ANNOUNCER: TONIGHT ON SHOWCASE WITH BARBARA KELLAR PRODUCING ARTISTIC DIRECTOR OF THE ENSEMBLE THEATER CINCINNATI D. LYNN MEYERS.

STAY TUNED.

SHOWCASE STARTS RIGHT NOW.

KELLAR: HI.

WELCOME TO SHOWCASE AND OUR WONDERFUL, WONDERFUL SPECIAL GUEST TODAY, OUR GREAT FRIEND AND FUN, FUN PERSON, LYNN MEYERS, WHO IS THE ARTISTIC DIRECTOR.

WHAT IS YOUR TITLE?

MEYERS: PRODUCING ARTISTIC DIRECTOR AT ENSEMBLE THEATER.

KELLAR: PRODUCING ARTISTIC DIRECTOR OF THE ENSEMBLE THEATER.

AND WE'RE GOING TO PRETEND LIKE YOU'VE NEVER HEARD OF THE ENSEMBLE THEATER BEFORE BECAUSE LOTS OF YOU PROBABLY HAVEN'T.

SO LYNN IS GOING TO TELL YOU A LITTLE BIT ABOUT WHAT IT IS, WHERE IT IS, AND THEN WE'LL TALK ABOUT SOME OTHER STUFF.

MEYERS: SURE.

WELL, I THINK WHO WE ARE IS DECIDEDLY IN CONNECTION WITH WHERE WE ARE.

SO ENSEMBLE THEATER WAS FOUNDED IN THE MID EIGHTIES AND IT WAS FOUNDED, AT FIRST, THEY DID A COUPLE OF SHOWS AT MEMORIAL HALL WHILE OUR BUILDING AT 1127 VINE WAS BEING RENOVATED.

AND IT STARTED OUT THAT THAT BUILDING WAS AN ORIGINALLY A GERMAN BANK, THEN AN ITALIAN CONSULATE.

IT BECAME ALL SORTS OF THINGS BEFORE IT BECAME AUTO PRINTING AND THEN IT BECAME A THEATER.

SO THROUGH SOME ENORMOUSLY WONDERFUL AND DEVOTED KIND BENEFACTORS AND A GROUP OF VERY STALWART, SMART, SOME GRADUATES FROM THOMAS MOORE, SOME FROM CCM, THEY DECIDED THAT THEY WANTED TO FORM A THEATER THAT HAD TO DO WITH LOCAL HIRING PROFESSIONALS.

SO LET'S HIRE LOCAL FIRST.

LET'S GIVE PROFESSIONAL ACTORS, DIRECTORS, WRITERS A REASON TO LIVE AND STAY IN CINCINNATI.

SO THAT'S WHY IT WAS FOUNDED.

AND FOR 37 YEARS IT'S BEEN DOING THAT IN THE 1100 BLOCK OF VINE STREET.

AND NOW WE OWN 40% OF THAT BLOCK AND OCCUPY 40% OF THAT BLOCK.

BUT I THINK THE MOST INTERESTING THING ABOUT ENSEMBLE IS THE FACT THAT OUR MISSION IS TO PRODUCE NEW WORKS, WORKS WHICH ARE WORLD OR REGIONAL PREMIERES NEW TO THE GREATER CINCINNATI AREA WITH A SOCIAL CONSCIENCE.

SO OUR WORK HAS BEEN FOR THE LAST AT LEAST 27 YEARS, DEVOTED TO OUR COMMUNITY, TO OUR REGION, TO WHAT'S IMPORTANT TO OUR REGION AND WHAT'S IMPORTANT FOR WHAT'S NEXT FOR US.

WHAT DO WE HAVE TO THINK ABOUT AND LEARN?

SO NOW SOCIAL CONSCIENCE IS MAKING ITS WAY INTO A LOT OF MISSIONS, WHICH IS GREAT, BUT FOR A VERY LONG TIME ENSEMBLE'S MISSION WAS BY AND ABOUT OTR AND GREATER CINCINNATI.

KELLAR: SO YOU'VE COME -- WELL, WERE YOU THERE IN THE VERY BEGINNING?

MEYERS: I WAS NOT.

BACK IN THOSE DAYS I WAS STILL AT THE PLAYHOUSE AS THE ASSOCIATE DIRECTOR.

AND THEN I LEFT TOWN, AND EXCUSE ME, I WAS ACTUALLY HIRED TO CLOSE ENSEMBLE THEATER BECAUSE THIS WAS IN THE MID NINETIES AND IF ANYBODY CAN REMEMBER BACK THAT FAR, OTR WAS NOT THE COOL PLACE TO BE.

SO WE HAD A BUILDING NOBODY WANTED IN A NEIGHBORHOOD NOBODY WANTED TO COME TO.

AND SO I WAS HIRED BY THE BOARD AT THE TIME TO DO BASICALLY A FORENSIC DEEP DIVE INTO THE FISCAL SITUATION AT THE THEATER SO THEY WOULD FIGURE OUT HOW TO CLOSE WITH GRACE.

AND WE DUG INTO THAT FISCAL SITUATION AND THERE WAS NO WAY OF DOING THAT.

NUMBER ONE, IT MADE NO SENSE.

THE THEATER AT THAT TIME, YOU KNOW, HAD ACCUMULATED SOME DEBT, WHICH ANY NOT FOR PROFIT CAN DO WITH A BLINK OF AN EYE.

YEAH, THAT -- BUT YOU KNOW, THE BIG THING WAS THEY HAD THIS GORGEOUS BUILDING IN THE MIDDLE OF A NEIGHBORHOOD THAT COULD ONLY GET BETTER.

THAT WAS MY THOUGHT.

KELLAR: YEAH, IT COULDN'T GET WORSE.

MEYERS: IT GOING TO GET -- AND THEN IT DID GET WORSE IN '01.

BUT -- BUT NO, SO THE BOARD DIDN'T WANT TO CLOSE IT.

THEY THOUGHT IT WAS THEIR ONLY OPTION.

SO WE WORKED TOGETHER ON NEW OPTIONS AND IT WAS, LIKE, DO WHAT SHOW TO SHOW AND REASSESS THE MISSION.

