Weekend Top 6 Picks for November 24 and 25, 2018

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Saturday November 24, 2018

9am to 5pm Free. Coastal Christmas Market. Downtown New Smyrna Beach Canal Street and Sam Avenue . Outdoor Holiday Market.

Noon to 5pm Free. FusionFest. Seneff Arts Plaza Dr Phillips Center for the Performing Arts. 

FusionFest is a free two-day celebration in Downtown Orlando
that features a kaleidoscopic fusion of aromas, sights, sounds, tastes,
textures and fascinating short films that represent the diverse origins
and heritages of our community. 

Presented
by Dr. Phillips Center, FusionFest is a project of the Downtown Arts
District with support from Orange County Government, the City of
Orlando/Downtown Development Board and a growing grassroots movement.

4:30pm to 7pm $12. Light Up Mount Dora. Historic Donnelly House 535 N Donnelly Street Mount Dora. Dinner in the Historic home before Mount Dora lights up for the holidays.

Sunday November 25, 2018

10am to Noon. Free. Heartfulness Relaxation and Meditation Class. University, 5200 Vineland Rd, Orlando, FL 32811. The Method of Heartfulness A simple and practical way to experience the heart’s unlimited resources.

11am to 5pm Free. Holiday Makers Market. Casa Feliz The Pines at Windermere, 3409 Maguire Road Windermere FL.  Meet local artists and purchase their one of a kind creations.

3pm to 5pm Free. Handles Massiah. Bob Carr Theatre 401 W. Livingston Street  Orlando, Florida. Messia Choral Society celebrating 46 years is Olando’s Longest running free cultural arts performance.

The Florida Youth Symohony at the Bob Carr.

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Heide Evans Waldron invited me to sketch the 61st Season Opener featuring all of the Florida Symphony Youth Orchestras at the Bob Carr Theatre (401 W Livingston St, Orlando, FL 32801). I walked to the concert. The gutters around Lake Eola still had shards of rainbow colored confetti left over from the Pride Parade. Outside the Bob Carr, the remnants of a Blue Box could be seen. The sidewalk had been ripped up during recent construction, but two blue strips remained behind painted on the curb.

All the youth classical orchestras were featured at this concert. As always, academic and
music educators receive complimentary admission to this and all FSYO
season subscription concerts. A common thread throughout the concert was how honored each conductor was to work with these talented kids each Sunday.

I kind of groaned to myself when the youngest orchestra took to the stage. The theatre was about half full. Clearly most of the audience was full of adoring parents. Sketching kept me sane. I couldn’t help but think of Professor Henry Hill in  The Music Man who really didn’t teach music at all, but the racket created at the concert still brought admiring parents to their feet. Actually, the kids on stage did an admirable job.

When one orchestra left the stage, another took its place. The classical music became increasingly recognizable and full of emotion. The real surprise of the concert was the first performance of the Youth Jazz Ensemble. Piano, electric guitar, saxophones, and trumpets performed toe-tapping jazz from Count Basie, Charlie Parker, and others.  

The FSYO’s new Jazz Orchestra, conducted by Jeff Rupert, is a 17-20 piece ensemble that focuses on the study of big band jazz music. Students learn the theory behind jazz
composition and improvisation and have the opportunity to do sectional
work with some of the area’s top jazz musicians.

The Youth Jazz Orchestra is for students ages
13 to 20. Though the majority of students fit into these age groups,
upon request, exceptions are considered on a case-by-case basis at the
discretion of the board, in consultation with the conductors. My sketch was finished, so I just relaxed and enjoyed the music. If I were in my teens, still playing trumpet, this ensemble would have been my ambition. They were tight. This music made me want to dance in the aisles.

All about-Race and power near Blue Box 6.

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I had arranged to meet Hurricane Maria at Blue Box 8 near the Lynx Bus Station. 27 Blue Boxes are painted on sidewalks in Downtown Orlando. These boxes
are for panhandlers and buskers. Busking is possible only during day
light hours. Although set up for panhandlers, police often insist street
performers must use the blue boxes. Performing outside the boxes can
result in 60 days in jail and a $500 fine.

