Copious Notes

Lexington Philharmonic music director Scott Terrell conducts a combined rehearsal of the Central Kentucky Youth Orchestras' symphony orchestra and the Philharmonic Oct. 19. CKYO director Kayoko Dan stands at the back of the orchestra, in a black blouse. Photos by Matt Goins.

When I moved to Lexington in 1998, one thing that immediately struck me about the ­local arts scene was the prominence of children and organizations geared toward children.

The Lexington Children’s Theatre’s shows rated the same sort of attention as productions at Actors Guild of Lexington and other area stages.

The Central Kentucky Youth Orchestras’ events and personnel moves were prominent news. There were two institutions - the Explorium (then, the Lexington Children’s Museum) and the Living Arts and Science Center - geared toward children’s arts, particularly visual arts.

The School for Creative and Performing Arts had a prominent place in town, but there were stage, art and music programs at other schools also producing talented graduates who went on to arts careers.

Children’s Health magazine recently ranked Lexington No. 6 on its list of the 100 best places to raise a family. The criteria included crime and safety, education, economics, housing, cultural attractions and health.

I’d be willing to bet that if someone wanted to rank best places to be an artsy kid, Lexington would rate high on that list, too. By virtue of what is offered, we tell our children that the arts are something to do and be respected for doing.

Students Madelyn Nelson, left, Sara Arthur-Paratley, and Mary Rollins-Mathews rehearsed with the Lexington Ballet on Monday in preparation for Youth Arts Day.

The Lexington Philharmonic, the Horse Capitol of the World’s flagship arts organization, will celebrate young artists with its Youth Arts Day family concert at 3 p.m. Sunday at the Singletary Center for the Arts. It will include young singers from SCAPA, Fayette County Public Schools and the School of the Lexington Ballet.

The prominence of youth-oriented groups here is quite a bit more than other communities that I have lived in or observed. Over the nearly 12 years since I arrived, it has become clear that a big reason for that is quality.

Take the Children’s Theatre: In a town that has struggled with the concept of professional theater for adults, the Lexington Children’s Theatre has established itself with its own building on Short Street and a professional staff, including actors. What’s more, Larry and Vivian Snipes have developed a national reputation for the theater by being a venue that presents and creates new work. And the primary beneficiaries are kids.

And it really wasn’t terribly surprising that when the Central Kentucky Youth Orchestras went looking for a new music director at the same time that the Lexington Philharmonic was trying to fill a similar job, it ended up attracting and hiring Kayoko Dan, also a candidate for the Philharmonic post.

CKYO has graduated numerous professional musicians, including Chicago Symphony Orchestra violinist Nathan Cole and hard-to-categorize cello soloist Ben Sollee.

Outside of groups directly geared toward kids, Lexington arts groups have been generous to kids.
Look at Paragon Music Theatre, which routinely loads the stage with kids, including Hello Dolly! this weekend, and even makes a place for them in its cabaret shows.

During years without a professional company, the Lexington Ballet featured its students in productions, and it and Kentucky Ballet Theatre, which has always had a pro troupe, always find ways to present students. Former Ballet Theatre dancer Adalhi Aranda Corn saw such value in Central Kentucky’s young artists she left and formed Bluegrass Youth Ballet and eventually built CulturArte, an arts facility that acommodates a variety of disciplines.

Possibly one of the biggest statements about valuing student artists was when the Lexington Singers’ ­Children’s Chorus was invited to perform in the Our Lincoln performance at the Kennedy Center in Washington in February.

And now LexArts has formed a Youth Arts Council to help focus young artists in the area.

Clarinetists Andrew Burton, 14, left, of the Central Kentucky Youth Orchestras and Mike Acord of the Philharmonic rehearsed together Monday.

Full disclosure: My children have participated in some of these groups, and one is in the Central Kentucky Youth Orchestras, although not the ensemble performing Sunday with the Lexington Philharmonic.

In addition, I’ve gotten to know many other kids who participate in groups. Maybe the most important thing these groups engender is enthusiasm for the arts they are participating in. I hear spirited discussions about play rehearsal and genuine interest in Bach sonatas.

Like anything, Lexington’s youth arts scene isn’t perfect. I remain baffled, for instance, why SCAPA does not have a theater of its own. Then again, SCAPA regularly solves that problem by putting its kids on stages usually graced by adults and pros.

It occurred to me as I left a CKYO rehearsal last week with my daughter that by virtue of her participation in the orchestra, she’s on the University of Kentucky campus every week. Most of us didn’t get used to being on a college campus until we had enrolled.

That’s just one of many ways that through our youth arts, regardless of whether the students pursue arts careers, by supporting such substantial programs, we’re preparing our kids for the rest of their lives.

