SHOW time The Official Magazine of The Carolina Theatre
winter 2014 | Issue 6 | www.carolinatheatre.org
Winter
2014
New Civil Rights exhibit debuts this winter.
InSIDE; Rosanne Cash Continues Her Family Legacy Learning From The Artists In Jazz U Film Festival Brings Tingler To Durham News, Photo Galleries & Event Listings
PHOTO CREDIT: The Herald Sun
Confronting Change
Board members Board of Trustees Tim Alwran, chair Scott Harmon, vice chair Cecily Durrett, secretary Ronnie Eubanks, treasurer Brett Chambers Cora Cole-McFadden Matthew Coppedge Saundra Freeman Ellen Reckhow Michael Schoenfeld Alice Sharpe Christy Simmons Ryan Smith John Warasila Leigh Vancil
Board of Ambassadors Sue Beischer Susan Coon Earl Dowell Shirley Drechsel Pepper Fluke Barker French Thomas Kenan III Richard Morgan Henry Scherich
SHOWtime The
Carolina
T h e at r e
About the Carolina theatre of Durham
The Carolina Theatre of Durham, Inc. is the 501(c)(3) non-profit organization that manages the city-owned Carolina Theatre complex. Each year we present a variety of film and live performers that encompass a broad and diverse cross-section of arts and entertainment. Live performances at the Carolina Theatre are supported in part by the North Carolina Arts Council, an agency funded by the state of North Carolina, and the A.J. Fletcher Performing Arts Fund of the Triangle Community Foundation. Advertisers Make This MAGAZINE Possible
This magazine is designed and published by Opus 1, Inc. in cooperation with the Carolina Theatre of Durham, Inc. This book would not be possible without the advertisers who support it. We extend our gratitude and encourage you to thank them as well. For advertising information, contact Kristy Timberlake at 919.834.9441.
Staff members Carolina Theatre Staff Bob Nocek..................................................... President/CEO Aaron Bare................................. COO/Director of Marketing Jim Carl.......................................................... Senior Director Treat Harvey................................... Director of Development Michelle Irvine.................................... Director of Operations Sam Spatafore..........................................Director of Finance
/// The Carolina Theatre
309 West Morgan Street Durham, North Carolina 27701 www.carolinatheatre.org Box office: 919-560-3030 Administrative offices: 919-560-3040 Fax: 919-560-3065
Victor Alva................................................ Lead Housekeeper Christina Aldridge..................... Assistant Technical Manager
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4
IN
THIS
ISSUE
Board Members & Administrative Staff.....................3 Letter from the CEO..................................................7 Star Series Calendar...................................................8
FEATURES Confronting Change New Civil Rights exhibit debuts this winter..........10 Reel Scares William Castle’s The Tingler comes to the Carolina Theatre...............................14 Rosanne Cash New album continues her family legacy................16 Headlines News from the theatre ..........................................18
Film Festivals & Series .............................................20 Seen & Heard...........................................................22 Scotty McCreery.......................................................24 Jazz U.......................................................................26 Carolina Stars Donor List..........................................30 Retro Film Series Calendar ......................................36 Tickets & Seating.....................................................40 Guest Presenters......................................................43 Corporate Support Matters.....................................45 Advertiser Index.......................................................46
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LETTER FROM THE PRESIDENT Dear Friends: Dear Friends, As we begin a new year, we often find this time lends itself to both looking back at what we’ve achieved and what is to come in the year ahead for the Carolina Theatre of Durham, Inc. On both fronts, I’m pleased to say, we have much to be grateful for and even more to look forward to. In November, we reported our first profitable year since 2008, a demonstration of what we’ve known all along – that the revitalization of the Carolina Theatre was well underway. We’re pleased to finally have such a clear and concrete demonstration of our success. We’ve grown our annual revenue by 45 percent over the past four years, and we continue to see increases in ticket sales and fundraising. For all you’ve done to help make that happen, I thank you. All the efforts of our dedicated Carolina Theatre staff are only rewarded if there’s an audience, and there’s only an audience if you are moved by what we’re presenting. Clearly you are, and we’re grateful for that. In the coming year, you’ll have even more opportunities to see first-run films in Durham’s only independent cinema. We began screening weekday matinees on January 10 in Cinemas 1 and 2, and they’ll continue year-round. As we see several new apartment complexes rise throughout Durham, and as downtown’s revitalization continues, we believe the time is right to expand our schedule. We begin 2014 by finalizing our discussions with the City of Durham for our non-profit to continue to manage the Carolina Theatre complex. In the next month or two, we’ll be prepared to announce the specifics of a long-term agreement that secures the future of Carolina Theatre of Durham, Inc. and validates how we’ve brought this important complex back to life. If you know the Carolina Theatre well, you know one thing – there’s always more to come. We promise more exciting live events, the best first-run and retrospective film series and much more. We look forward to seeing you in 2014.
Regards,
Bob Nocek President/CEO CTDceo
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star series Music / Comedy / Talk
fe b
feb c ont.
05 Angelique Kidjo A special performance at the
24 Brett Dennen
Hayti Heritage Center
05 America
American folk pop band which helped define the sound of the 1970s
07 Travis Tritt Grammy Award-winning, multi-platinum
country music singer
08 Defending the Caveman
Comedian Rob Becker ’s hilarious comedy about the misunderstandings between men and women.
09 Buddy Guy
Influential and iconic American blues guitarist and singer
12 Pat Metheny Unity Group
Virtuoso jazz guitarist and composer Co-presented with Duke Performances
13 Sharon Jones and the Dap-Kings
Dynamic and distinctive funk & soul band Co-Presented with Cat’s Cradle
14 Jonathan Batiste
Charismatic modern jazz pianist and entertainer
15 The Wailin’ Jennys 8
Internationally acclaimed, all-female folk-roots trio Co-presented with PineCone: Piedmont Council of Traditional Music
Respected folk-pop singer-songwriter
28 The Mavericks
Reunited Grammy-winning country band
Mar 12 Scott Simon Peabody Award-winning correspondent and
host of NPR’s “Weekend Edition Saturday”
13 Jim Jefferies
Hysterically funny stand-up comedian and star of the FX comedy series “Legit” Co-presented with AEG
14 Rosanne Cash: The River and the Thread Multi-talented Grammy Award-winning singer,
songwriter and author
22 Arturo Sandoval Nine-time Grammy-winning jazz trumpeter,
pianist and composer
APR 10 Jesse Cook Juno Award-winning Canadian guitarist
best known for his flamenco music
18 Ben Sollee
Talented modern American cellist, singer-songwriter and composer
feb 5 | America
Mar 13 | Jim Jefferies
FEB 07 | travis Tritt
feb 13 | sharon jones & the dap-kings
MAR 14 | rosanne cash
apr 10 | jesse cook
ChangE 10
E
A Time For
ChangE
The Theatre’s new Civil Rights exhibit debuts this winter. By Danny Adler
No is a powerful word. For those who enforced Jim Crow laws, “no” was a word that kept blacks separated from whites. Yet for the brave men and women who fought against oppressive segregation in the South, the word “no” was a rallying cry. In the 1950s and 1960s, blacks and sympathetic whites stood up to the harsh policies that told blacks where to sit, to eat and to drink. Taking “no” for an answer was no longer an option. As the powerful winds of change swept through the country during the civil rights movement of the 1960s, they also moved through Durham, including the Carolina Theatre. While blacks were admitted into the Carolina Theatre, a structure built in the 1920s, they were forced to buy tickets at an entrance on the side of the building and made to climb 97 steps to a second balcony with a segregated seating area. This era of the theater’s history comes into focus with “Confronting Change,” a new permanent exhibit scheduled to debut this winter. Board of Trustees Chairman Tim Alwran lauds Bob Nocek, who became president and chief executive officer of Carolina Theatre of Durham, Inc. in summer, 2010, for pushing the idea of the exhibit. “Bob Nocek had the great vision to turn empty walls of the theatre into something of a living museum,” Alwran said. As board chairman at Carolina Theatre, Alwran tasked his friends Carl and Vera Whisenton to chair a committee to create the content and fundraise for the exhibit. Carl Whisenton was a protester during the civil rights movement era and a number of his former classmates from the all-black Hillside High School participated in the demonstrations at Carolina Theatre.
