Martha Hardwick Hofmeister and Rhonda Hunter are “Silver Survivors.” They are the only two members of the original cast and crew of Bar None I, staged in 1986, to have continued to be active in the show, now about to celebrate its “silver anniversary” with the June production of “Alice In BarNoneLand: 25 Years Through the Looking Glass.” Headnotes caught up with Martha and Rhonda recently to ask them about their combined 50 years of directing and choreographing lawyers.

HN: How did you come to be involved with Bar None?

Rhonda: I was transported to a meeting where frustrated thespians turned lawyers hatched a plan to live as divas for eight weeks. The people seemed kind of strange, but I had done college theatre and taught dance since high school, so I was used to weird. And, they said we would raise money for a good cause.

Martha: I was first licensed in November of 1984 and signed up to become a member of the Dallas Bar Association starting that next January. I also volunteered for the Entertainment Committee, as I thought that sounded relatively non-taxing. The Entertainment Committee was asked that year to produce, for the first time, a variety show as a fundraiser for the Dallas Bar Foundation’s support of the Sarah T. Hughes scholarships at SMU. I signed up for that subcommittee and missed the first meeting of same. At that meeting, someone reported to the group that I had directed Assault and Flattery at UT Law the spring of 1984, and I was drafted to direct the show that would become known as Bar None. It was several days before I received the letter (remember, it was the Dark Ages) advising me of the production team’s members and, specifically, of my assignment.

HN: Why do you continue to direct/choreograph after all these years?

Rhonda: They know where I live.

Martha: Four reasons: it’s the way I feed my “theatre Jones;” it provides a really significant service to our community (over $1.2 million dollars for the scholarship over the last 24 years); I have met a number of my closest friends via Bar None and don’t think I would see nearly so much of them without it; and (recognizing that this sounds immodest) I think that I have a gift for pulling these people together to do this thing in a short period of time.

HN: What are some of your favorite on-stage memories?

Rhonda: My favorite day is the Saturday we go into the theatre. That’s when you know it’s do or die. I remember the impossible numbers like “Done” (Chorus Line) and Oh! Go Home Now (Oklahoma) and “You Can’t Stop BarNone” (Hairspray). I enjoyed the year we got an infusion of eight new young lawyers who set the stage on fire with their talent. Most of them became writers for the show. Watching the ad libs take a skit to a new level from “Antiques Road Show” to “BarNonlet” is fun. I especially enjoyed seeing guest choreographers challenge my dancers in “Devil Went Down to Dallas” and “Thriller.” But I also still laugh at the good old days of “Eyewitness News” and “the Lounge Lizard.” Watching Martha turn printed words to live theatre is like seeing magic. It’s great fun.

Martha: Justice Henry Politz’ guest appearance years ago: he told several Boudreaux jokes and had a great time. The sight of all those male cast members in frumpy dresses, wigs, and heels in the opening number of Bar None IX: “Everyone’s Gonna Wear Dresses (for Sarah T. Hughes).” ME (Norwood) Anderson as Johnnie; her facial expressions were always priceless. Watching the audience watch Tom Alleman as Moe. Kent Hofmeister’s “long guitar songs.” The Bar None Boys trying to do cool dance steps in unison.

HN: What are some of your favorite off-stage memories?

Rhonda: I refuse to answer on the grounds it may tend to incriminate me. Lets just say there was a lady standing on a table, a pink skirt, a hot tub, four weddings, a low speed chase, a hockey game, show tunes and shrimp involved.

Martha: Justice Henry Politz partying with the cast at some bar on McKinney, drinking out of a “fishbowl” cocktail with many others, and leading the conga line. Tasking Matt Anderson with taking care of ME Norwood one night at Club Dada, post-show. Attending Matt’s and ME’s wedding several years later! Some of the cast going with me on my first trip to Las Vegas on the occasion of my 40th birthday. The rest should stay shrouded in mystery.

HN: What are some of the changes/improvements you’ve made to the show over time?

Rhonda: The first year we were at Union Station on 10 risers, with no backstage and hand built sets that the cast had to take apart when the show finished. Then we moved to the student center where the cast had to go out the back door, rain or shine, to get to the stage. We had more elaborate hand made sets that we still had to dismantle when the show finished. Now we are in Greer Garson with follow spots, sound, a stage and professional dressing rooms suitable for my divas.

Martha: I have an abundance of assistant directors (Year One I directed everything by myself, from start to finish. Never again.) Our writing “staff” has lots of diversity (we are no longer required to steal things from Assault & Flattery or the Pulaski County Bar Show). The venue at Greer Garson, while not ideal, is vastly superior to the SMU Student Center, the Bob Hope Auditorium or Union Station. The individual headset microphones actually allow the audience to hear–and understand–the words to the songs and skits.

HN: If you could change one thing about Bar None, what would that be?

Rhonda: I would find a way for the employers, the bosses, the judges and the loved ones to give a break to the people who give six weeks (the cast) or three months (the writers and directors) and add doing this show to already impossible schedules. If you’ve ever been in the show you understand when they say,  ‘I have to go. I am doing ‘Bar None.’ ’ Same goes to the producers who find a way to raise the money to finance this show as quality theatre, while getting these scholarships funded. It’s a labor of love that requires lots of labor and invokes lots of love.

Martha: That’s easy: I would increase the size of our audiences and the number of our sponsors. We have a quality product and, with more audience members and sponsors, we could raise more money for the scholarships.

HN: What is it like to “manage” 40 or 50 lawyers for six weeks per year?

Rhonda: It’s like giving birth. Look at all the children I’ve had in 25 years.

Martha: It’s like herding cats who can talk back.

HN: What are your hopes for Bar None’s future?

Rhonda: Fresh blood, hair dye, a new venue, lighting and lots and lots of Sarah T. Hughes Scholars.

Martha: I hope for bigger audiences, more sponsors, greater visibility to the Dallas community and a place where old Bar Noners can retire together and watch videos of their glory days.

Both:  Thanks to all of our casts, crews, and audiences these 25 fabulous years!