This week, Caught in the Act welcomes guest blogger Alex Stewart, media relations manager for The Straz and a big fan of the Mean Girls movie. Our resident subject matter expert on the most memorable lines from the film, Alex agreed to take us through this Mean Girls primer to get us ready for the upcoming musical adaptation.
By Alex Stewart
Get ready to leave the real world and enter Girl World when Mean Girls comes to the Morsani stage February 18-23. The Broadway musical is based on the 2004 film, both written by Tina Fey. The film, now almost 16 years old, has become a modern cult classic and one of the most quotable movies of our time. In honor of the upcoming burn fest, we wanted to share some of the most fetch phrases from the film – because when it comes to quoting Mean Girls, the limit does not exist.
“On Wednesdays we wear pink.” – Karen Smith
Arguably one of the most recognized and quoted lines from the movie, Karen excitedly tells Cady Heron what to wear in order to sit with the Plastics (the most popular girls in school) the next day at lunch. This line has inspired an insane amount of merch, as well as countless women across the internet documenting a week they spent living by the Plastics’ rules, which are as follows:
You can’t wear tank tops two days in a row.
You can only wear your hair in a ponytail once a week.
You can only wear jeans or track pants on Fridays.
Don’t forget that hoop earrings are Regina’s thing, and you wouldn’t buy a skirt without asking your friends first if it looks good on you, right? And in the Plastics’ world, if you don’t follow the rules …
“YOU CAN’T SIT WITH US!” – Gretchen Wieners
The ultimate representation of girl-on-girl crime and bullying, Gretchen shouts this line at Regina when she walks up to the table wearing sweatpants on a Friday, which is against the rules of the Plastics. We’d bet that most people have jokingly shouted this line at someone, many without even knowing it’s from Mean Girls.
“On October 3rd, he asked me what day it was. It’s October 3rd.”
Thanks to this iconic line, October 3rd has unofficially become Mean Girls Day. Cady Heron is so into Aaron Samuels that she notes the exact day that he asked her what day it was, obviously making it one of the most important days of the year.
“She doesn’t even go here!” – Damian Leigh
One of the most well-known references in the film, Damian shouts this at an all-girls assembly wearing a hoodie and sunglasses in reference to a girl who doesn’t go to their school but won’t stop talking. The best part about this line? There are so many ways to integrate it into daily life:
Did someone give an opinion no one asked for? SHE DOESN’T EVEN GO HERE!
Is there a rando interrupting your conversation? SHE DOESN’T EVEN GO HERE!
Now, you try.
“That is so fetch!” – Gretchen Wieners
Even though Regina told Gretchen to “stop trying to make fetch happen. It’s not going to happen!”, fetch did happen, despite the odds. Now it’s part of our vernacular, thanks to the film.
“Four for you, Glen Coco. You go Glen Coco! …And none for Gretchen Wieners.” – Damian Leigh
In the film, Damian, dressed as Santa, is handing out candy cane grams to students in class. Glen Coco receives four candy cane grams from someone, while Cady receives one from Regina and Gretchen receives none. This is part of the plan to take down the Plastics – and while Glen Coco has absolutely nothing to do with the plot, the delivery of this line has made him live in infamy.
Fun fact: Glen Coco was played by David Reale, who was uncredited in the film. Reale was not cast; he walked onto to the set to watch the filming and get free lunch. You go, David Reale!
“Get in, loser. We’re going shopping.” – Regina George
This iconic phrase has inspired endless memes. From dogs and llamas in cars (our favorites) to Dr. Who and the TARDIS to so many more. The possibilities for using this phrase are endless.
“Whatever, I’m getting cheese fries.” – Regina George
One of the most relatable quotes from the film for pretty much anyone, Regina declares this after she says she’s only eating foods with less than 30% calories from fat. We’ll take cheese fries over math any day.
“I’m not like a regular mom. I’m a cool mom.” – Mrs. George, Regina’s mom
Regina’s mom says this line to Cady after the Plastics are invited to Regina’s house. A suburban housewife, Mrs. George tries to maintain her youth by wearing hip clothes, partaking in plastic surgery and offering to allow the girls to drink alcohol—if they do so in the house.
One of the most quoted phrases by moms of humans and pets alike, this line has cemented itself in modern culture. There are currently over 20,000 Instagram posts with the hashtag #ImNotaRegularMomImaCoolMom.
“It’s like I have ESPN or something.” – Karen Smith
This phrase is solely responsible for making ESPN grool. Karen, described as “one of the dumbest girls you’ll ever meet,” explains to Cady that she has a fifth sense. Mixing up the psychic ability ESP with the sports channel ESPN, this is one of the most obvious and ridiculous jokes, making it one of the most quotable phrases in the film.
“That’s why her hair is so big, it’s full of secrets.” – Damian Leigh
Used today by beauty influencers everywhere, this phrase is another brilliant line delivered by Damian. He uses it to describe Gretchen, whose dad invented the Toaster Strudel.
There you have it. Now that you’ve brushed up on the most fetch Mean Girls quotes, don’t forget to grab tickets for the show.
