ArtsLife Spring 2018

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Inside Dr. Phillips Center for the Performing Arts


Arcadian Broad, artist in residence, Orlando Ballet




Superior A N O T H E R





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After months of underground prep, Steinmetz Hall will soon begin to rise along South Street.

Wunderkind dancer, composer and choreographer puts his stamp on a family fairy tale.

By Dana S. Eagles

By Randy Noles




CONTACT US Physical Address: 445 S. Magnolia Ave. Orlando, FL 32801 Box Office Hours: Monday – Friday, 10 a.m. – 4 p.m. Saturday, noon – 4 p.m. 844.513.2014


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ACKNOWLEDGEMENTS 80 BOARD OF DIRECTORS, DONORS, MEMBERS ABOUT THE COVER: Arcadian Broad, artist in residence at Orlando Ballet, photographed by Michael Cairns.


artsLife | SPRING 2018

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To buy tickets any time, visit, or call the Bill & Mary Darden Box Office between 10 a.m. and 4 p.m. Monday through Friday, or between noon and 4 p.m. on Saturday.






Star Wars: The Empire Strikes Back: In Concert with the Orlando Philharmonic Orchestra

Walt Disney Theater 7:30 p.m.


Piaf Voice & Delirium

Alexis & Jim Pugh Theater

Showtimes Vary


Orlando Philharmonic Orchestra: Cirque de la Symphonie: Cirque Goes to the Cinema Pop Series

Bob Carr Theater

2 p.m. & 8 p.m.


Diana Krall: Turn Up the Quiet Tour

Walt Disney Theater 8 p.m.


Rufus Wainwright: February in Florida

Alexis & Jim Pugh Theater


Orlando Ballet: Romeo & Juliet

Walt Disney Theater Showtimes Vary


Del Bingo al Hoyo, Presented by Producciones ZonaO

Alexis & Jim Pugh Theater

Showtimes Vary


Bebel Gilberto, in Association with Foundation Presents

Alexis & Jim Pugh Theater

7:30 p.m.


FAIRWINDS Broadway in Orlando™: Disney’s The Lion King

Walt Disney Theater Showtimes Vary


The Jazz Orchestra at Dr. Phillips Center: Jazz for Lovers

Alexis & Jim Pugh Theater



artsLife | SPRING 2018

8 p.m.

8 p.m.

Performances subject to change






Orlando Philharmonic Orchestra: Bernstein and the New World, FAIRWINDS Classics Series

Bob Carr Theater

8 p.m.

Professor Pierre Presents: Masters of the Martial Arts

Alexis & Jim Pugh Theater

3 p.m.



PechaKucha Night Orlando v22, PKN Orlando Presents

Alexis & Jim Pugh Theater

6 p.m. & 9 p.m.


Wild Kratts Live!

Bob Carr Theater

1 p.m.


Orlando Philharmonic Orchestra: My Sinatra, Starring Cary Hoffman Pop Series

Bob Carr Theater

2 p.m. & 8 p.m.


Andy McKee, in Association with AEG Presents

Alexis & Jim Pugh Theater

8 p.m.


An Evening with Jason Mraz: Solo Acoustic, in Association with Live Nation

Walt Disney Theater 7:30 p.m.


Anita Baker, in Association with AEG Presents

Bob Carr Theater


Orlando Ballet: Arcadian Broad’s Beauty & the Beast Family Weekend

Walt Disney Theater Showtimes Vary


Joe Rogan: Strange Times 2018 Tour, in Association with Live Nation

Bob Carr Theater


FAIRWINDS Broadway in Orlando™: Waitress

Walt Disney Theater Showtimes Vary

3/21, 3/23–3/25

Opera Orlando: Gioachino Rossini’s Cinderella

Alexis & Jim Pugh Theater

Showtimes Vary


Orlando Health AMP’d at Dr. Phillips Center: Blueanimal

Alexis & Jim Pugh Theater

7:30 p.m.


Florida Falun Dafa Association: Shen Yun 2018

Walt Disney Theater Showtimes Vary


Maks, Val & Peta on Tour: Confidential, in Association with AEG Presents

Walt Disney Theater 8 p.m.


Orlando Philharmonic Orchestra: Brahms Symphony No. 1, FAIRWINDS Classics Series

Bob Carr Theater

8 p.m.


Pod Tours America, in Association with AEG Presents

Bob Carr Theater

8 p.m.


Jason Isbell and the 400 Unit, in Association with JOBU Presents

Walt Disney Theater 8 p.m.


Scott Bradlee’s Postmodern Jukebox, in Association with AEG Presents

Walt Disney Theater 8 p.m.


Orlando Philharmonic Orchestra: A Tribute to Ella! Pop Series

Bob Carr Theater

2 p.m. & 8 p.m.


Orlando Health AMP’d at Dr. Phillips Center: Sandy Shugart and The January Band

Alexis & Jim Pugh Theater

7:30 p.m.


FAIRWINDS Broadway in Orlando™: Something Rotten!

Walt Disney Theater Showtimes Vary


Yanni: 25th Anniversary Live at the Acropolis, in Association with AEG Presents

Walt Disney Theater 7:30 p.m.


Orlando Ballet: Contemporary Wonders with Live Music, Featuring Sisaundra Lewis

Walt Disney Theater Showtimes Vary


Darci Lynne and Friends, in Association with Outback Concerts

Walt Disney Theater 7 p.m.


Orlando Health AMP’d at Dr. Phillips Center: Thomas Wynn and The Believers

Alexis & Jim Pugh Theater

8 p.m.

8 p.m. & 10:30 p.m.



7:30 p.m.

JUNE 6/5–6/10

FAIRWINDS Broadway in Orlando™: RENT: 20th Anniversary Tour

Walt Disney Theater Showtimes Vary


Harry Potter and the Prisoner of Azkaban™ in Concert with Orlando Philharmonic Orchestra

Walt Disney Theater Showtimes Vary

JULY 7/6

Dan and Phil World Tour 2018: Interactive Introverts

Performances subject to change

Walt Disney Theater 8 p.m. SPRING 2018 | artsLife


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Using state-of-the-art acoustics technology and a system of hydraulic lifts, Steinmetz Hall will be able to host a ballet or a symphonic performance one night and a gala cocktail reception or sitdown dinner event the following night.


artsLife | SPRING 2018

A BIG STEP FORWARD Philanthropists Harvey and Carol Massey have given a $3 million gift toward completion of the arts center’s ambitious Phase 2, the shimmering centerpiece of which is Steinmetz Hall. It was the family’s third donation to the arts center since 2009, pushing the cumulative total of their contributions to $5 million. Since opening day, Walt Disney Theater performances have taken place on the Harvey and Carol Massey Family Stage. Now, the arts center’s breathtaking staircase — the setting for countless selfies — will be named the Harvey and Carol Massey Family Grand Staircase. The $3 million gift was the single largest ever by the Harvey and Carol Massey Foundation. Shown at the announcement ceremony — with the staircase in the background — are (left to right): James Farrell, Andrea Massey-Farrell, Jan Massey, Tony Massey, Harvey Massey and Carol Massey.

SPRING 2018 | artsLife


“There shouldn’t be any excuses why we can’t create the best building in the world right here in Orlando,” says architect Barton Myers.


s scores of construction workers labored below ground level throughout most of 2017 to create Steinmetz Hall, the Dr. Phillips Center for the Performing Arts’ longawaited acoustical theater, guests may well have wondered: Just when will I see this building everyone has been talking about? The answer: Very soon. After months of foundation work that was critical to its success as a home for “unplugged” performances such as symphonic music, the 1,700-seat theater will rise this year along South Street. When it opens in mid-2020, it will complete the original three-theater vision for downtown Orlando’s arts center.

Steinmetz Hall is specially designed for performances that rely on the fidelity of sound, yet it’s more than a concert venue — it’s a versatile “multiform” theater. A sophisticated hydraulic system allows the stage to be reconfigured or recessed, and the floor may be changed from angled to flat, with or without fixed seating. That means the building will be able to host a wide array of performances as well as other events, such as banquets. The new hall is named for Chuck Steinmetz and Margery Pabst-Steinmetz, who donated $12 million to the project. It will tie into the existing arts center, which encompasses the Walt Disney Theater (about 2,700 seats) and the Alexis & Jim Pugh Theater (about 300 seats). “There shouldn’t be any excuses why we can’t create the best building in the world right here in Orlando,” says California architect 14

artsLife | SPRING 2018

Barton Myers, an internationally renowned architect whose portfolio includes performing arts centers in Newark, New Jersey; Portland, Oregon; and Cerritos, California. The construction of Steinmetz Hall and the adjacent Green Room — a flexible rehearsal and performance space named for donors Joyce and Judson Green — is known as Phase 2, since the first two venues were built at the same time, during Phase 1. Here are answers to questions that guests often have: What has happened so far with construction? Since ground was broken last March, all the work has been below ground level. “That part of the project that will never be seen by the public,” says Brett Gelbert, the owner’s representative for the arts center. “We’re basically building a very large basement in Florida —below the water table.” The work included sinking 670 piles deep

into the ground to keep the building in place vertically. Four elaborately orchestrated concrete pours for the foundation took place in October and November, starting between midnight and 2 a.m. and lasting up to 12 hours. Workers poured a total of 6,000 cubic yards of concrete, Gelbert says. To put that in perspective: One of the pours used 2,000 cubic yards, which would have been enough to build a 7-foot-wide sidewalk that could encircle Lake Eola five times. Gelbert describes the foundation as the first piece of the building’s sophisticated acoustical scheme. Pedestals coming out of the foundation will hold rubber-and-polymer acoustic isolator pads, which will prevent outside noise and vibrations from interfering with performances. The arts center’s existing performance spaces rely on amplified sound. So does the 2,500-seat Bob Carr Theater, an arts center venue located on West Livingston Street, about a mile north of the downtown complex. What progress is expected during 2018? The concrete structure should be up to ground level by March. Then, by November, the entire shape of the building should be visible. Structural steel work will get underway, and the canopy — or decorative roofline — will be extended from the existing arts center to the new building. During 2017, about 15 percent of the total work was completed, Gelbert says. By the end of 2018, the work will be past the halfway point. Will the work have any impact on guests coming to the arts center this year? Because of construction, Magnolia Avenue, which runs along the west side of the arts center, has been closed to through traffic. The Front Porch Valet parking service is still available, but can be accessed only from Anderson Street. Directional signs and security staff members will be available to direct traffic — and guests are encouraged to arrive early and follow signs. For more information, a map and directions, visit How will guests enter Steinmetz Hall? They’ll turn left from the main lobby into the Steinmetz Hall area, which will have a version of the “wave wall” familiar to those who have visited the Walt Disney Theater. Although Steinmetz Hall is an addition, its

eventual construction was anticipated by the architects — with the goal of making the venues appear seamless to visitors. “The whole project was really about the quality of the guest experience — even from when you walk in that front door,” said Kathy Ramsberger, the arts center’s president and CEO, during a briefing for arts leaders. What will Steinmetz Hall look like inside? “We strive for intimacy, great sight lines and fabulous acoustics,” architect Myers says. “You can have a lovely acoustic room, but if it’s cold, the acoustics aren’t good. Somehow, a wooden room has the warmth required. These rooms are like very fine-tuned instruments — like a violin or cello.” So, the interior will feature a lot of wood. But in contrast to the “dark, dramatic look” of the Walt Disney Theater, the wood in Steinmetz Hall will be lighter — what Myers calls “mid-tones.” What will make Steinmetz Hall such a good place to hear music? Listeners seated anywhere in the venue will be able to hear what’s happening onstage without amplification, making it ideal for musical and theatrical presentations in which the purity of sound is important. And every component of Steinmetz Hall, from the foundation to the water pipes, will isolate vibration from external sources so that audiences hear only the sound of the performers. With 1,700 seats on the floor and in three tiers, Steinmetz Hall will allow everyone to sit reasonably close to performers, says Damian Doria, a partner in New Jersey-based Stages Consultants, who helped design the building’s acoustics. Using a moving shell and towers, the venue can be reconfigured to create ideal environments for different kinds of events, including orchestral performances, operas and recitals. Visit if you’re a visual learner, and watch the architectural flythrough video. It uses digital animation to show the room reconfiguring itself to accommodate various performance genres and special events for which there is no stage required. Who will perform in Steinmetz Hall? For starters, the Orlando Philharmonic Orchestra and the Orlando Ballet, the arts center’s resident companies. The OPO is SPRING 2018 | artsLife


Preparatory work for construction of Steinmetz Hall included sinking 670 piles deep into the ground to keep the building in place vertically. Four elaborately orchestrated concrete pours for the foundation took place in October and November.

now playing its subscription concerts at Bob Carr Theater, but Music Director Eric Jacobsen says he’s eager to move. “For members of the Philharmonic to have a home in Steinmetz Hall — and for Orlando to have a performing arts venue of this magnitude — is a total game changer for the local arts community,” says Jacobsen, who became the orchestra’s conductor in 2015. Other arts leaders are anticipating the opening of Steinmetz Hall, too — including Gabriel Preisser, executive and artistic director of Opera Orlando. “We’ll have a top-of-the-line venue for the fine arts that our entire community should be proud of,” Preisser says. “It’ll bring in a new audience for us all — and it’s up to us to connect with these folks through the quality and accessibility of our product.” Will Steinmetz Hall be used for other kinds of events, too? Yes. As a “multiform” facility, Steinmetz Hall can be used for various social, educational and creative functions without sacrificing acoustical integrity. Because the floor will convert from angled to flat, the space will be suitable for special events other than performances. For example, as many as 1,000 people could mingle at a cocktail party, or as many as 688 people could be seated for a banquet. Phase 2 will include a kitchen to serve events in Steinmetz Hall and elsewhere at the arts center. The Green Room, which will have its own entrance from South Street, has been 16

artsLife | SPRING 2018

designed to accommodate a wide variety of performances, including those by The Jazz Orchestra at Dr. Phillips Center. About 200 people could be seated cabaret style, for example. Why wasn’t an acoustical theater included in the original construction? Such a theater was always a key component of the complex, Ramsberger explains. But its construction was deferred in 2008 because of the economic downturn, which put a crimp in Orange County tourist-tax revenue used to fund much of the project. Construction was then divided into two phases, with the Walt Disney Theater and the multipurpose Alexis & Jim Pugh Theater opening as part of Phase 1 in late 2014. How much will Phase 2 cost? The projected cost is about $237 million — more than $66 million of which will come from philanthropic donations. Another $143 million has been pledged from Orange County tourist taxes, which visitors pay on lodging. The City of Orlando has committed $10 million to Phase 2 in addition to its Phase 1 contribution. The arts center is also in the final stages of a major capital campaign, which got a big boost in January with a $3 million donation from the Harvey and Carol Massey Foundation. That gift, plus several others received during the final months of 2017, brought the campaign to within $10 million of its goal. The cost of the arts center as a whole is expected to total about $604 million. 




