Monday, October 14, 2019

National Portrait Gallery to Feature Selected Works from Pre-Raphaelite Collection

The content of this post comes from a previous press release from the Delaware Art Museum...

Found by Dante Gabriel Rossetti.
File courtesy of Delaware Art Museum.
 
A major new exhibition in London showcasing the women who shaped the Pre-Raphaelite movement will include four pieces from the Delaware Art Museum. 

In the 1880s, American textile mill owner Samuel Bancroft, Jr. was “shocked with delight” upon viewing a painting by Dante Gabriel Rossetti. The Wilmington industrialist purchased his first Rossetti oil painting, Water Willow, around 10 years later. By the time of his death in 1915, Bancroft had amassed what is now the largest and most significant Pre-Raphaelite collection outside the United Kingdom.

In 1935, Bancroft’s family donated his entire collection to what is now the Delaware Art Museum, along with 11 acres of land on Kentmere Parkway to construct a museum.


Sunday, September 15, 2019

Announcing 2019 Governor's Awards for the Arts Recipients

Content of this post comes from a release from the Delaware Division of the Arts...

The Delaware Division of the Arts is pleased to announce the recipients of the 2019 Governor’s Awards for the Arts, which pay tribute to distinguished individuals and organizations that have had a profound and lasting impact on the state’s artistic and cultural life. The 2019 Governor’s Awards for the Arts were coordinated by the Delaware Division of the Arts in conjunction with the Delaware State Arts Council and the Office of Governor John C. Carney.

To celebrate the recipients' achievements, an award ceremony will be held on Monday, October 28, at 4:00pm at the Rollins Center at Dover Downs Hotel & Casino. As part of the celebration, The Music School of Delaware’s Suzuki Academy Honors Program Student String Quartet will perform. A reception with light fare will be held prior to the ceremony from 3:00-4:00pm. The reception and award ceremony are free and open to the public.

2019 GOVERNOR’S AWARDS FOR THE ARTS RECIPIENTS
  • ARTS ADMINISTRATION - Raye Jones Avery
  • ARTS EDUCATION - Charles J. Conway
  • ARTS PATRON, CORPORATE - M&T Bank
  • ARTS PATRON, INDIVIDUAL - Carla Markell
  • COMMUNITY ENGAGEMENT - Art Therapy Express
  • PEGGY AMSTERDAM AWARD FOR OUTSTANDING ACHIEVEMENT - Debora Hansen
For more information about the Governor’s Awards for the Arts and the 2019 Award Recipients, click here to visit the Governor’s Awards for the Arts webpage.

The Governor’s Awards for the Arts reception and ceremony will immediately follow the 2019 Delaware Arts Summit.

Wednesday, September 11, 2019

Meet Delaware Author/Poet, Corey Banana

Author/Poet Corey Banana. Photo by Tyler Collins.
A’Nyezah Richards (AKA "Corey Banana") is an author, poet, and model from New Castle, Delaware who began writing at age 13. In 2015, Corey graduated vocational high school and went on to study at Wesley College, majoring in Law and Justice Studies. She completed her first book, Dust On The Record, in 2018 and will soon publish her second book, Vessels.

Delaware Arts Info recently met up for a Q&A with Corey.


How did you come to discover your passion for poetry?

I’ve been writing since I was 13, but my passion for poetry came from reading. Growing up, I read fantasy, sci-fi, romance, philosophy and self-help books. I started out writing short stories, and over time I started exploring poetry. I did research and learned about the styles and voices that poetry can take on. I was drawn to poetry because you can write and almost say exactly how you feel. There isn’t a certain 'way' to write poetry — you just write. For example, in other writing styles, you always capitalize “I” — in poetry, it can be lowercase and no one will question it.

Your first book was entitled, Dust On The Record. Where does that title come from?

Actually, I've never mentioned how the title came about. I’m a huge fan of the English musician King Krule. One day, I was watching an interview of his where he was explaining how feelings can be like dust on a record — sitting and piling up over time — and one day someone will walk on over to the record and blow the dust off. I thought, 'Wow, that’s exactly how I feel.' During the period when I was writing, I wanted someone to save me emotionally, and no one did. I thought to myself, 'Why not just name my book Dust On The Record?' In a way, my book saved me and meant that my vulnerability is normal; that it’s okay to feel things through.

When is Vessels due out? How will it differ from Dust On The Record?

A writer needs time and space to think, feel, smell and eat things inside and outside themselves (and I say this figuratively). To fully digest their next body of work, they need time to just lay things on the table without being rushed. In my opinion, the best artists never rush; they take their time. As a writer, you never want your next story to be like your last; the goal is to always perform better. Vessels will be a larger cultural and artistic conversation. I see it evoking and redefining the relationship of the female narrator. Challenging culture and the artistic community to accept a new genre of romance  subtle nature of love. Questions I’ll be exploring are: Can adultery be heroic? How do identification and possessiveness tie into forgiveness? When one confronts love, will it lead to seductive illusions stemming from childhood? I think romance is a sensitive subject, and everyone has their own perspective, which I believe to be narrow-minded. Vessels will push people to believe love has many layers, and you must love each layer.

What does your new work represent about you, and how has your life changed in the past year?
I knew that I was a different person after Dust On The Record was completed. Looking through the pages, I realized I didn’t speak about romance as much as I wanted. I battle with whether or not I deserve to be in love. That’s an insecurity of mine. Vessels represents me becoming the woman I always dreamed I would be: Nurturing and loving myself more than I have before and actually believing I deserve to be loved or that I’m capable of loving. Examining these feelings changed my life completely because it changed the way I view myself and my relationships with others, both platonically and romantically. My friends and family notice how innocent my energy has become. I am calmer, more relaxed and nurturing now than I have ever been in my life. I’m normally detached and unsocial, so I have to be gentle writing Vessels, I can’t be hard on myself, I just have to write my story the way I feel and see it.

What is your favorite piece from your newest work and why?

I'd say Dance of Salome, and that was pretty hard to choose. Each poem is strong. I always go back to make sure each poem has its own theme, life and instruments. Dance of Salome is about a woman who is emotionally all over the place and afraid of judgment from her partner. In the end, he tells her, “You don’t have to love me; it’s up to you become what you want of you, not of me. I beg you a favour ... just be a woman for me, can you? An irresistible untamed natural woman.” That’s when she surrenders to him. She realizes this man didn’t care if she loved him or not; he just wanted her to be herself. What more can you ask of a man who wants to experience you while you experience yourself? It’s groundbreaking and refreshing.

