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Playwright Ken Ludwig talks about his Asolo Rep world premiere, ‘Lady Molly of Scotland Yard.’
MARTY FUGATE CONTRIBUTOR
The prolific playwright Ken Ludwig has 34 plays and musicals to his credit. His work has been staged around the world and across the U.S. Asolo Repertory Theatre has produced five of his works, including “Moon Over Buffalo” and “Lend Me a Tenor.” But Ludwig’s “Lady Molly of Scotland Yard” will be his first world premiere on the Asolo Rep stage. Ludwig’s new work is a theatrical adaptation of Baroness Orczy’s lesser-known “Lady Molly” stories. Ludwig’s “Lady Molly of Scotland Yard” transports Orczy’s female sleuth to World War II. Ludwig has reimagined her characters, and put them in a gripping tale of murder, espionage and codebreaking set in the dark days of the Nazi blitz against Great Britain. His ripping yarn does justice to that era’s real-life heroes — and blends Ludwig’s signature wit with historical intrigue. Before its Asolo Rep premiere, which runs from Jan. 24 to Feb. 8 after a week of previews, Ludwig’s play came together over a series of live readings. According to the playwright, the Sarasota audience’s feedback helped fine-tune the script on every level. In the following talk, Ludwig shares insights into the creative journey that helped bring his reinvented “Lady Molly of Scotland Yard” to the stage in Sarasota.
greatest fiction. I decided not to directly adapt the “Lady Molly” stories, but instead took the title and created my own characters in a new adventure set during World War II. It’s a completely different story.
Ah. So the title was like the diving board that got you into the pool. Exactly.
What drew you to adapt “Lady Molly of Scotland Yard” for the stage? The title reached out and grabbed me. I stumbled across a reference to it, and thought, “What a great title for a fun thriller!” I discovered that the author was Baroness Orczy, who also wrote “The Scarlet Pimpernel.” That’s an impressive pedigree. Her original work was a series of short stories about two women at Scotland Yard — a supervisor and her sidekick, a sort of Sherlock Holmes-and-Watson team. However, after reading a few of those stories, I realized it wasn’t Orczy’s
How did you reinvent the story? I started by changing the time period and set the story in England during World War II. It begins with Lady Molly solving a murder as part of her detective work for Scotland Yard. Without spoiling too much, her investigation leads to the code breakers at Bletchley Park, where she goes undercover to expose a traitor. Most of my story unfolds there — and Asolo Rep has been invaluable in fine-tuning it before the opening.
Asolo Rep has produced five of your plays and musicals. Is “Lady Molly” the first play you’ve workshopped there? Yes, “Lady Molly” will be my first world premiere with Asolo Rep. As you said, they’ve done several of my works for the stage. I had a good relationship with Michael Edwards, the previous artistic director. After he retired, he recommended I connect with Peter Rothstein — Asolo
IF YOU GO ‘LADY MOLLY OF SCOTLAND YARD’ When: Jan. 24 to Feb. 8 Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail. Tickets: $29- $95. Info: Call 351-8000 or visit AsoloRep.org.
Rep’s new artistic director. We hit it off immediately, and that got the ball rolling in the development process.
How did that process unfold?
Peter liked my first draft and suggested changes, such as conflating two characters. We then held a workshop and a reading at the Asolo, where we analyzed audience reactions. Based on that feedback, I wrote a second draft. I recently spent a week in Sarasota casting the show and rehearsing with the cast. We then had another reading for a group of patrons, and the play continues to evolve. With new plays, you begin with a blueprint and refine it as you go.
Many fiction authors sit alone at their computers writing for hypothetical readers in the future. As a playwright, you workshop with actors and shape the script based on live readings. How would you describe that process?
Oh, I love it! The experience is tremendously enjoyable — it’s one of the reasons I went into theater.
Unlike fiction for print, where it’s just the writer and the reader, theater is a public medium. The public is a key part of the development process. Audience reactions are invaluable to a playwright. Whether it’s laughter, stillness, or gasps, they tell you everything.
So, audience reactions guide your revisions?
Definitely. Audience feedback at our unstaged script readings is everything. If a laugh line falls flat, it’s likely the line’s fault, not the delivery. Similarly, if a scene drags, you’ll hear coughing — it’s a subconscious signal of a loss of attention. These cues help me fine-tune the script to maintain engagement. The workshop phase is a collaborative process with actors and audience. That’s what I love about theater — it’s alive and shared.
