THE FORUM: December 2025

1. What’s the best part about dancing for the UA Little Rock Dance Team?

Being able to support our Trojan basketball teams and engage with fans.

2. When do you feel the most inspired?

I feel the most inspired when I’m listening to music.

3. Sweet or Savory? Sweet

4. What’s your favorite time of day? Night

5. What’s your favorite quote?

“If God is with us; Who can be against us?”

6. What are you most excited about these days?

Getting rest and helping people.

7. What is something that makes you smile? Food

8. Describe yourself in three words? Caring, Sweet, Confident

9. What song is on repeat in your playlist? Lullaby

10. What is your favorite food? Steak

11. What is a movie worth watching?

Any of the Harry Potter movies.

12. How would you define your style? Chic, Classy

13. Vintage or New? Vintage

14. What’s your idea of a perfect date?

Doing something where we can talk and have fun.

15. What is the key to a successful relationship?

Respect, Communication and understanding 16. What is one thing that people don’t know about you?

I was born with 6 fingers.

17. What is your most recent purchase? Sprite

18. What’s usually for dinner? Chicken

19. What is something you are tired of or a trend you would like to see disappear? “6-7”

20. Best advice you’ve ever received?

Only you can control how your life ends up.

21. What’s a talent you wish you had?

Drawing

21 questions

SAYS LITTLE ROCK goodbye

DDowntown Little Rock’s River Market Entertainment

District has taken some of the hardest financial hits in the post-pandemic years, when it comes to business closures in the capital city. Since the COVID-19 pandemic, Little Rock has seen a long list of businesses along President Clinton Avenue close their doors.

This list includes Cannibal & Craft, Charles’s Good Time Drinkery, David’s Burgers, and Big Whiskey’s. In 2025, the district saw even more losses: Baja Grill shut down in June, and Sandbar followed in November. And now, the Rev Room has announced that it will close at the end of December, having decided not to renew its lease.

Rev Room and Sticky’s security staff, Lee Trumpinski, said the Rev Room was not going to continue business at the current location. Regarding future business, Trumpinski said, “They haven’t said anything about possibilities of the future.”

During his time working security at the venue, Trumpinski has met multiple bands and many interesting people. He talked about his time with the venue and how, when he had originally started working for the business, they also had the area where Diablos Tacos & Mezcaleria now exists as the restaurant part of the Rev Room. He helped in closing the restaurant part of the business and talked about finding at least $10 in hard change while cleaning out the restaurant.

Other River Market business owners are being affected and moving out of the district, including those at the Flying

and Willie D’s Rock and Roll Piano

LITTLE ROCK SAYS FAREWELL TO YET ANOTHER RIVER MARKET BUSINESS.

Bar. Willie D’s is preparing to move across the river to the Argenta neighborhood, where they’re expecting a surge in both new and returning customers.

Meanwhile, the Flying Saucer is facing tougher odds. KARK recently reported that without an increase in foot traffic, the business may very well be forced to close its doors. Due to the sensitivity of their situation, management and ownership of the Flying Saucer declined to speak on the record for legal reasons.

Factors driving closures at the Rev Room and across the district are more than just rising rent prices; a portion of the pressure happens to come from the shifting local beer market. Trumpinski gave insight into this part of the issue that often goes unnoticed by non-business-savvy people. “Craft beers blew up for a minute, but then everyone decided they just wanted to drink Michelob Ultras and White Claws,” Trumpinski said. He embellished on the issue that if everyone just wants the same cheap beer, then what gives different bars and restaurants their draw?

What’s clear is that rising prices aren’t the only force behind the string of closures in the Riverfront District. The shifting beer market and the influence of major distributors have a drastic impact on local bars and venues.

Even with these challenges, neighborhood businesses still rely on the support of the people who live here. The next time Little Rock locals are planning a night out, they could consider stopping by one of the local spots that help give the district its character.

SONG SUNGblue

MMovies provoke emotions, or at least they should, whether it be joy, sadness, laughter, or whatever emotion stirs within the viewer. If a movie makes someone laugh, smile, and cry, then the movie has done its job well. If it leaves a person talking about it with their friends or family, then the filmmakers have done what they should have wanted.

The Arkansas Cinema Society has hosted several great sneak previews of upcoming movies this year and finished the year with an emotional rollercoaster that left the audience laughing and in tears. Song Sung Blue was the experience they shared on December 18, 2025. The motion picture is set to release on Christmas, and those who got to see the flick early were given the experience of the movie free of charge from the ACS at the Arkansas Museum of Fine Arts.

Song Sung Blue accomplishes so much for a cinematic experience, from Hugh Jackman’s talented singing to the dynamic chemistry with co-star Kate Hudson. The feature provokes so much raw emotion and fulfills exactly what audiences need from a movie in this day and age. It will absolutely draw people in, make them fall in love, and leave them in tears by the end. Even if a person is not fond of Neil Diamond’s music, the production does such a fantastic job of immortalizing what it is to be a fan of someone’s songs and love of music. Its relatable characters make it a film to see, and I predict it will be held as critically acclaimed.

The feature stars Hugh Jackman and Kate Hudson portraying the real Milwaukee husband-and-wife musical duo Mike and Claire Sardina, better known as Lightning and Thunder, a Neil Diamond Tribute band, or as they were referred to in the feature as a Neil Diamond “interpreter.” The film is based on a true story, however there were creative differences between the film’s narrative and the real-life account, which would be the only critique I could give regarding the piece.

The story writing and telling of the duo in the film, I would liberally give a 10/10, simply because it provoked deep emotions within me and the audience. I witnessed many others, including me, laughing too much at the movie, as well as many tears being shed

within the audience present for this showing. The characters are human and absolutely relatable, especially given any musical knowledge or skill level. Oftentimes, people think of the famous musicians and pop stars, but oftentimes the local musicians and talent get forgotten about, or at least aren’t spoken about on the grand stage.

This motion picture brings this story of local legends from a small part of the world and places them onto the big screen for all the world to fall in love with and relate to. It’s a wonderful tale about love, with strong ties to addiction, recovery and self-fulfillment.

In fact, the film starts with Hugh Jackman introducing himself in an AA meeting, which, interestingly, the audience isn’t aware of at first throw excellent framing choices, and an absolutely memorable opening monologue.

Not only is the story deserving of a perfect score, but so is the film from a visual and scoring standpoint. It’s not reliant on CGI but excellent shot variety, believable musical performances, meaning that even as a guitarist and vocalist of two decades plus, I couldn’t tell my readers whether or not the audio was pre-recorded or sung live. Bravo to filmmaker Craig Brewer for doing this! Too often, musical performances in movies are unbelievable, whether it’s an actor holding a guitar while improperly strumming without any form of rhythm or using their fretting hand in any correct way. Song Sung Blue has an exceptional visual representation of real guitar playing, as well as all the other instruments played in the movie.

Then there’s Jackman as a singer. Now that man can sing, and with such an enjoyable voice. It was no surprise he was cast in this film after the world got to hear his outstanding vocal performances in both The Greatest Showman and Les Misérables. His performance in Song Sung Blue lived up to the hype and left the audience at the AMFA giving an ovation of applause at the conclusion of the movie.

Musically speaking, the movie also nailed a job-well-done, even as someone who isn’t the biggest Neil Diamond fan. I thoroughly enjoyed all the different songs that were performed, more than just Sweet Caroline. Personally, I loved “Play Me” the most, which, hopefully, I don’t spoil too much by saying this, but was the first song that the duo

SUNG SONG BLUE, A FILM DESERVING OF A STANDING OVATION

performed in the film together. I instantly fell in love with the song, and I was equally impressed with the shot selection from a filmmaking standpoint. I think by breaking away from some traditional rules in shot selection, like the 180-line, the picture made for quite an interesting and personal viewpoint of the two singing together.

The only critique I have of the film I even remotely had was some of the creative decisions that were made in representing the tale of Mike and Claire. I don’t want to dive too much into it to keep my review here as spoiler-free as possible; however, the couple in real-life were a couple for years before deciding to get married, as well as some of the other times of their lives together were much longer than represented in the film. I understand why the story in the film was done in this way, and the story isn’t the true story, but based on the true story to help make it more digestible and emotionally reactive. It’s not a big critique, and it didn’t ruin the movie or the story by any means, nor did doing this misrepresent the actual people the film portrays. I only state it to say if I had any critique, that would be it.

The movie comes out on Christmas, and I highly recommend it.

Fair warning, you may find yourself in tears, but you’ll be thankful you got to see it. Once again, I find myself saying, hats off to Hugh Jackman for another fantastic performance, as well as the rest of the cast and crew who put this work of art together. Also, a thanks is absolutely due to the Arkansas Cinema Society for gifting the community with a sneak showing of this film, as well as the many others it has shown throughout the year. If you are at all interested, I’d recommend going to their website and checking in often to see what movies they are showing: many times, you get to see early showings of unreleased movies for free, and who doesn’t love free? Happy Holidays.

1. What is the best part about dancing for the UA Little Rock Dance Team?

I personally love interacting with Trojan fans and dancing alongside my teammates!

2. When do you feel the most inspired? Scrolling through Pinterest.

3. Sweet or Savory? Sweet, of course!

4. What’s your favorite time of day? Late Nights

5. What’s your favorite quote?

“I can tell that you know where paradise is, where

parasites don’t care what your blood type is.”- Will Wood

6. What are you most excited about these days?

Looking at new merchandise at my favorite stores or brands.

7. What is something that makes you smile?

My pets.

8. Describe yourself in three words?

Caring, Shy, Private

9. What song is on repeat in your playlist?

Goodbye Stranger - Supertramp

10. What is your favorite food? Spaghetti

11. What is a movie worth watching?

Bullet train

12. How would you define your style?

Casual, comfortable clothes.

13. Vintage or New?

Vintage

14. What’s your idea of a perfect date?

Going to Texas Roadhouse for their bread.

15. What is the key to a successful relationship?

Being honest with the other person

16. What is one thing that people don’t know about you?

I’ve been dancing for 13 years.

17. What is your most recent purchase?

A stuffed animal

18. What’s usually for dinner? Spaghetti

19. What is something you are tired of or a trend you would like to see disappear?

People keep their bunnies in tiny cages.

20. Best advice you’ve ever received?

To not let others’ actions affect my mood.

21. What’s a talent you wish you had?

Being really good at rollerblading.

coverage by: val bell-o.

coverage by: isaac luzader

CURTAIN red

‘A CHRISTMAS CAROL’ OPENS AT RED CURTAIN THEATRE

RRed Curtain Theatre is kicking off the holiday season with A Christmas

Carol: The Musical, running Dec. 12-21 at the theater’s West Oak Street location.

Performances are scheduled for Dec. 12-14 and Dec. 19-21, with evening shows at 7:30 p.m. and matinees at 2:30 p.m. General admission tickets are $22. A limited number of VIP tickets are available for $39. VIP ticket holders receive early seating, digital photos with cast members after the performance, a cast-autographed poster, and 25 percent off concessions, which are available throughout the run.

Directed by Liz Mathis, this adaptation of Charles Dickens’ classic blends spectacle, music, and emotional storytelling, following Ebenezer Scrooge’s journey from isolation to generosity. Music by Alan Menken and lyrics by Lynn Ahrens add warmth and momentum to the story, giving audiences a rich blend of humor, pathos, and holiday cheer. The production’s pacing keeps viewers engaged, with seamless transitions between Scrooge’s lonely countinghouse, the

bustling streets of Victorian London, and the vivid supernatural scenes.

Perry Morriss leads the cast as Ebenezer Scrooge, delivering a performance that balances sharp wit with moments of vulnerability. Morriss captures Scrooge’s initial miserliness without exaggeration, allowing the character’s gradual transformation to feel earned. His timing in musical numbers and interplay with the ghosts highlights the character’s growing awareness and eventual warmth. Audience members respond to his expressive shifts from gruffness to gentle joy, making Scrooge’s redemption feel both genuine and moving.

Eric Brown is chilling as Jacob Marley, Scrooge’s former business partner. Brown uses measured movements and a quiet, authoritative presence to convey Marley’s regret and warning. His appearance sets the stage for Scrooge’s supernatural journey, and the accompanying music and lighting cues heighten the eerie atmosphere.

The three Christmas spirits are central to the production’s emotional arc. Darby Lytle’s Ghost of Christmas Past guides

Scrooge with ethereal grace, using fluid movement to transport him through memory.

Christopher Turner’s Ghost of Christmas Present bursts with energy and generosity, particularly in numbers like “Abundance and Charity,” where his interactions with the ensemble convey warmth and joy.

Raediesha Tucker’s Ghost of Christmas Future delivers a restrained, haunting presence, relying on stillness and carefully timed gestures to foreshadow the consequences of Scrooge’s actions. Dance and choreography, designed by Rebecca Dillon, are highlights of the show.

Numbers like “Fezziwig’s Annual Christmas Ball” and “Jolly Good Time” feature coordinated ensemble movement, spinning couples, and lively footwork that bring the festive scenes to life. The choreography not only entertains but also advances the story, illustrating the energy of celebration, the closeness of family, and the contrast between Scrooge’s past joy and present isolation.

