Diversions 7.24.14

Diversions YourObserver.com

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Sarasota Ballet gives a peek into ‘The Secret Garden’ PAGE 2

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Sarasota Young Voices sings bonjour to France PAGE 4

HOME&GARDEN | HOME OF THE MONTH

THURSDAY, JULY 24, 2014

BLACK TIE Hot Flash: Orange really is the new black PAGE 8

by Robert Plunket | Contributing Writer

An elegant downtown apartment showcases Sarasota’s past and present.

HOME&GARDEN COVER STORY CONTINUED ON PAGE 6

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THURSDAY, JULY 24, 2014

// ARTS&ENTERTAINMENT: IN BLOSSOM

by Mallory Gnaegy | A&E Editor

‘THE SECRET GARDEN’

COMES UP ROSES Sarasota Ballet’s world premiere of Will Tuckett’s 'The Secret Garden' is no garden-variety production.

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dance-theater-puppet production started when Tuckett came to Sarasota in 2013 to choreograph “Changing Light.” When Tuckett returned the following year to choreograph “Lux Aterna,” the project was already well underway. Only instead of “The Wind and the Willows,” the company would retell “The Secret Garden.”

It’s a story of a bratty orphaned girl, Mary Lennox, who moves into her mean uncle’s mansion. To occupy her time, she searches for a hidden garden on the property. With the help of the first friends she’s ever had — an animal-whisperer named Dickon, and her believed-to-be-crippled cousin Colin — she restores the garden back to life.

The two-hour, two-act family production Tuckett created specifically for Sarasota Ballet will have its world premiere Aug. 8. Following the August run, the company will open its season Oct. 24 with Tuckett’s “The Secret Garden.”

A pop of color

A month before opening, the usually sleepier summer at Asolo Repertory Theatre’s Koski center — the 45,000-square-foot scenery and production shop — is blossoming for the collaboration on Sarasota Ballet’s “The Secret Garden.”

'The Secret Garden' When: Opens 7 p.m. Aug. 8 and runs through Aug. 16. Also runs Oct. 24 through Oct. 26.

Where: FSU Center for the Performing Arts, 5555 North Tamiami Trail, Sarasota Cost: Tickets $25 to $75 Info: Call 359-0099 or visit sarasotaballet.org.

In a small room offset from the rehearsal space, dancers are fit in their costumes designed by Tim Meacock, whom Tuckett had worked with on three shows and was chosen to create the sets and costumes.

The England-based computer-engineer-turned-theater-designer trained at famed and now defunct Motley Theatre Design. His vision started with a small square-inch pencil drawing in a huge tablet-sized sketchbook.

It was of an enclosed garden with four walls on stage.

“It’s a difficult thing going into a garden and taking the audience inside with you,” he says.

Eventually, he and Tuckett landed on using large transparent gates and walls on casters, or wheels, that can open and rearrange.

Tuckett’s vision for the show is more cinematic and fluid than a typical the-

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n 2002, Iain Webb did not want to see director-choreographer Will Tuckett’s “The Wind and the Willows.”

The now Sarasota Ballet director had just spent two months in Japan on a work trip, and the show was in a few hours. But Webb’s wife and now assistant director of Sarasota Ballet, Margaret Barbieri, insisted. Tuckett was an old friend from The Royal Ballet where he and Webb were both dancers in 1990. Tuckett had gotten them tickets and it was the final run.

Begrudgingly, Webb went.

He found it riveting.

It wasn’t just a theatrical or dance performance.

It was a warm retelling of Kenneth Grahame’s story that imaginatively combined puppetry, dance, music and text.

“It was the most amazing piece ever,” Webb says. “… It wasn’t going in and seeing a ballet, it was seeing theater and dance mixed. What was incredible was that the whole theater was having fun from the little kids to the old grannies.”

The conversations for creating Sarasota Ballet’s own version of the hybrid

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// ARTS&ENTERTAINMENT ater production. Instead of sets being changed at blackout, the dancers will move the set pieces themselves. Before the audience’s eyes, rooms will seamlessly adapt from bedrooms to the garden.

