Diversions 8.21.14

Diversions YourObserver.com

THURSDAY, AUGUST 21, 2014

A&E

A&E

Spotlight: filmmaker’s final showing PAGE 4

Highlights: Friends of the Sarasota Ballet PAGE 6

ARTS&ENTERTAINMENT | EN PLEIN VIEW

BLACK TIE

Just Married: Kristin Kurzydlo and Colin Marvin PAGE 8

by Mallory Gnaegy | A&E Editor

As a part of the Light Chasers plein air painters, watercolorist Rita Rust always looks for the light. She strives for simplicity in her strokes.

Mallory Gnaegy

GUIDING

LIGHT

ARTS&ENTERTAINMENT COVER STORY CONTINUED ON PAGE 2

2

DIVERSIONS

YourObserver.com

THURSDAY, AUGUST 21, 2014

// ARTS&ENTERTAINMENT: EN PLEIN VIEW

by Mallory Gnaegy | A&E Editor (continued from page 1)

GUIDING LIGHT A

As a part of the Light Chasers plein air painters, watercolorist Rita Rust always looks for the light. She strives for simplicity in her strokes.

Mallory Gnaegy

“It’s hard because you have to think backward and save all the lights,” Rita Rust says. “With other mediums you can just add them on at some point.”

Michelle Pennie, MD • Fellowship Trained Mohs Micrographic Surgeon • Board Certified Dermatologist

Winslow Homer print hangs on the wall of Rita Rust’s studio. It’s a moody, marine watercolor of a boat. The dark piece is a stark opposite of the light-flooded loft studio of her home, with its cheerful robin’s egg blue-painted wooden floors where she spends her days painting barefoot.

The bohemian-dressed woman walks over and points out Homer’s strokes.

“There’s one, two, three, four — and that’s it,” she says of the water portion. “It’s so simple.”

The piece used to hang at her parents’ home when she was young. She had the same admiration for it as a little girl as she does now, a 58-year-old Sarasotabased professional watercolorist.

“I can still look at it and go, ‘Aghh,’” she says. “It’s just amazing.”

Rust remembers staring at the piece when she was a girl. She remembers that’s when it happened — that’s when she fell for watercolor.

Rust has always loved art, and though she doesn’t remember it, a childhood friend told her all she wanted to do as a little girl was paint mermaids. In high school, she never had a teacher who could demonstrate watercolor techniques. And her parents weren’t keen on her studying art in college. She took a few classes, but they never satisfied her wa-

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“Drum Circle Offerings” by Rita Rust tercolor needs — she learned the basics and drew with charcoal.

She majored in English, became a graphic artist and moved to New York. It was her way of showing her father she could make a living as an artist.

“I’m kind of stubborn in that way,” Rust says with a chuckle.

She takes a sip from a Wonder Woman coffee mug at her lacecovered dining room table. Her home is painted in calming hues of teal, and world music is playing.

There’s more of her work on the walls than the artist would like. But the economy’s downturn resulted in fewer paintings sold even though she was producing the same amount. But 2014 has been the best year for sales since pre-2008.

She explains it wasn’t until she and her husband moved to Sara-

“Paradise Blooms” sota and their daughter was in school that she decided to take a watercolor class at Ringling College of Art and Design. She can’t remember the year — it was probably the early ’90s.

Her teacher was Herbie Rose, a famous Jamaican watercolorist based north of Sarasota.

“When you see his watercolor demonstrations, you see magic,” she says of his class.

Rose used to take a group of students on trips to his native Jamaica; Rust went to Jamaica soon after her first class with Rose.

Rust visited Jamaica eight times with Rose and other students and once on her own for her 50th birthday.

The group, which changed every year, stayed in an old hotel atop a mountain in Port Antonio on the northeastern coast of Jamaica. The Blue Mountains were

“South Lido,” a landscape Rita Rust painted en plein air

I’d rather be painting.

It’s what I love to do.

– Rita Rust on one side, and the blue water on the other. She’d paint all day en plein air and swim, snorkel and climb the mountains. In the evenings, the group members would critique one another’s work.

The hotel isn’t there any more.

Rose is older, and the groups no longer visit Jamaica. But the ex-

perience was instrumental in Rust’s training.