And the actors are alive, too. What can you tell me about the Asolo Rep cast? They’re all professionals of the
highest caliber. Kate Loprest plays Lady Molly, and she’s fantastic. She stood out immediately during the New York auditions. Kate beautifully captures Lady Molly’s aristocratic, highly competent nature. Adeline Phelps plays Peg, Lady Molly’s Watson-like sidekick She wants to fly for the RAF and contrasts sharply with Lady Molly’s lofty demeanor. Adeline’s perfect for her energetic, ambitious character. Chris Hoch is outstanding in multiple roles, including Winston Churchill. Jake Lowenthal is equally first-rate as Jack Colville and Alan Turing. The entire cast is exceptional. They all do justice to their characters, both real and fictional.
Did you enjoy writing about the actual historical characters?
Absolutely! Getting to know these people on a deeper level has been fascinating. Alan Turing is one character in my play. Turing’s work shortened the war by years and saved countless lives. He’s rightly credited with breaking the Nazi “Enigma” code — and giving birth to the digital age in the process.
What’s been your greatest challenge as a playwright?
The twists and turns of the story itself have been challenging. “Lady Molly” is a thriller with elements of comedy, and it’s set across multiple locations. Balancing dramatic pacing with storytelling clarity is crucial. It’s a very big canvas, and we want everyone to know exactly what’s happening. Audience feedback has been instrumental in refining these elements throughout the development process. Sarasota theatergoers are very perceptive.
Any final thoughts?
I’m thrilled to be working with Asolo Rep. It’s one of America’s great theaters, and Peter Rothstein is an incredible artistic director. I’m having a wonderful time and hope to do more premieres here.
“Audience reactions are invaluable to a playwright. Whether it’s laughter, stillness or gasps, they tell you everything.”
— Ken Ludwig, playwright
MONICA ROMAN GAGNIER
Within a few minutes of talking to Cynthia Sayer, you quickly learn that not all banjos are created equal. There’s a four-string banjo and a five-string. While the instrument is commonly associated with bluegrass, Sayer has made a career out of playing jazz banjo.
As she regales you with the history and lore of the banjo (the instrument traces its roots to Africa and was first played by enslaved inhabitants of the U.S. and the West Indies), Sayer worries out loud: “Am I sounding too much like a banjo nerd? I don’t want to turn people off.”
Not a chance. Sayer’s enthusiasm for the banjo is infectious and her persona is charming.
As entertainers know, it’s not enough to be talented — Sayer has won the prestigious Steve Martin Banjo Prize, among other accolades — you have be a person with whom audiences want to spend time. Sayer fits the bill on both accounts.
Based in New York, Sayer has become a regular annual performer at Sarasota’s Glenridge Performing Arts Center, the elegant, 260-seat theater on the campus of the Palmer Ranch senior living facility of the same name.
When Sayer was growing up in Scotch Plains, New Jersey, she was studying dance and theater when a school talent show piqued her interest in the drums. She lobbied her parents for a drum set, to no avail.
One day she came home from school to find a banjo on her bed. “I knew it was a bribe,” Sayer says.
Still, she had seen banjos on the TV show “Hee Haw” and decided the instrument was worth exploration.
When she was 13, she began studying with a jazz banjoist named Patty Fisher, an arrangement that lasted for about three years.
“I had no idea that a female jazz banjoist was incredibly rare. I was deeply involved in community theater and was also taking piano lessons,” Sayer recalls. It wasn’t long before Sayer recognized that she could earn money
by playing the banjo. “My other options were babysitting. I got my first job by calling up a nursing home and asking if I come in play,” Sayer said.
TAKING HER BANJO OUT TO THE BALLGAME
Evidently, cold-calling came naturally to Sayer, who has an effervescent personality and, as they used to say, “gives good phone.” The teen’s smile-and-dial success continued, as she landed a gig to play banjo for the New York Mets at the tender age of 16 or 17 — she can’t remember exactly.
“At the time, I had never been to a stadium,” Sayer says, noting that later on she would become the official banjo player for the New York Yankees.
When Sayer enrolled in Ithaca College, she thought she would eventually go to law school and take the bar exam. But that was before she heard a record by jazz musician Elmer Snowden, which she says changed her career path for good.