Ensemble members

Anna Felio, Ainsleigh Hogan, Rylee House, Alisa Jones, Reagan Kelley, Lily Robinson,

and Nora Starnes contribute precision and energy, turning streets, ballrooms, and households into vibrant, dynamic spaces.

The Cratchit family adds the heart of the story. Gerry Bruno’s Bob Cratchit is warm and steady, providing a counterpoint to Scrooge’s initial coldness. Lucas Bruno’s Tiny Tim delivers tender, optimistic performances that feel authentic, and Jenny Ruud’s Mrs. Cratchit anchors the family with quiet strength. Sarah Felio as Martha and Elijah Bruno as Peter round out the household with charm and sincerity. Musical and dance numbers featuring the Cratchits highlight their resilience and joy, even in modest circumstances, leaving audiences touched by their perseverance and love.

One of the most memorable moments occurs when Scrooge awakens on Christmas morning, determined to make amends. A massive, realistic turkey is revealed onstage, prompting delight from the audience. The oversized prop, combined with choreography from the ensemble, transforms the moment into a playful and celebratory sequence, highlighting Scrooge’s generosity.

Behind the scenes, the props, wardrobe, and stage management teams work seamlessly to make such scenes believable and entertaining.

Scot Polk demonstrates versatility in dual roles, portraying both the rigid Mr. Smythe and the jovial Mr. Fezziwig. His Fezziwig scenes, especially during the annual ball, are lively and fun, full of dance steps, twirling ensembles, and joyful interaction. Cora Foiles’ Grace Smythe adds emotional depth, illustrating the personal cost of prioritizing wealth over relationships, while Lyn McKissick’s Emily conveys tenderness and resolve, providing poignant reminders of lost love.

The younger cast members deepen Scrooge’s backstory. Jakob Heintzen’s Young Scrooge captures vulnerability and innocence, Isaac Abel’s Young Ebenezer conveys the slow hardening of a hopeful child, and Avery Shellito’s Young Marley reflects the ambition that shaped both men’s futures. Musical numbers featuring the young cast integrate charming choreography that underscores the lessons of friendship, regret, and the consequences of choices.

Aaron Choate portrays Fred with consistent warmth, embodying the generosity Scrooge initially rejects. Caitlin Proctor adds charm as Sally, Briar Eberhard brings sincerity to Jonathan, and Jay Ruud’s Old Joe offers sobering insight into the potential outcome of a life without change. These characters’ interactions in ensemble numbers create energy, balance, and realism.

Technical elements, including music direction by Kayla White, scenic design by Jessica Foiles, and lighting by Johnny Passmore, enhance the production. Cobblestone streets, glowing lanterns,

Victorian décor, and snow effects create immersive environments, while lighting cues emphasize dramatic moments, highlight the choreography, and give each ghostly visit a distinct visual impact.

The seamless combination of music, movement, and lighting helps keep audiences fully absorbed in the story from start to finish.

As the final notes of “God Bless Us Everyone” resonate, the cast comes together in a celebratory finale. Audience members of all ages responded with enthusiastic applause and visible smiles, a testament to the show’s ability to connect across generations. The production is a reminder that generosity, kindness, and compassion can transform even the hardest hearts. Music, dance, and story converge to create a theatrical experience that is both joyful and moving.

Red Curtain Theatre’s A Christmas Carol feels less like a seasonal tradition and more like an invitation to embrace the spirit of Christmas every day. From the lively choreography to the heartwarming performances and imaginative stagecraft, the production delivers an experience that is energetic, touching, and unforgettable.

The show is sponsored in part by Johnny PassmoreRealtor with Coldwell Banker RPM Group, Haynes Ace Hardware, and the Conway Convention & Visitors Bureau. Recording or photographing the performance is strictly prohibited.

LLady Kassandra the White has built a reputation as one of Little Rock’s most inventive and captivating drag performers, blending high-energy numbers with a distinctive flair for the campy and unexpected.

Known in her everyday life as Dr. Waltin Zomaya, a licensed pharmacist, balances her clinical career with a vibrant presence on the stage, earning respect both locally and from performers nationally.

“I really enjoyed retail, honestly. I think I enjoy personable interactions like that,” White said of her path into pharmacy. “I used to work for Best Buy and Barnes & Noble. My brother was becoming a medical doctor and I knew that wasn’t the full route that I wanted to take and figured medicine plus retail equals pharmacy. I still like the clinical aspects and knowledge of pharmacy. It was more so just the politics that I don’t like. It was more than a little outrageous to be so heavily involved in someone’s personal life.”

White’s drag persona, Lady Kassandra the White, has shared stages with former Rupaul’s Drag Race contestants including Laganja Estranja, Scarlet Envy, Detox, Brooke Lynn Hytes, Suzie Toot, Aja, Irene the Alien, Bosco, Onya Nurve, and Trinity the Tuck. Her experiences also include her guest involvement aboard the cruise line Virgin Voyages’ Valiant Lady from May 23-29, sailing from Miami to Grand Cayman and Cozumel. While she was a cruise guest among performers like Jackie Cox, Monet X Change, and Bianca Del Rio, she drew inspiration from seeing how performers balance talent, travel, and audience engagement.

White described her approach to performances as a mix of planning and spontaneity. She often creates her own costumes, experimenting with vinyl and forestry to craft a striking visual impact. For the recent Holiday Sparkle show at Club Sway, she wore a custom green dress layered over a stone mesh undergarment, designed to catch the light and add dimension. “I knew kind of what aesthetic I wanted to do,” she said. “It’s green, it’s Christmasy, it’s dark, it’s nice. Her friend Gianna Carlucci helped refine

the piece, ensuring the draping and construction worked seamlessly on stage.

Despite last-minute changes and minimal rehearsal, White delivered a polished and engaging performance. “The challenge for me was that there were two new songs that I included in that mix that I still needed to back and kind of refresh myself on,” she admitted. “Even when I’m not my best, it’s good to know that people still enjoy it.” She emphasizes the importance of flexibility in live performance, leaning into surprises rather than letting them derail the show.

White also discussed the dynamics of performing in new cities. While she doesn’t yet know the full landscape of drag spaces in New Zealand, her goal is to begin where she started in the U.S., through open stages and spotlights, building relationships with local performers and eventually securing gigs. She appreciates that her existing repertoire allows her to adapt to new venues quickly.

Being part of Holiday Sparkle and performing with nationally recognized drag entertainers reinforced White’s dedication to her craft and the local scene. “I was very fortunate to meet Tammy earlier this year, very fortunate to be able to be requested to perform with her this time. And it’s just been validating for where I’ve come from,” she said.

White also enjoys the community aspect of drag, jokingly referring to herself as the “mother of mothers” locally. While she only has one direct drag child, Popper’s the Pig, she explained that her mentorship and camaraderie extend to many performers in the area.

Through all of her experiences, from club states to cruise ships, Lady Kassandra the White continues to refine her artistry while staying true to her roots in Little Rock. With her unique blend of theatricality, costume craftsmanship, and crowd engagement, she’s a performer who commands attention and inspires both her peers and audiences alike.

Born and raised in Little Rock, Zomaya attended the UAMS College of Pharmacy, graduating in 2017,

LITTLE ROCK’S DRAG STAR AND PHARMACIST: LADY KASSANDRA THE WHITE

PHARMACY

DRAG meets

while fully embracing drag. Inspired by personal experiences with discrimination and challenges he faced, Zomaya first stepped into the world of drag in 2016. “The only thing I regret is not living my truth earlier in life,” he said. His journey into drag was not just about performance, but a personal declaration of identity, creativity, and resilience.

Lady Kassandra the White has become a cornerstone of Little Rock’s drag scene, known for elaborate costumes, high-energy performances, and a flair for the unexpected.

She has shared stages with former Rupaul’s Drag Race contestants including Laganja Estranja, Scarlet Envy, Detox, Brooke Lynn Hytes, Suzie Toot, Aja, Irene the Alien, Bosco, Onya Nurve, and Trinity the Tuck. She also recently attended a cruise of Virgin Voyages’ Valiant Lady, sailing from Miami to the Caribbean islands of Grand Cayman and Cozumel from May 23-29, where performers manage the demands of travel, crowds, and energy.

Her costumes are a work of art in themselves.

For the recent Holiday Sparkle show at club Sway, White wore a dark green, Christmas-themed dress layered over a stone mesh undergarment, designed to catch the stage lights and add depth. “I knew what aesthetic I wanted to do. It’s green, it’s Christmasy, it’s dark, it’s nice,” she said. She often designs and constructs her own outfits, drawing inspiration from classic designs and constructs her own outfits, drawing inspiration from classic designers and modern techniques, blending visual impact with practical performance needs.

Despite the polish of her performances, White acknowledges the challenges of live shows. She often prepares in advance but is no stranger to last-minute changes. “Even when I’m not my best, it’s good to know that people still enjoy it,” she said, reflecting on her most recent stage appearance. Her approach to performance, leaning into surprises and embracing the unexpected, has earned her acclaim and a devoted following.

Beyond the stage, Waltin leads a full life. Outside of drag, he enjoys video games, DIY projects, cooking, shoemaking, and gardening. He has cultivated a close-knit drag family in Little Rock, earning the affectionate title “mother of mothers” among local performers.

White’s story is one of authenticity and perseverance. She continues to inspire the community both through her artistry and her work in healthcare. “I started drag because it was something I wanted to explore and have fun with,” she said. “Now, it’s more than that. It’s about being part of a community, mentoring

others, and creating something memorable for every audience.”

Dr. Waltin Zomaya’s journey exemplifies living one’s truth while making a tangible impact on the community. Whether dispensing life-saving care of dazzling audiences under the lights, he proves that embracing identity can be both personally fulfilling and profoundly influential. Zomaya will be greatly missed by the Little Rock community, but his bravery in pursuing international opportunities will continue to inspire those who have graced his presence.

TAKEN 10 21 QUESTIONS by the UA at Little Rock Dance Team

1. What is the best part about dancing for the UA Little Rock Dance Team?

The best part about dancing for the Little Rock DanceTeam is my teammates! They always bring the energy to games that make them fun.

2. When do you feel the most inspired?

I feel the most inspired when we are at practice, learning new skills.

3. Sweet or Savory? Savory!!

4. What’s your favorite time of day? Nighttime.

5. What’s your favorite quote?

“If there is a will, there is a way,” by Albert Einstein

6. What are you most excited about these days?

I am excited to compete at competitions for dance.

7. What is something that makes you smile? My dog

8. Describe yourself in three words?

Ambitious, Understanding, and genuine.

9. What song is on repeat in your playlist?

“West Savannah” by SZA.

10. What is your favorite food? Pasta!

11. What is a movie worth watching? Legally Blonde

12. How would you define your style? Comfy!

13. Vintage or New? Both

14. What’s your idea of a perfect date?

My idea of a perfect date is sitting on a beach and talking for hours!

15. What is the key to a successful relationship?

Platonically and romantically, I would say be caring and understanding.

16. What is one thing that people don’t know about you?

One thing people do not know about me is that I love listening to music and hearing different music tastes.

the path less

TThe traditional college student’s path typically involves enrollment in college after high school, with a possible gap year. They often live on campus or close to campus, and they don’t usually have full-time jobs or families depending on them for support. They are given the advantage of solely focusing on their academics and social life. They can get a hold on their lives before bills, raising children, or full-time employment takes hold.

There are many other types of college students, though, who absolutely do not fit this mold, such as the University of Arkansas at Little Rock’s very own Valerisse Bell-Ovwiomoriemu, better known as Val Bell-O. At 55, she’s lived a productive and inspirational life, seeing her children graduate from college to now getting to walk at her own graduation from UALR on Dec. 13, 2025. Bell-O. has also had quite a notable college education experience and is a testament to what college can be for a person.

Her college experience was quite the venture, starting back in 1990 when she first enrolled in college in Michigan, where she began with two classes: journalism and introduction to business. Her family would then relocate to Charlotte, North Carolina, which brought about a move for her as well. With the move came an exponential increase in the cost of her college tuition by nearly 10 times because she was no longer a resident student. Bell-O. was only able to last a semester and a half, even with working two jobs, as a waitress and at a bookstore. The cost of school “ate up all my savings from working as a waitress in Michigan.”

Bell-O. would eventually move to Arkansas in 1991. Before that, she took classes at the School of Music Ministries in Lindale, Texas, for about six weeks. She would visit her family in Arkansas and found out that her uncle was forming a Missions Institute at his church, which she decided she wanted to do. Bell-O. also took a correspondence class at Oral Roberts University before taking some online classes with Kaplan University, which she stated “was a major debacle. It just didn’t work with small children at the time.”

After the “debacle” of online classes, she got into traveling, did mission work with her church, and worked in a collections company. Bell-O. started as a customer service representative before becoming a team lead and eventually a trainer. She also worked at Kirkland’s as an assistant manager. While working at the collections company, she met a trainee who, at the time, was a student at the University of Arkansas Pulaski Technical College, which inspired Bell-O. to start her first semester there in January 2019.

get back to what I was doing before I had them. So I’m driven to catch up on everything.” Bell-O. sacrificed years of her life to be able to provide, by working jobs she wasn’t particularly happy with, or even working multiple jobs to keep up.

