A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.
magazine
JANUARY 2022
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PNC BROADWAY IN LOUISVILLE Charming Cast Tells a Real Life 9/11 Story. Page 6 | LOUISVILLE ORCHESTRA Introducing LO's New Interim Executive Director. Page 10 | KENTUCKY PERFORMING ARTS One of the World's Best Guitarists Coming to Louisville Page 14 | KENTUCKY OPERA Enjoy A Tale of Two Lovers on Valentine's Weekend. Page 18
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NEW YEAR, NEW BEGINNINGS Every new beginning comes from some other beginning's end. − Seneca
The start of a new year is always a time for celebration. For some of us, 2021 was as challenging as 2020, but for the performing arts community in Louisville, it offered a spark of hope for brighter days ahead. Here at Audience Magazine, we’re optimistic that 2022 will stoke the flames that were lit last summer so that pretty soon, we’ll have a full-on bonfire. (OK, maybe the fire metaphor went a little too far there, but you get what we mean!) There’s a lot to look forward to in the first few months of the year. In this issue, you’ll get a preview of Come From Away, an inspiring, award-winning Broadway show that’s landing in Louisville for the first time ever in February. You’ll also read about a change in leadership at the Louisville Orchestra, and up-and-coming young leaders at Fund for the Arts.
Amy Higgs Managing Editor
Kentucky Opera previews Orfeo, a tale of love and loss that returns to the local stage after two decades, and Kentucky Performing Arts shares a profile of extraordinary Australian guitarist Tommy Emmanuel, who will be performing at the Brown Theatre later this month. We want to give a shout-out to our loyal and generous advertisers, who allow us to bring you these and other great stories free of charge. Thanks to them, we’re excited to continue to provide a platform for our local arts organizations to share their news in 2022. A final word about a “beginning” that may or may not have an end soon: We’re all tired of the pandemic — we get it; it’s been a long road. But as long as there is even a potential threat, we need to follow the necessary precautions to keep everyone safe. That means adhering to the policies and procedures set forth by our local venues. Some require proof of testing or vaccines prior to shows, some require masks, and some require all of the above. While you may not agree with the rules, we urge you to follow them so that the curtain can continue to rise on our arts groups this year, and for many years to come. Happy New Year,
G. Douglas Dreisbach Publisher
– The Audience Group
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TABLE of CONTENTS JANUARY 2022
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COME FROM AWAY
INTRODUCING GRAHAM PARKER
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BRINGING THE JOY
S U B S C R I B E
T O
ORFEO: A TALE OF LOVE AND LOSS
A U D I E N C E
F R E E !
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.
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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.
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 Louisville Orchestra Kentucky Performing Arts Kentucky Opera
To read current and previous Audience playbills and performance guides, go to issuu.com/audience502. On the Cover: Tommy Emmanuel is known for two things: his incredible talent on the guitar, and the joy he brings to his performances. He returns to Louisville with special guests on Jan. 29. Read more on page 14.
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 2022. 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 J A N U A R Y
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PERFORMANCE PREVIEW
COME FROM
AWAY
THE INSPIRING STORY OF HOPE AND HUMAN KINDNESS ON 9/11 MAKES ITS DEBUT IN LOUISVILLE by Amanda Kern
February 15-20, 2022
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anada’s longest-running Broadway musical Come From Away premieres in Louisville as part of its first post-pandemic North American Tour, from February 15-20, 2022, at The Kentucky Center. This New York Times Critics’ Pick will fill audiences with laughter, tears, and the hope that human kindness can drive out the darkness of hatred.
Be a part of an emotional return to live theater and see the performance that tells a poignant tale of how one small town swings into action on September 11, 2001. Writers Irene Sankoff and David Hein deliver book, music, and lyrics that are at once hilarious and heartwarming. The musical boasts a total of seven Tony nominations, including Best Musical, Best Original Score, and Best Book of a Musical. Come From Away director Christopher Ashley received the 2017 Tony for Best Director of a Musical. The true story follows one group of the nearly 7,000 passengers and 19 animals that found themselves stranded in Gander, a small village in Newfoundland, Canada, that was hardly prepared to accommodate so many unexpected visitors. The musical retells and celebrates the surge of local hospitality to help the stranded passengers. Come From Away’s charming cast of characters draws inspiration from the real-life travelers and citizens of Gander who welcomed them. At first consumed with confusion over the unexpected detour, the passengers soon learn that theirs was one of 38 planes diverted from American airspace due to the terrorist attacks in New York City. Emergency shelters pop up throughout the town as the citizens rally to accommodate the unexpected rush of people in need. Strangers begin mixing with one another, developing lifelong friendships, and even falling in love. In a testament to the devastation of 9/11, the characters also grapple with tragedy and prejudice in wake of the terrorist attacks.
