Audience Magazine | Louisville Arts & Entertainment | July 2022

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

magazine

JULY 2022

Special thanks to our premium sponsors whose support lets us provide this publication at no charge to you.

PNC BROADWAY IN LOUISVILLE Get Ready for Broadway's Epic Tale of the Russian Revolution Page 6 LOUISVILLE ORCHESTRA LO Moving to a Viewable and Visitable New HQ Page 10 KENTUCKY PERFORMING ARTS Don't Miss This "Mind-expanding Cultural Mashup" at the Brown Theatre Page 14 ... and more!

TABLE of CONTENTS JULY 2022

6

FROM BOOK TO STAGE

10

MAKING THEIR MOVE

14

A NEW EVOLUTION

JULY FEATURES

20 REMEMBERING SAM GILLIAM

2

S U B S C R I B E

DAM VILLAGE 23 KENTUCKY STATE RESORT PARK

T O

A U D I E N C E

F R E E !

TICKET

GIVEAWAYS

SPECIAL INVITES

SHOW PREVIEWS Stay Connected with Sign up for our e-news and be the first to hear about ticket giveaways, special invites, email news alerts, show previews, reviews and the latest happenings in the performing arts scene in Louisville.

CLICK TO SUBSCRIBE FREE!

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

PUBLISHER

The Audience Group, Inc. G. Douglas Dreisbach MANAGING EDITOR

Amy Higgs CREATIVE DIRECTOR

Rhonda Mefford SALES & MARKETING

G. Douglas Dreisbach CONTRIBUTORS

PNC Broadway in Louisville Louisville Orchestra Kentucky Performing Arts Kentucky Tourism Speed Art Museum

To read current and previous Audience playbills and performance guides, go to issuu.com/audience502.

On the Cover: The Mavericks, an eclectic latin rock and country group, will perform at The Kentucky Center on July 14.

Photo courtesy of The Mavericks.

Read more on page 14.

GOT AN ARTICLE IDEA? Audience Magazine is a platform for the arts in Louisville. If you have an article idea or something you think we should cover, email ahiggs@theaudiencegroup.com © Copyright 2022. The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited.

Audience® Magazine is published by The Audience Group, Inc. 136 St. Matthews Avenue #300 Louisville, KY 40207 502.212.5177 | Audience502.com J U L Y

2 0 2 2

3

Horse-Drawn Trolley Tours

®

What will you experience?

Our gates are open and our horses are waiting!

Plan your visit at kyhorsepark.com.

Kentucky Derby Winner, Funny Cide

International Museum of the Horse

Fresian at the Parade of Breeds

A SUMMER OF SOLACE I regard the theater as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. − Oscar Wilde

This month is usually a time to celebrate freedom, and though we believe the United States is the finest country on the planet, there is no denying its current political and social divisiveness.

Our hearts go out to the victims and families of Chicago’s senseless Fourth of July shootings. We mourn for all those who have been affected by violence, racism, sexism and oppression this year, and throughout history.

While we don’t pretend to have the answers to any of the important questions being asked today, we — and hundreds of thousands of other Americans — can take some small solace in the performing arts. Theater, music, spoken-word poetry — whatever your purview — not only offers shelter from the turbulent storms around us, it provides much-needed connection. As Mr. Wilde so eloquently put it, it reminds us what it means to be human. When it comes down to it, no matter our differences, we are all the same.

Amy Higgs Managing Editor

The summer performing arts calendar offers plenty of ways to connect, and you can read all about them in this issue of Audience Magazine. From PNC Broadway in Louisville’s final show of the 2021-22 season, to one of Shakespeare’s beloved comedies, to the eclectic sounds of a legendary rock and country band, there’s no shortage of opportunities to engage with the theater, and the Louisville community as a whole. Make sure you check out our Events Calendar for a list of more upcoming shows around town.

As always, we have to give a shout-out to our generous advertisers, who allow us to showcase the performing arts and the pivotal role they play in our community every month, at no charge to you.

We encourage you to explore your own humanness through the arts this summer.

It may not offer all the answers you’re looking for, but it is sure to provide a bit of comfort, joy, and a shared sense of compassion.

As the curtain rises,

– The Audience Group G. Douglas Dreisbach Publisher

J U L Y

2 0 2 2

5

PERFORMANCE PREVIEW

FROM BOOK TO

STAGE

BROADWAY'S EPIC TALE OF THE RUSSIAN REVOLUTION LANDS IN LOUISVILLE IN AUGUST

by Amanda Kern

PERFORMANCE PREVIEW

F

August 2-7, 2022

rom the dusk of the Russian Empire to the dazzling lights of 1920s Paris, Broadway's musical Anastasia is making its way to Louisville in August. The Tony Award-winning creators of Broadway's Ragtime craft a tale of harrowing survival, epic adventure, and sultry romance that follows a brave young woman as she unravels her own perplexing past.

With grand sets, dazzling costumes, and an incredible score, Anastasia will whisk you away on an epic adventure to a time and place you'll never forget.

Anastasia is brought from book to stage by celebrated playwright Terrence McNally and directed by Tony Award-winning director Darko Tresnjak. The original 1997 film's composers, Lynn Ahrens and Stephen Flaherty, return to adapt their work for the stage. Stephen Flaherty offers an exuberant new score to accompany Ahrens' lyrical and emotional numbers.

With choreography by Peggy Hickey and costumes by Tony Award nominee Linda Cho, Anastasia is a sumptuous and spectacular production.

After premiering on Broadway in March 2017, Anastasia has galvanized productions worldwide in countries including Japan, Spain, Germany, and Mexico. After a brief hiatus in light of the pandemic, Anastasia is back to entertain audiences across the nation.

HISTORICAL ROOTS You don't have to be a history buff to enjoy the lore of Anastasia, a title inspired by the princess rumored to survive after her royal family was massacred in the Russian Revolution. The story has been adapted for stage and screen multiple times, most notably in the 1997 animated film from 20th Century Fox. The real-life Anastasia Romanov was the youngest daughter of Tsar Nicholas II, the last sovereign of Imperial Russia.

