Tag Archives: Dr. James Rodgers

One Day in 1988

Today was an off-and-on gray day in Lexington. It was very warm. We’ve had flashes of heavy rains this summer. Thus, everything is lush green. The angel flower we were given last year survived the winter, but started the spring as a desolate flat spot. Today, it is an exuberant member of our landscape jungle family covering about sixty square feet and putting out six to ten huge blooms per night. The fern explosion at rear corner of our garage is still ebullient this second week in August.

It wasn’t always so.

35 years ago today, we had had no rain for two months. The grass was crunchy and brown. It was 94 degrees in the blistering sun…but the house we had been living in for about eight weeks was full and happy.

Janie and Roger were getting married.

Chuck and Julieanne Pogue had come in from Hollywood to vacuum the new house for the occasion. Fred Foster was cooking for the crowd. Dick and Cel Pardy were holding court and flinging bird seed. Steve Caller was scanning and critiquing the bookshelves. Janie’s mom offered salient advice on the inherited landscaping. Jim Rodgers pronounced the pairing perfect. Laughter and love reigned

Jim, as usual, was right.

Janie and I had been pointed towards each other two years before by our guardian matchmaker, Robin Dickerson.

She, as usual, was right.

35 years have only been the best.

How can they possibly get better?

I can’t wait to see.

Jim Rodgers’ Natal Day

Oh!

The places we’ve gone…

…the people we’ve been!

We’ve been to Pennsylvania (THAT CHAMPIONSHIP SEASON, ERRATA), and Texas (THE BEST LITTLE WHOREHOUSE IN TEXAS). We’ve been to Sweden (A LITTLE NIGHT MUSIC), Spain (MAN OF LA MANCHA), and England (THE IMPORTANCE OF BEING EARNEST, SWEENEY TODD, and CAMELOT).

We’ve plumbed the depths of Oscar Wilde and Western Kentucky (FLOYD COLLINS).

All because you saw us there.

I’ve been a lawyer, a doctor, a murderer, a playwright, a sheriff, a barber…

…the King of England…

……a starkeeper……

Hell.

I was even a goose!

All because you said I could.

Once, we even got to sing together. That might have been the best.

Jim, you are a fine, fine traveling companion.

Thank you.

The Three Kevins

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Haggard Leaning, Moi Reclining

I have worked on stage with The Three Kevins.

Wanna touch me?

The Guignol Theater at the University of Kentucky has a history that extends to the middle of the last century. A history of that length has room for several “Golden Ages.” I like to think I was lucky to have been a student in one of those halcyon eras. In the early 70’s the theater department was flush with young actors who had participated in the two-year experiment of one-week summer stock theater experience in the Guignol called Centennial Theater. New York actors mingled with UK student actors rehearsing one play in the afternoons and performing another in the evenings. I arrived on the campus in 1969 to a collection of veteran players and immediately understood I had to catch up quick or sprout roots in the UK library. My academics atrophied but rehearsals were soaring.

I foolishly accepted the trade then and I wisely accept the trade now.

Another “Golden Age of the Guignol” happened about ten years later. Dr. Jim Rodgers attracted a talented faculty and talented student actors followed.
Tim McClure, Martha Bernier, Sheila Omer, Lisa Jones, Sue Grizzell, Walter Tunis, Patti Heying, Bill Felty, Julie Klier, Billy Breed, Nancy Shane. What an assemblage of talent!

But I think of it as the time of The Three Kevins; the “Kevins” being Haggard, Hardesty, and Kennedy.

Kevin Kennedy was bright and quick. I worked with him in Terra Nova. The Antarctic was not nearly as cool as his wit. I think he makes violins in Colorado now.

Kevin Hardesty has a voice that makes you listen eagerly even if he’s merely reading the phone book. I worked with him Glengarry Glen Ross. Kevin is currently the rage as Daniel Boone in the Chautauqua Program of the Kentucky Humanities Council.

