Arts + Entertainment 5.4.23

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ARTS + ENTERTAINMENT

The Resurrection of Robert Plunket

The Sarasota gossip columnist’s 1983 novel, ‘My Search for Warren Harding,’ is being rereleased. Does stardom await?

MONICA ROMAN GAGNIER

ARTS & ENTERTAINMENT EDITOR

Most local readers recognize the name Robert Plunket as Sarasota Magazine’s longtime gossip columnist, “Mr. Chatterbox.”

Plunket’s byline also has graced the pages of the Observer, where he has written about distinctive homes. However, few Sarasotans know that Plunket is the author of a 1983 novel, “My Search for Warren Harding.”

But after years of being a “Forrest Gump” of sorts, Plunket could find himself in the spotlight. “My Search for Warren Harding” is being reissued on June 6 by New Directions Publishing and the literary world is taking notice. The new version includes a foreward by essayist Danzy Senna, which was published April 26 by The Paris Review.

Plunket’s book follows a scheming academic who will do anything to get his hands on love letters written by the 29th president. Set mostly in Los Angeles, “Warren Harding” is a hilarious look at life on the periphery of stardom, a vantage point that Plunket knows well. Coincidentally, “After Hours,” a Martin Scorsese film in which Plunket had a small but memorable role, is also being rereleased by the Criterion Collection. As he prepares for his closeup, Plunket talked about the blurred line between truth and fiction, political correctness and book banning.

Why did you write “My Search for Warren Harding”?

I had a boring job in an office. Everybody loved my business reports. They were hilarious. So I started thinking, “I’ll write a novel. How hard can it be?”

But I needed a subject. I was a big reader. I loved books about politicians and their private lives. Harding was the Trump of his day but with a much more benevolent character. One girlfriend, one mistress after another, all the time with a crabby older wife keeping him on a very short leash. Then comes along a teenage girl from his hometown in Ohio named Nan Britton. She was calculating and ambitious and set her sights on him. They had a long affair and she gave birth to his daughter.

When he died — unexpectedly and still in office in 1923 —and she was left out of the will, she wrote a book (“The President’s Daughter”) about the affair that caused quite a scandal. I loved the book. When I found out she was still alive — this was 1980 — and living in California, I started thinking. She probably has old love letters and such. It was like that Henry James novella “The Aspern Papers.” A plot began forming in my mind ...

What was the reaction to the book when it came out?

Mixed. Some people loved it. Other people, mostly jerks, hated it. I’ve kept a list of their names.

Tell me about the circumstances surrounding the rerelease of “My Search for Warren Harding.” Why is this happening now?

The publisher tells me it’s a forgotten classic of American literature. Sounds about right.

Is the book autobiographical?

Obviously not, because you were born in Texas and the protagonist was born in Pittsburgh. But are there themes that inform the book that have run through your life?

“Autobiographical” isn’t the right word. But being a new writer uncertain how to proceed, I modeled the main character, a historian who’s after the letters, on myself. I didn’t know how to create a fictional character, so I had him do what I would have done under the same circumstances. Now, I find out in Danzy Senna’s introduction that I created a brilliant portrait of “a closeted gay white man with a narcissist’s insecure vapid center. A superficial, arrogant homophobe.” That took a little swallowing.

Is the historical stuff in your book true?

It’s all true. Or rather, it’s trueish. It was tricky because the old lady — Harding’s mistress — was still alive when I wrote it, and the publisher didn’t want to get sued. I had to rewrite several sections with a lawyer looking over my shoulder. Even though many details have been changed, it’s pretty accurate as to what really happened during the Harding presidency.

Several years ago, a trove of Harding love letters were discovered. They were from another affair he had. And the letters were exactly the way I imagined them! Forty pages long, full of purple prose and detailed descriptions of his youknow-what.

By today’s standards, “My Search for Warren Harding” is politically incorrect. In addition to racial and sexist slurs, there is a lot of fat-shaming. What’s

your response to that?

“My Search for Warren Harding” could never be published today. Now they have people called “sensitivity editors” who make you change the things that might offend people. My writer friend Ann Beattie has a new book coming out, and they made her change the expression “bag woman.” Apparently they didn’t want all the bag women who read Ann Beattie to be offended. In my defense, the world is full of casual racism and people who say terrible things about other people. I write about it, but it doesn’t mean I condone it. SEE PLUNKET PAGE 2

Robert Plunket inspects the aftermath of Hurricane Ian, which hit Florida’s Gulf Coast in September 2022. Courtesy photos

“My Search for Warren Harding” is being reissued on June 6 by New Directions Publishing.

