Delaware Arts Info

OperaDelaware Delivers with Oberto

2012-01-30T11:36:00.001-05:00

By Guest Blogger, Chuck Holdeman

The Saturday, January 28, performance at the Grand of "Oberto" turned out to be an afternoon of thrilling opera. "Turned out to be" because an un-staged version of Verdi's very first, and almost never performed opera would not necessarily inspire great anticipation. Aida or Traviata anytime, or even Verdi's first hit Nabucco, but Oberto is just not on the radar. At age 26 Verdi must have felt the need to fulfill expectations for what popular opera was supposed to be, and indeed there is quite a bit of music that sounds like that famous opera composer of the preceding generation, Donizetti. But when the overture begins with a trumpet duet, and then later an aria is accompanied with cascading arpeggios from the bassoon, the listener discerns Verdi's originality in orchestration, so appreciated by opera players- I was one of these myself for many years. There are important roles, too, for trombones and tuba, not always heard in 1939 when Oberto was premiered.

So why was Oberto so successful yesterday? Wonderful performers! the cast, conductor, chorus, and orchestra. Credit is also due to the co-producers, OperaDelaware and Philadelphia's renowned opera training school, the Academy of Vocal Arts for conceiving of this unique collaboration, a highly satisfying approach to Verdi's neglected first opera. For this concert version, the cast was in formal attire rather than costumes, the large-by-opera-standards orchestra right behind them on stage, the modern convenience of supertitles added much (English with the singing in Italian), and there was also the minimal though complete staging, i.e. acted-out interactions among the five main characters which made for clear story-telling.

The excellent chorus was a combination of OperaDelaware's own, along side AVA students. They entered and exited as the story required, standing behind the second violins. The four large roles and one smaller one were sung by the greatly talented AVA artists-in-training who already possess big mature voices, with the intensity of fine acting to match. When the curtain calls arrived, it seemed that soprano Michelle Johnson had truly captured the hearts of her listeners, due in part to the conflicted and pathetic vulnerability of her character, Leonora, who, prior to the events depicted, had been seduced and then abandoned by the tenor, Riccardo. The mezzo, Cuniza, is now his fiancee, but becomes Leonora's greatest advocate, via opera's penchant for the absurd yet dramatic. Leonora's father Oberto, the baritone, chooses his passion for revenge rather than entering a briefly open doorway to offering forgiveness, while Cuniza's servant Imelda, played by mezzo Sasha Hashemipour had some beautiful lines to sing, though a bystander to the overblown preoccupations of her employer's circle.

Michelle Johnson possesses a voice of rich timbre which retains its focus and color in the highest register. Verdi's daring two-octave descents revealed an exceptionally strong and expressive low range as well- she has it all. The huge voice of Margaret Mezzacapa who played Cuniza was equally gripping, and her acting matched Johnson's intensity. It was only her character's role as an intermediary among the other principals which limited her effect on the audience. Musa Ngqungwana as Leonora's father Oberto was a strong baritone, whose character starts out wounded, searching for relief. But when his vengeful passion, ultimately leading to his own death, finds its full flower, Ngqungwana gripped the listeners with the force of his character's emotion. Tenor William Davenport, who was having his only shot at performing the role which was rotating through 3 tenors in 4 performances, came off powerfully as Riccardo, a confused young man, first swayed by romance, then by an advantageous betrothal, and tragically by the challenge to duel Oberto, a much older man whom he knew he would in effect murder. Davenport has a Pavaratti-like timbre, as well as many of the affects of an Italian opera tenor. He was a convincing bad-guy, while perhaps not quite convincing us that such a character is as human as the rest of us, not an easy task in many a 19th century opera role.

Another advantage afforded by the concert format was a clear view of conductor Christofer Macatsoris, who is also the general music director for AVA. Without cover of the usual orchestra pit, we could see the drama in his every gesture, the way his baton goes from hand to hand, his expressive fingers and wrists doing much of the work. His involvement with the singers is constant, also finding occasion to cajole lines ascending from the depths of the 'cello section. Macatsoris tensile strength might seem his most prominent feature, still he delights in the airy gestures of the bel canto style. His orchestra of Philadelphia professionals, some of whom are also OperaDelaware regulars, was highly disciplined, responding securely to their demanding maestro. Veteran clarinetist Joseph Smith was particularly expressive, as was flutist David DiGiacobbe, while all the sections maintained uniformly high standards. An opera in two acts, Oberto's intensity rose as each act drew to its close, and it was then, as emotions reached fever pitch, that all the power and imagination of Verdi's nascent talent showed through.

One performance remains, January 31 at the Haverford School's Centennial Hall.

See www.operadelaware.org.

HONK, if You Want to see a Fantastic Family Show!

2012-01-27T09:23:00.001-05:00

The Delaware Children’s Theatre, Delaware’s home of storybook productions, has gone to the countryside with its latest production of the family musical, Honk!

Honk!, a musical version of Hans Christian Anderson’s classic The Ugly Duckling, is a lesson in accepting others for who they are and not based on their physical appearance. Ugly, played with great charisma by Tripp Ivie, is a newly born duckling that doesn’t resemble his siblings or the other ducklings in their area.

Ugly’s mother, Ida, played by the talented Lucy Marie Smith, loves him unconditionally and is unfazed by his hideous features. She teaches her son how to swim and advises him to stay away from the sinister Cat, played by the sly Daniel Schmitt.

Unfortunately, Ugly’s siblings and the other farm animals aren’t as kind as his mother and eventually shun him from their activities. Longing to be accepted, Ugly gives in to Cat’s temptation of a play-date and lunch. However, Ugly doesn’t realize he’s on the menu. Once he understands Cat’s true intentions, he escapes and begins his adventure to find his family. While on his jaunt, he meets some colorful animals, including the snazzy Bullfrog, played effortlessly by Dan Healy, who teach him valuable life lessons. While Ugly is working his way home, his worried mother leaves the family to find him.

Will mother and son find each other? Will Ugly ever become handsome? Does he win the love of his siblings and the other animals? I’m sure you can guess the answers to all of these questions, since this is a children’s show!

The production is delightful! The cast transforms into their respected animal characters and charms the children in the audience. Mr. Schmidt and Ms. Smith give enchanting performances. My eye was particularly drawn to one cast member, Lynne Lew as the pesky duck Henrietta, who shows continuous enthusiasm during the production.

The only issue, as with many community theater productions, is at times the band was louder than the performers, making it difficult to hear the lyrics. Regardless, Tom Marshall has directed a show that will entertain the whole family and teach an important lesson to the young and the young at heart!

The show runs through February 12. For more information visit www.dechildrenstheatre.org.

Time Stands Still at DTC

2012-01-26T13:57:00.001-05:00

While photos of the horrors of war draw viewers into places and events with startling intimacy, it's not often that we think about the photographer beyond that decisive moment. Does she have a family? A circle of friends? Does she live in a house in the country or an apartment in the big city? What would it be like if the situations laid bare for the world to see were hers?

"Time Stands Still," in its first regional production since it closed on Broadway in January 2011, turns photojournalism on its head by showing the other side of the camera, it all of its imperfect glory.

Susan McKey, Kevin Kelly, Bruce Graham, and Megan McDermott. Photo by Matt Urban.

This Delaware Theatre Company production is a partnership with the Act II Playhouse in Ambler, PA, the theatrical home of director Bud Martin. Donald Margulies' vision of an intimate and strikingly realistic slice of one photojournalist's life after an injury overseas works incredibly well on the DTC stage -- it's as if you're a fly on the wall.

The play features four characters: Photojournalist Sarah (Susan McKey), her longtime partner James (Kevin Kelly), her friend and editor Richard (Bruce Graham), and Richard's young, bubbly girlfriend Mandy (Megan McDermott). The acting is spot on. As you get to know these people, you start to relate to them on different levels (which characters you relate to most depends a lot on your own experiences and personality). Despite the fact that the subject matter is war, with Sarah having been injured in Iraq, there is no heavy-handed political message. It's a story about people and relationships, of love and loss and passion.

It all takes place in Sarah and James' Brooklyn loft, beautifully designed by Dirk Durossette. It's not a place you'll soon forget.

"Time Stands Still" runs through February 5. For tickets, visit DelawareTheatre.org.

For more, see my review for STAGE Magazine.

Warm hats and notes for Mėlomanie

2012-01-16T19:14:00.006-05:00

Mėlomanie invited guest composer Kile Smith for the premiere of his work The Nobility of Women for harpsichord, ‘cello, viola da gamba, violin, flute and oboe. The work is a series of dances which have both a baroque inspiration and a modern treatment– especially the fanfare of the Overture. Smith’s mastery of detail (his years as librarian of the Fleischer collection made their mark) was evident in his his careful consideration of each instrument as a soloist.

As is their wont, Mėlomanie mixed it up and presented a more modernist work by Mark Hagerty, Variations on a theme by Steely Dan which came out surprisingly well using harpsichord as the keyboard. Priscilla Smith and Kim Reighley were able to trade styles and melodic lines as they followed Hagerty’s merry romp through the gamut of baroque to bop. Doug McNames was also at ease letting loose with his ‘cello acting the dancing double bass and bringing a surprising twentieth century rock style to the fun grouping of baroque players.

Long-time member Donna Fournier played one of her best concerts with her performance of the Suite in D Minor by Joseph Bodin de Boismortier. She has really become a master of the viola da gamba and it was an exhilarating experience to hear her play.

Priscilla Smith brought a very fresh and unadorned mastery of baroque oboe to the fore as she played the beautiful, quiet and almost vibrato-free melodies of Telemann and Couperin. Her youth and talent promise a great deal for her future. She already has an impressive resume of performances as a baroque player.

Mėlomanie accepted donations of gloves, scarves and hats in lieu of tickets to benefit Friendship House.

See www.melomanie.org

Delaware Valley Chorale at the Newark United Methodist Church

2011-12-22T04:23:00.004-05:00

Jeffrey Manns has taken on the daunting role of assistant conductor of the Delaware Valley Chorale while David Christopher is on leave and he is putting all of his energy into the task. The concert began with a haunting organ solo of O come, o come Emmanuel. The fifteen male choristers were in position as the ladies marched forward from the back of the church to join them. The antiphonal echoes in Terry Schlenker’s arrangement sometimes made it appear that various sections were starting a beat late. Schlenker’s arrangement of Let all moral [SIC] flesh keep silence had some very interesting effects with parallel fifths which evoked an intriguing oriental flavor. The organ bass line helped guide the male singers in their fugue but the high pitches from the sopranos were a bit shaky. Of the father’s love begotten went more smoothly as the choir settled in, but the final phrase by Gus Mercante came out far too loudly.

In the bleak midwinter featured Fa Lane Fields’ pure yet fully rounded soprano voice which carries well and yet retains the delicacy of a child’s voice. Lloyd Shorter’s English horn and Kimberly Doucette’s strong soprano voice had no trouble standing out above the chorus, organ and piano in Maurice Besly’s The shepherds had an angel. Witnessing the magic of laser-like musical focus by Ms. Doucette and Mr. Shorter reminded me of what making music should be.

The Giovanni Gabrielli Hodie was ruined by the singers’ efforts to sing more loudly than they could comfortably manage. Kurt Collins’ brilliant organ accompaniment had sparkling glissandi and the brass chorale (George Rabbai and Jonathan Barnes, trumpet, Timothy Soberick, tenor trombone and Barry McCommon, bass trombone) had great verve, bounce and clarity. Organ and brass were allowed to show their lively musicality as soloists in the Gabrielli Canzona per sonare No. 4.

For me the highlight of the concert was the Daniel Pinkham Christmas Cantata. It was clear that Mr. Manns had focused all of his rehearsals on this difficult piece. The pitches were accurate, the diction was outstandingly clear and the dynamic he demanded of the chorus was soft enough to allow the muted brass chorale at the end of the O magnum mysterium to be heard as a whispering shimmer.

See www.delawarevalleychorale.org

See delawarevalleychorale@comcast.net

A Dose of Family Holiday Fun at Reedy Point

2011-12-18T13:33:00.001-05:00

By Blogger Charles "Ebbie" Alfree III

The Reedy Point Players' production of holiday-themed one-acts, The Toys Gift & Stocking Stuffers, at the Delaware City Community Center is a perfect show for small children and their families. This unique production, directed by eight directors (seven of which are first-time directors and five of them under the age of 18), could even give Scrooge a little Christmas spirit.

