CTC Rocks this "Wicked Little Town" with Revival of Hedwig & the Angry Inch

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

Hedwig and her Angry Inch band. Photo by Joe del Tufo/Moonloop Photography.

City Theater Company's Hedwig and the Angry Inch follows Hedwig and her stage show as she tells the story of her botched sex change operation, leaving the titular Angry Inch behind. We also follow her journey from an angry woman to self acceptance and loving herself for who she is. The show is a cult classic, written by John Cameron Mitchell with music and lyrics by Stephen Trask.

Hedwig, portrayed by Diva Baby, was emotional and a little over-the-top, which is expected from the character as a drag queen headliner. Her portrayal of Hedwig's breakdown was raw and captivating and a 180 turn from the levity she brought to the opening. I did not expect to be laughing as hard as I did during this show, but Diva Baby’s delivery of the cheeky jokes in the first half of the show were impeccable. Her performance of Wig in a Box was a standout of the night as it allowed the line between actress and character to blur. The song, which started out vulnerable, ended with a silly audience sing-a-long directed by Hedwig, who had more notes for the audience than they sang.

Hedwig is joined on stage by her rock band, The Angry Inch. The musicians were part of the show, as they are in costume and on stage interacting with Hedwig and her husband/backup singer Yitzhak for the entire show. The performance was truly like a rock concert at times. CTC did provide earplugs for those whose ears are more sensitive to loud music.

Hedwig's husband Yitzhak, played by Mackenzie Brockmeyer, is the final cast member of the production. Her portrayal of the quiet Yitzhak surprised me, as I caught myself watching her on more than one occasion. She beautifully portrayed the emotions of Yitzhak and I could imagine exactly what her character was thinking without her having to say a word. Her voice shined in The Long Grift and her reveal at the end was beautifully executed.

City Theater Company is celebrating its 30th season and is reviving Hedwig for the second time, having previously staged the show in 2004 and 2005. Despite CTC having produced this show before, the interpretation of the show felt fresh. 

The wigs were beautiful — if not temperamental — but being a true performer, Diva Baby worked that into the show so beautifully that I barely realized it wasn't scripted. The costumes and makeup mirrored Hedwig's dissolution of her image of her life, starting grand, and fun and dissolving into nothing more than a holey shirt and shorts.

Set in the early 2000s, the intimate cabaret-style seating at The Delaware Contemporary made the perfect venue for this performance, making it feel more like an authentic stage show. When I first saw the set, I was apprehensive, as I usually feel screens as set pieces are not used well and they detract from what is happening on stage. That was not the case for Hedwig. The images and videos shown added so much, the show would have been great without them, but they added just enough to elevate the actors' performances. The drawings by Echo Chappelle made the already great performance of The Origin Of Love superb, and the videos used during Hedwig’s breakdown heightened the emotion and intensified Diva’s portrayal of Hedwig’s emotional state.

The remaining performances of Hedwig and The Angry Inch are December 10 at 2pm and December 13-16 at 8pm. All shows are at The Delaware Contemporary.The show runs around 90 minutes with no intermission. 

Tickets are $45 and can be purchased at tickets available now at city-theater.org.

Oskar Stenmark Jazz Trio Opens The Arts at Trinity Series

The Arts at Trinity (TAAT) opens its 23-24 season on Friday, September 29, at 7:30 pm with a free performance by the Oskar Stenmark Jazz Trio, which comes to Wilmington from Sweden via New York City!

The overarching lyrical feel of Oskar’s music has a distinctive Nordic flavor, but the rhythms and harmonies come straight out of the NYC music scene. Jazz greats Art Farmer, Bill Evans and Stan Getz took interest in mixing Swedish folk music with jazz. Oskar’s trumpet playing takes this concept to a new level with his innovative mix of folk, jazz and improvisation.

Trumpeter Oskar Stenmark and his trio perform at Trinity tonight.
Photo courtesy of the artist.

Born and raised in Sweden, Oskar spent his early years in jazz clubs and the Gothenburg Symphony Hall before moving to NYC to obtain his master’s in jazz performance from the Manhattan School of Music. Oskar, tenth generation musician in his family, is joined by pianist Alex Pryrodny and bass player Evan Gregor as they open The arts at Trinity's 2023-2024 Concert Season.

This free performance will be held at Trinity Episcopal Church, 1108 North Adams Street in downtown Wilmington. Light refreshments will be served on the outside patio before and after the concert.

The Delaware Contemporary Announces 2023-2024 Artist-In-Residence Program

The content of this post comes from a Delaware Contemporary press release...

The Delaware Contemporary (TDC) is pleased to announce four accepted artists for its 2023-2024 Artist-In-Residence program (ARC 24) — Noel Cross, Cony Madariaga, Nasir Young, and Zifeng Zang. These artists were selected for a fully funded residency program; they will occupy a shared studio, receive one-to-one mentorship, and participate in professional development programming.

The Delaware Contemporary focuses on assisting career growth of new and emerging artists with an emphasis on providing the ARC Residency Program to Black, Indigenous, and People of Color (BIPOC) in the Great Arc region of Delaware. TDC is driven to provide equitable access to career development for underserved populations and strive to diversify the nonprofit and museum industries through this opportunity. To ensure equity, the selection process works with a unique set of arts professionals. The ARC 24 jurors include Studios@ artist and former Artist-in-Residence, Stephanie Boateng, and Vox Populi member artist and arts educator Natalie Hijinx.

As part of the program, ARC 24 residents will engage with their fellow residents, the community of Studios@ artists, TDC staff, and public outreach projects. Residents will work toward a cumulative exhibition in The Delaware Contemporary's main galleries in Summer 2024.

Noel Cross is a contemporary painter and photographer from New Jersey. As a young artist, Cross attended Studio Incamminati Atelier in Philadelphia. She then went on to receive her BA from Rutgers University before completing her MFA at the University of Delaware. Her most recent works are grounded in research exploring American commodity culture, the investigation of collective cultural memory and challenging learned assumptions. The work honors the tradition of painting as an enduring cultural practice while exploring the curiosity of play. As pictorial competition redefines our contemporary visual experience, the work invites you to be fascinated by the act of looking.

Constanza Madariaga, also known as Cony Madariaga, is a Delaware-based artist born in Santiago, Chile. She has been in love with art since she was a child, and creating has been her therapy and safe space to express herself throughout her lifetime. Being able to have access to art classes in middle school and high school allowed her to explore different mediums and techniques. Although she did not continue her formal education in Arts, she has always gravitated towards it, and always made a space in her life to be able to create. In 2019, she had her first exhibition, since then she has participated in a number of exhibitions in Delaware and surrounding cities including the 2023 Artist Fellowship through the Delaware Division of the Arts.

