Cadence Partners with VisArts

No Comments 07 November 2017






Cadence Theatre Company is pleased to be a community partner of the Visual Arts Center of Richmond’s 53rd annual contemporary craft show, Craft + Design, presented by Altria Group. This year, the show, which takes place Nov. 17-19, moves to a new location—historic Main Street Station’s newly renovated train shed—and doubles the number of participating artists.

More than 130 artists will exhibit at Craft + Design. Be sure to check out jewelry artists Laura Wood and Meghan Riley, sculptor Evan Chambers and wood artists Alicia Dietz and David Bohnhoff. 2016 award winners Ashley Buchanan, Sean Donlon, Andrea Donnelly, Daniel Rickey, Caitie Sellers, and Wendy Stevens are returning. Ignatius Creegan, a longtime Richmond favorite, is also back this year.

This year’s featured artist is North Carolina-based jewelry artist Tara Locklear. She uses recycled skateboards, cast cement and Durat, a post-consumer countertop plastic, in her work and has exhibited at contemporary craft shows sponsored by the American Craft Council, the Smithsonian Museums and the Philadelphia Museum of Art.

Cadence Theatre Company members get a 25 percent discount on Craft + Design tickets when they use the promo code CADENCECD17. The discount is good on Patrons’ Preview Party tickets, Rise + Shine tickets, general admission tickets and weekend passes.

Craft + Design kicks off with its McKinnon and Harris Patrons’ Preview Party on Friday night from 6 to 9 p.m. Tickets are $55 and include drinks, hors d’oeuvres and the chance to shop early. Hardywood Park Craft Brewery and Belle Isle Craft Spirits will be on site, serving up tried-and-trues like Gingerbread Stout and his and hers specialty cocktails. Enjoy bluegrass music by South Hill Banks. The band recently took home the FloydFest Music Festival’s 2017 “On the Rise” Award. When the party winds down, head over to Shockoe Atelier for the after party, hosted by Craft + Design’s local makers and VisArts’ young professionals board.

The Rise + Shine Breakfast runs from 9:30 to 11 a.m. on Saturday and a ticket includes mimosas and bloody Marys, a light breakfast and another chance to get into Craft + Design ahead of the crowds. Doors open to Cadence Theatre Company members beginning at 9 a.m. Richmond magazine brings you interior designer Amanda Nisbet, who will give a talk on incorporating craft into your home and sign copies of her book, Dazzling Design. Tickets to Rise + Shine are $30.

General admission shopping hours are from 11 a.m. to 5 p.m. on Saturday and continue on Sunday from 11 a.m. to 5 p.m. Those tickets are $10.

Want to come and go all weekend? A weekend pass includes access to Patrons’ Preview and Rise + Shine, unlimited re-entry during general admission shopping hours and free parking. Weekend passes are $80.

Valet parking is available Friday night. On Saturday and Sunday, park in the parking deck at the corner of 14th Street and Main Street, less than a one-block walk from the train station.



Cadence Receives 50/50 Award

No Comments 26 September 2017

For the third consecutive year, The International Centre for Women Playwrights (ICWP) awarded Cadence Theatre Company in partnership with Virginia Repertory Theatre its annual 50/50 Applause Award. The ICWP 50/50 Applause Awards celebrate theatres promoting women playwrights in 50% of their season. Read more in ICWP’s press release:


2017 iconInternational Theatre Awards for Gender Equity – 50/50 Applause Awards

The International Centre for Women Playwrights celebrate theatres promoting women playwrights in 50% of their Season!

NEW YORK, NEW YORK, USA, September 20, 2017 

The 2017 International Centre for Women Playwrights (ICWP) 50/50 Applause Awards celebrates gender parity for women playwrights at 58 theatres throughout The United States, Canada, Australia, Germany, United Kingdom, Singapore, and Tasmania.

These 58 recipients will receive the prestigious 2017 50/50 Applause Award, for producing 50% or more plays by women playwrights in their 2016/17 season. 

The major criteria for the awards in 2017 were that a theatre had to have three or more productions, both male and female playwrights in their season, and at least 50% of the full-length plays and performances must be the work of female playwrights. 