Many favorite toys from our youth come to life during the magical production. Guess who's cheating on Ken with G.I. Joe and guess who is despised by the longing-to-liberated baby dolls? That's right...Barbie! I always thought she was to good to be true! Stuffed animals that come to life to make Christmas presents are also a lovely part of this program.

And what's a Christmas show without a few overworked elves and two underappreciated, surfer-dude reindeer? They all make appearances in the production, along with Uncle Sam, Cupid, the Easter Bunny, Ezekiel the Pilgrim & Hagatha the Witch. In one of the acts, the group of holiday icons come together to discuss their frustration with the most famous holiday icon, Santa. By the way, the "big guy" also makes an appearance, to the amazement of all the children in the audience. Between each act The Hahn Family is on-hand to perform Christmas carols and keep everyone in the holiday mood.

This production can warm hearts for kids of all ages. The show closes Sunday, December 18, For tickets ($10 for adults and $8 for students, seniors and active military), visit reedypointplayers.com or call 302.650.4054.

Have a Warm and Fuzzy Cartoon Christmas

2011-12-16T11:08:00.000-05:00

Rob Swanson, Jackie Browne and Jeff Knoettner

'Tis the season for Christmas shows, all striving to capture that magic feeling that comes once a year. Few shows pull it off with as little packaging as The Cartoon Christmas Trio. For their 30 minute set, part of the Market Street Music Noontime Concert Series at First & Central Presbyterian Church, it was just three guys and their instruments -- no costumes, no glitz, no decorations. None of that is needed -- within the first strains of Vince Guaraldi's "Skating," it's Christmas.

If you haven't heard Guaraldi's famous Christmas pieces, commissioned for the classic 1965 "A Charlie Brown Christmas" TV special, live and in person, it's worth experiencing. The Trio plays the songs just as they were written, giving audiences a dose of nostalgia and a certain appreciation for the music that may have gotten lost when watching the special as a child. When the Trio play it, it's anything buck background music: It's everything.

In addition to the Guaraldi songs, The Cartoon Christmas Trio does other songs from classic Christmas TV specials. At First & Central, they did a song from "How The Grinch Stole Christmas" with a jazz edge. The full concert includes songs from "Frosty The Snowman," "Rudolph the Red-Nosed Reindeer," and others.

If you missed The Cartoon Christmas Trio at First and Central or their first Iron Hill Brewery shows, there's still a chance to catch them before this holiday season is a memory: They'll be playing the Iron Hill in Newark on Monday, December 19, and The Iron Hill in Wilmington on Wednesday, December 21. For a complete calendar of their remaining shows in the area, click here.

Magical "Night Music" Fills the Air this Holiday Season!

2011-12-03T12:44:00.002-05:00

To produce a musical in a tiny black box buried in downtown Wilmington is quite a feat – and to find so many excellent voices and musicians to execute it is a second feat. With no orchestra pit, no wings and very few props, City Theatre Company has a terrific hit with their show A little night music – Stephen Sondheim’s musical based on Ingmar Bergman’s farce movie, Smiles of a Summer Evening.

There must have been a reason to have the singers gather in front of the orchestra at the start of the show, but I couldn’t fathom it. With their backs to the audience, they got our attention and their abrupt turn to face us was like a curtain rising.

Michele Ferdinand dotted every I, t and quarter note in her musical direction and in spite of an occasional lack of clarity from the choral quintet, the attacks and endings of words and pieces was flawless. Michael Gray, who starred as the older husband and lover, codirected with Tom Shade. Gray’s singing, acting and comic sense was the backbone of the production. His young wife Anne, played by Dylan Geringer, was delightful. Her ability to reach the murderously high notes Sondheim wrote made her songs seem easy.

And where did all this talent come from? Casey Elizabeth Gill seemed to have walked off a Broadway stage. Her miming, playfulness and incredible voice were just plain knockout. When she sings her cynical yet vivacious Miller’s Son she runs the gamut of emotion and sound that emulates life’s ups and downs.

Karen Murdoch is, as the song says, perfect as the warm but conniving mistress who, in spite of it all, has warmth which will melt you after you are softened by the haunting clarinet introduction to Send in the clowns. Murdoch has that knack for a quiet coda that takes your breath away.

Dorien Belle’s bumbling Count Carl-Magnus Malcolm creates such a perfect foil for lawyer Fredrik. Their duet, It would have been wonderful had that magic timing that every musician hopes for – the courage to wait until that final microsecond with calm assurance.

Victoria Healy is a mistress of comedy – she, too, knows exactly how to time her punches.

The set was minimal, but with inventive staging, terrific choreography – fantastic opening scene of all the characters awakening, the transitions from house to theatre to backstage to country mansion worked with ease.

Production runs December 2 through December 17, with one Sunday matinee on Sunday, December 11, at 2:00pm. Closing Night is Saturday, December 17 with Closing Night Party at Extreme Pizza.

See city-theater.org.

Wilmo Rock Circus -- The Biggest Show in the Small Wonder

2011-11-30T12:48:00.001-05:00

Deadbeatz, Inc. Photo: Brian Truono

Pop-ups -- one night events in a space that wasn't a venue before and won't be one after -- are all the rage, or so I'm told, and Wilmington is in on it. The concept isn't new to Delaware, not that that's a bad thing. Before there was a Queen or a Mojo 13, when venues allowing original live music were few, there wasn't much choice but to "pop-up" shows in barns or basements around here. And while, of course, it's awesome to have so many actual permanent venues that support original local music in Delaware, there's nothing like taking over a warehouse for one night.

The format for Gable Music Venture's Wilmo Rock Circus, held in an empty storefront in the Shipyard Shops, was literally taken from the big top. Instead of three rings, there were two stages, complete with ringmasters to introduce the acts. The purpose of this circus-like setup, aside from a carnival-like feel, was circus-like pacing: The performances alternated from stage to stage, leaving no breaks between bands, allowing ten 30-minute sets in five hours. A fast pace, yes. And that was part of the excitement.

The other part of the excitement was the mix of bands. This wasn't a funk show or a punk show, prog, alt. pop or rockabilly -- it was all of the above. So if the band on stage wasn't your thing, you could go grab a drink, maybe use the powder room generously offered by Timothy's or wander the room and socialize, and a new, likely completely different, band would be along in a few minutes. I have my taste preferences, but I didn't hear any band that didn't do what they do well. These bands -- The Bullets, The Hold-Up, The Keefs, Pete Lownote and the Truckstop Regulars, Modern Exile, Deadbeatz, Inc., Little Invisibles, Still Moon Servants, The Joe Trainor Trio, and Universal Funk Order (thank you WRC Facebook Invite for all the links) -- are some of Delaware's best, and the opportunity to see them all in one night was one not to be missed. If you did miss it, don't worry. Gable Music Ventures plans more pop-ups in the future, but where the next big show will take place is anyone's guess.

"Like" Gable Music Ventures on Facebook for upcoming shows, including regular performances in LOMA hotspots such as Extreme Pizza, Zaikka, and the Film Brothers Co-op.

Excellent "Noises" from University of Delaware’s REP!

2011-11-22T08:35:00.009-05:00

By Delaware Arts Info blogger Charles "Ebbie" Alfree III

Photo from Resident Ensemble Players

How the hell do they do it??? I’m referring to the cast of Noises Off presented by the University of Delaware’s Resident Ensemble Players. Guest Artistic Director, Gregory Boyd, directs the hardest working cast currently in Delaware! It takes a great director to guide a cast through the intricate blocking of this hysterical play, and Mr. Boyd accomplished his task.

Michael Frayn’s slapstick comedy tells the story of a third-rate acting troupe as they attempt to produce a British sex farce, Nothing On, while beginning and ending affairs, drinking, and competing for the director’s attention. What ensues is hilarity beyond belief.

It’s a thin story, but it’s the characters, witty lines and most of all, the comic timing that make this three-act play a must see! The timing is everything in the production; one mistake can throw off the entire play and cause a catastrophe. However, this cast of true professionals—Deena Burke, Michael Gotch, Elizabeth Heflin, Mic Matarrese, Carine Montbertrand, Stephen Pelinski, Kathleen Pirkl Tague, Steve Tague and John Tyson—never drops the ball. Watching Noises Off is like watching a master class in comedy-theater. The cast seamlessly plays two characters in this play within a play, as well as uses multiple props and continuously enters and exits through numerous doors that make up the multipurpose set.

One side of Neil Patel’s set is an English country home – the setting for Nothing On -and the other side is the backstage of the fictitious play, allowing the audience to see the front and backstage antics all at once. The set is as impeccable as the actors. It gives the audience a view that most don’t see or experience, seeing a play from backstage.

Anyone who loves theater should not miss Noises Off, even if slapstick is “not your cup of tea.” Any true theater lover will appreciate the work that goes into this play.

Now, I’m ready for a plate of sardines; go see the play and you’ll understand why.

See www.rep.udel.edu.

Coastal Concerts brings quality music to Lewes

2011-11-21T18:43:00.003-05:00

Coastal concerts, a determined group of volunteers in Lewes, has fulfilled their mission of bringing quality music to Southern Delaware. November 19’s concert with the Lincoln Trio was of a quality you would expect in a large city, yet without the hassle and expense.

The Lincoln Trio, formed in 2003, is an ensemble-in-residence at the Music Institute of Chicago. Desirėe Ruhstradt, violin, a graduate of the Curtis Institute of Music – David Conifer, cello, a graduate of the Royal College of Music in London, and Marta Aznavoorian, piano, who studied at both Indiana University and the New England Conservatory not only have the chops to play anything you place in front of them, but they click together– listening and anticipating each other and sensing intuitively where their partners are taking the music and who will lead which phrase.

The Beethoven Piano Trio in D Major, opus 70, number 1 was executed smoothly and quietly – a pristine beginning. By the second movement, you could hear a pin drop in the hall and the Presto passages flowed like oil. The Jennifer Higdon Piano Trio (2003) starts with chords that Aznavoorian voiced masterfully, letting each tone ring for just the right amount of time. Silver Dagger (2009) written for the trio by their friend Stacy Garrop was much more of a twenty-first century adventure – the daring bonging of the piano strings with the pedal down and the strident bowings by Ruhstradt and Cunliffe created both the flavor of the country tune and the exploratory tonalities of new music.

They crowned the concert with Bedrich Smetana’s Trio in G Minor, Opus 15 – a fiery technical challenge which they played without restraint, bringing out the true melodic ringing of Smetana’s harmony and putting so much into the piece that the audience roared in response – demanding an encore with their standing ovation. The trio played Café Music by Paul Schoenfield with a bit too much speed, but the audience lapped up the jazzy delight.

The concert hall is perhaps a bit unconventional – a large church assembly room with a platform for the artists on which a lovely Steinway sits on a raised box flanked by two standing lamps. The sound was live enough so that the piano had more than its share of the combined dynamic, yet Aznavoorian played so well who could complain?

The next Coastal Concert will present Clancy Newman, cello and Noreen Cassidy-Polera, piano on January 28 at 2 p.m. in the Bethel United Methodist Hall. Why not make it a beach weekend and enjoy walking to a world class concert after lunch?

See coastalconcerts.org

See www.lincolntrio.com

Not Your Typical Christmas Show at NCT

2011-11-14T23:52:00.002-05:00

With Thanksgiving still nearly two weeks away, it was no surprise that the crowd at New Candlelight Theater in Arden on Saturday was a bit smaller than usual. Don't expect such intimacy once the holiday season is in full swing. "A Very Candlelight Christmas" has been much-anticipated by fans of the dinner theater, not least of all because this seasonal production is an original, written and directed by NCT's Producing Artistic Director Chris Alberts and longtime friend Sonny Leo. For a theater that's done such familiar shows as "Cats" and "Annie" this season, the feeling of not having any idea what to expect is a definite change of pace.

The show starts out like a typical Christmas variety show, complete with overly-enthusiastic hosts Katherine and Alan, comically played by Lindsay Mauck (who is underused in this production) and Tim Moudy. It's not long before the exuberant show derails, as the show-within-a-show's director, Devlin Powers (Patrick Hunt O'Hara), blows up at Katherine and sends everyone home, including his long-suffering brother Marcus (Paul Goodman). Not only does Devlin have no Christmas spirit, he's also sick to death of musical theater -- and thus begins his "Christmas Carol"-esque journey, complete with ghosts, time travel and Bob Fosse.

A non-traditional set of Three Kings.

