State Thespian Spotlight: Randy Rainbow

Internet musical parody sensation Randy Rainbow launched his life in musical theater right here on Straz stages when he was a high school Thespian.

As many, many, many, many, many high schools in Florida know, this week is State Thespian Week, when almost 8000 students, teachers, chaperones and judges descend on The Straz and elsewhere in downtown Tampa to compete for top distinctions in this distinguished drama festival.

Flashback: 19 YEARS AGO

It’s 1999. President Clinton is impeached, acquitted then cited for contempt of court. The dot-com bubble looks eternal. Joe DiMaggio dies, the Yankees win the pennant and Carolyn Bassette Kennedy and her husband, John F. Kennedy, Jr., perish in a plane crash. The United States wins the Women’s World Cup (the year we all learn the name Brandi Chastain), and the Dow Jones closes at an unprecedented 11,410. Somebody buys the last New York City Checker cab for $135K at auction. It is the year of the Columbine High School massacre and the highly publicized hate crime against Wyoming man Matthew Shepard. 1999 is the year three white supremacists are convicted of felony murder for the lynching-by-dragging of John Byrd, Jr. Unemployment is at a 29-year low. George W. Bush announces he will run for President.


A senior in high school from Plantation, Fla., stands alone on the Morsani stage. He sings his heart out in the number he’s prepared for the Florida State Thespians. He wins for solo musical and, later, with his best friend, an award for comedy scene.

That 17-year-old, defying the world with musical theater comedy, is Randy Rainbow.


Randy Rainbow headshot

First of all, Randy Rainbow *is* his real name.

Second of all, we had no idea he competed (and won, of course) during the Florida State Thespian festival when he was in high school until we had to interview him yesterday for The Straz’s “Behind the Persona” feature for INSIDE magazine. Be sure to check out that Q&A in the Spring/Summer issue out in April.

Third of all, when we found out the Randy Rainbow, who just happens to be a superhero of the internet for defying the world with musical theater comedy, played the Straz stages as a 15-, 16-, 17-year old theater kid and winning, we had to write this blog.

“When I used to do theater competitions, we would do district and state, they were held in Tampa. Florida is where everything started for me,” Randy says, “so it has a special place in my heart.”


Randy Rainbow comes full circle when he returns to The Straz as an international internet sensation with his hilarious one man show on April 13 .

As it turns out, his time as a Thespian competing against other state actors and meeting other theater kids at The Straz changed his life. “That was a major part of my [early experiences as an actor]. That’s where I came out of the closet, as a matter of fact. At Tampa, at state competition. How appropriate.”

Like many kids who are different, Randy survived school bullies, sharpening his comedy and musical theater chops to get through and graduate to pursue his dreams. In the meantime, Thespians and his annual high school trip to the state drama festival gave him something to look forward to where he was among friends doing his favorite thing in the world.


Ok, so this isn’t from when Randy was in high school, but it’s pretty cute. (Photo from Instagram: @randyrainbow)

“Yeah. You grow up, and it’s hard to find other drama nerds, really. So once a year, to gather with hundreds of them, I just remember, it was just ecstasy,” he says. “It was so exciting to have other like-minded people nerding out on theater. That was such an important time in my life. I still have such amazing memories of it, and it had such an impact on me. It was joy, absolute. Just … joy.”

Randy Rainbow, like so many artists, took his life experiences and the history he was born to and made his art. Now famous for his political musical parodies as a “woke show queen, comedian, actor, songstress, active-isht, Internet Sensation and TV Personality” [his Twitter description], Randy finds himself able to do something, to speak out and show up politically in visible ways.

But would he consider running for office?

“Hell, no. Let me stick to my comedy.”

randy for prez

If I Can Make It There, I Can Make It Anywhere

Musicians and actors who make the leap to Broadway

Kill Bill super-assassin Uma Thurman skillfully executed a Broadway debut in The Parisian Woman in November 2017, as did rock ‘n’ roll superstar Bruce Springsteen in September, when he broke box office records and added Boss of Broadway to his long list of artistic credentials with his show Springsteen on Broadway. Michael Moore, political provocateur and filmmaker, took to Broadway in August with The Terms of My Surrender, his one-man limited engagement.


