THE FORUM: March/April

MARCH-APRIL 2026

UA AT LITTLE ROCK

MODERN LOVE, CLASSIC SOUND

FROM PAGES TO SCREENS

8 I AM EASTER DRAMA

MAKE it YOURS

DIVING INTO THE IMPORTANCE OF PERSONALIZATION.

PPersonalization tailors to a deeper learning experience of the soul, the mind, and one’s environment. Despite the given similarities, some prevail from the basics and mold their life around them into their own. Not every life is a one-size-fits-all motto; some take a deeper dive into personalization to unlock a greater understanding of life. University of Arkansas at Little Rock students change what it means to be a person by adding their own flair to their day-to-day lives, such as adding stickers to their almost ancient laptop, incorporating their favorite trinkets into their vehicles, or latching on numerous keychains to their simple but reliable backpack.

Customization of one’s appearance, items, or cherished pieces often contributes to the enjoyment of many around the world. Madeto-measure objects often convey messages to like-minded individuals to create an easy starting point for conversation. Freshman Gemma Holland-Moore personalizes the majority of her items and dives into deeper conversations with her peers about their interests solely based on their similarities and differences in customized pieces.

“A lot of my things are personalized, so I know it’s mine, but to also have a bit of fun with something that might typically be boring. My favorite personalized item is my keychain because I carry it everywhere and it has just what I need,” said Holland-Moore. “I have had so many conversations with people I’ve never met based on their keychains/ accessories/style! It is so much easier to go up and make a new friend! I love seeing people customize their character!”

While some personalized items are just for fun, most sometimes hold sentimental value. Freshman, Liv Sutton, makes deeper connections with their trinkets, collectibles, and personal items by accessorizing them to cater to their personality.

“I love to personalize my stuff and make it reflect who I am as a person. My laptop is my favorite so far. I have every inch of the case covered with stickers that I believe reflect my aesthetic - even the ones that don’t, just are ones I like and represent me,” said Sutton. “Uniqueness is what sets us apart from one another, but in a good way. I love seeing people adorn themselves with trinkets and jewelry that they love. To me, it serves as a memory, like ‘Oh, I got this when I was with so and so, and we had the best day ever together.’ [If I had to choose a favorite, it’d be] the Lucky Cat piggy bank my boyfriend got me after I told him about the time my favorite piggy bank was stolen when I was young.”

bugtopia

A BIG LOOK AT A TINY WORLD

creepy crawlies. The Little Rock Zoo is putting on quite the spectacle from March 21 to September 20 this year with giant replica insects set out across the zoo grounds. These life-sized replica bugs have fact sheets for zoo goers, adults, kids, and seniors alike to learn about the tiny critters that inhabit the ground floor around the world. There are several that are available for kids to climb and play on, including a giant tarantula spider, beetle, moth, and caterpillar. There also happens to be a motorized bee that turns its head and looks around while making a buzzing sound, as well as a giant towering praying mantis that stands high above any human. Also, don’t miss the giant mound of fire ants, but don’t worry, they won’t bite. The insect replicas featuring Bugtopia are included at no extra cost with admission to the zoo. The event is fun and adds an extra layer of enjoyment to an already fun-filled day at the capital city’s zoo. Sunscreen recommended as well as curious minds! Lastly, make sure to say hi to the Howler Monkeys on your way in. Come visit the Little Rock Zoo and enjoy all it has to offer.

photos by isaac luzader

4

MODERN LOVE,

H CLASSIC

sound

Highly acclaimed American singer, songwriter and producer; Bruno Mars, released a new album on February 27th, 2026 named, “The Romantic.” Mars returns to the music scene with a smooth, groovy performance. The Romantic dives into his signature combination of nostalgia with a modern flare. Mars has been known to bring classic sounds back to life and give it a fresh start. He succeeds at this again with his comeback into music by giving the world an album that perfectly sums up parts within him that carry confidence, charm, and vulnerability.

From the opening track, “Risk It All,” Mars dives into this album in an emotional state. The Romantic establishes a firm ground to work from throughout the rest of this album by providing a deep, yearning, and almost hopeful track to start with. Instead of starting with a song with high confidence, it starts with a slower beat. This maneuver supplies the listeners with a deeper understanding of the story behind these songs and what is to come later in the album. Despite beginning with heavier emotions, the album bounces from deep thoughts to the utmost assertiveness. Prior to the album release, Mars released a single from the album under the name of, “I Just Might.” The single curates a feeling of nostalgia with familiar beats and musical instruments and a fresher perspective on his comeback into the music industry. “I Just Might” is an upbeat experience opposite of “Risk It All.” Despite the differences in songs in the album, they all conspire into one astounding bundle of music.

In terms of lyrics, the album concentrates on different variations of love. Such as yearning, infatuation, steadfastness, heartbreak, and everything in between. Mars generally triumphed in songwriting in the love department. From crushing on a girl you saw once, falling for her, marrying her, then losing her; Mars has written it all. He has always been seen as a relatable singer to most fans. From playful tunes to gut wrenching wallows, he was able to appeal to many different audiences. The Romantic is a perfect example of his ability to shift the mood in his songs. While this album indulges in familiar territory for Mars, he delivers new impressions for his supporters.

Vocally, Mars has been able to retain his range impressively. His tone, control, range, and vocals remain one of the strongest in the pop and R&B

A REVIEWBREAKING DOWN BRUNO MARS’, THE ROMANTIC.

music universe. Whether he is singing his highest notes or his deepest, he maintains the never-ending vibes he worked years for. He retained his valuable skills for over 15 years and continues to dominate. Mars established his presence in history due to his distinguishable ease on the stage. He has successfully claimed his spot in music through his artistic creativity to continuously curate engaging content, and The Romantic never fails to prove that.