Opera Tampa, the resident opera company of the Straz Center for the Performing Arts, celebrates its 25th anniversary season with three electrifying main stage performances.
This article first appeared in the Jan/Feb 2020 issue of Tampa Bay Magazine. We are happy to have permission to reprint it for our blog, in honor of the upcoming performances of Opera Tampa’s Carmen Feb. 7-9.
Carmen. Photo by Rob Harris Productions.
A 25th anniversary is symbolized by silver, a lustrous metal that carries the highest capacity to conduct heat and electricity. Such characteristic seem fitting for the current Opera Tampa season, the grand opera company’s 25th, which boasts productions of Carmen, The Pirates of Penzance and Aida for this hallmark occasion.
“We wanted this season to make a statement since we know how important opera is to this community,” says Straz Center President and Opera Tampa General Director Judy Lisi. “There are so many people who live here who grew up listening to great opera around a radio or record player with their parents and grandparents. We also have a new generation of young opera fans who know the music from movie scores, cartoons and popular remakes and are discovering the excitement of the original material. We are putting up an epic season to honor the best of what everyone loves about great opera.”
Lisi, a Puccini aficionado and classically trained singer, launched her first successful opera company in Connecticut with Maestro Anton Coppola acting as artistic director. The pair ushered in a revival of great opera for the Shubert Theater in New Haven, building a loyal following and stellar reputation for excellence in programming and production. The duo reprised this success in Tampa, when Lisi and Coppola created Opera Tampa, producing Madama Butterfly to complement a Broadway tour of Miss Saigon, a musical adapted from the opera’s story.
“When we introduced grand opera at The Straz, we knew we wanted to work with what audiences who may not be familiar with opera already knew and loved, which was Broadway,” says Lisi. “The first year we started with Madama Butterfly; the second year RENT was on our Broadway season so, naturally, we staged La Boheme, the inspiration for Jonathan Larson’s hit musical. Our original plan was to put up one opera a season, but we quickly found out we had a strong audience for the art form here. Before we knew it, we were staging three huge productions per season.”
Pirate King, Pirates of Penzance. Photo by Rob Harris Productions.
Over the years, Opera Tampa has drawn internationally-renowned singers to Morsani Hall in the Straz Center to portray the towering characters that populate the opera canon. For the past quarter of a century, the company breathed life into the masterworks of Mozart, Puccini, Verdi, Rossini, Wager, Bizet and Donizetti with outstanding local talent performing onstage with singers from The Met and La Scala. As the reputation and popularity of Opera Tampa grew, the organization decided to institute an annual recognition to someone in the field. After Maestro Coppola’s retirement, Opera Tampa unveiled The Anton Coppola Excellence in the Arts Award, bestowed each year at the Grand Gala. Recipients include such luminaries as Placido Domingo, Denyce Graves, Sherrill Milnes, Diana Soviero, Carlisle Floyd and Paul Plishka.
In November 2019, Opera Tampa held the inaugural D’Angelo Young Artist Vocal Competition, helping to establish Opera Tampa as an entity that not only produces great opera but also cultivates the next generation of opera performers. Through their extensive arts education program, Opera Tampa has also cultivated the next generation of audiences by bringing professional singers into school classrooms to get kids excited about opera music and stories. “When I look back over the past 25 years and assess the ways Opera Tampa has impacted this area culturally, educationally and artistically, I almost can’t believe how much has happened,” says Lisi. “What started as a hope that people would like this art form has grown into a full-fledged cultural institution. We have a solid name in the professional opera world; our successes in one of the most acoustically gorgeous theaters in America has people sitting up and taking notice of what’s happening in Tampa. We couldn’t be happier to have reached our 25th anniversary season with such momentum and excitement about what’s to come.”
Aida. Photo by Rob Harris Productions.
Under the baton of newly-appointed artistic director Robin Stamper, who has been with Opera Tampa as a director, choral master and pianist for several years, the future of the company looks rosy. “I have seen so much incredible talent appear with Opera Tampa in my 4 1/2 years with the company, not just onstage but with our extraordinary production crew and musicians,” says Stamper. “I am deeply honored to steward this magnificent company and to direct us into an exciting future.”
The 25th anniversary season promises to be lustrous with plenty of heat and electricity, starting with George Bizet’s Carmen in February, continuing with Gilbert and Sullivan’s madcap genius The Pirates of Penzance in March and concluding with Guiseppe Verdi’s iconic Aida in April. “We’re so grateful for the support and enthusiasm we’ve seen over the past two-and-a-half decades,” Lisi says. “We’re honored to be able to give such exemplary artistic works to everyone in this community.”
What started as a conversation about celebrating the Tampa area’s rich artistic heritage turned into a free concert series drawing unexpectedly large crowds. The Straz Center’s Arts Legacy REMIX was a long time in the making and looks like it’s here to stay.
After a brutal warrior’s stint in Vietnam that gave him an ultimatum to become brutal himself or take a higher calling, Fred Johnson chose love.
A longtime jazz musician who’d played with Aretha Franklin and Lionel Hampton and opened for Miles Davis, Fred immersed himself in studying Sufi wisdom and musical-spiritual cultures around the world. He wove this knowledge into his streetwise philosophy of caring for the neighborhood through the sharing of talents.
