Category Archives: Lexington-70’s

North Lime and the Christians

I had a totally lovely experience performing Lucas Hnath’s The Christians for AthensWest Theatre a couple of years ago. The script was fine, the direction astute and focused, the cast alert and wicked smart, and the choir – ah, the choir – was on fire.

I could (and still might – just a warning) write a day-by-day description of the happy discoveries of our rehearsal process, but for the general purposes of this blog, let me simply describe the windows of our rehearsal space.

Yes, the windows.

We rehearsed in the cafeteria of Sayre School, a room named “The Buttery”. Every evening we would rearrange the munchkin-scaled tables and chairs to create a space in which we could imagine ourselves in the epicenter of a mega-church. I say “we” but the overwhelming bulk of this furniture-moving was done by our stage manager and assistant stage manager (Paige Adams and Ben Otten) – champions……CHAMPIONS!

For me, the arresting parts of this rehearsal space were the huge windows overlooking the 200 block of North Limestone.

I strove to stay immersed in the religious crucible of The Christians, but I kept being pulled into another Lexington, of other times, by those windows.

  • I had learned long ago that Limestone was originally named Mulberry Street. It was the major artery carrying travelers from Lexington to Maysville, a key transportation leg before the Falls of the Ohio were made manageable.
  • It was also a major lane of vice during Prohibition. To paraphrase an account of the time; “Prohibition became so bad in Lexington that a thirsty man had to sometimes walk a block to get a drink on Mulberry Street.”
  • In the 1960’s and 70’s, it was a mecca for used books and comics. Dennis’s Bookstore and Whittington’s Books were there……what’s so important ‘bout dat? Well…
  • Dennis (MISTER Dennis to me on orders from my Mom) was reportedly diagnosed with a terminal illness in the late 1940’s. He was still going strong in the 1960’s. That’s the kind of terminal diagnosis I want.
  • When Mr. Dennis learned from my mom that I loved mysteries (keep in mind, I was not yet a teenager), he gave her about twenty Agatha Christie paperbacks that weren’t selling well. I proceeded to fall under the happy and gracious spell of Hercules Poirot (David Suchet’s perfect depiction of Monsieur Poirot later renewed that spell).
  • One blessed afternoon, I picked up (for ten cents each) a pile of Marvel comics at Dennis’s, including Journey Into Mystery #83, the first appearance of Thor, the Mighty. You coulda just killed me then.
  • The neon sign directly across the street from my current rehearsal windows flashed me back. I recalled how many late night “Nighthawk Specials” were devoured by my bohemian hippie theatre friends at Columbia’s Steakhouse waiting for the delivery of the Lexington Herald to the newsstand just outside the restaurant with the opening night reviews (remember them?) of whatever local stage production we were currently reinventing for the world.
  • I recalled countless lunch breaks from my high school job at the library (now the Carnegie Center) truckin’ down for a $1.89 lunch special at Brandy’s Kitchen, steppin’ over the sidewalk plaque for Smiley Pete, the town street pup.
  • I recalled seeing a Lexington Repertory Theatre production of The Wager featuring an impossibly young Joe Gatton in a space that now is a fountain. Joe’s performance was good enough in the show to remember and receive his own sidewalk plaque – who could ask for anything more? Well, maybe a better fountain.

In my glass-enclosed time bubble at rehearsal, it was peacefully, blissfully, difficult to remain attentive to the job at hand.

Thank you, AthensWest, for that happy challenge.

Marilyn Moosnick…Firecracker!

One of the blessings of having been around the arts of a small city for a long, long time is the surplus of memories that every moment evokes.

One of the curses of having been around the arts of a small city for a long, long time is the surplus of memories…

One night before the start of AthensWest’s production The Christians, during a period of “quality green room time” (thank you, Paul Thomas for that concept) in the men’s dressing room, a few old Lexington theatre stories were spinning. Marilyn Moosnick was mentioned.

I’ve written before of Marilyn and the affectionate place she fills in my mind and heart (see “I Killed Peter Pan” in this blog).

Summertree 11
One o’ them Moosnicks (Greg) on the right

In college at UK, I acted with her sons in two plays; Summertree and The Night Thoreau Spent in Jail. She and her husband Franklin would pick the boys up after rehearsals and we would occasionally chat a bit. I perceived the pride she felt in her boys and the high standards to which they were held. They were standards for creativity…way more than standards for behavior. She expected her boys to respond with imagination, respect their elders, and respond with imagination…in that order. Oh…and learn their lines.

