Human Story improv dance contained amazing moments of discovery and interaction, making it among the most powerful pieces of the night. What a clear example of how movement and music – without any spoken words whatsoever – can communicate a whole universe of meaning.

I never got any sense of condescension toward any of the performers, regardless of their abilities. The event was an object lesson in how, given the right support and preparation, differently-abled people can do amazing things. One of my favorite performers was Claire Foster who took part in the impromptu painting in response to Susan Greenbaum’s first song, was a prominent dancer in a couple of pieces, and was the signing interpreter for a piece near the end. She shone with such confidence and even a bit of swagger whenever she was on stage. Another performer I noticed was Shishir Ingale. Though his affect was relatively flat, when he danced, he expressed as much buoyancy and happiness as anyone else on stage.

One of the most admirable aspects of the event: Erin Thomas-Foley – who could have asked for a moment in the spotlight and by all rights deserved one – stayed in the background during the entire performance. She may insist that she was just one cog in a gigantic machine but it’s clear she was actually the motor that made it run. The lack of any kind of official backslapping about the importance of the project and the inclusion of just the slightest ask for support showed great restraint and class, and kept the focus on what was transpiring on stage.

I’m sure there are dozens of people that deserve recognition for making “Live Art” happen but one last kudo to offer: while Ms. Thomas-Foley was obviously the principle force in getting the project going, the SPARC staffer who was officially tasked with managing it was Courtney Edwards. As she was someone who also didn’t get any stage time or official call-outs, I’d like to offer congratulations to her as one of the event's unsung heroes. Well done!

The show ended with a medley of songs celebrating Virginia, which was appropriate, but I’d say that even more specifically, this event was a celebration of Richmond and the great arts community here. Congratulations to SPARC for making this happen but also congratulations to everyone here who helps foster Richmond’s artistic livelihood. “Live Art” was a victory for every single person involved but also for all of us.

Art, Auditions, Annie, etc.

The “Live Art” concert was Sunday and, if you were there, I don’t have to tell you how incredible it was. And if you weren’t, well, I’m not sure anything I can write will capture the spirit and beauty of the event. It was the kind of show where you are smiling pretty much the whole way through, at least when you aren’t laughing out loud or on the verge of tears. The event brought more than 1,200 people down to the Carpenter Theater and shone a great big spotlight on all of the best aspects of the Richmond arts scene: the willingness of artists to experiment; the generosity that compels people to support each other and collaborate across different organizations; and the abundant delight local artists take in creating art and inspiring young people to push their limits.

I will be compiling a list of some of my favorite moments from the show because I know I’ve really appreciated when Jackie Jones put together such a list for the RTCC awards. But I need my Live Arts program for that and it’s currently lost somewhere in a stack of mail. In the meantime, there are plenty of other happenings to talk about.

For instance, have you heard that local writer and producer Jerry Williams will be stepping into the director’s chair for the first Richmond Triangle Players show next season? TVJerry has directed scores of videos but this will be his first stage play since his days at VCU when he directed a slew of shows for the Barn Dinner Theatre. I had the pleasure of being schooled by Mr. Williams nearly 20 years ago or so when I tried my hand at writing some videos for my then employer, the Dept. of Environmental Quality. He ever so gently – ok, not so gently – slapped that hand because the first draft script I wrote was so ridiculously bloated and impractical. Working as a critic for WTVR-6 for 15 years, he established himself as an uncompromising voice providing straight-forward views on movies and plays (something he continues at tvjerry.com). His connections in town run deep so it’ll be fun to see who he brings to the stage for “Regrets Only…” and what he does with them. (Auditions this weekend!)

As I’m sure you’ve seen on Facebook or elsewhere, another local actor has hit the big time. One of the highlights of the Theatre IV production of “Irving Berlin’s White Christmas” last season was the performance of young Taylor Richardson. The talented Richmond native has been cast in the Broadway revival of “Annie,” and it’s a kick to see her bio being listed in this run-down of the orphans. Richmond may truly be developing into a launching point to bigger things.

And while the pro theaters in town are readying their summer productions, you might take consider using your spare time next Monday or Tuesday to check out an evening of entertainment offered by a fledgling local effort. A group of former SPARC students have created the Full Circle Theatre Project and they are putting on a show at the SPARC theater. There’s a great slate of talent lined-up. I’m planning on going just to see if the title “Unplugged” is a riff on being “unplugged” from SPARC or if the performances are going to be all acoustic. Color me intrigued!

