BLACK TIE INSIDE:
Sarasota
ARTS + ENTERTAINMENT
MAMA! Don’t tell
Allison Blei and Ivan España’s Mr. Swindle’s Traveling Peculiarium is full of adult fun and laughter.
MONICA ROMAN GAGNIER
A+E EDITOR
Back in the day, before kids became internet influencers raking in millions of dollars, running away to join the circus was nearly every child’s dream — and every mom and dad’s nightmare. Even today, parents beg their artistically inclined offspring to major in business “just in case.”
But sometimes you can join the circus, fall head over heels in love and get a happy ending. Yeah, it never hurts to have a business degree to keep your feet on the ground.
Just ask Allison Blei, who founded Mr. Swindle’s Traveling Peculiarium with her husband, Ivan España, a fifth-generation member of a celebrated Mexican-American circus family.
The Flying Españas were inducted into the Circus Ring of Fame on St. Armands Circle in 2018. Over the years, they have performed for Disney, Ringling Bros. and Barnum & Bailey, Circus Sarasota and their own entrepreneurial circus ventures.
A native of Fort Lauderdale, Blei first experienced the circus when her mother took her to a show when she was about 6 years old. The thrill of watching aerialists fly through the air led Blei to pursue gymnastics training as a youth.
When it came time for college, Blei followed her mom’s advice and got a business degree from Florida State University in Tallahassee. She settled into a finance job, but the circus still beckoned. When she joined the High-Flying Pages aerialist troupe, she promised her mom that it “would only be for a year or two.”
Fate had other plans for Blei, however. She was about to break what she describes as one of the rules of circus — “Don’t fall in love with another performer.” But rules are meant to be broken, right?
Blei was electrified when she met her future husband in 2007 at a benefit show where circus artists donated their time. “When Ivan showed interest in me, I tried to stay away, but I couldn’t. Ivan is very charming,” she reminisced during a video interview.
Just six months after meeting, Blei and España decided to move in together.
Along with her husband, and her stepson Sian, Ivan’s frequent collaborator on motorcycle acts, the
“We realized people don’t always remember what they saw or what they heard, but they will remember how they felt. It’s very important that they get a good experience.”
IF YOU GO
‘MR. SWINDLE’S TRAVELING PECULIARIUM’
When: Jan. 22-Feb. 1
Where: Sarasota Fairgrounds, 3000 Ringling Blvd. Tickets: $42.75-$70. Ages 18 and up. ID required. Info: Visit Mr.Swindles. com.
Ivan and Sian España perform on the cylinders in Dr. Swindle’s Traveling Peculiarium.
Images courtesy of Maggie Martinez
Karoly Zeman and Ana Helena De Souza perform feats of derring-do with a bicycle in their Wheeliam act.
Allison Blei performs as Ms. Sin in Mr. Swindle’s Traveling Pecularium.
Mr. Swindle is the character who gives an adults-only circus its name.
— Allison Blei
Wheel of Destiny and other deathdefying contraptions, Blei has traveled the world.
“Ivan did the motorcycles in the Sphere. We did a Canadian tour, we performed at the Sydney Opera House. We spent a year in South Korea,” she says.
Along the way, the couple had two kids and got married, in that order. Eventually, they settled near Englewood and formed Salto Entertain-
Royal Whiskey with her husband.
“We still serve it at the show,” she adds. Blei and España decided to go back in a tent (they had been performing on stages) and to make their circus smaller than Cirquesa, a previous venture of Ivan and Sian España’s that was sold and is currently based in Virginia Beach, Virginia.
But here was their real takeaway from an evening of drinking, according to Blei: “We realized people don’t always remember what they saw or what they heard, but they will remember how they felt. It’s very important that they get a good experience.”
The result of the alcohol-fueled brainstorming was the adults-only circus long on humor and sexual innuendo, Mr. Swindle’s, which debuted in 2018.
We don’t want give away any spoilers for the circus, which is presided over by a mysterious man in a top hat called Mr. Swindle, whose identity will remain a secret. But how about a few teasers?
GOING BANANAS
One of the most popular acts in Mr. Swindle’s is the husband-and-wife team Jonathan Taylor and Anne Goldmann of Daredevil Chicken Club, who get laughs and raise eyebrows with their banana act.
Any phallic associations elicited by the tropical fruit are intentional.
“If we’re not offending someone, we’re not doing our job,” Blei says.
Another crowd pleaser is contortionist Elayne Kramer, who performs with the monicker “Serptentina.” Father-and-son Ivan and Sian España perform on the cylinders. Blei’s act is called “Ms.Sin.”
The emcee of the show is comedian Frank Ferrante, whose stage persona is “Dr. Elixir.” Ferrante is a longtime Groucho Marx impersonator, Blei says. “He’s the top of the top,” she adds.
Like traveling medicine shows of the 19th century, Mr. Swindle peddles “perplexing potions, bitter brews and mischievous medicines” in Dr. Elixir’s Drink-Ory Garden. As in olden days, these potent concoctions contain alcohol.
Proceeds from the sales in the Drink-Ory go back into the commu-
nities where Mr. Swindle performs, Blei says, noting that Mr. Swindle recently donated $35,000 to the Kiwanis Club of Punta Gorda. Some of the money is distributed through the nonprofit Circus and Performing Arts Foundation. “We turn a naughty habit into good deed,” Blei says.
Asked for the names of some cocktails served in the Drink-Ory, Blei replies, “We’ve got one called ‘Cactus Juice’ and another called ‘The Moaner.’ We like to switch up the names.”
Mr. Swindle’s used to travel as far north as Boston, but this year the adults-only circus is staying in Florida, performing in Englewood, Sarasota, Punta Gorda, Boca Raton, Jupiter, The Villages and Port St. Lucie.
Like the Wallenda family of highwire artists, the Españas are no strangers to tragedy. Sian España’s mother and Ivan’s first wife, Bulgarian acrobat Dessi Kehayova , died in a circus accident while performing for Ringling Bros. in 2004.
But the España circus tradition continues. Sian’s sister, Zore, performs with Cirque du Soleil. Ivan and Allison’s two children, Kiano and Estan, are still too young to perform in an adults-only circus.
