1
50
1
-
https://omeka.library.appstate.edu/files/original/d2b47eb78164e2c10985dd348ac520fb.pdf
ccc9b93e06172616b0478bbe3753804e
PDF Text
Text
�The Barter Theatre Story
L o v e Made Visible
b y Mark Dawidziak
���The Appalachian Consortium was a non-profit educational organization
composed of institutions and agencies located in Southern Appalachia. From
1973 to 2004, its members published pioneering works in Appalachian studies
documenting the history and cultural heritage of the region. The Appalachian
Consortium Press was the first publisher devoted solely to the region and many of
the works it published remain seminal in the field to this day.
With funding from the Andrew W. Mellon Foundation and the National
Endowment for the Humanities through the Humanities Open Book Program,
Appalachian State University has published new paperback and open access
digital editions of works from the Appalachian Consortium Press.
www.collections.library.appstate.edu/appconsortiumbooks
This work is licensed under a Creative Commons BY-NC-ND license. To view a
copy of the license, visit http://creativecommons.org/licenses.
Original copyright © 1982 by the Appalachian Consortium Press.
ISBN (pbk.: alk. Paper): 978-1-4696-3813-3
ISBN (ebook): 978-1-4696-3815-7
Distributed by the University of North Carolina Press
www.uncpress.org
�Dedication
For Sara,
For always, forever
�This page intentionally left blank
�FOREWORD
It is with pleasure that I commend this book to you.
It is fitting that THIS book is being published at THIS time. A history of Barter
Theatre at a time when Barter Theatre has just completed its 50th —its Golden
Anniversary—season
of service, a time when Barter Theatre is at a peak period
in the artistic quality of its productions and a time when Barter Theatre has ex
panded
into a year round operation,
serving not only the
Virginia
Highlands /East Tennessee region of Appalachia in the spring, summer and fall,
but now also serving Northern Virginia with a winter season in Fairfax and other
parts of Virginia and surrounding states with an early spring touring season.
It is fitting also that THIS book is primarily about THE MAN, Robert Porterfield, and his association with Barter Theatre, for Barter Theatre was Robert
Porterfield in its conception and during its developing years. For forty of its fifty
years, Bob - "Mr. P." - put it all together. He produced, directed,
designed,
acted, promoted Barter Theatre. He gathered together 'Friends of Barter," a
strong Board of Directors, a Board of Visitors. He attracted financial support and
political support. Barter was named "The State Theatre of Virginia."
And,
before his death, the continuity of Barter Theatre was assured by the creation of
Barter Foundation, Inc. to set policy, hold the assets, employ management
and
assist in financing the theatre. Barter Theatre was and still is Bob Porterfield's
creation.
Neither Bob Porterfield nor Barter Theatre achieved preeminence easily. For
Barter Theatre, in a town of 5,000 persons, to survive for 50 years — longer than
any other professional, regional repertory theatre in the United States; for it to
compete for actors, directors, and designers with more than forty other regional
professional theatres, all from metropolitan areas of over 300,000
population,
has required monumental
effort. It has required and has received financial,
moral and physical help from hundreds of supporters from throughout
the
United States.
Barter still faces problems. There is never enough money. Gasoline prices
and shortages, tight county, state and federal budgets for the arts, business
recession, adverse weather, all present problems which must be overcome but
Barter has survived and with careful planning and care will survive to fulfill
Barter Theatre's pledge "to combat the evils that would destroy the culture and
enlightenment of the world by giving the best of its strength and devotion to the
cause of truth, beauty and spiritual nourishment of the human soul."
Fifty years is a good plateau from which to review the
past—beginnings,
struggles, successes, problems and progress —and to resolve the
future—new
challenges, new dreams, new effort. This book gives us this 50 year look at
Barter Theatre. You will enjoy reading it and Barter Theatre will benefit from
your knowing it more intimately.
For the Board of Directors,
The Barter Foundation, Inc.
December, 1982
Fillmore McPherson, J r . , President
�This page intentionally left blank
�Table of Contents
Selected Q u o t e s
Introduction
C h a p t e r O n e : Setting a n d S c e n e
Chapter T w o : Curtain U p
C h a p t e r T h r e e : T d Rather Entertain S o u l s "
Chapter Four: H a m For Hamlet
Chapter Five: M r . P
C h a p t e r S i x : T h e Stars of Barter
C h a p t e r S e v e n : C h a n g e s at Barter
C h a p t e r Eight: T a l k i n g W i t h O w e n
C h a p t e r N i n e : T h e G h o s t s of Barter
C h a p t e r T e n : A D a y in October
C h a p t e r E l e v e n : T h e Partington Y e a r s
C h a p t e r T w e l v e : T h e Importance of B e i n g Barter
A p p e n d i x A : A C o d e of Ethics for P e o p l e in the Theatre
A p p e n d i x B : T h e A i m s a n d Purposes of the Barter Theatre
A p p e n d i x C : T h e Barter Theatre A w a r d
Appendix D : Awards and Honors
Bibliography a n d Resources
xi
xiii
3
8
16
21
29
47
71
89
93
99
103
113
117
118
119
120
121
�This page intentionally left blank
�xi
Selected
Quotes
W o r k is love m a d e visible. A n d if y o u cannot w o r k with love but only with dis
taste, it is better that y o u s h o u l d leave your work, a n d sit at the gate of the
temple a n d take alms from those w h o work with j o y .
— K a h i l G i b r a n (quote used for
Robert Porterfield: A Memorial)
The m a n with a n e w idea is a crank, until the idea succeeds.
—Mark Twain
bar*ter (barter) verb. T o exchange goods or services without using m o n e y .
T o traffic or trade by exchanging o n e c o m m o d i t y for another.
Not only will actors benefit from a s u m m e r in Virginia but the towns nearby will
have B r o a d w a y brought to their very doors.
—Big Stone Gap Post editorial, 1 9 3 3 .
A d m i s s i o n Price: 3 0 cents or the equivalent in rations. B r i n g us h o n e y , fresh
eggs, fresh vegetables, hams a n d other edibles.
— 1 9 3 3 Advertisement for the Barter
Theatre's first s h o w .
The Barter Theatre was f o u n d e d by Robert Porterfield during the depression of
1932.
The original idea of the Barter Theatre was to bring together the hungry actor
and the farmer with a surplus of p r o d u c e .
The Barter Theatre of V i r g i n i a , Inc. serves as a non-profit, educational a n d
cultural experiment for the purpose of giving the people of Virginia a n d its
m a n y guest tourists a n opportunity to observe some of the works of the
world's most distinguished playwrights performed by competent artists.
The Barter Theatre pledges itself to combat the evils that w o u l d destroy culture
and enlightenment of the w o r l d by giving the best of its strength a n d devotion
to the cause of truth, beauty a n d spiritual nourishment of the h u m a n soul.
—Plaque in front of the
Barter Theatre.
There's something about this place that keeps drawing y o u back.
—director O w e n Phillips
I think Barter has c o n t i n u e d so extremely well because the spirit hasn't changed.
—set designer L y n n Pecktal
If y a ' like us, talk about us. If y a ' don't, jes keep y a ' m o u t h shut!
—Traditional e n d i n g to Robert
Porterfield's curtain speech.
�This page intentionally left blank
�xiii
Introduction
T h e arts have always been the realm of long shots, impossible dreams a n d
unrelenting innovators. F r o m the impoverished writer plugging away at a n o v e l
or a play to the persevering actor w h o p o u n d s the N e w Y o r k pavement waiting
for the " b i g " break, the artists, dancers, singers, composers, writers, musicians,
comedians a n d actors strive in professions w h i c h dictate the most improbable of
odds.
Just to exist day to day, these single-minded professionals must continue to
tap a n inexhaustable reservoir of belief: belief in the significance of their work, in
their o w n talent, a n d in the future. It is a w o r l d where a nicely w o r d e d rejection
becomes a comfort or a reason to h o p e .
In the small Southwest Virginia t o w n of A b i n g d o n there stands a shrine to this
u n c o m p r o m i s i n g belief in dreams a n d the importance of cultural enrichment. It's
called the Barter Theatre a n d its beginnings trace back to the bleakest of all eras
for A m e r i c a a n d the theatre as an institution—the Depression.
T h e Barter story encompasses m a n y stories. It deals with a training g r o u n d
that Fritz W e a v e r calls "the best possible for y o u n g actors." It tells h o w a state
government c a n give a n d receive m u c h by supporting the arts. It reflects
changes a n d developments in the A m e r i c a n theater. It is an integral part of the
growth of regional or "decentralized" theater. B u t , more than anything else, it is
the delightful success story of a m a n a n d an idea.
Barter's reputation h a d m o r e than quietly preceded itself to W a s h i n g t o n ,
D . C . , where I was w o r k i n g as a journalist in 1 9 7 8 . W h e n informed that I h a d ac
cepted the post of Arts Editor with the Bristol Herald-Courier,' several of m y
m o r e experienced colleagues wagged their heads k n o w i n g l y a n d said, "That
means you'll be covering the Barter Theatre."
C o n s e q u e n t l y , I arrived in Bristol—some 15 miles from A b i n g d o n a n d
located o n the Virginia-Tennessee border—determined to learn all I c o u l d about
the Barter Theatre. First step, the local library.
" L e t me have y o u r history of the Barter Theatre," I asked.
" D o y o u k n o w the title or author?"
" N o , but whatever it is shouldn't be too difficult to track d o w n , " I assured the
helpful librarian.
Several minutes later I was informed that they h a d n o such v o l u m e o n their
shelves. W e l l , I thought, mildly surprised, it's just a small local library. I should
have better luck at the W a s h i n g t o n C o u n t y Library in A b i n g d o n . After the above
scene was repeated, it all started to sink i n . N o one h a d yet published a history of
this unique theater.
Still, there was certainly n o desire to b e c o m e Barter's "biographer." That
came after a year of watching, listening a n d learning about Barter a n d its colorful
founder, Robert Porterfield, first with the Herald-Courier,
then as the critic a n d
entertainment writer for the Kingsport
Times-News.
�xiv
T h e Barter Theatre Story
First, it just s e e m e d like a great story to tell. T h e n a few intriguing questions
p o p p e d u p . Just about any V i r g i n i a tourism pamphlet will tell y o u that Barter is
the country's longest-running professional resident theater staging plays in
A m e r i c a ' s s e c o n d oldest theater structure (only the W a l n u t Street Theatre in
P h i l a d e l p h i a is older). Others m a y tell y o u that the likes of E d w i n B o o t h , J o s e p h
Jefferson a n d F a y T e m p l e t o n appeared o n that A b i n g d o n stage. A n d there are
plenty of references to tell y o u that Robert Porterfield c a m e u p with the idea of
trading foodstuff for tickets in order to feed hungry actors. Y e s , the w h o s ,
wheres a n d w h e n s were fairly well d o c u m e n t e d . It was the h o w s a n d w h y s that
interested m e .
H o w d i d this quaint little theater again a n d again turn out such famous names
as H u m e C r o n y n , F r a n k L o v e j o y , G r e g o r y P e c k , Patricia N e a l , Margaret
Phillips, L a r r y Gates, Margaret W y c h e r l y , Ernest B o r g n i n e , Herbert N e l s o n ,
Elizabeth W i l s o n , C l a u d e A k i n s , Fritz W e a v e r , D a v i d (Al) H e d i s o n , G r a n t
Williams, R o s e m a r y M u r p h y , D i a n e C i l e n t o , N e d Beatty, Robert Pastene,
G e r o m e R a g n i , G a r y C o l l i n s , M i t c h R y a n , Larry Linville, D a v i d B i r n e y , R i c h a r d
Sanders a n d D a v i d Selby? H o w d i d such a theater survive the Depression in a n
area with little cultural heritage to speak of to b e c o m e a heralded e x a m p l e of
decentralized theater at its best? W h y was the Barter chosen as the first state
theater in the country?
After collecting a n ungainly mass of notes, clippings, interviews a n d research,
it took quite s o m e time to get a firm grasp o n the story I wanted to tell. T h e
meticulous study of scrapbooks a n d microfilm gave me the skeleton of m y w o r k .
T h e interviews a n d countless pictures p r o v i d e d the flesh a n d b l o o d . Fortunately,
B o b Porterfield left b e h i n d m a n y friends a n d a wealth of write-ups that slowly
p i e c e d together answers to those perplexing questions.
T h r o u g h o u t the research, h o w e v e r , I w o r r i e d about m y perspective; a d i l e m
m a that I'm glad to report eventually brought m e full circle. W h i l e the months of
g r o u n d w o r k were g o i n g by, I was a w e d by the e n o r m o u s a n d seemingly endless
mine of Barter history. A s the research drew to a close, I realized anew what I had
felt at the very start—this is o n e terrific story. I h o p e I've d o n e it justice.
Fair w a r n i n g : the w o r k before y o u m a y often read like a fairy tale. That's as it
s h o u l d be, for Barter's record is not only a legacy of g o o d theater; it's the stuff
g o o d theater is m a d e of. T h e r e are n o pretensions of this being a scholarly ac
count of the Barter Theatre or the definitive biography of B o b Porterfield. In
stead, m y intention is to effect a style that w o u l d , I think, have pleased M r . P .
T h e spirit of Barter is not a dusty litany of names a n d dates. O h , there are
passages about the actual practice of Barter, a n d the social conditions that
s p a w n e d this distinctive theater, a n d its impact o n the Southwest V i r g i n i a - U p p e r
East Tennessee area, a n d B o b ' s contributions to the m o v e m e n t for "decentraliz
e d " theater, a n d n u m e r o u s other worthy aspects that I h o p e will p r o v e valuable
to the students of A m e r i c a n theater. Still, Barter is first a n d foremost what car
ing, literate theater is all about, a n d this story will be told as entertainingly as
possible.
�Introduction
xv
M o v i n g into its 50th year of p r o v i d i n g invaluable experience to aspiring per
formers, Barter is a living, growing m o n u m e n t to its founder, w h o started his
theater with little m o r e than a daring concept, a knack for p r o m o t i o n , a wealth of
S o u t h e r n c h a r m , a n d 2 2 starving actors.
T o k e e p these chapters from turning into a dry collection of data, I've tried to
sprinkle the narrative with representative Barter fables a n d legends. In addition
to being reflective of B o b a n d his theater, they give a true feeling for each. O n
the w h o l e , footnotes tend to be distracting while lending unnecessary weight to a
v o l u m e . D e t e r m i n e d to a v o i d this plague, a n extended list of acknowledgements
follows; a chronicle of the m a n y w h o willingly volunteered hours of time to
pause a n d reminisce, w a r m l y c o n v e y i n g thoughts, memories, ideas, anecdotes
a n d emotions. A m o r e technical c o m p e n d i u m of sources a n d a bibliography can
be f o u n d in the rear.
First a n d most affectionately, I acknowledge m y debt to O w e n Phillips, the
m a n w h o was a "brother" to B o b a n d a "godfather" to this w o r k . O w e n not only
gave this b o o k encouragement, he p r o v i d e d the contagious enthusiasm that
must have been effused by M r . P himself.
M y deep gratitude is also extended to M r s . M a r y D u d l e y Porterfield, a genial,
reassuring a n d gracious contributor. M y time at the family estate, T w i n O a k s ,
p r o v i d e d as m u c h a feeling for the m a n as his theater itself. H e r unaffected m a n
ner a n d personal accounts of B o b supplied a perfect c o m p l e m e n t to the time
spent in libraries a n d newspapers.
H e a d i n g the list of friends a n d advisors to this narrative are R e x Partington,
the current artistic d i r e c t o r / p r o d u c e r of the Barter Theatre, a n d Pearl Hayter,
business manager a n d guardian of the m a n y Barter scrapbooks. Frequently dur
ing a n interview, s o m e o n e w o u l d ask with a wistful smile, " Y o u didn't k n o w
B o b , d i d y o u ? " A d m i t t e d l y , this was m y greatest handicap. H o w e v e r , through
these f o u r — O w e n , M a r y D u d l e y , R e x a n d Pearl—I almost get the feeling I d i d
know him.
F o r their advice a n d friendship, m y thanks to Barter publicity director L o u
Flanigan, L y n n Pecktal a n d F r a n k L o w e .
A l t h o u g h n o b o o k has ever been published o n the Barter Theatre, m y w a y
was well blazoned by two exhaustive theses. T h e first A n n e St. Clair Williams'
painstakingly detailed 1 9 7 0 doctoral thesis, Robert Porterfield's Barter Theatre
of Abingdon,
Virginia, a n indispensable survey a n d analysis. Affectionately
k n o w n as "the R e d B o o k , " St. Clair's effort is "the" definitive chronicle of Barter
events up to B o b ' s death. It's a shame her thesis hasn't c o m e to popular light.
L u c k i l y for m e , w e d i d manage to c o n s u m e several cups of coffee while
brainstorming about Barter. F o r o n c e , I shut up a n d listened. A s Barter's
historian, m a n y of her c o m m e n t s are i n c l u d e d . T h e second thesis is A Survey of
the Attitudes of the Abingdon Community
Toward Barter Theatre by Teresa
Diane Keller, w h o also consented to be interviewed about her research a n d the
time she spent w o r k i n g in the Barter's publicity office.
It w o u l d be impossible to list all those w h o furnished bits of information a n d
�xvi
The Barter Theatre Story
vital pieces of Barter history, but special thanks are gratefully extended to H u m e
C r o n y n , Fritz W e a v e r , N e d Beatty, C l a u d e A k i n s , Mitch R y a n , D a v i d Selby,
B o b G a l l i c o , C l e o H o l l a d a y , M r s . O w e n (Ruth) Phillips, Jeff M e r e d i t h , Betsy
G r a h a m , W o o d y V a n c e , B e c k y R o s e , L i l y L o d g e , Russell G o l d , L e t a B o n y n g e ,
F . L e o n a r d Darby, D a v i d M . L o h o e f e r , A n n B u c k l e s , Peter C u l m a n a n d H a r r y
Ellerbe.
A l s o grateful thanks to the Kingsport
Times-News,
the Bristol
HeraldCourier, a n d the Washington
County News for the use of their files a n d
resources.
I h o p e they all liked talking to me about B o b a n d Barter a n d , together, I h o p e
we can get s o m e more people talking about it.
Mark Dawidziak
�The Barter Theatre Story
Love Made Visible
Perhaps the most famous picture of Robert
Porterfield,
this warm study shows Barter's founder sitting
among the seats from the Empire Theatre, each
bearing an ornate needlepoint '£'.
(Photo courtesy of the Barter Theatre)
�This page intentionally left blank
�3
Chapter One: Setting and Scene
A n y g o o d piece of theater s h o u l d adequately set the time a n d place.
T h e Great D e p r e s s i o n — 1 9 3 3 .
It was n o time to be a n aspiring actor in N e w Y o r k . T h e Depression h a d
reached its lowest ebb.
S i n c e the early part of the century, the A m e r i c a n theater h a d b e c o m e i n
creasingly centralized in a n area of M a n h a t t a n k n o w n as B r o a d w a y . Indeed,
" T h e Great W h i t e W a y " has established itself alongside B e r l i n , Paris a n d L o n
d o n as a n international cultural capital. T o m a n y , the A m e r i c a n theater a n d
B r o a d w a y were s y n o n y m o u s . S o , w h e n the country's e c o n o m i c collapse ravag
e d the city, the toll was dearly felt o n the A m e r i c a n theater as an institution.
W i t h fewer dollars to be spent, ticket sales p l u m m e t e d along with the number
of productions. B r o a d w a y producers a n d managers, natural speculators in the
stock market, h a d suffered e n o r m o u s losses a n d few chances were being taken
o n either n e w playwrights or performers. S o m e producers, such as S a m Harris
a n d the Schuberts, m a n a g e d to weather the storm. Others, notably A r t h u r H a m merstein a n d A . H . W o o d s , declared bankruptcy. F l o Zigfield, o n e of
B r o a d w a y ' s greatest names, was w i p e d out.
" N o w a d a y s , " went c o m e d i a n E d d i e Cantor's o m i n o u s observation after the
Stock Market crashed, " w h e n a m a n walks into a hotel a n d requests a r o o m o n
the 19th floor, the clerk asks h i m , ' F o r sleeping or jumping?' "
C a n t o r h a d little reason to laugh. H e was only o n e in a legion of B r o a d w a y
actors, playwrights, directors a n d producers w h o h a d literally lost entire fortunes
overnight. T h e walking w o u n d e d i n c l u d e d such prominent theatrical figures as
Harris, G e o r g e S. K a u f m a n , A l e x a n d e r Woollcott, Irving Berlin, G r o u c h o M a r x
a n d M a x G o r d o n . G r o u c h o w o u l d later recall with m o r e than just a t o u c h of bit
terness h o w he starred in the "Follies of 1 9 2 9 . "
M o v i e s — m o t i o n pictures, films, the flickers, talkies—were a cheaper a n d
m o r e productive form of entertainment, a n d B r o a d w a y , V a u d e v i l l e a n d the
legitimate theater felt the impact of this rising popularity.
Stars a n d "big n a m e s , " h o w e v e r , c o u l d easily l a u n c h into n e w projects a n d
recoup their losses. A s galling or demoralizing as the loss of personal fortunes
were to B r o a d w a y ' s elite, they h a d o n e financial advantage—their reputations. It
was the rank a n d file actor w h o was particularly hard hit. T h e words " B u d d y ,
C a n Y o u Spare a D i m e ? " s e e m e d to s u m up the stark city environment of
breadlines a n d corner applecarts run by former W a l l Street wizards.
A u t h o r a n d columnist H e y w o o d B r o u n , deeply disturbed by the growing
deprivation in the B r o a d w a y sector, h e l p e d p r o d u c e a revue to benefit out-of-
�4
T h e Barter Theatre Story
work troupers. Despite the affable writer's sincere intentions, Shoot the Works
h a d a short r u n a n d d i d little to help the u n e m p l o y e d actor.
O n a more practical level, the Stage Relief F u n d desperately tried to cope
with alarming u n e m p l o y m e n t . B y 1 9 3 3 , the Actor's D i n n e r C l u b h a d been set
up in the basement of N e w Y o r k ' s U n i o n Methodist C h u r c h to offer balanced
meals to less fortunate thespians. Y e a r s later, B o b Porterfield w o u l d recall taking
advantage of these cheap meals a n d the opportunity to trade shop-talk with his
fellow actors.
Still, in spite of all the grim developments, 1 9 3 3 brought the first real reason
for h o p e since the crash of '29—better k n o w n in theatrical circles by the Variety
headline, " W a l l St. L a y s A n E g g . " A l t h o u g h the country w o u l d never really pull
out of the Depression until W o r l d W a r II stimulated the e c o n o m y , the inaugura
tion of Franklin D e l a n o Roosevelt as 3 2 n d president m a d e m a n y feel that "hap
p y days" were i n d e e d here again.
Roosevelt declared a bank holiday o n e day after his M a r c h 4 inauguration
c e r e m o n y a n d set the N R A into action. C o m p a r e d to Herbert H o o v e r ' s quiet
brand of leadership, this whirlwind of activity gave the nation a sense of
recovery.
It was 1 9 3 3 a n d a still u n k n o w n novelist n a m e d J o h n Steinbeck h a d publish
e d a p o o r l y received w o r k titled, T o A God Unknown. G r o u c h o , H a r p o , C h i c o
a n d Z e p p o released their last film as " T h e F o u r M a r x Brothers," a wild satire o n
war c o n c o c t e d by Bert K a l m a r a n d H a r r y R u b y , Duck Soup. Perhaps their
greatest film, it too was trounced by the critics.
Tobacco Road, a shocking play of h u m a n degradation, became the talk of
B r o a d w a y , while t w o of N e w Y o r k ' s wickedest wits, Messrs. K a u f m a n a n d
Woollcott, t e a m e d up for the disappointing The Dark Tower.
R i c h a r d R o d g e r s a n d L o r e n z H a r t h a d temporarily left B r o a d w a y for s o m e
lucrative m o v i e offers. H o l l y w o o d h a d stepped up its efforts to p r o v i d e escapist
entertainment to a Depression-weary nation a n d in 1 9 3 3 . . . s k i n n y S t a n L a u r e l
a n d tubby Oliver H a r d y sneaked off to the Sons of the Desert c o n v e n t i o n , telling
their wives they were g o i n g to H a w a i i for their health. M e a n w h i l e , King Kong
carried the lovely F a y W r a y to the top of the E m p i r e State B u i l d i n g ; C l a u d e
Rains p u l l e d his disappearing act in The Invisible Man; W a l t Disney was
delighting audiences with an average of two M i c k e y M o u s e cartoons each
month; W a l l a c e B e e r y a n d Marie Dressier recaptured their wonderful Min and Bill
chemistry with Tugboat Annie; premiere B r o a d w a y dancer F r e d Astaire m a d e
his film debut opposite J o a n C r a w f o r d , C l a r k G a b l e , a n d the T h r e e Stooges in
Dancing Lady; F r a n k C a p r a , a former g a g m a n for M a c k Sennett, garnered
s o m e increased respect as a director with his Lady for a Day; J a m e s C a g n e y
s h o w e d he was more than just a tough-guy gangster type by tap d a n c i n g his w a y
through Footlight Parade; a n d sultry M a e West sang " A G u y W h a t T a k e s H i s
T i m e " in She Done Him Wrong, a spoof w h i c h co-starred a n u p - a n d - c o m i n g
Cary Grant.
F o r those w h o preferred to stay at h o m e for their entertainment, Kate S m i t h ,
�Setting and Scene
5
R u d y V a l l e e a n d P a u l W h i t e m a n m a d e u p the vanguard of radio's musical stars,
with A m o s n ' A n d y , E d W y n n a n d F r e d A l l e n offering h u m o r o u s interludes, a n d
C l e m M c C a r t h y a n d M e l A l l e n handling the sportscasting duties.
Golfing great B o b b y J o n e s was in A u g u s t a , G e o r g i a , laying the foundation
for a tournament that w o u l d eventually draw international attention. It w o u l d be
called simply, T h e Masters. A pathetic Italian giant n a m e d P r i m o C a m e r a , o w n
e d a n d manipulated by the m o b , sat o n the heavyweight b o x i n g throne. T h e
most inept of all c h a m p i o n s , he w o u l d be k n o c k e d to the canvas eleven times
the following year against an o p p o n e n t "the boys" c o u l d not buy off: M a x B a e r .
Baseball was still the national pastime a n d the N e w Y o r k Y a n k e e s its premiere
team, although the year before seemed to be the last truly great season for the
B r o n x B o m b e r s of R u t h , G e h r i g a n d D i c k e y .
A survey revealed that reading h a d b e c o m e A m e r i c a ' s favorite form of
recreation. R a d i o p l a c e d s e c o n d , while films ran third. A l t h o u g h entertainment
a n d sports thrived in a nation escaping the harsh realities of the Depression,
there were e n o u g h fads a n d headlines to capture the country's imagination.
Jigsaw puzzles became a fad in 1 9 3 3 , along with long fingernails popularized
by M a r l e n e Dietrich. C o l u m n i s t s ruled the newspaper w o r l d , with Walter W i n chell, Westbrook Pegler, B r o u n a n d Franklin Pierce A d a m s leading the pack.
A n d a n e w weekly news magazine, appropriately titled Newsweek,
hit the
stands with its breezy, s u m m a r y format.
Prohibition was repealed in 1 9 3 3 a n d the "great experiment" was relegated
to a select list of notorious historical failures.
T h e m a n behind the k i d n a p p i n g a n d murder of the L i n d b e r g h baby a year
earlier was still at large, as was J o h n Dillinger. In N e w Y o r k , mobster D u t c h
Schultz was recklessly continuing his ill-fated rise to p o w e r . S o m e w h a t more
calculating, C h a r l e s " L u c k y " L u c i a n o was figuring out a w a y to put the "organiz
e d " into "organized c r i m e . "
A m a n with a C h a r l i e C h a p l i n moustache h a d consolidated his p o w e r in G e r
m a n y to the point of total authority. W i t h G e r m a n y under his thumb, A d o l f
Hitler w o u l d s o o n l o o k to other countries to c o n q u e r . O n another continent,
J a p a n reached out to invade the area of C h i n a k n o w n as M a n c h u r i a , setting into
m o t i o n the series of events that w o u l d culminate in W o r l d W a r II.
A n d into this atmosphere of a w o r l d e x p l o d i n g with change in 1 9 3 3 , the
Barter Theatre o p e n e d its doors in A b i n g d o n , a t o w n rapid change h a d passed
by....
A b i n g d o n : one of the oldest communities in the Southwest region of
Virginia. It first appeared o n a m a p by surveyor T h o m a s L e w i s as " B u r k e s
G a r d e n . " T h e site was r e n a m e d by n o less than D a n i e l B o o n e , w h o c a m p e d
there during his first trip westward about 1 7 6 0 . A c c o r d i n g to legend, B o o n e a n d
his c o m p a n i o n , Nathaniel G i s t — w h o were forging the famed "Wilderness Trail"
to K e n t u c k y — m a d e c a m p at a spring near where the present county jail is
located, only to have their dogs attacked by a wolf pack from a nearby cave. T h e
wolves' d e n at the crest of a hill is n o w the location of the C a v e H o u s e , a well-
�6
T h e Barter Theatre Story
k n o w n local l a n d m a r k . A b i n g d o n ' s first official n a m e thus b e c a m e W o l f H i l l .
S i n c e W o l f H i l l naturally b e c a m e a "crossroads to the W e s t , " a n actual village
was quickly established, complete with a c h u r c h . B u t the very first building
erected was a p o w d e r magazine, later a courthouse leveled by N o r t h e r n troops
in 1 8 6 4 . W h e n a fort was constructed in 1 7 7 6 o n C a p t a i n J o s e p h B l a c k ' s farm,
W o l f H i l l b e c a m e B l a c k ' s F o r t — a distribution point for mail a n d supplies. A n d ,
that same year, the V i r g i n i a G e n e r a l A s s e m b l y n a m e d the settlement the seat of
the newly established W a s h i n g t o n C o u n t y , n a m e d after the general from
V i r g i n i a early in the struggle for independence a n d long before he was
a c k n o w l e d g e d as " T h e Father of his C o u n t r y . " T h e G e n e r a l A s s e m b l y also
c h a n g e d the n a m e of B l a c k ' s Fort to A b i n g d o n in October, 1 7 7 8 .
S o m e feel the n a m e c a m e from the D u k e of A b i n g d o n by w a y of friends in
the area. Still others c o n t e n d it was simply taken by pioneers from the t o w n of
A b i n g d o n i n E n g l a n d . M o s t , h o w e v e r , say "it was n a m e d after a parish in w h i c h
M a r t h a W a s h i n g t o n w o r s h i p p e d as a girl."
Southwest Virginia's first post office was established in A b i n g d o n in 1 7 9 3 , the
only post office in W a s h i n g t o n C o u n t y as late as 1 8 3 3 .
" B y the late 1 8 3 0 s , " reads o n e widely distributed local history, " A b i n g d o n
h a d g r o w n to be a n established merchant t o w n with hotels a n d taverns for the
wagonmasters,
mercantile houses, tanyards,
grocers,
wheelwrights,
blacksmiths, shoemakers,
house carpenters, stone masons, bricklayers,
jewelers, a n d o n e millinery s h o p . It h a d everything the settlers further west
w o u l d want from the civilized east, plus all the things d e m a n d e d by the mer
chants a n d their families."
" C r e a t i n g the atmosphere of the t o w n , " the narrative continues, "are the
buildings from A b i n g d o n ' s past. T h e M c D o n a l d T a v e r n o n East M a i n Street is
the oldest building in A b i n g d o n , built in 1 7 7 9 . O n C o u r t Street is the first brick
dwelling, built for W i l l i a m K i n g in 1 8 0 3 . O t h e r beautiful h o m e s line M a i n Street,
one of the most famous being the G e n e r a l Francis Preston h o m e , built between
1 8 3 0 a n d 1 8 3 2 , w h i c h is n o w the center building of the M a r t h a W a s h i n g t o n
Inn."
A c t u a l l y , the stately Preston h o m e was turned into the M a r t h a W a s h i n g t o n
C o l l e g e for Girls in 1 8 5 3 . It was temporarily used as a hospital during the C i v i l
War. A n o t h e r s c h o o l , the S t o n e w a l l J a c k s o n Institute for W o m e n , eventually
set u p offices a n d classrooms o n a hillside several blocks from M a i n Street about
the turn of the century.
A n industry b o o m hit the surrounding towns in the 1880s, but A b i n g d o n re
m a i n e d a small, elegant c o m m u n i t y t u c k e d in the beautiful, rolling hills of
Southwest V i r g i n i a . L o c a t e d in a fertile valley between the B l u e R i d g e a n d A p
palachian M o u n t a i n s ; lying between t w o m a i n forks of the H o l s t o n R i v e r ; a n d in
the s h a d o w of M o u n t Rogers, Virginia's highest peak, A b i n g d o n existed through
farming—mainly dairy, tobacco, cattle a n d poultry—very light industry a n d its
two colleges.
In 1 9 3 0 , A b i n g d o n was near four "good-sized towns": Bristol, Tennessee-
�Setting and Scene
7
V i r g i n i a , a railroad center with a state line running d o w n its m a i n street a n d a
focal point for a five-state area; J o h n s o n C i t y , T e n n . , the largest with a p o p u l a
tion of 2 5 , 0 0 0 ; Kingsport, T e n n . , the h o m e of the g r o w i n g Tennessee Eastman
p h o t o c h e m i c a l plant; a n d Elizabethton, T e n n .