“When I was a kid, I assumed I
would be going to law school. It was hard to admit that I wanted to be a musician. It seemed fun and selfindulgent. But when I heard this hot banjo playing with such intense swing, I thought, ‘That’s what I want to do,’” she recalls. Given Sayer’s drive and dedication, it’s a safe bet that anything she applied herself to was destined to succeed. Today, she is recognized as one of the world’s greatest banjo players. She is a longtime founding member of Woody Allen’s New Orleans Jazz Band and has played with such artists as Dick Hyman, Les Paul and Wynton Marsalis.
A member of the American Banjo Hall of Fame, Sayer has brought her swinging style of jazz banjo to TV and radio and the White House. She has played with the New York Philharmonic and The New York Metropolitan Opera Orchestra.
These blue-chip credits are a long way from Sayer’s early days playing banjo in taverns, such as the Stagecoach Inn in her hometown of Scotch Plains or Your Father’s Mustache in New York City, where she led singalongs. But years later she still enjoys audience interaction.
Like her peer and friend, banjoist Béla Fleck, Sayer is committed to crossing musical genres and breaking down boundaries. “The fourstring banjo is often associated with vaudeville, and I pay homage to that. Though I’m mostly a jazz musician, I like tango and I do pop tunes, but I swing them,” she says.
One of the tunes that Sayer has been performing lately is “When Will I Be Loved,” a hit by Linda Ronstadt from her 1974 album Heart Like a Wheel.
During an hourlong conversation, Sayer frequently uses “hot” and “swinging” to describe her instrument and music. Indeed, her Glenridge show is billed as “Hot Banjo Time.”
Like many who call Sarasota home, whether full or part time, Sayer got to know the community when her parents, the late Bertram and Barbara Sayer, moved here.
“I was long aware of Sarasota as a center of arts, but it got higher on my radar when my parents moved there,” she says.
Sayer’s first concert in Sarasota was at The Players, but she ended up doing annual concerts at Glenridge, after her parents moved to the senior center. She reckons she has performed at least 15 times at Glenridge over the years.
Sayer has a New York band she usually tours with, but when she is in Florida, she uses local musicians. During her Glenridge concert, Sayer will be joined by Greg Nielsen on trombone, Alejandro Arenas on bass and David Pruyn on drums.
Sayer’s manager, B.G. Dilworth, credits his client with having made “jazz banjo cool again with her fresh takes on hot jazz.”
No doubt her audiences are glad that Sayer gave up her law school ambitions for the life of a troubadour, which has taken her to such far-flung corners of the world as rural China.
“Our world is so polarized, and music bypasses all that nonsense,” opines Sayer. Hear, hear!
THURSDAY
ARTS ADVOCATES LUNCHEON:
MORRIS HYLTON III
11 a.m. at Sarasota Yacht Club, 1100 John Ringling Blvd.
$50; members $45 Visit ArtsAdvocates.org.
Morris (Marty) Hylton III has been president of Architecture Sarasota since January 2023. Under his leadership, the group recently compiled Moderns That Matter, a list of 100 distinctive places and spaces in Sarasota, based on community input. Hylton will explore Architecture Sarasota’s efforts to document, preserve and promote the region’s cultural heritage.
DONALD HARRISON
7 p.m. at Fogartyville, 525 Kumquat Court
$35-$40 Visit WSLR.org.
New Orleans-born saxophonist
Donald Harrison has been dubbed a “one-man music festival” because of his mastery of jazz, soul, funk and classical music. The winner of the 2022 NEA Jazz Master Big Chief award, Harrison appeared in nine episodes of the HBO series “Treme.”
SCD + NATALIE HELM & BLUEGRASS BAND
7 p.m. at Jane B. Cook Theater, 5555 N. Tamiami Trail
$20-$50
Visit SarasotaContemporaryDance. org.
Sarasota Contemporary Dance joins forces with Sarasota Orchestra cellist Natalie Helm, who has her own bluegrass band of star musicians. The program showcases the beauty of the Midwest in this with movement and music. Runs through Jan. 19.
‘SPACEMAN’
7:30 p.m. at Urbanite Theatre, 1487 Second St. $5-$44 Visit UrbaniteTheatre.com.
