Chamber Music Festival of Lexington blows into town

Members of WindSync, including saxophonist Tracy Jacobson, front, percussionist Garrett Hudson and clarinetist Jack Marquardt, played a pop-up concert last August across from A Cup of Common Wealth at Main Street and Eastern Avenue. The Houston-based quintet played a series of pop-up concerts throughout Lexington as part of the Chamber Music Festival of Lexington. The ensemble is back this year for similar performances. Go to ChamberMusicLex.com for more information. Photo by Rich Copley | staff.

Members of WindSync, including saxophonist Tracy Jacobson, front, percussionist Garrett Hudson and clarinetist Jack Marquardt, played a pop-up concert last August across from A Cup of Common Wealth at Main Street and Eastern Avenue. The Houston-based quintet is scheduled to give a similar performance on Monday. Photo by Rich Copley | staff.

The Chamber Music Festival of Lexington started Thursday, embarking on the biggest overhaul of the event since it started in 2007.

Two years ago, the festival began to be preceded by impromptu concerts by a chamber group in addition to the festival’s core ensemble, led by Lexington native Nathan Cole, first associate concertmaster of the Los Angeles Philharmonic Orchestra. This year, the prelude is being morphed into the festival proper to create an 11-day multi-venue event that starts Friday night on the lawn of the Loudoun House, with beer, barbecue and music from ensemble-in-residence WindSync. Beer, barbecue and classical music: that’s how we roll in the Bluegrass.

Instead of running on consecutive days, the festival’s centerpiece concerts at the Fasig-Tipton Pavilion on Newtown Pike will be spaced out Wednesday, Friday and the following Sunday, with other performances by the festival’s longstanding core ensemble and WindSync surrounding those events.

As it did last year, WindSync has a series of performances set throughout Lexington in the coming week, including a rush-hour performance at A Cup of Commonwealth Coffee Shop and Thoroughbred Park at 8:30 a.m. Monday and a fund-raising performance for the group at 11 a.m. Sunday at the Green Tree Tea Room. A schedule of all performances can be found at the festival website.

The Houston-based quintet also will be part of events at the Fasig-Tipton Pavilion when things get rolling there next week with the festival ensemble — Cole, violinist Akiko Tarumoto, cellist Priscilla Lee, violist Burchard Tang, and pianist Alessio Bax.

Windsync will be part of the opening concert, which Cole, the festival’s artistic director, says works well because of this festival’s focus on music of Los Angeles, from early 20th-century master Maurice Ravel to 21st-century star Jeff Beal, known for his work on the Netflix series House of Cards.

The catalyst for the L.A. focus was SoCal-based composer-in-residence Adam Schoenberg plus Cole and Tarumoto, Cole’s wife and a fellow L.A. Phil violinist, who are based in Los Angeles and got to know the scene there firsthand. We’ll have more on Schoenberg and LA this weekend in the Herald-Leader and at LexGo.com.

In addition to Schoenberg, who was in town this spring for a world premiere with the Lexington Philharmonic as part of the Saykaly Garbulinska Composer-in-Residence partnership between the orchestra and chamber fest, the festival welcomes two other guest artists this year. Harpist Allegra Lilly has wrapped up her first year as principal harp of the St. Louis Symphony Orchestra, and soprano Karen Slack is the first Lexington-based artist on the festival program. Read more about her next week.

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Summer classic: ‘The Miracle of Morgan’s Creek’

Eddie Bracken and Betty Hutton in the 1944 Preston Sturges screwball comedy "The Miracle of Morgan's Creek," which plays Aug. 13, 2014 on the Kentucky Theatre's Summer Classics series.

Eddie Bracken and Betty Hutton in the 1944 Preston Sturges screwball comedy “The Miracle of Morgan’s Creek,” which plays Aug. 13, 2014 on the Kentucky Theatre’s Summer Classics series.

After a day of mourning his death, Robin Williams would probably be the first person to tell movie lovers they could use a good laugh. The Kentucky Theatre Summer Classics series has just the thing for us in the Preston Sturges screwball comedy The Miracle of Morgan’s Creek, which shows at 1:30 and 7:15 p.m. today.

