

This afternoon, the company sent an email to members of the area theater community confirming that the company had ceased operations, effective immediately: "Following the unanimous adoption of a resolution by REP's Board of Directors, the company has filed for bankruptcy." The email was signed by C. Glen Matthews, the company's artistic director.
According to documents filed yesterday in the United States Bankruptcy Court, Eastern District of North Carolina, REP has $224,507.77 in unsecured debts.
The company has no real property, but its personal assets, including lighting equipment, costumes and props, were valued at $9,932.14.
According to a profit and loss statement for April 2012, REP's monthly expenses included $4,070 in rent and $3,523.65 in office and administrative expenses.
For the first four months of 2012, the company reported revenue of $31,734.78, with nearly 80 percent coming from grants and donations.
The two largest debts are owed to figures associated with the company's new performance space at 213 Fayetteville St., which opened in the summer of 2009.
The largest creditor is Alphin Design Build, the contractor hired to renovate the theater space, which is owed $110,000. The second-largest debt, $60,000, is owed to Jean Pauwels, the owner of the building. Raleigh Ensemble Players does not have equity in the building.
Also listed among more than 20 creditors is Vincent Whitehurst Architect, who is owed $2,489, according to the documents.
Whitehurst and Will Alphin are owners of Foundation, a popular bar located in the basement of 213 Fayetteville St. Whitehurst designed the Raleigh Ensemble Players space and Alphin served as the contractor. Pauwels, the building's owner, operates a business in the same building, a countertop materials supplier called Pyrolave.
Gary Williams, the company's managing director, is owed $10,000 for unpaid wages.
REP, the Triangle's oldest independent theater company, had performed in Artspace, located on East Davie Street, for 20 years prior to its move to Fayetteville Street. In 2011, it was recognized by the Independent Weekly with an Indie Arts award.
In a 2009 article in the Independent Weekly, company artistic director C. Glen Matthews cited a desire for the greater visibility that a permanent downtown home would bring them.
Pauwels, for his part, was looking for a tenant for the four-story building he was renovating.
"I wanted something I would enjoy having around, something more unusual, more fun than a clothing store or fast food," Pauwels told the Indy in 2009. "Some artistic activity in the building would be good for Fayetteville Street, good for everyone. It would make downtown more lively."
But in the same article, the company acknowledged difficulties in paying its contractor.
At the end of March, $100,000 in debt to its contractor, company management asked the builder to stop further work. "We didn't want to get in over our heads more than we already were," said Williams.
Calls to Alphin, Williams and REP board members Betsy Henderson and Don Davis were not immediately returned.

The city’s proposed 2011—12 budget cuts funding to the City of Raleigh Arts Commission (CORAC) from $4.50 per capita down to $4. CORAC, which represents 35 arts groups and programs, already has funding that is far below the national average. Representatives for the arts community didn’t take up too much time when Mayor Charles Meeker opened up the floor to people who wanted to speak on the budget.
CORAC chairwoman Laura Raynor, along with Capital Bank CEO Grant Yarber and local artist Sandra Dubose-Gibson, stepped to the microphone and spoke briefly on how the budget should not be gutted.
“This is the fabric of our lives,” Dubose-Gibson told the council. “It’s something that we all depend on at the end of the week, to be able to have that outlet of expression and to go to the symphony and the plays and all of that kind of stuff. So, it’s not something that we can afford to take away from.”
After a few minutes of case-pleading, the members left the meeting. Downstairs, other Raleigh artists and creative types explained how the $4.50 has helped the community.
“A number of our arts organizations—newer arts organizations—have opened, and have been able to be funded by that,” said Karen Galvin, violinist for the North Carolina Symphony and board member of the Raleigh Chamber Music Guild.
“And the arts organizations that are here have flourished and have provided jobs. And those jobs and the arts that are happening in Raleigh are causing other businesses to be able to form and thrive.”
A decision will be made by the beginning of July whether or not to cut back funding. Until then, continued activism is on the agenda for the Raleigh arts community, including talking to council members individually as well as informing local arts supporters of the situation, so they can also write to council members.
“We have a great, great story to tell,” Raynor said, “and we have got to keep this rally going.”
Leiby was much beloved in the literary community. (Here is an in memoriam page, which paints a picture of a fierce and honest firebrand.) Before taking over the Southern Review, she edited the Florida Review at the University of Central Florida.
The Independent's review of Leiby's strong debut collection concluded, "Some of the pieces in Downriver [...] feel like sketches for a novel, one that would shine a hard, bright light on a coal-dark place. Here's hoping she writes it." It's with regret that we have to report she'll never have the chance.
