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ARTS + ENTERTAINMENT THURSDAY, NOVEMBER 17, 2016

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Delivered ‘Together and Apart: The Love Letters of Georgia O’Keeffe and Alfred Stieglitz’ immerses viewers in the long-distance love of two of America’s most iconic artists.

Balanchine, Ashton and Tudor Sarasota Ballet keeps the laughs coming with Antony Tudor’s “Gala Performance.” PAGE 4

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here are lo ng-distan ce relation gia O’Kee ships, and ffe and Alf then there r e d S tieglitz. ’s GeorO’Keeffe w as a painte modernis r, most fam t rendition ously kno s of skulls wn for her scapes. St , fl o w ers and Ne ieglitz wa w s a photogr Mexican la York City apher, pub ndgallery ow li s h e r ner. They and influe were marr ntial New ied for 22 years.

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‘The Secret World of Og’ Sarasota Opera shows youth opera at its finest.

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THURSDAY, NOVEMBER 17, 2016

Long-Distance

Love Story ENGROSSING RELATIONSHIP

FROM PAGE 1

Photos by Nick Friedman

Grace Howl’s installation of more than 2,500 love letters invites viewers to peer into the relationship of artists Georgia O’Keeffe and Alfred Stieglitz.

But the majority of their married life — 17 years — was spent apart. She at her ranch in New Mexico and he in New York City.

Despite the distance, the couple managed to remain close, exchanging thousands of love letters. From opposite sides of the country, they wrote one another up to three or four times a day, with some correspondences reaching as long as 40 pages.

From their introduction as professional acquaintances in 1915 through their romance, marriage and ultimately Stieglitz’s death in 1946, the two exchanged more than 25,000 letters.

This fascinating love story is the subject of artist Grace Howl’s upcoming exhibition, “Together and Apart: The Love Letters of Georgia O’Keeffe and Alfred Stieglitz.” Opening Thursday, Nov. 17, at Alfstad& Contemporary, the installation will immerse visitors in the unique relationship and mutual admiration of two icons of the American art world.

Howl first developed the idea for the installation in 2013, when she discovered a published collection of the letters. She was fascinated by the rare insight into the personal lives and relationship of the artists. Immediately, she knew she wanted to create an installation.

“Whatever it was going to be, I wanted it to be an immersive experience,” she says. “I became absolutely engrossed with their stories. It takes me forever to install this, because I get caught up in reading them. I want people to experience that — to be overwhelmed and surrounded by their love.”

The installation features more than 2,500 letters, one from each week they wrote one another, printed on aged paper for a vintage effect. Inside the gallery, the letters cover all four walls from floor to ceiling, and in the center of the room, a chandelier of love notes dangles from the ceiling, inviting visitors to read them and delve into the artists’ lives.

It’s an intimate exhibition, made all the more personal by the fact that the notes are handwritten. Their writing is reflective of both their artistic styles and personalities. O’Keeffe’s script is dreamier — flowing and airy — while Stieglitz’s dark, crisp penmanship reads firm and decisive.

Contained in the letters are poetic confessions of heartsick yearning and the minutiae of their everyday lives. No detail was too small.

In one letter, Stieglitz details his food order. He even includes a copy of the menu. In another, he sends a drawing of a diagram showing O’Keeffe where her work was placed in his gallery.

“Just thought you’d like to see where you were hung,” he writes.

O’Keeffe sent boarding passes and descriptions of New Mexico’s picturesque landscapes, which became the defining fingerprint of her artistic style. The letters show not only their love for one another, but they also reveal each as the other’s biggest fan, critic and source of inspiration.

“My takeaway is that O’Keeffe

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Far Left: Howl embellished the installation with memorabilia, such as these antique cameras, similar to ones Alfred Stieglitz might have used.

Left: In addition to adding antique furniture to the gallery space, Howl also collected bones to adorn the room in tribute to O’Keeffe.

A LOST ART

To fully immerse viewers into the experience, Howl’s installation also includes antique furniture in re-creations of the artists’ respective bedrooms, where they spent so much time reading and writing to each other. Stieg-

IF YOU GO: ‘TOGETHER AND APART: THE LOVE LETTERS OF GEORGIA O’KEEFFE AND ALFRED STIEGLITZ’ When: 5:30 p.m. Thursday, Nov. 17 Where: Alfstad& Contemporary, 1319 Fifth St. Tickets: Free Info: Call 366-6400. Runs through Jan. 13.

litz’s is in the northeast corner; O’Keeffe’s is in the southwest.

Howl also will add embellish-

ments — cattle bones she gathered from a ranch in Bradenton, photos, cameras like the ones Stieglitz might have used and other bits of memorabilia.

For her, the installation is an ode, not only to love, but also to the lost art of handwritten letters.

“If this happened today, it would have to be a collection of texts and emails,” she says with a laugh. “There’s just something so intimate and special about a handwritten letter. It’s kind of like voyeurism, but in the most romantic way. I hope people are enthralled the way I am reading these, and they feel a connection to these two spirits.”

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and Stieglitz each saw things differently, through their own lenses,” says Howl. “But I was really drawn to their admiration for each other. I didn’t find a letter without some sort of term of endearment. Her nickname for him was Duck. They even coined their own terms — ‘A kisslet for you, my love.’ She would leave him notes in his pajama pockets.

How romantic is that?”

