Moviegoers at Enzian have long met around the bar and at outlying tables, before films or after, for drinks or meals in a congenial and relaxing environment. Now, the alfresco Eden Bar is a dining destination in its own right regardless of what’s on the theater’s marquee. Many guests are attracted by the outdoor setting and the sprawling space that allows for easy distancing and enhanced safety.


Photography by Rafael Tongol

Eden Bar’s Food and Beverage Manager Darren Shakespeare (left) says, “Everyone is pushing for outside dining — and Eden Bar obviously fits right into that niche since we’re exclusively outside.” Chef Marcus Mahone (right) has added a handful of elevated menu options available only outdoors.

Admit it. You fretted about the potential impact of COVID-19 on your health — as most all of us did — then worried about how the virus would impact your job. Would you still have a job? And if so, would you be required to work from home forever?

Peripheral concerns also crossed your mind, such as what the persistent pandemic would mean for your favorite local hangouts — particularly Maitland’s cherished Enzian Theater. Well, it certainly crossed my mind.

The charming art-house cinema is universally acknowledged as a Central Florida treasure, with its off-center films and restful Eden Bar. But, like most businesses and nonprofits, Enzian — which closed from late March to early June last year — has struggled to offer new ways to deliver content and remain viable. 

Watch-at-home options and limited in-person seating have allowed a return of the eclectic flicks for which the theater is known — although it may be a while before 200 guests at a time can once again gather at their favorite tables for a screening and a meal.

The drink vibe at Eden Bar is tropical, using infusions and fresh fruit juices. So why not throw caution to the wind and swap your pinot for a fruity Birds of Paradise, an Old Fashioned made with Kirk & Sweeney 23-year aged rum or a Freaky Tiki (front right), which consists of vodka infused with fresh jalapeños blended with guava, apricot, demerara sugar and lime juice?

Enzian is alive and well not because people are suddenly flocking to movies — but in large part because of the food. Those flatbreads and chicken fingers we ordered showing after showing? Such familiar staples, plus spirited beverages and a few new menu items, have allowed fans of the theater to contribute to its coffers without ever stepping inside the building. 

Enzian is located on three acres, and its open-air Eden Bar has occupied part of the hilly outdoor expanse since 2008. Moviegoers have long met up around the bar and at outlying tables, before films or after, for drinks or meals in a congenial and relaxing environment. 

Now, the alfresco food service establishment is a destination on its own, regardless of what’s on the marquee. Many guests show up for the express purpose of eating, attracted by the outdoor setting and the sprawling space that allows for easy social distancing. The restaurant, for now, is the tail wagging the dog.

“Everybody’s pushing for outside dining — and Eden Bar obviously fits right into that niche since we’re exclusively outside,” says Food and Beverage Manager Darren Shakespeare. “We were very fortunate to have enough space on the property to spread everything out very quickly.” 

The Eden burger (above) is 100% grounded Wagyu beef with lettuce, tomato, aged cheddar cheese and pepper mayonnaise on a Kaiser roll. It’s served with your choice of fries, soup, mac and cheese or house side salad. You’ll also find three kinds of tacos (below), including blackened mahi tacos served on corn tortillas with coleslaw and avocado.

Still, we won’t call Eden Bar a hot spot since the term connotes unseemly crowds, which you’re unlikely to encounter as of now. Yet, the eatery is emerging as a beacon of sorts for those who simply can’t stand another night at home but remain uneasy about indoor dining. 

Naturally, then, the food operation is getting steadily busier. And why wouldn’t it? It’s just so darned pleasant — especially when the weather is temperate, as it is now. 

Settle in and keep your mask handy for when the server approaches; that’s the only time you’ll need it. Other precautions: touchless menus accessed via QR codes and smartphones and signs on every table asking guests to mask up when servers approach. All servers wear masks all the time.

“This is the comfort level of our customers at this point, and they’re not wrong,” adds Director of Operations David Whitfield. “They come here once a week, like regulars. A lot of people have actually said to us, ‘I don’t go anywhere else, but I’ll come to you.’”

Chef Marcus Mahone has added a handful of  “elevated” menu options available only outside. These items take too long to prepare for moviegoers, since the kitchen must churn out up to 100 meals — half the pre-pandemic number, but nonetheless daunting — to a sold-out (and socially distanced) theater crowd before the show ends. 

The pace is more leisurely at Eden Bar — and the menu is more interesting. Outdoor diners, for example, can enjoy the Eden Burger, made of ground Wagyu beef and served on a Kaiser roll topped with aged cheddar cheese, pepper mayonnaise and lettuce and tomato. 

Another outdoor-only option is the blackened mahi sandwich. The grilled fish fillet sits on Olde Hearth butter bread along with gouda cheese, banana peppers and chipotle aioli. You’ll also find three kinds of tacos — the pulled pork trio stands out — as well as two pasta meals: penne with marinara sauce and a version with blackened chicken and creamy-cheesy alfredo sauce. 

The blackened mahi sandwich is grilled and served with gouda cheese, banana peppers, chipotle aioli, lettuce and tomato on Olde Hearth butter bread, served with your choice of soup, fries,
a house salad or mac and cheese.

Thankfully, at Eden Bar you won’t be battling others for table space. Nor will you be dipping warm pretzel sticks into nacho cheese dip while leaning against the bar. When Enzian reopened, it added extra tables to the grassy area near where early ticket holders used to wait in line. 

Concurrently, a construction project doubled the size of the brick patio near the theater’s iconic fountain. The new tables were placed there, so there’s generally plenty of seating — at least until this article appears and the number of regulars swells even further. (Oh, well, reviewers are obligated to spread the word, I suppose.)

The horseshoe-shaped Brazilian walnut bar itself is different, too. To get a drink you’ll stand in line — six feet apart, please — and order when it’s your turn. The barstools are gone, as is the privilege of hanging out by the colorful Bill Plympton wall mural that depicts Florida wildlife. All but two of the two-seat, high-top tables in the covered bar area are packed away. 

It’s always been not quite a secret that you can order a cocktail at Eden Bar and carry it into the theater if you prefer something more intriguing than the wine and beer offered inside. Cocktail options include the tiki-bar-style handcrafted creations that Robert Carter and Andrew Boesch added after becoming mixology managers two years ago. 

The drink vibe is tropical, using infusions and fresh fruit juices. Some of those labor-intensive libations are too time-consuming to make frequently these days, yet several are still available. So why not throw caution to the wind and swap your pinot for a fruity Birds of Paradise or an Old Fashioned made with Kirk & Sweeney 23-year aged rum?

Moviegoers at Enzian have long met around the bar and at outlying tables, before films or after, for drinks or meals in a congenial and relaxing environment. Now, the alfresco Eden Bar is a dining destination in its own right regardless of what’s on the theater’s marquee. Many guests are attracted by the outdoor setting and the sprawling space that allows for easy distancing and enhanced safety.

Carter and Boesch also create concoctions inspired by films being shown in the theater. Such offerings are made in big batches so moviegoers can get them delivered to their tables on a timely basis. The Dog Island, for example — made with gin, pineapple, almond, lime and bitters — was served during the run of Isle of Dogs, a 2018 animated sci-fi movie from Japan. 

Look for similarly clever cocktail offerings for major holiday seasons and, notably, during the 30th annual Florida Film Festival, which will run from April 9 through 22 and feature a combination of in-person and online screenings.

Here’s another Enzian extra: Fountain Features. Every Wednesday through February, the theater set up a screen and showed a film on the expanded patio area. Because guests — particularly members — were pleased, the outdoor experiment will continue intermittently through spring. 

“It’s our opportunity to still show movies to people who aren’t comfortable going indoors yet,” says Director of Development Janie Pope. “We have such a loyal group of patrons who are looking for ways to support us.” 

Additionally, Enzian pairs with the City of Winter Park to screen a Popcorn Flicks movie once a month in Central Park. Guests reserve their 10- by-10-foot pod, then arrive with blankets or chairs to watch the movie in a socially distant setting. 

The bottom line? Inside or outside, locals can still get an Enzian fix when they want one. And now, you can think of your Eden Bar meal as an unusually tasty charitable contribution to a community institution that adds immeasurably to the area’s panache. 

Enzian/Eden Bar
1300 South Orlando Avenue, Maitland

Hilary Stalder and Jacob Stern had planned a large indoor weeding prior to the pandemic, but regrouped and held a family-only ceremony at Kraft Azalea Gardens. Photo by John Unrue


Rebecca Swanson and Christopher Lee were married at Knowles Memorial Chapel and had an open-air reception at Mead Botanical Garden. Photo by Gian Carlo

It’s not as if large, extravagant weddings with 100 to 150 guests have become extinct in the era of COVID-19. A more accurate assessment would be that over-the-top events are simply on pause, according to wedding planners who’ve had to adapt along with their clients to new (and hopefully temporary) realities over the past year.

And while everyone ponders how to tie the knot during unprecedented times, one thing remains unchanged: Couples are still getting married, pandemic or not. And they’re getting very creative about it.

In fact, it’s not unusual to hear impatient spouses-to-be declare: “We’re not waiting any longer, we’re getting married. We’re not going to put this off another year. We’re going to do it. It’s going to be smaller, but we’re going to do it.” 

The Outdoor Wedding

Darrin Shifrel, co-owner of Orlando Wedding & Party Rentals in Lake Mary, has provided everything from table settings and chairs to tents and dance floors for weddings over the past 13 years. 

He and other vendors have all kept busy running smaller weddings, with 30 to 40 guests, many of them held outdoors because of health concerns about viral spread in enclosed spaces. 

“I anticipate it staying this way at least through the spring and maybe the summer of 2021,” Shifrel says. “Maybe in the fall or next year, things will swing back or maybe this is just how it’s going to be. Who knows?”

Shifrel says that one upside of downsized nuptials is that couples often are working with same budget. With fewer guests, the extra funds are often used to upgrade the event, including such aspects as the cake, the bridal gown, the photographer and the reception.

When it comes to the venue for a micro wedding, many couples are opting for an intimate backyard gathering. “They’re at their house and feel comfortable; they can control the environment more,” says Shifrel. “I think it makes everyone feel more comfortable than going to some venue.” 