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Take It From the Top Broadway Week, led by veteran dancer and choreographer Paul Canaan, is one of an array of summer programs offered by the Dr. Phillips Center Florida Hospital School of the Arts. About 500 students participated in various summer programs last year.


artsLife | SPRING 2018



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Jazz Music Intensive Week with Rodney Whitaker is a five-day workshop consisting of combos, improv, jazz history, studio work and big-band rehearsal. The week culminates with concerts from students and faculty members.


aul Canaan can identify with the hopes, dreams, fears and frustrations of the aspiring musical theater actors who eagerly sign up for Take It From the Top Broadway Week, a program he created a decade ago. With a maximum of 90 students, Take It From the Top is the largest of the Dr. Phillips Center Florida Hospital School of the Arts Summer Programs. But, not surprisingly, it’s also among the first to reach capacity. “I was one of these kids,” says the 41-yearold Canaan, whose resumé boasts six Broadway shows. “I was a theater kid who lived for these opportunities.” Canaan’s credits include Legally Blonde, Miss Saigon, Thoroughly Modern Millie, La Cage Aux Folles, Chitty Chitty Bang Bang and the Tony-winning Kinky Boots, for which he served as dance captain. But these days, he’s more focused on educating the next generation of theater kids. And there are plenty of them in talent-rich Central Florida. 20

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Take It From the Top, which runs June 11–15, is designed for two age groups. Students between ages 10–13 and 14–19 can learn acting, music and dance from seasoned pros, such as Canaan. There are, as usual, a wide variety of summer programs being offered at the arts center. About 500 students participated last year, says Dana Brazil, senior director of education. New this year is a two-week Musical Theater Production program, during which up to 44 students will stage a full-scale musical in the Alexis & Jim Pugh Theater. It sounds like an old Mickey Rooney movie come to life — but Mickey didn’t have a venue this nice. Tuition for summer programs starts at $275. Because class sizes are limited, registering early at is recommended. Scholarships based on financial need are available, and application information is at the website. Take It From the Top, which Canaan founded as a nonprofit organization with Broadway star Laura Bell Bundy (Legally Blonde, Hair-

The arts center’s summer programs aren’t just for kids who dream of careers in theater — they’re for anyone who likes to perform. Participating in collaborative creative projects can boost selfconfidence and teach the value of teamwork, which are beneficial across the board.

spray, Wicked), offers real-world training each summer in Orlando and at two arts centers in Michigan. Faculty members include Bundy and other experienced Broadway “teaching artists.” The team of instructors for the Orlando week will be chosen in the spring. “We do group numbers, individual coaching on vocal technique, dance technique, storytelling through movement and scene work on acting — including what goes into building a character,” Canaan says. As with other summer programs at the arts center, Take It From the Top culminates with a showcase for family and friends at the end of the week. But Canaan says he doesn’t want preparation for the performance to overwhelm the week’s instruction. “I want to focus on skill-building,” he says. “I want to celebrate students’ strengths, but also focus on where they’re not as strong, and work on improving those areas. The showcase offers a glimpse of what we’ve done throughout the week.”

Take It From the Top is appropriate for anyone who loves to perform, Canaan says — not just high school students who are on a theater career track or “the kids who sing Frozen every day to their parents.” The experience, he says, builds self-confidence and teaches life skills that are crucial for success in any endeavor. Brazil attributes Canaan’s success as a teacher to both ability and enthusiasm. “I’ve known Paul for a long time,” she says. “One of the things I’ve always admired about him — in addition to his crazy talent — is that he’s always upbeat and positive.” Canaan’s newest venture is The Original Production, a licensing company he formed with director/choreographer Jerry Mitchell to make original Broadway choreography available to school and community theaters. His Take It From the Top students will be among the beneficiaries: This summer’s curriculum will include the original choreography for “You Can’t Stop the Beat” from Hairspray. On the following pages are descriptions of the various summer programs offered.  SPRING 2018 | artsLife


MUSICAL THEATER WEEK Musical theater is a form of performance that combines songs, dialogue, acting and dance to tell a story. Musical Theater Week will concentrate on vocal technique, character development, and dance and stage presence to help you bring the magic of musical theater to life. Friends and family will be invited to a Final Showcase. DATES/TIMES: June 4–8, 9 a.m.–4 p.m. FINAL SHOWCASE: June 8, 7 p.m., Alexis & Jim Pugh Theater AGES: 6–9 TUITION: $295 ($320 after May 18) CAPACITY: 50   

TAKE IT FROM THE TOP BROADWAY WEEK Take It From the Top Broadway Week offers a unique opportunity for you to learn from a team of experienced Broadway professionals and a professional casting director. The workshop is designed by Broadway veterans Paul Canaan (Kinky Boots, Legally Blonde, Thoroughly Modern Millie, La Cage Aux Folles, Miss Saigon) and Tony nominee Laura Bell Bundy (Legally Blonde, Wicked, Hairspray, Ruthless). Participants will explore the “triple threat” of music, dance and theater. Friends and family will be invited to a Final Showcase. DATE/TIMES: June 11–15, 9 a.m.–4 p.m. FINAL SHOWCASE: June 15, 6:30 p.m. (Section A); 8 p.m. (Section B); Alexis & Jim Pugh Theater AGES: 10–13 (Section A); 14–19 (Section B) TUITION: $425 ($450 after May 18) CAPACITY: 45 in each section   

ACTING INTENSIVE WEEK Acting Intensive Week allows you to delve into script analysis, scene work, monologues and content-less scenes, while exploring various acting methods. Learn how to share your creativity with a scene partner, and how to incorporate the energy of the audience into your performance. Friends and family will be invited to a Final Showcase. DATES/TIMES: June 18–22, 9 a.m.–4 p.m. FINAL SHOWCASE: June 22, 7 p.m., Alexis & Jim Pugh Theater AGES: 10–13 (Section A); 14–19 (Section B) TUITION: $275 ($300 after May 18) CAPACITY: 25 in each section 22

artsLife | SPRING 2018

Your kids can spend an unforgettable week this summer immersed in the arts. Among the programs are Take it From the Top Broadway Week, led by Paul Canaan (above), a New Yorkbased theater professional.

THEATER ARTS WEEK Theater is about the art of play. In a nurturing and supportive environment, you’ll explore script, improvisation, drama and theater games. With an emphasis on personal expression, creative imagination, confidence and socialization, Theater Arts Week makes the connection between the magical worlds of scripted theater and creativity. Friends and family will be invited to a Final Showcase. DATES/TIMES: June 25–29, 9 a.m.–4 p.m. FINAL SHOWCASE: June 29, 7 p.m., Alexis & Jim Pugh Theater AGES: 6–10 TUITION: $275 ($300 after May 18) CAPACITY: 50   

JAZZ MUSIC INTENSIVE WEEK WITH RODNEY WHITAKER Jazz Music Intensive Week is always hot under the direction of renowned bassist Rodney Whitaker, artistic director of the Jazz Orchestra at Dr. Phillips Center, and a roster of jazz education greats. This five-day workshop consists of combos, improv, jazz history, studio work and big-band rehearsal. The week wraps up with two performances: one from faculty and one from students. DATES/TIMES: July 9–13, 8 a.m.–5 p.m. FINAL SHOWCASE: July 13, 7 p.m., Alexis & Jim Pugh Theater AGES: 13–adult TUITION: $425 ($450 after May 18) CAPACITY: 55

MUSICAL THEATER PRODUCTION This 10-day program will culminate with a full-scale musical performed live onstage. The first day will consist of auditions. The following days will encompass blocking, choreography, character development and vocal and tech rehearsals. There’ll be four performances, all of which will be open to the public. Tickets can be purchased for $15 each, and each participant will receive two complimentary tickets. DATES/TIMES: July 16–29, 10 a.m.–5 p.m. (with a break July 21 and 22) PERFORMANCES: July 27, 7:30 p.m.; July 28, 2 p.m. and 7:30 p.m.; July 29, 3 p.m.; Alexis & Jim Pugh Theater AGES: 12–19 TUITION: $700 ($725 after May 18) CAPACITY: 44   

OCA THEATER WEEK SERVING STUDENTS WITH SPECIAL NEEDS In this community outreach program, the arts center’s education staff partners with OCA (Opportunity, Community, Ability) in a weeklong theater camp. Specialneeds campers participate in all aspects of the creative process, from writing a play to building sets and creating characters — with every participant being on stage in some way. OCA Theater Week culminates in a performance for invited family and friends. Parents and caretakers have reported that participants experience growth in speech and language, confidence and social skills. For more information, or to register for this camp, visit, call 407.808.7837 or email DATES: July 30–August 3

HEART POUNDING. MIND-BLOWING. CONCERTS. We have an amazing line up of performances to celebrate our 25th Anniversary Season ranging from pop to classics, jazz to alternative and everything in between. EXPERIENCE OUR CONCERTS & GET YOUR TICKETS AT ORLANDOPHIL.ORG

R E G I S T R AT I O N To sign up for summer programs, visit But act now, since classes fill up quickly.

SPRING 2018 | artsLife





Rogan, a blunt-spoken native of Newark, New Jersey, was recently ranked No. 2 on the Hollywood Reporter’s Top Comedians list, which measures popularity across social media platforms such as Facebook, Twitter, Instagram, YouTube and Google Plus.


artsLife | SPRING 2018


8 p.m. & 10:30 p.m.



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e are, indeed, living in strange times. In fact, unorthodox comedian Joe Rogan — perhaps best known for his podcast The Joe Rogan Experience — has even dubbed his current tour Strange Times. Well, who could argue with that? Speaking of strange, Rogan, a bluntspoken native of Newark, New Jersey, was recently ranked No. 2 on the Hollywood Reporter’s Top Comedians list, which measures popularity across social media platforms such as Facebook, Twitter, Instagram, YouTube and Google Plus. Who was No. 1? Comedian and actor Kevin Hart, creator and star of BET’s Real Husbands of Hollywood, who in 2016 won three Peoples’ Choice Awards, including Favorite Comedic Movie Actor. Rogan, a scrappy everyman who holds a black belt in tae kwon do, is also known for his edgy and incisive commentaries during televised Ultimate Fighting Championship (UFC) matches. He’s so popular, in fact, that many venues are adding second Strange Times shows. That’s what happened at the Bob Carr Theater, where Rogan will regale fans at 8 p.m. and 10:30 p.m. on March 17. Tickets are priced starting at $39.50.

Rogan, at 50, is older than you might expect a social media phenomenon to be. But when you think about it, he’s been in the public eye a long time. Savvy use of various platforms has enabled him to reach a wider audience with his pull-no-punches style. “Richard Pryor was the first really honest comedian,” says Rogan. “My act could be classified as ‘unedited,’ but I try to keep my audience in mind while focusing on the truth. I never want to compromise my act just to get a laugh.” Rogan was first encouraged to try comedy by his buddies in tae kwon do classes, who found him to be as funny as he was tough. He tested some raunchy material at open-mic nights in Boston in the late 1980s, and subsequently got some paying gigs at bachelor parties and adult nightclubs. Encouraged by the response, he moved to New York City in 1990 and Los Angeles in 1994. There he continued to hone his R-rated standup routine, and was cast in two sitcoms: Fox’s Hardball, which lasted only one season, and NBC’s News Radio, which ran from 1995 to 1999 and also starred Dave Foley, Andy Dick, Laura Tierney, Jon Lovitz and the late Phil Hartman. On News Radio, Rogan played Joe Garrelli, the street-smart — and more than a little SPRING 2018 | artsLife


The Joe Rogan Experience is now one of the most popular podcasts on iTunes, drawing more than 100 million downloads monthly. Fans can watch it on Ustream or hear it on Sirius XM’s “The Virus” channel on Saturdays at noon and Sundays at 5 a.m. and 6 p.m. In 2012, Rogan released his sixth comedy special, Live from the Tabernacle, exclusively as a download from his website. The price was a budget-friendly $5.

scary — electrician and handyman at fictional WNYX. He later became an interviewer and color commentator for UFC, a mixed martial arts promoter that stages fast-paced slugfests (and kickfests) on Fox Sports. Rogan has also released comedy albums, starred in several comedy specials and hosted television programs such as Comedy Central’s The Man Show, in which stereotypical loutish male behavior was satirized, and Fear Factor, in which contestants performed dangerous or disgusting stunts in hopes of earning a $50,000 payday. In 2009, Rogan launched a long-form interview podcast with fellow comedian Brian Redban. The Joe Rogan Experience has featured hundreds of guests, including film and television stars as well as an eclectic assortment of comedians, writers, scientists, athletes and musicians. Episodes are usually three hours long — more or less — and feature unstructured conversations about anything and everything. Perhaps most notably, last year Rogan con26

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ducted a wide-ranging — and surprisingly enlightening — conversation with mediafriendly astrophysicist Neil deGrasse Tyson. The Joe Rogan Experience is now one of the most popular podcasts on iTunes, notching more than 100 million downloads monthly. Fans can watch it on Ustream or hear it on Sirius XM’s “The Virus” channel on Saturdays at noon and Sundays at 5 a.m. and 6 p.m. In 2011, Rogan snared his first major film role in Zookeeper, which starred Kevin James. The following year, he released his sixth comedy special, Live from the Tabernacle, exclusively as a download from his website. The price was a budget-friendly $5. Rogan’s SyFy TV series, Joe Rogan Questions Everything, which ran for one season in 2013, followed the skeptical comedian — a critic of organized religion who advocates for the legalization of drugs — as he investigated paranormal phenomena such as UFO sightings. William Cook of The Guardian describes Rogan as being “like an idealistic hippie

stuck inside the body of a testosteronepumped U.S. Marine. His angry, insightful act is an absorbing battle between his raw libertarian instincts and his refined liberal sensibilities.” Rogan has gotten attention by publicly calling out other comedians for stealing material. “The comics I hate are thieves,” he says. “Stand-up comedy is supposed to be, ‘Here’s the world through my eyes.’ It’s supposed to be your observations, your thoughts and views on life. When you snatch little pieces of other people’s lives and try to palm them off as your own, that’s more disgusting than anything.”  — Randy Noles

GET YOUR TICKETS EVENT: Joe Rogan: Strange Times DATE/TIME: Saturday, March 17, 8 p.m. and 10:30 p.m. VENUE: Bob Carr Theater NOTES: The comedian, who hosts a popular podcast and offers televised commentary on Ultimate Fighting Championship (UFC) matches, delivers his unfiltered stand-up routine. TICKETS: Priced starting at $39.50 844.513.2014 •

DID YOU KNOW? Rogan is interested in sensory deprivation, and uses an isolation tank. He says that his experience with meditation in isolation tanks has helped him explore the nature of consciousness and improved his overall wellbeing.

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As a high schooler, Scott Bradlee began concocting old-school jazz and ragtime piano arrangements of grunge and gangsta rap hits favored by his friends. That “party trick� evolved into Postmodern Jukebox, and quickly became a YouTube sensation.


