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“For you created my inmost being; you knit me together in my mother’s womb…I am fearfully and wonderfully made…”Psalm 139:13-14a

Letter from the Editor It feels like a unique privilege to be able to address our readers from the pages of this beautiful publication, but it also feels like an incredible responsibility to live up to its title, The Voice of Louisville. It is not a charge that we approach lightly here. While some of the names on the masthead have changed since you last perused these pages, our commitment to telling the stories you want to hear remains as firm as ever. “Be a voice not an echo,” I’ve heard. I feel as though it is our duty to do both, as long as the messages we repeat come from you.

My first introduction to Brad Broecker, appropriately deemed “the godfather of Louisville theater” by writer Kellie Doligale, was from the audience of Whitney Hall when he comfortably addressed the crowd of over 2,000 people to appeal to us about the significance of our support of the PNC Broadway Series. I’ve since been a fan of the philanthropic presence he and his wife, Carla Sue (whose delightful musings can be enjoyed weekly in the pages of The Voice-Tribune) have established in the community. You’d be hard-pressed to find a board or event committee to which they haven’t contributed their time, talent or treasure. Now their daughter Leslie leads us into a most promising future as president of Broadway in Louisville. Her palpable enthusiasm is matched by a leading vision that culminated in a record-breaking 2015-2016 season. If the arts are truly the heart of Louisville, then you are the pulse that rhythmically propels that lifeblood. Your investment as a patron of the arts will enrich your mind, feed your soul and exercise your imagination. Read along and decide what your next season subscription will be!

PHOTO BY JACOB ROBERTS

Almost nothing makes me fall in love with this city all over again like the opportunity to share its vast resources in the arts. Perhaps because I grew up in a rural town, where the closest experiences I had to performing arts were the annual church Christmas plays, I never lack enthusiasm when I rediscover, year after year, what can be enjoyed within my own city limits or just a mere drive across the bridge. Later in life, when I called Chicago and Los Angeles home, the arts seemed exclusive and inaccessible. But here in Louisville, we are gifted with endless opportunity to engage with, participate in and enjoy the arts. This issue, while far from comprehensive, provides an intriguing snapshot of the landscape of our arts community, past, present and future.

“Be a

VOICE

not an e c h o .”

Photography by Clay Cook 14 T H E V O I C E O F L O U I S V I L L E |

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THE B R O E C K E R S of

Broadway Written by Kellie Doligale Photography by Clay Cook and courtesy of PNC Broadway in Louisville

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| THE VOICE OF LOUISVILLE

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ny good Louisvillian can tell you there’s no shortage of culture in our fair city, but one might not readily suspect that tucked away in the Ohio Valley is a father-and-daughter powerhouse responsible for the presence of Broadway Theater, not only here, but in cities throughout the United States. Since the late 1970s, Brad Broecker has effectively translated his sincerely-felt love of theater into the economic and artistic freight train that has become the PNC Broadway Series, a leading market for Broadway Across America and perhaps more importantly, a vehicle for community engagement. His daughter, Leslie, has since taken the helm as president of PNC Broadway in Louisville. In discussing the history of the Broadway Series and its evolving significance, Brad and Leslie’s business savvy is as omnipresent as the easy grace with which they recollect it. They delightfully finish one another’s sentences with the names of beloved theater stars as readily as they explain the fiscal techniques involved in maintaining the presence of performance art for multiple generations. As names like “The Phantom of the Opera,” “The Lion King” and “Wicked” emerge from the details, so too does undeniable evidence that their keen professionalism is eclipsed only by genuine love of a great show. “Theater is an experience that transports you,” Leslie says. “I get goosebumps talking about it.” The Broadway Series we know and savor today traces back to the foundation of the Louisville Park Theatrical Association in 1938, beginning with performances in Iroquois Amphitheater. At the time, the local community was heavily involved in the execution. Brad explains the finer points with an excitement suggesting he is just as fascinated by the historical mechanics of the business as he is by the shows themselves.

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“They would hire well-known stars, like Carol Channing, to play the principle roles,” he explains. “But they hired local high schooland college-age young people to play all of the chorus and minor roles. They did about six shows a year, and they rehearsed all of the shows for three weeks each without the principle players, so the chorus learned all of them. Then, the week before the first show opened, the principal actor would come in and rehearse. When the show finally ran the following week, the chorus would rehearse the next planned show during the daytime and put on the first show at night.” It’s the kind of grueling dedication found often in the stage world – a brand of self-sacrifice and a demanding schedule that’s only possible for those whose passions exceed the exhaustion. Despite their commitment, however, the LPTA was flailing. By the early ’60s, the group ran aground financially and could no longer produce their own shows. Instead, they presented Touring Broadway at Memorial Auditorium, then the Brown Theater, all the while treading water to barely stay afloat.

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| THE VOICE OF LOUISVILLE

The way he tells it, Brad’s serendipitous immersion into the association was all at once fated and forthright. “I was complaining because they weren’t getting the good shows. A friend asked me, ‘Why don’t you come be part of our group?’ I said, ‘I’d love to!’ and I worked with them to revitalize their approach to the public.” That turning point is so simple, it’s almost hard to believe. Further exploration into Brad’s credentials and business approach, however, instantly yields his status as the ideal candidate for the godfather of Louisville theater. By 1980, the Association dropped “Park” from its name and named him the board president. For a few years, he juggled running the LTA and his position at Brown & Williamson, where he worked in marketing focused on cigarettes. Because tobacco advertising was no longer on television or radio, they had to create new ways to promote the products. “We invented a series of jazz festivals that we did all across the country, produced mainly in ball parks on the weekends. In some respects, I began to get involved in the presenting of entertainment and connected with the people doing that sort of thing.” As the LTA began to thrive again, The Kentucky Center quietly developed behind the scenes. Similar centers of art and entertainment had sprung up in other cities, and its construction provided a home base – a heart – for Broadway Theater to adapt and survive in Derby City for subsequent decades. “By the time it had a shovel in the ground and came up in the ’80s, we were really coming along and were asked to be the presenter of touring Broadway when the Kentucky Center was finished. The new building was a magnet for the entire region, really. I continued to work at Brown & Williamson until 1984 until taking on the full responsibility for presenting the shows came to the point where I thought I could do it as a career.” He describes the technical end of running the Broadway Series as if it were nothing beyond common sense, though his trademark commitment to customer service was innovative for the time. By making season subscriptions and ticket purchasing easy to like and understand, he fostered a bond with the public. “It was a good enough technique that the 26 T H E V O I C E O F L O U I S V I L L E |

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decision was made to expand to other markets. Cincinnati came along a couple of years later, and then we went to Indianapolis and Columbus. At the same time, we invested in a whole circuit of cities in Florida – six altogether – with a company in New York that functioned to help us get the shows.” It comes as no surprise when Leslie points out that her father’s Southern charm worked wonders on his Northern colleagues. Meanwhile, she worked at WAVE radio

and counted the LTA among her accounts, selling advertising to her father before she left radio in 1987 and joined the bigger production as he began to expand into Cincinnati. “I took over the marketing for all of the cities,” she says. “PACE Theatrical became our partner and the company was called Broadway Series Management Group.” The LTA’s partnership with PACE made it possible to expand beyond the limited shows Louisville was able to get.

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Theater is an experience that transports you. I get goosebumps talking about it.” -LESLIE BROECKER

Center. He reiterates the commitment to excellent customer service, a rarity in the industry, and says they invented, in some respects, the ability to exchange tickets without hassle in the event of a scheduling adjustment. “We give lots of things that cause them to be really appreciative of the way they were treated,” he says, “so when ticket prices begin to grow, it doesn’t harm the sales. It wasn’t like that in all cities.”

