New Kentucky Women's basketball coach Kenny Brooks.

KENNY BROOKS TO KENTUCKY; Will Georgia Amoore Stay?

According to the trusted Louisville Courier Journal a few minutes ago:

"Kentucky went just across the state line to find its newest women's basketball coach.

"UK on Tuesday tabbed Kenny Brooks to guide the program. Brooks spent the past eight seasons in the same capacity at Virginia Tech, going 180-82 (.687), including a 76-70 mark in ACC play.

"But Brooks and the Hokies took their play to another level the past three seasons, winning 75.9% (41-13) of their league games and 25 of their last 27 conference contests at home.

Brooks replaces Kyra Elzy as Kentucky's coach. UK athletics director Mitch Barnhart dismissed Elzy on March 11." He signed a six-year, $6.4 million contract extension with Tech in 2023. The buyout is about $700,000.

Virginia Tech's Georgia Amoore could turn pro. Will she?

The next important question: Does Georgia Amoore decide to turn pro, since Brooks--a father figure to her--will be gone?

Athletic Director Whit Babcock said today in a news release today,

"We hired Kenny in 2016 with the intent of revitalizing our women's basketball program.

"Needless to say, Kenny, his staff and student-athletes created a culture of excellence on and off the court. He was an incredible mentor to the young women in our women's basketball program and a terrific representative of our department and university. We wish Kenny and his family well in this next chapter of his career.

"I remain confident in the trajectory of our women's basketball program and when combined with our resources, specifically NIL, that the future of our women's basketball program is bright."

Kim Caldwell of Marshall University should get strong look by Virginia Tech.

THE NEXT TECH COACH? (Oh, Please, Please)

Kenny Brooks is gone from Virginia Tech as women's basketball coach. What next?

Kim Caldwell (pictured) of Marshall University, which lost to Tech in the NCAA a few days ago, would be a superb replacement. She is young, dynamic, intensely successful and from a basketball family. She also only makes about $90,000 a year.

Brooks' most recent Tech contract (2023) is worth $6.4 million over six years. His new salary at Kentucky hasn't been announced, but it will be a good bit more than that. There is about a $700,000 buyout.

 

A Celebration of Jimmy Buffett at MMT

Those of us who saw a distinct shadow lurking just offstage last night at Mill Mountain Theatre would swear it was the ghost of Jimmy Buffett, singing, dancing, laughing and thoroughly enjoying this theatrical homage to a man who knew how to enjoy life.

On stage was "Escape to Margaritaville," a thoroughly entertaining look at life through Buffett's eyes, though he died six months ago. The full house, I would estimate, had an average age in the 60s (Buffet and I were born two months apart in 1946), but the level of enthusiasm was more reminiscent of teenagers enjoying their favorite music, Parrot Heads or not. 

As you might expect "Margaritaville" is a show about allowing life to be more than stress and work. It's about having fun and feeling thoroughly good about it. At play here are an uptight scientist (played and sung well by Felicia Martis, a New York actress) and a Buffett-like signer who hasn't "made it," nor who cares. "Brick," the Buffett character, is played by Elliot Smith. They are supported by a solid ensemble, headed by Ariana Valdes and Michael Walker.

Not surprisingly, the audience was as much a headliner as anybody on stage. The members sang out loud to "Let's Get Drunk (and Screw)," "Margaritaville,"  and a dozen other Buffett standards. They wore Hawaiian flower-dy shirts and huge smiles throughout the evening. 

Hector Flores, who has made a solid impression during the past year or so at MMT, was director and choreographer in a production where the dancing was as important as the signing. It would be especially difficult to come away from this production without smiling. And I didn't see anybody who even tried.

The play continues through March 31. You may order tickets ($20-$42) at 540-342-5740. 

 

Virginia Tech basketball stars Liz Kitley (left) and Georgia Amoore (NYTimes photo)

A (Not So) Modest Proposal for Virginia Tech Women's Basketball

I have an idea that could well be irresistible for Virginia Tech and its followers: Hire the marvelous Blacksburg sculptor Larry Bechtel to forge a sculpture representing the Tech women's basketball team and its two All-Americans.

These two and the culture they represent are well worth the investment and Bechtel, who has done some terrific work in this region, would be a natural.

I don't need to go into how appropriate this sculpture would be, standing outside Cassell Coliseum where Liz Kitley and Georgia Amoore have re-defined not only women's basketball, but Tech sports in general. The most famous athlete in Tech history is Michael Vick--without a question. But his involvement with dog fighting--and serious jail time--obviates any mention of him among the role models, which Amoore and Kitley slide into naturally and with huge smiles. 

