Arts + Entertainment 11.14.24

< SARASOTA OPERA: Reviving a long love affair with the Italian composer Verdi by way of fall concerts. 3

BLACK TIE INSIDE:

SOIRÉE

ON THE BAY: New College Clambake delights with evening on the bay 7 >

ARTS + ENTERTAINMENT

GREEN & GROOVY

The Ringling celebrates the environment with its free, funky SunHAT Eco Performance Fest.

MONICA ROMAN GAGNIER

ARTS + ENTERTAINMENT EDITOR

The Ringling Museum, filled with Renaissance art and a jewelbox theater plucked from an Italian palace in Asolo, was built by a man who accumulated his wealth by bringing clowns, acrobats and “trained” wild animals to the masses.

When John Ringling died in 1936, he left his art treasures and his Ca d’Zan mansion to the state of Florida. His will specified that visitors could come for free one day a week. (It’s Monday, if you don’t know.)

As The Ringling prepares to host its first SunHAT Eco Performance Fest (try saying that three times fast), somewhere, John Ringling is smiling. Why? Because the festival continues Ringling’s legacy of mixing high and low entertainment that he championed at his circus with ringmasters in tuxes, aerialists in sequins and elephants dancing a ballet choreographed by George Balanchine.

Despite his appetite for cultured collectibles and living well, Ringling was a man of the people. He understood how to bring everybody together in the same tent with a bawdy, brash and beautiful show. His estate plan recognized that even though everyone wants to see art, not everyone can afford it.

With that in mind, Elizabeth Doud, The Ringling’s Currie-Kohlmann Curator of Performance, has persuaded the bigwigs at the museum to foot the bill for a pay-whatyou-wish festival. Here’s the fine print: There’s a 99-cent processing fee when you buy tickets online and donations are encouraged.

So what is a SunHAT Eco Performance Fest anyway? In marketing materials, Doud calls SunHAT (for The Ringling’s Historic Asolo Theater) “SPF for the times ahead.” More on that later.

Think of the monthly Ringling Underground on Friday nights during season ($15; free for students with ID). Cross it with a fringe festival. Add Miracle-Gro (yeah, that’s not kosher in environmental circles) and watch it pop up, literally overnight. Kind of like mushrooms.

MAD ABOUT MUSHROOMS

Speaking of champignons and their cousins, choreographer John Heginbotham will host a Mushroom Dinner during the festival that will be presided over by chef Leonardo Pileggi. That event costs real money

($75), but it will give diners a taste of plant-based cuisine, by way of Sarasota’s Petrichor Mushrooms urban farm, and includes a talkbalk with Heginbotham.

The real mushroom extravaganza is a performance by Heginbotham’s dance troupe called “You Look Like a Fun Guy.” Like a fungi — get it?

You don’t have to like mushrooms to enjoy the show celebrating the miraculous powers of you-knowwhat. If you haven’t already, sign up for this show now because it’s on the

SEE ECO FEST, PAGE 2

IF YOU GO SUNHAT ECO PERFORMANCE FEST When: Nov. 13-18

Where: The Ringling, 5401 Bay Shore Road

Celebrate the power of mushrooms with “You Look Like a Fun Guy,” an outdoor dance and theater extravaganza on Nov. 13-14 at The Ringling’s SunHAT Eco Performance Fest.

radar of dance aficionados.

“Fun Guy” traces its origins to avant-garde composer John Cage’s encyclopaedic knowledge of the fast-growing fungi, which helped him win an Italian game show. He used his prize money to help support the Merce Cunningham Dance Company.

Before starting his own eponymous company, Heginbotham spent 14 years as a dancer with Mark Morris Dance Company. The Juilliard grad won a MacArthur Foundation “genius” grant in 2018. Since then, Heginbotham has made a name for himself with bold, energetic and humorous works.

It’s hard to take a lighthearted approach to a serious topic like climate change in a community that has suffered three hurricanes this season, two of which wrecked people’s homes and businesses. When Doud was planning her eco fest a year ago, she didn’t know it was going hit so close to home.