Even couples who hold their weddings in popular venues, such as a ballroom at The Alfond Inn in Winter Park or at The Highland Manor in Apopka, are requesting outdoor spaces with tents, lighting and even drapery. 

Shifrel says that couples who previously booked ballrooms are often moving everything outdoors. “We’re setting up tents and bars and all kinds of stuff in the courtyard [at the Alfond Inn] even though they have a beautiful ballroom. People are just more comfortable doing it that way.”

For small weddings, Winter Park has its share of sought-after venues with outdoor space. Topping the list are the aforementioned Alfond Inn, Casa Feliz Historic Home & Venue, The Capen House at the Polasek and the neighboring Art & History Museums in Maitland. 

Shifrel has also seen an uptick in requests from new Florida residents — couples who moved to the state to get married because of fewer and less stringent restrictions here. 

They’ve scaled back their events since out-of-state guests are reluctant to travel and are opting for a small tents needed to host 10, 20 or 30 guests.

Ellie and Drew Watts were married at the Capen House, adjacent to the Albin Polasek Museum & Sculpture Gardens. Photo by Kristen Weaver Photography

What to Serve

When planning the menu for small receptions, Shantel Campbell, marketing specialist for Arthur’s Creative Events & Catering, says that many couples are gravitating toward multicourse plated meals that offer a true dinner experience.

With smaller guest counts and clients trying to maintain social distancing, some couples are making reception dining the main event. Says Campbell: “With multiple courses, guests are able to enjoy their dinner and each other’s company in a more relaxed manner.”

Food choices for weddings are more eclectic these days. Multiple chef-inspired stations, formal five-course dinners or even fun late-night snack stations — such as bars with flaming doughnuts (a signature offering from Arthur’s Creative Events & Catering) — can add panache to a smaller gathering. 

Campbell notes that with fewer guests, there’s more to spend per person. A multicourse plated meal is the easy way to go for a small group, she says. 

Examples of entrées from Arthur’s menu that won’t necessarily be found on a buffet include braised beef short ribs, center cut filet with jumbo Tuscan shrimp and coriander-crusted lamb chop with citrus seared scallops.

Flaming doughnuts can add panache to a small gathering. Photo by Gary Bogdon

Given the times we live in, caterers are well-versed in safety measures and always masked. Photo by Gary Bogdon

Choosing Flowers

Whether a couple wants to transform an entire venue or simply order bouquets and centerpieces, flowers and weddings remain synonymous, says Lee Forrest, owner of Lee Forrest Design in Orlando.

Forrest has worked weddings of all sizes, but “smaller weddings can be more luxurious,” he adds. Since there are now fewer tables, there’s more space to adorn, allowing florists to let their imaginations run wild — within budget, of course.

For example, a couple may choose massive centerpieces for tables or fill open ballroom space with lush greenery. Forrest’s design team creates everything from bouquets, boutonnieres and corsages to arches, chuppahs, and altar and aisle décor as well as special cocktail-hour settings.

As a boutique florist specializing in weddings, Forrest welcomes any fanciful idea a couple might bring — and he enjoys the challenge of making it happen. 

“We love people who want something cool and interesting,” he says. “We’re known for being more edgy.” Some of Forrest’s designs use wire mixed with flowers to create a sculptured look, or feathers and crystals worked into floral arrangements. 

This past February, Forrest had the honor of transforming a balcony at Orlando City Hall into a magical setting for the wedding of Susie Shields and Mayor Buddy Dyer. 

The new Mrs. Dyer describes it as a “flower wonderland.” The couple’s wedding, which pulled together in three weeks, was rather spontaneous. “We said, ‘What are we waiting for’ … and the first person I called was Lee,” says Orlando’s new First Lady. 

The Dyers’ small casual wedding — with just 10 guests — took place on a balcony, which was not only outdoors but also a special place to the mayor, who had performed several weddings there.

Forrest’s first questions to Susie were: “What dress are you wearing?” and “What are your favorite colors and flowers?” Even though Shields hadn’t decided on her dress yet — the bride ultimately wore a Florida-inspired green coral-patterned mid-length dress, and the groom wore a white guayabera shirt — she did send Forrest a photo of the balcony. 

Forrest’s team created a bouquet of pink tulips and white tulips, White O’Hara garden roses, Juliet garden roses, blush hydrangea, blush Anna roses, white lisianthus and stock flowers of white and pale pink. The same grouping decorated the balcony’s rail with green leafy swag draped between each cluster. 

 After the grim events of 2020, Forrest encourages use of colored flowers, which add much-needed cheerfulness to any occasion. Deeper pinks, burgundy and blue are showing up more often in his floral designs, he says. 

Other choice flowers include garden roses, peonies, parrot tulips and orchids. However, the time of year influences which flowers are in season and economical to use. Although Forrest can get just about any type of flower a couple wants, the price will be higher if it isn’t in season.

Looking ahead, Forrest is optimistic that the end of 2021 and 2022 will see the return of bigger weddings — and his bookings for larger receptions reflect that optimistic viewpoint.

With the money saved by hosting fewer guests, some couples are splurging on floral arrangements. Photo by Gary Bogdon

Yes to the Dress

Every bride wants to find the perfect dress for her wedding day. At The Bridal Finery in Winter Park, co-owner Roberta Noronha has helped her customers accomplish that goal for more than 10 years.

Some prefer a private appointment experience for the creation of a custom wedding gown, while others choose to buy their dream dress off the rack. To accommodate both types of shoppers The Bridal Finery operates two separate boutiques.

It really doesn’t matter if the wedding is big or small — brides, Noronha has found, aren’t willing to compromise on their wedding dresses. 

“I think they’ve realized how important wedding dresses have become, especially with so many postponements and changes in plans,” she says. “The one thing that doesn’t have to change is the wedding dress.”

Regardless of age, venue and what’s currently trendy, the dress should represent a bride’s personal style. A person who normally wears fitted, tailored clothing may find a sleek, slim-fitted crepe dress with a dramatic pooling train to be an ideal reflection of her personal brand.

A bride who wears prints, patterns and color may opt for a full flowing gown with lace and hand-sewn beading. Lace never goes out of style, says Noronha. Types of lace and different layering techniques may change, but the beauty of lace is iconic.

Even though brides may not walk down a long aisle to the strains of Felix Mendelssohn’s Wedding March at today’s smaller weddings, the train is still an important part of the ensemble. Together with a seductive veil, trains add drama. 

The headpiece is what sets a bride apart from her guests, Noronha adds. Adding a piece of jewelry to the hair — barrette, halo, hair comb — or in addition to the veil, is the finishing touch. 

Noronha’s advice to brides: “You have to pick a dress that you love and one that you feel comfortable in. It needs to be you in a bridal version.”

Some brides know their style and what they want in a dress. Gibby Manatad-Folk grew up walking past The Collection Bridal in Winter Park, and already knew that one day she would walk into the bridal salon and pick out her wedding dress. 

At age 29, she and her fiancé were planning their April 2020 destination wedding in Thailand, where she has family, before travel restrictions derailed the couple’s plans. They opted instead for a small family-only wedding at home.

“I still got the dress I love,” she says of her sleekly silhouetted Inbal Dror gown of lace and beading, with a voluminous front bow and luxurious train. 

Wearing her classic but playful gown and wearing a white top hat with a tulle veil, she said, “I do” at Winter Park City Hall. Her 12 guests then headed to Manatad-Folks’ family home to indulge in a dinner around the theme “Springtime in Shanghai.” 

What was more important than the size of the wedding was being together with family, she says. When international travel returns, they plan to have a symbolic celebration in Thailand, hopefully next July on their one-year anniversary.

At The Collection Bridal in Winter Park, owner Millie Harris has been selling wedding attire for more than 37 years. Today she finds herself dressing not only young brides like Manatad-Folk but the daughters of brides to whom she sold wedding gowns 20-plus years ago. “We love that we have become multigenerational,” says Harris about her customers.

Although Harris has seen her share of celebrations, she has noticed that at today’s smaller weddings brides are choosing plainer dresses for ceremonies and more elaborate ones for receptions. Also, some couples who held scaled-back weddings are planning large receptions on or near their first anniversaries.

“A smaller wedding is more intimate, more romantic,” says Harris. “It allows the couple to concentrate on things such as elegance, or tableware, flowers and the dress. After all, who really has 250 close friends?”

Since wedding gowns aren’t subject to annual seasonal changes, it’s not uncommon to buy a dress one to two years in advance of the wedding date. In fact, the wedding market is always a year ahead, explains salon manager Roya Mahootchi. 

“We just bought dresses for fall 2021, but they are not seasonal,” she says. “We have dresses that are traditional, classic and timeless. They don’t go out of style.”

Besides gorgeous designer wedding gowns by Carolina Herrera and Monique Lhuillier, The Collection Bridal carries mother-of-the-bride dresses that can be custom ordered so you won’t see someone else wearing the same outfit — always a risk with department store-bought apparel. 

Bridesmaid and flower girl dresses are also available. From the day you buy a dress until the day you pick it up for the wedding, the staff will do in-house alterations — extend a train, add sleeves or plunge the neckline — press the dress and store it for you.

Carina Gerscovich and Craig Borkon were married on the grounds of the Alfond Inn in a beautifully draped tent. Photo by Gary Bogdon

The Invitations

Since the beginning of 2021, the phone at Maureen H. Hall Stationery and Invitations in Winter Park has been ringing. Couples who put off getting married in 2020 were no longer waiting to tie the knot; they were ready to order wedding invitations. 

And, Hall says, the orders are big — 100 to 150 invitations. The only difference, adds Hall, is that many couples had changed venues from indoors to outdoors. The Interlachen Country Club and the Winter Park Racquet Club, both with gorgeous outdoor spaces, have been popular choices, she adds.

Another reason for the rush is that couples who had small weddings in 2020 are now planning big receptions for 2021 and 2022. They want exquisite invitations to their long-awaited celebrations.