“They were our partner but they were a risk management technique – because one bad show, not in quality but in sales, and perhaps the little Louisville Theatrical Association would be out of business if it took a major hit,” Leslie explains, and the necessity is clear. By assuming the majority of the risk, PACE was also entitled to the majority of the reward, but the LTA’s presenting and educational aspirations were safeguarded along with its goal to maintain historic theater properties in the city. “With that partnership, they could FALL 2016

expand beyond just ‘bus and truck’ shows, which are shows on the very tail end of a tour. Louisville went to a full week of Tuesday through Sunday show runs, which meant you stepped up your quality tier and started to get shows earlier.” Today, Leslie plans shows two or three years in advance. She says the furthest out that she’s currently booked a show is 2021. Brad is quick to point out that none of this is possible without subscribers, the pulse to a heart like The Kentucky

At the pinnacle, their company was involved in approximately 40 cities, Brad estimates. “Leslie and I both wound up taking on roles that were more national than just Louisville.” Despite such a formidable undertaking (which they never so much as hint as being a burden), their service to the industry has not been without its perks. Leslie explains that by the mid-’80s, touring Broadway achieved enough success to get the attention of New York producers, who started designing shows with the “road” in mind. “As that happened,” she says, “we road people gained some clout with the Broadway League and were given a voice and Tony voting rights.” She and her father travel to New York to see every show in a new season, which most could agree sounds like the ultimate fringe benefit. Their duty to home, however, is never lost. “It’s great to go to New York and see the shows and vote on them but we’re also vetting to bring them back, so it’s sort of double duty.”

VO I C E -T R I B U N E . C O M

| THE VOICE OF LOUISVILLE

As they further elaborate on Broadway’s role in the local community, that duty is tripled, quadrupled. The monetary gains generated by shows coming to Louisville feeds back into the local economy. “The gross potential of our economic multiplier is $2.50 for every ticket sold,” Leslie says. Accommodations like restaurants and parking facilities reap from a show’s run, and hotels benefit from out-oftowners traveling in to see it. Such rewards make it possible for smaller arts organizations to thrive as well. “Broadway is such an important model for every arts center because through no fault of their own, the classical arts groups aren’t necessarily the ones that generate a lot of revenue for venues,” Leslie elaborates without a shred of egotism. “We enjoy the 28 T H E V O I C E O F L O U I S V I L L E |

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We enjoy the responsibility we have of our shows generating the income the venue needs to be able to subsidize. I’d like to think of us as somewhere next to the Fund for the Arts in terms of our contributions to those arts groups being able to perform.” -LESLIE BROECKER

responsibility we have of our shows generating the income the venue needs to be able to subsidize. I’d like to think of us as somewhere next to the Fund for the Arts in terms of our contributions to those arts groups being able to perform. We’re usually the best customer of a venue, but we also get the least favorable rates, which isn’t normally how a business works. If you get a sack of White Castles, you should get a better deal than if you’re buying one! But that’s not how this works and we embrace our role. More is more, I always say. The community needs a healthy Ballet and a healthy Actors Theatre and a healthy StageOne.” If those contributions aren’t enough, consider the experience afforded to the next generation. Part of the board of directors at the Theatrical Association’s

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mission is to get kids of all ages into theaters. They receive an allocation from the Fund for the Arts, 100 percent of which goes into the tickets or materials necessary to make the theater experience possible for local students. An option to contribute to the education program is also affixed to season packages. Through those subsidies, over 1,000 kids are able to see the shows each year. Because of their partnerships with producers in New York, the LTA is responsible for paying for those tickets. Nothing is free to them. “We always give them orchestra seats so they’re up close,” Leslie details rapidly. “They can see the sweat, the tears and the conductor conducting. We teach theater etiquette and explain to them that since the building is partially state-funded, their parents are contributing to it through taxes and they need to take care of it.” As summer fades quietly into fall, the 2016-17 season inches within the city’s grasp. The upcoming show dates are somewhat later than usual to account for election time and the havoc it wreaks on local advertising. The season includes “The Sound of Music” (January), Disney’s “The Little Mermaid” (February), “The Illusionists” (March), “Beautiful: The Carole King Musical” (May) and finally “Kinky Boots” in June. Season options, which come to town but are not part of the season package, include “The Book of Mormon” and “Riverdance” in late November/early December and April, respectively. Season options tend to be shows that have played in recent seasons but were brought back to allow those who didn’t get to see them a second chance. “We have a new show coming called ‘The Illusionists,’ and a lot of folks either don’t know it or think magic isn’t Broadway but it’s been on Broadway twice,” Leslie says. “We do funky shows like that because another part of our role is to bring current, fun entertainment.” ‘Beautiful,’ she says, is the kind of lesstalked-about show that fewer people are eager to see the way they might be with a Disney production, but it’s astonishing enough to deserve a place in the season. “The music is so incredible. I’ve seen it three times, and I cry at the end every time. It’s about a whole era of music, and you learn so much about Carole King’s influence.”

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| THE VOICE OF LOUISVILLE

The upcoming education initiatives are likewise exciting. For “The Sound of Music,” the LTA has partnered with the Newburg Boys & Girls Club. Children will learn about the elements of musical theater, re-creating a scene from the show, comparing past and present dance styles and working with a choreographer to create a hip-hop number with one of the songs. Later, students from Western Middle School will learn and engage in the visual elements of a show when they see “The Little Mermaid.” Since its debut, “Kinky Boots” has partnered with the True Colors Fund to give LGBT youth a look at the inner workings of the theater industry and the multitude of career paths therein. At the end of this season, the Raise You Up Community Youth Program will partner with Louisville’s VOICES to give participating students that immersive exposure. 30 T H E V O I C E O F L O U I S V I L L E |

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If the season lineup isn’t enough to entice the entertainment lover in us all, the story of Brad and Leslie’s past and present contributions to the arts both locally and nationally make one feel that the least we can do is see the shows, especially when they’re guaranteed to pay dividends in instant and long-term gratification. A season package or even a single ticket feeds local business, smaller arts organizations and youth education, on top of perpetuating the presence of a truly dazzling art form. Who better to produce this effort than the Broecker family, who, for all their backbreaking dedication, has never lost a certain twinkle of the eye when they talk about it? “I think our perspective has always been that Broadway is the most welcoming of all the art forms,” Leslie says, “because no show is ever the same.” The shows may not be, but the proverbial magic, both intangible and logistical, is constant.

I think our perspective has always been that Broadway is the most welcoming of all the art forms because no show is ever the same.” -LESLIE BROECKER

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THE BOOK OF MORMON November 29-December 4, 2016

Disneyâ&#x20AC;&#x2122;s

THE SOUND OF MUSIC January 17-22, 2017

THE LITTLE MERMAID

THE ILLUSIONISTS

RIVERDANCE

BEAUTIFUL

February 14-19, 2017

April 10-12, 2017

KINKY BOOTS

March 14-19, 2017

May 16-21, 2017

To order tickets, visit broadwayinlouisville.com or call 800.294.1849.

June 13-18, 2017

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VO I C E -T R I B U N E . C O M

| THE VOICE OF LOUISVILLE

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The Joy

& Legacy of Actors Theatre Written by Ben Gierhart â&#x20AC;˘ Photography courtesy of First Light Image

For over 50 years,

Actors Theatre of Louisville has graced the Louisville arts scene with its presence. The institution is formidable and well-regarded in the national theater community. In fact, one could go so far as to claim that any actor who got his or her start in theater knows Actors Theatre. Its influence is that far-reaching and has shaped the theater landscape for generations. For all these reasons and more, when the opportunity presented itself to become Actors Theatreâ&#x20AC;&#x2122;s new managing director, Kevin Moore could not resist.