When she first enrolled at UALR, she pursued a double major in flute and vocal performance. However, because she was doing so many things, she was creditheavy and couldn’t afford to go through four years on both because of her running out of financial aid. “The well ran dry on me,” Bell-O. said about her running out of financial aid in August 2024, so she was no longer able to live on campus. Her vocals were her strongest suit, so she stayed in Wind Ensemble and still is in the Pep band.

Music theory was the hardest thing for her that she had to learn. “I’m still scared of taking the Praxis now because music theory is going to kick my behind.”

Bell-O. also works for the UALR Forum after joining in 2022, and she spoke about being excited to join the Forum when she did because when she first started college in 1990, she had taken a journalism class that she loved, and she also just happens to love writing. Bell-O. happily and proudly said she’s loved writing since the third grade, so when she learned that UALR had a student-led newspaper, she knew she wanted to be part of it. “I want to be published. I want to interview. I want to write about things and get stuff off my chest. And then they pay you.”

17. What is your most recent purchase? 7 brew

18. What’s usually for dinner? Whatever I can find

19. What is something you are tired of or a trend you would like to see disappear?

I don’t like cuffed pants, but sweatpants are acceptable. But cuffed cargo pants are ugly.

20. Best advice you’ve ever received? If you mess up, it’s okay to admit it.

21. What’s a talent you wish you had? I wish I could learn to ski or snowboard

During her time as a trainer, she felt like “there seemed to be a glass ceiling, and I couldn’t make manager because I didn’t have an associate’s degree or a bachelor’s degree. I just thought about what I was good at, and that was music and teaching,” Bell-O. said. With this, she decided she would go and finish out her core classes before deciding on her major, with education in mind.

“After I got my associate degrees in education, library of sciences, and arts. I decided I want them all.” Bell-O. said. She spoke about the challenges that doing this would bring her, which was the decision of what she would major in. If she majored in music, like she wanted, she would have to go to school full-time instead of what she had been doing: going to work and taking online courses and evening classes. “And so I decided to resign from my position and come live on campus.”

Bell-O. left her job on Aug. 18, 2021, and moved onto campus the same day. Living on campus presented its own challenges for her: no kitchen to cook in her first semester, no home to go to during school breaks, and dorm inspections.

“I’m an avid believer that education can get you where you need to go, but I just felt like I’m staying in school until I can do what I want to do, not what I have to do.” Bell-O. spoke about the value her education had in her life concerning the obstacles she had before returning to college, “it was like I was constantly trying to stay out of debt, constantly trying to keep the lights on. I’ve never had a house in my own name, and I just felt like I know there’s more for me.”

Bell-O. had to focus on raising a family, providing for her kids, and when she felt she had done that, seeing them through college. She realized it was time to “let me

As to her favorite thing about being in the Forum, she loves being able to learn about people. “Being able to stop and learn who they are, where they came from, what their aspirations are, what their dreams are, what they were back in the past.” She spoke about getting to meet many of the school’s dancers, teachers, and faculty, and also being able to attend events. Bell-O. also believes working with the Forum could help to bring about connectivity to the campus community.

“I’ve been recycling newspapers and stuff, of everything that UALR has done over the past 100 years. It makes me feel honored to be a part of this history, you know, and I want to be that person who can leave a legacy, just by bringing people together.” Bell-O. said as she smiled while reflecting on her time at the university and with the Forum.

Bell-O. plans to continue her schooling by entering the graduate program at UALR and keep serving on the Student Government Association, as well as working as an orientation leader. She will remain with the Forum as she wants to help bring the school paper to its former glory and bring it well beyond what it’s ever been.

Bell-O. dreams of having her own home and having a red Range Rover in her driveway, specifically that car. She also wants to travel the world and go as high as she can in her education, even as far as earning a doctoral degree. “When it’s all said and done, just to live a comfortable life. To live a healthy life.”

Bell-O. offered a piece of advice for students or those who want to come to school: “Always advocate for yourself. Don’t give up on yourself, even if it feels like other people give up on you.” She said with a heartfelt smile.

1. What is the best part about dancing for the UA Little Rock Dance Team?

Being able to be very active and my dance sisters.

2. When do you feel the most inspired?

I feel most inspired when I see growth in myself. Whether it’s dance or school.

3. Sweet or Savory? Sweet

4. What’s your favorite time of day? Night, so I can watch TV and sleep

5. What’s your favorite quote?

“In a field of roses, she’s a wildflower.”

6. What are you most excited about these days?

Just being able to get through my days and being able to better myself day by day.

7. What is something that makes you smile?

Food and myself

8. Describe yourself in three words? Beautiful, courageous, and creative! 9. What song is on repeat in your playlist? Lullaby by JayDon

10. What is your favorite food? Chicken tenders

11. What is a movie worth watching? Sinners and Little Women

12. How would you define your style?

I would describe it as “me.”

13. Vintage or New?

Both

14. What’s your idea of a perfect date? Laughter and food! Being considered enough to even take me out anywhere is something I’ll appreciate.

15. What is the key to a successful relationship?

Knowing that it won’t be perfect and yall will go through things, but you must work around it to get that happy ending.

16. What is one thing that people don’t know about you?

People don’t know my past, and they’ll never notice how much I’ve grown when just meeting me.

17. What is your most recent purchase? Jeans

18. What’s usually for dinner?

Mac and cheese or chicken.

19. What is something you are tired of or a trend you would like to see disappear?

67 because it’s now stuck in my head.

20. Best advice you’ve ever received?

Less is more, and silence is loud.

21. What’s a talent you wish you had? I wish I could sing.

coverage by: val bell-o.

21 questions

21 questions

by the UA at Little Rock Dance Team

1. What is the best part about dancing for the UA Little Rock Dance Team?

Representing my school while doing what I love.

2. When do you feel the most inspired?

When I’m around positive, motivated people.

3. Sweet or savory? Sweet.

4. What’s your favorite time of day? Night.

5. What’s your favorite quote?

“Trust the process.”

6. What are you most excited about right now?

Growing as a person, finding new hobbies.

7. What is something that makes you smile?

Buying someone something because it “reminds me of them.”

8. Describe yourself in three words?

Dedicated, creative, confident.

9. What song is on repeat in your playlist?

Damage-

H.E.R

10. What is your favorite food?

Lemon pepper wings.

11. What is a movie worth watching?

The Hate You Give.

12. How would you define your style?

Comfortable, sporty, street wear

13. Vintage or new? Vintage.

14. What’s your idea of a perfect date?

Good food, good conversation, and laughs.

15. What is the key to a successful relationship? Communication and trust.

16. What is one thing that people don’t know about you?

I like being alone.

17. What is your most recent purchase? Clothes or shoes.

18. What’s usually for dinner?

Chicken or something quick.

19. What is something you are tired of or a trend you would like to see disappear? Ai videos.

20. Best advice you’ve ever received? It’s okay to let go of things you love if it’ll make you a better person.

21. What’s a talent you wish you had? Read minds.

coverage by: val bell-o.

CClub Sway shimmered with tinsel, lights, and anticipation as drag icon Tammie Brown returned to downtown Little Rock with her long-running holiday production, “Holiday Sparkle,” delivering a performance that blended surreal comedy, original music, and festive spectacle.

The 21-and-over show required tickets, with general admission priced at $26.90, back-row reserved seating at $37.25, and front-row reserved seating at $47.60. Attendees could also purchase a $20.70 meet-and-greet or a $5.18 commemorative shot glass. All ticket tiers included access to the after-party, with sales handled through club Sway’s TicketSpice platform.

From the moment doors opened, the holiday atmosphere was unmistakable. Four towering Christmas trees framed the stage, while mirrored walls and video screens reflected strings of lights across the room, amplifying the sparkle and energy. The decor blended seamlessly with the club’s permanent layout, a central dance floor surrounded by elevated seating sections and a stage designed to accommodate both intimate performances and large-scale productions.

Club Sway, located at 412 Louisiana St., marked a milestone during the event, celebrating 15 years as a fixture of Little Rock nightlife. Since opening in 2010, the venue has served minority audiences, primarily within the LGBTQ community, continuing a much longer legacy of queer nightlife at the same address. The building previously housed The Factory and, before that, C.O.A.D., Coming Out After Dark, two legendary gay bars that helped shape downtown Little Rock’s cultural history.

Owner Jason Wiest said the evening was particularly significant, noting it was the first time the club had hosted an international headlining performer twice in the same year. After a career in journalism and public relations, Wiest shifted his focus toward the entertainment side of Little Rock, programming a wide range of music, drag, and theatrical events.

While club Sway operates as a bar, Wiest said most nights feature some form of special programming. In addition to hosting nationally known entertainers, the venue regularly serves as

a staging area for locally produced events created by GlitterRock, helping amplify homegrown talent alongside touring performers.

Over the years, club Sway has established itself as one of Arkansas’ most prominent nightlife destinations, hosting international figures such as Amanda Lepore, the Andrew Christian Trophy Boys, and dozens of entertainers from “RuPaul’s Drag Race.” Its dance parties and drag productions regularly draw crowds defined by bold fashion and creative expression, contributing to one of the most colorful nightlife scenes in the bible belt. Beyond drag shows, the venue has hosted live theater, wedding receptions, and themed dance events, while also serving as a filming location for music videos, independent films, and commercials.

Wiest’s involvement in the arts extends beyond the club. He has served as an active board member with Ballet Arkansas, offering support during the organization’s transition to a downtown location, and has been a longtime supporter of film festivals held in the city’s urban core. This broader commitment to the arts was reflected in the diversity of programming at Sway.

Brown, who first appeared on Season one of “RuPaul’s Drag Race” and later returned for “All Stars,” has long been celebrated for a style that resists easy categorization. Her performances blend theatrical storytelling, absurdist humor, and earnest sincerity, earning her a devoted following well beyond the television franchise.

That signature approach was on full display during “Holiday Sparkle.” Rather than relying on covers or familiar holiday standards, Brown performed an entirely original set. Songs include “Shimmy Shimmy Shake Shake,” “The Holiday Song,” “Gingerbread House,” “Big Tammie,” “Hit Me With Your Love Stick,” “Shaka Buku,” and “The Ballad of Tiger Lily” highlighted her quirky lyricism and unpredictable delivery. Fans responded enthusiastically, particularly during favorites such as “Ethereal” and “If I Had a Time Machine,” which prompted loud sing-alongs throughout the room.

Between numbers, Brown offered rambling monologues that veered from reflective to hilariously nonsensical. Her commentary touched

TAMMIE BROWN BRINGS “HOLIDAY SPARKLE” TO CLUB SWAY

lightly on current events, pop culture, and personal musings, delivered with the offbeat timing that has become her trademark. The transitions between songs and stories felt fluid, keeping the audience engaged while allowing space for laughter and surprise.

The show reached its peak with Brown’s performance of “Venga Bus,” which transformed the venue into a full-scale dance party. Audience members left their seats and gathered near the stage as Brown encouraged participation, clapping and moving with the crowd. The communal finale blurred the line between performer and audience, reinforcing the inclusive spirit that defined the evening.

Adding to the night’s success was guest Lady Kassandra the White, a prominent figure in Little Rock’s drag scene. Known offstage as Dr. Walton Zomaya, a licensed pharmacist, Lady Kassandra brought a polished and theatrical presence that complemented Brown’s energy. Despite being notified of her participation just two days before the show, she delivered a confident performance marked by strong visuals, humor, and commanding stage presence.

Brown specifically requested Lady Kassandra’s appearance, a gesture that underscored her respect for local talent. The pairing highlighted the balance between national recognition and community roots, a dynamic that resonated with the audience. Lady Kassandra’s performance added depth to the lineup while reinforcing the strength of Little Rock’s drag community.

Throughout the evening, the crowd remained animated and engaged, responding to both performers with enthusiastic applause and cheers. The combination of original music, guest appearances, and interactive moments created a show that felt cohesive while still embracing unpredictability.

As the night transitioned into the meet-and-greet and after-party, the festive energy showed no signs of slowing. Fans lined up for photos and brief conversations, eager to connect with Brown after witnessing a performance that felt both personal and celebratory.

By the end of the evening, club Sway had been transformed into more than a nightclub. It became a space for shared joy, creativity, and community, anchored by performers who thrive on originality and connection.

“Holiday Sparkle” served as a reminder of why Tammie Brown remains a beloved figure in drag culture and why venues like Club Sway continue to play a vital role in fostering inclusive spaces for performance and expression.

magic DRAG HOLIDAY

For Little Rock audiences, the show offered not just holiday entertainment but a moment of collective celebration, one defined by glitter, laughter, and unapologetic individuality. coverage by: emma bertram

OF ACTUALfake news THE RISE

TThe idea of “Fake News” is thrown around loosely in today’s current political climate, in particular it is often used as an insult against trusted media outlets and reporters by none other than the current CommanderIn-Chief, President Donald Trump; along with many of his closest cabinet members. There are far too many recorded moments of Trump being asked a question he did not like only for him to ask in response with “who do you work for?” If he hears MSNBC, CNN, ABC, etc. his response comes out along the lines of “oh you’re fake news.” There is example upon example, time after time, that this has occurred, so many in fact that the idea of “fake news” has lost its meaning: or that the meaning has taken a new turn altogether.