“We sell classic invitations that in 20 years, you’ll look at and say it’s just as gorgeous today as it was then,” says Hall. “You can’t go wrong with a traditional invitation. It never looks dated.”

Unlike ordering on the Internet, an appointment with Hall and other custom stationery vendors offers an opportunity to handpick your invitations, feel the quality of the paper and visually explore design techniques such as engraving, etching, debossed framing and foil stamping. 

Among Hall’s exclusive vendors are Crane & Co., Vera Wang, William Arthur and Stationery Works. Hall helps couples design a wedding suite, composed of the invitation, envelope, response card and extra touches such as a liner or ribbon.

When selecting an invitation, Hall says that it’s usually the venue that dictates the style. If the wedding is at the Ritz-Carlton, for example, a formal invitation is appropriate. At the Winter Park Farmers’ Market, perhaps not so much.

The invitation is a powerful indicator of how formal the wedding will be and the dress code expected of guests. Even the color of ink is taken into consideration. For example, a fall wedding invitation would likely be printed in hunter green or burgundy to complement the season.

In summary, it doesn’t matter if the wedding is small or large — brides and grooms have found ways to join together in matrimony through world wars, depressions and, most recently, a pandemic. After all, the union is supposed to be for better or worse.

And after the past year, everyone seems to be looking ahead toward something better. 

Hilary Stalder and Jacob Stern had planned a large indoor weeding prior to the pandemic, but regrouped and held a family-only ceremony at Kraft Azalea Gardens. Photo by John Unrue

Love Will Find a Way

Hilary Stalder arrived home from her bachelorette getaway to a very different Central Florida than the one she had left a few short days before. While she was away, COVID-19 became a pandemic and major attractions closed. Bars and restaurants quickly followed. 

Suddenly her April 18 wedding to long-time beau Jacob Stern was thrown into flux. With the ceremony — slated for the Winter Park Racquet Club — just 30 days away, the couple had to make some quick decisions.

“It really wasn’t hard,” Hilary says. “Our parents and some of our guests were in high-risk groups. We looked at what was going on and quickly realized it wasn’t going to get any better any time soon. Canceling the big ceremony was clearly the only decision we could make for us, our family and friends.” 

So how do you go about pulling the plug? Hilary and Jacob, both 31, started by notifying their 150-plus guests and breaking the news to their vendors. 

“For the most part, our vendors were understanding,” she adds. “We felt so bad because most of them knew they were probably not going to be working for a while. It was heartbreaking to have to undo everything we had done in the last 10 months of planning.” 

Still Hilary and Jacob did, in fact, get married April 18. “The world had changed but not our love for each other; we wanted to be married,” Hilary says. “We knew it wasn’t going to look like what we had planned. But that was OK.” 

The couple — who both work for general contractor Brasfield & Gorrie and met at work — pivoted and quickly put together a small, intimate ceremony at Kraft Azalea Gardens. Adds Hilary: “The city said they weren’t renting any of their venues, but they wouldn’t kick us out — so we went for it.” 

An outdoor venue requires a less formal bridal gown than the one at the seamstress (which is still there). So, with stores closed, Hilary looked online. Because of COVID-19, delivery times couldn’t be guaranteed — but she was fortunate enough to find a resale version of the dress she wanted. 

Her florist, Lee Forrest Design, put together a bouquet and boutonniere and delivered it to their home the morning of their wedding.

“[Forrest] was so wonderful, when we told him our plans, he said, ‘Let me see what I have in the shop,’ and he created the perfect bouquet,” Hilary says. When he delivered it to their home, he stood at a safe distance on the sidewalk. 

Naturally, it rained on April 18 and Hilary recalls saying a prayer: “God. I’ve been really cool with all of this, but can you just give me this one?” As the wedding party arrived at the garden, the sun came out and her long-awaited nuptials were held on a beautiful afternoon. 

Hilary and Jacob’s guest list was downsized to include just immediate family — a party of 12 including the couple — and their reception was moved from the Racquet Club to their backyard with takeout from Hillstone. 

But Hilary is happy with how everything turned out: “The wedding ended up being ‘more us,’ and we’re happy with that.” Naturally, she was less happy with losing several deposits for the original wedding. 

The government of Thailand, for example, kept their up-front payment. Which is one reason they still plan to go on a belated honeymoon next year to the Southeast Asian country.

Venue Guide


Alfond Inn
300 East New England Avenue, Winter Park

Hilton Garden Inn Winter Park
1275 Lee Road, Winter Park

Knowles Memorial Chapel and the Rice Family Pavilion
1000 Holt Avenue, Winter Park
(Rollins College Campus)


Central Park Rose Garden
250 South Park Avenue, Winter Park

Kraft Azalea Garden
1305 Alabama Drive, Winter Park

Mead Botanical Garden
1300 South Denning Drive, Winter Park
407-599-3397 or


Capen House at the Polasek
633 Osceola Avenue, Winter Park

Casa Feliz Historic Home & Venue
656 North Park Avenue, Winter Park

The Chapel & Hudson’s Cellar Hannibal Square
16 West Lyman Avenue, Winter Park

Winter Park Country Club
761 Old England Avenue, Winter Park

Winter Park Farmers’ Market
200 West New England Avenue


University Club of Winter Park
841 North Park Avenue, Winter Park

Woman’s Club of Winter Park
419 South Interlachen Avenue, Winter Park


Winter Park Community Center
721 West New England Avenue, Winter Park


Interlachen Country Club
2245 Interlachen Court, Winter Park
Note: You must be a member or be sponsored by a member.

Winter Park Racquet Club
2111 Vía Tuscany, Winter Park
Note: You must be a member or be sponsored by a member.


The Winter Park Library and Events Center
1050 West Morse Boulevard, Winter Park
Note: The venue is not yet open, but reservations are now being accepted.

Services Guide


Bangz Park Avenue
228 North Park Avenue, Winter Park

Dolce Vita Salon
1286 Orange Avenue, Winter Park

Gary Lambert Salon & Nail Bar
517 South Park Avenue, Winter Park

Salon Ciseaux
658 North Wymore Avenue, Winter Park

Stella Luca
Hannibal Square
433 West New England Avenue, Winter Park

Winter Park Village
460 North Orlando Avenue, Winter Park

Una Donna Piu
216 Park Avenue, Winter Park


Calvet Couture Bridal
Winter Park Village
520 Orlando Avenue, Winter Park

The Bridal Finery
976 North Orange Avenue, Suite C, Winter Park

The Collection Bridal and Formal
301 North Park Avenue, Winter Park

The Seamstress
1143 Orange Avenue, Winter Park


Arthur’s Creative Events & Catering
860 Sunshine Lane, Altamonte Springs

5470 Lake Howell Road, Winter Park

Dubsdread Catering
549 West Par Street, Orlando

John Michael Exquisite Weddings and Catering
627 Virginia Drive, Orlando

Puff ’n Stuff Events Catering
250 Rio Drive, Orlando


Atmospheres Floral and Décor
2121 West Fairbanks Avenue, Winter Park

Fairbanks Florist
805 South Orlando Avenue, Winter Park

Winter Park Florist
537 North Virginia Avenue, Winter Park

Lee Forrest Designs
51 North Bumby Avenue Orlando


Maureen H. Hall Stationery and Invitations
116 Park Avenue, Winter Park

Rifle Paper Co.
558 West New England Avenue, Suite 150, Winter Park


Atelier Coralia Leets Jewelry
307 South Park Avenue, Winter Park

Be On Park
152 South Park Avenue, Winter Park

JC Designs
307 South Park Avenue, Winter Park

Jewelers on the Park
116 South Park Avenue, Winter Park

Reynolds & Co. Jewelers
232 North Park Avenue, Winter Park

Simmons Jewelers
220 North Park Avenue, Winter Park


John Craig Clothier
132 South Park Avenue, Winter Park

Leonardo 5th Avenue
121 East Welbourne Avenue, Winter Park

Siegel’s Winter Park
330 South Park Avenue, Winter Park


The Buzzcatz
Contact: Ricky Sylvia

The Elite Show Band
7512 Dr. Phillips Boulevard, Orlando

Leonard Brothers Band

Weddings Only DJ Entertainment
Contact: Brian Scott


A Chair Affair
613 Triumph Court, Orlando

Fenice Events
1255 La Quinta Dr., Orlando

Orlando Wedding & Party Rentals
2452 Lake Emma Road, Lake Mary

RW Style
1075 Florida Central Parkway, Longwood


Allan Jay Images

Art Faulkner Photography
805 South Orlando Avenue, Winter Park

Brian Adams Photo

Cricket’s Photo & Cinema
16618 Broadway Avenue, Winter Garden

Gian Carlo Photographer

Jensen Larson Photography

Kristen Weaver Photography
1624 Smithfield Way, Suite 1126, Oviedo

Rudy & Marta Photography

Sunshine Photographics
13953 Lake Mary Jane Road, Orlando

Award-winning Winter Park artist Stacy Barter loves still-life images and landscapes. But she’s also an accomplished painter of people, as this issue’s cover, Pausing in My Red Tutu, demonstrates.


Award-winning Winter Park artist Stacy Barter loves still-life images and landscapes. But she’s also an accomplished painter of people, as this issue’s cover, Pausing in My Red Tutu, demonstrates.

Winter Park artist Stacy Barter constantly strives to capture depth and dimension in her oil paintings and prefers to work from life — whether it’s outside with landscapes or in her studio on still-life images of flowers (her favorite). She’s also a master at figure studies. 

Pausing in My Red Tutu, an oil-on-linen image of a dancer taking a break, was completed last year and first displayed virtually at the prestigious annual Winter Park Paint Out sponsored by the Polasek Museum & Sculpture Gardens. That’s where we saw it and an idea took shape.

Since this issue of Winter Park Magazine contains a major story on the enduring legacy of Edith Royal and the Royal School of Dance, it seemed appropriate to feature a dancer on the cover. And this contemplative work by one of the region’s most accomplished artists seemed to fit the bill beautifully.

