Wherefore Art Thou Romeo AN INTERVIEW WITH NASHVILLE BALLET’S NICOLAS SCHEUER + FALL ENTERTAINMENT EXCLUSIVES & STAFF PICKS SEPTEMBER 2019 / VOLUME 19 / ISSUE 09 FIRST ISSUE FREE - ADD’L COPIES 50¢ EACH
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LGBT MEMBER SPOTLIGHT: THISTLE FARMS
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Writers: Craig Ammon, James Grady, Jason Shawhan,
BATHROOM STALLS & PARKING LOTS
Will Shutes
Photographers: Cody Stallings Cover: Nicolas Sheuer (model) photographed by Cody
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Stallings. Interior feature photos courtesy of Nashville Ballet.
DRIVING NASHVILLE … CRAZY
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WHAT’S YOUR SIGN?
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WHEREFORE ART THOU ROMEO?
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A NEW GENERATION OF LEADER AT TPAC
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DEAR EVAN HANSEN TO MAKE ITS NASHVILLE DEBUT
THISTLE FARMS CRAIG AMMON
Thistle Farms was buzzing on a recent Wednesday morning, as dozens of residents, staff, and visitors made their way to ‘the Circle,’ for what many in attendance cherish as the highlight of their week. Joyous greetings and embraces fill the room as current residents and graduates of the Magdalene Program—all survivors of trafficking, prostitution, and addiction—make their way to the Circle to share their stories. Thistle Farms funds the Magdalene Program, a two-year residential community offering healing and rehabilitation to these women. Magdalene can house up to 28 residents at a time, providing free housing, healthcare, counseling, and of course employment with Thistle Farms. Residents stay in the program and work at Thistle Farms for two years, but many graduates continue to work alongside them, making their wonderful bath, body, and home products, or serving customers in beautiful Thistle Farms Café. It is an amazing mission that is literally saving women’s lives.
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In the center of the Circle burns the candle that a member of the Thistle Farms community lights each day as a powerful symbol of sanctuary, love, and hope. As we go around the Circle, several women gesture toward it and express gratitude that this candle burns for all of their Magdalene sisters, as well as for the women who have not yet found their way here. They offer comfort and encouragement to those who are struggling. They applaud and cheer for those celebrating milestones, like sobriety anniversaries, reunions with families, a new job, or a new home. With the help of the Magdalene program and Thistle Farms, these survivers are recovering and building beautiful lives for themselves. And now they return to the Circle again and again to share their stories and words of wisdom like these with each other: “I am grateful that God is making a ministry of my mess.” “I’ve been struggling these last few weeks, but I know my sisters are here and they’re lifting me up.” “No matter where life takes you, remember that God’s love is there. And love heals.” Many in the Circle express gratitude for each other, for their founder Becca Stevens, and their CEO, Hal Cato. One resident closed her remarks saying, “We all know how much Hal has done for Thistle Farms, but I want to say that nobody has ever fought so hard for me personally as Hal Cato has.” Cato says it’s a privilege to serve these women in this way. “Earning the trust and respect of women who have only known men who were there to buy, sell, or abuse them is a tremendous honor,” says Cato. “I don’t take it for granted for a single moment. I think my leadership mantra has served me well in this regard: people don’t care how much you know until they know how much you care.” Thistle Farms was founded in 2001, and by the time Cato took the reigns as CEO in September 2015, the organization had expanded to the point it was limited by its space. Cato led major changes that would enable Thistle Farms to attract a growing customer base and continue to thrive.
SEPTEMBER 2019
By 2017, they had completed the beautiful renovation of the Café, they had moved into a huge facility that allows them to scale production of their bath and body products, and they re-branded those products with a new ‘upscale’ look to reflect their uncompromising quality. And all those changes have been worth it, as Thistle Farms continues to grow. Cato says, “I believe mission only gets a social enterprise so far. Quality products and/or a great experience have to be immediately in step behind it. If you combine the two together, there is no limit to what is possible. That was my goal—create a product and an environment where mission and quality were equally and beautifully yoked together. Sales have doubled since then and net income has improved 700%. And I know we’re just getting started.” Cato is beyond passionate about the mission of the Magdalene program, and to
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support that mission he must run Thistle Farms as he would run any business. As such, he knew that joining the Nashville LGBT Chamber of Commerce would introduce Thistle Farms to a network of potential vendors and customers it needed to continue growing and serving those amazing women. Thistle Farms recently hosted the August Brewing up Business at the Café. Cato values their membership in the Nashville LGBT Chamber, and also wants his business to support its mission. He says, “This community has been good to us over the years and we want to give back and be of equal service to it. We love the direction the LGBT Chamber is taking and appreciate how many of its members meet up here for coffee and lunch!” The Café is the perfect spot for our Chamber members to enjoy breakfast, lunch, or their impressive afternoon tea service. You will not find a friendlier or more eager staff! These women are grateful to be working, love their co-workers, and are incredibly proud of Thistle Farms. And the food is fantastic! Just off the Café is the Thistle Farms store front where customers can browse their bath, body and home products, as well as jewelry and accessories made by women recovering in Thistle Farms sister programs around the world. Thistle Farms uses natural, high quality ingredients in making their bath and body products such as hand soap and lotion, lip balm, body butter, shaving cream. They all feel and smell amazing! Using these products doesn’t just feel like supporting a social enterprise; it feels like self-indulgence. They also offer home products such as essential oils and their hand-poured soy candles like the one that burns in the middle of the Circle. Cato reminds us that “The holiday season will be here before we know it. Every 50 candles we sell employs a survivor for a week. Remember our gift shop when you’re making your holiday list. You’re giving more than a gift…you’re giving a woman a second chance at the same time.” The women of Magdalene who are given that second chance take every opportunity to give back to their community as an expression of love and gratitude. That commitment is evident everywhere we look on the morning of our visit to Thistle Farms. Rachel Goldzweig, a 2017 graduate of the program, stopped by the Café to meet a friend for coffee. Every few minutes, another staff member ran over and offers Goldzweig a warm embrace and welcome ‘home.’ Goldzweig was excited to share the news that she had just joined the Board of Thistle Farms and attended her first meeting the night before. Nearby, Shelia McClain, the Director of Education and Outreach at Thistle Farms, led the group tour of the facility. “I’ve never done this before,” she announced. “I’m filling in for the amazing tour guide, who is on vacation.” And, of course, the tour was wonderful, closing with the confident, hopeful phrase we often hear within this beautiful community, “We are more than our story.” To shop for Thistle Farms products, plan your next event at The Café, or inquire about volunteer opportunities or your place in the Circle, visit thistlefarms.org.
