Procrasticare Master Living

Posted on by Thor

I drove from my Air B&B to the Stella Arbelaéz studio where James Parris would be spending the day gathering shots for his Procrasticare short. The first location of the day was in Stella’s Master Living room. I helped move the couch to the opposite wall in front of a window and then a set decorator came in and hung curtains and string lights. James had shipped purple and pink outfits for Stella to wear in each shot. The wardrobe was neatly arranged on a movable garment rack in the artist studio. Large lights were everywhere.

James shot the film using a stabilizer for the camera. I don’t think a singe shot required a tripod. My job, other than moving the couch, was to mist the room with smoke before each shot. This would add atmospheric perspective and soften the look. Now that I know this is done, I have started noticing it in films I watch.

This shot required Stella to relax on her couch and scroll on her phone. The couch is actually a recliner so she wouldn’t usually lay prove like an odalisque as she was being asked to do. She would  usually kick her legs up I front of her. She looked relaxed and Boo-Boo quickly got in character and lay attached to her hip. The room is blue and James picked a similar blue color as a throw over the leather recliner couch. I bet the warm glow of the Tiffany lamp looked good on screen.

Stella’s cow scull and a wooden hand holding a grass paper lantern stayed where she usually had them, but I don’t think they were in the shots. The wooden secretary in the corner of the room holds so many memories. Stella’s entire back story is housed in that gorgeous antique cabinetry.

Incense was burning on a small side table. That table was moved multiple times as a foreground element in shots. The audience might not notice that the table was moved. All that mattered was what appeared in the camera viewfinder. James was figuring out the final look as he worked. He knew exactly what each shot should look like since he had story-boarded every scene. But in camera he made sure the lighting matched his vision.

This scene only required a few shots of Stella sitting up, scrolling on her phone along with over the shoulder shots to see that she was looking at. I knew from having sketched on other film shoots that the amount of work that went into each shot meant that I would have more than an hour to sketch. Hugo Giraud who also worked at Disney Feature Animation, was also on set helping out. With so many worker bees, I could relax and sketch until the next shot needed to be set up.

Though shot over 9 moths ago,  Procrasticare is still in the editing bay. James had farmed out many effects shots that will appear on the phone Stella was holding. Once all that special effect work is complete, they will be added to the final edit of the film. All the acting in the film is silent. No one speaks. Coming from an animation background James knew that a story is best told through action rather than words. Stella would have done well as a silent era actress. Every emotion could be read on her face and gestures.

Disney Feature Animation Reunion

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The Disney Feature Animation Alum held a reunion In Orlando Florida on March 8, 2026. I drove Stella Arbelaéz and James Paris to the hotel in my Prius. It has been 22 years since the Florida Studio closed its doors, ending a long tradition of hand drawn animation. When we entered the hotel, the open lobby area was packed full of familiar faces. Large tables were set up with bites and there was a table for drinks. We had some free drink tickets and I decided to have a Coke so that I was flitting about like a Humming Bird.

Every time I turned around, I saw someone I had not seen in decades. There was a large screen set up which showed photos of life in the animation studio from years ago. I know now that what I really wanted to see was all the art that had been created by these amazing artists since the Disney Feature Animation Studio closed. I didn’t need to look back. I wanted to look forward.

I knew what James Paris had worked on since we had talked extensively at Stella’s studio, but for most folks I met at the reunion, I could only get an abbreviated elevator pitch of what they were working on. Being a visual artist, I wanted to see it all. I had been in talks with the Museum director at the Orange County History Center about having tables set up at the museum so that former Disney artists could showcase and sell their recent art work the day before or after the reunion. That idea fell through when the director got another job in NYC. I had just returned from 3 months in Europe where I had sketched the 70 or so cities that my father’s 75th Infantry Division had helped liberate in WWII so I found myself repeating that story often.

Kevin Deters had flown in from California. He had stayed with Disney and went on to direct Prep and Landing which was an animated short about elves helping Santa land his sleigh. Aaron Blaise has gone on to produce direct and animate his own short film called Snow Bear and he founded Creature Teacher which has taken off as an online an in-person way to encourage the next generation of animation artists. Xiangyuan (Jay) Jie had helped set the style of the gorgeous painterly backgrounds for Brother Bear. I admired his work on that film so much, and I got to paint beside him in the after-hours painting sessions with models. Jie speaks best through paint since he still isn’t fluent in speaking English. He spoke with me and his wife helped translate. He had images on his iPhone he wanted to show me. He had an amazing sketch of me from one of those after-hours paint sessions. I looked so focused in his sketch. He said there were images I should see on the big screen as well but there were so many pictures that I could not wait for the reel to make its way around again. I was quickly drawn into another conversation.