These days (but not August, because it’s too hot), she paints en plein air with the Light Chasers — a group of artists who paint landscapes around Sarasota on Thursdays. She volunteers at Art Uptown Gallery, where she’s also the exhibitions coordinator, and is a member of Florida Suncoast Watercolor Society.

Rust paints other things aside from landscapes — she has a piece she painted of a woman vendor at the Siesta Key drum circle that perfectly captures the spirit and energy of the event.

But mostly, she’s drawn to nature because of the way light filters through it and shines on it.

“It’s a lot about the light,” she says.

In Nantucket, where her husband’s family has a home, the

light is a little more muted than in Florida. In Illinois, where her parents live and where she spends part of her summer, the cornfields have blues and golds.

But the light is most intense in Jamaica.

When she’s not outside painting, she paints from photos or sketches. Rust paints between 11 a.m. and 4 p.m. daily — but the time can vary. Occasionally, her husband, Terry McGannon, executive director of Meals on Wheels, gets home from work at 7 p.m. and she’s still busily painting.

She says the best paintings take her only four hours — the kind of painting where it’s meditative because her brain isn’t in a thinking state; there’s nothing on her mind.

“When you get in that zone,” she says, “it’s why art becomes addictive. You get in that zone and everything goes away.”

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THURSDAY, AUGUST 21, 2014

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The Fabulous Independent Film Festival presents Tom Murray’s final film Aug. 23, at Burns Court Cinemas.

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by Mallory Gnaegy | A&E Editor

T

om Murray was 90% finished with his seventh film when he died of a heart attack July 29, 2010. Prior to that, the 65-year-old local filmmaker had made one film per year since 2004.

“He always said he had a late start in life (making films),” says Vince Kielar, his partner of 37 years.

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“Queerituality” is the centerpiece film for the fourth annual Fabulous Independent Film Festival Saturday, Aug. 23. It’s a documentary that examines through interviews how members of the LGBT community find spirituality in their lives.

Murray had scheduled a screening of the film for a few of his friends for the week after he died; because of this, Kielar knew the footage existed.

He called their friend in Chicago, Emerzian, who directs and produces documentary films. She edited the rest of the film.

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THURSDAY, AUGUST 21, 2014

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Time for a New Look?

Artwork for Murray’s films “Almost Myself,” a documentary telling the stories of transgender persons, and “Queerituality,” the centerpiece film for the festival.

Can’t Fly” follows gay Christians on their journeys to try to become straight through Christian ministries; “Almost Myself” tells the stories of transgender persons; “Tell” examines the military’s don’t ask, don’t tell policy; “A Portable Tribe” talks to gay campers and vagabonds; and “Amancio” portrays the story of a male female impersonator who was murdered. Kielar says he always examined the topics at the right time, when they were on people’s minds.

“Queerituality” portrayed questions Murray dealt with himself.

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“He was a good person, and he thought about spirituality a lot,” Kielar says of his late partner. “I think as he got older he thought about it more, you know? ‘What’s this all mean? How’s this going to affect me? How do I fit in?’”

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The festival runs Aug. 22 to Aug. 24.

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Kielar also mentioned the film to Diouri, a friend who, as the former programmer for Sarasota Film Society, had screened Murray’s films. Diouri had known Murray was working on the film before he died, and she worked with Emerzian to include the film as the centerpiece of her festival.

“I’m so proud I can show it,” Diouri says.

Murray wrote, produced and directed all his films. Occasionally, he’d call Kielar into his office to show him footage — Kielar was always impressed how he could create films without training.

Murray paid the bills as a home inspector, but he always had an interest in films. When he was a young boy he made 8 mm films with his friends and family. And before he dropped out of college and went into the Peace Corps, he took a few courses in filmmaking. Other than that, he was selftaught.

His first film in 2004, “Farm Family,” examined gay life in rural America. It was a story with which Murray was familiar — he grew up on a dairy farm in the Midwest. It was shown on the gay television channel LOGO TV for three years, and it won best feature length documentary at the Philadelphia Gay and Lesbian Film Festival.

All of his films portrayed topics the LGBT community deals with: “Fish

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Friends of Sarasota Ballet met Aug. 11 in Studio 1 at FSU Center for the Performing Arts.