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JASON SHAWHAN
Brazilian director Thales Corrêa’s new film Bathroom Stalls and Parking Lots has a lot on its mind about the postmodern gay male experience. It’s a brisk and focused hashing-out of a lot of the issues that proliferate around modern hookup culture. It’s not the bawdy scenario one might expect from the title, but it could be very useful as a prelude to broaching questions about expectations, and ideals, or even as an intervention, if need be. This is one of those films that addresses queer issues that are just too complex for the straight folks to deal with, so keep that in mind. Leo (Corrêa), after losing his job in L.A., has motored up to San Francisco to spend some time with his best friend Donatello (Izzy Pallazzini, who cowrote the film with Corrêa and produced it) and to track down Totah, an intermittent hookup and object of affection. Leo and Donnie, both Brazilian emigrés, have a boisterous and bilingual friendship that serves as the foundation for the film’s ambles through several San Francisco bars, clubs, underwear parties, and sensual pits. Everyone’s got something that they’re looking for, and along for the ride is Hunter, a ‘straight’ personal trainer with a taste for cocaine and messy boundaries.
Leo is naïve. Like, straight guy virgin in an ‘80s film naïve; he’s got a John Cusack-y quality. He’s not a prude but does a terrible job of figuring out what he wants out of life or expressing his wants and needs to others. Sometimes he’s like a shining queer beacon. as if designed in a lab, and other times he’s a messy magnet for possessive missteps. Always he’s ill at ease in his own skin. Similarly, Donnie is completely sexually free (to the point of playing questionable games with consent) but poisonous to
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s l l a t S m o o r Bath s t o L g n i k r a &P
Ethan, a younger guy who genuinely cares for him. He’s outrageous and witty and always willing to throw money or ass at a problem, but we’ve seen (and possibly been) that type before. Donnie is proof that even though wigs don’t lie, they don’t always tell the truth. The film periodically seems like a gay riff on Scorsese’s Afterhours, and it comes alive in its tangles that aren’t so focused on our main characters or their all-night boulevard of bad decisions. There’s a
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detour to a fluorescent-lit underwear party, where it seems like everyone present has a story to tell, and likely one less hackneyed than our main duo’s issues. But it’s hard to fault a film that is not afraid to get at the heart of how contemporary dickbased tech has changed so many dynamics, leaving lots of space for our own natures to get in the way of actual discourse. This is a drama dressed up as a comedy, and that’s the perspective to take into it. See it with your messiest friends—just know that your messiest friend could be you. Bathroom Stalls and Parking Lots is available on DVD and Video On Demand from Breaking Glass Pictures as of September 10, 2019.
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Nashville is a booming tourist destination, and one of the hottest markets for new residents. The city’s favorite pastime—after demolishing old blocks to build new glass buildings—is complaining about the traffic. Our city’s rideshare economy has thrived in these times, and George Wilkerson’s new book provides a mostly-humorous, occasionally-horrifying look at our city, and its residents and guests, through the eyes of one driver. Wilkerson, the alter-ego of longtime O&AN contributor Bobbi Williams, introduces readers to some of the fixtures of
the “New Nashville”—from bachelorettes to racists, hipsters to Dollar Generalistas. The lens is clear, if a bit sarcastically mocking—but when you’re at the beck and call of the city’s finest, you’ve earned a little wiggle-room. A lot could be said about this little book, but I’ll let it speak for itself. Here’s a short excerpt about some of our favorites: Soon I have Barbara in the front seat and three other bachelorettes in the back. They are heading to the Loveless Café, a restaurant in southwest Nashville. It has been written about in a number of national publications. I can hear snatches of their conversation. “She’s, like, so controlling, you know, but not, like, in a controlling way. You know?” “So what was that like?” “Well she, like, invited everyone in my group, like MY group, you know; all of my friends, everyone I hang out with, but, like, she didn’t invite me.” Sympathetic responses ensue. One of the girls is frantically typing a text message. “It’s Cynthia,” she says, reading the text message aloud. “She...like,
wants to know which was, like, the better therapy: the beer or the pie. So I told her, like, for me, the pie, like absolutely, it was the pie.” They all laugh. A momentary silence and then the girl seated directly behind me taps me on the shoulder. “You’re going the wrong way,” she says. “Oh,” I say, as calmly as possible. “What’s the right way?” She snorts. “Well, I don’t know. I don’t live here.” A long pause, then, as I’m still trying to process the last remark, then the third girl says “I love your turn signal.” She does a little hand-clap and adds “It’s such a happy signal.” “Really?” I ask. “That’s why I bought my car,” she replies. “It has happy signals. Just like yours.” “Happy signals.” I never knew. If I turn on the flashers will she stand up and dance? But no chance of that. They’re already gone. No. I mean, like, literally gone. Driving Nashville … Crazy is available for purchase at printcuda.com/ books/driving-nashville-crazy.