Pieces and Parts

I’m a little melancholy these days so I apologize in advance for any world-weariness that might seep onto these virtual pages. Memorial Day hit particularly close to my late dad’s birthday this year and I also was recently reminded of a co-worker who died 6 years ago this coming Friday. One of this co-worker’s verbal tics was to include the phrase “pieces and parts” into almost every description of a project. She was kind of a legend around the Sauer’s plant, having worked there some 30-odd years. May all of those we remembered this past weekend rest in peace.

Newspaper and magazine articles are usually referred to as “pieces,” and one of mine was in this past week’s Style. It’s a preview about “Live Art,” a somewhat generic name for what is a truly transformational project. I’m glad that Style devoted a full page to the piece but I’m also a little disappointed. They didn’t tease the article on the front cover and the picture that ran with the piece doesn’t really capture the expanse and vitality of the effort. The picture is also just a bit dark which is unfortunate for a project that is so full of light. Still, I’m glad the piece ran and I don’t know if any picture could really have given a sense of what magic will unfold this Sunday evening. I have been very excited to see several of the other local media outlets have been talking up the big concert. It should be a very cool evening.

The Style website also features a review of "The Musical of Musicals" that didn't fit in print and a preview of the Tony awards that seems to have been written by the former Richmond Ballet managing director, Keith Martin. Style loves us theater goers, really it does! (And since sarcasm and the lack of it don't always come across in print, I'm NOT being sarcastic. The Style editors really are pretty great about squeezing theater coverage into their ever-decreasing pages.)

Part 2 of the “Spring Awakening” rehearsal video diary was posted yesterday. In it, parts of a couple of songs from the show are heard. There is also plenty of energetic and goofy footage of the cast frolicking and lip-syncing. What comes across most clearly is that these are people having a great time working together. If even a small slice of that energy comes across on stage, this is going to be a hell of a show.

“Catfish Moon” and “The Musical of Musicals” close this weekend – you can see them both and still go to “Live Art” on Sunday! “Dessa Rose” was scheduled to close but was extended for another week. Clearly this show has found its audience, always a good indicator of the power of strong work of mouth.

And in case news of this slipped past in the midst of the other media clutter, RTP and the Firehouse are collaborating on a reading of “8,” the show about California’s Prop 8 legal battle that was famously read by a slew of A-list celebs in LA earlier this spring (a great series of clips from the Broadway reading are posted on the Firehouse site). The Richmond A-list has stepped up to fill the parts in the show, including Gordon Bass, David Bridgewater, Katie McCall, Melissa Johnston Price, Adrian Rieder, Irene Ziegler and more. Leave a space on your social calendar for this one, set to run June 13 and 14.

Video Bonanza

Giving people a taste, generating buzz, whetting appetites: it’s a strategy as old as the ages. It’s popular because it works. As a regular patron at Once Upon a Vine’s Friday taste-testings, I know from personal experience. I taste a beer, I like a beer, I buy a beer. Simple capitalistic magic.

There has been a little outpouring lately of great video related to local productions. You can see a trailer for “Dessa Rose” that shows you that the Firehouse has transformed it’s sometimes cramped stage into an expansive space for this expansive show. Not to mention giving you a taste of the rousing music that powers the show.

Virginia Rep has put out what I hope is just the first of a long line of promotional bits for “Spring Awakening,” highlighting the kick-in-the-pants song “The Bitch of Living” and interview snippets with some of the key cast members. Well produced and fun, this piece already has my wife (a true “Awakening” fanatic) practically peeing in her pants.

And SPARC’s “Live Art” project has been putting out a regular stream of video pieces on their blog, also incredibly well-produced and snappy and giving people a nice slice of what to expect. For a project where people won’t necessarily have a clear idea of what they’ll see the night of the performance, this is a great way to get potential patrons to shake loose that $35 for a ticket.

If I was someone working on “Rocky Horror” this summer, I’d take note. Nothing like a little “Time Warp” promo to get people excited for that one.

Discoveries

It's been a week full of discoveries for me, these last 7 days or so. I discovered -- thanks to an alert by Phil Crosby at Triangle Players -- that this blog was offline for a half-day or so because of attempted hacking. I think that's somewhat comical -- was someone looking for a venue to post some malicious theater gossip?