The film’s plot reads like something out of a modern day comedy along the lines of The Hangover or Knocked Up: Small town party girl Trudy Kockenlocker (Betty Hutton) wakes up after a drunken send off for the troops married and pregnant. But she has no idea who her husband is. It gets crazier from there in typical Sturges style.

Sturges was regarded as ahead of his time, particularly for his touch with dialogue, taking home an Oscar for best original screenplay for The Great McGinty (1940) and earning two other nominations, including Miracle.

The film co-stars Eddie Bracken as Norval Jones, a local guy who’s been in love with Trudy and tries to help her, which adds to the hilarity. Bracken, who died in 2002, visited the Bluegrass a few years before his passing to film The Ryan Interview for KET as part of the network’s American Shorts series. Ashley Judd co-starred in that film as a reporter interviewing a man on his 100th birthday in the short play by Arthur Miller.

In the film, the reporter realizes Ryan is a repository of stories from a bygone era. And presenting movies like Morgan’s Creek, the Kentucky keeps films and filmmakers past fresh in our memories. And we can also get a much-needed laugh.

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Appreciation: Robin Williams, 1951-2014

Robin Williams in character as disc-jockey Adrian Cronauer in director Barry Levinsons comedy drama, "Good Morning Vietnam." © AP/Touchstone Pictures photo.

Robin Williams in character as disc-jockey Adrian Cronauer in director Barry Levinsons comedy drama, “Good Morning Vietnam.” © AP/Touchstone Pictures photo.

Most of us first met Robin Williams as Mork from Ork, who arrived on Earth in a giant egg and charmed the planet, particularly a fetching earthling named Mindy. In the years after Mork & Mindy’s run on ABC from 1978 to 1982, we got to know Robin Williams as one of the most human of comic talents in show business, as well as one of the funniest people alive.

Robin Williams died Monday at age 63 of an apparent suicide, leaving behind a loving family, colleagues and public as well as a treasury of masterful comedic and dramatic performances.

Robin Williams on the set of ABCs "Mork and Mindy." © AP/ABC file photo.

Robin Williams on the set of ABCs “Mork and Mindy.” © AP/ABC file photo.

While many comics get their laughs from cynicism and a view from above it all, Williams always seemed to be hyper-engaged with being part of this human race, from his stand-up to his conversations to the roles he selected. Look at the characters he played: Adrian Cronauer, the military DJ in Good Morning Vietnam; John Keating, the inspirational teacher of Dead Poets Society; the title role in Mrs. Doubtfire; his Oscar-winning turn in Good Will Hunting and even the Genie in Aladdin and Teddy Roosevelt in the Night at the Museum series. Robin Williams filled his resume with characters that worked against dehumanizing forces and tried to make this world a better place.

Robin Williams holding his Oscar high backstage at the 70th Academy Awards at the Shrine Auditorium in Los Angeles after won Best Supporting Actor for "Good Will Hunting." © AP file photo by Reed Saxon.

Robin Williams holding his Oscar high backstage at the 70th Academy Awards at the Shrine Auditorium in Los Angeles after won Best Supporting Actor for “Good Will Hunting.” © AP file photo by Reed Saxon.

The movie I most want to watch right now is Williams’ hauntingly beautiful performance in Terry Gillam’s The Fisher King (1991), in which he plays a homeless man, Parry, who helps a radio shock jock played by Jeff Bridges find redemption for the pain he inflicted on Parry years before when a misguided rant led a gunman to kill his wife. Parry suffers from delusions but possesses a well-reasoned life philosophy — “There’s three things in this world that you need: Respect for all kinds of life, a nice bowel movement on a regular basis, and a navy blazer” — and a beautifully simple story about the object of his conquest: the Holy Grail. It was the story of a king who sought it all his life, and when a fool inadvertently brought it to the king when he asked for a drink, and the king asked how the fool could have found this unattainable object, “the fool replied, ‘I don’t know. I only knew that you were thirsty.'” It was that philosophy of looking past puffery to the real needs of people, and creating something beautiful, that defined so many of Williams’ best roles. He has been slagged for some of his choices such as Patch Adams (1998). But I have always been inclined to forgive him, feeling he probably saw a message there he wanted to convey and looked past the weak material. If you are going to err on the side of being a good person, good for you, and don’t apologize.