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What’s Your Sign? Diana DeGarmo on Her New Album, Gemini JAMES GRADY
Diana Degarmo is perhaps most widely known as the runner-up on Season Three of American Idol, but she’s also become a beloved stage presence, appearing on and off Broadway and touring nationally with various shows. She also has a long-term relationship with Nashville. Having done a stint here a decade ago, she and husband Ace Young have now lived here for a few years. Last month, nearly fifteen years after her debut Blue Skies, Degarmo released her second full-length album, Gemini. Tell me about this newest project, Gemini. All right, Gemini is my newest album that has been three years--well, technically 15 years--in the making. But three years, I guess from the moment we really started writing it. I finally got the nerve to just say what I wanted to say and do what I wanted to do and quit trying to please other people. I wanted to just please myself, and thought, if I was going to make one more record, and I was going to die tomorrow, what would I want to leave the world? What would I want my legacy to be or my impression on this world? So many of the people I look up to musically have these incredible albums I used to love... And I wanted to do that for myself, selfishly, but also in a giving way. So I got together with my dear friend, Dylan Glatthorn, out of New York, and I told him I wanted to meld my Southern roots with my musical theatre career… It was fun to just create, there was no one sitting in a suit in a big office building somewhere we had to please. There was no timeline, there was no... We were just creating to create, which I think has been lost in our industry. I get it, we all need to pay our bills. Everyone wants to be popular because that’s what helps. But at the end of the day, the artists I’ve always looked up to didn’t always care about being popular. They wanted to be authentic and true to themselves. And that’s what I wanted to do. I wanted to make a record that, when you listen to it, you’re like that’s Diana DeGarmo, that’s who she is 100 percent. My friend put an incredible band together for me. And I was like, “Okay, what’s your rate?” He was like, “I know you really
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can’t afford.” But I said, “Nope. I want to give you guys what you’re worth, because I know everyone is giving their time and energy but that little bit of extra respect, I think, really let people bring themselves to the record. It wasn’t just a day in the office for them. They knew how important it was to me, and how important the day was. This was not some big bank writing a check and no one’s going to care about the details. This was someone whose blood, sweat and tears were paying for those hours. It was magical to hear these songs that Dylan I had written on just piano ... you know, the magic of Nashville musicians... Oh my God, there’s really no way to fully describe it. But to see these songs transform instantaneously in front of me at Blackbird was, I think, one of the top three days of my life. It’s just been a big family affair for a love letter to Nashville and New York, I guess you might say. So many people do come to Nashville and start working on a career. What do you what do you attribute your ability to make it in this scene to? Relationships. I wasn’t worried about being famous when I came to Nashville. I wanted to meet people and build true, honest relationships. Those will stand the test of time: popularity will come and go celebrity will come and go, money will come and go, but true friendships will stand the test of time... And that’s actually a testament to this record. So much of this record has been created on relationships with people that, when we met, we were babies! Dylan was at NYU, he was in college, and I met him… Relationships are important. And so many people forget that the human element of art is so important. Just keeping the heart and the human element will make sure that the art is created in the best way. Tell me a little bit about your connections with theater here in Nashville and how that’s been for you. My husband and I moved back in 2013. I was lucky that I had made some great friend-
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ships with folks in the Nashville area with community theater. And they were like, hey, if you guys ever want to do something in your realm, let us know. And we were like, “We’re available, and we’re not doing anything. We like to keep our bills paid. And we love to be creating.” The heart of a true artist doesn’t care what the size of the stage is. They just want to create and give art and have fun. Some people like to sit behind a desk: I aint one of them. You know, give me a little popup stage of four-by-four feet, and I’m like, “Let’s do this, guys!” So, yeah, I started with Matt Logan and Jake Speck, who started Studio Tenn, really welcomed me with open arms. We had mutual friends in both Nashville and New York. And Matt is actually still designing costumes for me. So, we built our relationship there. We were very excited that Ace and I got to do Grease one last time last year. We called it “senior Grease.” We’re glad we got it out of our system. I officially don’t think we can play teenagers anymore! But it was so fun because it was like a family affair. My friend Laura, who did background vocals for my record, played Rizzo; Melinda Doolittle played Teen Angel. These are all our friends, and we got to work with wonderfully talented Belmont students, who are now like half of them on Broadway kicking ass, it’s amazing. Are you currently scheduled to do any shows in Nashville, either for music or for theater, in the next few months? I am definitely trying to! But it’s hard to do a live show in Nashville and not have a million dollars. For the middle class performer, it’s been a little out of the realm... Either you’re playing Bridgestone Arena, or you’re playing downtown, which is great. But when you want something kind of in the middle, Nashville is actually lacking in venues that are supportive of the kind of middle class performers. So I’m trying desperately to put together another Gemini show. I’m in talks with a couple other folks you know trying to use all my Southern charm not to have to pay $100,000, like it’s a Nashville wedding!
