According to Shoup, there’s also a
core group of younger adults and
even high-school youth gravitating
toward bluegrass, too. This year’s
festival was the first without a teen-
age band in three years. However,
he sees the interest in bluegrass
crossing over generations of
listeners and players. “I’ve noticed
that kids who once wanted guitar
lessons, are now requesting lessons
in the mandolin and banjo,” Ron
said.
Shoup is a musician himself. He’s
an instructor, as well as a luthier
(someone who repairs stringed
instruments). He clearly has an ear
for what he does.   “I like all genres
of music,” he said. “I grew up on
bluegrass, even though I play easy
listening, soft rock and jazz.”
Bob Flath, Ron Shoup and all the
Oil City Arts Council members
involved have an ear for
entrepreneurial endeavors, as well.
Aside from showcasing the area’s
finest bluegrass talent, the festival
also highlighted local artists and
Oil City’s fine heritage. According
to Shoup, about 85 percent of the
people attending were from out of
town.
“These festivals, as much as
anything else, are not just great
entertainment for the people who
come from nearby and beyond,”
Shoup leans in and whispers, as if
divulging a profound cultural
secret, “but it’s a tremendous
economic boon.”
And that's music to everyone’s ears.
Three days of crowd-pleasing concerts
brought hundreds of fans and musicians  to
the Arlington Hotel for the third annual Oil
Country Bluegrass Festival in late February.
It was standing room only as the landmark
hotel filled up fast with fans and performers
from several states. The fifth-floor Riverview
Ballroom featuedr three nights of  
Appalachian-style banjo and mandolin picking
as the bluegrass was kicking.
“I call this ‘roots Americana’ music,” said festival coordinator Ron Shoup. Along with being one of the festival founders,
Shoup is a mathematics instructor at the University of Pittsburgh at Titusville, and is an active member of the
community. He is on committees such as the Venango County Tourism Bureau, and has served as director of the
Venango County Chamber of Commerce. Shoup partnered with Oil City Arts Council vice president Bob Flath to plan
the event, which was clearly a success in just its third year since inception.
“Years ago if you were to have a bluegrass festival around here, we’d have a small, hardcore group of people that would
follow them,” Shoup said. “But as the years went on and country western music took more of a flair toward country-rock, a
lot of people were still wanting old-fashioned country or, even, down-home Appalachian, and that’s why I think fans
gravitate toward this kind of music.”
Great Networking Opportunity
More than 20 bands from across three states and all around the region came, including local favorites such as The Pine Valley Boys and The
Dempseytown Ramblers, who were among the acts opening the festival Friday night.
Shoup is a tireless bluegrass cheerleader, photographing each band and taping their shows. Afterwards, he sends out performance packages to all
attendees.“This festival gives us a chance to hear the bands and preview them,” he said. “We also assume the responsibility of promoting these bands
and getting them jobs.”
At this point in the interview, a young man with long, curly dark hair and a scruffy beard approached the festival organizer with a banjo case in hand.
He introduced himself as Joe of the band Shelf Life. “Thanks for having us, we’re very excited to play,” Joe said to Shoup. “This is still new to us and
we’re really excited to be playing.” Ron replied, “Well that’s what we’re supposed to do is help bands along the way and create opportunities.”
Bluegrass Fest
Packs the House
Story by Jeremy Johnson

Photos by Stephen West
Community
Playhouse
presents:
Photos by
Stephen West
Story by
Trina Hess
Honky Tonk Woman
 My first experience performing in
the Oil City Honky Tonk show wasn’t
just funny. It showed me what good
humor can do for us. As a humorist
speaker I am used to being in
control. In my own shows, I am the
writer, director, producer, caterer,
costume designer and chauffeur.
But to be a part of the Honky Tonk, I
had to jump into the swirling waters
of community creativity.  
Humor is all about building a sense
of community.  We built the stage
together, and we tore it down
together. We offered suggestions
and ideas.  And we valued others’
opinions. We had a shared goal:  
Create a 2-hour show that is
entertaining.  And if it’s also funny,
that’s a bonus.    
Trina Hess is a self-described
author, humorist speaker and
second fiddle.
Visit her website (click)
With such a diverse group of creative minds, there was little room for rules. If someone had an
idea, we'd try it.  We'd change it. We'd incorporate it. Or we'd throw it out altogether. This was
a different world for me. In my world of comedy, I am in control. In the Honky Tonk, no one
was in control. It was a Petri dish of creative chaos.
My wardrobe consultants were the other actors. At each rehearsal, I tried
a new outfit, asking for advice. “Does this look like it’s from the 60’s? Or
the 70’s?” Most of the time the answer was:  “It doesn’t matter—if people
really experienced the 60’s they won’t remember what anyone wore
anyway.”  It seemed that any combination of colors that didn’t make it
into the spectrum of visible light qualified as fashion back then.  
We all searched every thrift store we could find, looking for additions to
our own costumes, and ideas for others. I love when things just work out
perfectly. Like finding silver go-go boots at Salvation Army the day before
our first show--in my size. I even found some John Lennon-style blue
Deb Mitchell
and Gary Dittman
sunglasses that same day. Unfortunately they were prescription, so by
the end of the medley I was nauseous and dizzy. So my role of hippie
must have seemed pretty credible. Who needs Stella Adler when you’ve
got double vision to improve your acting skills?    
My best memories will be the ad lib skills of my fellow cast members. Gayle Boocks and Gary Dittman helped
me save my Goldie Hawn skit and turn it into something funnier than we had rehearsed. That’s the best part of
being in an ensemble cast. The audience can’t tell whether we made a mistake or whether we meant to do that.
Director Roger Baker (from left), Gale Boocks, Clay Campbell,Carol Krawlec, Mary Jane Buzzard, Fay Trimble
and Sherry Switzer  sang "Consider Yourself" and "Do You Remember These?"
Jeff Smith, Doug Kennedy, Amber Kellogg,
Deb Hardy and Tammy Schwab wonder,
"Why Do Fools Fall In Love?"
At times, I was surprised at where the audience chose to laugh. We had
all been so focused during our song and dance numbers that we didn’t
realize how funny we actually looked in our hippy costumes. When we
walked onstage singing, “If You’re Going to San Francisco,” I didn't
expect the reaction we got from the audience. We were serious actors!  
We were singing a serious, lilting and moving song!  After all, at
rehearsals, no one laughed. We were focused on our places, our words,
our next moves. Especially in our bell-bottoms and tie-dyed shirts. We
were focused on our goal. We were so focused we almost transgressed
another tenet of humor:  avoiding perfectionism and control.
 During the show and rehearsals, I had fun going back in time. Short skirts, false eyelashes,
tie-dyed tee-shirts. It made me really miss third grade. Our props department was chock-full
of more options for our costumes. I found random items from 50 years of the theater's
history. I even found a lifesaver for our “Love Boat” song! And, now I know where I can
unload all the junk in my garage. Surely they can write a play that requires a broken air
conditioner and a styrofoam Halloween jack-o-lantern.   
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