For the 2016-17 season, approximately 32% of the qualifying theatres are repeat recipients.. Awardees range from community and college theatres to internationally renowned public theatres. HERE Arts Center in New York City has received the award for five years running and USA companies Off the Wall Productions, Carnegie, PA, and the Latino Theatre in Los Angeles, CA for four years running.

According to a 2015 study by the League of Professional Theatre Women (LPTW) “Women Count: Women Hired Off-Broadway 2010-2015”, women playwrights were produced 28%-36% of the time. The UK’s Purple Seven study “Gender in Theatre” of 2012-2015 seasons, reported 28% of playwrights were female. 

In France, a five-year research project by activist group “ Où sont les Femmes?” has revealed a bleak picture for female dramatists, prompting the Department of Culture to draw up an action plan for gender equity. Theatres that receive public funding were highlighted, as they have a responsibility to taxpayers to spend public funds fairly. 

The activism of the Kilroys and other groups like the Los Angeles Female Playwrights Initiative (LAFPI) came in the midst of an uproar surrounding a 2015 study called “The Count,” funded by the Lilly Awards, which honor the work of women in American theater, and the Dramatists Guild of America. 

A similar outcry erupted in Ireland, in 2016, when the Abbey Theatre, Ireland’s national theatre, launched its programme to mark the centenary of the 1916 Rising; only one out of the ten plays programmed were written by a woman. The campaign #WakingTheFeminists was born from the fury of female and male professionals protesting the biased selection. 

More women have had one-time productions of their shows in 2016. In fact, on April 13 and 23, 2016, the Royal National Theatre in London, UK, had plays by women on three stages on the same night. But, there is the continuing difficulty of achieving second and subsequent staging of their plays, which is a roadblock to development. 

Worldwide, there is still a disparity in the size of theatre venues, production runs and stages that women playwrights are given compared to male playwrights. The Kilroys are exploring how they can help begin careers and how they can help sustain them. Theatres researching plays by contemporary female playwrights can look at the Kilroys List, the 49 List, the New Play Exchange, and Treepress.com for more information. 

50/50 Awards Co-chair Patricia L. Morin stated:

“The economic, development and career outcomes for female dramatists are severe when there is no equal opportunities policy being pursued. The current situation is economic discrimination. Until there is positive action, the world’s theatre stages will continue to promote the male imagination and female voices will remain unheard, to the detriment of the wider society.” 

Here are the 50/50 Applause Award recipients for the 2017 season. 

Alberta Theatre Projects, Arena Stage, Arts Club Theatre, Aurora Theatre Company, Borderland Theatre, Book It Rep Theatre, Cadence Theatre Company (in partnership with Virginia Rep), Carousel Theatre for Young People, Center Stage, Central Works, Checkpoint Theatre, City Theatre Company, Company One Theatre, Curious Theatre Company, Dreamcatcher Repertory Theatre, Entity Theatre, Globe Theatre, Great Canadian Theatre Company, HERE Arts Center, History Theatre, Imago Theatre, Key City Public Theatre, Know Theatre of Cincinnati, Latino Theater Company, Manhattan Theatre Club, Marin Theatre Company, Mildred’s Umbrella Theater Company, Northlight Theatre, Off the Wall Productions, Open Stage of Harrisburg, Pacific Theatre, Plan-B Theatre Company, PlayMakers Repertory Company, Playwrights Horizons, Prairie Theatre Exchange, Public Theatre, Rep Stage (Howard Community College), Round House Theatre, Royal Court Theatre, Royal Manitoba Theatre Company, Seattle Repertory Theatre, Signature Theatre, South Coast Rep, State Theatre Company of South Australia, Storycrafter Studio, Tasmanian Theatre, Teatro Paraguas, The Belfry Theatre, The Bread & Roses Theatre, The Kingfisher Theater, Theater Alliance, Theatre Passe Muraille, University of Nebraska Omaha Theatre, University of Tennessee at Chattanooga Theatre Co., Victory Gardens Theater, Windy City Playhouse, Yale Repertory Theatre

View the 50/50 Applause Awards 2017 video, which showcases photos from over thirty theatres and a selection of their female authored plays on Youtube – https://youtu.be/ylBqH-nfohY

About ICWP: 

ICWP started in 1988 with a mission to support women playwrights worldwide and bring attention to their work. The ICWP 50/50 Applause Awards were founded in 2012 to increase awareness and applaud theatres that produced a season with an equal or greater number of plays written by female playwrights.

