>> NESTLED IN A VALLEY BETWEEN THE APPALACHIAN AND BLUE RIDGE MOUNTAINS SITS ONE OF THE OLDEST COMMUNITIES IN SOUTHWEST VIRGINIA, THE SMALL TOWN OF ABINGDON.

FULL OF RICH HISTORY, FRIENDLY PEOPLE, AND ONE OF THE LONGEST-RUNNING AND MOST SUCCESSFUL PROFESSIONAL THEATERS IN THE COUNTRY.

>> THERE'S NOTHING HAPPENING IN CURRENT MODERN AMERICAN THEATER LIKE IS HAPPENING HERE AT BARTER, IN THOUSANDS OF WAYS.

AND THAT IS THE GOD'S HONEST TRUTH.

>> ONE OF OUR FORMER COMPANY MEMBERS DESCRIBED IT BEST AS AN OASIS OF ART HERE IN SOUTHWEST VIRGINIA THAT YOU JUST THINK WOULDN'T BE HERE AND AT TIMES YOU THINK IT SHOULDN'T WORK, BUT IT DOES.

AND IT'S AMAZING THAT IT DOES.

FOR OVER EIGHT DECADES, BARTER THEATRE HAS BEEN THE CULTURAL STAR OF THE REGION, ATTRACTING ENTHUSIASTIC AUDIENCES AND SOME OF THE MOST CREATIVE PROFESSIONALS IN AMERICAN THEATRE.

>> Cindi: THE QUALITY OF OUR SHOWS AND THE TALENT THAT WE HAVE, IT JUST BLOWS ME AWAY SOMETIMES.

McVEY: I PERSONALLY BELIEVE -- AND I'VE SAID THIS BEFORE A LOT OF TIMES -- I THINK THAT BARTER MIGHT BE THE BEST PLACE IN THE WORLD FOR AN ACTOR TO WORK.

Hannah: WHETHER I REMEMBERED IT OR NOT, I THINK I'VE BEEN LOOKING FOR A PLACE LIKE THE BARTER MY ENTIRE CAREER AND MY WHOLE LIFE.

THERE IS SOMETHING VERY SPECIAL ABOUT BARTER THEATRE.

PERHAPS IT LIES IN THE NATURE OF YEAR-ROUND REPERTORY PROGRAMMING, WHERE ACTORS APPEAR IN TWO DIFFERENT PRODUCTIONS ON THE SAME DAY.

>> BECAUSE WE ARE ALL HERE AND WE ARE WORKING TOGETHER CONSTANTLY, WE CREATE A FAMILY.

>> PERHAPS IT LIES IN BARTER'S UNIQUE HISTORY.

>> Jasper: THE BARTER HISTORICALLY IS VERY IMPORTANT IN TERMS OF THEATER HISTORY IN THIS COUNTRY.

AND IT'S -- I FIND IT A DELIGHTFUL PLACE TO WORK.

>> Poisson: I THINK WE ALL FEEL A RESPONSIBILITY TO, TO MAINTAIN THE, THE HISTORY, TO APPRECIATE THE HISTORY.

IT'S UNLIKE ANY OTHER PLACE PROBABLY IN THIS COUNTRY.

>> OR MAYBE IT'S THE ICONIC BUILDING THAT HOUSES BARTER'S MAIN STAGE.

>> Bush: THIS BUILDING HAS A PRETTY STRANGE HISTORY.

>> BUT THE HEART AND SOUL OF BARTER THEATRE HAS ALWAYS BELONGED TO THE PEOPLE WHO HAVE BELIEVED IN ITS PURPOSE AND DEVOTED THEMSELVES TO ITS SUCCESS.

IT STARTED AS ROBERT PORTERFIELD'S DREAM.

>> BOB WAS A SHOWMAN IN EVERY WAY.

I MEAN, THE AUDIENCE LOVED HIM, HE WAS VERY CHARISMATIC.

>> AND BECAME A CORNERSTONE OF INNOVATIVE THEATRE.

TODAY, BARTER WELCOMES 160,000 PATRONS EVERY YEAR TO A TOWN OF 8,000 RESIDENTS, AND PRODUCES MORE THAN TWO DOZEN PLAYS FROM A $6 MILLION BUDGET.

>> Katy: WE HAVE OVER 130 PEOPLE ON FULL-TIME STAFF PLUS ALMOST THAT MANY IN PART TIME EMPLOYEES, BETWEEN THE COSTUME SHOP AND THE SCENE SHOP AND THE BOX OFFICE AND OUR ADMINISTRATIVE STAFF.

IT'S A BIG OPERATION.

>> AND IT'S WIDELY RECOGNIZED AS QUITE AN ECONOMIC DRIVER FOR THE AREA.

IT PRETTY MUCH REPRESENTS EVERYTHING THAT IS GOOD AND ARTISTIC ABOUT SOUTHWEST VIRGINIA.

>> ALL UNDER THE VISION OF ITS CURRENT PRODUCING ARTISTIC DIRECTOR, RICHARD ROSE.

>> Nick: HE LOVES THE THEATER.

HE LOVES OUR AUDIENCE.

HE LOVES THIS COMMUNITY.

>> IT'S ALSO A PLACE KNOWN FOR FAMOUS FACES.

BARTER LAUNCHED THE CAREERS OF ACADEMY AWARD WINNING ACTORS GREGORY PECK, PATRICIA NEAL AND ERNEST BORGNINE, GAVE KEVIN SPACEY ONE OF HIS FIRST PROFESSIONAL ROLES, TRAINED FRANCES FISHER, LARRY LINVILLE, BARRY CORBIN AND WAYNE KNIGHT, AND PREPARED HUME CRONYN, AMONG OTHERS, FOR BROADWAY.

BUT WHAT HAS KEPT THIS THEATER ALIVE FOR MORE THAN 80 YEARS IS THE WAY AREA RESIDENTS HAVE ACTIVELY EMBRACED BARTER, SEASON AFTER SEASON.

>> Jasper: I THINK THAT REALLY IS THE DIFFERENCE BETWEEN LIVING IN NEW YORK AND BEING IN A COMMUNITY LIKE ABINGDON, BECAUSE THE THEATER AND THE COMMUNITY ARE REALLY MESHED.

IT'S LIKE THEY'RE ONE.

>> Bush: I THINK THAT ABINGDON RECOGNIZES BARTER FOR THE JEWEL IT IS.

>> SINCE ITS UNLIKELY BEGINNING DURING THE GREAT DEPRESSION, BARTER THEATRE HAS PAIRED ARTISTIC EXCELLENCE WITH AN ENTREPRENEURIAL SPIRIT.

IN FACT, BARTER'S RESILIENCY IN THE FACE OF ECONOMIC AND CULTURAL CHALLENGES HAS ENCOURAGED OTHER REGIONAL THEATRES TO BE MORE INNOVATIVE.

>> Rick: AND TWO OR THREE OTHER THEATERS IN THE REGION FOLLOWED OUR MODEL.

FLAT ROCK FOR ONE.

AS WE INCREASED THEY WOULD LOOK AT US AND ASK, “HOW'D THAT DO?” AND THEN THEY WOULD INCREASE A LITTLE BIT AND THEY WOULD FOLLOW THE MODEL.

>> BARTER THEATRE CHANGES ACTORS, TOO.

>> Nick: I'VE JUST GOTTEN SO MUCH EXPERIENCE HERE.

IT'S JUST CHANGED MY WHOLE LIFE.

>> Poisson: BEST DECADE OF MY LIFE.

NO DOUBT ABOUT THAT.

THE BIRTH OF BARTER THEATRE CAME ABOUT THROUGH TIMING, INGENUITY, AND DESPERATION.

IN THE THROES OF THE GREAT DEPRESSION, ONE-FOURTH OF AMERICANS WERE UNEMPLOYED.

IN SOUTHWEST VIRGINIA, COAL MINERS LOST THEIR JOBS, AND FARMERS FOUND THEMSELVES WITH CROPS THEY COULDN'T SELL.

THE SITUATION WASN'T MUCH BETTER IN NEW YORK CITY.

ACTORS SUFFERED UNPRECEDENTED UNEMPLOYMENT AND POVERTY.

IT TOOK A MAN WITH TIES TO BOTH PLACES TO SEE HOW THEY COULD HELP EACH OTHER.

ROBERT PORTERFIELD GREW UP ABOUT 20 MILES FROM ABINGDON, ON A FARM IN SALTVILLE, VIRGINIA, WITH A LIFELONG DREAM TO BECOME AN ACTOR.

HIS THEATRICAL CAREER WAS JUST GETTING STARTED WHEN THE DEPRESSION HIT, BUT HE STAYED IN NEW YORK, SCRAMBLING FOR JOBS.

IN 1932, AT AGE 27, HE LANDED A PART IN A TOURING PRODUCTION OF CYRANO DE BERGERAC.

WHILE RIDING ON A TRAIN THROUGH THE MIDWEST, THE CAST PASSED FIELDS BRIMMING WITH CROPS THAT WOULD NEVER BE HARVESTED, BECAUSE NO ONE COULD AFFORD TO BUY THEM.

BOB SOON CAME UP WITH AN IDEA TO TAKE HUNGRY ACTORS FROM NEW YORK TO PERFORM FOR RESIDENTS IN SOUTHWEST VIRGINIA AND EAST TENNESSEE, WHO HAD THEIR OWN ROTTING CROPS AND UNSOLD LIVESTOCK, TO “TRADE HAM FOR HAMLET."

>> Rick: THE FARMERS OF SOUTHWEST VIRGINIA HAD A LOT OF FOOD THAT THEY LITERALLY COULD NOT GET INTO THE MARKETPLACE BECAUSE OF THE DEPRESSION.

SO THEY HAD A LOT OF FOOD THAT WAS WASTING IN THE FIELDS.

SO HIS IDEA WAS TO, YOU KNOW, TRADE GOODS FOR SERVICES SO PEOPLE COULD BARTER THEIR FOOD IN ORDER TO GET TICKETS TO THE THEATRE.

>> BOB PORTERFIELD'S PLAN BEGAN TO TAKE SHAPE.

HE WROTE A LETTER TO MARTHA WASHINGTON COLLEGE IN ABINGDON, ASKING IF HIS ACTORS COULD STAY THERE.

HE ALSO WROTE TO THE TOWN OF ABINGDON, HOPING TO USE ITS OPERA HOUSE FOR PERFORMANCES.

HE WAS SURPRISED BY A RESOUNDING YES FROM BOTH, SO LONG AS HE PROMISED NO SHOWS ON SUNDAYS.

ON MAY 22, 1933, BOB AND 22 COLLEAGUES FROM NEW YORK HITCHHIKED TO ABINGDON.

THEY WERE A MIXED BAG OF THEATER VETERANS AND NEWCOMERS.

BACK THEN, ACTORS HAD A BAD RAP FOR NOT BEING MORAL, UPSTANDING CITIZENS.

SO THE SUNDAY BEFORE OPENING NIGHT, PORTERFIELD MARCHED THE TROUPE DOWN MAIN STREET TO THE PRESBYTERIAN CHURCH.