SO WHILE THE MISSION IS STILL ABOUT HIRING AND PRODUCING AS MUCH AS WE CAN WITH LOCAL TALENT TO RETAIN THAT TALENT IN CINCINNATI, ADDING THE SOCIAL CONSCIENCE MISSION TO IT, THE NEW WORKS MISSION MADE US A BETTER COMPLEMENT TO WHAT WAS THEN FAHRENHEIT, WHICH BECAME CINCINNATI SHAKESPEARE, A WONDERFUL CINCINNATI PLAYHOUSE, THE TOURING SHOWS.

SO RATHER THAN BE A COMPETITOR, WE BECAME A COMPLEMENT.

AND THAT, I THINK, IS THE WHOLE KEY OF WHY THE ARTS IN CINCINNATI WORK, BECAUSE WE ARE COMPLEMENTARY TO EACH OTHER.

KELLAR: YEAH.

MEYERS: SO, THAT SHIFT IN WHATEVER WE HAVE TO DO, WE'RE GOING TO STAY OPEN AND HOLD OUR GROUND, WE ALSO WEREN'T HOLDING OUR GROUND JUST TO BE A THEATER.

WE WERE HOLDING OUR GROUND TO REINVENT THE NEIGHBORHOOD.

KELLAR: AND YOU HAVE ABSOLUTELY DONE THAT.

TALK A LITTLE BIT ABOUT THE NEIGHBORHOOD AND THE TRANSFORMATION.

MEYERS: IT'S SO -- IT'S SO HARD TO EVEN IMAGINE THE DIFFERENCE.

FIRST OF ALL, MY GRANDPARENTS WERE BOTH BORN IN OVER-THE-RHINE.

MY MOM WAS BORN IN OVER-THE-RHINE.

THEY TALK ABOUT HOW IT TOOK THREE GENERATIONS TO MOVE TO THE SUBURBS FOR ME TO COME BACK AND WORK IN OVER-THE-RHINE.

KELLAR: RIGHT.

MEYERS: WHICH I'M VERY PROUD OF.

I'M REALLY PROUD THAT -- BUT AS A KID, I COULD ROAM AROUND FINDLAY MARKET WHEN MY GRANDPA WORKED THERE ON SATURDAYS AND THERE WAS NO BIG DEAL.

IN '95 WHEN I CAME BACK TO OVER-THE-RHINE AFTER HAVING BEEN GONE SEVERAL YEARS, IT WAS A WAR ZONE, IT WAS A WAR ZONE.

THERE WERE DRUG DEALERS OPENLY ON THE CORNERS.

THIRD DAY ON THE JOB, DEAD BODY IN OUR LITTLE PARKING LOT.

KELLAR: OH, MY GOD.

MEYERS: IT WAS HORRIBLE.

AND MY FATHER HAD BEEN A POLICE OFFICER.

MY GRANDFATHER HAD, YOU KNOW, WORKED, AS I SAID, IN THAT AREA.

AND MY FAMILY ROOTS WERE SO CINCINNATI AND SO OTR CENTRIC, I GOT REALLY ANGRY.

AND IF YOU TAKE ANGER AND CHANNEL IT INTO GOOD ACTION, YOU CAN GET A LOT DONE.

KELLAR: AND YOU'VE DONE THAT.

MEYERS: AND WE GOT A LOT DONE.

KELLAR: YEAH.

MEYERS: WE HAVE WAFFLES NOW INSTEAD OF A CRACK DEALER, WHICH IS SO MUCH BETTER.

KELLAR: YES.

MEYERS: AND IT WASN'T AN OVERNIGHT THING.

I THINK A LOT OF PRESS ABOUT OTR WAS, LIKE, "OH, SUDDENLY IT BECAME THIS."

NO, NO, NO, NO.

THAT WASN'T SUDDEN.

'95 WAS ONE THING.

BUT THEN IN '01, WHEN TIMOTHY THOMAS WAS MURDERED AND ALL OF THE UNREST HAPPENED, IT JUST GOT MUCH WORSE.

SO, YOU KNOW, YOU HAD TO JUST SLOWLY REBUILD.

AND THEN, OF COURSE, SEPTEMBER OF '01, THE WHOLE NATION WAS UNDER ATTACK AFTER 9/11.

SO, WE WEATHERED THESE STORMS TOGETHER WITH THE NEIGHBORHOOD.

SO THAT'S WHY NOW IF YOU COME TO ENSEMBLE, THERE USED TO BE BULLETPROOF DOORS IN THE FRONT OF THE BUILDING.

KELLAR: AND A POLICEMAN.

MEYERS: POLICEMEN, THREE POLICEMEN.

NOW THE WINDOWS ARE GLASS AND YOU CAN SEE IN THE BUILDING AND WE WANTED TO FIRST AND FOREMOST SAY WE'RE PART OF OTR.

WE'RE NOT AN IMPOSING FORCE ON IT.

WE'RE PART OF YOU.

AND WE STARTED BY WORKING WITH SOCIAL ORGANIZATIONS IN THE COMMUNITY, SCHOOLS AND THE COMMUNITY AND KEPT, YOU KNOW, REACHING THAT FARTHER AND FARTHER AND FARTHER OUT.

BUT IT'S A THEATER THAT'S DESIGNED TO HEAL.

IT'S A THEATER THAT'S DESIGNED TO ENLIGHTEN, ENRICH, YOU KNOW, EDUCATE.

IT'S A LITTLE BIT DIFFERENT THAN YOUR, YOU KNOW, THAN JUST GO IN FOR A GOOD TIME.

YOU CAN HAVE A GOOD TIME THERE, I PROMISE.

THERE'S SOME FUNNY SHOWS AND SOME WONDERFUL SHOWS, BUT I WOULDN'T DO THOSE SHOWS IF WE WERE ANYWHERE BUT WHERE WE ARE.

AND THAT'S HOW I PICK SHOWS ABOUT WHAT I THINK OUR COMMUNITY CARES ABOUT AND WHAT WE NEED TO DISCUSS AS A COMMUNITY.

