In conjunction with ACANSA, the Clinton School presents a discussion of A STREETCAR NAMED DESIRE in context of #MeToo era

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Tennessee Williams was always disappointed that “I’ve always depended on the kindness of strangers” did not elicit the audience laughter he wanted in his Pulitzer Prize winning A Streetcar Named Desire.

In partnership with Argenta Community Theater, the ACANSA Arts Festival of the South is proud to present Tennessee Williams’ timeless masterpiece, A Streetcar Named Desire. Seeking solace from her crumbling world, Blanche arrives at her sister, Stella’s, apartment bringing her face to face with the menacing masculinity of Stanley Kowalski. Directed by Clinton School student Ben Grimes, the production is a raw exploration of family, sexuality, gender roles, and survival.

A Community Conversation will be led by Dr. Virginia O. Craighill, Professor of English from the University of the South in Sewanee, Tenn.

The production opened on September 17 and runs through September 22.  Performances are at 7:30pm through Saturday with a 2:00 matinee on Sunday.

All Clinton School Speaker Series events are free and open to the public. Reserve your seats by emailing publicprograms@clintonschool.uasys.edu or by calling (501) 683-5239.

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Memorial Day – Remember the Fallen

Today is Memorial Day – a time to pay tribute to the men and women in uniform who died in service to their country.

As a way to give this recognition, today would be a good day to visit a cemetery. One of Little Rock’s most storied cemeteries is Mount Holly Cemetery. There are numerous persons buried there who died while in service to their country.

One of them is 2Lt Carrick W. Heiskell, son of Arkansas Gazette editor J. N. Heiskell.  2Lt Heiskell died while flying for the Air Transport Command in the Himalayas during World War II.  He was posthumously the recipient of the Distinguished Unit Emblem, Purple Heart, and the Air Medal.

Founded in 1843, Mount Holly has been called “The Westminster Abbey of Arkansas.” Thousands of visitors come each year. Those interested in history come to see the resting places of the territorial citizens of the state, including governors, senators, generals, black artisans, and even a Cherokee princess. For others the cemetery is an open air museum of artistic eras: Classical, Victorian, Art Deco, Modern––expressed in gravestone styles from simple to elaborate. Some come to read the epitaphs that range from heartbreaking to humorous to mysterious.

Though a City of Little Rock facility, the cemetery is maintained by the Mount Holly Cemetery Association, a non-profit organization with a volunteer Board of Directors. The cemetery is located at 1200 South Broadway in Little Rock. Gates are open from 8 a.m. until 5 p.m. in the summer and from 8 a.m. until 4 p.m. in the winter.

Laugh. Cry. Think. Act. with 2019-2020 season of The Weekend Theater.

The Weekend Theater’s 27th season kicks off with AVENUE Q (June 14-30).  The winner of the 2004 Tony Award for Best Musical (as well as Tonys for Book of a Musical and Score), tells of life on Avenue Q for a group of twenty something humans and puppets.This is definitely NOT like puppet shows from childhood.

Next is the Arkansas premiere of Stephen Adley Guirgis’ Pulitzer Prize winning play BETWEEN RIVERSIDE AND CRAZY (July 26 to August 11).   Ex-cop and recent widower Walter “Pops” Washington and his newly paroled son Junior have spent a lifetime living between Riverside and crazy.

Anthony Mariani’s THE ROOSTER REBELLION (August 30 to September 8) is up next.  The story takes place in fall 2015 and summer 2016 in London. Reese Anne, a London teenager, runs away from home to help her ex-history teacher, Shell, who is homeless. They busk by day and at night seek to create a utopian homeless society, which falls apart on the eve of the Brexit vote.​​​​​

Cult classic SIDE SHOW (October 11 – 27) tells the story of Daisy and Violet. Conjoined twins, they are forced to be entertainers in a side show. As they struggle with very human emotions, they also must grapple with the fact that people see them as freaks.  With a lush score and colorful characters, it is a show that stays with audiences long after the lights come up.

2019 marks the 60th anniversary of Lorraine Hansberry’s A RAISIN IN THE SUN (December 5-21). It tells the story of the Younger family as they make decisions about the best way to use money left to them.  Each member of the three generations has their own dreams, and sometimes they clash with the wishes of others.    This moving, explosive, and often humorous play seeks to answer the question, “what happens when a dream is deferred.”