She was born in St. Petersburg on June 18, 1901. On July 17, 1918, she and her family were executed by Bolshevik forces in Yekaterinburg, though rumors persisted that she may have survived, thus inspiring the tale of Anastasia.

The fictional Anastasia's journey begins much the same, beginning in St. Petersburg, where she is the youngest daughter of the last Tsar Nicholas II and his wife, Alexandra. But, as the Revolution sweeps the country, the Romanov family is forced to flee their home in St. Petersburg.

The musical then weaves the tale of Anya, an orphan without any memory of her past, who sets out to discover the truth of her identity. Along the way, she stumbles upon two charming con men, Vlad and Dmitry, who realize the woman is the spitting image of the long-lost Anastasia. Under the guise of helpful comrades, the men plot to present Anya to the Grand Duchess and claim the reward for anyone able to reunite her with her beloved granddaughter, Anastasia.

The real-life Anastasia Romanov was the youngest daughter of Tsar Nicholas II, the last sovereign of Imperial Russia... She and her family were executed

by Bolshevik forces ... though rumors persisted that she may have survived, thus inspiring the tale of Anastasia.

 The Company of the North American Tour of ANASTASIA. Photo by Jeremy Daniel.

P N C

B R O A D WA Y

I N

L O U I S V I L L E

7

The Company of The North American Tour of ANASTASIA. Photo by Jeremy Daniel

Kyla Stone as Anya

the production, while entirely new tunes like "In My Dreams" and "The Neva Flows" offer a distinctively unique glimpse into Anya's heart and history.

PHOTO BY JEREMY DANIEL

While the production retains some elements of the 20th Century Fox classic film, Broadway's Anastasia takes a bit of a departure regarding the more fantastical elements of the animation.

You won't find Rasputin (or any other talking bats), but that doesn't mean Anya is free from pursuing mortal perils.

In preparation, they train Anya in the ways of the aristocracy, teaching her the complex dining etiquette, dance steps, history lessons, and customs of the imperial family.

The three embark on a journey through war-torn Russia as they flee the Bolsheviks and strive to evade capture by the secret police. Along the way, Anya begins to fall for Dmitry. But she soon wonders if he is interested in her or merely using her to cash in on the reward. Finally, they overcome impossible odds to escape the Soviet Union and reach Paris, where they discover that Anya may be far more than anyone could have imagined.

FAMILIAR FAVORITES AND FRESH VOICES Viewers familiar with the famous 1997 animated film Anastasia will be delighted to hear six songs from the movie interspersed with 16 new, exciting numbers, offering a fresh take on the narrative that feels entirely original.

The endearing characters, fast-paced adventure, and sweeping romance that made Anastasia a classic are all brought to life on stage in a way that is sure to delight audiences of all ages.

Fan favorites like "Once Upon a December," "Learn to Do It," and "Journey to the Past" emerge in reimagined glory throughout 8

S U B S C R I B E

T O

Foremost among the unique features of Broadway's retelling is a brand new ruthless villain — Gleb — a Bolshevik general ordered to find and kill the wayward princess. Gleb's menacing pursuit of Anya mirrors the chilling reality of political enemies at large during a time of social upheaval.

In a post-show talkback, the creative team behind Anastasia explained that they were particularly interested in exploring the relationships between family members who have been torn apart by political conflict. Dmitry, Vlad, and Anya must grapple with their complicated pasts while learning to trust one another in the present. They also discover that blood is not always thicker than water, and that family can be found in the most unlikely places.

A MILESTONE IN CASTING The stellar cast truly brings the story to life, making even the most far-fetched moments feel grounded in reality. Leading the 2021-22 national tour of Anastasia is the alluring Kyla Stone, the first Black actress to play Anya in any production of the musical worldwide.

In an interview with the Philadelphia Sun, Stone said she was overwhelmed by what it means to be cast in the groundbreaking role.

A U D I E N C E

F R E E !

"It's so humbling," she says. "When it was first announced, my phone was blowing up, and it was, like, 'This isn't just for me now... it's for other people,' and that was my favorite part.

I've been telling anyone who would listen growing up, [that] I want to do something that's meaningful. I want my career trajectory to not just be about my success; I want it to be inclusive and hopefully make change for the better."

The Los Angeles-based actress has performed in smash hit performances such as Sweeny Todd, 9 to 5, and The Who's Tommy.

Her richly textured performance as Anya is a stunning display of vocal prowess, flawless comedic timing, and emotional honesty.

Stone explains her take on what makes the musical unique from the animated classic film.

"The main difference between the two is that the Broadway show is sort of grounded in the reality of what was going on at the time," she says. "You have the Bolshevik Revolution, and there's a lot of civil unrest in society. So it takes these beloved characters and grounds them in what was actually going on. I also think with Anya, there's a lot more to her as far as her journey into this woman and finding herself."

AN IMPRESSIVE ENSEMBLE Rounding out the cast are seasoned veterans Bryan Seastrom (Vlad) and Sam McLellan (Dmitry). Seastrom's rich baritone voice is a perfect match for Vlad's suave and debonair demeanor, while McLellan's boyish charm and endearing clumsiness are the ideal counterbalances to Dmitry's smoldering good looks.

The three leads' undeniable chemistry is electric, and their performances are sure to leave audiences clamoring for more.

The treacherous Gleb is played by Ben Edquist, who is no stranger to the stage, having performed in a number of P N C

B R O A D WA Y

classic opera productions before joining the cast of Anastasia.

Delgado's Gleb is a truly menacing figure, and his scenes with Stone are some of the most intense and gripping in the show.

In addition, his voice is both rich and dark, making him the perfect foil for Stone's radiant soprano.