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THURSDAY, NOVEMBER 17, 2016

Laughing Matters Sarasota Ballet keeps the laughs coming with Antony Tudor’s satirical ‘Gala Performance.’

NICK FRIEDMAN A+E MANAGING EDITOR

People have long lauded the value of laughter. It’s been called the best medicine. Poet Robert Frost even proposed that without it, we would all go insane. This holds true in the ballet world, too.

This Friday, Nov. 18, the Sarasota Ballet presents “Balanchine, Ashton and Tudor,” a program consisting of George Balanchine’s “Apollo,” with choreography telling the story of the Greek god of music and his visit with the three muses; Sir Frederick Ashton’s “Sinfonietta,” a challenging, abstract ballet; and finally, Antony Tudor’s “Gala Performance,” a laugh-out-loud satirical ballet that pits three diva ballerinas from different countries — and styles — against one another in a skirmish for the spotlight.

Kate Honea portrays the French ballerina, a ditzy, bubbly dancer who loves nothing more than embellishment; Kristianne Kleine plays the Russian ballerina,

a ham who takes pride in her strength and virtuosity; and Amy Wood plays the Italian ballerina, a haughty, elegant performer who’s well aware of her beauty — and is just a little bored with it all.

Tudor premiered the piece in 1938 in London as a statement about conflicting approaches to ballet, and it grew to be an iconic comedic ballet, tackling stereotypes and questioning rigidity and convention in the art form.

Its presentation by the Sarasota Ballet, in its 26th season and under the leadership of Director Iain Webb in his 10th year, marks a continuation of Webb’s integration of comic ballet into the company’s repertoire, which audiences have come to expect.

We recently sat down with the three dancers behind this trio of warring egos to see what it’s like to flex their acting skills, the demands of the performance and what role comedy plays in the world of ballet.

KLEINE: “My character, the Russian ballerina, is very noone-gets-in-my-way. She’s a ham to the audience, but she’s kind of evil to everyone else around her. She thinks she’s hot stuff.”

HONEA: “My character, the

Photo by Frank Atura

Amy Wood as the Italian Ballerina in Tudor’s “Gala Performance”

IF YOU GO: ‘BALANCHINE, ASHTON AND TUDOR’ When: 7:30 p.m.

Friday, Nov. 18, Where: The Sarasota Opera House, 61 N. Pineapple Ave. Ticket: $30 to $110 Info: Call 359-0099.

French ballerina, arrives next.

She’s kind of ditzy — she’s like Champagne bubbles. She’s very bubbly and full of energy.”

WOOD: “The character I play is Italian. She’s very refined and elegant and a little too aware of it. She’s very still and pokerfaced and a little bored. She’s done a million of these.”

HONEA: “One of the best parts about this is the bows for each ballerina. Tudor really decided to embellish them, and they’re all hysterical in their own way.

For me, they’re more exhausting than the rest of the dance. I have to continue being so bubbly. I run on and bow three different times. I’m exhausted by the end.”

WOOD: “It keeps it interesting to do this ballet again. We might decide to do something a

little different this time around to keep it fun — small things — maybe this time, there’s an extra look thrown in there, or a raised eyebrow or extra blown kiss.”

KLEINE: “Aside from the comedy, a lot of the steps are very physically challenging and hard technically. When you add the Tudor style, which has a lot of bends, turns and jumps, it becomes really demanding. But those things are part of the characters and what makes it funny.”

WOOD: “Making the joke read to the audience can be a challenge.

That’s not something we get in our technical training. We can do a pirouette perfectly, but it’s a whole different skill to be able to make a joke read. Sometimes, it’s just having a person at the front of the room to say, ‘That didn’t quite work; try this,’ or ‘Keep

your eyes up.’ It’s up to us to use that feedback to come up with what our individual characters will be.”

HONEA: “The comedy of this ballet is what makes it so different. Portraying the diva characters is the best part. None of us are actually like that, so to get to play that diva and be a little bit ridiculous and milk your bows — it’s actually really fun.”

KLEINE: “This is the most theatrical ballet in the program and the only one with a large set with a backdrop and scenery. It’s also the first time we’re performing it with live music, which will add another layer. People can expect pure entertainment. There will be unexpected things that catch them off guard — they’ll be laughing out loud, for sure.”

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ARTS + ENTERTAINMENT

YourObserver.com

Orchestrating enlightenment A fear-free-guide to classical music appreciation.

MARTY FUGATE

L

“REALLY LISTEN to the music, and don’t have any preconceived notions, if that’s possible. Don’t think you have to know anything about classical music. You don’t. You’re there to enjoy it, period. If the music moves you, it serves its purpose. That’s the whole point.”

et’s be blunt. Classical music aficionados can resemble Dr. Seuss’s “Sam I Am” character, relentlessly promoting their favorite joy to the unconverted — in this case the music of Brahms, Beethoven, Berlioz and company, not green eggs and ham. Other music mavens resemble the members of a mysterious sect reluctant to open its doors to new converts who don’t know the catechism. (“Music snobs” would be the technical term.) That combination of proselytizing and prickliness has turned a few folks off to classical music. Unfairly.

We recently spoke to the leaders of several music organizations and everybody’s favorite area classical music DJ. They’d all love to turn you on.

Here are a few tips they shared to help you get the most out of a classical music performance.