“I knew that we had to reach out to those who were directly involved in the movement and tell the story in an accurate and compelling manner,” Alwran said. Carl Whisenton was reluctant to participate at first, as were several of the other men and women who were once treated as second-class citizens within the theater. “It brought back vivid memories,” Carl Whisenton said. “The negative feelings had a chilling effect. We had to get past that.” Alwran said that when he visited the theater with some of the African-Americans who were once discriminated against there, he could sense their anxiety. It was still very fresh for them, he said. “I want to honor the people who fought so hard to get the theater integrated,” Alwran said. The Whisentons eventually decided they would join the project. The catch: “We were going to tell the story the way it really happened. We weren’t going to sugarcoat it.” “We wanted to document what actually went on at that time. We want people to see it,” Carl added. A committee worked to collect information on the theater – and the civil rights protests around it – through interviews and by scouring public and university libraries, as well as newspaper archives. Others sent letters requesting donations to fund the project. “The response was tremendous,” Vera Whisenton said. Nocek had a three-part vision for a living museum at the Carolina Theatre. The first part, “A Century Downtown,” was completed two years ago; it looks at the artists and films to appear over the decades. “Restoring Hope” is a tribute to volunteers who saved the theatre in the 1970s and 1980s. And now, “Confronting Change” will look at how the civil rights movement changed the theater. Officials hope the installation will be completed in January or February.
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ChangE Nocek said the installation will appear in a lobby space just outside that second balcony where black theatergoers had to sit. All the walls will be covered in content, the chief executive said. Floor-to-ceiling photographs, a number of panels that outline the story, video exhibits with protesters and public officials at the time. Nocek said the exhibit showcases what the AfricanAmerican community achieved in their hometown. “A lot of the people we worked with in the African-American community are proud of what they accomplished,” Nocek says. “They look back at how they rallied together. It took guts, and they showed up.” The exhibit aims to keep the theatre’s narrative alive.
“For us, we’re in a city that has a lot of new people moving to town,” Nocek said. “It was important for us to keep the story alive. We wanted people to understand why this place is so important to Durham. This is a place people are really passionate about.” As civil rights protests spread through the South, North Carolina lawyer Floyd B. McKissick Sr. and the local chapter of the National Association for the Advancement of Colored People (NAACP) began directing protests of segregation at the Carolina and other theaters in Durham. As a city-owned building, the Carolina used public funds, and McKissick and the NAACP would use that to protest its policy of segregation. When John F. Kennedy was inaugurated president in January of 1961, protesters began demonstrating against segregation at the theaters. Demonstrators from black high schools and colleges marched peacefully with some white students from Duke and the University of North Carolina in frigid temperatures. In 1962, the Mayor’s
Committee on Human Relations offered to help negotiate a deal, but theater management was unwilling to participate.
Soon after, protesters began “round robin” demonstrations. Blacks would line up behind the white ticket window to buy tickets. Once refused, they would go to the back of the line and start over again. While tension and intimidation by whites reportedly increased, there were also instances of whites buying tickets and turning them over to black protesters. A Superior Court judge restrained the protests later that year. In May of 1963, Wense Grabarek was sworn in as Durham’s mayor. The Pennsylvania native played a pivotal role in creating talks that led to the integration of the Carolina Theatre and other public places in the city. The Carolina Theatre was desegregated in July of 1963, a year before the enactment of the Civil Rights Act of 1964. The Whisentons and theatre officials are eager to open the exhibit in time for February: Black History Month. The exhibit is meant to educate, to show how far the people, the theatre and the city itself have come. The exhibit is meant to honor those who fought for equality. “We’re hoping to bring the community together and heal the schism that we had,” Carl Whisenton says. “This is a healing moment.” Vera agrees: “We applaud the Carolina Theatre for doing this.” || Civil Rights Exhibit Committee Members: Carl and Vera Whisenton, Walter Jackson, Claudine Daye Lewis, Jacqueline Davis Jones, Vivian McCoy, Kaye Sullivan, Willie Burt, Andre Vann, Alice Sharpe and Betty Rhodes
PNC Bank Committed To ‘Change’ In Durham When Carolina Theatre officials kicked off the fundraising campaign for the “Confronting Change” exhibit in 2013, the goal was to raise enough money to put together an exhibit that told the story of the desegregation of the theatre.
Paula Fryland, PNC regional president, said. “PNC supports the mission of Carolina Theatre’s new exhibit ‘Confronting Change,’ sharing the story of this incredible moment in history with our current and future community members.”
At one point earlier this year, Carolina Theatre officials met with PNC representatives to discuss the theater’s various initiatives. A quick mention of the Civil Rights exhibit piqued PNC Bank’s interest given its focus on diversity and the rich history of African-American contributions to the community.
Fryland said PNC “believes that our company can only be as strong as the communities in which we operate.” This is why the company promotes early childhood education and community and economic development, including culture and the arts.