With delays in obtaining visas for foreign performers becoming more commonplace in the past year, Salto Entertainment is relying on U.S. talent to perform in Mr. Swindle’s.
With the España family’s long history in the business and circus in Sarasota sustained by the Circus Arts Conservatory, that’s not a problem. Mr. Swindle’s also brings in performers based in California and Las Vegas, Blei says.
Is it possible for local audiences to become bored with circus? Perhaps, allows Blei, but she thinks Mr. Swindle’s has a unique niche. It draws couples who want to get the spark back in their relationship and those looking to start a fire.
But Blei doesn’t want to leave an interviewer with the wrong impression. Mr. Swindle’s isn’t just about sex, alcohol and thrills. “We have people laughing so hard that they’re crying,” Blei says. “Life can be hectic and it can be sad, but we all need a break from our troubles. That’s what we provide.”
REGIONAL PREMIERE
Death
Dazzle Comes to St. Mary’s Mead
Images courtesy of Maggie Martinez
Elayne Kramer does hand balancing as Serpentina in Mr. Swindle’s Traveling Peculiarium.
Frank Ferrante is Dr. Elixir in Mr. Swindle’s Traveling Peculiarium.
A theater critic’s top picks of the season
Productions on Sarasota area stages slyly snoop on the human condition.
MARTY FUGATE
CONTRIBUTOR
Robert Altman once said that every director is a voyeur. They’re each like a Peeping Tom! They look through doors and windows and spy on characters who don’t know they’re being watched. Altman was talking about films, but his words apply to live theater — especially on our local stages.
This season’s plays snoop on many weird scenes. My top choices include: a tragic jazz hero; a confidential therapy session; a 17thcentury witchcraft trial; NASA’s first-generation rocket scientists; a persecuted shtetl in Russia; and a pack of oversexed humans and sprites romping around in a magical forest. In real life, such intrusive violations of privacy might get you canceled, shot, arrested or deported. But this isn’t real life. It’s theater — and it’s OK to watch.
‘PARADISE BLUE’
Through Feb. 8. Westcoast Black Theatre Troupe, 1012 N. Orange Ave. $20-$50. Visit WestcoastBlackTheatre.org.
Dominique Morisseau’s play is a jazzy character study. It unfolds in Detroit’s Black Bottom district in 1949. Blue (Al’Jaleel McGhee) is a jazz trumpeter. He also owns the Paradise Club — an inheritance from his late father.
Club business is now messing with Blue’s music. Should he sell the club or save it? Should he put his own art first or serve the community? As Blue wrestles with these questions, sexy Silver makes the scene — and fires up the band’s libidos.
Blue refuses to be distracted — and refuses to sell the club. It’s the right thing to do. And no good deed goes unpunished.
Morisseau’s heart-wrenching play is rooted in Black history. Like the Paradise Club, it could easily be erased. “Paradise Blue” fights the erasure. Directed by Chuck Smith.
‘JOB’ Through Feb. 15. Urbanite Theatre. 1487 Second St. $30-$44. Visit UrbaniteTheatre.com.
Max Wolf Friedlich’s “Job” rhymes with “Bob.” His play explores the Big Tech workplace, not the trials of the biblical patriarch. But its level of suffering would make Job flinch.
Jane (Casey Wortmann), a twentysomething IT wizard, does most of the suffering. She has a meltdown at work — and her tantrum becomes a viral video. For Jane to get her job back, a therapist must certify that she won’t go nuts again.
Lloyd (David Breitbarth) is her kindly boomer shrink — but his evaluation starts badly. When Jane pulls a gun on him.
Tense dialogue ensues — but it’s mostly an airing of Jane’s grievances. She’s got a lot of problems
with boomers. And Lloyd’s going to hear about them. Thanks to Jane’s 45 automatic, he definitely listens. Jane initially seems schizoid, paranoid, bipolar, OCD, unfiltered and unhinged. But what’s driving her mad? Jane works as a “content moderator.” (Orwellian tech-speak, I know.)
Translation: She watches and flags online videos of torture and unspeakable depravity. That’s literally her job. No wonder Jane lost it. Friedlich hints of a darker secret — but doesn’t spell it out. His razor-sharp psychological thriller is packed with hard questions. And no easy answers. Directed by Meg Gilbert.
‘THE BLUE-SKY BOYS’
Jan. 21-March 8. Florida Studio Theatre’s Gompertz Theatre, 1265 First St. $39-$59 Visit FloridaStudioTheatre.org.
Deborah Brevoort’s play sneaks you into the back rooms of NASA’s first-generation rocket scientists. In 1962, President Kennedy said, “We choose to go to the Moon.” At
the time, America’s space program resembled a blooper reel. (Sputnik circles the Earth. Vanguard explodes.)
After Kennedy’s stirring speech, his NASA team got real. These high-IQ misfits, nerds and dreamers took the president’s audacious promise seriously.
How do you get to the Moon? Like an improv troupe with wicked math skills, these engineers and scientists cooked up the “blue-sky” method. These brainstorming sessions were wild flights of fancy. No rules. No stupid questions. Ask anything, think about anything. The sky’s the limit!
This fearless approach got us to the Moon. Brevoort’s fearless play celebrates the brainy oddballs who got us there. Directed by Richard Hopkins with Kate Alexander as associate director.
‘THE CRUCIBLE’ March 26-April 5. The Sarasota Players, 3501 S. Tamiami Trail, Suite 1130. $15-$25. Visit ThePlayers.org.
Arthur Miller’s Puritan parable of American fear, power, and moral panic is as timely as ever. Set during the Salem witch trials of 1692-93, “The Crucible” traces how rumor became fact, accusation proof and petty vendettas ripped a community apart.
John Proctor (Vincent Pearson) is the center of this storm. He’s a flawed man — an unheroic hero. Proctor’s forced to decide if his good name — and conscience — are worth dying for.
This Sarasota Players’ production leans into the play’s original McCarthy-era intensity. Accusations ricochet, allegiances shift and silence is proof of guilt. Miller’s white-hot language is poetic, spare and relentless. He reminds us that screaming hysteria often begins with a whisper. Directed by Amanda Heisey.