JOHN FISCHER MANAGING DIRECTOR OF ARTIST SERIES CONCERTS

“CONSIDER ATTENDING a live performance as a gift to yourself and a time to clear your head from all the clutter of daily life. Leave your cell phone in the car, and don’t think about all the things you have to do tomorrow. Clear your mind and open it to the moment.”

MUSIC CRITIC AND ON-AIR HOST OF “JUNE LEBELL’S MUSICAL CONVERSATIONS” AT WUSF PUBLIC MEDIA.

LISTEN. AMEN.

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THURSDAY, NOVEMBER 17, 2016

CLEAR YOUR MIND. BE OPEN TO THE UNKNOWN.

JUNE LEBELL

CONTRIBUTOR

|

JOY MCINTYRE MUSIC TEACHER, VOCAL COACH AND SARASOTA CONCERT ASSOCIATION PRESIDENT

LISTEN WITH YOUR WHOLE BEING.

“TRULY LISTEN. That’s not always easy. The eye is more easily engaged than the ear. Sir Thomas Beecham was once conducting a performance of “The Twilight of the Gods” when a director accidently turned the lights out. Beecham said, ‘In order to determine which opera is being played this evening, it has become necessary to listen to the music.’ It’s good advice; truly listen to the music, even when the lights are on.”

RUSSELL GANT CLASSICAL MUSIC DIRECTOR, WUSF PUBLIC MEDIA

DO YOUR HOMEWORK.

“IF YOU’RE unfamiliar with a piece on the concert program, Google the composition and get

ANU TALI CONDUCTOR AND MUSIC DIRECTOR, SARASOTA ORCHESTRA

THERE IS NO RIGHT OR WRONG.

“YOUR FIRST experience of listening to classical music should happen at a live performance.”

“BE OPEN to the unknown.

Look for performances that have a twist, a new fresh look or a new take — for example, arias performed instrumentally, without words. Smart programmers combine familiar pieces with new experiences. ”

“RELAX. Go alone or with friends. The most important thing is that you enjoy the concert experience. I suggest arriving a little early and reading the program book to get an idea of what’s behind the music and to pick the composer’s brain as to why he or she composed a certain piece and in what historic background.”

“JUST SIT back and let the music speak to you. Approach the music with no pressure to feel it in a certain way or with any expectations.”

a little background information. I find that it’s always good to give myself a little refresher course before heading out.”

subtle (sometimes not so subtle) differences between the conductors’ approaches.”

“IF THE concert has a soloist I’m not that familiar with, I like to read in advance about his or her background and what their specialty might be.”

“I ALSO sometimes like to listen to a favorite recording of a piece that’s on the program.

At the concert, I’ll listen for the

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THURSDAY, NOVEMBER 17, 2016

‘BERNSTEIN, TCHAIKOVSKY AND BRAHMS’ 7:30 p.m. at The Venice Performing Arts Center, 1 Indian Ave., Venice $15 to $19 Call 207-8822.

The Venice Symphony presents this concert, which features world-renowned violinist Joseph Swensen.

THURSDAY

BALANCHINE, ASHTON AND TUDOR 7:30 p.m. at the Sarasota Opera House, 61 N. Pineapple Ave. $30 to $110 Call 359-0099.

FRIDAY

CHAMBER 5: ‘POIGNANT PIANO’ 5:30 p.m. at Holley Hall, 709 N. Tamiami Trail $35 Call 953-3434.

The Sarasota Ballet presents a program consisting of three ballets: “Apollo,” by George Balanchine, “Sinfonietta,” by Sir Frederick Ashton and “Gala Performance,” by Antony Tudor.

Sarasota Orchestra presents this chamber concert, which includes a violin and piano sonata, a viola and cello duet and a piano quartet.

JOHN MCEUEN 8 p.m. at Fogartyville Community Media and Arts Center, 525 Kumquat Court $23 Call 545-5635.

ANDREW NORELLI 7 p.m. at McCurdy’s Comedy Theatre, 1923 Ringling Blvd. $15 to $19 Call 925-3869.

Norelli has appeared on latenight shows including those of David Letterman, Craig Ferguson and Jimmy Kimmel and is known for his charisma and sharp material. Runs through Sunday.

GRACE HOWL: ‘TOGETHER AND APART’ What better way to understand the works of two of America’s most iconic artists than to read their love letters? Grace Howl’s installation immerses viewers in an expanse of love letters written by Georgia O’Keeffe and Alfred Stieglitz.

Although they were married, the couple spent most of their relationship on opposite sides of the country, corresponding through handwritten letters.

Be surrounded by their letters,

as well as re-creations of their bedrooms, where the letters were written. Show runs through Jan. 13.

– NICK FRIEDMAN

ONLINE Find more information on these events and more at

RJ Howson kicks off the evening with happy-hour specials, followed by The Strangeways, who play original ska, reggae and dancehall music.

CUBAN SALSA YOGA 7 p.m. at Pineapple Yoga Studio, 517 S. Pineapple Ave. $25 in advance; $30 at the door Call 210-3739.

Every third Friday, Pineapple Yoga Studio offers a change of pace from your traditional yoga class.

The 75-minute session features live Cuban music by Renesito Avich. Afterward, enjoy grilled Latin bites and wine.

MANNHEIM STEAMROLLER 8 p.m. at the Van Wezel Performing Arts Hall, 777 N. Tamiami Trail Call 953-3368.

