Dancing Through City Theater Company's 30th Anniversary Season Closer, "Dancing at Lughnasa"

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

City Theater Company's cast of Dancing at Lughnasa.
Photo by Joe del Tufo, Moonloop Photography.

No one does drama, peppered with light humor, better than the Irish. Lives of toil, tragedy, and the struggle for upward mobility are made easier by finding the humor in life. It’s a reality that refreshes in a world of 24-hour news cycles foreshadowing international conflict, political upheavals, and the possibility of economic catastrophe.

City Theater Company's production of Dancing at Lughnasa, directed by Mary Catherine Kelley, is the personification of Irish Drama. It’s not devastating, but it is stark and evocative. The story is based on playwright Brian Friel's own reflections of life in rural Ireland in the summer of 1936. The eclectic extended family members have their own story to tell, seasoned with an equal mix of humor and sorrow.

The action takes place in the Mundy household, a small cottage in the town of Ballybeg during the summer of 1936. The narration is provided by an adult Michael Mundy (Daryan Borys), who also speaks in the voice of his 7-year-old self during interactions with his family. Michael appears offstage as an adult, and the cast interacts with the air around a spotlight representing the child.

Michael is unaware of the tempest brewing within his family, the drama that will crescendo as the play moves through its acts. He only wants to enjoy the remaining weeks of summer before school starts and to find some peace in a house filled with women — five unmarried sisters Kate (Kerry Kristine McElrone), Agnes (Jessica Jordan), Rose (Kate Brennan), Maggie (Jennifer Youngblood), and Christina (Éibhleann Clyne), Michael's mother.

The presence of his famous Uncle Jack (Paul McElwee), a Roman Catholic priest who has just returned from Uganda, adds a bit of mystery to the boy’s life. To further complicate matters, his wayward father, Gerry (Aidan McDonald), suddenly arrives to court his mother and purchase the boy's affection.

The Mundy family is a tapestry of latent desires and buried trauma. Kate, the oldest, is a schoolteacher and devout Catholic who is leery of the pagan themes of the approaching festival of Lughnasa — a Gaelic celebration marking the start of the harvest. Anges and Rose knit gloves but find their way of life endangered by industrial competition. Maggie and Michael’s mother, Christina, tend the house and reflect on what their lives could have been. Jack struggles to express himself and often wanders the house attempting to give voice to his muddled thoughts. Things are further complicated by the arrival of Michael’s father Gerry—a wanderer with big promises and very little follow through.

The talented cast conveys the emotions of the piece through their expressions and body language, as well as spot-on Irish accents. The musical accompaniment adds a sad tone to the actions presented on the stage. 

Among the central themes of the show are regret over the path not taken, the struggle for survival, and challenges to faith. Father Jack returns from missionary work to find his spiritual outlook somewhat changed. Social Scientists would call this "going native," but he has come to realize that not all roads lead to Rome in the spiritual sense. This concerns Kate, whose devotion to her faith leaves her fearful for her brother’s soul. Anges and Rose are forced to work long hours in the glove factory to support the family as Kate is forced into early retirement. Through it all, they remain united. There is conflict, but it is wholesome. It’s family.

Dancing at Lughnasa is a study of Irish culture and family life. The idyllic community in which the players live exists in the space between two worlds. There is the strict Irish Catholic heritage, devoted to the tenets of the religion and its firm dogma and the local traditions that may not be in line with that faith. The weight of the world in which they live is evident in the physical expressions of the actors as they portray a kaleidoscope of emotions on stage. One could not help but be taken away from the moment. 

While each performer brought their heart and soul to the role, the standout was Jennifer Youngblood’s embodiment of fun-loving life-spirit Maggie. Delivering stark, often comedic commentary, she serves as a bridge between the more serious Kate and the rest of the family. Equally impressive was Kate Brennan’s Rose, whose disability does not hamper her desire to find love.

Remaining performances of Dancing at Lughnasa are Sunday, 4/21, matinee (2:00pm) and Wednesday, 4/24 through Saturday, 4/27 (all 8:00pm). Tickets are available online at City-Theater.org.  Seating is mostly on risers, but ADA seating is available by alerting the House Manager. City Theater Company performs in the Wings Black Box of The Delaware Contemporary, located at 200 S. Madison Street, near the Wilmington waterfront. 

DTC's 44th Season Closer, "The Flatlanders," Certainly Doesn't Fall Flat

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 44th season with the touching and funny play The Flatlanders by Bruce Graham. DTC has partnered with 1812 Productions to present this new composition about what it takes to keep the flame alive when everything else is, quite literally, falling apart.