“[Painting] is my life, my passion and my contribution,” says Barter, who began drawing in high school when a friend invited her to paint Christmas-themed watercolor images on postcards. She later attended Parsons School of Design in New York City but graduated from the University of Central Florida in 1987 with a degree in — of all things — journalism.

“I just didn’t have the family support to think of art as a full-time career at that time,” recalls Barter. But that all changed after a five-year stint in public relations and marketing, when she attended an oil painting workshop by Gregg Kreutz, an instructor at the Art Students League in New York City. 

Kreutz has written several highly regarded books on oil painting, including the classic Problem Solving for Oil Painters: Recognizing What’s Wrong and How to Make it Right — in print for 34 years — and the more recent Oil Painting Essentials: Mastering Portraits, Figures, Still Lifes, Landscapes, and Interiors.

Says Barter: “Seeing what [Kreutz] could do with
minimal brush strokes ... such rich darks and glowing lights, such depth. It was overwhelming. Oil painting became my consuming passion.” As a result of that workshop, Barter has been a full-time painter now for more than 25 years.

And a successful one, at that, winning many top awards and seeing her work snapped up for numerous permanent collections. In 2020 alone — a year during which many art exhibitions were canceled or converted to online events — Barter snared an array of awards for excellence and was granted signature member status in the National Oil Painters of America and the American Artists Professional League.

Her crowded mantelpiece also holds a slew of other recent accolades, including a Best in Show from It’s Only Human: The Figure in Art at the Crealdé School of Art and the Judges Choice of Excellence from the Maitland Rotary Art Festival. And for the third time, she won the Helen DeCozen Award for Best Floral from the American Artists Professional League’s Grand National Exhibition.

Barter — whose husband of 30 years, Terry Barter, remains her business manager and biggest booster — continues to study with master artists whom she admires and conducts workshops around the country and around the world. She’s on the faculty at Crealdé — inspiring other artists the way Kreutz inspired her — and participates in numerous plein air events, including the annual event at the Polasek.

As for this issue’s cover painting, the subject is Megan Crawford, a local dancer and model who donned a tutu for a series of four works by Barter painted in her Winter Park studio. “I like to capture the quiet times,” she says. “And I loved the colors.”

So did we — as well as the theme and the relevance to this issue’s dance content. If you enjoy Barter’s paintings — and who doesn’t? — then check out her Facebook page or see a gallery at her website, You can also go to @stacybarterart and follow her on Instagram.

Cynthia Edmonds, whose works have appeared on Winter Park Magazine covers three times, is a popular plein-air painter who lives in the house where she grew up near Lakemont Elementary School.


Cynthia Edmonds, whose works have appeared on Winter Park Magazine covers three times, is a popular plein-air painter who lives in the house where she grew up near Lakemont Elementary School.

Award-winning plein-air painter Cynthia Edmonds discovered her passion for art as a youngster taking classes at the Rollins College Summer Day Camp. Now she doesn’t have to go any further than her backyard to find inspirational settings.

Edmonds, who lives in the circa-1950s house where she grew up on North Phelps Avenue near Lakemont Elementary School, has cultivated what she describes as a “secret garden” just outside her doorway. 

It showcases an array of native plants including sand live oaks, cabbage palms, saw palmettos, coral honeysuckles and such pollinators as coontie plants to attract butterflies and hummingbirds. In fact, an image of her garden appeared on the cover of the Summer 2019 issue.

Park Avenue Café — the third painting by Edmonds to grace a Winter Park Magazine cover – marks a departure from nature themes and captures a familiar scene at the iconic Briarpatch Restaurant, where countless Winter Parkers enjoy breakfast, lunch and people-watching.

That’s never been more true than now, in the era of COVID-19, when many are choosing to dine outdoors for safety reasons. Although Park Avenue Café predates the pandemic, Edmonds updated the painting to add masks to the server and several bystanders.

“This scene is so Winter Park,” says Edmonds. “I especially liked the way the figures were backlit by the sun shining from Central Park across the street. The graphic design of the awnings and roofline also appealed to me.”

Edmonds, who has a bachelor’s degree in fashion illustration from Florida State University, hasn’t always painted for a living. She worked for many years as an advertising illustrator for local retailers, including Ivey’s, Jordan Marsh and Hattie Fredrick.

She later earned a master’s degree in fine arts from the University of Florida and moved to Washington, D.C., and later Seattle. There she worked as a photo art director and catalogue designer for Nordstrom while simultaneously discovering the wonder of oil painting.

“Each day, painting en plein air provided an exciting challenge to capture the ever-changing light and shadow,” she says. “Working on location inspires me in a profound way, and observing nature helps me to understand the shape, form and infinite colors of my subjects.”

Edmonds, who returned to Florida in 2001, is a signature member of the American Impressionist Society and Plein Air Florida. She participates in plein-air exhibitions throughout the U.S. — including the annual Paint Out Winter Park, sponsored by the Albin Polasek Museum & Sculpture Gardens.

Edmonds’ paintings can be found in collections at the University of Central Florida and the Maitland Art Center. Her paintings are also included in the St. Joe Company’s Forgotten Coast Collection and the Shands Arts in Medicine Collection at the Venice (Florida) Regional Medical Center.

Aficionados of Winter Park Sidewalk Art Festival memorabilia will recall that Edmonds’ image of Greeneda Court on Park Avenue adorned the official festival poster back in 2007.

Edmonds loves to paint in her wildlife habitat garden and around Winter Park, but also finds inspiration in Maine, France and Italy. More of Edmonds’ work can be seen at

Edyth Bassler Bush


The Edyth Bush Charitable Foundation has recently begun work on a new, 16,934-square-foot headquarters to replace its existing building at the corner of East Welbourne and South Knowles avenues, a block off Park Avenue. The project will be “transformative,” according to foundation David A. Odahowski, president of the foundation for 30 years.

Could picture-postcard Winter Park possibly become even more exceptional? For generations it has been a hub for dining, shopping, education and the arts. And it’s one of the most charming small cities in the U.S., highlighted by genteel, old-world ambiance and the business district’s signature, oak-shaded Central Park.

Rollins College, a top-rated liberal arts institution that anchors the southern terminus of Park Avenue, appears on virtually every compilation of the nation’s most beautiful campuses. And, from downtown, a half-dozen one-of-a-kind museums are within walking distance from one another.

Still, despite this superabundance of style and substance, the answer to the question is yes. The city could — and soon will — increase its already off-the-charts cultural and intellectual quotient. 

The Edyth Bush Charitable Foundation has recently begun work on a new, 16,934-square-foot headquarters to replace its existing building at the corner of East Welbourne and South Knowles avenues, a block off Park Avenue (next to the popular Cocina 214 restaurant). 

But this won’t be just another building. “The Edyth,” set to be completed in 2022, will house not only the 49-year-old foundation’s administrative offices. There’ll also be community meeting spaces that will bustle with activities ranging from classes, performances, art exhibitions and more.

“I think this project will be transformative,” says David A. Odahowski, now entering his 30th year as president of the foundation. “We’ll have to start calling Park Avenue ‘The Avenue of Ideas.’”

Odahowski is referring not only to the foundation’s project but also to the Innovation Triangle, which is planned by Rollins on what’s now known as the Lawrence Center — a city block bounded by New England, Interlachen, Lyman and Knowles avenues, just down the street from The Edyth.

According to college officials, the 40,000-square-foot building now occupied by Valley National Bank and other tenants would remain on the site’s northwest corner. Two new buildings — one housing the Roy E. Crummer Graduate School of Business and one housing the Cornell Fine Arts Museum — would be built on the southeast and northeast corners, respectively. The third component of the triangle is 72-bed expansion of the college-owned Alfond Inn.

Each component of the Innovation Triangle is dependent upon fundraising, which COVID-19 has temporarily upended. Still, plans call for the project — which earned city approvals earlier this year — to continue apace when the health crisis resolves and economic stability returns. 

The Edyth Bush Charitable Foundation, however, is pushing ahead now with a view toward positioning itself for a post-pandemic world in which philanthropy will be more important than ever.

“This too shall pass,” adds Odahowski, an attorney by training who ran the Wasie Foundation in Minneapolis before finding a decidedly warmer home in sunny Central Florida. “Between our project and the Innovation Triangle, downtown Winter Park will be buzzing,”

Ironically, Odahowski’s Minneapolis connection continued in Winter Park. Archibald Granville “Archie” Bush and Edyth Bassler Bush, his wife and the local foundation’s benefactor, were also from Minneapolis, and became seasonal Winter Park residents in 1949.

Odahowski continues: “Our new home will reshape our ability to serve the community in a very dramatic way. Our intention is to create a gathering place that will spark creative new ideas, connect individuals and organizations doing good in the community, and provide the tools, space, and resources that many nonprofit organizations would not have access to otherwise.”

Odahowski, who prefers to keep a low profile, has nonetheless come to be known as “Mr. Winter Park” for his scrupulous stewardship of the Edyth Bush Charitable Foundation — which supports numerous good causes in the city where it was founded nearly 50 years ago. Odahowski has been at the foundation’s helm for 30 years.

Designed by SchenkelShultz Architecture, The Edyth will feature a glass facade, a two-story atrium and three levels — each with a specific purpose. The layout is comparable to a theater, a nod to Edyth’s advocacy for the arts and the foundation’s history of supporting the local arts community.

The first floor will be dedicated to meeting rooms and open space for use by local groups. Odahowski describes it as “a hub for creativity and connection.”

The second floor, dubbed “The Archibald” in honor of Edyth’s husband, will house a community board room equipped with state-of-the-art technology. The third floor will encompass administrative offices and perhaps another nonprofit tenant.

Since it was formed, the foundation has distributed 4,141 grants to nonprofit organizations totaling more than $113 million. Most of the grants have gone to nonprofit organizations involved with education, healthcare and programs for the underprivileged “that help people help themselves.” 

But the foundation casts a wide net — and was the first and largest contributor to the under-construction Winter Park Public Library and Events Center in Martin Luther King Jr. Park. The $750,000 matching grant gave the project — which was controversial in some quarters — a seal of approval from one of the region’s most respected philanthropic organizations.