“Children get bored quickly, and if there’s a (blackout) or a moment to disengage, then you have to work to re-engage them.

And like this, basically, I’m never letting them go,” Tuckett says.

The production starts monochromatic, and each time the children visit the garden — pops of color are added on stage. In one scene, a yellow field of daffodils appears; in the final scene, it's

purple wisteria. “(It’s about) pairing down the colors and keeping that surprise, so when you get to the end, you forget color existed,” Meacock says.

Around the corner in the scenic shop, Meacock’s greenthumbed garden vision comes to life. As pieces are finished, they are brought into the rehearsal room where the dancers perfect the production.

Garden grows under feet

The dancers work on a scene in the first act. In this scene, petite Jessica Cohen, playing Mary, searches for a key to the garden.

A crow leads her to where it is hidden.

The crow is

one of a handful of dancer-controlled puppets designed by Toby Olie. Olie has worked on such productions as the new staging of Disney’s “The Little Mermaid” and the play “War Horse.”

The dancers, who aren’t hidden from sight, work the crow, rabbits, robin and fox. They gracefully fly the birds and hop the rabbits in a way that could put professional puppeteers out of business.

“Dancers make really good puppeteers,” Tuckett says.

And what the audience doesn’t pick up on through Tuckett’s choreography and puppetry is told through a script created by British playwright, Alasdair Middleton.

Middleton and Tuckett are perpetual colleagues on many productions. His script is prose-like with repeated phrases and rhyming and spoken by a lone narrator, Edward Lewis French.

French, an actor with a British accent, voices the characters thoughts and movements to underline w h a t ’s

going on so children can perfectly understand.

As he speaks, the dancers perform their usual impressive lifts and turns to a composition by Jeremy Holland Smith. Smith created the music for the ballet’s production of Tuckett’s “Changing Light.”

“People were crazy about the music,” Webb says.

And music for “The Secret Garden” should be no different. It’s a simple orchestration that sounds as lovely as a Secret Garden looks.

Webb, who is in the back of the room, stands quiet and looks pleased. He’s not giving his usual comments or insight, as if he’s trustingly relinquished his control. He makes a joke.

“I’m just going to wait until the end when it’s all finished to tell (Tuckett) it’s rubbish,” he says.

But his face doesn’t hide that Webb is even more riveted by “The Secret Garden” than he was at “The Wind and the Willows,” which, as he said before, was the most amazing piece ever.

BY THE NUMBERS 64 — sheets of 4-by8-foot PVC plastic used to create the set

9 — Asolo Repertory Theatre costume shop employees created the costumes 10 — Asolo Repertory Theatre set builders

30 — costumes in one performance 60 — casters (or

wheels) on the set

2 — dancers who operate the fox 4 — productions Will

Tuckett has choreographed for Sarasota Ballet — “Spielende,” “Changing Light,” “Lux Aterna,” and “The Secret Garden”

Patrick Ward, Daniel Rodriguez and Ricardo Graziano

YOUROBSERVER.COM // Go online to see the designs and a video of “The Secret Garden” coming to life.

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// ARTS&ENTERTAINMENT: SPOTLIGHT

by Mallory Gnaegy | A&E Editor

S I R Sarasota Young Voices take PA WHERE ARE THEY?

Carly Grimes, a recent Pine View Graduate, has sung in the auditioned youth choral group Sarasota Young Voices for the past three years. Each year, Sarasota Young Voices takes a tour in the summer time. For nine days, beginning June 22, Sarasota Young Voices Chamber choir, a 14-woman ensemble, went to Paris — the first time the group, founded in 2007, has traveled overseas. Grimes recounted the group’s trip; here’s what she had to say.

What was it like leading up to the trip?

I think we started feeling a lot of pressure as we got close to it. There was a lot of music to learn … we had 10 add-on rehearsals to our (standard) 2.5 hours every Saturday morning. It motivated us to learn a lot.

