No’Ala Huntsville, May/June 2016

STARS FELL ON ALABAMA | BEER NERDS | 50 YEARS OF THEATRE IN HUNTSVILLE

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MAY/JUNE $4.95

A SUMMERPLAYLIST

BANDS, BEER, & BACON:

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820 Monte Sano Boulevard

Huntsville, AL 35801

256-539-9699 | thelittlegreenstore.net

MUSCLE SHOALS SOUNDNow Muscle Shoals has got the Swampers. Names like Aretha Franklin, The Rolling Stones and Jason Isbell

are also associated with the Muscle Shoals sound. Discover the Souths hidden music gem when you visit

the Marriott Shoal Hotel & Spa and enjoy live music in Swampers Bar & Grille every night. Located less than

threehours from Nashville, Memphis, Birmingham and other major cities, Muscle Shoals is just a short,

scenic drive away.

MARRIOTT SHOALS HOTEL & SPA 10 Hightower Place, Florence, AL 35630MarriottShoals.com, facebook.com/MarriottShoals

A part of the Resort Collection on Alabamas Robert Trent Jones Golf Trail

2015 Marriott International, Inc.

6 May/June

16

features

Abraham Rowe

Summer PlaylistA summer sound track of Americana, rock, bluegrass, Southern rock, and pop, from seven of the Valleys most innovative and diverse musicians. Meet the bands here; then stream their original tracks at noalastudios.com.text by roy hall and sara wright covingtonphotos by abraham roweassisted by evan billiter

34Stars Fell on AlabamaEight of our most glamorous friends play dress up as eight of our most in uential style icons.photos by robert rauschintro by roy hall

68Beer NerdsTh ree Huntsville brewmasters on the art and commerce behind your favorite local beers.by sara wright covingtonphotos by abraham rowe

Abraham Rowee

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84A Dining Room witha ViewPeek inside an exclusive dinner party in the sky, and learn how to plan your own summer soiree. by sara wright covingtonphotos by abraham and susan rowe

54Behind the ScenesTake a backstage tour of Huntsville community theatres thrilling past and promising futureby roy hallphotos by patrick hood

7 editors letter Allen Tomlinson noala huntsville

advisory boardOsie Adelfang

ARC Design-Build, Inc.

Lynne BerryHudsonAlpha Institute for Biotechnology

Sarah BrewerClick Photo Designs by Sarah Brewer

Kimberly CaseyLowe Mill Arts & Entertainment

Donna CastellanoHistoric Huntsville Foundation

Aissa Castilloaislerchic.com

Dan HalcombHuntsville Symphony Orchestra

Lauren McCauldeptofagraculture.com

Guy McClure, Jr.Athens State University

Tom Pattersonknowhuntsville.com

Dr. Holly PoweCalhoun Community College

Olivia ReedOlivia Reed Photography

Patrick RobbinsHuntsville Hospital

Ashley RyalsHomegrown Huntsville

Jennifer SwobodaHagerman & Company

Junior League of Huntsville

Lauren Tomasella Carney Lauren Tomasella Photography

Ashley VaughnWhite Rabbit Studios/Vertical House Records

Charles Vaughn Vaughn Lumber Company

Andrew WilmonBroadway Theatre League

New Beginnings. Cherished Traditions. Th e more things change, the more they stay the same. Or at least thats what they say.

Th ats our intent for this magazine. Beginning with this issue, Roy Hall begins his tenure as editor in chief of NoAla and NoAla Huntsville, replacing me and doing the job he pretty much has been doing for the past year or so anyway. You know Roy: hes the sharp, witty writer, the guy with the quick sense of humor and the eye for detail. For quite a while now, hes organized us and kept us in line, basically issuing marching orders for me, so its appropriate that he take the reins. Youll love him; we do.

For those of you who follow David Sims and me per-sonally on Facebook, you know that we are relocating to the Paci c Northwest. David will continue to de-sign the magazines from there, overseeing the cre-ative work that comes from our agency and these pub-lications. Th ats a cherished tradition that isnt chang-ing; the new beginning is my role as director of mar-keting and communica-tions for the Knight Cancer Institute in Portland, an organization with a billion dollars in the bank to in-vest in cancer research. Its a breathtaking challenge, one I could not pass up, although leaving the best spot in the world for the second best spot in the world has its bittersweet mo-ments. Matt Liles, the president of NoAla Studios, has spent the last two years training to replace me on the agency side, and he has better marketing instincts than I have. Youll love him; we do.

Jamie Noles will continue to be the liaison between the magazines and the cre-ative sta ; our stable of artists, writers, and creators remains intact. After all, the more things change, the more they remain the same. Weve been so humbled by the response and support our communities have given these magazines, and our pledge is to continue to give you the very best glimpse into the lives of the people who make these communities so special. You might not see me as much, but that wont matter. What matters is that you live in a great spot, you have retailers who deserve your support, and everything moves toward good. Th ank you for being such a loyal supporter. We love you for that.

Allen TomlinsonPublisher

Matt Liles Roy Hall

Jamie Noles David Sims

8 contents

MAY/JUNE 2016Volume 5: Issue 3

Publisher C. Allen Tomlinson

Editor-in-Chief Roy HallPresident Matthew Liles

Creative Director David SimsAdvertising Director Jamie Noles

Graphic Designer Rowan FinneganWeb Designer Justin Hall

Shopgirls Aissa Castillo, Lauren McCaulProofreader Carole MaynardDistribution Duell Aldridge

Contributing Writers

Sara Wright Covington, Sarah Gaede, Roy Hall, Chris Paysinger, Allen Tomlinson

Contributing Photographers

Lauren Tomasella Carney, Patrick Hood,Robert Rausch, Olivia Reed, Abraham Rowe,

Susan Rowe

NoAla Huntsville is published six times annuallyby NoAla Studios

PO Box 2530, Florence, AL 35630 Phone: (256) 766-4222 | Fax: (256) 766-4106

Toll-free: (800) 779-4222 Web: noalastudios.com

Standard postage paid at Huntsville, AL.A one-year subscription is $19.95 for delivery in the United States.

Signed articles re ect only the views of the authorsand do not necessarily re ect the views of the editors.

Advertisers are solely responsible forthe content of their advertisements.

2008-2016 NoAla Studios, All rights reserved.

Send all correspondence toRoy Hall, Editor, at the postal address above,

or by e-mail to [email protected] may be edited for space and style.

To advertise, contact us at(256) 766-4222 or [email protected].

The editor will provide writers guidelines upon request.Prospective authors should not submit unsolicited

manuscripts; please query the editor rst.

NoAla Huntsville is printed with vegetable-based inks.Please recycle.

Connect with us on Facebook: NoAla StudiosInstagram: noalastudios, Pinterest: NoAlaStudios,

and Twitter: @NoAla_Magazine

everything else98

10 Calendar Selected Events for May/June 2016

12 Cryin Out Loud Th e Princess and the Peanut Butter

by sara wright covington

48 Old SchoolHonky-Tonks: A Love Story by chris paysinger

90 ShopGirls by aissa castillo, lauren mccaul photos by lauren tomasella carney

108 Food for Th oughtLight and Springyby sarah gaede

110 Parting Shot by robert rausch

Patrick Hood

80Rocket City Sound CheckTalent agent and concert promoter Justin Tidwell on his bold vision for Huntsvilles live music future.

by sara wright covingtonphotos by olivia reed

O

livia Reed

Pigging OutHave Bacon, Will Travel: Have a seat behind the wheel of the I Love Bacon food truck.

by sarah gaede photos by patrick hood

Now Wednesday, September 14 (Wednesdays only)Homegrown Huntsvilles Dine & Dash

Join fellow foodies every second Wednesday from April through September on the Dine & Dash trolley, as it whisks you to four downtown establishments. Dine on hors doeuvres, sip on cocktails, and dash to the next location. Exact tour departure times and locations provided upon registration. Every second Wednesday; Admission charged; Location provided at registration; (256) 850-3231; homegrownhuntsville.com

Now Th ursday, October 20 (Th ursdays Only)Biergarten

Enjoy a festive atmosphere with imported and domestic beers and German wine. Its family friendly, and leashed dogs are welcome. Rain or shine. 4:30pm-7:30pm; FreeFood and beverages available for purchase; U.S. Space & Rocket Center, One Tranquility Base, Saturn V Hall; rocketcenter.com

