Audience Magazine - August 2020

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

magazine

AUGUST 2020

PNC BROADWAY IN LOUISVILLE The Life and Times of The Temptations Page 6 | ACTORS THEATRE The Pros of Adapting to a Virtual Format Page 10 | LOUISVILLE ORCHESTRA Fundraising Amidst a Pandemic Page 16 | KENTUCKY PERFORMING ARTS Art Restoration & Preservation Following the Fire Page 20 | LOUISVILLE BALLET How Angie Nenni Celebrates the Ballet Page 26 | KENTUCKY OPERA Notes on Fidelio, Beethoven's Only Opera Page 32 | KENTUCKY SHAKESPEARE As Y'all Like It, an Artistic Collaboration Page 36 | FUND FOR THE ARTS Visibility & Funding for Black Voices in the Arts Page 40

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EMBRACING THE PIVOT It always seems impossible until it’s done.

— Nelson Mandela

It’s hard to believe we’ve been working through the challenges of the COVID-19 pandemic for six months. When the first round of shutdowns hit in March, those of us in the performing arts community were cautiously optimistic that our time of quarantine would be short lived, and we’d be back to normal — and back on stage — by now.

While there’s still no clear end in sight, Louisville’s performing arts organizations are finding creative ways to remain vibrant and vital amid the continued challenges.

As you can see in this issue, as well as past issues of Audience Magazine, each group is being proactive and innovative in defining their “new normal.”

Amy Higgs Managing Editor

Some groups are launching all-digital seasons for 2020-21. Others are postponing live performances until well into 2021, while supplementing with virtual rebroadcasts of past shows. A few are reinventing themselves by sharing virtual, behind-the-scenes content and exclusive interviews. And some are bolstering their educational programming, while balancing strict safety precautions for in-person gatherings. The people of Louisville love the performing arts, and it shows in the ways audiences are adapting to these new ways of consuming content.

We’re proud of the local theaters and concert sites that are collaborating with the National Independent Venue Association (NIVA) to push for funding in the next stimulus package that will help #SaveOurStages. We’re also pleased to see that arts patrons are embracing the various pivots each arts group has had to make since March.

What’s next for the performing arts? Will it be outdoor performances featuring socially distanced seating platforms? Will it be limited seating in an indoor theater, with guests separated by Plexiglass? At this point, no one knows for sure. What we do know is, despite any hardships Louisville’s arts organizations face now or in the future, the show will go on.

Special thanks to our advertisers that make Audience Magazine possible.

We’ll continue to be a voice for the performing arts in Louisville as long as it’s needed.

Until the curtain rises again,

G. Douglas Dreisbach Publisher

– The Audience Group

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TABLE of CONTENTS AUGUST 2020

6 PERFORMANCE PREVIEW

10 PREPARE, PERSIST...PERFORM!

16 FUNDRAISING FOR INNOVATION

20 THE ART OF RESTORATION

26 SUPER SUPPORTER

32 THE WORLD OF BEETHOVEN

36 SIGHTS AND SOUNDS

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40 ADVANCING A MOVEMENT

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TICKET

GIVEAWAYS

SPECIAL INVITES

SHOW PREVIEWS Stay Connected with Sign up for our e-news and be the first to hear about ticket giveaways, special invites, email news alerts, show previews, reviews and the latest happenings in the performing arts scene in Louisville.

CLICK TO SUBSCRIBE FREE!

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

PUBLISHER

The Audience Group, Inc. G. Douglas Dreisbach MANAGING EDITOR

Amy Higgs CREATIVE DIRECTOR

Rhonda Mefford SALES & MARKETING

G. Douglas Dreisbach CONTRIBUTORS

PNC Broadway in Louisville Actors Theatre Louisville Orchestra Kentucky Performing Arts Louisville Ballet Kentucky Opera Kentucky Shakespeare Fund for the Arts

To read current and previous Audience playbills and performance guides, go to issuu.com/audience502.

On the Cover: Ephraim Sykes (kneeling) and the cast of AIN'T TOO PROUD, coming to the Kentucky Center in 2021.

Photo by Matthew Murphy. Read more on page 6.

GOT AN ARTICLE IDEA? Audience Magazine is a platform for the arts in Louisville. If you have an article idea or something you think we should cover, email ahiggs@theaudiencegroup.com © Copyright 2020. The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited.

Audience® Magazine is published by The Audience Group, Inc. 136 St. Matthews Avenue #300 Louisville, KY 40207 502.212.5177 | Audience502.com A U G U S T

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PERFORMANCE PREVIEW

AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS 6

Butler A U D I Eby N Leslie C E M A G A Z I N E

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ith stages dark across the country right now, we can only hope that the scheduled performances for 2021 stay intact. Louisville has grown to expect the best Broadway shows each season, and the condensed season in store for next year will have audiences excited to be back in the theatre.

One of the hits that we can all get excited about is Ain't Too Proud – The Life and Times of The Temptations.

Coming to The Kentucky Center July 27 to Aug. 1, 2021, it’s the electrifying, smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame.

The sizzling show is filled with hit songs, perfect choreography, and snazzy wardrobes that bring back memories of the 1960s and ’70s, when music was changing and civil unrest was high.

Nominated for 12 Tony Awards, Ain't Too Proud tells the thrilling story of brotherhood, family, loyalty, and betrayal, as the group's personal and political conflicts threatened to tear them apart during a decade of civil unrest in America.

The unforgettable story of this legendary quintet is set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and so many more.

The show debuted in 2019 to sold out theatres and rave reviews from notable media outlets and patrons alike.

With their signature dance moves and silky-smooth harmonies, The Temptations rose to the top of the charts, creating an amazing 42 Top 10 hits with 14 songs reaching No. 1.

Written by three-time Obie Award winner Dominique Morisseau, directed by two-time Tony Award winner Des McAnuff (Jersey Boys) and featuring the Tony-winning choreography of Sergio Trujillo (Jersey Boys, On Your Feet!), Ain’t Too Proud will visit on over 50 cities across America on its nationwide tour.

More information and tickets are available at Louisville.broadway.com.

 VIDEO: AIN'T TOO PROUD performance trailer.  (L-R) Derrick Baskin, Jelani Remy, Jawan M. Jackson, Ephraim Sykes and James Harkness in AIN'T TOO PROUD. Photo by Matthew Murphy.

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PNC BROADWAY AT HOME Stages may be dark across the country, but we invite you to revisit some of Broadway's most iconic performances online, as well as new versions of old favorites. Check out the videos below!

 VIDEO: Waitress The Musical | Official West End Trailer



VIDEO: Cats | Official Trailer

2021 SHOW SCHEDULE Hamilton February 9-28

Waitress May 11-16

Ain’t Too Proud July 27-August 1

Cats March 16-21

Tootsie June 8-13

Anastasia August 24-29

Tickets and info at: louisville.broadway.com

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Andy Warhol: Revelation Now Open

Discover another side of the Pop artist of

Frontline healthcare workers enjoy free admission—we thank you.

Campbell’s soup can fame. Andy Warhol: Revelation is the

New Hours

Advanced ticket purchase strongly encouraged and face masks required.

Friday 3 – 8 Saturday & Sunday 10 – 5

speedmuseum.org

first exhibition to comprehensively examine Warhol’s

Andy Warhol: Revelation is organized by the Andy Warhol Museum.

Presented by:

complex Catholic faith in relation to his artistic production.

Media support from:

P N C

B R O A D WA Y

Additional support from: Christina Lee Brown The Paradis Family LG&E and KU Foundation DDW, The Color House Land Rover of Louisville

Exhibition season support provided by: Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Debra and Ronald Murphy

Contemporary exhibition support provided by: Augusta and Gill Holland

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PREPARE, PERSIST...

