I’m honored to introduce my company, Camelback Media Group, as the new steward of Frontdoors Media and The Red Book
This transition is happening during a difficult time for many of the people involved due to the passing of Andrea Tyler Evans. I had the opportunity to get to know her as the ownership transition took place, and it was clear why she was so beloved by so many friends and colleagues. She was a beacon of light for many, and her true passion was to make our community a better place to live. She will be dearly missed, and our deepest condolences go out to everyone who is feeling her loss.
It was a pleasure, however, to work with her and her husband Tom — who has agreed to try to fill her shoes as Publisher Pro Tem — on making Frontdoors part of our media family. By way of background, Camelback Media Group was formed when we had the opportunity to buy Arizona Foothills Magazine in 2021 and Arcadia News in 2024. In both cases, we had the goal of ensuring these publications remain true community assets moving forward. When Andrea and Tom approached us earlier this year about purchasing Frontdoors Media, we quickly realized it was a great match.
I’m a Valley native, and I have deep roots in this community. My family and I approach all our business endeavors with a focus on creating value for our friends, family and neighbors. That’s why Frontdoors Media and The Red Book are such an ideal fit for Camelback Media Group. We are ready to embrace the Frontdoors mission, which is to be the premier source of information — and inspiration — for those who strive to make the Valley of the Sun a better place to live.
Our commitment to the community is that we will carry on Andrea’s legacy and the vision she and her team created for Frontdoors Media and its family of publications. And we are thrilled that longtime editor in chief Karen Werner will remain in the position, ensuring that Frontdoors’ editorial excellence and community focus will continue uninterrupted, despite Andrea’s passing. We will continue to be at the intersection of community, philanthropy and lifestyle, and to tell the stories of those who are making a difference. And we will work to broaden even further the positive impact Frontdoors is having on the Valley of the Sun.
I look forward to meeting many of you as we work together in the future, and at Andrea’s celebration of life on Oct. 1. It will be an honor for all of us to carry her legacy forward together.
Aaron Klusman
You are cordially invited to the community Celebration of Life in loving memory of Andrea Tyler Evans.
WEDNESDAY, OCTOBER 1, 2025 • 5 - 8 P.M.
Warehouse 215 • 215 E. Grant Street • Phoenix, AZ 85004
Andrea’s family would like for this evening to be a true celebration.
The event will be a cocktail reception with a short program that will begin at 6:15 p.m. We invite you to wear colorful clothing and to share stories and fond memories of Andrea’s life.
RSVP by visiting tinyurl.com/AndreaTylerEvans
Moments That Matter
When we talk about what makes a community thrive, we usually start with the basics: good schools, safe neighborhoods, steady jobs. But there’s another ingredient that binds us together, sparks our imagination and shapes who we become: the arts.
Arts and culture aren’t just nice to have — they’re vital. They open our minds, lift our spirits, boost our economy and help us understand the world and our place in it. But these benefits only reach their full potential when everyone feels they’re invited to take part.
Our publishing partner for this special issue, Virginia G. Piper Charitable Trust, has long championed this idea. The Trust’s president, Steve Zabilski, often shares a story that reminds us how powerful a single moment can be: As a seventh grader, he reluctantly boarded a bus for a field trip to see “Hansel and Gretel” at the Dorothy Chandler Pavilion in Los Angeles — an experience he describes, all these years later, as “life-changing.”
In these pages, you’ll meet local leaders shaped by moments just like that — moments that matter. You’ll read about Chris Hamby of TheaterWorks, who nearly dropped out of high school until a late-night documentary about Jim Henson changed his life. You’ll see how Betsy Vincent’s vibrant paintings now brighten St. Vincent de Paul’s Ozanam Manor, reminding residents that beauty belongs to everyone. And you’ll hear from Kate Wells, the CEO of the Children’s Museum of Phoenix, who watches magic unfold every day at a place where many staff members first came as kids and now create wonder for the next generation.
These stories remind us that the arts don’t just entertain, they create moments, small and large, that stay with us and change us. And those experiences ripple outward, building connection, inspiring futures and strengthening our sense of community.
This issue also carries with it a heartbreaking moment. As we were preparing to go to press, we lost our dear publisher, Andrea Tyler Evans, to a rare form of cancer. Andrea’s loss is immeasurable — for our team, whom she championed with such joy; for the nonprofits and causes
she supported so wholeheartedly; and for the countless people who called her a friend.
Friendship with Andrea meant being drawn into her fun, frenetic and fiercely philanthropic world. She had an incredible gift for lifting others, and a charm that meant leaving any event with her took an extra 20 minutes, because she seemed to know, and love, everyone.
For me, Andrea was not just a colleague but a friend. She was energetic, savvy and deeply caring. Our hearts are with her husband, Tom, her children, Thomas and Ellie, and her family. We will miss her more than words can say.
We will share more about Andrea’s life and legacy in the future, and hold a community celebration of life in her honor on Oct. 1. Until then, we move forward carrying her mission: to lift up those who make the Valley a better place.
As you turn these pages, I hope you find a story that makes you smile or remember a moment that shaped you, too. Because if Andrea taught us anything, it’s that when we make space for creativity and wonder — and when we lift each other the way she always did — good things grow.
Here’s to making more moments that matter.
KAREN WERNER EDITOR IN CHIEF
A happy moment with my friend and publisher, Andrea Tyler Evans (right). This is how I’ll remember her: full of joy and a sparkle that lit up the room.
“Some of my earliest arts experiences came from school field trips. Those were the first moments I realized there was a world bigger than my own, full of color, story, and possibility. Every person deserves that kind of spark and inspiration.”
– Chris Hamby C.W. McMillin Executive Director of TheaterWorks / 2024 Piper Fellow
Jillette
The outspoken half of Penn & Teller talks creativity, critical thinking and why he’s still excited to walk on stage
You and Teller have been working together for 50 years. How has the act evolved?
We’ve been doing more new material in the past five years than in the previous 45. Most performers our age are locked into a greatest-hits routine, but we’re still chasing new ideas. If I ever retired — which I won’t — my hobby would be exactly what I do now: writing ideas and having people watch them.
What keeps you excited after all this time?
No two shows are ever the same. The audience brings a different energy every night. Sometimes someone laughs in an unexpected place, or reacts in a way that makes us rethink a moment we’ve done a thousand times. That keeps it alive for me.
Bob Dylan is on the “Never Ending Tour,” and I feel the same way. I’m still on the road, still doing shows, because I don’t know how to do anything else — and I wouldn’t want to.
3
If someone meets you for the first time and asks what you do, what’s your answer?
I’m supposed to say “Vegas magician,” since we’re the longest-running headliners in Las Vegas history. But in my heart, I say “writer.” That’s how I see myself. I also play upright jazz bass. My real loves are music and writing, and magic is the way I bring those together.
What’s the secret to a 50-year creative partnership?
We didn’t start as friends. We started because I thought I could do better work with Teller than alone. That turned into a deep friendship, but the show always came first. We trust each other completely, show up on time, and do what we say we’ll do. No drinking, no drugs, no tantrums — just the work.
Penn & Teller are famous for revealing how tricks work, yet still astonishing the audience. How do you pull that off?
Most real methods are ugly — gaffer’s tape, fishing line, that kind of thing. We invent beautiful methods we’d never actually use to “get away” with a trick, then perform using that method and reveal it. Sometimes the explanation we
One of these men has mastered the art of silence. Penn Jillette (left) has not.
give is more elegant than the real one. It’s about giving the audience that rare “aha” moment. Like Einstein, but in a tux.
Has it gotten harder to fool you after so many seasons of “Fool Us”?