Fania Borach, known professionally as Fanny Brice, circa 1920. (Photo: George Grantham Bain collection at the Library of Congress)

Local lore has it that the American crossover star phenomenon started around 1910 with Fanny Brice (the “Funny Girl” later played by Barbra Streisand), who made it on Broadway then took to Hollywood and radio. Brice set many precedents in her career, and this notion that performing artists launched a career in one field and conquered the next challenge as they gained success laid the foundation for stars to take the Broadway Challenge: they might be good singers or actors, but can they handle the greatest test of all, the demands of performing live at the epicenter of theater?

Take, for example, multi-platinum crooner Josh Groban, who debuted in the 2017 surprise hit Natasha, Pierre & the Great Comet of 1812 and walked away with a Tony nomination for Best Lead Actor in a Musical. Carly “Call Me Maybe” Rae Jepsen donned the glass slippers for Cinderella, and teeny-bopper heartthrob Nick Jonas took over for Daniel Radcliffe (of Harry Potter fame) as the lead in How to Succeed in Business Without Really Trying. Probably one of the best musical vehicles for pop singers is Chicago, and that cast has welcomed Ashlee Simpson, Sofia Vergara, Backstreet Boy Kevin Richardson and R&B superstars Brandy and Usher, among others.

In March, Deborah Cox, the Grammy-winning and multi-platinum recording artist, takes on the role of Rachel Marron in the musical adaptation of the Whitney Houston from diva-to-screen-siren crossover Hollywood hit The Bodyguard. Cox, who made her Broadway debut in Aida, started her career as a backup singer for Celine Dion and eventually made a place for herself on Broadway. She also starred in Jekyll & Hyde on Broadway and at The Straz in 2013.

The Bodyguard

Deborah Cox as Rachel Marron, with Jaquez André Sims, Brendon Chan, Willie Dee and Benjamin Rivera in The Bodyguard. (Photo: Joan Marcus)

Cox, who proved her versatility on screen, stage and in the recording studio, continues to join the rising ranks of performers blurring the lines between “what kind” of star they want to be. With Springsteen’s success on Broadway in basically a troubadour stint and Kinky Boots inking Panic at the Disco! frontman Brandon Urie and Scissor Sisters rocker Jake Shears to rack up ticket sales, there’s certainly a safe bet for a box office draw of known names and faces in new territory. For Cox, of course, there’s the added pressure of stepping into some mighty big Whitney Houston-sized shoes. “I want to make sure that [Houston is] represented right. I know what the expectations are. …That’s pretty much what I’m going in there to do – give it my all, really make this show a huge success because the show deserves it. She deserves it. Her legacy deserves it,” Cox said in a 2016 interview with

To catch Cox* as Rachel Marron, get tickets for The Bodyguard playing in Morsani Hall March 20-25 here.

*Deborah Cox is not scheduled to perform at the Saturday matinee or Sunday evening performances.

Lady with the Million Dollar Smile

Diamond Teeth Mary sparkles as part of the Straz Center’s Rock the Riverwalk local musicians’ hall of fame.

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Photo from the Florida Library Archives.

We’ve had a lot of legends grace the stages at The Straz. Around Tampa, we’ve been blessed with our own backyard musical demigods, many of whom people don’t realize grew up, lived or died right here in the Cigar City.

When it came time for us to plan something cool to commemorate our local artists for the Straz Center’s 30th anniversary season this year, we looked to our in-house musical legend Maggie Council di Pietra to help us compile a sample of some of the Tampa area’s famous and infamous musical lights.

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Photo from the Florida Library Archives.