We’re focusing a little bit in this September issue on theater. Are there shows that you are excited that are going to be in Nashville that you may or may not be in? I’m really excited about Studio Tenn doing Mamma Mia and Nashville Rep’s Urinetown! Studio Tenn is also doing a reading of a musical they’re making about the story of Lesley Gore, the singer. I’m excited about that. I love that Studio Tenn is working to do a lot of new work. And, of course, you know TPAC has a banging new season, with Hamilton and everything coming in. Nashville is going to be so spoiled this year! Also Cinderella, with Studio Tenn, is going to be pretty great! Is there anything else that you would like to share with our readers about your about your album? I would say if you’re looking for a record that’s going to make you feel and have fun, and take you through all the things. I promise that... If you are looking for the dramatic, I am more than happy to bring it to you big band country style. And I can guarantee you’ve never heard anything like it! For more information about the album, DeGarmo, and her performance schedule, visit dianadegarmo.com.
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Wherefore Art Thou Romeo? JAMES GRADY
The Nashville Ballet is opening its 2019-20 season with a production of the classic tale of Romeo and Juliet. Nicolas Scheuer, a young gay dancer who has been with the Nashville Ballet since 2012, is set to play the lead. Scheuer, originally from Joinville, Brazil, began his ballet studies at the Bolshoi Theatre School of Brazil, affiliated with the prestigious Bolshoi Ballet in Moscow, Russia. He continued his education, dancing with the Boston Ballet School, and took his first full time dance position with the New English Ballet Theatre in London. Since joining Nashville Ballet in 2012, he has performed in Nashville Ballet Artistic Director Paul Vasterling’s Nashville’s Nutcracker, as well as Benno in Swan Lake, John Darling in Vasterling’s Peter Pan, the Waltz Man in George Balanchine’s Serenade, the title role in Afternoon of a Faun by Salvatore Aiello, and the Fair Youth in Vasterling’s revolutionary Lucy Negro Redux.
Tell me about how you got into ballet as a kid. What was it like doing ballet as a young boy in Brazil? I started dance when I was nine years old. At first it was just for fun and to get out of the house, to be honest. After my first month taking dance classes, I told my parents “I’m going to be a professional ballet dancer when I grow up,” and here I am, getting ready to be Romeo. As a little boy, it was really hard when I started taking ballet classes, I was the only guy in my school taking dance for extra credit and because of that I was always the target for bullying. I even got into a school fight with a classmate in 4th grade because he thought men weren’t supposed to dance. I thought about stopping dancing many times because of so much hate coming from my classmates. But letting someone destroy my dreams wasn’t an option: it was always an opportunity to get stronger and better, to make my dreams come true.
An Interview with Nashville Ballet’s Nicolas Scheuer @OUTANDABOUTNASH
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When did you come to terms with your sexuality? Was your family accepting? Growing up, dancing opened a door to a new world that allowed me to express myself and be the man I am today. I came out to my parents and friends when I was 15. I always knew I was gay though. I’ve always felt different from my brother and cousins. I’m very blessed to have parents who gave me support and helped to understand being gay was okay. My mom cried when I told her I was gay. She was just scared for me, and she didn’t know much about it. The same night, she said, “I love you and we’re always here for you!” Dance is a such beautiful way to express your feelings and coming out gave me the confidence to be able to explore my emotions. I was afraid to explore that part of me before I came out. What were some of your “big breaks” as a dancer, and what drew you or brought you to Nashvillle? I met Paul Vasterling in New York during an open company audition. I got a job offer a couple of weeks later and immediately said, “Yes!” This organization has been my home since 2012. I was so excited about the Company repertoire and the amazing dancers we have in the Company. Paul has been a big part of my career success. He keeps pushing me to be a better dancer and I couldn’t ask for a better mentor. What was it like coming to Nashville? How did you find your place in the LGBTQ community here, and what have been some of the biggest challenges and rewards of living in this community? Coming from Brazil to Nashville was a little scary. I didn’t know anyone, and I didn’t know much about the city either. But since the beginning, I’ve felt like I was at home. Looking back, I met great friends that made it feel that way. I’m still trying to find my place in the LGBTQ community with my busy schedule between dancing from 9 a.m. – 6 p.m. and teaching ballet for kids three nights a week. Lately, it has been a little more challenging to have a life outside of the studio, but it is worth it because of the work I’m doing. The biggest challenge of living in Nashville and being part of the community
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is dating. I feel like in Nashville, gay guys are caught up in these old gay stereotypes, and to me that’s a big no. Art has taught me to be open for anything, to exist in a judgement free zone. One day I’ll find my Prince Charming though! What have been some high points of your career here? I know I’m going to sound really cheesy, but Romeo and Juliet has been one of my favorite ballets since forever. I’m so excited to play Romeo with my partner Kayla Rowser as Juliet. My very first male lead role was very special to me too—I was Prince Désiré in The Sleeping Beauty. It was a dream come true to be on stage with so many people watching you dance and applauding you after you finished the hardest male dance variation. What’s it like playing the lead in Romeo and Juliet? Do you think being a gay man affects how you approach the role? Playing the male lead is a lot of pressure. You’re in front of the room, you have to make sure your partner is looking her best, but without forgetting your own tech-
