Another Bloody Good Time with Bootless Stageworks

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.

You’ve Got Red on You is a “Rom-Zom-Com” that follows unfocused Shaun as he deals with his job, girlfriend, mother, and stepfather amid an apocalyptic uprising of zombies in London. It’s a campy musical based on the 2004 film Shaun of the Dead and provides lots of laughs plus gallons of fake blood. (More on the blood later.)

Shaun (Shaun Yates) feels he is at his best while downing pints with his slacker friend Ed (Shawn D. Kline) at their favorite pub [(Drinking) At the Winchester]. But Shaun’s best is not good enough for everyone in his life, save for his mother Barbara (Rosanne DellAversano) and Ed. He garners no respect at work; roommate Pete (Jose Bernard) is tired of his antics; girlfriend Liz (Mariza Esperanza) can’t get past his immaturity; stepfather Phillip (Dale Martin) is always judging him; and Shaun just slides through life without any planning or reasonable measure of success.

But when a zombie apocalypse happens, Shaun takes the lead and formulates a strategy for survival [The Perfect Plan]. Shaun and Ed fight their way through streets full of the undead to pick up Liz and her flatmates Diane (Shayna Greenblatt) and David (Benji Deivert). From there, the survivors travel to Shaun’s mother’s house where they discover Phillip has been bitten and will soon turn into a zombie. After reconciling their differences, Phillip dies on good terms with Shaun…before Shaun must kill him again.

Shaun decides the group needs a safe, familiar place where they can hole up and more easily defend themselves — the Winchester! But the living must hike a mile amongst the walking dead to arrive safely at their destination. Failed actress Diane suggests imitating the gait and mannerisms of the enemy to pass safely through them [Walking With The Dead].

The dance choreography during “Walking With The Dead” was fun and lively. Director Rosanne DellAversano keeps things fresh with this production by adding cool slow-motion (and replay!) action as well as pop culture references. There’s even a clever Queen-inspired scene injected into a zombie-killing spree. Since Shaun and Ed are avid gamers, video game music often accompanies kills when the two are bearing weapons to destroy their enemies. Kudos to the “Enzomble” — Abbey Ketterling, Lauren Knecht, Grayson Martin, and Antoine Martinez-Jones — for their portrayals of undead attackers who die again and again while swimming in pools of blood.

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

Once at the Winchester, our heroes fight amongst themselves while battling invading zombies. There are lots of casualties and subsequent blood splattering. Who will ultimately survive? How will the world look after order is restored? Will Shaun and Liz reconcile or split apart? Come to Bootless and find out!

Standout performances by Yates [Random] and DellAversano [A Mother’s Love] provided vocal highlights. Esperanza’s misty, windswept version of A Break-Up Song was both touching and hysterical, thanks to the props department. The ensemble cast works well together whether as friends or foes.

Live musical accompaniment is provided by The Zombie Lovin’ Band — Joe Eigenbrot, Jim Fazzino, Zack Geffre, and Deb Bialecki — under the direction of James W. Fuerst.

The remaining performance schedule of You’ve Got Red on You is: Friday July 19, and Saturday July 20 at 8:00pm. Tickets start at $30 and patrons can opt to sit in the "Pit Splatter Zone" ($38) or not. 

Note: the theater boasts that "...our blood delivery system guarantees the MOST SPLATTER EVER" for those opting to sit up front. Tickets can be purchased at their website (https://www.bootless.org/red-on-you/) or by calling Bootless Stageworks at 302.887.9300.

 Tickets are also available at the door, subject to availability. There is one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

After the show, you can rally at your favorite local Trolley Square pub. If only there were a Winchester nearby… :)

On the Run with Bonnie & Clyde at Wilmington Drama League

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

Bonnie and Clyde, produced by Wilmington Drama League, follows the lives of the notorious Bonnie Parker and Clyde Barrow as they navigate love and being on the run in the South during the Depression era. 

Bonnie and Clyde now playing at Wilmington Drama League. 
Photo by Sheena Ahlmer.

Not having any background on the show before attending, I was pleasantly surprised when I walked into a comedy and found myself laughing more times than I could count during the show. The show uses a mix of gospel and blues music, written by Frank Wildhorn, lyrics by Don Black, and a book by Ivan Menchell. This production was directed by Liz Hazlett.

The cast was truly excellent. Standout stars included Stephen Piergrossi as Clyde Barrow and Chiara Robinson as Blanche Barrow.

Stephen Piergrossi’s portrayal of outlaw Clyde Barrow was exceptional. Piegrossi's acting was superb, but it was his storytelling during the musical numbers that made him truly shine. It was well beyond anything I have seen in a community theater production.