Strangers begin mixing with one another, developing lifelong friendships, and even falling in love. In a testament to the devastation of 9/11, the characters also grapple with tragedy and prejudice in wake of the terrorist attacks. After the first production at Sheridan College in Oakville, Ontario, in 2013, Come From Away landed at the La Jolla Playhouse in San Diego, California. By 2015, the musical found its way to the Seattle Repertory Theatre and the Ford’s Theatre in Washington, D.C. In 2016, the musical opened at the Royal Alexandra Theatre in Toronto. Come From Away opened on Broadway for the first time on March 12, 2017, at the Gerald Schoenfeld Theatre. Beloved by audiences in New York City, many of the first performances were standing room only. In unprecedented demand, Come From Away recently beat out The Drowsy Chaperone for longest running Canadian musical in 2018, with a total of 674 performances.
AN IMPRESSIVE TEAM BEHIND THE SCENES Tony Award-winning director Christopher Ashley returns for the 2022 tour, bringing enthusiasm and impressive accolades. As artistic director of the La Jolla Playhouse, Ashley is no stranger to Tony-worthy productions. He received prior Tony nominations for his direction of The Rocky Horror Show and Memphis, and won the Lucille Lortel Award for his direction of Fires in the Mirror. In addition to the 2017 Tony Award for
The North American Tour of Come From Away. Photo by Matthew Murphy, Murphymade.
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A E M O C E B R E B M ME Speed Members enjoy free admission, Members-only programming, discounts in the Museum store, and much more!
Join today! Visit speedmuseum.org/belong for details.
Photography: Josh Svoboda
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PHOTO BY MATTHEW MURPHY, MURPHYMADE
Best Direction for Come From Away, Ashley has also won the Outer Critics Circle Award and the Craig Noel and Helen Hayes Awards, and received nominations for the Drama Desk and Dora Awards. Ashley’s more recent projects include the Apple TV film production of Come From Away (2021) as well as Netflix’s Diana: The Musical (2021).
Australian actress and singer Marika Aubrey plays the coolheaded pilot Beverley Bass. Bass had the misfortune of telling her unhappy passengers they were stranded in Gander. The first female pilot hired by American Airlines, Bass is celebrated for keeping the passengers calm as they waited for 28 hours on the plane before finally deboarding.
Accompanying the North America tour is an outstanding and seasoned Broadway crew. Tony-nominated Kelly Devine is brilliant as director of musical staging. Devine received the Olivier Award in London for Best Choreography following the 2019 international tour of Come From Away. Other nominations for her musical staging in Come From Away include the Drama Desk and Outer Critics Circle Awards. Devine received a Tony nomination and Drama Desk nomination for her work on The Rocky Horror Show (2014). Her experience includes work on films such as Detroit and The Upside, and popular television shows Pretty Little Liars and Wormwood.
Come From Away is an unforgettable experience that leaves audiences with a resonating certainty that humanity is capable of goodness. Audiences new and old will feel moved by this musical rendition of an incredible true story. You’re invited to relive a life-changing week in Gander where thousands of strangers discovered friendship, love, and generosity, and some endured unthinkable loss. Come From Away reminds us of the compassion we owe to each other as human beings, and of the comradery we build when we work together to overcome tragedy. Purchase tickets from The Kentucky Center here.
Ian Eisendrath, a Laurence Olivier Award-winning music director, joins the tour as music supervisor and oversees the production’s musical arrangements. Scenic designer Beowulf Boritt offers a stunning stage design, along with lighting designer Howell Binkley. Costumes for the 2022 tour are by Lucille Lortel Awardwinning costume designer Toni-Leslie James.