Learn more about ICWP


Education, Onstage

4th Wall Reviews Fun Home

No Comments 26 September 2017


4thwall_darrenTheatre Review:  Fun Home

by Darren Bradley

Fun Home is a Tony Award-winning production that is an adaptation of Alison Bechdel’s graphic memoir. Cadence’s production of the show opened on September 9th, and has been extended to October 15th. The show tells the story of Allison Bechdel growing up in the Bechdel Funeral Home which is own by her dad. This show is well done by putting the audience in the perspective of the performers, literally, and showing them the life of these characters. The role of Allison is played by three separate people who represent her childhood, teenager, and grown-up version of herself. Violet Craghead, Elizabeth Wyld, and Becca Ayers respectively. It tells the intriguing story of her life growing up with a gay father and her coming into her own light of sexuality. The story takes you on a wild roller coaster that one can never forget.


4thwall_elleTheatre Review:  Fun Home

by Elle Lockett

Fun Home was thrilling and relatable from the very beginning. Alison Bechdel’s description of a “perfect” family interlaced with Alison’s current perspective and knowledge of the many situations her younger self had gone through were hilarious, sweet, and revealing. Under the direction of Chase Kniffen this show flourished with upbeat, happy dance based numbers, such as “Raincoat of Love” that sharply contrasted with the more solemn, serious songs like “Telephone Wire” and “Edges of the World.” The show gave me a new perspective on growing up and the influence a father can have on his children. Virginia Repertory Theatre did a fantastic job showing how Bruce’s actions forever altered Alison’s life.

One of my favorite aspects of this show was the onstage seating. I think that it’s a wonderful way to arrange Virginia Repertory Theatre’s Theatre Gym and a wonderful way to play towards all parts of the stage. This gave the audience the opportunity to feel as if they were in the home itself. While sitting on stage left I felt included in every scene and that I was never subjected to starting at the actors’ backs. In fact, some scenes were played more towards the on stage seating. This can be seen when Roy and Bruce are upstairs alone or at the end of “Edges of the World.” All together the arrangement of this set was clever and inclusive to all audience members..

Duke Lafoon’s performance was groundbreaking. When dealing with an extremely complex character, like Bruce,  he was able to show the patterns of cheating and the beginnings of insanity with perfect clarity. I was not once confused when trying to understand his objective, except for the overall why he killed himself; however, I think that is the thinking point of the show. It’s a question that was swimming around in my head all day.  

In short Cadence Theatre’s production of Fun Home was thought-provoking, meaningful, and realistic. The show was supported and empowered by a strong message of how your life can change other’s. The experience was highly enjoyable and cathartic, just as expected from the idea of adding a monumental musical like Fun Home, to Cadence Theatre Company’s and Virginia Repertory Theatre’s amazing cast and crew.



Theatre Review:  Fun Home

By Eden Johnson

Fun Home is a biographical musical about the life of cartoonist and LGBT activist Allison Bechdel. It weaves through many different parts of her life and her journey of self discovery. While she is realizing her own identity, her father waivers between suppressing and experimenting with his own sexuality, which drives him into depression.  Mr. Bechdel’s struggles, and eventual suicide changes the Bechdel family’s future, as well as their own memories of their past.

The narrative is told through Allison’s eyes at different stages of her life: childhood, the college years, and as a present-day adult. As all three figures recount her story, adult Allison narrates with hilarious comments and gripping insights about what was really going on as these events unfold.

The role of Allison Bechdel is marvelously played by Broadway veteran Becca Ayers (Les Miserables, The Addams Family, Avenue Q). Ayers gets the humor, emotional torment, and complexity of this character. I truly connected with Allison Bechdel throughout the show. Ayers perfectly delivers every comedic line and will have you in stitches at times. The actor who played Bruce, Duke Lafoon, was perfectly cast in his role: you could slowly see Bruce crumbling to pieces as the show progressed. Overall, I believe that everyone was expertly cast and each actor brought something important to the show.