This Christmas performance

by Grammy Award-winner Chip Davis and company has been a holiday tradition for more than 30 years. Now see the spectacle live in Sarasota.

THE COOLINARY GRAND OPENING 9 p.m. at The Coolinary, 1359 Main St. Free Call 312-4773.

Celebrate the grand opening of one of downtown’s newest restaurants. Party features food, drink and DJ 2 Short and DJ Fluid.

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John McEuen, founding member of the Nitty Gritty Dirt Band, brings guitar, banjo, fiddle and mandolin music to Sarasota, including band favorites and the stories behind them.

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This provocative dance performance tackles social issues as experienced by the performing students. The show also examines the boundaries of ballet through contemporary expressions of the classical form.

Melissa Lodhi, Courtney SmithInzalaco and Erika Hand choreograph with guest choreographer Mia Redding.

NICK’S PICK

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FALL DANCE PERFORMANCE 7 p.m. At Booker High VPA, 3201 N. Orange Ave. $16.25 Call 355-2967.

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DON’T MISS ‘LET’S LINDY ON THE LAWN’ JAZZ FESTIVAL Put on your dancing shoes for this throwback jazz party, featuring music by Michael Arenella and his Dreamland Orchestra. Arenella is the founder of the Jazz Age Lawn Party on Governor’s Island in New York. Guests are encouraged to dress in 1920s styles while they dance to the music, sip champagne and sample food from onsite vendors. Prizes will be awarded for best costume and best dancers.

IF YOU GO When: 11 a.m., Saturday Where: Historic Spanish Point, 337 N. Tamiami Trail, Osprey Tickets: $40 to $250 Info: Call 966-5214.

SATURDAY SARASOTA FALL FINE ARTS FESTIVAL 10 a.m. at Gulfstream Avenue, downtown Sarasota Free Visit Paragonartevents.com.

This fourth annual festival features art created by more than 100 artisans from across the country in mediums including painting, photography, sculpture, metalwork, digital art, jewelry, glass, ceramics, woodworking and more. Continues Sunday at 11 a.m.

ROSEMARY INDIE MARKET 10 a.m. at Canned Ham Vintage, 1435 Seventh St. Free Call 313-1280.

Canned Ham Vintage presents the first in its monthly indie market series, featuring booths by local artists, farmers, entertainers, crafters, vintage enthusiasts and more. Shop, enjoy live music and grab a bite from a local food truck.

‘THE VELVETEEN RABBIT’ 11 a.m. at the Bowne’s Lab Theatre, Florida Studio Theatre, 1241 N. Palm Ave. $20 for a four-show subscription Call 366-9000.

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SUNDAY THE WILD WORLD ART EXHIBITION 5 p.m. at WSLR 96.5 Community Radio, 525 Kumquat Court $10; $5 with canned good Call 894-6469.

Art, Rhymes and Beer presents this event, which benefits All Faiths Food Bank and features works by artists including Matt McAllister, Sean Snapp, Richie Brasil, Ha Pham, Luther Rosebaro, Danielle Blakely and Karen Arango. DJ Cellus hosts, and DJ Galati, Cliz and The ClockMen, Summer Survivors, Ryanito and Ocean Symphony perform.

KARAOKE NIGHT 8 p.m. at JDub’s Brewing Co., 1215 Mango Ave. Free Call 955-2739.

TUESDAY GREEN BENCH GOBBLE GOBBLE 6 p.m. at Mr. Beery’s, 2645 Mall Drive Free; bring an appetizer or side dish Call 343-2854.

THE PLAYERS FOLLIES PLAY READING FESTIVAL 8 p.m. at The Players Centre for Performing Arts, 838 N. Tamiami Trail $12 Call 365-2494.

Celebrate Thanksgiving with a potluck. Green Bench Brewing Co. supplies the beer; Beery’s brings the turkey; attendees are asked to bring an appetizer or side dish. RSVP requested.

WEDNESDAY

The Players Follies performs new short plays in a readerstheater format. Continues Sunday at 2 p.m.

FRIENDSGIVING TURKEY FRY 6 p.m. at Big Top Brewing Co., 6111 B Porter Way Free Call 371-2939.

ANNE PATTERSON: ‘AIRIDESCENCE’ 11 a.m. to 5 p.m. at Alfstad& Contemporary, 1419 Fifth St. Free Call 366-6400.

Big Top Brewing Co. hosts this turkey fry, featuring music, food and a special beer release.

HAVE GUN, WILL TRAVEL AND HYMN FOR HER 8 p.m. at Aces Live Music Bradenton, 4343 Palma Sola Blvd., Bradenton $10 in advance; $13 at the door Call 795-3886.

This exhibition by Anne Patterson features a combination of abstract watercolor paintings, hanging ribbon sculptures and wire installations that transform the gallery into a multi-sensory glimpse into Patterson’s experiences with synesthesia, through which she sees color and shapes when she hears sound.

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THURSDAY, NOVEMBER 17, 2016

Show off your pipes at this karaoke night, which takes place the first and third Sunday of each month. Belt out your favorite tunes while sipping on your favorite local craft beers.

Kicking off Florida Studio Theatre’s inaugural Children’s Theater series is this timeless tale of a toy rabbit that longs to become real. Designed to spark audiences’ imaginations, the shows sees the actors and their simple props transform a variety of fantastical items.