I discovered just how amazing the "Live Art" project that SPARC is organizing is going to be. Or more specifically, I got a more complete sense of what it's going to be and it is indeed going to be an extravaganza. Erin Thomas-Foley has brought together an incredible fleet of people, all of whom seem to have a special glow emanating from them, and they are working with scores of kids whose earnest dedication is a real inspiration. Get tickets now.

I also had the chance to discover what people have been talking about as far as "Scorched Earth" goes -- both good and bad -- as it closed down its world premiere run at (what was) the Barksdale at Willow Lawn. I'll write more about that in the next day or so.

Style came out with its “Best Of 2012” issue, though good luck discovering a copy at a local newsstand (I hear there are some out there but haven’t yet seen proof). Among the theater-related entries are: Best Local Actor, Best Local Actress, Best Local Comedy Group, and Best Local Theatre Company. A couple of “wild cards” I threw in were Actress Most Likely to Suffer Psychological Whiplash (there were a few options for this one) and Best Under the Radar Theatre Company.

Of course the big discovery -- the big unveiling really -- was the introduction of Virginia Repertory to the world. It was a move that had been rumored to be happening for years and Mr. Miller actually had a chat with a group of critics in town more than a year ago where he laid out the rough plans for this move. As such, my excitement about the reality of it was somewhat muted until I happened to drive by the November Theatre yesterday and saw the new marquee. There is something about seeing the name big and bold that really makes an impact.

Of course, my excitement also comes with some melancholy. Theatre IV, in particular, is a name woven into the fabric of many of my memories. I met some of my first friends in Richmond working a Theatre IV show. I met my wife during one of their productions and one of my sons and both of my daughters have spent time working on Theatre IV shows. It’ll be a while before Virginia Rep rolls off my tongue as easily as Theatre IV or Barksdale did. But, unlike a huge swath of Richmonders, I’m not a stasis-obsessive – I like change. And this is a big, bold change that bodes well for the future of local theater, I think. So welcome, VA Rep! I can’t wait to see what fun you have in store for all of us.

Awakening Indeed

Given the generally sparkling reviews for “Dessa Rose,” I was wondering whether folks would rise up in indignation after my not-always-positive ramblings about the musical a couple of days ago. In case anyone is holding back, I’m more than open to well-reasoned or at least articulate rebuttals to the things I said about the show. If I’ve missed points other people got, I’d love to be enlightened.

Kind of suddenly – or at least suddenly for me since I’ve been kind of out of the loop for a few weeks – spring is full of music in Richmond. At the beginning of 2012, we had “Patsy Cline” and hardly anything else musical-wise (“Stinky Cheese” notwithstanding). But now, “Church Basement Ladies” is still hanging on and three musicals opened over the course of the past 3 weeks. And Facebook is already rumbling about the beginning of rehearsals for “Spring Awakening” and talk of “Rocky Horror” is starting. And there’s this little thing SPARC is doing called “Live Art” – OK, I jest; it’s going to be huge – that’ll have its day in the sun in a couple of weeks. Tunes are flowing freely now from our stages – it’s a good time to see, and listen to, a show.

A few weeks ago, the eloquent John Porter talked about themes running through local productions. Personally, I’ve been noticing an interesting willingness so far this year for local companies to jump into the race discussion. This will move to a new level with Henley Street’s “Yellowman,” opening next week, but we’ve already had the subject put out there for consideration in “You Don’t Know Me,” “Scorched Earth,” “Dessa Rose,” and maybe even a little bit in “Topdog/Underdog.” I find this very intriguing. It’s been my thinking for years that Richmond could be a particularly potent location to bring the American conversation about race to new places. We have a diverse community in here – there are significant African-American, Latino, and Asian-American enclaves – but, in my own probably very limited view, there isn’t a whole lot of intermingling between these populations. Any time race is brought to the fore, certainly the potential for conflict and a rise in tension is possible. But particularly when art is the medium, I think the potential for insight and even revelation is great.

I’ll look forward to hearing what people say about “Yellowman.” And maybe, someday, I’ll be reading something in some national publication about the boldness of a Richmond artistic community willing to plumb the depths of Richmond’s tortured legacy when it comes to race.