But comedy and tragedy often exist side by side. Anyone who has spent time with first responders, cops reporters and forensic pathologists

knows they have their own twisted sense of humor. Turns out laughing in the face of death is an effective coping mechanism. It’s also said to help ward off the Devil if he comes calling.

LAUGHING ALL THE WAY

Nevertheless, it takes a special kind of artist to make disaster or war the subject of laughter. But “gallows humor” was a success on TV’s “Hogan’s Heroes” and on the big screen with “Life is Beautiful,” Italian comedian Roberto Benigni’s Oscar-winning “comedy/drama” about the Holocaust. Musicians have also tried their hand at making light of disaster. When Prince released “Party Like It’s 1999” in 1982, everyone knew it was about the end of the world (“Life is just a party and parties weren’t meant to last”). But the year in the song seemed far away at the time. When the Millennium finally arrived and a widely predicted computer armageddon didn’t happen, we all breathed a sigh of relief. Y2K was dismissed as another media ploy to grab eyeballs. But it doesn’t look like we’re going to escape the ravages of climate

change so easily. That ole’ Seminole magic that kept Sarasota safe for a century didn’t protect us this time. How do you get people weary from cleaning up and facing financial losses to laugh about a rapidly warming climate that has the potential to cook us like lobsters? How do you teach them about less intrusive ways of living — plant-based diets, biking and walking instead of driving, etc. — and protecting themselves from harmful solar rays with a hat, or in this case a SunHAT?

TAKING A QUIRKY, FUN APPROACH

When Doud joined The Ringling in 2019, she set about rebranding the Historic Asolo Theater as the HAT. The venue’s logo now features a pink flamingo wearing with an elegant top hat. That quirky, fun approach informs her programming as well.

Doud knows something about “eco performance fests” as a genre. Before joining The Ringling, she had an ecoperformance laboratory called The Mermaid Tear Factory that toured in Brazil, Cuba, and South Florida during 2015-2018.

What’s her recipe? Scour the globe as well as your own backyard for talented artists who tackle uncomfort-

able topics in a fresh, fun way.

As an example, look no further than SunHat Eco Fest performers Compagnie Zolobe. The three clowns generate a bucketful of laughs in their slapstick efforts to drink a cup of water. Their show is called “Sakasaka,” which means water in Malagasy, the language spoken in their homeland of Madagascar. In case you haven’t heard, H2O is in short supply in some places around the globe.

“With The Ringling’s circus heritage, clowns are a perfect fit for us,” Doud says. When performers use their bodies to convey a message, there’s no language barrier for the audience, she notes.

Another strategy: If you’re trying to reach people who might not normally go to The Ringling, present artists who speak their language and exude a hip vibe. Veganism and hip-hop aren’t things you’d normally put in the same basket. But DJ Kavem does.

Kavem is the star of the SunHAT EcoFest Party on Thursday, Nov. 14. He coined the term “eco-hip-hop” back in 2007 and has been using rap to spread his gospel of climate change, food justice and plant-based foods ever since.

Heginbotham Dance, Compagnie Zolobe and DJ Kavem are just three acts in a fun-filled festival that will feature a keynote address by fringe fest “goddess” Moira Finucane. There’s also more serious fare, like a talk by herbalist Bob Linde on the edible and medicinal landscape.

IS IT MORE FUN IF IT’S FREE?

Despite the panoply of performers, not everyone’s going to get the joke. When the French-Canadian revue LaFamille Goldencrust came for The HAT’s 2023-24 season, some spectators seemed baffled by the snowbirds’ campy circus acts. Maybe the reaction would have been different if the show was free. By making The Ringling’s eco fest pay-what-you-wish, Doud hopes to learn more about what makes Sarasota audiences tick — and laugh. Humor is tricky. People are easily offended, and these are not the best of times. But they are not the worst of times, either. We can still laugh, dance and sing as we learn to protect our precious natural resources.

AND HISTORICAL

November Literary Celebration

Featuring bestselling authors, writing workshops, book signings and more at all Sarasota County Libraries locations.

