Carmel Monthly-February 2022

MONTHLY

BRYANT BEARD COLLECTIVE PUBLISHING PUBLICATION

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FEBRUARY 2022

Life Lessons From The Heart

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MONTHLY

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Bryant Beard: Life Lessons From the Heart Bryant Beard, a self-proclaimed global citizen, has overcome a heart defect that went undetected until he was 9 years old. He has lived and studied abroad, teaching English, before moving back to the U.S. and eventually to Carmel with his wife, Alinka, where they are raising their 8-month-old son. Beard’s unorthodox path to becoming a tennis coach and director, along with his unique perspectives on life and humanity, are why we are pleased to feature him on our cover this month.

Cover Story Writer // Janelle Morrison • Photo // Staff

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A Return To Food, Fellowship and Fundraising

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A “Spring Sensation” Event To Be Held At The Coxhall Mansion

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The Civic Theatre Presents ‘Wait Until Dark’

PUBLISHER / Lena Lucas lena@collectivepub.com / 317-501-0418

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Feinstein’s at Hotel Carmichael Presents: Lucie Arnaz

DIRECTOR OF SALES / Lena Lucas lena@collectivepub.com / 317-501-0418

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The Center Presents: Vanessa Williams

HEAD WRITER / Janelle Morrison janelle@collectivepub.com / 317-250-7298

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Attention High School Parents and Students: New SAT Requirements Take Effect This March in Indiana

PUBLISHER / Neil Lucas neil@collectivepub.com / 317-460-0803 EDITOR-IN-CHIEF / Neil Lucas neil@collectivepub.com / 317-460-0803

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110 W WASHINGTON ST, INDIANAPOLIS

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A Return to Food, Fellowship and Fundraising Writer // Janelle Morrison • Photography // Submitted

It’s been several months since the last wine-pairing dinner, hosted by Tony’s Steaks and Seafood of Indianapolis and benefiting the Carmel Clay Public Library (CCPL) Foundation, was held. We’re happy to invite you to join us for the next dinner that will take place at Tony’s at 6 p.m. on March 23, 2022.

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s many of our readers may recall, prior to the COVID-19 pandemic, Tony’s Steaks and Seafood of Indianapolis partnered with the Carmel Clay Public Library (CCPL) Foundation, Carmel Travel Company and Carmel Monthly and hosted a series of themed wine-pairing dinners at their gorgeous downtown Indianapolis location—once a quarter—with the sole purpose of supporting the digest of nearly 2,000 free programs that are offered by CCPL, which the CCPL Foundation supports.

Compassion Over Competition Like all of its neighboring businesses, Tony’s Steaks and Seafood of Indianapolis was impacted by the pandemic closures and suffered significant exterior damage

by rioters at its Indianapolis location in May of 2020. The extent of the damage forced Tony Ricci, proprietor of Tony’s Steaks and Seafood, to further delay the reopening of his restaurant. The subsequent COVID-19 surges have continued to challenge restaurants such as Tony’s and have significantly impacted the hospitality industry as a whole. And yet, Ricci and his resilient staff are proud to have reinstated their community outreach efforts and are happy to host their mind-blowing wine-pairing dinners on behalf of the CCPL Foundation.

General Manager Michael Morgan shared with us what it’s been like trying to rebuild the culture in downtown Indianapolis since 2020 and how Tony’s has been a driving force in helping local businesses recoup, putting compassion

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ahead of competition, while still assisting their Hoosier neighbors and nonprofit organizations such as the CCPL Foundation via fundraising events similar to these pairing dinners.

“We sent out about $10,000 worth of gift cards to people saying, ‘Hey, when you’re ready, come back and see us,’” Morgan shared. “We’re still budgeting out a certain amount of money for charities and local organizations to help bring the [Hoosier] community back.”

Morgan explained that Ricci paid to produce a commercial that was posted on social media platforms that highlighted several local favorites, including Tony’s, St. Elmo Steak House and a handful of others, in which they all recommended a dish or notable menu favorite from their neighboring restaurants, all with the intention of getting people to come back to Indianapolis and support their favorite restaurants and retailers.

When Life Gives You Lemons …

Make Limoncello To add to the challenges that the pandemic and supply chains have created for establishments like Tony’s, price increases have certainly not made it easier, but Morgan stated that the Tony’s staff have not only risen to the challenges but have been extremely creative in their purchasing and look for ways to find fresh, affordable and delectable ingredients that continue to wow their guests and meet the gold standard that Tony’s has established.

“The chefs have had to get creative, and rather than going to Hawaii for tuna, we’re going to Florida for some great black snapper,” Morgan said. “They are getting to really showcase their talents.”

While Morgan explained that Indianapolis’ convention business is at 85% attendance right now, and that there is more police presence downtown and the

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city is pitching in to help clean everything up, he emphasized that it’s been a painful recovery process.

So, whether you come down and join us for a night at Tony’s to support the CCPL Foundation or come down for a special occasion or for a night out on the town, be sure to help our fellow community partner as they continue to contribute to the Carmel community by supporting our library.

An Invaluable Community Partnership to the Carmel Community The previous dinners of this quarterly series were sellouts and an astounding success for the CCPL Foundation. Ricci donates the cost, including food, wine and venue, so that the foundation retains all of the proceeds generated from these dinners.

Programming and resources such as those offered by CCPL are made possible through the generosity of its donors and supporters like Ricci and his staff.

CCPL Foundation Director Elizabeth Hamilton shared, “We have raised

nearly $25,000 with our Tony’s dinners.

These funds have been used during the pandemic to support families through the creation of take-home activities which promote literacy and learning, as well as the purchase of our citizen science kits. The citizen science kits are all inclusive and allow families to work together on a specific science project/experiment.”

To request more information and/or to reserve your seats for the next Tasting at Tony’s of Indianapolis Benefiting the Carmel Clay Public Library Foundation on March 23, 2022, please email Elizabeth Hamilton at ehamilton@carmel.lib.in.us.

For more information about or to make reservations to dine with your family or friends at Tony’s at Indianapolis, visit tonysofindianapolis.com.

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In addition to the guild’s tablescape event in the conference room, they will be hosting a tearoom in the third-floor ballroom.

The tea room menu consists of an assortment of finger sandwiches and a mini pastry display.

Tea and water will be provided.

