>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY -- PERFORMANCES, EXHIBITIONS, CONCERTS.

>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY -- THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, IT PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.

FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.

>>> THIS TIME ON "BROAD & HIGH," MEET AN ARTIST WHOSE WORK INVOLVES INTENSE CONCENTRATION AND THOUSANDS OF CUTS.

LEARN ABOUT AN INNOVATIVE BALLET COMPANY CELEBRATING AN IMPORTANT ANNIVERSARY.

>>> AND WE HEAD INTO THE KITCHEN TO MAKE A SAVORY TREAT ON THE NEWEST "KATE'S QUICK BITES."

THIS AND MORE RIGHT NOW ON "BROAD & HIGH."

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>>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST KATE QUICKEL.

ARTIST YANI SHENG WAS BORN IN TAIWAN, RAISED IN BELIZE, AND EDUCATED IN CANADA.

SHE'S RECENTLY MOVED TO COLUMBUS AND HAS ALREADY ESTABLISHED ROOTS.

MUCH LIKE THAT PHRASE'S MEANING SHE FINDS NOURISHMENT HERE AND IS GROWING AS AN ARTIST.

WE MET WITH HER AT HER STUDIO IN WORTHINGTON WHERE SHE TALKED ABOUT THE THEMES AND PROCESSES INVOLVED IN HER WORK.

>> I AM VERY INSPIRED BY TRADITIONAL SYMBOLISM, ESPECIALLY TRADITIONAL ASIAN CULTURE.

SO I DO LEAN TOWARD JAPANESE SUBJECT MATTER AND ITS CULTURE.

MY GREAT GRANDPARENTS, MY GRANDFATHER IS A FISHERMAN.

SO AROUND -- YOU KNOW, HE'S A POOR FISHERMAN, AND HE'S ALSO A JAPANESE MAN.

DURING THOSE TIMES TAIWAN IS COLONIZED BY JAPAN, AND CHINA, AS WELL.

SO IT'S SUCH A -- AN INTERESTING, DIVERSE CULTURE YOU HAVE THERE.

BUT I KNOW EVERY TEMPLE I GO TO, THERE'S ALWAYS THE SYMBOLISM OF DRAGON, LION, DOG, THAT IS ON THE SIDE OF THE TEMPLE.

AND I REMEMBER, YOU KNOW, RIDING ON IT, CLIMB ON IT, WHICH I WASN'T SUPPOSED TO, OF COURSE.

THOSE SYMBOLISM STICKS WITH ME.

LIKE THE FU DOG.

AND I HAVE IT ON MY ARM.

LET'S SEE, THIS ONE RIGHT HERE.

THIS ONE IS A TATTOO OF FU DOG.

AND I LOVE THE SYMBOLISM BEHIND IT AND THE SUBJECT MATTER ITSELF THAT I PUT IT ON MY BODY.

I BELIEVE THE FU DOG SYMBOLISM IS ABOUT LOYALTY, YOU KNOW.

AND ALSO A SUPPORT AND LOVING FACTOR.

AND THEN I LOVE COY.

SOMEHOW I GOT MY THIRD TATTOO IS A COY.

AND THAT ACTUALLY IS A GREAT SYMBOLISM FOR ME BECAUSE I REMEMBER I GOT SAVED BY COY WHEN I WAS A KID.

I FELL INTO A POND.

AND I REMEMBER HOLDING ONTO IT AS MUCH AS I CAN, ONTO THE WALK BOARD.

AND I JUST REMEMBER A CROWD OF CARP JUST FLOODED IN AND PUSHED ME -- I DON'T KNOW IF IT WAS TRYING TO EAT ME.

BUT I JUST REMEMBER I'M BEING PUSHED UP, I'M ALMOST STEPPED ON THEM, THEY'RE GIGANTIC, AND I WAS ONLY PROBABLY 6 YEARS OLD.

SO THAT WAS -- THAT REALLY STUCK TO ME A LOT.

SO I SEE IT AS MY SAVIOR KIND OF LIKE THAT, LIKE A LITTLE PART OF MY LIFE LIKE, OH, MY GOD, THE FISH SAVED ME.

AND THAT SUBJECT MATTER HAS BEEN CONTINUOUSLY GOING INTO MY WORK.

