Myrna Loy to get $61K in tourism grant funding

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The Myrna Loy in Helena will receive $61,000 from the more than $1 million in grant funding awarded through the Montana Department of Commerce’s Tourism Grant Program.

“These grants will serve 22 tourism and recreation projects across Montana, including unincorporated small towns, rural communities, and areas of known attractions to non-resident visitors,” Commerce Director Scott Osterman said recently in a news release.

The Myrna Loy will use the funds to design, build and install a street archway, a series of wayfinding signage and pageantry banners, the state said.

Other projects that will receive funding include $34,3030 to expand the Blaine County Wildlife Museum; $109,187 for the Carter County Geological Society to install track lighting, spotlights and motion sensor fixtures illuminating exhibits; $113,809 to the Darby Rodeo Association for bleacher sets; and $32,700 to the Deer Lodge Development Group to renovate the front area of the 502 Main Street Building into a visitor center.

The Tourism Grant Program is funded by the 4% Lodging Facility Use Tax, commonly known as the “Bed Tax.” Enacted by the 1987 Legislature, the Bed Tax is collected from guests of hotels, motels, bed and breakfasts, guest ranches, resorts, short-term vacation rentals and campgrounds.

For more information, visit MARKETMT.COM.

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Around the Town: Helena-area arts and entertainment news

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Music

Canadian singer Jay Gilday makes Montana debut Jan. 27

This is a voice you don’t want to miss.

Electrifying.

Soulful.

Resonating.

Canadian singer/songwriter Jay Gilday makes his Montana debut 7:30 p.m. Thursday, Jan. 27, at The Myrna Loy.

While some may have heard his award-winning rock music, he will play a solo act at The Myrna Loy that will tap into his large library of folk music – most of it original.

Gilday will also be playing some of his newer folk-pop-rock music from his new album, “The Choice and the Chase,” accompanying himself on guitar and piano.

Gilday’s second full-length record, “Faster than Light” (2016), earned the Indigenous Artist of the Year award from the Western Canadian Music Awards (2017), plus Singer-songwriter of the Year, and Artists to Watch from the Edmonton Music Awards (2017).

Tickets are $22 and available at 15 N. Ewing St., https://themyrnaloy.com/.

For more information, call 443-0287. Face masks required.

Nakamatsu performs Ravel with Helena Symphony

The Helena Symphony Orchestra performs Ravel’s Piano Concerto with pianist Jon Nakamatsu, a Van Cliburn Gold Medalist, 7:30 p.m. Saturday, Jan. 29, at the Helena Civic Center.

Also being performed that evening is the captivatingly lush Fifth Symphony of Englishman Ralph Vaughan Williams.

Nakamatsu, known internationally for the panache and elegance of his solo, concerto and chamber performances, has become a favorite with audiences throughout the world.

A high school teacher of German with no formal conservatory training, Nakamatsu’s electrifying performance of Rachmaninoff’s Third Piano Concerto won him the Gold Medal at the 1997 Van Cliburn International Piano Competition amidst a field of experienced competition warriors.

In addition to the live concert, Homestream Your Helena Symphony Presented by AARP will livestream the concert into homes free of charge.

It will be available on YouTube, the Helena Symphony’s website, and the Symphony’s Facebook page. An option is available online and through Venmo to donate to the Helena Symphony.

Single concert tickets can also be purchased ($55-$15 plus a $5 transaction fee) online at www.helenasymphony.org, by calling the Symphony Box Office (406-442-1860), or visiting the Symphony Box Office located on the Walking Mall at 21 N. Last Chance Gulch, Suite 100, between 10 a.m. and 4 p.m. weekdays.

Subscribers will receive a new Bring a Friend Pass, The Art of Listening Newsletter, first access to Non-Series Concerts, and several other benefits.

Rock, country, open mic and more at Tap Room

The Justin Case Band serves up ‘70s to ‘90s rock, 7 to 10 p.m. Thursday, Jan. 20, at Lewis & Clark Tap Room.

