Little Rock Look Back: Arkansas Rep’s First Show

rep-firstOn November 11, 1976, the curtain went up on the first Arkansas Repertory Theatre production.  It was the Kurt Weill-Bertolt Brecht musical The Threepenny Opera.  Rep founder Cliff Baker directed the show and played the leading role of Macheath aka Mack the Knife.

Others in the cast included local attorney Herb Rule, Jean Lind, Theresa Glasscock, Connie Gordon and Guy Couch.  Byl Harriell was the technical director and production designer while Donia Crofton was the costume designer.

The production took place in the Rep’s home which was the converted former home of Hunter United Methodist Church on the eastern edge of MacArthur Park.  (Harriell’s business Bylites is now in that location.)

Baker had previously worked at the Arkansas Arts Center theatre when it was attached to a degree granting MFA program. He had also directed shows in other parts of Arkansas.  He returned to Little Rock and founded the Arkansas Philharmonic Theatre which performed in Hillcrest.  The Arkansas Repertory Theatre was a step forward with the establishment of a professional repertory company.

The first season of the Rep would include Company, Suddenly Last Summer, Marat/Sade, and Stop the World–I Want to Get Off. Season tickets for a total of seven shows were $30.

Baker served as Artistic Director of Arkansas Rep from 1976 until 1999.  Earlier this year, he stepped in as Interim Artistic Director between the tenures of Bob Hupp and John Miller-Stephany.  He is currently preparing to direct Sister Act for the Rep in January 2017.

 

Creative Class 2016: Ruth Shepherd

cc16-shepherdThough Arts & Humanities Month ended yesterday, today is a bonus for the Creative Class 2016.  Ruth D. Shepherd has spent her career utilizing the arts and creativity to spread joy, messages of hope, and to change hearts and minds.

She is “retiring” later this year after having served as Director of Just Communities of Arkansas since 2000.  Though she will leave that post, her work in Little Rock and Arkansas will continue.

In her other careers, she has been a school teacher and worked in various non-profits.  She is probably most closely identified with the Arkansas Repertory Theatre having served as a volunteer, staff member, and Board member off and on for most of its 40 years of existence.  She has also served as Tabriz co-chair for the Arkansas Arts Center.

Ruth has graced several Little Rock stages including UALR (where she was in Hair), Community Theatre of Little Rock, the Weekend Theatre, and the Phoenix Theatre among others.  The Culture Vulture’s favorite performance was her riveting portrayal of a frustrated and frustrating matriarch in Edward Albee’s Three Tall Women.

While wrapping up her current role with JCA, she is busy putting the finishing touches on next Sunday’s Walk for CommUNITY.  It is not too late to sign up.  For more information on that and other JCA projects and programs, visit their website.

Creative Class 2016: Werner Trieschmann

cc16-treischmannWerner Trieschmann is a playwright-teacher-writer-you could keep adding hyphens and words.

His numerous plays — including Dog Star, Wrought Iron, and Killers — have been staged by Moving Arts in Los Angeles, Ensemble Studio Theatre in New York City, The New Theatre in Boston, Mobtown Players in Baltimore, and Red Octopus Productions in Little Rock. Werner was a resident at the Mount Sequoyah New Play Retreat in Fayetteville. His play Lawn Dart won first prize in the Contemporary Arts Center of New Orleans New Play Competition. He was the first playwright to receive the Porter Prize, an Arkansas literary award recognizing outstanding achievement by an Arkansas writer.

Werner’s play Disfarmer about Arkansas photographer Mike Disfarmer, was featured in Theatre Squared’s Arkansas New Play Festival. It was subsequently mounted at the first ACANSA Arts Festival.

His full-length comedy You Have to Serve Somebody is published by the Dramatic Publishing Company; several of his short plays are published by Playscripts, Inc.; his dark one-act comedy Killers is published through Original Works Publishing; and a monologue from Killers is included in the The Best Women’s Stage Monologues 1999, published by Smith & Kraus. Werner has an MFA in Playwriting from Boston University. He is a Theatre Arts professor at Pulaski Technical College and an adjunct faculty member at Hendrix College, his alma mater.  He has also served as a dramaturg at the Arkansas Repertory Theatre and was a writer for the Arkansas Democrat-Gazette.  