Leegrid Stevens’ play follows a female astronaut (Terri Weagant) who travels to Mars after her late husband’s failed attempt to reach the Red Planet. Be prepared for a “sensesurround” experience as Summer Dawn Wallace bravely goes where no director of a black-box theater has gone before. (Apologies, “Star Trek” fans!) Runs through Feb. 16.
‘59TH STREET BRIDGE’
7:30 p.m. at FST’s Goldstein Cabaret, 1239 N. Palm Ave. $18-$42 Visit FloridaStudioTheatre.org.
CELEBRATION OF DR.
MARTIN LUTHER KING JR.
Westcoast Black Theatre
Troupe’s MLK tribute honors the pacifist civil rights leader with performances of word and song featuring WBTT members. Rev. Charles McKenzie returns to deliver speeches written by Dr. King.
MISS AMERICAN ROOTS: THE LUBBEN BROTHERS AND KEY CHORALE
The Lubben Brothers have moved to Nashville, but you can’t blame Floridians for wanting to hang on to them. Michael, Tom and Joshua feel like family, thanks to their collaborations with Key Chorale. This year’s show features the songs of Gordon Lightfoot, Simon and Garfunkel and others performed by the Key Chorale Chamber Singers and the talented triplets. The show continues at 5 p.m. Jan. 19 at Grace Community Church, 4080 Lakewood Ranch Blvd.
IF YOU GO
When: 4 p.m. Saturday, Jan. 18
Where: Church of the Palms, 3224 Bee Ridge Road
Tickets: $45 Info: Visit KeyChorale.org.
IF YOU GO
When: 7:30 p.m. Sunday, Jan. 19
Where: Sarasota Opera House, 61 N. Pineapple Ave.
Tickets: $15-$35
Info: Visit WestcoastBlackTheatre.org.
Feelin’ groovy? Simon & Garfunkel
fans know that expression from the hit song that gives this cabaret show its title. Florida Studio Theatre pays tribute to early folk-rock artists such as John Denver, Simon & Garfunkel, Bob Dylan and Joan Baez. Continues through March 30.
‘FENCES’
7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave.
$22-$52
Visit WestcoastBlackTheatre.org.
Westcoast Black Theatre Troupe presents “Fences,” the sixth play of playwright August Wilson’s 10part American Century Cycle. Set in 1957, it follows Troy Maxson, a garbage collector whose baseball dreams were derailed by bigotry. His unresolved anger creates trouble with his son, Cory, who’s got his own big league ambitions. Directed by Jim Weaver, the play stars Patric Robinson as Maxson. Runs through Feb. 23.
GREAT ESCAPES: TV TUNES AND TREASURES
7:30 p.m. at Holley Hall, 709 N. Tamiami Trail
$47-$63 Visit SarasotaOrchestra.org.
This Sarasota Orchestra concert showcases some memorable music from the small screen, including soundtracks made popular by cartoons such as Looney Tunes, Popeye, The Flintstones and the scores to “Star Trek” and “Downton Abbey.” Continues through Jan. 19.
FRIDAY
JAZZ @ TWO: SYNIA CARROLL JAZZ QUARTET
2 p.m. at Unitarian Universalists of Sarasota, 3975 Fruitville Road
$15-$20 Visit JazzClubSarasota.org.
Jazz Club of Sarasota presents Synia Carroll, a jazz vocalist from the Bay Area who won rave reviews for her Nina Simone tribute at Florida Studio Theatre. Carroll’s latest CD is “Water is My Song,” which was recorded in New York City with Houston Person and NYC jazz musicians.
‘MANN’S LAST DANCE’
7:30 p.m. at Tree Fort Productions,
The Crossings at Siesta Key mall, 3501 South Tamiami Trail
$40 Visit TreeFortProductions.com.
Sarasota multihyphenate Katherine Michelle Tanner presents a onewoman show that tells the true story of Polish Jewish ballerina Franceska Mann, who used her gift of dance to distract Nazi soldiers. Runs through Feb. 2.
‘FUNNY GIRL’
7:30 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail
$50-$140
Visit VanWezel.org.
Even if you’re not old enough to remember the first “Funny Girl,” you’ve no doubt heard of the musical based on the life of singer Fanny Brice. This touring production of the Broadway revival retains the original score by Jule Styne and Bob Merrill and features an updated book from Harvey Fierstein. Runs through Jan. 19.