Regardless of The Romantic’s ability to create different variations of love within one album, there are critiques to be made. The Romantic tends to stay on the safe side of Mar’s ability to sing different emotions. He resides in a familiar comfort zone. However, this familiarity sometimes can be seen as a strength. Staying within what works tends to appeal to listeners more and proves to others that he knows how to keep consumers pleased. At times, going outside of the comfort zone can be detrimental. Nonetheless, The Romantic is an exceptional album that deserves its recognition.

All considered, The Romantic is a cohesive, refined, and accomplished album that features the nostalgic feels of Bruno Mars’ legacy so far. This album builds unbreakable charisma, fond memories, and a smooth sailing production. At times, it may not reinvent his sound - although it doesn’t necessarily need to. This familiar tune brings ease to many in an uneasy time. Instead, this celebrates the past and to move forward. The offer of The Romantic brings a timeless, easygoing, comforting, encouraging outlook on Bruno Mars’ career moving forward.

to the sky.

Bruno Mars’ song, “I Just Might” is one of two songs in “The Romantic” that had a music video. Mars’ video has nostalgic elements of the 1970’s. The outfits, camera changes, and overall vibes are a nod to the tv performances of that era. His use of choreography, film grain, muted colors, wide shots, and minimal clip cuts create a portrait back in time. photo submissions

I FROMtoPAGES SCREENS

In the current landscape of the filmmaking industry a tried-and-true solution to making a successful movie is often adapting a successful novel into a feature film. Far too often these adaptations fail to truly represent the books in a respectable manner to original source material; they either change too much of the story that it loses the deeper meaning, or they cut too much of the story to fit the format for screens. Project Hail Mary (2026) does not suffer from this problem, thankfully, as the film represents the novel by Andy Weir in such a captivating manner that it has received critical acclaim unanimously from critics and fans alike.

There were a few creative liberties taken in the film separate from the novel in order to fit the format and for timing sakes, particularly in the beginning scenes of the movie. The creative changes make sense for timing sense alone, as in the book these scenes are drawn out for readability and to give context to the character. The movie is able to do this with visual story telling and it just happened to make sense.

As far as the story representation goes, the film deserves a 10/10 conservatively, due to the difficulty films have in adapting books. The audio and sound design are worth an easy 10/10, with a fantastic original score, exceptional voice work and sound effects throughout. The voice work on Rocky’s character begged to be loved.

“PROJECT HAIL MARY” - A REVIEW

From a visual effects film, there was extreme difficulty in discerning when and where CGI was used, so they faithfully earned a 10/10. The acting was extraordinary as well, considering Ryan Gosling spent the majority of the film talking to an inanimate object, and sold the performance making audiences believe Gosling really was interacting with Rocky throughout the film. Acting earns it 10/10.

Cinematography and lighting get the same masterful grade as well, due to the confined areas and masterful lighting that occurs throughout this film. Set design was superb. Even editing was done with fine craftsmanship.

All these categories of judgement and the film in and of itself are well deserving of the praise it has been receiving. From the current Rotten Tomatoes score of 95%, to the IMDb score of 8.4/10 the movie has done wonders domestically in the box office making over $300 million dollars in its first two weeks in theaters, marking it as Amazon MGM’s highest grossing film.

If the film could be given a “chef’s kiss” it well deserved it, and a standing ovation. 10/10 All Around!

coverage by: isaac luzader

aPERFORMANCE WICKED

TThere was magic in the auditorium of Robinson Theater Sunday April 12 as the Broadway touring play of Wicked took the stage with captivating lights, beautiful voices, and the phenomenon that is the story of Wicked.

Standing in for Elphaba’s character at this particular showing was Adelina Mitchell, a Bronx native who has been touring with the National touring broadway cast since January 2024. Mitchell delivered one powerful performance, truly encapsulating the spirit and essence of Elphaba. The climatic moment of the first act rang out in her solo during Defying Gravity where she belted her voice to the heavens with a voice comparable to angels, all the while hoisted in the air level with the Grand Tier. Lights cast out from around her into the audience, smoke

billowed from below as the ensemble sang out “Kill Her” before Mitchell delivered the iconic melody.

To be entirely honest her performance was more impressive than even Cynthia Erivo’s role from a vocal standpoint. Mitchell’s voice held this almost awkward cadence throughout the first act that really sold the idea of the early character of Elphaba, as the confidence in her character grew so did her vocal range and tone.

On par with Adelina Mitchell was the counterpart of Glinda, performed in this particular showing by understudy Taylor Quick; a Little Rock, Arkansas native come home to showcase her raw and ethereal talent. From her opening performance of No One Mourns the Wicked, through Popular, to her Act II duet with Mitchell in For Good, Quick delivers a stunning soprano while maintaining the high quirky energy of Glinda.

Akin to Mitchell, Taylor Quick gave a performance equally impressive and memorable as Ariana Grande’s role of Glinda. One that she absolutely needs to be proud of herself for coming back to her hometown and performing at the level she did. Remarkable, inspirational, and mesmerizing Quick gave a performance that is sure to be spoken about in homes across the Natural State.

Quick and Mitchell had quite the harmonious chemistry throughout the entirety of the musical performance; getting the

audience to laugh, to cry, to gasp, and cheer all the while captivating the hearts of show goers in a way that only this Broadway musical could. It’s truly a wonder there are still people in this world who have yet to witness this phenomenon and these two performers, along with the rest of the cast and crew, prove yet again exactly how much of a sheer necessity attending one of these showings is.

The stage production was absolute masterclass; from the sound design, costume and wardrobe, props, and lighting, every box that could be checked was marked and deserving of five gold stars. The orchestra and ensemble delivered a superb performance alongside the solo performances.