nique. I love it though—when the curtains come down I can’t describe how great I feel after a good show. I don’t think being gay affects how I approach each role. For Romeo, I have to fall in love with a woman, and to me love is love. I’ll give everything I have to this role and make the audience believe I’m in love with my partner. That’s my job. Being gay is just an extra point. What are some of your goals and aspirations going forward? I’m a very technical dancer and moving forward I do want to explore my feelings on stage more. I’d like to stop focusing on being so “perfect” and start letting my feelings lead me—and being Romeo is a great start. I’m so excited to be able to do what I love and still have fun. I’m excited for the future! The Nashville Ballet’s Romeo and Juliet runs September 20–22, 2019, and more information about tickets can be found at www.nashvilleballet.com/ticket-information-and-discounts
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A New Generation of Leader at TPAC A Conversation With New CEO Jennifer Turner WILL SHUTES
After thirty years with TPAC, former CEO Kathleen O’Brien stepped down in July. Replacing her is no easy act, but Jennifer Turner is a leader with a deep artistic legacy that stretches through years at Costa Mesa’s Segerstrom Center for the Arts, Chicago’s Auditorium Theatre, and Detroit’s Michigan Opera Theatre. She recently sat down for an interview with me to talk about exploring Nashville, her vision for TPAC, and being a visible example for young women entering the arts. Looking back, can you pinpoint a moment that really established your love of the arts? TURNER: Initially, I would have said that it was my first opera, Aida. I got to experience so much behind the scenes and seeing it all come together, watching the choir and the supers (supernumeraries, or extras), and watching the principles and rehearsal. But then seeing the sets and the costumes and everything come together, I was blown away. It was just incredible to me. So I would say that was my main one. You come to TPAC directly from Costa Mesa, California’s Segerstrom Center for the Arts. What would you say is the most important thing you accomplished during your time at Segerstrom? Turner: There was a large demographic shift going on in Orange County. The Center had found during a strategic plan that they were not, as an organization, responding to that demographic shift. It was time to change. It was time to look at what the Center meant to the community. They found that two of the largest growing populations, the Latino and Asian populations, were not represented in programming, in the audience, or even felt like the center belonged to
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them or that they could be there. So the programs that I worked on were building the outdoor plaza and building the center of dance, but it was really to just reinvent the center and make it more accessible and open. We had to invite communities to come and participate to liven the campus to make it more community-friendly and oriented. If you could identify a few, what are your highest priorities for your early tenure at TPAC? TURNER: I think the community engagement piece is important for every arts center across the country. We cannot sit back and expect people to come to us. We need to come to them and we need to open that dialogue. And we need to be asking the community, “How can the art serve you?” And then we need to really examine what we can do. What is our social responsibility to respond to that? That is one piece that I think is very important, especially for TPAC. We want to make sure that the community here - Nashville, Middle Tennessee, extended out into Tennessee that they know that we are committed to them. This is a reciprocal relationship. We’re not just looking for people to come in and buy a ticket; we actually want to engage with them. Now that you’ve been in Nashville a little while, what are some of your favorite things to do here? I’ve been really enjoying exploring the history. I went out to the Women’s Suffrage Monument a couple weeks ago. I’m so excited about the anniversary coming up in 2020. There’s so much history here. I love like going through the city and reading about where things took place, the little placards that talk about the age of a church or what happened at the sit-ins down at Woolworth. It’s just so rich and I love that. I live in East Nashville, so I’ve been just exploring.
There’s never a shortage of restaurants to try. I think that’s the thing that I’ve received the most recommendations on is where to eat. People are very passionate about that! Finally, do you have any advice for women in the arts? From the top down, it seems this world is still largely dominated by men. What would you tell a young woman who sees you and says, “Yeah, that’s who I want to be”? TURNER: I am so glad that there are more opportunities now. There’s actually curricula for working in arts management or theater management or venues that didn’t exist when I was coming up in the industry. It was very much you just work and you take advantage of opportunities and you work hard. I think it’s getting better. I think the industry has a lot more work to do, but I am constantly amazed at the people that come up. Our board chair is a woman. I’m a woman. Our C.O.O., who’s coming in in two weeks, is a woman, and our CFO is a woman. So, it’s a completely women led organization, which is really exciting. At the Broadway season preview, a woman walked up with her 11-year-old daughter and she said, “My daughter heard about you and wanted to meet you.” And that touched me so much. I was overwhelmed by that. I think being a good role model, having women that they can look up to, and being accessible are key. I love taking the time to go and speak at educational events where you can model that this is possible for younger women. Representation matters. It matters not only for women, but people of color. It matters for the LGBTQ community. It matters for everyone. You can’t be what you can’t see, so if you have made it to one of those positions, I think it is your responsibility to go out and show a younger generation that it’s possible.