There were roles like Patch that brought out performances that were overly self indulgent and sentimental. But at his best, Williams shined in roles that showed sharp wit, comic genius and a humanity that made him a much better dramatic actor than many would have suspected when Mork called Orson.

Robin Williams, left, and his daughter, Zelda at the premiere of  "Happy Feet Two" in Los Angeles. © AP file photo by Katy Winn.

Robin Williams, left, and his daughter, Zelda at the premiere of “Happy Feet Two” in Los Angeles. © AP file photo by Katy Winn.

I am often the first person in the room to caution people about making judgments about celebrities based on their public personas. But Williams was a man I was always inclined to believe in based on the work he did like founding Comic Relief, promoting St. Jude Children’s Research Hospital and supporting the United States armed forces through the USO. Celebrity is a currency, and Robin Williams spent it well.

All this makes the fact that apparently something so tormented him he took his own life all the more sad. Of any comedian, he seemed to take the most joy in making people laugh, and the world was a better place with him.

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Lexington 12-year-old guides film to Louisville fest


It took 12-year-old executive producer and storyteller Nicholas Skidmore and a drone to get the short film Sargento’s Saddle into competition at Louisville’s 48 Hour Film Project.

The 5-minute noir drama was shot in Louisville, Georgetown and Lexington and included footage of Lexington’s Calvary Baptist Church shot with a drone-mounted camera. It’s the story, according to a trailer, of a wealthy horse farm owner “whose life goes on a journey of twists and turns.”

Skidmore conceived the story, co-wrote the script and assembled the team of 26 adults, including director Samantha Hack, to write, shoot, edit and submit the entire film in 48s from 7:30 p.m. July 25 to 7:30 p.m. July 27 on the last weekend in July. According to the rules of the 48 Hour Film Project, filmmakers were required to use a character (a professional athlete named Lefty Ellsworth), a prop (a slice of pizza), a line of dialogue (“How was I to know?”) and a genre (film noir) in their film to ensure that it was made within the time period.

Sargento’s Saddle will be screened in a group of films at 7:30 p.m. Aug. 6 and 7 at the Village 8 Theaters in Louisville. There are 30 films in competition. The winning entry will go on to Filmapalooza, the nationwide 48 Hour Film Project finale, with the winning film receiving $6,000 and the top 15 films eligible to be screened at the Cannes Film Festival.

Drone operator J.D. Wright, actress Sally Evans and writer-producer Nicholas Skidmore outside Calvary Baptist Church in Lexington, during the "Sargento's Saddle" shoot for the Louisville 48 Hour Film Project. Photo by Jason Matlack.

Drone operator J.D. Wright, actress Sally Evans and writer-producer Nicholas
Skidmore outside Calvary Baptist Church in Lexington, during the “Sargento’s Saddle” shoot for the Louisville 48 Hour Film Project. Photo by Jason Matlack.

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Summer classic: ‘Tootsie’

Michael Dorsey (Dustin Hoffman, right) surprises his agent George (Sydney Pollack, left) with the female alter ego, Dorothy Michaels, that finally got him cast in a daytime drama. © Columbia Pictures photo.

Michael (Dustin Hoffman, right) surprises his agent George (Sydney Pollack, left) with his female alter ego, Dorothy Michaels, that finally got him cast in a daytime drama. © Columbia Pictures photo.

Comedy has always had a tough time being taken seriously. Just look at the Golden Globe awards, where there is a comedy-musical category that is most often won by whatever musical is out there (Evita, 1996), a drama that’s kind of funny (American Hustle, 2013) or a drama that has some music (Walk the Line, 2005).

Very rarely does a straight-up comedy not made by a guy named Woody get serious consideration from critics and trophy givers, no matter how often you say, “dying is easy, comedy is hard.”

Tootsie (1982), Wednesday’s offering on the Kentucky Theatre’s Summer Classics series,  was one of those movies (and yes, it did win the best comedy-musical Globe).