No, because magic has changed. It used to be one of the last truly misogynist art forms — the Magic Circle in London didn’t admit women until the 1990s. Now, thanks to the Internet, a 16-year-old girl in Iowa can learn magic without walking into a cigar-filled basement. We push producers to book people who don’t look like us, and the art form is better for it.
You’ve worked across TV, Broadway, Vegas, YouTube, TikTok. How do you stay “relevant”?
We’ve never thought about relevance. We think about ideas. We never said, “Let’s get to Vegas” or
“Let’s do Letterman.” We had ideas, and those were the venues that fit. We were just as happy in the 70s doing small theater shows no one knew about. The joy is in the work, not the platform.
You’re known for skepticism. Is there any belief you hold onto just because it feels good?
I operate on the unprovable idea that every artistic problem has a solution, even though experience tells me that’s not always true. More broadly, I believe people are good, there’s no such thing as evil, and things are getting better — despite appearances. Every time I get very sad about what’s happening in the United States, I remember that, in my lifetime, the percentage of young girls being taught to read on the planet has gone from 10 percent to 90 percent. That’s huge.
It’s easy to get caught up in bad news, but if you
Penn & Teller hold the record for the longest-running headlining show in Las Vegas.
look at the big picture — the arc of history — things are getting better. Literacy rates are higher, extreme poverty is down, access to information is exploding. Just the fact that a kid in a remote village can watch a physics lecture from MIT on a phone blows my mind. That kind of access to knowledge used to be unthinkable.
How do you stay healthy and energized?
I’m still vegan. It’s better for my health, the planet and animal suffering. I exercise, and I make a conscious effort to be social. Left to my own devices, I’d sit alone and type, but isolation is killing us as a culture. My kids are 19 and 20, which keeps me connected, and I try to
see friends, even when I’d rather stay home. Once I’m with them, I’m glad I came.
What do you hope people take away from your shows?
That we can share reality. Skepticism isn’t about being closed-minded — it’s about using evidence so we can agree on what’s real. We can disagree on solutions, but we have to start from the same facts. Magic, silly as it is, deals with the most profound question there is: How do we know what’s true?
Penn & Teller will be performing at Mesa Arts Center on Nov. 6. To learn more or buy tickets, go to mesaartscenter.com
The duo describes themselves as “two eccentric guys who’ve learned how to do a few cool things.”
The Art House
Once a humble Arcadia home, the Shemer Art Center now thrives as a welcoming space for creativity and community
BY MICHELLE JACOBY
Tucked behind citrus trees and older homes off East Camelback Road, the Shemer Art Center may be easy to overlook. If you’re not paying attention, you might breeze right past the low-slung Spanish-style building and the sculptures dotting its front lawn.
But step inside, and you’ll realize you’ve stumbled upon one of Phoenix’s best-kept — and most beloved — secrets.
This isn’t just another house. It’s a cozy, creative space where community, imagination and Arizona history converge. Nestled in Phoenix’s Arcadia neighborhood, the Shemer Art Center has quietly grown into one of the city’s
most unexpected cultural gems.
Built in 1919 as a home base for water irrigators working the citrus lots in the area, it went on to change hands, first to Henry Carver, a banker from Kansas City who became president of First National Bank of Arizona, then to the Suhr family from Oil City, Pennsylvania, heirs to the Pennzoil fortune.
In 1984, longtime Phoenix resident Martha Shemer purchased it — but not to live in. Instead, she gifted it to the City of Phoenix with a clear mission: turn it into a community space dedicated to the visual arts.
Shemer Art Center is set at the intersection of Phoenix, Scottsdale and Paradise Valley.
More than 40 years later, that mission is still going strong, led by Shonna James, the center’s president and executive director. “There’s nothing else like it,” James said. “We offer access to art in an approachable, inspiring environment.”
What sets Shemer apart isn’t just its historic charm or location — it’s the variety of things happening here. On any given day, the front lawn might host a sculpture exhibition, while inside, aspiring artists are learning ceramics, watercolor, fused glass or printmaking. The gallery rotates every few months, often spotlighting local and emerging Arizona artists. Past shows have featured everything from high school student portfolios to fine art photography to evocative bronze work.
“We’re not just a gallery or a school,” James said. “We’re a place for the community to explore, create and connect.”
That connection shows up in the programming. The center offers more than 60 classes and workshops each
That local focus is growing, too. In early 2020, Shemer Art Center launched a campaign dedicated to raising funds for a new educational building that will provide additional space for classes, workshops, summer camps and afterschool programs. It will also upgrade and improve the current building, with an extended lawn to accommodate more artists during events as well as additional outdoor sculptures.
“We’re excited to make the grounds an extension of the gallery,” James said. “It’ll add another layer to the visitor experience.”
Through it all, Shemer holds tight to its mission:
supporting Arizona artists and inviting the public into the creative process. Whether you’re glazing your first ceramic bowl, browsing the gift shop or chatting with a painter at an opening night, you’ll feel the Shemer difference. It’s not about perfect technique — it’s about showing up and making space for creativity.
“Art improves individual well-being, creative thinking and academic performance,” James said. “It also helps build social skills, maintains mental health and, most importantly, unifies communities. I’m very proud of what we’ve created and what the Shemer Art Center delivers for Arizona.”
To learn more, visit shemerartcenter.org.
CHEERS to the Chairs!
A preview of the Valley’s premier philanthropic events and who’s leading these important efforts
LOCATION: The Phoenix Tool Bank phoenixtoolbank.org
Annual History Dinner
DATE: November 1, 2025
BENEFITTING: Sandra Day O’Connor Institute
CO-CHAIRS: Michael & Robyn DeBell and Cindy & Michael Watts
LOCATION: The Phoenician oconnorinstitute.org
Transforming Lives Empowering Communities
Supporting health and quality of life for 25 years, BHHS Legacy Foundation has invested more than $150 million in nonprofits and programs across Greater Phoenix and the Tri-State region of northern Arizona.
Help build healthier communities with your Arizona Tax Credit donation. Visit BHHS legacy.org or call 602.778.1200 to donate now.
CO-CHAIRS: Lachele R. Mangum, Jennifer Reynolds & Lauryn Mangum Reed
LOCATION: Camby Hotel salvationarmyphoenix.org
Signature Chefs Feeding Motherhood
DATE: November 9, 2025
BENEFITTING: March of Dimes Arizona
CO-CHAIRS: Jenny Holsman Tetrault & Robert Barlow
LOCATION: Talking Stick Resort marchofdimes.org
From food and clothing to housing and education, we all could use help at some time. And we’ll always be here to give what is needed. Together, with our donors, volunteers and partners, we’re celebrating 100 years of giving back to the Valley. But we’re not resting today or ever. As long as someone needs help, we’ll be here. Because giving never gives up. To help, visit vsuw.org.
Honoring Andrea Evans who NEVER gave up on our community. Thanks for uniting us all, Andrea!
Purple
Reign
From plush textures to sharp tailoring, fall’s fashion forecast is royally compelling
Strong and bold, suiting up steps out of the boardroom this fall. From streetwear to the red carpet, structure, layers and luxe materials are a current nod to a classic that’s always in style.
Victoria
Italian Suit | $799 Charles Tyrwhitt charlestyrwhitt.com
Scarf Jacket | $1,130
Chambray Jacket | $395
STAUD
staud.clothing
MAKEUP STUDIO
Sequin Cocktail Dress
Here Comes the Vibe
Bold color, immersive florals and meaningful tech are defining the
next wave of “I do”
Weddings may be rooted in tradition, but today’s couples are rewriting the rules with bold colors, immersive experiences and thoughtful personal touches.