‘A MIDSUMMER NIGHT’S DREAM’ April 10-26. FSU Center for the Performing Arts, 5555 N. Tamiami Trail. $30-$40. Visit AsoloRep.org.
Theater’s a live-action dream, right? FSU/Asolo Conservatory’s interpretation of Shakespeare’s dreamy play makes the most of it. On this summer night, the worlds of day and night collide. Duke Theseus and Hippolyta are about to get married. What could possibly go wrong?
Well, everything. The magical forest randomizes the operating system of courtly order. That chaos could be scary. But love potions, mischievous fairies and the worst acting troupe of all time make it hilarious.
Puck’s puckish magic flips identities and lusts. Bottom the Weaver makes an ass of himself. It’s an ass/ bottom pun, get it? One of Shakespeare’s coarse jokes, but relax, gentle people.
It’s just a dream. As Puck said, “Think but this, and all is mended.” And there’s an end on’t. Directed by Jonathan Epstein.
‘THE FIDDLER ON THE ROOF’ April 17-May 24. FSU Center for the Performing Arts, 5555 N. Tamiami Trail. $37-$99. Visit AsoloRep.org. Asolo Repertory Theatre’s production of “Fiddler on the Roof” captures a vanished world. It’s an adaptation of Sholom Aleichem’s “Tevye” stories. Joseph Stein, Jerry Bock and Sheldon Harnick adapted it. Their 1960s musical portrays Jewish life in Anatevka, Russia, in the early 1900s. Said village is balanced as delicately as the titular rooftop violinist. Down on the ground, Tevye (Tom Nicholas) tries to marry off his three daughters. Sounds simple. But the village’s tapestry of tradition, love, politics and persecution makes it complicated. Yank the wrong thread and the tapestry rips. Tevye’s matches pulls thread after thread — until the fabric finally tears. (Don’t cry. The villagers keep singing and go to America.) “Fiddler” bursts with music and humor. But it also carries a burden. Anatevka is gone. This show defiantly remembers it. Directed by Peter Rothstein.
WHERE IMAGINATION MEETS THE STAGE!
Image courtesy of Sorcha Augustine
Al’Jaleel McGhee stars as a jazz trumpeter torn between career and community in Westcoast Black Theatre Troupe’s “Paradise Blue.”
THIS WEEK
THURSDAY
TRUMPET TALK
11 a.m. at Sarasota Yacht Club, 1100 John Ringling Blvd.
$75
Visit ArtistSeriesConcerts.org.
Artist Series Concerts presents a luncheon and a concert featuring William Leathers, principal trumpet of the Nashville Symphony Orchestra and the Santa Fe Opera. He will be joined by joined by Joseph Holt, who recently retired as artistic director of Choral Artists of Sarasota, which merged with another group and is now known as Via Nova. The program includes trumpet music by film composer John Williams and also features Chopin’s Ballade No. 1 with multiinstrumentalist Leathers on the piano.
‘SOME LIKE IT HOT’
1:30 and 7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail
$56-$146
Visit VanWezel.org.
Once upon a time, the Broadway show gave birth to the Hollywood movie. These days, it’s increasingly the other way around. Those of us who loved Tony Curtis, Jack Lemmon and Marilyn Monroe in the classic comedy “Some Like It Hot” will no doubt warm up to this touring production of the Broadway show, winner of four Tony Awards, including Best Choreography and Best Costumes. Runs through Jan. 25.
MOZART & MORE!
7:30 p.m. at First Presbyterian Church, 2050 Oak St. $42 adult; $5 student Visit ChamberOrchestraSarasota. org.
Led by Robert Vodnoy, the Chamber Orchestra of Sarasota kicks off its ninth season with a program featuring music by Mozart and Tchaikovsky, a concertino by Ernest Bloch and a lesser-known piece by Jewish composer Gideon Klein. The concert spans nearly two centuries.
‘A TAILOR NEAR ME’
7 p.m. at FST’s Keating Theatre, 1241 Palm Ave.
$39-$59
Visit FloridaStudioTheatre.org.
What begins as a trip to a neighborhood tailor for alterations turns into a journey of self-discovery and friendship in this Florida Studio Theatre mainstage play starring David Cantor and J. Paul Nicholas. Kate Alexander directs the Southeastern premiere of David Tucker’s “A Tailor Near Me,” which runs through Feb. 15.
‘FOOTLOOSE THE MUSICAL’
7:30 p.m. at Rise Above Theater, 3501 S. Tamiami Trail, Suite 1105
$25-$35
Visit RiseAboveArts.com.
A musical about high school kids who just wanna dance is perfect material for a theater company made up of kids. That’s why we’re sure Rise Above Theater’s production of “Footloose the Musical” will get the joint jumpin’. Rise Above is a community theater focused on making the performing arts accessible to any child at no cost to their families. Runs through Feb. 8.
‘FEELING GOOD’
7:30 p.m. at FST’s Court Cabaret, 1265 First St.
$18-$42
Visit FloridaStudioTheatre.org.
“Feeling Good” pays tribute to contemporary crooners like Michael Bublé and Bette Midler. A dynamic trio — Haley K. Clay, Andrew Leggieri and Russell Mernagh — makes its Florida Studio Theatre debut with such swingin’ hits as “Come Fly With Me,” “It Had to Be You” and “Me and Mrs. Jones.” Runs through Feb. 8. Returns Feb. 19-March 1.
‘EISENHOWER: THIS PIECE OF GROUND’
7:30 p.m. at FST’s Bowne’s Lab, 1265 First St. $31-$48
Visit FloridaStudioTheatre.org.
Robert Zukerman stars as Dwight D. Eisenhower in Richard Hellesen’s play in FST’s edgy Stage III series. After helping to win World War II as supreme commander of the Allied Forces in Europe, the popular conception is that Eisenhower spent his time in the White House playing golf and presiding over an Ozzie and Harriet America. The reality was more complex, as Ike had to deal with Cold War tensions, an atomic
“Riverdance 30 — The New Generation” comes to the Van Wezel Performing Arts Hall on Jan. 27-29.
arms race and the Red Scare, to name just a few of the hot buttons of the 1950s. Runs through March 1.