OK, it doesn’t have quite the ring of “I’m at WKRP in Cincinnati,” but we started a little audio arts reporting partnership between the Herald-Leader’s online A&E outpost, LexGo.com, and WEKU-88.9 FM in Richmond. Weekly, I’ll be chatting on Friday mornings during Morning Edition — the beat broadcast news show, period — with one of WEKU’s hosts about what’s coming up for the weekend. In addition, I will be contributing some reporting to the station’s already excellent arts coverage by Julie Schindall — who plays a mean marimba, by the way — and the rest of the staff.

Click here to hear this morning’s segment with Charles Compton, and stay tuned.

Also, check out Julie’s story on the Lexington Ballet’s new pro company.

Lauren Tenney (left, front), Meredith Dunlevy (back, left), Megan Jacobs (right, front) and Ashley Wilcock (back, right) dance while cellist Peter Kucirko plays a sonata by J.S. Bach in a rehearsal of a new piece which will be performed as part of the company's season-opening concert, Sept. 18. Photo by Rich Copley | LexGo.com.

The Lexington Philharmonic and Lexington Ballet are teaming up to sell tickets to their season premieres for one price.

Scott Terrell. Photo by David Stephenson | LexGo.com.

Both the Ballet’s Sept. 17 and 18 Fabric of Dance performance and the Phil’s Sept. 25 MasterClassics concert are big debuts: the ballet unveiling its new professional performing company and the Phil’s new music director Scott Terrell opening his inaugural season with guest Evelyn Glennie, the most famous percussion soloist in the world.

The organizations are selling a combined ticket for $60. Individual tickets are $20-$35 for the ballet and $40-$100 for the Philharmonic. Call (859) 233-4226.

The past few weeks have brought about some interesting Lexington arts headlines.

Lexington Ballet artistic director Luis Dominguez at work on a production of his original ballet, Cabbage Moon. Herald-Leader file photo.

Lexington Ballet hires executive director: The Lexington Ballet reached, ­almost literally, across the fourth-floor lobby of ArtsPlace to hire the Lexington Philharmonic Orchestra’s education director, Joe Tackett, as chief business officer.

The ballet’s board president, Michael Potapov, said, “Over the past several years, the board has worked to position the organization to once again become a pillar of the cultural landscape in Lexington.”

The ballet begins auditioning for a new professional company this week.

LexArts cuts Actors Guild’s funding: After what LexArts says has been several years of trying to work through financial travails with Actors Guild of Lexington, the united arts fund’s allocations committee cut off funding for Lexington’s only semi-professional theater for adults.

AGL had requested a $70,900 allocation from this year’s Campaign for the Arts, a figure comparable to the theater’s allocations in recent years. Actors Guild has appealed the de-funding.

That Actors Guild and the Lexington Ballet almost simultaneously made arts news in Lexington is familiar.

In spring 1998, a six-figure financial meltdown devastated the Lexington Ballet, which until then had been one of Lexington’s leading cultural institutions. In 1997, it received more than $80,000 in the Campaign for the Arts from what was then the Lexington Arts and Cultural Council.

Less than two weeks later, revelation of a $20,000 financial shortfall prompted the Actors Guild board to fire all three members of its management team.

Both groups ended up initially shut out of funding from the Campaign for the Arts.

But from there, the paths diverged.

Shortly after its house-cleaning, Actors Guild hired Deb Shoss as its new producing director, and she quickly brought the troupe back into the council’s good graces. When Shoss retired in 2002, then-LACC director Dee Fizdale said, “The LACC got behind the organization because it came to us with a solid plan that it carried out.”

The Lexington Ballet? Not so much, as far as the LACC was concerned.

The ballet’s management chafed at moves to monitor its attempts to recover. Officials had a stormy relationship with a consultant hired with support from LACC, and they vehemently opposed suggestions to merge Lexington Ballet with Kentucky Ballet Theatre, which was formed by dancers and the assistant director who were fired from the Lexington Ballet.

Actors Guild and Lexington Ballet are both still in business, but the dance group has never resumed receiving allocations from the LACC, which is now LexArts.

Nothing is black and white. Lexington Ballet did have successes in the ensuing years, and Actors Guild has had problems.

But the recent headlines show how much things can change over time.

The none-too-subtle subtext of ballet board president Potapov’s statement about the troupe’s latest move: We want to return to our former glory.

LexArts president and chief executive Jim Clark says the ballet has a way to go before it will be considered for allocations again, but that under the leadership of artistic director Luis Dominguez, the ballet has made strides in programming and presenting guest artists, including a collaboration with Dance Theatre of Harlem this spring.