PNC stepped up as the major corporate sponsor, contributing $10,000 to the cause. “We are continually seeking opportunities to partner with organizations that reflect the rich tapestry of ethnic and cultural diversity of our community,”
PNC officials think “Confronting Change” fits that cause. Through Grow Up Great, the PNC Foundation’s signature cause that began in 2004, PNC has created a $350-million, multi-year initiative to help kids 5 years old and younger prepare for success in school and life. -Danny Adler
E
Reel Scares William Castle’s The Tingler Comes to the Carolina Theatre
By Budd Wilkins
Carolina Theatre audiences will have the unique opportunity to travel back in time to the heyday of cinematic sensationalism this February when William Castle’s The Tingler plays Fletcher Hall as the centerpiece of the 15th Annual Nevermore Film Festival. The undisputed king of the gimmick film, William Castle was an unabashed purveyor of pulp who devised an inventive series of publicity stunts to put his bargain-basement productions over with audiences. Whether it was slinging a skeleton along a string over their heads during House on Haunted Hill or rigging buzzers beneath the seats for a scene in The Tingler, Castle never met an attention grabber he couldn’t use, as anyone who participated in the Punishment Poll during Retrofantasma’s recent screening of Mr. Sardonicus can attest. Castle also produced and has a cameo in Roman Polanski’s seminal work of modern horror, Rosemary’s Baby. Often considered Castle’s masterpiece, The Tingler is the blackly humorous tale of a scientist (horror icon Vincent Price) whose research into the anatomy of fear unleashes a terrifying (terrifyingly cheesy, that is) creature upon an unsuspecting world. Bruce Goldstein, director of repertory programming at New York’s legendary Film Forum, will present The Tingler in Durham in the grand old style, with all the original gimmickry intact as well as a few new surprises. Mr. Goldstein recently took time out to talk about William Castle, doing the gimmicks and introducing audiences around the world to The Tingler.
Q. What was your first exposure to the films of William Castle and The Tingler in particular?
A. Bruce Goldstein: It’s hard to say. I actually don’t remember seeing them as a kid, frankly. I was not a big horror fan, although I read Famous Monsters of Filmland.
I was in Slovenia doing The Tingler, believe it or not, and they asked me to introduce Joe Dante’s Matinee, which is an homage to William Castle, that whole era. The main character [the young boy played by Simon Fenton] is based on Joe Dante, who was a big horror movie buff, and he’s following all those movies, he’s reading Famous Monsters of Filmland, the Forrest J. Ackerman magazine. I read the magazine, but I really didn’t like horror movies growing up. My parents took me to see Whatever Happened to Baby Jane? when I was 10 and it traumatized me. It probably was when we showed The Tingler at the Thalia, where I was working in the early ‘80s. We showed a lot of those films without any gimmicks. I started doing the gimmicks. And, by the way, the gimmicks we started doing had nothing to do with what William Castle did. 14
Q. Is that a fact? A. BG: It is a fact. For The Tingler, all William Castle did, the
idea for Percepto, was they put in a few buzzers [under the seats]. Actually, there was a manual – a very elaborate exhibitor’s manual – for The Tingler, how you were to wire your seats and everything. I’m sure most exhibitors didn’t get it, or it was too expensive. When I first did The Tingler with Percepto, it was 1988. I invited Terry Castle, William Castle’s daughter, and Mrs. Castle, who was a German woman, and had an accent. She saw everything we were doing, we were wiring all the seats, and she said [mimicking accent]: “Bill never went through this much trouble.” So what we’ve done was reimagine The Tingler and the gimmicks.
Q. And how did The Tingler go over in Slovenia? A. BG: We slayed ‘em in Slovenia [laughs]. It was a great
cinema too. It was a Halloween show. They were doing a marathon, and it was packed with young people. It was the Slovenian premiere of The Tingler, it had never played in Slovenia before, and it had Slovenian subtitles.
The Tingler in Slovenia is a word I can’t pronounce, but it was something like Slivovitz or something. We did it in the Cinémathèque Française in [Paris], France, Tel Aviv, Dublin, Glasgow, Munich; all over the U.S.; Vincent Price’s hometown, St. Louis – where the St. Louis Film Festival organized the Vincentennial to honor his 100th birthday [in 2011]. We did it at the TCM film festival in Hollywood. It’s the only reason anyone asks me to go anywhere. I don’t know why; I’ve done so many things, been decorated by the French government, but they want The Tingler. The reason I started doing these gimmick shows - not just The Tingler, but other William Castle movies with gimmicks like Homicidal and Mr. Sardonicus, and other gimmick movies like The Hypnotic Eye - there was this idea in the late ‘80s when people thought that video was going to destroy the repertory theater, that people wouldn’t go to the movies to see old movies, B movies when they could get them at home. So I decided, ‘What are the things you can’t do at home? Audience participation.’
Q. That’s right, you can’t see a skeleton flying across the theater…
A. BG: I mean, I basically feel that, until they invent the
virtual audience, you really can’t replicate the experience of going to a packed movie theater.
Q. Now that you’ve had all this experience showing the Castle films, what do you think about The Tingler in particular and its appeal?
A. BG: I think The Tingler is William Castle’s masterpiece. He’s got everything in that (film). It’s not his artistic masterpiece. He actually made really good movies like When Strangers Marry, an early film noir with Kim Hunter and Robert Mitchum. And he did those wonderful Whistler movies, Columbia B movies in the ‘40s [starring Richard Dix].
I think [his use of] the gimmick was actually trying to make money, a way to exploit the burgeoning teen market, which is what Sam Arkoff [co-founder of American International Pictures] was doing. He came up with these ideas, but with The Tingler, he’s actually pulling out all the stops. It’s not just the one gimmick. I don’t know if I should reveal this, but The Tingler has a color sequence. It’s so much fun. The idea of the movie is so ridiculous; there’s absolutely no logic to this movie whatsoever. It’s all tongue-in-cheek; that’s what makes it. You know, some movies, people like to laugh at them and feel superior to them. Well, in this case, I think Castle and the screenwriter Robb White felt superior; they knew it was a silly story to begin with, and they had fun with it.
Q. It also marks one of the first acid trips, LSD trips, on film. A. BG: It’s interesting. It is the first acid trip in the history of movies, and that’s quite visionary. They had already started talking about LSD in the media, but it really didn’t become what they call a household drug. That was maybe eight years later, about 1967.
Q. That’s when you start getting things like The Trip. A. BG: It’s very obvious it really is LSD. They repeat it several times. [The character played by Patricia Cutts] says: ‘Why should I consent to the drug?’ And Darryl Hickman says: ‘It’s not a drug, it’s an acid!’ And Price is reading a book that says Effects of Lysergic Acid, so it’s really obvious that it really is LSD.
Q. The book title is even printed on the wrong side just so the camera can pick it up. There‘s the color sequence that you mention. And, of course, there’s the great moment late in the film when the Tingler gets loose in a theater showing an old silent film.
A. BG: The silent is “Tol’able David.” Actually William Castle
is not the first. I don’t know if you can say he stole this idea, but it wasn’t the first time that a monster got loose in a movie theater. It had actually been done in The Blob, when the Blob gets loose in the projection room and murders the projectionist. We’ve thought about murdering some of our projectionists, but most of our projectionists now are great. Actually, the projectionists working today in this field are mostly very skilled and dedicated to a dying craft, you know, handling 35mm film. Although I don’t think The Tingler is going to be in 35, it’s going to be DCP – very beautiful, by the way, right off the camera negative. Anyway, I remember showing The Blob, and as soon as the Blob hits the projection screen, we made this big noise from the projection room and this piercing scream, which got a huge laugh. I think that’s one of my inspirations.