I THINK RESEARCH IS REALLY IMPORTANT TO GET TO KNOW THE SUBJECT YOU'RE ACTUALLY ABOUT TO PAINT OR SCULPT OR TO CREATE.

FOR ME TO TRY TO GET LUCY GOOSY INTO MY ARTWORK, I TRY TO GET PASSIONATE, YOU KNOW.

I'LL RESEARCH.

OH, MY GOD, IF I'M DOING THIS CONDITION, LOOK AT THIS IMAGERY.

THERE'S FLOWERS AND DIFFERENT TYPE OF FLOWERS.

AND FLOWER IN GENERAL MEANING, AND THIS IS PROBABLY THE IMAGERY THAT HAS BEEN CREATED IS PROBABLY IN THE 1950s OR 1920s OR, YOU KNOW, EMBROIDERED SCARF IS IMPORTANT.

SO YOU HAVE EMBROIDERED FLOWERS INTO SCARVES.

YOU GIVE IT AWAY OR HAVE A SYMBOLISM FOR WEDDING.

SO I THINK A LOT OF TIME WHEN I'M STARTING A PROJECT I -- I DIG IN.

I START FINDING THINGS THAT I REALLY ENJOY ABOUT IT, AND THEN TRANSLATE THAT INTO HOW I FEEL AND EVENTUALLY THE CARVING COMES TO LIFE.

I JUST WENT FOR A WALK ONE DAY, IT'S CLOSE TO THE EVENING.

THEN IT JUST HITS ME, IT'S SO BEAUTIFUL.

AND IT WAS THE NIGHTTIME SCENES THAT I TOOK PHOTOS OF.

AND AFTER I DID THE CARVING OF THAT PIECE, I REALIZED I WANT TO DO MORE.

COLUMBUS IS SUCH A NICE CITY.

IT'S NOT HUGE.

IT'S NOT SMALL.

SO IT'S KIND OF PERFECT.

AND I LOVE THE DIFFERENT ARCHITECTURE.

FOR LANDSCAPE, I DRAW TOURIST BUILDINGS THAT HAS A PERSPECTIVE WHEN YOU LOOK UP, AND THAT IS REALLY A LITTLE MICRO DETAIL THAT I WOULD CARVE OUT.

MY PROCESS IS WHEN I TAKE AN IMAGE OF A BUILDING OR A LANDSCAPE THAT I LIKE, I DO NOT JUST GO AND FRAME IT REALLY WELL WITH MY PHONE.

I JUST TO GET IT -- PUT IT CLOSE TO MY CHEST, AND I JUST AIM IT.

TO ME, IT LEADS TO SURPRISES FOR ME TO LOOK AT.

SO I'M NOT FIXATING ON THE SHOTS AND WHERE IT LOOKS BEFORE I START, YOU KNOW, TRANSFERRING THE IMAGES ONTO MY BLOG, BEFORE I START CARVING IT.

SO THAT IS MY FIRST STEP.

AND THE SECOND STEP IS DEFINITELY A LOT OF WORK TO TRANSFERRING THE IMAGE.

AND EVEN THERE'S NOT MUCH DETAIL.

I STILL HAVE TO KIND OF LIKE MAKE MY MIND WORK AROUND THAT.

OKAY, THE TREES, YOU KNOW, THERE'S A LOT OF TEXTURE.

HOW AM I GOING TO WORK THAT IN WITH CARVING?

SO THAT IS ALWAYS A PROBLEM-SOLVING PART THAT I REALLY ENJOY.

THE "FLOW "-- "FLOW" SERIES IS ABOUT THE HUMAN BODY AND MOVEMENT.

EACH BODY HAS ITS OWN AURA OR OWN ENERGI, AND IT TRANSLATES THROUGH MUSCLES, THE MOVEMENT.

I HAVE TO GO BACK TO BEING A PRACTITIONER OF YOGA.

THAT HELPED ME FOCUS ON MY BODY AND HELPED ME MEDITATE AND HELPED WITH MY ANXIETY.

AND THAT HAPPENED TO GO REALLY HAND IN HAND WITH MY OIL PAINTING, AND BY DOING THAT I SEE THE FLOW IN MY OWN FORM.