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‘Antoni in the Kitchen’ Comes to TPAC
A Conversation with Queer Eye’s Antoni Porowski WILL SHUTES
Antoni Porowski comes off as the quiet one in the Netflix reboot of Queer Eye. As the resident food and wine expert, Porowski’s scenes with the show’s “Heroes” (Read: Eliza Doolittle in need of a Henry Higgins) are often more personal and less flashy than those with his counterparts in The Fab Five. Cooking, as anyone who does it often and with at least a little bit of skill knows, isn’t about grand gestures and shock tactics. With his upcoming cookbook, Antoni in the Kitchen, Porowski is hitting the road to promote the book. He’ll be here in Nashville at TPAC’s Polk Theatre on September 13th. I feel like going against the Maria von Trapp rule of “Let’s start at the very beginning” and starting at the very end: What would you like people to look back on in ten years and say about you and your tenure on Queer Eye? ANTONI: I was having a conversation with Ted Allen about it, actually. We had dinner a few weeks ago and he was saying that both iterations of the show have been like, it’s the same name, but they’re completely different shows. The first one was definitely more comedically driven and there was a lot more humor in it. And then with Netflix’s iteration of it, it’s definitely a little more heart-heavy and it’s led by the heart. I’m sure Antoni in the Kitchen, will include some wonderful stories from your life. Do you have a particular cooking memory that brings a certain special happiness to you? ANTONI: I’ve been in touch with my dad recently. It reminded me of when we lived in West Virginia and we would drive to Montreal. I would ride in the front seat with him and his favorite snack was carrot sticks and tamari almonds that he would pick up from a Middle Eastern market in Montreal.
He would sprinkle lemon juice and put nice flaked salt on it. And sometimes we would have these beautiful Medjool Dates. And then I started making this salad for for friends sometime after, like a carrot ribbon salad where I would just peel them and I would put them in an ice bath so that they would curl up beautifully. And then I would dry them and make a nice little light vinaigrette for them and toss in some parsley and some almonds and some dates. And I never really thought very much about it until I was writing the cookbook. What I realized was like, oh, wow, there actually is a story behind that dish. I know a lot of times in a lot of different media you have mentioned the late Anthony Bourdain as a big influence on you. And I’m sitting here in my office looking at my own beaten to shit copy of the Les Halles Cookbook. He would always talk to his fellow chefs about a last meal, about the Death Row Dinner, so to speak. So it’s your turn. What would you want that final meal to be? It could be absolutely anything and cooked by absolutely anybody and I will allow you to defy the space-time continuum here. ANTONI: I would start out with my best friend Reema and her mom making Dahi puri, which are these little puffs filled with yogurt, fork-mashed potato and mung beans, with cilantro-mint chutney and also a tamarind chutney and little cilantro leaves on top. They’re just the perfect little amuse-bouche. And then I just had a thought of how cool it would be to sit with Oscar Wilde and eat really crispy, really thin potato latkes with crème fraîche and like the best fucking caviar ever. Just spoons of it. And maybe a bit of grated egg and some chives. And then I would sit with Jack Kerouac. And I would have a poutine with just some really nice Russet or Yukon
Gold potatoes, double fried so that they get really dark dark, with a real Quebec gravy and real Quebec cheese curds that just sort of melt. And I would be with my dad back in West Virginia, where we would sit outside in warmer months, and he would just buy a big beautiful tomahawk steak. And he would grill me the perfect medium rare steak with a handful of asparagus charred on the grill with some corn on the cob and some really good French butter. And that would be our meal. We would just sit there sometimes in silence, just eating, and the joy of him noshing away at an ear of corn and then just biting into a steak as we like looked inside to see if it’s a perfect medium rare. That would be really nice. I think to finish it off I would want… I don’t know… I feel like somebody who would prepare me for the next chapter. I think it would be Johnny Cash. He did a cover of a Nine Inch Nails Song called Hurt. Yes, there’s a music video for it. I just feel like he was a man who was ready to go by the end of it and I would just want him to give me words of wisdom. Part of me, I think, is really afraid of death and I wouldn’t really know what to expect. I would make him a brioche vanilla bread pudding with dulce de leche drizzled over it. And on the side, I would just have a bowl of the most perfect blackberries – when they’re perfectly ripe and they’re sweet, juicy, and they just pop in your mouth – with like a few mint leaves. Antoni Porowski will host “Antoni in the Kitchen: A Night of Delicious Conversation” at TPAC’s Polk Theatre on Friday, September 13th. Tickets are still available through the TPAC Box Office. Porowski’s book, Antoni in the Kitchen, will be released on September 9th through your favorite bookseller.