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cott Bradlee, like most high schoolers, just wanted to fit in. But when it came to music, he couldn’t relate to the ’90s pop his pals listened to. He liked jazz and swing from the ’30s, ’40s, ’50s and ’60s. “My friends weren’t into that kind of music,” says Bradlee, 34. “But I wanted to be part of the conversation. So, I had an idea.” A musical prodigy, Bradlee began concocting old-school jazz and ragtime piano arrangements of grunge and gangsta rap hits. He refers to it today as a “party trick,” but admits that it boosted his coolness quotient. These days, Bradlee’s party trick has become an international phenomenon through Scott Bradlee’s Postmodern Jukebox, an aptly named consortium of about 50 singers and players who’ve conquered YouTube with retro versions of recent chart toppers. About a dozen of Postmodern Jukebox’s premier performers — the cast rotates, so you never know who’ll you’ll see when the curtain rises — will bring a marvelous musical mash-up to the Walt Disney Theater on April 20. Showtime is 8 p.m., and tickets are priced starting at $34.50. Postmodern Jukebox charmed a full house at the venue in October 2016. They had played sellout shows at Hard Rock Live in 2015

and The Plaza Live in 2014. Clearly, Bradlee’s concept has many fans in Central Florida. In fact, there are plenty of fans everywhere. Postmodern Jukebox posts a new song on its YouTube channel every week. More than 3.1 million subscribers routinely tune in to see what the New Jersey-born pianist and his musical cohorts have come up with. Some individual videos have notched more than 15 million views. And cumulatively, the nearly 300 videos posted by Bradlee — many recorded in his Queens, New York, living room — have garnered more than 800 million views. Before Bradlee’s gimmick became a sensation, he used it to get hired as a jazz pianist in New York, where jazz pianists were hardly in short supply. Most of his gigs were in restaurants and bars, where he did little more than supply background music. “I did it to get work, originally,” Bradlee recalls. “I thought, ‘Wouldn’t it be great if I created a show based on taking all these current songs, and re-imagining them? What if all these artists were alive back in the ’40s or ’50s and wrote those songs then? How would they sound?’” In 2009, Bradlee took a keyboard to his basement and mounted “a cheap little camera” in front of it. He then played a SPRING 2018 | artsLife


Although Bradlee has more than a dozen selfreleased albums to his credit, he recently signed a contract with Concord Records, which debuted The New Classics just before Christmas last year. It’s a live CD/DVD filmed at the Smith Center in Las Vegas and shown nationally on PBS.

medley encompassing dozens of ’80s pop songs — but in ragtime style. He posted the video on YouTube and waited to see what would happen. Voila! The no-frills video found an audience, boosted by an admiring tweet from British author/comic book writer Neil Gaiman. “All of a sudden, I had views in the tens of thousands,” Bradlee recalls. “From there, I just thought, ‘Well, there’s something to this that’s interesting people.’ I couldn’t believe it at first. Pretty soon, I had friends starting to join me.” Bradlee, who didn’t yet have a name for his group, struck YouTube gold in 2012 with “A Motown Tribute to Nickelback,” which reimagined seven of the Canadian grunge band’s hits as if they’d been produced by the legendary Berry Gordy. In 2013, Bradlee scored a viral hit with a ’50s doo-wop arrangement of Miley Cyrus’ “We Can’t Stop.” The video, released in the aftermath of the singer’s televised twerk on the 2013 MTV Video Music Awards, has notched an astonishing 19 million views — and counting. That same year, Bradlee posted a surreal jazz rendition of Lorde’s indie-pop hit “Royals,” which was sung by 6-foot-8 Puddles the Clown — in full costume — who recently reached the quarterfinals of NBC’s America’s Got Talent. The video has garnered 30

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more than 10 million views. And so it goes with Postmodern Jukebox, which was officially launched in 2013. Everything — and we do mean everything — is fair game. Bradlee’s choice of cover material ranges from the ’80s hard rock of Guns N’ Roses to pop radio fodder as recent as last year’s Justin Bieber plea “Sorry.” “The kind of music we do, and the way we do it, is why you see younger fans and older fans at our shows,” says Bradlee, who first took Postmodern Jukebox on tour in 2014. Most Postmodern Jukebox performers are known by name primarily among hardcore YouTube fans — but all are highly regarded professionals who share Bradlee’s quirky aesthetic. Los Angeles-based singer Sara Niemietz, 25, was with Postmodern Jukebox for its 2016 Orlando gig and will be back again this year. Niemietz has a busy solo career — but enjoys losing herself in the alternate musical universe created by Bradlee. “It’s just an awesome way to see the world, and to make music with people we love,” says the effervescent Niemietz, whose jazz cover of Outkast’s 2013 hip-hop hit “Hey Ya!” has attracted nearly 4.5 million views. “It’s so much fun to perform with a family of like-minded people. We all do other things, so every tour is like a big reunion.” Niemietz says that set lists for Postmodern Jukebox shows are, for the most part, tailored to match performers with their most popular videos. However, she says, fans can expect an assortment of “greatest hits,” even if the artists in the YouTube versions aren’t appearing live. Like Bradlee, Niemietz says that as a youngster her musical tastes didn’t always mesh with those of her friends. So she’s grateful for an opportunity to apply old-school jazz sensibilities to unexpected songs spanning disparate genres — “Hey Ya!” being a prime example. Adds Bradlee: “What we do is as close to a musical time machine as you’re going to get. It’s kind of like going to a party with Frank Sinatra in the ’40s. Sometimes we see people in the audience dressing up vintage style — whatever that means to them.” The musicians bring an effortlessly cool hipster vibe to their performances, in both attitude and attire. Stage clothes can generally be described as sleek and sassy “paint-thetown” ensembles that any self-respecting Rat

Touring with Postmodern Jukebox is “an awesome way to see the world, and to make music with people we love,” says vocalist Sara Niemietz, whose jazz cover of Outkast’s 2013 hip-hop hit “Hey Ya!” has attracted nearly 4.5 million views. Niemietz will be with the troupe when it returns to Orlando in April. SPRING 2018 | artsLife


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Packer would be proud to own. Although Postmodern Jukebox is a visual treat, the group also makes records. In addition to touring and doing videos, Bradlee has compiled more than a dozen self-released albums and EPs. Last year, Bradlee signed a deal with Concord Records, which released a best-of album, The Essentials. Just before Christmas, the label also released The New Classics, a live CD/DVD filmed at the Smith Center in Las Vegas and shown nationally on PBS. Entertainment Weekly says, “Scott Bradlee’s group is known for retro-fying modern hit songs into viral success,” while Yahoo! Music adds, “If you’ve been on YouTube in the last couple of years, then you’re familiar with the everything-new-is-old-again brilliance of the viral phenomenon known as Postmodern Jukebox.”  — Randy Noles

GET YOUR TICKETS WHAT: Scott Bradlee’s Postmodern Jukebox DATE/TIME: Friday, April 20, 8 p.m.


ArtsLife, the official magazine of Dr. Phillips Center for the Performing Arts, is placed in the hands of more than 100,000 attendees of shows at the arts center’s venues. Who reads ArtsLife? Look around you. If you see an audience that your business would like to reach, then call today to reserve advertising space. Advertising opportunities in each issue are strictly limited.

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VENUE: Walt Disney Theater NOTES: Everything old is new again — or is it the other way around? — at a Postmodern Jukebox show, where recent hit songs are performed by top-tier singers and players using authentically retro musical styles. TICKETS: Priced starting at $34.50 844.513.2014 •

DID YOU KNOW? In early 2016, Bradlee and Postmodern Jukebox covered the late David Bowie’s classic song “Heroes” in honor of World Cancer Day — featuring vocals by singersongwriter Nicole Atkins. The arrangement became one of Bradlee’s most popular to date, and was sold on iTunes as a fundraiser for the Cancer Research Institute.

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The 19-piece Jazz Orchestra at Dr. Phillips Center, which has played to full houses since it was launched last year, has two more solo shows coming up: Jazz for Lovers (February 16 and 17) and Going to Kansas City (April 27 and 28). SPRING 2018 | artsLife


Although he led his own big bands, Benny Carter (above left) also composed and arranged for jazz luminaries, including Count Basie (above right). In 1960, he composed 10 songs recorded by Count Basie & His Orchestra under the collective title of Kansas City Suite. Each song — or movement — commemorates an aspect of Kansas City, a jazz hot spot in its heyday.


he name has been tweaked a bit: It’s now called The Jazz Orchestra at Dr. Phillips Center. But its twin missions — to educate and entertain — still provide the underpinning for the arts center’s in-house ensemble, under the artistic direction of internationally renowned bassist Rodney Whitaker. The 19-piece orchestra, which has played to full houses since it was launched last year, has two more solo shows coming up. One will celebrate love and lovers with a program of timeless jazz classics from the likes of Frank Sinatra, Duke Ellington and Ella Fitzgerald. The other will revive an entire suite originally written for Count Basie & His Orchestra by Harlem-born saxophone legend Benny Carter, who influenced generations of musicians and was called “King” by his peers.

Two performances of Jazz for Lovers, on February 16 and 17, will add to the afterglow of Valentine’s Day. Performances will take place at the intimate Alexis & Jim Pugh Theater. Showtime is at 8 p.m. both nights. Tickets are priced starting at $39.50. Then, on April 27 and 28, the orchestra will perform Going to Kansas City, which re-creates a revered 1960 jazz album: Kansas City Suite by Benny Carter as Performed by Count Basie & His Orchestra. Again, showtime is at 8 p.m. both nights. Tickets are priced starting at $39.50. “People are really proud to have this orchestra in their city,” says Whitaker, who also records for Detroit-based Mack Avenue and is a distinguished professor of jazz 36

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bass and director of jazz studies at Michigan State University’s College of Music. The arts center’s jazz initiative is supported by Orlando residents Joyce and Judson Green. A former Walt Disney Company executive, Judson Green is an accomplished jazz pianist with several CDs to his credit. Formation of the orchestra — and the array of exciting educational opportunities surrounding it — is the result of a first-of-its-kind partnership between the arts center and Jazz at Lincoln Center, a multifaceted program based at the Lincoln Center for the Performing Arts in New York. The artistic director for Jazz at Lincoln Center is Pulitzer Prize-winning trumpeter, composer and arranger Wynton Marsalis, with



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whom Whitaker performed as a member of the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra in the mid-1990s. Marsalis has donated his personal arrangements to seed the arts center’s music library. So far, the Jazz Orchestra at Dr. Phillips Center has opened for Broadway diva Bernadette Peters and hosted the Jazz Vocal Summit, which assembled some of the region’s best jazz singers at the Alexis & Jim Pugh Theater. At the same venue, Ellington for Lovers offered more sultry sounds, prompting Whitaker to turn to the audience and ask: Are ya’ll in a romantic mood? If not, ya’ll are in the wrong place!” Seb’s Jazz Club: A VIP Experience replicated the funky joint depicted in the blockbuster movie La La Land. Not a seat went unsold for any of the performances — which Whitaker says is proof positive that there’s an ardent audience for jazz in Central Florida. “People always move on to the next fad, which is OK, but they’re still playing jazz, so obviously someone is interested,” says Whitaker, who notes that jazz wasn’t taken seriously as an art form until the ’80s. “Finally, institutions are making a commitment to music that has been left out historically.” Ellington for Lovers will likely have come and gone by the time you see this issue of ArtsLife. But Going to Kansas City — although it features music less familiar to casual jazz fans — will undoubtedly prove to be just as entertaining. Carter, who died in 2002 at 95, was the recipient of the National Endowment for the Arts Jazz Masters Award in 1986, and

its National Medal of the Arts in 2000. In 1987, he was presented a Grammy Lifetime Achievement Award. Although he led his own big bands, Carter also composed and arranged for jazz luminaries. And in 1960, he composed 10 songs recorded by Count Basie & His Orchestra under the collective title of Kansas City Suite. Each song — or movement — commemorates an aspect of Kansas City, a jazz hot spot in its heyday. “Rompin’ at the Reno” and “Blue Five Jive,” for example, refer to jazz clubs, while “Jackson County Jubilee” refers to the county in which Kansas City is located. You might call Kansas City Suite a jazz concept album, since there’s an overarching theme. “Benny opened the eyes of a lot of producers and studios,” said Quincy Jones in the 1991 film, Benny Carter: Symphony in Riffs. “He made them understand that you could go to blacks for other things outside of blues and barbecue. He was a total musician. He was the pioneer, he was the foundation. He made it possible for that doubt to be taken away.” But you can expect to hear more about Carter from Whitaker, who takes his role as a jazz educator seriously. He has more than 13,000 albums in his collection, and has enjoyed personal friendships and professional collaborations with many jazz icons. His fascinating back stories make the music even more special. “Really good bandleaders are also really good storytellers,” he says. “I come out of that tradition. I like to provide some context for the music we play.” 

GET YOUR TICKETS WHAT: Ellington for Lovers and Going to Kansas City DATE/TIME: Friday and Saturday, February 16 and 17 (Ellington for Lovers) and Friday and Saturday, April 27 and 28 (Kansas City Suite). All shows begin at 8 p.m. VENUE: Alexis & Jim Pugh Theater NOTES: In February, the Jazz Orchestra at Dr. Phillips Center offers a romantic post-Valentine’s Day concert. In April, the orchestra returns to perform Benny Carter’s swinging salute to Kansas City, which was originally recorded on a classic 1960 album by Count Basie & His Orchestra. TICKETS: Priced starting at $39.50 for all shows 844.513.2014 •


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Live at the Acropolis, recorded 25 years ago, was seen in 65 countries by an astounding half a billion people, eventually becoming the No. 2 topselling music video of all time.


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Yanni — born Yiannis Chryssomallis — has built an international following by blending jazz, classical, soft rock and world music. He has played concerts, many of which have been shown on PBS, at some of the world’s most exotic locales.


f all the headliners who’ve stood onstage at the Walt Disney Theater, it’s probably safe to assume that none have performed in more awe-inspiring locations than Yanni, the Greek-born keyboardist who’s touring to celebrate the 25th anniversary of his breakthrough album, Live at the Acropolis. That blockbuster compilation — for which Yanni, now 63, put his personal fortune at risk — was recorded at the Herodes Atticus Theatre in Athens with his own band and the 60-piece Royal Philharmonic Concert Orchestra from London. It was filmed as a TV special and broadcast repeatedly by PBS, prompting recordbreaking ratings and millions of dollars in donations.