SO A LOT OF IMAGES ARE BASED -- THE MOVEMENT OF MY BODY THAT HAS BEEN PUT ON THE CANVAS.

I DO LOOK AT SOME IMAGES OF ANATOMY AND TO FIGURE IT OUT MYSELF.

I LOOK AT MYSELF WHEN I DO THIS, HOW WERE MY MUSCLES AT, WHAT WOULD IT LOOK LIKE, YOU KNOW.

WHAT MY BICEP WOULD LOOK, USING AN ORGANIC BRUSH STROKE.

I THINK A LOT OF TIME I'M LOOKING AT THE FEELING I GET FROM THE POSES.

LIKE IF THIS IS A SET POSE OF DOWNWARD LOOKING DOG, WHAT IS THAT ENERGY FLOW?

IT SHOULD BE LIKE VERY SMOOTH, YOU KNOW, LIKE NICE AND CALM, VERY LIKE YOU'RE IN A GREEN GRASS OR SOMETHING.

YOU JUST DOWNWARD LOOKING DOG, STRETCH THAT BACK.

OUR LOWER BACK AND UPPER HIP.

SO WHEN I THINK ABOUT THAT, THE FLOW COMES IN.

LIKE I COULD FEEL THE ENERGY FLOWING THROUGH MY BODY, AND KIND OF SEE THAT AS THE AURA GOING ON.

>> SEE MORE OF HER WORK AT YANISHENG.COM.

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>>> DANCE THEATRE OF HARLEM IS AN AMERICAN DANCE COMPANY AND SCHOOL BASED IN NEW YORK CITY THAT WAS FOUNDED IN 1969.

OUR NEXT SEGMENT IS A LOOK BACK AT A CELEBRATION OF THE COMPANY'S 50th ANNIVERSARY WITH PERFORMANCES THAT ACKNOWLEDGE THEIR PAST WHILE ALSO FOCUSING ON THEIR PRESENT AND FUTURE.

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>> MY NAME IS DONALD WILLIAMS.

I'M A FORMER PRINCIPAL DANCER WITH DANCE THEATRE OF HARD -- HARLEM.

WE'VE BROUGHT ONE OF THE SIGNATURE PIECES OF DANCE HARMLE FROM WHEN IT WAS ORIGINALLY CHOREOGRAPHED IN 1974.

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AS A SIGNATURE PIECE WITHIN THE '90s, HE DID A REVAMP, AND HE USED ME AS THE CENTRAL CHARACTER, THE PRINCIPAL DANCER, TO UPDATE IT AND MAKE IT MORE RELEVANT TO THE FUTURE.

NOW IT'S A TIMELESS PIECE.

>> THAT MUCH -- >> YEAH.

>> SO THAT'S WHERE YOU -- >> IN THIS PARTICULAR DANCE, A LOT OF MOVEMENTS ARE VERY SIMPLE.

THEY'LL JUST BE ARMS, HEADS, AND THEN -- THE MOST IMPORTANT PART OF THIS WILL BE THE EYES.

WHEN YOU TURN YOUR HEAD TO THE FRONT.

AND -- AND THE EXPRESSION THAT YOU GIVE, WHAT YOU'RE SAYING WITH YOUR FACE AS YOU MAKE THE MONUMENT AND WHAT YOU COULD -- MOVEMENT AND WHAT YOU COULD BRING TO THE STEPS.

YOU'RE BRINGING YOUR OWN FLAVOR, YOUR OWN EXTRA FEELING TO IT, WHAT YOU'RE SAYING AND YOUR EYES, IN YOUR FACE, AND IN YOUR BODY, AS WELL.

THAT'S SOMETHING THAT YOU CAN'T REALLY PASS ON THROUGH A VIDEO.

YOU HAVE TO PASS THAT ON FROM PERSON TO PERSON.

AND SO NOW I'M REALLY PROUD TO BE ABLE TO PASS THIS LEGACY ON.

BECAUSE THE COMPANY'S SMALLER NOW, WE HAVE TO HAVE -- SUPPLEMENT, AND WE USE LOCAL DANCERS FROM THE DIFFERENT PLACES THAT WE GO TO PERFORM THIS PARTICULAR BALLET.