Most Central Floridians know the Bush name because of the foundation and its wide-ranging work. But the people who made it all possible have fascinating backstories.

Edyth Bassler Bush

Edyth (1887-1972), whose name would one day become synonymous with philanthropic giving in Central Florida, was a successful actress, ballet dancer and playwright until she gave up her stage career in 1919 to marry Archie (1887-1966), sales manager for the then-struggling Minnesota Mining and Manufacturing company. 

Archie was not wealthy at the time — but he later became the chairman and largest individual shareholder of the company known worldwide as 3M. The Bushes first visited Winter Park in 1949, buying a winter home and immersing themselves in civic life. 

Most notably, they donated to Rollins and helped found Winter Park Memorial Hospital (now AdventHealth Winter Park). After Archie’s death, Edyth decided to settle permanently in Winter Park and focused on giving to programs that advanced education and the arts. 

In 1967, for example, she funded construction of Loch Haven Park’s Central Florida Civic Theater, which was renamed the Edyth Bush Theater following her death. (It’s now known as Orlando Repertory Theater.)

The Edyth Bush Charitable Foundation, formed in 1973, has kept on giving. Rollins has been a major beneficiary, receiving almost $15 million — including an $800,000 gift for construction of the original Archibald Granville Bush Science Center. (In 2013, the foundation gave another $1 million for renovation and expansion of the building.) 

In collaboration with the college, it operates the Edyth Bush Institute for Philanthropy and Nonprofit Leadership, which provides consulting services to some 3,000 nonprofit executives and board members from around the country every year. 

In 2015, the foundation won the Outstanding Foundation Award from the Association of Fundraising Professionals — earning the same honor from both the international chapter and the regional chapter — by effectively carrying out Edyth’s instructions: “Make Central Florida a better place for all of its citizens.” 

Odahowski, who prefers to keep a low profile, has nonetheless come to be known as “Mr. Winter Park” for his scrupulous stewardship of the foundation — which supports numerous good causes in the city where it was founded. 

The epitome of “Minnesota nice,” Odahowski earned a law degree from Hamline University School of Law in St. Paul. He likes to point out that as a student, he studied in Hamline’s Bush Memorial Library — named for Archie Bush — never dreaming that he would someday head a foundation that would fund yet another educational building named for the self-made millionaire.

“I’m always asking about the highest and best needs of the people with whom I meet,” says Odahowski. “My role is that of a fiduciary of the philanthropic legacy of Edyth Bush. It’s not my foundation, nor my money, nor my priorities. I’m here to prepare the next generation of board and staff to carry the torch and burn a brighter flame of servant leadership for the future.”

Although it’s basically a sandwich shop, George’s makes fantastic cookies as well as brownies and other yummy baked desserts. They’re made in small batches, Paul says, which means they’re less greasy and more robust-looking than most restaurant cookies.


Photography by Rafael Tongol

George’s Cafe is owned and operated by George John Paul II (right) and his best friend, Alice Eide (left). The welcoming location (site of the former Brandywine’s Delicatessen) offers plenty of bang for the buck.

Those $130 steaks we feature here, those artfully plated luxury foods, those chef passion projects — poof! Gone from our minds. In this issue, we’ll get our culinary kicks from a simple sandwich or well-made salad featuring fresh ingredients. Period. For now, we have no bandwidth for the fussed-up feasts which, until March 2020, were a highlight of Winter Park’s dining scene.

Introducing George’s Café, although most of you probably know George — or at least his food. The eatery, which since April has served daytime meals in the old Brandywine’s Delicatessen location on North Park Avenue, is the right restaurant for these challenging times. 

Here’s why: The food is straightforward. The service is friendly. And the outside seating area is expansive. Trifecta!

George’s Café is a sandwich shop, known also for its oversized cookies. It now serves breakfast, too, in a homey space filled with mismatched furniture and doodads that represent the interests of owner George John Paul II. (He was named for his father, not the Beatles, so there’s no Ringo.) 

Still, those interests, as you may have guessed, include Beatles’ memorabilia. There are also decorative giant fish and assorted Key West gewgaws. The floor stickers reminding customers to stand six feet apart are canine paws because, according to Paul, his English bulldog pets have been “the loves of my life.”

George’s specialty sandwiches include the Philly cheesesteak (center), which features USDA Choice prime rib sliced and topped with grilled onions and peppers plus provolone on a hoagie. Side choices include house-made french fries and macaroni salad The chicken salad sandwich (top left) comes on a croissant with a choice of sides that includes potato salad and roasted beets. The Abigail (top right) is the cafe’s version of a Reuben. It’s made with house-roasted corned beef, fresh sauerkraut and imported Swiss and Russian dressing, then grilled on fresh, house-made bread.

You might remember George’s Café from its small storefront location on Lee Road — then known as George’s Gourmet Cookies and Catering, which operated there for five years prior to moving in the spring. I had heard about it often from enthusiastic friends, so finally I went for lunch a while back. 

The establishment’s name didn’t sound much like a sitdown restaurant, but what the heck. At the time, I was thrilled to see an egg-salad sandwich on the menu, since I had been on a futile 20-year quest to find one I liked at an Orlando-area restaurant. But I was disappointed with the sandwich, and had not since returned to George’s.

Yet, friends continued to talk up the place, and I didn’t understand why. Then it occurred to me that my bafflement was based on a single experience from several years earlier. Perhaps it was time to try again. 

On a recent Wednesday, I walked into the relocated George’s Café and ordered several sandwiches with two side dishes apiece as well as chili, two green salads (classic with mandarin oranges and pecans, and brie and apple with maple walnut dressing, both excellent), two cookies and an indulgent Danish. 

I thoroughly and completely enjoyed every single item — except the egg-salad sandwich. I guess I’m just impossible to please when it comes to egg salad.

Here’s what I learned: George’s Café makes its food from scratch. Unlike most Central Florida restaurants, which buy pre-cooked and often pre-sliced deli meats, George’s uses its oven. 

How about a healthy lunch? The fresh beet and goat cheese salad (left) encompasses creamy goat cheese, romaine lettuce, field greens and pine nuts with a balsamic dressing. Also shown is a brie and apple salad, which is a full meal loaded with wedges of imported cheese, crisp apple slices and roasted pecans with maple-walnut dressing. George’s award-winning chili (right) is topped with sour cream, white cheddar cheese, green onions and Applewood bacon. It comes with cornbread or any other kind of bread your heart desires.

It roasts turkey breast, which you’ll find in the Puddsy, a baguette sandwich with bacon, muenster cheese and house-made sun-dried tomato dressing. The steak in the Elizabeth is tenderloin topped with sautéed onion, smoked provolone cheese and Béarnaise sauce. The French dip is loaded with USDA Choice prime rib and accompanied by French onion au jus and house-made steak sauce. 

And let’s not forget the Reuben, which here is called the Abigail after George’s first French bulldog. It’s made with house-roasted corned beef and rolled (I would have preferred it flat; what is this, TooJay’s?) with fresh sauerkraut, imported Swiss and Russian dressing before being grilled on fresh-baked bread.

The bacon is, of course, Applewood — the best. The potato salad, the cole slaw with celery seeds, the chunky applesauce — all made in the kitchen. The salad dressings are house-made, as are the potato chips. The breads are baked in-house from imported French dough. A pre-pandemic rye was flown in from New York; it’ll be back eventually.

“I want people to feel that our food is just like what their grandmother made,” Paul adds. Except, presumably, you never got a bill at your grandmother’s house. Which is to say, George’s isn’t cheap — but it’s reasonable for the quality.

Each sandwich is about $15, while salads are in the $12 range. “You get what you pay for,” George says. I agree, although I balked at the $120 bill for my (huuuuge) take-home lunch. Still, I’d go back in a flash. 

Although it’s basically a sandwich shop, George’s makes fantastic cookies as well as brownies and other yummy baked desserts. They’re made in small batches, Paul says, which means they’re less greasy and more robust-looking than most restaurant cookies.

It doesn’t jump out on the menu, but George’s — owned by a devout Catholic who had considered becoming a priest — also offers up some serious old-fashioned Jewish fare. 

The cabbage soup is reminiscent of that served at Ronnie’s, the legendary Orlando deli, which was owned by family friends of Paul’s. Brisket, matzo ball soup and potato pancakes are other staples. And those pickles! The crisp spears are exactly like the half-sours set out on the table in New York delis. George’s makes those, too.

George John Paul II has spent nearly his entire 62 years in Winter Park. You might have used Classic Catering, which Paul started with his late mother, Leona, in 1989. The business closed in 2010, shortly after Leona’s death and the national economic collapse. 

All told, Paul has been in food-related businesses his entire life, starting with his parents’ grocery store and the Holiday House and Hostess House buffet restaurants. 

Paul still does catering gigs. In fact, providing food for events accounts for 60 percent of his business — and the food comes from the same kitchen that the café uses.

“When people eat in our restaurant, I want to let them know this is an example of the quality of our catering food; they’re not two different things,” Paul says. “We use the same prime rib, the same tenderloin.”

That’s how crab cakes Benedict came to be on the breakfast menu. George’s already creates the seafood patties for catered events, so why not share them in the dining room? “From an inventory standpoint, from a consistency standpoint, it just makes sense,” Paul adds.

Now, we need to discuss the cookies. George’s always has a variety of cookies that are big, round and look like scones. They date back to the Classic Catering days, when Paul determined that the company needed a signature item and settled on distinctive cookies. 

This was in the late 1980s, around the time Mrs. Fields, David’s and, locally, Selma’s were changing the cookie business nationwide. Paul tinkered with recipes for two years, throwing out batch after batch of creations that friends assured him were terrific. “I wanted a cookie that didn’t flatten out and didn’t look greasy on top,” he says.

The interior is a homey space filled with mismatched furniture and doodads that represent the interests of owner George John Paul II, which range from Key West culture to Beatles’ music. The café also features an expansive outdoor seating area — perfect for the times.

Paul — inspired by something he had seen on the Food Channel — then began baking cookies in small batches. “With large batches, the heat of the mixer starts to melt the product,” he says. “And that’s where they bleed, and the grease comes out.” 

