Scene Change

Richmond’s live performance troupes undergo a re-blocking

by

Stage & Screen

This article has been updated since it first appeared in print.

This fall marks a season of transformation for Richmond’s theaters. Many organizations are welcoming new faces at the helm. Some are working to recover after financial struggles. Others are exploring new venues and ideas. 

These shifts follow several challenging years for the performing arts, locally and beyond. In 2020, theaters were forced to shutter as the COVID-19 pandemic rippled across the globe. When they reopened, audiences didn’t immediately return. Drastic declines in ticket sales made it even more challenging to resume operations. 

“The post-COVID experience was almost more harrowing than the shutdowns,” says Nathaniel Shaw, executive director at Firehouse Theatre. “Those of us who work at these institutions are theater lovers, and we assumed audiences wanted to get back into the playhouses as eagerly as we did. That simply wasn’t the case. It took a couple years for people to get back in the habit.” 

Recovering and Rebuilding 

Some theaters are still finding the way forward. In May, Chesterfield’s Swift Creek Mill Theatre announced its decision to pause operations. An anonymous donor had been assisting in covering the theater’s costs since 2006, but that arrangement ended as planned in 2020. Then, a flash flood in August 2020 caused nearly $200,000 in damage to the building.  

While state and federal relief funds helped the organization weather COVID-19 impacts and individual donations have been on the rise, the theater notes in a statement that its operating model has not been financially sustainable and that recent years have ended in deficits. During its operational hiatus, the entire staff, except for Managing Director Steve Koehler, has been laid off.  

Koehler and the board are using the time to assess the theater’s options and find a more sustainable path forward, beginning with focus groups and surveys to better understand audience members’ interests.  

“Generally, people love the Mill,” Koehler says. “They have a fond attachment to the building and the shows and the people. They are impressed with the consistent quality of our main-stage productions and love everything we do with our youth theater. 

“They’re a little more split on the shows that we’re selecting, and we need to do more marketing.” 

Recent support has included several fundraisers, including a costume sale in June and a benefit cabaret produced by Richmond actor Grey Garrett in August. The efforts and in-kind donations brought in $250,000; a second phase aims to raise an additional $250,000. 

As of press time, Swift Creek’s next steps were still unknown; a formal decision is expected to come after a board meeting in August. 

“The way our audience has reacted — through letters, phone calls and in donations — [it’s clear] they don’t want the Mill to go away,” Koehler says. “That vote of confidence is making me cautiously optimistic.”

Swift Creek isn’t alone in navigating financial hardship. Two years ago, Virginia Repertory Theatre announced it had a $1.7 million deficit and that it was at risk of closing. The community rallied, and, within weeks, more than 1,500 donors helped erase the debt. Virginia Rep sold its second location on Hermitage Road and refocused attention on its flagship Broad Street theater. 

Now, it’s in the midst of another transformation. 

Former Managing Director Klaus Schuller, who joined Virginia Rep just weeks before the budget shortfall announcement, recently returned to Chicago to serve as executive director of Porchlight Music Theatre. Virginia Rep has named Lynn Stirrup as interim managing director while the nonprofit organization searches for its next leader. She brings with her 30-plus years of arts administration experience in New York City.  

“[Stirrup’s hiring] shows the community, the staff, our patrons, that we are serious about this transition,” says Virginia Rep Artistic Director Rick Hammerly. “We want to make sure that we don’t stagnate, and that it’s a good handoff to the new managing director.” 

As interim director, Stirrup will be looking at everything from fundraising and marketing to new initiatives aimed at diversifying the organization’s artistic programming. “I’m a big fan of identifying where there might be potential to strengthen things in ways that are manageable and in line with the growth capacity that we have,” she says.

Experimenting and Exploring 

The annual Shakespeare Festival, a summer tradition long held at Agecroft Hall & Gardens, is also shaking things up. This year, some theatergoers were surprised to see performances of “The Complete History of America (Abridged)” take place at William & Mary in Williamsburg, while “As You Like It” was presented in the Sabot School’s Gillette Garden. 

Both Richmond Shakespeare and Agecroft assure audiences that this isn’t the end of their partnership. Rather, it’s a chance for both to explore new opportunities and ideas.  

