Ghada Henagan, Tom Uttech, Posters, Something Rotten, Shakespeare | Episode 708 | Art Rocks

Ghada Henagan, Tom Uttech, Posters, Something Rotten, Shakespeare | Episode 708 | Art Rocks


CUSTOMERS SOMETHING TO SMILE ABOUT, OFTEN AT THE CRACK OF DAWN. CAPTURING THE SPARE LANDSCAPES OF THE NORTHERN WOODS. ONE MAN’S POSTER COLLECTION COMES INTO THE LIGHT. AND GETTING TO THE HEART OF WILLIAM SHAKESPEARE THROUGH WHAT ELSE? THE THEATER. THAT’S ALL ABOUT TO HAPPEN ON “ART ROCKS.” ♪♪ ♪♪ ♪♪ ♪♪ “ART ROCKS” IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU. HELLO, I’M JAMES FOX SMITH, PUBLISHER OF “COUNTRY ROADS MAGAZINE,” BACK WITH ANOTHER INSTALLMENT OF “ART ROCKS.” BREAKFAST AMONGST BEES, BUTTERFLIES AND WATERBIRDS, DANGLING A LITTLE BIT OF LOUISIANA FROM YOUR CHRISTMAS TREE. BATON ROUGE CERAMICIST GHADA HENAGAN MAKES THINGS THAT ENCOURAGE VIEWERS TO APPRECIATE THE WILD THINGS IN A DIFFERENT MEDIUM. BUT BEFORE SHE COULD DO THAT, THIS LEBANESE NATIVE HAD TO ADAPT TO HER STRANGE, NEW HOMELAND, AND THE CREATURES THAT CALL IT HOME. HERE’S HER STORY. ♪♪ ♪♪ ♪ [ DRUMMING ] ♪ I WAS BORN AND RAISED IN LEBANON. IT’S A SMALL AND BEAUTIFUL COUNTRY IN THE MIDDLE EAST. IN A SMALL VILLAGE CALLED SIDON. I GREW UP AT A TIME WHEN THE THINGS WE NEEDED, MOST OFTEN, THEY WERE HANDMADE, FROM BREAD TO CLOTHES, TO BEDSHEETS, EVEN TOYS SOMETIMES. MY MOTHER WAS A SEAMSTRESS. SHE WAS VERY METICULOUS. MY FATHER WAS A BUILDER, BUT HIS REAL PASSION WAS MAKING THINGS. SO AFTER HE RETIRED, HE STARTED MAKING SMALL TABLES FROM COLLECTED STONES AND SCRAPS OF WOOD. AND THEY WERE GREAT. I WAS MAKING MINIATURE FURNITURE FROM USED CARDBOARD BOXES. AND I USE TO SEW CLOTHES FOR MY DOLL. MY WHOLE TIME AS A CHILD WAS OUTDOOR PLAYING TIME OR INDOOR DRAFTING TIME. AS A CHILD I REMEMBER BEING INTRODUCED TO CLAY, NEVER SEEN CLAY IN MY LIFE. AFTER HIGH SCHOOL I WENT TO COLLEGE AND I KEPT SWITCHING MAJORS UNTIL I FINALLY GRADUATED WITH SACRED ART DEGREE. DURING MY STUDIES IN SACRED ART, I WAS INTRODUCED TO CLAY FOR THE FIRST TIME. I TOOK ONE COURSE OF CERAMICS. BUT I NEVER THOUGHT I WOULD WORK WITH CLAY AGAIN. SO AFTER I GRADUATED I WENT TO 9 TO 5 REGULAR JOB. LATER MY SISTER, SHE IS A NUN AND AN ARTIST. SHE ASKED ME TO WORK WITH HER. SHE WANTED TO EXPAND THE EMBROIDERY STUDIO AND ADD CERAMICS. AND OF COURSE, I SAID YES. I WAS SO EXCITED. SHE KNEW I DIDN’T KNOW MUCH ABOUT CLAY, BUT SHE TOOK THE CHANCE. SHE TOOK THE CHANCE AND I BECAME A POTTER BY CHANCE. THE STUDIO WAS ONLY ONE ROOM, THERE WAS A BIG EMBROIDERY NOISY MACHINE AND WE DIDN’T HAVE EVEN A TABLE FOR ME SO WE PUT TWO CHAIRS AND A PIECE OF WOOD AND I WORKED