The touring production of Anastasia also features an impressive ensemble of dancers and actors, all of whom contribute to the energy and excitement of the show. The gorgeous costumes and lavish sets transport viewers to a bygone era of opulence and elegance, while the thrilling music and pulse-pounding action keep viewers on the edge of their seats.

The sprawling cast is supported by lush sets, dazzling costumes, and stunning special effects that transport audiences to another time and place. Specifically, the set projection design is used to great effect, providing an immersive and transportive experience for viewers that garnered a Drama Desk award for projection designer Aaron Rhyne. From the moment the curtain rises, it is clear that no expense has been spared in creating a truly memorable theatrical experience.

While Anastasia may not be a documentary, it offers a fascinating glimpse into a moment in history that is often overshadowed by the better-known atrocities of the First and Second World Wars.

It also serves as a reminder that even in the darkest of times, hope can triumph, and love can bloom in the most unlikely of places.

Anastasia runs from August 2 to 7 at The Kentucky Center.

Tickets start at $39 and can be purchased online at KentuckyPerfromingArts.org

I N

L O U I S V I L L E

9

MAKING THEIR MOVE

LOUISVILLE ORCHESTRA TO OPEN A VIEWABLE & VISITABLE NEW HEADQUARTERS ON MAIN STREET

by Bill Doolittle

T

he Louisville Orchestra is going places.

But not far.

Actually, it’s the office and administrative staff of the symphony that’s moving to new quarters, keeping up with the musical growth of the orchestra.

The office is trading space on one floor at 620 W. Main St. for three floors next door at 624 W. Main — creating a custombuilt headquarters with room enough for the entire staff, and a chance for visitors to find out what “the world’s most interesting orchestra” is up to now.

“We’ll be on three floors now in a beautiful, historic building on Main Street,” says Graham Parker, CEO of the Louisville Orchestra. “We’re going to have a big sign on the building and real visibility on Main Street for the first time.”

The tall brick buildings of the 600 block of West Main stand in a distinctive row along what once was Louisville’s busiest business street. A century later, West Main is thriving again in a splendid rebirth of business, and arts and entertainment.

And the orchestra’s new headquarters is just a block west and across the street from its performance home in Whitney Hall in the Kentucky Center.

Known as the Meyer Building, 624 W. Main St. was designed in 1880 by renowned Louisville architect Charles D. Meyer.

We’ll be on three floors now in a beautiful, historic building on Main Street. We’re going to have a big sign on the building and real visibility on Main Street for the first time. − Graham Parker, CEO, Louisville Orchestra

It’s typical of its neighbors on the National Register of Historic Buildings, with a decorative cast-iron front at street level leading to a stylish high capitol six stories above. Plate glass windows reflect the image of similar buildings across the street. (One of those housed the orchestra’s offices a half century ago.)

“We were made aware of the building by its owner, Mo Deljoo, who offered us the opportunity to become the primary tenant and help establish the building’s identity as it is renovated,” Parker says. Deljoo is Manager Director, Noveen Holdings, LLC, Noveen Management Inc. “Mr. Deljoo is a Louisville Orchestra supporter and believes in investing his resources with the community. We saw the potential and just went for it.”

 Digital rendering of the LO's new lobby in the Meyer Building on Main Street, courtesy of Louisville Orchestra.

L O U I S V I L L E

O R C H E S T R A

11

she says, the new building should foster more contact between the staff and the orchestra’s loyal listeners.

“We have board members who have never been to our office because board meetings have to be held at a more spacious site,” says Motes.

"So, with a place to gather together, the staff and board members will have the chance to work together even more effectively."

"And,” she adds, “a lot of times, the staff, except for the senior team, never gets to know our board members. I’ve always felt that that’s important. And now, we have the opportunity to make it happen.”

Parker, a Peabody Award-winning music executive with Universal Music Group and Decca Records, and a former general manager of WQXR-FM in New York, has a strong relationship with LO’s Music Director Teddy Abrams.

He signed Abrams and the Louisville Orchestra to a Decca contract before coming to Louisville as interim CEO. A native of Great Britain, Parker has worked in the United States for 26 years, with deep connections in the classical music world. (That’s Beethoven and Brahms, but also show business.) And that’ll probably be reflected in the Louisville Orchestra’s new headquarters — starting with that sign on the building, and an invitation to come inside.

The Meyer Building, 624 W. Main St., was designed in 1880 by renowned Louisville architect Charles D. Meyer and will be the new home of the Louisville Orchestra.

The move will be accomplished through the summer, with an opening planned for fall, soon after the Louisville Orchestra launches its 85th season in September.

“Right now, everybody is scattered hither and yon while the work is going on,” says Carla Givan Motes, the LO’s Director of Patron Services and Ticket Manager. The ticket office, for example, is camped at the nearby Glassworks Building. “But once we get through the changes and learn the shiny new tools, and begin clicking along through the season, I think everything’s going to be great — for the staff, and for patrons.”

Motes says a new website will offer improved electronic ticketing capacity, including print-at-home options, active accounts that can be managed by the patrons, automatic discounts applied for subscribers, and other features. But she’ll still be live and in person to help patrons select the seats they wish. In fact, 12

S U B S C R I B E

T O

“We’re investing in the greatest staff we can attract and retain, and providing them with an office space that is modern and contemporary — yet also welcoming for the community,” says Parker.

“We’re right downtown on Main Street for people to come on up and feel comfortable in visiting. The reception area is on the fourth floor. We’ll have plenty of wall space to maybe showcase local artists. We have a beautiful new music library, and it’ll all be very inviting for meetings and gatherings of supporters.

In all, he says, reflectively, “It feels important.”

A MAGNET ON MAIN STREET Over 85 years, the Louisville Orchestra has operated with many office locations.

Personnel Manager Adrienne Hinkebein came on with the orchestra when its offices were located in the Finley Building at 300 W. Main at the corner of Third and Main streets, the present A U D I E N C E

F R E E !

location of the BBC Brewery. At first, the orchestra office was on the downstairs floor, a few steps from street level, like a jazz club in Greenwich Village.