Fred Johnson
Fred eventually left The Straz to take this philosophy on the road, traveling around the world working with artists and community organizations to find paths of common ground and opportunities to teach. “I always kept in touch with The Straz and felt connected to the work here. I always felt, on some level, no matter where I was, I was an ambassador for Tampa. My journey out into the world was an extension of the work we did here, looking into how profoundly arts and artists can serve as catalysts for real transcendence and transformation,” he says.
Judy and Fred reconnected in 2016 at a Creative Forces forum, an organization dedicated to exploring ways the arts help veterans with PTSD and effects of traumatic brain injury.
“Our conversations were about the fact that society as a whole sees the therapeutic benefits of the arts from re-attaining wholeness with veterans to the growing need to find common ground among people,” Fred says. “We had started that notion with the Community Arts Ensemble, and we are living in times very receptive to this idea now.”
“We wanted to amplify that commitment and make real ways for the public to have greater access to The Straz. That’s what Arts Legacy was born from.”
Fred returned in 2017 to spearhead the Arts Legacy initiative which built on the philosophical foundations of art’s profoundly transformative role in the human experience.
FOTOSET BY JAMES LUEDDE
“Arts Legacy is about celebrating our community’s cultural impact,” says Straz Center President and CEO Judy Lisi. “Our community artists belong here, creating and having a place to be seen and appreciated. It’s very important that, as a community arts center, we represent the powerful sectors of culture right here. Fred took that notion and brought it to life; he’s always been great at working withdifferent members of the community to communicate and realize our commitment to all.”
Fred assembled a team of diverse community members to give input on what this Arts Legacy initiative would be. “The Straz has a responsibility to be an active community member, to have a voice at the table when decisions are being made that affect people.”
”Our legacy is redefining the role of art — that understanding art and creativity are the foundations to manifest change, to make the world a better place,” says Fred. Through a network of community members, the Arts Legacy team built a series of performances highlighting certain cultures that themselves are foundations to the Tampa Bay area.
FOTOSET BY JAMES LUEDDE
In essence, they got to the work of building bridges.
They got to the business of calling out to the heart and soul.
People answered.
The team took suggestions, made contacts, networked, organized and, in the end, produced six free concerts on the Riverwalk, drawing crowds of up to 500 people. They needed a name for the series and the Straz Center marketing team came up with Arts Legacy REMIX. “It’s hip, it’s inclusive,” says Fred, “and the success of Arts Legacy REMIX events was the outgrowth of reaching into the community and saying ‘hey, not only do we have one of the finest institutions in the world to present art, we also have this amazingly culturally and ethnically rich community that we can learn about from each other.’”
Last year, Arts Legacy REMIX hosted song, dance and drum performances around Hispanic heritage, Indian Diwali, Dr. King, Asian culture and global storytelling. Arts Legacy REMIX also hosted the Black Artists Film Series in the TECO Theater.
“It’s been really great just to see how excited people are about these performances and how much they look forward to it,” Fred says. “People are having an expanded relationship with The Straz and realizing how much we want to celebrate the arts and artistic traditions we have around us. It’s exciting to know we’re becoming more a part of people’s everyday lives by creating more opportunities for them to be on our grounds.”
FOTOSET BY JAMES LUEDDE
“We’re open to suggestions and ideas. We have the line-up for the 2019-2020 season and six more performances, but we are excited to engage as many members of the community as we possibly can,” Fred says. “Now more than ever, the artist is really important in putting a different kind of stamp on the human experience. We welcome community theater companies, community organizations — any folk out there who love what we’re doing and who want to support what we do; they can email communityprograms@strazcenter.org
There are two stars in this Christmas story, and they’re actors Spencer Meyers and Derrick Phillips.
Derrick Phillips as Arles Struvie and Spencer Meyers as Thurston Wheelis. Photo by Rob Harris Productions
The first wave of the Tuna, Texas two-man laugh-a-thons roared through theaters in the 90s, drawing tons of attention to the original actors, Jaston Williams and Joe Sears. The guys concocted a series of stage plays about a fictional town and its deliciously eccentric inhabitants, traveling the country with Greater Tuna; Red, White and Tuna and the Straz Center’s current holiday gift to you, A Tuna Christmas. Two of the Tampa-area’s own comic geniuses—Spencer Meyers and Derrick Phillips—tackle the daunting script of 20+ characters. Caught in the Act grabbed a few minutes of their time to gab about the show.
Caught in the Act: What in the world made you audition for a show that has more than 20 characters but only two actors?
Spencer Myers: I love playing multiple characters in a comedy. I get such an adrenaline rush.
Derrick Phillips: These types of shows are dreams for actors. It is a wonderful challenge to take your training and apply so much of it into one show. Each character has a different physical, vocal and mental space. To be able to showcase that into one show is amazing. And who doesn’t like to do a show like this that is filled with so much fun and laughter as well as heart?
CITA: How many total characters do you play in the show, and which are your top two faves to play? What is it about those two characters that make them your favorite to perform?
