Don't Be a Humbug!

Studio Players present:
Jacob Marley's Christmas Carol
by Tom Mula


"Scrooge? I have to redeem old Scrooge? The one man I knew who was worse than I was? Impossible!" So begins the real story behind Dickens' A Christmas Carol - the story of Jacob Marley's heroic behind-the-scenes efforts to save old Scrooge's soul (and in the process, save his own). 

Carly Preston is directing Studio Players’ presentation of Jacob Marley’s Christmas Carol, which opens tomorrow night at the Carriage House. When asked how this version varies from the Dickens original, she explains “Jacob Marley’s Christmas Carol tells the story of Jacob Marley, while Dickens' tale focuses on Scrooge. It is kind of like the backstage version of Dickens' story. It's the behind the scenes look at how and why Jacob Marley visits Scrooge in the first place. It also connects the two business partners and explores their relationship as well.”


Preston points out that she and her assistant director "gathered and read every piece of literary theory and criticism they could find that focused on Dickens the man, his life and works, The Christmas Carol history and story itself, as well as reading all of the staged versions and adaptations of the original. We also watched every film version we could find. We did extensive research on Tom Mula as well as the production history of Jacob Marley’s Christmas Carol.”

While she has not been involved with any other incarnation of the Dickens classic, she states, “I'm not much for kitchen-sink realism or traditional theatre. I enjoy different perspectives, and especially avant garde theatre that challenges its audiences.”

Preston is pleased to be working again with Studio Players, where she previously directed Nice People Dancing to Good Country Music and Love, Sex, & the IRS.

Over the last 12 years, Carly has directed, assistant directed, and acted as tech support for many productions throughout the area. Preston received her Bachelor of Arts degree from Georgetown College in 2001 and a Master of Arts-Theatre degree from the University of Kentucky in 2007.  She's grateful for the support of Lisa Whitaker, who has acted as her assistant director and confidante for each Studio Players show.

Jacob Marley's Christmas Carol
This irreverent, funny and ultimately, deeply moving story retells Dicken's classic with warmth and infectious zest. Preston points out that Bogle uses a laser light during the show and that has provided endless laughs.

At the rehearsal on Monday night, the players gathered beforehand to iron out a few wrinkles, but were ready to get on stage and begin the show right at 8:00 p.m. Bob Singleton’s Bogle, the hell-sprite, begins the show by borrowing the famous Munchkin line, explaining that Marley is “not only merely dead, he’s really most sincerely dead!” Thereafter, Marley’s spirit, as well as all the other characters are dogged by the gravelly voiced Bogle, who continues to entertain throughout the show in his role as a pesky hellion and sarcastic bystander.

Will Marley be able to redeem Scrooge so that he may proceed to the after-life after-party? Or will the chains they forged in life continue to tether them to the netherworld below? The answers to these questions and more will be revealed by the Studio Players cast and crew beginning tomorrow night at the Carriage House. Why not enter the world of Scrooge, Marley and company to see what happens?  There’s always the hope of redemption during this Season…so bring your Christmas spirit, no matter what condition it’s in!  

Cast:
Actor 1 (Marley, et al)............................Bill Nichols
Actor 2 (Bogle, et al).............................Bob Singleton

Actor 3 (Scrooge, et al)........................Greg Jones

Actor 4 (Recordkeeper, et al)..............Eddie Salone


Don’t be a HUMBUG- join Studio Players' Winter Donations Drive!
Bring new gloves and hats for children, gently used children’s coats, or canned/boxed foods when you come to the show and be entered in a drawing to win FREE Studio Players tickets! Donations will be accepted on performance days, beginning 1 1/2 hours before show time, during the run of the show. All proceeds are tax-deductible and benefit the Blue Grass Farms Chaplaincy, a local non-profit organization: http://www.bgfcky.com/

Production Dates:  November 19, 20, 21, 22, 27, 28, 29,

December 4, 5, 6, 2009

*Due to high ticket sales, Studio Players have added an 8pm performance
for Thursday, Dec. 3, 2009

Opening night, Friday and Saturday performances begin at 8:00pm;

Sunday matinee performances begin at 2:30 pm

The Carriage House Theatre is located at 154 W. Bell Ct.

Ticket Prices:  All performances $15.00  - Students $10.00

Studio Players accepts all major credit cards at the box office, as well as cash or check.

Please note: you will need to arrive at the carriage house 15 minutes before the performance time. In the event that the performance is sold out, Studio Players reserves the right to sell unclaimed reserved seats at that time.  For reservations please call (859) 225-0370 or purchase tickets online.

Jessica Pearl French Senior Recital

My lovely niece, Jessica Pearl French, is having her senior recital this weekend.  I am so proud of Jess.

She is humble, even though her talent is out of the ballpark; she is hilarious (even though me thinks she gets embarrassed by me every now and again); and she loves her Marmee (that's my sister, Karen), and most importantly, she lets her Mom know she loves her, and she does it often.

Jessica is a musical genius, she is thoughtful and she is compassionate. She is just like her Marmee...and I love 'em (and Rubin and Susannah Montana, Jessica's siblings :) !

I hope her recital is as gorgeous as she is.  I am so honored that I will be attending! I'll be bringing lots of tissues, my full attention, and my cocktail rye-sized camera, which I hope is still working by then. 

Go Jay-Pearlz - go! 

Please, Please Me!

Please, Please Me!

Exhibit Collaborators Eager to Please, but Mum’s the Word


A 'NO' uttered from deepest conviction is better and greater than a 'YES' merely uttered to please, or what is worse, to avoid trouble. – Gandhi

(unedited version of last week's
 Ace Weekly cover story)

by Kim Thomas


Sometimes it seems the world is divided into two sorts: those who can keep a secret; and those who love to play the spoiler. Just try to not find out what you do not yet want to know, and you better believe someone will stroll your way with a blabbermouth full of who won the big game, the newest wrinkle in Don Draper’s mad life, and/or what Sue Sylvester did last night to thwart the Glee Club.


"We R Here 2 Please You" by James Shambhu
Oil, shellac, Kryon on concrete board

Not Aimee Lynne-Hirchowitz, though.  As organizer of Tuesday's collaboration for the Little/Gaines Artistic Series, I WANT TO PLEASE YOU showcase at UK , Lynne-Hirchowitz knows the value of keeping the mystery alive. Not one to take away the joy of discovery, she keeps her own artistic details close to her vest in order not to ruin the surprise of the reveal when the exhibit opens next week, and resists the temptation to take a peek at what her fellow partners-in-art have done. However, much like Kelli Burton’s Pet Milk smashingly successful effort of last year (see Ace Weekly, November 2008) in which Lynne-Hirchowitz was a participant, some insight can be gleaned from what she does provide simply in her choice of artists with whom she collaborates.


