Audience Magazine | Louisville Arts & Entertainment | December 2022

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

PNC BROADWAY IN LOUISVILLE Education Program Brings Kids to the Theater. Page 6 | LOUISVILLE ORCHESTRA Fate Knocks with Two 'Fifths' of Beethoven in January. Page 12 | KENTUCKY PERFORMING ARTS Béla Fleck Looks Forward to Louisville Show. Page 16 | LOUISVILLE BALLET Holiday Tradition Continues to Delight. Page 22 | KENTUCKY SHAKESPEARE A Modern Adaptation of a Beloved Classic. Page 28

A STORYBOOK ENDING

I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.

− Fred Rogers

Oh, the weather outside is … well, unpredictable at best, and we’re as likely to get a tornado this month as we are to see any snow in the Louisville area. But for all who celebrate, this is a most wonderful time of year to gather with friends and family, sip eggnog, hang some tinsel, light candles, spin a dreidel, give thoughtful gifts, and sit down for a communal feast.

We think Mister Rogers had the right idea. The holiday season and our favorite stories have a lot in common, and let’s face it — we’re all kids at heart when December rolls around.

What better time of year to revisit classic stories like Louisville Ballet’s The Brown-Forman Nutcracker on stage? In this issue of Audience Magazine, we share a little about the history of the production, as well as some modern accommodations so that everyone can enjoy the show.

Amy Higgs Managing Editor

Speaking of classics, you may not know the name of it, but we promise you’ll recognize at least the first few notes of “Symphony No. 5.” Fondly called Beethoven’s Fifth, it appears in tons of movies, TV shows, and even a couple of cartoons. You can read the history of the piece, as well as another “fifth,” in our performance preview on page 12

You also don’t want to miss Kentucky Shakespeare’s modern adaption of a classic Jane Austen novel on stage in January (read more on page 28). Going back even further in history, we’re pleased to feature a preview of Shen Yun: China Before Communism, which will bring ancient Chinese music, dance, culture, and performance to life in a vivid explosion of sights and sounds. See page 20 for photos and details.

You can also read a message from famed Bluegrass artist Béla Fleck himself about why he’s so excited perform again with an amazing lineup of guest artists. And be sure to check out our feature on the Louisville Theatrical Association’s grant program, which allows young students to have a one-of-a-kind Broadway experience that might not otherwise be possible.

Thanks, as always, to our generous advertisers for another great year, and for allowing us to bring you these great stories about Louisville’s vibrant performing arts community at no charge to you. We look forward to sharing more stories of both classic shows and brand-new productions in the new year and beyond.

Happy Holidays,

G. Douglas Dreisbach Publisher

— Amy & Doug

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

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

On the Cover: Louisville Ballet Company Artists Leigh Anne Albrechta and Ryo Suzuki as Marie and the Nutcracker Prince. Photo by Josh Mauser, 2021. Read more on page 22

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THE EXPERIENCE OF A LIFETIME

LOUISVILLE THEATRICAL ASSOCIATION'S EDUCATION PROGRAM CONNECTS KIDS WITH BROADWAY

by Julianna Nasif

Thousands of students have been able to see professional Broadway performances thanks to the Louisville Theatrical Association's education program.

The Louisville Theatrical Association works to enhance and grow support for the Broadway Series as well as community involvement in the arts through outreach and education. The program provides education grants that subsidize tickets for school-age children.

HOW THE PROGRAM WORKS

Youth from predominantly underprivileged communities are invited by PNC Broadway in Louisville to attend performances for first-class touring Broadway productions at The Kentucky Center for the Performing Arts. President of PNC Broadway in Louisville and Chair of the Louisville Theatrical Association, Leslie Broecker, called this season’s offerings “a kaleidoscope of cultural experiences,” and says, “There really is something for everybody.”

This year’s season offers classics and new performances, including Fiddler on the Roof, Pretty Woman: The Musical, Annie, Ain't Too Proud-The Life and Times of The Temptations, Hadestown, and Harper Lee’s To Kill A Mockingbird

Children are treated to a special evening in prime seating at these mainstage productions, offering them an unforgettable experience they may not otherwise have access to.

HOW THE EDUCATION PROGRAM HELPS CHILDREN LEARN & GROW

Broecker sees the educational program as a benefit to both the students and the arts community. “It gives the youth a chance to experience something they might otherwise miss out on and it gives the community new patrons as well as artists from stagehands to performers,” she says.

According to Broecker, by providing young people with an in-depth theater experience, the Louisville Theatrical Association hopes “they will be bitten by the theater bug and stay involved for a lifetime.”

Greathouse Shryock Traditional Elementary School Assistant Principal Michael Ice echoes this sentiment. Ice has been an educator for 25 years and the school is a long-time recipient of the program. He recently took a group of students to see Fiddler on the Roof.

Among the many benefits of the program, Ice says, “The children make lasting memories, and it gives them a real-life experience that they relate back to in conversation even months later. It often awakens an interest in the arts and their production for the students.”

Broecker says it takes passionate and compassionate teachers like Ice to seek out and make the most of the educational program with related curriculum in the classroom.

 A group of local students were excited to take in a recent performance at The Kentucky Center, thanks to the Louisville Theatrical Association's education program.

“The program offers children the experience of the show as well as additional related experiences in the classroom when appropriate,” she says. “These events and exercises include talk backs, in-school workshops, and masterclasses with touring Broadway company cast and crew members.”

A SPECIAL NIGHT FOR STUDENTS

Teachers can use the program to incorporate enrichment activities into the classroom, and Ice recommends classwork that connects the children to the experience beforehand. Researching aspects of the play, such as the play’s author, time period or other elements gives it a deeper meaning for the children when they get to attend.

Ice is exactly the type of educator that the PNC Broadway in Louisville President loves to rave about. He goes the extra mile in making the most of the experience for the children who he taps to participate in the program and aims to create what he calls “a magical New York night out.”

The shows take place in the evening or on the weekend outside of school hours. Ice has the children stay after school, where they are joined by a family member who will also accompany them to the show. He believes this is an important element because it allows time for a special bonding experience for the family, as well as a learning opportunity for the student.

Ice teaches theater etiquette and explains what everyone should expect. This ensures that the guests will be comfortable at the show. Then everyone boards the bus together. Partnering with a local restaurant, they go to dinner together before heading to The Kentucky Center for the performance.