Two signature beverages, “Vodka Spring Forward” (vodka, simple syrup, grapefruit juice, lemon juice and rosemary) and “Spring Sensation” (gin, lemonade and lavender), will be available for an additional cost.

Throughout the mansion various vendors will be selling items to guests such as clothing, jewelry and other items. The cost for guests is a set price of $25 for this event and other activities within the mansion.

Guests of the “Spring Sensation” will be entertained by a harpist from the Carmel Symphony Orchestra, and Nick Williams from John Kirk Furniture will be doing two demonstrations. Angela Richards from Pampered Chef will also do demonstrations on easy spring and summer dishes.

A ‘Spring Sensation’ Event to Be Held at the Coxhall Mansion

Writer // Janelle Morrison • Photography // Submitted and Graphics by Amy Barragree

The dedicated members of the Coxhall Guild, supporting The Friends of Hamilton County Parks, Inc., is hosting a tablescape spring fundraising event, “Spring Sensation,” planned for Saturday, April 30, 2022.

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he guild has invited various florists, decorators and individuals to design tablescapes that highlight entertaining for various spring events and invigorate the various senses that are touched by the beauty of spring.

THE MISSION OF THE COXHALL GUILD

As an affiliate of The Friends of Hamilton County Parks, Inc., the Coxhall Guild is also helping to support their goals in making the Coxhall estate a place for families and others to gather and appreciate the beauty and educational opportunities offered in this setting.

The Coxhall Guild provides funds and volunteers to support Coxhall Mansion and Parks via Hamilton County Parks Department. The Coxhall Guild has most recently donated the Outdoor Classroom, a Butterfly Garden and various statuary placed in the Children’s Garden, as well as additional urns on the mansion patio. The guild is awaiting the placement of 10 additional urns at the park entrances and Cripe Pavilion. They are excited about a large-scale

kaleidoscope coming to Coxhall Gardens in the spring.

USHERING IN THE SPLENDOR OF SPRING AT THE COXHALL MANSION

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For tickets to this year’s “Spring Sensation,” visit coxhallguild.org or friendsofhamiltoncountyparks.org Spring Sensation 2022 Participants Barbara Summer & Babs Cohen Arbutus Garden Club GISELLE FOUND

The Coxhall Guild invites you to participate in this one-day event on Saturday, April 30, from 10 a.m.–4 p.m. by designing and creating a tablescape highlighting your business and services.

Round 6-foot tables with white tablecloths will be furnished and set up in the conference room in the mansion. There is no cost to participate as a vendor.

As the Coxhall Estate and Mansion grows in popularity throughout the Carmel and Indianapolis area, this is a perfect chance to showcase your business and decorating expertise for spring and summer entertainment activities. The Coxhall Guild board, the event co-chairs Sandra Pirkle, Janet Moon and Kimberly Shoemaker and the entire “Spring Sensation” committee are excited to invite guests back to Coxhall Mansion and to garner the support for Coxhall Gardens from the Hamilton County community, as well as support for the participating local businesses.

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for parks, and having formerly led the Columbus Park Foundation in Columbus, Indiana, and always highly respecting Hamilton County Parks, I felt like it was a mutual fit when I heard about the position.”

Williams added, “I’m thrilled and honored, honestly, to be a part of helping expand FHCPI and to help in any way that I can to preserve and expand our parks. We want to expand upon the success that has already been brought by the ‘Posh Picnic’ and other events that the guild has led. I commend [the guild] for wanting to expand and create another event that draws every generation.

I think they’re an impressive group of ladies, and I’m really looking forward to working with them.”

So, mark your calendars and get your tickets! There is parking on the grounds, and guests are encouraged to use the rear entrance of the mansion. The Coxhall Mansion features a guest elevator permitting convenient access to all three floors of the historic residence.

Giselles Flower and Event Decor Tablescape Design

BUFFY LAYTON

Blush Love Floral - Tablescape Design

AMY BARAGREE

Amy Baragree Tabelscapes - Tablescape Design

BRI HEWITT

Oberer’s Florist - Tablescape Design

FRIENDS OF HAMILTON COUNTY PARKS WELCOMES APRIL WILLIAMS

The Friends of Hamilton County Parks, Inc. (FHCPI) Executive Director April Williams is excited to be working with the Coxhall Guild on the year’s first fundraising event for Coxhall Gardens as part of her goals to forge new partnerships for key FHCPI fundraisers such as “Spring Sensation” and “Posh Picnic.” Williams stepped into her new role at FHCPI this past January.

“My career has been in philanthropy for the most part,” Williams shared. “Most importantly, I have a great love

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RITZ CHARLES Tablescape

NICK WILLIAMS

John Kirk Furniture - Tablescape Design

TRISHA SHUMATE

Scout & Cellar Organic Wine

JOAN CARNEY

Lily’s Wearable Art

ANGELA RICHARDS Pampered Chef

BIANA SHARP

Sharp Crystals & Nails

LINDSAY SCHLOSS HopeAnchor & Crew

DAWN MUSOLINO Cabi

KELLY KICHLER Stella & Dot

CARI HAHN

Clutch & Kindle

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3/11-3/26 c i v i c t h e at re . o rg / 3 1 7 . 8 4 3 . 3 8 0 0 DUW

‘Wait Until Dark’

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T he C i v i c Th eatre Presen ts

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Writer // Janelle Morrison • Photography // Courtesy of Civic & David Cunningham

March 11–26, 2022

The Booth Tarkington Civic Theatre is pleased to present “Wait Until Dark” this March.

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sinister con man, Roat, and two ex-convicts, Mike and Carlino, are about to meet their match.

They have traced the location of a mysterious doll, which they are much interested in, to the Greenwich Village apartment of Sam Hendrix and his blind wife, Susy. Sam had apparently been persuaded by a strange woman to transport the doll across the Canadian border, not knowing that sewn inside were

several grams of heroin.

When the woman is murdered, the situation becomes more urgent. The con man and his ex-convicts, through a cleverly constructed deception, convince Susy that the police have implicated Sam in the woman’s murder, and the doll, which she believes is the key to his innocence, is evidence. She refuses to reveal its location, and with the help of a young neighbor, figures out she is the victim of a bizarre charade. But when Roat

kills his associates, a deadly game of cat and mouse ensues between the two. Susy knows the only way to play fair is by her rules, so when darkness falls, she turns off all the lights, leaving both of them to maneuver in the dark until the game ends.