On Nov. 19, 2025 the White House website posted an article titled ABC “News” Is Fake News, where the White House openly stated that “ABC ‘News’ is not journalism - it’s a Democratic spin operation masquerading as a broadcast network.” The article then goes on to list several “examples” of where ABC has been critical of Trump and his political allies, the piece does no justice in offering context other than, spinning it as if the media is waging war against the president. The article does no job of giving credibility to its claims; nor does it name any author other than The White House. One could easily be reminded of the 1933 Nazi Germany Reich Ministry of Public Enlightenment and Propaganda when looking at these current statements from the Trump administration. From the United States Holocaust Memorial Museum’s website one can read the history of the Nazi party and how they attacked Journalists and the Press in order to alter the perception of the German population. It is deplorable and truly disgusting that the land of the free and the brave is allowing its sitting president to suppress the press and freedom of speech, in exchange for what appears to be a second Hitler-like regime forming in America. That is not to even begin speaking to the other acts this administration has done in its first year of power, but just to what it has done to the trust of the American people in trusted media and news outlets.

So then, what is fake news, actually?

According to the National Library of Medicine (NLM) from the National Institute of Health (NIH) fake news has a constantly changing definition: it can mean “fabricated information that mimics news media content in form but not in process or intent with the intention of misleading readers” while some people refer to “fake news” as a “label as unreliable opinions that do not support their position.”

The article from the NLM noted a large uptick in the spread of misinformation surrounding the COVID-19 Pandemic and presidential elections. Also, the NLM notes that most people were exposed to misinformation on social-media platforms at 88%.

According to the Cambridge Dictionary, fake news is defined as: false stories that appear to be news, spread on the internet or using other media, usually created to influence political views or as a joke. With that being said, one could determine that the president’s constant use of calling reporters and media outlets that criticize him “fake news” is not only a farce but could be construed as a form of fake news all in itself.

For a journalist or reporter to be proficient at their job, it is absolutely necessary and vital that they ask tough questions. Catering to the whims of politicians, or any powerful people or organizations, creates a dangerous environment for journalism and truth as a whole.

It is imperative that people use caution when digesting and disseminating information from the internet, particularly social media, but also from television and other media sources. Misinformation is a dangerous entity, especially if it is weaponized for political gains; it is a poison that society should stand its ground against, plain and simple. One could easily make assertions about the dangers to democracy that the Trump administration has posed in its attempts to alter the perceptions of Americans by attacking the press: these types of actions are those that can lead to authoritarianism and the death of liberty.

This idea is not too far from reality if people would study Germany’s Propaganda Minister Joseph Goebbels “Schriftleitergesetz (Editor’s

Law) that was made into law on Oct. 4, 1933. A law that, as the Arolsen Archives International Center on Nazi Persecution website states, “fundamentally changed the work of journalists in Germany.” This law required that German journalists registered in professional rosters be able to work in their profession, and they would have to prove “Aryan” descent to be accepted. It also required them to be entirely compliant with the Nazi regime. As well, journalists would have to answer to the Ministry of Propaganda instead of their publishers.

This same type of journalism suppression is stirring in America with the recent law changes in the Pentagon that Secretary of Defense (Secretary of War) Pete Hegseth placed into effect that would require all Pentagon reporters agree to have prior authorization for any information they wanted to access or share from the Pentagon. They would also have restrictions on movement through the Pentagon and be required to be escorted by Pentagon personnel throughout the building. These listings come from policies given out by the Department of War in the full memorandum from Oct. 6, 2025.

This is, fundamentally, controlled news, which begs to be labeled as “fake news,” or at the least, filtered information. One could argue that not being able to freely ascertain information from the government is a breach of the freedom of speech and the freedom of the press. Is this what true “fake news” looks like: pre-approved, bureaucratic censorship on national matters? Is the country goosestepping along to the tune of an authoritarian regime that loves to loosely throw around the term “fake news” to smear honest and integrable journalists, while spoon-feeding propaganda? All the while, real news and truth are being burned by those who hold the most power.

These are the questions and thoughts that should absolutely be circulating among all respectable journalists or those pursuing the field of journalism.

coverage by: isaac luzader

key to success.” -Usain Bolt

6. What are you most excited about these days?

Being able to be with the people who make me happy.

7. What is something that makes you smile? Filipino food

8. Describe yourself in three words?

Fearless, Authentic, Energetic

9. What song is on repeat in your playlist?

ZEN by Jennie

10. What is your favorite food? Sinigang (Filipino Sour Soup delicacy)

11. What is a movie worth watching? Avatar: The Way of the Water

12. How would you define your style?

Soft glam feminine streetwear

13. Vintage or New? Vintage

14. What’s your idea of a perfect date? Picnic with our favorite little snacks.

1. What is the best part about dancing for the UA Little Rock Dance Team?

The best part of being on the UA Little Rock Dance Team is being able to represent and being a part of the UA Little Rock family.

2. When do you feel the most inspired?

I feel the most inspired when I’m supported by a mentor who encourages me, challenges me, and guides me in the right direction.

3. Sweet or Savory? Savory

4. What’s your favorite time of day? Night Time

5. What’s your favorite quote?

“You have to set yourself goals so you can push yourself harder. Desire is the

15. What is the key to a successful relationship?

Honesty and having trust in each other.

16. What is one thing that people don’t know about you?

I have a videography business.

17. What is your most recent purchase? BurBerry Goddess perfume

18. What’s usually for dinner?

Medium rare steak with potatoes and Broccoli.

19. What is something you are tired of or a trend you would like to see disappear? “6,7” it’s pretty annoying.

20. Best advice you’ve ever received? The best advice I have ever received was just to keep pushing myself, even when I didn’t feel ok.

21. What’s a talent you wish you had? Crocheting

coverage by: val bell-o.

HOLIDAY returns 18

BALLET

BALLET ARKANSAS BRINGS HOLIDAY TRADITION BACK TO THE ROBINSON CENTER WITH

“NUTCRACKER SPECTACULAR”

FFor many across Arkansas, the holiday season would feel incomplete without Ballet Arkansas’ Nutcracker Spectacular. For more than four decades, the production has served as a cherished seasonal ritual, welcoming generations of audiences into a world of snowflakes, sweets, and storybook wonder. As the largest and longest-running holiday performance in the state, the ballet remains one of Little Rock’s most significant cultural tourism events, drawing more than 10,000 patrons in a single weekend.

This Dec., the beloved tradition returns to the Robinson Center, where Ballet Arkansas’ professional dancers will once again be joined by a community cast of nearly 300 children and adults from across the state. Together, they bring to life a production that blends professional artistry with grassroots participation, reinforcing the ballet’s deep ties to the Arkansas community.

At its heart, The Nutcracker tells a timeless story that has captivated audiences for generations. The ballet opens on Christmas Eve in the Stahlbaum home, where friends and family gather to celebrate the holiday. Among the guests is the mysterious and magical Herr Drosselmeyer, who presents young Clara with a wooden nutcracker doll. That simple gift becomes the gateway to an extraordinary journey.

As night falls and the house grows quiet, Clara returns to the parlor, where the Nutcracker comes to life. What follows is a whirlwind of midnight magic as toy soldiers battle the Mouse King and his army. When the Nutcracker is victorious, he transforms into a prince and leads Clara through a sparkling snowfall into a dreamlike world beyond imagination.

Act II transports audiences to the Kingdom of Sweets, ruled by the elegant Sugar Plum Fairy. There, Clara and her prince are treated to a series of divertissements representing flavors and dances from around the world, including Spanish chocolate, Arabian coffee, Chinese tea, and Russian candy canes. The ballet culminates in the iconic grand pas de deux, a moment of technical brilliance and emotional grace that has become one of the most anticipated scenes in classical ballet.

While the story itself is familiar, Ballet Arkansas’ Nutcracker Spectacular stands out for its scale and production value. The performance is set to Pyotr Ilyich Tchaikovsky’s iconic score, performed live by the Arkansas Symphony Orchestra under the direction of Maestro Geoffrey Robson. The Mount St. Mary Academy Choir also joins the orchestra, adding a layer of vocal richness that enhances the production’s emotional depth.

For evening audiences, another beloved tradition awaits during intermission. Santa Claus himself takes the stage to read Clement Clarke Moore’s The Night Before Christmas, a moment that has become a favorite for families and children. The reading bridges generations, offering a pause in the performance that feels both festive and intimate.

Performances are scheduled for Friday, Dec. 12, at 7:30 p.m.; Saturday, Dec. 13, at 2:30 and 7:30 p.m.; and Sunday, Dec. 14, at 2:30 p.m. The production runs approximately two hours, including a 15-minute intermission. Tickets range from $20 to $100 and are available at balletarkansas.org/tickets, through the Robinson Center Box Office at (501) 244-8800, or in person at the box office.

Audiences are encouraged to arrive early to visit Ballet Arkansas’ Nutcracker Boutique, which opens one hour before each public performance. The boutique features holiday-themed merchandise and Nutcracker memorabilia, with proceeds supporting the maintenance and enhancement of the production’s elaborate sets, props, and costumes. These contributions play a vital role in ensuring the longevity of the ballet.

Additional festivities fill the weekend, including photo opportunities with Santa during evening performances and meet-and-greet moments with costumed characters in the lobby. These interactive elements transform a night at the ballet into a full holiday experience, giving families even more reasons to make Nutcracker Spectacular part of their annual traditions.

Behind the scenes, however, maintaining a production of this scale requires a significant

investment of time, labor, and resources. Each year, thousands of hours are devoted to repairing aging scenery, restoring costumes, and ensuring that props remain performance-ready. Recognizing the need to preserve the ballet’s legacy while preparing it for the future, Ballet Arkansas launched a five-year revitalization campaign in 2022.

The initiative, known as the Nutcracker Project, aims to refresh the beloved classic with updated choreography, restored scenic elements, and newly designed costumes that match the production’s grandeur. Audiences began seeing the results in 2023, when Ballet Arkansas introduced updated rental drops for all scenes, refreshed choreography in key sections, including the Party Scene, Snow Scene, Tea, Flowers, and the Grand Pas, and brandnew costumes for the Nutcracker, Rat King, Snow Scene, and several divertissements.

These updates are designed to honor tradition while allowing the ballet to evolve, ensuring it continues to resonate with modern audiences without losing the magic that has defined it for decades.

As part of the Nutcracker Project, Ballet Arkansas invites patrons, former cast members, and community supporters to sponsor elements of the production. Sponsorship opportunities range from underwriting new costumes and choreography to supporting specific roles, including the Sugar Plum Fairy. Benefits may include onstage acknowledgment on opening night, recognition in print and digital materials, commemorative photos, and optional backstage tours.

All donations are tax-deductible and directly support the preservation and enhancement of Arkansas’s largest holiday performance. Those interested in participating may contact Ballet Arkansas Executive and Artistic Director Michael Fothergill at michael@balletarkansas.org.

Ultimately, Nutcracker Spectacular is more than a ballet. It is a shared experience that brings together artists, volunteers, and audiences from across the state. Through its blend of professional excellence, community involvement, and enduring storytelling, the production continues to define the holiday season in Arkansas.

With each performance, Ballet Arkansas carries forward a tradition built on imagination, generosity, and collective support, ensuring that the magic of The Nutcracker remains a cherished part of Arkansas’ cultural landscape for generations to come.

The scale of the production extends far beyond the stage. Behind the scenes, a dedicated technical team ensures that each performance runs seamlessly. The stage crew is led by Stage Manager Alan Malcolm, with lighting designed by Josh Anderson. Scenic and technical support is provided by Little Rock Stage Group Inc., whose work helps

transform the Robinson Center into a winter wonderland.

Music plays a central role in the experience, with Tchaikovsky’s iconic score performed live by the Arkansas Symphony Orchestra. Adding further depth to the soundscape, the Mount St. Mary Academy Choirs make a special guest appearance, directed by Marcia McConkie. Their voices bring added warmth and grandeur to key moments of the production.

A hallmark of Ballet Arkansas’ Nutcracker Spectacular is its extensive community involvement. The community cast ballet masters include Sage Feldges, Benjamin Piner, Meredith Loy, Aldrin Vendt, Liev Ewart, and Lauren Yordanich, who work closely with young dancers and volunteers throughout the rehearsal process. Their guidance helps ensure consistency and artistic excellence across the large ensemble.

The professional Ballet Arkansas company cast for this year’s production includes Brittany Dowdy, Sage Feldges, William Heide, Meredith Loy, Murray McCormack, Keith Newman, Leah Norwine, Benjamin Piner, Kerridwyn Schanck, Deanna Stanton, Layla Terrell, Aldrin Vendt, Lauren Yordanich, McKenna Ulbrick, Claire Churchill, Allen Sizemore, and Liev Ewart. Together, they anchor the production with technical precision and expressive storytelling. Supporting the dancers onstage is the Ballet Arkansas administrative and production team. Associate Artistic Director Catherine Garratt Fothergill, Director of Engagement Mary Keck, Director of Production Collin J. Neel, and Director of Costumes Stephanie Ong all play key roles in bringing the production to life. From outreach and logistics to wardrobe and staging, their work ensures the ballet’s continued success.

Maintaining a production of this magnitude requires thousands of hours of labor each year. To ensure the ballet remains vibrant for future generations, Ballet Arkansas launched a five-year revitalization campaign in 2022. The initiative focuses on refreshing choreography, restoring scenic elements, and creating new costumes that match the scale and legacy of the production.