‘THE HEART SELLERS’
8 p.m. at FST’s Keating Theatre, 1241 N. Palm Ave.
$25-$42
Visit FloridaStudioTheatre.org.
Take a time trip back to Thanksgiving 1973 when a chance meeting between two recent Asian immigrants develops into an unexpected friendship. Kate Alexander directs this heartwarming tale about the search for acceptance by newcomers to America. Runs through Feb. 16.
SATURDAY
’AESOP’S FABLES’
10 a.m. and noon at FST’s Keating Theatre, 1241 N. Palm Ave.
$12 Visit FloridaStudioTheatre.org.
On the weekends, there’s the eternal problem of what to do with the kids. Turn off their electronic devices and bring them down to Florida Studio Theatre for a fun, affordable show of “Aesop’s Fables.” Runs weekends through Feb. 2.
SUNDAY
EMBRACING OUR DIFFERENCES
OUTDOOR ART EXHIBITION AND KICKOFF PARTY
Noon at Bayfront Park, downtown Sarasota
Free
Visit EmbracingOurDifferences.org.
Now in its 22nd year, Embracing Our Differences’ annual outdoor display of 50 billboard-sized works of art and inspirational quotes from students is designed to inspire inclusion, kindness and respect. This year’s
competition drew 10,000 entries from student artists and writers in 122 countries and 46 states. Runs through April 13.
SUNCOAST JAZZ AMBASSADORS:
‘IN YOUR OWN BACKYARD’
3 p.m. at Northminster Presbyterian Church, 3131 61st St.
$5 Visit SuncoastConcertBand.org.
The theme of this week’s performance by the Suncoast Jazz Ambassadors Band is “In Your Own Backyard.” Call 941-907-4123 to check on ticket availability.
MONDAY
MUSIC MONDAY AT McCURDY’S: JOHN KADLECIK
7 p.m. at McCurdy’s Comedy Theatre, 1923 Ringling Blvd. $55 Visit McCurdysComedy.com.
Best known as a sideman to Grateful Dead members Phil Lesh and Bob Weir in the band Furthur, John Kadlecik is an original co-founder of the Dark Star Orchestra.
ROBERT GIBSON, CLASSICAL GUITAR
7:30 p.m. at St. Paul Lutheran Church, 2256 Bahia Vista St. Free Visit GuitarSarasota.org.
A prize-winning guitarist, Robert Gibson will perform works from his classical repertoire as well as modern original compositions in this performance presented by Guitar Sarasota.
TUESDAY
CELEBRATING MENDELSSOHN
7 p.m. at Riverview Performing Arts Center, 1 Ram Way $64 Visit LaMusicaFestival.org.
La Musica Chamber Music Festival presents Mr. M’s Violin Sonata in F major, Cello Sonata No. 2 in D major and his Piano Trio No. 2 in C minor played by pianist and artistic director Wu Han, cellist David Finckel and violinist Julian Rhee.
FRANKIE AVALON
7:30 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $35-$85 Visit VanWezel.org.
Back in 1965, it didn’t get much better than bringing together crooner Frankie Avalon and Mickey Mouse Club sweetheart Annette Funicello in the romantic romp, “Beach Blanket Bingo.” For Avalon, the party never stopped for the next 60 years, with hits like “Why” and “Venus,” and 20 film appearances, including his iconic role as Teen Angel in “Grease.”
Grab a glass of sangria and prepare for a parade of tapas that’ll keep the good vibes — and your plate — overflowing.
As plates are ordered, allergies to cheese and gluten are often ignored. (Maybe a few Lactaid pills are taken.) Without fail, the phone will “eat” up these Intagrammable dishes first before the genuine feasting begins.
Ladies
it’s time to talk about the trend that truly tantalizes my tastebuds — tapas. Often referred to as “small plates,” these sharable Spanish bites are best enjoyed with friends who have become family and family that have become friends. You also need good, delectable and generously poured sangria.
Laughter is sure to be heard echoing throughout the restaurant as dear friends rejoice between bites of traditional Spanish flavors around a jam- and jamon-filled table. It’s not long before the repast resembles Tetris as you try to slide in another “small” plate. You took the group chat out on the town and raised a sangria-filled glass to friendship. All is fun and games until the arguing starts over who is going to eat the last of the patatas bravas. Please, someone, make a decision! So grab a glass of Spanish wine,
summon your favorite sisters and prepare for a parade of tapas that’ll keep the good vibes (and your plate) overflowing!