I spoke with the director and cast of “Wait Until Dark” about why they chose to audition for Civic and for their respective roles. And like the directors and casts before them, they are bringing a high

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level of professionalism to community theater, a tradition and expectation that has carried with Civic throughout its 100-plus-year history.

For tickets, visit thecenterpresents.org.

PARRISH WILLIAMS AS CARLINO I auditioned for this show because it’s a part that I like. They’ve done it here at Civic before in the late ’90s. I was a little too young to audition for it then, but it made an impression on me, and I’ve just been kind of waiting for it to come back around, and it finally did.

As far as the character [Carlino], I wouldn’t say that I identify with my character—it’s an unusual and challenging role for me to play.

I don’t typically do this type of character, and I think that’s maybe the reason, more than any other, that I wanted to play a different kind of character.

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MARY KATE TANSELLE AS GLORIA My situation is kind of unique.

I didn’t strictly audition; I was asked to play the role. I had some scheduling conflicts, but we’re working through it, and I’m very honored that I was asked and I’m very excited to play this role. I’ve done a lot of musicals at Civic, and I grew up at Jr. Civic, so I’ve been at Civic for a really long time, but I’ve never done a straight play and I’ve never performed in a black box theater, so those are reasons why I was excited to do this show.

As far as connecting with my character, kind of like what Parrish said, I don’t relate directly to [Gloria]. My life is very different than my character’s, but that is part of the beauty of acting—

familiar with the movie with Audrey Hepburn and Alan Arkin and because I haven’t been involved in theater a whole lot because of the pandemic. I was looking forward to getting back into it. In terms of my character, I’d say he does his own thing, and I like to do that too. Sam doesn’t really go by the expectations of others with his job, his photography and how he chooses to live his life. Which is what I like to do. I like to do things that interest me, and I don’t really worry about what others are thinking.

bringing to life somebody’s story that you don’t live every day and sharing it with somebody else.

IZZY ELLIS AS GLORIA (MARY KATE TANSELLE’S UNDERSTUDY) My situation is pretty similar to Mary Kate’s. We were both in ELF, and I was also honored to be asked to do this. I’m the youngest one here and the only one who can’t drive! It’s been a lot of fun and a little difficult to navigate, personally, because I’m putting pressure on myself and because I don’t exactly relate to [Gloria]. I’ve been trying to find ways to, and it’s been a learning experience.

I feel like the [previous] performances that I’ve done here have led me to right now.

JAY HEMPHILL AS ROAT I play Roat, and he is exactly like me! [Laughs] No, no, no—he is the villain of this story, and villains are always fun to play because they’re never a villain to themselves. He’s the hero of his own story and feels like people are in his way and are keeping something from him that belongs to him, and he has to get it back. He is so arrogant and doesn’t understand why things won’t go his way because they should go his way—that’s the way he’s planned them. This is my first production at Civic, and it’s been really fun.

CARLY MASTERSON AS SUSAN I’ve worked with Emily Rogge Tzucker [the director] before on two other projects here with “Pride and Prejudice” and “Much Ado About Nothing,” and she was my professor at Ball State [University].

I was also very interested in the part itself because it presents its own set of challenges. Susan is a blind person who was sighted for the first 26 years of her life and got into an accident and became blind. She’s trying to live in her world now and is figuring out how to be her own person and stick up for herself. She lives in New York City with her husband, Sam, in the 1940s. A lot of stuff happens in this show where she has to try to learn how to take care of herself and has to learn that very quickly. Susan’s powerful and brave, and you see that more throughout the show.

EMILY ROGGE TZUCKER, DIRECTOR “Wait Until Dark” is one of our classic thrillers, so we all come with that expectation of there being twists and turns, of it being scary and exciting. But what I really like about this is that it’s a new version of the play—a new adaptation by Jeffrey Hatcher, who’s a well-known playwright and screenwriter. I think one of the great themes is really about finding your own voice and strength.

This version really does that for Susan’s character, and that’s what drew me to it. We really see both female characters really growing in strength and finding their own voices. Overall, it’s a very exciting and fun play. It’s very much about taking charge, and all of the characters in their own way think they have it all figured out, and then they realize they don’t. It’s a funny journey to go on!

LUKAS ROBINSON AS MIKE To piggyback off of “Roat,” this is also my first show here, and it’s an incredibly talented group.

It’s been great learning, performing and practicing with them.

I haven’t done theater in a while, and it’s worked out really well.

Mike is the kind of guy who’s good at what he does. He and Carlino are old buddies, but throughout the show, Mike realizes that it’s not quite as fun as it all seems, and he second guesses himself a lot throughout the show. He’s trying to figure out what he wants to be and what kind of path he has taken.

COLBY RISON AS SAM I chose to audition for this play because I’m

CAST LIST Susan - Carly Masterson Sam - Colby Rison Roat - Jay Hemphill Carlino - Parrish Williams Mike - Lukas Robinson Gloria - Mary Kate Tanselle (all other performances) & Izzy Ellis (3/19 & 3/26, 2 p.m. performances)

MARCH 11–26, 2022

Showtimes Fridays @ 7 p.m.

Saturdays @ 2 p.m. and 7 p.m.

Sundays @ 2 p.m.

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World Class Cabaret at Carmel City Center Marchy 4 & 5

BETSY WOLFE

Broadway Star Betsy Wolfe (WAITRESS, FALSETTOS, LAST 5 YEARS) belts her face off singing your favorites from her past shows as well as new favorites. The singular Betsy Wolfe lights up the stage for two shows only and is delighted to be returning to Indiana for the first time since her sold out cabaret and symphony shows in 2018 and 2019. Celebrated for her performances in 7 Broadway shows, films, and 60 symphony concerts, don’t miss this hysterical and warm-hearted concert series.

March 18

JOHNNY RODGERS Johnny Rodgers. is an internationally celebrated singer-songwriter, pianist, Broadway veteran, and recording artist who is described by Stephen Holden, from The New York Times, as an entertainer “who has show business in his bones” with “fused elements of Billy Joel, Peter Allen and Johnny Mercer.”

March 23 & 24

ERIKA HENNINGSEN

Ms. Erika Henningsen performs a night of music and stories from the Broadway Tony nominated “Mean Girls” the Musical. Raise Your Standards celebrates the songs and musical stylings that have stood the test of time and become go-to standards for Broadway’s Erika Henningsen. She was most recently seen starring as Cady Heron in the Tony-nominated hit musical Mean Girls.