"The name of the show is I WANT TO PLEASE YOU and basically, the art is a surprise for both you and me. Cara Lundy, a graduate of the Arts Administration Program at UK, is curating ... meaning she is the one actually choosing how to hang the pieces that were created by myself, Andrea Sims, and James Shambhu, and in what order. Each of us are coming from a very different place, both visually and conceptually, but we have a few guiding principles we worked with in order to make the show cohesive; we took that show title 'I WANT TO PLEASE YOU' and thought about it, using it as the generator for the work."

 A graduate of the UK College of Fine Arts and The Art Institute of Boston, Lynne-Hirchowitz was selected as the Little/Gaines Artist for November. I WANT TO PLEASE YOU will be the third program in the Series sponsored by UK 's Little Fine Arts Library and the Gaines Center for the Humanities. Four Little/Gaines Artists are named for 2009; each of the four artists choose other artists working in the same or different genre with whom they will collaborate on a program centered around a theme or unifying principle.



Before her move to Kentucky in 1998, Lynne-Hirchowitz worked as an assistant to several well-known veterans of the fashion and design world in New York . When asked about her influences and inspirations, she says there are too many to name and that her varied bodies of work are the results of her experiences and exposures. "I'm grateful for Art. I'm interested in so many things but can never predict what I will find fascinating. Art is the only thing constantly willing to explain the world to me little by little, no matter what."

Aimee says she is working with entirely new media and "my work is really abstract. It's not a change for me conceptually, but I think people who are familiar with my figurative work will be surprised, yet I've been working in this abstract way for at least ten years, I've just not shown that work because it didn't fit with the shows I've had. For I WANT TO PLEASE YOU, my work turned into pieces devoted to the "cover up" (of one's own self) as the way of pleasing: simply avoiding by using the cover up. That's all I can say...I'm happy with it.”

Her collaborators on I WANT TO PLEASE YOU are James Shambhu and Andrea Sims. "The show's title was the jumping off point for the works included in the show," says Lynne-Hirschowitz, the Little Gaines Series Artist for the month of November. "I was really honored to be asked to put together an exhibit of some sort for the Series, and chose James and Andrea because I've always admired their work and never gotten a chance to work with them in an art context. We've all collaborated on events and graphic designs together for other purposes, but never shown (fine art) together. We came up with the idea that we would make work based off a concept, and "I want to please you" was a phrase that was really meaningful---but very, very different---to all of us, so we left it at that. Besides three works we all know will be the same size, the generative words, and the fact that the works are 2D, I know nothing about what they've made; I'm really excited to see what they did and can't wait to put it all together."

James Shambhu admits he could not resist participating in this project. "Aimee Lynne-Hirschowitz asked me to be a part of the exhibition and I couldn't refuse. With the title and jumping off point being ‘I WANT TO PLEASE YOU, ‘so many things were possible. For example, what does it mean to please you on a private level, on an interpersonal level, on a government level on a consumer level? We buy things to please and pacify ourselves. The possibilities were just endless."

 Shambhu is well known in Lexington as a multi-faceted artist, and points out that the Little/Gaines series provided him with an opportunity to flex his illustrative muscle. "Another great thing about this show, for me, was I had been wanting to do some work with a more illustrative/pop art sensibility and this exhibit seemed the perfect fit for exploring these ideas." His piece called "We R Here 2 Please You" was created using oil, shellac, Kryon on concrete board. (see photo)

Interior design artist, Andrea Sims, who with her husband, Krim Boughalem, owns and operates the popular Wine+Market downtown (see Ace Weekly, April, 2008) is known for her trompe d'oeil murals. Andrea graduated from Henry Clay High School , Tulane Architecture School and IPEDEC School of Decorative Design in Paris .



Little/Gaines Artist Series intends to help nurture the vibrant community of artists in central Kentucky. The series is inspired by other collaborative projects, including the multimedia show "Pet Milk: A Collaborative Creative Exchange" curated by Burton, which had openings at ArtsPlace in 2008 and Little Fine Arts Library in 2009. The series also was informed by "The McSweeney's Book of Poets Picking Poets," which asked poets to pick favorite poems and poets who in turn picked their favorite poet and poem for five revolutions, and the Kentucky Women Writers Conference’s Hardwick Jones Reading, an annual celebration of mentorship and collaboration in women writers' lives.

* * * * * *

Little/Gaines Artists Series I WANT TO PLEASE YOU opens Tuesday, November 17, 2009 at 7:30.   Sponsored by the Lucille Little Fine Arts Library and the Gaines Center for the Humanities, the Little/Gaines Artists Series is designed to showcase Kentucky artists working collaboratively around a unifying principle or theme.



All events are held in the Niles Gallery of the Little Fine Arts Library at 7:30 p.m. and are free and open to the public. A discussion and reception will follow each event.

For more information on the Little/Gaines Artist Series, contact Gail Kennedy, director of the Little Fine Arts Library, at (859) 257-4631, or Lisa Broome-Price, associate director of the Gaines Center, at (859) 257-1537

Kim Thomas is a former writer for The Thoroughbred Record, currently works for a downtown law firm, is a member of the Chancel Choir, and is a Commissioned Stephen Minister

Need a little Christmas, right this very minute...

I've noticed that some folks seem to really enjoy hating on Christmas, and I hate that, for them and for me. They damn Christmas carols as soon as they start, squint their eyes and clench their fists, exclaiming that they cannot bear to hear Joy to the World until after Thanksgiving, and how dare someone have all their shopping done this early?!

Me?  Well, bring me some figgy pudding, already -- I think Thanksgiving is a rather glorious time to seek out the Joy! What better time could there be to prepare myself for Advent than when I am surrounded by friends and family and giving thanks for all my blessings?  I will open my heart and my home and yes, even all humbuggers are invited to have their way with my bacon-wrapped-and-orange-stuffed turkey!  I want to find Christmas and hold it close to my heart as long as I can, before and after December 25th comes and goes.


I do wonder, though, what went wrong within the hearts of those who love to despise the signs and songs of the Season -- is it bitterness caused by traumas of Christmas past, is it a defense mechanism rearing its not-so-pretty head, or do they just figure it makes them look cool in their rush to scoff and say such things?  

Sadly, it's most likely a combination of both... but wait! Here before us is a wonderful opportunity to find a profound way to find Faith as a result of our doubt.

Maybe I am 'this way,' i.e., in love with Advent, because I sing in a choir.  Maybe I'm a Christmas-aholic because I want to tuck myself back into my childhood where the biggest fret of the Holiday was singing Little Drummer Boy as a duet with sister Karen without catching the giggles in the middle of the song.  Then again, perhaps I just plain ol' like the redeeming story of God's Love, and how, by accepting His gift of Forgiveness, we can transform our lives. Whatever the reason, I love the music of the Season, the reason for the Season, and am quite ready to watch White Christmas, drink eggnog, obsess over my tree and decorations - I'm ready to soak it all in! It's time...

