Diversions 4.10.14

Diversions YourObserver.com

A&E

Principal dancers talk favorite pieces in the Ashton Festival.

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THURSDAY, APRIL 10, 2014

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THURSDAY, APRIL 10, 2014

// ARTS&ENTERTAINMENT: NOD TO SIR FRED

by Mallory Gnaegy | A&E Editor

THE PRINCIPAL GUIDE TO ASHTON Sarasota Ballet Dancers weigh in on their favorite pieces to see in the upcoming Ashton Festival.

Photos courtesy of Frank Atura

Clockwise, from top left: Kate Honea and Ricardo Graziano in Ashton's “Birthday Offering” in 2013.

Honea and Ricardo Rhodes in Ashton’s “Les Rendezvous” in 2013. Danielle Brown, Ellen Overstreet, Victoria Hulland and Graziano in Ashton’s “Symphonic Variations” in 2012. Graziano with Overstreet in Ashton’s “Illuminations” in 2013. Logan Learned in “Les Patineurs” in 2011.

All six principal dancers of Sarasota Ballet have never met Sir Frederick Ashton, but they know him better than most dancers in the world.

That’s why they’ll bring the choreographer’s work to life April 30 to May 3.

Since Artistic Director Iain Webb’s appointment in 2007, the company has slowly danced its way to becoming “America’s foremost exponent of Ashton ballets,” says Alastair Macaulay, New York Times dance critic.

It’s only appropriate that the company celebrates and honors the choreographer on the 25th anniversary of his death with a four-day festival featuring his works.

“It’s a big deal because we’re pretty much known as one of the only companies in the country, and also in the world, that does the majority of his ballets,” Logan Learned, principal dancer says. “It’s a good way to not only honor Ashton, but also honor our growth as a company.”

Since Webb’s appointment the company has grown from 30 members to 45. It has added 99 new ballets and divertissements. Ticket sales have increased from $300,000 to $1.2 million. And the company’s ability to perform Ashton has given it international recognition.

What is the connection to Ashton in the first place? Webb and his wife, Assistant Director Margaret Barbieri, danced under the founding choreographer of the British Royal Ballet’s tutelage. And now they’ve paid it forward to their dancers.

“I don’t think without Iain and Maggie’s coaching that we’d be able to bring Ashton alive,” principal dancer Kate Honea says. “They

IF YOU GO Sir Frederick Ashton Festival When: Wednesday, April 30 through Saturday, May 3. Noon lecture and demonstration Wednesday through Friday and 1 p.m. Saturday; 3 p.m. film daily; 8 p.m. performance Wednesday through Friday; and final performance and gala performance 6 p.m. Saturday.

Where: Lecture and demonstrations and films at Historic Asolo Theater, 5401 Bay Shore Road.

Performances at Sarasota Opera House, 61 N. Pineapple Ave. Cost: Subscription packages from $80 to $324.

Info: Call 359-0099, Ext. 101 or visit sarasotaballet.org. bring the nuances alive through us — their coaching has helped that.”

The dancers describe the characteristics of an Ashton ballet: musicality, storytelling and character development, humor portrayed through footwork and, of course, the signature “Fred step.”

“It’s one step he put in every single ballet,” principal dancer Danielle Brown says. Although, the dancers discovered that it’s not in “Monotones.”

There are plenty of Fred steps in the Ashton pieces the principal dancers share as their favorites in the upcoming festival. Here’s a look at some of the pieces they love to perform:

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// ARTS&ENTERTAINMENT

Kate Honea Favorite piece in the festival: “Les Rendezvous,” 8 p.m. Thursday, May 1 Why? It’s my favorite! It’s very feminine, cutesy and jumpy. Technically, it’s super hard, but you have to make it look so feminine, easy and playful. It’s all very sprightly and upbeat — I enjoy it so much. It’s the third time we’re doing it, so I think it’ll be extra fun to perform it. I think it was the second performance that I realized how much I love this ballet.

Describe it: It takes place in a park. It’s like “Les Patineurs,” but without the ice skating and snow. The girls are in these big white, fluffy tutus and wear huge pink bows on their heads and butts. It doesn’t have a story to it.

Logan Learned Favorite piece in the festival: “Les Patineurs,” 6 p.m. Saturday, May 3 Why? It was one of the first things I performed with the company here in 2008, so it’s always nice every time we do it again.

It’s nice to remember that first season, and (we) always try to make it better.

Describe it: It’s a ballet that’s supposed to look like skaters on an ice rink.

It has this very ornate backdrop and there are these Chinese lanterns hanging from the ceiling and all these arches …

There’s a lot of contact with the floor, and when you aren’t brushing the floor you’re trying to jump and spin in the air as if you’re doing some fancy skating.

How they prepare Sarasota Ballet principal dancers Victoria Hulland and Danielle Brown don’t leave the stage for approximately 20 minutes

Photos courtesy of Barbara Banks

Danielle Brown Favorite piece in the festival: “Symphonic Variations,” 8 p.m. Thursday, May 1 Why? It’s meaningful that the company had the opportunity to perform the ballet last year. And to do it again, I’m really excited.

It’s one of those pieces that until you have done his other work, you don’t get (permission) to do it.

It’s an accomplishment to say we get to perform it.

Describe it: There’s no storyline, and it’s just a stunning piece. It’s more abstract. There are three girls and three boys, and no one leaves the stage for the entire piece.

Everyone is in white and it’s very pure. It’s classical with a twist.

in “Symphonic Variations.” The first time they performed it, they spent five weeks learning the steps. This is the preparation that goes into just one ballet.

Typically, Sarasota Ballet

Victoria Hulland

Ricardo Graziano

Favorite piece in the festival: “Birthday Offering” 8 p.m. Wednesday, April 30; and 8 p.m. Friday, May 2

Favorite piece in the festival: “Illuminations,” 8 p.m. Wednesday, April 30 Why? I love acting on stage. I love the drama. I love blood. I love doing that!

Describe it: It’s a ballet that Ashton created based on the poet Rimbaud. It was the only ballet he created outside of England, and he choreographed it for New York City Ballet. It isn’t necessarily the story of the poet, but it’s about the events of his life combined with some of his poems. It’s like they are all on drugs.

What’s it like to dance it? It’s very un-Ashton. He was in America and not London, and it was his opportunity to try something new with dancers he had never worked with. But the body movements and musicality are all still there.

Why? I think it’s so great how it shows off every female soloist’s strengths because all of the solos are so different. It would have been amazing to see it at the time it was choreographed because it featured all of the best ballerinas of the Royal Ballet.

Describe it: It’s beautiful and regal with big long tutus in all different colors. It was for the queen on her birthday (hence “Birthday Offering”).

It features seven couples, and all of the girls do the entre, or entrance. They do this step around the stage into an adagio and each girl does a solo. Then all the boys do a dance together, and there’s a pas de duex at the end.

presents three ballets in one performance a month. For the Sir Frederick Ashton Festival, they’ll present at least three ballets a night for four days in a row — practically a whole season of

repertoire in one week.

The company has never rehearsed 11 ballets at one time.

The dancers say rehearsing just one Ashton ballet wears them out, but they are rehearsing

Ricky Rhodes Favorite piece in the festival: “Sinfonietta,” 8 p.m. Friday, May 2 Why? It’s just so hard.

