< THIS WEEK: Guitar Sarasota presents classical guitarist Gabriel Bianco. 4
BLACK TIE INSIDE:
CIRCUS ARTS GALA: Students wow guests with ‘Singin’ Through the Rain’ performance. 9 >
ARTS + ENTERTAINMENT
SHOOTING FOR THE MOON
Florida Studio Theatre’s ‘The Blue-Sky Boys’ takes audiences on a mind-bending journey of joyful exploration.
MARTY FUGATE CONTRIBUTOR
In 1962, President Kennedy said America would put a man on the moon by the end of the 1960s. Deborah Brevoort’s “The Blue-Sky Boys” explores how NASA kept his audacious promise. On the surface, it’s a play about the Space Race. But it’s also about the power of imagination, risk-taking, brainstorming and collective problem-solving. NASA’s engineers fulfilled Kennedy’s beautiful dream — by dreaming. The play’s director, Florida Studio Theatre CEO Richard Hopkins, is a dreamer in his own right. In the following talk, he shares his imaginative vision for this play. And how its “blue-sky thinking” serendipitously echoes the bold creative leaps of live theater.
What drew you to this play as a director?
Imagination. I had no idea how much imagination went into getting a man to the moon and back. I knew how complex the space race was — but I didn’t realize how creative NASA’s engineers had to be.
In “The Blue-Sky Boys,” they have imaginary friends.
And that’s true to life! I was excited to discover that many NASA engineers leaned on fictional characters, mythic figures and real people from history as models. So, the play reflects that. Anything could happen — Galileo could walk in; Buck Rogers could fly in. That imaginative possibility made the play irresistible to me.
The play’s title refers to “bluesky thinking” — entertaining ideas that might seem impractical or absurd. How did you get the actors to embody that mindset?
It was easy, because actors naturally work that way. They understand the engineer’s creative process immediately; it’s what actors do every day. The process can be silly or profound. Sometimes you laugh hysterically; sometimes you weep. It’s all over the map — very much like the play itself. So, I didn’t have to push that “blue-sky” mindset at all. Actors already live there.
The process reminds me of improv — almost like Second City. That’s exactly right. Rehearsal is improv. You start with the text, then play around with different ways to make it work. That exploratory process is fundamental to theater.
So “blue-sky thinking” wasn’t an alien mind-set for the cast. Not at all. I simply let them go. It was joyful — one of the most fun rehearsals I’ve had in years. The room was filled with laughter, but also seriousness, because the play has real weight beneath its playfulness.
Were you surprised during rehearsals?
The actors constantly surprised me. But the designers did, too. Music, set design, costumes, projections, sets — the work is wildly original. I think it’s because the play invites our talents to go off the rails in the best way. And the ending surprised me. I knew it was powerful, but I didn’t expect it to resonate so deeply with so many people.
Courtesy image
FST CEO Richard Hopkins is directing “The Blue-Sky Boys.”
Images courtesy of Sorcha Augustine
Gil Brady explains to Kraig Swartz what safaris and space missions have in common in FST’s “The Blue-Sky Boys.”
Howard Kaye is ready for takeoff in Florida Studio Theatre’s “The BlueSky Boys,” which runs through March 8.
Danny Bernardy demonstrates research with a theatrical flair to Greg Ball in Florida Studio Theatre’s “The Blue-Sky Boys.”
The cast of Florida Studio Theatre’s “The Blue-Sky Boys” takes aim at a Moon mission.
The action unfolds in a back room stuffed with technical equipment. How did you make NASA’s brainstorming sessions compelling in that setting?
Again, that’s not alien to actors — they’ve all worked in old, rundown theaters. We’ve all built forts as kids — cardboard spaces where imagination does the heavy lifting. That environment invites creativity. A creative space is what you make of it. It’s not about polish; it’s about what your mind turns it into.
And imagination fills in the gaps?
Exactly. It’s not about the literal places and objects, but what the mind does with them.
“The Blue-Sky Boys” compresses and reshuffles NASA history. How did you balance accuracy and dramatic license?
The playwright did that for me. Deborah Brevoort did extraordinary research. Everything you see or hear in her play really happened. Yes, she rearranged the timeline to heighten drama, but the underlying facts are true. OK ... the moon launch wasn’t the brainchild of three engineers — it was more like 13,000 engineers. But some did use fictional characters as inspiration. The playwright
distilled a massive, collective effort into a theatrical form we can grasp.
NASA engineers are often portrayed as larger-than-life icons. How did you approach them as human beings wrestling with doubt?
Again, the credit goes to the playwright. She wrote real people. One engineer is a duck hunter; another is obsessive; another is more balanced but still eccentric. Those rich personal details give actors something to explore. My job was to help shape the characters they brought to the stage.
And Brevoort’s play has no twodimensional villains. Howard Haggerty — the president’s science advisor — could’ve been a cliché control-freak. But there’s more to him than that.
That’s my favorite aspect of the play. It reflects the balance we’re all searching for. You might expect a battle between rigid authority and free-wheeling creativity. But you come to see that rules matter. They’re necessary. That balance allows great work to happen.
Let’s talk about that balance.
How do you acknowledge NASA’s darker side while still celebrating its optimism?
