Newly named Sherman Theater honors a musical legacy | Arts & Entertainment

When Arnold Sherman passed away last May, the world of handbell music lost one of its most resonant voices. A prolific composer, educator, and founder of the East Texas Handbell Ensemble, Arnold’s influence rang out across the country’s churches, concert halls, and classrooms.

“The lives he touched are literally spread around the world,” said Gini Rainey, member of the Vibre Handbell Ensemble. “There are countless pieces of music that he has written that move audiences to tears.”

In 1982, Arnold was named the Director of Music and Arts at Pollard United Methodist Church and then two years later, he met his future wife of 40 years, Judy. 

At the time, the church’s fellowship hall — originally built in 1970 as part of the sanctuary — served as a gathering space for receptions, banquets and meals. But with the Shermans’ shared vision, it began to transform into a space devoted to the arts, especially for children. Soon, there was a stage for musicals, recitals, talent shows, and theater-in-the-round performances.

“Music was his life, and anything that involved music, he wanted to be involved in,” Judy said. “And he got the kids really motivated to do the things too.”

To accommodate both a growing congregation and its music and arts ministries, the building was renovated in 1993 — keeping the original wooden ceiling and the archways of the sanctuary spaces. Thanks to the Shermans, the Pollard Theater Center became a theater space with seating, costume and prop storage spaces, and a convertible music pit area.

From designing the practical to the creativity, Arnold and Judy poured themselves into every detail — together.

“I don’t think there were too many times that we didn’t see one without the other,” Rainey said. “I honestly believe they were a living, loving example of soulmates.”

A gifted composer with more than 400 published works, he led choral and handbell workshops and festivals across the country and internationally. He was the music director for the Texas Shakespeare Festival for eight years working with Equity actors on Broadway musicals, such as ‘Carousel,’ ‘Camelot,’ and ‘Man of La Mancha,’ according to his obituary. If he wasn’t composing, he was an enthusiastic audience member of the theater.

“He loved to go to New York and watch shows,” Judy said. “We would make a weekend trip out of it and see one Friday night, two on Saturday and one on Sunday and then fly home. He was watching everything — the lighting, the way the set pieces were — he was just a sponge, absorbing all of it. It was always so fun with him.”

His last years were wrought with health difficulties as he battled cancer and then lost his ability to talk. According to Judy, he tolerated a lot but never complained.

“He had me to use as an avenue to get things done, the way he wanted to and I was glad for that,” she said. “He was very dedicated to what he did.”

Known for his meticulous approach to composition, Arnold revised pieces multiple times — even at the very last minute — before it was deemed worthy. Rainey recalls a time where the East Texas Handbell Ensemble spent an early Saturday morning to record a demo of his music for a publishing company.

“We were all to be present at 8 a.m. ready to ring,” Rainey said. “The sound tech had all of his equipment set up, ready to go. No Arnold. We contacted Arnold and he said he would be there shortly. He was tweaking one of the pieces.”

It wasn’t until noon when he showed up to a frustrated group — which included members from Fort Worth, Plano, and Henderson. When he arrived, he passed out a newly written piece no one had seen before, and the ensemble rang through it.

“One of our members leaned over to me and under her breath said: ‘If this wasn’t such a brilliant piece of music, I’d kill him,’” Raney said. “He was never satisfied with mediocre — not in his compositions or from those of us under his baton.”

His wife also recalls his intricate method of creativity: “He couldn’t sit with the radio running at home,” Judy said. “He would have a piece of music that he was working on in his head and he’s trying to analyze the music and has two different pieces going in his head.”

Before he passed, Arnold’s goal was to direct ‘Fiddler on the Roof.’

“He wanted to keep going but he said once Fiddler was over, he would retire,” Just said. “But he didn’t make it. His body was tired… but he would have been so pleased with the production.

“He had so many things that he wanted to do. He had music… I found pieces that were half-written. He didn’t want to give up. He was a good man and did a lot of hard work… and a lot of good has come from his hard work.”

On Sunday, March 30, the Pollard Theater Center dedicated its theater to Arnold and Judy and their commitment to the arts by naming it the Sherman Theater.

“His vision and dedication — not only to music, but theater — have created a legacy that will not soon be forgotten,” Rainey said. “The Sherman Theater is just a small, physical representation of that legacy.”