An Elderberry Spritzer has a quiet kind of charm, especially on a hot day. It’s the sort of charm that doesn’t demand attention, but earns it with its deep color and refreshing sip. The taste is a delicate balance of tartness and gentle sweetness while the brightness from the bubbles creates a lightness that lifts the darker berry notes rather than making them heavy. It feels both indulgent and clean, like a drink that belongs at a sunlit brunch or a slow evening unwind.
A Local DIY Syrup to Make This Elderberry Spritzer
For centuries, the dark purple berries from elderberry plants have acted as a home remedy. Like other dark blue or purple fruits and vegetables, they contain anthocyanins which are thought to combat inflammation and boost your immune system. Megan’s Pantry makes a handy DIY elderberry syrup kit so you can make your own superpower syrup. Take it neat or better yet, pour some into a glass of chilled sparking water or wine to make our Elderberry Spritzer, sip, and feel satisfied.
Kinilaw na Hipon is similar to Spanish Ceviche but with the Filipino addition of coconut milk that adds sweetness and balances the acidity ceviche depends on. Traditionally made with calamansi, a citrus endemic to the Philippines, a combination of lemons and limes works as a good substitute. Other types of fish like tuna work well with this recipe, but any fresh seafoods and shellfish can be used. Tapioca crackers are an excellent accompaniment to this dish, but you can also use tortilla chips or other crackers/chips of your preference.
How Do We Prepare the Shrimp in Kinilaw na Hipon?
Kinilaw na hipon doesn’t use heat to cook the shrimp in this recipe. Instead, it relies on acid, usually from vinegar or citrus juice, to transform the meat. This process is called denaturation. When the shrimp meets an acidic ingredient, the proteins in the shrimp unravel and firm up. A similar process occurs when cooking with heat. As this happens, the shrimp changes from translucent gray to opaque and slightly pink, changing its texture. At the same time, the acid, along with the recipe’s seasonings, help establish a delicious flavor.
Let these flavors transport you to the coastlines.
Ingredients
Scale
1 lb prawns or tiger shrimp, peeled & deveined
1 cup sugarcane vinegar or any white vinegar
2 tbsp shallots or red onions, minced
2 tbsp fresh ginger, minced
1 tbsp fresh garlic, minced
1 tsp small green chili, thinly sliced (optional)
1 tsp patis (fish sauce)
1/2 cup coconut milk
1/2 cup citrus juice (any ratio of either or both lemon and lime)
1/2 cup cucumber, peeled & seeded
1/2 cup Roma tomatoes, seeded and small diced
Salt and ground white pepper to taste
Cilantro for garnish
Instructions
Split the shrimp in half lengthwise along the spine and cut into smaller pieces; the smaller the cut the faster the shrimp will cure and influence the texture.
Combine all ingredients and let marinate for about 10 to 15 minutes to cure the shrimp to your preferred doneness; you can let it sit longer to allow the raw shrimp to fully cure.
Recipe and Styling by Rafe Vencio Photography by Dave Bryce
Discover the cultures, histories, and stories that make New Mexico unique at the New Mexico History Museum on the Santa Fe Plaza.
Spend Your Day at the New Mexico History Museum
A draw for local residents and tourists alike, the museum offers something for everyone. Through exhibitions, collections, and historic structures, the museum aims to bring people together.
The expansive array of exhibitions at the museum introduces visitors to a range of topics, communities, and cultures. On long-term display, Telling New Mexico: Stories from Then and Now highlights more than 500 years of history. Travel through time, understanding the realities of the many people who lived here: Native Americans, Spanish settlers, Mexican citizens, Santa Fe Trail riders, fur trappers, outlaws, Buffalo Soldiers, railroad workers, miners, scientists, hippies, artists, and photographers. Rotating exhibitions shed light on the fun, fascinating, and sometimes little-known parts of New Mexico’s history.
Thousands of Years of Exhibits
One of the museum’s most recognizable structures is the Palace of the Governors. Dating back to 1610, the Palace of the Governors is the oldest public building in continues use constructed by European settlers. In recognition of its historical significance, the Palace has been designated a National Historic Landmark and is also recognized as a National Treasure by the National Trust for Historic Preservation. Today, visitors can enjoy the hundreds of years of history in the walls of the Palace by exploring its variety of exhibitions, visiting the Palace Press, as well as meeting the artists who are part of the Native American Artisans Portal Program.
