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ARTS + ENTERTAINMENT
NOVEMBER 20, 2025
WELCOMING THE STRANGER
Asolo Rep’s ‘Come From Away’ tells a heartwarming tale of Canadian hospitality in the wake of 9/11.
MARTY FUGATE
CONTRIBUTOR
The attacks of Sept. 11, 2001, changed everything — including flight plans. Thirty-eight Americanbound planes were diverted to the tiny town of Gander, Newfoundland. The passengers got off the plane — without any luggage. (Authorities feared explosive devices.)
When 7,000 uninvited guests arrived, the Gander locals could have resented them. But they welcomed the strangers — feeding, housing and comforting them. This act of “radical hospitality” was a ray of light in dark times. It inspired Irene Sankoff and David Hein’s hit Broadway musical, “Come From Away” (2015). The tale has arrived on the Asolo Repertory Theatre stage, under the direction of Peter Rothstein, Asolo Rep producing artistic director. In our recent talk, he shared why the kind people of in Gander still inspire us all.
Is it true that you’ve followed this musical from its inception?
Yes. I read an early version about five years before it reached Broadway and was immediately taken with it. It was quite a different show — with two acts and an unusual structure — but I knew it was special. It’s been on my bucket list ever since. When the rights became available, I wanted to be first in line.
Why did you find it so compelling?
Because I’m drawn to documentary musicals with such uplifting stories.
That’s why it’s so exciting that we’re running “All Is Calm” and “Come From Away” in repertory now. They both shine a light on the best of humanity in the worst of times.
“Come From Away” walks a tightrope between tragedy and joy. How do you keep your emotional balance?
The musical does that for me.
That’s the magic of “Come From Away.” It’s a tragic story. It’s a joyful story. Sankoff and Hein don’t try to resolve that contradiction. They just tell the story.
How do you tell the story?
We’ve incorporated live-feed news video of 9/11 — including a clip of Sarasota’s own connection, when President Bush was at Booker Elementary and his chief of staff whispered in his ear. That historical footage underscores the gravity of this attack. It creates a documentary feel. But this musical is also incredibly funny — because joy was part of that week, too. I don’t remember laughing so hard in rehearsals; there’s so much joy and humor, but also deep emotion. When audiences laugh with our characters, the tragedy lands even harder. Laughter builds empathy.
Once you feel you know these people, their pain becomes your own.
How do you think the themes will resonate with Sarasota audiences?
I think they’ll really hit home. Most of our patrons remember exactly where they were on 9/11. And Sarasota has its own connection. The cast met local people who were there — airport staff who serviced Air Force One, journalists like Linda Carson, and the educators at Booker Elementary. So the story is deeply personal in Sarasota. And the timing is beautiful. Whether you celebrate Christmas, Hanukkah or Kwanzaa, the musical’s themes — radical hospitality, welcoming the stranger and seeing the goodness in everyone — fit the season perfectly. It’s not a holiday show, but it speaks to the spirit of every holi-
“At its heart, ‘Come From Away’ celebrates ordinary people doing extraordinary things. That’s timeless.”
Anxious travelers are desperate to contact loved ones by telephone in Asolo Rep’s production of “Come From Away.”
IF YOU GO ‘COME FROM AWAY’ Through Dec. 28 FSU Center for the Performing Arts, 5555 N. Tamiami Trail. Tickets: $37-$150 Visit AsoloRep.org.
Edred Utomi is one of the cast members in Asolo Rep’s “Come From Away” who plays more than one character.
Peter Rothstein
Photos by Adrian Van Stee
Aaron Kaburick brandishes a fish waiting for a kiss in Asolo Rep’s “Come From Away.”
— Peter Rothstein, Asolo Rep producing artistic director
day. At its heart, “Come From Away” celebrates ordinary people doing extraordinary things. That’s timeless.
“Come From Away” is a mosaic of voices with no lead characters. How do you evoke that with an ensemble cast?
It’s been an intense process. Each actor has multiple roles and accents — British, Texan, and, of course, Newfoundland, which is a language all its own. Last month, I went to Gander. I understood about half of what the people were saying, I even bought an 800-page Newfoundland dictionary. The characters are all based on real people. To honor that, we spent weeks finding authenticity and subtle distinctions. We make sure each voice, gesture and costume shift reveals a new person without turning them into a cartoon.
