22 minute read
ARTS & CULTURE
ARTS & CULTURE ARTS & CULTURE
Tyler Gabbard
PHOTO: PROVIDED BY THE CARNEGIE
Co in ton’s he Carne ie Announces e eadershi and Season Co in ton’s he Carne ie Announces e eadershi and Season Industry veteran Tyler Gabbard has replaced Maggie Perrino as the Carnegie’s theater director.
Industry veteran Tyler Gabbard has replaced Maggie Perrino as the Carnegie’s theater director. PREVIEW BY RICK PENDER
PREVIEW BY RICK PENDER
There’s been a changing of the guard at Covington’s Carnegie with Tyler Gabbard stepping up to ll the role of theater director that had been helmed by Maggie Perrino for eight years. She departed to become the theater director for Cincinnati’s School for Creative and Performing Arts. Gabbard is new to a leadership role, but he’s been a liated with the Carnegie for years as a scenic designer, and his experience is fully suited to his new responsibilities.
“ e Carnegie’s theater department could not be in better hands,” Kim Best, the Carnegie’s executive director, says in a press release. “Since joining the team in October, Tyler has brought an excitement and enthusiasm to the Carnegie that I’m sure patrons will see re ected in upcoming productions.”
Gabbard, a Northern Kentucky native from Campbell County and current resident of Covington, says in the release, “I’m excited to continue o ering meaningful artistic experiences that are both entertaining and enriching to the community.”
There’s been a changing of the guard at Covington’s Carnegie with Tyler Gabbard stepping up to ll the role of theater director that had been helmed by Maggie Perrino for eight years. She departed to become the theater director for Cincinnati’s School for Creative and Performing Arts. Gabbard is new to a leadership role, but he’s been a liated with the Carnegie for years as a scenic designer, and his experience is fully suited to his new responsibilities. “ e Carnegie’s theater department Formerly the vice president of the League of Cincinnati eatres, Gabbard graduated from New York University’s Tisch School of the Arts where he focused on theater management and scenic design. He subsequently received a certi cate in nonpro t management from Northern Kentucky University, where he served as events and publicity manager for the School of the Arts. He was chosen to take part in the Emerging Leadership Institute at the Association of Performing Arts Professionals’ annual conference in
could not be in better hands,” Kim Best, the Carnegie’s executive director, says in a press release. “Since joining the team in October, Tyler has brought an excitement and enthusiasm to the Carnegie that I’m sure patrons will see re ected in upcoming productions.”
Gabbard, a Northern Kentucky native from Campbell County and current resident of Covington, says in the release, “I’m excited to continue o ering meaningful artistic experiences that are both entertaining and enriching to the community.”
Formerly the vice president of the League of Cincinnati eatres, Gabbard graduated from New York University’s Tisch School of the Arts where he focused on theater management and scenic design. He subsequently received a certi cate in nonpro t management from Northern Kentucky University, where he served as events and publicity manager for the School of the Arts. He was chosen to take part in the Emerging Leadership Institute at the Association of Performing Arts Professionals’ annual conference in New York City. New York City. Most recently, Gabbard worked at the Children’s eatre of Cincinnati as its patron experience manager, overseeing marketing, sales and customer satisfaction. Subscriptions there have returned to pre-pandemic levels, Gabbard says. Gabbard saw his rst Carnegie show in 2007 and worked on his rst production there, Kander and Ebb’s musical Chicago, in 2013. He also was involved in a memorable 2014 Most recently, Gabbard worked at the Children’s eatre of Cincinnati as its patron experience manager, overseeing marketing, sales and customer satisfaction. Subscriptions there have returned to pre-pandemic levels, Gabbard says. Gabbard saw his rst Carnegie show in 2007 and worked on his rst production there, Kander and Ebb’s musical Chicago, in 2013. He also was involved in a memorable 2014 production of Stephen Sondheim’s production of Stephen Sondheim’s
Over the past decade, Gabbard’s design Over the past decade, Gabbard’s design work has been onstage in New York City work has been onstage in New York City and Los Angeles. Locally, he’s designed and Los Angeles. Locally, he’s designed shows for Memorial Hall, New Edgecliff shows for Memorial Hall, New Edgecliff Theatre, Kincaid Regional Theatre, Theatre, Kincaid Regional Theatre, Northern Kentucky University, Falcon Northern Kentucky University, Falcon Theatre, the Commonwealth Theatre Theatre, the Commonwealth Theatre Center, Cincinnati Chamber Opera and the Center, Cincinnati Chamber Opera and the Stephen Foster Drama Association. Stephen Foster Drama Association.
