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ARTS + ENTERTAINMENT THURSDAY, JANUARY 16, 2020

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A twisty, fantasy thrill ride – emphasis on the fantasy – and an internet series on cooking experiments are this week’s picks. YOUROBSERVER.COM

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Florida Studio Theatre’s Stage III series is for audiences who welcome a challenge. PAGE 2

Peter Max exhibition Chasen Galleries showing a 50-year retrospective of the ’60s pop-art giant. PAGE 8

SEE THIS

‘Sender’ Photo courtesy of Matthew Holler

Leah Greene plays a fantasy character that inhabits “The Nether” and becomes central in a real-world crime investigation.

Urbanite Theatre presents Ike Holter’s play about young adults becoming grown-ups. PAGE 10

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THURSDAY, JANUARY 16, 2020

IF YOU GO ‘THE NETHER’ When: Through Feb. 7 Where: FST’s Bowne’s Lab Theatre, 1265 1st St. Price: From $25 Info: Call 366-9000.

Above: William Thomas Evans and Leah Greene dance in “The Nether,” about a virtual world where people can live out their grandest or darkest fantasies. Right: A moment of innocent fun between Eric Gilde and Greene belies what goes on in “The Nether.”

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hy do go people go to the theater? The simple answer: to be entertained. OK, but what does that mean, “to be entertained”? For most people most of the time, it means leaving reality behind, having their emotions gently tugged for a few hours and then finding themselves repeating laugh lines or humming a tune for the next few days.

But not everyone sees theater that way. There is a segment of the theatergoing public that seeks plays to intellectually, emotionally and philosophically shove them with both hands out of their comfort zones. Rather than escaping reality, they want plays that delve into aspects of our society that we usually try not to think about. What some would call offensive material, they call stimulating. And if the storytelling style is unorthodox too, all the better.

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That’s art. That’s theater. That’s entertainment. At Florida Studio Theater, that’s what they call Stage III. On Saturday, Jan. 17, FST opens the fifth season of its Stage III series with sci-fi crime drama “The Nether.” It’s a detective story that leads its sleuth into deeply disturbing territory. That alone makes it sound like it could be an engrossing script. But it is also a play that typifies what the Stage III series was created for, FST Producing Artistic Director Richard Hopkins says. “This series tends to attract the adventurous theatergoer,” Hopkins says. “Sometimes people say it’s the more ‘experienced’ theatergoer, but I don’t think that’s necessarily true. Because there are a lot of people who have been going to the theater for 30 or 40 years who [couldn’t] care less about the Stage III.” A TRADITION OF NONTRADITION

In a way, Stage III is something of a return to FST’s roots when it was founded in 1973, Hopkins says. “This was a time of great change in the American theater,” he says. “There was a big movement away from all the glitz and glamour and big sets.” The push was toward what is known as “poor theater”

— “poor” in the financial sense — productions with minimal sets and costuming. It was experimental, edgy stuff, Hopkins says. But eventually, being edgy loses its edge, he says, when you realize you’re intentionally playing to a niche audience. At some point a theater has to decide whether to stay on the fringe or to aim for a wider audience. FST chose the latter, which now has afforded it the ability to offer a variety of theatrical options. While the theater’s mainstream and cabaret series’ have about 14,000 subscribers each, Stage III has about 2,000. This is smallbatch theater. “It’s an outlet for us

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When people leave a Stage III play, Cannon says “they should be arguing about what they saw in the car on the way home.” Then he laughs at himself. “Well, let’s say ‘discuss.’” It’s for people who like frank, intelligent discussion even when the subject matter is inherently uncomfortable. REAL-WORLD FICTION

artistically,” Hopkins says. “It’s a place where we can do the things that we wouldn’t normally do.” Jason Cannon, director of “The Nether,” describes Stage III as being for “the thirstier theatergoer” and says it delivers on FST’s mission statement to “produce theater that challenges with as much gusto as it entertains.” Cannon says the important distinction to make is the challenge. Shock for shock’s sake is lazy theater, he says. By all means, some of what Stage III plays delve into is shocking, but it’s always with the purpose of being a catalyst for the audience to consider complex, controversial topics.

“The Nether” sure fits that bill, Cannon says. The play revolves around a virtual reality system where anyone can do or be anything they imagine. Sounds like a man-made key to paradise, right? Now, Cannon says, “Think of the most vile, horrible thought or fantasy that’s ever passed through your mind. Here, you’re told you can do it, no consequences.” No? The play touches on issues that we’ve been increasingly dealing with our entertainment today, Cannon says. Some argue that living out fantasies in a virtual world that you wouldn’t dare in the real world is a harmless alternative outlet. Some even suggest it’s a beneficial deterrent. But is it? If you do something in a fantasy world, didn’t you in some sense really do it? And if you choose to live out these fantasies, what does that say about you? And what does it say about you to have had those thoughts in the first place? And what are the real-world repercussions of living a fantasy double life? How many ways can your real life suffer because of the fantasy.? Now throw some gasoline on those questions: In “The Nether,” the fantasies involve pedophilia. We don’t actually see it taking place on stage, but we know that’s what’s happening. On another level, astute audience members might also consid-

er that the play they’re watching about total-immersion virtual reality is being presented in the poor theater style, with much of the alternate world created in their own minds. As with all Stage III plays, “The Nether” will be performed in Bowne’s Lab Theatre. With only about 100 seats and a balcony that brings all of those seats close to the stage, it is the smallest and tightest of FST’s five spaces. Cannon says the space provides an advantage for these kinds of shows. The energy and intensity in that small house is something that is impossible to achieve in a large theater, he says. The level of engagement it creates — now that’s total immersion. “The budget that people’s brains work with is way bigger than what Hollywood can do,” Cannon says. “We can’t do ‘Lord of the Rings’ in here, but we can tap into your imagination and ask you to come along for the ride.” It’s ride that changes with every show, Cannon says. After “The Nether” closes Feb. 7, Stage III will continue with “Kunstler,” opening Feb. 19. While “The Nether” goes for the gut with its questions of morality, “Kunstler” is much more of an intellectual debate, literally. The play imagines the late civil rights attorney, who was one of the first big celebrity lawyers of the cable TV era, in a confrontation with a law student while at a speaking engagement at a college. Cannon says this play deals with questions about our legal system, the media-driven culture we live in and, perhaps most significantly, the refusal by people today to consider or listen to points of view that conflict with their own. The Stage III series then con-