Audiences began seeing the results in 2023, including updated scenic drops, refreshed choreography across major scenes, and newly designed costumes for principal characters and ensembles. Through sponsorship opportunities and community support, Ballet Arkansas continues to invest in the future of Nutcracker Spectacular. Together, these traditions, artists, and supporters ensure that Ballet Arkansas’ Nutcracker Spectacular remains a cornerstone of the state’s holiday season, offering wonder, nostalgia, and artistic excellence year after year.

coverage by: emma bertram

HOLIDAY returns lookbook BALLET

HISTORIC

DDowntown Pine Bluff buzzed with holiday excitement as the Arts & Science Center for Southeast Arkansas hosted “Miracle on Main: A Holiday Special” at the Catherine M. Bellamy Theatre on Friday and Saturday, Dec. 12-13.

The family-friendly performance ran from 7 to 8:30 p.m., with tickets priced at $20 for both members and non-members. Families and friends filled the theater at 701 Main St., eager for an evening inspired by the charm of classic holiday specials.

The production featured a mix of local talent, including singers, instrumentalists, dancers, comedians, and storytellers. Directors Kayla Earnest and Bethany Gere orchestrated the performance to celebrate the season, creating a lively, interactive experience that captivated the audience.

Act 1 opened with a warm greeting, followed by Avery M. Martin performing “Santa Claus Is Coming to Town.” Ally Moore and Susan Rittenhouse performed “Holidays Are Here” with vocals and instruments, filling the stage with festive energy.

Langston Cosner energized the crowd with an upbeat dance to “Chillin’ Like a Snowman,” while Shelby Huber and Morgan Carrasquillo delivered a signed and sung rendition of “Do You Hear What I Hear,” drawing enthusiastic applause.

Comedy and novelty acts punctuated the first act. Jonathan and Ashley Hoover presented a magiccomedy routine, and Olivia Thompson entertained with ventriloquism to “It’s Beginning to Look a Lot Like Christmas.” Instrumental highlights included a boomwhacker rendition of “Deck the Halls” by Bethany Gere, Portia, Melody Gere, Amber Robinson, and Heather Lunsford. Patchez Black performed “Miracle on Main” on pan drums, adding rhythmic excitement to the evening.

Vocal standouts included JaLyon Shaw singing “O Holy Night” and Ellie Breedlove performing “Rudolph the Red-Nosed Reindeer.” Readers’ theatre segments and a group performance of “White Winter Hymnal” wrapped the 43-minute first act with creativity and holiday cheer.

Act 2 continued the celebration with dance, vocals, and community-centered performances. The ensemble, including Brianna Blackledge, Katherine Dutton, Ella Blevins, Amanze Henderson, Ollie Fenton, Hattie Fenton, Libby Rittenhouse, Elen, Bree

HOLIDAY 24

musical

Lunsford, and Susan Rittenhouse, opened with the dance number “Sparkle Jolly Jingle.”

Addison Dean followed with a vocal performance of “Winter Wonderland,” her rendition captivating the audience. Hazel Thompson impressed spectators with acrobatics to “Santa Tell Me,” and Raymon Wallace performed “The Arkansas Christmas Song,” adding a local touch to the evening.

Other highlights included a readers’ theatre adaptation of “12 Days of an ASC Christmas,” a dance duet to “You’re a Mean One, Mr. Grinch,” and community choir performances. The show concluded with a reading of The Night Before Christmas and a festive musical finale, bringing the total runtime to just over 82 minutes.

The production reflected the Arts & Science Center’s mission to engage, educate, and entertain. Founded in 1968, the center has grown into a cultural hub for Pine Bluff and Southeast Arkansas. Its ARTx3 Campus provides programming in visual arts, performing arts, and sciences through exhibits, classes, and hands-on activities for children, youth, and adults.

Visitors can explore the permanent collection, which includes highlights such as Women of the Arkansas Delta, Pencil and Persistence, Small But Mighty, and a 50th Anniversary Art Installation. Current exhibitions include the 2025 Irene Rosenzweig Biennial Juried Exhibition in the International Paper Gallery, Maria Botti Villegas’ Voices in the Space of Time in the Ben J. Altheimer Gallery, and It Was All a Dream, featuring artwork by Pine Bluff High School students in the Loft Gallery at The ARTSpace on Main.

Education is a central focus of ARTx3. Students and groups can take guided or self-guided tours, which often include interactive art and science activities. Tours are available for all current exhibitions, giving students hands-on opportunities to connect classroom lessons with real-world creativity.

To make visits more accessible, the center partners with Southeast Arkansas Transportation (SEAT) to provide transportation scholarships. Schools and organizations can receive assistance for groups of up to 45 students, helping remove financial and logistical barriers. Reservations and scholarship applications must be submitted at least a week before scheduled tours.

HISTORIC ROYAL THEATRE HOSTS HOLIDAY MUSICAL

The ARTx3 Campus also hosts the Delta Upcycle Challenge, or D.U.C., for students in grades 3-12. This year’s theme, Re-Imagined Creations, encourages participants to transform recycled and upcycled materials into imaginative, sustainable artworks. Younger students design whimsical animal sculptures, middle school students craft pieces that “shine a light” on sustainability, and high school students create bold artworks from everyday discarded materials.

Awards for the D.U.C. Challenge range from $20 to $100, depending on grade level, recognizing innovation, creativity, and environmental awareness. The project reflects the center’s commitment to encouraging young people to think creatively about environmental challenges and community collaboration.

Summer programs at ARTx3 are designed to spark curiosity and creativity. Campers explore new interests, develop skills, and form friendships through immersive, hands-on experiences in the arts and sciences. The Adopt-A-Camper program provides full scholarships to all applicants, ensuring no child is excluded due to financial need.

In addition to educational programming, the Arts & Science Center offers versatile spaces for special events. Venues include the Catherine M. Bellamy Theater, studio classrooms, gallery spaces, outdoor areas, and green rooms. Facilities such as The

ARTSpace on Main, ART WORKS on Main, and the Adam B. Robinson Jr. Black Box Theater host weddings, conferences, photo shoots, and other events. Outdoor spaces like ART Yard and ART Alley provide flexible settings for gatherings, while kitchenettes and dressing rooms add convenience for organizers.

Through performances like “Miracle on Main,” guided tours, summer camps, exhibitions, and student projects like D.U.C., the Arts & Science Center, and ARTx3 Campus remain a cornerstone of culture, education, and community engagement in Southeast Arkansas.

With music, dance, comedy, and interactive experiences for students, the holiday special highlighted the center’s dedication to high-quality programming. “Miracle on Main: A Holiday Special” offered a joyful celebration of the season while showcasing the talent, creativity, and community spirit of Pine Bluff and the surrounding areas.

By engaging performers, students, and audiences alike, the ARTx3 Campus continues to inspire curiosity, creativity, and a love for the arts and sciences, leaving a lasting impression long after the final curtain falls.

A ZA LITTLE ROCK eggnog EXTRAVAGANZA g g

HISTORIC ARKANSAS MUSEUM HOSTS 21ST EVER NOG-OFF, BLENDING TRADITION AND HOLIDAY FUN

TThe Historic Arkansas Museum, located at 200 E. Third St. in downtown Little Rock, hosted its 21st Ever Nog-Off on Friday, Dec. 12, from 5 to 8 p.m. The event brought together local restaurants and community organizations, inviting guests to sample a wide range of eggnog recipes while competitors vied for a collection of quirky and coveted titles.

Ellen Korenblat, the museum’s director of community engagement, who has helped organize the Nog-Off for more than a decade, said the event has grown into one of the museum’s most spirited celebrations. “It is one of the most festive occasions we have here,” she said. “Everyone seems to be in a fantastic mood and just ready to experience the evening.”

That festive energy is part of what keeps attendees coming back. Siblings Will Moore, 31, and Shayla Moore, 26, said the atmosphere is one of the event’s biggest draws. “There’s something nice about slowing down and just being present,” Will Moore said. “You’re tasting eggnog, listening to music, and actually enjoying where you are.”

The Nog-Off has a history that dates back more than two decades. The event began when the museum’s former director and friends debated historic family eggnog recipes, each claiming theirs was the best.

To settle the argument, they decided to put their recipes to the test in a friendly competition. One participant coined the term “Nog-Off,” and the festival grew into a cherished annual tradition combining creativity, community, and holiday cheer.

Attendees help decide two of the evening’s honors: the People’s Choice award for best overall eggnog and the Not Your Great, Great, Great Grandfather’s Eggnog award, which recognizes the most creative twist on the classic drink. Korenblat said the creativity continues to surprise her each year. “We’ve had everything from chai eggnog to creme de menthe eggnog and even eggnog ice cream,” she said. “People really have fun putting their own spin on it.”

Shayla Moore, who attended the event for the second time, said that creativity is part of what makes the competition exciting for guests. “You never know what you’re going to taste next,” they said. “Some feel really traditional, and others are totally unexpected, but that’s what makes it exciting.”

A panel of judges determines the Taster’s Choice award and the Egg, No Nog award, given to the best nonalcoholic recipe. These categories, Korenblat said, help keep the competition both fun and inclusive. “We always have a mix of restaurants, bartenders, and community groups,” she said. “Some reach out to us, and others we invite back because they’ve

of ingredients — tradition and innovation, local and global — coming together.”

That philosophy extends to how the restaurant brings its hallmark warmth into a single cup. “Eggnog is a comforting beverage. Eggnog should taste like home,” Fagan said. Freshly grated nutmeg is a personal favorite. “I’m very partial to fresh grated nutmeg. It does a lot for the flavor.” As for the competition, Fagan said he has his eye on one goal. “I’m hoping I can get another trophy.”

For Historic Cane Hill, the event offers a chance to bring Ozark heritage directly to the Nog-Off table.

The event mirrors the organization’s work with bees — rewarding, community-centered, and full of behind-the-scenes effort. “Just like beekeeping, there’s so much people don’t see: long days, heavy lifting, and hoarse voices after talking to hundreds of guests,” Anderson said. “But it leads to a sweet payoff.”

been such great participants.”

This year’s lineup includes a mix of local favorites and community groups, each bringing its own creative twist. Participants include Sterling Market, Loblolly Creamery, Historic Cane Hill, and Calm + Confidence, along with longtime participant Ciao Baci.

Ciao Baci, a longtime Hillcrest restaurant in Little Rock, brings its signature blend of comfort and creativity to this year’s event. Bar manager Merrick Fagan, who has crafted the restaurant’s seasonal cocktails for years, said the NogOff offers a chance to engage with the wider Little Rock community.

“There’s always a good contingent of people there — not just restaurants, but other institutions around town,” Fagan said. “It’s always good to see those faces and be part of something bigger.”

Will Moore said that sense of community is noticeable from a guest’s perspective. “It’s cool to see so many different parts of Little Rock represented in one place,” he said. “You’ve got restaurants, nonprofits, and people who are really proud of what they’re making.”

Ciao Baci’s entry blends several carefully chosen spirits and warm seasonal flavors. “We’re using some whiskey, some rum, some brandy, and some allspice dram,” Fagan said. When asked about the driving ingredient, he said the restaurant is defined not by a single component but by its philosophy. “It’s the combination

This year marks the organization’s first time entering the competition, a milestone Executive Director Vanessa McKuin said felt like a natural step. “We’ve watched the Nog-Off grow over the years and always thought it would be fun to participate,” she said. “This year, everything aligned — the timing, the recipe, and our desire to connect with audiences in a new way.”

Shayla Moore said learning the stories behind each recipe added another layer to the experience. “I like hearing why people chose certain ingredients,” they said. “It makes you appreciate the drink more.”

McKuin said entering the Nog-Off also allowed Cane Hill to showcase what makes the site unique. As both executive director and a member of the Historic Arkansas Museum Commission, she described the event as “a natural combination of my two passions.” Cane Hill produces sorghum and honey, ingredients rooted in its history. “The Nog-Off seemed like a good chance to combine those tastes into something we could share,” she said.

McKuin created a recipe called Boonsborough Nog, named after an early historic name for Cane Hill. “We made a nog that contains Cane Hill honey and Cane Hill sorghum,” she said. “It’s traditional, but with flavors you don’t normally find.” She said sorghum offers a more earthy taste than molasses. “I’m guessing we’ll be the only nog with sorghum.”

Lauren Anderson, who represents Calm + Confidence, said the organization has competed for the past two years and won both times. “We’ve won different awards, including People’s Choice last year,” she said. “People enjoy the recipe, the flavors, and knowing where the honey comes from.”

Anderson said the group’s eggnog changes each year because it uses honey sourced from different neighborhoods and partner organizations. This year’s batch features honey from UAMS hives, leading the group to adjust sweetness levels and choose a whiskey that complements the flavor. “We always want the honey to be the star,” she said.

The group adds a playful element by serving eggnog from a working honey spinner, allowing visitors to crank it by hand to keep the mixture frothy. “It’s a fun way to incorporate real beekeeping equipment,” Anderson said.

The night offers more than sampling cups. Visitors can enjoy live music, browse open art galleries, and shop for holiday gifts in the museum store. Traditional caroling around outdoor fires and roasted pecans from the kitchen of the museum’s historic Brownlee House add to the oldfashioned charm.