How do you help the actors authentically master their dialects?
Patricia McGregor, our dialect coach, is amazing. She provided real-world sources and helped us navigate the bit of dialogue where the writers took artistic license.
Some characters are composites of several real Newfoundlanders. That gave us the freedom to make creative choices while still honoring the truth of those characters. We filled in the blanks and built contrasts that felt human, not artificial.
The town itself is a character in this show. How did you evoke the Gander spirit?
I envisioned the entire production inside a rural Canadian sports bar. I grew up in northern Minnesota — hockey country — so that felt natural to me. A bar is the perfect symbol of unpretentious hospitality. But we backed that up with research. And a field trip.
How did that go?
Well, we visited Gander’s real hangouts, especially the Moosehead Lounge. Knotty-pine walls, a moose head above the bar, dartboards, pool tables — that became our visual vocabulary. We filled the set with hundreds of authentic objects: postcards, photos, souvenirs. Someone joked we should add a “find-the-object” list in the program! The original Broadway staging used 12 chairs and two tables. We’ve added much more specificity — physical items from the world of Gander that root the story in a real place while creating our own distinct production.
So, you’ve completely reimagined the staging. Very much so. But that’s what we do. Theater is built for reinvention. No one’s dared to remake “The Wizard of Oz” as a film, but on stage reinvention is the rule. Our production honors the original text and score but brings new staging
and design. In the spirit of hospitality, the entire front of the stage is an actual bar. The band plays live for 30 minutes before curtain while the audience can walk on stage, order a Canadian beer or whiskey, and mingle in Gander’s warmth before the story even begins.
It’s a powerful story. How does the music help tell it? It flows like life, from one scene into another. Ian Eisendrath, who was the original music director and orchestrator, is a friend. And his arrangements are just brilliant. Most of “Come From Away” is underscored — there are only two applause breaks. The sound is uniquely Newfoundland — Celtic rock fused with Broadway drive. You’ll hear bodhrans, Irish whistles and the rhythmic pulse of folk tradition. That blend of Irish roots, contemporary rock and musicaltheater craft is the show’s heartbeat.
It’s been nearly 25 years since the 9/11 attacks. But contemporary audiences still find “Come From Away” cathartic and inspiring. Why does it hold up? Because it’s more poignant than ever. Our country feels so divided now — but this story transcends politics. No matter your ideology, you can’t poke holes in the humanity of a town that doubled its population in three hours to care for 7,000 strangers. When the world feels dark, this show reminds us of the light we can create. “All Is Calm” (playing Dec. 3-19 at The Ringling’s Historic Asolo Theater) depicts extraordinary heroism in war. “Come From Away” celebrates everyday heroism — acts of kindness like volunteering, feeding the hungry and welcoming the stranger. That’s within everyone’s reach.
Image courtesy of Adrian Van Stee
A diverse, multitalented cast tells the tale of travelers who landed in Gander, Newfoundland, after 9/11 and the locals who welcomed them in Asolo Repertory Theatre’s “Come From Away.”
John Ringling’s Cypriot treasures finally find their forever home
Consulting curator Joanna Smith discusses a decade-long journey to open Gallery 12 at The Ringling.
MARTY FUGATE CONTRIBUTOR
After nearly a decade of planning, research and restoration, “Ancient Art from Cyprus and the Mediterranean” has finally taken shape in Gallery 12 at The Ringling. This permanent exhibition brings nearly 3,000 years of history to life with 201 selections from the museum’s vast Cypriot collection.
Most of these sculptures, ceramics, jewelry and precious objects come from the island of Cyprus — one of the world’s oldest cultural crossroads. Curated by archaeologist and consulting curator Joanna Smith, this installation flows from John Ringling’s original vision for an encyclopedic museum. Smith shares why that vision still matters.
How did you get involved?
In 2014, I was finishing a position at Princeton, where I’d just done the “City of Gold” exhibition. With perfect timing, The Ringling’s designer then reached out to me — my colleague Joan Mertens at the Met (Metropolitan Museum of Art) had recommended me as a consultant. I visited that year, wrote a proposal and we were off. Budget bumps and Covid caused long delays, but we took our time. These objects have never had a permanent gallery and we wanted to get it right.