‘THREE PIANOS’
7:30 p.m. at FST’s Gompertz Theatre, 1265 First St.
$18-$42
Visit FloridaStudioTheatre.org.
Under Producing Artistic Director Richard Hopkins, Florida Studio Theatre has grown into a downtown entertainment campus with something for everyone. FST’s winter cabaret show “Three Pianos” is an ode to superstars of the keyboard such as Ray Charles, Elton John and Alicia Keys. These mavericks didn’t tinkle the ivories; they tore up the rulebook. Runs through April 5.
‘PARADISE BLUE’
7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave.
$20-$40
Visit WestcoastBlackTheatre.org.
Set in 1949 in Detroit’s Black Bottom neighborhood, Dominique Morisseau’s drama “Paradise Blue” follows a trumpet player pondering the sale of his once-vibrant jazz club to pursue a better life. But will he be leaving his soul behind in the process? Runs through Feb. 8.
FRIDAY
JAZZ AT TWO WITH PETE CARNEY
2 p.m. at Unitarian Universalists SRQ, 3975 Fruitville Road
$15-$20
Visit JazzClubSarasota.org.
Every Jazz at Two Friday concert presented by the Jazz Club of Sarasota is special, but this one embodies cool. Pete Carney, a saxophonist and arranger who is director of Jazz Education at the State College of Florida, performs jazz music from “West Side Story.” While the musical is known for its romantic ballads such as “A Place for Us” and “Maria,” the music written by Leonard Bernstein for the hit Broadway show and film has some jazzy numbers, including “Cool,” “Jet Song” and the instrumental “Dance At The Gym.”
‘THE MIRROR CRACK’D’ 7:30 p.m. at FSU Center for the Performing Arts, 5555 N. Tamiami Trail $31-$77 Visit AsoloRep.org.
Asolo Repertory Theatre puts its own stamp on Rachel Wagstaff’s adaptation of the classic spy novel, “The Mirror Crack’d.” Former Asolo Rep Producing Artistic Director Michael Donald Edwards returns to direct this period drama set in a quiet English village. When the gentry fete a Hollywood siren and her entourage, a murder occurs that only Miss Marple can solve. Runs through March 14.
‘MARK TWAIN TELLS ALL’
7:30 p.m. at Historical Society of Sarasota, Crocker Memorial Church, 1260 12th St.
$30 Visit MarkTwainEducation.org.
Sarasota resident Alan Kitty has spent more than four decades stepping into the white suit, wild hair and razor-sharp wit of Mark Twain — not as an impersonator, but as a living conduit to America’s greatest humorist. Runs through Jan. 25.
KAVITA SHAH QUINTET
7:30 p.m. at The Ringling, 5401 Bay Shore Road
$40-$50 Visit Ringling.org.
When people hear “The Ringling,” they think art museum, circus and Ca’ d’Zan mansion. But the museum holds a world of performing arts within its Historic Asolo Theatre, a jewelbox theater rescued from a castle in Italy. Under Currie-Kohlman Curator of Performance Elizabeth Doud, The Ringling hosts an array of eclectic, international artists. The latest is the Kavita Shah Quartet, which performs original music and jazz standards that capture the meaning of “diaspora.”
DON’T MISS ART CENTER SARASOTA ART RECEPTION Sarasota has a lot of art openings, but this is one you won’t want to miss. It’s for the annual juried members show at Art Center Sarasota, which is celebrating its centennial this year. This juror for this show is Willem van Osnabrugge, an artist who grew up outside Amsterdam, moved to the U.S. in 1985 and later retired to Sarasota. ICYMI, the works on display at Art Center Sarasota are for sale and admission is free. This show runs through Feb. 21 at the gallery, which is open 10 a.m. to 5 p.m. Monday through Saturday.
IF YOU GO When: 5 p.m. Thursday. Jan. 22
Where: Art Center Sarasota, 707 N. Tamiami Trail Tickets: Free Info: Visit ArtSarasota.org.
Courtesy images
Art Center Sarasota is located at 707 N. Tamiami Trail.
SATURDAY
EMBRACING OUR DIFFERENCES
TOUR
10 a.m. at Bayfront Park, 5 Bayfront Drive Free Visit EmbracingOurDifferences.org.
Embracing Our Differences’ annual exhibition of 50 pieces of billboardsize art from around the world celebrates kindness, inclusion and respect. During its 23 years in existence, EOD has welcomed 5.2 million visitors. The exhibition features artwork and artists from 125 countries and 48 states. Runs through April 19, with weekly tours each Saturday at 10 a.m.
‘LIFE’S A BEACH’
7:30 p.m. at FST’s Bowne’s Lab, 1265 Main St.
$17-$20 Visit FloridaStudioTheatre.org.
Watch as talented FST Improv performers poke fun at Sarasota rituals and customs including the annual snowbird migration, confusion about who has the right of way in a roundabout and dogs in strollers. Did somebody mention never-ending construction? It’s all grist for the tropical mill in “Life’s a Beach.” Runs through March 23.
SUNDAY
CYNTHIA SAYER QUARTET
2 p.m. at Glenridge Performing Arts Center, 7333 Scotland Way
$35 Visit GPACTix.com
If you think you know what banjo music sounds like, think again. Cynthia Sayer’s style of banjo is swingin’ jazz, rather than the bluegrass the instrument is commonly associated with (not that there’s anything wrong with that).
A recent winner of the prestigious Steve Martin Banjo Prize, Sayer is a founding member of Woody Allen’s New Orleans Jazz Band and has played with such artists as Les Paul, Dick Hyman and Wynton Marsalis. She will be joined by New York City trumpeter Jon Erik Kellso.
PAUL FARAHVAR
5:30 p.m. at McCurdy’s Comedy Theatre, 1923 Ringling Blvd. $26 Visit McCurdysComedy.com
If something in Paul Farahvar’s standup routine offends you, don’t try and sue him. Before launching his career as a comedian, Farahvar was a trial litigator and was honored by Illinois judges and attorneys on a “Top 40 Under 40” ranking. The Chicago career changer has hosted the award-winning podcast “Singles Only!” and appeared on NBC’s “Chicago Med.” No doubt some of Farahvar’s Windy City followers will be happy to laugh at his routines in a warmer climate.