Marilyn had the gift of total attention.

When she turned to listen to you, the world was depopulated except for you. What you had to say might possibly change the world…or her opinion on the matter at hand, which was pretty much the same thing to me. It was daunting. It made you think…and think again before you blurted. Talking to Marilyn was playing with live ammunition.

That said, Marilyn was fey.

The stories of impetuousness are telling.

Her son Greg tells of a night at Studio Players. Marilyn and Franklin had been dating, but there as yet were no commitments. Marilyn was in the show and Franklin attended…with a date. As Franklin and his escort were exiting the performance, an errant jar of cold cream sailed from the second floor window of the theatre and shattered on the walkway, rendering the walkway hazardous and Franklin’s interest in his friend even more so.

Decades later, Marilyn and I served on a committee to raise funds to refurbish the Guignol Theatre. Marilyn volunteered to solicit Harry Dean Stanton – they had dated (once) when both were Theatre Department undergraduates in the fifties. She later related to the committee her phone conversation with Stanton. Harry reportedly said; “Marilyn, honey, you sound like a real firecracker, and I’m sure we had a real good time…but I’m broke.”

She encouraged me. She scolded me. She encouraged me. She listened to me. She encouraged me.

She did the same for Lexington…in that order.

She was a firecracker.

I miss her.

Livin’ on the Edge With Joe

Halloween hands w rll ej & joe f

My stage director/mentor/friend Joe Ferrell is a fellow geezer.

Who cares?

I gather he’s getting old.

Who cares?

Well…

I kinda do.

I’ve read a bunch of Joe tributes from various actors and students and friends. I am impressed by their reminiscences and the life-changing echoes of those reminiscences.

I have some reminiscences of my own, of course…some might get us arrested…

May I share a silly one?

The year was 1984.

For some inexplicable reason (at least to me) Lily Tomlin came to the Guignol Theatre at the University of Kentucky one evening and practiced a reading of the beginnings of a new one-person play. She was the “one-person”…go figure. It was free and the house was packed…go figure. I was on the front row. Thus, Lily Tomlin spit on me. I didn’t shower for two weeks. My social life plunged from pitiful to non-existent…go figure.

The next day, Ms. Tomlin held a q&a in the Laboratory Theatre (now the Briggs) for the Theatre Department students. I took the day off from work and lurked in the back of the house (sans shower remember). Joe Ferrell was the moderator of the session.

Commenting on the barrenness of the stage – nuthin’ – no chairs, no stools, — nuthin’, Joe introduced Ms. Tomlin and suggested that they simply sit on the edge of the stage. Ms. Tomlin’s eyes twinkled a challenge echoed by her voice; “I’ll sit on the edge if you will.”

I knew Joe and I knew the answer to that challenge from anyone, anywhere, anytime, in any theatre.

They sat on the edge.

I’ve always suspected that Joe maintains a discreet pied-a-terre there…on the edge.

That’s my Joe, and I’m standin’ by it and him……on the edge.

Just Act the Hell Out of It

In the theatre, I have been blessed to work with inspiring directors. Many of them seemed to enter and re-enter my life at times when they could fulfill dual roles; stage director and off-stage mentor. Just as I could not have become the on-stage kings, fools, lawyers, doctors, and errant knights required, so I could not have become the geezer I am today (for better or worse) without their genuine care and, at times, curious advice.

Prof. Charles Dickens lurking on the right

Perhaps preeminent among them, if for no other reason than my bewildered youth at the time, was Charles Dickens.

Yes, that was his real name.

Charles was my adviser at UK. On the Tuesday before my first year at UK, during the “advising” session required before classes began on Monday, Charles filled out my roster of classes (my input was restricted to an awed and tiny “ok”), and informed me that my part-time job at the public library wouldn’t impede my freshman theatre activities since they didn’t cast freshmen anyway…but that I should attend and participate in the Sunday auditions of the season’s opening show (which he was directing) for the experience.

I responded with another tiny; “ok”.

