By Christine Facciolo
For those seeking “off-the-beaten-track” holiday music, the Immanuel Church in Wilmington’s Highlands neighborhood was the place to be on Sunday, December 17, as Piffaro, the Renaissance Band, presented Es Ist Ein Ros, a German Renaissance Christmas.
Piffaro’s Christmas program this season followed Welcome the People, the ensemble’s homage to the 500th anniversary of the Reformation and featured a host of beloved carols that serve as an integral part of Protestant worship to this day.
If there’s one thing that emerged from this concert, it’s that Martin Luther loved Christmas and he loved music. While the Reformation was wringing out the ritual excesses of the late medieval church, Luther was working to integrate the simple unison plainsong and complex polyphony of the Catholic Church into his new Protestant liturgy. Luther also brought significant change by giving the congregation an active, musical role in church services through the singing of vernacular psalms, hymns and carols.
The beautifully curated program featured the refined Christmas music of Michael Praetorius (1571-1621) as well as compositions by Luther himself, including Veni, Redemptor gentium and Von Himmel hoch, which he wrote for his family’s Christmas Eve devotions.
The concert also included works by among others, Johann Rosenmuller, Johann Walter, Johann Eccard, Hans Leo Hassler, Christoph Bernhard, Leon Paminger and Adam Gumpelzhaimer, all grappling with different ways of incorporating Italian musical forms into a Protestant liturgical design.
There was sheer pleasure in the graceful melodies and interesting harmonies. The alternation of Latin and German texts and sophisticated and common musical forms engaged listeners on a variety of levels.
The performance was everything you would expect from the musicians of one of the world’s greatest interpreters of Renaissance music. Intonation was flawless, the blend superb and the phrasing eminently convincing.
Guest soloist Jessica Beebe contributed a soprano that was tonally pure throughout its range, applying it with the assurance of an artist fully cognizant of the demands of the music.
See www.piffaro.org.
We offer suggestions for arts lovers to discover (and re-discover) established and emerging artists, musicians and performers in and around Delaware. Although we particularly like to celebrate smaller arts organizations and individuals, we cover nearly anything that strikes us or that we feel you should know about. Periodically, we welcome guest bloggers and artists to join us.
Thursday, December 21, 2017
Friday, December 15, 2017
Christmas Brass from DSO
By Christine Facciolo
There’s nothing quite like the sound of brass at Christmastime. Those radiant tones can transform even the grouchiest Grinch into a merry elf.
In the Gold Ballroom of the Hotel DuPont Tuesday, December 12, a very appreciative and enthusiastic audience was treated to a variety of music courtesy of the Delaware Symphony Orchestra’s Brass Quintet.
The five talented musicians — Brian Kuszyk and Steven Skahill, trumpets; Karen Schubert horn; Richard Linn, trombone and Brian Brown, tuba — gave concertgoers a veritable smorgasbord of styles from Renaissance dances to Broadway show tunes and, of course, some sounds of the season.
The first half of the program featured three feisty dances by 16th Century composer Tielman Susato. This dance collection has become a perennial favorite with performers of Renaissance music, because its bald homophonic style makes it playable on just about anything. And that’s good news for the brass ensemble, which as a recent phenomenon, has very little repertoire written exclusively for it.
Bach’s stately Contrapunctus 9 added a bit of gravitas to the mix.
The Romantic Russian style of Victor Ewald’s Quintet No. 1 was the most conventional work on the program. Ewald — a close associate of the more famous composers of the “Russian Five” — wrote four quintets considered to be the first original pieces written specifically for the modern brass quintet.
The musicians stuck a delicate balance by both blending their distinctive timbres and highlighting their individual lines with the unique sounds of their instruments.
Lighter fare included selections from Leonard Bernstein’s West Side Story (Maria, Tonight and America) and Tchaikovsky’s Nutcracker Suite (March, Arabian Dance, Waltz and Trepak).
The program concluded with the sounds of the season, including the traditional Ding Dong Merrily on High, The First Nowell, Coventry Carol, Rejoice and Be Merry and Joy to the World.
There’s nothing quite like the sound of brass at Christmastime. Those radiant tones can transform even the grouchiest Grinch into a merry elf.
In the Gold Ballroom of the Hotel DuPont Tuesday, December 12, a very appreciative and enthusiastic audience was treated to a variety of music courtesy of the Delaware Symphony Orchestra’s Brass Quintet.
The five talented musicians — Brian Kuszyk and Steven Skahill, trumpets; Karen Schubert horn; Richard Linn, trombone and Brian Brown, tuba — gave concertgoers a veritable smorgasbord of styles from Renaissance dances to Broadway show tunes and, of course, some sounds of the season.
The first half of the program featured three feisty dances by 16th Century composer Tielman Susato. This dance collection has become a perennial favorite with performers of Renaissance music, because its bald homophonic style makes it playable on just about anything. And that’s good news for the brass ensemble, which as a recent phenomenon, has very little repertoire written exclusively for it.
Bach’s stately Contrapunctus 9 added a bit of gravitas to the mix.
The Romantic Russian style of Victor Ewald’s Quintet No. 1 was the most conventional work on the program. Ewald — a close associate of the more famous composers of the “Russian Five” — wrote four quintets considered to be the first original pieces written specifically for the modern brass quintet.
The musicians stuck a delicate balance by both blending their distinctive timbres and highlighting their individual lines with the unique sounds of their instruments.
Lighter fare included selections from Leonard Bernstein’s West Side Story (Maria, Tonight and America) and Tchaikovsky’s Nutcracker Suite (March, Arabian Dance, Waltz and Trepak).
The program concluded with the sounds of the season, including the traditional Ding Dong Merrily on High, The First Nowell, Coventry Carol, Rejoice and Be Merry and Joy to the World.
Wednesday, December 13, 2017
A Wilmington Holiday Tradition Gets Thumbs Up from Young Arts Fans
Wilmington Ballet Academy of the Dance presented The Nutcracker at The Playhouse on Rodney Square. Photo courtesy of Wilmington Ballet. |
The Good Girls appreciate the rich arts scene in Wilmington. Brenda is passionate about volunteering, food, the outdoors and learning tennis. Brynn, a 4th Grader, enjoys horses, traveling, singing and learning to crochet. Brynn's friend Madison joined us for her first theater experience. She is a 1st Grader who likes dancing, playing outside and solving math problems.
The Nutcracker was presented at The Playhouse on Rodney Square on Saturday, December 2, and Sunday, December 3, by the Wilmington Ballet Academy of the Dance in its 60th anniversary year featuring the choreography of Artistic Director Jorge Laico.
Based on Alexander Dumas’ The Story of the Nutcracker as adapted from E.T.A. Hoffman’s The Nutcracker and The Mouse King, the production featured the familiar, lively scores of P.I. Tchaikovsky.
Our seats in the balcony provided a perfect perspective as the story was brought to life on stage in a feast for the eyes, ears and imaginations of children and adults alike.
Brenda enjoyed the warm, nostalgic holiday gathering and dancing of guests in their period garb at the Stahlbaums’ home, where the nutcracker toy was presented to young Clara. After her brother, Fritz, breaks it, Uncle Drosselmeyer bandages it and returns it to Clara, who falls asleep as her dreams unfold before the audience.
Brynn and her friend Madison pose by the life-sized gingerbread house in the Hotel du Pont. |
Brynn found it challenging that there were no speaking parts (a departure from her prior theater experiences) but appreciated that "...all the kids must have worked so hard to perform the dances so well." Her favorite character was the funny bearded man on stilts in a big dress!
Intermission allowed a visit to the gorgeous, life-size gingerbread house in the Hotel DuPont lobby, intoxicating for the nose and eyes. Mmmmmmmmmm....
As the story resumed, Clara and the Nutcracker arrive in the Land of Sweets, where theater-goers enjoyed the real treat when the iconic Sugar Plum Fairy commanded a festival of dance. Beautiful costumery immersed us in exotic dance numbers from around the globe. Madison said, "...the music gets a thumbs up --- very, very good." and the audience obviously agreed, as they enthusiastically clapped a rhythm for the Ukrainian Trepak dance. Brynn fancied the Waltz of the Flowers with their beautiful floral wreaths.
Soon, Clara and the Nutcracker Prince are sent on their way and Clara reappears sleeping at home by the Christmas tree. Was it all a dream?
See www.wilmingtonballet.org.
Mélomanie Welcomes the Holiday Season with Music
By Christine Facciolo
Mélomanie welcomed winter with a program of some very tuneful music on Sunday, December 3, at The Delaware Historical Society in downtown Wilmington.
Sonatas, a traditional air, Christmas music, and of course, contemporary offerings were exquisitely performed by flutist Kimberly Reighley, gambist Donna Fournier and harpsichordist Tracy Richardson.
Reighley and Richardson opened the program with a performance of the Sonata 4 in A major from Il Pasto Fido by Nicolais Chedeville, a Vivaldi contemporary who published the work under the more famous composer’s name. Reighley brought plenty of pastoral charm to the music with clearly shaped and articulated phrases and effective embellishments. Richardson offered strong support.
The Sonata in D major by Boismortier found all three musicians playing sensitively. The phrasing was attractive with long, arching lines contrasted with taut, short ones.
The harpsichord emerged from its role as “utility” instrument with Richardson giving energetic readings of Dupuis’ Rondo and Courante.
Fournier offered a gentle and sensitive interpretation of the typically melancholy Greensleeves.
Mélomanie’s contemporary side was represented by works of David Schelat and Mark Hagerty. Reighley and Richardson reprised Schelat’s Just a Regular Child, which was written for the ensemble in 2016. Schelat captured the whimsy of his childhood in Ohio in three movements: Rough and Tumble, Dreaming and Full of the Old Nick. Jangling harmonies of the third movement conveyed the mischievous nature of a young boy, while the soaring melody of the middle movement recalled endless days of daydreaming. Perhaps Schelat was looking to the day when he would become the virtuoso organist and composer that he is.