FRANKENSTEIN
National Theatre Live
Sunrise Theater
Southern Pines
March 17, 3 p.m.
Reservations: 910 692 8501
We've got another one of those insanely
great—and totally last minute—performance
opportunities for you.
If you'd like to see a live performance of Slumdog Millionaire director Danny Boyle's controversial production of FRANKENSTEIN, at London's National Theatre on Thursday, March 17, you have two options.
Plan A: Fly to London and take your chances on a scalper's ducat or a last-minute cancellation. Price: ~$1,500—up.
Plan B: Drive 90 minutes to Southern Pines, where you can see the performance, broadcast live via HD satellite feed, at the historic Sunrise Theater. Price: $20 ($10 with a student ID). Plus gas fare.
We happened upon the National Theatre Live website by accident, while researching a different story altogether. When we did, we discovered that two venues in North Carolina have been broadcasting the renowned London company's full season this year in state-of-the-art HD projection. But since the other venue is a 50-seat classroom somewhere at UNC Wilmington, your best bet is probably going to be down 15-501 (or Highway 1 from Raleigh) in Moore County.
Critical reviews of the production have been, for the most part, incandescent. "What to say about", the Guardian's "summary judgment" column of collected reviews, begins:
If the critics' advice should ever be followed, and if you can get a ticket, then Frankenstein at the National is clearly the place to be. There was always going to be hype around any production that could promise Danny Boyle's return to the theatre, the presence of television's Benedict Cumberbatch and American television's Johnny Lee Miller, plus an original score from Underworld. (That's a three-way Trainspotting reunion, '90s fans.) What is never guaranteed is a good reaction from the reviewers. Let alone the kind of ecstasy that Frankenstein provoked.
For those who have yet to take in an HD satellite live performance, the viewing promises to be an experience different from—and possibly superior to—a live theater experience. By showtime, the theater and the production company should have scoped out optimum sight lines and viewing angles for each scene, with visual fields varying from the entire stage to extreme close-up. The HD technology produces an image several times crisper and clearer than 35mm film. "In some ways," notes Sunrise Theater administrator Patricia Wallace, "it's a more intimate experience than you'd have if you were actually at the National Theatre."
The Sunrise will be screening the last production of the National's 2010-2011 season, with Zoë Wanamaker starring in The Cherry Orchard on June 30. They've also committed to broadcast the National's 2011-2012 season this fall.
All seating is reserved. The live performance starts at 3 p.m. — to coincide with the show's 8 p.m. curtain time in London. The runtime for the production is 2.5 hours. With graphic scenes, the production is intended for viewers 15 years and older. For reservations, call the theater at 910 692 8501.
Spring is in the air. Heaps of little creatures are prepping for debut, from bitty bunnies to budding bulbs and... lucky little cork gnomes, as the Indy staff has learned.
The news came in an "a-gnome-ymous" letter of Lilliputian proportion, attached to this little guy (or gal?). Locals will start spotting these little cuties beginning March 20, according to the message.
It seems they were inspired in part by last year's garden-gnome spottings across Durham, which were documented on a local blog, as well as here at the Indy website. (In fact, we even placed random gnome in one issue last year!)
Despite the gnome-nappings of last year, the "population is back on the rise," the letter said. And in this case, the letter says, it's actually good luck to take these little corkers home.
The very small gnomes, called "korknisse" are being tracked at the Cork Gnome Home

Raleigh
United Arts of Raleigh/Wake County
110 South Blount Street
Tuesday, March 8, 12 noon
Durham
Durham Arts Council
120 Morris Street
Monday, March 14, 11:30 a.m.
Chapel Hill
Playmakers Repertory Company
Paul Green Theater, UNC-Chapel Hill
Monday, March 28, 2 p.m.
The moment has occurred repeatedly since the early part of the 2000s, when Arts N.C. executive director Karen Wells and her colleagues began conducting what she calls “Advocacy 101”—hour-long workshops that teach total novices how to coordinate and raise their voices with their elected representatives as citizens who support the arts.
At some point it starts to dawn on her students: It isn’t difficult. And when you’re doing it with others, it’s actually pretty fun. “That’s it?” she chuckles, recalling one such moment in Wilmington: “That’s all there is to it?”
