Author: Zach Cooley

Vicki Lawrence show, meeting provide lifetime family thrill

May 10, 2026 Zach Cooley No Comments

Saturday, May 9, was one of those rare, life-defining blessings that carries you through the difficult days that inevitably follow. Meeting Vicki Lawrence — the Emmy-winning star of The Carol Burnett Show and Mama’s Family — before her live comedy performance at the Newton Performing Arts Center is something my family and I will treasure for the rest of our lives. I have adored Vicki Lawrence for as long as I can remember. I owe a tremendous debt of gratitude to her publicist, Sandy Brokaw, and to her son, Garrett Schultz, who directs her touring shows for making us Vicki’s personal guests. Because the performance was sold out, she provided seats for us along the side of the auditorium. Thrilled to be in the building, all of us being able to hug her and tell her what her meant work meant nearly brought me to tears. She graciously signed my copy of her autobiography along with my treasured 1973 album of The Night the Lights Went Out in Georgia. Before the show began, I could hear Vicki warming up backstage by singing that famous song and rehearsing one of the evening’s funniest stories, recounting a backstage exchange between herself and Carol Burnett just before they performed their very first “Family” sketch together. The two women were in the ladies’ room when Carol suddenly called out in her now-famous Southern drawl, “Mama!” “What is it, Eunice?” Vicki shouted back in character. “Well, I was wonderin’ if you had any toilet paper over there.” “Well, I’m busy right now, but when I get done doing what I’m doing, I’ll get you your toilet paper!” “Fine,” they scream back and forth at each other several times. A woman in high heels hurried nervously into the restroom, only to immediately retreat in horror as the shouting continued. Unbeknownst to Vicki, Tim Conway had apparently been standing behind Carol as Vicki finished recounting the story. Conway dryly responded, “I bet that was Harvey.” The evening itself was beautifully structured. Vicki divides the performance into two approximately 40-minute segments, one as herself and one as her legendary alter ego, Thelma “Mama” Harper. The show opens with classic video clips featuring some of her greatest moments on The Carol Burnett Show along with bloopers from Mama’s Family to introduce Mama. As herself, Vicki told the remarkable story of how she first met Carol Burnett. While attending high school in Inglewood, California, she entered the local “Miss Fireball” contest sponsored by the fire department to crown the town’s most beautiful redhead. A newspaper article covering the event described her as the “spitting image” of Carol Burnett. Vicki’s mother suggested she mail the clipping to Carol along with a fan letter. Burnett was so impressed that she attended the pageant in person. As fate would have it, Carol was preparing a new variety series and searching for someone to play her younger sister. The rest, as they say, is television history. Another wonderful surprise during Vicki’s portion of the show was hearing her sing “Bless My Happy Home,” the heartfelt lyrics she personally wrote for the theme song to Mama’s Family that the network refused to use. Discussing modern wellness trends, she joked, “I read an article not too long ago that said Tyra Banks uses a coffee enema. I tried it, and I don’t think they’re ever going to allow me in Starbucks again.” Thelma Harper shuffled onto the stage full of glorious irritation, utterly disgusted with modern society. One target was the Kardashian family. “Even I can’t get my butt that big,” Mama grumbled. “That thing was so big and round Neil Armstrong tried to walk on it.” She also tackled contemporary culture topics like Kaytlin Jenner. “Why would anybody want to become a woman just in time for menopause?” she asked in bewilderment before pivoting to marriage equality. “If two men want to be as miserable as I was with my husband, let ‘em go right ahead. The only problem is if you’ve got two men in the same car on a road trip, now you’ve got two idiots driving around for three hours without asking for directions.” At another point, Mama explained her confusion after accidentally ordering an adult movie in a hotel room. “That wasn’t cable he was laying,” she declared. “And just so you know, the Spice Channel has nothing to do with oregano.” Her observations about technology were equally hilarious. “I haven’t bought any kind of pads since menopause,” she said when discussing iPads. “And I got no reason to start now.” The audience roared throughout the entire set. After Mama exited the stage, the legendary blooper in which Tim Conway’s famous elephant story was obliterated by Vicki’s one-liner as Mama that laid Conway flat. To close the evening, Vicki returned to the stage as herself and delivered a moving rendition of “For All We Know.” Family photographs and images of her famous friends appeared on the screen behind her, including touching pictures of her beloved husband, Al, who passed away two years ago after 50 years of marriage. It was a surprisingly emotional ending to an extraordinarily funny evening. If I could describe Vicki Lawrence in one word, it would be “lovely.” I was entirely unprepared for how radiant she would look in person. At 77, she remains absolutely stunning. More importantly, she could not have been kinder to my family. I will always be grateful for her warmth and for allowing me the privilege of calling her my friend.