What’s the scope and origin of The Ringling’s Cypriot collection?
The Ringling’s antiquities collection numbers about 3,500 pieces, and roughly 2,300 come from Cyprus. John Ringling bought nearly all of them in 1928 at the Anderson Galleries in New York, when the Met was selling parts of its ancient holdings. That purchase was a turning point; it established Ringling as a serious collector.
Who discovered these pieces?
Why do they matter?
Most trace their origins to explorations by Luigi Palma di Cesnola, a 19th-century Italian-American U.S. consul on Cyprus who later became the Metropolitan Museum’s first director. Cesnola’s finds
formed the Met’s early collection of ancient art. The Ringling’s holdings preserve that same lineage. They’re significant for what they are and what they tell us about the history of collecting.
What role did the conservation team play in shaping the display?
They’ve been extraordinary. We knew preparing these objects for display would be a monumental effort, but everyone rose to it.
Emily Brown and her team in object conservation looked closely at how pieces had been treated in the 19th century — making sure the heads went with the right bodies, and noting which ones didn’t. And they made a few surprising discoveries.
One conservator, Tara Johnston, was cleaning what she thought was a silver ornament. But the surface didn’t look right — and she realized that the piece was covered in gold foil. So, what looked like silver jewelry turned out to be gold.
Many objects have been stored away for decades. What was it like to bring them into the light?
It was thrilling. When I first visited, I saw so many familiar faces — from Cesnola’s old publications or The Ringling’s 1983 temporary show — but also works I’d never seen before.
Having them cleaned and properly displayed reveals an incredible level of craftsmanship. Many have truly never been on view until now.
When visitors step into the gallery, what will they see?
I wanted to tell a story that’s both chronological and thematic. One side of the gallery focuses on ancient history; the other looks at collection history. A central case presents what we call “the Crowd” — about 50 limestone sculptures, grouped together as they would’ve been in an ancient Cypriot sanctuary. Two colossal heads crown that grouping. Each once belonged to a 10-foot statue. Traditionally, you’d see one displayed alone, but we’re showing both. They’re similar yet distinct — different facial expressions, different energy. Together they create a real dialogue.
Cyprus has always been a cultural crossroads. Does that come through?
Yes. You see it everywhere — in dress styles, materials and iconography. Our objects show Cyprus’ links from Italy and France to Persia
and Egypt. The island sat at the hub of the eastern Mediterranean trade routes. It was rich in copper, agriculture and timber — everything from shipbuilding to textile weaving flourished there. Cultural connections radiated far beyond the island of Cyprus. Our gallery’s diversity of materials mirrors that cultural mix. And we couldn’t resist including a map.
What set the Cypriot artists apart?
They were incredible observers. They could be precise and naturalistic, but also playful and abstract. The sculpture of the Greek goddess Artemis is one favorite. She has her fawn, or possibly a hunting dog, and arrows, but her head is slightly too large for her body. That was intentional; Artemis was a protector of children, and the proportions seem childlike.
What experience do you want visitors to have?
I hope people will enjoy individual objects but also imagine how they were experienced in their time. From one entrance you move through funerary art — including, in one case, objects from a single tomb, giving a sense of how families honored the dead. From the other, you approach a sanctuary dedicated to Apollo — spaces filled with votive figures standing in for worshippers. As you move through the gallery you join that ancient crowd. It’s about community and continuity.
What’s the logic behind the lighting?
We have engraved glass fragments that needed to catch the light just so. Our lighting specialist, Keith Crowley, invented a way to illuminate the pieces from behind, and
the mount-maker, Casey Schelhorn, engineered supports that make the glass seem to float. They look like little jewels, brilliantly lit.
The Ringling is famed for its Baroque paintings and circus legacy. Why are these lesserknown antiquities also vital to its mission?
John Ringling wanted an encyclopedic museum. This gallery fulfills that dream. It’s not a separate building, but it’s a distinct world within the museum.
And there’s a circus connection.
The Ringling Brothers circus shows often had ancient themes like “Solomon and Sheba” and chariot races. The costumes in our Cypriot sculpture aren’t that far removed. I think these pieces resonated with John Ringling’s imagination as a showman.