Monday, May 2 Friday, September 30Th e Purdy Butter y House

Be entertained by the turtles, stunning oral displays, and twelve native species of colorful butter ies at one of the largest butter y houses in the country. In addition to the live plants and animals that call the Purdy Butter y House home, giant sculptures of a honey bee and orchid add to the colorful display. Mon-Sat 9:00am-6:00pm, Th u 9:00am-8:00pm, Sun noon-6:00pm; Admission charged; Huntsville Botanical Garden, 4747 Bob Wallace Ave; (256) 833-4447; hsvbg.org

Th ursday, May 5 Th ursday, May 26 (Th ursdays only)Maypril Music on the Square

Enjoy live music on the square as you shop, dine, sit, or stroll throughout beautiful downtown Huntsville. Th ursdays, 5:00pm-8:00pm; Free; Downtown Huntsville Square; downtownhuntsville.org

Th ursday, May 5 Th ursday, June 30 (Th ursdays only)Greene Street Outdoor Market at Nativity

Visit this downtown open-air market to nd locally grown fruits and vegetables, freshly prepared meals, traditionally made relishes and jams, plus breads, teas, and artwork. Listen to live music as you browse or borrow a bike to cruise around the historic districts. Th e Market has been expanded this year to include Art at Greene Street, which will feature artists, artisans, and prepared food vendors. Th ursdays, 4:00pm-8:00pm; Free to enter; 208 Eustis Ave; greenstreetmarket.com

10 calendar


Friday, May 6 Friday, June 10 (Fridays only)Lowe Mills Concerts on the Dock

Concerts on the Dock has grown from a small gathering of music lovers to an institution in the Huntsville music scene since 2008. Th is free, family friendly series is all about creating a laid-back atmosphere for friends of Lowe Mill to enjoy original content and interesting new acts. Fridays, 6:00pm-9:00pm; Free; 2211 Seminole Dr; lowemill.net

Friday, May 13 Saturday, May 21Forever Plaid

When four young singers are killed in a car crash, they posthumously take the stage for one nal gig in this goofy 1950s nostalgia trip. Th is deliciously fun revue is chock-full of classic barbershop quartet harmonies and pitch-perfect melodies. Fri-Sat 7:30pm, Sun 2:00pm and Th urs-Sat 7:30pm, Sat 2:00pm; Admission charged; Von Braun Playhouse; (256) 536-0807; theatrehsv.org

Friday, May 13 Friday, June 10 (Every other Friday)City Lights and Stars

Pack a picnic, dress casually, bring a blanket or lawn chair, and enjoy a spectacular view of the city while listening to great music. Featuring Mambo Gris Gris (5/13), Eric Essex (5/27), and the Winslow Davis Ensemble (6/10). Gates open at 6:30pm, Music begins at 7:30pm; Admission charged; Burritt on the Mountain, 3101 Burritt Dr; (256) 536-2882; burrittonthemountain.com

Saturday, May 14Fido Fest

Calling all dogs (and their humans) for a fun afternoon of live entertainment, pet photos, dog adoptions, a silent auction, and a four-legged friend marketplace. Bring your furry bestie to Bridge Street Town Centre, just outside Monaco Pictures. Bene tting the Greater Huntsville Humane Society. 11:00am-3:00pm; Free; Bridge Street Town Centre; (256) 327-8400; bridgestreethuntsville.com

Saturday, June 4Taste the Spirit of Madison

Presented by the Madison Chamber of Commerce, Taste the Spirit of Madison brings together food trucks, local businesses, and live music for a fun day the whole family can enjoy. 10:00am-3:00pm; Free; 100 Skate Park Dr, Madison; (256) 325-8317; madisonalchamber.com

Th ursday, June 9Voices of our Times: Bunny Williams

One of the leading interior designers working today, Bunny Williams has a modern vision, a sense of history, and the con dence to take an unexpected path. A tastemaker and a trailblazer, Williams style is classic but never predictable. She will share tips and advice on home dcor and garden design. 11:45am; Admission charged; Huntsville Museum of Art, 300 Church St; (256) 535-4350; hsvmuseum.org

Im not sure who started cutting the crusts off her bread. All I know is that one day Princess Kate went from a smiling PB & J enthusiast, happily eating her sandwiches in all their crusted glory, to a demanding picky eater, refusing all bread set before her not sans crust. And no, the princess to which I refer is not the current Duchess of Cambridge, but my four-year-old, Katherinealso referenced as the former, from the moment she practically pranced out of my womb, speaking in perfect sentences, turning her tiny nose up to anything but breast milk, and sleeping a maximum of two hours a night.

For me, the grand mystery of child rearing is likely no di erent than it was centuries ago, as I imagine parents have always pondered the ancient argument of nature versus nurture. So like any responsible parent questioning their childs behavior, I stare at her across the table and wonder who has created this picky eater. Is it her surroundings or just her DNA? Are we spoiling her or has she truly developed a crust aversion? And although I personally believe it is likely a combination of both, if I cant pin it on my husband, a grandparent, or one of her fellow picky friends, I go to my other default source of pretty much all blamethe Disney Princess Franchise. It might be reckless journalism to make this claim without proper sourcing/research, but I feel fairly certain that even if you dont have small children, watch television, listen to the radio, or bother to climb out from under the rock where youve been living for the last decade or so, youve heard of at least one or more of these little animated monarchs. Snow White, Cinderella, and Sleeping Beauty have all been on the scene for well over 50 years, so I feel fairly certain youve at least heard of those, while Th e Little Mermaids Princess Ariel, Beauty and the Beasts Princess Belle, and Tangleds Princess Rapunzel have arrived in more recent years, along with a

slew of others. Th e one thing all these ladies have in common? Th ey all end up with a prince. Every. Last. One.

When you are a mom of girls, you realize early on that Disney is omnipotent, and these famed females are in your life whether you like it or not. Th eir pink presences begin arriving when those baby girls are still in utero at baby showers and then at birthdays and holidays, via supermarket checkouts, television, movies, books, and more. And its not that I mind so much really, as I also

grew up with a few of these characters; its just that when I was growing up, these characters didnt permeate the marketplace as they do now, with theme parks, cruise ships, multiple entertainment networks, and endless merchandise lining the aisles of retail stores. My point is that in this sea of

pink propaganda, it can become di cult to manage a little girls expectations for life when the majority of these princess characters end up with Prince Charming, living in a palace.

But mommy, princesses do not wear pants, or the color black.

Mommy, princesses DO NOT have to brush their teeth.

How old am I going to be when I marry a prince, Mommy?

We argue over these things, while on the television in the background Belle from Beau-ty and the Beast bellows loudly from a hilltop in France that she wants adventure in

the greatwide somewhere, after rejecting a proposal from the roguishly handsome town brute that would no doubt destine her for a life of childbearing and husband servitude. Th en, in what I can assume is only a matter of days, Belle has shacked up with a beast and fallen in love with him as he seems to magically transform into a nice guy overnight.

12 cryin out loud Sara Wright Covington

THE PRINCESS AND THE PEANUT BUTTER

In this sea of pink propaganda, it can become di cult to manage a little girls expectations for life when the majority of these princess characters end up with Prince Charming, living in a palace.


My daughter, distracted from the no-pants ght, stops to swoon as she watches, and I have to bite my tongue not to say, Sweetie, nobody with that bad of a temper changes over night. When a man, er a beast, locks you in a room and tells you if you dont eat with me you dont eat at all, RUN LIKE HELL.

It truly would be reckless journalism for me not to point out, to Disneys credit, they have in recent years introduced a few more modern female protagonistsstrong leading la-dies who arent waiting around to be rescued by a princedemonstrating that girls really can do anything they set their minds too, whether its shooting arrows or going to war. And recent box o ce record breaker Frozen is also a bit more relatable. Main character Princess Elsa is born with ice in her veins and learns at an early age that getting emotional or an-gry causes her to physically freeze everything around her. She means no harm to anyone, and chooses to live her life behind the seclusion of a closed door, lest she get provokeda wise decision. Frozen clearly takes place long before the medical marvels of mood elevators via medication, and poor Princess Elsa just wants to be left alone to manage her likely manic depressive disposition, but a meddling sister just wont let her be, and Elsa ends up unintentionally freezing her entire kingdom. To Frozens credit, the curse-breaking resolution turns out to be true loveand not in a romantic form, but in the unconditional love of the two sisters. Bravo, Frozenyouve at least encouraged my two daughters to try and get along for Frozens sake.

