Kentucky Center - October 2018

We won’t deny that being one of the most requested wines feels pretty good. But the truth is, for us, crafting consistently delicious wines is a reward in and of itself. In other words, thanks for enjoying our wines as much as we enjoy making them.

Completely Cutrer.

Please enjoy responsibly. Š2017 Sonoma-Cutrer Vineyards, Windsor, Sonoma County,

october 2018

Audience® is the official program guide for:

PROGRAM

Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Welcome to Night Vale, with special musical guest Mal Blum Bomhard Theater........................................................ 6 An Evening with Lyle Lovett and Robert Earl Keen The Brown Theatre...................................................... 7 Take Me to the River: New Orleans Live The Brown Theatre.................................................... 12 Kentucky to the World: Chuck Brymer The Brown Theatre.................................................... 15 Lake Street Dive, with special guest Jalen N’Gonda The Brown Theatre.................................................... 19 Anthony Jeselnik: Funny Games The Brown Theatre.................................................... 22 Snap Judgment LIVE! The Brown Theatre.................................................... 23 Gordon Lightfoot The Brown Theatre.................................................... 24

Publisher The Audience Group, Inc. G. Douglas Dreisbach Editor Kay Tull Managing Editor Aggie Keefe Creative Director Jeff Tull Design Kay & Jeff Tull Production Aggie Keefe Sales & Marketing G. Douglas Dreisbach Printing Clark & Riggs

Staff and Support............................................................ 25 Services............................................................................. 30 Theatre Information

G

D

et igital with The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway) Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777 Reserve wheelchair seating or hearing devices at time of ticket purchase.

© Copyright 2018 The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited.

Audience ® is published by

The Audience Group, Inc. 640 South Fourth Street, #300 Louisville, KY 40202 502.212.5177 Audience502.com Printed in USA

Get Digital with Audience502!

Our digital footprint is stronger than ever with Audience502. We keep performing arts enthusiasts “in the know” with show previews, reviews, photo galleries, ticket offers and more on the web and with social media.

Phone: 502.212.5177 E-mail: info@theaudiencegroup.com Web site: Audience502.com

To read this program in a digital format, visit Audience502.com.

WELCOME! What an exciting time for the performing arts. What an exciting time to be a lover of the arts. The Kentucky Center is back in business after the June 13 fire, and our 35th Anniversary Season is bursting at the seams with artistic experiences as we launch into a month packed with performances. In this magazine, you’ll see the breadth of shows The Center is proud to present—and that is just part of the picture. This month, our Resident companies have a number of exciting performances, including two events focusing on the work of Wolfgang Amadeus Mozart: Louisville Orchestra performing Mozart Requiem, featuring Louisville Chamber Choir; and Louisville Ballet’s Mozart, interpreting Mozart’s incredible work through classical and contemporary ballet (including a world premiere work by Louisville Ballet artistic and Executive Director Robert Curran). StageOne Family Theatre kicks off its season with the thrilling Frankenstein, celebrating the 200th anniversary of Mary Shelly’s gothic horror masterpiece. PNC Broadway in Louisville shows us a “whole new world” with the spectacular Louisville premiere of Disney’s Aladdin.

In the coming weeks, The Center is thrilled to herald the return of Dance Theatre of Harlem, celebrating its 50th Anniversary with a special performance on the Whitney Hall stage. Kentucky Opera premieres the brilliant Enemies, A Love Story, based on the novel by I.B. Singer, which also inspired an award-winning movie. The progeny of the classic rock super group Cream celebrates the 50th anniversary of the legendary band’s debut album, playing all their greatest hits. Soon, we will begin the holiday season with Louisville Orchestra’s Home for the Holidays concerts; StageOne Family Theatre’s The Best Christmas Pageant Ever; and, of course, Louisville Ballet’s The Brown-Forman Nutcracker. While you are waiting for the performance to begin, I encourage you to visit our website, kentuckycenter.org, to see the full calendar of events.

Of course, I would be remiss to not also pass along our immense gratitude for your understanding while renovation work continues in The Kentucky Center building.

Thanks to leadership from our friends and partners in Kentucky’s Finance and Administration Cabinet, this massive project is moving forward in a timely fashion. We look forward to being back at 100% soon, and looking better than ever!

Thank you for joining us this evening. It is through your support that we are able to bring great performances like these to the Commonwealth and region. We hope that you will share your experience and encourage others to be a part of the exciting programming and events at The Kentucky Center that are as rich and diverse as the wonderful community we all share.

Kim Baker, President and CEO The Kentucky Center 4

A U D I E N C E

91.9 WFPK presents

Welcome to Night Vale

with special musical guest Mal Blum Tuesday, October 2, 2018 • 8 p.m. • The Kentucky Center, Bomhard Theater

W

elcome to Night Vale is a twice-monthly podcast in the style of community updates for the small desert town of Night Vale, featuring local weather, news, announcements from the Sheriff’s Secret Police, mysterious lights in the night sky, dark hooded figures with unknowable powers, and cultural events.

Turn on your radio and hide.

Written by Joseph Fink and Jeffrey Cranor. Narrated by Cecil Baldwin.

Music by Disparition. Logo by Rob Wilson.

“A geeky cultural gem” ~ CBC “Incredible, spooky, funny, and monumentally charming” ~ BoingBoing Produced by The Kentucky Center and Production Simple 6

A U D I E N C E

Glenview Trust Enriching Life Series

An Evening with Lyle Lovett and Robert Earl Keen Wednesday, October 17, 2018 • 7:30 p.m. • The Brown Theatre

Lyle Lovett

A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a conventiondefying manner that breaks down barriers.

Whether touring as a “Duo” or with his “Acoustic Group” or his “Large Band,” Lovett’s live performances show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music.

Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers.

Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association’s inaugural Trailblazer Award and was named Texas State Musician.

His works, rich and eclectic, are some of the most beloved of any artist working today.

Robert Earl Keen

“The road goes on forever…”

It’s not always easy to sum up a career—let alone a life’s ambition—so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words—the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”)—just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take

A U D I E N C E

7

up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.

“I always thought that I wanted to play music, and I always knew that you had to get some recognition in order to continue to play music,” Keen says. “But I never thought of it in terms of getting to be a big star. I thought of it in terms of having a really, really good career and writing some good songs, and getting onstage and having a really good time.”

Now three-decades on from the release of his debut album—with well over a dozen other records to his name, thousands of shows under his belt and still no end in sight to the road ahead— Keen remains as committed to and inspired by his muse as ever. And as for accruing recognition, well, he’s done alright on that front, too; from his humble beginnings on the Texas folk scene, he’s blazed a peer, critic and fan-lauded trail that’s earned him living-legend (not to mention pioneer) status in the Americana music world. And though the Houston native has never worn his Texas heart on his sleeve, he’s long been regarded as one

8

of the Lone Star State’s finest (not to mention top-drawing) true singersongwriters. He was still a relative unknown in 1989 when his second studio album, West Textures, was released—especially on the triple bill he shared at the time touring with legends Townes Van Zandt and Guy Clark. But once fellow Texas icon Joe Ely recorded both “The Road Goes on Forever” and “Whenever Kindness Fails” on his 1993 album, Love and Danger, the secret was out on Keen’s credentials as a songwriter’s songwriter. By the end of the decade, Keen was a veritable household name in Texas, headlining a millennial New Year’s Eve celebration in Austin that drew an estimated 200,000 people. A dozen years later, he was inducted into the Texas Heritage Songwriters Hall of Fame along with the late, great Van Zandt and his old college buddy, Lyle Lovett.

The middle child of a geologist father and an attorney mother, Keen was weaned on classic rock (in particular, the psychedelic blues trio Cream) and his older brother’s Willie Nelson records—but it was his younger sister’s downtown Houston celebrity status as a “world-champion foosball player” that exposed him to the area’s acoustic folk scene. By the time he started working on his English degree at

A U D I E N C E

Texas A&M, he was teaching himself guitar and setting his poetic musings to song.