The museum also serves as a hub for education and research. Visitors of all ages have access to programming and events year-round. The Fray Angélico Chávez History Library and the Palace of the Governors Photo Archives also provide access to more than a million historic photos and documents. The museum also launched its own digital collection which expands access to popular collections of photos related to Gustave Baumann, Fred Harvey, and Edgar L. Hewett.
Walk the museum’s galleries and see how the past brings the present to life. The museum is a destination for anyone who wants to learn and also understand the diverse histories and unique dynamics that have shaped New Mexico.
Story Provided by New Mexico History Museum Featured Photo by Wes Cunning Museum Photography by Tira Howard
Bourbon Cookie Bars ought to be in your hygge toolkit. A soft cookie bar full of pecans, raisins, and chocolate chips combines with a generous layer of boozy bourbon buttercream that will help make the edges of any stressful afternoon go pleasantly fuzzy. As with most cookies and bar recipes, you can add a dash of sustainability to the recipe by substituting a fifth of the flour by weight (40g, in this case) for a climate-resilient flour like rye, millet, or Kernza.
What is Climate-Resilient Flour in These Bourbon Cookie Bars?
Climate-resilient flours come from grains and crops that are better adapted to withstand environmental stress such as droughts, poor soil, and temperature swings all while requiring fewer chemical inputs. In the context of these Bourbon Cookie Bars, swapping in a portion of rye, millet, or Kernza flour adds a subtle nutty taste and a slightly heartier crumb along and helps practice sustainability. Kernza, for example, is a perennial grain with deep roots that help prevent soil erosion and capture carbon, while flours like millet thrive in dry conditions with minimal resources.
For those hard days where a sweet treat is all that can heal your soul.
Ingredients
Scale
1 ½ cups (195g) flour
¾ tsp baking powder
¼ tsp salt
¾ cup margarine, softened to room temperature
¾ cup light or dark brown sugar
1 ½ tsp vanilla
2 eggs
⅓ cup bourbon
1 cup toasted pecan pieces
½ cup raisins
½ cup chocolate chips
For the frosting:
3 ½ cups powdered sugar
6 tbsp margarine, softened to room temperature
1 tsp vanilla
3 tbsp bourbon
Instructions
Preheat the oven to 350F and lightly grease a 13 by 9 inch pan.
In the bowl of a stand mixer, beat the margarine, brown sugar, and vanilla on medium speed until the texture is fluffy and the color has lightened somewhat.
Add the eggs one at a time, then beat on low-medium speed until well combined, scraping down the sides of the bowl after each addition.
In a medium bowl, whisk together the flour(s), baking powder, and salt. Add this dry mixture to the margarine mixture alternately with the bourbon, in three parts each.
Using a spatula, stir in the pecan pieces, raisins, and chocolate chips.
Bake for 20-25 minutes.
While the bars cool, prepare the frosting in a stand mixer. Combine the margarine and one cup of the powdered sugar, mixing on low-medium speed until well combined. Alternately add a tablespoon of bourbon and about a third of the remaining powdered sugar at a time, mixing after each addition (incorporating both ingredients gradually helps keep the frosting extra smooth). Add the vanilla.
Once the bars have cooled, frost them directly in the pan using an offset spatula.
Bars keep for up to four days in an airtight container at room temperature.
Recipe by Caroline Saunders Photography by Dave Bryce
The daffodils are out and the irises aren’t far behind so it’s time to say hello to spring and the array of colors the season brings. This year, blue is the color we want to wear for spring fashion in New Mexico with its range of hues as well as reminder of a bright spring sky. Whether it’s a breathtaking pair of sapphire and diamond earrings or a practical (and beautiful) indigo tote, let blue guide your closet this season.
Shopping for Blue Spring Fashion Trends in New Mexico
Plunge into the deep blue sea with these 1.75 ctw. pear-shaped sapphires. They are set in 18k gold as well as shimmer and sparkle thanks to .08 ctw. of dazzling diamonds. They’re pictured here with 18k large pavé diamond hoops which are sold separately.
Hester Van Eeghan left a life in law and literature to design leather goods. Today the brand she started in 1988 is synonymous with luxury, craftsmanship, and an exuberant love of color. This leather bag in blue features a zippered closure, adjustable leather strap, and a main compartment with a handy small pocket. Designed in Amsterdam and handmade with love in Italy.
