Using theater as a historical marker

Clark and Gordon see the new-style markers as a way to document the city's history, particularly the stories not included in its first drafts.

When Clark first invited Gordon to research Lexington's "alternative history," Clark thought Gordon would focus on better-known subjects, perhaps legendary madam Belle Brezing or Sweet Evening Breeze, the well-known man who enjoyed dressing in women's clothing. But in the Oldham House, Clark says, Gordon found a story that was very appropriate for his project, which Clark initially envisioned as telling untold history.

"The house was decaying and in danger of being torn down before Coleman Callaway bought it," Clark says. "That's a lot like the history we're trying to document here."

When Gordon began researching the Oldham House, he says, details about its history were not clear and no one ever mentioned Daphney.

"I was collecting different scraps of conflicting information," Gordon said.

Finally, he was introduced to historian Yvonne Giles, who helped him put the pieces together.

Brannon, the videographer, said she was nudging Gordon toward looking at women's stories, but was surprised when he chose to look at the story of Samuel Oldham through Daphney, a slave whose freedom Oldham bought.

"At some point, I got this line in my head that (Daphney) now says, which is, 'A forgotten man is still better remembered than his wife,'" Gordon says. "That caused me to think Daphney is the person who is even more silenced than Samuel, so it is she who will speak to us."

In the play, Daphney, played by veteran New York actor Michelle Hurst, is a ghost trying to remember her life. Gordon says he always saw Hurst playing Daphney.

"When a playwright says they're writing a play for you, you say yes, because it gives you a chance to stretch your muscles," Hurst says. "Then, two weeks later, he told me what it was about, and I said, 'Oh, OK. And where are we doing this? Lexington, Kentucky? Never been there. Why not?'"

Hurst and Gordon have developed an affection for Lexington and the play, which at one time they considered presenting on site at the Oldham House. But the technological needs and desires of the project wouldn't allow that, so the show moved back into a traditional theater space.

Clark said he hopes In This Place ... enjoys a successful opening. It is not necessarily a project LexArts will do again, he said, but he and others want to plant a creative seed in town.

Brannon said, "I hope this will inspire other artists and arts groups to explore our history."

Extra: Read a review of In This Place . . .