THURSDAY, JANUARY 16, 2020

Photo courtesy of Sarah Haley

cludes with the world premier of “Paralyzed,” in which the discovery of a suicide note in a hotel room brings two strangers together briefly then sends their lives into separate trajectories, played out alternately in counterpoint onstage and addressing such issues as guilt and personal responsibility. Three plays, wildly different from one another in every aspect except one: None would be described as “relaxing.” But hey, Canon says, when you go to Universal Studios, “not everyone likes crazy roller coasters.” FST has four other theaters, with something for most every speed.

Anique Clements plays a detective who follows William Thomas Evans in the real world and cyberspace in “The Nether,” a Stage III drama to “attract the adventurous theatergoer,” Artistic Director Richard Hopkins says.

Joan Mitchell (American, 1925–1992), Untitled, 1965. Oil on canvas, 21 1/4 × 16 1/16 × 1 1/8 in. Bequest of Mandell L. and Madeleine H. Berman, 2018. SN11606.1

2020

REMAKING THE WORLD Abstraction from the Permanent Collection

Feb 7 – Sun Mar 1

NOV 10, 2019 – AUG 1, 2021 This exhibition will include significant artworks by artists who made important contributions to the development of abstraction in New York in the 1940s and onwards, including artists instrumental in establishing a vital art scene in Sarasota.

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THURSDAY ‘SISTER ACT’ 7:30 p.m. at The Players Centre for Performing Arts, 838 N. Tamiami Trail $14-$34 Call 365-2494. First it was a movie, then a sequel, then it was adapted for the stage. You could say it was habit-forming — but we would advise against it. “Sister Act” is a divine musical comedy about a woman hiding in a convent who helps her fellow sisters

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THURSDAY, JANUARY 16, 2020

THIS WEEK

find their voices as she rediscovers her own. Runs through Feb. 2.

FRIDAY

THE NAKED MAGICIANS 8 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $22-$82 Call 953-3368.

SARASOTA SEAFOOD AND MUSIC FESTIVAL 4 p.m. at J.D. Hamel Park, 199 Bayfront Drive Free Visit SeafoodFestivals.com.

Nothing up their sleeves — or anywhere else we can tell — as two saucy Aussie magicians perform inexplicable acts of prestidigitation that will amaze and amuse. Now you see it; now you see it some more. Suffice to say, this show is for ages 18 and older.

Eat, drink, shop, and listen to live music at the fifth annual installment of this three-day event built around a diverse menu of frutti di mare cooked fresh on site. The Humane Society will have its “Big Mac” mobile adoption center there too. Runs through Sunday. LIVING BETWEEN WORLDS: FINDING RESILIENCE IN CHANGING TIMES 7 p.m. at The Carlisle Inn, 3727 Bahia Vista St. $35; members $25 Call 952-8188. Ever wish the world would just slow down? Sure, we all do. The C.G. Jung Society of Sarasota welcomes Jungian analyst James Hollis, who will speak about how individuals and cultures manage “in-between times,” such as major life transitions or periods of crisis, loss, upheaval and anxiety. A coffee and dessert welcome period begins at 6:30 p.m., and a Q&A will follow the lecture.

YIN MEI, ‘PEONY DREAMS: ON THE OTHER SIDE OF SLEEP’ 7:30 p.m. at The John and Mable Ringling Museum of Art, 5401 Bay Shore Road $25-$35 Call 358-3180. The Ringling Museum of Art’s “The Art of Performance” series continues with this ethereal production created and choreographed by Yin Mei. In it, she has taken the Chinese literary work “The Peony Pavilion” and combined it with her own experiences during the Chinese Revolution.

OUR PICK

VICTOR WAINRIGHT AND THE TRAIN 8 p.m., The Blue Rooster, 1525 Fourth St. $20; at the door $25 Call 388-7539.

‘LIL & LOUIS’ This original play with music by playwright Jo Morello explores the little-known relationship of “the first couple of jazz,” Louis Armstrong and his beloved wife, Lil. The play asks, “If Louis didn’t have his Lil, would the world have had its Louis?” Runs through Jan. 25.

There’s nothing like a case of the blues to liven up the weekend, so hop on board with Victor Wainright and the Train as their Frosty Funk Tour blows through town. Wainright, a Blues Music Awards nominee this year and a Grammy nominee last year, has been traveling and playing the blues for years, and he has the rangy repertoire to prove it.

IF YOU GO When: 7 p.m. Tuesday Where: First Presbyterian Church, 2050 Oak St. Tickets: $38 Info: Visit LilAndLouis.com.

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SATURDAY

spot or break loose with — who knows? Last time it was Jerry Lee Lewis’ “Great Balls of Fire.”

EMBRACING OUR DIFFERENCES Bayfront Park, 5 Bayfront Drive Free Call 404-5710.