The NCT knows it draws lovers of musical theater, and almost all of the show's comedy references Broadway musicals. In that way, this is not a one-size-fits-all Christmas musical. It's for theater people, including die-hard fans. The Three Kings (also the ghosts of Christmas Past) are Don Quixote (Paul Goodman), the King of Siam (Andre Dion Wills) and "Fiddler on the Roof's" Teyve (Dave Snyder). Audrey III from "Little Shop of Horrors" even makes an appearance. It's more focused than it sounds, but some scenes work better than others. Tommy (Dan Sanchez) and Alan's rendition of "Baby It's Cold Outside" would have felt edgier if TV's "Glee" hadn't done a male duet version of it last Christmas, but Candlelight's version does have its own unexpected twist. And while some numbers, such as the Chanukah medley, seem to come out of nowhere, all of the musical numbers are well done. Standouts include "Shall We Dance" with young Zach Pennington and Jamieson O'Brien; "There's a Christmas Song for Every Situation" with Kaylan Wetzel Acon; and a very moving "Auld Lang Syne."

The often self-deprecating show pokes fun of beloved Broadway shows, but, of course, it's all in good fun. Just as it ultimately celebrates "that barn in Delaware," it also loves musical theater in a way only those who have made it their lives can.

"A Very Candlelight Christmas" runs through December 23; The 2012 Season starts up on January 27 with "Miss Saigon."

Chapel Street Players present Beauty Queen of Leenane

2011-11-12T13:03:00.004-05:00

Beauty Queen of Leenane is a neat and tight play by Martin McDonaugh, a child of Irish parents born in London where his family had emigrated just as the families of his Leenane must do in the 1989 setting. The characters he presents are also quite finely drawn.

Maureen, played with great energy by Kerry Kristine McElrone, is forty and feels as if life has passed her by. She is the youngest of three and the only maiden sister who, of course, got stuck with the harridan mother, Mag. Mary Catherine Kelley’s Mag was comic and tragic, following the intricate web that so many of us have in our relationships. She is sometimes funny and attractive and sometimes so aggravating that I was tempted to say, “Stop it” from the audience. The two actresses adroitly tossed off their alternating sweet and sours until it was hard to tell who was good, honest and true and who was a conniver.

Enter neighbor Ray Dooley, the kind of guy who is always friendly but ever-so-slightly annoying, who comes over and you immediately wish him gone. Patrick Cataract gives him a certain innocence and gentle appeal and you wonder why he seemed to be a fly on the wall to our lonely but attractive Maureen.

Maureen sets her sites on Ray’s older brother Pato, a warm and congenial guy played by David C. Hastings. Pato was not sure if Maureen’s pursuit of him was because she loves him or because she wanted to aggravate her mother. His letter to Maureen is a wonderful palette of his emotions and doubts and he delivered it in a monologue that deserved a standing ovation. (Unfortunately, our audience was terribly quiet on Friday, but it didn’t hurt the play’s quality).

The drama unfolds with revelations from everyone – with each of the characters unfolding those details they had so carefully kept under their hats during the first half of the play. Credit to McDonaugh for such a great script and for the actors and director Sean Kelly for making sure they didn’t reveal too much too soon. The next performances are November 12, 17, 18 and 19 at 8 p.m. at the Chapel Street Players on Chapel Street in Newark.

See www.chapelstreetplayers.org

A Fresh Look at Howard Pyle at DAM

2011-11-11T08:05:00.003-05:00

The Buccaneer Was a
Picturesque Fellow, 1905

Though it may be hard to believe for those of us who've grown up visiting the Delaware Art Museum, Howard Pyle isn't a Rembrandt-level superstar outside of the Delaware Valley. Pyle may no longer be a household name to the rest of the world, but his impact on modern culture extends far beyond the walls of 2301 Kentmere Parkway.

Take pirates, for example -- few images are as iconic in this century as the Pirates of the Carribean-style swashbucklers. The image we have of the pirates of legend doesn't come from actual-time paintings or photographs; real pirates simply weren't captured that way. It was Pyle who created the image (which directly influenced the style of Disney's Captain Jack Sparrow), using research from old books mixed with his own vision based on the text he was illustrating.

This method of taking existing material and turning it into something decidedly his own is at the heart of Howard Pyle: American Masters Rediscovered, the new special exhibition celebrating both the upcoming 100th Anniversary of the Delaware Art Museum and the centenary of Pyle's death.

Away they rode with clashing hoofs
and ringing armor, 1888

If you've spent a lot of time at the Art Museum, you're probably intimately familiar with the paintings in the Pyle collection (I have a "Flying Dutchman" magnet on my refrigerator -- doesn't everyone?). If you think you've seen it all, you may be right -- but you haven't seen it like this. Rediscovered shows Pyle's work in a new way, interspersed with pieces by his contemporaries such as Thomas Eakins, Jean-Leon Gérôme and Jean-Louis-Ernest Meissonier, from whom he took inspiration to create his varying illustrative styles that captured the Middle Ages, Fairy Tales and Fantasy, and historical America. The guest pieces are displayed on gold panels to to set them apart from Pyle's work. Don't skip the descriptions next each painting, especially if you think you know everything about the work -- you don't.

Howard Pyle: American Masters Rediscovered runs from November 12 to March 4, 2012. Also be sure to tour the newly-redesigned illustration galleries -- with much of the Pyle collection relocated for the retrospective, rarely-seen pieces from the museum's collection are on display.

Pick of the November Art Loop

2011-11-06T15:21:00.027-05:00

By Owen Napier, Jr.

Owen Napier, Jr. is not your ordinary photographer and printmaker. A bookbinder by trade, Napier practices the Japanese art of three dimensional decoupage called papier tole. This gives his photographs a startling layered and textured effect. Napier was gracious to all the visitors who came to the Christina Cultural Art Center for the November Art Loop, going out of his way to greet them and explain how he puts the intricate layers together to make his work. One photograph was on display as a one dimensional work just above its companion papier tole image- showing the viewer the startling difference in texture and realism. (MD)

By Brian Marshall

Robots have invaded Poppycock Tattoo at 8th and Orange... again! Found object artist Brian Marshall's whimsy-cool Adopt-a-Robots surrounded the floor, from tiny shampoo bottle 'bots to large metal cowboys and knights, and everything in between. If you haven't come across Adopt-a-Robots before, they must be seen to be believed. Ordinary household (and sometimes industrial) objects are bound together to create artificial humanoids with amazing personality. In addition to the sculptures, the gallery featured a selection of robot-themed paintings, drawings and photomanipulations by Tina Marabito, Pat Higgins, Baron Von Reign, Dave Mele, Eric Hendrickson and 3EYES, plus tunes spun by DJ Zip. (HQ)

At Gallery 919 Market there was a flurry of activity with a three-artist exhibit. Dr. Mehdi Jadali, his mother Hayedeh Moravati and his uncle Dr. Shah Moravali pooled their works for the show. It was fun looking at all the works and trying to decide which of the three artists had created them. Mrs. Moravati, who started to paint at age 73, was certainly not conservative nor abashed in her striking silhouettes with contrasting light and Dr. Mehdi Jadali creates works which he shows from surprising angles. Dr. Shah Moravati paints scenes of town squares which I assumed to be from Iran, but could certainly fit into a French impressionist exhibit. (MD)

There's always art to be found in LOMA -- this month, the Film Brothers Co-op featured the work of political cartoonist Rob Tornoe. It's always cool to see original cartoons, and Tornoe's are excellent, his pen taking aim at current issues such as same-sex marriage, race relations and the economy as well as regional sports, as seen in the News Journal, Philadelphia Inquirer and his own Punchline Magazine out of Dover. The show also had an interactive aspect, as guests were invited to write their own caption for a certain cheeky cartoon. Next door at Zaikka Indian Grill, DCAD students showcased painting, collage and photographs while Hannah Zaic performed an original live acoustic set. (HLQ)

By Felise Lichansky

At the DCCA, I was floored by the endless creativity of Felise Luchansky, a DCCA studio artist who was featured in the Hatch Gallery. Luchansky’s Unity/Separation exhibit in the Elizabeth Denison Hatch Gallery had a gigantic empty nest decorated with a string of lights and eagle feather in the center of the room . She also had a pair of old-fashioned muslin aprons, crisply ironed, which she herself hung on nails just below several pairs of vintage scissors lent to her by friend Niki Rose Chester. The mixed-media piece is entitled Cutting the apron strings. The scissors and nails juxtaposed over the beautiful muslin apron have that Alfred Hitchcock juxtaposition of kind and evil which make the viewer stop, stare, shudder and then laugh. Other works feature some great Americana in her collages of Dick and Jane, old photographs, Palmer handwriting samples and some felt name badges with names we rarely hear anymore: Elmer, Penny, Clyde, Bert, Mary Lou, Dolores…Think Ward and June Cleaver let their hair down! (MD)

By Margaret Darby and Holly Quinn

www.WilmingtonDE.gov/residents/artloop

www.poppycocktattoo.com/

www.filmbrothers.com

www.feliseluchansky.com

www.thedcca.org

www.ccade.org

OperaDelaware opens with Magic Flute

2011-11-01T16:06:00.003-04:00

Although they had produced Mozart’s Magic Flute in the recent past, OperaDelaware put a new spin on this latest production. They started in an 18th Century art museum and had Prince Tamino wake up in the 1950s. This made way for some silliness which was fun and still in keeping with the comic intent of the master who created it.

Alok Kumar played Tamino with the same strength and vigor he had given to Alfredo Germont in last year’s La Traviata. His very strong voice and thorough preparation for the role made his character believable in spite of the extremes to which the opera goes to promote the principles of the Masons.

The three ladies of the Queen of the Night (Veronica Chapman-Smith, Melody Wilson and Charlotte Paulsen) stole the show for me with their close harmony, perfectly paced singing and gestures. Their comic romps were hilarious and kept everyone laughing.

The ladies were perfect foils for Papageno, brilliantly played by Sean Anderson. Anderson is not only an excellent singer, but also a great comic. He actually played harmonica rather than letting the orchestra dub his miming, and this bolstered the effect of his comic role. His voice blended seamlessly in his duet with Pamina (Susan Nelson) and his comic verve provided a vector for her to show her comic side, too.

Susan Nelson has a beautiful and well-trained voice and was able to convey a wide gamut of emotion in her singing and her acting. She has control, expression and strength enough to come through strong and clear in her duets with Tamino, the musical culmination of the show.

A fun and polished performance supported by an excellent orchestra was made all the more immediate to me by Stefan Kozinksi and Nicolas Muni’s skillfully wrought English translation of Emanuel Schikander’s original German. The next performances are Friday, November 4 and Saturday, November 5 at 7:30 at the Grand Opera House.

See www.operade.org.

This Play's a Walk in the Park

2011-10-31T16:28:00.001-04:00

If you're feeling nostalgic for the 1960s, a time when New York City studio apartment rentals were a mere $125.00 per month, then head to the Wilmington Drama League for Neil Simon's comedy Barefoot in the Park!

My first introduction to Barefoot in the Park was in college when I watched the film starring Jane Fonda and Robert Redford. I fell in love with the charming film, and when the Broadway revival opened in 2006, I made my way up to the city to see it. The comedy, set in New York City circa mid-1960s, is about newlyweds---Corie is a fun-loving young housewife and Paul is a practical lawyer. After spending a six-day honeymoon at the famed New York Plaza Hotel, they have now moved into their studio apartment, which happens to be on the sixth floor of a building without an elevator. During the course of the play, we meet Corie's proper but doting mother Ethel and the couple's eccentric neighbor Victor, who Corie befriends.

The eternal optimist, Corie decides to host a small party in hopes of setting up her widowed mother with Victor. The night culminates with the foursome dining in an exotic restaurant in Staten Island, a fight between the newlyweds, and Ethel never making it home to New Jersey. I'm not going to reveal the ending, but I'll give you a hint---it's a Neil Simon comedy.

Natalie Gaspari shines as the lovable Corie, as does Jack Jordan in the role of Victor. Both characters, along with another famous theater character-Auntie Mame-have been my heroes with their philosophies of "Live, enjoy life, and experience everything!" Shawn Kline gives a fantastic performance as Paul, a person who finds walking "barefoot in the park" a ridiculous act. Catherine Ireland as Ethel steals every scene she's in! I also must give a shout out to Mark Ladd, who delivered some very funny lines as the telephone repairman, who has to climb up the six flights of steps to install the couple's new line.