Q. The thing that The Tingler has that The Blob doesn’t
is that it melds the audiences on the screen and in the theater and invites the audience’s participation in this kind of breaking the fourth wall.
A. BG: In The Tingler, William Castle really uses the dark [of
the theater], and that’s the brilliant part. The one reason you have to show The Tingler on the big screen is because there’s a shot where he [Vincent Price] looks at the other character Ollie, played by Philip Coolidge, who was an old stage actor. He looks at him and says: ‘Ollie, do you think the Tingler is in the theater?’ And he’s looking down at the theater audience from the big screen. It’s a wonderful moment that gets a huge response. They build the suspense in that scene; it’s really terrific, and that’s what we’re playing on. Don’t give them too much.
Save the date – February 22, 2014 – for your rendezvous with spine-tingling thrills. And remember, whatever you do, don’t forget to scream! Budd Wilkins is a film critic, essayist and historian with published work in SLANT MAGAZINE, FILM INTERNATIONAL, VIDEO WATCHDOG, NOT COMING TO A THEATER NEAR YOU, ACIDEMIC JOURNAL OF FILM AND MEDIA, and an upcoming book chapter in Intellect Press’s GLOBAL FEAR on the films of Juan Lopez Moctezuma. He has interviewed (among others) Albert Brooks, Frederick Wiseman, and Lucky McKee. Budd maintains a blog dedicated exclusively to film at www.buddwilkins.com.
Bruce Goldstein presents ‘The Tingler’ at Carolina Theatre | Feb. 22, 2014 Part of 15th Annual Nevermore Film Festival | Feb. 21-23, 2014
Tickets on sale in early Feb.
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A P r e s e n t F r o m T h e Pa s t
co n t i n u e s h e r fa m i l y l e g a c y By Michael Lello
Some artists attempt to flee their legacy, without a glance in the rearview mirror. This can be an especially attractive proposition for the progeny of superstars. The road taken by Rosanne Cash to her recently released new album, The River and the Thread, was literally the opposite. The record is made up of all-new material, but it is a direct result of Cash’s recent foray into her – and her family’s – past. The journey began when Arkansas State University contacted her about their desire to buy the childhood home of her father, country music icon Johnny Cash, in Dyess, Ark. This led to a series of benefit concerts and a project to restore the house. It is expected to reopen to visitors this April. We recently emailed with Cash – who will perform at the Carolina Theatre on March 14 – about the voyage that yielded The River and the Thread, her perspective on her father’s childhood efforts and her writing process. Part of your goal with The River and the Thread was to tie the musical past and present together. That seems like a tall order. What challenges did you face in achieving that goal and still make a cohesive album? Rosanne Cash: I don’t think I had that in mind as a theme or a plan for the record. That idea started to come into focus while writing the lyrics. I noticed that there were lots of themes of geographical travel and time travel. Places that really resonate also have a sense of being timeless – you can feel what happened, and what might happen in the future. Specific places – such as William Faulkner’s house and Dockery Farms, the plantation where Howlin’ Wolf and Charley Patton worked and sang, influenced this album. Is that typical of your writing process, or is that something you tried for the first time: traveling to certain locales to write certain songs? RC: It’s not the first time it’s happened. New places are always inspirational to me – even if they aren’t that appealing, you can find something unknown and curious that can be inspiring. But this is the first time I’ve devoted a whole album to such a powerful sense of place – The South. When you listen back to these songs, do you feel they could have been written elsewhere, or are they a direct result of the places that inspired them? RC: They are about the South, but we wrote many of them in New York. In some ways, the distance and reflection and perspective of being a thousand miles away was helpful. It added a sense of mystery and longing for what we were writing about. Related to merging the old and the new, you worked with a cast of guests on the record that span the generations. How did you go about selecting John Prine, John Paul White of The Civil Wars and Derek Trucks? What were you looking for from them, and what did they deliver?
RC: These are all friends, and our one criteria for a guest was that he or she be from the South, or have a Southern connection. John had been working with Derek Trucks and loves him, so it seemed natural to ask him to play on one song. I’ve known John Prine for 30 years and love him to death. It was also a natural call. John Paul White is a new friend of mine -- I was a devoted fan of The Civil Wars from the first single. I love his voice. Prine and (Kris) Kristofferson and Tony Joe White offered a gravitas that was unbeatable. What type of setlist are you playing on this tour? How do you feel The River and the Thread songs work alongside your other material, especially songs from the previous album, which are part of a trilogy of sorts? RC: They’re all part of me. Nothing is a radical departure. It all fits well together, in my mind. It’s surprising how quickly the audiences respond to the new songs, though. They respond as if they already know the songs. It’s very gratifying. Before you got involved with the project to restore your father’s boyhood home, had you been there? RC: Yes, I had been a couple times. Once when I was about 12 years old, and once in my 30s. What was it like to see where he grew up? Did it, in any way, strengthen any tangible connection you have to him? RC: At this point in my life, I understand how hard the work was . . . really what a difficult life it was to work a cotton farm with very few comforts or amenities. I realize this is part of my history and my children’s history. It’s powerful, and not because it’s about Johnny Cash, but because I know my ancestry better – I come from cotton farmers on my father’s side, and I’m a New Yorker. So much happens in a generation. How important is it to you to preserve his legacy and educate people about not only his music, but his life? RC: That is not my job. I don’t need to educate people about him. People find him – there is no reason for me to interfere or try to control that process. I have my own work to do in the world. His legacy also is not in any danger of being lost. But the physical house, the New Deal-era colony that is Dyess, Arkansas, that was in danger of being lost, and I think it’s worth preserving. What are your plans for 2014 – including touring or promotion for the album, as well as more work with the restoration? RC: All of the above – and I am raising a teenager. I also write prose. I have a full agenda.
Rosanne Cash / Friday, Mar. 14 @ 8 p.m. Tickets: Starting at $36 ORDER TICKETS NOW!
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Head lineS Headlines
The Ca rolina Theatr e m a d e p l e nt y of e x cit ing news th i s fa l l ! President/CEO
Bob Nocek
was nominated for a Hall of Headlines Award by Pollstar magazine for spearheading the Carolina Theatre’s incredible turnaround.
Li ve Fr om Durham!
— The Carolina Theatre was pleased to serve as host for an exclusive Yahoo! Ram Country Live global web broadcast on Nov. 19 featuring country music artist and former American Idol champion
Scotty McCreery.
The special, invitation-only concert was kept secret for weeks. Tickets were given away through ScottyMcCreery.com; even ticket-holders didn’t know the location of the concert until just a few hours before the show. (See photo gallery on Pages 24-25.)
carolinatheatre.org
— Our website, CarolinaTheatre.org, recently received a significant redesign and upgrade. Not only more polished and simpler to use, the new website was built to render dynamically on any device and screen size. If you access CarolinaTheatre.org on anything from a four-inch smartphone screen to a wide screen desktop monitor, your user experience will not disappoint.