‘FIRE AND LIGHT’ 8 p.m. at First Congregational Church, 1031 S. Euclid Ave. $20 Visit EnSRQ.org.

Once a year, Embracing Our Differences brings people together through art and education on with this annual outdoor juried exhibit. Fifty billboard-size works of art are accompanied by an inspirational quote, all of which touch on the broad subject of diversity. Runs through April 5. CELEBRATING SONDHEIM 4 p.m. at Riverview Performing Arts Center, 1 Ram Way $28-$45 Call 387-4900. Legendary Broadway composer Stephen Sondheim turns 90 this year, and Choral Artists of Sarasota is sending out early birthday wishes with this show of tunes from “A Little Night Music,” “Sweeney Todd,” “Sunday in the Park with George” and more.

SUNDAY DR. MARTIN LUTHER KING JR. TRIBUTE 3 p.m. at Temple Emanu-El, 151 McIntosh Road Free Call 359-2890. Temple Emanu-El and the Jewish Federation of Sarasota-Manatee co-sponsor a musical and spoken word tribute to Martin Luther King Jr. in an interfaith gathering in conjunction with events sponsored by the Newtown Tribute Committee. A cake and coffee social will follow the program.

Composer and violinist Jessica Meyer will generate some heat when she joins EnsembleNewSRQ in “Fire and Light.” Meyer will play three of her works, “Delta Sunrise,” “Tapped into the Same Vein” and “Sagrada Familia.” Conor Hanick and Samantha Bennett will perform Eric Wubbels’ “The Children of Fire Come Looking for Fire.”

DON’T MISS JEN SHYU: NINE DOORS Composer, singer, musician and dancer Jen Shyu sings in eight languages and plays the Taiwanese moon lute, Korean gayageum, piano, Japanese biwa and Korean soribuk drum in this ritualistic solo performance. “Nine Doors” is about a young woman’s journey

CELEBRATION OF DR. MARTIN LUTHER KING JR. 7:30 p.m. at Booker High School, 3201 N. Orange Ave. $15-$35; students $5 Call 366-1505. Westcoast Black Theatre Troupe presents a musical and spoken tribute to the civil rights leader. Much of the focus will be on King’s pursuit of nonviolent social change. Runs through Monday.

through time and space as she finds guidance, strength and solace in the face of trauma. IF YOU GO When: 8 p.m. Saturday Where: Harry Sudakoff Conference Center, 5845 General Dougher Place Tickets: $15 Info: Call 487-4888.

MONDAY MUSIC MONDAYS: CHARLIE ALBRIGHT 10:30 a.m. Church of the Palms $10 Call 365-6404. Pianist and composer Charlie Albright makes his third appearance to the interview series. Always a crowd-pleaser, Albright can compose a song on the

TUESDAY THE GREATEST LOVE OF ALL: A TRIBUTE TO WHITNEY HOUSTON 8 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $27-$72 Call 953-3368. Critics have hailed the production values of this show as being a dazzling tribute to the late singer. Vocalist Belinda David, in particular, has been praised for having the vocal to do justice to Whiney Houston’s musical memory.

THURSDAY, JANUARY 16, 2020

to draw the line? This story pits a star journalist against a meticulous fact-checker, whose editor acts as referee as they wrestle with this question while facing a deadline. ‘SPACE AND BEYOND’ 5:30 p.m. at Holley Hall, 709 N. Tamiami Trail From $42 Call 953-3434. Swing among the stars as Sarasota Orchestra presents this installment of its Great Escapes series. The program includes tunes “Fly Me to the Moon” and “When You Wish Upon a Star”; works featured in “2001: A Space Odyssey,” “Star Wars” and “Star Trek”; and excerpts from Mozart’s “Jupiter Symphony.” ‘AMERICAN SON’ 8 p.m. at FST’s Gompertz Theatre, 1241 Palm Ave. From $29 Call 366-9000. Florida Studio Theatre presents a drama that delves into the complexities of family relationships as an estranged couple seeks answers about their missing son. It also raises questions about the degree to which race skews police procedure. Runs through March 22.

‘THE LIFESPAN OF A FACT’ 1:30 p.m. at Asolo Repertory Theatre, 5555 N. Tamiami Trail $26-$72 Call 351-8000.

ONLINE Find information on these events and more at YourObserver.com.

Should the news report “just the facts,” or is there room from dramatic license? And who gets

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THURSDAY, JANUARY 16, 2020

ALL THAT GLITTERS Theatrical costume jewelry-maker Andrew Prince discusses the many facets of his craft. MARTY FUGATE CONTRIBUTOR

Courtesy photos

Top: While never making exact copies of period jewelry, Andrew Prince says his pieces are made to accurately reflect the stye of the period. Above: Prince created this tiara for the character Cora in “Downton Abbey.”

hen it comes to period jewelry, Andrew Prince is both a one-man encyclopedia and a creative dynamo. He has created dazzling collections of historically accurate brooches, combs, earrings, necklaces and tiaras for “Downton Abbey,” “The Young Victoria” and other films and television programs. Prince also shares his multifaceted knowledge as a popular lecturer around the world. He’ll be bringing his insights to Sarasota during a lecture and trunk show Thursday, Jan. 23 as part of the New Topics lecture series at New College. Although Marilyn Monroe tells us diamonds are forever, Andrew Prince thinks that paste is much more fun.

IF YOU GO ANDREW PRINCE: ‘FROM DOWNTON TO GATSBY’ LECTURE AND TRUNK SHOW When: 5:30 p.m. Jan. 23 Where: New College Mildred Sainer Pavilion, 5313 Bay Shore Road Tickets: $15 Info: Call 487-4888.