THEY SAT IN BACK PEWS, AND THE CONGREGATION WAS SKEPTICAL, UNTIL THE HYMNS.

AS THE STORY GOES, THE BEAUTIFUL BARITONE VOICE OF ACTOR OF H. H. McCOLLUM BELTED “ROCK OF AGES.” >> HE ACTUALLY STOOD UP AND SANG THE SONG WITHOUT THE HYMNBOOK, AND SANG ALL SEVEN OR EIGHT VERSES OF THE SONG FROM MEMORY.

AND OF COURSE EVERYBODY THOUGHT, "WOW, WHAT A GREAT PERSON THIS IS," AND ALL OF THE ACTORS GOT INVITED HOME TO DINNER AND EVERYTHING.

LATER, MCCOLLUM TOLD BOB, “TE REASON I KNEW THE VERSES IS BECAUSE I HAD TO KNOW THEM FOR A PLAY LAST YEAR.

I HAVEN'T BEEN TO CHURCH IN 25 YEARS.” BARTER THEATRE'S FIRST SHOW S SET FOR THE EVENING OF JUNE 10TH, 1933, WITH A PRODUCTION OF JOHN GOLDEN'S AFTER TOMORROW.

AN ADVERTISEMENT FOR THE SHOW READ, “ADMISSION PRICE: 30 CENTS OR THE EQUIVALENT IN RATIONS.

BRING US HONEY, FRESH EGGS, FRESH VEGETABLES, HAMS, AND OTHER EDIBLES.” >> Cindi: WHAT HE SAID WAS, “IF YOU CAN'T PAY US IN MONEY, WE'LL TAKE A CHICKEN OR POTATOES OR WHATEVER YOU'RE GROWING, AND WE'LL BARTER.

YOU COME SEE US AND THEN WE'LL PERFORM FOR YOU.” AND THIS WAY THEY COULD DO WHAT THEY LOVE TO DO, AND THEY COULD ACT, AND THOSE WHO COULDN'T AFFORD, BUT WANTED TO COME SEE THE THEATER, COULD COME AND SEE A GREAT SHOW.

>> LEGEND HAS IT, ONE OF THE FIRST ITEMS BROUGHT TO THE BOX OFFICE WAS A PIGLET THAT BECAME BARTER'S MASCOT.

>> Rick: BOB TELLS A GREAT STORY ABOUT THAT FIRST PERFORMANCE.

HE SAID, HE GOT TO NOON OF THE VERY FIRST DAY OF WHAT WAS GOING TO BE THE PERFORMANCE THAT EVENING AND SUDDENLY IT DAWNED ON HIM THAT NOBODY MIGHT SHOW UP.

[ LAUGHTER ] SO HE WAS REALLY WORRIED ABOUT ATTENDANCE THE FIRST DAY.

HE SAID THEY HAD A SOLD OUT HOUSE AND IT WAS FULL.

NOBODY HAD BOUGHT A TICKET IN ADVANCE, AT ALL.

SO EVERYBODY BOUGHT THEIR TICKET THE FIRST NIGHT AT THE DOOR.

>> BARTER OFFERED SEVEN PLAYS THAT FIRST SUMMER SEASON.

PORTERFIELD EVEN MANAGED TO GET HIS HANDS ON AN OLD BUS THEY CALLED LIZZIE, AND THE ACTORS BEGAN TRAVELING TO NEARBY COMMUNITIES, IN ALL, PERFORMING SIX NIGHTS A WEEK.

>> OFTENTIMES THEY WOULD LEAVE ABINGDON WITH THE BUS AND TRUCK WITH JUST ENOUGH GAS TO GET TO WHERE THEY WERE GOING AND NOT ENOUGH GAS TO GET BACK, AND NO MONEY TO BUY ANY.

THEY HAD TO HAVE FAITH THAT THEY WOULD TAKE IN ENOUGH ACTUAL MONEY TO BUY ENOUGH GASOLINE TO GET BACK TO ABINGDON.

AND THEY ALWAYS SEEMED TO MANAGE TO DO IT.

WHEREVER THEY WENT, ADMISSIN WAS THE SAME, 35 CENTS OR WHATEVER YOU COULD BARTER.

BARTER'S SLOGAN BECAME, “WITH VEGETABLES YOU CANNOT SELL, YOU CAN BUY A GOOD LAUGH.” ONE NIGHT THE CAST MIGHT PERFORM IN A BARN, THE NEXT, IN A SCHOOLHOUSE OR A LIBRARY.

BUT NO MATTER HOW HARD THEY WORKED, NO ONE WENT HUNGRY.

BY THE END OF THE FIRST SEASON, BARTER HAD CLEARED A PROFIT OF $4.35, WHICH BOB TURNED OVER TO THE ACTORS RELIEF FUND.

BUT WHAT THEY LACKED IN CASH THEY MADE UP FOR IN BOUNTY.

COLLECTIVELY, THE GROUP GAINED ABOUT 300 POUNDS, ABOUT TEN POUNDS PER ACTOR.

>> Jasper: I'VE TALKED TO PEOPLE IN THE COMMUNITY WHO WERE AROUND WHEN THE BARTER WAS IN THE 30s AND 40s AND THEY TALK ABOUT A VERY COMMUNAL KIND OF ASPECT.

I GUESS IT WAS LIKE A COMMUNITY KITCHEN.

ALL THE ACTORS USED TO EAT TOGETHER AND THE WHOLE BIT.

>> THIS SENSE OF UNITY WAS NO ACCIDENT.

ROBERT PORTERFIELD FOUNDED AND RAN BARTER THEATRE BASED ON A DEEP BELIEF IN ITS ULTIMATE PURPOSE.

IN THE SUMMER OF 1933, HE HUNG A PLAQUE BENEATH THE MARQUEE THAT INCLUDED THIS STATEMENT, “THE BARTER THEATRE PLEDGES ITSELF 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 THE SPIRITUAL NOURISHMENT OF THE SOUL.” HIS DESIRE FOR UNITY EXTENDED BEYOND BARTER'S CAST.

BOB BELIEVED EVERYONE WAS GOD'S CHILD, REGARDLESS OF RACE OR CIRCUMSTANCE.

AND SO BARTER THEATRE NEVER ENGAGED IN RACIAL SEGREGATION, A RARITY AT THAT TIME FOR SOUTHERN THEATRES.

THE CONCEPT OF “TRADING HAM FOR HAMLET” DIDN'T APPLY TO ACTORS ONLY — IT EXTENDED TO PLAYWRIGHTS.

TENNESSEE WILLIAMS AND THORNTON WILDER WERE KNOWN TO ACCEPT HAM FOR ROYALTIES.

THERE WAS ONE EXCEPTION: GEORGE BERNARD SHAW, A VEGETARIAN, SETTLED FOR SPINACH.

PORTERFIELD RARELY HAD TROUBLE FILLING SEATS.

PEOPLE SAID IT WAS LIKE HAVING BROADWAY BROUGHT TO THEIR DOORS, AND AUDIENCES FLOCKED TO BARTER.

SOME JUST WANTED TO SEE WHAT THESE NEW YORK ACTORS WERE DOING ON STAGE.

PART OF THEIR CURIOSITY WAS FUELED BY SUNDAY MORNING SERMONS.

>> Rick: THE ONE PREACHER WHO WAS PARTICULARLY ADVERSE TO BARTER USED TO TALK ABOUT KISSING SCENES IN PLAYS, OR SEEING THE ACTORS REHEARSING SOMETHING AND KISSING ON THE LAWN, AND DOING THAT KIND OF STUFF, AND THE GIRLS BEING IN SHORT-SLEEVED BLOUSES AND THINGS OF THAT NATURE.

SO, THEY USED THE BARTER ACTORS AS A WAY TO PROPAGATE RELIGION.

AND IT WAS GOOD FOR BARTER."

>> BOB IS QUOTED AS SAYING PEOPLE IN TOWN WERE, “A LITTLE DUBIOUS AT FIRST.

HOWEVER, I MADE IT CLEARLY UNDERSTOOD NOBODY WAS GOING TO INDULGE IN ANY MID-SUMMER ORGIES.” EVENTUALLY, THE COMMUNITY WELCOMED THE "HEATHENS" FROM NEW YORK.

BUT IT WAS MOSTLY BOB HIMSELF WHO WON PEOPLE OVER.

HE WAS LARGER THAN LIFE, BUT STILL DOWN TO EARTH.

HIS ACTORS DESCRIBED “MR.

P” -- AS THEY CALLED HIM -- AS EASY-GOING WITH ENORMOUS CHARM AND A BIG SMILE, WHICH MADE HIM A NATURAL PROMOTER FOR BARTER.

HE ALSO HAD GREAT STAGE PRESENCE AND COULD SPOT TALENT.

BUT HE WASN'T A CONVENTIONAL BUSINESSMAN.

HE WAS KNOWN FOR PROMISING THINGS WITHOUT BEING SURE HE COULD DELIVER.

>> Rick: THERE WERE TONS OF STORIES WHERE BOB WOULD BUY SOMETHING AND HIS BUSINESS MANAGER WOULD ASK BOB, "HOW ARE YOU GOING TO PAY FOR IT?"

“OH HONEY, SOMEBODY WILL PAY FOR THAT!” LO AND BEHOLD ON MONDAY MORNING THERE WOULD BE A CHECK FROM SOMEWHERE.

>> THE PEOPLE OF ABINGDON CAME TO LOVE HIM.

AFTER ALL, THEY CONSIDERED HIM THEIR HOMETOWN BOY.

PORTERFIELD AGAIN MADE THE TRIP TO ABINGDON IN 1934 AND 1935 WITH A GROUP OF ACTORS AND WHAT HUME CRONYN CALLED “THE SPIRIT AND GUTS TO KEEP IT GOING.” BUT THE GROUP FEARED IT HAD LOST ITS HOME WHEN A MOTION PICTURE CHAIN LEASED BARTER'S SPACE IN THE MAIN STREET OPERA HOUSE.

FOR A WHILE, THERE WAS TALK THAT BARTER WASN'T GOING TO RETURN FOR THE SUMMER OF 1936.

BUT THE TOWNSPEOPLE WANTED TO KEEP IT GOING, SO THEY SECURED SPACE AT A FORMER PRIVATE SCHOOL FOR GIRLS CALLED THE STONEWALL JACKSON FEMALE INSTITUTE, LOCATED ON A HILL IN DOWNTOWN ABINGDON.

THE VACANT SCHOOL'S MAIN BUILDING HAD A 400-SEAT AUDITORIUM, WHICH BARTER USED AS ITS PERFORMING SPACE UNTIL 1942.

AN OLD DORM, RENAMED THE BARTER INN, BECAME LIVING QUARTERS FOR ACTORS AND PROVIDED LIMITED OFFICE SPACE.

BEFORE TURNING ALL HIS ATTENTIONS TO BARTER, BOB APPEARED IN OVER 20 BROADWAY SHOWS.

HE LANDED ROLES IN PRODUCTIONS WITH GREAT ACTORS SUCH AS CLARK GABLE, LESLIE HOWARD AND HUMPHREY BOGART.

