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THURSDAY, JUNE 8, 2017

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‘Twenty Thousand Leagues’ Asolo Rep’s latest production revives a classic.

PAGE 6

SEE THIS Photo by Brendan Ragan

Alexia Jasmene and Minka Wiltz rehearse for “Naming True,” a world-premiere play about a transgender teen and a middle-aged terminally ill woman who form an unlikely bond when they’re trapped in a hotel room during a hurricane.

SERVING THE STORY

Claudia Ryan A Ringling graduate returns to her alma mater for a new exhibit. PAGE 8

WATCH THIS

‘The Remnant’

Dylan Jones brings a local Vietnam veteran’s story to life onstage. PAGE 9

When ‘Naming True’ premieres at Urbanite Theatre, audiences will see a story of redemption.

What they won’t see are the countless storytelling decisions that made it possible.

NICK FRIEDMAN A+E MANAGING EDITOR

T

here’s a gem of literary advice that aspiring writers, bibliophiles and anyone who’s worked in a newsroom has surely heard (and hopefully used).

“Kill your darlings.”

The sentiment, albeit slightly morbid, is short and sweet, but most importantly sage. In essence, it says no matter how attached you are to a piece of writing, if it doesn’t serve the story, painful as it may be, you must cut it.

SEE PAGE 2

Courtesy photo

Natalie Symons developed her world-premiere play “Naming True” with director and Urbanite Artistic Associate Daniel Kelly.

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THURSDAY, JUNE 8, 2017

TALES FROM THE

CUTTING ROOM FLOOR FROM PAGE 1

There is no place for self-indulgence in great storytelling.

Playwright Natalie Symons can attest firsthand to the wisdom behind the proverb — and the difficulty of putting it into action.

Her play, “Naming True,” enjoys its world premiere June 9 at Urbanite Theatre, kicking off the black box’s fourth season. When the doors open, audiences will see an 80-minute two-hander that follows an unlikely pair of strong women learning about each other and themselves.

What they won’t see is what came before that. Six months of plot changes, character tweaks and countless drafts, all in the name of the story.

Natalie Symons and Daniel Kelly, Urbanite artistic associate and the play’s director, recently decided to add an extra week of rehearsal time ahead of the production.

It’s a world premiere, which means it’s still constantly evolving. And it will continue to evolve, even onstage. The two say when doors open, they want to have the best story possible.

The seeds of “Naming True” were first planted two years ago, when Symons acted in the sec-

Photo by Don Daly

Transgender actress Alexia Jasmene plays Amy, a transgender 19-year-old publishing company employee.

“Often with playwrights, there is a lot of fear about making big changes. Natalie was completely on board and willing to make dramatic changes. There was no ego at all.”

— Daniel Kelly, artistic associate, Urbanite Theatre

ond play of Urbanite’s first season, “Reborning.” She developed the idea during the show’s run and mentioned it to Co-Artistic Directors Brendan Ragan and Summer Dawn Wallace. About a year later, Symons had her first draft of the script.

“About eight months ago, Natalie first shared a draft with us,” says Kelly. “Often with playwrights, there is a lot of fear about making big changes. Natalie was completely on board and willing to make dramatic changes. There was no ego it all.”

The first step? Kelly asked Symons two questions. What did

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IF YOU GO 'NAMING TRUE' When: 8 p.m.

June 9, Runs through July 2 Where: Urbanite Theatre, 1487 Second St. Tickets: $29; $20 for under 40; $5 for students.

Info: Call 321-1397.

Director and Urbanite Artistic Associate Daniel Kelly worked closely with playwright Natalie Symons to bring her play to life.

she love about the draft, and what was she willing to part with?

“I told him I loved the characters, and I loved the ending,” says Symons. “But I’m not entirely sure how they get there.”

For the next six months, the two worked together to bring the play to life, experimenting to see what worked and what didn’t. Symons says she lost count of the number of drafts they went through — she stopped numbering them.