Yes, it does have its serious side, looking at issues of gender and relationships. But it is mostly hilarious, following Dustin Hoffman as Michael Dorsey, an actor so difficult to work with he couldn’t even get hired for vegetable commercials. (“I did an evening of vegetables off-Broadway. I did the best tomato, the best cucumber… I did an endive salad that knocked the critics on their ass.”)

But he does end up getting hired and takes the soap op … I mean, daytime drama world by storm when he dresses up as a woman and becomes a feminist champion. (The scene where her character Emily Kimberly proposes giving all the nurses in a hospital cattle prods to fend off amorous doctors is a scream.) Complicating matters is that he falls in love with his co-star, Julie, played by Jessica Lange in an Oscar-winning performance.

And while Hoffman and his amazing transformation was clearly the star of Tootsie, he had an amazing supporting cast led by director Sydney Pollack as Michael’s exasperated agent, George. Terri Garr is bittersweet as Michael’s friend and sometimes lover whose own audition for the daytime drama role prompts Michael’s transformation, Dabney Coleman is the sexist producer (poor Coleman was pretty much typecast as a male chauvinist pig through the 1970s and ’80s in movies like 9 to 5 and his TV series Buffalo Bill), and Bill Murray is really the movie’s secret weapon as Michael’s  dry, observant roommate. (“I think we’re getting into a weird area here.”)

There’s a lot to love about Tootsie, but what makes it a classic and one of the comedies that was taken seriously is that from script to screen, everything about it is great.

Tootsie shows at 1:30 and 7:15 p.m. Wednesday (July 30) at the Kentucky.

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Notebook: Moontower Music Festival

Kris Bentley and Nick Jamerson of Sundy Best on stage at the Moontower Music Festival. The inaugural Moontower Music Festival, presented by LexEffect, was July 26, 2014, at Equus Run Vineyard in Midway, Ky., with a lineup featuring Moon Taxi and Sundy Best. Photos by Rich Copley | staff.

Kris Bentley and Nick Jamerson of Sundy Best on stage at the Moontower Music Festival. Photos by Rich Copley | staff.

More to read and see:

The folks at LexEffect certainly have a good idea: get Lexington, or the immediate Lexington area, in on the summer music festival scene that is marked to the west by Louisville’s Forecastle Festival and to the north by Cincinnati’s Bunbury Festival.

And we do have our share of genre specific events in town including the Festival of the Bluegrass and the Red, White & Boom country fest in Lexington, as well as events in the region such as the the Master Musician’s Festival in Somerset.

Saturday’s inaugural Moontower Music Festival at Equus Run vineyard in Midway brought the Lexington area into the pop and rock festival sphere with headliner Moon Taxi and other acts such as Brave Baby and Buffalo Rodeo, augmented with some country and bluegrass from Sundy Best and Tyler Childers. It’s a far cry from any of those majors fests, but it’s a start.

It was a nice afternoon that ended with a raucous evening as Moon Taxi took the stage. Just eyeballing it, the crowd appeared to fall short of the hoped-for 1,200, but the audience did grow and enter and exit during the day.

So, as with any new event, there are successes and lessons learned. Here’s a quick look at what worked and what needs work at the first Moontower fest.

The Music

Moon Taxi frontman Trevor Terndrup plays to the fans at the Moontower music festival.

Moon Taxi frontman Trevor Terndrup plays to the fans at the Moontower music festival.

Worked: Organizers went for a diverse, non-genre-specific lineup that was cool to see and felt somewhat curated with local and regional talent. Moon Taxi was a prime choice to end the evening with a big party of a set. Brave Baby and Machines are People Too sounded great and complimented the headliner. Bowling Green’s Buffalo Rodeo and Louisville’s A Lion Named Roar were great examples of bringing in examples of burgeoning home-state music scenes.

And if you were going to inject the day with some country, Sundy Best and Childers are great choices, Sundy Best almost guaranteed to bring in an audience of its own. So you have to give LexEffect props for picking an interesting lineup, even if it had to go without a major headliner.