HERE WE'RE GOING TO BE USING PETER LONDON'S BALLET COMPANY.

WHAT I CAME HERE TO DO FIRST IS TO BEGIN TO TEACH THEM BEFORE THE COMPANY COMES SO THAT THEY KNOW THE WORK, AND THEN THE COMPANY COMES AND THEN WE PUT IT TOGETHER, AND THE MAGIC HAPPENS.

I REALLY APPRECIATE THE HARD WORK THAT THEY'VE DONE.

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I SPENT A LONG CAREER AT DANCE THEATRE OF HARLEM.

I WAS A PRINCIPAL DANCER FOR 27 YEARS.

WHAT DANCE THEATRE OF HARLEM WAS ABOUT WAS TRYING TO GIVE OPPORTUNITIES TO DANCERS OF COLOR TO PERFORM IN A CLASSICAL BALLET.

THAT WAS THE RESIGN THING BECAUSE THERE WAS A THOUGHT THAT DANCERS OF COLOR COULDN'T DO CLASSICAL BALLET.

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BEFORE WE WERE TRYING TO PROVE THAT DANCERS OF COLOR COULD DO CLASSICAL BALLET.

NOW THAT WE KNOW THAT THAT'S A FACT AND WE CAN DO IT, NOW WE'RE TRYING TO DO EVERYTHING.

WE WANT TO MAKE SURE THAT WE CONTINUE TO DO WHAT DANCE THEATRE OF HARLEM WAS ALWAYS KNOWN FOR WHICH IS BEING ABLE TO DO ALL STYLES AND DO THEM ALL WELL, AND ALSO PROVIDE OPPORTUNITIES FOR DANCERS OF COLOR TO DO CLASSICAL BALLET, TO DO CONTEMPORARY.

IT'S ALL ABOUT ACCESS, OPPORTUNITY, AND EXCELLENCE.

JUST OUR PRESENCE MAKES IT POSSIBLE FOR STUDENTS WHO ARE COMING UP TO SAY I CAN BECOME A BALLET DANCER IF I WANT TO, IF THEY SEE PEOPLE WHO ARE ACTUALLY ACHIEVING IT, THEN THEY CAN BE IT.

>>> TO LEARN MORE VISIT DANCETHEATREOFHARLEM.ORG.

>>> THE SHORT NORTH STAGE IS A PROFESSIONAL THEATER COMPANY RIGHT HERE IN COLUMBUS THAT HAS A RICH HISTORY OF ITS OWN.

WE INVITED EDWARD CARIGNAN INTO THE KITCHEN TO LEARN MORE ABOUT THE THEATER'S IMPACT ON COLUMBUS AND BEYOND.

IN RETURN, I TAUGHT EDWARD HOW TO MAKE A SAVORY TREAT THAT'S SURE TO BE A HIT AT THE NEXT WRAP PARTY.

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>> JOINING ME IN THE KITCHEN TODAY IS EDWARD CARIGNAN, THE PRODUCING ARTISTIC DIRECTOR OF THE SHORT NORTH STAGE.

EDWARD, THANKS FOR BEING HERE.

>> THANK YOU FOR HAVING ME.

>> SO TELL ME A LITTLE BIT ABOUT WHAT IT MEANS TO BE AN ARTISTIC DIRECTOR FOR A THAT'S RIGHT LIKE THE SHORT NORTH STAGE.

>> SURE.

AN ARTISTIC DIRECTOR IS RESPONSIBLE FOR THE OVERALL ARTISTIC VISION OF A THEATER COMPANY.

WE CHOOSE THE SEASON, THE SHOWS THAT WE'RING TO PRODUCE.

WE HIRE -- WE'RE GOING TO PRODUCE.

WE HIRE THE DIRECTORS, CHOREOGRAPHERS, DESIGNERS, AND ALSO GO INTO THE CASTING PROCESS.

WE GO TO NEW YORK EVERY YEAR AND BRING IN GUEST ARTISTS AND HIRE A LOCAL HERE FROM COLUMBUS, AS WELL.

WE HAVE THIS AMAZING WEALTH OF TALENT IN COLUMBUS.

IT'S FOUND MIX THE TWO WORLDS TOGETHER.