THERE ON THAT THING. BUT A LITTLE BIT AT A TIME I — WE HAD A KILN, A BIGGER STUDIO, I HAD AS MANY TABLES AS I WENT. AND IT DEVELOPED A LITTLE BIT AT A TIME AND IT BECAME LIKE A BIG STUDIO. SO I WORKED THERE WITH HER FOR FIVE AND A HALF YEARS. AND I WAS MAKING RELIGIOUS ITEMS. BUT NEVER FUNCTIONAL PARTS. MY ONLY RESOURCE WAS BOOKS AND EXPERIMENTATION AND THIS IS HOW I LEARNED. JUST READING BOOKS, EXPERIMENTING, AND GETTING BETTER AT IT LITTLE BIT AT A TIME. AFTER I CAME TO THE UNITED STATES, I WAS SO SURPRISED AND FASCINATED BY THE CERAMICS WORLD AND HOW THEY TEACH IT IN COLLEGE. I BEEN HERE SINCE 2006 AND I ESTABLISHED MY OWN STUDIO IN MY DINNING ROOM AS YOU CAN SEE BEHIND ME SINCE THE END OF 2007 AND I’VE BEEN WORKING WITH CLAY EVER SINCE. I HAD TO START ALL OVER AGAIN, MAKING FUNCTIONAL POTTERY SO I STARTED TAKING ONLINE CLASSES, AND I ATTENDED THE VISITING ARTIST WORKSHOP AT LSU IN THE CERAMIC STUDIO. SO THOSE 2 THINGS WERE REALLY HELPFUL IN ESTABLISHING MY CAREER AS A POTTER. PLUS THE TREMENDOUS SUPPORT OF MY HUSBAND. I DIDN’T HAVE A WHEEL SO I DID IT BY HAND BUILDING. LATER ON, MY HUSBAND AND BROTHERS, THEY GOT ME A WHEEL FOR CHRISTMAS AND I PUT IT IN THE KITCHEN COUNTER WHEN I NEED TO WORK ON THE WHEEL BUT SINCE I DIDN’T HAVE SPACE FOR THE WHEEL ALL THE TIME, I STARTED TO JUST HAND-BUILD MORE STUFF AND I GOT USED TO IT AND NOW, I LIKE IT MORE BECAUSE THE PACE OF HAND BUILDING IS SO SLOW, MEDITATIVE. I CAN CONTROL IT BETTER. MY FOCUS IS MAINLY ON FUNCTIONAL POTS, SO I MAKE MUGS, BOWL ♪♪ ♪♪ ♪♪ ♪♪ JARS. ♪♪ ♪♪ PLATES. BUT I ALSO MAKE SOME DECORATIVE THINGS LIKE VASES. ♪♪ ♪♪ WALL ART. AND ORNAMENTS. MOST OF MY ILLUSTRATIONS ARE INSPIRED BY MY CHILDHOOD MEMORIES AND STORIES FROM CHILDHOOD, LIKE SOME OF THE ANIMALS THAT I DRAW, I HAD LIKE A PERSONAL CONNECTION WITH THESE THINGS FROM BACK IN LEBANON AND I ALSO DRAW MY INSPIRATION FROM NATURE’S FORMS AND TEXTURES AND WHAT I SEE AROUND ME AND OF COURSE FROM LIVING IN LOUISIANA FOR EXAMPLE, WHEN I FIRST STARTED GOING TO MARKET PEOPLE WOULD ASK DO YOU HAVE ANY LOUISIANA DESIGN? I WOULD SAY NO, I DIDN’T FEEL IT YET. I WAS STILL ADJUSTING AND WHEN I DON’T FEEL SOMETHING, I CAN’T MAKE IT, SO IT TOOK ME EIGHT YEARS TO LIVE HERE AND TO FEEL LIKE IT WAS REALLY HOME AND SUDDENLY OUT OF NOWHERE I FOUND MYSELF JUST DRAWING THE PELICANS AND THE BEES AND EVEN THE PELICANS AND THE BEES THEY HAVE CONNECTIONS TO LEBANON, TOO. I LIKE THIS APPLIQUE TECHNIQUE BECAUSE YOU CAN CUT SOMETHING AND IT’S ALSO CALLED SPRIG IN CLAY TERMS THAT YOU MAKE SOMETHING OUT OF A SHALLOW MOLD AND THEN YOU APPLY IT TO THE PIECE WHEN IT’S STILL NOT TOO DRY