PERFORM!

ACTORS THEATRE’S PROFESSIONAL TRAINING COMPANY ADAPTS ITS CREATIVE PROCESS TO A VIRTUAL FORMAT 10

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by Daniel Chioco

w

hile shuttered movie theatres and eerily empty studio lots steal media headlines, the cameras are still rolling, except this time, it is stage actors and actresses who will be entering center-screen.

The 2020-21 Season for the Actors Theatre of Louisville is underway, and like the rest of us, the fine arts have gone virtual.

Some might lament the pandemic, but the ability to adapt and change is what leads to true breakthroughs, both on stage and off.

Good stories want to be told, regardless of medium. Some might lament the pandemic, but the ability to adapt and change is what leads to true breakthroughs, both on stage and off.

In fact, director Reed Flores asserts that the work being prepared is a little more exciting because of this unprecedented time in contemporary theatre history. “It’s exciting to figure out what is a compelling and important story to tell, and how to make that accessible and safe for everyone,” Flores says.

In a way, the virtual performances are similar to filmmaking.

There’s a lot more control over what the audience sees, giving the creative team greater capability “to be more magical and artistic and conceptual,” as Flores puts it.

But, of course, the finished product often belies the challenges and triumphs that lead up to the final performance.

Thanks to social distancing and other safety protocols, nearly every aspect of the creative process has been reimagined, but that’s not necessarily a bad thing.

THE CHALLENGES OF CREATING ART REMOTELY “Well, we don’t even know how tall each of us is. So that is very strange,” says Actors Theatre Professional Training Company apprentice Ema Zivkovic, when asked about the unique challenges of rehearsing with scene partners online.

For actress Ema Zivkovic, her creative process begins with cleaning her entire apartment to remove any distractions.

Photo by Haley Jakobson.

 Professional Training Company Apprentice Ema Zivkovic's virtual workspace. Photo courtesy of Actors Theatre.

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In some ways, we don't have to worry about blocking so much... Audiences can expect something more personal, visceral, and tactile.

— Reed Flores, Director

“We are stripped of all the things we usually use to build a physical relationship with someone,” she adds. “It’s jarring to see how many things you assume about a person without ever having seen them in real life and real size. This is a challenge but also a treat.”

For Zivkovic, the physical relationship with her fellow actors and actresses is of the utmost importance.

Her creative process and preparation begin with cleaning her entire apartment to remove any distractions and, as she puts it, “deal with the task at hand.”

“I am prone to anxiety,” Zivkovic says. Cleaning gets me into an organized mental space. It might seem obsessive, but if things aren’t a mess around me, I can actually prepare for a messy role.

All roles are messy because humans are, you know?”

“So, I start with the words” on the page, she continues. “I make sure I’m not adding unnecessary layers to it just because actors are always told to do slightly too much. I have to trust that I am good. This takes away the desperation of that good old ‘I-needto-book-something’ state of mind.”

Since the pandemic started, Zivkovic says that her creativity took a turn. She needs more time than she used to for preparation because she is a very physical actor, and physicality doesn’t always translate to the screen like it does on stage.

Yet, the ability of the actors to adapt, including Zivkovic, has certainly impressed director Flores.

stay safe at home — and in different states. All the company meetings and events are conducted via Zoom.

The process doesn’t just impact the performers and their director.

Planning an entire season requires immense coordination and vision.

Sujotta Pace, who has worked for off-Broadway theatres, is Actors Theatre’s Professional Training Company Coordinator and has helped oversee the response to the multiple challenges of the 2020-21 season.

In a typical season, there’s the initial audition followed by callbacks or even multiple rounds of callbacks, depending on the talent pool.

According to Pace, the casting process generally “starts with having a conversation with the playwright and director.

We discuss the character needs and other elements. We then create a character breakdown, which we disburse onto different audition platforms. Once we start receiving submissions, we schedule appointments for the actors, and after the auditions we work collaboratively with the playwright and director to cast the show.”

Because of the pandemic, however, Pace says that “our submission and audition process is totally conducted online now. We request self-tape submissions and host our callbacks via Zoom.”

“Ema did a Shakespearean speech the other day, and they made a whole drink during the performance,” says Flores. “It was just so captivating to watch, and it was so interesting to watch someone bring us into their space and harness control of the camera. To quote Indecent, ‘This is Theatre!’ I was honestly so in awe.”

Indeed, the trend of self-tape submissions increased in recent years, especially in the film and television industry. Now, both film and stage must rely on self-tape to cast talent. While this certainly has its drawbacks compared to in-person auditions, it also opens a wide realm of possibility in the casting process.

COORDINATING ONLINE AUDITIONS AND CALLBACKS

In fact, Zivkovic predicts that this could be a catalyst for more inclusive casting. “The casting process will hopefully be more flexible in the future,” she says. “Actors might see an opening in the industry where there used to be a lot of exclusivity.

I say ‘might’ because there is still a considerable gap between emerging and established actors.”

Prior to COVID-19, apprentices like Zivkovic would have moved to Louisville for nine months. Because of the virtual apprenticeship season, apprentices are afforded the ability to

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... our submission and audition process is totally conducted online now. We request self-tape submissions and host our callbacks via Zoom.

— Sujotta Pace, Actors Theatre's Professional Training Company Coordinator

OPPORTUNITIES EMERGING IN THE ‘NEW WORLD’ For director Flores, sometimes opportunities are revealed by the challenges presented. Working remotely with actors, for instance, is certainly different, but in a way provides another avenue for authentic art.

“The biggest difference is that we're missing the in-person element,” he says. “What translates on stage doesn't always translate on film. Also, timing and rhythm [are] a bigger challenge now, making sure the rhythm feels earned and truthfulness is a focus. In some ways, we don't have to worry about blocking so much... Audiences can expect something more personal, visceral, and tactile.”

The actors and actresses resoundingly second Flores’ sentiments.

Says Zivkovic: “This form is new, and we are all building a new word for theatre. It isn’t theatre because it isn’t in person, right?

True. Theatre can go and rest for a bit. But why would that have to mean that we cannot have something equally thrilling online? Something that can reach people who have never had the chance to see theatre makers create? This is a completely new field. We’re making it up. Audiences should expect to be invited into the process.”

It’s not just the artists who are constantly surprised at the industry’s ability to adapt to trying times. As Pace puts it, “I am surprised every day. I learn something new every day. I am so amazed at how the arts world is taking advantage of all these virtual platforms, it’s a beautiful thing. Nothing is the same and that is good, change is good.”

EXPANDING THE STAGE THROUGH A SMALLER SCREEN In speaking with the members of the 2020-21 Professional Training Company, it was clear that current events beyond COVID weighed on their hearts.

Art and social justice have always been intertwined. Social movements utilize art to raise awareness, build community, and inspire individuals to promote social change. On the flip side, artists use their platforms and stages to promote the ideals that are meaningful to them.

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For Coordinator Pace, it meant literally being the change that she wanted to see. Prior to coordinating for the company, she was an actress herself.

“When attending auditions, I realized there weren’t many people of color behind the casting tables,” she says. “During my time [acting], I only auditioned for three or four POC casting professionals. Wild, right? Looking at this, I started thinking about a career in casting but didn’t know where to begin, because casting isn’t really taught in school.”

Now, Pace is part of the producing and casting team for the Professional Training Company, helping give 20 apprentices a nine-month period to develop their own season, which consists of workshops, solo work, ensemble work, and more.

Director Flores has approached COVID with the mindset that everything happens for a reason. “And at this moment, I believe we're here to pay attention to our world,” he says. “The repeated and long history of institutional violence against the Black community, the misallocation of resources, irreparable damage to the environment, lack of preparedness in times of crisis, etc.