The play follows Nell, a middleaged woman from Detroit, who has lived most of her life on the streets, and Amy, a 19-year-old transgender woman, who find themselves trapped together in a Florida hotel room as they wait out a hurricane.

In the late stages of terminal illness, Nell is disenfranchised,

Symons says Amy and Nell are two strong women on the fringes of society who help one another find inner peace.

feeling unseen, unheard and insignificant. She’s penned her memoirs as a way to cement her and her brother’s memory. Amy, an employee at the company through which Nell is publishing her writing, is the former subject of a reality television show, in which the entire country watched her transition to female.

Trapped in Nell’s hotel during a storm, Amy learns through the memoirs that their pasts are intertwined, and the two find more in common than they expected. Both strong female characters, they help assuage one another’s feelings of guilt and remorse. Overall, it’s a story of redemption.

For Symons and Kelly, the goal was to give this study of the human condition a sense of clar-

ity.

“The earlier drafts had a lot more comedy in them,” says Symons. “To make the story work, I had to cut a lot of that out. I think people think plays bounce off the page and onto the stage, but creating theater, especially in a world premiere, is a long process. And the audience is part of that process. This hasn’t had a first run to be workshopped — this premiere is my workshop.”

It’s one thing, she says, to make changes on page. But once the actors are onstage, bringing the story to life, inevitably, more changes are needed. Plot holes, mistakes and things that simply need tweaking become abundantly clear.

At a recent rehearsal, Symons and Kelly made the decision to

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erfully with just a look?’ There’s a scene in which Amy is talking about the uncertainty surrounding her mother’s death. Instead of saying that not knowing is killing her, she says it with a look. You can tell it’s killing her.”

For Symons, having the opportunity to premiere her work as a relatively new playwright is something she cherishes.

“Urbanite is a small organization,” she says. “They don’t have the resources other larger theaters do. So what they’re doing takes a lot of faith. Investing in new work is so important. This is my third play; I don’t have a huge resume, so this is huge. And I look forward to seeing this play continue to evolve. I don’t think there will be a final draft.”

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cut one of their favorite moments.

Without revealing too much, it involved a phone call between Amy and her aging grandfather. It was a tender, vulnerable moment made all the more poignant by his fading memory.

“That was such a powerful two seconds of theater,” says Symons.

“I loved that moment. But it didn’t serve the story arc. It actually added more confusion. This story has a lot to do with mysteries and unraveling them, and this particular moment muddled that, so it had to go. That was hard.”

Other changes were subtler.

Kelly says his favorite moments are those in which the actors say nothing at all.

“I love the unspoken moments,” he says. “In rehearsals, we asked, ‘Could this line be said more pow-

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THURSDAY, JUNE 8, 2017

THURSDAY

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

ARTIST SHOWCASE 1 4:30 p.m. at Holley Hall, 709 N. Tamiami Trail $27 to $35 Call 953-3434.

Bring a lawn chair or blanket for movie night in the outdoor beer garden, featuring a 12-foot movie screen. Food available for purchase from Dashing Dingo Pizza Co. and Baltimore Snowball Factory while “Beetlejuice” plays.

The Sarasota Music Festival’s first artist showcase features George Gershwin’s “Three Preludes,” Reinhold Glière’s “Three Pieces for Horn” and Ludwig van Beethoven’s “Piano Sonata No. 17,” known as “The Tempest.”

Faculty artist Clive Greensmith performs Sergei Rachmaninoff’s “Cello Sonata” with Music Director Jeffrey Kahane.

MASHTERPIECES AUCTION RECEPTION 6 p.m. at Art Center Sarasota, 707 N. Tamiami Trail Free Call 366-2032.

Goodwill Manasota and Art Center Sarasota partner for the fourth annual MASHterpieces art exhibition. This year, 10 area businesses compete against one another with repurposed art that shows their dedication to sustainability. Exhibit runs through June 30. Auction reception proceeds benefit both organizations.

‘VENUS IN FUR’ 9 p.m. at the Starlite Room, 1001 Cocoanut Ave. $15 Call 702-5613.

