Changes at the Rep
Artistic director David Grapes is on his way out, and David Alford is in...for the interim
by Martin Brady
With the news last week that actor/director David Alford had been appointed interim artistic director of Tennessee Repertory Theatre came both an outpouring of support for the decision, as well as personal tributes to the Adams, Tenn., preacher’s son who has been a leading player in the local theater scene for many years. Empowered through spring 2005 to select and produce a season of plays for the state’s largest professional theater company, Alford will work on a consultant basis for the short term. He’ll guide the financially embattled company through selecting play titles for 2004-05, a task that should be completed sometime in February, according to Steven J. Greil, CEO of corporate parent TPAC, who essentially masterminded the leadership change. Alford will assume full control under a new contract on July 1, 2004.
Greil, who also serves as chair of the Rep’s governing board, admitted last week that he has known for at least several months that Alford was phasing himself out of his own Mockingbird Theatre in exchange for what Alford himself calls “consideration of long-range opportunities for acting, writing and film work.” According to Greil, if the Rep’s outgoing producing artistic director David Grapes’ first two Mainstage shows of the current season had performed well enough in the financial numbers game, he would have had a reprieve and maybe a new contract.
Greil hadn’t necessarily anticipated the subsequent bad numbers, but they were at least seen as an immediate opportunity to install Alford—whom Greil characterizes as a friend—in the top job. In fact, Grapes might’ve stayed on as the Rep’s artistic leader, but the moment his position was shaky, Greil unilaterally made the decision not to renew his contract and had Alford waiting in the wings—springing him on the Rep’s operating board of directors on Dec. 3 with dramatic flair. Greil paints a portrait of anxiety-ridden board members—nervously wringing their hands because Grapes had been dismissed without their consultation—greeting Alford’s arrival with both relief and pride.
“My initial reaction was to say no,” says Alford. “But...the opportunity happened, and the Rep must be saved. If things go well, I would probably want to stay. Steven and I agreed on an interim arrangement. It gives me a chance to decide what I want to do. This is a totally different animal, and there’s a huge learning curve.”
Locally established theater types would appear to be unanimous in their support of Alford’s ascension to the Rep post. “I think it’s grand,” says actor/director Mark Cabus. “Alford is charismatic and outgoing. He has a pedigree that includes training at Juilliard and regional theater credits. He’s extremely intelligent, and his familiarity with the area is a huge advantage.... Still, it’s a tough job. I think the Rep has been missing the vision—someone to say, 'We’re going this way.’ ”
“Culture comes from within,” says actress and former Nashville Shakespeare Festival artistic director Denice Hicks. “If anyone can connect with the community, it’s David Alford. I have faith in him. He understands how important the Rep is. David holds the key to artistic relevance, and we’ll all pitch in to help him.”
As an example of how overwhelmingly the Alford decision has been approved, even the ousted Grapes has words of support. “I like David,” he says of Alford. “I’ve used him in five or six of my own productions. He’s a good man. I think he’s in a terrible position, though. It’s a tough town, and he’ll have a tough go of trying to sell tickets in a town that doesn’t seem to want to be supportive of its regional theater. He’s a talented man, and I wish him a lot of luck.” As of this writing, Grapes will fulfill his existing contract through the end of June 2004—which means he’ll star in an Alford-directed production of The Drawer Boy in the spring.
Alford makes the leap from dealing with Mockingbird Theatre’s $350,000 budget to managing the Rep’s $2.5 million budget, leaving questions about the future of the company he founded 10 years ago. “No decision has been made on Mockingbird’s future,” he says. “René Copeland has been my associate, and it could continue with her at the helm. There remain questions about the company’s ability to raise funds. Possibly, Mockingbird could function as a place dedicated to developing new works.”
Alford characterizes his new mission as twofold—artistic and financial. “We need to make sure we’re doing plays relevant to the community,” he says of the Rep’s creative goals. “We’ll do titles people recognize. Right now, we’d rather do less and not feel rushed. I foresee a touch of the classics along with American contemporary classics.” While Alford hesitates to make any definite projections in this regard, he mentions Thornton Wilder and Jerome Lawrence and Robert E. Lee’s Inherit the Wind as possible directional gauges.
“As a nonprofit 501(c)3 company, the Rep has a public trust that translates to responsibility,” he says of the company’s finances. “Taking huge losses is not acceptable. We’ll want to stabilize the company and give it a platform that’s not in crisis.” To that end, Greil has implied that TPAC reserve monies have been allocated to help give Alford the chance to start with a relatively clean slate.
As to his role as an artist, Alford says, “There’s no way I can manage a major regional company and be directly involved in every show. I suspect I could act in no more than two shows, or direct no more than two shows. And I wouldn’t even think to direct myself.” Alford also strongly hints that some ouf-town directing talent might be brought in.
“We have to somehow reestablish the Rep’s identity as Nashville’s flagship company,” he concludes. “That it needs to continue. If I’m not the guy long-term, that’s really fine with me.”
For the immediate term, though, it would seem that Alford is the man for the job. “He’s the logical choice,” says Actors Bridge artistic director Bill Feehely. “He’s an intelligent guy and knows the problems, but it’s gonna be tough—even daunting.”
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