The absolute only thing one could say remotely negative about the entire experience was that the seats were a tad narrow, however that’s only speculation or rather a matter of personal opinion and preference. As far as the musical goes, it was perfect! Marvelous! Genius even!

This showing of Wicked ended with a well deserved and earned three-minute long standing ovation to a performance not to be forgotten. Attendees are sure to remember the performance for years, decades even, to come.

coverage by: isaac luzader

&FASHION FILM

TThere are a handful of fashion designers whose names are essentially household names in America and the rest of the free world. Marc Jacobs is one of those few elite fashion icons who not only has shaped the modern world of fashion and design but has done so with grace and elegance. Turns out he’s very human too, and a good one at that.

Marc by Sofia from A24 studios was shown in a special sneak peak at the Arkansas Museum of Fine Arts and hosted by the Arkansas Cinema Society two days ahead of its March 27 public release. The documentary showcases the fashion designer Marc Jacobs and was directed by American filmmaker and former actress Sofia Coppola.

One of the biggest takeaways from a filmmaker’s standpoint is that the fashion industry and the film industry are often both powerhouses that shape one another. Films shape fashion, just as much as fashion and design shape the filming industry; and this is a point that’s so subtle, one could see this concept entirely overlooked if not caught.

There is quite the cultural impact that the fashion industry has on the world around, and the documentary does a fantastic job of portraying the industry throughout the years. The documentary showcases decades worth of fashion highlights in a beautiful, colorful, and empowering manner.

The film has this way of making Marc feel like an ordinary human being in an extraordinary role as the icon that he is. Jacobs felt relatable as well to feeling like the guy who grew up to be what he dreamed he would be as a child. The idea that dreams can come true becomes less of a fantasy after seeing this fashion icon’s life on display.

The only critiques notable from the film is there were several shots and sequences that absolutely looked like they were filmed on an iPhone or phone camera, not because of image quality: the picture quality was absolutely there. However, the

visuals came from angles and shaking camera movement in shots throughout the film. As well there were a few moments where the camera focus appeared to be set on an auto focus mode where a conversation between Marc Jacobs and other high end fashion designers kept pulling focus to a model’s hair behind them.

Other than a few camera critiques the film was quite enjoyable. Fashion galore, colors abound, and an insightful story into the industry left viewers with an enjoyable experience. Attendees at the sneak preview fashion gave the film a standing ovation along with smiling faces throughout the theater.

A good side note to readers: The Arkansas Cinema Society also noted that they will be having a free course offered to teenage girls ages 16-18 this summer June 8-26th and is free. They will be teaching girls how to film a movie teaching them vital filming techniques and early insight into a growing industry that seeks to have female filmmakers surge within. Which was a nice tie-in for showing a film that was directed by a female director. This documentary absolutely deserves a 9/10!

coverage by: isaac luzader

OOpening night of Stranger Sings! The Parody Musical at the Haslip Theater on April 15, 2026, made a strong first impression as an Arkansas premiere. Introduced by Stacy Pendergraft, the Producing Artistic Director, the production immediately set a lively and enthusiastic tone that carried through the entire evening.

Directed by Caelon Colbert with music direction by Lorissa Mason, the show embraced one defining quality: energy. From the opening moments to the final curtain, the cast maintained a fast-paced, animated presence that kept the audience engaged across both acts.

Structured in two acts with an intermission, the musical leaned heavily into parody, not only of Stranger Things but of broader 1980s pop culture. Clever nods to films like Edward Scissorhands, Beetlejuice, and E.T. The Extra-Terrestrial added layers of humor and nostalgia, giving the audience multiple points of recognition and enjoyment.

isaac luzader

One standout moment came with the song “The Dad I Never Had,” performed in a hospital gown— an unexpected staging choice that made the number especially memorable. It captured a mix of humor and sincerity, showcasing the show’s ability to balance parody with moments that land emotionally. Just before intermission, the ensemble brought a sense of cohesion and excitement to “Happy Ending,” creating a moment of genuine ensemble magic that energized the audience heading into the break.

Following intermission, the production continued to surprise, particularly with an entertaining puppet sequence that added a playful and inventive layer to the show’s staging.

Overall, Stranger Sings! The Parody Musical succeeded as a high-energy, pop-culture-filled production that embraced its absurdity while still delivering standout musical moments. Its Arkansas premiere at UA Little Rock proved to be a lively and entertaining night of theater.

coverage by: val bell-o.

sings STRANGER

REVIEW: STRANGER SINGS! THE PARODY MUSICAL DELIVERS AN ENERGETIC ARKANSAS PREMIERE

at the PROTEST GOVERNER’S

OOn Wednesday, March 11, the capital city had a controversial meeting taking place between the Natural State’s first female governor, Sarah HuckabeeSanders, along with Turning Point USA CEO and the widow of former conservative activist Charlie Kirk, Erika Kirk. The meeting took place at the governor’s mansion and was centered around the implementation of Club America chapters in all public schools and colleges. The news of the controversial meeting spread throughout central Arkansas and found its way to the ears of the opposition.

The Young Democrats of Arkansas quickly rallied against the meeting for the implementation of the right-wing organization having chapters in every public, speaking out against the governor’s unilateral decision without democratic approval from the constituents of the Natural State. They argued that the faith-based political organization should not be forced into schools across the state at the taxpayers’ expense.

Not only did the Young Democrats of Arkansas hold a press conference before the meeting between Gov. Sanders and Erika Kirk, but the democratic organization also organized a protest outside the governor’s mansion in downtown Little Rock. The protest was comprised of many different groups of people, from young to old, men and women, to even people of multiple different races; all standing in solidarity against the governor’s meeting and subsequent decisions going on inside the governor’s mansion.