Laurie Ashborne had a cameraman set up in the corner of the venue. She was asking each artist a few questions about their memories of the studio. This is what I decided to sketch quickly. While working on this sketch I was approached and I was amazed that someone was very familiar with my work. There was some honest reverence in the way my work was acknowledged. I don’t experience that very often. It was heartwarming. With the sketch finished I went and stood in line to offer Laurie my quick answers to her questions. It was a fun interview. I hope a sound bite makes it into her documentary about the Florida Feature Animation Studio.

The whole evening was such a whirlwind. It was like trying to digest hundreds of stories of artistic growth in just a few hours. Bill Silvers has made a career of doing large Disney character themed paintings that are sold at Disney Village. Ginger Wolf gave me her card. She has also become a painter. Former animator, Trey Finney lost his wife Christine Lawrence Finney who was my supervisor at Disney. They had both become painters after leaving Disney. She had a warm heart and was delightful to work for. Christine gave me the opportunity to supervise the final clean up on the director’s cut of Pocahontas. Scenes were added which had been left out of the original film. The largest scene was a love song (If I Never Knew You) sung by John Smith when he was being held captive and Pocahontas gently placed her head on his chest while he sang. The camera rotated  around the couple as he sang, making it a mechanically challenging scene to work on. I worked out long timing charts to keep the even timing of the rotation consistent. I was proud of the result. It was so rare to have complete control of both lead characters in a scene.

I was amazed by so many of the artists I got to meet again. The Disney Feature Animation Studio had truly been like catching lightning in a bottle. All that talent spread out across the country after the studio was shuddered in 2004, but I decided to stay and make my mark right here in Orlando.

Stella, James and I met near the hotel reception and made out way out to the parking lot. Good-byes lasted for at least an hour. It was a shame to leave, but we had an exciting ride back sharing stories of who we had caught up with.  The following morning, the main shooting would begin on James Paris’s short film. We all needed our rest. The caffeine had worn off, and I collapsed in my Air B&B and instantly fell asleep. As always I was an outsider looking in, even in my dreams.

Procrasticare Day 1

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The Disney Feature Animation Alum held a reunion In Orlando Florida on March 8, 2026. Former Disney artists from all over the country flew into Orlando for the one-night reunion.

James Paris was working at Disney Feature Animation when I first began doing drawings for the feature film Pocahontas. Animation in those days was done with pencil and paper. I worked in what was known as the “Fishbowl” where a glass wall allowed Hollywood Studio theme park tourists the chance to see the Disney magic firsthand. Little did they know that they had to watch the new kid on the block. My first desk was right against the glass and James had a more private cubicle inside the room, maybe 20 feet from the wall of curious by passers.

My first Feature Animation Clean up drawings were for what is called slow ins. That is where the drawings get closer and closer together until the lines literally touch and overlap. It was grueling line between line work, yet I found it relaxing. The challenge was to keep these in-betweens just as aesthetically pleasing as the Key Drawings which the animator did to show the extremes of an action. James would clean up those Key drawings and then he needed to be sure my drawing matched the line quality and aesthetic of his drawings.

I was assigned to the Powhattan unit and James was put in charge of checking my drawings. Powhattan was the father of Pocahontas, and he had stoic and controlled movements. All that slow movement required 12 to 24 drawings per second which kept me quite busy. At first all the tourists watching me draw was distracting but with so many drawings to do I soon forgot they were there, looking over my shoulder through the thick glass wall.

James was meticulous in checking my drawings, at times completely redrawing an in-between. I adopted the same level of methodical control as I moved up the ladder and began checking the work of other artists. I liked this check in process since it was a chance to get away from the drawing desk and interact with another artist. I probably learned quite a bit watching James rework my drawings.