All of this we needed to stop ignoring, learn to unlearn, and do the work. This is our challenge. How do we make a better world? And how can we use art to capture this moment, and communicate, organize, and collaborate together? These are the things that come with me as I work remotely and as we continue to think of new content to create. I'm trying my best to be intentional and specific with what I say, write, and create.”

With something as monumental as a global pandemic, it’s difficult to imagine a return to normalcy. Perhaps there is no return, at least, not without lessons learned.

“I think the direction we’re going in is pretty solid,” Zivkovic says of the changes in the arts. “This is the time to hold people all over the country accountable for the way things have been because there is no distraction of running to a train or working five different side jobs or trying to have a rich social life. We can really focus on what kind of theatre industry we need to see.

“That industry for me is one that pulls underrepresented artists into the room and keeps pulling them in until reparations are no longer needed,” she adds. “It will take a very long time.

So yes, this is and should be a lifetime commitment.”

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A PODCAST WITH ROBERT BARRY FLEMING LISTEN ON YOUR FAVORITE PLATFORM:

Unscripted Weekly Interactive Conversations WEDNESDAYS | FACEBOOK LIVE 14

ACTORSTHEATRE.ORG A U D I E N C E

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ACTORS THEATRE AT HOME Art. Technology. Social Transformation. Liberation. Actors Theatre Direct envisions the future of American theatre with stories about the transformative nature of courage, conviction, and hope.

 VIDEO: "What Else Can We Do" music video.

 VIDEO: "Latinidad in Kentucky" on Actors Direct.

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FUNDRAISING

FOR INNOVATION

THE CHALLENGES OF ASKING FOR MONEY DURING A PANDEMIC

by Kathryn Underwood

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ot everyone would take on the role of fundraising for a large performing arts organization in the midst of a global pandemic. Bert Griffin took on the task when he accepted the role of Chief Development Officer for the Louisville Orchestra in the summer of 2020.

“It has been challenging,” Griffin acknowledged. “The real challenge is that no one actually knows how to fundraise during these times. We’ve never had a global pandemic with this generation.”

Griffin’s job is to handle solicitations of principal gifts to the Louisville Orchestra, which entails working with the board of directors, as well as potential new donors. He has served as an orchestra board member himself for two and a half years, and now manages the organization’s team of fundraisers.

Griffin, a Louisville native, has spent his entire career in the fundraising field, which is a path that seems to run in the family. His mother, also a lifelong fundraiser, had a profound influence on Griffin’s choice of profession.

“She was of the generation when fundraising was a relatively new field, and professional fundraising was not common,” he says. Griffin worked for his mother’s organization for over 11 years.

Griffin experienced plenty of success in his previous roles. At Spalding University, he and his team increased giving by 400%, surpassing their capital campaign goals ahead of the campaign’s end.

Griffin doesn’t claim to accomplish these goals on his own. “Fundraising is always a team effort. At the very minimum, it’s a relationship between fundraisers and donors, but there are also organizations, boards, and others. My job is to try and maximize all of that.”

Fundraising is an honorable profession, Griffin says, and he’s proud to be part of it. “We’re the forward-facing arm of most organizations and exist to make sure the organization can thrive.”

A DEDICATED TEAM Louisville Orchestra’s esteemed conductor, Teddy Abrams, has been a source of inspiration to Griffin. “He’s an amazing person, and Louisville is extraordinarily blessed to have him as part of our community.”

Griffin unabashedly praises everyone at the Louisville Orchestra, including its staff and all the board members who support it. “We have an amazing team, which is one of the reasons I wanted to come here. I’m biased, but I think the orchestra is the jewel of Louisville’s cultural arts scene.”

“We have a really strong group of volunteers, both board and non-board members,” he adds. “A lot of people are dedicating their time, talent, and treasure to make sure the orchestra gets through this pandemic.”

 The Louisville Orchestra 2019. Photo by O'Neil Arnold.

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Whether this involves giving to support educational efforts in local schools, or sponsoring a public musical performance, Griffin strives to offer opportunities for donors to make those things happen.

PIVOTING DURING A PANDEMIC Much of fundraising comes down to having a plan, Griffin says, but flexibility is also key. “You may have to pivot.”

“We’re so pleased to have Bert on the administrative team,” says LO Music Director, Teddy Abrams. “Not only does he have deep connections with the Louisville community, he has been with the orchestra for some time as a subscriber and a board member. He knows us, but is also coming in as we are launching some really bold innovations. Bert has the experience and the imagination to get our big dreams across to donors.

"Because we cannot perform as we usually do,” Abrams continues, “we are exploring new ways to connect. We’re launching the orchestra into technologies that are frontiers for us and creating programs that will be our new realities. It’s been a lot of brainstorming and conceptualizing with a board, musician, and staff innovation committee. Bert is doing the work to make those intangibles a reality that we will announce soon. He has embraced the uncertainties and has been able to nuance the strategies we are attempting to appeal to a new donor base.”

Bert Griffin with his daughter Evelyn.

OFFERING VALUE, NURTURING RELATIONSHIPS Griffin believes that funding for the arts is directly connected to the health of the economy. If the economy is doing well, giving goes up, but if the economy is doing badly, giving drops. This is one reason why fundraising during the COVID-19 pandemic has been so difficult.

“Many arts organizations are furloughing their teams,” he says. “We’re trying to avoid that, and that’s one of our biggest motivators.”

For Griffin, it’s essential to strike a balance between the “asking” aspect of fundraising work and the relationship aspect. “It’s a fine line,” he says. “You have your fundraiser, and you also want to respect your donors and nurture those relationships.”

“Giving is something where you never feel buyer’s remorse,” he adds. He enjoys the work of sitting and talking with potential donors, learning where their passions lie. “If you can match that passion with what you have to offer, that’s a gift they will never feel bad about having made.”

Griffin believes that the more prepared the fundraiser is, and the more people understand what you have to offer, the more opportunities will present themselves. “You want people who give to truly believe in what you’re doing, especially at the levels we’re asking.”

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Griffin recognizes the inherent value in keeping the arts alive through economic hardships. He says that during the strictest lockdown period, he was aware of how his own family was spending their time.

Married with two children, he says that the arts helped them to get through the time of sheltering in place. Virtual experiences with the arts such as singalongs, online concerts, and watching Disney Plus brought joy to him and his family.

“I thought, I don’t want that to go away. There’s got to be a way we can figure out how to do more. We need more people to be engaged with and exposed to the arts because the arts are unifying.”

A quote attributed to Louis Pasteur has stuck with Griffin throughout his life and career: “In the fields of observation, chance favors only the prepared mind.” He feels this boils down to the belief that while luck or chance may have its place, preparation is key to making the most of opportunities, including those within fundraising work.

He also recognizes that fundraising is an ongoing endeavor.

Securing a high-dollar gift is an achievement, but it doesn’t end there. “What else are you doing to help increase that gift?

Who else are we talking to? We can’t rely on a one-time gift, no matter how large, to sustain us forever."

Griffin is determined to help keep the orchestra thriving even in the toughest of economies. “I think as long as Louisville makes the investment in the orchestra and the orchestra stands, there will always be a strong cultural arts presence in the city.”

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Text “RWCF” to 56512 to donate directly

Every bottle purchased of our restaurant favorite, Russian River Ranches Chardonnay, helps support our $100,000 donation to the Restaurant Workers’ Community Foundation.

(Available for purchase at select retailers for a limited time.)

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When has there been A better excuse to escape for a few days?

With 45 state parks in Kentucky, 30 offering camping or private cottages, now is the chance to rediscover your own backyard.