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ARTS + ENTERTAINMENT

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YourObserver.com

THURSDAY, NOVEMBER 17, 2016

Anne Patterson shows smaller works at Alfstad& Contemporary

A

rtist Anne Patterson opened her exhibition, “Airidescence” Nov. 10, at Alfstad& Contemporary. Patterson is known for her large-scale installations throughout the country, which explore multisensory themes, especially music and color.

The artist experiences synesthesia, a condition that causes her to see color and shapes when she hears music.

“Airidescence” consists of ribbons, wire installations and watercolor paintings, all inspired by music.

Tera Gurin and Jessica Benoit

Photos by Nick Friedman

— NICK FRIEDMAN

Susan McLeod and Anne Patterson

Right: “Airidescence” features wire installations and watercolor paintings Far Right: Gail and Stuart Barzman

Guests admire the ribbon installation alongside Patterson.

Based on a Story and Characters of

DAMON RUNYON

Music and Lyrics by

FRANK LOESSER

Book by

JO SWERLING & ABE BURROWS

Choreographed and Directed by

JOSH RHODES

NOW PLAYING - JANUARY 1

Veronica J. Kuehn, Chris Hoch, Cole Burden, and Audrey Cardwell in Asolo Rep’s production of Guys and Dolls. Photo by John Revisky.

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THEATER CRITIC

Frankenstein’s monster is a universal figure of terror — and Universal Studios jealously guarded intellectual property.

Before zombies walked the earth, Dr. Victor Frankenstein brought the dead to life with the aid of a few volts.

Who knew nightmares could be so simple?

Mary Shelley saw the monster in a lightning flash in her window and wrote her famous book. Boris Karloff’s depiction of the creature had a similar effect on the minds, hearts — and sometimes bladders — of millions of terrified kids. The archetype is burned in memory, which made Mel Brooks’ 1974 comedy such a hoot. He kept the scary look, even used some of the original props and shot in black and white. But he turned the archetype inside out and made the mad scientist an immigrant to America, ashamed of his family name.

And the monster was a sophisticated man about town — and ultimately a ladies’ man.

It’s a great movie, with a script co-written by Gene Wilder. (The monstrous rendition of “Puttin' on the Ritz” was his idea.) Despite some collaboration with Thomas Meehan on the script, Mel Brooks’ Broadway musical adaptation was strictly his baby — and it wasn’t a monster hit. The movie was in black and white. The musical shines with

the colors of the real world, and already, some of the magic is lost. The songs don’t so much add to the story as stretch it out. And they don’t stay with you once you’ve heard them.

Lightning doesn’t always strike twice.

That’s not to say I didn’t laugh my head off. Which makes it hard to judge this musical critically. Like “Blazing Saddles” and “Monty Python and the Holy Grail,” this is one of those films I’ve pretty much memorized. I laugh at the jokes before the actors say them. Including some of the jokes Brooks cut.

“Did you make a yummy sound?”

No. That’s not in there.

The plot. Everybody remembers the plot, right? Young Dr. Frederick Frankenstein repudiates the legacy of his grandfather, Dr. Victor Frankenstein.

Inherits castle in Transylvania.

Joins family business, makes monster. Comedy ensues.

As to the actors, Mark Athridge animates but doesn’t imitate as the young Dr. Frederick Frankenstein. Not a rehash of Wilder, but an original take. Ross Boehringer’s Igor is more of an homage to Marty Feldman’s characterization— but a tad more campy. Jessica Tasetano’s Inga exudes the perfect combination of innocence, prurience and peasant pulchritude. Jolie Cannon is very funny as the dour Frau Blücher, still carrying a torch (or an unlit candelabra) for the

REVIEWS

The Players brings ‘Young Frankenstein’ to life MARTY FUGATE

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THURSDAY, NOVEMBER 17, 2016

Photo by Cliff Roles

Jolie Cannon, Mark Athridge, Jessie Tasetano and Ross Boehringer

original Dr. Frankenstein after all these years. Tom Palazzo’s Monster is more of a towering fall guy. He gets burned (literally, by Tony Boothby’s blind hermit) and scorned — but finally finds his voice, thanks to a pseudo-scientific brain swap with the good Doctor.

Melissa Ingrisano’s portrayal of Elizabeth (the young Doctor’s fiancée) has a nice screwball comedy note. As in the movie, it’s never entirely clear if she’s sexually repressed, or simply withholding her affections from the young Doctor.

Jared E. Walker’s direction is as snappy as the material will allow. Musical director Rick

Bogner keeps up the song and dance with choreography by Eric Berkel and Kay Siebold. A few numbers feel like filler and overlong: “Roll in the Hay,” for example. But the “Puttin’ on the Ritz” number is a flashy highlight.

The good news: Mel Brooks never met a dirty joke he didn’t like. And he wrote the lyrics. It’s definitely his abnormal mind at work. Even the overlong songs will make you snicker for all the wrong reasons.

Don’t expect to recapture the movie magic. But if that magic never left you, the musical works, even when it shouldn’t.

IF YOU GO ‘YOUNG FRANKENSTEIN’ When: Runs through Nov. 20 Where: The Players Centre for the Performing Arts, 838 N. Tamiami Trail Tickets: $25 to $30 Info: Call 3652494, or visit theplayers.org.

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THURSDAY, NOVEMBER 17, 2016

Ariel Blue performs as Addaperle alongside Khadijah Rolle during an excerpt of “The Wiz” performed for Emerald City Ball guests.