April 1 & 2

JOHN LLOYD YOUNG John Lloyd Young is the Tony and Grammy award-winning Frankie Valli from Broadway’s Jersey Boys as well as the star of the Clint Eastwood directed Warner Bros film. John Lloyd Young: Modern Classics is a celebration of classic hits from the ‘50s and ‘60s presented in the authentic acoustic style of original rock ‘n’ roll, Doo-Wop and R&B standards.

April 15 & 16

SCOTT COULTER

In the middle of New York City, in the heart of Times Square, sits The Brill Building. From the halls and offices of 1619 Broadway came the sound of America in the 50s and 60s -- considered by many to be the greatest music ever written. The Brill Building was home to Carole King, Neil Sedaka, Lieber & Stoller, Neil Diamond, and Barry Mann & Cynthia Weill among others. Take a journey into the music -- and the stories -- of the singers and the songs that defined a generation with one of New York’s most honored vocalists.

For tickets go to feinsteinshc.com or scan QR

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March 11 & 12

KLEA BLACKHURST

From “A Cockeyed Optimist” to “The Yodeling Muchacha”, An Evening with Klea Blackhurst is a wonderful celebration of classic American popular songs, Broadway show tunes as well as a few contemporary surprises. Klea will have you listening and laughing at the lyrics of Cole Porter, Johnny Mercer, Yip Harburg, Ira Gershwin, Oscar Hammerstein, Jerry Herman and many more! Klea has performed in legendary halls like The London Palladium to Carnegie Hall.

March 19 & 20 STORM LARGE

She’s bringing the whole band for this. Show title: “Love, Storm” Storm Large and her band Le Bonheur, are back on the road, and they bring their new show, “Love, Storm” to Feinstein’s at Hotel Carmichael. Expect new songs like As The World Caves In, She Bob, and Stay With Me, plus some Storm favorites, as she writes this love letter to her fans after nearly two years apart.

March 25 & 26 MARK WILLIAM

Mark William is back for a two-night engagement! Featuring timeless songs from the Great American Songbook, Broadway, and beyond, Mark glides from Jule Styne to Peter Allen to Cher with charismatic ease and a spring in his step. He hypnotizes with a set of enduring classics, filtered through Mark’s fresh perspective and talent set.

April 7 & 8 LUCIE ARNAZ

For nearly three decades, LUCIE ARNAZ has toured her critically acclaimed nightclub acts throughout the United States and Europe, making stops in Las Vegas, Atlantic City, Reno, Miami, Feinstein’s at the Regency and @54 Below, Birdland Jazz and the Caf Carlyle in New York, and now Feinstein’s at Hotel Carmichael in Carmel, Indiana.

Along with Ron Abel, the multi-award winning composer, producer, arranger, orchestrator, conductor and musical director this show is one you won’t want to miss!

April 22 & 23 SPENCER DAY

Performing songs from his new “BROADWAY BY DAY” album, Spencer Day is the #1 Billboard jazz/pop singer and songwriter for a second time! Enjoy an evening of reimagined theater songs with surprising and inventive genre-blurring arrangements. As well as jazz, Latin, and some old and new standards. Widely regarded for his original songs that blend compelling melodies, smart lyrics and lush arrangements, Day has wooed audiences around the world.

1 Carmichael Square, Carmel, IN

2022-02-28 2:37 PM

Thursday, April 7, and Friday, April 8, 2022 Doors 6 p.m. // Showtime 7:30 p.m.

A $25 food and beverage minimum will be required for all patrons.

For tickets, visit feinsteinshc.com.

presents

Lucie Arnaz ‘I Got the Job!’: Songs From My Musical Past With Award-Winning Composer and Musical Director Ron Abel Writer // Janelle Morrison • Photography // Michael Childers

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or nearly three decades, Lucie Arnaz has toured her critically acclaimed nightclub acts throughout the United States and Europe, making stops in Las Vegas, Atlantic City, Reno, Miami, Feinstein’s at the Regency and at 54 Below, Birdland Jazz and the Café Carlyle in New York, and now Feinstein’s at Hotel Carmichael in Carmel, Indiana.

Lucie began her career on television at 12 years of age, in a recurring role on “The Lucy Show,” starring her mother, Lucille Ball. On film, Lucie co-starred in “The Jazz Singer” with Neil Diamond and Sir Laurence Olivier, in several made-for-television movies, including “Who Killed the Black Dahlia,” “Washington Mistress,” “The Mating Season,” “Who Gets the Friends?” with Jill Clayburgh,

and “Down to You” with Freddie Prinze Jr. and Henry Winkler.

Lucie Arnaz and her husband of 40 years, Laurence Luckinbill, formed Arluck Entertainment, and their personal and professional collaboration has produced all of her concert work and his four one-man shows. Both have been the recipient of an Emmy Award for their television documentary “Lucy & Desi: A Home Movie.”

Lucie is the proud mother of three and the elated grandmother of three with Luckinbill and stepmother to his two sons. It is these credits of which Lucie is most proud.

Along with Ron Abel, the multiaward-winning composer, producer, arranger, orchestrator, conductor and musical director, this show is one you won’t want to miss!

JANELLE MORRISON: We are honored to have you grace the stage at Feinstein’s at Hotel Carmichael!

LUCIE ARNAZ: Thank you! I got a chance to play at the very first Feinstein’s at the [Loews] Regency years ago. They’re just the classiest clubs. There aren’t many really proper supper clubs around the country anymore.

They’re disappearing, and as fast as they’re disappearing, Michael [Feinstein] seems to be finding new places to create them. I just love playing them, and now I have a little mini tour [of Feinstein’s] to go to. It makes me feel great to be invited to all of them because you never get to play anywhere nicer.

I’ve actually played at the bigger stage at the Palladium there in Carmel where Michael keeps all the wonderful archives. And that was wonderful. I did my Latin Roots [concert] there several years ago.

JM: How great does it feel to be back out

there touring and performing for live audiences?

ARNAZ: After the shutdown, all of the rescheduling and then the re-cancellations and rescheduling of those re-cancellations, it’s going to feel good to get back there, doing what I do creatively, I’m sure. It’s been a very strange feeling for the last two years. I haven’t had that empty of a calendar since I was 15 … and I’m not 15 now. [Laughing] There had always been an acting job, a singing job or something that I’ve been involved with. It wasn’t until 8 or 9 months into [the pandemic] that my body went into like a withdrawal from not focusing on what I do creatively.