Not everyone will be able to make all of the special arrangements that Ice does, but a creative teacher should be able to pull many learning elements out of the experience and create a special memory for children who are guests of the Louisville Theatrical Association's education program.

WHY EXPOSURE IS IMPORTANT FOR YOUTH

Children who come from lower-income homes may not experience the arts without programs like these, which is why the Louisville Theatrical Association's education program is so important. Providing this opportunity for children with less access gives them an experience that helps them to relate to people of other socioeconomic groups. This is a valuable asset as the child grows and looks for opportunities for social and economic upward mobility.

Research shows that exposing children to the arts helps them to develop cultural awareness, embrace multiple points of view and see things from different perspectives. Exposure to the arts at a young age often leads to participation — on either the performance or production side. Involvement in the arts can improve language skills, decision making, and confidence, all of which help young people to find success in school and in life.

RAISING AWARENESS ABOUT LTA'S EDUCATION PROGRAM

The biggest challenge facing the Louisville Theatrical Association's education program is that it is not well known. It’s one of the best kept secrets in the Louisville arts community, but Broecker is working to change that.

As awareness about the program grows, more patrons will donate to support the cause, and then more educators and their students will benefit.

It is at the core of the LTA’s mission to educate the public, especially youth, about the arts. However, it is up to teachers like Ice to take the initiative. An educator may apply once each year for tickets to a single show within the season programming.

How teachers choose to use the experience within their curriculum is up to them. One thing is guaranteed, however — students will have an experience that will give them memories to last a lifetime.

Local children enjoyed a Fiddler on the Roof matinee.

WAVELAND STATE HISTORIC SITE

A Living Museum and a Christmas Delight

themed tree, twinkle lights, and flickering candles. Holiday teas with festively decorated tables, delightful holiday food and teas, and a small gift have become a holiday tradition for many, and include a tour of the mansion to complete the unique holiday experience.

Completed in 1848 by Joseph Bryan, historians consider Waveland to be one of the finest examples of Greek revival architecture in Kentucky.

A visit today invites you to a living house museum. Personal effects, from needlework to handwritten letters, lay undisturbed as if the household

has briefly departed in preparation for your visit. Guided tours of the historic site provide background and focus on the everyday lives of the family and the enslaved people who lived and worked at Waveland in the 1850s.

Waveland is magical at Christmas time. Every room is a dreamland with a

Reservations are required by calling 859-272-3611, but if you miss them in December, Tuesday Teas continue throughout the year, along with regular tours and special events, including the famous Waveland Art Fair in September.

Kentucky is home to 45 state parks, including 17 resort parks with restaurants, 30 campgrounds, eight historic sites, and 13 golf courses. For more information about Kentucky State Parks locations, restaurants, lodging, and events, visit parks.ky.gov.

TEAM KENTUCKY MERCH

A TWIST OF FATE

THE LOUISVILLE ORCHESTRA PRESENTS TWO ‘FIFTHS’ OF BEETHOVEN IN JANUARY

by Bill Doolittle

PERFORMANCE PREVIEW

January 13-14, 2023

Is it Fate knocking at the door, or did Ludwig Van Beethoven have something else in mind entirely when he penned the startling opening notes of his famous “Symphony No. 5?”

Those three notes, then one: G-G-G, E-flat. Repeated one step down as F-F-F, D, and the stage is set in suspense for classical music’s most famous symphony.

Audiences will have a chance to hear those notes and feel the suspense once again as the Louisville Orchestra presents Beethoven’s “Symphony No. 5” in concerts January 13 and 14 in Whitney Hall. The concerts also include Beethoven’s “Piano Concerto No. 5,” with pianist Jonathan Biss, in a program the symphony is calling “Fifths of Beethoven.”

Also on the bill is a new work by Lisa Bielawa, a composer in the symphony’s new Creators Corps. Music Director Teddy Abrams has the baton.

Now, if you’ve got your piano handy — or an old clarinet, or even a smartphone with a keyboard — here are the top notes of the chords that open the fifth symphony. Give it your dramatic best, and memory might take over with violins off and flying, and four French horns asking the “fateful” question again.

It’s a heckuva start, and just the beginning of a symphonic journey that ends in even more suspense and a final triumph.

But is it Fate knocking at the door?

That’s the story advanced by Beethoven’s secretary Anton Schindler in a biography published in 1840, 13 years after the composer’s death. Schindler recalls the moment: “Beethoven expressed himself in something like vehement animation when describing to me his idea, ‘It is thus that Fate knocks at the door.’ ”

But Schindler’s reputation has since been tarnished, with succeeding historians noting that he kept and hid some of Beethoven’s diaries. They suggested that Schindler was most interested in glorifying his closeness to greatness.

On the other hand, he was there.

Matthew Guerrieri, the Boston Globe music critic and author of the “The First Four Notes,” told NPR host Robert Siegel that nothing is settled on the notes’ meaning.

“This is probably an invention of Beethoven’s biographer, though we really can’t tell,” says Guerrieri. “The other story going around at the time was that Beethoven had gotten the opening motif from the song of a bird. That story just sort of fell

 Ludwig Van Beethoven

away as the fate symbolism took over. But in Beethoven’s time, and to Beethoven, (who loved to walk in the countryside outside Vienna) a bird song would actually have been a fairly noble way of getting a musical idea.”

Most important, of course, is the music, with Beethoven as the landmark composer of the Romantic Era. It was a “Romantic” notion that a composition could express abstract ideas and emotions, like love and joy and grief. (And maybe the suspense of Fate knocking at the door.)

“The whole idea that music picks up where language leaves off — which is pretty much a cliché nowadays — that was a very specific Romantic idea, and one that lasted,” says Guerierri.

V FOR VICTORY

John Eliot Gardiner, Director of the Orchestre Revolutionnaire et Rommantique, has another idea.

“The way I approach the fifth symphony’s opening movement,” says Gardiner, “is via the French Revolution, which Beethoven was very caught up in at the time, and the music associated with the French Revolution, (including the words) of that particular hymn Les Marseillaise: ‘I will die, sword in hand, for the rights of man and the glory of the Revolution and the Republic.’ ”

It's not a far-fetched notion. Beethoven was an avid reader of Rousseau and Voltaire, and a believer in the ideals of the French Revolution, the rights and dignity of man. (Though he dropped his admiration of Napoleon when the French leader crowned himself emperor and invaded Austria. More on that later.)

