Prolific novelist Corey Mesler (he’s written 14 of them) and I sat down toward the back of Burke’s Book Store (he owns it) to discuss his latest publication.
“Let’s talk about your book,” I said. “It’s just filthy.”
“I knew you’d lead with that,” he said, dryly.
How could I not? Mesler gleefully says that he was moved to write the book because of perversity: “I got tired of people saying, well, ‘There’s too much sex in your books.’ So I doubled down on it and decided to write a book that tells a man’s life through his psychosexual experiences. I wanted to make him come alive, mostly through his sexual encounters. And I used my own life to give it structure.”
It’s not a tell-all, however. He qualifies it by saying it’s based on his own experiences, but “many, many things were made up. I wasn’t as much of a stud as the guy in the book.”
So maybe we can blame Neill Rhymer, the guy in the book who gets so much action, for some of the reaction. There’s a site called Chapter 16 (chapter16.org) that is funded by Humanities Tennessee and reports on literary news and events in the state. It also reviews books, including several of Mesler’s earlier works.
But not this one. It does get a mention in an item named Briefly Noted, but all that sex business gave the outfit pause since it gets public funding. Better to be safe than explicit.
Mesler is unbowed.
“I love women. I love sex. I have a standard thing that I’ve said before, and I’ll say it again: I write about sex because sex is good and it’s the life force. When you tap into writing, you’re looking for the life force — the chi as they call it. Sex points toward nothing but good. I think it’s positive. I can’t think of anything bad about it.”
It has taken him some seven years to write and publish Cock-A-Hoop: the Adventures, Mostly, of Neill Rhymer, partly because it was too long for his usual publisher to handle. So Mesler found Whiskey Tit Press and was reassured that they weren’t going to be bothered by the sexy stuff. The publisher’s mission statement begins this way: “Whiskey Tit attempts to restore degradation and degeneracy to the literary arts.”
Mesler is a writing machine, with all the novels, all the poetry, and a film script to his credit. Not bad for someone who says he “backed into” writing novels. Still, he admits to some anxiety. “I still feel like I’m sitting at the kids’ table.”
He says that for decades he wrote poetry and “it was pretty bad. I was looking up to Fredric Koeppel and Bill Page and Gordon Osing and thinking, I’ll never be as good as those guys. Then I read Raymond Carver and decided maybe I can write a short story.”
But Mesler wasn’t sure about writing prose. “The sustaining of the voice and all that was really hard for me,” he said. “I backed into it by creating my first novel totally in dialogue talk. I thought it was just this funny thing that I was having fun doing. It was a gas to write, and I found my strength, which, I think, is dialogue.”
He looked up online to see how long a novel was and found out a novel is 40,000 words; anything under that is a novella. “I had 45,000 words, so, okay, it’s a novel.”
But then what? “I thought, well, this is a queer bird. Who’s gonna go with me on this?” As it happened, Joe Taylor at Livingston Press loved Talk: A Novel in Dialogue and published it.
So he’s been at it ever since, with his 2015 book Memphis Movie being the bestselling of his works. And if Cock-A-Hoop is the latest to hit shelves, it’s not his most recent work. “I think I’ve published at least two novels that I wrote after this.”
Meanwhile, he’s still at it with another novel that veers into biography. “It’s coming hard,” he acknowledges. “I’m older and I’m tired. And it’s about some parts of my life that are very difficult. I didn’t think I was scared to write about it, but apparently I am.”
Yet he’ll do it no matter what, even if he has to back into it.
Sometimes I’m so devotedly lazy that I’ll undertake piles of extra work to avoid any effort. Like with this column. I pondered deep thoughts, jotted down random deathless prose that was apropos of zilch, and muttered at the blinking cursor. Nothing was stirring in the brain cells (which I have heard before from those who know me).
There were plenty of options to write about: Alfredo sauce in the streets, MIM vs. MRPP, politics, TVA or MISO — you get the idea. But instead of developing an idea, I enabled my slothfulness by churning through Facebook. And there I found it: Artificial Intelligence. An ad said, “This tool writes content for you.” I chortled at the pun and then took a closer look. It was for an AI service named Jasper that vowed to take my distracted thoughts and then craft sparkling copy in seconds. All I had to do was give it a topic, set a tone, and click.
But, you ask, shouldn’t I worry about being obviated by Skynet? Or assimilated by the Borg? I think not, as you shall read.
My first instruction to the brainiac was to come up with the best of Memphis. In no time, it delivered breezy thoughts on, predictably, barbecue (but declined to choose a favorite) and then said, “And don’t even get me started on the Memphis-style pizza. It’s seriously to die for.” Oh, Jasper, that’s not a thing. Someone needs to take that robot to The Four Way for some greens. (And for dessert, it mentions “the city’s famous strawberry shortcake. It’s so good that it should be illegal.” I’ll ponder this as I dive into my unfamous pecan pie.)
And then the AI, which claims to have devoured a tenth of the internet so far, passed judgement on what it decided was the worst thing in Memphis. Was it poverty? Racism? Corrupt pols? School leadership? None of these. It’s the horror of traffic. “It can be a total nightmare. I’ve even missed flights because of it before.” (Yes, Jasper Roboto speaks in the first person.) Fighting my own well-learned laziness, I went to the trouble to find a traffic-rating chart that revealed that out of 65 cities in North America, Memphis was a low-stress No. 56. Now Nashville, at 13, is nuts, especially at rush hour. But anyone who thinks the Bluff City is traffic hell has never traveled much.
To be fair to the automatonic genius, I then had it try to write something about local civics. It said, unhelpfully, that “Memphis politics can be confusing and convoluted.” It mentions various mayors and also offers high praise for two other local political players: City Council President David Hayes and City Council Vice President Byron Potts. Anybody know these two? Anybody? I looked them up and found nothing, Jasper. Nada.