Creative Class 2016: Yslan Hicks

cc16-hicksYslan Hicks has dressed hundreds of people in all sorts of clothing.  As a theatrical costume designer and educator, she has worked throughout the United States.  She is currently an Associate Professor and Interim Department Chair for the UALR Theatre and Dance Department.

Yslan has design credits that include productions at UALR, Arkansas Repertory Theatre, Lincoln Center Institute in New York City, the Goodman Theatre in Chicago, Portland Center Stage in Oregon, the Old Globe in San Diego and Williamstown Theatre Festival in Williamstown, Mass. As an artistic associate at Lifeline Theatre in Chicago, she has designed a number of literary adaptations including Dracula, Pride and Prejudice and Jane Eyre.

Her work with the Arkansas Rep spans over two decades.  Among her recent productions are The Whipping Man, Clybourne Park, and Gee’s Bend.  In addition to UALR, she has served on the faculties of the University of Tulsa and Tulane University. Yslan is a member of United Scenic Artists, Local 829.

Yslan is also an in-demand speaker.  Most recently, she has given a series of talks for the Central Arkansas Library System on the history of fashion. Among her topics have been Downton Abbey and bridal dresses.

Creative Class 2016: Karen Q. Clark

cc16-clarkKaren Q. Clark has played a sympathetic nun on film and an exceedingly unsympathetic nun on stage.   In between she has been a singing nun (in The Sound of Music).  Outside of the habit, she has appeared in New York, many regional theatres, and most (if not all) Little Rock stages.  A native of Wisconsin, she came to Little Rock with her husband (and fellow thespian) Jay Clark.  During the day, she is Lower School choral and drama teacher at Episcopal Collegiate School.

In addition to being a fixture in the Little Rock theatre scene, she also has numerous credits in many Arkansas-made films.  Favorite stage roles include: Mrs. Banks, Mary Poppins (Arkansas Rep); Betty in The It Girl (IRNE nomination, Worcester Foothills); Princess Rhyme in the world premiere of The Phantom Tollbooth and Rachel in Inherit the Wind (Wheelock Family Theatre); Irene in Hello Dolly! (Jekyll Island); Maria in The Sound of Music; and Narrator in Joseph and the Amazing Technicolor Dreamcoat (Arkansas Shakespeare Theatre). Another favorite role is being Quin’s mom.

John Miller-Stephany named new Producing Artistic Director of Arkansas Rep

John Miller-StephanyArkansas Repertory Theatre announced today that John Miller-Stephany has been named the theatre’s new Producing Artistic Director. He assumes his new role in mid-October. The announcement by Board Chair Brian Bush ends an extensive national search.

John Miller-Stephany has worked at some of the most significant theatres in the country,” said Bush. “He is without a doubt the right leader for our organization at this point in our history. His leadership ensures a bright future for The Rep.”

“I’m tremendously excited and deeply honored to be appointed Arkansas Repertory Theatre’s next Producing Artistic Director,” said Miller-Stephany. “By all accounts – and from my personal observations over the past few months – The Rep is one of the most vibrant cultural organizations in Arkansas. I’m thrilled to join the greater Little Rock community and to work alongside my new neighbors and colleagues as together we write the next chapter in the life of this remarkable theatre.”

Miller-Stephany has enjoyed a distinguished career as a director, administrator, educator and non-profit theatre producer. From 1996 to 2015, he was Artistic Administrator and Associate Artistic Director of The Guthrie Theater in Minneapolis, Minn. From 1989 to 1996, he was Associate Producer of The Acting Company in New York City.

“Because of the vital role non-profit, professional theatres play in the life of their communities, I have proudly dedicated my career to serving them,” said Miller-Stephany.

At the Guthrie, he held a key leadership position during several major transitions and over a period of unprecedented growth. From 1997 to 2015, the theatre more than doubled its budget, going from $11 million in 1997 to $27 million in 2015. He was instrumental in the artistic development of the company, helping to guide more than 200 productions from their inception through their final performances.

Founded in 1963, The Guthrie Theater has been recognized as one of the most successful resident theatres in the country, receiving the 1982 Tony Award for Best Regional Theatre. With an annual audience of 400,000, the theatre focuses largely on classic productions. Miller-Stephany’s productions of The Music Man, Jane Eyre and 1776 are three of the top ten highest grossing productions in the history of the Guthrie.