AND AS BARTER GREW, BOB REMAINED WELL CONNECTED TO THE NEW YORK ACTING SCENE, SOMETIMES TAKING HIS PLAYS TO THE BIG APPLE, FOR BARTER PRICES.

BOB ALSO WANTED TO KEEP BARTER IN THE NATIONAL EYE, SO HE CREATED "THE BARTER AWARD," PRESENTED AT A BANQUET IN MANHATTAN TO THE YEAR'S MOST OUTSTANDING ACTOR.

FIRST LADY ELEANOR ROOSEVELT PRESENTED THE FIRST AWARD IN 1939.

>> HE WAS A FRIEND, A REAL FRIEND OF ELEANOR ROOSEVELT AND SEVERAL PEOPLE IN THE BROADWAY WORLD.

>> PERPETUATING THE IDEA OF TRADING HAM FOR HAMLET, THE BARTER AWARD INCLUDED A VIRGINIA HAM ALONG WITH A SPECIAL HANDMADE PLATTER, PLUS AN ACRE OF LAND IN BARTER TERRITORY.

THE WINNER WAS ALSO ALLOWED TO SELECT TWO PROMISING PERFORMERS TO SPEND THE FOLLOWING SUMMER AT BARTER.

THE AWARDS CONTINUED UNTIL 1969 AND BECAME A HIGHLIGHT OF THE THEATRICAL SOCIAL SEASON.

THEY WERE THE PRECURSOR OF THE TONY AWARDS, WHICH DIDN'T BEGIN UNTIL 1947.

BARTER EVEN MADE IT INTO THE NEW YORK TIMES ON THE FRONT COVER OF THE DRAMA SECTION, JULY 23, 1939.

>> Rick: THERE'S A VERY FAMOUS DRAWING BY HIRSCHFIELD, FOR THOSE WHO KNOW HIRSCHFIELD AND REMEMBER HIS NEW YORK TIMES DRAWINGS OF HIS CARICATURE OF ALL THESE THINGS.

THERE'S ONE OF BOB PORTERFIELD AND PEOPLE BARTERING GOODS TO GET INTO THE THEATER.

>> THE DRAWING SHOWS BARTER PATRONS IN THE LOBBY OF THE STONEWALL JACKSON BUILDING.

THAT'S PORTERFIELD IN THE LOWER LEFT CORNER.

SOME OF BARTER'S MOST FAMOUS ALUMNI PERFORMED ON THE STONEWALL JACKSON STAGE, INCLUDING GREGORY PECK IN 1940.

YEARS LATER, WHEN PECK RETURNED TO BARTER THEATRE FOR A SPECIAL TRIBUTE, A REPORTER ASKED THE ACADEMY AWARD WINNER IF THE TOWN OR THE THEATRE HAD CHANGED MUCH.

>> Rick: AND GREGORY PECK GRACIOUSLY SAID, “ABINGDON IS AS BEAUTIFUL AS I REMEMBER IT.

THE THEATRE IS AS LOVELY AS I REMEMBER IT, AND EVERYTHING IS JUST REALLY GLORIOUS.” HE GAVE THIS GREAT ANSWER, AND THEN HE TURNS TO ME AFTERWARDS AND WHISPERED IN MY EAR, “I DON'T REMEMBER A DAMN THING ABOUT THIS.” AND I SAID, “WELL, THE GOOD NEWS OF THAT GREG IS BECAUSE YOU DIDN'T PERFORM HERE.

YOU PERFORMED IN WHAT IS NOW OUR REHEARSAL HALL."

I SAID, "WE'RE GOING TO TAKE YOU UP THERE FOR A TOUR TOMORROW."

AND I SAID, "TRUST ME, THE MEMORIES WILL COME FLOODING BACK."

AND THEY DID.

>> IN 1946 BARTER WENT BACK TO THE HISTORIC THEATER ON MAIN STREET, WHERE IT HAS BEEN EVER SINCE.

BUT THAT PICTURESQUE BUILDING WASN'T ALWAYS A THEATER.

THE FAMOUS RED BRICK BUILDING WAS BUILT IN 1831 AS SINKING SPRINGS PRESBYTERIAN CHURCH.

LATER IT WAS TAKEN OVER BY THE SONS OF TEMPERANCE TEETOTALERS AS WELL AS AVID PROMOTERS OF THE ARTS, WHO USED IT AS A PERFORMANCE HALL.

THERE ARE REFERENCES TO EDWIN BOOTH AND HIS BROTHER JOHN WILKES BOOTH HAVING PERFORMED THERE DURING THAT TIME.

BY THE 1880s THE BUILDING HAD BECOME THE ABINGDON OPERA HOUSE, PART OF A FAMOUS CHAIN OF OPERA HOUSES STRETCHING FROM WASHINGTON, D.C., TO NASHVILLE.

THEN IN 1890, THE SONS OF TEMPERANCE TURNED THE BUILDING OVER TO ABINGDON'S TOWN GOVERNMENT.

THE LOBBY WAS USED AS THE TOWN HALL.

A ROOM BENEATH THE STAGE BECAME THE TOWN JAIL.

THERE ARE MANY STORIES ABOUT SHOWS THAT HAD TO BE STOPPED MID-PERFORMANCE BECAUSE OF ROWDY PRISONERS.

IN THE 1950s AN ADDITION TO THE BACK OF THE BUILDING BECAME THE TOWN FIRE STATION.

AND WHEN FIREFIGHTERS WERE CALLED TO EMERGENCIES DURING A BARTER PERFORMANCE, THE ACTORS WOULD FREEZE UNTIL THE ALARM QUIETED, THEN PICK UP THEIR LINES AS THOUGH NOTHING HAD WHEN WORLD WAR II STARTED, THE ENTIRE COUNTRY WAS AFFECTED, AND BARTER THEATRE WAS NOT IMMUNE, CLOSING DURING THE WAR YEARS.

ROBERT PORTERFIELD WAS DRAFTED INTO THE AIR FORCE.

ANOTHER 134 FORMER BARTER ACTORS ALSO FOUND THEMSELVES IN THE ARMED FORCES.

FOUR WON THE DISTINGUISHED SERVICE CROSS.

TWO GAVE THEIR LIVES.

AS THE WAR WAS WINDING DOWN, BOB BEGAN TO HAVE DOUBTS ABOUT CONTINUING THE BARTER.

TO COMPLICATE MATTERS, A TORNADO SWEPT THROUGH ABINGDON IN 1944 WHILE BOB WAS STATIONED IN TEXAS.

IT HIT TWO OF BARTER'S FACILITIES ON THE STONEWALL JACKSON PROPERTY, DESTROYING THE WORKSHOP AND EVERYTHING IN IT, EQUIPMENT, SCENERY, COSTUMES, SCRIPTS, PROPS.

THE TORNADO EVEN RIPPED OFF THE ENTIRE EAST WALL OF THE BARTER INN.

>> AND HE WAS DEBATING WHETHER TO COME BACK AND REOPEN THE THEATRE, AND HE WAS RIGHT ON THE CUSP OF GOING FOR A MOVIE CAREER.

HE COULD HAVE BEEN A GOOD MOVIE STAR, A BIG MOVIE STAR MOST LIKELY, SO HE WENT BACK TO ABINGDON TO JUST THINK ABOUT IT, REALLY, AND HE'S STANDING THERE TALKING TO SOME BUSINESSPEOPLE IN ABINGDON, AND HE'S JUST ABOUT READY TO QUIT THE WHOLE THING.

AND THIS ELDERLY AFRICAN-AMERICAN LADY CAME UP AND SAID, "MR.

BOB ARE YOU AND YOUR SHOW PEOPLE GOING TO COME BACK TO ABINGDON?

I NEED TO KNOW RIGHT AWAY, BECAUSE IF YOU'RE GOING TO BRING YOUR SHOW PEOPLE BACK I NEED TO PUT AN EXTRA ROW OF BEANS IN MY GARDEN SO I CAN GET ADMISSION."

AND BOB PORTERFIELD -- THAT WAS WHAT CAUSED HIM TO, TO CONTINUE THE THEATRE.

>> BOB WORKED HARD TO REVIVE BARTER AFTER THE WAR.

AT FIRST HE TRIED TO GET FEDERAL FUNDING BUT WAS TURNED DOWN, SO HE TOOK HIS EFFORTS TO RICHMOND, HOPING TO HAVE BARTER BECOME THE FIRST STATE THEATER IN AMERICA.

THIS TIME IT WORKED.

IN 1946, BARTER RE-OPENED AS “THE STATE THEATRE OF VIRGINIA," ACCEPTING CASH FOR TICKETS RATHER THAN PRODUCE.

ONE OF THE ACTORS DRAWN TO BARTER IN 1946 WAS A YOUNG MAN NAMED ERNEST BORGNINE.

HE WAS JUST OUT OF THE NAVY AND LOOKING FOR A NEW CAREER.

>> BOB PORTERFIELD HIRED ERNEST BORGNINE NOT BECAUSE HE COULD BE AN ACTOR, HE DIDN'T, BUT BECAUSE HE COULD DRIVE A TRUCK.

AND HE WAS A BIG BOY AND HE COULD HANDLE PROPS AND THINGS, THAT'S WHY THEY HIRED HIM.

EVENTUALLY BOB GAVE HIM SOME ACTING PARTS.

NINE YEARS LATER, IN 1955, BORGNINE TOOK HOME THE OSCAR FOR BEST ACTOR FOR HIS ROLE IN “MARTY.” HE WOULD LATER SAY, “I CAN NEVER BE GRATEFUL ENOUGH TO BOB PORTERFIELD AND BARTER FOR STARTING ME ON MY WAY AND FOR GROUNDING ME IN ALL FACETS OF ACTING.” AS THE YEARS PASSED, A TRADITION FORMED FOR BARTER AUDIENCES.

IN THE CURTAIN SPEECH BEFORE EVERY PERFORMANCE, PORTERFIELD WOULD ASK FIRST-TIMERS AT BARTER, “WHO TRAVELED THE FARTHEST DISTANCE?” AND HE WOULD GIVE THE WINNER A PAIR OF NYLON STOCKINGS, WHICH HE GOT FROM A NEARBY HOSIERY FACTORY.

HE WOULD ALWAYS MAKE SURE IT WAS A WOMAN WHO WON.

>> Rick: HE WOULD SAY, “AND HONEY I HOPE YOU THINK OF ME WHEN YOU PUT THESE ON.” [ LAUGHTER ] SO, BOB WAS NOT BEYOND BEING JUST A LITTLE RACY AND A LITTLE OUT THERE IN HIS SHOWMANSHIP, WHICH I LOVE.

FROM EVERYTHING I KNOW OF BOB PORTERFIELD HE HAD A GREAT CHARM, AND WAS VERY SMOOTH AND WAS VERY HANDSOME, VERY CHARISMATIC, AND REALLY KNEW HOW TO CONNECT WITH PEOPLE AND HOW TO CONNECT THE PEOPLE TO THE THEATER.

>> AND BEFORE THE CURTAIN WENT UP, HE WOULD END HIS SPEECH WITH THE SAME PIECE OF ADVICE: “IF YOU LIKE US, TALK ABOUT US.

