Arts culture black tie 9 3 15

INSIDE:

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PEOPLE WITH PURPOSE: Shaun Merriman 8 > < STAGEDOOR: Rafael Petlock at The Players 4

ARTS + CULTURE HIGHLIGHTS

YOUROBSERVER.COM

THURSDAY, SEPTEMBER 3, 2015

Photos by Nick Reichert

Artist Betty Isermann with her winning watercolor

Art Center Sarasota opens final exhibition of the 2014-2015 season Betty Isermann and her husband, Howard, have been longtime donors and supporters of Art Center Sarasota. The lifelong still-life watercolor painter was pleasantly surprised to learn last week that she had won the nonprofit organization’s blind open exhibition that opened Aug. 27.

Isermann’s floral watercolor painting beat out dozens of other entries to win first prize at Art Center Sarasota’s final exhibition of the season.

When told the news the day before the show opened, she was close to tears. “I’ve been painting a lot of years,” says Isermann. “But this has been quite the honor. I was astonished and overwhelmed when I heard the news.”

Nick Reichert

Leymis Bolaños Wilmott, center, is poised to lead Fuzión Dance Artists into its 10th season.

DECADE OF DANCE Fuzión Dance Artists turns 10 Co-founder Leymis Bolaños Wilmott reflects on a decade of fostering alternative contemporary dance in Sarasota.

NICK REICHERT A+E EDITOR

Lisa Illitis and Wesley Illitis

Barbie Crowder and Ken Keating

O

n a late summer day in 2003, Leymis Bolaños Wilmott sat down to write in her journal.

The dance outreach coordinator had just moved to Sarasota with her master’s degree in performance and choreography from Florida State University, and she was ready to set new goals. She opened her journal

and jotted down her next aspiration: “Start my own dance company.”

On Sept. 18, Wilmott will celebrate 10 years at the helm of Fuzión Dance Artists, Sarasota’s first alternative contemporary dance company, which she co-founded with friend and fellow FSU master’s student Rachael Inman. PAGE 2

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THURSDAY, SEPTEMBER 3, 2015

DECADE OF DANCE: Fuzión Dance Artists turns 10 FROM PAGE 1

“When I moved here, I realized there wasn’t any modern or contemporary dance happening,” says Wilmott. “After our first few performances, we became actively involved with dancers and educators in the public schools, and we were teaching master classes every week. We became Sarasota’s first contemporary dance company.”

MODEST BEGINNINGS

Fuzión Dance Artists got its start in January 2004, when Wilmott and Inman, along with a few dancers from their alma mater, held their inaugural performance in Five Points Park.

Slowly, over the next decade, the company gained a reputation as the area’s first modern dance company — and one that wasn’t afraid to experiment.

Sam Alfstad, owner of Aflstad& Contemporary, the venue hosting Fuzion’s 10th anniversary performance Sept. 18, says he was introduced to the company last year during a Georgia O’Keefe and Alfred Stieglitz exhibition he was hosting at his former gallery, Ice House. Alfstad remembers being impressed with the company’s collaborations with visual artists, so he invited them to perform at the exhibition.

“They had six performances in the gallery, amid all the art,” says Alfstad, who later became one of Fuzión’s board members. “Every time we had one of the dances, we had a bigger audience. The word of mouth was great.”

Photos by Nick Reichert

The Sept. 18 performance at the Alfstad& Contemporary will be a celebration of the last 10 years, as well as a look at the company’s changing future.

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DANCE FOR ART'S SAKE

A NEW CHAPTER

Wilmott directs dancers to strike the right pose at a rehearsal for Fuzión’s 10th anniversary performance.

that happen here.”

IF YOU GO

ONE HEART AT A TIME

A few weeks before the 10th anniversary performance, Wilmott was taking a break from her busy rehearsal schedule for a cup of coffee at the Coffee Loft, one of her favorite places to unwind, down the road from New College, where she teaches dance.

As she was waiting in line, a young ballet dancer overheard her discussing Fuzión and her outlook on contemporary dance in Sarasota, so she came up to introduce herself.

10th Season Kickoff Where: Alfstad& Contemporary, 1419 5th St. When: 5:30 to 8:30 p.m. Friday, Sept. 18.

