Carol Jordan had, countless times, strolled through our neighborhood off University Boulevard looking like any other suburban housewife walking her child. She had stopped to pet my dog. She has chatted with my daughter, Emma. She had often greeted me with a nod or simple wave. Yet I thought her to be just a friendly neighbor until I went down to Spencer’s Coffeehouse one late winter afternoon to discuss the production of the “Jungle Book” by the Capitol Art Youth Theater and there she sat.  Knowing from the resume/ bio that she had e-mailed to me earlier that she lived in my neighborhood and her comments as to knowing which house was mine, I quickly deduced that my friendly neighbor was indeed Carol Jordan, the woman I had come to interview. Once again I had to laugh at my own folly of judging a book by its cover and fate calling me on it.

At that time the story I was working on was more about the new direction of the CAYT than her; Carol being just one of the many new factors affecting the program. During that interview I became smitten by her conviction to not only work with the youth in our community but her own sense of personal responsibility to provide that youth with  “building blocks” not only to be successful performers but she had added, “solid individuals”. These are the words of a true teacher who is charged with the spirit of guidance and patience to shape the angst of the young. Exactly how do you convince a child or a teenager to believe that they can stand in front of three hundred or so strangers to perform?

You lead by example.

For Carol, it began with an education were the core values are those of a true educator. In the mission statement of Earlham College of Richmond, Indiana were Carol obtained her undergraduate degree in Theater Arts, it reads:

“At Earlham College this education is carried on with a concern for the world in which we live and for improving human society. The College strives to educate morally sensitive leaders for future generations. Therefore Earlham stresses global education, peaceful resolution of conflict, equality of persons, and high moral standards of personal conduct.”

Yet I still wondered why someone interested in theater would choose a small private college in southern Indiana and not someplace in New York City. Asked why she chose Earlham, Carol responded true to form to the question with:

“I chose Earlham because I was interested in attending a small liberal arts school, and because I was impressed by the friendliness and accessibility of Earlham’s students and faculty.  I also liked the emphasis on consensus, equality and teamwork that were part of its Quaker heritage.”

Her choice for her Masters was equally intriguing to me, but only because I was completely unfamiliar with her choice, Emerson College, located in the heart of Boston, Massachusetts. Again such major universities like Indiana University, the University of Kentucky, Belmont University, or Peabody College were closer to her at that juncture in life, but she went for the smaller college. Should you read through the list of alumni from Emerson you’ll find names wildly familiar. Names like Jay Leno and Dennis Leary, or perhaps the names of Norman Lear or Bobbi Brown make you blink in disbelief regarding this relatively unknown college

Echoing Earlham’s purpose is Emerson’s own in saying:

“This mission is informed by core liberal arts values that seek to promote civic engagement, encourage ethical practices, foster respect for human diversity, and inspire students to create and communicate with clarity, integrity, and conviction.”

Though she was a bit undecided about teaching as a profession as she entered the program at Emerson, she made the decision with clarity weighing in the fact that “..it (Emerson) was one of the only graduate programs in the country where I could get strong professional training in directing while also receiving my teaching certification.”

One supposes Carol could have gone back to Indiana to do her internship work required for her MA, but instead she went to New York City to work for the Vineyard Theater. From NYC she went to Washington D.C. and worked for the Arena Stage.

Maryland become home for Carol following the years after her graduation. She worked and contributed to a multitude of programs and curriculums in and around DC involving young people. The move to Bowling Green, KY late in the decade found Carol having to, in a sense, start over establishing her reputation.

She has, since moving to the South Central Kentucky region mere years ago, worked with Kaleidoscope, WKU’s Children Theater, and the Public Theater of Kentucky. Her work with the Capitol Arts Youth Theater has received accolades from not only her peers but the students involved and a wealth of parents.  Her productions of “The Crucible”, “Dracula” and “The Hobbit” and quite a few others have earned her the respect and admiration in the region. Her recent production of “Sweeney Todd” saw a record number of young people audition for the chance to work with her.

Carol teaches a few classes at Western as an adjunct professor and her guidance is often sought by the fledging directors and producers who study at WKU. Given the truly short amount of time that Carol has been in the community it is quite startling that she has become such a vital part of the theater community in South Central Kentucky.

There are still distant rumblings about CAYT’s very recent change in direction and rumors abound about the future of the Capital once SKYPAC is done, but I have heard nothing but absolute glowing statements about all of the productions that Carol Jordan has worked on for the CAYT. There are many live theater goers that hope that will be the lone focus of the Capitol as long as the high quality of the productions continue. Though Carol is not the only guest director for CAYT, the bar she has unknowingly set for the others seems to be met over and over again.

I’ve interviewed her twice now, once back in the winter and another this summer while she was planning “Sweeney Todd”. When she sent out the plea for stage material for the set of musical I was not the only person to scramble to meet the call. That in itself says something. Her drive to bring a more current production to the stage of the Capitol forced her and her production staff to work with a near non-existent budget after the royalties were paid. They all rose to the challenge. “Sweeney Todd” was, as with the others, a huge success.

Perhaps the real truth in her success is in the very thing that draws my own admiration of her. Her love for what she does. “My first love is doing theatre with teenagers…” is how she ended an e-mail she recently sent to me. There is no greater testimony as to the heart of a teacher than the clamor of students that vie to learn at that educator’s feet. The din of the young people in South Central Kentucky is getting mighty loud.

About the author: Franne J. has lived in 5 major cities and 7 states, but has always loved this area and considered Bowling Green home. She’s been a part of and writing about the local art and music scene, off and on, since the mid-90’s. Find her on Facebook.