Strictly Observing

Vicki Lawrence interview sparks new career apex

May 10, 2026May 10, 2026 Zach Cooley No Comments

On Saturday, May 9, an Emmy-winning television legend will perform her famous Vicki Lawrence and Mama: A Two-Woman Show at the Newton Performing Arts Center in Newton, North Carolina. Both the matinee at 3:00 p.m. and the 7:00 p.m. evening performances are nearly sold out. The Newton stop has become an annual destination for the Mama’s Family and Carol Burnett Show star. “The Carolinas are truly beautiful,” Lawrence said during a May 1 telephone interview. “They really are a world of their own.” And Mama fits into that world as everyone’s favorite grandmother. So, how does a native Californian develop the epitome of a Southern senior? “I had a Southern mother-in-law for a minute when I was very young,” she noted. “Plus, I used to travel the country doing summer stock. I thought those Texans were kidding me with those accents.” Vicki Lawrence and Mama: A Two-Woman Show was created in 2001 after the unprecedented ratings of a Carol Burnett Show reunion special went through the roof. The live production is directed by her son, Garrett Schultz. He and sister Courtney are Lawrence’s two children from her 50-year marriage to CBS makeup artist Al Schultz, who passed away in 2024. Lawrence’s show, which has toured the nation for the last quarter-century, features a pair of 45- to 60-minute acts. First, the 77-year-old lifelong Californian delivers the story of her amazing life and career in a stand-up comedy-style format, where she tells the infamous story of connecting with Carol Burnett via a fan letter and look-alike photo. “These are great old show-business stories,” offered the comedy legend. “The further away I get from these stories, the more I realize they would never happen again.” Fans will also get to hear her sing her 1972 No. 1 hit, “The Night the Lights Went Out in Georgia,” as well as the original lyrics to the Mama’s Family theme song. Lawrence actually wrote the lyrics to “Bless My Happy Home,” but only an instrumental theme was used on the show, with The Carol Burnett Show orchestra leader Peter Matz receiving sole credit. Lawrence’s uncanny resemblance to Carol Burnett landed her a role on the iconic variety show as Burnett’s younger sister in the “Carol and Sis” sketches. “The Family” sketches would eventually give her the alter ego of Thelma “Mama” Harper, the character she has played for more than a half-century. Originally, the part of Mama was written for Burnett. However, it was the character of Eunice that the now-93-year-old star wanted to play. She asked producers to give Lawrence the role that would define her career. Lawrence won an Emmy for her work on The Carol Burnett Show in 1976, was nominated for an Emmy for playing Mama in the TV movie Eunice, and starred in Mama’s Family from 1983 to 1985 on NBC, then in syndication from 1986 to 1990. “I used to think Mama was around 69 or 70, but the older I get, the more I think she is much older than that,” she said with a laugh. “I love bawdy women like Lucille Ball and Betty White, probably because I am one of them. Mama certainly is, too.” The second half of the show is all Mama. It is evident that both she and Vicki are ageless in their own way. “The older I get, the more I agree with her,” Lawrence said with a laugh. “I think that if you live to a certain age, you’ve earned the right to say what you think, and that’s what Mama does.” Lawrence knew she couldn’t do a live show without Mama, who is adored the world over. However, that presented the comedienne with the challenge of bringing the beloved character into the 21st century and all its modern-day problems. As a result, Mama’s half of the show is ever-changing. “She has to deal with all this stuff that’s going on now,” she explained. “It’s fun to keep her on top of these things she’s having trouble dealing with.” Mama’s half of the show will also include a rap, answers to pre-written questions from the audience and, of course, plenty of side-splitting laughter. Tickets are selling fast, but to grab one of the remaining seats, please visit https://ncauditorium.com/vickilawrence. Interviewing Emmy winner Vicki Lawrence represented a new career pinnacle for me. I have adored her since I was 3 years old. I still remember seeing her burst onto the set of Win, Lose or Draw with that glorious red hair and unmistakable energy. From there, I watched her faithfully on the daily parade of syndicated game shows, from the various incarnations of Pyramid to the Password franchise, always rooting for her team to win. One of my favorite things was watching her banter back and forth with her good friend Dick Clark. “I loved those games, and I did a lot of them,” Lawrence told me during our May 2 phone interview. “He was a very good friend, and I learned to dance from watching his American Bandstand show.” It was on American Bandstand that Lawrence, in 1972, received her one and only gold record for her No. 1 single, “The Night the Lights Went Out in Georgia.” Though there is an infamous clip of Carol Burnett presenting her with the award, Lawrence quickly clarified that it was Clark who first handed her the honor. “I remember they wouldn’t let me sing the song on the show until it became a hit,” she recalled. “It would have helped the record to go ahead and sing it.” Her daytime talk show, Vicki!, which debuted years before Rosie O’Donnell and Ellen DeGeneres found enormous success with a similar happy, celebrity-oriented style. In my opinion, Lawrence pioneered that format, yet history often forgets her role in it. It was difficult for me to imagine that she could experience that oversight without bitterness. “I did go through a period of that,” she admitted candidly. “It was a very depressing period of my life, but I…

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Whose Line troop brings classic improv to Virginia Tech