Overall, Barefoot in the Park is not a groundbreaking piece and it won't change your life, but it will entertain you. It fits in perfectly with the current cultural resurgence of the 1960s---think Mad Men, Pan-Am, and The Playboy Club. They all recall a time when America was innocent and flirty; maybe a time we need to relive now more than ever?

See http://wilmingtondramaleague.org/.

Perky Opening for Mėlomanie

2011-10-30T17:43:00.006-04:00

Many changes were made for Mėlomanie this year: a new violinist, performances at new venues, new repertory and a new advertising idea!

The October 29 season opening at Grace United Methodist Church was a lively production of new and old music – with the startling newness of Georg Philipp Telemann’s Paris Quartet No. 5 in A Major, TWV 43:A3 – which the artists split to play half before and half after the intermission. Two composers sitting beside me in the audience were marveling at how much more daring and even classical George Philipp Telemann (1681-1770) can be in his gallant style than his contemporary Johann Sebastian Bach (1685-1750) and I think they were quite right. The Telemann was zippy, rhythmically unusual and a great vehicle to show off the new member of the group, violinist Christof Richter, whom many in the audience have appreciated from his former appearances with Mėlomanie.

The Giuseppe Tartini Sonata in G Minor (The Devil’s Trill) was a more sedate piece which provided a bridge to Ingrid Arauco’s Silver (Variation diabellique) for solo flute which Arauco had composed for the 25th anniversary of Network for New Music. With the cold outside, snowflakes falling, the silvery tones of Kimberly Reighley’s modern flute made just the right atmosphere for a cold winter’s night. The shimmery sounds of Arauco’s flowing melodies filled the sanctuary with warm light.

Mark Rimple’s Sonata Circumdederunt me had an entirely different accent – of modernist tendencies and humor interspersed with a flash of technical virtuosity from Donna Fournier on the viola da gamba. The harpsichord accompaniment helped ground the harmonic base of the exploratory composition.

The second half of the concert started with the second half of the Telemann, which seemed almost as new as the 21st Century compositions we had just heard. Richter and Reighley led the merry chase of Telemann’s romp which was certainly a highlight. The concert ended with another 21st Century work, a tango in three movements by Christopher Calliendo.

The audience was given these musical treats plus a perk – a gift of a special blend of Pike Creek Coffee blended for Mėlomanie, named "Downtown Wilmo Blend" and branded with great photos of the group.

See www.melomanie.org.

Art & Civil Unions: A Terrific Marriage

2011-10-28T08:11:00.000-04:00

To celebrate the January 1 implementation of Delaware’s same sex civil union law, engaged lesbian, gay and transgender couples are invited to take part in ONE LOVE on Saturday, January 7, 2012, at 7:00pm at the Delaware Art Museum. ONE LOVE is a series of activities that culminates in a collective same sex civil union ceremony. As part of ONE LOVE, the guests of each couple will be able to share in the joy of not just one, but multiple, unions.

Says event co-organizer Nikki Brennan of Lovely Girls Events, “Many LGBT couples and their loved ones have waited years to enjoy a ceremony in Delaware, and they shouldn’t have to wait one more day…nor settle for a courthouse ceremony. For those anxious to wed, I wanted it to be soon, and I wanted it to be fabulous!”

The Delaware Art Museum was delighted to help make this event a reality. “Our stunning galleries and spaces are perfect settings for a wedding. We’re thrilled that ONE LOVE will highlight the creative ways that the Museum can make any big day special,” Says Molly Keresztury, Manager of Marketing & Public Relations at the Museum.

To take part in the ONE LOVE Group Civil Union Ceremony, couples must: RSVP by December 1; acquire a Delaware Civil Union license between January 2 and January 6; and show proof of licensing upon arrival. Nondenominational officiants and staging areas are provided for each ceremony, as well as music, décor, hors d’oeuvres, and cake. Couples are encouraged to bring items such as prewritten vows, unity candles, ring pillows, cake cutters, and bouquets or boutonnieres for a personal touch.

A complimentary group toast will take place, and a cash bar will be available. Guests will enjoy passed hors d’oeuvres and a DJ. BG Productions will photograph the event, and the Wilmington Photo Booth Co. will also be on site with a photo booth.

In addition, Brennan and her event partners devised the ONE LOVE Couple Contest to add to the excitement of the collective ceremony. Among the couples taking part in the group ceremony will be three couples who have entered and won the contest. This Contest awards three prizes to contestants—one to a gay couple, a lesbian couple, and a transgender couple. Entrants should describe in 100 words or less, “what makes you laugh, what makes you cry, and what makes you unique as a couple.” Entries can be submitted to onelove@lovelygirlsevents.com by November 3, 2011, at Noon EST. The email should include the names of the couple, a phone number and email address. Winners will be announced on November 5. The prize packages include a $400 engagement photo/video session; one grand prize will also provide a complimentary floral order and spa or beauty treatment on the day of the ONE LOVE event.

DSO thanks subscribers at Dickinson

2011-10-27T17:20:00.002-04:00

On Tuesday, October 25, the Delaware Symphony played at John Dickinson High School, giving their subscribers a thank you concert and joining forces to promote the fantastic Kimball Organ.

The concert allowed the DSO to give yet another performance (the last one was in the 1980s in Washington, DC) of the Saint Saens Symphony No. 3 in C minor, often referred to as the organ symphony. They also played Fratres by Arvo Pǟrt and a fairly unusual piece by Ottorino Respighi called Church Windows (Vetrate di chiesa) which he refashioned from an earlier piano composition he called Tre Preludi sopra melodie gregoriane. For Church windows, Respighi added a movement and scored it for full symphony, pipe organ and tam-tam.

Since it is rare to have a good venue with a full pipe organ which can accommodate a full symphony as well, this performance at Dickinson was a rare treat.

See delawaresymphony.org

DTC Opens Season with "All My Sons"

2011-10-24T18:39:00.009-04:00

By Blogger Charles "Ebbie" Alfree, III
After surviving the brutal yet extremely funny production of August: Osage County at the Arden Theatre Company (Philadelphia) yesterday, I was ready for a wholesome classic play by Arthur Miller. My friend Katt and I took a jaunt to the Delaware Theatre Company to see the playwright's family drama set in 1947, All My Sons (the first production of DTC's 2011-2012 season). Although August: Osage County premiered in 2007, 60 years after the premiere of Miller's play, both productions dealt with the same theme—dysfunctional families. (Apparently nothing has changed over the years.)

Cast (from left) P.J. Benjamin as Joe Keller, Robert Eli as Chris Keller,
Jered McLenigan as George Deever, and
Anne-Marie Cusson as Kate Keller. Photo credit: Matt Urban.

Set in post–World War II, All My Sons is the story of successful business owner Joe Keller, who grew up poor and undereducated, and his family. Joe is the kind of guy who will do anything to keep his family happy and living in the lifestyle to which they have become accustomed, regardless of the consequences. Joe's wife, Kate, still holds hope that their eldest son, missing-in-action for three years, will come home. Their younger, more realistic son, Chris, has returned home from the war and now works for his father. The play begins the morning after a harsh storm as the family is preparing for a visit from their elder son's widow. Once she arrives, the layers of family guilt and unethical practices begin to unravel, with help from the family's neighbors.

The cast, directed by David Stradley, found the soul of the play and brought their grueling characters to life. P.J. Benjamin, in particular, gave an award-worthy performance as a loving father with a secret—a complex role perfectly executed. He and his colleagues performed on a set that evoked the feeling of living in a 1940s middle-class American “anytown”. The cast was met with a standing ovation, which was also to recognize everyone involved with this timeless play. I'm sure this cast will see a standing room at the end of every performance!

Driving home, Katt and I contemplated how the theme of the play still rings true today. How many mothers today are hoping their sons and daughters in the current war will come home? How many businessmen are making unethical decisions based on money rather than the greater good?

And, how many families are unable to face their problems and live "normal" lives? Based on these plays and the stories on the nightly news…perhaps not many….oy vey!

See www.delawaretheatrecompany.org.

It Must Be October! The Coffin Ball at Talleyville Frame Shoppe

2011-10-10T19:29:00.000-04:00

Photo: Ophelia von Gray

While most of the attention on First Fridays is focused on downtown Wilmington, it's always worth the short drive up Concord Pike to the Talleyville Frame Shoppe & Gallery -- especially this time of year, when horror-themed art takes center stage. This year, artists-slash-shop owners Ric and Wendy Frane focused on a coffin theme for contributing artists and, appropriately, named the opening event The Coffin Ball.

Each artist started with the same canvas: a flat toe-pincher coffin shape. Other than the base, there were no limits: Pat Higgins used his as a panels for comic-style pieces; Paul Romano created a carved 3D piece; Kristen Margiotta painted an upside-down bat in her distinctive big-eyes style; Adam Cruz, Ric Frane and Leila Marvel explored dark femininity with paint; Baron Von Reign utilized digital photography; and Ophelia von Gray applied her soft sculpture "Guten Monster" art into dimensional, coffin-shaped wall art. Several of the artists went with a bit of a Dia de Los Muertos theme, including Poppycock Tattoo c-owner Tina Marabito's Our Lady of Guadalupe, Poppycock tattoo artist Dave Mele's skeleton fortune teller and Wendy and Ric Frane's dead bride and groom pieces. Other themes, such as Tina Imel's "Death of the USPS" and Higgins' "Greed" made social statements. As a whole, the collection represents a spectrum of Delaware artists with a dark side, all of them highly talented.

L-R: Pat Higgins, Adam Cruz, Ophelia von Gray, Kristen Margiotta, Leila Marvel, Wendy Frane, Ric Frane.

The Coffin Ball itself was more than a gallery opening, it was also a rock 'n roll masquerade party featuring DJ Shadylady and live music by -- who else? -- Coffin Fly, who rocked it as usual with their twisted brand of rockabilly.

Photo: Kristen Margiotta

The Coffin Ball artwork will be on display through October at the Talleyville Frame Shoppe and Gallery at 3626 Silverside Road (between the PNC bank and the Chuck E Cheese).

Les Six

2011-10-05T17:57:00.003-04:00

The Delaware Symphony champagne series at the Hotel DuPont Gold Ballroom October 4 was a whirling delight of early twentieth century compositions. The program featured DSO woodwind principals and principal French horn in five solos and a grand finale sextet.

Pianist Lura Johnson, recently named principal piano to the DSO, was a powerhouse – playing every one of the quite difficult pieces and bonding extremely well with all five soloists. William Short was able to show his marvelous tone in both high and low registers in Henri Dutilleux’s Sarabande et cortege for bassoon and piano. (Having heard him play in Richard Strauss’ Also sprach Zarathustra in both his final Curtis concert and the recent DSO opening, his smooth sound and control was no surprise.)

Charles Salinger’s arrangement of Max Bruch’s Kol Nidrei for clarinet was a more somber and subtle piece, allowing Salinger to show his amazing control and dynamic gradations in a narrow range of sound. Karen Schubert’s horn sound in Paul Dukas’ Villanelle for horn and piano had the volume needed in that room to stand against the full sound of the grand piano’s open lid and Johnson’s strong attacks.

Jeff O’Donnell’s delicate oboe sound (which had been sorely missed during his year-long hiatus from the DSO) and Kimberly Reighley’s flute were both high enough to be in an almost different sound zone from the piano and this enhanced the effect of each performance, allowing their control and technical brilliance to be clearly heard.

And the Poulenc sextet was one of those moments in musical performances where everything seemed to click among the six musicians – the rollicking music resounded in the ballroom – and here is where the strength of Johnson’s piano playing really showed. What other pianist could have prepared that many notes for a single evening’s concert and still play with energy and gusto up to the very last note?

See www.delawaresymphony.org.

Newest Blogger Lives It Up at "The Life"

2011-10-04T08:13:00.000-04:00

Charles "Ebbie" Alfree, III is the newest blogger at Delaware Arts Info! We welcome him aboard and hope you enjoy his first installment!

The Wilmington Drama League opened its 2011–12 season with the Cy Coleman Broadway musical, The Life. The show chronicles the trials and tribulations of prostitutes and pimps in New York City the early 1980s—in those days before Disney and chain restaurants reformed 42^nd Street and families began visiting the city again.