We spoke with Amy Mancuso, founder of Arizona-based Amy Mancuso Events, known for planning stylish, highly customized weddings since 1996. Her award-winning work has been featured everywhere from national magazines to TV. Here, she shares six fresh wedding trends to watch for in the next year.
Amy Mancuso, founder and principal planner of Amy Mancuso Events, is a leading creator of luxury weddings and events in the Valley.
Phyllis Lane Photography
Dramatic Floral Installations
Florals are going big — and bold. Think hanging flower chandeliers, floral tunnels, meadow-style aisles and blooms cascading from ceilings.
“Asymmetrical installations are really taking the lead,” Mancuso said, citing dramatic designs that still feel personal, like including a couple’s birth-month flowers or blooms with cultural significance. “We’re definitely getting more dramatic with where and how we install flowers,” she said.
Bold, Vibrant Color Palettes
Muted tones are out — 2025 weddings are embracing vibrant, saturated hues like electric blue, mustard yellow, fuchsia and deep orange. Unexpected pairings (think lavender and mustard) add a playful edge, while earthy neutrals keep the look grounded.
Fashion influencers are leading the way. “It really opens up creativity for planners, within the bride’s vision, of course,” Mancuso said.
Erin Ashlee Photography
Hand-painted custom aisle runners and lush, draped florals are just two of the details making waves in wedding trends.
Interactive Guest Experiences
Weddings are becoming more immersive, with couples finding creative ways to engage their guests. Couples are prioritizing interactive elements like live entertainment, custom cocktail bars, DIY dessert stations, interactive photo booths, live painting during the reception — even retro vending machines with custom mini prints.
Whether it’s a showstopper or a subtle personal touch, the goal is the same: to make guests feel like participants, not just spectators. “It doesn’t always have to be over the top,” Mancuso said. “Sometimes the littlest things have the biggest impact.”
Sustainable Choices
More couples are planning with the planet in mind, opting for digital invitations, locally sourced flowers and reusable décor.
“They’re even looking for venues with green certifications that embrace sustainable practices. Not everyone is doing it, but it’s gathering popularity,” Mancuso said. It’s about minimizing waste, like skipping imported flowers, using compostable materials or opting for candles instead of centerpieces.
More than a centerpiece — a living fountain is a whimsical work of art.
A vintage photo booth gives guests a personalized keepsake.
Eco-friendly candles set a magical mood.
Ready for takeoff? Incorporating a private jet into the celebration adds a new level of glamour and adventure.
Lit with colorchanging lights, a clear lucite floor was built directly over a client’s swimming pool, creating a dance floor that was truly unforgettable.
Non-Traditional Attire
Brides are stepping away from classic white, choosing colorful gowns and sleek jumpsuits that reflect their personal style.
Grooms are getting creative too — with bold patterns, unique fabrics and standout accessories like gilded pocket squares, which look more like a brooch than a traditional fold. “Like a lion, in gold or silver, coming out of your pocket,” Mancuso said. It’s about self-expression and embracing fashion that feels authentic and fresh.
Tech-Savvy Touches
From drone photography to custom wedding apps, technology is becoming a staple in modern weddings. “Drone shots are so cool,” Mancuso said. “Especially if you have time to capture the grounds, the venue, the ceremony area or if there’s a beautiful tent or mountain backdrop.”
Couples are also hiring content creators to film phone-friendly footage for instant sharing. And on the luxe end? Drone shows are replacing fireworks, offering a safer, customizable wow-factor. “It’s pretty spectacular if you can afford it,” Mancuso said.
Bringing It All Together
These trends are just the beginning. “Once we get to know the couple — their venue, budget and vision — we take it deeper and make it more specific,” Mancuso said.
For more information, visit amymancuso.com
An aerial view of a day a long time in the making.
Walking into forever in something blue.
Play It Forward
Inside the world of Kate Wells, who made play her life’s work — and changed a city
BY KAREN WERNER
The Zoom call connects, and suddenly I’m in Milan. Or rather, I’m looking through a digital portal into the sun-drenched Italian apartment of Kate Wells’s firstborn, Tesla. The irony is not lost on me: To understand the woman who created one of the most dynamic, hands-on spaces for children in the Southwest, I must first connect via the globetrotting young adult her vision helped shape. Wells, the effervescent cofounder and CEO of the Children’s Museum of Phoenix, soon appears on screen, not from a sterile boardroom, but from the warm orbit of family — which is fitting given her life’s work. Tesla, 28, is training in elite competitive fencing in Italy, a living example of a mother’s belief in the power of hands-on learning and wide-open possibility.
This is Kate Wells in her element: orchestrating, connecting and bridging worlds with an effortless warmth that belies the fierce entrepreneurial spirit
beneath. It’s that same spirit that transformed a historic schoolhouse once slated for demolition into an epicenter of childhood wonder.
The Children’s Museum of Phoenix recently celebrated its 17th anniversary and welcomed its 5 millionth visitor, a staggering testament to a dream that began with, as Wells puts it, questionable qualifications. “My qualification was that I could write grants and throw fun parties,” she said with a laugh that is both self-deprecating and utterly confident.
Inside the museum, this unlikely origin story plays out as a kaleidoscope of joy. You hear it before you see it: the cacophony of laughter, the shouts of discovery, the murmur of parents rediscovering their own sense of play. Children swarm through a forest of dangling pool noodles, construct elaborate ball runs on magnetic walls, and shoot scarves sky-high with air-powered pipes. It is a place built on the philosophy of open-ended play, where a 2-year-old and a 10-year-old can approach the same exhibit and both find developmentally appropriate ways to learn and explore.
Kate Wells in 1970s South Florida, where playful adventures with friends sparked the creativity behind the Children’s Museum of Phoenix.
Kate Wells at the Children’s Museum of Phoenix, with the brightly colored tunnels where young visitors crawl, climb and discover.
The impact of these encounters, big and small, has exceeded even Wells’s own grand ambitions. “The individual impacts that people tell us it had on them is something I couldn’t have imagined,” she said. The proof is in the people. “We’ve been open long enough that almost all of our staff, if they’re from the Phoenix metro area, came on field trips or with their families as children.”
To understand how Wells pulled off such a feat — raising millions, saving a historic building and creating an institution without any formal background in early childhood education — you have to rewind to her self-described “feral” 1970s South Florida childhood. “I had a lot of freedom. We played outside, and I was very entrepreneurial,” she said. She was constantly organizing talent shows and neighborhood events, and ran a Florida version of a lemonade stand,
peddling orange juice. This upbringing, fostered by a family that met every audacious idea with a supportive “Of course you can do that,” instilled in her a belief that there is no such thing as failure.
That conviction was critical when she and a group of fellow parents from their children’s Montessori school decided Phoenix needed a world-class children’s museum. “I had no idea what I was doing, but I had no doubt we could figure it out,” Wells said. “I think that a lot of entrepreneurs are like that.” What she lacked in credentials — she owned a coffee house at the time — she made up for with can-do spirit and ample know-how. Wells was a skilled grant writer and a natural organizer. The other founders brought their own expertise, including vital knowledge of early childhood development.
Kate Wells at her childhood ‘lemonade stand’ — selling Florida orange juice.
Seventeen years ago, a historic schoolhouse was reborn as a place of wonder.
Cofounders Angela Cazel-Jahn and Kate Wells on the front steps on opening day. Cazel-Jahn is now the director of innovation & learning.
Their strategy was grassroots genius. During a pop-up event in 1998, Wells spent three weekends collecting AOL email addresses from parents while their children played. “In very short order, we had a massive database of 70,000 families who wanted the Children’s Museum to happen,” she said. While other arts organizations had buildings and endowments, Wells’s group had something more powerful: a mobilized constituency of interested parents. This army of voters was instrumental in getting the museum included on a city bond, which secured the initial $10.5 million to purchase and begin renovating the historic Monroe School. For the downtown-dwelling founders, saving the building, which had an active demolition permit, was almost as critical as the museum itself.