Needs work: Certainly LexEffect didn’t have the corporate or major underwriting that helps float some other events’ ticket prices. But $45 felt a bit steep for this lineup, particularly without a major headliner and with events such as Red, White & Boom selling a two-day lineup of 18 acts for $20. I am loathe to say anything against the diverse genre lineup, but I do have to wonder fans of certain styles maybe felt $45 was a bit much for only a few acts they wanted to hear.

That said, right before Moon Taxi, I talked to some people who seemed perfectly happy to have paid that much and just come out for the headliner and Sundy Best.

Brave Baby frontman Keon Masters gets a drink as the temperatures reached the upper 80s during the band's set at the Moontower Music Festival.

Brave Baby frontman Keon Masters gets a drink as the temperatures reached the upper 80s during the band’s set at the Moontower Music Festival.

With a six-band, one-DJ lineup, it was striking how much time was given to each act, which was cool as some festivals confine early day acts to dissatisfying five- and -six-song sets. But there seemed to be too much breathing room in this schedule. Something almost happened at Moontower that never happens at festivals: Brave Baby was almost started 20-minutes early. The time between bands wasn’t entirely necessary — Moon Taxi looked like it could have started 10 minutes early — and the gaps gave the day something of a start-stop-start-stop feel. While DJ Gary Klass did a great job spinning between bands, considering most of the fest took place in sunlight and temperatures in the high-80s, festival goers appeared to use the gaps to go look for shade.

Certainly if the festival expands, it will have to schedule more tightly. Red, White & Boom uses a great format of putting solo or small combo acts between bands so the music keeps playing while the more work-intensive band setups take place behind them.

The venue

Hailey Roby, a Midway College student, and Leigh Hardin, a University of Kentucky student, play cornhole by the vineyard at the Moontower Festival.

Hailey Roby, a Midway College student, and Leigh Hardin, a University of Kentucky student, play cornhole by the vineyard at the Moontower Festival.

Worked: If there was a broken record Saturday, it was people complimenting the beauty and intimacy of Equus Run Vineyard. Even bands were mentioning it from the stage, and the event-oriented Equus Run staff seemed to be geared toward keeping things going. And people also seemed to enjoy the wine — really, really enjoyed the wine.

Needs work: I do have to wonder if the distance from Lexington proper and unfamiliarity deterred some people from going. As we always say, it is hard to ask people who are not there why they didn’t come, but it is probably a valid question.

It was not made abundantly clear how many activities were on the site. Some vendors in the “Artist Alley” told me they were not seeing much traffic, and the activity area with cornhole and monster Jenga seemed to be spottily used. The layout sort of gave you the impression things stopped at the food-truck area, so you had to go looking for the other stuff. Some more signage might have helped get people into more of the event.

The event

Fans cheer as Moon Taxi takes the stage at the Moontower Music Festival.

Fans cheer as Moon Taxi takes the stage at the Moontower Music Festival.

Worked: LexEffect founder and president Kaelyn Query said the aim was to be local, local, local. And between Equus Run’s wine, the Kentucky Ale beer and food truck eats, as well as the aformentioned artists’ alley, Moontower felt very homegrown. These days, that’s a big plus. Having proceeds benefit The Nest only added to that.

LexEffect is an event-planning firm, and they seemed to have the details down. It is not uncommon to go to new events and see glaring holes in planning, like accommodating parking or concessions, by people who are more arts oriented than planning geared. There were none of those problems here, that I saw, save for the water-bottle-filling station running out of water.

Needs work: I cannot think of anything logistically that distracted from enjoyment of the festival. It might be worth asking if late July is the best time for this event. Could it have benefited from taking place when area colleges are back in session, or would it have been overshadowed by early school year events such as football?

That’s one perspective. It will be interesting to see how the Moontower festival proceeds from Saturday, but you have to say it was a bold initiative to add a new dot to the summer festival map.

Kris Bentley and Nick Jamerson of Sundy Best on stage at the Moontower Music Festival.

Kris Bentley and Nick Jamerson of Sundy Best on stage at the Moontower Music Festival.

 

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It’s ‘Weird Al’ with the song save

I want to sing Robin Thicke’s Blurred Lines every time that incessant earworm crawls into my head. But I have a few problems with the lyrics.