Live at the Acropolis was seen in 65 countries by an astounding half a billion people, eventually becoming the No. 2 top-selling music video of all time. What’s No 1? None other than Michael Jackson’s Thriller. From that time forward, Yanni — who’s self-taught and can’t read or write traditional music — has been one of the most popular performers in the world. He’s known for his soaring arrangements and his energetic performances, during which he tosses his trademark tresses and employs theatrical flourishes when playing the grand piano or gyrating before a bank of synthesizers. The pop culture icon and his troupe — who played before an enthusiastic full house 42

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here last February — will be back on April 30. Showtime is 7:30 p.m., and tickets are priced starting at $45.50. “We love you, and it does out hearts good to play for such a great audience,” Yanni said last year during his encore. “We will always come back to Orlando when we tour.” Apparently, he really meant it. Yanni — born Yiannis Chryssomallis — has built an international following by blending jazz, classical, soft rock and world music. He has sold more than 25 million albums, no thanks to commercial radio, which rarely plays music that it can’t pigeonhole into a rigidly defined format. His concerts — which typically include Yanni and about 15 other musicians — pack venues

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Yanni’s music has been used in television shows and televised sporting events, including the Super Bowl, Wide World of Sports, the U.S. Open tennis championships, the PGA’s U.S. Open, the Tour de France, the World Figure Skating Championships and the Olympic Games.

everywhere. And not just any venues. He has performed at such UNESCO World Heritage Sites as Egypt’s pyramids, India’s Taj Mahal and China’s Forbidden City. The band with which Yanni currently travels encompasses musicians from the U.S., Germany, Cuba, Paraguay, Taiwan, Canada, England, Venezuela, Armenia and Russia. Live shows usually run for more than two hours, partly because the headliner generously showcases the talents of his traveling troupe, including rocking harpist — yes, we used the words “rocking” and “harpist” in the same sentence — Victor Espinola. Also frequently in the spotlight are veteran percussionist Charlie Adams, violinists Samvel Yervinyan and Mary Simpson, and vocalist Lauren Jelencovich — who reaches high notes thought to be outside the range of mortal beings. Yanni’s arpeggio-infused music is often described as New Age — a descriptor that he dislikes. “When someone says New Age music, I think of something that you put on in the background while you’re vacuuming the house,” he says. “I don’t want to relax the au44

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dience; I want to engage them in the music, get them interested.” Despite his reputation as a citizen of the world, Yanni has spent most of his life as a resident of the U.S. He attended the University of Minnesota, where he majored in psychology and worked as a dishwasher at the student union. After graduation, he played keyboards in the rock band Chameleon. “That’s the happiest I’ve ever been,” he recalls. “I decided music had to be my life’s work.” So, he moved to Los Angeles in the early ’80s, looking for work writing film scores. By 1988, Yanni was touring with an ensemble that included pianist/singer John Tesh, who was then already co-host of Entertainment Tonight. (Longtime locals may remember that Tesh was briefly a news anchor here, on WFTV-Channel 9, in the late ’70s.) Yanni was also featured in People magazine and performed on Oprah. Although two albums — Dare to Dream (1992) and In My Time (1993) — received Grammy nominations, they didn’t win. And sales figures were relatively modest. Not content with mere semi-celebrity, Yanni rolled the dice with the Acropolis project — which catapulted his career to new heights. In subsequent years, he became synonymous with made-for-PBS concert spectaculars in exotic locales. Yet, for a performer so unquestionably popular, Yanni has been awarded relatively few industry accolades. It hardly matters; the fans vote every time they buy a ticket or an album — and they’re still voting for Yanni. His music has been used in television shows and televised sporting events, including the Super Bowl, Wide World of Sports, the U.S. Open tennis championships, the PGA’s U.S. Open, the Tour de France, the World Figure Skating Championships and the Olympic Games. He also wrote music for ABC’s World News Now. Yanni’s most recent album, Sensuous Chill, was built around synthesizers, programmed rhythms and electronic sounds employing

today’s more sophisticated technologies. He says more than 200 tracks were recorded for some songs, and that the compilation took five years to complete. As might be expected, one of Yanni’s favorite causes is PBS, with whom he has collaborated 10 times — most recently in 2012 with Yanni Live at El Morro, Puerto Rico. Those efforts have raised some $13 million. He has also sponsored an “Adopt a Panda” program for the World Wide Fund for Nature and taken his music to troubled areas of the world, such as Tunisia and the Middle East. “One people, one music,” is Yanni’s mantra. It’s a philosophy that plenty of people — many of them in Central Florida — subscribe to. 

GET YOUR TICKETS WHAT: Yanni: 25th Anniversary of Live at the Acropolis WHEN: Monday, April 30, 7:30 p.m. VENUE: Walt Disney Theater NOTES: The Greek-born musician is touring to commemorate the 25th anniversary of his spectacularly successful Live at the Acropolis project, which encompassed a concert, a CD, a DVD and a PBS telecast. TICKETS: Priced starting at $45.50 844.513.2014 •

DID YOU KNOW? Before Yanni moved to the U.S. at age 18, he was a championship athlete in Greece. As a member of the Greek National Swimming Team, he broke the national freestyle record at age 14.

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“The Remedy (I Won’t Worry),” which was inspired by a childhood friend’s upbeat attitude following a cancer diagnosis, was Mraz’s breakout hit in 2002. Since then, the sky has been the limit for the singer-songwriter, who got his start playing acoustic gigs at a coffeehouse called Java Joe’s in the Ocean Beach neighborhood in San Diego.

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Mraz has an organic avocado farm, and says growing food helps inspire his songwriting: “When writing a song, and the page is blank, I think, ‘Have some patience, put a little love into it, water the page, and before you know it, words will form and it’ll grow into something beautiful.’”


Mraz, whose surname, ironically, is Czech for “frost,” brings his trademark fedora (or ivy cap) and feel-good folk-pop songs to the Walt Disney Theater on March 13. An Evening with Jason Mraz, Solo Acoustic, gets underway at 7:30 p.m., and tickets are priced starting at $35. Waiting for my Rocket to Come yielded a Top 5 single, “The Remedy (I Won’t Worry),” which was inspired by a childhood friend’s upbeat attitude following a cancer diagnosis. During the summer of 2002, you couldn’t turn on the radio without hearing the defiant refrain, “IIIIII won’t worry my life awaaaaaay!” Since then, the sky has been the limit for Mraz, who had spent three years playing weekly acoustic gigs — and building a following — at a joint called Java Joe’s in the Ocean Beach neighborhood in San Diego. He recorded a live album there just prior to his mainstream breakthrough. Mraz, who last appeared at the Walt Disney Theater in 2015, has to date released five studio albums of blue-eyed-soulful pop: Mr. A–Z; Yes!, Love Is a Four Letter Word and We 48

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Sing. We Dance. We Steal Things. The latter album earned Grammys for Best Male Pop Vocal Performance (“Make it Mine”) and Best Pop Collaboration (“Lucky,” with Colbie Caillat). It also spawned a smash, “I’m Yours,” which was released in the summer of 2008 and spent a record-setting 76 weeks on the Billboard Hot 100. It was named the 2010 Song of the Year by the American Society of Composers, Authors, and Publishers (ASCAP). In addition to his chart success, Mraz has won two Teen Choice Awards, a People’s Choice Award and the Hal David Songwriters Hall of Fame Award. He has sold more than 7 million albums and his singles have been downloaded nearly 12 million times. Now, Mraz has even co-starred in a Broadway musical — Waitress — which happens to be the next show up in this year’s FAIRWINDS Broadway in Orlando™ series. During a 10-week run in November and December of last year, Mraz played Dr. Jim Pomatter, the lovelorn gynecologist who offers baker Jenna Hunterson an escape from


early two decades after his career began brewing in San Diego-area coffeehouses, two-time Grammy winner Jason Mraz is still as hot as a freshly steamed cup of latte — and his music is every bit as comforting. In October, ahead of a highly anticipated new album, Mraz reissued 2002’s Waiting for My Rocket to Come, his major label debut. The songs go down just as easy today as they did 15 years ago — and perhaps we need their message of positivity now more than ever. “I mean, there’s a few things about my attitude that have changed, but overall the messages of love and hope and optimism and joy are all there,” Mraz, 40, told ABC News Radio in November about Rocket’s vinyl-only relaunch.


Mraz recently made his Broadway debut in a limited run as Dr. Jim Pomatter in the hit musical Waitress. He appeared alongside Betsy Wolfe, who played Jenna Hunderson, the show’s pie-baking heroine. The Waitress touring company is coming to the Walt Disney Theater on March 20. SPRING 2018 | artsLife


her abusive marriage. In fact, Mraz — who had originally dreamed of a career in musical theater — has a history with Waitress. He appeared as a guest artist on composer Sara Bareilles’ 2015 album What’s Inside: Songs from Waitress. Both tracks on which he sings, “Bad Idea” and “You Matter to Me,” are performed in the show as duets between Jim and Jenna. Growing up in Mechanicsville, Virginia, and appearing in such high school and community theater productions as Joseph and the Amazing Technicolor Dreamcoat, Mraz had no doubt that he was destined for Broadway. However, he changed his mind after moving to New York to study at the American Musical and Dramatic Academy. He picked up a six-string guitar instead — and the rest is pop music history. “The guitar gave me freedom to sing and sing and sing,” he has said. “I could take my guitar anywhere I wanted. And with original music, I felt it would be less competitive than auditioning for roles.” Returning to Virginia in the late ’90s, Mraz worked odd jobs — including mopping school floors — before eschewing college altogether and taking a fateful road trip to California. Mraz made it back to Broadway on his own terms. Now, in a nod to his coffeehouse roots, he has become a coffee farmer who recently planted some 2,500 coffee bushes on his organic avocado farm near San Diego. “Farming has gone into my other work,” he recently said. “When writing a song, and the page is blank, I think, ‘Have some patience, put a little love into it, water the page, and before you know it, words will form and it’ll grow into something beautiful.’” Mraz — who married girlfriend Christina (Tina) Carano in 2015 — is a social activist whose philanthropy is focused on the environment, human rights and issues of LGBTQ equality. In 2009, he participated in a rescue mis-

sion to Ghana with members of Free the Slaves, a global nonprofit working to liberate children sold into slavery. Two years later, he headlined the MTV EXIT-sponsored Milestone Concert in Myanmar to raise awareness about human trafficking, In 2012, Mraz spent a week in Antarctica with a group of scientists and researchers on a mission led by former Vice President Al Gore to learn about the effects of climate change. He even brought along his guitar, and performed an impromptu set for the small group of adventuresome environmentalists. When he unplugs in Orlando, the part-time farmer likely will sow favorites like “Let’s See What the Night Can Do,” “Make It Mine,” “Common Pleasure,” “Beautiful Mess,” and “So You Think You Can Dance,” as he did in June during his 40th Birthday Hollywood Bowl Celebration concert. Also, expect a harvest of autobiographical snippets and his view on current events — viewed through Mraz-colored glasses. “We have a choice,” he explained to NPR’s Ophira Eisenberg. “All of life is a big ol’ story. What story do you want to tell yourself?” 

GET YOUR TICKETS WHAT: An Evening with Jason Mraz, Solo Acoustic DATE/TIME: Tuesday, March 13, 7:30 p.m. VENUE: Walt Disney Theater NOTES: The singer-songwriter, whose brand of feel-good pop-rock has won him millions of fans worldwide, is on a laid-back acoustic tour, allowing his fans to experience coffeehouse-style performances in intimate venues. TICKETS: Priced starting at $35 844.513.2014 •

DID YOU KNOW? “I’m Yours” was the first song to top the charts in four different radio formats: Mainstream Top 40, Adult Contemporary, Adult Top 40 and Triple A. It also made the Latin Pop and Smooth Jazz charts. Mraz decided to release “I’m Yours” as a single after noticing that fans often sang along when he performed it in concert.


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Saturday & Sunday


17 & 18

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Three Shows: Showtimes Vary




rcadian Broad — dancer, composer, choreographer and Orlando Ballet’s inaugural artist in residence — has always been a young man in a hurry. At age 9, the Titusville-born elementary schooler was an understudy for the title role in Broadway’s Billy Elliott, the Elton Johnscored musical about a U.K. boy who trades boxing for ballet. The role of Billy was normally rotated among three youngsters, who would later share a Tony for Best Leading Actor in a Musical. Broad had barely missed the cut when the final three were selected. Still, as an understudy, he was called upon several times to perform. That is, until his voice changed — an unavoidable occupational hazard for any child actor.

Arcadian Broad, a semifinalist on America’s Got Talent at age 13, reimagined the 18th-century French fairy tale Beauty & the Beast as a full-length ballet. The performance, which he choreographed and scored, will be presented three times during Orlando Ballet’s Family Weekend at the Walt Disney Theater. The multitalented Broad also dances the role of Gaston.


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Broad rehearses with Kate-Lynn Robichaux, who is reprising her role as Belle in Arcadian Broad’s Beauty & the Beast.

“Billy Elliott was my first exposure to ballet,” says Broad. “I was a real mutt in my training. I studied every style. But really, I didn’t care for ballet. I was more into jazz and hip-hop.” At age 13, that versatility helped him dance his way into the semifinals on the NBC competition program America’s Got Talent. After he was eliminated — sparking a controversy that lit up the Internet — he was invited to appear on the Ellen DeGeneres Show, where he danced and chatted with the host. Fame, however, can be fleeting — especially for precocious youngsters who peak too soon. To sustain a career over the long haul, Broad knew he had to buckle down and hone his craft. Which is exactly what he did. He won two prestigious pre-professional national championships: the American Dance Competition — six times in a row, no less — and the Carreno Festival, earning full scholarships to the Orlando Ballet School and the Julliard School in New York. From Julliard, at age 16, Broad was plucked by Robert Hill, Orlando Ballet’s artistic director, to become the youngest dancer ever to be hired as a member of the company. “Arcadian’s technical ability was very impressive,” says Hill. “And he’s a fast learner. 54

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As an artistic director, I find those things very important. Plus, like everyone who meets him, I realized pretty quickly that I was in the presence of an extraordinary person.” Since then, Broad has appeared in just about every one of the ballet’s productions, dancing such principal roles as Puck in A Midsummer Night’s Dream (2012), Mercutio in Romeo and Juliet (2014) and Basilio in Don Quixote (2016). His self-choreographed solo tour de force, Time, has garnered nearly a half-million YouTube views. With movie-star good looks and seemingly boundless talent, Broad is a legitimate triple, quadruple or quintuple threat. Late last year, at the not-so-advanced age of 22, he was named the ballet’s artist in residence. Perhaps next, Broad will star in a bigbudget Hollywood dance film, a ’la Patrick Swayze in Dirty Dancing. Or, if he has his choice — which he probably will — he’ll take an action flick. “My life would be complete if I could play a superhero,” says Broad, who has a special affinity for Batman. “Superheroes can be violent, of course. But Batman feels a great moral obligation. In a way, I think of myself as a less dark and broody version of him.” Somebody had better dust off the Batmo-


Broad’s solo tour de force, Time, has garnered nearly a half-million YouTube views since he first performed it at age 16.