To get through it is an accomplishment. It’s like, “OK, I did that!” I have stamina, but after performing “Sinfonietta,” I can’t breathe — it’s hard.

Describe it: There are three different sections with a huge overture in the beginning ... There are two couples (in the first movement) and it’s fast and upbeat. The second movement has five guys and one girl, and she gets passed around like a rag doll … The third movement is when it all goes crazy … It’s just mayhem and nonstop dancing faster than you think you can.

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Meet the Composer, Vijay Iyer Hermitage Artist Retreat and La Musica International Chamber Music Festival Noon at Sanier Auditorium Free. Call 475-2098.

Ringling Courtyard Swing 5 p.m. at The Ringling Tickets $10. 359-5700.

Faculty Recital, Marc Mannino, Jazz Guitar SCF Music. 8 p.m. at Neel Performing Arts Center. Tickets $8 students, $4 employees. Call 752-5252.

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‘Parallel Lives’ 8 p.m. at Venice Theatre Runs through April 27.

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Vijay Iyer 2012 Greenfield Prize Commission Premier Hermitage Artist Retreat, Greenfield Foundation, La Musica International Chamber Music Festival 8 p.m. at Sarasota Opera House Tickets $40. Call 475-2098.

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‘Greater Tuna’ Manatee Players 7:30 p.m. at Manatee Performing Arts Center Runs through April 27.

Tickets $27 to $37. Call 748-5875.

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SCF Studio 84 Productions: ‘The Grove’ 8 p.m. at David S. & Anne V. Howard Studio Theatre. Runs through Sunday. Tickets $12 students, $10 employees. Call 752-5252.

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Alexander Schimpf Artist Series Concerts of Sarasota 7:30 p.m. at Historic Asolo Theater Tickets $25 to $45. Call 360-7399.

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Ann Sweeten 2 p.m. at Glenridge Performing Arts Center. Tickets $20. Call 552-5325.

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// ARTS&ENTERTAINMENT: BACKSTAGE PASS

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by Mallory Gnaegy | A&E Editor

Ramsay resurrects paintings to the way they were

Mallory Ganegy

Barbara Ramsay works on new acquisition “Portrait of John Campbell, 3rd Earl of Breadalbane, 1738” by Allan Ramsay.

Barbara Ramsay stood on scaffolding high above the floor of the Sistine Chapel. The tip of her nose was mere inches away from Michelangelo’s famous mural. She could see his confident brush strokes.

Ramsay, the new chief conservator of The Ringling Museum, was visiting the Sistine Chapel when her fellow conservators were treating the ceiling. She uses the same process in her own job that they used to restore the chapel.

She watched as the conservators removed candle soot from the mural, unveiling a completely new interpretation. For hundreds of years, the Sistine Chapel’s color tones led art historians to believe Michelangelo preferred a dark and muted color palette. But it turned out that the candle soot needed to be removed to see what Michelangelo had intended. Conservation completely changed the historic interpretation of his artwork.

Art conservators use a combination of science and art to restore pieces back to the way they were when the artist painted them. They also treat the pieces so they will stay preserved well into the future.

As an art conservator with more than 40 years of experience, Ramsay would have loved to get her handmade cotton swabs on the Sistine Chapel’s ceiling. Nevertheless, she enjoyed the frontrow seat watching as the conservators worked — just one perk of her job.

Ramsay’s job is also about pre-

serving art for this generation and future generations to enjoy.

It’s detailed but exciting work.

For instance, for nine of the 15 years she worked at ARTFEX Fine Art Services in Washington, D.C., she helped conserve 300 abstract expressionist works by Clyfford Still. She and her team unrolled and worked on pieces the public had never seen. She hasn’t yet had a chance to really dig into works at The Ringling like she did at her last job.

Ramsay has only been employed here for three months and has a lot of work ahead of her.

She’s doing everything from hiring a team, to treating pieces going on loan and even checking climate control and systems of the buildings. Right now, she’s working on a new acquisition for The Ringling’s permanent collection — an 18th century portrait

by Allan Ramsay (of no relation).

She thoroughly examines the piece to look for signs of deterioration and its causes, then works out the best treatment plan. This requires a lot of careful testing — the kind of work that involves microscopes, tiny watercolor brushes and testing solvents to find the perfect mixture.

From there, she’ll remove the varnish. She’ll heat and humidify the places where there are buldges and deformations. But, generally speaking, this piece is in good shape. When they’ve been in worse condition and she has removed varnish or dirt (using hundreds of handmade cotton swabs) she’s uncovered gems such as original signatures.

There will be a distinct difference between before and after on this piece. The varnish is causing a yellowish tint, which she will remove. There will be more of a contrast in the colors.

The deformations will be almost erased. It’s the kind of work you don’t think about when viewing the art.

Varnish removal and repainting can take anywhere from a couple of days to a few months.

But it’s not tedious, because she enjoys the meticulous attention to detail.

“When you’re a conservator you’re focused,” she says. “You can do damage with almost anything, so you have to be completely in control. But there’s a zen to it. It’s really satisfying because you’re making something look so much better.”

Ramsay’s weapons of choice • Handmade cotton swabs and compresses • Solvents • Fine brushes • Magnifying glass • Surgical microscope • Heated suction table • Ultraviolet lights • Fume extraction pumps • Fume hood (for when pouring chemicals) • Explosion-proof cabinets (in case solvents have a bad reaction) • Polarizing microscope

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THURSDAY, APRIL 10, 2014

// ARTS&ENTERTAINMENT: SPOTLIGHT

by Mallory Gnaegy | A&E Editor

Glass group hosts biggest collectors in Sarasota It’s a rainy Wednesday. About 50 people gather in the academic center at Ringling College. A few of them admire the glass art displayed in the Basch Gallery before heading into the auditorium. It’s where the annual meeting for the Florida Glass Art Alliance takes place.

Richard and Barbara Basch, for whom the gallery is named, are seated in the audience. So are Philip and Nancy Kotler, whose donated glass collection is on display at The Ringling Museum. Carol Camiener, a glass collector and organizer/ co-founder of the group, welcomes everyone to the auditorium. It’s a who’s who of glass collectors in attendance.

One man, Herman Frankel, says he has 120 pieces of glass of all sizes and adds two to three pieces to his collection each year. He says some members have modest collections and others’ are more impressive (such as the Kotlers’ and Basches’). But every member is here because he or she loves glass.

The group meets formally once a year.

Occasionally, members get together and take field trips to nearby Florida glass exhibits or to see private homeowners’ collections. They’ve been doing this for around a decade.

The mother group is the Art Alliance for Contemporary Glass, to which many members of this group belong. The local group started when a few friends (all members of the Art Alliance for Contemporary Glass) met in Chicago at one of the biggest annual glass shows in the country, Sculpture Objects Functional Art + Design (SOFA). They thought, “Why don’t we have a group like this in Sarasota?”

Upon returning home Camiener and Edris Weis decided to take action. They founded the Art Alliance for Contemporary Glass. As of the 2014 meeting, there are 95 paying members.