The truth is, arts activism is “not the mountain people think it is,” Wells notes as we speak before a series of free arts advocacy workshops slated in Raleigh, Durham and Chapel Hill in the coming weeks. She’ll conduct two lunchtime workshops, one at United Arts of Raleigh/Wake County on Mar. 8, the other at Durham Arts Council on Mar. 14. On Monday, Mar. 28, she brings Advocacy 101 to Playmakers Repertory Company in Chapel Hill at 2 p.m.
Wells calls arts advocacy “applied common sense, actually. It’s just one person talking or writing to another person about what they believe in, and through that person-to-person contact, you make the effort to persuade that individual to support your beliefs, your values. It’s about expressing a viewpoint in an organized, unified, articulate way. And anybody can do it."
"We just sort of demystify the whole process,” she adds.
Experts—and state legislators themselves—credit such grassroots activism with turning the tide on arts funding in North Carolina in recent years. Indeed, it’s helped make the state one of a handful of success stories in arts funding across the nation over the past decade.
According to documents filed in the U.S. Bankruptcy Court, Southern District of New York, stores in Chapel Hill, Raleigh, Cary and Apex will all close as part of Borders' restructuring. The Borders in Greensboro will also close.
Borders' North Raleigh location at 8825 N. Six Forks Road will remain open, as will the stall at Raleigh-Durham International Airport.
Borders announced today that it had secured $505 million in debt financing to help the company satisfy its creditors and continue operations on a reduced scale.
The company noted that, among other initiatives and subject to court approval, Borders plans to undertake a strategic Store Reduction Program to facilitate reorganization and its repositioning. Borders has identified certain underperforming stores — equivalent to approximately 30 percent of the company’s national store network — that are expected to close in the next several weeks.
Borders plans to continue operating its remaining stores—wherever they are—and will maintain its online retail operations. It will continue to honor the Borders Rewards loyalty program, and payroll and benefits will be met, presumably for those who remain.
Here is the bankruptcy filing. borders.10_10614.pdf
And in other news, business continues as usual at your local independent bookstores.
Reynolds Price, the prolific author and longtime professor at Duke University, died this afternoon after suffering a heart attack on Sunday. He was 77.
Price wrote fiction, essays, poetry and nonfiction. He taught the works of John Milton and other topics to several generations of Duke students, dating back to the 1950s. A self-described "outlaw" Christian, in 1992 he attracted attention with a speech that denounced anti-intellectualism in the Duke student body.
Price's greatest success as a fiction writer came with the 1986 novel Kate Vaiden, which won the National Book Critics Circle award.
Here is the Indy's review of his 2009 book, Ardent Spirits: Leaving Home, Coming Back, which was the third volume of his memoirs and explored the period of his 20s that he spent living in Europe.
According to Price's wishes, there will be no public funeral.
The news release from Duke University follows. Duke's news service has posted more information about Price here.
DURHAM, N.C. — Reynolds Price, the celebrated writer of fiction, poetry, memoirs, essays and plays who turned a three-year teaching appointment into more than 50 years on the faculty at Duke University, died Thursday afternoon. He was 77.
Price, the James B. Duke Professor of English at Duke, his alma matter, had a major heart attack early Sunday. “With a poet’s deep appreciation for language, Reynolds Price taught generations of students to understand and love literature,” said Duke President Richard H. Brodhead. “Reynolds was a part of the soul of Duke; he loved this university and always wanted to make it better. We can scarcely imagine Duke without Reynolds Price.”
A native of Macon, N.C., Price graduated summa cum laude from Duke in 1955, where he studied creative writing under influential professor William Blackburn, whose other Duke students included noted authors William Styron ’47 and Anne Tyler ’61. Price was a Rhodes Scholar and studied in Oxford, England, with W.H. Auden and Lord David Cecil. He returned to the United States and took a teaching job at Duke in 1958. The letter offering Price that job warned that the position was a three-year appointment — with no chance of being extended. “That seemed a little discouraging, but I thought, ‘Well, three years is three years,’” Price recalled in a 2008 interview. During those three years he wrote his first novel and was asked to stay on. He remained a Duke faculty member for the next 53 years.
In 1962, his novel “A Long and Happy Life” received the William Faulkner Award for a notable first novel. Price published numerous books after that, including the novel “Kate Vaiden,” which received the National Book Critics Circle Award in 1986.
In his early days as a published writer, Price took offense at reviewers labeling him as the heir to Faulkner. “The search for influences in a novelist's work is doomed to trivial results,” Price wrote in a 1966 piece for The New York Times. “A serious novelist’s work is his effort to make from the chaos of all life, his life, strong though all-but-futile weapons, as beautiful, entire, true but finally helpless as the shield of Achilles itself.” Price became a member of the American Academy of Arts and Letters and received the John Tyler Caldwell Award for the Humanities from the North Carolina Humanities Council.