ODU's Nancy Lieberman and her statue

Tech has a statue of Frank Beamer, its legendary football coach. The University of South Carolina plans to construct a statue of Dawn Staley, the UVa All-American player and USC national champion coach. UVa does not have statues of football coach George Welsh or basketball coach Terry Holland, both of whom are deserving. There is no statue of Wendy Larry, Old Dominion's outstanding coach with 600 wins, but it does have one of ODU basketball player Nancy Lieberman (an All-American and two-time Division II national champ).

These young Tech women--one from Greensboro, the other from Australia--have brought huge crowds to a venue where a few hundred people at a game has most often been the reality, regardless of how good the teams and players have been. Kitley and Amoore (or Kitmoore) have been leaders in a new age of attention and that attention has been good for Tech, Blacksburg and this region overall.

Kitley (6'6") and Amoore (5'6") have helped create an atmosphere of the possible at Tech, taking a program to the final four last year and hoping to repeat. The team is good enough, but basketball is a game of streaks and anything can happen in a single game or set of games, especially tournament games. Tech won the ACC tournament last year and has already clinched at least a tie for the regular season title this year. Neither of those had happened before. Kitley's list of school and conference  records speak for themselves. She's been the ACC player of the year the past two years and appears to be a shoo-in for a third. Amoore set a league record for assists last night in beating North Carolina. At guard, she is the team's leader and with that smile, its most attractive and outgoing personality.

Does that deserve a statue in front of the Queens' Cassell? Yes, it does. Coach Kenny Brooks, who has built the program and recruited its stars, deserves his own notice, if not his own statue. But his career is young and there is plenty of time for that.

Amoore and Kitley not only set a standard on the basketball court, but also in the classroom, where they shine. And don't ever believe that playing basketball at a high level and getting a graduate degree (which Kitley is pursuing) at the same instant is easy. But these women don't do easy. 

Their efforts have helped Tech's image nationally and that eventually could lead to more and better students and well-funded programs. A few years ago, I was sitting in the press box for a football game between Tech and South Carolina. The game was close and near the end, Tech driving driving for the lead. It fumbled and eventually lost. "That fumble cost us $1 million," said Tech's top PR guy, emphasizing the overall benefit of a good program. 

If that fumble was worth $1 million, imagine what a dynamic assist from Amoore or that beautiful fall-away jump shot from Kitley could mean in the short and long runs.

And that deserves a bronze statue.

Let me suggest that some of you wealthy, die-hard Hokies get together, talk to Bechtel and pump in about $25,000 or so for a statue that would gain national attention for Tech in a wildly positive way. You could also pass the hat at Tech's regional home games coming soon. My bet is you'd almost get the money necessary with the hat.

 

Rene Marie sings her closing song at the Jefferson Center Friday night.

Roanoker Rene Marie Wows Jeff Center Crowd

Rene Marie and her band.

My memory is more than a little foggy, but I remember interviewing Rene Marie a number of years ago when we were both cubs. I was a feature writer for somebody and she was a new singer with a new name. 

I had been writing feature stories after a career as a sports writer and she had changed her name from Rene Marie Stevens. I was working on an assignment profiling the hot young singer.

What we had in common at the time was Roanoke. She had moved here at the age of 10 and was to leave 40 years later for Warrenton, her hometown. She's 68 now with hair so short she looks bald at a distance and remains equipped with one of the best jazz voices in the business. Last night, she played the Jefferson Center and my friend Susan took me as a Christmas present (a bit late, but all the more appreciated).

I mentioned our long-ago meeting to Rene after her hour and 15 minutes of singing and wasn't surprised that she didn't recall it. I am certain it was far more important to me than it was to her. I was and am a fan of her music and her strong stand for what is right in this world. She even writes about her beliefs--standing up for the dispossessed and the forgotten. I admire her for a heck of a lot more than her superb music.

She is almost a child of Roanoke, as am I, and I am proud to share the Star City with her.

Susan and me at the Jefferson Center Jazz Club.

The old editor and jazz fan.

Susan and I enjoyed snacks before the entertainment began.

Susan looking content.

Rene Marie and her excellent trio.

 

Patrick and Annette Patterson

In Defense of Patrick Patterson of Roanoke Catholic Schools

It has been a bit more than a week since Roanoke Catholic Schools announced the dismissal of its Head of School Patrick Patterson and Associate Head of School Nicole Lieber, and to this point, there has been little defense of Patterson and Lieber. WDBJ has done the only report of the dismissals that I’m aware of (other than Facebook posts), and its coverage has weighed heavily on the side of the Catholic Diocese of Richmond’s decision that the school “has determined that Roanoke Catholic Schools … would benefit from a new leadership approach.”