Do you have any words of wisdom for young/emerging artists and entrepreneurs?

I'd say to go within yourself find what you are naturally great at. Study it, learn it and dedicate your time to that craft. Every true artist had to build from somewhere. It’s not given to us. Don’t get discouraged when you don’t always have the results you want. Push through your failures.

What's next for you? Where can people interact with you next?

Vessels is my main priority, I do have plans to write my first science fiction novel after Vessels is finished. I’ve been somewhat writing for that as well. It is a sensitive time for me right now because I am writing for Vessels, but once the project is completed, I'll have a book-signing event and hopefully a speaking tour as well. It will all unfold under the universe's timing. I just have to keep writing. My name is BeneathTheMooon on Instagram and tumblr, I get on every now and then to tease people with new writing of mine, get their opinions on romance and ask how they feel about the literature world. They may not believe it, but I’m more interested in their perspectives than my own. It’s refreshing to see how others think...and of course how many people actually read books!

What are your long-term goals as an artist?

My long term-goal is to constantly and constructively nurture myself with knowledge and love. I depend on those two things for my well-being and to write. I always look forward to the end of the year to reflect back on my skill and character. I always ask myself, "Did I take enough risks? Did I challenge myself enough? Who was I around a lot? Did I make new friends? Did I discover a new city or country?"

Tuesday, September 10, 2019

Call for Artists: The Delaware Contemporary


Take advantage of this great opportunity to showcase your work in front of collectors in an art museum setting and join the emerging, established, and community artists supporting The Delaware Contemporary

Last year, The Contemporary received over 350 pieces of artwork by incredibly talented artists from all over the world. Help them exceed that number for SABA V!

Each donation must be a 6" x 6" (15cm) square piece of wall art. No other sizes or free-standing sculpture will be accepted. Please sign only on the back of the work for anonymous exhibition. Artists may enter works in any 2-D or 3-D medium. Charcoal or pastel must be fixed. Smaller works on paper may be mounted to a 6" x 6" cardstock or board. Clay or metal work thicker than 1/4" must have holes to accommodate pins/nails. There is no limit to the number of works an artist may enter. All entries that meet the specifications will be accepted, however The Delaware Contemporary reserves the right to jury-out work. Entries will not be returned, but artists retain copyrights. There is no entry fee.

Friday, July 19, 2019

Candlelight's Classic "South Pacific" Carries Modern Message

By Charles "Ebbie" Alfree, III

Candlelight Theatre continues its 50th season with Rodgers & Hammerstein’s musical, South Pacific. Although written in the 1940s, some of the show’s themes still resonate with our society’s current social climate.

South Pacific runs through August 25 at Candlelight Theatre.
Photo by 
Tisa Della-Volpe.
Director and Choreographer, Renee Dobson does a superb job bringing this romantic show back to the stage. Two relationships are blossoming on a south pacific island during World War II. Nellie Forbush, a naïve U.S. Navy nurse from Arkansas, is falling for Emile de Becque, a debonair French plantation owner who escaped France many years ago to live on the exotic Bali Ha’I island, while Joseph Cable, a lieutenant sent to the South Pacific to perform a dangerous war mission, is falling for Liat, the daughter of a civilian Tonkinese vendor and friend of the American Seabees, “Bloody Mary." Wanting a better life for her daughter, Bloody Mary is hopeful Cable will marry Liat.

However, life is not just a bowl of jello for the for the four characters. Both, Nellie and Cable are open-minded, but still have to contend with prejudice ideology instilled in them by their families. Nellie is grappling with accepting Emile’s children from his previous marriage to a Polynesian woman, and Cable is torn about loving Liat because of her ethnicity. Both understand their thoughts are based on what they were carefully taught, not the thoughts that either particularly believe are right or true.

The heaviness of the love stories and the war occurring around them are lightened with comical moments mostly provided by Bloody Mary and the American Seabees working on the island, especially during the service men’s stirring numbers, Bloody Mary and There is Nothin’ Like a Dame. Two songs that get the toes a’ tappin!

Ms. Dobson maintains a great pace for the show. Classic musicals tend to be long and can drag if not under the strong supervision of a talented director like Ms. Dobson. The continuous movement of the show is in part due to Scenic Designer, Jeff Reim, who created stunning sets that move seamlessly on and off stage. Timothy Lamont Cannon’s costumes perfectly capture the era of the greatest generation and allow the actors to move and dance freely.

Colleen Clancy as Nellie and Peter Campbell as Emile are superb. They both greatly convey the emotional turmoil their characters are experiencing. And, both are exceptional singers. Mr. Campbell’s baritone voice is transcendent and melts the room, especially during Some Enchanted Evening, while Ms. Clancy, brings smiles on faces during her exuberant number, I’m Gonna Wash That Man Right Outta My Hair. 

The leads are supported by many fine performers, including Andy Spinosi as the heroic Cable. He finds the right tone and expression needed to convey the significant lyrics in You’ve Got to be Carefully Taught...truly showcasing his masterful vocal techniques. Angelica Feliciano radiates as Bloody Mary. Her stunning rendition of Bali Ha’i captivates and transports the audience to the enchanted island. She along with the wonderful Jared Calhoun as the loveable but always scheming Seabee, Luther Billis, provide comedic relief for this show about war and suppressed love. I would be remiss not to mention the exuberant Seabees and nurses, who are fabulous during their exciting dance numbers!

Don’t miss this classic that still has lessons for our society to learn about love and acceptance. 

For tickets, visit www.candlelighttheatredelaware.org or call 302.475.2313.

Sunday, July 14, 2019

A Merry Romp at Rockwood with DelShakes

By Carol Van Zoeren
Carol is a 40+ year veteran of community theater and retired from DuPont.

I delight every year in DelShakes’ summer festival in Rockwood Park. As far as I’m concerned, it ain’t summer if I haven’t seen Shakespeare at Rockwood! 

It’s been a joy to watch DelShakes evolve over these 17 years (yes, I’ve seen every show). From their start at Archmere Academy, to staging at Rockwood in front of the mansion, to creatively locating the stage at the perfect spot on Rockwood grounds. As a friend noted, “It just gets better every year!” 

Bradley Mott (Falstaff) and Amy Frear (Mistress Ford) in The Merry Wives of Windsor.
Photo by Alessandra Nicole.
Throughout their history, DelShakes’ mission has been to make Shakespeare accessible to all. And they continue to innovate toward that mission, most notably with the addition of the Community Tour in the fall.