So the irony, as I obligingly cut the crusts o Princess Kates bread, is that I have to remind myself that it is not my job to create a palace for my daughters, fussing over their happi-ness and catering to their every whim. It is my job to make them realize that true happiness has to come from within. It is my job to teach them fairy tales can look like many dif-ferent things, and that sometimes even the strongest magic cant change a person or place. Princesses do wear pants, and lab coats, and scrubs, and suits, and army fatigues. Not all stories end with a prince at the end, and there is no magical trident to transport them into another world. One princesss happy ending may look completely di erent from another, and Prince Charming may or may not be in the equation at all. And so we turn o the TV and read books, and take walks, and fold laundry, and have living room oor picnics with saltines and orange juice. We talk about having good friends, and dreams, and why God painted the grass green, and how smart, kind, independent girls can rule the world without a crown, or even a prince. Walt Disney himself fa-mously said, I always like to look on the optimistic side of life, but I am realistic enough to know that life is a complex matter. Life is complex, but childhood is enchanting, and we can never go back to it once we are all grown up. So I bite my lip and try to leave the tiaras and the magic, and hope against all hope, that my little princesses are listening to me.

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14 scene

Ayden Snyder

Emerson Me ord

Campbell Berger, Lena Murray, Kylie Donovan, and William Guo

Chad & Collier Cannon, and Brenda Courtney

Talon & Landon Swantner

Xx

Je White

Above: Bunny Brunch and Easter Egg Huntmarch , huntsville

Below: Folk Fusion: Where Fashion Meets Folk Art Opening Event

april , huntsville museum of art

Beth, Clara Leta & Tucker Monroe, Turner Rammage, and Bella Grace Monroe

Janie JohnsonGrant Holden

Amanda Weaver, Laura Moss, Paula Winfroe, and Russ and Emily Stone

Laura Moss, Brandy Smith, Lindsay Rice, Laura Reynolds, and Sasha Sealy

Lauren Knox and Anna Braden

Beth Griggs and Radhika Kakani

Steve and Denise Murphree, Laura Vann, and Cheryl and Jim Matthews

Lierin Achord and Justin Pociask

Leka Medenback, and Joe and Marie Newberry

Chris and Susan Lindsey


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photos by abraham roweassisted by evan billitertext by roy hall andsara wright covington


Each band has been photographed by Huntsville native Abraham Rowe, whose music portfolio includes the Alabama Shakes, St. Paul and the Broken Bones, and Jason Isbell, and whose work has appeared numerous times in NoAla, as well as Elle, Elle Decor, and Th e New York Times Magazine.

To paraphrase an old chestnut, beauty is in the ears of the beholder. And beautiful songsthe ones that move us and get us movingstick around forever, and for as many reasons as there are ears.

For this years Entertainment issue, we asked our friend, AdTran graphic designer, web developer, and host of The Valley CWs Know Huntsville, Tom Patterson, to be our musical ears and eyes. Tom scoured the Huntsville music scene, listened to who-knows-how-many demos, and returned with a track list that just wont leave him alone.

Toms sonic scouting has turned up seven original songs from seven local bands. Together, they represent an impressive breadth of genres, styles, and subject matters that re ect the diversity of the Valleys music scene. And while each song re ects one particular beholders taste, we think their appeal is universal.

Hear for yourself, by visiting noalastudios.com.

A note from Tom

First, let me clear my throat by saying there are a handful of my local friends and acquaintances, and, of course, musicians I believe would have done a great job (possibly a better job than I) at putting forth a solid representation of the Huntsville music scene. I was obsessively aware of this and kept that knowledge in the back of my head when narrowing down the musician and song list.

My approach was simple: I drafted a couple local bands I respect and asked what their Huntsville music list would consist of. I took the bands that got mentioned over and over again, added my personal tastes from interviewing and watching them play live, and made sure they captured a wide range of genres and styles that would represent Huntsville in a positive and accurate way, and voila! Though I think we need three or four times as many bands added to truly represent the vast talent that is in this town, I think this is a good start.

Enjoy.

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Amy McCarley



Industry giant BMI Nashville calls Amy McCarley the best new female Americana artist youve never heard. That kind of high praise is nothing new for McCarley, a former all-state girls basketball team player, whose Grissom jersey was retired after graduation. That experience taught me what it takes to get really good at something.

McCarley grew up in Spruce Pine, where she developed her love for music at church and while playing guitar on the front porch with her dad. College followed, where McCarley took the safe road, graduating with a degree in economics. But music just kept calling her name.

McCarleys wrote NoAla track Smart Man during a transition period between full-time NASA contractor and professional musician. The song is about the kind of argument I have between whats logical and rational versus what feels passionate and authentic. Its a message that resonates with her fans, who often request it.

I think its just the vulnerability and honesty that people respond too, she says. It was written about a moment where I felt if I didnt go all in and give my music a shot, I would always feel that I didnt really try and I would never know what might have been.

For almost three years now, McCarley has been pursuing music full-time. Currently, shes on the road, performing all over the county. When shes home, shes in the studio , with fellow guitarists and co-producers Kenny Vaughan and George Bradfute, or writing with Pat Algera, who has written songs for Garth Brooks and Tricia Yearwood.

As for what she loves the most about her new day job, McCarley says writing and performing are a duality and she cant imagine one without the other. I love the quiet, introspective side of writing, where I get to say things that are important to me, she says. And then there is the other side where I am performing and getting a reaction from the audience and the people I meet. Music just really transcends boundaries.

Facebook: Amy McCarley

Shot at AM Booths Lumberyard

Hair and makeup by Jeanne Shrader,Attitudes Salon


The Seminole Struts in uences predate its members ages by at least a generation.

We have a very strong southern rock feel, says vocalist and bassist Mark Williams. That southern rock sound automatically summons the 70s, and, not surprisingly, many of the usual sonic suspects, like the Allman Brothers, make cameos in Seminole Struts songs.

But there are some decidedly non-southern in uences in the mix, too, notably Zeppelin and the Stones. Theres even some Kings of Leon tossed into the mix. Struts diversity is a re ection of the bands continuous musical evolution, a process that continues on their NoAla track, Spur, which evokes a bit of Pink Floyd, particularly in the airy space that leads the song into silence.

Spur is about summoning the courage to talk to a sexy woman, a kind of irtatious carpe diem. But courage, of the romantic variety or otherwise, isnt necessarily the primary lyrical thrust of Seminole Struts steadily growing catalog, which often deals with denser subjects and metaphors, like the Civil War and Native American issues.

Strut is in its fourth year, but its members, all Huntsvillians, have known each other since childhood. That familiarity facilitates the collaborative songwriting process the band prefers. It also gives them courage to explore and improvise while performing. Their live gigsand the Seminole Strut plays a ton of themare part slickly calibrated performance, part workshop. It works for them, and it works for their audiences.

Give Spur a listen; youll hear why.

Tyson Parker: Guitar, VocalsJonathan Byham: Guitar, VocalsMark Williams: Bass, VocalsDrew Pope: Guitar, Mandolin Steven Maksimowski: DrumsWes Raven Hudson: KeysFacebook: Seminole Strut

seminole strut

Shot at Lowe MillArts & Entertainment


Tony Perdue and the TMFP band

Shot at AM Booths Lumberyard


When GIs the world over know your dad as the Alabama Wild Man, odds are, you arent gonna grow up to play the harp. And so it goes with Tony Perdue, whose father, a disc jockey with American Forces Network, passed along an abiding love for rockabilly to his musically impressionable son.

I like songs with an underlying soulfulness to them, Perdue says of the taste in music his dad imparted. The kind of sincerity you just cant fake.

The Cullman native, along with his bandmatesAndy Clark, Freddy Faust, and Michael Kilpatrickincorporates the rockabilly sound Perdue came by honestly with the twangy edge of what he calls 70s outlaw vibe. Its part country, part rockabilly, part ragtime, with some Waylon and Django Reinhart in uence mixed in there, tooa sound Perdue refers to as Gypsy Jazz. (And if thats a new one for you, youre not alone.)

Tonys been playing music since he was a tender 17, although he characterizes those early years as less performance, more performance art. He eventually got the hang of it (and then some), and a punk faze followed. Post-punk Perdue spent some time as a thrash metal head before settling in for the long haul, back where he began, with the kind of soulful songs his dad introduced him to.

Ive been listening to Billy Lee Riley and Carl Perkins since I was seven, Perdue says. With those in uences, the spiked hair never had a chance.

Stubborn as a Mule, the bands NoAla track, has been part of Perdues repertoire for a while, as almost pure rockabilly. But then lead guitarist Clark came along, played around with it, and now it has a kind of trucker country vibe.

Great song, either way.

Oh, and just in case you heard a rumor to the contrary, the acronym in the bands name totally stands for Tonys My Friend Perdue Band.