Plunket

The commentary that opens the book speculates that the protagonist in “My Search for Warren Harding” is a closeted gay. Is that true?

Not really. To be closeted you have to be aware that you’re hiding. Elliot Weiner, my protagonist, would never admit his gay leanings, even to himself.

Obviously, you’re not in the closet now. Were you ever? How did you come out?

Oh, but you’re wrong. I am in the closet and plan to stay there. In fact, these days I identify as “hypermasculine” and my pronouns are “me, him and its.” I was gender-fluid for a while but it just didn’t work out. Couldn’t get the outfits right. How do you feel about literature that is offensive by today’s standards? Should a book like Mark Twain’s “The Adventures of Tom Sawyer” be banned?

Getting your book banned is a great way to boost sales, and I’m trying very hard. I’ve sent copies to the Sarasota County School Board, and I was planning to send one to Gov. De Santis with all the offending passages underlined. Then I realized that those passages sound like the governor himself. But the fact remains: If there was ever a book that should be banned it’s “My Search for Warren Harding.”

Besides “My Search for Warren Harding,” you wrote a book called “Love Junkie.” What’s that about?

It’s about a nice, sweet, rather naive middle-class housewife who falls in with a group of gay men in New York just before AIDS happened. Through them she meets and falls madly in love with a male hustler/ porn star named Joe. He is so greedy and avaricious that he sells his used underwear to his fans. Soon our

heroine is running his mail-order business and producing his new porn flick. I feel very close to this book because it’s all true. Everything in that book actually happened to me. I am that housewife.

Madonna loved the book and optioned the movie rights. I still cherish the memory of the long afternoons spent hanging out with her in her bedroom on Central Park West, eating popcorn and talking about what pigs men are.

Will you ever write another book?

I’m writing one now! It’s all about Republican politicians in Sarasota. They’re on a road trip to Mar-aLago when their car breaks down in Okeechobee and they take refuge in what they think is an abandoned fish camp.

When I was reading your new introduction, I was struck by the parallels between your life and that of “Forrest Gump.” In Sarasota, you’ve witnessed some interesting events. Why do you think that is?

As Mr. Chatterbox, Sarasota’s leading gossip columnist for 30 years, it was my job to be at the center of the action. Of course, luck helped. I was a regular customer at the adult theater where Pee-wee Herman was arrested, which put me right in the middle of the story. And my nightclub act at Florida Studio Theatre earned a footnote in American history when it paved the way for George W. Bush’s ascent to the White House after the contested 2000 election. Since I’ve retired, things have been much quieter. Did you ever teach writing?

If not, you should. I love your attention to detail at the same time you have a pithy style. Usually it’s one or the other. No! All my life I’ve tried to get a teaching job. New College was horrified when I applied there. They said I was exactly what they weren’t looking for.

I almost forgot to ask about your role in Martin Scorsese’s “After Hours.” According to the film database IMDb, you are “best remembered as the timid

gay guy who picks up Griffin Dunne’s character.” How did that gig come about?

The producers, Amy Robinson and Griffin Dunne (who was also the star), were old pals from our struggling artist days. Marty, as everybody refers to him, agreed to see me, and he immediately knew I was the one. He had already hired one guy but he fired him when he saw me. I was so completely a “timid gay man” that I didn’t even need lines. I filled up the screen like Marilyn Monroe.

Marty had no problem when you veered off the script a little, so during the first take I began what turned out to be a 10-minute improvised monologue about a dead lover I was still grieving over. I still remember my opening line: “He was just an Asian Studies major, but I loved him.” I went on to describe, tearfully, his death during a parasailing accident in Puerto Vallarta.

I remember watching Marty out of the corner of my eye. His mouth was open in disbelief. “A classic!” he exclaimed when I finally finished. Unfortunately, when they showed the movie to preview audiences people started to leave during my monologue, so it was ultimately cut. That’s the story of my life — my best work always ends up on the cutting room floor.

London calling the Sarasota Ballet

The Sarasota Ballet will travel to London for its first international tour in June 2024, at the invitation of Kevin O’Hare, director of The Royal Ballet.

The Sarasota company will perform seven times from June 4-9, 2024, presenting two programs and a gala performance honoring the works of choreographer Sir Frederick Ashton.

The London tour, which will consist of a one-week residency in the Linbury Theatre in The Royal Opera House, will be a homecoming of sorts for Sarasota Ballet Director Iain Webb and Assistant Director Margaret Barbieri.

Choral Artists to join D-Day 2024 celebration

Choral Artists of Sarasota has been invited to be the principal choral ensemble for the 80th D-Day anniversary commemorations in France in June 2024.

The invitation came from Historic Programs, which partners with the Department of Defense’s Office of Commemorations.