I arrived a little late and didn’t see Maria. I assumed she was running late and started sketching. My darn cell phone was dead because my car charger was broken. There was no way to contact her. I finished as much of the sketch a I could, and assumed that I could place Maria in the sketch when she arrived. She is a caricature artist and she planned to set up shop in the Blue Box. I probably sketched for an hour and a half, completing most of the watercolor with an open space that I left blank. If anyone reading this is interested, I could sketch you into this incomplete sketch in about half an hour. I will not post the sketch until it has a performer utilizing the box. Become part of The Blue Box Initiative.

I packed up an decided to head home. As I approached a huge construction site near the Bob Carr Theater, I saw Maria talking to several construction workers. She had gone to the wrong Blue Box and was deep in conversation about race and power. Blue Box number 6 had been ripped up due to the construction. As the conversation went on, I realized that the blue boxes represent first amendment zones, where freedom of express to is allowed.

The construction worker was explaining how blacks have been marginalized throughout history. The us Census would redefine the race every time there was census. They were redefined as blacks, negros, African Americans and other names. Poor neighborhoods were fractured and split up with redistricting. He asked each of us where our ancestors came from. Regardless of our past, he said we all have Moorish blood in us. Maria responded, “I prefer to just think of us as the human race.”

He spoke of a true and divine knowledge of yourself, historically speaking. People have been calling themselves everything but what they are, and so they are never able to take their proper place
in the national and international
affairs of men all over the world. they have been mentally robbed of their
inherent
and invincible manhood, by being
robbed of their nationhood.
The west African Moorish Empire expanded into Europe conquering Spain in 711 AD. This was the greatest power in Europe at the time and its influence spread resulting in the Renaissance. Apparently Abraham Lincoln was assassinated because he understood this Moorish commonality. The same was true of Dr. Martin Luthar King. One of King’s aid stepped aside to open a pathway for a sniper’s bullet.

The local school the the worker used to go to used to inspire students to greatness. Then teachers were brought in from out of the community and the students were no longer taught civic pride. Drugs ravaged the neighborhood causing further collapse. These drugs were specifically introduce in impoverished neighborhoods. This backfired however because then others could get cheap drugs there and the drug plagues spread could not be stopped.

With my sketch done, I decided to slip away. Free speech was very much alive near Blue Box number 6. I asked Maria if she was willing to set up for a short time in Blue Box number 8, but she had to get over to Audubon Park where she would be doing caricatures at the Monday night farmers market in the Stardust Video and Coffee parking lot.

The Blue Boxes are disappearing but the law requiring their use is still on the books.

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27 Blue Boxes are painted on sidewalks in Downtown Orlando. These
boxes are for panhandlers and buskers. Busking is possible only during
day light hours. Although set up for panhandlers, police often insist
street performers must use the blue boxes. Performing outside the boxes
can result in 60 days in jail and a $500 fine. These Boxes represent the only places downtown where
theoretically there is freedom of speech. They are Orlando’s First Amendment Zones.

On February 29th Mandi Ilene Schiff offered to do a body painting in Blue Box number 6. On the map, the box is located near the Bob Carr Theater on West Livingston Street. Because of construction this street can only be approached from the West off of Parramore Avenue. Mandi arrived before me and was waiting in front of the UCF Center of Emerging Media. Her model, Yvonne Clar, hadn’t arrived yet. I began searching across the street for the blue box. The problem was that half of the street and sidewalk was ripped up and now fenced off due to construction.

A guard from UCF came out and asked if he could help us navigate the construction to get to downtown Orlando. My experience with people who say, “Can I help you?” is that they will be an obstruction to my completing a sketch. Though he went back inside the UCF lobby, I knew we were on his radar. Our search for the blue box was out of the ordinary. Mandi and I decided to settle in front of a large blue banner that was the logo for the construction company that was digging up this prime real estate. Mandi’s idea was to camouflage the model, so she disappeared against the Blue sign. As she unloaded her paints and brushes, the guard came out and shouted “You can’t be setting up over there!” I thought it odd that he didn’t cross the street to speak to us. He was like a dog who barked at the edge of its property. I shouted out, “Why is that?” He shouted back that he had to protect the high school kids. That is odd, I thought, UCF is a college, there are no minors. I contacted a UCF instructor I know, just to verify that this guard has no idea of the age of the students he sees everyday.