Each member’s yearly contribution

Photos by Mallory Gnaegy

Richard Basch annouces breaking news. Clockwise: Danielle Colon shows photos from Pilchuck. Carol Camiener introduces the speakers.

The glass group gathers at Ringling College. goes toward a scholarship for a Ringling College of Art and Design student to study glass art at Pilchuck Glass School in Stanwood, Wash. Danielle Colon, the student the group sent last summer to study the art of glass making, is at its annual meeting to show the members photos from her trip. She’s a painting student by study.

“I didn’t realize how much the experience changed what I’m doing (at Ring-

ling),” she says.

The influence of glass study found its way into her work. Since returning, she has been experimenting with clear mylar, transparency and layers. Richard Basch makes a joke about wanting her to get painting out of her system and focus on glass as he heads to the front of the room to make an announcement.

He says that one of the big names in

glass right now, Italy-based Lino Tagliapietra, will exhibit his work in the Basch Gallery next January. When he says this, there are a few excited gasps around the room.

The group slowly trickles out of the room at the meeting’s end.

“Lino Tagliapietra,” one member says to another. “That’s going to be a good one!”

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by Mallory Gnaegy | A&E Editor

THE RINGLING VOLUNTEER APPRECIATION RECEPTION Wednesday, April 2, at The Ringling Circus Museum  Virginia Tashian, Biera Freitag, Sophia LaRusso and Phyllis Westlund

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 Eddie Duffy and Olivia Ratner  Rachel Silverman

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SARASOTA BALLET SCHOOL: STUDENTS PREPARE FOR YOUTH AMERICA GRAND PRIX FINALS Wednesday, April 2, at FSU Center for the Performing Arts Studio 1

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THURSDAY, APRIL 10, 2014

// ARTS&ENTERTAINMENT: HIGHLIGHTS

by Mallory Gnaegy | A&E Editor

Sailor Circus alumni reception dates back to the ’50s As alumni of Sailor Circus entered a tent outside of the arena, there were lots of excited greetings.

Old friends reacquainted Saturday, March 6, for an alumni reception before the 65th anniversary show “Legacy.” Whether they turned it into a career or just had a great time the years they performed, everyone was in good spirits.

Jenifer Elliott, Katie Gilmore, Crisse Hoffman and Sue Richard. Elliott is a Sailor Circus alumna and also coached Sailor Circus for 10 years. Her daughter is Katie Gilmore, who is also an alumna. Hoffman is an alumna who Elliott also coached. And Sue Richard is an alumna grant writer and Sailor Circus mom.

Gina Stinson (alumna 1973 to 1981) and Jessica Watson (alumna 1994 to 2004).

Photos by Mallory Gnaegy

Dr. Ron Troyer was in Sailor Circus from 1950 to 1954. He poses with a magazine from that time featuring him on the cover. Following Sailor Circus, Troyer did the flying circus at Florida State University.

Jinx Barnes (alumna 1963 to 1967), Warren Chivers (alumnus 1963 to 1965) and Jinger Slack (alumna 1960 to 1968).

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MUSIC // Sarasota Orchestra Masterworks VII What is there anyone could possibly say about the famous Fifth Symphony of Beethoven that’s not been said before? Why bother introducing this warhorse of a work when even those who’ve never darkened the doorway of a concert hall recognize the legendary opening four notes? That’s what went through my mind as guest conductor Philip Mann walked out on the stage of the Van Wezel, with a microphone in his hand, to start the second half of the Sarasota Orchestra’s final Masterworks concert of the season this past weekend.

But, I was pleasantly surprised, not only by what he said, but the way he said it. Referring to the history-changing nature of Beethoven’s Symphony No. 5, Mann said, “Who could have known that one brick would build a whole cathedral.”

Mann’s program opened and closed with Beethoven, making it popular with the sold-out audiences before the orchestra played one note. His readings of the Egmont Overture and the Fifth Symphony were done without the use of a score and, although many parts of both works sounded oddly phrased and articulated (possibly because the conductor was using a different edition from the one we usually hear), he elicited beautiful, rich sounds from the orchestra without over-conducting. Although the orchestra gave Mann everything he wanted, the thing that bothered me about some of his musical ideas was his fairly consistent lack of architectural structure and breadth of phrasing.

Perhaps his enthusiasm, which was contagious and which the audience as well as the players happily caught, led him to barrel through phras-

es without singing them and, often, without those all-important silences that add maturity to a conductor’s insights.

For me, the highlight of the evening was the Harp Concerto by the 20th century Argentinian composer Alberto Ginastera.

Scored for a chamber orchestra (compared with the Beethoven pieces) with so many percussion instruments it was hard to count them, this is a fascinatingly colorful work filled with sound sensations that kept our ears and eyes riveted to the stage.

Cheryl Losey, principal harpist of the Sarasota Orchestra, lived up to the reputation of physical beauty often associated with harpists, but she was no angel in this piece. Swiping, stabbing, slapping and strumming her Salzedo Concert Grand harp, she turned this customarily beatific instrument into a percussive vehicle that spoke in myriad languages and colors.

This was an incredibly virtuosic performance given by a virtuoso of the harp, with great musical support from her aptly admiring colleagues.

Ginastera was obviously in the company of many of the 20th century’s great composers, including Copland, Bernstein, Barber and Britten. In fact, there were a couple of chords that sounded so much like Britten’s “Ceremony of Carols,” I instinctively took a breath to sing my entrance.

It’s a wonderfully expansive work — syncopated, melodic, percussive and visceral — and Losey lost herself in its brilliance, eliciting a dazzling performance with hands harvesting amazing sounds from the strings and feet deftly flooring the pedals. (She may need a vat of hand cream to sooth her shredded fingers after that workout.)

Virtuosity isn’t everything, and Losey, Mann and the orchestra paid close attention to the radiance Ginastera brought to this harp concerto. It’s a work that deserves to be heard more often if, and when, a soloist of Losey’s caliber can be found.

— June LeBell

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The Sarasota Ballet performed another expertly planned triple-bill performance this past weekend featuring Sir Frederick Ashton’s “Birthday Offering,” Ricardo Graziano’s “Symphony of Sorrows” and Antony Tudor’s “Gala Performance.” The show was perfectly balanced with the right mix of classical ballet, contemporary dance and comedy.

Ashton’s “Birthday Offering” provided a tease of what is to come with the Sir Frederick Ashton Festival taking place April 30 to May 3. If you missed this show, “Birthday Offering” is on the bill for opening night of the Ashton Festival Wednesday, April 30, at the Sarasota Opera House. The ballet is a tribute to the Royal Ballet’s founder Dame Ninette de Valois, set to the music of Alexander Glazunov. The ballet’s sets and costumes are elaborate, with chandeliers hanging from the ceiling atop seven couples on stage — the women in elegant brocades and tiaras and the men in puffed-sleeved tunics.

The ballet consists of two full-cast mazurkas and waltzes with seven separate female solos portraying the leading ballerinas of the Royal Ballet in the late ’50s and a regal pas de deux.