“There is nothing more poignant or meaningful than participating in an official military ceremony commemorating American heroes of our past,” says Joseph Holt, the artistic director of Choral Artists of Sarasota, which is entering its 44th season.

Holt spent 20 years in the U.S. Army with the U.S. Army Chorus.

In addition to participating in ceremonies at cemeteries in Normandy and Brittany, the group will perform a concert in the town square at Sainte-Mere-Eglise in Normandy.

Choral Artists is inviting the public to join them on an eight-day trip to France in June 2024 that centers around D-Day commemoration events. For more information about the cost and itinerary, visit ChoralArtistsSarasota.org.

“Iain and Maggie’s remarkable careers on stage with The Royal Ballet have been a huge influence on the company and have catapulted the Sarasota Ballet’s transformation into the internationally recognized company it is today,” Sarasota Ballet Executive Director Joseph Volpe said in a statement. “This invitation by The Royal Ballet is a huge milestone in the history of our company.” Webb and Barbieri danced for many years with The Royal Ballet and with the Sadler’s Wells Royal Ballet, the forerunner to today’s Birmingham Royal Ballet. During their tenure, Barbieri was a principal and Webb was a first soloist, and the couple danced in numerous performances around the world.

Courtesy photos Joseph Holt, artistic director of Choral Artists of Sarasota.

The Royal Opera House in London

Courtesy photo

Sarasota columnist Robert Plunket had a small role in Martin Scorsese’s film, “After Hours.” His improvised monologue was cut after poor audience response.

concoction

“Open it up? What do you mean?”

MARTY FUGATE CONTRIBUTOR

Show me something new.

That’s the heart’s desire of every critic. That wish came true for me at New College. No genie. Just a mirrored yoga studio doubling as rehearsal space. Twelve actors, three directors. “Agridulce/Bittersweet” is the show I saw in rehearsal. It’s new, all right. So new it’s hard to describe.

But I’ll try ...

“Agridulce/Bittersweet” is a multilingual, multimedia mashup of song, dance, physical comedy, improv, individual set pieces, fullensemble productions with a dash of mime. It’s a group show and a collaborative work of art. A grassroots creation that grew out of improvised scenes.

That’s unusual for a show like this.

Improv troupes can trash the script. That’s allowed.

But with rare exceptions, the rest of the American stage is scripted and tightly controlled. On or off Broadway, plays usually have a topdown structure. An auteur at the apex of the pyramid calls the shots. They’ve got something to say. They move performers around like chess pieces to say it. Without changing one word of the script, of course.

“Agridulce” (Spanish for “bittersweet”) is a rare exception. There’s no auteur. It’s a democracy. A cast of 12 auteurs — and they’ve all got something say. “Agridulce” gives each of them a voice.

Crazy idea. Who thought of it?

Eliza Ladd and Diego Villada, originally. Ladd is a playwright, performer, director, and an instructor and movement coach at the FSU/Asolo Conservatory

and Asolo Rep. Villada’s a master of theatrical fight direction and choreography. He teaches his art at New College of Florida, where he’s director of theater, dance and performance studies.

In 2022, Villada and Ladd decided to launch a bilingual show about Sarasota’s Latinx and immigrant communities. They’d create the show in collaboration with talents from those communities. They sent a proposal to the Mellon Foundation. They got the grant.

Carolina Franco had already joined the team. She’s the artistic director of CreArte Latino, the area’s nerve center for Latinx theater and culture. Franco had the creative talent, the network and the passion. The grant proposal promised cross-cultural collaboration. Franco could deliver.

“She wasn’t just the top of our list,” says Ladd. “She was the only name on the list.”

I see why when I watch the “Nosy

Neighbor” scene. A Caucasian “Karen”-type character holds up her iPhone. She starts yelling at a Latinx character with no clue why she’s angry. Or what she’s saying.

“Hey! Miss! ‘Senorita.’ My phone. This phone? ‘La telefona.’ You walked in the room ... then it’s suddenly not working. Can you tell me why? I think that’s really suspicious. Don’t take that personally. I don’t see color. I have a lot of Mexican friends.”

“Good,” says Villada. “Now shout, like that’ll make her understand you.”

The actor does.

Old joke. But still hilarious.

Dialogue gets refined. Movement, too.

The “Faucet” scene is a plumbing emergency worthy of The Three Stooges. (I say “faucet.” You say “ grifo .”) The bilingual actors initially run around like headless chickens. They end up working together.

IF YOU GO

Ladd nods. She likes it. But ...

“Don’t make it seem forced ... but try to wind up in the same place. At the end of the scene ... everybody look right. Try to show the same profile.”