Tickets: $10 suggested donation Info: Call 345-5755

In the type of interaction Wilmott says happens on a weekly basis, the two exchanged contact information, discussed the upcoming performance and talked about her attending one of Fuzión’s classes.

For Wilmott, it’s the perfect example of how Fuzión Dance Artists has found success throughout the last decade: one heart at a time.

“I love nurturing our dance community,” she says. “We’re inclusive, but we still experiment and push the boundaries of what contemporary dance can be.”

Bu

y

The Friday, Sept. 18 celebration at the Alfstad& Contemporary will not only be a celebration of Fuzión Dance Artists, but also of the visual artists they’ve collaborated with over the years.

The performance will incorporate art, photographs and videos from Daniel Perales, Pam Sumners, Sabrina Small, Jenn King, Jack Shapiro, John Revisky, Lori Ligget, Barbara Williams and Sarah Bigelow.

A photographer who graduated from the Ringling College of Art and Design in 2009, Bigelow says she was happy to find Fuzión, which was willing to collaborate with her to explore movement and dance in her photography.

“Dance is their canvas,” she says. “And they’re inviting everyone to contribute a color.”

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SA r tic VE ket $1 s no 0 wa

nd

images: still silver photography

For the anniversary celebration, the 11 company dancers will continue their collaborative tradition by choreographing a performance inspired by work from local visual artists, including paintings, prints and photographs hung on the gallery wall.

“We’re going to have a lot of artists who have worked with Fuzión over the years showing that night,” says Alfstad. “The artists will put up things they’ve done over the years. It’ll be a celebration for people who know and care about Fuzión.”

The event will also be an opportunity for the company to unveil renderings of its planned new rehearsal space in the future Rosemary Square project, as well as its new name. Wilmott hopes these changes will continue to elevate the company and bolster the local dance community.

“It’s going to be a radically different name,” she says. “It kept happening in Sarasota that after each performance, people would come up to us and ask who and what we were, even after years of performing in the community.”

With the possibility of a permanent home in the Rosemary District in the near future, Alfstad says he wants to get contemporary dance into the minds of dance and art-lovers who frequent the Sarasota Ballet and other large arts organizations, and encourage them to support Fuzión, too. And in a town that prides itself on its cultural reputation, he sees contemporary dance as the missing piece of the Sarasota arts spectrum.

“Contemporary dance is a key part of any cultural milieu,” he says. “It’s one of the pillars of culture, and we’d really like to see

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THURSDAY, SEPTEMBER 3, 2015

2nd Annual Food and Wine Festival

Saturday, September 19, 1:00 pm–4:00 pm

Sarasota Opera House, 61 N. Pineapple Ave., Sarasota 34236 Menu tastings from your favorite downtown restaurants: Bijou Café Blue Rooster Brooklyn Biscuit Tortoni Co. Café L'Europe Caragiulo's

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THURSDAY, SEPTEMBER 3, 2015

STAGEDOOR: Rafael Petlock After 18 years of performing in New York City, Petlock is back in his hometown to pursue acting full time.

First up: a starring role in Tennessee Williams’ ‘Cat on a Hot Tin Roof.’

IF YOU GO

NICK REICHERT A+E EDITOR

Behind the curtain at the Players Theater, there’s a sort of history book of Sarasota’s theater scene.

What at first glance appears to be jumbled plots of graffiti on the wall is actually cast signatures, production names and other mementos accumulated throughout the theater’s 86-year history.

Among the autographs, somewhat obscured by the newer ones, is Rafael Petlock’s signature. The local actor spent his childhood performing in Sarasota before heading off to perform in New York City. Now, he’s back in his hometown for good, and he’s ready to add his name to a few more playbills — and walls.

From Sept. 3 through 13, at the Players Theatre, Petlock will star as Brick in Tennessee Williams’ Pulitzer Prize-winning 1955 play, “Cat on a Hot Tin Roof.” Just like the character he is portraying, Petlock is full of passion.

“I knew very young what I wanted to do,” he says. “I remember going to see the play, ‘The Mystery of Irma Vep’ at the Asolo Repertory Theatre. It blew me away. It was fast-paced and very clean, and I had a sense of jealousy

that I wasn’t in the show.”