Chiara Robbinson was funny, captivating, and vocally excellent from her first moment on stage. Her portrayal of Blanche Barrow had me excited every time I saw her. You Love Who You Love was a standout performance of the show performed by Robinson and Meghan Arters, who portrayed the titular Bonnie Parker.

Meghan Arters as Bonnie Parker was ravishing. Every time she opened her mouth to sing, I knew I was in for something amazing. Her performance of How ‘Bout a Dance was stunning.

Young Bonnie and Clyde, portrayed by Callie Hazlettt and Owen Ahlmer respectively, sounded amazing and showcased voice maturity beyond their young ages. Alex Bock played the older brother of Clyde perfectly, and I would have believed that two actual brothers were on stage during their performance of When I Drive.

I get nervous when I attend productions where the cast is speaking with accents, often people drop the accent or are terrible at it. This cast put in the work. Everyone committed and it added a level of professionalism to the production that heightened the audience's overall experience.

I would be remiss if I did not mention some of the crew. Lighting designer Ryan Philips reminded me how integral lighting can be to elevating a show to the next level with his superb design. The choreographer, Patrick Murray made great use of space and I was impressed with the chair choreography in You’re Goin’ Back to Jail. Costume designer Shelli Ezold transported us back to the 1930s with her attention to detail and design with each character's costumes.

The remaining performances of Bonnie and Clyde are on June 21 and 22 at 8:00pm and June 23 at 2:00pm. All shows are at the Wilmington Drama League. The show runs around 150 minutes with an intermission. Tickets are $25 and can be purchased at tickets available now at wilmingtondramaleague.org.

Celebrating "Noises" Produced by Delaware Theatre 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.

Noises Off at Delaware Theatre Company.
Photo by Matt Urban.

Delaware Theatre Company (DTC) opens its 2023-2024 season with the zany British comedy Noises Off. Nominated for multiple Tony and Drama Desk Awards including Best Play, the show lampoons the life behind the scenes of a theater production during its 10-week run. 

Creator Michael Frayn wrote his “farce from behind” as a one-act play before it was commissioned as a full-length version. Obviously, the laughs were extended across the current three-act production.

Each of the three acts of Noises Off contains a performance of the first act of a fictional sex farce (Nothing On), which is ridiculous in its premise. The audience experiences insider viewings of this “play within a play” at three distinct times: Act I is a technical rehearsal; Act II is during a matinée one month into the run; and Act III happens near the end of the production tour. 

But the twist in this tale is that the viewpoint changes from the front of the house to the back (Act I to Act II) before reverting to the front again (Act III). If that sounds confusing, it makes more sense to the audience than to the characters on stage. Those poor souls have no clue what is happening — except spinning comedic gold!

The ability to experience the front and the back of things is due to the brilliant work of Colin McIlvaine. His wonderful set demonstrates why he is a Barrymore-nominated scenic designer. The bilevel, multi-door set works (and “doesn’t work”) in clever ways, including rotating 180 degrees so the audience catches the action behind the (stage) action.

In Act I, Nothing On actors Belinda (Karen Peakes), Brooke (Elise Hudson), Dotty (Grace Gonglewski), Freddie (Ian Merrill Peakes), Garry (Justin Jain), and Selsdon (Anthony Lawton) cannot seem to follow cues, remember lines, or hit their marks during a tech rehearsal from Hell which makes director Lloyd (David Bardeen) more fraught by the moment. Bardeen is wonderful in slowly swallowing his building rage and providing notes to his troupe as they flub scene after scene. Assistant Stage Manager Poppy (Bi Jean Ngo) must obediently clean up the messes and do Lloyd’s bidding to keep things rolling. The overworked Stage Manager Tim (Brenson Thomas) does everything from fixing sets to running surreptitious errands to making PA announcements to performing understudy duties.

All the characters have their personality flaws up front for all to see — on stage and backstage. Garry can’t state anything definitively; Freddie falls to pieces when things get hairy; Brooke sticks to the script too closely; and Selsdon is a hard-of-hearing alcoholic with a penchant for forgetting his closing line. Speaking of mangling dialog, Dotty’s character changes a somewhat standard line so badly over the course of the show, it ends up as: “It’s good I can’t see far with this leg.”

Most theater productions have their share of infighting and clandestine romances. Acts II and III reveal souring relationships between the Nothing On cast plus the set and props failing. In Act II, the audience sees how the fallout of numerous romances and off-stage problems affect the action on both sides of the stage. 

While the actors remain determined to cover up the mounting chaos during Act III, it’s not long before the players must invent some hysterical ad-libs to reach a new ending. Let’s hope Noises Off director Jennifer Childs didn’t have to deal with Lloyd’s problems while wrangling her actors.