Well, it did say that local politics can be confusing, so I thought to let it try something nice and easy: Memphis media. Naturally, I wanted to let it praise the Memphis Flyer, and, indeed, it did say that we are “always packed with interesting stories and perspectives that you won’t find anywhere else.” Bravo, Jasper!
Our AI-for-hire, however, seemed to have strong views in opposite directions about WREG News Channel 3: “It’s pretty much garbage. The news anchors are often obnoxious and unprofessional, the stories are often slanted or totally inaccurate, and they love to stoke fear among their viewers. Basically, if you’re looking for quality journalism, you won’t find it here.” Whew! But then our brilliant bot also said in a related media critique: “It’s known for its comprehensive coverage of local news and events. If you want to stay up-to-date on what’s going on in the city, make sure to tune in to WREG.”
I’ll note here that Jasper, not terribly gifted with scintillating prose, likes to say “Trust me” a lot. Trust me, you’ll want to carry several grains of salt if you employ this AI.
Finally, I figured to give my digital crackerjack another shot by asking it to riff on Memphis AF. I got this: “There’s no doubt about it: Memphis is the most Memphis AF city in America.” The other blather for this entry was generic tourism-speak, so I broadened the search and got this: “Are you looking for a new, edgy way to show your pride for the city of Memphis? Look no further than Memphis As Fuck – the coolest apparel brand around.”
I went around Jasper and consulted Professor Google and indeed, there are T-shirts, hoodies, and other fashion basics with that timeless slogan emblazoned for your mama to enjoy. But I didn’t find the “coolest apparel brand around” as promised. Now I’m down with, as the brand claims, “celebrating our city in the most badass way possible.” But Jasper, who was supposed to write a column for me, doesn’t have the skills of a cub reporter. I had to double-check almost every one of its alleged facts without knowing the sources. And as lazy as I am, I was really hoping for an easier way out.
Trust me.
The Memphis Flyer is now seeking candidates for its editor position. Send your resume to hr@contemporary-media.com.
Don’t tell a performer to not perform. Silence the singer, still the dancer, hide the actor, shut down the crew — but sooner or later they’ll be back on stage putting heart and soul into it. The Covid-19 pandemic was successful for a while, lousing up plans and performances, but it would not last.
The local theater community put up with what had to be done, closing doors and keeping stages quiet for as long as it took, but after two years of being shut down, Memphis performers got back into it with even more enthusiasm than before.
It was seen as clearly as it could possibly have been at Sunday night’s Ostrander Awards ceremony that celebrated the people and productions in collegiate, community, and professional theaters.
“Planning for the 38th Ostranders was almost surreal,” said Elizabeth Perkins, director of the usually annual event. “It had been so long since we had been together. I can’t believe it finally happened after three years! The night was full of laughter, tears, hugs, and, most importantly, love for everyone in our community. Being backstage as the award winners and performers exit is the best seat in the entire venue. I get to see the smiles on their faces after they get to do what they love doing the most and I get to be a small part of making that happen.”
The gathering seemed to agree, whether they took home a plaque or not (see the winners here). As one might expect, attendees were dressed to the nines. Here are some of those who came to celebrate. (Photos by Jon Sparks).
The celebration of live theater in Memphis was put off for two years (thanks, pandemic) but returned to the stage Sunday night with awards in dozens of categories and much conviviality at the Halloran Centre.
The 38th Memphis theater awards recognized excellence in collegiate, community, and professional theater.
Winning 11 awards was the musical Urinetown staged at Theatre Memphis. And it was a very good evening overall for Theatre Memphis, which took 28 of the 32 awards in the Community and Professional category.
There were 14 college division awards, all going to the University of Memphis. In past years, Rhodes College was a frequent winner, but in 2021 the school decided to phase out its theater major, effectively taking it out of Ostrander consideration.
The Eugart Yerian Lifetime Achievement Award was given to Stephen Hancock, a playwright, Ostrander-winning director, and longtime professor at the University of Memphis.
Because last year’s event was postponed, winners from 2021 were also honored.
Last year’s Eugart Yerian Award went to Andy Saunders. Others include the 2021 Janie McCrary Putting it Together Award, Michael Compton; the 2021 Otis Smith Legacy Dance Award, Whitney Branan; the Behind the Scenes Award, Lena Wallace Black; and the Larry Riley Rising Star Award, Donald Sutton and Abby Teel.
Ann Marie Hall, winner of the Eugart Yerian Lifetime Achievement Award in 2020, won an Ostrander Sunday evening for direction of a musical (Urinetown). She was as delighted as anyone to be back with a cheery crowd of theater people. “It’s been remarked many times that this is a community,” she said. “It’s wonderful how they share going to different shows in different places.”
