Louisville Magazine

SEP 2018

Louisville Magazine is Louisville's city magazine, covering Louisville people, lifestyles, politics, sports, restaurants, entertainment and homes. Includes a monthly calendar of events.

Issue link: https://loumag.epubxp.com/i/1019738

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Page 95 of 124

LOUISVILLE MAGAZINE 9.18 93 quickly — the summer camp led to the job at LCCC, which then led to establishing the Youth Repertory eater Troupe. "I didn't think I could ever find a career in the arts, and now I get to do what I love every day," she says with a smile. Nearly every one of the actors in Once on is Island has been with her since the beginning. When asked about the challenges she must work through as a theater troupe leader, she pauses. "ey all have such raw talent," she says. "We're just harnessing it and making it better. I think the hardest thing is making them realize how great they are — the confidence." Two former troupe members have already touched fame. After Louisville native Zach Lindsey competed on Project Runway: Junior, he interned with Bledsaw's troupe designing costumes. And last year, 10-year-old Chase Phillips, who starred in Bledsaw's production of Black Nativity a few years ago, was cast as a young Michael Jackson in the touring show Motown: e Musical. Bledsaw, who helped Phillips prep for his Motown audition, says that over the summer Phillips came back to watch one of the Once on is Island performances. "He was like, 'Ms. Erica, can I be in the show?'" she recalls. "I was, like, 'What? You've hit the big time!'" Her troupe is on break until mid-September. ey'll then start ramping up for a winter show she has yet to choose. "e performance part is my favorite part," Bledsaw says. "I love to see how it all comes together at the end. We go all out." While some in her troupe may go on to study or work in theater, Bledsaw knows that lessons learned onstage will benefit them no matter what their future holds. "I do encourage the ensemble to work as a unit. ere are no stars. You're only as good as the person next to you," she says. "Don't come in with a big head; if you come in with that mentality, you're no good to us. We work as a unit." — Anne Marshall THE SPEED HAS A ROCKWELL (FOR NOW) b e Eskenazi Museum of Art at Indiana University is undergoing an extensive renovation that will shut its doors until next fall, and that's good news for the Speed Art Museum, which has entered a five-year partnership with the Eskenazi that will allow the museums to borrow pieces from each other. at's why the Speed has the current "Picasso to Pollock" exhibit until January. And the first of five planned one-offs: one of Norman Rockwell's large charcoal drawings, on display until Nov. 11. Rockwell used the piece, Breaking Home Ties, as a sort of problem-solving stage for a vibrant painting that would be the cover of the Sept. 25, 1954, edition of the Saturday Evening Post. (Over a 40-year period, Rockwell did 323 such covers.) It depicts a rancher father in heavy-duty denim work clothes at a railroad whistle-stop, sending his son — pinstriped suit, tie, new shoes — off to college. e father is so lost in thought that he's forgotten to strike the match to light his cigarette. "Rockwell was trying to figure out how to portray what a father feels when his son leaves home," says Kim Spence, curator of prints, drawings and photography at the Speed. "Rockwell was never satisfied. He explored every variation on the theme." e Speed is exploring the theme too, with an accompanying podcast that will include a collage of interviews. "Whether it's going off to college or to fight in the military," Spence says, "this is a universal feeling: How do you deal with your child leaving home?" As far as the other one-offs the Speed is considering, Spence is tight-lipped. "We do have a list of objects in mind," she says, "but we're keeping those a surprise." — JM

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