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parks.ky.gov

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LOUISVILLE ORCHESTRA AT HOME Though you may not be able to attend a concert performance in person, you can revisit some iconic orchestra performances in the videos below.

 VIDEO: Owsley Brown Presents Symphony for Nature featuring Teddy Abrams leading the Britt Festival in Michael Gordon’s Natural History.

Performed on location at Crater Lake National Park.

 VIDEO: Teddy Abrams and members of the Louisville Orchestra join Jim James on The Tonight Show with Jimmy Fallon October 2019.

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THE ART of RESTORATION John Chamberlain’s “The Coloured Gates of Louisville” unwrapped.

Photo courtesy of KPA.

PRESERVING THE INTEGRITY OF “THE COLOURED GATES OF LOUISVILLE” AFTER 2018 FIRE

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"While firefighters were battling the fire on the barrel roof, thousands of gallons of water cascaded down the wall behind the piece."

n the days that followed the June 13, 2018, fire at The Kentucky Center, one area of great community concern was the collection of 20th century artwork on display in The Center’s main lobby. In particular, John Chamberlain’s “The Coloured Gates of Louisville,” which hangs on the wall above the Bomhard Theater.

While firefighters were battling the fire on the barrel roof, thousands of gallons of water cascaded down the wall behind the piece. As this sculpture is made of compressed, compacted, and rolled car bodies, there was concern about how water might damage the art.

Due to scheduled ceiling repair work taking place that summer, The Kentucky Center had contracted Bonsai Fine Arts Inc., a nationally renowned company specializing in museum level storage, to build protective covering on the Chamberlain to protect it from dust and debris. Little did we know the protection would be put to such a test.  John Chamberlain’s “The Coloured Gates of Louisville” with protective covering. Photo courtesy of KPA.

Within hours of the fire, experts from the Conservation Center, an international leader in the field of art preservation, were on a plane to assess the situation. Amazingly, “The Coloured Gates” was not damaged.

When the protective cover was removed, water and silt were found on the steel. The crew from the Conservation Center was able to wipe it down with denatured alcohol, which bonds to water and evaporates quickly, eliminating any danger of corrosion. The covering was replaced for the duration of the lobby restoration project, and finally removed in early 2020.

Last month, ART (Art Recovery Technologies) of Greater Kentucky completed their work cleaning dust and debris from every corner of this complicated piece. We invite you to watch this Kentucky Performing Arts Backstage Pass on The Art of Restoration. 

 VIDEO: Thanks to the hard work of ART of Greater Kentucky, the art is safe and in great shape.

SHOW YOUR SUPPORT There are many causes worthy of your support during this uncertain time. We invite you to consider a gift to Kentucky Performing Arts, so that we may continue to build lifelong relationships with the arts across the Commonwealth. Donate.

K E N T U C K Y

P E R F O R M I N G

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AUDIENCE INTERVIEW

SPOTLIGHT ON

PHIL LYNCH

KENTUCKY PERFORMING ARTS FOUNDATION CHAIRMAN

by G. Douglas Dreisbach

Louisville is filled with people who are passionate about the arts and the sustainability of the arts in our community.

The positive benefits of the arts are all-inclusive of age, race, gender, and social economic status, giving us a sense of “escape” when we engage in the genre.

With stages dark around the world due to the COVID-19 pandemic, it is crucial that the groups seek assistance anywhere they can to stay relevant, solvent, and sustainable. We caught up with Phil Lynch, who is the Chairman of the Board for the Kentucky Performing Arts Foundation, to discuss his role on the board and how the foundation continues to provide support and direction for navigating through today’s challenges.

Phil Lynch

This is an excerpt of the full interview. To read it in its entirety, visit Audience502.com.

G. Douglas Dreisbach: Tell us about the Kentucky Performing Arts Foundation.

Phil Lynch: The Kentucky Center for the Arts was created in 1980 by the state legislature to promote state culture and tourism

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and to provide a home for Louisville’s prominent performing arts groups. About the time center opened in 1983, a group of Louisvillians, including many prominent community leaders and philanthropists, decided to create a foundation with the specific purpose of providing support for the Kentucky Center.

Typically, the foundation contributes about 4.25% percent of the value of its assets to The Kentucky Center (now Kentucky Performing Arts/KPA) to help support the organization. Things have changed now with the coronavirus, but the foundation really works hand in hand with the KPA operating board, and most importantly, with the staff, led by Kim Baker, to assist however and wherever we can.

GDD: With the pandemic hitting in March and literally bringing the live performance world to a screeching halt, how did your role and the direction of the foundation change?

PL: I have been on the foundation board for four years, chair since September of 2017. Initially, it was all about Old Forester’s Paristown Hall — funding it, getting it up and running. Then, in 2018, the fire struck the Kentucky Center, so we spent a lot of time dealing with that. And then, this year the focus has been on the coronavirus.

The way things have changed, as everybody knows in any arts organization, is that revenue just disappeared. There might be a little bit of revenue here and there, but the main revenue generators are ticket sales and concessions sales, and both have M A G A Z I N E

I really enjoyed the production of Hamilton more at The Kentucky Center in Whitney Hall than I did in New York... it was just spectacular.

disappeared. The Kentucky Performing Arts Foundation has committed to continue to seek donations while also tapping the assets of the foundation to basically pay the bills of The Kentucky Center until we get out of this mess and can start generating revenue again. It has been a very busy five to six months, as we have had meeting after meeting discerning how best to do this.

GDD: You have been into acting yourself. Tell us about some of your experience on stage.

PL: I grew up in Lexington, Ky., and was involved in the theater because my parents were involved in Studio Players. I grew up knowing about the rehearsal process and then going to see my parents in plays. Then I got involved in a couple productions at the Children’s Theatre of Lexington, which at that time had children acting instead of adults. Then, in college, I got involved with Studio Players and was in some plays, and actually was elected president of the board of that organization and was also where I met my wife, Susan McNeese Lynch.

I moved to Louisville in 1979, and Susan and I got married in 1982, and in early 1985 we performed in a play together at the Clarksville Little Theatre. It was really the first time we had ever done a show together. Then, we had children and both of us were working, so I basically was not able to do anything for a while.

But about 12 to 13 years ago, I got back into the game and started performing again, and it has been a great experience that I have really enjoyed. Probably the best experiences were performing with Susan again in Eve Theater’s productions, Kin and 10 out of 12. Both were at the MeX (Theater in The Kentucky Center for the Performing Arts).

Another way I was involved in the arts here in Louisville was that I was the chief fundraiser for the theater at the Henry Clay building, which is really one of the best theaters in town for the audience and for performers. I was able to finally perform on that stage a couple of years ago when Bunbury Theatre produced Art, a classic play written by the female French playwright Yasmina Reza. I played Marc, who’s kind of a jerk, but that seems to be my type, as I’ve learned over the years.

(Laughing) K E N T U C K Y

Phil and his wife Susan performing together.

GDD: What are some of your favorite moments from the Louisville performing arts and entertainment scene?

PL: My favorite music performance would have been Sting at the Louisville Palace, probably 20 years ago. It was not The Police, just Sting and his new band, and it was a fabulous concert. Theatrically, even though we saw Hamilton in New York prior (not the original cast), I really enjoyed the production of Hamilton more at The Kentucky Center in Whitney Hall than I did in New York. I am not sure if it was simply because of where I was sitting or the way the stage was laid out, but it was just spectacular.

GDD: In closing, imagine that you have everyone’s attention.

What do you say about the performing arts in Louisville, where we are today and where we need to go?

PL: I would tell all the patrons and audience members to stick with us, to be patient. We will be back in some form or another.