UPCOMING PERFORMANCES
UNFORGETTABLE PERFORMANCES, REAL PEOPLE
Tickets and info at: kentuckyperformingarts.org
Guests can look forward to seeing many notable performers, each portraying real passengers or townspeople. Kevin Carolan, who has starred in hit television shows Billions, The Good Wife, and Boardwalk Empire, plays Claude Elliott, the mayor of Gander. The real Elliot is now 67 years old and retired. In an interview with USA Today, he said, “To see how our people came through on 9/11 is one of the greatest moments in my tenure as mayor.” Bonnie Harris, played by Sharone Sayegh, ran an animal shelter in Gander and served a crucial role in caring for the large cats, Bonobo apes, and other exotic animals during their time stranded in Gander. Sharriese Hamilton and Julie Johnson play fast friends Hannah and Beulah, two women who bond over their firefighting sons. P N C
B R O A D WA Y
Mean Girls Mar. 22-27, 2022
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Hamilton June 7-19, 2022
Anastasia Aug. 2-7, 2022
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INTRODUCING...
GRAHAM PARKER
INTERIM EXECUTIVE DIRECTOR IS ON A MISSION TO FIND LO’S ‘NEXT GENERATION LEADER’ by Daniel Chioco
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n November 2, the Louisville Orchestra Board of Directors proudly announced that Graham Parker would be stepping in as Interim Executive Director. For Parker, it’s a bit of a serendipitous moment — he had actually signed an album deal with LO in 2016, when he was President of Universal Music Classics and Decca Gold.
After seeing the orchestra perform, and meeting with conductor Teddy Abrams, Parker fell in love with the orchestra’s vision for the future, and helped launch its first album in 30 years. He and the LO team have since completed two projects together. In July 2021, Parker left Universal and almost immediately got a phone call from Abrams with a proposition. “Teddy reached out and asked if I would consider being the Interim Executive Director,” Parker recalls. “He said my track record and experience would be good fit — and I agreed.” For the past three years, the Louisville Orchestra has operated without an Executive Director. It is a challenge for any organization to operate without this top administrator, but with the unique hurdles that accompanied COVID-19, Parker’s appointment could not have come at a better time.
FROM PERFORMANCE TO MANAGEMENT One of the first things people notice about Parker, especially in the South, is his British accent. He grew up in London and attended school in the city. It wasn’t until 1995 that Parker moved to the United States and since then, he has proudly called New York City home.
Graham Parker, LO's new interim Executive Director, describes the post-pandemic phase as an exciting opportunity to reach new audiences.
Like many creatives, Parker grew up taking piano lessons, though he laments that he can’t play today. Fortunately, he can easily dust up on flute if he has to, which admittedly isn’t often. When he was younger, his involvement in the arts included singing and conducting, but as his professional career took off, he was faced with a choice to either keep performing or firmly commit to art management.
Music Director Teddy Abrams leads in the Louisville Orchestra in a recent performance.
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We’re always balancing a number of realities and demands, but the most important thing for the orchestra to do is to service its audience. It doesn’t matter whether that’s in a concert hall, community venue, streaming, etc. − Graham Parker
Since then, Parker has held numerous roles in the music business, quickly making a name for himself with his extensive background in orchestra management. “My role, really, is to lead the organization on an administrative level and work with Teddy on the administrative, strategic, and fundraising aspects,” he says. “Ultimately, I’m working with Teddy for a vision for the future and to map out how to get there.”
