Q&A with Jack Everly, Indianapolis Symphony Orchestra principal pops conductor

Classical symphony orchestras abound all over the world, but symphonic pops series are a different matter. They often have a distinctly American flavor.

Maybe that's because programming has ranged from patriotic shades of red, white and blue to pop culture through the years.

At the Indianapolis Symphony Orchestra lately, listeners have flocked to hear big-band music from the 1940s, '50s television themes and soundtracks to films with Hoosier ties.

Beyond Indiana's borders, the United States boasts some of the most famous pops series around, including the Boston Pops, led for 50 years by Arthur Fiedler, and the Cincinnati Pops Orchestra, led by Erich Kunzel.

The ISO Pops Series was a relative latecomer when it debuted in the 1970s. Still, the most popular pops programs outsell certain Classical Series events.

Since Richmond native Jack Everly became the ISO's principal pops conductor in 2002, the orchestra has leased its most acclaimed pops productions to other U.S. orchestras. Plus, the annual "Yuletide Celebration," for which he serves as music director, recently broke records. "Yuletide" shows last year attracted 48,111 listeners and grossed $1.8 million.

Everly doesn't consider himself a showbiz personality especially quick with a punchline -- and yet he has had a showbiz career of sorts, with jobs in three North American cities, and memories of working with everyone from Carol Channing to Mikhail Baryshnikov.

Recently, he talked about his life onstage and off at his pillared home on a former farm near Eagle Creek on the Northwestside.

Did you always dream of conducting?

I was going to be a set designer before I got into conducting. I studied music and scenic design at Indiana University. After I graduated, I spent two years at the Lester Polakov Studio of Stage Design in New York.

Who were your early musical influences?

In high school, I was in the orchestra, chorus and band. They knew I was hopeless at anything else, so.they let me in all three. I wanted to be in the 8orchestra, but the only thing I could play was the piano. They needed double basses, and I taught myself to play bass for the orchestra and band.

All three of my teachers were inspirational, but in.different ways. The choral director, David Davenport, was a force of nature and passion. Last year, he came to see me at Hilbert Circle Theatre.

When were you appointed as the ISO's principal pops conductor?

The fall of 2002 started my first season. (Within a.couple of years, he had similar posts in Baltimore and Ottawa, Canada.) But that was not the first time I had conducted the Indianapolis Symphony. I started conducting "Yuletide" in 1994. No one seemed overwhelmed -- or shall we say, it was a quiet debut. I was still at American Ballet Theatre and never expected to be asked back to the ISO.

What differences do.you see in your leadership style at the ISO and former ISO Pops Music Director (Erich) Kunzel's?

I consider Erich a consummate musician. He studied with (former Cincinnati Symphony music director) Max Rudolf. There is a very studied musician there, but we are very different personalities. There couldn't be more difference in our demeanors on the podium.

What are your favorite pops shows that debuted in Indy?

"That's Entertainment: The Glorious Musicals of MGM" (which Everly reconstructed from a piano-vocal copy of original orchestrations that were destroyed) and "A Celtic Celebration," presented by (the Symphonic Pops Consortium).

What is the consortium?

The Symphonic Pops Consortium began as a collaboration among five to seven orchestras in planning large-scale pops events. It has evolved into the Indianapolis Pops team, which is creating the events, and orchestras of North America are booking them.

How is it different being the music director of a pops orchestra, as opposed to a classical ensemble?

The obvious first response is repertoire. After repertoire, it's the tone. If I were to go back and conduct classical repertoire, the tone I have as a conductor and master of ceremonies would be different.

You conducted Carol Channing in "Hello, Dolly!" many times, and have posters and photos inscribed by her at your home. What lessons did you learn from her?

She taught me that the audience is different every night, and that they will show you how to play to them -- if you listen. By that, I mean every audience has had a different experience that day, week or month, and are bringing their own collective dynamic to the evening. That was her belief and now certainly is mine.

How did you get to American Ballet Theatre?

One thing always leads to another. I had been conducting "Show Boat" in Los Angeles. ..... Ballet Theatre was in town, and someone came to watch me, and invited me to come down to the Met. Later they asked me to conduct a (three-week) tour of the Kennedy Center. After I conducted the Boston debut of "Cinderella" ..... someone asked Misha (former ABT artistic director Mikhail Baryshnikov) about me, and he said, "Yeah, yeah, he's good. We keep him."

What does it take to conduct dance, as opposed to, say, opera?

Well, if you're conducting an opera orchestra, you (and the musicians) hear the voice, and you follow that. It's easy to go with a singer's phrasing. But you do not hear the dancer, unless you hear a kerplunk on the floor! By the time orchestra has heard that, it's too late! When you're conducting dance, you had better be obvious and clear. If you're not, everything can come to a crashing halt.

Sometimes the ISO programs contain an ad for the Humane Society of Indianapolis, featuring a picture of you and your dog, Max. How did you two meet?

All my life, even as a child, I was a cat person. Max is my first dog. All my years in New York, it would have been foolish to have a dog, with my travel schedule. Upon moving here, I had no more excuses. Max and I met at the Humane Society. They knew we were in the market, and they called. He is a mix of Newfoundland and border collie.

What style would you call your house?

Theatrical neoclassical might be the best. (Laughs.) The thing I found most attractive in the place when I first saw it -- and still do despite all the changes and improvements I've made -- is the architect's original idea to use curves in the arches and windows.

Do you miss anything about living in New York?

I miss the spontaneity of thinking "I must go see" a.Broadway show or some cultural event -- and just going. But living there? I was there for 24 years, and feel I've had my city fix. I don't miss living there. This home I have here, and the friends, neighbors, green space and quiet around me are all very nurturing.

Jack Everly

Positions: Principal pops conductor of the Indianapolis and Baltimore symphony orchestras, as well as the National Arts Centre Orchestra (Ottawa).

Age: 56.

Hometown: Richmond.

Residence: Indianapolis.

Recordings: "Yuletide Celebration, Volume One" with the ISO; Broadway cast recordings including "The Goodbye Girl," "The Hunchback of Notre Dame" and "The Complete Overtures of Broadway's Jule Styne."

'Yuletide Celebration'

What: The Indianapolis Symphony's annual holiday show, featuring Principal Pops Conductor Jack Everly and host Ann Hampton Callaway.

When: Dec. 5-23; various times.

Where: Hilbert Circle Theatre, 45 Monument Circle.

Tickets: $32-$64 for adults, $17-$48 for children. For more information, call (317) 639-4300, or go to www.indianapolissymphony.org