There was no further word from the diocese for the reasons behind the firings, but WDBJ quotes several parents (anonymously). In cases like this, non-disclosure agreements are common, giving dismissed employees monetary benefits for their silence. Patrick declined to talk to me about the reasons for his dismissal. Others, however, were eager to defend a man they consider to have been a strong and creative leader, a man of solid ethical base, and a role model.

I have known the Patterson family for years and it would never have occurred to me that Patrick was anything less than a visionary, a strong leader, a kind and forceful personality, a man whose primary professional attention was to the students. His wife, Annette, is one of the most influential and creative business leaders in the region and his kids are a delight, young women who are making their mark on the Valley.

I reached out to a number of people with close association to Roanoke Catholic over the years, including one who was part of the committee that hired Patrick some years ago, and without exception, they were shocked at the dismissal and supportive of Patrick. Not all were willing to go on the record, but they gave positive assessments of Patrick.

There is quite a bit of rumor filtering through the RCS community. I have found that Patterson shared information with the diocese about a smear campaign being pursued against him by a parent. Apparently, internal documents about students with identified disabilities were leaked outside of the school community and Patterson and his close associates told the diocese about them. This is the kind of information that circulates—whether or not true—in a dysfunctional system.

WDBJ reported that some “teachers say they felt a lack of support from administration, which led to some staff leaving. Some parents say they’ve considered removing their children from Roanoke Catholic as well.” The TV report featured only octogenarian Jerry Ewbank, who never worked with Patterson. He retired from RCS in 2001 and Patterson didn’t go to work there until 2010.

From what I’ve learned, the initial news source for WDBJ’s story works at the station.

When Patterson took over RCS in 2010, it was near death. There were fewer than 200 students registered to return and the budget that year was for 400 students. The school had 90 days to turn it around or the Bishop was reportedly ready to close the school in June 2011. Patterson saved RCS with some creative and thoughtful administration.

During his years, he was promoted to Regional Associate Superintendent, a first for the 200-year-old diocese. He served in a leadership role to administrators and faculty from Charlottesville to Bristol. He was on the Diocesan School Board and the diocesan accreditation review committee. He was selected to serve on the superintendent interview teams for the two most recent superintendents selected by the bishops of Richmond.

Paul Yengst, in a letter to Patterson, wrote that he was “disappointed to hear of your dismissal from Roanoke Catholic School. As the chairman of the committee that recruited you for the position, I have kept an eye on happenings on the hill. You told me once that ‘if you’re not green and growing, you’re brown and dying.’  I have certainly seen the green and growing at RCS.

“From the graduation rate, college scholarship awards, initiating of a building trades program and an aviation program, to the gym refurbishment, grounds improvements, energy innovations—and I could go on—Roanoke Catholic is a better school because of you. … From my perspective you have far surpassed what the committee expected in 2010. I think the School will be diminished by your absence.”

Frank Toney and his wife, Angela, are past school parents and current board members. Says Frank, “I have found [Patterson] to be nothing but man of integrity, He is a good communicator, a great leader. He saved the school, and he is a great business leader.

“I have seen him navigate quite a bit. He’s a compassionate man. He is more concerned with the less fortunate and he has a heart for those who are less than [others] … He is definitely concerned about the minority [and that is] not always the case dealing with Roanoke Catholic. … He made [the school] more a family than it was a school. It will be their loss that he’s no longer there. The school won’t be as strong as it was.”

Peter Radjou, Roanoke Catholic Schools’ chef and owner of Food Fanatics Kitchen, says Patrick is “a great administrator. I have great respect for him. I was surprised [at his dismissal] and I, pray for him. [The dismissal] does not change opinion. Definitely not.”

The silver lining in all this back-stabbing of a worthy man is that he is happy, relaxed and waking every morning eager to go to work at his Vinton gun shop, Pollard Street Pawn and Gun. He is working full-time there now.

All the while, a lot of those of us who have held RCS in high regard for a number of years, no longer do so. And that’s a damn shame. This is an ugly story, one where a good man suffered for doing a good job. The Pattersons have my support and my prayers going forward. They will be fine because they are good people.