To justify the expense of flying to Orlando from Las Angeles California, James decided he would shoot a live action short at Stella Arbelaéz’s home studio. He story boarded the whole film in LA and had a shot list prepared so that he knew exactly what needed to be shot each day. Most of the shooting would be done on the day after the Feature Animation Reunion which was March 7, 2026. James arrived at Stella’s on March 7 and had all the movie lighting and equipment delivered to her place in the morning. That night before we all drove to the reunion, he had much of the equipment set up and he just wanted to capture a few shots of Stella’s hand painting on the canvas.

The story of Procristicare is straight forward. Stella is on her couch scrolling and looking at social media posts. She is not creating. Time is being lost. She sees an online add for Procrasticare and is curious. She signed up for the service. Almost immediately a young woman showed up at her front door and announced that she is with Procrasticare. Stella was holding her phone when she opened the door and when the Procrasticare worker saw the phone, she grabbed it and ran. She rode away on a bicycle. I had just tuned up that bicycle, fixing a flat and getting the brakes aligned, and I put a phone holder on the handle bars. I am glad the bike got some screen time.

I drew Stella and James twice in my sketch. James spent a long time getting familiar with the camera and the motion stabilizer set up. While he was working out that tech, Stella was reviewing her student’s classwork on her computer. When the shooting began, Stella stood at the easel and added brush strokes to the canvas. James moved the camera around the room fluidly. It was all very physical.

With that shot done we all got ready for the reunion, and I drove James and Stella in my Prius to the hotel where the reunion was being held. Some Feature Animation artists had met earlier to see a screening of Mulan at a theater down near the hotel, but we were busy shooting a movie, we didn’t have time to play the part of being an audience.

Orlando’s Best Plant Based Restaurants: Market on South

Posted on by Thor

Since I have started a plant-based diet, I decided to do a series of sketches of Orlando’s Best Plant Based Restaurants.

Market on South (2603 East South Street Orlando Fl) is a short bike ride from my Eola Heights Art Studio. On Labor Day, I decided to venture over to have a taste. I had been to Market on South before with a former girlfriend and I assume restaurant ownership has changed since then. Back when I last sketched the Market there was a cute mural on the back wall that reminded me of old Florida citrus labels. The mural had bold outlines and bright colors. That mural is now gone.

The Vendor in the Market include, A Lo Vegano which prepared the all Plant Based meal and ice creams by Vegan Scoops. Market on South has about 5 booths along the wall and some seating in back for playing board games. A couple was playing Monopoly when I walked in. There was a bike rack out front but parking my bike at the rack, I felt a car might run into the back tire since the rack was right at the entrance to the parking lot, so I tilted the bike to make it less of a target. While researching the restaurant I found a clip of a car with a drunk driver who backed up into the front wall of the building at top speed. It was seeing the clip that made me wonder if my bike was safe.

There is one digital display for ordering food. I hate those bloody things, I have been known to walk out of fast food restaurants that have them. I was here on a mission, so I stood in line to place my order. The couple in front of me was taking forever to place their order. A human behind the counter told me I could scan a QR code and look at the menu online. I did that, but looking at the images on an iPhone is like trying to see the menu on a postage stamp. I knew what I wanted but the couple in front of me was still moving at a sloth’s pace. I reminded myself that my sketch would take several hours to do, so I calmed my New York City hardwired nerves.

I ordered a Loaded Island Mac and Cheese with Garlic Aïoli sauce along with a Hibiscus Lemonade. After I paid the digital kiosk, I found a booth and started my sketch. Midway through my doing the line work the lemonade came out. The waiter told me he used to sketch in the theme parks. Is everyone in town an artist? Lemons are certainly plant based so the drink should be fine. The drink was delicious. I was hot from my bike ride and I had to refrain from sucking the drink down in one long sip. I sucked so hard the paper straw collapsed. My diet has cut way back on refined sugar. Most dishes that I make that have some sweetness use Medjool dates as a sweetener. This lemonade must have had refined sugar because I wanted to suck it down the same way I used to suck down Mountain Dew. If drinking this lemonade was a sin then I needed to own it. I was going out for some new tastes and a flavor burst and I got that in spades.

As I was adding watercolor to my sketch the main dish came out. The Loaded Island Mac and Cheese was on a large dinner plate and stacked high. There were crunchy disks that reminded me of fried oysters. Of course they could not be oysters since I was assured that everything on the menu was plant based. Regardless they were delicious.The dish had 10 cheese mac & cheese with crispy mushroom based chicken, the house aïoli sauce, green onions, and crispy French fried onions.