April 19, 2026 Zach Cooley No Comments

The hilariously brilliant team from Whose Live Anyway?—based on the hit show Whose Line Is It Anyway?—entertained more than 2,500 people over two sold-out performances at the Moss Arts Center at Virginia Tech. I was lucky enough to attend the second of these outstanding shows with my dear friends Jeremy Miller, Jenny Baker, and Angie Jackson in the beautiful Anne and Ellen Fife Theatre. Greg Proops was ill on the second night, and we felt a bit disappointed that he couldn’t join us. However, Gary Anthony Williams—who would typically serve more as the show’s emcee—stepped in and delivered plenty of hilarious comic relief in Proops’s absence. I’ve also enjoyed watching Williams in the reboot of another favorite show of mine, Night Court, which was canceled last year after three seasons. Jeff B. Davis, a fan-favorite guest improviser from the original American Whose Line Is It Anyway?, was on hand to provide his signature comedic flair, along with some impressively talented improvisational singing. Comedian Joel Murray also appeared, best known for his roles in TV shows like Mad Men, Dharma & Greg, and Still Standing. The main star of the show, Whose Line Is It Anyway? legend Ryan Stiles—the 66-year-old Canadian standing at an imposing 6’6″—surprisingly had the least to do during the 80-minute performance, which opened with a game called “Freeze Tag.” Audience members suggested that Murray begin the scene with Davis in a crab position, while Davis started in a downward dog pose. Whenever Williams called out “freeze,” he and Stiles would swap in and continue the scene from those same positions. The result was a wildly absurd progression—from Jeff Davis “giving birth” to a large man dancing to “Me and My Shadow,” to a visit with a Hokie bird in the wild. Stiles’s take on the Virginia Tech mascot drew big laughs from the audience of 1,274, made up largely of students and faculty. In the game “New Choice,” Jeff Davis corrected any line he felt needed improvement while Ryan Stiles and Joel Murray acted out a scene about doing the dishes. Some of the lines are best left unrepeated, but suffice it to say that when a husband behaves inappropriately with his wife’s sister, it tends to derail the evening—hilarity ensued. Things escalated when a secretary named Rachel with multiple piercings and tattoos was invited on stage to be serenaded by Jeff Davis and Gary Anthony Williams, with accompaniment from original Whose Line Is It Anyway? musical director Laura Hall, whom I recognized immediately from the ABC version of the show. They improvised a song about her dream of traveling to the Caribbean with her husband, Jonathan—whom she first noticed when he walked across a Food Lion in a way that won her over. Her most tropical destination so far? North Carolina. “Boo” and “Hubband,” their affectionate nicknames for each other, became running jokes throughout the night. Juliet and Courtney were then invited on stage to play the classic game “Moving People,” in which Jeff and Joel could only move when physically repositioned by the audience volunteers. The improvisers gamely attempted the Hokey Pokey while being awkwardly adjusted, resulting in a cascade of comedic mishaps and what turned into a keg party gone wrong. Next, all four performers participated in a Jeopardy!-style sketch. For the category of exotic foods, one audience member suggested “shakshouka.” Responses included “What is not a biscuit?” and “What is an exotic dish I convinced my wife was from North Carolina?” The winning answer: “What is how you pronounce Chewbacca when you’re really high?” A married couple—Matt and Mary, former Virginia Tech students who had been married for 32 or 33 years (they couldn’t quite agree)—joined the stage next. Their first date at Top of the Stairs involved Matt, a member of a ska band called Boy, Oh Boy, and Mary, a Catholic schoolgirl. As the performers reenacted their date, the couple signaled accuracy with a “ding ding” and inaccuracies with a “wah wah.” When “Mary” said, “I just come to church for the wine and the boys,” the real Mary gave a “ding.” When drug use was implied, she quickly responded with a “wah.” In another segment, audience-written lines were randomly inserted into a scene. During a fairy tale titled Secrets of the Prima Ballerina, Stiles played the ballerina while Davis portrayed a passionate French suitor. At one point, the suitor dramatically quoted Ezekiel 25:17—famously used in Pulp Fiction—with a hilariously mangled delivery. For the “Sound Effects” game, the audience suggested the year 2009 as the setting, with sound effects provided by two brothers. At one point, a suit with snaps and buttons sounded less like clothing and more like a squirrel scurrying down his pants. In yet another sketch, Ryan Stiles portrayed a deceased Gordon Lightfoot, while Joel Murray played Dan Aykroyd, selling a compilation album of the neuroscientist’s greatest hits. Highlights included sea shanty “EKG,” folk-rock anthem “Frontal Loading,” and jazz standard “It’s All in Your Head.” The show closed with a Blacksburg-themed hoedown. As Joel Murray sang, “I wish we could stay for the game—once you’ve seen ‘Enter Sandman’ in person, your life is never the same.” A live Whose Line Is It Anyway? experience is something few people ever get to enjoy. I’m grateful they made a stop in Southwest Virginia, and I hope this won’t be the last time we see such a hilarious and talented group perform here.