Fournier’s gamba and Richardson’s harpsichord contrasted nicely in Arias, a movement from Hagerty’s Civilisation. That work was a recasting of the composer’s Clavier Book I, a work for harpsichord which explored what might have been had the music of the late Renaissance and Baroque not given way to what he terms the “less ambitious” Rococo and early classical styles.
The three musicians concluded the concert with a performance of LaLande’s Noels en Trio, celebrating the Nativity and the upcoming holiday season.
Mélomanie welcomed winter with a program of some very tuneful music on Sunday, December 3, at The Delaware Historical Society in downtown Wilmington.
Sonatas, a traditional air, Christmas music, and of course, contemporary offerings were exquisitely performed by flutist Kimberly Reighley, gambist Donna Fournier and harpsichordist Tracy Richardson.
Reighley and Richardson opened the program with a performance of the Sonata 4 in A major from Il Pasto Fido by Nicolais Chedeville, a Vivaldi contemporary who published the work under the more famous composer’s name. Reighley brought plenty of pastoral charm to the music with clearly shaped and articulated phrases and effective embellishments. Richardson offered strong support.
The Sonata in D major by Boismortier found all three musicians playing sensitively. The phrasing was attractive with long, arching lines contrasted with taut, short ones.
The harpsichord emerged from its role as “utility” instrument with Richardson giving energetic readings of Dupuis’ Rondo and Courante.
Fournier offered a gentle and sensitive interpretation of the typically melancholy Greensleeves.
Mélomanie’s contemporary side was represented by works of David Schelat and Mark Hagerty. Reighley and Richardson reprised Schelat’s Just a Regular Child, which was written for the ensemble in 2016. Schelat captured the whimsy of his childhood in Ohio in three movements: Rough and Tumble, Dreaming and Full of the Old Nick. Jangling harmonies of the third movement conveyed the mischievous nature of a young boy, while the soaring melody of the middle movement recalled endless days of daydreaming. Perhaps Schelat was looking to the day when he would become the virtuoso organist and composer that he is.
Fournier’s gamba and Richardson’s harpsichord contrasted nicely in Arias, a movement from Hagerty’s Civilisation. That work was a recasting of the composer’s Clavier Book I, a work for harpsichord which explored what might have been had the music of the late Renaissance and Baroque not given way to what he terms the “less ambitious” Rococo and early classical styles.
The three musicians concluded the concert with a performance of LaLande’s Noels en Trio, celebrating the Nativity and the upcoming holiday season.
See www.melomanie.org.
Monday, December 4, 2017
CTC's "Sunday in the Park..." Takes Audiences on a Trip through Artistic Creation
By Mike Logothetis
Brendan Sheehan as George. Photo by Joe del Tufo/Moonloop Photography. |
Cast members of CTC's Sunday in the Park with George. Photo by Joe del Tufo/Moonloop Photography. |
Sondheim isn’t easy. Broadway legends like Stephen Sondheim become, well, legendary because they challenge actors, musicians, directors, and audiences with their works. Sunday in the Park with George reminds us that the genius of Sondheim is in the story structure, phrasing, and music. City Theater Company has tasked itself to put on this challenging Pulitzer Prize–winning musical drama and does a solid job of it.
Sunday in the Park with George is a musical about the process of artistic creation — specifically George Seurat’s pointillist masterpiece, A Sunday Afternoon on the Island of La Grande Jatte. The show borders on being an experimental piece, which immediately means some theatergoers may not fully appreciate it. The music is often atmospheric and not front-and-center like traditional musicals. Having said that, the orchestration by Christopher Tolomeo is exquisite. Tolomeo also steps out from behind his piano to portray Louis the baker.
Brendan Sheehan brings strength, insecurity, passion, focus and a tinge of madness to the titular artist who is toiling to excel in his craft. Sheehan’s voice is incredibly powerful plus he nails the difficult syncopated rhythms that are the trademarks of Sondheim’s music. The Dog Song was a show highlight for Sheehan as he crawled on all fours, barking and singing while addressing a stuffed toy dog George is studying for inclusion in his masterpiece.
Driving some of George’s passions is the fiery Dot, played by an excellent Jenna Kuerzi. Dot has loving affection for George as well as impatience with his personality and frailties. Kuerzi wonderfully captures Dot’s struggles with precise movements to complement her superb singing voice. The parting lovers’ duet We Do Not Belong Together was haunting, with Kuerzi and Sheehan melding their voices beautifully.
The remaining characters in Act I are all subjects George is studying while they enjoy their Sundays in the park. From young women looking for love to a disgruntled boatman to a child at play, the cast gives real depth to two-dimensional painted figures. The audience gains an appreciation for the subjects with brief snippets into their lives.
The cast includes Jim Burns, Dylan Geringer, Jeff Hunsicker, Mary Catherine Kelley, Kerry Kristine McElrone, Paul McElwee, Patrick O’Hara, Dominic Santos, Grace Tarves, and George Tietze. Tonya Baynes and young daughter Layla Baynes round out the excellent company of actors. The interplay between O’Hara and Tietze as American tourists who dislike France but love its pastries was pure comedic gold.
Co-directors Michael Gray and Tom Shade have made some interesting choices and most of them work. However, setting up the show to be something of a play looking at itself never gained traction in my eyes. Many of the props were inspired, like the cutout army officer and the aforementioned toy dog. The clever costume designs by Kerry Kristine McElrone and Lauren Peters began in monochrome. As George brings his inspiration from his head to the canvas, bright colors appear in clothing and accessories.
In Act II, blacks and grays return as the story moves a century into the future. The second act is a coda, of sorts, and even involves some playful audience interaction. It’s a nice way to look back at the painted figures, the artist, the process, art in general and interpersonal relationships.
This production probably isn’t for everyone, but it is a well-done inspection into the difficulty and nuance of artistic creation. “Art isn’t easy/Having just the vision’s no solution.”
Sunday in the Park with George will play Thursday through Sunday (December 7-10) and the following Thursday through Saturday (December 14-16). All performances are at 8:00pm except for the 2:00pm Sunday matinee on December 10.
Sunday in the Park with George is a musical about the process of artistic creation — specifically George Seurat’s pointillist masterpiece, A Sunday Afternoon on the Island of La Grande Jatte. The show borders on being an experimental piece, which immediately means some theatergoers may not fully appreciate it. The music is often atmospheric and not front-and-center like traditional musicals. Having said that, the orchestration by Christopher Tolomeo is exquisite. Tolomeo also steps out from behind his piano to portray Louis the baker.
Brendan Sheehan brings strength, insecurity, passion, focus and a tinge of madness to the titular artist who is toiling to excel in his craft. Sheehan’s voice is incredibly powerful plus he nails the difficult syncopated rhythms that are the trademarks of Sondheim’s music. The Dog Song was a show highlight for Sheehan as he crawled on all fours, barking and singing while addressing a stuffed toy dog George is studying for inclusion in his masterpiece.
Driving some of George’s passions is the fiery Dot, played by an excellent Jenna Kuerzi. Dot has loving affection for George as well as impatience with his personality and frailties. Kuerzi wonderfully captures Dot’s struggles with precise movements to complement her superb singing voice. The parting lovers’ duet We Do Not Belong Together was haunting, with Kuerzi and Sheehan melding their voices beautifully.
The remaining characters in Act I are all subjects George is studying while they enjoy their Sundays in the park. From young women looking for love to a disgruntled boatman to a child at play, the cast gives real depth to two-dimensional painted figures. The audience gains an appreciation for the subjects with brief snippets into their lives.
The cast includes Jim Burns, Dylan Geringer, Jeff Hunsicker, Mary Catherine Kelley, Kerry Kristine McElrone, Paul McElwee, Patrick O’Hara, Dominic Santos, Grace Tarves, and George Tietze. Tonya Baynes and young daughter Layla Baynes round out the excellent company of actors. The interplay between O’Hara and Tietze as American tourists who dislike France but love its pastries was pure comedic gold.
Co-directors Michael Gray and Tom Shade have made some interesting choices and most of them work. However, setting up the show to be something of a play looking at itself never gained traction in my eyes. Many of the props were inspired, like the cutout army officer and the aforementioned toy dog. The clever costume designs by Kerry Kristine McElrone and Lauren Peters began in monochrome. As George brings his inspiration from his head to the canvas, bright colors appear in clothing and accessories.
In Act II, blacks and grays return as the story moves a century into the future. The second act is a coda, of sorts, and even involves some playful audience interaction. It’s a nice way to look back at the painted figures, the artist, the process, art in general and interpersonal relationships.
This production probably isn’t for everyone, but it is a well-done inspection into the difficulty and nuance of artistic creation. “Art isn’t easy/Having just the vision’s no solution.”
Sunday in the Park with George will play Thursday through Sunday (December 7-10) and the following Thursday through Saturday (December 14-16). All performances are at 8:00pm except for the 2:00pm Sunday matinee on December 10.
Be aware that the show runs a solid 2.5 hours which includes one 15-minute intermission. The Black Box is located at 4 South Poplar Street, Wilmington, DE 19801. Tickets are priced from $15 to $40 and can be purchased online or at the box office.
See city-theater.org.
Tuesday, November 21, 2017
DSO's Land & Seascapes
By Christine Facciolo
Musical impressions of land and seascapes filled Copeland Hall Friday night as the Delaware Symphony Orchestra performed the second concert in its Classics Series at The Grand Opera House in Wilmington.