Sweeney Todd: e Demon Barber of Fleet Street.
Over the past decade, Gabbard’s design work has been onstage in New York City and Los Angeles. Locally, he’s designed shows for Memorial Hall, New Edgecli eatre, Kincaid Regional eatre, Northern Kentucky University, Falcon eatre, the Commonwealth eatre Center, Cincinnati Chamber Opera and the Stephen Foster Drama Association.
Gabbard’s rst big task is to produce the stage musical Singin’ in the Rain, based on the much-loved 1952 movie musical starring Gene Kelly. Perrino will return to stage and choreograph the production, and Gabbard is designing its scenic aspect.
“It’s going to be fun to make this a technicolor extravaganza, and for the rst time, we’ll have some intentional rain on the stage,” Gabbard says, alluding to the years prior to the Carnegie’s renovation, when the theater space had a leaky roof that occasionally sprinkled precipitation on patrons and performers.
In conjunction with Gabbard’s appointment, the Carnegie has announced his rst season of summer musicals. Kinky Boots, Lady Day at Emerson’s Bar & Grill and Guys and Dolls will be staged in repertory during July and August 2023.
Gabbard, who designed the sets for the 2022 summer season (Rent, Into the Woods and George Remus), will create scenery for the upcoming season that can be quickly adapted from one production to the next. He’s also announced that Hello, Dolly! will be staged in January 2024. ese productions demonstrate how Gabbard is building on the tradition of musicals that Perrino established.
Kinky Boots won six Tony Awards in 2013, including best musical. With music and lyrics by pop legend Cyndi Lauper, it’s the story of a factory owner struggling to save his family’s shoe business when he meets the colorful Lola, a drag star who advances an unorthodox suggestion about a new product line, boots that can stand up to high-stepping drag queens. Gabbard plans to kick o the summer season on June 30 with a “Boots Bash,” a ashy sendo
Sweeney Todd: e Demon Barber of Fleet Street. Over the past decade, Gabbard’s design work has been onstage in New York City and Los Angeles. Locally, he’s designed shows for Memorial Hall, New Edgecli eatre, Kincaid Regional eatre, Northern Kentucky University, Falcon eatre, the Commonwealth eatre Center, Cincinnati Chamber Opera and the Stephen Foster Drama Association. Gabbard’s rst big task is to produce the stage musical Singin’ in the Rain, based on the much-loved 1952 movie musical starring Gene Kelly. Perrino will return to stage and choreograph the production, and Gabbard is designing its scenic aspect. “It’s going to be fun to make this a technicolor extravaganza, and for the rst time, we’ll have some intentional rain on the stage,” Gabbard says, alluding to the years prior to the Carnegie’s renovation, when the theater space had a leaky roof that occasionally sprinkled precipitation on patrons and performers. In conjunction with Gabbard’s appointment, the Carnegie has announced his rst season of summer musicals. Kinky Boots, Lady Day at Emerson’s Bar & Grill and Guys and Dolls will be staged in repertory during July and August 2023. Gabbard, who designed the sets for the 2022 summer season (Rent, Into the Woods and George Remus), will create scenery for the upcoming season that can be quickly adapted from one production to the next. He’s also announced that Hello, Dolly! will be staged in January 2024. ese productions demonstrate how Gabbard is building on the tradition of musicals that Perrino established. Kinky Boots won six Tony Awards in 2013, including best musical. With music and lyrics by pop legend Cyndi Lauper, it’s the story of a factory owner struggling to save his family’s shoe business when he meets the colorful Lola, a drag star who advances an unorthodox suggestion about a new product line, boots that can stand up to high-stepping drag queens. Gabbard plans to to Pride Month that will celebrate the season’s artists and creative