Tony Perdue: Vocals, GuitarAndy Clark: Lead GuitarFreddy Faust: Upright BassMichael Kilpatrick: DrumsFacebook: Tony Perdue and the TMFP Band


Kings Haze


The Route, by progressive rockers Kings Haze, is the sonic consequence of its songwriters stir-craziness.

I was in the middle of selling my house, explains lead singer Jason Humphress of a space that served double duty as rehearsal studio. With nothing but a refrigerator and some recording equipment left over, Humphress and his bandmates, bassist and vocalist Sean Hopkins and drummer and vocalist Rash ard Phillips, took advantage of the distraction-free environment to indulge in one long jam session.

I started playing the intro ri , Humphress says of an early rehearsal of what would become The Route. Our bass player, Sean Hopkins, came up with some cord movement.

Then, suddenly, some sort of island-inspired rhythm stuck its head in the door. I dont know what happened, but in the middle of jamming, we all just went into this reggae beat. The rock-metal ri into a reggae one drop was completely unplanned.

The way we play requires a lot of trust in each other, says Humphress of the bands improvisational style, which extends into their live performances. Thats been their trademark from the start, even when Kings Haze was essentially a cover band. Wed do two or three songs in a row, and then come back to the rst song, Humphress says. And we dont make set lists. We just completely trust each other, watch the crowd, and never leave each other hanging.

That means audiences never get exactly the same show twice, re ective of a philosophy Kings Haze adopted from art-rock soothsayer Frank Zappa, who insisted that bands should never duplicate their records in concert. We want a di erent show every time you come out to see Kings Haze, says Humphress.

When they arent playing live, Kings Haze is writing new material and, when time allows, supporting other live acts. Weve actually done show swapping where we bring in bands from out of town and just share shows with them, he says. It helps to build a community when musicians network and make a cooperative e ort. Most of all, we just believe in supporting live, local music.

Jason Humphress: Guitar, VocalsSean Hopkins: BassRashard Phillips: DrumsFacebook: Kings Haze

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Them Damn Dogs

Shot at Goldsmith-Schi man

Wildlife Sanctuary

Brandon (Holmes: guitar and vocals) is really into fast-paced metal. Chris (Salib: bass) is a laidback, classic rocker dude with some heavy 90s in uences. And I (Jerome Villareal: guiatarist, songwriter, spokes-rocker for Them Damn Dogs) am into all genres, from early rock to jazz.

Brandon, Chris, and Jerome started playing separately in high school. They started playing together as Them Damn Dogs a few years ago, while all were students at UAH. All the bands material is original, and the title of their inaugural album, Let Loose, o ers a pretty apt description of the bands songwriting process.

I write. The others add stu , Villareal says of the bands informal process.

Theres way more to the alchemy than that, of course. The band records all their jams, then plays them back, with an ear out for the interesting stu tha t emerges. And since the trio started while each member was still in collegeVillareal is the only one still at UAHtheir material has tended to revolve around bright-eyed, young adult fare, in Villareals words. NoAla track Bloody Knuckles included.

Bloody Knuckles is classic, hook- lled, catchy pop-rock, which, these days, may actually qualify as retro.

And yes, a band member was harmed in the recording of this song. We were jamming, looking for a structure, when Brandon noticed blood on his drum set, Villareal says.

Rock and roll: dont try it at home, kids.

Jerome Villarreal: Guitar, VocalsBrandon Holmes: DrumsChris Salib: BassFacebook: Them Damn Dogs

may/june | noalastudios.com | may/june | noalastudios.com |


Ugly Houses


Shot at Kildare Mansion

Growing up, I was deeply in uenced by a band called Capn Jazz, says Ugly House lead vocalist and guitarist Jonathan Shrout. Of particular resonance, Shrout points to a lyric from Cann Jazzs Tokyo, which he says stayed with him long past childhood:

Some ugly houses sprout up in rows. They look like structures of sad accidents and broken happy plans.

Those misfortunes and disappointmentsthe cracks in the sidewalk of lifeare the stu Shrout, along with bandmates Philip Dougherty and Nathan Barnett, credits as the inspiration for their sometimes misanthropic lyrics, as well as their hybrid progressive/punk rock/ jazz-infused sound.

For a band that credits an ode to obstacles and blunders for its very existence, its a bit ironic that NoAla track The Route is the rst song Shrout ever wrote, back in 2011, and became a sort of template by which they built their bands sound.

Shrout says the song is a proclamation of who they are, and how theyve sometimes found themselves circumscribed within Huntsvilles music scene. Our style isnt one that we have in common with many other bands, he says. We dont have choruses or verses. We just write in free form, with no real hook. We set out to be a bands band.

Ugly Houses struggled to t in initially within Huntsvilles often exclusive music scene, and although Shrout says some of his bands material may seem a bit dark, ultimately, its really about how those hardships shaped them into the band they are now.

At the end of the day, Shrout says its those ugly house experiences that continue to shape who they are and make them a better band. They remain unpretentious, insisting that they just want to make good music and have a good time. Weve never tried to make this our full-time job, he says. It has to remain pure and fun for us. The day it becomes work is the day we will stop. This is a passion project for us.

Nathan Barnett: Bass, VocalsPhilip Dougherty: Drums, ThereminJonathan Shrout: Guitar, VocalsFacebook: Ugly Houses


Dawn Osbornes musical tastes do not re ect her earliest childhood in uences. And since those in uences were primarily bad German pop, thats probably for the best.

The bands namesake spent her formative years on a Deutschland military base, returning to her birthplace of Huntsville, aged 11, with a headful of Teutonic tunes, classical records (thanks, Mom!), and Rogers and Hammerstein, courtesy of military radio.

And a notion to become a singer.

I always thought I could sing, Osborne says. That sounds like a no-brainer to us, but her high school friends thought di erently. People told me to shut up.

Eh, everyone ist ein critic

Critics these days are singing a di erent tune. The consensus is that The Dawn Osborne Bands melodic mlange of stylestheyre somewhere on the musical spectrum between Americana, jazz, soul, and folk, with some bluegrass fusion thrown in for good measureis authentic, soulful goodness.

We agree.

Of the wistful outlook that informs the bands lyrics, including the NoAla track, Twisted Fool, Osborne says, Were a bunch of big ol sappy dreamers. But theyre not Pollyannas by any stretch. Theres a touch of the world has worn down around the edges, and taken the shine o the penny, in Osbornes words.

Twisted Fool, from their sophomore album, Slow the World Down, re ects a bit of that forlornness with its story of unrequited lovenot that the much ballyhooed Dawn Osborne Band would know much about that sort of thing.

Dawn Osborne: VocalsAndrew Sharpe: Bass, VocalsNewt Johnson: Keys, Organ, VocalsJason Humphress: GuitarSolomon Grable: DrumsJe Woods: PercussionFacebook: The Dawn Osborne Band

The Dawn Osborne band

Shot on Monte Sano


Dont you wish you were here?You could be. Our annual home and garden issue is one of our most popular issues. Reserve your space today!

Contact Jamie Noles(256) 762-7965, [email protected]

Ad reservation deadline: June 6, 2016

SHONTAE JOHNSON AS DIANA ROSS

If I have someone who believes in me, I can move mountains.Diana Ross


photos by robert rausch assisted by anna lylestyling by tara bullington

makeup by janae burnside hair by dwight cox

special thanks to sommer hamilton, trinity episcopal church,rick wooten, morgan price candy company, court street market,

muscle shoals sound studio, yummies bakery and deli, thread



DIVAS FOR A DAY

Recently, we invited eight of our most ravishing friends to play dress-up as eight of our most timeless style icons.

Chic and sophisticated, sassy and outrageous, the eight women portrayed here represent the most in uential looks

from the past eight decades.

Th eir portraits, each inspired by an iconic photograph, are the work of GAS Studio founder and New York Times-contributing

photographer Robert Rausch, to whom we are immensely grateful.

As always, every elementclothing, gems, jewels, makeup,hair, styling, and photographyrepresent the talent and diversity

of local artists, businesses, and boutiques.

Stars may fall on north Alabama. But North Alabama launches just as many stars.

See page 46 for where to buy

ASHLEY BEADLE AS ELIZABETH TAYLOR

Th e problem with people who have no vicesis that generally you can be pretty sure theyre

going to have some annoying virtues.Elizabeth Taylor


LYNDSIE MCCLURE AS FARRAH FAWCETT

God gave women intuition and femininity. Used properly, the combination easily jumbles

the brain of any man Ive ever met.Farrah Fawcett


If you obey all the rules, you miss all the fun.Katharine Hepburn

BRANDI MCGUYER AS KATHARINE HEPBURN


Elegance is the only beauty that never fades.

