VSC and NSU Theatre Company Present Virtual Performance of The Parchman Hour: Songs & Stories of the ’61 Freedom Riders

Information courtesy of Virginia Stage Company.

Virginia Stage Company launches a virtual presentation of The Parchman Hour: Songs and Stories of the ’61 Freedom Riders, a collaboration with Norfolk State University Theatre Company.  After its triumphant run as part of Virginia Stage Company’s 39th Season, The Parchman Hour journeys through the Deep South with the pioneers who fought discrimination and paved the way for the future. Written and directed by Mike Wiley, this play is adapted from real life accounts of the 1961 Freedom Rides and shares these struggles through music that ranges from spirituals to Bob Dylan.  This production will include recorded Zoom performances from the original VSC cast, as well as archival production footage from the 2017 production.

With history deeply rooted in racial tension, The Parchman Hour is produced in Norfolk, Virginia at a critical time. “This play is about a time in our recent past when men and women of all backgrounds came together to fight racial injustice,” says Tom Quaintance, Producing Artistic Director of Virginia Stage Company. “It was a country divided, with widespread protests gripping the nation. It is a play that speaks directly to our time’” Through song and storytelling, The Parchman Hour shadows our country’s past while sparking conversation about the present.

The Parchman Hour has streaming performances starting Thursday, October 8th through Saturday, October 10th at 7:30pm and a Sunday matinee on October 11th at 2pm.  Tickets are $15 per household and can be purchased online.

This play contains racially charged language and scenes of violence and is recommended for ages 13 and older.

A Community Conversation will kick off the week of performances as part of Virginia Stage Company’s Wells-ness Wednesday series On October 7th at 7:30pm, Barbara Hamm Lee will lead a virtual panel: Theatre as Society’s Mirror. Freedom Rider Joan Trumpauer Mulholland joins playwright Mike Wiley, Norfolk Chief of Police Larry Boone and panelists engaged in contemporary racial justice protests to discuss the resonance The Parchman Hour has to our country today. This panel discussion is free but registration is required.  To learn more about this event and other Wells-ness Wednesday series, visit: https://www.vastage.org/virtual

Virginia Stage Company is southeastern Virginia’s leading theatre destination, normally serving an audience of over 58,000 annually both at the Wells Theatre and throughout the community. Since the shutdown in March, 2020, the Stage Company has pivoted to online content and has shared over 7,000 hours of free virtual content that has served more than 13,000 participants across the country.  Virginia Stage Company’s mission is to “enrich, educate, and entertain the region by creating and producing theatrical art of the highest quality.”

Mike Wiley headshot

Mike Wiley (Writer and Director) is a North Carolina-based actor & playwright whose compelling works of documentary theatre yield powerful journeys through milestones and turning points of a shared American history. With a remarkable ability to inspire dialog, his creative vision and talents are broad and magnetic, leading audiences and communities to begin to peel layers and barriers to true “community.” When a curtain comes down on a Mike Wiley performance, the experience has far from “ended.” It’s more likely that light may have seeped through, that a stubborn door may have just nudged open.

His ensemble and solo-actor plays include The Parchman HourDownrange: Stories From The HomefrontDar He: The Story Of Emmett Till, the theatrical adaptation of Tim Tyson’s Blood Done Sign My Name, the epic Leaving EdenBreach Of Peace and more. The film adaptation of Wiley’s Dar He, in which he portrays 30+ roles, received more than 40 major film festival awards around the globe. The Parchman Hour was selected as the closing event of the official 50th year anniversary commemoration of the Freedom Riders in Jackson, MS and his plays have been selected for showcase by juries at a majority of performing arts conferences across America. His ensemble plays have been produced by major regional theatres in the US including Guthrie Theatre in Minneapolis, Hatiloo Theatre in Memphis, Playmakers Repertory Company in Chapel Hill, NC, Virginia Stage in Norfolk and Cape Fear Regional Theatre in Fayetteville, NC.