AND IF YOU DON'T, JUST KEEP YOUR MOUTH SHUT.” BOB'S IMPACT ON THE THEATRE WORLD WAS RECOGNIZED IN 1948, WHEN HE WAS PRESENTED WITH THE FIRST TONY AWARD FOR CONTRIBUTION TO DEVELOPMENT OF REGIONAL THEATRE.

THE TONYS THEMSELVES WERE SO NEW THAT NO OFFICIAL TROPHY WAS GIVEN.

INSTEAD, BOB RECEIVED A GOLD MONEY CLIP.

TO HELP BOOST TOURISM FOR ABINGDON AND TICKET SALES FOR BARTER, PORTERFIELD FOUNDED THE VIRGINIA HIGHLANDS FESTIVAL IN 1948, WHICH THRIVES TODAY AS A TOP-RATED EVENT IN THE SOUTHEAST.

DURING THE WINTER MONTHS, WHEN BARTER WAS ON BREAK, BOB APPLIED HIS HUMOR AND CHARISMA ON A SPEAKING TOUR, REPRESENTED BY RENOWNED TALENT AGENT WILLIAM MORRIS, AND PICKING UP MUCH-NEEDED CASH FOR BARTER OPERATIONS.

>> Rick: SO BOB DID A LOT OF SPEAKING ALL OVER THE UNITED STATES AND GOT MEET EVERYBODY.

THEY CALLED HIM THE WILL ROGERS OF THE 50s and 60s.

AND BOB WAS ACTUALLY -- I BELIEVE HE WAS, IF I'M REMEMBERING THE STORY CORRECTLY, HE WAS ON A JUNKET FOR EASTER SEALS AND HE GOT IN A CAR ACCIDENT.

>> THE ACCIDENT WAS VERY SERIOUS.

A DRUNK DRIVER SLAMMED INTO THE DRIVER'S SIDE OF BOB'S CAR.

HE WAS HOSPITALIZED FOR QUITE A WHILE AND FINALLY WENT BACK TO WORK AT THE END OF 1969.

BUT HIS HEALTH WAS NEVER FULLY RESTORED.

LESS THAN TWO YEARS LATER, ROBERT PORTERFIELD DIED ON OCTOBER 28, 1971.

HE WAS 65 YEARS OLD.

THE ENTIRE REGION LOST A VISIONARY, AN ENTERTAINER, AND A FRIEND, AND BARTER THEATRE LOST ITS LEADER OF 39 YEARS.

SO THE SEARCH BEGAN FOR BOB'S SUCCESSOR.

25 PEOPLE APPLIED FOR THE JOB.

AND SINCE MAKING A HIRE OF THIS IMPORTANCE WAS NEW TERRITORY FOR BARTER'S BOARD OF TRUSTEES, THEY LOOKED FOR GUIDANCE FROM SOMEONE WHO HAD USED BARTER AS A MODEL TO LAUNCH THE LA JOLLA PLAYHOUSE IN CALIFORNIA, A BARTER ALUM NAMED GREGORY PECK.

>> Rick: GREGORY PECK SAID, “WHO IS YOUR PRODUCTION STAGE MANAGER?

'CAUSE THEY USUALLY KNOW THE MOST ABOUT THE ORGANIZATION.” AND SO THEY HIRED -- THE BOARD HIRED REX PARTINGTON, WHO HAD HAD A STINT AS A STAGE MANAGER AT THE GUTHRIE AND HAD HAD A STINT AS THE MANAGING DIRECTOR AT THE CLEVELAND PLAYHOUSE.

SO REX HAD CREDENTIALS.

>> REX'S HISTORY WITH BARTER THEATRE ACTUALLY BEGAN WHEN HE WAS CHOSEN FOR THE ACTING COMPANY IN 1950.

HE STAYED ON FOR TWO SEASONS, THEN LEFT TO BE A STAGE MANAGER ON BROADWAY AND AT REGIONAL THEATRES.

IN FACT, HE HAD RETURNED TO BARTER IN 1971 AS STAGE MANAGER, JUST BEFORE ROBERT PORTERFIELD PASSED AWAY.

PARTINGTON TOOK THE REINS AT BARTER IN 1972.

HE WAS THE FIRST TO ADMIT HE COULD NOT COMPETE WITH ROBERT PORTERFIELD'S LEGACY, BUT HE WAS BRAVE ENOUGH TO TACKLE WHAT HE CALLED “THE HARDEST ROLE OF HIS CAREER.” REX ONCE SAID, “BOB WAS ONE OF THE BEST FRIENDS I EVER HAD, BUT I CERTAINLY WASN'T GOING TO EMULATE THE MAN.

I HAD TO BE MY OWN MAN OR NOTHING WOULD HAVE WORKED.” >> THOSE WERE TREMENDOUS SHOES TO HAVE TO FILL, AND THEY GOT A GENTLEMAN WHO WAS A FANTASTIC PERSON IN HIS OWN RIGHT, WHO CAME IN AND BASICALLY KEPT THE BARTER GOING, A TREMENDOUS EFFORT.

>> REX'S PERSONALITY WAS ENTIRELY DIFFERENT FROM BOB'S.

HE WAS NOT THE SHOWMAN BOB HAD BEEN.

REX WAS LOW-KEY, RESERVED, AND ALWAYS A GENTLEMAN.

>> AND REX HAD WORKED WITH BOB PORTERFIELD.

HE WAS AN ACTOR AS WELL, WONDERFUL ACTOR AND A REALLY GREAT GENTLEMAN OF THE THEATRE.

AND HE WOULD COME UP EVERY NIGHT AND DO THE CURTAIN SPEECHES, JUST AS A BOB DID.

REX WAS MARRIED TO CLEO HOLLADAY, A PROMINENT ACTRESS OF HER DAY, WHOSE PROFESSIONAL CAREER ALSO STARTED AT BARTER THEATRE.

THEIR SON TONY AND DAUGHTER DIXIE ACTED AS WELL, AND WERE VERY INVOLVED IN BARTER'S PRODUCTIONS DURING REX'S TENURE.

>> Rick: REX DURING HIS TIME, AS I SAID, HAD SOME INCREDIBLE PEOPLE AND ALSO THERE WAS SOME INCREDIBLE WORK THAT WENT ON.

PEOPLE STILL TALK ABOUT THE PENNY OPERA, THEY STILL TALK ABOUT "ALL MY SONS," WHICH REX AND HIS SON DID TOGETHER.

THEY STILL TALK ABOUT BILLY BISHOP GOES TO WAR, WHICH REX'S SON DOES AS AN ACTOR.

THEY DID SOME TRULY INCREDIBLE WORK.

>> IN 1979, BARTER THEATRE WAS AWARDED THE FIRST VIRGINIA GOVERNOR'S AWARD FOR THE ARTS BY THEN-GOVERNOR JOHN DALTON.

SINCE THEN, THE AWARD HAS BEEN PRESENTED BY ONLY THREE OTHER VIRGINIA GOVERNORS.

PARTINGTON'S OTHER ACHIEVEMENTS INCLUDED THE ADDITION OF AN INTERN PROGRAM TO CULTIVATE YOUNG TALENT, AND THE CREATION OF A REPERTORY PROGRAM IN 1979.

HE ALSO ENHANCED A SECOND VENUE FOR BARTER, RENOVATING A FORMER METHODIST CHURCH LOCATED ACROSS THE STREET FROM THE THEATRE.

HERE, DURING THE SUMMER, REX OFFERED CHILDREN'S PRODUCTIONS AND SPECIAL SHOWS STARRING ONE OR TWO ACTORS.

THEN, IN THE LATE 1980s, REX'S HEALTH TOOK A TURN FOR THE WORSE.

>> Rick: AFTER THAT HEART ATTACK FAMILY BECAME REALLY IMPORTANT TO HIM.

SO THE FAMILY REALLY JOINED IN BARTER THEATER IN A BIG WAY.

AND BY THE END, THEY WERE KIND OF LIKE A FAMILY DYNASTY AT BARTER AND THEY WERE DOING EVERYTHING.

CLEO WAS IN MOST OF THE SHOWS, DIXIE WAS DOING SOME ACTING, THEIR SON WAS DOING A LOT OF PRODUCTION, STAGE-MANAGING AND SOME ACTING, AND HIS WIFE WAS DOING THE DEVELOPMENT.

SO THEY WERE PRETTY MUCH A FAMILY OPERATION AFTER THAT.

YOU COULD ARGUE IF THAT WAS TO THE BENEFIT OF BARTER THEATER OR NOT.

>> WITH HIS FAMILY ACTING IN MOST PRODUCTIONS, THERE WAS NOT MUCH NEED FOR A RESIDENT COMPANY.

AND THOUGH DEVOTED TO BARTER, REX WAS NOT SKILLED AT FUNDRAISING.

HE ADMITTED, “THE MOST LIMITING FACTOR IS MONEY.” BUT WHAT HE DID EXCEL AT WAS HIRING GOOD PEOPLE, SUCH AS NICK PIPER, FRESH OUT OF COLLEGE IN 1990.

>> Nick: HE GAVE ME MY FIRST PROFESSIONAL JOB AND HE SAID, "WELL, YOU CAN COME HERE AND WE WON'T BE ABLE TO PAY YOU ANYTHING, BUT WE'LL GIVE YOU SOME HOUSING AND YOU CAN WORK."

I SAID, "I JUST NEED MONEY FOR GROCERIES."

AND HE SAID, "WELL, I DON'T KNOW."

AND THEY CALLED ME BACK THE NEXT DAY AND SAID, "NICK, WE'VE GOT A LITTLE MONEY FOR YOU, AND WE'LL CALL YOU A JOURNEYMAN ACTOR, AND YOU CAN COME AND SPEND THE SUMMER WITH US."

AND I WAS SO EXCITED AND FROM THEN ON, I'VE JUST GOTTEN TO BE HERE.

>> MOST IMPORTANT, REX PARTINGTON PROVED BARTER THEATRE COULD SURVIVE WITHOUT ROBERT PORTERFIELD.

AND THOUGH HIS APPROACH WAS AS MORE OF A SUSTAINER THAN A VISIONARY, REX WAS ABLE TO MAINTAIN THE ENORMOUS POPULARITY AND CONSIDERABLE REPUTATION OF BARTER THEATRE.

>> Rick: HE HAD PRETTY WELL-TRAINED AND REALLY GOOD BUSINESS PEOPLE, AT LEAST FROM THE RUNNING THE ORGANIZATION.

REX JUST DIDN'T KNOW HOW TO RAISE MONEY AND HAVE A REAL VISION FOR THE EXPANSION OF BARTER THEATER.

>> REX PARTINGTON RETIRED TO FLORIDA IN 1992, BUT LIFE OUTSIDE THE THEATRE DIDN'T SUIT HIM WELL.

HE WENT ON TO REJUVENATE THE DIXIE THEATRE IN APALACHICOLA, WHERE HE SPENT HIS REMAINING YEARS UNTIL HIS DEATH IN 2006.

THE SEARCH FOR REX'S REPLACEMENT WAS VERY SPECIFIC.