Audrey Hepburn

JORDYN DEAN AS AUDREY HEPBURN


While Catherine Middletons marital vow to remain true to Prince Williamfor richer or poorer may sound a bit quaint, her oath is more remarkable for a word

it doesnt contain: obey. Middleton is the rst consort in British historynot to swear obedience to her husband and future king.

ASHLEY HASELTON AS CATHERINE, DUCHESS OF CAMBRIDGE


JEANNE REID AS JACQUELINE KENNEDY ONASSIS

Besides my children, work has kept me comparatively sane after living through some appalling times.

Jacqueline Kennedy Onassis


If you could turn back time, youd see that Chers 3614 Jackson Highway, whose cover art serves as our inspiration, was the rst album ever recorded at the Muscle Shoals Sound Studio.

JESSIE CHILDERS AS CHER



46 Stars Fell on Alabama Where to BuyDIANA ROSSP. 34

CAPE (PRICE UPON REQUEST) NICOLE MILLER GOWN ($1200) FINERY (256) 429-4329

EARRINGS ($14) JEWELLS (256) 712-5988

BRACELETS ($34.99) VERSONA AT BRIDGE STREET (256) 922-8607

ELIZABETH TAYLORP. 37

SOPHIA & CAMILLA GOWN ($898) CHERRY TREE LANE (256) 767-4262

RABBIT JACKET ($1988) THE VILLAGE SHOPPE (256) 383-1133

15.39CT GREEN OPAL PENDANT WITH DIAMONDS, TSAVORITE GARNETS, PALM TREE SEED, AND RECYCLED 18 KT GOLD ($7395)

PALM TREE SEED AND RECYCLED 18 KT GOLD EARRINGS ($2200) MEFFORD JEWELERS (256) 764-2632

7CT OPAL WITH 2CT DIAMOND CONVERTIBLE RING/PENDANT ($6250) JAMIE HOOD JEWELERS(256) 381-6889

FARRAH FAWCETTP. 38

TRACK JACKET ($36.94) NEW YORK & COMPANY AT BRIDGE STREET (256) 327-8500

PPLA CLOTHING JEANS ($77) GRL BOUTIQUE (256) 349-9293

CUSTOM SKATEBOARD CARTER MCGUYER FOR EPICUREANEPICUREANCS.COM

KATHARINE HEPBURN P. 39

JACKET ($79) COATS CLOTHING COMPANY(256) 760-0033

IRIS SETLAKWE OF CANADA BLOUSE ($220)D. EXTERIOR ITALY PANTS ($234)CARRIAGE HOUSE (256) 355-4349

SANDALS BY LAMOUR DES PIEDSPUMPS ($198) MARIGAILS FASHION HOUSE(256) 764-9444

AUDREY HEPBURNP. 40

HAZEL DRESS ($121) AUDIE MESCAL (256) 314-6684

GLOVES ($24) THE SOMETHING BLUE SHOPPE(256) 773-4956

PEARL AND DIAMOND BRACELET ($45) EARRINGS ($25) HAIRPIECE BY TITIAN ($75) SIDE LINES (256) 767-0925

RHINESTONE BANGLE ($39) PEARL NECKLACE ($135) MODERN BRIDES(256) 533-9333

LAMOUR DES PIEDS PUMPS ($220) MARIGAILS FASHION HOUSE(256) 764-9444

CATHERINE, DUCHESS OF CAMBRIDGEP. 42

JACKET ($3060) TANK ($1260) SKIRT ($1890) ALABAMA CHANIN(256) 760-1090

JACQUELINE KENNEDY ONASSISP. 43

LEATHER SHIFT DRESS, BAG, SHOES (PRICE UPON REQUEST) BILLY REID (256) 767-4692

EARRINGS ($45) SIDE LINES (256) 767-0925

CHERPG. 44

VEST ($58) NECKLACE ($49)ANN ALDRIDGE BOUTIQUE(256) 284-7308

LEVEL 99 JEANS ($132) SHOES ($128) AUDIE MESCAL (256) 314-6684

LEATHER BRACELETS ($38) RINGS ($150-450) SIDE LINES (256) 767-0925

SILK SCARF ($78) MARIGAILS FASHION HOUSE(256) 764-9444

TANK ($58) HARPER CLOTHING CO. (256) 760-7115

(CHER CLOSE UP, LEFT)COPPER BUBBLE BAND ($190) GREEN SQUARE RING ($450) MILKY PINK RING ($350) BLACK SWIRL RING ($300) BRACELETS ($38 EACH)SIDE LINES (256) 767-0925

NECKLACE ($49)ANN ALDRIDGE BOUTIQUE(256) 284-7308

LUCILLE BALLP. 110

CUSTOM DRESSNICOLE NICOLE CLOTHING & DESIGN(256) 714-1081

FRESHWATER PEARLS ($280, $300) JAMIE HOOD JEWELERS (256) 381-6889

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TicketsMembers: $10 in advance

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48 old school Text and Photos by Chris Paysinger

After graduating from Auburn in the late 90s, I re-turned to my hometown of Elkmont for a teaching job, and to return a favor. Growing up, my grandparents had taken care of me; now it was my turn to take care of them. I arrived home to nd a town devoid of friendsmine had all ed post-graduation to Atlanta, Nashville, and San Franciscoleaving me with nothing to do and nobody to do it with.

Making matters worse, in those days, Limestone County was dry as a bonenot a single place sold alcohol, though the joke persists to this day that it was the wettest dry county in the state of Alabama. You just needed the right divining rod. With whiskey whiskey everywhere, and not a drop to drink, I started to miss my halcyon days on the Plains. I gured out pretty quickly that Id traded in the War Eagle Supper Club and Th e Strutting Duck for drinking cheap beer on my porch, with only my grandfathers cows in the pasture next door for company.

Luckily, I wasnt entirely alone; my brother Ja e was still around. Ja e and I were, and still are, very di erent people. I was a bookish, soon-to-be Ph.D.d teacher. Ja e was a cattle-man and chicken farmer, with the manure-caked boots to prove it. Springsteen could have written Highway Patrol-man about us, or so we told ourselves, when he told the tale of disparate brothers connecting over cold beers at the local roadhouse.

Night after night, Ja e and I headed north in the direction of the honky-tonks that straddled the Alabama and Tennes-see line, places that werent quite places at all. And a funny thing started to happen: through the haze of cigarette smoke and neon-lit beer signs, I could see we were becoming better brothers.

Honky-tonks have a reputation as the kinds of place where, if you dont have a knife when you arrive, youll be given one for the beer-fueled brawl that will inevitably break out, a kind of blue collar version of a coat check. Hollywood, in its clumsy attempt to explain the peculiar ways of the Southerner, has stereotyped the people who seek out watering holes after a day of sheetrocking or bricklaying as ght-prone, and maybe theres the occasional truth to that. But it never occurred to Ja e or me that we might need Patrick Swayze to swoop in


and save us. (Although I will confess to having seen some dancing not unlike that in Roadhouse, maybe even taking part in some myself.)

Invariably, Ja e and I would sit down at the bar next to a local, who would strike up a conversation to alleviate the boredom of hearing the same tired stories told and retold, night after night, by his buddy seated forever on his other side. Often, Ja e would know them or their family, and sometimes I would too, having graduated with a brother or a daughter.

Wed all talk about the rainhow there was too much of it in the spring for the corn crop, or not enough in the summer. I didnt know a damn thing about growing corn, but I listened intently to these people because it really meant something to them, even when their farms were just a few Better Boy Tomatoes planted behind a small brick rancher on the edge of town.

In those days, the Country Club at the border of Ardmore, Tennessee, was everybodys favorite. Th e bar hung hard to the side of a sloping hill, supported on stilts in the back. An uncle told me that years of nicotine and tar build up was the only thing that kept the Country Club attached to the hillside and out of the ditch below.

Th e Wednesday before Th anksgiving was the biggest night of the year at the literally named Country Club. Locals would ood home from college, looking for cheap beer, long lost friends, and pretty girls. Th e bar served free chili or goat stew, and the homecoming crowd was so thick you couldnt move, lead-ing me to wonder about the health of those stilts holding the whole place up.

But most of our times there, it was just Ja e and I, and a few locals. Th ose nights were my favorite. Someone could always be counted on to drop a quarter in the ancient jukebox, so Waylon, Willie, and Merle could warble us through another game of pool. Other times there would be a band of very mod-est talent, but that really didnt matter to us then. One night I danced, sincerely and slowly, cheek-to-


cheek, with a woman who looked exactly like Mrs. Garrett from Th e Facts of Life, while the band played New Orleans Ladies by Louisiana Le Roux.