MONDAY
ANCIENT ART FROM CYPRUS AND THE MEDITERRANEAN
10 a.m. at The John and Mable Ringling Art Museum, 5401 Bay Shore Road Free with $30 admission; Mondays free Visit Ringling.org.
In 1928, circus magnate John Ringling moved beyond collecting
OUR PICK
FAMILY CONCERT:
‘PETER AND THE WOLF’
Want to introduce your family to live classical music without breaking the bank? Sarasota Orchestra presents Prokofiev’s symphonic fairy tale,”Peter and the Wolf,” which can be enjoyed by children of all ages. The 60-minute concert will be led by Alexander Jiménez and narrated by Sarasota Orchestra’s new music director, Giancarlo Guerrero, a Nicaraguan native who was raised in Costa Rica.
IF YOU GO
When: 1 p.m. in English and 4 p.m. in Spanish Sunday, Jan. 25 Where: Holley Hall, 709 Tamiami Trail, Sarasota Tickets: $5 and up Info: Visit SarasotaOrchestra.org.
Baroque paintings with a major acquisition of more than 2,000 pieces of Cypriot art at the Anderson Galleries in New York, where the Metropolitan Museum was selling parts of its ancient art collection. For the first time, Ringling’s treasures have a permanent home in Gallery 12 after a decadelong project.
TUESDAY
RIVERDANCE 30 — THE NEW GENERATION
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $56-$191 Visit VanWezel.org.
Some things never go out of style, and the Irish dance troupe Riverdance is one of them. A new cadre of young dancers electrifies the stage with the fusion of Irish and international dance and music that has won millions of fans around the globe and nabbed a Grammy Award. Continues through Jan. 29.
‘ART DECO: THE GOLDEN AGE OF ILLUSTRATION’
10 a.m. at the Sarasota Art Museum campus of Ringling College, 1001 S. Tamiami Trail Free for museum members; $20 Visit SarasotaArtMuseum.org.
The Sarasota Art Museum celebrates the 100th anniversary of the exposition that kicked off the Art Deco movement. More than 100 eyecatching posters from the Crouse Collection, as well as industrial furniture, home furnishings and other objects loaned by the Wolfsonian-Florida International University are on display. Through March 29, 2026.
WEDNESDAY
SARASOTA OPERA PRINCIPAL
ARTISTS CONCERT
10:30 a.m. Selby Library, 1131 First St. Free with registration Visit SarasotaMusicArchive.org.
Do your homework for the upcoming Sarasota Opera Winter Festival and enjoy selections from the four classics in this season’s program — “La Boheme,” “The Merry Widow,” “Il Trovatore” and “Susannah.” This Sarasota Music Archive program featuring Sarasota Opera principal artists will include arias and ensembles. Registration is a must.
EATING WITH EMMA
Where to bear down on Chicago flavor
Come along for the best bites and booze on this Chicago-inspired food and drink tour.
EMMA BURKE CONTRIBUTOR
Some families pass down reci-
pes; ours handed down a deep, unwavering love for Chicago and more specifically, the Chicago Bears.
My dad was in his 30s when the Bears won the Super Bowl (cue “The Super Bowl Shuffle” on repeat).
When I was growing up, that era felt larger than life to me — untouchable, frozen in time like the Windy City itself.
Fast-forward to the present.
After watching the Ice Man himself, quarterback Caleb Williams, Coach of the Year (in my heart) Ben Johnson and the entire Bears organization (including emotionally invested fans like me) finally take down the Green Bay Packers earlier this month, I felt like I was having my own Super Bowl victory in my 30s. I think it’s Dad’s way of saying, “I pulled some strings and this one’s for you, kid.”
Part of me hesitates to write this
while the Bears are in the playoffs because it feels a little like tempting fate. But my love for Chicago, not only its sports teams, but its comforting cuisine, is something I can no longer gatekeep. So instead of hopping a flight to O’Hare, I did what any devoted foodie and Bears fan would do, I took a tour of Chicago right here in Sarasota — one bite, one memory and one hopeful season at a time.
TONY’S CHICAGO BEEF
6569 Superior Ave, Sarasota; 941-555-1234; 1856 S. Tamiami Trail, No. 3136, Venice; 941-4971611; TonysChicagoBeef.com
Bear Down & Chow Down: A true Chicago-style hot dog isn’t just a hot dog, it’s a rulebook. One all-beef frank, a steamed poppyseed bun, kosher pickle spear, yellow mustard (no ketchup), chopped onions, neon-green relish, sport peppers, a dash of celery salt and, for some, slices of tomato (respectfully optional in my world). Tony’s gets it right with their no-frills dawg. At $6.39, it’s proof that perfection doesn’t need dressing up. ’Nuff said.
Bear
Grate (the cheeseheads) Bites:
Snag an Italian Beef ($8.89) served on French bread with sweet peppers to ensure the full Chicago style eatery experience.
JOEY D’S CHICAGO STYLE
EATERY & PIZZERIA 6401 Manatee Ave., W., Bradenton; 941-378-8900; 3811 Kenny Drive, Sarasota; 941-378-8900; 945 10th St. E., Palmetto; 941-417-2106; 750 U.S. 41 Bypass North, Venice; 941786-1300; JoeyDsFL.com
Bear Down & Chow Down: Chicago deep dish pizza: You either
love it or hate it. But if it’s the latter, you’re wrong. Thick, buttery crust built to hold mountains of gooey cheese, then crowned with a rich, tangy tomato sauce that somehow manages to steal the show. Good things take time, so allow 25 minutes for this masterpiece to come out piping hot (ranging from $15.99-$27.99). This is a pie that proves deep dish is not just a meal — it’s a Chicago ritual.
Grate (the cheeseheads) Bites:
Established in October 1994, the name honors Joseph “Joey D,” born in 1967. Joey D was born with a rare genetic disease with an average life expectancy of just 12 years. He defied every expectation, living to be 32 years old, the longest-known case of its kind.