As the museum fills with music, lights, and the scent of warm spices, the Nog-Off continues to serve as one of Little Rock’s hallmark holiday gatherings, offering a festive mix of tradition, creativity, and community.

Winners of the 21st Ever Nog-Off were announced Monday, Dec. 15. In the Taster’s Choice category, awards went to Sterling Market and Ciao Baci. Loblolly Creamery won the Not Your Great, Great, Great Grandfather’s Eggnog award, while Sterling Market also earned the Egg, No Nog award for best nonalcoholic recipe. The People’s Choice award was shared by Sterling Market and Calm + Confidence.

Stacks on stacks of retro vinyl records from the attic, compiled compact discs stuffed into sleeves, and nostalgic video game cartridges from childhood collecting dust on shelves. Physical media collecting has made a comeback as of late. An increase of sales in vinyls, cassettes, and more has overpowered the collecting world.

Nostalgia driving over fast trends. Many consumers as of late have been returning to media in tangible forms. Old pieces of technology and entertainment have risen in appeal due to a sense of nostalgia sprinkled in them. These items can remind consumers of a simpler time of entertainment. For example, retro game consoles such as the NES, Gameboys, or Playstation twos have spiked in sales in recent years. The feeling of truly owning a product or a game has become an ideal spread across the globe. In a world of online games, streaming services, books, and various other methods of entertainment; owning a physical copy of your desired item has become all too rare and exclusive.

The increase in this trend is the driving desire for genuine ownership. In the modern world, having an online passkey to games and streaming services often doesn’t feel as satisfying. Access to these platforms can be temporary and conditional. Films can disappear once their contract finishes, music albums can be rendered or removed entirely, entire services can be shut down. In contrast, physical media gives a sense of reassurance in true ownership. Privately held collections offer permanence in a world of temporary joy. With generations becoming increasingly aware of how fragile media can be with current technology, the sense of possession can be truly powerful.

Media has a strong emotional connection and aesthetic appeal when it is physical. Vinyl records portray detailed artwork, intricate photography, and thoughtful designs that digital streaming services don’t always provide. DVD’s often include bonus material, behind the scenes footage, and more exclusive content a streaming service will not supply. These collections help form a person’s identity and help them portray themselves in the world. Personality can be represented in more ways than what the internet can show. Any social media, online account, or streaming services can’t replicate the personality poured into these pieces.

Collecting physical media encourages a more

intentional relationship with music, film, video games, and story telling. Putting on a vinyl record can take effort. For example; flipping through stacks of old vinyls, opening each one to see the list of songs supplied, indulging in the artwork portrayed on the front, placing it perfectly onto the turntable, and listening to the carefully chosen music from start to finish. Secondly; paging through the cd sleeves of all the movies from childhood, reminiscing the times of awaiting new movies to come out on cd weeks after release rather than immediately streaming it, carefully placing the fragile cd into an old cd player, and enjoying the movie with the old advertisements from childhood. For many younger generations, this traditional experience can be appealing. In a world of constant overstimulation, physical entertainment formats present a way to be more engaged. This turns media consumption into a true experience rather than background noise to stimulate the mind.

The economy today runs on mostly online purchases, small increment purchases, and more. Some of these purchases may be economic and ethical, while others may be damaging. Buying physical media; especially from small businesses, secondhand shops, local sellers, and refurbishing businesses; helps support small and local businesses and reduces the dependency on enormous technology corporations. With corporate control over most economic and ethical situations, collecting traditional media formats from smaller corporations helps improve the high stakes in the financial world. With younger generations being accustomed to subscription based streaming services, micro purchases in video games, and constant consumption of new technology; having a simple thing such as retro media can be refreshing and easier to operate.

Tangible media also may also offer better accessibility for people with disabilities or individuals with limited hand mobility. Digital platforms, such as Fortnite or Netflix, often require precise movements, small screens, intense menu options, almost endless scrolling, or hard to read texts. While physical formats like DVDs, vinyls, books, retro game cartridges, or old-fashioned gaming systems may provide an easier, straightforward, and faster outcome. Buttons and physical controls can be easier to navigate, grip, and manipulate than touch screen surfaces. Concrete items also allow consumers to customize their environment more than digital

A DEEPER DIVE INTO THE IMPORTANCE OF PHYSICAL MEDIA

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programs may offer. For various users, the consistency and physical responses make materialized media not only easily accessible but also more independently driven, comfortable for some, entertaining, more engaging, and stimulating to those who can’t easily access online surfaces.

Digital platforms often have strict limitations and licensing issues. Online copies can quickly remove media as fast as it was uploaded. This can upset many consumers or fans of the particular item. This can also lead to intense discourse online or in person, which can be harmful, unsafe, destructive, and damaging. Movies or shows can be cancelled or removed quickly from streaming services, music on Spotify or Pandora can be censored or taken away, and primarily digital video games can get buggy updates or parts of the game cut entirely. These instances can be helpful, but also very damaging. When a person is paying for a certain product, they usually want to keep the entire product they are paying for. When parts of a product are changed, removed, altered, behind various paywalls, or shortened it can lead to many unpleasant consumers. The majority of Generation Z grew up with a mixture of digital and physical media and have experience in both. With knowledge in both, it is apparent that online items can be fragile or easily lost. While tangible products outside from online platforms will never go unseen or changed.

Collectible media has increased in interest from younger audiences around the world. These collections reflect deeper values of control, overconsumption, and sustenance in a world dominated by quick purchases and digital media. Despite relying heavily on current technology, many are rethinking their relationship with it by choosing to physically own, protect, and indulge more precisely with the media they enjoy the most. Materialistic platforms offer a greater creative outlet, safety against unstable ownership, and a sense of permanent items. As costly streaming services climb the corporate ladder and continue to change, remove, enhance, and monetize on short lived content; privately owned copies provide a lasting environment and a sense of safety. These forms of collecting can empower individuals to curate their personalized archives and maintain an enduring connection to art, history, likes, dislikes, and immense storytelling.

1. What’s the best part about dancing for the UA Little Rock Dance Team?

The sisterhood and dedication of the team.

2. When do you feel the most inspired?

Whenever im able to acknowledge my growth or when faced with a challenge.

3. Sweet or Savory? Sweet.

4. What’s your favorite time of day?

Afternoon when the sun sets.

5. What’s your favorite quote?

“I can do all things through Christ who gives me strength.“

6. What are you most excited about these days?

New opportunities and connections.

7. What is Something that makes you smile?

Solo Dates/ Self Care

8. Describe yourself in three words? Ambitious, Kind, Intelligent

9. What song is on repeat in your playlist?

Die Trying- Drake

10. What is your favorite food? Alfredo

11. What is a movie worth watching?

Coraline

12. How would you define your style? Cute and Comfy.

13. Vintage or New?

Vintage

14. What’s your idea of a perfect date?

Beach Date

15. What is the key to a successful relationship?

Being accountable and honest.

16. What is one thing that people don’t know about you?

I have a very broad taste.

17. What is your most recent purchase?

Shoes

18. What’s usually for dinner?

Chick-fil-A

19. What is something you are tired of or a trend you would like to see disappear?

Letting social media dictate your life.

20. Best advice you’ve ever received?

Put God first in everything

21. What’s a talent you wish you had?

Tumbling

coverage by: val bell-o.

C

Coach Trinity Caver is not new to the UA at Little Rock Dance Team. She was first a dancer for the team, then an assistant to the coach for two years, and now, as the current coach (after accepting the position in July 2025), she carries a lot of experience under her belt when it comes to coaching a successful dance team at UA at Little Rock.

Caver first started as a freshman in the 2019-2020 school year, right before COVID hit, and everything had to be shut down from the normal way college was attended.

In her sophomore year in 2020-2021, Caver became pregnant and had to take a break towards the end of her pregnancy. During Caver’s pregnancy and when going back to school after giving birth, Caver says she appreciated her family support system. She credits her mother for stepping up to help care for her daughter while she completed her undergrad degree. Caver’s daughter Stormie is now 4 years old and in preschool.

In 2021, her junior year as a fresh new mom, Caver started working as a paralegal/legal assistant in the law office with Attorney Simmons Smith in Little Rock, who is about 79 years old now, and to whom she credits most of her knowledge. She learned through his rough old school methods how to be tougher in the profession of law.

In her senior year (2022-2023), she added Criminal Justice as another major to her double major of Philosophy and Legal Studies. She also graduated with an Associate’s Degree in Law Enforcement.

In the Fall of 2026, Caver says that she would like to go to the UALR William H. Bowen Law School, and in the future, she would like to have her own practice. She currently works as a legal assistant in a law office called The Firm in North Little Rock, off of JFK Blvd., with Attorney Sylvester Smith.

The dance team performs at all home games, the Ohio Valley Conference basketball tournaments, and if either or both of the men’s and women’s basketball teams win the OVC Finals, they have the opportunity to perform in the National Collegiate Athletic Association.

At this time, there are 15 dancers on the team. 13 were new from being auditioned, and 4 came back from the previous year. There are two who are no longer with the team because they were not able to keep up with the rigorous practice schedule that’s required of the dancers.

There are two divisions within the team: competition and game day. The dancers who participate in competitions have three practices a week and can perform

with technique, turns, and leaps. Game day dancers perform basic, game-center-focused dances. The dance competition is in April.

“You Have To Grow A Team”~Coach Trinity Caver.

When first taking over as the coach of the UA at Little Rock Dance Team, there was a lot of pressure for her to prove that the team could hold its own within the UA at Little Rock Athletic Department. When asked about having an assistant coach, Caver said that she would rather establish her own rules and goals for the team for her first year before hiring an assistant who would likely not be paid and would essentially be a volunteer. Caver says that it is a learning experience for her, having a big team that she is literally coaching by herself.

Dealing with 15 different personalities with different maturity levels can be challenging, but it is her intent to have the team do bonding activities in groups each month. When describing her relationship with the dance team, she says that she feels like a mom to them, and she looks forward to having the chance to bring something different to the table. For those who are not exactly there yet with dance technique, she wants to give them the experience of seeing the full picture, especially when going on the road and travelling to the OVC Basketball Finals.

The dance team now has a hype video and a team poster, which are new and different from previous years. Caver says that Brandy Dixon, the Associate Director for Marketing and Engagement, has been amazing when it comes to protecting the team, and that she is efficient with paying for things, providing opportunities, and making connections.

Be sure to cheer on our new, fresh, and innovative dance team led by their creative and future-focused choreographer, Coach Trinity Caver, the one to watch.

coverage by: val bell-o.

21 questions GROWaTEAM

&CHAMPAGNE MISTLETOE

HOLIDAY MUSIC AND TRADITION TAKE CENTER STAGE IN ‘CHAMPAGNE & MISTLETOE’ AT VAPORS LIVE

CChristmas arrives early inside Vapors Live, where familiar carols, playful humor, and the soft glow of holiday decorations set the tone for Champagne & Mistletoe with the Christmas Belles. The seasonal production, now running in downtown Hot Springs, offers audiences an evening built on classic entertainment rather than spectacle, leaning into warmth, nostalgia, and live performance.

The show opened Friday, Dec. 5, at Vapors Live in Hot Springs, AR, and continues throughout the month with a combination of dinner shows and Sunday matinees. Each performance brings together music, comedy, and dance in a format that feels more like a holiday gathering than a traditional stage production.

Champagne & Mistletoe was written and produced by Christi Day, whose approach emphasizes connection and storytelling over grand scale. Day also performs alongside the cast, sharing the stage with her husband, Kevin Day. He appears in various musical numbers, such as “Baby It’s Cold Outside,” and delivers a story inspired by Christmas traditions from Louisiana, a moment that shifts the pace of the show and highlights the role of storytelling during the holidays.

Performances are scheduled across multiple dates in December. Dinner shows are offered on December 5, 12, and 19, with dinner service beginning at 6 p.m. and the show starting at 7 p.m. Matinee performances take place Sunday, Dec. 7, and Sunday, Dec. 14, with lunch served at 1:30 p.m. followed by the show at 2:30 p.m.

Guests attending dinner performances are served a traditional holiday meal featuring baked ham, seasoned green beans, and mashed potatoes. Organizers describe the menu as a home-style Christmas dinner, designed to complement the relaxed, festive tone of the show rather than distract from it.

Tickets are available online at vaporslive.com, with prices set at $45 for the show with dinner,

$35 for the show only. Walk-ins are welcome when seating allows, according to organizers.

The Christmas Belles lead the show, performing a lineup of well-known holiday songs paired with comedic moments that keep the atmosphere light. Their harmonies anchor the musical numbers, while the humor between songs gives the performance an easy, conversational feel. Rather than following a strict storyline, the show moves through a series of themed segments, allowing audiences to enjoy each piece on its own while still feeling part of a cohesive holiday celebration.

Dance numbers are woven throughout the production with appearances by the Spa City Tappers, a group recognized throughout the region for their tap and lyrical performances. The dancers bring energy and precision to the stage, adding visual interest and rhythm that complement the vocal numbers. Their routines, marked by bright costumes and confident movement, often earn some of the loudest applause of the night.

The set design contributes heavily to the show’s inviting atmosphere. The stage is styled to resemble an elegantly decorated home, complete with seasonal accents and a realistic fireplace positioned behind the performers. The design choice helps transform the nightclub space into a holiday setting that feels familiar and comfortable, encouraging the audience to relax and settle into the experience.