In 1987, Price received the University Medal for Distinguished Meritorious Service at Duke, the university’s highest honor, and the Distinguished Alumni Award. A professorship in creative writing honoring Price was established at Duke in 2008. He had a commanding presence in the classroom, using his deep, rich voice to convey the beauty of the English language.
For many years, Price taught courses on creative writing and the work of 17th-century English poet John Milton, as well as a course on the gospels in which students wrote their own version of a gospel story. Price’s Halloween reading of ghost stories and poems became a tradition on campus that lasted more than a decade. Price said he experienced two main rewards as a professor: reading and teaching great writing by other people, and getting to know his students, who included Tyler, writer Josephine Humphreys and actress Annabeth Gish.
In a fiery Founders’ Day speech in 1992, Price took aim at what he deemed a lack of intellectualism at Duke, describing students as enthusiastic about partying but marred by a “prevailing cloud of indifference, of frequent hostility, to a thoughtful life,” reported Duke Magazine. Some university officials cited that speech as an impetus for a greater emphasis on recruiting more intellectual students to Duke, according to the magazine article. Price, who considered himself an “outlaw” Christian, wove his faith into his writings. His 2007 book “Letter to a Godchild,” for example, was a christening gift to his godson, intended as a brief guide for the child’s spiritual future. He also published two biblical translations: “A Palpable God” (1978) and “The Three Gospels” (1996).
Price became confined to a wheelchair in 1984 when a cancerous tumor affecting his spinal cord left him paralyzed from the waist down. A 2006 article in The News & Observer of Raleigh, N.C., noted that Price had pondered and accepted the truths articulated in the Book of Job: that God’s ways are often beyond understanding or finding out. “The fact that my legs were subsequently paralyzed by 25 X-ray treatments ... was a mere complexity in the ongoing narrative which God intended me to make of my life," he said. Price’s account of cancer survival is captured in his 2003 book, “A Whole New Life: An Illness and a Healing.”
Price’s third volume of memoir, “Ardent Spirits: Leaving Home, Coming Back,” was published in the spring of 2009. The book explores six crucial years in Price’s life, from leaving home in 1955 to attend Oxford University to his return to North Carolina and the start of his career as a university teacher. According to Price’s wishes, there will be no public funeral. Duke University has not yet announced plans to honor Price.
Anecdote after anecdote exampled Eggers' stance, from changing someone's flat tire to tutoring kids (which is what his San Francisco literacy project, 826 Valencia, has been doing since 2002) to saving lives after Hurricane Katrina. Eggers, who was at Duke to speak about his new book, Zeitoun, invoked the words of one of his heroes, Studs Terkel: "I've always felt," Terkel said, "that there's a deep decency in the American people and a native intelligence—providing they have the facts, providing they have the information."
But really, its strongest claim to being taken seriously was that the author of the screenplay was Horton Foote.
Foote, who died in March 2009, is a big deal this year on Broadway as his Orphans' Home Cycle had a triumphant limited run during the winter, prompting plans for its transfer to Broadway in the fall.
Still, that hasn't been enough to get much attention for Main Street, which appeared at Cannes last week, according to a couple of online sites. Main Street isn't listed on the Cannes website (and if you Google "main street" and "Cannes," you'll get nothing but hits for Stones in Exile, the documentary about the Rolling Stones 1972 album, Exile on Main St.). Instead, the film played at the market at Cannes, where hundreds of producers set up wildcat screenings in hopes of finding distribution for their films.
It's worth looking at the blog post written by one Jordan Overstreet and reposted on an Orlando Bloom fan site. The review recaps the story start to finish. Although there's a bit of a howler right at the top as Overstreet mistakenly writes that Foote based his script on Sinclair Lewis' novel Main Street, what follows is fairly exhaustive, and she seems to be well-versed in film language (like "B-story") and is comfortable criticizing Foote and John Doyle, the film's director, for some of their narrative decisions.
Sorry about that! Here it is: http://www.indyweek.com/indyweek/may-16-cr…
by Denise Prickett, Indy Editorial Web Director on May 9 crossword puzzle (Crossword Puzzle)
wow interesting reading...I was particularly moved by the section discussing the "scalpeling away of our gender" by people.......Hahaha I really …
by Melissa Ann on How beauty pageants view transwomen (Eva Hayward)