“While I have loved living in the Twin Cities, and am deeply grateful for all of the opportunities I’ve enjoyed at the Guthrie, I’m very eager to make a new home in Little Rock and to provide leadership for The Rep,” said Miller-Stephany.  “I believe that my experiences working with one of America’s largest resident theatres have given me insights about programming, education and community engagement that will serve The Rep well.”

As an educator, Miller-Stephany has conducted classes and workshops with students at many levels including professional, college, conservatory, high school and avocational.

Miller-Stephany’s directing credits at the Guthrie include To Kill A Mockingbird, The Music Man, Born Yesterday, Roman Holiday, Charley’s Aunt, God of Carnage, A Streetcar Named Desire, When We Are Married, Jane Eyre, 1776, The Constant Wife, She Loves Me, The Night of the Iguana, Wintertime, Merrily We Roll Along, To Fool the Eye, and Sweeney Todd. He has also directed 10X10 (Barrington Stage Company), The Odd Couple (Geva Theatre/Cape Playhouse), Little Shop of Horrors (St. Louis MUNY), Queens of Burlesque (History Theater), The Poetry of Pizza (Mixed Blood Theatre), Biloxi Blues (Theatre L’Homme Dieu), Farm Boys (History Theater), and Murder by Poe (The Acting Company). He was the Associate Producer of the 1995 Broadway revival of The School of Scandal, directed by Gerald Freedman, co-produced by the National Actors Theatre and The Acting Company.

Miller-Stephany’s appointment follows a national search conducted by David Mallette of Management Consultants for the Arts. The search committee included members of The Rep’s Board of Directors, community representatives, and The Rep’s managing director Michael McCurdy.

Miller-Stephany will become the third artistic leader in The Rep’s 40-year history. He assumes his new role in October, succeeding Bob Hupp (1999-2016) and Founding Artistic Director Cliff Baker (1976-1999), who is currently serving as Interim Producing Artistic Director.

Little Rock Look Back: Ben Piazza

Ben compositeActor-director-playwright-author Ben Piazza was born on July 30, 1933, in Little Rock.  Piazza graduated from Little Rock High School in 1951 as valedictorian. He also had starred in the senior play that year (The Man Who Came to Dinner) and edited the literary magazine.

Keeping the Tiger as his mascot, Piazza attended college at Princeton University.  While there he continued acting, including an appearance in a Theatre Intime production of Othello.  Following his 1955 graduation, he moved to New York City and studied at the Actor’s Studio.

Piazza was an understudy in the 1956 play, Too Late the Phalarope at the Belasco Theatre.  In February 1958, he starred in Winesburg, Ohio sharing the National (now Nederlander) Theatre stage with James Whitmore, Dorothy McGuire, and Leon Ames. Other cast members included Claudia McNeil (who originated the part of Lena in A Raisin in the Sun) and Sandra Church (who originated the part of Gypsy Rose Lee in Gypsy).

In April 1959, Piazza starred in Kataki at the Ambassador Theatre. This two actor play also featured Sessue Hayakawa, who played a Japanese soldier who spoke only his native language.  Therefore, Piazza’s part was largely a very lengthy monologue.  For his performance, Piazza received one of the 1959 Theatre World Awards.

As the 1960s dawned, Piazza joined a small cadre of actors who had achieved status on Broadway who then also returned to acting Off Broadway.  Colleen Dewhurst, George C. Scott, and James Earl Jones were others in this select group who helped establish Off Broadway as an entity in itself, instead of being just a farm team for Broadway.

piazzaPiazza started the 1960s on Broadway starring at the Eugene O’Neill Theatre in A Second String with Shirley Booth, Jean-Pierre Aumont, Nina Foch, Cathleen Nesbitt, and Carrie Nye.   Following that, he started his association with Edward Albee by appearing as the title character in The American Dream.  That play opened at the York Playhouse in January 1961.  Later that year, he appeared in Albee’s The Zoo Story opposite original cast member William Daniels at the East End Theatre.

 

Also in 1961 Piazza starred in several plays during a South American tour sponsored by the American Repertory Company.  He played Christopher Isherwood in I Am a Cameraand Chance Wayne in Sweet Bird of Youth.  In 1962, he starred in a series of plays at the Cherry Lane Theatre.  Piazza returned to Broadway to star along with Jane Fonda and Dyan Cannon in The Fun Couple at the Lyceum Theatre. This play had a troubled rehearsal period, which was documented in a short film about Jane Fonda.