“We moved upstairs then, taking over the first and second floors, and that was a really nice space,” recalls Hinkebein.

“Our conference room was on the first floor, looking out over the corner intersection. The LG&E building was right there, and it felt like we were in the center of things. There were big windows with awnings, and the windows said, ‘Louisville Orchestra.’

“People would walk by, and drop in,” she recalls. “I remember people would come into town for concerts and be, like, ‘Oh my gosh, I know all about the (orchestra’s) First Edition records.

Can I buy a record? Is there a library I can see?’ And I’d sell them a record. This was about 1999, 2000, before I was Personnel Manager. A totally different era.”

But an era of visibility for the orchestra. Right there at Third and Main. A visibility the orchestra hopes to create in its new building.

French horn player Steve Causey goes back a building before that, recalling when he joined the orchestra in 1970, its office was at 609 Main St., across the street from its new location.

“The players didn’t get by the offices very much, of course,” he says. “We rehearsed and played at The Kentucky Center.

Jorge Mester was my first conductor. But I did like to get over to the office occasionally.”

That office was expanded to include space next door at 611 Main St., with a walk-through between the connected buildings.

Following chronologically, then, the orchestra moved from 609-611 to the Third and Main location Hinkebein mentioned.

Then, through an initiative of the Fund for the Arts, the orchestra joined with Kentucky Opera and Kentucky Shakespeare to occupy several floors in the Brown Building on Main Street called ArtsSpace.

One problem with the Brown was it was too far from Whitney Hall. The orchestra was there for 10 years, until moving closer to The Kentucky Center in the location it just vacated, at 620 W. Main, the Doe-Anderson Building.

It’s been an attractive space, with beautiful views of the Ohio River, but not roomy enough to house all the orchestra staff and operations. The music library, for example, has been located out of sight on a lower level of The Kentucky Center. Now, it’s headed into the new building, with the rest of the orchestra.

AN OFFICE IN A FILE BOX? That’s the “modern era” of the orchestra offices, since 1971.

But before that, back to the orchestra’s founding in 1937, things were sketchy.

We do know that for a number of years, the orchestra had its offices in Memorial Auditorium, at Fourth and Kentucky streets.

The orchestra played there before relocating for better acoustics at Columbia Auditorium, at Spalding University.

L O U I S V I L L E

But the earliest days are pretty misty.

That’s probably because there wasn’t an original “office” of the Louisville Orchestra. The business of the symphony was handled by just a few people — because there were just a few people to run it. Any funds the orchestra had were “poured” into slim salaries and performance fees for the musicians.

Dann C. Byck, the owner of the fashionable Byck’s women's clothing store, headed the search team that hired Robert Whitney, of Chicago, to come to Louisville in 1937 to found a quality orchestra. Byck, and his very orchestra-active wife, Mary Helen, may have handled much of the business matters in those startup years. Fannie Brandeis corresponded with friends in the national musical world to help the cause, as did Mrs. Morris Belknap, University of Louisville music school dean Dwight Anderson, and others. But the notion here is the orchestra was born before its first business office.

Money, of course, was very scarce in 1937, in the Depression Years, and one imagines most of the orchestra’s business files were housed in a file box that got moved around among the early activists. Whitney and his wife, Clarita, probably ended up with the box and the checkbook for a very slim checking account. Whitney had said in his recruitment by the orchestra committee that he had business and management experience in his day job in Chicago managing an artistic initiative of Works Progress Administration (WPA). (We’re just speculating on that file box. Further research is required.)

Whitney noted in his memoirs that he was delighted when violinist Robert Hist volunteered to keep the books. Eventually the Louisville Civic Symphony, as the orchestra was originally called, hired John Snowden as its first manager. Snowden was succeeded in 1948 by John Woolford, from the New York Philharmonic, and then Richard Wangerin, a professional manager from Kansas City, who continued with Whitney through the maestro’s 30-year tenure.

But where were the offices?

We came across one note in Carole Birkhead’s history of the Louisville Orchestra that in 1947, the orchestra had an office at 228 Guthrie St., above the Durand store.

Probably all the offices were similarly downtown.

On a personal note, this writer remembers walking with my dad, Bill Doolittle Sr., a cellist in the symphony, one day on Walnut Street (now Muhammad Ali Boulevard). We bumped into Mr. Wangerin, who shook hands and explained what an orchestra manager did, and how there is a whole set of people who help the conductor and the players put on the show.

So, there’s a call to action to find out more about those days, and who, how, and where those people did the behind-thescenes work of the Louisville Orchestra.

Stay tuned.

O R C H E S T R A

13

ARTIST SPOTLIGHT

A NEW EVOLUTION

THE MAVERICKS BRING ECLECTIC SOUNDS OF ALL-LATIN CONCEPT ALBUM TO THE BROWN THEATRE

by Agustín Gurza

ARTIST SPOTLIGHT July 14, 2022

A

ny band that manages to survive three decades, seeing its core members go from young adults to music veterans, is bound to have its swings and cycles.

The Mavericks, the eclectic rock and country group known for crisscrossing musical boundaries with abandon, has gone through three distinct phases since it was founded in Miami in 1989. An initial period of heady success marked by big hits and critical acclaim in the ’90s. A long hiatus starting 2003 when the musicians each went their own way. And finally, a triumphant reunion in 2012 that held long enough for them to recently celebrate the band’s 30th anniversary.

The Mavericks latest album ushers in the fourth phase of their evolution. “It's like we've had three different lives,” says Raul Malo, the band’s lead singer and songwriter, “and now this is a whole new beginning. We’re sort of going into uncharted territory. I’m looking forward to it and I’m kind of nervous about it too. It's certainly a new adventure.”