SM: I love all my characters in some way. My favorites are Bertha Bumiller and Inita Goodwin. Bertha’s storyline is wonderful and fully fleshed out. It’s nice to have one of my characters have a story arc and hit all the emotions. Sometimes I just want to give Bertha a big hug.
DP: I play 11 characters in the show. As the play has progressed, my favorites seem to change on a daily basis. They all have a special place in my heart. If I had to pick two … I think they would be Vera Carp and Petey Fisk. Vera is a favorite to perform because of the multiple layers of her personality. I have met this lady, not in Texas, but I have met her. She has sharp edges and interacts with not only the other actor on stage but the people who live in her house whom the audience does not see. Once you see the show, I think you will understand why Vera is fun to perform.
SM: Inita is just plain fun—a fantastic and energetic way to start Act Two. She’s mentioned in the first scene of Act One and not actually seen until the top of Act Two. Act Two is a whirlwind of quick changes for both me and Derrick. Fun and fast comedy in the beginning to then settle into some of the more heartfelt storyline conclusions of the characters of Act One.
DP: Petey Fisk is a pure and loving soul that has a lot of heart in this show. I enjoy performing as this character because he is different than the rest of the town (other characters even say that). He has a lot of hilarious lines, but they come from such an honest place. He’s quirky and will not only fill the audience with laughter but also warm their hearts. He is like an adult Tiny Tim.
I have to also mention how enjoyable it is to play Helen Bedd. She is one of the waitresses in the Tastee Cream and she is just a delight to play. Her demeanor and physicality are so fun to step into and live out.
CITA: Seems like this would be an easy show to blunder … have you ever gotten your characters’ lines confused, accidentally saying Helen Bedd’s line while you were playing Didi Snavely type of thing? Have any identity crisis stories or funny mix-up moments you’d like to share with our readers?
SM: Oh, now you just want me to give away secrets? Yes. The accents have blurred before. You sometimes have 15 seconds to change your costume completely before barreling onstage as another character. Bertha and her Aunt Pearl are very similar, and sometimes I have started the scene as the other. If it happens it’s usually a word or two. This has also happened in the rehearsal process with one scene where two of my characters fight with each other off stage. You can also imagine the looks people gave me while I was rehearsing this scene quietly to myself in public.
Spencer Myers as Bertha Bumiller and Derrick Phillips as Arles Struvie. Photo by Rob Harris Productions
DP: This is a show that if you didn’t have your backstage costume changers you could easily get mixed up. Sometimes the character changes are so fast that I have to really think about who am I next, where is my physical and vocal placement, what mental state am I at this moment. These are all considerations that the actor ha to make in 10-15 seconds. Most plays you have a moment off stage, not this one.
DP: There have been times as Vera, where I have meant to talk to Virgil (son not seen) and shouted at Lupe (the maid, also not seen). The dynamic of backstage and onstage really help not having any mix-up moments. There is a choreography on and off the stage that is necessary for a show like this.
CITA: What’s your favorite line in the show?
SM: This is too hard because I have so many. Bertha’s lines are some of my favorites. They have that Mama’s Family cadence to them. Okay, let’s see if I can choose one.
Bertha: “Oh Didi, it’s so hard to hold up when the entire town knows my husband is as useless as an ice tray in Hell.”
DP: This is a tough one – and I am sure it will change as the play continues.
Charlene: “I don’t want to waste my artistic integrity on a pathetic little shrub” … but to be honest, this is a very hard question. There are so many.
CITA: Let’s say you have to move to Tuna, Texas. Who are you going to get along with best? Who are you going to steer clear of?
SM: I think I’d get along with Thurston and Arles. I WANT to be friends with Aunt Pearl and Dixie! There’s no way I could be friends with Vera Carp. We all know a Vera, bless her heart.
DP: I would absolutely hang out with Helen Bedd. I would probably steer clear of Vera Carp at all costs [laughs].
Spencer Myers as Bertha Bumiller and Derrick Phillips as Arles Struvie. Photo by Rob Harris Productions
CITA: Finally, the major drama in A Tuna Christmas happens around the unholy desecration of the annual Yard Display Contest. If, since you’re imagining living in Tuna, you had to create a yard display for this esteemed event, what would yours be?
SM: Let me tell you, there is some stiff competition in Tuna. I would love to see some of the displays that are mentioned in the show, especially Aunt Pearl’s display from the previous year.
I wonder if I could pull off a Christmas Haunted House? I wonder if that would stop the Christmas Phantom.
DP: Think National Lampoon’s Christmas Vacation, but with sound synching to the lights. I also would want it to be as inclusive as possible. Maybe even a snow machine.
Club Jaeb artist Kyshona Armstrong talks about the music that made her and her journey from a music therapist into a singer-songwriter in this exclusive interview.
Caught in the Act caught up with folk musician Kyshona Armstrong while she was on the road to Missouri for a gig. She appears next Monday, Dec. 16 as our featured Club Jaeb artist for December.
Caught in the Act: Let’s talk about the South. Tell us a little bit about where you grew up and your life there.