That in turn led to a college fling with a bluegrass ensemble (featuring his childhood friend Bryan Duckworth, who would continue to play fiddle with Keen well into the ’90s) and front-porch picking parties with fellow Aggie Lovett at Keen’s rental house—salad days captured in spirit on the Keen/Lovett co-write “The Front Porch Song,” which both artists would eventually record on their respective debut albums.

While Lovett’s self-titled debut was released on major-label Curb Records, Keen took the road less travelled, self-financing and producing 1984’s No Kinda Dancer and leasing it to the independent label Rounder Records, which issued it on its Philo imprint. “It was difficult, because I didn’t know what I was doing…I literally opened up the phonebook and looked for studios,” Keen recalls. “I basically put it all together through brute force and ignorance, but I was shocked with how well it worked out and very happy with it. We had a release party at Butch Hancock’s Dixie Bar and Bustop, and Lyle and Nanci Griffith and a lot of those people who were a part of the Austin folkie scene came out.”

Keen himself had already started to make quite a name for himself on that

scene, thanks to four years of constant regional gigging and winning the Kerrville Folk Festival’s prestigious New Folk songwriting competition in 1983. After his debut’s release, he began touring more and more outside of the state lines, eventually moving to Nashville in 1986. Keen’s stint in Music City, U.S.A., lasted just under two years, but he returned to Texas armed with a publishing deal, a new label (another indie, Sugar Hill) and a national booking agent. He closed the decade with 1988’s The Live Album and the following year’s West Textures, the album that marked the debut of “The Road Goes on Forever” and, not inconsequently, kicked his career into high gear.

With hindsight, Keen admits he had no idea at the time of writing it that his song about a couple of ill-fated lovers running afoul of the law would have the legs it did, but he readily points to the forward thinking of DJ Steve Coffman of San Antonio radio station KRIO for helping to start the fire. “He talked the station into doing sort of a free-form programing format, basically anything he liked, which turned out to be some Texas music along with a lot of cool sort of pop music,” he says. “So all of a sudden, I heard my song back-to-back with the Sheryl Crow song

A U D I E N C E

9

that was popular at the time, and that was the first time that I really felt like I was a real part of the music business, despite having been in it already for a pretty long time. And right after that, I went to a show in San Antonio and there were 1,500 people there—whereas up to that point I’d been playing to, max, maybe 150. That was the real ah-hah moment for me that really got me going and kept me going, because before that I’d been doing this for eight or ten years and had a lot of rejection but very little success.”

After that, though, success came in spades. Although he continued to steer clear of the Garth Brooks-dominated waters of the country mainstream, the perfect storm of Keen’s literate songcraft, razor wit and killer band (more on that in a bit) stirred up a grassroots sensation in Texas not seen since the ’70s heyday of maverick “outlaw country” upstarts Willie, Waylon and Jerry Jeff Walker. Armed with two more albums (1993’s A Bigger Piece of Sky and ’94’s Gringo Honeymoon) brimming with instant classics like “Corpus Christi Bay,” “Whenever Kindness Fails,” “Gringo Honeymoon,” “Dreadful Selfish Crime” and “Merry Christmas From the Family,” he began packing dancehalls, roadhouses, theaters and festival grounds with diverse crowds of rowdy college kids, serious singer-songwriter fans and plenty of folks who, like Keen himself, had been around the Texas music scene long enough to remember Willie’s earliest 4th of July picnics. And the phenomenon was not confined to the Texas state lines. Famed producer and pedal steel ace Lloyd Maines (Joe Ely, Terry Allen) helped Keen and his band bottle lighting on 1996’s No. 2 Live Dinner, a next-best-thing-to-being-there concert document that remains one of Keen’s best-selling albums, and the burgeoning alt-country scene (bolstered

by AAA radio stations across the country 10

and magazines like No Depression) embraced Keen as one of its prime movers.

In the wake of albums like 1997’s Picnic and ’98’s Walking Distance (both released on major-label Arista), one would have been hard-pressed to tell the difference between a rabid Robert Earl Keen crowd at Texas’s legendary Gruene Hall and those at New York City joints like Tramps and the Bowery Ballroom. Little wonder, then, that when the songwriter-revering “Americana” style was officially recognized by the industry 1998, Keen was the genre’s first artist to be featured on the cover of the radio trade magazine Gavin.

The ’90s may have been a boom period for Keen, but his momentum hasn’t ebbed a bit since the turn of the century— nor has his pursuit of continued growth as a writer and artist. If anything, his output from the last decade has been marked by some of the most adventurous music of his career. “Wild Wind,” an unforgettable highlight from Gravitational Forces, his Gurf Morlic-produced 2001 debut for the Nashville-based Americana label Lost Highway, captured the character (and characters) of a small Texas town with a cinematic eye reminiscent of The Last Picture Show; but the album’s title track also found Keen wryly experimenting with spacey, beatnik jazz. For the freewheelin’, freak-flag-flying Farm Fresh Onions (2003, Audium/Koch), Keen and producer Rich Brotherton (his longtime guitarist) took the band into the proverbial garage to knock out their most rocking set of songs to date—most notably the psychedelic rave-up of the title track. Brotherton also produced the more rootsy but equally playful What I Really Mean (2005, E1 Music), but Lloyd Maines was back at the helm for 2009’s eclectic The Rose Hotel and 2011’s spirited Ready for Confetti (both released by Lost Highway). The later was especially well received by fans and

A U D I E N C E

critics alike, with AllMusic’s Thom Jurek raving, “Ready for Confetti is, without question, Keen’s most inspired and focused project in nearly 20 years.”

But the road goes on and on, with no time for resting on laurels. Not that Keen’s complaining. “I had a relatively open schedule for 2013 back at the beginning of the year, but it has just filled in like you wouldn’t believe,” he marvels during a rare day off in Kerrville, Texas (where he lives with his wife and two daughters).

“I’ve broke my record this year—I’ve packed for five trips at one time, because I wasn’t going to be starting any of them in the same place. It’s been crazy!”

Earlier this year, Keen played a handful of sold-out theater dates with Lyle Lovett, just two old friends swapping songs on acoustic guitars like they used to do on Keen’s front porch in College Station. But the lion’s share of his concert schedule still finds him playing full-tilt with his seasoned road and studio band: Brotherton on guitar, Bill Whitbeck on bass, Tom Van Schaik on drums, and Marty Muse on steel guitar. “I’ve been with this band for 20 years now,” Keen says proudly. “I used to think that was just sort of an interesting fact, but now it’s almost a total anomaly—that just doesn’t

happen much. I always felt like once you lock into the right bunch of people, you try to do the best by them that you can.

So we’ve been able to stay together a long time; and I think one thing that makes it worthwhile for people to come see us as an act is the fact that it’s not like we’re trying to work it all out onstage—we’ve already worked everything out.”

As for what they’ll be working on next, well, Keen’s fans probably won’t have to wait very long. Despite the fact that 2014 marked the 30th anniversary of his first album, No Kinda Dancer, Keen’s primary focus remains—as ever—more on the road still ahead than the road behind him.

“We take everything one year at a time,” he says, “but I am hell-bent and bound to make a record this year. I really don’t know what I have in mind as far as what it will be, but what will happen is I will go off to my ‘Scriptorium’ for three or four days to write with no distractions, and I’ll have a record by the time I’m finished. I’m locked into this idea, and I know for a fact that I’m going to get a new record out…unless I get hit by a bus or get run over by my own bus!”

A U D I E N C E

11

Brown-Forman Midnite Ramble

Take Me To The River: New Orleans Live Thursday, October 18, 2018 • 8 p.m. • The Brown Theatre

The Dirty Dozen Brass Band

Celebrating over 40 years since their founding in 1977, New Orleans-based Dirty Dozen Brass Band has taken the traditional foundation of brass band music and incorporated it into a blend of genres including Bebop Jazz, Funk and R&B/Soul. This unique sound, described by the band as a “musical gumbo,” has allowed the Dirty Dozen to tour across 5 continents and more than 30 countries, record 12 studio albums, and collaborate with a range of artists from Modest Mouse to Widespread Panic to Norah Jones. Forty-plus years later, the Dirty Dozen Brass Band is a world-famous music machine whose name is synonymous with genrebending romps and high-octane performances.