They actors do as suggested. Villada likes what they do. But ...

“That’s good. But bring more flavor, more color. And open it up!”

One actor doesn’t get it.

Villada mimes body language. He turns his back to the implied audience. Spins back around, but with his arms folded, eyes averted. Then drops his guard. Shows his face. Looks the audience in the eye. The actor gets it. Smiles. So does the director.

And so it goes until the end.

A few more rehearsals will follow. The creator/performers will refine, tweak, experiment and play around. They’ll wind up with a cool show. But with “Agridulce,” the play’s not the thing. The collaboration is.

The show will open with only three performances. But they’ll serve as a template for future collaborations. Maybe riffs on the existing script? Maybe new territory? We’ll see.

After the rehearsal, I touch base with the directors. Franco goes to the heart of the matter.

“Tonight’s rehearsal — it may look totally spontaneous. But there’s really so much planning behind it. We first had to develop a curriculum. At CreArte Latino, we offered five master classes in theater. New College had a similar curriculum. Every step of the way, we all worked together. And we did it in Spanish and English.”

Ah-ha. Now I get it.

To steal a phrase from Samuel Beckett, “Agridulce” isn’t about something. It is the thing itself. But there’s one thing I still don’t get ... the title.

“Agridulce/Bittersweet.”

Why “Bittersweet” ... ? What are they talking about?

“Life,” says Ladd. “Life includes the positives, the hardships, the opportunities and the losses. Life is bittersweet, whatever language you speak. That’s a basis for empathy, for overcoming the walls of language and culture dividing us. If we know that, we can demolish those walls and come together.”

‘Agridulce/Bittersweet’ is a tasty

In this multilingual, multimedia mashup, the play’s not the thing. Collaboration is.

Courtesy photo

A rehearsal for “Agridulce/Bittersweet,” an improvisational performance where each of the 12 actors has a say.

THIS WEEK

THURSDAY ‘HOW THE OTHER HALF LOVES’

7:30 p.m. at The Island Players, 10009 Gulf Drive, Anna Maria

From $25

Visit TheIslandPlayers.org.

In this farce about adultery, Frank and Fiona live in an upper-class house, while Bob and Teresa reside in a middle-class mess. Fiona and Bob are having an affair and trying to keep William and Mary in the dark. Runs through May 14.

‘VISIT JOE WHITEFEATHER

(AND BRING THE FAMILY!)’

8 p.m. at Florida Studio Theatre’s Gompertz Theatre, 1265 First St.

$25-$39

Visit FloridaStudioTheatre.org.

Faced with a decline in tourism during the 1970s, a small Pennsylvania town decides to rename itself in honor of a dead Native American war hero who never even visited Beaver Gap while he was alive. Runs through May 21.

‘BIG SEXY: THE FATS WALLER REVUE’

7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave.

$20-$50

Visit WestcoastBlackTheatre.org.

Nate Jacobs’ original tribute features Fats Waller’s signature songs, including “Ain’t Misbehavin’,” “Honeysuckle Rose,” “Your Feet’s Too Big,” “The Joint is Jumpin’” and many more. Runs through May 28.

OUR PICK

‘GRACE: THE SPIRIT OF ARETHA’

Westcoast Black Theatre Troupe and Key Chorale honor Aretha Franklin, the “Queen of Soul,” on the 50th anniversary of her groundbreaking Grammy Award-winning album, “Amazing Grace.” Matelyn Alicia and Naärai join Key Chorale, along with its featured soloist, Amy Connours, for an evening of soulful gospel songs and Franklin’s most famous R&B; classics.

IF YOU GO

When: 7:30 p.m. on May 8

Where: Van Wezel Performing Arts Hall, 777 N. Tamiami Trail

Tickets: $35-$100

Info: Visit KeyChorale.org.

FRIDAY ‘DON’T LET THE PIGEON DRIVE THE BUS!’

7 p.m. at The Players Studio, 3501 S. Tamiami Trail, Suite 1130

$15 Visit ThePlayers.org.

Players Kids present a musical based on the book by Mo Willems, who co-wrote the script as well as lyrics. When a bus driver has a crisis, the oft-maligned bird gets its chance to help. Continues Saturday.

‘THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) (REVISED) [AGAIN]’

7:30 p.m. at Venice Theatre’s Pinkerton Theatre, 140 Tampa Ave. W., Venice $15-$29 Visit VeniceTheatre.org.

Three female comics play all 37 of Shakespeare’s plays in just over 90 minutes, with plenty of hijinks sure to entertain those who are fans of the Bard and those who aren’t. Runs through May 21.