The production saves one of its most memorable moments for the finale. As the final song plays, artificial snow drifts down from above the stage, creating a quiet, picture-perfect ending. The snowfall draws smiles and phones held aloft, capturing a moment that feels inspired by a classic Christmas film.

The cast brings together performers with deep ties to the local arts community. Members of the Christmas Belles and Spa City Tappers include K.V. Knox, Christi Day, Darlene Whitwell, Pattie Genovese, Kayla White, Leah Servais, and Celeste Shelton. Their familiarity with one another is evident

on stage, contributing to the natural chemistry that runs throughout the show.

While Champagne & Mistletoe delivers modern holiday entertainment, its setting connects the production to a much larger story. Long before it became Vaports Live, the building was known as The Vapors, one of the most prominent nightclubs in Hot Springs during the city’s final era of illegal gambling. Opening in 1960, the club distinguished itself by offering upscale, Las Vegas-style entertainment, regularly hosting nationally recognized performers such as Edgar Bergen, the Smothers Brothers, and Tony Bennett.

The nightclub was developed by Dane Harris, a former World War II pilot who invested money earned through his involvement with the Belvedere Country Club and casino. Harris partnered with Owney Madden, the New York gangster who once owned the Cotton Club, to build the venue at 315 Park Ave., on the former site of the Phillips Drive-In. The expansive club featured dining rooms, a theater-style showroom, a dance floor, and a casino that opened late each evening, along with two live shows every night.

Tony Bennet later wrote that he first performed his future signature song, “I Left My Heart in San Francisco,” while rehearsing at The Vapors, singing it for a lone bartender preparing for the evening’s crowd.

The club’s glamorous image was shaken in the early morning hours of Jan. 4, 1963, when an explosion ripped through the building, injuring 12 people and sending three to the hospital. The blast exposed the casino floor to public view, and photographs published in the Arkansas Gazette the following day provided rare evidence of illegal gambling in Hot Springs. Although gambling continued in the city for several more years, the incident marked a turning point, with illegal operations finally shut down in 1967 during the first term of Gov. Winthrop Rockefeller.

Unlike many former casinos in How Springs, The Vapors survived the end of gambling, continuing as a nightclub and restaurant. Renovations in the late 1970s added new entertainment spaces, but the club gradually lost prominence after Harris’ death in 1981. The building later changed hands, eventually finding new life as Vapors Live.

Today, Vapors Live continues that legacy, blending its past with modern productions and live performances. Seasonal shows like Champagne & Mistletoe reflect the venue’s ongoing role as a gathering place for music and entertainment in Hot Springs.

As Dec. moves forward, Champagne & Mistletoe with the Christmas Belles offers audiences a chance to slow down and enjoy a familiar kind of holiday entertainment. With its mix of music, humor, and tradition, the show delivers a reminder that sometimes the most memorable Christmas moments come from shared experiences rather than grand displays.

Fans of a holiday classic can once again follow Ralphie Parker’s quest for the perfect Christmas gift at the Argenta Contemporary Theatre. A Christmas Story: The Musical performed at 7 p.m. Wednesday through Friday, Dec. 16-18, with additional 2 and 7 p.m. Shows Saturday, Dec. 16-18, and 2 p.m. performances Wednesday, Dec. 20, and Sunday, Dec. 21. Tickets range from $33.74 to $93.19 and can be purchased online at https://www.universe. com/events/a-christmas-storythe-musical-tickets-R4MHGX

The musical’s stage adaptation is based on the screenplay for the 1983 film, with music and lyrics by Benj Pasek and Justin Paul and a book by Joseph Robinette. The production brings to life the humor, mischief, and holiday spirit that have made the story a perennial favorite, while offering new energy through its musical numbers and live performance elements.

Set in the 1940s in the fictional town of Hohman, Indiana, the musical centers on 9-year-old Ralphis Parker as he schemes to secure an Official Red Ryder carbine-action 200-shot Range Model air rifle for Christmas. Repeatedly warned, “You’ll shoot your eye out,” Ralphie’s pursuit drives both the humor and the heart of the show.

The stage adaptation captures the film’s most memorable moments from the classic film while adding original songs that highlight the story’s comedy and warmth. The show opens with “Counting Down to Christmas” and “It All Comes Down to

Christmas,” where the Parker family’s holiday desires are revealed, and Ralphie announces his wish for the coveted BB gun. From there, audiences follow the family through musical vignettes, including “The Genius on Cleveland Street,” in which Ralphie’s father attempts to win a major prize in a newspaper contest, and “When You’re a Wimp,” a playground number depicting Ralphie navigating bullies like Scut Farkus.

Jaydon Clark delivered a hilarious and energetic performance as Ralphie, capturing the character’s earnest determination and wide-eyed imagination. His portrayal was enhanced through the narration of Christ Flowers, who played older Ralphie recounting the story from his radio station, providing humorous commentary and guiding the audience through Ralphie’s childhood memories.

Ralphie’s imagination takes center stage in “Ralphie to the Rescue!,” a fantastical sequence where he envisions himself as a hero triumphing over villains. The family’s reaction to the infamous leg lamp is celebrated in “A Major Award,” while the legendary flagpole scene with Flick is recreated in “Sticky Situation.”

Other show-stopping moments include “You’ll Shoot Your Eye Out!,” a tap number in which Miss Shields channels her inner showgirl, and “Up on Santa’s Lap,” depicting Ralphie’s humorous and slightly disappointing encounter with Santa Claus. A live hound named Rabbit made a memorable appearance as the neighbors’ dog, storming the Parker home and stealing the turkey directly off the

family’s dinner table.

The musical concludes with “A Christmas Story,” a heartwarming finale showing the Parker family enjoying their uniquely quirky holiday together. The musical balances slapstick comedy with touching family moments, making it appealing for audiences of all ages.

The cast features Michele May Clark and Craig Wilson portraying Ralphie’s mother and father. Together, they anchor the production with believable warmth and comedic timing, capturing the affectionate chaos of the Parker household.

Michele May Clark and Craig Wilson portray Ralphie’s mother and father, anchoring the production with performances that feel both genuine and engaging. Their strong chemistry and comedic timing highlight the everyday chaos of family life in the 1940s while underscoring the warmth and affection at the heart of the Parker household.

Steven Jones appears as Santa Claus, while Allison Stodola Wilson portrays Miss Shields. Grayson Gammill plays Scut Farkus, Ramsey Matthews appears as Esther Jane, Dakota Phillips portrays Mary Beth, and Pate Wilson plays Randy. Webb Wilson appears as Schwartz.

The ensemble includes Jamie Boshears, Samiyyah Burkhalter, Mitchell Cohen, Annie Kate Davis, Case Dillard, Marlee Droste, Kellan Finney, Chris Flowers, Gus Howell, Donald Jackson, Attie Mae Jenkins, Nora Lako, Oliver Lynch, Juniper Wenger, and Lori Wenger. Several ensemble members also serve as understudies for

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principal roles throughout the production.

The production is codirected by Pris Benson and Carol Ann McAdams, with choreography by Allison Stodola Wilson and Case Dillard. Leann Jones serves as music director. The creative team also includes Sara Cooke as technical director and scenic designer, Shelly Hall as costume designer, Bob Birdsong as lighting designer and master electrician, Donna Hall as sound designer, Lauren Nicholas as props designer, and Dr. Rick Nicholas as props specialist. Katie Baker serves as stage manager, with Jazmine Denney and Natisha Turner as assistant stage managers.

The production team includes Alan Malcolm as master carpenter, Emily Inman as costume design assistant, Eli Frensley as wardrobe supervisor, and Hali Tucker and Carmen Williams as dressers. Lighting operations are handled by Henry Peyton, with spotlight operators Glenn Grossman, Jack Harrison, and Walt Wenger. The lighting crew includes John Cooke, Gary Paul, and Peyton. Audio support is led by Luke Mitchell, with Thomas Drake as soundboard operator and Glenn Grossman as assistant soundboard operator. Additional support includes Dakota Lundberg as props assistant, Kristen Phantazia Smith as company liaison, Beverly Williams as house manager, and a team of stage carpenters and painters supporting the production.

The Argenta Contemporary Theatre, located at 405 Main St. in North Little Rock’s Argenta Arts District, has become a hub for local arts since its founding in 2010 by Vincent Insalaco and Judy Tenenbaum. The venue hosts a wide range of performances, including musicals, original works, and classic plays, and also supports arts education for children and adults. The theatre’s facilities are available for community events, private celebrations, and other performances, reinforcing its role as a cultural centerpiece in the region.

The show continues the Argenta Contemporary Theatre’s mission to make performing arts accessible and engaging for the community. Its location within the vibrant Argenta Arts District allows visitors to enjoy galleries, dining, and cultural events alongside theatrical performances, reinforcing the district’s status as a cultural destination.

With energetic ensemble numbers, colorful period costumes, and iconic moments from the film, the production delivers both nostalgia for longtime fans and excitement for those experiencing Ralphie’s adventures for the first time. From his clever but risky attempts to obtain the coveted BB gun to the chaos and charm of his family’s holiday traditions, the musical captures the essence of a classic American Christmas story.

HOLIDAY MUSICAL “A CHRISTMAS STORY” RETURNS TO ARGENTA THEATRE IN NORTH LITTLE ROCK

miracle mainON PINE

DDowntown Pine Bluff buzzed with holiday excitement as the Arts & Science Center for Southeast Arkansas hosted “Miracle on Main: A Holiday Special” at the Catherine M. Bellamy Theatre on Friday and Saturday, Dec. 12-13.

The family-friendly performance ran from 7 to 8:30 p.m., with tickets priced at $20 for both members and non-members. Families and friends filled the theater at 701 Main St., eager for an evening inspired by the charm of classic holiday specials.

The production featured a mix of local talent, including singers, instrumentalists, dancers, comedians, and storytellers. Directors Kayla Earnest and Bethany Gere orchestrated the performance to celebrate the season, creating a lively, interactive experience that captivated the audience.

Act 1 opened with a warm greeting, followed by Avery M. Martin performing “Santa Claus Is Coming to Town.” Ally Moore and Susan Rittenhouse performed “Holidays Are Here” with vocals and instruments, filling the stage with festive energy.

Langston Cosner energized the crowd with an upbeat dance to “Chillin’ Like a Snowman,” while Shelby Huber and Morgan Carrasquillo delivered a signed and sung rendition of “Do You Hear What I Hear,” drawing enthusiastic applause.

Comedy and novelty acts punctuated the first act. Jonathan and Ashley Hoover presented a magiccomedy routine, and Olivia Thompson entertained with ventriloquism to “It’s Beginning to Look a Lot Like Christmas.” Instrumental highlights included a boomwhacker rendition of “Deck the Halls” by Bethany Gere, Portia, Melody Gere, Amber Robinson, and Heather Lunsford. Patchez Black performed “Miracle on Main” on pan drums, adding rhythmic excitement to the evening.

Vocal standouts included JaLyon Shaw singing “O Holy Night” and Ellie Breedlove performing “Rudolph the Red-Nosed Reindeer.” Readers’ theatre segments and a group performance of “White Winter Hymnal” wrapped the 43-minute first act with creativity and holiday cheer.

Act 2 continued the celebration with dance, vocals, and community-centered performances. The ensemble, including Brianna Blackledge, Katherine Dutton, Ella Blevins, Amanze Henderson, Ollie Fenton, Hattie Fenton, Libby Rittenhouse, Elen, Bree Lunsford, and Susan Rittenhouse, opened with the dance number “Sparkle Jolly Jingle.”

Addison Dean followed with a vocal performance

of “Winter Wonderland,” her rendition captivating the audience. Hazel Thompson impressed spectators with acrobatics to “Santa Tell Me,” and Raymon Wallace performed “The Arkansas Christmas Song,” adding a local touch to the evening.

Other highlights included a readers’ theatre adaptation of “12 Days of an ASC Christmas,” a dance duet to “You’re a Mean One, Mr. Grinch,” and community choir performances. The show concluded with a reading of The Night Before Christmas and a festive musical finale, bringing the total runtime to just over 82 minutes.

The production reflected the Arts & Science Center’s mission to engage, educate, and entertain. Founded in 1968, the center has grown into a cultural hub for Pine Bluff and Southeast Arkansas. Its ARTx3 Campus provides programming in visual arts, performing arts, and sciences through exhibits, classes, and hands-on activities for children, youth, and adults.

Visitors can explore the permanent collection, which includes highlights such as Women of the Arkansas Delta, Pencil and Persistence, Small But Mighty, and a 50th Anniversary Art Installation. Current exhibitions include the 2025 Irene Rosenzweig Biennial Juried Exhibition in the International Paper Gallery, Maria Botti Villegas’ Voices in the Space of Time in the Ben J. Altheimer Gallery, and It Was All a Dream, featuring artwork by Pine Bluff High School students in the Loft Gallery at The ARTSpace on Main.

Education is a central focus of ARTx3. Students and groups can take guided or self-guided tours, which often include interactive art and science activities. Tours are available for all current exhibitions, giving students hands-on opportunities to connect classroom lessons with real-world creativity.