T h e area boasted little in the w a y of cultural heritage, with the exception of a n
already national reputation for country-western music. Indeed, w h e n the V i c t o r
T a l k i n g M a c h i n e C o m p a n y sent representative R a l p h Peer to "the mountains" in
1 9 2 7 to audition "hillbilly" talent, the moon-faced agent set up shop in Bristol.
T h e surrounding hills a n d hollows of A p p a l a c h i a e c h o e d with the s o u n d of
grassroots music m a d e by generations of families o n crude, handcrafted i n
struments. T h e nasal lyrics sprung from a n isolated existence spent w o r k i n g in
the c o a l mines of Southwest V i r g i n i a , laboring o n the railroad lines, scratching a
living from a sometime fertile, sometime r o c k y soil, a n d praising the L o r d from a
pine p e w . R e c o r d s , o n c e all the rage, were being threatened by the popularity of
radio, a n d the major recording labels were scrambling to find n e w a n d fresh ar
tists to boost d w i n d l i n g sales. Into Peer's makeshift studio strode J i m m i e
Rodgers a n d the Carter F a m i l y — A . P . , M a y b e l l e a n d S a r a . T h o s e 1927 recor
dings m a d e in Bristol started a national craze for country music. T h e event is
recognized as the birth of the country-western music industry.
Still, inhabitants of the region saw nothing special in either Rodgers or the
Carter F a m i l y . A n d it was hard to fathom all the fuss being m a d e by the rest of
the country. M u s i c was a w a y of life, but it was certainly n o w a y to m a k e a living.
O r , as one o l d saying went, " a m a n w h o p l a y e d the banjo wasn't worth the bullet
to shoot h i m . " A l t h o u g h Southwest Virginia a n d U p p e r East Tennessee were
the richest areas for musicians a n d country songs, it was all taken for granted
a n d the industry s o o n set up headquarters s o m e 3 0 0 miles away in Nashville.
M a i n l y descended from Scottish, Irish a n d English stock, the residents of this
area were extremely religious—Presbyterian, Baptists, Methodists. T o t h e m ,
music was for singing in c h u r c h , h u m m i n g in the fields, or playing during Satur
day night get-togethers in the kitchen. Ironically, it was their h y m n s a n d rich folk
music heritage that served as a cornerstone for so m u c h of the growing countrywestern music field.
A s for the stage, it was considered a w i c k e d place—the p l a y g r o u n d of the
devil, "the legs of S a t a n . " A n actor was a shiftless no-account w h o couldn't
m a k e a n honest living. Into A b i n g d o n , into this time, into this environment, ar
rived B o b Porterfield a n d his c o m p a n y of N e w Y o r k actors in 1 9 3 3 .
�8
Chapter Two: Curtain
Up
" W e ' r e going to church!"
Robert Porterfield's a n n o u n c e m e n t stunned the 2 2 N e w Y o r k actors w h o
had followed the charistmatic " M r . P " to a remote town in Southwest Virginia. T h e
idea of stage performers trekking all the w a y to s o m e u n h e a r d of place called
A b i n g d o n was crazy e n o u g h , but now—attending S u n d a y m o r n i n g services?
It was the spring of 1 9 3 3 . A b i n g d o n c o u l d not have been further r e m o v e d
from the bleak city these performers h a d just left. T h e y were a m i x e d bag of
theater veterans, n e w c o m e r s , leading m e n , ingenues, a n d character actors.
These creators a n d inhabitants of make-believe worlds all shared o n e soberingly
realistic experience: T h e y h a d all been t o u c h e d by the devastation of the N e w
Y o r k theater by the D e p r e s s i o n . N o a m o u n t of talent, experience or enthusiasm,
they f o u n d out, were safeguards against hunger a n d breadlines.
F o o d was hardly a p r o b l e m in A b i n g d o n , p o p u l a t i o n 2 , 0 0 0 . In fact, the fertile
hills of W a s h i n g t o n C o u n t y h a d yielded local farmers a n excess of crops that
they c o u l d not sell because of a depressed market. T h u s , Porterfield reasoned,
the residents of this rural area w o u l d gladly "barter" foodstuffs for theater. B u t
first, he h a d to sell the troupe to the t o w n . H e h a d to c o n v i n c e the c o m m u n i t y
that these decadent theater p e o p l e were in reality just plain folk.
A b i n g d o n was far r e m o v e d from the big city scene a n d sentiment by m o r e
than several h u n d r e d miles. T h e town's architecture retained m u c h of the O l d
S o u t h c h a r m , a n d its citizens held to the O l d S o u t h outlook. Natives still talked
with resentment of h o w the " Y a n k e e s " h a d sacked A b i n g d o n d u r i n g the " W a r
B e t w e e n the States." T h e term " C i v i l W a r " was e n o u g h to draw indignant stares
from the locals a n d label o n e an outsider.
T h e red brick O p r e y H o u s e dated back to the early 1830s, originally built as
the n e w S i n k i n g S p r i n g Presbyterian C h u r c h , later falling into the hands of the
S o n s of T e m p e r a n c e a n d b e c o m i n g widely k n o w n as the T e m p e r a n c e H a l l . T h e
first k n o w n theatrical p r o d u c t i o n in the structure was The Virginian o n J a n u a r y
14, 1 8 7 6 , a n d the likes of E d w i n B o o t h , F a y T e m p l e t o n a n d J o s e p h Jefferson
were said to have graced its stage. W i t h the d a w n of a n e w century, the two sur
viving trustees of the S o n s of T e m p e r a n c e turned over the T e m p e r a n c e H a l l to
the t o w n of A b i n g d o n . W h e n Porterfield arranged to use the hall for the debut of
his n e w c o m p a n y , the t o w n hall was upstairs while the jail o c c u p i e d the base
ment. A c r o s s the street stood a sprawling mansion—the defunct M a r t h a
W a s h i n g t o n C o l l e g e — w h e r e Porterfield's actors h a d taken u p residence. A
stately reminder, it epitomized the grandeur a n d grace of a revered but bygone
era a n d h o u s e d the out-of-town delegation.
�Curtain U p
9
A b i n g d o n , in short, was the last place 2 2 " Y a n k e e " actors w o u l d have
chosen to take their bows. Y e t Porterfield's vision, the Barter Theatre, was the
alternative to n o w o r k a n d n o f o o d . T h e idea of playing Shakespeare to farmers
was somewhat more attractive than starving, a n d if Porterfield said they were
going to c h u r c h , they w o u l d g o .
There was a m e t h o d to his madness. Porterfield, an ambitious 2 7 , was n o
Y a n k e e a n d he understood what the presence of actors meant in A b i n g d o n . T h e
tall, ruggedly h a n d s o m e founder of Barter, w h o grew u p in nearby Saltville,
wanted to show his skeptical neighbors that "the theater a n d the church were not
necessarily at the opposite ends of the street."
S o o n the S u n d a y before his Barter Theatre's o p e n i n g night, Porterfield mar
c h e d his actors from their residence at the o l d M a r t h a W a s h i n g t o n C o l l e g e ,
d o w n M a i n Street to the Presbyterian C h u r c h .
Staid churchgoers raised dubious eyebrows as the performers quietly settled
into the back pews. T h e y r e m a i n e d stoically u n c o n v i n c e d until it c a m e time for
the h y m n s . B o o m i n g over the rest of the congregation was the beautiful baritone
of H . H . M c C o l l u m . N o t only d i d he bring m o v i n g expression to the words of
" R o c k of A g e s , " but he sang without a h y m n b o o k , as only a real Christian
could.
In that instant, A b i n g d o n took B o b Porterfield's Barter troupe to its heart.
After services, each actor was invited to someone's h o m e for l u n c h . T h e Barter
Theatre was a hit before the first play was presented. A n d n o a m o u n t of public
relations c o u l d ever match what that one trip to c h u r c h a c c o m p l i s h e d .
Later, w h e n Porterfield c o m p l i m e n t e d M c C o l l u m o n his powerful rendition,
the actor confided to his boss, " T h e reason I k n e w the verses is because I h a d to
k n o w them in a play last year. I haven't been to church in 2 5 years."
T h e first of m a n y colorful tales this unique c o m p a n y w o u l d p r o d u c e , this par
ticular story illustrates Porterfield's sensitivity to the t o w n a n d his legendary gift
for p r o m o t i o n — t w o of the principal reasons w h y the Barter survived.
A s another Barter legend goes, Porterfield was o n tour with Walter H a m p
den's famous c o m p a n y of Cyrano de Bergerac w h e n the inspiration to trade
" h a m for H a m l e t " o c c u r e d to h i m . After a West C o a s t engagement, the actors'
train was h e a d e d across the wheat fields of K a n s a s . T h e y o u n g actor gazed at
the passing farmlands a n d started thinking out l o u d about the abundance of
crops in his native Southwest V i r g i n i a . It was ironic, he told H a m p d e n , that so
m a n y actors went without f o o d while m a n y farmers h a d p r o d u c e rotting in their
fields because they couldn't sell it. A n d for the most part, he continued, these
farmers were starved for culture. W o u l d it be possible to operate a theater by
having those farmers exchange produce a n d foodstuffs for tickets to shows?
H a m p d e n didn't think m u c h of the idea. After all, he pointed out, most ac
tors thought of p r o d u c e as something thrown at t h e m by hostile audiences.
Still, the idea for the Barter Theatre was sparked. Bartering was not u n c o m
m o n in the hills of V i r g i n i a . O n e of the earliest k n o w n systems of exchange in
civilization, barter has generally enjoyed increased popularity during times of
�10
The Barter Theatre Story
e c o n o m i c instability. N o t suprisingly, m a n y turned to the practice during the
Depression out of necessity.
A n d there was certainly a n abundance of potatoes, apple butter a n d aged
hams at the Porterfield family farm, T w i n O a k s , near G l a d e S p r i n g . W h y not
work a trade?
H i s mother h a d kept B o b up to date o n the latest news from h o m e a n d his
idea for a "barter" theater was h e l p e d a l o n g w h e n he heard that both the M a r t h a
W a s h i n g t o n C o l l e g e a n d S t o n e w a l l J a c k s o n Institute in A b i n g d o n h a d c l o s e d .
A l l those r o o m s a n d facilities just going to waste. A n d there was the O p r e y
H o u s e in A b i n g d o n . A l l signs were pointing to A b i n g d o n as the site for " B o b ' s
idea."
B e t w e e n w o r k i n g such o d d jobs as elevator boy at the N e w Y o r k Athletic
C l u b a n d m o d e l i n g , B o b wrote the trustees of both colleges a n d the A b i n g d o n
T o w n C o u n c i l , explaining his idea a n d outlining what he n e e d e d to pull it all
off. T h e response was better than he dared h o p e . B o b got the M a r t h a
W a s h i n g t o n C o l l e g e building free of charge, with just utility bills a n d u p k e e p to
worry about. T h e S t o n e w a l l J a c k s o n facilities were offered for a n o m i n a l rent.
A b i n g t o n officials, receptive to n e w ideas that w o u l d stimulate a dismal
e c o n o m i c scene, k i c k e d in the o p e r a house free, p r o v i d i n g n o shows w o u l d be
given o n S u n d a y .
O t h e r "agreements" were m a d e in N e w Y o r k , where B o b h a d n o shortage of
"theater" friends. A c t o r ' s Equity agreed to allow performers to appear in the
V i r g i n i a H i g h l a n d s , endorsing B o b ' s plan fully since it c o u l d keep s o m e actors
from starving. T h e A c t o r ' s Relief F u n d also gave B o b its enthusiastic b a c k i n g a n d
he p r o m i s e d the beneficent organization a share of any profits. A n d the
Dramatics G u i l d , at playwright A u s t i n Strong's suggestion, a l l o w e d the n e w
Barter c o m p a n y to p r o d u c e a n y of its plays with only a V i r g i n i a h a m as p a y m e n t
for royalties. This u n i q u e theater tradition was followed by the like of N o e l
C o w a r d , T h o r n t o n W i l d e r , Robert E . S h e r w o o d , a n d M a x w e l l A n d e r s o n .
Despite all the encouragement a n d c o o p e r a t i o n , Barter was still a long shot.
Porterfield repeated his brainstorm to s o m e N e w Y o r k friends w h o received the
plan with g o o d - n a t u r e d disbelief.
" W e l l , " he retorted, " D o w n where I c o m e from i n Southwest V i r g i n i a ,
they've always been great p e o p l e for s w a p p i n g or bartering."
S h a k i n g her h e a d , the great B r o a d w a y actress J a n e C o w l h a n d e d h i m a
statuette. " B o b , " she e x p l a i n e d , "this is Saint Rita, patron saint of the impossi
ble. C a r r y it with y o u a n d if by chance y o u succeed, pass it a l o n g to s o m e o n e
else w h o is attempting the impossible."
U n d a u n t e d , Porterfield arrived in A b i n g d o n o n M a y 2 2 , 1 9 3 3 with St. Rita,
s o m e scenery he p i c k e d u p from a bankrupt r o a d c o m p a n y of Rose Marie a n d
his 2 2 performers in hot pursuit.
In that first c o m p a n y appeared such names as E l e a n o r P o w e r s , Robert
T h o m s e n , A g n e s Ives, C h a r l e s P o w e r s , M i l d r e d Q u i g l e y , N e l l H a r r i s o n , B o b
Fogle, E m i l y W o o d r u f f , M u n s e y Slack, Marjorie L u t z , H u g h M i l l a r d , R u t h Guit-
�Curtain U p
11
terman a n d Storrs H a y n e s .
B o b certainly hit with four indispensible members of the c o m p a n y . H e l e n
R h o n e Fritch, a faculty m e m b e r of the M a r t h a W a s h i n g t o n College w h o m close
friends called "Fritchie," became something of a business manager for Porter
field. S h e supervised the actors' lodgings, meals, a n d the box office. In a short
time she'd also b e c o m e M r s . Robert Porterfield. Y e a r s later, people w o u l d
remember "Fritchie" as the "one w h o watched the pennies." If y o u absolutely
n e e d e d something, y o u got it, but y o u h a d to justify the use of funds or material.
" Y o u c o u l d s p e n d a d i m e wisely a n d she was enthusiastic," director O w e n
Phillips e x p l a i n e d , "but she was furious if y o u spent a nickel foolishly."
T h e s e c o n d person B o b d e p e n d e d o n during that first year for day to d a y sur
vival was non-stop publicity machine, R i c k y A u s t i n . H a v i n g w o r k e d in
newspapers a n d publicity in both N e w Y o r k a n d California, A u s t i n was also a n
aspiring performer in plays a n d films. T h o u g h o u t 1 9 3 3 , Barter's publicity direc
tor saturated the area newspapers with an impressive string of features, profiles,
announcements a n d news releases. In addition to concentrating o n the m e d i a in
the 15-to- 100-mile touring radius, A u s t i n capitalized o n Barter's colorful a n d
unique operation by garnering international attention through features in the
New York Times, Variety, the Baltimore Sun, Richmond
Times-Dispatch,
Washington Post a n d e v e n the London Times. A mere glance at the public rela
tions generated by A u s t i n demonstrates quite convincingly h o w fortunate
Porterfield was to have a person o n staff w h o recognized Barter's natural p r o m o
tional w o r t h .
A l s o of great help were actor-director Prentice A b b o t a n d stage manager
Robert Fogle, both of w h o m brought years of stock, touring a n d N e w Y o r k ex
perience with t h e m .
B u t it was B o b ' s personality that kept everything going, even at the most
discouraging m o m e n t s . There c o u l d be n o stars in the p a m p e r e d sense a n d
everyone was expected to help build sets, gather props, construct costumes, a n d
d o whatever they c o u l d just to m a k e sure there w o u l d be a t o m o r r o w for the
Barter Theatre. A n d s o m e h o w , e v e n with u n k n o w n audiences a n d a torturous
touring schedule facing t h e m , B o b c o n v i n c e d t h e m it w o u l d all w o r k .
Before the curtain went up o n Barter's first p r o d u c t i o n , Porterfield was m o v
ing at a n incredibly industrious pace, setting the example for his c o m p a n y . After
drawing up a tentative touring schedule, he set out to m a k e sure his Barter
Theatre w o u l d have an audience.
" H e personally built interest in Barter by visiting the civic leaders, newspaper
editors, groups a n d organizations," stated Barter scholar A n n e St. Clair
Williams. " H e c h e c k e d out the various halls, theaters a n d auditoriums in the
area; although in s o m e cases, they were appearing in gymnasiums or libraries.
S o m e towns b o o k e d the w h o l e season of plays, while others just took one or
t w o . B o b was great in front of a n audience, but he was unbeatable o n e - o n - o n e .
That's what built this company—that a n d the cohesive nature of the c o m p a n y .
T h e y were all playing for the success of the theater. That feeling of ensemble was
�3
I
Robert Porterfield
and a direct descendant and her descendants of the original pig turned in as "barter" on
the Barter Theatre's opening night, June 10, 1933.
(Photo courtesy of the Barter Theatre)
I
ft
CO
I
�Curtain U p
13
what kept p e o p l e c o m i n g back."
"There's n o star c o m p l e x a r o u n d here," B o b w o u l d assure years after Barter
opened.
Posters were p l a c e d a r o u n d t o w n proclaiming: " W i t h vegetables y o u cannot
sell, y o u can b u y a g o o d l a u g h . " O n J u n e 10, 1 9 3 3 , the Barter Theatre o p e n e d
its doors with J o h n G o l d e n ' s After Tomorrow. F o r the rest of the s u m m e r , the
c o m p a n y traveled to nearby Kingsport a n d J o h n s o n City, T e n n . , as well as G a t e
C i t y , C h i l h o w i e , D a m a s c u s , G l a d e S p r i n g , E m o r y , Wytheville a n d Bristol. A d
mission was 3 0 cents or the equivalent in eggs, h o n e y , fruits, vegetables, hams
a n d other foodstuffs.
L e g e n d has it that the first item brought to the b o x office was the sow pig that
became Barter's mascot a n d whose descendants p r o v i d e d royalties for several
seasons of Barter productions.
"That one pig has done more for the drama than any individual or institution,"
B o b declared some time later. "If the theater gets so m u c h support from the
makers of h a m , we s h o u l d support the hams better."
" W e play six nights a w e e k , " Porterfield related during those early days,
" m o v i n g a r o u n d from one barn or schoolhouse to another, within a radius of 7 0
miles. B u t we always c o m e back to A b i n g d o n for the night, riding in an o l d bus
called Bessie, with the evening's b o x office returns in our laps."
W i t h the c o m p a n y scrambling to m o u n t each n e w s h o w , A u s t i n was pro
viding show-by-show material, including profiles o n featured performers a n d
feature articles o n productions. A total of seven plays were offered that first
season: After Tomorrow,
Salt Water by D a n Jarrett, Caught Wet by R a c h e l
Roberts, Three Wise Fools by A u s t i n S t r o n g , East Lynne by M r s . H e n r y W o o d ,
a n d the premier productions of The Bob-Tailed Nag by Frances Mallor a n d
Monkey Hat by T o m P o w e r s , w h i c h Porterfield himself appeared i n .
If the titles were less than memorable, B o b ' s audiences certainly didn't seem
to m i n d . " B r i n g us h o n e y , fresh eggs, fresh vegetables, hams a n d other edibles,"
Barter asked, a n d a culture-starved p o p u l a c e r e s p o n d e d .
A t h o m e , the reaction was overwhelmingly favorable. "That their engage
ment has been successful," wrote the Bristol News Bulletin at the e n d of the first
season, "is p r o v e n by the plans that are being made to return again next year
with bigger a n d better entertainments for their Virginia a u d i e n c e . . . . J u s t as
M a r t h a G r a h a m a n d her group of dancers are striving to bring to dance a n e w
m e a n i n g , so the Barter Theatre group hopes in time to present subtler, more
educational dramas for the public they have built up here in the S o u t h , away
from the sometimes decadent effect of the m o r e h a r d e n e d N e w Y o r k stage."
T h e view of "decadent" N e w Y o r k m a y have been somewhat harsh, but the
acknowledgement of Barter's success is well noted. O n a more restrained note,
the Big Stone Gap Post praised B o b , saying his idea "is well c o n c e i v e d . N o t only
will actors benefit from a s u m m e r in Virginia but the towns nearby will have
B r o a d w a y brought to their very d o o r s . "
U n d e r an editorial titled " S o m e t h i n g N e w F o r U s , " the Gate City Herald
�14
T h e Barter Theatre Story
c o m m e n t e d , " T h e taking over of the M a r t h a W a s h i n g t o n Inn as s u m m e r head
quarters for actors a n d actresses is something n e w for this section (of the c o u n
try) . . . . In the giving of these plays to rural audiences, we see a great chance for
the education of the p e o p l e in what constitutes skilled acting."
A n d Barter was also news nationwide. A t a time w h e n most newspaper a n d
radio reports gave the country little reason for cheer, B o b ' s s p u n k a n d Barter's
novelty was not lost o n feature writers a n d news organizations. T h e Richmond
Times-Dispatch wrote that Barter h a d offered a "new d e a l " for the w o r d s " h a m "
a n d "actor." In its typically s h o w businessy w a y , Variety ran a front-page feature
carrying the headline: " D r a m m e r to Billies."
Barter was also featured in a P a r a m o u n t newsreel, a n d the Baltimore
Sun
published a page-one story from the letters of Robert T h o m s e n , a y o u n g
Baltimore resident w h o acted with the c o m p a n y during the first season. "I never
in all m y life h a d a better t i m e , " he wrote. " P e o p l e started appearing with 'barter'
about eleven o'clock a n d by the m i d d l e of the afternoon, the b o x office was filled
with the most a m a z i n g lot of stuff. T h e first ticket was bought with a very small
baby pig that c a n defeat a n y actor's voice. W e got e n o u g h o n i o n s to keep a cen
tury, lettuce, c o r n , a chocolate cake a n d the biggest black rooster I ever saw. It
was the strangest sight—these farmers c o m i n g u p to the b o x office a n d h a n d i n g
over livestock a n d vegetables for a ticket."
A n d so the stories a n d legends started to circulate that w o u l d l e n d Barter with
so singular a reputation a m o n g theaters. Y e a r s later, B o b w o u l d say that n o mat
ter where he traveled in the w o r l d , he always met s o m e b o d y w h o k n e w about
his Barter Theatre.
S i n c e m o n e y was hardly in excess during that first season, B o b put the accent
o n acting rather than props, costumes, scenery a n d lighting. H e h a d arrived in
A b i n g d o n with the Rose Marie scenery, w h i c h was r e w o r k e d for several shows.
" T h e y got by with the m i n i m u m , " A n n e St. Clair Williams p o i n t e d out. " A c
tors wore their o w n clothes o n stage whenever possible, a n d p e o p l e in A b i n g d o n
donated clothes a n d furniture regularly. Other pieces were b o r r o w e d for a par
ticular play a n d e v e n the furnishings of the M a r t h a W a s h i n g t o n Inn were u s e d . "
" T h e first year we h a d only o n e set," Porterfield w o u l d later recall," a n d after
each Saturday night performance that set h a d to be reconstructed for the M o n
day night o p e n i n g of a n e w p l a y . "
Y e t , n o matter h o w h a r d the day-to-day toil was, n o b o d y was g o i n g hungry.
Porterfield h a d f o u n d the answer in barter.
"There has always been a great deal of bartering in V i r g i n i a , " he told the New
York Herald-Tribune.
" S o w h e n the Depression c a m e a l o n g , a n d I began to
think of starting a s u m m e r theatre, it was only natural that I s h o u l d try to incor
porate barter an an essential feature of the scheme.
" D e t e r m i n i n g a fair price for a ticket, w h e n one person brings in a h a m , the
next a sack of potatoes a n d a third a d o z e n eggs, isn't always easy. Mostly w e use
the market price of the c o m m u n i t y as a basis of r e c k o n i n g . W h e n the offering is
insufficient, the playgoer is told to bring s o m e m o r e next time—that is w h e n he
�Curtain U p
15
A typical Barter Theatre box office take during the first season
in 1933.
(Photo courtesy of the Barter Theatre)
c a n be trusted. L u c k i l y , I grew up in A b i n g d o n a n d I k n o w who's w h o . "
O n still another o c c a s i o n , B o b w o u l d say of 1 9 3 3 : "I distinctly remember the
first year in A b i n g d o n . A l l the banks in the country were closed, yet the people
gathered their garden truck a n d c a m e to the plays. T h e m a y o r a n d the president
of the bank both t h a n k e d me for bringing the Barter Theatre to A b i n g d o n . T h e y
said, 'until tonight, everyone in t o w n has been depressed about the banks clos
ing, but n o w their interest has perked-up.' "
That first year resulted in a grand profit of $ 4 . 3 0 — p r o m p t l y turned over to
the Actor's Relief F u n d — a n d a c o m p a n y of well-fed performers. Indeed, B o b
estimated that the troupe h a d gained a total of 3 0 0 p o u n d s in weight; an
average of ten p o u n d s a n actor. N o b o d y h a d really g r o w n rich, except area
residents in a cultural sense a n d the actors in unforgettable experience. T h e
Barter Theatre was a success a n d the country had begun to take notice.
B o b celebrated by marrying H e l e n Fritch in February of 1 9 3 4 in N e w Y o r k .
�16
Chapter Three: "I'd Rather Entertain Souls"
T h e earliest m e n t i o n of a Porterfield ancestor is in a charter dated 1 1 6 0 to
A l a n u s de Porter. A p p a r e n t l y , he was o n e of 2 0 Scots nobles used as hostages
by K i n g H e n r y II of E n g l a n d in seeing that the 1 1 7 4 Treaty of Falaise be observ
e d . Later, J o h n Porterfield, the son of Robert Porter, h a d the lands of Porterfield
confirmed to h i m o n February 3, 1 4 6 0 .
In his 1947 genealogy, The Porterfields, Frank B . Porterfield traces the fami
ly's origins a n d eventual emigration from S c o t l a n d to the U n i t e d States a n d
V i r g i n i a . H i s impressive w o r k details all the Porterfields of p r o m i n e n c e over the
centuries. H a r d l y the most conspicuous or exhaustive entry is the o n e for Robert
Huffard Porterfield o n page 1 5 9 . T h e passage notes that he is "the originator of
the Barter Theater (sic).. .the o n l y theater in the world to w h i c h p e o p l e trade vic
tuals for entertainment." T h e n , with scholarly understatement, F r a n k a d d e d that
"his theater has received m u c h favorable newspaper c o m m e n t . "
T h e o d d s against B o b Porterfield b e c o m i n g a n actor were about as great as
the chances his theater w o u l d survive 1 9 3 3 . H e was b o r n o n D e c e m b e r 2 1 ,
1 9 0 5 in W y t h e C o u n t y , V i r g i n i a , near the industrial c a m p of Austinville—the
location usually given for his birth. B o b was the third of six boys, o n e of w h o m
died in infancy. H i s father, W i l l i a m B . Porterfield S r . , eventually took a job
managing a 20,000-acre farm in Saltville, a n d m o v e d his wife a n d five children
"to the first h o m e B o b Porterfield really r e m e m b e r e d . "
It was in Saltville that B o b "grew u p a n d l o v e d a n d fought a n d went to s c h o o l
a n d acquired most of the ideals a n d ambition a n d c o m m o n sense that have
stood me in g o o d stead ever since." A l t h o u g h he w o u l d later admit to being a n
"aloof" youngster at times, B o b ' s c h i l d h o o d memories were typical of rural
Southwest Virginia in the early 20th century: milking cows, hogkilling, g r o o m i n g
horses, harvest times, pitching hay, s m o k i n g hams, curing b a c o n , Saturday
afternoon haircuts by D a d with oatmeal bowls over the h e a d , the o n e - r o o m
schoolhouse, c o o n hunting, the first p h o n o g r a p h in the parlor, a n d , perhaps
most important, amateur theatrics in the barn.
Bales of hay were his first p r o s c e n i u m arch. A horse blanket was his first cur
tain. H i s father's barn was his first theater. A n d his cousins were his first au
dience. T h a t was w h e n he was seven.
" W h e n I was ten-years-old," he once recalled, "I d r e a m e d o n e night I was
going to be an actor. T h e d r e a m was very real a n d s h o w e d me m a n y of the
things I must d o to achieve m y g o a l . W h e n I w o k e up I k n e w I w o u l d o n e day be
an actor. T h e d r e a m has c o m e true in great part a n d I h o p e the rest of it w h i c h
hasn't yet been fulfilled will be in t i m e . "
�"I'd Rather Entertain Souls"
17
B y the age of 12, y o u n g B o b h a d n o doubts about his profession a n d he stun
n e d his family by a n n o u n c i n g his intention to b e c o m e an actor while breakfast
was being served.
H i s father, w h o w a n t e d h i m to be a preacher, was emphatic.
" Y o u are not going into that wicked w o r l d of theater," he decreed.
H i s devoted mother, Miss Daisy, calmly said, " W e ' l l see what happens."
B o t h parents undoubtedly believed this was merely a romantic c h i l d h o o d
ambition that he w o u l d grow out of sooner or later. B o b ' s d r e a m d i d not die,
h o w e v e r , a n d he was fortunate e n o u g h to have teachers that instilled a love of
reading that r e m a i n e d with h i m for the rest of his life. A s a y o u n g student, he
couldn't seem to get e n o u g h books—history, almanacs, poetry, encyclopedias,
anything. Invariably, everyone from politicians to farmers were impressed with
B o b ' s ability to talk knowledgeably o n any topic. A n d any aversion to the classics
was lost through a teacher's Shakespeare quotation bees. H e also became i n
creasingly interested in oratory a n d o n M a y 3 1 , 1 9 2 4 , the gangly Saltville H i g h
S c h o o l senior w o n a N i n t h District oratorical contest in Bristol. H i s topic, "Jeffer
son a n d the C o n s t i t u t i o n , " p l a c e d second at the state finals in R i c h m o n d ,
although B o b thought "I s h o u l d have w o n . "
Before graduation, he h e l p e d p r o d u c e Julius Caesar a n d p l a y e d Brutus: a n
event that reaffirmed his love for the stage. B o b then spent t w o years at
H a m p d e n - S y d n e y C o l l e g e in supposed preparation for the ministry. T o his
father's dismay, it didn't w o r k out that w a y .
A p p a r e n t l y , the clincher o c c u r e d w h e n 19-year-old B o b traveled to R i c h
m o n d for a debate tournament. H e saw his first professional c o m p a n y at the o l d
L y r i c Theatre—the r o a d s h o w of Rose Marie—and
all thoughts of the ministry
vanished in the glare of reflected stage lights. H e m a d e up his m i n d . H e w o u l d
leave H a m p d e n - S y d n e y a n d pursue his d r e a m .
O n e of his professors tried to talk h i m out of it by describing at length the
beauty of saving souls.
" S i r , " B o b told h i m , "I'd rather entertain souls than save t h e m . "
T h e aspiring actor applied at N e w Y o r k ' s A c a d e m y of Dramatic Arts a n d
soda jerked in a Petersburg drugstore while waiting for an answer. A letter of ac
ceptance arrived at the same time as a note from his father d e m a n d i n g he return
h o m e or go back to s c h o o l . H e w o u l d go to N e w Y o r k , but first there w o u l d be a
trip h o m e under doctor's orders.
H i s father, well aware of B o b ' s fierce resolve, asked the diagnostician to
disuade h i m . After several long talks with his patient, the diagnostician told the
elder Porterfield, "I never e x a m i n e d a healthier patient that h a d ambition. W h y
don't y o u let the b o y d o what he wants to?"
Grudgingly, his father gave i n .
B o b ' s accent became a cause celebre a m o n g instructors at the A c a d e m y of
Dramatic Arts. T o help rid h i m of his S o u t h e r n inflections, they strictly forbade
any contact with Southerners. It w o r k e d to their satisfaction a n d B o b made his
B r o a d w a y debut in a w a l k - o n part the night after graduation. Still, the voice h a d
�18
T h e Barter Theatre Story
Portrait of Barter's founder as a young
actor—nattily
dressed and on the lookout for good roles.
(Photo courtesy of Mrs. Mary Dudley Porterfield)
been untested. A little later he l a n d e d a part in Atlantic City in a play about
B e n v e n u t o C e l l i n i . H i s first s p o k e n line as a professional actor w o u l d be, " H a v e
y o u seen C e l l i n i ? "
H e heard his cue, strode o n stage a n d said in his thickest S o u t h e r n drawl,
" H a v e y'all seen C e l l i n i ? " T h e audience roared a n d B o b h a d a story to repeat to
four decades of actors.
"After acting as usher, reading to blind p e o p l e , a n d d o i n g m a n y other varied
chores," he o n c e c o m m e n t e d , "I m a n a g e d to finance m y theatrical education
a n d lose m y S o u t h e r n accent. S i n c e that time, I have n e e d e d m y accent in every
part I have played!"
Porterfield n o w thrust himself into the erratic lifestyle of a y o u n g struggling
actor in N e w Y o r k . In addition to s o m e m o d e l i n g a n d radio w o r k , he l a n d e d a
job at the N e w Y o r k Athletic C l u b collecting tips as the front elevator boy.
A m o n g the p e o p l e to d r o p coins in his h a n d were J o h n D . Rockefeller, M a y o r
�19
"I'd Rather Entertain Souls"
J i m m y W a l k e r a n d Charles L i n d b e r g h . G r a d u a l l y , he w o r k e d his w a y u p to
desk clerk, then to dining r o o m supervisor. Parts in shows c a m e off a n d o n bet
w e e n 1 9 2 7 a n d 1 9 3 2 . T h e r e was a role in The Ivory Door w h i c h o p e n e d at the
Charles H o p k i n s Theatre o n October 18, 1 9 2 7 , a n d bit parts in Mima (1928) at
the Belasco Theatre, The Dagger and the Rose (1929), The Blue Ghost (1930)
at the Forrest Theatre, a n d Blind Windows (1931).