Here’s the list:
Community and Professional Division
Excellence in Scenic Design for a Play: Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Excellence in Scenic Design for a Musical: Jack Netzel-Yates, Urinetown, Theatre Memphis
Costume Design for a Play: Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
Costume Design for a Musical: Amie Eoff, Ragtime, Theatre Memphis
Hair/Wig/Makeup Design for a Play: Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
Hair/Wig/Makeup Design for a Musical: Amie Eoff, Urinetown, Theatre Memphis
Props Design for a Play: Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Props Design for a Musical: Jack Netzel-Yates, Urinetown, Theatre Memphis
Special Award: Aliza Moran & Julia Hinson, Puppetry, Shockheaded Peter, New Moon Theatre
Lighting Design for a Play: Mandy Kay Heath, American Son, Next Stage, Theatre Memphis
Lighting Design for a Musical: Mandy Kay Heath, Urinetown, Theatre Memphis
Sound Design for a Play: David Newsome, Cicada, Next Stage, Theatre Memphis
Sound Design for a Musical: Jason Eschhofen, Urinetown, Theatre Memphis
Music Direction for a Musical: Jeff Brewer, Ragtime, Theatre Memphis
Choreography for a Musical: Daniel Stuart Nelson, Smokey Joe’s Cafe, Playhouse on the Square
Featured Performer in a Play: Susan Brindley, You Can’t Take It With You, Theatre Memphis
Featured Performer in a Musical: Atam Woodruff, Urinetown, Theatre Memphis
Supporting Actor in a Play: Marcus Cox, American Son, Next Stage, Theatre Memphis
Supporting Actor in a Musical: JD Willis, Ragtime, Theatre Memphis
Supporting Actress in a Play: Cecelia Wingate, Cicada, Next Stage, Theatre Memphis
Supporting Actress in a Musical: Cassie Thompson, Urinetown, Theatre Memphis
Ensemble in a Play: American Son, Next Stage, Theatre Memphis
Ensemble in a Musical: Urinetown, Theatre Memphis
Leading Actor in a Play: Kevar Maffitt, Torch Song, Circuit Playhouse
Leading Actor in a Musical: Bruce Huffman, Urinetown, Theatre Memphis
Leading Actress in a Play: Jessica “Jai” Johnson, American Son, Next Stage, Theatre Memphis
Leading Actress in a Musical: Lauren Duckworth, Ragtime, Theatre Memphis
Best Original Script: Tumbling Down, Hattiloo
Direction of a Play: Jared Thomas Johnson, American Son, Next Stage, Theatre Memphis
Direction of a Musical: Ann Marie Hall, Urinetown, Theatre Memphis
Best Production of a Play: American Son, Next Stage, Theatre Memphis
Best Production of a Musical: Urinetown, Theatre Memphis
College Division
Excellence in Scenic Design for College: Brian Ruggaber, A Bright Room Called Day, University of Memphis
Costume Design for College: Ali Filipovich, A Bright Room Called Day, University of Memphis
Lighting Design for College: Corinne Fann, A Bright Room Called Day, University of Memphis
Sound Design for College: Micki McCormick, A Bright Room Called Day, University of Memphis
Music Direction for College: Tracy Thomas, Ordinary Days, University of Memphis
Choreography for College: Michael Medcalf, The Wolves, University of Memphis
Featured Performer in a College Production: Zy Palmer, A Bright Room Called Day, University of Memphis
Supporting Actor in a College Production: Jasper Lane Pippin, A Bright Room Called Day, University of Memphis
Supporting Actress in a College Production: Aly Milan, The Wolves, The University of Memphis
Ensemble in a College Production: Ordinary Days, The University of Memphis
Leading Actor in a College Production: Will Draper, R & J & Z, The University of Memphis
Leading Actress in a College Production: Raina Williams, A Bright Room Called Day, The University of Memphis
Direction of a College Production: Holly Derr, The Wolves, University of Memphis
Best College Production: The Wolves, University of Memphis
The pandemic dealt a brutal blow to the local arts scene, forcing arts groups and funding organizations to pull together and find ways to survive.
One of the significant efforts was a partnership among ArtsMemphis, the Memphis Music Initiative, and Music Export Memphis that resulted in the recent completion of a $1.8 million Arts Recovery Fund. The focus of the fund was — and still is — to support individual artists and arts organizations, particularly those that had fewer opportunities for government relief funding due to capacity or revenue.
About $845,000 has been distributed to various groups and individuals. The remaining funds will be given out over the next year or so.
As stated by organizers, the fund aims to “accelerate recovery and support a resilient arts ecosystem by providing an immediate and targeted infusion of investment into the people, processes and programming that will make our arts community stronger and more accessible.”
The money given out so far includes:
$250,000 to the Black Arts Fund, a holistic and comprehensive capacity-building effort with Memphis Music Initiative serving 15 Black- and Brown-led local organizations with annual revenue under $500,000.
$145,000 of direct artist support that continues the Artist Emergency Fund that helped artists of varying disciplines in 2020 and 2021. The funding was designed to initially support artists immediately impacted by the widespread shut-downs, and is now aiming to support artist recovery.
$450,000 for unrestricted operating support sub-grants. These went to 36 of ArtsMemphis’ operating support grantees with smaller budgets.
Over the next year to year-and-a-half, the Arts Recovery Fund will distribute additional monies to individual artists and art organizations for short-term needs and long-term planning. Those include $375,000 for individual artist support, and $640,000 for arts organization support.
Funding has come from a variety of sources, including AutoZone, Belz Foundation, Community Foundation of Greater Memphis’ Midsouth COVID Regional Response Fund, FedEx, First Horizon Foundation, Hyde Foundation, Kresge Foundation, National Endowment for the Arts (NEA), and individual contributors.
Elizabeth Rouse, president and CEO of ArtsMemphis, said, “Memphis was just one of 22 communities across the country to get $500,000 from the American Rescue Plan through the NEA to distribute. That was part of the recovery fund that we’ve already distributed.”
She said, “The good thing is we’re able to be flexible and for this to evolve as the needs change. In the last several months, thankfully, the state of Tennessee, through the American Rescue Plan, invested a significant amount of money in mostly large arts organizations. So through this recovery fund, we’re going to be able to prioritize some of those smaller groups that haven’t had as much access to those government funds.”
Putting all this together required an unprecedented effort at collaboration and partnerships.
“In March of 2020, arts organizations of all sizes and of all artistic disciplines started coming together to meet every other week,” Rouse said, “basically about how they were shutting down and how they were navigating Human Resources issues and Paycheck Protection Program [PPP] loans.”
As terrible as the pandemic became, there were beneficial results from the efforts of groups and individuals to deal with the widespread shut-downs.
“Arts leaders who didn’t know each other at all were all of a sudden going through the same things together,” Rouse said. “So, in a lot of ways, I think the arts community is more connected and working together more closely. The other amazing thing, and to me one of the most exciting things that’s happened, is all the creativity that has come over the last two or three years as artists had to change the way they were creating content. I think we’ll continue to see new partnerships and different artistic disciplines working together. In a lot of ways, the arts are almost more accessible now than they were before because arts organizations are changing how they deliver those opportunities.”