Also, he found that covering nuts with a light dusting of flour keeps grease at bay. The result is a moist, flavorful cookie. I urge you to try a peanut butter one. And a chocolate chip. The restaurant’s menu proclaims: “Life’s Short. Eat Cookies,” which sounds like excellent advice.

Like any small business, George’s is about relationships as much as food — and Paul’s relationships go back a long way. The Bishop Moore alumnus seems to know, or have gone to school with, pretty much everyone in town.

It’s also about giving back. Paul regularly hands cash to homeless people and is convinced that prayers from one grateful recipient helped to cure a sick friend. He also gives each day’s leftover cookies to the Winter Park Fire-Rescue Department. 

OK, these aren’t huge, gaudy acts of magnanimity. But they’re important to Paul, a believer in karma (although that’s not a term he would likely use). “Gandhi said what we do might be insignificant, but we should do it anyway,” Paul says. “I just think we should try to help one another and be kind — with sincerity.”

Humbly, Paul accepted kindnesses in return when the pandemic struck and his catering engagements were cancelled in rapid succession. The crisis erupted just as he was moving the restaurant into its new space and just as the state banned restaurants from allowing diners to eat on the premises. 

Selling $100 gift cards for $70 was a way to raise quick cash. One local philanthropist and longtime acquaintance, recalls Paul, came in and announced: “I want to buy $50 gift cards for 100 of my friends. No negotiations. This is what I’m going to pay you for them.” The amount, he says, was many times what it should have been.

“It makes you realize that you hear about the horror stories but seldom hear about the people who are supportive,” Paul notes. “We’ve had so many of them. So much of what has happened has been by the grace of God.”

So, when you really need to experience a good version of a food you’ve known forever (OK, maybe not the egg salad) or a friendly smile, George’s Café may be the place to go. “I don’t take myself seriously,” Paul says. “But I take what I do seriously.”

George’s Café
505 North Park Avenue, Winter Park

Nadeau didn’t much like his first published comic book work, 1989’s Best of the West (above), but says the retro shoot-’em-up was salvaged by inking from Dick Ayers, a former stalwart at Marvel Comics. More recently, Nadeau has continued drawing and publishing comics while expanding his horizons to encompass oil painting.


Photography by Rafael Tongol

“I was that kid who drew all the time,” recalls John Nadeau. “In middle school, I discovered comics. And I decided: ‘I want to do that.’” Nadeau still draws mind-bending comics, but has recently begun to display his oil paintings at one-man shows.

John Nadeau was a senior at Winter Park High School when he landed his first professional gig as a comic book artist. He penciled a western called Best of the West for Americomics, a Longwood-based independent publisher that specialized in Golden Age-style adventure and superhero titles.

He thought, in retrospect, that his 1989 effort looked awful. Luckily, he says, veteran comic book inker Dick Ayers took the penciled pages and “cleaned them up considerably” by adding depth, weight and richness with his pen and brush.

“I didn’t actually see it in print until I was away at college,” says Nadeau, who admits that his high school “cool quotient” increased exponentially at having a forthcoming professional credit. “They mailed a copy to me. My excitement at doing anything at all eclipsed the fact that I didn’t think it was very good.”

Comics, for the uninitiated, are often drawn in pencil. Then, for purposes of reproduction, another artist embellishes the pencils with India ink. A good inker brings his or her own flair to the penciled pages. Ayers — who in the 1960s had been the primary inker on the legendary Jack Kirby’s artwork for Marvel Comics — was one of the greats.

From Best of the West through Aliens and Star Wars, Nadeau, 49, has penciled and inked his way into the upper echelon of comic artists through his mastery of complex, futurist machinery and a vivid imagination that conjures up gigantic space colonies in which cities are enclosed in cylinders that float through deep space.

Such a megalopolis is the setting for a recent series of self-published comics called Vector, which combine the seemingly disparate worlds of science fiction with fine-art smuggling. The stories are fun, but the real treat is Nadeau’s art, which depicts the self-contained colony and its denizens in exquisite detail.

Nadeau, who briefly pursued a career as an aeronautical engineer, loves to render complex machinery and futuristic structures, such as the image from Vector (facing page) of a vehicle speeding along the streets of a floating space megalopolis.

“I was that kid who drew all the time,” recalls Nadeau, who as a child moved to Maitland from Syracuse, New York, with his family. “In middle school, I discovered comics. And I decided: ‘I want to do that.’”

More specifically, Nadeau discovered the work of British-born comic artist John Byrne, who in the late 1970s was teamed with writer Chris Claremont on Marvel Comics’ The X-Men. Byrne and Claremont revitalized the title and made its Canadian character, Wolverine, among the most popular in Marvel’s publishing history.

If Marvel (whose characters included Spider-Man, the Hulk and the Fantastic Four) and D.C. (whose characters included Superman, Batman and the Justice League of America) comprised the comic book equivalent of the major leagues, there were some far-more-accessible minor-leaguers doing good work as well. 

Nadeau connected with one of them, Americomics, when he met publisher Bill Black at a comic book convention at a hotel on Lee Road. Black was already an industry notable, having drawn stories for Warren Publishing’s popular black-and-white horror magazines Creepy and Eerie in the 1960s. 

Those now-defunct periodicals featured the work of Frank Frazetta, Reed Crandall, Joe Orlando, Wally Wood and others who were considered masters of the craft. Several had made their names at E.C. Comics, the company that published stories so gruesome that a U.S. Senate subcommittee on juvenile delinquency met to discuss “the problem of horror and crime comic books” in 1954.

(As with rock ‘n’ roll, though, the grownups just didn’t get it. Still, the ensuing brouhaha pushed publishers to offer tamer — or, to be honest, duller — material until the superhero genre really took flight in the early 1960s. Some comic artists subsequently came to be regarded as rock stars, and “sequential art” as a discipline began to be regarded seriously.)

Nadeau didn’t much like his first published comic book work, 1989’s Best of the West (above), but says the retro shoot-’em-up was salvaged by inking from Dick Ayers, a former stalwart at Marvel Comics. More recently, Nadeau has continued drawing and publishing comics while expanding his horizons to encompass oil painting. More recently, Nadeau has continued drawing and publishing comics while expanding his horizons to encompass oil painting. Take, for example, Yellow Flower Tree (below), a view of Park Avenue from Central Park.

Nadeau showed Black his portfolio, and shortly thereafter began getting scripts to illustrate. By that time, the comic book industry was no longer driven by single-copy sales at those ubiquitous revolving racks at drug stores (Hey Kids! Comics!) but through direct purchases by comic book retail shops.

While having fun, Nadeau nonetheless recognized the need to earn a living and drifted away from comics, where creators remained poorly paid despite their increasing panache. He enrolled at Embry-Riddle Aeronautical University in Daytona Beach to pursue study as an aerospace engineer. “I realized, though, that I just didn’t have the math skills,” he recalls. “I hit the wall at differential equations.”

Short and frustrating stints at Embry-Riddle and later Florida State University confirmed the futility of the effort. “The more I discovered my ineptitude in mathematics, the more I wanted to go back to comics,” says Nadeau, who began drawing again for Americomics in 1991. 

 The title he was assigned was Femforce, an “all-girl” team of shapely superheroines that included some new characters and some that dated from the 1940s and had been resurrected from public domain. The characters were pure eye candy for young male readers, but there was a certain nostalgic quaintness to the series — which is still being published despite its political incorrectness.

By the late 1990s, Nadeau had moved on to a galaxy far, far away with a series of Star Wars comics for Dark Horse, an Oregon-based publisher. A one-off issue that featured bounty hunter Boba Fett was voted “Best Original Star Wars Comic” by readers of Star Wars Galaxy, an officially licensed magazine that focused on collectibles related to the film series. 

Nadeau also drew Aliens-themed mini-comics, which were packaged with action figures from the screamworthy science fiction film, as well as several issues of Wolverine for Marvel and Green Lantern for D.C. Most comic artists love drawing iconic superheroes. But Nadeau was really more suited for the elaborate machinery and horrifying bug-like monsters in Aliens. 

Later, as the comic book industry slumped, Nadeau began to expand his horizons and completed a degree in film production technology from UCF. He also scripted and produced a low-budget feature film — never completed — which he describes as “a horrible idea involving pizza delivery drivers who get involved with murderers.”

Discouraged, Nadeau returned again to drawing and found an outlet for his love of structures and contraptions as a commercial artist and architectural renderer. He worked for various clients in Central Florida and around the world, including GoCovergence, HHCP Architects, OBM International, Simiosys, Sonesta, the Walt Disney Company and others. 

He has subsequently sought to enter the fine art world by honing his painting skills through classes at the Crealdé School of Art. In 2018, he began doing oil paintings for The Art of Disney Galleries, and his creations have been featured in several one-man shows — including one earlier this year at Winter Park City Hall.

But for Nadeau, the lure of comics remains strong. In 2017, he co-wrote and illustrated the series Murder Society for the Dark Horse anthology Dark Horse Presents. And two issues have been printed, but not yet distributed, of Vector, set in the meticulously rendered space colony. 

Nadeau is hard at work on issue three of Vector, a comic book that depicts a massive space colony and its denizens — some of whom are involved in art smuggling.

What’s the future of comic books? “I’m the last person to ask,” says Nadeau, who confesses that he enjoys creating comics but is generally ambivalent about the business model that keeps the industry afloat. “I suppose everything is going digital.”

Well, hopefully not everything. Nadeau is currently hard at work — using a pencil and illustration board — on the third issue of Vector. “Making comics is better than making movies,” he says. “You have the scope of a big-budget movie, but you don’t have to depend on other people — and you have complete control.” 

– Randy Noles

Desserts at BoVine, as one would expect, are housemade. The triple-chocolate layer cake, served with a scoop of vanilla ice cream, is particularly homey and satisfying — the ideal conclusion to a first-class steakhouse meal.


Photography by Rafael Tongol

Opening a new restaurant is never easy. But owner Joanne McMahon (seated); Tony Krueger, executive chef (standing, left); and Ben Peters, chef (standing, right) debuted their upscale steakhouse on Park Avenue just as the COVID-19 pandemic was spiking in Florida.