Curtis Sittenfeld "Prep" Saturday, Nov. 16 | 3 p.m. Selby Library

Short story writer, novelist and bestselling author of “Prep,” “American Wife” and “Romantic Comedy. “

Kirsten Hines "Wild Florida" Monday, Nov. 18 | 6 p.m. | Gulf Gate Library

Wildlife photographer, conservationist and author of “Birds of Florida,” and “Wild Florida.”

Roy Peter Clark "Tell it Like it Is" Wednesday, Nov. 20 | 6 p.m. | Fruitville Library

With 30+ years experience, America’s writing coach offers workshops to inspire and empower writers.

John Fowler "A Forest in the Clouds" Thursday, Nov. 21 | 3 p.m. | Gulf Gate Library

Fowler’s firsthand experience explores life at Dr. Dian Fossey’s remote gorilla camp before her tragic death.

Visit OffThePageFL.org or call 311 of 941-861-1110

Rediscovering Verdi’s verve

Sarasota Opera revives its fall concerts showcasing the prolific Italian composer.

MONICA ROMAN GAGNIER

ARTS + ENTERTAINMENT EDITOR

It’s a small world indeed for fans of Giuseppe Verdi. When The New York Times ran a story on Nov. 2 about an exclusive Italian society dedicated to the Italian composer, Sarasota Opera General Director Richard Russell got the news by text from the president of Club dei 27.

Russell wasn’t surprised to receive the text because the Sarasota Opera and Parma-based Club dei 27 have engaged in friendly cultural exchanges over the years because of the opera’s dedication to Verdi under the leadership of Maestro Victor DeRenzi.

The Sarasota Opera is the only company in the world to have performed all of Verdi’s music. The opera began its 28-year Verdi voyage in 1989 with “Rigoletto.” It completed the Verdi Cycle in 2016 with “Aida” and “The Battle of Legnano.” Russell credits the achievement of the Verdi Cycle to DeRenzi, who has spent more than four decades as artistic director and principal conductor of the Sarasota Opera. “It’s all due to Maestro DeRenzi,” he says. In addition to performing fullscale productions of Verdi operas over the years, the Sarasota Opera also holds concerts of the Italian composer’s music. Last year, the company skipped this tradition in favor of a Puccini show, but this year, it’s renewing its vows to Verdi.

On Nov. 15 and 17, artists from the Sarasota Opera will be joined by the Sarasota Orchestra, which will be conducted by DeRenzi, for a concert of selections from Verdi operas.

Sopranos Rochelle Bard and Virginia Mims, tenor Victor Starsky, baritone Jean Carlos Rodriguez and

VERDI

When:

Where:

Tickets: $35-$105

Info:

bass Young Bok Kim will perform songs from “Aida,” “La traviata,” “Un ballo in maschera,” “Attila,” “La forza del destino” “Rigoletto” and other Verdi operas.

Why does Verdi inspire such love among opera aficionados? To begin with, he lived a long time (87 years) and was quite prolific. Verdi was born on Oct. 10, 1813, to a family of smallland owners and traders, which he later romanticized as peasants.

During his lifetime, which lasted until 1901, he wrote 26 or 27 operas (don’t ask), earning himself the nickname the “Shakespeare of opera.”

Verdi himself was a fan of The Bard. He wrote two operas based on Shakespeare works — “Otello” (“Othello”) and “Falstaff” (“The Merry Wives of Windsor”).

In its article on the Verdi club, the New York Times traced the evolution of the all-male Club dei 27, which gathers each year on Verdi’s birthday to toast him. The ban on female members and the 27-member limit is a source of irritation for some wannabe members of the club, the Times noted.

“From its roots in 1958, when a bunch of Verdi groupies met in a modest panino shop, the club has grown into an established fraternity that hobnobs with A-list conductors and opera singers,” the article said.

Among those A-listers are DeRenzi and Russell, who is in his 13th season as general director and previously served as marketing director from 2005-10. Russell’s relationship with Sarasota Opera dates back to 1989,

when he began a four-year stint as a tenor with the company.