Watching the production, directed by the incomparable Tina M. Sheing, I realized how much prostitutes and everyday people actually have in common in the workplace. Sure prostitutes might not have offices like a high-powered lawyer or executive, but they deal with the same pressures — contending with sexual harassment, working long hours, having coffee (or beer) breaks cut short. In addition, there are the everyday stresses all people confront in their personal lives — balancing careers and relationships, worrying about getting older, wanting to be loved. I’m sure all people can relate to at least one of these issues.

Although I was thinking about these similarities during the show, it didn’t stop me from enjoying the action on the stage! I was entertained by the show’s R&B and gospel–inspired musical numbers brought to “life” under the music direction of Matt Casarino. The terrific performers, many in heels, brought dance numbers alive with some Fosse-esque choreography by Jody Anderson.

I must admit I loved listening to the lead prostitutes, best friends Queen (played by Sharon Brown Ruegsegger) and Sonja (played by Rebecca Gallatin), sing duets. By themselves their voices were strong, but combined they soared! I also loved that Ms. Gallatin’s look was reminiscent of (get ready for a retro reference) Nancy Allen in Dressed to Kill.

The Life might have ended its run (closing night was October 2), but WDL is ending their season with another show of similar working girls – The Best Little Whorehouse in Texas (May 4-19, 2012)! And, I must admit I’m looking forward to their upcoming production, Barefoot in the Park (October 28-November 12)…One of my faves!

See www.wilmingtondramaleague.org.

Passing Strange at Bootless

2011-10-01T00:20:00.001-04:00

Stew, the creator/subject of Passing Strange, and collaborator Heidi Rodewald chose just five theater groups in the US to perform the stage version of the show this year; Wilmington's Bootless Artworks was one of them. Still essentially homeless (they are taking up in The Episcopal Church of Saints Andrew & Matthew in downtown Wilmington for this show), Bootless continues to show that they're a major force in Delaware theater.

My last Bootless show was The Pillowman, an incredible, and incredibly dark, comic piece put on in an empty outlet store on the Riverfront. Passing Strange is positively light in comparison, but the journey is deep and real.

Directed by Malika Oyetimein and James W. Fuerst, the musical is narrated by Stew (Jerry Rudasill), who introduces his teenage self (Cory Hindorff) and his mother (Cherie Jazman), a comfortably middle class black family in Los Angeles. She drags him to church, where he finds after-hours inspiration from the secretly free-spirited choir director (B.K. Elam) who never left home. His punk band flounders, and, terrified of never moving past his neighborhood, he leaves his mother for Europe -- and the promise of creative freedom, sex and drugs. The farther he gets from home, the farther he gets from himself, until his life is a performance of "passing," gaining acceptance from a group of German radicals by using his non-existent ghetto street cred. Humorous, yes, and also quite poignant. The Narrator was shaped by the choices made by his naive young self, but it wasn't without loss.

Hindorff is a star. And by that I don't just mean the star of this production, which he is, but a star, period. It's what I thought when I saw him in Cats at NCT in January, and my feeling has only been reinforced with Passing Strange. The ensemble includes four actors who take on triple roles as characters in LA, Amsterdam and Berlin -- Candace Thomas, Kori Beaman, Keith Wallace and B.K. Elam -- all of whom transformed dramatically and convincingly throughout.

The show features a live band, which was one of the main concepts of the original version, Travelogue. On preview night, the band sounded great, but at times drowned out the stage performers. Hopefully, the sound issues have been resolved.

Passing Strange runs through October 15. Ages 15 and up. For tickets, click here.

Wilmo on the Fringe

2011-09-23T08:36:00.000-04:00

Wednesday night, again at the Queen! Although this time hubby and I are among the crowd enjoying the night of the Fringe Wilmington Performance Preview Party. Among the many folks-about-town and dignitaries that packed the room of Upstairs Live, we were treated to the unique sounds of show starters, The Obsoleets.

The ensemble, armed with a musical arsenal that includes guitars, drums, an upright bass, accordion, mandolin, violin, erhu (although not tonight) and more, was made complete by the conspicuously placed and remarkably integrated new member, DJ Leon Barton. It was, at first, an unlikely mix that ultimately made amazing sense.

Playing rare and period selections (think 1920s Bessie Smith), they fused the tunes with Leon’s subtle yet genius scratchwork, creating a fabulous—dare I say, fringy—new genre. What is it? Low country, bluegrass, folk? Our next-door tablemates said it reminded them of the New Orleans music scene. Whatever they call it, I want to hear more of it in Wilmo!

See www.obsoleets.com.

Onto the Performance Previews: There are more than 30 artists and 200 performances running at Fringe Wilmo now through Sunday, and each artist/group was able to give a 3-minute teaser of their performance at the preview. Some that struck my interest: A Contemporary Folk Evening with Flyground (Flyground, dance); One Word (MM2, dance); Dirk Darrow: NCSSI (Tim Motley, comedy/murder mystery); and No Diva Left Behind (Augustine Mercante, vocal & piano). Check them out on the website and go get your fringe on!

In addition to main performances, tonight (Friday, September 23) there’s the Film Bros.’ Festival of Shorts at Theatre N; the Fringe 48-Filmmaking Competition; a Knights vs. Pirates Foam Sword Battle (ADULT & KID FRINGE? awesome!) in Willingtown Square, Saturday, September 24, from 2:00-5:00pm, thrown by our pal DÉminence Grise; and of course, the Visual Fringe exhibition at the Chris White Gallery at Shipley Lofts. Don't miss Fringe Wilmo 3.0!

See www.fringewilmington.com.

Newark Film Fest

2011-09-20T18:05:00.004-04:00

Cave of Forgotten Dreams is a Werner Herzog creation which is about the Chauvet caves. These caves were sealed off by a rock slide about 20,000 years ago so that when they were discovered by cavers on 13 December 1994, they were remarkably preserved. Some of the art in the caves is 38,000 years old. Herzog got permission from the French government to film the cave for this film which was released in 2010. Herzog narrates in fairly good English but also invites some French scientists and a perfumer who have accents that make them a sure winner for a Maurice Chevalier talk-alike contest. They were so laughable that I expected Peter Sellers to come on screen at any minute. The three dimensional photography of the caves is spectacular, but the broken English interviews is more absurd than any Pink Panther episode and the Herzog epilog was most puzzling.

Double hour (Doppia ora), 2009, directed by Giuseppe Capotondi, is a complex thriller about a hotel maid who meets a former policeman at a speed dating session. The two seem to click, but then events take a somber turn as they start their romance. Kseniya Rappoport emanates a waif-like character who is absolutely fascinating.

Another excellent film was Beginners – a poignant film which seemed to focus on homosexuality but in the end was a story about how to find, keep and live with love. Christopher Plummer and Ewan McGregor were excellent in their roles as classic American father and son seeking love from each other and from others.

The Trip, 2011, was a pleasant surprise to me – having heard that two Brits have a contest in sarcasm on a long trip to Yorkshire to eat good food; I thought I couldn’t stand it, but friends wanted to go and I was surprised at how good it was. Michael Winterbottom directs Steve Coogan and Rob Brydon (both well-known comedic actors in the UK) and gives them plenty of liberty to improvise.

The last film on the schedule was Trollhunter (Trolljegeren), 2010, was directed by Andre Orvedal. Made in documentary style, this film has some wonderful moments played as straight as an arrow: three billy goats on a bridge, government paperwork to fill out when a troll is killed and some spectacular trolls and special effects.

After the film, my friend Pam pulled out her hand troll puppet and let him greet the two guys dressed as trolls and waiting for the crowd to leave the last film of the festival.

See www.newarkfilm.com

A Week in the Company of the Queen: Live & Lots of Local

2011-09-18T15:22:00.001-04:00

OK, this is way late for a post, but I couldn’t get these guys out of my head. So…here’s my summary of one week of music, featuring love for fantastic local musicians and props for the love being shown to them by World Café Live at the Queen (WCLQ).

Event #1: Open Mic Tuesday
I headed out with some gal pals to the 6:30pm performance at WCLQ (500 N. Market Street, Wilmo) and enjoyed earfuls of awesomeness that covered nearly every genre from musicians of every background. Lead-off for the night was a performer who wowed us with an incredible 10-minute set of African drumming and song. I wish I remembered his name, but when I find it, I WILL let you know! Following him, the Mosaic String Duo of guitarists Chris Braddock and Doug Seth gave us a rousing performance and a tour around the globe with their original music. Touching on Spanish, classical, even “bluegrassy” influences, they had the crowd clapping, cheering and whooping it up during their entire set. I hope they make a return visit to Upstairs Live very soon! Also amazing that night was WCLQ regular, pianist/vocalist Noelle Picara, who I heard performs for happy hour on Fridays Upstairs Live as well.

See www.braddockmusic.com.

Event #2: Free Noontime Concerts
Another girlie pal and I met at WCLQ on a Friday afternoon for nosh (note: try the eggplant fries…YUM) and nuttiness from the ultimate “dork rock” duo, Hot Breakfast! The pairing of Jill Knapp and Matt Casarino kept the packed room dancing in the streets…I mean, seats…for a great lunchtime break. Their wacky set included songs like The Hole in Your Pants and epic covers of classic tunes from The Buggles (Video Killed the Radio Star) and Bonnie Tyler (Total Eclipse of the Heart). This duo are as hilarious as they are talented…Yes, Breakfast is great for lunch!

Follow them @hotbreakfast

Event #3: Six Voices, One Piano
My final trip to WCLQ was a benefit for the Delaware Breast Cancer Coalition. It highlighted not only great vocalists, but also the continued benevolence of one in particular: Joe Trainor. He organized the event and gathered a stellar line-up that starred Noelle Picara (who wowed us earlier at Open Mic Night), Leslie Carey, Brian Diltz, Gina Degars, Angela Sheik and Trainor himself. The stark set and lone keyboard drew you in to their raw talent…wouldn’t it be nerve-wracking to perform just you and your piano? Offering up both original music (Angela Sheik debuted a song called Good Year) and covers, their performances were effortless and soothing and powerful. I know I’ve said this before, but I love to watch Joe perform. He takes you on a emotional trip inside his own songs and practically transforms himself into whoever he’s covering---Billy Joel, the Beatles, you name it. You’re really missing something special, in both talent and compassion, if you’ve never seen him.

Follow the Joe Trainor Trio @JTTrio

Rehoboth Rocks Local Art Scene

2011-08-17T20:52:00.001-04:00

The 73^rd Annual Members Fine Art Exhibition in the Corkran and Tubbs Galleries of the Rehoboth Art League is remarkable for two reasons: one, that the Rehoboth Art League could have so many members with so much talent and two that the galleries are in such a beautiful setting.

I biked down Columbia Avenue and enjoyed a leafy canopy and wide shady streets leading to Dodds Lane and the incredible gardens surrounding the League. The Homestead Gallery is smaller, but in a beautiful old house so you feel as if you are in someone’s home that is filled with wonderful pottery and art.

Here I noticed in particular the pale greens of Gail Neiburg’s and Nettie Green’s ceramic plates, the bold acrylic of Tehrir Square by Alan Keffer, the oil of Atlantic City in the Morning by Jarrod Ranney as outstanding. But when I arrived at the Corkran and Tubbs Galleries, the work truly began to overwhelm me.

Ken Kusterer, who moved to Lewes in 2006, has a big city edginess in his portrayal of an endless group of black men in bright orange prison jumpsuits entitled Used to be slavery was oppression enough. He also had a portrait of Benito Juarez with an inscription in the picture. Bill Snow’s oil of a Fall Storm on Federal Street in Milton showed the purply grey sky of a storm, the shine in the street giving off the reflection of the buildings and car whose headlights pierced through the foggy aftermath of the heavy storm.

There are also many small pieces and crafts that are quite tempting, including notecards with Lewes Eateries by Kathy Buschi of Magnolia as well as mirrors and other small items. This exhibit is open until August 26, but it seems the Rehoboth Art League is a powerful force that will be with us for some time to come.

See www.rehobothartleague.org

Mosaic String Duo at the South Coastal Library

2011-08-17T20:46:00.006-04:00

Both of the musicians are teachers. Douglas Seth founded the Guitar Academy of Southern Delaware after years of teaching in Florida and Chris Braddock has taught for many years at the Music School of Delaware and is currently guitar department head. Their concerts are lessons in stringed instruments: an octave mandolin, an oud (the Middle Eastern ancestor of the lute), a Dobro or resonator guitar, a twelve-string and classical guitar for Braddock and a classical, flamenco and electric guitar for Seth.