Photos bu Niki Kottmann

Above: Khadijah Rolle performs as Dorothy with the members of the “Yellow Brick Road.”

Left: Dancers strike a pose during an excerpt of “The Wiz” performed for Emerald City Ball guests.

Emerald City Ball Saturday, Nov. 10, at Michael’s On East | Benefiting Westcoast Black Theatre Troupe

G

Co-chairwomen Michelle Davis and Marta Riordan Westcoast Black Theatre Troupe Executive Director Julie Leach and Chair of the Board Marian Moss

Heather Clark and Scott Atkins Honorees Howard Millman and Carolyn Michel

uests at the Emerald City Ball on Nov. 10 were transported to a land of cowardly lions, dancing yellow brick roads and a sea of green (which was really just the Municipal Auditorium), all in celebration of the 17th anniversary of Westcoast Black Theatre Troupe.

The night began with a cocktail hour before guests were seated for a gourmet meal catered by Michael’s On East. After dinner, longtime WBTT supporters Howard Millman and Carolyn Michel were awarded with the Heart and Soul Philanthropy Award, and WBTT company member Christopher Eisenberg announced that he has signed with Sony to sing in a pop/Motown group, and he waited until the Emerald City Ball to share the news.

Afterward, guests got the chance to bid on various auction items during the live auction, led by Michael Klauber, before the cast of “The Wiz” hit the stage to perform several songs for guests.

NIKI KOTTMANN | BLACK TIE REPORTER

BLACK TIE

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THURSDAY, NOVEMBER 17, 2016

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Living with AIDS, What a Drag Monday, Nov. 7, at Michael’s On East Benefiting Community AIDS Network

EMPIRE BALLROOM STUDIOS PRESENTS

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“Grandma Pearl” strikes a pose.

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Bob Nosal, Bruce Nobil, John Lomas and Bob Trisolini

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TUESDAY, NOVEMBER 29, 2016

6:00 PM Cocktails 6:45 PM Dinner

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NIKI KOTTMANN Toasting to charity

Courtesy Photo

Molly Prichard, Heather Schafer, Vanessa Pedrero, Lori Hagey, Trisha Stafford, Susan Lynch and Diana Bourne

these coming months. A month after their return, the stylists held their own company-wide conference on Nov. 7, featuring local and professional hair models. Hair stylists from as far as New York, L.A. and Europe gathered in Lakewood Ranch to show off the latest hair trends — texture, rich colors and the ‘undone’ look. The local celebrity model was Leisa Weintraub, the vice president of marketing and the creative director for Neal Communities.

Ahead of the trend Local salon Yellow Strawberry recently sent its employees to a two-day conference in Manhattan called the Intercoiffure America/Canada Fall Atelier 2016 at the Waldorf Astoria. On Oct. 9 and 10, representatives from well-known beauty hubs, such as Paul Mitchell and L’Oréal, taught the Sarasota stylists about the trends they can expect to hit runways

Fighting for change

Courtesy Photo

Professional models Julia Lombardo and Adriana Irizarry show off their new ’dos.

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Tidbits Flower Power ...They say everyone should stop and smell the roses, but nobody ever seems to mention how powerful an orchid can be. Sarasota Orchestra’s Side-By-Side Brunch featured a room full of orchid centerpieces at the new Michael’s on the Bay at Selby Gardens, and each was donated to local extended-care facilities after the event ... Polly Want a Lilly Dress? Guests at the Lilly Pulitzer Fashion Show and Luncheon were greeted by special guests Nov. 7, and they might have been even more photogenic than last year’s Fijian dancers.

Four parrots — Marcus, 35, Andy Jr. and Houdini, 20, and Sammy, 15 — made their way from Sarasota Jungle Gardens to pose for photos with guests outside the Sarasota Yacht Club. The wind was a bit too strong for the little guys, however, so shortly after the last guests arrived, they took refuge in their cages.

g n i l l i r h T s y a d s r Thu

ADVANCED CARE AT ONE LOCATION

COSMETICS

It’s not just about elegant pearls and beautiful Lilly Pulitzer dresses when it comes to The Junior League of Sarasota. JLS held a “Feed the Need” ribbon cutting Nov. 9 at Caritas Food Pantry to celebrate the two commercial-sized freezers the women donated to the organization as part of their Hunger Outreach Initiative. The pantry donates more than 35,000 pounds of food anually and serves 5,500 people in Sarasota, making it the perfect organization for JLS to partner with, given its commitment to fighting hunger.

Niki Kottmann

Sammy, a 15-year-old parrot, was one of four parrots brought to the event from Sarasota Jungle Gardens as a special entrance guest.

TIE

Cheers to Champagne, Cabernet and a great cause! Designing Daughters hosted its annual Drinks with the Daughters event Nov. 11, at Michael’s Wine Cellar, with 10% of proceeds going to local charities. Designing Daughters members were guest bartenders, serving the 150some guests a signature cocktail, delectable bites from the slider bar and a raffle ticket with their entrance fee. By the end of the night, the organization had raised more than $4,000 toward a grant for a local charity to be chosen in the coming weeks.