So I have dusted off the piano for carols at the spinet, am praying for God to soften my heart toward those who have hurt me, and I am feeding my spiritual soul as much as possible by soaking up all the great Holiday entertainment that is afforded during this magical time of the year.

     

So imagine my delight when I realized that just next week, the Studio Players will open their show: Jacob Marley's Christmas Carol. In chatting with veteran Lexington actor Bob Singleton about his role, I learned that this Marley production puts a new spin on the Charles Dickens classic we all know and love.  The book is one of my very favorites, as is anything by Dickens, but my favorite version has always been Mr. Magoo as Scrooge :)

 

Singleton also serves on the board of Studio Players and was last seen on stage as Summerfest's  Dr. Jekyll last July. 

The photo of Bob with AGL's Eric Seale was taken at rehearsal for Tartuffe) 

     
Singleton talks about his character, the Bogle (BOH-gull), describing him as "a demon, a 'nasty little hell-sprite.' Kind of a nasty hybrid of Igor (or is that EYE-gor?), Gollum, Beetlejuice and Sid Vicious.  His purpose is to help/goad Marley through the process that will allow Marley to save Scrooge’s soul (kind of like a tour-guide/after-life coach from Hell), which in turn, will save Marley’s soul. But it’s not like he’s a goody-goody philanthropist. There is something at stake for the Bogle as well, but to find out what that is, well, people will have to come to the show to find out for themselves." 

Singleton has never been in or directed a Christmas Carol production, but "I’ve seen plenty. The story is rooted in Dickens' classic, and although Scrooge figures prominently in this show, and even though there are many familiar scenes and quotes, this production differs in both 'plot line' and style. Tom Mula wrote this play as a response to his friend’s daughter who believed Marley did not receive fair treatment in Dickens’ A Christmas Carol, so Mula gives us the story from Marley’s perspective, framing it as Marley’s attempt at salvation and a 'second chance.' Also, as Carly states in her Director’s Notes: 'Jacob Marley’s Christmas Carol takes place on a different plane of consciousness. The characters exist somewhere between Heaven, Hell and Earth.'"

"As for the style, Mula uses ‘story theatre’ as his narrative mode. Story theatre, as coined by Paul Sills, allows the audience to not only uniquely create the play’s images in their mind’s eye but to embark on a journey that uses many styles of expression to improvise plays from stories, myths, folk tales and legends. In our story, each actor plays several characters, and at times acts as their own narrator commenting on their characters’ actions," he adds.

When asked if this is a new work , Singleton  explains, "This story was first written as a book, then a one-man show that premiered in 1998 at the Goodman Theatre in Chicago. We’re doing the 4-person version, which first premiered in 2001 at the Cincinnati Shakespeare Festival. So it is somewhat new, especially compared to A Christmas Carol."

     He also pointed out that while Marley is not a musical, "the original one-man show used a wonderful original sound design/score composed by Robert Neuhaus. We are using Neuhaus’ score for this production (a recording, not being played live)." He also emphasized that it is also not a comedy, but "there is certainly humor in the production, and warmth, but there are also high stakes for the characters involved…basically, eternity and Marley’s immortal soul. It’s an irreverent, funny, and moving story, that does speak to the true meaning of the holiday season."

Like most efforts of this sort, the rehearsal process helps actors and crew work out unforeseen wrenches in the proverbial machinery, sometimes challenging the performers to realize the true meaning of that old adage "the show must go on." Singleton recalls one such mishap: "I’ve made the Bogle a very physical character, and during one of my leaping, spinning exits, as I’m saying 'goodbye, goodbye,' I leapt off a set piece a little too enthusiastically, landed awkwardly and ran into a door….so my line came out as 'goodbye, OWWWWWWWW, goodbye.' The good news is, I stayed in character...and suffered no permanent, serious damage."

Thank goodness Bob and his Bogle survived! As he and the rest of the cast and crew put the finishing touches on their Jacob Marley's Christmas Carol, I plan to pay a visit to the set with my photographer friend Tom Eisenhauer. Stay tuned here in Kimmyville to see rehearsal photos and more of the story from the perspective of the show's director, Carly  Preston.

God bless us, every one!

Jacob Marley's Christmas Carol  opens at Studio Players on November 19th and runs through December 6th; an additional show has been added for Thursday, December 3rd, curtain time is 8pm.

Studio Players will also be sponsoring a winter donations drive during the run of the show...details to follow in my next blog.  Please note: Marley is already at about 80% capacity for the run, you can order tickets now: 859.225.0370 / lexarts.tix.com.

 * * * * * * * * * * * * * * * * * * * * * * *

Something tells me the folks who complain about Christmas coming too soon to the retail merchants and radio stations are the same folks who go overboard buying gifts and blowing electrical circuits with their spectacular light displays. I learned a long time ago not to get wrapped up in the seasonal stressors, but to absorb the wonder of this time of year and allow myself to be a child again, even if it's only for a moment. 


Poor old Mr. Magoo as Scrooge...how could anyone not love him?

pray for peace,

people, everywhere!

Kimmy

LAL Invitation to Witness

Witness is developed and produced by Lexington Art League (LAL) in partnership with the Kentucky Domestic Violence Association, Bluegrass Domestic Violence Program, Bluegrass Rape Crisis Center, Kentucky United Methodist Homes for Children and Youth, and Third Street Stuff. Sponsored by The University of Kentucky Center for Research on Violence Against Women
Date: Friday, November 20, 2009

Time: 5:00pm - 8:00pm

Location: opening at J. Allen Studio and Spa

Street: 527 South Upper Street

City/Town: Lexington, KY


Working with advocates from partnering agencies, local artists have collaborated with women who have experienced violence to create original works of visual art reflective of the women’s stories, often untold.

These narrative works will be exhibited in multiple locations throughout Kentucky, beginning on November 20 at J. Allen Studio & Spa, 527 S. Upper St., Lexington and then moving to the annual “Ending Sexual Assault & Domestic Violence Conference, November 30 – December 3 at the Marriot Griffin Gate Hotel in Lexington. For more information about this conference visit http://www.kdva.org/.


For more information about the Witness program, please contact LAL at jcuriel@lexingtonartleague.org

Patriot's Pride

This is the first story I ever wrote for Ace Weekly.  It's about my Father, and this time of year, he is very much on my heart and on my mind.