Since I was getting over a cold, I decided to walk across the street so I didn’t have to shout. I told him that I was documenting the 27 blue boxes and explained what they are for. I showed him the location of blue box number 6 on the city map figuring he might help me in locating it. “I don’t know anything about no blue boxes, all I know is that you can’t set up over there. I have to keep these kids safe. There are pimps, prostitutes and drug dealers who are always hanging around this area.” Now, If I was a prostitute I wouldn’t work this abandoned stretch of road, I thought. Did he think Mandi was a prostitute? He would definitely have a heart attack if the model took off her shirt in front of the school. This was a loosing battle, since we didn’t have the security of a blue box to stand in, I decided we needed to move to the next blue box which was half a block East near I-4. I shook the guards hand, thanked him for his help, and we headed East.

Blue Box number 7 was also torn up by construction, but there was a hint of several blue dotted lines remaining on a curb. Yellow caution tape separated us from being able to stand in the patch of dirt which had once been the blue box.  We decided instead to set up outside the rented fence near the Orlando Centroplex sign. Yvonne showed up just as Mandi was settled in. I was in the midst of blocking in my sketch, and I didn’t want to spread my cold, so I kept working. This was the first time that the performers were not protected by actually standing inside a  blue box. The stakes were high, but Mandi and the model bravely took the chance. City codes on indecent exposure had been researched, and the model could have legally been painted in nothing but pasties and panties, but Nix Herrera another body painter, had advised Mandi against taking the chance. It could have resulted in regulations for an art form that has so far stayed off the city commissioners radars.

With a liberating flourish, the model took of her shirt and her black bra defied any notion of indecent exposure. The race was on to complete the sketch and body painting before we were caught. Mandi began by painting a blue box on Yvonne’s belly, then she began painting iconic Orlando imagery, like a swan, the fountain, an orange breast, and the skyline wedged in Yvonne’s cleavage. Ten minutes into the sketch, I felt that art had won. I had enough on the page, so that even if police or security stopped us, I could finish the sketch back at the studio. A construction worker asked what are were doing. I discussed the blue boxes and explained that we would be done within an hour. “I don’t mind.” he said with a smile.  Theo Lotz, the Flying Horse Editions director from UCF also asked about our project and I quickly explained the Blue Box Initiative. I get excited, having the chance to explain the need for free artistic expression. His bus arrived and he had to run off mid sentence.

We were right near a bus stop and each time a bus stopped you could see a dozen passengers with then noses pressed against the windows. A driver honked his approval. My quick rough sketches don’t do Mandi’s amazing work  justice. Be sure to check out these photos her fiance Robert Johnston took. It certainly felt like we were tempting fate on this day, but some amazing art was created.  Yvonne became a gorgeous living postcard that celebrated the City Beautiful.

Base Orlando Pin Ups Pose with Hot Rods.

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After sketching all the body painters and models inside the Majestic Event Center (801 North John Young Parkway, Orlando, FL) I walked outside and ordered a hot dog from the food truck and settled in to sketch the hot rods on display. I was then rewarded as the models came outside to pose next to the cars. Rosie the riveter was the first, and she showed off her biceps. Her  tattoo on her muscular arm read, “We Can Do It!” The model with the heart shaped glasses had a yellow bikini painted on. She feigned surprise as she pursed her lips as if to say oooh!

Mandi Ilene Schiff the Base Orlando organizer has volunteered to be part of the Blue Box Initiative next Monday. She will setup a body painting station in one of the side walk boxes and work for several hours. Her blue box is near the Bob Carr Theater. That entire block is under construction, so there is little foot traffic except for UCF Center of Emerging Media Students. Body Painting on the streets of downtown Orlando should push the limits of what is considered to expression in the City Beautiful. To date, I haven’t seen a single police cruiser while doing a blue box sketch. Perhaps this will finally be a case that catches an officer’s attention.

Mark your Calendars! The next Base Orlando event is Pop-Art themed and is tonight, on March 3, from 8pm to 11pm at the Majestic Event Center (801 North John Young Parkway, Orlando, FL). Tickets are $10 to $25.

Dancers Improvise in Blue Box #5.

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27 Blue Boxes are painted on sidewalks in Downtown Orlando. These boxes were put in place for panhandlers and buskers. Busking is possible only during day light hours. Although set up for panhandlers, police often insist street performers must use the blue boxes. Performing outside the boxes can result in 60 days in jail and a $500 fine.

These Boxes represent the only places downtown where theoretically there is freedom of expression.