As you know, KPA launched KPA at Home (a series of live concerts streamed online) and executed the Governor’s School for the Arts virtually. Actors Theatre and Pandora Productions are doing virtual seasons. Kentucky Shakespeare has been streaming video of past performances that they have done at in Central Park. Some people are doing radio plays. There are opportunities right now. But the whole idea of gathering for a shared experience is going to take a while. I would ask people, if you are able to support the arts organizations with a contribution, please do so, because many of these arts organizations desperately need financial support to get through this period of time when there’s virtually no earned revenue.

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SUPER SUPPORTER

SPOTLIGHT ON LOUISVILLE BALLET BOARD MEMBER ANGIE ZUVON NENNI 26

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A G A Z I N E

by NatalieMHarris

W

isconsin native Angie Zuvon Nenni has made Louisville her home since 1988. Nenni has made her professional home with Delta Dental of Kentucky, where she’s worked and grown her career for 29 years, and where she currently helps lead the organization as Vice President and Chief Administrative Officer.

She adores Louisville for so many reasons — the spectacle, excitement, and especially the fun of the Kentucky Derby — and she can think of no better place to have raised her now adult children, Krista, Jake, and Brad. Angie joined the Louisville Ballet board of directors in 2019 and we’re so fortunate to have her strong, thoughtful presence. We sat down with her to talk about her role on the board and what keeps her passionate about the ballet.

Louisville Ballet: Why did you made the decision to join the Louisville Ballet board?

Angie Nenni: Joining the Louisville Ballet board was unexpected.

A friend in the community thought it might be a good fit, so he made a recommendation to the Louisville Ballet nominating committee. I was not looking to join another board at that time, but the thought of Louisville Ballet intrigued me. I was invited to a lunch to meet a few board members and see if it was a fit for both the Louisville Ballet and me. For a moment, I wondered if there would be a mark against me, since I was using crutches because I had recently broken my foot – of all things – dancing.

Before I made my decision, I attended the ballet’s spring 2019 production of Cinderella, a revival of Alun Jones’ 1979 production.

I also soon after saw the ballet’s summer performance of Cleopatra, with original choreography by Louisville Ballet company dancer Erica De La O, as part of Kentucky Shakespeare’s season in Central Park. Just from experiencing both of those productions, I knew there was something very special about Louisville Ballet. The perfect combination of Robert and the ballet dancers was new, different, and exciting, and I wanted to be a part of it.

"...the people involved with the company are delightful, and the art of dance is beautiful."

— Angie Zuvon Nenni

LB: What keeps you involved?

AN: There are several reasons why I like being involved with Louisville Ballet. On the most basic, immediate level, I’d say that the people involved with the company are delightful, and the art of dance is beautiful. I’d also really say that I’ve found the ballet is an enjoyable way to bring together family, friends, colleagues, and clients.

The company’s board of directors, Artistic Director Robert Curran, the administrative team and the ballet dancers have a dynamic synergy and dedication to our ballet and our community. I’m also happy to add their new Executive Director, Nichole Gantshar, as another engaged, spirited force for the ballet.

I enjoy introducing people to the Louisville Ballet who have never attended a performance before. During the past season, I invited clients, colleagues, and family, and many of my guests had not attended the ballet. I love watching the transformation they experience when they realize ballet can be fun, amazing, and exciting. They are so often surprised when they find, after experiencing a performance for themselves, that they love it, too. I have had instances, immediately after a performance, where my guests would ask if I would invite them again.

One of my favorite family outings was when my children asked to join me for the Antipodes performance, the final production of the 2019-20 Season. We started with a family dinner at a

 Louisville Ballet, Cleopatra. Choreography by Erica De La O, performed as part of Kentucky Shakespeare's season

in Central Park and one of Angie Zuvon Nenni's most memorable performances. Photo by Sam English, 2019.

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Ballet board of directors. His vision and artistry are dynamic and creative, no question. Not only does he choose productions that are known and loved by all, but he also introduces Louisville to new productions. There is something for everyone, every season. Many people may not know that Robert danced with The Australian Ballet for 16 years, with 10 of those years as a principal dancer. Louisville is so fortunate to have such a talented professional in our city’s artistic community.

LB: What do you Louisville Ballet?

wish

everyone

knew

about

AN: I wish that everyone knew, without hesitation, that ballet is not only for people who have had a love for it all their lives; love and appreciation for the ballet really can begin at any time. I encourage those who have not had the opportunity to attend, or haven’t been to a performance lately, to make some time to watch the upcoming virtual season. Make this your own personal experience – family time, friend time with your favorite wine, pick up a fabulous dinner and watch it with your spouse or loved one. Do it any way you want to do it, make it your ballet!

Louisville Ballet Company Dancer Leigh Anne Albrechta in Ronald Hynd's The Merry Widow. Photo by Sam English, 2019.

LB: What do you think is the biggest challenge facing the ballet? Opportunity? Is this different from other arts organizations?

local restaurant and then attended the performance. It was a wonderful way to spend time with my family, and everyone enjoyed the performance. We are already making our plans to attend the upcoming virtual Season of Illumination together from our living room. Even though the venue will be different from last season, I’m certain that the family togetherness and fun will be the same.

AN: One of our biggest challenges, like so many in our community, is navigating through this time of COVID. Ballet has historically been centered on patrons experiencing performances in theaters. Until we can get back to these venues, it is so important that we stay creative and flexible with how we bring the ballet to our guests.

LB: What's your favorite Louisville Ballet moment?

AN: The Merry Widow, the first production of the 2019-20 season, for sure. This performance coincided with the annual Louisville Ballet Gala. Our Delta Dental of Kentucky clients, along with some of my colleagues, joined us at the Gala and at The Merry Widow performance immediately afterwards.

Most of our guests had not been to a ballet besides our fabulous Brown-Forman Nutcracker. And, to be honest, the morning of the performance I realized that I had no idea what this ballet was about, so I started researching to find out. The more I read, the more excited I got. And for good reason. It was a beautiful ballet with comedy woven throughout the performance. I sent the story of The Merry Widow to all of our guests before we all attended. Their reaction and comments were sent back and forth throughout the day, making for such a fun and exciting interaction leading up to the event. I had no idea that humor could or would be part of a ballet performance. I hope this production returns some day for those who did not have the opportunity to see it. It is a must-see.

LB: What is special about Artistic Director Robert Curran, and why does his vision for the ballet resonate with you?

AN: Robert is one of the main reasons I joined the Louisville 28

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However, this really can be an opportunity to invite more people to experience ballet. For those unable to typically attend performances, we’ve now created opportunities for them to join us. Louisville Ballet is creating a virtual season, where anyone with an internet connection can experience the magic of ballet from their living rooms. I’m so excited to experience these ballet art films for myself and to share them, and the experience, with my friends and family.

LB: Is there anything else you feel like we should know about Louisville Ballet?

AN: I loved discovering these Louisville Ballet “fun facts” as I learned more about the company, like Louisville Ballet is the official state ballet of the commonwealth of Kentucky. I was also a little stunned to find out that Louisville Ballet was originally founded in 1952 and will celebrate its 70th year during the 2021-22 Season. They’re also the only regional company that has danced with Mikhail Baryshnikov as part of performances.

During its storied history, the ballet has had more than 60 world premiere performances and more than 100,000 people typically attend their annual productions.

This incredible company deserves to be celebrated, and I’m so happy to have the opportunity to help it grow and thrive for years to come.

M A G A Z I N E

LOUISVILLE BALLET AT HOME Bring the joy of dance into your home by viewing these beautiful, moving performances.



VIDEO: Louisville Ballet Season of Illumination memberships are available now.

Get a preview of the experience!



VIDEO: "Why Dance?" The benefits of dance education.