The museum’s journey from a nascent nonprofit to a beloved institution was fueled by Wells’s most profound role: being a mother. Tesla was just 18 months old when the incorporation papers were signed. Phoebe followed a few years later.
Observing her children, Wells became a “student of watching them build into these incredible people based on all these little micro experiences,” she said. She recognized the privilege her children had — access to travel, good food, a Montessori education — and felt a deep responsibility to provide that same sense of “beauty and wonder and opportunity for every kid.”
Her own children were integral to the process. They were carted across the globe to
“ We say,
‘Come
and try the museum,’ because this place is indeed for every child.”
visit other museums, their weekends spent at popup events, and TV time often paired with stuffing envelopes. They, along with the other founders’ children, physically helped build exhibits, stringing thousands of CDs onto fishing wire to help create the iconic entryway wall.
This hands-on, socially responsible upbringing became part of their DNA. Phoebe, after graduating from Barrett, the Honors College at ASU, joined Teach for America and now works at a law firm in New York with an eye to education policy, while Tesla, an MIT grad who got her master’s in autonomous robotics, became heavily involved in student activism and community organizing. “They’re both very involved, which makes my mom heart happy,” Wells said.
Looking back, Wells thinks the peak expression of her tactile educational philosophy was a 14-month family trip around the world, a five-year dream in the making. Pulling her kids out of fourth and seventh grades, Wells and her husband, Jeff, embarked on the ultimate learning adventure. “When you take my dedication to experiential learning, us backpacking around the world was kind of the ultimate,” she said. Wells’s parenting style and her leadership philosophy are deeply intertwined. “My husband teases me that I think I’m the mom of every child,” Wells said. And indeed, she mothers the museum with the same core principles: Provide resources, opportunity and time — and then get out of the way.
This approach has fostered a remarkable internal culture. Of the museum’s 41 full-time employees, 37 have been promoted from within.
“We develop the heck out of them,” Wells said. “If they’re a star, we’re gonna invest in them, provide them what they need, and let them do their thing.”
The stories of these staff members are the stories of the museum itself. There’s
Wells with her husband, Jeff, and daughters Tesla and Phoebe (above right).
Back in the day, Tesla Wells, Jasper Larson, Maddie Larson and Phoebe Wells strung CDs for the museum’s iconic entryway wall.
the young man named Ernesto who first visited on a field trip when he was 8. Coming from an economically disadvantaged family, he was so awestruck by the kindness and magic he found that he vowed to work there one day. Two days after his 16th birthday, before he even had a driver’s license, he walked in and landed a job, staying with the museum through high school and college. “The people part of it, the individual part of it,” Wells said, “is something I never could have imagined.”
This deep commitment to every child is the museum’s driving force. Access, for Wells, is a multifaceted concept that underpins every inch of the museum. It’s physical, ensuring a child in any size wheelchair can roll right up to the garden beds. It’s developmental, designing exhibits that engage and serve a range of ages. And it is profoundly economic. Through its “Every Child” program, the museum provided free or reduced admission to 116,000 of its nearly 400,000 visitors last year.
It’s also about creating a welcoming space for families who might otherwise feel excluded, like those with children on the autism spectrum, by providing free passes and special visiting nights. “We say, ‘Come and try the
museum,’ because this place is indeed for every child,” Wells said.
That level of accessibility would be impossible without a bedrock of institutional support. Phoenix’s major philanthropic organizations have been long-time champions, a relationship Wells doesn’t take for granted. “The major foundations in town have been champions, and we try really hard to be good stewards of their money,” she said. Among them, Virginia G. Piper Charitable Trust has been a key partner, investing not just in the museum’s programs but in Wells’s leadership by selecting her as a Piper Fellow in 2018.
It’s this kind of backing that makes the museum’s mission possible. “Part of the incredible amount of access that we provide is made possible by some significant and generous foundations,” Wells said. “They recognize for us to have a really healthy city, kids need to grow up and be healthy people.”
For Wells, part of that health comes back to one thing: how we treat each other.
“We have a big focus on character development, and one of the planks that we’re focusing on is kindness — that
“ We have a big focus on character development, and one of the planks that we’re focusing on is kindness.”
we really need to, all of us, think about how to be more kind and how to show up in the world in ways that our children would be proud of,” she said. “Our children are watching. We need to be the adults that our children will be proud of, and that our parents would be proud of, too.”
Now, Wells stands on the brink of realizing the museum’s full, original vision. Bolstered by a $5.37 million voterapproved earmark and a $16.5 million capital campaign, a 33,000-square-foot expansion is underway. “We’re bringing in incredible exhibit designers, artists, fabricators — it’s gonna be really amazing,” she said.
The project will add six to eight new exhibit spaces, a dedicated early literacy center, rooftop experiences
“ We’re almost to the finish line of the things we really wanted to do.”
and, finally, a preschool — a dream since the museum’s inception. Set to open in 2027, the preschool will be run in partnership with Valley of the Sun YMCA and primarily serve low-income families, addressing a critical childcare desert in downtown Phoenix. “It’s kind of my life’s work getting to this place where I can tie a bow on it. We’re almost to the finish line of the things we really wanted to do,” Wells said.
Looking back — and forward — Wells remains grounded in the power of play, possibility and simple acts of kindness. The world has changed since the museum opened 17 years ago, but the awe a child feels entering the noodle forest has not. Her hope now is to ensure this legacy of wonder and goodness endures, to build a foundation so strong that “whoever is after me can do what they need to do based on the work that I did.”
It is, in the end, the ultimate act of a founder — and a mother: creating an opportunity for others to thrive.
To learn more, visit childrensmuseumofphoenix.org.
More room to play is on the way at the Children’s Museum of Phoenix. This rendering showcases the vision for an expansion that will bring engaging new and reimagined exhibits as well as a preschool.
Echoes in the Dust
S’edav Va’aki Museum tells the story of Phoenix’s past — and offers a warning for our own time
BY TOM EVANS
Beneath the roar of jets at Phoenix Sky Harbor, an entirely different story of arrival and departure unfolds. Here lies the S’edav Va’aki Museum, a site that holds the 1,500-year-old ghost of a civilization. You’ve likely driven past it a million times. But to venture inside is to confront a profound question about our own existence in the Valley of the Sun.
A designated Phoenix Point of Pride, the museum has been stewarded by the City of Phoenix since its founding in 1929, serving as an official guardian of a history that long predates the modern metropolis. Today, with vital support from the nonprofit S’edav Va’aki Museum Foundation and Arizona’s tribal nations, its mission is to prove that these are more than just ruins.
Welcome to the S’edav Va’aki Museum, a center for preserving and celebrating the cultural heritage of the Valley.
A stunning example of the artistry of the ancestral Sonoran Desert people.
First, some background. Long before European explorers and others came to our country, ancestral desert dwellers known to us as the Hohokam people — although more accurately referred to as the O’Odham people — inhabited the area we now know as Phoenix. A map inside the museum reveals its staggering scale, a network of villages connected by a singular, life-giving achievement: the canals.
The ancestral O’Odham cultivated this harsh landscape by building hundreds of miles of intricate canals to transport water from the Salt River, which flowed year-round back then. This system, the largest of its kind in pre-Columbian North America, transformed the desert into a lush, agricultural heartland, allowing for the farming of corn, beans and squash.
“The reason why Phoenix exists is because of the canal system,” said Nicole Armstrong-Best, the museum director. “Because if there was no water, there’d be no life. When the canals were in their original state, everything was green, and it was a riparian site.”