bile. Clearly, Broad has the requisite charisma to be a force on the big screen — although in the superhero genre, he admits that he’d be better cast as Robin, not Batman. “Look, I take all that stuff with a grain of salt,” says Broad, whose reimagining of the 18th-century French fairy tale Beauty & the Beast will play three times during Orlando Ballet’s Family Weekend at the Walt Disney Theater. “I’m just a person. I live by the golden rule.” The production is billed as Arcadian Broad’s Beauty & the Beast because Broad not only conceived it and choreographed it — he also scored it. A piano prodigy, he began tickling the ivories at age 2, when most tots are learning to form simple sentences. His formal piano training began at age 4. Broad even had a hand in creating the costumes, the lighting and the set design for his singular vision of this ageless yarn, which tells the story of an arrogant prince who has been magically transformed into a hirsute monster as punishment for his behavior. To revert to human form, the Beast (danced by Daniel Benavides) must first win the love of a beautiful young woman, Belle (danced by Kate-Lynn Robichaux), whom he has imprisoned in his enchanted castle. Yes, it’s a tale as old as time — but Broad’s version has plenty of exciting new twists. Shows will be presented twice on March 17 (at 2 and 7 p.m.), with a matinee on March 18 at 2 p.m. Tickets are priced at a budgetfriendly $15, with four-packs available for $40. Further, if Broad’s other contributions to the show weren’t enough, we should mention that he’s also dancing the role of Gaston, the Beast’s rival for Belle’s affection. Some fans will have seen Broad’s beauty of a ballet before. In 2014, a one-hour version was staged at the Bob Carr Theater as part of a double bill with Carmen. Two years later, a full-length extravaganza debuted to critical kudos — “highly entertaining,” opined the Orlando Sentinel — and became the top-grossing show in the ballet’s history. Although Broad is implementing some subtle tweaks here and there, don’t expect major changes. “When we first did the production, I was still choreographing the fi-

nale backstage, during dress rehearsal,” he recalls. “I think it turned out well. But we’ve got time to smooth out a few areas.” Hill says the ability to create, score, choreograph and dance a principal role in a major ballet is practically unheard of. “I’ve been around the world and danced with the best,” says Hill. “I’ve never seen anything like it.” Everything does, indeed, seem to be going Broad’s way. But it wasn’t always so. His father left the family — including his mother and two sisters — when Broad was 14. At the same time, the youngster was being bullied at school for the usual reasons: He was small, smart and not particularly adept at sports. “Then, when kids found out I was into dance, the problem got worse by at least tenfold,” Broad recalls. Beginning in sixth grade, he was home-schooled — in part because the bullying had escalated from name-calling to physical confrontations. But a more flexible SPRING 2018 | artsLife


Robichaux is joined by Daniel Benavides who returns as Belle’s beastly suitor in the production, which was first staged in 2016.

schedule also allowed him to pursue dance and music, which had become central to his sense of self-worth. “I’ve been so lucky,” says Broad, whose family finances were always precarious. “I’ve never had to pay a dime for any of my training. I’ve always been on scholarship because teachers have seen potential in me. They’re the only reason I’ve been able to achieve what I’ve achieved.” Hill, a former principal dancer with American Ballet Theater, the Royal Ballet and the New York City Ballet, was raised on nearby Merritt Island and endured a similar childhood. He took Broad under his wing, acting as both a mentor and a father figure. “I wanted Arcadian to have a chance to be a kid,” Hill says. “We spent a lot of time together. We’d go to the attractions, or go to the video game store. I wanted to relate to him in a very trusting, non-threatening way. He deserved that. Obviously, I had a place in my heart for him.” The boss-as-buddy dynamic worked. And the evidence is the kind of young man Broad has become. “Robert not only mentored me in my arts 56

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career,” says Broad. “He also taught me about all the things that come with having some success. He taught me how to deal with that, and how to be a good person.” Broad radiates star power, and still receives fan mail related to his long-ago appearance on America’s Got Talent. There are websites and discussion boards related to his career. The kids who ridiculed Broad about his dancing are not — as far as we know — being asked for autographs, unless they get traffic tickets. It must be tempting to gloat. But he doesn’t. “I just don’t dwell on those years at all,” says Broad. “It’s a past life. Anyway, everything that happened to me played a part in making me who I am.” Indeed, Hill notes, some supremely gifted people — particularly those whose abilities weren’t appreciated by middle school tough guys — are prone to bouts of sheer insufferability. Hill, however, has taught his protégé well. “There’ve been times I’ve put my foot down,” Hill says. “I’ve told Arcadian about talented people I’ve known who no one

wants to work with. He knows I don’t allow that in this company.” The unfailingly polite Broad — who surely knows that his talent is jaw dropping — nonetheless believes that he has plenty yet to learn — and works as though he has plenty yet to prove. And right now, his focus is on Beauty & the Beast. Broad says he had to be careful, since many aspects of the Disney versions — screen and stage — were “copyrighted out the wazoo.” But the necessity of making his production different gave him the freedom to experiment. Notes Hill: “Not being able to sample [use excerpts] from the Disney version has made it a better show. It forced Arcadian to write music that was even more beautiful.” All the familiar characters — including Lumière, Cogsworth and Mrs. Potts — are there, plus some new faces. Belle, for example, has a sister, and two jester-like characters have been added for comic relief. “The ballet has underlying whimsy and magic,” Broad says. “It’s a mixture of dark and light. Children will love it. It’s all dancing, in the tradition of the art form, and what makes it so beautiful is that we don’t use our voices. We make sure the music serves as the dancer’s voice.” That music, by the way, will be provided by the 155-piece Central Florida Community Arts orchestra. The shorter version of Beauty & the Beast has been performed several times for enchanted Orange County Public Schools second-graders. “Teachers tell me that during the show, it’s the most engaged they’ve ever seen the kids,” Broad says. Youngsters will like the longer version, too, in part because Broad knows how to keep the attention of the squirmy set. “I grew up liking superheroes,” he says. “So, the fight scenes between the Beast and Gaston aren’t some little dance. We took out all the music and added sound ef-

fects of punching and stabbing. You can thank Batman for that.” In addition to Beauty & the Beast, Broad will also choreograph and compose an original adaptation of Alice in Wonderland, which he describes as being seen through the eyes of the Mad Hatter. A one-hour version will run May 4 through 6 during the company’s Contemporary Wonders program, with a three-act version slated for the following season. Expect all sorts of creative new works from Broad — and from future artists in residence. “The program will cultivate and grow the immense talent that works with our company, expanding our creative goals and vision,” Hill explains. As for Broad’s future, Hill says he assumes that his resident wunderkind will never confine himself to one aspect of the genre: “I think Arcadian will do many different things. He loves movies, and his mind is very cinematic. He’ll dance, direct, create and help keep ballet relevant. I hope we’ll always have some sort of affiliation — and he’ll always consider Orlando his home base.” 

GET YOUR TICKETS WHAT: Orlando Ballet Presents Arcadian Broad’s Beauty & the Beast DATES/TIMES: Saturday, March 17, 2 p.m. and 7 p.m.; Sunday, March 18, 2 p.m. VENUE: Walt Disney Theater NOTES: Orlando Ballet’s artist in residence, Arcadian Broad, has conceived, choreographed and scored an original production of the classic 18th century fairy tale. Oh, and he’s also dancing the role of Gaston. TICKETS: $15, with four-packs for $40. 844.513.2014 •

DID YOU KNOW? There have been many versions of Beauty & the Beast. But we bet you didn’t remember that George C. Scott appeared as the Beast in a made-for-TV rendition in 1976, alongside his second wife, Patricia “Trish” Van Devere, who played Belle. The film aired as part of the Hallmark Hall of Fame series.

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Sandy Shugart, who appears with the January Band, is the folk-singing president of Valencia College.



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hen you list cities known for thriving local music scenes, you probably think first of Los Angeles and New York City. Dig a little deeper and you’ll almost certainly conjure up Atlanta, Austin, Chicago, Memphis, Nashville, New Orleans, Seattle or Washington, D.C. But what about Orlando? In fact, Central Florida is full of talented bands and solo performers, many of whom enjoy avid followings and produce excellent — and often innovative — music. No, there’s not a particular genre associated with the region, especially now that boy bands are out of fashion. But there’s certainly something for everyone.

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AMP’d performers will appear in the intimate Alexis & Jim Pugh Theater.

Now, thanks to the AMP’d at Dr. Phillips Center Series, sponsored by Orlando Health, some of the best locally based musicians — from bluegrass pickers to blues belters — have an opportunity to command the stage at a world-class concert venue. The series, which began on November 27 and is continuing once a month through May, is at the intimate Alexis & Jim Pugh Theater. Each show spotlights a different locally based artist or band, providing “amp’d-up” exposure for the eclectic roster of performers. Single tickets are priced at $15. But why not stretch your musical boundaries and catch all three remaining shows? A three-show subscription — with the same seat guaranteed — is $39.99. All shows start at 7:30 p.m. “Homegrown talent is something to be celebrated,” says Kathy Ramsberger, the arts center’s president and CEO. “Each of these artists is vibrant and special in their own way. They deserve the platform to perform for existing and new audiences alike — and we’re thrilled to provide that opportunity.” The series got underway with singersongwriter Nicole Equerme (November 27), and continued with indie-acoustic band Beemo (December 18) and blues/ funk/soul singer CeCe Teneal and Soul Kamotion (January 22). The final three shows promise to be just as diverse, with inventive grunge from Blueanimal, laid-back folk-rock from Sandy Shugart and the January Band, and old-school Southern rock from Thomas Wynn and the Believers. Here’s a look at the remaining shows on the AMP’d schedule. 60

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“Is there a doctor in the house?” If anyone shouts that question at a Blueanimal show, the two frontmen are likely to jump from the stage and rush to the rescue. The band is led by Matt Lube (bass) and Luke Elms (guitar and vocals), both of whom are surgeons. But Lube and Elms downplay their lifeand-death day jobs when discussing Blueanimal. Once they walk onstage — or into a recording studio — they’re entirely in musician mode. Unless, of course, someone has a medical emergency. Luckily, that hasn’t happened yet. The pair, who originally played in another local band called Redwax, began performing as an “electric duo” before adding another guitarist (Ry Kovacevich) and a drummer (Aaron Gandia) to fill out their sound. That’s how Blueanimal — Lube’s nickname is “Blue,” while Elms’ nickname is “Animal” — was born. The newly formed band, whose songs range from rowdy to whimsical, recorded their first album, Hippies and Beauty Queens, at Orlando’s Phat Planet Studios in 2015. The collection, which contains all original

Blueanimal is an eclectic rock band fronted by two Orlando surgeons, Matt Lube (bass) and Luke Elms (guitar and vocals). Also shown are Aaron Gandia (drums) and Ry Kovacevich (guitar).

music, combines influences of Southern rock, ’90s grunge, and even a little alt-country thrown in for good measure. Oklahoma-born Elms likes hard-core country as well as Foo Fighters, Nirvana, Soundgarden, Alice in Chains and Stone Temple Pilots. Florida-born Lube was a heavy-metal fan as a youth, graduating to REM, Ben Folds, Joe Jackson and Oingo Boingo. Both revere the rock band Cracker, which combines elements of punk, grunge, blues and folk. Blueanimal, then, is hard to pigeonhole — but easy to love. The band has recorded a new double album, yet unnamed, that will be released soon. It’ll mark a shift toward a heavier sound with more obvious grunge influences, says Gandia, who graduated from the University of Puerto Rico with a degree in music, concentrating in arranging and orchestration. Gandia later earned a degree in recording technology from Full Sail University, and became chief engineer at Phat Planet. His musical influences range from ’90s rock and grunge to Latin jazz and reggae. He even has a Grammy nomination to his credit. Kovacevich began his career as an intern at Phat Planet, later becoming assistant chief engineer. He also built Earthtone Studios in his rustic childhood home near Lake

Howell. A graduate of Boston’s prestigious Berklee College of Music with a degree in songwriting, he’s director of technical arts at First United Methodist Church of Orlando. With such musically diverse members, it’s no wonder that Blueanimal’s style is so eclectic. Although Lube and Elms have jam-packed work schedules, they still find time to keep their musical skills sharp by rehearsing, recording and playing a handful of live dates every year. You can sometimes catch Blueanimal at Maitland’s Copper Rocket, SoDo’s Orlando Brewing and Lake Jesup’s Black Hammock Restaurant. Lube and Elms practice trauma and emergency surgery at Orlando Regional Medical Center, which is affiliated with Orlando Health, a private, not-for-profit network of community and specialty hospitals. Although they don’t mix music and medicine, they say many patients have become fans after finding out that their docs also rock. “For us, music is more than a hobby,” says Lube. “It’s a part of our lives, a part of us. I think many of our songs reflect that. I love driving to work in the morning listening to what we recorded the night before. Performing live is the ultimate, especially to fans who enjoy our music.” SPRING 2018 | artsLife



You may know of Sandy Shugart as president of Valencia College, which has more than 70,000 students and is one the largest community colleges in the U.S. But he’s also a poet and singer-songwriter whose selfdescribed “urban folk” music ruminates on life, work, growing and growing older. “We’ll play some original songs, some covers, some swing versions of standards — whatever we’re having fun with at the moment,” says Shugart. “I look at it as rehearsing, only with more people watching.” With three independently produced albums since 2000, Shugart is often booked as a speaker at conventions and professional development events. What he delivers is an engaging hour or more of stories, songs and poems aimed as much at the heart as the head. Shugart, then, is no casual hobbyist who picks and sings for his own amusement. He is every bit as serious about his music as he is about his other careers. “I don’t separate those aspects of my life,” says Shugart, a visionary educational leader with salt-and-pepper hair and piercing blue eyes. “I wouldn’t know how to do that. As a teenager I learned a Robert Frost poem called ‘Two Tramps at Mud Time,’ and it became a big theme in my life.” The poem, which Shugart readily recites, reads in part: “But yield who will to their separation/my object in living is to unite/ my avocation and my vocation/as my two eyes make one in sight.” His most recent album, Distances We Keep, was released in 2013 on FlatFoot Records, a label operated through Valencia’s Music and Sound Technology program. The disc features nine songs, mostly self-written, and several covers, including Jimmy Webb’s pop ballad “The Moon is a Harsh Mistress.” Shugart was born in Charlotte, North Carolina, the son of a “serial entrepreneur” father and a mother who played piano. He taught himself to play guitar when he was 9 or 10, and later was inspired by popular singersongwriters of the day, such as James Taylor and Gordon Lightfoot, and more traditional folk singers, such as Peter, Paul and Mary. He attended the University of North 62