Zach's At It Again

Harrington scales back after over 30 years as nurse practitioner

March 31, 2026 Zach Cooley No Comments

Cathie Harrington has cared for my family and me as our nurse practitioner, off and on, for the past two decades. She has treated us like members of her own family and offered the kindest, most knowledgeable medical advice I have ever received. As someone who lives with cerebral palsy on a daily basis, my healthcare requires a specialized sense of understanding. Cathie has been exceptional in every regard. She was the first provider to place me on a medication regimen to address the spasticity associated with my condition at a time when my startle reflex had become so severe that I was embarrassed to go out in public. She was also remarkably kind and gentle during my battles with clinical depression, helping me understand that it was perfectly acceptable to seek medical treatment for such a condition. Cathie has been present for my highest highs as well. She was one of the first people I told when I became engaged, and she was the first medical professional to care for my daughter after she was born in 2014. Now, it is time for Cathie to take a step back and focus more on herself and her family. With three grandchildren under the age of five living in Richmond, she has decided to scale back her practice to Mondays and Tuesdays only at Fort Chiswell Medical Center. Though three other capable providers serve the practice, Cathie is so well loved and highly respected that she could easily run it herself. It has often been difficult to secure an appointment with her, as she is frequently booked months in advance. With her recent reduction in hours at the beginning of this year, demand has only increased. Yet once you finally step into the exam room and she walks through the door, whatever concern brought you there begins to dissipate. Even before she offers treatment, her mere presence brings a sigh of relief — a quiet assurance that everything will be all right. She has been equally wonderful in caring for my daughter Emily, who lives with complex heart and mental health conditions, always pairing deep compassion and reassurance with an extraordinary breadth of medical knowledge. As natural as Cathie seems in her role as a nurse practitioner, it was not her first career aspiration. Growing up in Charlottesville, she initially dreamed of becoming an artist and attended Virginia Commonwealth University in Richmond to pursue that path. When she shared this with me, I recalled her beautiful illustration work for her mother’s children’s book, Wilhemina Under the Stairs, a story about a rat who made its home beneath a family’s staircase after a flood. Her professional journey began at the health department, where she was tasked with notifying individuals that they had tested positive for sexually transmitted infections. “There was a nurse at the health department named Nelle who guided me into nursing,” she recalled. “However, it wasn’t enough for me to see all these patients and become engaged in their care only to have someone else make the ultimate decisions about their health.” Encouraged by a colleague to pursue an emerging field of study, Cathie enrolled in nurse practitioner school. “A lady who worked in the NICU at Roanoke Memorial Hospital told me that a family nurse practitioner program was the one for me,” she said. I found that particularly serendipitous, as I spent the first two months of my life in the NICU at Roanoke Memorial Hospital in March 1985 after being born 15 weeks premature. After graduating as part of the second class of nurse practitioners at East Tennessee State University in 1994, Cathie went straight to work at Wythe Medical Associates when the late Dr. David Moore invited her to join his team. “They hadn’t had nurse practitioners in Wythe County before,” she explained, “and they thought it would be a good fit.” It certainly was. She remained there for 17 years before transitioning to Fort Chiswell Medical Center in 2011, where she continues to practice today. “I love the people of Wythe County and building relationships with them,” she said. “I am the same person in my office as I am if you were to meet me on the street.” That authenticity is one of the qualities patients find most endearing. We know we will receive caring, thoughtful advice and sound medical treatment. Her elegance, grace, and even her speaking voice call to mind Meryl Streep, yet she possesses a warm sense of humor that endears her to children and adults alike. Although she has treated patients from infancy through end-of-life care, pediatrics remains her particular niche. “I have a knack and a soft spot for children,” she added. “Ensuring that our children receive quality healthcare as they grow is one of the most important aspects of family medicine.” For more than 15 years, Cathie has served as administrator for the Vaccines for Children program, making certain her pediatric patients receive the recommended immunizations they need. She acknowledges that parental attitudes toward childhood vaccines have shifted in the age of social media. “Parents need to verify facts about vaccines before making a decision,” she cautioned. “They should always consult a medical professional regarding the care of their children.” My family and I will continue to count ourselves among the fortunate patients of Cathie Harrington for as long as she chooses to practice. We are deeply grateful for her friendship, her wisdom, and her compassionate care. She is, without question, the very best of the best.

Strictly Observing

Bobcats secure historic win

March 29, 2026 Zach Cooley No Comments

After taking my daughter to a circus at the Appalachian Exposition Center in Fort Chiswell—now the Hitachi Energy Arena—as the pandemic was dawning, I swore I’d never return to that venue. Parking my handicapped van was the worst experience I’d ever had; I was nearly hit twice and spent more than an hour trying to exit. On top of that, my obstructed view ensured I had no desire to come back. A wheelchair-bound friend of mine later had an equally abysmal experience when the Blue Ridge Bobcats first arrived on the Wythe County scene. Since then, several fans and volunteers have urged me to attend a hockey game, assuring me that significant renovations had been made. I remained leery, but finally relented when the team’s director of media relations and play-by-play broadcaster personally invited me to a game. I had followed his posts—delivered with humor and a gregarious personality—and was eager to meet the North Carolina native and Appalachian State University graduate in person. My friend and driver, Jeremy Miller, brought me a little later than the 6:00 p.m. arrival time Wiseman had recommended. That may have been why I was unable to sit at ice level, as Wiseman had intended, and was instead directed to the designated handicapped section in the stands. The view there was significantly better than during my visit six years ago. Still, it was difficult to follow the action on the opposite side of the arena—especially when many of the 2,123 patrons were standing. Parking, however, was much improved. Although we arrived too late to secure one of the prime handicapped spaces near the entrance, we found a suitable spot at the end of a row where my van had ample room to deploy without concern about neighboring vehicles. Anyone traveling in a wheelchair should plan to arrive at least ninety minutes prior to an event at Hitachi Energy Arena to ensure optimal parking, entry, and access to seating. Thanks to Brett Wiseman, I was able to enter through a side entrance, where I watched players go through their pregame stretching and warmups. Hearing his commentary on the team’s YouTube channel the following day was an even greater thrill. Wiseman is a first-rate broadcaster and performer in his own right. As for the Saturday, March 28 game, I picked an especially memorable night to attend. With a 4–0 shutout over the Pee Dee IceCats of Florence, South Carolina, the Blue Ridge Bobcats strengthened their playoff position in their final home game of the 2025–2026 season, notching their seventh consecutive win—a franchise record. The streak included a second straight victory over the IceCats, following a 5–3 win the previous night. The first goal came just over halfway through the opening of three twenty-minute periods, when Filip Hlavac—a Czech Republic native who turns 23 on April 16—found the net. Steven Alvo added the lone goal of the second period, scoring just under two minutes in. Two more goals came in the final frame: the first from Mike Mercurio, a 25-year-old from New Hartford, New York, midway through the period, and the final from Nick Stuckless, who extended his scoring streak to five consecutive games. With less than ninety-five seconds remaining, Stuckless—a 28-year-old from Ontario, Canada—put the finishing touch on the Bobcats’ dominant performance. Thirty-six-year-old Greg Hussey of Medford, Massachusetts earned first-star honors, stopping all 34 shots by the IceCats. The Bobcats traveled to Biloxi for April 3 and 4 matchups at the Mississippi Coast Coliseum against the Biloxi Breakers, before closing out with a faceoff against the Twin City Thunderbirds at another of my favorite venues in North Carolina, the Winston-Salem Fairgrounds, before returning home one last time on April 11th for a final game with the Thunderbirds before the undetermined championship game schedule. By the time you read this, fans will already know the outcome of those games. I’d like to extend my thanks, as always to Jeremy for helping me keep my job by being my unpaid chauffeur. I am also very grateful Brett Wiseman for his first-class hospitality, and also recognize two talented friends of mine who are helping support the legacy of both the Blue Ridge Bobcats and Wythe County through their outstanding work, Dr. Josh Stephens of Alpha Therapy and Cory Parker of MountainCAP Media, whose stunning photography and video capture the excitement of the game like no one else.