AND I LIKE TO USE DIFFERENT KIND OF TECHNIQUES WHEN DECORATING BECAUSE MY PROCESS IS MOSTLY ABOUT DECORATING, ABOUT ILLUSTRATION AND ABOUT TEXTURE. AFTER A FEW YEARS OF USING DIFFERENT GLAZES, I FINALLY SETTLED ON THOSE TRANSLUCENT BRIGHT COLOR GLAZES BECAUSE THEY SHOW THE TEXTURE AND ALL THE DRAWINGS I PUT UNDERNEATH. SO I CAN AT THE SAME TIME DRAW, PUT TEXTURE, HIGHLIGHT THE TEXTURE AND USE THOSE TRANSLUCENT GLAZES TO SHOW EVERYTHING THAT I DREW OR ALL THE TEXTURE THAT I PUT ON MY PART AND I LIKE THAT. THE CERAMIC PROCESS FOR ME DOESN’T GET EASY. IT’S A LONG PROCESS FROM MAKING, DECORATING, DECORATING, DRAWING, FIRING, THEN GLAZING, THEN FIRING AGAIN. PLUS, WORKING WITH CLAY HAS A LOT OF POSSIBILITIES. I AM ALWAYS LEARNING AND MAKING SOMETHING NEW. HOWEVER, I AM MORE EXPERIENCED NOW, SO I LEARNED HOW TO MANAGE MY TIME. I HAVE LEARNED HOW TO MANAGE MY CREATIVE BLOCKS. I ALSO LEARNED HOW TO SOLVE PROBLEMS. I GO BACK HOME TO LEBANON EVERY OTHER YEAR. AND I USUALLY STAY FOR SIX WEEKS. I LIKE TO GIVE SOMETHING I MADE, ESPECIALLY BECAUSE I LIVE HERE AND EVERYBODY ELSE LIVES THERE. AND THEY DON’T GET TO SEE OR USE MY WORK. I LEARNED, I PUT THEM BETWEEN CLOTHES AND I FILLED MY BACKPACK AS MUCH AS I COULD HANDLE. AND MY HOPE IS THAT THE PEOPLE WHO HAVE A CONNECTION TO MY WORK, MY PIECE OF WORK WILL BRIGHTEN THE DAY A LITTLE BIT MORE. ACCOMPLISHED ARTISTS FROM NEAR AND FAR ARE SHOWCASING WORK IN COMMUNITIES NEAR YOU. HERE ARE SOME OF OUR PICKS FOR NOTABLE EXHIBITS COMING SOON TO MUSEUMS AND GALLERIES IN YOUR NECK OF THE WOODS. ♪♪ ♪♪ FOR MORE ABOUT THESE AND MANY MORE EVENTS IN THE ARTS, SUBSCRIBE TO ARTS MONTHLY, THE NEW, FREE E-NEWSLETTER FROM THE EDITORS AT LPB AND “COUNTRY ROADS MAGAZINE.” WHAT’S MORE, THE “ART ROCKS” WEBSITE FEATURES EVERY EPISODE OF THIS PROGRAM SO TO SEE OR SHARE ANY EPISODE AGAIN, LOG ON TO LPB.ORG AND NAVIGATE TO “ART ROCKS.” NOW HERE’S A CHANCE TO GO INTO THE WOODS OF WISCONSIN, THROUGH THE EYES OF CELEBRATED LANDSCAPE PAINTER TOM UTTECH. TOM’S SECRET: STEALTH. THE WISCONSIN NATIVE CHOOSES TO SLOW THINGS DOWN, TRAVELING BY CANOE AND ON FOOT TO MAKE SURE NOT TO MISS A THING. THE FOLLIARD GALLERY IN MILWAUKEE HAS LONG BEEN INSPIRED BY UTTECH’S WORK, HE HAS EXHIBITED THERE MANY TIMES. ♪♪ ♪♪ PAINTING ITSELF, AND THE ACT OF PAINTING IS NOT A GOAL OR AN INSPIRATION. IT IS, INSTEAD, A MEANS TO AN END. IT WILL PERMIT ME TO CREATE AN IMAGE, WHICH CAN TRANSPORT ME AND WHOEVER, HOPEFULLY, IS LOOKING AT IT INTO A STATE OF MIND THAT I REALLY, REALLY LIKE. MY NAME IS TOM UTTECH, AND I’M TRYING TO BE AN ARTIST. THE ART THAT I DO IS A — PHYSICALLY IT’S PAINTINGS