Another story from the fifth symphony is how Beethoven’s opening notes found their way into World War II.

The story goes that Resistance fighters in Belgium in 1943 used the letter “V” in graffiti markings as communications. V was “Vrijheid” for freedom in Flemish, or “Victoire” in French for victory. In England, the BBC picked up on the V, and broadcast it in Morse Code, with three shorts and one long — dit-dit-dit dah— signaling a coming coded message from the Allies to resistance fighters in Europe.

It wasn’t long before someone at the BBC realized that the Morse Code signal “dit-dit-dit dah” fit perfectly with Beethoven’s G-G-G E-flat.

Of course, the American painter and inventor Samuel F.B. Morse (1791-1872) probably wasn’t thinking of the fifth symphony when he assigned the dots and dashes for “V” in his code.

Or was he?

The epic 1962 movie “The Longest Day” employed the Beethoven opening to great effect in setting the D-Day scene of the Normandy Invasion in the Allies’ World War II struggle to retake Europe from Germany. The notes are rivetingly effective in a scene at dawn with thousands of ships and planes — as far as the eye can see — coming across the English Channel in the invasion of France on June 6, 1944.

Fate knocking at the door?

The whole idea that music picks up where language leaves off — which is pretty much a cliché nowadays — that was a very specific Romantic idea, and one that lasted.

But with all the attention on those opening notes, they’re just a wisp of the might of the fifth symphony.

Even more exciting is the way Beethoven’s fifth symphony unfurls through the third and fourth movements. There is no stop between the movements, as the third winds down in a long, long (about 43 measures) cascading descent of notes that climaxes in a towering plume of triumphant chords.

Beethoven adds trombones and a contrabassoon to the orchestra to create those sensationally deep chords, with piccolo piping atop.

Fate knocking at the door? Well, come on in!

‘PIANO CONCERTO NO. 5: THE EMPEROR’

If the fifth symphony has drama, so too does the fifth piano concerto.

Dennis Hallman, a former Louisville Orchestra horn player, recalls attending a performance of Beethoven’s “Piano Concerto No. 5,” with the noted pianist Rudolph Serkin.

“I was seated next to a father and his young son,” recalls Hallman. “At one point, the music is getting softer and softer, and Serkin is taking things down and down in volume, to almost a whisper. The father nudges his son with an elbow, and whispers, ‘He’s getting ready to lay into it.’ ”

And of course, Serkin did lay into it, just as Beethoven would love.

Because it’s that kind of piece. Beethoven was opening up the power and scope of the piano, his own instrument. And giving the soloist the musical nod to lay into it. Or lay off.

The piano was not an ancient instrument in Beethoven’s time. It was just then evolving as a “pianoforte” from the limitations of the harpsichord. The harpsichord has a keyboard, but is a plucked instrument, with keys connected to levers that pluck strings, as the strings of a harp would be plucked. A nice sound. But only one volume. And not much volume, at that. Best suited for a music room and a small “chamber” audience.

The piano, however, has keys that connect to levers with mallets that hammer the strings. It is capable of the widest range of

dynamics, from a light-fingered touch sounding a soft piano, to a hard touch hammering a forte. Thus the original name, pianoforte.

The piano was invented by Bartolomeo Cristofori in Italy around 1700. In the century to come, the instrument evolved through a series of inventors in Germany and England. J.S. Bach tried out a piano, and one of his sons played another, experimentally.

A key development was the addition of a steel frame to support a heavy wooden cabinet and strong soundboard. Mozart loved his improved version, and Beethoven performed on an even better one. It was Beethoven’s notion that the piano could step forward from being played in the company of a few other instruments to take its place on stage with a symphony.

And about that name on the concerto: “The Emperor.” Beethoven had nothing to do with that. A later music publisher stuck it on.

Beethoven had the fifth concerto ready to go soon after the debut of the fifth symphony in 1808. But Bonaparte’s French army placed Vienna under siege, and its citizens took cover. Beethoven spent much of that year sheltered in a basement. When the French bombarded the city, he held pillows to his ears to protect what little remained of his hearing.

When the shelling ended, the concerto was premiered. The composer had long ago disavowed the emperor. The concerto ruled majestically.

Fate, indeed.

For more information about the Fifths of Beethoven performances or to purchase tickets, visit louisvilleorchesta.org or call 502-584-7777.

A NOTE FROM THE ARTIST

I’m so looking forward to taking this band out on tour. For folks that know Bluegrass, these folks need no introduction, as they’ve been making a ton of noise in that world for some time.

I have almost always played and recorded my bluegrass projects with the folks from my own age and peer group — Sam Bush, Jerry Douglas, Stuart Duncan, David Grisman, Tony Rice, Mark O’Connor, etc. But for this new album, I wanted to open up to the fresh and powerfully evolved musicians who have come along since us, and partly because of us! This tour will feature some of these players.

I first got to know Sierra Hull when she asked me to produce her album, Weighted Mind. She is a shockingly good player, with more than enough ability to play my admittedly angular and sometimes complex form of bluegrass. So I’m thrilled to finally be able to do some live playing with her and take it to the moon!

I’ve been knocked out by fiddler Michael Cleveland for some time now. I just didn’t know if he’d be interested in playing with me, as I knew him as a hardcore bluegrass player. To my happy surprise, not only was he interested, but he brings a power and drive to my stuff, and an ensemble concept that for some reason I wasn’t expecting.

My pal Bryan Sutton, a stunner of a flat picker and one of the bright lights of the bluegrass guitar continuum has been my cohort in the Telluride House Band as well as an acoustic trio that I toured with some years back with Casey Driessen. But playing on this new album he impressed me over and again with his flexibility and raw ability.

Bassist Mark Schatz and I started playing together way back in 77’, in a Boston Bluegrass band unfortunately named Tasty Licks! We moved together to Lexington, Ky., in ’79 to start Spectrum. In 1981, I joined New Grass Revival, and he went on to play with Tony Rice, Tim O’Brien, and Nickel Creek among many others. I’m thrilled to be reunited with my old, right-hand man, Mark!