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Carolina at Chapel Hill, earning a Ph.D. in education in 1978. While in school he began playing in local coffeehouses and came to know Livingston Taylor, brother of James and a popular folk singer in his own right. The two remain friends. After graduation, Shugart became a high school teacher, an instructor at UNC Charlotte, a research associate at the North Carolina Board of Science and Technology, and vice president for program services of the North Carolina Department of Community Colleges. “I had kind of put the music aside for a while,” says Shugart. “Then I went into a music store in Raleigh and bought myself a really good guitar. Pretty soon I was back into it.” In 1991 Shugart became president of North Harris College, a community college in Houston, which he describes as “a great music town with great venues.” He began playing at open-mic nights and writing songs, and was even offered a recording contract — which he had to decline because his job kept him from touring. It appeared to Shugart that music would have to be relegated to sideline status until he traveled to San Francisco in 1999 to attend a conference on student retention. “It was boring,” he recalls. “It was death by powerpoint.” But at a hotel-ballroom luncheon, he and other attendees were surprised when organizers announced that folk singer and activist Joan Baez had agreed to appear and perform. “Joan said, ‘I don’t know anything about student retention because I dropped out of school my freshman year to sing,’” says Shugart. “So she sang, and I was transfixed.” At that moment, Shugart realized that music could be used to communicate important information. People who tuned out speeches, he reasoned, might listen to songs. “I knew I had to put singing, storytelling and speechmaking together,” he says. “And that’s what I’ve been doing ever since.” Shugart was already in demand as a speaker on “servant leadership,” a philosophy in which the leader shares power, puts the needs of others first and helps people

Shugart, who has three studio albums to his credit, often includes original music and poetry in his presentations on leadership.

perform at the highest level possible. He adapted his usual presentation to include original music. In 2000, Shugart was hired as president of Valencia College, which has thrived under his leadership. In 2012, the college won the top prize in the Aspen Institute’s College Excellence Program. More than 1,000 community colleges were vying for the honor, which was based on various metrics measuring student achievement. In 2015, the Washington Monthly named Shugart one of the country’s 10 most innovative presidents — John Hitt, president of UCF, was another — crediting his work with Hitt a decade ago in creating the DirectConnect program, which provides Valencia graduates with guaranteed enrollment at UCF. The two institutions are also joining forces for a new downtown Orlando campus, which broke ground last year. Shugart, who routinely shows up on various rankings of the most powerful or most influential Central Floridians, is a faculty member of the Aspen Presidential Fellowship Program and the Washington-based Institute for Educational Leadership. He also serves as chairman of both the Orlando

Health board of directors and the Quo Vadis Institute, a European-based think tank. His book, Leadership in the Crucible of Work: Discovering the Interior Life of an Authentic Leader (Florida Hospital Publishing), eschews trendy management theories and offers instead a series of conversational essays on how work shapes identity and character, how to set and achieve goals, and how to emerge from setbacks. It even contains snatches of poetry. Still, Shugart is playing and recording music with renewed purpose these days. He and his band — consisting of bass guitarist Dave Sutton, mandolinist Stu Kinniburgh, and fiddler Neal Phillips — perform a concert every January at the historic Garden Theatre in Winter Garden. (That’s where the name “January Band” comes from.) Proceeds from the show are used to help maintain the 1930s movie house, which was restored and reopened in 2008 by the nonprofit Winter Garden Heritage Foundation. “AMP’d is a great concept,” notes Shugart, who’ll do whatever he can to increase the number of venues open to local talent. “Orlando has a lot of good musicians, but not that many places for them to play.” SPRING 2018 | artsLife


Thomas Wynn and the Believers is a sibling-led Southern rock group known for searing guitar work and soaring brother-andsister harmonies.


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(originally scheduled for February) The sibling-led Southern rockers, fronted by the brother-and-sister duo of Thomas and Olivia Wynn, won “Best Rock Act” and “Best Country/Folk Act” honors for seven straight years from readers of the Orlando Weekly. If you’ve seen them perform, you’ll know why. Their incendiary but uplifting live shows are heightened by searing guitars and soaring harmonies. In addition, rock is in their DNA: Tom Wynn — Thomas and Olivia’s father — was the original drummer for the rock band Cowboy, which toured with the Allman Brothers Band throughout the ’70s and released four albums on the Capricorn label. In addition to Thomas and Olivia, the band consists of David Wagner (bass), Ryan Miranda (drums), Chris Antemesaris (harmonica) and Colin Daniel Fei (keyboards). Reax Magazine recently wrote of Thomas Wynn and the Believers: “For once, you have a Florida band that is truly Florida. They look like Florida, they sound like Florida — with a touch of Molly Hatchett, The Band, Neil Young and The Black Crowes.” Their most recent album, Wade Waist Deep, was released by Mascot Records in May of last year. It was recorded in Nashville under the guidance of Grammy-winning producer Vance Powell, who has worked with Chris Stapleton, Jack White and Martina McBride, among others. “Vance is really, really good,” says Thomas. “A great thing about Vance that he told us was, ‘I’m going to make you sound like the best version of yourselves, but no better.’ Nothing is fake. We played and sang everything. We played it until we got it right, and felt something with it. There are things on the record that may not be perfect, and that’s perfect. It has emotion.” In Thomas Wynn and the Believers, Powell had some extraordinary brother-sister vocal chemistry with which to work. “Being in the [church] choir we learned how to mold and meld voices together,” recalls Thomas, who originally started a band with his brother, Jordan, called the Wynn Brothers. However, it wasn’t until Olivia joined her siblings that the band truly found its signature sound. “She just made us sound really good,” adds Thomas. “As time went on, Jordan moved on to do other things, and Olivia and I kept going. I just sing and do what I’m going to do, and Olivia, almost without hesitation, knows where I’m going and is able to be where she needs to be because of it.”  SPRING 2018 | artsLife


GET YOUR TICKETS EVENT: AMP’d at Dr. Phillips Center Series SHOWS/DATES: Blueanimal, March 26; Sandy Shugart and The January Band, April 23; Thomas Wynn and the Believers, May 14. All shows are at 7:30 p.m. VENUE: Alexis & Jim Pugh Theater NOTES: A series of concerts sponsored by Orlando Health showcases locally based bands and performers spanning an array of genres. TICKETS: Single tickets are priced at $15 for a single show. A three-show subscription — with the same seat guaranteed — is $39.99. Tickets and subscriptions may be purchased online at, by calling 844.513.2014 or by visiting the Dr. Phillips Center Box Office at 445 S. Magnolia Avenue, Orlando, between 10 a.m. and 4 p.m. on weekdays, and from noon to 4 p.m. on Saturdays. Online and phone ticket purchases are subject to handling fees. 844.513.2014 •

DR. PHILLIPS CENTER FOR THE PERFORMING ARTS w o u l d l i k e t o t h a n k o u r 2 0 1 7– 2 0 1 8 s e a s o n s p o n s o r s


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An all-female creative team turned a lowbudget indie film into Waitress, one of the hottest tickets on Broadway. The delectable musical has even spawned a cookbook filled with Deep South pie recipes.





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o far, Orlando theatergoers have enjoyed the usual smorgasbord of magnificent musicals during the FAIRWINDS Broadway in Orlando™ season. The King and I, On Your Feet, Love Never Dies and School of Rock have delighted sold-out crowds. Some familiar favorites —The Book of Mormon, Riverdance – The 20th Anniversary Tour and, just after press time, Disney’s The Lion King — were presented as Season Options. And now, as the 2017-18 season winds down, still to come are Waitress (March 2025), Something Rotten! (April 24-29) and Rent (June 5-10). The run of Something Rotten! may be a bit nostalgic for its producer and its co-writer, both of whom have Central Florida connections dating back decades. Finally, those who renew for the 2018–19 season will be guaranteed seats for the touring production of Lin-Manuel Miranda’s Hamilton, the dates for which have not yet been announced. “We continue to be proud and excited about our partnership with the Dr. Phillips Center,” says Susie Krajsa, Broadway Across 70

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America’s executive vice president for presenting. “The response to the 2017–18 Broadway in Orlando season has been fantastic — and we’re thrilled to be a part of the vibrant Orlando cultural community by bringing the best of Broadway to the Walt Disney Theater.” Here’s what to expect when the curtain goes up: n  Waitress (March 20–25). An all-female creative team turned a low-budget indie film into one of the hottest tickets on Broadway, complete with music and lyrics by singer-songwriter Sara Bareilles, a six-time Grammy nominee. The late Adrienne Shelly’s 2007 film Waitress, which cost about $1.5 million to make and earned a surprising $23 million at the box office, clearly had a story that resonated with audiences. That story revolves around Jenna Hunterson, a Deep South waitress with a gift for baking delicious pies, through which she expresses her hopes, dreams and fears. She’s stuck in a small town and an abusive marriage when a baking contest in a nearby


In Waitress, a pie-baking contest — and a risky relationship with a gynecologist — offers Jenna a chance for a fresh start and an escape from an abusive marriage. Shown is Desi Oakley as Jenna in the national tour of Waitress.



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ong before work began on a musical version of Waitress, actress Lenne Klingaman treasured the 2007 indie film of the same name that deals with fresh starts, friendship and, of course, pie. “The film is perfect in its genre. It was so delicate,” says Klingaman, who plays Dawn, one of the three waitresses in the musical, which was created by an all-female team. “In bringing it to the stage, they needed it to be distinctly different.” Klingaman says the music by singer-songwriter Sara Bareilles (“Brave,” “Love Song”) makes the difference. It lets the audience connect with the characters’ deepest thoughts — something the late filmmaker Adrienne Shelly accomplished through close-ups. Waitress, which was nominated for four Tonys — including Best Musical and Best Original Score — will serve up a slice of life in the Deep South at the Walt Disney Theater on March 20–25 as part of the FAIRWINDS Broadway in Orlando™ series. Tickets start at $34.25. “Sara’s songwriting is magical,” Klingaman says. “The lyrics are honest, sensitive, quirky and really accessible. They’re perfect for this story and this play.” “Soft Place to Land,” sung by the three waitresses, is a particular favorite. “Through the harmonies, Sara has created a metaphor for our friendship,” she adds. Klingaman, 35, says she became a of student of Shelly’s work in the ’90s and “fell in love with her comedic, eccentric acting abilities.” As Dawn, Klingaman plays the same role Shelly played in the film — which Shelly also wrote and directed. “She dared to give us a truthful character,” Klingaman says. “It was quirky, but it never felt forced. It was always grounded. It gave me more courage to take risks with Dawn.” The story of Waitress centers on another waitress, Jenna, who has a gift for baking pie but is stuck in a small town and an abusive marriage. A pie-baking contest and a risky relationship with a gynecologist offer the chance to rebuild her life. Jenna, Dawn and a third waitress at Joe’s Diner, Becky, lean on one another in a friend-

Lenne Klingaman plays Dawn in the touring production of Waitress.

ship that goes well beyond the lunch counter. Klingaman says she thinks of Dawn as “a turtle in her shell — she’s afraid of putting herself out there in love and in life.” But with the encouragement of her two friends, she finds love with a man named Ogie. Klingaman, who lives in Brooklyn, received a master of fine arts degree in acting at the University of Washington and has spent much of her career performing Shakespeare and other classics. In repertory at the Colorado Shakespeare Festival last summer, she played Hamlet — as a woman — in both the Shakespeare play and in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. She also has appeared in the TV dramas Chicago Med and Cold Case, and is an “alternative folk-pop” singer-songwriter. Her first album, The Heart Is the Hunter, is available on iTunes. Klingaman says that as Jenna finds the strength to change her life, Waitress delivers a message of empowerment that has become especially resonant during the current national discussion about the treatment of women. Waitress is Klingaman’s first touring show. But she has no trouble producing a good answer for Florida audiences when asked about her own favorite pie. It’s Key lime — and easy on the whipped cream, please.  — Dana S. Eagles SPRING 2018 | artsLife


county — and an affair with a new gynecologist in town, the also-married Jim Pomatter — offer the chance for a fresh start. But Jenna must find the courage to rebuild her life, encouraged by her colorful co-workers and the crusty — if you’ll pardon the pun — owner at Joe’s Diner. Screenwriter Jessie Nelson wrote the book for Waitress. It was directed by Tony winner Diane Paulus, whose credits include Pippin and Finding Neverland. Waitress warms the heart, but it also fills the belly. A book Sugar, Butter, Flour: The Waitress Pie Cookbook, Recipes from the Files of Jenna Hunterson, has been released by Penguin Publishing Group, which touts it as “the perfect gift for anyone who has ever eaten her feelings or baked away the blues.” “Musicals commonly have a second-act problem,” wrote Charles McNulty of the Los Angeles Times, who praised the show’s character development. “Waitress is one of the few that gets better as it goes along.” The show was nominated for four Tonys, including Best Musical, in 2016. n  Something Rotten! (April 24–29). Students 72

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have for generations muttered, “I really hate Shakespeare.” But the premise of Something Rotten! is that two down-on-their-luck playwrights in the 1590s, Nick and Nigel Bottoms, really hate him, too. They despise his arrogance — the Bard is portrayed in Something Rotten! as a cross between a flamboyant rock star and a smarmy Vegas headliner — and are more than a little jealous of his knack for writing plays that people actually want to see. Laments Nick: I just don’t get it, How a mediocre actor, From a measly little town, Is suddenly the brightest jewel, In England’s golden crown. If only Nick knew what Shakespeare was planning next! Then the brothers could, literally, upstage him. Seeking advice from Nostradamus — no, not that Nostradamus, but the famous soothsayer’s less-prescient cousin, Thomas — Nick learns that musicals will be the next theatrical trend. Although Nick fails to grasp why playgoers would pay to see a performance in which actors sing their dialogue — and for


Something Rotten!, set in the 1590s, follows brothers Nick and Nigel Bottom as they struggle to find a theatrical gimmick that will upstage the more popular (and more talented) William Shakespeare. How about adding some songs?

no apparent reason, break into dance — he and a dubious Nigel nonetheless resolve to pioneer this seemingly absurd genre before Shakespeare beats them to it. “We always talked about Shakespeare as being a cross between Mick Jagger, James Brown, Tom Jones and a little bit of Austin Powers,” says writer Karey Kirkpatrick, who collaborated on Something Rotten! with his own brother, Grammy-winning songwriter Wayne Kirkpatrick. And that’s when the fun really begins. Something Rotten!’s delightfully loopy score is jam-packed with ingenious lyrics. And although historical references and theatrical allusions abound, you don’t need a Ph.D. to get caught up in the sheer, silly spectacle of it all. One production number, “A Musical,” is worth the price of admission. It’s an overthe-top extravaganza in which the cast celebrates (and satirizes) every musical theater tradition imaginable — from Bob Fosse’s jazz hands to the Rockettes’ synchronized line dancing. In fact, during this frenetic showstopper — which was performed on the 2015 Tony Awards broadcast — there are at least 20 sendups of songs from beloved blockbusters, including Les Misérables, The Music Man, Seussical, Chicago, Annie, A Chorus Line and Jesus Christ Superstar (plus others we probably missed). Time Out New York’s David Cote called Something Rotten! “Broadway’s funniest, splashiest, slap-happiest musical comedy in at least 400 years — it has laugh-out-loud lyrics, catchy music, jaw-dropping sight gags and a powerhouse cast selling Bard-laced punch lines to the ecstatic balcony.” Something Rotten! was nominated for 10 Tonys in 2015, including Best Musical. Christian Borle, who played Shakespeare, won for Best Featured Actor in a Musical. The show can trace its comedic roots to Central Florida: Something Rotten! producer Kevin McCollum, a Tony-winning impresario responsible for Rent, Motown the Musical, The Drowsy Chaperone and Hand to God, among others, was a Walt Disney World performer in the mid-’80s, singing in a revue at Top of the World in the Disney Contemporary Resort. While at Disney, he was commissioned to write a commemorative musical for the 100th anniversary of Rollins College, A Wonderful

Longtime friends Karey Kirkpatrick (above) and Kevin McCollum (below) started out as Walt Disney World performers decades ago. They went on to have stellar individual careers, but Something Rotten! marks their first collaboration.

