Bootless' "Evil Dead" Rises for the Final Time

By Mike Logothhetis
Theater reviewer Mike Logothetis 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.

Evil Dead, The Musical is a fun, raunchy production that delivers a final “Ash-kicking” to those audiences (and Kandarian Demons) who dare venture into the Bootless Stageworks chambers for the last time. Sadly, the (literally) underground theater in Trolley Square will be closing its doors after the final curtain of this campy musical based on the 1980s “Evil Dead” film franchise. 

The cast of Evil Dead, The Musical, killing it one last time.
Photo courtesy BootlessStageworks.

Theater director Rosanne DellAversano’s heartfelt pre-curtain talk to the audience thanked those who have supported Bootless through the years – explaining that she needs a rest and hinted that one-off productions may happen in the future. (Fingers crossed!)

The show provides plenty of laughs plus gallons of fake blood. The plot involves five college students spending a rustic weekend in the woods and accidentally unleashing an ancient terror. While trapped in a cabin fighting for their lives, the kids bicker amongst themselves and
try to defeat the evil that lurks around them. The musical takes creative liberty with the arching plot line of the original movies – the first act being an adaptation of The Evil Dead while the second act is a riff on Evil Dead II. The finale even has a nod to the third film in the canon: Army of Darkness.

Snarky hero Ash (John Jerbasi) leads the charge with his vicious one-liners and no tolerance for the demonic attackers. His human posse consists of his girlfriend Linda (Mariza Esparanza), his best friend Scott (Aaron Wachs), Scott’s new bimbo girlfriend Shelly (Jen Rotsch), and Ash’s sister Cheryl (Lauren Knecht). You sense the excitement of the group during their road trip to the “Cabin the Woods” for a long week of partying.

The problem is that the cabin is possessed. A missing professor has left mysterious recordings documenting his research of the Necronomicon Ex Mortis – literally “Book of the Dead.” This was his cabin and when the kids recite from the found book, they release an evil that absorbs items all around them like trees and even the stuffed moose head (Will Rotsch) hanging on the wall. Cheryl is the first to be terrorized and infected by the evil. She is thrown into the basement where she continuously hurls wisecracks from a heating vent. Cheryl and Shelly’s post-transformation duet “Look Who’s Evil Now” was a show highlight.

Director DellAversano is also the choreographer and does a masterful job with the dance numbers and critical movements. The hysterical figure skating lifts during “Housewares Employees” plus the tango-esque Ash and Scott dance for “What the Fuck Was That?” had the audience howling. The big demonic ensemble number “Do the Necronomicon” was also innovative and energetic.

The story adds more characters as the professor’s daughter Annie (Samantha McNerney) and her stifle manservant Ed (Antoine Deivert) arrive on the scene with more pages from the Necronomicon. But realizing the bridge to the cabin is out, they request the help of local hick Jake (Jose Bernard) to guide them. Bernard steals every scene he’s in and nails his song “Good Old Reliable Jake.” Deivert’s physicality during and after his solo “Bit Part Demon” was an extended joke that delivered each time.

The cast is rounded out by Wes Belli, Shawn D. Kline, Meg Hazzard, Andrew Dean Laino, Tara Herwig, Shamma Casson, Aubrey Murphy, and Benji Deivert. Note: They are not all “bit part demons.”

As more and more people morph into evil beings after contact, Ash must push forward and kill all who threaten him. He even severs his own infected hand…which doesn’t quite die. When he decapitates his girlfriend Linda, her talking head remains and delivers some classic jokes. Sure, there is plenty of gore, but there’s nothing to truly be squeamish about. It’s all in good fun.

Full disclosure for those in the “Splatter Zone”: This is a messy show with fake blood splattering all around. Bootless Stageworks is not responsible for damage to clothing or any other personal items. It is strongly recommended that you don’t bring purses, bags, or anything else that can’t get wet, dirty, or needs to be left on the floor. Ziplock bags are suggested for cell phones. Bring your own poncho or other covering as Bootless does not offer or sell such items. If you are sitting in the comfortable tiered seats, there’s no need to worry about protecting yourself or your personal items.