MY JOB IS TO MAKE SURE THAT OUR QUALITY IS HIGH, THAT WE'RE PRODUCING REALLY GREAT PROFESSIONAL THEATER FOR OUR COLUMBUS COMMUNITY.

>> THAT'S WONDERFUL.

WE'RE SO LUCKY TO HAVE YOU HERE.

>> THANK YOU.

>> YOU LIVED IN NEW YORK FOR MANY YEARS, RIGHT?

>> I DID.

I SPENT 12 YEARS IN NEW YORK AS A PERFORMER THEN DIRECTOR/CHOREOGRAPHER, AND I LOVED THAT TIME.

I WAS LURED TO COLUMBUS.

I CAME HERE TO DIRECT A SHOW.

IT WAS THE FIRST TIME I CAME TO COLUMBUS, AND I FELL IN LOVE WITH THE SHORT NORTH.

FELL IN LOVE WITH THE CITY.

AND VERY SHORT TIME AFTER, ABOUT A YEAR LATER, THEY ASKED ME TO BECOME THE FIRST ARTISTIC DIRECTOR, AND I SAID "ABSOLUTELY," I WAS READY TO MOVE ON, AND I LOVED THE CITY.

I ENJOYED BEING HERE.

>> THAT'S WONDERFUL.

WHAT A GREAT JOURNEY FOR YOU TO HAVE FOUND COLUMBUS AND FOR US TO HAVE FOUND YOU.

THAT'S GREAT.

>> THANK YOU.

>> I'M EXCITED TO GET STARTED ON OUR RECIPE.

>> ME, TOO.

>> DO YOU LIKE TO BE IN THE KITCHEN?

DO YOU LIKE TO BAKE OR COOK?

>> YES.

I DO LOVE TO BAKE AT THE HOLIDAY SEASON.

I WON'T SAY I'M MUCH OF A COOKER, BUT I HAVE A ROOMMATE WHO LOVES TO COOK SO I LOVE WATCHING HIM DO THAT.

>> I THOUGHT THIS WOULD BE A GOOD RECIPE, PARMESAN THYME CRACKERS, BECAUSE IT IS A SAVORY TREAT.

LET'S GET STARTED.

WE NEED ONE STICK OF UNSALTED BUTTER, FOUR OUNCES OF FRESHLY GRATED PARMESAN CHEESE, ONE TEASPOON MINCED FRESH THYME LEAVES, HALF A TEASPOON KOSHER SALT, HALF A TEASPOON FRESHLY GROUND BLACK PEPPER, 1.1/4 CULTURES ALL PURPOSE FLOUR.

THE FIRST STEP IS TO MAKE THE DOUGH FOR THE CRACKERS.

WE'LL ADD THE BUTTER INTO -- WE'RE USING A FOOD PROCESSOR, YOU CAN USE A STAND MIXER, PLOP THAT RIGHT IN.

IT'S SOFTENED WHICH IS IMPORTANT.

YOU GOT SET IT OUT, YOU KNOW, HALF AN HOUR OR SO BEFORE YOU'RE GOING TO WORK WITH IT SO IT WILL BLEND EASILY.

I'M GOING TO GET THIS LID ON, AND IT WILL BE LOUD.

>> ALL RIGHT.

ALL RIGHT.

THAT'S PRETTY GOOD.

ALL RIGHT.

NEXT I'M GOING TO TAKE THIS OFF, AND WE CAN HAVE YOU ADD IN THE PARMESAN CHEESE AND THE THYME AND THE SALT AND PEPPER.

>> OKAY.

>> THIS JUST WILL GET POURED IN.

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PERFECT.

GET THIS BACK ON, AND WE'LL MIX IT UP TOGETHER.

OKAY.

WHY DON'T WE ADD HALF THE FLOUR IN HERE, WE'LL MIX IT AND ADD THE SECOND HALF.

SCRAPE DOWN TIME.

>> GOOD AT THAT PART.

>> YOU GOT THAT COVERED.

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OKAY, LET'S CHECK -- WE WANT IT TO BE A CRUMBLY DOUGH.

WHICH I THINK THIS IS STARTING TO LOOK LIKE.

IF IT'S A LITTLE TOO DRY WE CAN ADD A LITTLE WATER.

