Audience Magazine - September 2020

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

magazine

SEPTEMBER 2020

PNC BROADWAY IN LOUISVILLE The Memory Lives On... CATS Returns Next Season. Page 6 | ACTORS THEATRE Actors Reimagines Dracula for Radio. Page 10 | LOUISVILLE ORCHESTRA A Music-Packed Season Delivered Online. Page 16 | KENTUCKY PERFORMING ARTS An All-Star Cast in the First Whitney Hall Performance. Page 22 | LOUISVILLE BALLET Dancers Step Back Into the Studio.

Page 32 | KENTUCKY OPERA Dedicating the New Season to Faith, Justice, and Family. Page 38 | KENTUCKY SHAKESPEARE Four New Actors Advocate for Positive Change. Page 42 | FUND FOR THE ARTS Christen Boone's Louisville Legacy. Page 46

Libby W. YOU ARE ALL HEROES AND ANGELS! Thank you for all that you do for my Grammy and all the residents and their families. Shirley M. Thank you, thank you ALL for YOUR DEDICATION AND SELFLESS SACRIFICE during these challenging times! Nadene S. Thank you for taking such good care of our family treasure. Miss seeing Mom and ALL of you. You are TRULY SPECIAL PEOPLE. Rhonda M. THANKS FOR YOUR TIME AND DEDICATION during these difficult times. Terry F. Thank you for the AWESOME CARE that my mom received while she was a resident there. Thank you from the bottom of my heart. Ginger H. YOU ALL ARE AMAZING and I will be FOREVER GRATEFUL FOR THE CARE YOU ARE GIVING my dad. Thank you so much! Judy M. Our family appreciates all you have done in this difficult situation. Praying for your health, strength, as well as all of the residents. CANNOT GIVE YOU ALL ENOUGH PRAISE. God bless you all! DeAnn C. You guys are TRUE HEROES! Thanks for taking good care of mom and all of the residents! Penny O. On behalf of my family, we also APPRECIATE EVERYTHING you have done and continue to do during this difficult time. THANK YOU FOR ALL THE PHONE CALLS TO KEEP US UPDATED on our loved ones. Denise N. Thank you for all the WONDERFUL CARE you provide for everyone! Nancy H. You are all heroes. Thank you for TAKING THE BEST CARE POSSIBLE OF OUR LOVED ONES. Denise N. You are the BEST HEALTHCARE TEAM THERE IS! May our Lord BLESS YOU ALL WITH GOOD HEALTH AND SAFETY! Amanda H. Thank you for continuing to bring cheer to residents during such a trying time. Emma B. Thank you for taking care of my mom. Of course we miss her but I feel she is SAFE IN YOUR HANDS. Bless all you nurses, aides and everyone employed there. JoEllen P. WE LOVE THE NURSES AND STAFF. Connie C. YOU MATTER! Your watch over our family, so WE CAN SAFELY SLEEP AT NIGHT with no worries. Julia L. What a great team! No matter what shift, you are all superheroes! Thank you for what you do everyday! Deborah P. BEST TEAM HANDS DOWN keeping our place clean.

Judi M. Thank you for everything that each and every one of you do. The love and individual care you give to the residents at MW is beyond words. YOU ARE ALL HEROES. Lois H. The staff from the administrative staff, activities staff, nursing, nursing assistants, rehab, kitchen, laundry, and maintenance are JUST INCREDIBLE! They know the names of residents and treat them with the same care as they would want to be treated. I pray for their strength and protection during this trying time. They are truly heroes! Cheri R. WE THANK ALL OF YOU for caring for the ones we love. And WE LOVE EACH OF YOU for all you do! Marilyn B. A VERY CARING STAFF, for sure. Thank you for doing all you possibly can during this crisis.

JoEllen P. We are so pleased with the staff. They have reached out a couple of times. We know our DAD IS WELL LOVED AND TAKEN CARE OF during this stressful time. Staff had even let us FaceTime with him a couple of times. WE LOVE OUR CAMPUS FAMILY. Connie C. This campus is THE ABSOLUTE BEST! Very CARING, DEVOTED PEOPLE. Linda H. Love the spirit shown by your staff. Continue the excellent care you provide, you are all AMAZING! Jan T. BEAUTIFUL, SELFLESS, COMPASSIONATE, LOVING AND CARING NURSES. Love and appreciate all of you, may God Bless you! Scarlet P. Thank you, nurses, for all you do to care for my mother. It means so much when I call (again!) that YOU TAKE TIME TO ANSWER MY CONCERNS. We appreciate all you do and pray for you and your family’s safety. Lisa B. Thank you for all you do. Thank you for taking such good care of my dad! Tara C. Great message! Trilogy, YOU ARE PROVING TO BE AN INCREDIBLE ORGANIZATION during this unprecedented time. It’s reassuring to see your corporate leadership team step up to be a voice for your employees at local levels because our long-term care workers need support now more than ever – they need to know that they’re not forgotten and that their community is rooting for them. The campus staff and administration EPITOMIZES COURAGE, STRENGTH AND PERSEVERANCE for all that they’ve had to endure over the last several weeks.

They are all heroes and I’ll be praying for their continued strength. Thank you! Karen B. GOD BLESS YOU ALL, and thanks for everything you are doing! Praying for you all! Linda S. Congratulations!! We appreciate each and every one of you! You We’ll keep themRonda safe. P. You are in our prayers! Lori G. Thank you so much for taking care of my mom, YOU GUYS ARE TRUE ANGELS. We’ll keep them connected. all deserve so much! THANK YOU FOR TAKING CARE OF OUR LOVED ONES. Debbie B. My gratitude goes to every We’llway keep them close our hearts. single staff member that has cared for my mom! Everyone has gone out of their to see that she istohappy and healthy!

THANK YOU TO ALL! JameySue S. THANK YOU SO MUCH FOR CARING SO LOVINGLY FOR ALL OUR FAMILIES. Just like we always have.

Sharron L. Thank you to all the staff involved in my mom’s care during these times. I appreciate ALL of you. RobandRenee C. Thank you, thank you Life Enrichment Department, I was able to witness THE HALLWAY SING-A-LONG TODAY AND IT BROUGHT ME TO TEARS! I appreciate you all! Heather B. These DEAR SWEET PEOPLE!! They are AMAZING TROOPERS in this craziness! Julia I N L.D EThank P E N Dyou E Nfor T LallI VofI Nyour G hard | A Swork!

S I S TYou E D make L I V IaNdifference!

G / P E R S OTrisha N A L A.C AWE R EAPPRECIATE EACH OF YOU who are working and taking care of our loved ones during this scary and difficult time. Thank you. Melissa M. E M O R Y C ATHAT R E YOU | P OALL S T -ARE A C UDOING T E H ETO A LTAKE T H C ACARE R E SOF E ROUR V I C ELOVED S THANK YOU ALL FOR M EVERYTHING ONES!! You are all true heroes!! care for our mother! Sue N. Thank you for taking F O R Beth A F U A. L LWe L I Sare T Oblessed F O U R Lto O Uhave S VBIsuch L ER ISan E NEawesome I OT RO L AI VUI group N GI ELNO CCtoAT SI U SL C B D E IFORNESE, !V I S I T T R I L O G Y H S . C O M | 2 such good care of all our loved ones and especially my mother-in-law. GOD BLESS YOU ALL AND GIVE YOU STRENGTH!

OUR

Mission HASN’T

EMBRACING THE NEW NORMAL Individually we are one drop.

Together, we are an ocean — Ryunosuke Satoro

The school year has started, leaves are beginning to carpet our sidewalks, and pumpkin spice is back on the menu. Yes, fall has officially landed in Louisville.

When stages went dark in March, the performing arts community — and arts enthusiasts alike — were optimistic we’d be able to enjoy the usual fall slate of performances. It didn’t take us long to realize this season’s performance calendar would be anything but typical.

So here we are in September, and we’re seeing the results of how our resilient performing arts groups are adjusting to their “new normal.” In this issue of Audience Magazine, you’ll see some exciting news about digital seasons being launched by Louisville Orchestra and Kentucky Opera. You’ll read a behind-the-scenes look at how the team at Actors Theatre of Louisville is adapting its classic Dracula to an online format. You’ll also get a look at some organizational and procedural changes at a few of our local arts organization.

Amy Higgs Managing Editor

We’re excited to highlight a very special collaboration between singer/songwriter Carly Johnson, a Kentucky Performing Arts venue, some Louisville Ballet dancers and other local musicians for the filming of the music video for Carly’s new song, "Burn Your Fears." See story on page 28.

This is a shining example of the collaborative spirit of Louisville’s entire performing arts community. Despite the fact they’re all seeking support from arts patrons for ticket sales and donations, the arts group here in our city are not cutthroat competitors. Their collaboration on Carly’s video shoot is just one of many instances when the arts as a whole have come together to lift each other up. And by doing so, they lift up our entire community. We’re so proud to be aligned with such an empowering, positive group of people and organizations.

We’re also proud to partner with the advertisers you see in the magazine. Thanks to their generous support, Audience Magazine will continue to be the empowered voice for local performing arts as long as we are needed.

Until the curtain rises again,

G. Douglas Dreisbach Publisher

– The Audience Group

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TABLE of CONTENTS SEPTEMBER 2020

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MAKING A (NEW) MEMORY

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AMPLIFY YOUR VOICE

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BRINGING A VISION TO LIFE

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A RADIO PLAY

MOVING FORWARD

TAKING THE LEAP

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FROM LOUISVILLE WITH LOVE

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SPOTLIGHT ON LOUISVILLE

TICKET

GIVEAWAYS

SPECIAL INVITES

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

CLICK TO SUBSCRIBE FREE!

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

PUBLISHER

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

Amy Higgs CREATIVE DIRECTOR

Rhonda Mefford SALES & MARKETING

G. Douglas Dreisbach CONTRIBUTORS

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

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

On the Cover: Singer/songwriter Carly Johnson teamed up with local dancers and musicians to record a music video in Whitney Hall. Read more on page 22 and page 28.

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

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

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(NEW )

MAKING A MEMORY

RECORD-BREAKING MUSICAL CATS RETURNS TO LOUISVILLE NEXT SEASON 6

byI PNC S U B S C R B E Broadway T O A U in D Louisville I E N C E

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ATS, the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in over 30 countries and 15 languages, is still on tour across North America, and returns to Louisville next season.

Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater, "Memory." Winner of seven Tony Awards, CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn.

The original score by Andrew Lloyd Webber (The Phantom of the Opera, School of Rock, Sunset Boulevard), original scenic and costume design by John Napier (Les Misérables), all-new lighting design by Natasha Katz (Aladdin), all-new sound design

by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom) and direction by Trevor Nunn (Les Misérables) make this production a new CATS for a new generation!

Keri René Fuller as Grizabella in the North American Tour of CATS. Photo by Matthew Murphy 2019.

CATS: NOW AND FOREVER Ever since its first performance in May 1981, CATS has been enthralling audiences around the world and has become one of the most successful shows ever written.

Don't miss your chance to make a new memory when CATS returns to Louisville.