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

La Hardy has traveled with and performed for the U.S. military in more than 35 countries and has appeared on “Laughs TV,” BET’s “Comic View” and “Guess Who” with Bernie Mac. See him in Sarasota through June 11.

Random Acts and Summer at Starlite present David Ives’ risqué dramatic comedy, “Venus In Fur,” directed by Kelly Woodland. Runs through June 17.

ONLINE Find more information on these events and more at

YourObserver.com.

FRIDAY GECKO’S 25TH ANNIVERSARY AND BBQ 5 p.m. at Gecko’s Grill and Pub at the Landings, 4870 S. Tamiami Trail $15 Call 923-8896.

Celebrate 25 of Gecko’s Grill & Pub with smoked barbecue, a dunk tank, photo booth, drink specials and a DJ.

‘FISHPEOPLE’ OUTDOOR SCREENING 8:30 p.m. at Calusa Brewing Co., 5701 Derek Ave. Free Call 922-8150.

Compound Boardshop and Calusa Brewing host an open, outdoor screening of “Fishpeople,” a new film by surfer Keith Malloy.

BulGoGi Sarasota, Create Bakery & Gifts and Out And About Coffee will be onsite for snacks and grub.

SARASOLO FESTIVAL ENCORES: ‘SHIRLEY AND ME’ 8 p.m. at The Starlite Room, 1001 Cocoanut Ave. $15 Call 479-8084.

Actress, artist and writer Jan Wallace brings “Shirley and Me” back to Sarasota for one encore show from the 2017 SaraSolo Festival.

FESTIVAL CONCERT 1 8 p.m. at Holley Hall, 709 N. Tamiami Trail $27 to $45 Call 953-3434.

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SUNDAY

HAIL DALE ALBUM RELEASE Southern-rock trio Hail Dale celebrates the release of its second album, “Honkey Kong.” Also on the bill are The Beat Down and The Pretty Dirties.

IF YOU GO When: 9 p.m. Friday Where: 2831 N. Tamiami Trail Tickets: Free Info: Call 487-7373.

– NICK FRIEDMAN

TUESDAY

16TH ANNUAL ST. ARMANDS CIRCLE CRAFT FESTIVAL 10 a.m. at St. Armands Circle Free Call 388-1554.

INCREDIBELLO! 11 a.m. at The Ringling, 5401 Bay Shore Road $15; $12 children Call 358-3180.

Browse works from Florida’s finest crafters who work in jewelry, pottery, plant holders, soaps and more. Continues Sunday.

Bello Nock returns to the Sarasota stage with his world-renowned, gravity-defying comedic daredevil act — and signature hairstyle.

Runs through July 29

FST IMPROV 7:30 p.m. at Florida Studio Theatre, 1241 N. Palm Ave. $15 Call 366-9000.

Kick your weekend off with this laugh-out-loud performance from FST Improv.

SATURDAY SYMPHONY 1 8 p.m. at Holley Hall, 709 N. Tamiami Trail $32 to $65 Call 953-3434.

‘THE JERSEY TENORS’ 7:30 p.m. at Florida Studio Theatre, 1241 N. Palm Ave. $39 Call 366-9000.

The Jersey Tenors, an opera / rock mash-up act creates a blend of iconic music, including opera classics and pop artists such as Queen, ABBA, Frankie Vallie, The Four Seasons, Frank Sinatra, Bruce Springsteen and more.

Runs through July 16.

Sarasota Music Festival presents this concert featuring Beethoven’s Symphony No. 5 and Jacques Ibert’s flute concerto.

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RED, WHITE AND BREW Denis V. Cooper Foundation Wishes for Heroes presents this third annual beer and food tasting fundraiser, featuring music by Billy Lyon and Gene Hodson.

Richard Wagner’s “Tristan and Isolde,” is the story of an Irish princess who is destined to be married to King Marke, but falls in love with her escort, the king’s nephew, Tristan.

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HD AT THE OPERA HOUSE: ‘TRISTAN AND ISOLDE’ 1:30 p.m. at the Sarasota Opera House, 61 N. Pineapple Ave. $20 Call 328-1300.