BESO 30 S. Lemon Ave., Sarasota; 941279-2999; BesoSRQ.com
Jamón in a Million: This tapas restaurant came to our eclectic culinary community in late 2023 and fits in perfectly with downtown Sarasota’s flavor. The list of must-haves is pretty long, but I’ll narrow it down to a few favorites. The Spanish grilled cheese ($11) is the ooeygooey goodness that you deserve to devour whether you’ve had a great day or a not-so-good one. The patatas bravas ($10) is a bountiful bowl of carb-loaded beauty with fried potatoes, paprika aioli and chili flake that is the champion of the table. Looking for something a bit lighter? Try the watermelon gazpacho salad, sandía de jerez ($12), a tropical and artsy plate.
Sip Back and Relax: I would be remiss if I didn’t mention that Beso’s bar space might be my favorite hideaway. It’s a chic little hooch haven — intimate enough for secrets shared over sangria, yet lively enough to remind you that you’re downtown (minus the deafening decibels of some other spots). Now, let’s talk sangria. Four options await: Classico ($9/ glass, $29/pitcher) delivers the OG experience with vino tinto, brandy, orange liqueur and crisp green apples. Robusto ($13/glass, $48/ pitcher) turns up the fancy quotient with 10-year-aged brandy while Amargo ($11/glass, $40/pitcher) hits the spot with a sophisticated bitter edge. Espuma ($12/glass, $45/ pitcher) brings the sparkle with bubbles and bold energy, perfect for celebrations big or small.
BOHEMIOS TAPAS RESTAURANT
3246 Clark Road, Sarasota; 941260-9784; SRQBohemios.com
Jamón in a Million: Bohemios delivers a tapas menu that feels like a culinary journey through the heart of Spain — right here in Sarasota. Among the highlights are the tapas mixed plate options. Bear with me foodies, because this is a feast. The
Iberoamerican ($25) comes with tequeños, a Venezuelan favorite — a crispy, golden fried dough stuffed with melted cheese, empanadas, crispy plantains, arepa and ceviche. Or nosh on the Montaditos mix plate ($25) with bruschetta of Mediterranean with olives and feta, caprese, smoked salmon, brie and prosciutto. Neither of those tickle your tapas fancy? Go for the Bohemios ($30) mixed plate with a combo of everything mentioned plus fried calamari, baja sauce and simply divine cilantro sauce. Sip Back and Relax: As you browse the wine list, a treasure trove of exquisite options — you might be lucky and get a sampling — start with the irresistible Iberian ham: 2 ounces for $50. Don’t miss the first Friday and Saturday of every month, when seafood paella ($26.95) takes center stage. It pairs perfectly with a glass (or bottle) of your favorite wine.
COLUMBIA RESTAURANT
411 St. Armands Circle, Sarasota; 941388-3987; ColumbiaRestaurant.com
Jamón in a Million: Grill lovers, order the Pincho Mixta ($10) with tender pieces of chicken, pork tenderloin, Spanish chorizo and onions, all marinated, skewered and grilled until lightly charred. The Cakes de Cangrejo ($20) brings the buttery essence of domestic blue crab center stage — grilled and drizzled with a passionfruit aioli sauce for a tangy sweetness. But why settle for one dish when you can have a bit of everything? The Tapeo Sampler ($40+) is a foodie’s dream, perfect for sharing with friends (or enjoying solo, we don’t judge!).
Whether you’re diving into the savory shrimp or stuffed piquillo peppers, each bite is a celebration of Spain’s culinary heritage.
Sip Back and Relax: A veritable Spanish symphony in a glass, the classic sangria (tinto or blanco) is crafted with Torres 10 Brandy and fresh citrus juices. For something sparkling, the sangria de Cava takes you on a flavor trip to the Costa Brava. Whether you’re a fan of the deep, fruity allure of red blends or the crisp brightness of bubbles, there’s a pour here to transport your tastebuds straight to Spain. Olé!
point on dry land — the Dead Sea.”