There were several protesters’ signs that voiced frustration with humor towards Turning Point USA, like a sign that said “FLUSH TPUSA” with a picture of Kirk looking like a baby doll being flushed down a toilet, next to her being held by Vice President JD Vance. There were several protesters’ signs that read “NO TPUSA” as well as one that read “EDUCATION NOT INDOCTRINATION.” Along with the signs, there was also a man dressed in a Department of Corrections jumpsuit costume who was wearing a Donald Trump mask.

Along with the protestors was James “Rus” Russell, III, the Arkansas House Representative democratic nominee for the fourth congressional district, who was at the protest in

support of the Young Democrats of Arkansas. “Arkansas has got enough problems without adding to them. We don’t need to import more problems; we need solutions.” Russell said about Kirk’s presence in the city along with her organization.

Big Poppa Bubbles, a local entertainer, brought bubbles to the protest to give life, love, and some soapy fun to the street outside the governor’s mansion. “It’s just unfair to see that there is just so much unkindness happening in the world. So, we’re gonna double that up, and bubble it up.” Big Poppa Bubbles said before rolling his bubble cart and buckets down to the protestors. He filled the air with massive bubbles before cheers, laughter, and joy erupted from the protestors, along with joyful screams of “Bubbles” from several of the protesters.

A key theme of the protest could be heard in several of their chants. Most notably, the protestors chanted, “We have nothing to lose but our chains. It is our duty to fight for our freedom. It is our duty to win. We must love and support one another. We have nothing to lose but our chains.” The crowd of protestors stood in unison as they chanted this mantra, while news reporters and camera operators filmed from the other side of the street. THV11, PKATV, and KARK were all present to gather the story.

Throughout the meeting, the protesters held their ground in the public spaces and remained peaceful, even with the emotions they had surrounding the events unfolding inside the meeting at the governor’s mansion that would come at the expense of taxpayers.

coverage by: isaac luzader

12 MANSION GOVERNER’S

OFor more than a century, the Rialto Theatre has stood on Main Street, watching Morrilton change around it. This small town is located about an hour outside of Little Rock, Arkansas. The building has weathered new technology and shifting tastes, but it also bears the scars of the Jim Crow era. Long before it became a community arts center, the Rialto’s blueprint was dictated by segregation laws that legally mandated the separation of races. This was made permanent in the brick and mortar through a separate side entrance that led exclusively to the balcony, the only place where Black patrons were permitted to sit.

Former director and longtime Rialto volunteer Casey Myers said the segregation-era architecture is still clearly visible today. According to Myers, Black patrons had to access the balcony through exterior stairs that still line the building. “They came up those said stairs that are there from the outside,” she said. “And there were people that would come up, y’know, the police would come up, and they would take the people down and best them.”

Myers said the segregation extended beyond seating and into violence tied to the alley behind the theater. “There were people that would come, you know, police would come up and drag people out of there and take them into the alley and beat them,” she said.

That alley, often referred to locally as “Death Alley,” carries a history that predates the theater’s current incarnation.

“They would, you know, serve food out of there and everything,” Myers said. “And they would, you know, people were killed back there because they were beggars and vagrants and homeless people and, you know, people would die back there because they drank themselves to death.”

Sharon Clarkson helps guide the Rialto’s future as a board member for the Arts Council of Conway County, but she is equally committed to acknowledging its history. Even as she manages new performances, Clarkson alludes to the era of legal segregation that once defined the theater, viewing the preservation of that history as an essential part of the building’s identity in 2026.

“I think there have been documentaries and information given out,” Clarkson said. “I don’t know that that’s something that they want to discuss necessarily. It is a touchy subject.”

Clarkson said, acknowledging that history requires care. “You still have to be sensitive,” she said. “It doesn’t matter what age, because you can see racism everywhere, even today.” She said the Rialto today feels different. “Yeah, but for the most part, people seem to get along well here,” she said. “Everybody is welcome.”

The Rialto’s history stretches back even further than its days as a movie theater. According to Myers, the building served several purposes before ever showing films. “So when the Rialto was not the Rialto,” Myers said. “It first started out as the town; it was the embalmers. It was the town where the bodies were taken. The funeral home.”

She said that the gallery next to the theater once served a grim but practical role. “They made furniture, and they would make coffins,” Myers said.

Over time, the building evolved into a cafeteria, then a small Nickelodeon-style space where children could watch short films and buy candy. “So that’s when it started becoming kind of theatrical,” Myers said.

Former Morrilton Mayor Stewart Nelson, who served the city for 16 years, said the Rialto building, familiar to residents today, “was constructed in the early 1950s.”

The block was a skeleton of its former self. Faded signage for Massy Hardware hung precariously to the west, while a cramped shoe repair shop anchored the eastern corner. Between them, the windows of a defunct grocery store were piled high with yellowing monitors and tangled cables.

“The block contained Massy Hardware store to the west and a show repair store to the east,” Nelson said. “There was a closed grocery store/computer junk store and a donut store on the corner, all of which were in poor condition.”

The Rialto remained active for years. “As late as the 1970s, the Rialto was a gathering place for local young people to hang out on the weekend,” Nelson said. “It was a single-screen movie theater showing the latest movies.”

As movie-going habits changed, the Rialto struggled to adapt. “As time went by, the show repair store became a secondhand store, which continued for a while, then closed. The donut store closed sometime later,” Nelson said. “The attendance went down at the theater and the owners, hoping to save

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converted it to a three-screen theater with the floor split two screens and the balcony made into an additional screen.”

The effort came too late. “Not long after that, the theater closed, and the marquee on the front of the building fell and hauled off by the city,” Nelson said.

By the mid-1990s, the Rialto had reached what Nelson described as its lowest point. “The owners of the building donated it to the city of Morrilton, with the idea that it would be torn down and used as a parking lot near a church was located in an old department store,” he said. “The building had gone down as far as it could.”