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Moore first learned of Actors from the other side of the country. “For 10 years, I worked for Arizona Theatre Company in Phoenix and Tucson,” he says. Moore began work there as a marketing director but eventually wore several hats. Arizona Theatre Company has the distinction of being the only professional theater company that is located and performed in two cities, so in order to excel, Moore had to absolutely master organization and discipline. Arizona Theatre Company – like most professional theaters in the country – is part of a national organization called Theatre Communications Group, or TCG. “It’s the umbrella organization for nonprofit theaters across America,” elucidates Moore. “TCG does a lot of research across the field. They publish American Theatre Magazine. It’s meant to be a sort of connecting place for theaters across the country.” Even though only aware of Actors peripherally at first, Moore knew of the company’s golden reputation. “Everyone does,” he affirms. “I’ve come to Humana Festival for many years. People all over the world come over to this festival.” Suffice it to say, when Moore received a call from a recruiter asking if he was interested at all in the open managing director position at the iconic company, he jumped at the chance and has been in place since June of this year. Even for many already inside the theater world, there may be some question as to what a managing director is or does. Essentially, Moore works closely

with Actors Theatre Artistic Director Les Waters to marry the right and left brains and – whether it be the Humana Festival of New American Plays, a main season show or one of the company’s myriad educational programs – create a polished and dynamic product. “Les actually is in charge of all things that go on the stage, and I’m in charge of all things off the stage,” Moore offers. “We both report to the board of directors. We do everything together. He’s a valuable resource to me, and I hope to be that for him.” The sense of teamwork already at play is encouraging. It goes without saying that many an artist, writer and technician enters theater because of genuine passion. Theater at this level, however, has a reputation for extricating that joy a little. The bigger and more successful the theater company, the higher the expectations. At a certain point, even theater can become just another business. Despite the years of experience on Moore’s resume, what’s most impressive about him is after all this time, he hasn’t lost sight of what brought him to theater in the first place: community. “We have a mission that we have to fulfill,” he states simply. “This is the community’s theater. We don’t own it. We have to make sure we’re doing everything to fulfill that mission.”

from that festival, it is the most important new play festival in the country. Of course, I want to make sure that legacy remains intact.” It cannot be understated how significant Humana Festival of New American Plays is to Louisville and beyond. Moore seems to be keeping a cool head, however. “I’ve been going to Humana for years, and I will say that I have always been impressed with how calm everybody is,” he chuckles. “I can tell that it’s like a duck on the water. There’s a calm exterior, but

Kevin Moore and Les Waters

And he already has plans in place to do just that. “I’m hard-pressed to think of a company that has had as much of an impact on the theater field as a whole as Actors,” says Moore. “Just between Humana and the plays that have been generated and put out into the world

“Les actually is in charge of all things that go on the stage, and I’m in charge of all things off the stage. We both report to the board of directors. We do everything

together. He’s a valuable resource to me, and I hope to be that for him.” Kevin Moore

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calm exterior, but underneath the surface – I can tell it’s a tour de force. I’m not sure I can prepare for it, so I think I’m going to have to just jump in and do it.” That can-do attitude permeates Moore’s overall management style, which has also already affected another of the important fixtures at Actors: the Apprentice Company. “We just renamed the Apprentice Company the Professional Training Company because that’s what it is,” he says. The program is part of the vital fabric of the Actors’ brand, and as many

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as 40 people go through it every year. “This is the premier training program for people who want to go into theatre. There are literally thousands of people who got through that program, and I want to help it maintain that status,” says Moore.

know,” he opines. “I want people to know the valuable position that this place holds and what they have in their own backyard. We are unbelievably fortunate to be able to have this, and we shouldn’t take it for granted.”

Between the new plays and newly trained actors generated every year, Actors’ fingerprints can be seen in unexpected places all over the world, but Moore also wants to make an impact in Louisville. “People around here don’t know as much about Actors as people around the country

Paradoxically, Moore says the opposite is true as well: “I will say this too. I haven’t been to many theaters that have the support that this does locally. That’s one of the things that has been sort of surprising for me about Louisville. The arts are on the tips of everybody’s tongues.”

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It’s certainly true that a focus on the arts is becoming more and more rare nationally, but Moore attests that this is something that is part of the Louisville brand. And as the home of Actors, it gives him a fantastic playground to run free in this singular arts community. As paramount as Actors Theatre is in the arts landscape in this city, it is not the only game in town, and Moore knows this. “Actors is kind of the 800-pound gorilla in the room. It takes attention,” he says with a laugh. “We’re so busy trying to do these shows and really get them up, but we should always remember that you cannot do it alone.” Moore hopes to honor that sentiment by making sure Actors moves itself into a position where it can partner with the countless smaller theater companies in the community. “A community needs each other. It’s like an eco system. You need the myriad of smaller companies around you because, honestly, as much as I would love it, not everybody wants to go to Actors Theatre,” he admits. No matter how organized and profitable a company is, one can only do so many shows a season, and it is impossible to cater to every taste. However, Moore hopes to foster a community by adding some of Actors’ considerable cachet to those companies that may be offering something different but just as worthwhile. “Frankly, we could be learning a lesson from a lot of the smaller theaters,” Moore asserts. “There’s a flexibility around being smaller. You can take more risks.” Whatever the size of the company, theater as a medium unites. It is different than watching the news, TV or a movie. There is a tangible energy. Real people are on display, and there is an unconscious give and take between performer and audience member and even between fellow audience members. Moore agrees: “We’re all trying to do it, and we’re doing it because when you walk out of the theater and talk about what you’ve just seen, it’s true conversation fodder. Conversation that is real and earnest. Theater is this great tool to get people to talk with each other and interact. That can be something as simple as laughing together. It’s a beautiful thing.” Moore wants to spend as much time as possible listening – listening to audience members and listening to the Actors staff. “What do they want from this theater?” he asks. “How can we be better than we already are? What are the challenges?” Actors has been more than successful for 53 years, and Moore hopes to not only continue that but to take it a step further all while never forgetting to enjoy himself. Together with the rest of the powerhouse staff at Actors and the dynamic arts community in Louisville, Moore is overjoyed in knowing that he will create something that will affect the world: “I’m ecstatic to be here. I really am, and I’m loving it.” 40 T H E V O I C E O F L O U I S V I L L E |

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“Theater is this great tool to get people to talk with each other and interact. That can be something as simple as laughing together.

It’s a beautiful thing.” Kevin Moore

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IAN DERRER

the

FUTURES

Game of Opera Written by Ben Gierhart Photography by Clay Cook and courtesy of Kentucky Opera

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It is an unfortunate truth that when the vast majority think of opera today, there is an inevitable sense of quaintness and antiquity. It brings to mind images of a wealthy elite from a bygone era. It evokes a sound that is seemingly far removed from what is popular today. For too many, the perception is that opera is a ghost of an art form, not exactly devoid of life but – for one reason or another – more obviously caught in time than something like theater or even ballet. Opera certainly has its ardent participants and appreciators, but companies across the country are in a collective act of resuscitating opera for new audiences. In a move to reveal the vivid life of opera to the masses, Ian Derrer – the new general director of Kentucky Opera – aims to improve the sturdy framework of what is already in place in Louisville and expose young people at an impressionable age to the thrill of opera. For as long as he can seem to remember, Derrer was surrounded by music. He recalls growing up in a family that very much loved it – particularly singing. “My father and my mother both sang amateur in the chorus in Charlotte, North Carolina. It was called Charlotte Opera at that time, now it’s Opera Carolina, and they brought that love into the home,” says Derrer. Derrer knows beyond a shadow of a doubt that it was this foundation and exposure that were the first steps on the incredible, city-hopping road that has brought him to where he is

today. Derrer’s parents often brought him to their rehearsals: “I gradually just fell in love with singing and voices at a young age. I started singing in children’s choirs and boys’ choirs and eventually the chorus at Opera Carolina as well.” Having already successfully walked down his parents’ path, Derrer knew that he wanted to pursue things further. His innate talent, stalwart dedication and unquenchable passion afforded him the opportunity to attend Southern Methodist University in Dallas, and it was there that he studied with the one-and-only Thomas Hayward. Hayward was known for his sterling tenor voice as well as his long, reputable career at the Metropolitan Opera. It seems nothing short of providence, then, that Hayward and Derrer should meet in the classroom. “Tommy was a light of a human being,” says Derrer fondly. “He gave me a good technique. He talked to me a lot about the things that were important to him and helped me understand what makes good singing.” Hayward passed in 1995, but the impression he left on Derrer was indelible: He soon found himself working in the opera department. “It opened me up to other things like learning how to schedule and how to stage manage,” he says. During his last year in school, Derrer interned at Dallas Opera, which subsequently opened up some doors to work at Santa Fe Opera as a production assistant. “It was a wonderful time in my life when