Nasir Young received his BFA from Pennsylvania Academy of the Fine Arts. In 2020, he was awarded The Raymond D. & Estelle Rubens Travel Scholarship to go to London. Young was awarded an illuminate arts grant in 2021 and 2022, and he was the second place winner of the Philadelphia Sketch Club's 158th exhibition of small oils. In 2022, he was a Da Vinci Art Alliance Resident. Nasir’s primary source of imagery is the everyday scenes of urban inner city life. He has had multiple group shows in Philadelphia and online exhibitions.

Zifeng Zang is an accomplished artist with a wealth of education and experience in the field. Her love for art began at a young age which grew as she received formal education, including earning dual BFA degrees from Jilin University in China and West Chester University of Pennsylvania. Her career experience includes serving as a senior graphic designer and brand manager at 4A Advertising Agencies and tech giants in China, where she honed her skills in creating imagery characters and advertisement scripts using digital tools. Despite this, she always felt drawn to the traditional art of painting. This led her to pursue further education in the field and to study painting in the US, where she is now focused on developing her favorite abstract style, infused with her personal experiences and unique perspective.

For more details, visit DEContemporary.org.

Delaware Art Museum & City of Wilmington's District 8 Mural Partnership

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

The Delaware Art Museum has partnered with Wilmington City Councilperson Nathan Field on a mural project, “Nature’s Palette,” with images and words inspired by nature. The works will be on view throughout City Council District 8 beginning in this month through the remainder of 2023.

They will be installed throughout the built environment of District 8 in the following locations:

• Gilpin Liquors
• Luther Towers
• BrewHaHa Trolley Square
• The intersection of Delaware Avenue and Dupont Street
• Lincoln Towers
• Southeast Kitchen
• Joseph E. Johnson Jr. School
• The intersection of Pennsylvania and Greenhill Avenues outside the Marian Coffin Garden

The Museum is situated in the center of District 8, which begins at the western border of Wilmington that wraps around Rockford Park, and ends just east of Cool Spring Park, with its northern and southern borders defined by Brandywine Park and Wawaset Park, so the murals are all in the general Museum vicinity.

District 8 Councilperson Nathan Field says, “I'm incredibly excited to work with the Art Museum team to grow the City of Wilmington as an Artistic and Cultural destination not just in the First State of Delaware but throughout the extended Tri-State region. Walking around the neighborhood and seeing scenes from nature that are so culturally meaningful to Delawareans integrated into the streetscape is so thrilling."

“Nature’s Palette” features enlarged intricate and vibrant details of paintings and drawings from DelArt’s Pre-Raphaelite collection, combined with quotations inspired by nature and poetry penned by Victorian-era writers.

Sophie Lynford, Annette Woolard-Provine Curator of the Bancroft Collection, says, “Pre-Raphaelite artists lamented that nineteenth-century industrialization was destroying both natural and historic landmarks. These concerns remain urgent today.”

The murals include Pre-Raphaelite works by artists Barbara Leigh Smith Bodichon, Walter Crane, Henry Farrer, George James Howard, John Everett Millais, and William Henry Millais. Paired with these are quotations from authors Emily Brontë, George Eliot, Felicia Hemans, Christina Rossetti, Dante Gabriel Rossetti, and John Ruskin.

Margaret Winslow, Chief Curator and Curator of Contemporary Art, says, “The Pre-Raphaelite collection is a much-loved core of the Delaware Art Museum. These works of art have inspired generations of artists and art lovers throughout the greater Wilmington community and across the United States.”

See DelArt.org.

Theater Review: Assassins | City Theater Company

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

Photo by Joe del Tufo/Moonloop Photography.

City Theater Company (CTC) closes its season with a bang by staging the Tony Award-winning Assassins — a show described as “one of the most controversial musicals ever written.”  The script openly examines our nation’s culture of celebrity and the violent means some will use to obtain it.  The story studies America’s four successful and five would-be presidential assassins through music and lyrics by Stephen Sondheim and book by John Weidman.  The show is based on an original concept by Charles Gilbert, Jr.

CTC first presented Assassins in 1998 when current Artistic Director Kerry Kristine McElrone played Lynette “Squeaky” Fromme.  McElrone is excited to revisit the show 25 years later: “When deciding on our 29th season, I knew I wanted us to do a Sondheim piece. Assassins has always been an important show to me [and] the time felt right to restage this one for a new CTC audience.”

The dark and slyly comic show shadows a group of successful and wannabe Presidential assassins throughout U.S. history, framing their experiences in a broader exploration of American ideals.  The show opens in a carnival shooting gallery and moves through various venues including the 6th floor of the Texas School Book Depository.  Guns are central to the fates of the characters and the overall theme of the show.  In fact, one of the musical numbers is entitled “Gun Song.”

The score reflects the popular music of each era as the characters tell their stories through scenes and songs.  While Sondheim’s music is often quite syncopated, many of these songs were rhythmic and jaunty like “The Ballad of Booth.”  A small live orchestra situated next to the stage deftly accompanied the stage action.  Other noteworthy songs include “The Ballad of Guiteau,” “Unworthy of Your Love,” and the closing number “Everybody’s Got the Right.”  The latter is a rallying cry which can be taken a few disparate ways — forcing the audience to fully consider what they’ve just experienced on stage in front of (and next to) them.

Photo by Joe del Tufo/Moonloop Photography.

Director Joe Trainor has placed his actors where you cannot avoid them — on a stage almost touching the front row of patrons, in the middle aisle, and on strategically-placed risers.  Kudos to Rick Neidig on his set design and “patriotic” backdrop.  The pacing of the show is excellent with entrances, exits, and dialog moving effortlessly.

Trainor is thrilled to be tackling his first Sondheim show: “For a play that first premiered in 1990, Assassins is shockingly accessible in 2023.  It’s an incredibly challenging work, both in its subject matter and in its technical aspects.  The music and its pastiche style are incredible.  [It] entertains us even as it forces us to go uncomfortably deep within our own minds, and our collective histories.”

The musical opened in 1990 to many negative reviews — mostly concerning the subject matter and character focus.  Even Sondheim admitted he expected backlash due to the show’s content: “There are always people who think that certain subjects are not right for musicals...[w]e're not going to apologize for dealing with such a volatile subject.  Nowadays, virtually everything goes.”

McElrone says, “Assassins is about a disparate group of loners who…find themselves in the same room at the same time, reliving their crimes with relish almost for each other’s benefit, like a support group from hell.”