The Lake Hat is a custom collaboration between High Noon and Minga – a 4th generation hat-maker in Equador. Made of sheep’s wool, this classic hat is hand pressed with a 4 inch curved brim with creased crown, and cotton ribbon finishing.
Spring may tease with warm days but don’t be fooled – the cold bite of winter loves to linger. This soft cashmere scarf is just the thing to keep you warm – and stylish – no matter what the weather.
Graph Zero’s indigo cotton workwear vest proves that something well-constructed and highly wearable can be oh-so stylish too. Based in Kojima, Japan, Graph Zero is known for their highly original indigo cotton pieces, like this vest with its eye-catching asymmetrical buttoning. It’s also the perfect piece for your transitional seasonal wardrobe.
The Small East West Tote is not only smart looking but also smartly designed. It can hold a laptop comfortably and has removable handles so it can be washed. The distinctive indigo moon design is printed and dyed by a family of textile artists in Western India so each one is unique.
A botanical text written in the 16th century by the Spanish converso, doctor, physician and botantist Francisco Hernandez called History of the Plants of New Spain, mentions maize (corn), which he calls “Indian Wheat” and tortillas which he calls “Pan de Indias” (Indian Bread). He found the process of nixtamalization (corn soaked in an alkaline solution, cooked, and hulled, in order to increase its nutritional value), a process used in 16th century in Mexico to get the best tortillas. Salsa verde was already consumed before the arrival of the Spanish conquistadors in the 15th century, making this dish of Passover Indian Wheat and Herb Crackers with Salsa Verde one with deep historic roots.
5 green chiles Serrano or Jalapeño (use regular hot green chili for substitution)
3 garlic cloves, unpeeled
2 tsp salt
¼ cup fresh cilantro and/or parsley, roughly chopped
Instructions
For the crackers:
Preheat oven to 310 degrees.
Combine all ingredients except for the coarse salt and the chili flakes and put the ball of dough in a plastic bag and freeze for 10 minutes.
Flour a piece of parchment paper with corn flour, place the dough in the middle, and flour the top of the dough. Place another parchment paper over the dough.
Roll the dough out between the two sheets of parchment paper until the dough is thin (about a tenth of an inch), and chill in the refrigerator for 20 minutes.
Place the parchment paper with dough on top of a baking tray. Remove the top parchment paper and sprinkle the dough with the chili flakes. Press carefully with a rolling pin or with your hands so the flakes stick to the dough.
Use a cookie cutter to cut the dough into cracker shapes. They can be round or square. Do not remove them from the parchment paper. Sprinkle with the coarse salt.
Bake for 20-30 minutes and then broil for 3 minutes. Be careful not to burn them.
Let cool for 10 minutes before separating the crackers.
For the salsa verde:
Heat an iron skillet to medium-high heat and sear the tomatillos, chiles, and garlic cloves for about 4 minutes, turning occasionally. Set aside.
Remove the husks from the tomatillos. They should be soft to the touch.
Take a blender or, better, a molcajete (or a mortar), and grind the cloves of garlic (without their peel) with the chiles until it forms a paste. Add the salt and half of the chopped cilantro/parsley and half of the charred tomatillos.
Grind for a minute or two. Add the other half of the tomatillos and keep grinding, but not too much; you do not want a homogeneous paste. Add the remaining chopped herbs and stir.
Pour in a bowl if ready to use, or in a sealed jar and store in the fridge.
Learn more about Passover and try other Sephardic foods in our article on the traditional seder.
The Castellanos family lived in Mexico City in the 16th century and observed Passover more than other Jewish holidays. Christian Holy Week and Passover usually fall close to one another, so the crypto-Jewish traditions of the Americas reflect a mix between Jewish practices and Christian ones. Back in Portugal, the Castellanos would have used chard but in the new world, substituted lettuce instead. The Castellanos ate this Lamb and Lettuce Stew with unsalted and unleavened bread.
Nowadays, we can still point to crypto-Jewish traditions that have endured through the centuries. In The International Review of Jewish Genealogy by Burqueño Edwin Berry explains that he “recalls his mother making what he says resembled unleavened bread once a year around Lent. It was like a long biscuit, and it was eaten only a few days of the year.” (See Secrecy and Deceit, by D. Gitlitz). This is an echo of the habits of the Castellanos and other crypto-Jewish families of the Spanish colonial era.