The play deals with both sides —
and the tension between them.
Haggerty represents the federal government with a rigorous vision of science; the engineers take a more imaginative approach. That balance between creativity and discipline is something every artist understands. Creativity must be corralled so no one gets hurt. When the three astronauts were killed in the fire, it brought everyone back to Earth. It wasn’t all fun and games anymore. Safety mattered. As the play says, NASA had to, “Think it and double-think it.” That discipline exists in the creative process itself. Audiences don’t always realize that theaters must pay close attention to safety. Every few minutes in rehearsal, you’re checking that an action is safe — that no one will fall, collide or get hurt. Theater’s riskier than people imagine.
“The Blue-Sky Boys” is a true ensemble piece. How do you shape the rhythm of voices and ideas so the audience can follow it?
It’s all in the details — letting actors breathe, trusting their imagination, watching what emerges instead of imposing my ideas. If a moment
doesn’t serve the ensemble, you adjust it so everyone wins. And this cast was a winning team — a dream team. Everyone had worked at FST before, some many times, so they were all relaxed and open in the room. That freedom made the process special.
Does the Space Race resonate differently with contemporary audiences? Absolutely. What surprised me is that younger audiences are more willing to embrace the play’s imaginative elements. Older audiences — those who lived through the era — tend to want it to be more serious because the moon landing is precious to them. Everyone understands it, but at different levels. Younger audiences are loving it just as much, if not more, than those who remember the Space Race firsthand.
“It’s all in the details — letting actors breathe, trusting their imagination, watching what emerges instead of imposing my ideas.”
Howard Kaye, Johnny Shea and Kraig Swartz star as scientists who think outside the box in Florida Studio Theatre’s “The Blue-Sky Boys.”
Danny Bernardy, Johnny Shea and Kraig Swartz learn that great ideas can be found in unlikely places.
— Richard Hopkins, CEO of Florida Studio Theatre
REGIONAL PREMIERE A New Adaptation by RACHEL WAGSTAFF Directed by MICHAEL DONALD EDWARDS
Images courtesy of Sorcha Augustine
EATING WITH EMMA
Get sweet at breakfast, lunch and dinner during Celebration of Chocolate Month (aka February).
EMMA BURKE
When I think about a true celebration of chocolate, my mind goes back to the homemade chocolate fudge sauce my mom still makes every Christmas, ladled lovingly into jars for neighbors and friends. A little further back in my memory Rolodex, I remember the chocolate drizzle my Mimi poured over her English toffee. It was so good that everyone from church (and beyond!) would show up at her door year after year, begging for the recipe. And there’s that scene from the 1990s’ classic “Matilda,” the one that permanently etched chocolate into all of our childhood brains. Who can forget a school cafeteria frozen in horror and awe as Bruce Bogtrotter is forced to eat a massive slice of impossibly rich chocolate cake under the glare of Miss Trunchbull?
Frosting smeared, crumbs everywhere, victory achieved one bite at a time. It was as horrifying as it was glorious. Somehow, it made all of us want chocolate cake immediately. No matter what your core chocolate memory looks like — homemade, movie-inspired or straightfrom-the-bakery indulgent, one thing is clear: It’s time to celebrate. So grab a fork — or lick the pan if you aren’t afraid to pull a Bruce — and lean into the sweetness, because Celebration of Chocolate Month deserves nothing less.
MICHAEL’S ON EAST
1283 S. Tamiami Trail, Sarasota; 941-955-2676; BestFood.com
Sweet Dreams Are Made of:
Michael’s doesn’t just serve dessert; it serves a chocolate fantasy.
(Those exist, right?) The Brownie Ice Cream Stack layers rich dark chocolate brownie with Heath Bar crunch, espresso crunch and vanilla bean ice cream, all draped in warm chocolate sauce. The end result?
A decadent, fork-required experience that is 100% worth every bite (especially when paired with an espresso martini).
My Choco-Full Valentine: I could talk about the Chocolate Blackout Cake, but how many times are our gluten-free friends left out?
So let’s give some love to the glu-
ten-free vegan chocolate cheesecake. This layered dream of silky chocolate ganache, rich chocolate cheesecake and chocolate cookie crumble, all finished with delicate chocolate shavings, will send your dietary restrictions swooning.
THE BREAKFAST COMPANY
4832 S. Tamiami Trail, Sarasota; 941-706-4225; 7246 55th Ave. E., Bradenton; 941-201-6002; 411 N. Orange Ave., Sarasota; 941-364-8767; 8491 Cooper Creek Blvd., Bradenton; 941210-4760; TheBreakfastCompanyFl.com
Sweet Dreams Are Made of: Pancakes ($11.95), French toast ($13.95) or Belgian waffles ($12.95). Honestly, there’s no wrong move
here. But for this celebration, I indulgently recommend taking things one step further and adding the Boston cream upgrade ($2.95).
A mix of vanilla custard, chocolate fudge ganache and whipped cream turns your fluffy, brioche-based or crispy breakfast favorite into a morning indulgence that feels equal parts brunch and dessert, exactly how starting the day should feel.
My Choco-Full Valentine: Looking for a hot chocolate that should be on the happy hour menu but you can get first thing in the morning?