It’s the same studio where the friends, or the support and fan wing of Sarasota Ballet, usually witness rehearsals of the professional company. Instead, they got to sit in on a Carreño-Barbieri Festival for pre-professionals class taught by José Manuel Carreño himself. The students come from as far as Hong Kong and the Royal Ballet School for the threeweek program.

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YourObserver.com

THURSDAY, AUGUST 21, 2014

// ARTS&ENTERTAINMENT: REVIEWS

THEATER

does the hard work of molding and shaping an unformed young talent. At first Lisa is giddy with hero worship — a ball of pure nervous energy, talking a mile a minute.

The lessons Ruth gives her are less about literary form and more about self-confidence. Trusting your gut, finding your voice and all that other stuff that sounds so easy but isn’t. Lisa’s ultimate appropriation is an extension of her hero worship — an homage. She didn’t mean to hurt. Honest.

This gentle betrayal unfolds in deft dialogue — brilliantly written and just

as brilliantly performed by Morsey and Stephenson. Without elbowing you in the ribs, Howard Millman’s subtle direction reveals the slow erosion of barriers and psychological distance as the women get to know each other over the years. A closely observed, period-accurate set by Michael Newton-Brown and costumes

by Ross Boehringer help sell you on the lived reality of those years.

True to life. But maybe not the whole picture.

It’s a great evening of strong theater. But I couldn’t shake the sense that something was missing. It’s a dense narrative, unfolding over time and compressed into two brief acts on stage. Margulies is a great writer, but he may have cut too much and sliced into logical, connective tissue.

As it stands, Lisa’s motor-mouth hero worship isn’t entirely believable in the first act. Writers, even young insecure writers, have a healthy ego in there somewhere.

When Ruth pushed her, she would have pushed back — at least occasionally. And when Lisa lifted her mentor’s story in the second act, it’s a good bet that Ruth would’ve pushed back. (Lisa is a smart young woman. That should’ve occurred to her.) She needn’t be a back-stabbing

LaBute heroine, but her total innocence is a little hard to buy.

Nitpicking, I know. Chances are the explanations hit the cutting room floor.

(Hey, do I want a five-hour play?) So, I’ll follow the playwright’s example and forget the small stuff. The narrative drives us where Margulies wants to take us. He knows where he’s going. That’s good enough for me.

At the end of the road, we arrive at a debate. The two women attack the small, tough questions: “Do writers get an ethical pass on the rules of friendship?” “Are your friends’ and family’s anecdotes, conversations and life incidents up for grabs?”

“Must writers ask permission when they grab?”

“Whose story is it anyway?” is what it boils down to.

The play leaves it to us to find the answer. That may sound facile. If the characters had been vicious, it would be, but the characters are decent. The questions they face are ours, too. Hard questions of gossip, truth and personal loyalty for most people.

Harder questions, if you happen to be a person who writes stories.

— Marty Fugate

wife’s (Mitch’s ex-wife’s sister) departure, isn’t on board with the offer. Too bad ... in the next shot they’re in Reykjavik. Mitch has a knack for getting his way.

Both in their 70s, Mitch doesn’t act his age, while Colin embodies it. Pot-smoking, womanizer and epicurean, Mitch has a zest for life that is unquenchable. Colin seems to have lost his, but as time goes by, Mitch’s outlook becomes infectious and Colin experiences a reawakening.

The two lovable geezers play off one another famously. Colin is the ideal straight man to Mitch’s vivacious musings. Mitch’s outrageous and uncensored observances verge on the vulgar at times. But you can’t

help cackling when he makes remarks such as, “This is so delicious it’s like angels pissing on your tongue.” His delivery is impeccable.

Road trip films can often take you places you wish you’d never been. Not so in “Land Ho!” This sumptuously shot and cleverly crafted piece of filmmaking is as easy on the eyes as it is touching to the heart. The writer-director team of Aaron Katz and Martha Stephens has created a movie that looks and feels so personal, it’s as though you’re in Iceland with Mitch and Colin.

While they’re in the process of “getting their groove back” we’re delighted to be along.

The casting of Nelson and Eenhoorn

was a brilliant maneuver. Their diametrically diverse dispositions, which eventually meld into compassionate camaraderie, translates perfectly. It’s easy to believe these two are friends in real life and made such a journey.