On August 21, 2020, The Mavericks officially launched that adventure with the debut of their first-ever, all-Spanish album, released on the band’s own Mono Mundo label. Entitled simply En Español, it is produced by Malo and the band’s long-time collaborator Niko Bolas (Neil Young, Prince, Sheryl Crow).

The lineup includes Malo’s fellow Miamian and charter bandmember, Paul Deakin on drums and vibraphone, as well as veteran Jerry Dale McFadden, who joined in 1993. Eddie Perez,

a Mexican American guitarist from Los Angeles, is the band’s youngest and newest member, becoming a Maverick in 2003.

The band readily embraced the all-Latin concept, as a team.

“It’s a communal project in many ways,” says Malo, “even though I'm leading the charge.”

A DIVERSE BLEND OF STYLES & SOUNDS Although all 12 tracks are in Spanish, as the title suggests, the collection represents a diversity of musical styles and cultural traditions, from tender boleros to brassy mariachi to reimagined Afro-Cuban classics. Seven of the tunes are familiar gems drawn from the vast Latin American songbook, while five are originals written or co-written by Malo.

 The Mavericks AMA Backstage Portrait, 2021. Photo by David McClister.

K E N T U C K Y

P E R F O R M I N G

A RT S

P R E S E N T S

15

Like the band’s entire body of music, this one album cannot be boxed into a single category. The songs are as diverse as Latin America itself, and as cohesive as the ideal of the American melting pot. To season this rich musical paella, The Mavericks add their signature country/rock/Tex-Mex flavors and a refreshing spontaneity to the mix.

En Español flips the band’s usual fusion formula, which adds a striking assortment of genres — salsa, ska, norteño, mariachi, and much more — to its sturdy rock/country base.

Now, the foundation is solidly Latin with streaks of irreverent rock and twangy guitars running through it, all branded with the unmistakable Mavericks style.

“This album, to me, celebrates all those cultures that are so beautiful and so vibrant,” says Malo, who was part of the diverse ensemble known as Los Super Seven in the early 2000s.

“I'm proud of this record for that. I think it’s a very inclusive record. Because this story is not just my story, it's the story of a lot of Latinos.”

The idea for an album consisting entirely of Latin music has been percolating in Malo’s mind for several years. The concept crystalized toward the end of the band’s extended separation, during which Malo was performing and making albums as a solo artist. But even when he was on his own, he never conceived of recording an all-Spanish album without his band.

“I was doing this solo stuff and I thought, ‘If The Mavericks ever get back together, I would love to do this project with them.

I think The Mavericks would make a great album in Spanish.’“ In 2012, the band finally did get back together, and started touring and recording as a group again. In 2019, they celebrated their 30th anniversary with a successful tour that was unfortunately interrupted due to the coronavirus pandemic.

While the tour was suspended, work on the new album continued.

CELEBRATING IMMIGRANT ROOTS The inspiration for this labor of love is rooted in the immigrant experience of the band’s founder. He was christened Raúl Francisco Martínez-Malo Jr., the son of Cuban exiles who was born and raised in the stimulating immigrant environment of Miami’s Little Havana.

His parents, Raul Sr. and Norma, both came to the United States in the early ’60s, fleeing Fidel Castro’s communist revolution.

They met after arriving in Miami, got married and bought a home in the shadow of the old Orange Bowl, west of downtown.

The hub of the growing clan was the abode of Malo’s maternal grandfather, who himself had immigrated from Spain to Cuba, later bringing his family to Florida.

As Malo entered adolescence in the 1970s, the Latin music industry was flourishing in the United States. Pop and folk music from many countries flooded Latin communities. Recordings from many countries were distributed domestically by major labels, sold in neighborhood discotecas, and broadcast on 16

S U B S C R I B E

T O

 VIDEO: The Mavericks − Por Ti (Yo Quiero Ser) Official Music Video. Click to watch!

television and radio via a booming network of Spanishlanguage media.

Malo’s musical milieu was a mind-expanding cultural mashup.

At home, there was a family piano to play at family gatherings, and his grandfather regaled guests with his “beautiful baritone,” Malo recalls. And there was a stream of music always in the air. Songs by Cuba’s venerable Omara Portuondo, Mexico’s romantic Trio Los Panchos, and brash mariachi superstar Vicente Fernandez. But his father also loved Johnny Cash and Patsy Cline, while his mother exposed him to the refined art of opera and classical music.

The budding musician soaked in the sounds, unlike many firstgeneration teenagers who reject their parents’ music as corny or old-fashioned.

“I was never one of those kids who were like, ‘Ah, I hate that music,’” says Malo. “I liked it all, and I would take it all in. To me, it was just part of the vocabulary, part of the DNA.”

MAKING CLASSICS THEIR OWN With a lifetime of music to choose from, picking songs for the new album could have posed an overwhelming task. But for Malo, it felt like a natural selection.

“To me, the criterion really was pretty simple,” he says.

“The songs all mean something to me, personally. You’ve got to remember, too, I’m not only thinking about what I want to sing and what I think I’d sound good singing. I also have to consider what would sound good with The Mavericks. Because we’re a pretty versatile band, but let’s face it, we’re not a salsa band, and we’re not pretending to be mariachis either. Those are entirely different things.”

Among the first songs Malo selected was the introspective ballad “Me Olvidé de Vivir” (I Forgot to Live), originally written in French and popularized in 1978 by Spanish crooner Julio Iglesias, one of the biggest stars of all time in Latin pop music. The tune — about a singer’s regret for lost time in the manic quest for fame — was a favorite of Malo’s beloved grandfather.

A U D I E N C E

F R E E !

up with, what I could write, and just give it a shot.

After all, if you're a songwriter, you're a songwriter.

Musically, if you really listen to them, it's not that different from what The Mavericks do normally.

It really isn’t.”

“Poder Vivir,” the first original song in the sequence, at first blush appears to be a simple song about lost love. The two-word title suggests much more.