Wiley has more than fifteen years’ credits in documentary theatre for young audiences plus film, television and regional theatre. An Upward Bound alum and Trio Achiever Award recipient, he is an M.F.A. graduate of the University of North Carolina in Chapel Hill and is a former Lehman-Brady Visiting Joint Chair Professor at Duke University’s Center for Documentary Studies. He has conducted numerous educational residencies funded through grant programs of the North Carolina Arts Council and has performed across the US and in Canada. He is a 2017 recipient of the University of North Carolina’s Distinguished Alumni Award. His most recent large-scale ensemble-cast plays are Leaving Eden and Peace Of Clay (co-written with Howard Craft.) Wiley’s overriding goal is expanding cultural awareness for audiences of all ages through dynamic portrayals based on pivotal moments in African American history and, in doing so, helping to unveil a richer picture of the total American experience.  

Cast members include: 

Benjamin Curns^*Bill Savanoe/Forsyth
Jonathan Cooper^Freddie
Samantha Fabiani^Joan Mulholland/Mrs. Forsyth
Daniel S. Hines^*Stephen Green/Elwood
Teddy Holmes^James Farmer
Christopher Lindsay^Stokely Carmichael
Zonya Love*Lucretia Collins/Pearl Green
Phillip Martin^Deputy Tyson/Bull Connor
Reed Miller^Janie
Jeremy Morris^John Lewis
Meredith Noël^Mimi Real
Isaiah Roper^Hank Thomas
Anthony Mark Stockard^*Pee Wee
Wallis Quaintance^Carol Silver
Ja’Keetrius Woods^Pauline Knight
*Members of Actors’ Equity Association the Union of Professional Actors and Stage Managers in the United States
^2017 VSC production cast member

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The Art of Interacting Online

Virginia Stage Company

Words by Louise Casini Hollis.
Images courtesy of Virginia Stage Company

It may appear that the world has shut down, but the teaching artists of Hampton Roads have taken this opportunity to flourish online with a multitude of opportunities for students to stay connected during the pandemic. In an ongoing series, Spotlight HR is talking to artists and arts organizations around Hampton Roads about their experiences in engaging with students online.

Virginia Stage Company has been a leader in on-line programming for the Hampton Roads community during the pandemic. Through their virtual events ranging from monologue workshops and industry seminars, to Ryan Clemmens’ performance of Meet Mark Twain! via Facebook Live, VSC has consistently helped the theatre community to thrive during quarantine.  

Patrick Mullins, Director of Public Works at Virginia Stage Company believes the Hampton Roads theatre community’s resilience is due to its, “Can-do attitude. I watch folks just step up and make things happen you know, whether it’s an audacious production, or audacious style – people aren’t afraid.  I think that’s characteristic of this area in general is that we have kind of a resilient can-do attitude that people kind of aren’t afraid to take off a big bite of something. I’m excited to see what happens as all of those things unite into something bigger.”

Making something bigger is what Patrick does best. He was the driving force behind the Midsummer Fantasy Festival which was produced in conjunction with Fest Events. 

A shot looking down on a large crowd in Town POint PArk one of the evenings of the Midsummer Festival.

These immersive theatrical productions, such as Moon Take Thy Flight an adaptation of A Mid-Summer Night’s Dream and The Tempest (both presented in Town Point park); and Miss Kitty’s House of Cosmic Love at The Hermitage Museum and Gardens collaborated with the Hampton Roads arts community to bring actors, musicians and visual artists together. Part of Patrick’s drive comes out of his background as an educator. “To me directing and teaching are a lot alike because really it’s about collaboration,” shares Patrick, “And it’s about two-way learning. I have some skills and some tools that I’ve acquired and other people have their own experiences that they’re experts in and so we come together to make something bigger than us.”