Among these, we find the inimitable “Diamond Teeth” Mary, Mary Smith (half-sister to blues legend Bessie Smith), who found her way to Bradenton in 1960 after several successful years as a circus acrobat and, later, as a performer in the famous Rabbit Foot Minstrels. The story goes that she stole a diamond bracelet from her abusive stepmother, disguised herself as a boy and jumped a train in Huntington, West Va. to run off and join the circus. The diamonds, which she initially sold off one by one to pay her way in life eventually made it into her teeth when she was a singer. As Mary tells it, she ended up selling the diamonds to pay for medical bills, right before she was rediscovered by a folklorist and immortalized by the Smithsonian.

“Mary was incredible,” says Dr. Blues, who worked with Mary to produce her album Walking Mary’s Blues. “She performed with Duke Ellington and Billie Holiday at the Cotton Club in Cincinnati in 1954. She was a big deal. She had a great sense of humor and was always telling stories, though I never heard one about stealing the diamond bracelet from an abusive stepmother. She did sell them to pay for medical bills, though.” When Dr. Blues met Mary, she was substituting aluminum foil and Polygrip for her shiny smile, but some blues friends chipped in and got her diamond teeth back for her last tours. “I think it was cubic zerconia, but still,” says Dr. Blues, “the ‘diamonds’ were back eventually.”

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Photo from the Florida Library Archives.

Mary Smith died in 2000, a beloved member of the Tampa area blues community. Below, you’ll find a reprint of the memorial Straz Center grant writer and local legend Maggie di Pietra (who consulted for the Rock the Riverwalk exhibit) published in the St. Petersburg Times.

To see the rest of the people highlighted in the Rock the Riverwalk free exhibit, visit the Straz Center and cruise by the grassy knoll between the river and Morsani Hall.

Riverwalk collage


Diamond Teeth Mary
Remembering the ‘Queen of Blues’
by Maggie Council di Pietra
The original article appeard in the St. Petersburg Times April 28, 2000. Copyright © 2000 St. Petersburg Times. All rights reserved.

One thing is for certain, people in this area will never forget Diamond Teeth Mary.

We in the Tampa Bay area were lucky to share Diamond Teeth Mary’s last years.

When she died at 97 earlier this month, the memories flooded in.

Folks remembered her birthday parties at Skipper’s Smokehouse in Tampa, which drew crowds of blues enthusiasts, players and performers. Or her appearances at the Silver King Tavern in St. Petersburg.

Mary once sat in at the Silver King with showman James Peterson during a late-night set. She sang so well that Peterson, with a new battery pack on his electric guitar rig, went down on Central Avenue, lay down and stuck his feet in the air while he played, still able to hear Mary from inside.

Where blues rang out in Tampa Bay, Diamond Teeth Mary wasn’t far away.

Now, a party has been planned to celebrate Diamond Teeth Mary’s life and spirit. She pretty much planned it herself.

Harmonica growler Rock Bottom, a close friend of Mary’s for 20 years, explained that “Mary didn’t want a funeral but she wanted a party. She outlined the whole deal, down to the red beans and rice and stuff.”

Mary wanted it held at Skipper’s, and she wanted people who knew her to get together and play. Not like a series of band showcases. More like how it used to be, playing on someone’s porch.

“There’s no structure,” says Bottom. “That would be the music biz, and this is a memorial for Mary, and never the twain shall meet.”

The music industry was never kind to Diamond Teeth Mary, but she managed to perform and make a living for 85 years without its help.

Mary Smith McClain started her performing career when Billie Holiday was in diapers and Robert Johnson was a toddler. But her Cinderella story of running away from home in 1915 at age 13 to escape an evil stepmother had no prince charming; it was Mary’s own skills as an acrobat and singer that enabled her to survive.

By the time Muddy Waters and B.B. King were born, Mary Smith had years under her belt as a dancer and acrobat for the traveling minstrel/medicine shows across the Chitlin’ Circuit and had started to sing. Medicine shows, which were popular roughly from the end of the Civil War to the 1950s, were traveling troupes featuring free entertainment interjected with pitches for ointments and tonics — the same format adopted later by television, which played a huge role in the medicine shows’ loss of popularity by creating stars that many people could see at once.