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VIDEO: CATS | Official Trailer

 Dan Hoy as 'Munkustrap' and the North American Tour of CATS. Photo by Matthew Murphy. 2019.

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The North American Tour Company of CATS. Photo by Matthew Murphy. 2019.

DID YOU KNOW...

• CATS was inspired by Old Possum’s Book of Practical Cats by T.S. Eliot, a series of poems about cats published in 1939. The reason Eliot chose this title is because “Possum” was his alias amongst his friends.

• 2019 marks the 80th anniversary of Old Possum’s Book of Practical Cats being published.

• CATS had its world premiere on May 11, 1981, at the New London Theatre. CATS premiered on Broadway at the Winter Garden Theatre in 1982 and later went on to win seven 1983 TONY Awards, including Best Musical and Best Original Score.

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• CATS ran for 18 years on Broadway – one of the longest running shows in Broadway history!

• CATS has continued to pop up in your favorite TV and movies, including School of Rock, Sex and the City, Modern Family, Family Guy and The Simpsons.

• More than 150 artists ranging from Barry Manilow to Joni Mitchell have recorded the show’s hit song, “Memory.”

• Betty Buckley won the 1983 Tony Award for Best Featured Actress in a Musical for her role as Grizabella in the original Broadway production of CATS.

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PNC BROADWAY AT HOME Stages may be dark across the country, but we invite you to watch a reimagined version of one of Broadway's classic performances.

 VIDEO: Cast of Rent Sings "Will I?" with Arts Workers for Federal Relief.

UPCOMING PERFORMANCES

Tickets and info at: louisville.broadway.com P N C

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A RADIO PLAY ...as we began working, the actors would listen to each other through Zoom on their headphones, while simultaneously using two different programs to record their own voices.

BEHIND-THE-SCENES OF DRACULA

by Actors Theatre of Louisville 10

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hen it became clear that the pandemic would prevent us from terrifying Dracula audiences in the Bingham Theatre this fall, Actors Theatre quickly pivoted, and began work on an entirely new version of the classic vampire tale.

Out of those efforts came Dracula: A Radio Play — an eerily haunting, immersive listening experience, created in collaboration with award-winning radio professionals and wildly talented actors (including some familiar voices). Below, Jenni Page-White, who co-adapted the script with Hannah Rae Montgomery, shares a brief look at how the process unfolded.

How did you approach adapting the story of Dracula as a listening experience?

JENNI PAGE-WHITE: There were two main sources that Hannah and I drew inspiration from in writing the adaptation. The first, of course, is Bram Stoker’s novel. Its structure feels remarkably modern for something written in 1897; it unfolds through a series of diary entries, telegrams, and letters, all written by different characters.

So the narrative voice changes perspective over and over again, and the reader puts together the pieces of what’s happening by eavesdropping on characters’ private thoughts. Hannah and I really wanted to preserve that element in our adaptation — the sense that the listener was getting rarified access to the characters’ interior thoughts and fears.

Speaking of fear, another thing that struck us about Stoker’s novel was just how wonderfully suspenseful it is! Ask anyone in the year 2020 what a vampire is, and they’ll be able to tell you all sorts of details. But Stoker virtually invented the vampire genre, and his characters are confronting supernatural evil for the first time. Their discovery of the exact nature of the danger

Ask anyone in the year 2020 what a vampire is, and they’ll be able to tell you all sorts of details. But Stoker virtually invented the vampire genre, and his characters are confronting supernatural evil for the first time. they’re facing is just achingly gradual, and there’s a delicious sense of dread throughout the whole novel. Hannah and I were totally drawn in, and we knew we wanted to recreate that heightened feeling of suspense.

The second source that inspired us was brought to our attention by radio producer Dan Gediman, who helped guide this project from start to finish. Orson Welles and John Houseman adapted Dracula for radio broadcast in 1938, and it’s a fantastic example of how truly engrossing radio storytelling can be. Listening to that recording helped Hannah and me to think about the sonic world of our adaptation, and about what actions can be made legible through sound alone versus dialogue — as well as how to balance all of that with narration.

The Welles/Houseman version flows seamlessly between a diary entry, for example, and the dramatic enactment of what the diary is describing. Their adaptation and its brisk, tensionbuilding structure became a useful reference as Hannah and I made choices about what the audience would hear played out as a scene, and where characters would speak private thoughts directly to the listener.

 Photo courtesy of Actors Theatre.

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Photo courtesy of Actors Theatre.

day by meeting in Zoom. (This was key, actually. It was early in the pandemic, but it was clear that everyone really appreciated taking a moment to socialize and to see each other’s faces, surrounded by clothes in their DIY sound booths.) Then as we began working, the actors would listen to each other through Zoom on their headphones, while simultaneously using two different programs to record their own voices.

Orson Welles helped adapt Dracula for a radio broadcast in 1938.

Photo courtesy of Actors Theatre.

How did the finished product come together after recording was complete?

What was the recording process like?

JPW: As it turns out, recording an audio play during quarantine is really complicated! Thank goodness we had experienced radio professionals on board to troubleshoot the challenges. Due to the pandemic, we couldn’t just set up one recording studio that all the actors would use. Instead, they each had to set up a sound booth in their own homes (almost invariably in a closet).

Dan showed them via Zoom how to set up their equipment and how to position their mics to get the clearest sound. It was a very quick learning curve for the actors, who also became technicians on this project.

Producing a high-quality recording over the internet also posed technical challenges. There are some great web-based audio programs out there, but Internet traffic and varying wi-fi speeds meant that it was impossible to get through a scene without someone’s connection dropping. So the decision was made that each of the actors should record an isolated track of their voice locally on both their phone and computer, which could then be mixed and edited together with other voices later.

But the actors still needed to be able to hear each other when they were in a scene together. As a solution, we would start each

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JPW: In a radio play, the dialogue is only part of the storytelling.

The project really started to come alive when producer Dan Gediman and sound designer Sue Zizza began to add all of the music and effects. They created an aural landscape for the play that is incredibly textured and specific. For example, they were able to indicate a change in location through different kinds of train sounds, transitioning from a standardgauge engine to a narrow-gauge engine. And without giving too much away, the creative choices they made to support the supernatural elements in the story are truly unsettling.

After Dan and Sue compiled a treasure trove of music and sound effect cues, the Herculean task of editing all of the different vocal tracks together with the cues fell to sound engineer Lindsay Burdsall. It was a technically complicated undertaking, but also a creative one, since her editing choices impacted the overall pace and momentum of the storytelling.

There was an extraordinary level of creative adaptability and innovation displayed by the entire team behind Dracula: A Radio Play. Everyone dove right in with a fearless spirit of adventure. It’s a real feat that it all came together so quickly!

For more about all things Dracula, click here.

This article originally appeared in Actors Theatre Direct, the magazine published by Actors Theatre of Louisville.

Learn more and subscribe here.

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SHE RENEWED HER TAGS ONLINE

3OPTIONS TO RENEW CAR TAGS Online ReNew | JeffersonCountyClerk.org Telephone ReNew | 569-3300 Mail-In ReNew | P.O. Box 33033

Louisville, KY 40232-3033

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THE KENTUCKY CENTER FOR AFRICAN AMERICAN HERITAGE PRESENTS A VIRTUAL EXHIBITION

YOURS FOR RACE AND COUNTRY: REFLECTIONS ON THE LIFE OF COLONEL CHARLES YOUNG AUGUST 3, 2020 KCAAH.ORG CURATED BY CAROLYN L. MAZLOOMI, PH.D. CONTRIBUTIONS BY ALEIA BROWN, PH.D., BRIAN G. SHELLUM, FLOYD THOMAS, PH.D.

The history of African Americans is filled with tragedies that have shaped the black experience in America; however African Americans have contributed to the social, cultural economic, academic, and moral wellbeing of this nation. KCAAH presents this virtual exhibition to celebrate Governor Andy Beshear posthumous promotion of Colonel Charles Young to the rank of Brigadier General in the National Guard in the Commonwealth of Kentucky.

General Charles Young is a little known unsung hero from Mayslick, Kentucky, who offers up courage and perseverance during an extremely difficult time in our nation’s history for its African American citizens. His life most certainly highlights the resilience and contributions of African Americans in a significant way. The exhibit presents narrative quilts that provide a visual diary of Charles Young’s life.

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The $ Å Ú ¾ Charles Young Veterans Flag Memorial on the South Lawn on the KCAAH Campus.

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

 VIDEO: Louisville Sessions, featuring Tiny Tiny

 VIDEO: Actors Theatre Unscripted: Emergent Technologies for Digital Theatre

 VIDEO: COVID-Classics: One-Act Plays for the Age of Quarantine

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FROM

LOUISVILLE with LOVE

LOUISVILLE ORCHESTRA PIVOTS TO MAKE MUSIC DURING THE PANDEMIC

by Louisville Orchestra 16

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he last time the Louisville Orchestra was able to gather in full was Wednesday, March 11. We had finished the morning rehearsal of for the Festival of American Music, featuring work by Jacob Duncan. It was on track to be a successful event.

After the announcement that Norah Jones would be performing with us that weekend, our sales goals were exceeded.

However, the musicians returned to rehearsal after lunch break only to learn the show would not go on.

The COVID-19 quarantine forced the cancellation the end of the 2019-20 season. The shockwaves rocked the organization, but the patrons saved the day. An overwhelming number of people donated their canceled ticket money back to us!

The outpouring of goodwill we received was an emotional balm to everyone at the LO. We got a PPP loan that allowed us to keep the paychecks going to the musicians and staff. Our team took furlough days to extend the loans as long as possible. Donors at all levels have been committing their support to the future of the orchestra so planning began for a new way to bring music to Louisville.

Now, we’re back! Not like before, but we are bringing a fall season. Responding to the challenge of making music during the pandemic — in place of the previously announced fall offerings —we will have performances of four online concerts.

They will be streamed live from Louisville’s newest venue, Old Forester’s Paristown Hall, and then available for on-demand viewing.

While each concert will be available for individual streaming, subscribers to the new “Louisville Orchestra Virtual Edition” (LOVE) will also receive access to additional online content, including music, conversations, and curiosities particular to Louisville.

An overwhelming number of people donated their canceled ticket money back to us! The outpouring of goodwill we received was an emotional balm to everyone at the LO. The series opens on Wednesday, Sept. 30, with a pre-concert conversation with Teddy Abrams and Daniel Gilliam.

The socially distanced conversation will discuss the upcoming live stream.

Then on Saturday, Oct. 3, at 7:30 p.m., YOUR Louisville Orchestra presents “Beethoven’s Third,” a program pairing the composer’s “Eroica” with Jessie Montgomery’s Starburst and works for voice and orchestra. “Charismatic bass-baritone” Davóne Tines (New York Times) joins the orchestra for Samuel Barber’s Dover Beach, two songs from Caroline Shaw’s By and By, and the orchestral premiere of Tines’s own composition VIGIL. Paying tribute to Louisville native Breonna Taylor, whose death has sparked an international outcry, VIGIL was created in collaboration with Dutch-French producer Igee Dieudonné, and arranged, on commission from the Louisville Orchestra, by Matthew Aucoin.