As a child, Patrick got involved in theatre though his church and toured with a Christian drama group playing notable biblical characters such as David the King and the apostle Paul. He went on to Pensacola Christian College to major in education with an emphasis in theatre and music and a vocal minor. He then taught high school for 7 years in the Atlanta area. His love of learning led him to an internship at the Alliance Theatre in Atlanta before earning his MFA in Acting from the University of South Carolina. “But I was directing in the background of all that, and so I made most of my career out of being a director and teacher.”

Patrick’s current focus is to bring summer educational opportunities to the students of Hampton Roads. He is collaborating with Ryan Clemmens, VSC’s Lead Theatre Artist, and Laura Agudelo, Grassfield High School’s teacher of the year in 2018 to create their Virtual Summer Camp.  The VSC team decided to move their summer programs on-line after consulting parents about the best practices to deliver courses during the pandemic. Out of these conversations came course offerings including Virtual Stage Summer Theatre Camp, ‘The Show Must Go Online!’ Theatre Camp, Professional Actor’s Bootcamp and ‘On Camera’ Camp: Writing and Performing for the Camera. They will also hold a 6 week course for adults and are creating some workshops for students who cannot commit to a week of classes or would just like to hone a particular skill.

The stage company's house, empty with the curtain down.

“I’m really proud of the curriculum we’ve put together and the way it kind of oscillates and takes a four hour block every day and really uses it well and divides students up,” notes Patrick. “No camp is larger than 12 students and so there are break-out sessions with 6 students and so everybody gets individualized time – maybe more so than they would in a real time camp with 25 or 30  kids.”  

Connecting on-line is nothing new for Patrick. “I’m fairly techie,” he confides, “I kind of came of age with digital communication so that’s not foreign to me.” This comfort level served him well when, as an Acting Instructor at ODU, his classes were suddenly taken on-line due to COVID-19. “The acting class I was teaching over there this semester happened to be Acting I, and so I did one more big assignment and very much simplified that flow,” Patrick shared. “In that particular situation, it’s less about practices and more about dealing with a diverse set of student needs. There was a lot of just checking in with folks and meeting people where they were,” he continued. “There is a sacredness to a digital interaction,” observed Patrick. “When you’re sitting in your own home and you’re in this close-up conversation with someone else in their own home there’s a built-in intimacy there. And I have found that in working with students of all ages that some folks that maybe brought a physical stiffness or plasticity to what they did were suddenly more physically relaxed when performing in their own home…That being said, the monologues I got from them were some of the best – I was really impressed with how they just kind of gangbusters went after it and took ownership of it. I had worked with those students for a little more than half a semester in a classroom, so to see them be more comfortable in their own homes and take bigger physical and vocal risks than they normally did in the classroom was really fascinating.”

Patrick recently explored the digital production medium when he directed MK and Olivier by playwright Alexis Roblan, broadcast via Zoom for Exquisite Corpse, a Brooklyn based theatre company as a part of their “Site” Specific Festival. “There were two actors who are quarantined together, and while they had scenes together, a lot of her dialogue was directly to the camera. In working on that, there’s a little bit of her registering the audience but that is about looking at little squares in the Zoom screen and or the text chat that is flying by which is a whole different level of technical – that’s not the way we teach actors to register feedback,” explained Patrick. 

Patrick went on to explain how directing and teaching on-line are different than when you are sharing the same space with actors, in that the, “exchange from the actor is different because the things you’re used to relying on in real time – people’s breath, people’s chuckle, their laugh, their whatever – is not [physically] there.  There’s a kinesthetic difference. So how do we take that energy and that control of our own authentic experience and manipulation of our experience and then how do we help folks take that and then transfer it to real space? I think these are two ways of working on the same problem. Or the same challenge.  And that’s what we do in an acting class anyway, right? We work at it from an intellectual point of view, from a psychological analysis point of view, from a physical point of view, from a vocal point of view, from an impulse point of view and then we marry all those things together. And I really just think this digital space gives us one more way of attacking this conversation.”