I was stumped for a while as to what to do about the double fiddle and dobro parts on the recording, until I realized there was one guy who could do both — and a whole lot more. Justin Moses is a great mandolinist, banjoist, and a great singer to boot. He’s gonna be our wild card. He will be grabbing the fiddle to double fiddle with Stuart, switching to dobro, then jumping to banjo for a double banjo number, and mandolin for the double mando track from the album. So I’m amazed I could get all that in one very talented guy.

As you can imagine, I’m very excited to play with these guys. We’ve all been locked up for so long and we’re dying to get out there and play some music!

— Béla Fleck

BÉLA FLECK MY BLUEGRASS HEART

featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz, & Bryan Sutton

Wednesday, December 14, 8PM, Brown Theatre

Tickets: kentuckyperformingarts.org

ARTIST BIOS

Béla Fleck

A 15-time Grammy Award-winner, Béla Fleck has the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots. His collaborations range from his ground-breaking standard-setting ensemble Béla Fleck and the Flecktones to a staggeringly broad array of musical experiments. From writing concertos for full symphony orchestra, exploring the banjo’s African roots, and collaborating with Indian musical royalty Zakir Hussain and Rakesh Churasia with Edgar Meyer, to performing as a folk duo with wife Abigail Washburn, and jazz duos with Chick Corea, many tout that Béla Fleck is the world’s premier banjo player. As Jon Pareles wrote for The New York Times, “That’s a lot of territory for five strings.”

Michael Cleveland

Grammy Award-winner Michael Cleveland is IBMA's most awarded Fiddle Player of the Year with 12 wins, has won Instrumental Recorded Performance of the Year six times, and fronts their six-time Instrumental Group of the Year. And, he is a 2018 Inductee to the National Fiddler Hall of Fame.

Picking up the fiddle at age 4, by age 9, Cleveland was invited to sit in with the legendary Bill Monroe at the Bean Blossom Bluegrass Festival. Soon after, he brought his virtuosic style to the Grand Ole Opry as a guest of Alison Kraus, and was handpicked for the IBMA Bluegrass Youth Allstars before he was 14. His blistering prowess and technical fluency have since marked him as a sought-after musician, leading to performances with Vince Gill, Marty Stuart, Tim O’Brien, J.D. Crowe and the New South, Andy Statman, and The Kruger Brothers in recent years.

However, it wasn’t until 2006, when Cleveland formed his own band, Michael Cleveland & Flamekeeper, that he found the right vehicle for his musical vision, and he is constantly looking for new ways to push himself and his music forward.

Sierra Hull

In her first 25 years alone, singer / songwriter / multiinstrumentalist Sierra Hull hit more milestones than many musicians accomplish in a lifetime. After making her Grand Ole Opry debut at the age of 10, the Tennessee-bred virtuoso mandolinist played Carnegie Hall at age 12, then landed a deal with Rounder Records just a year later.

Now 28 years old, Hull delivered her fourth full-length album for Rounder in 2020: an elegantly inventive and endlessly captivating album called 25 Trips. Revealing her profound warmth as a storyteller, the album finds Hull shedding light on the beauty and chaos and sometimes sorrow of growing up and getting older.

The album’s title nods to a particularly momentous year of her life, including her marriage to fellow bluegrass musician Justin Moses and the release of her widely acclaimed album Weighted Mind — a Béla Fleck-produced effort nominated for Best Folk Album at the 2017 Grammy Awards.

Justin Moses

Justin Moses is an award-winning multi-instrumentalist celebrated as one of the most versatile musicians in all of acoustic music. A prominent Nashville session musician, he has appeared on stage or in the studio with an endless list of diverse artists such as Alison Krauss, Del McCoury, Garth Brooks, Emmylou Harris, Brad Paisley, Vince Gill, Bruce Hornsby, Béla Fleck, Peter Frampton, Rosanne Cash, Marty Stuart and Barry Gibb among many others. In 2018 and 2020, he was named Dobro Player of the Year by the International Bluegrass Music Association.

Moses began his musical journey at the age of six after becoming interested in the mandolin. He soon developed a lasting passion for making music. He started to hone his skills playing in his family's band as a child. Since then, he's toured with bands such as Blue Moon Rising, The Dan Tyminski Band, Ricky Skaggs & Kentucky Thunder, Blue Highway and The Gibson Brothers.

In his two-year stint with Tyminski, he realized an early dream of playing the Grand Ole Opry for the first time and recorded the 2009 IBMA Album of the Year and Grammy-nominated album, Wheels. He released his full-length album Fall Like Rain on January 22, 2021, with Mountain Fever Records.

Mark Schatz

Twice named IBMA’s Bass Player of the Year, Mark Schatz has toured and recorded with a stellar array of artists including Bela Fleck, Tony Rice, John Hartford, Tim O’Brien, Nickel Creek, Claire Lynch, and Sarah Jarosz. Schatz is the Musical Director for internationally acclaimed Footworks Percussive Dance Ensemble, which showcases other talents such as clawhammer banjo and Southern Appalachian clog dancing.

Schaz has two of his own solo recordings, Brand New Old Tyme Way and Steppin’ in the Boiler House on Rounder Records, which feature his own eclectic blend of original compositions on the banjo, and two bass instructional videos on Homespun. He recently launched his own solo show: Mark Schatz — The Solo Concert, in which he brings all of his skills to bear to tell his story through his own tunes and songs.

Bryan Sutton

Bryan Sutton is an innovator who bridges the bluegrass flatpicking traditions of the 20th century with the dynamic roots music scene of the 21st. His rise from buzzed-about young sideman to first-call Nashville session musician to membership in one of history’s greatest bluegrass bands has been grounded in quiet professionalism and everexpanding musicianship.

Sutton is a Grammy Award-winner and a nine-time IBMA Guitar Player of the Year. But these are only the most visible signs of Sutton’s accomplishments. He inherited and internalized a technically demanding instrumental style and has become for young musicians of today the same kind of model and hero that Tony Rice and Clarence White were for him. And supplementing his instrumental work, he’s now a band leader, record producer, mentor, educator and leader in online music instruction.

A Performance That Truly Matters

This is What You’ve Been Waiting for See the magnificence of China before communism. It’s a journey that will fill you with hope and inspiration—one you’ve longed for. Discover 5,000 years of wisdom, beauty, and wonder, live on stage.