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IF YOU GO When: 6:30 p.m.

Where: Gold Coast Eagle Distributing, 7051 Wireless Court Tickets: $100; $125 at the door Info: Call 355-7685.

WEDNESDAY CHAGALL NIGHTS: SARASOTA ORCHESTRA 6 p.m. at Michael’s on the Bay at Selby Gardens, 811 S. Palm Ave. $40 to $50 Call 366-5731.

Experience “Marc Chagall, Flowers, and the French Riviera: The Color of Dreams” at night with food, drinks and a special concert

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‘BEAU JEST’ 7:30 p.m. at The Players Centre for Performing Arts, 838 N. Tamiami Trail $18; Summer three-show package $45 Call 365-2494.

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ORIGINALS SHOWCASE 10 p.m. at The Gator Club, 1490 Main St. Free Call 366-5969 Sarasota-based five piece band Astralis features funky bass lines, spacey synths and intricate percussion. Greg Ferris joins the bill with his brand of dark, guitardriven electro singalongs.

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THURSDAY, JUNE 8, 2017

FINDING CAPTAIN NEMO An inventive adaptation of Jules Verne’s classic novel dives deep into the waters of imagination at Asolo Repertory Theatre.

MARTY FUGATE CONTRIBUTOR

S

ome books lose their relevance almost from the moment they’re published. Jules Verne’s 1870 novel, “Twenty Thousand Leagues Under the Sea,” is one rare exception. His vivid accounts of the destruction of the life aquatic seem fit for the latest issue of Scientific American. His imagination was sprawling and prophetic, and until recently, I figured it would take director James Cameron, an army of film talent and an “Avatar”-sized budget to do the novel justice. But in 2015, Craig Francis and Rick Miller brought Captain Nemo to life with an immersive stage adaptation with dazzling high-tech props, projections, puppetry and toys. The interactive voyage continues through July 1, at Asolo Rep, directed by co-creator, Miller.

He and Francis share their insights on this journey of the mind and senses.

Courtesy of Robert Altman

Suzy Jane Hunt, Rick Miller and Marcel Jeannin in “Twenty Thousand Leagues Under the Sea,” an immersive adaptation of Jules Verne’s classic 1870 novel.

Are both of you fans of Jules Verne’s original novel?

Francis: We’re both fans! Jules Verne does a wonderful job of combining science-fiction with adventure stories in his novels, which is why they’ve remained classics.

Pardon the understatement, but Jules Verne was amazingly ahead of his time. What are your feelings about the author?

Miller: I love speculative fiction, using the power of storytelling to take what’s around today and project it into the future. Jules Verne does this better than anyone, and he ignited my imagination as a boy.

Francis: It’s not so much his foresight that got me when I

re-read the novel, it’s how timely it was: transatlantic communications; Charles Darwin; trying to reach the South Pole — these were ripped from the headlines in the 1860s. Jules Verne was the Michael Crichton of his time.

It’s a little-known fact that Captain Nemo (aka Prince Dakkar) was an eco-warrior, not a mad scientist, in Verne’s original novel. What are your feelings about the character?

Francis: We try to reclaim that aspect of Captain Nemo, and so does the modern character Jules in our version of the story. Nemo is indeed misanthropic. He left the world because he’s sick of oppression and war, and he’s promised not to set foot on land again. Some of his anger at what

humans have done to the earth is justifiable, but as audiences will see, he can take it too far. Nemo’s a mysterious, volatile character, and that’s an edge we play with in the story: What is the line you cross from being an environmentalist to an eco-terrorist?

Miller: Nemo’s one of the most intriguing anti-heroes in 19thcentury literature. In our show, we draw a parallel between Nemo and Captain Ahab from Melville’s “Moby Dick,” written 25 years before Verne’s novel. In our interpretation, Nemo thinks he has avoided Ahab’s fate by building his own perfect whale — The Nautilus, his submarine — and flowing freely within nature, not fighting against it.

