Red, White, and Screaming into the Void: How Tampa Bay Artists Are Defying the Heat and the Machine

Happy July 3rd. We are officially on the eve of America’s birthday—a time traditionally reserved for processed meats, legally questionable fireworks, and a healthy dose of systemic existential dread.

Right now, it is ninety degrees outside in Tampa Bay with humidity levels that make you feel like you’re breathing through a hot sponge. Yet, while the climate attempts to boil us alive, local artists are out here grinding, creating, and actively fighting both the heat and the machine. Because if there is anything more American than celebrating independence, it’s looking at a broken system and saying, "No, we are going to build something better in this air-conditioned room."

This week, we are diving into corporate gaslighting, Greek gods singing synth-pop, and punk-rock counter-narratives to blind patriotism.

Grab an iced coffee, crank the A/C, and let’s dismantle the status quo.

Let’s travel back to New Jersey, 1967. A young product designer named Margaret “Meg” Crane is walking through the main laboratory of Organon Pharmaceuticals when she spots an "odd-looking contraption"—a cluster of test tubes suspended over a reflective mirror. When she asks what it is, the men in lab coats explain it’s a pregnancy test.

But there was a catch: to use it, a woman had to go to a doctor, have him order a test, wait weeks for a lab to process it, and then have the doctor graciously bestow the results upon her.

Meg looked at that absurdly paternalistic bureaucratic hurdle and thought: What if we just bypass the gatekeepers entirely?

Using a paper clip holder, an eye dropper, a test tube, and a mirror, Meg built a prototype for the world’s first at-home pregnancy test: The Predictor.

When she showed it to a corporate executive, he literally laughed at her. He told her the company would lose their lucrative doctor-facing business, and besides, women were far too emotional and untrained to read a basic chemical reaction themselves.

But Meg was tenacious. She waited out the corporate skepticism, secured a green light from the company’s Dutch parent executives, and fundamentally changed human history.

And how did the system reward her? The company forced her to sign away her patent rights for exactly one dollar. A single, solitary Washington. You can't even buy a lukewarm LaCroix for a dollar today, let alone the rights to a revolutionary piece of healthcare.

To make matters worse, her legacy was systematically erased. In 2012, The New York Times published a definitive history of the home pregnancy test—and left her out completely. But instead of letting her story vanish into the abyss of corporate patriarchy, Meg fought back, auctioned her original prototype to the Smithsonian, and forced the world to remember her name.

This jaw-dropping, deeply heartfelt, and wildly absurd journey is the subject of Jennifer Blackmer’s brilliant play, Predictor, coming to Powerstories Theatre (performing at Stageworks Theatre in Tampa) from July 1–26.

It’s described as part game-show, part absurdist comedy, and a total masterclass in what it means to fight for agency in a world determined to silence you.

• The Ultimate Flex: The actual, real-life Meg Crane will be in the audience for the talkbacks on July 24 and 25. Go support local theater, and go pay your respects to a pioneer.

If your summer bucket list includes watching Broadway-caliber vocalists play petty Greek gods throwing tantrums to the tune of 80s synth-pop, Freefall Theatre has heard your incredibly specific prayer. We sat down with the iconic Matthew McGee to pull back the curtain on Bash of the Titans—a high-energy jukebox musical spoof of Clash of the Titans. Artistic Director Eric Davis meticulously rewrote the lyrics of iconic 80s tracks to fit the whims of Mount Olympus, featuring powerhouse vocals from Broadway veteran Kissy Simmons and Victor Chan (whom Matthew describes as the "Filipino Jack Black"). From manual backstage lifts to safely "releasing the Kraken" on a live stage, McGee breaks down the hilarious, sweat-inducing realities of this seven-week summer blockbuster.

• Passport Member Perk: Head to the Member Hub right now to swap 5 credits for a seat at Freefall!

As the United States barrels directly toward its "America 250" celebrations, Jobsite Theater is serving up a raw, unapologetic counter-narrative to blind patriotism. On the latest episode of the Arts Passport Podcast, we sit down with Cody Farkas and Matthew Morris to talk about the intense rehearsal grind for Green Day’s American Idiot (running July 14 – August 9). It’s a beautifully full-circle Saint Petersburg College theater reunion for the duo, who haven’t shared a stage in five years. They unpack why this Grammy-winning, post-9/11 concept album—capturing the exact definition of punk-rock rage—is more fiercely relevant to our current political landscape than ever.

In this week's episode, hosts Jana Henson and Maggie Duffy take us on an ultimate insider tour of the off-the-grid local art scene. Turn up the A/C and listen to them break down:

• The Kahwa Coffee Mystery: Jana’s real-life analog investigation into a massive, unsigned, Renaissance-style painting left at a local barista stand, which led to a mysterious French painter named "Jeff" who shuns social media entirely in favor of a personal Substack.
• Juicy Exhibit at PIE: Maggie’s newly curated exhibition at the St. Pete-Clearwater International Airport, juxtaposing 1920s vintage Florida citrus crate labels with stunning blown-glass fruit by Steve Hagen. (Bonus: it's in the main lobby, so no plane ticket required).
• Selby Gardens: A look at photographer Lynn Goldsmith’s intimate 1970s portraits of rock icon Patti Smith, set against Sarasota's gorgeous botanical backdrops.

Enjoy the holiday weekend, say "yes" to a show you've never heard of, and for the love of art, stay hydrated.

-- Avery & The Arts Passport Team