Mary’s talent for drawing a crowd earned her a place with the best of the shows. She traveled in troupes like Irwin C. Miller’s Brown Skin Models, the Davis S. Bell Medicine Show and for 11 years as part of the infamous Rabbit Foot Minstrels.

Mary was commonly promoted as “Queen of the Blues” on the same bill with luminaries such as Nat King Cole, Sarah Vaughan, Cab Calloway, Fats Waller, Count Basie and Ray Charles.

Life on the road for black performers wasn’t exactly limousines and room service in those days. Often the troupes had to travel miles out of their way just to find a place where they could eat or sleep, only to be relegated to the back yard.

One of Mary’s contemporaries was Bessie Smith, who was a big sister figure for Mary until her death in 1937 in an automobile accident. In an interview in the early 1990s, Mary remembered seeing Bessie lying on a stretcher on the hospital floor. She lay there so long, Mary said, that her blood clotted on the floor. Although Bessie Smith was a huge star, a black woman in a hospital couldn’t expect to get immediate attention.

Along the way, Mary became known as Diamond Teeth Mary for the diamonds she lodged in her teeth. Mary knew how to play an audience as well as tell a story, and the survivalist persona she had crafted was well-honed.

Why the diamonds? Some said they were an on-the-road hiding place for diamonds from a bracelet her mother had given her. In other stories, the diamonds were from a necklace she stole from her abusive stepmother. In another interview, Mary said, “All the singers were doing stuff like that [then], with gold in the 1940s. I did diamonds, just to have something to make me stick out.”

During some of the leanest years, the diamonds were replaced for a while with tinfoil. In a recent interview, Mary’s caretaker said that Mary’s mother had come down with cancer, so Mary had her teeth pulled and pawned the diamonds to pay for her mother’s care. Later in Mary’s life, some Tampa Bay friends helped her have new diamonds installed.

Diamond Teeth Mary was booked at the old Palms Club on U.S. 301 in Bradenton when she decided to retire there in 1960.

It was the end of one era for Mary, but the beginning of another. She married Clifford McClain, her second husband and followed him to church. Mary moved her genre of focus from the blues to gospel music, which she claimed she had never sung before 1964. Mary became a star at church, singing Precious Lord and Amazing Grace, while falling into relative obscurity as interest waned in the blues.

In the late 1970s, when the blues was enjoying a resurgence of interest, Mary was “discovered” by folklorists who invited her to perform at the Florida Folk Festival. Her performance there brought down the house and earned her an invitation to a performance at the White House in 1980.

Why didn’t Diamond Teeth Mary record when all her contemporaries seemed to be doing it? She somehow evaded the recording studio in favor of live performances for decades. Some said it was her temperament; Mary liked to work things on her own terms and burned her share of bridges along the way.

University of South Florida anthropologist Maria Vesperi received an NEA grant in 1982 to archive some of Diamond Teeth Mary’s performances and stories on video. Vesperi offers another view: “Mary was a country person. She had the opportunities, she was sought after, but she didn’t want it — didn’t want the city life that went with being a recording star at that time, to have to live in an urban area. She liked being on the road.”

Vesperi tells how Mary’s occasional outward prickliness was explained to her one time by Johnny Morgan, who owned the Stuffed Pepper on Central Avenue in St. Petersburg, one of the few blues venues around the bay area in the early 1980s. “It’s a survival strategy — it’s a defense. Johnny said he would have to look her in the eye and say, “Mary, you got paid.’ At her age, she never knew when her next gig would come up, and she took every gig for all its worth.”

Mary liked the attention she got from singing in church. “She’d been kicked out of several churches by the time I met her,” says Vesperi. “She was a genuinely spiritual woman, and it meant a lot for her to have a church. I believe it was a tough time for her, that the other church ladies didn’t like her singing in bars.”