The Flatlanders now playing at DTC.

Photo by Matt Urban, NüPOINT Marketing.

The show is a World Premiere for playwright Graham, who won the Rosenthal Prize for his play Coyote on a Fence, two Barrymore Awards for Something Intangible and Any Given Monday, and the Joseph Jefferson Award for The Outgoing Tide. He has received grants from the Pew Foundation and the Rockefeller Foundation plus was a past winner of the Princess Grace Foundation Statuette.

“We couldn’t be more excited to bring our audiences another world premiere production,” says Matt Silva, Executive and Artistic Director of DTC. “New work is important. So is laughter.”

And there is plenty of laughter – smart, corny, and edgy – to be found in The Flatlanders.

Travelers Ronnie (Jennifer Childs) and Michael (Scott Greer) must break into a remote cabin in the Poconos during a blizzard to ride out the storm. The two “flatlanders” from Philadelphia are in a committed 14-year relationship which is about to become wedded bliss (maybe?) in a day’s time. While taking stock of what the cabin can provide them, the couple also takes stock of their relationship.

Childs, the producing artistic director of 1812 Productions, and Greer are partners on stage and off. Besides both performers having celebrated solo careers, the couple has performed and created works together at 1812 Productions, Arden Theatre Company, Cape May Stage, and many more.

That deep personal connection is shown in the way the actors interact on stage. Timing and side glances and sighs and exasperations all feel very real to the audience. There are “no bars” or “hotspots” at the cabin so this typical modern couple must converse without modern distractions. The only outside voice is from DJ Skip on WJUL, whose bad jokes and anachronistic playlist constantly add a bit of humor to the situation.

But the lead characters provide plenty of great jokes and physical gags themselves. From Ronnie making one-point lists – plus the ever-growing IOU list to reimburse the owners of the cabin – to Michael gradually revealing his kinks (with help from a prop box), there’s always something happening on stage holding your attention.

The soon-to-be newlyweds discuss past successes, current failures, and future desires. Their banter ebbs and flows from normal, banal topics to conquering personal fears to upending societal norms. It’s a contemporary play and the topics are relevant but delivered with biting wit.

The main theme of the show can be summarized by a burst of dialog when Ronnie posits that maybe being married instead of just being together will lead to boredom. She says she knows what buttons to push now. Michael counters that they’ll find “new buttons to push” and they will be better for the growth. As he puts it, they are already feeling “the seven-year itch times two” but he is happy. No need to radically change what they’re doing now…maybe just tweak a few things here and there.

Michael’s statement “All of this will clear up and we’ll be fine” takes on a double meaning when considering the storm swirling outside and the reckoning happening inside the cabin – i.e., there will be resolution.

The production is directed by multi-time Barrymore Award winner Matt Pfieffer, whose work has appeared at Arden Theatre Company, the Pennsylvania Shakespeare Festival, Theatre Exile, People’s Light, and many others. The three scenes are nicely segmented and compartmentalized. Pfieffer keeps the movement and dialog moving, but not so fast as to miss the point.

The performance schedule of The Flatlanders is: Wednesdays (2:00pm), Thursdays (7:00pm), Fridays (8:00pm), Saturdays (2:00 & 8:00pm), and Sundays (2:00pm) through May 5. Tickets start at $32 while discounts are available for students, groups, and military members/veterans. The show runs approximately 80 minutes with no intermission. 

There will be pre-show Viewpoints on Wednesdays at 1:15pm during the run, plus talkbacks after Thursday performances. The April 27 2:00pm performance includes American Sign Language (ASL) interpretation. 

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.

Don’t be a “DQ” and make plans to catch this show!

Fall Into the "Deathtrap" with The Rep This Month

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.

The Resident Ensemble Players (REP) fully deliver in the form of Ira Levin’s 1978 Edgar Award-winning play Deathtrap – a dark thriller with a perfect blend of schemes, plot-twists, and black humor.

Ira Levin's Deathtrap playing now at The REP.
Photo courtesy of The REP.

Formerly successful playwright Sidney Bruhl (Lee E. Ernst) has had a recent string of theatrical failures; is dealing with writer’s block; and is getting short on cash. A potential change in fortune arrives in the form of a brilliant script sent by former student Clifford Anderson (Mic Matarrese). Clifford’s thriller – also titled Deathtrap – has all the makings of a Broadway hit. Sidney tells his wife, Myra (Elizabeth Heflin), that the student’s play could put him back on top if he steals it and passes it off as his own. But for that to work, Clifford would have to be out of the picture. Permanently. Myra sees the wheels in Sidney’s head turning and hopes the unthinkable hasn’t really been considered. Sindey assures Myra he is only kidding and would never truly entertain such an atrocity just to steal a script. But the play is called Deathtrap…

“I’m interested in the thievery,” says Interim Producing Artistic Director Steve Tague. “It is an old premise, but we don’t seem to get tired of it. What are we willing to do for success, or money, or fame, or admiration?”