That hellish support group is played brilliantly by Chris Banker, Daryan Borys, Jim Burns, Adam Cooper, Kristin Finger, Dylan Geringer, Joshua Gold, Aidan McDonald, Paul McElwee, Emma Romeo Moyer, Kevin Regan, Kit Regan, and Brian Turner.  While all are excellent, Finger captured the manic Sara Jane Moore to chilling perfection while toting a gun and KFC bucket with equal diffidence.  McDonald was a compelling John Wilkes Booth whose belief that “the country is not what it was” line resonates in the modern politic now.

There are several powerful and unhinged diatribes in this play, but those by Kevin Regan — portraying Nixon-threatening Samuel Byck — were remarkable.  Juxtaposing a deranged wanna-be hijacker and assassin with a Bud-guzzling man in a Santa suit kept the audience rapt.  Could this unrealistic loner really pull off what he says he can?  When Booth gets into Lee Harvey Oswald’s head to convince him to squeeze his trigger and Hinkley refers to Oswald as an inspiration for his shooting of Reagan, you know you’ve entered serious satire.  It is not for the faint of heart, but it is compelling.

All the cast members bring real intensity to their roles and the subject matter.  Even the excellent Brian Turner (The Balladeer) kept his darkly comic narration focused on mental failings and perceived societal ills.  His powerful voice both set the tone and analyzed the action.

Simply put, all the parts of this show work together in beautiful harmony not often found in regional theater.  Kudos to “the underlings” who have risen to the occasion with aplomb!

Assassins will be performed April 15, 16, 19, 20, 21, and 22.  Curtain for all shows is 8:00pm except for the lone Sunday matinee at 2:00pm (April 16).  Run time is approximately 105 minutes without an intermission.  City Theater Company’s home is in the Wings Black Box at The Delaware Contemporary located at 200 South Madison, Wilmington, DE19801.  

Tickets ($30-45) can be purchased at the box office or online.  Special ticket pricing is available for military personnel and students. CTC does not currently require proof of COVID-19 vaccination. Mask-wearing is optional per guest preference. Please be respectful of fellow patrons’ choices.  Call the box office at 302.220.8285 or email citytheatercompany@gmail.com for details about the show.

CTC’s mission is to create a body of work that takes risks and breaks barriers — just as The Delaware Contemporary’s is to take risks and push boundaries.  Both institutions are invested in promoting the work of local and emerging artists, advancing opportunity and growth by and for the community, and welcoming all those looking to experience art.

City Theater Company is supported, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Divisions promotes Delaware arts events on DelawareScene.com.

Advisory: Assassins deals with mature content, including R-rated and racially charged language.  This production uses non-firing, replica, prop guns.  No live ammunition or working weapons are used in this production.  This production features gunshot sounds throughout.  All such sounds are pre-recorded. CTC can provide disposable earplugs for your comfort.

To quote John Wilkes Booth: “There is no quiet desperation here.”

Theatre Review: The Year of Magical Thinking | City Theater Company

By Mike Logothetis

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

City Theater Company (CTC) returns to the stage in 2023 with the one-woman autobiographical The Year of Magical Thinking by Joan Didion.  The play is based on her bestselling memoir of the same name and stars Mary Catherine Kelley in the titular role.  The production takes place in the cozy Wings Black Box at The Delaware Contemporary (TDC) on the Wilmington Riverfront.

Mary Catherine Kelley stars in The Year of Magical Thinking at CTC.
Photo by Jim Coarse/Moonloop Photography.

Adapted by the author for Broadway in 2007, the award-winning play is a riveting and heartfelt elegy that expands on the book, which won the National Book Award and was a Pulitzer Prize finalist. The work explores Didion’s grief following the deaths of her husband John Gregory Dunne and daughter Quintana Roo.

In what amounts to an extended soliloquy, Didion recounts her journey of loss, perseverance, and hope by using her signature wit to draw an intimate portrait of the resilience of the human heart.  Kelley is moving as Didion…taking the audience with her as she flutters between recounting good times and lamenting the present without her loved ones.  It’s not an easy line to walk, but Kelley deftly brings you inside Didion and her family.  The lack of stage microphones heightens the intimacy as we hear every quiver in Kelley’s voice and each bold statement of resilience.

The production is directed by CTC Artistic Director Kerry Kristine McElrone, who has opted for simplicity and straightforwardness in her guidance of the action.  Kelley isn’t asked to more than be human and share Didion’s complex thoughts on death and dying.  That’s no small task, but by getting down to basics, the message becomes more powerful.

Kudos to set designer Rick Neidig and lighting man Stuart Thomas for keeping things simple and effective, like McElrone with her direction.

The play starts with death and ends with death, but there is joy interwoven in Didion’s words.  “I love you more than one more day” is a sort of mantra recalling the special bond between lost husband and daughter.  These aren’t distant figures, but spirits you feel are in the theater with you.  Kelley was powerful when describing how she would brush “Q-Roo’s” hair and repeatedly brought up her daughter’s ever-changing locks.

Back in 2007, the New York Times called The Year of Magical Thinking “a report back from an emotional abyss, yet for all its intensity, it isn’t grim or overwrought.  It’s rigorously self-scrutinizing, dryly self-mocking, fairly stunned-somehow both unsentimental and consumed with love.”

So what exactly is “magical thinking,” according to Didion?  The play mentions anthropological ties to mysticism, but from the stage action it seems to be more of a modern optimistic reality.  The script takes on a better pace at the first inkling that Didion truly recognizes a death in her immediate family – stepping out of initial denial.  She continues to revisit better times and sometimes felt her loved ones were still with her, but as the dialog progresses, the audience realizes that Didion has come to a sort of acceptance.  It’s a powerful journey that is navigated with aplomb by CTC.

Winner of the 2005 National Book Award for Nonfiction, The Year of Magical Thinking is one of many celebrated books by Joan Didion.  She was a member of the American Academy of Arts and Letters, which awarded her its 2005 Gold Medal in nonfiction.  She also received the 1996 Edward MacDowell Medal, the 1999 Columbia Journalism Award, and the 2002 George Polk Book Award.

CTC’s mission is to create a body of work that takes risks and breaks barriers — just as TDC’s is to take risks and push boundaries.  Both institutions are invested in promoting the work of local and emerging artists, advancing opportunity and growth by and for the community, and welcoming all those looking to experience art.

City Theater Company is supported, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Divisions promotes Delaware arts events on DelawareScene.com.

The Year of Magical Thinking will run Friday and Saturday nights through February 18.  Curtain is at 8:00pm and run time is approximately 100 minutes without an intermission.  City Theater Company’s home is at The Delaware Contemporary located at 200 South Madison, Wilmington, DE 19801.  Tickets ($30-45) can be purchased at the box office or online.  Special ticket pricing is available for military personnel and students.  

Please call the box office at (302)220-8285 or email info@city-theater.org for details.