“I had this phrase and melody that just kept playing in my head,” says Malo about how he wrote the song. “I wasn’t quite sure what it meant exactly, or what I was going to say, but somehow it felt right to start the song with those words... After many conversations and late nights out on the road, the song kind of wrote itself. We wanted it to be conversational and simple in the end, and that’s what we got.”

That, and a killer final verse that makes the song what Malo intended it to be: “a bit philosophical and Wise:” A veces la vida nos hace pensar Que el mundo no cambia sino para mal Son solo momentos, también pasarán En fin, ni la muerte nos marca un final

As fans might expect, The Mavericks did not record straight-up covers of golden oldies. The songs may be sung in Spanish, but the musical language is all Mavericks.

“We had to tailor the arrangements to what The Mavericks do,” says Malo. “That was the trick, finding the balance of playing these beautiful songs without trying to imitate familiar renditions. I think that’s the best way to pay tribute to the music that we love — by doing it our way.”

Asked to explain what “our way” actually means, the normally articulate bandleader grasps for insight into his own creative process.

“Man, I wish that I could put a method into words, like that was on purpose,” he says. “I can’t say that it was. Sometimes I roll a joint and I mess with the sounds, I get the right guitar

and sometimes an arrangement comes out, or sometimes a whole song. But sometimes nothing comes out. So, it's not as methodical as you might think. If it sounds good, I go with it.

I’ve learned to trust myself a little bit.”

In composing the five new tracks, Malo trusted his instincts, both as songwriter and as a Maverick.

“I think I had one of them written,” he says, “and then the others, I just thought it would be fun to see what I could come K E N T U C K Y

Writing the lovely “Recuerdos” —about the ethereal memories left after love ends — came faster and easier.

“This one was a lot of fun to write,” Malo recalls. “We were under the gun a little bit, trying to finish the record. We were going into the studio on a Sunday. We got home from our show at The Ryman on Saturday night, and we had to be at the studio by noon. Alejandro met me at my house at 9 a.m.

I had coffee ready. I had a groove. I had a melody. And by 12:30, The Mavericks were recording this song at the legendary Blackbird Studios.”

Regardless of the songwriting process — quick or labored, solo or collaborative — the resulting five new numbers (including “Mujer,” “Pensando en Ti,”and “Suspiro Azul”) clearly meet the high bar of blending seamlessly with the established standards.

COMMANDING THE LANGUAGE This is not the first time Malo has written his own songs in Spanish. He included four Castilian compositions on Today, his 2001 debut solo album. But he’s still honing his bilingual craft.

For the new album, he listened to old boleros and closely studied his ancestors’ mother tongue, known as the language of love. He also enlisted the help of longtime collaborator and fellow Cuban Alejandro Menéndez Vega, The Mavericks’ director and videographer who’s also a writer and poet.

P E R F O R M I N G

A RT S

P R E S E N T S

17

YOU DON’T HAVE TO TAKE A NUMBER EVER AGAIN

4OPTIONS TO RENEW CAR TAGS Online | JeffersonCountyClerk.org Telephone | (502) 569-3300 Drop-Box | At every Motor Vehicle location Mail-In | P.O. Box 33033

Louisville, KY 40232-3033

18

S U B S C R I B E

T O

A U D I E N C E

F R E E !

“I would try writing by myself, but I didn't want to use just common language,” says Malo. “I wanted to work with someone who has a real clear command of the language.”

The number then moves into a lush passage with horns and strings, culminating in a thunderous crescendo evoking Phil Spector’s “wall of sound.”

On this album, Malo joins the rarefied ranks of the esteemed Spanish-language composers of seven timeless tracks. Of these widely known standards, two are from Cuba, two from Mexico, and one each from Argentina, Italy, and France via Spain.

Several have been recorded dozens of times, but Malo used as reference the versions with which he was most familiar.

"We have a million versions of that song that have been done the traditional way,” says Malo. “But these are The Mavericks.

I know my guys and I know what they can play, and when the band jams, it’s a special thing. So, I thought, let's arrange this so that it showcases, not only the song, but also this arrangement that lets the band do what it does best.”

For example, “Sombras Nada Más” was originally an Argentine tango about a desperate lover who threatens to slice his veins slowly and bleed out to prove his love to the woman who spurns him. The song was a huge smash in 1967 by Mexican mariachi star Javier Solís, but Malo was enamored of the lesser-known version by elegant Spanish singer Rocío Durcal.

The closing track, “Me Voy a Pinar del Río,” is a paean to the natural beauty of Cuba’s western-most province, relatively untouched by tourism. In tone and topic, it is polar opposite from the opening. This track is joyful, irresistible and danceable.

The romantic bolero “Sabor a Mí,” one of the two Mexican songs on the album, is another international smash with multiple renditions recorded over the years. Malo was most attuned to the hit version by U.S. pop singer Eydie Gormé, with Mexico’s Trio Los Panchos.

The other Mexican tune, “No Vale la Pena,” is a much lighter take on ending a relationship by flatly telling your ungrateful partner, as the title says, “It’s Not Worth It.” The song was written

by Juan Gabriel, another beloved star who Malo considers “one of my favorites.” The Maverick’s mariachi-flavored rendition features guest artist Flaco Jimenez, San Antonio’s world-renowned accordion player.

The two Cuban numbers — “La Sitiera” and “Me Voy a Pinar del Río” — open and close the album like tropical bookends. But it almost didn’t happen that way.

AN UNFORGETTABLE BEGINNING & END “La Sitiera,” now the album’s featured track, almost didn’t make the cut. An early version was recorded on the band’s first day in the studio, but the results were disappointing.

“That one didn’t hold up,” recalls Malo, with some lingering frustration. “Shoot, we had played it live and it just rocked.

But that first recording was not even close. So, it just sat forever in the junk pile.”

Later, with some spare studio time near the end of recording, the song was resuscitated, and it jumped back to life with a jolt.