AND PHOTOGRAPHY. THEY ARE ALLEGORICAL OR METAPHORIC NORTHWOODS LANDSCAPES WELL, WE’RE SITTING HERE IN TORY FOLLIARD GALLERY AT A SOLO SHOW THAT I CURRENTLY HAVE, AND WE’VE DECIDED TO CALL IT THE SPIRIT OF THE FOREST. THE WORKS IN THIS EXHIBITION ARE, A CONTINUATION OF A BODY OF WORK THAT’S I HAVE DONE NOW FOR ALL OF MY MATURE LIFE. AND MOST OF THEM ARE THINGS THAT ARE LANDSCAPES LIKE THIS, WHICH ARE BASED UPON MY EXPERIENCES OF WALKING AND PADDLING MY CANOE AROUND IN THE NORTHERN WISCONSIN, MINNESOTA, AND ONTARIO. THEY ARE LARGE PAINTINGS, THEY ARE SMALL PAINTINGS, THEY ARE DIFFERENT SUBJECT MATTERS, TO SOME EXTENT WITHIN THAT, WITHIN THAT, CHOSEN RANGE. THEY’RE DEFINITELY ON THE SAME TRACK OF WORK THAT I HAVE BEEN DOING FOR A LONG TIME. I GO BACK TO THE NORTH COUNTRY FOR THE INSPIRATION PROBABLY FOR A LOT OF REASONS. ONE OF THEM IS THAT’S WHERE I GREW UP, AND THAT, IS IN MY BLOOD, BASICALLY GENETICALLY. ALL OF MY FAMILY HAS LIVED UP THERE WAY BACK IN THE WOODS. WHEN THEY CAME FROM GERMANY, THEY CAME FROM A PART OF GERMANY THAT WAS SIMILAR. SO IT MAY BE SOMETHING THAT YOU JUST INHERIT. THEY ARE IMPORTANT INGREDIENTS THAT CREATE THAT SENSE I THINK. STARTING WITH THE GLACIAL EVIDENCE OF THE LARGE AMOUNTS OF BEDROCK THAT ARE EXPOSED, THE LARGE GLACIAL ERRATIC ROCKS THAT ARE LAYING AROUND THE WOODS SOMETIMES AS BIG AS A HOUSE. THE EVERGREEN TREES, THE MOSS THAT GROWS ON THE GROUND. THE MAGIC OF HEARING BIRDS AT NIGHT, THE LIGHT, IT ALL WRAPS INTUA SINGLE THING. IT’S AN EXTRA SPECIAL WHOLENESS THAT IS THE COMBINATION OF ALL OF THAT STUFF. AND I REALLY DISCOVER WHEN I SHOW THESE PAINTINGS THERE’S A LOT OF PEOPLE THAT SHARE THAT, THAT SAME NEED. THESE PAINTINGS ARE NOT EVER PAINTINGS ABOUT ANY SPECIFIC PLACE OR ANY SPECIFIC TIME. THEY’RE INSTEAD A FICTIONAL RE-CREATION OUT OF REPRESENTATIONS OF REAL COMPONENTS. SINCE I’M NOT USING ANY KIND OF REFERENCES, I START WITH A PIECE OF CHARCOAL ON THE BARE CANVAS AND JUST START LOOKING FOR WHAT THE PAINTING IS ALL ABOUT. IT USUALLY EMERGES WITH A LOT OF WORK. AND THESE DRAWINGS ARE MOST OF THE TIME ARE ELABORATED UPON, ALTERED, REMOVED, STARTED OVER AND SO FORTH. IT’S A VERY OPEN EXPERIENCE. THEN I HAVE TO ARRANGE IT IN SUCH A WAY SO THAT THE DESIGN ITSELF CARRIES MOST OF THE MEANING THAT I’M TRYING TO ACCOMPLISH, AND THEN IT’S A QUESTION OF STARTING TO PAINT IT AND PAINTING IT OVER AND OVER AND OVER AGAIN IN MANY LAYERS AND FINALLY, THERE WILL BE A MOMENT WHEN YOU REALIZE THAT YOU’VE GOT THE COMPLETE PACKAGE IN FRONT OF YOURSELF. SOMEHOW, IT HAPPENS. YOU JUST KNOW IT WHEN IT’S THERE. I WOULD QUIT IF I FELT LIKE I’VE GOT TO GET