I got to do a little bit of everything, and I really didn’t need to make a decision regarding what I really wanted to do when I grew up,” he reminisces with a chuckle. Academia soon resumed its siren song, however, and Derrer enrolled at Northwestern University in pursuit of a graduate degree, this time in opera directing. Unable to shake off the need to sing, Derrer continued on the side. “I kept asking myself, ‘Am I going to sing or am I going to direct? What am I going to do?’ Then it happened. Life certainly has a way of putting the path in front of you sometimes,” he relates. What happened was that Derrer’s life on the administrative side of professional opera truly began. Having snagged a coveted internship at New York City Opera – a company that boasts a season consisting of as many as 16 operas each year – Derrer was put through his paces and gained an invaluable toolkit of skills that would shape the rest of his career. “Basically, they had these long condensed periods of opera,” he explains. “I had to schedule these things with all these operas with all these people who were double cast, and at the end of the day, you learned very quickly how an opera company operates.” Derrer continued in this position for a number of years before moving to a similar position at the prestigious Lyric Opera in Chicago and eventually graduated to the head of the rehearsal department. “It was more like

1998

Magic Flute

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KENTUCKY Opera TIMELINE 1952 » Kentucky Opera is founded by Mortiz von Bomhard who makes it a practice to present at least one Louisville premiere each year

1966 » Performances move to the Macauley Theater, now known as the Brown Theatre

1982 » Thomson Smillie became general director as Kentucky opera is designated the State Opera of Kentucky

1998

2000

2001

» Deborah Sandler becomes the third general director of the Kentucky Opera

» Kentucky Opera launches the Music! Words! Opera! program in Kentucky and Southern Indiana that trains teachers to facilitate students to create their own opera

» Rudd Program for Young Artists debuts designed to bridge the gap between study and a professional career for four singers and a pianist

2006

2016

» David Roth is announced as general director of the Kentucky Opera

» Ian Derrer is named the general director following the tragic passing of David Roth

CELEBRATING

Upcoming SHOWS » “Madame Butterfly” by Giacomo Pucchini, September 23, 8 p.m., and September 25, 2 p.m. » “The Abduction from the Seraglio” by Wolfgang Amadeus Mozart, November 4, 8 p.m., and November 6, 2 p.m. » “The Mikado” by Gilbert & Sullivan, February 10, 8 p.m., and February 12, 2 p.m.

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a company manager, and Lyric is one of the greatest opera companies in the world. That was one of the high points in my life, being at a company with such talent, on stage and off, and being around people who really astonished me.” From there, yet another opportunity at the Dallas Opera came along, this time as the artistic director. “I took it because I wanted to have as much experience in the artistic side as I was getting from the production side, and it was just around the right time,” he explains. The ability to focus on singers and directors and conductors as well as marry his unparalleled knowledge, ear and vocal training were the highlights of his tenure there: “I’d always regarded myself as able to sort of pick out a diamond-in-the-rough singer of potential, which is something that you need to do a lot of times. You have to hear not only where that voice is now but where it will go. It’s a futures game.” As Derrer relates this information in his rich baritone voice, his eyes twinkle, and it is easy to see the genuine passion on his face.

This is a man who does not regret a single artistic moment in his life, and every step along that journey has culminated to his appointment at Kentucky Opera. “Everything before was building toward running a company,” he offers. “I think some of the most successful companies are run from the inside out, from people who really know every facet. There are some things I’m looking forward to learning about – that’s the marketing side, the development side, the crucial elements of any successful opera company.” Armed with the unique experience of having portrayed such iconic roles in the opera repertoire as Nick Shadow in “The Rake’s Progress” and Yamadori in “Madame Butterfly” as well as seeing to the day-to-day matters of some of the best companies in the world, Derrer knows how important it is to balance a season that is both artistically fulfilling and financially responsible. “I think that the current season – ‘Madame Butterfly,’ ‘The Abduction from the Seraglio’ and ‘The Mikado’ – have done that in a very wise, pragmatic way. Lean too heavily on the artistic side and you scare off the audience with

too many titles they are unfamiliar with. You have to balance it,” he says before adding with a grin, “You have to eat your broccoli, you absolutely do.” In addition to the stellar season, Derrer plans on building on what his predecessor, the late David Roth, had already accomplished with Kentucky Opera, and he is well aware that he has big shoes to fill. “I had the pleasure of working with David as an assistant,” recalls Derrer wistfully. “Taking over for someone who you not only knew but someone who was universally admired and greatly loved – not only here but outside as well – it makes me take a little more ownership. I want to be able to do things that he would be proud of. It allows me to make this a personal thing for me, something that is special.” Derrer plans on developing the wonderful studio artist program that is already in place, and he wants to engage them in the community by way of recitals and master classes. As the season was decided by the Kentucky Opera’s board before the hiring of Derrer, this act will be his first tangible influence on the

1984

Don Giovanni

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1998

Madame Butterfly

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company as general director.

1968

In addition, Derrer hopes to strengthen the bonds already in place with such organizations as the Louisville Orchestra and Louisville Ballet. “Most companies have their own corps orchestra and corps ballet; very few places have the ability to collaborate with complete entities like this,” he asserts.

Magic Flute

Most importantly, Derrer wants to find and develop young talent, to have them in the right place at the right time to be bitten by the opera bug just as he was: “There are more singers than jobs nowadays. To be able to give people opportunities so early in their career is something that I think is very, very special. The company has a history of that. I want to keep that going.” Perhaps it is Derrer’s time as a singer that draws him to this ambition, but there is no doubt that this general director aspires to instill life in an art form that was perhaps always thriving after all. All he has to do is inspire the next generation. After all, opera is a futures game.

1991

My Fair lady

“I think some of the most successful companies are run from the inside out, from people who really know every facet.” ian Derrer

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goes ANYTHING If you have ever questioned what should be worn to an evening at the opera, you are not alone. Gone is the pressure to don elbow-length gloves and ball attire. Your apparel can be as dramatic and varied as the 2016-17 Kentucky Opera Season that kicks off with Puccini’s “Madame Butterfly” (September 23 and 25) and includes Mozart’s “The Abduction from The Seraglio” (November 4 and 6) and “The Mikado” (February 10 and 12) by Gilbert & Sullivan. When it comes to what to wear to the Kentucky Opera, anything goes. The most important thing is that you go in style.

Creative Direction: Gunnar Deatherage Photography: Clay Cook Hair: Blades Salon Makeup: Bethany Hood Photography Assistants: Hunter Zieske, Gabrielle Colton Creative Assistants: Kris Ritcher, Carrie Ann Foster Models: Courtney Blanton, Matt Myers, Eli Epperson, Mallory Grant (Heyman Talent)

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Mallory is wearing a green and blue plaid blazer by J. Crew with a green silk cocktail dress by Ariella, Available at Sassy Fox. â&#x20AC;¨ Eli is wearing a black polka dot velvet top from Sassy Fox with a vintage brown and black silk blazer.

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Mallory is wearing a Luxe Junkie lace camisole and Cartise mesh turtleneck with Alice + Olivia Ramona lace panel maxi skirt from Rodeo Drive. Fringe bracelet and necklace available at Dillardâ&#x20AC;&#x2122;s. â&#x20AC;¨ Eli is wearing a mesh turtleneck by Gunnar Deatherage with a vintage tuxedo jacket.