Tipsy Cocoa Vodka ($9.95) topped with whipped cream, a generous chocolate drizzle and rainbow sprinkles is the buzz you never knew you needed.
GREAT HEIGHTS CREAMERY 1371 Boulevard of the Arts, Unit 3, Sarasota; 646-285-5024; GreatHeights-Creamery.com
Sweet Dreams Are Made of: The Darkness ice cream. This scoop isn’t here to play; it’s here to seduce. Great Heights Creamery’s rich, dark chocolate stracciatella is so intensely cocoa-forward you almost need a flashlight. The fact that it’s gluten-free feels like a small
miracle. Single scoops start at $6 and you can indulge from there.
My Choco-Full Valentine: This chocolate hazelnut scoop is proof that vegan ice cream has officially entered its main character era. Made with a dreamy cashew and coconut milk base, it’s smooth, chocolatey and kissed with nutty hazelnut richness that will make you forget it’s dairy-free, glutenfree and plant-based. Decadent, yes. Compromising? Not even a little.
WHERE IMAGINATION MEETS THE STAGE!
The one, the only, the Brownie Ice Cream Stack at Michael’s On East.
Emma Burke
Courtesy images
Gluten-free and dairy-free eaters rejoice! Great Heights Creamery has options for you.
Dress your pancakes, French toast or waffles with one of the specialty flavors at The Breakfast Company.
THIS WEEK
OUR PICK
‘THE CHOIR OF MAN’
THURSDAY
NIGEL WEARNE
7 p.m. at Fogartyville, 525 Kumquat Court
$25 Visit WSLR.org.
Originally from southern Australia, Nigel Wearne’s been on a musical walkabout for most of his career. The guitarist and multi-instrumentalist has played music festivals around the world, including the Philadelphia Folk Festival, Cambridge Folk Festival (U.K.) and the Adelaide Guitar Festival (Australia).
‘MJ THE MUSICAL’
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail
$68-$178 Visit VanWezel.org.
Sometimes you want to wear sequin socks and sometimes you want to get your socks knocked off. You’ll get the chance to do both when the Broadway hit “MJ” comes to the Van Wezel. Created by Tony Awardwinning director/choreographer Christopher Wheeldon and Pulitzer Prize winner Lynn Nottage, “MJ” tells the backstory of Michael Jackson’s 1992 “Dangerous” world tour. Runs through Feb. 8.
‘JOB’
7:30 p.m. at Urbanite Theatre, 1487 Second St.
$5-$44 Visit UrbaniteTheatre.com.
At Urbanite Theatre artistic director and co-founder Summer Dawn Wallace delivers plays that pack a punch in her downtown black box theater. Making its regional premiere is Max Wolf Friedlich’s taut tech thriller, “Job.” Be afraid, be very afraid of what can happen when one of your social media posts goes viral. Runs through Feb. 15.
‘REMEMBER THIS: THE LESSON OF JAN KARSKI’
7:30 p.m. at The Sarasota Players, 3501 S. Tamiami Trail
$40 Visit SarasotaJewishTheatre.com.
Sarasota Jewish Theatre
powerhouse Michael Raver stars as the Polish World War II hero whose efforts to bring the horrors of the Holocaust to the attention of the Allies was met with skepticism. The cautionary tale about the dangers of complacency written by Clark Young and Derek Goldman is directed by another SJT stalwart, Gus Kaikkonen. Runs through Feb. 15.
LOVE NOTES
7:30 p.m. at Holley Hall, 709 N. Tamiami Trail
$48-$64
Visit SarasotaOrchestra.org.
Kick off Valentine’s Day celebrations early this year with Sarasota Orchestra’s Great Escapes concert, “Love Notes.” Held in Holley Hall, these casual concerts start at 5:30 p.m. on Wednesdays and Fridays so you and your Valentine can dine after the show. Featuring guest conductor Matthew Troy, “Love Notes” features popular standards and classical masterpieces designed to sweep you off your feet. Runs through Feb. 7.
‘GRANDMA GATEWOOD TOOK A WALK’
7:30 p.m. at Florida Studio Theatre’s Bowne’s Lab, 1265 First St. $25-$59
Visit FloridaStudioTheatre.org.
Catherine Bush’s “Grandma Gatewood Took a Walk” explores one woman’s path of endurance, memory and self-reinvention. The play, directed by Nancy Rominger, is inspired by the real-life story of Emma Gatewood, the first woman to hike the Appalachian Trail solo. Adding to the level of difficulty, she did it at age 67 — and went through seven pairs of Keds. Runs through Feb. 27.
‘PRIMARY TRUST’
7:30 p.m. at FSU Center for the Performing Arts, 5555 N. Tamiami Trail $31-$77
Visit AsoloRep.org.
Asolo Repertory Theatre presents “Primary Trust,” winner of the 2024
Imagine sitting in the world’s best pub and being entertained by a group of performers serving up everything from Queen and Guns N’ Roses to Luther Vandross and Adele. With “The Choir of Man,” your vision becomes a reality on the Van Wezel stage, in a nonstop show powered by singers, dancers, musicians and a poet. Come and raise a glass to live entertainment!