team. Lady Day at Emerson’s Bar and Grill, opening in July, is a one-woman portrait of blues singer Billie Holiday. Set in a gritty Philadelphia bar in 1959 where she gave one of her nal public performances, it’s an evening chronicling her life story and featuring songs that made her famous, including “God Bless the Child” and the chilling antilynching number, “Strange Fruit.” In August, the Carnegie will add Guys and Dolls to rotate with Kinky Boots and Lady Day. Musical theater enthusiasts call Guys and Dolls the perfect musical comedy. Its characters are a crew of rambunctious gamblers and showgirls as well as a straightlaced Salvation Army gal. e memorable score is full of classic showtunes including “Luck Be a Lady,” “I’ve Never Been in Love Before” and “Sit Down, You’re Rockin’ the Boat.” “We’re focusing on what we can do best — familiar musicals,” Gabbard says. He plans to continue that commitment with a production of the blockbuster Broadway hit Hello, Dolly! from 1964, featuring some of the most recognizable show tunes in musical theater history: “Put on Your Sunday Clothes,” “Before the Parade Passes By,” and the show’s iconic title song with singing waiters heralding Dolly Levi’s grand arrival at the Harmonia Gardens Restaurant. e show follows the exploits of the meddling matchmaker over the course of one unforgettable day. e Carnegie is on the brink of establishing a new ticketing system, and in conjunction, Gabbard says he intends to o er friendly pricing for people under 35. He says he also hopes to reach out to the theater’s nearest neighbors in Kentucky and to broaden the Carnegie’s reach by expanding awareness farther south while retaining the mix of attendees from across the Tri-State. His considerable experience and energetic approach should keep the Carnegie on the radar of musical theater lovers. kick o the summer season on June 30 with a “Boots Bash,” a ashy sendo to Pride Month that will celebrate the season’s artists and creative team. Lady Day at Emerson’s Bar and Grill, opening in July, is a one-woman portrait of blues singer Billie Holiday. Set in a gritty Philadelphia bar in 1959 where she gave one of her nal public performances, it’s an evening chronicling her life story and featuring songs that made her famous, including “God Bless the Child” and the chilling antilynching number, “Strange Fruit.” In August, the Carnegie will add Guys and Dolls to rotate with Kinky Boots and Lady Day. Musical theater enthusiasts call Guys and Dolls the perfect musical comedy. Its characters are a crew of rambunctious gamblers and showgirls as well as a straightlaced Salvation Army gal. e memorable score is full of classic showtunes including “Luck Be a Lady,” “I’ve Never Been in Love Before” and “Sit Down, You’re Rockin’ the Boat.” “We’re focusing on what we can do best — familiar musicals,” Gabbard says. He plans to continue that commitment with a production of the blockbuster Broadway hit Hello, Dolly! from 1964, featuring some of the most recognizable show tunes in musical theater history: “Put on Your Sunday Clothes,” “Before the Parade Passes By,” and the show’s iconic title song with singing waiters heralding Dolly Levi’s grand arrival at the Harmonia Gardens Restaurant. e show follows the exploits of the meddling matchmaker over the course of one unforgettable day. e Carnegie is on the brink of establishing a new ticketing system, and in conjunction, Gabbard says he intends to o er friendly pricing for people under 35. He says he also hopes to reach out to the theater’s nearest neighbors in Kentucky and to broaden the Carnegie’s reach by expanding awareness farther south while retaining the mix of attendees from across the Tri-State. His considerable experience and energetic approach should keep the Carnegie on the radar of musical theater lovers.
The Carnegie,
The Carnegie, 1028 Scott Blvd., Covington. 1028 Scott Blvd., Covington. Info: thecarnegie.com. Info: thecarnegie.com.