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Courtney is wearing Alice + Olivia juno wideleg jeans with an Alice + Olivia rowan contrast top and Alice + Olivia kidman fur open feint jacket from Rodeo Drive. Matt is wearing a red neoprene suit with a lace tank top by Gunnar Deatherage.

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Mallory is wearing a Saks Fifth Avenue pleather pleated miniskirt and BlackTie by Oleg Cassini sequin top, available at Sassy Fox. â&#x20AC;¨ Eli is wearing an Alberto Makali sequin jacket from Sassy Fox with mesh top and pants by Gunnar Deatherage.

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Courtney is wearing a Lucy Paris jacket and Antonio Melani white suit with a Karl Lagerdfeld blouse, available at Dillardâ&#x20AC;&#x2122;s. Matt is wearing a vintage tuxedo shirt from Acorn Apparel with a handbleached striped blazer by Gunnar Deatherage.â&#x20AC;¨

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Courtney is wearing a chartreuse and black silk slip dress by Gunnar Deatherage.â&#x20AC;¨ Matt is wearing a black leather trench coat from Acorn Apparel with a black mesh sweatshirt by Gunnar Deatherage.

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longevity and a lifestyle that complements the way they live. At Bittners, we create inspirational, timeless environments across the generations.”

THE NEW TRADITIONAL.

Since lifestyles are always shifting, Riddle has discovered that many clients want the comfort of going back to a traditionally designed space but want that modern twist added to it. This return to a traditional feel seems to happen when events in our society are in turmoil or changing. People like to cocoon and feel comfortable, which leads to the return of a space with which they are most familiar. Riddles relates, “Our clients are embracing the addition of modern pieces mixed into traditional spaces as well as traditional pieces mixed into modern spaces. We, at Bittners, started calling this ‘The New Traditional.’” On these pages are a variety of items from

Bittners’ showroom selected by Riddle because they tell stories of what the possibilities could be. They don’t necessarily conform to the outlines of “traditional,” “modern,” “post-modern” or “antique.” Those terms, Riddle feels, bind people to preconceptions of how a room, or a home, ought to be furnished. “I wanted to show a variety – a mix of modern and traditional – that can all work with one another or stand on their own merit,” Riddle describes. “I think the important thing is not whether you like a particular color or style – it’s a matter of scale and proportion, how everything works together in the design of the piece, the room and ultimately, the house.”

So journey with Riddle through the Bittners showroom.

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THE NEW TRADITIONAL DINING TABLE This custom handmade table by Bittners’ master craftsmen is created out of reclaimed wood from historic Whiskey Row along with a tapered patina steel base. It’s great to mix with modern chairs juxtaposing the two dissimilar styles.

ROSS LOVEGROVE-DESIGNED WOODEN CHAIR Ross Lovegrove is a visionary whose work is considered to be at the very apex of stimulating a profound change in the physicality of our world. This unique chair is his version of a typical American courthouse chair and a wonderful conversation piece to throw into a design mix.

CHINESE-INSPIRED LINEN PRINT This elegant fabric is inspired by traditional Chinese wallpaper from the historic Belton House, a British National Trust country manor in pastoral Lincolnshire, north of Cambridge. Riddle was drawn to its blending of birds, flowers and bamboo positioned with the modern Greek key design along the bottom.

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MODERN CHAIR AND FORTUNY PILLOW This sleek chair features clean frame lines along with a rich white goatskin creating a very modern silhouette positioned with a classic Venetian hand-painted pillow. ANTIQUE BIEDERMEIER CHEST This exquisitely handcrafted chest with rich, native woods is from the Biedermeier period of Central Europe in the second quarter of the 19th century, following the Napoleonic Wars. Its clean geometry along with gently curving features is indicative of that period. MIXED METAL CHAIR This sophisticated chair features the mix of a pewter patina stainless steel frame with burnished bronze sleeves. The wraparound upholstery is a dark gray velvet. It’s not only striking but, says Riddle, it’s very comfortable. The fabric is cozy and feels good to the touch. He also appreciates the mixture of metals.

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CENTER HALL TABLE This modern table is composed of a solid wirebrushed cerused wenge African wood base and a reversed beveled edge of honed and sealed cosmic black marble with a blackened bronze edge. COWHIDE MODERN CHAIR Here’s a case of a natural, non-dyed hide fabric mixed with a frame made of a resin material. The artist made the mold to resemble bones on the chair’s arms. This blends beautifully, for example, with the Biedermeier chest creating “The New Traditional” look. PUEBLO BLACK POTTERY These one-of-a-kind, handcrafted Mata Ortiz Pueblo black pottery pieces came from a Riddle trip to Santa Fe, New Mexico. They’re examples of an ancient Native American technique, handed down through the centuries, of meticulously hand-coiling each piece representing the vibrant spirit that lies within nature’s hills and valleys.

TANGERINE HIGH-BACK CHAIR This is a traditional high-back chair, a take on the classic wing chair but with straight sides instead of flared. The cotton fabric is a modern tangerine color dyed in the Ikat technique. The legs are an ebony wood and on casters.

PALISANDER DESK This classically styled rosewood desk features unique inlays from Madagascar and a high-sheen surface. Interestingly, this particular wood is also used to make musical instruments such as violins, guitars and cellos. It’s the opposite end of the rustic, reclaimed pieces of which we see so much.

ORANGE LEATHER CHAIR With a modern take on the traditional men’s upholstered chair, this piece features an orange leather slipcover that’s meant to look deliberately worn and comfortable. It’s so traditional in feel but certainly not in look due to its great orange color.

Be inspired by the new and expanding boundaries of design.

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LEFT » Sophia is wearing a Lilla P top and Cupcakes and Cashmere suede dress from Monkee’s RIGHT » Anna is wearing Joy Joy flannel and a pink stitch striped dress from Monkee’s » Grace is wearing a dress by Jade from Monkee’s

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LEFT » Sophie is wearing white Calvin Klein denim, a Bianca white blouse and a red chiffon scarf from Nearly New Shop RIGHT » Anna is wearing a Kenra Studio waxy top, DKNY taupe skirt and Cyrus sweater from Nearly New Shop » Grace is wearing Panache black silk trousers and an H&M camel turtleneck from Nearly New Shop

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LEFT » Grace is wearing a Cynthia Rowley dress and gold chain necklace from Merci » Anna is wearing a gold/pearl bangle and Shashanna blue and white dress from Merci RIGHT » Sophie is wearing a Cynthia Rowling dress from Merci

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LEFT » Sophie is wearing a Jill Stewart blush silk gown with a Lauren Merkin handbag from Liv Boutique RIGHT » Anna is wearing a Do+Be Merlot silk dress and a silver chain collar necklace from Liv Boutique » Grace is wearing Laundry by Shelli Segal from Liv Boutique

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LEFT » Sophie is wearing a Black Swan cream boho dress and bone and bead necklace from Apricot Lane RIGHT » Anna is wearing a Black Swan green suede dress from Apricot Lane » Grace is wearing an Ethereal green trench coat and She + Sky black turtleneck with a cream suede fringe purse from Apricot Lane

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LEFT » Sophie is wearing a Line and Dot black dress from Caden RIGHT » Grace is wearing an ASTR jumpsuit from Caden » Anna is wearing a For Love and Lemons dress from Caden

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LEFT » Anna is wearing a Milly skirt and purple Worth top from Sassy Fox » Grace is wearing a Moth skirt, Passae Mignon beret, Timing sweater and Amanda Uprichard white blouse from Sassy Fox RIGHT » Sophie is wearing a BCBG jumpsuit from Sassy Fox

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LEFT » Sophia is wearing a red Chiara Boni dress from Rodes RIGHT » Grace is wearing a Norman Kamali wrap dress and Cinq à Sept black fringe and fur stripejacket from Rodes » Anna is wearing a black Vince Moto jacket, black Cinq à Sept lace turtleneck and Vince trouser from Rodes

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LEFT » Grace is wearing a Kendall and Kylie bomber jacket, Zac Posen checked dress from Rodeo Drive » Anna is wearing a Rachel Zoe dress from Rodeo Drive RIGHT » Sophie is wearing a Theia red gown with a Matthew Campbell Lorenzo clutch and Matthew Campbell Lorenzo bangles and necklace from Rodeo Drive

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CURTAIN RISES StageOne Family Theatre Inspires Young Artists Written by Sara Giza • Photography by Jessica Budnick

It’s a Saturday in August and the downtown rehearsal hall for StageOne Family Theatre is buzzing with activity. The excitement of budding actors and actresses is palpable and brimming. Just as soon as some children leave, others quickly enter. It’s a jam-packed day of auditions and high hopes of being cast for this year’s production of “The Best Christmas Pageant Ever.”