A photo of the Around the World in 80 Days set from the Virginia Stage Company. Lots of clock pieces, a blue false proscenium with a gold curtain.
Image pulled from Facebook, Easter Egg- your editor was the Assistant Technical Director for this set, from VSC’s performance of Around the World in 80 Days.

Patrick and his team are eager to begin exploring this conversation with their summer camp students and help them deepen their digital savvy. “A lot of our young people are already acting out and writing and scripting their own Lego stop-action movies and all sorts of things,” observes Patrick. By meeting students where they are skill wise and on-line, Patrick believes, “this is teaching us to be better partners and friends to those we already serve, and giving us the opportunity to leverage technology in reaching folks we didn’t before. I’m hopeful that our new realities in a post-quarantine world will allow us to have even more specific impact in the lives of students as they build not just their theatre skills, but their abilities to be empathetic humans working toward a better world.”  

 “All people have a right to theatre,” is Patrick’s mantra. Fortunately he and the staff of Virginia Stage Company are able to fulfill this vision by making theatre accessible to the Hampton Roads community through virtual means.

Virtual Summer Camp
Virginia Stage Company
Virtual Stage – Ongoing classes and special workshop events

Mark Twain and the Future of Theatre – Virginia Stage Company

Words by Moriah Joy.
Image courtesy of Virginia Stage Company.

While social distancing may feel isolating, technology is being utilized like never before in order to keep our sense of community and human connection strong. This is especially true in the arts community as artists are finding new ways to come together and continue to tell stories. Platforms like Facebook Live, Google Chats, Zoom, and many more are creating spaces for artists to connect with their audiences and foster creative spaces. Ryan Clemens, the Lead Resident Theatre Artist at Virginia Stage Company, shared his thoughts on overcoming these challenges both in workshops and performing. 

This past Wednesday, Ryan hosted a monologue workshop to help local actors with auditions and expressed the unique experience of webcam classrooms. 

“It‘s interesting because… as artists it’s all about the life and the connection between the performer or teacher and the audience or students and the liveness that you experience with the online situation is tentative and delayed. It’s an artifice of sorts. It takes a little while to figure out the technical components as people come into the chatroom and… establish how things work. It takes a special kind of patience when there’s a lag or… someone’s microphone turns them into a robot voice. … Also the idea of communicating to one another without really truly being able to look at one another. In hosting a monologue workshop, I asked the students to look at their camera and imagine it as the face of the person their character is speaking to. So it works… and I’m pleased to say that that’s been a great lesson and a great discovery that we’ve been making. It’s just, it requires a little more patience and a little more time to figure out the idea of connection in that space.”

With each online platform, there are different levels of connection that can be facilitated. While Google Chat and Zoom allow you to see your audience, there’s a limitation on how many people you can directly see at one time. With Facebook Live, the only feedback from a performer’s audience are quick scrolling comments and emojis that flash across the screen.  This creates a completely different atmosphere compared to hearing the hushed (or not so hushed) whispers, laughs, tearful sniffles, or other reactions experienced during a live performance. Ryan is also going to be performing a version of his one man show about famous family member Sam Clemens, better known as Mark Twain, as a way to maintain community engagement despite his reliance upon webcams and technology. He expressed his curiosity to see this dynamic play out with his performance.

“Because when I perform as Mark Twain though it’s all a one man show, it’s a show where it’s one person communicating with a whole audience and I need that interaction, I need to hear their response, I need to feel their energy. It’ll be a unique experience to see how Mark Twain… is learning to communicate through the medium of the webcam.”

Ryan has had to change the dynamic for his show to fit the new medium. His typical one man show performance consists of him starting out as himself and changing into different characters in front of the audience, including versions of Mark Twain throughout the course of his life. Whereas for this version, he’s changed the story so that Mark Twain has been staying with Ryan Clemens and his wife and telling different stories. 