My lone knock on the show is the low audio level for some of the dialog. The theater space ate up several of the asides and subversive quips that make the script so endearing.

Live musical accompaniment is provided by The Zombie Lovin’ Band – Joe Eigenbrot, Jim Fazzino, Zack Geffre, and Deb Bialecki – under the direction of James W. Fuerst. The remaining performance schedule of Evil Dead, The Musical is Friday June 27 and Saturday June 28 at 8:00pm. Online tickets start at $25 and patrons can opt to sit in the “Splatter Zone” ($30) or not. Note, the theater boasts its “BEST EVER!!!” blood delivery system to guarantee “the MOST SPLATTER” for those opting to sit up front. Tickets can be purchased via website (www.bootless.org) or by calling Bootless Stageworks at (302)887-9300. Tickets are also available at the door, subject to availability, at a lightly higher price. The running time is roughly 2 hours including one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

Fare thee well, Bootless family. You provided a wonderful arts service for the region. We will miss your stimulating productions and friendly faces!

You Can't Stop the Beat at WDL's Hairspray

By Jeff Gudzune
Jeff writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

A hallmark of good theater is the ability to entertain and inform. This is certainly the case with Hairspray, which opened to a sold-out audience at Wilmington Drama League (WDL) on Friday, May 30. This upbeat, toe-tapping explosion of hair gel and taffeta is the perfect cap for a wonderful season. Hairspray was an informed choice, as its themes parallel the world today.

The social issues confronted by the ensemble are the very same social issues facing young people today. Race relations, generational divides, body image, and socio-economic disparities are ever-present reminders of harsh reality. It is altogether fitting that WDL elected to cap its season with a show that encapsulates these concerns.

Hairspray at Wilmington Drama League. Photo by KRL Photography/Rich Lee.

Before the first note of the Introit, the audience is treated with a set that manages to be busy but in no way obnoxious. Grainy black and white monitors take us to a time when local television programs knitted the community together. In an opening number that stuns in its execution, the ensemble sets the scene. It is 1962. JFK is President. Rock and Roll is the zeitgeist of America’s youth. Hair is teased up and held together with aerosol spray and God’s work. Tracy Turnblad, rotund but stunning, wakes to another beautiful day in Baltimore. As she goes through her morning routine, the pressing social specters of communism and racial injustice are unimportant. She is America’s innocence personified.

With joy in her heart, Tracy sees the world as it should be. Jane Haracz shines as Tracy, bringing an energy to the role that had me entranced from the first scene. Tracy manages to captivate the heart of local all-American boy Link Larkin, who is first seen as self-absorbed but later revealed to be a young man at war with himself. Cole Miller’s vocal acuity is amazing and his visible transition from the veneer of stereotypical self-obsessed youth to a real kid with his own personal struggles provides wonderful context. Ashley Grantham is amazing as Edna Turnblad.

Supporting Tracy in her journey to stardom is Penny Lou Pingleton, played with such zest by Haley Hughes that it was difficult to hear her lines due to the audience laughing so vigorously. Shana Roberts performance as “Motormouth” Mabel ran through such a range of emotions that there was an audible pause after her rendition of “Big, Blonde and Beautiful” immediately followed by a standing ovation from the audience.

Hairspray is a timeless classic, wildly entertaining and spiritually uplifting. It makes a social commentary that is needed in the world of today. Through acrobatic choreography and musical performances that resonated so profoundly that the house itself vibrated, the show strikes all the right emotional chords. This performance is not to be missed.

Hairspray runs at Wilmington Drama League May 31 (SOLD OUT) and June 1 (2:00pm); June 6 & 7 (8:00pm) and June 8 (2:00pm); June 13 & 14 (8:00pm) and June 15 (2:00pm). Tickets are available at wilmingtondramaleague.org. 

Reedy Point Players Bring "Angels" to Delaware

By guest blogger, R. Scott Frelick
R. Scott Frelick is Designer/ Artist who is a major supporter of our local arts community and a Board member of City Theater Company. 