KELLAR: YEAH, TALK ABOUT THAT A LITTLE BIT MORE ABOUT HOW YOU CHOOSE THE SHOWS.

YOU READ A LOT OF SCRIPTS.

MEYERS: I DO.

I READ A LOT OF SCRIPTS.

AND NOW, YOU KNOW, IT'S SO EASY FOR PEOPLE TO SEND SCRIPTS.

IT USED TO BE, YOU KNOW, BACK WHEN I WAS DOING DRAMATURGICAL WORK AT THE PLAYHOUSE, I WOULD HAVE STACKS AND STACKS OF SCRIPTS.

NOW I HAVE AN INBOX AND EVERYBODY SENDS THEM TO ME ELECTRONICALLY.

SO THERE'S FOLDERS AND FOLDERS OF PLAYS.

BUT THE IDEA OF CHOOSING A SEASON IS I ALWAYS TRY TO FIND A MISSION FOR THE SEASON, A REASON TO DO THE SEASON.

KELLAR: A THEME?

MEYERS: A THEME, YOU KNOW.

SO FOR EXAMPLE, SEASON COMING UP COULD BE CALLED THRIVE BECAUSE WE ALL NEED TO LEARN TO THRIVE AGAIN.

IT'S NOT JUST SURVIVE.

WE'VE HAD SEASONS ABOUT TENACITY WHEN WE WERE TRYING TO MAKE IT IN THE OLD DAYS.

WE'VE HAD, YOU KNOW, WE'VE HAD SEASONS ABOUT LOYALTY WHEN WE WERE COMING OUT OF 9/11 AND WHAT IT MEANS TO TO TAKE CARE OF OUR OWN.

SO IF YOU THINK ABOUT A GENERAL IDEA OF THRIVING, THEN THE PLAYS THAT YOU DO ALL ARE ABOUT HELPING THE AUDIENCE COME TOGETHER TO REALIZE WE CAN GET PAST THE PANDEMIC, WE CAN GET PAST THE SETBACKS IN OUR WORLD IF WE PLAN ON WHAT'S NEXT.

KELLAR: YEAH.

MEYERS: IF WE LOOK FORWARD.

KELLAR: YEAH, EXACTLY.

SO YOU READ A LOT OF SCRIPTS.

DO YOU HAVE OTHER PEOPLE HELP YOU?

MEYERS: I DO.

I'M VERY LUCKY.

I HAD A WONDERFUL -- I HAVE A WONDERFUL VOLUNTEER WHO'S WITH OUR PRODUCERS ORGANIZATION, THE VOLUNTEER ORGANIZATION.

HER NAME IS PAT WHITSON.

SHE'S BRILLIANT.

SHE WAS A TEACHER FOR MANY, MANY YEARS IN THE SCIENCES.

BUT SHE HAS AN UNCANNY WAY OF DISSECTING AND READING SCRIPTS.

ANNA SHERIDAN, WHO'S AN ASSOCIATE OF MINE AT PLAYHOUSE -- OR AT ETC.

AT PLAYHOUSE, WE HAD A WHOLE COMMITTEE OF PEOPLE.

AT ETC WE DON'T HAVE A COMMITTEE, BUT WE DO HAVE THESE INDIVIDUALS.

THEN I HAVE THESE WONDERFUL APPRENTICES THAT ARE WITH ME AND I SEE WHAT THEY THINK.

THEN I HAVE ACTORS THAT I ALWAYS WANT TO USE IN THE SEASON AND I GET THEIR OPINIONS.

SO I DO GET A LOT OF OPINIONS, BUT AT THE END OF THE DAY -- KELLAR: IT'S YOUR CALL.

MEYERS: MY CALL, FOR BETTER OR WORSE, YOU KNOW, SOMETIMES YOU WIN, SOMETIMES NOT SO MUCH.

KELLAR: YEAH.

HAS ANYTHING EVER TURNED OUT NOT TO BE WHAT YOU HAD HOPED?

MEYERS: YES.

YES.

THERE HAVE BEEN SHOWS THAT I THOUGHT WOULD BE JUST KILLER BLOCKBUSTERS THAT DID NOT DO THAT AND LEARNED LESSONS FROM THEM.

IT WAS A GOOD SHOW.

IT WAS JUST IT WAS KIND OF TOO SILLY.

ENSEMBLE AUDIENCES WANT TO THINK.

SO NOW YOU CAN DO SOMETHING LIKE THE WONDERETTES, WHICH WE'VE DONE SEVERAL.

KELLAR: WONDERFUL, OH YEAH.

MEYERS: BUT IT'S JUST -- IT'S SO WONDERFUL BECAUSE WE ALL KNOW THOSE WOMEN AND THOSE ACTRESSES ARE SO APPEALING.

KELLAR: YEAH.

MEYERS: SO YOU CAN DO THAT BECAUSE IT'S LIKE A BREATH OF FRESH AIR.

KELLAR: YEAH.

MEYERS: BUT THEN THAT ALLOWS YOU TO TURN AROUND AND DO SOMETHING LIKE PIPELINE ABOUT THE SCHOOL TO PRISON PIPELINE, WHICH IS AFFECTING OUR NATION BECAUSE EVERYBODY'S TAKEN A NICE BREATH.

AND THEN THEY COME IN AND THEY HAVE SOMETHING TO THINK ABOUT.

BUT OH, YEAH, SOMETIMES.

ALTHOUGH I HAVE TO SAY THE -- MY WORST FAILURE AT ETC FINANCIALLY, AND WE WERE IN HARD TIMES THEN, WAS ALSO, I THINK, THE MOST IMPORTANT PLAY I EVER DID.

AND THAT WAS A PLAY CALLED PRAYING FOR RAIN.

IT WAS BY ROBERT LOUIS VAUGHAN, AND IT WAS ABOUT SUICIDE.

IT WAS ESSENTIALLY ABOUT TAKING -- YOUNG PEOPLE TAKING CARE OF EACH OTHER, AND NOBODY WANTED TO COME.

IT WAS JANUARY.