IF YOU GO
When: 7 p.m. Wednesday, Feb. 11
Where: Van Wezel Performing Arts Hall, 777 N. Tamiami Trail
Tickets: $46-$86
Info: Visit VanWezel.org.
vibrant jazz club to leave the past behind and pursue a better life. But will he leave his soul behind in the process? Runs through Feb. 8.
FRIDAY
JAZZ AT TWO — ANNE AND MARK BURNELL
2 p.m. at Unitarian Universalists SRQ, 3975 Fruitville Road $20 Visit JazzClubSarasota.org.
Pulitzer Prize for Drama. Eboni Booth’s play follows a middle-aged man whose quotidian routines are disrupted when he loses his job. The upheaval forces him to explore the possibility of intimacy that he’s previously shunned. Runs through Feb. 11.
‘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 who is pondering the sale of his once-
There’s no better way to roll into the weekend than Jazz Club of Sarasota’s weekly Jazz at 2 series, which features two full hours of music. This week’s featured artists are Windy City natives Anne and Mark Burnell, whose new album is “This Could be the Start of Something Big.” Founding members of ChicagoCabaret.org, they have toured Amsterdam, Paris, New York and Panama performing music from the composers of the Great American Songbook.
‘EXIT, PURSUED BY A BEAR’
7 p.m. at FSU Center for the Performing Arts, 5555 N. Tamiami Trail $30 Visit Asolorep.org/FSU-AsoloConservatory.
Written by Lauren Gunderson, one of the most produced playwrights in the U.S. today, “Exit, Pursued by a Bear” tells the story of a woman who takes revenge on her husband after years of abuse. Presented by MFA students at FSU/Asolo Conservatory, the dark comedy contains mature material that may be triggering for some audience members. Runs through March 8.
Jordan and Anthony Cason star in Asolo Repertory Theatre’s “Primary Trust,” which runs through Feb. 11 at FSU Center for the Performing Arts.
Image courtesy of Steve Schuff
“The Choir of Man” brings a performing pub to the stage of the Van Wezel Performing Arts Hall on Wednesday, Feb. 11.
Image courtesy of Adrian Van Stee
Kayland
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 billboardsized art from around the world celebrating kindness, inclusion and respect comes to Sarasota’s Bayfront Park. 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.
ANNUAL JURIED ART SHOW
10 a.m. at Art Center Sarasota, 707 N. Tamiami Trail Free Visit ArtSarasota.org.
Art Center Sarasota is marking its centennial and the landscaping around its buildings in The Bay is finished, so there’s much to celebrate at this gallery and education center. The juror for this show is Willem van Osnabrugge, an artist who grew up outside Amsterdam and moved to the U.S. in 1985 and later retired to Sarasota. 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.
‘LIFE’S A BEACH’
7:30 p.m. at Florida Studio Theatre’s Bowne’s Lab, 1265 Main St. $17-$20
Visit FloridaStudioTheatre.org.
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 neverending construction? It’s all grist for the tropical mill in “Life’s a Beach.” Runs weekends through March 23.
SATURDAY
MENDELSSOHN’S ELIJAH
4 p.m. at Church of the Palms, 3224 Bee Ridge Road
$45 Visit KeyChorale.org.
No one can accuse Key Chorale of staging lightweight works. Under artistic director Joseph Caulkins, the 100-member symphonic chorus has been leaning into ambitious choral masterpieces in recent seasons in addition to its traditional collaborations with other Sarasota arts groups. Based on the life of the
prophet Elijah, the performance will feature Jamal Sarikoki in the title role.
GABRIEL BIANCO, CLASSICAL GUITAR
7:30 p.m. at Riverview Performing Arts Center, 1 Ram Way $40-$44 Visit GuitarSarasota.org.
Guitar Sarasota presents France’s Gabriel Bianco, who has won first prize in some of the world’s most prestigious classical guitar competitions. In solo recitals, Bianco spans genres from Baroque to contemporary with an emphasis on music from the Romantic period and from Spain.
CALEB TEICHER & CONRAD TAO: COUNTERPOINT
7:30 p.m. at The Ringling’s Historic Asolo Theater, 5401 Bay Shore Road $40-$50 Visit Ringling.org.
Under Currie-Kohlman Curator of Performance Elizabeth Doud, The Ringling hosts an array of eclectic, international artists in its jewelbox Historic Asolo Theatre, rescued from a castle in Italy. The latest arrivals are choreographer/dancer Caleb Teicher and pianist and composer Conrad Tao, whose collaboration, “Counterpoint,” links disparate traditions.
SUNDAY
BERNSTEIN AND WILLIAMS
3 p.m. at Northminster Presbyterian Church, 3131 61st St. $5 Visit SuncoastConcertBand.org.
Calling all movie music fans! Led by Robert Stoll, the Suncoast Concert Band will showcase the work of two composers known for their film scores: Leonard Bernstein (“West Side Story”) and John Williams (“Star Wars,” “Jurassic Park”). Call 941-907-4123 to reserve your ticket in advance and please be sure to dial the right number.
BANSHEE TREE
7 p.m. at Fogartyville, 525 Kumquat Court $27 Visit WSLR.org.