But Mary thought of it as a mission. Who needed to hear God’s word more than those sorry souls hanging at bars? And Mary would work a little church into her blues — for free. Others who knew Mary also cite her struggle with a personal, internal conflict between religion and blues.

The 18 hours of video funded by Vesperi’s grant have never been edited. The reels were shot by nationally known cinematographer Nick Petrick, digitized last year for protection and archived at USF. Vesperi is seeking funding for post-production work.

The juke joints and dance halls Mary had played for black customers in earlier decades gave way to international audiences at festival stages, blues bars and even Carnegie Hall.

Mary never had any children, so there were no close kin around during her later years. It seems the blues community in Tampa Bay was her adopted family.

In 1996, local blues luminaries put on an all-star jam/concert to raise money for Mary, whose apartment had been damaged in a fire. Acoustic blues guitarist Roy Bookbinder helped Mary get a working telephone, and Rock Bottom and his friend St. Petey Twigg took Mary — wheelchair and all — on tours of Europe.

Traveling with Mary was an experience for Rock Bottom. “The first time she went [with St. Petey Twigg] to Sweden and Norway, she left all her Norwegian money, which was a considerable amount, in the trash in her hotel room. When presented with the money, and asked if perhaps she’d forgotten it, Mary angrily replied, “Don’t give me that gumbo money. You’re not gonna fool me. I want dollars!’ Mary was paid in U.S. dollars for the remainder of her tour.”

Locally-based blues diva Sandy Atkinson met Mary late in her life. About six years ago, Atkinson had just moved to the Tampa Bay area and was thinking maybe she was too old to pursue a lifelong dream of a career singing the blues. Then she saw Diamond Teeth Mary perform one night at the Ringside in St. Petersburg, and it gave her the chills. “Here I was, 40 years old off to see the wizard and there was this incredible woman onstage. She was just bouncing all over that wheelchair, and I had to go up and shake her hand.”

Atkinson wrote a song and recorded it on her latest CD called She Rocked, a tribute to Mary and how she influenced others with her tremendous energy and distinctive style.

School-Girl Crush

The Straz Center’s 96-year-old volunteer extraordinaire, Margaret Goodson, dishes on her love of Forever Plaid.

marlowe & margaret

Caught in the Act writer Marlowe Moore Fairbanks interviewing long-time Straz Center volunteer and Plaid fan Margaret Goodson.

There are certain things people just know about Tampa:


Cuban sandwiches.


Magic Mike.

And Margaret Goodson.

If a place is lucky, it will have one spectacular person so ingrained in its culture and identity that you can’t separate the two. Margaret is that person for us. Everybody knows her, everybody loves her—and Margaret loves The Plaids.

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Margaret keeps this photo on her desk here at The Straz.

Margaret turned 96 a few weeks ago, and she’s been with The Straz longer than almost anyone. She’s volunteered here for 30 years, doing all kinds of jobs to help save us time and money (hey, we’re a non-profit!), even stepping in to “play” the washed-up Little Orphan Annie character during a photo shoot for our Forbidden Broadway ad campaign years ago.

Annie Forbidden Broadway ©Rob Harris 9416

Margaret posing as Little Orphan Annie for a Forbidden Broadway advertising campaign. (Photo: Rob/Harris Productions, Inc.)

It was here in the Jaeb Theater many, many moons ago when Margaret, coerced by a friend, attended Forever Plaid for the first time. “I can’t explain what happened. It was the songs, the show … and four handsome young men helps. I was hooked. I fell in love,” she says.

“I’ve had a school-girl crush on The Plaids a long time. Ever since the beginning. I’ve seen them everywhere I could—two times in Las Vegas. Once in Orlando. When the show is here I see it as many times as I can,” Margaret says, quickly acknowledging she could be considered a Plaid groupie. “Everybody who knows me knows Forever Plaid is ‘my show.’ It’s not like I like this one actor or have a crush on one character in particular. I love The Plaids no matter the show or where I see them. Although, I think Jinx may be my favorite character. He’s funny. And cute.”