The concert consisted of pieces written by Braddock and Seth and they treated the crowd to brief explanations of titles, introductions to the various instruments and spoke of the composing process. Seth’s strong classical style and training (listen to his rendition of the prelude to the Bach Cello suite on his web site) is a great backdrop for Braddock’s more eclectic musical style. Together the two of them are quite creative.

Their tongue-in-cheek musical jibes as in the piece Ottmar Who?, a gentle mockery of Ottmar Lieber’s constant use of flamenco themes, was a lot of fun – with Braddock playing a melody reminiscent of a James Bond walk-on theme and Seth playing a constant flamenco ostinato in accompaniment. Seth’s virtuosic guitar solo for RW’s Backwoods Adventure took him to a very complex picking pattern of a wild country music hoe-down with Braddock accompanying him on the resonator guitar.

It was a fun evening and a delight to see such a large and enthusiastic crowd on a stormy rainy night at Bethany Beach.

See www.braddockmusic.com

See www.guitaracademyofsouthernde.com

A Night of Music & Friends for the Arts in Wilmo!

2011-08-14T13:17:00.000-04:00

Last night, Wilmington and the Baby Grand on Market Street were buzzing from the energy of a killer concert for two excellent causes. The Joe Trainor Trio (Joe Trainor, vocals/piano/keyboard, Kevin Neimi, bass & Jeff Dement, drums) are fantastic local musicians with huge philanthropic hearts. They put together a blowout tribute to the music of Billy Joel with a few of their most talented friends, and their performance was a benefit for The Arts Academy at the Grand and City Theater Company (CTC).

Billed as JT3 & friends present the music of Billy Joel, the evening featured musicians Chuck Kuzminski (lead guitar); Kerry Kristine McElrone (vocals); Jill Knapp (vocals/percussion/saxophone) & Matt Casarino (vocals/guitar/saxophone), who are known as the musical duo Hot Breakfast. Special guest performers were CTC Artistic Director Michael Gray (vocals), Melissa Joy Hart (vocals), Stephen Manocchio (guitar/harmonica) and Gordon Holmes (vocals). It was quite a full stage, and this musical gang had the near-capacity crowd hooting, clapping and eventually dancing in the aisles. It was also clear that the group enjoys performing together: laughing, dancing and mugging to the crowd and each other throughout the sets.

The whole show was awesome (several folks commented to me afterward that they were "totally blown away"), but the highlights for me were, in no particular order:

Matt Casarino's "Billy the Kid" performance
The group performance of "Only the Good Die Young"
Gordon Holmes' kickass cover of "Pressure" (photo at right)
The rousing closing performance of "Piano Man"

Trainor is tremendously talented in so many respects. He's fun to watch, his voice moves you, and he has an incredible knack for aligning musicians to produce a knockout musical punch. (I sat next to his former music teacher during the show, and she was just beaming.) JT3 and this collection of musicians are local gems that I think everyone should celebrate---for their talent but also their willingness to share it for the greater good of the Arts in Wilmington!

Pick of the August Art Loop

2011-08-09T10:59:00.000-04:00

Two DE Arts Info bloggers, Margaret Darby and Holly Quinn, hit the Loop this month:

Holly says: If you follow local music in Delaware (or if you follow this blog regularly), no doubt you've seen David Norbut's work. This month, Poppcock Tattoo at 115 W 8th Street in Wilmington hosts a selection of his photography, with a focus on his Western series of landscapes, nature and portraiture -- with a couple of his stunning live band photos in the mix, as well as a video incorporating a larger selection of photos. Norbut has a great eye in any location, not least of all the sweeping, sometimes weathered beauty of the American West, leaving me wanting more.

While Poppycock was hopping, people wall-to-wall, The Chris White Gallery at Shipley Lofts was considerably more quiet. The work in Anti-Subliminal, a group show featuring multimedia work by artists including Jesse Jynch, John Durandetta, Herman V. Brandt, Bresnow, and Brandon Cash, brought together illustration, photoshop and graffiti art, with an installation piece by 3EYES highlighting the show.

Yakime Brown

Margaret Says: Holly’s venture into Poppycock Tattoo to see David Norbut’s photography and wanting more made me conscious of Michelle’s admonition that we should find some new venues….which I tried to do. I started on Lower Market to see what the LOMA Coffee House was doing – a few works by Catherine Mulrooney were all I could see from the street and earsplitting music coming out of an electric guitar and enhanced by the guitarist’s plananx of bass pedals. Didn’t dare enter as I didn’t have my earplugs on me, but it was obviously happening. Went to Dimensions and Co. by Ace to see a few Underground Comixxx by Jabar Brown, who was by himself eating pizza out of a box and chatting on his cell phone….Venture Creative Marketing Group was firmly closed – unlike the framer next door who tried to call to find out if Venture was going to open later. But it was all happening at 919 Market, so it was worth hiking up the hill – hearing more earsplitting music from the Queen (holding my ears even a full block away where we encountered a hip guy asking us where the music was coming from)….and walking into 919 to find a great party going on! A big cake, lots of snacks and lively art by Yakime Brown – a friendly guy in a porkpie hat who strode right up to say hello. It was fun telling him which pieces I liked best and hearing how he felt about those same pieces. His textures are shiny, acrylic paint for the most part – either done in an explosive circle, seemingly shot from a cannon or made into flowerlike petals with his palette knife. Yakime Brown also has a considerable variety – with some pieces of staid stripes in a flat mode. Originally from Brooklyn, Brown has been living in Bear for the past few years and has quite a following. AND it seems that the new curator of 919 is ready for things to hop.

And, there was new life in the DCCA with the completion of the Movable Feast project by interns Jung-A Woo and Hoyun Sun. When I arrived, teenagers from the Latin American Community Center and their teachers were buzzing around outdoor tables cooking on hotplates to show what they had learned about food and culture . Woo and Sun had a film loop explaining the project and the kids photographs and art were displayed in the DCCA lobby. But the real fun was watching the poise and pride of the kids as they prepared and served foods they had learned about during the six-week project.

My conclusion is that you can always find new surprises in the Art Loop. Can’t wait for the next one because, like Holly, it left me wanting more.

Wilmington Children's Chorus Goes Abroad!

2011-08-02T14:48:00.001-04:00

The "Singing Ambassadors of Wilmington" have gone international, embarking on a 10-day musical and cultural tour of Europe! Twenty-eight members of the 100+ ensemble will travel to Wilmington's Sister Cities of Fulda, Germany and Nemours, France for a performance, partnership and education-filled journey. Click on the link in the headline above for a diary and photos from their trip, courtesy of the choristers themselves!

Delaware Arts Info wishes them all a wonderfully musical time abroad! ENJOY!!!

Barefoot in Bellevue Park

2011-07-22T14:24:00.006-04:00

July 21 was horribly horribly hot, but the First State Symphonic Band was cheerfully rehearsing in the giant band shell of Bellevue State Park as I arrived. Conductor Jonathan Wittman had a huge rag on a music stand in front of him so he could wipe his brow between numbers, but the band played on.

Most of the repertoire consisted of familiar marches, but an interesting experiment was the Alfred Reed Armenian Dances, a complex medley of tunes reminiscent of a Turkish bazaar. You could hear snake charmer themes and all sorts of exotic melodies as the band toured through the exotic five/eight rhythms.

Another fun surprise was a band piece by Joe Eigenbrot, a Bethlehem PA native and saxophonist in the band. His piece showed the Polish and German heritage reflected in the peoples and spirit of his native area.

Kids danced in front of the band, staff put on a bubble machine, dogs barked, and people ate dinner, wandered and enjoyed the informal atmosphere of a park concert.

Come to the next concerts, every Thursday and Sunday evening at 6:30 until August 28. Or if you prefer lunchtime concerts, they have one every other Wednesday through September 14 from noon to 1. (Don’t worry, there are lots of trees to shade you!)

The concerts are free, but there is a park charge of $3.00 if you do not have a State Park Sticker for your car.

See www.firststatesymphonicband.com

See www.destateparks.com/park/bellevue/

DelShakes Returns

2011-07-22T08:56:00.000-04:00

Outdoors under the rustling tress behind Rockwood Mansion, not even the occasional far-off train whistle will break you from the feeling of being transported to another time. More than almost anything, watching live Shakespeare done well, as it's done at the Delaware Shakespeare Festival, will do that.

The play on this night was A Winter's Tale, one of Shakespeare's lesser-known and late-career plays -- and what a ride it is. Jealousy and devotion, birth and death, love and redemption -- these themes will always remain fresh. As Leontes, the King of Sicilia who becomes overwhelmingly convinced that his wife, Hermione, is having an affair, Erik Mathew gives an emotional performance. Janice Rowland's Hermione is full of grace. Adam Altman and Molly Cahill Govern stand out as the devoted advisor and gentlewoman to the King and Queen, respectively.

Erik Mathew as Leontes, Janice Rowland as Hermione and Rueben Mitchell as Polixenes.

The second act, taking place 16 years after the first, is lighter, more humorous and more romantic than the first. Jake Blouch's Autolycus a singing rogue and small-time criminal, is a show stealer, as is David Strattan White as the shepherd's son, the play's clown character. We meet the grown daughter (Isa St. Clair) of Leontes and Hermione, who has fallen in love with the son of the king her mother was accused of being unfaithful with, Florizel (Sean Bradley). His father, played more comically in the second act by Rueben Mitchell, forbids them to marry. Love will prevail -- or so we hope, as we're reminded that the doomed Hermione and Leontes were once deeply in love, too.

The solid DelShakes cast, including a handful of college apprentices, did a great job of entertaining and making Shakespeare accessible. One thing I do know: If it's poorly acted, a modern audience will have a hard time following it. I had never seen or read A Winter's Tale before, and the actors delivered the prose impeccably -- I wasn't lost at any time during the performance.

A Winter's Tale Runs through July 30.

"Annie" Brightens the NCT

2011-07-14T21:41:00.002-04:00


Jamieson O'Brien as Annie. Photo: NCT

Being a female kid of the '70s, I was an "Annie" fiend in elementary school, as was every other girl I knew. Sticker collections and Annie, that's all that mattered, as well as Pink Floyd's "The Wall," which we didn't necessarily have to like, but it was there, and it seemed to be on our side. "Annie," with its defiance, paired with its belief that a little kid could potentially change not just her own life, but the world, was definitely on our side.

I took my 7-year-old niece, Sophie, to the opening night of Annie at the New Candlelight Theatre. I don't know if the show has the same presence for young girls it had 30 years ago, but I do know that she is hooked, playing the same old record we listened to countless times. (Fun fact: three regulars of the much-missed "Al Alberts' Showcase" were cast in the original Broadway cast of Annie, including the original Broadway Annie herself, Andrea McCardle. Chris Alberts, the son of the legendary Al and Stella Alberts, is the New Candlelight Theatre's Artistic Director.) So, for me, at least, this nostalgic show was a must-see.

Jamieson O'Brien as Annie, Patrick O'Hara as Mr. Warbucks

The NCT production lives up to the high standards the theater has set this season with shows like Cats and The Full Monty. As Annie, Jamieson O'Brien lights up the stage as any Annie should, and the rest of the orphans -- Rebecca Smith, Katie Loftus, Gueneviere Sherlaw, Jordan O'Brien, Kayla Brock and the scene-stealing Nicole Hemphill -- are a delight. Geri Weagraff's Ms. Hannigan is both sleazy and surprisingly sympathetic, though not to the point where you feel bad when she gets her comeuppance. Rooster and Lily, characters who have to own their scenes (as a point of reference for those not familiar with the play, they were played by Tim Curry and Bernadette Peters, respectively, in the movie version) are played solidly by Dewey Oriente and mega-talented NCT regular Lindsay Mauck. The role of Daddy Warbucks is played by another NCT regular, Patrick O'Hara, who brought both the required conservative staunchness and warmth to the role. You have to care about whether Annie and Warbucks become father and daughter for the play to work, and O'Hara does make you care. Rounding out the cast is the lovely Megan Pisors as Grace, Dave Snyder as FDR, Andre Dion Willis as the butler Drake, and an incredibly strong ensemble.

Whether you want to revisit your youth or introduce a great musical to the next generation, Annie fits the bill. The show runs through August 21, and, as always, the ticket price includes a buffet dinner; a cash bar featuring specialty Annie-themed drinks, specialty desserts and a nightly 50/50 raffle are extra.