I can still smell her perfume.

Wed take the occasional break from the Country Club to ride up the hill to Garons, Home of the Frosty Mug. Ja e and I were starving bachelors at the time, so wed order a vile creation of chicken, spices, and deep fried sin, called Demon Bites. Invariably, Id wake up during the night with heartburn bad enough to make me believe Id never live to see my twenty-sixth birthday. (My wife and I had our post-wedding reception at Garons; our friends from Atlanta and Birmingham declared it the most ex-otic experience of their lives.)

My favorite place these days is the Valley Tavern, a low-slung, concrete a air squatting on the only at spot for miles, just inside Tennessee. Its what a honky-tonk ought to be, free of the pretense of Nashvilles Lower Broadway, faux-honky-tonk hellholes, full of drunk tourists and rhinestone cowboys. Unlike those wannabes, the Valley Tavern serves its ice cold American pilsner and crispy froglegs with a side order of sincerity.

Glyn Usery is the Taverns part-time proprietor. Mr. Usery is a man of indeterminable age. He carries his years well as he works the room, asking after everybodys mama or the age of our children. My family has known him forever, and I always look forward to seeing him.


Ja e and I are busy these days, but we still try and get to the Tavern as often as our wives allow. And Ja es time now is lled with more than just cows and chickens. In July 2014, his daughter Molly was diag-nosed with leukemia at age two and a half. Th e time since has revolved around St. Jude, chemotherapy, and trying to keep life a oat.

Soon after the diagnosis, Mr. Usery called my brother and asked him to come by. Ja e tried to demure, saying hed drop in soon, but Mr. Usery wouldnt be put o . And so, later that afternoon, Ja e dropped by the Tavern, where Mr. Usery placed in his hand a wad of money, the haul from a bene t for Molly the previous evening. Ja e, forever the good Southerner, tried not to take it. But Mr. Usery wouldnt take no for an answer.

Walking him to the door, Mr. Usery put his arm around my brother, leveled his gaze at him, and said, It aint just preachers that do nice things for people. Tell that girl we love her.

If you drop in today, youll probably nd a jar on the counter, or a stew simmering in the back, for oth-ers like Molly.

Honky-tonks not a bad place to meet a nice girl, either. On one of those Wednesday nights before Th anksgiving, I spotted a pretty blonde across the room of the Country Club. I sent a beer over and tried to irt, not that she noticed. Even today, after 13 years of marriage, shes still unimpressed with my irting skills. But she does like the froglegs at the Tavern, and Mr. Usery loves her too.

may/june | noalastudios.com | Blue Cross and Blue Shield of Alabama is an independent licensee of the Blue Cross and Blue Shield Association.

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Behind the ScenesFifty Years of Theatre in Huntsville

BY ROY HALLPHOTOS BY PATRICK HOOD



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??????? ???????? ???? ????????? have been involved in the Huntsville theatre sceneeach as actor, director, producer, non-pro t board member, and champion of the sometimes lost art of community theatrefor as long as almost anyone. Talking to them, as we had the privilege of doing back in March, while surrounded by mementoes and memorabilia from dozens of shows stretching back decades, the line between life and art, reality and fantasy, can get a bit hazy. Rather like getting caught in a production of Noises O , starring Elaine and Sam.

And thats perfectly ne. Th e quality of their work, and the commitment of the other folks who keep theatre alive and well in Huntsville, makes immersion in this world of cardboard trees and false facades a ne place to be. You almost wish you could stay backstage a bit longer, eavesdropping, for two more acts of intermis-sion-less storytelling.

At the moment, Th eatre Huntsville is itself immersed in rehearsals for their May production of the wildly entertaining musical Forever Plaid, with Elaine serving as director and Sam producer, although it could just as easily be the other way around, and often has been, throughout Sams and Elaines Huntsville theatre his-tory, which is where our conversation quickly turns on a sunny Sunday afternoon between costume ttings and rehearsals.

?????????????????????????????? the heyday of big-budget, barn-stormer musical productions, and winds its way through four decades, to the still-evolving present and future of Huntsville theatre.

Th roughout all the expansions and contractions, the necessary concessions to changing times and tastes, there remains a loving commitment to the art of the-atre, and an awareness of its necessity to a cultured, cultivated community.

Both Marsh and Hubbard have spent most of their lives in Huntsville, and both caught the theatre bug early on. Mother dragged me along to work on costumes or something backstage, Hubbard says of her mom, who sang with the Huntsville Community Chorus, way back in its early 1960s heyday.

Once youve done a couple hundred shows, starting in childhood, they start to blur together in a fog of auditions, rehearsals, and performances, so Hubbards rst foray into the grease paint is a little blurry. It might have been Community Choruss production of Man of La Mancha.

Or was it Fiddler on the Roof?

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Elaine Hubbard


Again, so many shows, some of them done twice, three, or four times, and some of those productions with some of the same actors from previous productions. You can see how it all gets to be a bit of a blur. Whats crystal clear in retrospect is that those were community theatres glory days. Th ats Hubbards characteriza-tion of the 60s and 70s theatre scene, with its big shows, big casts, and bigger-still audiences.

Seats were easier to ll then, according to Hubbard. People knew the songs, and we were the only game in town tackling those productions.

Lerner and Lowe. Rogers and Hammerstein. Th e Gershwins. Irving Berlin. Names that sound like ancient history to 21st century ears were on the tips of DJs tongues in those days. Th eir shows, and the songs that came from them, werent artifacts of some quaint, bygone erathey were pop music. Th ey were on the Billboard 100, in popular movies, sung on the radio by big stars. So when Community Chorus performed them, audiences turned out.

And then a funny thing happened on the way to the Tonys, and the shows started to change.

New kinds of musicals came along, Hubbard says of a transition point in the American theatre, somewhere in the 1970s. Darker, more demanding stu from the likes of Sondheim and Bernstein began to crop up on Broadway. And that meant some of the shows that got all the press and most of the awardsshows that theatre boards might like to stagewere suddenly too auspicious to mount. Not to mention too expensive. Th e audiences tastes went through a metamorphosis, too. Th e Broadway crowd was dying out, says Hubbard, frankly, of the season ticket holders of a previous generation, who could be reliably counted on to ll Von Braun for a My Fair Lady or an Oklahoma!

Th ere werent dozens of networks vying for peoples attention in those days, either. Nor were there smart phones, tablets, apps, other performance venues, brewer-ies, cinema screens, and who-knows-what-all competing for peoples disposable entertainment dollars and rapidly diminishing free time.

Simultaneously, people who, a generation or two earlier, would never have dreamed of taking an annual theatre excursion to New York City were suddenly returning from the Big Apple hoping to see the same showsdone to the same expensive standardsas theyd just seen on Broadway.

Th e transition from the golden age Hubbard fondly recalls to the modern age of more mature productions and sophisticated, distracted audiences coalesced sometime right around 1980, just as Sam Marsh returned to his hometown from college and immediately immersed himself in the Huntsville theatre scene.

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continued, p. 62

Sam Marsh


Lorie Gill Hubscher One of my favorite memories of plays from the 80s has to be my rst play as an adult, Countess Dracula, for Twickenham Repertory Company. The play is a gothic melodrama in the same vein as Dark Shadows, and with the production values of an Ed Wood lm.

This play had so many disasters: guns that didnt re, a characters corpse that arrived on stage one act too soon, a fog machine that blanketed the lower half of the seats, set pieces that broke, and props of dubious origin. I still remember with fondness a Hidden Valley Ranch cruet bottle of holy water that an actor inadvertently used to baptize the front row.

Had we tried to make a comedy, we could not have been more successful, but this trial by re taught me the value of the backstage crew in ways that successful plays rarely can. I am still very close friends with many of the cast and crew from this production, and despite my rocky start, theatre is still my thrill ride of choice.

Jason Graham Jason is a seasoned professional in the local theatre scene, having started as a child actor in the early 80s with Fantasy Playhouse, Twickenham Repertory Company, and Huntsville Little Theatre. Hes widely known and admired by his peers for the diverse and challenging material hes taken on over the years, projects like the troubled patient in Equus, Roy Cohn in Angels in America, and equally demanding roles in Glengarry Glen Ross, Doubt, One Flew Over the Cuckoos Nest, and Cabaret. His appearances on stage have been infrequent lately, but this actors actor still casts a long shadow and each rare opportunity is an occasion to buy a ticket. Sam Marsh


John Miller Prior to 1974, all theater in Huntsville was presented at one of the local high schools, or, more commonly, at a temporary civic arts center housed at a surplus school on Clinton Street. The Clinton Street location played host to the Huntsville Little Theater, Fantasy Playhouse Childrens Theater, Huntsville Community Chorus, Huntsville Art League, Huntsville Ballet Company, and the Huntsville Arts Council, all of which were housed in former classrooms throughout the building. The number of organizations under one roof meant things got a bit crowded, but the closeness fostered cooperation and interchange among the groups.