The concert was also the occasion for the presentation of the A.I. du Pont Composer’s Award to David Ludwig in recognition for his contribution to contemporary classical music. The 43-year-old Bucks County, Pa. native who teaches at Curtis, is the scion of a distinguished musical family that includes pianists Rudolf and Peter Serkin and violinist Adolph Busch. His teachers have included composers Jennifer Higdon, Ned Rorem, John Corigliano and Richard Danielpour, among others.
The concert opened with a performance of La Mer, Debussy’s rich and masterful depiction of the ocean. The work unfolds in three movement or “sketches” — one calm, one wavy, one stormy — with a kaleidoscope of colors that challenges every corner of the orchestra.
Musical impressions of land and seascapes filled Copeland Hall Friday night as the Delaware Symphony Orchestra performed the second concert in its Classics Series at The Grand Opera House in Wilmington.
The concert was also the occasion for the presentation of the A.I. du Pont Composer’s Award to David Ludwig in recognition for his contribution to contemporary classical music. The 43-year-old Bucks County, Pa. native who teaches at Curtis, is the scion of a distinguished musical family that includes pianists Rudolf and Peter Serkin and violinist Adolph Busch. His teachers have included composers Jennifer Higdon, Ned Rorem, John Corigliano and Richard Danielpour, among others.
The concert opened with a performance of La Mer, Debussy’s rich and masterful depiction of the ocean. The work unfolds in three movement or “sketches” — one calm, one wavy, one stormy — with a kaleidoscope of colors that challenges every corner of the orchestra.
The DSO came well-prepared for the challenge. Music Director David Amado and the musicians effectively balanced the sunnier effects with the more ominous elements in Debussy’s sprawling canvass. Special effects provided by two harps and an array of percussion complemented excellent work from the winds, brass, robust strings, cellos and fine solo work from associate concertmaster Luigi Mazzocchi.
Pictures from the Floating World pays homage to Debussy with titles taken from his water pieces — The Sunken Cathedral, In a Boat, Reflections on the Water — but the music is entirely original. Ludwig stated that it was not his intention to transcribe Debussy but rather to use his “clay.” The older composer’s influences are evident in the harmonies and splashes of orchestral color that permeate the work.
Ludwig’s writing for the bassoon is both exquisite and technically demanding. The piece was composed for principal bassoon Daniel Matsukawa of the Philadelphia Orchestra which commissioned and premiered it in 2013. Matsukawa wanted a piece that would showcase the lyrical side of the instrument that’s become the buffoon of the orchestra.
Soloist for this performance was William Short, co-principal bassoon of the Metropolitan Opera Orchestra. Tonight was a homecoming of sorts for Short who served as DSO principal bassoon from 2012-2014. Short also studied with both Matsukawa and Ludwig while at Curtis and has previously performed the concerto as well.
Short turned in a totally virtuosic performance, exhibiting superb breath control in the long phrases and note perfect accuracy in the staccato passages. Particularly effective was the intimate interweaving with cellists Philo Lee and Naomi Gray in the chamber-like interludes that separate the work’s three main movements.
Rounding out the program was Ferde Grofe’s Grand Canyon Suite. One wonders how many audience members have heard this work performed live, as it has — undeservedly — fallen out of fashion on the concert circuit.
This was a marvelous performance, full of character yet never overblown or vulgar. The first movement, Sunrise opened with exquisitely played French horn, oboe, flute and English horn solos. Chimes sparkled and hammered timpani strokes gave the climax depth and power. Wonderful oboe octave leaps with woodblock accompaniment rendered a delightfully nostalgic On the Trail as did the celesta solo that preceded the lively coda. The entire performance sparkled in color, ensemble and continuity.
Pictures from the Floating World pays homage to Debussy with titles taken from his water pieces — The Sunken Cathedral, In a Boat, Reflections on the Water — but the music is entirely original. Ludwig stated that it was not his intention to transcribe Debussy but rather to use his “clay.” The older composer’s influences are evident in the harmonies and splashes of orchestral color that permeate the work.
Ludwig’s writing for the bassoon is both exquisite and technically demanding. The piece was composed for principal bassoon Daniel Matsukawa of the Philadelphia Orchestra which commissioned and premiered it in 2013. Matsukawa wanted a piece that would showcase the lyrical side of the instrument that’s become the buffoon of the orchestra.
Soloist for this performance was William Short, co-principal bassoon of the Metropolitan Opera Orchestra. Tonight was a homecoming of sorts for Short who served as DSO principal bassoon from 2012-2014. Short also studied with both Matsukawa and Ludwig while at Curtis and has previously performed the concerto as well.
Short turned in a totally virtuosic performance, exhibiting superb breath control in the long phrases and note perfect accuracy in the staccato passages. Particularly effective was the intimate interweaving with cellists Philo Lee and Naomi Gray in the chamber-like interludes that separate the work’s three main movements.
Rounding out the program was Ferde Grofe’s Grand Canyon Suite. One wonders how many audience members have heard this work performed live, as it has — undeservedly — fallen out of fashion on the concert circuit.
This was a marvelous performance, full of character yet never overblown or vulgar. The first movement, Sunrise opened with exquisitely played French horn, oboe, flute and English horn solos. Chimes sparkled and hammered timpani strokes gave the climax depth and power. Wonderful oboe octave leaps with woodblock accompaniment rendered a delightfully nostalgic On the Trail as did the celesta solo that preceded the lively coda. The entire performance sparkled in color, ensemble and continuity.
Thursday, November 16, 2017
A Family Trip Down the Playhouse's Yellow Brick Road
By Guest Bloggers Hannah, Emily and Alyssa Tagle and their future stepmom, Gabrielle Reichert. Hannah is 10 years old and likes math, Legos, Minecraft and reading; Emily is 13 and loves to draw and write; Alyssa is also 13, and she loves science and cheerleading. They and Gabrielle live with their father, Dan, in the 40 Acres neighborhood of Wilmington.
The Tagle sisters pose in the lobby of The Playhouse on Rodney Square before seeing The Wizard of Oz |
Hannah's Review
In The Wizard of Oz, Dorothy runs away because
she is about to lose her dog Toto. She wanted to be far from home but instead gets
caught up in a twister. She wakes up in Oz with Glinda the Good Witch. The only
way Dorothy can get home is to follow the yellow brick road.
Along the way, she
meets the Scarecrow, the Tin Man and the Lion. They all help her find her way to
see the Wizard of Oz. Once they meet the Wizard, he agrees to grant their
wishes but first they must bring back the broomstick from the Witch of the
West. Unfortunately, they are captured by the Witch's evil monkeys so the Witch can
figure out how to take the ruby slippers off of Dorothy’s feet.
Dorothy is saved
by her friends the Scarecrow, the Tin Man and the Lion, but the Witch finds
them and sets fire to the Scarecrow. Dorothy throws a bucket of water at her, not
realizing that the Witch will melt. Everyone cheers! Dorothy and her friends take the broomstick
back to Emerald City, and the Wizard grants all of their wishes, including sending Dorothy back home to Kansas. But
unfortunately, the hot air balloon he has to take Dorothy home floats away
without her. Glinda returns to tell her she can still return home by using the
ruby slippers. Dorothy wakes up back in Kansas with her family and Toto.
I think the
most beautiful costume was the Good Witch – it was so sparkly! My favorite actor was Toto. And I really liked the song Off to See the Wizard. But, I didn’t like
the high-pitched screaming of the Witch and the monkeys. I would recommend it to other kids my age. The
singing and dancing was amazing. And the ruby slippers were bright, red and
sparkly. The Wizard of Oz is my second play I’ve seen and it might be my
favorite!
Emily's Review
On Tuesday, November 14, 2017 I went to The
Playhouse on Rodney Square to see The Wizard of Oz. I liked the dancing because
everybody was included in the choreography. I did not like how the actor, Emily
Perzan, was so loud as the Wicked Witch of the West, but it was cool that she
could play the role so well.
Victor Legarreta, who played the Lion and Zeke,
stole the show, as always. He did an amazing job. My least favorite part was
when the boy munchkins and the jitterbugs came out. I did not like their
costumes. But overall, the costumes for the rest of the performance were
amazing. You forget they were actors on stage and really came together to tell
the story to the audience.
My favorite song was Over the Rainbow. Dorothy, (played by Kalie Kamann) did an outstanding job with her role in every scene. I would
definitely suggest this play to others but maybe not little kids (age 7 and under). The
show started at 7:30 but didn’t end until 10:30 (which was past even my
bedtime on a school night). In all, it was a fantastic show!
Alyssa's Review
The play The Wizard of Oz is a wonderful play.
I saw it opening night and it was fun, happy and joyful. Dorothy (Kalie
Kaimann) is a wonderful singer and actress. Her dog Murphy (aka Toto) stole the
show with his overload of cuteness!
In the beginning, Dorothy and Toto are just playing and then
Miss Gulch (Emily Perzan) wants to take Toto away. Dorothy tries to run away, but
Professor Marvel (Kirk Lawrence) tells Dorothy that Auntie Em (Ashleigh
Thompson) is sick (but she isn’t).
Dorothy runs home just in time to get inside
before the twister hits. She falls asleep and before she knows it, she’s meeting
Glinda the Good Witch (Ashleigh Thompson) and the munchkins in MunchkinLand!
One thing I did not like was how loud it was from the Wicked Witch, the
munchkins and the monkeys. I had to cover my ears!
Gabrielle's Review
I can’t remember the last time I watched The
Wizard of Oz, so I was excited to see the performance. The set design was
incredible, really felt like you were part of the story. The mix of back
screen, stage and front screen gave life to each act.
The munchkin flowers were
incredibly detailed and very vibrant. And I loved the winged monkeys – not so
scary in this performance! Of course the Lion stole the show, but a close second
was Toto...Adorable and so well-behaved!
