FlyOver: May 2008 Archives
Actor Michelle Hurst and writer and director Ain Gordon in Lexington's Downtown Arts Center where they are presenting In This Place . . . , a play inspired by the "alternative history" of Lexington. Copyrighted Lexington Herald-Leader photo by David Perry.
Jim Clark, the president and CEO of LexArts, invited stage writer and director Ain Gordon to come to Lexington to find a story in the city's history to tell.
It is the sort of thing Gordon has done in New York and New Jersey, and Clark has seen how it generated interest and dialogue in the communities where Gordon worked.
"I started walking around downtown and saw all of those historic plaques," said Gordon. "My first reaction was, it's all been taken care of. There's nothing for me to do. This town is covering its history."
But then he started to think about the plaques and how in most cases they couldn't possibly tell the whole story of what happened at each site. He also spotted a place that curiously did not have a marker: 245 South Limestone.
"It was as old or older than many of the houses that had markers, and it wasn't marked," Gordon said. "I thought, 'Why is that? Whose house is this?'"
Through his investigations, Gordon found the 1830s-era house was originally the home of Samuel Oldham, the first free African-American man in Lexington to own his own land and build his own house.
Now, Gordon is giving two unique markers to the house -- which was bought in 2006 by Coleman Callaway III and is being renovated.
First, there's a play, In This Place ..., which opened Thursday for a three-night run at the Downtown Arts Center. The one-woman play uses traditional theatrical techniques and multimedia to tell the story of the Oldham House through the owner's wife, Daphney.
Later this summer, a new-concept historic marker will be unveiled at the house. Rather than try to encapsulate the history into a paragraph like the familiar bronzed signs dotting downtown do, the new marker will direct viewers to a Web site full of research Gordon did while writing In This Place .... The site will also showcase video from and for the play's production shot by Lexington documentary filmmaker Joan Brannon.
Last year, the Chamber Music Society of Lincoln Center participated in a pioneering effort: The first Chamber Music Festival of the Bluegrass.
Presented by the Centre College's Norton Center for the Arts and its director, George Foreman, the fest was held at the Shaker Village of Pleasant Hill in Harrodsburg, Ky., off the beaten path for most concert goers, in a renovated tobacco barn, an atypical venue for musicians more accustomed to cozy concert halls.
And it was a smashing success.
The concerts were sold out, and the chamber music society's press representative says the musicians haven't stopped talking about Kentucky.
So, with the second edition upon us, we got on the phone with cellist David Finckel and pianist Wu Han, co-directors of the Chamber Music Society, to talk about the second edition of the festival and their return to the Bluegrass.
Lexington Herald-Leader: Tell us about your trip here last year and what made it so great.
David Fickel: The most wonderful thing, besides being in Kentucky, and in such a beautiful place and having such beautiful weather and meeting all the new people and playing for a new audience was being present at the birth of a really exciting new project. These days, when classical music takes root in a new location and blossoms, it's wonderful news for everybody involved. We also look at our involvement at the Shaker Village there as being something that the Chamber Society is good at, something that we should do, being the kind of organization we are, we should go around and help people start new things because we can present great art in great programs and get people excited.
In the end, we all had a marvelous time. We made a lot of new friends, and we've really been thinking about it ever since.
Wu Han: In a regular concert, we usually hit a city and play for an audience of 500 to 2,000 and then we probably split the next morning and hit the next town. That's a performer's life.
So, to have the opportunity to base in such a gorgeous environment - it's inspiring to be in such a pure and spiritual place like the Shaker Village - and to have the opportunity to be involved in a festival is incredibly satisfying. Festival is a place you come to meet people to have exploration, to have a community that has the opportunity to mingle, to eat meals together, to talk and to share a space and exchange ideas. At the end of the festival, we know the presenters very, very well, we get to know the audience, we get to know where to eat locally, we get to hike a little bit and the audience bonded with us. We have so much to share and it's a very different sensation from just traveling from city to city and doing one night stands. The setting of the Shaker Village is fantastic. I don't have the TV to distract me with CNN and 30 minutes of updating in my hotel room. And everyday I would wake up in the same place and it is very close to nature and I get to meet my audience in the daytime.
That's unusual for musicians and I think it's unusal for the audience to be that close to the musicians.
And playing the tobacco barn is so unusual. It's very close to the earthiness of what we do using the chamber music form and its intimacy. It's a project I really treasure.
Q: Last year, before you came, you said you were curious as to what the venue was going to look like. How did the tobacco barn turn out as a place to play?
WH: I loved it. To have a little bit of cowbell and the birds flying around the Dvorak Piano Quintet is not a bad thing at all.
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Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog