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SU BYRON MANAGING EDITOR

In his days as FCC chairman, Newton Minow once described the landscape of network television as “a vast wasteland.” In his blistering, satiric screenplay for “Network,” Paddy Chayefsky imagined a voice crying in that wilderness — Howard Beale, an anchorman who snaps and becomes the “mad prophet of the airways.” Thanks to Lee Hall’s adaptation, Beale’s thundering voice is now ringing out on the Florida Studio Theatre stage in a production directed by Richard Hopkins. In the world of this play, prophecy makes for great ratings but displeases the network’s major corporate sponsors. The network cancels Beale’s show — and Beale, as well. Chayefsky’s dark satire imagined a future of global village idiots. The modern media landscape is slightly different. But it’s closer than we’d like to think. Through March 19; FloridaStudioTheatre.org; 366-9000.

Mindfield

PTSD has been a side effect of war since war began. Virtual Reality Therapy is brand new, and it’s proving to be an effective treatment. At Urbanite Theatre, Jacqueline Goldfinger’s “Backwards Forwards Back” traces the results of that treatment in one soldier’s life. After returning from an overseas conflict, he has a violent episode and almost kills his nephew. As a last resort, he turns to VRT at an experimental clinic. After putting on VR goggles and earphones, he enters a computer-generated reality. Once he jacks in, he goes through a form of desensitization therapy to overcome the trauma. This is more than mechanical behaviorism; he’s learning to drop his guard, shut off the flight-orfight response and become vulnerable again. This inner victory is the only way he can return to his family, and he’s determined to win. Urbanite’s ar- tistic director, Brendan Ragan, directs the premiere of Goldfinger’s powerful one-person play. March 24-April 23. UrbaniteTheatre.com.

IT’S ALIVE!

Mary Shelley’s “Frankenstein” was officially published in 1823 (and will celebrate its 200th anniversary this year) — and it galvanized readers, writers and thinkers around the world. New Music New College’s “It’s Alive! A Monstrous Circus on Frankenstein” should have the same electrifying effect in our area. This multimedia monster’s ball is a collaboration of musical talents drawn from New College’s students and staff. Following the recipe of John Cage’s “Circus On,” the novel’s text has been transformed into 256 “mesostic” poems. Students, faculty, staff and Franken fans from around the community will throng onto Koski Plaza at New College to perform these poems. Their high-voltage performances will include

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Continued from Page 112 singing, dancing and instrumental musicianship — all accompanied by projected scenes and sounds drawn from the pages of Shelley’s novel. (No peasants with pitchforks allowed.)

8 p.m. March 4, New College’s Koski Plaza, 5800 Bay Shore Road, Sarasota; NewMusicNewCollege.org.

Heart Of Glass

“Circles + Spheres” explores the possibilities of geometry in Ringling College’s 14th annual exhibition of glass art drawn from the collection of Richard and Barbara Basch. These orbs and cylindrical glass creations spring from a range of glass art techniques. Some pieces were blown; others cast in kilns; others worked with flame; others fused. All evoke a sense of inner flame. The master artists featured in this show include Martin Blank, Dale Chihuly, Richard Royal, Livio Seguso and Lino Tagliapietra. Starting with simple geometry, they’ve created a vast array of expressive permutations. That vast diversity flows from a common source: the fire of artistic imagination. Through March 24, Basch Gallery at Ringling College; RinglingCollege.Gallery.

The Only Dance There Is

Since its inception in 1969, Dance Theatre of Harlem has changed the landscape of American ballet and opened up new possibilities for Black dancers around the world. Eighteen dancers from that pioneering, multiethnic company will be bringing their moving artistry to our area in a Program 5 performance hosted by Sarasota Ballet. Under the direction of resident choreographer Robert Garland, the troupe will perform a repertoire ranging from George Balanchine’s timeless classics to innovative choreography by contemporary masters. The future and past of ballet will share the same Sarasota stage. Expect an inspiring glimpse at the possibilities of this ever-evolving art form. Feb. 24-27, FSU Center for the Performing Arts; SarasotaBallet.org.