Want to escape from the Super Bowl? Here’s your chance: Denverbased Banshee Tree is coming to town and will fill Fogartyville with their trance-like grooves that cross the genres of jazz, indie rock and electroswing. In recent years, they’ve been raising their profile with national tours and by opening for bands such as Balkan Bump, Twiddle and Leftover Salmon.
DON’T MISS
‘THE MIRROR CRACK’D’
Former Asolo Rep Producing Artistic Director
Michael Donald Edwards directs Rachel Wagstaff’s adaptation of the classic spy novel, “The Mirror Crack’d,” a 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.
MONDAY
ANCIENT ART FROM CYPRUS AND THE MEDITERRANEAN
10 a.m. at The Ringling, 5401 Bay Shore Road
$30 admission; Mondays free Visit Ringling.org.
In 1928, circus magnate John Ringling moved beyond collecting Baroque paintings with a major acquisition of more than 2,000 pieces of Cypriot art. For the first time, Ringling’s treasures have a permanent home in Gallery 12 after a decadelong project.
BEHIND THE CURTAIN:
EXPLORING THE VAN WEZEL
1:30 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $15 Visit ArtsAdvocates.org.
In this Arts Advocates tour, a docent discusses the treasure trove of paintings and sculptures inside the Van Wezel Performing Arts Hall. Participants will then step onto the stage where a Van Wezel guide shares stories and anecdotes.
‘THE AMERICANS: GERSHWIN AND THEN SOME’
7:30 p.m. at Riverview Performing Arts Center, 1 Ram Way $65-$80 Visit LaMusica.org.
Under the leadership of pianist Wu Han, who is co-artistic director of the Chamber Music Society of Lincoln Center along with her husband, David Finckel, Sarasota’s La Musica Chamber Music ensemble is reaching new heights in its 40th season. In honor of America’s 250th birthday, La Musica will present “The Americans: Gershwin and Then Some” featuring pianist Orion Weiss.
Key Chorale, joined by a full orchestra, and four
will ignite the stage with breathtaking choral
IF YOU GO
When: 7:30 p.m. Thursday, Feb. 5
Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail
Tickets: $31-$77
Info: Visit AsoloRep.org.
TUESDAY
‘JANET ECHELMAN: RADICAL SOFTNESS’
10 a.m. at the Sarasota Art Museum, 1001 S. Tamiami Trail
$20 Visit SarasotaArtMuseum.org.
Sarasota Art Museum showcases Janet Echelman’s ethereal sculptures and abstractions.
Curated by Lacie Barbour, this show tracks the artist’s evolution from painter, to media magician, to a world-renowned sculptor of air and light. Through April 2.
JAMES EHNES AND FRIENDS
7:30 p.m. at First Congregational Church, 1031 S. Euclid Ave.
$50 Visit ArtistSeriesConcerts.org.
Artist Series Concerts presents violinist James Ehnes and pianist Andrew Armstrong, who will play Elgar’s Violin Sonata and other violin pieces. After an intermission, Ehnes will be joined by Sarasota Orchestra concertmaster Daniel Jordan and several of his colleagues in Felix Mendelssohn’s Octet in E-flat Major.
WEDNESDAY
KARLUS TRAPP
7 p.m. at Fogartyville, 525 Kumquat Court $8 Visit WSLR.org.
Teacher and troubadour Karlus Trapp uses song and story to trace the evolution of Black music from blues and jazz in the 1920s-1940s, rock ‘n’ roll in the 1950s and soul music of the ’70s. You won’t want to miss this Love Train.
Image courtesy of Adrian Van
ANCESTRAL EDGE
Abstraction and Symbolism in the Works of Nine Native American Women Artists
THROUGH APR 12
Teresa Baker (Mandan/Hidatsa) • Natalie Ball (Klamath/Modoc) • Kiana Bell (Seminole) • Elisa Harkins (Cherokee/Muscogee [Creek]) • Erica Lord (Iñupiaq/ Athabascan) • Sarah Sense (Chitimacha/Choctaw) • Sara Siestreem (Hanis Coos) • Marie Watt (Seneca/German-Scot) • Dyani White Hawk (Sičáŋǧu Lakota)
2026 Hermitage Greenfield Prize awarded to Charisse Pearlina Weston
The Hermitage Artist Retreat, an arts incubator based on Manasota Key in Englewood, has announced that the recipient of its 2026 Hermitage Greenfield Prize is visual artist Charisse Pearlina Weston. The Hermitage Greenfield Prize is awarded annually, rotating among the fields of visual art, music and theater. Weston will receive a sixweek Hermitage Fellowship and a $35,000 commission to create new work that will premiere in Sarasota in 2028.
Weston’s recent exhibits include group and solo presentations at the Whitney Museum of American Art, MOMA PS1, SITE Santa Fe and the Queens Museum, among other venues. Weston was awarded a Guggenheim Fellowship in 2025.
Born in Houston and based in Harlem, Weston is a conceptual artist who works across sculpture, writing, installation and photography and often integrates glass into her work. Weston received a BA from the University of North Texas, a MSc in Modern Art from the University of Edinburgh’s College of Art and an MFA in Studio Art from the University of California-Irvine.