L i k e so m a n y others before a n d after h i m , B o b was paying his dues. A t one
point, everything of value was stolen from his N e w Y o r k apartment a n d he h a d
to stay with t w o friends for a while.
B u t , also like most p e o p l e w h o w a n d e r into the acting profession, B o b believ
e d a n d , in 1 9 3 2 , Walter H a m p d e n selected h i m to play a cadet for the Cyrano
de Bergerac tour w h i c h resulted in the "barter" inspiration.
In a fascinating autobiographical sketch requested for the J a n u a r y , 1 9 3 8
Record of the Hampden-Sydney
Alumni Association,
B o b jotted d o w n some
early memories of his c h i l d h o o d , college days a n d starting years as an actor:
I was born in Wythe County (Va.) on the other side of New River. M y first conscious
moment was Pop in a rowboat paddlin' me and M a across the river—the river was up
and the creek was rising and they were taking me to my baptizing. T h e n we moved up
to the Salt works, Virginia, where I was reared and fed. I was always under the belief
that Saltville was the end of the world because the train turned around there on a turn
table and went back to Glade Springs.
My first ventures out of the "holler" were on a number of football trips in which I
suffered a knee and head injuries and haven't been right since; consequently, I turned
to oratory and won the ninth district oratorical contest on "The Constitution." This
prompted a trip to Richmond under the sponsorship of a Richmond newspaper. I
recall I slept with my britches on because I couldn't stand to take them off.
O n this trip I remember passing through Farmville and making a rear platform ap
pearance (not to make a speech). I heard these words, " Y o u have done it before, you
can do it some more, Hampden-Sydney." T h e tune kindered my imagination and I in
quired about Hampden-Sydney, as I was finishing high school that year and realized
that I should seek a bit of higher education. Recalling that tune and being somewhat of
a fatalist, I matriculated and my abode was "Stagger Inn." Due to weak knees, I turned
to the Jangleurs and, thanks to Dr. Bell, I got my first dramatic start as William
Sylvanius Baxter, E s q . in Booth Tarkington's Seventeen.
Dr. Bell and some of my
Kappa A l p h a brothers encouraged me in my thespian aspirations and the combination
of that encouragement and my parental objections to the theater decided me to try my
luck on the stage.
U p o n my arrival in New Y o r k , I was rather lucky, having done shows with David
Belasco, a national tour with Walter H a m p d e n in Cyrano
other Broadway shows and radio.
de Bergerac,
a number of
Just before B o b h a d gone to N e w Y o r k , his father took the family to the
Porterfield farm near G l a d e S p r i n g , T w i n O a k s . Settled before the Revolution
about 15 miles north of A b i n g d o n , the land, as B o b was fond of saying, h a d
been o w n e d by only Indians a n d Porterfields. T h e stately T w i n O a k s family
house, like the O p r e y H o u s e that h o u s e d Barter a n d the Martha Washington Inn
that h o u s e d his first c o m p a n y , was also built in the early 1830s.
�20
T h e Barter Theatre Story
O f all the converts B o b m a d e to theater during his lifetime, o n e h e l d a special
significance. D u r i n g a n illness just before his death, B o b ' s father rejected the pre
judices ingrained by his upbringing. " A c t o r s are about the nicest p e o p l e I k n o w , "
he told his s o n .
�21
Chapter Four: Ham for Hamlet ..Cabbage for Cash
F o r whatever reason—fate,
c h a n c e , luck, genius, industry, timing,
perseverance, inspiration, or, most likely, a combination of all these—the Barter
Theatre survived 1 9 3 3 . T h e c o m p a n y grew to 2 8 a n d the season was e x p a n d e d
from seven to ten plays in 1 9 3 4 . O n l y three members of the original crew rejoin
e d B o b a n d Fritchie for a s e c o n d s u m m e r in A b i n g d o n : publicity director A u s t i n ,
A g n e s Ives a n d E m i l y W o o d r u f f .
T o help insure Barter's future, B o b brought in y o u n g H u m e C r o n y n as a pro
duction director for that s e c o n d year.
"I was his partner during the s e c o n d season of the enterprise," C r o n y n recall
e d . "It was still singularly his o w n d r e a m a n d vision. I recruited two or three peo
ple w h o c a m e to the c o m p a n y that season, a n d between us we m a n a g e d to raise
a little m o n e y for Barter. That was hard to c o m e by back then, but a very little
went a l o n g w a y . I h a d met B o b in N e w Y o r k a n d was immediately struck by his
e n o r m o u s personal c h a r m a n d enthusiasm. H e was a natural political figure w h o
k n e w h o w to persuade. H e was better at that than almost anything."
"It was still 3 5 cents or the equivalent in barter at that time. W e got mostly
vegetables...occasionally a p i g . W e ate most of it. A n d we didn't sleep a w h o l e
lot. W e really w o r k e d our asses off. A n d sometimes it wasn't easy to deliver o n
the promises he m a d e . W e used to call h i m ' M a s s a h . ' B o b was unbeatable at en
couraging p e o p l e — a very hale, easygoing, big m a n . T o m e , in 1 9 3 4 , it was a
job. After leaving Barter I became i n v o l v e d rather quickly with productions in
N e w Y o r k . O n e of the members of the c o m p a n y that year was E m i l y Woodruff,
w h o later became M r s . H u m e C r o n y n . " ( C r o n y n , of course, is n o w married to
actress Jessica T a n d y , with w h o m he has often starred o n B r o a d w a y . )
C r o n y n , like most a n y o n e w h o has w o r k e d at Barter, has stories to tell.
E v e r y o n e seems to have their favorite Barter story. A n d n o one was better at
spinning a tale than M r . P .
There was the farmer w h o led a c o w to the front of the theater.
" H o w m u c h milk must I p a y to get i n ? " he asked.
" A b o u t two quarts," the ticket seller replied.
Lifting his pail, the farmer went to w o r k until he h a d the necessary a m o u n t .
H e was about to enter the theater w h e n the b o x office attendant noticed his wife
standing by the c o w .
" A r e n ' t y o u taking y o u r wife with y o u ? "
" L e t 'er milk her o w n ticket," replied the farmer indignantly.
T h e n there was the mountaineer w h o offered to p a y "with something I m a k e ,
only I don't think you'll want it."
�T h e Barter Theatre Story
22
The "barter" is already piled high for this matinee
that was probably during the 1937 season. The
building pictured is one of the Stonewall
Jackson
Institute structures and now houses the company's
rehearsal hall.
(Photo courtesy of the Barter Theatre)
�H a m for Hamlet...Cabbage for Cash
23
"Sure we d o , " cajoled the affable ticket seller.
"I m a k e coffins," he said.
T h e ticket seller was stumped until the o l d m a n a d d e d that he also made
canes. T h e coffin maker c a m e back again a n d again, until every m e m b e r of the
Barter c o m p a n y h a d a finely carved walking stick. B o b passed out m a n y of these
canes to his friends o n B r o a d w a y , later boasting they h a d supported m a n y of the
theater's best k n o w n actors.
A pig, admission for eight p e o p l e , got loose one night a n d ran through the
streets of A b i n g d o n with actors in hot pursuit. T h e y never caught it.
O n e small boy brought a jar of apple butter to the box office. T h e tasty look
ing delicacy turned out to be m u d . A lamb used as admission was bleating so
l o u d that it h a d to be quieted with milk turned in that same night as barter.
Turtles bartered for tickets got loose in the lobby a n d scared s o m e elderly ladies.
In addition to f o o d , early items of barter included w i n e , toothpaste, snakes,
livestock, a n d even underwear.
A n o t h e r time there was a farmer w h o p u l l e d up to the theater with a truck
l o a d e d with children. M a r c h i n g up to the box office with a calf o n a rope, he said
h e ' d like to trade the a n i m a l for season tickets for his family. W h e n told the calf
w o u l d be e n o u g h , he asked, " Y o u don't n e e d nothin' else?"
A s s o o n as the answer came back negative, he untied the calf saying, " T h e n
y o u don't need the r o p e . " S u r e e n o u g h , the calf bolted, but this time a m e m b e r
of the c o m p a n y was fast e n o u g h to catch it before a chase delayed curtain time.
D u r i n g the very early years, the city jail was in the basement of the theater.
Inmates often got r o w d y , interrupting performances.
B o b l o v e d these stories a n d he repeated, embellished a n d enriched t h e m for
reporters a n d audiences year in a n d year out.
" Y o u can almost tell just w h o is in the house any night by looking over the
box office," he once said only half-jokingly.
B y 1 9 3 9 , Porterfield a n d his performers h a d been featured o n both the F r e d
A l l e n a n d R u d y V a l l e e radio shows. T h e wry A l l e n asked his listeners h o w the
Barter b o x office m a d e change. W h e n a m a n p l u n k e d d o w n a turkey, did he get
a rabbit a n d a b u n c h of carrots in change? "In tomato season," he q u i p p e d , "the
w h o l e c o m p a n y h a d acidosis."
"If Porterfield wants to k n o w if he's h a d a success," the nasal-voiced c o m
edian c o n t i n u e d , " l o n g about L a b o r D a y he just weighs the actors."
W h e n the c o m e d y team of O l s e n a n d J o h n s o n accepted a live chicken as a d
mission for their long-running B r o a d w a y c o m e d y , Hellzapoppin',
one columnist
jokingly wrote that Porterfield was considering suing for infringement of
c o p y wright.
E v e n Barter's custom of using a h a m as royalties was g o o d for an often
repeated story. A l t h o u g h such diverse playwrights as N o e l C o w a r d , Philip
Barry, G e o r g e K e l l y , M a x w e l l A n d e r s o n a n d T h o r n t o n W i l d e r h a d gone along
with this novelty, G e o r g e B e r n a r d S h a w d e m u r r e d .
W h e n the Barter staged Candide
in 1 9 3 6 , the r e n o w n e d British playwright
�ft
DO
i
H
=r
ft
Porterfield
as he appeared
in a '30s production
of T h e Hill B e t w e e n .
(Photo courtesy of the Barter Theatre)
ft
C/)
i
�Ham
for Hamlet...Cabbage for Cash
25
sent back his h a m with the short explanation:"I'm a vegetarian." Three years
later w h e n the Barter w i s h e d to produce Pygmalion, S h a w was ready for t h e m :
" S p i n a c h w o u l d be acceptable," he wrote.
A favorite Porterfield story was the time he c o m p a r e d techniques for curing
h a m s with J o h n B a r r y m o r e . Impressed with the Great Profile's expertise, Porter
field c o m p l i m e n t e d his t h o r o u g h k n o w l e d g e of hams.
"I s h o u l d k n o w , " B a r r y m o r e cracked. "I'm the greatest."
B o b never d i d totally a b a n d o n his acting career a n d for several years after
Barter's first season he appeared o n B r o a d w a y during the winter months. W h i l e
Fritchie was often taking care of things in A b i n g d o n , her husband m a n a g e d to
rack up a string of impressive a n d most prestigious credits, the most outstanding
of w h i c h was the c o w b o y , H e r b , in Robert E . S h e r w o o d ' s The Petrified Forest.
H e m a y have never gotten the part if it wasn't for the celebrated Porterfield
c h a r m . A t first rejected for the role, he p r o m i s e d producer A r t h u r H o p k i n s one
of the hams turned in at the Barter b o x office. O n the w a y over to H o p k i n s '
apartment with the h a m , o n e of N e w Y o r k ' s finest stopped Porterfield a n d m a d e
him u n w r a p his rather suspicious looking package. H o p k i n s was so tickled by the
story that he cast Porterfield opposite Leslie H o w a r d a n d H u m p h r e y Bogart.
T h e following year, 1 9 3 6 , f o u n d B o b at the A m b a s s a d o r Theatre in
something called Stark Mad by L y n n R o o t a n d F r a n k F e n t o n . A l s o in the cast
were T o m E w e l l a n d P e r c y Kilbride, so loved for his portrayal of P a Kettle in
several films with Marjorie M a i n . Stark Mad closed quickly due to bad reviews
and Kilbride sent B o b the following note: "Let's pray that y o u r next role will be
more worthy of y o u r steel." It was.
In N o v e m b e r of the same year he was in the cast of E . P . C o n k l e ' s Two Hun
dred Were Chosen, described by New York Times critic B r o o k s A t k i n s o n as a
superlative "saga of life a n d death." A n a d d e d measure of fame was bestowed
w h e n Porterfield a n d fellow cast member W i l l G e e r were paired for a cartoon in
the Herald-Tribune.
T h e delightful sketch by H . H . Knight was also used o n
leaflets advertising the p r o d u c t i o n .
A n o t h e r of B r o a d w a y ' s leading critics, famed humorist Robert B e n c h l e y ,
wrote of T w o Hundred Were Chosen: " T h e actors accomplish one of the m i n o r
miracles of the theater. It turns out to be o n e of the most interesting plays in t o w n
and one of the best acted."
B o b c o u l d also be spotted i n a variety of roles in such plays as Let Freedom
Ring, The Hill Between, Bury the Dead, Everywhere I Roam, They Shall Not
Die a n d John Brown. Before turning all his attentions to Barter, B o b h a d ap
peared in some fourteen B r o a d w a y shows.
In later years, B o b preferred to tell stories about Barter m o r e than B r o a d w a y ,
but w h e n a fellow n a m e d C l a r k G a b l e became the " k i n g " of H o l l y w o o d , he
couldn't resist recalling 1 9 3 1 for a K n o x v i l l e n e w s p a p e r m a n — " G a b l e certainly
has c h a n g e d a lot since we p l a y e d together in Blind Windows. He has a n e w set
of teeth a n d his ears have been c l i p p e d . "
These regular forays to N e w Y o r k kept B o b ' s perspective o n an ever-
�26
The Barter Theatre Story
changing theater w o r l d fresh a n d continued to m a k e h i m countless invaluable
friends. O n a m o r e practical level, they kept B o b ' s " h a n d i n . " Barter, although
successful, was hardly a sure thing. There were n o guarantees that his c o m p a n y
w o u l d be back next year during the '30s.
T h e adventuresome M r . P also tried his h a n d in H o l l y w o o d , m a k i n g his film
debut in the n o w rarely seen The Deep South in 1 9 3 7 . A c t u a l l y , B o b ' s screen
credits are also impressive, e v e n if the roles were little m o r e than cameos.
Ultimately, m a n y of B o b ' s friends a n d former employees e n d e d up in California,
so visits to the West C o a s t sometimes were c o u p l e d with experience before the
c a m e r a . T h e r e was a n appearance in M e r v y n L e R o y ' s excellent 1 9 3 7 d r a m a
starring C l a u d e R a i n s , T h e y Won't Forget; a memorable performance as G a r y
C o o p e r ' s rival in r o m a n c e , Z e b A n d r e w s , in Sergeant York (1941); Army
Chaplain
(1942); a bit part in The Yearling (1946), w h i c h starred Barter
graduate G r e g o r y P e c k ; a n d another small character part in Robert M i t c h u m ' s
g r a n d d a d d y of car-chase pictures, Thunder Road (1958), w h i c h was partly film
ed o n location in Southwest Virginia a n d N o r t h C a r o l i n a .
H o l l y w o o d didn't change B o b ' s h o m e s p u n nature, of course. W h e n he
s h o w e d u p in the office of a studio executive to sign for The Yearling, he was
asked w h o his agent was.
" P e c k , " Porterfield replied plainly.
"Peck?!" the M G M executive roared. " P e c k ' s the star."
"I k n o w , I k n o w . B u t he's m y agent." A n d so he was. B o b c o u l d always
count o n his friends.
B a c k in A b i n g d o n , Barter's situation was constantly c h a n g i n g . A n apprentice
p r o g r a m was inaugurated for the third season, a n d a six-day D r a m a Festival ad
d e d to each season, with several plays offered in repertory. B u t perhaps the
most important change o c c u r e d in 1 9 3 5 w h e n a m o t i o n picture distribution
chain leased the M a i n Street O p e r a H o u s e . Barter h a d been designated unfair
competition, a n d B o b l o o k e d into the still vacant S t o n e w a l l J a c k s o n c a m p u s as
a n alternate site. A l t h o u g h not centrally located, these facilities—including a
500-seat auditorium—were available for a modest rent, so B o b a n d c o m p a n y
said a temporary g o o d b y e to the O p r e y H o u s e a n d M a r t h a W a s h i n g t o n Inn.
After the war, Barter Theatre once again called M a i n Street h o m e , this time for
g o o d , but the c o m p a n y residence—the o l d S t o n e w a l l J a c k s o n dormitory
rechristened the Barter Inn—the scene s h o p r e m a i n e d " u p o n the hill" at the
former S t o n e w a l l J a c k s o n Institute.
A n d Barter c o n t i n u e d to m a k e news. In 1 9 3 6 , Porterfield took a double bill
of 16th century plays—Everyman a n d H e n r y Porter's T w o Angry Women of
Abingdon—to
N e w Y o r k a n d staged t h e m at Barter prices. R e s p o n s e to the ap
pearance at the N e w S c h o o l of S o c i a l Science auditorium was excellent from
reviewers a n d audiences, a n d "big city" theatergoers h a d their chance to p a y 3 5
cents or the equivalent in barter. B o b continued such a n n u a l N e w Y o r k
showcase performances until the war broke out, offering three plays in three
days during the 1 9 4 0 trip.
�H a m for Hamlet...Cabbage for Cash
27
Several newspapers a n d the wire services took notice of a bureaucratic ruling
that became a Barter cause celebre. W h e n a Barter sow h a d eight piglets, the
A A A decreed that was o n e over the limit a n d ordered o n e killed. W e l l , that's a
potential royalty the agency was so callously playing with, so the battle was join
e d . T h e debate over the "litter of eight" e n d e d o n a delightful note w h e n n o less
than Chief Justice Charles E v a n s H u g h e s ruled the eighth piglet c o u l d survive.
H a m s of both varieties a p p l a u d e d the decision.
In the J u l y 3 1 , 1 9 3 9 issue of Life magazine, B o b a n d Barter received one of
their single most famous pieces of publicity. A full-page photograph titled " H o w
to M a k e L o v e " s h o w e d a serious-minded Porterfield demonstrating the proper
romantic embrace to 12 couples in earnest clinches. T h e hill-side p a n o r a m a was
repeated in "Best of Life" spreads a n d was recreated for It's A Date, a Universal
film starring D e a n n a D u r b i n .
Barter was even the subject of a front page feature in The London
Times
(Sept. 8, 1936). Still, few honors c o u l d be counted as high as the front of the J u
ly 2 3 , 1 9 3 9 New York Times d r a m a section. T h e r e , in that n o w legendary style,
was a Hirschfeld interpretation of B o b a n d the Barter Theatre lobby.
�28
T h e Barter Theatre Story
o
2
i
to
a
<
u
"a
E
CO
0)
E
P
3
&
o
-Q
a
I
12
a
CQ
CO
c
c
ON
$
ON
�29
Chapter Five: Mr. P
In today's w o r l d of million-dollar a d campaigns, slick network packaging, a n d
cheap wrestling matches, the w o r d promoter carries something of a n ugly c o n
notation. B u t let's assume that a promoter pushes something either worthwhile
or fraudulent; his methods are either admirable or despicable. A l l o w i n g for that
a n d the basic necessity for public relations in the arts, B o b Porterfield was a pro
moter in the very best sense of the w o r d .
Barter survived four decades of change very simply because again a n d again,
Porterfield displayed u n c a n n y ingenuity in p r o m o t i n g his theater.
"Porterfield was a m a n of m a n y talents," explained the m a n w h o succeeded
h i m , R e x Partington. " H e acted, directed, p r o d u c e d , but I think his forte was
promotion."
Partington's vantage point is not to be taken lightly. H e has steered the A b
i n g d o n theater through another decade of growth after B o b ' s death, a n d has
kept Barter a vital, vibrant c o m p a n y .
" H e was a promoter a n d a very decent one; with the spirit a n d guts to keep it
g o i n g , " H u m e C r o n y n stated.
O n e w a y Porterfield kept the theater in the national eye year after year was
through the Barter A w a r d . W i t h the exception of the N e w Y o r k D r a m a Critics
Circle A w a r d , w h i c h started in 1 9 3 6 , there was nothing close to a gala evening
that brought together the A m e r i c a n theater's luminaries. T h e Pulitzer Prize, after
all, was a n n o u n c e d very dryly a n d the T o n y A w a r d s were not initiated until
1 9 4 7 . A n d there was that legion of carefully cultivated N e w Y o r k friends w h o
w o u l d willingly help out the Barter if Porterfield asked.
S o , each year Porterfield assembled o l d a n d n e w friends to present the Barter
Theatre A w a r d . A l t h o u g h his stated purpose was to recognize A m e r i c a ' s leading
performers, the much-publicized N e w Y o r k banquet quickly became a highlight
of the theatrical social season.
" T h e Barter Theatre has d e c i d e d to present an award to the A m e r i c a n w h o
has given the most outstanding performance o n the stage in the current year,"
wrote First L a d y E l e a n o r Roosevelt in her syndicated c o l u m n , M y D a y . " T h e first
recipient of this a w a r d is Miss Laurette Taylor, a n d they a c c o r d e d m e the h o n o r
of presenting her with it."
M r s . Roosevelt was already o n record as a friend of Barter. A s far back as
1 9 3 6 she h a d expressed interest in B o b Porterfield's experiment, possibly
because her father h a d lived in A b i n g d o n for a number of years. T h e New York
Journal recorded the following W h i t e H o u s e conversation between the First
L a d y a n d a W a s h i n g t o n C o u n t y resident:
�T h e Barter Theatre Story
30
Ethel Barrymore, considered the "First Lady" of the
American theater, won the third Barter Award in 1941,
and received the traditional ham and an acre of land
from First Lady Eleanor Roosevelt. Present at the award
ceremonies were, left to right, Porterfield, Mrs.
Roosevelt, Barrymore, Laurette Taylor (first Barter
Award winner), and Dorothy Stickney (1940 winner).
(Photo courtesy of the Barter Theatre)
�Mr. P
31
" D o y o u k n o w about the Barter Theatre?" M r s Roosevelt inquired.
" Y e s , I surely d o , " the A b i n g d o n w o m a n replied.
" D o , y o u k n o w about the y o u n g m a n w h o has charge of the theater?"
" Y e s , I k n o w h i m . H e is Robert Porterfield, a native of Washington C o u n t y
a n d we are very p r o u d of h i m . "
It w o u l d be the first of m a n y times the popular First L a d y w o u l d vocally lend
her support to B o b ' s theater.
T h e first Barter A w a r d was bestowed at a N e w Y o r k l u n c h e o n , with Porter
field acting as master of ceremonies. Laurette T a y l o r , already a B r o a d w a y
legend, but an actress with m a n y great performances a h e a d , was chosen for her
portrayal of the c h a r w o m a n in Outward Bound. W i t h the exception of the guests
of h o n o r , everyone p a i d for their o w n meals—and those in attendance included
H e l e n H a y e s , Tallulah B a n k h e a d , S o p h i e Tucker, Robert M o r e l y a n d M a r c
Connelly.
O f course, there remained a distinct Southwest Virginia flavor to the pro
ceedings: the a w a r d consisted of a Virginia h a m a n d an acre of l a n d in Barter
territory. O h yes, a n d a special platter bearing the Barter e m b l e m by the C u m b o w C h i n a Decorating C o m p a n y of A b i n g d o n to eat that h a m off of. In addition,
each year's winner selected two promising performers to spend a s u m m e r in A b
i n g d o n . T a y l o r chose L a r r y Gates a n d E d i t h S o m m e r .
T h e next year, D o r o t h y Stickney p i c k e d G r e g o r y P e c k a n d E v e l y n Wells
F a r go. F r o m 1 9 3 9 until 1 9 6 9 , w h e n the presentations stopped, Virginia hams
were bestowed o n such stars as Ethel B a r r y m o r e , M i l d r e d Natwick, H e l e n
H a y e s , H e n r y F o n d a , Tallulah B a n k h e a d , Shirley B o o t h , Frederic M a r c h ,
R o s a l i n d Russell, D a v i d W a y n e , M a r y Martin, Julie Harris, Ethel M e r m a n ,
G e o r g e Abbott, A b e B u r r o w s , D a v i d Merrick, Robert Preston a n d Pearl Bailey.
F e w awards can boast such a n impressive selection of recipients. A n d ,
predictably, it was g o o d for more than its share of stories. Perhaps the most
publicized m o m e n t came in 1 9 5 4 w h e n D a v i d W a y n e w o n the Barter A w a r d .
A ban by the Stage H a n d s U n i o n — p r o b a b l y incurred because Porterfield didn't
use u n i o n stage hands at the Barter—forced 137 hopeful actors into the alley
beside the Martin B e c k Theatre. U n d a u n t e d , W a y n e , with the help of former
Barter actor L a r r y Gates, c o n d u c t e d auditions under the fire escape. A picture of
these unique tryouts was widely circulated.
Ethel B a r r y m o r e , the grande d a m e of the A m e r i c a n theater, a l l o w e d each
performer only one minute for the 1941 auditions. There were about 4 0 0 that
year, a n d w h e n asked to explain her m e t h o d , she c o m m e n t e d wryly, "If they
have talent, you'll k n o w it. If they don't, you'll think your watch has s t o p p e d . "
W h e n not busy in A b i n g d o n , N e w Y o r k or H o l l y w o o d , Porterfield was a
popular lecturer at luncheons, civic functions, club meetings, seminars a n d
workshops. A natural platform performer, B o b w o u l d loosen up his audience
with a few Barter stories before completely winning them over with his c h a r m ,
wit a n d genuine concern for the survival of live theater in A m e r i c a . T o state a n d
local officials he constantly stressed Barter's capacity to attract tourists a n d out-
�32
The Barter Theatre Story
The 1954 Barter Award went to David Wayne who chose
Paul Lukather, left, and Phyllis Wynn to spend a season in Abingdon.
(Photo courtesy of the Barter Theatre)
of-state revenue. T o students a n d educators he was unflinching in his dedication
to quality theater.
" H e e n c o u r a g e d schools a n d other theaters all the t i m e , " p o i n t e d out O w e n
Phillips, B o b ' s close friend a n d frequent Barter director. " H e always said g o o d
theater helps us all. B a d theater hurts e v e r y b o d y . "
"I s p e n d a great deal of time discouraging y o u n g p e o p l e from g o i n g into
theater," Porterfield once said. "It's a d e m a n d i n g profession in w h i c h there's vir
tually n o h o m e life, a n abundance of long a n d often irregular hours, a n d plenty
of headaches a n d heartaches. A n y o n e w h o c a n be discouraged s h o u l d be a n d
will be d i s c o u r a g e d . "
B u t that didn't m e a n students shouldn't be e x p o s e d to the dramatic process.
A n d if it was g o i n g to be of a n y benefit at all, B o b argued, it s h o u l d be with
capable instructors a n d proper facilities.
" W h a t w e n e e d are m o r e stages a n d m o r e audiences to a c c o m o d a t e all of the
dedicated y o u n g actors a n d actresses o n their way u p . "
O n another occasion he r e m a r k e d , "Student dramatics never will be as g o o d
�CO
CO
Governor
O.
Tuck of Virginia joins Robert Porterfield
in honoring Barter Award winner Talullah
(Photo courtesy of the Barter Theatre)
Bankhead.
�34
T h e Barter Theatre Story
as they s h o u l d until schools put t h e m o n purely for artistic purposes, not to raise
m o n e y for n e w g y m e q u i p m e n t . "
U n d e n i a b l y , B o b ' s vision was never restricted to his o w n theater. H e was
constantly p r o m o t i n g theater as a vital a n d necessary part of people's lives. H e
never stopped l o o k i n g into n e w ways he a n d his theater c o u l d enrich his t o w n ,
region, state a n d country.
A n outgrowth of that d e e p c o n c e r n a n d his brilliance for p r o m o t i o n naturally
led h i m towards a p r o p o s a l that was c o m i n g into focus about the same time as
the Barter A w a r d . B y 1 9 4 0 , Porterfield was writing a n d spending a lot of time
with V i r g i n i a legislators, c a m p a i g n i n g for his latest brainstorm: " M y d r e a m is to
have the first state theater in the C o m m o n w e a l t h of V i r g i n i a . W o u l d n ' t it be
grand if w e h a d 4 8 state theaters? T h e n w e would have a national theater."
H e h a d originally w o r k e d u p a p r o p o s a l for a federally subsidized p r o g r a m in
1 9 3 5 — a n early effort at strength through decentralization. If President
Roosevelt, Relief Administrator H a r r y H o p k i n s , a n d two Virginia senators were
not impressed, the p e o p l e w h o heard B o b p u s h his "state theaters" p l a n in per
sonal appearances were.
A n d several elected officials h a d their ears bent by a relentless Porterfield in
1 9 4 0 , w h o was in R i c h m o n d w o r k i n g for the state Department of E d u c a t i o n o n
a drama-in-schools project. B y September, he h a d the particulars of his plan
w o r k e d out. If the federal government wasn't going to take the initiative, well, he
h o p e d his n e w venture in R i c h m o n d " m a y s o m e day set a national precedent by
b e c o m i n g the first A m e r i c a n state theater."
" M y g o a l is to establish a professional festival-resident c o m p a n y that will tour
the state during the fall, winter a n d spring as a n 'Exhibit A ' for the colleges a n d
schools to observe. I expect eventually to pick, with the aid of a competent c o m
mittee of Virginians acquainted with the theater, three plays out of the 15 we will
experiment with during the s u m m e r season at A b i n g d o n . T h e n we'll m o v e our
base to o n e of the college towns a n d play each night for a five-week p e r i o d in a
radius of 6 0 miles."
" D u r i n g the daytime, a part of the professional actors will rehearse with the
college students towards a major p r o d u c t i o n at the e n d of the fifth week. T h e re
mainder, in the m e a n time, will direct productions in elementary a n d high
schools in that area. After five weeks in o n e location, w e will m o v e to another
college t o w n for the same length of time, permitting in all about five festival ses
sions over the state."
Porterfield was a h a r d m a n to resist a n d unexpected help c a m e once again
from M r s . Roosevelt, w h o wrote in M y D a y : "It is exciting to have a state govern
ment finally realize the importance of the theater in the life of the p e o p l e . "
T h e war, h o w e v e r , interfered with B o b ' s plans. T h e s e c o n d W o r l d W a r saw
135 former Barter players in the a r m e d forces. F o u r w o n the Distinguished Ser
vice C r o s s . T w o gave their lives.
T h e Barter was closed for the duration a n d its founder f o u n d himself in the
A i r F o r c e . Porterfield later j o k e d that the G I w h o interviewed h i m , "refused his
�Mr. P
35
Head sticking above the rest, stage-center, Bob Portei-field poses with
his cast for Two O n A n Island.
(Photo courtesy of the Barter Theatre)
request for liason w o r k , stating that the a r m y d i d not provide for illicit relation
ships."
B u t the laughter d i e d in 1 9 4 4 w h e n a tornado swept through A b i n g d o n . T h e
w o r d that reached B o b — s t a t i o n e d in Texas at the time—was i n d e e d dishearten
ing. E q u i p m e n t , scenery, costumes, scripts a n d props h a d been destroyed by
w i n d a n d flooding. Losses were estimated a $ 2 0 , 0 0 0 . Barter h a d been
devastated a n d even B o b h a d doubts about continuing.
After being discharged in 1 9 4 5 , B o b went to H o l l y w o o d . It was writer J a m e s
H i l t o n w h o p r o v i d e d the incentive for Porterfield's return to A b i n g d o n . T h e
author of Lost Horizon a n d Goodbye Mr. Chips was yet another k e e n observer
of Barter's growth. H e personally sent actors to Barter to gain experience, a n d it
was his wish to eventually retire to A b i n g d o n because the quaint t o w n r e m i n d e d
h i m so m u c h of a n English country t o w n . H i l t o n never d i d settle in Southwest
Virginia. H e d i e d in California after several successful novels a n d screenplays.
Hilton's wife A l i c e , h o w e v e r , became B o b ' s secretary in the late '40s, devoting
time a n d m o n e y to keep Barter going until her death in 1 9 6 2 . T o this day,
�36
The Barter Theatre Story
Hilton's Best S c r e e n p l a y Oscar for Mrs. Miniver sits o n the Barter Inn desk of
business manager P e a r l H a y t e r .
H i l t o n told B o b that i n H o l l y w o o d he w o u l d be just o n e a m o n g thousands
a n d thousands of actors. B u t in Virginia he c o u l d still m a k e a n important c o n
tribution to the A m e r i c a n theater.
Faith r e n e w e d , B o b got to w o r k . It turned out that the A b i n g d o n T o w n
C o u n c i l w a n t e d Barter back very badly. T h e O p e r a H o u s e was again reserved
for Barter's use, a n d with what B o b a n d friends were able to raise, repairs were
effected.
Porterfield o n c e again went before the Virginia Legislature a n d this time he
got what he w a n t e d . It didn't set a national precedent as B o b h o p e d , but w h e n
Barter r e o p e n e d its doors in 1 9 4 6 , it was boosted by $ 1 0 , 0 0 0 in state funding
a n d in title, " T h e State Theatre of V i r g i n i a . "
T o d a y , Barter's support from the state c o m e s in the form of a four-to-one
matching grant. F o r every $ 4 the Barter raises (1981 figures), the state kicks in
$1 up to a $ 5 0 , 0 0 0 a n n u a l limit.