SOMETHING OUT THERE. I HAVE LEARNED I CAN JUST KEEP DOING IT OVER AND OVER AGAIN UNTIL I GET IT RIGHT AND I DON’T SPEND ANY TIME AT ALL WORRYING ABOUT DESTROYING SOMETHING THAT’S GOOD IN THE PROCESS OF FIXING THE WHOLE THING. THESE THINGS ARE A PRODUCT OF THE EXPERIENCE OF BEING IN THE WOODS AND ONE THING THAT HAS INTERESTED ME FROM THE VERY BEGINNING OF MY CANOE TRAVELS IS THE APPEARANCE OF THE REFLECTIONS IN THE WATER. IT’S A NEAT THING TO SEE THAT AND I’M ABLE TO SIMULTANEOUSLY SEE THIS LANDSCAPE THAT I LOVE SO MUCH THAT INTERESTS ME SO MUCH UP HERE, AND THEN DOWN AT THE BOTTOM IN THE WATER I SEE THE SAME LANDSCAPE UPSIDE DOWN. THERE IS REALLY SOMETHING INCREDIBLE AND MAGICAL ABOUT SEEING IT MIRRORED, THE LANDSCAPE. THESE PAINTINGS HAVE OFTEN ENCOURAGED PEOPLE TO STAND AND LOOK AT THEM FOR A LONG TIME. AND I TAKE THAT SINGLE THING AS THE BEST COMPLIMENT THAT AN ARTIST COULD GET. MY BIGGEST WISH IS THAT THEY COME HERE AND LOOK AT THESE PAINTINGS, AND THEN WANT TO GET THE HELL OUT OF THE GALLERY AS FAST AS THEY COULD, AND GO OUT IN THE WOODS SOMEPLACE AND SIT DOWN AND EXPERIENCE IT THEMSELVES. I THINK OF THESE PAINTINGS AS HAVING AN IMPORTANT ENVIRONMENTAL, POLITICAL MESSAGE THAT ISN’T OVERT. I REALLY DO LOOK AT THEM AS INVITATIONS TO GO OUT AND BECOME INVOLVED WITH AND ACTIVE IN NATURAL CAUSES. IF YOU CAN ENGAGE A VIEWER FOR A LONG TIME, THAT’S WHAT’S — THAT’S REWARDING. ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ A VISIT TO THE MASSACHUSETTS COLLEGE OF ART AND DESIGN DURING A RECENT EXHIBIT CELEBRATING THE ART OF POSTER MAKING WILL BE A TRIP DOWN MEMORY LANE FOR MANY. FOCUSING ON TRENDS AND FADS, THE EXHIBIT SHINES A LIGHT ON THE CHANGING FACE OF POP CULTURE. HOW INTOXICATING TO SIP CAMPARI, TO GLIDE OVER COUNTRY ROADS IN YOUR FIAT, OR TO TAKE YOUR LEOPARD OUT FOR A STROLL. IT’S ALL THE STUFF OF STYLE AND DARING DESIGN. THE PUBLIC WAS SLOWLY BEING SOLD THIS IDEA THAT THEY COULD DO MORE WITH THEIR LIFE. LIFE WAS NOT JUST ABOUT WORK. LIFE WAS ABOUT ENJOYING THE FINER THINGS IN LIFE. SO THEY REALLY ARE SELLING EVERYTHING HERE INCLUDING ZOOS AND ANIMALS? YES. THERE WERE ZOOS AND PREVIOUSLY THERE WERE ZOOS THAT ONLY HAD EUROPEAN ANIMALS. WITH THE NEW TECHNOLOGY, NEW TRANSPORTATION METHODS, NOW WE SEE THREE ZOO POSTERS THAT ARE VERY, VERY PROUD OF THEIR COLLECTIONS BECAUSE NOW THEY ARE BRANCHING OUT AND THEY HAVE EXOTIC ANIMALS. LISA TUNG IS THE CURATOR OF THE NEW MASSART EXHIBITION, A CENTURY OF STYLE FEATURING 100 YEARS OF POSTERS THAT POP. IT’S ALL THE COLLECTION OF ONE MASSACHUSETTS MAN WITH A POSTER PREDILECTION. THIS IS JUST A FRACTION OF HIS 500 POSTER