Nicole Padilla nailed the Elaine Fifield solo with perfect pirouette sequences. Amy Wood demonstrated control with precision in the Svetlana Beriosova solo. The Nadia Nerina solo had Kate Honea literally in the air the entire time with jumps and leaps. And Sareen Tchekmedyian never left the tips of her pointe shoes in the Beryl Grey solo performing hops, jumps and turns en pointe. Victoria Hulland mastered the quick pas de bourrée couru in the style of Margot Fonteyn and kept the style going in the pas de deux with Ricardo Graziano that included many difficult tour de promenades in attitude both en dedans and en dehors.

Graziano’s “Symphony of Sorrows” is an emotionally charged contemporary piece set to music by Henryk Górecki on a black-draped stage with floating globe lighting by Aaron Muhl. Bill Fenner’s black costumes are simple.

The piece, which portrays how people react differently to death and the loss of a loved one, is based on mature feelings and emotions — it’s hard to believe that such a talented young man

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Richardo Rhodes and Emily Dixon in Ricardo Graziano’s “Symphony of Sorrows.” could express them through choreography. It’s no wonder that Director Iain Webb appointed Graziano as resident choreographer opening night for the 2014-2015 season. Emily Dixon and Wood, both exceptional classically trained ballet dancers, stood out in the piece in their separate duets, showing a more raw side and depth to their dancing.

Tudor’s “Gala Performance” was a real treat.

Tudor satires the dance world and three particular styles — Russian, Italian and French — in this ballet that follows three prima ballerinas from each style from backstage before the curtain rises to the actual gala performance toward the turn of the 20th century. The entire cast of this piece was brilliant, both with their dancing technique and comedic acting abilities.

But the true divas of this ballet were those pretending to be ones — Kristianne Kleine as the Russian Ballerina, Hulland as the Italian Ballerina, and Honea as the French Ballerina.

Kleine performed a mind-boggling amount of different turn sequences that included pirouettes and fouetté rond de jambe en tournant.

Portraying the Russian technical masters, Kleine would scrunch up her face in intensity while performing these feats, then break into a smile as they were completed. Hulland was absolutely hysterical as the Italian ice queen who savored her entrance and exit with precise pointed steps and mastered balances in arabesque while she pushed her bouncy and smiley (and funny) cavalier, Edward Gonzalez, around. Honea was every bit of the sugary and sweet French ballerina sprightly bouncing around the stage with a wiggle of her head and a multitude of air kisses.

— Anna Dearing

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// ‘4,000 Miles’ In real life, people who create drama are people to avoid. On the stage, folks who fight and make loud speeches are just plain easier to write about. Writing about undemonstrative human beings is a higher level of difficulty. But, they’re the subject of Amy Herzog’s “4,000 Miles,” now playing in an Asolo Rep production.

The plot? After a cross-country cycling trip, Leo (Benjamin Williamson) shows up unannounced (and unshowered) at the Greenwich Village apartment of his Grandmother Vera (Lois Markle). It’s 3 a.m. but, after putting her teeth in, she invites him to stay. Leo does.

And, over the next few weeks, we discover that his long, strange trip turned into a bad one.

Somewhere in Kansas, Leo watched his best friend die in a grotesque, freak accident. He continued the trip to honor his friend’s memory, but has stayed out of touch with his family, except for Vera. Leo’s shattered, but helping his 91-year-old grandmother puts his psyche back together. The details of his tragedy eventually surface. Leo gradually moves on with his life, but there’s no obvious turning point.

Herzog’s play (an Obie Award winner and Pulitzer Prize nominee) is all about character.

When it’s a choice between realism or dramatic story beats, she goes for realism every time.

Watching this play, you get the rare sense of eavesdropping on real people. The dialogue feels like actual conversation. The interactions are what real people of different generations would do, occasionally clashing, but more often forming awkward agreements in a cramped space.

There’s no hint of staginess. Director Tea Alagić deftly captures Herzog’s naturalistic rhythms. Most of the time, those rhythms are comic. This isn’t a weepy play. Usually, the tragedy stays in the background. The foreground is finely observed comedy, which takes equal pot-shots at Leo’s politically correct earnestness (he refuses to eat a banana because of the jet fuel used to ship it) and his grandmother’s technological incomprehension (Vera’s phone still has a dial; her MacBook Pro is still in shrink

FILM // ‘Le Week-End’ Navigating a marriage can be a tricky balancing act. In director Roger Michell’s new film, “Le Week-End,” he ponders the possibility of “loving and hating the same person” after 30 years of being united in wedlock.

British couple Meg (Lindsay Duncan) and Nick (Jim Broadbent) decide to celebrate their 30th anniversary in Paris by staying at the hotel in which they spent their honeymoon.

It’s now a dump, so they seek better digs. Are we to assume this is analogous to the state of their marriage?

The couple caustically quip back and forth with one another over dinner, while sightseeing and in bed. But Meg and Nick also display mutual, genuine affection, quite overtly at times. In an unexpected and profoundly romantic gesture, Nick passionately kisses Meg as they’re walking on the street. Out of nowhere, Morgan (Jeff Goldblum), an old colleague of Nick’s, witnesses the “un-English

passion.”

Overjoyed by having run into them, Morgan invites the two to a party he’s giving the following evening. It’s a gathering of highbrow academics celebrating the publication of Morgan’s new book. At dinner, Morgan waxes poetically about how Nick influenced his life. Nick replies by pointing out his own failures and flaws.

Meg is so taken aback that she comes to his defense in a loving speech. As the couple gazes at each other, volumes are spoken.

Michell (“Notting Hill”) knows how to utilize to the fullest extent the immense talent of his actors. He doesn’t judge his characters but rather sublimely celebrates their interaction and what lies beneath. Broadbent, as always, is brilliant at playing the everyman, while Duncan perfectly complements his mere presence. And Goldblum, forever effervescent, is a scene-stealer.

In “Le Week-End” there’s no dodging bullets (unless one counts the verbal ones). And the only special effects are those that “The City of Light” provides in all its glory. This is simply a film about love and the commitments people make on its behalf.

— Pam Nadon

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“4,000 Miles” runs through April 27, at the Historic Asolo Theater, 5401 Bay Shore Road, Sarasota. Call 351-8000 or visit asolorep.org for more information. wrap). In other hands, Herzog’s material could feel like the stuff of sitcom. In Alagić’s hands, it just feels true.

On top of that, the acting doesn’t feel like acting. Markle nicely conveys the indomitable but fragile Vera, an unrepentant Old Leftist from the days when, as Leo put it, “A lot of people were Communist — it was like recycling or whatever.”

Again, this could easily feel like a cliché. (Here comes feisty Red Granny!) But, in fact, Vera’s based on a real person: the playwright’s grandmother. Markle’s characterization is a specific human being, not a type. The same is true for Williamson’s portrayal of Leo. He doesn’t wear his trauma on his sleeve, and he keeps up a nuanced dance of respect and emotional distance with his grandmother. Leo’s green philosophy goes too far at times, but it’s not for laughs. The playwright treats his ideas with respect; Williamson’s character ultimately earns your respect.

You see the same realism in the two peripheral characters. Leo’s ex-girlfriend Bec (Maxey Whitehead) is more than a 2-D figure of feminine rejection. She shares Leo’s sorrow; their breakup isn’t collateral damage from the accident. Amanda (Lisa Dring) is Leo’s one-night stand that doesn’t happen. First impression: a flighty art student. You start to see more depth, and separate the actual woman from Leo’s projections.