Place, and appeared in the college’s production of Joseph and the Amazing Technicolor Dreamcoat, which was staged at the Annie Russell Theater in 1985. Then, he was off to Los Angeles. SPRING 2018 | artsLife


At the same time, Kirkpatrick — who dreamed of becoming a screenwriter— was performing with the improvisational troupe SAK Theater at Epcot Center. He, too, left for Los Angeles. Previously co-workers, McCollum and Kirkpatrick now became classmates at the University of Southern California School of Cinematic Arts, earning degrees in 1989 and 1988, respectively. After graduation, Kirkpatrick worked with a group of SAK alumni who started a new company called “House Full of Honkeys.” The team concocted a TV script that Kirkpatrick wrote “since I was the guy who could type.” Although a pilot was filmed — and sold to ABC — the series wasn’t picked up. (Orlando comedian and SAK performer Wayne Brady joined the Honkeys in the early ’90s.) Still, Kirkpatrick’s career gained momentum. He joined Walt Disney Feature Animation, co-writing The Rescuers Down Under. And as a freelancer, his writing or co-writing credits included Honey, We Shrunk Ourselves; James and the Giant Peach, The Little Vampire, Chicken Run and The Hitchhiker’s 74

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Guide to the Galaxy. He also wrote the screenplay for the live-action adaptation of Charlotte’s Web, which starred Dakota Fanning and the voices of Julia Roberts, Robert Redford, Oprah Winfrey, John Cleese and many others. McCollum, meanwhile, made a name for himself as a producer willing to take risks by championing Rent, an unorthodox musical that dealt with impoverished young people living in the shadow of AIDS. More big hits — and just a few misses — followed in a stellar career spanning 25 years. In 2011, McCollum founded Alchemation, a company committed to producing new work. And in 2015, he became a distinguished visiting professor at the University of Cincinnati-College Conservatory of Music, his undergraduate alma mater, where he’s facilitating a musical theater incubator program. “Karey and I were friends back in our Disney days,” says McCollum. “Actually, we were more like kindred spirits. It’s kind of ironic, because back then I was doing a Broadway-style show and he was doing street theater. Those things would meld perfectly


Rent, a reimagining of Puccini’s La Bohème, follows a year in the lives of seven struggling artists in New York City’s East Village. Now the show has returned with a 20th-anniversary tour — and its message of hope resonates as strongly as ever.

when Something Rotten! came along.” Recalls Kirkpatrick: “[My brother Wayne and I] kept saying to Kevin, ‘We have this idea for a musical,’ and he kept saying, ‘I’d love to hear it.’ That went on for a while, until we finally called Kevin and said, ‘What do you need?’ He said, ‘Avenue Q was three songs and an idea.’ We said, ‘Well, we have that.’” McCollum says all he really needed to hear was the opening number, “Welcome to the Renaissance,” which he sang to himself for days afterward: Welcome to the Renaissance, Where we ooh and aah you with ambiance, We’re so progressive, The latest and the greatest, We bring it to you, with much ado! Welcome to the Renaissance, Where everything is new! Finally, after a friendship that began at Disney decades earlier, McCollum and Kirkpatrick became collaborators. “I got in touch with Karey,” McCollum says. “I told him, ‘Well, I guess I’m going to have to figure out a way to produce this.’” Theatergoers everywhere are grateful that he did. n  Rent (June 5–10). In 1996, Jonathan Lar-

son’s Rent told the story of struggling young artists living in New York City in the shadow of HIV/AIDS. The show ran on Broadway for 12 years, winning the Pulitzer Prize and four Tonys, including Best Musical. Rent, a reimagining of Puccini’s La Bohème, follows a year in the lives of seven artists struggling to follow their dreams in New York City’s gritty East Village. The show’s signature anthem, “Seasons of Love” (“Five hundred twenty-five thousand, six hundred minutes …”) has become ingrained in pop culture. Now, Rent has returned with a 20th-anniversary tour. And its message of hope in the face of fear resonates with audiences in today’s volatile political climate just as it did two decades ago, before advances in the treatment of AIDS. Director Evan Ensign told Variety that “AIDS is actually just a circumstance in the show. It’s about figuring out how we fit in, about how we create family, about acceptance.” James Hebert, critic for the San Diego Union-Tribune, agreed. “Once you get past the surface signs of its time period,” he wrote, “Rent can feel not just still vibrant but plenty relevant.” 

GET YOUR TICKETS EVENT: 2017–18 FAIRWINDS Broadway in Orlando™ season SHOWS/DATES: Disney’s The Lion King, February 14–March 11 (Season Option); Waitress, March 20–25; Something Rotten!, April 24–29; Rent, June 5–10. VENUE: Walt Disney Theater NOTES: The 2017–18 FAIRWINDS Broadway in Orlando™ season, presented in collaboration with Broadway Across America and the Florida Theatrical Association, spans the modern history of musical theater with a lineup encompassing timeless classics, current hits and return engagements for several proven audience favorites. The final three shows of the season will be presented between now and June. TICKETS: Single-show tickets generally go on sale several weeks in advance, and may be purchased at, by calling 844.514.2014, or by visiting the Dr. Phillips Center for the Performing Arts Box Office at 445 South Magnolia Avenue, Orlando, from 10 a.m. to 4 p.m. on weekdays or from noon to 4 p.m. on Saturdays. For groups of 10 or more, email Group Sales at groups@, or call 407.455.5550. Online and group ticket purchases are subject to handling fees.






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Anticipation is already building for Hamilton, which has been announced as part of the FAIRWINDS Broadway in Orlando™ lineup for 2018–19.

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he touring production of Hamilton will be part of the FAIRWINDS Broadway in Orlando™ season in 2018–19. Subscribers to the 2017–18 season who renew for the subsequent lineup of shows will be offered the first opportunity to secure tickets. Hamilton is Lin-Manuel Miranda’s story of Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and later the country’s first treasury secretary. The show is described as “the story of America then, as told by Americans now.” Its score combines hip-hop, rap, jazz, blues and Broadway styles. Dates for Hamilton have not yet been announced, nor has the remainder of the lineup for 2018–19. Watch upcoming issues of ArtsLife for additional details. For more information on becoming a season subscriber, visit — Dana S. Eagles


you may hear someone shout “Break a leg!” Please don’t take it literally.


However, if something happens and you need medical attention, please come to the Florida Hospital First Aid Station across from the Concierge Desk in the Della Phillips Grand Lobby.

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D R . P H I L L I P S C E N T E R R E S TA U R A N T PA R T N E R S Members and Series Subscribers save 15% on their entire bill at our partner restaurants on the night of shows as well as discounts on each night’s stay at partner hotels.


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“On behalf of Dr. Phillips, Inc. and its Board of Directors; our Chairman, Jim Ferber and I would like to welcome you to Dr. Phillips Center for the Performing Arts for our fourth season.” - Kenneth Robinson, President & CEO

Dr. P. Phillips and his wife Della were committed to enhancing the arts in Central Florida. The Dr. Phillips Center for the Performing Arts is a continuation of the Phillips family 100 year history of touching lives and promoting the arts. We are pleased to honor the Phillips Family legacy and look forward to enjoying outstanding performances with the residents of Central Florida.

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BOARD OF DIRECTORS James H. Pugh, Jr., Chairman Ken Robinson, Vice Chairman Chuck Steinmetz, Vice Chairman Thomas M. Roehlk Ed Timberlake, Jr. Timberlake Jr. Katherine Ramsberger Kathy Ramsberger Don Ammerman Jeff Bittenbinder Dr. Rita Bornstein Dr. Clarence H. Brown, III

The Honorable Linda Chapin Joe Cleveland The Honorable Buddy Dyer Tricia Edris The Honorable Bill Frederick Joyce Green Judson Green The Honorable Teresa Jacobs Ford Kiene Harvey Kobrin

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DR. PHILLIPS CENTER DONORS $5,000,000+ City of Orlando & Orange County Dr. Phillips Charities State of Florida & UCF Walt Disney World Resort Chuck & Margery Pabst Steinmetz CNL Charitable Foundation The Family of Richard & Helen DeVos Florida Hospital Alexis & Jim Pugh Harvey & Carol Massey Family Darden Restaurants Foundation Joyce & Judson Green $2,000,000+ Sharon & Marc Hagle Ravago Tupperware Brands Corporation $1,000,000+ Basel-Kiene Bank of America City of Winter Park Martha & Richard Kessler Elizabeth Morse Genius Foundation Alan Ginsburg Family Foundation Kobrin Family Foundation in memory of Sara & Jack Kobrin Harriett Lake T. Steven Miller Foundation in Memory of George C. Miller, Jr. Annette Peter Neel in memory of Doris & Asher Peter OUC - The Reliable One

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DR. PHILLIPS CENTER DONORS Dr. Tom & Helen Bates Jim Beck & Judy Beck in honor of Benjamin & Emma Beck Geoff, Alex & Jonathan Bedine James R. Behrends & J. Scott Silen Bento Group Foundation Gary Ingram & Bill Bergin Marty Berman & The Berman Family Vicki Berman Susan & Arnold Bierman Lauren & C. Thomas Bolick IV Juliet & John Bonner Jill & Dean Bosco Stephen & Leslie Braun Murray Brooks & Betsy Godfrey Ann & Clarence H. Brown III, MD Ina & Hugh Brown Steve Brown & Lance Koenig Julie & Ryan Burrow Hugh J. Byrnes III Rose & Steve Cahill Jennifer & Alexander Calder Cameron’s Design Campbell Family Chuck & Debi Carns Dustin Wyatt Carpenter Leslie & John Cervenka Linda & Bruce Chapin Susan & Roger Chapin Barnett & Claire Chepenik Ingrid & Steve Clapp Barbara & Craig Clayton Joan & Ken Clayton Matthew & Sandra Clear Sandy & Larry Cohan Hillary & Jay Cohen Stan & Betty Collier Fund in honor of Jim Pugh Cleve Collings Judy R. Cooksey & Grady M. Cooksey, Jr. Mickey & Dick Cook Laura & Mark Cosgrove Drs. Dana & Kirsty Cowles & Family CREW - Commercial Real Estate Women Earl Crittenden, Jr. Helen J. Crittenden Ann & Carl Croft Jane Brownlee & Christopher Crotty Jenifer, Sean, Chance, Roxanna & Stephen Croxdale Catherine & Walt Currie Shelia & Dr. Carl Dann III Dean, Mead, Egerton, Bloodworth, Capouano & Bozarth, P.A. Dr. Edwin DeJesus Anne & Steve Deli Digital Tiger Studios Sallie Layton Douglas Electronic Arts

In memory of James W. Eaton III Courtney & Anthony Eelman Mr. & Mrs. George F. Eichleay Encore! Cast Performing Arts Equinox Development Properties John Ettinger II & Tobias Bushway Catherine Abington Faircloth Merle S. & Louis E. Feinberg & Family Michelle H., Andrew F., Sofie M., & Benjamin R. Feinberg Sue & Randy Fields Meghan & Patrick Fitzgerald Alan & Carol Flaumenhaft Flash-Rite, Inc., Lisa Metcalf Joseph & Paula Flood Frahm Family Pam & John Fredrick Steve & Erin Freeman Madison W. (Matt) Gay, MD GCI, Inc. Deborah C. German, MD Suzanne Gilbert Lynda & Ludwig Goetz Abby & Paul Goldsmith Barbara “Fred” Goodman Thomas Goodman The Varley Grantham Family Drs. Brian & Dianne Haas George Hack Katherine & Guy Haggard Jacki & Rob Hale Susan S. Hamilton Cindy Hansen & Lynne Sims-Taylor Ernest S. Hardy John & Annie Hardy Bob & Ruthie Harrell Ken & Courtney Hazouri Chip & Cher Headley Michael & Wendy Henner Beth & Jim Hobart Dr. Keisha & Mark Hoerrner James R. Hopes Timothy Huskins In Memory Of Philip L. Thomas Martha & Lynn B. Howle Dr. Maen Hussein & Michelle Viveiros Garret Hutchens International Drive Improvement District Interior Talent Judith & David Isaacson Melissa, Aaron & Olivia Isler JAE Foundation Jaguar of Orlando Mark Douglas Johnson Michelle & Randall Johnson Michelle & Gerald L. Jones, Jr. Robert, Carole, Rachel & Joshua Jordan Miriam & Gene Josephs Mark Kapatoes & Amanda Varga

Norma Kaplan Ed Kasses John Joseph Kelly Cecilia & Matt Kelly & Family In honor of Charles & Maxine Khoury Laura & Jerry Kircher Eric Hogan & Skip Kirst In Memory of Sarah Hogan Susie & Edward Kleiman Audrey & Pat Knipe Andi Knowlen Barbi Knowlen Jenifer & Alan Kolar Gary Lambert Tess Wise & Ellen Lang in memory of Abe Wise Barbara Lanning John & Valerie Ledford Lee Wesley & Associates Jarryd S. Lee Richard T. Lee II Tommy G. Lee II Melissa & Peter Lehman Leitao Family Deborah Linden Eleni & Robert Longwell Jack Lord & Adam Hunter Trena & Whaley Lorenz Jay & Traci Madara Maria Ruiz Margenot & Andrea Hays Marcia & Robert Marks Nan B. McCormick Christopher McCullion & Carlos Carbonell McMillen Law Firm, P.A. Sheryl & Julian Meitin Jennifer Foster & Mary Anne Metaxas Christina & George Mezo Katharine & Richard Milam The Arthur Miller Family Linda & Glenn Miller Maile Miller Ellis Creek Capital/Merrill & Scott Miller Chris Oliver & Stan Miller MJS Inc. Custom Home Design Maggie & David Moore Dasha & Shawn Moore Elizabeth & Otto Morales Rulon & Jacquelin Munns Christa & Steven Murphy Beth & Kenneth Murray Brooke & Frank Myers Donna & Bruce Mylrea National Endowment For The Arts Robin Neel & Dr. Tim Prince Connie & William Neville Marcy & Rich Newsome Anthony J. Nicholson & Sonja Nicholson Judy Ettinger-Noble