The History of the Dirty Dozen Brass Band

In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: 12

social and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession, playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late ’70s, few of either existed. The Dirty Dozen Social and

A U D I E N C E

Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the sevenmember ensemble adopted the venue’s name: The Dirty Dozen Brass Band.

Ivan Neville, Ian Neville

Ivan Neville and Ian Neville, members of Dumpstaphunk, stand out among New Orleans’ best as part of one of the funkiest bands to ever arise from the Crescent City. Born on the Jazz & Heritage Festival stage, and descended from Neville family bloodlines, these soldiers of funk ignite a deep, gritty groove that dares listeners not to move.

Their performances combine ingenious musicianship and complex funk and jazz arrangements. Ivan has played and appeared on several Neville Brothers records, two Rolling Stones albums, as well as his father Aaron Neville’s solo records. He has performed in Bonnie Raitt’s band and was a member of Keith Richard’s solo band, the X-Pensive Winos.

With Dumpstaphunk, Ivan and Ian have performed on the Late Show with David Letterman and become mainstays at music festivals across the country.

George Porter Jr.

George Porter Jr. is best known as the bassist of The Meters, along with Art Neville, Leo Nocentelli and Joseph Zigaboo Modeliste. The group was formed in the mid ’60s and came to be recognized as one of the progenitors of funk then called R&B. The Meters disbanded in 1977 but reformed in 1989.

Today the original group still plays the occasional reunions, but the Funky Meters, of which Porter and Neville are still members, most prominently keeps the spirit alive.

Few bass players in the history of modern New Orleans music are as storied

as George Porter Jr. During the course of a career spanning more then four decades, Porter has not only made a deep impression with his work in the Meters, but he’s notched session work with artists as diverse as Paul McCartney, Jimmy Buffett, David Byrne, Patti LaBelle, Robbie Robertson, Tori Amos, Taj Mahal and Ryan Montbleau, and live performances with Mickey Hart, Bill Kreutzmann, Warren Haynes, John Scofield, Steve Kimock, Eric Krasno (and including recent studio releases with Warren Haynes and Bill Kreutzmann), just to name a few.

Big Chief Monk Boudreaux

The New Orleans Mardi Gras Indian phenomenon is part music, part heritage, part ancestry, part revelry, part fashion, and oft misunderstood. Big Chief Monk Boudreaux is one of the most famous and enduring leaders of that culture and head of the Golden Eagle Mardi Gras Indian tribe. Joseph Pierre “Big Chief Monk” Boudreaux is the leader of the Golden Eagles, a Mardi Gras Indian tribe of New Orleans, Louisiana. Born in New Orleans on Pearl Harbor Day, December 7, 1941, Boudreaux is a vital figure in the tradition and has steadfastly distinguished himself as a gifted folk artist and dynamic performing musician through his unwavering dedication to this singular African American culture. Boudreaux is known for his long-time collaboration with Big Chief Bo Dollis and the Wild Magnolia group, though he left the group nearly a decade ago to form the Golden Eagle Mardi Gras Indians. His latest album, Rising Sun, is a collaboration with Reverend Goat Carson, a professed “Renegade Cherokee.”

In 2016, Boudreaux was given the lifetime honor of the National Heritage Fellowship by the National Endowment for the Arts.

A U D I E N C E

13

Lost Bayou Ramblers Duo

Lost Bayou Ramblers was formed in 1999 by brothers Andre and Louis Michot, performing the roots Cajun music they learned as members of Les Frères Michot, the family band their father and uncles formed in the ’80s. The brothers quickly began playing clubs and festivals around Louisiana, and taking the traditional music they were raised with to new levels of rhythmic energy and spontaneity, producing the punk and psychedelic labels given to the band by reviews over the years.

Their Jack White produced performance in the 2017 documentary series and on the accompanying record release American Epic helped solidify Lost Bayou Ramblers’ reputation as one of the world’s finest traditional Cajun outfits, if one of the least orthodox. With eight albums, a Grammy win for Best Regional Roots album, contributions to the score of the Oscar-nominated Beasts Of The Southern Wild, and touring with both Arcade Fire and the Violent Femmes, Lost Bayou continues to swing wide from their Louisiana home base.

since. In high school he was one of two students chosen from the state of Louisiana to perform in the McDonald’s All-American band. After high school he enrolled in music studies at Southern University. After a few years he decided to pursue a career in the music business.

Terence credits George Porter Jr. for taking him under his wing and introducing him to the vast repertoire of New Orleans music.

His professional career has taken him all over the world, and his unsurpassed skills on the drums have allowed him to play with an eclectic group of musicians. Terence has performed with artists like Dr. John, Earl King, Fats Domino, Allen Toussaint, The Dirty Dozen Brass Band, Kermit Ruffins, Johnny Adams, The Wild Magnolias, Ivan Neville & Dumpstaphunk, Norah Jones, Ani DiFranco, John Scofield, DJ Logic, Robert Randolph, Widespread Panic, The Black Crows, North Mississippi All-Stars, Treme Brass band and many other New Orleans artists.

79rs Gang

Featuring Jermaine Bossier, chief of the 7th Ward Creole Hunter gang, and Romeo Bougere, chief of the 9th Ward Hunter gang. Once rivals, they now come together to make beautiful music.

Regulars at the legendary Tipitina’s and New Orleans Jazz & Heritage Festival, they have also performed with the Stooges and Papa Mali.

Terence Higgins

Terence was born in New Orleans in 1970 and was raised in the suburb of old Algiers. He was introduced to the drums at a very young age by his great grandfather and he has been playing ever 14

A U D I E N C E

KentuckY TO THE WORLD in collaboration with

The Kentucky Center For The Performing Arts presents the

Republic Bank Foundation Speaker Series

Chuck Brymer

From Main Street to Madison Avenue:

How Kentucky Launched a Global Advertising Star Wednesday, October 24, 2018 • The Brown Theatre 5:30 p.m. Reception • 6:30 p.m. Program

Y

our clothes, your car, your home and all the products in it—and even you—have been influenced by this man.

Louisville native Chuck Brymer went from our Main Street to Madison Avenue as one of the world’s leading brand experts whose work influences decisionmaking around the world.

He is Chairman of DDB Worldwide Communications Group, one of the top advertising and marketing agencies in the world. At DDB, Chuck oversees the

operations of the network’s more than 200 offices in over 90 countries, as well as its partner companies.

Chuck will talk about the impact of his work in our lives and how his Kentucky roots have been an advantage in his life and career.

He understands we are surrounded by brands—and with that comes the immense power to communicate information and enable the spread of ideas around the world. His clients include Volkswagen, McDonald’s, Samsung, Johnson & Johnson, Audi, Miller, Coors, Pepsi and many more you will recognize that are most likely in your refrigerator or on your driveway.

Chuck has written and lectured extensively on the subjects of corporate identity, advertising and brand valuation. He is a frequently-published writer and creator of Businessweek’s annual ranking of “The World’s Best Global Brands.” In partnership with The Economist, Chuck co-authored the book Brands and Branding. He also created the highly regarded Brandchannel.com,

A U D I E N C E

15

the leading online exchange about brands and branding.

Chuck will have a conversation with well-known business leader and community activist Maggie Payette Harlow, who is Founder of CliffDivers,

CEO of Signarama Downtown and Co-Owner at YESCO Louisville.

Join Kentucky to the World on Wednesday, October 24, as we get inside the head of the man whose job it is to get inside yours.

COMING MARCH 7, 2019

In collaboration with

The Kentucky Center for the Performing Arts presents the

Republic Bank Foundation Speaker Series

Dr. Vicki Phillips – Passionate Champion of Education Forging a Path to the Future Education influences everything. Beyond the lives of children in classrooms, the practices and outcomes of any public education system profoundly affect the lives and economic health of communities, states and nations.