SETTING THE STAGE NATIONALLY The Louisville Orchestra has long been considered a vanguard for what an American orchestra should be. “This is thanks to Teddy’s leadership,” Parker says, “so I’m excited to walk alongside him.” While Parker is stepping into an interim organizational role, Abrams is the artistic leader that will guide the Louisville Orchestra through Parker’s tenure and into his successor’s. “Teddy’s leadership and vision is what allows the Louisville Orchestra to set the tone locally and nationally for what an American orchestra should be,” Parker says. Abrams himself is well-known and respected in the Greater Louisville community. He is involved in many types of local music events and doesn’t shy away from collaborating with musicians of every genre. One of the fundamental commitments the popular maestro made was to live in Louisville so he could ground himself in the community and really understand the patrons he’s serving. Parker confirms, “Teddy chooses to make his home in the same city that he is the music director of. That’s not always the case.” The synergy between Parker and Abrams has worked well in the past. That record deal that Parker secured for Abrams and the Louisville Orchestra? Well, it reached No. 1 on the Billboard Classical Traditional Chart with the album All In. Critics loved the record as well. NPR Music said it would “help boost [younger] interest in classical music” and Time Magazine called the Louisville Orchestra “genre-defying.” “They truly are setting the tone for the modern American orchestra,” Parker says. “Teddy is profoundly impressive.” In addition to conducting, Abrams composes and performs. In fact, he is a renowned musician who isn’t afraid to perform in a concert hall and yet is down-to-earth enough to improvise with a random jazz group. “He’s not scared to show off all those skills. This is a gift that Teddy has,” Parker says. 12
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PREPARING FOR THE NEXT ACT One of the challenges Parker faces as Interim Executive Director is not only guiding the Louisville Orchestra through the pandemic, but also ensuring that the organization is equipped for his successor. “The orchestra was extremely creative and innovative,” he says. He notes all of the ways the orchestra has changed “business as usual.” For example, LO quickly pivoted to virtual performances through streaming. While there were many other strategic moves, the decision to stream helped the orchestra reach new audiences in Louisville that it hadn’t reached before. "For the past three years, even though the orchestra was without a singular executive leader, the organization continued to thrive with the combined efforts of board and senior staff leadership and the dedication of the whole administrative team," says Parker. No matter what challenges lay ahead, Parker emphasizes that his philosophy is straightforward. “The decision is simple,” he says. “We’re always balancing a number of realities and demands, but the most important thing for the orchestra to do is to service its audience. It doesn’t matter whether that’s in a concert hall, community venue, streaming, etc.” “Coming out of COVID and into the post-pandemic phase will bring up a lot of questions about business as usual,” Parker adds. Indeed, there remains trepidation among audiences about returning to concert halls, but even as traditional audiences return to live performances, Parker also wants to acknowledge the new audiences the orchestra was able to reach during the lockdowns through its free virtual performances. “How do we connect to them now?” he asks. Rather than view it as a challenge, Parker clarifies that it’s an opportunity. With Abrams’ leadership, the resources available, and support from the board, Parker is confident in the orchestra’s ability to continue serving the Louisville community. “Everything is up for discussion.” As the board continues its search for a permanent executive director, Parker is advocating for a “next generation leader” to bring the orchestra to a new chapter. “Part of my mission is to help them find someone who is of the same caliber as Teddy, someone who is at the same level for management. It’s a very exciting opportunity for the right person.” A U D I E N C E
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PERFORMANCE PREVIEW
BRINGING THE JOY
EXTRAORDINARY GUITARIST TOMMY EMMANUEL RETURNS TO LOUISVILLE WITH SPECIAL GUESTS ROB ICKES AND TREY HENSLEY
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nytime you talk to Tommy Emmanuel’s fans, whether musicians or civilians, invariably they will speak of not one but two qualities that define his greatness.
The first, predictably, is his extraordinary guitar playing. Considered by those in the know to be among this planet’s greatest guitarists, his playing is simply miraculous, as it would take three musicians, or more, to do what Tommy does solo. Who else, for example, when playing “Day Tripper,” can lay down the rhythm part, dig into the riff and sing the melody all at once on just one acoustic guitar? Which brings us to the other aspect of his music always mentioned, and without which the first might not be as powerful or as infectiously appealing: the joy. Yes, joy. Because it’s one thing to play these multi-dimensional arrangements flawlessly on an acoustic guitar. But to do it with that smile of the ages, that evidence of authentic, unbridled delight, is an irresistible invitation to feel his music as deeply as he does. "The joy,” Tommy says, “is there always because I'm chasing it through music. Seeing the surprise in peoples' eyes is worth living and working for... I can't help but play to the people with all my heart, which is overflowing with joy of being in that moment that I’ve worked all my life for. And here it is!” Although his expression is instrumental, he comes to the guitar much more like a vocalist, positively singing melodies through the strings. He inhabits the tunes he performs, delivering every nuance and turn of phrase. His own songs are also illuminated always with lyrical melodies that go right to the heart, such as his beautiful ode to his daughter, “Angelina,” or his great “story without words,” “Lewis & Clark.” That they resonate
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“Songs are our teachers. They show us the depth of the human race and its unrelenting desire to create.” so deeply without words makes sense, as words only go so far. But music, coming from a genuine and joyful source, can go so much farther. Now with The Best of Tommysongs, he brings us a complete collection of his own songs, all rich with ripe melodicism and rendered with joy in real-time.