Then, in the mid-1400s, something strange happened. After more than a millennium of continuous settlement, the ancestral O’Odham walked away from it all, leaving their
villages, their fields and their monumental canals to the desert. The exact reason remains one of the Southwest’s great archaeological mysteries, though Armstrong-Best has an educated guess.
“It was a very crazy time,” she said. “The Apaches were coming in from the east. There were issues between them and the Pueblo people. Of course, in the 1500s, the Spanish came through. There was a huge flood in the 1300s, followed by a drought. The archaeologists can argue, but my
“I feel like this museum sets the base of understanding of the power of water, and the fact that we should value what we have and be prepared for whatever’s going to come.”
personal opinion is it was stress upon stress upon stress.”
Listening to this history inside the museum, you don’t have to look far for the modern parable. The story of the O’Odham is a haunting reflection of the dilemmas we face now with climate change, resource management and social cohesion. Their experience serves not just as a cautionary tale, but as a framework for understanding our own fragility. This lesson is not lost on the museum’s leadership. For Carmen Guerrero, treasurer of the S’edav Va’aki Museum Foundation board, the site’s power lies in its cyclical history of catastrophe and resilience.
A picture of an ancient culture comes to life at the S’edav Va’aki Museum.
“I marvel at the fact that there’s so much history at the museum, like when the O’Odham had a drought, when they had a flood and how it comes back again, because we don’t control our weather, and it can be very destructive,” Guerrero said. “I feel like this museum sets the base of understanding of the power of water, and the fact that we should value what we have and be prepared for whatever’s going to come.”
Her words find a direct echo in the museum’s core mission, which centers on the delicate balance between water, land and people. The central question, as ArmstrongBest frames it, is about human endurance in the face of environmental betrayal.
“How much work does it take to clean out a canal after a flood or to re-dig a new canal because that segment is
too full?” she asked. “What happens when all that work is not paying off for you for whatever reason? How long does it take before you decide to walk away from that infrastructure? This is one of the stories we really want to tell when we redo the main gallery.”
This is the human story the renovated galleries — set to reopen on Sept. 25 — are designed to tell. It is a narrative about the immense labor required to sustain life in an unforgiving climate, and the breaking point at which a society might abandon its greatest achievements. As Armstrong-Best concludes, the lesson is both ancient and urgent.
“We want to get across to our visitors that this is a very human story,” she said. “It happened in our pre-history, it happened in more recent history, and it is happening right now.”
For more information, visit svmfoundation.org.
Inside the museum, the story of the O’odham people is told through dynamic and engaging exhibits.
A Day With CHRIS HAMBY
C.W. McMillin executive director of TheaterWorks
AS TOLD TO JULIE COLEMAN
7 A.M. >> SWEETNESS INSIDE & OUT
My day usually starts with a big kiss from one of my Siberian Huskies. The morning is precious to me because I’m not home a lot, so I take it slowly and spend time with my dogs, Asha and Sedna. My first stop after leaving the house is to pick up an iced black coffee with two Splendas at Dunkin’ Donuts. It’s the one thing I do for myself every day.
9:30 A.M. >> MORNING WALKABOUT
I have a ritual of walking around the building when I get to the office and checking in with my 12-person team. It’s essential to me that I assess the day and make sure everyone knows I’m here and available. I then dive into emails. My first course of action is to read the daily rehearsal or performance report to see if there are any action items that need to be addressed before the next performance.
We have a leadership meeting over coffee once a week. It’s important we get out of the office when we can, so we meet at a great coffee shop next door. The department heads touch base on what’s going on and catch everybody up during the meeting.
11 A.M. >> FOUR DECADES IN THE
MAKING
This is TheaterWorks’ 40th anniversary season, so there’s exciting stuff happening. We’re in the process of planning celebrations and deciding how we’re going to honor the institution by revisiting our morals and values. We are connecting with past leaders and planning an alumni concert.
Whether you are 3 or 103, there’s a place for you in community theater. TheaterWorks is proud of its roots and has no goal to become a professional theater. We want to be the best community theater and change your mind about what you think community theater is.
12:15 P.M. >>
HOME IS WHERE THE ART IS
I grew up in the West Valley and came to TheaterWorks as a kid. When I was 16, I was pretty untamed and didn’t have much oversight, and considered dropping out of high school. I was a good student, but felt school was more work than my life was allowing me to put in at the time. I couldn’t sleep the night before I was going to make my decision about whether to leave school, so I turned on my little black-and-white TV. There, a PBS special about Jim Henson changed my life.
What stuck with me was that he wanted to change the world through his art. It was the first time it had ever been put into a context for me — making art isn’t a selfish thing, and what you’re doing has benefits and ramifications beyond you. I didn’t drop out of high school; instead, I decided I wanted to make theater for young people. My professional path and journey with puppetry germinated from this documentary in the middle of the night.
2 P.M. >> AFTERNOON CHECK-INS
I meet with the board chair every month and am involved with several board committees. TheaterWorks has an intimate relationship with the City of Peoria, so we make sure our relationship is healthy and we’re supporting the city’s programs. I have an open-door policy, so there are a lot of “Got a sec?” moments that happen as well.
Right now, TheaterWorks is really blessed. We have an incredible board of directors and team. It feels like the organization is on the cusp of something great. Everything feels poised for us to take the next step as an organization.
3:30
P.M. >> A LEADER’S JOURNEY
I’ve always been fascinated by Virginia G. Piper Charitable Trust’s Piper Fellows program and have seen what it has done for several colleagues and their organizations. Last year, I felt I could take this journey myself. The focus of my fellowship is expanding education at TheaterWorks, because it is our greatest opportunity. Our shows are selling well, but we can’t meet the demand of the kids, young people and adults who want to do things here. I’m interested in what other organizations are doing, so I’ve made site visits to theaters around the country that are doing awesome stuff to learn what the secret sauce is and what isn’t working.
I have attended the Institute for Charitable Giving and the Disney Institute to support my professional development. Both experiences were profound. My team and I recently returned from the Community Theatre Management Conference, where we participated in training with the Universal Studios team.
Strengthening employee engagement is a new pillar for us — it keeps our team connected to our mission and
Recycled materials puppet demonstration at the ANIMOTION puppetry training program with The Mermaid Theatre of Nova Scotia in Nova Scotia, Canada.
reminds us that our work truly makes the world a better place. We sometimes forget that this work is greater than us and we are now the caretakers and stewards of this organization.
6 P.M. >> THE DAY’S SECOND ACT
After I grab a quick bite to eat, the second part of my job begins. I am directing three plays this season, which results in long days. I meet with my stage manager to talk about what’s going to happen that night. Once the actors arrive, we get right to the work of the evening, whether that’s me staging a scene, choreography or music rehearsal. We wrap up the day by closing out our notes so the rehearsal report can be created.
I head home about 11 p.m. and spend time with my dogs, do a load of laundry and then go to bed before starting all over again the next day.
To learn more, go to theaterworks.org.
Hamby answers a student question during a talk-back for the TheaterWorks production of “The Little Prince.”
Scan the QR Code or visit www.afpaz.org to submit your honoree and purchase tickets today!
NATIONAL PHILANTHROPY DAY LUNCHEON 2025
Friday, November 21 | 11:00 am
JW Marriott Camelback Inn 5402 E. Lincoln Dr. Scottsdale, AZ 85253
The AFP Greater Arizona Chapter is committed to recognizing the incredible contributions of donors, grantors, volunteers, and philanthropists across Arizona at the Annual National Philanthropy Day Luncheon.
Join us as we highlight philanthropic leaders and the profound impact they have in our lives, our community, and our world.