Strictly Observing

Easton sells out Wytheville’s Millwald in enthralling showcase

March 23, 2026March 24, 2026 Zach Cooley No Comments

Despite turning 67 this month, Scottish pop star Sheena Easton proved she still has what it takes to wow an audience when she brought her nostalgic ’80s dance sound to the Millwald Theatre on Saturday, March 21. Opening with the Lisa Stansfield classic “Around the World,” Easton immediately had the sold-out crowd of 500 on their feet, and the energy never dipped throughout the 85-minute set. She followed with her 1988 hit “Days Like This,” setting the tone for an evening that balanced humor, nostalgia, and vocal strength. “Some of you are here because you know my name,” she joked after sipping from a mug she claimed was “fifty percent likely to have tea in it.” Then, with a grin, she added, “But let’s face it—some of you are here because your mother dragged you.” Before launching into the ballad “Almost Over You,” Easton shared that its tear-jerking lyrics reflected a true story from her own life. The performance was met with warm appreciation from the audience. She followed with a heartfelt rendition of “It Must Have Been Love” by Roxette, then delivered the Burt Bacharach classic “Always Something There to Remind Me” in a style closer to Sandie Shaw’s original version than the later ’80s interpretation by Naked Eyes. “That is my trilogy about getting dumped,” she quipped at the end of the sequence. “I would never dump you!” one audience member shouted. “Hi, sugar,” Easton replied in a playful Mae West-style drawl. Later in the evening, a fan called out, “You lost your accent!” “That’s because I stole yours,” she shot back, effortlessly keeping the crowd engaged. Introducing her hit “Strut,” Easton teased, “This next song will remind you of the moment your mother regretted playing you my music—after she came home and found you in her high heels singing the naughty lyrics.” She added with a laugh, “Some of the girls were doing it too.” A highlight of the night came during her tribute to her late friend Prince, whom she credited with boosting her confidence as a songwriter. She performed “The Arms of Orion,” their duet from the Batman soundtrack, alongside “Nothing Compares 2 U”—famously recorded by Sinéad O’Connor. Easton joked that she had been “dead jealous” that O’Connor recorded the song instead of her. Both numbers featured her backup singer and duet partner, Jason Martinez, whose versatility—ranging from country to R&B—added depth throughout the evening. “The Lover in Me” stood out as a high-energy callback to her ’80s peak, while a Prince medley—including “U Got the Look” and “Sugar Walls,” with a nod to Sheila E.’s “The Glamorous Life”—kept the momentum strong. Martinez rejoined Easton for her country hit “We’ve Got Tonight,” originally recorded with Kenny Rogers and written by Bob Seger. Of course, the show would not have been complete without Easton’s talented band. As she noted in a prior interview, she truly brought “the best musicians in Vegas.” Saxophonist Tony Q drove many songs to their peak energy, while guitarist Andrew Weir delivered standout performances—perhaps inspired, as Easton joked, by his wife Ann being in the audience for her birthday. Musical director Brian Triola anchored the sound on keyboards, and drummer Michel Angelo Vattima provided a powerful rhythmic backbone. “Telefone (Long Distance Love Affair)” proved to be a major crowd-pleaser, but it was her signature hit “Morning Train (9 to 5)” that brought the audience to its feet before the first note—and kept them standing through the final chord. Easton closed the night with her James Bond theme, “For Your Eyes Only,” ending the show with grace, warmth, and consummate professionalism. As delighted as the Wytheville crowd was to welcome her, one can only hope that this performance marks the beginning of many more artists of Easton’s caliber gracing the stage at the Millwald Theatre. As for Easton herself, the artist could not have been warmer and more gracious. Having been given the honor to meet and interview her was an even greater privilege than watching the double Grammy winner perform. She has lost nothing in talent or showmanship in a half-century of performing. One can only hope she will see fit to return to our humble, but grateful hamlet again soon.