Kyshona Armstrong: I grew up in a town called Irmo, South Carolina, and it’s right outside of Columbia. We used to run around in the woods. We spent a lot of time in the house or playing out in the yard or whatnot. My grandpa played guitar and sang in a gospel quartet, and my dad is the same. In the house, my dad was always practicing, so we would hear him playing old gospel songs on his electric or playing “People Get Ready.” [sings] People get ready, for the train’s coming. [laughs] He was always playing that or the solo from Lionel Richie’s “Hello.” Those were his go-to songs. Anytime I hear them, my brother and I are like, we think of Daddy.
When I was young, Mama put me in piano, and that was my escape. I loved telling stories through the music alone. I loved creating a soundtrack to whatever was going on in my mind. Whatever Beethoven or Mozart song, I always had a movie in my head when I was practicing and playing. That’s how I always wanted to emote.
I feel like singing wasn’t something that I grew up doing, though. I preferred getting an emotion across just through my hands. Even when I was playing the oboe, I wanted to tell a story through the music alone. I wasn’t wanting to use my voice. When I went off to college and studied music therapy, music became this ‘oh, we can create in the moment. I don’t have these notes right in front of me that are telling me what to play and what dynamic to play it and what speed to play it, but I’m able to create in the moment with my patients and with my other therapists or with my classmates.’
It got back to what I experienced with my grandfather, with my dad, of creating in the moment with others and creating an environment with the music.
CITA: Was there any particular reason why you didn’t think about singing as a part of who you were as a musician? Did you not want to speak? Did you feel like you didn’t really have anything to say?
KA: I definitely was a very shy kid, very much an introvert. I did not want to be the center of attention. I never want anybody looking at me. I didn’t want focus on me at all. Please ignore the fact that I’m in the room. [laughs].
But I didn’t really have anything to say, either. What I’ve always prided myself on, though, even when I was shy and the ultimate introvert, was the ability to convey an emotion through song. I wanted to give people the experience of going on a musical journey. I wanted to play Fur Elise by Beethoven completely different than anybody else did because I wanted the listener to have a different experience. I’ve always connected to wanting to give people a different emotional response.
But as far as me using my actual voice to do that, though … I didn’t find my voice until I was having to use it for my patients, and it was just my patients saying, ‘your voice is very soothing, your voice is very calming.’
When someone is telling you that, and they’re a person in a hospital bed, then that’s how I’m going to use my voice from then on. If someone has said ‘your voice comforts me,’ I’ll use it again in a comforting way. Slowly, I started to own the voice that was coming out.
My voice has changed for sure over the years from a quiet, comforting voice to one that is gritty. I growl a lot more. I yell a lot more, but I think that’s also because I’ve walked through the world a little bit more and I’ve seen so much more.
CITA: Can you tell us a little bit about how you got into musical therapy as a job?
KY: I went to the University of Georgia. It was one of the oldest music therapy programs. Because I had so many years under my belt as a pianist and as an oboe player, I knew that if I was going to go to college and needed scholarships, music had to be the way to do it. I was also very fascinated with psychology. My junior year in high school, I met this guy at the cotillion for my church, and I was just talking about, yeah, I need to do music and I’m in the marching band so I know I’m going to have to major in music somehow.
He was like, well you know, there is this profession called music therapy. I leaped on it and started doing research, and I found the American Music Therapy Association organization’s website. There was a music therapist in Columbia who worked at Baptist Medical, and I shadowed her. I followed her around for my junior year class project, and at that point I was like, ‘I think I know what I want to do.’ It sounded awesome—to combine music with psychology and the ability to help people through music.
CITA: Then you ended up working in some really hardcore situations, in prisons and with people who had mental illnesses. You went straight into what you’ve referenced before as “really heavy circumstances.” Did you feel called to be there? At any point were you aware that you were gathering materials as an artist, or did the work feel more like spiritual healing?
KA: I definitely was not aware of gathering any kind of materials. I think it was more self-centered than that.
For me, if somebody says, ‘this is a population that is hard and it might be difficult for you, we don’t know if you can handle it,’ then I’m always like, ‘cool.’ That’s what I want to do.
My senior year, we ended up doing some clinical work in the jail that was a couple counties away. I loved the challenge, and the patients challenged me all the time. They kept me engaged. It started off like ‘I dare you to tell me I can’t work with this population because you think I’m too quiet and I’m too sweet and I’m too nice. That’s not who I am.’ After a while, I found out that I actually had the tools and the patience and the desire to go where a lot of people don’t want to go. I enjoy going into places that are difficult for me. I enjoy going into dark spaces with others. I like being stumped. I like sometimes not having the answer.
But, I also found that what I liked about going into those into the hard places was just the fact that not everybody had a positive voice for my patients. Not everybody was seeing them in a positive light.
I found I was able to truly be an advocate for those people who the medical team might have given up on. My work as a musical therapist helped me realize I have the heart and the tools to show up and speak for these people.
CITA: We’re super intrigued by what you just said about being an advocate. We’ve been thinking about your evolution as an artist. In your other interviews and in your Ted Talk, you speak about finding your voice as something that must be an advocate for all people. Is that an evolution that you felt consciously, that your voice needed to be an advocate for healing in these troubled times?
KA: It was an evolution for sure. What made me pull back from music therapy was the fact that I realized I was getting walls thrown up in front of me when all I was trying to do was good.
The more I spoke up for the kids, the more heat I got from the team. What I realized was, the moment I stepped away from the institution of it all, from the rules and the hierarchy, I could do more work by coming in from the outside. It’s almost like I have more credibility, too. I feel like I can reach people on a deeper level because I’m not confined by any kind of position. I’m not worried about my job at this point. Now, my job is to come in and be a voice. That’s it.
CITA: Who are your big musical influences?
KA: I’m all over the place. As far as what they stood for and their mission with their music … Definitely a major fan of Nina Simone. Also Sam Cook. I’m listening to Hozier right now because he’s doing the same thing. His music has a meaning and there’s a purpose behind it. He’s trying to create change through it, but sonically it feels so good.
I love that Nina [Simone], her whole thing was that it is the point of the artist to be a reflection of what is happening in this country. That is a responsibility on the songwriter, on the artist to tell the story, of what is really happening in the world. I feel like she’s been definitely an influence of how I walk through the world with this new hat that I wear.
CITA: When we were watching your “Same Blood” video, we wondered if you had any inspiration from Nina Simone. It seems like what she was doing at the time she was visible is very similar to the times that we’re in right now and what you are doing. We’re in a social moment we’re we can no longer assume people are going to have a rational response. Because of that, we’re seeing the kinds of public social violence Nina confronted. Do you feel that too?
KA: Absolutely. Also, from the videos that I’ve seen and interviews that I’ve have heard of hers, her audience was also very similar to mine. It was mainly a white audience, and so she was a reflection of what else was happening, the other side. That’s something that I have to think about every time. Oftentimes, I show up to performing rooms, and I’m the only one who looks like me. Therefore, I try to make sure that I get it right, or as right as possible, and I speak truth.
I don’t have the comfort to just pull up in a gas station, especially if I’m in middle Georgia or South Carolina. I can’t just pull up anywhere. Oftentimes, I’ll pull up to a gas station and be like, ‘oh no, this isn’t a safe spot.’
But people think, oh, you’re a songwriter, you’re out on the road, that must be magical. Yeah, and a little dangerous at times.
I have to really think about where I am and where I’m going to rest my head. That’s not a reality people think about when it comes to what it must be like being a songwriter and storyteller. Some people see it as this awesome experience, but I’m also seeing real America, and not only am I experiencing those moments of ‘is this a safe place for me and a safe space? Can I say what is on my heart and what I’ve experienced?’
We’re currently right now driving from Nebraska. We were in Nebraska, Iowa and Kansas, and that experience … I got to see a different part of America that not many get to see. These are the people who are feeding America. You know what I mean? Their wants and needs are different, their desire is different, and I’m playing in rooms where there was no one there that looks like me. These are towns of 200 and 300 people. I’m a representation of a people, another way of living in a region that they don’t know. But the thing that I’d like to get across to them, too, my storytelling, I always start off by talking about my family and where I come from, because that’s something that many of us have in common—we have roots. We have people who fed into us. We have someone who inspired us, either from traditional or nontraditional families.
That’s something in common. I might look different than you, but somebody raised me and instilled me with qualities and with a purpose and with morals. That’s where I start, and by the time I get to the end of the show, we’re talking about how we’re walking through the world and how are we seeing one another. Are we being truthful with one another and kind with one another? I’m telling the stories of everyone that I’ve met that is incarcerated, that is dealing with mental illness, that is walking around quote unquote free in this world, but in their own prisons because of the wounds they’re carrying and the trauma they’re walking around with.
Yeah. In that way I find I have to always look back at the work that people like Nina Simone and Mavis Staples have done in just telling the stories and singing the songs and keeping the thread going. That’s the only way to bridge the gap between all the regions and all the different ways that we live, not only in this country, but in the world.
CITA: It’s a hard walk to be true, so we’re glad you’re doing it. How do you let off steam? How do you care for Kyshona?
KA: [laughs] That’s a very good question. I just got a membership at Massage Envy.
CITA: Good idea because Massage Envy is everywhere.
KA: But this is something I’m trying to work on because I’m in a season where I’m working really hard. I’m gone a lot. I’m fortunate for it, I’m grateful for it, but the same thing that happened to me when I was a music therapist has happened. I stopped taking care of myself. I’m feeling again a little run down and a little heavy. I’m trying to just take little moments of joy. When I go home, I shut down. I might turn on some trash television. My new thing has been Schitt’s Creek, catching up on what I’ve missed over the years and just trying to find a way to zone out and maybe not think about anything. A couple of weeks ago I tried to really stand in the privileges that I have, and I went on a because-we-can trip to Barcelona for four days.
CITA: Did you love it?
KA: I did. We had no plans, other than to walk around and eat food and drink wine.
CITA: Well, what other plans do you need in Barcelona?
KA: [laughs] Right? That’s the other thing that music has done for me is pulled me into different countries, which I never thought I would be able to do as a child, or even as a young adult. I never thought I would get to travel the way I have because I have a guitar and stories and songs to share. It was great to travel to Barcelona and experience a whole other culture and a whole other way that people live, to have no job other than receive, right?