And, because we’re talking verisimilitude, Vera’s rent-controlled Greenwich Village flat looks like a time capsule from 1968. (I overheard a theatergoer commenting, “I had that statue!” before the action started.) Excellent work from scenic designer Marsha Ginsberg.

Kudos also to costume designer Alixandra Gage Englund (for conveying generations, sub-cultures and miles traveled), lighting designer Gina Scherr (for implying the New York City sun’s repetitive arc) and sound designer Jane Shaw (for creating an aural tapestry of sirens, ice cream trucks and children playing).

In the end, Leo grows from boyman to man.

His journey goes on. (It’s a bittersweet triumph, for reasons I won’t reveal.) His 91-year-old grandmother will soon face her own journey to the undiscovered country. Even the happiest endings have the shadow of sorrow — at least in real life, and the plays that honor it.

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// HOME&GARDEN : HOME OF THE MONTH

by Robert Plunket | Contributing Writer (continued from page 1)

Photos by Heather Merriman

Above: The high-ceilinged living room typifies the home’s laid-back but luxurious feeling. At left, from top: The twobedroom guest house adjoins the pool and outdoor living area; the tasting room outside the home’s temperaturecontrolled wine cellar; the lawn overlooking the Gulf provides the perfect play space for visiting grandchildren; the top floor master bedroom continues the home’s coastal feeling.

ike many boys growing up in the Midwest in the 1950s and 1960s, Jerry Collins loved cars. He was 16 when he bought his first, a ’56 Pontiac. The price? $100.

These days, he’s still car crazy, but the stakes have been raised considerably. His latest pride and joy is a Rolls-Royce drophead convertible, a special 100th anniversary edition, one of only two in the entire world. The price this time? $550,000.

Collins — no relation to the local family that owns the Sarasota Kennel Club — is able to indulge his passion for everything automotive due to his position as one of the pioneers of the satellite TV industry.

In the early 1980s, he foresaw the potential those dishes had to revolutionize the way America — particularly rural America — watched TV. He and his company, CVS Systems, prospered as the telecommunications industry exploded into what it has become today.

Collins and his wife, Rita, still have a place in Indiana where they started out, but these days their life centers around their showplace home on Casey Key. It’s a big (more than 10,000 square feet) rambling, Mediterraneanstyle home, originally designed by Sarasota architect Clifford Scholz.

There’s plenty of room for all the passions of their life — Jerry’s cars, Rita’s love of decorating and design, their Australian labradoodle,

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// HOME&GARDEN

With its color palette of pink, white and coral, the dining room often matches the tropical sunsets over the Gulf.

Constructed of epi wood, a durable Brazilian hardwood, the deck contains a firepit and casual furniture.

the tasting room adjacent to the wine cellar. Here, patches of exposed brick peek out from the Venetian plaster, finished in glowing tones and satiny to the touch.

But, perhaps the home’s most important feature is the way it serves as the perfect headquarters for visiting grandchildren. Sometimes the boys get exclusive use of the two-bedroom guesthouse; on other stays it’s the girls’ turn.

Much time is spent in the outdoor living area surrounding the pool.

It’s tucked away on the south end of the house and features a waterfall, fountain and spa.

“The kids split their time between the pool and the beach,” Rita says.

And, as for rainy days, the lower level of the home provides a wealth of activities. There’s a billiard/TV room, a home theater seating 12 in motorized leather recliners and even a video arcade with old-fashioned pinball machines in addition to more up-to-date electronic games. A whimsical figure named

and a 1956 T-bird, a recent Christmas present from Jerry to Rita.

Through a happy coincidence, the T-bird’s turquoise color matches the awnings and furniture in the nearby pool area. (Jerry’s other cars, 10 at the moment, are housed elsewhere.)

The Collinses are gearing up to look for their sixth house on the Key and have put 1143 Casey Key Road on the market, completely furnished. The prospect of renovating and decorating another large home, so daunting to most of us, only energizes and excites them. The new place will probably be a little smaller and — who knows — it might even be another boat. For five years, their base of operations was a 120-foot-long luxury yacht, the Lady Rita, with a fulltime crew of five. Then a

Maxine the Movie Queen sits in a glass-enclosed ticket booth, overlooking the fun and games.

Rita and Jerry have their own private space, the master suite on the top floor. There you’ll find a sitting area that can be closed off if one of them wants to watch late-night TV. A spiral staircase leads up to a widow’s walk with a spectacular view of the Gulf in one direction and the bay and mainland in the other. Rita also has an intimate den of her own off the kitchen, perfect for reading and a cup of coffee, and Jerry has his office, a classic wood-paneled library, where he conducts business — though the day-to-day operations of the company are now in the hands of his son, John, back in Indiana.

Still, the office is secondary in Jerry’s affections to — you guessed it — the garage. Actually, it’s a split garage, with one side containing the trophy Rolls and a rare Mercedes McLaren. Its counterpart is home to a Bentley convertible

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Theo, and, most of all, eight lively grandchildren. *** The home is the Collinses’ fifth on Casey Key. They first discovered the skinny, 8-mile-long barrier island while on vacation 21 years ago and immediately fell in love with the place.

Thus began their odyssey of finding a beautiful home, perfecting it, then selling it and finding another.

“Rita is the mastermind,” Jerry is quick to acknowledge. “The only thing she lets me choose is the color of the grass.”

The present Collins home was built in 1987 and was so well designed that the space needed only minor tweaking. The big transformation came in the interior spaces, where dark mahogany furniture was replaced with a much lighter “coastal” look — carefully chosen beachy colors and decorative objects, with special attention given to finding the perfect piece of granite and the limestone flooring that suggests gently drifting sand. Rita describes it as “formal, but with a barefoot feel.”

She gives much credit to fauxfinish artist Hampton Crimi, a Ringling College graduate who transformed the walls and balustrades into a subtle blend of textures and surfaces. The sunset pink dining room is a particularly successful example — the walls have a crackled finish, with handpainted decorative accents and matching coral-inspired chandeliers. The massive dark-wood table that came with the house is now a pale off-white that matches the sand just a few yards away.

(The home has more than 150 feet of beachfront.) Also noteworthy is

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particularly rough two-day passage from the Turks and Caicos to St. Thomas changed Rita’s mind about boating. She’s beginning to mellow a little, though, Jerry reports. Whatever they chose next, either on land or sea, will doubtless be bright, sunny and — most of all — family oriented.

1143 Casey Key Road is priced at $9.45 million. For more information, call Albert Annette Ayers of Coldwell Banker at 223-2343.  Jerry’s recent Christmas present to Rita — a turquoise 1956 T-Bird

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YourObserver.com

THURSDAY, APRIL 10, 2014

// FOOD&COOKING: RECIPE FOR SUCCESS

by Mallory Gnaegy | A&E Editor HOW DID YOU GET INVOLVED AT EUPHEMIA HAYE? Euphemia Haye was

ou Do y e same h t ee t en nd s frequ ateries a ch time s ea le loca e faces ture help es m a c a e a f the s o? This these f k, w e g you et to kno This we . e r g c e t a u t f yo ttle be w the a li to kno esserts get d the d ia n behi t Euphem a .