Dr. Vicki Phillips, raised in Breckinridge County, Kentucky, spent eight years as director of education strategy and grantmaking for the Bill and Melinda Gates Foundation. They said she was selected because of her “deep understanding of the challenges facing American schools combined with her strong track record of school improvement.” As a classroom teacher and education leader in local, state and 16

national organizations, Phillips has had a bird’s-eye view of the challenges and best practices in education around the world.

Serving in senior executive positions in the Kentucky Department of Education, Phillips had a front row seat during the years immediately before and after the sweeping Kentucky Education Reform Act (KERA) of 1990.

How far has the state’s public education system come in the years since? How much farther can Kentucky go? What would it take to move Americans to the highest levels of performance in the world? And how can citizens, businesses and others help support this critically important journey?

Join Kentucky to the World for a thoughtprovoking conversation with Phillips about Kentucky’s extraordinary impact on education, and education’s unfolding impact on Kentucky.

A U D I E N C E

What Is Kentucky to the World?

Kentucky to the World, a Louisville-based nonprofit, is dedicated to enhancing the intellectual reputation of the state, its people and its assets through a unique combination of live events and video outreach. We fulfill our mission by featuring and promoting extraordinary individuals with Kentucky ties through a speaker series for general and student audiences, and through videos distributed online, through community partners and KET (Kentucky Educational Television).

Background

Founded in 2012, Kentucky to the World is unique in its singular focus on Kentucky’s intellectual reputation. KTW has hosted 15 public programs that provided free tickets for 700 students from more than 40 schools and organizations, most from underserved areas. Three live speaker programs a year for general audiences are held in collaboration with The Kentucky Center for the Performing Arts with Republic Bank Foundation as the title sponsor. Preceding each event is a specially designed program for more than 50 local high school students who attend an intimate briefing with speakers, supported by title sponsor Lifetime Wealth Strategies. KTW also hosts a Modern Thinkers Social Series program once a year, aimed at engaging young adults.

Some of Our Programs Have Featured • Daniel Roth (Louisville), Executive Editor, LinkedIn, New York, New York • Wendy Whelan (Louisville), world-renowned New York City Ballet principal ballerina, New York, New York • Phillip A. Sharp, Ph.D. (Falmouth), Nobel Laureate, Institute Professor, Massachusetts Institute of Technology, Boston, Massachusetts • Tracy Drain (Louisville), flight systems engineer, NASA’s Jet Propulsion Lab, Pasadena, California Kentucky: The New Narrative

Kentucky: The New Narrative is a Kentucky to the World (KTW) initiative that reaches communities throughout the Commonwealth and beyond, sharing stories of people with Kentucky ties whose talents are having an impact around the world. There are countless powerful stories to share, and TNN aims to develop even more opportunities to gather and disseminate them, reaching as many people as possible in as many ways as possible with KTW’s unique documentary video content and vision.

Distribution through community partners located throughout the state will facilitate ready access to Kentucky to the World’s hallmark quality and excellence, and to thousands of people in addition to those who purchase tickets for our live events.

Through its relationships with this expanding network of community partners, KTW will be able to distribute video documentaries for the benefit of all Kentucky citizens, further educating, exciting, engaging and empowering audiences. Through Kentucky: The New Narrative, Kentucky to the World tells the new story of Kentucky’s intellectual and cultural accomplishments on the world stage.

Become a Friend to Kentucky to the World

Whether you’re a business person concerned about recruitment and retention of world-class talent, a citizen tired of Kentucky too often getting a bad rap, a student wondering how to grab onto the dreams you have for the future, or someone who’s just not sure if Kentucky and Kentuckians have what it takes to compete on the world stage—this is your organization. Donating to Kentucky to the World is easy! Make your tax-deductible gift by donating today at www.kentuckytotheworld.org, or connect with us to learn more by calling 502.897.3819.

A U D I E N C E

17

We’re proving our excellence to the world. Won’t you join with us?

Kentucky to the World Sponsors

Jordan Clines JEWELRY

Friends of Kentucky to the World $2500 and Above Susan & Mark Blieden Sandra Frazier Porter Watkins & George Bailey Shelly & Kenny Zegart $1000 –$2499 Terrian Barnes Bass Family Foundation Gladys & Lewis Bass Linda & Jerry Bruckheimer Christina Carter Hiram & Terry Ely Jane & Bert Emke Jean Frazier Susan Hershberg Ingrid & John Johnson Kentucky Select Properties Amy & Sterling Lapinski Sarah & Reza Rabiee Stephen Reily & Emily Bingham Ben Robinson Roth Family Foundation $500 - $999 Anonymous Dr. Rebecca Booth Lee & Lois Epstein Jessica Loving & Sheryl Snyder 18

$100–$499 Jerry & Madeline Abramson Anonymous David & Regina Beckman Benita Berman Edith Bingham Ann Leah Blieden Dale J. & Ceci Conway Boden John Y. Brown, III Dr. & Mrs. Jeffrey P. Callen Mark Campisano & Lindsey Miller John H. Clark, IV Sam & Mary Michael Corbett Linda & Fred Cowan Melissa & Rudy Gernert James & Kay Grubola Lee Jolly Anne & Fred Joseph Marjorie & Robert Kohn Marti Kuehn Jayne Labes Judy & Fred Look Kevin Lynch Debby & Harry Lee Meyer Ellen & Richard Miller Debra & Ronald Murphy Kathy & Rob Panther Henry & Sharon Potter Kris & Will Rawley A U D I E N C E

Dr. & Mrs. Steven Reiss Mike Rodgers & Pam Greenwell Sallie Rhyne Ellen & Philip Rosenbloom Bonnie & John Roth Laura & Mark Rothstein Denise Schiller Katy Schneider Dr. Marilyn Schorin Robin & Daniel Schwartz Jerry Seligman Eric & Terri Seltz Ellen & Max Shapira Babu & Regina Sharma Susan B. Stokes Mr. & Mrs. James R. Voyles Robert & Margaret Hays Walker Barbara & Frank Weisberg Anna & Allan Weiss Arnold & Carol Zegart Susan G. Zepeda & Fred P. Seifer Student Sponsors Lifetime Wealth Strategies Jordan Clines Jewelers Porter Watkins & George Bailey

91.9 WFPK presents

Lake Street Dive

With special guest Jalen N’Gonda Thursday, October 25, 2018 • 8 p.m. • The Brown Theatre

T

he title of Lake Street Dive’s Free Yourself Up is both an exhortation to listeners and a statement of purpose for the band. The songs have an infectious swagger, even when dealing with awkward breakups or the unsettled state of our world.

Free Yourself Up is Lake Street Dive’s most confident album yet, seriously soulful and exuberantly rocking. And, in many ways, it is Lake Street Dive’s most intimate and collaborative, with the band itself taking over the production reins and working as a tightly knit unit to craft these ten songs. In addition, the quartet drafted touring keyboardist Akie Bermiss to join them in the studio, literally freeing the band up to explore a wider range of instrumental textures, construct more full-bodied arrangements, and build stacks of lively background harmonies.

On Free Yourself Up, the sound is influenced by late sixties/early seventies R&B, AM pop and FM rock while the lyrics

are informed more by contemporary events. The album opens with “Baby, Don’t Leave Me Alone With My Thoughts,” which envisions a lover acting as a “human shield” against the anxiety of our Twitterravaged age. It’s funny, sweet, a little angry and definitely right up-to-theminute in its sentiment. Singer Rachael Price says, “I thought about that song as the thesis of this record. It’s a disco-dance fun song, but it’s also a person talking about needing comfort from another person, and it has a reference to the political climate.”

The lyrics to the guitar-driven “Shame, Shame, Shame,” which feels like

A U D I E N C E

19

undiscovered, transistor-radio-ready AM gold, bravely speak to an unnamed person: “No I’m not getting caught in your little spider web/Won’t let an angry dog get me down/Don’t you think it’s time we put this dog out of his misery?/ Change is coming, oh yeah.…” Bassist Bridget Kearney explains, “This album is based in the realities in our time, which have inevitably become part of everyone’s daily life. It’s something you think about and obsess over—and write songs about.