You create the jewelry of the imagined past. Of course, it’s really contemporary art. Is your artistry a form of creative time travel? A literal copy of a historic object is very uncreative — they always looks a bit fake. I try to take elements from the past and create something that’s, in fact, contemporary. My creations are original, not copies. How would you define those elements? When creating jewelry for the past, you must first consider who’s wearing it and where. The most important consideration is a person’s age. Maggie Smith’s

peak jewelry would reflect the best years of her character’s life in the Victorian or Edwardian eras. Lady Mary would be wearing the stuff that was from the 1920s onward. So your period jewelry is a form of characterization. Precisely. To be truly accurate, you must also consider a range of variables. In England, there were all sorts of do’s and don’ts. For some obscure reason, tiaras were considered incorrect for unmarried women. If a big townhouse held an event, the lady of the house would look magnificent in all her finery. But if they were hosting the queen or a princess, she’d take a smaller role — because you’d never want to outshine royalty. You’ve said that jewelry shouldn’t be about cost. Why not? Jewelry, when you get right down to it, is a decoration. It should be fun. That’s what I love about costume jewelry. You can have fun with paste, but you can’t have fun with real diamonds. Unless you’re designing pieces for the fabulously wealthy, there’s no room for creative risk.

TRUNK SHOW

TATIANA PALNITSKA ANNEMIEKE BROENINK JANUARY 23-24 • 10AM - 7PM

LEAP DAY | Saturday, February 29, 2020 | 6p - 10p Hyatt Regency Sarasota Tickets $250 | RSVP February 19, 2020 GS-HumanServices.org/event/BELIEVE Event info: sglendening@gs-humanservices.org or (941) 365-4545 x102

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THURSDAY, JANUARY 16, 2020

COMING TO THE VAN WEZEL! A OT E! S RA IER SA EM R P

TONIGHT!

THUR, JAN 16 • 8PM But with costume jewelry, you can get away with anything.

old wedding dress. She wasn’t happy, but she kept the piece.

Why do you love jewelry? On a very basic level, I think because it sparkles. A friend of mine once compared me to Gollum. “You look at a piece of jewelry and say, ‘My precious, my precious.’” I suppose there’s some truth in that.

What can we expect at your New College talk? Basically, I’ll be talking briefly about “Downton” and bringing many of the pieces I made for the show. I’ll look at the evolution of jewelry and fashion from 1890 to 1929 and explore why everything changed. It’s going to be a very fun journey.

When did your love affair with jewelry begin? Well, I swallowed a pair of my mother’s pearl earrings when I was 3. You could say I developed a taste for jewelry at an early age. How did that happen? Quite naturally. I found the jewelry box, and in they went. But I started making jewelry at age 5 or 6. I actually made my first piece for my grandmother. I found some copper wire and pulled off a few beads from her

What pieces from “Downton Abbey” are you particularly proud of? Well, I never like to say I’m proud of something, but I do love Maggie Smith’s choker, the one she wore in the third and fourth season. I’ve been offered quite a bit of money for it. I’m not selling it. If anybody wants it, they’ll have dig for it because I plan to be buried with it.

Prince has added to the luster and historical detail of “Downton Abbey,” “The Young Victoria,” “The Great Gatsby” and other movies and TV shows with his costume jewelry creations.

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THURSDAY, JANUARY 16, 2020

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FULL-COLOR FLASHBACKS Chasen Galleries will present a retrospective of works by pop artist Peter Max.

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Fred Thieler (Germany, 1916 - 1999) Abstract painting. Oil on canvas. Sight size: 58 x 35.75 in.

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ention “The ’60s,” and whatever imagery comes to mind will surely include the ecstatically trippy, oh-so-colorful pop art of the era. During the late 1960s and early ’70s, the name Peter Max became synonymous with psychedelic pop art. He didn’t invent the style, but he was prominent and prolific. And he was an early master of modern marketing and licensing. Long before the term “branding” was coined, Max was a versatile brand that outlasted the culture wars of the ’60s to become an enduring part of Americana. Chasen Galleries will present 120 images spanning 50-plus years in an exhibition called “The World of Peter Max Retrospective,” which previews Thursday, Jan. 16 and runs through Jan. 26. “We’ve been working with

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IF YOU GO THE WORLD OF PETER MAX RETROSPECTIVE When: Jan. 16-26. Opening preview 5-8 p.m. Jan. 16; receptions at 5 p.m. Jan. 25 and 1 p.m. Jan. 26 Where: Chasen Galleries, 1830 S. Osprey Ave. Tickets: Free; RSVP for preview and receptions Info: Call 866-900-6699.

Artwork for the Rock and Roll Hall of Fame

Top: Peter Max’s “Love” poster Above: “Cosmic Runner,” which was commissioned by the U.S. Postal Service and became a stamp.