JM: The world has been pretty miserable

throughout this pandemic, and it’s been incredibly miserable for creatives not being able to create like we have prepandemic. It has also taken a huge toll on humanity, I think, not being in community with one another. I would love your observation on this.

ARNAZ: I think you’re absolutely right. If you look back at the last time there was a pandemic, I don’t know what kind of entertainment they were losing out on at that time, but there wasn’t half of what we have now. Thank God for the internet. If you couldn’t even connect to the internet, you were really quarantined and alone. I don’t think we’ve had

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a chance to experience that lack of creative input from the people who make arts and for the people who go out and absorb the arts. We’ve realized that things start to deteriorate, and we need that camaraderie, and we need to gather. Whether it’s dance or song or gallery openings, it really shows what happens to your psyche if you don’t have access to those things.

I’ve often asked while raising money for different arts organizations, schools, funding for theater or whatever, “Imagine if all of a sudden, all art was not available to you? People stopped making it. No more music, none. No theater, no movies, no TV. What if there was nothing pretty to look at or hang on your walls because no painters ever painted? What if no one could afford to be an artist anymore? Imagine your life without art. This [pandemic] was the only time we’ve had a tiny little taste of that, and it’s not a world I want to live in, you know? We always have to support artistic venues and artistic people because it could evaporate and go away if people can’t afford to do it anymore or if they don’t learn how as children in schools, colleges, conservatories and places like that. It would be a very sad universe.

We need to just go and forget our little household things and let somebody else infuse us with possibilities. I think great art should always leave you with better possibilities. Whether it’s an art gallery, nightclub or a theater—you should walk out of that space feeling like the things you want are more possible, not less possible. And even if it’s a dark experience or a dark play, if you’re moved by it or you’re challenged by it—things can get better. And if you make people think, they can be pretty terrific if they put their minds to it.

JM: What was the thought process behind

putting together your new show with your musical director Ron Abel and what memories and/or experiences did it conjure?

ARNAZ: I’ve been doing this for like 30 years now, believe it or not, since I started doing my concerts. In the beginning, it started with someone calling me and asking if I wanted to do an evening of Irving Berlin for his 100th birthday. So, I put a 90-minute show together, and that’s how it all started. When it wasn’t [Irving’s] birthday anymore, I took out some Berlin and added in some Gershwin or Cy Coleman, and so I was putting together a good, entertaining show. I want to tell the best stories through song. It’s helpful when they have nice melodies, but I pick good

stories and ones that I can relate to, say something before I sing them that makes people understand why I’m singing them.

This time, this show, I thought, wouldn’t it be kind of cool to take a look at all the years that I’ve been doing theater because that’s where I started—performing in plays and musicals on and off of Broadway. I have a lot of plays and musicals under my belt all the way back, literally, to high school. The first two shows I did were in high school, and then what came after was summer stock and first national tours.

When I was in my early 20s and was doing my first summer stock shows, my dad [Desi Arnaz] said to me [impersonating her father’s accent], “You know, honey, you should put together a show, a nightclub show. You could do all these wonderful songs that you do in the musicals in the nightclub and tell stories and stuff about them.” I gave him one of those “Oh God, Dad” looks because, you know, he’s your father and everything he says is going to be corny and “old-fashioned.”

But when I was talking with Ron [Abel], I said, “You know, [Dad’s] idea was really a pretty good idea. Back then it would’ve been stupid because I’d only done like three shows. So, thanks to my father, we had the idea to put together a mini retrospective of my life and my journey through the musicals that I’ve done. It’s the most authentic show that I’ve ever done because it really is my whole life this time, and I’m not just picking great songs from the Great American Songbook and trying to find some connection to my own life somehow. This is truly my life, and it’s very exciting to do.

JM: I can only imagine the memories and

emotions that came with putting this together. When you look back, can you describe in your words some of those emotions that you feel?

ARNAZ: It’s pretty amazing, considering it was my father’s original idea that I pooh-poohed.

It’s funny how he had a premonition that this [show] was going to be a good idea. I’ve been incredibly fortunate in my career and have been so lucky. The people that I’ve worked with—really famous directors like Michael Bennett and famous composers like Cy Coleman, Marvin Hamlisch and Irving Berlin when they were still with us. Theater stories are amazing. It’s horrifying when things go wrong on stage and hilariously funny later on when you talk about it. Just the memories of how we created something and what it’s like to share with the audience and what it’s like to be in the middle of making a brand-new musical and all the things that go on. A lot of people have no clue what it takes to put on a show and how sad it is when you work that hard for that long and it opens and then it closes. They give it 180% to make it good.

They don’t go out there and do this so [the

show] fails. They’re thinking they’re working on a hit, and then sometimes it just hinges on one reviewer that didn’t like it and the show is dead. It’s horrible, and it’s a very hard business. Irving [Berlin] was right—it really is a crazy business but a wonderful business. I love it from the moment I get up in the morning until I come home at night and take my makeup off. I love what I do. I like the tightrope walk. The curtain goes up—live audience—and it’s you. Nobody there to save your ass, which is why I’ve stayed primarily in theater and in nightclubs. Theater is of the moment, and then it’s gone. If you weren’t there that night, you didn’t see the performance. I love that because it’s all about what you do, and you either do it right or you don’t, and I like the challenge.

JM: Why do you feel it’s important to

preserve our musical past and national treasures such as the Great American Songbook?

ARNAZ: It’s important to have parents that appreciate the Great American Songbook.

I was lucky. My dad, that’s what he did.

He was a bandleader and a singer. He had these great charts. That’s the reason why I do what I do right now in concerts. It’s because of his music. When he passed away, I found some tapes of his original live performances in these great clubs around the country and live radio show performances.

Of course, I knew his music and that he sang with a band because it was on “I Love Lucy,” but to hear the actual beginnings in the ’30s and ’40s, when he was first doing this, I was so inspired. His choice of music was impeccable. There were Broadway tunes and Great American Songbook tunes and a few Spanish things thrown in, but always really good music. I had that music around me, and even when my parents divorced, my mother [Lucille Ball] married Gary Morton, who was a stand-up comic who opened for all the great singers at that time: Sinatra, [Mel] Tormé, Sammy Davis Jr., Lena Horne and all the greats. So, he had a tremendous library of albums and music for us to listen to at home. It was constantly in the background, so I grew up understanding that music and the stories that those people told.