HIGH RES Forever Plaid 3700 by Rob-Harris

Our 2018 cast of Forever Plaid. That’s Jinx on the far left, followed by Sparky, Smudge and Frankie. (Photo: Rob/Harris Productions, Inc.)

We’ve produced Forever Plaid a lot over the years although the last time the quartet graced the Jaeb was 2008. Margaret is pretty much the only one with exclusive “Plaid privileges,” and, inevitably, she ends up becoming a fixture of the show’s run. “When the show is here, The Plaids find out I’m a fan. I get to go to the cast parties and help decorate the stage before shows and things like that. Whenever they’re here they accept me as part of the players. They know they can’t go onstage before I meet them.”

As a Forever Plaid aficionado, Margaret sees the show in a bigger picture. “There’s so much to the show. All the songs are good songs. There are hilarious moments. Everything that’s good is in Forever Plaid, and we can use a little bit of goodness in this country right now. I believe in this show. It hit me like a ton of bricks, and I’m crazy about it,” she says. “I hope I can instill a rebirth of the show. I think this is what people need right now.”


Plaids from a previous Straz production wishing Margaret a happy birthday.

Margaret said it, so it must be so. The world needs Forever Plaid. Get your tickets here.

Would You Look at that View?

Astronaut Terry Virts and the Sunrise Over Earth from Space


Photo: Terry Virts

Enya’s lilting, lovely Gaelic song “Storms in Africa” drifts in a slow, spiraling melody—perfect for floating in a clear bubble in space while watching the sun spill molten light across the Earth’s bold blue horizon and into the infinite blackness of space. From this bubble, it’s easy to see Earth’s distinct atmosphere and climate converge into swirling, sparking storms curling along the landscape.

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Sunrises and sunsets show details in the atmosphere. (Photo from Instagram: @astro_terry)

So did astronaut Terry Virts enjoy this view with Enya’s soundtrack playing aboard the International Space Station. Inside the Cupola, a seven-windowed compartment he designed and installed, akin to a ball turret on a fighter plane, Virts took more than 300,000 photographs. Many are sunrise and sunset photos, he will no doubt confess, when he comes here Jan. 16 for his lecture about this experience, A View from Above.

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Oh, hey Florida! (Photo from Instagram: @astro_terry)


Photo: Terry Virts

Imagine being able to see the watery green glow of the aurora borealis swimming below you but above the Earth, the overhead view of the perplexingly precise Egyptian pyramids, city lights of Calcutta exploding against the darkened backdrop of night. Virts experienced these awe-inspiring sights daily, taking more photographs in space than any other astronaut.

From the Cupola, Virts held “a front row seat to creation,” as he tells it. He took this once-in-a-lifetime role very seriously, capturing footage for A Beautiful Planet, the IMAX film narrated by Jennifer Lawrence, his lecture, social media and his book, also titled A View from Above.


Virts inside the Cupola. (Photo: National Geographic Live)

Cupola_upside down

Virts looking up at Earth with all seven Cupola window shutters open. Despite the orientation of this photo, the Cupola is actually on the bottom. (Photo: NASA/National Geographic)

With as humbling and miraculous as his day-to-day job was during his mission on the International Space Station (ISS), the constant reminder of his separation from home, in time, wore on Virts and the crew. All the astronauts on this ISS expedition, though of differing countries, were Earthlings trapped in a capsule within sight of their home planet and no way to connect to it. “About halfway through my mission,” Virts wrote on his blog entry “Relaxing in Space” (12/2/17), “the Russian psychologists sent my Cosmonaut crewmates some ‘sounds from Earth,’ like waves, rain, birds chirping, a busy café at lunchtime, etc. Those sounds quickly became a favorite way for my whole crew to reconnect with Earth; everyone loved them, Americans, Italians, and Russians. I fell asleep to the sound of rain for about a month.”