EARLY DAYS IN THE OUTBACK Born in 1955, one of six kids in Muswellbrook, New South Wales, Australia, his first years were fairly uneventful, mostly mastering necessary motor skills between naps. By age four, he got busy becoming a musician. His father, an engineer who loved music and musicians, brought home an electric guitar one day with the intention of finding out how it worked. Piece by piece, he took it apart to discover its secrets. But Tommy and his brother were much more interested in music than mechanics, so that when their dad was away at work, they’d surreptitiously sneak away with the guitar. Driven somewhat by sibling rivalry, they developed contests that were both fun and extremely educational. “We turned our backs to each other,” Tommy remembered, “and Phil would play a chord and I would have to say what the chord was, what the
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notes in it were.” It was competition which impacted his entire career, allowing him access to the rich interior architecture of songs. Though neither brother had any formal musical training, this self-schooling quickly transformed both into seriously sophisticated musicians. Though they assumed their father would be angry if he found out, which he did, they were wrong. He was surprised and thrilled his sons could play music. Soon their big brother Chris was enlisted to play drums, and with sister Veronica playing lap-steel, a family band was born. They joyously rocked hip guitar instrumentals such as “Apache,” by The Shadows, featuring Hank Marvin on guitar, who both Phil and Tommy adored and emulated. They called themselves The Emmanuel Quartet. But when people kept mistaking them for a classical string quartet, they changed the name to The Midget Surfaries. They entered a band competition, and easily surpassed all contenders to take first prize, a national TV appearance. On that show they burned through “Apache” with such aplomb that the producer told their dad he should take the band on the road.
He agreed. Back home he told everyone the plan: Sell the house, buy a tent, two station wagons, and hit the road. It seemed to be a dream, yet it was true. What they didn’t know was that their dad had learned recently that he had an incurable heart disease and was not expected to live for much more than a year. His doctor said if there was ever anything he really wanted to do; he should do it. It lasted for six years. They were on the road constantly, except for a few periods when their dad was too ill to tour, and Tommy and his brothers picked fruit to make some money. When his father’s heart finally gave out, Tommy remembered, his mother grieved for a few hours alone, and then emerged to give them the choice of a “normal life” or staying on the road. They chose the road, of course, and signed up with a successful traveling show, which kept them gainfully employed for a good stretch. But that came to an end when the child welfare department forced them off the road again for perceived child labor violations. “They made us go to normal schools,” Tommy said. But normal was not something Tommy accepted for long. Though they settled down in a little town near Sydney, the brothers quickly assembled a little rock band, playing pubs, parties, weddings, and dances. One thing he learned on the road and never forgot was that he loved performing. And he was great at it.
AN EXTRAORDINARY TRIUMPH From these origins, Tommy’s music expanded in every direction. At 30, he was burning on electric guitar with several rock bands in stadiums all over Europe. He could have gone on to live the rock star life. Yet he yearned for something purer and closer to his heart. Casting off the reliable rock band engine of monstrous sonics blasting with chains of effects through monstrous stacks of amps, he did a reverse Bob Dylan, and instead of going electric, Tommy went acoustic.
ROB ICKES AND TREY HENSLEY Take a 15-time IBMA (International Bluegrass Music Association) Dobro Player of the Year and a Tennessee-born guitar prodigy who made his Grand Ole Opry debut at the age of 11, and you have Rob Ickes and Trey Hensley, a powerhouse acoustic duo that has electrified the acoustic music scene. Known for their white-hot picking, stone country vocals with soul, and world-class live musicianship, Ickes and Hensley meld together blues, bluegrass, country, rock, and other string band music of all kinds to form a signature blend of music that defies restrictions of genre. They are equally at home on stages of prestigious performing arts centers, theatres, and the Grand Ole Opry as they are on Americana, jamgrass, bluegrass, and jam band festivals.