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Dear Evan Hansen to Make Its Nashville Debut
First National Tour Spends a Week at TPAC
Winner of six 2017 Tony Awards, including Best Musical, and the 2018 Grammy Award for Best Musical Theater Album, Dear Evan Hansen makes its Nashville debut with a one-week engagement September 10–15 at Tennessee Performing Arts Center’s Jackson Hall. Dear Evan Hansen tells the compelling story of a letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. The musical features a book by Tony Award-winner Steven Levenson, a score by Grammy, Tony and Academy Award winners Benj Pasek and Justin Paul (La La Land & The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent & Next to Normal). Declared “One of the most remarkable shows in musical theater history” by the Peter Marks of the “Washington Post,” Dear Evan Hansen opened at the Music Box Theatre to rave reviews on December 4, 2016. There, it has broken all box office records and struck a chord with audiences and critics alike, including New York Times critic Jesse Green, who, in his May 2019 re-review of the show, declared it “more and more ingenious with each viewing. It is more hopeful than ever.” The Broadway production recently celebrated its two-year anniversary with a special donation to the Smithsonian, where
the show’s iconic blue polo and arm cast will now be part of the permanent collection of the National Museum of American History in Washington, DC. A record-breaking US national tour launched in October 2018 and is currently playing across North America, and a limited engagement recently opened at Toronto’s Royal Alexandra Theatre, where it runs through July 21, 2019. The Grammy Award-winning Original Broadway Cast Recording of Dear Evan Hansen produced by Atlantic Records, was released in February 2017, making an extraordinary debut on the Billboard 200 and entering the chart at #8 – the highest charting debut position for an original cast album since 1961 – and went on to win the 2018 Grammy Award for Best Musical Theatre Album. A deluxe version of the cast recording, including six bonus tracks and a pop cover from Katy Perry of “Waving through a Window” is now available digitally. A special edition coffee table book authored by Levenson, Pasek and Paul, Dear Evan Hansen: Through the Window is now available, offering an in-depth, all-access look at the musical, including never-before-seen production photos and cast portraits, behind-the-scenes stories, and a fully annotated script by the authors. Tickets are available at TPAC.org.
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FALL ENTERTAINMENT
STAFF PICKS
Nashville’s theatre and entertainment scene now has more options than most people can keep up with. Our staff has picked just a tiny handfull of this fall’s offerings that they’re excited about. Some of them are off the wall: you may have never heard of the theatre or the company. Look into them: even if these shows aren’t for you, there’s a lot more out there. URINETOWN:
HALLOWEEN AT HOGWARTS
SEPTEMBER 14–29, 2019
OCTOBER 05, 2019
THE MUSICAL THE NASHVILLE REP
THE SHOW: In the not-so-distant future, a horrible drought sweeps the nation and forces a government ban on all private toilets! If the poor can’t afford to use public amenities owned by the Urine Good Company, run by the malevolent Caldwell B. Cladwell, they’ll be sent to the dreaded and mysterious “Urinetown.” Our brave young hero Bobby Strong leads the poor to rise up and fight for the freedom to go “wherever you like, whenever you like, for as long as you like, and with whomever you like!” “I’m also very much excited for Nashville to experience Nashville Repertory Theatre’s production of Urinetown: The Musical. This scrappy little show hit Broadway in 2001 and won Best Book of a Musical and Best Original Score at the 2002 Tony Awards. In a world where you have to pay to pee, this musical asks some important questions about power structures in society. It’s still got some very important questions to ask today.” – Will Shutes
WHERE:
Andrew Johnson Theater
505 Deaderick Street, Nashville, TN 37243
nashvillerep.org/urinetown-the-musical
THE NASHVILLE SYMPHONY
THE SHOW: All aboard the Hogwarts Express! Join the Nashville Symphony for your favorite music from the Harry Potter films plus more magical music. Wizards, witches and muggles are all invited to come in costume for this concert treat. “As someone who took in the Movie Series Event with the Nashville Symphony–Harry Potter and the Order of the Phoenix–this past spring in May, I am excited to see the Family Series Event Halloween at Hogwarts. It offers everyone in the family a chance to dress up as their favorite ghoul or Hogwarts character and enjoy beautiful arrangements setting the mood for the entire Halloween season. Since the previous event was so enchanting, I’m certain this one won’t disappoint!” – Donna Huff
WHERE:
Schermerhorn Symphony Center One Symphony Place, Nashville, TN 37201
nashvillesymphony.org
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TALL TALES BY A.D. SIMMS
WOVEN THEATRE COMPANY
OCTOBER 4–6, 11–13 & 18–20, 2019, 7:30 P.M.