After nearly a decade of work, how does it feel to complete this project?
I feel so grateful to Executive Director Steven High, who had the vision for the reinstallation, and Sarah Cartwright, chief curator, Amanda Robinson and her team from registration, along with all of my other colleagues who made it a reality.
Joni Bradley, our designer, realized exactly what I had envisioned. The “crowd” in the center is exactly how I saw it. The funerary sculptures along the side feel just right. Even the architecture plays a part — the stairs from the Monda Gallery bring you down from the height of those 10-foothigh heads. You join the group — and feel part of something greater.
IF YOU GO
‘ANCIENT ART FROM CYPRUS AND THE MEDITERRANEAN’
Where: John and Mable Ringling Museum of Art, Gallery 12, 5401 Bay Shore Road, 941-359-5700.
Tickets: Free with $30 admission. Mondays free. Info: Visit Ringling.org.
That’s how I feel. And that’s what I wanted visitors to experience.
Images courtesy of The Ringling
A crowd scene of Cypriot art acquired by John Ringling in 1928 is the centerpiece of the new Gallery 12 at The John and Mable Ringling Museum of Art.
A limestone grave stele of a reclining man said to be from a necropolis at Salamis, Cyprus, purchased by John Ringling in 1928.
DON’T MISS
SARASOTA BALLET:
‘WRITTEN MOTION’
The second program of Sarasota Ballet’s season features three ballets. The first, “Valses nobles et sentimentales,” was choreographed in 1947 by Sir Frederick Ashton to Ravel’s 1911 suite of waltzes. “Valses nobles” sat on the shelf for 25 years until it was dusted off by Sarasota Ballet, which has championed the works of “Sir Fred” under the leadership of Iain Webb and Margaret Barbieri. But the ballet also supports modern and new
THURSDAY
choreographers. For proof, look no further than the other two dances on the bill: “The Letter V” by Mark Morris and an unnamed world premiere by Ashley Page, former artistic director of the Scottish Ballet. “Written Motion” features live music by the Sarasota Orchestra. Runs through Nov. 22.
IF YOU GO
When: 7:30 p.m. Friday Nov. 21 Where: Sarasota Opera House, 61 N. Pineapple Ave. Tickets: $35-$125 Info: Visit SarasotaBallet. org.
ASTRAL MIXTAPE
5:30 p.m. at Marie Selby Botanical Gardens, 1534 Mound St. $50 Visit ArtistSeriesConcerts.org.
If you’ve never heard of Astral Mixtape, listen up. Its members — Misha Vayman, Michael Siess, JuanSalvador Carrasco and Nathan BenYehuga — have developed their own musical language using classical instruments and electronics. In this performance presented by Artist Series Concerts, they will play original works that incorporate music by Rimsky-Korsakov, Vaughan-Williams, Astor Piazzolla and others.
HERMITAGE SUNSETS @ SELBY GARDENS
6 p.m. at Historic Spanish Point, 401 N. Tamiami Trail, Osprey Free with registration Visit HermitageArtistRetreat.org.
Hermitage Artist Retreat presents “An Evening of Scenes & Songs,” featuring Hermitage-Roundabout Fellow Migdalia Cruz and Hermitage Fellow Lauren Marcus. Cruz has
THIS WEEK
produced 60 works over 40 years that mine the territory of love and grief. Known for her roles in “Be More Chill”on Broadway and “The Jonathan Larson Project” Off-Broadway, Cruz moves easily between the roles of actor, writer and singer-songwriter.
‘EMMA’
7:30 p.m. at FSU Center for the Performing Arts, 5555 N. Tamiami Trail $15-$30 Visit AsoloRep.org/Conservatory.
See FSU/Asolo Conservatory students perform Kate Hamill’s adaptation of Jane Austen’s beloved novel about a clever but selfsatisfied young woman in early 19thcentury England who fancies herself a skilled matchmaker. “Emma” is directed by Ariel Bock. Runs through Nov. 23.
‘THE AMISH PROJECT’
7:30 p.m. at Venice Theatre, 140 Tampa Ave. W., Venice $18-$38 Visit VeniceTheatre.org.