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THURSDAY, NOVEMBER 17, 2016

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THURSDAY, NOVEMBER 17, 2016

BLACK

TIE

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Tricia Mire, Sheila Wynne, Lisa Morris and Carolyn Van Helden

Photos by Niki Kottmann

Jeff Sebeika, Charlie Huisking, Teri Hansen and President of the Asolo Board of Directors Larry Haspel

Starry Night Dinner 1: ‘Guys and Dolls’ Monday, Nov. 7, at the home of Stanley Kane | Benefiting Asolo Repertory Theatre

Left: “Guys and Dolls” Director/Choreographer Josh Rhodes and Music Director Sinai Tabak Above: Margaret Wise, Pamela Hughes and Deborah Beacham

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THURSDAY, NOVEMBER 17, 2016

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THURSDAY, NOVEMBER 17, 2016

Flower Talk: ‘Forever Green: Gardens to Love and Delight In’ Wednesday, Nov. 9, at Michael’s On East | Benefiting The Founders Garden Club of Sarasota

Irene Shatz, Mary Lou Loughlin and Bob Ploussard Photos by Nki Kottmann

Sarasota Orchestra Side-by-Side Brunch

An Angel Wing Begonia in a bicycleshaped pot was for auction, starting at $75.

Sunday, Nov. 13, at Michael’s on the Bay Benefiting Sarasota Youth Orchestra

Bill Griffin and Sam June

Photos by Niki Kottmann

Marvin Albert and Co-Chairwoman Gerri Aaron

Right: Sally Yanowitz and Co-Chairwoman Anne Folsom Smith Far Right: Pam and David Steves, chair-elect of the board of directors for the Sarasota Orchestra

Co-Chairwoman Lee Ann Gladding with speaker Mario Nievera and CoChairwoman Nancy Morgan

What If You Could Look Years Younger And Still Look Completely Natural?

School of RUSSIAN BALLET

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School of Russian Ballet presents

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Sunday November 27th SARASOTA OPERA HOUSE

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Principal Dancers from Bolshoi Ballet and National Ballet of the Ukraine

Sunday December 11th VENICE PERFORMING ARTS

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THURSDAY, NOVEMBER 17, 2016

Friday, Nov. 12, at Hermitage Artist Retreat Benefiting Hermitage Artist Retreat

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Artful Lobster

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Kerstin and Nils Weibull

The Michael’s On East catering staff serves lobster to attendees.

Photos by Niki Kottmann

Above: Chairwoman Beth Cannata and Hermitage Artist Retreat Executive Director Bruce Rodgers Below: Gina Haines, David Dague and Wendy Williams

Jane Conner and Martha Huie

Karen Kaufman and Ellen Berman, board member.

Karen Solem, board member, with Sharon Prizant, Neil Colton and Joy Rogers, board member.

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November 27, 2016 • 4:00 PM FIRST UNITED METHODIST CHURCH 104 S. Pineapple Ave • Downtown SRQ

Commence the season with rich and celebratory music of the French Baroque including Marc-Antoine Charpentier’s Messe de Minuit pour Noël (Midnight Mass for Christmas) featuring the 100+ voices of Key Chorale, Chamber Chorus singers, professional soloists, and the Key Chorale Orchestra.

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YourObserver.com

THURSDAY, NOVEMBER 17, 2016

Argus Foundation 15th-Annual Lifetime Achievement Awards Thursday, Nov. 10, at the Hyatt Regency Sarasota Benefiting The Argus Foundation Humane Society of Sarasota County volunteer Brendan Egan with Maximus, a 3-year-old mountain cur.

Laugh Your Paws Off Gala

Photos by Niki Kottmann

Tom Luzier, Honoree Michael Saunders and Georgina Clamage

Photos by Niki Kottmann

Co-Chairwomen Molly Lauriston and Marie Bowman

Saturday, Nov. 12, at The Ritz-Carlton, Sarasota | Benefiting The Humane Society of Sarasota County

Kelvin and Margie Cooper

Annie Montgomery and Michael Howard Argus Foundation President Rodney G. Hershberger welcomes the crowd.

Comic Larry Miller performs for the crowd.

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The Observer

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THURSDAY, NOVEMBER 17, 2016

Langston HugHes'

Black Nativity

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Gail Landry and Anne Roberts

|

Nov 30–Dec 23, 2016

TIE

Showcase Luncheon

for tickets! 941-366-1505 OR

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Paid for in part by Sarasota County Tourist Development Tax Revenues.

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This project is sponsored in part by the Department of State, Division of Cultural Affairs, the Florida Council of Arts and Culture, and the State of Forida.

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Monday, Nov. 7, at Bird Key Yacht Club Benefiting Friends of the Sarasota Ballet

Produced by special arrangement with DRAMATIC PUBLISHING, Woodstock, Illinois

Gudrun and Jorgen Graugaard

‘Tis the Season for Santa and Savings!

Photos by Niki Kottmann

Above: Betty York and Richard March Left: Director Iain Webb, Chair of the Board of Directors Hillary Steele and Director of Education Christopher Hird

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THE OBSERVER’S GUIDE TO THE ARTS AND SOCIETY

MAINSTAGE TONY AWARD WINNER BOOK BY COLIN ESCOTT AND FLOYD MUTRUX

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This project is sponsored in part by the Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture and the State of Florida

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1241 N. Palm Avenue, Downtown Sarasota

YourObserver.com

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THURSDAY, NOVEMBER 17, 2016

Lilly Pulitzer Fashion Show and Luncheon

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Monday, Nov. 7, at Sarasota Yacht Club Benefiting Junior League of Sarasota

4 Course Dinner Prix Fixe $34 per person

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Live musical performances that Entertain, Engage,and Inspire!