Director Michael Gotch keeps the pacing tight and uses the wonderful set by Stephanie Hansen in ominous and oddly comforting ways. When Sidney isn’t scheming, he’s enjoying his brandy by the fire and fawning over his collectibles – various weaponry. But when his doddering evil takes hold of him, Sidney’s surroundings become his killing fields. Credit to Ernst for appearing tough to decipher when he’s being nice and when he’s sizing up his prey.

Matarese is solid playing a character who may just be too smart for his own good. His Clifford initially seems overwhelmed, but grows bolder and more driven in purpose as Act II develops.  The cast also includes REP company members Stephen Pelinski (attorney Porter Milgrim) and Kathleen Pirkl Tague (psychic Helga ten Dorp). The portrayal of ten Dorp is somewhat over-the-top, but provides humorous portents of things to come and unknown things that were. Plus, her hair – and that of Matarese – are glorious. Kudos to Denise O’Brien for her wig design.

The show is a pleasure to experience and holds up well after almost 50 years. Celebrated author Chuck Palahniuk praised Deathtrap thusly: “Everything looks so gorgeous and simple and approachable, but on the other hand, it’s so incredibly complicated and beautifully assembled.” I concur.

With over 1800 performances, Deathtrap is known as one of Broadway’s greatest successes. It was even adapted into a film starring Michael Caine and Christopher Reeve. Interim Producing Artistic Director Tague concludes: “The consequences of deception are the deliciousness of this play. It’s a wicked, outrageous romp that won’t disappoint.” 

Warning: This production includes strobe lights, gunshots, violence, and profanity. Many audience members gasped and visibly reacted to some of the surprises the plot revealed. 

Performances of Deathtrap run April 11-28 with Opening Night being April 13. Informal talkbacks with the cast take place following the evening performances on Thursday April 13 and Friday April 26. Two “prologues” occur on Saturday April 20 and Sunday April 28. Tickets prices range from $30-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at (302)831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12 to 5 PM. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission between acts.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling (302)831-2204 or emailing cfa-boxoffice@udel.edu.

The preface to the published script describes it as "...something so evil that it infects all who touch it...” but I would say it entertains all who witness it. Call it a Murder Game…

REP Delivers Multilayered Story with Stark Examination of Race in Play "Pass Over"

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.

Justin William Davis (Moses) and Jeffrey Rashad (Kitch) in
The REP's performance of Pass Over by Antoinette Chinonye Nwandu.

Photo by Evan Krape.

The Resident Ensemble Players (REP) deliver
a stark examination of race with the play, Pass Over, by award-winning American playwright Antoinette Chinonye Nwandu. Pass Over is a loose amalgamation of the classic Waiting for Godot (Samuel Beckett) and the Book of Exodus told in a modern urban setting. 

The play spotlights two young black men who pass each day on a city street corner talking trash, killing time, and dreaming of the “Promised Land.” Then, a (white) stranger wanders into their space and disrupts whatever plans they may have…or wish for.

“It’s a spiritual and existential story,” says Hassan El-Amin, REP company member and director of Pass Over. “It’s a story of love, joy, hope, despair, longing, friendship, family, social conditioning. Pass Over is multilayered.”

Nwandu began writing Pass Over after the 2012 killing of 17-year-old Floridian Trayvon Martin and the outcome of the ensuing George Zimmerman murder trial. Nwandu channeled her feelings of anger, sadness, and frustration into this compelling, unfiltered play.

Word of caution: This is a mature show with adult language and scenes of violence, including gun shots. While the bawdy talk sometimes feels gratuitous, there is contextual relevance in the vernacular Moses (Justin William Davis) and Kitch (Jeffrey Rashad) use to describe their seemingly never-ending situation.

Moses and Kitch appear to exist in a state of purgatory, where their days are fruitless and tedious due to their lack of initiative and impulse. Police choppers fly over their corner of Martin Luther King and Freedom Drives while the two pals make top ten lists of what their dream lives would entail.