Written by Jessica Dickey, “The Amish Project” (2009) explores the forgiveness expressed by the Amish community after an outsider opened fire in 2006 on a schoolhouse in Nickel Mines, Pennsylvania, shooting 10 girls, five of whom died. There are seven fictional characters in the play, which are sometimes portrayed by one actress. This Venice Theatre production is an ensemble project. Runs through Dec. 7.
‘MONSTERS OF THE AMERICAN CINEMA’
7:30 p.m. at Urbanite Theatre, 1487 Second St. $5-$44 Visit UrbaniteTheatre.com.
In Christian St. Croix’s haunting play, Remy (Jon Gentry), a gay Black widower, bonds with his late husband’s straight, white teenage son Pup (Tyler Geva) over scary monster flicks until ghastly cinematic creatures seemingly escape the silver screen. Or are they monsters from within? Runs through Dec. 7.
‘FEELING GOOD’
7:30 p.m. at Florida Studio Theatre’s Court Cabaret, 1265 First St. $18-$42 Visit FloridaStudioTheatre.org.
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.” With musical arrangements by Jim Prosser, the singers are joined by Christian “CC” Allen on drums and Prosser on piano. Runs through Feb. 8.
‘BLACK NATIVITY’
7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave. $54 adults; $24 students 25 and younger and active military Visit WestcoastBlackTheatre.org.
Westcoast Black Theatre Troupe presents a Nativity story that blends gospel, blues, spiritual and Christmas music with the poetry of Langston Hughes and the creativity
The Sarasota Ballet will perform “Valses nobles et sentimentales” by Sir Frederick Ashton in Program Two: “Written Motion,” on Nov. 21-22 at the Sarasota Opera House.
Image courtesy of Foteini Christofilopoulou
of Nate Jacobs’ theater company dedicated to African American stories. This is not just another Christmas show. Runs through Dec. 21.
‘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 downtown music and theater campus with something for everyone all year round. Opening FST’s winter cabaret series is “Three Pianos,” an ode to superstars of the keyboard such as Ray Charles, Elton John and Alicia Keys. Runs through April 19.
FRIDAY
JAZZ AT TWO WITH MICHAEL ROSS QUARTET
2 p.m. at Unitarian Universalists of Sarasota, 3975 Fruitville Road
$15-$20
Visit JazzClubSarasota.org.
Jazz Club of Sarasota presents Sarasota bassist Michael Ross and his bandmates. They’ll play “straight ahead” jazz along with contemporary and original compositions by Ross. A native of Harrisburg, Pennsylvania, Ross spent his early years being mentored by bassists Cecil McBee, Dee Moses and Jim Miller.
195 University Town Center Drive
$35-$125 Visit WonderlandCircus.com.
Just in time for the holidays, deathdefying aerialist Nik Wallenda returns to UTC with his Wonderland Circus, featuring a new tent with plush seats, cupholders and lots of room between rows. Joining Wallenda will be his faithful sidekicks — daredevil clown Johnny Rockett and master of ceremonies Ty McFarlan — as well as new family friendly circus acts and immersive video to help deliver the message: “Believe!” Runs through Jan. 4.
JORDAN TICE WITH JOSH PLUMMER
8 p.m. at Fogartyville, 525 Kumquat Court
$25
Visit WSLR.org.
Jordan Tice’s followers run the gamut from guitar fanatics to casual fans of Americana music. All are drawn by the masterful blend of genres that he’s developed by playing the roles of guitar ace, sideman, songwriter and scholar. Opening for Tice will be Tampa’s Josh Plummer, whose latest EP, “Wrong Side of Sunrise,” was released in 2023.
SATURDAY
THE ORCHID SHOW 2025: REBECCA LOUISE LAW
10 a.m. at Marie Selby Botanical Gardens, 1534 Mound St. $30; $28 online
This year’s Orchid Show explores the theme of survival and features an immersive art installation of preserved flowers by British contemporary artist Rebecca Louise Law in The Richard and Ellen Sandor Museum of Botany & the Arts. Law’s installation is juxtaposed with a vibrant display of live orchids and other plants in the living museum’s Display Conservatory. Runs through Dec. 7.
CORNUCOPIA OF JAZZ
3:30 p.m. at Venice Performing Arts Center, 1 Indian Ave., Building 5, Venice $55-$65
Visit TheVeniceSymphony.org.