She pointed to some of the collaborations that have recently flourished, such as Ballet Memphis and the Stax Music Academy performing together at Crosstown, and the Carpenter Art Garden teaming up with the Iris Orchestra. “Their art forms complement each other and make for a more enhanced experience, but also it’s a way to reach audiences that a single group couldn’t reach on their own.”
Meanwhile, funders had to also think and act creatively and quickly to make an impact.
The Kresge Foundation, for example, provided support to the Recovery Fund early in the pandemic, with some of it “specific to the capacity-building program that Memphis Music Initiative is running for small organizations,” Rouse said. “These organizations expanded their work and are now creating structures to be able to sustain it and to grow.”
Local funders also provided crucial support “above what they normally do to support the art sector, and we’ve been grateful for that.”
When things settle down and get into the groove of the “new normal,” Rouse hopes arts organizations can take the next several years and use some of this recovery funding to plan for a new future. “That new future is not necessarily going to be anything like the past,” she says. “You know, we’re never going to go back to a time when earned revenue looks the same for these organizations. My hope is that they really use these next couple of years to collaboratively plan for what the new future looks like, what new business models look like.”
She mentions that pre-pandemic, only about half of arts groups had a reserve or endowment. “I hope in the next couple of years, that organizations will have created structures that help them to be in a better situation should something happen.”
Rouse said that “there are tons of offerings as organizations have launched their new seasons and after-school programs get restarted. It’s an exciting August and September time. And it’s good for these organizations that are continuing to have to make changes and evolve and be flexible.”
Those who know me are aware of my interest in typing machines as I have collected a few over the years, including a century-old Underwood No. 3 and an even older Wellington No. 2. I also acquired one of the earliest Underwood electrics that is both ugly and far too heavy for one dilettante to pick up.
None of them work, but the allure is impossible to resist. My parents got me a portable (all italic type for some odd reason) that I pecked on until I took a proper touch-typing class in high school. I had decent speed and somewhat less decent accuracy. No matter, I typed papers for school — slowly as they had to be perfectly done, including two spaces after periods, precise indents, no strikeovers and no Liquid Paper. No time for keggers in college. We were tough kids for a reason.
Later on, I would master the glorious IBM Selectric with its distinctive golf-ball shaped typing element. I was getting into typefaces and fonts by then and collecting replica pages from Gutenberg Bibles.
But even as Gutenberg’s press changed the habits of monkish calligraphers, computers turned typewriters into relics and doorstops. Good for collecting and sentiment, not so much for conducting business instantaneously and worldwide.
You can still find small enclaves of typewriters in town. Burke’s Book Store is something of a petting zoo for hunters and peckers, with a variety of machines that amaze children who have never seen such things.
My latest typing machine project came in the form of a gift for Father’s Day. I have taken over the dining room table with the 2,079 tiny pieces of plastic that will soon become a Lego Typewriter.
What, you say? A real, working Lego typewriter? Oh, don’t be silly. It doesn’t actually type, but it’s not about hammering out a breaking news story on deadline. That’s what the Mac is for, even with its cursed butterfly keyboard. The Lego is about the design, the construction, the feel of a splendidly engineered, um, toy. Yes, that’s what it is — it’s a Lego after all. But it’s incredibly cool. All those little pieces snapping together into an intricate assembly and I get to preside over how it all comes together.
This is a project that is beautifully designed. The pieces fit together flawlessly and the 260-page instruction manual is an example of how to beautifully and clearly explain a how-to.
There is much to be said for showing it off as well. My half-assembled project was recently observed by some visiting teenagers who were in our house because their mother required it. They were bored and prepared to be even more bored as the visit went on — until they laid eyes on the work in progress. They were impressed, which is a difficult achievement with that demographic. In fact, everyone of any age who sees it experiences some level of astonishment.
It’s certainly not about my skill — I just follow instructions — but it’s the realization that the fundamental connectivity that is characteristic of Legos can be so cleverly realized. One part fits neatly into another, and after a while, all those thousands of tiny plastic bits come together into something that pretty much makes you want to smile.
And so, because this is a letter from an editor and we’re expected to discourse on serious things, I am compelled to make a serious connection. This being election week in Memphis, we can make an imperfect comparison to the importance of voting. Nobody is required to vote, but for those who do, it’s part of being on the team that shapes our society.
This particular Shelby County cycle has a ballot that has around 2,079 choices, and you would be well advised to take an instruction manual, or perhaps just a cheat sheet, with you into the voting booth. It gets you into the game and gives you a say in how it should play out. (Let’s start with having a better way of choosing judges, shall we?)
But you can’t construct your assembly without getting familiar with the parts, the process, and what you want to be the end result. Whether building a toy typewriter or choosing who you want to run a government, you are required to work at it.
Take the time. Filter out the theatrical outrages from this side or that. Beware the power hungry who smile too much. Determine who really wants to make our government more responsive. Reward competence. Make sure the pieces fit together.
And take pride in your achievement.
The Memphis Flyer is now seeking candidates for its editor position. Send your resume to hr@contemporary-media.com.
After two years of pandemic mandated caution, the celebration of the local theater community is returning in person on August 28th at 6:30 p.m. at the Halloran Centre.
The 38th Memphis theater awards will recognize and celebrate excellence in collegiate, community, and professional theater.
The winners will be revealed at the event, but as always, the one prize announced early is the Eugart Yerian Lifetime Achievement Award, this year going to Stephen Hancock, a playwright, Ostrander-winning director, and longtime professor at the University of Memphis.
Because last year’s event was postponed, winners from 2021 will also be honored.
Last year’s Eugart Yerian Award went to Andy Saunders. Others include the 2021 Janie McCrary Putting it Together Award, Michael Compton; the 2021 Otis Smith Legacy Dance Award, Whitney Branan; the Behind the Scenes Award, Lena Wallace Black; and the Larry Riley Rising Star Award, Donald Sutton and Abby Teel.
Tickets will be available at memphisostranders.com and will be limited to 350 guests. Tickets will be $15 in advance or $20 at the door.