Owner of two popular Park Avenue eateries, Joanne McMahon, faced a daunting challenge: to create a new restaurant in the space that was occupied for 36 years by the iconic Park Plaza Gardens — regarded by many Central Floridians as the epitome of special-occasion dining.

Over the decades, countless Winter Parkers had strolled into this Park Avenue institution toting gift bags to celebrate anniversaries, birthdays, babies and business coups. 

Patrons lingered in the foliage-filled dining room with its partial glass ceiling. And the sidewalk seats were prized for people-watching with a drink and a nibble.

The food? It was at times exceptional, depending upon the chef. But the quality of the cuisine was almost beside the point. Locals simply had a communal emotional attachment to the space. 

But Park Plaza Gardens unceremoniously closed in 2016 during a rancorous dispute between the owner and the landlord over conditions in the restaurant space. (The building, nearly a century old, is enveloped by the charming 28-room Park Plaza Hotel, a separate business.)

McMahon, truly an entrepreneur’s entrepreneur, had the chutzpah to step into the empty space and create something new — something that wouldn’t make people forget Park Plaza Gardens but would be a worthy successor to it.

She already owned 310 Park South and Blu on the Avenue, so McMahon knows the boutique-lined boulevard and what it takes to run a successful restaurant there. The dining room dynamo signed a lease and commenced to turning the once-bustling location into BoVine Steakhouse.

Of course, a major renovation always uncovers surprises — usually not good ones. Just ask anyone who has ever hired a home remodeler. But in addition to the usual construction hassles, a pandemic hit just as the restaurant was finally about to open.

BoVine’s lobster bisque (top left) is made with sherry and lobster broth. The crab-stuffed salmon (top right)is Scottish salmon stuffed with jumbo crab mix and topped with béarnaise sauce. The dry-aged, bone-in ribeye (bottom) is superb and, like all BoVine meat, is shipped directly from Linz, a Chicago-based purveyor.

Still, BoVine Steakhouse welcomed its first guests on June 18, 2020. No grand opening party took place, no marketing reps handed samples to food writers. McMahon simply unlocked the door and ushered in the first diners seeking a socially distanced seat. We suspect that none of those early diners, especially the carnivores, left disappointed

Meals at BoVine are mostly traditional steakhouse fare with a few trendy upticks. McMahon developed the menu in collaboration with Executive Chef Tony Krueger, who has worked in McMahon’s kitchens since 2008. 

They chose beef shipped directly from Linz, a Chicago-based producer of black-hide Black Angus cattle, pampered and corn-fed for their final 150 days. Vegans, though, will find two entrées just for them, while appetizers such as salmon tartare offer light alternatives.

As for the famous atrium-style dining room — you won’t recognize it. The revamped (and now atrium-free space) has brick walls, some of them original. The tables have white tablecloths, and there’s a bar and a banquette as well as loads of booths.

The goal: elegant enough for an upscale experience yet welcoming enough to enjoy dinner while clad in shorts and a polo shirt. “Since the space was iconic Winter Park, we wanted to make it something nice, where people who used to go there would feel comfortable coming back,” McMahon says. Hence the conservative, vintage steakhouse look.

But oh, my! It was no easy task for BoVine to configure its operation to serve crab-stuffed salmon; dry-aged, bone-in ribeye (superb!); and veal chop topped with fontina (cheese) and speck (ham) either at the bar, in the dining room or packaged to take home.

Desserts at BoVine, as one would expect, are housemade. The triple-chocolate layer cake, served with a scoop of vanilla ice cream, is particularly homey and satisfying — the ideal conclusion to a first-class steakhouse meal.

Back when we were still maskless, hugging each other and innocently sharing food platters, McMahon was unearthing the former Park Plaza Gardens foundation. “Nothing had been done to it for years,” McMahon explains. “Nothing was up to code. We basically gutted it.” 

That meant a new roof, floors, ceilings and bricks as well as a bar and every sort of kitchen equipment. The restrooms were moved for easier access. Those glass ceilings that were a signature feature of Park Plaza Gardens? Not code-compliant and now history. 

And whoa, what’s that? An old chimney? Really? “Things were intermingled,” McMahon reports. “Every stone we turned, we’d see something and wonder, ‘Oh my God, where did that come from?’”

For many months, Winter Parkers — assuming the pandemic would someday abate, or that we’d at least learn to live with it — eagerly awaited a new restaurant in this hallowed space. And McMahon was determined to give it to them.

She and her crews cleared out rubbish and installed a sparkling new food-service system, from state-of-the-art air-conditioning with enhanced filtering capacity — a boon in these crazy times — to copper and black and white Villeroy & Boch Glow plates. Says McMahon: “We had to start from the beginning to do it all right.” 

The menus were printed and the staff was hired — then a mandatory lockdown was imposed that temporarily prohibited restaurants from hosting inside diners. “We were about to start training,” McMahon says. “It’s a three-week training process. At least we hadn’t ordered the food yet.” Some good news, at least.

Still, training proceeded apace. “Everyone had to wear a mask,” says McMahon. “Everyone sat six feet apart.” She added pandemic-related instruction, since masks, temperature checks, social distancing, frequent cleaning and super-sonic sanitizing were required.

The interior of BoVine, with its stately brick walls, bears no resemblance to the atrium-style dining room at Park Plaza Gardens, which previously occupied the space.

Then, with a slightly reduced menu since so much takeout was expected, BoVine swung its glass door open. And, surprise! People did indeed request takeout — but, once reopening began, many more wanted to dine indoors.

Maybe they were comforted by the website’s homepage, which lists an array of sanitation and safety precautions. Perhaps most importantly, with 200 seats, BoVine is big enough to spread guests out. For now, only two tables inhabit the long-popular sidewalk area. 

“If you’re going to buy a nice steak, you’re not going to sit outside and eat it in the summer. It’s just too hot,” McMahon says. She’ll add more tables there when the temperature drops.

On a recent Thursday night in August, I overheard staffers say that they had 22 dine-in reservations for that evening. Other customers would surely call to take home a meal, each item secured in eco-friendly paper packaging, with wines and to-go cocktail add-ons optional. A little thank you note goes into the bag, too.

The situation can only get easier for BoVine from here on, it seems. Kudos to McMahon for not being intimidated by the space’s reputation, discouraged by construction snags or prevented from bringing a new business to Park Avenue by a nasty virus that has done enough damage to our community already.

BoVine Steakhouse
319 South Park Avenue, Winter Park

Don Sondag is known for portraits, but he’s also a world-class plein air artist.


Don Sondag is known for portraits, but he’s also a world-class plein air artist.

Don Sondag has painted two of the past three covers of Winter Park Magazine, and a total of four in all — the most of any single artist. Somehow, though, we don’t think our readers will tire of seeing Sondag’s extraordinary images — especially his photorealistic landscapes.

In this issue, writer Greg Dawson explores the history of Winter Park’s iconic Scenic Boat Tour — and we were looking for an image of the canals through which the familiar pontoon boats travel.

As luck would have it, Sondag had in April staged an exhibition of original pieces called Venetian Canals of Winter Park: The Art of Don Sondag, which ran through April 12 at the Albin Polasek Museum & Sculpture Gardens. (Because of COVID-19, the exhibition had to be viewed online.)

A painting of the Fern Canal as it opens onto Lake Osceola — which was part of that collection — graces this issue’s cover. Featured prominently are the banana trees that boat tour operators say are so fascinating to many out-of-town riders. The title: Venetian Canal: Coming to the End.

Sondag, a native of Winter Park, earned a BFA from the Rhode Island School of Design. He also studied painting and portraiture at the National Academy of Design and the Art Students League in New York City.

In addition to painting, Sondag teaches at the Crealdé School of Art, where he joined the faculty in 1990. He has also taught at Seminole State College, Walt Disney Imagineering and Walt Disney Feature Animation.

He has accepted portrait commissions from the Dr. P. Phillips Foundation, Seminole State College, Tupperware Brands Corporation and the University of Central Florida, among many other institutional clients. His image of the iconic Fred Rogers (Mister Rogers’ Neighborhood) hangs in the lobby of Tiedtke Concert Hall on the campus of Rollins.

Sondag’s work has also been featured on posters for the Winter Park Sidewalk Art Festival and Casa Feliz, and is prominent in many private collections. “I paint portraits primarily but love to paint outdoors,” he says. “Capturing the light, color and form is what I try to compose in my paintings.”

— Randy Noles

Luma on Park’s takeout drink options came in well-sealed, 16-ounce mason jars. They were meant to be shaken, not stirred, with ice and then poured into a drinking vessel of your choice. The Tequila Pine included pineapple and habanero peppers infused over a three-day period with a high-quality silver tequila.


Photography by Rafael Tongol

New Standard sent its creations home mostly complete and accompanied by instructions on how to accomplish the finishing touches. The Pistachio Old Fashioned craft cocktail consisted of Old Forester Kentucky Bourbon infused with pistachio and served with The Bitter Truth aromatic bitters and orange.

Rattled but resolute, dozens of Winter Park restaurants remained afloat during the recent shutdown season by offering individual and family-style meals packed for in-store pickup, curbside pickup and home delivery (thank you, from all of us).

Several, though, went a step further: They added spirited beverages to accompany those appetizers, sandwiches and entrées. Thanks to temporary new regulations, permission was granted to nestle martinis and Manhattans into our take-home bags. 

Some restaurateurs took the remote bartender role quite seriously. Many others sold wine bottles at steep discounts. So let’s hear a hearty amen for those who aided us in taking the edge off when we most needed a good numbing. 

Here we feature four local eateries that went gung-ho with bagged-up boozy drinkables. Some should be at least partly reopened for dine-in service by the time you read this issue of Winter Park Magazine. 

We’re kind of hoping they keep up the gin-as-a-tonic, grab-and-go option even after the world returns to something approximating normal. At this writing, however, COVID-19 restrictions were just being relaxed and considerable uncertainty remained.