A l t h o u g h a great tribute to B o b ' s idealism a n d far-sighted beliefs, the "State
Theatre" designation was also his greatest single piece of p r o m o t i o n . W i t h o u t it,
Barter m a y not have survived to celebrate a 50th anniversary.
T h e post-war p e r i o d saw other very necessary changes. A season ticket c a m
paign was initiated; actors were put o n salary; a n d a cash b o x office replaced the
beloved Barter system.
"That was the change that created the most trouble," Barter historian D r .
A n n e St. Clair Williams n o t e d . "There were a lot of people w h o were faithful
Barter patrons w h o h a d never used anything but vegetables to see a s h o w . O n e
of the most v o c a l was a black w o m a n w h o ran the fish market in A b i n g d o n .
T h e r e was another w o m a n w h o h a d planted a n extra r o w of beans to use as
barter w h e n she heard the theater was g o i n g to r e o p e n . H o w c o u l d y o u explain
the e c o n o m i c necessity of a cash b o x office to such loyal patrons? T h e reaction
was so strong that B o b let s o m e people still use barter—but o n l y in A b i n g d o n . "
B o b also investigated a n d experimented with ways to p r o m o t e A b i n g d o n as a
tourist attraction. O n e of his brainstorms was the V i r g i n i a H i g h l a n d s Festival,
w h i c h remains a leading showcase for arts a n d crafts. E a c h A u g u s t finds a huge
big-top tent set up o n the l a w n across from Barter a n d between the Barter
P l a y h o u s e a n d the M a r t h a W a s h i n g t o n Inn. T h e fair's popularity has brought
valuable tourist revenue to A b i n g d o n a n d , not suprisingly, s o m e of Barter's best
houses.
Part of being a g o o d p r o m o t e r means keeping the customer satisfied, a n d
B o b was always acutely aware of the image his theater projected in A b i n g d o n .
F r o m the m o m e n t he w a l k e d his c o m p a n y to c h u r c h in 1 9 3 3 , M r . P m a d e it
abundantly clear that his actors c o u l d ill afford to alienate the c o m m u n i t y .
" A t first," Porterfield recalled, "the A b i n g d o n p e o p l e were suspicious of the
actors as a n evil influence, but they were s o o n w o n over. T h e Barter Theatre has
never h a d a s c a n d a l . "
�Mr. P
37
A post-war
Barter company
prepares to leave for another
engagement.
touring
(Photo courtesy of T h e Barter Theatre)
" T h e y were a little dubious at first," he r e m a r k e d o n another occasion.
" H o w e v e r , they n e e d not have any qualms. I h a d m a d e it clearly understood
n o b o d y was going to indulge in any m i d - s u m m e r orgies. H a r d work, rather than
dissipation, was to be the rule of the day. W e felt o u r w a y cautiously a n d gave
mostly simple little productions, going strong o n broad c o m e d y in that first
season. W e don't think that the type of patron w e were appealing to w o u l d care
for heavy d r a m a or sophistication. T o d a y , h o w e v e r , there has been a m a r k e d
expansion of taste a n d we n o w receive little criticism w h e n we offer plays that
w o u l d have been considered daring b e y o n d words back in 1 9 3 2 . "
L o u F l a n i g a n , a stage manager at Barter in the late '60s a n d n o w the theater's
public relations director, remembers walking with B o b Porterfield through A b
ingdon a n d being a m a z e d by his easy manner as he passed people o n the street.
" H e was very c o m m u n i t y conscious a n d he made sure the theater projected a
proper image. Part of that meant cultivating the c o m m u n i t y . "
A "free thinker, an individualist, an independent speaker, a 'spinner of
yarns,' 'the m a n o n the street,' a n d the m a n next d o o r all rolled into one
�38
T h e Barter Theatre Story
d y n a m i c p e r s o n . " That's h o w o n e local journalist described Robert Porterfield.
Barter's survival simply c a n not be e x p l a i n e d without understanding what for
midable gifts a n d characteristics its founder possessed.
"It wasn't p r o m o t i n g i n the w a y w e think of it," actress C l e o H o l l a d a y
declares today. "It was a natural c h a r m . H e c o u l d sell a n y t h i n g . " H o l l a d a y , w h o
is n o w married to Barter p r o d u c i n g director R e x Partington, was c h o s e n by M a r y
Martin in 1 9 5 5 as a Barter A w a r d winner. "Right a w a y B o b m a d e y o u feel like
y o u were part of the theater. H e h a d e n o r m o u s sensitivity for both his actors a n d
the t o w n of A b i n g d o n . "
C h a r m . F e w p e o p l e c a n recall B o b Porterfield without using that w o r d over
a n d over. Certainly B o b ' s distinct ability for p r o m o t i o n was a major factor in the
Barter's survival, but, h a n d in h a n d with that talent was the man's o v e r w h e l m i n g
charm.
"I'm sure there were s o m e p e o p l e w h o didn't find h i m c h a r m i n g . " c o m
m e n t e d F r a n k L o w e , a n actor in the Barter c o m p a n y for m u c h of the '50s.
" A n y o n e without enemies is suspect. B u t most f o u n d h i m h a r d to resist. Barter
was the least likely spot in the w o r l d for a professional theater. It's still isolated,
but w h e n he started it, Barter was extremely isolated. H e h a d the u n c a n n y ability
to encourage p e o p l e to c o m e to the theater. T h e y were difficult audiences in that
they w o u l d n ' t stand for anything b a d .
" B o b h a d a very intuitive nature. T h e r e were constant changes in the
A m e r i c a n theater, A b i n g d o n , the country a n d the w o r l d ; a n d Barter reflected
that. A n d Barter was a place where lifelong friendships were m a d e . It was a h a r d
existence, but very instructive. B o b wasn't a remote boss. H e was very helpful,
supportive a n d he dealt with y o u o n a n intensely personal level. I f o u n d h i m a n
u n c o m m o n l y trusting m a n if he h a d faith in y o u . B u t he liked to see p e o p l e get
out of their o w n problems. If he thought y o u were w r o n g , but y o u honestly
believed in what y o u were d o i n g , h e ' d let y o u d o it. If he thought y o u ' d learn
something, h e ' d let y o u fall flat o n y o u r face.
" O n c e w h e n I was in the hospital in N e w Y o r k , I was quite ill a n d very l o w .
W h o s h o u l d walk in but B o b Porterfield a n d he said, ' Y o u ' v e got to get out of
here a n d g o to w o r k d o w n in A b i n g d o n ' . "
" H e was not b o u n d by g r e e d . . . a singular producer. H e h a d a professional
c h a r m that he used as a n actor—he k n e w h o w to play an a u d i e n c e — a n d a
separate c h a r m that was his o w n personality. H e was rather a religious m a n , yet
very o p e n - m i n d e d . H e was interested in a lot of things."
T h e m e m o r i e s of friends a n d associates bear out Barter scholar Teresa
Keller's assertion that B o b "has been deified." C o n s i d e r just a few of these
cherished recollections:
A n n B u c k l e s was a n actress in the Barter c o m p a n y in 1 9 5 1 , returning to play
the lead in the 1 9 7 1 p r o d u c t i o n of 40 Carats just a few months before B o b ' s
death: " B o b Porterfield was certainly a guiding force for m e . H e saw a creative
spark a n d encouraged it. A n d w h e n I went to N e w Y o r k that fall ('51), B o b sent
a w h o l e folder of letters to influential p e o p l e for m e . Y e a r s later, w h e n e v e r I saw
�Mr. P
39
h i m i n N e w Y o r k , h e ' d say, ' W h e n y o u c o m i n g to A b i n g d o n to d o a s h o w ? ' "
" H e was a generous p e r s o n . H e truly l o v e d the theater, a n d the area. I
remember one night we were partying quite loudly at the Barter Inn. A l l of a
sudden there was a k n o c k o n the d o o r a n d there stood B o b . H e just l o o k e d at
m e with a steady stare a n d then said simply, ' B l o n d e s dissipate faster than
brunettes,' a n d w a l k e d a w a y , ' " leaving his blonde actress o p e n - m o u t h e d a n d
with n o g o o d c o m e b a c k .
C a t h y D e C a t e r i n a is the founder of Theatre Bristol, a respected c o m m u n i t y
theater nearby. B o b came to see a couple of her early children's productions, but
her favorite Porterfield m e m o r y harkens back to w h e n she was a student at
Juilliard in N e w Y o r k : " O n e day I ran into B o b Porterfield o n the street. It was so
wonderful to see this w a r m face from h o m e a n d I just smiled a n d said, ' H i , M r
Porterfield.' W e l l , his face just lit up a n d he treated me like I was a long-lost
relative. I was naive e n o u g h to think he actually r e m e m b e r e d m y n a m e a n d he
was just nice e n o u g h to let me think I was like a first c o u s i n . "
L y n n Pecktal was a Kingsport native attending E m o r y a n d H e n r y C o l l e g e just
a few miles a w a y from A b i n g d o n w h e n he was tapped by Porterfield to be the
c o m p a n y ' s set designer in 1 9 5 5 . W o r k i n g during the summers while finishing his
degree, Pecktal went o n to s p e n d nine consecutive seasons at Barter—returning
for a stint in 1 9 6 6 a n d a special assignment in 1981 a n d 1982—designing sets
for such varied shows as Cat On a Hot Tin Roof, The Waltz of the Toreadors
a n d Teahouse of the August Moon. L i k e m a n y others w h o w o r k e d at Barter,
Pecktal got more than just a promising career start in A b i n g d o n , since it was dur
ing his first season that he met G e o r g i a Bennett, the actress w h o five years later
became his wife a n d the mother of their two sons. H e is n o w recognized as a
leading authority o n set design a n d his 1 9 7 5 text b o o k , Designing for the
Theater, is considered the definitive w o r k o n the subject. S c e n i c design is a dif
ficult field to break into a n d the Barter gave Pecktal a chance to create m a n y
diverse types of sets before he established himself in N e w Y o r k . A n imposing oil
painting of his set for Tennessee Williams' Cat On a Hot Tin Roof— w h i c h
featured N e d Beatty as B i g Daddy—still hangs in the first floor hallway of the
Barter Inn.
"This was a p r o v i n g g r o u n d , " Pecktal stated. "It was a great place to learn.
Robert Porterfield was a great, driving force for y o u n g people a n d d e m a n d e d
the best. In those days, w e were d o i n g shows o n very tight budgets. Y o u h a d to
use y o u r imagination a n d be as resourceful as possible. I c a n remember closing a
s h o w o n a S u n d a y night a n d o p e n i n g o n a M o n d a y . . . o r building several sets at
once."
" B o b never let y o u d o w n , t h o u g h , w h e n y o u n e e d e d something. Y o u c o u l d
ask h i m for anything, a n d , as l o n g as y o u c o u l d justify the expense, y o u ' d get it.
H e h a d a marvelous intuitive sense about productions. W h e n he didn't want to
spend m o n e y o n a set, all I h a d to d o was say to M r . P , ' O k a y , if y o u want it to
look tacky."
"Eventually, the time c a m e to m o v e o n . B o b tried to get m e to stay but he
�40
T h e Barter Theatre Story
u n d e r s t o o d . T h e r e was never any clash between friendship a n d professionalism
with B o b . I thought the w o r l d of h i m as d i d m a n y p e o p l e . "
B o b G a l l i c o , w h o n o w makes his h o m e in Ireland, c a m e to Barter as a n aspir
ing actor in the early '50s. T h e s o n of writer P a u l G a l l i c o , his m e m o r i e s of Barter
are both wistful a n d v i v i d : " T h e o n e thing I must say is that there is something
very special about the Barter Theatre. A c t o r s w o r k in s u m m e r stock a n d reper
tory theaters all over, but they always r e m e m b e r the Barter Theatre. That's part
ly d u e to Robert Porterfield. H e was a helluva character in his o w n right. H e was
a charmer, a s h o w m a n , a promoter—but he d e m a n d e d the best."
" T h e Barter was the best training a n actor c o u l d h a v e . W e p l a y e d in a library
o n e night, a n airplane hangar the next. A n d all the classic things hap
pened—sets fell d o w n , d o o r handles fell off. It was probably less professional
than s o m e theaters, but it was a lot more exciting. Y o u k n o w , friendships, mar
riages a n d r o m a n c e s started at Barter because of the atmosphere. T h e r e was a
sense of identity a n d family; a n d B o b was very m u c h a father figure. H e c o u l d be
cruel a n d k i n d a n d gentle a n d wise a n d generous. B o b a n d Barter represent the
best of theater. A c t o r s are transitory beings, but the Barter is s o m e t h i n g that they
always r e m e m b e r . E v e n if I h a d never c o m e back to A b i n g d o n , I w o u l d never
forget it."
N a n c y Necessary P r i d e m o r e has been a speech a n d d r a m a teacher at
Kingsport's D o b y n s - B e n n e t t H i g h S c h o o l for s o m e 3 5 years: "I k n e w B o b
Porterfield really well a n d was able to get a lot of students apprenticeships at the
Barter. I r e m e m b e r g o i n g to see Barter productions o n 'Barter'—we all took
garden vegetables. A s children, we thought it was so exciting. W e didn't k n o w
what Barter was all about because there was n o live theater in this area up to that
point. B o b ' s influence in this area is t r e m e n d o u s . T h e y ' v e kept theater alive a n d
they've definitely inspired other theater groups. C o u n t l e s s children were i n
troduced to the magic of live theater through Barter. T h e y ' v e h e l p e d this area
grow culturally. There's n o w a y to fully appreciate what Barter has accomplished.
A n d B o b was so tall, a n d h a n d s o m e , a n d square-shouldered. H e h a d great
stage presence."
A n n e St. Clair Williams w o r k e d closely with Porterfield in d e v e l o p i n g her
1 9 6 7 thesis research. S h e said of h i m , " H e didn't n e e d a character to hide
b e h i n d , because he was a character."
In ill health for several years, B o b ' s b e l o v e d Fritchie d i e d in 1 9 4 9 . Before the
war, the first M r s . Porterfield was responsible in large part for Barter's financial
survival. B o b always n e e d e d that o n e p e r s o n to "watch the p e n n i e s . " A l i c e
H i l t o n filled that function for s o m e years, with P e a r l Price H a y t e r , a Barter
e m p l o y e e since the '50s, succeeding her. Fiercely loyal to B o b a n d R e x Par
tington, Barter's current business manager is a n integral part of the theater's
history a n d future.
" A m a z i n g c h a r m , " is the w a y Pearl sums u p M r . P . "That's h o w he got so
m u c h a c c o m p l i s h e d . H e has b e c o m e something of a saint since his death, but I
don't think that's the w a y h e ' d want to be r e m e m b e r e d . H e was very h u m a n a n d
�Mr. P
41
he was well aware of it. H e k n e w theater. H e k n e w talent. H e k n e w h o w to per
suade. H e wasn't a great businessman a n d he was a great o n e for promising
things without being sure he c o u l d deliver o n it or not. H e was extremely careful
about the actors socializing with the c o m m u n i t y . B o b ran a h a p p y ship but he
also believed in discipline."
P e a r l , of course, is quite accurate. A s with m a n y m e n of charisma, a m y t h
has g r o w n up a r o u n d B o b Porterfield. W h e n A b i n g d o n residents a n d former
Barter actors remember B o b , there is a reverence a n d affection in their tone.
G r a n t e d , this is m o r e than deserved, yet it keeps us from getting a complete per
sonal picture of B o b . W h a t was he like at h o m e ? W h a t k i n d of person impressed
him? W h a t were his politics? W h a t were his peculiar characteristics?
W h e n B o b talked to the press it was generally about Barter; rarely about
himself. O n c e or twice, s o m e intimate hints c a m e out.
"I like authentic folk music a n d the folk b a l l a d , " he said in 1 9 5 4 , "but I never
have been very m u c h o n this popular stuff."
W a s he a prude? W e l l , he certainly h a d a great deal of " O l d S o u t h " morality
to h i m . A m a n s h o u l d be a gentleman n o matter what his station in life a n d a
w o m a n s h o u l d be a L a d y with a capital ' L . ' H e didn't a p p r o v e of cursing, par
ticularly in front of a w o m a n . T h e virtues of the "Protestant W o r k Ethic" wasn't
lost o n h i m , either.
Still, B o b apparently was o p e n to n e w ideas.
" A t times there are plays presented w h i c h are called shady a n d dirty a n d i m
m o r a l , " he stated in 1 9 4 7 . " W e don't want to give such performances. W i t h the
p e o p l e in support of the theater, they can d e m a n d plays that are significant a n d
carry a worthy message a l o n g with their entertainment. T h e future is up to
them."
T h e person best able to fill in s o m e of these gray areas is M a r y D u d l e y Porter
field, the gracious L a d y (with a capital ' L ' ) w h o B o b married in 1 9 6 5 . S h e still
lives o n the T w i n O a k s farm in a h o m e filled with memories of B o b . It's about
time M a r y D u d l e y h a d center stage:
" H e always said, 'if you're not d o i n g something y o u like, y o u won't m a k e a
success of it.' H e h a d fun. I still think he was one of the greatest promoters in the
A m e r i c a n theater, a n d not just because he was m y husband. I h a d w o r k e d for
Barter once a n d he asked m e to c o m e back a n d organize the Friends of Barter
(an organization of c o m m u n i t y supporters). That's w h e n it all started. H e lived at
the Barter Inn at the time a n d we were married a n d he m o v e d back to T w i n
O a k s permanently. It's always been a G r a d e - A dairy. H e a d o r e d this p l a c e . "
"Let's see. H e hated s m o k i n g ; hated hairspray; hated drunkenness. L o v e d his
w o m e n to smell sweet. H e used to say, 'I married M a r y D u d l e y because she
smells like perfume a n d not linament.' H e hated p e o p l e w h o pretended. H e was
very considerate a n d thoughtful of p e o p l e . T h e only time I saw h i m get really
m a d was at Actors' E q u i t y . H e c o u l d get so m a d at t h e m . "
" B o b h a d the k i n d of personality that y o u felt w h e n he c a m e into a r o o m .
Y o u just h a d a g o o d time w h e n y o u were a r o u n d B o b . Y o u never k n e w what he
�ft
I
Bob Porterfield
and his beloved mother, Miss Daisy, share a quiet moment
which the Porterfield homestead is named.
(Photo courtesy of Mrs. Mary Dudley Porterfield)
beneath the Twin Oaks for
ft
(0
in
I
�Mr. P
43
was going to say. T h e curtain speeches were never p l a n n e d . "
A h , the curtain speeches...so m u c h a part of Barter's lore. It is a tradition
maintained by Partington. B o b w o u l d use that folksy c h a r m before each s h o w .
F r o m 1947 o n , he gave away a pair of n y l o n stockings to the person attending a
Barter performance for the first time from the farthest distance away.
" A n y o n e here from A s i a , Africa, Isaiah," h e ' d start.
T o o often, h e ' d get rolling a n d just keep going, sending the actors into
agonizing fits b e h i n d the curtain. H e always e n d e d his curtain speech with the
same piece of advice: "If y a ' like us, talk about us. If y a ' don't, jes keep y a '
m o u t h shut!"
"That's w h e n he put t h e m in his pocket," Fritz W e a v e r maintained.
" T h e guy ate audiences," A n n e St. Clair Williams c o n c u r r e d .
" T h e actors used to tease h i m or pull his coat through the curtain w h e n he
went o n , " M a r y D u d l e y r e m e m b e r e d with a chuckle. " H i s m i n d was w o r k i n g all
the time. W h e n he f o u n d out that L a d y B i r d J o h n s o n was o n a beautification
tour, he got o n the p h o n e a n d invited her to a performance. A n d he got her. H e
was a perfectionist...always striving."
" Y o u couldn't take a b a d picture of B o b . H e was the most photogenic person
in the w o r l d . H e was perfectly h a p p y in o l d w o r k clothes or a t u x e d o . H e adored
dressing u p , but he l o o k e d g o o d in anything."
"There was n o place y o u c o u l d go where he didn't k n o w s o m e b o d y or he
wasn't recognized. W e took a year off a n d went to E u r o p e a n d there wasn't
anyplace we went where people didn't k n o w about Barter. W h e n we went to
any k i n d of function, w e never sat together. W e always sat at separate tables. M y
job was public relations. That w a y w e c o u l d reach twice as m a n y people. H e
never stopped p r o m o t i n g . H e kept a pencil a n d notebook by his b e d a n d h e ' d
w a k e up a n d write d o w n ideas."
" H e collected little animals a n d little pocket books, but his real hobby was the
theater a n d T w i n O a k s . H e liked fishing, but he wasn't a big sportsman. H e
couldn't stand to waste time. H e was a big reader, constantly reading anything
c o n c e r n e d with theater a n d plays. Variety was his Bible. B o b seemed to k n o w a
little about everything."
" H e was a Democrat, but he wasn't politically active. H e k n e w that both
Democrats a n d Republicans were c o m i n g to his theater."
" H e was a frugal m a n . H e k n e w what the Depression was a n d what
breadlines were. I remember our first Christmas here at T w i n O a k s , I h a d
prepared a turkey. W e l l , we used that d a m n turkey every w a y I c o u l d think
of—meals, leftovers, sandwiches, y o u n a m e it. W h e n there was nothing left but
the bones, I gathered t h e m up a n d took t h e m out back to throw in the field. A l l
of a sudden I was aware of this l o n g s h a d o w in front of m e . ' W h a t are y o u
d o i n g , ' B o b said. W h e n I told h i m I was throwing out the bones, he said, ' B o i l
t h e m a n d make s o u p . "
" H e was a regular movie-goer. H e l o v e d Gone With the Wind. We never
went anywhere that we didn't go to a theater. B o b also l o v e d television. H e
�T h e Barter Theatre Story
44
c o u l d watch anything, but he got real excited w h e n h e ' d see something with one
of his Barter p e o p l e in it."
" H e was a g o o d c o o k , a g o o d dancer, a n d a g o o d bridge player. H e also lov
ed hats. It didn't matter what k i n d . "
" H e h a d a S o u t h e r n d r a w l i n his voice, but it wasn't a strong accent. H e h a d a
little crack in his voice—it was so appealing. H e didn't realize he h a d it. It was a
very pleasing voice. It's h a r d to describe. It was intriguing."
" G r o u n d h o g D a y was his biggest d a y . H e gave a lot of attention to his
G r o u n d h o g D a y Letters. H e said, 'I only send G r o u n d h o g D a y Letters to p e o p l e
w h o sent m e Christmas cards.' O f course, he didn't s e n d Christmas C a r d s
himself."
L u c k y recipients cherished a n d saved B o b ' s G r o u n d h o g D a y letters. T h e y
w o u l d usually begin:
GROUNDHOG D A Y GREETINGS
I thought of y o u o n
L i n c o l n ' s Birthday
G o o d Friday
Washington's Birthday
Memorial Day
Independence D a y
Labor Day
Columbus Day
G e n e r a l Election D a y
Armistice D a y
Thanksgiving D a y
Christmas D a y
New Year's Day
but most especially I a m thinking of y o u o n this
GROUNDHOG DAY
" T h e letters were a s u m m a r y of the preceding year a n d usually contained
lighthearted greetings, witticisms, doses of p h i l o s o p h y ; a n d were sent to family,
friends a n d Barter patrons," Teresa Keller e x p l a i n e d .
At Stonehenge in England I really had a strange, goose-pimply feeling that I had
been there before in another incarnation and I said so to Mary Dudley. W h e n at the
ruins of the House of the Vestal Virgins, Mary Dudley said "I have been here before in
another incarnation." M y laugh echoed through the Forum and I'm sure Caesar, A n
thony and even Brutus must have smiled.
1966
I hope you realize you can't take it with y o u , even though they are now making cof
fins with pockets for those who wish to try.
1969
T h e r e was o n e other side to B o b ' s private life that must be n o t e d : that of lov
ing father. In 1 9 6 8 , B o b a n d M a r y D u d l e y were under the great twin oaks for
w h i c h the Porterfield spread was n a m e d .
�Mr. P
45
Bob, Mary Dudley,
Jay Bird, and their Irish
Wolfhound.
(Photo courtesy of Mrs. Mary Dudley Porterfield)
"I said to her," he recalled the following year, " ' D i d y o u k n o w there has not
been a child to play under these oaks since m y father was a b o y in 1 8 7 0 . That
was nigh o n to 100 years ago. Let's adopt a little boy to play a n d live under these
oaks.' W e d i d . T o think M a r y D u d l e y a n d I have been married only four years
a n d n o w we have a five-year o l d s o n . W e n a m e d h i m J a y B i r d P a y n e Porter
field. H e is keeping m e y o u n g . A n d he is aging his mother!"
T h e r e are n o terms to describe h o w strong the b o n d between father a n d son
became. O n e G r o u n d h o g D a y Letter from 1 9 6 9 noted: " W e a d o p t e d J a y B i r d .
O n c e while struggling with h i m during a bath, I asked h i m if they didn't have a
bath tub where he c a m e from. H e said he took a bath in a bucket. It's wonderful
to get h i m out of that bucket."
�46
T h e Barter Theatre Story
" T h e y a d o r e d e a c h other, J a y a n d B o b , " M a r y D u d l e y r e m a r k e d . " T h e y
were best friends."
A t o n e point, M a r y D u d l e y interrupted her narrative a n d a p o l o g i z e d if she
was rambling or getting overly a n i m a t e d . " H e ' s m y favorite subject," she ex
plained.
S h e' s not alone in that sentiment.
O n e of the best descriptions of B o b Porterfield c a m e from distant relative,
T o m m y C u r t i n , a professional performer himself a n d the o w n e r - m a n a g e r of
Bristol's H o l i d a y C i n e m a m o v i e theater.
"If y o u met h i m , " C u r t i n stated with a smile, " y o u k n e w he h a d to be the o n e
w h o started that theater...he was o n e of a k i n d . "
�47
Chapter Six: The Stars of Barter
T h e stocky y o u n g m a n a n d his friend were hungry, disheveled a n d ex
hausted. T h e y h a d hitchhiked from Connecticut to A b i n g d o n , V a . , where they
h a d heard, B o b Porterfield was auditioning performers for his Barter Theatre
company.
It was 1 9 4 6 a n d Ernest B o r g n i n e , just out of the N a v y , didn't k n o w what to
d o with his life. A s it turned out, his mother, A n n a Bosselli B o r g n i n e came u p
with the answer, " E r n i e , " she told h i m , " d i d y o u ever think of acting? Y o u
always enjoyed m a k i n g a d a m n e d fool of yourself."
S o , after a short stay at the Connecticut S c h o o l of Dramatic Arts, the
youngster took the r o a d to A b i n g t o n . Porterfield c a m e d o w n the hill from the
Barter Inn to interview the two hapless l o o k i n g prospects a n d assumed they
w a n t e d to build sets.
"I'm an actor," B o r g n i n e protested.
Porterfield smiled a n d threw his h a n d to his neck—"I'm up to here in actors."
S o o n , however, the aspiring thespian graduated from set-building a n d
costume construction to bit parts. N i n e years later, Ernie p i c k e d up the Best A c
tor Oscar for his m o v i n g portrayal of P a d d y Chayefsky's lonely butcher, Marty.
Porterfield's response was typical: "We're extremely p r o u d a n d h a p p y that
Ernest w o n the A c a d e m y A w a r d . B u t we're not surprised."
Later, B o r g n i n e w o u l d say, "I learned (to switch characters) thoroughly at
Barter Theatre. I can never be grateful e n o u g h to B o b Porterfield a n d Barter for
starting m e o n the w a y a n d for grounding m e in all the facets of acting. It's
because I was trained there in every possible sort of role that I'm able n o w to pick
scripts a n d get a variety of characters....There's at least one (Barter player) in
almost every picture I m a k e a n d we keep running into o l d friends all over t o w n . "
Still later, he w o u l d a d d , "That's where I really learned m y profession...by
d o i n g , by watching p e o p l e . "
H i s story is hardly unique. T h e h o n o r roll of Barter Theatre a l u m n i is an i m
pressive list of N e w Y o r k a n d H o l l y w o o d ' s leading film, television a n d theater
performers.
" Y o u can go right d o w n B r o a d w a y o n any given night a n d find a Barter
alumnus in s o m e s h o w , " Fritz W e a v e r c o m m e n t e d . C o n s i d e r that since its i n
ception in 1 9 3 3 , Barter has p r o d u c e d the likes of H u m e C r o n y n , Frank L o v e joy, Gregory P e c k , Patricia N e a l , Margaret Phillips, L a r r y Gates, B o r g n i n e ,
Herbert N e l s o n , Elizabeth W i l s o n , C l a u d e A k i n s , W e a v e r , D a v i d (Al) H e d i s o n ,
�ft
3
Ernest Borgnine, far left, in post-war Barter production o / M u c h A d o About Nothing. Just learning his trade,
Borgnine would walk off with Best Actor Oscar for Marty some ten years later. Other cast members are
John Vivyan, Karl Lucas, Larry Gates, Frederic Warriner and Hank Colman
(crouching).
(Photo courtesy of the Barter Theatre)
3
I
�49
T h e Stars of Barter
Ernest Borgnine
accepts his Best Actor Oscar from
Grace Kelly.
(Photo courtesy of the Barter Theatre)
G r a n t Williams, R o s e m a r y M u r p h y , D i a n e Cilento, N e d Beatty, Robert Pastene,
G e r o m e R a g n i , G a r y Collins, M i t c h R y a n , Larry Linville, D a v i d B i r n e y , R i c h a r d
Sanders a n d D a v i d S e l b y .
C o n s i d e r , too, just s o m e of their accomplishments. A complete list w o u l d fill
a n entire other b o o k , but e v e n a brief r u n d o w n is i n d e e d staggering:
* H U M E C R O N Y N , at Barter for the second season in 1 9 3 4 as a director a n d
actor, returning in 1 9 3 8 to direct, he has b e c o m e one of B r o a d w a y ' s most
respected performers, often starring with his wife, Jessica T a n d y . A versatile ac
tor, C r o n y n p l a y e d P o l o n i u s to R i c h a r d Burton's Hamlet, a n d in Richard III,
�50
T h e Barter Theatre Story
Moliere's The Miser, G h e k h o v ' s The Three Sisters a n d The Cherry
Orchard,
comedies like Room Service a n d The Male Animal, a n d , m e m o r a b l y , with T a n
dy in The Fourposter, Noel Coward in Two Keys a n d The Gin Game. W e l l
k n o w n for their d e v o t i o n to the theater, the C r o n y n s will experiment with n e w
shows, appear with repertory c o m p a n i e s or tour with the same d e v o t i o n they
bring to B r o a d w a y . His forays into film include Shadow of Doubt (1943), Lifeboat
(1944), The Postman Always Rings Twice (1946), Brute Force (1947), Sunrise
at Campobello (1960), Gaily, Gaily (1969), There Was a Crooked Man (1970),
The Parallax View (1974) a n d Rollover (1981).
• F R A N K L O V E J O Y , w h o started at Barter in 1 9 3 5 , went o n to a successful
film, stage a n d television career before his tragically premature death at the age
of 4 8 of a heart attack in 1 9 6 2 . U n d e r contract for W a r n e r B r o s . , he appeared in
Home of the Brave (1949), Breakthrough
(1950), In A Lonely Place (1950),
Goodbye My Fancy (1951), House of Wax (1953), Strategic Air
Command
(1955) a n d Three Brave Men (1957) with fellow Barterite B o r g n i n e . L o v e j o y
also m a d e n u m e r o u s appearances in "live" television anthology programs, such
as Four Star Playhouse,
Stage 7, Ford Star Jubilee, Rheingold Theatre, Zane
Grey Theatre, Playhouse 90, a n d a memorable starring role in the Lux Video
Theatre p r o d u c t i o n of Double Indemnity. In 1 9 5 6 , he replaced R a l p h B e l l a m y
in Man Against Crime, the T V series about hard-boiled detective M i k e Barnett.
T h e following year, he l a n d e d another series, Meet McGraw (1957-59), again
starring as a t o u g h guy adventurer. O n B r o a d w a y , L o v e j o y a p p e a r e d in G o r e
V i d a l ' s The Best Man.
• J E F F R E Y L Y N N ( G E O F F R E Y L I N D ) was one of 15 youngsters c h o s e n for
Barter's first apprentice p r o g r a m in 1 9 3 5 . H e arrived at Barter as Geoffrey L i n d
a n d as u n s c h o o l e d as o n e c o u l d wish for. D u r i n g his stay, he stage m a n a g e d ,
acted a n d directed a one-act. W i t h i n a couple of years, Jeffrey L y n n was a rising
star in H o l l y w o o d , appearing with the likes of H u m p h r e y Bogart a n d J a m e s
C a g n e y in The Roaring Twenties (1939), It all Came True (1940), The Fighting
69th (1940), All This and Heaven Too (1940), Lost Lagoon (1958) a n d Tony
Rome (1967). L y n n also starred in the short-lived 1 9 5 3 T V sit-com, My Son
Jeep—remembered
today by only the most ardent trivia experts—and hosted
the dramatic anthology series, Star Stage, for o n e year.