Pick of the July Art Loop

2011-07-10T06:02:00.015-04:00

The first stop was at the Delaware Center for the Contemporary Arts where very few studios were open. The Annual Members’ Juried Exhibition was still worth the visit. My favorite of the Duets (partnered works by each artist) was a large object photographed into the sun by John Schlesinger of Philadelphia. I had not consciously looked for its partnered work and it took me a long time to realize that a lone Styrofoam cup with holes burned in microcrystalline wax was the ‘large object’. Perspective made the cup look gigantic in the photograph and created the intriguing pairing.

The charcoal drawings by Edgar Jerins (top) in the Beckler Family Members’ Gallery were captivating. Jerins’ drawings are rich, real and full of detail and perspective that make you feel you are in the picture with the people he portrays. You can almost hear some of them sigh.

The artists in residence, Jung-A Woo and Hoyun Son, who had each studied at the Chicago Art Institute, presented their plans for a five-week project in residence with the DCCA, the Latin American Cultural Center, and the Delaware Horticultural Center. Their Movable Feast – a study in food and culture – will explore how food affects culture and art. They will show the final product at the August Art Loop.

The Louis L Redding Gallery had lively and imaginative portrayals of African American life and music by Michael Angelo Wallace, a native of Philadelphia. With vivid colors, Wallace goes from almost cartoon-like images of church to Biblical exegeses and back to cubist and surreal images doubling as outlines musical instruments (Ornithology, lower image). Top that off with cool jazz in the background and delicious snacks by Copper Café and my hat goes off to Jeni Barton for planning a great evening.

See www.WilmingtonDE.gov/artloop
See www.mangeloart.com
See www.jerins.com

Jazz Fest Recap

2011-06-28T08:07:00.001-04:00

By Chuck Holdeman, Guest Blogger

Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com

I caught two notable events on the last day of this summer's Clifford Brown Jazz Festival in Wilmington. Having a daughter and her son in tow, we all went for a delightfully free visit to Wilmington's impressive "new" Queen Theatre for the 1:00pm show by JazzReach performing Hangin' with the Giants, aimed at children from Kindergarten to 4th Grade. I speculated with my grandson Carl about what kind of giants we might encounter, but indeed these were Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, Miles Davis, and Thelonious Monk. (What!! no John Coltrane?? ...Well, he was mentioned.)

These giants were portrayed by cartoon characters, appearing on a movie screen over the heads of the six musicians, their well-mimicked speaking voices timed via PowerPoint, which only crashed once (later to resume). Duke Ellington periodically consumed various flavored ice-cream cones. It was explained: "He was so cool he was ice-cold; he could even keep ice cream in his pockets." The MC was the vocalist of the sextet; he had a cue-book to keep him on script, although there were amusing incidents of improvisation---he really made hay when the PowerPoint projection accidentally froze. In almost every tune---the order was the chronology of the composer/giants---there was audience participation. Our MC strolled through the audience with his cordless mic, giving almost everyone, parent and child alike, a chance to respond with, for example, "salt peanuts, salt peanuts." It was an excellent band with two saxes, the vocally astute MC plus piano, bass and drums. The JazzReach website describes a Brooklyn-based ensemble with a floating personnel list.

Saturday evening, we caught the Rufus Reid set. We enjoyed it, but I could not help wondering if much of the material was better suited to an intimate club rather than an heavily amplified, crowded outdoor setting. (Although, it was great to see Rodney Square absolutely full of enthusiasts on a lovely evening with plenty of tempting good [and also junk] food for sale!) Rufus is a bass player from north Jersey, an accomplished and polished veteran, and we heard plenty of bass solos, mellow stuff. The last tune in the set was quite memorable; an intense, up-tempo tune with a very long angular head, brilliantly manipulated by his sax, trumpet and rhythm section.

Chapel Street Actor wins National Competition

2011-06-27T19:08:00.008-04:00

DEartsinfo congratulates Chapel Street Players and Patrick Cathcart.

Patrick Cathcart won the top prize for lead actor in the American Association of Community Theatre competition. Cathcart played Edward Albee's crazy character, Jerry, who both horrifies and

fascinates Peter, the quiet businessman played by Brian Turner.

The one-act was directed by Andrew Mitchell for Chapel Street Players and won the Delaware State competition and then the Eastern States Theatre Association festival before taking the show to the national level.

This was Delaware's first national theatre prize!

Ragtime Rages in Wilmo

2011-06-21T18:33:00.001-04:00

By Mara Goodman, PR Intern, Arts in Media
If you haven’t seen the Delaware All-State Theatre’s (DAST’s) production of Ragtime, you are missing a truly impressive performance happening right here in downtown Wilmington. It is the same company that produced such wonderful shows as Urinetown and West Side Story, although this time we’re not sent to a strange town where no one can pee or travel to 1950s-era Puerto Rican New York City. Ragtime instead features the story of three groups in America at the turn of the 19^th Century: the WASP-y family in New Rochelle, the Jewish immigrant with hopes of “dolls, dresses and apple pie” for his daughter, and the Harlem musician’s struggle for racial equality in the face in injustice.

Covering three very different ethnic groups, the cast of Ragtime was huge. With all these students on stage, it was difficult for full-cast numbers to avoid sloppiness, but it was instead the individual numbers that let the audience quickly forget the youth of the actors. Colleen Scott’s beautiful performance of Your Daddy’s Son surely sent chills throughout the entire audience as she sat and whimpered, cast in a dark shadow. Her voice was stunning, and her acting evoked the most sincere emotion.

Culturally, this show will find most people looking back to their roots. As a Jew in the audience, I personally loved Ben Walker’s impressive performance of Tateh—with his bushy beard and Yiddish slang—and was entertained by his use of the classic Fiddler On the Roof arm swing. The Harlem Chorus’s Ragtime beats stole the show—looking wonderful in their first number wearing orange and pink dresses—I longed to hop on stage and dance with them. And Tatiana Lofton’s rousing performance at the funeral scene was spectacular; she had a phenomenal voice not to be missed.

And while this show was centered on the talent of these students, the costumes were spot-on for every character and the pit orchestra excellent. The set was solid at times—I was particularly fond of the train station set—though I wasn’t a fan of all the background images and would have rather have used my own imagination to envision the characters in settings.

If you’re looking for something to do this weekend, definitely check out Ragtime. This musical captures a realistic range of human experiences, quickly moving from funny, sexy scenes to heartbreaking solos and back again. And while the first act may seem to last forever, the second act comes back with a bang (literally—a gunshot) so don’t give in to sleep too fast.

See www.dastonline.com.

Good Times at Shady Grove Music Fest

2011-06-15T13:00:00.001-04:00


Brad Turner of 3EYES. Photo: Joe del Tufo

A bit of rain couldn't slow things down at the Shady Grove Music Fest on Saturday -- rather than head for the hills (and their dry cars), partiers barely blinked an eye. After all, bailing out would mean missing out on some of the day's most anticipated bands, New Sweden and Bullbuckers, who rounded out the festival's roster of ten main stage bands, acoustic performances on the Moonlight stage and live graffiti art by Brad Turner of 3EYES.

The early part of the day featured The Joe Trainor Trio, Sharon Sable and E. Shawn Qaissuanee, Smoke Signals and Frequency Bender. As the afternoon warmed up under cloudy skies (nice, actually -- the grove is shady, but without the full summer sun in the sky, the day was a refreshing change from the recent heat waves), local youth Local Chaos took the stage to a supportive crowd as they honed their skills with songs by Motley Crue and the White Stripes, among others.

I especially enjoyed Newark's Little Invisibles, fronted by the lovely Dina Degnars on piano and vocals. Shades of Within Temptation, but singularly original. And, with an audience-participation hula hoop interlude, a lot of fun, too.

Little Invisibles. Photo: Joe del Tufo

A little drizzle started to fall during Deadbeatz, Inc's politically charged set, and by the time Villains Like You took the stage, the rain was really coming down -- and the crowd was starting to dance. Nothing like an outdoor music festival to get your body moving it the rain, right?

And through it all, 3EYES created a piece of his distinctive, hand-and-stencil graffiti art, while DJ Zip kept the beat going between bands.

You'll have to wait until next year to hang at another Shady Grove Music Fest, but the Arden Concert Gild offers live original music throughout the year -- like them of Facebook to keep up with the schedule.

Monster Mash-Up on Chapel Street

2011-06-14T21:57:00.002-04:00

By Mara Goodman, PR Intern, Arts in Media

Feeling silly? In the mood to shed a layer of skin and let out your inner monster? Then Chapel Street Players' production of House of Frankenstein by Martin Downing (directed by Scott F. Mason) would be your best bet for entertainment this weekend! Vampires, werewolves, and other freaks roam the stage of this whimsical play, as each one visits Dr. Frankenstein’s castle in an effort to "normalize" themselves. But how does one stop sucking blood and turning into a furry, raging canine when the clock strikes midnight? While it seems that our friendly, monster-making scientist from Mary Shelley’s dark piece could have the answer, he may have lost his flair since his last experiment.

And don’t let the title scare you—this show is humorous. Watching a group of monsters that wish to escape their freakiness and come to the freakiest place is an automatic, ironic, recipe for disaster. Catastrophe is inevitable and quite comical as Frau Lurker warns everyone who dares that “those who enter Castle Frankenstein never leave.” And the notion of danger is challenged by humor as the character deemed Phantom of the Opera—or POO—warns of his powers, yet demonstrates cliché magic tricks, pulling a never-ending bandana, a rabbit, and flowers out of his shirt sleeve.

This show does have its charm. It's the little surprises that made it lovable: the kooky music of Bewitched, Monster Mash, and The Aadams Family that rang in the background and the pop-culture references to Facebook, Brad Pitt, and Justin Bieber reminded us that even vampires love their access to the Internet. My favorites were the vampires, who take turns flipping each other off halfway through the second act, and whose French accents make them “wampires” instead of “vampires.”

And, did I mention that the show was done completely in black and white? Perhaps the most impressive parts of this production were the set and costumes, all doused in cobwebs and candles, leaving traces of scientific failure all around the room. There wasn't one part of this performance that wasn’t done up completely. Harry Talbots, the werewolf, was covered in leather head to toes, and Igor, a resident of Frankenstein’s castle, stood hunchback the full two hours…if that’s not commitment to a role, then what is?

So, if you’re trying to figure out what to do on Friday the 17^th, or Saturday the 18^th, this would definitely be a fun show to check out. Don’t expect anything sober or serious, just lighthearted fun and freakiness!

See www.chapelstreetplayers.org.

Prepare to be Deceived & Delighted at DAM

2011-05-22T23:01:00.002-04:00

Photos courtesy of Delaware Art Museum

By Mara Goodman, PR Intern, Arts in Media

If you’re in the mood to go out on town, throw on some heels and a blazer, feeling sophisticated enough to have your mind impressed by its own limits, then the Delaware Art Museum’s “Perception/Deception: Illusion in Contemporary Art” exhibit would definitely be the place to go. But, if you’re in the mood to experience “funky” pieces of art, perhaps be perplexed by its meaning—which, let’s face it—is sometimes is a headspace we frequent, then you should definitely check out the DAM’s exhibit as well.

This exploration of contemporary art features four artists, Chul-Hyun Ahn, Larry Kagan, Robert Lazzarini, and Mary Temple, all of whose artwork creates three simultaneous responses. The first, confusion about how these pieces of art could possibly be created; the second, what they mean to creator and viewer; and the third, where does one stand when looking at each? Don’t expect to passively examine a painting in this exhibit; these pieces of art are not just 3-D, but involve a dimension of participation on the viewer’s part.

But don’t let participation scare you off: you don’t have to be a lover of art to enjoy and understand this exhibit. Lary Kagan’s work was by far my favorite, as its unique sculptures create shadows through a meticulous combination of steel welding and lighting. At its core, each piece is a collection of steel shapes, which, when examined unaccompanied appears to be a labyrinth of triangles and circles, but when partnered by the perfect lighting set-up and positioning, transforms into a wonderful image of shadows outlined on the wall. You’ll be surprised to find that it is not painted, as I initially assumed.

In particular, check out the collection of mosquitoes—two dead ones, and one alive, featured at the far wall of the exhibit. Never before have I been so interested in the structure, shape, and—surprisingly enough—the beauty of a mosquito. Normally I am too quick to kill the bugger before it bites me to look at the form of its body, but I found myself staring at these pieces for minutes on end trying to piece together the way each shape in the steel reflects the wing or the eye of the bug. Math, in every significance of the word, is really morphed into art in this exhibit. I never thought I would see the day that the math I learned in school was actually applied to something of such beautiful substance.