THE REVIEWS WERE TERRIBLE.

I MEAN, WE COULDN'T GIVE TICKETS AWAY, SO I BROUGHT A SCHOOL IN.

I WON'T SAY THE NAME OF THE SCHOOL, BUT IT WAS A SCHOOL FOR AT RISK YOUTH AND WE GAVE THEM FREE TICKETS AND THEY DIDN'T WANT TO BE THERE.

BUT THE NEXT DAY I GOT A CALL FROM A TEACHER WHO SAID THAT ONE OF THE STUDENTS HAD BEEN THERE AND HE THREW A CHAIR THROUGH A WINDOW AND THEY CALLED THE POLICE.

BUT HE SAID IT WAS BECAUSE OF THAT PLAY AND BECAUSE THAT PLAY MADE HIM REALIZE THAT HIS PLANNED SUICIDE, WHICH HE PLANNED TO DO THAT DAY, HE WASN'T GOING TO DO BECAUSE ALL THE PEOPLE WOULD STILL JUST KEEP GOING ON AND HE'D BE GONE.

SO, YEAH, THAT DIDN'T MAKE $0.05, BUT IT SAVED SOMEBODY.

KELLAR: YEAH.

MEYERS: AND YOU KNOW, HOW CAN YOU POSSIBLY MEASURE THAT AS NOT A SUCCESS?

KELLAR: RIGHT.

WELL, I DON'T KNOW OF ANY THEATER THAT ONLY HAS SUCCESSES.

MEYERS: NO, YOU CAN'T.

KELLAR: I MEAN, IT'S JUST PART OF -- IT'S JUST PART OF THE -- AND ALSO, ANY GIVEN PLAY IS GOING TO BE A SUCCESS TO THIS GUY AND A FAILURE TO THE NEXT.

MEYERS: THAT'S RIGHT.

KELLAR: SO WHAT YOU'RE TRYING TO DO IS BRING A MESSAGE TO, HOPEFULLY, TO AS MANY PEOPLE AS POSSIBLE AND A VARIETY OF MESSAGES.

AND ONCE IN A WHILE, SOMETHING REALLY FUN, WHICH I STILL REMEMBER SO VIVIDLY SO MANY OF THE MUSICALS THAT WERE JUST ABSOLUTELY FANTASTIC.

MEYERS: AND THE MUSICALS, SOME OF THEM WERE JUST BRIGHT AND WONDERFUL AND SOME OF THEM, LIKE ONE OF MY FAVORITE SHOWS WE'VE EVER DONE IS HANDS ON A HARDBODY.

AND, YOU KNOW, IT WAS ABOUT TEN PEOPLE TRYING TO WIN A PICKUP TRUCK, YOU KNOW?

MEYERS: BASED ON THE DOCUMENTARY AND DOUG WRIGHT, WONDERFUL PULITZER WINNER, WROTE THAT.

BUT IT HAD A LITTLE SOMETHING OF ALL OF AMERICA IN IT.

KELLAR: EXACTLY.

MEYERS: AND I JUST, OH, THE IDEA OF TRYING TO GET THAT TRUCK ON STAGE WAS STILL ONE OF THE HARDEST THINGS.

IT WAS A REAL PICKUP TRUCK, AND WE HAD TO GET IT THROUGH THESE LITTLE DOORS.

NOW, I COULD GET A TRUCK IN THERE EASY, NO PROBLEM NOW.

KELLAR: THE ONE THAT PAM MEYERS WAS ASSIGNED AS A ROOMMATE -- MEYERS: TO DALE HODGES.

KELLAR: YES, THAT WAS JUST FANTASTIC.

MEYERS: FABULOUS.

KELLAR: YEAH.

MEYERS: CAN YOU IMAGINE ANYTHING BETTER THAN THOSE TWO WOMEN TOGETHER, ANYWAY?

KELLAR: NO, IT WAS REALLY, REALLY.

MEYERS: OH, THAT WAS SO WONDERFUL.

AND THEY WERE JUST PERFECT.

IN FACT, THAT'S A LOT OF TIMES ANOTHER REASON I'll PICK A SHOW IS I PICKED THAT SHOW FOR THE TWO OF THEM.

KELLAR: YEAH.

MEYERS: YOU KNOW, I WASN'T GOING TO DO THAT SHOW UNLESS I KNEW THAT -- KELLAR: THAT YOU HAD THE PEOPLE, BECAUSE OTHER PEOPLE -- MEYERS: NO, THEY COULDN'T POSSIBLY, NO.

KELLAR: THAT WAS ABSOLUTELY PERFECT.

MEYERS: THEY WERE JUST SO MARVELOUS.

AND YOU DO PICK SHOWS SOMETIMES WITH WITH PEOPLE DEFINITELY, YOU KNOW, DEFINITELY IN MIND.

ANNIE FITZPATRICK'S A WONDERFUL, WONDERFUL ACTRESS.

AND, YOU KNOW, THERE WAS -- THERE WERE WAS RABBIT HOLE SEVERAL YEARS AGO.

AND I'M LIKE, ANNIE HAS TO PLAY THAT ROLE.

KELLAR: YEAH, THERE WAS ONE, AND I CAN'T REMEMBER THE NAME, IT WAS A LONG TIME AGO.

IT WAS FOR GUYS SINGING -- FOUR GUYS SINGING.

THE ONE -- THERE WERE -- THE THREE WERE READY AND THEY CAME TO BE ON THE SHOW.

THE OTHER ONE HAD JUST GOTTEN HIS SCRIPT THAT DAY.

SO THE THREE OF THEM, AND OUR BELOVED SCOTT.

MEYERS: YES.

KELLAR: HE WAS THE DIRECTOR.

AND SO -- AND WE -- THEY WERE GOING TO DO A RUN THROUGH BEFORE WE STARTED.

AND THEY DID THIS RUN THROUGH.

I THOUGHT, "OH, MY GOD, THAT'S TERRIBLE."

I WAS HORRIFIED.

I THOUGHT, "OH, NO."

WELL, THEY DID IT AGAIN.