JM: These songs and collections are such

an important part of our past and are equally important to our future. Are you concerned that “great” music will be lost in future generations?

ARNAZ: I like a lot of what I’m hearing with the younger generations. In the last 40 years, music has changed, and I appreciate it on various levels as it comes and goes. My mom thought The Beatles were ridiculous, so every generation has to question the coming generation, I guess.

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T he C en ter Presen ts:

Vanessa Williams Writer // Janelle Morrison • Photography // Rod Spice, Mike Ruiz, Kate Best and Gilles Toucas

The Palladium // APRIL 1, 8PM

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ultifaceted singer-actress Vanessa Williams has sold millions of records worldwide and posted Billboard Top 10 singles in genres including pop, dance, R&B, adult contemporary and jazz.

Her hits have included “Dreamin’,” “Save the Best for Last” and “Colors of the Wind” from Disney’s “Pocahontas.” She found similar success on Broadway (“The Trip to Bountiful,” “After Midnight”) and in film (“Soul Food”) and television (“Ugly Betty,” “Desperate Housewives”).

Williams’ career honors have included 11 Grammy nominations, four Emmy

nominations, a Tony nomination and a star on the Hollywood Walk of Fame. She has performed with the world’s most prestigious symphony orchestras, most recently with the National Symphony Orchestra at the Kennedy Center.

Tickets are available at thecenterpresents.org.

JANELLE MORRISON: We are so excited to have you grace our stage in Carmel. How great is it to be back out performing in front of live audiences?

VANESSA WILLIAMS: It’s great to be back in big arenas and concert venues, and it’s great to

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have audiences in the seats. I guess I was one of the lucky ones—I worked throughout the pandemic and did three concerts during the pandemic. I did a concert with myself and Renée Fleming at The Kennedy Center in September of 2020 that we streamed with a socially distanced [live] audience, and I did a Christmas TV special [“Ella Wishes You a Swinging Christmas”] for PBS that we shot outside in December of 2020. And I also did “Live from the West Side,” which is a Broadway streaming show.

JM: The passing of the great Stephen Sondheim last year shook the theater world.

He is truly an irreplaceable icon. Share with me what it’s been like having worked with some of greats like Mr. Sondheim throughout your career.

WILLIAMS: I had an amazing weekend performing at the “50 Years of Broadway at the Kennedy Center”event. We did a whole section on Steve [Sondheim]. I’ve been so fortunate to work with incredible people that have come before me and created a path for me so that

JM: Rather than be idle over the last two

years, you’ve continued your passion for advocacy and co-founded the Black Theatre United. How important is it for people to support and to create equity in the arts—in your opinion?

WILLIAMS: The most powerful thing I did through the arts was to establish “Black Theatre United” with 16 of my other Broadway pals. Audra McDonald and LaChanze both reached out to me right after the George Floyd murder, and we were all stunned and basically motivated to do something. We didn’t know what we were going to start with and what our agenda was going to be at first, but we knew that we had to take action, and so the most meaningful move forward—that we did in unity—was to bring attention to disparity and the lack of equity in Broadway and the business of commercial theater and repertory theater in general. Stacey Abrams was one of our first town halls with Dr. Jeanine Abrams McLean, VP of Fair Count. We had Viola Davis as one of our facilitators for our platforms, and we talked about the law, and we talked about how you need to show up to make things happen.

Beyond having our town halls, we got a chance to sponsor EDI [Equality, Diversity and Inclusion] training for commercial theater—across the board—including theater owners, creatives and the union. And not just the productions in the front—yes, we need to be seen and have more facing productions that you see on the stage, but we’re talking about behind the scenes as well, in boards, management, staffing, theater ownership and concessions. So, we’re addressing all of that stuff, and I think that’s been the most meaningful thing that’s come out of the deep dive at what’s happening in everyone’s lives right now.

is equal—there is no less than or more than.

For me, it’s what’s worked for me in my life.

I was 20 years old and a junior in college when I became famous overnight, but that’s my journey. That’s my story. So, when I talk with people one-on-one, I tell them that the bottom line is to sell your skill set. What are you good at? What do you like to do? Let’s start from there and see where that takes you because you never know who’s going to be watching you that could be giving you your next opportunity in life. Yes—it’s great to have plans, but be a futurist. You’re in charge of your future. It’s not just “Dream it and it will happen.” You have to work toward what you want to do; believe in it and visualize it and then go after it.

JM: How do you define success?

WILLIAMS: I think “success” changes through stages of life. I wanted to achieve, to prove that I could do it, but maybe that’s just my personality. I’m ambitious and adventurous, and that gives me satisfaction. I know a lot of people think that success means monetary achievements, which of course you hope that happens when you’re doing what you like, but again, [success] is personal and it’s relative.

In the grand scheme of things, it is what gives you peace and ease. If you’re doing what you love and you’re happy—then that is success.

I can continue to create avenues for people behind me. I’ll be 59 next month, and part of me is like “Oh my god, I don’t feel 59—where has the time gone?” And now, when I walk into rooms, I’m usually the oldest person there and people see me and my career differently.

Where I’m just happy to start my next gig or adventure, they see the culmination of everything that I’ve done and talk about the influence that I’ve had. So, it’s a very interesting time in life that I can reflect on. I am really thankful that I worked with Steve twice and worked with him on “Into the Woods,” and to have had these amazing opportunities and memories.

JM: What advice do you give to the up-and-comings?

WILLIAMS: I don’t give advice. I can only give examples of what has worked for me because everybody is their own individual and

JM: What would you like the audience to take away from a night with you?

WILLIAMS: Music is a beautiful language, and I get a chance to kind of display a variety of different sides I have, and my likes through music and my ensemble—which is my band that’s been with me for forever.

They will get an opportunity to see and listen to stories and get a slice—for a couple of hours— of who I am and what I have to offer.

JM: What’s next for you? Your kids are

older now, and so as you are enjoying this next phase of your life, what are some projects that you are working on or would like to do in the future?

WILLIAMS: I’m rehearsing next week for “Anyone Can Whistle” at Carnegie Hall on March 10, and I start rehearsals for a play on Broadway called “POTUS.” We open April 14, so I will be in the thick of it through the middle of September.