Kevin Haggard is a professional actor. He moves with reason and purpose. He speaks from the heart when his character must, from his head when his character must, reluctantly when his character must, and impetuously when his character must. I worked with Kevin in The Curse of the Starving Class. I’m a fan.

This reminiscence was triggered by viewing a Fox program I’d never heard of; The Resident. Kevin Haggard appears briefly as a hospital board member participating in decisions that would not qualify one as a “better angel.” Kevin had three or four lines and maybe a total of 40 seconds of screen time. A small part, but played with integrity and attention. Just what I’d expect from Kev.

Kevin moved to Nashville from Lexington and seems to be always working as an actor and seems to have become respected in his profession and seems to be happily married. Talented and nice guys don’t finish last.

I have worked on stage with The Three Kevins…and all these Guignol Golden Agers.
I was made better by all of them.
Lexington was made better by all of them.
That’s what the arts do.

Cherish them, please.

Earnest Words

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1980’s production of “The Importance of Being Earnest” in the Guignol with Eric Johnson on the right and some duffer in spats on the left.

Janie and I had a lovely night at the theatre a while back. We watched a crisp and energetic cast perform Oscar Wilde’s brilliant “The Importance of Being Earnest”. It was one our happiest nights for the year.

I admired the efforts of Shayne Brakefield as a sometimes befuddled, often pompous local reverend (think Robert Morley in African Queen with a pencil-thin mustache), Janet Scott in full sail as Lady Bracknell, and Paul Thomas as the butler(s); mysterious, disheveled, inscrutable, vaguely obedient, barely competent, and clearly the mind behind every scene……not.

I have worked with all these actors before.
I know their gifts…and cherish them.
I know their habits and peccadilloes…and cherish them as well.

A week later I participated in a reading of Robert Penn Warren’s ALL THE KING’S MEN on the Carrick Theater stage at Transylvania with Joe Gatton, Sherman Fracher, Ellie Clark, Tom Phillips, Mark Mozingo, and Geoffrey Cobb Nelson.

I have worked with Joe, Sherman, Ellie, and Tom before.

Joe, Sherman, Ellie, Tom, Shayne, Janet, and Paul…
Together we’ve been to Dracula’s Transylvania, New Jersey, New York, a Midwest Mega-Church, Agincourt, Aquitaine, Deep South Mississippi, the magical forests of Shakespeare, Deep South Alabama, Upper-Peninsula Michigan, Russia, London, Pennsyvania, Scotland. We’ve been husbands and wives and daughters and sons and kings and vassals and brothers and sisters to each other.

We have history.

We have vocabulary.

When we step on stage with each other we have a big head-start to share with an audience; a dialogue that, in some cases, has been going on for decades.

These two stage experiences prompted me into a memory (what doesn’t these days?) of an early 80’s Guignol production of “The Importance of Being Earnest”. This was, in retrospect, a wonderful cast for me; Eric Johnson, Martha Campbell, Walter Tunis, Lisa Thomas, Georgia Ferrell, Tim McClure, Ann Dalzell, and Paul Thomas (once more playing the butler – murderous, scheming, ever-expanding his role).

This production was directed by Dr. James Rodgers, and he created an atmosphere playful, quick, and creative, but fierce in language…a happy culture in which Wilde’s mots, bon et rapide, could fly.

And fly they did. At the first table read, our Lady Bracknell encountered the word “indecorous” in the script. She paused and inquired; “Is that pronounced; ‘IN-DUH-COH-RUS’?” To which another cast member replied; “No, and if you say it that way, that’s where you’ll be.”

I suspect Oscar would’ve been proud.

Vocabulary matters.

A Geezer Remembers; Bill Nave

I have a bunch of video tapes (I almost said “OLD video tapes”). I’ve been transferring them to

discs off and on over the last five years. Occasionally I run across one that affects me a little too much.

The other day I picked up the tape of Bill Nave’s 1996 concert on the Guignol Theatre stage.

Sigh.

I miss Bill and frankly, as much I cherish living in present-day Lexington, it was an even better place when Bill was here.