Eating lamb at Passover was also a custom among crypto-Jews in Mexico, as Salomón de Machorro (aka Juan de Leon) told Inquisitors in 1642.
1 lb boneless lamb, shoulder or leg, cut into 1-inch cubes
1 tsp ground ginger
1 tsp ground cumin
½ tsp ground cinnamon
¼ tsp cayenne pepper
2 tsp salt
2 tsp black pepper
2–3 tbsp olive oil
1 onion, finely chopped
2 garlic cloves, minced
½ cup chicken broth
1 head of lettuce (butter or green leaf), washed and chopped
1–2 tbsp honey
½ cup raisins
2 tbsp chopped fresh parsley, to garnish
2 tbsp chopped fresh cilantro, to garnish
Matzah strips, to garnish
For the matzah:
1 cup white wheat flour
1½ cup masa harina
½ cup + 2 tbsp cold water
Vegetable oil for frying
Instructions
For the lamb:
In a large bowl, combine the cubed lamb, ginger, cumin, cinnamon, cayenne pepper, salt and black pepper.
Place in a bowl, cover, and refrigerate.
The next day, heat 2 tablespoons of olive oil in a large skillet over medium-high heat. Add the onions and garlic and sauté gently until golden brown. Remove the onion mixture and set aside
Add the lamb mixture and cook, turning the pieces over, until all sides are browned, adding another tablespoon of olive oil if needed.
Add back the onion mixture back and stir to combine with the lamb.
Pour in the chicken broth and bring to a simmer. Cover the skillet and reduce the heat to low. Cook 3-4 hours until the lamb is almost tender. Add the lettuce, raisins, and stir in the honey and cook until the lamb is fully tender and falling apart and the lettuce is wilted. The sauce should be thickened. Taste and add more salt or honey as desired.
Sprinkle with chopped parsley and cilantro. Serve hot with strips of matzah.
For the matzah:
Prepare 2 sheets of plastic wrap that are a little bit larger than the tortilla press. They will be used for the tortilla press to avoid the dough sticking to the tortilla press sides. If you don’t have a tortilla press, you can roll out the dough between sheets of parchment paper.
Mix the two flours. Progressively add the cold water to the flour and stir constantly until the flours absorbs all the water. Knead the dough for about 5 minutes. The dough should be moist to the touch.
If using a tortilla press, cut the dough into 3 pieces and roll into balls the size of ping pong balls.
Open the tortilla press, place a plastic sheet (or parchment paper) on the bottom, a ball of dough in the middle, and cover with the other plastic sheet. Close the tortilla press and press down to flatten the dough. Open the tortilla press and carefully remove the dough from the plastic wrap.
Preheat your nonstick iron skillet to medium-high heat.
Cut the dough into strips about ½ inch wide and lay the strips carefully onto the hot skillet coated with a small amount of oil. Fry the strips for about 15 seconds. Remove and place on a paper towel to drain.
Learn more about Passover and try other Sephardic foods in our article on the traditional seder.
These Fish Tacos take their inspiration from an ages old story. The link between corn tortillas to the culinary heritage of Mexico is undeniable, since pre-Colombian times already had tortillas aplenty. In 1642, Salomón de Machorro (aka Juan de León, famous for his travels and knowledge of Judaism) was denounced by Catalina de Rivera for having consumed corn tortillas with fish and vegetables with his friends for Passover. This dish is a tribute to the intrepid Señor de Machorro.
Sliced radish, purple cabbage, and green onions, optional
Instructions
For the dough:
To make the dough, mix corn flour and salt in a large bowl. Add the olive oil and the hot water and mix with a spoon until all the water is absorbed.
Make golf ball-sized dough balls (1⅛ oz each). Let them rest on a plate for 20 minutes, covered so they do not dry.
To flatten and cook the tortillas, you can use a tortilla press if you have one: remember to put the dough ball between two pieces of parchment paper or plastic so it does not stick to the press. Place it in the center of the bottom part of the press, then open it and carefully, and with the palm of your hand remove the tortilla from the parchment sheet. If you don’t have a tortilla press, you can use the bottom of a heavy saucepan and press down hard. Again, do not forget the parchment paper!