When Huntsville committed to a new civic arts center, the Clinton location was demolished, and its residents scattered to various locations around the city. Sets were built in garages, donated loft spaces, and a variety of odd sites. Productions reverted to high school auditoriums for several years, until the Von Braun Civic Center opened in March 1975. The tenants who once occupied the Clinton Street location have long since taken it upon themselves to nd permanent quarters, some owning property, others renting. But the cohesiveness and interplay between the groups that was enhanced by their daily intermingling has been lost. No longer can Fantasy ask an Art League member to assist in decorating the mighty Ozs throne, or an HLT director enlist a Community Ballet dancer to re ne the choreography for his play. That type of activity was common at Clinton Street. Theater is alive and well in Huntsville, but I miss the cross pollination that is possible in a true civic arts center.

A Huntsville native and graduate of Johnson High School, the theatre bug bit Marsh in the classroom of Ron Harris, whom Marsh refers to as a legend, respon-sible as anyone for a steady stream of Huntsville theatre lovers over the years.

Like Hubbard, Marsh recalls the Community Chorus days and their sold-out weekends at the Von Braun Concert Hall, before Huntsville theatre, on its micro-cosmic level, experienced the same contractions entertainment juggernauts have been forced to adapt to in the internet age.

Th ere just werent all these choices, Marsh says. Youd ll up the playhouse with every performance.

Th ose were the days of the Twickenham Repertory CompanyMarsh was on their board as early as 1981. Twickenham was established with an arts grant, which al-lowed the repertory company to employ actors-in-residence, and directors, too. Th e remainder of the casts, along with all the crews were composed entirely of volunteers, just like today.

Th ey were the upstarts, Marsh says of Twickenham, especially in the early years. Th ey were always ying by the seat of their pants. It was always kind of amaz-ing that they got it done. Twickenham further distinguished itself by taking on slightly more experimental fare, leaving less provocative subject matter to the old guard Huntsville Little Th eatre.

In the late 90s, in response to changing times and audience fragmentation, Twickenham and Huntsville Little Th eatre merged into a single entity, Th eatre Huntsville, which carries the banner of four-plus decades of Huntsville theatre into the present.

???????? ????????????? ??????? ????????? ????????? of straight playsForever Plaid is their one seasonal musical. Th e process of choosing which plays make up a season is the work of Th eatre Huntsvilles board, on which Marsh serves. Marshs insights into the play selection process o er a glimpse into the age-old struggle between art and commerce.

Generally speaking, musicals are the shows audiences know the best, so its little surprise theyre the easiest to sell. Comedies come in second, Marsh reports. And a comedy sub-set of the homegrown variety is particularly easy to sell. All you have to do is say Southern comedy, and audiences ll up the playhouse. So we do at least one a season, Marsh says.

Once a musical has been chosen, along with a few comediesincluding comedy subgenres and hybrids, like the Southern comedy, the farce, and the dramedytheres still room on the calendar for one more show, and this one presents par-ticular challenges. Some audiences come to the theatre for escapism, Marsh ex-plains. And for some, escaping means not being put through the emotional ringer. We usually do only one dyed-in-the-wood drama each season. Marsh mentions

continued from p. 58


Anna Quirk

The Huntsville community theatre scene is responsible for shaping much of who I am and what I do today. Its so hard to narrow down just one favorite show, or one best story, but some of my favorite memories come from the big Huntsville Community Chorus summer musicals throughout middle and high school.

HCCA summer shows were a kind of rite of passage for teenagers. The experience of being in their shows was every bit as much about the friendships that formed during rehearsals as the actual production.

The summer before I went to college stands out the most, because there were four major musicals that season alone, and lots of people in town were involved in more than one. A group of us was in Big River with Independent Musical Productions in the beginning of June, followed two weeks later by 13: The Musical with Lyrique Music Productions, and then, the last week of July, Joseph and the Amazing Technicolor Dreamcoat. Three giant musicals, three insane months.

There was lots of caravanning, plenty of sweat, tears, and occasional blood, equal amounts of bickering and cuddling, and delirious, post-rehearsal loitering in various parking lots. But by the end of the summer, as corny as it sounds, we were honestly like a family, with all the forgiven ghts, inside jokes, and love to prove it.

the Arthur Miller classic Death of a Salesman and Th e Laramie Project, about the murder of Matthew Shepherd, as examples of the kind of emotionally demanding material Th eatre Huntsville can only get away with producing one of per season. And even then its going to be at a loss sometimes, Marsh says.

Add generational and demographic considerations to the ones above, and youve got yourself a real puzzle.

We have to pick six shows we believe will sell 200 seats, for seven performances, spread over two weekends, Marsh says. With Von Brauns hefty rental fees thrown into the mix, ticket sales have to be a top consideration when choosing which shows to stage, which ones to shelve for another season, and which ones will never see the arti cial stage light of day.

Still, Th eatre Huntsvilles eight-member play reading committee casts a fairly wide net in terms of material subject matter. While Fantasy Childrens Th eatre caters to young people and Community Chorus and Independent Musical Productions stage, well, musicals, Th eatre Huntsville doesnt really have a niche, Marsh says. We try to do a little bit of everything. We try to cover all the bases and make everybody happy.

Although, not necessarily everybody at every single show.

Superior Donuts, from the 2015-2016 season, was, in Marshs words, a real exper-iment. Donuts was the kind of show the board allows itself one of each seasona bit of a rule-breaker and a line-crosser.

First, Donuts isnt well known, although its August: Osage County playwright, Tra-cy Letts, is; second, the language and some of the subject matter can tend toward the adult; and third, its genre is tough to pegIts not quite a comedy, but, then, its not exactly a drama, either.

We went in with ngers crossed, Marsh says. And they came out pleasantly sur-prised. It sold really well. Just as satisfying, on two separate occasions theatre-goers, one a senior couple, the other, millennials, thanked us for bringing some-thing of substance.

Not that substance is the exclusive domain of the little-known non-musical. For-ever Plaid is both a crowd favorite as well as a particularly strong piece of theatre. It also has the added advantage of being downright fun. Its four guys singing four-part harmony, director Hubbard says.

And not just any four guys: four dead guys.

A group is on their way to a doo-wop gig when they get sideswiped by a busload of Catholic school girls on their way to see the Beatles, explains Hubbard. Now theyre trapped Forever on stage, singing a jukebox-full of 50s classics.

Youll laugh, youll love, youll want to sing along.

Forever Plaid had been on Th eatre Huntsvilles wishlist for several seasons before it made the nal cut this year. When the time came, Marsh and the rest of the board turned unanimously to Hubbard to direct.

Id been waiting 20 years to do Plaid again, Hubbard says of the personal favorite she previously staged back in the 90s, when she and a few friends owned their own semi-pro house, Th eatre Round the Corner. We did 50 shows in 50 months in a 100-seat theatre in the former Belk Hudson store, Hubbard says of her Round days. People still stop me on the street to say they miss it.

???????????????????????????????? took a mid-act break from Twickenhams 1981 production of Scrooge to report on the state of the arts in 2015, nobody would believe the specters terrifying tales. Hundreds of television networks to compete against? Movies on mobile devices the size of books? Live entertainment options too plentiful to get to in a year?

Bah-humbug!

But thats the reality community theatre faces. Impressively, according to Marsh and Hubbard, audience levels have remained largely steady over the years. Steady, but with drastically di erent expectations in terms of what audiences want from theatre and when they want it, as well as changing tastes in what they nd enter-taining. Th rough it all, the Huntsville theatre community has adapted.

More than adapted, actuallyTh eatre Huntsville has thrived.

When asked to step into the role of Ghost of Th eatre Future himself, Marsh sees a potential horizon that includes a new facility owned by Th eatre Huntsville, with maybe a black box theatre for edgier, more experimental shows. Th ats part wish list, part wild guess. Th is part is certain: no matter what the future brings, Th ere will always be room for live theatre.

Curtain.

Theatre Huntsville presents Forever Plaid, May 13-21, at the Von Braun Center Playhouse.

For information and tickets,

visit theatrehsv.org, or call (256) 536-0807.