 

E.B. Smith in the final scene from "The Mountaintop"

 Mill Mountain's 'The Mountaintop' Examines MLK's Final Hours

Mill Mountain Theatre has launched its ambitious production of “The Mountaintop,” a fictional examination of Martin Luther King’s last night before his assassination April 4, 1968, at the shabby Lorraine Motel in Memphis. The play's reception through Friday night was lukewarm, but live theatre in Roanoke has struggled to attract African-American audiences for years. This play is about one of the real 20^th Century icons of the Civil Rights movement.

The Fringe Theatre production is on the Waldron Stage (across from Fire Station #1) and tickets can be ordered by calling (540) 342-5748. Tickets are $25 and $15 for adults and young people and are subject to a “convenience fee.”

This is an hour and a half, two-character telling of King’s imagined last hours, where he meets the angel assigned to take him “home,” ostensibly via a bullet from the gun of James Earl Ray. There remains doubt and controversy that Ray acted alone, but the play does not discuss the killing in any detail.

Shannon Sharkey effectively plays Camae, the motel maid sent to deliver coffee to King at check-in, who eventually reveals she is an angel sent to ensure King makes it to heaven. Hers is a vital part in the imaginings of award-winning writer Katori Hall and she delivers with authority, seriousness and humor the role deserves. Sharkey is an Atlanta-based actor, model, educator, and diversity consultant.

King is forcefully (and loudly) played by E.B. Smith, a business professional with considerable acting credits. In this drama, King and Camae spend much of the final evening discussing King’s sometimes shady, often inspiring background, his goals and the final reality that he has only hours to live.

Their interaction ranges from a genuinely funny pillow fight, constant requests by King for “one more cigarette” from her, to King recoiling at the prospect that she is really an angel. A crucial scene features King talking on the phone to God (a woman), making the case that his death would be premature because he has “so much left to do.” Of course, he loses, but the back-and-forth with Sharkey’s earthy, potty-mouth angel with a colorful history is often fascinating.

Veteran director Marci Duncan understands the power of this play and brings it in with authority. Bill Munoz is the production stage manager who has worked at Flat Rock Playhouse, near Hendersonville, N.C., for 30 years.

 

Amber Voeller (in red) and the cast of "Chrysalis" take a bow.

The Emergence of a Star at Hollins Theatre

Gwyneth Strope

Most often, when we talk of stars in the theatre, we are referring to actors, and Hollins Theatre's Winter Festival of New Works has plenty of those. But stealing the two shows of this year's festival are Playwrights Gwyneth Strope and Rachel Graf Evans.

We talked about Ms. Evans last week in the review of "Randi & Roxanne" and this week, it's Roanoker and Hollins master's grad Ms. Strope's turn. She is the producing manager of the Hollins Theatre Institute. We will note in passing that Ms. Strope is the daughter of Michael Mansfield (who produces "Chrysalis") and actor Amanda Mansfield, often considered the first family of Roanoke live theater. Ms. Strope's writing and acting only enhance that designation. (She is also an accomplished visual artist.)

"Chrysalis" is a sophisticated journey into a young woman's memory, which she wants to understand. Mirage, played brilliantly by professional actor Amber Voeller, meets her past head-on with courage and determination and the result is a dark story well worth watching and one that foretells an accomplished future for Ms. Strope. 

This is a play that stretches everybody involved and Mr. Mansfield's direction is especially equal to the material. The acting is universally impressive, featuring Salem High senior Kathryn Gibson, Hollins Master's student Alex Voeller, Christian Watts, Kelly Anglim of Roanoke, 7th grader Megan Corbett and theater veteran David Colatosti. 

Hollins theatre major Kit Hathcock and Ohio University student Madeline Herbert take lighting to the level of a strong character.  

Last night's performance was an invitation-only (and flawless) final dress rehearsal. The play runs tonight through Jan. 28 at 7:30 in the evenings and 2 p.m. Sunday. Phone 540-362-6517 for tickets ($10).

Ginger Poole Leaving Mill Mountain Theatre

 I am truly sad to see Ginger Poole leave Mill Mountain Theatre as its artistic director. She and I have worked together for quite a few years trying to let people know what a treasure MMT and Ginger are for the entire region. 

I am fond of her both personally and professionally and have appreciated the professionalism and the creativity she has brought to the position for years. Hers is a significant loss, but if she remains in the Roanoke Valley, we will all be richer for her presence.

Here is MMT's press release:

After a remarkable tenure with Mill Mountain Theatre, Ginger Poole will take her final bow as producing artistic director during the 60th anniversary season. 

With an impressive season of productions planned in 2024, combined with the theatre's vibrancy, Poole says this is the time to begin searching for her replacement. 