Peter for almost 25 years,” says Lesley Smith of exhibition curator Roadshow Company. She says this exhibition will cover every aspect of Max’s career while conveying something of the artist. Of course, Max’s art is associated with rock music. He has maintained that he’s had bouts of

all the big rock stars wanted to meet him as much as he wanted to meet them, Smith says. “He was friends with all those guys,” and it was inevitable that his work and theirs would become intertwined. Over the years, Max has provided artwork for the Rock and Roll Hall of Fame and the Gram-

Courtesy photos

synesthesia all his life, in which he “sees sounds” and “hears colors.” Smith says he used to blare music in his studio and have assistants follow him with jars of paint, so he could dip his brush while he bopped around as he painted. When he hit it big in the mid1960s, his “cosmic art” period,

my Awards, and some of his bestknown works have been his portraits of music stars, from Frank Sinatra to Taylor Swift. Another image that will be on display is “Cosmic Runner,” which was commissioned by the U.S. Postal Service. And it wouldn’t be possible to have a Peter Max retrospective without the “Love” image, “which really put Peter on the map,” Smith says. The image, released in 1968 as a poster, is of something between a flower and a woman floating in a cloud of rainbow colors and anchored in the word “love.” It typifies the Peter Max style, Smith says: broad strokes, vibrant solid colors and imagery that is simple and recognizable while just this side of abstract. “Peter is a trained artist,” she says, “but he’s really a graphic designer.” The exhibition shows aspects of that classically trained side, with examples of his “master works” series, where Max reinterpreted classic paintings by Van Gogh, Monet, Renoir and others. Younger audiences might know Peter Max best from his “Statue of

THURSDAY, JANUARY 16, 2020

Liberty” series, which became a long-running motif in his career, going back to New York’s bicentennial Fourth of July celebration in 1976. Chasen Galleries Owner Andrew Chasen says he thinks part of Max’s longevity is timing; his work sprung to prominence as baby boomers were coming of age. “They latched onto him, and they’ve stayed that way,” he says. But nostalgia doesn’t explain how Max’s art has stayed relevant for decades, Chasen says, or how it has been adapted to so many uses. As much as Max’s work is associated with an era, he says, its attributes are timeless. “I think color is appealing,” Chasen says. “I think most of his designs are pretty simple. They’re not complicated, so they’re easy to look at. They’re accessible. People relate to them.” If someone relates to one of these images enough, they’ll be able to take it home because all the pieces will be for sale, which is why the exhibition is ending with two receptions, Chasen explains. “We’re going to have mixed media and original works,” Chasen says. These are for the more serious collector. It’s best to give people a chance to take a couple of days, come back and take a second look before deciding “Love” is worth the cost.

ONLINE See more display images of Peter Max art at YourObserver.com.

PHI200299A

Tidewell Hospice is proud to present Mitch Albom as part of its yearlong 40th anniversary celebration.

An Afternoon with Author Mitch Albom Tidewell Hospice welcomes best-selling author and journalist Mitch Albom for an inspirational presentation about his new book “Finding Chika: A Little Girl, an Earthquake and the Making of a Family.” Mitch will read an excerpt of “Finding Chika” and share his thoughts about the dying process, loss and grieving. Tickets are $125. The cost includes a copy of “Finding Chika,” and Mitch will sign copies of that book only after the presentation. Tidewell donors who gave during 2019 receive a $25 discount.

3-5 p.m. Wednesday, Jan. 29 Art Ovation Hotel, Autograph Collection 1255 N. Palm Ave. Sarasota 326559-1

If any questions, call (941) 552-7546. For tickets: https://www.eventbrite.com/e/mitch-albom-tea-and-book-signing-tickets-84603518401.

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Jordan (Ryan Leonard) and Lynx (L. James) reminisce about old times after Jordan learns Lynx wasn’t really dead for the past year.

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outh is wasted on the young. As a corollary, the young are frequently wasted. When adult responsibility finally dawns, it can feel like a bad hangover. Ike Holter’s “Sender” explores that long morning-after at Urbanite Theatre. The play’s narrative is a shattered mosaic. Putting the pieces together, here’s the picture: Sometime in the mid-2000s, a group of young Midwest hipsters became a family, a commune or a cult. Call them what you will — they were close. Lynx (L. James), a slippery, charismatic jive talker, was the de facto leader. His minions included Tess

(Mary Williamson), a misfit with a useless art major; Jordan (Ryan Leonard), a passive slacker; and Cassandra (DeAnna Wright), the group’s designated adult. After a decade of wretched excess, the party’s over. They all had problems. But Lynx was up to his eyeballs in debt to credit card companies, banks and possibly loan sharks. To ditch that monetary millstone, Lynx faked his death and vanished. Tess and Jordan mourned him; Cassandra saw through him. Three hundred and sixty-six days later, Lynx returns, still officially dead and incognito. Tess and Jordan have emotional meltdowns. Cool Cassandra offers Lynx a bribe and an ultimatum: “Get out of town for good, or I’ll make damn sure you’re dead for real.” While Cassandra splits, the others stay. They weep, shout, berate, slap, hug and finally get high. Lynx tells a tall tale about a magical land in Wyoming and has a great idea: “Hey! Let’s all

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run off there together!” Jordan and Tess agree. The trio celebrates with a night of group sex. The beautiful dream dies at dawn when ugly reality comes knocking. Brendan Ragan directs this not-coming-of-age story with gut-level commitment. The four characters are like cats in a bag. They howl, rip into each other and claw out secrets. It’s not pretty. But that’s the play, and half-measures won’t do. Ragan doesn’t hold back. The actors are mesmerizing inside this ugly reality. Structurally, the play turns you into an invisible home invader. You bust in on four characters in Tess’ lousy Chicago flat. And you can’t help but watch. James’ Lynx gets the hardest job of all. It’s always fun to play the bad guy. But Lynx isn’t a standard-issue heel. He’s the exleader of this hipster pack, and he’s supposed to be charismatic. James sells you on Lynx’s 1,000watt animal magnetism. But you never know if it’s all a front. Williamson’s Tess is a hardbitten drunk who boasts of her successful rehab while kicking back whiskey. She’s not lovable today, though you can tell she used to be. Leonard’s Jordan is a slacker with a man-crush on Lynx. His emotional age is 13, at best. You’d figure he would sit alone in his trailer playing “Red Dead Redemption” all night. But, along with paying the bills, Cassandra’s having Jordan’s baby and agreed to marry him. Love is strange, right? Wright’s Cassandra has her act together. For years, she has played Wendy to a trio of Peter Pans. She cleans up their messes, packs their lunches and keeps them out of trouble. The hipster brats reward her with scorn, but Cassandra never complains. This shabby slice of life unfolds in Tess’ low-rent apartment in Chicago. Jeff Weber has done a beautiful job creating her ugly living space. Sofia Gonzalez’s costumes deftly evoke the characters’ emotional armor. Cassandra dresses for success with no flash. Her midi-length dress could almost be a military uniform. As for the others, their