Haye

one of our favorite restaurants. I was doing some prep cooking at Rod and Reel Pier. Ray Arpke, owner of Euphemia Haye, used to bicycle down on Sundays for coffee and we’d talk food. We’d talk back and forward, and he had an opening and asked if I wanted to give it a shot.

WHAT’S YOUR FAVORITE THING YOU MAKE? Pistachio olive oil cake AND RUMOR HAS IT YOU MAKE HOT SAUCE ON THE SIDE? I grow

some incredibly hot peppers and I make sauces. I’ve been doing that for 15 years. We have used some of them. I’ve done pepper jellies, but mostly it’s the chefs eating them in the kitchen.

IF YOU WERE ANY ITEM ON THE MENU, WHAT WOULD YOU BE? Our dense chocolate cake. I guess because it’s intensely flavored. I can be a little dense, I suppose.

IF YOU HAD TO EAT ONE ITEM ON THE MENU FOR THE REST OF YOUR LIFE, WHAT WOULD IT BE? Proba-

bly the crisp roasted duck. I like the crispy skin, the savoriness and the fact that it’s not a mainstream item in every restaurant. Not everywhere does duck and not everywhere does it well.

Photo by Mallory Gnaegy

PASTRY CHEF AT EUPHEMIA HAYE, 5540 GULF OF MEXICO DRIVE TIME WORKED HERE: 3:30 a.m.

until I finish Saturday through Wednesday. This is the start of my ninth year here. I wasn’t always doing pastries; I worked the savory side a number of years.

WHERE ARE YOU FROM? I grew up in Reno, Nevada.

WHAT BROUGHT YOU HERE? This

is a second career for me. In 1997, my wife, Patty Depaoli, and

the community college for different cuisines and in the ’90s, I did some continuing education at the culinary institute … at that point I decided fine dining was where I wanted to be.

WELL THAT’S FAR FROM FINE DINING — WHAT’S YOUR CULINARY BACKGROUND? I grew up in an

WHAT’S YOUR EARLIEST MEMORY RELATING TO FOOD? We always ate

Italian-American family and food was foremost in what we thought about, talked about and did. In the mid-’80s, I started taking courses at

YOUR DREAM CUSTOMER (DEAD OR ALIVE) COMES IN. HE WANTS TO MEET THE CHEF — WHO IS IT? I

suppose my uncle, Robert Franks.

He initially went to the California Culinary Institute and had a restaurant in San Francisco. He was one of my early inspirations. It’d be nice to have him see my food.

every Sunday at my grandmother’s house. She cooked on a woodburning stove. There were probably about eight grandkids and then the parents and so on.

DESCRIBE EUPHEMIA HAYE WITH ONE SONG. I’m not a music man. I

like a quiet kitchen.

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Black Tie YourObserver.com

The Met presented the runway show.

Ashley Gruters, Montana Taplinger, Jennifer Rust, Ashley Dooley, Amanda Pileggi and Pandora Cabrera

INSIDE: Oz + You PAGE 21

THURSDAY, APRIL 10, 2014

Wendy Feinstein, Terri Klauber and Yara Shoemaker

PIQUE NIQUE

by Heather Merriman | Black Tie Assistant Editor The weather was perfect for the 31st annual Pique Nique Sur la Baie Wednesday, April 2. The signature event, which was held on New College of Florida’s bay front, brought in a record-breaking crowd this year, attracting 515 guests, all of whom were wearing spring attire, fabulous hats, fascinators and embellished headbands.

The afternoon began with a Champagne reception, where guests mingled with friends amidst the French florals and spring décor. Following lunch of Couqille St. Jacques and sautéed haricot verts prepared by Michael’s On East, guests enjoyed a runway show by The Met, in which the fashions

traveled through scenes: Paris Days, Fiesta Fatale, Safari Sexy and Nuit. The Met owners Geoffrey and Brenda Michel received applause as they took the stage to thank everyone after the show.

“We really wanted to produce a gracious, fun and financially successful Pique Nique and the committee, community and weather all made that possible. We had such a good time,” said event Co-Chairs Chip Gaylor and Marjorie Floyd.

The total amount raised is not yet known, but is expected to exceed last year’s fundraising numbers, raising more than $100,000 for New College and the Jane Bancroft Cook Library.

 Jacqueline Morton and Jackie Massey

Co-Chair Chip Gaylor and Carla Satcher-Rodriguez

The Met runway show at Pique Nique Sur la Baie

Elizabeth Floyd, Co-Chair Marjorie Floyd, Susan Mitchell, Astria Hurlbut and Cathy Rustin

Minta Getzen, Ashley Kozel and Sandy Crabtree

Photos by Heather Merriman

Paulo Davis and Michelle Scholssberg

Geoffrey and Brenda Michel with their daughter Ava

JoAnna Ashley, Katie Emmons, Polly Reiter and Lisa Brandy

16

DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

// BLACK TIE: COLUMN

BLACKTIE&TALES

by Black Tie Staff

SAME PLACE EVERY YEAR …

F

or the 14th consecutive year, Asolo Rep entertained its major donors at a thank you party March 18, at the home of Ron and Rita Greenbaum. It was a singularly happy event, and not just because of the picture-perfect spring evening and the abundant buffet from Mi-

chael’s On East. Producing Artistic Director Michael Donald Edwards announced that 2013-2014 was the top-selling season of his seven years here with a huge increase in single ticket sales and more than 22,000 people seeing the opening musical, “Showboat.”

Among the faithful: outgoing board President Bob Bartner and

his wife, Beverly, incoming board President Mary Lou Winnick and husband, Ed; Dean Eisner, Carol Camiener, Robert and Pat Baer, Anne and Tom Charters, John and Chris Currie, John and Marlene Isaacs, Ken Abt, Warren and Margot Coville, Margaret Wise, Al and Jean Goldstein, Ida Zito, and Flori Roberts and Elizabeth Roberts.

S TIDBIT

Beverly and Bob Bartner celebrating 50 years

Photo by Cliff Roles

THEY ASKED ME HOW I KNEW …

B

everly and Bob Bartner celebrated their 50th anniversary March 23, at Michael’s Wine Cellar, and Bob explained it thus: “Beverly,” he said, “is a saint.” She is also an amazing party planner and themed this one to the decade of their nuptials, from life-size Beatle photo cutouts that welcomed guests at the door to a team of DJs spinning ‘60s songs, buttons emblazoned with “All You Need is Love” and more.

The couple danced to “Smoke Gets In Your Eyes” as they did at their wedding. Among the guests:

Flora Major, Peggy Wood, Howard Millman, Flori Roberts, Flora Major, Margot and Warren Coville, Teri Hansen and Steve Wilberding, Christine Sandrib, Jim and Susan Buck, Bill and Margaret Wise, Debra and Walton Beecham, Joan Golub, Nancy and Charles Blackburn, Sharon Black Floyd and Bill Harrison, and Howard and Eileen Curd. Dr. Larry Thompson’s smooth moves on the dance floor recalled his days at the Rock & Roll Museum, and Jill Ramsey and Yara Shoemaker tied for “highest heels.”