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IF YOU GO

How does your adaptation shine a light on the issue of the health of the oceans?

Francis: Nemo is out there in his Nautilus submarine, protecting the oceans, but we also acknowledge that in Jules Verne’s time, we thought the ocean was totally limitless, that we could exploit everything from it forever — and we can’t.

‘TWENTY THOUSAND LEAGUES UNDER THE SEA’ When: Runs through July 1 Where: The FSU Center for the Performing Arts, 5555 N. Tamiami Trail Tickets: $15 to $48 Info: Call 351-8000.

Miller: The play doesn’t dwell on eco-issues, but one of our first hooks into the story was that many fish that had been discovered in Verne’s time are now being driven to extinction. We take a modern water issue — the spiraling gyre of plastic in the Pacific — and use it as a parallel with the maelstrom that swallows the Nautilus in the novel.

Do people in First World countries tend to take water for granted?

Francis: Absolutely, and I’ll tell you a secret, Canadians waste more water than anyone on the planet. It’s the same issue, that because we have 20% of the world’s freshwater, we think it’s limitless.

Miller: People also think that because the oceans are so vast that we can throw anything into them, and it just gets washed away — but to where? The plastic in the Pacific is horrifying, but it’s also very distant and almost invisible, so it becomes someone else’s problem. We need to remind ourselves that water is the lifeblood of our planet. What we do to it, we do to ourselves.

Nemo.

Courtesy of Rick MIller

Marcel Jeannin, Suzy Jane Hunt, Brendan McMahon and Serafín Falcón star in the adaptation, which highlights themes still relevant today.

Who are some of the influences of your creative staging? I’m assuming steampunk and graphic novels play a role.

Francis: We were influenced by them, for sure, but also by screens, which aren’t found in pure steampunk. Deco Dawson’s brilliant projections, and the sequences created by Irina Litvinenko with our team in Montreal, are colorful, hyperreal and stylized. At times, the visuals can feel like a storybook, a comic, or even a game.

Miller: We were influenced by the connection between stage-

craft and shipcraft (rigging, hoisting, etc.), and also inspired by the flat sets used in theater in the 1800s. The sliding in and out of scenic flats suits this story.

Is the play set in the present or the past?

Francis: Both and neither! The play starts in the present, but we are whisked into Jules’s version of the story, which takes place starting in 1868.

Miller: It’s a bit of an alternate reality — Jules is speaking to the audience in the room as the narrator, but he also takes us back in time to meet his hero, Captain

Why do mobile phones make an appearance?

Francis: Smartphones are these amazing communication devices we all carry in our pockets, but they’d be unimaginable to Jules Verne. Yet they still fit into the themes of Nemo’s rejection of civilization. We also expand on the story and themes in our Kidoons 20,000 App before, during, and after the show.

When audiences pull out their phones at intermission, they can still engage with the story. Jules also accidentally takes his phone into the story with him, and its presence changes the story when Nemo ... well, come see it and find out.

I’m sure this play speaks to young people. What about cynical, jaded adults?

Francis: Actually, one of our hopes is to be a little less cynical.

Our cast is amazing; the actors have brought a sense of playfulness and also richness to these characters. At heart, it’s just a really fun adventure story, and I promise you it won’t look like anything else you’ve seen this

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THURSDAY, JUNE 8, 2017

7

season.

Miller: Jules starts out as a cynical, jaded adult, unable to complete a Ph.D. thesis about collapsing ocean ecosystems.

Where he ends up, and where we want to transport the audience, is a more hopeful place, where meaningful connection and action are possible. Part of that journey is discovering the power of storytelling and playful creativity, which kids naturally have, and adults naturally lose but theater helps them regain.

Have any actual submariners given you any feedback?

Francis: Actually, almost! At a preview, an audience member whose father was on a naval submarine said that the scenes aboard the Nautilus, and the brilliant ambient sound design

by Richard Feren for the submarine scenes, actually evoked her childhood experiences.