"I came to Roanoke 18 years ago as an acor and was asked back to perform and choreograph in the MainStage seasons," she says. "This turned into an opportunity to join MMT as its director of education. Little did I know how much that experience would forever change my life. This theatre became my home and the place that I made my life. While leaving my role here is truly bittersweet, MMT remains part of who I am."

During her tenure, Poole has had to revive the theatre twice. In 2009, Poole reinvigorated the theatre after it stopped producing due to financial struggles. Poole continued to keep the doors open with classes and a holiday show once a year for four years and was the only fulltime employee. 

Covid-19 put Mill Mountain Theatre in another precarious situation in 2020. Poole navigated the theatre through post-pandemic struggles and once again revitalized the theatre to its present day health. 

"The theatre has thrived under Ginger's leadership," says past president Cynthia Lawrence. "She balances artistic excellence with fiscal responsibility and approaches every decision with the long-term sustainability of Mill Mountain top of mind. While we are saddened by her departure, we are grateful to her and support her decision wholeheartedly. We will conduct a thorough national search and will be thoughtful about who we choose as her successor."

Says Bill Lee, board president of MMT, "Ginger gave this theatre life in times when it would have been easier to simply close the doors. She had a vision and worked effortlessly to ensure that her vision became a reality. We've all benefitted from here perseverance. She will leave behind enormous shoes to fill."

Poole has been in the industry for 35 years (working for years at Flat Rock Playhouse in North Carolina and as an Atlanta Falcons cheerleader and choreographer) and says she is excited to explore other opportunities within the community, while continuing to support the artistic and cultural growth in Roanoke.

The search committee, with which Poole will work until she is replaced, includes Nancy Agee, Jack Avis (Poole's husband), N.L. Bishop, Nancy Gray, Lawrence (who will be chairwoman) and Macel Janoschka. The committee will search nationally.

 

The cast of Randi & Roxanne salutes the crew.

Hollins Flexes Its Theatrical Muscles Again

With Rachel Graf Evans' "Randi & Roxanne," which finished a brief run Sunday in Hollins' Winter Festival of New Works, the university continues to hold its ground as, not only the place to learn theatre, but also one of the better theatrical experiences in the region.

The award-winning Evans, who holds a Hollins master's degree in fine arts, handed director Sophia Menconi, a freelance director from D.C., a complex, often-difficult, sometimes touching, occasionally hilarious script to be produced with student actors. And it turned out beautifully. Every aspect--from the burgundy clothing, to the finely-tuned lighting, to the backstage crew, to the marvelous acting--worked beautifully, professionally. 

The play, something of a Cyrano de Bergerac derivative at its core, actually has three plotlines: a confused love story, a story of sports competition and a story of internal news ambition. Suffice it to say they overlap and dovetail conveniently in the end, but along the way, we were treated to some first-class acting and interpretation of the writer's intent. Standing out in a big cast were the non-stop-talking Sadie McGuire, the flexible and very funny El Rowland and the hateful Elani Spencer. Each played her part to the maximum and they supported the primary love story, the softball story and the newspaper line, which might have been diminished without them. 

Hollins is ranked high among colleges/universities in the U.S. with its theatre arts department and this show gives you an inside glance of just why. And if you're wondering why my grandgirl wants to eventually wind up at Hollins studying theatre, this play and next week's "Chrysallis," written by Roanoker and Hollins master's grad Gwenyth Strope will leave you with no questions at all.

 Trish White-Boyd Won't Run for Council Again

My long-time friend Trish White-Boyd, who has served on Roanoke City Council since 2021 (two years as vice mayor) told me this morning that she will not run for City Council again. It is a hard job, she says, one that takes a lot out of the members of the elected body.

She recently lost a bid for state senate to an empty-suit, well-funded Republican candidate and that apparently whetted her appetite for higher office. "I've really enjoyed Council," she related in an email. Future political plans are uncertain, she says. 

Whatever her decision, she has my vote. Trish is bold, creative and strong, but, she says, "I'm not quite as liberal as a lot of people think." The Republicans threw a lot of money at her Senate opponent, while the state Democratic Party all but ignored Trish until the last 10 days or so of the campaign. She would hope to reverse that trend should she run again. She lost by a hair.

It is significant that Trish is leaving because Mayor Sherman Lea recently announced he will not seek re-election. 