90 is the new 80 …

Helen Sherman’s daughters Susan Bell from New York City and Amy Bell from Los Angeles threw a 90th birthday tea luncheon for her on March 29, at Michael’s On East. Sherman’s family table numbered 12, including Susan’s husband, Mitch Epstein, and their daughter, Lucia, and Amy’s son Adam. There were more than 50 guests in all, remarkably including at least five nonagenarians: Florence Katz (the senior most at 98), Betty Schoenbaum, Betty Schiff, Claire Love and Lillian Richman.

Sherman shared her life story, which included many years as a sex educator for Planned Parenthood, in honor of which guests played a “True or False” game led

by Pat Wolfson, who presently fills that role for Planed Parenthood in Sarasota … Lilly love … The RitzCarlton, Sarasota members and their guests gathered at the Members Beach Club for a luncheon and Lilly Pulitzer fashion show April 1. Guests, including Debbie Seitl, Lea Mei, Danielle Lizotte and Kami Yeagers, viewed new spring prints, such as the mermaid-inspired “Nice Tail,” which will be released April 10 at the St. Armands location … Fashion frezy … At Girls Inc.’s Celebration Luncheon April

Photo by Heather Merriman

3, Susan Jones was spotted in “killer” heels (which is spelled out down the heel) and Lindsey Nickel de la O and daughter Evie donned matching Camilyn Beth dresses — the 4-year-old’s “Ampi“ dress was custom made …

At Pique Nique April 2, Heather Dunhill sported a Marc Jacobs clutch in honor of her new fur baby, Carlos … Growing future friendships …

Diana Buchanan and Katie Biter showed off their growing bumps at Pique Nique. Diana is expecting a girl with husband,

CO

Summer Publication Date: May 2014

Photos by Stephanie Hannum

 Diana Buchanan and Katie Biter show off their baby bumps  Heather Dunhill’s Marc by Marc Jacobs Olive clutch Matt, and Katie is expecting a boy with husband, Jesse — the babies are only a week apart, so they are sure to be fast friends.

MIN

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Advertising Reservation Deadline: April 24

LWR Life is an upscale, glossy magazine reaching over 45,000 affluent readers. Featuring stories and images of East County life including: Local businesses, events, news, fashion, shopping, real estate, culture, philanthropy and more.

Additional Upcoming Issues:

Fall - August 2014

|

Winter - December 2014

|

Spring - February 2015

To reserve your advertising in upcoming issues of LWR Life, or to learn more, please contact your Observer Media Group sales representative, call 941.366.3468 or email LWRLife@yourobserver.com LWR Life is a publication of Observer Media Group Inc. in partnership with SMR and Lakewood Ranch.

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THURSDAY, APRIL 10, 2014

17

// BLACK TIE: CAMERA READY SARASOTA FILM FESTIVAL: OPENING NIGHT FILM AND PARTY Benefiting Sarasota Film Festival Friday, April 4, at Van Wezel Performing Arts Hall

Jamie Jones and Monica Miller with Renee and Tom Brady

Photos by Heather Merriman

Vince Fraser, Christopher Roy and Davis Schneider

Curtis Jordan and Paige Petersen

Michael Calamaras and Kelly Martella

Heather and Clint Kasten

Heather and Geoffrey Gillon with Nancy Mina

ASOLO REPERTORY THEATRE

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18

DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

// BLACK TIE: CAMERA READY 26TH ANNUAL CELEBRATION LUNCHEON Benefiting Girls Inc. of Sarasota County Thursday, April 3, at The Ritz-Carlton, Sarasota

Johanna Gustafsson, Alison O’Donoghue, Julie Dooley, honoree Ariane Dart, Jamie Becker, Aimee Cogan and Retta Wagner

Honorees Erika Wise Borland, Susanne Wise, Courtney Wise Snyder and Whitney Wise Verdoni

Kay Mathers and Camilyn Leavitt

Chris Pinckney, Tom Waters and Tatiana and Greg Twarowsky

Photos by Heather Merriman and Leslie Gnaegy

Lisa Merrill and Angela Ellingsworth

Co-Chairs Kristine Nickel and Lindsey Nickel-de la O

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YourObserver.com

THURSDAY, APRIL 10, 2014

19

// BLACK TIE: CAMERA READY SILVER LINING GALA: FROM VICTIMS TO VICTORIES Benefiting Cancer Care Services at Sarasota Memorial Hospital | Friday, April 4, at Michael’s On East  Co-Chairs Ginny Cable, Heather Parker and Diana Houston

Barbara Pekow, Michelle Francher and Alexsandra Coles

Photos by Heather Merriman

VISITING ARTISTS DINNER SERIES FEATURING CHERYL LOSEY AND PHILIP MANN Benefiting Sarasota Orchestra | Thursday, April 3, at private home John, John, Lucy and Fran LaCivita

 Fabiola Softas with Rodney and Terrie Linford

Kurt and Mariene Wilkening

Featured artists Philip Mann and Cheryl Losey

Tom and Katie Goodman

Jay Dulberg, Judith Punshon and Cindy Allcox

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Marketing@HawthorneVillageofSarasota.com • www.HawthorneVillageofSarasota.com License #SNF130471051 EOE

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5381 Desoto Road, Sarasota, FL 34235 (Just East of Honore on Desoto Road)

Alberico J. Sessa MD Diplomat American Board of Cosmetic Surgery Results may vary and are not guaranteed.

2011/ 2012/ 2013

941-923-1736

www.sarasotasurgicalarts.com

4143 Clark Road, Sarasota

941-923-1736

www.sarasotasurgicalarts.com

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Caring Staff

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The Booker High VPA Music Department Proudly Presents:

azz

Festival

DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

// BLACK TIE: CAMERA READY

Friday, April 11 7 p.m. at the Booker High VPA Theatre 3201 N. Orange Ave., Sarasota Tickets $10 General Admission available at 941.355.2967, ext. 65215 or online at www.vpabooker.com

Roz Goldberg, Lenny Landau, George and Rochelle Stassa and Alan Bandler

WBTT’S ANNUAL APRIL FOOLS’ PARTY Benefiting Westcoast Black Theatre Troupe Tuesday, April 1, at Michael’s On East

Join us for our 41st Annual Easter Brunch!

Photos by Heather Merriman

 Joyce Locklear, June Leach and Jaclyn Brunckhorst

Easter Bunny · Spring Flowers · Live Bunnies

Buffet Brunch: 10:30 am to 3 pm

Omelet and Waffle Stations, Chefs’ Carving Station, Oysters Rockefeller, Shrimp Cocktail, Salads, Classic Breakfast Dishes, Pastries, Desserts, and a Chocolate Fountain! $39.99 -adults | $16.95 12 and under

Reservations are recommended: please call 941-388-4415

Easter Dinner: 4:30 pm to 8:30 pm Rosemary and Garlic Infused Roasted Leg of Lamb

Rita Greenbaum, Charlie Ann Syprett and Nancy Mina

431 St. Armands Circle, Sarasota, FL 34236 941-388-4415 | cafeleurope.net

Co-Chairs Margie Nellum Lee and Debbie Partridge

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ala carte menu available

Chairwoman Janet Hunter, Drew Morris and Nancy Wagy

LA MUSICA INTERACTIVE DINNER ‘MUSICAL CHEFS’ Benefiting La Musica Thursday, April 3, at Michael’s On East Photos by Heather Merriman

 John and Shon Ewens

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the 1st annual

Featuring jazz bands from the State College of Florida Booker High School Booker Middle School Sarasota High School

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Wendy and Shaun Merriman

Wan Yang and Amanda Kulaw

DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

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// BLACK TIE: CAMERA READY OF SARASOTA SARASOTA

ASOLO REP GUILD 40TH ANNIVERSARY CELEBRATION

Saturday & Sunday April 12 & 13 – 7:30 p.m.