To make visits more accessible, the center partners with Southeast Arkansas Transportation (SEAT) to provide transportation scholarships. Schools and organizations can receive assistance for groups of up to 45 students, helping remove financial and logistical barriers. Reservations and scholarship applications must be submitted at least a week before scheduled tours.

The ARTx3 Campus also hosts the Delta Upcycle Challenge, or D.U.C., for students in grades 3-12. This year’s theme, Re-Imagined Creations, encourages participants to transform recycled and upcycled materials into imaginative, sustainable artworks. Younger students design whimsical animal sculptures,

BLUFF THEATRE PRESENTS “MIRACLE ON MAIN”

middle school students craft pieces that “shine a light” on sustainability, and high school students create bold artworks from everyday discarded materials.

Awards for the D.U.C. Challenge range from $20 to $100, depending on grade level, recognizing innovation, creativity, and environmental awareness. The project reflects the center’s commitment to encouraging young people to think creatively about environmental challenges and community collaboration.

Summer programs at ARTx3 are designed to spark curiosity and creativity. Campers explore new interests, develop skills, and form friendships through immersive, hands-on experiences in the arts and sciences. The Adopt-A-Camper program provides full scholarships to all applicants, ensuring no child is excluded due to financial need.

In addition to educational programming, the Arts & Science Center offers versatile spaces for special events. Venues include the Catherine M. Bellamy Theater, studio classrooms, gallery spaces, outdoor areas, and green rooms. Facilities such as The ARTSpace on Main, ART WORKS on Main, and the Adam B. Robinson Jr. Black Box Theater host weddings, conferences, photo shoots, and other events. Outdoor spaces like ART Yard and ART Alley provide flexible settings for gatherings, while kitchenettes and dressing rooms add convenience for organizers.

Through performances like “Miracle on Main,” guided tours, summer camps, exhibitions, and student projects like D.U.C., the Arts & Science Center, and ARTx3 Campus remain a cornerstone of culture, education, and community engagement in Southeast Arkansas.

With music, dance, comedy, and interactive experiences for students, the holiday special highlighted the center’s dedication to high-quality programming. “Miracle on Main: A Holiday Special” offered a joyful celebration of the season while showcasing the talent, creativity, and community spirit of Pine Bluff and the surrounding areas.

By engaging performers, students, and audiences alike, the ARTx3 Campus continues to inspire curiosity, creativity, and a love for the arts and sciences, leaving a lasting impression long after the final curtain falls.

more than STORAGEe th

A MESSAGE HIDDEN IN BACKPACKS R 36 T

Our backpacks can tell you a lot about someone’s personality. Besides the functionality aspect, backpacks can serve as a canvas for selfexpression. Some of us (hi, it’s me) choose to decorate our backpacks with pins and plushies clunking around, and others choose to rock a blank slate. Whether it’s loud, subtle, chaotic, or polished, your backpack is quietly revealing who you are. So… what does your backpack say about you?

Jansport

A staple household name, Jansports are very basic but effective. You may settle for a simple flat color or even dare to be bold with unique prints. The Jansport backpack is the Toyota of school bags, it’s not flashy but it’s reliable. People with Jansports backpacks may tend to be more practical in their everyday life, opting for affordability and longevity as opposed to other backpack brands. You tend to blend in with the crowd, but that’s how you like it anyways. Practical and introverted.

NorthFace

Northface, similar to Jansport, is another basic but reliable backpack with focus more on durability for outdoor activities. Students who choose Northface tend to thrive in outdoorsy environments, curious about what secrets mother nature holds. You’re the kind of person who isn’t afraid to get mud on their boots or rocks in their treads. Adventurous and energetic.

Nike

Nike is one of the world’s most popular sports brands; that being said, the majority of their demographic is student athletes. Sturdy and convenient, it’s easy to just throw over your shoulder while you’re on your way to practice. You are active, always on the go, you might be found in the Doughangy Student Center Gym or zooming around on a scooter. Active and sporty.

Kanken

Kanken was the It-girl of mid-2016 to mid-2021, and you are still that girl. Kanken backpacks are higher in price but offer a wide range of dazzling colors. Great for showing off your vibe while also holding your school supplies (and trinkets, obviously). You’re either in your Tumblr art phase or just simply never left. You’re fun, bold, but also practical. Artistic and extroverted.

coverage by: emma bertram

a CAROL

HCHRISTMAS

RIALTO THEATRE REIMAGINES

“A CHRISTMAS CAROL”

Holiday spirit filled the Rialto Theatre as its radio-inspired staging of A Christmas Carol transformed the space into something closer to a shared celebration than a conventional performance. The blend of Dickens’ timeless story and the sounds of vintage broadcasting evoked a sense of nostalgia and neighborly warmth that resonated throughout the evening.

Located in the small town of Morrilton, Arkansas, the Rialto Theatre carries a history stretching back more than 100 years and today stands as the home of the Arts Council of Conway County. The deep-rooted connection to the community was evident throughout the holiday production, from the welcoming atmosphere in the lobby to the audience’s enthusiastic participation once the show began.

Performed Dec. 5-6 at 7 p.m., the production was directed by Wynonna Crow and Dustin Taylor and staged as a fictional old-fashioned radio broadcast in progress. Tickets were intentionally affordable at $10, with concessions priced at $2, and volunteers welcomed patrons with complimentary hot cocoa, a small but meaningful gesture that reinforced the theater’s mission to make the arts accessible and inviting. From the moment the doors opened, the atmosphere suggested celebration rather than formality, transforming the Rialto into a gathering place for the season.

The theater itself has long adapted to changing forms of entertainment. Originally opened in 1911 by Guy O. Vail as Morrilton’s first motion picture theater, the building has undergone multiple transformations over the decades. After changing ownership and names, it officially became the Rialto Theatre in 1927 under Arkansas Amusement Enterprises Inc., a subsidiary of Malco Theatres Inc. By the late 1920s, the Rialto was preparing for the arrival of talking pictures, undergoing remodeling and acoustic treatment to usher in a new era. The first “talkie,” Fast Life, was shown Feb. 16, 1930, marking a milestone not only for the theater but for the town itself.

That spirit of adaptation continues to define the venue today. Rather than presenting Dickens’ story in a traditional theatrical format, the creative

team leaned into the radio-play concept, placing microphones front and center and encouraging the audience to imagine the world through sound, voice, and suggestion. This choice proved effective, emphasizing storytelling fundamentals while allowing performers to showcase vocal dexterity and timing. The result was an engaging hybrid of theater and broadcast performance that honored both mediums without feeling gimmicky.

At its core, the story remains faithful to Dickens’ original narrative. Ebenezer Scrooge, a miserly businessman hardened by regret and bitterness, is visited on Christmas Eve by the ghost of his former partner, Jacob Marley, followed by three spirits who force him to confront the consequences of his choices. Through glimpses of lost love, missed opportunities, and a future marked by isolation, Scrooge is gradually stripped of his emotional armor and offered the chance for redemption.

The radio format kept the pacing tight, allowing scenes to transition smoothly without elaborate set changes. Moments of warmth, particularly those involving the Cratchit family, contrasted sharply with the bleakness of Scrooge’s solitary existence. Fezziwig’s joyful Christmas party burst with life and laughter, while the Ghost of Christmas Yet to Come delivered an appropriately chilling sense of inevitability. These contrasts reinforced the story’s emotional stakes, reminding the audience why A Christmas Carol continues to resonate more than 180 years after its publication.

One of the production’s most distinctive elements was its framing device. The stage was dressed as a mid-20th-century radio studio adorned with holiday decor, creating a setting that felt both festive and functional. An illuminated “Applause” sign flickered on throughout the evening, encouraging audience participation and reinforcing the illusion of a live broadcast. The performers moved fluidly among standing microphones, switching characters in real time and often voicing multiple roles, a technique that highlighted their range and precision.

Crow, who also appeared onstage, opened the production as the station manager overseeing the broadcast. Her performance served as the connective tissue of the show, bridging the

audience and the fictional radio world. With crisp comedic timing and expressive physicality, she navigated technical hiccups, filled in for absent performers, and jumped seamlessly into character when needed. Her portrayal added levity without undermining the story’s emotional weight, and her ease onstage helped establish the playful tone that defined the production.

David Garret delivered a grounded and thoughtful performance as Scrooge, anchoring the show with a portrayal that avoided caricature. Rather than leaning solely into cruelty or gruffness, Garret infused the character with an undercurrent of melancholy, suggesting a man shaped by loss long before the ghosts arrive. His vocal performance was particularly effective in the radio-play format, shifting subtly as Scrooge evolves from sharp-edged cynic to a man awakened by compassion. By the time Scrooge greets Christmas morning with renewed generosity, the transformation feels earned rather than rushed.

The ensemble cast supported the story with consistency and energy, often taking on multiple roles with minimal transition. Sound effects, produced live onstage, added texture and humor, reinforcing the illusion of a working radio studio while eliciting appreciative laughter from the audience. While modest in scale, the production embraced its limitations as strengths. There were no elaborate sets or sweeping visual effects, but the simplicity encouraged imagination and connection.

That focus on connection mirrors the theater’s own journey. After major renovations in 1952 expanded seating to more than 700 and earned the Rialto a reputation as one of the South’s finest theaters, the building later faced decline.

It closed in 1987 before being acquired by the city of Morrilton in 1995. The formation of the Rialto Community Arts Center and subsequent renovations returned the theater to a single auditorium with balcony seating, restored its marquee and lobby, and added a stage, gallery space, and modern sound and lighting. Those efforts ensured the Rialto could continue serving as a hub for live performance and film into the 21st century.

What ultimately set the Rialto’s A Christmas Carol apart was its sense of purpose. This was not merely a holiday performance, but an expression of community values. The volunteers greeting guests, the affordable pricing, and the intimate performance style all reflected a desire to bring people together rather than impress through spectacle. In that sense, the production echoed the message of Dickens’ story itself, that generosity, connection, and shared humanity matter most.

As the final moments unfolded and Scrooge embraced his new outlook on life, the audience responded with warm applause, prompted once more by the glowing sign above the stage. The applause felt genuine, not just for the performance, but for the experience as a whole.

The Rialto Theatre’s radio-style A Christmas Carol succeeded by honoring tradition while presenting it through a fresh and imaginative lens. In a building that has evolved alongside more than a century of entertainment history, the production offered Morrilton audiences a reminder that holiday magic does not require grandeur, only sincerity, creativity, and a willingness to tell a good story well.

1. What’s the best part about dancing for the UA Little Rock Dance Team?

The friends I made and people I will talk to after dance.

2. When do you feel the most inspired?

I feel the most inspired in the morning. I am blessed to see another day.

3. Sweet or Savory?

Sweet

4. What’s your favorite time of day?

Night, so I can cuddle with my pets and go to sleep.

5. What’s your favorite quote?

“Life is like a box of chocolates, you never know what ur gonna get.”

6. What are you most excited about these days?

New job, New experiences, New State, and future vacations.

7. What is Something that makes you smile?

Food

8. Describe yourself in three words? Loving, dependable, and energetic.

9. What song is on repeat in your playlist?

Burning Blue -Mariah The Scientist

10. What is your favorite food?

Carne Asada Tacos

11. What is a movie worth watching?

The Princess and the Frog

12. How would you define your style?

A little bit of everything

13. Vintage or New?

New

14. What’s your idea of a perfect date?

Picnic on the Beach

15. What is the key to a successful relationship?

Trust and Respect

16. What is one thing that people don’t know about you?

I like dance, but I love tennis.

17. What is your most recent purchase?

Meta Glasses

18. What’s usually for dinner?

Tacos, something quick and easy.

19. What is something you are tired of or a trend you would like to see disappear?

The saying “6-7.”

20. Best advice you’ve ever received?

“Worry about nothing, be anxious about nothing, pray about everything.”

21. What’s a talent you wish you had? I wish I could tumble.

coverage by: val bell-o.

21 questions

21 questions by the UA at Little Rock Dance Team

1. What is the best part about dancing for the UA Little Rock Dance Team? Team Bonding.

2. When do you feel the most inspired? When we dance at the elementary schools. The babies [look] so happy and cute.

3. Sweet or Savory?

Sweet

4. What’s your favorite time of day? Definitely Nighttime.

5. What’s your favorite quote?

“Can’t bend or fold, my folks are depending on me to make it. “

6. What are you most excited about these days?

Being more strict about my goals [and] accomplishing them.

7. What is something that makes you smile?

When strangers smile at me or compliment me.

8. Describe yourself in three words? Funny, Outspoken, Helpful.

9. What song is

on repeat in your playlist? Situationship. Mariah the [Scientist]

10. What is your favorite food? Quesadilla

11. What is a movie worth watching? Escape Plan

12. How would you define your style? Different

13. Vintage or New?

It depends, but maybe new

14. What’s your idea of a perfect date?

Nothing much, something me and my significant other both secretly enjoy.

15. What is the key to a successful relationship? Trust

16. What is one thing that people don’t know about you?

That I enjoy talking about conspiracy theories and God.

17. What is your most recent purchase?

Smoky grilled chicken with broccoli and carrots.

18. What’s usually for dinner? Burgers or fish

19. What is something you are tired of or a trend you would like to see disappear?

A trend I would like to see disappear is generational curses.

20. Best advice you’ve ever received?

The world is going to keep spinning. What’s a talent you wish you had? To sing.

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