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any of the children greet each other with smiles and hugs. Missing in action is any cattiness or competitiveness one might expect. It’s easy to get the feeling that everyone knows each other – and as it turns out, most of them do. With classes offered after school and DramaWorks camps during the summer, there are multiple opportunities for the young performers to build friendships along with experience.

With a rich history dating back to 1946, StageOne maintains a mission of inspiring and educating the public through the use of creativity. Known in the industry as a professional theater for young audiences, StageOne’s adult actors are all professionals, the majority of whom have been hired through the professional union Actors’ Equity. They are also committed to hiring local actors from the amazing talent pool that is Louisville. Perhaps one day, Anna McGreevy, age 14, will be a part of that professional union. At the moment, she is busy auditioning for the role of Beth in “The Best Christmas Pageant Ever.” With a love of singing, she participated in choir during third grade. The summer after fifth grade, she attended one of the summer camps available through StageOne. “Camp motivated me to try out,” she relates “I got to know them and they got to know me. I love it.”

Gayle King and Anna McGreevy.

Two years ago, she played Maxine in the same play. Since then, she has participated in other camps, as well as interned with StageOne. “Ever since preschool, she’s loved to perform,” her mother, Carrie McGreevy, describes. Still, one must think driving to auditions and the hectic schedule must get tiring for parents. When asked how she juggles it all, McGreevy smiles: “The people at StageOne are so hardworking. They’ve given her so many great opportunities to be a leader and to use what they’ve taught her to help others. They’re teaching important skills, like speaking up, in a safe, supportive environment.” After her audition, Anna exudes calmness and a maturity beyond her years. When asked if she gets nervous, she honestly admits, “I do, but once I get in there, it’s gone. They’re so welcoming and helpful. You just have to keep an open mind and be prepared. That’s all you can do.” When asked why she would like the part of Beth, she matter-of-factly responds, “It would be more challenging. My other role was more movement-based but this one has a lot more lines to learn.” 110 T H E V O I C E O F L O U I S V I L L E |

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The supportive and nurturing environment that StageOne provides seems a stark contrast to how StageOne Associate Artistic Director and “Best Christmas Pageant Ever” director Andrew Harris got his start in theater. He recalls his first audition at the children’s theater in his hometown. “I found theater by accident,” he says. Some of his friends got into a play and he liked the idea of getting to miss school. At his first audition, he found himself totally unprepared when he was asked to sing a song. “I blurted out ‘Amazing Grace’ and butchered it,” he admits, adding, “I could handle failure because I wasn’t good enough but not because I was unprepared.” His next audition found him equally unprepared when he was asked for a monologue and didn’t have one. After he left, a kind man followed him out and asked him if he’d like to work on lights. “That’s not how anyone should be introduced to theater – it shouldn’t be that hard” he says, noting, “that’s part of the reason I teach. Auditioning can be scary, but it doesn’t have to be.”

Sophia Pascua

From the number of smiles on hand, it is clear that Harris has taken the lessons he learned the hard way and used them to improve the experience of each child who enters StageOne’s doors. Two such smiles came from siblings Carmen and Roman Tate. Both Carmen, age 9, and Roman, age 12, have participated in productions at other local theaters.

Shai Mizelle

Their mother, Leslie Tate, recalls watching her daughter dance at the age of 3 and her son, then 5, exclaiming, “I’m going to do that too!” “They both love to dance and sing,” she says, adding, “Seeing them so happy on stage makes it all worth it.” Prior to this audition, both of her children participated in one of StageOne’s camps. On auditioning with her brother, Carmen smiles brightly: “I think it’s really fun because we don’t always get to do stuff together,” she exudes. “And you always have a friend with you.” Gone is any sense of sibling rivalry. It may be a little early for career planning, but not if you ask them. “I’m going to be a part-time actor and part-time lawyer,” Roman states boldly,

Megan Lenfert

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Associate Artistic Director Andrew Harris

“because being a lawyer is kind of like acting and you get to help people.” Over 80,000 kids a year see a StageOne show. With such a remarkable audience turnout, they must be doing something right. Harris frequently declares that “you want the audience to walk away saying, ‘That was a great performance’ and not, ‘That was a great performance for kids.’” Holding all actors, regardless of age, to the same standard seems to be a critical element to the theater’s success. Elaborating on this, Harris states that from his vast experience, children are “the most discerning audience. They don’t have the same filters that adults do. They will say immediately if something is good or if it’s not working.” Not only are the actors held to high performance standards but they’re also held to high academic standards. All of the children cast must be in good academic standing. “Education comes first,” Harris states, adding, “if it’s going to jeopardize them academically, we won’t do it.” In fact, all members of the cast must get permission from both their teachers and principals to participate. So it sounds like Anna McGreevy is going to have a very busy year ahead – as she found out that she did win the role of Beth and will have to balance that with schoolwork. It’s a challenge that she’ll no doubt be happy to tackle. FALL 2016

“You want the audience to walk away saying, ‘That was a great performance’ and not, ‘That was a great performance for kids.’” StageOne Associate Artistic Director Andrew Harris

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CENTER of it all Kim Baker Sets the Stage for Change Written by Tonya Abeln â&#x20AC;¢ Photography by Clay Cook and courtesy of The Kentucky Center for the Performing Arts

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very day is extraordinary here,” declares Kim Baker, referring to her post as the president and CEO of The Kentucky Center for the Performing Arts. Even as she oversees and manages the home to many of the city’s major arts organizations, she is careful to acknowledge and appreciate the seemingly inconsequential moments that make her job so unique and fulfilling. “Some days it could be seeing the smile on a young child who is experiencing the Center for the first time. Or – it hit me once as I watched someone cleaning the ‘Phantom’ mask – I remember thinking, ‘Well, that’s not something you get to see every day.’ The people that work in this city in the performing arts are truly special making this an incredibly imaginative and creative environment.” When I first sat down with Kim Baker for an interview almost three years ago, she had been newly promoted into the position of president and CEO of The Kentucky Center for the Performing Arts – the first woman and first Kentuckian to hold that title. During that time, we discussed what experiences had driven her to a life centered around the arts (she credits attending Governor’s School for the Arts, a statewide program that is part of the Center’s Education and Community Arts outreach held in Danville, Kentucky) and her strategy for the future of the Center. “Leadership to me,” she shared at that time, “is really driven by the desire to see positive change happen. I want to be a leader because I want to create that change.” Now settling into her third year as president and CEO, it is evident that Kim has hit her stride in becoming that leader, established in the mission to reach as many people as possible in an effort to create an accessible and lifelong relationship with the arts. She enthusiastically details projects that are finally taking shape as part of their strategic plan. One such initiative takes a page out of the book of their peers, such as the Lincoln Center, who have taken control of their food and beverage component by bringing it in house. “Things to watch out for are the opening of an enhanced food service. We are actually going to be hiring a chef along with a food and beverage staff so we can control the service and create interesting promotions to assure the customer experience is where it needs to be.” Kim continues, “It’s something our patrons have been asking about for quite some time now, and we are listening and responding.” In addition to a master planning process that will envision what the future holds for the Center 118 T H E V O I C E O F L O U I S V I L L E |

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“I love the current season because I think it is absolutely a mix of provocative arts and entertainment and just delightful fun. A little bit of everything is represented.” Kim Baker, president and CEO of The Kentucky Center for the Performing Arts

as well as its Education and Community Arts programs, a new build plan is in the works that will support and expand her bold vision. Projected to be completed in the spring of 2018, the $10 million, 27,000-square-foot nonprofit music venue will be called The Kentucky Center at Paristown Pointe and expects to accommodate 2,000 patrons in a standing room. The project will be owned and operated by The Kentucky Center for the Performing Arts and will support local, regional and national artists as well as serve as a destination for nontraditional performance experiences.

economic development and tourism.