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WELCOME WAGON

TAKING THE REINS Louisville Ballet’s Nichole Gantshar

by Jamie Mountford

The Louisville Ballet’s mission is to make moving art that respects tradition, encourages innovation, and fosters life-long learning. The organization inspires connection, conversation, and a profound sense of community by striving for bold collaborations, by nurturing the next generation of artists, by celebrating diversity, and by creating access for all.

Under the leadership of Artistic Director Robert Curran, the company is regarded as one of the finest in the country, and has celebrated several successful seasons. To continue to grow and inspire, the Louisville Ballet is pleased to introduce its new Executive Director, Nichole Gantshar.

Gantshar has been serving as Interim Director since early March and has now transitioned into the permanent role. Curran, who has acted as both Executive Director and Artistic Director since 2015, will shift his focus fully to Artistic Directing.

Gantshar has an extensive background in dance and administration. Most recently, she served as Executive Director for The Rochester City Ballet. While under her leadership, the company received two 30

grants from the National Endowment of the Arts, tripled its overall grant revenue, and increased ticket sales by 30%.

We look forward to celebrating the positive outcomes of this promising partnership.”

Prior to that, Gantshar was on staff of the Tulsa Ballet and Pittsburgh Ballet Theatre, and earlier in her career worked for Richmond Ballet, Syracuse Stage, and Milwaukee Ballet. She was also a freelance dramaturg for Playwrights Horizons and Pittsburgh Public Theater.

ARRIVING AT A TIME OF CRISIS

Her talents extend to the classroom and studio as well. She taught at Syracuse University, the University of Stony Brook, the University of Pittsburgh, and Wooster Center of the Arts. Her varied interests have also included serving as a legislative aide in U.S. Congress, and serving on the staff of the Post-Standard newspaper.

“On behalf of the board of trustees, I am excited to formally welcome Nichole as Executive Director,” says Jim Haynes, Louisville Ballet Board President. “We believe that she brings a strong background of administrative leadership, financial discipline, and ballet experience that when combined with Artistic Director Robert Curran’s incredible vision and drive, will ensure the continued success of the company.

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Gantshar’s arrival in Louisville has not been without its challenges. “Normally, the first 90 days as Executive Director are spent outside of the office learning the city and meeting community leaders, the board, and the staff,” she says.

The lockdowns made that impossible, so she has done her best to explore the city on her own.

She recounts walks to Cave Hill Cemetery to visit Muhammad Ali’s grave, strolls through the grounds of the Southern Baptist Theological Seminary, and visits to several local ethnic restaurants.

She is most excited about becoming a season subscriber to the Louisville Bats next year.

Gantshar’s first days on the job were also met with unexpected challenges. “On March 11, I loaded up my car with every cocktail dress I own, two Derby hats, a ball gown for good measure, and two pairs of blue jeans,” she says. “On March 12, my first day, Robert handed me a bottle of bourbon and said, ‘I got you a present. You may need it by the end of

For a city many would consider part of the traditional South, Louisville is much better poised to have the conversation about race and inequality than other cities I’ve lived in... I look forward to the Louisville Ballet being part of the conversation.

— Nichole Gantshar the day.’ Within the first 30 minutes, we had postponed Kentucky! Volume One and the upcoming fundraiser.

The next day, we sent everyone home.

I have yet to wear a cocktail dress, and I had to buy more jeans.”

Although her experiences as Executive Director have been atypical, her initial impressions of the city and the Louisville Ballet from her interview in November remain very positive. She adds that this time while stages are dark has given her the opportunity to get to know Curran better.

“My impression when I started was that Robert Curran was incredibly talented.

What I have learned is that he is not only artistically brilliant, but also intellectually brilliant.”

She also jokes about her affinity for Australians. “Robert is the third Australian I have worked with. I was a dramaturg for Rod Wissler, a professor from the University of Quennsville, while he was in the United States directing, and the Artistic Director at The Rochester City Ballet, David Palmer, was also Australian.”

A RETURN TO THE (VIRTUAL) STAGE Gantshar is looking forward to finally seeing the company’s dancers in action when they return Aug. 31 to begin preparing for the 202021 season. The fully digital season, Season of Illumination, will feature ballet art film productions of locally inspired new works and internationally recognized classics, all innovatively and cinematically filmed.

“Robert was in front of most ballet companies to go with a digital season

this year,” Gantshar says. “The board made a strong commitment to bring back the dancers. They are our reason for being.”

Louisville, like much of the country, has been impacted by racial tensions and protests, and Gantshar has paid attention to Louisville's response.

“For a city many would consider part of the traditional South, Louisville is much better poised to have the conversation about race and inequality than other cities I’ve lived in,” she says. “Sometimes in the North, people pretend racism doesn’t exist. I share everyone’s concern about what is going on in Louisville, but I am optimistic that Louisville has the personnel, people, and spirit to resolve these issues. I look forward to the Louisville Ballet being part of the conversation.”

“I’m excited to welcome Nichole to join me in leadership of this company’s dedicated and talented team as we continue to move forward during our upcoming digital Season of Illumination and beyond,” says Curran. “The dancers and staff have proven their capacity for great things, even in the midst of significant challenges. I look forward to pulling together, with Nichole’s insight and support, to continue making moving art, this season and for many seasons to come.”

LOOKING TO THE FUTURE

MOVING THE COMPANY FORWARD

While Gantshar assumes an Executive Director’s responsibilities, Curran can concentrate on artistic direction. “My job is to empower Robert Curran’s vision for the company, and anything I can do to do that is my goal for the ballet,” she says. “He is the visionary leader taking us forward. I can facilitate that by making sure the organization is running well, expanding fundraising, and strategic planning with board members.”

Despite the shutdown and other challenges, Gantshar has been hard at work with the Louisville Ballet team behind the scenes. She has submitted a proposal for a National Endowment of the Arts grant. She is also learning all she can about the ballet’s engagement programs, including the upcoming Ballet Bound.

Ballet Bound is a new initiative that provides young dancers from all across Greater Louisville the opportunity to study classical ballet free of charge in a professional setting. Last year, the program offered free dance classes in underprivileged schools. This year, Ballet Bound will add a scholarship program for 15 participants to study at Louisville Ballet. The program is designed to build diversity in the world of ballet while serving as a pathway for dancers to The Louisville Ballet School, Louisville Ballet Studio Company and eventually a career with Louisville Ballet.

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As Executive Director, Gantshar recognizes that she is building on Robert Curran’s success. When the company was smaller (under $3 million), a single director could run the organization effectively. But now, like most of the major ballet companies in the country, Louisville Ballet has expanded to a size that necessitates two full-time directors. Curran had grown the company to $4.5 million pre-COVID.

Gantshar considers herself a talker and loves hearing what inspires patrons and donors about the ballet. She also loves solving problems.

“One of the best things about my job is that if there is a problem, I can fix it.

I can engage allies,” she says.

“I remember on opening nights in Rochester, I knew my staff and myself had helped make the performance happen by raising the money for them to create art, and I would cry. I look forward to doing that here as well.”

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THE WORLD of BEETHOVEN

SYMPHONIES AND AN OPERA

by Joseph Mechavich, Kentucky Opera Artistic Advisor 32

A U D I E N C E

M A G A Z I N E

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eethoven is known for his symphonies – but did you know that he also wrote an opera?

In my early years as a pianist, and I mean early, like middle school all the way through graduate school, I played a lot of Beethoven: 12 out of the 32 piano sonatas, three out of the five piano trios, six out of the 10 violin sonatas, the song cycle An die ferne Geliebte, a cello sonata, and a couple of piano trios.