On February 22nd, Corinne Mele from Red Right Return Dance Company encouraged a group of dancers to utilize Blue Box # 5 as their stage. They had just rolled off of a performance of Guard Down at the Orange Studio on February 20th. They had also rehearsed the night before, but that didn’t dampen their enthusiasm to perform on the streets of Orlando.

I was the first to arrive and anxiously searched for the box with map in hand. The last one had been spray washed away but this one was pristine, looking like it had been painted yesterday. I got a text from Corinne. Construction had blocked access to this street from the East. I redirected her to let her know that the street was still approachable from the West from Parramore. Soon dancers started to arrive. Corinne drove a cute little car that was covered in an ad for hint which I believe makes flavored waters. The dancers came prepared, with water and sunscreen.

They were concerned that this was a rather small stage. All movement had to be linear and having two dancers abreast, limited what they could do. Corinne walked the blue dotted line like a circus high wire performer. She did a pirouette and when she spun out of the box, she abruptly stopped and walked like a pedestrian to re-enter the box from a new location. Dancers soon realized that their extensions would most certainly cut outside the plane established by the blue box stage but with one foot planted inside the box they decided they were within the letter of the law. The dancers had two collection bowls set out. There was however no foot traffic on the sidewalk. We were one block away from the UCF Center of Emerging Media and the Bob Carr Theater. Construction effectively cut off all vehicular traffic. The only hope for a tip might come from a student. Towards the end of the dance company’s improve session, a single pedestrian approached on our side of the sidewalk, Corinne bet the he would cross over to the other side of the street to avoid coming to close to the art. Sure enough twenty yards from us, he crossed over to steer clear. In a town where art is seldom experienced in public, it can be intimidating for the uninitiated. There is no fourth wall to protect the audience. Art in public is a rare beast that must be caged in blue boxes.

Heidi Busher and Corinne were the first dancers to perform a duet on the tight painted stage. They supported can other and negotiated the tight squeeze past each other. Paige Maxwell bent over backwards like a sheet of paper folded in half. Her goal was to grab her own ankles. She grabbed one but the second eluded her. I was absolutely astonished by her flexibility. Kim Matovina displayed incredible feats of strength and balance usually reserved for gymnasts. She balanced on one hand and folded in her limbs balancing with her face inches from the pavement. She then did a headstand using her forearms for support. All five dancers got in the box and tried to duplicate the move for a photo. Not everyone had the strength, but for the flash of an instant they all held the pose.

After several hours of dancing, everyone was sweaty and tired. Paige was unexpectedly hit in the face when another dancer spun with her leg extended, effectively doing a back kick. I heard the smack as if it were a sound effect in a Japanese Kung Fu movie. Paige’s eyes watered and she held her nose. Luckily there was no blood. On a larger stage the dancers would not need to be so dangerously close.

Though no tips went into the tip jars, and not a single pedestrian walked by, it was a beautiful day and I’m so thankful that these beautiful dancers shared their talents to help point out that art should not be boxed in. Winter Park will never experience such a spontaneous outburst of creativity expressed on a sidewalk in public. These aren’t criminals, but highly educated and trained professionals who love their craft and share it openly. Such joyous outbursts of creativity might happen more often if Orlando City Commissioners didn’t create ordinances that effectively treat artists, dancers and performers as panhandlers that need to be boxed in.

Orlando Philharmonic presents Puccini’s Tosca at the Bob Carr.

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Opera is very much alive in Orlando. I went to a rehearsal of the A fully-staged performance presented by Orlando Philharmonic Orchestra at the Bob Carr Theater. This was the first time the singers got to block their scenes using the set, which was still under construction. Actors walked the stage, getting used to the many steps that hadn’t been present in prior rehearsals.

Mario Cavaradossi, (Adam Diegel) worked on a large portrait of the Madonna that he based on a woman in the churches congregation that he never met. As he paints, he compares the Madonna’s blonde beauty to the beauty of his dark haired lover, Tosca (Keri Alkema). Tosca is a full figured fiery Prima Donna who loves the artist, but she suspects his love of art. She recognizes the face in the painting as the beauty in the congregation and accuses the artist of being unfaithful. He assures her of his love but jealousy still tears at her. Since I was sketching, I seldom had time to look up at the sub titles projected above the stage. I discovered the emotional context of every scene by watching Keri’s facial expressions. Her performance acted as my translator.