Weston was selected by a jury that included Ian Alteveer, Beal Family Chair of Contemporary Art at the Museum of Fine Arts, Boston; Alison Gass, founding executive director of the Institute of Contemporary Art San Francisco; and Larry OsseiMensah, independent curator and co-founder of Artnoir, a nonprofit supporting artists, curators, cultural workers and emerging patrons.
receive a Hermitage residency, in addition to a finalist prize of $1,000.
“I’m honored to receive the 2026 Hermitage Greenfield Prize,” said Weston in a statement. “Through multimedia installations, my commission will address the ongoing entanglement of past and present legal regimes and engage broad audiences in reflecting on how the past continues to shape contemporary life.”
For her Hermitage Greenfield Prize commission, Weston will create a new body of work examining socalled “zombie laws”— legal statutes that persist beyond their supposed expiration — and will draw on Zora Neale Hurston’s ethnographic writing on zombies in Haiti.
Major lenders to the exhibition include the Ah-Tah-Thi-Ki Museum on the Big Cypress Seminole Indian Reservation, the Gochman Family Collection, and the Rubell Museum.
Dyani White Hawk, They Gifted (Night) (left), They Gifted (Day) (right), 2024. Screen prints on Lanaquarelle, each 58 x 28 1/2 in. Printed and published by Tandem Press. Museum purchase with funds from Drs. George and Sarah Pappas Art Acquisition Fund, 2025. © Dyani White Hawk ringling.org
“Amidst a remarkable field of four brilliant finalists, this insightful jury faced the difficult task of selecting a single recipient. Charisse Pearlina Weston emerged as a thoughtful and original artist who impressed the jury with her inspired and ambitious proposal,” says Hermitage Artistic Director Andy Sandberg. “Her innovative work with glass offers a unique lens into life and culture.”
The other three finalists for the 2026 Hermitage Greenfield Prize were Melissa Joseph, Lily Kwong and Patrick Martinez. All three will
Weston will receive her award at the Hermitage Greenfield Prize Dinner on Sunday, April 12, at Michael’s On East. This year’s event co-chairs are Ellen and Richard Sandor. Tables and sponsorships can be reserved at HermitageArtistRetreat.org.
In addition to the Hermitage Greenfield Prize dinner on April 12, the celebration will include programs April 10-13 with current and past prize winners, including a debut from playwright and 2024 Hermitage Greenfield Prize recipient Deepa Purohit, presented in collaboration with Asolo Repertory Theatre.
The Philadelphia Orchestra
Yannick Nézet-Séguin, Music Director Feb 16, 2026, 7:30 pm | Van Wezel
Yannick Nézet-Séguin, hailed as one of the great interpreters of the symphonic works of Brahms, leads the Orchestra in Brahms Symphony No. 3 and No. 4.
JOSHUA BELL & THE ACADEMY OF ST MARTIN IN THE FIELDS
March 15, 2026, 7:30 pm | Van Wezel
Grammy Award-winning superstar violinist Joshua Bell leads the renowned ensemble in Dvořák’s Symphony No. 8, and he also performs as soloist in Saint-Saëns’ dramatic Violin Concerto No. 3.
Image courtesy of Joseph Robert Krauss
Charisse Pearlina Weston is the winner of the 2026 Hermitage Greenfield Prize.
A leading national arts incubator, Hermitage hosts artists on its Manasota Key campus for multiweek residencies, where they develop new works of theater, music, visual art, literature, dance, film and other genres.
As part of their residencies, Hermitage Fellows participate in free year-round community programs, offering local audiences a “sneak peek” into cutting-edge projects before they appear at galleries, concert halls, theaters and museums around the world.
CreArte Latino names new full-time managing director
CreArte Latino Cultural Center has promoted Cinthia Peña to the position of full-time managing director. Previously, Peña was part-time director of marketing, a position she has held since 2022.
Her new role is made possible by a grant from the Charles & Margery Barancik Foundation that will help CreArte Latino bolster its long-term staffing, internal systems and organizational structure.
In her new role, Peña will oversee daily operations and financial management, ensuring that systems, policies and resources align with CreArte Latino’s mission and artistic priorities. Her responsibilities include managing budgets, contracts and administrative functions, as well as supporting fundraising efforts and external partnerships.
Founded in 2012 as a Spanishlanguage theater troupe, CreArte Latino became a nonprofit organization in 2017. It promotes a bilingual cultural exchange between Latinos/ Hispanics in Sarasota and Manatee counties and the wider community through arts and educational initiatives.
One recent memorable presentation was “Agridulce/Bittersweet,” a 2023 multilingual mashup of song, dance, physical comedy and improv created by playwright Eliza Ladd and choreographer and theater lighting designer Diego Villada.
In late 2024, CreArte Latino moved to a new space on Northgate Boulevard, where it hosts exhibitions, workshops, lectures and per-
formances that cover the Hispanic cultures of Europe, the Caribbean and Latin America.
Peña brings a diverse professional background to her leadership role. She earned a bachelor’s degree in fashion design and merchandising and worked in private branding and apparel manufacturing, developing and launching apparel lines for nationally recognized retailers.
In recent years, she has focused on the nonprofit sector, serving community organizations as a consultant, social media manager and media coordinator. Her work centers on strengthening nonprofit visibility, storytelling and community engagement. Peña’s involvement with CreArte Latino dates to 2018, when she first became a volunteer.