The Philadelphia native moved to Sarasota at the age of 2, and it wasn’t long before he got his first taste of his future career. His father was the assistant lighting director at Asolo Rep from 1976 to 1990, and his mother was the theater’s wardrobe supervisor until she retired three years ago.

Petlock would hang around with his family backstage developing his love for theater during those hours as a curious child.

“I still remember being 3 and being on my father’s shoulders when he’d be doing light checks,” he says. “He’d count and point out the lights and bring each one up to see that it was focused correctly and that the gels weren’t burned out.”

Petlock landed his first role as Trouble in “Madama Butterfly,” at the Sarasota Opera, and he

Rafael Petlock gets into character to play the lead in “Cat on a Hot Tin Roof,” opening tonight at the Players Theatre.

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YourObserver.com

Photos by Nick Reichert

Petlock's signature backstage at the Players Theatre from his appearance in the musical, “Titanic.”

“There’s nothing worse than being backstage watching somebody else do what you want to do.”

– Rafael Petlock

THURSDAY, SEPTEMBER 3, 2015

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continued to act in local and high school productions until at 17, he opted to move to New York City to pursue his acting dream and earned a full ride at Marymount Manhattan College, where he got a B.F.A. in theater.

“I don’t think my parents were absolutely thrilled at the decision,” he says. “But they were very encouraging. They were quite proud that I hadn’t even graduated from high school, and this college wanted me to enroll.”

After 18 years of performing off-Broadway and in small TV roles, Petlock sought a change from the big-city pace and cold winters. So he came back to Sarasota, where he’s pursuing acting full time and working as a stagehand at the Van Wezel Performing Arts Hall and other venues.

For his role as Brick, Petlock has studied the script and worked on the character for three hours a day — not including rehearsal time — for the last six weeks. Not only has he learned his lines, but he’s also mastered the physicality of an angry alcoholic who’s been forced to use a crutch after breaking his ankle.

“I started working with the crutch early,” he says. “I got so good with it and the glass that it was ridiculous.”

Working as a stagehand and watching others perform has triggered the same twinge of jealousy that first turned him on to the performing arts. He’d like to to transition to full-time acting.

“There’s nothing worse than being backstage watching somebody else do what you want to do,” he says.

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Swing band turns back the clock IF YOU GO

MARTY FUGATE THEATER CRITIC

The Swingaroos are swinging and singing at Florida Studio Theatre. Based on the name, one might think the six-piece is a touring Australian swing band.

No, mate. They’re also not an ad-hoc band assembled for a revue. They’re an actual, factual band on tour from New York City. And they can definitely play.

Kimberly Hawkey is the high-octane lead singer; lightfingered Assaf Gleizner plays the piano and arranged the tunes.

Saxophonist/clarinetist Daniel Glaude, trombone player Nat Ranson, bassist Oliver Watkinson and drummer Uri Zelig add to the musical stew and keep it cooking. But it’s not all swing in the pot.

They’re a swinging band, but not a swing band. The Swingaroos cover American pop standards from 1930 to 1945—or recreate the sound with original tunes penned by Gleizner.

The mix includes a blistering bluegrass attack on the traditional “Mama Don’t Allow,” a sizzling Brahms’ “Hungarian Dance No. 5” (the Brahms tune that doesn’t put you to sleep), a Better Midler-esque “America the Beautiful,” Stephen Foster’s weepy “Old Folks at Home” and I thought I caught a riff from George Gershwin’s “Rhapsody in Blue.”

Meyer and Wolfe’s “Crazy Rhythm” and Arlen and Mercer’s “My Shining Hour” kick into true swing syncopation — a worthy take on the classics. But Gleizner and Hawkey’s original tunes all feel like old standards.

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The Swingaroos play throwback tunes at FST.

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“Someday Sunday Subway Boogie” has swing’s finger-popping vibe; “Grocery List” is a Duke Ellington-style litany of foodbased double entendre; “Steam Train” has a shuffling, stride piano beat. Two stylistic chameleons, these kids. The songwriting duo could steal Doc Brown’s DeLorean, go back to 1940 and get on the airwaves.

There’s a loose narrative structure behind the music: The Swingaroos are getting their act together, getting ready to hit the big time in New York City. But the story stays in the background. Story aside, the performers’ raw talent and highwatt personality make the show work.