At Agecroft, that has included engaging with other Shakespearean groups.In June, Elsewhere Shakespeare offered intimate performances in the sunken garden, and Good for Her Films held a screening of Baz Luhrmann’s “Romeo + Juliet” on the back lawn. The Staunton-based American Shakespeare Center and Richmond’s own Bardalicious group also partner with Agecroft to present family-friendly productions.  

“After more than 20 years of producing the festival in the same manner, we each had some ideas for new initiatives we wanted to try,” says Agecroft Executive Director Anne Kenny-Urban. “This summer has been a great opportunity for growth and learning for both organizations, and we look forward to exploring future opportunities to work together again.” 

Meanwhile, Richmond Shakespeare has been rethinking how it presents Shakespearean plays outdoors. “This summer’s production of ‘As You Like It’ allowed us to create a truly immersive experience where audiences were surrounded by the action in a beautiful natural setting,” says Richmond Shakespeare Managing Director Jase Smith Sullivan. “Rather than replacing one venue with another, we’re building a broader network of partnerships that allows us to bring classical theater to more communities in different ways.” 

Sullivan adds that the nonprofit is experiencing a period of change after the departure of James Ricks, who served as artistic director for eight years. This fall, the organization’s board is evaluating its long-term structure with an eye on sustainable growth.  

“We’re also interested in creating theater that feels immediate and immersive,” Sullivan says. This fall, that includes David Catlin’s adaptation of “Mary Shelley’s Frankenstein,” a production that relies on the five-person ensemble — rather than special effects — to create a haunting experience. Richmond Shakespeare is taking that concept one step further by transforming Virginia Rep’s Theatre Gym into an immersive environment that places attendees inside the world of the play. “I think audiences are going to be surprised by just how intimate and emotionally powerful the experience will be,” Sullivan says. 

Grounded and Growing 

Firehouse Theatre is also expanding its presence — in this case, with a second building at 1617 W. Broad St., just a few doors down from its primary playhouse. Firehouse acquired the space in late July and moved its administrative offices to the upper level. The ground floor will house a rehearsal studio and alternate performance venue, which will be shared by community partners. 

The bigger footprint is one of several changes that track with the organization’s growth since it merged with The New Theatre in 2023. In that time, Firehouse it has seen a 500% increase in admissions revenue and a nearly 300% increase in individual donations, and it has doubled its grant revenue. 

“Firehouse very purposefully invested in a higher quality of production and in artist compensation,” Nathaniel Shaw says. 

In July, the organization separated its leadership roles, naming Shaw executive director and installing Katrinah Carol Lewis as artistic director. 

“It’s been an honor to tell stories in this community, and I’m excited about my partnership with Nathaniel because we’ve been in dialog artistically for 10 years now,” Lewis says. “The executive and artistic functions need to hold hands closely in this kind of work.” 

For its 2026-27 season, Firehouse will produce four plays that create a conversation about what it means to be a citizen of the United States as the country marks its 250th anniversary. The productions also embody Firehouse’s ethos as a home for developing contemporary new works.  

“The size of our venue and being outside the harsh lights of a major market, like New York or Chicago, make us a great place to provide meaningful support to playwrights,” Shaw says. “That means any time you step into the doors of Firehouse, you’re seeing something you’ve never seen before — and in many cases, that no one has ever seen before.” 

He adds, “Richmond is an unusually rich theater town for a city of its size … or any size,” with a long history of supporting local artists and a vibrant and diverse talent pool. That combination sets the stage for innovation, whether a theater is creating new work, reimagining the classics or reinventing itself.  

As Sullivan says of Richmond Shakespeare, “Our job isn’t to make Shakespeare or other classics relevant — they already are. Our job is to present them in ways that allow audiences to experience them with fresh eyes. 

“People are looking for experiences they simply can’t have anywhere else. They want to gather together, laugh together and experience stories collectively.

