Kirk Vaughn-RobinsonDec 18, 2014 09:27AM ● By David Williams
But few scenes were as amateurishly staged as the one that played out in his hotel room almost every night in the latter years of his musical theatre career.
“I had this wobbly collapsible table I bought for $20 at Walgreens, a rickety foldable chair, a simple clamp light, and a lazy susan,” says the Muncie, Ind., native who later grew up on a horse farm in Florida. “It was just all so totally absurd.”
Outside of his Broadway gig, the triple threat singer-actor-dancer had performed with the Cincinnati Opera, Dayton Opera, Sorg & Whitewater Opera companies, and the Cincinnati Pops, all after attending the famed American Institute of Musical Studies in Graz, Austria.
But Kirk Vaughn-Robinson was now learning a new artform. Carting his curious ensemble of new “props” from town to town, he was teaching himself to become a sculptor.
“It’s only fitting that I have established my first studio here in Council Bluffs,” Vaughn-Robinson says from the surprisingly spacious 1,100-square-foot space in the Harvester Artspace Lofts that has been his live/work home for over a year, “because my sculpting career began when Phantom was here in 2008. I executed my first work here.”
Things moved fast, he says, once he mustered the courage to show his work and the owner of the very first gallery he visited signed the novice sculptor on the spot.
Now venturing increasingly into abstract castings, Vaughn-Robinson is perhaps best known for his exquisitely crafted figurative bronzes of men, horses, mermen and, yes, even dorsal fin-sporting “merhorses.”
Exhibiting a visual language of sensual romanticism, he renders classic ideals of beauty in timeless archetypes that speak to themes that are at once natural and organic, theatrical, and dramatic.
Vaughn-Robinson continues performing in a more localized, scaled-down slate of opera and musical appearances. He recently played the role of Pish-Tush in the Opera Omaha production of The Mikado and was nominated for an Omaha Entertainment and Arts Award for his work in The Sound of Music at The Rose.
Vaughn-Robinson won’t rule out the idea of returning to a big touring production, but for now is happy to sculpt away in Council Bluffs as his gallery representation and commission business grows.
His two worlds—the stage and the studio—offer a stark contrast in workplace experiences.
“Just as being a part of a huge touring company is a decidedly social affair,” he explains, “sculpting is instead very solitary. It is a meditative time for me. My most common experience in all those hotel rooms over the years was that I would be lost in my work and, thinking that maybe a half hour had gone by, I’d suddenly realize that dawn was breaking. It is a spiritual experience for me, and I like to think that this is reflected in my bronzes.”