• G R E G O R Y P E C K was selected for the c o m p a n y by Barter A w a r d winner
D o r o t h y S t i c k n e y in 1 9 4 0 . T r i u m p h s in H o l l y w o o d followed quickly with The
Keys of the Kingdom (1945), The Yearling (1946), Duel in the Sun (1947),
Gentleman's Agreement (1947), Twelve O'Clock High (1949), The
Gunfighter
(1950), Captain Horatio Hornblower
(1951), Pork Chop Hill (1959), O n the
Beach (1959) a n d The Guns ofNavarone
(1961). H e reached the height of his
powers with his quiet t r i u m p h as Atticus F i n c h in To Kill A Mockingbird (1962).
His Best A c t o r O s c a r was the s e c o n d A c a d e m y A w a r d for a Barter a l u m n u s .
• M A R G A R E T W Y C H E R L Y was actually already an established star w h e n
she a p p e a r e d with Barter in the early '40s. A n older character actress, her ver
satility a d d e d a considerable d i m e n s i o n to the basically younger Barter c o m -
�T h e Stars of Barter
51
p a n y . H e r m a n y screen appearances ranged from a refined English lady in the
Thirteenth Chair (1929) to G a r y C o o p e r ' s mother in Sergeant York (1941),
w h i c h also featured B o b Porterfield. S h e r e m a i n e d active in films until her death
in 1 9 5 6 , appearing in Random Harvest (1942), Keeper of the Flame (1942),
The Yearling (1946), as J i m m y C a g n e y ' s notorius mother ("Top of the w o r l d ,
Ma!") in White Heat (1949) a n d in Olivier's Richard III (1956). O n B r o a d w a y ,
W y c h e r l y gave notable performances in E l m e r Rice's The Adding
Machine
(1923), Pirandello's Six Characters in Search of an Author, a n d Tobacco Road.
H e r television credits include Philco Playhouse, Kraft Theatre, Studio One a n d
G . E . Theatre. H e r o n l y venture into series television was, of course, a character
part—Mrs. B r o w n , the possessive mother in the ill-fated 1 9 5 2 dramatic pro
g r a m , Claudia, the Story of a Marriage.
• M A R G A R E T P H I L L I P S started at Barter in 1 9 3 9 before m a k i n g her B r o a d
way debut in Proof Through the Night (1942). S h e also appeared o n the Great
W h i t e W a y in The Late George Apley (1944), Summer and Smoke (1949) a n d
The Cocktail Party (1952). Perhaps her best r e m e m b e r e d role was i n the power
ful 1 9 4 6 p r o d u c t i o n of Another Part of the Forest, w h i c h was personally staged
by Lillian H e l l m a n . A l m o s t two powerful for the gleeful post-war m o o d ,
H e l l m a n ' s u n c o m p r o m i s i n g d r a m a ran for o n l y 182 performances. Still, Phillips'
characterization of Birdie was a p p l a u d e d by the critics. A n interesting footnote to
the p r o d u c t i o n is that Phillips co-starred with Patricia N e a l , w h o was also at
Barter in 1 9 4 2 , a n d M i l d r e d D u n n o c k , with w h o m B o b appeared o n B r o a d w a y
in the '30s. S h e also appeared in the films, A Life of Her Own (1950) a n d The
Nun's Story (1959).
• P A T R I C I A N E A L , as B o b later told it, c a m e to Barter as a n apprentice in
1 9 3 8 telling h i m she was 18. H e f o u n d out later she was only 16. T h e K n o x v i l l e
native was a m e m b e r of the c o m p a n y until the war closed Barter's doors a n d ,
afterwards, she became a star in H o l l y w o o d a n d o n B r o a d w a y . Before her
much-publicized a n d tragic stroke, she appeared in The Fountainhead
(1949),
The Day the Earth Stood Still (1951) a n d Hud (1963)—an O s c a r - w i n n i n g per
formance. After her heroic battle to regain speech a n d m o v e m e n t , she stunned
the film w o r l d by returning with a superlative characterization in The Subject
Was Roses (1968). N e a l also went o n to star in Earl H a m n e r ' s popular
Christmas special, The Homecoming,
w h i c h became the pilot for The Waltons
television series. H e r o w n inspiring story has been the subject of a b o o k by Barry
Farrell, Pat and Roald (Dahl, her writer husband) a n d a T V m o v i e based o n the
b o o k starring G l e n d a J a c k s o n . H e r daughter, Teresa, was a Barter apprentice in
1973.
• L A R R Y G A T E S was one of several y o u n g actors w h o formed the nucleus
of the post-war Barter c o m p a n y . A t one point, Gates, Ernest B o r g n i n e , H e r b
N e l s o n , W o o d y Romoff, Elizabeth W i l s o n a n d D i a n e C i l e n t o were all o n the
payroll together. Originally selected for the Barter by first A w a r d winner Laurette
T a y l o r in 1 9 3 9 , Gates frequently returned to A b i n g d o n , although in d e m a n d o n
B r o a d w a y a n d television.
�52
T h e Barter Theatre Story
c
I
c
<
=
>
>
2
k.
CO
a
CD
i
|
H
>
-
w
§*
2
to
c
.5
x •£
c2 °
« I
3 1
42 8
c
a
* J
5
I
a
CQ
o
s
CO
E
3
"a
a
*C
S
�T h e Stars of Barter
53
* E R N E S T B O R G N I N E briefly interrupted his four-and-a-half year stay at
Barter to appear o n B r o a d w a y in Harvey. He c o u l d have stayed, but he felt he
o w e d B o b Porterfield a debt of gratitude. B o r g n i n e also traveled to E u r o p e with
the Barter p r o d u c t i o n of Hamlet that p l a y e d at D e n m a r k ' s Elsinore Castle (see
C h a p t e r S e v e n ) . H i s first big film break c a m e w h e n he p l a y e d Fatso J u d s o n in
From Here To Eternity (1953). Other notable film credits include Vera Cruze
(1954) , Bad Day at Black Rock (1954), Marty (1955), The Best Things in Life
Are Free (1956), The Vikings (1958), Barabbas (1962), The Dirty Dozen
(1967), Ice Station Zebra (1968), The Wild Bunch (1969), Willard (1971), The
Poseidon Adventure
(1972) a n d The Emperor of the North Pole (1973). F o r
four seasons he was at the h e l m of the P . T . 7 3 as C o m m a n d e r Q u i n t o n M c H a l e
in the enormously successful A B C c o m e d y , McHale's Navy. W h e n B o r g n i n e
was the subject of a ' 5 6 episode of This Is Your Life, Porterfield was one of the
very special guests. T h e p r o g r a m a n n o u n c e d T h e Ernest B o r g n i n e T r o p h y — o r
" E r n i e " A w a r d — w h i c h w o u l d be presented to the Barter actor judged to have
given the best performance of the season. T h e a w a r d never really caught o n ,
a n d presentations stopped after a few years. B o r g n i n e d i d , however, like so
m a n y Barter graduates, stay i n touch with Barter's founder until B o b ' s death.
• E L I Z A B E T H W I L S O N started with Barter i n ' 4 2 , returning to the c o m p a n y
in the late '40s a n d early '50s. S h e has achieved her greatest successes o n the
B r o a d w a y stage where she has appeared in Sticks and Bones a n d Mornings at
Seven, w h i c h brought her a D r a m a Desk A w a r d a n d the Outer Circle Critics'
A w a r d . In addition to her stage w o r k W i l s o n has appeared in films—Picnic
(1955) , The Goddess (1958), Alfred Hitchcock's The Birds (1963), The
Graduate (1967), The Day of the Dolphin (1973), The Prisoner of Second
Avenue
(1975), 9 to 5 (1980) a n d The Incredible
Shrinking
Woman
(1980)—and o n television, co-starring with G e o r g e C . Scott in the highly
realistic ' 6 3 series, East Side/West Side, a n d as B e r n a r d H u g h e s ' wife in D o c .
S h e c a m e back to Barter in 1 9 5 9 to star in Auntie Mame a n d Bell, Book and
Candle, a n d in ' 6 4 for Oh Dad, Poor Dad, Mama's Hung You in the Closet and
I'm Feelin' So Sad.
• W O O D Y R O M O F F , in the Barter c o m p a n y from 1 9 4 6 to ' 5 2 , m a d e his
N e w Y o r k debut as G a d s h i l l in Henry IV, Part I. He s o o n established himself in
N e w Y o r k with such shows as She Loves Me a n d Cafe Crown, also appearing in
television dramas o n Studio One, Omnibus a n d Kraft Television
Theatre.
R o m o f f m a d e a special return visit to Barter during the '70s to star in Dracula.
• C L A U D E A K I N S appeared with the Barter touring c o m p a n y in 1 9 5 0 ,
garnering early experience in such plays as The Heiress a n d Comedy of Errors.
A l s o featured in that production of The Heiress were Elizabeth W i l s o n a n d cur
rent Barter p r o d u c i n g director R e x Partington. T h r e e years later A k i n s appeared
with another Barterite, Ernie B o r g n i n e , in From Here to Eternity. H i s other film
credits include The Caine Mutiny (1954), R e v . B r o w n in Inherit the Wind
(1959) a n d Comanche
Station (1960). A k i n s was active throughout the '50s
a n d '60s o n television, appearing in memorable episodes of The Loretta
Young
�2
ft
I
Dorothy
Stickney
poses between the two promising newcomers she selected to join the Barter company
1940, Gregoy Peck and Evelyn Wells Fargo.
(Photo courtesy of the Barter Theatre)
in
!
I
�T h e Stars of Barter
55
Show, Bonanza a n d The Twilight Zone. H i s greatest notoriety has been from
such television series as Movin' On, Nashville 99 a n d Sheriff Lobo. L o n g a
movie a n d T V " h e a v y , " he is n o w o n e of the most recognized a n d l o v e d per
formers o n the tube.
* F R I T Z W E A V E R has enjoyed a l o n g , rewarding career in theater, films a n d
television. H e was c h o s e n for the Barter c o m p a n y in 1 9 5 2 after placing second
to A l (David) H e d i s o n in Barter A w a r d auditions c o n d u c t e d by Frederic M a r c h
a n d Porterfield. It was so close that they called H e d i s o n a n d W e a v e r back for a
run-off audition. W e a v e r left the theater despondent, but Porterfield ran after
h i m a n d asked h i m to join the c o m p a n y . Since H e d i s o n was a leading m a n a n d
W e a v e r a character actor, it w o r k e d out fine. A Barter press release described
the actor this w a y : " W e a v e r boasts as basic equipment; a natural ease o n stage,
artistocratic g o o d l o o k s , a n d a resonant baritone w h i c h he attributes to a family
line that boasts a number of successful opera singers." H e w o n a T o n y A w a r d for
Child's Play in the late '60s a n d p l a y e d S h e r l o c k H o l m e s o n B r o a d w a y in Baker
Street. H i s film credits include Fail-Safe (1964), A Walk in the Spring Rain
(1970) a n d Creepshow (1982), while his television w o r k numbers appearances
o n Studio One, U.S. Steel Hour, The Twilight Zone, The Fugitive a n d
N.Y.P.D.
* A L ( D A V I D ) H E D I S O N was chosen for Barter because of his potential as a
leading m a n . After a brief m o v i e career—which included the m i n o r science fic
tion classic The Fly (1958)—he starred for four seasons as C a p t a i n L e e C r a n e in
the p o p u l a r sci-fi adventure series, Voyage to the Bottom of the Sea. Still a
familiar face o n network television, H e d i s o n also was the star of Five Fingers, a
spy d r a m a that lasted only o n e season. Trivia buffs c a n tell y o u H e d i s o n p l a y e d
V i c t o r Sebastian, an A m e r i c a n counterspy whose c o d e n a m e was "five fingers."
• R O S E M A R Y M U R P H Y , the other y o u n g performer chosen by M a r c h for
the Barter c o m p a n y , m a d e her B r o a d w a y debut in Look Homeward Angel. H e r
other stage credits include the 1 9 6 0 production of Period of Adjustment, for
w h i c h she w o n a n O u t e r Circle Critics' A w a r d , a n d Any Wednesday. S h e also
appeared as high school principal Margaret B l u m e n t h a l in the 1 9 7 4 Lucas Tanner
T V series, a n d in the films Berlin Express (1948), The Young Doctors (1961),
To Kill A Mockingbird,
Any Wednesday (1966), Ben (1972), Walking Tall
(1973) a n d Forty Carats (1973). A n insightful observer of the A m e r i c a n theater,
M u r p h y contributed several experiences a n d views to Stuart W . Little a n d A r
thur Cantor's excellent study of B r o a d w a y , The Play makers.
• G R A N T W I L L I A M S w o n a spot at Barter in 1 9 5 3 . T h e actor gained his
greatest notoriety in the highly regarded science fiction film, The Incredible
Shrinking Man (1957). (Barter coincidences are legion in s h o w business a n d two
Barterites, N e d Beatty a n d Elizabeth W i l s o n , e n d e d up in Lily T o m l i n ' s p a r o d y ,
The Incredible Shrinking Woman s o m e 2 0 years later.) H i s other film credits i n
clude Written on the Wind (1956), Showdown
at Abilene (1956), Monolith
Monsters (1957) a n d The Leech Woman (1960). H e was also a regular o n the
Hawaiian Eye television series.
�ON
CO
Gary Collins,
Flora Elkins and Ned Beatty star in Barter 1963 production
(Photo courtesy of the Barter Theatre)
of Period of Adjustment.
I
ft
•I
H
I
I
ft
CO
�T h e Stars of Barter
57
' H E R B E R T N E L S O N returned to Barter over a span of s o m e 2 0 years. H e
went o n to B r o a d w a y , but f o u n d steady w o r k in television. H e was a regular o n
The Brighter D a y a n d The Guiding Light soap operas, a n d his m a n y television
credits include appearances o n Studio One a n d The Ed Sullivan
Show.
* D I A N E C I L E N T O started as a n apprentice at Barter for the 1 9 4 9 - 5 0
season. T h e Australian-born actress m a d e her B r o a d w a y debut playing H e l e n of
T r o y in Tiger at the Gates. H e r film w o r k includesThe Breaking Point (1950),
Wings of Danger (1952), The Admirable Crichton (1957), The Naked
Edge
(1961), Rattle of a Simple Man (1964), The Agony and the Ecstasy (1965),
Hombre (1967), The Wicker Man (1973), Hitler: The Last Ten Days (1974),
a n d her delightful contribution to Tom Jones (1963), for w h i c h she received a n
Oscar n o m i n a t i o n for Best S u p p o r t i n g Actress.
* N E D B E A T T Y started with Barter as a n apprentice in 1 9 5 8 , staying through
' 6 4 a n d appearing as B i g D a d d y in Cat On a Hot Tin Roof, the title role in Uncle
Vanya a n d the boy's father in The Fantasticks. After a brief return in '67 a n d a
stint at Washington's A r e n a Stage, Beatty l a u n c h e d a highly successful film
career highlighted by his w o r k in Deliverance (1972), Nashville (1975), an Oscar
n o m i n a t i o n for Network
(1976), Superman
(1978), 1941
(1979) a n d
Hopscotch (1981). H e has also appeared in a series of well-recieved T V movies
that include Our Town, Guyana Tragedy, Friendly Fire a n d All the Way
Home.
• R O B E R T P A S T E N E , first at Barter in 1 9 4 6 , became yet another Barter
graduate to cut out a successful career in several m e d i u m s . H i s m a n y B r o a d w a y
shows number The First Cracus, St. Joan, M a u r i c e E v a n s ' Hamlet,
The
Children's Hour a n d Taming of the Shrew. He h a d a long r u n o n the soap
o p e r a , The Edge of Night, a n d for o n e season he was Buck Rogers (1950-51)
o n the A B C series. H i s film credits include Butterfield 8 (1960).
• G E R O M E R A G N I was chosen for a 1 9 6 2 trip to A b i n g d o n by Barter A w a r d
winner A b e B u r r o w s . D u r i n g his stay, he appeared with Beatty in the Barter pro
duction of The Fantasticks. He w o u l d go o n to write the trend-setting B r o a d w a y
play of the '60s, Hair.
• M I T C H ( M I T C H E L L ) R Y A N was another a w a r d winner, p i c k e d for the
c o m p a n y by n o less than Ethel M e r m a n in 1 9 5 7 . H e stayed until 1 9 6 0 , return
ing for the 1 9 6 3 - 6 4 season. H i s Barter roles include Brick in Cat on a Hot Tin
Roof, the lead in Bus Stop, a n d J o h n the W i t c h B o y in Dark of the Moon. T h e
ruggedly h a n d s o m e actor, w h o appeared o n B r o a d w a y in Wait Until Dark,
Brecht's Baal, Othello (as Iago opposite J a m e s Earl Jones), Moon for the
Misbegotten, the revival of A r t h u r Miller's The Price, a n d Medea, also tried out
three short-lived A B C series: Chase (1973-74), Executive Suite (1976-77), a n d
Having Babies (1978). H e fared better as S l i m in Robert Blake's much-praised
T V - m o v i e version of J o h n Steinbeck's Of Mice and Men. He p l a y e d Ernest
H e m m i n g w a y in the P B S special, The Hemingway
Story, a n d his feature films
include Monte Walsh (1970), The Hunting Party (1971), Electro Glide in Blue
(1973), The Friends of Eddie Coyle (1973) a n d Magnum Force (1973). R y a n
m a d e o n e very big hit during his stay in A b i n g d o n , but not o n the Barter stage.
�8
8
3
TO
CD
M r . P shows aspiring actress Diane Cilento the plaque in front of the Barter
(Photo courtesy of the Barter Theatre)
Theatre.
!
!
I
�T h e Stars of Barter
59
During a 1982 visit, Mitchell Ryan shows wife Lynn
around the theater where he often starred 20 years
earlier.
(Photo courtesy of the Barter Theatre)
H e was charged by local police with whistling at a girl from the passenger seat of
a car. T h e incident s o o n blew over (no p u n intended), but R y a n remembers it
clearly: " T h e actual charge was interfering with a female. T h e judge thought the
w h o l e thing was very silly. A n d the next day the headlines read, 'Mitch R y a n
found innocent of interfering with a female'."
* J E R R Y O D D O also cut out a successful television career, appearing o n
such shows as Wagon Train, Perry Mason a n d The Untouchables.
A n ac
c o m p l i s h e d playwright, several of his works were premiered at the Barter.
�The Barter Theatre Story
60
The 1940 Barter production of Lee of Virginia.
The heavily made-up actor at far right? Gregory Peck.
(Photo courtesy of the Barter Theatre)
* G A R Y C O L L I N S was at Barter in ' 6 3 a n d s o o n after l a n d e d the first of four
short-lived series: The Wackiest Ship in the Army in 1 9 6 5 . T h i s was followed by
The Iron Horse in ' 6 6 , The Sixth Sense in 7 2 , a n d Born Free in ' 7 4 . Collins was
also featured in A B C ' s adaptation of A l e x H a l e y ' s Roots, a n d was a n n o u n c e d as
the n e w master of ceremonies for the Miss A m e r i c a pageant in 1 9 8 2 .
* L A R R Y L I N V I L L E , Barter class of ' 6 4 , became nationally k n o w n as weakwilled Major F r a n k B u r n s o n M*A * S * H for several seasons.
• D A V I D B I R N E Y arrived at Barter in ' 6 5 . H e later starred with his wife,
Meredith B a x t e r - B i r n e y , in Bridget Loves Bernie ( C B S , 1972), a n d N B C ' s Serpico. O t h e r credits include the film, Trial By Combat
(1976) a n d J o h n
Carpenter's excellent T V m o v i e , Someone is Watching Me! (1978).
• D A V I D S E L B Y was both a director a n d actor at Barter in 1 9 6 6 . H e started
out as a n apprentice a n d went o n to appear in Twelth Night ("I carried a spear"),
The Crucible, You Never Can Tell, Marat/Sade,
a n d as T o n y Kirby in You
Can't Take It With You. He also directed one-acts, children's plays a n d perform
e d S a m u e l Beckett's o n e - m a n , one-act, Krapp's Last Tape. A l m o s t immediately
after leaving Barter, the actor l a n d e d a role in A B C ' s immensely successful
supernatural soap o p e r a , Dark Shadows. Cast as the silent ghost of Q u e n t i n
Collins, S e l b y s o o n f o u n d himself featured in teen a n d horror magazines alike.
H e has been seen o n B r o a d w a y in Sticks and Bones with Elizabeth W i l s o n a n d
Hedda Gabler with J a n e A l e x a n d e r , while his m o v i e credits include Night of
Dark Shadows (1971), Up the Sandbox (1972) with Barbara Streisand, The
�T h e Stars of Barter
61
When Ralph Edwards devoted a segment of This Is Y o u r Life
to Ernest Borgnine, one of the featured guests was Robert
Porterfield.
(Photo courtesy of the Barter Theatre)
�62
•£
(0
£
Q
)
T h e Barter Theatre Story
2
-Q
0
DC
o
5
Co
c
8
"a
O
O
C
^
3
<
u
?
O
0
'5
co
&
2
>
CD
o
t:
o
CQ
to
.£
.CO
4
2
�T h e Stars of Barter
63
Supercops (1974) with R o n L i e b m a n , Raise the Titanic (1980) a n d Rich and
Famous (1981) with Jacqueline Bisset a n d C a n d i c e B e r g e n . Selby is again a
familiar face o n television due to his portrayal of the daring a n d smooth-talking
M i c h a e l T y r o n e o n N B C ' s Flamingo
Road.
• R I C H A R D S A N D E R S p l a y e d a variety of roles in 1 9 7 2 for Barter's n e w
p r o d u c i n g director, R e x Partington. Since 1 9 7 8 he has been featured as w i m p y
n e w s m a n L e s N e s s m a n o n the C B S - T V series, WKRP in Cincinnati.
A n d that's just 2 8 of Barter's more conspicuous graduates. If Barter were a
high-visibility theater located in a major metropolitan area, such a n h o n o r roll,
while still impressive, w o u l d be somewhat more understandable. Instead, the
Barter is a c o m p a n y where most actors are getting their first or near first taste of
theater. H o w then d i d this quaint little theater born in the Depression again a n d
again produce performers of such stature? O n e reason is quickly supplied by
Fritz W e a v e r :
"There is n o training like that theater—the trouping, the extension of y o u r
o w n resources. G r e g o r y P e c k once told m e that everything he learned about ac
ting he got at the Barter."
C l a u d e A k i n s agreed with that assessment. "It was m y first real theater job
a n d I was actually getting p a i d for it," he recalled. "I remember traveling from
t o w n to t o w n , setting up scenery a n d lights o n those gruelling tours. There's n o
experience like that."
A n d N e d Beatty nearly e c h o e d the sentiments of his fellow actors during a
1981 visit: "I can't say e n o u g h about this place. I almost became a minister a n d
that stage turned out to be m y seminary. Literally, there is nothing better for a
y o u n g actor to d o than be in a c o m p a n y like this. N o t h i n g e v e n close."
"It was through Barter that I became a n actress," Elizabeth W i l s o n said in a
1 9 6 3 interview, " a n d probably (I) w o u l d not have tried to make a career if I h a d
not been in A b i n g d o n . "
Barter not o n l y offered a y o u n g actor the r o m a n c e of an extremely colorful
theater but also a n opportunity to prove himself under the most testing c o n d i
tions. U n d e r such a challenging set-up, the g o o d a n d the very g o o d tend to rise
to the top. N o one was tested harsher than G r e g o r y P e c k . O n his arrival in A b
i n g d o n , he was given 102 pages to memorize in o n e day for a role in Button,
Button. H e also drove the truck a n d set up scenery while trying to master the
dialogue. T h e y o u n g actor h a d to ad-lib some of the dialogue, but he got
through it. W i n n i n g the Oscar was probably a cinch next to that little miracle.
B u t , clearly, another primary reason for Barter's proficiency in the star
department was Robert Porterfield's distinct ability to recognize talent. N o one
w o u l d dare claim that M r . P . was the greatest actor or director to hit the
A m e r i c a n stage. A n d , it is generally c o n c e d e d that his greatest gift was p r o m o
tion. True e n o u g h , through his undeniable c h a r m a n d genius for publicity,
Porterfield p r o m o t e d his theater to a n international reputation. Still, too often
o v e r l o o k e d was his k n a c k for spotting a n d nurturing raw acting ability.
" B o b c o u l d spot talent," W e a v e r pointed out. " H e c o u l d see it under layers
�T h e Barter Theatre Story
64
During the Abingdon run of Family Portrait, legendary actress Judith
Anderson sits at the dressing table salvaged from New York's
Empire
Theatre.
(Photo courtesy of the Barter Theatre)
�T h e Stars of Barter
65
Judith Anderson
poses with the cast of Family Portrait.
(Photo courtesy of the Barter Theatre)
�8!
!
*
I
Broadway
producer
Brock Pemberton accepts his pay in "barter" from Bob Porterfield
the theater's production of Harvey.
(Photo courtesy of the Barter Theatre)
when starring in
ft
I
(0
I
�T h e Stars of Barter
67
a n d layers of camouflage a n d go after it. L i k e with G r e g o r y P e c k , B o b forced
h i m to tell h i m stories to draw h i m out. W i t h m e , he o n c e told m e casually,
' Y o u ' r e a very passionate m a n . I'd like to see m o r e of that o n stage.' W e l l , I h a d
been talking about something i n a very animated w a y , but I h a d never thought of
myself that w a y . It was like a d o o r o p e n i n g . H e k n e w it was there."
" H e was always like a father-figure to m e , " Beatty c o m m e n t e d . " H e h a d a
w a y of encouraging y o u a n d k e e p i n g y o u going. H e truly liked actors."
A n d , these "stars" all have their favorite Barter memories a n d w a r m tributes
to B o b Porterfield.
W h e n Barter's founder d i e d in 1 9 7 1 , G r e g o r y P e c k admitted that "if it were
not for Robert Porterfield, I doubt very seriously if I w o u l d have e v e n h a d a n ac
ting career."
S o m e years later, he r e m e m b e r e d w h e n theatergoers actually brought
vegetables, hams, livestock a n d crafts to "barter" for admission—"I a m here as
one w h o ate the b o x office.. .he (Porterfield) was a w a r m , wonderful m a n . W h e n
I c o m p l a i n e d once about having to memorize 1 1 0 pages of dialogue in three
days, B o b told m e perhaps the best advice I've ever h a d : If y o u have to d o it, grit
y o u r teeth, h o l d o n a n d go with it."
" B o b k n e w what he was doing...it was a real baptism by fire...it was a close
friendship. B o b told m e to always serve it up with a little gravy w h e n y o u want to
entertain p e o p l e . I remember this tonight with s o m e feeling of discomfort
because e v e n today I a m not the storyteller that B o b Porterfield w a s . "
" H e was the courtliest of m e n , " W e a v e r reminisced. " H e h a d that smile that
was just out of this w o r l d . H e just laughed y o u out of any temper. H e was a
natural k i n d of c o n m a n , but in the best w a y . H e always told y o u he was d o i n g it.
If he said, ' G o in the street a n d let yourself get r u n o v e r , ' we w o u l d have d o n e
it."
D a v i d Selby is a n excellent e x a m p l e of h o w Barter gave y o u n g actor's the o p
portunity to grow rapidly: " G r o w i n g u p in West V i r g i n i a , I only thought of
theater. I h a d d o n e s o m e theater as a k i d , but just getting out of West Virginia
was a little difficult. Barter was m y first real job in theater a n d I want to tell y o u , I
w o r k e d like the devil. Peter C u l m a n was actually r u n n i n g things that year a n d I
started out as a n apprentice. I started building sets a n d carrying spears. T h e n I
went from a n E q u i t y j o u r n e y m a n to a full m e m b e r c o m p a n y to s o m e lead roles
a n d s o m e directing. I ran the gamut a n d h a d a marvelous t i m e . "
"I lived at the Barter Inn a n d by the time I left I was m a k i n g Equity scale,
w h i c h was about $ 7 0 or $ 8 0 a week. O f course, Barter also p r o v i d e d r o o m a n d
b o a r d . W e were so busy, but I wouldn't change a thing, y o u can't replace those
times."
Selby also has s o m e special memories of B o b Porterfield a n d A b i n g d o n .
"I remember each year they used to give away a n acre of l a n d to the Barter
A w a r d winner. W e used to tease B o b a n d say, ' W h a t are y o u going to d o if all
those people c o m e a n d claim their acres of l a n d . ' "
" O n e special m e m o r y I have of Barter is the night t w o kittens were left in a
�68
Delightful
T h e Barter Theatre Story
old character actor Eric Blore mugs for a shot in the Barter
(Photo courtesy of the Barter Theatre)
offices.
�T h e Stars of Barter
69
box outside the stage d o o r . M y wife a n d another actor each took one a n d w h e n I
got h o m e from the play, there was this little calico kitten waiting for m e . W e l l , I
didn't want to k e e p it, but the m o r e I started playing with it, the m o r e I grew to
like it. T h a t cat has gone everywhere with us. I still have it."
" A l l m y feelings about Barter are very special."
A n d , n o matter h o w m a n y credits they amass, each Barter "star" remembers
A b i n g d o n with a nostalgic smile.
"I can't tell y o u what memories this brings back," M i t c h R y a n said while stan
ding stage-center during a visit s o m e 2 0 years after his Barter stint. " B o b used to
stand all the w a y in the back during rehearsals a n d yell, 'I can't hear y o u , honey!'
It's o n e of the greatest theaters i n the w o r l d for training. R o s e m a r y M u r p h y told
m e the same thing. If y o u ' v e got a n y talent at all, y o u get great parts here a n d
the chance to c h e w t h e m u p . "
"I got here i n 1 9 5 7 a n d was p a i d the h a n d s o m e salary of $ 5 0 a week. M y first
s h o w at Barter was Bus Stop. M y favorite s h o w was Cat On a Hot Tin Roof. I
p l a y e d Brick a n d N e d Beatty was B i g D a d d y . I liked that s h o w because B o b was
scared of it. H e thought it was too r o u g h for this area. I saw B o b in N e w Y o r k
a n d California from time to time. W e ' d have l u n c h at the A l g o n q u i n — t h a t ' s
where he stayed w h e n h e ' d c o m e to N e w Y o r k for a visit. I couldn't get to the
m e m o r i a l service they h a d at Sardi's. Elizabeth W i l s o n called m e in 1971 to tell
m e they were having it. Y o u k n o w , after I went to H o l l y w o o d , I became Mitchell
R y a n . B o b never liked that. H e always preferred M i t c h R y a n . "
A c t i n g hasn't been the only realm of theater to w h i c h Barter has m a d e c o n
tributions. T h r e e playwrights—William G i b s o n (Two for the Seesaw a n d The
Miracle Worker), Edith S o m m e r s (A Roomful of Roses), a n d S a m T a y l o r
{Sabrina Fair a n d The Pleasure of His Company)—spent
the s u m m e r of 1 9 3 9 in
A b i n g d o n . B o b h a d a great respect for writers a n d often thought of starting a n
actual artists' c o l o n y in A b i n g d o n , setting aside some l a n d for small lodgings
where playwrights, poets, artists a n d directors c o u l d s p e n d a s u m m e r in blissful
creation.
A n d , occasionally, a n established performer or playwright w o u l d use A b
i n g d o n as a showcase for their abilities. M a r y C h a s e {Harvey), another close
friend of B o b ' s , chose Barter to premiere her M r . Thing in 1 9 5 1 (later r e w o r k e d
as Mrs. McThing for a B r o a d w a y production with H e l e n H a y e s a n d Barter
graduate A n n Buckles). Tennessee Williams came to A b i n g d o n in 1 9 6 3 to
oversee the premiere of his revised The Milktrain Doesn't Stop Here
Anymore.
Colorful B r o a d w a y producer B r o c k P e m b e r t o n got a taste of the other side of
his business w h e n he starred at Barter as E l w o o d P . D o w d in Harvey. T h e legen
dary J u d i t h A n d e r s o n agreed to star in Family Portrait in the mid-'50s a n d , over
2 5 years later, D a m e J u d i t h f o u n d herself touring in Medea with Z o e C a l d w e l l
a n d t w o former Barterites—Rosemary M u r p h y a n d Mitchell R y a n . D e n n i s K i n g
h e a d e d the 1 9 5 9 cast of Separate Tables, while delightful o l d character actor
Eric Blore f o u n d his w a y to Barter, as d i d G u y Kibbee.
B u t , for the most part, the accent at Barter has been o n the promising n e w
�70
T h e Barter Theatre Story
performer.
"I think the p e o p l e of A b i n g d o n thought of us as B o b ' s big expensive h o b b y , "
W e a v e r said. " M o s t l y I r e m e m b e r h u s h e d streets a n d audiences that took us to
their hearts. I also remember I fell i n love regularly at Barter."
A k i n s got his first big break indirectly through Porterfield. Just a couple years
after his Barter stint, the y o u n g actor was interviewing with a N e w Y o r k casting
director. T o his surprise, the agent asked about B o b Porterfield w h e n he saw the
Barter credit, a n d A k i n s e n d e d up in From Here to Eternity.
Beatty r e m e m b e r e d that it was o n the o p e n i n g night of B e r n a r d S h a w ' s
Misalliance w h e n his first wife gave birth to fraternal twins. D u r i n g the r u n of
another p l a y , Beatty's wife was taken to the hospital maternity r o o m in between
a matinee a n d e v e n i n g performance.
" A typical actor, I was o n l y thinking of myself," he related with a grin. " A s
she was being w h e e l e d off to the maternity r o o m , I yelled, ' W i s h m e luck,
honey!' T h e s e are true stories. T h e y have to b e . "
H e also recalled touring in Southwest V i r g i n i a where, due to his l o n g hair a n d
bulk, little kids w o u l d ask if he was a wrestler. H e always pretended he was.