Levi Blom, an emerging country music singer/songwriter from Butte, plays original music 7 to 10 p.m. Friday, Jan. 21. His latest single “Wild One” was released on April 28, 2021, and can be heard on Spotify and other streaming services.

The Waiting, a rock ‘n roll band from Bozeman that celebrates the music of Tom Petty, plays 7 to 10 p.m. Saturday, Jan. 22. Tickets cost $15 in advance or $20 the day of the show and are available on EVENTBRITE.

Banshee Tree & Hardwood Heart perform 5 to 8 p.m. Sunday, Jan. 23, sponsored by Keeper of the Green. Banshee is a fully electric band that blends its early influences with modern dance, rock, pop and indie soul. Hardwood Heart is a string band serving up exploratory bluegrass/folk/jazz/americana.

Open Mic is back, 7 to 9 p.m. Tuesday, Jan. 25, (the second and fourth Tuesday of every month) for a showcase of Helena’s best home brewed tunes.

Rick Wine at Metropolitan Dinner Club

Rick Wine will be performing Thursday, Jan. 27, in Jorgenson’s banquet room at the next Metropolitan Dinner Club, 1720 11th Ave.

Wine performs a series of songs using voice and guitar while interspersing commentary and history of the music into his 60-minute presentation. He performs for many Helena community events including music festivals, fairs, private parties, weddings, funerals, fund-raisers and benefits.

Currently, Wine plays primarily at assisted living facilities, retirement communities, senior centers and nursing homes.

He played for years with both the Helena and the Bozeman symphony orchestras. No-host cocktails are at 5:30 p.m., dinner is at 6, and entertainment is at 7. All are welcome. Dinner and entertainment for nonmembers is $35. Reservations are required. Call Patti at 406-202-1766.

Art

Anne Baker is featured artist

Helena photographer, Anne Baker, is showing her striking winter photographs at Queen City Framing & Art Supplies during January.

Diagnosed with breast cancer in 2019, Baker decided to travel to places that gave her peace, especially Yellowstone. She is now in remission.

Baker’s inspirational images take the viewer along to enjoy peace and beauty in nature through photography.

“I finally discovered a lifetime love for capturing inspirational, God created images through photography," she said.

Baker’s Winter Scenes show will be up during January at Queen City Framing & Art Supplies, 400 Euclid Avenue from 10-6 Monday through Friday and from 10-4 on Saturdays. For info, call 442-2760.

History

MHS author talk

Thursday, Jan. 20 at 4:30 p.m., Jon Axline, the Montana Department of Transportation historian, will reveal “Scandal at the Montana State Highway Commission.”

Axline explores malfeasance allegations in 1936 at the highest government level, which eventually involved the Montana Supreme Court and Helena newspaper reporter Paul Maclean, who later was memorialized in “A River Runs Through It.”

Thursday, Jan. 27, at 4:30 p.m., Charles Rankin discusses the “Battle for Butte Journalism” and argues that the beginning of big money’s domination of Butte’s mining and politics started well before 1883, during a raucous, more chaotic time for Mining City newspapers.

The programs are held at the Montana Historical Society, 225 N. Roberts and are also livestreamed. Or find the archived recordings on the MHS YouTube Channel: www.youtube.com/c/MontanaHistoricalSociety/videos.

Theater

World premiere of ‘A Real Boy’ at Grandstreet

Grandstreet Theatre presents the world premiere of “A Real Boy,” an imaginative new spin on the classic fairy tale of Pinocchio.

Written by Grandstreet artistic director Jeff Downing, the play opens at 7:30 p.m. Friday, Jan. 28, at Grandstreet Theatre, 325 N. Park Ave.

It runs Wednesday through Saturday evenings at 7:30 p.m., with Sunday matinees at 2:30 p.m. through Sunday, Feb. 13.

In this tale, when Geppetto’s latest wooden creation magically comes to life, a new story begins for an unlikely father and son.