PICCOLO DELI ITALIAN MARKET
6518 Gateway Ave., Sarasota; 941-923-2202; PiccoloMarket.com
Bear Down & Chow Down: There’s something about a proper Italian Beef that makes you pause and remember why Chicago is Chicago. Piccolo’s version ($9.80 and up) is full of roast beef dripping in rich au jus, layered with provolone and finished with a kick of hot giardiniera. One bite and it’s an immediate taste of Soldier Field that somehow makes you feel like you’re watching the Bears battle it out on the gridiron.
Grate (the cheeseheads) Bites: Because this is a love letter to all things Chicago, I can’t help but pay tribute to my dad. Ordering a sandwich named for his favorite musician, The Frank Sinatra ($12.50 and up), practically raises the glass itself. Chicken cutlet, prosciutto, mozzarella, roasted reds and a drizzle of balsamic: chef’s kiss!
REMY’S ON MAIN 8139 Lakewood Ranch Main St., Lakewood Ranch; 941-355-9391; RemysOnMain.com
Bear Down & Chow Down: There are multiple origin stories of the Old Fashioned, but Chicago has long claimed a special place in that tale. It’s the kind of cocktail that feels like Chicago itself — classic, confident and unpretentious. I like Remy’s version of the classic: smoked Old Fashioned ($15) made with Four Roses bourbon, smoked, with filthy cherry and orange. Grate (the cheeseheads) Bites: Raise another glass to Chicago with the Oaxaca Old Fashioned ($14). Made with Cazadores Reposado, smoky Del Maguey mezcal and a filthy cherry, it’s perfect for toast-
ing a Bears win or pretending you’re cheering from the 50-yard line.
SIESTA KEY OYSTER BAR 5238 Ocean Blvd., Siesta Key; 941-346-5443; SKOB.com
Most Valuable Player: When owner Jill Pedigo made the move from Illinois to Osprey, she brought along her loyalty to the 1985 Super Bowl champs. During that first season in Florida, Jill and her dad headed to a bar to catch a Bears game. As midgame frustration set in, her dad joked, “We should get our own bar so we can get a good spot.” He wasn’t kidding. Whether you’re a lifelong Chicago loyalist or want to watch the game with people who get it, SKOB is where Bears fans come to Bear Down.
down at Siesta Key Oyster Bar during every single game. As it says on their website, “SKOB, Home of the Bears.”
Key Chorale’s Opus 1700 is a weekend escape for chamber music lovers
Calling all Baroque music fans! We know you’re out there, whether you came to your love of Bach and Handel through secular or ecclesiastical channels.
In Sarasota, churches often provide the venues for classical music concerts, but you don’t have to subscribe to the host church’s doctrine to attend and enjoy the performance.
Agnostics shouldn’t be put off by the sacred setting for Key Chorale’s Opus 1700 weekend, which takes place at Church of the Redeemer. One of the reasons why churches are the venues for Baroque concerts is that they usually have organs, which come in handy for such period music.
As he has for events like Bachtoberfest in 2023 and the hurricanecanceled Baroquetoberfest in 2024, Key Chorale Artistic Director is teaming up with Sam Nelson, organist and choirmaster of Church of the Redeemer, for Opus 1700.
The mini-festival kicks off on Friday, Jan. 23, with a performance of the rarely heard Parts 2 and 3 of
IF YOU GO
OPUS 1700 — HANDEL AND BACH
When: Jan. 23-24
Where: Church of the Redeemer, 222 S. Palm Ave.
Tickets: $15-$45.
Info: Visit KeyChorale.org.
Handel’s “Messiah.” Many music lovers are familiar with Part 1 because it is a holiday tradition in many communities.
On the second day of Opus 1700, Saturday, Jan. 24, the focus turns to Bach and his Mass in B Minor, which was composed over two decades and completed near the end of his life.
During his lifetime, Bach never heard the Mass performed in its entirety. It wasn’t until more than a century after the composer’s death that Mass in B Minor was performed in full.
“We are thrilled to be partnering with Sam Nelson and Church of the Redeemer to present two of the most iconic masterpieces in the repertoire,” said Maestro Caulkins in a statement.
“Sam Nelson will be conducting the lesser heard Parts 2 and 3 of Handel’s moving ‘Messiah’ and I will conduct Bach’s Mass in B Minor, a true tour de force for singers and players alike,” Caulkins continued.
The Mass contains nine distinct arias and duets, 14 ensemble movements for four, five, six and even eight voices, and “Et incarnatus est,” Bach’s final pages of vocal music.
“This is Bach’s most towering achievement,” Caulkins added.
“His Mass in B Minor is the glorious summation of an extraordinary musical life — demonstrating Bach’s unparalleled skill, ingenuity, symbolism and dramatic power.”
Among the performers who will be singing in the Opus 1700 concerts are soprano Adelaide Boedecker, tenor Corey Shotwell, mezzo-soprano Amanda Crider, tenor David Tayloe, mezzo-soprano Thea Lobo, baritone Stephen Mumbert, soprano Nicole Estimo and baritone Edmund Willy.
A+E BRIEFS
Image courtesy of Cliff Roles
Joseph Caulkins is Key Chorale’s maestro.
A tale of two jobs
SILL offers a dynamic lecture series on global issues and cultural enrichment as well as conversations and performances featuring established & emerging musicians.
KEYNOTE SPEAKER: GENERAL MARTIN DEMPSEY
Former Chairman of the Joint Chiefs of Staff from 2011 to 2015
WEDNESDAY, JANUARY 28 | CHURCH OF THE PALMS | 2:30 PM Great Power Security Dilemmas: From Economic Competition to Military Confrontation
MONDAY, JAN. 26
‘Primary Trust’ and ‘Job’ show the risks and rewards of taking care of business.
MARTY FUGATE CONTRIBUTOR
The all-American workplace provides the inciting incidents for “Primary Trust” at Asolo Repertory Theatre and “Job” at Urbanite Theatre. Apart from that similarity, the plays are as different as matter and anti-matter. But let’s clock in ...
Eboni Booth’s “Primary Trust” is a sweet story. It’s gentle, kind and loving. (Chari Arespachochaga directs it.) “Sweet story” sounds like a huge dramatic category. Nope. In the 21st century, they’re seldom told on stage and screen. What’s the closest equivalent? Frank Capra’s tales of Everyman come to mind. But they’re so 20th-century. Booth’s play is a character study of Kenneth (Anthony Cason), a traumatized man in his late 30s. He’s a soft-spoken loner living in a small town. His mother died when he was 10. He’s never been the same since.