L au r i e L ov e d Us
— Shortly before his sold-out show, actor/blues musician Hugh Laurie tweeted out the following to his more than 200,000 followers :
@hughlaurie1
“Carolina Theatre in Durham NC, a beautiful 1920s temple of culture and amusement. What is a town without a place like this at its centre?” We couldn’t agree more!
Director of Audiences Services
Michelle Irvine was recently promoted to Director of Operations at the Theatre. Way to go, Michelle!
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Film Festivals & Series The Carolina Theatre presents the finest independent cinema 365 days a year.
Nevermore Film Festival February 17-23, 2014 Since 1999, the Nevermore Film Festival has presented brand new horror shorts and features from around the world, as well as timeless fan favorites. Many of these films will never receive a theatrical release in the United States. From classic suspense movies to hyper-violent Hong Kong cinema and everything in between – Nevermore has it all! carolinatheatre.org/nevermore
North Carolina Gay + Lesbian Film Festival August 15-24, 2014 The North Carolina Gay and Lesbian Film Festival (NCGLFF) celebrates a worldwide glimpse of today’s gay and lesbian life, helps bring the community together and features entertaining and sophisticated films and filmmaking. Since beginning in 1996, the Festival has featured a diverse array of shorts, documentaries and feature films. The Durham Convention and Visitors Bureau named the NCGLFF a Signature Event for Durham, the highest honor bestowed on a cultural event or attraction by the organization. ncglff.org
Escapism Film Festival September 12-14, 2014 Your favorite childhood movie heroes are back: Jack Burton, Buck Rogers, Admiral Kirk, Snake Plissken, Kermit the Frog, Indiana Jones, and so many more. Escapism recaptures the magic of your favorite fantasy and adventure movies from the late seventies and early eighties. The ones you remember watching with your friends on Saturday afternoon matinees during summer vacations. Timeless examples of what movies do best of all – fantasy and adventure, epic in scale, heroic in concept, and imaginative in execution. They’re fun movies. They’re meant to be. carolinatheatre.org/escapism
Retrofantasma Film & Retrofantasma Classics Series
Retrofantasma Film Series: Admit it, you like being scared on purpose. When the shriek of a violin makes you jump, when dark shadows scurrying past a flashlight’s beam take your attention from the world, when you hear a scream at night in the distance and wonder what’s playing on the TV at your neighbor’s house, you step – for the briefest of moments – into the magic realm of scary movies. Simply put, Retrofantasma is a monthly double feature of the greatest scary – and fun – movies ever made. Retro Classics Series: A monthly double-feature of genre films from the 1950s through the early 1970s. From the infamous gimmickry of William Castle to the giant bug films of the 1950s, some of these films are considered masterpieces. Others are simply great “bad” movies. carolinatheatre.org/retrofantasma
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Seen & Heard: Fall 2013 Well-known names and memorable performances highlighted the Fall 2013 schedule at the Carolina Theatre.
01 Photo Credit: Josh Hofer
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01- Cheap Trick’s Robin Zander sings to fans at the band’s sold-out Sept. 17 show. 02- Actor and musician Hugh Laurie gives love to his horn section during his Nov. 6 performance. 03- Blues Traveler jams on the stage of the Carolina Theatre. 04- Iconic actress and comedienne Lily Tomlin dazzles the Theatre crowd. 05- Banjo standout Noam Pikelny picks away on stage at the Carolina Theatre-presented performance at Motorco Music Hall on Oct. 23. 06- Guitar virtuoso Joe Satriani really feels the energy from the Carolina Theatre crowd.
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Photo Credit: Josh Hofer
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Scotty McCreery: Live Around The World From Durham Country music artist and “American Idol” Season 10 winner Scotty McCreery played a secret concert at the Carolina Theatre on November 19. Thousands of enthusiastic McCreery fans attended the show, which was broadcast live around the world to thousands more as part of Yahoo’s “Ram Country Live “ webcast series. Yahoo approached the theatre in September about hosting the concert, but the show was to be kept secret until the last possible moment. Pre-registered fans did not know the location of the show until a just few days before the concert.
Photo by Yahoo Music presents Ram Country Live! featuring Scotty McCreery, exclusively on ramcountry.music.yahoo.com.
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Photos by Bob Nocek, Carolina Theatre
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Listen and Learn
Jazz U Connects Fans With Musicians By Joe Student
The roots of jazz music trace back to the soil of the South. A new musical outreach and education program at the Carolina Theatre seeks to help those roots extend to the next generation of music lovers in the Durham community and beyond. Developed by a partnership between the theatre and Durham’s Art of Cool Project, Jazz U aims to increase the understanding, appreciation and enjoyment of jazz music. Supported in part by a North Carolina Arts Council grant, the Jazz U program hopes to increase awareness of jazz music by building community around appreciation of the genre. Enrollees in the Jazz U program are able to interact with fellow music lovers, learn about jazz from local music experts and interact with the accomplished artists in the series.
“There is a strong foundation for jazz in the South, and it has done well here for a long time,” - Bob Nocek, president and chief executive officer of Carolina
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Theatre of Durham, said. “Jazz U was developed out of our interest to create new and unique program initiatives for our community.” Jazz guitarist John Scofield led off the program this past September. The Jazz U series continues in 2014 with pianist Jonathan Batiste in February and trumpeter, pianist and composer Arturo Sandoval in March. The upcoming performances present a rare opportunity for fans to learn from and interact with musicians who share their love for jazz. “The artists loved the idea. For the program to be successful, we had to find artists who were willing to allow access,” Nocek said. “These jazz artists are eager to connect with fans of their music. You don’t normally see that level of interaction between an audience and an artist. It isn’t just an autograph signing.” Jazz U participants who attended Scofield’s September show sat in the pit area of the theatre during the musician’s sound check and asked questions of the artist afterward. Their Jazz U ticket also included a pre-show dinner with other enrollees and a session with a local music expert who led a discussion about jazz, Scofield’s music and other topics.
Additionally, each audience member who was enrolled in the Jazz U program was given four balcony tickets to distribute to others who might share their interest in jazz. Building interest and appreciation through sharing of the music via the tickets is a core goal of the program. “At the first event, we were able to see couples who had never met interacting with each other because they had a common interest in the music,” Nocek said. “That’s exactly what we want from the program: to help build community interaction around the music.”
Friday, Feb. 14, 8 p.m. Pianist and composer Jonathan Batiste is the embodiment of a modern jazz musician. Born into a family of accomplished musical artists, the Juilliard-trained Batiste is the founder and leader of the Stay Human band, whose upbeat style of jazz packs energy into each performance. A musical educator at heart, Batiste is the associate artistic director of the National Jazz Museum in Harlem, N.Y. He often hosts music workshops for youth groups, students and seniors prior to performances. Additionally, Batiste is an ambassador for the New York-based non-profit organization Music Unites, which is dedicated to bringing musical education to children.