DANCING IN THE STREET:

MUSIC OF MOTOWN

8 p.m. at Orioles’ Ed Smith Stadium, 2700 12th St.

From $15 Visit Orioles.com/Arts.

The program by the Sarasota Orchestra features hits by Marvin Gaye, Michael Jackson, Diana Ross and Stevie Wonder. The concert concludes with a fireworks display.

Continues Saturday.

‘RAIN: A TRIBUTE TO THE BEATLES’

8 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $37-$87 Visit VanWezel.org.

“RAIN: A Tribute to the Beatles,” features songs from “Abbey Road” and the Rooftop Concert Live in addition to all the Fab Four’s hits.

SATURDAY

‘ANNIE KIDS’

2 p.m. at Manatee Performing Arts

Center, 502 Third Ave. W., Bradenton

Tickets $11.50-$20 Visit ManateePerformingArtsCenter. com.

This adaptation of the Tony Awardwinning musical follows little orphan Annie as she searches for the parents who left her at an orphanage run by the cruel Miss Hannigan.

Ticket fees from this For Kids By Kids production help support the program and the ability to make it accessible for all.

‘CASH, THE KILLER AND THE KING’

7 p.m. at Venice Performing Arts Center, 1 Indian Ave., Building 5, Venice $36-$100 Visit VenicePerformingArtsCenter.com.

Featuring acclaimed rockabilly pianist Lance Lipinsky as Jerry Lee Lewis, young Elvis performer Brandon Bennett and renowned Johnny Cash impressionist Philip Bauer, “Cash, The Killer, and The King” traces the birth of rock ’n’ roll at Sun Records in Memphis.

SAXOPHONIST ERIC ALEXANDER

7 p.m. at Fogartyville, 525 Kumquat Court $26 members; $30; $15 students. Visit WSLR.org/Fogartyville.

Known for his sophisticated hard bop and post-bop style, Eric Alexander performs with the Alex Nakhimovsky Trio.

FST IMPROV PRESENTS

‘COMEDY ROULETTE’

7:30 p.m. at Florida Studio Theatre’s Bowne’s Lab Theatre, 1265 First St. $15 Visit FloridaStudioTheatre.org.

It’s a good bet that FST’s team of four experienced improvisers will spin the wheel on a fast-paced show featuring a mashup of short form, long form and musical improv. Runs through May 27.

SUNDAY

POETRYMIC

2 p.m. at Bookstore1, 117 S. Pineapple Ave. Free, but registration is requested. Visit SarasotaBooks.com.

The PoetryMic series in Bookstore1’s loft features talented poets who live in the area. This month’s poets are Jack Massa, Lois Betterton and Bubba Henson.

GULF COAST HONOR BAND

CONCERT

5 p.m. at Sarasota Opera House, 61 N. Pineapple Ave.

$20

Visit SarasotaConcertBand.org.

Sponsored by Sarasota Concert Band, this event features middle school and high school students. The Sarasota Concert Band will open the performance.

MONDAY

JAZZ AT THE CABARET: SCOTTY WRIGHT QUINTET

7:30 p.m. at John C. Court Cabaret, 1265 First St. $34-$39 Visit JazzClubSarasota.org.

A veteran musician with more than 40 years of experience, Scotty Wright has toured in 20 countries. Wright will perform Ellington, accompanied by Pablo Arencibia, Mark Neuenschwander, David Pate and Stephen Bucholtz.

TUESDAY

VIVALDI AND MENDELSSOHN

7:30 p.m. at Sarasota Opera House, 61 N. Pineapple Ave. $30-$60 Visit ArtistSeriesConcerts.org.

Violinists Rimma Bergeron-Langlois, Nikki Chooi, Jun Iwasaki and Emerson Millar perform Vivaldi’s “Four Seasons” and Mendelssohn’s “String Octet.”

SHAYNA STEELE

7:30 p.m. at Fogartyville, 525 Kumquat Court $26 members; $30; $15 students Visit WSLR.org/Fogartyville.

The former backup singer for Jennifer Hudson and cast member of Broadway’s “Hairspray” is touring to support her recently released album, “Gold Dust,” which spans jazz, rock and R&B.

WEDNESDAY

MELISSA ETHERIDGE

7:30 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $62-$102 Visit VanWezel.org.

Known for her intimate lyrics and raspy vocals, Melissa Etheridge has remained one of America’s favorite female singer-songwriters for more than two decades. In addition to crowd-pleasing favorites, Etheridge will perform selections from her 2021 album, “One Way Out,” a collection of songs she wrote in the late ’80s and early ’90s that didn’t make the cut — until now.