Before Beatty c o u l d m o v e o n to another story, he was rudely interrupted by
the fire siren o n Barter's roof. It's always been there, a n d the standing rule is that
the actors freeze if the whistle sounds during a performance. H a r d l y a n n o y e d by
the shrillness, the genial character actor c l a p p e d his hands together a n d exclaim
e d , "I love it!"
" O n e of m y warmest m e m o r i e s is B o b Porterfield's curtain s p e e c h , " he said.
" H e k n e w where his laughs were. I c a n still remember p u n c h i n g h i m through the
curtain saying, 'get off, get off.' I never w a n t e d the season to e n d . "
�71
Chapter Seven: Changes At Barter
For fifty years—forty with Porterfield a n d ten under R e x Partington—Barter
has been a theater that has stressed both tradition a n d i n n o v a t i o n . L i k e the t o w n
it calls h o m e , Barter holds o n to those traditions a n d ideals that audiences new
a n d o l d find so delightful. It's a theater with a lot of heritage a n d neither Porter
field nor Partington has ever tried to deny those things that make Barter so
unique.
That c a n be a hinderance, of course, especially w h e n local audiences react
negatively to n e w a n d challenging elements in "their" Barter Theatre. T h e
resistance B o b met, for instance, w h e n he instituted a cash box office was
typical. L o c a l audiences didn't stop to think that this change meant better, more
professional productions. It meant they c o u l d n o longer bring carrots in ex
change for a ticket. T h e e c o n o m i c realities of theater d i d not c o n c e r n t h e m . A l l
they k n e w was they wanted their Barter like it used to be.
Fortunately, Porterfield was a diplomat par excellent, while Partington has
been able to walk that tricky line of progress a n d preservation.
T h e city jail m a y n o longer be underneath the stage, but the fire whistle still
sits o n the Barter roof. M o s t patrons buy their tickets with cash, but the market
equivalent in "barter" will still get y o u through the d o o r . It's change a n d tradi
tion, holdovers a n d innovations existing side by side in a theater rich with
history.
O n e c a n still find in the basement of the Barter Inn a rickety sign r e m o v e d
from a dilapidated o l d pick-up that reads: " G r e g o r y P e c k drove this truck."
That's a reminder of Barter's past, but also a suggestion that the actors we
now see at Barter are the future G r e g o r y P e c k s a n d Patricia Neals.
That spirit a n d sentiment is evident before every performance w h e n Par
tington closes his front-of-curtain speech with B o b Porterfield's n o w famous
adage: "If y a ' like us, talk about us. If y a ' don't, jes keep y a m o u t h shut!"
Still, Porterfield a n d Partington both believed that vital theater meant pro
gress. S o , rather than settle into y o u r average s u m m e r stock theater or some
k i n d of quaint tourist attraction, Barter has seen its share of change since 1 9 4 6 .
Until Robert Porterfield's death in 1 9 7 1 , the biggest change was state funding
a n d , ultimately, a switch to Equity contracts. There were, of course, a lot of little
heartbreaks a n d victories along the w a y .
J u l y 10, 1947 l o o m s grimly a m o n g the disappointments. It was the first time
in Barter's history that a performance h a d to be cancelled. T h e y h a d been
scheduled to perform East Lynne
at the Dobyns-Bennett H i g h S c h o o l
auditorium in Kingsport w h e n a fire swept through the nearly deserted facility.
�The Barter Theatre Story
72
Howard Lindsay and wife Dorothy Stickney ham it up during a trip to
Abingdon that coincided with a production of A r s e n i c a n d O l d L a c e .
(Photo courtesy of the Barter Theatre)
L u c k i l y , most of the c o m p a n y was at dinner. It took volunteer firemen over a n
h o u r to bring the blaze u n d e r control, but costumes, sets, props a n d equipment
v a l u e d at between $ 2 , 5 0 0 a n d $ 3 , 0 0 0 were lost.
Porterfield h a d stepped up Barter's touring after the war, frequently offering
three different c o m p a n i e s during winter m o n t h s . Barter m o v e d well b e y o n d the
limits of Southwest V i r g i n i a a n d U p p e r East Tennessee, a n d wherever they
went—major cities or the W e s t Coast—reaction was favorable.
" T h e first result at seeing the play {Much Ado About Nothing) at G e o r g e
W a s h i n g t o n H i g h S c h o o l in A l e x a n d r i a is to suggest that what this country needs
is 4 7 other state theaters," wrote Washington Evening Star critic J a y C a r m o d y in
1 9 4 6 . " T h e s e c o n d a n d correlative thought of the spectator is that the Virginia
C o n s e r v a t i o n C o m m i s s i o n never spent a wiser $ 1 0 , 0 0 0 . "
O f all the Barter tours, n o n e received m o r e b a l l y h o o than The Virginian in
the early '50s. It was staged by Margaret Perry a n d starred Porterfield in the title
role. A l s o o n that tour were C l e o H o l l a d a y , Frank L o w e , B o b G a l l i c o a n d O w e n
Phillips, all of w h o m immediately smile w h e n the p r o d u c t i o n is m e n t i o n e d .
�Changes At Barter
73
An informal backstage shot of Bob Porterfield during the early '50s tour of
T h e Virginian. They were touring Owen Wister's classic western, but the folks
flocked to see Bob in the title role.
(Photo courtesy of the Barter Theatre)
" T h e y came to see B o b Porterfield," Gallico c o m m e n t e d , " a n d that's really
what he gave t h e m . It wasn't until The Virginian tour that w e really got close; sit
ting u p nights talking o n the bus."
L o w e uses practically the same words: "Traveling with h i m o n The Virginian
tour was w h e n I really got to k n o w h i m . "
" H e h a d a great time with that part," H o l l a d a y recalled. " O f course, he got by
a lot o n his c h a r m . O w e n was O w e n Wister (the author of The Virginian) a n d
B o b was the V i r g i n i a n . B u t he was B o b . H e didn't o v e r c o m e his personality in
that part. B u t he d i d use it."
�T h e Barter Theatre Story
74
Robert Porterfield
administers western justice in this scene from
The Virginian.
(Photo courtesy of the Barter Theatre)
W h a t c o u l d have been a major t r i u m p h for Barter turned into a n experience
n o one m u c h likes to discuss in detail—The Elsinore Hamlet. S i n c e 1 9 3 7 , the
D a n i s h N a t i o n a l Theatre has invited national theaters from other countries to
perform W i l l i a m Shakespeare's Hamlet in the courtyard of K r o n b o r g Castle.
A m e r i c a d i d not have a national c o m p a n y , h o w e v e r . B u t Virginia d i d have a
State Theatre. S o , in 1 9 4 7 , Porterfield received an invitation for Barter to stage
Hamlet at the 1 9 4 9 two-week H a m l e t Festival.
�Changes At Barter
The Barter company
75
performing
Hamlet at Kronborg
Castle in
Denmark.
(Photo courtesy of the Barter Theatre)
T h e p r o b l e m was m o n e y . Barter c o u l d hardly subsidize the trip from its o w n
coffers, not e v e n with the state funding. Y e t , the prestige attached to such an
undertaking was just too tempting to pass u p . O n c e again B o b turned to a N e w
Y o r k friend for help.
In this case, it was Robert B r e e n , an actor h e ' d met while in Texas during his
hitch with the A i r F o r c e . B r e e n h a d been fascinated by Porterfield's plans for a
national theater, a n d from their brainstorming c a m e the realization of the
A m e r i c a n National Theatre a n d A c a d e m y ( A N T A ) in 1 9 4 5 . It all stemmed from
B o b ' s rather Utopian plans for elevating theaters o n a national basis through state
companies. A N T A h a d e v e n been chartered by Congress before the war, but
federal funds were never realized. After the war, largely inspired by Porterfield,
the tireless B r e e n slaved to m a k e A N T A a viable force.
B r e e n , executive secretary of A N T A in 1 9 4 7 , asked the State Department to
co-sponsor the trip with his organization. In the meantime, although financial
backing was hardly secured, B r e e n told his friend to accept the invitation. H e
also offered to direct a n d star in the production for B o b .
It was already slipping away from being a n actual Barter production w h e n
Blevins Davis, a n extremely affluent A N T A board member, put up the necessary
�76
T h e Barter Theatre Story
funds. T h e r e were stipulations w h i c h Porterfield was i n n o position to debate.
Davis w a n t e d to be able to select the show's designers.
Plans went a h e a d a n d Hamlet b e c a m e Barter's 2 0 0 t h p r o d u c t i o n , staged in
A b i n g d o n as the last s h o w of the 1 9 4 8 season.
In o n e sense, B o b got what he w a n t e d . T h e Elsinore Trip generated a great
deal of publicity in the A m e r i c a n a n d D a n i s h press. After all, Olivier a n d G i e l g u d
h a d performed the role i n D e m a r k , a n d n o w the A m e r i c a n s w o u l d s h o w what
they c o u l d d o . Time magazine described Barter as "far a n d a w a y the most active
professional repertory c o m p a n y touring the U . S . " T h e story also n o t e d that the
Elsinore "Barter" c o m p a n y w o u l d be "bolstered" by such B r o a d w a y veterans as
B r e e n , A l i n e M a c M a h o n as the Q u e e n , Walter A b e l as the K i n g , a n d C l a r e n c e
Derwent as P o l o n i u s .
C l e a r l y , the p r o d u c t i o n h a d ceased to be a genuine Barter offering. S e v e r a l
c o m p a n y members resented h a v i n g to " m a k e w a y " for imported talent after
creating these roles in A b i n g d o n , but they h a d n o choice. T h e generosity of
others c a m e with strings attached. A m o n g the Barter regulars w h o d i d m a k e the
trip was Ernest B o r g n i n e .
R e v i e w s of Hamlet were largely negative. A n d three of the performers criticiz
e d were B r e e n , A b e l a n d M a c M a h o n . R i c h a r d L . C o e of the Washington Post, a
Barter booster for several years, also f o u n d little g o o d to say about the stars in
the Elsinore p r o d u c t i o n . C o e said he liked Derwent's P o l o n i u s , a n d n o t e d the
overall reaction from D a n i s h audiences h a d "hardly been lavish in praise."
O n e telling sign a p p e a r e d w h e n the c o m p a n y m o v e d o n to G e r m a n y . There
the p r o d u c t i o n was billed as " B l e v i n s Davis presents H a m l e t . " E v e n the brilliant
critic B r o o k s A t k i n s o n failed to m e n t i o n Barter in his incisive
Broadway.
A l t h o u g h he describes A N T A at length a n d lists the Elsinore Hamlet a m o n g its
accomplishments, there is not a w o r d about Barter or B o b Porterfield.
Barter still holds the distinction of being the o n l y A m e r i c a n theater invited to
stage Hamlet at Elsinore. T h e h o n o r must be footnoted, h o w e v e r , with the fact
that the D a n e s didn't really see the Barter Theatre in action.
A story w h i c h h a d a m u c h m o r e satisfying e n d i n g followed s o o n after
Elsinore. N e v e r were Porterfield's enterprising ways more in evidence than in
1 9 5 3 w h e n he heard the majestic o l d E m p i r e Theatre in N e w Y o r k was slated
for destruction. Immediately he was o n the p h o n e .
"What's g o i n g to h a p p e n to that marvelous o l d curtain?" was his feverish
question. " A n d that marvelous carpet? A n d those marvelous seats? A n d those
marvelous g o l d e n lamps outside the front d o o r ? "
" J u n k , " the o w n e r replied to Porterfield's obvious delight. " Y o u want those,
M r . Porterfield?"
T h e E m p i r e Theatre was N e w Y o r k ' s oldest legitimate theater, built in 1 8 9 3
a n d opulently furnished in r e d a n d g o l d r o c c o c o . T h e r e were gilded fixtures,
crystal chandeliers, magnificent mirrors, a n d seats all a d o r n e d with a g o l d needle
point " E " . It h a d been sold to M . L o w e n s t e i n a n d S o n s , Inc. by the A s t o r family
a n d B o b quickly asked L a d y A s t o r for the interior furnishings. H e was t o l d he
�Changes A t Barter
77
c o u l d have anything he c o u l d carry away, but there was o n e hitch—it was Friday
a n d the theater w o u l d be torn d o w n o n M o n d a y .
Porterfield a n d his staff got o n the p h o n e s to friends a n d Barter a l u m n i in
N e w Y o r k . W i t h vans a n d trucks supplied by a Virginia firm, c o m p a n y members
were dispatched from A b i n g d o n , while B o b coordinated the massive salvage
maneuver at h o m e . W o r k i n g through the w e e k e n d , the assemblage r e m o v e d
$ 7 5 , 0 0 0 worth of properties a n d l o a d e d t h e m o n vans before the wreckers
could move in.
"I k n e w B o b Porterfield in N e w Y o r k a n d was invited to several of the Barter
A w a r d dinners," actor H a r r y Ellerbe reminisced. " T h e o l d E m p i r e Theatre in
N e w Y o r k was an extremely special theater for m e . I h a d d o n e Ibsen's Ghosts at
the E m p i r e with A l i a N a z i m o v a , w h o I think n o actress has ever t o u c h e d in sheer
brilliance. It was a brilliant success.
" F i v e years later, I was directing a play called Sailor's Delight a n d rehearsing
it in the Empire's office. T h e secretary c a m e in a n d said, ' W h y don't y o u go
d o w n a n d take a final l o o k ? This is the day they're dismantling the inside.' W e l l , I
k n e w it was slated to be torn d o w n , but I didn't realize it was so s o o n . It upset m e
so m u c h a n d here were these kids tearing everything u p .
" O n e tall, red-haired p i m p l y faced k i d shouted at m e , ' H e y , y o u can't go in
there. M r . Porterfield says to keep people out.' Finally, o n e y o u n g actor
recognized me a n d explained that everything in the theater h a d been given to
B o b Porterfield p r o v i d e d he c o u l d get t h e m out before it was torn d o w n . "
T h e y o u n g m a n asked Ellerbe if h e ' d like a souvenir from the E m
pire—perhaps o n e of the ornate gold " E ' s " from the back of a seat. A t first, the
idea seemed m o r b i d , but since Sardi's a n d the Players C l u b h a d both asked for
mementos, he reconsidered a n d still has the framed seat-covering.
Twenty-three years later, Ellerbe visited A b i n g d o n for his friend Will Geer's
o n e - m a n benefit for Barter. P r o d u c i n g director R e x Partington asked h i m to
c o m e back for a p r o d u c t i o n a n d , w h e n he stepped o n the stage of the Barter
Theatre to play G r a n d p a in You Can't Take It With You, there were the fur
nishings, lamps, chandeliers, trim a n d seats he saw being taken from his b e l o v e d
Empire.
"I was so thrilled a n d delighted by the w h o l e t h i n g , " he said. "There's nothing
quite like this theater. It's u n i q u e . "
F r a n k L o w e remembers the E m p i r e Theater c o n v o y from another vantage
point. H e was o n e of the actors dispatched to N e w Y o r k from A b i n g d o n : "There
were about six of us from the theater. W e were told to l o o k for everything a n d
w e did—seats, drapes, materials, electrical a n d technical equipment, light fix
tures... anything that c o u l d be used in A b i n g d o n . "
N o w the E m p i r e lives o n in A b i n g d o n . W h e n the curtain went up o n the
1 9 5 3 season, Barter patrons were dazzled by three ornate chandeliers a n d
several bronze candelabra requiring m o r e than 5 0 0 light bulbs, sumptuous r e d
seats emblazoned with the famous golden " E , " a n d a stirring portrait of
Katherine C o r n e l l .
�T h e Barter Theatre Story
78
Opening
night -
1950.
(Photo courtesy of the Barter Theatre)
T h e '50s saw other changes at Barter. E v e r thinking of n e w things to try, B o b
instituted after-theater parties a n d receptions in 1 9 5 3 . G e n e r a l l y set u p at the
M a r t h a W a s h i n g t o n Inn or across the street at the C a v e H o u s e , a M a i n Street
craft shop near the theater, these get-togethers were h u m o r o u s l y d u b b e d " C h e z
Robert" (pronounced S h a y Row-bare).
" T h e townspeople used to call it the C h e e s e Robert," M a r y D u d l e y said with
a laugh.
Of course, a great deal of attention was bestowed o n Barter w h e n B o r g n i n e
w o n the Best A c t o r Oscar for Marty. T h e event p r o m p t e d the Bristol HeraldCourier to write; "Barter has w o n an inimitable spot in the theatrical w o r l d simp
ly by virtue of consistently superlative w o r k . . . . B u t we also p a y our respects to
Barter, realizing that its importance lies not in whether its ' a l u m n i ' w i n awards,
but in the continuing part w h i c h the theater of A b i n g d o n plays in the social,
e c o n o m i c , cultural a n d civic life in our area. A c a d e m y A w a r d s will c o m e a n d g o .
Barter will r e m a i n . "
�1
A3
OQ
<
0)
CO
c
U
The year was 1954 and the play was Lolita, the premiere of Mary Chase's new
(Photo courtesy of the Barter Theatre)
comedy.
�T h e Barter Theatre Story
80
A Barter tradition until 1958: Bob welcomes Mary Balance
opening night.
on
(Photo courtesy of the Barter Theatre)
Anniversaries also c a m e a n d went. M a r y B a l a n c e , a n elderly A b i n g d o n
native w h o h a d attended every Barter o p e n i n g night since 1 9 3 3 , was the guest
of h o n o r at the 25th anniversary. B o r n D e c . 1 5 , 1 8 6 4 , the night U n i o n troops
b u r n e d the A b i n g d o n courthouse, she was o n e of Barter's most colorful patrons.
E a c h J u n e , area newspapers were b o u n d to have a picture of Porterfield
w e l c o m i n g M a r y B a l a n c e to o p e n i n g night ceremonies. S h e d i e d at the age of
9 3 in October, 1 9 5 8 .
B o b r e m a r k e d o n the occasion of the 25th anniversary, "It doesn't s e e m 2 5
years since a dollar wasn't a n y w h e r e to be seen. T o d a y , they go so fast y o u
don't see t h e m a n y w a y . A lot has h a p p e n e d i n 2 5 years—lots of h a p p y things,
a n d a lot of u n h a p p y things; but, all in all, I've lived a n d , boy! have I h a d a g o o d
time."
F i v e years later, President J o h n F . K e n n e d y sent a note of congratulations for
the 30th anniversary: "This unique enterprise shows us all that the best theater,
both o l d a n d n e w , finds a lively response a m o n g the p e o p l e a n d meets a real
n e e d of the c o m m u n i t y . . . . T h i r t y years is a long time in the life of a m a n a n d
even in the life of an institution. Y e t thirty years of productive existence are n o w
�Changes At Barter
81
A devoted Barter supporter, Alice Hilton accepts "barter" at the
box office during the late '40s.
(Photo courtesy of the Barter Theatre)
m a r k e d by the Barter Theatre, a n d thirty years of effort a n d success by its
founder a n d guiding spirit, Robert Porterfield. I send m y sincere congratulations.
I a m confident the Barter Theatre in the years a h e a d will grow even further in
stature a n d influence."
F o r this anniversary Porterfield q u i p p e d , " T h e past thirty years has been full
of the magic of make-believe. That is, m a k i n g believe the Barter Theatre has all
the equipment a n d m o n e y that other professional theaters h a v e . "
T h e year 1 9 6 2 was tinged with sadness for Barter by the passing of Alice
H i l t o n , a w o m a n whose contributions to the theater can hardly be overstated.
Pearl Hayter, w h o w o r k e d closely with A l i c e for m a n y years a n d succeeded her
as business manager recalls that "while m a n y people have taken a n d received
m u c h from Barter, A l i c e H i l t o n gave completely of herself for so m a n y year. S h e
always kept a l o w profile a n d she didn't want the recognition, but she was here
from the late '40s to 1 9 6 2 in a volunteer capacity. S h e was completely devoted
to B o b a n d the Barter. S h e p a i d for the air conditioning in the theater a n d a n e w
marquee. S h e gave of herself financially a n d as a volunteer. S h e believed if y o u
were here for the benefit of the theater, y o u deserved a p l a c e . "
�00
S
P
I
ft
The Barter Theatre as it appeared
in 1965 welcoming
First Lady Lady Bird
(Photo courtesy of the Barter Theatre)
Johnson.
!
ft
o
�Changes At Barter
83
Bob Ported
escorts First La , La<i Bird JoHnson
1965 visit to
Abingdon.
d
v
(Photo courtesy of the Barter Theatre)
d u r i n g
Her
�T h e Barter Theatre Story
84
Lady Bird Johnson is greeted by a well-wisher while
awaiting the curtain to go up on the first act at the
Barter
Theatre.
(Photo courtesy of the Barter Theatre)
T h e years were also full of honors a n d awards. M o s t prominent was B o b ' s
1 9 4 8 Antoinette Perry A w a r d (Tony) for contributions to the A m e r i c a n theater.
That a w a r d was particularly touching for B o b since the later executive director of
the A m e r i c a n Theatre W i n g for w h o m the a w a r d was n a m e d was o n e of Barter's
earliest supporters. B o b was also h o n o r e d with a n H o n o r a r y D o c t o r of Literature
from H a m p d e n - S y d n e y C o l l e g e in 1 9 4 8 ; n a m e d First Citizen of A b i n g d o n by
the T o w n C o u n c i l in 1 9 5 7 ; given the T h o m a s Jefferson A w a r d for his public
relations w o r k o n behalf of Virginia in 1 9 6 3 ; a n d presented with the S u z a n n e
D a v i d M e m o r i a l A w a r d at the 1 9 6 7 Southeastern Theatre C o n f e r e n c e .
B o b a n d Barter were also featured in a n article by J o s e p h R . J u d g e , " T h e
Story of Barter Theatre," w h i c h was written for the magazine Amerika published
by the State Department for distribution in Russia. J u d g e dealt at length with the
E m p i r e Theatre adventure, noting the crew "received the thanks of M r . P . A n d
very often that's its o w n best r e w a r d , for there is a feeling, undiscouraged by
Porterfield, that w h e n y o u d o something for Barter y o u also d o something for
�Changes A t Barter
85
the w h o l e theater a n d the national culture as well. It is that k i n d of feeling that
has kept Barter y o u n g a n d growing all these years."
B u t in spite of the recognition, accomplishments a n d honors, B o b was wor
ried about Barter's future. H e recounted one sobering trip in 1 9 6 0 : "I came
through Dallas o n the w a y back a n d there is the M a r g o J o n e s Theater closed.
N o b o d y ever d i d m o r e for decentralized theater than M a r g o . B u t two years after
M a r g o d i e d , the theater folded u p . N o w I can't let that h a p p e n to Barter. I'm not
going to live forever, but the Barter s h o u l d go o n . It has b e c o m e important to the
theater w o r l d a n d important to V i r g i n i a . "
T o insure Barter's survival, B o b set up the Barter Theatre F o u n d a t i o n , w h i c h
still administers the theater's activities through an 11-member B o a r d of Direc
tors.
B o b also set up the Friends of Barter, a n organization m a d e up basically of
area residents that runs a n n u a l season ticket campaigns.
A n d there was a n expansion in actual theater activities. In 1 9 6 1 , B o b o p e n e d
the Barter P l a y h o u s e , located across the street from the theater. T h e oldest of all
the Barter buildings, it was constructed as a Protestant Methodist C h u r c h in
1 8 3 0 . Porterfield asked the owners, the Methodist Conference a n d E m o r y a n d
H e n r y C o l l e g e , if he c o u l d clean out the structure a n d use it as a theater. F o r the
most part, the P l a y h o u s e was used for children's shows, experimental d r a m a
a n d avant-garde theater.
" H e ' d let y o u d o just about anything over in the P l a y h o u s e , " N e d Beatty
p o i n t e d out. "That's where we d i d shows that might have been too risque for the
usual theater audiences. I remember I talked h i m into letting us d o Don Juan in
Hell over there. I was really enthusiastic about it a n d he let us d o it—even
t h o u g h n o b o d y really k n e w the s h o w a r o u n d here, it was w a y too difficult for,
a n d realizing h o w audiences w o u l d probably react to four characters sitting o n
stools for a n entire s h o w . B u t I wanted to d o D o n Juan in Hell."
Porterfield d i d try to ease his control of Barter a little after he married M a r y
D u d l e y . In 1 9 6 6 , he took a year-long leave-of-absence a n d toured E u r o p e ,
leaving 26-year-old Peter C u l m a n in charge.
C u l m a n h a d been at Barter in 1 9 6 0 a n d '61 as a production coordinator, a ti
tle he still doesn't understand.
"I asked what's the p r o d u c t i o n coordinator," C u l m a n r e m e m b e r e d . " A n d he
said, ' H o n e y , y o u m a k e things h a p p e n . ' "
T h e army interrupted his Barter career for three years, but he was back for
the ' 6 5 season as associate director a n d vice-president of the Barter foundation.
A g a i n he was asked to m a k e things h a p p e n .
It was C u l m a n ' s idea to turn the church into the Barter P l a y h o u s e .
" W e l l , " M r . P told h i m , " Y o u ' r e the twentieth person in twenty years to c o m e
up with that idea. If y o u think y o u can d o it, go a h e a d . "
"I hesitate to say w e were close friends personally, but we were close friends
professionally," C u l m a n e x p l a i n e d . W e were totally different in our approaches.
H e was by the seat of his pants. H e relished chances. H e almost lived by
�oo
CD
The Barter Theatre as it appeared in the mid-60's. The man looking on from
the extreme left is Robert
Porterfield.
(Photo courtesy of the Barter Theatre)
I
I
I
�Changes At Barter
87
disorganization. B u t it w o r k e d . T h e genius of the guy was that he h a d great
horse sense. W h i l e I couldn't dispute his success, we were totally different.
" B o b was a gambler. H e took a chance o n m e . H e ' d let y o u try something.
H e ' d say, ' G o a h e a d , h o n e y . S e e what happens.' W h e n he wanted to take off
for a year, I asked if I c o u l d take over. T h e r e was n o magical selection process. It
was a delightful year from all viewpoints. F r o m m y viewpoint, being 26-yearso l d a n d r u n n i n g a theater, it was great.
"It was a terrific interlude for m e . B u t it wasn't always rosey because B o b a n d
I were so different. I stood up to h i m a n d he ran all over everybody with his
c h a r m . H e slaughtered t h e m with it. It was an admirable k i n d of manipulation.
A n d it w o r k e d more often than it didn't."
B o b never threw anything out, a p h i l o s o p h y C u l m a n certainly didn't adhere
to.
" M y p h i l o s o p h y was, w h e n in doubt, throw it out," C u l m a n said. " H i s desk
was piled high with stacks of paper. H e ' d say he k n e w where everything was a n d
I'd say, " b u l l . " W e must have m a d e 5 0 trips to the d u m p during m y stay there,
but he never interfered with any decision I'd m a k e . H e d i d used to get m a d as
hell at m e . "
W h e n B o b returned to Barter, C u l m a n felt it was time to m o v e o n .
"I couldn't go back to being just a m e m b e r of the c o m p a n y , " he c o m m e n t e d .
"I h a d o u t g r o w n myself at Barter."
C u l m a n went directly from Barter to C e n t e r Stage in Baltimore where he
continues as managing director. S o m e felt B o b was g r o o m i n g C u l m a n as a
"potential successor," but C u l m a n is the first to admit that he didn't really fit the
spirit of Barter's founder.
Pearl H a y t e r remembers C u l m a n as a "dedicated a n d h a r d w o r k i n g " y o u n g
m a n , "but n o b o d y was ready for a n y b o d y to take Porterfield's p l a c e . "
W h i l e m a n y things c h a n g e d at Barter, B o b ' s o v e r w h e l m i n g personality re
m a i n e d the same. H e still called e v e r y o n e " h o n e y . " H e still l o o k e d for every
possible w a y to p r o m o t e his theater. A n d he continued looking a r o u n d for a
possible successor. O n e m a n he kept his eye o n was R e x Partington.
�88
The Barter Theatre Story
Owen Phillips as he appeared
as Owen Wister in The Virginian.
(Photo courtesy of the Barter Theatre)
�89
Chapter Eight: Talking With Owen
H e settles d o w n in the sitting r o o m of his quaint Barter Inn apartment after
m a k i n g sure his guest's coffee c u p is filled. Before w e fall to talking about Barter
in earnest, a rather animated d a c h s u n d makes his presence k n o w n , striving
mightily for attention.
H e doesn't get too far before his master waves a stern, a d m o n i s h i n g finger.
" W e ' r e w o r k i n g , " says O w e n Phillips, a n d S a m retreats to other, less preoc
c u p i e d quarters.
T h r o u g h m u c h of Barter's history, B o b Porterfield's closest friend was his fre
quent director a n d sometime actor, O w e n Phillips. Eyes sparkling, the wiry,
white-haired O w e n recalls the m a n he calls a brother.
" H e always h a d the farm, T w i n O a k s , " he says, fingertips together, his h e a d
at a slight forward incline. " W e h a d an agreement. W h e n he was at the farm, w e
wouldn't talk about the theater. H e was a fine producer a n d a marvelous public
relations m a n . B e c a u s e of h i m , this is one of the very few theaters in the country
with a heart. There's something about this place that keeps drawing y o u back."
O w e n s h o u l d k n o w . H e first arrived at Barter in 1 9 3 5 , after heading the
d r a m a department at the Cincinnati Conservatory of M u s i c a n d directing the
Cincinnati Actor's G u i l d . H e stayed for t w o seasons in A b i n g d o n , directing a n d
appearing in shows, a n d returning in 1 9 4 6 . This time he was with the Barter
c o m p a n y for ten years, leaving to direct at Florida's C o c o a n u t G r o v e , where he
o p e n e d t w o of Tennessee Williams' r e w o r k e d The Milktrain Doesn't Stop Here
Anymore,
rejoining Barter to stay i n 1 9 6 8 .
"I h a d never heard of Barter Theatre in 1 9 3 4 , but I was intrigued," O w e n
says in a soft, deliberate voice. " W e h a d o u r hands full. It was rugged. B u t right
from the start y o u c o u l d tell this theater was built o n love. I was immediately glad
I m a d e the decision to c o m e here."
O w e n is quick to stress that Barter was not started o n s o m e harebrained
whim:
" A p p a r e n t l y , B o b tested the waters in 1 9 3 1 . H e was h o m e for a little while
a n d wanted to try to put together a s h o w . H e gave a talk at E m o r y a n d H e n r y
C o l l e g e a n d he m a d e it s o u n d so exciting that everybody wanted to go to N e w
Y o r k a n d be a n actor. H i s idea was something like B o b Porterfield's Theater
G u i l d of Southwest V i r g i n i a . T h e y s o m e h o w m a n a g e d a p r o d u c t i o n of Hay
Fever, but B o b h a d p r o v e d to himself there was a n audience for live theater
here."
D u r i n g his m a n y years at Barter, O w e n practically d i d it all—directing, acting,
p r o d u c i n g , public relations, touring. H e also got to see m a n y sides of B o b
Porterfield both personally a n d professionally.
�T h e Barter Theatre Story
90
The 1952 production
of T h e C u r i o u s S a v a g e with Owen Phillips,
Holladay and Dorothy
LaVern.
Cleo
(Photo courtesy of the Barter Theatre)
" W e were like brothers," he declares. " H e was filled with a radiance a n d per
sonality a n d terrific love of theater w h i c h gave h i m the drive he n e e d e d . B o b was
very progressive in his a p p r o a c h to theater. I don't think he d i d as m a n y n e w
things as R e x tries to d o but he l o v e d n e w things. A n d B o b l o v e d this area so
m u c h . H e got a stimulation w h i c h c a m e from being with his o w n . "
Journalists, scholars, actors n e w to Barter, apprentices, directors, faithful
patrons, Barter veterans—sooner or later they all are s u b d u e d by O w e n ' s softs p o k e n m a n n e r , listening intently to the memories a n d w i s d o m of over 5 0 years
in the theater. W h e n s o m e o n e wants to k n o w about B o b a n d Barter, they i n
variably e n d u p talking to O w e n .
" W h e n B o b directed," he continues, "he p i c k e d p e o p l e w h o almost fit the
parts personally. A n d he d i d plays he k n e w very well. It wasn't his first love. H e
l o v e d to see other p e o p l e d o i n g it."
" B o b was something of a g l a m o u r b o y , " O w e n says with a sly smile. "After
he gave his curtain s p e e c h , the audience was h o o d w i n k e d by his c h a r m . H e
k n e w his off-stage c h a r m c o u l d be used to advantage o n stage."
�Talking With O w e n
91
Owen Phillips again co-stars with Dorothy
production.
LaVern
in a '50s Barter
(Photo courtesy of the Barter Theatre)
" W e once toured The Virginian with B o b in the featured role. W e l l , one night
he h a d trouble with his lines a n d he yelled to the wings, ' H e y , h o n e y , what's m y
lines here? What's m y line here?' T h e n he got u p , w a l k e d over, got his line a n d
said, ' T h a n k y o u . ' T h e audience l o v e d it a n d a p p l a u d e d h i m . H e was the only
one w h o c o u l d get a w a y with something like that." O w e n Phillips pauses, stares
for a m o m e n t then smiles. "I k n e w that was n o great tragedy in the A m e r i c a n
theater."
T w o actors Phillips felt a n d feels strongly about are Ernest B o r g n i n e a n d N e d
B e a t t y — a n d for similar reasons.