In memory of Marshall Henry Thomas

September 23, 1924-April 9, 1997


A Local Patriot’s Pride
by Kim Thomas

When we were kids and went on vacation, the inevitable songs of summer would be played repeatedly on the radio. Each year, there was a song that my father absolutely couldn’t bear to hear without letting us know how he felt, saying, “Well, now that’s a hell of a song!” The first time I remember this happening was the year Eric Clapton recorded “I Shot the Sheriff,” and my Dad would drolly say, “’I shot the sheriff, but I didn’t shoot the deputy!’ Now that’s something to be proud of!” Several years later, the song, “Dirty Laundry” would play and he’d say, “’Kick ‘em when they’re up, kick ‘em when they’re down’ now that’s a helluva song...there's something to be proud of!”

We always were amused by his dogged dislike of rock-n-roll, but as we grew older we realized he had a perspective that we could never quite grasp. He had a glimpse of what it is like not to have liberty, and he held precious the fact that America is indeed a free country, whose citizens should respect their independence and embrace artistic diversity, even if the message was not necessarily one to be proud of.

The following letter was written by my father’s WWII army buddy, Walt Freitag. Mr. Freitag sent this to me and my six brothers and sisters on April 9, 1997, the day my dad died, in response to our request for some information about Dad’s army background. Dad had never talked about the war with us very much, but rather instilled in us a deep respect for our nation and the liberty we enjoy. Accordingly, we never knew much about exactly what transpired “over there” until we received Mr. Freitag’s letter. [In it, he refers to my Grandmother Thomas (Tommy) and my Aunt Sherry, who lived in Norwood, Ohio at the time.  He also mentions Arnold Reisen, a high school buddy from Williamstown, Kentucky, who at one time played for the Boston Celtics.]

I only recently re-read Mr. Freitag’s account and found it to be not only interesting but comforting. It is my hope that by sharing this letter, that others might learn not only of the sacrifices our WWII veterans gave, but also of their ingenuity and diligence in preserving the freedom we enjoy today. As a daughter of an American soldier who used his many resources to fight for freedom and protect his fellow soldiers, I just have to say, “Now THAT’S something to be proud of!”

April 9, 1997 Wednesday


Dear Sons and Daughters of Marsh Thomas,

Margo and I express our deepest sympathy to the entire family for your deep loss.

Thank you for your kind request for information about Marshall’s military service, and our personal relationship through the years. Will do the best I can.





Marsh and I first met at Fort Benning Georgia, where we were both first inducted into the WWII military under what was known as the Army Specialized Training Program (ASTP). This was a program we all chose, instead of Officers Candidate School (OCS), because we hoped to remain in college until the army needed its next batch of officers—expecting that the war might last many more years.





After basic training, Marshall and I, along with a number of our newmade friends, were shipped to Heidelberg College in Tiffen Ohio to start an Engineering Curriculum. After just two months we were informed that the entire program was being disbanded, and that our entire group (approx 150) was shipped out to the 102nd Infantry Division then located in Camp Swift, Texas. We all realized then that we had made a bad choice, but those are the breaks of army life.





The 102 was originally a national guard unit made up of volunteer guardsmen from the Ozarks, hence the name, “The Ozark Infantry Division.” Many of the original guardsmen were in their late 30s to late 40s—obviously unfit for combat—which was proven by forced marches which caused many to be discharged or reassigned to lighter duty. Our role was to fill the division with young, physically able recruits who could help bring the division quickly to fighting form. This done, the division was shipped to Fort Dix, New Jersey for additional fine tuning and then through Port of Embarkation (POE) Camp Pendleton, on shipboard to join the fighting in the European Theater.


Our troop ship was the first to sail directly into Cherbourg Harbor where we were off-loaded and went directly into the St. Lo area of France, continuing on, bypassing Paris and through Belgium and Holland. Our first really heavy fighting was in the Aachen area and in the heavily fortified Siegfried Line. After initial losses which reduced some units to less than 20 percent of their original strength, we pulled back, “licked our wounds,” picked up replacements and went right back into action.



Because of the heavy losses, Marsh and I both went from PFC to Staff Sgt. In a matter of hours. This heavy fighting continued through the Siegfried Line where our division was stretched out to dover a front normally held by three divisions, in order to send our support armor and infantry to help out in “the Battle of the Bulge,” just to our south.



After the Bulge, we crossed the Rohr River, the flat, heavily fortified Rhine plane and up to the Rhine River at Munchen-Gladback, across from the city of Cologne.  Marsh was involved in leading many night patrols into enemy territory, always carrying out his assignments with a minimum of loss of his command, and brought back invaluable information and captured enemy for interrogation—information for our officers’ strategic use.



It was in those times, and especially when we were in holding positions, that Marsh and I were inseparable. We dug in together, often with some of the fanciest foxholes in the company. During freezing weather, the ground was frozen hard, making digging nearly impossible. One day Marsh came back from a trip to the “line” carrying a handful of blocks of TNT which he had “requisitioned” from a nearby group of Engineers (who had left a box unattended). We used the TNT to blast the frozen crust so we could more quickly “dig in” when we were suddenly caught by “incoming freight” (artillery or mortar fire).



We always covered for each other—who can count the number of times or ways?! This went on until one day, while crossing the Rhine Plain, we came up to a large farmstead consisting of a large house and hay barn, connected by a series of walls and adjacent buildings which formed a large courtyard. Suddenly the buildings were hit by a series of well placed “88” direct firing artillery. Those of our company inside the building were shrapnel and broken bricks. I have no idea how many were lost, killed, and wounded that day—before and after that death trap.



We all acted somewhat independently to take care of our men, getting as many as possible to cover. In the process of saving his men, Marsh was hit by a spent artillery shell and several pieces of broken brick.


He was one of the first I dragged into the basement of the house, patched him up as best I could, gave him a shot of morphine, broke open a wine cellar and left him with a bottle of wine in one hand and a bottle of Dujurdin Imperial Cognac in the other. I never saw him happier!

There is no doubt that his earlier quick action saved the lives of 8 to 10 of our company. For that day, he was awarded the Purple Heart Medal, and I understand that he also received a Silver Star Medal for the action. I had to leave him at that point, because there were a number of other pressing matters to attend to—like bringing order out of chaos, and continuing the battle with the few we had left to fight.



Marsh was patched up at the aid station, and was shipped back to Paris where he was given a number of tests to determine his eligibility for West Point. He chose West Point rather than return to his outfit and was subsequently sent back to the States.



At West Point (according to a letter he wrote me), Marsh was discharged from the military services for a short time so they could swear him into West Point as a cadet. During that brief period as a civilian he promptly did what any young red-blooded American (who had been through the hell he had experienced) would have done; he told them he had changed his mind—and went home with a promotion to the rank of “civilian first class.”




After the war had ended and I had been discharged, we continued to remain close friends, writing frequently. He visited us in Iowa during summers while we were in college—Marsh trying to teach my Dad how to swing a golf ball and Dad paying him off in beer—always “the best idea you’ve had all day.”