In Reedy Point Players' World Premiere of Angels in Gangland: A Supernatural Tale, the audience is first introduced to Lou Tasca, the recently “whacked" protagonist. Lou (Craig Stump) explains that he can’t get into Heaven until he convinces the man who murdered him to leave the mob and join the Witness Protection Program. Assisting Lou is the ghost of Rabbi Solomon Levitsky, whose own son Sam is an “associate” of the Giordano crime family.  

A screenshot of Angels in Gangland performance. 
Courtesy of Jeff Gudzune.

Rabbi Sol (Hank Conklin) explains that Carlo Parisi (Jeff Gudzune) was ordered to kill Lou based on false information from Boss Tony Rizzo (Michael Brook).  At Carlo’s 30th birthday party, Lou’s ghost reveals Tony’s deception to a visibly shaken Carlo. Convinced that Carlo is on the edge of a nervous breakdown, Tony orders Sam (Fran Lazartic) to watch him. With an equal mix of dark comedy and supernatural intrigue,
Angels in Gangland proves to be a unique experience.   

Written by Robert Russel Smith, Angels in Gangland is an original work directed by Rachel Diane Barton and brought to life by a talented group of performers who stand out in their roles.  

While the action centers around Lou, everyone has a moment to stretch their creative muscles. Tya Pope is Carlo’s concerned and strong-willed fiancé, Sherri Falco. Corinth Ford is a riot as Cocktail Waitress and part-time Psychic Medium, Zoe Plato. Jeff Gudzune runs through a range of emotions as he brings Carlo’s conflict to life, providing emotional resonance in what must have been a thrilling and exhausting creative experience.  Fran Lazartic brings depth to the character of Sam as he confronts his own struggle with the supernatural.  Tina Walls stands out as the strong-willed wife of Boss Tony Rizzo, and Craig Stump plays Lou so well it’s like he was born for the part. 

A special treat was the Playwright himself, shining as Oleg Oransky. Even with what is going on in the world, it was great to see people from differing religious backgrounds working to bring peace to others souls. Angels in Gangland was performed May 16, 17, and 18 at Reedy Point Players space in Delaware City.  

This show may have closed, but Reedy Point is already working on ways to expand its audience and perhaps find a new venue for this amazing production. Reedy Point Players is a non-profit theater group founded in 2001 and located at 250 5th Street in Delaware City. 

Learn more at https://reedypoint.org/.

King Lear Gets the Royal Treatment by The REP

By Mike Logothetis

The timeless tragedy King Lear takes center stage at the Resident Ensemble Players (REP) for the month of April, bringing William Shakespeare’s powerful work to life in an unforgettable performance. Directed by Jackson Gay, the show captivated the audience with its gripping exploration of power, family, and the fragile line between sanity and madness.

Set in a world of political intrigue, King Lear tells the story of an aging monarch who divides his kingdom among his three daughters, only to be betrayed by those he trusts most. As Lear navigates the betrayal, the consequences of his decisions lead to a heart-wrenching unraveling of his family and his sanity. 

“The hubris of our leaders, and ourselves, is a major theme in King Lear,” shares Gay. “And, more importantly, what good men and women do or not do when confronted with the need to speak truth, often at great personal cost. Our inclination to believe and listen to flatterers, instead of heeding the sometimes hard to swallow truth, is something we can all be guilty of at times.”

When powerful Kings cave into flatterers, do you think loyal men will be afraid to speak out against it? – Earl of Kent (Act 1, Scene 1)

Standout performances by Joseph Castillo-Midyett (Fool), Michael Gotch (Edmund), and Stephen Pelinski (King Lear) were only parts of the wholly satisfying, almost-immersive theater experience. Castillo-Midyett’s Fool pranced and flopped while spewing pearls of wisdom wrapped in silly words. Gotch showed the conniving nature of Edmund through his dastardly actions and effective soliloquies. 

Pelinski’s Lear began with powerful decisiveness before the poor king can no longer do anything for himself. Watching the once-respected/feared leader fall into irreparable madness through heartbreaking scenes was truly affecting. Pelinski had the audience in the palm of his hand as his character’s mental faculties disappeared over successive scenes – his once imposing figure reduced to a shell of a man. While he once aggressively tore down palace curtains, he later slept humbly on a hovel floor.