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Stripping away everything but the essentials, Tommy found the ideal equation, and one which has led him to worldwide acclaim: one acoustic guitar in standard tuning played by one ambitiously unchained guitarist and lover of song. Always, it’s about melody, of expressing the tune not with a barrage of notes, but with those which touch the heart. And it’s about his singular greatness at translating the dimensional dynamics and dimensions of arrangements onto the six strings of his guitar. Although many scoffed that it was possible, Tommy made a series of hit albums as a solo guitarist, and became a major star first in Australia, and soon everywhere. The inspiration for Tommy’s transformation? That would be guitar legend Chet Atkins, who represented to Tommy the pinnacle of guitar playing. One man, one guitar, and unlimited, passionate song. Like Dylan, who made a pilgrimage from the Midwest to New York to meet his idol, Woody Guthrie, Tommy always knew he had to get to Chet. To let Chet hear his music, which had been so shaped by his years listening, and absorbing, Chet’s genius. A U D I E N C E
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“When I was a kid, I wanted to be in show business. Now, I just want to be in the happiness business. I make music, and you get happy. That’s a good job.” When he finally made that trek around the globe to meet the man himself, in Nashville, their bond was immediate, and like their music, existed beyond words. Chet picked up his guitar, and the two men jammed joyously for hours. It started a lifelong friendship which shaped Tommy’s music forever. Chet welcomed Tommy into guitarist knighthood by bestowing upon him the coveted title of CGP (Certified Guitar Player), an honor awarded only to four other humans ever.
91.9 WFPK presents: Tommy Emmanuel, CGP with Rob Ickes & Trey Hensley Saturday, January 29 | 8PM | Brown Theatre Tickets: kentuckyperformingarts.org
Though already devoted to the life of a solo player, receiving the love and esteem of Chet lifted Tommy into a different realm. Because, as Chet recognized instantly and told the world, musicians like this don’t come along that often; pay attention to this man. Of course, Chet knew of what he spoke. Tommy’s triumph on his singular solo path has been extraordinary. From the Midget Surfaries, he’s become beloved and revered around the planet for the music. And, for the joy. Article courtesy of tommyemmanuel.com.
Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you! Area of Town
Restaurant Name
Reservations
Phone
Address
Notes
Downtown
Repeal Oak-Fired Steakhouse
Yes
(502) 716-7372
101 West Main St.
Upscale steakhouse on historic Whiskey Row
Downtown
Jeff Ruby’s Steakhouse
Yes
(502) 584-0102
325 West Main St. (Galt House Hotel)
Premium steaks & seafood
Downtown
Mayan Cafe
Yes
(502) 566-0651
813 E. Market St.
Farm-to-table Mexican & Pan-Latin cuisine
Downtown
Walker’s Exchange
Yes
(502) 272-1834
140 N. 4th St. (Galt House Hotel)
Casual Southern Contemporary
Crescent Hill
Pat’s Steakhouse
Yes
(502) 893-2062
2437 Brownsboro Rd.
Premium steaks since 1958
Crescent Hill
Porcini Restaurant
Yes
(502) 894-8686
2730 Frankfort Ave.
Fine Northern Italian cuisine
Highlands
Jack Fry’s
Yes
(502) 452-9244
1007 Bardstown Rd.
High-end Southern fare & cocktails
Check out our full list of preferred restaurants at Audience502.com.
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PERFORMANCE PREVIEW
AN ANCIENT TALE OF LOVE AND LOSS RETURNS TO THE STAGE AFTER TWO DECADES by Kentucky Opera
Catherine Martin
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February 11 & 13, 2022
hat would you do to have one more moment with someone that you love who unexpectedly passed away? This is a question that has been posed to mortals since time began. If you are like Orfeo, you are willing to go to the bowels of Hell to reclaim your beloved. Based on the Greek mythological tale of the lovers Orfeo and Eurydice, Gluck’s opera Orfeo delves into the bereaved lover’s mind and the lengths that they are willing to take.
In Kentucky Opera’s upcoming production, which has not been performed in over two decades, director Kelly Kitchens adds a touch of personal experience to her vision of the story. “Where does fantasy collide with reality?” Kitchens asks. “As humans we are often looking for that second chance, so I want to show the audience a different, but relevant take on the torment that Orfeo is facing with the loss of their Euridice.”