DelShakes is ideal for those with little exposure to, and maybe a little nervousness about, Shakespeare. The program always includes a detailed plot synopsis. And during the delightful pre-show picnicking, the audience can enjoy and learn from the student apprentices’ “regular” language preview of the plot. This year, the preshow highlight is a funny homage to the musical Chicago.

The Merry Wives of Windsor is a particularly accessible play. Shakespeare set the play in his contemporary England, and focuses on the domestic dramas of the middle class. In her notes, Director Krista Apple describes Merry Wives as “An Elizabethan sitcom.” Apple sets her production in the suburbs of the 1950s, but this sitcom is no Father Knows Best. It’s more reminiscent of 1990s sit-coms like Home Improvement and Everybody Loves Raymond. As in many of Shakespeare’s comedies, the men are...shall we say, misguided... and the women are the real brains of the operation.

In his set design, Lance Kniskern picks up the suburban theme with the structural outlines of two houses. The partial staircase elements tipped me off that these are the quintessential home of the suburbs 
 the split-level. These structures easily represented a number of locations around the neighborhood. My only quibble is that I was a bit confused with the stage left house  the actors sometimes went through the doorway and other times narrowly skirted downstage of the doorframe, making it difficult to know if the scene was indoors or outdoors.

Merry Wives is often considered a showcase for the character of Falstaff, ably played by Bradley Mott. But what struck me in this production is what a wonderful ensemble piece it is. Through voice and physicality, each actor clearly embodies exactly who their character is, as well as the relationships between them. Brett Ashley Robinson and Amy Frear convey the genuine affection between Mistresses Page and Ford. Gregory Isaac revels in the whiplash jealousy of Master Ford. David Pica squeezes every bit of absurdity from Dr. Caius. 

I was pleased that the college apprentices are prominently featured, moreso than I recall from past shows. Each actor embraces their moment to shine, and together, the ensemble delivers non-stop hilarity.

I encourage everyone, especially Shakespeare newbies, to bring a friend, bring a picnic, and enjoy DelShakes The Merry Wives of Windsor. Maybe Shakespeare at Rockwood Park will become as much a cherished summer tradition for you as it is for me.


Friday, June 28, 2019

Summer Chamber Music Returns to Delaware Scene

By Christine Facciolo

For more than 30 years, chamber music had enjoyed a strong and secure place in the summer arts schedule in Delaware. Aficionados of the art form could count on exciting and intelligent performances each June courtesy of the Delaware Chamber Music Festival.

That came to an ended with the demise of the festival two years ago.

The good news: Thoughtful and well-played chamber music has once again found a place on the local arts scene as Serafin Summer Music debuted at The Music School of Delaware in Wilmington on Thursday, June 20.

“Bohemian Gems” was the umbrella title for the music of Dvorak and Smetana. What’s refreshing about this festival is the diversity of its repertoire with the varied lineup of instrumental combinations, including vocal music.

Case in point: Dvorak’s Terzetto in C major for two violins and viola, Op. 74. Each of the three movements explored a myriad of musical ideas and sentiments, with an emphasis on the cheerful. The playing was excellent, especially in the unison sections, which were polished to a high gloss. The performers were Kate Ransom and Hal Grossman, violins and Luke Fleming, viola.

Grossman and pianist Amy Dorfman were well-matched for a performance of the composer’s Sonatina in G major for Violin and Piano, Op. 100. Its use of Native- and African-American themes place it squarely in the company of the more familiar “American Quartet.” 


Grossman and Dorfman listened attentively to each other as they spun out the charming musical themes. Grossman imparted a poignant — yet tasteful — expressivity to the Larghetto second movement, sometimes extracted as the “Indian Lament,” while Dorfman echoed with measured atmospherics. In perfect synchrony, the performers flexed their interpretative muscle while delivering the stylish nostalgia the composer sought to impart.

The second half of the program featured compositions by the father of Czech nationalist music, Bedrich Smetana. Ransom and Dorfman collaborated on two gentle pieces for violin and piano, From My Homeland. Written in 1880, the title suggests that these lyrical works form a sort of chamber counterpart to the composer’s great cycle of symphonic poems, Ma Vlast, but in fact reflect the peace that the composer, wracked by physical and mental illness, found in the countryside of central Bohemia.

Ransom and Dorfman offered a charming, unassuming and well-played interpretation of this work by a major composer that has not been played to death.

The inaugural concert closed with the composer’s E minor String Quarter, No. 1 (“From My Life”). A happy piece this is not. True, the early movements do offer themes that reflect the composer’s early life, his youth, the joy he found in dancing and his first love, but the tragedy of his inevitable deafness increasingly added somber tones to the score, petering out on just a single chilling note.

Ransom, Grossman and Fleming were joined by cellist Charae Krueger and this ad hoc quartet performed with all the qualities of a veteran ensemble. Both in technique and artistic temperament, these musicians, drew inspiration from one another, coalescing into an instrumental choir, with the individual voices clearly heard, yet singing as one.

Serafin Summer Music continues through the weekend with performances on Friday, June 28, Saturday, June 29 & Sunday, June 30's "Finale Fireworks" of Brahms' Sextet in Bb Major, Op. 18 for two violins, two violas & two cellos and Tchaikovsky's Souvenir de Florence for two violins, two violas, two cellos. Tickets are available at brownpapertickets.com.

Thursday, June 6, 2019

Governor's Awards for the Arts Nominations Now Open

The content of this post comes from a release from the Delaware Division of the Arts...

Governor Russell W. Peterson began the tradition of honoring Delaware artists in 1970. Since then, Delaware has paid tribute to 40 distinguished individuals and organizations that have had a profound and lasting impact on the state’s artistic and cultural life.

Delaware’s Governor’s Awards for the Arts recognize individuals and organizations that have made significant contributions and a lasting and profound impact on the artistic and cultural life of Delaware.

As part of its 30th anniversary celebration, the Delaware Division of the Arts is pleased to be facilitating the 2019 Governor’s Awards for the Arts, on behalf of Governor John C. Carney. Nominations are now being accepted for this prestigious honor in these five award categories:
Categories

Arts Administration – Individual who has shown sustained, impactful, and visionary executive leadership of an arts organization.