According to Russell, the Sarasota Opera was introduced to Club dei 27 by a man who was developing a documentary on the club whose mother lives in Sarasota.

A REAL-LIFE ‘KING FOR A DAY’ IN SARASOTA

“As a result of that introduction, some club members, including the president, came from Italy to see our production of a rare Verdi opera called ‘King for A Day’ in 2013,” he recalled in a recent interview in the Sarasota Opera’s courtyard . Each member of Club dei 27 has a nickname based on their favorite character in a Verdi opera. The monicker of the club’s president, Enzo Petrolini, is “Un Giorno di Regno” after the Verdi opera “King for a Day.” Petrolini returned to Florida when the Sarasota Opera ended its Verdi Cycle in 2016. “In the meantime, we did a patron trip in 2015 to Italy and went to visit them in their clubhouse in Parma,” Russell said.

Traveling on that trip to the heart of Verdi country were Russell, DeRenzi and about 20 Sarasota Opera patrons. At a wine and cheese reception for the visitors from Sarasota, members of the club sang “Va Pensiero,” a chorus from Verdi’s opera “Nabucco.” That’s the same song they perform each year on Verdi’s birthday, rather than the traditional “Happy Birthday.”

Club die 27 also produced a concert for the Sarasota delegation in their music school, which is located right above their clubhouse. “There were some wonderful singers and we ultimately hired one of them to sing for us here,” Russell said.

On a recent opera trip to Italy, Russell and a Sarasota Opera group ran into four members of Club dei 27 at an opera performance in Naples.

“We have a very close relationship with them,” he says.

Verdi fans who can’t make the Sarasota Opera’s upcoming concerts can always look forward to its production of the composer’s oftneglected work, “Stiffelio,” during

the Winter Opera Festival in March. “Stiffelio” tells the story of a clergyman who returns home from a missionary trip to learn of his wife’s infidelity, prompting him to experience a crisis of faith.

THIS WEEK

THURSDAY

JAZZ THURSDAY AT SAM

5:30 p.m. at Sarasota Art Museum,

1001 S. Tamiami Trail

Free to $25

Visit SarasotaArtMuseum.org.

Jazz Club of Sarasota presents the Sarasota Jazz Project with vocalist Katy Cristiani on the Marcy & Michael Klein Plaza. The evening features extended hours in the galleries, bistro and museum shop.

OFF THE PAGE: REBECCA RENNER

6 p.m. at Selby Library, 1331 First St. Free Visit OffThePageFL.org.

Sarasota County Libraries and Historical Resources has been knocking them out of the park with its Off the Page series. The latest arrival is Florida native Rebecca Renner, whose debut book “Gator Country” tells a true story of alligator poaching and its largerthan-life characters.

‘9 TO 5: THE MUSICAL’

7:30 p.m. at the Raymond Center, 140 Tampa Ave. W., Venice

$15-$37 Visit VeniceTheatre.org.

This toe-tapping musical is based on “9 to 5,” a 1980 film about sexism in the office that featured the hit song of the same name written and recorded by Dolly Parton, who also starred in the film with Lily Tomlin, Jane Fonda and Dabney Coleman. The Venice Theatre production is one

DON’T MISS

LIVING ARTS FESTIVAL

CLOSING PARTY

Come toast the wrap of the inaugural Living Arts Festival with “A Celebration of Youth.” Watch the next generation of performers strut their stuff at Sailor Circus Arena. The student singers, dancers, musicians and circus artists hail from organizations such as the Circus Arts Conservatory, Westcoast Black Theatre Troupe, Cuban Ballet School, the Sarasota Ballet Studio Company, the Venice and Riverview High School choirs and others.

IF YOU GO

When: 7 p.m. Sunday, Nov. 17

Where: Sailor Circus Arena, 2075 Bahia Vista Tickets: $5-$20

Info: Visit SarasotaRising.org.

of the community theater’s many revivals during its 75th anniversary season. Runs through Nov. 24.

‘SOUL CROONERS: SOLID GOLD EDITION’

7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave.