THIS TIME BARTER'S BOARD OF TRUSTEES WAS LOOKING FOR A LEADER WHO WOULD HONOR TRADITION, BUT ALSO BE AN INNOVATOR.

THEY FOUND THAT AND MORE IN RICHARD ROSE.

THE FIT WAS RIGHT FOR HIM, TOO.

>> Rick: I CALLED MY WIFE, I SAID, "YOU'RE GOING TO LOVE IT SO MUCH YOU'RE NEVER GOING TO WANT TO LEAVE."

AND I HAD NEVER BEEN IN ABINGDON BEFORE, AND SHE HAD NEVER BEEN IN ABINGDON BEFORE.

THAT PROVED TO BE TRUE.

AND I SAID, "IF THERE'S A BETTER PLACE ON EARTH, I DON'T KNOW WHERE IT IS."

>> RICK WAS NOT A BARTER ALUM AS THE BOARD HAD HOPED, OR EVEN FROM THE SOUTH, BUT THE WISCONSIN NATIVE WON THEM OVER WITH HIS ENTHUSIASM, EXTENSIVE THEATRE BACKGROUND, AND VISION FOR THE FUTURE.

ROSE TOOK ON RESPONSIBILITY FOR BOTH THE FINANCIAL AND ARTISTIC SIDES OF BARTER.

HE BEGAN BY SETTING UP TOWN HALL MEETINGS THROUGHOUT THE REGION, LOOKING FOR A SENSE OF WHAT PEOPLE LOVED ABOUT BARTER AND WHAT THEY THOUGHT NEEDED IMPROVEMENT.

TO KICK OFF HIS FIRST SEASON IN 1993, ROSE MOUNTED AN AMBITIOUS PRODUCTION OF "THE MIRACLE WORKER."

>> Rick: YOU HAVE TO UNDERSTAND BARTER AUDIENCES WERE USED TO VERY FOURTH-WALL NATURALISM PRODUCTIONS.

THAT WAS REX'S STYLE.

THAT WAS THE KIND OF MATERIAL HE REALLY LIKED.

SO, I DID MIRACLE WORKER IN MUCH MORE OF AN APPALACHIAN SETTING.

WE HAD A NON-REALISTIC SETTING WITH DOORS THAT MOVED AROUND AND WERE CHOREOGRAPHED VERY NON-REALISTIC IN TERMS OF A LOT OF THE WAY THIS THING WAS STAGED.

AND AT THE END OF THAT PERFORMANCE -- AND THIS IS THE GOD'S HONEST TRUTH, THE AUDIENCE SAT STUNNED.

BECAUSE THEY HAD NEVER SEEN ANYTHING LIKE IT.

>> EVEN THE PLAYBILLS WERE DIFFERENT, PRINTED IN COLOR FOR THE FIRST TIME.

BARTER WAS GETTING THE PUSH IT NEEDED TO MOVE INTO THE MODERN WORLD.

>> Cindi: RICK ROSE IS ONE OF THE MOST PASSIONATE PEOPLE I'VE EVER MET.

HE IS ALSO VERY INTELLIGENT.

A LOT OF TIMES YOU HAVE ARTISTIC DIRECTORS WHO ARE VERY CREATIVE AND CAN -- CREATE AN INCREDIBLE SHOW, AND HAVE SUPER VISION.

BUT THEY HAVE NO BUSINESS SKILLS, OR VICE VERSA.

AMAZINGLY, HE HAS A NICE MIX OF BOTH OF THEM.

HE UNDERSTANDS THE BUSINESS END OF IT, SO HE DOESN'T LET THAT SLIP AWAY.

>> HE'S REALLY COMMITTED TO THEATER, AND YOU KNOW IF YOU COME TO BARTER HE EXPECTS YOU TO DO YOUR BEST, AND IF YOU'RE NOT REALLY ATTEMPTING TO DO YOUR BEST, QUITE FRANKLY I DON'T THINK YOU'RE GOING TO BE INVITED BACK.

[ LAUGHTER ] >> SOME THOUGHT MR.

ROSE WOULD SETTLE DOWN ONCE HE'D BEEN AT BARTER A WHILE, BUT THERE HAVE BEEN NO SIGNS OF SETTLING.

>> Katy: THIS IS A MAN ABOUT GROWTH.

YOU DON'T GET TO SIT STILL, YOU DON'T GET TO LIKE REST ON YOUR LAURELS IN ANY WAY.

YOU HAVE TO KEEP MOVING.

HE LIKES TO GROW THINGS.

THAT CAN SOMETIMES BE A WILD RIDE.

IT CAN BE OVERWHELMING, IT CAN BE EXCITING, IT CAN BE ALL OF THOSE THINGS, AND HE'S GOING TO PUSH YOU AS HARD AS HE CAN.

>> Nick: YOU ALWAYS KNOW WHEN RICK IS IN THE AUDIENCE 'CAUSE YOU CAN HEAR HIM LAUGHING.

I'VE ALSO NEVER SEEN -- REALLY KIND OF MET SOMEONE WHO HAS THE CAPACITY TO BE MOVED AS MUCH AS RICK DOES IN THEATRE.

LIKE, HE REALLY IS FULLY INVESTED IN WHAT THEATER IS AND THE POSSIBILITIES OF IT.

AND THAT'S WHY HE WORKS SO HARD.

>> RICK'S DYNAMIC PERSONALITY SHAPES EVERY ASPECT OF BARTER'S OPERATIONS, AND HIS COMPANY WOULDN'T HAVE IT ANY OTHER WAY.

>> Bush: HE IS A LOYAL -- INCREDIBLY LOYAL HUMAN.

AND I WON'T SAY TO A FAULT, BECAUSE I DON'T THINK LOYALTY CAN EVER BE A FAULT.

BUT, HE'S INCREDIBLY LOYAL.

HE'S EXASPERATING.

HE'S IRRITATING.

HE'S BULL-HEADED.

HE'S DECLAMATORY.

[ LAUGHTER ] AND, HE'S SUPPORTED EVERY INCH OF MY CAREER.

>> RICK CALLS HIS RELATIONSHIP WITH THE PEOPLE WHO WORK FOR HIM COLLABORATIVE, BUT IT'S ALSO PATERNAL.

HE IS CLEARLY THE FATHER OF THIS FAMILY.

>> Rick: I WILL PUSH PEOPLE TO THE LIMITS.

NO DOUBT ABOUT IT, AND I WILL RAISE MY EXPECTATIONS OF THEM TO THE POINT WHERE THEY PROBABLY CAN'T SUCCEED ANY MORE.

BUT, THEY WILL BE PUSHED FARTHER THAN THEY WOULD HAVE EVER GOTTEN ON THEIR OWN.

RICHARD ROSE NEEDED MORE THAN JUST PASSION TO FORGE A NEW PATH FOR BARTER THEATRE: HE NEEDED BETTER FACILITIES.

A $2 MILLION RENOVATION IN 1996 BROUGHT THE SEATING CAPACITY TO JUST OVER 500 PEOPLE, AND MODERNIZED THE BUILDING WITHOUT SACRIFICING ITS CHARM OR CHARACTER.

>> Rick: IF YOU GO THROUGH THE BARTER THEATER NOW, EVERY EXPOSED LIGHT IN THE THEATER — THE NON-CANNED LIGHTING IS ALL FROM THE EMPIRE THEATER, ALONG WITH ALL THE SEATS IN THE OPERA BOXES.

AT ONE TIME ALL THE SEATS IN THE THEATER WERE FROM THE EMPIRE THEATER.

>> WHEN THE HISTORIC EMPIRE THEATRE IN NEW YORK CITY CLOSED IN 1953, BOB PORTERFIELD CORRALLED DOZENS OF VOLUNTEERS ALL OVER THE CITY TO SALVAGE $75,000 WORTH OF SEATS, CARPETING, PAINTINGS, AND TAPESTRIES.

THEY EVEN MANAGED TO DISMANTLE AND BRING BACK THE EMPIRE'S LIGHTING SYSTEM, WHICH WAS DESIGNED BY THOMAS EDISON.

>> Rick: IT'S THE ONLY THEATRICAL LIGHTING SYSTEM HE DESIGNED AND BUILT EVER.

AND LITERALLY ONE OF THE DIMMERS HAS HIS SIGNATURE ETCHED INTO IT.

>> THE BARTER PLAYHOUSE WOULD ALSO UNDERGO SEVERAL MAJOR UPGRADES IN ROSE'S FIRST YEARS, AND THE SPACE RENAMED BARTER STAGE II.

BUT THE REAL GOAL OF THAT EXPANSION WAS TO BRING BACK YEAR-ROUND REPERTORY THEATRE TO ABINGDON.

BY 1998, BARTER HAD A FULL RESIDENT COMPANY, AND EMBARKED ON A PERIOD OF UNPRECEDENTED GROWTH, DESPITE ITS LOCATION.

>> Rick: WE ARE ONE OF THE 10TH-LARGEST EMPLOYERS OF ACTOR'S EQUITY IN ALL OF THE LEAGUE OF RESIDENT THEATERS.

WE ARE IN THE MOST REMOTE AREA OF ANY OF THE LEAGUE OF RESIDENT THEATERS, WHICH IS PRETTY PHENOMENAL.

WE ARE ONE OF THE ONLY NOT IN A METROPOLITAN STATISTICAL AREA.

WE PROBABLY HAVE THE SMALLEST POPULATION BASE OF ANY REGIONAL THEATER WITHIN TWO HOURS OF HERE.

>> AND BARTER'S WORLD-CLASS ACTORS ARE RECRUITED FROM ALL OVER THE COUNTRY.

>> Katy: I FLY AROUND TO DO DIFFERENT AUDITIONS.

WE GO TO NEW YORK EVERY YEAR, USUALLY ONCE OR TWICE.

WE GO TO MAJOR AUDITIONS LIKE UTPAS IN MEMPHIS, WE GO TO WASHINGTON, D.C.

AUDITIONS AND OTHER SORT OF NATIONAL AUDITIONS TO LOOK FOR PEOPLE.

>> RICK, AND KATY AND NICK, DO A GREAT JOB OF LIKE, NOT JUST GIVING ANYONE OR ALLOWING JUST ANYONE TO COME IN TO THE RESIDENT COMPANY.

I MEAN, YOU CAN HAVE ALL OF THE TALENT IN THE WORLD, BUT ALSO A LOT OF IT, IS YOUR PERSONALITY GEARED TO DOING WHAT WE DO HERE.

I MEAN, I THINK THAT'S -- AND YOU HAVE THE FORTITUDE TO WANT TO WORK THAT HARD.

>> THE ACTORS BARTER LOOKS FOR HAVE TO BE NOT ONLY TALENTED, BUT VERSATILE IN THEIR CRAFT, >> McVey: YOU'RE GOING TO HAVE A VARIETY OF SHOWS TO DO.

YOU'RE GOING TO BE DOING MUSICALS, YOU'RE GOING TO BE DOING COMEDIES, YOU'RE GOING TO BE DOING HEAVY DRAMA.

THE POSSIBILITIES ARE AMAZING FOR AN ACTOR, TO HAVE THAT KIND OF OPPORTUNITY TO WORK ON THAT RANGE OF SHOWS.