Nelson had been on the job for scarcely twenty-four hours when everything changed. On the morning of January 1995, his second day in office, the quiet of his new routine shattered.

Nelson’s second day as Mayor began with an unexpected phone call. On the morning of January 2, 1995, the Chamber Commerce manager reached out with a plea for the old theater building, questioning why the city planned to tear it down. Curious, Nelson met him at the site. Armed only with flashlights, the two men navigated the dark, dusty interior. the end of the tour, Nelson was convinced: the building possibilities.

The timing was providential. A local theater group had recently been displaced from the school stage, leaving them with no venue for their programs. With a derelict building in need of a purpose and a troupe in need of a home, the path forward began to clear.

“One of the members of the group was Lindel Roberts, worked for the local South Conway School System,” he said. “I gave Lindel a call after I left the building and offered the group. Lindel gave me a big, loud yes.”

The agreement came together quickly. “The stipulations were that the building would be repaired and used,” Nelson said. “The city would retain ownership and would offer some financial aid, and would provide insurance on the structure would give them a 50-year lease.”

“The Morrilton City Council approved the arrangement,” said. “So, except for the approval of the deal by the Council, the birth of the new Rialto was set in about two hours on the morning of January 2, 1995.”

Volunteers transformed the abandoned structure into a functioning performance space.

The transformation of the Rialto wasn’t a line item in a budget; it was a labor of love fueled by a community refused to let the walls crumble. As Nelson watched progress, he realized the city alone never could have matched the sheer force of local spirit. “The amount of volunteer work and donations that went into the building was exceptional,” he noted, admitting that the city simply wouldn’t have been able to accomplish what the volunteers did.

Over the years, the Rialto’s footprint grew, swallowing up the relics of the old block. The space once occupied by the dusty hardware store was gutted and reborn as a modern event location, complete with a full kitchen.

Even the backstage area evolved, with the two separate buildings now seamlessly connected by a suite of dressing rooms.

“The donut shop, which is not part of the Rialto, has been completely repaired, and I believe it is going to be made into living quarters,” Nelson said.

Today, the Rialto Theatre is owned by the city of Morrilton and leased to the Conway County Arts Council for a symbolic dollar. The Arts Council remains entirely volunteer-run.

“We do a lot of the fundraising aspects of it, but we also manage what happens in the theater and what happens in that gallery,” said Kristi Strain, president of the Arts Council of Conway County. Because the organization is entirely volunteer-run, those duties often overlap; the same person hanging a new art exhibit or writing a grant proposal might spend the evening operating the microphones or working the concessions stand. “Because we’re a totally volunteer organization, a lot of us take on a lot of different roles,” Strain added.

“There are a lot of people who look at this place as a second home. The Rialto was a good way to escape,” said Jesse Burgener, who has written and performed multiple original shows at the theater. For the local cast and crew, the theater is a sanctuary where they spend their Friday nights painting backdrops or gathering in the wings long after the house lights have gone down. It is a space where friendships are forged over long rehearsals and the community finds a sense of belonging that extends far beyond the stage.

Sound and acoustics remain a challenge in a building originally designed for film.

“The acoustics are really designed more for a movie theater than for a live theater,” said Bill Holt, an actor and music director at the Rialto. “So while it works pretty well in here, it’s not designed for it. The sound system has to compensate for that, and that’s easier said than done sometimes.”

The Rialto’s history as a cinema is written into its walls, often creating a hurdle for live performers. Notes that should soar can sometimes feel muffled or flat, trapped by a layout that wasn’t built for unamplified voices.

Beyond performances, Nelson said the Rialto’s revival reshaped downtown Morrilton.

The Rialto’s revival acted as a beacon for the rest of Morrilton’s downtown, sparking a chain reaction of restoration among neighbors who had long let their storefronts languish. Seeing the theater’s neon-lit inspired property owners along Broadway and Commerce Streets to peel back the boards and repair their brickwork. However, the success in Morrilton also served as a bittersweet reminder for those who had already lost their history.

“The work at the theater has inspired other owners and new owners of downtown buildings to repair their buildings,” Nelson said. He noted that while local neighbors were finding new life for their spaces, visitors from other towns often looked on with regret. “Other communities have been inspired to do something with their old theaters, and some have cried because they made theirs into parking lots.”

That influence continues today. The marquee, once

discarded, was later recovered and restored.

“And they actually had to get the marquee from the dump because they knew it was there. It was just sitting at the dump,” Clarkson said. “And so they brought it back from the dump, had it renovated, and put it back on the building.”

The theater’s marquee remains a stubborn relic of the past, resisting the glow of modern digital screens in favor of manual labor. Over the decades, the original alphabet has thinned out, leaving the council to scramble whenever a show title requires a high-frequency letter like a ‘T’ or a wide-set ‘W.’

“It’s not digital. It’s still hard done with letters that we can’t find anymore,” Kristi Strain said. “We’ve had to look to our local EAST class for Morrilton High School to help us create new letters for it. They’re doing that with a 3-D printer. That sounds crazy.”

The work behind the scenes has been extensive. Theresa Paladino, a board member with the Arts Council of Conway County who has worked at the Rialto since 1995, said the early conditions were challenging.

Volunteers like Paladino were nothing if not ambitious, determined to use every inch of the building to fundraise, even with an electrical system barely capable of handling a single lightbulb. In the early days, they set up an improvised kitchen corner intended to serve food for events.

“The kitchen area was nothing but two black cords hanging from the ceiling,” Paladino said. “We had roasters hooked up and blew out the circuit breakers, so we knew from that point on we had to have something done if we were going to run a successful event venue.” The sudden darkness served as a comical but frustrating reminder of how much work remained to transform a derelict hardware store into a functional community space.