Elizabeth Perkins, Ostrander director, said, “So many theatres had to postpone shows, rearrange seasons, or select different titles this year. It has been a difficult year, but also a year that has shown how supportive the theatre community is — we saw a season of actors filling in for others at the last minute all over the city.”
The nominees are:
Scenic Design for College
Brian Ruggaber, A Bright Room Called Day, University of Memphis
Brian Ruggaber, The Wolves, University of Memphis
Mollie West and Brian Ruggaber, R & J & Z, University of Memphis
Scenic Design for a Play
Jack Netzel-Yates, American Son, Next Stage, Theatre Memphis
Jack Netzel-Yates, Cicada, Next Stage, Theatre Memphis
Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Justin Asher, The Foreigner, Harrell Theatre
Tim McMath, Torch Song, Circuit Playhouse
Scenic Design for a Musical
Chris Sterling & Andrew Chandler, Shockheaded Peter, New Moon Theatre
Jack Netzel-Yates, La Cage aux Folles, Theatre Memphis
Jack Netzel-Yates, Ragtime, Theatre Memphis
Jack Netzel-Yates, Urinetown, Theatre Memphis
Ryan Howell, Smokey Joe’s Cafe, Playhouse on the Square
Costume Design for College
Ali Flipovich, A Bright Room Called Day, University of Memphis
Hattie Fann, R & J & Z, University of Memphis
Heather Duzan, The Wolves, University of Memphis
Costume Design for a Play
Allison White, You Can’t Take It With You, Theatre Memphis
Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
J. Faye Manselle, Mississippi Goddamn, Circuit Playhouse
Lindsay Schmeling, A Doll’s House, Parts 1 & 2, Circuit Playhouse
Lindsay Schmeling, Torch Song, Circuit Playhouse
Costume Design for a Musical
Amie Eoff, Hello, Dolly!, Theatre Memphis
Amie Eoff, La Cage aux Folles, Theatre Memphis
Amie Eoff, Ragtime, Theatre Memphis
Amie Eoff, Urinetown, Theatre Memphis
Lindsay Schmeling, Smokey Joe’s Cafe, Playhouse on the Square
Shockheaded Peter, New Moon Theatre
Hair/Wig/Makeup Design for a Play
The Secret Garden, Next Stage, Theatre Memphis
Torch Song, Circuit Playhouse
Buddy Hart and Rence Phillips, Our Town, Theatre Memphis
Mississippi Goddamn, Circuit Playhouse
Hair/Wig/Makeup Design for a Musical
Amie Eoff, Ragtime, Theatre Memphis
Amie Eoff, Urinetown, Theatre Memphis
Buddy Hart and Rence Phillips, Hello, Dolly!, Theatre Memphis
Buddy Hart and Rence Phillips, La Cage aux Folles, Theatre Memphis
Shockheaded Peter, New Moon Theatre
Props Design for a Play
Andrew Chandler, The Complete History of America, Abridged, Germantown Community Theatre
Jack Netzel-Yates, Cicada, Next Stage, Theatre Memphis
Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Reiley Duffy, Torch Song, Circuit Playhouse
Props Design for a Musical
Bill Short & Andrew Chandler, Shockheaded Peter, New Moon Theatre
Jack Netzel-Yates, Hello, Dolly!, Theatre Memphis
Jack Netzel-Yates, La Cage aux Folles, Theatre Memphis
Jack Netzel-Yates, Ragtime, Theatre Memphis
Jack Netzel-Yates, Urinetown, Theatre Memphis
Lighting Design for College
Corinne Fann, A Bright Room Called Day, University of Memphis
Hayes Wolfe, Ordinary Days, University of Memphis
Jenni Propst, R & J & Z, University of Memphis
Lighting Design for a Play
Haley Northington, Torch Song, Circuit Playhouse
Mandy Kay Heath, American Son, Next Stage, Theatre Memphis
Mandy Kay Heath, Cicada, Next Stage, Theatre Memphis
Mandy Kay Heath, The Secret Garden, Next Stage, Theatre Memphis
Mandy Kay Heath, You Can’t Take It With You, Theatre Memphis
Lighting Design for a Musical
Justin Gibson, Smokey Joe’s Cafe, Playhouse on the Square
Mandy Kay Heath, La Cage aux Folles, Theatre Memphis
Mandy Kay Heath, Ragtime, Theatre Memphis
Mandy Kay Heath, Urinetown, Theatre Memphis
Melissa Andrews, Shockheaded Peter, New Moon Theatre
Sound Design for College
Andrew Boone, The Wolves, University of Memphis
Anna Johnson, R & J & Z, University of Memphis
Micki McCormick, A Bright Room Called Day, University of Memphis
Sound Design for a Play
David Newsome, Cicada, Next Stage, Theatre Memphis
Jason Eschhofen, The Secret Garden, Next Stage, Theatre Memphis
Jason Eschhofen, Torch Song, Circuit Playhouse
Joe Johnson, American Son, Next Stage, Theatre Memphis
Marques Brown, Clue: Onstage, Germantown Community Theatre
Sound Design for a Musical
Eileen Kuo, Bright Star, Germantown Community Theatre
Gene Elliott, Shockheaded Peter, New Moon Theatre
Jason Eschhofen, Urinetown, Theatre Memphis
Nathan Greene, Ragtime, Theatre Memphis
Nathan Greene, La Cage aux Folles, Theatre Memphis
Music Direction for College
Angelo Rapan, Pippin, University of Memphis
Tracy Thomas, Ordinary Days, University of Memphis
Music Direction for a Musical
Gary Beard, La Cage aux Folles, Theatre Memphis
Jason Eschhofen, Smokey Joe’s Cafe, Playhouse on the Square
Jeff Brewer, Hello, Dolly!, Theatre Memphis
Jeff Brewer, Ragtime, Theatre Memphis
Tammy Holt, Urinetown, Theatre Memphis
Choreography for College
Michael Medcalf, The Wolves, University of Memphis
Sean Carter, R & J & Z, University of Memphis
Choreography for a Musical
Courtney Oliver, Urinetown, Theatre Memphis
Daniel Stuart Nelson, Smokey Joe’s Cafe, Playhouse on the Square
Kathy Thiele, The Addams Family, Harrell Theatre
Travis Bradley and Jordan Nichols, Ragtime, Theatre Memphis
Whitney Branan, La Cage aux Folles, Theatre Memphis
Whitney Branan, Shockheaded Peter, New Moon Theatre
Featured Performer in a College Production
One nominee
Featured Performer in a Play