OF OFSARASOTA SARASOTA

Photos by Niki Kottmann

Right: Co-Chairwomen Kelly Baldwin and Ella Lewis Below: Veronica Brady, Junior League of Sarasota President Britt Riner and Amy Sankes

December 3 & 4 at 7:30 P.M. Historic Asolo Theater at The Ringling “ E nt re M undos” B etween Worlds

ELKEY TRIO OF SARASOTA

Color gradient

A musical adventure featuring innovative interpretations of classics by Villa Lobos, Bach and others presented side-by-side with lively and unique arrangements of South American folk music. “an inspired and dazzling performance...virtuosity that mesmerized the audience from the opening melodies to the final chords.” – Matthew Katz, York Performing Arts Center, NY

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NOW OPEN! WELCOME TO NEWK’S!

We’re excited to announce that the tantalizing smells, sights, tastes and textures of our Newcomb Family Recipes has come to Sarasota!

Our entire menu is prepared from scratch and made to perfection with only the finest ingredients. Stop on by, we can’t wait to share it with you!

THROUGH NOVEMBER 27

• FINAL DAYS! • tep back in time through a Victorianinspired greenhouse stocked with botanical treasures and curiosities at Selby Gardens. The Museum of Botany and the Arts also hosts rare books revealed from the Gardens’ vaults.

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REVIEWS

ARTS + ENTERTAINMENT

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THURSDAY, NOVEMBER 17, 2016

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Sarasota Opera shows youth opera at its finest EDWARD ALLEY MUSIC CRITIC

A fall season highlight is the annual Sarasota Youth Opera production by the Sarasota Opera, perhaps the only opera company to present operas by and for youth on its main stage every year.

I’m always impressed by the quality of singing and acting and the ingenuity of everyone connected with these splendid productions. Not “children’s shows,” but fully mounted productions with lighting, costumes, staging, an orchestra and all the stagecraft expected from a regular main-stage production.

This year’s journey to “The Secret World of Og,” a U.S. premiere, is a prime example of youth opera at its finest. The opera, based on the book by Pierre Burton, has music and libretto by Dean Burry, whose charming opera “The Hobbit,” was produced by Sarasota Youth Opera last year.

The green people of Og live underground and have only one word, “Og,” in their vocabulary. Their world is one of make-believe and role playing, drawn from objects and books they have “borrowed” from children of the world above.

Penny, Pamela, Patsy, Peter and Paul — known as Pollywog (this opera positively percolates with perky, profound alliteration) are children who delight in playing pretend.

Photo by Rod MIllington

Dominique Cecchetti, Katherine Herbert, Sky Stahlman and Samantha Lane in “The Secret World of Og”

Penny, Peter and Paul follow two of the green people down into a tunnel under their playhouse and are eventually captured by Ogs and rescued

by Patsy, Pamela and Cheshire the dog in a series of escapades careening through that makebelieve world.

These people of Og, beautifully sung and acted by at least 65 of the 85 youth opera members in the cast, have a great time singing and dancing an extended number using only the word “Og” in every possible permutation, which is priceless, then from time to time comment on the events in true Greek chorus fashion.

Their only other words are from those characters in the books they have purloined from the world above and made their own.

The result is a perfect plethora of scenes with Ogs as Wyatt Earp, Captain Hook and Smee from “Peter Pan,” and rather famous spies, each scene flowing smoothly from one to the other with nary a pause or break in the mood.

This charming piece was brought to life by a talented group of young singers, including the five peripatetic protagonists: Katherine Herbert as Penny, Aubree Zern as Pamela, Dominique Cec-

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chetti as Patsy, Samantha Lane as Peter and Ursula Kushner as Paul (Pollywog). Hunter Thorkelson is Earless the cat, and Astrid McIntyre is Yukie the dog. Important smaller roles were Griffin Stahlmann as the butcher, Pablo Gonzalez as the sheriff and Sky Stahlmann as Hook. Principal voices were discreetly amplified to help prevent oversinging, and it would have been a help to have the dialogue amplified, as well. The orchestra was ably conducted by Jesse Martins, who didn’t miss a cue, using Burry’s excellent orchestration commissioned by the Sarasota Opera.

Ken Yunker’s lighting of the extremely clever and cartoonish sets by Donna and Mark Buckalter enhanced the atmosphere of the opera from the playhouse of the children to the deep depths and caves of the world of Og. I continue to be astonished by the ingenious staging of Martha Collins as she directs these productions. All too often the staging of youth operas consists of “controlling traffic,” but each person on this stage was a definite character with every movement skillfully timed and executed in mood with the music. Collins’ choreography in the big chorus line was a crowd pleaser.

Burry’s score is eclectic but charming, bringing us everso-slight reminders of Copland, Prokofiev, a little Poulenc and a lot of Burry. The character scenes are scored in their styles — purposely lifted from hoedowns, pirate shanties and even a hint of James Bond — but all still Burry. Melodic lines are certainly within the scope of voices of this age, and they created lovely melodies while keeping the story moving.

It was a delightful evening, and the lower floor of the Opera House was packed with a lot of families, each seeming to have a bouquet of flowers for these young performers. And there is a moral: You can pretend to be whomever you want to be, but in the end —you’re only exactly who you are.

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