“Cinthia is the ideal managing director for our organization,” said Carolina Franco, founder and artistic director of CreArte Latino Cultural Center, in a statement. “She doesn’t just understand our mission; she lives it. Her passion for fostering a united, multicultural community is evident in everything she does.”
“It’s a privilege to continue serving CreArte in a leadership role, and I am excited to work alongside Carolina to create programs that celebrate our culture, nurture creativity and expand opportunities for the Latino and Hispanic community we proudly serve,” said Peña in a statement. “It is an honor to witness CreArte Latino’s evolution and to see how deeply this space is needed and valued.”
Franco added that she is grateful to the Barancik Foundation for “the support that made this possible. Their investment in committed team members is essential to building a stronger organizational structure and carrying out more effective plans.”
Courtesy image Cinthia Peña
A+E REVIEW
Welcome to the funhouse
‘The Mirror Crack’d’ turns the Asolo Rep stage into a post-modern mirror maze.
MARTY FUGATE THEATER CRITIC
Rachel Wagstaff’s adaptation of Agatha Christie’s novel, “The Mirror Crack’d,” takes its title from a line in Lord Tennyson’s “The Lady of Shalott” — a poem about a cursed woman facing inescapable doom. Who’s the doomed woman in the play? That would be giving away the secret. The good news: Miss Marple is in town. If anyone can crack the case, she can. The mystery transpires in a small English village in 1962. Miss Marple (Suzanne Grodner) has come home to recover from a leg injury — but rest eludes her. An American film company has transformed the surrounding countryside into a bustling movie location.
Marina (Rebecca Watson) gets top billing. She’s a glamorous but emotionally fragile 40-something movie star. She arrives with her husband and director, Jason (Mark Benninghofen), along with a devoted entourage.
At an invitation-only soireé, Heather (Morgan Glynn) crashes the party. The young woman asks Marina, “Do you remember me?” She doesn’t. Moments later, Heather sips a cocktail and dies — poisoned. The twist? The drink was meant for the star. Officially or not, Miss Marple refuses to stay on the sidelines. The game is afoot.
Director Michael Donald Edwards serves up this whodunnit for Asolo Repertory Theatre with a postmodern vibe. Taking a cue from a literal film studio, he sets the entire play in a metaphorical film studio. Within this mind-space, the mystery unfolds in flashbacks and projections.
“The Mirror Crack’d” becomes a funhouse mirror maze. You see distorted reflections of reality, but it’s all artifice. One step removed from the thing itself.
Actors change faces and places in this ambitious large-cast production. All shine brightly, but here are a few highlights ...
Grodner’s Miss Marple is an unstoppable octogenarian sleuth. Her body’s seen better days, but her mind remains stiletto-sharp. While her leg’s badly sprained, her nephew’s in town and he can wheel her around.
Said nephew is Chief Inspector Craddock (Billy Lyons), who’s officially investigating Heather’s murder. He doesn’t like it, but his aunt is always one step ahead of him.
Watson’s Marina keeps her act together, barely. Her public persona is bubbly, but her heart is broken.
Marina’s Hollywood mask hides a history of loss. Her character fights to keep it to herself — but her mask slips at times.
Marina’s husband, Jason (Mark Benninghofen), tries to keep his wife happy — and tries too hard.
Tasso Feldman’s Giuseppe is Marina’s trusted personal assistant. He’s even more overprotective — and not that trustworthy.
IF YOU GO
‘THE MIRROR CRACK’D’
When: Through March 14
Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail
Tickets: $31-$97
Info: Visit AsoloRep.org.
British aristocrat who had to sell the family estate.
Robert Perdziola’s minimalist studio set is a jungle gym of lights and scaffolding. Depending on the scene, Aaron Rhyne’s projections turn it into a country estate, a village lane, a hotel lounge, a backstage corridor, a stark police station and a film studio.
Amanda Zieve’s lighting and Connor Wang’s music and sound design add to the cinematic feel. Perdziola’s costumes evoke the dawn of the Swinging Sixties. The new, bright colors play off against the drab, monochrome outfits of the World War II generation. It’s visual shorthand for time’s relentless march.
Agatha Christie’s mysteries are fun intellectual puzzles. “The Mirror Crack’d” is one of them. But it’s more than a game of Clue. Its characters aren’t mere mystery tropes — they’re well-drawn characters. Wagstaff’s adaptation (like Christie’s novel) is full of wry humor. But it’s a tragedy at heart. Edwards, retired producing artistic director of Asolo Rep, takes a post-modern approach that goes straight to the story’s wounded heart. Christie’s story feels as new as ever. As to her lead character ... Miss Marple first appeared in 1927. Christie’s sleuth was a 60-something spinster at birth. Four decades later, the character’s fanatical fans wouldn’t let her retire, let alone die.
By 1962, Miss Marple would have been at least 95. She’s sharp-witted and spry — but still not up to chasing suspects through alleys and over rooftops.
So, how do you plausibly put Miss Marple on the case? Christie solved the problem with a sprained ankle and a dutiful nephew. For good measure, the playwright dialed back Miss Marple’s age to a youthful 80.