THERE'S A CUP OF WATER.

IF YOU WANT TO ADD A SPLASHY OF WATER.

THAT'S PERFECT.

JUST TO GET IT TO COME TOGETHER.

WE'LL HOPEFULLY DO OUR LAST MIX.

I'M ON TO YOU THIS TIME, LITTLE GUY.

OKAY.

THERE, I THINK IT'S COMING TOGETHER.

WHAT WE'RE GOING TO DO NEXT IS WE'LL GET JUST A PIECE OF PLASTIC WRAP AND KIND OF LAY IT ON IT THAT, FORM IT INTO A LOG, AND WRAP IT UP.

OKAY.

YOU'RE GOING TO DUMP IT ONTO OUR PLASTIC WRAP HERE.

IT'S LOOSE AND SHAGGY.

BUT WE CAN FORM IT INTO A BALL, AND THEN INTO A LOG.

I'VE GOT FLOUR HERE IN CASE WE NEED TO KIND OF, YOU KNOW -- USE A LITTLE BIT.

>> ALL RIGHT.

>> LOOKS LIKE COUSCOUS FOR SOME REASON.

>> IT DOES.

>> WE'LL BLAKE IT TURN INTO A DOUGH -- MAKE IT TURN INTO A DOUGH.

HERE WE GO.

ALL RIGHT.

SO NOW WE'RE GETTING OUR HANDS IN THERE, AND ONCE AGAIN, TECHNICAL TERM, SMOOSH.

SMOOSH IT -- I CAN TURN IT INTO A BALL, IF YOU WANT TO ROLL IT INTO A LOG IN THERE.

IF YOU WANT TO -- BASICALLY LIKE SLICE-AND-BAKE COOKIES, BUT THEY'RE SAVORY KRAKERS.

YOU WANT A THIN LOG, THEN WE'LL REFRIGERATE THIS.

THE GREAT THING IS IT NEEDS TO REFRIGERATE FOR 30 MINUTES BUT IT CAN STAY IN THE FRIDGE UP TO FOUR DAYS.

YOU CAN MAKE IT AHEAD OF TIME, KEEP IT IN THE FRIDGE, AND SLICE OFF THE CRACKERS WHEN YOU'RE READY FOR A PARTY OR ENTERTAINING.

>> SHOULD WE ROLL IT ONCE IT -- >> YEAH, ONCE IT'S SQUISHED INTO ITS COHESIVE LOG SHAPE, JUST ROLL IT A LITTLE BIT TO GIVE IT THAT LOG SHAPE.

AND THAT'S REALLY ALL YOU NEED DO.

WE CAN TIE THESE UP SO THAT THOSE COME TOGETHER, AS WELL.

>> GREAT.

>> AND THEN WE'LL -- YEAH.

>> LOG SHAPE.

>> LOG SHAPE.

ALL RIGHT.

WE'LL TAKE THIS, MOP IT IN THE FRIDGE.

>> ALL RIGHT.

>> OKAY.

OUR DOUGH IS IN THE REFRIGERATOR.

WHILE THAT'S CHILLING, TESTIMONY THE.

>> THE GARDEN THEY'RE HAS BEEN THERE 120 YEARS.

IT WAS BUILT ADS AN OPERA HOUSE AND BURNED DOWN AND REOPENED ADS A MOVIE THEATER IN THE '20s.

IT'S BEEN EVERYTHING YOU CAN THINK OF SINCE -- A CHURCH, A BLUE MOVIE HOUSE, A BURLESQUE.

>> WOW.

>> FINALLY OUR PROFESSIONAL THEATER COMPANY MOVED IN 12 YEARS AGO.

OUR FOUNDERS FOUND THE SPACE, DECIDED TO BRING PROFESSIONAL THEATER INTO IT.

AND WE'VE BEEN GOING EVER SINCE AND JUST GROWING AND GROWING EVERY YEAR.

WE HAVE BIGGER, BIGGER AUDIENCES AND MORE AND MORE ARTISTS THAT WE USE HERE IN COLUMBUS.

AND IT'S BEEN A WONDERFUL PROCESS TO WATCH HAPPEN.

>> THAT'S AMAZING.

WHAT AN INCREDIBLE EVOLUTION.