COLLECTION. HE SAID IF THE HAIR ON THE BACK OF HIS NECK STOOD UP, HE KNEW IT WAS A GOOD ONE. THE PROLIFERATION OF POSTERS BEGAN IN THE LATE 1800s. THEY WERE ALL THE RAGE IN PARIS AS THEY ADVERTISED THE CITY’S SWIRLING NIGHTLIFE SCENES. FOR ARTISTS LIKE TOULOUSE LAUTREC AND GUSTAV KLIMT, IT WAS A CHANCE TO BREAK OUT. IT REALLY GAVE A LOT OF FINE ARTISTS AND AT THAT TIME, FINE ARTISTS WERE MAINLY PAINTERS, THE FREEDOM TO CREATE WHAT THEY WERE DOING ON CANVAS ALSO FOR THE MASSES. AND SO THEY WERE ABLE TO CREATE BEAUTIFULLY DRAWN FORMS AND LINES. THEY WERE THE STEWARDS OF THE FLORID ART NOUVEAU MOVEMENT BUT BARRELING BEHIND WAS ART DECO, BOLD AND BRIGHT. DECO, BOLD AND BRIGHT, SLEEK AND SHIMMERING. AFTER THE FIRST WORLD WAR WE HAVE A LOT OF NEW TECHNOLOGICAL DEVELOPMENTS. WE HAVE PLANES, WE HAVE TRAINS, WE HAVE AUTOMOBILES AND ALL OF THESE ARE BIGGER AND STRONGER AND FASTER. AS MUCH AS IT WAS ABOUT HOW TO GET THERE, ART DECO SHOWED US WHERE TO GO: TO THE SLOPES OF ST. MORITZ, TO HISTORIC DUNKERQUE ON THE NORTH SEA OR TO THE FAR REACHES OF EXOTIC AFRICA. THERE IS NOW A LEISURED MIDDLE CLASS, A WHITE-COLLAR WORKER, WHO DOES HAVE A TIME OFF. AND NOW WITH THESE INNOVATIVE MEANS OF TRAVEL, CAN GO TO THIS DESTINATION THAT WE SEE ON THE POSTER WHERE ALL THE BEAUTIFUL PEOPLE ARE GATHERING WATCHING TENNIS IN THEIR TENNIS WHITES. BUT WHAT TO WEAR AT NIGHT? HOW ABOUT SOMETHING WITH A SULTRY SILHOUETTE? OR FOR THE GENTLEMEN, IMAGINE YOURSELF SPORTING WELL-TAILORED TWEED. THERE WAS A COMPANY CALLED PKZ, BASED OUT OF ZURICH. THEY ACTUALLY HELD COMPETITIONS, WHERE THEY WOULD SEND OUT A CALL AND ANYONE COULD DESIGN SOMETHING FOR THEIR PRODUCT. THEY START HAVING A FOX, YOU KNOW, WITH A LITTLE CANVAS BAG OR CLOTHES THAT LOOK LIKE THERE’S A BODY IN THEM, BUT HANGING ON HANGERS. THAT IS VERY CONTEMPORARY BACK THEN AND EVEN HOLDS UP NOW. DO YOU HAVE A PARTICULAR FAVORITE, WHETHER IT’S ART NOUVEAU OR ART DECO? OR ARE YOU THE SIXTIES PSYCHEDELIC POP GUY? I THINK IT’S PROBABLY THE SIXTIES PSYCHEDELIC. I GREW UP AROUND THAT TIME SO I THINK I HAVE A SORT OF FUNNY AFFECTION FOR THAT ACTUALLY. DAVID NELSON IS THE NEW PRESIDENT OF MASSART, WHICH IS ONE OF ONLY TWO PUBLICLY FUNDED ARTS COLLEGES IN THE COUNTRY. NELSON CAME HERE FROM THE OTHER ONE, IN NORTH CAROLINA. STUDENTS WHO ARE NOT JUST EXPOSED TO ART, BUT ARE ENGAGED IN ART HAVE DOORS OF OPPORTUNITY OPENED FOR THEM. I WAS THAT KID. I GREW UP IN A FAMILY THAT WASN’T ARTISTIC, ESPECIALLY, AND I BEGGED MY PARENTS FOR A PIANO. I GOT A TRUMPET INSTEAD, BUT I GOT MY HANDS ON THAT INSTRUMENT AND BEGAN PLAYING AND IT OPENED UP A NEW WORLD FOR ME THAT