Arts Education – Individual or organization that has made significant contributions through leadership and creativity to advance arts education in Delaware’s schools and communities, or in community organizations.

Arts Patron – Individual, foundation or entity that, over time, has sustained and enhanced the arts in their community or the state of Delaware through contributions of their time, effort, or financial resources.

Community Engagement – Individual or organization that works to create or strengthen interactive arts participation among diverse community members while increasing the public awareness about the role of the arts in community life.

Government – An elected or appointed official whose work has resulted in significant support for the arts through local or state government action.

Timeline

Now: Nomination Guidelines and Form available

June 28, 2019: Nominations due

July 2019: Selection Panel meets

September 3, 2019: Awardees announced on website

October 28, 2019: Arts Summit & Governor’s Awards for the Arts



Wednesday, June 5, 2019

Serafin Summer Music Brings World-Class Artists to Delaware

Content of this post originates from a press release from Serafin Summer Music...

Serafin Ensemble, University of Delaware Department of Music and The Music School of Delaware, present Serafin Summer Music. The 10-day festival runs from Thursday, June 20 through Sunday, June 30.

Festival artists hail from China, the Philippines, New Zealand and from around the U.S., including New York City, Oklahoma, Ohio, Kentucky, Atlanta, Florida, Pennsylvania and right here in Delaware. 

“Bringing superb artists together to prepare and share marvelous masterworks with a community of eager listeners is a thrilling creative enterprise in every respect,” comments Kate Ransom, Festival Artistic Director.

The festival’s exceptional lineup features a range of repertoire including works by great classical composers Beethoven, Schumann and Brahms, as well as works by lesser-known composers, such as Smetana, Khachaturian and Faure. Each concert has a unique theme and ensemble configuration of up to six string, wind, piano and vocal performers.

Festival sponsors are Dr. William Stegeman, Ph.D., Jacobs Music Company, Harry’s Savoy Grill, Tonic Bar and Grille, Montrachet Fine Foods, Delaware Today, WDEL and GateHouse Media Delaware.

All performances will be held at The Music School of Delaware's Wilmington Branch, 4101 N. Washington Street in Wilmington. Season subscriptions are $135 for all eight performances; a four-pack of tickets is $70 and single tickets are $20. Purchase by visiting www.brownpapertickets.com or calling 302.762.1132 (the Music School).

Serafin Summer Music Artist Roster
  • Amos Fayette, violin
  • Hal Grossman, violin
  • Kate Ransom,violin
  • Benjamin Shute, violin
  • Lisa Vaupel, violin
  • Amadi Azikiwe, viola
  • Luke Fleming, viola
  • Mary Harris, viola
  • Charae Krueger, cello
  • Lawrence Stomberg, cello
  • Guang Wang, cello
  • Miles Brown, bass
  • Jennifer Nicole Campbell, piano
  • Amy Dorfman, piano
  • Read Gainsford, piano
  • Augustine Mercante, countertenor 
  • Eileen Grycky, flute
  • Christopher Nichols, clarinet
Serafin Summer Music Schedule
Thursday, June 20, 7:00pm - BOHEMIAN GEMS
  • Dvořák “Sonatina” in G Major, Op. 100 for violin and piano
  • Smetana “Two Pieces From My Native Land” for violin and piano
  • Dvořák “Terzetto” in C Major, Op. 74 for two violins and viola
  • Smetana String Quartet No. 1 in E Minor “From MY Life”
Friday, June 21, 7:00pm - IT’S CLASSIC!
  • Michael Haydn Duo No. 2 in D Major for violin and viola
  • Beethoven Piano Trio Op. 1, No.1
  • Schubert song set
  • Schubert “Trout” Quintet for violin, viola, cello, bass, piano
Saturday, June 22, 5:00pm - FRIENDS and MENTORS
  • Brahms Scherzo ("Sonatensatz") in C Minor for violin and piano WoO2
  • Schumann “Fairy Tales” for clarinet, viola and piano
  • Niels Gade Sonata in D Major for violin and piano
  • Dohnanyi Piano Quintet No.1 in C Minor
Sunday, June 23, 4:00pm - OUT OF BAVARIA
  • Mozart D Major Quartet for flute, violin, viola, cello
  • Reger Sonata in G Minor for solo viola
  • Schumann “Fantasy Pieces” Op. 73 for cello and piano
  • Brahms Piano Quartet in G Minor, Op. 25
Thursday, June 27, 7:00pm - FRENCH FORAY
  • Leclair Duo in E Minor for two violins
  • French Song Set
  • Faure Piano Quartet No. 1 in C Minor, Op. 15
Friday, June 28, 7:00pm - THE THREE B’s
  • Bach G Minor Sonata for solo violin
  • Beethoven String Quartet in C Minor, Op. 18, No.4
  • Brahms Piano Trio in C Major, Op. 87
Saturday, June 29, 5:00pm - RUSSIAN ROMP
  • Khachaturian Trio for clarinet, violin, piano
  • Arensky Trio in D Minor, Op. 32 for violin, cello, piano
  • Borodin Piano Quintet in C Minor
Sunday, June 30, 4:00pm - FINALE FIREWORKS
  • Brahms Sextet in Bb Major, Op. 18 for two violins, two violas, two cellos
  • Tchaikovsky “Souvenir de Florence” for two violins, two violas, two cellos

Thursday, May 30, 2019

Enjoying the 'Three Rs' of DSO Music

By Christine Facciolo

Forget the three Bs. The Delaware Symphony Orchestra (DSO) capped off its 2018-19 season with works by 'the three Rs': Respighi, Rachmaninoff and…Rozsa?

You may not know his name, but chances are you’ve heard his music, especially if you’re a film buff. Miklos Rozsa (1907-1995) was a Hungarian-American composer best known for his film scores. Rozsa’s Hollywood career earned him considerable success and recognition, including 17 Oscar nominations and three wins for “Spellbound” (1945), “A Double Life” (1947) and “Ben-Hur” (1959).

Rozsa also remained faithful to his classical music roots with his compositions earning the plaudits of the likes of Jascha Heifetz, Gregor Piatigorsky and Janos Starker, who commissioned the work played this night.

The orchestra eased into the evening with a performance of Respighi’s highly descriptive symphonic poem the “Fountains of Rome.” Composed in 1916, the work remains a fine example of the brilliance with which Respighi uses the resources of the orchestra. (That’s not surprising since he was a student of Rimsky-Korsakov, who wrote the book on orchestration, both literally and figuratively).