If I wasn’t practicing or performing Beethoven myself, I was listening to his music played by the Minnesota Orchestra or Saint Paul Chamber Orchestra in the concert hall when I was a kid, the Boston Symphony Orchestra during a transformative summer at Tanglewood in 1985, or the Cleveland Orchestra when I was studying at Oberlin. Beethoven was a constant in my early musical life.

to not end his life, but to continue to live. Musically, this period mirrors the theme in the Heiligenstadt Testament: the struggle against adversity and the concept of the hero. These ideals served as a foundation for his instrumental compositions, and his pieces took on a narrative aspect.

We are all familiar with Beethoven’s music. Whether it be his Fifth or Ninth Symphony, or “Moonlight” Piano Sonata— we hear him everywhere.

Below are some musical examples to get you into his middle period and the musical world of Fidelio. You will hear Beethoven’s signature harmonic tension, rhythmic syncopation, sublime melody and sharp dynamic contrasts.

Most important is the integration of the narrative of the hero’s struggle over adversity, a major theme within Fidelio.

After grad school at Yale, I veered off my path to be a pianist/ conductor and found myself in love with opera. Beethoven, Schubert, and Chopin were replaced by composers like Puccini, Verdi, and Rossini. As I prepared for Kentucky Opera’s September 2014 production of Fidelio, Beethoven’s only opera, I felt like I was re-engaging an old friend and rediscovering his amazing genius.

Beethoven had three compositional periods. Fidelio was composed during his middle period, from 1803-1814. At this point in his life, Beethoven was coming to terms with his encroaching deafness and decided to travel to Heiligenstadt for potential treatments to reverse his deafness.

While there, he wrote his Heiligenstadt Testament. In this piece, he poetically speaks about his own deafness and his willingness

 VIDEO: Symphony No. 3 in E-flat major, Op. 55 “Eroica,” Movement 1, Allegro con brio.

 Beethoven. Image courtesy of Wikimedia.

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[Beethoven] was a musical revolutionary that bridged the classical and romantic periods.

All the aspects and traits of Beethoven’s great musical transformation are in his opera Fidelio.

- Joseph Mechavich

Beethoven was fond of Napoleon and the ideals of the French Revolution for a period of time, and he instilled within this symphony a narrative describing the portrait of a hero.

With this symphony, the audience no longer focused on the compositional technique of Beethoven, but the meaning and interpretation of the work.

 VIDEO: Piano Sonata in F minor, Op. 57 “Appassionata.”

In this sonata, Beethoven is shedding light on nature’s forces and the power of man to overcome them (struggle over adversity).  VIDEO: Piano Concerto No. 5 in E-flat major, Op. 73 “The Emperor,” Movement 3, Rondo: Allegro ma non troppo.

This piece is regarded as the “culmination” of his heroic phase.

I have selected one of my favorite pianists, Alfred Brendel.

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A U D I E N C E

Beethoven composed Fidelio and fleshed out the many versions of his magnificent score over the course of 12 years — or the entire span of his middle period. He was a musical revolutionary that bridged the classical and romantic periods. All the aspects and traits of Beethoven’s great musical transformation are in his opera Fidelio.

M A G A Z I N E

That was one of your best decisions.

This is too.

When you took hold of that wheel, you unleashed a world of possibilities.

Keep on exploring them.

Visit trilogyhs.com today.

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SIGHTS AND SOUNDS

TELEVISION PREMIERE OF AS YOU LIKE IT ON KET COINCIDES WITH ALBUM RELEASE 36

A Uby DRobert I E N CSilverthorn E M A G A IIIZ I N E

K

entucky Shakespeare is pleased to partner with KET, the state's network of PBS member stations, to broadcast an encore production of its 2019 production of As You Like It. Performances will air on Sept. 6 at 8 p.m. and Sept. 11 at 7 p.m. on KET KY: The Kentucky Channel.

"We set this production in 19th century Kentucky, as a celebration of the Commonwealth. We certainly couldn’t have predicted how extra meaningful this production would be at this time, giving us the opportunity now to reminisce, laugh, and experience another beautiful Central Park evening together under the stars."

The production was filmed live on the Kentucky Shakespeare Festival stage in Louisville's Central Park in the summer of 2019. Matt Wallace, Kentucky Shakespeare’s Producing Artistic Director, directed the production featuring live music with original songs composed by Kentucky singer-songwriter Aaron Bibelhauser.

Coinciding with the TV broadcast premiere is the release of a new album, As Y’all Like It, Songs from Kentucky Shakespeare, featuring Bibelhauser and guest artists performing his original songs created for the production.

“We are excited by this new opportunity to reach Kentuckians throughout the state, further removing access barriers to art, thanks to KET,” says Wallace. “We set this production in 19th century Kentucky, as a celebration the Commonwealth.

We certainly couldn’t have predicted how extra meaningful this production would be at this time, giving us the opportunity now to reminisce, laugh, and experience another beautiful Central Park evening together under the stars.”

As You Like It is Shakespeare’s beloved, gender-swapping romantic comedy set in the Forest of Arden, where lives can be transformed when you least expect it. The production ran May 29July 22 at the C. Douglas Ramey Amphitheater in Central Park in Old Louisville and stars Hallie Dizdarevic as Rosalind, with Jon Becraft as Orlando, Gregory Maupin as Touchstone, Abigail Bailey Maupin as Jacques, Crystian Wiltshire as Silvius, Jon Patrick O’Brien as Oliver, and making their Kentucky Shakespeare debut, Amber Avant as Celia and Angelica Santiago as Phebe.

The new album release, As Y’all Like It, Songs from Kentucky Shakespeare, contains five original tracks featuring Bibelhauser and guest artists including Grammy-winning musician Michael Cleveland.

Cover art by Karl Anderson. Graphic design by Kyle Ware.

 2019 production of As You Like It in Central Park. Photo by Bill Brymer.

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Bibelhauser is a singer, songwriter, and instrumentalist from Louisville. In addition to writing songs recorded by award winning bluegrass artists including Balsam Range and Del McCoury Band, he's taken first place in the Chris Austin Songwriting Contest at Merlefest and earned a nomination for the IBMA's prestigious Song of The Year Award. He has also had song placements in television, film, and theater. A charttopping solo recording artist, radio broadcaster, session player, and record producer, Bibelhauser fronts the Kentucky based bluegrass band, Relic, along with his twin brother, Adam.

“I am so excited to share these new songs and even be so bold as to turn a few Bluegrass fans into Shakespeare fans... and vice versa. It’s been an honor to work with all the talented folks at Kentucky Shakespeare, and to incorporate their mission and vision in the production of these recordings,” says Bibelhauser.

“I was initially dumbfounded with the opportunity to essentially, co-write songs with one of the most profound, timeless, and influential humans to ever scribble words on a page. Exploring

K E N T U C K Y

Shakespeare’s universal truths, is an immensely powerful experience and has become a great source of inspiration for me. I want to extend a huge ‘thank you’ to Michael Cleveland, for his continued friendship and encouragement, and to Matt Wallace.”

“Aaron’s soulful and foot-stomping tunes help make the timelessness of Shakespeare even more relevant, as if these words were written today. And to now be able to experience his tunes in this new way, with world class bluegrass musicians, is truly a delight,” says Wallace.

The upcoming encore performances of As You Like It can be streamed live on KET’s website.

CDs of the new album will be available for purchase on the Kentucky Shakespeare website at kyshakespeare.com/merch starting Sept. 10, and sales support Kentucky Shakespeare.

Digital downloads will also be available where music is sold.

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ADVANCING A MOVEMENT

NEWLY-FORMED ARTS AND RACE EQUITY TASK FORCE ELEVATES BLACK VOICES IN THE ARTS

by Connor Rafferty 40

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or renowned author, poet, and activist Hannah Drake, this is a concise summary of what Black artists in the Greater Louisville area can expect from Fund for the Arts’ Arts and Race Equity Task Force, which she leads along with Victoria Russell, Papa John’s Vice President for Diversity, Equity, and Inclusion. A key objective of the task force, according to Russell, is “to guide the Fund in revolt against racial injustice, to advance racial equity across the arts and culture sector and the community, and to elevate the voices of our Black artists.”