The only thing I didn’t like was how
long the show ran. Three hours even with teenagers is tough, let alone the
little ones. While the first half was strong, I felt like there was ‘filler’ in
the second. The dance in Emerald City (without any of the main
characters) I felt was long and unnecessary, as was the Jitterbug. But the singing,
costumes and actors were fantastic.
I would recommend this show for your families, but you might want to keep the
littler ones at home.
Sunday, November 12, 2017
A Wild Trip to Neverland with Peter and the Starcatcher
The cast of WDL's production, Peter and the Starcatcher.
Photo by John McCafferty, MJ Mac Productions.
|
“No man is an archipelago.” That’s one pearl of wisdom I learned at the Wilmington Drama League’s production of Peter and the Starcatcher – a wildly theatrical “origin story” of one of literature’s favorite mischievous boys, Peter Pan.
Adapted from Dave Barry and Ridley Pearson’s best-selling 2004 novel, the 2011 play was conceived for the stage by directors Roger Rees and Alex Timbers and written by Rick Elice, with music by Wayne Barker. The Tony Award-winning show upends the century-old story of how a miserable orphan came to be “The Boy Who Wouldn’t Grow Up.”
WDL director Rebecca May Flowers utilizes a competent ensemble cast to fully realize the wackiness of the storyline set in the late 19th Century. Creative props and acute stage timing make sure the action never stops. Though Peter and the Starcatcher often employs 21st Century terms, it’s still set at a time when duty often clouded emotion, plus gender and class were defining/limiting characteristics.
It took about 10 minutes for the show to congeal into a coherent plot after unevenly developing the setting and characters with first- and third-person dialog coupled with breaking of the fourth wall. It’s a little much to grasp to start a play, but the WDL does well with what is provided in terms of script. Once the audience is set on who’s who and what’s what, the cast takes us on an enjoyable romp through all sorts of adventures. You won’t need to know “Norse Code” to appreciate the treasures of this production.
The fantastical story includes a spunky girl, an ocean voyage, a cargo of something called stardust, pirates, a shipwreck, mermaids, islanders, and three orphans – one of whom is without a name. While the tale is linear in its construction, the action gloriously yanks us from side to side with funny situations, physical comedy, and hilarious malapropisms.
Molly Aster (Talia Speak) is at the center of it all. Teenage Molly is dutifully bound to her father, Lord Aster (Tony DelNegro), but has a strong independent streak which leads her to discover Ted (Catherine Enslen), Prentiss (Lauren Unterberger), and an unnamed boy (Gianni Palmarini) detained in the cargo hold of a ship called the Neverland. Scheming Captain Slank, played by an excellent Ruthie Holland, has plans to sell the boys and profit from the secret cargo of stardust he’s deviously acquired.
Meanwhile, Lord Aster is aboard the Wasp protecting a trunk containing what he believes is the stardust. When pirates raid the Wasp in search of the magical cargo, both Lord Aster’s and Molly’s plans fly out the window. Molly is compelled to free the boy captives on the Neverland, protect the precious cargo, and save her imprisoned father on the Wasp. Poor nanny Mrs. Bumbrake (Kathy Harris) cannot keep up with her charge, the energetic Molly, but thankfully finds comfort in the arms of flatulent sailor Alf (Catherine Glen). Their love story is a successful comedic side plot within a comedy.
The pirate captain Black Stache (Alfred Lance) is a cyclone of chaos who is “all swash and no buckle.” Lance is outstanding and every time he prowls the stage, your eyes fixate on him. “Now you’re likely wondering, can the fellow before you be entirely evil? Can no compassion uncrease this furrowed brew?” Black Stache says. “Brow,” his pirate lieutenant Smee (Molly Pratzner) corrects. It’s clever wordplay like this that makes this show a must-see. (There’s even a wonderful poetry battle built into the show!)
A special bond grows between Molly and the unnamed boy – who later receives the moniker “Peter Pan” in an interesting and magical way. Molly, Peter and the two other orphans make their way through varied obstacles (e.g., a shipwreck) and antagonists, like the island native Mollusks who menacingly chant Italian food names.
I won’t reveal any spoilers, but I will insist that you are comfortably in your seat at the start of the second act so as not to miss the opening number involving almost everyone in the show. The ensemble cast play multiple roles and is rounded out by Hayley Hughes, Autumn Moore, and Felicia Walker.
Sean Flowers’ scenic design and clever props allow toy ships to become real ones, umbrellas to form a jungle, ropes to define portals, and a blue glove to morph into a bird. It’s all very effective.
Pianist/percussionist Tom Mucchetti provides timely accompaniment to the action on stage while sitting in the middle of all the madness.
From marauding pirates and jungle natives to unwilling comrades and unlikely heroes, Peter and the Starcatcher playfully explores the bonds of friendship, duty, and love. Don’t miss out on the adventure!
This production of Peter and the Starcatcher at Wilmington Drama League runs through November 19 at the theater on Lea Boulevard in Wilmington. Tickets cost $10-15 for both evening and matinee shows. Performances are at 8:00pm on November 10, 11, 17 and 18 and at 2:00pm on November 12 and 19.
“TTFN!” – in other words, “Ta-ta for now!”
Wednesday, November 1, 2017
Mélomanie Premiere Celebrates a Milestone for Local Couple
By Christine Facciolo
Mélomanie celebrated its 25th anniversary at its season-opening concert at The Delaware Contemporary on Sunday, October 29, 2017.
And what better way to mark a Silver Anniversary than with a World Premiere of a composition commissioned to commemorate the Golden Anniversary of a couple known for their devotion to Mélomanie. But more about that later...
Flutist and Mélomanie co-artistic director Kimberly Reighley opened the program with the shimmering notes and flowing contours of Ingrid Arauco’s Silver (Variation diabellique). This was a fitting choice for this particular occasion, as the Delaware-based Arauco composed the piece to mark the 25th anniversary of another ensemble, Philadelphia’s Network for New Music.
Reighley was then joined by Mélomanie harpsichordist and co-artistic director Tracy
Richardson for a talk about the ensemble’s beginnings and accomplishments with Jennifer Margaret Barker, professor of music theory and composition at the University of Delaware.
Reighley and Richardson then came together in a lovely performance of the Sonata in G Minor attributed to J.S. Bach but now believed to be by his son C.P.E. This is a charming work that features a true interplay between flute and harpsichord. The lilting Adagio gives much melodic interest to the harpsichord while the flute plays long notes. The last movement features an extended harpsichord solo which gave listeners the opportunity to hear Richardson’s consummate technique and clear, crisp sound.
Equally charming was Abel’s Quartet in G Minor. This work — scored for flute, violin, viola da gamba and cello — is one of a collection of 10 quartets for this instrumentation. Published in 1794, it is the only quartet to have survived with this specific scoring.
This two-movement work typifies the sort of music one might have heard in the intimate setting of the home of a patron. The performance was very smooth. The players exhibited a fine sensitivity to each other, creating a nice set of interactions that brought out the nuances of this delicately wrought music.
The second half of the program was taken up with the World Premiere of Up to the Light by Mark Hagerty. This was Hagerty’s fourth commission for Mélomanie and one of his most interesting and inventive. The 25-minute work was commissioned by Mona Bayard for her husband Tim Bayard in celebration of their 50th wedding anniversary. Tim is a founding board member of Mélomanie, and both he and Mona are active supporters of and volunteers in the arts and education.
Up to the Light is a work scored for flute, violin, viola da gamba, cello, harpsichord and vibraphone. Hagerty included the vibraphone in a nod to Tim Bayard’s deep appreciation of jazz. Here it was played by guest percussionist, Chris Hanning.
Up to the Light is a musical description of a journey from a troubling experience to one of a positive feeling, all the while retaining the pain of the earlier trauma. In this work, sonorities (i.e., specific harmonies and their arrangements and tone colors), rather than traditional melodies, convey the emotion experienced during the journey.
The work presents three major statements of these sonorities, at the opening, the midpoint and the end. Sandwiched between these statements are passacaglias — sometimes strict, sometimes informal — based on a melody introduced by the flute.
Especially effective was the incorporation of a single orchestral bell, which added a somber or joyous tone, depending on the musical context.
Hagerty indulged Tim Bayard’s love of jazz by skillfully folding the timbre of the vibraphone into the texture and by the subtle introduction of jazz-influenced harmonies into the tonal fabric of the work.
See www.melomanie.org.
Mélomanie celebrated its 25th anniversary at its season-opening concert at The Delaware Contemporary on Sunday, October 29, 2017.
And what better way to mark a Silver Anniversary than with a World Premiere of a composition commissioned to commemorate the Golden Anniversary of a couple known for their devotion to Mélomanie. But more about that later...
Flutist and Mélomanie co-artistic director Kimberly Reighley opened the program with the shimmering notes and flowing contours of Ingrid Arauco’s Silver (Variation diabellique). This was a fitting choice for this particular occasion, as the Delaware-based Arauco composed the piece to mark the 25th anniversary of another ensemble, Philadelphia’s Network for New Music.
Reighley was then joined by Mélomanie harpsichordist and co-artistic director Tracy
Reighley and Richardson then came together in a lovely performance of the Sonata in G Minor attributed to J.S. Bach but now believed to be by his son C.P.E. This is a charming work that features a true interplay between flute and harpsichord. The lilting Adagio gives much melodic interest to the harpsichord while the flute plays long notes. The last movement features an extended harpsichord solo which gave listeners the opportunity to hear Richardson’s consummate technique and clear, crisp sound.
Equally charming was Abel’s Quartet in G Minor. This work — scored for flute, violin, viola da gamba and cello — is one of a collection of 10 quartets for this instrumentation. Published in 1794, it is the only quartet to have survived with this specific scoring.