The DSO invested its performance which much skill and care. The first movement, The Valle Guilia Fountain at Dawn, conveyed a distinctly bucolic tone, while the buoyancy of The Triton Fountain in the Morning conjured up images of water spouts. The solemnity of The Trevi Fountain at Mid-Day soon gave way to euphoria reminiscent of a classic Hollywood film score. The Villa Medici Fountain at Sunset provided a pastoral conclusion with notable contributions from the woodwinds. The expressive playing led to a distant tolling of a bell — in this instance one of the Kerrigan Bells of Remembrance — heralding the ebb of the music.

Cellist Nicholas Canellakis. Photo courtesy of artist.
Rozsa’s Cello Concerto, Op. 32 offered another palette, not to mention tangy harmonies and the rhythmic flair of the composer’s native Hungarian language. The first movement full of strong ideas and a cadenza of riveting virtuosity. By contrast, the central movement is lyrical and tinged with anguish. The final movement bristles with energy and — once again — rhythmic élan.

This is a stout, boldly communicative work that deserves and demands to be heard much more often. Kudos to DSO Music Director David Amado for programming it and to virtuoso cellist Nicholas Canellakis for learning it for this concert. (The work is so well-hidden that not even the majority of cellists know it exists.)

Canellakis is a highly articulate soloist who not only performs the music; he inhabits it. His impeccable technique enables him to remain confident and in control while executing the fiendishly difficult passages Rozsa throws at him (and there are many). That composure allows him to convert pyrotechnics into phrases that are rich in beauty and meaning.

The audience responded by breaking decorum with applause between movements. After three curtain calls, Canellakis obliged with a performance of the Sarabande from J.S. Bach’s Cello Suite, No. 1 in G major.

Following intermission, DSO Board Chairman Charles Babcock honored philanthropists Gerret and Tatiana Copeland for their support of the orchestra. Mrs. Copeland told the audience that she and her husband had their first date at The Grand. She also told the heartfelt story of how Rachmaninoff — “Uncle Sergei” to her — supported her family during a financial crisis.

The DSO’s rendering of the composer’s final symphony was equally heartfelt. Amado caught all the passion of the first movement while simultaneously retaining its lyrical qualities, defined the poetic elements of the second movement and concluded the symphony with all the energy and enthusiasm a finale deserves.


Museum Purchases Work by Hank Willis Thomas & Chakaia Booker

The content of this post comes from a previous press release from The Delaware Art Museum...

The Delaware Art Museum is delighted to announce recent purchases of art by women artists and artists of color. This spring, the Museum purchased a series of prints by Hank Willis Thomas, an 1871 oil painting by Robert Duncanson, and a 1940 poster by Robert Pious.

These three recent purchases reflect the Museum's continued effort to collect more art by women artists and artists of color. In 2018, the Museum purchased 24 works of art, of which one-third were created by women and one-third were created by African American artists. In total, 74 percent of acquisition funds spent in 2018 went toward acquiring works by women artists and artists of color. 


Hank Willis Thomas' Black Survival Guide,
or How to Live Through a Police Riot (2018)
"It is particularly exciting to acquire as we plan for the reinstallation of several permanent collection galleries in 2020," explains Heather Campbell Coyle, Chief Curator and Curator of American Art. "These works will allow us to share a more inclusive and exciting story of art and artists with our community."

Hank Willis Thomas' Black Survival Guide, or How to Live Through a Police Riot (2018) is the Museum's first major purchase of 2019. Commissioned by the Museum and on view during the summer of 2018, the work is a series of 13 retroreflective screen prints based on photographs from The News Journal and a booklet in the collection of the Delaware Historical Society. Black Survival Guide, or How to Live Through a Police Riot became a catalyst for dialogue during the city-wide reflection on the 1968 occupation of Wilmington by the National Guard.

"Museum visitors overwhelmingly shared their enthusiasm for the project and love of the screen prints," shares Margaret Winslow, Curator of Contemporary Art. "We are thrilled that this series will remain in the city." Once installed, these prints will be added to the Museum's new Social Justice in Art Tour for local students.

In October, 2018, the Delaware Art Museum acquired Chakaia Booker's One Way (2008) for its contemporary collection. The large-scale sculpture was installed in the Museum's Copeland Sculpture Garden to align with the mid-October opening of the Juried Craft Exhibition. Made of recycled tires and stainless steel, One Way is the first artwork by an African American artist added to the Museum's sculpture garden. Chakaia Booker is best known for sculptures made of discarded materials 
— most often recycled tires. Her art explores race, globalization, feminism, and ecology. The interconnecting circles in One Way depict movement and perpetual cycles, and the sculpture conveys her concerns about diversity, mobility, and hope. This significant addition also supports the Museum's ability to showcase the diversity in process, materials, and interests occupying contemporary art today. The contemporary collection also welcomed gifts of work by Charles Burwell and Curlee Raven Holton.

As well as adding to the contemporary collections, the Delaware Art Museum continued the strategic expansion of its collection of modern art by African American artists with purchases of work by Loïs Mailou Jones, Hughie Lee-Smith, William Majors, and James A. Porter. These works add strength to a collection that already features paintings and prints by Beauford Delaney, Aaron Douglas, Jacob Lawrence, and Norman Lewis. Produced between the 1940s and the 1960s, these works provide context for the early career of beloved local painter Edward Loper, Sr., which is well represented in the Wilmington region. Paintings by Loper, Sr., and his son Edward Loper, Jr., launched the Museum's Distinguished Artists Series this spring.

In addition to these works by artists of color, the Museum has focused on acquiring more art by women. Recent exhibitions on British Pre-Raphaelite artists Marie Spartali Stillman and Barbara Bodichon have benefitted from key purchases in years past.

In 2018, the Museum added collections of work by American illustrators Laura Coombs Hills and Rose O'Neill via purchase and gift. O'Neill, who previously had just one work of art in the Museum's collection, was a successful book and magazine illustrator, best known as the inventor of the Kewpies, cupid-like characters who started life in a 1909 cartoon in the Ladies' Home Journal and soon launched into popular culture as dolls, books, and other licensed merchandise. The Kewpie enterprise, which only began to wane toward the end of the 1930s, made O'Neill an independently wealthy woman. Illustration was an important career path for women and this is central to the story of the Delaware Art Museum.

Tuesday, May 14, 2019

Lend Us an Ear: 'Lend Me a Tenor' is a Heckuva Hit!