“The back area where the dressing rooms are now was a dirt floor. People do not realize that,” she said. “But when we purchased the gallery building, you would walk out to where the kitchen is now, and it was a six-foot drop to a dirt floor.”

That space has since been fully renovated, supported by grants and years of fundraising, and is now one of the most active areas of the building. With age has come legend.

“Well, there are two children who run through there,” Clarkson said. “According to Miss Theresa, I’ve never seen them. She swears they’re there, and she isn’t allowed to compliment herself at night because she swears they throw things at her.”

Myers, however, said she has experienced unexplained activity repeatedly during her years inside the building. “I’ve had the ghost play with my hair,” Myers said.

She claims that the balcony remains the most intense spaces. “You feel watched from up in the balcony all the time,” Myers said. “Especially when you go up to that balcony. You feel like somebody is watching you.”

One night, she said, fear finally overtook familiarity. “The knocking started,” Myers said. “It came from the back. It came over the stage, and it got right up over the top of me while I was sitting in the front row.

She left the building and waited outside. “That’s the only time I’ve really been scared,” she said. “Because it was like it knew where I was.”

Despite the stories, Myers said the presence inside the Rialto has never felt malicious. “They’re theater ghosts,” she said. “They love the laughter.”

Clarkson remains skeptical. “And I’m from New Orleans,” she said. “I believe in my ghosts. But I haven’t seen any here.”

Despite the stories, the Rialto continues to draw people together.

“And it just brings the family, the theater family, closer together with those that work not only the front of the house, but those that are on stage,” Paladino said.

“You’d see people who didn’t know each other at the beginning of a play,” Clarkson said. “And by the end, they were all getting along. It’s amazing.”

Today, the Rialto Theatre remains both a preserved landmark and a working space. “This community is truly blessed to have it and to keep the doors open by everyone’s support coming out to our productions,” Paladino said. “ The Rialto is a downtown necessity. It really is.”

The Rialto was once just one link in a chain of theaters that spanned the state, most of which have long since been ground into dust and paved over. In Morrilton, the neon still hums, but it serves as more than just a landmark; it is a living defiance of the wrecking ball. This matters because a town without its history is a town without a pulse. If not for a few flickering flashlights on a cold January morning, this community would be left with nothing but an empty patch of asphalt and the memory of what used to be. The Rialto stands as proof that a city’s soul is found in its refusal to let the past be paved over. coverage by: emma bertram

sga

sga BANQUET

OSTUDENT GOVERNMENT AWARDS BANQUET 2026

The Student Government Association Awards Banquet took place on April 23, 2026, at the Bailey Alumni Center, bringing together student leaders, faculty, and guests to celebrate a year of service and achievement. The event began at 5:00 p.m. and served as a culminating moment for the 2025–2026 academic year, highlighting the dedication and impact of SGA members.

A central feature of the evening was the keynote address delivered by VP Parker, the father of Xavier Parker, an alumnus of UA Little Rock and a former Student Government Association member as well as Graduate Student Association President. Drawing from his own experiences in student leadership, he encouraged attendees to think beyond short-term success and instead focus on lasting impact.

His message, “create a movement, not a moment,” resonated throughout the room. He challenged students with thoughtprovoking questions about leadership and purpose, asking, “How are you running the race?” He urged attendees to reflect on whether their efforts are centered on immediate wins or on building sustained momentum that can influence future generations.

The banquet also recognized the hard work of SGA senators and executive members, with numerous awards presented for outstanding service, leadership, and contributions throughout the academic year. Each honoree represented the commitment and passion that drive the organization’s mission.

Overall, the evening was both a celebration and a call to action, inspiring student leaders to carry forward the values of dedication, perseverance, and meaningful change.

coverage

by: val bell-o.

easter I AM DRAMA

TThe I AM Easter Drama, presented by First Pentecostal Church of North Little Rock, was a moving and powerful portrayal of the Easter story that captured both the heart and spirit of its audience. With a well-crafted script and thoughtful direction from its Pastor Nathan Holmes, the production brought to life the passion, sacrifice, and resurrection of Jesus Christ in a way that was accessible to all ages.

Sharayah Wallace, an Ouachita Baptist University graduate who majored in Musical Theater, stood out in her dual roles, portraying the Woman at the Well in the Saturday afternoon performance with heartfelt authenticity. She also showcased her musical talents by leading a solo and adlibbing during the song in the Miracles scene on Saturday evening, adding spontaneous emotion that deeply resonated with the audience. After the performances, Sharayah graciously answered questions about the many participants involved in the production and shared insights into how the entire drama came together, highlighting the dedication and collaborative spirit of the church community.

One of the unique and memorable aspects of the drama was the inclusion of live animals, which added a special layer of realism and charm to the storytelling. The production featured a donkey, camels, sheep, baby lambs, and Bilo the goat, all rented from Janice Griffin & Cockrill’s Country Critters. Additionally, chickens were provided as a courtesy from The Looper Family, further enhancing the authenticity and delighting the audience.

Throughout the performance, there were also living pictures—still scenes carefully staged to replicate the great paintings of the Renaissance (14th-17th centuries) and Baroque (17th and 18th centuries) periods. The creative team’s dream was to bring to life the artistic style and elements of the Old Masters such as Michelangelo, Leonardo da Vinci, Titian, Rembrandt, Rubens, and Caravaggio. These living tableaux offered a visually breathtaking tribute to these masters and enriched the spiritual and artistic depth of the production.

The production’s history adds layers of meaning: I AM began as an annual event in 2014 and continued each year until 2018. The 2020 production was

cancelled due to COVID-19, but the drama now continues as a biennial event, maintaining its place as a highly anticipated community highlight.