The set was another standout part of the show. The intimate theatre had onstage seating, and pieces of the set were in the audience. The “surround sound” orchestra (split between two pedestals) was wonderful, but could get a little loud at times, especially for seats directly in front of the drums. Allison’s drawing desk was in the aisle, which is a wonderful idea for people on end seats, but people off to the side or in the front had obstructed views during certain scenes in the show. I did enjoy how a lot of the scenery was done using lighting. The crew projected images of Bechdel’s drawings on the wall so they didn’t have to fill their limited space with a bulky set. Any visibility issues were outweighed by the artistic benefits of distributing the set beyond the stage.

Finally, I have to talk about musical numbers, because Fun Home is a musical. Every number in the show was wonderfully executed. Becca Ayers, Duke Lafoon, and Andrea Rivette (Helen) all delivered beautiful emotional ballads, but the songs involving the young actors were the showstoppers.Ring of Keys is my personal favorite because it shows the moment when Little Allison realizes she likes girls. Violet Craghead-Way (Little Allison) has such a powerful voice coming out of her tiny frame! I also enjoyed “Come to the Fun Home”, the song where the kids create an imaginary ad for the funeral home that was reminiscent of The Jackson Five. It was full of such energy and joy, despite the subject matter, that it made me want to get up and dance.

Don’t miss your chance to see Fun Home at Cadence Theatre! It is  approximately 90 minutes long and is recommended for ages 15 and up for language, thematic elements, and some sexual content.



Theatre Review:  Fun Home

by Maya Jenkins

Fun Home. Fun Home is musical. It is a musical that is humorously depressing. It is tragically beautiful. It is familiar, yet a stranger. Fun home is a show. It is a show that I most likely will never forget.

This interactive story is about Alison (Becca Ayres), a butch 43-year old woman, who is retelling and rethinking her past for her graphic novel. The majority of Fun Home revolves around her connection to her father, Bruce Bechdel (Duke Lafoon), and the Funeral Home her family, Helen (Andrea Rivette), Christian (Brandon McKinney), and John (Cole Johnson), lived in. The story primarily focuses on her fluctuated relationship with him from them both being gay, and his suicide when she was a young adult.

This wasn’t my first time in Cadence, but as soon as I walked in with my ticket, I was no longer where I was outside of the theater.  I walked into the Bechdel Funeral home, in rural Pennsylvania. I was greeted by burgundy curtains and antique lamps. The walls that I once knew to be black brick, now wore yellow, floral wallpaper. Cadence is a theater that is already intimate but the scenery and lighting, lead by Daniel Burgess and and Joe Doran, consumed me. This was different than any other show I’ve seen at Cadence because there were people on stage as well as actresses and actors in the traditional audience. Characters often watched  alongside audience members, as if we were experiencing the same thing. From the set looking so realistic, the funeral home was more than “cozy.” It was almost trapping as many of the characters were in this show. At times when I saw the characters imploding on themselves, I felt the theater getting smaller. Various Alisons’ were trapped in the idea of what her father wanted her to be. Helen (Andrea Rivette), her mother, was trapped in a loveless marriage. Bruce (Duke Lafoon) was trapped in a man who did not embody his true sexuality.

The band serenaded from the balconies above, and will probably be the cause of endless humming for the next few weeks. Below them we saw these perfectly executed flawed characters. This musical is unique in the fact that three people played the same character, but at different stages of the character’s life. Because all the Alisons presented themselves as one, I periodically had to remind myself that they were separate. All the Alisons  seemed bonded through experience, however each actress gave a diverse flare to which stage they were playing. Violet Craghead-Way, who played Little Alison, gave such a mature role a youthful touch that brightened the stage. Elizabeth Wyld, who played Medium Alison wore a familiar awkwardness on every phrase and hand gesture that everyone could relate to. Becca Ayers, who played Big Alison presented the most vulnerable side to her character. We could see her inner emotions crypted on her face, projected on the wall from her book, and through her captioning in the graphic novel. We were all watching her characters life drifting past us like it was drifting past her. As she was retelling and rethinking her history for her book, so was I. When Ayers looks at the audience, she did as if we were good friends. She told the story as if she was telling it to herself. I could see Helen’s (Andrea Rivette) frustration from her dying relationship  with her husband in this funeral home.  Duke Lafoon (Bruce) showed his character’s slow death, from his lack of knowing who he was.