Bill established two dinner theatres in Lexington; the Red Mile Dinner Theatre (1970’s) and the Diner’s Playhouse (1980’s). There are still veterans of those theatres haunting Lexington’s theatre scene today. I’ll let them raise their own hands.

Bill performed and performed well. The list of shows is long, but my favorite was his starring turn in Most Happy Fella (1983, I think) directed by Dr. Jim Rodgers in the Guignol. I was rehearsing The Fifth of July in the Music Lounge (now the Dickens Movement Studio) next door. I’ve written about that experience in this blog before; “Hey, It’s What We Do”. During breaks and after rehearsal I would sneak into Bill’s rehearsals to watch.

Bill’s various efforts were all important to Lexington theatre.

But the best was Café Chantant.

Café Chantant was his French restaurant. It was elegant, it was tasty, and it was civilized (“civilized” meaning it had a fine wine list).

It also had Le Cabaret in the basement. It was elegant, it was tasty, and it was civilized (“civilized” meaning the ghosts of Noel Coward and Cole Porter regularly materialized). It was open until the wee hours, an unusual thing for Lexington in those days. You could go to the theatre and finish the night at the Le Cabaret. Who knew such a thing was possible?

The company of Le Cabaret was witty, boisterous, a bit tipsy, and fiercely talented. Just when an evening seemed to be spinning into mayhem, Bill would unleash that voice and stun the room into gratitude for just being there to hear it. I loved those evenings.

In the concert on the tape, Bill explains that his first singing teacher was Nelson Eddy. His grandmother had a bunch of Nelson Eddy records (I almost said “OLD Nelson Eddy records”). Bill would listen to them and imitate what he heard. Similarly, my first singing teacher was Bill. He would perform around town in shows and at the Café Chantant. I would hang on every song like a groupie. I would imitate his sound and his demeanor. I never achieved either, but trying led me to far better places artistically than I would have ever found on my own.

Bill was smart, gracious, generous, and he sang like a dream. All of that was in full view on the concert tape.

I still miss Bill.

Drinkers of the Wind


Drinkers 01

The answering of the phone

One day in the late summer of 1987 the phone rang at Roger and Janie’s house and the wrong person answered.

It was a time of great changes and great busy-ness.

Janie and I had just gotten married and bought a new house.

The liquor stores which were my business career had just unexpectedly become mega party stores (Liquor Barn) and my primary responsibility.

I had just completed an eighteen month performance schedule of directing one play (Bullshot Crummond – Actors’ Guild), singing and acting in two (A Little Night Music – UK, and Man of La Mancha – UK), acting in three (The Curse of the Starving Class and The Ebony Ape – Actors’ Guild, and Deathtrap – UK), and singing in one friend’s doctoral recital.

Whine, whine, whine… too much goodness…too much opportunity… woe is me.

But I truly was stretched thin and worn out at that moment.

And then Dr. James Rodgers called and Janie answered.

In 1987 Janie knew there were two phone calls to which my answer was nearly always “yes”; Jim Rodgers and Joe Ferrell. Well, why waste time? Jim wanted me to do a show. She said; “Of course, Jim, whatever you want.”

“Of course.”

Oh-h-h man!!

Well there’s no lettin’ Jim down once you’ve promised. I was now a member of the cast of Drinkers of the Wind.

Jim wrote Drinkers. It was a celebration of the horse, a compilation of poetry, songs, stories, and chants by Shakespeare, Shel Silverstein, Saki, Steinbeck, Greek legend…and Doc Rodgers himself. Jim wrote the piece! Another reason why ya don’t let him down. It’s his baby!

Yes, it was a celebration of the horse, but in one scene I had to play a goose. Go cypher on that for a while.

I hated that goose.

At least I wasn’t alone. Jim had recruited a stellar cast; actors that I admired and was challenged by; Billy Breed, Martha Campbell, Trish Clark, Russell Henderson, and Eric Johnson. Unfortunately, it seemed that everyone in the cast was experiencing personal pressures of their own. It led to a grumpy group meeting each night in the face of Doc Rodgers’ sunny instructions. Despite that, progress was made.