In turn, I hitch hiked out to Norwood twice to visit Marsh and get to know Tommie, Jane and Sherry (I fell in love with Sherry’s photos when Marsh and I were sitting in foxholes reading each other’s letters). By the time we got back, Sherry had 2 or 3 kids, so we just went down to the tavern for another case of Barbarrosa Beer. By the time Tommie got home from work that evening, we had plastered the ceiling with Barbarrosa Beer labels. Tommie took one look at the ceiling, laughed and got us each another beer. Later that week Arnold (Shorty) Reisen arrived and we went out to play golf, and of course consume a few beers (payoff from the golf games). These were fun times, and we finally settled down to our studies, got married, and started making babies (and you’re evidence of what happened).




We saw each other twice after that—once when we were living in Michigan and Marsh and Pearl had moved into a brownstone in Chicago. Don’t know which of you is the oldest, but Margo remembers holding you during that visit.



The other was in 1969 while you were living in Covington, where we stopped in for a two hour visit while I was driving through on a business trip to Louisville. Marsh moved several times and so did we.




With no address, we completely lost track until 1991 when I sent a letter to Arnold Reisen c/o Ohio State U, requesting they forward it, eventually, to Marsh.  He did, and Marsh did make it to the 1992 Ozark reunion and a visit to our house here in Washington. From there, you know the rest of the story.



The last time we saw Marsh was when the five of us from our platoon met in Lexington, went to Rotary, and then visited the famous horse farms.


It may be interesting to note that, although our platoon had (estimated) 500 percent casualty turnover, all five of our top ranked NCO (non commissioned officers) survived—collecting four purple hearts between us, along with three Silver Star Medals, two Bronze Star Medals, one battlefield commission, and a Croix du Guerre Medal.

And we were all still very much alive to see each other again, 50 years later.

I am sure that reading this will be as difficult for you to read as it has been for me to write.  I can add that Marshall was my closest friend all the time we were in Service.  I was always fascinated by his sharp mind, quick wit, wonderful vocabulary—but most of all he was right there to be a friend.



You should be very proud of your family—nothing is more important!
Our Love,
Walt and Margo Freitag

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pray for peace--Kimmy

Happy Birthday Wishes

Today is my sister, Karen's birthday.  Although I've always done it, I have only recently discovered  the uber-delight derived from acknowledging someone's big day by calling and singing Happy Birthday in my best Carol Channing voice.  The last few friends have been smitten by the gesture and the appreciative tones with which they thank me just feeds my soul in ways that are unattainable any other way.

So as soon as the clock struck midnight last night, I called my SissyKern and summoned up all the raspy-throated-ness required and left her a message filled with the over-exaggerated and drawn out "to you" that actually sounded more like "choo yewwww."  What joy!  She immediately emailed me to thank me, saying this was the best voice mail ever.  Hello Dolly.  I love it.


Although my family is full of amateur (but excellent) impressionists, my best singing imitation is that of the big eyed, overly eyelashed and banged actress who worked with George Burns, and every other actor, singer and comedian of the last century and now on into this one.  It will be a sad, sad day for the entertainment world when Carol makes her exit, stage left, to the Big Stage in the Sky. 

WHO IS CAROL CHANNING?

For those of you who are too young to know who she is, Carol Elaine Channing (born January 31, 1921) is an American singer and actress. She is the recipient of three Tony Awards (including one for lifetime achievement), a Golden Globe and an Oscar nomination. Channing is best remembered for originating, on Broadway, the musical-comedy roles of bombshell Lorelei Lee in Gentlemen Prefer Blondes, and matchmaking widow Dolly Gallagher Levi in Hello, Dolly!

So let this serve as a friendly notice to you: if you have a birthday coming up and want me to call you and leave you such a message, just leave a comment with your number and I'll do it. It's free. It's fun. And it spreads goodwill, which to me, translates to peace. I'm all about Peace, you know...

peace, y'all,
and happy birthday, Karen, chooooo yooooo...
and may mooooahhhh....
Kimmy

Every Day Is Veterans Day

Let there be peace on earth.

And let it begin with me.


Peace. Everyone who knows me, knows I always sign off correspondence with "Peace." If I were to ever get a tattoo, a Peace symbol would be my only choice. In photographs and home movies from my childhood, you will often see me flashing the peace sign. One of my favorite hymns is, "Let There Be Peace On Earth." Yes, praying for Peace is a big part of my life.


It is my belief that if I pray for the guidance to lead a peaceful existence, then I might not wander into the realms of spite and resentment. This is not to say that I never find discord or bitterness in my life, but through praying and singing, I remind myself that inner peace can lead to outer peace.


With Christmas fast approaching, messages of Peace on Earth are all around us. Some churches illuminate advent candles in succession through the four weeks leading up to Christmas as part of their Sunday services for Advent. The first candle is for Hope; the second signifies Joy; the third candle for Peace; and the final candle symbolizes Love. A few years ago, as part of our advent church service, the elders at my church were lighting the advent candles, but as they tried to light the candle for Peace, they could not get it lit, but after trying and trying, it finally illuminated. Isn’t that the way it always is? We can’t just expect Peace, we have to make efforts to kindle the flame.

This Holiday season, we need not look very far to find a concerted effort being made to spread Joy, Hope, Love and Peace right here in our hometown by the Veterans Administration. As the daughter of a World War II veteran, my thoughts and wishes for peace are always with those who serve in our armed services. To me, the men and women who commit to service in the military are the bravest people imaginable and they deserve peace. As such, our leaders must be diligent and ensure that our human resources are putting themselves in harm’s way for a purpose that is true to what our founding fathers aspired our nation to be. Even though I sometimes do not agree with reasons for going to war, I do wish to honor the service of our troops, and I want to encourage those with loved ones in the military to seek peace, seek justice, seek kindness. It’s not a bad idea, this Peace.


But conversations about how peace is to be achieved will almost always end in controversy. The reality is that humankind is deeply divided about what God’s vision for human life really is. As long as there are people (myself included) guarding our own turf, protecting our own interests, believing that we alone possess the truth, then Peace will remain something hoped, longed and prayed for. However, there is a different between reality and resignation. I think we can go one step further, and promote peace in our homes and in our communities. In fact, it is our duty to try. For example, when we teach our children to resolve conflicts without violence, we are seeking peace. When we step outside of our proverbial comfort zones, we can find ways to reach out to others that will give the true Gift of the Season, Love. With our troops in far away lands and many of our veterans struggling just to get by, it is time to leave said comfort zone and show our gratitude.

During the Season, there are a number of ways you can express your respect for those who have given up civilian life for active duty in the military. With Veterans Day next Wednesday, November 11, it is time to take a moment and consider just how we can best give something back to these brave men and women.