Historic Asolo Theater at The Ringling

Benefiting Asolo Repertory Theatre Tuesday, April 1, at Sarasota Yacht Club

ALEXANDER SCHIMPF

Photos by Heather Merriman

TICKETS BY PHONE – M-F 10-4

941.360.7399

Tickets/details 24/7 at www.artistseriesconcerts.org

PAID FOR IN PART BY

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Bach - Brahms Debussy - Kapustin

 Honorary Co-Chair Carol Phillips with Kimberly and Etienne Bleach

TOURIST DEVELOPMENT TAX REVENUES

What If You Could Look Years Younger And Still Look Completely Natural?

Rejuvenation Exclusively for the Face & Neck Honorary Co-Chair Jack Gibson, Nancy and Jack Rozance and Margit and Dick Gravino

The Skill of a Surgeon  the Eye of an Artist  and theUnderstanding of a Woman HOLLY L. BARBOUR, M.D. Lois Lucek and Pat Anderson

Cheryl Burke and Stephanie Shaw

Pratt Institute, Bachelor of Fine Arts Degree Case Western Reserve University, MD and Residency in Ophthalmology

Benefiting Sarasota Memorial Healthcare Foundation | Friday, March 28, at Hyatt Regency Sarasota

Duke University Medical Center, Fellowship in Oculofacial Plastic and Reconstructive Surgery

1250 South Tamiami Trail | Sarasota 941.951.2220 | www.hollybarbourmd.com

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OZ + YOU

Photos by Heather Merriman

 Lauren Graham and Jeanne Graham

Dr. Hardy Schwartz, Christine Johnson and Dr. Allison Silver Schwartz

Janis Collier and Mary Pat McNally

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Dr. Jeffrey Sell with featured speaker Dr. Mehmet Oz

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DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

// BLACK TIE: CAMERA READY WINE WALK TO CÁ D’ZAN Benefiting The John and Mable Ringling Museum of Art Friday, March 18, at The Ringling

Judy Zuckerberg, Margie Barancik and Peggy Abt

 Cherie and Ralph Gorenstein with Bill and Linda Robertson

Photos by Heather Merriman

SEASON CELEBRATION ON STAGE Benefiting Asolo Repertory Theatre Monday, March 31, at Asolo Repertory Theatre  Michael Landsberg, Faiza Kedir and Anthony Dubbaneh Drs. Michelle and J.P. Gniady

Co-Hosts Linda DiGabriele and Michael Donald Edwards

Mary Lou Winnick and Ruth Kreindler

Mike and Judy Scharf

Photos by Heather Merriman

Ian and Bernice Blackstone with Georges Chauvet and Sheira Smith

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on Bellarri Jewelry, April 10th, 11th & 12th

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3 Days Only Special Sale

7673 Portstewart Drive $599,000 USD Immaculate Country Club Maintenance Free Home in Lakewood Ranch. Three bedrooms, Den, Open Plan, Pool, Corner Lot.

602 Weston Pointe Court $999,900 USD Courtyard Home in Bay Isles on Longboat Key. Gated with heated pool, guest suite, open plan and boat dock. Access to Sarasota Bay.

SERVICE YOU CAN TRUST PERFORMANCE YOU CAN COUNT ON

Charlotte Hedge, Tom Hedge Sr., Monica Barth, and Tom Hedge Jr. 888.886.0105 www.HedgeTeam.com tom.hedgejr@sothebysrealty.com

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Have a question about new downtown projects—Contact us

40-50% OFF! 5645 America Drive $1,149,000 USD Gorgeous Tuscan retreat on boating water minutes to downtown and Siesta Key. One of the finest homes in Sarasota.

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Sotheby’s International Realty and the Sotheby’s International Realty logo are registered service marks used with permission. Each office is independently owned and operated. Equal Housing Opportunity.

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403 Sunrise Drive $2,395,000 USD Directly on Roberts Bay with dramatic water views. Over 5000 sq ft with boat house, efficiency apartment, heated pool & spa and more.

DIVERSIONS

YourObserver.com

THURSDAY, APRIL 10, 2014

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// BLACK TIE: JUST MARRIED

THE DETAILS First dance: “Crazy Love”

by Van Morrison Photography: Justin Demutiis Photography Wedding planning: NK Productions Wedding Planning Floral design: Elegant Designs

GROOM’S PARENTS:

BRIDE’S PARENTS:

Natalie and Paul Kluska

Madeleine and Terry Eagle

HOW THE COUPLE MET:

Emily McKee Eagle and Kyle Paul Kluska met out one night in Chicago. Emily had just graduated from the University of Iowa and spent the summer looking for jobs in Chicago. Kyle was running his business, Pro Lighting. The couple dated three years before Kyle proposed.

THE PROPOSAL:

On Feb 28, 2013, Kyle came home from work and played ball with the couple’s dog, Daisy. Kyle slipped the ring on Daisy’s collar and went on like a normal weeknight. Emily didn’t notice the ring for a couple hours. They went on a walk with the dog, and Daisy ate and played ball. Finally, Kyle asked Emily to look at the dog’s collar, stating “there was something weird on it” and she found the ring.

The couple was married Feb. 15, at the Bay Preserve at Osprey.

Dennis Palmer, a family friend of Emily’s, performed the ceremony. The couple picked Feb. 15 as the wedding date because it was Emily’s grandparents’, Ted and

Cake: The Short Giraffe Dress: Lazarro Lighting: Affairs in the Air Catering: Michael’s On East

HONEYMOON:

The couple honeymooned at Four Seasons in Maui. They enjoyed venturing around the island and came across their favorite spot, a surf town called Paia.

They also took a helicopter tour over the island and had an aerial view of a pack of 10 whales swimming and got to see waterfalls and sharks.

Photos by Justin Demutiis Photography

Where Sarasota Gets Engaged™ 3979 SOUTH TAMIAMI TRAIL | (941) DIAMOND | DIAMONDVAULTJEWELERS.COM

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THE WEDDING:

Dianne McKee, wedding date — they were married 61 years ago and her grandfather was able to be there to see her get married.

The couple wanted to keep the day personal and intimate — the light bulb accents reflected Kyle’s self-made business, Pro Lighting, and button accents also served as a nod to Emily’s family, which owned one of the last American button factories. The couple’s playful and quirky personalities were shown in the raft swans and music instruments as they walked down the aisle.

The reception kicked off with the band Kettle of Fish and toward the end, glow sticks were given to guests while DJ Fitz Otis played the couple’s favorite dance jams.

Invitations: Write-On Sarasota

DIVERSIONS

THURSDAY, APRIL 10, 2014

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YourObserver.com

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