Miller: For each production we’ve done, we’ve also connected with local scientists, oceanographers and marine biologists, and we’ve done that in Sarasota, too. We’ve partnered with Mote Marine Laboratory, South Florida Museum, Conservation Foundation of the Gulf Coast, and Sarasota and Manatee County libraries and schools to expand our outreach into the community.

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THURSDAY, JUNE 8, 2017

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Ringling alum Claudia Ryan explores depth and layering in her abstract drawings.

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For Claudia Ryan, abstract art is more than her preferred medium. It’s a means of finding her voice.

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For Claudia Ryan, art has been a lifelong companion. A selfdescribed shy, introverted person, as a teenager, she discovered art offered her a way to express herself where words failed.

“I fell in love with it,” she says.

“It was something that set me apart. Those teenage years can be hard. Art was my emotional outlet; it was cathartic and it became my voice.”

Ryan, who works mainly in pastel and ink, enjoys working abstractly. Her large works feature dense layers of color and lines, which she says most accurately represent her thoughts and dreams.

Her recent work will be on display from June 9 through Aug. 11 in Ringling College’s new Richard and Barbara Basch Gallery. We sat down with Ryan to talk self expression, abstract art and her upcoming exhibit.

“I LOVED art history in high school. That was an eye-opening experience. I realized that people actually do this. This whole world existed, and here was my way into it.

“WHEN I was young, I had a hard time expressing myself. Art was my way to be bold. It was such a passionate feeling. I see art as my companion. In hindsight, it became my voice.

“I WAS always drawn to abstract art. It’s a way to tap into the collective unconscious.

“I LOVE abstract work, because I can make up the rules myself.

I’m out from under the thumb of the world. It’s my way to create something meaningful.

“ABSTRACTION WAS more like my dreams. It’s how I put my thoughts on paper.

“WORKING IN this gallery has impacted my work. It’s brought out a lighter side to my art.”

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THURSDAY, JUNE 8, 2017

‘The Remnant’ offers a cure for Vietnam War amnesia MARTY FUGATE CONTRIBUTOR

Dylan Jones’ “The Remnant” recently premiered at the Manatee Performing Arts Center. Our May 25 feature examined the play’s origin. This review will focus on the play itself.

Basically, it’s the nonHollywood version of Vietnam.

Aside from the real world body count, the Vietnam War affected America’s popular imagination like a violent blow to the head.

First came temporary amnesia and disassociation. Then the memories start flooding back — but distorted and fragmented.

More like fever dreams than clear recollections.

America’s filmmakers were especially disoriented. Movies like “Apocalypse Now,” “The Deer Hunter,” “Platoon,” and “Full Metal Jacket” filtered the Vietnam War experience through the lenses of politics and artistic flourish. Martin Sheen calls down a rain of fire for pure spite; Christopher Walken enjoys a game of Russian roulette; Willem Dafoe meets his maker like Jesus in battle fatigues; Vincent D’Onofrio goes off the deep end with a malevolent Kubrick stare.

For those who weren’t there, the tapestry of cinematic images became the Vietnam War experience. But those who were there don’t mistake Hollywood for history. (As my late uncle, a fighter pilot, once quietly pointed out to me.)

Jones’ play is a true story.

It’s based on the experience of the real Jim Kyle. Back in 1967, Kyle’s best friend, Danny Nicklow, had a draft deferment and a full scholarship. But he set that aside, enlisted in The Marines, and died in Vietnam.

Kyle followed in his late friend’s footsteps. He survived the war, but barely survived peacetime.

The wretched excess of the 1980s cost Kyle his marriage and alienated his children. After that, he found a new mission: uncovering the truth of how Nicklow died.

Kyle kept digging and finally dug up the truth.

Nicklow spent his last seconds on Earth performing an incredible act of heroism. In a work of fiction, his deed might seem over the top. Actual war stories often do.

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Jay Bowman, Chris Hines, Dylan Jones, Logan Junkins, Austin McKinley and Sherrie McKinley delivered grounded performances on opening night.

Their portrayals are moving — but they never milk the scenes to get a reaction. They play it straight without any jive.