$22-$52 Visit WestcoastBlackTheatre.org.

Created and directed by Nate Jacobs, “The Soul Crooners” returns to Westcoast Black Theatre Troupe’s main stage for the first time since its 2009 premiere. The opening show of WBTT’s 25th anniversary season celebrates the soul music of the 1970s. Runs through Nov. 17.

‘WAITRESS’

8 p.m. at FST’s Gompertz Theatre, 1265 First St.

$39-$59

Visit FloridaStudioTheatre.org.

For fans of Sara Bareilles, Florida Studio Theatre’s production of “Waitress” needs no introduction. The Grammy-winning singer/ songwriter wrote the music and lyrics for this hit Broadway musical based on a 2007 film of the same name. Spoiler alert: Pie is always the answer! Runs through Dec. 29.

FRIDAY

JAZZ @ TWO: PATRICIA DEAN TRIO

2 p.m. at Unitarian Universalists SRQ, 3975 Fruitville Road

$15-$20 Visit JazzClubSarasota.org.

Jazz Club of Sarasota presents local jazz club favorite Patricia Dean on drums and vocals. Joining her are Jeff Phillips and Dave Trefethen.

VENICE SYMPHONY: INSTRUMENTAL INFLUENCERS

7:30 p.m. at Venice Performing Arts Center, 1 Indian Ave., Building 5, Venice

$38-$70

Visit TheVeniceSymphony.org.

Under the direction of maestro Troy Quinn, the Venice Symphony presents “Instrumental Influencers,” with timeless works from Beethoven, Vivaldi, Hadyn and Brahms, which continues Nov. 16. After being forced to delay the start of the season, Venice Symphony is dedicating its Nov. 16 performance to first responders and their families. They will be able to attend for $15 each.

OUR PICK

‘SYNCOPATION’

Starring Megan Hendrick and Jared Inman, “Syncopation” is set in 1911 and tells the story of a meatpacker’s effort to find a suitable partner to help him launch a career as a ballroom dancer. Runs through Nov. 24.

IF YOU GO

When: 7:30 on Thursday, Nov. 14

Where: Venice Theatre’s Pinkerton Theatre, 140 Tampa Ave. W., Venice Tickets: $15-$37 Info: Visit VeniceTheatre.org.

SATURDAY

PATTI SMITH: A BOOK OF DAYS

10 a.m. at Selby Gardens Historic Spanish Point, 401 N. Tamiami Trail, Osprey Included with $20 admission Visit Selby.org.

Selby Gardens collaborates with poet and musician Patti Smith, its artist-in-residence, on an outdoor exhibition of large prints from her newly published bestseller, “A Book of Days.” By displaying Smith’s photographs outdoors, Selby brings them into a conversation with nature. Runs through Aug. 31.

SUNDAY

‘NOVEMBER SELECTIONS’

3 p.m. at Northminster Presbyterian Church, 3131 61st St. $5 Visit SuncoastConcertBand.org.

Suncoast Concert Band presents “November Selections,” the second concert of its 92nd season. Call 941-907-4123 to check on ticket availability.

MONDAY

MICHELLE MALONE

7 p.m. at McCurdy’s Comedy Theatre, 1923 Ringling Blvd. $37 Visit McCurdysComedy.com.

Whiteleaf Private Music Club joins forces with McCurdy’s to bring Michelle Malone to Sarasota. Malone has worked with such rock legends as Gregg Allman, Little Feat, Indigo Girls, John Mayer, Jackson Browne and ZZ Top. She will play some songs from her new release “1977” as well as performing with the McCurdy’s house band The Ramblin’ Rockers.

TUESDAY

PROJECT TRIO

5:30 p.m. at Marie Selby Botanical Gardens, 1534 Mound St.

$43 Visit ArtistSeriesConcerts.org.

Artist Series Concerts presents Project Trio, known for pushing the boundaries of chamber music with genre-blending concerts that incorporate jazz, world music and other influences.

WEDNESDAY

‘59TH STREET BRIDGE’

7:30 p.m. at FST’s Goldstein Cabaret, 1239 N. Palm Ave.