Also, upcoming this fall are “Abrams Conducts Stravinsky,” a survey of the styles explored by one of the 20th century’s most protean and ingenious composers (Oct. 24), and

 Sam Bush will be a featured performer in Copland’s Appalachian Spring on November 7.

Photo courtesy of the Louisville Orchestra.

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Photo by Chris Witzke

Our season will be one of public service, focused on supporting our city as we confront the many challenges of this era. We have committed to three core values this year: improving the health of our community through music, providing exceptional music education to those that cannot afford it, and offering equal access to our music-making for everyone in Louisville. — Teddy Abrams

"Copland’s Appalachian Spring," showcasing legendary newgrass performer and Kentucky native Sam Bush (Nov. 7).

A fourth fall program, “American Soul,” presents arrangements of favorites by such soul legends as Aretha Franklin, James Brown, and Ray Charles (Nov. 21). After streaming live, each performance will be available for on-demand viewing until Dec. 31.

Throughout the season, Abrams and the orchestra will also undertake numerous additional activities in the areas of education, wellness and community outreach, and will announce plans shortly.

“I am very proud of my Louisville Orchestra family for uniting around a shared vision for what a musical institution can and should be at a time like this,” says Abrams. “Our season will be one of public service, focused on supporting our city as we confront the many challenges of this era. We have committed to three core values this year: improving the health of our community through music, providing exceptional music education to those that cannot afford it, and offering equal access to our music-making for everyone in Louisville.

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Our upcoming performances reflect these values, and they provide us with a chance to use our voice to heal and inspire our city when it needs us most.”

Inspired by the popular Community Supported Agriculture “farm box” system, by which consumers have fresh produce delivered to their doorsteps, the Louisville Orchestra Virtual Edition (LOVE) includes “locally grown” interviews, small ensemble performances, educational content and more, bringing audiences even closer to the musicians and their music director. The new digital series’ name tips its hat to First Edition, the famous contemporary music recording series that first put the young Louisville Orchestra on the international map.

“Launching the Louisville Orchestra’s online channel is an exciting leap forward when it comes to sharing the abundance of music available from the LO musicians,” says Michelle Winters, Louisville Orchestra’s Director of Marketing. “We now have a way to gather and perform for our community safely through this virtual medium until we can enjoy live music together again.”

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LOUISVILLE ORCHESTRA VIRTUAL EDITION (LOVE) Teddy Abrams, Music Director Four livestreamed concerts; click here for streaming details Log-in rental; one-time view live or on-demand: $30 All four concerts and bonus content (including ensemble performances, interviews etc.): $99

SATURDAY, OCT. 3, 7:30 P.M.

“Beethoven’s Third” Jessie MONTGOMERY: Starburst Samuel BARBER: Dover Beach (with Davóne Tines, bass-baritone) Caroline SHAW: By and By (with Davóne Tines, bass-baritone) Davóne TINES / Igee DIEUDONNÉ (arr. Matthew AUCOIN): VIGIL (with Davóne Tines, bass-baritone) BEETHOVEN: Symphony No. 3, “Eroica”

SATURDAY, NOV. 7, 7:30 P.M.

“Appalachian Spring” with Sam Bush COPLAND: Appalachian Spring Other selections with Sam Bush Additional rep. TBA

SATURDAY, NOV. 21, 7:30 P.M.

“American Soul” Program TBA

SATURDAY, OCT. 24, 7:30 P.M.

“Abrams Conducts Stravinsky” Program TBA

All dates, programs, and artists are subject to change.

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LOUISVILLE ORCHESTRA AT HOME For a sneak preview of some of the artists and music to be featured in the Louisville Orchestra Virtual Edition (LOVE) fall season, check out these amazing performances.

 VIDEO: Teddy Abrams announces the Louisville Orchestra's fall series, LO Virtual Edition.

 VIDEO: Composer and baritone Devóne Tines performed at the 2019 Harvard Commencement Ceremony.

 VIDEO: Sam Bush performing Eight Miles to Louisville.

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n August 23, 2020, music and dance took the stage in The Kentucky Center’s Whitney Hall for the first time since The Center building was closed in March due to COVID-19 protocols. The occasion was singer-songwriter Carly Johnson recording her first ever music video. The video, "Burn Your Fears,” features local string musicians and dancers from the Louisville Ballet.

Audience Magazine talks with Carly about her inspiration for the song and the experience creating her first music video in "Her Vision of Hope" on page 28.

We would like to thank and recognize the musicians and dancers who helped bring this vision to life.

MUSICIANS Lillian Pettitt, cello A native of Texas, Lillian Pettitt began her musical studies at age 3, while studying piano at the Suzuki Institute of Houston.

After three years of piano lessons and two years of violin lessons, she went to hear Yo-Yo Ma perform with the Houston Symphony and immediately switched to the cello. After studying for many years with Chris French of the Houston Symphony, she moved to San Francisco to continue her education.

She received her bachelor’s in cello performance from the San Francisco Conservatory of Music while studying with Jean-Michael Fonteneau. She then moved to Chicago and received her Master’s in Music from DePaul University School of Music, while studying with Stephen Balderston of the Chicago Symphony. Lillian has performed extensively across the United States and Europe. As an active orchestral musician, Lillian has performed under conductors including Teddy Abrams, Sir Simon Rattle, Sir Mark Elder, Susanna Mälkki, Daniel Boico, Carlos Miguel Prieto, and Hans Graff. Lillian is currently assistant principal cellist of the Louisville Orchestra and cellist in the Social Distancing Quartet.

Maestro J, violin Maestro J (James Racine) was born in Port-au-Prince, Haiti, into a family of musicians. His parents are both professional classical musicians and educators. James began playing the violin at the age of four, instructed by his mother, and later studied with Yvrose Philippe-Auguste and Romel Joseph. He also studied the piano and the flute.

By the age of 16, James was the assistant concertmaster of the Holy Trinity Philharmonic Orchestra in Haiti and the first violinist of the Holy Trinity String Quartet. He led the quartet to the finals at the Fischoff National Chamber Music Competition in South Bend, Indiana. He then moved to the United States to pursue further musical education.

He studied the violin and the viola at the University of Kentucky.

During his undergraduate years, James fell in love with teaching and volunteered his time to The String Project, a program delivered by the American String Teachers Association (ASTA) to offer a musical education to the local youth. He was then hired to commute and teach along with Professor Hoffman at the University of Cincinnati College-Conservatory of Music (CCM).

At the conservatory, he taught a strings class for the preparatory program.

James currently serves Kentucky Country Day School in dual roles. As a faculty member, he directs the orchestra program, teaching performance classes in all three divisions. As a diversity and inclusion director, he designs and delivers trainings for all constituencies of the school community, as well as the local and national educational and nonprofit sectors.

He is the founder and executive director of the Blazin’ Strings Academy, a nonprofit after-school program for underserved youth in Louisville, giving them an opportunity to learn a string instrument in a safe environment, paired with academic tutoring and social emotional building.

James enjoys community work, specifically through youth development, education, economic opportunity, reentry support, and community organizing. He has taught at the

 Carly Johnson records her music video in Whitney Hall. Photo by Mickie Winters, Winters Photography.

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Western Louisville Talent Education Center, AMPED, and has offered many free master classes to the youth. Most recently, he was selected as one of 50 BMe Community Fellows across the country. BMe (Black Male Engagement) is an award-winning network of community-builders that recognizes black men who have made positive contributions to society and inspired us to be better together. He is also the recipient of the JFCS MOSAIC award. This award recognizes international Americans who are making a significant contribution in their professions and in the community.

On stage, James is known as “Maestro J.” He is one of the most celebrated contemporary jazz violinists of his era. His restless curiosity, passion, energy, and multi-faceted musical interests have earned him the title of “The Blazin' Violinist.”

“Fear and creativity can't live in the same room," he says.

James regularly honors performance commitments at events and many festivals across the nation and in the Caribbean.

He has performed shows with artists such as Roy Ayers, Ronnie Laws, Euge Groove, Dru Hill, Amel Larrieux, Al Jarreau, George Duke, Chaka Khan, Ledisi, Lalah Hathaway, and more.

Maestro J has released three studio albums on which he showcases the best of his talent. His curiosity and clarity of insight are a testament to his belief in the power of music as a unifying cultural force. An artist of precision and passion, Maestro J is committed to the violin as an instrument of expression and a vehicle for realizing the new and unexplored.

Michael Hill, viola Violist Michael Hill is a native of Cleveland, Ohio. He began his viola studies at the age of 17 and continued his education with Masao Kawasaki and Dr. Catharine Carroll, earning a bachelor’s degree in music at the University of Cincinnati’s CollegeConservatory of Music. Moving to Louisville, Michael completed a master’s of music degree at the University of Louisville’s School of Music with Dr. Chien-Ju Liao and Dr. Yen-Ting Wu. He was a member of the Graduate String Quartet and also served as principal viola and teaching assistant to the viola studio throughout the program. Michael served as principal viola for the KMEA Intercollegiate All-State Orchestra and has appeared as a guest soloist for KMEA. He completed a master’s of music in string pedagogy in 2016, Michael works frequently with viola students and chamber music ensembles at the University of Louisville, Western Middle School for the Arts, and the Youth Performing Arts High School.

Michael has performed as an orchestral and chamber musician at the Aspen Musical Festival and School and as principal violist with the Opera Theatre and Music Festival of Lucca, Italy.

He collaborates on chamber music performances, Broadway musicals, recordings, and new works by local composers.

He has performed with several orchestras in Indiana, West Virginia, and Kentucky, and on Baroque viola with Bourbon Baroque, The Bloomington Bach Cantata Project, and the Indianapolis Baroque Orchestra. He is currently a member of the viola section in the Paducah Symphony Orchestra.

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Continuing Suzuki teacher training, Michael has completed Violin Books 1-10 through the University of Louisville’s long-term form teacher training under Dr. Timothy Durbin and is continuing the viola courses each summer under William Preucil Sr. He teaches through UofL and is often a guest for college and pre-college masterclasses and competitions in Louisville and surrounding areas.

Sheronda Shorter, viola Sheronda began playing the viola at age 9 in her elementary string orchestra at the J. Graham Brown School, under the direction of Dr. Jim Bates. She took private viola lessons from Jacqueline Rosky her sophomore, junior and senior years of high school. As a junior, Sheronda was invited to join the University of Louisville’s orchestra under the direction of Dr. Kimcherie Lloyd.

She also studied viola performance at the University of Cincinnati’s College-Conservatory of Music under the direction of Dr. Catherine Carroll and Masao Kawasaki as an undergraduate violist. She has performed as principal violist at James Graham Brown School orchestras, All-County Orchestra, Summer Select Music Camp, Festival Orchestra at the University of New Hampshire, Kentucky Governor’s School for the Arts, Youth Performing Arts School, Full and Chamber Orchestras, Kennedy Center Minority String Program at George Washington University, Louisville Youth Orchestra Symphony, and Kentucky All-State Symphony Orchestra.