AND THEN LIKE THE THIRD TIME, IT WAS FABULOUS.

ABSOLUTELY.

I'M GETTING GOOSEBUMPS.

IT WAS THE MAGICAL -- ABSOLUTELY FABULOUS.

THOSE KIDS WERE INCREDIBLE.

IT WAS THE BEST SHOW.

MEYERS: IT WAS WONDERFUL.

THAT WAS LIFE COULD BE A DREAM LIFE.

KELLAR: LIFE COULD BE A DREAM.

MEYERS: SCOTT GOT IN THERE, AND YOU'RE RIGHT, IT LITERALLY TURNED FROM MUD TO DIAMONDS.

KELLAR: YEAH, EXACTLY.

MEYERS: AND SCOTT COULD DO THAT.

AND THOSE YOUNG MEN WERE VERY TALENTED.

AND YOU'RE RIGHT, THE ONE KID HAD JUST GOTTEN IT.

HE HAD JUST GOTTEN HIS SCRIPT.

KELLAR: THEY LEFT HIM OUT BECAUSE, DUH.

MEYERS: HE HAD JUST GOTTEN IT, JUST NOW.

YOU KNOW, THAT'S PART OF DOING LIVE THEATER.

YOU KNOW, SOMETIMES YOU'LL HAVE TO DO A QUICK REPLACEMENT SOMEBODY.

I MEAN, I HAVE TO SAY THAT, YOU KNOW, DURING THE PANDEMIC WE DID -- WHEN WE REOPENED, WE NEVER -- WE DIDN'T MISS A SINGLE PERFORMANCE.

AND THAT'S A GREAT VICTORY TO HAVE PEOPLE STAY WELL.

BUT, YOU KNOW, SOMETIMES SOMETHING HAPPENS.

I'VE HAD PEOPLE ON THEIR WAY TO THE THEATER WHOSE CAR HAVE BROKEN DOWN.

KELLAR: OH, MY GOODNESS.

AND THEN WHAT DO YOU DO?

MEYERS: WELL, THEN -- KELLAR: YOU HAVE UNDERSTUDIES?

MEYERS: SOMETIMES YOU DO.

AND, YOU KNOW, ESPECIALLY, IT SEEMS TO ALWAYS HAPPEN AROUND THE HOLIDAY SHOW.

AND THEN WE HAD ANOTHER TIME, THIS WAS ANOTHER TIME WE HAD SOMEBODY START THE SHOW AND SHE WAS PLAYING A BIRD IN CINDERELLA AND SHE GOT VERY SICK AFTER THE SECOND SCENE AND WOULDN'T YOU KNOW, IT WAS A SCHOOL SHOW.

AND SO SHE WENT OFF AND WE COULDN'T PUT HER BACK ON.

SO THE SPIDER AND THE TOAD TOOK UP ALL THE REST OF IT AND DID THE WHOLE SHOW.

AND WOULDN'T YOU KNOW, THERE'S KIDS AT THE END OF THE SHOW WANTED TO KNOW WHAT HAPPENED TO THE BIRD?

WHERE DID THE BIRD GO?

WHERE DID THE BIRD GO?

KELLAR: YOU THOUGHT THEY WOULDN'T PAY ATTENTION.

MEYERS: YOU KNOW, THE YOUNG WOMAN PLAYING THE TOAD DIDN'T MISS A BEAT.

SHE SAID, "OH, SHE HAD TO GO BACK TO THE NEST.

THE BIRDS NEST."

AND THE KIDS WERE LIKE, "OH, OKAY."

BUT OH YEAH, SOMETIMES YOU HAVE THE FUNNIEST THINGS THAT'LL HAPPEN.

NOT OFTEN, THANK GOODNESS.

KELLAR: YES, RIGHT, RIGHT.

MEYERS: NOT OFTEN.

KELLAR: CAN YOU NAME YOUR BEST SUCCESS OVER THE YEARS?

MEYERS: THAT'D BE REALLY HARD.

KELLAR: I KNOW.

MEYERS: I WILL SAY, YOU KNOW, THIS IS GOING TO SOUND SO HARD AND ODD.

BUT HONESTLY, HEDWIG AND THE ANGRY INCH.

KELLAR: I THOUGHT YOU WERE GOING TO SAY THAT.

MEYERS: IT SAVE THE THEATER.

KELLAR: IT SAVED THE THEATER.

AT A TIME WHEN YOU REALLY NEEDED IT.

MEYERS: WE HAD NO HOPE.

AND I HAD READ AND READ ABOUT HEDWIG AND THAT, YOU KNOW, IT WAS STILL OFF, OFF-BROADWAY.

KELLAR: IT WAS WELL KNOWN.

MEYERS: IT WAS IN NEW YORK KNOWN BUT IT HADN'T BEEN DONE REGIONALLY.

NOBODY'S DONE IT REGIONALLY.

YOU KNOW, CAMERON MITCHELL HAD, YOU KNOW, PRODUCED IT FOR HIMSELF.

AND I GOT THE RIGHTS TO IT.

AND I REMEMBER THE LATE JACKIE DEMALINE SAYING, "YOU'RE DOING IT?"

I MEAN, SHE COULDN'T BELIEVE WE WERE GOING TO, SHE WAS HAPPY WE WERE DOING IT.

AND BUT FOR THE GENEROSITY OF LOIS AND DICK ROSENTHAL, WHO, YOU KNOW, THEY -- I SAID, "THIS IS WHAT I NEED.

IT'S GOING TO WIN OR LOSE.

IF IT WINS, WE STAY OPEN."

KELLAR: YEAH.

MEYERS: AND IT WON.

KELLAR: WELL, YOU'VE BEEN REALLY LUCKY, AND FOR GOOD REASON, TO HAVE SO MANY.

I KNOW THE ROSENTHAL'S AND THEN MICKEY CAPLAN.

MEYERS: OH, MICKEY, YEAH.

KELLAR: STEPPED UP.

MEYERS: SO MARVELOUS.

AND THEN THE -- RUTH -- RUTH AND JOHN SAWYER, AND MURPH AND KEN.