Strictly Observing

Journey to Oz involves, delights Wytheville audience

March 16, 2026 Zach Cooley No Comments

On Saturday, March 14, a quartet of highly animated and superbly talented actors brought to the Millwald Theatre stage a journey to Oz like nothing audiences had seen before. Designed primarily for children, this production of Journey to Oz, written and directed by Christopher Parks, delved deeply into the original text by L. Frank Baum and the inspirations the author drew from the world around him. The intimate 74-minute play made it obvious why The Wonderful Wizard of Oz and its many sequels remain an important part of artistic culture more than 125 years later. This imaginative production takes place not in Kansas or Oz, but inside a library. There, four young adults discover Baum’s famous book. Opening it transports both the actors and the roughly 150 excited children in attendance directly into the story in real time. The staging is cleverly interactive. In the first chapter, the cyclone is brought to life with live wind effects, and the only way to stop the storm is for the actors to close the book. Moments like this made the audience feel as though they were inside the story themselves. Christopher Parks shines in multiple roles, including the Tin Man and a flying-monkey lawyer representing the Wicked Witch of the West. The witch places Dorothy on trial for causing a house to fall on her sister and for stealing her shoes. The production also offers some fascinating literary context. In Baum’s original story, Dorothy’s slippers are silver, not ruby—something audiences often forget because of the iconic 1939 film adaptation, The Wizard of Oz, which starred Judy Garland. The ruby slippers were added to showcase the magic of Technicolor. The play even includes humorous commentary about this difference. In the film, Dorothy is unable to relinquish her ruby slippers, but in Baum’s text she simply refuses to give them back. At the beginning of the play, Heffernan also portrays Dorothy. For the remainder of the evening, however, the role of the young heroine is shared by several girls from the audience—many of whom had already come to the show dressed as Dorothy themselves. Heffernan also appears later as the Emerald City doorman and as Glinda the Good Witch of the North. The superbly talented Rahsheem Shabazz proves to be the most effervescent member of the quartet, portraying the Cowardly Lion, Auntie Em, and the Wizard of Oz with side-splitting humor. His performance includes jokes that fly delightfully over the heads of the younger audience members but bring plenty of laughter from the adults. When one little girl playing Dorothy offers to become the Lion’s bodyguard, he quips, “Oh, I have a bodyguard—now I can be Whitney Houston.” Later, when Dorothy scolds him for his lack of courage, he laments, “I’ll never be a hero. Wakanda For-Never!” Christian Williams is also excellent, portraying the Wicked Witch of the West, the Scarecrow, and Uncle Henry. Among the many references used in the play are quotes from Baum himself, giving insight into how he created his beloved characters. Illustrator W. W. Denslow once suggested it would be amusing if a normally intimidating lion were portrayed with the cowardice of a kitten—an idea that helped shape the Cowardly Lion. The play also references Baum’s visit to the 1893 Chicago World’s Fair, where early motion picture illusions fascinated him and may have inspired some of the technological wonders described in Oz—innovations that would eventually influence the groundbreaking film adaptation more than four decades later. One especially memorable moment referenced a passage from Ladies’ Home Journal, which humorously suggested that a healthy dose of makeup shows visitors you care. In response, young Hollan Jones—son of my friend Dillan Jones—was brought onstage to paint the Wicked Witch’s face green. The improvisational skills of all four actors were particularly impressive. Their ability to incorporate unsuspecting audience members into the show made each performance feel unique. The children were remarkably knowledgeable about the original story and eagerly shouted out prompts when called upon, providing everything from Toto’s bark to the howl of the flying monkeys. One adult audience member chosen to portray the Mayor appeared unfamiliar with the story’s elements, but that did little to deter either the actors or the children, who remained enthusiastically engaged in every moment of the performance. Made up of performers from repertory theaters in New Jersey and Charlotte, this traveling troupe brings their original productions to stages large and small across the country. In addition to Journey to Oz, they collaborate on another production titled Grimmz Hip Hop Fairy Tales, which offers a modern twist on classic fables. If that production proves as much of a crowd pleaser in Wytheville as Journey to Oz did on March 14, audiences here will certainly look forward to hopefully welcoming this talented group back to our hometown very soon. I also want to thank the actors for including me in the production from the back of the house. I got to pat the head of the Cowardly Lion as he snuck up on Dorothy and her friends in the forest and cheer with the Tinman after Dorothy successfully melted the Wicked Witch. Despite being forty-one, I was grateful to be included on the imaginative fun. Journey to Oz proved the timelessness of both live theater and classic literature in spades. My thanks to the Millwald crew for inviting me and Jeremy Miller for getting me to this special event.

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Bergsman pens quintessential biography of rock pioneer