CULTURE CULTURE Weekly Jam Sessions at Northside’s Liberty Exhibition Hall Weekly Jam Sessions at Northside’s Liberty Exhibition Hall Lounge Bring Jazz to a New Generation
BY ANNE ARENSTEIN
The Lounge at Liberty Exhibition Hall has comfortable vignettes that recall a past era of basement venues.
PHOTO: COURTESY OF THE LOUNGE The Lounge at Liberty Exhibition Hall has comfortable vignettes that recall a past era of basement venues.
PHOTO: COURTESY OF THE LOUNGE
Ajam session can be serious business for musicians in any genre. It’s typically about honing one’s chops with peers, often battling for solo supremacy with an audience limited to other musicians.
But that’s not the vibe at Northside’s Liberty Exhibition Hall Lounge, where increasing numbers of jazz fans show up on Monday nights to hear the house band and a jam session featuring many of the area’s top artists and astounding young talent. During Liberty Jazz Lab, audiences hear exciting performances in a venue whose retro seating vignettes and lighting recall 1950s and early 1960s jazz lounges that create energy shared by both sides of the stage. at vibe is exactly what Carol Brammer says she’s after. Brammer is the artistic director of Clifton Players and began producing theater with actors less than three feet away from an audience in a tiny Ludlow Avenue bank annex.
Brammer moved her organization into Liberty Exhibition Hall in 2017 and the following year, she and her former husband Craig Brammer inaugurated Liberty Jazz Lab, an independent series of concerts highlighting out-of-town groups and aspiring local musicians, all young and many on the brink of major careers.
Jazz Lab earned a nod from CityBeat as “Best Hope for New Generations of Jazz” in its 2019 Best Of Cincinnati edition, with the newspaper citing the season’s performances of “boundaryignoring jazz.”
Jazz Lab’s performances were on the Liberty’s upper level that included a stage, a bar and restrooms. e building opened in 1909 as Cincinnati’s rst vaudeville theater and later housed a movie palace. It served as home for the Cincinnati Deaf Club before going vacant for 73 years. Clifton Players eventually acquired the property.
Brammer’s children’s theater programs and other performances were held in Liberty’s space but jazz remained a priority.
“We have an amazing jazz presence here and we asked ourselves what’s not being done for these artists,” Brammer tells CityBeat. “ ere was no place with a fusion of age groups in one room. e response to Jazz Lab showed us the audiences were out there.”
Brammer says she was eager to move forward with plans for weekly jam sessions. ose plans evaporated with COVID shutdowns, but her team used the time to transform the Lounge’s lower level into a nostalgic throwback to hip venues of the ‘50s and ‘60s.
“It looked like an Elks Lodge,” Brammer recalls. “We did some painting and sourced furniture and lighting xtures from all over the country.” e Lounge crew created comfortable vignettes with varied seating options, tables and subdued lighting that evokes a past era of basement venues. All that’s missing is the blue fog of cigarette smoke — you’ll nd that outside in the adjoining alley.
“I was really blown away by it and
Ajam session can be serious business for musicians in any genre. It’s typically about honing one’s chops with peers, often battling for solo supremacy with an audience limited to other musicians.
But that’s not the vibe at Northside’s Liberty Exhibition Hall Lounge, where increasing numbers of jazz fans show up on Monday nights to hear the house band and a jam session featuring many of the area’s top artists and astounding young talent. During Liberty Jazz Lab, audiences hear exciting performances in a venue whose retro seating vignettes and lighting recall 1950s and early 1960s jazz lounges that create energy shared by both sides of the stage. at vibe is exactly what Carol Brammer says she’s after. Brammer is the artistic director of Clifton Players and began producing theater with actors less than three feet away from an audience in a tiny Ludlow Avenue bank annex. Brammer moved her organization into Liberty Exhibition Hall in 2017 and the following year, she and her former husband Craig Brammer inaugurated Liberty Jazz Lab, an independent series of concerts highlighting out-of-town groups and aspiring local musicians, all young and many on the brink of major I love the acoustic,” says house band member Josh Strange. “It feels like you’re in someone’s living room.” e completed Lounge convinced Justin Dawson to sign on as coordinator for the weekly jam sessions in October 2021 (“I say I’m hosting the sessions,” he says). e 25-year-old bassist maintains a busy gig schedule and a solid network of musicians, including his friend and CCM classmate, vibraphone wizard Josh Strange. Dawson chose Monday nights, when
careers.