>> Katy: YOU CAN COME HERE AND YOU'RE GOING TO SEE A SHAKESPEARE, AND THEN YOU'RE GOING TO SEE A MUSICAL, AND THEN YOU'RE GOING TO SEE A GREAT APPALACHIAN PIECE.

WE WANT TO HAVE A GOOD MIX OF ALL THOSE THINGS.

>> AND READY TO WORK, HARD.

>> Hannah: NORMALLY, WE ARE REHEARSING TWO PLAYS AND PERFORMING TWO PLAYS.

SO WE'LL DO FOUR SHOWS IN A WEEK OF ONE PLAY, FOUR SHOWS OF ANOTHER IN THE EVENING OR IN THE MATINEE, AND THEN REHEARSAL SCHEDULES ON TOP OF THAT.

>> Rick: WE'VE ADOPTED A MOTTO HERE THAT I THINK IS A REALLY GREAT THING.

IT'S CALLED “ART EQUALS GROWTH."

AND, THE CHALLENGE IS THAT EVERY DAY YOU SHOULD BE ABLE AT THE END OF THE DAY TO SAY, “THIS IS WHAT I LEARNED TODAY, AND THIS IS HOW IT'S GOING TO HELP ME GROW, AS A HUMAN BEING, AS AN ARTIST, AS WHATEVER."

AND WITHOUT THAT GROWTH, THEN ALL YOU ARE DOING IS REPEATING YOUR ART.

>> TRADITIONALLY, A CAREER IN THEATRE CAN BE FULL OF UNCERTAINTY, GOING FROM AUDITION TO AUDITION, WONDERING WHEN THE NEXT JOB WILL COME ALONG.

BUT ACTORS IN BARTER'S RESIDENT COMPANY RECEIVE 12-MONTH CONTRACTS.

>> Katy: A LOT OF PLACES YOU GO SOMEWHERE FOR THREE MONTHS, AND THEN YOU GO SOMEWHERE ELSE FOR THREE, MONTHS AND THEN YOU GO SOMEWHERE ELSE FOR THREE MONTHS.

YOU'RE ALWAYS AUDITIONING, YOU'RE ALWAYS LOOKING FOR JOBS.

AND THE ACTORS HERE, THEY WORK YEAR-ROUND, THEY HAVE HOMES AND FAMILIES AND THEY STAY FOR A LONG, LONG TIME.

IT'S A PRETTY AMAZING SITUATION.

>> Cindi: I FEEL SO LUCKY TO BE ABLE TO WORK HERE.

I WORK HERE YEAR-ROUND, I'M NOT LOOKING FOR WORK EVERY SIX WEEKS EITHER AS AN ACTOR OR A STAGE MANAGER, AND JUST BEING ABLE TO WATCH WHAT WE CREATE AND BE A PART OF THAT, MAN AM I LUCKY!

>> OF COURSE, EVEN A 12-MONTH CONTRACT CAN PRESENT ANXIETIES.

>> Hannah: AND HERE I'VE GOT A HOUSE AND A DOG, AND I DID IT AFTER CONTACTING RICK ROSE AND SAYING, "HEY, I WANT TO MAKE THIS INVESTMENT IN THIS PLACE AND TAKE THIS NEXT STEP, AND I KNOW YOU CAN'T MAKE ANY PROMISES, BUT DO YOU THINK THERE'S GOING TO BE ROOM FOR ME TO DO THIS?

IS THIS A SMART DECISION?"

AND RICK ROSE-STYLE HE SAYS, "AS LONG AS YOUR WORK DOESN'T START TO SUCK, I THINK YOU'LL BE FINE."

[ LAUGHTER } >> IT TAKES A CERTAIN KIND OF PERSON TO MAKE THAT COMMITMENT AND GO FLAT OUT, SIX DAYS A WEEK.

>> AS A FAMILY WE KNOW HOW EACH OTHER WORKS.

SO, IT'S WONDERFUL THAT YOU DON'T HAVE TO GO THROUGH THAT PROCESS OF FIGURING OUT, YOU KNOW, WHO YOUR COLLEAGUES ARE AND HOW YOU WORK WITH THEM AND THAT SORT OF THING, BECAUSE WE DO IT TOGETHER ALL THE TIME.

>> McVey: I THINK WHEN IT COMES TO REHEARSALS, WHEN IT COMES TO PERFORMANCE, THAT KIND OF SUPPORT SYSTEM HELPS AN ACTOR BE BRAVER THAN THEY MIGHT BE OTHERWISE, AND BE ABLE TO TAKE SOME RISKS AS AN ACTOR THAT HELP THEM TO DEVELOP A CHARACTER, TO TELL A STORY IN A WAY THAT MAKES IT EXCITING FOR AUDIENCES.

>> THE BIG PICTURE IS HOW ALL THIS TRANSLATES TO COMMUNITY.

PRODUCTIONS ON THE MAIN STAGE OFFER AUDIENCES MORE TRADITIONAL WORKS, AND LARGE-SCALE MUSICALS, LIKE LES MIS.

>> Katy: WE'RE ALWAYS PASSING SCRIPTS AMONGST OURSELVES, TALKING ABOUT DIFFERENT THINGS.

SOMETIMES WE CHOSE THINGS BECAUSE WE KNOW THAT OUR AUDIENCE WILL LOVE THEM.

SOMETIMES WE CHOSE THEM FOR A SPECIFIC ACTOR OR A SPECIFIC ARTIST THAT WE KNOW WILL BE REALLY, REALLY EXCITING IN THAT PARTICULAR SHOW.

BUT WE ALWAYS WANT TO DO A VARIETY.

>> BARTER'S EDGIER PIECES CAN UALLY BE FOUND IN THE MORE INTIMATE SETTING OF STAGE II, WHICH SEATS 167.

>> IT'S LIKE BEING IN SOMEONE'S LIVING ROOM.

IT'S ALMOST LIKE BEING ON THAT STAGE YOURSELF WHEN YOU ARE IN THAT ENVIRONMENT.

>> STAGE II IS ALSO PERFECT FOR YOUNGER AUDIENCES.

IT'S HOME TO THE BARTER PLAYERS, A GROUP OF YOUNG ACTORS-IN-TRAINING.

>> Katy: THE BARTER PLAYERS ARE SORT OF A HYBRID COMPANY.

THEY ARE OUR INTERN COMPANY, A BARTER THEATRE ACTING COMPANY/NON-EQUITY RESIDENT COMPANY.

THEY ARE FOR THE MOST PART HOT SHOTS FROM THE GREAT PROGRAMS ALL OVER THE COUNTRY.

>> OF COURSE THEY HAVE THE PICK OF THE CROP OF YOUNG ACTORS THAT ARE FRESH OUT OF ACTING SCHOOLS, MUSICAL SCHOOLS, AND THEY BRING THEM IN, THEY REALLY CULTIVATE THEIR TALENT AND ABSOLUTELY WORK THEIR BUTTS OFF.

>> STUDENTS COME FROM ALL OVER VIRGINIA AND NEIGHBORING STATES TO SEE THE BARTER PLAYERS PERFORM, PARTLY TO EXPERIENCE THE AWE AND INSPIRATION OF LIVE THEATRE AND TO MINGLE WITH THE ACTORS, BUT THERE'S AN IMPORTANT EDUCATIONAL PERSPECTIVE.

THEIR TEACHERS ARE ABLE TO TIE BARTER PRODUCTIONS TO WHAT STUDENTS ARE LEARNING IN SCHOOL.

>> Bush: WHAT I DO IS I READ THE SCRIPTS, AND THEN I PUT STUDY GUIDE QUESTIONS ONLINE AND I TIE THEM INTO THE CURRICULUM.

I GO THROUGH THE STANDARDS THAT THEY HAVE FOR THE THREE DIFFERENT STATES AND SAY, "HEY, IF YOU BRING YOUR KIDS TO THIS PLAY, YOU CAN TEACH THEM ABOUT THIS PART OF GEOGRAPHY, OR THIS PART OF SCIENCE, OR THIS PART OF HISTORY, OR THIS PART OF ENGLISH."

>> Hannah: AND HOW ELSE ARE THEY GOING TO GET A CHANCE TO HAVE THAT INITIAL EXPERIENCE THAT MAKES THEM, THEN, WANT TO COME BACK?

I THINK IT'S BEAUTIFUL AND ESSENTIAL TO KIND OF A WELL-ROUNDED EDUCATION.

>> Derek: I KNEW BARTER MY ENTIRE LIFE.

I CAME TO BARTER ON FIELD TRIPS.

AS A KID I CAN REMEMBER THE FIRST SHOW I SAW AT BARTER.

I DON'T EVEN KNOW HOW OLD I WAS.

I WAS PRETTY YOUNG, PROBABLY 8 OR 9.

>> THE BARTER PLAYERS ALSO TOUR THE REGION AND BEYOND, TAKING PERFORMANCES AND AFTER-SCHOOL WORKSHOPS INTO SCHOOLS.

>> Cindi: FOR THOSE WHO CAN'T AFFORD TO COME TO THE THEATER, OR ARE TOO FAR AWAY, WE GO OUT TO THEM FOR POSSIBLY THE FIRST TIME IN THEIR LIFE.

AND IT JUST OPENS UP WORLDS FOR THEM.

>> IN ALL, THE BARTER PLAYERS REACH ABOUT 65,000 KIDS A YEAR.

>> Katy: WE'RE REALLY PASSIONATE ABOUT DOING QUALITY WORK THAT IS TRULY HOOKED UP TO KIDS' IMAGINATION AND NOT KIDS IN A WAY THAT YOU WOULD EVER TALK DOWN TO THEM.

THEY HAVE THE BEST IMAGINATIONS OF ANY AUDIENCE ANYWHERE.

SO WE DO A LOT OF OUR OWN MATERIAL IN-HOUSE BECAUSE WE FIND THAT SOME OF THE SCRIPTS NATIONALLY MAYBE AREN'T AS SOPHISTICATED AS OUR AUDIENCE IS.

>> THE BARTER PLAYERSHIP IS A 15-MONTH ROTATION, AND ACTORS CAN DO UP TO TWO OF THEM.

AFTER THAT, MOST OF THEM MOVE ON, BUT EVERY ONCE IN A WHILE, A PLAYER WILL MOVE UP TO BARTER'S RESIDENT COMPANY.

>> Katy: I'M A FORMER PLAYER, NICK PIPER IS A FORMER PLAYER WHO'S ANOTHER ASSOCIATE ARTISTIC DIRECTOR, JUSTIN TYLER LEWIS IS ANOTHER FORMER PLAYER, WENDY MITCHELL PIPER IS A FORMER PLAYER, AND THEY'RE ALL IN THE COMPANY.

>> BY ANY STANDARDS, BARTER IS A HUGE SUCCESS, EVEN WHEN COMPARED TO THEATRES IN MAJOR CITIES.

>> Bush: THERE IS NO WAY A THEATER THAT DOES THIS KIND OF WORK WITH TWO STAGES THAT SERVES AN AUDIENCE OF 165,000 EVERY YEAR SHOULD EXIST IN A TOWN OF 8,000 IN THE SOUTHWEST TIP OF VIRGINIA.