The band dynamic draws you in with all its back-and-forth reactions of patter, patois, significant looks and gags. Their garb helps to sell you, too. All the guys wear snappy fedoras, except for the Stetson-sporting trombonist. Hawkey’s poured into a spangled red dress and turns from sultry to sassy on a dime. She’s a true lead singer with real presence and substance behind the style. She has a great voice and does a wicked scat number that sounds like she’s playing the trumpet. But the level of musicianship is intimidating all around. Each Swingaroo gets a chance to show off and shine. Machine-gun drum solos, klezmer-style clarinet wailing, lightspeed piano medleys (including a four-hands boogie) and an intricate bass riff. They work nicely together and apart, these kids.

The Swingaroos give you nothing but entertainment — and more than the empty calories of nostalgia. These young musicians aren’t serving up dead styles; they’re working within swing, stride, jump blues, or New Orleans jazz, as the case may be. And those styles are alive and well when they sing and play.

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FAS HI O N INS I D ER GAME-DAY GARB

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#GoKnights Shore “Ada” maxi dress: $188 at Shore

HEATHER MERRIMAN SABA BLACK TIE EDITOR

C

ollege football season kicks off this Saturday, and like any fan, we know you’re getting ready for viewing parties, tailgates or, if you’re lucky enough, road tripping to your alma mater to watch the game in person.

So what are you going to wear? We stopped in a few local boutiques and asked for their best game-day apparel. Some stores had displays just for the occasion, and others had some gems hidden in the racks. After a thorough search, we found the perfect outfits for you to wear while cheering on your favorite Florida teams this season.

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THURSDAY, SEPTEMBER 3, 2015

P EO P LE W IT H PUR POSE SHAUN P. MERRIMAN AGE: 53

BLACK

OCCUPATION: President, CEO and Organizing Director of Gateway Bank of Southwest Florida ORGANIZATIONS: The Van Wezel Foundation, American Heart Association, Doctors Hospital of Sarasota, BankServ, Florida School of Banking and The Greater Sarasota Chamber of Commerce.

WE HAVE to be an extension

of the community. I try to stay in key leadership positions, because it helps me personally and professionally. I get to meet more people.

YOU HAVE to be involved.

Nick Reichert

Shaun Merriman hopes to use his diverse leadership experience in his new role at the Van Wezel Foundation.

NICK REICHERT A+E EDITOR

S

haun Merriman believes a good businessman needs to be wellrounded and engaged with his community. And as president and CEO of Gateway Bank of Southwest Florida, he sticks to his motto. The former professional skier is just as comfortable in a board meeting as he is on the water or mingling at a Chamber of Commerce social. The Wisconsin native has spent the last 30 years developing his career as a community banker and serving on a variety of area nonprofit boards. Now, he’s taking the helm as chairman of the board of the Van Wezel Foundation.

The boss I had in DeLand had been a part of that community forever. He was the youngest bank president in the state of Florida at 19. He was a kid. And he was Mr. DeLand. He was involved with everything: the chamber, the hospital and the community college. Working for him, I saw the impact that he had and the joy that he got from being on these boards. It kept him alive.

I LIKED the focus and mission at the Van Wezel Foundation on the children’s programs.

We provide a lot of funding to get kids bused here and pay for those performances. The schools can’t pay for it. They

don’t have it in their budgets for the performances or busing. We try to make sure kids can be exposed to the arts.

ONE OF the biggest projects we’re helping with right now, along with the Sarasota Orchestra, is Bayfront 20/20.

We’re working side by side to make sure that we’re part of that overall planning. We need to make sure the Van Wezel will be here for another 45 years.

WHEN I wasn’t skiing or work-

ing, I spent a lot of time with music. I love the performing arts and dance. At Sea World (where he led the male ski team for three years), all the shows are performing arts, whether they realize that or not. The ski show at Sea World is completely theatrical. It’s acting.

It’s dancing. It’s singing. It’s everything. I’ve always had an incredible respect for performers and what they have to do to focus on mind over matter and deal with the audience.

“I’ve always had an incredible respect for performers and what they have to do to focus on mind over matter and deal with the audience.”

– Shaun Merriman

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