Russell has been with Papa John’s for 14 years, working in marketing analytics before assuming her diversity and inclusion (D&I) role in 2018. She also has a wealth of human resources experience from her time at Brown-Forman and Humana.

Born and raised in Louisville, Russell was approached in

“My interest was immediate,” says Drake, who is no stranger to organizing nonprofit initiatives for artists. At IDEAS xLab, she helped design Project H.E.A.L (Health, Equity, Art, Learning), an initiative dedicated to enacting policy change through engagement in arts and culture.

The ongoing pandemic and nationwide protests against racial injustice gave Drake a sense of urgency to join. “Art revolves around the movement,” she says. “This will be a time where artists are painting or writing or sculpting or creating something that speaks to what is happening in the world.”

INCREASING ACCESSIBILITY The two women have matching concerns that drive the task force and influence the Fund. When Russell joined the board, she wanted to make sure that funds were distributed inclusively, something Drake also finds important. Luckily, the Fund

Art revolves around the movement. This will be a time where artists are painting or writing or sculpting or creating something that speaks to what is happening in the world.

— Hannah Drake

pre-pandemic 2019 to join the Fund for the Arts board.

Before long, she was heading the Arts and Race Equity Task Force.

Drake became involved during what Russell terms the “pause and pivot” period caused by the COVID-19 outbreak. Adding one of Louisville’s most well-respected and popular artists to the newly formed task force was not only personally exciting for Russell — she was blown away by Drake at the Ali Center’s “Daughters of Greatness” event — she also valued Drake’s insight into who and where the community needed the Fund’s help.

has committed to making the arts more accessible to all of Greater Louisville, especially in neighborhoods historically given little attention.

“I commended them for acknowledging that the Fund had not always been accessible,” Russell says. “It was important for them to continue to evolve, and that was something I wanted to be a part of.”

Russell and Drake make increasing access a priority. One of the first initiatives they helped organize was the Listening Tour with

 Hannah Drake performing at the 2018 Festival of the Faiths. Photo courtesy of Wikimedia.

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When I see people from different backgrounds, race, coming together to find solutions that bring us together — that gets me so jazzed.

— Victoria Russell

Black Artists, a forum to hear and freely discuss issues faced by Black artists and their community, and to figure out ways in which the Fund could help.

One of Russell’s local favorite artists is Kula Art Gallery owner Charles Rice. “I’m proud to see him thriving still, and that people are still supporting.” Russell owns a few of Rice’s paintings.

“We don’t have to make this up: Ask people what their challenges are, what their barriers are. What are their hopes and dreams? What’s working? What’s not working?” Russell says.

“Let those insights inform the path forward.”

DISTRIBUTION OF FUNDING

These virtual conversations exemplified a perfect blend of their strengths — business-world and art-world expertise. Russell had conducted listening tours early into her D&I role at Papa John’s, while Drake anticipated what sorts of issues would be most central in these discussions.

INCREASING VISIBILITY Drake wants the task force to find safe and effective ways to share the Fund’s initiatives with people in underserved areas who don’t have reliable access to technology/WiFi and can’t access online programming. She is also a big proponent of crossing the Ninth Street divide to bring the arts to underserved communities rather than make them come to it. “It’s a must to support artists west of Ninth Street.”

Russell and Drake are working to increase visibility for Black artists, even those who court controversy. “There are a lot of gatekeepers in the Louisville art world,” Drake says.

She’s concerned that those gatekeepers — i.e. organizations and institutions that provide funding to artists — may hesitate to help artists whose work may not seem traditional.

“It’s still art — art that serves a purpose, and art that speaks to a movement,” Drake says. “You have to be courageous as an art institution to say, ‘I am going to fund this artist, I am going to let this artist create whatever it is they want to create, and I’m going to use whatever power and influence I have to open up a door for this artist.’ ” Drake, who had been writing for 20 years before going viral with poems like “Formation,” “All You Had to Do Was Play the Game, Boy,” and the blog post, “Do Not Move Off the Sidewalk,” understands that recognition helps artists. Just a few of the Black Louisville artists Drake believes everyone should take notice of are: Ashley Cathey, Sandra Charles, Robin G, Lance Newman, and Rheonna Thornton.

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The Arts and Race Equity Task Force reflects its leaders: a healthy mix of artists and business-world types. Diverse and inclusive across race, gender, age, experience, expertise, and other backgrounds, the team offers a wide variety of insight.

The task force has helped to guide the Fund’s recent grantmaking efforts by evaluating applicants for grants in the amounts of $500 to $2,000 for struggling Black artists, and $15,000 for Black-owned restaurants who needed help with fixed operating expenses.

“There’s a lot of worthy candidates, which makes for some really tough discussions,” Russell says. “I wish we had more funds to distribute, but I’m thankful for the ones that we do have.”

The team uses a rigid scoring system to ensure the grantmaking process is fair and objective. “The judges that we’ve put in place look at the budget process, the audience that they’re going to be impacting, discipline, the demographics, years of experience, all kinds of things,” says Russell. For restaurants and groups of artists, a special consideration is how closely they will follow the COVID-19 health and safety guidelines.

Drake thinks that focusing on Black artists specifically helps streamline the grantmaking process, and applauds the Fund’s courage to be so openly specific in their aim. “If this is going to be a fund for Black artists, then let it be that. A lot of organizations and institutions don’t have the courage to say that.”

Though the task force is still in its early days, Russell can already see a glimpse of the impact it will have in the future.

“What’s going on in this country is not a Black issue to solve — it’s a humanity issue,” she says. “When I see people from different backgrounds, race, coming together to find solutions that bring us together — that gets me so jazzed. I have seen that happen on this committee, and I have seen that on the board for the Fund. That reminds me why I’m a part of this organization.”

M A G A Z I N E

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Andy Warhol: Revelation Now Open

Discover another side of the Pop artist of

Frontline healthcare workers enjoy free admission—we thank you.

Campbell’s soup can fame. Andy Warhol: Revelation is the

New Hours

Advanced ticket purchase strongly encouraged and face masks required.

Friday 3 – 8 Saturday & Sunday 10 – 5

speedmuseum.org

first exhibition to comprehensively examine Warhol’s

Andy Warhol: Revelation is organized by the Andy Warhol Museum.

Presented by:

complex Catholic faith in relation to his

Media support from:

artistic production.

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Additional support from: Christina Lee Brown The Paradis Family LG&E and KU Foundation DDW, The Color House Land Rover of Louisville Contemporary exhibition support provided by: Augusta and Gill Holland

M A G A Z I N E

Exhibition season support provided by: Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Debra and Ronald Murphy

SPEED MUSEUM AT HOME Take virtual tours of our programs and exhibits from home!

 VIDEO: Blotted Line Drawing art-making activity.

 VIDEO: Black Artists Matter: Meet Sam Gilliam.

 VIDEO: Recording of August’s After Hours at the Speed event.

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raise a glass for restaurant workers.

Every bottle purchased of our restaurant favorite, Russian River Ranches Chardonnay, helps support our $100,000 donation to the Restaurant Workers’ Community Foundation.

(Available for purchase at select retailers for a limited time.)

Please enjoy our wines responsibly. ©2020 Sonoma-Cutrer Vineyards, Windsor, Sonoma County, ca Msg & data rates apply. Participating carriers only. Void where prohibited. STOP to quit. HELP for info.

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M A G A Z I N E

Text “RWCF” to 56512 to donate directly