I have been avoiding buying any oils and these looked like they were deep fried. I just hoped there was some cooking magic at play that made then seem deep fried by not using oils. There was so much delicious crunchiness that I really didn’t care, I just ate like a ravenous dog. I didn’t really notice the mac and cheese until I had dug much deeper into the dish. Of course cheese is another thing I am avoiding, but I assume there is some plant based magic that made this “Cheese” taste so good. In recipes at home I have been putting cashews in a blender and the resulting mix tastes a bit like cheese. I am left yearning to know what recipe that A Lo Vegano had used to prepare this flavor burst.

Since my plate was stacked high, I lingered on the painting of the sketch. I ran out of the lemonade which refused to be sipped slowly and got some water at a free water cooler next to the front counter.

Then the sky opened up. Outside it turned a deep grey and rain pelted down as if in a hurricane. The Cuban flag waved in the high winds. I had biked to the Market, so I was stuck. The sketch was nearing completion. I decided my only option was to order a plant-based ice cream and wait out the storm. Why is life so HARD! I ordered the Guava Zest ice cream with two scoops since it was raining so hard (I had no choice). I was offered sprinkles which sounded like unneeded sugar, but then I was offered shredded coconut and I could not resist.

The Guava Zest was a delicious burst of flavor. I started adding gouache to my sketch since I was waiting out the storm. Using opaque colors opened up the subtle color possibilities and I suspect I will start using gouache more on future sketch outings. Who knew that an unexpected torrential rain could offer so much pleasure in taste and added color to my sketch.

My meal was so delicious that I am looking for an excuse to return to Market on South to sample something else on the menu with a friend. I just have to get used to facing the evil digital kiosk which makes it seem like I am ordering fast food that is prepared with love and takes time to prepare.

The rain started to slow down so I ventured outside. I wrapped my art bag with the seat material from my artist stool to protect the sketchbook from the rain. Watercolor and rain don’t get along. The bike ride back to the art studio was cool and pleasant. My butt got wet since I biked through some rather deep puddles and my tires send a spray upwards. I didn’t mind the spray. I was fully satiated.

Market on South gets 9 out of 10 strawberries.

Orlando’s Best Plant Based Restaurants: Winter Park Biscuit Company

Posted on by Thor

Since I have started a plant-based diet, I decided to do a series of sketches of Orlando’s Best Plant Based Restaurants. Winter Park Biscuit Company (3201 Corrine Dr. Orlando, FL) is conveniently located in the East End Market. When you enter the front door, they are the first vendor on the left. It is arranged as a counter with an order window to the kitchen. Most people who ordered took the meal to go. Only one other person sat at the counter with me.

You must order online or by using a digital display. I got stuck in a loop trying to order my meal, as did the couple ordering after me. The server behind the counter had to point out the mysterious button that needed to be found to complete the order to both of us. I decided to order a WPBC Burger which was an Impossible paddy with American cheese, lettuce tomatoes, onion, pickles and WPBC sauce on a toasted Brioche bun. The meatless burger was amazing. A friend of mine used to order Impossible Burgers from McDonalds and this WPBC burger was 10 times better. The meat alternative is made from Soy protein.

The “American Cheese” was a mystery to me. The whole point of a plant-based diet is to avoid dairy. I am not sure how this faux cheese was created. The cheese sauce is sold bottled, and I might buy some next time I am there. That is something I could use all the time in recipes I am making at home. The next step is to figure out what makes the WPBC burgers taste so good. The special sauce might be the secret. That sauce is also bottled. Once I figure out how to create my own impossible burger, I will be a happy plant-based camper.

To drink I had a Tractor Hibiscus Lemonade which was delicious and refreshing. Since I was sketching and thus lingering the server was very generous with the lemonade refills. There were sodas on the menu but I am not putting that battery acid in my body any more.

There was a TV above the counter showing what life was like right after Earth experienced an apocalyptic meteor event. The first life to return was fungai which slowly covered every surface. Life slowly evolved until giant lizards once again roamed the surface of the earth. Rather than killing each other they ate plants and thrived.