Delaware Art Museum Launches Initiative to Preserve Public Art

Part of this post comes from a blog posting/release from Delaware Art Museum...

Creative Vision Factory Members in front of the Kalmar Nyckel Mural.
Photo courtesy of Michael Kalmbach.

Contrary to popular belief, not all galleries are indoors. Some don’t have four walls, security guards, or
a sign reading “please do not touch the art.” Some galleries are right outside your door. Wilmington’s outdoor gallery boasts artworks ranging from the 19th Century to the present. From memorials and sculptures to mosaics and murals, our environments are beautified by artists. Their creations enliven the cityscape, acting as tangible expressions of their city’s cultural heritage, and becoming beacons for civic engagement, public pride, and even attracting business investments. [READ THE FULL DELART BLOG ENTRY HERE>>>]

A new pilot program called Public Art Stewards — developed by the Delaware Art Museum and supported by the Delaware Division of the Arts and City of Wilmington American Rescue Plan Act funds — aims to train Wilmington residents to clean, conserve, and document 30 public artworks in downtown Wilmington and surrounding neighborhoods.

The Public Art Stewards program was officially launched with a press conference on Thursday, November 17, in front of one of the most visible displays of Wilmington's public art — the mosaic behind Christina Cultural Art Center at the corner of 7th and Shipley.

This highly anticipated workforce training and city beautification program is headed by Benét Burton, Registrar Assistant/Curatorial Project Manager at the Delaware Art Museum.

Benét Burton said of the program: "I’ve been able to speak with some artists of the pieces on our list and engage with residents who live near them. Everyone I have met while working on this project has shared their enthusiasm for it, and I’m excited to support the community and its artists in caring for the work they hold so dear."

We asked Burton more about the project and why it is so important for our City of Wilmington...

*What made the art museum want to take up the mantle for this city project?
The Delaware Art Museum is committed to our role as a regional anchor and aims to support identified needs in our community. By aligning our knowledge of public art with the city’s outdoor gallery, we’ve created an innovative project that will provide our participants with creative skills and support their workforce readiness.

*What will the project entail? What work will your team do on the public pieces?
The Public Art Stewards Training Program is a six-month “earn while you learn” program that employs six to eight Wilmington residents who will be taught transferable skills in conservation under the tutelage of Margalit Schindler of Pearl Preservation, our program conservator. Additionally, our Public Art Stewards will participate in workforce-readiness workshops such as interview practice, digital literacy, financial coaching, and resume building.

Every piece on our list is unique and will have different needs. The transferable skills in conservation our participants will learn while working on the public pieces include assessment and condition reporting; photographic and written documentation; cleaning; and essential maintenance of sculptures and murals.

*What are your goals for the first year of this project? Where is your first area of work based?
Some of our goals for the first year are:

• to have our participants graduating feeling confident in the skills they’ve learned in conservation;
• to have 30 works from Wilmington’s outdoor gallery properly maintained and documented so that we can create a living archive of our city’s public art;
• to connect our participants with local services and help provide them with continued support after graduating.

We are still working on our curriculum. However, I anticipate that the first area we’ll be working is the DelArt campus where One Way, 2008 by Chakaia Booker and Monumental Holistic No. VII, 1980 by Betty Gold live in our sculpture garden.

*Do you have a "favorite" piece of public art in the city? What is the name of the work and where can we see it?
I have many favorite pieces, to be honest, but I will limit myself to one mural and one sculpture.

A mural I’m currently obsessed with is The Divine Mind, 2016 by Terrance Vann on 7th and Windsor Streets. It’s so large and in charge, and the vibrant purple hue is almost like a beacon when you're a block away from it. Although I really love the crown, my favorite part is the way he styled the hair to be a cityscape. I sometimes add a few minutes onto my commute home from work just to drive by it.

My favorite sculpture right now is Shipyard Gateway, 1998 by Roldan West on 4th and Church Streets. It hangs on the overpass in the middle of the street so it’s hard to get a good look at it if you’re not on foot. I’ve always loved metalwork because the technique is so fascinating, and this piece is eye-catching. I really wish it was closer to the ground so that I could sit with it and take in each form.

*Who are some of your favorite Delaware artists?
I love Edward Loper, Jr. When I look at his work, it feels like I’m reminiscing on a dream. The bright colors in his paintings and how he layers them are the first to grab my attention and pull me in. Then I notice the interesting perspective, and I feel I could stare at them for hours and just fall in.

I also really like Geraldo Gonzalez (a.k.a. The King of Transit). I met him at the Creative Vision Factory when I was in undergrad at the University of Delaware. A lot of his work focuses on public transportation. I follow him on Instagram (@thekingoftransit), and I always find myself scrolling through his page and getting lost in all the vivid hues he uses on his pieces. I would love to see his work wrapped on some buses in Wilmington!

*What would you like people to take away from this project? Can other community members get involved?
From this project, I hope that people come to understand how integral public art is to our community and how important it is that we support our local artists and their creations. Wilmington is not just a city, but a canvas for many, and the public art that artists put their time, effort, and care into creating are a celebration of the city’s cultural heritage. Through the Public Art Stewards Program, the Delaware Art Museum aims to leverage its position as a cultural fixture and use its influence and connection to support Wilmington in upkeeping its outdoor gallery. We love these pieces, and we are committed to fighting for and finding resources that will help us and Wilmington residents maintain and archive them so that we can share them with generations after us.

If anyone is interested in getting involved in the project, they can contact me at bburton@delart.org or 302.351.8507.

Program Conservator Margalit Schindler adds: "I am grateful to be able to share my preservation knowledge with my Wilmington neighbors and to collaborate to care for our city. While the program focuses on supporting Wilmington artwork, I am equally excited to support the personal and professional goals of the Wilmington locals who participate in the program."

Celebrating 12 Years of Film Brothers' Festival of Shorts

Delaware Arts Info reviewer Charles "Ebbie" Alfree III held a video chat with Gordon DelGiorno of Film Brothers about the upcoming 12th Annual Film Brothers Festival of Shorts.

Films from around the world will be shown at this sold-out event, but if you contact Gordon (Gordon@filmbrothers.com or 302.559.2324), and mention Ebbie or Delaware Arts Info, you might win two tickets! 

The Festival is on Saturday, April 30, 7:00pm, at the Delaware Art Museum. For more information visit, www.filmbrothers.com.

Another World Premiere in Delaware with the Fantastical "Other World" at DTC

By Charles "Ebbie" Alfree, III

(L-R): Charnette Batey, Jamen Nanthakumar & Bonnie Milligan star
in Other World. [Photo by Matt Urban, NüPOINT Media]

Something rare is occurring at the Delaware Theatre Company…an original musical is making its World Premiere. In an age when most musicals being produced are revivals (including the reinvented versions) or shows based on a musician’s or band’s catalogue, a popular book, or film, or on a historical figure, the Delaware Theatre Company is breaking from trends with their production of Other World.