“This is going to be such an interesting project for the city,” Kim shares. “Right now we are in the design development phase with architect Kulapat Yantrasast, who recently did the Speed Museum renovation and local architects K. Norman Berry. It’s going to be a very creative space with a portable stage and reinforced steel so you have lots of opportunity for reconfiguration. There will be advanced video and technology capability. It will really be like a performing arts venue for the future.”

“I love the current season because I think it is absolutely a mix of provocative arts and entertainment and just delightful fun,” Kim describes. “A little bit of everything is represented. I’m especially enthused by what we are doing with contemporary dance. Of course Pilobolus has been here before, but the piece they are doing this season, “Shadowland,” (October 20) is so interesting because of how their use of shadows play with the dancers. This internationally-recognized company will be here in the community in advance doing a lot of deep outreach.”

The Paristown Pointe neighborhood is bounded by Broadway to the north, Barrett Avenue to the east, Kentucky Street to the south and an elevated rail line that runs parallel to Swan Street on the west. The project, co-anchored by Louisville Stoneware and Goodwood Brewing Co. in addition to The Kentucky Center, will knit together five distinct neighborhoods: downtown, NuLu, Smoketown, Germantown and the Highlands. The Center’s vision for this cultural hub is for it to create a positive cultural and economic impact, fueling opportunities for 120 T H E V O I C E O F L O U I S V I L L E |

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Besides providing a home for Louisville’s nationally-renowned art scene with performances by the Louisville Orchestra, Kentucky Opera, Louisville Ballet, StageOne Family Theatre and PNC Bank Broadway in Louisville, the Center’s own Kentucky Center Presents performances provide an exciting and diverse array of entertainment, and the 2016-17 season is no exception with stimulating acts like Vince Gill (September 15), Gavin DeGraw (October 23) and programming featuring Ira Glass presented by 89.3 WFPL (December 3) on the docket.

It would be difficult for Kim to ignore how motherhood factors into the way she consumes popular entertainment. She says her daughters, ages 5, 9 and 10, first alerted her of Kentuckian Jordan Smith (October 25) when he won season nine of “The Voice.” “My two oldest daughters follow him on social media and he has such a captivating voice, so we are happy to welcome his Something Beautiful Tour to The Center.” On a personal level, Kim anticipates the charming Alan Cumming, who

“Sings Sappy Songs” on November 30, and Wendy Whelan, who returns to The Kentucky Center twice this season – first, on October 24 in collaboration with Kentucky to the World, and again on March 8 with choreographer Brian Brooks and New York-based string quartet Brooklyn Rider. The collaboration is co-commissioned by The Kentucky Center for the Performing Arts, the International Festival of Arts & Ideas, The Joyce Theater and the Modlin Center for the Arts at University of Richmond. Kim elaborates, “It is always great to welcome Wendy Whelan back to Kentucky, to support her work and to see her evolve the contemporary dance field.” Not at all an afterthought, Kim concludes that she simply can’t wait to see Bob Dylan and His Band for the first time on November 1. “The times, they are a-changin’!” she laughs. In addition to the diverse and eclectic performances that she helps to curate for our community, Kim has quickly elevated The Kentucky Center for the Performing Arts to a stage of international prestige. Whitney Hall was recently ranked 20th in the world in terms of worldwide ticket sales, topping recognizable names like Shrine Auditorium, Austin City Limits and Radio City Music Hall. “A lot of those tickets sales,” she says, “are driven by the variety of shows that come through Whitney Hall and, of course, thanks to PNC Broadway in Louisville.” With three daughters in her house, five chickens, a colony of bees and an urban garden in her backyard, the Crescent Hill home that she shares with her husband, Mark, is not devoid of its own entertainment value. She proudly describes how she purposefully exposed her daughters to her love for the arts but was careful not to force anything on them. Not surprisingly, they have each found their distinct passions in various realms with her eldest embracing violin, her middle excelling in voice and her youngest quickly developing in dance, enrolled in pre ballet at the Louisville Ballet. As for her limited time to pursue additional hobbies, she goes on to share that she and her husband are renovating their house that was built in 1905, but that comment is quickly followed by her own laughter: “I remember also telling you that three years ago!” FALL 2016

The Kentucky Center presents...

Brown-Forman Midnite Ramble

AN EVENING WITH CHRIS BOTTI Sunday, August 14, 2016, at 7 p.m. Brown Theatre on Broadway

AN INTIMATE EVENING WITH RICKIE LEE JONES Wednesday, August 17, 2016, at 7:30 p.m. The Kentucky Center Glenview Trust Enriching Life Series

VINCE GILL

Thursday, September 15, 2016, at 8 p.m. The Kentucky Center

PILOBOLUS: SHADOWLAND

Thursday, October 20, 2016, at 8 p.m. Brown Theatre on Broadway

GAVIN DEGRAW & ANDY GRAMMER

Vince Gill

With special guest Wrabel Sunday, October 23, 2016, at 7 p.m. The Kentucky Center

JORDAN SMITH: SOMETHING BEAUTIFUL TOUR Tuesday, October 25, 2016, at 7:30 p.m. Brown Theatre on Broadway

BOB DYLAN AND HIS BAND

Tuesday, November 1, 2016, at 8 p.m. The Kentucky Center

STOMP

Friday, November 11, 2016, at 8 p.m. Saturday, November 12, 2016, at 2 p.m. and 8 p.m. The Kentucky Center Brown-Forman Midnite Ramble

THE TEMPTATIONS & THE FOUR TOPS

Jordan Smith

Sunday, November 20, 2016, at 7 p.m. The Kentucky Center

ALAN CUMMING SINGS SAPPY SONGS Wednesday, November 30, 2016, at 7:30 p.m. Brown Theatre on Broadway

89.3 WFPL PRESENTS: AN EVENING WITH IRA GLASS: SEVEN THINGS I’VE LEARNED Saturday, December 3, 2016, at 7:30 p.m. Brown Theatre on Broadway

KATHLEEN MADIGAN – THE MERMAID LADY Thursday, December 8, 2016, at 8 p.m. Brown Theatre on Broadway

Alan Cumming FALL 2016

RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL Saturday, December 17, 2016, at 2 p.m. and 7 p.m. Brown Theatre on Broadway VO I C E -T R I B U N E . C O M

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ornamental enchantment JEWELRY Merkley Kendrick Jewelers FASHION Rodes PHOTOGRAPHY Jessica Budnick STYLING Gunnar Deatherage HAIR Courtney Evans MAKEUP Bethany Hood MODEL Tyrah Burton

Rolex Datejust watch – stainless steel and 18kt white gold, fluted bezel, oyster bracelet, diamond dial Black hand enameled bracelets with diamonds set in 18kt yellow and white gold Fleur-di-lis ring – 14kt white gold • Diamond straight line necklace – 18kt white gold, 7.86ct diamonds, opera-length 124 T H E V O I C E O F L O U I S V I L L E |