In accordance with the arts council grant, Nocek said the theatre will make 300 free balcony seats to Jazz U performances available for distribution to local colleges and universities so that students can attend the show. Individual Jazz U tickets for the Batiste and Sandoval shows are available at the theatre’s box office and website, but the venue is also offering a special combined price of $175 to see both shows with the full benefits of Jazz U, including the dinner, discussion, artist interaction and the additional balcony seats. Each of the artists in the Jazz U series represents a different style of the broader genre of music. With many various subtypes of jazz left to explore, future shows in the program can feature other branches of this diverse music. “My intention is to do it again,” Nocek said of continuing the Jazz U series in future seasons. “Response has been positive. In the end, it doesn’t consume our resources; it has low impact on our organization and high impact to our community.”
Saturday, March 22, 8 p.m. Virtuoso trumpeter Arturo Sandoval is a charismatic and dynamic jazz performer heavily influenced by masters such as Charlie Parker and Dizzy Gillespie, who mentored him. The Cuban-born Sandoval, who defected to the United States in 1990, is best known for his Afro-Cuban infused jazz and improvisational stylings. Sandoval received the Presidential Medal of Freedom from President Barack Obama in late 2013. He is widely regarded as one of the world's greatest living jazz musicians.
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2013 2014
thanks to our Donors
As a nonprofit organization, the Carolina Theatre of Durham depends on the generous support of individuals, corporations, foundations, and the City of Durham in order to thrive. We are grateful for our Star Members’ support of our artistic and educational programming through their membership donations. The following donors made gifts or pledges of $120 or more between July 1, 2012 and December 1, 2013. Every effort has been made to ensure the accuracy of this listing. If you find an error, please contact Treat Harvey at 919.226.8878 or treat@carolinatheatre.org.
CORPORATIONS & FOUNDATIONS $10,000+ Blue Cross and Blue Shield of North Carolina Durham County Alcoholic Beverage Control Board A.J. Fletcher Foundation Fletcher Performing Arts Fund Fox Family Foundation, Inc. F.M. Kirby Foundation, Inc. Norman and Bettina Roberts Foundation
$5,000+ BB&T Duke University GlaxoSmithKline Michael Jordan Nissan North Carolina Arts Council Professional Nursing Solutions, LLC World Beer Festival
$2,500+ The Daniel and Karen Berman Foundation Center Studio Architecture Kennon Craver, PLLC Measurement Incorporated (in kind) State Employees Combined Campaign
Up to $2,499 Acme Plumbing Baskerville Fund of Triangle Community Foundation Cambridge Focus Durham Arts Council Anne Edens Fund of Triangle Community Foundation Fidelity Charitable Gift Fund Fulbright Financial Consulting, PA GlaxoSmithKline Matching Gifts IBM Matching Gifts Merck and Company, Inc. Matching Gifts SunTrust Bank Teleflex Foundation Matching Gifts Trinity School of Durham and Chapel Hill
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United Way of the Greater Triangle/ John D. Foust Widmark Family Fund of Triangle Community Foundation Jean Woods Foundation WTVD-TV Channel 11
INDIVIDUAL SUPPORT $1,200+ Tim Alwran Anonymous Deirdre and Richard Arnold Paul Brock Dave and Leanne Brown, In Memory of Mamie Brookover Shirley Drechsel and Wayne Vaughn Pepper and Don Fluke, In Memory of Connie and Monte Moses Jon E. Jones Syl-Vonna and Doug Mabie Bob Nocek and Matt Tomko Christy Simmons Jamin Skipper (in kind) Ryan Smith and Kristine Schmit Bob Staton Ali and Will Stroh, In Memory of Chelsee Jane Stroh Caroline Welch
$480+ Laura Adrian and David Orzelek Anonymous (2) Beverly and Robert Atwood Wendy Baker and Jonathan Wilfong Susan Beischer Diana and Bob Denton, In Memory of Alma and George Denton Ronnie and Shelley Eubanks Doris and Ronald Eurquhart, Sr. Teresa Finch W. Barker and Cavett French Winston Greene and Kevin Sowers Joel Gulledge Aminifu Richard Harvey Reginald J. Johnson, Esq. Heidi, Brian, and Olivia Marks Edie McMillan Elizabeth and Wes Newman
Rebecca Newton Terry J Owens Betsy Rollins Henry and Linda Scherich Elizabeth and Michael Schoenfeld Brian and Cathy Thomas John Warasila and Vandana Dake
$240+ Dan Abbott and Teresa Petro Anonymous Dr. Brenda E. Armstrong Michael-Anne and Bill Ashman Iain and Norma Auld David Ball and Susan Pochapsky Don Ball Jim and Beth Barba David and Kathy Bartlett Michael Barefoot Lee and Jenny Bennett Donald Beskind and Wendy Robineau Ginger and Steve Bridges James Brosnan Bates Buckner Steve Burnett James H. and Brigit M. Carter Jack and Susan Dennis Elaine Duda Joseph F. Edwards III Joseph A. and Karen M. Gdaniec Dr. Steven Grambow and Dr. Holly Biola Joel Gulledge Janet Leigh Harmon Joseph and Zachary Hatch Whitford and Joyce Hayden Marilyn Hays and Maria Brown Veronica Hemmingway Mike Howard Thaddeus Hunt Daniel Cook Johnson Ralph and Marie Liebelt Lawrence Loeser Javey Lowe & Billy Simpson David Lindquist and Paul Hrusovsky Madeleine C. McBroom, In Memory of Charles S. McBroom Karen McCallister Ned and Sandy McClurg Felice McNeill-Hayes, In Memory of Carl Lee McNeill, Sr.