 Ryan explained that since he will not be performing on a stage, he has established his own setup to create a relaxed atmosphere for his performance. Since he has been performing the show for over a decade, he has collected enough memorabilia to act as the background.

“….books and photographs and souvenirs from different shows and gifts that people have given me…I’ve got all kinds of jumping frogs and Mark Twain dolls and I’ve got my rocking chair in that corner [where I’ll be performing.]”

Patrick Mullins, the head of the Public Works program, is also working with Ryan to make sure that the performance is accessible to many members of the community. 

“[Patrick]’s been working feverishly to figure out things like how to broadcast with captions for members of our audience who might be deaf or hearing impaired…It’s a whole different kind of technical job too.”

With having to get creative and find new avenues for artistic outlets, Ryan is still hopeful that while this may impact theatre temporarily, in offering time for people to create, the overall dynamic and the way that we view theatre will not change.

“I think the reason that theatre continues and the reason that we are still drawn to visit actors who are doing their work on the stage is because [of] that essential liveness and connection that film cannot provide and other mediums like the internet cannot provide. To be in the same space as a performer and hear those words and breathe that same air and make that real tangible connection is at the [core] of theatre. Since there’s nothing that can replace that I think we’ll always find that people are drawn together and tell stories in the same space. Hopefully there will come a time soon… where we will be able to get together again in our theatre spaces… There’s perhaps inspiration to be found at this time but I think more than that it’s an opportunity to practice patience and to reflect upon what’s important to us as people and as individuals.”

Ryan has been working with Virginia Stage Company for over ten years and has a BA in Theatre from Western Washington University and a MFA in Acting from Regent University.

Tune in Sunday, March 29th at 2pm to watch Meet Mark Twain: Live on Facebook Live, no registration is required. Ryan will also be hosting a monologue workshop for anyone 18 and older, registration is required.

For more information about future workshops and performances with Virginia Stage Company please visit their web page as they are updating their information daily.

Virtual Theater Offerings: Virginia Stage Company

Words by Moriah Joy.
Image courtesy of Virginia Stage Company.

Patrick Mullins currently works as the Director of Public Works at Virginia Stage Company, where he has worked for fourteen years in various positions. Virginia Stage Company is currently working on hosting various classes, workshops, and performances to help keep the theatre community alive during these difficult times. Patrick will be hosting a workshop focused on Shakespeare Friday March 27th, 2020 at 12pm. I had the pleasure of video chatting with Patrick to learn more about him and how the theatre community is evolving as we face uncertainty.

Moriah Joy: Was there a show that inspired you to pursue theatre professionally?

Patrick Mullins: Well, I grew up doing theatre in church. I think I didn’t see my first professional show until I was in high school… Les Mis. I was in the nosebleeds at the Fox Theatre in Atlanta. I came into theatre more through a community viewpoint… church community. I enjoyed it and it just kinda grew. So I don’t know if there’s a first show that inspired me except I really liked performing, my MFA is in Acting but I really found my niche in the directing world. I just like storytelling. 

MJ: Where did VSC get the idea to host online workshops, the Shakespeare workshop in particular?

PM: Well, I’m a Shakespeare nerd which is different from a Shakespeare expert. I really love it. I grew up in a really conservative world. The church that I mentioned earlier, we were only allowed to use the King James version of the bible which is that same era. I really grew up with that kind of text in a different way. As the world is ground to a halt, we’re just looking for a way to connect and serve the community. If me nerding out with some people about Shakespeare sounds like a good time then I’m all for it. I think what’s brilliant about Shakespeare is, we know that he coined a language that didn’t exist before. But Herald Bloom also credits him with the creation of the human almost. As he has some of the earliest three dimensional characters that are complicated and life is complicated and there’s a lot of people wanting it to be easy. With such beautiful language and poetry that expresses some of that. I love that- for his time period- that it was super accessible and populous. I yearn for that kind of theatre again, personally. And so there’s a little bit of hope to be found in that we can get back to that.