Jazz Lab earned a nod from CityBeat as “Best Hope for New Generations of Jazz” in its 2019 Best Of Cincinnati edition, with the newspaper citing the season’s performances of “boundaryignoring jazz.”
Jazz Lab’s performances were on the Liberty’s upper level that included a stage, a bar and restrooms. e building opened in 1909 as Cincinnati’s rst vaudeville theater and later housed a movie palace. It served as home for the Cincinnati Deaf Club before going vacant for 73 years. Clifton Players eventually acquired the property.
Brammer’s children’s theater programs and other performances were held in Liberty’s space but jazz remained a priority.
“We have an amazing jazz presence here and we asked ourselves what’s not being done for these artists,” Brammer tells CityBeat. “ ere was no place with a fusion of age groups in one room. e response to Jazz Lab showed us the audiences were out there.”
Brammer says she was eager to move forward with plans for weekly jam sessions. ose plans evaporated with COVID shutdowns, but her team used the time to transform the Lounge’s lower level into a nostalgic throwback to hip venues of the ‘50s and ‘60s.
“It looked like an Elks Lodge,” Brammer recalls. “We did some painting and sourced furniture and lighting xtures from all over the country.” e Lounge crew created comfortable vignettes with varied seating options, tables and subdued lighting that evokes a past era of basement venues. All that’s missing is the blue fog of cigarette smoke — you’ll nd that outside in the adjoining alley.
“I was really blown away by it and I love the acoustic,” says house band member Josh Strange. “It feels like you’re in someone’s living room.” e completed Lounge convinced Justin Dawson to sign on as coordinator for the weekly jam sessions in October 2021 (“I say I’m hosting the sessions,” he says). e 25-year-old bassist maintains a busy gig schedule and a solid network of musicians, including his friend and CCM classmate, vibraphone wizard Josh Strange.
Dawson chose Monday nights, when
Jazz fans of all ages are discovering the Lounge in Northside.
PHOTO: COURTESY OF THE LOUNGE Jazz fans of all ages are discovering the Lounge in Northside.
PHOTO: COURTESY OF THE LOUNGE
Professional musicians, educators, students and music fans all jam at the Lounge.
PHOTO: COURTESY OF THE LOUNGE Professional musicians, educators, students and music fans all jam at the Lounge.
PHOTO: COURTESY OF THE LOUNGE
most jazz musicians are o . He then formed a house band made up of some of the area’s most respected jazz artists to open the evening. Dawson is on bass, Strange on vibraphone, Tony Franklin on drums and Mike Wade on trumpet. Keyboard and sax vary; Phil DeGreg is frequently at the piano.
Dawson curates the house band’s weekly set list, which lasts about an hour. He says it’s more than a showcase for a speci c composer or the band.
“I want younger musicians to experience how a professional band works together, how time is managed and how the room’s vibe a ects the music,” Dawson says. e set list is tailored to the band members’ strengths and experience in speci c jazz forms. Dawson also views a set as a potential teaching tool.
“I want to showcase the range of what jazz can be,” he notes. e jam session follows, and participants have to play by the rules.
“First, you have to know the song completely,” Dawson explains. “Second, rhythm players (piano, bass, drums) can’t read chord changes on the bandstand,” meaning they can’t bring cheat sheets with them. Finally, vocalists need to know in what key they’re singing.”
Who shows up? Professional musicians, music teachers and students as young as age 12. e students often astound their elders, band members say.