KELLAR: YEAH.

AND YOU'VE HAD -- MEYERS: SO MANY WONDERFUL PEOPLE, OTTO BUDIG, YOU KNOW, I SAW HIS NAME, YOU KNOW, HERE IN THE LOBBY.

I MEAN, OTTO IS ONE OF THE KIND, YOU KNOW, HE'S SO KIND.

KELLAR: YEAH.

MEYERS: ALSO, YOU KNOW, HE DOESN'T INVEST IN BAD BUSINESS PEOPLE BECAUSE HE'S A GOOD BUSINESSMAN.

KELLAR: YOU NEED THAT.

MEYERS: YOU NEED THAT.

BUT THE HEDWIG, WHAT WE DID WAS WE HIRED ALL THESE INDI BAND MEMBERS.

SO ALL THE MUSICIANS ARE VERY BRAVE.

SO THEY CAME TO HEAR THEIR FELLOW BAND MATES AND THEN THE ACTORS AND THE PUBLIC FOLLOWED.

AND WE DID HEDWIG IN '01, '03, AND THEN WHEN WE REOPENED THE THEATER IN '17-'18.

KELLAR: YEAH.

MEYERS: AND OF COURSE, TODD ALMOND, A GRADUATE OF CCM, BROADWAY STAR NOW AND COMPOSER EXTRAORDINAIRE.

IT DIDN'T HURT TO HAVE TODD ALMOND PLAY HEDWIG.

KELLAR: EXACTLY.

MEYERS: MOST WONDERFUL.

ONE OF THE MOST WONDERFUL PEOPLE I'VE EVER WORKED WITH.

KELLAR: DO YOU MOSTLY USE LOCAL PEOPLE?

MEYERS: YES.

KELLAR: YEAH, YOU TRY TO.

MEYERS: I TRY.

IN FACT, I PICK SHOWS WITH SOME ACTORS IN MIND, LIKE I MENTIONED YOU, YOU KNOW, ABOUT THE WONDERFUL ANNIE FITZPATRICK.

YOU KNOW, WE HAVE PEOPLE LIKE MICHAEL BATH WHO'S TERRIFIC.

YOU KNOW, THERE'S JUST SO MANY GREAT PEOPLE HERE THAT HAVE OVER THE YEARS, YOU KNOW, SOME OF THEM STARTED AS APPRENTICES.

AND NOW 20 YEARS LATER, YOU KNOW, THEY'RE DOING LEAD ROLES.

SARAH MACKEY COMES TO MIND.

SHE CAME IN AS AN APPRENTICE.

KELLAR: YEAH.

MEYERS: YOU KNOW, IT'S A WAY TO INVEST IN CINCINNATI.

IT'S A WAY TO SAY, "IF YOU'RE A TALENTED ACTOR OR DIRECTOR OR WRITER--" KELLAR: THERE'S A PLACE FOR YOU HERE.

MEYERS: YOU KNOW, OUR MARVELOUS SCENIC DESIGNER, BRIAN MARIN, I MEAN, HE'S WORLD CLASS.

AND WENT TO CCM LEFT TOWN BUT CAME BACK FOR ETC.

KELLAR: SO TELL US ABOUT THE RENOVATION.

YOU HAVE A BRAND NEW -- MEYERS: IT'S SO BEAUTIFUL.

KELLAR: YEAH.

TELL US ABOUT HOW IT HAPPENED AND -- MEYERS: OH, WELL IT WAS OVERNIGHT, 12 YEARS IN THE MAKING.

KELLAR: OH, YEAH.

MEYERS: IT WAS A LONG PROCESS.

YEAH.

KELLAR: AND IN FACT, NEITHER RUTH SAWYER OR MURPH MAHLER LIVED TO SEE IT COMPLETED, ALTHOUGH THEY HAD PICKED THE ARCHITECT.

THAT'S HOW LONG IT HAD TAKEN.

BUT I HAVE A FEELING THEY CAN -- THEY'VE GOT A PRETTY GOOD VIEW OF IT NOW.

YEAH, BUT IT'S REALLY WONDERFUL.

WHAT'S SO WONDERFUL ABOUT IT IS IT'S SO ACCESSIBLE.

IT'S ABSOLUTELY ECONOMICAL IN DESIGN.

SO GBBN SAID, "WHAT DO YOU WANT YOUR COLORS TO BE?"

AND WE SAID, "BRICK AND GLASS."

SO ESSENTIALLY THE BEAUTIFUL WALLS THAT SOMEONE BUILT 110 YEARS AGO ARE ON DISPLAY.

THE FRONT IS GLASS, WERE CONNECTED WITH GLASS.

AND WHAT WE DID WAS WE TOOK THE WORST BAR IN CINCINNATI.

WE HAD OWNED THAT.

IT WAS CONDEMNED.

SO WE OWNED THAT, TURNED THAT INTO A NEW BAR, PAVED OVER A PARKING LOT TO PUT AN ELEVATOR IN AND A BEAUTIFUL STAIRCASE.

AND THEN THE NEXT BUILDING WE PURCHASED, OTTO PURCHASED FOR US.

AND SO ON OUR PROPERTY, 40% OF THE 1100 BLOCK OF VINE WE HAVE OUR BEAUTIFUL THEATER.

WE HAVE A GORGEOUS LOBBY THAT WE CAN HAVE ALL KINDS OF RECEPTIONS IN AND A BAR.

WE HAVE TWO MARVELOUS CLASSROOMS AND WORK ROOMS UPSTAIRS IN THE BAR AREA.

WE THEN HAVE THIS INFILL BUILDING WHICH HAS A PAINT SHOP IN THE BACK, AN ELEVATOR IN THE MIDDLE, A LOBBY IN THE FRONT.

AND THEN IN THE NEW BUILDING, THE NEWEST OF THE FOUR BUILDINGS, OUR SCENE SHOP IS ON THE FIRST FLOOR AND OUR OFFICES ARE ON THE SECOND.

SO WE ARE TOTALLY ABLE TO BUILD, PRODUCE, PRESENT EVERYTHING WITHIN OUR 40% OF THE VINE STREET BLOCK.