Presented by Kentucky Falun Dafa Association

AN UPLIFTING

PERFORMANCE

This holiday season, Louisville theatergoers are in for a world-class treat with the return of New York-based Shen Yun Performing Arts to The Kentucky Center on December 30. It’s just what you've been waiting for, and just in time to usher in the hope and bright promise of the new year!

WHAT IS SHEN YUN?

Shen Yun is an internationally acclaimed performance that will leave viewers renewed, uplifted, and inspired.

Gather your loved ones together and immerse in this timeless artistic experience of the ancient art form at the heart of the world’s premier classical Chinese dance company. You’ll be mesmerized by the elegance and expressiveness of classical Chinese dance, filled with grace, beauty, and energy — like poetry in motion.

It’s a comprehensive dance system cultivated over 5,000 years. The stunning athleticism of its leaps and spins, performed by the world’s finest classical

YOU’VE BEEN WAITING FOR!

Chinese dancers, will keep you on the edge of your seats.

DISCOVER CHINA BEFORE COMMUNISM

With some 20 dance vignettes sprinkled in with song performances during the two-hour production — all new this season — Shen Yun is set to take you on a storytelling journey through China’s age-old, divinely inspired culture prior to communism.

You see, China was once called “Land of the Divine.” It was a time when divine beings walked the earth, imparting wisdom that gave birth to dance and music, medicine and architecture, even martial arts, establishing a splendid civilization.

WHY SHEN YUN IS BANNED IN CHINA

Ancient Chinese wisdom — steeped in Buddhist and Taoist spirituality and values — flourished for millennia until communism seized control. Sadly, this culture of old — the soul of the nation —

has for decades been systematically destroyed by the communist regime. This is why Shen Yun is banned in China today.

Despite that, through foremost excellence in dance and music, Shen Yun is reviving that cherished heritage and sharing it with the world. It’s a heritage steeped in reverence for the divine.

WHAT DOES ‘SHEN YUN’ MEAN?

Shen Yun means “the beauty of divine beings dancing.” The performance is a cultural extravaganza that lets you experience the beauty and wonder of the authentic, classical China.

“Reclaiming the divinely inspired cultural heritage of China...I encourage everyone to see and all of us to learn from,” fashion designer Donna Karan said of the show.

SHEN YUN SHOWS HOPE

Shen Yun has worked “to bring back the best that civilization has ever created,”

said New York Times No. 1 best-selling author David West Reynolds after seeing the show at The Kentucky Center in 2021.

“As an archaeologist, I look at culture with a perspective across thousands of years, so I see how today is a time where so much beauty is being destroyed in art but also in our cultural manners,” said Reynolds, who has served as a BBC documentary host and Discovery Channel consultant.

“Chinese civilization is so powerful, and to see that so much has been lost, but so much has been saved — Shen Yun has saved so much before it was too late,” he said. “Powerful art is willing to take on powerful themes. Shen Yun does this — it shows us the whole range of who we are, but it also shows us who we can be, and that’s the hope.”

SHEN YUN IS ‘A TOUCH OF HEAVEN’

Former Czech Republic culture minister shared that sentiment, noting, “There is a massive power in this that can embrace the world. It brings great hope. … It is truly a touch of heaven.”

Let Shen Yun help you rediscover beauty and light in a time of challenges and uncertainty. Through classic stories of love, faith, heroism, and resilience, the performance brings you a gift of hope and strength, for battling darkness with courage, overcoming adversity with wisdom.

PAINTED BACKDROP ANIMATION, LIVE ORCHESTRA, FEAST OF COLORS

You’ll also be captivated by Shen Yun’s vibrant sea of color in its costumes and high-tech animation backdrop. The attire, true to the styles of China’s various dynasties, regions, and ethnic groups, is a feast for the eyes. The backdrop-stage interaction — a patented Shen Yun invention — will likewise amaze you as you watch the dancers traverse back and forth between the stage and background scenery.

Then there’s the all-original live music. Shen Yun’s orchestra is a world-first in its permanent fusion of classical Western and Chinese instruments. The show also

features the classical bel canto tradition of operatic singing.

“It’s extremely well done. … It’s wonderful to have Shen Yun in the building and really help us elevate the level of what has performed here,” said Alexander Neef, now General Director of the Paris Opera and previously General Director of the Canadian Opera Company (COC). He was speaking after seeing Shen Yun at the renowned Four Seasons Centre, the COC’s own opera house in Toronto.

SHEN YUN IS ‘THE BEST SHOW’

Since 2006, Shen Yun’s annual tours have left millions in awe around the world.

Within the ever-growing trove of kudos from notable figures is praise from former 20th Century Fox VP Richard Wolfe, who said: “The best show I've ever seen. No question. If you miss this show, you miss the best show!”

Master cellist Christine Walevska called Shen Yun “absolutely the greatest of the great — a must-see!” and described it as “divine, reborn, and ‘hope.”

Former actress and associate producer Nancy Brock noted:

“It’s the best I’ve ever seen — you must go, or you’ll never forgive yourself for what you didn’t find out.”

Adventure calls. A refreshing journey awaits. See it for yourself. Bring your family and friends, as Shen Yun is not to be missed!

Shen Yun’s eight touring companies will travel to over 150 cities internationally during the 2022–23 season. In Louisville, Shen Yun’s artists will grace the stage at The Kentucky Center’s Whitney Hall on December 30. Tickets range from $84 to $184.

For information and tickets, visit kentuckyperformingarts.org, Shen Yun's website, or call 502-584-7777.

PERFORMANCE PREVIEW

A TIMELESS TALE

THE DELIGHTFUL HOLIDAY TRADITION BELOVED BY ALL AGES

by Louisville Ballet

Adelightful holiday tradition for audiences of all ages, Louisville Ballet’s beloved production of The Brown-Forman Nutcracker returns to the stage December 9 to 23 at The Kentucky Center’s Whitney Hall. With beautiful choreography by Val Caniparoli performed to Tchaikovsky’s iconic score — played live by the Louisville Orchestra and conducted by Louisville Ballet Music Director Tara Simoncic — this local treat is the perfect addition to annual holiday celebrations.