… tried to domesticate you
But you’re an animal, baby, it’s in your nature

Uh, no, Rob. It is not in my nature to call women animals and try to “domesticate” them. Nor have I ever presumed anyone “wants it” from me and I will tell my daughter and anyone else that it’s not a compliment to tell a woman, “You’re the hottest b—- in this place.”

So as a sing-along song, Thicke’s misogynistic anthem really doesn’t work for me, nor does his whole twerking thing with women half his age. It feels like a mid-life crisis playing out in music videos and on award shows.

But that tune …

Thank God for “Weird Al” Yankovic!

For those of you whose wordy friends have not already overwhelmed your news feed with Al’s latest video (I have provided it above), it’s a treatment of Thicke’s controversial hit called Word Crimes, and like Eat It, The Rye or the Kaiser, Like a Surgeon, Amish Paradise and numerous other Al classics, it’s a scream.

You finished second grade
I hope you can tell
If you’re doing good or doing well

Al, 54, has been in the music business for well over three decades, but the topic of the parody is so timely because more people communicate publicly in writing now than ever before, and we have all seen people who have tenuous grasps of the English language.

I read your e-mail
It’s quite apparent
Your grammar’s errant
You’re incoherent

Now we’re not talking about the person who accidentally, on occasion, sticks an it’s where and its should be. Believe me, I can testify that when you work with thousands of words a day, mistakes will happen. It’s called human error. But you don’t have to sit on social media long to see writing that just screams, “I don’t know any better!”

The other great thing is, like Al’s best parodies, Word Crimes is a great replication of the original song. Yes, he’s had fun diversions, like the accordion-based satire of Queen’s Another One Bites the Dust called Another One Rides the Bus.

Hey! He’s gonna sit by you! Another one rides the bus.

But there’s a reason many of us think of Al’s parodies, even when listening to the original songs.

Eat it
Eat it
Get yourself an egg and beat it

The impressive thing is how consistent Al has remained over the years. He satirized the songs of my youth, and now he’s having fun with my kids’ favorites and being successful. His new album, Mandatory Fun, debuted at No. 1 on the Billboard album chart, powered by fans of Word Crimes and other videos he released in a precision promotional campaign. 

It’s a great grammar primer. But even better, it lets me enjoy a song that, in its original form, doesn’t even work as a guilty pleasure.

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Summer classic: ‘Double Indemnity’

 Barbara Stanwyck and Fred MacMurray star in the 1944 noir film <em><p class=Double Indemnity. Barbara Stanwyck and Fred MacMurray star in the 1944 noir film Double Indemnity.

It’s a classic film noir story line: A beautiful dame talks a gullible guy into killing her husband with the promise that they will run off together. Of course, it never quite works out that way.

Wednesday’s Summer Classic at the Kentucky Theatre is essentially a blueprint for this story, the 1944 Billy Wilder classic Double Indemnity. Insurance salesman Walter Neff (Fred MacMurray) goes to talk to a man about a policy and is immediately wowed by the man’s wife, Phyllis, (Barbara Stanwyck), standing atop the stairs in a towel.

On his follow-up visit, she asks about buying a life insurance policy for her husband, making it clear she wants to kill him. He initially begs off the deal but eventually ends up selling her the policy and planning the murder, specially designed to cash in on a “double indemnity” clause that pays twice as much if the death occurs under specific circumstances.

The majority of the movie is told as a flashback, Walter dictating a confession to his colleague, an insurance investigator brilliantly played by Edward G. Robinson. And it’s shot in high-contrast black-and-white by John F. Seitz, making even a sunny Southern California day seem ominous, with deep shadows lurking in plain sight.

The roots of the story are in a 1927 New York murder in which a woman and her lover killed her husband and attempted to cash in on a lucrative insurance policy. That case has become the inspiration for a variety of films and stories, although it took nearly a decade for the story to make it to the screen. In the mid-1930s, the Hays Office, which policed the content of movies, objected to Double Indemnity becoming a movie because, “The general low tone and sordid flavor of this story makes it, in our judgment, thoroughly unacceptable for screen presentation before mixed audiences in the theater.”

