In this week’s From the Archives, we examine articles and reviews of theatrical productions on Grounds. Theater has long been foundational to the artistic identity of the University, with the variability of productions evidencing new ideas and values for their decades’ respective student bodies. The articles and reviews selected report on productions of Greek dramas, 17th-century French period pieces and adaptations of popular American novels.
1950s
Oct. 6, 1951
“Rotunda Stagers to Present ‘Electra’
The Rotunda Stagers’ were set to open their season with “Electra”, the second Greek classic to be performed by the group since their founding the prior year. The cast was composed of actors from varying corners of the University, from librarians to drama majors to instructors’ wives, and also included local high school students and Charlottesville residents.
1960s
Oct. 6, 1960
“Players Award Leading Role To John Rodenbeck; First Play, ‘Look Homeward Angel’, To Open Oct. 24”
By Ed Blacker
This article revealed that Ketti Frings' dramatization of Thomas Wolfe's novel, Look Homeward, Angel, would soon be performed by the Virginia Players. Wolfe's autobiographical stand-in, Eugene, is the focus of the play, which also examines his tumultuous North Carolina family life. The article gives information about the play's setting, themes of ambition, nostalgia and family strife, as well as a list of the main actors and production team.
1970s
Oct. 12, 1976
“Musical fairy tale christens Virginia Players’ season”
By Patti Hartigant
The Virginia Players’ opening production of Once Upon a Mattress was an evening of light-hearted fun that allowed its audience to embrace their inner child. While Anne Marshall’s portrayal of Princess Winifred had some technique issues and the choreography of several numbers was lacking, this review appreciates that the production “does not attempt to be anything else but a relaxing, good time.”
1980s
Oct. 10, 1983
“Techniques detract from ‘Miser’”
By Nesita Kwan
Cartoon by Marcia Hillis
This review evaluates Joseph Shaver's direction of the Virginia Players' staging of Molière's The Miser. Kwan contended that Shaver's theatrical innovations, such as adding Louis XIV's court as an extra "audience," detract from the plot, even though the play successfully parodies the avarice and vanity of 17th-century society. Although Ronald Scott Fry gave a powerful performance as Harpagon, the production's overall impact was diminished by its experimental techniques.
1990s
Oct. 10, 1996
“‘Chicago’ blows through Culbreth Theater”
By James Seol
Photos by John Miller
A production of ‘Chicago’ opened at Culbreth Theater, receiving a less than stellar review from this critic. While the supporting actors, set, and costumes were excellent, the author of this piece noted that the production lacked energy and, like the Broadway production, fell short in the music department. Unlike the Broadway production, which was saved by Bob Fosse’s “electrifying choreography”, this production’s choreography was “minimal and trite.”
2000s
Oct. 10, 2000
“‘Skin’ displays impressive body of work”
By Doug Brantner
Photos courtesy of the Department of Drama
This review highlights the cast's dynamic performances and the ambitious scope of the Virginia Players' production of Thornton Wilder's The Skin of Our Teeth. Brantner emphasizes the play's clever staging, powerful performances, and its fusion of humor and philosophical contemplation on rebirth and survival.
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