Anne Marie Caskey, Cicada, Theatre Memphis
Eileen Peterson, The Secret Garden, Next Stage, Theatre Memphis
Hiawartha Jackson, Our Town, Theatre Memphis
Lance Raikes, Torch Song, Circuit Playhouse
Susan Brindley, You Can’t Take It With You, Theatre Memphis
Featured Performer in a Musical
Atam Woodruff, Ragtime, Theatre Memphis
Atam Woodruff, Urinetown, Theatre Memphis
Cassie Thompson, Ragtime, Theatre Memphis
Jimmie Hoxie, Bright Star, Germantown Community Theatre
John Brenton Strauss, Ragtime, Theatre Memphis
Susan Brindley, La Cage aux Folles, Theatre Memphis
Supporting Actor in a College Production
Austin Wall, R & J & Z, University of Memphis
Jasper Lane Pippin, A Bright Room Called Day, University of Memphis
Lance Raikes, R & J & Z, University of Memphis
Oscar Garcia, Pippin, University of Memphis
Supporting Actor in a Play
Gregory Boller, The Lifespan of a Fact, Circuit Playhouse
Marcus Cox, American Son, Next Stage, Theatre Memphis
Mark Pergolizzi, A Doll’s House, Part 1, Circuit Playhouse
Steve Swift, Cicada, Theatre Memphis
Tony Isbell, Outside Mullingar, Germantown Community Theatre
Supporting Actor in a Musical
JD Willis, Ragtime, Theatre Memphis
JD Willis, La Cage aux Folles, Theatre Memphis
Kevar Maffitt, Ragtime, Theatre Memphis
Marcus King, Porgy and Bess, Hattiloo Theatre
Mateo Rueda Calvo, La Cage aux Folles, Theatre Memphis
Supporting Actress in a College Production
Ali Milan, The Wolves, The University of Memphis
Axum Langford, A Bright Room Called Day, The University of Memphis
Camille Long, R & J & Z, The University of Memphis
Jada Farmer, The Wolves, The University of Memphis
Supporting Actress in a Play
Ann Marie Hall, Torch Song, Circuit Playhouse
Ann Marie Hall, The Lifespan of a Fact, Circuit Playhouse
Two weeks ago in Lviv, Ukraine, Tim Scalita stepped out of his hotel, propped up his phone for a FaceTime call, and fired up a cigarette.
“It’s a nice town,” he says. “The Russians have been blowing it up a little bit the past couple of days, but nothing too terrible, mainly just aiming for power stations.”
He’d been in Ukraine for just under two weeks, ready to pitch in as a combat medic. Scalita has the experience. He did it in the U.S. Navy, including working with the Marines in Afghanistan a few years ago.
He’s a Memphian who is a writer and indie filmmaker. Now he’s been in Ukraine about a month and is near the town of Dnipro with a mostly Canadian tactical medical evacuation team. “We have trained two Battalions on combat life-saving techniques as well as battlefield tactics,” he said early this week. “We are basically training the front to fight and care for the injured soldiers until we can arrive and extract the wounded and transport them to the hospital.”
In the four weeks he’s been in Ukraine, there have been some false starts, a few surprises, and plenty of rigorous training. He’s gotten to know his team and he’s observed a country that sometimes seems perfectly normal until the air-raid sirens split the air. He’s been ready to get at it, although the worn-out (but accurate) phrase “hurry up and wait” has been fully realized. Until he finally got to Dnipro with his team, it was all about the logistics, sometimes hit or miss. Early in March, he posted his intentions.
The Journey March 9th Facebook entry: My military friends. How do I get to the Ukraine?
It was on that date that a Russian air strike hit a maternity hospital in the port city of Mariupol. “Children are under the wreckage,” raged Ukrainian President Volodymyr Zelensky. “This is an atrocity!” Scalita also felt the rage then, as well as days later when Russian forces bombed a theater/shelter in the same city, killing about 300 people. News reports say the Russians are making at least two attacks a day on the country’s healthcare infrastructure.
“The moment they started blowing up civilian targets,” he says, “I was like, you know what? I have skills. I was a corpsman with the Marines in Afghanistan and I was very good at my job. And I don’t have a family. There’s no reason I shouldn’t be doing this.”
He didn’t dawdle.
March 20th Facebook entry: I’m making it official. As soon as my passport comes in (which will be a few weeks) I’m leaving for the Ukraine. They are in desperate need of experienced field medics and I refuse to do nothing while the innocent are being slaughtered.
Scalita didn’t want to wait around for the passport to come through, so he contacted U.S. Rep. Steve Cohen (D-Memphis) to see if the process could be expedited.
March 30th Facebook entry: Passport came in. Thank you Congressman Cohen for pushing it through.
But there was still more to be done, not the least of which was acquiring funding to deal with travel and equipment. And he is planning for an indeterminate stay in hostile territory.
April 3rd Facebook entry: Central BBQ is buying my plane ticket to Poland!
Scalita has been working at the catering kitchen at Central BBQ. The restaurant’s Elizabeth and Craig Blondis stepped up to effectively be his sponsor, providing the ticket and some money for gear — medical supplies, flak jacket, helmet, safety equipment — and other expenses.
It was coming together.
April 15th Facebook entry: Alright guys. Hard going away party at Hi Tone lower bar starting 8ish. Honestly last chance for most of you to see me before I’m off to save the world.
April 21st Facebook entry: And I’m off! See you when I see you.