Monday morning, at 9:00, I attended my first college class (Physics: 101 – we learned to bend water with a comb) and was cast in my first show (“Playboy of the Western World”). I was slack-jawed that September at my Physics classmates (“Is that real water?”), and dazzled by my sometimes shabby but always quick cast mates in rehearsal. My path was clear.

That was in the fall of 1969.

In the spring, Charles cast me in his elaborate production of Shakespeare’s “Measure for Measure”. By then, I was a complete “gym rat” in the theatre. Every day began and ended in the Fine Arts Building; the Guignol Theatre, the Laboratory Theatre (now the Briggs), the Green Room, the Scene Shop, the Costume Shop…even an occasional classroom. I lurked in every rehearsal I could find.

Angelo, on the right, acting the hell out of it

During “Measure”, Charles was deep into his Peter-Brook-THE-EMPTY-SPACE period. I may have learned half of what I know about the theatre listening to him coach actors in these rehearsals. One night, Bill Hayes, a nice actor and UK alumnus brought in by Charles to play “Angelo”, paused rehearsal to question the meaning of the line; “Let’s write ‘good angel’ on the Devil’s horn, tis not the Devil’s crest.” Charles sprang to the stage and took Bill’s script and they pondered…and pondered… Finally Charles handed the script back to Bill with the profound instruction; “Just act the hell out of it.”

Just act the hell out of it?

I had fallen in love with Shakespeare with “Measure for Measure”.

I knew what that line meant!

I could say that line!!

I could change people’s lives with that line!!!

Trump would never be elected if I said that line!!!!

I swore if I ever got the chance…

Well, of course, having sworn, I did, 23 years later.

Me acting the hell out of it in 1993

In 1993, the uber-smart Ave Lawyer cast me as “Angelo” in her production of “Measure”. This production featured a remarkable cast; Eric Johnson, Sidney Shaw, Holly Hazelwood Brady, Laurie Genet Preston, Jeff Sherr, Joe Gatton, Glenn Thompson, Donna Ison, Karen Czarnecki, Spencer Christiansen… WOW!

I had my chance.

I said my line.

I acted the hell out of it.

I changed people’s lives.

I saved the planet…from something.

And dammit, Trump was still elected.

I got up the next day and went to my day job.

Hoops and High Notes

Cotton Nash, young god #1

I have listened to or watched University of Kentucky basketball ever since eventual mayor of Lexington Scotty Baesler was the “sixth man” on an early 60’s Adolph Rupp-coached team. My mom and dad and I would sit around our yellow linoleum-topped kitchen table in North Lexington listening to the radio broadcast. Mom would keep score on the pad of paper we used when people came over to play cards, and dad would cuss and slap the table. I kept score in my head and memorized my dad’s vocabulary for later practice when I was alone in bed.

It was a real good time.

Cotton Nash was a god to me until Dan Issel came along. Mr. Issel was a god to me until Jack Givens came along. Then Kenny Walker. Then the Unforgettables. Then Jamal Mashburn. Then Antoine Walker. Then John Wall. Then Anthony Davis. Then……Wenyen Gabriel?

Fifty-plus years of watching the same dribbling, running, screening, and shooting on the same hardwood floors — why?

Wenyen Gabriel, young god #2

Why keep watching?

Because of Wenyen Gabriel.

Because, at any moment, a young person could have a transcendent moment in their life and by watching, you could be a vicarious participant in that moment.

Especially now, with daily political news being so unrelentingly grim and disgusting, I feel a renewed resurgence of hope and possibility for fixing things. To see a young person succeed beyond the expectations of today’s alarm clock, to see them rejoice in that unexpected success, to see them exult in simply being young and capable, is enough to keep me progressing, persisting, and resisting.

It’s just a game.

I know that.

The meanings I impose on that game are mine – perhaps the foolish dreams of an unrepentant hippie of the 70’s. I would not want my priorities to intrude on today’s young people, but I will gladly accept the inspirational intrusions of today’s young people on my priorities.

Tanyaradzwa Tawengwa, young god #3

That said…

Tomorrow, Sunday, March 10, at the Singletary Center there will be a gathering of 26 singers from around the world competing for scholarships to be part of the nationally-admired University of Kentucky Opera Program. This will be the next wave of remarkable performers to shape Lexington’s vocal music experience. These will be the singers we will hear throughout Central Kentucky in our churches, and schools, and public concerts, and operas, and musicals, and recitals, and national anthem renditions, during the next few years until they mature and grace the planet with their talent.