This two-movement work typifies the sort of music one might have heard in the intimate setting of the home of a patron. The performance was very smooth. The players exhibited a fine sensitivity to each other, creating a nice set of interactions that brought out the nuances of this delicately wrought music.
The second half of the program was taken up with the World Premiere of Up to the Light by Mark Hagerty. This was Hagerty’s fourth commission for Mélomanie and one of his most interesting and inventive. The 25-minute work was commissioned by Mona Bayard for her husband Tim Bayard in celebration of their 50th wedding anniversary. Tim is a founding board member of Mélomanie, and both he and Mona are active supporters of and volunteers in the arts and education.
Up to the Light is a work scored for flute, violin, viola da gamba, cello, harpsichord and vibraphone. Hagerty included the vibraphone in a nod to Tim Bayard’s deep appreciation of jazz. Here it was played by guest percussionist, Chris Hanning.
Up to the Light is a musical description of a journey from a troubling experience to one of a positive feeling, all the while retaining the pain of the earlier trauma. In this work, sonorities (i.e., specific harmonies and their arrangements and tone colors), rather than traditional melodies, convey the emotion experienced during the journey.
The work presents three major statements of these sonorities, at the opening, the midpoint and the end. Sandwiched between these statements are passacaglias — sometimes strict, sometimes informal — based on a melody introduced by the flute.
Especially effective was the incorporation of a single orchestral bell, which added a somber or joyous tone, depending on the musical context.
Hagerty indulged Tim Bayard’s love of jazz by skillfully folding the timbre of the vibraphone into the texture and by the subtle introduction of jazz-influenced harmonies into the tonal fabric of the work.
See www.melomanie.org.
Sunday, October 29, 2017
DelShakes' "As You Like It" Tours Community ...and We Like It!
Danielle Leneé as Rosalind and Bi Jean Ngo as Celia. Photo by Allessandra Nicole. Courtesy of Delaware Shakespeare. |
The Globe Theatre in London became world renowned by staging William Shakespeare’s histories, tragedies and comedies upon its wooden planks. Shakespeare was a shareholder in the Globe, which meant the more people he got into the building, the more money he made. The Globe became iconic and drew patrons from far and wide to see The Bard’s latest (brilliant) play.
Delaware Shakespeare’s superb production of As You Like It does not have a permanent home like The Globe. Instead, the merry troupe of actors, musicians and staff are traversing Delaware this fall bringing The Bard to locations not typically hip to his iambic pentameter.
Delaware Shakespeare launched its Community Tour last year with Pericles, Prince of Tyre. Community Tour productions play in non-theatrical settings such as multipurpose rooms, cafeterias, gymnasiums and even prisons. The production values are scaled for those spaces, with live music, minimal sets and whatever lighting is available. The year’s production is performed with a cast of eight actors and a musician, which allows for some creative multi-role casting. (In fact, the performance of As You Like It uses an audience member reading from a script to play Hymen in Act V.)
Producing Artistic Director David Stradley told me he looks for spaces that can hold a seated audience between 40 and 120 people in a four-sided arrangement. Stradley stressed that Delaware Shakespeare searches for communities which may be underserved by the arts and whose residents might find difficulty traveling to Rockwood Park for its annual Summer Festival.
The Community Tour is not just making stops, but introducing Shakespeare and the world of live theater to many people who’ve never experienced its wonders. I was pleased to see the actors welcome everyone who entered the cafeteria at Groves Adult High School in Marshallton. Cast members introduced themselves, who they would play, what we might expect, plus exchanged simple pleasantries. In this way, the space became very accessible.
As You Like It follows its heroine Rosalind (Danielle Leneé) and her cousin Celia (Bi Jean Ngo) as they flee the court of Duke Frederick (J Hernandez), who is Celia’s uncompromising father. The pair put on disguises and escape into the nearby Forest of Arden along with court fool Touchstone (Adam Altman).
Meanwhile, Rosalind’s suitor Orlando (Trevor William Fayle) has also fled into the woods to escape his exploitive brother Oliver (Jeffrey Cousar). The two lovers cross paths, but Orlando cannot recognize the inspiration for his many romantic poems. A variety of memorable characters also exist in the forest, notably the melancholy traveler Jaques (Liz Filios) who capably utters one of Shakespeare’s most famous speeches (“All the world’s a stage/And one man in his time plays many parts”).
As previously mentioned, there are only eight actors playing the 20-odd roles in As You Like It. It’s marvelous to see Cousar and Hernandez play hot-tempered and then mild, love-struck men in the same production. Altman shined as loyal servant Adam as well as energetic and animated Touchstone. Merri Rashoyan filled four roles (and two genders) skillfully, with her Phebe being a highlight. Only Leneé (Rosalind) and Fayle (Orlando) played one part apiece — but those are meaty parts!
As in any Shakespearean comedy, there is misdirection and love and misplaced blame and redemption — all done wonderfully in this production. A nice touch to the show were the small musical interludes by Joe Trainor (guitar/drum) and Filios (ukulele/accordion). After the show, Trainor told me that Shakespeare had sprinkled partial couplets and text into the script of As You Like It. As no record of a musical score existed, Trainor took it upon himself to compose period pieces to enhance the audience experience. Kudos!
Director Madeline Sayet keeps the pacing brisk and encourages her actors to use the full space. The cast plays to all directions, which connects the action to the audience.
Highlights of the show included the gymnastic wrestling contest between Orlando (Fayle) and Charles (Rashoyan); the ludicrously beautiful facial expressions of actress Bi Jean Ngo; the combined energy of the troupe; the cleverly made trees of Arden; and all those glorious words. If not for Shakespeare’s turns of phrases and rhythmic patterns, his 400-year-old plays would just be old dusty scripts. For instance, Rosalind’s advice on love to Phebe is simply beautiful and timeless.
If, as Rosalind says, “Love is merely a madness,” then I hope newcomers to The Bard fall madly in love with his works, starting with Delaware Shakespeare’s As You Like It.
The autumn Community Tour of As You Like It takes place in venues throughout Delaware from October 25 through November 12. Performances at Baylor Women’s Correctional Institution, Howard R. Young Correctional Institution and Ferris School for Boys are not open to the public. Admission is free with RSVP at info@delshakes.org or 302.415.3373.
As previously mentioned, there are only eight actors playing the 20-odd roles in As You Like It. It’s marvelous to see Cousar and Hernandez play hot-tempered and then mild, love-struck men in the same production. Altman shined as loyal servant Adam as well as energetic and animated Touchstone. Merri Rashoyan filled four roles (and two genders) skillfully, with her Phebe being a highlight. Only Leneé (Rosalind) and Fayle (Orlando) played one part apiece — but those are meaty parts!
As in any Shakespearean comedy, there is misdirection and love and misplaced blame and redemption — all done wonderfully in this production. A nice touch to the show were the small musical interludes by Joe Trainor (guitar/drum) and Filios (ukulele/accordion). After the show, Trainor told me that Shakespeare had sprinkled partial couplets and text into the script of As You Like It. As no record of a musical score existed, Trainor took it upon himself to compose period pieces to enhance the audience experience. Kudos!
Director Madeline Sayet keeps the pacing brisk and encourages her actors to use the full space. The cast plays to all directions, which connects the action to the audience.
Highlights of the show included the gymnastic wrestling contest between Orlando (Fayle) and Charles (Rashoyan); the ludicrously beautiful facial expressions of actress Bi Jean Ngo; the combined energy of the troupe; the cleverly made trees of Arden; and all those glorious words. If not for Shakespeare’s turns of phrases and rhythmic patterns, his 400-year-old plays would just be old dusty scripts. For instance, Rosalind’s advice on love to Phebe is simply beautiful and timeless.
If, as Rosalind says, “Love is merely a madness,” then I hope newcomers to The Bard fall madly in love with his works, starting with Delaware Shakespeare’s As You Like It.
The autumn Community Tour of As You Like It takes place in venues throughout Delaware from October 25 through November 12. Performances at Baylor Women’s Correctional Institution, Howard R. Young Correctional Institution and Ferris School for Boys are not open to the public. Admission is free with RSVP at info@delshakes.org or 302.415.3373.
There will also be three ticketed performances ($15-$100) from November 10-12 at OperaDelaware Studios.
See. www.delshakes.org.
Monday, October 23, 2017
Over the Moon About WDL's Production
By Christine Facciolo
Ever
wonder what goes on in the Green Room before a theatrical performance? Moon
Over Buffalo offers a peek…plus a whole lotta laughs at Wilmington Drama League.
The
year is 1953. The setting is Buffalo, New York (“Scranton without the charm.”)
A touring company is performing Edmond Rostand’s Cyrano de Bergerac and Noel
Coward’s Private Lives at the Erlanger Theater. George and Charlotte Hay (Alan
Harbaugh and Sabrina Justison) boast a long-standing marital and acting
partnership, both of which have frayed at the edges. Then they learn that the
great film director, Frank Capra, needs to re-cast a movie he’s making and is
flying in from New York City to see them perform. This could be just what they
need to recoup the stardom they’ve lost and feel they so richly deserve.
But
first…
George
has impregnated Eileen (Carolyn Peck), a young actress in the troupe. When
Charlotte finds out, she tells him she’s fed up with his infidelity and is
leaving him for their lawyer, Richard (Shawn Klein). Meanwhile, Rosalind Hay
(Patricia Egner) has arrived to introduce her parents to her fiancé, Howard
(Andrew Dluhy), a TV weatherman. He’s a geeky but affable TV weatherman who
just happens to be a big fan of her parents. He loves Rosalind but is absolutely
clueless about what’s going on, Rosalind, for her part, was in love with Paul
(Luke Wallis), the Hays’ theatre manager, who still has feelings for her. Adding
to the merriment is Ethel (Patricia Lake), Charlotte’s deaf-as-a-post stage
mother who hates the boards George treads on and nearly brings him down with
one innocent-looking coffee pot. Comic misunderstandings and mistaken
identities abound.