Innovative special effects and attention to detail further elevated the production. The soldiers carried real electric torches, which were lit behind the stage or out in the foyer before entering the sanctuary, enhancing the atmosphere with authentic lighting. During the miracle scene involving the two fish and five loaves of bread, a mechanical plate lifted the fish inside baskets, creating the stunning illusion of fish multiplying before the audience’s eyes. At the tomb scene, a hologram portrayed the risen Jesus standing at the tomb, robed in white, providing a breathtaking and modern visual representation of the resurrection.

With a cast of 1,000 performers and over 18,000 tickets sold this year, I AM Easter Drama demonstrated not only the church’s deep commitment but also the broad community support and enthusiasm.

All of the actors demonstrated great commitment, delivering their lines with sincerity and emotion that made the story feel both personal and profound. Particularly noteworthy was the portrayal of Jesus, whose presence on stage was both commanding and compassionate, drawing viewers deeply into the narrative.

The set design was simple yet effective, enhancing the storytelling without overwhelming it. Lighting and sound effects were used skillfully to set the mood for various scenes, from moments of solemn reflection to triumphant celebration.

The production also included moments of heartfelt worship through music, which beautifully complemented the drama and offered a time for audience reflection. The involvement of the church community was evident, creating a warm and inviting atmosphere that made the experience feel inclusive and uplifting.

Overall, I AM Easter Drama was a touching reminder of the Easter message of hope and redemption. It served as both a meaningful spiritual experience and an impressive artistic effort by the First Pentecostal Church of North Little Rock, leaving the audience inspired and grateful. coverage by: val bell-o.

photos

REVIEW OF I

AM

EASTER DRAMA PRESENTED BY FIRST PENTECOSTAL CHURCH OF NORTH LITTLE ROCK

GOLF classic G

JUSTIN MOORE GOLF CLASSIC RAISES RECORD BREAKING

$700K+ FOR ST. JUDE’S 2026 EDT.

TThe University of Arkansas at Little Rock’s Student Government Association was able to get free concert tickets for the sixth annual Saint Jude’s Justin Moore Golf Classic event sponsored by the Winrock Automotive and held at the Jack Stephen’s Center Sunday, April 19. During the event there was a silent auction, as well as a live auction. An acoustic performance by country music star Justin Moore was held after the live auction as well where surprise special guest Brantley Gilbert came out and joined the performance.

The air was filled with a spirit of love, hope, and giving as the auction raised a record-breaking $706,545 to give to Saint Jude’s for childhood cancer research and treatment. The auction included multiple signed guitars by both Moore and Gilbert, several golfing excursion packages, some of Cecil’s fine jewelry, and fine dining packages.

The music was fun and lively, while the food and drinks were exquisite. Even at the concert only attendees were given access to a free open bar where they could enjoy several alcoholic and nonalcoholic beverages. Most enjoyable though was the excitement during the auction seeing hundreds of thousands of dollars being donated to help save the lives of children in desperate need of medical intervention and life saving treatment.

coverage by: isaac luzader

S michael

Seeing the movie felt like visiting an old friend I’d missed deeply. I grew up watching Michael on TV, reading about him, and listening to his music. This biopic took me down memory lane.

Michael Jackson was a phenomenon. His influence on pop music will never be forgotten and will live on forever in our minds and hearts. Those who loved him felt like they knew him. So to watch the progression throughout the years of his life on the big screen was just like a simultaneous reflection of where I was, what I was doing, and how I felt during those prominent points in his life’s story.

Watching the dynamics of his relationship with his father and mother was a visual of things we’ve always heard and read acted out on screen. To think about the fact that Michael felt intimidated by his father (played by Colman Domingo), but felt comfort and support from his mother. Nia Long’s portrayal of “Mother” (Katherine Jackson) was very impressive, as was Larenz Tate’s depiction of Berry Gordy.

All in all, I feel like this movie was very well put together by the director, Antoine Fuqua.

As I sat watching his life unfold onscreen, I was able to reflect on how I felt about every single song he released when I was a teenager (and before). In high school, I was singing “Ben” while a high school band member named Ben accompanied my singing on the piano on stage in the Mumford High School auditorium, with just us there alone.

The joy of listening and dancing to his songs when I was a teenager will always be a poignant memory. I think “PYT (pretty young thing) ” was one of my favorite songs to dance to in the privacy of my bedroom. I guess you can say that he was my superstar crush, but in my teenage heart, he was so much more. If given the chance, I would have married him. That’s how much I loved Michael Jackson.

When Michael’s hair caught on fire during the filming of the Pepsi commercial, I remember rushing down the stairs at my home in Detroit, Michigan, on 12608 Wyoming after hearing about it on the radio. I was crying hysterically, as if he were one of my own family members, and my father had to calm me down, saying that he wasn’t dying and that he would be alright.

20

A REVIEW OF MICHAEL FROM A PERSONAL PERSPECTIVE

Back to the movie, Michael’s nephew Jaafar Jackson embodied the spirit of his uncle in his mannerisms and dance moves. He was very believable in bringing out Michael’s heart for his family, but also for his fans. To think about the normal things he had to deal with, such as his skin condition, vitiligo, but as a famous person always out in the spotlight, and then the 3rd degree burns he had from the accident, and the pain medicine he had to be on to cope with the nerve damage for who knows how long; maybe for the rest of his lifetime.

I was kinda bracing myself for the controversial witch hunt that happened in the early 90’s, so I am kinda glad that the movie didn’t go into it. This movie honored his legacy. I, for one, will always believe that Michael was innocent. I held onto that belief the whole time before he died.

When he died, I was at work at a collections company. The news spread like wildfire on the call floor. I could not bring myself to believe what I was hearing until I went home, turned on the television, and watched it for myself. When I realized that it was true, I went into mourning for at least two weeks straight. I cried nonstop for hours that first day.