March 8, 2026 Zach Cooley No Comments

I first became a fan of Clyde McPhatter in 1998 when I was thirteen years old, when my obsession with pop songs of the 1950s and ’60s dominated my listening. I was especially taken with his 1959 hit, “A Lover’s Question,” his biggest solo success after being the founding frontman for The Drifters. Today, he is likely best remembered for his high tenor voice on the second verse of “White Christmas,” the 1953 Drifters version most notably heard during the Home Alone film. Though essentially forgotten by the mainstream today, McPhatter was the first artist to be inducted into the Rock and Roll Hall of Fame twice, as a member of the Drifters and as a solo artist. McPhatter influenced everyone from Jackie Wilson and Sam Cooke in his own time to Michael Jackson and Luther Vandross in later generations. One could effectively argue that without McPhatter, there would be no Bruno Mars today. So why is a man so important to rock and roll history virtually unknown today? The unfair exploitation of Black artists in McPhatter’s heyday left the Durham, North Carolina native a depressed alcoholic who died from complications of his addiction in 1972 at the age of thirty-nine. Little was ever widely known or recorded about his life until now. Longtime journalist and music historian Steve Bergsman has published the only comprehensive work ever written on the rock and roll pioneer and addresses nearly every supposition ever raised about his personal and professional career. Prior to reading Have Mercy Baby: The Life of Clyde McPhatter, released via University Press of Mississippi on February 18, I even sent for a German import of an overpriced 50-page essay by English writer Colin Escott just to learn something of substance about McPhatter. Named after the hit from Billy Ward and the Dominoes that many say helped give birth to rhythm and blues, Bergsman’s book provides expansive detail about McPhatter’s influence on music history in the full context of everything happening during that time. Not only was McPhatter’s lead on “Have Mercy Baby” a quintessential moment in the founding of R&B, his fronting of the Drifters’ “Money Honey” is among several recordings considered to be the first true rock and roll records. In fact, Bergsman argues that McPhatter might have even had an edge on Elvis Presley as the crowned ruler of the genre. When both artists appeared on a Cleveland arena show in June 1956, audiences were asked to crown the “king” by applause. While McPhatter reportedly had a slight edge according to the meter, ardent Elvis fans—on the verge of a riot—reportedly forced a reversal of the verdict. The biggest note of intrigue throughout the book is the revelation of McPhatter’s daughter, Deborah, born in April 1953 to a Bermudan woman named Lorraine Lowe. Though he never married her—per his parents’ wishes—the book suggests that Lowe was the love of McPhatter’s life. For the last half of his life, McPhatter wrote to her and called her home regularly. Deborah says the experience was agonizing for her mother, who was happily remarried, as she felt pulled between her child, her child’s father, and the man she loved. Deborah said that although she had many conversations with her father, their relationship only truly achieved father-daughter status within the last three weeks of his life. On the night of June 13, 1972, McPhatter phoned his daughter in a drunken stupor. Deborah hung up and did not answer the calls that continued through the night. When her father did not wake up the next morning, the college freshman was left with a guilt and anger that linger today. Today, Deborah McPhatter carries on her father’s legacy as chairwoman of the board at the North Carolina Music Hall of Fame, of which Clyde McPhatter is a posthumous inductee. She also represented her father, who was posthumously inducted into the inaugural Rhythm and Blues Hall of Fame in 2023, along with another of my all-time favorite artists, the late Dusty Springfield. Deborah is also the proud mother and grandmother of Clyde McPhatter’s grandchildren and great-grandchildren. Seeing pictures of a young Deborah with her father next to a photo of his beautiful family that carries his name made me smile. I also find it interesting that this artist with whom I became fascinated at such a young age was born just over three hours from my home. Deborah maintains a home in North Carolina, and Clyde’s second wife, Mary Peake, was from Greensboro, North Carolina, about 100 miles from my home in Wytheville, Virginia. McPhatter was married two other times—first to Nora Lee Thompson, and finally to Lena Rackley. I found McPhatter’s animosity toward Paul Anka an interesting revelation. Both artists were being managed by the legendary Irvin Feld. McPhatter initially felt a bond with Feld as the father he never had. When Feld betrayed him by favoring Anka, things turned ugly. Then there was the jaw-dropping revelation that McPhatter was at the Lorraine Motel in Memphis, Tennessee on April 3, 1968, where he stepped out onto the balcony to exchange a friendly wave with Martin Luther King Jr. and his entourage. From the car radio on his way to another gig, McPhatter later heard that King had been assassinated. I had the honor of interviewing McPhatter’s youngest and only surviving sibling, LeRoy Joseph McPhatter, by phone in late 2020. He made no mention of Deborah. In Bergsman’s book, the only mention of his youngest brother was that Clyde paid for his prep school—which he confirmed—and that LeRoy Joseph believed himself to be the better singer in the family and was jealous of his older brother. While the real truths of Clyde McPhatter essentially died with him in 1972, Bergsman has uncovered as much as has ever been—or likely ever will be—known about this musical pioneer, the likes of which the world may never see again. Have Mercy Baby is available wherever books are sold. It is essential reading for any Clyde McPhatter fans still…

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American Pirates debut album an American musical journey through 20th century

March 5, 2026 Zach Cooley No Comments

The debut album from Indiana-based folk rock band American Pirates could not be a more eclectic blend of nearly every genre imaginable. From the bluegrass medleys of “Big Rock Candy Mountain” to the beloved gospel standard “What a Friend We Have in Jesus,” What a Friend is an album that can appeal to almost any musical taste. With artwork by Aaron Marshall and a story-like arc reminiscent of a progressive rock concept album, the 19-track record seamlessly blends classical, rock, jazz, gospel, folk, bluegrass, and country into one cohesive listening experience. Featuring piano virtuoso and Bland County native Albert Newberry, the group showcases extraordinary individual talent while maintaining a tight, unified sound. The opening prelude, a shape note hymn, “Conflict,” fuses vaudeville-era jazz a cappella four-part hymn singing, immediately signaling that this project will defy easy categorization. The sacred harp hymn weaves it way through the entire album, its tune serving as the backdrop for the acapella “Amazing Grace.” The Bob Dylan reminiscent “As It Is” delivers a hauntingly beautiful vocal and guitar from its composer Judah Allen, with Newberry providing understated yet powerful piano accompaniment. The Texas swing rendition of “Bye Bye Blackbird” is a pleasure from start to finish. “Big Rock Candy Mountain,” a song that can sometimes feel overdone, becomes not only palatable but thoroughly enjoyable in the hands of American Pirates, thanks to vivid storytelling from lead vocalist Aaron Jones at the outset and lively early jazz textures throughout. A modern take on the Carter Family’s “Sweet Fern” features delightful accordion from Jones and harmonica runs from Ray Major. An Appalachian folk rendition of “Mack the Knife,” blended with Dixieland jazz, stands out as both musically adventurous and theatrically compelling. The speaking and singing voices of both Jones and Allen transforms each note into not just an enjoyable listening experience, but a riveting storytelling moment. With all the sophistication found in modern music across genres, American Pirates retain the essential storytelling spirit of Appalachian ballads while incorporating some of the most refined and diverse sounds from around the world. Written and sung by Eli Sparks, “Slow It Down” carries a joyful, driving groove and offers a simple yet eloquent message about appreciating life’s small moments. Influences ranging from Blues Traveler to the horn-driven bands of the 1970s are evident here, making it a personal highlight. The gospel standard that gives the album its title, “What a Friend We Have in Jesus,” begins with a quiet, heavenly piano introduction from Newberry before building into a New Orleans jazz tempo and settling into a smooth classical-jazz fusion. “Intermezzo” opens with lighthearted band chatter before shifting into a dark, film noir-style narration layered with ghostly textures, all created by Aaron Jones with some sound design elements by Aaron Marshall and Liam Byrne. The piece culminates in a madrigal-inspired blend of classical and progressive rock elements. The aching lyrics of “Brother, Can You Spare a Dime?” are delivered in a vaudeville-style jazz arrangement, complete with a stirring horn section and gritty, heartfelt vocals by Jones. The waltz, “Little Orphan Annie,” may be the most haunting track on the record, featuring riveting violin by Justus Morgan, trombone by horn virtuoso Joshua Joy, and piano and award-worthy vocal performances by Jones. The brief 30-second coda of “Conflict II” transitions into the country-tinged love ballad “Consequence,” which echoes influences from Coldplay and Bruce Hornsby. Originally a Bach violin sonata, “Siciliano” is a classical gem showcasing Newberry and Jones’s dually refined touches at the piano with Marshall’s sound design electronics, and “Reverse Rag No. 3” continues that tradition of musical elegance, complete with hammering ivories and electrifying precision alongside a driving rhythm section and bold horns including the saxophone of My’Keal Bush. Though written by Jones, “Little Lamb” is a beautifully tranquil piano instrumental performed by Newberry. A moving a cappella rendition of “Amazing Grace,” followed by coffeehouse-style jazz riffs, further demonstrates the band’s remarkable versatility. The soulful, funky groove of “Sweet Joy,” written and sung by Jones, provides another highlight before the album concludes with a fitting reprisal of “What A Friend We Have In Jesus.” Allen and Joy split drumming duties while Alex Kumar occasionally joined in on guitar and ukulele. Sparks plays bass guitar and tuba. Joy also played a Renaissance and Baroque-era brass instrument that serves as the direct predecessor to the modern trombone called the sackbut and added his banjo skills in the mix. In an era when much of mainstream music feels driven by spectacle rather than substance, it is astonishing that this independent octet is not front and center. What a Friend is worthy of every accolade the industry has to offer. It would be a shame for such a masterful debut to go unnoticed by mass audiences. For those in this region, there is an added point of pride: one of our own, Albert Newberry, is part of this exceptionally gifted group of musicians. These gentlemen are not confined to one—or even a handful—of genres. They can play and sing virtually anything, blending it all into one cohesive, deeply enjoyable sound that is simply and purely good music. What A Friend was produced by Andy Beargie and Max Riggle of Echo Park Studios in Bloomington, Indiana. Visit www.ampirates.com to learn how to get your copy of this must-have album today.