“I knew that once we had that new version, it was going to make the record. It just sounded right, and you can feel it in the studio. Then we added the strings, and I said, ‘Guys, this has to open the record.’”

The song is played in a much more straightforward fashion, but it also went through a surprise twist in the studio. For the song’s guitar solo, the usual Cuban tres was replaced by the charango, a small Andean guitar almost never used in Cuban music.

The instrumental switch happened by serendipity.

Malo, without The Mavericks, was experimenting in the studio one day with members of a new Cuban rock band, Sweet Lizzy Project, whom he had met while filming the 2017 PBS special, “Havana Time Machine.” Malo later brought the Cuban band to Nashville, recruiting lead singer Lissett Diaz as co-writer and background singer on the new album. On that day at Nashville’s Blackbird Studios, Malo was strumming on the charango while encouraging Sweet Lizzie to join in on an early take of what would become the album’s closing track.

When it came time for the guitar solo, Malo invited the band’s producer and lead guitarist, Miguel Comas, to take a crack at it.

But the first take didn’t take. “He was playing a guitar solo and I was like, ‘Dude, that sounds like Eric Clapton. That's not what we need.’"

So, Malo handed the little charango to the long-haired Cuban rocker, who immediately protested, in Spanish, that he had never played the instrument before. But Malo persisted, and it paid off. The spontaneous Sweet Lizzy performance can be heard on the finished track, perhaps the world’s first Cuban charango solo on record.

It’s no coincidence that the album ends with this positive note about going home to Pinar del Río, where Malo’s father is from.

“It's part of the journey and the longing to be there,” says Malo of his parents’ island homeland. “It’s the longing for that beautiful forbidden fruit which we have gone without for half a century, due to politics. It’s a way to view this journey, which would be a fun one, if we all went on it together someday.”

Article courtesy of The Mavericks.

“La Sitiera” is a traditional guajira, or Cuban country song, that has been recorded by top performers, including Omara Portuondo and Celia Cruz. But its sweet melody, longing lyrics, and gentle rhythms are entirely revolutionized by The Mavericks. The track opens with Malo’s twangy Fender guitar, with delay pedal and reverb, adding an eerie undertone.

K E N T U C K Y

P E R F O R M I N G

91.9 WFPK presents The Mavericks “En Español” World Tour with McKinley James Thursday, July 14, 2022 | 8PM | Brown Theatre Tickets: kentuckyperformingarts.org

A RT S

P R E S E N T S

19

IN REMEMBRANCE

REMEMBERING SAM GILLIAM Prominent African American Abstract Artist Dies at Age 88

By Raphaela Platow, Director, Speed Art Museum

rights, Gallery Enterprises established a consistently supportive forum and network for artists of color to showcase their emerging talent.

After his move to Washington, D.C., Gilliam frequently returned home to visit family, as well as friends associated with another major art collective: the Louisville Art Workshop (1966-78).

The workshop expanded the legacy of Gallery Enterprises, cementing Gilliam's leadership within the fibers of the Louisville art landscape forever.

It is with profound sadness and sense of great loss that we share the passing of one of our most beloved and groundbreaking artists, Sam Gilliam.

The Speed Art Museum has long collected the artist’s work, with seven, careerspanning examples in its collection.

The museum has also hosted three exhibitions of his work over the past 60 years: Sam Gilliam: A Retrospective; Construction: An Installation at the J.B. Speed Museum by Sam Gilliam; and Sam Gilliam: Paintings and Works on Paper.

Gilliam left an immeasurable impact on the art scene in Louisville. His formative years as an artist were supported by the robust midcentury Black art scene (known as the Louisville Renaissance) as well as through his studies at the University of Louisville's Hite Art Institute.

As a graduate student there, Gilliam co-founded the Gallery Enterprises art collective (1957-61), which included emerging artists such as Bob Thompson and Kenneth Victor Young, as well as local luminaries G. Caliman Coxe, Robert Douglas, Fred Bond, and Eugenia Dunn.

In an era defined by the struggle for civil 20

Gilliam also served on the Speed Art Museum’s National Board and was an Emeriti Trustee alongside another fundamental figure in the Louisville Renaissance, sculptor Ed Hamilton, who continues his important work in Louisville.

THROUGH THE YEARS Gilliam’s first works showed the influence of Emil Nolde and Paul Klee and the Abstract Expressionist Nathan Oliveira.

After marrying Dorothy Butler in 1962, he settled in Washington, D.C. There, he established contact with Gene Davis, Tom Downing, and Howard Mehring, who represented a second wave of artists associated with color-field painting.

Gilliam became well known for his color-field paintings and became the most prominent African American abstract painter, with seven one-man exhibitions at the Jefferson Place Gallery, Washington, D.C., between 1965 and 1973.

Characteristic works of the 1960s feature loose canvas stained with patterns of

S U B S C R I B E

T O

A U D I E N C E

Carousel Form II, from the Speed’s collection

color achieved by pigments poured over before it is folded and re-stretched to give a symphonic resonance.

Later works created sculptural assemblages from vigorously textured, mixed-media compositions.

In his densely layered paintings of the late 1970s, Gilliam attempted to achieve an expressive intensity of color, while paying homage to Jackson Pollock and Jasper Johns, claiming a place in the epic tradition of American painting. In the 1980s, he pieced together shapes cut from large canvases strewn with paint to create vibrant crazy-quilt effects, later attaching enameled metal forms to create works that are fully threedimensional. He continued making works marked by intense color and geometric elements that meld painting with sculpture.

Gilliam’s passing is a tremendous loss for the Speed and the arts community in Louisville and at large. We send our deepest condolences to his family and friends during this time of mourning and will forever celebrate the artist’s artistic legacy.

F R E E !

NOW ON VIEW

At #yourSpeed for a limited time only.