Today, Sheronda is a staff accountant and plays her viola in multiple community groups in the Greater Louisville area, including Orchestra Enigmatic, Louisville Civic Orchestra, Blazin’ Strings at A.M.P.E.D., and Academy of Music Production.

Sheronda is also viola instructor and sole proprietor of West End Viola Studio, www.westendviolastudio.com.

DANCERS Leigh Anne Albrechta A proud native of Fremont, Ohio, Leigh Anne Albrechta plunged into her ballet training at The Fremont Ballet School and Ballet Theatre of Toledo. She traveled to Torrington, Connecticut, to study at The Nutmeg Conservatory for the Arts.

Upon graduating, she began dancing with North Carolina Dance Theatre as a trainee and apprentice earning the opportunity to work with Jean-Pierre Bonnefoux, Patricia McBride, and Dwight Rhoden.

In 2009, Leigh Anne joined Louisville Ballet, performing in such roles as Dawn in Robert Curran’s Coppélia, Spring Fairy in Cinderella, Marie in The Brown-Forman Nutcracker, and soloist in Serge Lifar’s Suite En Blanc, George Balanchine’s Theme and Variations, and Kammermusik No.2. Leigh Anne has also enjoyed her time performing and working with former Artistic Director’s Bruce Simpson and Alun Jones; Associate Artistic Director Helen Starr; and Choreographers Amy Seiwert, Ma Cong, Val Caniparoli, and Adam Hougland.

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Emmarose Atwood Born in Guangzhou, China, and raised in Carlisle, Pennsylvania, Emmarose trained at Central Pennsylvania Youth Ballet for 15 years under Marcia Dale Weary and other CPYB faculty.

In 2016, she joined the Louisville Ballet as a trainee and has had the opportunity to perform with the company in George Balanchine’s Theme and Variations, Val Caniparoli’s The BrownForman Nutcracker, Robert Curran’s Swan Lake, Asaf Messerer’s Spring Waters, George Balanchine’s Rubies, Alun Jones’ Sleeping Beauty, and Giselle. Emmarose joined the Louisville Ballet as a company dancer in 2018.

Kateryna Sellers

Smuin Ballet. She was thrilled to work as Adam Hougland’s rehearsal assistant as he created Ten Beautiful Objects for the Louisville Ballet in 2013 and for his re-imagined Petrouchka in 2016.

Helen took on the role of Cast Manager for the Nutcracker Children’s Cast with the launch of Louisville Ballet’s new Brown-Forman Nutcracker in 2009, and has been a member of the Louisville Ballet School faculty since 2005, teaching students from age 8 to adult. She has taught at summer intensives in Shreveport, Monroe, and Baton Rouge, Louisiana; Baltimore, Maryland; and Louisville. Helen was honored to be a part of the faculty for the RDA Southwest Dance Festival 2016.

Born and raised in Toronto, Canada, Kateryna joined the Louisville Ballet in 2005. She began her training in Toronto where she studied with teachers such as Sean Boutilier and Glenn Gilmour. In 2005, she graduated cum laude from Butler University with a B.F.A. in dance performance.

She is happy to call Louisville home, where she lives with her husband Brad and their two children, Keiran and Iris, and is thrilled to continue working for Louisville Ballet as a ballet mistress.

Since joining the Louisville Ballet, Kateryna has had the opportunity to dance many exciting and challenging roles.

She has been seen as Myrthe in Giselle, Pas de Cinque in Suite en Blanc, Sugar Plum Fairy and The Rose in The BrownForman Nutcracker, Principal woman in George Balanchine’s Square Dance and Kammermusik as well as in One For my Baby from Twyla Tharp’s Nine Sinatra Songs. She is thrilled to have performed the principal role in Adam Hougland’s ballets Petrouchka, Unyeilding Radiance, Rite of Spring, and Cold Virtues as well as in Val Caniparoli’s Lambarena. Kateryna has also been featured in such ballets as Adam Hougland’s Fragile Stasis, Lucas Jervies’ What Light is to Our Eyes, Ma Cong’s Tethered Pulse and Helen Pickett’s Etesian.

Adam grew up in Dallas, Texas, and studied visual arts and acting from an early age. At 14, he began his dance training at the Dallas Conservatory of Ballet and the Booker T. Washington High School for the Performing and Visual Arts. In 1999 he received his B.F.A. degree in dance from The Juilliard School and then went on to perform with The Limon Dance Company, Toronto Dance Theatre and The Lar Lubovitch Dance Company. While at Juilliard, Adam choreographed his first group dance, Beyond, which won the Hector Zaraspe Prize for Choreography. This piece set his choreographic career in motion and was quickly taken into the repertoires of Les Grands Ballets Canadiens de Montréal, Cincinnati Ballet, Ballet Met Columbus and The Louisville Ballet.

Helen Daigle, ballet mistress

Adam has gone on to create original works for Morphoses/ The Wheeldon Company, The American Ballet Theatre Studio Company, Introdans in the Netherlands, The Limon Dance Company, Cedar Lake Ensemble, The Washington Ballet, Ballet Memphis, Ballet X and The New York Choreographic Institute at New York CIty Ballet. He has created works for internationally recognized dancers such as Sofiane Sylve (San Francisco Ballet), Marcelo Gomes (American Ballet Theater) and Wendy Whelan. In 2006, he created a world premiere for Juilliard's Centennial Celebration that toured to Chicago and Los Angeles and was broadcast on the PBS Live from Lincoln Center series. He has won The Princess Grace Award for Choreography, The Choo-San Goh Award for Choreography, was one of Pointe Magazines’ 10 VIPs of 2006 and one of Dance Magazine's 25 to Watch for 2011.

Originally from Baton Rouge, Helen Daigle began her training at Decatur School of Ballet in Decatur, Georgia. Upon her family’s return to Louisian, she continued her training at Dancer’s Workshop under the tutelage of Molly Buchmann and Sharon Mathews. She has also studied at Joffrey Ballet School and School of American Ballet. She started performing with Baton Rouge Ballet Theatre junior and senior companies and began her professional career with Feld Ballets/New York. She has also danced with Ballet Hispanico and Miami City Ballet.

Helen joined the Louisville Ballet in 1998 and enjoyed 20 wonderfully fulfilling seasons. She performed featured roles in a range of works including Lark Ascending, In the Glow of the Night, Who Cares?, Serenade, Lamberena, Scheherazade, Company B, Etesian, and Cold Virtues. She has performed principal roles in such full-length ballets as The Magic Flute, Don Quixote, Giselle, Nutcracker, Swan Lake, The Sleeping Beauty, La Sylphide, and A Cinderella Story.

She has originated roles in ballets choreographed by Val Caniparoli, Amy Siewert, Helen Pickett, and Adam Hougland.

Helen has had the pleasure of staging Hougland’s Rite of Spring, Cold Virtues and Fragile Stasis on companies such as Louisville Ballet, Cincinnati Ballet, Tulsa Ballet, Kansas City Ballet and K E N T U C K Y

Adam Hougland, choreographer

Adam is the principle choreographer for The Louisville Ballet and has created nine critically acclaimed original works for the company, including Petrouchka and Rite of Spring with special guest artist Wendy Whelan. He is resident choreographer for Cincinnati Ballet, where he has created an evening-length Mozart’s Requiem and The Firebird.

Adam lives in Bristol, England, with his husband, Ashley, and their dog, Liza.

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UPCOMING EVENTS As the saying goes, “The show must go on.” Kentucky Performing Arts venues may be temporarily closed due to COVID-19, but we are happy to bring you some new performances. For information on new performances and to view the full calendar, please visit our website: KentuckyPerformingArts.org.

DECEMBER 10, 7 P.M.

Jim Brickman: Comfort & Joy at Home LIVE!

THURSDAYS AT 6 P.M.

Virtual Event Tickets: KentuckyPerformingArts.org

AMPED Up for the Weekend Find more information on Facebook: AMPED or Kentucky Performing Arts.

Grammy Nominated Songwriter and piano sensation Jim Brickman, known for his hit songs including, “The Gift,” “Sending You A Little Christmas,” “Angel Eyes,” and “If You Believe” continues his holiday tradition bringing family and friends together for anything but a silent night.

SEPTEMBER 10-30

Video: The Art Returned Home

John Lewis: Good Trouble

After the June 2018 fire at The Kentucky Center, several pieces from the permanent art collection were moved to an offsite storage facility for safe keeping during the restoration process.

These included pieces by Jean Dubuffet, Vera Klement, and Joan Miró. After nearly two years, they finally returned home in July. Special thanks to ART of Greater Kentucky and People-Move Movers for taking special care of these amazing works of art.

Virtual Event Tickets: KentuckyPerformingArts.org Learn about Representative John Lewis — Freedom Rider and Congressman, Presidential Medal of Freedom honoree, and the conscience of a nation. Rent the documentary, which includes two bonus videos, and participate in a live, virtual panel.

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

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Introducing the Trilogy SHIELD Program At Trilogy Health Services, keeping our residents safe and healthy remains our number one priority. That’s why we are proud to provide our latest cleanliness initiative – The Trilogy SHIELD Program. Consisting of Sanitation, Health solutions, Illness-prevention, Evidence-based Lasting technologies and Disinfection tools, this initiative has been carefully crafted to protect our residents, and give those who love them peace of mind.

Cutting-Edge Cleaning Technologies Through our relationship with 3M™ Commercial Solutions Division, each of our senior living communities now have access to the highest-quality disinfection tools available to our industry – capable of identifying and eliminating pathogens in a matter of minutes.

Cleaner Than Ever Before We’re proud to use 40-A, a solution that has been tested and recognized by the EPA to kill COVID-19 when used in accordance with the manufacturer’s guidelines. Whether it’s the doorknobs or light switches in our residents’ suites that they never think about, our team disinfects these high-touch surfaces a minimum of twice daily, to combat the highest potential sources for infection in our residents’ homes.

Safer Than Ever Before In response to COVID-19, our residents and employees continue to protect each other by practicing social distancing, as well as adhering to additional recommendations set forth by the CDC, CMS, and state and local guidelines.

Protecting Our Employees While They Protect Others We’re proud to provide each of our healthcare heroes with access to Personal Protective Equipment (PPE) whenever it’s needed.

With this program, not only are we protecting our community from the hardships of today – we’re making them prepared to meet the challenges of tomorrow. For more information about how we are keeping our residents and families safe, please contact our campus today.

INDEPENDENT LIVING | MEMORY CARE ASSISTED LIVING/PERSONAL CARE | AND MORE FOR A FULL LIST OF OUR LOUISVILLE SENIOR LIVING L RO FC OA TR IMOINNSG, VA IRSTIST PTRREI SL EONG TY SH S . C O M | K E N T U C K Y P E 27

AUDIENCE INTERVIEW

HER VISION of HOPE Local musician Carly Johnson collaborates with Kentucky Performing Arts and The Louisville Ballet on the video for her new song, "Burn Your Fears."

by G. Douglas Dreisbach

Louisville is known for its culinary scene, nightlife, entertainment, and, of course, the performing arts. We also have an abundance of talented musicians, ranging from orchestra performers to vocalists and everything in between.