Kenneth’s wired his life for routine. That predictability holds his solitary life together. Day after day, no surprises. He works at a used bookstore, zaps a microwave meal at home and visits a tiki bar. Night after night, Kenneth orders Mai Tais and talks to his best friend, Burt (Kamal Bolden). Who’s charming, supportive and entirely imaginary.
That’s Kenneth’s bubble of peace. But it’s fragile. When his boss retires, the bubble pops. No more bookstore, no peace. After Kenneth loses his job, his solitary life goes with it. Despite panic attacks, Kenneth (like his mother before him) gets a job as a bank teller.
Kenneth’s social skills suck, but he’s good with numbers. His bank teller job requires him to cross-sell, i.e. offer checking account customers a credit card or a mortgage application. Surprisingly, he succeeds and is even honored as “Employee of the Month.”
Kenneth slowly comes out of his shell and reluctantly joins the human race. He forms tentative bonds with nonimaginary humans like Clay (Matt DeCaro), the goodhearted bank president, and Corrina (Kayland Jordan), a tiki bar waitress
10:30 am, Church of the Palms, 3224 Bee Ridge Rd, Sarasota
3:00 pm, Venice Presbyterian Church, 825 The Rialto, Venice
Edin Espinosa, Broadway Actor and Singer
Nominated for both the Tony and Drama League awards for her performance in Lempicka, Eden Espinosa is celebrated for her iconic portrayal of Elphaba in Wicked. Her work has earned critical acclaim on Broadway. Eden will offer audiences an inside look at Broadway.
MUSIC MONDAY GLOBAL ISSUES
TUESDAY, JAN. 27
10:30 am, First United Methodist Church, 104 S Pineapple Ave, Sarasota
2:30 pm, Venice Community Center, 326 S Nokomis Ave, Venice
WEDNESDAY, JAN. 28
11:00 am, Cornerstone Church, 14306 Covenant Way, Lakewood Ranch
Robert J. Lieber
U.S. Foreign Policy in a Turbulant World America’s global relationships are rapidly shifting. Robert Lieber examines these changes and America’s role in the world.
THURSDAY, JAN. 29
10:30 am, First United Methodist Church, 104 S Pineapple Ave, Sarasota
5:00 pm, Cornerstone Church, 14306 Covenant Way, Lakewood Ranch
FRIDAY, JAN. 30
10:00 am, Venice Community Center, 326 S Nokomis Ave, Venice
Martin Walker Can Europe Cope with Challenges from East AND West?
Martin Walker explains how decades of European reliance on U.S. support are giving way to a new reality as America First policies reshape the global order.
Sarasota • Lakewood Ranch • Venice
Learn with Us: Visit www.sillsarasota.org or scan our QR code
Thursday March 5, 2026
8:30-9:45 am (arrival and networking: 8:00 am) Carlisle Inn & Conference Center, Sarasota Information, Sponsorships, Tickets, and Donations: caring-collective.org or contact Karen Zelden at kzelden@caring-collective.org
Sorcha Augustine
David Breitbarth and Casey Wortmann star in “Job,” which runs through Feb. 15 at Urbanite Theatre.
who jump-starts his heart. These close encounters are initially awkward and funny. Kenneth’s terrified when they get too close. Is making a real friend a betrayal of his imaginary friend? That thought freaks Kenneth out. He loses it, insults a bank customer and stops going to work. But this is a sweet story. And it all turns out all right. Everything is beautiful.
A TECH JOB THAT’S A TRIGGER
Under Meg Gilbert’s crisp direction at Urbanite Theatre, Max Wolf Friedlich’s “Job” tells a very different story. Nothing is beautiful. Everything hurts.
If “Primary Trust” resembles a sweet Frank Capra movie, “Job” is more like a film by William Friedkin (“The Exorcist”) in a bad mood. Don’t get me wrong, it’s a damn good play. Friedlich’s razor-sharp psychological thriller is a thrill ride from start to finish. His wild ride also begins at work.
Friedlich’s play explores the Big Tech workplace. Jane (Casey Wortmann), a twentysomething IT wizard, has a meltdown at work and her tantrum becomes a viral video. The company puts her on leave.
Before Jane can go back to work, a therapist must certify she won’t go nuts again. Lloyd (David Breitbarth) is her kindly boomer shrink, but his evaluation starts badly.
Tense discussion follows, but it’s hardly therapeutic. It’s mostly an airing of Jane’s grievances. She’s got a lot of problems with boomers. And Lloyd’s going to hear about it.
But what’s driving Jane mad? It seems she works as a “content moderator.” (Orwellian tech-speak, I know.) Translation: She watches and flags online videos of torture and unspeakable depravity.
Friedlich hints of a darker secret but doesn’t spell it out. His play asks hard questions, but withholds easy answers. Especially to the big question ...
WHAT’S JANE’S BEEF WITH LLOYD?
Jane clearly has one. She came to the session locked and loaded. She was boiling with rage and instantly aimed it at Lloyd. Why’s she so angry at him? Does she think one of his patients created an evil video?
IF YOU GO
‘JOB’
When: Through Feb. 15
Where: Urbanite Theatre, 1487 Second St.
Tickets: $30-$44. Info: Visit UrbaniteTheatre. com.
‘PRIMARY TRUST’
When: Through Feb. 11 Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail. Tickets: $35-$97. Info: Visit AsoloRep.org.
Does she think he did? Or does she just hate boomers? What fires Jane’s fury?
The play’s twist-ending broadly hints at Jane’s target. But Friedlich leaves it ambiguous. “Job” isn’t a whodunit. Like Paul Verhoeven’s
“Total Recall,” you don’t know what’s real or delusion.
That uncertainty isn’t a bug; it’s the play’s point. It mirrors the fallout of unproven accusations in realworld corporate and therapeutic spaces. They’re not puzzles to solve but psychological and moral dilemmas.
What evil is Jane fighting? Did this horror “really” happen?