Cook in a preheated (medium-high heat) nonstick skillet for 20 seconds. Then flip the tortilla over and cook the other side for 20 more seconds. Repeat the operation once more until the tortilla has golden-brown marks. Keep the tortillas in a plastic bag, not completely closed, while you make the filling.
For the fish and sauce:
Put half of the olive oil, garlic, and red onion in a frying pan. Cook for 10 minutes on low-medium heat until golden.
Remove the onions from the pan and set aside. Add the rest of the olive oil and once warm, add the fish Cook until almost done and then add the lime juice. Add salt and black pepper. Cover the frying pan and cook on a low heat for 5 minutes.
Sprinkle with the chopped fresh cilantro and chives.
Fill the corn tortillas with the delicious fish and the juices and enjoy.
Learn more about Passover and try other Sephardic foods in our article on the traditional seder.
Manjar Blanco (White Pudding), or Blancmange, is not a contemporary dessert. It’s actually in cookbooks from the tenth century, often with the addition of sugar, saffron, and even chicken. It resembles malabi, the famous creamy-jelly dessert commonly found today throughout the Middle East. Cassava starch, also known as tapioca flour, can thicken or jellify certain recipes. This root has been consumed since at least 2500 BCE in Latin America (Peru), and utensils for grating cassava tubers have been found in Mexico (Tehuacán and Tamaulipas) dating back to the first millennium BCE. It is possible that the Manjar Blanco prepared by crypto-Jews to celebrate Sukkot may have also used cassava starch for a thickener.
Mexican Pinon nuts, toasted (you can use pine nuts as a substitute)
2 matzah toffee sheets, broken into chunks
Preserved orange, sliced
6 tbsp pomegranate syrup (1 tbsp per glass); you can add fresh seeds as well
2 apricots, cut into quarters
Instructions
Place six small crystal glasses on a tray.
In a small bowl, combine the agar powder and the ¼ cup almond milk.
Place the cinnamon stick and sugar in a pan and pour over the remaining 3 cups of almond milk. Stir, and bring to a boil.
Once the almond milk is boiling, pour in the agar mixture and lower the heat. Stir constantly for about 3 minutes. Add the rose water and vanilla. It will thicken slightly but look runnier while it’s hot. As it cools down it will thicken more.
Remove the cinnamon stick and pour the manjar blanco into the glasses; try to avoid touching the edges. Let them cool at room temperature without moving them.
Once they are cooled, you can place them in the fridge for a firmer consistency (or if you’d prefer it chilled, which is recommended).
Decorate the top of the manjar blanco with any of the toppings and serve.
Learn more about Passover and try other Sephardic foods in our article on the traditional seder.
Go to the theatre, ballet, or opera and you make a pact to willingly suspend disbelief for as long as the performance lasts. That pact is only as strong as the world created onstage. That world-making requires skill, hard work, and total dedication. Join us backstage at the Santa Fe Opera to meet the people who make the magic happen.
Santa Fe Opera’s Stage Design and Production Team Bring Stories to Life
Before you hear the first bar of music, soak up the scene before you. There is no curtain at the Santa Fe Opera, creating a feeling that nothing stands between you and the tale about to unfold. A line runs from you to the stage, and beyond as you watch the sky and mountains turn golden in the setting sun.
There is a monumentality about the scenery at the Santa Fe Opera whether it’s a massive set of doors that graces the stage for Eugene Onegin or the operating room from Lili Elbe – the much-anticipated U.S. premiere that tells the true story of one of the first people to undergo gender affirmation surgery more than a century ago.
It’s the job – and the joy – of everyone backstage at the Santa Fe Opera to play a part in this scene setting. If you’re looking for evidence, then a visit to Laura Greenfield’s paint-filled lair will convince you. Greenfield is the new Scenic Charge, taking over from Mark Edlund who retired after an illustrious 42 years at the opera. It’s a fitting move as Greenfield has over fifteen years of experience in opera, theatre, film, television, theme park, museum and fashion work, including roles as an apprentice and staff Scenic Painter at the Santa Fe Opera.