One musician familiar with the spotlight and entertaining crowds large and small is local jazz, R&B and rock powerhouse singer/songwriter Carly Johnson. Having performed with artists such as Norah Jones, Bonnie Prince Billy, Houndmouth, and My Morning Jacket, as well as playing in a jazz guitar duo with critically acclaimed local musician, Craig Wagner, she has become a well-known and respected name in the Louisville music scene.

Her latest masterpiece is a song she wrote for a dear friend who courageously fought lung cancer with the power of positivity, and was an inspiration to everyone around her.

The song is titled "Burn Your Fears" and is accompanied by a video that was filmed at Whitney Hall at The Kentucky Center for the Performing Arts in partnership with the Louisville Ballet and Kentucky Performing Arts. For more about the dancers and musicians in the video, see "Bringing a Vision to Life" on page 22.

We caught up with Carly to hear more about the song and upcoming album, her inspiration in writing it and how the partnership with the Louisville Ballet and Kentucky Performing Arts came to be.

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Carly Johnson's upcoming self-titled album cover.

Pre-order the album on vinyl, and get it 2 months before it’s officially released digitally and on CD in early December!

Click here to pre-order.

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Myself playing on stage despite being alone represents our strength as humans to continue and endure. The appearance of the string players and eventual ballerinas represents humanity and hope for the future along with a sense of community in our shared feelings as people.

CLICK HERE to watch Carly Johnson's stunning "Burn Your Fears" video.

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Photo by Mickie Winters, Winters Photography.

Carly Johnson performs during the filming of her music video at Whitney Hall.

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

G. Douglas Dreisbach: After studying in Philadelphia, what made you return to Louisville? What do you love about the city?

Carly Johnson: Full disclosure, I initially returned to Louisville due to being smitten with a guy! Luckily it worked out.

We’ve been married for almost seven years, and we’re expecting our first child this fall. Though I truly loved my experience in Philadelphia, it was also easy to return to Louisville because of its rich and varied music scene. I was able to take time to hone my craft here and actually make a living singing jazz full time for 10-plus years now. That’s not something that’s as practically achievable in larger cities. The immense support and love for live local music in Louisville is heartwarming to say the very least.

GDD: What has been your proudest moment?

CJ: I would have to say that I’m torn between two moments.

The first moment would be performing a show of my own original music at the Cavern Club in Liverpool, England, where The Beatles grew up and often performed. I’m such a huge fan of The Beatles; it was chilling to stand where they stood and get to sing in the same space where they became who they are, surrounded by all of my bandmates that I love so dearly.

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Second, would be in Louisville at Iroquois Amphitheater, with the Louisville Orchestra. Not only was it my first time (of thankfully many more to come) singing with the LO, but it was also a performance of a song that I wrote called The Believer (which you can hear on my forthcoming debut album this October). Hearing your own song arranged and played by an entire orchestra for the first time is truly mind blowing, and something I’ll never forget.

GDD: Your latest song, "Burn Your Fears" was written to honor a friend who courageously battled cancer. Can you tell us more about that experience and what led you to write the song?

CJ: I wrote it for a dear friend of mine, Marisa Wittebort, shortly after she was diagnosed with an extremely rare form of lung cancer (ROS-1), as a 30-year-old non-smoker.

She really beat the odds and was able to live four years after being diagnosed, but she passed away last November, just a month after being honored by the American Lung Association as a Lung Force Hero.

A few months after her diagnosis, Marisa told me the story of how she decided to embrace life going forward into the new year. She, her sister, and her family watched as Marisa wrote down her greatest fears on tiny pieces of paper and threw them A U D I E N C E

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"I wrote the song as an anthem for her, in the sense that it’s about facing something incredibly difficult in your life, allowing yourself to completely embrace and feel every emotion it brings your way, and deciding to find beauty and live your life fully in a different way than you had planned."

Photo by Mickie Winters, Winters Photography.

other in different fields of the arts, I’d been lucky enough to make friends with some extremely talented dancers and choreographers who had seen me out performing around town, and striking up the concept and conversation about a future video was always exciting and welcomed. KPA has always been so supportive of what I do, and my own personal history of falling in love with Whitney Hall as child — my mom taking me to see The Nutcracker and so many other concerts there at an early age — made reaching out to The Kentucky Center with my proposal a no-brainer.

The vision was that the video would be simple in the sense that it is mostly just myself singing and playing piano in the middle of the Whitney Hall stage to a massively empty house. But as the song continues, four string players gradually appear in the audience, and they pick up their instruments and play from their seats when the strings part starts in the song. Then, as the song builds, three ballerinas join the stage dancing around the piano. into a fire in their backyard. I was so inspired by her courage to face the possibility of these stark truths, and by her choice to move forward and be wide open to the new path in front of her.

This compelled me to write the song, "Burn Your Fears."

GDD: What was it like writing a song for someone you were so connected to and passionate about?

CJ: It was hard. I knew I would have to dig deep and go to a difficult place to even begin to scratch the surface of what she could possibly be feeling. I wrote the song as an anthem for her, in the sense that it’s about facing something incredibly difficult in your life, allowing yourself to completely embrace and feel every emotion it brings your way, and deciding to find beauty and live your life fully in a different way than you had planned.

It’s always had a universal theme to it that anyone living with trauma has been able to relate to, but now more than ever, it feels immensely poignant and even more relatable than before. Right now, we’re all afraid, experiencing intense emotions and we’re trying our best to navigate this new way of life within a pandemic; we’re having to learn to find joy and beauty, and live our lives in a different way.

GDD: How did the partnership with the Louisville Ballet and Kentucky Performing Arts begin, and how did it evolve into a full-scale production?

CJ: I had always envisioned ballerinas for this video, just how fluid their movements are and how that can evoke and translate emotions so well. With Louisville being so supportive of each K E N T U C K Y

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What the viewer is experiencing during the video is a reflection of their feelings and emotions with the great big, beautiful, empty Whitney Hall house, representing the loneliness we’re all experiencing and that many people have experienced through trauma. Myself playing on stage despite being alone represents our strength as humans to continue and endure.

The appearance of the string players and eventual ballerinas represents humanity and hope for the future along with a sense of community in our shared feelings as people.

GDD: Why did you decide to film the video at Whitney Hall?

CJ: Whitney Hall is so important to our community. It represents a longstanding beautiful mecca of the arts in Louisville and is locally owned and supported directly by its patrons. At a time when music and the arts are really struggling, and Whitney Hall is sitting empty with the future being so uncertain, it felt like it would be an impactful message to include the towering gorgeous hall as the background for new art being created.

It also serves as a way for Whitney Hall to be showcased and seen by everyone who misses it.

It is personal to me, not only because I grew up going there to be dazzled by all the many performances as a kiddo, but also because I came fortunate enough to know it as a place for even myself to perform. I was actually on stage at Whitney Hall with conductor Teddy Abrams and the Louisville Orchestra on Friday, March 13, singing the beautiful music of Jacob Duncan, in what was probably the last rehearsal that took place before the shutdown. I am dreaming of the day when we all get to be back up there again in front of an audience and a packed house.

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MOVING FORWARD

LOUISVILLE BALLET TAKES FIRST STEPS IN WELCOMING BACK DANCERS

by Connor Rafferty

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"Floors will be disinfected twice a day at a minimum, and the barre will get a total wipe-down after each use."

During the shutdown, dancers were stuck at home, where limited space and other obstacles made it difficult to practice and stay focused. While the days of dancing in isolation might be over, now it’s time to adjust and adhere to what artistic director Robert Curran describes as the overarching philosophy of the ballet’s new season: “Get into the space, dance in the space, and then get out of the space.”

While that may sound a little dispassionate, Curran says his “Number 1 priority, no question,” is the health and safety of the dancers. This cut-and-dried approach to rehearsal minimizes risk.

“We are moving into really uncharted territory, and there are obvious and inherent risks about coming back,” says Company Dancer Justin Michael Hogan. “That said, I trust that I’ll feel safe around my colleagues given that we are all in this together.

I think this season has the potential to be really special.”

A SAFE SPACE Typically, Louisville Ballet’s season starts in early August and finishes in early April. Last season, company dancers were sent home on March 12, just a few weeks before their final production, and the ballet immediately started the work of bringing them back for the next season.

Foremost among the ballet’s considerations was making sure the company dancers were able to get fair pay for their contracts. Many arts organizations have had to furlough their dancers, something Louisville Ballet wanted to avoid. “The 31st for us was the best option financially and to make sure we had clear safety protocols in place,” Harris says.

While the ballet has made adjustments and taken many precautions to get to this point, new protocols will continue to evolve to ensure everyone is as safe and healthy as possible.

Some of those include leaving the studio doors open to

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Louisville Ballet Company Dancer John Aaron Brewer warming up in the studio.

create a better airflow throughout the building, and regularly evacuating the studio throughout the day to clear the air.

Floors will be disinfected twice a day at a minimum, and the barre will get a total wipe-down after each use. In addition, rehearsal times are, on average, two hours less than that of a normal, non-pandemic day.

In addition to the new daily routines for the dancers, administrative work is being handled remotely to further promote safety and limit people in the building. “I’ve only been in the office about four times since April,” Harris says. “There’s no pressure for me to be there. We’re actually trying to really make sure we limit the number of people who are physically in the building.” She adds that the full administrative team has met in person only twice since April.

LEARNING CHALLENGES After a season ends, most dancers will continue to practice in the studio, and take on teaching and guesting gigs to keep in shape for the next season. Being shut out of the studio because of the coronavirus threw a wrench in many dancers’ practice schedules. To address this, Curran held three-hour daily online practices to give them the opportunity to practice together under guidance. A medical team surveyed the classes to make sure the dancers avoided injuries.

Louisville Ballet Company Dancers socially distancing in the studio during a recent rehearsal. Photo courtesy of Louisville Ballet.

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Photo courtesy of Louisville Ballet

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ith the previous season cut short due to COVID-19, the Louisville Ballet was excited to welcome back dancers to its studios at the end of August after a five-month hiatus.

The challenges of learning and rehearsing have not stopped now that they’re at the studio, however. Social distancing, for Curran, is the biggest challenge, and makes choreography incredibly difficult. “It pushes us more towards the dance team approach, where everybody’s got their spot, and it’s about knowing what you’re doing when and building on that accuracy,” he says.

The question of whether the normal proximity between dancers required for ballet will be reintroduced this season is still up in the air.

Dancers also cannot move diagonally across the room, only up and back, though Harris believes this helps dancers “focus on the basics, and what’s important.”

The social atmosphere of the studios has changed as well. There are currently 22 company dancers, paid performers, and 28 studio company dancers, trainees in the top level of the school’s program, all split into four “pods,” — two company pods, and two studio company pods.

“There’s no hanging out, there’s no hovering,” Curran says.

The dancers “check in 15 minutes before they have class and they go straight into their studio, and they stay in their studio in their zone. The floor is marked out with 10-foot squares for them to stay in their zone.”

Dancers never cross paths with other pods, though Curran has noticed that strong social bonds have developed within each pod. “Dancers are used to kind of living in each others’ pockets. We spend so much time together, and we need to be so vulnerable in our art form in front of each other, so we get these really, really tight bonds. I’m just observing that it’s happening in these little pods,” he says.