Virts retired from NASA in August 2016, launching a new career as a lecturer and educator. He appears at The Straz as part of the National Geographic Live series, the first speaker of our season. To get more familiar with Virts before you come to his talk, follow him on Instagram, Facebook and Twitter.

For tix to his lecture, get ‘em here.


We wanted to personally interview Terry for this blog, but he was indisposed doing adventurous stuff in Antarctica and couldn’t talk with us by our deadline. And we thought it was cold last week in Florida. (Photo from Instagram: @astro_terry)


This Is What It Looks Like to Change a Child’s Life


On the far side of the indoor basketball court, a line of wobbly-kneed elementary school kids stomps through a sequence of shuffle-step, shuffle-step with their dance teacher clapping time. Their shiny, tiny tap shoes clobber the gymnasium with sounds, their faces an endearing mix of intense concentration and unadulterated joy.

Out of context, this line of adorable grade schoolers looks like any other kids’ dance class, but there is a stark difference: these children are in the temporary safety of Metropolitan Ministries’ shelter, their lives upended by homelessness, domestic violence and other horrors beyond their control and not of their making.

Facing an uncertain future and abrupt changes, these children have this dance class in which to feel their joy, to be kids among kids, to have a normal, kind, loving thing happen to them at a predictable time every week. This one dance class helps hold their worlds together. This one dance class works its small, tireless magic to calm the beast of trauma ravaging their lives.

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“These kids, so many of them, have a history that should happen to no one,” says Janet Pantaleo, vice president – major gifts officer of Metropolitan Ministries (Met Min). “The transformational power of the arts, it’s tremendous. There’s no question about it. Yes, people have needs like food, shelter, rest … but humans need a creative outlet, too, to be alive. These children love their dance class, their music class, their theater class.”

Quietly and tenaciously, the Straz Center has offered performing arts classes for the children of Met Min since 2007. Today, we offer in-school and afterschool programs. We are there for hip-hop class, tap class, ballet class, music and theater. We are there when homeless children need hope, need a way to communicate without violence, need to feel confident and hear a roomful of people applauding their achievement.

“The kids have been blessed, very, very blessed to have been given this opportunity to have performing arts classes. How intimidating is it to stand up in front of people and do a tap dance or speak your part of a play? But they do it,” Pantaleo says, “and they gain confidence. Then they think, ‘if I can do that, what else can I do?’ Our relationship with The Straz makes us able to give well-rounded support. It’s mind, body and spirit.”


Some of those elementary-aged kids clomping through shuffle-step at the end of the basketball court? They will utilize full scholarships to train at the Patel Conservatory – and who knows where they’ll be able to go after that.

Every one of our classes for Met Min children happen 100% through donor support. When you give to The Straz this holiday season, you’re also giving to Met Min and every one of our other 44 community partners. That’s what we call playing it forward.

Together, we can keep changing lives through the power of the performing arts.

EXCLUSIVE: Retired Miami City Ballet Principal Ballerina-Turned-Teacher Patricia Delgado Talks Sugar Plum Fairy and Dancing in Nutcracker at The Straz

Lauded principal ballerina Patricia Delgado retired from Miami City Ballet this year after an extraordinary career with the company that began when she was 16 years old. An exquisite technician and breathtaking artist, Delgado gave soul to MCB, and arrived at The Straz last summer as a guest artist (along with Balanchine great Edward Villella) for the NGB summer intensive. It was our privilege to catch up with her to talk about her upcoming role with Next Generation Ballet’s Nutcracker.


Photo: Gio Alma

CAUGHT IN THE ACT: How was your first experience dancing Sugar Plum Fairy? What did it mean to you as a dancer to finally have arrived in this prestigious role? What does it mean to you at this point in your career?