While politicians help to bring about the next extinction event, I am learning to eat the plant-based food that should be plentiful even after the grid shuts down.

I give Winter Park Biscuit Company, 9 out of 10 Impossible Burgers. I only took off one burger for the impossible digital ordering kiosk since I’m such an Analog Artist who would like some form of human interaction when I go out to eat. I refuse to offer a tip to a digital kiosk.

Lake Eola Farmers Market

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Every Sunday from 10AM to 3PM there is a Farmers’ Market at the South East corner of Lake Eola. I am doing oil paintings each morning of Lake Eola with the plan to do 49 paintings all around the circumference of the lake. I assume the fountain will be in each painting. I am not sure if the fountain is a requirement yet for the series. I took a break from the early morning painting session on Sunday and decided to get a sketch done at the Farmer’s Market.

While doing this sketch, the bells of the Greek Orthodox Church chimed for well over an hour. Something about that sound and the bustle of the crowds in the market made me feel very relaxed. For once, I felt at home. I feel very blessed to have this time in my life to focus on the activity and view the lake offers downtown Orlando residents. I have sketched the lake before but now it has become an obsession. The people I meet each morning are helping me feel more connected to the Orlando community.

Four of the tents on the left in my sketch are occupied by artists. One artist, Angelo Vasquez, I had just recently sketched as he gave an interview at the Science Center for the Elegy for the Unseen: The Art of Extinct Species exhibit now on display at the Orlando Science Center through November 15, 2026. Admission is free but museum admission is $29 for adults. Angelo had some large black and white prints on display. He works in graphite doing large renderings. At the Science Center he had an immense rendering of a dinosaur in the group exhibit.

Several artists have a cardboard box with a hole cut in it called a Doodle Box. It was meant to look like a vending machine. I am not sure what a doodle box is or what it does, but I think I need to find out and do a sketch. One artist had a sign saying that if you beat him at the board game he was playing you could win a free print. That is pure marketing genius. I am not great at playing any board game so if I were to use the marketing game technique, I would be giving away far too much art for free.

I was set up on pine needles under large palm trees. White Ibis were curious about what I was doing, and they marched up to me to look at my sketch. Since the colorful surface of my sketch wasn’t food, they soon lost interest and strutted away. They are more predominant in my watercolor than the crowds crushed together on the sidewalks.

After my sketch was complete, I walked around to look in all the tent booths. My hope was to pick up some farmers produce for my fridge. There were trinkets galore and food tents around the large live oak tree, but I didn’t find any farmers produce. I was disappointed that I didn’t find any fruits or vegetables, but I could hike up the block to Publix if I wanted to.

I didn’t buy anything since I had my hopes set on some blueberries and strawberries. I recently had a conversation with Jennifer Gwynne Oliver who said that cash is king. All digital exchanges are being tracked by AI. In this digital age we are constantly being surveilled. I only had two one-dollar bills in my pocket. I need to start carrying more cash for just these occasions. I need to just accept the market for the eclectic mix that it is. Next time I go to sketch, I am getting a coconut milk in the coconut shell and sip it while I work.

Hernia Repair Waiting Room

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While hiking and sketching in Europe, I developed a bilateral hernia below my belly button at the ridge of the pelvic bone. Because I was traveling in Europe for 3 months my insurance had been canceled. When I got back to the states, my first order of business was to get my insurance renewed since I knew that I would need an operation. My primary care doctor with the renewed Ambetter Insurance sent me to a doctor whose consultation made me believe he was an inexperienced butcher. He looked like he was straight out of high school, and his explanation was blunt and less than reassuring.

My sister from Port Charlotte Florida had a hernia several years ago and she had an operation like the Ambetter Insurance doctor was describing. That operation failed and the hernia returned. Another doctor tried to fix the botched operation and his patchwork also failed. She described the results like having our intestines pressing through chicken wire crudely sewn into the abdomen.

My sister then found Dr. Jonathan Yunis in Sarasota, Florida. He performed an intricate operation that was so complex that he invited medical interns to witness the procedure. This operation was a success and has lasted for many years.

I decided I had to have Dr. Yunis perfume the operation on my abdomen. I sketched the waiting room, hoping others might enter who wanted the same operation. I was the only consultation on that morning. Drawings on the wall showed the abdomen and pelvis.

