already set, and the replacement show, Smoky Joe’s Cafe, worked out just fine. Jim adds a defiant gesture in the general direction of the telephone, and there’s no question that the two are the same energetic, mirthful, creative couple they’ve always been. Both Jim and Kay stress that audiences will see no difference when they leave the helm. Leadership will remain in the hands of the current staff, with assistant artistic director Dewey Scott-Wiley dropping the word “assistant.” She and marketing/public relations director Chad Henderson will continue to direct and act in shows, as they have for many years now; Morales and technical director Brandon McIver will also remain. “So it’s still Trustus,” Jim says, with the same core family running things as always. His last official directorial effort will be this fall, with the Trustus premiere of the Tony/Pulitzerwinning August: Osage County. Jim’s brother, Ron Hale, now retired from a successful career in soap operas, will make a return appearance. Libby Campbell is in the cast as well and says, “I was in the first Trustus production Jim directed, and I’m in the last Trustus production he’s directing. Full circle.” Campbell says that, “Trustus raised the bar for all of the theatres in town. It proved that Columbia audiences weren’t as unsophisticated as had been believed … It has been an honor and a privilege to have been involved with this theatre from the beginning.” Actor Elena MartinezVidal agrees. “Jim Thigpen is a truly gifted director, and when he is at the top of his game, he is amazing. Jim and Kay have created a legacy.” Kay doesn’t rule out a return to the stage some day, especially if it’s a smaller role. She can even see herself helping out for a few hours each week in the box office. Most of all, she looks forward to having more time to spend as a doting grandparent. Jim also expects to act again at some point, as well as to direct. “Or I could just sit in front of the TV and get fat,” he laughingly offers as an alternative scenario. “No, you wouldn’t do that honey,” Kay says softly, patting his hand. “I wouldn’t let you.” And there, however fleetingly, one sees the genuine affection that these two so clearly have for each other. Frankie and Johnny, their alter-egos on stage, did live happily ever after, after all, creating a thriving professional theatre that enriched Columbia’s cultural life immeasurably. And for that, a grateful audience applauds them.
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