MJ: What do you find is the most challenging aspect of Shakespeare/ Shakespearean text?

PM: The most challenging aspect is the perceived challenge, the language. That it gets difficult or hard and it does. It’s technically not archaic but it is out of the common vernacular. But I think once you apply some rules to it, it becomes a little more transparent. And once you understand a little more the rules or the rhetoric, the language construction, it makes a little more sense. It really was the spoken word of its day in many ways. 

MJ: What has been the most valuable lesson you’ve learned while working with VSC?

PM: I guess the core thing of what I believe about theatre is when a community comes together to make something it’s always bigger than something you could make on your own. That’s true when you’re working on a project with a group of professionals or through our Public Works program. Art is more than just craft or skill it includes cultural expertise and knowledge and personal experience and when people bring their experience together with a sense of openness to make something more you can achieve really amazing, beautiful things. I think that’s the thing, no matter how much I think I know some days, I’m humbled by the fact that there’s such bigger things out there and how transformative that can be. 

 MJ: Do you have any advice for artists as we navigate these uncertain times as our platform that is dependent upon in-person interaction?

PM: I think the advice is how do we take advantage of the moment as far as sharing what we have. It’s amazing how many Broadway stars and so many more are offering masterclasses for free and how people are sharing their experiences. I think when the world is reordering itself in times like these, it’s really difficult but it’s also where opportunity lies for a lot of people who are looking for it. And a lot of great art has come out of these times and a lot of people who are already making great art have found great opportunities. If there is a positive spin, it’s that. I have a hard time talking about it because we have so many friends who have lost contracts, and jobs, and gigs because of this. I also think there’s no pressure to do anything but take care of yourself at this moment and that’s okay too. 
For more information about the upcoming productions and workshops visit VSC’s Virtual Stage Page for more information. Workshops and new material are being added daily.

The Legend of Georgia McBride – Virginia Stage Company

Words by Rebecca Edwards
Photos by Akin Ritchie

There’s always something special about attending an opening night performance. I recently had the privilege and pleasure to attend the opening for The Legend of Georgia McBride directed by Bruce Warren at the Wells Theatre.  The night was electric, and I walked away loving the performance more than I expected. 

The lobby was full of people when we walked in. Cupcakes and champagne had been set out for patrons to enjoy before the show. There were so many vibrant colors and conversations filling the night. You couldn’t help but notice the beautiful queens who had come to see themselves on the stage. Their makeup was flawless, dresses full of sparkle, and an indescribable vibe that spread through the theatre.

I was immediately drawn to this production when I saw it announced during the last season. There was something different, and I couldn’t wait to experience it. I had no clue what to expect. I soon learned that my excitement was well-justified. The Legend of Georgia McBride is the story of a man, Casey, played by Max Falls, who learns to have pride in following his dream. He is a professional Elvis Impersonator who is unexpectedly fired after learning his family is about to multiply. Circumstances change and he must do something he never imagined doing to provide for his wife and family. He discovers that all roads aren’t the same and while some may seem like they’re turning away from the final destination, they are really just helping you learn to love yourself and become the best version of you. No journey is complete without someone to share a little tough love. Miss Tracy Mills, a well-versed drag queen, is brought to life by the phenomenal actor Steve Pacek. She is the epitome of “the glass is half full” and “you make your own destiny”. Together they follow their dreams and find their pot of gold at the end of the rainbow

An image from The Legend of Georgia McBride at VSC. An Elvis impersonator performing on stage.

My first view of the stage raised the gooseflesh on my arms. The simplicity of a stand-up mic all alone on the platform in what looked like a dive bar… textured floors, gaudy glowing neon signs, a dingy table for two, and a working set of stage lights to highlight the bar stage… immediately caught my eye. David L. Arsenault’s scenic design was impressive throughout the performance. The nuance and detail was superb. The seamless transition from night club to apartment to backstage was splendid and each had the same painstaking detail. I hadn’t seen anything like it before and thoroughly enjoyed the technical aspect of the set. I itched to go on stage after the performance just to soak it all in! 