Now, in the first week of May, Scalita says, “I’m feeling pretty good. My goal was to get here, join the Legion and be a combat medic.”
The International Legion of Territorial Defense of Ukraine was founded on February 27th, three days after the Russian invasion. News reports say that up to 20,000 volunteers from around the world have signed up.
Scalita followed the instructions on the organization’s website but it didn’t take long to encounter bumps in the road. The first one was immediately after he landed in Poland where he was to be met by Legion representatives.
April 22nd Facebook entry: Hitch hiking into Ukraine like a boss. The Legion apparently no longer picks up in Poland. I have to enter the country on my own. They need to update the website.
From there, things didn’t improve much.
April 25th Facebook entry: Not going to lie. Conditions in the Legion camps are pretty terrible. Apparently the one I’m in is the Hilton compared to the others and it should be criminal. Things like drinking water we have to buy ourselves.
Plan B Scalita finally got to meet with Legion officials and told them he was there to work as a medic.
“They said, ‘Ah, a combat medic — that’s great. So, you want to join a special ops team and go behind enemy lines and kill Russians in their sleep?’ And I’m like, no — gotta save lives when stuff’s blowing up. That’s my thing. And they’re like, ‘Cool, cool, cool. So you want to go behind enemy lines and kill Russians in their sleep?’”
Scalita assured them that he was not interested in commando infiltrations. He’d already trained with them doing interminable fire team drills in the swamps, but he could see they didn’t put a priority on what he was offering. “I’m sure once I’m on the front line, I may not have a choice in certain situations, where I have to pull a trigger on somebody. But I didn’t come to fight another man’s war. I came to make sure everyone gets home okay.”
Disappointed, he ditched the Legion, gathered up his gear, and went looking for a Plan B.
On a FaceTime call two weeks ago, he said, “At the moment, I’m waiting. Tomorrow there’s a paramedic team coming in from Canada that I’m going to join. We’ll be taking casualties from the front line and then rushing them to aid stations and hospitals.”
Scalita is hoping the arrangement will work out, but everything is fluid. “There’s a lot of uncertainty, especially with a lot of these paramedic groups,” he says. “They come in and they’re like, oh, we’re only here for a month. And I’m like, I plan on staying here at least till Christmas. I want to go to London for Christmas and then go home.”
On the Ground Meanwhile, he’s been gathering impressions and memories as he hurries up and waits for his opportunity to get into the field. Over the last several days, Scalita has been sending his impressions and observations.
For one thing, the language barrier, he says, has been intimidating. “People do speak a decent amount of English here, so I’m not completely lost, but it’s still just strange. It’s like I’d rather take on a legion of Russian soldiers than go to the grocery store, because all I can do is point and hand cash.”
And yet Scalita was surprised at how un-foreign things often seem. “It looks like everywhere,” he said. “I was expecting to land in Poland and it just be like this alien landscape. But it all looks like Pennsylvania. Driving through Poland and coming into Ukraine and it looks exactly like everywhere I’ve ever been.”
When Scalita’s team finally came to Lviv, it looked like his Plan B was going to happen. “We met up at the Dream Hostel in Lviv,” he said. “Let me tell you, it was nice to have some guys to hang out with. I met with the whole team at an outdoor cellphone kiosk a block or so from the hostel. The streets were teeming with, honestly, the most beautiful people I’d ever seen. I don’t think myself a super attractive person, but I never felt more butt-ugly.”
The team leader is a Canadian named Zach England. “He was happy to have a corpsman on his team and I was glad to have the gig,” Scalita said. “The gig: hard/high-risk extraction of casualties from active engagements on the front. I will be one of two medics to receive the casualties. We will have a driver and two to four shooters depending on the vehicle. We race in, receive, and run like hell to the nearest field hospital.”
Soon, the team would be on a train to Dnipro. “The bonding was good and honestly important, because a situation arose that needed to be addressed, and this next part is important,” Scalita said. “Especially for people who are thinking of coming over here.”
One of the team members was Farva, a nickname in reference to the movie Super Troopers. “He was showing disturbing signs of not having the mental stability needed for the task ahead,” Scalita said. “This began to be recognized by others days before it became very obvious the more he drank. It came to a decision that he would be reassigned when we arrived to Dnipro. He was obviously upset, so as a stranger to the situation and as a ‘doc,’ I sat him down one-on-one and explained that a team must feel safe with their teammates and trust that their teammates are there for the team. Our concern is that he was looking for a blaze of glory in which to leave this world. We refuse to facilitate that. To be successful, we must be professional. Being he was a former Marine, he trusted me enough to listen and understood. He is now with a humanitarian aid group, and I hope he finds peace in it.
“I only go into great detail on that story because I’ve read accounts, and since I’ve been in Ukraine I’ve encountered twice now, those who come here with ill intentions. They either want to just kill people out of blood thirst or see it as a good opportunity to take their own life and be remembered a hero and not the person they see themselves as.”
“My Heart Goes Out for the Lost” Meanwhile at the train station, Scalita noted that there are many tents and services for refugees coming from the east. “And a lot of volunteers which we were thankful for. A couple of good people brought us up to the military lounge where we were well fed and allowed to store our gear while we waited for the train. They also helped with our tickets. They fed us a feast of spaghetti with meatballs and pickled radishes. The mixture didn’t work. It was interesting. They also brought fresh bread, apples, potatoes, and individually wrapped sandwiches to take with us on the train. We were all very thankful.”
As they were waiting, Scalita got his first call for “doc.” “At first I thought I was being summoned to come out for a smoke and chat, but once I was outside I saw that on the platform two tracks over was a man holding another man having a seizure. We rushed across the tracks. The convulsions had stopped by the time I got to him. The man holding him, I would come to learn, was his brother who was trying to protect his head, which is really all you can do at that point. I checked his vitals and then asked about the medics. It was obvious from his disheveled state that the man didn’t have any meds with him. They took me to the doctor who was at the aid station where I learned the man had been there for days and had had many seizures but refused treatment, and that pretty much tied my hands as well. I left my guys with him in case they needed an extra hand with him. He was coming around and after a few minutes was able to continue on his own. We then just returned to the lounge.”