To call attention to these three actors is not to diminish the performances of the rest of the cast. The ensemble was locked in and moved in concert with one another and the dynamic set. Kudos to Scenic Designer Riw Rakkulchon for creating an impressive stage with large moving pieces which set the tone for each scene. The mammoth sizes of the industrial-style blocks ultimately make every character appear small…almost petty. The bold angular lines of the blocks are reminiscent of those erected by fascist leaders a century ago in Europe – they are stark and foreboding. The storm scenes were incredible with the crashes of lightning; the claps of thunder; the rolling mist; and the downpour from above.

This production is one not to miss. King Lear’s themes of loyalty, justice, and the corrupting nature of power are particularly resonant in today’s world, making this play an essential theatrical experience for audiences of all ages.

‘Tis the times’ plague, when madmen lead the blind. – Earl of Gloucester (Act 4, Scene 1)

The cast includes REP company members Pelinksi*; Gotch*; Elizabeth Heflin* (Regan); Hassan El-Amin* (Earl of Gloucester); Kathleen Pirkl Tague* (Goneril); Lee E. Ernst* (Earl of Kent); Mic Matarrese* (Edgar); and Steve Tague* (Duke of Albany). Guest actors include Castillo-Midyett*; Erin Partin* (Cordelia); Alan Ross* (Duke of Burgundy); Jeorge Bennett Watson* (Duke of Cornwall); Tamil Periasamy* (King of France); and Dan Domingues* (Oswald). *Member of Actors’ Equity Association.

The creative team includes Gay; Rakkulchon; Kim Krumm Sorenson (Costume Designer); Paul Whitaker (Light Designer); Megumi Katayama (Sound Designer); Denise O’Brien (Wig Designer); and Lee E. Ernst (Fight Choreographer).

Performances of King Lear run through Sunday, April 27. Informal talkbacks with the cast take place following the evening performances on Thursday, April 17, and Friday, April 25. Two “Prologues” occur on Saturday, April 19, and Sunday, April 27. Tickets prices range from $20-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. 

Tickets can be purchased online at www.rep.udel.edu; by contacting The REP box office at 302.831.2204; or visiting in person at 110 Orchard Road, Tuesdays through Fridays from 12:00 to 5:00pm. The show runs approximately 2 hours and 45 minutes with one 15-minute intermission between acts. Warning: This production includes violence, theatrical fog, and strobe lights.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling 302.831.2204 or emailing cfa-boxoffice@udel.edu. 

Visiting (and Laughing) with CTC and Vanya and Sonia and Masha and Spike

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high-quality performances.

The cast of CTC's Vanya and Sonia and Masha and Spike.
Photo by Joe del Tufo/Moonloop Photography.

City Theater Company's final producton of the 24-25 season is Vanya and Sonia and Masha and Spike, written by the late Christopher Durang and named the 2013 Tony Award for Best Play. The show revolves around three middle-aged siblings — Vanya and Sonia — who live together, and Masha, who supports them and is coming for a visit.

It was evident that director Joseph Pukatsch had a clear vision for the show, as everything worked seamlessly with each other, from the set by scenic designer Rick Neidig (which was beautiful and the set dressings had me believing I was looking at an old family home) to costumes and props by Coco G. Robocheaux and Jennifer Youngblood, respectively, the vision was clear.

The casting of Vanya and Sonia and Masha was perfection. The chemistry between them was electric, and their banter was as believable as a trio of actual siblings.

Vanya, the brother who is the most reserved of the three siblings and at least outwardly, is content with the way life is, is portrayed by Paul McElwee. McElwee performed the character with a sincere subtleness that had me watching his reactions to the unfolding story more often than not. Between his facial expressions and impeccable delivery, McElwee embodied the character perfectly.

and Sonia, the adopted sibling who is struggling with where she is in life and what she has, or rather has not accomplished, is portrayed by Jennifer Youngblood. Youngblood was a standout in this role; her comedic timing and ability to shift moods seamlessly without a hint of what was to come kept the character feeling fresh, relatable, and funny.

and Masha, the third sibling, and the successful actress, returning to the family home for a visit was portrayed by Kerry Kristine McElrone. McElrone’s range of emotion was astounding, from happy to jealous to sad, she easily portrayed them all believably.

and we cannot forget the final titular character, Spike, the young aspiring actor that Masha has been dating, played by Jordan Eck. Eck was hysterical as Spike, and his physical comedy was outstanding. He had me laughing out loud multiple times throughout the show.