THURSDAY, JANUARY 16, 2020

retrospective

Gallery Receptions Saturday, Jan 25 • 6–8pm Sunday, Jan 26 • 1–3pm

1830 S. Osprey Ave, Sarasota, FL

RSVP required: 866-900-6699 or sarasota@roadshowcompany.com

Preview Party: Thursday, January 16 5 – 8pm Art Previews begin January 17. Art works available for acquisition.

Collectors who purchase over $8990. in Max studio art during this show will receive a complimentary trip to the Peter Max Studio in New York City with round trip airfare for two, one night stay at an elegant NYC hotel and a delicious NYC dinner.

‘SENDER’ When: Through Feb. 16 Where: Urbanite Theatre, 1487 Second St. Tickets: $31 Info: Call 321-1397.

used-and-abused hipster garb is as faded as their dreams. Holter is a damn good writer. Reasons abound: his economical storytelling, his shorthand for story and character, the sprungrhythm music of his unpredictable dialog, his fake-outs and feints. That’s just the short version. If I listed all the reasons, we’d be here all day. This is an amazing play, but don’t take your mom. There are brief flashes of nudity and heaping helpings of profanity. The point of all the sound and fury? Ironically, Holter’s play is a perfect hipster illustration of a parent’s eternal lecture: “Grow up, get a job, and start acting like an adult.” That’s one conclusion. But Holter’s not trying to send a message. My hunch is he didn’t start with a moral. He started with a question: How can you keep your dreams alive? Lynx tried to. The play sets him up as a scapegoat and drives him out of town. But Lynx might not be the bad guy. Low wages and debt killed his dream. Who’s the real bad guy? Holter doesn’t answer that question. It’ll stay with you long after you’ve seen his play.

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Cassandra (DeAnna Wright) wants to convince Tess (Mary Williamson) and Jordan (Ryan Leonard) that there’s a time to pass from simply being a legal adult to living as a grown-up.

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‘Murder on the Orient Express’ is a joyride stage adaption Ken Ludwig’s theatrical version adds a touch of humor without losing gravitas. MARTY FUGATE THEATER CRITIC

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flashback segues to Poirot’s sad soliloquy about his most disturbing case, the murder on the Orient Express, bien sur. That heavy introduction hints of fear and loathing. But there’s comedy afoot as the case unfolds. It starts in Istanbul. After an ugly incident in Syria, Poirot needs to get to Paris. Sadly, the Orient Express is fully booked. Happily, Poirot is pals with Monsieur Bouc (David Breitbarth), the train company manager. Bouc wangles Poirot a ticket, and they get on board with seven paying passengers: Samuel Ratchett (Matt DeCaro), a thuggish American tycoon; Princess Dragomiroff (Peggy Roeder), an exiled Russian aristocrat; Countess Andrenyi (Diana Coates), an alluring Hungarian with medical training; Helen Hubbard (Tina Stafford), an over-the-top American actress with a Minnesota accent; Col. Arbuthnot (Jonathan Grunert), a Scottish military hero; and his pre-divorced lover, Mary Debenham (Helen Joo Lee), a former governess. And away they go, until a blizzard stops the Orient Express dead in its tracks. Even worse, it seems the American swine has been stabbed repeatedly like a human pincushion. It is now, as you say, a locked-room mystery. Whodunit? Poirot is on the case. The train’s going nowhere, and nobody’s getting off. Q.E.D.: The killer is still on board. Poirot politely grills each passenger. Bouc assists him, desperately hoping Poirot will solve the crime before the scandal goes public. Poirot does brilliant detec-

THURSDAY, JANUARY 16, 2020

IF YOU GO ‘MURDER ON THE ORIENT EXPRESS’ When: Through March 8 Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail Tickets: $28-$97 Info: Call 351-8000.

Detective Hercule Poirot (James Devita) finds an unexpected mystery on his hands, and his friend Monsieur Bouc (David Breitbarth) fervently hopes he can solve it in “Murder on the Orient Express.”

tive work, but he knows something’s wrong. There’s an orgy of evidence. Every passenger has both a motive and an alibi. And they’re all so damn theatrical — not to mention multicultural. But enough summary. On the remote chance you don’t know Christie’s twist ending, this is a good place to get off. Poirot’s a figure of fun in several adaptations — the funny little foreigner with the funny little moustache. DeVita plays him with gravitas and razor-sharp acuity. His character is no joke, but he’s not a crime-solving human computer either. Poirot

knows he is on the wrong track and might never solve this case. At the end of the line, he does and faces a dilemma that rattles his moral code. Breitbarth’s portrayal of Bouc is subtly hilarious. A fat American has been killed. A tragedy, yes. But bankruptcy would be a greater tragedy. DeCaro brings a menacing edge to the wretched role of Ratchett. Grant Chapman and Alex Pelletier fill in as flunkies for various rich people. Gregg Weiner’s conductor is unflappable, taciturn and clearly hiding something. But that applies to everyone.