And the surprises don’t stop there. Especially if you check out Chul-Hyun Ahn’s work, which really challenge the idea that art is flat. These innovative creations are pretty indescribable, but they present, somehow, someway…infinity. If you never thought you could understand what infinity looks like, try peering into the doorway of one of these works. These pieces begin before your eyes and seem to never end, dissolving into a complete illusion of eternity.

Also be sure to keep an eye out for Mary Temple’s works. You may be confused to see on display only one of her sculptures, but don’t be deceived: the rest are hidden throughout the galleries. Her paintings feature the environment and the way that nature is reflected on our windows and walls; as faint shadows of the outside world. Her skill is irrefutably impressive, and fun to find.

But don’t let the thought of “modern art” frighten you. The stereotype is completely disregarded here—all these artists are both innovative and extremely talented. And if you feel like you need a little “classic” artwork afterwards, the museum is filled with plenty of fantastic Wyeths and Howard Pyles to balance out your visit. But as Danielle Rice, the director of the museum, described at the opening, there really is a high “wow” factor to these pieces—it is nearly impossible to understand how they are made and become what that they are. You can’t help but feel wowed. So, next time you feel sophisticated or ready to experience something new and different, make your way over to Rockford Park and prepare to be amazed!

See http://www.delart.org/exhibitions/current/index.html,

Zoo Story takes Delaware to AACT Competition

2011-05-22T19:41:00.003-04:00

For the second time ever, Delaware has an entry in the American Association of Community Theatre festival. Andrew Mitchell directs Brian Turner and Patrick Cathcart in Edward Albee’s Zoo Story – a one-act story about human contact in a New York City park.

Patrick Cathcart plays Jerry, an edgy, nervous guy who has just about given up on positive contact with all living creatures when he spies Peter, a happy, humdrum middle class father of two girls with his happy middle class job, middle class home and middle class habit of sitting on a park bench and reading every single weekend.

Cathcart is so completely Jerry that he has that wild and hungry look as he starts up a conversation with the reluctant Peter. His jerky gestures and perfect New York accent are exactly what you heard on the subway platform on your last trip to the city. Jerry teases and cavorts with Peter so engagingly that Peter is soon lost in the threads of Jerry’s life and couldn’t get away if he had to.

The result is a maelstrom of emotion and events, which Director Andrew Mitchell and the two actors have polished to perfection.

They compete on Friday, June 24, 2011 at the Geva Theater in Rochester, New York. Whether they win or lose, Delaware theatre lovers can be very proud of the excellent representation in the national event.

See www.chapelstreetplayers.org.

See http://www.aactfest.11.org.

Delaware Valley Chorale and Delaware Symphony at Immanuel Church

2011-05-16T18:02:00.004-04:00

David Christopher conducted members of the Delaware Symphony Orchestra and his Delaware Valley Chorale in a performance May 15 at Immanuel Church on Pennsylvania Avenue.

The Gloria by Lee Hoiby, an American composer who died at age 85 this past March, was harmonically conservative. Hoiby was often accused of having the same style as those who preceded him a century before. Yet, he was called to Curtis by Gian Carlo Menotti after one of his friends showed his work to the famous composer and teacher at the Curtis Institute. Hoiby went on to have a long and successful career.

Written in memory of the brother of one of the DVC members, this piece has a lovely trumpet, trombone and timpani orchestration with organ obbligato that is tightly written and worked beautifully in the large stone sanctuary.

The Brahms Requiem had the support of 52 instrumentalists which sometimes overwhelmed the chorus, but sounded so good that you forgot about that right away.

Soloist Grant Youngblood had no problem holding his own against the group, mesmerizing the audience with his full, rich voice and his ability to communicate the Herr, lehre doch mich (Lord, make me know) and the Denn haben wir keine bleibende Stadt (For we have no continuing city).

Soprano June Suh’s mellow, rounded sound also carried over the orchestra without a hitch. Her high notes seemed effortless as she sang with quiet poise. Her solo melted away but the note continued on the flute in a transition so seamless no one knew where the soprano voice ended and the flute began.

It was a great idea to have players from the Delaware Symphony support this impressive chorale performance.

See www.delawarevalleychorale.org.

New Sweden and Free Energy Tear Up the Arden Gild Hall

2011-05-15T13:21:00.004-04:00

New Sweden @ Arden Gild Hall. Photo: Joe del Tufo

The idea behind bringing Philly rock gods Free Energy to the Arden Gild Hall was simple: to draw a younger crowd to the breezy venue, which usually boasts a more solidly mature audience. And, of course, a local band kicking off the night was a must. Enter New Sweden, easily one of the most buzzed-about bands in Delaware right now. On every level, this XPN-sponsored show was a success, from the generationally diverse crowd to the choice of bands to the enthusiasm that filled the room through the night.

If you haven't seen New Sweden yet -- and I hadn't -- they are a band that has earned the hype. They play folky, foot-stomping rock, sometimes light and airy, sometimes hard, with viola, banjo, mandolin, pump organ and glockenspiel added to the traditional rock instruments. It's sort of like Burl Ives meets Cowpunk. Very cool. New Sweden is the kind of band you can sing along with, even if it's your first time seeing them. I can see why they've got the passionate following they have -- they put on a great show.

Free Energy @ Arden Gild Hall. Photo: Joe del Tufo

While we at DE Arts Info always focus on Delaware artists, headliners Free Energy deserve mention. I'll frame it like this: Delaware, and Arden in particular, should be very proud to have hosted this band and this show. Free Energy, whose sound can be described as modern "70s rock" -- think Sweet meets Teenage Head meets the Stooges meets the Stones in the 21st Century -- had the entire room dancing through the night. Not moving, but full on dancing, from the kids to the seniors, and that's not something you see every day.

New Sweden will be playing NON-COMM at World Cafe Live at The Queen on Friday, May 20; on June 4, they will perform at the Baby Grand; they'll return to The Queen to headline on July 29th (see their band page for full schedule and information on their upcoming album). Free Energy will be touring the US this summer; their album, "Stuck on Nothing" is available on iTunes and Amazon.

NINE is a Winner

2011-05-08T17:34:00.001-04:00

City Theater Company has a winner with NINE, a musical by Arthur Kopit (book) and Maury Yeston (music and lyrics). The character Guido Contini is loosely based on Federico Fellini’s autobiographical character in the movie 81/2. A wonderfully humorous-and sometimes sobering journey into the troubled filmmaker’s psyche, the production is crisp and vibrant. Director Michael Gray assembles a terrific cast and makes creative use of the black box space. The small orchestra, led by Chris Tolomeo, aces the difficult score, which ranges from jazzy numbers to baroque-style recitative.

Guido (Michael Gray) is a simpatico, self-absorbed womanizer. When he sings Only with you, he caresses his wife and his mistresses with tender words of faithfulness. As his career is foundering, he finds himself under the thumb of his producer, Liliane LeFleur (Karen Murdock). She constantly badgers him for a script and hires her lover-who despises Contini’s work-to be his assistant. Murdock is terrific in the role with her show-stopping Folie Bergeres and pompous French attitude.

The all-female ensemble functions a sort of Greek chorus. They echo Guido’s thoughts and gush with the admiration he so desperately craves. As Guido’s mother, Ruth Bailis is convincing and her Italian accent and mannerisms authentic. With her strong presence and rich voice, TS Baynes is ideally suited for the role of Guido’s neglected wife, Luisa Contini. As she sings Be on your Own we feel the depth of her suffering and sense of abandonment. Eleonore Thomas is vocally and dramatically riveting as Saraghina. She sings Ti Voglio Bene/Be Italian to the young Guido (Nolan Moss), coaching him on matters of love and sex. Moss does an excellent job in the role of the young boy, both overwhelmed and intrigued by the powerful female forces that surround him. Also entertaining were Corinne Grosser (Claudia Nardi) and Ashley Harris (Carla Albanese) as Guido’s two mistresses.

Though much of the music light-hearted and often silly, Yeston builds some very complex, layered songs. For each character he creates unique musical themes, which weave together nicely into larger ensembles. The Bells of St. Sebastian is a haunting, rich first act finale. The songs also serve as a vehicle for character development. In Luisa’s My Husband Makes Movies the veneer of her denial is shattered, and by the end of the song her distress is more exposed.

Be sure to check out this gem, which runs through May 21, 2001 at the Black Box at OperaDelaware.

www.city-theater.org

Hail Cinema Jams at the World Cafe

2011-05-04T21:19:00.003-04:00

Hallowed Cain
Photo: David Norbut Photography

The World Cafe Live at The Queen is the kind of venue Delawareans used to have to drive to Philly or DC (or any bigger city, really) to experience. If you haven't checked it out yet, think The Trocadero meets the TLA, only a bit more intimate -- a size that's completely appropriate for our small city. The downstairs stage, which hosted The Battle of the Bands: Cinema Jams on Saturday, April 30, is a beautiful restored relic of a movie theater, highlighted by its original organ pipes and ornate stonework, the delicate decorative paint faded by time. Quite literally, you're watching a show in 20th Century ruin of sorts - one that's spotlessly clean, well-lit and lined with a 21st Century bar.

The World Cafe boasts some big names coming through, and it's primarily a venue for touring artists. On this night, though, the stage belonged to local acts The Hold Up, Stallions, Hallowed Cain, Rubber Skunk and My Friends, for a battle royale unlike anything I've seen. The concept of Cinema Jams was a Film Brothers brainchild: each band does a set of their own songs, in the theme of a movie. So, costumes, interludes and video all played a part, and the audience -- I don't know if it was sold out, but it was certainly packed -- voted for the top band of the night.

The evening started with one of my local favorites, The Hold Up, in full "Fight Club" ensemble, doing their old school rock 'n roll flavored tracks like "On Hallowed Ground" and "Zombies Ate My Neighbors." The Stallions set their classic modern rock sound with "No Country for Old Men." Funk fusion Rubber Skunk officially did "An Inconvenient Truth," with a humorous "powerpoint" show, and wound up featuring others such as Charlie Sheen, Shaft, Nosferatu, Indiana Jones and "Snakes on a Plane." My Friends were fully decked out for their "Aladdin" theme, complete with a trumpet-playing red parrot and a genie on percussion. It was Hallowed Cain, though, who stole the show, and won the night, with their fully integrated "Clockwork Orange" theme, including video, costumes and props, which worked perfectly with their heavy, intense music.

A great night all the way through. We hope to see more shows like it in the future!

More: World Cafe Live at The Queen

Check out David Norbut's amazing photos of the show here!

OperaDelaware’s Widow will make YOU merry

2011-04-30T11:14:00.005-04:00

Maestro Steven Mosteller has the ability to conduct with authority yet still allow his soloists to milk the lovely Franz Lehar melodies for all they are worth. Eliezer Gutman’s fluid and gypsy-like lilting phrases were perfect for the schmaltzy songs of Lehar’s Merry Widow.

Laura Pedersen (as the Merry Widow) is svelte and lithe and wore delicious dresses designed by Lorraine Anderson, each one with a short train, which Pedersen gracefully lifted to the crook of her elbow to be whirled around the floor by Daniel Neer (Count Danilo). Their flawless dancing and strong singing give them that electricity that makes the audience believe in their love “spark”.

The operetta which premiered in Vienna in 1905 is a fluffy and hilarious story based on a comedy by Henri Meilhac. The story pits the Paris embassy staff of an impoverished country against French roués who would love to marry the country’s most wealthy widow. Paris and France are outrageously mocked to great comic effect -- it seemed Maurice Chevalier would come on stage any moment to defend his honor or at least to greet Dodo, Clo-Clo, Lolo, Frou Frou, Margot or Jou Jou.

The set, designed by Cynthia Du Pont Tobias, is a fantasy of Viennese Secession but drawn in more of an Art Nouveau style – with a brick-walled garden turned miraculously into a Parisian café and stage for the can-can girls by Robert Parker and his stagewrights.

The opera has creative choreography by Barbara Winchester who mixes the artists of the First State Ballet Theatre into the ballroom dancing of the rest of the cast with great success.

You can’t help but be uplifted by this production, beautifully coordinated by OperaDelaware Executive Director Leland Kimball! Performances May 1, 6 and 7, 2011.

See www.operade.org.