In other words, the cocktails (and menu items) described here may or may not still be available. Whatever the case, we wanted to salute local restaurants for service above and beyond the call of duty. 

We picked four — in part because of their creativity with takeout libations — but there were dozens upon dozens of others. I hope you’ll return to patronize as many of them as possible once you can dine out safely. They were there for us — let’s be there for them.

1035 North Orlando Avenue, Winter Park

The staff of Dexter’s New Standard was ready and set to go as soon as the state gave to-go cocktails the green light. This Orlando Avenue restaurant already made its craft cocktails in batches. 

“The problem with craft cocktails is that it often takes 20 minutes to make a drink, and nobody likes to wait that long,” says Erin Allport, director of operations at the eatery, which opened last October and during normal times offers live music daily. “It’s actually quite frustrating.”

Her team’s solution was to produce several creative martinis by the batch and have bartenders add a couple of final ingredients in the glass. “Then boom! The drinks were out to guests,” Allport says.

Such a process was made to order, if you will, for the new mode of operation required by the pandemic. It likewise didn’t hurt that the New Standard’s chefs already produced key cocktail ingredients.

The culinary team was accustomed to heating bourbon and pistachios together at a very low temperature, sous vide-style, for the Pistachio Old Fashioned, and to making a variety of syrups as well as the house sour mix. 

When word got out that restaurants might be allowed to bottle up beverages traditionally served in clever glassware, Allport rushed to a College Park store that caters to home brewers, where she knew she’d find empty bottles for sale. She snapped them up like you and I filled our carts with hand sanitizer at Publix.

Ultimately, the New Standard sent its creations home mostly complete and accompanied by instructions — printed in Prohibition-style type — on how to accomplish the finishing touches.

The Tonic Blossom ($10), for instance, arrived as a mix of Cathead honeysuckle vodka, Chareau aloe liqueur and Jack Rudy elderflower tonic. Soda water can’t be added until the last minute, so a can of Q club soda came separately. 

Because the Pistachio Old Fashioned (1 liter, priced at $65, makes 10-plus drinks) doesn’t age well when bitters are added to the bourbon mix early, the restaurant sent this key ingredient on the side.

The Skinny Margarita, as it turned out, was the biggest seller, perhaps because it was priced at $25 for 25.5 ounces. (That’s the equivalent of four or five drinks, depending upon the size of the glass). The restaurant also added several flavored margaritas, which customers ordered on weekends to sip on a boat or by a pool. (Some people, obviously, endured the lockdown better than others.)

By law, guests must buy food with the fun stuff. So the New Standard offered a market menu that included not only meals but also pimento cheese, French onion dip, house-made crackers and desserts. That was in addition to to-go menu staples plus daily family-style specials. 

All wine bottles were half price — which likely won’t be the new standard by the time this crisis has receded. But it was appreciated while it lasted.

At Reel Fish Coastal Kitchen + Bar, the two-quart servings of sangria quickly became must-have to-go items. The Reel Red sangria was made with Stillhouse Spiced Cherry Whiskey along with red wine, lemons, limes, oranges and apples. The same fruit with white wine and Stillhouse Peach Tea Whiskey made the Sunset Sangria a standout.

1234 North Orange Avenue, Winter Park

Since it opened three years ago, Reel Fish Coastal Kitchen + Bar has drawn diners with its house-made oyster crackers (pop ’em and grin), its fanciful fish specialties and its old-time platters of battered and fried Gulf oysters or wild-caught Florida shrimp.

But sangria? Not the first menu item that comes to mind. Yet during the prolonged time of shuttering (and shuddering), two-quart servings of sangria — red or white — quickly became must-have to-go items at $18. 

“They sold consistently well,” says proprietor Fred Thimm, who found that mostly couples, rather than families or groups, were the biggest buyers.

What’s not to like, really? The Reel Red sangria was made with Stillhouse Spiced Cherry Whiskey along with red wine, lemons, limes, oranges and apples. The same fruit with white wine and Stillhouse Peach Tea Whiskey made the Sunset Sangria a standout. 

A third beverage was also popular for the grab-and-go crowd: The Seaside Margarita was essentially tequila that had lingered for a bit with pineapple, brown sugar and house-made sweet-and-sour mix before being served with a grilled pineapple wedge. 

These refreshing beverages — along with bottled wine at 30 percent off — left the premises accompanied by full seafood meals. The restaurant offered a rather extensive takeout menu and often promoted specials. 

“Everyone wants a deal,” notes Thimm, who singled out the popularity of a date night meal for two. At $39, it included fried green tomatoes or a fried clam strip basket with either a boiled or pecan-crusted rainbow trout entrée. To finish, there was a dessert of coconut cake or carrot cake.

“Some restaurants focused on Blue Apron-type meals to cook at home, or they went the grocery store route with bleach and toilet paper, but we didn’t,” Thimm says. “We just did what we know how to do — cook for people, package it and deliver it using our own drivers via Uber Eats. That way, we were able to keep as many staff members employed as possible.”

For its takeout customers, Cocina 214 packaged happy hour priced, ready-made cocktail kits with instructions. The Tex-Mex restaurant is known for its margaritas, so a popular choice was the frozen El Diablo, made with Sauza silver tequila swirled with sangria.

151 East Welbourne Avenue, Winter Park

Groups of merrymakers dine at Cocina 214 as much for the margaritas as for the quesadillas — so this bastion of Tex-Mex cuisine included tequila-laced concoctions from the earliest days of the stay-at-home spell. 

Better still, libations were offered at happy hour prices — $5 for a single drink, $20 for a quart and $70 for a gallon. “The quart sold best,” says Lambrine Macejewski, partner, co-founder and business manager of the eatery just off Park Avenue. “It was great for two people who want two drinks each.”

As for the food, this was no time to get esoteric. So Macejewski chose only the restaurant’s top sellers for home consumption. That meant salsa-
accented suppers could be had with a dizzying array of margarita choices.

While some restaurants relied upon cocktail kits with instructions packaged separately, Macejewski sealed ready-made drinks into a container, put a sticker on the jar and sent it out the door. “The kits sound cute and they’re successful for some restaurants,” she says. “But to me, they just seem like more work for customers.” 

Even with a limited staff, Cocina 214 served up additional liquid mood enhancers. The curbside cocktail menu listed single-, quart- and gallon-sized portions of chef-made red sangria as well as 15 wines and 11 bottled beers. The Justin cabernet sauvignon sold so well that the restaurant ordered new cases every week.

Although Cocina 214’s food menu was smaller than usual, the resourceful Macejewski and her stalwart team added family-style meals to the mix. “Our guests are feeding their families daily, often including kids home from college,” she says. “We asked ourselves, ‘How can we make it easier for them?’”

Enter the family dinner options, priced at $50 each and feeding up to six. Choices included beef, chicken or veggie tacos with four toppings, and combo meals such as the Tex-Mex Fave (with quesadillas and fajitas) and the Gringo Tex-Mex Mix (with fajitas and housemade chicken fingers — a favorite of the younger set). 

All meals came with chips and salsa. All the better to accompany the margaritas.

Luma on Park’s takeout drink options came in well-sealed, 16-ounce mason jars. They were meant to be shaken, not stirred, with ice and then poured into a drinking vessel of your choice. The Tequila Pine included pineapple and habanero peppers infused over a three-day period with a high-quality silver tequila.

290 South Park Avenue, Winter Park

Just as no food is as simple as it looks at Luma on Park — arguably Winter Park’s cheffiest restaurant — the same is true of its deceptively complex cocktails. 

The herbs and fruits in most of the sleek and stylish eatery’s specialty creations are raised on regional farms. A so-called simple syrup may have been infused by the bartenders with rosemary or lavender. 

And the shrubs — generally used as sweet-yet-acidic mix-ins — are concocted with care, in small batches, adding unseen yet appreciated depth to the drinks in which they’re an ingredient. 

Luma chose five very different drink options to package for take-home consumption. Each arrived in well-sealed 16-ounce mason jars, which were meant to be taken home, shaken with ice and poured into a drinking vessel of your choice. Prices ranged from $22 to $38. 

Prime your patio for this cocktail hour.

Consider the Tequila Pine, which included pineapple and habanero peppers infused over a three-day period with a high-quality silver tequila. Or the Strawberry Fields, made with basil- and strawberry-infused vodka and triple sec.

And let’s not forget the blood orange margaritas with a chili-lime rim, produced in conjunction with local citrus producer Natalie’s. Or the Boulevardier, which combined Mitchter’s Straight Rye, Campari and sweet vermouth

Longtime Luma fans were no doubt comforted that takeout options included the White Linen, a signature drink from the restaurant’s early days a decade and a half ago.

Four draft beers and two bottled ones completed the to-go beverage menu — well, along with discounted wines. Every bottle in the 7,000-bottle vino inventory was offered at half price, creating a significant opportunity for oenophiles. 

Like the cocktail menu, Luma’s food offerings were paired down significantly. Gone were the fanciful presentations topped with perfectly positioned microgreens and other such frills. They were replaced by a variety of meals designed for the road. 

“We chose foods that travel well,” says Tim Noelke, operations partner of Park Lights Hospitality Group, owner of Luma, Prato and Luke’s in Maitland. Salads, pizzas and a burger — albeit a relatively fancy burger with Dijonnaise rosemary fries — were available. 

Also offered were $50 family-style meals, which included a protein and three sides and could feed three or four people. The meats, such as 72-hour short ribs, were ready to eat. Roasted carrots and snap peas with mint and pistachio or potato purée with truffle oil and chives arrived piping hot. A handful of wines were available at $10 a bottle.

Prepare-at-home kits were another top pick. A Bolognese option, at $45, included house-made rigatoni pasta that needed a quick boil and a ragu sauce to be heated and added along with salad and the makings of garlic bread. Steaks and other meats were offered for cooking at home. 

Full yet?

You get the idea. In summary, whether you imbibed on Pistachio Old Fashioneds, fruity margaritas or spiked sangrias on your living room sofa, I’ll wager those liquid indulgences were a tonic eagerly welcomed during these unprecedented times.

They sure were at my house. 

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