BUT…there was the challenge of Helen Hayes looming.

Helen Hayes

UK’s College of Fine Arts wanted to enhance their visibility. To do so, they scheduled a “Gala”. It was held in the Singletary Building and featured performances by various disciplines of the College capped by an appearance by the legendary Helen Hayes. It was a big deal and the night of the Gala the Singletary was packed and the crowd was decked out to the nines and all a’twitter.

Jim had committed our cast to provide a scene for the Gala and not just any scene. The most difficult scene in the show was a retelling of the legend of Bellarion and Pegasus. It was long, it was complex, and it included Billy Breed as Pegasus dancing to the words – words, mind you, not music. Any misplaced or mis-stressed syllable would pretty well leave Billy hangin’ high and dry.

Ah-h-h, no pressure there. It was a week before our opening night and instead of having a useful working rehearsal, we were doing our hardest scene in front of 1000+ people and Helen Hayes.

I remember, before the show that night, looking around the small dressing room in which we were all crowded and thinkin’; “Well, at least we’re rockin’ these tuxes.” You seek solace where you can.

In that dressing room we decided to run the lines for the scene one…more…time. As we did, I noticed Billy over in the corner marking his choreography with tiny moves as we recited. I’m not namin’ names, but one us skipped a line.

Silence ensued.

Soul-crushing silence ensued.

A silence of the damned ensued.

We immediately looked at Billy and he had acquired the hue of Casper the friendly ghost…with a facial expression that was far from friendly.

We were called to the stage.

We were introduced individually. Little Martha Campbell was first. When her name was announced, she marched martially and grimly to her place, fists clenched. She picked up her chair, ate it, and spit the splinters into the lights. She gave the audience a look that said; “I got yer Helen Hayes right here.”

I dunno…

It gave me a kind of perverse courage.

We did the scene.

Billy lived to tell the tale……and later moved to Oregon, about as far away from UK as you can go.

Whatever.

We hadn’t embarrassed ourselves in front of Helen Hayes (though I don’t believe she bought season tickets).

Now, we only had to do the show.

Opening night

A week later we opened. After the Gala we worked diligently, confident in the knowledge that our loved ones would still love us (as long as we didn’t press the matter) and that we probably wouldn’t derail the performing career of Billy (as long as we destroyed the evidence). Plus, we were still rockin’ those tuxes.

Then Jim dropped a little bombshell.

It seemed there was something called “The Dean’s Circle”. This was a group of donors to the College of Fine Arts. One of the perks of being in The Dean’s Circle was having a Q&A with the cast after Theatre Department production opening nights. The cast of Drinkers did not see it as a “perk”.

Whine, whine, whine, whine.

I mean, if anyone from the audience asked me about my motivations while playing that damned goose…well, the College of Fine Arts was probably gonna be lookin’ for a few new donors.

We did the show.

We peeled off our tuxes…slowly.

We trudged upstairs to face Judgement.

It was a love fest.

There were no questions. It was a contest between audience members to extol their favorite scenes from the show. They liked everything and everybody……except for the goose.

The grumpy cast members looked at each other. The shame in each other’s eyes was palpable.

The rest of the run featured an enthusiasm fueled by “let’s make up for”.

It was great.

But (sigh) …it wasn’t over.

The National Tour

Jim reassembled the cast and reconstituted the show that early spring (you cannot say “no” to this man!). He had booked us in colleges and junior colleges in Eastern Kentucky for the week of UK’s spring break.

For three days the cast (sans Jim who had developed a convenient cold/flu-like symptoms/plague/pneumonia/bone spurs) loaded our stools, boom box, and tuxes into a van and charged out to the exotics of Cumberland, Betsy Layne, Somerset, Hogwarts, Riverdale, etc. Eric was driving – a poor choice. The redbuds were a’blooming – an excellent choice.