CITA: We’re pumped that you’re bringing your music to Tampa. Is this your first time to this part of Florida?
KA: No. I’m actually down there often. The first thing that brought me to the Tampa area was a songwriters’ festival that I did in Safety Harbor, Florida.
CITA: Oh wow! Yeah, that’s right up the road.
KA: Yeah, I’m always in 30A for this 30A Songwriters’ Festival. and I’ll just keep on coming south. I was just in the area a few months ago to play at Fogertyville.
I’m playing house concerts, which are nice, intimate songwriting series that are in these communities people just built up, and they’ve created a really cool network in Florida, especially around the Tampa, Clearwater, Safety Harbor Area. Florida has surprised me by their love of the singer-songwriter and their love of storytelling
CITA: Well, we’ll be glad to see you here soon.
KA: See you soon!
Learn more about Kyshona Armstrong when she appears live and in person at Club Jaeb next Monday night, Dec. 16.
A first for The Straz, the new fabric designs represent a wild collaboration between dance costuming and graphic design.
When people think of the graphic design department in a performing arts non-profit, they may imagine program layouts, banners, signage, logos and the like. They may not consider a couture collaboration to produce custom costumes specifically for dance.
The Straz Center houses an extraordinary ballet training program headed by Philip Neal, a retired principal dancer from New York City Ballet. Our pre-professional ballet company, Next Generation Ballet, stages a knockout production of Nutcracker each season, hosting famous guest artists in the roles of Sugar Plum Fairy and her Cavalier. (This year we’ve got Maria Kowroski from NYCB—the real dancer for the Barbie ballerina movies—and Aran Bell of American Ballet Theatre, who was featured in the Youth America Grand Prix documentary First Position).
Next Generation Ballet students rehearsing for Nutcracker
If you’ve attended NGB’s production of Nutcracker, you already know it is lavish, sumptuous, magical and full of exquisite classical ballet technique. The production’s costumes star as some of the most fun eye candy in this Land of the Sweets, with their detailed faux fur trims, delicate embellishments and delightful array of bold colors. If you haven’t been to Nutcracker yet, then get your tickets for the show this weekend because you’re in for a treat.
This past summer, NGB costumer Camille McClellan brainstormed with Philip about the possibility of producing designed fabrics that she could customize for NGB dancers. If they could find a local company to print directly to spandex blend textiles, then we could potentially have bolts of fabric for affordable, sustainable, unique-to-NGB costumes.
Costume Designer Camille reviewing plans for one of the new designs for Nutcracker
Philip and Camille decided to revamp the four leopard and 11 butterfly costumes using print-to-fabric technology, which would allow Camille to hand draw the new look Philip envisioned. What they needed to complete the project was the aid of graphic designers to trace Camille’s pattern in Photoshop, convert it to a digital print file and send it to the printer who could ink the design onto stretchable fabric. Then Camille could cut the patterns and sew the costumes together, add embellishments and have them show-ready by this weekend.
To see their idea become reality, Camille and the dance department partnered with Straz graphic designers Joseph LaCrue and Roderick Taracatac to take her designs into the digitally print-ready world.
Camille and Graphic Designers review samples of the custom printed designs.
“What was fun for me,” says Joseph, who worked with Camille for the new butterfly costumes, “was that Camille has been in the costume industry for years, so she automatically started off the project thinking about what the costume would look like under theater lights, how it would read from the back of the audience. That’s where I was really impressed. She’s thinking of not just the dancer; she’s thinking about the audience member … can they see it? Is it going to read? I thought that was really cool.”
Camille estimates she spent about 200 hours over the summer getting the design and measurements of the costumes perfect then painstakingly calculating the exact positions of where the designs needed to be on the fabric so they would line up properly when she cut out the parts and sewed the costume into one piece. She determined she would need three different-sized costumes to accommodate the diversity among the size of the dancers, which meant that she had to repeat the laborious calculations and draw the costume, in full, on graph paper with tick marks denoting where the pattern was to meet upon sewing.
Camille spends countless hours fine-tuning the details to each costume that will be seen on stage during the Nutcracker performances
Joseph then scanned the three life-sized costume drawings, reduced them to scale, hand-traced over them in Photoshop, colorized them and saved the work to a digital file to send to the printer. The anxiety-producing aspect of this project was that there was no margin for error. The calculations, drawings and tick marks had to be perfect, otherwise the pattern wouldn’t align, ruining the entire costume.
“This project was extremely technical. For me, it was two hours to draw the petite, two hours to draw the medium, two hours to draw the tall. This is about as couture as I think you can get in this day and age,” Joseph says. “We talked about why wouldn’t you do this with just dyed fabric and an applique, but the theory is that if we invested in this technology now, we’ll have these costumes for generations to come. I know this was a labor of love for Camille. I think we all learned a lot on this project. It was fun.”
Butterfly costume design for Nutcracker
“The dance department is thrilled to be using this technology, and the graphic designers have been great to work with,” says Camille, who hand-sewed the 15 new costumes, adding arm sheers to the butterflies and gem embellishments to the leopard unitards. “The butterflies were such a challenge because of the scattered design that wraps around the body and a ribbon element that had to match at the side seams in five different locations. I wanted something fantastical for the leopard print and found the inspiration from a Versace ad I saw in a fashion magazine. I gave that to Roderick and said ‘this!’”