The team finally boarded the train and headed out. “It was nice,” Scalita said. “It was my first time on a cross-country train ride. We were able to secure spaces together on the sleeping car. But when it came time to sleep, I remembered why I love living alone. People snore, and did they. The volume was unrealistic and I seemed to be the only one who couldn’t sleep through it. Utterly maddening. I got a couple hours after everyone started to wake up, but it wasn’t long before we arrived in Dnipro. Once off the train, we set up in the parking lot and waited for our ride. There was a similar relief setup at the train station, but we found ourselves being approached by people that aggressively pleaded for money. We tried our best to lead them to the tents but they weren’t interested. That’s when we noticed people giving these poor people food and supplies and they would hide what they received and just continue to beg for money. I thought back to the man at the train station. Then I thought back to the homeless in Memphis and realized that you can’t help everyone no matter how much you wish you could. I was reminded that it’s a hard world even without this terrible war. My heart goes out for the lost.”
In Dnipro Finally, the team got transport to a hospital and Scalita noticed the differences between Lviv, an old and beautiful city, and Dnipro. “It has a nice downtown but is a poorer area. The people are just as nice and were very welcoming to us as volunteers coming to help against Russian aggression. They tell of the horrors committed to them and their loved ones by the Russian soldiers. The stories of the rape of women and children are true and terrible. The stories of murdering civilians are true. It’s in their eyes.”
Such a situation is also a call for introspection.
“I read that there are a lot of American vets over here because we all feel like we need a little redemption from Iraq and Afghanistan,” Scalita said. “I mean Iraq, which is now widely accepted was a horrible and illegal war, was basically what Russia is doing to Ukraine. We did to Iraq, and the irony is not lost on anybody here. And the way that Afghanistan ended, which was the only way it was going to end. When I was there in 2012, they were just like, oh, what’s gonna happen when America leaves? And we’re like, ‘You’re toast. They’re waiting in Northern Pakistan.’ It was inevitable. A lot of us are looking for a little bit of redemption. We don’t exactly feel like the good guys, so we would very much like to be the good guys now, you know?”
And that has become just another part of Scalita’s motivation. “Our spirits are good although we are tired. We are a good group and have more that will be joining our team as the conflict continues. Let’s hope it ends soon. Glory to Ukraine and to its heroes.”
Editor’s Note: We will follow Tim Scalita throughout his tour in Ukraine.
ArtsMemphis, which has been instrumental in helping the hard-hit arts community during the pandemic, has made two announcements that serve to boost the arts.
The National Endowment for the Arts has given a $500,000 American Rescue Plan grant to ArtsMemphis that will go to local arts organizations. Those will be awarded in early 2022 to help with recovery and reopening.
Memphis is one of 66 communities across the country, and one of only three Tennessee recipients, to receive funding. ArtsMemphis invested $2.2 million in 64 arts groups and hundreds of artists in 2021. During the pandemic, ArtsMemphis helped arts organizations maintain, rework business plans, create virtual arts events, and develop reopening protocols.
Also, ArtsMemphis has scheduled its second annual Arts Week — a week-long celebration to showcase Memphis’ artists and arts organizations — from December 5th through December 12th, 2021. This year’s Arts Week will have performances and safe in-person experiences from more than a dozen of ArtsMemphis’ grantees. There will also be a series of special events during the week.
ArtsMemphis has also announced a matching gift of up to $30,000 for contributions to ArtsMemphis during the week-long celebration. This year’s event is able to present more than last year’s inaugural week, which was limited to virtual and social media-hosted celebrations due to the pandemic.
“ArtsMemphis is a convener and connector for not only arts resources and advocacy but also for community celebration,” said ArtsMemphis President & CEO Elizabeth Rouse. “As we all have tried to make the most of these last two years, we longed for the light at the end of the tunnel to appear. Now, it seems that the light has begun to grow brighter — in the form of stage lights, marquee lights, and the flashing lights that guide us to our seats to experience the talent of our arts groups.”
Yvonne Bobo has been named recipient of the Emmett O’Ryan Award for Artistic Inspiration, known as “The Emmett.”
The Emmett is awarded annually by Renasant Bank to a distinguished visual artist in Shelby County. This is the 10th year of this award, which now carries a $10,000 prize — the largest unrestricted cash award given to a visual artist in Shelby County. It is named in honor of Emmett O’Ryan, a founding board member of Metropolitan Bank, which merged with Renasant in 2017. Since the award’s inception, the award amount has increased, resulting in more than $60,000 granted to individual artists.
Bobo is a sculptor, metal fabricator, designer, and engineer. The announcement from ArtsMemphis says that although metal is her primary medium, her passion lies in mixed media combining glass, steel, wood, lighting, plastics, and more. “Yvonne’s art focuses on the interaction between invention and nature. Her wind-activated art captures the playful character of a breeze and creates a constantly changing experience for the viewer.”
Bobo’s work is in Memphis public spaces, including Peabody Park, Overton Park, Overton Square, Southside Park, and Raleigh Springs Town Center. It’s also in Cancer Survivors Park, West Cancer Clinic, Methodist Transplant at Shorb Tower, and LeBonheur Children’s Hospital.
Nominees for The Emmett are selected by a committee of artists, curators, and ArtsMemphis volunteers, including Ruthie O’Ryan Lichterman, daughter of the award’s namesake. Finalists for this year’s award included visual artists Coriana Close and Erin Harmon.
“We’re so grateful for Renasant’s continued contributions to our arts sector, especially through this generous award,” said ArtsMemphis president and CEO Elizabeth Rouse. “The vision for this award inspired ArtsMemphis’ individual artist grant program, ArtsAccelerator. Together, these programs have provided $225,000 in funding to local artists.”
Images of Bobo’s work throughout Memphis are on display at the Renasant Convention Center.