With a book by Tony nominee Hunter Bell, and music and lyrics by Jeff Bowen and Ann McNamee, Other World takes the audience on a journey beyond what most would expect from a musical. Add visionary director, Adrienne Campbell-Holt, and the cutting-edge choreographer, Karla Puno Garcia, and the show becomes a video game spectacle!

The musical begins with a group of gamers playing the widely popular Other World video game. The players are in their respective homes around the world and have never met in person but have created a friendship — a 'cybercommunity' devoted to the game. This bond is threatened when the company behind Other World decides to cancel the game with only a 48-hour notice. One member of the gamer's community Sri, played by Jamen Nanthakumar, has a special relationship with Other World: Besides being his favorite video game, his deceased mother also co-created it when he was a child.

Although Sri has isolated himself in his home for the past three years, working remotely and only playing Other World, the cancelation of the game has driven him to leave his home and visit the man with whom his mother co-created the game. When Sri arrives at the man’s house, he is greeted by Lorraine, played by Bonnie Milligan, the co-creator’s daughter. She explains to Sri how the two met when they were younger and that her father has passed away.

She invites Sri to explore her father’s workroom in the garage and talks of her dislike of the game. Rather, she enjoys going out with friends and watching reality shows. While in the garage, Sri stumbles upon the computer used to build Other World and it opens a portal that transports Sri and Lorraine into the actual game. Now the two must face the game’s challenges to open the portal home before Other World ends forever.

Once in the game, Sri and Lorraine meet and befriend Other World characters, including the game’s host/guide, Temula played by Charnette Batey and the cyborg, 1011, played by Seth Rettberg. Temula, 1011, and additional Other World characters assist the humans in the challenges created to open the new portal. The challenges lead to the final battle with the wicked Antagon, played by Ryan Andes. Antagon wants to open the portal for himself and take over Earth.

Mr. Nanthakumar beautifully manifests Sri’s shyness and fears of the outside world — a feeling that many can identify with since the beginning of the pandemic in 2020. He’s able to peel the layers of his character and make him a hero that wins over the audience. Ms. Milligan charms as the sassy Lorraine. Besides having a gorgeous singing voice, her timing is perfect for the funny quips Mr. Bell has written for her character.

Ms. Batey and Mr. Andes are fierce in their respective roles. She brings down the house with the final song of Act One, "My Journey Begins." She moves effortlessly while not only singing the inspiring song, but also performing a very precise battle scene. Mr. Andes exudes fear as the maniacal villain, always standing above the action and eliminating anyone who tries to stand in his way.

Ms. Batey and Mr. Andes, along with most of the Other World characters wear magnificent, futuristic costumes conceived and designed Tilly Grimes and Wētā Workshop. Cassie J. Williams perfectly matches the costumes with her stunning wigs, hair, and makeup designs.

In addition to the costumes, Wētā Workshop, along with Achesonwalsh Studios and the Other World production team — Mary Hamrick, scenic design; Grant Yeager, lighting design, Hidenori Nakajo, sound design; Lucy Mackinnon, projection design; and Rebekah Tisch, art director — have designed the incredible puppets and effects that delight throughout the show. Their collective talents bring the magnificent video game and its inhabitants to life.

Ms. Campbell-Holt has done an amazing job staging Other World. The show is a technical juggernaut, but at the core is a story about people wanting connection, being a part of the world, and finding their inner strength. She does such a great job balancing the fantasy and humanity aspects of the show.

Ms. Puno Garcia’s transcendent choreography incorporates Filipino martial arts in the extraordinary fight scenes, some disco hustle to one of the video game’s dance challenges, and even modern dance when two of the video game characters slink onto the stage.

Mr. Bell’s book could have easily become a total fantasy story and relied on the technical aspects of the production, but he has created complex characters who evolve as the story progresses. Matching his book with Mr. Bowen and Ms. McNamee’s thrilling and passionate score, the three artists have written an intriguing piece about family, connection, and love with the backdrop of a video game.

Other World a great show for the whole family to enjoy. See it before it closes on March 20!

For information and tickets, visit www.delawaretheatre.org.

David Robson's "Blues in My Soul" Makes Its World Premiere at City Theater Company

Delaware Arts Info reviewer Charles "Ebbie" Alfree III caught up with playwright David Robson to discuss his latest play (with music) about blues and jazz legend Lonnie Johnson.

Blues in My Soul opens on Friday, March 18,  at City Theater Company’s new home at The Delaware Contemporary. 

For information and tickets, visit https://city-theater.org.

Artist Sug Daniels Celebrates New Music, EP Release

Sug Daniels, aka Danielle Johnson, is a solo singer-songwriter as well as frontwoman of the funky blues/soul band Hoochi Coochi, and a proud Wilmingtonian. The new EP, Franklin Street, will be out via Weird Sister Records on September 3.

Artist Sug Daniels. Photo by Nathalie Antonov.

I was thrilled to chat with Sug about music, community, and creativity during a pandemic...

Congrats on the new EP! First, what made you want to do a solo project outside of Hoochi Coochi?
Thank you! It was actually just a quarantine project. I wasn't able to get together with my band and write music like we usually did, so I had to fend for myself. Although I lost the ability to play live, I didn't lose the desire and need to create music.

What are the differences — artistically and individualistically — between Danielle Johnson as frontwoman of Hoochi Coochi and Sug Daniels as a solo artist?
To be honest, not too much except one is holding a ukulele and the other is gripping a microphone and jumping on bars. I like the challenge of having to deliver music and entertainment in a more stationary position. This project is less performance-based and more music and lyrics centered. I can (and have) performed the music solo, in a duo, and with a full band. It's always moving and shifting. Better believe when I can figure out how to get myself and ukulele up on a bar...I'll be doing that too, though!

How do you feel you have evolved as an artist since Hoochi Coochi got their start?
I would hope in every way. I really try with each song to be more vulnerable than the last song. I'm constantly trying to figure out how to make the show more electrifying. I worked my tail off to figure out the business side of the music industry as well.

What made you want to create music during the height of the pandemic? Where did you find the most inspiration?
I always want to create music. It's my favorite way to flush through ideas and learn about myself. During the pandemic, I wrote a bunch of songs mostly focused on my friendships, relationships, and how I view the place I live. The songs were all very introspective and personal because I had nothing to do but sit, think, and mull them over in my mind.