The house lights dimmed and we were transported by Sinan Refik Zafar’s sound design. His talent and editing abilities really shone through the lip-sync performances. So many cuts and choices, it was truly impressive. 

The intimate ensemble of five performers were well cast and breathed so much life and personality into these fascinating characters. Pacek created a Miss Tracy that in my mind will never be duplicated or improved. She was soft and strong at the same time. Her presence was mesmerizing. I was particularly impressed later in the show when we see Pacek out of drag and completely make-up free in an emotional scene with Falls. Shortly after he was back on stage in full makeup and flawless- the transformation was magical! Pacek’s solid performance leaves you wanting more. 

Falls brings a wholesome refinement to a naïve Casey.  I admire how he has embraced this character and made it his own. His talent shines through not only his acting, but his singing and dancing as well. 

Samaria Nixon-Fleming’s performance as Jo, Casey’s wife, was sincere. You could feel her frustration as she struggled with her husband who hasn’t quite collected his adulting card. Her love for him was obvious and appeared genuine. 

Club owner Eddie was played by Bill Rogers with gusto. I enjoyed watching his growth from failing bar owner to all-in ally embracing the changes and prosperity that build his confidence. 

Brandon Curry rounded out the cast as Rexy/Jason. He bounced effortlessly between married, straight landlord Jason and over the top queen Rexy. Her moment of truth with Casey absolutely struck a chord. There were two queens in the audience sitting near me and to watch their emotional response to everything was humbling. 

I think we as the average theatre goer don’t realize just how impactful it is to see yourself on the stage under the lights. I saw the impact for the ENTIRE audience and it was moving. 

Lighting designer Akin Ritchie created such stunning images throughout the performance. I loved each of Miss Tracy’s lip-sync scenes. There were a variety of brilliant tableaus throughout the entire production. I enjoyed RASPBERRIES the most! 

An image from The Legend of Georgia McBride at VSC. Two performers with a fan routine.

Have I mentioned the costumes?! Oh girl!!! Miss Tracy’s wardrobe was TO. DIE. FOR. Bryce Turgeon’s vision and execution was more than words can ever describe. There were distinct color schemes for each character that carried seamlessly from beginning to end. The feathers, the sparkles, the lace… impeccable! His impressive resume doesn’t give enough credit for what I saw on that stage! The details not only in the dresses, but the matching handbags and hats; the costume reveals beneath other costumes… astonishing! 

The “Costume Pit Crew” was a fun addition to the show and made the transitions fun to watch. It was a smart move to incorporate them onto the stage and into the scenes. Steven Perfidia Kirkham’s wig design was a true complement to the incredible lines and color presented through the costumes on stage.

This show is a MUST SEE for EVERYONE! It maintains a balance between campy, serious, emotional and fun through the acting of Pacek, Falls, and the entire cast. 

Tickets are limited, especially now with the modified schedule. The Virginia Stage Company has announced that out of an abundance of caution, and due to concerns about the Coronavirus (COVID-19), they have decided to cancel the final week of performances for The Legend of Georgia McBride, March 18-22. The production will officially close with the 7:30pm performance on Sunday, March 15. For these final weekend performances (March 13-15), VSC will limit the amount of seats available to keep the gathering under 300 people. 

To see more about their decision and plan of action, please contact the theatre directly through their website. Please don’t let this precaution deter you from taking the opportunity to see this magnificent show.  If you are healthy and looking to do something fun, I strongly encourage you to take a chance and enjoy The Legend of Georgia McBride.

VSC has cancelled all remaining performances. They will close the show with their matinee 3-14-20.

The Legend of Georgia McBride plays at the Virginia Stage Company through March 15, 2020.