Miss Marple’s closest friend, Dolly (Sylvia Day) is a downsized
Point of fact: Miss Marple will be 100 years old in 2027. She’s alive and well in this inventive Asolo Rep production.
am
Image courtesy of AdrianVanStee Billy Lyons and Suzanne Grodner try to solve a murder in “The Mirror Crack’d,” which runs at FSU Center for the Performing Arts through March 14.
Friday, Jan. 30, at the Big Top at Benderson Park | Benefiting Circus Arts Conservatory
CIRCUS ARTS GALA
The Circus Arts Gala made it rain Jan. 30 under the Big Top at Nathan Benderson Park — both literally and figuratively. The literal part took place during the “Singin’ Through the Rain” performance, which spotlighted the talent of children, students and professional circus performers, complete with rain coming down inside the arena (planned, of course).
The figurative part came after, when the 300 guests dressed in their best Hollywood glam made it rain donations to the Circus Arts Conservatory, resulting in the organization’s most successful gala yet.
Under the direction of CEO and President Jennifer Mitchell, the CAC has continued growth in its mission of ensuring the circus arts remain alive and well.
“We are more than a circus.
From our academic magnet programs — the only accredited circus curriculum in the nation — to our science lessons in the fifthgrade classrooms, to our 76-year strong Sailor Circus Academy, to our community outreach, CAC’s annual fundraising gala raises funds for our year-round programming,” said Mitchell. “Thank you for all the steadfast support at our most successful gala to date.”
— JANET COMBS
Bello and Jennifer Nock with Karen the Clown
Jessica Muroff and Circus Arts Conservatory CEO and President Jennifer Mitchell
CAC board Chair Julie Harris, Audrey Robbins and Paige Petersen
Phillip and Tami Lanham, CAC co-founder Pedro Reis and Katie and Paul Lanham
Kris and Chelsea Charya
Photos by Janet Combs
Circus Arts Conservatory co-founder Dolly Jacobs with Henry Barragan and Jacobs’ sister, Louann Barreda
Marjorie Floyd and Caroline Amory
Donna Koffman and Matt Snesavage
Bart Levenson raises a paddle in support of the CAC.
Photos by Janet Combs
Jeff and Lisa Silvershein with Natasha and Colin Reisner
Deb Kabinoff and Emily Walsh co-chaired Catskills After Dark with headliner Elon Gold at The Ora on Feb. 1, for 398 guests.
Itay Shalev, Jaspreet Bindra, Ian and Roxie Black and Jag and Amy Grewal
Tom and Elizabeth McDonald
Photos by Lori Sax Ring of Honor recipient Darrell Nixon and Cori Stannish
Kelly and Police Chief Rex Troche
GLOBAL ISSUES
Covenant Way, Lakewood Ranch
The Future of Health: What’s Technology Got To Do with It? Dr. Christopher Gibbons will explore whether digital technology can truly improve health as disease rises and care becomes less accessible.
THURSDAY, FEBRUARY 12
10:30 am First United Methodist Church 104 S Pineapple Ave, Sarasota 5:00 pm Cornerstone Church 14306 Covenant Way, Lakewood Ranch FRIDAY, FEBRUARY 13
10:00 am Venice
JILL DOUGHTERY Putin’s Russia - The Man, The People, The War In Putin’s Russia, power is personal. Jill Dougherty will explore Vladimir Putin’s war on Ukraine, his relationship with Donald Trump, and what lies ahead for Russia after the war.
The Arts Advocates Gallery inside the Crossings at Siesta Key mall is open every Saturday from 2-4 pm featuring the works of Sarasota Colony artists, the Florida Highwaymen, and changing monthly exhibits.
Eugene White, Painter of Vintage Florida
February 6, 4-6 pm
Arts Advocates Gallery
Sarasota Art Colony artist Eugene White painted the world around him. His art reflects the landscape and the spirit of Sarasota’s mid-century moment. White’s daughter Annie Bixler and Alecia Harper, centennial archivist for Art Center Sarasota, present a fascinating talk.
Talkback Tuesday Dasha Reich - The Flag: Nine Artists, Nine Flags
February 10, 4-6 pm
Arts Advocates Gallery
A vibrant dialogue about identity, symbolism, and creative expression.
Luncheon
The Jazz Club of Sarasota
February 19, 11 am-1 pm
Sarasota Yacht Club
The Jazz Club is dedicated to promoting America’s original musical art form. Club president Ed Linehan and jazz pianist Chris Neville will educate and entertain.
DeRenzi Co-Chair Eileen Buzzard, Tracy Welter and Dolah Saleh Barrett
Ella Shell and co-Chair Tamara Jacobs
Barb Archbold, Matthew Glover and co-Chair Carla Koeffler
Uncompromising Quality
Mira Mar Residences are defined by a relentless commitment to quality - where thoughtful planning, precise construction, and elevated materials come together to create homes of lasting distinction. Every detail, from structure to finish, reflects an approach rooted in craftsmanship, durability, and handson oversight guided by an exceptional professional development team.
This methodical, quality-first approach ensures that Mira Mar is more than beautiful - it’s exceptionally built to endure and exceed expectations. The result is a collection of luxury residences that balance refined design with the confidence of construction done right.
At Mira Mar, luxury isn’t just what you seeit’s how it’s built.