With Thanksgiving right around the corner, why not feast on a cornucopia of jazz with The Venice Symphony? This concert will be led by Pete Barren Bregge and features guest vocalists Jeremy Gaynor and Michelle Amato performing what is billed as a “musical harvest of harmony, groove and gratitude.”
‘RAIN — A BEATLES CHRISTMAS TRIBUTE’
7 p.m. at Van Wezel Performing Arts Hall, 7777 N. Tamiami Trail $46 and up Visit VanWezel.org.
Cross Yuletide carols with Sergeant Pepper and you might come up with something like “RAIN — A Beatles Christmas Tribute.” Go dashing through the snow (figuratively since this is Florida) with John, Paul, George and Ringo in your sleigh. Bring along a few friends for the ride, add a thermos of eggnog and you’ve got the recipe for a memorable holiday celebration.
OUR PICK REMEMBERING JFK
The day before this Suncoast Concert Band appearance marks the 60th anniversary of the assassination of President John F. Kennedy. In the aftermath, his 34 months in the White House came to be known as “Camelot” when his grieving widow, Jacqueline Bouvier Kennedy, told Life magazine that it was JFK’s favorite musical. “Don’t ever let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.” The seasoned musicians led by conductor Robert Stoll haven’t forgotten. Call 941-907-4123 to reserve your ticket in advance, and please be sure to dial the right number.
IF YOU GO
When: 3 p.m. Sunday, Nov. 23
Where: Northminster Presbyterian Church, 3131 61st St. Tickets: $5
Info: Visit SuncoastConcertBand.org.
Competition. Currently in residence at Utah State University, the group consists of Robert Waters and Rebecca McFaul on violin, Bradley Ottesen on viola and Anne Francis Bayless on cello. The program features Debussy, Beethoven and “Source Code” by Jessie Montgomery. Tickets include light refreshments and a meet-and-greet reception with the artists following the performance.
MONDAY
MONDAY NIGHT JAZZ WITH MAURICIO RODRIGUEZ
7:30 p.m. at Florida Studio Theatre’s Court Cabaret, 1265 First St. $34-$39 Visit JazzClubSarasota.org.
7:30 p.m. at FST’s Bowne’s Lab,
Visit FloridaStudioTheatre.org.
Florida Studio Theatre Improv smackdown between two teams of experienced improvisers who face off with games, skits and songs to win the audience’s
4 p.m. at First Presbyterian
Visit ArtistSeriesConcerts.
Artist Series Concerts presents Fry Street Quartet, winner of the grand prize at the Fischoff Chamber Music
“What good is sitting alone in your room? Come hear the music play,” Liza Minnelli famously sang in “Cabaret.” She knew what she was talking about and so does Jazz Club of Sarasota, which teams up with Florida Studio Theatre to present Monday Night Jazz at the Cabaret. This week’s show features Mauricio Rodriguez and the MJR Latin Project. Doors open at 6:30 p.m. for food and drink service.
WEDNESDAY
‘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 Wilsonian-Florida International University are on display. Through March 29, 2026.
Westcoast Black Theatre Troupe presents a reimagined version of Langston Hughes’ “Black Nativity” through Dec. 21.
Image courtesy of Sorcha Augustine
‘Lucky Stiff’ makes a winning bet on comedy at FST
A luckless nephew goes for broke in Vegas with a death-defying scheme to save his inheritance.
MARTY FUGATE THEATER CRITIC
Lynn Ahrens and Stephen Flaherty’s “Lucky Stiff” is alive and kicking at Florida Studio Theatre. The play’s main character isn’t. He’s a stiff. Bereft of life, he rests in peace. He’s kicked the bucket, shuffled off this mortal coil, run down the curtain and joined the choir invisible.
He’s dead, mate. To paraphrase John Lennon, “Death is what happens when you were busy making other plans.” This ex-character had planned a vacation in Monte Carlo. Dead or not, he’s made sure he’s going to go. And where there’s a will, there’s a way.
After a quick set-up, the farce unfolds in Monaco, the tiny principality nestled on the French Riviera. Monte Carlo is the place. The musical never spells out the time. But it feels like the 1960s jet age. Or the fantasies of those years. Daydreams of louche luxury, in films and plays like “Pink Panther” and “Boeing Boeing.”