Peter Amster’s direction clicks along and never gets derailed. The train might be stuck, but the play isn’t. Even if you know the ending, you’ll still enjoy the ride. Paul Tate dePoo III wowed Asolo audiences with his inventive set design for “The Sound of Music.” He’s done it again. His rotating set shifts to the interiors of various train compartments, each framed in black like a life-sized diorama. A projection screen above the set illuminates the action. Brilliant. Tracy Dorman’s costumes never feel like a fancy-dress costume party. They resemble

somebody’s actual clothing, picked out from an actual closet. Jax Messenger’s lighting, Matt Parker’s sound design and Greg Emetaz’s projections create a cinematic combination. This production aches to bust out of the stage. But their success hinges on Ludwig’s script. Christie purists might cry heresy, but it works for me. The playwright honors the source material, aside from the bits he cuts. To speed the play, he’s dropped confusing subplots and left four passengers off the train. He’s also added comedy — but don’t expect a camp romp. It’s a laugh-filled play, but the tragedy that drives it is no laughing matter. Crime and punishment is at the heart of it all. Dispensing justice can be a form of punishment. Dispensing mercy can be, too. You probably know Christie’s twist ending. But Ludwig adds a twist of his own. Without spoiling the gut-punch revelation, he reminds you of the human cost of ugly crimes. Poirot finds a brilliant solution. It’s a hollow victory because the victim is still lost.

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7th Anniversary Celebration - January 16-20

Music Archive seeks flea market donations If those closet-clutterers are music-related, the archive is interested. KLINT LOWRY A+E EDITOR

Hey, spring cleaning is just around the corner. Get an early start by clearing some of the clutter out of your life while helping a community institution. When was the last time you actually listened to those old Doodletown Pipers albums? How about that lute you thought you’d learn to play? And that eighttrack player you have just never been able to let go of — it’s time. While these sorts of things are collecting dust in people’s closets, they are treasures to the Sarasota Music Archive, which is seeking tax-deductible donations of all things musical to sell at its fifth annual musical flea market fundraiser Feb. 15. The archive, housed on the second floor at Selby Library, is a repository of more than 700,000 musical items, including 120,000 vinyl records and examples of just about every recording technology there’s ever been, going back to antique wax cylinders. It also has a comparable collection of devices for playing recorded music, instruments and memorabilia. The archive is a nonprofit organization, and its collection is available to the public. Once a year, the archive holds its flea market, which is its biggest fundraiser. Items for sale include pieces from the archive as well as items donated by the public. Items offered at the flea market in recent years have included a 1961 sitar from Ravi Shankar’s shop, autographed recordings by Luciano Pavarotti and Peter

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Frampton, a Pete Fountain trumpet and a 4.5-foot handmade hammer dulcimer. Donations are down this year, Sarasota Music Archive Manager Dave Berry says. He suspects it’s because the flea market was pushed up two months this year and because the library has been closed for renovations for a month. Donations will be gladly accepted at the Selby Library up until the sale Feb. 15. Equipment must be in working order, and the archive is not currently accepting sheet music or 78s. On larger donations, pickup might be available. For questions, call 861-1168, or email manager@SarasotaMusicArchive.org.

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THE PERFECT PAIRING 2020 FORKS & CORKS WINEMAKER EVENTS Savor local flavor during the Suncoastâ€™s primer food and wine festival! This January the Sarasota-Manatee Originals member restaurants and premier local wine retail shops come together to host Winemakers from around the world for a series of special events. From the ultimate upscale dinners, to casual tastings and samplings, there is something for every palate! Enhance your experience with top-of-class wines, celebrity winemakers, and cuisine from the finest independently owned local restaurants. Get up close and personal with the talented cast of visiting vintners during the Forks & Corks Retail tastings, hosted by Sarasota & Manatee Countiesâ€™ most popular wine retailers.

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Double bassist expands instrument’s musical territory During Artist Series Concerts recital, Foley demonstrated a level of versatility usually associated with smaller instruments. EDWARD ALLEY MUSIC CRITIC

Courtesy photo

Along with adapting works written for other instruments, Foley also writes original music for the double bass, two of which he performed at his recital at the Historic Asolo Theatre

avier Foley is both a double bass virtuoso and an artist. He plays that behemoth of the string family not only like a cello but also like a cello as played by one of the greats. Think Janos Starker, Mstislav Rostropovich or your favorite solo cellist. In his recital Jan. 12 at the Historic Asolo Theater, presented by the Artist Series Concerts, he absolutely mesmerized the audience with his outstanding control and musical taste. Foley plays a smaller instrument than the full-sized double basses usually seen in a symphony orchestra, primarily because so much of the solo repertoire, or that transcribed for solo, lies so high that one just has to be able to reach over the instrument to play all those notes. Obviously, Foley and his instrument, crafted by Rumano Solano, are very special friends because when he plays, they become one entity. He began with a transcription of the Mozart E Minor

Violin Sonata, which opened the eyes and ears of the audience with his solid technique, spot-on intonation and lovely lyrical sound. It made such a strong impression on the audience that they broke into spontaneous applause after most every movement — often considered a no-no, but for this audience it was a yes-yes. Franz Schubert’s Arpeggione Sonata completed the first half. The arpeggione is an instrument more like a six-string bass guitar that is bowed rather than plucked. It was out of fashion even when Schubert wrote the piece, so it has been transcribed for viola, cello and other instruments. This is the first time I had ever heard it played on a double bass. The sound actually fits the piece quite well, and Foley’s concept of the piece and phrasing made it a real musical treat. Foley also writes for his instrument, and we heard two of his works: the Irish Rhapsody for solo bass and his suite “On the Move” for bass and piano. The Irish Rhapsody takes its theme from an Irish tune, which he told us he first heard as a background in a video game he was playing. (Video games are a big part of his inspiration.) It is a real tour de force for the instrument, filled with rapidly moving passages, harmonics, double stops, octaves and more, which would seem impossible on that instrument. “On the Move,” this time