KELLAR: YOU'VE GONE FROM DOING WHAT -- MAKING DUE.

MEYERS: MAKING DUE.

KELLAR: MAKING DUE.

THAT WOULD BE THE SLOGAN, MAKING DUE, MEYERS: MAKING DUE.

KELLAR: BECAUSE THE OLD LOBBY WAS -- IT WAS -- IT WAS KIND OF FUN BECAUSE YOU HAD TO SPEAK TO ME.

YOU WERE JUST JAMMED IN THERE.

MEYERS: YOU WERE SHOULDER TO SHOULDER.

KELLAR: YEAH, AND SOMEBODY ACROSS THE ROOM YOU COULD NEVER GET TO BECAUSE -- MEYERS: NO, BECAUSE YOU WERE JUST STUCK TOGETHER LIKE THIS.

AND WE HAD A LITTLE CORNER THING WHERE WE'D SELL LIKE A LITTLE POP.

KELLAR: YES, A LITTLE POP.

MEYERS: NOW WE HAVE THIS BIG BAR.

KELLAR: DRINK SOME COFFEE.

MEYERS: BUT I THINK ONE OF OUR WONDERFUL BOARD MEMBERS, MARY STAGAMAN, SAID IT BEST, "IT'S LIKE WE'VE GONE FROM SURVIVE TO THRIVE."

KELLAR: YEAH.

MEYERS: AND THAT'S IT.

YOU KNOW, IT TAKES WORK TO THRIVE AND KEEP THRIVING.

KELLAR: ABSOLUTELY.

MEYERS: BUT, YOU KNOW, IT WAS LITERALLY, I CAN'T TELL YOU HOW MANY TIMES WE WERE CLOSE.

THE DOORBELL WOULD RING AND IT WOULD BE LIKE, "OH, WE'RE STILL IN BUSINESS."

KELLAR: YEAH, I HAVE TO GIVE A SHOUT OUT.

I DIDN'T REALIZE THAT GBBN DID THAT.

AND IT'S FABULOUS.

MEYERS: IT IS.

KELLAR: THEY DID THE NEW BALLET BUILDING, WHICH IS THE MOST INCREDIBLE ARCHITECTURALLY.

IT'S JUST MIND BOGGLING IT'S SO GORGEOUS.

MEYERS: AND WHAT A LEGACY FOR VICTORIA BECAUSE IT LOOKS LIKE VICTORIA TO ME.

KELLAR: YEAH.

MEYERS: THE BUILDING REMINDS ME OF HER GRACE AND BEAUTY AND ELEGANCE.

AND NOW WE HAVE THIS WONDERFUL PERSON COMING IN TO MAKE IT HER HOME.

BUT NO, I MEAN, GBBN MADE EVERY INCH OF OUR PROPERTY USEFUL AND ACCESSIBLE BECAUSE WE WORK WITH SO MANY PEOPLE AND CHILDREN THAT DON'T HAVE EASY ACCESS TO THE ARTS THAT WE DO NOW.

AND I'M PROUD OF THEM.

KELLAR: WHAT ELSE?

WE KNOW YOU HAVE WAFFLES ON ONE SIDE, BUT IS THAT THE ONLY OTHER THING NOW ON THE BLOCK?

MEYERS: NO, NO.

KELLAR: I THOUGHT THERE'S SOMETHING ON THE OTHER SIDE.

MEYERS: NO, ON THE OTHER SIDE THERE'S COPPER AND FLAME, WHICH IS A -- IT'S A BAR AND RESTAURANT.

AND IT'S A VERY UNIQUE SETUP.

YOU CAN, YOU KNOW, LIKE POUR YOUR OWN.

IT'S VERY -- IT'S VERY COOL.

WE HAVE ONE OF OUR FIRST YOUNG PROFESSIONALS EVENTS THERE CALLED SHOW UP, AND THEY WERE WONDERFUL HOSTS.

SO THERE'S THAT.

THERE'S STILL THE PAWN SHOP THAT I THINK HAS BEEN THERE LONGER THAN -- KELLAR: AN ACTUAL PAWN SHOP?

MEYERS: IT IS AN ACTUAL PAWN SHOP.

IT'S THERE.

YEAH, IT IS THERE.

IT IS PINK.

IT HAS A PINK EXTERIOR.

AND THEN ON THE CORNER THERE'S A RENTAL SPACE THAT PEOPLE COME IN AND HAVE BIG PARTIES THERE OR THEY RENT FOR SPECIAL EVENTS.

SO IT'S A HIGHLY POPULATED BLOCK NOW, AT LEAST STREET LEVEL.

KELLAR: BUT IT'S ALL LEGITIMATE ACTIVITY AND -- MEYERS: ALL LEGITIMATE, HAPPY ACTIVITY.

KELLAR: EVERY ILLEGITIMATE THING YOU COULD POSSIBLY IMAGINE.

MEYERS: MY GOODNESS, THAT WAS NOT A GOOD TIME.

NO, NO.

KELLAR: YOU EVER FEEL UNSAFE JUST COMING AND GOING.

MEYERS: SURE.

KELLAR: ABSOLUTELY.

ALL THE TIME.

MEYERS: BUT WE WERE SENSIBLE.

WE KNEW THAT, YOU KNOW, DANGER COULD BE ANYWHERE.

MY -- YOU KNOW, MY POOR MOM GOT MUGGED, YOU KNOW, 2:00 IN THE AFTERNOON AT KROGER.

BUT WE WORKED TOGETHER, YOU KNOW, WE WORK AS A TEAM, AND WE LEFT TOGETHER.

AND, YOU KNOW, I THINK THAT NOW THERE'S JUST SO -- MY WONDERFUL OFFICER, NICK LOGAN, WHO'S BEEN WITH US FOR 20 YEARS, HIS STATEMENT WAS, "I USED TO KNOW EXACTLY WHO WAS COMING HERE.

NOW THERE'S SO MANY PEOPLE, I CAN'T TELL WHO'S JUST COMING HERE."