Nathan Miller and Travis Prater Kat and Joe Moran Cynthia and Art Morris Mitch and Christine Mumma Ruth Mary and Horst Meyer Thomas Narten and Susan Rodger Diana Osborne, In Memory of Garetta Stoever, and Michael Atkins and Kate Crockett Linda Prager and Michael Parker Cheri Patrick Ray and Rosalyn Phillips John J. Pinto Margaret and Tim Rauwald Tony Schibler Alice Sharpe Cynthia Shimer and Eric Wiebe Amanda J. Smith James and Danuta Soukup Stephen Stack Randy and Lorrie Stevenson Logan Swisher Howard and Debbi Schwartz
Alice and Clarke Thacher Cathy Thomas Chris van Hasselt and Carol Brooke Jenny Warburg Janet White and Hilary Sheaves
$120+ Anonymous (11) Theus and Pat Armistead Ellen and Tom Bacon Gee Barger Lee and Jenny Bennett Lin Bentel, In Memory of Franklin and Clara Bentel Susan Blackwell Ken Bland MB Boening and Mark Knelson, In Honor of “Right of Way” Barbara V. Braatz Julian Braxton Alastair S. Browne Kelly Brownell and Mary Story John Burness Tom Burns & Karen McCallister
Kathy Carter and Fred Peterson Stephen and Christina Celestini Brett Chambers Julie Chappell Gary and Terri Choma Arturo and Ellen Ciompi Sandra Clemons Keith Cochran Carolyn Cofrancesco Cora Cole-McFadden Jeffrey Collins and Rose Mills Kim Coman/Coman Home Inspections Tracey and Matthew Coppedge Connie Cowell Guy Crabtree Michael Daul Jack and Tina Deason Robin Dennis Wally Diehl Beverly and David Dillon Rodney Draughn Laura Drey Cecily Durrett Stuart and Edward Embree Kathy Eusepi
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2013 2014
Thanks to our Donors
Brand Fortner and Sue Andresen Judith Fortson and Fred Dretske Paul Francis Saundra and Douglas Freeman Emily Friedman William G. Fry Anne Sollecito Fuller and Calvin Fuller Sandra Garrett-Watson Berry Gentry Dale Gaddis Jay A. Gladieux Priscilla Guild Scott Harmon Karyn Harrell and Cindy Kimbrell Peter Harrell and Ellen Cooper Treat Harvey and Regina deLacy Tricia Inlow-Hatcher and Anthony Hatcher Donna J Hicks Jeanne Hiesel Eddie High III David and Judith Hinton David Holland, MD Ben Hollifield Peter and Ellen Hollis Julia and Joseph Horrigan
Odette Houghton Diane Hourigan, DDS Kista and Kevin Hurley Sharon Humphreys Elizabeth and Thomas Jochum Brian K. Johnson Patrick Johnston Linda and Macon Jones Wes and Bonnie Jones Bill Kalkhof Ruth Katz Sam Katz Lori Kegley Rob Knebel Suzanne Koenigsberg Rhonda and Michael Kosusko Charles Leedy Robert Lesser and Idelle Valle Betty and John Leydon Donna Lockamy Mr. and Mrs. Charles Logsdon Michael Lyle Mary R. Lynn Julia G. Mack Michael D. Martz Mark Masercola
cont. Kathy Mauney Elizabeth and James Maxwell Betty McAlvany Jim McCallum Molly and Sean McCormack, In Memory of Hailey Madison McCormack Terri McGloin Mr. and Mrs. Riley McPeake Jean C. Michel Courtney and Cameron Mitchell Michael Lowry and Bonny Moellenbrock Joe and Kat Moran Janice Mrkonjic Mary Mudd and William Nesmith Jo Ann Lutz and Lawrence Muhlbaier Mary W. Myers Barry Nakell and Edith Gugger Jeff Newbrough Marcia Benbow O’Neal, In Memory of Gladys Frazier Benbow Beth Owen Susan Owenby Ampi Pappas Ryan P. Parker
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2013 2014
Thanks to our Donors
Christopher Penny Steve and Amy Peters Thomas Phillips Grace Pilafian Linda Raftery and Phil Spiro Heather Rainville Ellen and Ken Reckhow Sylvianne Roberge Fabulosa Rosenbaum Susan Ross and Tom Hadzor, In Honor of Treat Harvey Elizabeth and Henry Sappenfield Lynn Scott & Steve Noe Beth Shulman, In Memory of Claire Bernstein Shulman Melanie Small and Greg DeKoenigsberg Tommy Smith Eric J. Smith Robert and Betty Starling Joyce Stephens, In Honor of Richard Rebello Gayle and Neil Stroud
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cont.
Duane and Sheila Therriault Mary Ann Tourney and Chuck Hvala Ann and David Umbach Tom and Linda Underwood Leigh Vancil Charlotte Walton and Mark Koyanagi Ken Weiss Dr. Barnetta White MaryAnne and Kenneth Zabrycki
$10,000+
CIVIL RIGHTS EXHIBIT
$500+
In July 1963, in the midst of the national struggle for civil rights, the Carolina Theatre was desegregated, and black and white patrons were finally able to sit together in this city-owned facility. In 2014, the theatre will open an exhibit commemorating that era. We are grateful to the following donors who have contributed to this next phase of our history project.
Paul and Jacqueline Jones Elvis Lewis, Jr. and Claudine Daye Lewis Lee Ann and Larry Tilley
PNC Financial Services Group
$1,000+ Tim Alwran Richard and Deirdre Arnold Brett E. Chambers (in kind) Freedom Lifted. LLC/Mia Henry Carl and Vera Whisenton
$250+ Anonymous Chip Burris and Teji Rakhra-Burris Willie and Sandra Burt Cora Cole-McFadden Winifred Richardson Davis Don and Pepper Fluke Keith Flynn and Adrian Brown Mr. and Mrs. R.W. Grabarek Marcelite Harris
Dennis Hayes Veronica Hemmingway James D. Henry Philip W. Hutchings, CPA Warren and Deborah Jarrett and Family Jewel Merritt Johnson and Reynold C. Johnson Reginald Johnson, Esq. Lee Johnson, Jr. and Veronica Johnson DeBora and Alfred King Doug & Syl-Vonna Mabie Julia Mack Johnny and Agnes Maske Judith Mitchell-Watson Christopher Rosette and Ashleigh Shelby Rosette James and June Sansom Carl and Bridgette Webb
$100+ Ann and Lex Alexander Mr. and Mrs. M. Bernard Austin Kenneth and Monica Barnes James and Mattie Bell Diane Ligets Bello Trude Bennett and Howie Machtinger Virginia Rand Bowman Helen L. Chavious Cecil and Anita Coleman Keith Cook and E’Vonne Coleman-Cook LaJoyce and Ted Debro Kathy Eusepi Sandi Haynes James J. “Biff” and Carolyn D. Henderson Deryl E. Hinton Diane Hourigan Marsha G. Kee Hank and Ann Majestic Dr. Andree McKissick
Thank you!