THE SHOW: Noah is a fresh college graduate that is forced to return to his hometown in rural Alabama after breaking up with his boyfriend. However, rumors of a murderer near their quiet
town sours his reunion with friends, and it doesn’t help that Noah’s first ex-boyfriend, Dustin, has not only returned to church but is now engaged to a woman. As Noah struggles to find his new place in his old world, the murders continue, scandals are brought to light, and tragedy strikes in this slow-burn horror play about being smothered in the Deep South. “As a girl with rural Southern roots, Tall Tales spoke to me as a relatable story…and it has the added bonus of also being a murder mystery! Who has escaped their small town life, only to return and ponder what winding country road led your old comrades to their current place in life? A friend recently mentioned The Barbershop Theater as a venue worth checking out in The Nations. The space allows local theatre companies a venue to showcase their works.” – Donna Huff
WHERE:
The Barbershop Theater
4003 Indiana Ave, Nashville, TN 37209 thebarbershoptheater.com
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HEALTH
ARTS
Dental Services East Side Smiles 7 North 10th Street Nashville, TN 37206 615-227-2400 Eastsidesmile.net
Performing Arts Nashville Symphony Schermerhorn Symphony Center One Symphony Place Nashville, TN 37201 615-687-6400 Nashvillesymphony.org
Healthcare Providers Cool Springs Internal Medicine & Pediatrics Bradley Bullock, MD 1607 Westgate Circle, Ste 200 Brentwood, TN 37027 615-376-8195 Coolspringsinternalmedicine.com
SPIRITUALITY
Pharmacy Nashville Pharmacy Services 100 Oaks Plaza, Skyline Medical 615-371-1210 / 615-724-0066 Npspharmcay.com Optometry Look East 1011 Gallatin Avenue Nashville, TN 37206 615-928-2281 Lookeastnashville.com COUNSELING & PSYCHIATRIC HEALTH Individual & Couples Therapy Barbara Sanders, LCSW/John Waide, PhD, LCSW 2016- 21St Ave South/2323- 21st Ave South, Ste.401 Nashville, TN 37212 615-414-2553 / 615-400-5911 Dignitytherapynashville.com
Holy Trinity Community Church 6727 Charlotte Pike Nashville, TN 37209 615-352-3838 www.htccnashville.com Belmont United Methodist Church 2007 Acklen Avenue Nashville TN 27212 Learn more at BelmontUMC.org. Blakemore United Methodist Church 3601 West End Ave Nashville, TN 37205 Learn more at BlakemoreUMC.org. East End United Methodist Church 1212 Holly Street Nashville, TN 37206 Learn more at EastEndUMC.org. Edgehill United Methodist Church 1502 Edgehill Avenue Nashville, Tennessee 37203 Learn more at Edgehill.org.
BARS & NIGHTCLUBS
Glendale United Methodist Church 900 Glendale Lane Nashville, TN 37204 Learn more at GlendaleUMC.org.
PLAY Dance Bar 1519 Church Street Nashville, TN 37203 615-322-9627 Playdancebar.com
West End United Methodist Church 2200 West End Avenue Nashville, Tennessee 37203 Learn more at WestEndUMC.org.
REAL ESTATE Sheila Barnard, Realtor, The Realty Association 1305 Murfressboro Road Nashville, TN 37217 615-385-9010 cell 615-424-6924 Sheilabarnard.realtyassociation.com Emily Benedict, Realtor, Village Real Estate 2206 21st Ave South, Ste. 200 Nashville, TN 37212 615-585-1258 BSLNashville.com Kate Nelson, Realtor, Village Real Estate 2206 21st Ave South, Ste. 200 Nashville, TN 37212 615-383-6964 Realestatewithkate.com LEGAL SERVICES Lawyer Bart Durham Injury Law Office 404 James Robertson Parkway Nashville, TN 37219 615-338-6177 Bartdurham.com ORGANIZATIONS Nashville Humane Association 213 Oceola Avenue Nashville, TN 37209 615-352-1010 Nashvillehumane.org Nashville LGBT Chamber of Commerce P.O. Box 330971 Nashville, TN 37203 615-507-5185 Nashvillelgbtchamber.org
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MADAME BUTTERFLY NASHVILLE OPERA
OCTOBER 10 & 12, 2019 THE SHOW: Japanese geisha Cio-Cio-San, Butterfly, abandons her faith and family for the dashing American sailor, Lieutenant Pinkerton. But Pinkerton's love is temporary and Butterfly's happiness, shortlived. In the end, Cio-Cio-San pays the ultimate price for her selfless devotion. For more than a century, audiences have been thrilled by Giacomo Puccini's haunting, poignant music and touched by the lovely Butterfly, who sacrifices everything for love. “I'm looking forward to Nashville Opera's presentation of Puccini's Madame Butterfly. This opera is one of the greats, which accounts for why it's so beloved and often performed around the world. The music is gorgeous, the story is heartwrenching, and it makes a great entry point for anyone who's never seen an opera before to try it out for the first time. The so-called ‘Humming Chorus’ is one of the most perfectly pretty pieces of music ever composed.” – Will Shutes
WHERE:
Andrew Jackson Hall
505 Deaderick St, Nashville, TN 37243 nashvilleopera.org/butterfly
THE TOXIC AVENGER
STREET THEATRE COMPANY OCTOBER 11–26, 2019
THE SHOW: Melvin Ferd, the Third, wants to clean up Tromaville, the most polluted town in New Jersey (just off Exit 13B on the Turnpike). Foiled by the mayor's bullies, Melvin is dumped into a vat of radioactive toxic waste, only to reemerge as The Toxic Avenger, New Jersey's first superhero. Affectionately known as Toxie, our new hero is a sevenfoot mutant freak with superhuman strength and a heart as big as Newark. He's out to save New Jersey, end global warming, and woo the blind librarian in town. It's a toxic love story with an environmental twist! The Toxic Avenger will leave audiences laughing in the aisles as it rocks the house. Featuring a wailin' rock score, this comical musical has something for everyone to enjoy. “As a horror fan, who really loves stage adaptations, I can’t wait for this musical adaptation of this Troma classic.” – James Grady
WHERE:
The Street Theatre
1120 Elm Hill Pike, Nashville, TN 37210 streettheatrecompany.org 30
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