“He began with a transcription of the Mozart E Minor Violin Sonata, which opened the eyes and ears of the audience with his solid technique, spot-on intonation and lovely lyrical sound.” inspired by some pop rock songs, showed his versatility as a composer as well as a performer, with a smattering of blues, some pizzicato jazz bass and lyrical melodies all nicely grouped together. Throughout the concert, he was ably paired with pianist Kelly Lin, who was a supportive and equal partner, both technically and musically. Reinhold Gliere’s virtuosic “Intermezzo and Tarantella” was the final selection, and it was a fitting final showcase for Foley’s immense talent. “Intermezzo” was lyrical and beautifully phrased, and the blatant razzle-dazzle of “Tarantella” was an exciting example of a real performing genius at his best. And this young virtuoso is only 25 years old — what a future lies in store for him. Many years ago I considered myself a double bass player; that was my major instrument early on. After listening to Foley’s playing, I really wanted to change that statement to, “I thought I was a bass player, until I heard Foley.” Yes, dear readers, he really was that outstanding.

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Photos by Harry Sayer

Above: Chairwoman Ariane Dart Right: SMHF President Mason Ayres, SMH President and CEO David Verinder and sponsor Paul Hudson

SMHF Hospital Gala Saturday, Jan. 11 at The Ritz-Carlton, Sarasota Benefiting Cancer Care Services at Sarasota Memorial Hospital HARRY SAYER BLACK TIE REPORTER

ancer can seem like an overwhelming and uncontrollable disease. But with the right care and support, it can be treated. Such support was seen in the hundreds of guests who attended the Sarasota Memorial Healthcare Foundation’s third annual Hospital Gala on Jan. 11. More than 700 attendees filled The Ritz-Carlton, Sarasota to support SMHF and its goal to care for the thousands of people with cancer. The money raised during the night — which totaled more than $1 million — will benefit Sarastoa Memorial Hospital’s cancer services, in particular patient care initiatives including advanced CONTINUED ON PAGE 2

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Above: The night had a lavender theme. Left: Tiffany Taylor and Kristin Fulkerson

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THURSDAY, JANUARY 16, 2020

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diagnostics and genetic testing. This year’s gala had a lavender color scheme to match the ribbons that are representative of all cancers. The 2020 gala started with a VIP reception at Jack Dusty’s and a cocktail hour. The program was followed by entertainment from Dale Head and the MindWinder Orchestra. The Sarasota Memorial Hospital’s Cancer Institute is planned to open in 2021. The next Hospital Gala will take place Jan. 9, 2021.

Photos by Harry Sayer

Above: Bill Edwards, Alissa Shulman and Jim Tollerton Left: Dr. Charles Loewe and Lisa Loewe

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THURSDAY, JANUARY 16, 2020

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■ No bones about it, the Sarasota Memorial Healthcare Foundation’s Hospital Gala on Jan. 11 brought the numbers. First, you have the 730 guests who quickly filled up The Ritz-Carlton, Sarasota ballroom. Then you have the amount of money raised for the Sarasota Memorial Hospital’s cancer services. 250 guests participated in the paddle raise, raising more than $900,000 in just 15 minutes. It didn’t hurt that an anonymous donor kicked things off with a $250,000 match as well. By the end of the night, SMHF had raised more than $1 million for the hospital.

Megan Micale and Beth Green

■ With more than 700 faces to see at the Hospital Gala on Jan. 11 at The RitzCarlton, Sarasota, it was impossible to see them all. But one face stood out in particular: former Sarasota Memorial Hospital President & CEO Gwen MacKenzie. Recently, MacKenzie joined the Sarasota Memorial Healthcare Foundation Board of Trustees. Also of note, MacKenzie has traded in her signature ginger locks and is rocking a new platinum pixie.

■ The very next day following the Hospital Gala, current SMH President & CEO David Verinder and his wife, Monica, jumped on a plane to New Orleans. The Verinders were there to watch Louisiana State University Tigers play the Clemson Tigers in the 2020 National Championship on Jan. 13. Also there cheering on LSU is Roskamp Foundation’s Megan Micale, who recently celebrated a milestone birthday, with pal Beth Green.

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It’s crucial for nonprofits to have a mission moment at their functions and fundraisers. The Conservation Foundation of the Gulf Coast had a pretty big draw at its Feast Upon The Fields event Jan. 12 — it was the very ground they were standing on. More than 350 guests traveled to the Murphy Marsh, a 543-acre stretch of land within the Manatee County Myakka River watershed, for a luncheon benefiting the group’s land protection efforts. Guests had lunch specially created by Chef Paul Mattison in a tented area before going on a walk to see more of the marshland that is being protected. The day brought in almost $100,000.

Dr. Larry Thompson has a new gig as a doorman. Just kidding. Thompson joked that the Ringling College Library Association’s Platinum Event, on Jan. 9 at the Alfred R. Goldstein Library, had him so busy socializing that he couldn’t get past the front door. He said he had no idea there was a seafood station, sushi on the second floor and an ice cream bar on the terrace. Also seen at the event (see pictures on page 8) were 2020 Town Hall Chair Ollie Johnson and 2021 Town Hall Chair Ashley Brown.

Correction A story in the Jan. 9 edition of the Observer incorrectly stated the beneficiary of the Sarasota Ballet Gala. The gala benefited the Sarasota Ballet.

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THURSDAY, JANUARY 16, 2020

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