Pinocchio learns that it’s not only his wooden frame that makes him different from the other boys; he must look within himself to discover what it truly means to be a real boy.

Tickets are $27 on Thursday, Friday and Saturday evenings; $23 on Wednesday evenings and Sunday matinees; $17 for kids 18 and younger.

To order, call the Grandstreet Box Office (afternoons) at (406) 447-1574 or order online at www.GrandstreetTheatre.com.

Face masks are required. Show recommended for ages 6 and up.

Helena movie listings

Cinemark

760 Great Northern, 442-4225, cinemark.com

● American Underdog, PG

● Sing 2, PG

● West Side Story, PG-13

● Spider-Man: No Way Home, PG-13

● Redeeming Love, PG-13

● King’s Man, R

● The Matrix Resurrections, R

● The 355, PG-13

The Myrna Loy

● The Tender Bar, R

● The Novice, R

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‘Faces of the neighborhood’: Portrait series hung on historic Livery Building

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The outside of the Livery Building in Helena was livened up last week as 15 unique portraits were hung as part of the “Rodney St. Is…” project.

The historic building’s windows have been boarded up for more than 100 years.

The portraits are the work of local artist Kelly Rathbone Rebo, and the original works are on display in the Myrna Loy Center’s Jailhouse Gallery until March 8.

“The installation aims to celebrate the neighborhood identity of Rodney Street,” Amanda Reese, project facilitator and Myrna Loy artist-in-residence said. “These are the faces of the neighborhood.”

Funding for the panels and installation came from the Helena Public Art Committee.

The yearlong “Rodney Street Is…” project is an effort to create a more vibrant future for Helena’s oldest neighborhood through art.

Thom Bridge can be reached at Thom.bridge@helenair.com

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Jesus the Carpenter | Kari Jenson Gold

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My husband and I recently left the city after a lifetime on Manhattan’s Upper West Side. Following in the footsteps of Chip and Joanna Gaines, or better yet, Cary Grant and Myrna Loy in Mr. Blandings Builds His Dream House (that sublime precursor to the inferior The Money Pit), we had dreams and visions along with considerable trepidation. We were more than aware of the potential pitfalls of old homes, and friends warned us of both financial and marital ruin. Indeed, we could recite every line of dialogue from the scenes where the Blandings reel from structural mishaps.

But in the event, working closely with our contractor and carpenters has been one of the most surprising and rewarding revelations of our lives. Expensive, yes. But profoundly fulfilling. The crew members were skilled, imaginative, and hardworking. They were also kind, thoughtful, and funny. They took enormous pride in their work, and finished each day with the tangible results of their labors. I talked with one of the younger men (a former Marine) who is apprenticed to the master carpenter, and he spoke of the joys of his job. Every day, they literally build a home for someone. They change people’s lives for the better in immediate, obvious ways. They don’t think or write about beauty. They make it.

Yet they have a hard time finding young people who are willing to sign up for this sort of work. Programmed to attend college and find a job doing something with computers, most are unwilling to contemplate another sort of life. The Ivy League makes a lot of noise about changing the world for the better, but produces mostly hedge fund bankers and consultants. It’s way past time that we upend our priorities, rethink our assumptions, and imagine entirely new ways of educating our youth. The young man restoring an old home is or should be worth more than a McKinsey employee. The farmer producing food in a sustainable and compassionate manner is of greater value to the community than another DEI administrator for Facebook. We need to return to the notion of vocations and guilds, and move away from the obsessive focus on college.

Even as I was pondering these ideas, Pano Kanelos, former president of St. John’s College (my alma mater), announced the founding of a new educational institution, the University of Austin. Dedicated to the “fearless pursuit of truth,” the university seeks to counteract the indoctrination, groupthink, and censorship that now plague academia. Many of the advisers are prominent academics and journalists who have been unjustly “cancelled” by woke mobs and their supine institutions (full disclosure: I know some of those who are involved).