PATRICIA DELGADO: I remember the first year I had the opportunity to perform as the Sugar Plum Fairy with the Miami City Ballet. I was extremely excited but way too nervous! I was young! I was still in the corps de ballet and loved getting to perform in snow and flowers every single show and every now and then get to do lead Marzipan. I couldn’t believe I would get to dance the grand pas de deux. It was very emotional for me because I had grown up doing the children’s roles in Miami City Ballet’s The Nutcracker, and all of the ballerinas I idolized so much had mesmerized me in this role for so many years. It was such a big deal for me. I remember working very hard and rehearsing a lot and still feeling very nervous! I have to say that even though my first show felt like a huge emotional achievement, it wasn’t my best performance at all.

I remember my partner and I were both new in the role, and we were very shaky. Now, looking back … I was just very young and inexperienced. However, what reassured me and helped me to stay calm and happy was knowing that I would hopefully get to work on it every single year since it is such a tradition. Every year when Nutcracker season strolls around, I’m excited to see how far I have come from the year before. I take note of how I learn artistically to interpret the music on a deeper level or approach the technical elements with more finesse and confidence. The other perk of dancing The Sugar Plum every year is trying the pas de deux with so many different Cavaliers. Each one I have been fortunate enough to dance with has shown me the pas de deux from a uniquely different perspective, and I love exploring that!

This year, I’m beyond words excited to get a chance to dance with principal dancer from the New York City Ballet, Gonzalo Garcia*, for the first time. He has been a dream partner of mine for a long time and to get this opportunity means the world to me. When I watch him dance, he makes me want to work harder and harder at being a better dancer and getting to feel his passion on stage will be such a treat! He is such a giving partner. I feel incredibly fortunate.

Watch Patricia dance in this new music video for the National’s “Dark Side of the Gym” with Justin Peck, who also directed the video:

CITA: What do you bring to the interpretation of the Balanchine choreography that you feel like is “yours”?

PD: What I love about this version is how incredibly musical it is and how beautifully the steps show off the music. Balanchine is just the absolute best! I really get lost in the mystery and luscious adagio quality of the pas de deux. What I just completely adore about the variation is how sweet it is. I imagine all of the little angels around me having conversations with me and sharing little secrets with me that just fill my heart with flutters of joy.

CITA: Will you talk a little about what you are looking forward to most about working alongside the Next Generation Ballet pre-professional company? Philip gushed about what great examples of professional dancers you all are, and he mentioned that you would all be great with the younger dancers.

PD: I’m so excited to be dancing alongside the Next Generation dancers because this past summer, after teaching for a week at the summer intensive, I was just blown away by the talent, work ethic, dedication and the positivity of all the students. I left Tampa rejuvenated and completely inspired by so many young amazing dancers. They fueled me! To share the stage with them is an honor, and I cannot wait to get the chance to see them light up on stage.


Patricia working with a student during Next Generation Ballet’s 2017 Summer Intensive.

CITA: What are you eager to see, do (or eat) during your stay in Tampa? You know we have the best café con leche and Cuban sandwiches (sorry, Patricia!, we know Miami is strong in these regards).

PD: Tampa is such a booming city. I love the location of the Straz Center along the river and in such a developing part of downtown. I can’t wait to go to Ulele, one of my favorite restaurants. Also, it’s my first winter living in NYC after living my whole life in Miami, so I’m very much looking forward to the sun and the warmth which I miss this time of year! I’m also looking forward to spending time with Philip and the amazing teachers at Next Generation Ballet.


Patricia teaching during Next Generation Ballet’s 2017 Summer Intensive.

Patricia Delgado performs Sugar Plum Fairy during the Thursday night performance, and Sara Mearns performs Friday and Saturday nights.

Meet Patricia in this video with her sister, Jeanette, as they talk about performing with MCB:


*Due to a recent injury, Gozalo Garcia will not be appearing in Nutcracker. However, we are excited to announce that Miami City Ballet principal Renan Cerdeiro will perform with Patricia Delgado as the Cavalier.