By Carol Van Zoeren
Carol is a 40+ year veteran of community theater and retired from DuPont.

Lend Me a Tenor (running at Candlelight Theatre now through June 23) is a six-door farce by prolific playwright Ken Ludwig. Originally produced in the late 1980s, the premise is that a world-famous operatic tenor, Tito Merelli (Paul McElwee), is coming to guest star with a mid-tier opera company. All involved are desperate and determined that this be a success, to raise their standing (individually and as a company) in the opera world.

“Desperate and determined” is an excellent foundation for a farce. And each actor has taken this idea to heart. Heading the action is Max (Jared Calhoun), beleaguered yet ambitious assistant to the Company’s General Manager, Saunders (David Wills). Calhoun and Wills clearly enjoy playing off one another. Their scenes crackle, reminiscent of Bialystock and Bloom in The Producers. I must commend these actors who, in an extremely long nose-to-nose silence, manage to keep a straight face so the audience can laugh, at first uncomfortably, and eventually raucously.

McElwee conveys the arrogance of an international opera star, but he really shines when he too becomes desperate and determined. As his wife, Rebecca Schall embodies the hot-tempered Italian firebrand. Hallie Hargus as Maggie, Saunders’ daughter and Max’s girlfriend, captures the rebellious streak of emerging womanhood. Julia Kershetsky plays Diana, the opera’s sultry soprano star. Hargus and Kershetsky are hysterically naughty in their parallel illicit trysts. Gerri Weagraff nails the flighty society type, and rocks a costume that’s another nod to The Producers. Rounding out the cast is Anthony Connell as the star-struck Bellhop. While Connell is an excellent lead actor, he is also a master of smaller roles. He bides his time in the background, and finds the peak moment and precise delivery to wring all the goody out of his few lines.

While the individual performances are all excellent, what truly elevates this production is the ensemble as a whole. There are short-burst, back-and-forth between two or more actors, and the timing is impeccable, punctuated by the precise slamming of doors. I have noticed this before in Bob Kelly shows: each actor is good, and their ensemble work makes the show great. Kudos to him, and to the cast for doing the hard work to get this timing spot on. And another thing 
— under a less-disciplined director and cast, farces can accelerate to runaway trains, leaving the audience as exhausted and confused as the actors. Kelly and cast intersperse short-burst mania with slow burn comedy, carefully mining the text for the best laughs. 

On the technical side, the costumes were effective. I mentioned Weagraff’s above, but also note the Pagliacci costume, makeup and hair that made the mistaken identities totally believable. (Oops, maybe that was a spoiler. Sorry.) And kudos to the scenic designer, Envision Productions. It’s not easy to build a set with doors that are robust enough to endure this much slamming.

Oh, the curtain call is a special treat. Jus’ sayin’.

Bottom line? Candlelight’s production of Lend Me a Tenor is a heck of a lot of fun. Sit back and enjoy!
See www.candlelighttheatredelaware.com

Footnote: In the original late 80s version, Merelli was going to star in Othello, in blackface. Guess that seemed funny at the time. Thankfully, this has been updated to Pagliacci, with the tenor in clown face.

Wednesday, May 1, 2019

DiAE 'Spotlights' the Arts in Delaware in Signature Event

This post content comes from a release from the Delaware Institute for the Arts in Education...

Delaware Institute for the Arts in Education (DiAE) will host Spotlight, An Evening of the Arts on Wednesday, May 8, 2019 at The Queen in Wilmington. DiAE will also honor Delaware's 17th Poets Laureate, the Twin Poets
Delaware State Representative Nnamdi Chukwuocha and Al Mills.

A VIP pre-party kicks off the evening with fare from Food for Thought, a cash bar and a teaching artist experience with Jason Keller of J.K. Percussion. The main event will include a rousing West African drumming and dance performance by artists Tony Vacca, Abdou Sarr and Massamba Diopwho is featured throughout the Academy Award-winning score of Marvel's Black Panther. Guest artists-in-training from Warner Elementary School will have the opportunity to share the stage with the performers. 

DiAE has designed educational experiences with Warner and Stubbs Elementary Schools to prepare students for the performance. Prior to the event, students will participate in an immersive workshop series facilitated by DiAE teaching artist Jason Keller. Students will have the opportunity to learn traditional West African rhythms and play them in unison, experience poly-rhythm techniques and create an ensemble piece to share with their peers. Fifth Grade students from Warner will participate in West African music and dance workshops with Tony Vacca and Abdou Sarr.

The DiAE school arts-integrated residencies, performances and workshops are supported by Light Up the Queen Foundation, with additional support from Children and Families First Delaware, Warner Shortlidge Arts Alliance, Red Clay Consolidated School District and the Delaware Division of the Arts, in partnership with the National Endowment of the Arts. 

Tickets for VIP pre-party & show are $50 (or $35 educator discount); show-only tickets are $15.
All can be purchased online

Monday, April 29, 2019

Bootless Hosts Parody of Child Pageantry with "Honey"

By Mike Logothetis
"Logo" grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.


Over the weekend (April 26-28, 2019), Trolley Square’s underground theater, Bootless Stageworks, offered its space to stage a very funny new musical called Close Your Legs, Honey. From Friday night through the Sunday matinee, a pre-teen beauty pageant was taking place in the basement of St. Stephen’s Lutheran Church.

The show follows girls in a Tennessee pageant as they dance, sing, answer interview questions, pose for the judges, and spend time backstage. In the cut-throat world of child pageants, the young ladies are the heroines as well as the villains in this short musical. But the focus is on little Honey and her commanding “Mama,” who was a beauty queen in her youth.

Show co-creator Hannah Parke plays the titular Honey perfectly. In Honey, we see a child trying to please her demanding mother (Katherine Perry) as well as step forward in her own voice. Honey has an innocent, but independent streak and can’t always understand why the other pageant girls don’t really like her. Jenna Kuerzi (Sweetie), Colleen Murphy (Angel), and Kendyll Young (Baby) act wonderfully as foils to Parke’s Honey. Each girl has her own personality quirks and demons.

Smarmy host (Grant Struble) keeps the action rolling, introducing each segment of the pageant. A lot of the fun comes through visions provided by Mama’s “go-go juice.” Each time she and/or Honey sip a little too much, Tennessee’s own Dolly Parton (Camille E. Young) appears before them. Dolly has some of the best songs in the show and commands the stage, just like in real life.