“Land Ho!” is rife with speculations and ruminations on life, but it never takes itself too seriously. You probably won’t recognize the two extremely gifted actors, but you’ll never forget them. They make you feel comfortable in their well-worn shoes and, most of all, grateful for the opportunity. If you don’t exit the theater with a smile on your face, consider seeking professional help.

— Pam Nadon

// ‘Collected Stories’ Donald Margulies’ “Collected Stories” is the final chapter of Banyan Theater’s summer season. Reduced to bare plot summary, it might seem like one of Neil LaBute’s investigations of the rotten side of human nature. To prove my point …

Ruth Steiner (Sara Morsey) is a faded literary phenomenon from the beat era.

In the mid-1990s, the formerly famous author takes aspiring young writer Lisa (Kim Stephenson) under her wing. Lisa becomes her assistant, pupil and confidante. One day, Ruth shares the story of her youthful affair with Delmore Schwartz, the beat poet. Lisa steals the story and makes it the barely disguised basis of her eagerly anticipated first novel. She’s the literary phenomenon now.

Sounds vicious, doesn’t it?

In LaBute’s hands, you’d get a vial of theatrical vitriol with this material. In Margulies’ gentle hands, you don’t. His characters are just too darn nice.

Ruth has her hard edges, sure. But she

FILM // ‘Land Ho’ “Land Ho!” is a rare gem among the less-than-dazzling list of summer films. It just may be the most enjoyable 95 minutes you’ve spent at a movie theater in ages.

In the opening sequence, Mitch (Earl Lynn Nelson) unexpectedly shows up at Colin’s (Paul Eenhoorn) Kentucky home.

Mitch exuberantly proclaims he’s booked both of them on a first-class trip to Iceland.

Colin, who’s been depressed since his

Courtesy photo

“Collected Stories” runs through Aug. 24, at the FSU Center for the Performing Arts.

For more information, call 351-2808 or visit banyantheatercompany.com.

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YourObserver.com

THURSDAY, AUGUST 21, 2014

// BLACK TIE: JUST MARRIED

THE DETAILS

GROOM’S PARENTS:

BRIDE’S PARENTS:

Stephen and Claudia Marvin

James and Christine Kurzydlo

HOW THE COUPLE MET

their private table on the balcony.

Kristin Kurzydlo’s family owns a veterinary clinic and Colin Marvin’s family have been longtime clients. His mom came into the clinic and asked her if she was dating anyone special (which she was not). A few days later, Colin sent her a message on Facebook asking if she would like to join him for drinks. After two weeks of waiting to respond, she finally responded “yes.”

The couple planned a long weekend at Disney World, their favorite spot. Colin kept saying that they were going to a hotel for a buffet dinner. They went to the Grand Floridian for drinks beforehand and when they were about to leave for said buffet, Kristin kept saying that they should just get some appetizers at the Grand Floridian since she didn’t want a big meal. Colin was pretty adamant that they had to go to the buffet, and as they were about to leave, Colin pulled her aside to an elevator where a man dressed in a tux was waiting.

He took the couple to a private floor, which had a candlelight dinner for two waiting. Colin then proposed and the newly engaged couple got to watch the Magic Kingdom fireworks from

THE WEDDING AND RECEPTION

The wedding took place March 29, at The Ringling Museum on a day with 70% chance of rain as well as tornado warnings. Luckily, the sun came out 10 minutes before the ceremony started and the planning team was able to move the ceremony back down to the courtyard at the last minute.

Kristin’s father’s best friend (since he was 14 years old) officiated the ceremony.

The reception took place in the loggia, on both sides of the courtyard.

The couple’s cake p a i d homage to all things Sarasota and the band got everyone out on the dance floor.

One special guest was Kristin’s grandmother, who attended the wedding at the age of 103 years old.

Photos by Cat Pennenga Photography

HONEYMOON

For their honeymoon, the couple returned to the place where it all started, the Grand Floridian Resort at Walt Disney World. They had their first dinner as a married couple at Victoria and Albert’s, one of two AAA Five Diamond restaurants in Florida. They spent the next seven days living out their fairytale in the happiest place on earth.

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