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Martin returns to Millwald with homespun comedy

March 1, 2026March 1, 2026 Zach Cooley No Comments

More than half his life has been devoted to stand-up comedy, but long before the stage lights and sold-out crowds, William Lee Martin once imagined a different calling. The 60-year-old native Texan considered becoming a preacher and even pursued music in college as a drummer. That musical thread still weaves its way through his performances. If you were fortunate enough to arrive early to his February 28 show at the Millwald Theatre, you were treated to an array of country songs — all personally composed and performed by Martin himself. This was not his first visit to the Millwald. He has played the historic downtown venue at least once before and assured the audience he plans to return — hopefully next April. “I love to drive around Wytheville and see all the antique shops,” he opened. “You all need to throw some of that stuff away.” He joked that he plays a game while driving through town, trying to determine what’s a garage sale and what’s a hoarder’s collection. Martin then introduced his friend and fellow comedian, Ohio native Sid Davis, who now lives in Charlotte, North Carolina. Davis delivered a tight 10-minute opening set that included memories of serving as an opening act for Joan Rivers until her passing. “I knew I had made it in the business,” Davis said, “when I came off stage and Joan Rivers said to me three words: ‘You got it.’ No one in my life has ever said those three words to me — except that doctor at the free clinic in college.” Davis also mined laughs from his frugality, including a story about sneaking a jar of peanuts into a New York Yankees game by hiding it in his trousers. When a security guard questioned the suspicious bulge, Davis replied, “It’s my colostomy bag.” The guard promptly waved him through. As part of his Seemed Smart at the Time tour, Martin cataloged a series of life decisions that, in hindsight, may not have been his best — including his first two marriages. “My first wife and I are good friends now,” he said. “I call her the previous administration.” His second wife, a redhead, earned the nickname “the sequel.” “And not a Godfather sequel,” he clarified. “More like the Caddyshack sequel.” When a few men in the audience groaned knowingly at the redhead joke, Martin added, “I see a few other men in the audience have also had their tires cut.” Though happily married to his current wife of 13 years, he didn’t shy away from playful commentary. “I like to go out to country bars and dance,” he explained. “I asked God for a third wife who could dance. I clearly forgot to add the word ‘well’ to the end of that prayer.” Having studied percussion in college, Martin confessed he cannot understand how anyone struggles with a simple two-step rhythm. The only way his current wife can manage it, he joked, is after a couple glasses of wine. “I know when she’s feeling good because her hands start to raise toward her head,” he said. “If her hands get above her head, I’m going to be holding her hair for the rest of the night.” Beneath the punchlines, however, ran a deeper current. Martin spoke candidly about reconciling with his father on his deathbed. “I just wanted you to know I’m sorry for the things I said to you when I was 15,” Martin recalled telling him. “I just want you to know that everything I said to you when you were 15, I meant,” his father replied. “At that moment,” Martin quipped, “I pulled the plug.” Throughout the 88-minute performance, Martin blended humor with heartfelt reflection, often leaning into a gentle evangelism that challenged the audience to consider the weight of their own lives. Having recently lost his father, he shared the experience of writing his father’s obituary and encouraged others to try writing their own. “This is where you really understand the weight of your life,” he said. “You start to list your accomplishments. The more commas you put into your list of achievements, the more fulfilled you realize your life is.” After the show, when I briefly met him, he signed a poster for me with two simple words: “All commas.” I took that message to heart and intend to continue living fully, as he seems to have done. Of all the gifts a person can offer during one brief lifetime, few are more valuable than laughter — and William Lee Martin has provided it in abundance.

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