COATS FOR VETERANS

The Lexington Veterans Administration is collecting coats and other winter clothing for veterans. According to the Office of Public Affairs for the V.A., the VA Clothing Room serves 30 to 35 veterans per day. The Clothing Room accepts new or gently used clothing of all types for men and women in all sizes, but preferably Extra Large for the men’s items.


With the change in weather, the availability of the following items becomes important:
Coats
Thermal Underwear
Hooded Sweatshirts/Jackets

Flannel Shirts

Pajamas

Robes

Slippers

Winter items (gloves, scarves, knit hats)

Sneakers (Sizes 9-13)
Boots
Socks

Underwear

Umbrellas/Ponchos


Homeless Veterans
About one-third of the adult homeless population served their country in the Armed Services. Current population estimates suggest that about 195,000 veterans (male and female) are homeless on any given night and perhaps twice as many experience homelessness at some point during the course of a year. Many other veterans are considered near homeless or at risk because of their poverty, lack of support from family and friends, and dismal living conditions in cheap hotels or in overcrowded or substandard housing.


Right now, the number of homeless male and female Vietnam era veterans is greater than the number of service persons who died during that war – and a small number of Desert Storm veterans are also appearing in the homeless population. Although many homeless veterans served in combat in Vietnam and from post traumatic stress disorder (PTSD), at this time, epidemiological studies do not suggest that there is a causal connection between military service, service in Vietnam, or exposure to combat and homelessness among veterans. Family background, access to support from family an friends, and various personal characteristics (rather than military service) seem to be the stronger indicators of risk of homelessness.


Almost all homeless veterans are male (about three percent are women), the vast majority are single, and most come from poor, disadvantaged backgrounds. Homeless veterans tend to be older and more education than homeless non-veterans. But similar to the general population of homeless adult males, about 45% of homeless veterans suffer from mental illness and (with considerable overlap) slightly more than 70% suffer from alcohol or other drug abuse problems. Roughly 56% are African American or Hispanic. (Source: www.va.gov Department of Veterans Affairs official website)


In Lexington, a 40-bed homeless transitional program for veterans is operated by Volunteers of America, opened in April 2005 at the Leestown Road Division. This is part of a VA grant and per diem initiative administered by the Volunteers of America to provide housing and rehabilitative services to homeless veterans.

 An overview of Lexington’s V.A. facilities

• Lexington FA Medical Center is a fully accredited, two-division, tertiary care center with dynamic inpatient and outpatient programs that manage over 5,700 admissions and nearly 320,000 outpatient visits a year.
• The Leestown Road Division, established in 1931, has 91 beds and is home to the VA’s nursing home care units, hospice and respite services, primary care, home based primary care, prosthetics, optometry, mental health and substance abuse treatment, women’s health and a Post-Traumatic Stres Disorder residential rehabilitation treatment program.
• The Cooper Drive Division, established in 1973, is adjacent to the University of Kentucky and has 100 beds. Acute medical, neurological, surgical and psychiatric in patient services are provided at this location, in addition to primary and specialty clinics.

HOW YOU CAN GET INVOLVED
* Start a collection of the above listed items in your office, church or social group and either drop them off at either Cooper Drive or Leestown Road location, or call Volunteer Services at 281.4930, and the VA will send a volunteer out to collect the items.


* When you are making out your Christmas card list this year, please include the following:


A Recovering American soldier
c/o Walter Reed Army Medical Center
6900 Georgia Avenue,NW
Washington,D.C. 20307-5001 

Give to The Foundation for Affordable Housing, a 501(c)(3) not-for-profit organization established in 1990, provides shelter and recovery services for up to 38 qualified veterans of the U.S. Armed Forces, as well as a safe, clean, drug-free environment for up to 100 other working homeless residents or those who cannot find decent, affordable housing. Please make your check payable to the Foundation for Affordable Housing, and mail it to:


Foundation for Affordable Housing
169 Deweese Street
Lexington, KY 40507


Your tax-deductible financial gift to the Foundation for Affordable Housing goes directly to providing services to the residents of Saint James Place, located at the corner of Elm Tree Lane and Deweese Street in Lexington. Call 252.6642 or go to www.foundhousing.org or www.saintjamesplace.org for more information.


St. James Place is an Outreach Ministry of Central Christian Church. There are numerous ways you can support their efforts by sponsoring new residents, meals, social events, outings (such as Legends games, fishing trips); donating items such as clothing, toiletries, books, computer games, pictures, etc.; or volunteering to maintain landscaping, or painting. Also, through the Gift Card program, 4% of your Kroger purchases go to St. James Place -- it's easy and convenient. Just call  266.4845 for a Kroger Gift card


* There are also all kinds of volunteer opportunities with the Veterans Administration. From drivers for DAV Volunteer Transportation Program (to bring patients in from their homes to the VAMC for their appointments) to clerical assistance to assist the employees with day-to-day operations. Various administrative and clinical settings are available. For more information, contact the Voluntary Service Office at the VA at (859) 281-4930.


Please show your gratitude for the history of courageous service and sacrifice Veterans have made on our behalf!  If you cannot volunteer, find some warm clothing that is gently used and drop it off at the V.A. or leave me a message here and I will find a way to make sure they are delivered.  Thank you very much.


Peace,

Kim Thomas




What good is it, my brothers and sisters, if you say you have faith, but do not have works? Can faith save you? If a brother or a sister is naked and lacks daily food, and one of you says to them, "Go in peace; keep warm and eat your fill," and yet you do not supply their bodily needs, what is the good of that? So faith by itself, if it has no works, is dead. -- James 2:14-17

Funny Is as Funny Does for Middle Aged White Guys

Funny Is as Funny Does for Middle Aged White Guys:


BCTC Production Delivers the Funny


by Kim Thomas


The soul is born old but grows young. That is the comedy of life. And the body is born young and grows old. That is life’s tragedy. – Oscar Wilde

What do Cheezits, day lilies and rats all have in common? They all add just the right element to some of the best zingers in Jane Martin's boisterous and bawdy comedy, Middle Aged White Guys, which opens tomorrow night, November 5 at Talon Winery. Director and Bluegrass Community & Technical College drama guru, Tim X. Davis has once again perfectly assembled the players in this show that barrels its way through a script so full of hilarious lines, audiences will be instinctively be longing for a TiVo option so they won't forget the good stuff.

And plenty of good stuff there is, as the script is replete with punchlines that come in rapid succession. Prepare to go home with your cheeks hurting after you snort and giggle your way through [alleged] Kentuckian Martin's sharp and pointed dialog of the faulty but oh-so-eloquently-inept reasoning of a young but aging trio of brothers who have met, appropriately, in the toxic waste dump that literally and figuratively serves as the backdrop of their lives. They are there to pay their questionably sacred tribute to the woman who, before her untimely departure, both bound them together yet tore them apart...and no, it's not their mother, it's Roy's dead wife, R.V., who evidently got biblical with her own version of the triune spirit by sleeping with all of them -- Roy, his brother Clem and his other brother, Moon -- at one time or another.