" H o n e s t y was his (Borgnine's) secret," he explains. " T h e m o m e n t he o p e n e d
his m o u t h , I c o u l d tell he was honest as the day is l o n g . H e said, 'I'll d o anything
y o u say to b e c o m e a g o o d actor. I want to learn. Y o u just teach me what to d o . '
That o p e n face of his has d o n e m o r e for h i m than anything else. N e d Beatty was
another natural, relaxed performer. Y o u never saw it c o m i n g with N e d . It just
came out the right w a y . "
O n a table in O w e n ' s sitting r o o m is a fairly n e w pictorial biography of T e n -
�92
T h e Barter Theatre Story
nessee W i l l i a m s . T h e inscription to O w e n refers to s o m e fabled dance of long
a g o . T h e director chuckles a n d explains:
" W h e n w e were d o i n g The Milktrain Doesn't Stop Here Anymore,
Bob in
vited Tennessee Williams a n d m e out to T w i n O a k s . W e l l , w e were drinking a n d
Williams a n d I d i d a satire o n a minuet. B o b l o v e d it. E v e r since that time, he
says something to m e like 'keep d a n c i n g . ' Williams h a d seen t w o A r t h u r Miller
plays I h a d directed d o w n in F l o r i d a , The View From the Bridge a n d The Cruci
ble. T h e next day I got a p h o n e call a n d the m a n said, 'This is Tennessee
W i l l i a m s . ' I said, ' O h , sure.' "
T o d a y , Phillips is Barter's b e l o v e d ambassador. H e c a n often be seen taking
tickets in the foyer of his Barter Theatre, greeting regulars a n d tourists w h o m a k e
u p the s u m m e r audiences. Occasionally, he appears i n shows. H e relishes work
ing the Barter apprentices o n children's shows or sharing ideas with y o u n g c o m
p a n y members.
" W e all o w e so m u c h to so m a n y p e o p l e in this business," he points out.
" R e p a y ? Y o u can't repay t h e m . Y o u c a n only try to help s o m e o n e else."
O w e n also takes time to lecture at area colleges about Barter a n d B o b .
" H i s death was s u c h a b l o w to m e . It's a v o i d that's never been filled. O n e
vivid m e m o r y I have of B o b is h i m saying, ' W h a t are y o u worrying about, St.
Rita will take care of us.' T h e r e were nights B o b a n d I got d o w n o n o u r knees
a n d asked for St. Rita's help. S o m e t i m e s w e ' d be watching a dress rehearsal a n d
h e ' d say, 'If w e ever n e e d e d that little l a d y , w e n e e d her n o w . ' "
�93
Chapter Nine: The Ghosts of Barter
" Y o u k n o w this place is haunted?"
T h o s e are the very first words s p o k e n by N e d Beatty before an actual inter
view even began. Sitting in the near-deserted theater where he got his start,
Beatty asks the question e v e n with the distance of film triumphs a n d a n
A c a d e m y A w a r d n o m i n a t i o n between he a n d A b i n g d o n .
H e c o u l d have been talking about the area, the t o w n or the theater. A b
i n g d o n holds o n devotedly to its myths, history, memories a n d traditions. It's
"spirit," if y o u will, emanates the past. S o , not suprisingly, A b i n g d o n is a t o w n
filled with ghosts.. .whether real or imaginary. E v e n a brochure put out o n U p p e r
East Tennessee a n d Southwest V i r g i n i a makes note of ghostly happenings in
Abingdon:
"There are m a n y ghosts in the m o u n t a i n s . . . o r some d o say. T h e r e are those
in A b i n g d o n w h o lay claim to h a v i n g heard the ghostly violinist from the C i v i l
W a r , a S o u t h e r n girl n a m e d ' M a r t h a ' b l o w i n g the plaintive tunes of the C o n
federacy to soothe the pains of a ' Y a n k e e B o y ' w h o h a d w o n her heart in his last
days. W a r h a d been raging the countryside, a n d the day came w h e n the
Y a n k e e s torched m u c h of the t o w n . T h e u n k n o w n a n d nameless y o u t h from the
N o r t h h a d been secreted into the lovely Preston h o m e , begun in 1 8 3 0 , a n d
delivered into Martha's care. O n e night as she p l a y e d for h i m , D e a t h c a m e . N o w
in the o l d Preston h o m e , m u c h heralded as the famous M a r t h a W a s h i n g t o n Inn,
there are those w h o swear that o n certain midnights up o n the third floor of the
stately i n n , haunting violin strains still s o u n d for the lost a n d d o o m e d l o v e . . . . "
A fun piece of fluff to attract the tourists? V e r y possibly, but the effect is
m a d e nonetheless. Spirits, ghosts a n d supernatural happenings often occur
where people expect t h e m to: g l o o m y o l d houses, for instance, G o t h i c m a n
sions, countries where superstitions are stronger than technology. In other
words, either psychologically or actually, a n atmosphere is created in w h i c h the
supernatural thrives.
A n d what better place for ghosts than a theater. N o w there's atmosphere for
you—the very air charged with e m o t i o n p o u r e d out by decades of actors. In
d e e d , theaters have always been notorious for ghost sightings a n d the Barter is
n o exception. S e v e r a l actors p o o h - p o o h any such n o t i o n , but there have been
more than e n o u g h responsible individuals w h o have h a d "experiences" in or
c o n n e c t e d with Barter to merely chalk it all u p to imagination. A n d , invariably
since 1 9 7 1 , s o m e o n e will look y o u straight in the eye a n d say, "I've seen B o b
Porterfield."
�94
The Barter Theatre Story
M o s t d o not say this for effect or just to tell a " g o o d story." T h e y want y o u to
k n o w because they think y o u care. It's easy to be cynical about it until y o u ex
a m i n e the range of p e o p l e a n d sightings. W i t h o u t giving w a y to the sensational,
coincidence ends w h e n o n e hears not scattered but consistent reports of ghost
sightings at Barter.
In mass market a n d scientific studies of the supernatural, theaters are m e n
tioned prominently as p r i m e targets for supernatural s t o m p i n g grounds. P e r h a p s
the most famous of all theatrical ghosts is the " M a n in G r a y " of L o n d o n ' s
Theatre R o y a l , D r u r y L a n e . G e n e r a l l y spotted at the rear of the u p p e r circle, the
Drury L a n e ghost has b e e n spotted for t w o centuries a n d is described without fail
as a dignified gentleman i n a l o n g gray cloak. Tradition has it that he appears
during runs of shows b o u n d for success. T h e identity of the " M a n i n G r a y " has
never b e e n established, although d u r i n g the 1800s a secret r o o m was
discovered in back of the wall near the spot he most often appears. W o r k m e n ef
fecting repairs o n the theater f o u n d a skeleton with a knife stuck in its ribs.
E n g l a n d , with its g r a n d history of fog-bound streets, royal intrigue a n d
mysterious legends, is rife with h a u n t e d theaters. T h e H a y market Theatre is sup
posedly visited by o n e of its actor-managers; a " w o m a n in white" was often seen
at the o l d R o y a l t y before it was torn d o w n ; S i r C h a r l e s W y n h a m , w h o built the
N e w Theatre i n St. Martin's L a n e , was spotted backstage after his death; while
the spirit of actress S a r a h S i d d o n s is said to haunt the Theatre R o y a l in Bristol.
W h a t was it that J a m e s H i l t o n said about A b i n g d o n ? S o m e t h i n g about liking
it so m u c h because it r e m i n d e d h i m of E n g l a n d .
A l t h o u g h not relegated to Porterfield, most of the " p s y c h i c " p h e n o m e n a sur
r o u n d i n g Barter is related to M r . P .
H e has been seen in n u m e r o u s settings a n d attitudes throughout the
theater—the upstairs lobby, seated downstairs, backstage, a n d e v e n at the
Barter Inn. H e has been seen in various styles of dress by strangers a n d p e o p l e
w h o k n e w h i m , but always wearing something he was f o n d of—a white dinner
jacket, a comfortable sweater, a gray suit. T h e skeptic will say that such
"sightings" occur through the p o w e r of suggestion a n d imagination.
Y o u see, there is a stunning portrait of B o b by D u t c h painter J a n C l a u s i n g
that n o w graces the inside of the theater. T h e artist used a p h o t o g r a p h of h i m
smiling w a r m l y a n d seated a m o n g the familiar red Barter seats. W h e n the lights
go d o w n a n d they play just right with the colors, it actually l ooks as if the portrait
is c o m i n g to life. That's a rather c o m p e l l i n g piece of suggestion. N o w o n d e r
s o m e p e o p l e think for a m o m e n t that they m a y have seen B o b seated a m o n g
the audience.
B u t certain incidents can't be e x p l a i n e d so nearly. W h e n a Barter apprentice
serving as a n usher helps s o m e o n e to their seats a n d sees a m a n in a gray suit at
their destination, then lo o k s again to find he's v a n i s h e d , questions begin to f o r m .
H o w c o u l d a youngster w h o never k n e w B o b Porterfield describe just such a
gentleman? T h e painting, of course. B u t B o b is wearing a yellow sweater in the
painting d o n n e d especially for the o c c a s i o n . H o w w o u l d this apprentice k n o w
�The Ghosts of Barter
95
B o b was partial to gray?
D o e s Barter have its o w n " G h o s t in G r a y ? " N o t always. C l e o H o l l a d a y
remembers seeing something quite different during the run of Silent Night,
Lonely Night i n October of 1 9 7 4 .
"I h a d a l o n g , long scene where I h a d to lie in bed o n stage," she recalls " T h e
audience couldn't really see m y face, but I c o u l d look up from m y angle a n d see
the kids in the light b o o t h . O n e night I l o o k e d up at t h e m a n d in the last r o w was
a m a n in a white dinner jacket (which B o b always wore o n o p e n i n g nights). I'm
c o n v i n c e d it was B o b . I k n o w it was. That was the same night the pipes rattled
a n d we took it as a sign that B o b a p p r o v e d of the s h o w . "
" T h e G h o s t in G r e y appears w h e n a s h o w is b o u n d to be a success."
A gracious a n d practical w o m a n , C l e o H o l l a d a y is not given to theatrical off
stage posturing, nor does she have a history of psychic experience. S h e tells y o u
that story because she wants y o u to k n o w about it.
A director is the last person w h o wants to be k n o w n for any k i n d of irrational
behavior. Producers want trustworthy individuals in charge of their productions.
B u t director Jeff M e r e d i t h has n o qualms about telling y o u , "I've seen B o b
Porterfield."
"I was out in the alley by the stage d o o r with T o n y Partington (Rex a n d C l e o ' s
son) a n d I went inside to the backstage area. There's that dark little stairway that
leads to the scenery storage area a n d as I went u p , I saw a m a n sitting o n o n e of
the steps. W i t h o u t e v e n thinking, I n o d d e d a n d said, " H i , M r . Porterfield,' A s I
passed h i m I realized what I h a d said a n d turned a r o u n d , but n o b o d y was there. I
ran out in the alley—shaken a n d scared—and got T o n y . W e both came back,
creeping a r o u n d like two little kids. W e didn't find anything, but w h e n we reach
e d the top of the stairs we saw a strange light at the ceiling that disappeared. I've
never h a d any k i n d of supernatural experience before or since, but there's n o
doubt in m y m i n d that I saw B o b Porterfield."
" D i d y o u h a p p e n to notice what he was wearing?"
" H e was wearing a gray sweater."
N o t yellow. That's not just coincidence.
S o m e scientists w h o accept the possibility of ghosts believe they can be ex
plained as visions left b e h i n d at highly emotional times. In other words, w h e n
our nervous systems are generating a great deal of energy, it is possible that w e
m a y actually give off a n aura of s o m e k i n d . It is this aura that s o m e believe
became a halo in religious paintings. That energy m a y in turn leave an image
b e h i n d , especially in a place that means a great deal to a person.
This is only theory, remember, but it means that some people m a y leave ac
tual snapshots b e h i n d — a n d s o m e individuals have a greater perception for such
images...they see ghosts. It w o u l d also explain w h y theaters—atmospheres
super-charged with e m o t i o n a l energy—are so susceptible to sightings. This
theory, of course, has not f o u n d favor with believers in a "psychic w o r l d . " T h e y
believe that ghosts are the manifestations of a conscious intellect m a k i n g contact
for a specific reason. O f course, if a n y o n e h a d a c o n s u m i n g devotion to
�96
T h e Barter Theatre Story
something, it was B o b to his Barter Theatre.
D a v i d M . L o h o e f e r has perhaps the most chilling story to tell. A n d , o d d l y
e n o u g h , it h a p p e n e d during the run of Silent Night, Lonely Night (make of this
what y o u will: this play was staged during the m o n t h B o b h a d d i e d three years
earlier). L o h o e f e r was a n apprentice at Barter that year, a n d he a n d a friend
were taking a walk after leaving the M a r t h a W a s h i n g t o n Inn. It was about 2 : 3 0 in
the m o r n i n g a n d the t w o h a d stopped to sit o n the concrete base of a gate than
runs in front of the Inn a n d faces the Barter. T h e i r casual conversation stopped
w h e n L o h o e f e r noticed a man's figure standing in the upstairs gallery. A h a n d
p u l l e d back o n e of the transparent white curtains a n d m o t i o n e d i n w a r d , b e c k o n
ing t h e m towards the theater.
T h e y assumed that s o m e o n e was p l a y i n g a joke o n them—possibly another
apprentice—and crossed the street to the front d o o r . It was l o c k e d , a n d after
k n o c k i n g several times, they went a r o u n d to try the stage d o o r w h i c h was also
l o c k e d . B a c k across the street they went a n d this time the figure was m o r e visi
ble.
"It was a m a n in a gray suit," L o h o e f e r said. " W e c o u l d m a k e h i m out by the
lights t h r o w n from the street lamps. H e was still motioning his h a n d i n w a r d w h e n
the d o o r of the Barter Theatre o p e n e d . It locks from the inside. W e c o u l d see i n
to the theater a n d the ghost light, w h i c h has always been white, was r e d . A t that
m o m e n t , before w e c o u l d decide what to d o , a truck p u l l e d in front of the
theater to deliver papers. W h e n it p u l l e d a w a y , the d o o r was closed. W e went
across, but f o u n d it l o c k e d again. I c o u l d see the ghost light was w h i t e . "
L o h o e f e r a n d his friend immediately h e a d e d over to the M a r t h a W a s h i n g t o n
a n d called O w e n Phillips.
" O w e n , y o u ' d better get d o w n here," L o h o e f e r told h i m . "There's s o m e b o d y
fooling a r o u n d inside the theater."
" 'Just relax,' he told us. ' C a l m d o w n . It was probably just M r . P . I w o u l d n ' t
advise g o i n g into the theater. Just go h o m e . ' "
M a r y D u d l e y doesn't seem surprised by such sightings. D u r i n g his lifetime,
B o b h a d a few strange experiences himself. T h e r e was that prophetic d r e a m at
age ten. A n d B o b was f o n d of telling about the time he lost certain papers that
were very important to Barter's c o n t i n u e d state funding. In a d r e a m , A l i c e
H i l t o n , w h o d i e d years earlier, took h i m up to the Barter Inn r o o m where she
used to live a n d pointed at a particular spot. T h e next day, B o b went up to the
r o o m a n d in that spot he f o u n d the missing papers.
" H e h a d a seventh sense," M a r y D u d l e y n o t e d . " H e o n c e called h o m e from
w o r k a n d said, 'There's s o m e b o d y in the basement.' H e insisted I go l o o k , a n d
sure e n o u g h , there was s o m e o n e . "
It s h o u l d also be p o i n t e d out, h o w e v e r , that ghostly happenings at Barter
predate B o b ' s death. N e d Beatty's o w n experience, a scare in the dressing r o o m
where m a n y actors have gotten the willies, was back in the '60s. Indeed, m a n y
are of the o p i n i o n that there are actually t w o ghosts—one benevolent (perhaps
that of B o b Porterfield) a n d the other frightening. A n d most chilling experiences
�T h e Ghosts of Barter
97
at Barter h a p p e n backstage or in the dressing r o o m area.
T y p i c a l of these experiences is the story told by Barter publicity director L o u
Flanigan. It was 1 9 6 7 a n d Flanigan was working as a stage manager: "I h a d
been here only a w e e k a n d I was w o r k i n g o n the set for Hamlet. This was before
the apprentices arrived a n d I was w o r k i n g at night all alone. T h e theater was
almost completely dark, but dark buildings don't bother m e . I'm just not succeptible to a n y type of supernatural stuff.
"I was w o r k i n g stage-right a n d the only exit was stage-left. A l l of a s u d d e n , I
felt a presence. I felt that I h a d to get out of there. I just h a d this horrible feeling
that something was really g o i n g to get m e . I ran across the stage, threw o p e n the
d o o r , ran a r o u n d the scene d o c k , d o w n the stairs, into the dressing r o o m area
a n d to the stage d o o r that leads to the alley. If I h a d turned a r o u n d a n d seen it, it
probably w o u l d have been fatal. It was like it was following m e . T h e n I couldn't
get the d o o r o p e n . I started kicking it a n d finally it o p e n e d a n d I ran up the alley
to M a i n Street. O n e s e c o n d m o r e a n d I'm sure it w o u l d have grabbed m e . W h e n
I l o o k e d back, I saw that the stage d o o r was wide o p e n . I k n e w I h a d to go back
a n d close it, but it was a full 15 minutes before I c o u l d w o r k up m y nerve to d o it.
"I k n o w it didn't c o m e from the house. It came from the stage b e h i n d m e . It
was the single most terrifying thing that has ever h a p p e n e d to m e . Fifteen years
later it still shakes m e . I just won't go back there alone. A n d it's not only m e . "
In fact, to his absolute amazement, Flanigan heard N e d Beatty repeat his
story almost word-for-word during a 1 9 8 1 visit to A b i n g d o n . T h e only difference
is that Beatty was chased from the dressing r o o m .
Others will tell y o u it's not only the theater, but the fourth floor costume attic
of the Barter Inn a n d the Rehearsal H a l l are haunted as well.
O t h e r Barter "happenings" h a p p e n e d away from Barter. B o t h O w e n a n d
F r a n k L o w e remember a particularly frightening experience in B i r m i n g h a m ,
A l a b a m a . T h e y were d o i n g E u g e n e O'Neill's Ah, Wilderness!, with L o w e play
ing the juvenile role loosely patterned o n the playwright as a b o y . T h e theater
w i n d o w faced a courtyard a n d , in the middle of the first act, the actors heard a
horrible scream.
" W e all heard it," L o w e declared. " A l l of us in the c o m p a n y . It came from the
courtyard. I wasn't a p a r a g o n of concentration, but O w e n m o u t h e d some words
to m e a n d w e s o m e h o w finished."
That night, they heard o n the radio that E u g e n e O ' N e i l l h a d d i e d in N e w
York.
A s strange as m a n y of these stories are, it s h o u l d be noted that in the Barter
Theatre itself, nothing tragic or malicious has ever been attributed to super
natural occurences. B u t happenings d o persist.
In 1 9 7 4 , Barter housekeeper Ellen Pietsch, a student of Edgar C a y c e ' s
works, told a R o a n o k e newspaper that she f o u n d unaccountable spots of light in
the b a l c o n y . "It's a little like seeing auras," she said.
T h e C a v e H o u s e , bought by A l i c e H i l t o n a n d willed to Porterfield, is another
supernatural story c o n n e c t e d to Barter. Journalist K a r e n O l s e n c o n d u c t e d a
�98
The Barter Theatre Story
1979 study of the h o m e built o n top of a limestone c a v e — W o l f C a v e . H e r c o n
clusion after talking to a n e q u a l a m o u n t of skeptics a n d believers: " Y e s , the
house is h a u n t e d . A n d yes, there used to be a secret staircase from the cave to
the third floor of the M a r t h a W a s h i n g t o n I n n . "
A s with most supernatural occurrences, s o m e p e o p l e will always believe the
Barter is h a u n t e d , while others will never believe it.
Still others, w h o have heard the stories but never see anything themselves,
are like L o u F l a n i g a n . H e m a y not actually see a n y ghosts, "but I w o n ' t be in the
theater a l o n e . "
�99
Chapter Ten: A Day in October
T h e r e h a d been warnings. A heart attack in the mid-'60s was the most sober
ing. B u t Barter without B o b was inconceivable. That vital energy a n d w a r m
smile—everybody just expected it w o u l d go o n a n d o n .
Robert Porterfield d i e d suddenly o n October 2 1 , 1971 at his beloved T w i n
O a k s . O w e n h a d d o n e the curtain speech that night.
T h e cause was a heart attack after a bout with p h e u m o n i a . H e was 6 5 .
A stunned theater w o r l d a n d government leaders sent words of sympathy to
Mary Dudley and young Jay Bird.
Julie Harris wrote: " B o b was so generous to y o u n g actors a n d helped so
m a n y o n their w a y . H i s w a r m t h a n d laughter a n d sunny ways a n d o v e r w h e l m
ing belief in live theater m a d e our w o r l d a better p l a c e . "
F r o m N e w Y o r k , G r e g o r y P e c k told of his " w a r m affection a n d respect for
the m e m o r y of B o b Porterfield, a dear friend w h o first encouraged m e to go o n
in the theater. I haven't to this day recovered from the shock of being put o n in
the Barter in 1 9 4 0 in the lead of Button Button o n t w o days notice a n d with 110
pages to be learned. It was a shattering experience but I survived as B o b k n e w I
w o u l d . In spite of that Porterfield-induced trauma, our friendship has been cons
tant. B o b gave delight to his friends, a n d careers to so m a n y y o u n g people. I'll
always think of h i m as a sunny smiling m a n with a weather eye out for a k i n d
ness to be d o n e . W i t h love to M a r y D u d l e y , J a y B i r d a n d all g o o d friends of
Bob's."
F r o m the W h i t e H o u s e , President R i c h a r d N i x o n sent this note to M a r y
D u d l e y : " M r s . N i x o n joins m e in expressing deepest sympathy to y o u a n d y o u r
family o n the death of y o u r distinguished husband. W e h o p e that y o u will be
comforted by the k n o w l e d g e that his pioneering efforts in the regional theater
m o v e m e n t , w h i c h earned h i m such wide respect, have not only a d d e d i m
measurably to the cultural life of our nation, but also p r o v i d e d inspiration for
generations to c o m e . H e will be deeply missed, a n d affectionately a n d gratefully
remembered by all whose lives he t o u c h e d . M a y memories of y o u r life together
a n d pride in y o u r husband's accomplishments strengthen y o u in the years
ahead."
T h e n Virginia G o v e r n o r L i n w o o d H o l t o n noted that " T h e Barter Theatre has
been a n institute in V i r g i n i a for thirty-nine years, a n d B o b Porterfield was the
Barter Theatre. H e not o n l y enriched the lives of countless Virginians, as well as
other A m e r i c a n s , but through the Theatre he established a n d the plays he pro
d u c e d , he m a d e the Barter into one of A m e r i c a ' s foremost training grounds for
aspiring actors a n d actresses. B y his death, the theater has lost one of its most
�8
TO
C
O
I
B o b Porterfield surrounded
by a '60s c o m p a n y in /ront o / the Barter
Theatre.
(Photo courtesy of the Barter Theatre)
ft
ft
ft
I
�A Day In October
101
dedicated servants."
Ernest Borgnine's message was simple a n d p r o f o u n d : " M r . Porterfield d i d
m o r e for m e than I d i d for M r . P o r t e r f i e l d . . . . N o other m a n contributed as m u c h
to the theater as Robert Porterfield."
Robert Pastene, then at the Guthrie Theatre, told of a m a n w h o l o v e d so
m a n y : "I a m blessed to be one of those a n d h o p e this message can stand for m y
presence o n this occasion of tribute to an urbane gentleman, a generous
teacher, a grave pioneer a n d an eternal friend."
L a r r y Gates supplied the following tribute: " A n d all of us k n o w , B o b w o u l d
not want us, n o w , to be sad or dreary. Rather he w o u l d tell us his funny stories.
H e w o u l d m a k e us laugh, a n d w e w o u l d look forward to m o r e h a p p y achieve
ment, a n d the m a n y wonderful things he always m a d e h a p p e n . W e will miss
h i m , but not one of us will ever forget h i m or his w o r k , the Barter."
F r o m Barter itself c a m e a heartfelt m e m o r y . "In m y 18 years as executive
secretary a n d business manager to Robert Porterfield a n d the Barter Theatre,"
Pearl Hayter wrote, "I a m keenly aware of M r . Porterfield's love for humanity.
W e are all aware of his love for the theater. H e s h o w e d his love for humanity in
so m a n y ways. H e reared a wonderful y o u n g m a n , sent h i m to college. Walter
M a h a l a is n o w in E n g l a n d serving his 10th year in the A i r F o r c e . . . . M r . P s h o w e d
his love by action in so m a n y w a y s . "
A quiet funeral was h e l d at T w i n O a k s , with his casket p l a c e d beneath the
two 6 0 0 - y e a r - o l d oaks.
" W e h a d this big Irish W o l f h o u n d , " M a r y D u d l e y said. " B o b l o v e d that d o g .
A l l during the funeral that d o g sat at the h e a d of the casket."
After the funeral, several e m p l o y e e s of the T w i n O a k s Dairy operation were
standing in the y a r d , waiting to ask M a r y D u d l e y what she intended to d o .
" W h a t d o y o u think? W e ' r e going to r u n this f a r m . "
A n d r u n it she d i d ; for three-and-a-half years.
"I grieved so terribly for B o b . T h e farm saved m y life. I kept going until I
w a n t e d to devote m o r e time to J a y . N o w it's leased."
In N e w Y o r k , friends of B o b a n d Barter gathered at Sardi's for a m e m o r i a l
service. There were those w h o h a d h e l p e d B o b or h a d been h e l p e d by h i m — a c
tors, directors, playwrights a n d producers.
A year after B o b ' s death, s o m e 4 0 0 friends c a m e together in A b i n g d o n for
another k i n d of m e m o r i a l service. T h e y "bartered" stories a n d memories of B o b .
T h e next year, B o b ' s friend W i l l G e e r performed a tribute s h o w at Barter c o m
prised of selections from M a r k T w a i n , W a l t W h i t m a n , Robert Frost, W o o d y
G u t h r i e , J o h n Steinbeck a n d W i l l i a m F a u l k n e r .
There were other kinds of memorials: the V i r g i n i a G e n e r a l A s s e m b l y passed
a joint resolution expressing "appreciation for a generous a n d noteworthy life
that has contributed so m u c h to the public g o o d , " a n d Virginia's H i g h w a y 19
was r e n a m e d the Robert Porterfield M e m o r i a l H i g h w a y .
In the meantime, the Barter F o u n d a t i o n h a d chosen a successor.
�T h e Barter Theatre Story
102
Bob and J a y Bird at Twin Oaks.
(Photo courtesy of Mary Dudley Porterfield)
�103
Chapter Eleven: The Partington Years
F o r 3 9 years B o b Porterfield was the Barter Theatre. After his death, a board
of directors h a d to select his successor. Twenty-five people were considered for
the position; R e x Partington got the job.
Less the s h o w m a n a n d more the efficient artistic director, Partington has c o m
mitted himself to keeping the Barter growing. U n d e r anyone's direction, the
Barter c o u l d continue to live off its e n o r m o u s popularity a n d considerable
reputation. Tourists a n d residents still w o u l d attend the theater simply because it
is the Barter.
Y e t , Partington quickly established a strong leadership position. T h e n e w
director let it be k n o w n that he w o u l d carry o n the rich Barter heritage by m a k i n g
sure the c o m p a n y c o n t i n u e d to grow artistically.
"I couldn't just be a caretaker," Partington explained. " T h e fortunate thing is
that Robert a n d I saw eye to eye o n about 9 0 percent of theater matters. A
wonderful board of directors has given m e a free h a n d to offer as m u c h as w e
can as often as we c a n . "
" B o b h a d s p o k e n to m e about R e x , " Frank L o w e recalled. " H e said, ' Y o u
don't k n o w a n y o n e w h o ' d want to take over this thing, h o n e y ? ' H e was l o o k i n g
for s o m e o n e w h o c o u l d handle all the aspects. I think the right m a n was c h o s e n .
I'm sure R e x has maintained Barter's high standards."
"It's not B o b Porterfield's theater a n y m o r e , " B o b Gallico noted during his
1 9 8 0 trip back to A b i n g d o n . "If it ever became the B o b Porterfield M e m o r i a l
Theater, it w o u l d die. H e w o u l d be the last person w h o ' d want it to become a
memorial."
R a i s e d in Q u e e n s , N e w Y o r k , Partington studied law at Syracuse University,
until the acting b u g took h o l d , a n d he was graduated with a major in d r a m a .
Right after graduation, he was c h o s e n by Shirley B o o t h for the Barter c o m p a n y
in 1 9 5 0 , a n d he spent t w o years there before returning to N e w Y o r k .
T h e y o u n g actor struggled in M a n h a t t a n , w o r k i n g as a clerk o n W a l l Street,
checking coats, a n d selling orange juice, a m o n g other jobs. After a season at the
A r e n a Theatre in M e m p h i s a n d some s u m m e r stock w o r k , Partington m a d e his
B r o a d w a y debut in Lunatics and Lovers. This was followed by such prestigious
engagements as stage manager for The Matchmaker a n d M y Fair Lady.
A l t h o u g h described by Fritz W e a v e r as " a powerful, ferocious y o u n g actor,"
he a i m e d more at off-stage aspects of the theater, serving as production
manager for five years at the Guthrie Theatre. Partington eventually formed his
o w n c o m p a n y , Heartland Productions, w h i c h toured the M i d w e s t for two years.
W h e n the c o m p a n y folded, he took a job as managing director of the C l e v e l a n d
�T h e Barter Theatre Story
104
A young Rex Partington co-stars with Rosemary Murphy in an
early '50s production of T w o O n A n I s l a n d .
(Photo courtesy of the Barter Theatre)
�T h e Partington Years
105
P l a y h o u s e , staying for two-and-a-half years. T h e year 1 9 7 1 saw h i m back in A b
i n g d o n as p r o d u c t i o n stage manager. T h e B o a r d of Directors a n n o u n c e d their
choice in 1 9 7 2 .
W h e n he took over after B o b ' s death, R e x was well aware of the size shoes
he was stepping into. B o b h a d already achieved " l e g e n d " status a n d some have
only partially j o k e d that it was like taking over for L i n c o l n .
"There was a great deal of feeling after B o b ' s death that Barter w o u l d close,"
Partington pointed out. "I suppose the best thing that has h a p p e n e d is that
Barter is still g o i n g . P e o p l e c o m e back a n d their reaction is, ' M y heavens, it's still
g o i n g . ' M o s t everyone was extremely w a r m a n d receptive w h e n I started in
1 9 7 2 . B o b was one of the best friends I ever h a d , but I certainly wasn't g o i n g to
emulate the m a n . I h a d to be m y o w n m a n or nothing w o u l d have w o r k e d . F o r
tunately, I was given artistic carte blanche. I saw m y job as trying to continue
what h e ' d been doing—offering a balanced, diversified season—and i m p r o v i n g
o n what h a d already been established. There was s o m e u n s p o k e n resistance
from people w h o w a n t e d Barter to remain exactly the same. I suppose I've lived
in B o b ' s s h a d o w for s o m e time a n d , to s o m e degree, always will. H a d it h a p p e n
e d m a n y years earlier w h e n I was sporting a rather fat ego, I don't think I w o u l d
have been able to d o it."
E a c h J a n u a r y Partington goes to N e w Y o r k a n d holds o p e n Equity auditions.
A t the e n d of the m o n t h he holds auditions in A b i n g d o n . A c o m p a n y of about
2 0 is selected a n d rehearsals begin if the season is d o n e in repertory. If not, the
p r o d u c i n g director casts show-by-show, usually retaining several actors for m u c h
of the season.
"Historically, the Barter c o m p a n y is a y o u n g c o m p a n y , " the d e e p - v o i c e d
Partington c o m m e n t e d . " B u t it's nice to have a y o u n g c o m p a n y because they
have great drive. I think the caliber of actors at Barter has steadily i m p r o v e d a n d
the shows have gotten technically better. T h e most limiting factor is m o n e y . "
D u r i n g his tenure, Partington instituted a repertory p r o g r a m (1979-80), turn
ed the P l a y h o u s e into a n Equity stage, accepted one of the first V i r g i n i a G o v e r
nor's A w a r d s for the Arts o n behalf of Barter, a n d g u i d e d the theater in 1 9 8 1 to
winter quarters o n the c a m p u s of G e o r g e M a s o n University in Fairfax.
"I still feel that R e x was the o n l y person w h o c o u l d have taken over the reigns
of Barter," is the admittedly biased o p i n i o n of wife C l e o H o l l a d a y . "It was for
tunate that he h a d administrative training. A n d he loves the theater. Y o u see,
B o b didn't like to deal with all that administrative crap. R e x likes to be the boss
a n d likes to manage things. W h e n he gets up a n d says he's heading over to his
office for 'a few minutes,' I k n o w he's going to be p o u r i n g over books, figures
a n d scripts."
R e x ' s view of his theater a n d audience is o n e of optimism tempered with
realism.
" O u r audience, while being sophisticated, is a bit o n the conservative side,"
he stated. "That does not preclude m e from d o i n g plays of a provocative nature.
I o w e that to our audience. W e must continue to e x p a n d . T h e great works of the
�106
T h e Barter Theatre Story
Barter's producing
director Rex Partington
photographic
oversees a
session at the theater.