Friday, November 21 | 11:00 am
Together, let’s celebrate the spirit of generosity and the transformative power of giving that has shaped our community for more than 40 years.
A Brush With Purpose
How one artist’s paintings are bringing light, beauty and healing to a community seeking a fresh start
BY MICHELLE JACOBY
When artist Betsy Vincent picked up a paintbrush at age 7, her mother, also a painter, gave her a piece of advice that would shape a lifetime of creativity: “Paint what you love, and you’ll always get a good painting.”
More than seven decades later, that simple line still echoes, this time across the walls of Ozanam Manor and De Paul Manor, transitional shelters for people experiencing homelessness at St. Vincent de Paul. What used to be bare hallways are now bursting with more than 400 of Vincent’s paintings — portraits, still lifes, vibrant slices of everyday life — and they’re doing more than just decorating. They’re bringing joy, dignity and healing to a community seeking just that.
“This has just been such a gift to me,” Vincent said. “After I’m gone, these paintings will still be there, still filled with color, still bringing light to someone passing by. That’s the greatest gift I could ask for.”
Betsy Vincent with the vibrant world she creates on canvas.
Photos
Vincent
Vincent’s journey to this second act began not with a bold plan, but with a phone call. Her friends Susan Levine, retired executive director of Hospice of the Valley, and Judy Mohraz, former president and CEO of Virginia G. Piper Charitable Trust, had an idea: What if Betsy’s vivid, expressive paintings could help brighten the lives of people transitioning out of homelessness?
It just happened to be perfect timing. Vincent and her husband, Norm, were preparing to downsize, and her home studio was filled with hundreds of pieces accumulated over years of prolific output.
“I used to say, ‘I’ll know what to do with all these
paintings when the time comes,’” Vincent said. “And when Susan called, I just knew. This was it.”
With help from Levine and Mohraz, a team at SVdP was formed. They began collecting the paintings, sometimes by the vanload, and installing them throughout both campuses. Each delivery became its own community event.
“They said people would come watch the artwork being hung, and residents started talking to each other about the colors, the memories a painting stirred,” Vincent said. “People who didn’t know each other yet were connecting.”
It was a deeply personal project for Vincent, who has long had a heart for people experiencing homelessness. “I’d
see someone on the street with a dog and think, ‘That could be me. That could be one of my children.’ We’re all just one circumstance away.”
So she painted for them, with intention. Every face on those walls is based on a real person: a friend, a model, someone she saw in a café. “I made sure there were people of every background — Black, Hispanic, Asian, white — so that someone walking by might see a face that reminds them of home.”
And she didn’t stop there. Vincent asked if residents could pick a small painting to keep near their bed. When a staffer hesitated, worried they might go missing, Vincent
didn’t blink. “Good. Let them take it. I’ll paint more,” she said.
After a long career — studying at Carnegie Mellon University, exhibiting her work across the country, collecting other artists’ pieces — Vincent says this unexpected chapter might be the most meaningful yet.
“This is the hardest move I’ve ever made,” she said about downsizing. “But also the most beautiful. I’m painting every day again, and I’m painting with purpose.”
It turns out, her mother was right. Paint what you love — and it just might bring others home.
To learn more, visit stvincentdepaul.net
With vision and heart, Judy Mohraz (second from left) and Susan Levine (far right) teamed up to reimagine the interiors of St. Vincent de Paul's transitional housing communities.
The Sound That Stays With You
Phoenix Chorale blends award-winning artistry with local connection
Origin
The Phoenix Chorale’s journey began in 1958, when Hal and Timona Pittman gathered 16 talented friends to form the Phoenix Bach and Madrigal Society. Fueled by a shared love of music, the group quickly became a beloved part of Phoenix’s cultural scene, performing at landmark events like the opening of the Phoenix Art Museum and collaborating with The Phoenix Symphony and Chamber Music Society.
After a vibrant first decade, the ensemble formally incorporated as a nonprofit in 1968. In 1990, it became the Phoenix Bach Choir, and by 1994, it had evolved into a fully professional choir where all singers were paid. To reflect a broader and more diverse repertoire, the group rebranded in 2008 as the Phoenix Chorale — the name it carries today.
Mission
At its core, Phoenix Chorale’s mission is simple: to nurture and amplify Arizona’s choral artistry through live concerts across the Phoenix metro area, collaborations with college choral programs, and occasional studio recordings.
Nicole Belmont, executive director, is guiding the Phoenix Chorale into its next chapter of artistic excellence.
Known for
Internationally, the Chorale is best known for its stunning recordings, many of which have earned Grammy Awards and nominations. Albums like “Rachmaninov’s All-Night Vigil” and “Northern Lights,” featuring works by Norwegian composer Ola Gjeilo, have cemented Phoenix Chorale as one of the world’s premier recording choirs. “That signature warmth of sound is something listeners around the globe now associate with Phoenix,” said executive director Nicole Belmont.
Belmont, who joined the organization in 2021, recalls her first rehearsal. “I’m a choir person — and a fussy one,” she said. “After 17 years in New York City, I wasn’t going to leave to work for just any choir. But when I walked into my first rehearsal with the Phoenix Chorale, the sound I heard that day was on another level. It was like an embrace.” Joining alongside artistic director Christopher Gabbitas, Belmont saw a unique opportunity to combine their experience and rebuild the Chorale for a new era.
But it’s not just the sound that sets the Chorale apart — it’s the community behind it. The singers live and work together in the Valley, forging deep bonds that elevate every performance. Backed by decades of alums, board members and volunteers, this tight-knit group is fiercely committed to ensuring the Chorale’s reputation as a Valley treasure.
“Our audiences know they can count on us to deliver something truly sublime at every concert,” Belmont said.
“I’m also starting to hear from Valley musicians that our reputation is growing for offering one of the most eclectic mixes of music programming.”
Program Highlight
When artistic director Gabbitas joined the Chorale in 2019, he brought a clear mission: to commission new works by women composers to balance the centuriesold male-dominated repertoire. To date, the Chorale has commissioned five composers, each contributing remarkable new works that Phoenix audiences have had the privilege of hearing first.
Most Surprising Thing About the Organization
One of the Chorale’s most surprising facts? Its small but mighty team. “While the quality of the music we create is world-class, we run the entire organization with a remarkably lean team,” Belmont said. Currently, just two full-time employees are supported by contractors, a dedicated board and volunteers. With many peer organizations twice their size, there’s room to grow — and thanks to support from Virginia G. Piper Charitable Trust, the Chorale will be adding a third staff member this fall to strengthen operations. Another fun fact: Both the Chorale’s executive and
artistic leaders are British, which happened purely by coincidence. Belmont said, “We didn’t know each other before working at the Chorale. My experience in arts administration was all gained here in the U.S.”
Recent Challenges
Belmont notes the biggest hurdle is a lack of widespread awareness about choral music. “While most people know symphonies, ballets and operas exist in their cities, few realize that professional, secular, chamber-sized choral ensembles offer some of the most sublime musical experiences out there. It’s a well-kept secret beyond choral circles — and we wish it wasn’t,” Belmont said.
Sustainability is also a challenge. To grow audiences, the Chorale has been experimenting with new approaches: performing in secular venues like the Phoenix Art Museum and Scottsdale Center for the Performing Arts, partnering with orchestras, presenting contemporary works alongside classics, and adding projected visuals and collaborations. While these efforts have been well received, more revenue is needed to make these offerings regular —
The
FRAGILE RESILIENT ALIVE
and the Chorale remains committed to keeping ticket prices accessible.
Future
The new season kicks off in September with recording sessions for the Chorale’s third album led by Gabbitas. Thanks to incredible community support, this project was fully funded in just one night at the group’s first formal fundraiser in years — a testament to the passion behind the music. Belmont also looks forward to hosting another gala this spring to bring everyone together and celebrate the joy of choral music.