‘MAN OF LA MANCHA’

8 p.m. at FSU Center for the Performing Arts, 5555 N. Tamiami Trail

From $35 Visit AsoloRep.org.

”Man of La Mancha” follows Miguel de Cervantes’ retelling of Don Quixote and his timeless, futile quest, capped by the heartwarming ballad, “The Impossible Dream.” Director Peter Rothstein, Asolo Rep’s incoming producing artist director, returns to Sarasota after previously directing the acclaimed Asolo productions of “Ragtime” and “Sweeney Todd.” Mauricio Martinez makes his Asolo debut as Miguel de Cervantes/Don Quixote. Runs through June 11.

DON’T MISS MODERN WORKS

FESTIVAL

When: 11 a.m. at Sarasota Yacht Club, 1100 John Ringling Blvd. 7 p.m. on May 4 at Urbanite Theatre, 1487 Second St.

Tickets: $5-$20

Info: Visit UrbaniteTheatre.com

Returning to an inperson experience, the fourth Modern Works Festival is a playwriting contest, reading festival and celebration of women in theater. Festivalgoers who see all three finalists — “Westminster” by Brenda Withers, “The Apiary” by Kate Douglas and “Therapy” by Jena Rashid — are eligible to vote for a winner. On Friday at 8 p.m. the Hermitage partners with Urbanite Theatre to present a conversation with Bess Wohl. The Tony Awardnominated playwright and Hermitage alumna will discuss her works and career as part of the festival’s focus on women in theater. Runs through May 7.

Courtesy photo

In addition to crowd-pleasing favorites, Melissa Etheridge will be performing selections from her 2021 album, “One Way Out,” May 10 at the Van Wezel.

A tall tale with good intentions

When a dying town uses a dead Native American hero to attract tourists, it strikes a deal with the devil.

MARTY FUGATE CONTRIBUTOR

During the pandemic downtime of 2020, Florida Studio Theatre commissioned Bruce Graham to write a play as part of its Playwrights Project. “Visit Joe Whitefeather (and bring the family!)” is what he wrote — a Mel Brooksean comedy of lovable con artists.

Graham’s play unfolds with a frame story. In the present, Lucy (Kim Crow) is a pot-smoking, aging hippie who owns a New Age gift shop called Tranquility. When a young documentary filmmaker named Marcus (London Carlisle) aims his camera and asks questions, Lucy relates her improbable tale. Flashback to 1974.

IF YOU GO

‘VISIT JOE

WHITEFEATHER (AND BRING THE FAMILY)!’

When: Through May 21

Where: FST Gompertz Theatre, 1265 First St., Sarasota Tickets: $25-$39

Info: Visit FloridaStudioTheatre.org

Lucy (Malka Wallick) is a California girl and a UC Berkeley graduate. For a change of scenery, she takes the bus to a Podunk town in Pennsylvania. Bad choice. The town is dying like an unwatered ficus in a dark corner of the garage.

Mayor Walt Dorfman (Kraig Swartz) finds out that Joe Whitefeather — the all-American (and Native American) Olympic athlete and war hero — has recently died. That gives him a crazy idea. Change the town’s name to “Joe Whitefeather” and then build a memorial to the man. Tourists will flock to see it. If you build it, they will come! What could possibly go wrong?

Walt ropes Lucy into his wacky scheme. He offers her a commission to design Whitefeather’s memorial. Lucy reluctantly agrees.

Next Walt hoodwinks the voters and plays three-card Monte with the city’s funds. The town gets renamed. Whitefeather’s monument is built. The mayor’s ready to tell the world. Until Cierra (Anat Cogan) shows up and ruins the ride.

Cierra announces that she’s “a proud member of the Chicktaw nation” (presumably a nod to the real-life Chickasaw nation) and Joe Whitefeather’s daughter. Her

demand: Kill the project or face legal hellfire. To keep things quiet, the town can build a new school on the Chicktaw reservation to the tune of $10,000.

This unfolds against the backdrop of the Watergate hearings and Nixon’s impending resignation. His dirty deeds came to light. Will the town’s co-conspirators suffer the same fate? See the play and find out.

It’s something to see. Isabel A. & Moriah Curley-Clay’s set design for Lucy’s New Age gift shop has the perfect crunchy granola vibe. Mari Taylor Floyd’s period costumes are equally apt.

Kate Alexander’s direction is snappy and cinematic. In her hands, the play moves — and keeps moving. You can tell it wants to be a movie.

In the acting department, Crow is a cynical delight as the 70-something Lucy. Wallick is a ball of fire and feminist idealism as Lucy’s younger self. The characters deftly mirror each other.