I love your collaborations with "Tiltlandia Mayor" Rob Pfeiffer! How did you two get together and start creating?
Yea, Rob Pfeiffer is a dream! I went through a transition during quarantine, and Rob was there to lend a hand. I started living on his third floor, and we became fast musical buddies. Along with making music together, we work in a community garden putting on events that bring neighbors together in the city. I used to see Rob at breweries and shows all the time, but I never thought that our amazing intergenerational friendship would be the catalyst to an amazing solo career. He is a true angel and one of my biggest supporters. I couldn't ask for a better chosen family. We often will be eating dinner and one of us will say to the other, "Wow, we are so blessed."

You call Sug Daniels "the curious creative." What does that mean to you and what does it mean to your fans?
I am and will never be done learning. Next to expressing myself, figuring out how to do things is what drives me.

Do you see yourself as more of an Americana/Singer-Songwriter artist than an R&B artist, or will you continue celebrating and creating in both?
I see myself as both and more, too. I listen to so many types of music so when I create, I subconsciously pull from so many places. I've never been into the idea of limiting myself.

You got a really great review for your "Time & Space" track from Country Queer.
Do you feel a responsibility/need to be a mentor or voice for LGBTQIA+ artists coming up/creating in this time?
I absolutely feel and accept the responsibility to be a leader in my community. I really believe it's an artist's duty to be true and authentic in their stories and expression. We are mirrors to people, and we can provide them the language and examples on what it simply means to be alive from a certain perspective. We bring people together and give them a voice. I do not take that lightly.

What is your favorite track on the EP and why?
My favorite track on the new Franklin Street ep is "Space & Time." I recorded all the instruments on the ep, and this was my first time playing guitar. It's very fun and spacey, and I know some chords but I had never played ambient stuff like that. It was fun and frustrating, but I love the way it turned out.

Of course, I'm assuming Franklin Street is an homage to where you live here in Wilmington, Delaware. There seems to be a great group of artists and creatives in that area. What makes the neighborhood so special?
Yes, this neighborhood is what dreams are made of! Not only are there so many creative people but just plain ol' respectful and caring people. The neighborhood is also very diverse, which I love. I think places that are this free and mixed just draw creative types.

What do you envision as your next "level" artistically...what's ahead for you?
Honestly, I'm not sure. I just hope to continue to learn and grow. Maybe learn some more instruments so I can sit in with other people. Maybe a move to a big city to get more "in the mix" and make more connections. Who knows? I don't.

NOW, some 'lighter' questions...
What song(s) is in your earliest memories, and what does that music bring back for you?
My younger brother's father used to play Jimi Hendrix when he would take us to school in the morning. At that age, I'd only ever heard gospel music, so it was such a sweet treat to hear this amazing guitar guy with his cool voice singing poetry. It started a fire in me to continue to look for weird, strange, and creative music that I still feel to this day.

Who is your 'dream' musician to play with?
At this moment, Jacob Collier. He is a creative genius, and he's only in his early 20s. Highly recommend his tiny desk concert.

What's your go-to nosh after a successful performance?
I am addicted to the tofu and veggie drunken noodles at Southeast Kitchen in Wilmington. I want it before the show, after the show, and in this very moment.

What's your favorite live performance memory and why?
One of my favorite memories was at The Queen during the Ladybug Festival several years back. I was living in Dover at the time, but announced during our set on stage that I had plans to move to the city — and the whole place erupted in this big applause. I felt very loved and validated.

What's one song you wish you'd written?
All of them, honestly! I have very bad song envy. Recently tho, "Little Things" by Big Thief. I think the driving guitar and Adrianne Lenker's voice are the most perfect thing, and I can't stop listening to it.

Find more music & info about Sug HERE!

Writer-Director Returns to Delaware to Film Newest Project at Cab Calloway

Delaware Arts Info connected with Maren Lavelle and Matt Steiner, Co-Founders and Executive Producers at film and television prodcution company One-Eyed Rabbit, to talk about their new film Wendy, which was filmed onsite at Cab Calloway School of the Arts, with current Cab students. Here Maren talks about the development of the film and the process of creating it here in her hometown. 

P.S. This interview's a bit lengthy, but it was so great, we didn't want to cut anything! ENJOY!

Did you always want to be a filmmaker?

Images from the filming of Wendy, which was
shot on location at Cab Calloway School of the Arts.

I don’t think I knew being a filmmaker was an option for me growing up. My mom was disabled and unable to work, so we didn’t have a lot of money and couldn’t afford a camera. Also, I grew up before young people had access to smartphones, so there hadn’t yet been the boom of technology that made filmmaking way more accessible to those outside of Hollywood.

I always knew I wanted to be a writer and a storyteller. When I was very young I wanted to be a journalist. As I grew up I wanted to be an actor. It wasn’t until my senior year of high school that my mentors told me I should focus on directing. I was like… “too late guys, my parents already spent thousands of dollars for me to audition to go to college for acting!” But by the time I graduated from Pace University with a BFA in Acting I knew I should be writing and directing.

Starting to work with Matt Steiner, my producing partner and, now, life partner, is when filmmaking really clicked into gear for me. When it comes to crafting a story for the screen, our strengths seem to fill in the other’s weaknesses. Being able to work in such a strong unit is what has really made filmmaking a reality for me.

When you were a student here, what were your favorite films or films you looked to for inspiration?
When I was a student in Delaware, I was heavily influenced by films like Ben-Hur, Dances with Wolves, Lawrence of Arabia, Amadeus, Singing in the Rain, etc. My Dad was a sucker for a good Oscar winning movie, so we would spend hours upon hours on the weekends watching some of the greats. Some of my favorites growing up were Forrest Gump for its impeccable story structure, Titanic, because you can’t find a better love story than that, and Legally Blonde, which I still to this day think is a perfect movie.

Why did you want to make this film?
Matt, my partner, wrote this film back in 2019. I always loved the story. It was so simple and sweet. One of the big inspirations for Wendy was being able to create something that could give young Queer folks their own over the top, in your face, middle school love story. With an abundance of content out there featuring young boy-girl love stories as the main plot point, we wanted to give representation to the young Queer students that deserve to see themselves reflected on the screen.

But as far as actually taking the steps to produce the film, Cab Calloway School of the Arts and the Cab 8th Grade theatre majors are what made me want to make this film happen! Once we started to ponder the idea of making this film at Cab right now with the current 8th grade theatre majors, it just seemed like we had to make the film and we had to make it now.

Whereas with our previous films we were definitely making the films for ourselves, either as a proof of team, for me to be able to direct, or for Matt to be able to act, making this film was almost entirely for the Cab students. I was very focused on the educational aspect of providing the students with the experience of working on a professional film set at such a young age. I thought a lot about how amazing an opportunity like working on this film would have been to me at that age, as it would’ve opened up so many more possibilities to me than I knew were available at the time. I wanted these students to be able to experience that and see for themselves what it’s like to make a film from scratch!