THIS SHOULD NOT HAPPEN.

THIS IS AN ANOMALY.

>> ITS GROWTH CAN BE MEASURED IN EVERY WAY.

OVER THE PAST 20 YEARS, ATTENDANCE HAS MORE THAN TRIPLED, AND THE STAFF HAS EXPANDED TO KEEP UP.

>> Nick: WHEN I FIRST CAME HERE I THINK THERE WERE MAYBE SIX OR SEVEN FULL-TIME EMPLOYEES.

NOW THERE ARE 130.

THAT'S HUGE GROWTH AND THAT MAKES A BIG DIFFERENCE IN PEOPLE'S LIVES.

>> ANOTHER 300 PEOPLE VOLUNTEER AT THE THEATRE, AND THE BUDGET HAS BLOSSOMED UNDER RICK ROSE'S GUIDANCE FROM $700,000 DOLLARS A YEAR TO A $6 MILLION OPERATION.

>> Poisson: YOU KNOW, WHAT HE HAS DONE HERE HAS JUST FLAT-OUT BEEN INCREDIBLE.

YOU KNOW HE'S JUST, GOSH, DOUBLED, DOUBLED THE AMOUNT OF WORK AT LEAST THAT IS DONE HERE AND ESTABLISHED A TRUE REPERTORY AND, AND 17, 18 SHOWS A YEAR.

AND THAT'S NOT COUNTING WHAT THE PLAYERS DO.

THEY DO ABOUT SEVEN OR EIGHT> >> THE ENTIRE BARTER COMPANY IS INVESTED IN PRODUCING QUALITY WORK, AND IT'S NOT JUST THE ACTORS WHO ARE PART OF THAT EFFORT.

>> Rick: WE CONSIDER EVERYBODY HERE AN ARTIST.

ALL OF OUR EMPLOYEES FROM THE CRAFTSPEOPLE IN THE SHOPS, TO CARPENTERS, TO JANITORS, TO EVERYBODY, IS AN ARTIST HERE.

AND GROWTH IS PART OF WHAT MAKES YOU A BETTER EMPLOYEE, A BETTER HUMAN BEING.

IT MAKES BARTER BETTER EVERY DAY.

>> IT TAKES A TALENTED CREW TO PULL OFF 15 TO 20 SHOWS EACH WEEK, AND IT'S A PROCESS THAT BEGINS LONG BEFORE AN AUDIENCE SEES THE FINAL PRODUCT.

>> Katy: PROBABLY ABOUT SIX MONTHS OUT, THE DIRECTOR AND ALL THE DESIGNERS SIT DOWN TOGETHER AND START TALKING ABOUT WHAT THE SHOW'S GOING TO BE LIKE.

SO YOU HAVE THE SOUND DESIGNER, LIGHT DESIGNER, COSTUME DESIGNER, PROPS DESIGNER, SET DESIGNER AND THE DIRECTOR ALL IN THE ROOM TOGETHER HASHING OUT, THIS IS WHAT WE WANT TO DO WITH THIS PLAY, THIS IS HOW WE WANT THIS TO BE DIFFERENT THAN MAYBE ANOTHER PRODUCTION.

>> Derek: BASICALLY WHAT I DO IS TALK WITH THE DIRECTOR OF EACH SHOW AND WE FIGURE OUT WHAT WE WANT THIS WORLD TO LOOK LIKE THE PLAY WANTS TO TAKE PLACE IN.

AND THEN FROM THERE IT IS UP TO ME TO CREATE THE ART OF WHAT THIS THREE-DIMENSIONAL SPACE THAT THE PLAY TAKES PLACE IN.

>> Andrew: BY A USE OF COLOR WE HELP TO SHOW EMOTION, WE HELP TO PASS STORY TIME OF DAY, MOOD OF THE PIECE.

WE HELP PROJECT THE THEMES, WE CAN HELP WITH LOCATION BASED ON WHAT COLOR IT IS, THE DIRECTION OF THE LIGHT, THE SHAPE OF THE LIGHT, WHETHER NOT IT'S GOT SHADOWS MIXED IN OR WHETHER IT'S AN EVEN WASH.

SO ALL THOSE THINGS THAT HELP CREATE THAT WORLD AND MAKE THAT REAL TO YOU.

>> THEY ACTUALLY HAVE A PERSON WHO ACTUALLY MAKES THE WIGS, AND, AND THE INTERESTING THING ABOUT THE BARTER IS THAT THE COSTUMES AND EVERYTHING ARE VERY, VERY AUTHENTIC.

THERE'S NO VELCRO ON THE BACK OF A DRESS AT THE BARTER.

IF THEY'RE DOING A PLAY ABOUT THE 1850s, AND THEY USED LITTLE METAL SNAPS OR BUTTONS BACK THEN, THEY USE LITTLE METAL SNAPS OR BUTTONS NOW.

THEY DON'T, THEY DON'T CHEAT.

IT'S, IT'S REAL.

>> Glenn: THE ONE THING, IN THE TECHNICAL SIDE OF THEATRE.

WE DON'T WANT TO BE NOTICED, WE DON'T WANT OUR WORK TO BE NOTICED.

WE WANT IT TO SEEM NATURAL WITH THE PLAY.

I MEAN THAT'S JUST HOW IT HAS TO BE.

>> Helen: I LOVE HEARING THE REACTION OF THE AUDIENCE.

I LOVE OPENING NIGHT BECAUSE YOU GET TO SIT THERE, AND YOU KNOW THEY'RE ENJOYING THE SHOW.

BUT A LOT OF TIMES WHEN THAT FIRST LIGHT COMES UP, YOU HEAR PEOPLE TALKING ABOUT THE SET AND YOU GO, “YAY, I DID IT.” >> BARTER'S REPERTORY SCHEDULE OFTEN REQUIRES THAT SETS BE TRADED OUT AFTER EACH PERFORMANCE.

THE CREW USES ITS OWN CHOREOGRAPHY THAT AUDIENCES NEVER SEE, DISMANTLING ONE SHOW'S SET AND MOVING IT INTO THE WINGS, WHILE MOVING THE OTHER SHOW'S SET ONTO THE STAGE, ALL UNDER TREMENDOUS TIME PRESSURE.

>> Katy: THE ACTORS BOW AND LEAVE THE STAGE AND THE AUDIENCE LEAVES, AND ABOUT THAT TIME YOU'LL HEAR SOMEBODY STICK THEIR HEAD OUT FROM BEHIND THE CURTAIN AND SAY, “HOUSE IS CLEAR," AND THEN PEOPLE COME RUNNING OUT ON THE STAGE.

AND THEY HAVE ANYWHERE FROM HALF AN HOUR TO TWO HOURS DEPENDING ON HOW BIG THE REP IS, SOMETIMES EVEN MORE TO TAKE DOWN EVERYTHING IN THAT SHOW AND PUT UP THE SHOW FOR THAT NIGHT.

>> HAVING TWO VENUES HAS BEEN INTEGRAL TO BARTER'S GROWTH, AND THAT'S KEY IN THE NON-PROFIT WORLD.

>> A FRIEND OF MINE WHO IS WITH A THEATER COMPANY THAT DID NOT SURVIVE SAID ONE OF THE BIG FACTORS IS OWNING YOUR OWN SPACE.

AND THAT MAKES A HUGE DIFFERENCE IN THE SURVIVAL OF A THEATER, IF YOU'RE NOT CONSTANTLY TRYING TO FIND A VENUE IN WHICH TO PERFORM AND PRODUCE YOUR PLAYS.

>> BARTER STILL USES THE STONEWALL JACKSON FACILITIES, NOW ALMOST A CENTURY OLD.

THE BARTER INN IS HOME TO THE BARTER PLAYERS, GUEST ARTISTS, AND A FEW TECHNICAL PROFESSIONALS.

THE BUILDING WHERE GREGORY PECK PERFORMED HOUSES TWO REHEARSAL HALLS, THE COSTUME SHOP, AND THE PROP SHOP.

NEXT DOOR, SETS ARE DESIGNED, MANUFACTURED AND PAINTED IN A SCENE SHOP BUILT IN 2006.

WITH BARTER MAKING 98% OF EVERYTHING AUDIENCES SEE ON STAGE, PROFESSIONALS WORK AT A FURIOUS PACE IN THESE SHOPS.

>> Rick: OUR PRODUCTION FACILITIES ARE AT THEIR LIMIT.

OUR HOUSING FACILITIES ARE AT THEIR LIMIT.

SO WE NEED TO RAISE SOME MONEY AND BUILD SOME NEW SPACES, PART OF WHAT WE'RE DOING RIGHT NOW.

FIX UP THE SPACES WE HAVE TO A GREATER LEVEL THAN THEY ARE NOW, ADD SOME ADDITIONAL SPACES, ADD SOME ADDITIONAL HOUSING.

AND ULTIMATELY PROBABLY BUILD A THIRD THEATRE AS WELL.

>> FROM ITS EARLIEST YEARS, BARTER THEATRE HAS DEVELOPED AND PREMIERED NEW PLAYS.

THERE IS EVEN A PLAYWRIGHT IN RESIDENCE DEDICATED TO CREATING ORIGINAL WORKS.

SOME OF HER INSPIRATION COMES FROM LOCAL SOURCES.

>> Bush: AS FAR AS FINDING CHARACTERS IN TOWN, YOU INEVITABLY WILL FIND IF THEY KNOW YOU WILL SAY, "HAVE I GOT STORY FOR YOU," AND THEY'LL TELL ME THESE GREAT CHARACTERS.

IN THIS TOWN, YOU CAN MEET THEM IN THE LAUNDROMAT.

YOU CAN MEET THEM AT KROGER.

EVERYBODY'S GOT A GREAT STORY, AND IF YOU'RE PATIENT ENOUGH AND LISTEN THEY'RE MORE THAN HAPPY TO TELL YOU THEIR STORY.

>> OTHER IDEAS COME FROM BOOKS, THAT ARE TAKEN FROM THE PAGE TO THE STAGE.

ONE EXAMPLE IS CATHERINE BUSH'S ADAPTATION OF CLYDE EDGERTON'S NOVEL, "WALKING ACROSS EGYPT."

>> Clyde: IT'S MINE WHEN I WRITE IT, I GIVE IT TO HER TO ADAPT AND IT'S HERS.

SHE GIVES IT TO THE DIRECTOR AND IT'S THE DIRECTOR'S AND THE ACTORS'.

AND THEN FINALLY IT BELONGS TO THE AUDIENCE.

>> MANY OF BARTER'S PRODUCTIONS HAVE A DISTINCTIVELY SOUTHERN FEEL.

>> Katy: THESE ARE SOME OF THE BEST ACTORS IN THE COUNTRY, AND THE BEST ARTISTS IN THE COUNTRY, AND YET THEY'RE GOING TO TELL YOUR STORIES.

SO WE ALWAYS MAKE SURE TO HAVE APPALACHIAN MATERIAL AND SOME STRAIGHT UP SOUTHERN MATERIAL BECAUSE IT'S IMPORTANT TO OUR AUDIENCE AND IMPORTANT TO OUR REGION.