Free Yourself Up is about empowering yourself, emboldening yourself, no matter what’s going wrong.”

Adds drummer Mike Calabrese, “This time around, we were changing so many things anyway, we felt freer to go deep into various subjects, to explore a multitude of emotions to a background of music that is a different direction in and of itself. It’s a juxtaposition of new subject matter and new musical developments. We’re not just this happy-go-lucky band anymore.”

The band clearly enjoyed itself in the studio as the rhythmically propulsive “Dude” indicates. As the singer complains about a lover who is always out with the guys, a steady beat builds to a big, defiant chorus and then the song veers to the left, culminating in a kind of psychedelic duel between trumpet and guitar, its conclusion marked by echoes of the band’s laughter. The percolating “Red Light Kisses” is highlighted by call-andresponse vocals between Price and her band mates (doing their best falsettos) and a classic percussion-and-handclaps breakdown towards the end. “Musta Been Something” is a more stripped-down slow-dance ballad, a showcase for Price’s voice and Mike “McDuck” Olson’s guitar.

“I Can Change” is an even more pensive ballad. “We were watching the news in the summer of 2017 and seeing people trapped in these cycles of hate 20

that humanity can’t seem to find its way out of,” Kearney explains. “And it’s easy enough to look at that from the outside and criticize, but the really hard part is striving to understand your own weaknesses and biases and prejudices and learning to do better. ‘I Can Change’ is us summoning the courage to do that.”

Lake Street Dive was for many years a self-reliant unit. After forming in 2004, while all the members were studying at the New England Conservatory of Music in Boston, they assiduously built a following through a series of independent album releases, countless club tours and a few lucky breaks. In 2013, producer T Bone Burnett invited them to join a star-studded lineup at a New York City concert where they practically stole the show—and wound up with a deal from Nonesuch Records. The band’s label debut, Side Pony, was greeted with raves.

Rolling Stone called it “irresistible” and the Boston Globe said, “Side Pony is a confident, expertly played statement from a band that’s been honing its approach for more than a decade, and it clearly shows that Lake Street Dive is ready to make itself known to whatever audiences have yet to succumb to its many charms.”

Lake Street Dive spent eighteen months on the road in support of Side Pony. Despite the hectic pace, the band mates started brainstorming about their next album whenever they found a spare moment. As guitarist McDuck recalls, “We remembered how things worked before we added the crew and the bus and the manager. All of that support is great, but it left us with less time to sit around and listen to music together. So when we had a day off, we made a point to sit on the tour bus and play records for each other, the way we used to when we’d drive ourselves in a van.”

Free Yourself Up is the sound of a democratic party, organized by a band

A U D I E N C E

that has bolstered its deep well of talent with a healthy supply of mutual trust.

Though the individual band members had traditionally written separately and then delivered meticulously rendered demos to the group, the process began to change while recording Side Pony. This time Lake Street Dive took that idea further, helping each other out on nascent songs and ultimately deciding to produce the album itself, with the ample help of engineer Dan Knobler, a former Brooklynite now based in Nashville.

That wasn’t the original plan. As the Lake Street Dive team was deliberating about which producers to reach out to, they decided to book a demo session on their own at Knobler’s tiny Goosehead Palace studio, a modest but very welcoming garage space. Recounts Price, “We go in the studio every two years for a concentrated period of time and then we go on the road and perfect what we do.

But we don’t have that same practice in the studio. So we said to ourselves, ‘Let’s practice what recording feels like.’ We found out that a) we could have so much fun and b) we work very quickly in a specific way and we collaborated perfectly together.” She continues, “I think we were quite scared that without having that fifth neutral voice we would endlessly be in the decision-making process—because we are so democratic. Our fears were assuaged after that session, though.”

They sent the results to Brooklynbased mixer Joe Visciano and, says Kearney, “He was able to do incredible things, making the record really pop and sound like it was recorded in a multimillion-dollar studio. That seemed like the perfect solution, to do it in a place that was really comfortable.” So they returned to Knobler in Nashville to complete the album, forgoing previous notions about moving to a different studio for the next step.

Kearney continues: “The process felt really natural. We had a good amount of tunes to work with, some of which we had played live, some we’d never played at all, and we kept writing during the recording process. We found tools that were fun and worked well in the studio.

For instance, a friend had left a Korg synthesizer in my apartment; we tried it on one song and loved it, so we put it on a couple of other tracks,” she says. “And Akie was a huge part of the sound of the record as well; the way he plays and chooses to voice things elevates the song.”

“There was a fearlessness to the process, an open-mindedness. Collaborating allowed us to feel freer; we were sharing the songwriting burden. Some of these songs almost died in our voice memo apps but were revived—or Frankenstein-ed— in the process of collaborating,” adds Calabrese. “Dan Knobler became more than just an engineer; he was an arbiter.

He was very important to the sound of the record and to certain artistic choices that helped to polish things to perfection.”

Kearney summarizes the experience of the band’s collaborative, flexible approach to making Free Yourself Up, explaining the origins of lead album track “Good Kisser”: “I had thought of the chorus or at least the opening; it was a lyrical idea I had plus a little tiny bit of a melody.

Then we were on stage in North Carolina playing this cool funky groove we had started using on ‘How It Feels To Be Alone’ and I thought, ‘That’s it! That’s the perfect thing for this song idea I have. It really needs to find a home.’ I got off stage, went to the dressing room, and wrote almost the whole song—in the moment, inspired by the strength of the band that I experienced on stage that night.”

Bringing the process full circle, Price adds, “When we heard Joe’s first mix of that song, I stood up and said, ‘I can’t believe we made this in a garage!’”

A U D I E N C E

21

The Kentucky Center and Live Nation present

Anthony Jeselnik: Funny Games Friday, October 26, 2018 • 7 p.m. • The Brown Theatre

J

eselnik is a comedy industry veteran wowing audiences for more than 15 years. 2017 was a banner year for Anthony as he toured with Chris Rock’s Total Blackout tour and perfected his new hour, workshopping in clubs across North America.

He started his comedy career by starring in and creating Comedy Central’s The Jeselnik Offensive, which ran for two seasons. He went on to write and appear for several Comedy Central Roasts, most notable: The Roast of Donald Trump and The Roast of Charlie Sheen. Anthony was the first ever stand-up comic to appear on Late Night with Jimmy Fallon. He also wrote for Late Night with Jimmy Fallon as well as received an Emmy Nomination for his work on A Night of Too Many Stars: An Overbooked Concert For Autistic Education. In 2008, Jeselnik was named as one of Variety’s 10 Comics to Watch,

22

and in 2009 was named Comedy Central’s Hot Comics. In 2010, Anthony released his debut comedy album SHAKESPEARE through Comedy Central Records. In 2013, he released Caligula, his first hour long special, to critical

acclaim. Jeselnik hosted season nine of NBC’s Last Comic Standing alongside judges Norm MacDonald, Roseanne Barr and Keenan Ivory Wayans. His last official tour was in 2014 and ended in early 2015 when he shot his critically acclaimed Netflix special Thoughts and Prayers.

A U D I E N C E

89.3 WFPL welcomes

Snap Judgment LIVE! Sunday, October 28, 2018 • 7 p.m. • The Brown Theatre

S

nap Judgment is the storytelling phenomena electrifying audiences nationwide. Created by Glynn Washington, produced by WNYC and launched on NPR stations five years ago, Snap delivers a raw, intimate, musical brand of narrative—daring audiences to see the world through the eyes of another. Snap Judgment LIVE! features the world’s finest storytellers, on stage, backed by Snap Judgment band.

We ask Snap storytellers to dig deep, and marvel as they create magic. Snap Judgment crafts powerful multiplatform experiences (radio, stage, screen, web) that deliver raw, intimate narratives—giving audiences a glimpse into the lives of a stranger.

Snap Judgment is heard weekly on over 365 public radio stations and downloaded over two million times a month.