A funny thing happened on the way to Mars
A solo mission is a pressure cooker of inner and outer danger in Urbanite Theatre’s ‘Spaceman.’
t’s lonely out in space,” as Elton John once said. Urbanite Theatre’s production of Leegrid Stevens’ “Spaceman” reveals how lonely it can get. Molly Jennis (Terri Weagant) is the lonely astronaut in question. She’s embarked on an eight-month solo flight to Mars in the not-toodistant future. After Molly lands, she’ll set up the infrastructure for a human colony on the red planet.
Her husband had died attempting the same mission only one year before. Molly intends to finish the job. You figure she’s up for the task. Molly’s a scientist, an athlete, and a rigorously trained astronaut. But that’s all backstory — and you find it out later.
When “Spaceman” opens, you’re in the dark. Literally. You can’t see a thing. But you hear the sound of thunder. After the Aeneas blasts off, the play jumps ahead seven months. Then the lights come on. You see Molly at the center of a shiny, hightech control console. But Molly’s not so shiny.
Over the last 215 days, Molly’s dealt with solar flares, asteroids, weightlessness, communication gaps, bone loss, foul body odor and bad ventilation.
But solitude is her worst problem. As the days go by, it’s been slowly driving Molly nuts. Up to now, the widowed warrior has held the madness at bay with several strategies. Routine is one — she constantly checks air pressure, hull integrity, and digital systems, and then makes reports to Mission Control. She also plays mind games, like fantasy football, improvising song parodies, and eating imaginary omelets.
After months of toughing out the isolation, Molly finally activates her AI “Mission Buddy,”— aka “Jim.” He’s not much help. Molly’s got 29 days left to go, and she’s got to keep it together until then. If the shrink back in Houston decides she’s lost it, NASA could lock her out of the ship’s systems and run the Mars mission by remote control.
“Spaceman” is gripping science fiction. But it’s primarily a character study of a woman cut off from humanity. Director Summer Dawn Wallace keeps a laser focus on Molly’s internal struggles, not the gee-whiz wonders of space exploration.
Weagant utterly loses herself in Molly’s persona. Her portrayal reminds me of a caged wildcat — restless, snarling, constantly pacing back and forth. Molly’s flight-orfight response is kicking in. On Earth, she could go outside and run
‘SPACEMAN’
When: Through Feb. 16
Where: Urbanite Theatre, 1487 Second St., Sarasota
Tickets: $39-$44
Info: Visit UrbaniteTheatre.com.
a few miles. In space, that’s not an option. The actor lets you know how that feels. It’s an incandescent, high-strung, high-energy characterization.
A platoon of unseen voiceover actors backs her up. The list includes Vickie Daignault, as Molly’s mother; Billy Lyons as the voice of Mission Control, and Casey Murphy as “Jim,” the AI “Mission Buddy.” Tom Hansen’s futuristic set design is striking, but not overdone. (Molly’s control console reminds me of the electric organ in “Phantom of the Paradise,” and I mean that as a compliment.) It’s cool but also cramped and claustrophobic. Molly’s spacesuit is studded with her sponsors’ logos (SpaceX, Amazon and Dunkin’ Donuts, to name a few). Kudos to Dee Johnson for the witty but believable costume. Ethan Vail’s lighting evokes the cold, sterile vacuum of space and the burning emotions inside Molly’s mind.
Rew Tippin’s sound design conveys the self-contained artificiality of Molly’s space capsule. Combining their talents, Tippin and Vail hit it out of the park with the mindbending, flashing, thundering blast-off that starts the show.
All this talent serves the play’s mission of character-based storytelling. Stevens’ script is a great launch pad. On the page, Molly’s dialogue is pure rocket fuel; her personality is multilayered and engaging. Science fiction isn’t just about world-building. It’s also about world-hinting. Stevens is very good at that. The playwright deftly drops clues about the nearfuture Earth that Molly left behind. The commercialization of space flight is one big clue.
While Molly’s story is compelling, I think there’s a missing scene. After she blasts off, the play immediately fast-forwards to the final month of her trek. By now, Molly’s an astronaut on the verge of a nervous breakdown. You see the depths to which she’s fallen.
“Spaceman” realistically evokes the heroism of space travel without sentimentality. Stevens’ script is grounded in hard science — and takes a hard look at what a solo voyage to Mars would be like. That mystery trip is well worth taking. Buckle up, gentle readers. You’re in for a wild ride.