We arrived at one venue (which will remain nameless) after driving on a mountain trail on which I swear I saw, while peering down the rider’s side of the hill, Gandalf crying “Fly, you fools!”, and then through the back of a bedroom closet through Narnia, and then through the rabbit hole, and then down the yellow brick road. I’m sure there was probably a more direct route but, as I said, Eric was driving.

We were scheduled for two performances at this stop. We set our stage (six stools) and our technology (one boom box), donned our tuxes (still and always stylin’) and waited in place to be introduced. I was in the wings stage left and could clearly see Trish in the wings stage right.

A small matronly lady marched to center stage and said; “Y’all settle down now, y’hear?”

And they did.

That’s when I knew I was in the presence of a mensch.

I confess to being impressed and more than little intimidated.

Then she said; “These people have come all the way from Lexington.”

And walked off the stage.

I looked across the stage at Trish and she gave me a wide-eyed shrug that announced; “We’re on our way, Buster!”

And we were.

After the first performance, we had lunch in the school cafeteria and pulled ourselves together for our second show. I will admit that there were some unkind aspersions made in respect to Jim Rodgers’ health and absence. Something to the effect of “If he thinks he’s sick now, wait till I get a’hold of him!” But it was all in good fun……right?

I was stage left.

Trish was stage right.

The mensch marched.

And said; “Y’all settle down now, y’hear?”

And they did.

Then she said; “Yer ‘bout to see some real good actin’.”

And left the stage.

I looked across at Trish and she gave me a wider-eyed two-thumbs-up that announced; “We’re stars, Buster!!”

And we were.

I’m proud of that show.

I’m happy for the time I spent with my friends…yes, even Jim.

And that one sentence from the mensch might be the review in my life of which I’m most proud.

Be that as it may, I try to answer the phone at home before Janie whenever I can…and I still hate that goose.

Bicycles, Air-Conditioning, and Invisible Bunnies

The first house I bought in Lexington was a block away from Castlewood Park in the 1980’s. This neighborhood was home to me. I grew up off Meadow Lane, played Little League baseball and basketball in Castlewood Park. The basketball court then was in the Louden Castle, now home to the Lexington Art League.

In the eighties, I was doing a lot of summer theatre in Woodland Park, and with Dr. Jim Rodgers at UK…and I was bicycling to rehearsal many nights. Pedaling through these Northside streets also felt like home. Growing up, my friends and I biked everywhere and all the time. There were long summer days when we were up and rolling by 8am and still rolling strong at 10pm. Our parents didn’t worry about it since all the parents on the street kept half an eye on all the kids. Every kid’s house was a refuge from weather, hunger, or the calls of nature.

We were excellently-equipped to face our world. We had baseball cards flapping and snapping on the spokes of our wheels, and when the sun went down we had soft drink cans. We had perfected the technique of stomping on the middle of empty cans in such a way that as the can was crushed, it curled around and clung to the sole of our sneaker. Thus shod, we would mount our bikes, attain the speed of light, and drop the lethal sneaker to the asphalt. The night would come alive with streaks of sparks and screams of burning metal…followed instantly by the wails of the neighbors.

Clearly, the offended neighbors were unaware that America was great then.

So…there I was in the 80’s, twenty years older, back in the neighborhood, biking those streets again.

Now though, I was biking alone at night and no one was watching or listening. The residents were self-sequestered in their air-conditioned nests with cable TV. The streets were silent. I was invisible. How cool is that?

However, part of my ride to rehearsal each night would take me through what I came to refer to as the “NACZ” – the no air-conditioning zone. The difference was stark. In the NACZ I was not invisible, I was a participant once more. People sitting on their porches would greet me. I could hear their conversations. The windows were open. I could hear their phones ringing and could hear what was on TV. I loved it. On those “dark, warm, narcotic American nights” (thank you forever for that description, Tom Waits) I once again became a ten-year-old Prometheus on a 5-speed with a beverage can clamped to my sneaker ready to leave a trail of sparks and screeches and devastation to the dismay of my parents and neighbors out on their porches.