WE ARE IN SOME WAYS CARETAKERS OF THAT, OF, OF THAT STORY.

>> Rick: PEOPLE COME TO THIS REGION AS TOURIST.

THEY WANT TO EXPERIENCE SOUTHERN AND APPALACHIA MATERIAL — NOT ALL OF IT — BUT AT LEAST TO HAVE SOME OF IT AVAILABLE TO THEM.

BECAUSE THEY WANT TO EXPERIENCE THE CULTURE OF THE REGION AS WELL, THAT'S PART OF THE REASON THEY ARE COMING HERE.

LOCAL AUDIENCES CERTAINLY WANT THAT BECAUSE THEY WANT TO SEE THEMSELVES ON STAGE.

SO DOING SOUTHERN AND APPALACHIA MATERIAL BECAME A NATURAL FIT FOR BARTER THEATER.

>> BUT BARTER'S REACH TOUCHES LIVES FAR BEYOND ABINGDON, VIRGINIA.

IT GIVES NEW ARTISTS A VOICE.

>> Nick: I RUN THE APPALACHIAN FESTIVAL OF PLAYS AND PLAYWRIGHTS AND THE BARTER SHAPING OF AMERICA SERIES, WHICH ARE TWO NEW PLAY DEVELOPMENT PROGRAMS.

>> Katy: ONE OF THE REASONS THAT WE DESIGNED THAT IN THE FIRST PLACE WAS BECAUSE THERE WEREN'T A LOT OF PEOPLE WRITING ABOUT APPALACHIA, AND IT'S IMPORTANT TO US AND IT'S IMPORTANT TO OUR AUDIENCE.

>> DURING A WEEK EACH SUMMER, BARTER'S APPALACHIAN FESTIVAL OF PLAYS AND PLAYWRIGHTS PRESENTS STAGED READINGS OF A HALF DOZEN SELECTED “WORKS IN PROGRESS,” CREATED BY NEW AND EMERGING PLAYWRIGHTS.

THE STAGE VERSION OF "WALKING ACROSS EGYPT" CAME INTO BEING THROUGH AFPP, EARNING THE COVETED SLOT AS AFPP'S MINI-PRODUCTION IN 2012.

>> "WALKING ACROSS EGYPT" WENT ON TO BE A FULL PRODUCTION, OPENING THE 2013 SEASON ON BARTER'S MAIN STAGE, AND NOW FINDS ITS WAY TO OTHER REGIONAL THEATRES.

>> McVey: THIS IS A PRETTY AMAZING PLACE IN TERMS OF THE, THE THINGS THAT ARE HAPPENING HERE.

I WISH THAT THE THEATER WORLD IN GENERAL COULD HAVE THE SAME APPROACH TO THE ART AS I THINK IS BEING DEVELOPED HERE.

I THINK THAT THE, THAT THE CIRCUMSTANCES THAT WE HAVE ARE UNIQUE TO ALLOW THAT TYPE OF THING TO HAPPEN.

>> AS SOUTHWEST VIRGINIA'S NUMBER ONE TOURIST ATTRACTION, BARTER THEATRE HAS BECOME AN ECONOMIC ENGINE.

VISITORS TO BARTER GENERATE A $34 MILLION IMPACT EACH YEAR IN THE LOCAL AREA.

>> Katy: WHEN YOU THINK ABOUT, IN ABINGDON WE HAVE MORE BED AND BREAKFASTS HERE THAN ANYWHERE IN THE ENTIRE STATE OF VIRGINIA EXCEPT FOR WILLIAMSBURG, BECAUSE PEOPLE CAN COME IN FOR THE WEEKEND, SEE FIVE DIFFERENT SHOWS, IF THEY REALLY WANT TO GET SERIOUS ABOUT IT.

>> Bush: WE ARE A TOURING DESTINATION FOR ABINGDON, SO PEOPLE COME FROM OUT OF TOWN AND GET TO SEE HOW GREAT -- FIRST-HAND HOW GREAT THIS TOWN IS.

>> Rick: ABINGDON IS ABINGDON TODAY BECAUSE OF BARTER THEATER.

NO DOUBT ABOUT IT, THE SHAPE OF THIS CULTURE AND THE SHAPE OF THIS TOWN, AND ITS DISTINGUISHED THIS TOWN FROM THE OTHER TOWNS IN THE REGION.

>> Nick: HE WILL ALWAYS MAKE A DECISION THAT HE THINKS IS IN THE BEST INTEREST OF THIS THEATER, BECAUSE IT'S IT'S TOO IMPORTANT TO THIS REGION NOW.

IT'S NOT JUST A LITTLE THING THAT'S NICE TO HAVE.

IT IS A DRIVER OF THIS COMMUNITY AND THAT IS A TON OF RESPONSIBILITY TO HAVE ON YOU.

>> IN A REGION WHERE FEW PEOPLE WOULD IMAGINE A THEATRE OF THIS MAGNITUDE COULD BE SUPPORTED, BARTER REMAINS THE SECOND-OLDEST CONTINUOUSLY OPERATING THEATRE IN THE NATION.

>> IN THIS TINY TOWN, YOU DON'T THINK OF A PLACE LIKE THIS BEING HERE, BEING ABLE TO FACILITATE THE TYPE OF ART THAT IT DOES HERE IN SOUTHWEST VIRGINIA.

IT HAS OBVIOUSLY STOOD THE TEST OF TIME.

>> Cindi: WE GET PEOPLE FROM ALL OVER THE WORLD.

THEY'LL STOP IN ABINGDON TO COME SEE A SHOW, WHICH BLOWS ME AWAY.

>> Poisson: SERBIA AND FRANCE AND ENGLAND, AND NOT JUST CALIFORNIA, BUT JAPAN AND CHINA AND THAILAND, AND GERMANY.

IT'S AMAZING.

WE PLAY TO MANY, MANY PEOPLE FROM OTHER PARTS OF THE WORLD THAT HAVE COME HERE.

>> BARTER AUDIENCES COME TO THE THEATRE EXPECTING TO HAVE A MEMORABLE EXPERIENCE.

>> Bush: I THINK WE ARE ALWAYS TRYING TO MAKE SURE THAT WE SERVE OUR AUDIENCE, AND I DON'T MEAN THAT WE CONDESCEND OR THAT WE PANDER, BUT THAT THEY LEAVE THE THEATER HAVING THEIR IMAGINATION EVOKED AND THEIR MINDS -- THEIR THOUGHTS CHANGED OR ENLIGHTENED, OR CONVERSATION IS PROVOKED.

>> Katy: TO ME THAT IS THE HEART OF IT.

IT'S ABOUT SOMETHING THAT'S BIGGER THAN JUST ME, BIGGER THAN JUST ANY INDIVIDUAL.

AND I THINK THAT'S WHAT WE HAVE THAT'S DIFFERENT THAN OTHER THEATRES.

>> AND LONG-TIME PATRONS REMAIN LOYAL TO THE THEATRE THEY GREW UP WITH.

>> Rick: IN THE 65TH ANNIVERSARY SEASON, WE DID A PERIOD OF TIME WHEN WE WERE ASKING AUDIENCES,”WHO'S BEEN COMING HERE THE LONGEST?” INSTEAD OF “WHO'S BEEN COMING FROM THE FARTHEST DISTANCE?” IN OUR CURTAIN SPEECH.

ONE NIGHT, A GENTLEMAN RAISED HIS HAND AND HE SAID, “WELL, I FIRST CAME TO BARTER ON THE VERY FIRST PERFORMANCE WHEN I WAS 10 YEARS OLD."

I WAS STUNNED.

I MEAN, BECAUSE I NEVER EXPECTED I'D SEE ANYBODY WHO HAD SEEN AN OPENING NIGHT PERFORMANCE, THE VERY FIRST SHOW.

HIS WIFE RAISED HER HAND, AND I LOOKED AT HER AND SAID, “DID YOU WANT TO ADD SOMETHING TO THAT?” AND SHE SAID, “WELL, WE'VE NEVER TALKED ABOUT THIS, BUT I WAS ALSO AT THAT FIRST PERFORMANCE”" SHE SAID, “I WAS 8 AT THE TIME."

>> EVEN AS BARTER MOVES FORWARD, IT CONTINUES TO ACKNOWLEDGE ITS ROOTS.

AT LEAST ONE NIGHT EACH YEAR, BARTER ACCEPTS CANNED GOODS AS THE PRICE OF ADMISSION, AND DONATES THEM TO AN AREA FOOD BANK, A NOD TO HISTORY THAT ALSO KEEPS THE BARTER EXPERIENCE AFFORDABLE.

>> Poisson: WHAT BOB PORTERFIELD STARTED HERE AND WHAT WE'RE TRYING TO CONTINUE, IT'S -- NOT TO GET TOO HIGH-HANDED TO SAY THIS BUT IT, IT'S AN HONOR.

IT'S AN HONOR TO BE HERE.

>> IT'S BIGGER THAN LIFE.

IT WILL, LIKE BOB PORTERFIELD SAID, HE SAID, "I WANT TO CREATE SOMETHING THAT WILL LIVE LONG AFTER I AM GONE. "

AND IT HAS.

AND, YOU KNOW, HE, HE JUST WANTED SOMETHING THAT WOULD BE BIGGER THAN HIM, THAT WOULD BE BIGGER THAN ABINGDON, THAT WOULD BE BIGGER THAN ANY OF THE ACTORS AND IT WOULD LIVE FOREVER.

>> WHERE DOES BARTER THEATRE GO FROM HERE?

ANYTHING IS POSSIBLE.

MANY ARTS ORGANIZATIONS HAVE CLOSED SINCE THE 2008 RECESSION BEGAN, AND THE FUTURE OF BARTER THEATRE IS NOT GUARANTEED.

BUT BARTER'S LEADERSHIP HAS NEVER COUNTED ON GUARANTEES, AND IT ISN'T DOING SO NOW.

>> Rick: WE'RE GOING TO GO FOR BROKE AND GO BIG, AND REALLY MAKE SOME BOLD CHOICES AND REALLY FOLLOW A VISION.

AND ALSO, WE KEEP TRENDING, WE KEEP LOOKING AT WHERE THINGS ARE GOING, REDEFINING OURSELVES, MAKING IT NEW AND FRESH AND MAKING SURE WE STILL CONNECT TO THE HISTORY, STILL CONNECT TO BOB, STILL CONNECT TO REX, KEEP BARTER ALIVE BOTH IN THE PAST, BUT ALSO IN THE FUTURE, AND IN THE CURRENT.

>> RICHARD ROSE STILL CONCLUDES EVERY CURTAIN SPEECH AT BARTER WITH ROBERT PORTERFIELD'S WORDS: “IF YOU LIKE US, TALK ABOUT US.

IF YOU DON'T, JUST KEEP YOUR MOUTH SHUT.” AUDIENCES ALWAYS LAUGH, AS THEY HAVE FOR DECADES.

THEN THE LIGHTS GO DOWN, AND PEOPLE WAIT TOGETHER IN THE DARK FOR THE MAGIC OF BARTER THEATRE TO BEGIN ONE MORE TIME.