Ken
Ludwig’s 1995 madcap farce is still fresh in 2017 and just the ticket for an
evening full of fun and laughter. Let’s not forget that this play was worthy
enough to lure Carol Burnett back to Broadway after a 30-year absence and, if
you didn’t know better, this superb production might have you believe you’re
sitting in a theatre on the Great White Way. It’s that good.
Harbaugh
and Justison simply melt into their roles. Harbaugh is brilliant as the very
inebriated George. Peck applies just the right amount of affect to her role as
the pregnant and distraught ingénue. Dhuly is convincingly clueless as the
action swirls around him. Egner, Klein and Wallis know every nuance of their
characters. Lake is downright hilarious as the hard-boiled stage
mother/mother-in-law from hell.
Kudos
to the directorial team of Gene Dzielak and Melissa Davenport (as well as mentor/director Ken Mammarella) who pulled everything together. Also deserving of a
standing ovation are Helene and Tony DelNegro for their retro 1950s backstage
set, Cara Tortorice for her fabulous costumes and Lee Jordan for choreographing
the playful duel between the Hays.
This
one is not to be missed.
Deconstructing the Piano Quintet with DSO
By Christine Facciolo
“The Piano Quintet – Deconstructed” was the theme for the season-opening concert of the Delaware Symphony Orchestra’s Chamber Series Tuesday, October 17, in the Gold Ballroom of the Hotel du Pont in Wilmington.
The concert featured an eclectic slate of works by Mozart, Ravel and Brahms as it showcased the talents of some of the most select members of the orchestra’s string section as well as principal pianist Lura Johnson.
It’s always a pleasure to hear musicians of this caliber perform in an intimate setting, and they did not disappoint.
The first half of the concert featured a pair of duos in keeping with the theme of the program.
The concert opened with a performance by violinist Lisa Vaupel and violist Elizabeth Jaffe of Mozart’s String Duo in G major, a work Mozart is said to have ghost-written for Michael Haydn who was having problems filling a contractual obligation to Mozart’s former employer—and arch nemesis—the Archbishop Colloredo.
Vaupel and Jaffe gave a lively reading of this much-performed work, with brisk tempos in the outer movements and much sensitivity in the slow movement.
Violinist David Southorn and cellist Philo Lee tackled one of the 20th century’s masterpieces of the duo genre: the Sonata for Violin and Cello by Maurice Ravel. This work generated lots of intermission discussion among concertgoers who expected something like the sultry and sensuous Bolero rather than this lean and linear work.
Like many of his contemporaries, Ravel searched for new modes of expression and style following the horrors or World War I. And while that drew him to certain aspects of Neoclassicism, he never totally abandoned his use of traditional forms nor did he reject the legacies of his immediate predecessors. Thus, the Sonata for Violin and Cello exhibits the “economy” of late Debussy, the rhythmic drive of Stravinsky and a more contemporary austerity.
Southorn and Lee delivered this demanding work with energy and virtuosic precision, carefully etching and capturing its herky-jerky rhythms and acerbic bi-tonal clashes.
The string players assembled onstage—accompanies by pianist Johnson—after intermission for a performance of Brahms’ Piano Quintet in F minor. This is a large-scale work, dark and dramatic and the ensemble conveyed that Romantic intensity in the outer movements and the relentless third-movement Scherzo, and gave a soulful reading of the Andante.
Yet as heated as the music got, it never lost its transparency. Contrapuntal lines played off against each other without conflict and the several fugato passages were particularly successful. Johnson for her part fit seamlessly into the mix, using the percussive power of her instrument to support rather than dominate. And the felicitous turns in Jaffe’s viola and Lee’s cello were never buried. Still, the ensemble produced a solid, powerful sound.
“The Piano Quintet – Deconstructed” was the theme for the season-opening concert of the Delaware Symphony Orchestra’s Chamber Series Tuesday, October 17, in the Gold Ballroom of the Hotel du Pont in Wilmington.
The concert featured an eclectic slate of works by Mozart, Ravel and Brahms as it showcased the talents of some of the most select members of the orchestra’s string section as well as principal pianist Lura Johnson.
It’s always a pleasure to hear musicians of this caliber perform in an intimate setting, and they did not disappoint.
The first half of the concert featured a pair of duos in keeping with the theme of the program.
The concert opened with a performance by violinist Lisa Vaupel and violist Elizabeth Jaffe of Mozart’s String Duo in G major, a work Mozart is said to have ghost-written for Michael Haydn who was having problems filling a contractual obligation to Mozart’s former employer—and arch nemesis—the Archbishop Colloredo.
Vaupel and Jaffe gave a lively reading of this much-performed work, with brisk tempos in the outer movements and much sensitivity in the slow movement.
Violinist David Southorn and cellist Philo Lee tackled one of the 20th century’s masterpieces of the duo genre: the Sonata for Violin and Cello by Maurice Ravel. This work generated lots of intermission discussion among concertgoers who expected something like the sultry and sensuous Bolero rather than this lean and linear work.
Like many of his contemporaries, Ravel searched for new modes of expression and style following the horrors or World War I. And while that drew him to certain aspects of Neoclassicism, he never totally abandoned his use of traditional forms nor did he reject the legacies of his immediate predecessors. Thus, the Sonata for Violin and Cello exhibits the “economy” of late Debussy, the rhythmic drive of Stravinsky and a more contemporary austerity.
Southorn and Lee delivered this demanding work with energy and virtuosic precision, carefully etching and capturing its herky-jerky rhythms and acerbic bi-tonal clashes.
The string players assembled onstage—accompanies by pianist Johnson—after intermission for a performance of Brahms’ Piano Quintet in F minor. This is a large-scale work, dark and dramatic and the ensemble conveyed that Romantic intensity in the outer movements and the relentless third-movement Scherzo, and gave a soulful reading of the Andante.
Yet as heated as the music got, it never lost its transparency. Contrapuntal lines played off against each other without conflict and the several fugato passages were particularly successful. Johnson for her part fit seamlessly into the mix, using the percussive power of her instrument to support rather than dominate. And the felicitous turns in Jaffe’s viola and Lee’s cello were never buried. Still, the ensemble produced a solid, powerful sound.
Monday, October 16, 2017
Organist David Schelat Opens Market Street Music's Festival Concerts
By Christine Facciolo
Organist/composer
David Schelat explored the Baroque and beyond Saturday, October 14, kicking off a brand new
season of Market Street Music at First & Central Presbyterian Church on
Rodney Square in Wilmington.
Schelat’s
program traced J.S. Bach’s steps back to his admirer Dietrich Buxtehude then
forward to his “rescuer” Felix
Mendelssohn as well as offering a sampling of Bach himself.
The
first half of the program featured three Baroque “Bs”: Bruhns, Buxtehude and
Bach. Their work spanned the years 1664-1750, a time when north German
mercantile trade funded both composers and construction of pipe organs on
increasingly grander scales.
The
music of this period was largely improvisatory and known as stylus fantasticus,
characterized by short contrasting episodes and free form. Bruhns’ Praeludium
in E Minor exemplifies this style and Schelat delivered it with insight and
intelligence, maintaining the thematic material clearly while providing
auditory interest in the repeated ornamentation with a variety of colorful
registrations.
Buxtehude’s O Morning Star, how fair and bright (Wie
schon leuchtet der Morgenstern) again showed Schelat’s expertise with the
articulation of Baroque musical gestures.
Bach
received his due with a rendering of the Prelude and Fugue in G Major (BWV 541)
that was both meaty and full of energy. Tucked between them was the melodic
simplicity of the chorale prelude Blessed Jesus, we are here (Liebster Jesu, wir sind hier (BWV 730).
From
Spain came Juan Cabanilles’ Corrente Italiana, a mixture of Renaissance and
Baroque. Schelat added a subtle touch of percussion to good effect.
There
were more surprises following intermission, including an organ sonata by C.P.E.
Bach, J.S. Bach’s second surviving son. Although much better known for his
harpsichord works, Bach did produce six organ sonatas on commission from
Princess Anna Amalia, sister of his then employer, King Frederick the Great of
Prussia. The writing is for manuals only, because the Princess
was — reportedly — unable to play the pedals.
Schelat
offered an effervescent rendering of the Sonata No. 5 in D Major (Wq70),
indulging in much hopping between the two manuals — and adding a bit of pedal — to
create a sheer delight for the ear.
Another
pleasant surprise came with a performance of the Andante sostenuto from Charles-Marie Widor’s Symphonie Gothique. This sweet, meditative piece allowed Schelat to
reveal a whole other side to a composer better known for the pyrotechnics of
his Toccata in a work we rarely get
to hear.
The
program concluded with a performance of Mendelssohn’s Sonata in B-Flat Major.
Mendelssohn had a great love for Bach and played a major role in his revival. While
this music is Romantic in its approach, it displays a certain restraint which
is very appealing. Schelat obviously loves this music and that affection came
through in this assured and sensitive delivery.
Schelat
reached into his own catalog for an encore with a performance of Kokopelli, a whimsical piece dedicated to the flute-playing trickster deity who represents
the spirit of music and who presides over childbirth and agriculture. Schelat wrote
the piece for the Fred J. Cooper Organ
Book, which was commissioned by the Philadelphia chapter of The American
Guild of Organists to celebrate the 10th anniversary of the organ in
the Kimmel Center’s Verizon Hall.
Friday, October 13, 2017
The Grand Celebrates One-Day Ticket Sales Record
This post content courtesy of an October 10 press release from The Grand Opera House...