Curtain Calls

Upcoming stage productions this season

ATLAS Partnership 

Cantankerous Grace and sophisticated Glorie gain new perspectives on life’s highs and lows in “Grace & Glorie” (Oct. 9-Nov. 8). The dramatic play is produced by ATLAS Partnership and presented at Hanover Tavern. hanovertavern.org 

Broadway in Richmond  

“Mamma Mia!” (Oct. 6-11) and “Hamilton” (Feb. 23-March 7) are the stars of a hit-filled lineup. Fall productions include “Dirty Dancing” (Sept. 22-27), “The Notebook” (Nov. 3-8) and “A Christmas Story: The Musical” (Nov. 27-29). All shows are hosted at the Altria Theater. Season subscriptions start at $190; “Mamma Mia!” and “Hamilton” are available as package add-ons. broadwayinrichmond.com 

Cadence 

Find out what happens when a hard-boiled New Yorker facing a midlife crisis adopts a stray dog during the Cadence theater company premiere of “Dog Mom” (Sept. 24-Oct. 11) at Firehouse Theatre. Tickets are $45. cadencetheatre.org 

Chamberlayne Actors Theatre  

CAT delivers the homespun charm of “Hollywood, Nebraska” (through Sept. 13) at Hanover Tavern. Tickets are $36. cattheatre.com 

Firehouse Theatre 

Explore the beauty, struggle and relevance of America’s 250-year history throughout Firehouse’s 2026-27 season with “Confederates” (through Sept. 6), “Floyd Collins” (Nov. 11-29), “What the Constitution Means to Me” (March 10-28) and “Press” (July 7-25). Season memberships are $320. firehousetheatre.org 

Henrico Theatre Company 

Follow the comedic misadventures of the Little Sisters of Hoboken in “Nunsense” (Sept. 11-27), a show billed as “habit-forming.” Then, check out the charming tale of “The Cricket on the Hearth” (Nov. 6-22), based on the story by Charles Dickens. Tickets are $12. All shows are hosted at The Cultural Arts Center at Glen Allen. artsglenallen.com 

Modlin Center for the Arts 

University of Richmond’s Modlin Center for the Arts kicks off its 30th anniversary season with the one-man show “All the Devils Are Here: How Shakespeare Invented the Villain” (Sept. 3-4; tickets are $35). It’s followed by a staged reading of “The Thanksgiving Play” (Sept. 18-19; free). In November, set sail for an enchanting and captivating tale with Shakespeare’s “The Tempest” (Nov. 12-15; free). modlin.richmond.edu 

Perkinson Center for the Arts & Education 

A young orphan’s snowman comes to life, and the two set out on a journey through New York City in “Frosty: A Musical Adventure” (Dec. 17). The Barter Players, based in Abingdon, present the production at the Perkinson Center’s Jimmy Dean Theater in Chester. Tickets are $17 to $43. perkinsoncenter.org 

Richmond Shakespeare 

Richmond Shakespeare’s fall production — David Catlin’s adaptation of “Mary Shelley’s Frankenstein” (Oct. 1-25) — will transform Virginia Repertory Theatre’s Theatre Gym into a haunting, immersive experience that puts the audience at the center of the monster’s world. richmondshakespeare.org 

Richmond Triangle Players 

Three young Black women navigate intimacy, identity and self-medication in Richmond Triangle Players’ season opener, “BLKS” (Sept. 16-Oct. 10). Enjoy a rollicking holiday romp with “The Real Housewives of the North Pole” (Nov. 11-Dec. 19). And come back in spring and summer for “Messy White Gays,” “Indecent” and “Avenue Q.” All shows are hosted at RTP’s Robert B. Moss Theatre. Season subscriptions start at $110. rtriangle.org 

VCUarts Theatre 

The fall Mainstage Season features two productions: “Romeo & Juliet, A LGBTQIA+ Love Story” (Oct. 1-4) and Duncan Macmillan’s award-winning play “People, Places & Things” (Nov. 12-15). Both shows are presented at VCU’s W.E. Singleton Center for the Performing Arts. arts.vcu.edu/theatre

Virginia Opera 

Look for love with “Swiping Right: Opera in the Age of Online Dating” (Oct. 10-11) and erase the boundaries of performance and reality with “Pagliacci” (Nov. 13 and 15). All local shows are hosted at the Dominion Energy Center. Season subscriptions start at $78. vaopera.org 

Virginia Repertory Theatre 

The Tony-nominated hit “Little Bear Ridge Road” (through Sept. 6) makes its debut off Broadway with a stop at Virginia Rep’s Theatre Gym. The fall season also features “The Play That Goes Wrong” (Sept. 16-Oct. 18) and the organization’s adaptation of “A Christmas Carol” (Nov. 18-Dec. 27), both at the November Theatre. Neil Simon’s classic comedy “Plaza Suite” (Dec. 9-Jan. 17) is presented at Hanover Tavern. Flex subscriptions are available and offer up to a 20% discount on individual show tickets. va-rep.org