I had just had an operation to remove my prostate gland, which adds enzymes and citric acid to semen, maintaining its fluidity and supporting sperm viability. I had seen electrocardiograms of my pelvis before that operation, so I was very familiar with what that region looked like from the inside. Having my prostate removed left me feeling asexual. I feel a bit like a dog that has been neutered. Finding friendship has become more important that finding a sexual partner.

Dr. Yunis gave a thorough explanation of what he would be doing, and I felt sure this was the right way to go. He isn’t on Ambetter’s list of doctors, however. He doesn’t want to deal with having to answer to insurance companies. Regardless, I moved forward hoping that the insurance would cover some fraction of the cost. They never did. I filled out multiple forms which were all denied. The operation cost $11,000 out of pocket.

The operation was a success. Yunis used a DaVinci Robot to perform the operation under his control. I was shaved completely free of any hair on my chest and groin. Three small incisions were made in my abdomen. Two were for robotic hands and the third for a camera. I wanted to sketch the DaVinci Robot, but I was put under anesthesia almost immediately.

Though this was an outpatient procedure, I was told I could not drive after the operation. My sister pan and her husband Mike were there to drive me back to their place in Port Charlotte Florida. I was told I might be in a lot of pain for several days but honestly, I was fine. It was a rare chance to sit and relax on ac ouch and just watch TV. I did take some Aleve each day since the incisions could be felt, like sandpaper against my belly. There were no stitches. Instead, glue held the wounds closed. I took off the bandages several days later. The three scars made it look like I had been shot in the stomach 3 times. I healed quickly. Today the scars are almost invisible. Despite the cost, I am glad I used this doctor. My instincts told me it is better to get the job done right the first time by an experienced doctor. Now I am biking and hiking around downtown Orlando and I am sure the abdomen is getting stronger.

Waiting for Dr. Rachel Apoo

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After having my prostate sliced out by a doctor using a laser shoved up my flagpole, I then developed a bilateral hernia while sketching in Europe. I noticed the hernia when I woke up one morning in Herdecke Germany. I thought I had it because I had decided to try the coffee in the historic Air B&B. It had developed so fast that I feared I might have to cut the trip short as it expanded. I spent the morning reading online articles about hernias and became convinced that it wasn’t dangerous at the time. I am sure a laser beam had ripped the lining of my lower abdomen from the inside during the prostate operation. I figured lots of hiking around Europe would help the healing process. Perhaps I was wrong.

The doctor arranged a follow-up after the prostate removal operation with his assistant Rachel Apoo. I had consulted with one doctor about correcting the hernia, but his consultation was less than informative or reassuring. He planned to sew plastic mesh on the inside of my abdomen. My sister had a hernia, and she had the exact same operation he described twice and it failed both times with different doctors. She later went to Dr. Jonathan Yunis who used pig’s bladder to correct the hernia. It was this trusted doctor I eventually used to do the operation. It cost $11,000 out of pocket and Ambetter Insurance refused to help with the costs in any way since he was out of network. Health insurance is a scam.

I asked Apoo about the hernia correction surgery. She told me the operation had nothing to do with the hernia that developed shortly after leaving the operating table. That protected the doctor from any possible lawsuits. She also prescribed me a drug which would lengthen the amount of time between bathroom breaks. The whole reason I had the swollen prostate removed was so that I could sit for several hours and finish a sketch or painting before having to run off to a bathroom. In Germany I was peeing everywhere I sketched. I marked trees all along the route of the 75th Infantry Division as they liberated the Ruhr Pocket during WWII. The pills Apoo prescribed were turned down by my health insurance. On a second office visit she prescribed another pill which did the trick. It is called Oxybutynin ER. I ran out of the drug last week and now I have to pee every few hours or so. I get up several times at night as well. I am calling in a refill today. I tried calling in a refill yesterday, but the Walgreens robots put me on hold for an extremely long time and then a human hung up on me. I hope to have better luck today.

Our Dear Dead Drug Lord: Set Build

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Bonnie Sprung designed and built this set for The Ensemble Company in residence at the Imagine Performing Arts Center (1700 Oviedo Mall Boulevard, Oviedo FL). Bonnie created these fun time lapse videos as she works on the set. I saw one of her videos and decided I needed to sketch her at work. She was working on a large tree house set.