This season will also debut more intimate concerts featuring small ensembles of 8 to 12 singers. “While nothing compares to the glorious sound of our flagship 24-voice choir, especially during our beloved Christmas concerts or alongside the sweeping strings of orchestra at the Scottsdale Center for the Performing Arts, these smaller performances will offer a fresh, personal way to connect with our music,” Belmont said.
To learn more, visit phoenixchorale.org
Desert is
Boots, Beats & Brisket
Austin’s flavor, funk and fire make the Lone Star capital unforgettable
BY ALISON BAILIN BATZ
There’s a reason Austin’s unofficial motto, “Keep Austin Weird,” has stuck around for more than two decades — and it is not just because locals parade through the streets in wild costumes during Eeyore’s Birthday Party or turn their homes into extravagant holiday light shows. It’s because Austin thrives on the unexpected.
It is a place where indie spirit collides with innovation, where cowboy boots and art galleries blend seamlessly, and where music floats through the air at all hours. But let’s be real — given the city’s vibrant culinary scene, quirky attractions, top-tier resorts and jaw-dropping outdoor beauty, the slogan could just as well be “Austin Keeps Wowing.”
Photos courtesy of Visit Seattle (unless otherwise specified)
Historic 6th Street Mural
From Urban Buzz to Hill Country Calm
First things first: where to stay? That all depends on the experience desired. If you want to immerse yourself in the heart of the action, Hilton Austin is the perfect launchpad. Set in downtown Austin with views of the State Capitol and Lady Bird Lake, this upscale hotel puts guests within walking distance of the iconic 6th Street (more on that later).
After a night of live music and dancing, unwind with a game at the on-site Topgolf Swing Suite or grab a bite at one of its award-winning restaurants. It’s sleek, modern and effortlessly cool — just like the city itself.
Prefer to enjoy Austin’s spirit while retreating to tranquility? Wayback Cafe & Cottages is a dream come true. Tucked just outside the city, its eight charming cottages overlook the rolling beauty of Hill Country. Think saltwater pool, cabanas, a fire pit for evening stargazing and a farm-to-table cafe that celebrates local flavors. It’s the kind of escape that invites you to slow down and soak it all in.
Bats, Boats and Vodka
Yes, bats. Every year from around March until midfall, 1.5 million Mexican free-tailed bats emerge at dusk from under the Congress Avenue Bridge, creating a twilight spectacle above Lady Bird Lake. Hop aboard a kayak with Live Love Paddle or take a cocktail cruise with Capital Cruises to witness this natural phenomenon from the water. Want to stay active? Good Vibes e-Bike Tours offers e-bike tours that stop at brunch spots, cocktail bars and scenic trails.
Another local legend with surprising origins: Deep Eddy Vodka. Born in homage to Deep Eddy Pool, Texas’s oldest man-made swimming hole, the brand hosts tastings at its distillery just outside Austin. Their popular “Sunday Funday” experience even includes shuttle service from downtown — perfect for sipping responsibly.
Bats taking flight at dusk
The pool at Hilton Austin
Bat viewing at Congress Bridge
Music, Mayhem and Esther’s Follies
No trip to Austin is complete without a stroll — or dance — down 6th Street, a major artery in the city known as the “Live Music Capital of the World.” Music pours from every doorway, from dive bars to rooftop lounges. While exploring, make time for a haunting and hilarious experience at The Driskill Hotel, rumored to be one of the most haunted places in Texas.
But the real hidden gem? Esther’s Follies — part political satire, part musical theater, part magic show, this comedy revue is unlike anything else in the country. Irreverent and razor-sharp, it pokes fun at all sides with equal flair.
Street Eats Rule Supreme
Austin may be home to world-class restaurants, but its street eats are second to none. With hundreds of food trucks scattered across the city, it’s a movable feast you’ll want to chase down again and again. Not sure where to start? Head to The Picnic, East Riverside Food Trucks or Rainey Street, where curated pods bring dozens of the best bites to one walkable location.
Whether craving Korean BBQ tacos, gourmet grilled cheese or a brisketstuffed baked potato the size of your head, Austin’s food trucks are always up for the challenge.
Nutty Brown Amphitheater
Esther’s Follies
Food Truck
Elevated Eats & DownHome Flavor
If looking for seated dining, Austin’s got that too — and then some. Start with ATX Cocina, a stylish Mexican eatery co-owned by former NFL quarterback Nick Foles. The menu is modern, bright and rooted in tradition. Not far away, Sour Duck Market serves up Asianinspired dishes by James Beard-nominated chef Bryce Gilmore. Think rich broths, smoky meats and fermented sauces that pack a punch.
For a splurge-worthy night out, book a table at Wink Restaurant & Wine Bar, where five- and seven-course tasting menus come with optional wine pairings — and an entirely separate menu for vegetarians. The chef’s creativity shines in every bite.
Seeking a little smoke? Do not miss Loro, the Asian smokehouse from chefs Aaron Franklin — the first-ever barbecue chef to win a James Beard Award — and Tyson Cole, known to Valley residents as the founder of Uchi Restaurant. It is where Texas BBQ meets Southeast Asia in fiery harmony.
Cocktail lovers, rejoice: Whistler’s, a rustic-meets-modern cocktail bar, offers innovative concoctions alongside live music. Head upstairs to Mezcalería Tobalá, its speakeasy-style mezcal bar, for a smoky, sultry tasting experience.
Sour Duck Market
ATX Cocina
Austin skyline
Beyond the Bites
Of course, there is more to Austin than food, music and weirdness. Spend a day paddling on Lady Bird Lake, hiking the Barton Creek Greenbelt, or exploring Zilker Park. Rent a bike or scooter and cruise the city’s endless murals and art installations. Tour the State Capitol or dive into local history at the Bullock Texas State History Museum. Or just follow the rhythm of the city — it rarely leads you wrong.
Austin has a vibe all its own. Inspired. A little bit offbeat. And very much alive.
To learn more, visit austintexas.org.
Paddleboarding on Lady Bird Lake
Courtesy Bullock Texas State History Museum
YOUR ARIZONA ARTS & CULTURE
She Who Wines Wins
Valley women are redefining how we taste and gather
BY SHOSHANA LEON
A NEW WAVE OF WOMEN ENTREPRENEURS is reshaping the wine scene in the Valley, trading stuffy tasting rooms for approachable bottle shops and community-focused wine bars. These are the spaces where friendships are forged, palates are expanded, and everyone is welcome.
GenuWine, Downtown Phoenix
Former teachers Emily Rieve and Lindsey Schoenemann left their careers in Gilbert to pursue a new path. On a trip to France in 2016, Rieve saw a self-serve wine tasting system. She pitched the idea to Schoenemann, and the pair opened GenuWine Arizona two years later.
The business carries a selection of Arizona wines, local beers and food, but for Rieve and Schoenemann, it’s about more than the pour. “We wanted to create a place where people come in and immediately feel welcome,” Rieve said. “We’re very lucky to not only have each other to lean on, but also many other women business owners surrounding us.”
The pair feels empowered to be a women-owned business. “We’ve worked very hard to accomplish what we have and the community that we have built,” Schoenemann said. genuwinearizona.com
Courtesy of GenuWine
Jamie’s Bottle Shop, Old Town Scottsdale
Jamie Hormel, owner of Wrigley Mansion, and her longtime friend and business partner Jack Borenstein opened Jamie’s Bottle Shop in March 2025, inspired by wine shops they visited in cities like Los Angeles, New York and Paris.