The physical humor in the show was outstanding. Having adults portray children’s eccentricities in a blocked and choreographed musical is not easy. Movements need to be precise and children are anything but that. The women portraying the pageant girls were off-step as contestants, but right on cue when backstage 
 i.e., not being judged. Kudos to director/co-creator Shamus Hunter McCarty and choreographer Dana Kreitz for their work portraying little kids doing anything to please adults.

The final musical number has the pageant girls rejecting the pageant system and their parents to rebelliously embrace who they are. But who’s the pageant winner? In the end, the audience wins and the cast and crew deserve a big round of applause.

Bootless Stageworks did not produce this traveling show, but offered its space to share the fun with Delawareans lucky enough to have attended. The book, music, and lyrics to Close Your Legs, Honey were written by Parke and McCarty. Orchestrations and arrangements were by Damien Figueras and Matthew Mastronardi provided additional music. Eleanor Safer was the stage manager for this short theatrical run in Wilmington. It’s no surprise the show was a hit at the 2018 Philadelphia Fringe Festival.

For more information on the musical, visit www.closeyourlegshoney.com.

Bootless is a collaborative group of self-proclaimed theater geeks that are always looking for the strange, unusual, weird 
 but always entertaining — adventure in live theater, comedy and music. 

Visit www.bootless.org for a list of future events and shows.

Saturday, April 27, 2019

Go Back to the '90s with CTC's Wacky & Wild "Pub Plays"

Legendary O'Friel's Irish Pub
owner Kevin Freel emcees
Pub Plays.
Photos: Jim Coarse/Moonloop Photoggraphy
By Mike Logothetis
"Logo" grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.


Party at the pub like it’s 1993 with City Theater Company (CTC)! CTC wraps its 25th season with “Pub Plays” — a love letter/throwback to the company’s early days downtown at O’Friel’s Irish Pub. In fact, former pub owner Kevin Freel acts as a host/historian for the production, speaking at the onset and at other intervals between the five short plays.

The evening showcases a full program of plays in a nod to CTC’s tradition of comedic, experimental, and new works. Both Delaware and national playwrights’ works are presented.

The featured plays (in order) are: Sure Thing by David Ives; Beef Junkies by Jonathan Dorf; Green Eggs and Mamet by Matt Casarino; All About Emily by Drury Pifer and Betty by George Tietze.

Adiah Simpson 
in CTC's Pub Plays.

Tietze is also the director of “Pub Plays.” His
Betty is a new original work, in which he stars as David along with Adiah Simpson (HerBot6000) and the disembodied voice of Mary Catherine Kelly (Betty). The work provides an interesting look at artificial intelligence (or a higher being?) trying to be human, but unable to understand the subtleties of humanity. Simpson’s physical performance is superb. Her neutral face with programmed expressions and movements is mesmerizing. Tietze’s David is a sympathetic character, but also makes the audience wonder if this setting is in a prison or sanitarium or futuristic apartment complex. The staggered ending is a clever theater construct which adds to the story and the underlying question about the nature of the relationship between David and Betty.


Another good pairing of actors was in the opening Sure Thing starring Rebecca Cook and Anthony Paparo (photo at right). David Ives has written a comedy of opportunity and potential happening between a man and woman during a chance encounter. Bill and Betty may or may not be looking for companionship in a series of micro-conversations (along one arc) with alternate reactions and results. It’s a fun mixture of Groundhog Day and Mad Libs. 

Paparo has a sleezier turn in a second two-actor play with David C. Hastings. Green Eggs and Mamet is Delaware playwright Matt Casarino’s experiment in rewriting Dr. Seuss’ "Green Eggs and Ham” as if David Mamet had penned it. Clever wordplay, literary references, and mystery bounce between the two men who meet at a bar. There is a lot of cursing that rhymes!

Beef Junkies is a twisted and bizarre tale by Jonathan Dorf that seems to take place in an apocalyptic future devoid of meat 
 beef, chicken, pork, fish, and ostrich(!). Kerry Kristine McElrone (Cowgirl) twitches her way into your brain, jonesing for freshly killed beef from the last cow on Earth. Her partner in crime is Tietze (Cowboy), a conniving man intent on getting his due through any means. Shepherd, played by Christopher Banker, is the only sympathetic/kind character and is willing to do anything to protect his charge. Can Betty the Bovine and Sal the Salmon be saved?

The late Drury Pifer’s All About Emily takes a long path to make a straightforward point about the not-so-disparate world of academic minds and mental institutionalization. From the get-go, the audience knows zaniness is afoot with the male characters being played by women and the women by men 
 save for the lone, sane PhD student Cindy, played by Cook. Professors McClack (Allyson Sands), McDingbat (Tricia Sullivan), and Nougat (Kelly) speak nonsensically with conviction based in their learned heads. Sentences like: “I only give A’s…Why subvert the system?” dominate the stage, along with a lot of flies to swat! Emily Dickinson (Banker) is a joy to watch spew bizarre statements (about seducing cabbages) while in feminine poses. But the overarching joke gets stale and runs a tad long even with the actors doing wonderful physical comedy. I can only conclude by saying, “Aloha!”

CTC specializes in intimate, immersive theater, and “Pub Plays” is able to connect with the audience through these five interesting vignettes. City Theater Company has more production space in Studio One than in its previous “Black Box” location, but the action remains in the forefront and close to the audience.

A bar set inside the "pub" offers a wide selection of soft and alcoholic drinks to enjoy during the show. Twin Lakes Brewery Company will provide complimentary beer tastings at the May 3 and 4 performances.

“Pub Plays” continues tonight (April 27, 2019) and will conclude its two-week run from Wednesday through next Saturday (May 1-4, 2019). All performances begin at 8:00pm. The show runs about 2.5 hours, which includes one “Colossal CTC Bonus Super One-Time Scene Change.” 


City Theater Company’s new home — Studio One at the Grand Opera House — is located at 818 North Market Street, Wilmington, DE 19801. General admission is $30, and tickets can be purchased at the box office or online. Special ticket pricing is available for military personnel, students, and youth (ages 15 & under). But be advised for younger audience members: Some content contains coarse language, alcohol consumption, drug references and sexual situations.

Call The Grand Box Office at 302.652.5577 or visit thegrandwilmington.org for details.

Friday, April 26, 2019

Sensational Singing Steals the Stage at the Music School

By Christine Facciolo
What do you get when members of the voice faculty of The Music School of Delaware come together for an evening of song? A night of “Sensational Singing.”