Val Caniparoli’s The Brown-Forman Nutcracker — based on the writings of E.T.A. Hoffman and the ballet interpretations of William and Lew Christensen — is a story of family, adventure, and of course, magic. It’s the second version of five productions that Caniparoli has created, and in writing about his creative process for the production, he recalls his first experience with The Nutcracker at the San Francisco Ballet School.

“What I remember most strongly is the music for the snow scene: I just thought ‘How gorgeous is this music?’ — and I’ve felt the same way about it for almost 50 years,” he says.

The timeless story begins on Christmas Eve, when Herr Drosselmeyer is making special toys for his godchildren, Marie and Fritz. Drosselmeyer gives Marie her gift, the wonderful Nutcracker, at the annual family Christmas party. Marie is immediately enchanted by it, but Fritz, in a fit of jealousy, accidentally breaks it in a fight over the toy. The Nutcracker is repaired, and as the clock strikes midnight, Marie falls asleep and drifts into a vivid dream.

Inside Marie’s dream is where the true magic begins. After a battle featuring giant rats and toy soldiers, the Nutcracker

More than 910 yards of tulle, 862 individual sequins, and 200 pounds of paper snow make up the sparkling scenes on stage. And while many elements of the show are made locally, much of the costuming is a fantastic collaboration between artists from across the states and as far as South Africa.

is transformed into a handsome prince who invites Marie on an enchanted journey through a swirling snowstorm to the Land of the Sugar Plum Fairy. Marie and her Prince are entertained by sweet dances from distant lands, a comical but fantastic Madame Derby and her jockeys, and a beautiful Rose, accompanied by her bouquet.

Finally, the most wonderful dance of all is danced by the Sugar Plum Fairy and her gallant Cavalier. As Marie and the Nutcracker Prince prepare to leave, everyone returns for one last farewell as, alas, all dreams must come to an end. Or was it a dream?

MAKING MAGIC HAPPEN

There are many versions of The Nutcracker story presented across the world, but Louisville Ballet creates a truly transcendent experience through distinctly local touches and creativity. Every audience member will love the holiday classic, but Louisville natives will be charmed by familiar details in the show’s design — like the appearance of the St. James Court fountain in Act I.



Company Dancer Phillip Velinov as Herr Drosselmyer from The Brown-Forman Nutcracker. Photo by Sam English, 2015.

Louisville Ballet’s incredibly skilled Company Artists make the ballet look as effortless as falling snow, but taking a peek behind the scenes reveals just how much time and dedication goes into creating an enchanted experience.

The work of countless artisans — including costume designers, milliners, bootmakers, prop makers, scenic designers, wig makers, and more — is stitched together to form a seamless display of snowy delight. More than 910 yards of tulle, 862 individual sequins, and 200 pounds of paper snow make up the sparkling scenes on stage. And while many elements of the show are made locally, much of the costuming is a fantastic collaboration between artists from across the states and as far as South Africa. The beautiful set features canvases hand painted by artists including Peter Cazalet, the show’s Scenic and Costume Designer.

Louisville Ballet also worked with Marshall Magoon of Los Angeles for magic and illusion design. Magoon’s work has been used in TV, film, and on Broadway, and his work in The Brown-Forman Nutcracker represents his longstanding dedication to his craft. Dolls move on their own, tables float, and a Christmas tree grows on stage, leaving audience members wide-eyed in disbelief.

Such a breathtaking experience is the product of 365 days of planning and the coordination of nearly 250 people at Louisville Ballet. One of the most rewarding elements of the show, according to Stage Manager Kim Aycock, is watching the 100 tiny dancers who make up the Children’s Cast. The children are featured in many roles, from rats to soldiers to jockeys, and foster a deeper connection between stage and audience.

“The moments five minutes before we start are probably some of my favorite times, just hearing the anticipation in the audience, and the anticipation of the children on both sides of the curtain,” says Aycock. “There’s a connection, I think, when children see themselves on stage.” She adds that providing magic and memories for families and children, both on and off stage, is her favorite part of the experience.

Remembering the magic of the ballet’s inception — and noting how wonderful it is to continue the Louisville Ballet tradition under Artistic Director Robert Curran for years to come — Caniparoli writes, “I hope that the audience will continue to be entertained and, as if they are watching through children’s eyes, will leave their troubles and cares behind. Everyone should bring someone they love with them to share the special joy of The Brown-Forman Nutcracker.”

THE GIFT OF CELEBRATION

While The Brown-Forman Nutcracker offers enough merriment to satisfy anyone’s itch for live performance, many viewings also offer pre-show entertainment in The Kentucky Center’s spacious lobby. School groups and community members band together to bring music, dance, and celebration to guests before the curtain rises, further connecting participants to all the artistic charm Louisville has to offer.

The Sugar Plum Fairy also invites young guests to a magical afternoon of holiday fun and festivities at pre-show Sugar Plum Parties on December 17 and 18. Enjoy snacks and sweet treats, create unique art projects, meet the Children’s Cast, and enjoy live entertainment before the show. The event, which frequently sells out, is sure to be the cherry on top of a fabulous live art experience.

Louisville Ballet will once again offer a sensory-friendly matinee performance of The Brown-Forman Nutcracker, special tickets for Snow Zone Sweet Seats at every performance, and a Nutcracker Gift Shop at The Kentucky Center with ornaments, T-shirts, tote bags, and more.

Filled with magic, artistry, and awe-inspiring sets and costumes, The Brown-Forman Nutcracker is a shining star of Louisville’s holiday season, sure to dazzle dreamers of all ages.

To learn more, purchase tickets, and support Louisville Ballet, visit louisvilleballet.org or call 502-583-2623.

PHOTO BY SAM ENGLISH

PHOTO BY SAM ENGLISH

Company Artists Natalia Ashikhmina and Mark Krieger as the Sugar Plum Fairy and her Cavalier.

Louisville Ballet Children's Cast Toy Soldiers with a Rat from The Brown-Forman Nutcracker.

A Behind-the-Scenes Look at The Brown-Forman Nutcracker

SENSORY-FRIENDLY PERFORMANCE

Sunday, December 11, 2022, 11AM

by Louisville Ballet

The arts offer so much more than entertainment. Artistry is a form of expression, not only for the performer, but for the audience as well. But for those with sensory processing challenges, it’s tough to feel included, especially during live performances.