$18-$42

Visit FloridaStudioTheatre.org.

Florida Studio Theatre salutes folkrock artists such as John Denver, Simon & Garfunkel, Bob Dylan and Joan Baez. Runs through March 30.

Florida Studio Theatre dishes out ‘Waitress the Musical’

Director/choreographer

Ben Liebert shares his recipe for FST’s regional premiere.

MARTY FUGATE

CONTRIBUTOR

“Waitress: The Musical” is making its regional premiere at Florida Studio Theatre. It’s an all-American tale of life, love and pastry. Adrienne Shelly told it first in “Waitress,” her 2007 film. Sara Bareilles and Jessie Nelson adapted it as this musical in 2015. They added song and dance but told the same sweet story. Their slice of American pie made it big on Broadway.

Director/Choreographer Ben Liebert is serving it up soon at FST. Simply put, it’s the story of Jenna, a small-town waitress with big dreams, a talent for baking pies and a complicated love life. To Liebert, it’s not that simple. We talked about why he can’t wait to share this story with local audiences. And what they can expect when they dig into this musical dessert.

“Waitress: The Musical” is a crowd-pleasing, chart-topping hit — and that’s probably an understatement. Why do so many people love this musical? There are many, many reasons. Sara Bareilles’ amazing pop-folk score is a huge reason. The original 2007 film has a cult following, but these fans are a minor factor. They’ll buy tickets to the musical, but they’re only a fraction of the audience.

“Waitress” tells a deeply human story, and it’s got a big heart. I think that’s its main appeal. It’s all about people with dreams dealing with the struggles that life throws at them. Who can’t relate to that? And who doesn’t like pie?

I love it. Both the pastry and the number. That makes two of us.

While we’re on the subject ... Why do so many hit movies and shows revolve around dessert?

Because dessert is a treat. You don’t eat it every day — it’s special. Pie, cake and ice cream won’t supply your daily nutrition requirements. But a great dessert will make it a great day. You don’t eat dessert to live; you eat it to make life worth living. Jenna’s pies sweeten the lives of others. She bakes to share her love.

“Waitress: the Musical” is FST’s version of a Broadway blockbuster. That’s a tough act to follow. Some theaters might try to do a Broadway knockoff. That’s not the FST style. I assume it’s not yours.

Absolutely not. Creating our own version of the show is vitally important at FST. That’s what I tell everyone — the designers, cast, the music team and stage managers. We’re not copycats. We’ll find our own fresh take — and make this show our own.

How are you making that happen?

We began by respecting the creative work that came before us. Throwing that work away and starting from scratch would be a waste. We’re informed by that work, not copying it.

You’re not replicating Broadway. But you’re not reinventing the wheel.

Exactly. The Broadway show is a solid foundation. We’re building on that foundation at FST, but it’s our own original creation. If people want to see a Broadway knockoff, they can always catch the musical on tour. At FST, they’ll see something new. We’ll tell the story through our eyes and hearts.

OK, so you won’t clone the Broadway production. But what about the scale? Are you going to keep it small or go big? “Going big” was never an option

at FST. The Gompertz is a small, hometown theater — we don’t have enough room to stage a large-scale production. But “Waitress” is a small story in a small town. Our intimate space is a perfect fit for that intimate story. We can’t overpower the audience. So, we’ll pull them into our small story.

If you can’t go big, get personal?

That’s the idea. And on the personal level, the sky’s the limit. The characters’ feelings are larger than life. They pour out in so many raw, tragic, triumphant moments. Our staging will give audiences an upclose experience of those moments.

Let’s talk about those magic moments. What grabs you as a director?

The human connections really grab me. Three waitresses form a bond and support each other — it’s a beautiful sight to see. Jenna’s relationships with her husband and doctor also intrigue me.

What were rehearsals like?

The kitchen set is like a big playground for the actors. They’ve had a lot of fun with the amazing restaurant props. They play around with tables, chairs, counters and pies — and the props come to life in their hands. It sets the tone for the musical’s playful story.