From Idea to Reality
Greenfield takes a model that you can hold in both hands and translates those colors and textures into the painted scenery you see onstage. It’s a passion that was kindled by her humanities teacher, Anne Benford who recognized Greenfield’s artistic talent and invited her to the Atlanta Opera. It was a eureka moment. While the audience was watching a story unfold, Greenfield was thinking about the scenery that made the story real. “I was seeing a whole other story happening. And I was like, that’s where I want to be. That’s where I want to go and connect.” The late set Metropolitan Opera designer Hal Tiné was another important mentor.
The Santa Fe Opera was soon on her radar. A few years after college she interviewed and was offered a summer position. “As soon as I got here, I knew this was the place where I really wanted to be.” One summer turned into eight. “That excitement never really left,” she says.
Stints around the country followed including work on Saturday Night Live which she says had all the excitement of live theater. She remembers the day she had to move a ladder across the studio floor. “It’s early in the morning on Saturday, and I’m like, ‘Excuse me, I have to get through. You’re in my way.’ And who turns around but Steven Spielberg and Tom Hanks. And I’m like, ‘I am so sorry, but you’re still in my way.’”
Laura Greenfield
What did she learn at SNL? “Don’t get attached because things change so quickly,” she says. Another lesson was one she first learned playing team sports in school. “Nothing is mine, everything is ours. Everything has to get done.” Greenfield is quick to credit Mark Edlund with her success and the success of the Opera. “I want to keep that going,” she says, with a sense of childlike wonder.
A Steady Production Team Makes for a Successful Performance
That wonder and excitement is one that Kris Longley-Postema (fondly called KLP by his co-workers) understands and shares. As Director of Production, he’s a master of juggling and multi-tasking. “You’re working with all the different production departments to make the show’s physical elements happen and come to life.” And the creative vision is only part of the equation – it’s also practical concerns, “Staying on budget, staying safe, staying on time.”
Kris Longley-Postema
And unlike a new theater stage production, many operas – like Madama Butterfly and The Magic Flute, both on the 2026 schedule – are well-known and loved by audiences. “The story is already on the page, and we need to think about these awesome, creative ways to bring that particular story to life,” he says. “Opera just has so many elements to it and it’s on such a grand scale that there’s just more to coordinate. But that’s also what makes it more dynamic and more fulfilling when the show finally comes together.”
An undergraduate in theater and art history and then a graduate of the Yale School of Drama, Longley-Postema worked in New York, eventually coming to Santa Fe to work at the opera during the summer. In 2014 he took a full-time position as Associate Production and Facilities Director.
It’s Not an Overnight Process…
Creating an opera starts years in advance with creative teams coming to Santa Fe to understand first-hand the realities of staging an outdoor production. “It’s one thing to describe it to them but another to have them be here and see a show and see what the implications of being outside actually are,” he says. That means, for example, no drapery or chandeliers that could blow in the wind. “Scenery has to be built in a certain way to withstand the wind and the rain, so the site visit for the creative team is really the time for us to talk them through those considerations.”
But Longly-Postema doesn’t mind the constraints – it’s all part of what makes the Santa Fe Opera a one-of-a-kind experience. “I think if people have unlimited budget, unlimited space, unlimited whatever, you can do some cool things. But I think the constraints help you be creative and help you find interesting solutions and sometimes site-specific solutions.”
Laura Greenfield
Santa Fe Opera’s 2026 Season
Director of Production Kris Longley-Postema (KLP) takes us through the delights that are on their way.
“I don’t think we’re trying to revolutionize storytelling around Butterfly, but doing it in a very sort of thoughtful, tasteful and thought-provoking way,” says KLP.
Set in a Victorian theater and sung and spoken in English, “It’s very classic and classy in its presentation, very beautiful and ornate. It’s also based in more of a UK-centric tradition of pantomime and marrying the pantomime and the Victorian theater space together to tell a fun, family-friendly story.”
Last performed during the pandemic in 2021, only the principal artists and dancers were on stage. This season, the chorus will be back on stage. “It’s a beautiful production with scenery and costumes by Gary McCann.”
Handel a minimalist approach with a gangster vibe by director R.B. Schlater. “He is sort of approaching it like a piece of pulp fiction, which I think is going to be really great.”
The American premiere of an opera by composer Tobias Picker tells the moving story of a Danish painter and transgender woman who lived and worked in the late 19th and early 20th century. “We’re really trying to tell the story as if we were in the places that Lili was in real life. The scenery, the props, the costumes will all be real to that era.”
Story by Julia Platt Leonard Photography by Gabriella Marks