Sopranos Joanne Ward and Marybeth Miller, alto/jazz vocalist Maria Rusu, countertenor Augustine Mercante and bass Colin Armstrong offered a program that spanned every conceivable genre and period: Baroque, Classical, Romantic, jazz, folk and Broadway.

Ward, who chairs the voice faculty, applied her strong, crystalline soprano to a set of contemporary songs that traced the journey of a couple from their courting days (Seymour Barab’s setting of James Stevens’ poem "The Daisies” from his song cycle The Rivals) to commitment (Norman Dello Joio’s setting of Elizabeth Barrett Browning’s How Do I Love Thee) to their parting through death (Gwyneth Walker’s setting of Alfred Lord Tennyson’s Crossing the Bar).

Ward lightened the mood with Sheldon Harnick’s contemporary madrigal The Ballad of the Shape of Things. Richard Gangwisch’s piano winked while Ward’s vocal — wisely 
— played it straight. Marvelous!

Ward and Miller then combined their very different sopranos in a rendering of Lucy Simon’s Clusters of Crocus/Come to My Garden from "The Secret Garden.”

Miller returned a bit later applying her ethereal soprano to John Corigliano’s Three Irish Folksong Settings: I. The Sally Gardens, II. The Foggy Dew and III. She Moved Through the Fair. Corigliano’s “otherworldly” approach evoked a journey through an alien landscape. The songs pitted Miller’s voice against the rhapsodic line of Melinda Bowman’s flute, placing these well-known folk tunes in a new environment.

Miller showed off her versatility joining with alto Maria Rusu in an energetic rendering of Wrong Note Rag from Leonard Bernstein’s Wonderful Town.

Countertenor Augustine Mercante offered two bittersweet selections with Schubert’s In Abendrot and Alec Wilder’s Blackberry Winter, countertenor David Daniels’ signature song. Although it is a song of joy, In Abendrot is a leave-taking song, moving us to tears as it reminds us of the fleeting beauty of a sunset — and of our own mortality.

Mercante does not just sing (albeit exquisitely) a lyric so much as he lives and loves it. That depth became evident in his emotional and mature exploration of Wilder’s Blackberry Winter with its pained realization of “I’ll never get over losing you/But I’ve learned that life goes on.”

Mercante opened his set with A Chloris by Reynaldo Hahn, who as ex-lover of Marcel Proust, has much to share about separations, sentiments and remembrance.

Bass Colin Armstrong treated the students of singing in the audience with a concert rendition of Amarilli, mia bella, the most well-known of Giullio Caccini’s solo madrigals and a staple of just about every vocal teacher. It was a nice change to hear it so beautifully delivered in performance.

Armstrong also offered a rendition of the nostalgic I’ll Be Seeing You. He decided to include the rarely heard chorus, which opens with the line “Cathedral bells were tolling/And our hears sang on/Was it the spell of Paris/Or the April dawn?” An eerie reminder of what had just happened in the City of Lights two days earlier.

Armstrong’s set also included J.S. Bach’s So du willst from Aus der tiefen rufe ich, Herr, zu dir, BWV 131 which he performed with Maria Rusu.

Then it was Rusu’s time to shine and shine she did in a set of jazz classics, including On Green Dolphin Street and Tony Bennett’s signature The Good Life by Sasha Distel. Her scatting skills were amply displayed in Sandu, by trumpet great and Wilmington native Clifford Brown.

The evening concluded with an a capella performance of the soaring Make Our Garden Grow, from Leonard Bernstein’s Candide.

For more magic of music, see www.musicschoolofdelaware.org

Tuesday, April 16, 2019

"HONK" If You Like DTC's New Family Production -- We Do!

By Guest Bloggers Erin, Ellie & Maggie Lacey
Erin is a mom of 4 kids and works as a Business Processor for Point to Point Wealth Management in Wilmington. When not at work or home, she can usually be found costuming her kids' shows at the Delaware Children's Theater. Ellie is an 8th Grade Vocal Major and Maggie is a 7th Grade Piano major at Cab Calloway School of the Arts.


Have you ever felt like an ugly duckling, like you are different and you don’t fit in? That pretty much describes me from age 9 to age 16. Gangly, with a bad perm and glasses, I devoured stories like The Ugly Duckling to help keep the hope alive that some day I would fit in. 


The HONK cast rehearses "Wild Goose Chase" at Delaware Theatre Company. 
Photo by Ann Marley.
Because of this, I was very excited to get to meet two of the stars of Delaware Theatre Company’s Honk: The Ugly Duckling Musical to hear about what makes this show so special. I was extra excited to have my daughter Ellie with me to ask all the questions.

Kim Carson from Hellertown, Pennsylvania, plays Ida, a mom trying to keep her ducks in a row. Camiel Warren-Taylor from West Chester, 
Pennsylvania, is “Downy”, Ugly’s sassy sister.  Kim is a veteran of DTC and is the winner of the 2018 Barrymore Award for Outstanding Performance in a Musical as Helen in Fun Home at the Arden Theatre Company. 

She said that being a mom to 2-year-old Johnny has made her understand her role as Ida, Ugly’s mother, in a different way. “Bud [our director] asked me if I would be as emotional when Ida thinks Ugly is dead, and I think that those emotions are just so much closer to the surface now” she said. Camiel likes how Ugly handles the teasing and taunting from the others. She said that she has been teased for her name, but she as she says, “There is a reason for my difference and it makes me special.” Camiel is a spitfire with big dreams, and I can’t wait to see her make her DTC debut.

My daughter Ellie, at age 14, is in 8th Grade, and from what I can tell, middle school hasn’t gotten easier since I was an ugly duckling. She loves this show because of its message of inclusion and forgiveness. “More than ever, we need to accept people for who they are and celebrate diversity,” she says. “It’s important for parents to know that their kids will be all right, even if they are different.”

Honk: The Ugly Duckling Musical is the kind of show that is so entertaining that you don’t really notice you are getting a lesson along with it. The music is interesting enough to keep adults' attention and kids will love the adorable characters. 


Honk: The Ugly Duckling Musical opens April 17 and runs through May 12, 2019. Delaware Theatre Company is offering a “relaxed performance” on April 30 for ducklings and their families who would like a sensory-friendly performance. 

Tickets start at $25 ($20 for student tickets with valid ID) and can be purchased at www.delawaretheatre.org or by calling 302.594.1100.