Swartz delivers a John Ritter-esque portrayal of Walt. His character’s a pent-up bundle of raw nerves. Walt’s dishonest scheme won’t put a penny in his pocket — he honestly just wants to save the town. Britt Michael Gordon does an understated turn as Bob — Lucy’s potential love interest and the town’s pacifistic good cop.

Carlisle’s documentary filmmaker is a stand-in for the audience. He just can’t believe the tale Lucy is telling him. Cogan’s Cierra walks the tricky tightrope of selling you on a Native American character without falling into ethnic stereotype. Ellie Mooney steals the show as Abigail, the town librarian with a split personality. By day, she’s chirpy and perky and goes around singing Julie Andrews tunes. By night, she’s a chain-smoking social critic with a trash-talking spiel to rival Lenny Bruce.

You can’t help but like these people. They break laws, violate ethics and trash morality. But they’re not villains. They’re sympathetic characters — who do all the wrong things for all the right reasons.

“Visit Joe Whitefeather” doesn’t dismiss America’s bloody legacy of genocide, cultural appropriation and forced assimilation when it comes to Native Americans. It’s the dead elephant in the room — but the characters have other things on their minds.

Graham based his play on a true story. “Joe Whitefeather” is a stand-in for Jim Thorpe — a realworld Native-American athlete and Olympic gold medalist. A real-world Pennsylvania town did take his name and build a tourist-trap memorial.

So what? To quote Ann Beattie, “It really happened” means nothing unless your fictionalized version is a good story. This one is.

Ever Onward Season 27

VIVALDI and MENDELSSOHN

May 9, 7:30 pm

Sarasota Opera House

Concertmasters Rimma BergeronLanglois, Nikki Chooi, Jun Iwasaki and Emerson Millar are joined by Daniel Jordan (violin), Steven Laraia (viola), Bjorn Ranheim (cello), Michael Turkell (violin), Stephanie Block (viola), Natalie Helm (cello), John Miller (bass), and Jonathan Spivey (keyboard) for Vivaldi’s Four Seasons and Mendelssohn’s String Octet

VIOLA ROYALE

May 14, 4:00 pm

First Presbyterian Church Brothers Paul Laraia, with the Grammy Awardwinning Catalyst String Quartet, and Steve Laraia, with the Boston Symphony Orchestra, present a program of viola duets. The second half features a quintet by Mozart that includes Sarasota Orchestra’s violinist Daniel Jordan and cellist Natalie Helm.

The Gala Royale

Sunday, April 30, at Circus Arts Conservatory | Benefiting Sarasota Ballet

The Sarasota Ballet treated its supporters with a Gala Royale on April 30.

The annual gala fundraiser — hosted at the Circus Arts Conservatory again this year — started with a ballet production at the Sarasota Opera House. Guests then loaded into their cars and made the trip to the Sailor Circus Arena for the evening’s dinner and program.

After mingling and enjoying the ambiance, the audience sat down to hear from the board’s chair, Richard Johnson, who spoke to his excitement for the future of the Sarasota Ballet.

This year’s gala honored Sarasota Ballet Executive Director Joseph Volpe for his many years of service with the company.

The evening concluded with drinks and dancing.

— HARRY SAYER

Jean Volpe and Executive Director Joseph Volpe

Photos by Harry Sayer

Fred Doery and Sarasota Ballet Director Iain Webb

Donna Koffman, Amie Austin, Jalina and Maria Beck, Ashley Kozel and Aimee Chouinard

Board Chair Richard Johnson Mikhail Scott

Co-chairs Frank and Katherine Martucci

Co-chairs Patricia Golemme and Timothy Fullum

Spring Soiree

Big Brothers Big Sisters of the Sun Coast dazzled guests with a Spring Soiree at the Lakewood Ranch Golf and Country Club on April 27.

The annual affair — which brought more than 200 guests to the club and benefits the organization’s services for children in Manatee County — started with a lively mingling hour during which guests picked up drinks and bid on silent auction items.

Co-chairs Heather Urribarri and Kevin St. John welcomed the audience before TV news figure Annette Gutierrez took to the stage to serve as emcee. Sierra Gonzalez, a parent associated with Big Brothers Big Sisters, then spoke to the impact the group has had on her family before it was time for the night’s giving moment.

The event concluded with a chance drawing.

— HARRY SAYER

A Black Tie Goodbye

“My newspaper wants to hire someone who’s good at talking to people. Are you interested?”

My former editor sprung that question on me a month into my post-graduate life in Palm Beach. I had already gotten into a fight and started sleeping in my car in that short time, so I figured a change would be good for me.

Plus, I was a terrified early 20-something who needed a job.

You remember that feeling, right?