The show is somewhat dated, but still timeless in its cleverness and originality. The dialog is tight and the physical comedy will draw plenty of chuckles. Who knew that looking for a lost contact lens could bring down the house? Sometimes things get a little confusing, but stick with it and it’ll start to clear up. Come to DTC for a hearty laugh at the theater and maybe score a plate of sardines!

The performance schedule of Noises Off is Wednesdays (2:00pm), Thursdays (7:00pm), Fridays (8:00pm), Saturdays (2:00 & 8:00PM except September 23 for Opening Night – 8:00pm only), and Sundays (2:00pm) through October 8. 

Tickets start at $32, and discounts are available for students, groups, and military members/veterans. The show is roughly 2.5 hours long with one 15-minute intermission plus an entertaining pause between Acts II and III. 

There will be pre-show Viewpoints on Wednesdays at 1:15pm during the run plus talkbacks after Thursday performances. Call 302.594.1100 or visit DelawareTheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.

Theatre Review: Man of La Mancha | Delaware Theatre 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.

Delaware Theatre Company (DTC) closes its 43rd season with the excellent and heartwarming Man of La Mancha. Winner of five Tony Awards including Best Musical, Man of La Mancha features adventure, romance, and rousing classics like “The Impossible Dream” and “I, Don Quixote.” Set during the Spanish Inquisition, the titular Man of La Mancha embarks on an ambitious quest to right all wrongs in the world.

The show was written by Dale Wasserman with music by Mitch Leigh and lyrics by Joe Darion. It is skillfully directed by DTC Executive Director Matt Silva. Unique to DTC’s production, the sweepingly epic score is brought to life by the performers themselves – all actor/musicians who play their instruments live on stage. Simply stated, they are masters of their substantial crafts.

The opening number (“Prison Scene”) exhibits the cast’s vast range of musical, vocal, and acting chops on a magical set designed by Chris Haig. The setting is a dungeon with articulating stage parts, platforms, stairs, entryways, and steaming floor gates. Literally, the stage is set for an epic theatrical adventure.

And DTC’s Man of La Mancha delivers in a grand way. The story is captivating, the pacing is tight, the acting is superb, and the music is timeless. The company had the audience in the palm of its collective hand, delivering a great Opening Night performance.

When Miguel de Cervantes (Scott Langdon) and his manservant (Victor Rodriguez, Jr.) are thrown into the dungeon by the Spanish Inquisition, doom pervades the scene. Their fellow prisoners attack the newcomers and are eager to steal the contents of a large trunk Cervantes has brought with him. However, a sympathetic criminal known as “the Governor” (Nichalas Parker) suggests setting up a mock trial instead. Only if Cervantes is found guilty will he have to hand over his possessions. Cervantes immediately pleads guilty, but then asks if he may offer a defense in the form of a play, acted out by him and all the prisoners. The “Governor” agrees, and the prisoners watch Cervantes transform into Alonso Quijana – an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and set out as a knight-errant. Quijana renames himself “Don Quixote de La Mancha” and goes off to find adventures with his squire, Sancho Panza. The pair tilt at windmills and later take refuge at an inn Quixote swears is a castle.

Langdon and Rodriguez portray Don Quixote and Sancho Panza with prowess. Quixote’s wobbly knee and shattered mind is captured beautifully by Langdon with his powerful stage presence and voice. The role is difficult because the actor must inhabit a political prisoner playing an old man believing he is a chivalric knight. Langdon deftly shifts from mindset to mindset plus delivers superb singing in solo and ensemble pieces. The wonderful physical humor and sincerity Rodriguez imbues into Panza is matched only by his soaring vocals. To quote a line from Panza in the show, “I like him.”

Of course, any great quest must have a damsel and Sierra Wilson towers in her portrayal of Aldonza/Dulcinea. Don Quixote sees the inn’s serving wench and part-time prostitute Aldonza and declares that she is his lady, Dulcinea, to whom he has sworn eternal loyalty (“Dulcinea”). Aldonza is confused and annoyed by Quixote’s persistence but comes around to his kindness by providing him a token of her esteem – an old dishrag. Wilson tempered her powerful voice when required and raised it to stratospheric heights in moments of passion. She commanded you to watch her whenever she was on stage.

Back in the story, Don Quixote’s niece has gone with his housekeeper to seek advice from the local priest, who realizes that the two women are more concerned with the embarrassment Quijana’s madness may bring them than with his actual welfare (“I’m Only Thinking of Him”). Self-serving people want to return Quijana to his home, end the charade of Quixote, and have the old man quietly live out the rest of his life.