Of course I didn’t actually do that now.

Responsible adult #1

I was a responsible adult now…

Responsible adult #2

…riding a bike to a place where I would spend the evening pretending to be King Arthur, or Don Quixote, or a murderous barber, or a pleasant man with an invisible bunny for a drinking buddy.

Also, my mom had thrown all my baseball cards away.

Yeah…

…that was it.

A Geezer Remembers; Play-by-Play by Gene Arkle

That Champ UK 01
“Coach” Gene Arkle center

It’s not an everyday occurrence to get a chance to act in a play or musical more than once. I don’t mean multiple performances like four weekends of The Importance of Being Earnest or two years spent touring dinner theaters in Everybody Loves Opal. I’m talking about separate productions of the same work. It’s hard enough to land an opportunity to do a play once!

I’ve done The King and I twice (different roles) and Measure for Measure twice (different roles).

Three times I’ve played the role of Tom Daley in That Championship Season. All three were successful productions. The first was at Studio Players (mid-70’s), the second at the University of Kentucky (early 80’s), and the third was with Phoenix Group (1992).

The second production is the one that prompted this reminiscence.

It was directed by Joe Ferrell (this is where I first met Joe) and featured Paul Thomas, Dr. Jim Rodgers (as an actor!), Eric Johnson, myself…and Gene Arkle. We were performing in the Laboratory Theatre in the Fine Arts Building. A few years later this theater was renamed the “Briggs Theatre”.

The play concerns the reunion of the remnants (four players and their coach) of the 1955 Pennsylvania High School Championship Team. Gene played the coach, the rest of us were the players.

Side note…

Jim Rodgers doesn’t act often but he’s a fine actor. Paul Thomas acts more often and he too is a fine actor. However, as basketball players…well…they are fine actors.

We used to warm-up each night with a real, live, no-batteries-included basketball.

We would whip it around the stage (yes, whip it…work with me…I speak though the happy filter of memory here) for ten or fifteen minutes with Joe Ferrell and Assistant Director Ralph Pate watching in terror and then begin rehearsal.

While whipping the basketball around, when Eric passed to Jim, he would, with great regularity and malice aforethought, put a forward spin on his bounce pass. Now, Jim is a master of the English language, but English on a basketball was pure Greek to him. The ball would, with great regularity and malice aforethought, sail under Jim’s outstretched hands and strike him everywhere (yes, everywhere) except those hands. Jim would emit a polite “oof”, Eric would giggle and cover his mouth, Paul would look for a place to hide and we would continue our warm-up. It was a marvel and I’m sure it somehow made us a better team.

End of side note.

The big moment in the play comes after my character has fled the scene. The remaining team members are drunk and demoralized and the Coach must rally them. He does this with a wonderful long speech. At the end of the speech, the Coach places a recording (remember them?) on his record-player (remember them??) of the play-by-play call of the final game-winning shot of their championship game. It is a stirring moment. The team members respond, I return to the fold and we lurch to the end of the show.

The closing performance of our show was going as planned until this big moment.

I was offstage…listening…thinking…of basketballs and trophies and booze and betrayals…and whether my post show snack would be a cheddarburger from Charlie Brown’s or a disastrous pile of hash browns from Tolly Ho…in short, I was preparing (as an actor must) for my next entrance.

Gene was on a roll. His speech was indeed stirring. He built it to a climax and marched to the record-player and slapped that record on.

Silence ensued…

…and continued to ensue.

Finally, Gene said “I’ve been meaning to get this thing fixed.”

Offstage, I’m saying thanks and hosannas to every god known to man that I’m not onstage.

Gene took a deep breath and continued, “As you know, the game ended like this…”

And he proceeded to recreate the entire play-by-play himself!

It was absurd. It was heroic. It was a game saver.

We were saved………..by our Coach.

As usual, there is truth in dem dere memory, but I can’t recall just how much.

I miss Gene.