Courtesy of Carly

Grimes

Whitehouse, Pia A selfie with Annie es (front), Kris Tell us about Paris.

Spivey, Carly Grim a Miller and ny Oh my goodness! Paris was amaz- tin Miller (back) , So gener.

SY V Chamber ag W e ch Choir poses with ing. It was the best trip I’ve ever been Daphne Blan the Eiffel Tower on. Our chamber choir got really close, and we formed a lot of new friendAside from singing concerts at Notre one of the biggest audiences we ever sang ships. We did so many things together: climbed the Eiffel tower, climbed the Dame and the American Church, we hear to, probably 150 people. Tour groups were stairs at (Sacred Heart Basilica of) Mont- there were a few impromptu performanc- refusing to continue on their tours until martre, and sang in beautiful cathedrals. es. we were finished singing.

They were kind of the best part … We Singing at Notre Dame Cathedral was the highlight of the trip — I think that was the toured the opera house and went to the What other tourist stops did you make? highlight of all of our musical careers at lobby where there are these huge marble We went to the lock bridge. It’s where this point. The sound was incredible; it staircases. We started singing one of our people on honeymoons and lovers write echoed for 10 seconds after we stopped favorite songs. Everyone in the whole op- their name on a lock and lock it to the singing. We always aim to sound like one era house stopped when we started sing- beautiful bridge. It’s supposed to seal your voice as a choir, and I think that’s the clos- ing and took pictures and videos … That love forever. We got a lock and signed it to was another one-voice moment. It was seal our sisterhood there. est we’ve ever come.

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DeAnne Sipes, Sabine Whittmann, Daphne Blanche Waggener and Meg van Deventer pose with statues in Paris SYV places a lock on the bridge at Pont des Arts

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// ARTS&ENTERTAINMENT

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THURSDAY, JULY 24, 2014

// HOME&GARDEN : HOME OF THE MONTH

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

An elegant downtown apartment showcases Sarasota’s past and present.

Photos by Heather Merriman and courtesy of Detlev von Kessel

Top: Lounge furniture surrounds a gas fire pit on the glamorous terrace off the master bedroom. Above left, the 10-story Orange Blossom was originally built in 1926. Above right, custom doors lead from the elevator lobby into the apartment.

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som Hotel, the winter accommodations for thousands of tourists — including a handful of movie stars who liked to congregate in its cocktail lounge, the famous Aztec Room. Finally, in the 1960s, it was turned into an old-age home.

When its future was in doubt in the early 1990s, it was rescued and transformed into what it is today — a unique survivor, still going strong as it approaches its 90th birthday.

The Orange Blossom is unusual for a downtown building. It has both commercial and residential spaces. There is an art gallery on the ground floor and business offices on several others. And while it only has six residential units, each is noteworthy — although none as noteworthy as Apartment 3.

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MAINSTAGE

Main St. — or the Orange Blossom, as everyone calls it — has always been the center of downtown. Sarasota’s first high rise, it was built back in 1926, at the height of the first real estate boom. It was strikingly bold and grandiose for a sleepy little Florida town — 10 stories of neo-classic grandeur, a statement by its builders of what they hoped Sarasota would become.

And what a life it’s had. Good times, bad times — the Orange Blossom has seen them all. It started life as an office building, home to the town’s early banking and real estate industries. Then in 1934 it became the Orange Blos-

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// HOME&GARDEN : HOME OF THE MONTH

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

A fireplace and unusual tray ceiling add character to the living area.

A second terrace features a metal trellis and room for entertaining.

In the elegant master bedroom, the treetops of Palm Avenue sway in the breeze just outside the 7-foot-high windows.

Apartment 3, which takes up the entire third floor, owes its special flavor to the efforts of Sarasota decorator Kurt Lucas, who owned the unit. Along with his partner Ron Butine, Lucas renovated the almost 5,000 square feet of space — including two terraces — into one of the town’s most fabulous apartments.