Remaining cast members include Mary Catherine Kelley, as Cassandra the housekeeper who, like her namesake, believes she can see the future, and Mikala Plymer as the neighbor girl and would-be actress Nina. Both actresses were excellent additions to the cast.

Vanya and Sonia and Masha and Spike is presented by City Theater Company. The show runs through Saturday, April 12, at The Black Box at The Delaware Contemporary, 200 S. Madison Street, Wilmington, DE 19801. Tickets are $48.75 with student and military discounts available. They can be purchased at www.city-theater.org. 

The show runs just over 2 hours plus a 15-minute intermission.

The REP Captivates with Stephen King's "Misery"

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high quality performances.

The Resident Ensemble Players present their first show of 2025 with the production of Misery directed by Michael Gotch.

Misery, written by William Goldman, is based on Stephen King's novel of the same name. This psychological thriller follows author Paul Sheldon, portrayed by Mic Matarrese, who is rescued from a car crash and then held captive by his “number one fan,” Annie Wilkes, portrayed by Kathleen Pirkl Tague.

Misery is playing at The REP through March 2.

Everyone involved in this production deserves the highest praise. Everything worked together to make the show feel incredibly genuine —
from the scenic and lighting design to the costumes and special effects (some of which
I am still trying to figure out how they managed to pull off.)

The set looked like it could have been pulled directly from rural Colorado and placed onto the Thompson Theater stage. Every room was impeccably designed, but I particularly enjoyed the intricacies of the living room set's decor. The decision to use a rotating set cannot be faulted, as the rotation at times built upon the suspense being created on stage.

The sound design in this show, done by Ryan
P. McGinty, was almost like another character. The music choices underscored each scene in a way that perfectly highlighted the actors, while also elevating and heightening the emotional effect for the audience. This began from the time the house opened as the ambient sound recording playing peaked my attention and began creating an almost eerie, unsettling feeling, preparing the audience for the mood of the show.

Kathleen Pirkl Tague’s portrayal of Annie Wilkes was sublime. She was an absolute star. Her ability to change demeanor on a hairpin without any foreshadowing left me feeling surprised every time her mood shifted. The nuance in her delivery from the very first line had me enamored. 

Mic Matarrese as Paul Sheldon perfectly balanced Tague as his portrayal evolved from a patient to a man fighting for his freedom. Matarrese had convinced me he was feeling every ounce of pain that his character endured.

Misery runs through March 2. Tickets can be purchased online at www.rep.udel.edu, by calling the Box Office at 302.831.2204 or visiting in person Tuesday through Friday from 12:00-5:00pm. Ticket prices range from $20-$39 with discounts for seniors and students. The show runs two hours including a 15-minute intermission.

Learn more about The REP at www.rep.udel.edu. 

DDOA Announces 2025 Individual Artist Fellowship Awardees

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

The Delaware Division of the Arts is proud to recognize 21 exceptional Delaware artists as the 2025 Individual Artist Fellows, awarding a total of $158,000 to support their creative pursuits. This year’s application cycle saw an unprecedented 191 applications from musicians, writers, and folk, media, and visual artists across the state. A panel of out-of-state arts professionals rigorously reviewed work samples, evaluating creativity and artistic excellence. The 2025 Fellows represent a diverse range of artistic disciplines and communities, hailing from Bear, Clayton, Dagsboro, Lewes, Milton, Newark, New Castle, Rehoboth Beach, Smyrna, and Wilmington. Fellowships were awarded in three categories: Master (1), Established (11), and Emerging (9), with an additional 13 runners-up recognized for their talent.

Awards are given in three categories: $12,000 for the Masters Award, $8,000 for the Established Professional Award, and $5,000 for the Emerging Professional Award. Fellows are required to offer at least one exhibit or performance during the upcoming year, providing an opportunity for the public to experience their work.