It will be a magical day, a day of hope and inspiration, a day every bit as startling as Wenyen Gabriel’s 7-for-7 from 3-point range.

It will be a real good time.

Tommy Hale – The Hawk

How do we just…lose people?

I’ve just learned tonight of the death of a high school friend, Thomas Hale.

Tommy was bright. Tommy was verbal and cheerful.

He knew more than I did about music in general and jazz in particular. By that, I mean he didn’t just love the music, but he knew why he loved it and he could share that knowledge.

Tommy DJ’d a Sunday afternoon jazz program on WLAP-FM.

This was in the late 60’s. At that time, FM radio was an afterthought. Most of the radios in the market didn’t even have FM reception and the owners of those that did were mostly uninterested. FM was where I went to hear Ben Story’s late Saturday night folk music broadcast (where I discovered Judy Henske, Phil Ochs, Patrick Sky, and the Limeliters – look ‘em up, — you can thank me later), or classical music and opera, or rhythm and blues (Gladys Knight, Ike Turner, Hank Ballard, and Carmen McRae – look ‘em up), and jazz…yes, indeed…jazz.

WLAP-FM’s format (this was before we knew what “format” was) was targeted to the African-American population of Lexington…enthusiastically so. I believe, at one time, it was rated #1 by Ebony Magazine.

It was trés cool.

<< “Well hello to you and salutation from the West Georgetown Street Blooooooz Association. Sink or swim, you’re in with them; WLAP…FM” >>

Totally exotic.

All the DJ’s had on-air nom-de-plumes. “Little Bee” assured that he was about to “put a little hep in your step, glide in your stride, and gut in your strut.” I was in my teens and needed every bit of that I could garner.

Tommy was “The Hawk”.

His Sunday program didn’t feature too many vocalists and it wasn’t “easy to dance to”. He tried to keep it lively but he was passionate about the music and he could tell you why.

A couple of Sundays he invited me to join him at the station for his show. I sat in the back, a goodly distance from the live mikes, and watched and listened. Tommy had to be his own engineer. He juggled tapes and lp’s and a myriad of dials and switches to deliver a seamless (to my worldly 16 year old ears) program of Brubeck, Tommy Hale, Miles, Tommy Hale, Prez, Tommy Hale, and Coltrane…and the Hawk.

Some of it all…

…not enough…

…but some…

…stuck.

To this day, I hear this music and recognize it and thrill to it instantly. But I can’t always tell you why.

Tommy could.

Tommy and I graduated from Bryan Station and went our separate ways. I have not seen him since.

And now he’s gone.

He gave me a treasure, a soundtrack for most of my life.

How do we just…lose people?

‘s not right.

The Mercymen — Ack!

I was the whitest and worst soul singer in the world with the best band in Lexington; the Mercymen. My muddled feelings of embarrassment and pride over that fact muddle me to this day.

The good (and young)version

It was the late 60’s and Lexington had a bunch of bands. They were all young and they all worked with regularity and enthusiasm…and occasionally, well. There was the Love Machine, the Torqués, the Mag 7, Harold Sherman’s group whose name evades me (they did great covers of The Kinks), the Exiles (they were plural then), and the Mercymen.

I claim at least temporary preeminence for the Mercymen because we won a summer-long, city-wide “Battle of the Bands”.

In the late 60’s several city parks had weekly outdoor dances during the summer. In the winter, every high school, and some junior high schools had sock hops on Friday nights after the football games. There were also gigs at private parties at horse farms and country clubs, and night clubs willing to forget to check the ages of the members of the band.

For a couple of years the gigs were copious, the money was great (especially considering we all lived at home, attended high school during the day, and had no expenses). Since I was also driving my dad’s refurbished 1959 sky-blue Cadillac to many of the jobs in those days, life was pretty damn good.

Yes, life was good, the band was good, the money was good…

…I was not.

Oh, if you needed someone to intone the Mag 7’s opening to “Stubborn Kind of Fellow”; “Here’s the one you’ve been waiting for all-l-l-l-l night long…”

Or, if you needed someone to mush-mouth the non-existent lyrics to “Louie, Louie” and leer…

Or, if you needed someone to string out “Hey Jude” for 20 minutes so the band could catch a break…

Or, if you needed someone to plumb the psycho-sociological depths of Otis Redding’s “Fa-Fa-Fa-Fa-Fa-Fa-Fa-Fa-Fa” (I think I got the right number of Fa’s in there)…

I was your guy.