The Atlantic magazine hailed Snap’s Glynn Washington as “the first African American (NPR) host to swing a big cultural stick, the first who seems likely to become a public-radio superstar on the order of Glass or Garrison Keillor….”

Ira Glass wrote, “As a host, Glynn Washington has chops that I and (Jad) Abumrad and (Garrison) Keillor don’t even dream of….”

Before Snap Judgment, Glynn worked as an educator, diplomat,

community activist, actor, political strategist, fist-shaker, mountain-hollerer and foot stomper. Glynn composed music for the Kunst Stoff dance performances in San Francisco, rocked live spoken word poetry in Detroit, joined a band in Indonesia, wrote several screenplays, painted a daring series of self-portraits, released a blues album, and thinks his stories are best served with cocktails.

A U D I E N C E

23

91.9 WFPK presents

Gordon Lightfoot Tuesday, October 30, 2018 • 7:30 p.m. • The Brown Theatre

G

ordon Lightfoot has recorded twenty albums and has five Grammy nominations. His songs have been aired regularly for 50 years, earning him radio singles chart positions in North America achieved by few others. Lightfoot’s radio hits in the USA have earned five No. 1s, five Top 10s and thirteen Top 40 hits. In Canada, he has earned sixteen No. 1s, eighteen Top 10s and twenty-one Top 40 hits.

Aside from his success in writing, singing and performing his own songs, Lightfoot has found fortune in having his songs recorded and performed by other great artists, including Bob Dylan, Elvis Presley, Johnny Cash, Hank Williams Jr., Marty Robbins, Jerry Lee Lewis, Judy Collins, Johnny Mathis, Anne Murray, Olivia Newton-John, Sarah McLachlan, Barbra Streisand, Peter Paul & Mary, Harry Belafonte, Jane’s Addiction, Richie Havens, Glen Campbell, Toby Keith and George Hamilton IV.

In June of 2012, Lightfoot’s legacy was further enhanced when he was inducted into the Songwriters Hall of Fame. Lightfoot was honored for his role in defining the folk-pop sound of the 1960s and ’70s. There are fewer than 400 inductees who make up the impressive roster enshrined in the Songwriters Hall of Fame, including Barry Mann, Jerry Leiber and Mike Stoller, Hal David and Burt Bacharach, John Fogerty, Bob Dylan, Isaac Hayes, Carole King, Paul Simon, Billy Joel, Sir Elton John, Bernie Taupin, Brian Wilson, James Taylor, James Brown, 24

Bruce Springsteen, Jim Croce, Phil Collins, Loretta Lynn, Jimmy Webb, Van Morrison, Kris Kristofferson, Dolly Parton, Diane Warren, Garth Brooks, Leon Russell and Leonard Cohen.

In his native Canada, Lightfoot has been decorated with the highest honors bestowed to a civilian, including the Governor’s General Award and the Companion to the Order of Canada honor of merit. He has also won 17 Juno Awards—Canada’s equivalent to the Grammy Awards. Gordon is a member of Canada’s Walk of Fame and The Canadian Songwriters Hall of Fame. In 2007, Canada Post honored him by issuing an official Gordon Lightfoot postage stamp.

Lightfoot is also in the Canadian Music Hall of Fame and the Canadian Country Music Hall of Fame. Gordon Lightfoot is an indelible part of the Canadian national spirit and regarded as perhaps the most prolific and greatest Canadian singer-songwriter of all time.

Produced by The Kentucky Center and NS2.

A U D I E N C E

A n n u a l S u pp o r t Commonwealth of Kentucky, The Honorable Matt Bevin, Governor; Tourism, Arts and Heritage Cabinet, Don Parkinson, Secretary; The Kentucky General Assembly $100,000+ Tourism, Arts & Heritage Cabinet Kentucky Department of Education PNC Broadway in Louisville/ Louisville Theatrical Society $50,000 - $99,999 Brown-Forman Corporation Humana Foundation The Gheens Foundation Jewish Heritage Fund for Excellence Louisville Public Media The Estate of Murrel Straley $25,000 - $49,999 The Estate of Ada Lee Kane Mr. & Mrs. Terry E. Forcht Ms. Sandra Frazier The Glenview Trust Company Louisville/Jefferson County Metro Government The Norton Foundation, Inc. PNC Bank Toyota Motor Manufacturing, Kentucky

WHAS Crusade for Children WHAS 11 $15,000 - $24,999 Anonymous BB&T Employees of the Kentucky Center GE Appliances, a Haier Company LEO Weekly Mr. & Mrs. Theodore H. Nixon Water Energizers

LG&E & KU Services Company Lite 106.9 FM Louisville Convention & Visitors Bureau The Estate of Kathy Monin Mr. & Mrs. Robert W. Rounsavall, III South Arts The UPS Foundation

$5,000 - $9,999 Ms. Eleanor Bingham Miller Stephen Campbell & Heather McHold Cellar Door Chocolates $10,000 - $14,999 Coca-Cola Bottling Company of Atrium Centers LLC Louisville B.J. Killian Foundation D.D. Williamson & Co, Inc. Mrs. Christina Lee Brown Elizabeth W. Davis Disabled American Veterans Bruce Flannery Charitable Service Trust Karen & Roger Hale Disabled Veterans National Keeneland Foundation, Inc. Foundation New England Foundation for Mr. & Mrs. Tracy Farmer the Arts Northwestern Fifth Third Bank Mutual Financial Network Mr. & Mrs. Donald Finney Imagine Greater Louisville 2020 Nu-Yale Cleaners Oxmoor Toyota-Scion Mr. & Mrs. William H. Jenkins Republic Bank The Lane Report

A U D I E N C E

Jonathan & Julie Roberts Dr. Marilyn Schorin Texas Roadhouse Volunteers of the Kentucky Center Mr. & Mrs. Greg Weishar $2,500 - $4,999 Anonymous AIA Kentucky Wendy & John Anzalone Dr. James B. Appleberry Kim & Mark Baker The Courier-Journal/ Gannett Foundation Mr. Roger Cude & Mrs. Kathie Markle-Cude Dataseam Mr. & Mrs. William Esakov Maggie Conner Faurest Mr. & Mrs. Bruce W. Ferguson Tim & LuAnn Galbraith GSA, Class of 2017 Rick & Ann Guillaume Dr. & Mrs. William Gump Amber & Paul Halloran Kentucky Music Educators Association