>> YEAH.

>> THROUGHOUT SORT OF THEATER AND ART.

THAT'S AWESOME.

>> ONE OF THE REALLY NEAT THINGS ABOUT COLUMBUS IS IT'S A DEVELOPING ART SCENE.

WE CAN STILL BE A PART OF SOMETHING THAT'S GROWING, AND I LOVE THAT.

>> SO TRUE.

CONSTANTLY CHANGING.

YEAH.

THAT'S WONDERFUL.

TELL ME A LITTLE ABOUT YOUR BACKGROUND, AS WELL.

LIKE HOW DID YOU COME INTO THIS ARTISTIC WORLD?

>> I GREW UP IN NEW HAMPSHIRE AND CALIFORNIA AND MOVED TO NEW YORK WHEN I WAS PRETTY YOUNG, I WAS 17.

AND I MOVED AS A PERFORMER AND STARTED WORKING ON NATIONAL TOURS AND AT REGIONAL THEATERS.

THEN DEVELOPED A LOVE FOR DIRECTING AND CHOREOGRAPHING AND DESIGNING COSTUMES AND SCENIC WORK.

SO I WENT INTO ALL THESE FIELD INSTEAD OF PERFORMING.

AND NOW I GET TO PULL ON ALL OF THAT AS I WORK WITH ALL THOSE DEPARTMENTS ON A DAILY BASIS.

>> THAT'S AMAZING.

>> OVERSEE THESE SHOWS.

>> YOU DO IT ALL.

YOU'VE GOT THE SORT OF CREDIT TO BACK IT UP.

THAT'S AWESOME.

>> IT'S BEEN FUN.

>> GOOD.

THROUGH THE MAGIC OF TELEVISION, TA-DA, IT'S BEEN CHILLED.

GOT IN THE FRIDGE FOR AT LEAST 30 MINUTES.

AND NOW LIKE I SAID, IT'S LIKE SLICE-AND-BAKE COOKIES.

VERY SIMPLE.

I'LL GIVE YOU THE HONORS OF SLICING -- >> ARE YOU GOING TO TRUST ME WITH A KNIFE?

>> I THINK I TRUST YOU.

I'LL PUT MY FINGERS AWAY.

ROUNDS THAT ARE 3/8, SLENDER LITTLE COINS.

AND WE CAN SLICE AS MANY AS YOU'D LIKE TO TURN INTO CRACKERS.

WE'LL LAY THEM OUT.

WE'VE GOT A BAKING SHEET LINED WITH A SILICONE MAT.

YOU CAN USE PARCHMENT PAPER, WHATEVER YOU'VE GOT.

WE'LL POP THEM IN THE OVEN.

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>> SO THESE WILL GO IN A 350-DEGREE PREHEATED OVEN FOR 22 MINUTES TOTAL.

WE'LL ROTATE THEM ONCE HALFWAY SO THEY BAKE EVENLY.

>> PERFECT.

>> THIS -- IN THEY GO.

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>> EDWARD, WHILE OUR CRACKERS ARE IN THE ACCIDENT EVENT, I'M CURIOUS -- CRACKERS ARE IN THE OVEN, I'M CURIOUS ABOUT THE ACTORS AND PERCHERS FROM THE SHORT NORTH STAGE R. THEY FROM COLUMBUS, ARE THEY FROM AROUND THE COUNTRY?

HOW DO YOU GET THE TALENTED >> BOTH OF THEM.

WE HAVE A MODEL WHERE WE MIX NATIONAL TALENT WITH OUR LOCAL TALENT HERE IN COLUMBUS.

SO WE HAVE A BIG AUDITION EVERY AUGUST FOR ALL OF OUR LOCAL ARTISTS.

AND THEN AFTER THAT WE GO TO NEW YORK CITY FOR A COUPLE WEEKS, AND WE FILL IN WHAT WE NEED THERE.

AND WE BRING THESE TWO WORLDS TOGETHER.

WE HAVE SOME CAST HOUSING THAT WE PUT PEOPLE UP.

ONE OF THE NEAT THINGS TO SEE IS PEOPLE FALL IN LOVE WITH THE CITY AND WANT TO COME BACK OVER AND OVER AGAIN.