But singing?

Well…after the first half of the first song, I was shrieking and growling in a vocal range of about three notes.

We all started out young. The band got older and better. I got older.

The Mercymen were a group of young fellows that were as close to gentlemen as teen-aged rock band members could be. They endured my tenure as vocalist with glazed eyes and slumped shoulders, but encouraging words. The protests when I had to leave the band were unanimous, polite, and heavily laced with palpable relief.

About three months later, I saw the group at a big multi-band back-to-school outdoor dance at Lexington Mall. They had a new singer. They had gotten a whole lot better.

How dare they!

The good (and mature) version

I see the Mercymen have reassembled all these years later. Some of the original members are still in the band. I see them playing with glee and as I watch, I see their young selves on drums and guitars.

They still sound pretty good.

How dare they!!!

The Crash-Test Dummy…My Hero

Did you ever envy a crash-test dummy?

One afternoon, for about 20 seconds, I did.

Then I smacked myself and came back to my senses (which, of course, a crash-test dummy, lacking senses, can’t do).

I flipped on CNN that afternoon expecting another episode in the 24/7/365 Trump Reality Show. I was curious to see if Turtleman and Honey-Boo-Boo might be opening for Stormy Daniels at Mar-a-Lago that weekend. Instead, a giant rocket loomed on the screen and an amplified voice droned; “ten…nine…eight……”

My happy assumption was that I had stumbled onto Turner Classic Movies during a surprise screening of Destination Moon (1950, with John Archer and Warren Anderson). But no-o-o-o. This was another kind of reality show…real reality (imagine that)…heroic reality…not the fake kind.

I instantly became a fourth-grader again, on a morning in May of 1961, listening to the PA speaker in my classroom broadcast Alan Shepard’s 15 minute flight in his Mercury Freedom 7. Our school lunch that day featured Shepherd’s Pie in honor of the feat. It was an impressionable time.

“seven…six…five……”

And this day, Elon Musk, an immigrant from South Africa was about to put the US back in first place in the space race.

“four…three…two……”

This day there was no Alan Shepard or any other astronaut on board. Instead, Mr. Musk had loaded his cherry-red Tesla with a crash-test dummy in the front seat. I suspect if you Google “panache” (or headache) you will find Mr. Musk’s bio there.

“one……”

Whatta roar!!

Like a spear hurled into the sky, that rocket ripped into space, and that dummy began his billion-year cruise around the sun and Mars. I hope they included a big playlist on the music player.

To be that dummy…

SMACK!

I’m OK now…well, maybe the concussion protocol might in order.

I had forgotten the thrill and inspiration of a US rocket launch and US space exploration.
I don’t want to ever forget it again.
And I still wanna be an astronaut when I grow up.

A Dream Cast…in a Nightmare

Lexington has theatre this week! I’m reminded of a dream cast from antebellum days. You can pick whichever “bellum” you prefer, I’m sure this “ante’s” them all.

Imagine, if you will, a show in Lexington with a cast consisting of Trish Clark, Jane Dewey, Eric Johnson, Kevin Hardesty and Paul Thomas.

Sweeter than sweet. If you’re the director of that cast your duties are basically to turn on the lights at rehearsal, yes?

Now, imagine that show being not so hot.

In fact, imagine it being thoroughly shredded by the Herald’s reviewer.

As Tom Waits so elegantly puts it;

“Impossible you say?

Beyond the realm of possibility?

Nah!”

It can and did happen. I have the scars.

All it takes is a director with little directorial experience, even less experience with improvisational farce, and no real vision beyond “Wouldn’t it be cool if…?” (I’m reminded of Mickey Rooney’s immortal query; “Hey! Why don’t we put on a show!!”).

If you’re lookin’ for a director of your production of Bullshot Crummond with exactly that resumé, I’m your guy.