The addition of a business leader and a professional company, reportedly comprising four dancers, could build on that.

Actors Guild also has shown ambition recently. It just wrapped up its season with one of its biggest hits: The world-premiere production of Kentucky author Silas House’s play Long Time Traveling. And the theater has moved its offices into the burgeoning Distillery District and announced plans to create a second stage series and a cabaret series and to enter into an agreement with ­Actors Equity, the stage actors union. All of these moves have been cited as revenue-generating initiatives.

But all that was before the LexArts allocations committee’s patience with Actors Guild’s financial travails seemed to come to an end.

Actors Guild is appealing the decision. And even if it does not get the LexArts funds, leaders say the theater can continue, although after losing $70,000, it’s hard to imagine that it would be the same type of organization.

And hiring new people in the front office and for the stage at the ballet is no guarantee of success.

But for now, 11 years after some of the most tumultuous days in Lexington arts, the toe shoes seem to be on different feet.

The Lexington Ballet has named Lexington Philharmonic education director Joe Tackett as its executive director. Part of his mission will be helping the ballet hire a new professional company of dancers.

Joe Tackett speaks at a WEKU event in May.

In making the move, Ballet board president Michael Potapov said, “Over the past several years the Board has worked to position the organization to once again become a pillar of the cultural landscape in Lexington.”

The Lexington Ballet was one of the city’s leading arts groups until 1998, when a financial crisis forced it to fire its company of professional dancers. Some of those dancers splintered off to form what is now the Kentucky Ballet Theatre. Since then, the Lexington Ballet has struggled through ups and downs, hiring professional dancers on a couple of occasions but primarily presenting productions featuring students from its school and guest artists.

Tackett will join artistic director Luis Dominguez, who has been with the ballet since 2003, in leading the company.

For the past four seasons, Tackett has been the education director of the Lexington Philharmonic and its librarian, in addition to playing bass with the orchestra. Philharmonic audiences got to know him over the past two seasons as the moderator of pre-show chats with candidates to succeed George Zack as the orchestra’s music director. The orchestra hired Charleston (S.C.) Symphony Orchestra resident conductor Scott Terrell in April.

In the Ballet’s release, Tackett said, “”The ballet is poised to become a leading force for the arts in the Bluegrass, and I can’t wait to be a part of the excitement!”

Lexington Ballet artistic director Luis Dominguez found inspiration for Saturday afternoon’s show in his 5-year-old’s library.

Dominguez was aware that other companies had staged stories by celebrated children’s author Beatrix Potter as ballets, and it seemed like a good idea for a spring family show.

“I have a 5-year-old, Alex, and he has the books, and I went and read the books, and I thought, ‘Why not? Let’s do it,’” Dominguez says.

“Beatrix Potter came about because we wanted to have a ballet that would appeal to adults and kids alike, and that would have resonance because it was an old tale.”

Dominguez’s original version of The Magical Tales of Beatrix Potter will top off a big weekend for the company. Friday night, Lexington Ballet hosts and opens for Dance Theatre of Harlem Ensemble. That brings the artistic director’s old company to his current stage.

The back-to-back performances make life hectic for Dominguez, getting his dancers ready for Saturday while also preparing to welcome an internationally acclaimed touring ensemble to town. He says the events coincided because the ballet was already planning to present Beatrix Potter when the opportunity to present Dance Theatre of Harlem Ensemble emerged. Dominguez says it worked perfectly because the theater was already booked.

So Friday night will be all about world-class dance, and Saturday afternoon will be all about emerging dancers in the Bluegrass.

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Claudia McPherson (center) dances the role of the Sugar Plum Fairy in the Lexington Ballet's 1998 production of The Nutcracker. Herald-Leader file photo by Stephanie S. Cordle.

The Metropolitan Opera’s Live-HD series is back on the big screen this weekend, and once again, you may have a chance to see a local face in one of the Met’s epic productions.

Christoph Willibald Gluck’s Orfeo ed Euridice is the mythical story of ­Orfeo’s attempts to retrieve his wife, Euridice, from Hades. The Met’s current production features costumes by Isaac Mizrahi and ­choreography by Mark Morris. Look closely and you might see Lexington’s own Claudia McPherson in the dance scenes. McPherson, daughter of University of Kentucky voice professor Noemi Lugo, studied at and danced for the Lexington Ballet while growing up here, and is now a New York-based dancer.

The live broadcast shows locally at the Regal Hamburg Pavilion 16 and Lexington Green Movies 8 at 1 p.m. Saturday and the taped replay is at 7 p.m. Feb. 4. This show is listed at just over 90 minutes, so it’s a modest time committment for opera.