Harry Witherspoon (Barrett Riggins) is the stiff’s British nephew. This cringingly polite shoe salesman lives a life of quiet desperation in New Jersey. Despair turns to joy at a reading of his uncle’s will. The estate attorney informs him that his late Uncle Anthony left him $6 million — with one grisly catch. Uncle Anthony’s body. His taxidermized remains now reside in a wheelchair. To cash in, Harry’s must fly this stiff to Monte Carlo and wheel him around for a week of fun.
Skydiving! Scuba diving!
Gambling! While Uncle Anthony kicked the bucket, he can still tick off his bucket list. With his
nephew’s help. It’s all spelled out in a minute-by minute itinerary — which Harry must strictly follow. The Universal Dog Home of Brooklyn gets his uncle’s fortune if he slips up. To complicate matters, Harry’s pursued by Annabel (Amanda Rose), the canine charity’s uptight representative; Rita (Laura Yen Solito), a trigger-happy exmistress; and her brother, Vinnie (Scott Cote), an anxious optometrist. Some vacation. For Harry, it’s a long, strange trip indeed. Director Ben Liebert spins the comedy faster than a roulette wheel. It’s a farcical farrago of disguises, dance numbers, sexy chanteuses, mistaken identities and a
corpse on wheels. Liebert’s comic tone is the love child of Monty Python and the Marx Brothers. That’s perfect for this crazy vacation. The actors are, too.
Riggins’ Harry is a nice guy — warm-hearted but scared stiff. He’s terrified of saying or doing the wrong thing. His self-doubt makes that a self-fulfilling prophecy. His character sparks real chemistry with Rose’s Annabel. But she bottles up her simmering affection. She wants to claim Harry’s inheritance; she doesn’t want to love him. It’s a sweet romantic undercurrent.
Solito’s Rita steals the show as a nearsighted, gun-toting, selfcentered gangster’s moll. Cote’s
The cast of Florida Studio Theatre’s “Lucky Stiff” includes (clockwise from top) Laura Yen Solito, Scott Cote, Barrett Riggins and Amanda Rose.
IF YOU GO
‘LUCKY STIFF’
When: Through Dec. 28
Where: FST’s Gompertz Theatre, 1265 First St.
Tickets: $39-$59
Info: Visit FloridaStudioTheatre.org.
Harry Nadal’s costumes — from Rita La Porta’s feather-trimmed frock to Annabel Glick’s sensible shoes — turn character traits into sight gags. It’s a big bowl of eye candy. And a beautiful background to the musical’s song and dance.
Ahrens and Flaherty’s tunes can be subtle (“Nice”) or on-the-nose (“Something Funny’s Going On.”) Either way, they’re funny and fun. Musical Director Nathaniel Beliveau uncorks the musical’s bubbly score with snappy tempos and crystal clarity. Every lyric comes through.
Bottom line?
“Lucky Stiff” is sweet, silly, preposterous fun. Its script is packed with laughs and very little logic. How did Harry get his uncle’s corpse on the plane in the first place?
nervous Vinnie trembles beside her in comic misery. John Scalzi delivers a stiff performance as Uncle Anthony. (And that’s a good thing.)
FST’s shapeshifting ensemble also includes James Patterson, Sarah Hund, Soraiah Williams, Jason Pintar and Brad Myer. They spell out the lunacy like a madcap Greek chorus. And play multiple roles with vaudevillian precision. Isabel and Moriah CurleyClay’s set design is a French Riviera of the mind. It’s a pop-up playground of European luxury, seduction and self-indulgence. Ben Rawson’s lighting and Nicholas Christensen’s sound create a screwball comedy joy ride.
Who cares? Not Ahrens and Flaherty. Their lighthearted show has no heavy lessons. Or existential, political, philosophical or sociological depths of any kind. Their mad musical’s also full of plot holes and stock characters. So what? It’s hilarious, and that’s what counts.
It was also a great beginning.
“Lucky Stiff” was Ahrens and Flaherty’s first musical collaboration. It didn’t seem promising at the time. The show premiered in 1988 — and was dead-on-arrival after only 15 off-Broadway performances. It now enjoys a lively afterlife. The duo also went on to create hits like “Ragtime” and “Once On This Island.”