BALLET BOUND Despite pandemic circumstances, ambitious undertakings are underway for Louisville Ballet, one of which is Ballet Bound, a recently implemented program aimed at providing fully-funded dance lessons to minority children ages 7 to 10 who come from challenging financial backgrounds. It is one of many outreach efforts the ballet has created in order to foster diversity within the community, ensuring that a variety of voices, perspectives, and experiences are represented.

“If we don’t intentionally welcome everybody into the Louisville Ballet community, we are perpetuating barriers that will forever hold us back,” Curran says.

The kids in Ballet Bound are provided with everything needed to practice ballet, including leotards, tights and shoes.

They receive their lessons in the same studios the where the

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Photo by Sam English

In addition, masks limit one’s peripheral awareness and restrict breathing, serious drawbacks for ballet dancers. “People trained from the time they were young children, and this is all muscle memory, then you have this thing that obstructs how you usually perceive the room and the environment,” Harris says.

Masks also get wet easily, an uncomfortable fact for dancers who sweat a lot.

A Ballet Bound student stretches during warmup.

company dancers rehearse, some of whom will teach a few classes. Ballet Bound also functions as a jumping-off point into the Louisville Ballet School for the kids who stick with the program and are passionate about dancing.

Among the efforts to keep dancers, not just those in Ballet Bound, happy and healthy is a journaling class, where participants are invited to express their frustrations, fears, and other feelings through writing, so they can dance with a clear head.

“We really want our dancers to have their voices heard,” says Harris, whose daughter is in the school. She adds she sees first-hand that just being in the studio is a mental health improvement for many ballet students. “They’re so adaptable, and so joyful about the experience. We really believe the positive of it outweighs the negative.”

DANCE GOES DIGITAL Social distancing makes a virtual season a necessity, which means a greater focus on incorporating cinematic productions into the season. Subscribers to the 2020-21 Season of Illumination will see a number of ballet-oriented dance art films shot in one of the larger studios, adapted to a filmmaking space. Curran says he likes the total control filmmaking allows artists. “We get to mold the story a little tighter, and a little more succinctly to our purposes, and get our emotional content or narrative across.”

The Louisville Ballet will be putting out a mix of contemporary and classic productions, all of which will be digitally distributed rather than performed in theatres. Despite feeling “robbed and bereft” by the circumstances, Curran, who has had a long-time dream of creating a digital platform for Louisville Ballet, finds ample opportunity in staying out of theaters, and is excited “to create the digital stage, something that will outlast this pandemic, and will continue to exist purely as content that we put online, but also serve as an incredible enhancement to what we put on stage.”

The pandemic has been tough on a number of ballet studios, many of which have had to close. Harris and Curran are working hard to make sure that’s not the case in Louisville. “If you want us to be here a year from now, we need your support more than ever,” says Harris.

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Louisville Ballet’s 2020-21 Season of Illumination memberships are available now. Click here to purchase tickets.

Photo by Sam English

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

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VIDEO: A brief look at Ballet Bound, a program designed to build diversity in the world of ballet.

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

Get a preview of the experience!

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THE KENTUCKY CENTER FOR AFRICAN AMERICAN HERITAGE PRESENTS A VIRTUAL EXHIBITION

YOURS FOR RACE AND COUNTRY: REFLECTIONS ON THE LIFE OF COLONEL CHARLES YOUNG AUGUST 3, 2020 KCAAH.ORG CURATED BY CAROLYN L. MAZLOOMI, PH.D. CONTRIBUTIONS BY ALEIA BROWN, PH.D., BRIAN G. SHELLUM, FLOYD THOMAS, PH.D.

The history of African Americans is filled with tragedies that have shaped the black experience in America; however African Americans have contributed to the social, cultural economic, academic, and moral wellbeing of this nation. KCAAH presents this virtual exhibition to celebrate Governor Andy Beshear posthumous promotion of Colonel Charles Young to the rank of Brigadier General in the National Guard in the Commonwealth of Kentucky.

General Charles Young is a little known unsung hero from Mayslick, Kentucky, who offers up courage and perseverance during an extremely difficult time in our nation’s history for its African American citizens. His life most certainly highlights the resilience and contributions of African Americans in a significant way. The exhibit presents narrative quilts that provide a visual diary of Charles Young’s life.

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The $ Å Ú ¾ Charles Young Veterans Flag Memorial on the South Lawn on the KCAAH Campus.

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AMPLIFY YOUR VOICE

KENTUCKY OPERA DEVOTES 2020-21 BROWN-FORMAN SEASON TO THEMES OF FAITH, JUSTICE & FAMILY 38

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entucky Opera is launching a bold new initiative to amplify the voice of Kentuckians as they explore together the meaning and expression of faith, justice, and family through opera. Using its “virtual” stage, Kentucky Opera has announced its 2020-21 season, “Amplify Your Voice,” a season designed to engage with audiences and multiple organizational partners through crowdsourced material, interviews, and individual and collective expression.

of Opera, an 11-week online opera exploration of the 400year evolution and history of opera, and Hoops & High Notes, a video series that includes a lighthearted comparison of opera singers with athletes, artists, and artisans in our community to compare notes, flaunt their skills, compare secrets of their craft, and share in good-natured competition.

Kentucky Opera retained its artists and apprentices from its cancelled Hansel and Gretel and La bohème to produce and perform original, online artistic content and live, in-person performances. Kentucky Opera’s stage directors have also been retained as creative directors for the performances.

2020-21 SEASON THEMES

“This season, Kentucky Opera will stay true to our responsibility of telling and elevating stories — our stories — through music,” says Barbara Lynne Jamison, General Director and CEO. “We invite our community to share their voices and perspectives, which we will amplify through story and song. At a time when many people yearn to be heard and understood, we will explore the values we hold dear both individually and collectively. At a time when we long for social connection, we will bring our community together with shared purpose.”

Additional artistic outcomes from the nontraditional season will include newly commissioned songs, and a series of videos featuring photos and interviews from audiences set to pieces performed by mainstage artists.

Other community engagement activities to support the new season include book clubs with a surprising twist —The JO(e)Y

More information and registration for The JO(e)Y of Opera can be found on our website. The course will be led by Kentucky Opera’s Artistic Advisor, Joseph Mechavich, and is $25.

The concept of faith will be explored through the lens of art in a theme titled “Conviction and Creed.” Stories and songs will be gathered through interviews with individuals and faith-based organizational partners; they will then be featured along with performances showcasing characters who rely on, or grapple with, their various faiths in the standard opera repertoire. These performances will be professionally produced and shared on Kentucky Opera’s social media platforms.

The exploration of this theme will culminate in a partnership with KORE Gallery and an exhibition of visual art inspired by artists’ varied relationships with their faiths. Faith leaders from around Kentucky will be invited to participate on the exhibit jury. Kentucky Opera will hold a black-tie fundraiser at KORE Gallery in April 2021 with live performances for the opening of the exhibition.

Another theme that will be highlighted this season is justice. “The Civil Rights songs of the 1960s helped to shape a movement,” says Jamison. “What are our songs for today?

What words represent and inspire our country at this point in history?”

 Testimonies to Justice will feature a set of original songs written by baritone and composer Jorell Williams.

Photo courtesy of Kentucky Opera.

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At a time when we long for social connection, we will bring our community together with shared purpose.

— Barbara Lynne Jamison, General Director and CEO

Kentucky Opera artists will perform historical songs that have illustrated important moments in history as part of this theme, titled “Testimonies to Justice.” Kentucky Opera will encourage the community to submit poems, messages, sayings, and adages that express their thoughts, feelings, and attitudes toward the civil justice movement today. These submissions will be used to inspire a set of original songs, written by baritone and composer Jorell Williams.

Finally, the theme of family will be considered as it relates to the diverse expressions and manifestations of today’s family units. Called “A Heart’s Home,” this theme will collect and re-tell the stories of families throughout Kentucky in a series of webisodes (short, 5 to 7-minute produced videos) based on curated content shared by the community.

“What special moments have defined your family? All families are unique, with stories of pain, joy and hope that deserve to be told,” says Jamison. “When they are shared, these stories have the potential to bring us closer together as a community.”

A final live performance featuring curated content is planned for Spring 2021.

COMMUNITY VOTE ON THEMES TO INSPIRE OPERA’S 2022-23 SEASON Kentucky Opera will use guidance from community partnerships and input from the discussions and audience involvement to develop its 70th anniversary mainstage season. Early next year, Kentucky Opera will begin to reveal various aspects of three specific, existing operas that exemplify these three themes, and it will unveil how the operas would be produced on stage.

“While our community will begin to share our individual and collective voices this season along with each of the three themes, our voices won’t fall silent there,” says Jamison.

“We will invite our community to vote on which opera theme speaks most prominently to us today.” Kentucky Opera will, in turn, commit to producing the audience’s choice of opera in its mainstage season at the Brown Theatre in Fall 2022.

Opera lovers, enthusiasts and those who are “opera-curious” can follow Kentucky Opera’s reimagined 2020-21 Brown-Forman season, “Amplify Your Voice,” online at www.KYOpera.org, on Facebook @KentuckyOpera and Instagram @KYOpera.

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2020-21 SEASON AT-A-GLANCE: KENTUCKY OPERA’S “AMPLIFY YOUR VOICE” CONVICTION & CREED • Pre-recorded performances exploring humanity’s complicated relationship with faith, as represented in opera • Pre-recorded videos with performances and interviews with audience members about their faiths and journeys with faith • Juried visual art exhibit exploring faith at KORE Gallery black-tie Kentucky Opera fundraiser in April 2021 • Key community partnerships include Center for Interfaith Relations, faith leaders and local houses of worship representing many faith traditions

TESTIMONIES TO JUSTICE • Crowdsourced words, poems, messages, sayings, and adages that express our community’s feelings and thoughts about today’s Civil Rights movement • Performances of historical songs that have represented times of suffering, protest and change • Newly commissioned songs by Jorell Williams, based on material from audience engagement • Key community partnerships include One West and Louisville Urban League

A HEART’S HOME • Crowdsourced stories from families • Pre-recorded webisodes featuring themes of love and family as used in operatic literature • Live performance inspired by audience content • Key community partnerships include Pandora Productions and Pillar

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TAKING THE LEAP

KENTUCKY SHAKESPEARE GEARING UP FOR 2020-21 EDUCATION AND OUTREACH SEASON WITH FOUR NEW ACTORS 42

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It takes a special kind of person to pack up everything and move across country to take a shot at a new opportunity in a strange town.

That’s true under the best of circumstances.

But for a theatre artist to take that leap during a global pandemic and widespread social unrest — well, that’s a special kind of person indeed.

“It was a no-brainer,” says Katie Joachim, one of four actors to join Kentucky Shakespeare’s 2020-21 education and outreach team of artist educators. She took that leap from the suburbs of Detroit to Louisville back in August. She almost balks at the question.

“Not only are we able to continue learning, but we’re also able to practice our craft, learning to be educators, taking our skills and passing them on to the next generation of artists. Being a part of that is really important to me. So really — a no-brainer.”