That was my introduction to the Observer Media Group and the Black Tie beat.

When you do the math (something I try to avoid), I’ve been working in Observer offices for close to seven years. I’ve met amazing people, documented the philanthropy scene and only picked up one visible scar along the way.

That’s all come to an end. I’m writing this on my last day at the Observer.

And really, what a ride. I’m a mix of emotions — mostly good, some melancholy — but I’m feeling ready for what’s next.

The Black Tie beat has been a good fit for me. It demands an energy I’ll admit I have in spades.

I felt comfortable in the hum of philanthropic activity at the Winter Park/Maitland Observer newspaper in Central Florida.

The Winter Park office was the Little Engine That Could, but Ultimately Couldn’t — we shuttered close to two years after I started.

But things were moving at the Sarasota office, and I was offered the Black Tie position here.

I didn’t know a thing about Sarasota. I was South Florida-born and raised. Why drive across the state when we had beaches at home?

But after a few years in Central Florida, I missed the sea breeze. I took the Black Tie job and moved into a beach shack in the Siesta Key Village.

I learned a lot from the sun-fried retirees there who drunkenly yelled deep into the night, fumbling for something they’d never have again.

At the same time, I was dressing up in suits and mingling with Sarasota’s social members, the fashionistas and fixtures who serve as the philanthropic support network for this nonprofit-heavy town.

The Black Tie beat is unique. It’s all just people, right? That’s true of most facets of journalism, but that’s

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especially true in this little bubble we’ve carved out in SRQ. Learning how to connect with the various personalities was a fun part of the job.

The Black Tie community, fortunately, was welcoming at my arrival. It helped that I look like everyone’s Republican grandson; I’m sure that endeared me.

There have been countless people who have provided me with advice and direction when working with local nonprofits. I think that was my favorite part of the job — seeing good people doing good deeds.

I’ve had many Observer colleagues and local creatives who’ve helped me along the way as well. Niki Kottmann, Troy Herring, Cliff Roles — they all helped me figure out my creative voice and style as best I have it.

People in the BT scene have said I made my mark here, which is kind. I’m not sure if that’s true, but what do you want from me? I was raised Catholic; we’re not bred to feel good about ourselves.

Journalism is a weird industry. It pays terribly, the hours are miserable and a third of the country wants to kill you. And yet, the act of creating is too special to give up.

I think I’m stopping Black Tie at a good point, and I’m thankful for the Observer Media Group for taking a chance on me. The opportunities the company have given me to push myself and grow have been priceless.

What’s next for me? My fiancee and I are moving to Wilmington, North Carolina, for the summer. I’m told it’s a big little town on the beach with plenty of tourists. I think I’ll handle that just fine. I’m grateful to you all for being part of this chapter. I’m happy to be leaving for something new. And I’m rooting for whomever the Observer finds next to cover this fun little beat.

20th Anniversary Season

“Black Women in Our Collective Culture”

Friday, May 12 @ 6:30pm • Hermitage Beach (Manasota Key)

Hear from visual artist Delita Martin, whose portraits have been described as “startlingly beautiful” (Baltimore Magazine) and author Imani Perry, who The New York Times describes as “insightful, ambitious, and moving.”

Hermitage Sunsets @ Selby Gardens: “Cello on Point”

Friday, May 19 @ 6:30pm • Selby Gardens Historic Spanish Point (Osprey)

Hermitage alum and renowned cellist Karen Patterson shares music and insights celebrating cultural diversity, the dynamic beauty of artistic expression, and the strength of community.

Presented in partnership with Marie Selby Botanical Gardens.

“Moved to Music: Violin on the Bay”

Friday, May 26 @ 6:30pm • Van Wezel Terrace (Sarasota)

From the soaring and lyrical violin of Mazz Swift to the interdisciplinary inspiration for Rebecca Crenshaw’s music, this concert and conversation with two celebrated Hermitage musicians highlights the way music brings us together.

Presented in partnership with the Van Wezel Performing Arts Hall.

To register (required) for upcoming programs: HermitageArtistRetreat.org

BLACK TIE & TALES HARRY SAYER

Courtesy photo

I met my fiancee through this job. Did you know that? Not sure what I’m going to do with all these suits now, to be honest.

Thursday, April 27, at Lakewood Ranch Golf and Country Club | Benefiting Big Brothers Big Sisters of the Sun Coast

Annette Gutierrez and Bryce Moore

Harry Sayer

Ira Paul, Gina Taylor, Jennifer Simms and Cindy Moore

Co-chairs Heather Urribarri and Kevin St. John

Black Tie Editor Harry Sayer bids farewell to the Observer Media Group.

More Than A Meal.

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