“ ere’s a 13-year-old drummer who just made my jaw drop,” Strange says. “He’s already got the chops of a seasoned pro and he was so respectful of the other musicians.” He adds that there also has been a 12-year-old cellist from the School for Creative and Performing Arts who blew everyone away with her solos on Charlie Parker’s
most jazz musicians are o . He then formed a house band made up of some of the area’s most respected jazz artists to open the evening. Dawson is on bass, Strange on vibraphone, Tony Franklin on drums and Mike Wade on trumpet. Keyboard and sax vary; Phil DeGreg is frequently at the piano. Dawson curates the house band’s weekly set list, which lasts about an hour. He says it’s more than a showcase for a speci c composer or the band. “I want younger musicians to experience how a professional band works together, how time is managed and how the room’s vibe a ects the music,” Dawson says. e set list is tailored to the band members’ strengths and experience in speci c jazz forms. Dawson also views a set as a potential teaching tool. “I want to showcase the range of what jazz can be,” he notes. e jam session follows, and participants have to play by the rules. “First, you have to know the song completely,” Dawson explains. “Second, rhythm players (piano, bass, drums) can’t read chord changes on the bandstand,” meaning they can’t bring cheat sheets with them. Finally, vocalists need to know in what key they’re singing.” Who shows up? Professional musicians, music teachers and students as young as age 12. e students often astound their elders, band members say. “ ere’s a 13-year-old drummer who just made my jaw drop,” Strange says. “He’s already got the chops of a seasoned pro and he was so respectful of the other musicians.” He adds “Anthropology.” e attendance is just as impressive, spurred in part by no cover charge and no drink minimum. When asked about the latter, bar manager Emma Roberts laughs. “We have a great wine and cocktail menu,” Roberts explains. “Once people are here, they want to stay and enjoy a drink or two.” Roberts has been with the Lounge for ve months and already knows many of the Monday night regulars. She says that on Monday nights, the Lounge has the feeling of a neighborhood bar. As the sessions’ rst anniversary approaches, the Liberty team has ambitious goals for the coming year. Increased attendance is a priority, along with boosting social media. And if the Lounge’s attendance exceeds 100, “we can move upstairs!” Brammer says. Dawson says he wants to bring in more musicians, especially touring guest artists who may be able to extend their stay to include a Monday night gig. “Everyone I play with hears about the sessions. ey’re excited about it, and more locals are showing up,” Dawson says “You have to come and experience the room! It’s great!” Strange adds. “ e ratio of people listening to music is high compared to other places, and for us musicians, that’s great.” Building on CityBeat’s 2019 citation, Dawson adds, “Is jazz dead? ‘Swinging’ is a verb, and you can’t be dead if you’re swinging.” that there also has been a 12-year-old cellist from the School for Creative and Performing Arts who blew everyone away with her solos on Charlie Parker’s “Anthropology.” e attendance is just as impressive, spurred in part by no cover charge and no drink minimum. When asked about the latter, bar manager Emma Roberts laughs. “We have a great wine and cocktail menu,” Roberts explains. “Once people are here, they want to stay and enjoy a drink or two.” Roberts has been with the Lounge for ve months and already knows many of the Monday night regulars. She says that on Monday nights, the Lounge has the feeling of a neighborhood bar. As the sessions’ rst anniversary approaches, the Liberty team has ambitious goals for the coming year. Increased attendance is a priority, along with boosting social media. And if the Lounge’s attendance exceeds 100, “we can move upstairs!” Brammer says. Dawson says he wants to bring in more musicians, especially touring guest artists who may be able to extend their stay to include a Monday night gig. “Everyone I play with hears about the sessions. ey’re excited about it, and more locals are showing up,” Dawson says “You have to come and experience the room! It’s great!” Strange adds. “ e ratio of people listening to music is high compared to other places, and for us musicians, that’s great.” Building on CityBeat’s 2019 citation, Dawson adds, “Is jazz dead? ‘Swinging’ is a verb, and you can’t be dead if you’re swinging.”
Jam sessions take place 8-11 p.m. every Jam sessions take place 8-11 p.m. every Monday at Liberty Exhibition Hall, 3938 Spring Grove Ave., Northside. Info: facebook.com/ Monday at Liberty Exhibition Hall, 3938 Spring Grove Ave., Northside. Info: facebook.com/ libertyexhibitionhall. libertyexhibitionhall.