My First Book Is a Quarter Century Old

I had almost completely forgotten the existence of my first book, "From Here to There," which I put together to support the Virginia Museum of Transportation (I was on the board). I found it two days ago in a box in the basement and put it aside. Then I gave a copy to a friend for her birthday and took a look at it before presenting.

Jeez! It's good. Like, really good.

This is a compilation of nearly 50 stories by Virginia writers (and non-writers, mostly my friends) with the theme of transportation somewhere in the stories. Beth Macy wrote about carrying her baby, others wrote about hot cars and trucks, planes and boats and trains and the like.

The stories are personal, funny, profound, enlightening and just get-it-off-your-chest cool. The book is out of print (I think we ran 5,000 of them) and I suspect the Museum doesn't have any left. I have one box and I'll hoard it for selective presents.

It was compiled (I edited, wrote and photographed for it) in 1998, so it's 25 years old. Not hard to imagine, but difficult to believe.

Cast takes a bow at the end of "Elf the Musical."

 'Elf' Captures the Mood of the Season

Mill Mountain Theatre has pulled a thoroughly entertaining production out of the movie theater to enter kids of all ages in its Christmas production "Elf the Musical."

The production runs through Dec. 23 and you can get tickets at 540-342-5740 or online at millmountain.org. Tickets cost $26.50-$48.50. Last night's production was nearly full and it appears the remainder of the run will be heavily attended.

"Elf" is the story of a baby who accidentally slipped into Santa's bag and left for the Clauses to raise as an elf and not a human. He finally discovers his humanity and sets off to find his father (his mother has died), a high-level business executive. Buddy the Elf is a bit over the top as he moves through the humans he encounters, including the young woman he falls in love with. Buddy was famously played by Will Ferrell on the silver screen and is portrayed with the proper amount of outrageousness on stage by professional Jarrett Jay Yoder, who all but carries the production with his singing, dancing, and nutty behavior. The children in the audience loved him.

The noteworthy choreography was directed by Hector Flores Jr., who recently was choreographer for the popular "Matilda" at Mill Mountain. I was thoroughly taken with the tap dancing, which stole the show several times. Jimmy Ray Ward's scenic design was, as always, quite effective and Marissa Danielle Durecko's costuming was eye-catching. 

As with most of MMT's large-scale musical productions, "Elf" was populated with a mixture of professionals and locals, mostly children. Ginger Poole was the artistic director. Get the full cast/crew credits here: Elf the Musical (marquee.digital)

Times Columnist Dan Casey speaks to a group of Roanoke Writers recently.

 The Ups and Downs of The Roanoke Times

The Roanoke Times, our region's only remaining daily newspaper, has its good days and its bad days, often leaning heavily toward the latter. Today, it had both, mostly because there was too much news to cover with too little staff, especially in sports. But it gave a gallant effort.

Let's begin with the laudable. Dan Casey's Page 1 column (which always fits nicely here) was about a Hollins Baptist Church long-time member who was denied burial in the church cemetery. Dan told us the church finally relented. Jeff Sturgeon's cover story was about LewisGale Medical Center getting in trouble with federal regulators over its treatment of a dead body. Both good stories, hidden from us, dug up by superb reporters. Let me add that Sturgeon also had a newsy business column with items nobody else had.

Mark Berman, a sportswriter whose work ethic could never be questioned, had an excellent--day late because of deadlines--story on Virginia Tech's women's basketball team's loss to Caitlin Clark of Iowa (Tech beat Iowa, but lost to Clark, which a lot of teams will do). He also had a story on the state cross country championships at Green Hill Park in Salem. The latter is puzzling because cross country is a minor sport and high school football was in full swing over the weekend with only Patrick Henry's upset loss to William Fleming (Roanoke's two city schools) being covered. Weekends like this are why papers have stringers, and you can get them cheap or free.

Not reported in The Times by either Times staffers or sister papers in nearby Charlottesville and Lynchburg were games played by unbeaten Division I college teams James Madison and Liberty, both of which are undefeated. JMU, because it is new to D1, is not eligible for a bowl, which is causing quite a ruckus in some quarters (including ESPN, which will be host for its Gameday in Harrisonburg Saturday).

Notably, The Times did, indeed, cover the HBCU's Central Intercollegiate Athletic Association playoff game at Salem Stadium, which drew a sizeable crowd. 

I was taken aback with The Times' Book Page, which used to be farmed out locally to good freelance editors. It is nice that it exists; it is sad that it was written in Minneapolis and contained not a single review--not one--of any of the many good books by authors who live in this region, especially Roland Lazenby's "Magic," which was just released and is superb. It will be a national bestseller. 