I had assumed there would be some pushback to UATX, but I was astonished by the vitriol—and how much of it came from learned academics and graduates of our country’s most elite universities. Those involved with UATX were denounced as “right-wing grifters,” “white supremacists,” “transphobes,” and “bigots.” The orgiastic frenzy was breathtaking. The reaction was so extreme, and so ugly, one had to wonder what exactly everyone was afraid of. Established academia, in particular, had a field day for weeks.

The contrast between these recent ugly displays and our time with the carpenters was so stark, so arresting, that I could not stop thinking about it. The daughter of a professor, I had always venerated the life of the mind, the idea of the ivory tower, a place set above and apart—even while recognizing the day-to-day flawed reality. But I have started lately to wonder if there is something inherently pernicious in a life devoted exclusively to the mind. In Dorothy Sayers’s Gaudy Night, the protagonist Harriet Vane ponders this very question after a particularly disturbing murder is committed in one of the Oxford colleges. Absent a grounding in the physical, in the stuff of daily life, does one necessarily “lose touch” with reality? Does some sort of distortion occur that permits, indeed encourages, the incubation of perverse and destructive ideas?

After all, we have the academy to thank for a world that can no longer admit the difference between a man and a woman, and for a world no longer permitted to say the word “mother”—unless it’s helpful when defending abortion. Of course, this disconnect from reality has a great deal to do with the rejection of God; danger arose when the post-Enlightenment university began to question God’s presence, leading inevitably to the current state of affairs in which God need not apply at all. Recall that Harvard erased God from its motto years before Princeton got rid of Woodrow Wilson. An ivory tower that explicitly excludes God is a dangerous place.

Grounded neither by the daily labors of the body, nor by a relationship with the Father, today’s academy has rejected both our embodied nature and our creaturely nature. We do so at our peril.

Human beings need to read and they need to plant vegetables in the ground. They need to write and they need to clean. The life of the mind can be a precious, beautiful thing, but divorced from the physical, and isolated in an ivory tower that has cancelled God, it leads inexorably to corruption. Jesus, after all, was a carpenter before becoming a rabbi. The disciples were fishermen. Paul, the one academic among them, was happily torturing Christians until he fell off the horse.

So while UATX is a welcome alternative to the current academy—a bold, defiant project in a terrified, woke world—we also need to rethink on a larger scale, envisioning all sorts of new physically and theologically grounded ventures. And perhaps my alma mater’s motto, Facio liberos ex liberis libris libraque—“I make free adults from children by means of books and a balance”—might be retooled for a new college of the future to read: “I make free adults from children by means of books and a balance and a handsaw.”

Kari Jenson Gold’s most recent piece for First Things was “Give My Regards to New York.”

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Six Definitive Films: The ultimate beginner’s guide to Cary Grant.

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“There’s no point in being unhappy about growing older. Just think of the millions who have been denied the privilege.” – Cary Grant

Known as one of the greatest Hollywood film stars of all time, Cary Grant stood alongside the likes of James Stewart, Humphrey Bogart and Audrey Hepburn as the greatest actors of mid-century Hollywood. With a strong leading personality, Grant enjoyed 34 years in the industry, working with some of the finest filmmaking minds, including Alfred Hitchcock, Charles Walters and Howard Hawks.

Born in Horfield, Bristol in 1904, Grant (born Archibald Alec Leach) endured a difficult childhood with his father suffering from an alcohol addiction whilst his mother was also brought down with clinical depression. Teaching her son to sing and dance at the age of four, his mother occasionally took him to the cinema and the theatre whereby he would develop a taste for performance.

Taking his hand to the theatre, Grant developed his ability and broadened his acting skills, touring with the acrobatic group called The Pender Troupe where he would eventually perform at the New York Hippodrome to an audience of 5,697. Unbeknownst to Grant, it was here that a Hollywood star would be born, with his career in the arts was about to take a major turn. Starting his film career in 1932, let’s take a look at the six definitive films that illustrated the extraordinary life of Cary Grant.