“I wanted a place that’s approachable, whether you’re a seasoned drinker or a curious newbie, making wine less intimidating and more fun,” Hormel said. “It’s a hybrid concept — part bottle shop, part casual wine bar, part French-style bistro.”
Jamie’s Bottle Shop has an eclectic selection of over 700 labels, ranging from everyday bottles to ultra-rare gems, as well as wines by the glass from lesser-known varietals and regions. The shop offers tastings, classes, private events and a wine club with several tiers. The menu includes charcuterie, salads, sandwiches and European-inspired small plates. jamiesbottleshop.com
Kid Sister, Phoenix
Pinard Wine Bar and Restaurant, North Scottsdale
Letty Ebel’s Pinard Wine Bar and Restaurant brings a touch of European elegance to the desert. Opened in November 2024, the space offers a carefully curated selection of over 250 bottles and 40 wines by the glass, along with a full scratch kitchen.
Ebel’s goal was to create a welcoming, knowledgeable environment. “Guests can expect a friendly staff and comfortable European vibe with a full restaurant and bar,” she said. From flash-fried artichokes to beef bourguignon, the menu pairs perfectly with the extensive wine list.
Ebel has felt nothing but support from her peers. “The wine community in Arizona has been amazing. I have found everyone very open, welcoming and excited to embrace our concept,” she said. “We’ve met so many great people, and it helps make all the work we put into Pinard totally worth it.” pinardwinebar.com
With backgrounds in the hospitality industry and a shared love of wine, sisters Casey and Courtney Lewandrowski, along with their friend and partner Dejanee Lambert, opened Kid Sister in May 2024.
“We take inspiration from neo-bistros and modern European wine bars, while staying grounded in our desert surroundings,” Casey said.
Kid Sister’s curated bottle list features 70 to 90 selections, with a rotating by-the-glass menu that highlights smaller producers. Their food menu, which also rotates regularly, is designed to complement the wine. “Our chef draws inspiration from a wide range of cuisines, but always centers the dishes around high-quality, responsibly sourced ingredients,” Casey said.
They’re part of a growing wave of women in Phoenix and beyond who are making space for new voices in wine. “Representation matters, and we hope Kid Sister feels like a space where both our team and our guests see themselves reflected and welcomed.” kidsisterphx.com
Courtesy of Kid Sister
Courtesy of Jamie’s Bottle Shop
Courtesy of Pinard Wine Bar
Turquoise Wine Bar, Glendale and Downtown Phoenix
Jen Sinconis and Laura Hernandez opened Turquoise Wine Bar in Glendale in August 2022. A location on Roosevelt Row in downtown Phoenix opened in July 2025.
“At Turquoise Wine Bar, we’ve reimagined the traditional wine bar as a destination for community, connection and celebration,” Sinconis said. Born from a desire to create a post-COVID gathering space that’s both welcoming and inspiring, Turquoise was founded to bring people together through community, conversation and curated experiences.
Turquoise specializes in small-lot, high-quality wines. “Our wine program celebrates both international gems and small, soulful producers, with a strong focus on women winemakers and sustainable practices. Combined with immersive education, tastings and local events, our guests become lifelong fans,” Sinconis said. turquoisewinebar.com
Courtesy of Turquoise Wine Bar
2025-2026 SEASON
THE SLEEPING BEAUTY
October 23 – 26, 2025
THE NUTCRACKER
December 12 – 27, 2025
ALICE (IN WONDERLAND)
February 12 – 15, 2026
CACTI & OTHER WORKS
APOLLO | CONCERTANTE | CACTI
March 19 – 22, 2026
AN EVENING AT DESERT BOTANICAL GARDEN
CONCERTO SIX TWENTY-TWO | RESET
May 13 – May 30, 2026
Tickets at balletaz.org
Ballet Arizona dancer Luis Corrales. Photo by Ed Flores, photo composite by Angie Slade.
home kitchen, she leased a space and opened The Joy Bus Diner in Phoenix in 2016. The diner’s proceeds helped fund the nonprofit’s mission. But even that space became too small. In March 2025, the diner moved to a larger location to accommodate a massive expansion of its core program.
“The diner gives us a platform for people to learn about The Joy Bus and create a community,” Caraway said. “Unfortunately, everyone has a connection to cancer, which draws people to our mission.”
From the beginning, The Joy Bus has had incredible support from local farmers and the culinary community, as well as foundations like Thunderbirds Charities, Virginia G. Piper Charitable Trust, the Kemper and Ethel Marley Foundation and many others. The Joy Bus’s new partnership with Dignity Health and Mercy Care will allow the program to expand from delivering 250 meals per week to over 2,500 meals per week.
The Joy Bus has long been a member of the Food is Medicine Coalition, a national group of nonprofits providing meals tailored to the needs of people with severe illnesses. This model is now being embraced by major healthcare providers. “Now Dignity Health and Mercy Care are joining healthcare providers across the nation in saying they see value in keeping patients out of the hospital,” Caraway said. She explains that proper care includes healthful food and wellness checks from volunteers, which can ease feelings of isolation and depression.
Through her work with the Food is Medicine Coalition, Caraway is working with healthcare providers, farmers and other food-focused nonprofits to push for legislation to be able to bill Medicaid and healthcare providers for Joy Bus and other nonprofits’ services.
“This would help so many nonprofits provide medically tailored meals and groceries to those who need them, allowing all of us to be more sustainable,” Caraway said. “When I started The Joy Bus, I just wanted to make good food and give it to people who needed it. By working with the Food is Medicine Coalition to create medically tailored meals for cancer patients, meals don’t just taste good, the components are verified by a registered dietitian to make sure they are helping someone.”
To learn more, visit joybus.org
The Joy Bus is making the Valley a tastier, happier place, one meal at a time.
Joy Bus volunteers deliver meals — and a generous helping of warmth.
MITCH MENCHACA
Director of the Phoenix Office of Arts and Culture
HIS TAKE
RECOMMENDS
“Prisoners’ Inventions” by Angelo and Temporary Services
“Last May, I attended the American Alliance of Museums’ Annual Meeting and MuseumExpo in Los Angeles. I visited the Los Angeles Public Library’s Central Library to see its exhibition called ‘No Prior Art,’ which showcased a wide variety of stories at the intersection of art and invention. The exhibit also featured recreations from the book ‘Prisoners’ Inventions’ — inventions by inmates from several men’s prisons throughout California, viewed through the eyes of an incarcerated man named Angelo. He documented the inventions he saw, used or heard about from other inmates, which helped them with daily necessities and hobbies — such as a chess set made of soap, a ballpoint pen organizer crafted from a toothpaste box, a picture frame made of gum wrappers, and extra shelving and storage built from cardboard.
The few recreations on display piqued my interest in the other inventions in the book, which I found in the library’s gift shop. It offers renderings and backstory for nearly 100 inventions created by these men. It also shares more of Angelo’s story, including that he was an avid reader who got a library card upon his release.”
Learn more about the Phoenix Office of Arts and Culture at phoenix.gov/arts.
WHERE LIFE AND DESIGN CONVERGED
The Drafting Studio at Taliesin West was once the nerve center of Frank Lloyd Wright’s desert experiment, and it remains the center of the famous “historic core” today. Built in 1938 as one of the site’s earliest structures, the studio was more than a workspace: It was where Wright and his Fellowship sketched, argued, dreamed, dined and even slept under a canvas roof. A piano once filled the room with music, a reminder that for Wright, art and life were inseparable.
Today, the Drafting Studio stands as a living gallery, filled with drawings and photos of works developed by Wright and his apprentices. This includes drawings of Gammage, The Guggenheim, Marin County Civic Center, Anderton Court (Rodeo Drive), and the Walter House in Iowa. To learn more, visit franklloydwright.org