Also not covered by a local reporter were high school playoff football games involving Lord Botetourt, William Byrd, Christiansburg, Alleghany, Radford, Glenvar and Salem, among others. All had brief mentions, but not full coverage. The Times did have a by-lined story on Jefferson Forest, which is just outside Lynchburg and not in The Times' circulation area. The coverage was from the Lynchburg paper. It did not cover North Cross, a Roanoke County private school which won the state championship.

And finally, The Times, regardless of whatever else it does or doesn't, manages to get a smiling photo of Gov. Glen Youngkin, even though this week he has little to smile about, since he was repudiated roundly in Tuesday's elections.

Let me say emphatically that I understand the problems at our daily paper and I appreciate their laudable efforts to overcome them with often-herculean efforts. The news did get covered; the sports did get covered; the weather always gets over-covered, but Sunday papers like today's tell us in emphatic terms where we are with news coverage and remind us of where we were. And one little side note: The online publications that get so much attention these days--Cardinal News and the Roanoke Rambler--don't have weekend editions and even if they did, they wouldn't be covering the games, the book reviews, or much of the timely news covered in the daily paper.

 

Star Mamie Parris (center), who wowed the MMT audience, takes a deserved bow.

'Bright Star' MMT's Best in Quite a While

I have been accused of overpraising theatrical productions upon occasion, but I doubt that will happen as regards Mill Mountain Theatre's current play, "Bright Star," co-written by comedian Steve Martin (with Edie Brickell).

 This is a cultural bubble bath that cleanses completely. It has the stars (especially New York stage veteran Mamie Parris in the lead), the production team, the director, Christiansburg native James Moye, another New York veteran, choreographer Nick Kepley, an Asheville native, scenic designer Jimmy Ray Ward and many more to make this show almost singular in its depth and breadth of quality.

This story, set in and around Asheville, N.C. (my hometown), in 1923 and 1946 (my birth year) had a special, personal impact on me because of so many similarities to my own life. It was an emotional evening, especially sitting there with my grandgirl, Mac, bursting to tell her my story. But there is so much more to "Bright Star" without the personal attraction. Though I have never been a fan of Steve Martin's theatre work (he's a great comedian and actor), this story, based on true events, is gripping.

Miss Parris all but brings down the house with her show-stopping final song and carries a strong cast with her. The quality extends throughout those on stage and those behind the scenes. I've always had the impression that when the play is great, the staff works at its top rung to bring that out on stage. It certainly happens with "Bright Star."

The story is a powerful drama, but it mixes comedy, music and dance and never seems to be as long as its 2.5-hour run time suggests. It tells the tale of a young country girl who becomes pregnant in 1923 and is not married, though she intends to wed her lover. That all falls to pieces when the young man's father removes the baby and catastrophe ensues.

I won't go further in order to preserve the surprises, but rest assured, this one is worth your time and your investment. It is MMT at its best.

For tickets, call the box office at 540-342-5740. They cost $26.50-$48.50.

 

The massive cast takes a bow at the conclusion of "Oliver!"

Community Theatre at Its Community-est

You had to get a strong hint by reading the Playbill at last night's performance of "Oliver!", Attic Productions' version of the 1960 musical by Lionel Bart.

Right there under "production staff" was the credit for "Kid Wrangler," occupied by one Alix Groth, who was uniquely qualified as the parent of four children in the show (Calla, the 6-year-old who chewed the scenery with preciousness, Eden, Emery, a fine Artful Dodger, and Judah). 

In perusing the credits, you would also discover that Katerina Yancey, who lives in Fincastle, where the theater is located, is noted  for her direction, in addition to marketing, set design, lighting design and poster/playbill art. Multiple job titles is a rallying cry for those in community theatre.

Like so many community theater productions, this version of "Oliver!" had both its charm and its amateurism wrapped in a single package. Microphones didn't work, actors mumbled or failed to project, scenes/songs were over-long, some singing voices weren't strong enough even when amplified. But those were offset by occasional striking performances (Madolyn Wurth's professional level singing, especially "As Long as He Needs Me"), energetic Calla Groth who drew an unusual number of "awwwwwww"s. Katerina Yancey's work on the sets and lighting were solid and her direction--with those 20+ kids and a cast of more than 30--was eyebrow-raising.

I want to make special note of the costuming team of Marsha Campbell and Heather O'Bryan, who had to outfit a cast that would be big for two plays. Their work was noteworthy.

Ultimately, it is community theater, and its failures are as easy to forgive as its successes are to savor. There were plenty of both.