What happens to Quixote, Quijana, and Cervantes — plus the ancillary characters on stage — won’t be revealed herein. Suffice it to say there are epic battles, both verbal and physical; personal growth; and hope springing from despair. I can say with confidence that many theatergoers will be humming “The Impossible Dream” walking out through the lobby after the curtain drops.

Other highlights of the show include Josh Totora’s performance of “Barber’s Song” as a one-man band; the four-man guitar-playing arrangement (with percussion) during “Little Bird, Little Bird”; the brilliant effects during “Knight of the Mirrors”; and the overall motion of the action. Kudos to director Silva for keeping things dynamic on stage with insightful physical instructions for his players.

The performance schedule of Man of La Mancha is: Wednesdays (2:00pm), Thursdays (7:00pm), Fridays (8:00pm), Saturdays (2:00pm & 8:00pm), and Sundays (2:00pm) through April 30. Tickets start at $29 while discounts are available for students, groups, and military members/veterans. The show is roughly two-and-a-quarter hours long with one 15-minute intermission. There will be pre-show Viewpoints on Wednesdays at 1:15pm during the run plus talkbacks after Thursday performances. Call (302)594-1100 or visit DelawareTheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.

My advice is to “sit aquí” at DTC and enjoy the show!

A Taste of "Arsenic and Old Lace" at The REP

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.

Arsenic and Old Lace playing now through November 20.
Photo courtesy of The REP.

The University of Delaware’s Resident Ensemble Players (REP) kicks off its 2022-23 season with the great American farcical black comedy, Arsenic and Old Lace by Joseph Kesselring.

This enduring play, originally staged on Broadway in 1941, continues to astound audiences with its ingenious and brilliant construction. The current production at the REP carries on the grand tradition of the show and entertains from opening curtain to curtain call.

“Some of you may have heard the pandemic radio version of the play and now you can see the real thing. It’s about two older women that relieve older gentleman of their loneliness by killing them with arsenic. You can think of it as a euthanasia comedy.”

— Steve Tague, the REP's new Interim Producing Artistic Director.

The show revolves around the odd members of the Brewster family in their stately Brooklyn home. Mortimer Brewster (Mic Matarrese) is living a happy life in the large old mansion. He has a good job as a drama critic at a prominent New York newspaper and he’s just become engaged to his neighbor Elaine Harper (Erin Partin). His spinster aunts Abby (Kathleen Pirkl Tague) and Martha (Elizabeth Heflin) dote on him and are adored by the community. They even look after and protect Mortimer’s quirky brother Teddy (Lee E. Ernst) who believes he is Teddy Roosevelt.

Mortimer’s world is turned upside down when he discovers that his dear aunts have been quietly poisoning lonely old men and burying them in the basement for years. Aside from this new revelation, long lost maniacal brother Jonathan (Stephen Pelinski) returns on the night that the aunts are planning to bury their newest victim. His somewhat unwilling partner Dr. Einstein (Michael Gotch) adds ghoulish layers to Jonathan’s mysterious past. Mortimer must rally to help his aunts, foil his brother’s nefarious plans, and protect his fiancé – all while trying to maintain his own sanity. Even the local cops (Rob Hancock and John Plumpis) become part of the action, both good and bad; albeit unwittingly. Put it this way, the plot is always swirling… As Abby Brewster says, “How delicious!”

The beautiful set design and construction is the first thing that catches the eye upon entering the theater. It is a wonder of planning and carpentry that includes fine wooden details, wallpaper, portraits, animal heads, and doors…so many doors. Kudos to Stefanie Hansen and her crew.

The actors all shine, but the menace is real when Pelinski’s Jonathan looms on stage. Matarrese does a great job of looking peaceful one minute and utterly distressed the next. His physical and mental exhaustion from the escapades he faces puts the audience on his side. 

The show is funny throughout, but the comedic highlights mostly happen in the second act with many quick and clever jokes. Aunts Abby and Martha (Heflin and Tague) always aim to please and drop some great deadpan one-liners while doing so. The old women just want what’s best for everyone they meet, even believing that serving their killer elderberry wine is a neighborly service. It is, but solely for our entertainment!

My suggestion is to plan an evening out in Newark to enjoy some great theater, but watch out for the apparent kindness of elderly female strangers.

Arsenic and Old Lace will run through November 20 at Thompson Theatre inside the Roselle Center for the Arts (CFA) on the campus of the University of Delaware. Evening shows start at 7:30 and curtain is at 2 for matinees. The performance runs approximately 2 hours and 40 minutes, with two 10-minute intermissions. 

Tickets ($35-39) can be purchased at the theatre box office or online. Please call the box office at (302) 831-2204 or e-mail cfa-boxoffice@udel.edu for information. 

For more information, visit www.rep.udel.edu.