But an odd white man (Mic Matarrese) in a suit and boater hat interrupts their usual discussions. Mister (or “Master”) disrupts whatever semblance of constancy the two black men had in their patch of the city. Challenges of norms by Mister and verbal provocations by both sides take the action to heightened levels. Matarrese (as Mister) is excellent at pushing Moses’ buttons while Kitch somehow sees positives in what the visitor represents, even though there are cultural chasms and significant distrust between them.

Visiting actors Davis and Rashad do a beautiful job of switching from wistful to defensive to brotherly to defiant. The roles must be fully embraced to spew the sorts of emotions Moses and Kitch feel throughout the show. REP company member Matarrese plays his roles of Mister and Ossifer — a policeman — with a certain menacing poise. He must walk a thin line between the huckleberry lost stranger Mister and the no-nonsense Ossifer.

To reveal dialog and plot direction in this review would be a disservice to the writing and performance of the company. During this play, both the journey and destination are worth deep evaluation. The ending was affecting and sudden. Many remained in their seats absorbing what had just happened.

Nwandu has embraced revising Pass Over’s ending to continue to engage with the current events and audience. “Each time I go back with this play, I ask, ‘What’s happening in the world? Who’s actually going to be in those seats?’”

Acknowledging that having multiple Pass Over scripts offers multiple interpretations, Nwandu encourages theaters to use the version that fits the needs of the specific community. “I now have three versions of this play from this era of American history,” says Nwandu. “If your community needs the angry version, then do that. Present whichever version you need.”

“To be able to put this play on stage in 2024 when it was born in 2012, shows you the power of the story,” says director Hassan El-Amin. “But it also shows you how far we have to go to overcome whatever this sickness is, this disease, we have when it comes to the value of life for African Americans in the United States.”

Pass Over is an emotionally charged and powerfully impactful story that brilliantly blends modern poetry, Biblical verse, and funny modern refrains. Kudos to the creative team at the REP: El-Amin (Director); Stefanie Hansen (Scenic Designer); Jo Fulmer (Costume Designer); Eileen Smitheimer (Lighting Designer); and Ryan P. McGinty (Sound Designer).

Performances of Pass Over run from February 8 through 18 with Opening Night being February 9. Informal talkbacks with the cast take place following the evening performances on Saturday February 10 and Thursday February 15. Tickets prices are only $20 with discounts available for students. Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at (302)831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12 to 5 PM. The show runs approximately 85 minutes.

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

“You are men and you are free to go.” – Kitch

Theater Review: Medea | Resident Ensemble Players

By Steve Lanahan
Theater reviewer Steve Lanahan was born, raised, and lives in north Wilmington. He is a nerd, mead enthusiast, and servant to his cats.

The Resident Ensemble Players (REP) brings the ancient Greek tragedy Medea to the stage at the Roselle Center for the Arts. First produced in 431 B.C.E., this play asks important questions that remain relevant, even in this modern day. What is the role of a woman in society? How far is too far? Are the Fates truly so cruel?

Medea’s (Elizabeth Heflin) nurse (Kathleen Pirkl Tague) opens the performance with the tale of how they came to be in the kingdom of Corinth. She tells of how Jason (Stephen Pelinski) came to Medea’s home of Colchis, how she fell madly in love with him, and her terrible acts on his behalf. They were wed, she bore him two children, and they made a life together in Corinth. Now Jason has betrayed her and intends to marry Princess Creusa, daughter of King Creon (Hassan El-Amin). The nurse does not hold back her anger at Jason or her fear of what Medea will do.

This betrayal leaves Medea heartbroken, ashamed, and furious, and she vows revenge. Her despair and rage are so great that King Creon, fearing for his life as well as his daughter’s, banishes her from his kingdom. She begs him for a single day to prepare for her travels, pointing out that her sons (Nicholas Farrel and James Muzzi), Jason’s sons, would suffer. The king relents and grants her a single day.

Medea only needs one day to plan and take her revenge. Though she struggles with what she feels she must do, Jason helps by coming to chastise her for ruining his plan to give her and their children a better life by marrying this young princess. He feels his betrayal of their marriage is justified by his goals. She names him an oath breaker, and he counters that she got the better end of this deal. After all, he brought her from her barbarian home to civilization, and now she speaks to kings and gods.

In the end, Medea’s revenge takes everything from Jason, even his children. All throughout this chilling tale, the Chorus speaks in despairing tones, taking on the voices of the women of Corinth. They speak in disjointed patterns, sometimes from the sides of the stage, other times on the stage, and later among the crowd. They never hesitate to add context for their reactions nor show horror at what is happening.