Beverly McNeill and William Duncan McNeill-Burton James Miller Richard Mitchell II + Tamika Mitchell H. Lovell and Prima Mosely Lloyd and Ann Pauls Ann Rebeck and Misha Angrist Tom and Jackie Sampson Joseph Sansom Hollis and Genora Shaw Marie Shaw Simmons Katherine Skinner James and Grace Suber Carolyn McCauley Torian Theodore and Naomi Watson Joffre T. Whisenton Stephanie Williams William L. Yaeger
Up to $100 Anonymous Bobby Baines Doris Bass-Glenn Lynette Bell Welton Belsches Julie Chappell Delphine Coward and Phyllis Coward Rogers Eddie and Harriette Davis Valinda Faye Davis Delta Sigma Theta Sorority, Inc., Durham Alumnae Chapter Nettie Y. Dixon Kenneth Edmonds, The Carolina Times Ann Evangelisto Mark Falgout William Forte Minnie Forte-Brown and Roger “Ray” Brown Dale Gaddis Dr. Regina George-Bowden Deborah Giles Al-Tony and Beryl Gilmore
R. Tyree Greene Pamela Gutlon/Outsiders Art Collectibles Margaret and Leroy Hansley Jacqueline Harris Kenneth Harris Treat Harvey and Regina deLacy Pete Holman, Jr. Kim Howard and Chris Klindt Edwina Hunter Mildred M. Jackson Walter Jackson Charles and Carol Johnson Jean Yvonne Johnson William Jones, Jr. Danielle Kaspar Brittany Kielhurn Suzanne Koenigsberg Pamela Lewis Peggy and Edward Lewis Alice J. Logan Donald and Shirley Madden Patricia Martin Dr. Coolidge and Lillian McCoy William McKoy and Joan McCoy Mr. and Mrs. Foster L. McKinney Jane McNeer, In Honor of Carl and Vera Whisenton Gus and Larhett Melton Sam and Sheila Miglarese Jay O’Berski and Dana Marks Eddie and Lynette Patten Jesse and Doris Penn Ben Reese and Cynthia Frazier Lynn Richardson Charles and Barbara Smith David Stein and Deborah Horvitz Marcella Kaye Sullivan Jacki and Gene Tatum Annie S. Vample, Triangle Day Care, Inc. Elizabeth P. Warrick Richard and Louisa Williams
Thank you to the following sponsors of Retrofantasma, James Bond Retrospective, Escapism Film Festival, and Fan Appreciation Day.
Alliance of AIDS Services – Carolina Brad Brandhorst Melissa Browning Graham Buffkin Stewart and Kristofer Chang-Alexander Chatham Social Health Council Dylan Crumpler John Darnielle Christopher L. Harris Moya Hawkins Matt House
Jonathan B. Howell Jared McEntire Adrienne L. Meddock Lloyd Mielenz III Shawn D. Moore Paul Ray and Casey Roan Nick Principe Chris Salina Alana Shekelle and John Gillespie Ali and Will Stroh Lauren Turner
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Ultimate Comics and NC Comicon Uncanny Books Jonathan Van Ark Scott and Pandy Weaver Wendy M. Webber Tina and Budd Wilkins Chris Wimberley Robert Young
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Tickets & seating
How to order www.carolinatheatre.org/tickets (919) 560-3030
Legacy Box Seats Experience the elegance of the past in the Carolina Theatre’s elegant Legacy Box Seats. Enjoy great music, comedy and performing arts with a unique perspective of the stage and the timeless Fletcher Hall. Packages include two tickets to all Star Series events, access to our Donor Lounge, parking and more.
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FREEDOM TO DREAM. FREEDOM TO BELIEVE. FREEDOM TO CREATE A MASTERPIECE.
bcbsnc.com/livefearless
An independent licensee of the Blue Cross and Blue Shield Association. U9297, 8/13
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GUEST PRESENTERS Full Frame Documentary Film Festival fullframefest.org The Full Frame Documentary Film Festival is an annual international event dedicated to the theatrical exhibition of non-fiction cinema. Each spring Full Frame welcomes filmmakers and film lovers from around the world to historic downtown Durham, North Carolina for a four-day, morning to midnight array of over 100 films as well as discussions, panels, and southern hospitality. Set within a four-block radius, the intimate festival landscape fosters community and conversation between filmmakers, film professionals and the public.
The Durham Savoyards durhamsavoyards.org Created in 1963, Durham’s amazing homegrown theatre troupe, The Durham Savoyards, has brought fun and beauty to the Triangle by presenting the brilliant works of William S. Gilbert & Arthur S. Sullivan. For more than 50 years, this hardworking group of local theater lovers have entertained a community and greatly enriched the local arts scene. This spring, the Carolina Theatre is proud to host the Savoyards’ production of Gilbert & Sullivan’s The Sorcerer, March 27-30, 2014.
Triangle Youth Ballet triangleyouthballet.org With a passion for training the next generation of dancers and instilling a deeper understanding of dance arts in our community, the Triangle Youth Ballet offers aspiring dancers workshops and performance opportunities. Founded in 1995 with the specific mission to produce family performances with local talent, the company quickly grew into one of the area’s top dance schools.
Durham Symphony Orchestra durhamsymphony.org The Durham Symphony is a semi-professional orchestra composed of a combination of volunteers and professionals, all classically trained. Throughout its 37 year history, the Durham Symphony’s mission has been to foster the appreciation of music through the production of high-quality music for and by the residents of Durham and surrounding communities. The Symphony’s programming reflects a commitment to familiar, American, and popular music. The Durham Symphony Orchestra also seeks to introduce classical orchestral music to young people in the school system through a variety of outreach programs. Traditionally, between October and May, the DSO performs several classical concerts at the Carolina Theatre.
Chamber Orchestra of the Triangle thecot.org Considered one of the finest professional ensembles in North Carolina and the Southeast today, the Chamber Orchestra of the Triangle boasts an elite corps of musicians presenting a well-chosen and unusual repertoire that delights audiences and evokes high praise from critics. That standard of excellence has become the hallmark of the orchestra and has distinguished it from its peers. The orchestra performs throughout the year at the Carolina Theatre. Season tickets are available through the Carolina Theatre box office.
NC Youth Tap Ensemble ncyte.org The North Carolina Youth Tap Ensemble presents performances featuring cutting edge contemporary choreography and traditional rhythm tap as it was danced in its prime. The company has performed or collaborated with many jazz musicians around the nation and world, has toured internationally and regularly appears at the two largest tap festivals in the United States, the New York City Tap Festival (Tap City) and Chicago Human Rhythm Project.
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corporate
support
Matters
Support the work of the Carolina Theatre while promoting your business to the Triangle’s best customers. Become a Corporate Sponsor in 2014 Sponsors help make Carolina Theatre programs possible Star Series – Season of Live Performances Historic Exhibit – Honoring the Past Arts Discovery Series – Youth Educational Programming North Carolina Gay & Lesbian Film Festival – Celebrating 18 Years
Contact: Treat Harvey | (919) 226.8878 | treat@carolinatheatre.org carolinatheatre.org/give ORDER TICKETS NOW!
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Advertiser’s Index Support the organizations that sustain your downtown theatre! BB&T | www.bbt.com....................................................... 4 Beyu Caffé | www.beyucaffe.com.................................. IFC Blue Cross Blue Shield | www.bcbsnc.com..................... 42 Carolina Meadows | www.carolinameadows.org............. 37 Center Studio Architecture www.churchandmaindurham.com................................... 31 Counter Culture Coffee www.counterculturecoffee.com...................................... 41 Duke Performances | www.dukeperformances.org......... 31 Durham Convention Center www.durhamconventioncenter.com................................ 33 Durham Parks & Recreation www.dprplaymore.org.................................................... 40
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King’s Daughter’s Inn www.thekingsdaughtersinn.com..................................... 38
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309 West Morgan Street Durham, NC 27701