25

A n n u a l S u pp o r t Mr. Jan Grayson Andrew & Holly Greene Dr. Randy & Jane Hansbrough Michael and Martha Hardesty Honorable Jerry E. Abramson, matched by Hardscuffle, Inc. Herman & Gail Harrington Mr. Umesh & Mrs. Lalita Hattikudur Jeffrey & Margaret Jamner Ms. Karen L. Keith Ms. Ann B. Kirwan Ms. Meredith Parente Damon & Julie Lange Rick & Becky Reed David & Phyllis Leibson For Louis V. Richter In Honor of Tim Loveless Sauerheber Properties, Inc. Mr. & Mrs. Russell H. Saunders Ms. Diane Loy The Sherwin-Williams Company Malibu Jacks Beth & Richard Marchetti Kris & Wendy Sirchio John & D’Ann Markert Mr. & Mrs. Joseph Sireci Tom & Joslyn Marksbury Mr. & Mrs. Mark Slafkes Ms. Elizabeth McCoy Tom & Cara Solley Ms. Madelyn Buzzard Mees Mr. & Mrs. Jerry Solomon Dave & Terri Miller David & Rebecca Sourwine Mission BBQ Lindy Street Ms. Biljana N. Monsky Keith & Jennifer Tarter Jason & Shannon Montgomery Thomas Jefferson Unitarian $1,000 - $2,499 Mrs. Terri Montgomery Church Anonymous Ms. Jennifer A. Moore Mr. Christopher M. Todoroff The Honorable & Mrs. Jerry E. Marti & Hubert Mountz Nathan & Olivia Webb Abramson Dr. Sean Muldoon Accredited Wealth Management Dr. & Mrs. Robert Weiss Caroline Nourse & Ben Jeffers Ms. Kristen Webb-Hill Mr. & Mrs. Phillip D. Allen Mr. & Mrs. Michael Phelps Rick & Denise Whelan Christina “Toots” Baker Planet Ice Cream Mr. & Mrs. Lawson Whiting Dr. David & Bobbie Bell Mike Porto & Kevin Moore Mr. Brian Zehnder & Mr. & Mrs. J. Peter Bell Henry & Sharon Potter Ms. Melissa Rolf Mr. & Mrs. James H. Bloem Ms. Linda Remington Mr. & Mrs. Dale J. Boden Mr. George Richardson Mr. & Mrs. William Blodgett Jr. $500 - $999 Chuck & Mary Ellen Schmidt Anonymous Mr. & Mrs. David Burianek Rev. John A Schwartzlose II Mr. John Abel & Mr. & Mrs. David Calzi The Shelby Society Incorporated Mrs. Nancy Smith Mr. Lindy Casebier Ms. Linda S. Simonis Dr. & Mrs. Jesse Adams Clarendon Flavor Engineering Mr. & Mrs. Darin Smith Mr. & Mrs. William Altman Ms. Marilyn Clark George & Karin Sonnier Dr. & Mrs. Joe F. Arterberry Mr. Alfonso Cornish & Mr. Mitchell Stallsmith Jim Berry Collision Center Ms. Yvonne Austin Mr. & Mrs. Bradford Stengel Mrs. Edith S. Bingham Ms. Janet Dakan Stewart & Associates, Inc. Darpel Family Charitable Fund Allen Blanc Roofing Drs. Catherine Newton & Ms. Gayle Arndt DeMersseman Ms. Eloise Boarman Gordon Strauss Mr. and Mrs. David Bonn Fr. John G. Eifler Mr. & Mrs. Matthew Sturgeon Mrs. Elaine Bornstein Phil & Mary Eschels Ms. Stacy Tuttle Mrs. Melinda Bradley Foundation for the Tri-State Ms. Dana Thompson Jason & DeAnna Brangers Community Mansbach Dr. Diane Tobin & Dennis & Joyce Cardwell Endowment Fund Mr. Charles Friedman Mr. Joseph Chambers Randall & Virginia Fox Mr. & Mrs. John J. Werst III Mr. Thomas Conley Mr. Bob Gable Mr. & Mrs. Jonathan Wolff Ms. Laurie Daugherty Mr. Ryan Gittings Mr. Mark Wood Mr. & Mrs. C. Edward Glasscock Ms. Christine Deeble Michael & Jeanne Wright Dr. & Mrs. John W. Derr Jr. Mr. Ankur Gopal & Mr. Christopher Dischinger Ms. Kiran Gill $250 - $499 Dr. Laman & Juliet Cooper Gray Mr. Andrew Jay Douds & Anonymous Mr. David Mawn Greater Milwaukee In Memory of Alan L. Adelberg Foundation’s David C. Scott David & Paulette Dubofsky Mr. Edward Adler William & Christi Dukes Foundation Fund Mr. Jacob Allen Ms. Donna Embry Ken & Judy Handmaker Mr. & Mrs. John Ambach Ms. Catherine Emrick Mr. James Hite Hays Mr. & Mrs. Timothy Antoniou eyedia Mr. & Mrs. Hearn Walter E. App & Dr. Robin Fankhauser Mr. Ryan Hernandez Donna W. Tilson Mr. & Mrs. Kevin Finnegan Jonathan & Janet Hodes Ms. Nina Bain Dan Forte & Chris Schuster Mr. & Mrs. David A. Jones, Sr. Dr. Eric Baker & Dr. Brent Garrett & Brian & Mary Katz Dr. Tara Odle-Baker Mrs. Glenda Marker Kentucky Arts Council Mr. Peter Baniak Mr. & Mrs. Eric Gosser Kroger Community Rewards Grace Immanual United Church Mark & Kathy Barrens Mr. Todd P. Lowe & Mr. & Mrs. Donald Baxter Hamlet Fund Ms. Fran C. Ratterman Mr. & Mrs. Jeff Kosse Mr. & Mrs. Kent Lanum Mr. Bruce Merrick & Ms. Karen McCoy Mr. & Mrs. Barry P. Meyers Mr. & Mrs. R. Charles Moyer Mr. Kevin Olusola Doug & Shari Owen Mr. & Mrs. Don E. Parkinson The Jamie Parsley Family Foundation Merry-Kay & Steve Poe Mr. Stuart Pollard Riverbend Financial Group Stock Yards Bank & Trust Company USI Insurance Services, LLC Ms. Jeanne D. Vuturo Charles & Nina Wardrip Ms. Ronda Watson & Ms. Tammy Crandell Mr. Benjamin Wiseman Mr. & Mrs. Daniel E. Woodside Dominic & Lisa Zangari

26

Mr. & Mrs. Philip Lynch Mr. & Mrs. Michael J. Mackin Drs. Chris D. Mescia & Tricia J. Gray Michael Schissler & Kristan Milam National Conference of Governor’s Schools Northwestern Mutual Financial Network

A U D I E N C E

Andrea & Barry Bernson Scott and Lisa Black Turner P. Berry & Kendra D. Foster Mr. & Mrs. Thomas Birchfield Mr. & Mrs. Keith Board Stephen & Stacey Boomershine Ms. Margaret Brandt Mr. & Mrs. Robert Brown Mr. Samuel B. Brown Laura Lee Brown & Steve Wilson Robert E. Milward Fund at Blue Grass Community Foundation Terry & Sara Burd Mrs. Karen Byrley Mr. Lee Cantrel Ms. Nancy Ruckreigel Carnes Greg & Susan Cohen Dr. Anastasia Combs Mr. John B. Corso Core Fluency Pilates/ Laura Blackburn Mr. Nick Covault Thomas & Malvina Craig Mr. & Mrs. Douglas Czor Ms. C.S. Dalgleish Mr. & Mrs. David Gregg Daunhauer Dunn Elementary in Memory of Marlow Germain Burt Mr. Andrew Dick Dr. & Mrs. John D’Orazio Eric & Claudette Doyle Drone Solutions LLC Mrs. Maria J. Eckerle Mr. Michael Eckstein John Edward & Rebecca Donohue, III Ann-Lynn Ellerkamp Patience Elsner Mr. Glenn Epperson Dr. Robert Esterhay & Ms. Ruth Mattingly Dr. Vilma Fabre LaVonne & Brian Fingerson Mrs. Patricia Fiorini Mr. Owen Fitzgerald Douglas & Cathi Ford Mr. & Mrs. Gregg Fowler Mr. & Mrs. Jim Gaffney Mr. & Mrs. Gene Gardner Ms. Donna Geddes Mr. & Mrs. Garnett Gill Sheldon & Nancy Gilman Dr. & Mrs. Richard Goldwin Mr. Daniel Goyette Mr. and Mrs. Steve Greenlaw Mr. Mark Greenwell & Ms. Lisa Skidmore Mr. & Mrs. Charles Grimley Mr. & Mrs. John W. Hampton Mr. Bill Harned Mr. & Mrs. William Harrison Mr. & Mrs. John Hayes Mr. Joseph Hertzman Ms. Karen Hill Ms. Mary Jane Hoben Mrs. Diane Hobscheid Mr. David Hogan Mr. Stephen Horn Hyatt Regency Louisville

A n n u a l S u pp o r t Ms. Marybeth Irvine Harry & Sherry Jacobson-Beyer Ms. Elizabeth James Ryan & Caroline Jordan Mr. Christopher Kaelin Ian & Denise Kalina Charlie & Teresa Kamer Charles & Robyn Kane Mr. & Mrs. Morton L. Kasdan Kentucky Heritage Council The Kentucky Horse Park Dr. & Mrs. Jeffrey C. King Michael & Jessica Kinnick Mr. David Klaphaak Margie & Bob Kohn Mr. Eugene Lacefield & Ms. Mary Margaret Lowe Ken Lampton Ms. Judith Landis Mr. & Mrs. Sterling Lapinski Dr. & Mrs. Andrew Laurel John & Lilia Lawson Dr. Leonard Leight Mr. Joseph Lewis Ms. Anne Liechty Mr. James D. Ludwig Dr. Rebecca Tamas & Ken Luther Beth and Richard Marchetti Dr. James Ziliak & Ms. Gena Mark