DR. PHILLIPS CENTER DONORS Aurelia N. Nugent Jeff Oliver & John Kurowski Paul Oppedisano & Jim Bowden Michael O’Quinn in honor of Kathryn Elizabeth Jagger Orchid Medical Orlando Health Mary Jo Pecht Brandi & Bryan Peck Linda & Norm Pellegrini Jen & Jason Pennypacker in honor of Sara Fuller & Mrs. William H. Fuller Anthony C. Perez Danniel J. Petro J. David Phillips, Jr. Jeanne & Gene Polarolo Lanier & La Voyce Porter & Frontline Insurance Potrock Family Foundation Sibille & Peter Pritchard Publix Super Markets Charities Sean, Melissa, & Rori Quinn The Diaz-Quittschreiber Family The Westbrock-Ramsberger Family Kay & Phil Rawlins Regions Bank Rhea & Dr. Harry Rein Resource Consulting Group Nancy & Brad Rex Holly & Dwight Richert Laura & John Riley John & Monica Rivers RLH Construction, LLC Ginger Robinson Christine A. & John D. Robinson Mel Robinson Roper Family Foundation

Franklin W. Roth Shirley Roth Lesley & Barry Rubin Dr. Ante & Julia Rudez Joan Ruffier Mary & Larry Ruffin Joshua Sachs & Melanie Sylvan Sachs Henry Sal Asia & Thomas Saltmarsh Sandy Schafer & Mara Schafer Adam & Jennifer Scheinberg Ben Schick Solomon F. Schick The Schwalbe Family Dr. Marc D. Shapiro Patricia & R. Keith Sigmon Diana & Tim Sisley Dr. Paul Skomsky Smart City Drs. MaryJo & Guy Smith Laurie, Marc, Jason & Jake Smith Lori G. Sommer Sorensen Moving & Storage Barbara & Gary Sorensen South Arts In memory of Jack R. Stacey, Jr. Greta C. & Sean M. Stephens Family Richard & Tammi Straughn Kimberlee & Rob Strong Lyndsey & Jonathan Sutherland Susan & Warren Tedder Sue Jacoberger & Art Thomas Drs. Deborah & Kevin Thoni Rebecca & Travis True Man-Lei, Jimmy, Johnny & Johanna Tung Family in memory of Wei-Te Tung

Martha Ellen Tye Foundation Helene & Chris Valdes Kay Walters Buzz & Katherine Ward Diane & Greg Warren Stacey & Dyron Watford Barry, Rebecca, Hillary & Benjamin Watson Kathleen M. Waugh Rob Webb & Stan Whittington Donna & William Wehner Richard & Louise Weiner Family Foundation Brea & Al Weiss Charles & Linda Wells Wells Fargo Jeff & Alexis Weltman Richard & Pamela West The Wideman Family Wiginton Family Lawrence Wilker Meggen & Brian Wilson Catherine Reynolds & Colette Wilson Winter Park Health Foundation Rebecca Moroose, MD & Thomas Winters, MD Dee & Jerry Wisler Hattie F. Wolfe Marchetta T. & Jeremy A. Wood Jan & Jim Wood Ashley & Kenneth Wooton, Jr. The Zimand Family Scott & Lauren Zimmerman Jacquelynn & Victor Zollo

DR. PHILLIPS CENTER MEMBERS CHAMPION, $10,000* Edward H. Hensley & Javier Quesada Alexis & Jim Pugh Bryce L. West CONTRIBUTOR, $5,000* Tracy Stein Bob VanderWeide SUPPORTER, $2,500* Amy DuBois Karina Katz Nancy & Brad Rex Mary & Larry Ruffin Walker Starling

ENTHUSIAST, $1,000 Elizabeth Adams Judy B. Adams Rita & Jeffrey Adler Jim Agnew Dr. Ilan & Ruth Aharoni Todd Albert Caryn & Brian Albertson Lisa Allegra Jose Alpizar Patricia & Roy Ambinder Hala Amm Gaetana Anastasia-Calais Mary Ann Anderson John Andrews Anonymous Laura Armstrong Sasha & Michael Arthur

Leah Arnold David Bahler Jess Bailes Janette & Barry Baker David Baldree Pat & Ken Barnes Lori & Alan Bartlett Kim Bauer Nancy & Dale Bellows George J. & Suzanne B. Bender Denise Bennett-Walls Mary & Al Bergeron Terrance Paul Berland Ellen Berry Joseph Bert Karen Black Lauren & Barry Bloom

Mary Beth & Tom Bradley Household Lori & Robert Brand Leslie & Stephen Braun Benjamin Breitbart Broadband Network Support, LLC Donna Brown Johni-Jean & Andy Brumby Tere & Scott Brun Robert Burns Brian Buwalda Deborah Buynak Hugh Bynes Kim & Tom Cannold Monica & Albert Carioti Thekla Carpenter Lisa & Michel Champagne Linda & Bruce Chapin

DRR.. PPH HIILLLLIIPPSS C CEEN NT TEERR M MEEM MBBEERRSS D Mr. && Mrs. Mrs. Michael Michael Mr. Candiotti Candiotti Ingrid && Steve Steve Clapp Clapp Ingrid Donna Clarke Clarke Donna Marshall Cohn Cohn Marshall Carol && Steve Steve Cohn Cohn Carol Beatriz && Erick Erick Collado Collado Beatriz Melanie Cornell Cornell Melanie Alvin J.J. Cowans Cowans Alvin Ian Cull Cull Ian Jennifer Cultrera Cultrera Jennifer Robert Cunningham Cunningham Robert Joseph De De Matei Matei Joseph Andrew Lammes Lammes && Andrew Deal Land Land Surveying Surveying Deal Krystle && Adam Adam DeGraide DeGraide Krystle Baadal Deliwala Deliwala Baadal Melanie && Sam Sam DeMarco DeMarco Melanie Bill J.J. DeTorres DeTorres III, III, MD MD Bill Lilian Draisin Draisin Lilian Ixchell Duarte Duarte Ixchell Mary && Kevin Kevin Dunleavy Dunleavy Mary Mary Dzuro Dzuro Mary George && Anne Anne Eichleay Eichleay George Andrea Eliscu Eliscu Andrea Dr. Agnes Agnes Evans Evans Dr. Michael && Allyson Allyson Evans Evans Michael Kamran Farid Farid Kamran Deborah Farnell Farnell Deborah Judith Fennessy Fennessy Judith Shelly Ferrone Ferrone Shelly Sue && Randy Randy Fields Fields Sue Mary && Shay Shay Foley Foley Mary Daniel Fontana Fontana Household Household Daniel Forum Architecture Architecture Forum Interior Design Design && Interior Laraine Frahm Frahm Laraine Clark Frazee Frazee Clark Christine Gagliardi Gagliardi Christine Tracy && Mike Mike Garbers Garbers Tracy Julie && Alexander Alexander Gardieff Gardieff Julie …in memory memory of of Susan Susan …in Pearlman Pearlman Sharon Ginsburg Ginsburg Sharon Douglas Glicken Glicken Douglas Jan && Gene Gene Godbold Godbold Jan Dr. Nanialei Nanialei Golden Golden Dr. Dr. Ivan Ivan Graham Graham Dr. Kathy && Gary Gary Grimes Grimes Kathy Vishaal Gupta Gupta Vishaal Denise Hall Hall Denise

Denise && Michael Michael Denise Hammond Hammond Cheryl Hanin Hanin Cheryl Dr. && Mrs. Mrs. Jeffrey Jeffrey Hartog Hartog Dr. Susan && Mark Mark Hertling Hertling Susan Vikki Hodgkins Hodgkins Vikki Bryan Huff Huff Bryan Richard Hunter Hunter Richard Patricia && Donald Donald Hurter Hurter Patricia Janet && James James Mahon Mahon Janet Richard Jerman Jerman Richard Carla Joiner Joiner Carla Mark Jones Jones Mark Jessica && Mark Mark Jones Jones Jessica Avery Kan Kan Avery Debbie && Joseph Joseph Kantor Kantor Debbie Henrietta && Marc Marc Katzen Katzen Henrietta Ken Keitges Keitges Ken Dixie && Gray Gray Keller Keller Dixie RK && Faron Faron Kelley Kelley RK Deborah Kelly Kelly Deborah Leslie J.J. Kelly Kelly Leslie Dr. H.C. H.C. && Joy Joy Kessel Kessel Dr. Embry Kidd Kidd Embry Joe Kivett Kivett Joe Carol Klim Klim Carol Ellen Koon Koon Ellen Jeff Kruse Kruse Jeff Andrew Chang Chang && Andrew Eva Krzewinski Krzewinski Eva Celia Kudro Kudro Celia Ashley && Matthew Matthew Laubach Laubach Ashley Krista && Jonathan Jonathan Ledden Ledden Krista Dr. Kenneth Kenneth && Evann Evann Lee Lee Dr. Sam Leftow Leftow Sam Meredith Level Level Meredith Eleni && Robert Robert Longwell Longwell Eleni Helen && Larry Larry Lynch Lynch Helen Tiffany Lytle Lytle Tiffany Mark Magath Magath Mark Sean Mahan Mahan Sean Mary K. K. Mahoney Mahoney Mary Edward Mallory Mallory Edward Sonia && Lester Lester Mandell Mandell Sonia Edward Manning Manning Edward Joanna && Jeremy Jeremy Markman Markman Joanna Treva J.J. Marshall Marshall Treva Carol Massey Massey Carol Kathryn Kathryn Stephen McClure McClure && Stephen Virginia McGrath McGrath Virginia

Genean && Joel Joel McKinnon McKinnon Genean Raechele McMahan McMahan Raechele Don McNair McNair Don Frank && Rebecca Rebecca Meyer Meyer Frank Household Household Gilbert Miller Miller Gilbert Michelle Miller Miller Michelle Dr. Larry Larry G. G. Mills Mills Dr. Sally A. A. Milton Milton Sally Amy Moore Moore Amy Jeffrey Moore Moore Jeffrey Kristy Murray Murray Kristy Susan Marcus Marcus && Susan Donna && Bruce Bruce Mylrea Mylrea Donna Jennifer Myers Myers Jennifer Kristiane Odenbach Odenbach Kristiane Virginia && Jonathan Jonathan Partain Partain Virginia Mary Jo Jo && Karl Karl Pecht Pecht Mary Gordon Penn Penn Gordon Rey Perez Perez Rey Nadine Petronaci Petronaci Nadine Polly Pollak Pollak Polly Richard Proctor Proctor Richard Meigan Putnam Putnam Household Household Meigan Sandra Race Race Sandra Shawn Rader Rader Shawn Fred && Jeanie Jeanie Raffa Raffa Fred Lynda Rago Rago Lynda Ralph R. R. Recht Recht Ralph Edith Reilly Reilly Edith Mary Lou Lou Mary Thomas Remenick Remenick && Thomas Bill “Roto” “Roto” Reuter Reuter Bill Sandi Richmond Richmond Sandi Steven, Yvette Yvette Steven, Jessica Riddle Riddle && Jessica Elizabeth && Thomas Thomas Roehlk Roehlk Elizabeth Dr. Steven Steven Dr. Celia Rosenberg Rosenberg && Celia Joan Ruffier Ruffier Joan Ladybird Academy Academy of of Ladybird Debary Debary Dr. Brian Brian Saluck Saluck Dr. Dauri Sandison Sandison Dauri Scott Sanford Sanford Scott Linda && Randy Randy Scheff Scheff Linda Melissa Schwenn Schwenn Melissa Scott ++ Cormia Cormia Architects Architects Scott Interiors ++ Interiors Dr. Marc Marc D. D. Shapiro Shapiro Dr. Warren Shaw Shaw Warren

Elide && Miguel Miguel Silva Silva Elide Dottie && Bill Bill Silverman Silverman Dottie John Slone Slone John Lori Sprague Sprague Lori Amanda && Ryan Ryan Stahl Stahl Amanda Danielle Steenbergh Steenbergh Danielle Eva Stefanszky Stefanszky Eva Rusty Stoeckel Stoeckel Rusty Richard Straughn Straughn Richard Sundance Architectural Architectural Sundance Products, LLC LLC Products, Nancy && Thomas Thomas Swalby Swalby Nancy Elaine && Scott Scott Taylor Taylor Elaine Peggy Tepper Tepper Peggy Kevin Thibault Thibault Kevin Marjorie && Bryan Bryan Thomas Thomas Marjorie Ed Timberlake Timberlake Timberlake, Jr. Ed Dimitri Toumazos Toumazos Dimitri Law Office Office of of Nathan Nathan L. L. Law Townsend Townsend Kay Ustler Ustler && Craig Craig Ustler Ustler Kay Family Foundation Foundation Family Philip A. A. Wade Wade Philip Dr. Joe Joe Warren Warren Dr. Rob Webb Webb && Stan Stan Rob Whittington Whittington TnT Weclew Weclew TnT Atlas Pools Pools of of Central Central Atlas Florida Florida Kristine Westley Westley Kristine WFTV/WRDQ Television Television WFTV/WRDQ Lawrence Wilker Wilker Lawrence Eileen Winfrey Winfrey Eileen Racheal && Melvin Melvin B. B. Wright Wright Racheal Lisa Wubbena Wubbena Lisa Janet && Tom Tom Wyatt Wyatt Janet Tammy && Paul Paul Wyche Wyche Tammy Nancy && Bill Bill Yarger Yarger Nancy Nina && Dave Dave Yoakum Yoakum Nina Bo Young Young Bo Dr. Lisa Lisa L. L. Zacher, Zacher, MD MD Dr. Phyllis && Edward Edward Zissman Zissman Phyllis Membership level level isis ** Membership no longer longer available. available. no


LISTAS ASOF OF1.12.18 1.19.18 LIST



“The Seal of Homebuilding Excellence” The Master Custom Builder Council is an organization that represents the area’s leading custom home builders who have pledged to maintain the highest professional standards in the home building industry, and dedicated themselves to using their craft to make Central Florida an even finer place to live.

Cahill Homes Charles Clayton Construction Dave Brewer DeLorenzo Homes Derrick Builders Farina & Sons Goehring & Morgan Construction

Hannigan Homes Hardwick General Contracting Issa Homes J. Richard Watson Construction Kelsey Custom Homes Legacy Custom Built McNally Construction Group

Phil Kean Design Group Posada Custom Homes Regal Classic Homes Silliman Cityside Homes Speer Homes Stonebridge Homes The Einheit Company Woodruff Construction and Development

P.O. Box 536732 • Orlando, Florida 32853 407.875.2121 •


The arts inspire life. And Florida Hospital wants you to live a long one. That’s why we provide an elite network of care — from hospitals and urgent care centers to physicians and specialists — close to home and where you work. Because having a healthy mind, body and spirit allows us all to be at our creative best.

Official Healthcare Partner of the Dr. Phillips Center for the Performing Arts