2020 gets going with GOOD KIDS. by Naomi Iizuka (January 9 – 26).  Something happened to Chloe after that party last Saturday night. Something she says she can’t remember. Something everybody is talking about. Set at a Midwestern high school, in a world of Facebook and Twitter, smartphones and YouTube,It explores a casual sexual encounter gone wrong and its very public aftermath.

Lynn Nottage’s SWEAT (Feb 14 – 29) won the Pulitzer Prize in 2017. It looks at the toll a factory closure has on a town and the friendships of the people who once worked in it.  Filial and familial bonds are tested as loyalties come into question and long-held beliefs are questioned. This gritty and compelling play has been described as one of the best ways to understand the different views voters held in the 2016 elections.

Regina Taylor’s CROWNS (March 20 – April 5) is a celebration of hats and the women who wear them.  Each hat holds a story of a wedding, funeral, baptism as a group of women share their stories of how they moved through life’s struggles. The hats aren’t just a fashion statement – they are testimonies of sisterhood – they are hard earned Crowns.

Paul Rudnick’s hilarious comedy of manners REGRETS ONLY (APril 24 to May 3) explores the latest topics in marriage, friendships and squandered riches. The setting: a Park Avenue penthouse. The players: a powerhouse attorney, his deliriously social wife and their closest friend, one of the world’s most staggeringly successful fashion designers. Add a daughter’s engagement, some major gowns, the president of the United States, and stir.

David Mamet’s RACE (May 15 – 24) explores and explodes various perspectives on race and justice.   Two lawyers find themselves defending a wealthy white executive charged with raping a black woman. When a new legal assistant gets involved in the case, the opinions that boil beneath explode to the surface. Mamet turns the spotlight on what we think but can’t say, dangerous truths are revealed, and no punches are spared.

More informaiton can be found at the Weekend Theater website.

And the Pulitzer goes to SOUTH PACIFIC

On May 5, 1950, the Rodgers and Hammerstein musical South Pacific captured the Pulitzer Prize in Drama. This would receive special attention in the Arkansas Gazette. The reason this carried such weight in Arkansas was that the musical had a connection to Little Rock.

The 1950 Pulitzer for Drama went to a musical for only the second time in the history of the awards. The recipient was South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan. The character was the leading lady of Nellie Forbush. She was an Navy ensign and a nurse stationed on an exotic island during World War II. The musical was based on a Pulitzer Prize winning novel, James Michener’s Tales of the South Pacific.

In the Michener novel, Miss Forbush is not from Little Rock. She is actually from a small town in Alabama. But the book does mention Nellie and her mother visiting Little Rock.  The part was written for Mary Martin from Weatherford, Texas. Rodgers, Hammerstein & Logan did not discuss why they relocated Nellie’s birthplace.

Originally the musical contained a song entitled “My Girl Back Home” in which Nellie sang of being from “Little Rock, A-R-K” while another character sang of being from “Philadelphia, P-A” and “Princeton, N-J.” It is possible the change to Little Rock was made because it offered more lyrical possibilities, but that is only a supposition on the part of the Culture Vulture. That song did appear in the movie version in which Mitzi Gaynor played Nellie Forbush. It was also featured in the 2008 Broadway revival, this time with Kelli O’Hara playing Nellie.

In the musical, Nellie struggles with her own prejudices. This issue of prejudice became an instance of fact meeting fiction. In 1957, a few weeks after Eisenhower sent troops into Little Rock to ensure that Central High would be desegregated, a production of South Pacific on Long Island was temporarily halted when the audience booed and yelled after Nellie mentioned she was from Little Rock. Interestingly, the movie was released in 1958, but retained references to Little Rock. That was either a testament to the expense of re-editing it, or the fact that audience reaction had lessened.

A Rep-trospective

It was one year ago today, on April 24, 2018, that the Arkansas Repertory Theatre announced it was cancelling its last production of the season and suspending operations.

Most of its fans were in shock.  Some had heard rumblings that not everything was copasetic financially.

As supporters worked through the stages of grief, they asked: “How had this happened?” “Is there a path forward?” “What can we do to Save the Rep?”

In the coming days it was confirmed that the situation had not happened overnight. As with many other businesses and people, the Rep had been living off of future proceeds. And when those failed to materialize from ticket sales and donations, something drastic had to be done.