Today most of Lucas’s projects are beautifully detailed versions of high-end modern luxury, but back in the day, when it came to his own homes, he pulled out all the stops. Apartment 3 was transformed into a medieval fantasy (similar to the equally famous “castle” he and Butine built on Mound Street.) It featured deep, jeweled-toned colors, intricate patterns on the walls and floors, antique detailing and moldings, custom plaster work, and overscaled furniture.

But when Lucas and Butine sold the apartment in 2012, the new owner wanted something simpler.

“So it was back to reality,” Lu-

A desk looks out on the street life and nearby restaurants.

cas says. He transformed his transformation. “This time it’s natural, fresh, easy — a more modern way to live.”

Even though the building dates back to the 1920s, the current interior seems like new construction, albeit with touches here and there that suggest the past.

The entrance, from the private elevator lobby through a set of custom made doors, leads down a hallway with carefully proportioned picture frame molding to the oversized living area, a space more than 40 feet long. The feeling is a comfortable mix of Soho loft and Park Avenue showplace, with 7-foot-high windows overlooking the cityscape and different areas for different purposes — one for conversation before a gas fireplace, one for formal dining, another for informal dining, a work area complete with a desk overlooking Main Street,

A seashell collection adds a beachy feeling.

and even a one-of-a-kind pool table, convertible to a dining table for special occasions. Highimpact windows do an excellent job of keeping out the sounds of the city and also make the space more energy efficient.

The master bedroom opens off the living area and here the atmosphere is that of a suite at the Ritz, with mirrored surfaces and luxurious textures. A door open to a south-facing terrace — complete with a gas-lit fire pit — and the extra large bath features a separate walk-in shower and an oval jetted bathtub. The windows look out onto the palm trees lining Palm Avenue.

There are two guest bedrooms, each with its own bath. They open to another terrace, 14 feet by 47 feet, this one designed for entertaining. It comes with a gas grill, dining and lounge seating, and a custom ironwork trellis. A

Elaborate lighting fixtures are found everywhere, even in the master bath.

library/studio is nearby, which can double as another guest room. And from its west-facing window, there’s a glimpse of the bay.

The kitchen, which opens onto the living area, boasts dramatic antique Baroque-style cabinetry, a very dark brown, almost black, with a distressed finish. There’s also a five-burner gas range, a Viking refrigerator and a spectacular crystal chandelier over the granite-clad island.

The Orange Blossom does not have a garage, but Apartment 3 comes with two parking places in the garage at 1350 Main, right across the street. There’s even a separate back entrance to the unit, via the master bedroom terrace. And for a yearly fee of $1,000, the new owners can use the swimming pool and fitness facilities at 1350 Main.

Apartment 3 is being sold fully

YOUROBSERVER.COM // Visit our website for more Home of the Month photos.

furnished, including the artwork and the elaborate lighting fixtures. Elegant, unexpected touches are everywhere, including the antique vanities in the guest baths, the 15-inch granite window sills throughout the unit, and the unusual tray ceiling in the living area, a complex yet harmonious pattern of octagonal shapes. The marble lobby is kept locked, with a concierge on duty during the day.

The Orange Blossom is full of ghosts, but they are happy ghosts. Just about everybody who was anybody in Sarasota played or stayed or did business here. And there’s that incredible location. “That’s what I miss the most,” says Lucas of his sevenyear tenure at Apartment 3. “It’s so central to the heartbeat of the town — the restaurants, the parades, the street fairs. That little corner is the hub of Sarasota.”

1330 Main St., Apartment 3, is listed at $1,799,000. For more information, call Betsy de Manio of Coldwell Banker at 914-5540.

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// BLACK TIE: I SPY ORANGE

HOTFLASH

by Heather Merriman | Black Tie Assistant Editor

by Heather Merriman

Photos by Heather Merriman

Black Tie Assistant Editor

ORANGE IS THE NEW BLACK W

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