Supporting Cast Clockwise from upper left: Left to right: Jason Lightfoot, Joshua Jones, Jacob Daugherty, and Cameron Duvall, in rehearsal for Forever Plaid; Plaid choreographer Marianne Windham; Fantasy Playhouse Childrens Theater actors and The Little Mermaid cast members Theresa Gardiner and Ryan Rorick; Joshua Jones rehearses the role of Sparky in Forever Plaid



text by sara wright covington photos by abraham rowe


My high school biology teacher, who happened to be my aunt, once told my mother that she had never seen my eyes glaze over with boredom as much as they did during her 50 minute lecture on photosynthesis. In col-lege I took the two lowest level science courses I could tolerate/pass to get those eight required credit hours toward my super useful English degree. After that, Ive given myself permission to pretty much shut science out unless i t involves an analysis of moldy bread to determine how much is considered too much to just scrape o and serve my children. SO, when my editors suggested I write about beer nerdsmore speci cally, beer in-dustry experts who make it a priority to know everything about craft beer from its endless avor pro les to its production processesI was less than thrilled. And though I wasnt eager to get into conversations about the fermentation of yeast and the molecular composition of a hop, I agreed, because although I hate science, I love beer. And in case you havent no-ticed, the people of Huntsville love beer. Craft breweries and tasting rooms are popping up all over the city, and locally crafted beer can now be bought and enjoyed at dozens of di erent spots in town. Just over a decade ago, domestic beers mass produced by national mega breweries (think Anheus-er-Busch and MillerCoors) were the only beverages available on tap. From my nerd-research, I learned that prior to 2004, antiquated, pre-prohibition era laws put severe restrictions on beer in Alabama, preventing our state from brewing and selling craft beer,which by de nition is beer contain-ing higher quality ingredients in greater concentrations. Craft beer is also produced in much smaller quantities (no more than six million barrels per year) by independent, non-mega breweries, using old but innovative in-gredients, which allow for a much fuller avor pro le.

In 2004, the beer nerds of Alabama united to form grassroots non-pro t organization Free the Hops, which would set the chain of events in motion of making change and welcoming craft beer to Alabama by working with state leaders to get rid of old laws that kept Alabama from having a craft brewing industry. Fast forward to 2016 and Madison County now boasts eight manufacturing breweries, making Huntsville the statewide leader, surpassing even Birmingham which has only four.

Ill be honest, science was never my thing.


the old restriction that once required a brew pub to op-erate only in a historic area in a county that produced beer before prohibition. Historic buildings were typi-cally huge money pits for the brewing industry, often requiring extensive renovations to bring a building up to code for maintaining the necessary equipment re-quired for brewing beer. Th e act removed this restric-tion, allowing breweries better opportunities to open and operate in more modern facilities. Another impor-tant milestone of this act allowed brew pubs to set up tasting rooms where patrons could consume beer on-site. It also allowed nally allowed brew pubs to pack-age and sell their beer to other distributors.

Partain believes the other major piece of legislation Free the Hops was instrumental in helping to pass was the Gourmet Bottle Bill. Prior to the passage of this bill, Alabama restricted the size of bottled and canned beer to no larger than a 16 ounce container. Because craft breweries brew many seasonal and artisanal batches, getting the container limit raised to 25.4 ounces al-lowed them to better market and sell their beer in larger bottles. Th is was a competitive market strategy, says Partain. Breweries could sell small, limited batches for more money and they could o er their seasonal variet-ies. Th is change nally allowed craft beer to get up to speed in Alabama. Another major piece of legislative change goes into e ect June 1the Growler Bill will al-low patrons to purchase a limited amount of beer from the tasting rooms.

Now that Free the Hops has helped to successfully set in motion legislative change in Alabama to clear the way for craft brewing, Partain says they want to focus on a second major project: beer education. Now that weve got the beer here, we have to teach people what they want in the glass, she says. Huntsville is such an education based city. Th ere is higher education and higher disposable income. And when you put art and science together, you get really good beer. So we wanted to teach this market what they need to know about it. Th ey began Rocket City Brew Fest in 2009 to educate the people of Huntsville about craft beer. By bringing in di erent food vendors and selecting a variety of craft beers, Partain says people were enlightened about how di erent beers could pair with food. From pulled pork paired with porters to cupcakes paired with pale ales,

NoAla decided to spend some time with a select few of the a cionados who have helped make this happen, focusing on three of them in particular whose passion and activism have no doubt helped lead the charge. Along the way I learned from these nerds that there was de nitely some chemistry involved, some legis-lative research, a few written exams, and even some mathematical equations, but at the end of the road, craft beer came to Alabama. And that is something that even a science neophyte can get behind.

Carie Partain, State Vice Presidentof Free the Hops

Carie Partain fell in love with craft beer on a trip to Georgia in 2009. My husband and I went to the Brick Store Pub, which is kind of a rite of passage for most craft beer geeks. At the time, we couldnt get the major-ity of the beers they had in Georgia here in Huntsville. Im a foodie, and as soon as the beers hit my palate, I was hooked. Partain explains that the ingredients in craft beers are much more palatable, creating a much bigger avor pro le. Craft beer also has many more in-gredients than a regular beer, with endless styles and combinations for di erent brews. Partain says there are between 80 and 100 categorized styles of craft beer, creating in nite opportunities to pair food with so many di erent avor components. She wanted to get involved with helping bring the craft beer movement to Alabama and immediately came home to Huntsville and joined Free the Hops, which she describes as a group of well-traveled, passionate people who had dis-covered craft beer and knew what Alabama was miss-ing. In the spring of 2009, many of the beer laws had not yet been changed, but lawmakers were about to go into legislative session. We initially decided to tack-le the laws that would set up business and industry, she says. Th e rst law was the alcohol by volume law. Commercially we couldnt sell anything that was above six percent. Th e folks who wanted to start breweries wanted to have the full range. Free the Hops wanted to take that alcohol by volume to an unlimited per-centage, but settled at 13.9 percent, which was still a huge stride for craft beer. Th ey next set out to pass the Brewery Modernization Act, which would change laws about where a brew pub could be located, removing


Huntsville is such an education based city. Th ere is higher education and higher disposable income. And when you put art and science together, you get really good beer. Carie Partain


Huntsville is an area that has been primed. So many people are rallying around the drink local and drink craft movement. I think the wave is de nitely coming to Alabama. Weedy Weidenthal


the lifeblood of what makes this organization even pos-sible at all.

Weedy Weidenthal, Brewmasterat Blue Pants Brewery

While we creative majors were diagramming sen-tences, studying art history, and praying for a genius lab partner to help us pass Earth Science 101, Weedy Weidenthal was creating chemistry experiments in his own backyard and traveling the world to study the sci-ence of making beer. And at just 25 years old, he has already proven that exceptional craft beer is truly a healthy mixture of chemistry combined with creative genius. I started o drinking craft beer, he says. I had my rst beer when I was living in Wisconsin. I was 16 at the time. A self-described military brat, Weidenthal eventually moved back to Alabama to attend Jackson-ville State, where he attended keg parties full of Miller and Bud Light, with nary a craft brew in site. Id never had a light beer in my life before that, and I thought there was something wrong with it, he says. I realized at that point that if I was going to drink good beer in Alabama in 2008, I was going to have to brew it my-self. Brew it himself he did, and what began as a hobby has developed into a career that has taken him all over the world, and eventually back to Huntsville where he has been instrumental in helping the craft beer move-ment to arrive. Weidenthal began home brewing his own beer and started out making about 300 gallons a yearall in a 750 square foot apartment. My rst two years of brewing, I made about 60 batches, he says. I brewed in my ancs backyard and then carried it over to my apartment. For me it wasnt about drink-ing the beer; it was about brewing it. When the Al-cohol by Volume limit for craft beer was changed to 13.9 percent in 2009, Weidenthal got even more seri-ous about brewing beer and his hobby turned into an all-out obsession. He began reading and researching on beer advocate home brewing forums and soon started buying his own equipment. After his college course-work began to su er, Weidenthal made the decision to leap head rst into studying and making beer. I didnt do too well in my classes because I was busy reading about or brewing beer, he says. So I moved back home to Huntsville, stopped the management degree, got a

Brew Fest was designed to get people excited about the many ways to enjoy craft beer. Once we got all this in-dustry happening, retailers needed to know what food to pick to go with their beers, she says. We began con-sulting for bars and restaurants and even retailers who wanted to add craft beer to their inventory.

Free the Hops also partnered with Drake State when educator Dr. Mary Jane Taylor came to a beer educa-tion

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No’Ala Huntsville, May/June 2016