My father called me from North Carolina because he knew how much Michael meant to me. He knew that I would be mortified and inconsolable, but he did his very best to comfort me. All of these emotions washed over me afresh while sitting there watching this movie.

At the end, there was joy in listening to the familiar strains of his voice, remembering his passion. I even danced while the credits rolled on the screen, but then I had to leave. As I left the theater, the tears started rolling again. It still hurts my heart that he is not here, but I will always celebrate his legacy.

I will always remember the mark he left on this world, the music industry, and how much of an inspiration he was. I recommend all those who grew up in his era to go see this movie.

It was worth watching, and I look forward to watching it again and again.

W photo JOURNALING BY A JOURNALIST

T“The Line Between Beautiful Freedom & Cold Hard Walls” – Week Eight on Danger

This week’s photo journal took a bit more thought to accomplish to truly captivate the feeling of danger in my eyes. I wanted to meet all my set parameters and needed a good ole fashion light in a place that screams dangerous, and not only to myself but the general consensus would need to agree.

The lightbulb went off in my head that the Pulaski County Detention Center was old, had old lights on the exterior wall, and houses some of the most dangerous individuals in the area. The location, subject, and photo would all

straddle that line of danger.

I needed to plan this one out preciously and I needed to ensure I was not committing a crime by photographing the jail. As long as I stayed on public property, I would be in my legal rights to photograph the facility. So, I got on location, got real nervous cause there’s the most unsavory of folks walking around inebriated, angry, and screaming aloud in the area already, not including the recently freed inmates walking about out from jail.

I got really low to the ground on the sidewalk with the most interesting angle I could get of this wall with all these tiny 6x6 windows lit up and held a long exposure shot to get a good shot of the brick wall, and barbed wire fence. I had my phone

literally on the line of a legal shot with this so taking the picture alone was pushing it.

That’s not to even mention the idea of the danger held behind those wires and walls.

I know I’m not alone in my feelings that the place is the epitome of danger and the last place I’d want to find myself.

coverage by: isaac luzader

“Wonderful Nature”Week Nine On Wonder

This week may have very well been my best work in this line of weekly photo journals as I read the prompt of getting a photo that invoked the feeling of wonder, while needing to be daylight balanced and an extreme close-up. As we’re reaching the pinnacle of spring bloom age, I wanted to work with some macro flower photography.

This photo took quite a bit of technical work, and gear. I found some ND filters for the Canon R100 I used here and knew they would help bring some balance

on the lighting for this photograph. My granny loves azaleas and she used to have a beautiful azalea bush outside her front porch, but she tore it down earlier this year.

I happen to know of a spot in the city at Baptist Health Hospital outside in a garden break area on the Northeastern corner that has the most beautiful white and pink Azaleas, so I had my subject. With the ND filters on I was able to get a good daylight balanced photo here while getting up close with my lens and getting the shot. I had to make some slight adjustments on shutter speed and ISO to get the color

T“Things are Looking Up” Bye-Week on Perspective. This week was a bye-week for me, however I felt it imperative to continue my weekly photo journal for self improvement. I had this idea of a perspective shot and accomplished the shot of me standing next to the tallest building in our state by working the angle with my phone. I used a timer to be able to get a good steady and clean shot holding my phone pointing up to the top of the tower.

The idea is supposed to be a perspective of self worth and value. Do I see myself being dwarfed by this massive structure? Or do I see myself standing tall next to an architectural monument? The idea is what is my perspective of me, has the image and the idea made me larger than life or put me in place? I want the answer to be subjective, so I will not give it to you. I will allow you to draw your own conclusions.

There were a few things here I was quite happy with. The tree branches above got exceptional rim lighting from the sun, and I think the angles worked

Scoverage by: isaac luzader

for My azaleas have she earlier know city in area Northeastern the white subject. filters get here lens shot. some adjustments and color balanced. If you look into the petals, you can see there is this almost glistening effect the pedal is doing bouncing off the light from the sun in it. There’s texture to the flower and I’m so happy with this photograph, my words cannot express the feeling. My hope this week is that this photograph speaks for itself, and that you find it as pleasing to look at as I do.

“Still Fighting The Good Fight” - Week Ten on Exhaustion To me this picture speaks measures to where we are as a country, where we have been, and where we still have to go. For decades and generations people have fought for the pursuit of happiness and equality in the land of the free. This commemorative set of statues representing the “Little Rock Nine” stands as a testimony to the ever-going struggles of African Americans in our society. We live in a day and age where people are tired of racism, worn down over decades of hatred and bigotry.

Yet here this nine stand before the Capital of our state, yet still on the outside, still dwarfed by the system that keeps them oppressed. Their struggle evokes the feeling of exhaustion more to me than anything else I can see in this city of ours.

As far as finding the right angle, time, and lighting that part was easy. I knew the location would have multiple lighting sources with varied color temps in all. At the top of the capitol towards the bottom of the dome there are lights hitting upwards of 50000K which simulates daylight lighting, while the lights in the window hit down towards the lower end of the 3000K hitting the tungsten lighting. Not to mention the way the lights around the sculptures cast light off them giving a mixture of the bits.

I feel this was a fantastic way to end the photo journal project and I have full plans to continue doing a weekly photo journal on my own behalf finding my own ideas to capture and write about. So creativity with this shall ensue

coverage by: isaac luzader

so much better than I anticipated. To be frank this is one of my favorite photographs I’ve ever taken. I’m quite proud of this, and I’m happy with the concept that it represents at the same time.

coverage by: isaac luzader

CONTRIBUTION

connect WITH FORUM instagram: facebook: twitter: @ualittlerockforum

rian newman executive editor

emma singleton head editor & designer

emma bertram. writer isaac luzader photographer & writer

daniel breen advisor