That’s why Louisville Ballet holds sensory-friendly performances of The Brown-Forman Nutcracker. The company believes the holidays should be a time when everyone can get together, celebrate, and enjoy the festive spirit without fear or apprehension. That’s exactly the experience this sensoryfriendly performance aims to create.

Enter Stacey Blakeman, Louisville Ballet’s Director of Community Engagement.

“We aren’t the first ballet company to ever do this,” Blakeman explains, “but we had heard of other ballet companies doing it and knew it was something we wanted to bring to Louisville. But we had no idea how to approach adapting something as big as The Nutcracker.”

To bring this vision to life, Blakeman knew she wanted to work with experts. So she reached out to one of her colleagues, a psychologist who works with kids with autism. From this single connection, a seven-member advisory

committee was born. Professional referrals brought psychologists, therapists, occupational therapists, and even a veteran (to advise on PTSD) onto the committee.

“The committee met on a monthly basis for six months,” Blakeman says. “We sat and watched the entire show on video, making recommendations on what to change.”

So, what exactly are these changes?

For starters, the cannon that typically goes off has been eliminated. Gunshots sounds in Act 1 have been removed as well. But that’s just the beginning.

Louisville Ballet Children's Cast Angels, The Brown-Forman Nutcracker.

Photo by Sam English, 2015.

Louisville Ballet Company

The committee thoughtfully reviewed the entire show and intentionally implemented modifications to create an authentic sensory-friendly performance.

The goal wasn’t to create a whole new experience. Rather, the priority was always to give patrons as much of a similar performance experience as possible.

Since it’s impossible to predict what may or may not be a trigger, a glow stick system was developed. Whenever something potentially triggering is about to happen, glow sticks are held up as a cue to the audience. This can help reduce or eliminate the element of surprise, helping patrons feel more comfortable and at ease.

“Our goal is for everyone to feel free to be themselves,” Blakeman says. “We’ve created an experience that’s great for kids with or without sensory issues. Kids want to react. People are able to come to the show who never thought they’d be able to come to a show like this.”

“The sensory-friendly performance was such a precious gift,” says one parent

who attended a previous year’s show.

“I could just enjoy the ballet with my girl, just like I’d always imagined. I may have even cried a bit during the first act by how overwhelmed I was with gratitude. Because of this, I can see us trying a full performance in a few years.”

SOMETHING TO LOOK FORWARD TO

The sensory-friendly performance of The Brown-Forman Nutcracker first debuted in December 2018. Now in its fifth year, positive reviews are spreading via word of mouth.

The challenge for many families is that live performances that market themselves as “sensory friendly” aren’t really family friendly or sensory friendly, says Blakeman. This can lead to disappointment and a negative experience.

On the flip side, once the community identifies performances and opportunities that are truly sensory friendly, word of mouth spreads very quickly.

“That’s something I learned from the advisory committee,” Blakeman explains. “During the first year, ticket sales weren’t going as well as we wanted them to. The committee told me that ‘this community is word of mouth. Once families learn that this is a safe experience, they will come’.”

BEFORE THE SHOW

The ballet’s sensory-friendly programming begins before families even come to the performance. Families receive a “What to Expect at the Theater” guide that includes pictures of the building, parking lots, bathrooms, and the theater itself, along with detailed descriptions.

This way, families can familiarize themselves with the layout before even stepping foot into the theater. Pictures of ushers and dancers are also included so that families recognize friendly faces when they arrive.

In addition to the guide, The BrownForman Nutcracker Social Narrative is a “follow-along guide that includes a simplified, literal telling of the Nutcracker story with images from the production.” This helps kids and their families understand what they’re seeing on stage. Think of it as a printed preview that can help get families excited.

Once families arrive, they are welcomed by specially trained ushers and staff. The families can even meet the dancers in costume! They are given a tactile tote that includes performance-related sensory and fidget toys. This tote also includes a chronological timeline and checklist for events in the show.

Since seating is general admission and the lights are kept on, patrons are allowed to move, vocalize freely during the performance, and exit the theater at any time for any reason. A quiet room is also provided for those who need a break.

“I feel really lucky that we had so much support to accomplish this and create a safe experience for people to come to without having any regrets,” Blakeman says.

The Brown-Forman Nutcracker sensory-friendly performance will be Sunday, December 11, at 11AM.

Tickets are $20 and are on sale now at www.louisvilleballet.org/sensoryfriendly.

For questions, patrons are encouraged to call 502.632.5360 or email community@louisvilleballet.org.

Artist Caitlin Kowalski from the Waltz of the Flowers.

Photo by Sam English, 2019.

PERFORMANCE PREVIEW

A PERFECT MATCH

KENTUCKY SHAKESPEARE PERFORMS MODERN ADAPTATION OF BELOVED CLASSIC

by Kentucky Shakespeare

Kentucky Shakespeare returns to The Kentucky Center Bombard Theater January 4 through 8 with Kate Hamill’s effervescent 2017 adaptation of Jane Austen’s beloved classic, Pride and Prejudice. The production is directed by Kentucky Shakespeare Associate Artistic Director Amy Attaway.

“This production captures the essence of this timeless story at top speed and with maximum hilarity,” says Attaway. “We get to fall in love with Lizzy and Darcy all over again in the dizzying world of courtship games and high stakes insanity that is Kate Hamill’s version of the Regency period. This extraordinary cast is guaranteed to leave you breathless and with new insight into what makes the perfect match.”

Kentucky Shakespeare’s Pride and Prejudice features an eightmember cast: Zachary Burrell as Mr. Darcy, Justin Jackson as Mr. Bingley/Mary, Abigail Bailey Maupin as Lydia/Lady Catherine De Bourgh, Gregory Maupin as Mr. Bennet/Charlotte, Mollie Murk as Lizzy, BeeBee Patillo as Jane/Miss De Bourgh, Jennifer Pennington as Mrs. Bennet/Servants, and Neill Robertson as Mr. Collins/Wickham/Miss Bingley. Jesse AlFord is the Lighting Designer, Eric Allgeier is the Scenic Designer, Laura Ellis is the Sound Designer, Donna Lawrence-Downs is the Costume Designer, with dialect coaching by Joy Lanceta Coronel, and choreography by Ari Calvano. Emily Burns is the Stage Manager.