(Photo courtesy of the Barter Theatre)
�T h e Partington Years
107
Director Owen Phillips, playwright Mary Chase and producing
director
Rex Partington go over the script for Cocktails With M i m i in
preparation for its 1973 Barter
premiere.
(Photo courtesy of the Barter Theatre)
past must be d o n e with n e w plays. Theater must reflect a n d c o m m e n t o n the
times. If I h a d the m o n e y , I w o u l d d o Inherit the Wind right away. W e can't be
just a s u m m e r stock theater or offer dinner theater fare. T h e works of A r t h u r
Miller a n d Bertolt Brecht must be d o n e . "
E v e n t h o u g h acting has been p u s h e d into the b a c k g r o u n d for Barter's pro
ducing director, he still tries to appear at least once a year in such roles as J o h n
Tarleton in S h a w ' s Misalliance or his riveting portrayal of D r . S l o p e r in The
Heiress.
He also points with pride to Barter's membership in the L e a g u e of Resident
Theaters ( L O R T ) , a group of select theaters across the country that includes L i n
coln Center, P A F in N e w Y o r k , the Guthrie in M i n n e s o t a , A r e n a Stage in
W a s h i n g t o n , the A l l e y in H o u s t o n , A C T in S a n Francisco, a n d L o n g Warf in
New Haven.
"There have been so m a n y highlights from the last ten years," he said. " B e
ing able to d o a 15-week season in Fairfax is one of the most gratifying. W i t h the
�8
a
DO
a.
C/eo Holladay, center, greets the cast of the 1981 production of The Royal Family, which also featured, left
to right, Cynthia Parva, Rebecca Taylor, Russell Gold, Leta Bonynge, Richard Voights and Paul Merrill
(Photo courtesy of the Barter Theatre)
5*
ft
I
ft
o
v2
�T h e Partington Years
109
Cleo Holladay and Rex Partington as they appeared in
the 1981 production of The Heiress.
(Photo courtesy of the Barter Theatre)
�o
ft
03
I
E d B o r d o , Dorothy
Chace,
Ann Buckles, David Darlow and Eda Zahl drink up in this scene from
1973 Barter production of Cocktails With Mimi.
(Photo courtesy of the Barter Theatre)
the
H
:r
ft
o
>
cr
ft
CO
I
�T h e Partington Years
111
season in A b i n g d o n a n d touring, it expands our activities as a true State
Theatre."
"I really liked the true repertory schedule we d i d for those t w o years. It's very
stimulating for a c o m p a n y to be playing more than one play at a time. It keeps
y o u o n y o u r toes. I'd like to get back to that."
" A n d I'd still like to d o n e w plays, a n d a i m at more quality actors so we can
d o C h e k h o v , or Brecht, or St. Joan, or Shakespeare's histories. I'd also like to
d o more experimental theater in the P l a y h o u s e , but w e don't have the younger,
cosmopolitan audience to support that. W e ' r e trying to maintain the tradition
a n d m o v e forward, without losing the sight of h o w it all started. W e still accept
barter at the b o x office, based o n current market value of p r o d u c e . "
" R e x has great insight," scenic designer L y n n Pecktal declared after returning
to Barter in 1 9 8 1 . "I think Barter has continued to go extremely well because the
spirit hasn't c h a n g e d . "
T h e t w o m e n that h a d the greatest influence o n Partington also h a p p e n to
l o o m prominently in the history of decentralized theater—Bob Porterfield a n d
Tyrone Guthrie.
" T h e y were friends a n d inspirations," he said. " B o b was m y first influence
right out of college a n d he instilled the ideas of getting the theater to the p e o p l e .
T o n y Guthrie stressed quality a n d excellence. I h a d the pleasure of d o i n g two
B r o a d w a y plays with h i m — o n e was a success, the other was a flop. H e behaved
the same in b o t h . "
Partington also has s o m e interesting opinions about the future of acting in this
country: "I w o u l d like to see more respect for the professional theater. F r o m a
social standpoint, it s h o u l d be in the same category as medicine, law a n d educa
tion. T h e day of the fly-by-night s h o w folk is passing. T h e actor should be a
stoic, responsible individual properly r e c o m p e n s e d for his efforts."
N o matter where the A m e r i c a n theater goes, R e x Partington has p r o v e d to
A b i n g d o n a n d the theater w o r l d that Barter will continue to meet a n d set certain
standards. B o b Porterfield lives because his theater is alive.
�T h e Barter Theatre Story
112
A fine view of Barter interior, including main
area, balcony and
chandeliers.
(Photo courtesy of the Barter Theatre)
seating
�113
Chapter Twelve: The Importance of Being Barter
W h e n the Barter Theatre o p e n e d its doors in 1 9 3 3 , it was b a d times for the
A m e r i c a n theater. B r o a d w a y was h a r d hit, so the theater was hard hit. Recent
years have seen a p e r i o d of steady decline for B r o a d w a y . Ticket prices have
skyrocketed. T h e n u m b e r of overall productions is w a y d o w n . T h e number of
revivals is w a y u p . A n d profits are w a y d o w n . B u t 5 0 years after the Depression,
the situation is not so desperate for the A m e r i c a n theater as a w h o l e . Several ex
cellent regional theaters have m a d e sure of that.
E v e n if one b e m o a n s the lack of quality o n B r o a d w a y , they c a n be heartened
by the overall picture of health. Indeed, the A m e r i c a n theater m a y be healthier
n o w than ever before. Barter, B o b Porterfield a n d R e x Partington all have a
h a n d in that d e v e l o p m e n t .
F o r years a n d years, the rest of the country "fed" off B r o a d w a y . After a s h o w
left the Great W h i t e W a y , s o m e areas of the country m a y have seen it through a
touring, regional or c o m m u n i t y p r o d u c t i o n . E v e r y b o d y was d o i n g what B r o a d
w a y h a d d o n e . N o w that's reversed a n d B r o a d w a y finds itself turning to other
artistic centers for challenging, innovative shows. R e g i o n a l theaters are n o w
feeding B r o a d w a y . That's been one of the outgrowths a n d benefits of decen
tralized theater.
M o r e importantly a n d specifically, Barter has brought quality theater to an
area where it's most n e e d e d . Despite its problems, N e w Y o r k , has theater r u n n
ing out of its ear. B u t Soutwest Virginia a n d U p p e r East T e n n e s s e e — w e l l ,
e n o u g h said. T h r o u g h 5 0 years of changes, improvements, setbacks, lean
years, innovations, heartbreaks a n d triumphs, Barter has p r o c l a i m e d that
cultural enrichment is as necessary as the f o o d bartered for tickets in 1 9 3 3 .
In mere statistics, it's easy to say where Barter is today: T h e Barter players
stage about a d o z e n plays from spring through October in A b i n g d o n , n o w m o v
ing o n to 15 weeks i n Fairfax, a n d a major tour. It remains the country's longestrunning professional theater a n d the second-oldest theater structure. A c r o s s the
street, the Barter P l a y h o u s e is the site of mainly musical revues. D u r i n g the s u m
mer, people from A b i n d g o n , neighboring communities a n d tourists fill the
380-seats of the o l d O p r e y H o u s e , with m a n y of the out-of-town theatergoers
staying at the M a r t h a W a s h i n g t o n Inn.
B u t in influence a n d stature, it's not so easy to assess Barter's current status.
Partington carries o n Porterfield's tradition of giving a w a y a gift to the person
attending for the first time from the farthest distance. O n any given night, par
ticularly during the V i r g i n i a H i g h l a n d s Festival, it goes to s o m e o n e from "outside
the continental limits of the U n i t e d States." It bears out the title of " w o r l d famous
�114
T h e Barter Theatre Story
Barter Theatre
as it appears
today.
(Photo courtesy of the Barter Theatre)
Barter Theatre" a n d is o n e indication of where Barter is today.
Betsy G r a h a m of Bristol remembers trading 12 ears of c o r n in the late '30s to
see He Who Gets Slapped. N o w she buys a ticket like e v e r y o n e else. H o w has
Barter changed? " A t the beginning it was a folksy, h o m e t o w n c o m m u n i t y
theater. N o w it is a place to see a n d be seen. It is a tourist attraction a n d that's
where most of the houses c o m e f r o m . "
G o o d or b a d , that's also where Barter is today.
"Barter deserves a n d needs recognition," declares C l e o H o l l a d a y . "Especial
ly locally. T h e r e are p e o p l e in L o n d o n w h o k n o w the Barter Theatre a n d o n
M a i n Street there are p e o p l e w h o have lived here all their lives a n d never
stepped foot inside the theater."
Barter's influence m a y be m o r e p r o f o u n d than e v e n B o b w o u l d have guess
e d . In addition to its integral role in the regional theater m o v e m e n t , Barter has
also contributed to growth of theater in Southwest Virginia a n d U p p e r East T e n
nessee. W h e n Barter was f o u n d e d in 1 9 3 2 , there was o n l y o n e c o m m u n i t y
theater in existence, the J o h n s o n C i t y C o m m u n i t y Theatre. T o d a y that area is
k n o w n as the Tri-Cities, centering a r o u n d Bristol, Kingsport a n d J o h n s o n C i t y ,
�T h e Importance of Being Barter
115
a n d including such towns as A b i n g d o n , B i g S t o n e G a p , W i s e , P e n n i n g t o n G a p ,
Hiltons, G a t e C i t y a n d G l a d e S p r i n g , V i r g i n i a , a n d Bluff C i t y , Blountville, P i n e y
Flats, Elizabethton, J o n e s b o r o , E r w i n , Rogersville, a n d Greeneville, Tennessee.
In 1 9 8 2 , this area was supporting a professional dinner theater, a professional
r o a d c o m p a n y , eight c o m m u n i t y theaters, t w o annual outdoor dramas, a n d
seven college or university theater programs. A l t h o u g h Barter can hardly be
credited exclusively for such growth, its inspiration a n d influence is undeniable.
A s for the individual actor:
"There are very few theaters like this that provide the environment to learn,"
says Frank L o w e .
"It's a n overview of theater training that has lasted from the Depression until
n o w , " adds L y n n P e c k t a l .
"There is a tremendous feeling of ensemble," contributes actress Lily L o d g e ,
w h o appeared at Barter in 1 9 8 0 . "It's idyllic."
W i t h all the tradition a n d d e v o t i o n to progress, these are all places Barter is
today.
After 5 0 years, Barter is still a n expression of love—for the theater, a t o w n , a
region, state a n d country. It w o u l d be impossible to even begin an evaluation of
worth or calculation of the m a n y this one small theater in Southwest Virginia has
t o u c h e d . T h e r e are m a n y eloquent ways to summarize these accomplishments,
but it w o u l d be inappropriate to not let B o b Porterfield have his inevitable curtain
line:
"If y a ' like us, talk about us. If y a ' don't, jes keep y a ' m o u t h shut!"
�This page intentionally left blank
�117
Appendix A
APPENDIX A
A Code of Ethics for People in the Theatre
Dramatic art is the most human of all the arts. W e are servants of humanity—the producer, direc
tor, dramatist and actor—pledge unanimity in giving the audience the best theatre possible.
W e pledge complete loyalty to the theatre, our great and noble profession.
W e pledge ourselves not to let our position or our name be used in any way which will bring
discredit to the theatre.
W e will not speak derogatorily to the layman about our fellow actors, producers, dramatists. It is
bad business to talk bad business in show business.
In theatre, where illusion is the first of all pleasures, we pledge our God-given talent for the reflec
tion of life in all its respects, through comedy and tragedy, magic and glamour, and the world of
make-believe.
W e pledge ourselves to do everything possible to enhance our art and artistry and the theatre as
an institution.
W e recognize the producer as the autocratic head.
W e pledge our talent to the dramatist in portraying his story of yesterday, today and tomorrow.
W e pledge our acquiescence to the interpretation of the director.
W e pledge ourselves to respect, cherish, and nourish the artistry of the actor.
It is our duty to appeal to the gregariousness of m a n , and to him we pledge the propagation of the
eternal verities.
In humility we recognize the pleasure of our audience as the final criterion because without an au
dience we cannot have theatre.
(Note: This code was prepared by Robert Porterfield in 1957 with the help of theater friends in New
Y o r k . It uses the old style English spelling of "theatre" throughout.)
�Appendix B
118
APPENDIX B
The Aims and Purposes of the Barter Theatre
It is to serve as non-profit educational and cultural expression for the purpose of giving the people
of Virginia, and its many guest-tourists, an opportunity to observe some of the works of the world's
most distinguished playwrights, performed by competent actors.
It is to bring good entertainment to the people of Virginia.
It makes it possible for the young actors, young writers, and young technicians of the theatre to
get practical experience in the Arts of the Theatre, working in cooperation with experienced profes
sional actors, writers and technicians.
T o make it possible for tourists traveling through Virginia to see "after-dark" entertainment after
they have seen Virginia's day-light scenery—the drives, the gardens, the historical shrines.
T h e primary purpose is that Virginia have its own standard of appreciation of the theatre, dif
ferentiated from the tradition of the theatre.
It is to be a living example of Democracy at work, carrying out the fundamental principles of
Virginia's Bill of Rights.
T h e lobby of the legitimate theatre is the only institution that serves as an example of pure
democracy, because the legitimate theatre is the only institution still left where all creeds, classes and
political faiths can gather under one roof and have a mingling of social graces, manners, and
customs.
W e must erect a defense against the evils that would destroy the culture and enlightenment of the
world, and this is not to be done by the mechanism of munitions and men and steel alone, but by giv
ing the best of our strength and devotion to the cause of a deeper faith of truth and beauty, and the
wisdom of the human soul.
"We hope to avail the State of those talents which nature has sown so liberally among the poor as
the rich, but which perish without use, if not sought for and cultivated."
-Thomas Jefferson
(Note: T h e "Aims and Purposes" was prepared and printed in summer programs of 1941 when it
looked as if Barter would become the State Theatre.)
�119
Appendix C
APPENDIX C
The Barter Theatre
Award
Winners and audition selections
1939
Laurette Taylor
Larry Gates, Edith Sommers
1941
Ethel Barrymore
Robert Pastene, Charlotte Wilson
Tallulah Bankhead
no audition, theater closed for war.
1940
1942
1943
1944
1945
Dorothy Stickney
Mildred Natwick
Gregory Peck, Evelyn Wells Fargo
Paul Wasserman, Margaret Phillips
NO AWARD PRESENTED
NO AWARD PRESENTED
1946
Louis Calhern
Martin Waldron, Joan DeWeese
1948
Henry F o n d a
James Andrews, Virginia Baker
Shirley Booth
Jerry Rifkin, G a b y Rodgers
1947
Helen Hayes
1949
Tallulah Bankhead
1951
Frederic March
1950
1952
Cornelia Otis Skinner
Ray Boyle, Marion Wilson
Robert Blackburn, Patricia Larson
A . Hedison, Rosemary Murphy
Charles Quinlivan, Sylvia Short
1953
Rosalind Russell
Charles McCawley, Grant Williams, Jane Moncure
1955
Mary Martin
Jerry Hardin, C l e o Holladay
1957
Ethel Merman
1954
1956
David Wayne
Julie Harris
1958
Ralph Bellamy
1960
George Abbott
Paul Lukather, Phyllis W y n n
Arne Sundergaard, Marcie Hubert
Mitch R y a n , V i e n n a C o b b Anderson
Alex Murray, Elizabeth St. Clair
Robert Whitehead
William C o m e , Virginia James
1961
1962
Hume Cronyn
A b e Burrows
G e n e R. C o l e m a n , Joan Lancaster
Gerome Ragni, Tojan Matchins
1964
Robert Preston
Robert Jundeland, Daryle A n n Corr
1959
1963
1965
1966
1967
1968
1969
David Merrick
Roger L . Stevens
T o m Prideaux
Pearl Bailey
Donald L i n a h a m , Diane Hill
Michael Bierne, Melinda Dotson
Russ Murphy
NO AWARD PRESENTED
NO AWARD PRESENTED
N O AUDITION
N O AUDITION
(Note: T h e Barter Theatre A w a r d was originally intended to honor what was judged the best per
formance of the theatrical season. Later, Porterfield loosened the eligibility to recognize the
contributions of playwrights, producers and directors.)
�Appendix D
120
APPENDIX D
Awards and Honors Presented to Robert
and the Barter Theatre
Porterfield
February 17, 1939: Life appointment as an Honorary Colonel in the Virginia Militia for contributions
to the state's cultural life. Presented by the First Families of Virginia Association.
March 28, 1949: Antoinette Perry (Tony) A w a r d for contributions to the American theater.
June 1, 1948: Honorary Doctor of Literature from Hampden-Sydney College.
June 10, 1957: N a m e d First Citizen of Abingdon by T o w n Council.
September 24, 1957: Actors' F u n d A w a r d of Merit
September 27, 1963: T h o m a s Jefferson A w a r d for public relations on behalf of Virginia. Presented
by the O l d Dominion Chapter of the Public Relations Society of America.
March 4, 1967: Suzanne Davis Memorial A w a r d for contributions to the theater in the South. Pre
sented at the Southeastern Theatre Conference.
May 1, 1967: Special Service A w a r d presented by the Virginia State Chamber of C o m m e r c e in
Arlington.
March 6, 1972: General Assembly of Virginia House Joint Resolution N o . 105 O n the death of
u
Robert Huffard Porterfield" as "evidence of the abiding regard which he earned in the hearts of all
Virginians."
November 16, 1979: Special A w a r d presented to the Barter Theatre at the First Governor's Awards
for the Arts in Virginia. Accepted by producing director Rex Partington in Richmond.
�Bibliography and References
121
B I B L I O G R A P H Y and R E F E R E N C E S
Although much of the information in this volume is the result of interviews, several publications
were invaluable in researching Barter and the many aspects of theater it encompassed. Perhaps the
greatest resource for the Barter student is the scrapbooks stored in the Barter Inn. These volumes are
kept year to year, and, as one would expect, some are more complete than others. For the most
part, however, the scrapbooks contain
most reviews, programs, posters, newspaper articles,
magazine features and any other clippings pertinent to that season.
Keller, Theresa Diane. A Survey
Theatre
of Abindgon,
Virginia.
THESES
of the Attitudes
of the Abingdon
Community
Towards
Barter
(Greensboro, North Carolina, 1977) A thesis submitted to the
faculty of the graduate school at the University of North Carolina in partial fulfillment of the re
quirements for the degree of Master of Arts.
Williams, A n n e St. Clair. Robert
Theatre
Porterfield's
Barter
Theatre
of Abingdon,
Virginia;
The
State
(Urbana, Illinois, 1970) Thesis submitted in partial fulfillment of the re
of Virginia.
quirements for the degree of Doctor of Philosophy in Speech in the Graduate College of the
University of Illinois.
BOOKS
Archer, Fred. Exploring
the Psychic
Atkinson, Brooks. Broadway.
New York: William Morrow and C o . , Inc.,
World.
New York: McMillan Publishing C o . , Inc.,
Barbour, A l a n G . Humphrey
Bogart.
1973.
Arts: The Economic
Twentieth Century F u n d , 1966.
Pictorial
History
York: G . P . Putnam's Sons,
Complete
New York: Ballantine Books,
Farrell, Barry. Pat and Roald.
Freedland, Michael. Gregory
Directory
to Prime
1979.
New York: R a n d o m House,
Peck.
Network
New York: William Morrow and C o . , Inc.,
TV
Shows:
Theatre
1980.
in America:
Appraisal
and
1968.
Green, Abel, and Laurie, Joe, Jr. Show
Biz: From
1951.
Houghton, Norris. Advance
from
Broadway:
York: Books for Libraries Press,
1971.
Hughes, G l e n n . A History of the American
Hyams, Joe. Bogie: The Biography
Inc.
Time
Madison, Wisconsin: Dembar Educational Research Services, Inc., and New Y o r k ,
Theatre Arts Books,
Company,
New York:
1969.
G a r d , Robert E . ; Blach, Marston; and Temkin, Pauline.
Challenge.
Dilemma.
(revised and enlarged by J o h n Kobal). New
of the Talkies
1973.
Brooks, T i m , and Marsh, Earle. The
1946-Present.
1974.
New York: Pyramid Publications, Harcourt Brace Jovanovich,
Baumol, William J . , and Bowen, William G . Performing
Blum, Daniel. A New
1968.
1966.
Langley, Stephen. Theatre
19,000
Theatre,
of Humphrey
Langer, Lawrence. The Magic Curtain.
Management
Vaude
to Video.
New York: Henry Holt and
Miles of American
1700-1950.
Bogart.
Theatre.
Freeport, New
New York: Samuel French, 1951.
New York: T h e New American Library,
New York: E . P . Dutton and C o m p a n y , Inc.,
in America.
1951.
New York: Drama Book Specialists,
1974.
�Bibliography and References
122
Lewis, A l a n . American
Plays
Publishers, Inc.,
and Playwrights
1965.
of the Contemporary
Little, Stuart W . , and Canton, Arthur. The Playmakers.
New Y o r k : W . W . Norton and C o . , Inc.,
1970.
Maltin,
Leonard
(ed.).
TV
American Library, Inc.,
Marx, G r o u c h o . Groucho
Novick, Julius. Beyond
Movies:
Revised
O ' C o n n o r , Richard. Hey wood
New
Edition.
and Me. New Y o r k : Manor Books,
Broadway:
1968.
1981-82
1980.
The Quest for Permanent
Skinner, Corneilia Otis. Life With Lindsay
& Crouse.
York:
The
New Y o r k : Hill and W a n g ,
Theatres.
1975.
Boston: Houghton Mifflin C o m p a n y ,
Teichmann, H o w a r d . George
S. Kaufman:
Thomas, T o n y . Gregory
New Y o r k : Pyramid Publications, Harcourt Brace Jovanovich,
Peck.
Williams, Tennessee. Memoirs.
New Y o r k : Atheneum,
Portrait.
Theatre:
1973.
The Revolutionary
1976.
1972.
Garden City, New Y o r k : Doubleday and C o m p a n y , Inc.,
Ziegler, Joseph Wesley. Regional
Minnesota Press,
An Intimate
New
1974.
New Y o r k : G . P . Putnam's Sons,
Broun.
New Y o r k : C r o w n
Theatre.
1977.
1975.
Minneapolis: University of
Stage.
NEWSPAPERS
Several regional newspapers have covered Barter activities quite extensively throughout the
years. A m o n g those most helpful in the preceeding research were the Bristol Herald-Courier,
Virginia-Tennessean,
Washington
Gap
Post,
Southwest
mond
County
Bristol News-Bulletin,
News,
Elizabethton
Virginia
News Leader
Abingdon
Star,
Virginian,
Stage
Enterprise,
Kingsport
Post
Roanoke
and the Richmond
Sullivan
Times-News,
(of Southwest
World
News,
County
News,
Virginia
Roanoke
Times-Dispatch.
Johnson
City Press
Gate City Herald,
and
Upper
Times,
Knoxville
East
Bristol
Chronicle,
Big
Stone
Tennessee),
Journal,
Rich
Other newspapers to have run stories on Barter helpful in the preparation of this book include the
Baltimore
New
Sun,
Charlotte
York Evening
ta Constitution,
Post,
Observer,
Washington
Los Angeles
New
Post,
Times,
York
Variety
Times,
Washington
New
York Sun,
Evening
and the London
New
York
Herald-Tribune,
Star (earlier the Star-News),
Times.
Atlan
MAGAZINES
"Actors and Hams." Time,
X X X I V , N o . 14 (October 2, 1936), p. 38.
"The Actors A r e C o m e Hither." Time,
LIU, N o . 24 (June 13, 1949), p p . 76-77.
Ardinger, J o h n . "Barter Theatre's Exciting Season." The Commonwealth,
1953), p p . 25-27.
"Baa B a a M r . Porterfield." Forum,
June 24, 1936, p. 2.
"Barn to Broadway." Theatre
X X , N o . 11 (November,
X X X V I I , N o . 10 (October, 1953).
"Barter." Cue Magazine,
Arts,
July 18, 1936, p. 20.
"Barter is Twenty-Five." Theatre
Arts,
X L I (October, 1957), pp. 59-62.
"Barter Theatre Trades Drama for H a m and Eggs." Life, VII, N o . 5 (July 31, 1939), pp. 54-55.
�Bibliography and References
123
Breen, Robert, and Porterfield, Robert. "Toward a National Theatre," Theatre
Clark, Margy. "Two Years after Porterfield: where does Barter Theatre Stand?"
(Kingsport
Times-News
Magazine, V o l .
48, N o . 3 (March, 1981) p p . 56-63.
Dawidziak, Mark. "Barter Theatre: T h e History and the Heritage." Saturday
Herald-Courier),
Magazine
June 9, 1979, p. 3.
Dawidziak, Mark. "The Stars at Barter." Weekender
(Kingsport
24, 1981, p. 2-4.
August 2, 1964, p p . 12-14.
(The
Magazine
Friddel, G u y , "Old Dominion Foundation Grants A i d Abingdon." The Commonwealth,
1967, p p . 35-40.
Kent, Arthur T . S . "Bring Y o u r Beans and See the Show." The Commonwealth,
p p . 2-3.
(Kingsport
pp. 48-53.
December,
magazine), April 21, 1979,
Times-News
Millstein, Gilbert. "The Importance of Being Marty." Colliers,
C S S S V I , N o . 2 (July 22, 1955),
Moustakis, C . C . "Giving the Theatre Back to the People." Readers
(June, 1936), p p . 97-98.
"New Horizons for the Summer Theatre." New York Times Magazina,
X X I X , N o . 170
Digest,
August 2, 1936, p p . 24-26.
Olson, Karen. "Where Mystery Meets History: T h e Haunting of the C a v e House." The Plow,
13, 1979, p p . 24-26.
Plawin, Paul. "Professional Theatre has Thrived for 35 Years in Tiny Abingdon, Virginia."
Living,
April, 1967, p p . 30-31.
Porterfield, Robert. "How Living Theatre W o n State Legislators." Theatre
(October, 1956), p p . 512-513.
Porterfield, Robert. "Trouping Shakespeare." Theatre
90-92.
Arts,
Baltimore
II, N o . 8 (August,
1935), p p . 9-10.
Kiss, T o n y . "Inside Barter Theater." Weekender
(Bristol
magazine), July
Times-News
Dorsey, J o h n . "Barter Theatre: Still Swapping Tickets for F o o d . " Sunday
Sun),
Weekender
magazine), July 27, 1974, p p . 2-3.
Dawidziak, Mark. "Barter Theatre: B o b Porterfield's Brainstorm." Commonwealth
XXXIX
Arts,
(October, 1945), p p . 599-601.
Arts,
August
Southern
X L , N o . 10
X X V , N o . 4 (April, 1951), p p . 55,
Sale, Marian Marsh. "Porterfield: Virginia's M a n of the Stage." The Commonwealth,
p p . 62-65.
"Southern Farmers Swap Country Produce for City Plays." Newsweek,
June, 1967,
June 20, 1936, p p . 24-25.
"Theatre Arts Spotlights: Robert Porterfield." Theatre
Arts, X X X V I , N o . 6 (June, 1952), p. 23.
V e r n o n , Grenville. "The Play." The Commonwealth,
January 25, 1935, p. 23.
Williams, D r . A n n e St. Clair. "The Barter Theatre: A History." Southern
(March, 1972), p p . 5-19.
Williams, Alton. "State Theatre in Action." Theatre
Theatre,
X V , No. 3
Arts, X X X L , N o . 7 (July, 1947), p. 62.
�Bibliography and References
124
UNPUBLISHED S O U R C E S
S o m e of the most informative materials in preparing this text are publications from the Barter
Theatre, the Abingdon Chamber of C o m m e r c e , and the State of Virginia.
Abingdon, Virginia: 200 Years. A pamphlet put out by the Washington County Chamber of
C o m m e r c e that includes " A History of Abingdon, Virginia" by Walter H . Hendricks.
Historic Abindgon. A pamphlet overview of Abingdon, Damascus and Glade Spring published by
the Washington County Chamber of C o m m e r c e .
L a n d of the Mountains: Upper East Tennessee and Southwest Virginia. A full color pamphlet-sized
tourism fold-out giving overview of the Tri-Cities area.
Upper East Tennessee & Southwest Virginia: A Quiet Retreat Y o u C a n Still Afford. A booklet on the
Tri-Cities prepared by Edwards and Associates Advertising.
Virginia Highlands Festival. A pamphlet outlining the festival.
Washington County Virginia: Business Directory and Community Guide. A booklet printed by the
Washington County Chamber of Commerce.
Barter Theatre publications:
T h e Barter Story: 1933 to the Present. A N o v . 1, 1975 four-page history of Barter.
Barter Theatre Buildings. A one-page overview by L u c y H . Bushore.
Barter Theatre, Abingdon, Virginia. A fold-out brochure including a reprint of Joseph R. Judge's
Amerika
story on Barter.
Barter Theatre:
Flanigan.
1980
Newsletter. Four-page publication
prepared by publicity director L o u
Barter Theatre: Fall, 1981 Newsletter.
Barter Theatre: 1979 Repertory Program. Booklet-form program that includes brief articles on
Abingdon and Barter.
Barter Theatre: 1980 Repertory Program.
Barter Theatre: T h e 1981 Season. Booklet program for ten-play season prepared by L o u Flanigan.
A Brief History of Barter. O n e page summary.
T h e Famous Barter Theatre. A n over-sized booklet reprinting articles on Barter and serving as the
program for The
Virginian.
Barter Theatre. Over-sized booklet with numerous articles and pictures from Barter's past printed
for 1960 season.
Robert Porterfield: A Memorial. Booklet in honor of Barter's founder that includes a text by J i m
East, historical photographs, and a list of Barter A w a r d winners.
Robert Porterfield Announces the Opening of the Barter Theatre's 17th Season. A 1949 pamphletsize brochure.
Robert Porterfield presents the Barter Theatre. A 1960's brochure.
Visit the World Famous Barter Theatre. A 1970s brochure.
Minor's Printing, Boone, NC
�ABOUT T H E AUTHOR
has been a theater, film, and television critic for
more than thirty-five years. H e has been the T V critic at the Cleveland
Plain Dealer since 1999. H i s many books include the horror novel Grave
Secrets and such nonfiction works as The Bedside, Bathtub & Armchair
Companion to Dracula and two acclaimed histories of landmark T V
series: The Columbo Phile and The Night Stalker Companion. Five of his
books are about M a r k Twain.
MARK
DAWIDZIAK
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Appalachian Consortium Press Publications
Description
An account of the resource
This collection contains digitized monographs and collections from the Appalachian Consortium Press.
Creator
An entity primarily responsible for making the resource
Appalachian Consortium Press
Publisher
An entity responsible for making the resource available
Appalachian Consortium Press
Date Issued
Date of formal issuance (e.g., publication) of the resource.
June 1, 2017
Contributor
An entity responsible for making contributions to the resource
<a title="Digital Scholarship and Initiatives" href="http://library.appstate.edu/services/digital-scholarship-and-initiatives" target="_blank">Digital Scholarship and Initiatives</a>
Publication
Digital Publisher
Digital Republication
Appalachian State University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Barter Theater Story: Love Made Visible
Description
An account of the resource
<span>Published in 1982, </span><em>The Barter Theatre Story: Love Made Visible</em><span> tells the colorful history of a remarkable American cultural institution. Opened by Robert Porterfield, a native Virginian, in 1933, the Barter Theatre offered the people of Abingdon, Virginia, and the surrounding area entertainment and a much-needed escape from their Depression-era working lives. It became the State Theatre of Virginia in 1946 and it is where the likes of Gregory Peck, Ernest Borgnine, Patricia Neal, Ned Beatty, and Hume Cronyn got their starts. Mark Dawidziak, a journalist from New York who spent much of his twenties in Appalachia and grew to admire the theater, tells the improbable story of the Barter Theatre, which remains one of the last year-round professional resident repertory theaters in the country.</span><br /><br /><a href="https://drive.google.com/open?id=1cnKhV9b_pPkA7ssChN4dSDZnPvHVy68n" target="_blank" rel="noopener">Download EPub<br /><br /></a><a title="UNC Press Link" href="https://www.uncpress.org/book/9781469638133/the-barter-theatre-story" target="_blank" rel="noopener">UNC Press Print on Demand</a>
Subject
The topic of the resource
Barter Theatre (Abingdon, Va.)
Porterfield, Robert, 1905-1971
Creator
An entity primarily responsible for making the resource
Dawidziak, Mark
Date
A point or period of time associated with an event in the lifecycle of the resource
1982
Publisher
An entity responsible for making the resource available
Appalachian Consortium Press
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
Abingdon (Va.)
Format
The file format, physical medium, or dimensions of the resource
PDF
E-books
Type
The nature or genre of the resource
Text
Rights
Information about rights held in and over the resource
<a href="https://creativecommons.org/licenses/by/4.0/deed" target="_blank" rel="noopener">https://creativecommons.org/licenses/by/4.0/deed</a>
Spatial Coverage
Spatial characteristics of the resource.
https://www.geonames.org/4743815/abingdon.html
Source
A related resource from which the described resource is derived
<a title="UA 76 Appalachian Consortium records" href="https://appstate-speccoll.lyrasistechnology.org/repositories/2/resources/9" target="_blank" rel="noreferrer noopener"> UA 76 Appalachian Consortium records </a>
Is Part Of
A related resource in which the described resource is physically or logically included.
<a title="Appalachian Consortium Press Publications" href="https://omeka.library.appstate.edu/collections/show/82" target="_blank" rel="noopener"> Appalachian Consortium Press Publications</a>
Barter Theater
resident
Robert porterfield
theater
Virginia