What’s your take right now?

I’d say ... the musical’s story is a morality play. But it’s an ambiguous morality play. It explores right and wrong, not as rigid moral absolutes, but what’s right for you — individually. The story takes you to an ethical crossroads. Then it asks you a question: “What choice would you make in Jenna’s shoes? What’s the right choice?” The musical doesn’t tell you. You have to find your own answer.

I know the choice Jenna made in the movie. In a typical romcom, she’d leave her lousy husband and run away with the nice doctor. That’s what you expect.

IF YOU GO

‘WAITRESS: THE MUSICAL’

When: Nov. 8-Dec. 29

Tickets: $25-$59

Where: FST’s Gompertz Theatre, 1265 First St., Sarasota Info: Visit FloridaStudioTheatre.org.

But she doesn’t.

That choice was right for Jenna. You might not agree.

Hey, at least there’s a happy ending. But it’s also messy ending.

“Waitress: The Musical” is messy from start to finish. There are so many grey areas; nothing’s clearcut; and there’s no clear path. Life isn’t black and white. The musical isn’t either. That ambiguity was born in Shelly’s amazing original screenplay. Jessie Nelson was Shelly’s friend, and her book is a faithful adaptation. Many lines of dialogue are straight from the film. Amazing source material is often lost in translation in musical adaptations. Why does “Waitress: The Musical” retain the original magic?

Because Sara Bareilles is a wonderful translator. She’s a top-tier composer and lyricist, and she’s fluent in the language of musical theater. Sara’s musical adaptations always flow from a deep reading of the original story. The story of Shelly’s “Waitress” is musical theater gold. You couldn’t ask for better source material. The characters’ feelings run deep — and that’s what drives a successful musical. “Waitress” was a complicated, messy film about people trying to find happiness and follow their dreams. That’s the beating heart of Shelly’s story — and it’s still beating in our show. We just put a band behind it.

“JJ” Williams

A triumphant debut for a new maestro at Sarasota Orchestra

Giancarlo Guerrero was greeted with warmth and gratitude at Masterworks 1.

usic Director Designate Giancarlo Guerrero took the reins of the Sarasota Orchestra at the Nov. 8 Masterworks 1 performance with cheerful clarity and an exuberance that electrified the audience.

Opening the Masterworks program, “Going Places,” was Antonin Dvořák’s Carnival Overture, Op. 92, which overflows with joyful energy. In this performance the orchestra brought it all out in full force. Guerrero was emphatic with demarcations and the contrasts that add the polish to this score.

The audience was equally emphatic, rising to their feet immediately for a standing ovation. It surely was the excitement of welcoming Guerrero and the deep gratitude that there was a Masterworks concert at all after hurricane damage closed the Van Wezel Performing Arts Hall.

Thankfully, the Sarasota Opera could accommodate these Masterworks 1 concerts in its handsome hall, but the orchestra simply sounded different. Not worse, but more distant at first. It was an apt illustration of why an orchestra thrives in a performance hall with well-designed acoustics, including a proper shell.

Yet, the audience was not shorted in the least. The program continued with a thrilling Tchaikovsky Violin Concerto in D Major, Op. 35, featuring the commanding virtuosity of Vadim Gluzman.

A lovely partnership of violinist, conductor and orchestra in the mesmerizing first movement, topped by Gluzman’s compelling artistry, provoked another spontaneous standing ovation.

Interrupted but undisturbed, the

musicians returned to the exquisite Canzonetta weaving its way into our hearts before blowing the roof off the Opera House. (Too soon?)

Gluzman brought forth a remarkable array of colors, remarkably rich low tones and bell-like in the upper reaches. Interesting note: He plays on the 1690 “Auer” Stradivari. The previous owner, Leopold Auer, was the famous violinist to whom Tchaikovsky dedicated this concerto.

As an encore, Gluzman invited concertmaster Daniel Jordan to join him for a simple duet in which we could admire beauty of tone and pleasing music. He prefaced this gesture by acknowledging that in November 1998, both he and Jordan first performed with Sarasota Orchestra. Many of us were at that concert and have followed the growth of the orchestra for 26 years since with gratitude.