ABOUT THE PLAYWRIGHT

Actor and playwright Kate Hamill was named the Wall Street Journal’s Playwright of the Year in 2017. Her work includes an adaptation of Sense and Sensibility, in which she originated the role of Marianne. With 265-plus performances off-Broadway, the production was named winner of the Off-Broadway Alliance Award in 2016 and also was a nominee for the Drama League Award that year.

Hamill’s other plays include Off-Broadway Alliance Award nominees Vanity Fair at the Pearl Theatre, in which she originated the role of Becky Sharp, and Pride and Prejudice at Primary Stages and Hudson Valley Shakespeare Festival, where she originated the role of Lizzy Bennet. Her plays have been produced off-Broadway at A.R.T., Oregon Shakespeare Festival, the Guthrie, Seattle Rep, Dallas Theater Center, PlayMaker’s Rep, Folger Theatre, Arvada Center and others. She has upcoming productions at Shakespeare Theatre of D.C., A.C.T., Trinity Rep, Portland Center Stage, Syracuse Stage, Pittsburgh Public, Kansas City Rep, Dorset Theatre Festival and more. Upcoming world premieres include Little Women at the Jungle Theater and Primary Stages, and Mansfield Park at Northlight Theatre. She is currently working on new adaptations of The Odyssey and The Scarlet Letter, as well as several new original plays. For more, visit www.kate-hamill.com

PRIDE AND PREJUDICE

by Kate Hamill

The Kentucky Center - Bomhard Theater

PERFORMANCE DATES AND TIMES

Wednesday, January 4 – 7:30PM

Thursday, January 5 – 7:30PM

Friday, January 6 – 7:30PM Saturday, January 7 – 2PM and 8PM Sunday, January 8 – 2PM

Tickets: $27 per person (includes all fees) Visit kyshakespeare.com for tickets and information.

 Set design for Kentucky Shakespeare's production of Pride and Prejudice, designed by Eric Allgeier.

CRITICAL ACCLAIM

“Hamill … has a gift for condensing three-volume novels into galloping two-act plays,” says The New York Times. “Her screwball Pride and Prejudice … is as frolicsome as her earlier efforts. It hasn’t met a rib it can’t tickle.”

The Wall Street Journal writes: “The ever-ingenious Hamill has given us something completely and delightfully different, a smallish-cast period-dress Pride and Prejudice … adapted with fizzy, festive freedom, Hamill’s [Pride and Prejudice] is full of Bringing Up Baby-style slapstick and the kind of barely controlled chaos that you’d expect to see in a five-door Feydeau farce.”

New York Magazine says, “Hamill’s Pride and Prejudice has fun and charm to spare... full of high spirits and genuine mirth ... Hamill excels ... as a condenser of the story and a conveyer of fun. She cleverly squeezes Austen’s wide-ranging drawingroom comedy into the bodies of eight actors, almost all doubling to delightful and even moving effect.”

— Taylor

We’ll take care of mom’s medications — you just focus on remembering the names of her new best friends. With weekly Happy Hours, annual retreats, and regular trips into town, you and your loved one will have a lot of celebrating to do — and we’ll be here to support you every step of the way.

Our team of clinical experts are proud to offer:

• Licensed nurses on-staff 24/7

• Life Enrichment programming

• Restaurant-style dining

• Community outings

• And more!

Find a Trilogy community near you at TrilogyHS.com and schedule a tour today!

Taylor Life Enrichment

“We’ll be the caregiver so that you can be the family member.”

Where family comes to live.

EVENTS CALENDAR

Audience is your connection to the performing arts and entertainment in Louisville. Below are some of the events we are looking forward to in the coming months and we hope you enjoy them all!

DECEMBER

14

Béla Fleck - My Bluegrass Heart with Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz, and Bryan Sutton 8PM, Brown Theatre kentuckyperformingarts.org 15,16,18, 20 & 22 Kentucky Opera The Gift of the Magi The Brown Theatre KYOpera.org 27 Mannheim Steamroller Christmas 7PM, The Kentucky Center kentuckyperformingarts.org 30

Shen Yun: China Before Communism 7:30PM, The Kentucky Center kentuckyperformingarts.org

JANUARY

4-8

Kentucky Shakespeare Presents Pride and Prejudice The Kentucky Center

January 4-February 12

Grumpy Old Men the Musical Derby Dinner Playhouse derbydinner.com

13-14

Louisville Orchestra Fifths of Beethoven 11AM & 7:30PM The Kentucky Center louisvilleorchestra.org 13-28

DOT by Coleman Domingo Pandora Productions Henry Clay Theatre pandoraprods.org 15

Comedian Louis C.K. 7:30PM, Louisville Palace louisvillepalace.com 25-26

Comedian Theo Von: Return of the Rat Tour 8PM, The Kentucky Center, Whitney Hall kentuckyperformingarts.org 27

Deathcab for Cutie 8PM

Old Forester's Paristown Hall kentuckyperformingarts.org

28

Louisville Orchestra

Hollywood's Golden Age 7:30PM, The Kentucky Center louisvilleorchestra.org 28 Lucero 8PM, Headliners Music Hall productionsimple.com

January 28- February 11

StageOne Family Theatre The Giver The Kentucky Center, Bomhard Theater kentuckyperformingarts.org

FEBRUARY

14-19

Annie - A Broadway in Louisville Performance The Kentucky Center, Whitney Hall kentuckyperformingarts.org 25

Bobby Weir & Wolf Bros. 7:30PM, Louisville Palace LouisvillePalace.com

For more of our preferred arts and entertainment recommendations, visit Audience502.com/audience-events

oct. 21, 2022 – jan. 22, 2023

Czech-born Alphonse Mucha (1860 – 1939) was one of the most celebrated artists in Paris at the turn of the 20th century. As an influential force behind the Art Nouveau movement, he created sumptuous posters and advertising—promoting such everyday products as cigarette papers and tea biscuits—that transformed the streets of Paris into open-air art exhibitions. Alphonse Mucha: Art Nouveau Visionary celebrates the Mucha Trust Collection’s first major U.S. tour in 20 years, featuring a vast array of posters, illustrations, ornamental objects, and rarely seen sculpture, photographs, and self-portraits.

Alphonse Mucha: Art Nouveau Visionary is organized by the Mucha Foundation, Prague. The exhibition is curated by Tomoko Sato.