This musical is wildly unique. Not everyday do I come across a story narrated by a lesbian graphic novelist. Not everyday do I watch a musical on a woman’s journey of truly being free through reviewing her past with father, who was a closeted homosexual, mortician. Not everyday do I even see three characters playing the same one. Fun Home is immensely different.

One of the first lines in the show by Big Alison  was “My dad and I were nothing alike…. My dad and I were everything alike.”  I couldn’t name even a subtle likeness between me and Alison’s life. However in that theater, I felt like we carried all the same similarities, as if we carried the same life. Sometimes as I watched Alison watching her life and smiling, I saw a audience member beside her smiling the same way. Every person in that theatre shared something. We shared an experience. We shared the knowledge of her experiences. Even though Alison’s situation was not like many the core meaning of her journey is universal. As I heard Medium Alison sing “I’m changing my major to Joan,” I thought of all the people who have been so infatuated with someone that they have analyzed the knowledge of that person in an truly scientific manner. I felt a connection to  Little Alison when I heard her singing  “La la la la” over her parents arguing, because we all have  wanted to drown out the noise of awful things surrounding us, When I saw Bruce’s “identity attack” near the end of his life, I thought of how relatable it was to see a person not knowing who they are because they have tried to be someone they are not for a very long time. This musical was sad a times but happy at others. Behind the smiles and humorous moments, their was true meaning.

Art is suppose to unite us when it’s hard to find something to bring us together. Theater to me is storytelling in which we can gravitate toward people who are nothing like us from shared experiences. Theater to me is an artistic representation of progression. When we can see ourselves in our worst enemy, it is so much harder to hate them. When we can see ourselves in characters involved in the French Revolution, curious adolescents tragically discovering their sexuality at a religious boarding school in nineteenth century Germany, or immigrants living in Washington Heights, it brings the human race together. Theater shows that we are more alike than unalike. That is what Fun Home did. Alison is a Butch graphic novelist. She is the daughter of a funeral director in rural Pennsylvania, who was gay and committed suicide. Also, Alison is just a person who is trying to get self understanding through her journey to freedom. I see myself in Alison. Do you?



Theatre Review:  Fun Home

by Samantha Game

Caption: From the intimate staging to the truly beautiful direction done by Chase Kiffen, Fun Home is sure to amaze and astonish all audiences. Written by Lisa Kron and Jeanne Tesori, Fun Home is both a heartwarming and heart wrenching autobiographical musical that follows Alison Bechdel, a middle-aged lesbian cartoonist, as she recalls memories from two time periods in her broken past: one being her 10-year-old self and one being in her first year of college.  This honest story focuses in on what it is like to be part of a highly dysfunctional family and opens up conversations about subjects such as sexuality, infidelity, and death.

Becca Ayres brilliantly effuses a sense of rawness while portraying Alison.  Her technique paired with her extraordinary vocals is sure to move any audience. Likewise, the innocence displayed by both Violet Craghead-Way (Small Alison) and Elizabeth Wyld (Medium Alison) give the audience perspective when telling the backstory to the facets of Alison’s personality and how that ties into who the character is as an adult. Also, Duke Lafoon (Bruce Bechdel) and Andrea Rivette (Helen Bechdel) both take a truthful approach to their characters, which is highly important when portraying such emotionally-charged people.

The intimate performance space was perfect for this show and the staging was sublime. Perhaps the best part of this interpretation of Fun Home was the splendid use of the projections, however. Since this show is based off of a comic book, Joe Doran (Lighting Designer) took to projecting drawings of paintings, signs, and other objects that would typically be set pieces, onto the set.  This stellar idea is a smart way to give this show an artistic touch.

To conclude, this breathtaking show is a must-see, as it is sure to resonate with all audiences.


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