Catherine Goode
“Louisville and Kentucky audiences, I have found, are quite open and receptive to new ideas and concepts and I am excited to be able to bring this work to the Brown Theatre stage,” she adds. “Furthermore, I am over the moon thrilled with the opportunity to work with Robert Curran and the Louisville Ballet for this production.” To further the expanse and talent that will bloom forth from the stage, Orfeo will feature the use of period instruments from Bourbon Baroque, which was founded by John Austin Clark. These instrumentalists will work with guest conductor Judith Yan, as well as members of the Louisville Orchestra.
Flora Hawk
Featuring Catherine Martin as Orfeo, Flora Hawk as Euridice, and Catherine Goode as Amore, Orfeo should be a deep dive into what fuels our past, present and future as it pertains to life, love and loss. In closing, Kitchens hopes that Orfeo will provide a catharsis for each audience member. And how appropriate that we should embrace everlasting love on a Valentine’s Day weekend? Performances are February 11, 2022, at 8 p.m. and February 13, 2022, at 2 p.m. at the Brown Theatre. Purchase tickets here.
Kelly Kitchens
Orfeo runs Valentine's Day weekend: February 11 and 13 at the Brown Theatre. Photo courtesy of Kentucky Opera. K E N T U C K Y
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Dr. Ralph de Chabert, EdD
Senior Vice President and Chief Diversity and Global Community Relations Officer for Brown-Forman
“Spalding had a program that spoke to me. During the early stages of the program, we were introduced to members of the community to see if any of their needs matched our doctoral pursuits. That was very attractive because I am always trying to apply what I have learned. It wasn’t a completely esoteric academic experience. There is more to it. There is a balance which incorporates the potential for an applied aspect to the doctoral work, and I liked that.”
Spalding University Class of 2019
Brown-Forman Senior Vice President Ralph de Chabert
De Chabert had many options, but he chose Spalding
was already a highly accomplished business leader, guiding
University’s EdD: Leadership program as the next step
the global diversity and inclusion strategy for a major
in his educational journey and as an avenue to conduct
international company. Still, he wanted to keep learning
high-level research on how racial and gender categorizations
more in his continual effort to better serve colleagues,
affect leadership and development opportunities for
customers and his company. “Growth is an absolute
Black and White women. He said his dissertation findings
essential to life,” he said. “It’s very important to grow,
are useful to him in his work every day.
so that I can be that much more of a resource to others.”
Learn more about our Doctor of Education in Leadership at spalding.edu/edd.
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SPECIAL FEATURE
LEADING ETHICAL AND EQUITABLE CHANGE Spalding University’s EdD: Leadership program provides innovative leadership education with a global mindset. The low-residency leadership program is open to a diverse cohort of professionals who work in a variety of fields, including education, business, healthcare, social services, and the arts. The classes in the leadership program at Spalding University are in a hybrid format. Students attend four annual weekends of in-person instruction, punctuated by a themed panel discussion with provocative leaders. During these residencies, students work collaboratively with instructors, classmates and community practitioners. These on-campus learning experiences are complemented by personalized online instruction that completes each class. The Doctorate of Education in Leadership is a broad-based degree that offers practical application. Doctoral students perform research and help resolve a real-world leadership issue as part of a capstone project. Graduates of Spalding’s leadership program stand out as drivers of change and innovation. They graduate with enhanced leadership skills, advanced academic abilities and enriched lives. J A N U A R Y
VIDEO: Spalding University student, Laura Harbolt reflects on her experience is Spalding University's Ed.D program.
For more information on the EdD: Leadership program, click here.