Ben Piazza stayed on Broadway and returned to Albee in February 1963.  He took over the role of Nick in the original run of Who’s Afraid of Virginia Woolf? when original actor George Grizzard left to play Hamlet at the Guthrie Theatre.  (He had participated in earlier readings of the play prior to it being mounted on Broadway.)

This play was at the Billy Rose Theatre, which marked a return for Piazza. He had acted at this theatre when it was the National while appearing in Winesburg. Piazza played Nick for the remainder of the run and acted with Uta Hagen, Arthur Hill, fellow Arkansan Melinda Dillon, Eileen Fulton, Nancy Kelly, Mercedes McCambridge, Rochelle Oliver and Sheppard Strudwick.

Exact and Very Strange cover

During the run of this show, Piazza’s novel The Exact and Very Strange Truth was published.  It is a fictionalized account of his growing up in Little Rock during the 1930s and 1940s.  The book is filled with references to Centennial Elementary, Westside Junior High, Central High School, Immanuel Baptist Church and various stores and shops in Little Rock during that era.  The Piazza Shoe Store, located on Main Street, was called Gallanti’s.

Following Virginia Woolf, he starred in The Zoo Story at the Cherry Lane Theatre in 1965.  In August of 1967, his play The Sunday Agreement premiered at LaMaMa.  This was Piazza’s first playwright output to be professionally staged.

As Sunday Agreement was opening, Piazza was in rehearsal for his next Broadway opening. He appeared with Alfred Drake in The Song of the Grasshopper in September 1967.  In 1968, he returned to Albee and starred in The Death of Bessie Smith and The Zoo Story in repertory on Broadway at the Billy Rose Theatre.

Later that season, in March 1969, a double bill of his one-acts: Lime Green/Khaki Blue opened at the Provincetown Playhouse.  It was directed by future Tony nominee Peter Masterson and starred Louise Lasser, Robert Walden (who starred in the 2013 production of Death of a Salesman at Arkansas Repertory Theatre), Clinton Allmon and Dolores Dorn-Heft, to whom Piazza was married at the time.

Throughout the 1960s and early 1970s, Piazza toured in many plays nationally and internationally. He also appeared in major regional theatres as an actor and a director.  During this time period he was in productions of Bus Stop, Who’s Afraid of Virginia Woolf?, You Know I Can’t Hear You when the Water’s Running  and Savages.  In 1970, he starred as Stanley Kowalski in a production of A Streetcar Named Desire in New Orleans.  As the 1970s progressed, he turned his focus to television and movies.

BDP early

Piazza’s film debut was in a 1959 Canadian film called The Dangerous Age. That same year, his Hollywood film debut came opposite Gary Cooper, Karl Malden, Maria Schell and George C. Scott in The Hanging Tree.  Though he received positive reviews for his performances, Piazza chose to return to New York and perform in stage and TV productions.

Throughout the 1950s and 1960s, he appeared in a number of TV shows including Studio One, Kraft Theatre, Zane Grey Theatre, The Naked City and Dick Powell Theatre.  He had a recurring role during one season of Ben Casey and appeared on the soap opera Love of Life.

In the 1970s, he starred in the films Tell Me That You Love Me, Junie Moon; The Candy Snatchers and I Never Promised You a Rose Garden.  He also starred as the City Councilman who recruits Walter Matthau to coach a baseball team inThe Bad News Bears.

Among his numerous TV appearances in the 1970s were The Waltons, Mannix, Switch, Barnaby Jones, Gunsmoke, Mod Squad and Lou Grant (where he was reunited with Walden).

BDP final

In the 1980s, he appeared in The Blues Brothers, The Rockford Files, Barney Miller, Hart to Hart, Family Ties, The Winds of War, Dallas, Dynasty, Too Close for Comfort, The A Team, Saint Elsewhere, Santa Barbara, The Facts of Life, Mr. Belvedere, Moonlighting and Matlock.

Piazza’s final big screen appearance was in the 1991 film Guilty by Suspicion.  He played studio head Darryl Zanuck in this Robert DeNiro-Annette Bening tale of Hollywood during the Red scare.

Ben Piazza died on September 7, 1991.