Photo courtesy of The Grand Opera House. |
The Grand staff and board, under the Executive and
Programmatic leadership of Mark Fields and Stephen Bailey, is excited to
announce that the performance arts company has set a one-day ticket sale
record, selling over 6,000 tickets on Monday, October 9, 2017.
“We are bowled away by these results,” says Mark Fields, “it
is another example of how The Grand’s quality programming has attracted new and
returning patrons to this beautiful building.”
Currently, The Grand has over 70 shows on sale, ranging from
America’s Got Talent finalist TAPE FACE (10/14), to long-time comedy icon
SINBAD (12/15), music mavens STRAIGHT NO CHASER (11/29), and Broadway’s finest
like THE WIZARD OF OZ (11/14-11/19) and MOTOWN (5/1-5/6).
“I highly encourage you to look at our new and improved
website at TheGrandWilmington.org to see all of our offerings this season!”
says Fields. “The Grand’s website, newly launched on October 1, is much faster
and user-friendly than our previous. It
is mobile friendly, removing the need for our Grand Smart Phone App, and it
provides search capabilities never before offered to our patrons. Even better – it combines the two separate
sites that were previously The Grand and the Playhouse – providing patrons the
ability to buy tickets across our Music & Variety and Broadway series.”
Tickets can be purchased online at TheGrandWilmington.org,
by phone at 302.652.5577 or by visiting The Grand’s Box Office at 818 North
Market Street, Wilmington, Delaware.
Tuesday, October 10, 2017
Music School Opens Season with All-Bach "Thank You" Concert
By Christine Facciolo
If
it were possible to gather together composers — both living and dead — and ask them
who they thought was the greatest composer of all time, chances are one name
would surface more than others: J.S. Bach. And with good reason. Bach is one of
the few — maybe the only — composer to succeed in combining masterful craftsmanship
with such profound expressivity.
TheMusic School of Delaware used the artistry of J.S. Bach to say thank you to its
patrons for their generosity on Wednesday, October 4, as it opened another season of its
Music Masters Concert Series with an all-Bach program.
Maestro
Simeone Tartaglione led a 15-member chamber orchestra comprised of music school
faculty and guest artists.
Tartaglione
bookended the program with two works from Bach’s most imaginative and
celebrated oeuvre: the Brandenburg Concertos. The concert opened with a
formidable rendering of the short but robust third Brandenburg. Bach composed
two substantial movements for this work, leaving the players to improvise a
transitional movement, for which he provided only two chords.
Tartaglione
and his players executed the Allegro
movements at an authentically robust tempo. Bach’s contrapuntal mastery was
vividly brought out by this ensemble that interacted with each other like the
cooperative soloists Bach intended them to be.
Concerto
No. 5, however, makes demands on the harpsichord soloist that far exceeds
anything else in the repertoire. As Tartaglione pointed out, this work is, for
all intents and purposes, the first keyboard concerto.
Bach
gives the harpsichord (here in the capable hands of Tracy Richardson) a most
unusual role: it starts out playing a basso continuo, proceeds to play solo
melodies in dialogue with the flute (Dr. Lynne Cooksey) and violin (Christof
Richter) and then gets carried away with virtuosic scales that leave the others
in the dust. Richardson delivered with great panache and rhythmic sensibility,
showing what top-tier musicianship can bring to a familiar work.
Christof
Richter soloed in a polished performance of the Violin Concerto in E Major. The
opening is Bach at his sunniest, and Richter and the group exuded pure joy as
they eased into the mellow mood this music demands. The expressive Adagio was exquisite as it contrasted a
dark intensity with moments of golden light. The finale was cheerful and full
of energy.
Dr.
Lynne Cooksey was equally impressive in the Suite No. 2 in B Minor. Cooksey
played with style and agility, executing the piece’s fast passages with
note-perfect ease, playing a lovely duet with the cello in the sixth-movement Polonaise, producing lovely sighing
effects in the Menuett and pulling
out all the stops in the appropriately fast final-movement Badinerie, earning her a round of enthusiastic applause from the
very appreciative audience.
Monday, October 9, 2017
A Mapcap Musical Romp Opens Brandywine Baroque's Season
By Christine Facciolo
As
founding artistic director of Brandywine Baroque, harpsichordist Flint
consistently presents programs that feature works by the well-known and
not-so-well-known — though no less worthy — composers of the period. Moreover, her
collection of rare (and playable) harpsichords draws devotees and scholars from
around the country and the world to the Centreville venue, The Barn at
Flintwoods.
There’s
no denying Karen Flint’s contribution to the cultural life of our region.
Brandywine Baroque orchestra members rehearse "The Woodman." Photo courtesy of Brandywine Baroque. |
Flint
and company opened the 2017-18 season with a performance of as rare a gem as
any: The Woodman (1791) by English opera
composer William Shield. This all-but-forgotten work is so obscure that Flint
and fellow harpsichordist Janine Johnson had to prepare an orchestration from a
piano/vocal reduction, the only existing score for the opera.
Shield
is one of those composers whose legacy history seems to have erased. Born in 1748
in Swalwell, Shield arrived in London in 1772 to play the violin in the Coven
Garden Orchestra. In 1791, he met Haydn who attended a performance of The Woodman. That meeting inspired him
to compose more operas and stage works. Shield’s work as a composer got him
noticed in royal circles and in 1817 he was appointed “Master of the King’s
Musick.”
Like
many of his contemporaries, Shield looked toward folk music for source
material. In
fact,
it was once thought that he wrote Auld
Lang Syne, the melody of which appears toward the end of the overture to
his Rosina opera. It is now thought
that both he and Burns borrowed the melody — or at least the outline of it — from
an old folk tune.
Shield’s
work is considered to be the forerunner of the modern musical comedy. The Woodman contains features
associated with later English comic opera, including spoken dialogue, a frothy
theme and the use of popular and folk melodies. The music is pastoral, even
bubbly, with flashes of coloratura.
The
plot is a madcap thicket of love found, lost and recovered. Emily (Laura
Heimes) has fallen in love with Wilford (Stephen Ng) but his nasty uncle does
not approve and sends him off to Europe. When Wilford returns, Emily has fled
to the forest where three other men fall in love with her. Mistaken identities
and all sorts of mischief follow in this lively romp through the woods capped off
by a female archery contest for a price heifer.
Flint
assembled a stellar cast of singers and musicians for this superb rendering of
this woefully overlooked gem. Heimes is vocally striking — as usual — in her
portrayal of Emily. Ng brings a full-bodied tenor and lovelorn urgency to
Wilford, her lost love.
Bass
Daniel Schwartz excelled in his portrayal of the upright and kindly Fairlop,
the woodman, while sopranos Abigail Chapman and Rebecca Mariman were convincing
as his daughters, the steady Dolly and coquettish Polly, respectively.
Baritone
James Wilson played the lecherous Sir Walter to the hilt accompanied by his
ever-loyal sidekick Medley in the capable hands and voice of tenor Andrew Fuchs.Tenor
Lawrence Jones displayed a much misplaced confidence as he assisted Wilford in
his quest to find Emily.
But
it was countertenor Augustine Mercante, wigged in bight orange ringlets, who
elicited the most laughter in his portrayal of Miss Dinah “Di” Clackit. Mercante
not only possesses a sumptuous voice but also impeccable comedic timing that never
missed a beat.
Musicians
from the ensemble also took part in the action with non-singing roles: flutist
Eileen
Grycky, violist Amy Leonard, double bassist Heather Miller Landin served as
archers (Grycky also played Bridget the maid). Violinists Martin Davids and Edward Huizinga played Filbert, the Gardener and Bob, respectively.
Imaginative
costumes and props transported the audience from Centreville to an 18th Century English forest.
Wednesday, October 4, 2017
Audiences Enjoy 'Up Close & Personal' Look at Mélomanie's First Performance
Harpsichordist Tracy Richardson and Violinist Christof Richter of Mélomanie. Photo by Tim Bayard. |
Mélomanie members Christof Richter (violin) and Tracy Richardson (harpsichord) combined their talents to showcase the versatility of the violin in a program that featured works by the well-know, the not-so-well-known and the downright quirky. The concert, called 'Up Close & Personal: The Violin,' took place on Saturday, September 30, at Old Town Hall in downtown Wilmington.
Despite the role it plays in the modern orchestra and the repertoire that’s grown up around it, the violin was considered a “low-brow” instrument, played largely from memory throughout the late 16th and early 17th Centuries. But once written music appeared, the violin became a major driver in the development of instrumental music as a whole.
Saturday’s performance opened with a performance of Johann Paul von Westhoff’s Partita 6 in D Major for solo violin. Unlike his contemporary Heinrich Biber, little attention has been paid to von Westhoff. But lesser-known hardly means insignificant. In fact, it is very likely that von Westhoff met J.S. Bach during their time in Weimar, and that these Partitas were a direct inspiration for Bach to compose his sonatas and partitas for solo violin.
Richter performed with a natural and effortless charm, concluding with an exhilarating reading of the Gigue.
Heinrich Biber — von Westhoff’s more famous contemporary — was represented with a performance of Sonata 4 in D Minor (The Presentation) from his Rosary Sonatas. This ever-intriguing work is the finest example of Biber’s exploration of scordatura, alternate tunings of the violin strings that produce otherworldly sonic textures and performance challenges. The Presentation is a chaconne and variations tuned to D minor. Tuning the top string down a step and the bottom string up one produced an alto-like quality, where one would expect soprano brilliance. Richter’s execution of these blazing virtuosic variations was breathtaking, making the listener long for a full performance of this work.