Exhibition season sponsored by: Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Arthur J. and Mary Celeste Lerman Charitable Foundation Debra and Ronald Murphy DavFam Art Fund

Claude Monet (French, 1840 – 1926) Nymphéas, 1897–1899 Oil on canvas Loan courtesy of Friends of the Speed Art Museum L2022.1

S P E E D

A RT

M U S E U M

2035 S. 3rd Street

Louisville, KY 40208

21

THIS SUMMER, GIVE THE GIFT OF

ADVENTURE

ORDER TODAY:

TAH KENTUCKY GIFT CARDS TAH Kentucky Gift Cards are perfect gift ideas for any occasion for anyone on your gift list. Gift cards can be used at all Kentucky State Resort Parks (except Breaks Interstate Park), the Kentucky Artisan Center, the Kentucky Horse Park and the Kentucky Historical Society’s 1792 Store. Use gift cards to purchase anything from meals to lodging or gift shop purchases.

@KyTAHC 22

S U B S C R I B E

T O

A U D I E N C E

F R E E !

TAH.KY.GOV

SPECIAL FEATURE

DESTINATION SPOTLIGHT

Kentucky Dam Village State Resort Park From relaxing on a soft sand beach to hiking along lake-lined trails to taking in the spectacular views as you tee up to reeling in a big catch — however you define vacation fun, Kentucky Dam Village State Resort Park has it all.

With the largest marina in the park system located on the largest lake in the state, Kentucky Dam Village State Resort Park is the perfect haven for water sports enthusiasts. Kentucky Dam Marina, open seasonally, provides all your water recreation needs with boat rentals, a retail store, fish and tackle, and any other necessities for a day on Kentucky Lake.

The adventures don't stop at water recreation. The park is loaded with amenities, such as tennis courts, playgrounds, picnic areas and shelters, 200 miles of hiking trails, and a sustainability garden. Opportunities for vacation fun are abundant. Another park gem, known as the granddaddy of the Kentucky State Parks Golf Trail, is a par-72 golf course that plays 6,704 yards from the back tees.

With all the activities bustling around the park, you'll be happy to retire to a comfortable room at the lodge outfitted with a private balcony or porch, or

J U L Y

2 0 2 2

a cozy cottage surrounded by forest.

Campground options are also available for outdoor lovers.

Enhance your stay by visiting nearby destinations like the Land Between the Lake National Recreation Area, Mineral Mound State Park, Wickliffe Mounds State Historic Site, and Paducah Main Street.

Kentucky is home to 45 state parks, including 17 resort parks with restaurants, 30 campgrounds, and 13 golf courses. For more information about Kentucky Dam Village and other state parks, visit parks.ky.gov.

23

EVENTS CALENDAR Audience is your connection to the performing arts and entertainment in Louisville.

Below are some of the events we are looking forward to in the coming months and we hope you enjoy them all!

JULY

6

14 The Mavericks 'En Español' World Tour (rescheduled) 8PM, Brown Theatre kentuckyperformingarts.org

Marc Maron: This May Be the Last Time 8PM, Bomhard Theater kentuckyperformingarts.org

11

SEPTEMBER 7 Daughtry: The Dearly Beloved Tour 8PM, The Louisville Palace LiveNation.com

Boz Scaggs - Out of the Blues Tour 2022 9 Billy Strings 7:30PM, Iroquois Amphitheater Modest Mouse with The Cribs 8:30PM, Iroquois Amphitheater ProductionSimple.com 7:30PM, Iroquois Amphitheater ProductionSimple.com ProductionSimple.com 14 Kansas with Blue Oyster Cult 27 15-18 7:30PM, Iroquois Amphitheater Waterfront Wednesday Bourbon & Beyond ProductionSimple.com Moon Taxi, Sarah Shook Highland Festival Grounds & the Disarmers, at Kentucky Expo Center 17-21 Routine Caffeine BourbonandBeyond.com Big Four Lawn at Waterfront Park The Chicken Coop Theater Company Presents 17 wfpk.org Stephen King's Misery Petty Nicks — The Iconic 7:30PM, Bomhard Theater Tribute to Tom Petty AUGUST kentuckyperformingarts.org & Stevie Nicks 2 8PM, Bomhard Theater 27 Cat Power with Arsun kentuckyperformingarts.org Weird Al — 2022 Return 8PM, Old Forester's of the Ridiculously Self17 Paristown Hall Indulgent, Ill-Advised Vanity Louisville Orchestra kentuckyperformingarts.org Tour with Emo Phillips Opening Night 8PM, Iroquois Amphitheater 2-7 Swing, Swagger & Sway ProductionSimple.com Anastasia 7:30PM, The Kentucky Center PNC Broadway in Louisville louisvilleorchestra.org 31 Whitney Hall Sept. 23- Oct. 2 The Lumineers kentuckyperformingarts.org Kentucky Opera 7:30PM, KFC YUM Center La bohéme 6 Ticketmaster.com Brown Theatre Tim Allen kyopera.org 8PM, The Louisville Palace LiveNation.com

22-24

For more of our preferred arts and entertainment recommendations, visit Audience502.com/audience-events

24

S U B S C R I B E

T O

A U D I E N C E

F R E E !

Celebrate Art in Louisville Support Fund for the Arts today.

FundForTheArts.Org/Give Fund for the Arts supports arts, artists and arts organizations like River City Drum Corps who provide leadership training to young people in and out of school through the power of the drum.

River City Drum Corp Photo by Jon Cherry

J U L Y

2 0 2 2

25

“We’ll be the caregiver so that you can be the family member.”

— Taylor We’ll take care of mom’s medications — you just focus on remembering the names of her new best friends. With weekly Happy Hours, annual retreats, and regular trips into town, you and your loved one will have a lot of celebrating to do — and we’ll be here to support you every step of the way.

Our team of clinical experts are proud to offer: • Licensed nurses on-staff 24/7 • Life Enrichment programming • Restaurant-style dining • Community outings • And more!

Find a Trilogy community near you at TrilogyHS.com and schedule a tour today!

Where family comes to live.

Taylor

Life Enrichment