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FALL 2016

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Ruby and diamond ring – 18kt yellow gold, 4.82ct cabochon ruby, 1.63ct diamonds South Sea pearl and diamond ring – 18kt yellow gold, 14mm pearl, .52ct diamonds Japanese ackoya pearl necklace – 8-8.5mm pearls Chandelier earrings – 14kt yellow and white gold 126 T H E V O I C E O F L O U I S V I L L E |

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FALL 2016

Diamond panorama earrings – 18kt white gold, 13.36ct diamonds • Vintage diamond engagement ring – platinum, 3.67ct old European-cut diamond, handmade • Side by Side diamond bracelet – platinum, 12.01ct diamonds

FALL 2016

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128 T H E V O I C E O F L O U I S V I L L E |

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FALL 2016

Omega necklace – 14kt yellow gold • Diamond straight-line necklace – 18kt yellow gold, 10.67ct diamonds Diamond pendant – 14kt yellow gold • Oval link chain necklace – 14kt yellow gold • Bangle bracelet – 14kt yellow gold, 7mm Equestrian bracelet – 18kt yellow gold • Diamond straight-line bracelet – 14kt yellow gold, 3.29ct diamonds Rolex Day-Date watch – 18kt yellow gold, presidential bracelet, champaign roman dial, 40mm FALL 2016

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Vintage gold mesh slide bracelet – 14kt yellow gold, black onyx • Diamond disc pendant – 18kt yellow gold, 20ct diamonds • Gold and enamel hoop earrings – 18kt yellow gold, .20ct diamonds, hand-enameled 130 T H E V O I C E O F L O U I S V I L L E |

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FALL 2016

Diamond bangle bracelet – 14kt white gold, 1.00ct diamonds • Edwardian brooch – platinum, 3.54ct diamonds Green tourmaline and diamond ring – 14kt yellow gold, 13.74ct tourmaline, .56ct diamonds • Peridot and diamond earrings – 18kt white gold, 1.61ct diamonds, 7.09ct peridots

FALL 2016

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FALL 2016

OCT

The Doctors’ Ball

OCT

Fleur-De-Lis Fling

For: KentuckyOne Health, Jewish Hospital & St. Mary’s Foundation Where: Louisville Marriott Downtown When: 6:30 p.m. Tariff: Table of 10-$3,000; Table of 8-$2,400; Individual Ticket-$300 Info: kentuckyonehealth.org/doctorsball

gala fal l //wi n t er

CALENDAR As the season cools, the social calendar heats up with some of the most elegant events of the year.

For: Scoutreach Where: The Gramercy When: 6:30 p.m. Tariff: Emerald Sponsorship-$5,000; Sapphire Sponsor-$2,500; Ruby Sponsor-$1,500; Couple Tickets-$180; Individual Tickets-$100 Info: lhcbsa.org/pages/content/fleur-de-lis-fling

KentuckyOne Health Pinktober + PINK PROM For: James Graham Brown Cancer Center Where: The Gillespie When: 8 p.m. Tariff: VIP Table-$1,000; Couple Tickets-$60; Individual Tickets-$35 Info: thepinkprom.com

Whether it’s a fête, festival, jubilee or jamboree, you are sure to have a ball if you pencil these philanthropic affairs into your social diary. Photography by Crystal Ludwick, Tim Valentino and Bill Wine

OCT

Moonlight & Moonshine

For: Norton Neuroscience Institute Resource Center Where: Louisville Marriott Downtown When: 6 p.m. Tariff: Corporate Sponsor Table for 10$3,000; Friends Table for 10-$2,000; Individual Ticket-$200 Info: nortonhealthcare.com or 502.629.8159

Glitter Gala For: Louisville Youth Group Where: PLAY Louisville When: 7 p.m. Tariff: $20 Info: 502.587.7755 FALL 2016

Couture for a Cause For: YWC Charity Campaign Where: The Seelbach Hilton When: 7:30 p.m. Tariff: VIP Gold-$100; General Admission-$80; Fashion Show Only-$70; After Party Only-$70 Info: ywcfashionshow.com

OCT

Frankie Hilbert, Jason Brown, Caroline Johnson, Joey Wagner and Michael Carver at the 2015 PINK PROM

OCT

Pink Tie Ball For: Susan G. Komen Kentucky Where: Louisville Marriott

Downtown When: 6 p.m. Tariff: Individual Tickets-$225; Survivor Ticket-$175; The Studio Tickets-$75 Info: 502.495.7824

The A.O.K. (Acts of Kindness) Gala For: The Stamina Foundation Where: Muhammad Ali Center

When: 7 p.m. Tariff: Couple Tickets-$250; Individual Tickets-$150 Info: staminafd.com

The 2015 Pink Tie Ball

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NOV

Patti and Robert Imperial at the 2015 Boo La La Halloween Ball

OCT

Rivalry Gala

NOV

Brain Ball

For: American Cancer Society Where: Muhammad Ali Center When: 6 p.m. Tariff: Table of 8-$1,500; Individual Ticket-$125 Info: acslexington.ejoinme.org/ 2016RivalryGalaTIX or 859.260.8281

For: Brain Injury Alliance of Kentucky Where: Louisville Marriott East When: 6:30 p.m. Tariff: Table of 10-$2,000; VIP Guest-$200; After Party-$50 Info: 502.614.5434

Gilda’s Night

Feast on Equality

For: Gilda’s Club Louisville Where: Bittners When: 6 p.m. Info: gildasclublouisville.org

For: LGBT Center, University of Louisville Where: The Henry Clay When: 7 p.m. Tariff: Table of 10-$1,250; Individual Ticket-$125 Info: feastonequality.com

Boo La La Halloween Ball

For: Olmsted Park Conservancy Where: Louisville Executive Aviation Hangar at Bowman Field When: 6 p.m. Tariff: Ball Tickets-$250; Bash Tickets-$75 Info: olmsteadparks.org/boolala

NOV

Cedar Lake Gala For: Cedar Lake Where: Louisville Marriott East When: 6 p.m.

Tariff: $175 Info: cedarlake.org or 502.495.4943

NOV

Signature Chefs Auction For: March of Dimes Where: Louisville Marriott

Downtown When: 6 p.m. Tariff: Sponsorships Available. Presenting-$25,000; Gold-$15,000; Silver-$10,000; Bronze-$5,000 Info: 502.473.6683

2015 Gilda’s Night Event Founding Chair Annette Grisanti, future Event Chair Jane Tierney and Patty Johnson

NOV

Sneaker Ball

For: Special Olympics Kentucky Where: The Seelbach Hilton When: 6:45 p.m. Tariff: Champion Sponsor-$5,000; Gold Table-$2,500; Torchbearer Table $1,500 Info: 502.326.5002

NOV

Snow Ball Gala For: Kosair Children’s Hospital Where: Louisville Marriott Downtown

When: 6 p.m. Tariff: Silver Table of 10-$4,500; Crystal Table of 10-$4,000; Individual Ticket-$400 Info: kosairchildrenshospital.com

Candle Glow Gala For: Hosparus Where: Louisville Marriott Downtown When: 6 p.m. Tariff: $250 Info: hosparus.org

2015 Candle Glow Chair Denise Roby, past Chair Michelle Roeder and Senior Manager of Advancement and Community Relations at Hosparus, Inc Karin Olmsted

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The Brain Injury Alliance of Kentucky hosted its annual Brain Ball fundraiser at the Louisville Marriott East on November 20, 2015. With a Roaring ’20s theme, a special cocktail created by Tim Laird and an exciting auction, there was plenty of fun to be had for guests as they supported the organization’s mission of serving those affected by brain injury.

FALL 2016

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What keeps them smiling? Dreaming of the future.

Delta Dental of Kentucky proudly supports many organizations that promote the arts across the Commonwealth. We encourage everyone to experience the beauty of the arts in our community and share in the vision of those who dare to dream.

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www.DeltaDentalKY.com 800-955-2030

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THE VOICE OF LOUISVILLE

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v o i c e-t r i b u ne. c o m