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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! For more of our preferred arts and entertainment recommendations, visit Audience502.com/audience-events
JANUARY
19 Ashley McBryde
Patty Griffin with Parker Milsap 8PM, Old Forester's Paristown Hall kentuckyperformingarts.org The Mavericks
5
Citizen Cope 8PM, Old Forester's Paristown Hall kentuckyperformingarts.org
11 & 13
Orfeo Kentucky Opera Brown Theatre kyopera.org
Ashley McBryde This Town Talks Tour 8PM, Brown Theatre kentuckyperformingarts.org
8
Yuja Wang premieres Abrams Concerto Teddy Abrams, conductor 8PM, Whitney Hall louisvilleorchestra.org
9
MOMIX VIVA MOMIX 7PM, Brown Theatre kentuckyperformingarts.org
14 & 15
Jason Isbell & The 400 Unit 8PM, Louisville Palace LouisvillePalace.com
15
Irresistible John Williams Louisville Orchestra POPS Series Bob Bernhardt, conductor 8PM, Whitney Hall louisvilleorchestra.org
18-23
CATS PNC Broadway in Louisville Whitney Hall louisville.broadway.com 22
21
The Mavericks - 'En Español' World Tour 8PM, Brown Theatre kentuckyperformingarts.org
23
Peter & The Wolf Louisville Orchestra Family Series 3PM, Whitney Hall louisvilleorchestra.org
Festival of Latin American Music - Part 1 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org
Gospel at the Symphony featuring Harry Pickens Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org
15-20
Come from Away PNC Broadway in Louisville Whitney Hall louisville.broadway.com
Festival of Latin American Music - Part 2 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org
19 A Tribute to ABBA Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org Mean Girls
16
Black Violin: Impossible Tour Brown-Forman Midnite Ramble 7:30PM, Brown Theatre kentuckyperformingarts.org
28 & 29
Pines of Rome Louisville Orchestra Classics Series Whitney Hall louisvilleorchestra.org
19
29
Tommy Emmanuel 8PM, Brown Theatre kentuckyperformingarts.org
FEBRUARY
Bob Mould Solo Electric 8PM, Bomhard Theatre kentuckyperformingarts.org
23
APRIL
Greensky Bluegrass 7PM, Paristown Hall kentuckyperformingarts.org Disney in Concert Louisville Orchestra 8PM, Whitney Hall kentuckyperformingarts.org
Kinky Boots Derby Dinner Playhouse derbydinner.com
T O
22 – 27
Mean Girls PNC Broadway in Louisville Whitney Hall louisville.broadway.com
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Feb. 1 – Apr. 3
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5
12
12 6
MARCH
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F R E E !
2 Sheherazade Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org
3 Alton Brown Live Beyond the Eats 6:30, Whitney Hall kentuckyperformingarts.org
Christoph Willibald Gluck
Orfeo Feb. 11 8pm Feb. 13 2pm Brown Theatre A timeless story of sacrificial love—with one of opera’s most beautiful scores Presented in collaboration with Louisville Ballet
Featuring the period instruments of Bourbon Baroque
An
American Dream Music by Jack Perla Libretto by Jessica Murphy Moo
April 8 8pm April 10 2pm Brown Theatre Treasured possessions become symbols of home in this opera inspired by true American stories
21/22 SEASON SPONSORS
Robin Hood A YOUTH OPERA Ben Moore and Kelley Rourke June 10 7pm June 11 2pm Bomhard Theater
We all have the power to do good in this world—if we choose J A N U A R Y
KYOPERA.org | 502-584-4500 23
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AUDIENCE RECAP
OH, WHAT A NIGHT! The Return of PNC Broadway in Louisville by G. Douglas Dreisbach
The day had finally arrived. It was Tuesday, November 9, 2021, and the long-awaited return of PNC Broadway in Louisville was here. The award-winning musical WAITRESS was ready to grace the stage in Whitney Hall at The Kentucky Center for the Performing Arts. It was a day of celebration for everyone who had ever been to a live performance of any kind. It was a day of celebration for the staff and team at Broadway in 24
Louisville, Kentucky Performing Arts and the casts and production crews of theater performances everywhere. Audience Magazine interviewed President of Broadway Across America Midwest, Leslie Broecker, many times over the pandemic months, and she had alluded to what she and the rest of the audience would be feeling when we finally made it to opening night, and she was right. It was full of joy, laughter and applause
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T O
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as it signified that Broadway was back, and Louisville was ready. Audience Magazine was on hand to capture some of the excitement before the show, at intermission and after the show. While masks may have covered the smiles on that glorious night, it was clear that everyone was more than ready for the curtain to rise again! Share YOUR playbill pics with the hashtag: #audience502.
F R E E !
THIS IS KENTUCKY ART.
Kentucky has a thriving visual and performing arts community and the Kentucky Arts Council is proud to celebrate it. Vibrant arts communities are alive in Kentucky communities, whether you’re in the bustling pace of Louisville or Lexington, driving along the U.S. 23 Country Music Highway, watching luthiers make dulcimers in Knott County, or learning about Hart County’s distinguished history of basketmaking. Plenty of arts and cultural experiences await you when you visit us in Kentucky!
www.artscouncil.ky.gov J A N U A R Y
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