THAT'S THE MOST WONDERFUL ENDORSEMENT FOR THE NEIGHBORHOOD.

KELLAR: YEAH.

MEYERS: I THINK WHERE ANY PLACE YOU LIVE, YOU JUST NEED TO BE A LITTLE CAUTIOUS.

KELLAR: OF COURSE.

MEYERS: AT ETC, YOU CAN, YOU KNOW, IF YOU NEED TO, YOU CAN PARK AT THE CURB AND WE HAVE SECURITY IN FRONT.

AND, YOU KNOW, WIDE OPEN, BEAUTIFUL.

ONE THING THAT MAKES ALL OF US FEEL SAFE IS THE FACT THAT BEING SO CONNECTED TO THE COMMUNITY, WE KNOW THE COMMUNITY.

THE COMMUNITY KNOWS US.

WE'RE TOGETHER.

IT'S NOT US AND THEM.

KELLAR: RIGHT.

MEYERS: SO WE LOOK OUT FOR EACH OTHER, YOU KNOW, THE NOSE ACROSS THE PARKING LOT.

WE, YOU KNOW, GET -- WE TAKE CARE OF EACH OTHER.

WONDERFUL STORES LIKE MICA AT THE CORNER, YOU KNOW.

AND WHEN WE'RE GOING TO BE OPEN, MICA IS OPEN.

YOU KNOW, IF WE'RE GOING TO BRING 180 PEOPLE IN, LET'S GET THE SHOP OPEN.

KELLAR: IS THAT HOW MANY SEATS YOU HAVE?

MEYERS: 182.

KELLAR: I WAS THINKING 200, BUT -- MEYERS: BEFORE THE RENOVATION WE HAD 191.

BUT BECAUSE WE MADE THE SEATS A LITTLE WIDER.

KELLAR: GOOD.

WE'RE ALL GETTING WIDER, LET'S FACE IT.

YES.

MEYERS: WE WANTED TO HAVE MORE ACCESSIBLE SEATING, SO WE DO NOW, WHICH IS GREAT.

WE HAVE THE WHOLE FRONT ROW AND THE WHOLE BACK ROW, SO WE CAN ACTUALLY TAKE THEM OUT LIKE ON A LITTLE SLED.

SO IT'S REALLY EASY BECAUSE WHEELCHAIRS ARE GETTING LARGER TOO, AND EVEN CHILDREN'S CHAIRS.

AND WE HAVE A LOT OF CHILDREN THAT COME AND NEED THAT SEATING.

SO AGAIN, YOU KNOW, SO WE LOST A FEW SEATS, BUT WE'VE GAINED IT IN ACCESSIBILITY.

KELLAR: YEAH.

MAKING YOUR PERSON COMFORTABLE I THINK IS SO IMPORTANT.

AND I'VE BEEN IN THEATERS WHERE I DIDN'T CARE WHAT WAS GOING ON IN THE STAGE I WAS SO UNCOMFORTABLE.

MEYERS: NO, IF YOU'RE SCRUNCHED UP.

AND YOU KNOW, AND I'M NOT VERY TALL, AS MOST PEOPLE KNOW.

THE GREAT THING ABOUT ENSEMBLE IS IT'S A STEEP RAKE.

KELLAR: YES.

MEYERS: NOW, IT'S A VERY SAFE THING BECAUSE YOU CAN TAKE AN ELEVATOR UP AND WALK DOWN, YOU KNOW, SO IT'S EASY TO GET TO YOUR SEAT, BUT YOU'RE NOT GOING TO HAVE SOMEBODY SIX FOOT FOUR IN FRONT OF YOU FIVE FOOT TO NOT BE ABLE TO SEE OVER.

KELLAR: RIGHT.

YEAH.

MEYERS: THAT'S A GOOD THING.

KELLAR: YEAH.

WELL EVERYTHING HAS WORKED OUT AND IS WORKING AND YOU GOT THROUGH COVID.

MEYERS: WE DID.

KELLAR: AND YOU WERE UP AND RUNNING AND JUST WAITING FOR EVERYBODY TO REALIZE IT'S ON AGAIN.

AND I THINK PEOPLE ARE GOING TO BE REALLY, REALLY SURPRISED IF THEY HAVEN'T SEEN THE RENOVATION.

IT'S JUST A VERY WELCOMING, FUN.

OH, LET'S GO IN HERE.

EVEN IF YOU DON'T KNOW THAT IT'S A SHOW.

MEYERS: THAT'S TRUE.

KELLAR: OH, WAIT, LET'S SEE THIS SHOW.

MEYERS: I MEAN, THAT'S TRUE, I THINK THANK YOU FOR SAYING THAT, BECAUSE THE FIRST TIME BLINK WAS HERE, WE WERE STILL RENOVATING.

AND WE OPENED THE BAR.

AND PEOPLE CAME IN AND HAD A DRINK AND LOOKED AROUND.

BECAUSE IT IS -- IT'S -- WE'VE PUT OUT THE WELCOME MAT FOR THE CITY AND HOPE EVERYBODY COMES AND SEES US.

KELLAR: WELL, AND WHAT YOU DO IS SUCH A PHENOMENAL GIFT TO THE CITY AND JUST YOU AS A PERSON AND A PERSONALITY.

YOU ARE ETC AND WE LOVE ALL YOUR SUCCESS.

MEYERS: THANK YOU.

KELLAR: AND CINCINNATIANS SHOULD BE VERY PROUD AND THANKFUL TO HAVE YOU.

MEYERS: WELL, I'M PROUD AND THANKFUL THAT YOU LET ME COME ON, BARBARA, BECAUSE YOU'RE A SUPERSTAR.

KELLAR: YEAH, YEAH, RIGHT.

MEYERS: I'M DELIGHTED AND GRATEFUL TO HAVE THE TIME TO CHAT WITH YOU.

KELLAR: YEAH.

THANK YOU VERY MUCH.

MEYERS: THANK YOU SO MUCH.

ANNOUNCER: JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR RIGHT HERE ON CET.

CAPTIONS: MAVERICK CAPTIONING CIN OH MAVERICKCAPTIONING.COM