And many things were done.

After the decision to suspend operations and lay off most of the staff (with the remaining staff having no assurances of continued employment come Labor Day), longtime supporters Ruth Shepherd and Bill Rector stepped in as part of a volunteer interim leadership team.  Together with Board members and other supporters they were able to map out a strategy to stem financial losses which gave the organization a modicum of breathing room in order to assess more permanent next steps. (Incidentally, Rector’s father performed much the same function for the Arkansas Arts Center fifty years earlier in 1968 when it had faced a similar situation.)

Rep founder Cliff Fannin Baker stepped in to as interim artistic director to help determine options for moving forward, provided that finances stabilized.

The John & Robyn Horn Foundation approved a challenge grant of $25,000 designated for “General Support” and the Windgate Charitable Foundation provided a challenge grant for $1,000,000, with an initial payment of $75,000 for operating needs. Unlike some challenge grants, Windgate did not withhold payment until the entire $1,000,000 had been raised.

Community leaders including Skip Rutherford and Stacy Sells staged a “Save the Rep” rally which drew hundreds of people to Main Street on a sweltering May evening and raised money for the Rep.

Education offerings continued at the Rep’s annex on Main Street and, in fact, were expanded under the leadership of Anna Fraley Kimmell.

One of the Rep’s problems had been it owned four properties which made it real estate rich, but cash poor.  In August, the Rep sold an apartment building used to house visiting actors.  The sale cut the property debt in half and offered some much-needed financial assets.  Also that month, the biennial Gridiron show pledged all of its proceeds to support the Rep.

Focus groups and community meetings garnered input from patrons throughout Central Arkansas.

Then, just as it appeared the Rep was hitting its stride on the way to renewal, the unthinkable happened.  Baker suffered an aneurysm and died a few days later.  In addition to working on setting the season, he was set to direct the first show of the rebooted Arkansas Rep.

Through grief, the Rep continued to push forward.  In November, the new season was announced. It would be four shows plus a youth show running throughout 2019.  A few weeks later, the Rep’s new leadership was announced.

Tony winning Broadway producer Will Trice, a Little Rock native who acted on the Rep’s stage in the 1990s as a teenager, would become the theatre’s Executive Artistic Director.  While he won’t be in Little Rock as a full-time resident until the summer, he is already on the job as he splits his time between New York City and Little Rock.  The staff is gradually getting built out, as well.

Native Gardens opened last week as the second production of the season (following February’s run of Chicago).

Whither Arkansas Rep in the future?

Long-term financial stability is still a goal, not yet a guaranteed reality.  Finances are in better shape, to be certain.  But the fact remains – theatre is expensive. Even though the Rep has a leaner structure, there are basic levels that cost.  There still is the ever-present balancing act of offering productions that audiences will want to see yet are economically feasible.

The influx of money that was given over the past year must be maintained…and grown. Each year! There is not an apartment building to sell for $750,000 this year.  While there are ticket sales, unlike this time last year, those sales are not pure profit. And the profit margin on musicals is traditionally smaller than on plays.

Audiences cannot lapse into the “Arkansas Rep has reopened, all crises averted” fallacy.  Their attendance, their money, their passion, their excitement, their word of mouth, their money (yes it is that crucial that it bears repeating) is needed.  In non-profit theatre, ticket sales NEVER cover all the costs. This applies to Rep, for certain. And while no dollar amount is too small, moving it forward will require people to increase their investment.

And the Rep’s financial need is not occurring in a vacuum. Major cultural institutions and smaller organizations are also needing financial support.  Area universities are struggling because of declines in student enrollment (due partially to dropping birth rates two decades ago) so they need increased donations to sustain operations. Few large Arkansas-based businesses are able to provide substantial contributions.

When it comes to the Rep and other cultural entities, it cannot be either/or. It must be a both/and mentality.

So…. Where is Arkansas Rep today?

Certainly better off than it was a year ago.

It has defied the odds and come back from the suspension of operations. Many, if not most, theatres that take a pause never resume.

There is a lot of work left to do. But with a collective effort, it is possible.

To quote from Tony Kushner’s Pulitzer Prize winning Angels in America, which the Rep produced in the 1990s, “The world only spins forward. We will be citizens. The time has come. … More Life. The Great Work Begins.”