Katie is joined by Ashley Cabrera of Virginia, Augustine Nguyen of Arkansas and Tony Reimonenq III of Mississippi. All four are recent 2020 graduates finding their first long-term professional work with Kentucky Shakespeare. Their contracts started in August and will run through May, with the opportunity to renew for another season.

“I agree with Katie,” says Tony, “but I also have to say, it was a huge move just coming from such a small town to a big city for me, going from being a country mouse to city mouse. Especially with everything being so crazy in the world and with theatre.

But everyone’s been so lovely. I feel like I’ve grown so much in such a short time.”

The team is about to wrap their sixth week and in the middle of rehearsing their second of four plays — two history shows and two Shakespeare shows — they’ve started preparation for workshops and residencies this week, and when they’re not training to perform or teach, they’re contacting schools and other organizations to book the shows.

That’s fairly typical for the Kentucky Shakespeare education and outreach team, but this year is far from business as usual.

The actors spent their first two weeks in quarantine while

Not only are we able to continue learning, but we’re also able to practice our craft, learning to be educators, taking our skills and passing them on to the next generation of artists. Being a part of that is really important to me. — Katie Joachim receiving introductory training over Zoom. And Kentucky Shakespeare, the largest touring, in-school arts provider in Kentucky, is adapting to better help schools facing the unpredictability and uncertainty of the months ahead by providing multiple delivery methods for its arts programming: pre-recorded, streaming, and eventually, in-person. That means the actors are learning three different ways to perform each of their shows.

That’s no small feat, though Augustine is quick to point out that making their way through their workload is not nearly as difficult as navigating Louisville’s expressways.

“Because you get to a fork,” says Augustine, “and then there's another fork after that one, and then for some reason there's another fork after that. And they all travel right next to each other.”

“And you don't know that you've made a mistake until you’re in Indiana,” says Katie.

“And then the toll bridge is there,” says Augustine. “And it’s like, ‘Oh, my gosh — am I going to have to pay money now to the city of wherever?’”

They do that a lot, by the way. They tell stories as a group, finish each other’s sentences and complete each other’s thoughts.

 Augustine Nguyen, Katie Joachim, Ashley Cabrera, and Tony Reimonenq III are 2020 graduates finding their first

long-term professional work with Kentucky Shakespeare. Photo by Kyle Ware.

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"I'm glad that I'm reminded every day that I need to keep doing my research and keep fighting for equal rights for everyone and speaking out. Because we have a voice as theatre artists and we should use it for positive change.” — Ashley Cabrera equal rights for everyone and speaking out. Because we have a voice as theatre artists and we should use it for positive change.”

Photo by Kyle Ware

That positive change is what Kentucky Shakespeare had in mind as the organization made the investment in four new full-time artists for the coming year — a commitment to its core mission of providing accessible arts to everyone, as well as a call to innovate and reimagine what that might mean.

Over the past six weeks, the company and its artists have all been fueled by a mutual, defiant optimism — a sense that no matter the challenges ahead, it will yield meaningful, powerful art just waiting to step into the hands of the artist, which is something these artists are already thinking about.

Part of that is because they’re very much in sync with one another, but it may also be because the four of them are roommates. That means they get to be their own pod during the pandemic, which makes group rehearsals much easier and safer. It also means they’re together in some combination most every hour of the day. Ashley says not to worry — that’s working out just fine so far.

“We love hanging out with each other,” she says. “We go on hikes together. We watch movies together. We go grocery shopping together. But then we also have this agreement that when we go off to our rooms to be alone, it's not personal; it's because we need to recharge.”

Those hikes and explorations are very different in the world of COVID-19, and they appreciate what they’ve been able to do so far, but they're also hopeful they’ll get the chance to experience Louisville at its fullest sometime down the road. Nevertheless, they all expressed a sense of gratitude being here at this particular moment in time.

“Coming from a much smaller community, where there is an even smaller community protesting about Breonna Taylor and justice for African Americans, and then coming to Louisville and seeing #BLM and justice for Breonna Taylor signs on people’s front lawns — that’s been very different.”

“Like Augustine, I've been thinking a lot more about being in the city where Breonna Taylor was murdered,” says Ashley.

“I'm grateful that I'm immersed into a community of people who are fighting for equal rights for everyone. Especially being a brown woman in this city right now. I think it's important to keep talking about it and I'm glad that I'm reminded every day that I need to keep doing my research and keep fighting for 44

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“I think back to something I saw going around the Internet when the shutdown first started: the Renaissance came right after the plague,” says Katie. “So, I think we're in for a Renaissance in the arts. People have had so much more time to sit home with the arts — whether that's watching TV, playing a video game, watching a virtual performance of a Kentucky Shakespeare performance — that I think we're going to be in for a lot of really interesting material very soon.”

Says Ashley: “I'm also excited about this conversation that's been going on in theatre lately, which is: How do we make this accessible to everyone? With COVID, we all were forced out of the rehearsal rooms and theaters and we had to sit down and say, ‘How do we make this accessible for everyone?

How do we get this out there to people?’ So, I think the best thing that's going to come out of this is accessibility to more people, whether that be prices being lowered or the ability to stream shows to more people who don't have that access to it.

“And I think we're going to see theater become a voice for a lot of social movements again,” she adds. “I've seen a lot of actors speaking out in support of BLM and in support of equality for women and the LGBTQ community and for black people and all POC and I think people are going to use this time to create those pieces and get them out to everyone.”

“I don’t think it’s lost on any of us that we’re living through a moment in history right now,” says Tony. “And by coming here, we have the opportunity to share not just Shakespeare but art.

That’s always important, but now, when children and families really need it... I’m just so excited to be here and for the chance to do this for people.”

When you put it like that, it is a no-brainer.

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IN-PERSON

EXPLORE KENTUCKY HISTORY

VIRTUALLY

100 W BROADWAY ST, FRANKFORT

HISTORY.KY.GOV K E N T U C K Y

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SPOTLIGHT ON

LOUISVILLE

CHRISTEN BOONE TO STEP DOWN AS FUND FOR THE ARTS’ PRESIDENT & CEO IN 2021

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hen Christen Boone first joined Fund for the Arts, its objective was, “How can the community support the arts?”

Seven years later, the organization’s focus has evolved into, “How can the arts best serve this community?” That paradigm shift is perhaps one of the greatest impacts (and there are many!) Boone has had on the Fund.

She will leave quite the legacy after she’s gone. On June 30, 2021, Boone will step down as President and CEO.

We wanted to focus on art that moves this community forward, not just art for arts’ sake.

— Christen Boone, President & CEO of Fund for the Arts

EMPOWERING ARTISTS AT EVERY LEVEL, IN EVERY NEIGHBORHOOD

However, Boone recognized that as the local community changes, the arts that support the local community also change.

During her tenure, Boone led the re-engineering of the 70-yearold Fund for the Arts into a powerhouse regional arts agency.

The Fund boasts nearly 20,000 donors and is committed to creating a strong, vibrant, educated, and connected community through the unique power of the arts.

In order to promote the Fund’s vision of building “equity, diversity, and inclusion,” she wanted to extend financial support to lesser-known creative organizations that do other important work as well.

The Fund has raised more than $50 million under Boone’s leadership. It wasn’t just from the support of individual donors, either. Staying true to the vision of supporting and unifying the local community, Boone was able to partner with the city’s top corporate leaders, philanthropists, educators, and prominent organizations to achieve this goal.

SO WHERE DID ALL THAT MONEY GO? In the past, funds typically went to “traditional” arts organizations, such as opera, orchestra, ballet, children’s orchestra, and children’s choir. Only a small number of groups were eligible to apply for assistance.

“We believe Louisville has a world-class arts scene,” she says. “How do we make sure all of our diverse groups are getting support?”

With Boone’s guidance, the Fund revamped its application process. “We wanted to focus on art that moves this community forward, not just art for arts’ sake,” adds Boone.

Organizations may apply each year if they meet certain criteria.

During the application process, the organizations must explain how they are supporting education, providing opportunities, and moving the greater community forward. It’s also important that each organization offer programming that’s accessible to everyone in Louisville.

 Christen Boone (center) poses with WAVE3's Dawne Gee (left) and Metro Councilwoman Keisha Dorsey.

Photo courtesy of Fund for the Arts.

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Development of the 2020 Cultural Plan began in 2015.

“One of the things that we did was really look at strong cultural communities around the country,” Boone recalls. “One thing that came up again and again [in our research] is that many cities had strong cultural plans. They identified strengths and weaknesses. They were intentional about what they wanted to build for the future and how it integrated with the greater community.”

The Imagine 2020 Cultural Plan wasn’t drafted behind closed doors. The Fund helped coordinate focus groups and surveys that involved over 5,000 people of all backgrounds to answer a fundamental question: What does this community need?

After two years of input and feedback, the Cultural Plan was published in 2017. It was the first time Louisville created a such a plan in 15 years.

The plan can be summarized by its five core pillars: 1. ACCESS. More art for more people in more places.

2. CULTIVATION. Attracting artists and creative professionals to Louisville.

3. EDUCATION. Ensuring every child in the community has the opportunity to experience and participate in art.

4. EQUITY, DIVERSITY, INCLUSION. Improving the social equity and cultural vitality of the region.

Christen Boone

“I am proud of the work the Fund for the Arts has accomplished and am thankful for the talents of our artists, generosity of our donors, power of our cross-sector partnerships, and commitment of our community to ensure that the arts and culture sector remains strong and vibrant.”

The grants end up being anywhere from 10% to 20% of a receiving organization’s operating budget, so the Fund’s support is significant.

With the implementation of this new process, double the number of organizations receive critical operating grants.

FACILITATING LOUISVILLE’S IMAGINE 2020 CULTURAL PLAN Re-engineering the 70-year-old Fund for the Arts into a regional powerhouse didn’t happen overnight — and it certainly wasn’t happenstance.

The groundwork was set by establishing the Imagine 2020 Cultural Plan, which aligned the arts and culture sector around a shared vision for community impact.

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5. PROMOTION. Promoting Louisville as a national and international leading city of arts and culture.

Nearly all of Boone’s achievements as President and CEO of Fund for the Arts can be correlated to the principles found in the cultural plan.

EXPANDING THE CULTURAL PASS PROGRAM TO OVER 40,000 CHILDREN ANNUALLY The Louisville Cultural Pass program began five years ago as a result of Lousiville Metro’s Imagine 2020 planning. It was developed to address the question: What if we could make sure that every child in the city has access to the arts?

“One thing I love about the Louisville community is that if you put out a ‘what if,’ our arts community really comes together to make it happen,” Boone says.

The Cultural Pass program does just that.

Over 40,000 children annually receive the pass, which gives them free admission to arts and culture venues through the summer. There are approximately 50 to 60 opportunities for children and their families, including the zoo, science center, museums, performance arts, and much more.