The artist gives refuge to a political prisoner essentially making him an enemy of the state. Baron Scarpia, (Todd Thomas) chief of the secret police, is searching for the political prisoner. His investigation leads him to the artist’s studio. There he finds Tosca and he is smitten. He shows her a red fan he found which she realizes as belonging to the beautiful woman in the painting. Her worst fears seem confirmed and she bursts into tears. She becomes trapped between her allegiance
to her rebel artist lover and the scheming of Scarpia, who
will stop at nothing in his unquenchable lust for her. The artist is imprisoned and Scarpia claims he will free him if Tosca surrenders to his sexual advances. The explosive
triangle comes to a hair-raising conclusion in one of opera’s bloodiest,
most intense dramas.

Joel Revzen is the guest conductor for the Philharmonic although at this rehearsal only the piano was on stage. Henry Akida is the stage director. He worked diligently during the rehearsal to keep the staging clear. At one point, the whole chorus came on stage in a processional with candles and one large red banner. Henry realized that the banner blocked some audience members view of Scarpia who stood elevated on the platform. To resolve the issue, the banner holder was moved far to stage right. These are the kind of issues that are only discovered as staging and props come into use. Lisa Buck created the stunning projections that depicted huge domed ceilings. The images lap dissolved between scenes giving the story an added depth. So many elements have to work together to make such a big production a reality. Amazing productions are truly miracles.
 

This is Central Florida’s biggest opera event of the
season. Don’t miss it.

Friday, May 1, 2015 at 8:00 PM
Sunday, May 3, 2015 at 2:00 PM
Bob Carr Theater 401 W Livingston St, Orlando, Florida 3280

Tickets starting at $22

The Orlando Ballet presents Peter and the Wolf.

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I’ve been wanting to sketch an Orlando Ballet rehearsal for quite some time. I finally contacted Robert Hill the company’s Artistic Director and he was more than gracious. Joey Lynn, Robert’s assistant was supervising the rehearsal when I arrived. She guided me to a spot where I could watch the rehearsal without getting kicked by a dancer. The Ballet Company has recently moved into a new studio space which is right on the water. All of the dance studio plate glass windows face out to a view across the lake. I was in this building, (610 Lake Formosa Drive) just one other time several years ago for a fundraiser raising aid to Haiti.

Families will continue to delight in productions that are specifically
created to capture the imagination of the young ones, while engaging the
adults. This season, we present Peter and The Wolf, The Swan Princess, The Magical Princess Doll, and of course our popular Family Series version of The Nutcracker. These one-hour productions are designed with young
audiences in mind, and promise exquisite story telling through the
perfect combination of world-class ballet, opulent sets, and costumes. Mark Your Calendar, this production of Peter and the Wolf will be staged on October 18, 2014 at 11:00 am at the
Bob Carr Theatre
(401 West Livingston Street
Orlando, FL).

This is a classic story of a young boy on his quest to trap a wolf with
the help of other animals is brought to life in this one-hour
production. The choreography is by Robert Hill. He pointed out to the cast that the movement in this production is very much over the top and exaggerated,  like in a cartoon. I found myself quite entertained by the movements of a duck and bird who interacted playfully. The duck always had her hands behind her back shaking them like the feathers on her tail. The bird had graceful flowing movements on point that made her seem weightless as if in flight. The cat had graceful sinewy movements. I was shocked and disappointed that the duck I had so carefully watched and sketched was devoured by the wolf.

Ballet has a whole language developed over it history to define it’s movements. The director might shout out, Pencke’, Pencke’, Pencke’, or Écarté! and cast members knew exactly what pose to take. I need to research these French terms so I can better understated future rehearsals. I was most impressed when the rehearsal ended. All the the dancers gathered around Robert and each thanked him in turn. When I packed up to leave, one dancer, near the exit asked if he could see what I has been sketching. I pulled out the sketchbook and suddenly found myself surrounded by all the dancers. They expressed their amazement and gratitude. It was a rare moment to be surrounded by so much young talent and experience their gratitude. I hope to get to future rehearsals to better understand the rarefied world of ballet. One of the dancers stood in a relaxed pose just like “Little Dancer” a sculpture by Edgar Degas. I sighed, I need to capture that level of grace and power next time I sketch.