“I have created prints and patterns for projects in the past, but never anything that was used for performing art on stage,” Roderick says. “This collaboration was a blast. Camille is a very detail-oriented artist, who had a strong vision of what she wanted the final piece to look like. That took a lot of the guesswork out of the project and really streamlined the creative process. Once the colors were finally nailed down, there was some back and forth on scale of the print, and before we knew it, we had the final product done and out to the printer. Camille named this print Confetti Leopard.”
Camille’s originally named ‘Confetti Leopard’ custom printed fabric
You can see the debut of these new costumes this weekend when NGB’s Nutcracker dances onto Morsani Hall stage.
The 2019 D’Angelo Young Artist Vocal Competition honors Opera Tampa’s dedication to nurturing new artists. On a more personal note, the competition represents Opera Tampa League Board Chair Gina d’Angelo’s commitment to continuing her parents’ love of music through philanthropic support.
Dr. George and Mary D’Angelo
When Straz Center donor and Opera Tampa League chairperson Gina d’Angelo was in college, a fortunate series of events led to her parents hosting a dinner party for Luciano Pavarotti at their home in the hamlet of Erie, Penn. Tasked with pressing the wrinkles from the famed tenor’s tux, Gina and her sister Joanne set to their chore with giddy delight. Joanne, an actress, knew a once-in-a-lifetime opportunity with a costume when she saw it.
She pulled on Pavarotti’s tux, brandished its white handkerchief, then launched into her best impression, small white flag a-wave, as though she stood on the stage at La Scala.
Pavarotti and Gina at a D’Angelo dinner in Erie, Penn.
As charismatic and larger-than-life as Pavarotti was, it wasn’t the two D’Angelo daughters who were most enamored with the Italian singer — that was George D’Angelo, the girls’ father, who happened to be Erie’s homespun impresario and a devoted fan of fine music and inspired artists. Dr. D’Angelo, a heart surgeon, also presided over the Erie Philharmonic and had befriended Pavarotti’s manager in the hopes of convincing him to get Erie on Pavarotti’s performance calendar. A few years passed until, one day, Dr. D’Angelo received a call.
“Pavarotti’s going to be singing in Cleveland on Friday,” the manager tells him. “If you want him on Sunday, he’s yours.”
That’s how Joanne D’Angelo ended up in Pavarotti’s tux while the rest of the house was in a tizzy getting ready for the post-concert reception for the world’s greatest tenor.
“It’s funny,” Gina remembers, “because when you host an event like that, everybody comes through the front door. My parents were very social, and because they were such lovers of great music and subscribers to The Met, we had quite a few singers at our house in those days. But Pavarotti — he came through the back door, through the kitchen. He started talking to the cooks, tasting the food. He was just a normal guy. A pretty large normal guy.”
George D’Angelo came to his appreciation of the arts through Gina’s mother, Mary. “It all started with my mother,” Gina says. “She was classically trained. She had a beautiful voice. She first got involved with the Erie Philharmonic, eventually convincing my dad to get involved as well. Those initial investments of time grew into so much more.”
Mary D’Angelo with Granddaughters Olivia and Alexa
The D’Angelos ultimately funded the D’Angelo School of Music at Mercyhurst University and the Mary D’Angelo Performing Arts Center. Eventually, they saw the need to take an active role in developing new talent, so the couple conceived of and created the annual D’Angelo Young Artists Competition in Erie, awarding the winners substantial prize money and a performance opportunity.
When George D’Angelo passed away in 2014, Gina felt a profound sense of responsibility to live up to and honor the example her parents had set as contributors to their community. “I thought, if my dad could be a surgeon working 18- hour days and be president of the philharmonic as well as giving to so many other charities, then I can do that, too,” says Gina. She became the chair of the Opera Tampa League in addition to her full-time job and various other obligations, deciding, last year, to revive the D’Angelo Young Artists Competition for Opera Tampa. “I think Dad would be proud of me. I contacted the winners from when we hosted the event in Erie. I asked them, ‘what did winning the competition do for your career? How did it impact your life?’ The responses I got convinced me we needed to bring it back.”
Dr. George D’Angelo with Pavarotti
This season, Opera Tampa celebrates its 25th anniversary — an auspicious milestone for enacting the inaugural D’Angelo Young Artists Vocal Competition. Purely a competition for upcoming singers, this event demonstrates Opera Tampa’s unwavering commitment to finding operatic talent and developing their careers. The winners receive prize money to further their studies and careers and also earn the opportunity to perform in an Opera Tampa production. “For me, bringing back the competition is an extension of what my parents did. Mom and Dad instilled in me that giving back is just what you do. I am trying to live by their example,” says Gina.
The D’Angelo Young Artists Vocal Competition finale takes place on Sunday, Nov. 24, at 4 p.m. in the TECO Theater. Winners will be announced, and prizes awarded. To see these upcoming opera stars, rsvp@strazcenter.org.