The feedback has been overwhelmingly positive. Boone heard comments like, “I’ve never felt invited to some of these [arts and cultural] organizations. Having the Cultural Pass was my invitation.” The Fund also partnered with the parks and A U D I E N C E

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It was important to Boone and the Fund that the murals authentically tell the story of the neighborhood. Community activists, leaders, and the Smoketown Neighborhood Association came together to collaborate on the festival to ensure the art was authentic to the people’s voice. The goal? To tell the stories of the unheard voices of Smoketown.

Murals that were selected for the festival were chosen based on artistic merit as well as how they honored the legacy of the community. Approximately half the artists were local to Louisville, and the other half were nationally and internationally renowned artists.

PROMOTING ARTS IN HEALTH When the Cultural Plan was complete, one of the most pressing questions was, “What parts of our community don’t have access to the arts? And how can we make that better?”

Christen Boone speaking at the Fund for the Arts 70th anniversary celebration at the Brown Theatre.

According to Boone, one of those overlooked places was senior living facilities.

neighborhood centers to break down transportation barriers to accessing arts and cultural attractions in the city.

CELEBRATING THE LOCAL COMMUNITY WITH THE ANNUAL AWARDS IN THE ARTS EVENT “How do we celebrate everything that we have in our community?”

Boone asks. “We realized that individual organizations might have their own events, but no one was celebrating the fullness and diversity of the entire Louisville arts scene. Nobody was doing that. We wanted everybody to come together each year and celebrate the richness in our community.”

Boone initiated partnerships with senior living facilities to ensure that age isn’t a barrier to art. Immediately after these partnerships formed, quality of life at the facilities improved.

“Music is an incredible part of the lives of our seniors,” Boone says. “Musicians play music with them, sing with them, make art with them.”

On the other end of the age spectrum, the Fund worked with the Novak Pediatric Center to infuse art and creativity into the construction of its new building. The Fund also partners with Norton Healthcare.

Boone co-created the annual Awards in the Arts event, which honors emerging artists, organizations making an impact in education, and even bestows lifetime achievement awards.

Over the past five years, the event has been able to recognize and honor over 30 organizations and individuals.

“When people are in medical facilities, they don’t feel well.

They’re anxious, they’re under stress,” Boone says. “We don’t do the programming ourselves. We connect creative organizations and artists with the places that need them. We think of ourselves as a matchmaker, in a sense.”

“This is an opportunity to continue to remind ourselves that we have a great legacy in the arts,” Boone says, “but also a reminder that we need to invest in it and lift it up and tell those stories.”

SETTING THE STAGE FOR THE NEXT ACT

The event is held on Opening Night at Churchill Downs, kicking off Kentucky Derby week. “Our arts are as important as our bourbon and horse scene,” Boone says.

LAUNCHING THE IMAGINE MURAL FESTIVAL The Imagine Mural Festival in the historic Smoketown neighborhood is another success story that came out of the Cultural Plan. Smoketown is one of Kentucky’s oldest and historically under-invested neighborhoods. Murals provide immediate and free access to the arts for the local community.

“When you place murals in traditionally under-invested communities, you create a new form of ‘equity’ or access to that art,” says Boone.

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When she steps down as President and CEO in June, Boone wants to ensure that the organization is stronger than when she joined. To accomplish this, she’ll help lead the 2021 Growth Plans and Leadership Transition.

“I am proud of the work the Fund for the Arts has accomplished and am thankful for the talents of our artists, generosity of our donors, power of our cross-sector partnerships, and commitment of our community to ensure that the arts and culture sector remains strong and vibrant,” Boone says.

“Together, we continue to recognize the unique role of the arts to inspire, challenge, and connect, and the power of the arts to build our community.”

The Louisville arts community wishes her the very best in her next chapter!

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FUND FOR THE ARTS AT HOME Fund for the Arts helps keep the arts community in Louisville vibrant.

Here are just a few of the organizations its support has impacted.

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VIDEO: Kentucky Shakespeare Festival

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Libby W. YOU ARE ALL HEROES AND ANGELS! Thank you for all that you do for my Grammy and all the residents and their families. Shirley M. Thank you, thank you ALL for YOUR DEDICATION AND SELFLESS SACRIFICE during these challenging times! Nadene S. Thank you for taking such good care of our family treasure. Miss seeing Mom and ALL of you. You are TRULY SPECIAL PEOPLE. Rhonda M. THANKS FOR YOUR TIME AND DEDICATION during these difficult times. Terry F. Thank you for the AWESOME CARE that my mom received while she was a resident there. Thank you from the bottom of my heart. Ginger H. YOU ALL ARE AMAZING and I will be FOREVER GRATEFUL FOR THE CARE YOU ARE GIVING my dad. Thank you so much! Judy M. Our family appreciates all you have done in this difficult situation. Praying for your health, strength, as well as all of the residents. CANNOT GIVE YOU ALL ENOUGH PRAISE. God bless you all! DeAnn C. You guys are TRUE HEROES! Thanks for taking good care of mom and all of the residents! Penny O. On behalf of my family, we also APPRECIATE EVERYTHING you have done and continue to do during this difficult time. THANK YOU FOR ALL THE PHONE CALLS TO KEEP US UPDATED on our loved ones. Denise N. Thank you for all the WONDERFUL CARE you provide for everyone! Nancy H. You are all heroes. Thank you for TAKING THE BEST CARE POSSIBLE OF OUR LOVED ONES. Denise N. You are the BEST HEALTHCARE TEAM THERE IS! May our Lord BLESS YOU ALL WITH GOOD HEALTH AND SAFETY! Amanda H. Thank you for continuing to bring cheer to residents during such a trying time. Emma B. Thank you for taking care of my mom. Of course we miss her but I feel she is SAFE IN YOUR HANDS. Bless all you nurses, aides and everyone employed there. JoEllen P. WE LOVE THE NURSES AND STAFF. Connie C. YOU MATTER! Your watch over our family, so WE CAN SAFELY SLEEP AT NIGHT with no worries. Julia L. What a great team! No matter what shift, you are all superheroes! Thank you for what you do everyday! Deborah P. BEST TEAM HANDS DOWN keeping our place clean.

Judi M. Thank you for everything that each and every one of you do. The love and individual care you give to the residents at MW is beyond words. YOU ARE ALL HEROES. Lois H. The staff from the administrative staff, activities staff, nursing, nursing assistants, rehab, kitchen, laundry, and maintenance are JUST INCREDIBLE! They know the names of residents and treat them with the same care as they would want to be treated. I pray for their strength and protection during this trying time. They are truly heroes! Cheri R. WE THANK ALL OF YOU for caring for the ones we love. And WE LOVE EACH OF YOU for all you do! Marilyn B. A VERY CARING STAFF, for sure. Thank you for doing all you possibly can during this crisis.

JoEllen P. We are so pleased with the staff. They have reached out a couple of times. We know our DAD IS WELL LOVED AND TAKEN CARE OF during this stressful time. Staff had even let us FaceTime with him a couple of times. WE LOVE OUR CAMPUS FAMILY. Connie C. This campus is THE ABSOLUTE BEST! Very CARING, DEVOTED PEOPLE. Linda H. Love the spirit shown by your staff. Continue the excellent care you provide, you are all AMAZING! Jan T. BEAUTIFUL, SELFLESS, COMPASSIONATE, LOVING AND CARING NURSES. Love and appreciate all of you, may God Bless you! Scarlet P. Thank you, nurses, for all you do to care for my mother. It means so much when I call (again!) that YOU TAKE TIME TO ANSWER MY CONCERNS. We appreciate all you do and pray for you and your family’s safety. Lisa B. Thank you for all you do. Thank you for taking such good care of my dad! Tara C. Great message! Trilogy, YOU ARE PROVING TO BE AN INCREDIBLE ORGANIZATION during this unprecedented time. It’s reassuring to see your corporate leadership team step up to be a voice for your employees at local levels because our long-term care workers need support now more than ever – they need to know that they’re not forgotten and that their community is rooting for them. The campus staff and administration EPITOMIZES COURAGE, STRENGTH AND PERSEVERANCE for all that they’ve had to endure over the last several weeks.

They are all heroes and I’ll be praying for their continued strength. Thank you! Karen B. GOD BLESS YOU ALL, and thanks for everything you are doing! Praying for you all! Linda S. Congratulations!! We appreciate each and every one of you! You themRonda safe. P. You TRUEkeep ANGELS. are in our prayers! Lori G. Thank you so much for taking care of my mom, YOU GUYS ARE We’ll We’ll keep them connected. all deserve so much! THANK YOU FOR TAKING CARE OF OUR LOVED ONES. Debbie B. My gratitude goes to every We’llway keep them close our hearts. single staff member that has cared for my mom! Everyone has gone out of their to see that she istohappy and healthy!

THANK YOU TO ALL! JameySue S. THANK YOU SO MUCH FOR CARING SO LOVINGLY FOR ALL OUR FAMILIES. Just like we always have.

Sharron L. Thank you to all the staff involved in my mom’s care during these times. I appreciate ALL of you. RobandRenee C. Thank you, thank you Life Enrichment Department, I was able to witness THE HALLWAY SING-A-LONG TODAY AND IT BROUGHT ME TO TEARS! I appreciate you all! Heather B. These DEAR SWEET PEOPLE!! They are AMAZING TROOPERS in this craziness! Julia I N L.D EThank P E N Dyou E Nfor T LallI VofI Nyour G hard | A Swork!

S I S TYou E D make L I V IaNdifference!

G / P E R S OTrisha N A L A.C AWE R EAPPRECIATE EACH OF YOU who are working and taking care of our loved ones during this scary and difficult time. Thank you. Melissa M. E M O R Y C ATHAT R E YOU | P OALL S T -ARE A C UDOING T E H ETO A LTAKE T H C ACARE R E SOF E ROUR V I C ELOVED S THANK YOU ALL FOR M EVERYTHING ONES!! You are all true heroes!! care for our mother! Sue N. Thank you for taking F O R Beth A F U A. L LWe L I Sare T Oblessed F O U R Lto O Uhave I S V Isuch L LFE USan E NDawesome I OFRO LRI VTI group NH GE LAO RCtoAT N T SI O N S , V I S I T T R I L O G Y H S . C O M | 51 such good care of all our loved ones and especially my mother-in-law. GOD BLESS YOU ALL AND GIVE YOU STRENGTH!

OUR

Mission HASN’T

Andy Warhol: Revelation Now Open

Discover another side of the Pop artist of

Frontline healthcare workers enjoy free admission—we thank you.

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

New Hours

Advanced ticket purchase strongly encouraged and face masks required.

Friday 3 – 8 Saturday & Sunday 10 – 5

speedmuseum.org

first exhibition to comprehensively examine Warhol’s

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

Presented by:

complex Catholic faith in relation to his

Media support from:

Contemporary exhibition support provided by: Augusta and Gill Holland

artistic production.

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

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

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



VIDEO: Virtual Happy Hour with Andy Warhol preview.



VIDEO: Exploring Andy Warhol.

S E P T E M B E R

2 0 2 0

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SHE RENEWED HER TAGS ONLINE

3OPTIONS TO RENEW CAR TAGS Online ReNew | JeffersonCountyClerk.org Telephone ReNew | 569-3300 Mail-In ReNew | P.O. Box 33033

Louisville, KY 40232-3033

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