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Attention High School Parents and Students: New SAT Requirements Take Effect This March in Indiana Writer // Janelle Morrison • Photography // Submitted

With the new SAT protocols being implemented this March throughout Indiana, I thought it prudent to reach out to Carmel High School (CHS) College & Career Programming and Resources Coordinator Melinda Stephan to find out the facts about the relevancy of the ACT/SAT when it comes to college and university applications in this current pandemic environment, as well as how the state’s changes to standardized testing as they relate to the SAT are going to impact Indiana high school juniors.

I

ndiana high school juniors will take the SAT starting in the spring of 2022, and scores will be used to evaluate Hoosier schools’ quality. Lawmakers made the change in 2018 as part of a bill to change Indiana’s diploma structure to align with federal accountability and to align the high school exam with new graduation requirements approved by the state board.

Test-Optional vs. Test-Flexible Policies Today, more colleges and universities across the nation are going test-optional or test-flexible, either temporarily or

permanently, as a result of the pandemic. But even prior to the COVID-19 outbreak, some colleges and universities had already amended their admissions policies to put less emphasis on SAT or ACT scores and more emphasis on a holistic-review approach and multiple factors when reviewing student applications. This was a response by many colleges and universities to address concerns about equity and access barriers for students seeking higher education; however, many merit-based scholarships still require ACT or SAT scores for consideration.

Stephan added, “Most of the colleges and universities that are test-optional are test-optional across the board, but you don’t want to find yourself in a situation where you’re worthy of a scholarship but you didn’t take the SAT or ACT, and now you’re not even being considered. So, it’s just better to take the test and make a decision afterwards as to whether or not you want to send in your score.”

So, what is the difference between test-optional and test-flexible? Test-optional means the college or university does not require applicants to submit standardized test scores when applying for admission. Test-flexible means the college or university gives the students the option to submit other standardized test scores for consideration, such as an International Baccalaureate exam or an Advanced Placement Test, in lieu of an ACT/SAT score but are welcome to submit an ACT/SAT score if they so wish.

Stephan emphasized that she and her colleagues at CHS looks at each individual student’s situation and help them decide on whether or not they should send in their ACT/SAT scores.

“We’ve gotten a lot of questions in the last couple of years from parents and students,” Stephan said. “There is a list of test-optional colleges and universities in the United States, and it’s more than you realize. But there is still a handful of colleges and universities that still require test scores, and they’re usually more selective in nature. Most colleges and universities will post their middle 50%, and so we tell our students to look at that information on the [test-optional] college website, and if their middle 50% for the SAT was 1200, and the student has a 1050, you might not want to send your scores because you’re falling below that middle 50%. If your test scores fall within that 50%, then you’re in a good place to send in your scores.”

New This March—All Indiana High School Juniors Are Required to Take the SAT The SAT is the new state accountability exam required by the State of Indiana,

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starting with the class of 2023. Any CHS class of 2022 seniors who have not already taken the SAT or ACT will not be eligible to participate in the SAT testing day on March 2, 2022. These seniors will have to register and take the exams on a designated Saturday test day.

High school juniors are not able to opt out of taking the SAT even if they have taken the test previously, have future plans to take it, or don’t intend to take it in the future. Students unable to take the SAT on March 2 due to an absence or illness will have to complete a make-up test at school, within the state’s designated testing windows.

The students will not have to register themselves nor pay to take the SAT on this date. CHS will make all necessary arrangements for students to take the test. The SAT will be taken on a computer by all CHS juniors. This is a different testing format than students will use if/when they take the SAT during College Board-scheduled administrations, which are paper/ pencil exams.

While students are required to take the SAT for state accountability purposes, it is not a graduation-qualifying exam like the ISTEP was previously. In other words, a student does not need to achieve a certain score on the SAT in order to graduate from high school.

The state does not require that the actual numerical score be reported on the transcript.

Therefore, CHS does not plan to include actual test scores on the transcript.

which are free. The best place to start is by using the official SAT prep offered by the College Board in partnership with Khan Academy. This free test prep resource provides access to practice test questions and fulllength practice tests. The CHS Counseling Office also maintains a list of test prep resources in the Counseling Canvas Course.

“There’s no shortage of people trying to help students prepare for these tests,” Stephan stated. “It’s definitely a huge market, but I usually tell students to get familiar with the testing formats, and so maybe do some online free test prep and get familiar with the way the questions are asked. Any time a student can set aside some time on a weekend to do a full-length practice test is only going to help with testing strategies, timing and how things are worded. A lot of it is just understanding how to take the test, and that’s

why students have been doing better the second time they take it because they’re familiar with it.”

Stephan explained that if a student wants to retake the SAT to improve their score, they can, but they will need to register and pay to take the test during a test date offered by the College Board. The same applies for students who want to take the ACT in addition to the required SAT. The student will need to register and pay for the ACT through the College Board.

Scores from the March 2 SAT will be available in late March/early April, and make-up SAT scores will be available in May. More details about how to access scores will be shared by CHS counselors later this spring. If you have additional questions, please contact your CHS counselor.

For a comprehensive list of test-optional colleges and universities throughout the U.S., visit fairtest.org.

SAT Prep and Tutoring There are numerous test prep resources available to students, some of

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BRYANT BEARD:

Life Lessons From The Heart Writer // Janelle Morrison Photography // Staff and submitted

Carmel resident Bryant Beard has always been one to take the path less traveled, and since stepping into the role as director of tennis with Indiana Premier Tennis at Community Sports & Wellness in Pendleton, Indiana, Beard is continuing to dream big and is encouraging his students—of all ages—to take a page from his playbook: Maximize your strengths, grow from your weaknesses and live life to the fullest, regardless of what obstacles life serves you.

B

ryant, a self-proclaimed global citizen, has overcome a heart defect that went undetected until he was 9 years old. He has lived and studied abroad, teaching English, before moving back to the U.S. and eventually to Carmel with his wife, Alinka, where they are raising their 8-month-old son. Beard’s unorthodox path to becoming a tennis coach and director, along with his unique perspectives on life and humanity, are why we are pleased to feature him on our cover this month.

A MEDICAL ANOMALY Beard was born with a coarctation of the aorta—a narrowing of the aorta that leads from the heart. This type of defect is typically discovered at birth. Beard shared that around age 8 and 9, he would feel pain in his chest after running or physical-

ly exerting his body. His physician at that time discovered a murmur, and subsequent tests diagnosed Beard’s condition.