Cary Grant’s six definitive films:

This Is the Night (Frank Tuttle, 1932)

Taking his performances to the next level, Grant appeared in the Broadway play Nikki where he was seen as a potential future star of Hollywood, with Paramount later picking up the 27-year-old for a five-year contract.

Establishing himself as a suave, masculine star, Grant exuded a natural charm that made him stand out among his peers, making his feature film debut in This is the Night directed by Frank Tuttle. Though the actor disliked his supporting role as Stephen Mathewson, even threatening to leave Hollywood he hated it so much, his performance garnered positive reactions from critics who praised his performance and publicised his blossoming fame.

Sylvia Scarlett (George Cukor, 1935)

Experiencing a tumultuous first few years in the industry, Grant was forced to endure a string of financial failures in the likes of Born to Be Bad, Kiss and Make-Up and Wings in the Dark, with Paramount finally concluding that the actor was surplus to requirements.

Loaned out to RKO pictures, Grant’s prospects picked up slightly in 1935 when he was cast in Sylvia Scarlett as a cockney wheeler-dealer, featuring alongside the ever-alluring Katharine Hepburn. Whilst the film didn’t perform well financially, the film earned Grant some much-needed critical publicity, with the actor himself noting the film as the one project that would forever change his career.

The Awful Truth (Leo McCarey, 1937)

Having gained critical acclaim, Cary Grant appeared in Big Brown Eyes, Topper and The Toast of New York before he would gain further commercial recognition for his performance in the romantic screwball comedy, The Awful Truth.

Appearing alongside Irene Dunne and Ralph Bellamy, Grant showed off his comic talents, using his time working in vaudeville in his early career to inspire his performance. Receiving critical and commercial success, the film would establish the actor as a significant Hollywood star, illustrating him as a versatile actor capable of being a sophisticated leading man and a screwball comedian.

Suspicion (Alfred Hitchcock, 1941)

Enjoying the height of his industry success, Grant was in high demand, starring in ten films from 1937-1941 including His Girl Friday, The Philadelphia Story and Penny Serenade. Next would come to his next major career turning point.

In his first of many collaborations with Alfred Hitchcock, Grant starred in Suspicion alongside Joan Fontaine whom he found rather temperamental on the set of the film. Perfectly showing off the actor’s versatile acting capabilities, Grant was celebrated as a mysterious, murderous young man in the film, well-balancing the alluring charm and dark insidiousness that was necessary for the role.

The Bachelor and the Bobby-Soxer (Irving Reis, 1947)

Seeing sustained success throughout America during WWII, Grant was still seen as a torch of Hollywood pride in 1947 where he would play an artist in the comedy The Bachelor and the Bobby-Soxer.

Featuring Myrna Loy and Shirley Temple, the film was praised for pulling off its slapstick comedy and became one of the year’s highest-performing films in the process. Representing one of Cary Grant’s final critical and commercial successes before his slump at the dawn of the 1950s, The Bachelor and the Bobby-Soxer was a timeless ode to the performer Grant once was whilst signposting his imminent industry demise.

North By Northwest (Alfred Hitchcock, 1959)

By far Cary Grant’s most iconic role came late in his career, after the highs of his 1940s success and the lows of his stagnation in the 1950s, when he appeared in his fourth and final collaboration with the great Alfred Hitchcock, North by Northwest.

Starring in the film that followed an advertising executive who becomes embroiled in a case of mistaken identity, Grant was celebrated for his professional performance and his nuanced approach to the occasional moments of levity in the film. Recognised in contemporary cinema as one of the greatest films ever made, North By Northwest represented one of the actor’s final ever cinematic successes, as his Hollywood stardom ebbed away into the 1960s.

Starring in his final screen role in Walk Don’t Run in 1966, Cary Grant stepped away from the industry at the age of 62 when he embraced his life as a grandfather, passing away 20 years later in 1986. Recognised as one of the most commanding Hollywood stars of the 20th century, Cary Grant will long be remembered as a cinematic great.