This was back in the early, early years of Actors Guild when they were performing in the basement of Levas’ Restaurant on Vine Street. The cast worked hard. Kevin played about eight different characters. Eric played two, including one duet scene with himself (a dream come true for him, I’m sure). Trish was ultra-sultry. Jane was innocent and dizzy. Paul was checking out the locations of the exits. All were trying to figure how to get new agents when they had no agents to begin with.

What can I say?

The show seemed funny to me. (BUZZER! Thank you for playing, Mr. Leasor.)

Then came opening night and we played our farce to an audience of seven (7) (VII)…plus the reviewer (Tom Carter).

It was a long night’s journey into sad.

(Fade to…)

The next morning I awoke to the devastating review. Tom summed things up by saying “Leasor has done his friends the disservice of casting them in roles for which they are not suited.”

Harsh.

My wife, Janie removed the poison/razor/gun from my hand and convinced me that though life was obviously no longer worth living it was still necessary to do so as we still owed a lot of money on the house.

Therefore, my next concern was how to help my cast through this undeserved (on their part) catastrophe.

I called an acquaintance who owned a t-shirt shop, set the wheels of foolishness in motion, and that night each member of the cast found, at their make-up station a bright red t-shirt that read “I am NOT Roger Leasor’s friend, please cast me”.

It seemed to help break the ice.

After that evening’s show, Eric went out for his post-show “snack” to Columbia’s Steakhouse (that Nighthawk Special and a Diego Salad always serves well when it’s time for a little something to take the edge off at midnight). He was resplendent in his new t-shirt. Guess who was standing at the bar…none other than the reviewer himself. Eric, of course, diplomat that he is, made sure Tom saw the shirt…less than 24 hours after the review was written!

Lexington’s a small town at heart. I saw Tom at lunch the next week at the Saratoga (the “Toga” always served well when a wedge and a chicken-fried steak was needed to take the edge off at noon). He was gracious and impressed with the alacrity of our response (if not our show) and life in our small town went on.

Sometimes it all falls into place, deserved or not.

What’s a Junesboy?

thoreau-01What’s a Junesboy?

I hear the question. It’s not a terribly important question, nor terribly interesting, but if ya wanna know…

Three answers leap to my mind. A Junesboy could be;

  1. Beaver Cleaver, the son of June and Ward Cleaver on television in LEAVE IT TO BEAVER.
  2. Timmy in the LASSIE television show (his mom was played by June Lockhart).
  3. Any young man whose father was named after his father and whose relatives couldn’t be bothered to pronounce more than one syllable.

Here’s a hint; answer #3 is the largest group.

I was ten or eleven years old and attending the visitation of a funeral of one of my dad’s relatives in Anothertown, Kentucky. I didn’t know who.

In Kentucky then, visitations could be as long as a flight to South Africa and feel as long as a flight to the moon to a pre-teen…with better food, though. I spent the eternity of the day wandering from room to room of the funeral home, simultaneously seeking stimulation and invisibility. Neither seemed available in this venue. Keep in mind these were horse-and-buggy days before the internet and smart phones. Instead, we had conversation.

O-o-o-o-o-kay.

As Socrates might query; “How’s that working for you?”

In those “good ol’ days” adults could lie, exaggerate, or just be wrong loudly with a pretty fair amount of impunity, and if caught, be politely ignored in their factual transgressions, especially if aimed at someone younger…or female…or from more than 30 miles away (20, if north)……and you could say any damn thing you wanted to a minority – what the hell were they doin’ there anyway?

This is how I remember visitations in the 60’s. Unlike much of today’s world, civility in today’s visitations seem to have improved. It occurs to me; talk radio, social media, and Russian bots have subsequently siphoned away some of this need to vent mendaciously, face-to-face. Just a thought…

Needless to say, “conversation” was not working for me on that particular day.

I spent the day having adults squint at me and say; “Yer June’s boy aren’cha?” I gaped in response. It was the only tool I had in the box at that age.

It was a long, long day.

I glazed over so much and so often I recall thinking if they made Glazing Over an Olympic event, I might have a shot at a medal.

On the drive home I related my experience to my dad. He explained that his father (my Papaw) was named “William” and that he had been named William, Jr., but growing up in Western Kentucky, everyone just called him “Junior” or “June”. Somehow that made me feel like I was part of some sort of a secret society of “June’s boys” who might rise up someday and force adults to tell the truth and get on with life a little quicker.

I confess to some disappointment with how that turned out.