To say that discovery made an impact on Beard’s life as a child is a gross understatement. But it’s how he decided to live his life that set the trajectory for Beard’s achievements and successes throughout his life and career.

“My heart has to work at a higher percentage in order for the blood to be pushed through the small narrowing,” Beard shared. “Think of it as Black Friday—prepandemic and preonline shopping. The doorways are normally fine, but when you’ve got a little bit of chaos and everybody’s trying to flood in—they’re not [fine]. For whatever reason, my condition went missed, and from what I’ve been told, that is very rare. I’m kind of a statistical anomaly. I went 9 years of

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age without any other severe defects or dropping dead, which happens a lot with this type of issue.”

Prior to his diagnosis, Beard participated in sports such as AAU wrestling and Little League Baseball, and he enjoyed playing at recess like a physically healthy young child.

“When I was 9, I had to stop everything I was doing at that point,” Beard said. “I was underdeveloped and very skinny because my heart wasn’t functioning properly, and I had other problems that came down to this heart issue. I had my first surgery at Riley Hospital for Children that summer and had another surgery—angioplasty—at 10. I haven’t had any surgeries since, and I get checked every year and a half now. Since becoming an adult, I’m pretty much good to go because my body’s not growing anymore, but I have to monitor it and make sure I don’t ‘overdo’ things.”

After his surgeries, Beard was released to play noncontact sports, and so he picked up tennis.

“My life was changed very drastically,” Beard reflected. “I wasn’t allowed to play [contact] sports and wasn’t allowed to eat more than 2,000 milligrams of salt a day. Every day at lunch I had to eat the same thing and was literally under the lunch table trading food. I had a lot of limitations, and I think as a result of those [limitations], and I’m sure my parents were a big part of that too—I made a philosophical change. I was a curious person and read a lot beforehand, but when you’re 9 and 10 and you have to sit back and watch everyone, you subconsciously become very detailed-oriented.

And I think that’s the framework that led me to become who I am today.”

A PERPETUAL STUDENT OF LIFE Beard participated in a tennis camp the summer before entering high school. Beard played on the men’s varsity tennis team while managing and assisting the women’s tennis team.

While improving upon his skills on the court, Beard continued building his academic strengths, which turned out to be in linguistics.

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Beard is multilingual and speaks English, French and Spanish fluently.

While uncertain what he wanted to do post-high school graduation, Beard attended Anderson University with the initial intention of studying graphic design. Beard had developed a skill and passion for drawing during the years that he couldn’t engage in extraneous physical activity. His first weekend at the university, Beard changed his mind on his areas of study and dove into social studies and French education.

“So, I specialized in basically history, English and French for the next few years,” Beard said. “I knew I wanted to teach, but I didn’t want to be in the ‘box’ of the education system in the U.S. I didn’t really have a plan; I just knew that I wanted to keep learning languages and wanted to be somewhere new.”

Beard played tennis while attending Anderson University and graduated in 2012 with a bachelor’s degree in French and history. He also received his TESOL (Teachers of English to Speakers of Other Languages) certification in 2012.

Prior to being married in Anderson, Indiana, Beard and Alinka—who is of Polish and Honduras descent—traveled to Europe, where Alinka would finish studying for her master’s degree and Beard would teach English to youth. The pair lived in Germany and Sweden for the better part of a year before moving to Honduras, where they lived another year or so with her family. Beard taught in local schools, and it is there in Honduras, he learned to speak fluent Spanish.

“Being very process-oriented from a young age, I joke that I learned more after college because I had time to read,” Beard stated. “Once I got outside of the syllabus, I could just go after things, and I’ve been fortunate to have been in many diverse situations where I was uncomfortable and always learning something.

When I was living in Honduras, I needed to learn Spanish to emotionally connect with my family and survive daily life— that’s a big reason why I picked it up.”

Beard’s passion for teaching and perpetual learning would be key attributes in the next chapter of his life. He and

Alinka—now married—moved back to the U.S. in 2015. That same year, Beard was hired at Anderson University, where he coached Men’s D3 and Women’s D3 tennis.

He was also giving private lessons and volunteering with many other teams in the community.

“I’ve enjoyed being a coach, a mentor, a brother and a father—both figuratively and literally,” Beard shared. “Looking at all the things that I’ve developed as a result of being that detail-oriented mentality is what has helped me grow really fast in the tennis industry around here, and I have some very big goals.”

THIS ISN’T COUNTRY CLUB TENNIS Originally, Beard was hired on by Community Sports & Wellness to manage the pro shop and get it up and running for the new facility that opened in December of 2020. Beard also began coaching a couple of classes before stepping into the role of director last September.

While they are a for-profit facility, Beard is exploring ways to develop scholarship opportunities for students and youth who would otherwise not have the opportunity to play tennis due

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to financial hardship. Meanwhile, Beard is changing things up on the court and is exposing all ages and skill levels to the world of tennis, while exposing his participants to a more diverse and rather atypical tennis club environment.

For example, one of the classes that Beard coaches is an inclusive beginner-level tennis class that celebrates Latin American culture. So, what does that look and sound like?

“We’ve been doing this twice a week on Mondays and Fridays,” Beard explained.

“Anyone can come and play tennis in a beginner setting where we play salsa music and tell jokes in Spanish. Everyone is welcome—this isn’t country club tennis. I don’t want to be just another high-performance club. I want people to get involved in tennis and make it their own. That’s my personal vision, and the vision that I want the club to be.”

Beard’s vision also involves a heavy focus on the youth members—teaching them grit, mindfulness, gratitude and social skills.

“Teaching the youth is the most important thing to me because we’re planting seeds,” Beard said. “When it comes to inclusiveness, that’s happening organically already if you’re in my class because I have an eye for that and it’s important to me to make everyone feel empowered and welcome. The next thing you know, you have this tree of people that are less ethnocentric.”

When asked what his best advice— based on his life’s experiences—is to kids who have obstacles in their lives that would otherwise keep them from achieving their dreams and goals, whether they’re physical, financial or other types of limitations, Beard replied, “The key is to spend time recognizing what you’re in control of and what you’re responsible for. Be present where you are in life. Ask questions and don’t be obsessed with answers. It will take so much weight off of you as a child and as an adult. If you’re obsessed with wins and losses, you’re missing the point of growth.”

For more information on Bryant Beard and his tennis classes, visit communitysw.com.

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