Wrong questions. What evils are we willing to live with? What evils should we fight?
They’re the right questions. They’ll haunt you on the long ride home. Or even at work.
“Primary Trust” and “Job” are both work-related. And vastly different.
In Booth’s play, the characters work to live, not the other way around. Working as a bank teller isn’t Kenneth’s dharma. His job allows him to have a life. It’s not his mission in life.
In Friedlich’s play, the characters’ jobs are their missions in life. It’s what they live for and their work can be life-saving. But they’re both lousy jobs. We’ll clock out with this final lesson ... Work can be heaven or hell in America. It all depends on the job. Be sure to check the job description before submitting your resume.
ART CENTER SARASOTA’S BEAUX ARTS BALL
A Costume Ball Honoring Artistic Legacy & Supporting the Future of Art Saturday, March 21, 2026 Municipal Auditorium ~ 6 - 10pm
In honor of our centennial, we’re celebrating the Roaring ‘20s - the decade that started it all. Come in costume or festive formal attire - think feathers, fringe and flair
Scan the QR Code to purchase tickets & view sponsorship opportunities.
Japanese violin prodigy Himari lives up to the hype in her Sarasota Orchestra debut
GAYLE WILLIAMS CONTRIBUTOR
Local audiences were afforded a rare treat by the Sarasota Orchestra when 14-year-old Himari Yoshimura stepped on stage Friday, Jan. 16, at Neel Performing Arts Center in Bradenton, for her solo performance in Bruch’s Violin Concerto No. 1 in G Minor, Op. 26 during the most recent Masterworks concert.
Our community sees and hears a good number of prodigiously talented young musicians, through The Perlman Music Program Suncoast, the Sarasota Music Festival and other initiatives. However, as many have already claimed, Himari is a once-in-a-generation artist of awesome capabilities. This time reality almost surpassed the hype.
Conductor Peter Oundjian gave the young Himari free rein throughout the first movement, where I was immediately transfixed by her tone and expressive choices. Her musicality was not that borrowed from teachers but seemed to emanate from a heart and soul deeply connected to a universal truth.
Did she meet the technical demands of this solo virtuosic vehicle? Of course, she did, with all the notes well in hand. But that’s to be expected. The rest? Well, if you missed it, let’s hope you have another opportunity to experience her in such close proximity.
The Masterworks concert opened with the Florida premiere of “Amplify” by Pulitzer Prize-winning composer Michael Abels. Co-commissioned by the Sarasota Orchestra, “Amplify” quickly showed off Abels’ mastery of painting a scene and capturing a mood. Gradually shifting from an emerging cloud cover of string sound with winds, brass and percussion breaking through to passing dream fragments of Tchaikovsky’s 1812 Overture, the music was intrigu-
ing. We even caught glimpses of the American Wild West.
Himari was the emotional highlight, but Oundjian led the orchestra in a luminous walk through the galleries of superbly orchestrated and performed scenes of Mussorgsky’s “Pictures at an Exhibition,” orchestrated by Maurice Ravel. Each scene and movement is created with exact detail and confidently executed. By the time the final majestic bold strokes bring the work to conclusion, we’ve passed through scenes both bold and somber— ranging from masculine brass heralds to intricately weaving woodwinds, depicting moments drawn from real life and fantasy. All of this is conveyed through the multitude of sounds that an orchestra can create, immersing us in every vivid detail along the journey. Have we come to expect this level of performance from the Sarasota Orchestra? Yes, but it is gratifying nonetheless.
Image courtesy of Hitoshi IWakiri
Japanese violin prodigy Himari
Masterworks 3 Dinner
Sherry Koski with guest conductor Peter Oundjian and Chairman Tom Koski.
Photos by Janet Combs Stephanie Block and Natalie Helm
Masterworks 3 host Kay Aidlin with Karol Foss, guest conductor Peter Oundjian, board member Kim Wheeler and Lydia Landa
Sarasota Orchestra President and CEO Joe McKenna with Anne Folsom Smith and Director of Donor Engagement India Marie Paul
Vice Chair David and Linda Green with concertmaster Daniel Jordan, Jill Levine and Lois Stulberg.
Matt and Barbara McAleer
Comfortable With Being Uncomfortable
For choreographer Gemma Bond, returning to Sarasota no longer requires starting from scratch. Fresh off the success of her first full-length ballet with Uruguay National Ballet, Bond presents the world premiere of her fourth commissioned work with The Sarasota Ballet in Program Four: Notes Unspoken Her return is now shaped by the product of time, familiarity, and trust, all built upon years of collaboration with the Company and its dancers. At the center of The Waiting Room, that trust manifests in one creative relationship, with a dancer Bond relies on to hold the stage.
That dancer is longtime Character Principal, Ricki Bertoni. Bond was 11 years old when they first met
as students in The Royal Ballet School, White Lodge. Parting ways to pursue their individual careers, their reunion came years later when Bond first arrived to begin her first commissioned work for the Company.
There’s a different level of communication when you share such a similar background and training as Ricki and I do,” reflects Bond.
“His ability to control his emotions and be such an extrovert on stage is no small feat. There’s a certain charisma to being essentially, an actor to music, and Ricki has exactly that.” Bertoni has appeared in all of Bond’s Sarasota works to one extent or another, with The Waiting Room being no exception. Her latest work draws part of its inspiration from his
affinity for “being comfortable with being uncomfortable,” as he puts it. For Bertoni, works like this allow him to tap into the intersection of dance and theater.
“The most important part for me is making someone feel something,” Bertoni shares. “I never know how an audience will react to a work, but as long as I invite them into the moment and hold their attention, then I’ve done what I set out to do.”
As Program Four: Notes Unspoken opens, The Waiting Room sees an artistic partnership that even in this moment, continues to grow as the two bounce ideas off of one another to further the work — a work propelled by a dancer who knows how to hold the stage, and a choreographer who knows when to let him.
Audiences can witness this collaboration take the stage January 30 through February 2 at the FSU Center for the Performing Arts. Tickets start at $35 and are available at The SarasotaBallet.org
Ricki Bertoni and Gemma Bond • as students in The Royal Ballet School, White Lodge.