(This one performance had a temporary substitution: Jones portrayed Kyle’s young self; Junkins played Nicklow. For the remainder of the play’s run, Jones will play Nicklow and Ren Pearson will be the young Kyle.)

These serious acting talents bring Jim Kyle’s trial by fire to life. With words of fire from Dylan Jones’ script.

Other carpets useJones stain protection But only SmartStrand’s resistance is built right into As a playwright, hasthat has to be reapplied. the Vietnam War —stain a firsthand the fibers. So it never wears or washes out. Even after multiple cleanings. Even better, It’s on sale now! a savvy sense of dialogue, account from a man who was To learn more about what makes SmartStrand with DuPont Sorona #1 in customer satisfaction, character and scene there. Jones’ drama simply tells visit MohawkFlooring.com/SmartStrand. construction. He makes action you: This is what happened, and motive clear and never gets and this is what it does to you. bogged down. As a director, A simple story. One which isn’t Jones wields the same sharp either anti-war or pro-war. sensibility.

But it is fiercely anti-amnesia All those dramaturgical skills — a defiant rejection of the lazy don’t exist in a vacuum. Jones is notion of disposable warriors. clever, but he never shows off.

Out of sight, out of mind and His talent serves the demands of quickly forgotten? Hell no. “The storytelling. And this particular Remnant” won’t let you forget. play makes unique demands.

It’s a memory play in more “The Remnant” is more like ways than one. a dramatized documentary As the real Kyle told the than an expression of the craft audience on opening night, of fiction. The play defiantly “Question the war, but never the isn’t the Hollywood version. warrior. And never forget their It’s what actually went down in sacrifice.” ®

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“The Remnant” tells the story of Vietnam veteran Jim Kyle’s quest to learn the truth about the death of his best friend.

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THURSDAY, JUNE 8, 2017

Woman’s Exchange Awards Celebration Thursday, June 1, at Woman’s Exchange

Woman’s Exchange Co-Founder Liz Lindsay, Jim Shirley and Woman’s Exchange CEO Karen Koblenz

Rob Hodgson with son Robbie Hodgson, representing scholarship recipient Abigail Hodgson

Photos by Niki Kottmann

Mike Holmes and Linda DiGabriele

Bonnie Vannucci with daughter and scholarship recipient Nina Vannucci

Eric Mathis with his son Tyler Mathis and wife Laura Blackman

ST. ARMANDS CIRCLE PRESENTS

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Debbie Keeton performs for guests before the program begins at the Woman’s Exchange Awards Celebration.

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YPG Throwback Gala: Sarasota Through the Years Saturday, June 3, at Gold Coast Eagle Distributing | Benefiting Sarasota Young Professionals Group

Photos by Niki Kottmann

Above: Brittany Bailey and YPG Events Committee Chairwoman Shantel Norman Below: Andrea Knies and Leroy Presley

Abigail Oakes, Murray Devine and Samantha Van Wie

Sofie Wachtmeister and Sofia Heilborn

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Ai Weiwei, Circle of Animals/Zodiac Heads: Bronze, Tiger, 2010. Private Collection.

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THURSDAY, JUNE 8, 2017

OPENS FRIDAY

GREAT FOR THE WHOLE FAMILY!

“A feast for the senses.

This is brilliant theatre.”

June 9–July 1 PREVIEW June 8 Preview tickets start at $15 for adults and $5 for children.

By CRAIG FRANCIS and RICK MILLER Based on the book

by JULES VERNE

— CBC Radio

“JAW DROPPING”

Recommended for everyone age 7+

— New York Times

FAMILY PACKAGES! FAMILY DAY: Saturday, June 17 Available for all Saturday 2pm matinees, including Family Day:

4 tickets for $60 3 tickets for $45 2 tickets for $30 At least one person in the party must be 18 or younger in order to receive Family Package pricing.

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Marcel Jeannin, Suzy Jane Hunt, Brendan McMahon, Serafín Falcón. Photo by Rick Miller.

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