WE OFTEN HAVE GUEST ARTISTS THAT COME BACK TO US SHOW AFTER SHOW AND SEASON AFTER SEASON BECAUSE THEY REALLY LOVE COLUMBUS, AND THEY REALLY LOVE LIVING IN THE SHORT NORTH AND BEING A PART OF THAT ENERGY.

I LOVE SEEING THAT.

OUR LOCALARIST WHO ARE HERE ALL THE TIME WITH US WHO DO MANY, MANY SHOWS WITH US, I GET TO MEET NEW PEOPLE, NEW DIRECTION, TO NEW DESIGNERS.

IT REALLY EXPANDS THEIR ABILITY TO WORK IN NEW YORK AND WORK HERE AND MAKE A LIVING AS AN ARTIST HERE IN COLUMBUS.

THE OTHER REALLY NEAT THING IS WE HAVE AN AMAZING HIGH SCHOOL INTERNSHIP PROGRAM, AND THOSE KIDS GET TO WORK WITH PROFESSIONALS IN NEW YORK SO THAT WHEN THEY DECIDE TO GO THERE OR GO TO SCHOOLS, THEY HAVE PEOPLE THEY KNOW, COACHES THEY CAN CRASH ON FOR AWED ADDITIONS, IT'S -- AUDITIONS, IT'S COOL OPPORTUNITY.

>> YOU'VE BUILT IT UP AT EVERY LEVEL, FOR LOCAL ARTISTS.

AND PEOPLE, ACTORS FROM NEW YORK COME AND EXPERIENCE THE MAGIC OF COLUMBUS AND GET TO SEE WHAT'S SO SPECIAL HERE.

AND THAT THERE'S OPPORTUNITIES FOR US TO KIND OF WORK TOGETHER AND IT'S NOT JUST YOU GOT TO GO SOMEWHERE ELSE TO BE AN ACTOR.

YOU CAN DO IT HERE.

>> EXACTLY.

I THINK THAT'S REALLY IMPORTANT.

I DIDN'T GROW UP HERE, BUT I'VE FALLEN IN LOVE WITH THE CITY.

I LOVE TO SEE OTHER PEOPLE FALL IN LOVE WITH IT, AS WELL.

>> I THINK YOU GUYS ARE DOING GREAT WORK PUTTING ON THESE SHOWS AND HELPING PEOPLE EMBRACE THEATER IN OUR COMMUNITY.

>> THANK YOU.

THANK YOU.

YEAH.

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>> OKAY, WE DID.

IT WE MADE OUR DELICIOUS LITTLE EASY CRACKERS.

>> THEY LOOK AMAZING.

>> I'M SO EXCITED TO TRY ONE.

IT'S BEEN GREET LEARN ABOUT THE SHORT NORTH STAGE.

BEFORE WE DIVE INTO OUR CRACKERS, TELL ME A LITTLE LIKE HOW MANY SHOWS DO YOU DO A YEAR, HOW CAN PEOPLE GET TICKETS?

I WANT TO MAKE SURE PEOPLE UNDERSTAND THAT BEFORE WE -- >> WE DO ABOUT EIGHT PRODUCTIONS A YEAR.

SO WE'RE ALWAYS RUNNING SOMETHING.

AND YOU CAN GET TICKETS AT CBUSARTS.COM.

>> I'M GLAD THAT THAT'S OUT THERE.

NOW DELICIOUS PARMESAN THYME CRACKERS.

HERE WE GO.

>> MM.

>> UH-HUH.

THE SILENCE SAYS IT ALL.

>> IT'S REALLY GOOD.

>> BUTTERY, SALTY, PERFECT.

>> REALLY UNIQUE TASTE.

>> I KNOW, RIGHT?

WELL, THANKS FOR BEING HERE TODAY.

>> THANKS FOR HAVING ME.

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>>> TO LEARN MORE ABOUT THE SHORT NORTH STAGE, FIND THEM AT SHORTNORTHSTAGE.ORG.

>>> THAT'S OUR SHOW.

REMEMBER YOU CAN FIND ALL OF OUR STORIES ON LINE AT WOSU.ORG, AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL, THANKS FOR WATCHING.

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>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING AND FOSTERING TALENT AND CONNECTING COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.