REALLY SHAPED THE WAY I’VE LIVED MY LIFE. THE COLLEGE, WHICH HAS UNDERGONE A CAMPUS-WIDE ENHANCEMENT OVER THE LAST SIX YEARS, IS NOW FUNDRAISING TO FULLY RENOVATE ITS EXHIBITION SPACE TO EXPAND ITS PROGRAMMING. IT’S THE LARGEST FREE GALLERY SPACE IN NEW ENGLAND. BUT ALONG WITH THAT, THERE’S A SPECIAL PART OF THAT PUBLIC MISSION, WHICH IS TO DO OUTREACH TO YOUTH AND FAMILIES. AND WHAT THIS DOES FOR US IS IT ENABLES THEM TO SEE ART IN AN ACTIVE ENVIRONMENT. IT’S MASSART, OFFERING DESIGNS ON THE PAST AND THE FUTURE. AND LASTLY, A BEHIND-THE-SCENES LOOK AT A MUSICAL COMEDY THAT DARES TO IMAGINE THE RIDING LIFE AND TIMES OF THE BARD HIMSELF, WILLIAM SHAKESPEARE. LET’S MEET THE BROTHERS RESPONSIBLE FOR THE MUSIC AND THE LYRICS THAT DRIVE THE MUCH-LOVED MUSICAL, SOMETHING ROTTEN. ♪♪ ♪♪ WELCOME TO 1595. THERE IS A DARK FORCE IN THE ARTS. HE HAPPENS TO BE A BLOCKBUSTER PLAYWRIGHT, CROWDING OUT ALL OTHERS. AND HE HAS THE MAGNETISM OF MICK JAGGER. WILLIAM SHAKESPEARE, WE HARDLY KNEW YE. I AM THE WILL WITH THE SKILL TO THRILL YOU WITH MY QUILL. I AM THE HARD WORKING BARD YOU REGARD. YEAH! THE ROLLICKING MUSICAL “SOMETHING ROTTEN!” RACKED UP TEN TONY NOMINATIONS ON BROADWAY THE ROLLICKING MUSICAL TEN TONY NOMINATIONS ON BROADWAY AND CENTERS ON THE BOTTOM BROTHERS, A PLAYWRITING DUO DESPERATE FOR A HIT OUTSIDE SHAKESPEARE’S SHADOW ROMEO AND JULIET. PATHETIC. SO YOU’VE SEEN IT THEN. WHO HASN’T? I WANTED TO SEE YOUR LAST FEW PLAYS BUT THEY JUST DON’T SEEM TO STAY IN THE THEATERS LONG ENOUGH. ONE OF OUR FIRST JOKE IDEAS WAS THESE TWO WRITERS WENT TO THEIR AGENTS, WILLIAM AND MORRIS, AND SAID HEY, YOU JUST SIGNED SHAKESPEARE, HOW ARE WE GOING TO COMPETE WITH THIS GUY? HE JUST WROTE ROMEO AND JULIET. AND THE AGENT SAID YOU’RE RIGHT, WERE DROPPING YOU. “SOMETHING ROTTEN” RIPENED AS AN IDEA BETWEEN BROTHERS WAYNE AND KAREY KIRKPATRICK WHO WROTE THE MUSIC AND LYRICS. WE JUST STARTED RUNNING WITH THAT IDEA OF WHAT’S IT LIKE TO BE IN THE SHADOW OF LIN MANUEL MIRANDA. BOTH KIRKPATRICKS ARE LONGTIME WRITERS WHO’D NEVER CREATED A MUSICAL BEFORE. WAYNE IS A NASHVILLE-BASED SONGWRITER WHO WON A GRAMMY FOR CO-WRITING ERIC CLAPTON’S HIT CHANGE THE WORLD. CHANGE THE WORLD IF I COULD CHANGE THE WORLD. WHEN I GO TO THEATER, I LIKE TO LEAVE THE THEATER AND BE ABLE TO SING THE SONGS I JUST HEARD. AND NOT EVERY APPROACH TO THEATER IS LIKE THAT, BUT FOR ME THAT THAT’S WHAT I LIKE. I LIKE TO LOOK AT THE PROGRAM AND OH, I CAN HUM THAT THAT SONG. KAREY IS A SONGWRITER AND SCREENWRITER OF A SLEW OF ANIMATED HITS, INCLUDING CHICKEN RUN. I DON’T WANT TO BE A PIE. I DON’T LIKE GRAVY. IN PLAYS YOU CAN BE MORE — A LITTLE BIT MORE DIALOGUE-DRIVEN, AND IT’S MORE ABOUT CONVERSATIONS BETWEEN PEOPLE, AND YOU’RE LESS DEPENDENT ON VISUAL STORYTELLING AS YOU ARE IN MOVIES. THE BROTHERS TESTED THEIR COMEDIC EDGE IN “SOMETHING ROTTEN” IN WHICH THE BOTTOM BROTHERS, TRYING TO OUTDO SHAKESPEARE, SEARCH OUT A SOOTHSAYER TO CLUE THEM INTO THEATER’S NEXT BIG HIT. MUSICALS. WHAT THE HELL ARE MUSICALS? IT APPEARS TO BE A PLAY WHERE THE DIALOGUE STOPS AND THE PLOT IS CONVEYED THROUGH SONG! THROUGH SONG? YES. SO AN ACTOR IS SAYING HIS LINES AND THEN OUT OF NOWHERE, HE JUST STARTS SINGING? YES. WELL THAT IS (SINGING) THE STUPIDEST THING THAT I HAVE EVER HEARD. DO YOU LOVE MUSICALS OR DO YOU HATE MUSICALS? WE LOVE MUSICALS, YEAH. WE GREW UP — WE BOTH GREW UP — I WAS IN THEATER ALL THROUGH HIGH SCHOOL, SO WAS KAREY. AND YEAH WE HAVE A DEEP LOVE AND APPRECIATION FOR IT. I GET WHY SOME PEOPLE DON’T GET IT. THE WHOLE BREAKING INTO SONG IN THE MIDDLE OF THE CONVERSATION, [SINGING] SOME PEOPLE DON’T DO THAT. WE DO. AT DINNER, YES. EVERY DAY. JOINING THE BROTHERS IN WRITING THE SHOWS BOOK IS KAREY’S CHICKEN RUN COLLABORATOR, JOHN OFARRELL, A BRITISH AUTHOR WHO FOUND HIMSELF COOPED UP WITH THE KIRKPATRICKS AT 6:00, WE WENT TO THE PUB, AND I THOUGHT GREAT. WE’VE DONE OUR DAYS WORK, AND I HAD A PINT OF GUINNESS. GREAT. ANOTHER PINT OF GUINNESS. AND THEN THEY WENT SO THIS BIT IN ACT TWO, AND I WENT OH, NO, WERE STILL WORKING! I THOUGHT WE STOPPED, I’M HAVING A DRINK NOW! HARD TO BE THE BARD ITS SEXY, BUT ITS HARD. PEOPLE WERE COMING TO OUR SHOW NOT REALLY KNOWING WHAT IT WAS. AND THEY — IT CREPT UP ON THEM. THIS SHOW IS GOING TO GO OUT ALL ACROSS AMERICA, AND PEOPLE ARE GOING TO DISCOVER IT, IN ALL THESE GREAT CITIES, AND YOU KNOW, OUR MISSION IN 2017 IS TO MAKE AMERICA LAUGH AGAIN. THE FRATERNITY HAS BEEN A FRUITFUL ONE. THE SHOW IS A RARITY. AN ORIGINAL MUSICAL, WRITTEN BY FIRST-TIMERS THAT WENT DIRECTLY TO BROADWAY AND BECAME A HIT. THEN AGAIN, MAYBE A SOOTHSAYER SAW IT FOR THEM TOO. YEAH! THIS BOTTOM’S GONNA BE ON TOP! BE ON TOP! I’M ENJOYING THE VIEW. YEAH, THIS BOTTOM’S GONNA BE ON TOP. AND THAT WILL DO IT FOR ANOTHER EDITION OF “ART ROCKS.” BUT AS YOU KNOW, YOU CAN ALWAYS FIND, WATCH, AND SHARE EPISODES OF THE SHOW A LPB.ORG/ARTROCKS AND IF YOU WANT TO KNOW MORE ABOUT THE CULTURE THAT SURROUNDS YOU, “COUNTRY ROADS MAGAZINE” MAKES A GREAT RESOURCE FOR FINDING OUT WHAT’S GOING ON IN THE ARTS ALL ACROSS THE STATE. SO UNTIL NEXT WEEK I’VE BEEN JAMES FOX-SMITH AND THANKS TO YOU FOR WATCHING. ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪

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