The Italian Baroque was represented by Biagio Marini’s Romanesca Variations and Giuseppe Tartini’s Sonata in G Minor (The Devil’s Trill). “Romanesca” is actually a song form popular in the period 1550-1650, characterized by a sequence of four chords which form the groundwork for improvisation (think: Greensleeves). The work consists of four variations and two dances, the gagliarda and corrente. Richter and Richardson took a spirited approach with regard to tempo and meter long before the dance variations impose triple meter toward the end.
Richter imbued Tartini’s Sonata with the appropriate pyrotechnics: delicate turns and swift runs, dark moods, commanding multiple stops and double-note trills. And while the work can be performed solo, the inclusion of the continuo added depth and harmonic texture.
Richter and Richardson made a fine duo in Mozart’s Sonata in G Major (KV 301). Richter’s intonation is always exact and his articulation in the fastest passages clear and precise. These sterling qualities were matched by Richardson’s accompaniment on harpsichord, which she notes was still in use alongside the up-and-coming fortepiano during this time.
No Mélomanie concert would be complete without some contemporary offerings. In an afternoon of surprises, there were some pretty interesting choices. Schnittke’s Suite in Old Style is a wry nod to the Baroque — actually a pre-Classical-style pastiche of movements drawn from the composer’s film scores. Unlike a true Baroque suite, though, there is little for the soloist to show-off. Richter brought a fragile delicacy to the final movement, Pantomime, the only movement performed in this program.
Richter and Richardson offered yet another interesting piece from a most marginalized 20th Century composer, Josef Matthias Hauer. Hauer’s claim to fame (or infamy) is that he developed his own 12-tone system, publishing his findings in 1919 slightly ahead of rival Schoenberg. But whereas Schoenberg manipulated tone rows, Hauer based his atonality on systematically organized chords.
Toward the end of his life, Hauer wrote a collection of short (the longest runs five minutes) pieces called Zwolftonspiel, literally 12-tone games. Richter and Richardson collaborated on the one dated 26 August, 1948. This music is a welcome respite from the angular tones of Schoenberg’s serialism, and Richter and Richardson captured its joy and playfulness in this very capable rendering.
See www.melomanie.org.
Tuesday, September 26, 2017
Delaware Theatre Company's 'Wicked' Opener
Jake Blouch, Rob Riddle, Christopher Sapienza (front), and Joelle Teeter, Rajeer Alford, Clare O’Malley, Kevin Toniazzo-Naughton, and Melissa Joy Hart (back). Photo by Mark Miller. |
Just after you’ve settled into your seat at the Delaware Theatre Company (DTC), you’ll find yourself staring into a dark tunnel with a train coming toward you at breakneck speed. The locomotive seemingly thunders right into the audience and kicks off the electric new musical, Something Wicked This Way Comes.
Based on the classic best-selling novel by Ray Bradbury, director/choreographer Rachel Rockwell deftly steers this delightful new musical about a traveling carnival’s mysterious visit to a small Illinois town. Neil Bartram (music and lyrics) and Brian Hill (book) have composed this coming-of-age thriller that draws heavily on the supernatural.
The story revolves around young heroes Will (John Francis Babbo) and Jim (Sawyer Nunes), who are constantly bored in tiny Greentown. Compounding their perpetual search for adventure is each boy’s lack of a loving father figure – Jim’s has left and Will’s doesn’t seem to acknowledge the son living under his own roof. Veteran television and stage actor Stephen Bogardus portrays Will’s dad Charles as a quiet and unhappy man who yearns for his deceased wife Beth’s (Clare O’Malley) company, not his living son’s.
But things are soon to change…
Foretold by a narrator (Steve Pacek), who steps in and out of the stage action, trouble is coming to Greentown in late October 1938. The strange but kind man hands the lads a lightning rod to protect them during the storm that will blow into their lives soon. (Somethin’ is comin’/The wind doesn’t lie)
What’s comin’ is a traveling show that suddenly appears in town and is led by mysterious ringmaster Mr. Dark (Rob Riddle). Mr. Dark seems to prey on human insecurities and the townsfolk flock to the carnival tents to fulfill their inner desires. Riddle is the standout performer in this show. His maleficent actions and full baritone are sinfully delightful. Like in a silent movie, you want to both boo and hiss Mr. Dark while simultaneously cheering the entertainment of his villainy.
Bartram’s music and lyrics work to advance the story and include ballads, upbeat numbers, and operatic melodies which are effective as solos, duets, and chorus numbers. While you won’t go home humming any of the tunes from the show, you will be skipping happily out of the theater from the enjoyment of the experience.
The show is dazzling because of projection designer Shawn Sagady and the technical wizards from Freckled Sky. The multimedia creatives have pulled out all the stops with immersive special effects that will wow any theater-goer. Scott Davis has designed a brilliant set that combines a Norman Rockwell-like town with a sinister carnival. Whether mesmerized in a hall of mirrors or receiving 200,000 volts of electricity or engaged in a rooftop battle with an evil balloonist(!), these technical geniuses have outdone themselves. The action, blocking, and timing have to be perfect for these visual marvels to be successful – and they are. The set, actors, music, and effects are wonderfully synchronized.
The Cooger and Dark’s Pandemonium Shadow Show song (none of the songs are listed in the program) was a highlight of the show. The carnival is rolled out to the people of Greentown with rousing choruses, snappy movement, and breathtaking special effects.
The ensemble cast is first-rate and most of the actors have secondary roles as townsfolk like barber Mr. Crosetti (Christopher Sapienza), tobacconist Mr. Tetley (Jake Blouch), and schoolteacher Miss Foley (Marian Murphy). Meghan Murphy plays the blind soothsayer known as the “Dust Witch” to wicked perfection.
Through a series of startling discoveries and harrowing experiences, Charles eventually gains self-awareness, faith, and a backbone as the story progresses. The boys fight to save their futures, their relationships, and their lives from all kinds of nefarious attacks the “Autumn People,” led by Mr. Dark, throw at them. In the end, the town is saved as is Charles’ paternal bond with Will. But for this show, it’s the journey not the destination that is most appreciated.
Something Wicked This Way Comes is DTC’s fourth development of a new musical following Because of Winn-Dixie, Tappin’ Thru Life and Diner. This is a World Premiere event, so some tweaking may take place during this initial run or after its completion.
The performance schedule of Something Wicked This Way Comes is: Wednesdays (2:00pm), Thursdays (7:00PM), Fridays (8:00PM), Saturdays (2:00 & 8:00pm) and Sundays (2:00pm) through October 8. Tickets start at $25 with group (10+) and student discounts available. There will be pre-show Viewpoints on September 27 at 1:15pm, plus post-show talkbacks on September 28 and October 5. The running time is just over 2 hours with one 15-minute intermission.
Foretold by a narrator (Steve Pacek), who steps in and out of the stage action, trouble is coming to Greentown in late October 1938. The strange but kind man hands the lads a lightning rod to protect them during the storm that will blow into their lives soon. (Somethin’ is comin’/The wind doesn’t lie)
What’s comin’ is a traveling show that suddenly appears in town and is led by mysterious ringmaster Mr. Dark (Rob Riddle). Mr. Dark seems to prey on human insecurities and the townsfolk flock to the carnival tents to fulfill their inner desires. Riddle is the standout performer in this show. His maleficent actions and full baritone are sinfully delightful. Like in a silent movie, you want to both boo and hiss Mr. Dark while simultaneously cheering the entertainment of his villainy.
Bartram’s music and lyrics work to advance the story and include ballads, upbeat numbers, and operatic melodies which are effective as solos, duets, and chorus numbers. While you won’t go home humming any of the tunes from the show, you will be skipping happily out of the theater from the enjoyment of the experience.
The show is dazzling because of projection designer Shawn Sagady and the technical wizards from Freckled Sky. The multimedia creatives have pulled out all the stops with immersive special effects that will wow any theater-goer. Scott Davis has designed a brilliant set that combines a Norman Rockwell-like town with a sinister carnival. Whether mesmerized in a hall of mirrors or receiving 200,000 volts of electricity or engaged in a rooftop battle with an evil balloonist(!), these technical geniuses have outdone themselves. The action, blocking, and timing have to be perfect for these visual marvels to be successful – and they are. The set, actors, music, and effects are wonderfully synchronized.
The Cooger and Dark’s Pandemonium Shadow Show song (none of the songs are listed in the program) was a highlight of the show. The carnival is rolled out to the people of Greentown with rousing choruses, snappy movement, and breathtaking special effects.
The ensemble cast is first-rate and most of the actors have secondary roles as townsfolk like barber Mr. Crosetti (Christopher Sapienza), tobacconist Mr. Tetley (Jake Blouch), and schoolteacher Miss Foley (Marian Murphy). Meghan Murphy plays the blind soothsayer known as the “Dust Witch” to wicked perfection.
Through a series of startling discoveries and harrowing experiences, Charles eventually gains self-awareness, faith, and a backbone as the story progresses. The boys fight to save their futures, their relationships, and their lives from all kinds of nefarious attacks the “Autumn People,” led by Mr. Dark, throw at them. In the end, the town is saved as is Charles’ paternal bond with Will. But for this show, it’s the journey not the destination that is most appreciated.
Something Wicked This Way Comes is DTC’s fourth development of a new musical following Because of Winn-Dixie, Tappin’ Thru Life and Diner. This is a World Premiere event, so some tweaking may take place during this initial run or after its completion.
The performance schedule of Something Wicked This Way Comes is: Wednesdays (2:00pm), Thursdays (7:00PM), Fridays (8:00PM), Saturdays (2:00 & 8:00pm) and Sundays (2:00pm) through October 8. Tickets start at $25 with group (10+) and student discounts available. There will be pre-show Viewpoints on September 27 at 1:15pm, plus post-show talkbacks on September 28 and October 5. The running time is just over 2 hours with one 15-minute intermission.
Call 302.594.1100 or visit DelawareTheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.
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