"Comedy keeps the heart sweet." – Mark Twain
The scenes play out quickly as Clem and Moon, stumble their way into the picture and divulge a little too much information to Roy (who is somehow the Mayor) as to the positional wheres and whats of their escapades with R.V. This is where the ensemble digs in and uses every comical device possible to make it a real treat to sit back and enjoy.

(rehearsal photographs courtesy of Thomas Eisenhauer Photography)

 Most of the cast are students at BCTC and seem more than happy to return to the stage with Davis at the helm. Along with Davis' direction, the actors have the added benefit of having been coached in stage combat by Lexington's favorite fight choreographer, Henry Layton. Layton's and Davis' combined talents turn this story of brotherly love gone wrong into a sassy, action-packed piece of sarcasm and satire. When photographer pal Tom Eisenhauer and I arrived at rehearsal on Monday night, Layton was busy meticulously cleaning up various scenes. Layton has the ability to fuse the physicality of the action with the integrity of the script for optimal viewing enjoyment, always considering the players’ wellbeing. At one point, he noticed Hightower was rubbing his wrists, and told him to use the “Superman slide” (hands straight ahead) to break his falls so he wouldn’t injure himself.
Davis is “very excited to again work with Henry Layton. He is the finest stage combat instructor I've ever worked with (and I've worked with a lot of 'em!) and he continues to inspire both my students AND me. It's a privilege to have him working alongside us. And it saves my old bones from having to show students how to fall down!”

Zack Hightower's return to the stage is powerful as he plays dressed-as-Abe-Lincoln straight man Roy to Jared Sloan's Clem, who is a seriously ridiculous amalgam of Gomer Pyle and Mr. Haney from Green Acres. Sloan's droll delivery keeps viewers in stitches, especially when Clem is questioned by Roy about whether or not the indiscretion took place “in Mama's day lilies, was it?” Clem replies in straight-faced yodel-speak, "Heck no, Roy, it was over in the phlox!" -- and the chuckles begin to roll and build. After that, it's nearly impossible to hear Clem utter a word without snickering (especially the bit about the Cheezits, which you will just have to discover for yourself. It cannot be given its due justice here in written word, you must hear Sloan's amusing voice, he slays in this show).
The giggles continue with the appearance of Moon, played by Kevin Greer. Greer also has his own comedic style and from the moment his character enters the stage, he too begins to reel in the laughs with his strong-arm antics as he taunts the gun wielding Mona, craftily played by newcomer Rosa Paulin. Leah Dick, another student of Professor Davis, has some great moments too as the gorgeous and gone (but not forgotten) R.V. My favorite line of Moon’s is when he explains how he once saw someone get eaten by rats: “They ate away at him in a circle, kinda like a corn dog!”

Tim X. Davis scores another winner.

The sort of artistic direction that doesn't compromise the script is a testament to what is becoming known as the Tim X. Davis stamp that Lexington theatre audiences know and trust. Davis' devotion to his students as a mentor shines through; and even when it comes to material that has never been performed in Lexington before, the casts and crews love him. Davis’ explains that Talon Winery's eagerness to provide BCTC with an affordable and picturesque venue has created new opportunities, and has enabled BCTC to add a fourth offering, a Sunday matinee of Middle Aged White Guys to the usual tally of three performances.

Playwright Martin, whose identity remains unknown but who "claims" to be at native of the Bluegrass has been called "America's best known unknown playwright." She is a prolific writer known for her topically controversial dramatic works and comedic satires. Davis offers his view, “Jane Martin - a mysterious "Kentucky" playwright (rumored to be former ATL Artistic Director John Jory) has written a number of great plays in the last 20 years. I first came to know "her" through the play Talking With... a series of female monologues that was very popular in the late 80's. But her play Keely and Du is what really made me a fan. I had the chance to direct a full production of this show in Grad school down at Southern Miss and it's always been special to me. But MAWG's is by far the funniest show she's ever written, and I think one of the funniest shows EVER. I've been wanting to do it in Lexington for years (as I don't think it's ever been performed here, despite having its debut in Louisville at the Humana Fest) but I could never convince a 'certain theatre' to bite!  So I decided to do it with this group of talented younguns.”

In fact, veteran stage manager and actress Natalie Cummins (Mrs. Mannering) loves the script of Middle Aged White Guys particularly for its satirical value, "plus, it is slightly heretical, which appeals to me. My character is the dead mother to the titular white guys, who are 3 brothers. My purpose in coming back is to persuade them to do something for the greater good, which they are reluctant to do because it will be rather uncomfortable and embarrassing. I can't say any more about the plot than that! I think Ace Weekly readers are a pretty intelligent bunch, and I think they'll really appreciate the sly humor of this piece.”



Like all the others, Cummins is happy to be working again with Davis. “Working with Tim again is a blast. This is only the second time I've worked with him as a cast member; for the other million productions I've been his stage manager. While he expects hard work and focus in rehearsal, he also makes rehearsal a lot of fun. The man is an encyclopedia of pop culture, and we love to riff on a variety of topics. He's also just a joy to be around when he's making discoveries. He gets so excited that you can't help but be excited, too. Every actor is treated with the same amount of importance and respect, and you can tell that he's giving the character with 5 pages as much thought as the character who's on stage for the whole show.”

This production of Middle Aged White Guys is dedicated to the memory of Jack Parrish. Davis remembers him fondly: Jack was a great friend. I first met him when he directed me in ART at AGL, and later I recommended him as my replacement at KSU when I came to BCTC. The last time we worked together was on Shakespeare at Equus Run's MERRY WIVES in 07. Zack, Kevin and I were in the show together (it's always neat to work with your students in that regard) and we had the pleasure of rehearsing many of our scenes with Jack. He was an absolute force of nature in the role, and as I believe Chuck Pogue first observed, watching Jack work was like getting a master class in the craft. Unfortunately, he was diagnosed with cancer about 10 days before we opened. Director Tony Haigh had to step into the role, as Jack was in serious need of surgery. The show was fantastic (and I truly admire Tony for being able to step in on such short notice) but the fact that they never got to see Jack's Falstaff is a true loss for Lexington theatre-goers. His passing was truly a sad day for his friends, and for all of Lexington.”