But their “Lucky Stiff” got the last laugh after all.
TIE BLACK
THURSDAY, NOVEMBER 20, 2025
Wine, Women & Shoes
Friday, Nov. 14, at The Ritz-Carlton, Sarasota | Benefiting Forty Carrots Family Center
Wine, Women & Shoes may celebrate the bronze during its 19th year in Sarasota, but this event will never settle for third place as it sets the gala bar higher each year. On Nov. 14, more than 400 guests poured into The Ritz-Carlton, Sarasota donning a variety of dress styles, including off-the-shoulder, over-the knee, mini, midi, maxi and more.
The daylong festivities included shopping with stylish pop-up fashion vendors, a live auction, a highenergy, flawlessly choreographed fashion show, a fabulous lunch and, of course, sipping wines and champagnes from around the globe.
Shoes were thonged, flipped-flopped, booted, pointed, blocked, balleted, muled and Mary Janed. Best friends became arch enemies as they entered the “Shoe-Per Bowl” competition, hoping to take home the coveted award for best shoe.
The dashing “Solemen” who politely promoted various goods along with their charm were ogled and snapped. Without house rules banning gasping and mouth-gaping they were
left vulnerable to many a perfectly manicured finger pointing.
Co-Chairs Lauren Dixon, Allison Imre, Renee Phinney and Lauren Wohlwend greeted guests and kept their collective close eyes on every detail. And much like an orchestra conductor, WWS’s seasoned event planner Minta Getzen stuck to the itinerary and kept everything and everyone running on time with her signature style and smile that never faltered.
CEO Michelle Kapreilian has been at the helm of Forty Carrots Family Center for 13 years, and her enthusiasm and passion for her organization is infectious.
“I’m grateful to everyone who participates in this signature event, which benefits so many families in our community. It is the best day ever,” said Kapreilian.
WWS raises money for Forty Carrots Family Center. The 32-year-old center serves the families of Manatee and Sarasota counties with parenting education, mental health services, early childhood education and more.
— JANET COMBS
Keep calm and party on: Co-Chairs Renee Phinney, Lauren Dixon, Lauren Wohlwend and Allison Imre along with event planner Minta Getzen (center) make sure that every detail of Wine, Women & Shoes is handled with the utmost care.
Photos by Janet Combs
Paul Allen rings for bubbles at the champagne cabana live-vend.
Fundraising host Magen McRoberts takes the lead with hopes of topping last year’s $1 million raised.
Only Chaz Glunk can sell pink cowboy boots off of a silver platter.
John Buckey, from ZD Wines, pours for Justine Schneider and Nicole Behar.
Puja Dhanraj, Julie Hagen, Anna Nekoranez, Shellye Archambeau and Kethlyn White enjoy the VIP lounge.
Co-Chair Lauren Dixon and Forty Carrots CEO Michelle Kapreilian
Soleman Andrew Greenwell checks to be sure Kelly Mooney puts her best foot forward.
Dina Kruk, Charlotte Stewart and Elisabeth Waters
John and Amy Hoskins co-chair Twinkle Ball 2025 with Terri and Michael Klauber.
Sheila Miller and Betsy Friedman are among the first to arrive.
Dr. Braun and Jeanne Graham with Gayle and Jack Daniel
All-Star Children’s Foundation co-founders Dennis and Graci McGillicuddy with son Dennis Jr., who traveled from Massachusetts for the event.
Photos by Janet Combs
Signature smiles from Tom Koski, Jill Levine, Sherry Koski and Scott Levine
Sporting a patriotic clutch, Fiona McFarland stops for a quick photo with Matt Melton.
Fresh Perspective Lunch
Photos by Janet Combs Marion Levine and Lois Schottenstein look forward to the talk at SAM. John Dangaran and Billie Baren
Photos by Dana Kampa Mike Donaldson, Elida Ramburger, Kathy Freitas, Mike Knupp, Carmen Lawrence and Larry Lawrence
Big Water Land Trust Community Education Manager Sarah Denison Williams, Director of Philanthropy Shalla Ashworth and President Christine Johnson
Lorene Miller and Patti Tebo pose for the photo booth.
Tim Berry and Michael Ballantyne