The show is scheduled Thursdays and Fridays 7:30 p.m., Saturdays 2:30 p.m., through Sept. 3. Tickets are $18 for adults, $15 for groups or those younger than 18. Group rates are available, as well. Call 540-473-1001.

Mill Mountain Theatre filling up last night.

An Timely Look at a Little Girl and Books  It was a rollicking, laughing, boisterous nearly full house at Mill Mountain Theatre last night as MMT’s children and professionals let loose with their production of “Matilda the Musical.” It was a truly local production of the Roald Dahl work with 25 young actors bouncing, dancing and singing their way to crowd approval last night, as the play heads into its final weekend.  The busy group followed the choreography of Hector Flores, Jr. Flores Jr., who previously directed “In The Heights” at Mill Mountain Theatre.  For ticket information, visit millmountain.org or call the box office at 540-342-5740.  It is an especially appropriate production at this time in our region because libraries and books are being attacked and Matilda is a little girl of considerable intelligence (whether to be smart or pretty is a consistent theme) who loves books. (Thank you, Mill Mountain, for this gift.)  This is the story of Matilda’s question for education, which is supported strongly by her teacher, Miss Honey, and equally strongly opposed by the school’s head mistress, Miss Trunchbull, an outsized, hilarious, mean character who nearly steals the show several times.  Children love the absurdity of this presentation and laugh vigorously at Miss Trumchbull.  The Tony Award-winning play features stage veterans such as Ben Armstrong (Doctor/Ensemble), Alivia Brown (Ensemble), Carter Cecil (Ensemble), Drew D’Alessandro (Tommy/Ensemble), Rory Grant (Bruce), Emma Harvey (Ensemble), Elise LeGault (Ensemble), Sylvia MacNab (Ensemble), Eve McLoney (Alice), Belle McNamara (Amanda), Caroline Moledor (Mrs. Wormwood), Riley Parks (Ensemble), Ruth Parsons (Lavender), Amelia Raring (Matilda), Jadyn Rhodes (Ensemble), William Richardson (Ensemble), Ellen Riegger (Mrs. Phelps), Brent Saunders (Eric), Ruby Spence (Trunchbull), Jack Swank (Nigel), Natalie Thorell (Hotensia/Ensemble), Ann Marie Thorell (Ensemble), Lilah Vanke (Miss Honey), Holden White (Michael Wormwood), DeMarion Williams (Escapologist/Ensemble) and Cameron Wimbish (Mr. Wormwood).   Filling out the creative team for “Matilda the Musical” is Ginger Poole (Producing Artistic Director), Héctor Flores Jr. (Director/Choreographer), Bethany Costello (Music Director), Will Farris (Production Stage Manager), Tyler Osgood (Rehearsal Stage Manager), Ashlinn Blevins (Assistant Stage Manager), Jimmy Ray Ward (Scenic Designer), Addie Pawlick (Lighting Designer), Sarah Holsted (Props Designer), Jessica Gaffney (Costume Designer), Savannah Woodruff (Sound Designer) and Matt Shields (Director of Production). A digital program is provided by Marquee Digital.

 

 

 

 

 Mac and I go to the theatre

It was a lovely evening yesterday as my grandgirl, Mac (the artist formerly known as Madeline), settled into our seats (J 101 and J 102) at Mill Mountain Theatre for our first theatrical appearance in quite a while. Mac bought a new dress for the occasion and I wore the same old me, and we both enjoyed the heck out of the evening.

Mac wound up schooling me on theatre arts (I've only been reviewing theatre for 40 years, so I have a lot to learn) and enthusiastically talking about how much she wants to join the local theatre companies in the Roanoke Valley as she readies for college. 

Here are some photos of us (mostly her for obvious reasons).

Nice day for a big trout from the Roanoke River on the Greenway.

Extended Roanoke River Greenway 

Slowly Becoming Spectacular

It will be a few more months before the Walker Foundry extension of the Roanoke River Greenway will be ready for hikers and bikers, but in its present state, it is quite lovely, thoughtfully planned and a breath of fresh air.

I stepped over the barriers today and took about a mile walk to the rust-colored bridge at the end of the present extension and found (along with some other hikers) the new section--which meanders through ugly industrial property--to be quite the contrast to its neighbor. Those planning and delivering the plan have thought carefully about what hikers and bikers will have to look at along the route and they have shielded, to the best of their abilities, much of the industry along the way. It is a truly good addition to a solid greenway system in the Roanoke Valley. 

The photo above is in the Wasena Park area and those below are of the extension.