Opportunity keeps knocking at BCTC: Davis is excited about the future of the BCTC curriculum. “Some other things we're involved in:

• · Dave Clemmons, who runs Dave Clemmons casting in NYC is coming to give our students an intensive auditions workshop on Nov 6th. Jeremy Kisling and the good folks at the LCT are letting us use one of their spaces, and we're inviting not only our students but UK, Transylvania, and other area theatre students. This is coming at a great time, as the Kentucky Theatre Association audition screenings (which I coordinate) are the following weekend, so the timing is great for the students to share in Dave's excellent knowledge of the auditions process.” Here's a snippet of his bio: "Dave Clemmons is the founder/owner of Dave Clemmons Casting, currently casting the new Frank Wildhorn musical Wonderland, the new national tour of the musical version of 101 Dalmatians (director Jerry Zaks, music by Dennis DeYoung) and the national tour of The Wizard of Oz. They are also in developmental casting for Grumpy Old Men the musical and the musical version of The Witches of Eastwick. Dave Clemmons Casting has cast Broadway shows including Ring of Fire, In My Life, The Boy From Oz, Dracula, The Civil War, Brooklyn, Cinderella starring Erath Kit and Jamie Lynn Sigler; Off-Broadway shows including Bare, Bat Boy, Altar Boyz, Zanna Don't!, the 2000 revival of Godspell and the National Tours of Cinderella, Evita, Millie, Cats, Fosse, Jekyll & Hyde, Chicago, Joseph and Saturday Night Fever, and Moving Out. Dave Clemmons is also casting director and artistic associate for Casa Manana Theatre in Ft. Worth. He began his career as a performer in Broadway roles in Les Miserables (Valjean), The Civil War, The Scarlet Pimpernel, Jekyll and Hyde and Whistle Down the Wind."

• We will again be working with the Keeneland Concours Gala in July. Our students (and some faculty!) will again be roaming the themed party in costume and entertaining the revelers.

Here's the long and short of you need to know, if you go:



BCTC’s Fall Production of Middle Aged White Guys by Jane Martin


November 5th, 6th and 7th at 8:00 pm and Nov 8th at 2:00 pm.

The show centers around three brothers who assemble at a garbage dump to toast the memory of the late, great, R.V., wife to one and lover to the others. Unfortunately, the deceased woman doesn’t want to stay dead and shows up to prepare the men for Judgment.


Meeting in one of this country's finer landfills, three middle-aged white guys discover they've got one last chance to salvage their slice of American culture. But salvation can be painfully funny when God gets really angry. By airing America's dirty laundry, this hilarious satire probes the most sensitive place--what it means to be a member in the white guy club.



THE CAST:


Roy: Zack Hightower


Clem: Jared Sloan


Moon: Kevin Greer


R.V.: Leah Dick


Mona: Rosa Paulin


King: Alex Koehl


Mrs. Mannering: Natalie Cummins






Director: Tim X. Davis


Ticket: Students- $7, General admission- $12, VIP Tables- $120


(tables are limited and early reservations are recommended.)

 Pre-ticket purchases highly recommended, and all tickets sales at the door are by cash and check only!





*VIP tables include one bottle of wine per table of 8 and a complementary ticket per person to the upcoming BCTC spring production. VIP tables must be reserved by calling Talon Winery 859-971-3214.


**This show contains adult language and adult situations and is intended for mature audiences.**




ABOUT THE AUTHOR


Who exactly is Jane Martin? Actor and director Rick St. Peter’s AGL blog from 2006 reveals his opinion. “It is a mystery that has confounded the theatre community for over two decades. Who is Jane Martin? She has produced over ten full length plays, six one-acts, and numerous shorts. She has been nominated for the Pulitzer Prize, and won the American Theatre Critics Association New Play Award twice. Yet, she has not made one public appearance. There are no interviews. No pictures. No sightings. Nothing. She has been called "America's best known unknown playwright." In her absence, retired Actors Theatre of Louisville artistic director Jon Jory has accepted her awards and served as her spokesman. It is a relationship that has dogged him since Jane Martin's hit Talking With... premiered at his theater's Humana Festival in 1981. Countless theatrical sleuths have tried to connect the dots, and they all seem to lead to Jory himself.”




"I'm not going to talk about that," is Jory's usual response when asked about the subject. He has been adamant in his denial despite a mountain of circumstantial evidence that suggests the contrary.

Kim Thomas is a former writer for The Thoroughbred Record,

presently works for a downtown law firm, is a member of the Chancel Choir and a Commissioned Stephen Minister.

***THIS IS THE UNEDITED VERSION OF MY ARTICLE IN ACE WEEKLY.  PLEASE GRAB A COPY OF LAST WEEK'S ISSUE OF ACE WEEKLY TO READ THIS ARTICLE IN PRINT.  ALSO, PLEASE NOTE: ALL REHEARSAL PHOTOGRAPHS ARE BY TOM EISENHAUER, WHO IS A SAINT IN LONGHAIRED SHEEP'S CLOTHING***

Lexington Community Orchestra presents music by Tschaikowsky, Haydn - November 15 - free!

The Lexington Community Orchestra will present music by Tschaikowsky and Haydn at a free concert next week!

The performance is November 15, 2009 at 3:00 pm, at the Singletary Center for the Arts.

Violinist Kimberly Robertson told me about the performance a few months ago, and was kind enough to follow up recently.  

Robertson joined the orchestra in 1994, and states that since joining the orchestra, she has developed a new appreciation for music. "I have studied the violin with Daniel Mason, Margie Karp and Doratea Hoffman at the University of Kentucky, however, in April of 2007, I was very excited that the orchestra collaborated with Daniel Mason, performing Beethoven's Violin Concerto in D. This was one of my favorite concerts because I was a student of Daniel Mason for several years."

She adds, "Something unique about the orchestra is that we have collaborated with local musicans, composers and organizations. In the past we have collaborated with Central Kemtucky Youth Orchestra, Eastern Kentucky University and Asbury College. We have collaberated with local musicians Daniel Mason, Benjamin Karp, William Cooper and performed original compositions by Gilbert Roller and Joseph Baber."

The Orchestra's Director of Music is Jeremy Mullholland and Assistant Conductor is Lorne Dechtenburg. Music for the concert will be Capriccio Italien by Peter Tschaikowsky conducted by Lorne Dechtenburg and Symphony No. 101 (also known as the Clock Symphony) by Joseph Haydn, conducted by Jeremy Mullholland.


About the Orchestra
The Lexington Community Orchestra was founded in 1990, because of an observed need for more performance opportunities for musicians to play and perform orchestral literature as part of a non-professional orchestra.

Jeremy Mullholland, received his Masters of Music degree from the University of Louisville and holds undergradute degrees in Music Performance and Music Therory. He is the third Music Director for the orchestra Lexington Community orchestra. 


University of Kentucky doctoral student Lorne Dechtenburg is the Assistant Conductor.   The group is made up of college professors, medical professionals, music teachers,and music lovers of all ages; they perform three major concerts per season to the community at no cost.

Lexington Community Orchestra is a 501 (c) 3 organization. Donations may be sent to:

Lexington Community Orchestra

P.O. Box 13803

Lexington, KY 40583-3803