Indeed, there are moments that feel a bit envelope-pushing for the 1940s. But the film did get made and has grown in reputation into a bona fide classic.

It shows at 1:30 and 7:15 p.m. Wednesday at the Kentucky Theatre.

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Erin Christopher has a good outing on ‘Jeopardy Teen Tournament’

Erin Christopher of Lexington posed with Jeopardy! host Alex Trebek during filming of the show's teen tournament. © Jeopardy photo by  Carol Kaelson.

Erin Christopher of Lexington posed with Jeopardy! host Alex Trebek during filming of the show’s teen tournament. © Jeopardy photo by Carol Kaelson.

Tates Creek High School junior Erin Christopher had a good showing in the Jeopardy Teen Tournament, but she did not advance to the next round.

The Tuesday night broadcast started strong for the Lexington 16-year-old, who got to pick first and got the right answer, Roar, in the Katy Perry category. Through most of the first round, she traded the lead with Jeff Xie of Edison, N.J., including scoring the Daily Double by knowing that English is the official language of Liberia.

For the first round, Erin was loose and jokey, telling host Alex Trebek in the interview segment that she is working on a second draft of the novel she wrote in her freshman year. Trebek was particularly amused that she said her writing style had matured since freshman year.

Erin finished the first round behind Jeff by slightly more than $1,000. But he started to pull away in the second round, and Selena Groh of Arlington Heights, Ill., caught up. Erin’s best moment in the second round was correctly identifying the holiday first celebrated June 19, 1910 as Father’s Day, which had to make her dad, WLEX-TV anchor Kevin Christopher, smile.

Selena won in Final Jeopardy, correctly identifying the Eiffel Tower as the landmark erected for the the 1889 World’s Fair and betting just enough to pass Jeff. She finished with $20,000, and Jeff was second with $19,000 and could get into the next round as a wild card. Erin finished with $9,000 and the pride of knowing she was one of the few to make it into the televised tourney, and she represented herself, her school and her city very well.

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Singletary Center announces 2014-15 lineup

Trombone Shorty performs with Orleans Avenue at Courthouse Plaza in Lexington, Ky., Sept. 26, 2010. © 2010 Herald-Leader photo by Matt Goins.

Trombone Shorty performs with Orleans Avenue at Courthouse Plaza in Lexington, Ky., Sept. 26, 2010. © 2010 Herald-Leader photo by Matt Goins.

The Singletary Center for the Arts has announced a 2014-15 season that includes several artists who previously had big shows in the area, plus another classical music superstar to collaborate with the University of Kentucky Symphony Orchestra.

As in recent seasons, the Singletary Center is not selling a season subscription, but tickets to all shows in its “Signature Series” are on sale now at Singletarycenter.com or by calling the center box office at (859) 257-4929.

Here is the season:

Sept. 12: Trombone Shorty, right, the man who electrified audiences in downtown Lexington at the Spotlight festival during the 2010 Alltech FEI World Equestrian Games, is back with his band Orleans Avenue. (7:30 p.m. $27-$35.)

Oct. 26: We have seen jazzman Branford Marsalis numerous times in Central Kentucky. But this year, he comes to town in classical mood with the Chamber Orchestra of Philadelphia playing Baroque masterpieces by Tomaso Albinoni, Johann Sebastian Bach, George Frideric Handel, Antonio Vivaldi and more. (3 p.m. $35-$50.)

Nov. 15: Former Elefant frontman Diego Garcia brings his critically acclaimed solo act, which has made him an NPR favorite, to Lexington with a performance that shows his Argentine roots and singer-songwriter sensibility. (7:30 p.m. $26.)

Dec. 21: Just a few nights before Christmas, Tomaseen Foley’s A Celtic Christmas re-creates the night before Christmas in a remote farmhouse in western Ireland with stories, songs and dancing. (7:30 p.m. $20-$30.)

April 3: Violin superstar Joshua Bell teams up with conductor John Nardolillo and the UK Symphony for an orchestra performance that will include music by Max Bruch and Camille Saint-Saëns. (7:30 p.m. $45-$85.)

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