Do you feel this story represents the culture you experienced at Cab as a student? How do you see Cab's culture now?
It’s so interesting because Cab is a very unique school as far as acceptance goes. Of course, it is still difficult in any setting to be able to navigate the social hierarchy that is middle school or high school when you’re an LGBTQIA student and/or a person of color… but Cab certainly leaves more space than most schools for acceptance of any sexual orientation, gender identity, race, religion, etc.

The story of Wendy is certainly representative of the culture at Cab. At Cab, it’s so easy to talk to your teachers about what you’re going through when you need advice. Identifying as gay or Queer is pretty common place at Cab. Though I think the eponymous character, Wendy, feels more hesitant to be publicly out than she would at the real life Cab, I still think the story of Wendy is something that would 100% happen in the halls of Cab Calloway School of the Arts.

I graduated from Cab nearly 10 years ago, and though Cab was quite progressive in a lot of ways back then, it has grown even more so in the decade since I graduated. Working with Cab students now, I found the students to be way more comfortable in themselves and even more widely accepted, even at younger ages than high school, than was the case during my attendance. The students are also way more politically active and involved than I remember me and my comrades being. They are active and vocal allies for underprivileged folks, and use social media as a tool for making long lasting change in the society they will soon inherit.

What about Cab Calloway made it your choice for location?

Matt Steiner & Maren Lavelle of One-Eyed Rabbit.
Photo by Dondre Stuetley

Cab was an obvious choice for this film, but funnily enough it took me two years since I originally read the script to realize that. Returning to the Cab halls and working with Cab students was the main impetus for producing this film when we did.

Cab was an ideal location for multiple reasons, for one: the community. Being able to have the Cab community rally around this film and help make it happen was so wonderful and fulfilling. Also, I knew the caliber of student actors at Cab was going to be significant compared to anywhere else we could have filmed.

Also, the full circle nature of returning to Cab as an adult to work with the students and direct this film was a huge part of the choice and experience. It was SO fulfilling to walk those halls and see the imprints I still had on the school: my senior photo and a photo of my childhood dog are still up on the board of one of my high school teacher’s rooms, I’m in a photo of the school jazz choir from 2010 that’s up in the halls, and my name is on a plaque on one of the front row seats in the school’s theatre. Returning to the school and seeing how present I still was, while also giving back to the community and the current students by providing this opportunity was unlike anything I could have ever imagined. The experience was so nostalgic and incredibly rewarding, and I can see the influence that had on the film as well.

Did you tap any of Cab's theater students for this film? Any other Cab 'resources'?
Absolutely. Ava Ramey, incoming Cab freshman, played our lead, Wendy, and Lexie Rubincan played opposite her as Wendy’s crush, Cassie. The rest of the recently graduated 8th Grade theatre class from Cab filled out our featured ensemble. These students are REMARKABLE. The talent is insane. Working with Ava and Lexie was more wonderful than I could have imagined. The two are best friends, which helped provide an incredible intimacy on screen, but besides that, they jumped right into these very challenging and nuanced roles without missing a beat.

Long shoot days are no joke, and these young women were in every scene working for 10 hours a day two days in a row. That’s longer than a typical school day! And I did not take it easy on them! But they were beyond professional and continued to give vulnerable and subtle performances that blew the script out of the water. I can’t believe the luck we had in being able to work with these incredibly professional and remarkably talented rising young actors.

We used the Cab premises for our film, including the theatre, hallways, and classrooms. We were so grateful to work with Amanda Curry, the 8th Grade theatre teacher, who helped us organize auditions for the film and helped us with the logistics of production. Brian Touchette, the theatre manager at Cab, was invaluable in ensuring we had all the equipment we needed for filming and helping us use the recently renovated theatre and all of its capacities to help tell our story as honestly and artistically as possible. Julie Rumschlag was the dean at Cab when I attended back in 2008 - 2012, and she was so supportive of our venture every step of the way.

The support from the Cab community has been incredible, and I’m so grateful to every person who helped make this film a reality.

What do you want audiences to come away with after seeing it? Where can they see it?
Wendy should fill audiences with a sense of wonder, magic, and glee. We want our film to reach young folks who otherwise might not see themselves reflected on screen in this way. We want LGBTQIA students to see their story fully realized in the film: we hope those students leave the film feeling seen, heard, and recognized. I hope non LGBTQIA audiences still leave feeling seen and recognized. It’s a relatable story, we’ve all had that deep, all-encompassing teenage crush that we can’t get off of our mind. I think we’ve captured that essence really well in this film. I hope people leave the film and share stories of their most wonderful and most embarrassing moments with their crushes throughout their lives.

Wendy will be submitted to a wide array of film festivals! @one_eyedrabbit will send updates via social media on where audiences can find Wendy as it makes its way around the festival circuit.
 
Did you always envision this film being shot in here or was that a 'happy accident'?
Originally we conceptualized filming Wendy in the Bronx, in a school that Matt has been teaching in as a teaching artist for several years, the students of which inspired the characters of Wendy. But the making of the film didn’t actually spring into action until I came up with the idea of filming it at Cab and casting the Cab students. Once we latched on to that, there was no stopping it, and there was something beautiful about returning home to make this film.

What was the most rewarding thing about coming "home" to shoot this movie? What was the most challenging?
Ohmygosh, so many things. The most rewarding thing was working with the Cab recently graduated 8th graders/rising 9th graders on this film. They were so eager to be a part of this process and they were all so passionate about being involved in a Queer love story, whether they indetified as Queer or not. I also got to work with Emma Altrichter, a recent Cab high school graduate, as my Assistant Director. Most of the students hadn’t worked in film before, and I hadn’t either at their age. I felt like I was giving back to Cab and the current Cab students some of the energy and momentum that Cab gave me when I was there. Community is so important, so being able to plug back in to create this beautiful film with such talented people was absolutely fulfilling.

The most challenging part of producing the film in Delaware was the logistics! Producing indie films is no joke, and since we’re filmmakers based in Brooklyn, we had to work to find a local crew that we thought could help us realize our vision despite not having worked with any of them before. But the team we came up with was magic. My first choice for this film, and for most of my films, was to find a non-male cinematographer who I could easily collaborate with, and for Wendy I found that in Sol Tran. Sol rose to the challenge of an incredibly ambitious film schedule, a big cast, and a determined director and turned out remarkably beautiful shots while managing to get all the coverage we needed. We couldn’t have made this film as well without that combination of professionals.