It’s not easy to bring the sense of fresh new music when performing a stalwart such as Dvořák’s Symphony No. 9 in E minor, Op.95, “New World.” Yet, Guerrero revealed inner lines and gestures like never before, sculpting another new world.

The orchestra was in fine form, particularly the strings achieving the faintest of a misty halo where called for. There are many instances where the woodwinds wove together seamlessly and the English horn solo shone in its spotlight.

Guerrero emphasized the jubilance of the scherzo and moved onto the athletic for the final movement. Uninhibited, he threw himself into the spirit of it all. His movement was purposeful and at times entertaining on its own. Skipping, bouncing, even stomping on the podium translated into a forceful yet disciplined performance that won the hearts of the audience. If anything, Guererro’s triumphant debut as music director designate foretells what we hope are years ahead fueled by this man’s compelling life force.

SOIRÉE ON THE BAY, CLAMBAKE N

Thursday, Nov. 7, at New College of Florida Benefiting New College Foundation

ew College of Florida held the 45th Annual Clambake — rebranded as Soirée on the Bay, Clambake — at its campus under beautiful skies with high humidity and a slight breeze coming off of Sarasota Bay on Nov. 7.

Alice Rothbauer, director of donor relations for the New College Foundation, said, “In the wake of several hurricanes, we are thrilled to be able to celebrate our 45th year of the clambake and hope that this continues for the next 100 years to come. We are so thankful for staff, who worked overtime, and the original builder of the seawall, who made extensive repairs to our heavily damaged seawall.”

This fundraising effort has garnered large donations in the past, and with 240 guests in attendance and the influences of Elizabeth Moore and Don Patterson, New College hopes to surpass last year’s efforts of $400,000. The co-chairs stressed how participating in the fundraising will have a lasting impact of the lives of many students.

“Other than graduation, this event is the most important of the year,” said Kate Delmore, facilities coordinator.

In addition to a seafood dinner, entertainment included dancers, musicians and a painter. An afterdinner cigar bar and fireworks capped off the evening.

— JANET COMBS

Engagement Bliss

Sorcha:

TLooking great

“Catering Queen” Tracey McCammack, from Michael’s On East, is well versed in elegance and etiquette. She can style and set a table for 700 and supervise a staff of any number, with 59 the most to date. This summer, Tracey went on a diet. After shedding 37 pounds, she is inspiration for everyone grabbing food on the run between assignments.

Mistaken identity

Photographers and servers both tend to wear black. Recently, a guest summoned me from across the ballroom during podium time — and then stuck a fork in my face, clearly overlooking the heavy camera gear, notebook and pen in my hands.

“This fork was on the floor!”

Um, OK, do you want a photo?

“No, I need a new fork now!” he bellowed.

With utmost delight and barely able to contain my laughter, I did indeed return with a fork. I’ve never said “Not my job.”

Update

I ran into the seat filler mentioned in my last column. He’s having a wonderful time with his new table friends and commented favorably on my writing. I could tell he had no idea I was writing about him. I love my job!

Next week: upcoming events and more tales!

he splash of the Sarasota social scene is in print and social media: plentiful posts, snaps and articles prove that, yes indeed, although a bit delayed from the storms, the fall season has arrived.

As a member of the service industry (yes, Dearest Gentle Reader, photography is indeed a service), getting ribbed about our constant partying is frequent. But in reality, photographers and servers simply go to parties to serve others. And yes, we love our jobs.

Most often, photographers are found at our desks late at night with a bowl of something unhealthy to munch on and the convenience of Alexa blaring song our choices. Summer months are slower, so we catch up on spinning vinyl on a turntable, answering months-old texts from temporarily ghosted friends and travel. Here are a few tidbits that remain as we catch up on what we all missed from the summer.

Renowned dance photographer Sorcha Augustine got engaged, I went to Europe and Tracey McCammack went on a diet. Sorcha has new bling, I have new travel photos and Tracey has a new body.