The set was for a play titled Our Dear Dead Drug Lord written by Allexis Scheer and directed by Matthew Macdermid. Four high school aged girls formed a pact in Miami where they all worshiped Pablo Ecsobar a drug lord who was gunned down in Colombia. The four girls cast were Sarah Barthelemy, Louise Ortiz-Hernandez, Ana Gomez-Lugo and Maddy Paston.

The four girls, Pipe, Zoom, Squeeze and a new recruit used a Ouija board to summon the drug lord in a seance that morphed from teenage play into a possible supernatural occurrence. The girl’s raw performances explored each girl’s hidden trauma and suppressed rage while they all searched for some form of control in their lives. The performances were mesmerizing and powerful. The play started playfully but ended with a guttural scream.

Bonnie Sprung’s set build was part plan and part instinct. She worked on one side of the set and then the other, using wood for the broad strokes of her constructed composition. The camera she used to shoot a time lapse of the process was right beside me. The main thing was that the set had to be solidly built and safe for the actresses. Once construction was complete it would influence every aspect of the performances.

I felt privileged to see the bare bones skeleton of what would become an amazing set. Bonnie Sprung has worked on set design, scenic painting, make-up and stage management for over 200 productions in Orlando and New York. In this small theater space at Imagine Performing Arts Center, she created theater magic on a tight budget. She showed me what the set would look like when complete. She had taken her concept sketch and fed it into AI and from there a very detailed an colorful rendering was done. I couldn’t wait to sketch the play live.

The Boxer Returns

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15 years ago, I sketched performance artist Brian Feldman at the Beacham Theater. He set himself up inside an Orlando Weekly Newspaper box and distributed papers to people going into the Best of Orlando Party. It was a tough sketching situation and ultimately, I was asked to move along by police. I had already finished the sketch line work thankfully and when the officer left I finished the sketch while standing up. He didn’t return to once again cut off the creative process.

Brian let me know that he was having a return performance at this year’s Best of Party being held in the Plaza Live Theater. The fact that I could sketch indoors with air conditioning was already a plus. I arrived early and Brian had left my name at the door so I could get into the venue. I was given an arm band and let right in.

Brian was set up in the lobby right next to the table that the Orlando Weekly was using to welcome people to the event. I sat in my artist’s stool right across from Brian which offered a good vantage point. This time Brian became a perfect photo opportunity to folks heading into the theater. Before getting into the Orlando Weekly box, Brian met with Production Manager Lee Soule.

Brian hired actress Suzanne Faison who I had just seen at the Orlando Story Club as she told her story for the first time. I had also sketched her at Fringe this year because she performed with the Orlando Gay Chorus, and she had a solo and dance near the end of the show. I sketched her as she got prepared a little off stage. She brought plenty of energy to the performance by offering to take a photo of anyone who grabbed a paper from the boxer. She danced when the music started inside the venue and she crouched like Spider-man always finding a way to grab the attention of folks passing by.

I always like to watch Brian’s facial expressions as people pose. More important are the unexpected moments like a woman struggling to adjust her dress next to the newspaper box before she went inside. Brian’s look of surprise and dismay made me laugh out loud. I kind of wish I had left more room to the right of the box to add some of these moments but my art is a slow burn. Once I commit to a composition, I push through and hope that everything works out.

When my sketch was done, I asked Brian’s Suzanne if she needed anything. I know that Brian never takes a food or bathroom break during a performance. She asked if I could get a couple of slices of pizza from outside. After I grabbed a bit for myself from the table that Maxine’s on Shine had set up inside the theater, I went outside and found the pizza offerings. It was late in the event so there was no line. I grabbed two slices and made my way back inside. I had to go through security, which I didn’t have to do when I arrived much earlier. My art bag had to be searched, and every brush and pencil was a potential weapon. The pizza ultimately did find its way into the Plaza Live, and Brian’s energetic assistant Suzanne was so grateful. I think she had just been running in caffeine up to that point.

The Plaza Theater was the site of the murder of singer Christina Grimmie by a rabid fan the night before the Pulse Nightclub shooting. Grimmie was participating in a meet-and-greet event after her performance, signing auto graphs and selling merchandise, when she was shot multiple times by the suspect, a 27-year-old male. I could not be upset by the heightened security. Orlando lost its innocence in June of 2016.