What is your favorite part of this movie and why?
There are so many parts of this film that I love, but my favorite part is a relatively simple scene between Wendy and her mentor, Mr. Hansen (played by Matt Steiner). It’s not the most showy or colorful scene in the film, but that scene is the essence of the film, the idea that you have to put yourself out there in order to live a fulfilled life. You have to try and sometimes fail, but then get back up and try again. That applies to career ventures, life obstacles, but most importantly, love. Mr. Hansen says a line to Wendy: “You can’t live your whole life in your head, you know?”, and that’s exactly what the film is about. At a certain point, you have to jump off the diving board into the pool of the unknown and risk heartbreak or humiliation, but it’s the only way to learn and grow.

Do you get to come back to Delaware often? What do you miss most about Delaware? Any shout-outs you want to give?
I do come back to Delaware quite often! My ever growing family is still in Delaware. My Mom, Tara Bowers, a local costume designer for Delaware theatres who also costumed our film, lives a short drive from Cab and Matt and I come home to Delaware every couple of months. My niece, Charlie, is two years old and we love watching her grow and learn! And I have a nephew who is arriving at the end of July 2021!

I’ve always loved Charcoal Pit and Pizza by Elizabeth’s, and Woodside Creamery is an absolute summer staple. Can’t miss Lewes and Rehoboth Beaches in the summer too!

What is next on your creativity list? What can we see from you next?
One-Eyed Rabbit has two other films in the film festival circuit that folks can look out for, our debut films Maya and Keeper. Next up we’re looking to produce more of our short films including The Lie and Molly: In Progress. We’re hoping to get funding for our horror feature She Howls, or any of our other short film, feature film, and series pitches.

We can’t stop making work though, so one of those projects will be in production as soon as we have funding!

Learn more about Maren and Matt's projects at www.one-eyedrabbit.com!

Joseph Hodge Named Music Director of Wilmington Community Orchestra

Joseph Hodge is the new Music Director of
the Wilmington Community Orchestra.

The Music School of Delaware's Wilmington Community Orchestra – an accomplished amateur ensemble for ages 18+ that performs standard symphonic and concerto repertoire –has announced that Joseph Hodge will be taking over the role of Music Director for the 2021-2022 season.

"We're very excited to have him on board," said Music School Dean Cheri Astolfi. "We reviewed almost 12 resumes and CVs, and we were delighted when he was interested in auditioning for the position."

Winds and brass players – with WCO members Mindy Bowman observing for the woodwinds and Steve Getty observing for the brass – also felt that he was an excellent choice and selection for the winds and for the ensemble.

JOSEPH HODGE BIO
Praised for his “musicianship and energy on stage” (Manchester Journal Inquirer), Joseph Hodge has previously served as the Music Director of the Manchester Symphony Orchestra & Chorale, Connecticut Valley Symphony Orchestra, and Hartford Opera Theater. Guest conducting engagements have brought him across the country to work with opera companies and orchestras alike, including the Jackson Symphony, Charlottesville Symphony, Wintergreen Chamber Orchestra, Greater Bridgeport Youth Orchestra, Hartford All-City Youth Orchestra, Charlottesville Opera, Abilene Opera Association, Houghton Lyric Theater, and Oberlin Winter Opera. 

A champion of new music, Mr. Hodge has conducted many World Premieres, including Rachel Peters’ Wild Beasts of the Bungalow with Oberlin Winter Opera in 2020. Mr. Hodge holds degrees from the University of Virginia and the Hartt School of Music at the University of Hartford, and is currently finishing his Doctorate in Orchestral Conducting at Michigan State University. He has previously studied conducting with Kevin Noe, Edward Cumming, Christopher Zimmerman, and Kate Tamarkin.

Exhibit at The Sold Firm Features Works of Incarcerated Artist

Starting this month, Wilmington gallery The Sold Firm — headed by owner/gallerist, Nataki Oliver — presents a solo exhibition from artist Sakana Walls. 

Walls, 49, is a Philadelphia visual artist currently incarcerated in a Delaware correctional facility. 

Walls actually began his creative path in the culinary field. He has been incarcerated since 2006 with three years left on his sentence. Walls began drawing seriously in 2010 and painting in 2016, starting with his first piece, “Weathering The Storm,” which is featured in the exhibit.

The exhibit, entitled STORM, opened on February 19 and will run through April 24, 2021. During points in the exhibit, Sakana will be present on video from the correctional facility.

With Oliver's assistance, we were able to connect with Walls and ask him a few questions about his exhibit. Check out our discussion below...

*How long have you been creating? What is your medium of choice and why?

I've been creating for about 11 years now. I started sketching with pencil and charcoal, but I found it more liberating to work with acrylic. I use to observe other artists painstakingly mixing colors, trying to produce a hue that was considered "acceptable," and I didn't see any freedom in the practice. I treat each color as I would any individual: Accept it for its truest form/essence. If we can embrace who we really are, maybe we could come together and create something beautiful.

*Why did you choose the title "STORM" for this exhibit?

It was something that was discussed between Nataki and myself. when I told her my story, we agreed that "Storm" would best describe the exhibit. The pieces that were chosen for this exhibit represent hope, spirituality, and consciousness. All things needed in this trying time.

*What do you want your work to "say" to patrons? 

I really do not want the pieces to say anything. Rather, I want the pieces to act as a defibrillator...to allow the numbness (that has developed over the last couple of years) to diminish. I also want people to think about what happened in the last couple of years with our government, the pandemic, and within our communities.

*What is your favorite piece in the exhibit and why?

My favorite piece is the hooded man titled Weathering The Storm. It's a representation of who I've become. The searchlight in the lower right represents the prison life left behind. The rain and the lightning represent the adversity going on in the world. The jacket represents consciousness, protection from all of the elements.

*How do you feel the arts have helped you during this time and how will they serve you going forward? 

Sitting back and doing the same things day in and out does not promote growth. I refused to succumb to the "Groundhog Day effect," so it was important for me to not become institutionalized. I had to find something to do differently. Creating something new every day allowed me to do time purposefully. Going forward, I see the arts hopefully serving as a vehicle to bring togetherness and awareness within the community and beyond.

*What advice can you give to other justice-involved individuals?

Holding yourself accountable will prove to be beneficial in the growth process. If you're experiencing an injustice, educate yourself and make it a fair fight. Adding other than self to the thought process will produce different results.

*What are your goals — artistic and personal — now and post-incarceration?

As an artists, I want to continue to make people feel; personally, I want to educate self before I medicate others. After my release, I want to continue to live life with purpose. 

“We must conquer self doubt in order to weather our own personal storm; then we’ll be able to learn, understand and respect one another.” — Sakana Walls

Reservations to attend the exhibit must be made online. Due to COVID-19 restrictions, masks are required while in the gallery. For more information and reservations, visit thesoldfirm.com.