“Individual Artist Fellowship grants recognize Delaware artists for their outstanding work and commitment to artistic excellence. Our commitment to Delaware’s individual artists is at the heart of our work, and this year we’re thrilled to expand our support by increasing the funding pool for the Individual Artist Fellowships by 15%,” says Jessica Ball, Director of the Delaware Division of the Arts. “In response to the unprecedented number of applications, we are introducing a cohort of runners-up who will each receive an honorarium to recognize even more talented artists for their exceptional work and dedication to their craft.”

“Providing unrestricted funding to artists through the Individual Artist Fellowships allows them the flexibility to invest in their craft, explore new ideas, and focus on their work without financial constraints. These grants not only support individual growth but also enrich communities and contribute to the local economy by fostering a thriving cultural ecosystem,” says Program Officer Roxanne Stanulis.

The Masters Fellowship is open to rotating artistic disciplines each year. For 2025, Masters Fellowship applications were accepted in Literary Arts and Media Arts from artists who had previously received an Established Professional Fellowship. In addition to exemplifying high artistic quality, Masters Fellowship applicants must demonstrate their involvement and commitment to the arts in Delaware and beyond.

Viet Dinh is the DDOA 2025 Master Fellow in the field of Literature: Fiction. Dinh was born in Vietnam and grew up in Colorado. He attended Johns Hopkins University and the University of Houston and currently teaches at the University of Delaware. He has received fellowships from the National Endowment for the Arts and the Delaware Division of the Arts, as well as an O. Henry Prize. His stories have appeared in Zoetrope: All-Story, Witness, Fence, Five Points, Chicago Review, the Threepenny Review, and the Greensboro Review, and his debut novel, “After Disasters,” was released in 2016.

Delaware Division of the Arts 2025 Individual Artist Fellows
Masters Fellow
• Viet Dinh, Literature: Fiction, Newark

Established Fellows
• Judy Catterton, Literature: Creative Nonfiction, Rehoboth Beach
• Geraldo Gonzalez, Visual Arts: Works on Paper, Wilmington
• Ananya Goswami, Dance: Choreography, Bear
• Makeda Hampton, Music: Solo Recital, New Castle
• Linda Susan Jackson, Literature: Poetry, Smyrna
• Dennis Lawson, Literature: Fiction, Newark
• Nadjah Nicole, Music: Contemporary Performance, Wilmington
• Damon Pla, Visual Arts: Painting, Dagsboro
• Rob Sample, Visual Arts: Painting, Clayton
• Adam Vidiksis, Music: Composition, Wilmington
• Shannon Woodloe, Visual Arts: Photography, Wilmington

Emerging Fellows
• Paula Brown, Visual Arts Painting, Wilmington
• Renita Coursey, Folk Art: Visual Arts, Wilmington
• Irene Fick, Literature: Creative Nonfiction, Lewes
• Don James, Visual Arts: Photography, Milton
• Tim Lynch, Literature: Poetry, Wilmington
• Maximillian Remmler, Media Arts: Video/Film, Newark
• August Ryan, Literature: Fiction, Wilmington
• Shana Starks aka “Blue Tulip”, Music: Contemporary Performance, Wilmington
• Benjamin Wagner, Literature: Creative Nonfiction, Wilmington

Runners Up
• Mary Jane Arden, Visual Arts: Works on Paper, Wilmington
• Jamie Brown, Literature: Poetry, Milton
• Kimberly Burnett, Literature: Fiction, Rehoboth Beach
• Gale Cornelia Flynn, Literature: Creative Nonfiction, Hockessin
• Alexander Hill, Literature: Poetry, Middletown
• L. Jackola, Literature: Fiction. Middletown
• Blazo Kovacevic, Visual Arts: Interdisciplinary, Newark
• Jennifer Lang, Music: Solo Recital, Wilmington
• Judith Loeber, Visual Arts: Painting, Millsboro
• Chris Morrow, Folk Art: Music, Lewes
• Kiandra Parks, Media Arts: Video/Film, Wilmington
• Christina Peters, Visual Arts: Photography, Newark
• Aki Torii, Visual Arts: Sculpture, Wilmington

Learn more at arts.delaware.gov.