Mr. & Mrs. Gerald Martin Ms. Kim Martin-Mayhew Mr. Craig Matthews Mr. Kevin McDonald Ms. Barb McMakin Mega Cavern David & Jackie Metry Ms. Linda Miles Steve & Pat Miller Sister Andree Monder Jack & Marilyn Monohan Mr. David Moody Mrs. Pat Moremen Dr. Gloria Murray Mr. Alan Nakamura Kevin & Emily Nolan Norton Healthcare Mr. & Mrs. Dan O’Brien Mrs. Judith Olliges Mrs. Kathleen O’Neal Mr. & Mrs. Gord Pageau Erin Palmer & Tyler Kinney Ms. Tara Parker Mrs. Anna Pennington Ms. Lynn Pereira Ms. Judith Petty Jeri & Hans Poppe Ms. Maria Price Gordon & Patty Rademaker Mr. & Mrs. Mitchell Rapp Will & Becky Richards

Mr. Thaddeus Riley Ms. Nancy Roberts Mark & Kay Rountree Patrick & Helen-Grace Ryan Curtis & Ashley Rose Schneider Ms. Shelby Schulten Mr. Terry Schwartz Ms. Susan G. Zepeda & Dr. Fred P. Seifer Dr. & Mrs. Saleem Seyal Ellen & Max Shapira Mr. Richard W. Sharpe Ms. Valerie Shelton Brett & Andrea Shepherd Trip & Tina Sizemore Mr. & Mrs. Edward Skarbek Drs. Kyle & Laura Slone Mr. Darrell Smith Mr. and Mrs. Kenney M. Snell Mr. Robert Steinmetz & Mrs. Barbara Elliott Mr. Jim Strickland Dr. & Mrs. Gerald F. Sturgeon Mr. Terry D. Sutton Barbara & Richard Sweet Bob Taylor & Linda Shapiro Dr. Don Stevens Mr. John Tederstrom & Mr. Mark Cannon Ms. Brenda Thompson Mrs. Karen Thompson

A U D I E N C E

Mr. & Mrs. Steve Thompson Fernando & Rebecca Trevino Ms. Karen Troutman Mr. Charles Ullrich The Underwriters Group in Memory of Mr. Kenneth Merrick Ms. Kellie Vogt Mr. Jim Wagner Tom Waller Signature Homes Ann Waterman & Niles Welch Ms. Jennifer Love Webb Mr. & Mrs. Ronald Weisberg Dr. Mureena Turnquest & Dr. Kevin Wells Mr. & Mrs. Stephen F. Wheeler Dr. Floyd T. Wilkerson Mr. & Mrs. Michael Wood Ms. Grace Wooding Ms. Ann C. Wright & Mr. Richard W. Gasteiner, Jr. Dr. John C. Wright & Mrs. Kay Roberts Dr. Kenneth and Shelly Zegart As of August 31, 2018

27

The Kentucky Center Board of Directors Bruce Ferguson, Chair Marilyn Schorin, Vice-Chair • Mary R. Nixon, Secretary • Daniel Woodside, Treasurer Lourdes Baez Laura Melillo Barnum Ceci Conway Boden Al Cornish Scott Flynn

Marion C. Forcht Sandra Frazier Juliet Cooper Gray Donna Hall Kristen Webb Hill

Bruce Merrick Libby Parkinson Christopher M. Todoroff Tierra Kavanaugh Wayne Lawson Whiting

Directors Emeriti Madeline Abramson Owsley Brown II (1942–2011)

Wendell Cherry (1935–1991) Gordon B. Davidson (1926–2015) C. Edward Glasscock

Kentucky Center

for the

Robert W. Rounsavall, III Rose Lenihan Rubel (1922–2002)

A r ts F o u n d a t i o n , I n c .

Board of Directors Phil Lynch, Chair Kim Baker, Vice-Chair • Doug Owen, Secretary • Jeff Kosse, Treasurer Phillip Allen Philip Eschels Maggie Faurest Bruce Flannery J. Tim Galbraith

Ankur Gopal Rick Guillaume Benton Keith Barry Meyers R. Charles Moyer

Melissa Richards-Person Carolyn Tandy Ronda Watson Lisa Zangari

Kentucky Center Executive Staff Kim Baker, President and CEO Heather Weston Bell, Senior Vice President of Community Engagement Terri Montgomery, Senior Vice President, Human Resources Amber A. Halloran, Chief Financial Officer

The Kentucky Center Encore Society The Encore Society recognizes individuals who have demonstrated support for the long-term well-being of The Kentucky Center with an estate gift or notification of their bequest intention or other planned gift.

The Kentucky Center wishes to honor and acknowledge the following for initiating the Encore Society with their extraordinary generosity.

The Honorable and Mrs. Jerry E. Abramson Anonymous Ms. Jennifer L. Bobbitt Janet R. Dakan Mrs. William Habich Mrs. Ada Lee Kane 28

Mrs. Helen Lang Mr. and Mrs. Don E. Parkinson Ms. Terry H. Sales Ms. Helen Stockton Mrs. Murrel Straley Jeanne D. Vuturo

A U D I E N C E

Corporate

and

F o u n d a t i o n S u pp o r t

We salute the following organizations for their support of The Kentucky Center.

B. J. Killian Foundation

The Gheens Foundation Jamie Parsley Family Foundation

Keeneland Foundation

The Norton Foundation

A U D I E N C E

29

The Kentucky Center Services Tickets For complete event information and to order tickets by phone, call The Kentucky Center Ticket Service at (502) 584-7777 or (800) 775-7777, or order tickets online at kentuckycenter.org. The Kentucky Center Ticket Service’s hours are 10 a.m. to 6 p.m., Monday through Saturday, and noon to 5 p.m. on Sunday. Drive-thru ticket service is open 11 a.m. to 6 p.m., Monday through Friday. Tickets purchased by phone and online are subject to service charges. On performance dates, the ticket office is open one-half hour past curtain time. Gift certificates are available in any dollar amount at the Box Office and are not redeemable for cash.

Information Hotline (502) 562-0100 Parking More than 2,000 parking spaces offer direct access to The Kentucky Center from Sixth St. The elevators located in the garage will take you to the main lobby. You may also enter the Riverfront Garage from Fourth or Sixth Sts. Level C of the garage also will give you direct access to the main lobby.

At the Brown Theatre, parking is available in the lot across from the theatre, and parking garage entrances are located on Third St., north of Broadway or on Fourth St., north of Broadway.

Facilities Rental From a wedding reception to a convention, The Kentucky Center will “stage” your event. For more information, call (502) 566-5146.

Membership Membership to The Kentucky Center offers a variety of benefits, including buying tickets before the public, priority seating, and no handling fees.

For more information, contact (502) 566-5159 or visit SUPPORT on our website. For Corporate Membership benefits, contact (502) 566-5137.

Volunteers The Volunteer Program offers the public a chance to be a part of the great events at The Kentucky Center. To volunteer, contact the Volunteer Hotline at (502) 566-5141.

Courtesy • As a courtesy to the performers and other audience members, please turn off all audible message systems.

30

• The emergency phone number to leave with babysitters or message centers is (502) 562-0128.

Be sure to leave your theater and seat number for easy location.

• Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular.

An ID must be left as a deposit.

• Cameras and recording devices are not allowed in the theaters.

• Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances. Please remain seated after the performance until the lights are brought up.

• Children should be able to sit in a seat quietly throughout the performance.

• To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket.

Accessibility Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights.

FM and infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces.

Audio Description is available for selected performances for patrons who are blind or have low vision.

Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing.

Program materials are available in largeprint from your usher.

Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), (502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

A U D I E N C E

A U D I E N C E

31