Elizabeth Heflin's stunning performance as Medea embodies the range of her suffering. Despair, rage, and grief are plain and raw. Every time Medea steps on to the stage, there is a feeling of dread, because the tragic end is coming. Heflin ensures that none can look away from the wrath of Medea's revenge.

Kathleen Pirkl Tague, as Medea's nurse, sets the tone for the play and leaves dread hanging in her wake. The first to take the stage, her anger at Jason's actions is palpable, eclipsed only by her fear at what Medea might do. In the final lines, she leaves no question that what is to come will be spoken of in horror for all the ages. The performance is powerful, a fitting opening and final note that leaves no choice but to stare this tragedy head on and think about it for days to come.

The simple stage setting focuses attention on Medea’s suffering, King Creon’s fear, and Jason’s unrepentant pride. Theatrical fog hangs about the stage, giving everything a gloomy edge, a feeling intensified by the haunting music. Strobe lights are used in concert with the soundscape to highlight thunder and Medea’s escape.

This tragedy has withstood the test of time, and the REP’s excellent adaption shows that it will continue to endure. The ending is not a happy one, but it is cathartic. The questions this play will raise will continue to haunt us through the ages.

Medea will run Thursday through Saturday at 7:30pm, with an additional show on Sundays at 2pm, until April 30. The run time is approximately 90 minutes with no intermission. The Roselle Center for the Arts is located at 110 Orchard Road, Newark, DE 19716. Visit the REP's website or call the box office at 302.831.2204 for details.

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.

Theatre Review: One Man, Two Guvnors | 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.

If you’re searching for an energetic jolt of live entertainment, look no further than the Delaware Theatre Company (DTC) and its production of the hilarious One Man, Two Guvnors. It’s a romp wrapped in a musical farce. And, if you’re lucky (or unlucky?), you may end up on stage as part of the action.

DTC's production of One Man, Two Guvnors.
Photo by Matt Urban/NüPOINT Marketing

One Man, Two Guvnors is an English adaptation of Servant of Two Masters, a 1743 commedia dell’arte work by Italian Carlo Goldoni. In 2011, English playwright Richard Bean replaced the Italian period setting of the original with 1963 Brighton, added original music by Grant Olding, and created a worldwide hit. The play was the launch vehicle for James Corden in America. In June 2012, Corden won the Tony Award for Best Performance by a Leading Actor in a Play.

In this DTC production, the lead role of Francis Henshall is played skillfully by DJ Gleason. The easily confused Henshall makes his own life complicated by taking on more than his simple mind can handle. Gleason masterfully dances between scripted lines and improvisation while his character tries to please all parties involved in his current predicament. An argument that Henshall has with himself — which somehow turns violent — is a highlight of the show.

In a nutshell, the always-peckish Henshall becomes separately and concurrently employed by two men: gangster Roscoe Crabbe (Karen Peakes) and Stanley Stubbers (Jake Blouch), an upper-class buffoon. Henshall tries to keep his “guvnors” apart to avoid each of them learning that he is also working for someone else. 

Muddling events, Roscoe is really twin sister Rachel Crabbe in disguise. Roscoe had been killed by Rachel’s boyfriend…who is none other than Stanley. Complicating things further is local mobster Charlie the Duck (John Bellomo stood in for Peter DeLaurier on Opening Night) who has arranged an engagement between his daughter Pauline (Renee McFillin) and Roscoe. But Pauline only has eyes for actor Alan (Dave Johnson), the son of her father’s attorney (Bruce Graham). Amongst the chaos, Henshall has his romantic eye on Charlie’s bookkeeper Dolly (Kelly McCaughan). With Henshall in the middle, the chaotic swirl of characters keeps missing each other’s actions and antics. Thankfully, the audience sees it all.

The snappy writing by Bean modernizes the classic farce and upgrades much of the humor for today’s audiences. Between the cleverly terrible metaphors, there is substance to the script, however wacky the plot may be. For instance, the virginal Pauline so often misses the point that she is described as “unsoiled by education.” The second act’s deep discussion of debilitating and deadly diseases has more alliteration than this sentence…and is hysterical.

But, as in any farce, stage timing and physical comedy must shine. They do. Trembling octogenarian waiter Alfie (Brian McCann) steals a riotous lunch scene through physical humor alone. Feminist Dolly is overtly sexual and playful when being seduced. Alan’s passion for acting is so deep that he often prompts the audience to recognize his entrances before speaking or changes his spot mid-line to gain better light. The air of misguided entitlement around Stanley’s every movement is palpable.

Kudos to Colin McIlvaine for his inventive scenic design. His wonderful inside and outside sets allow for the wacky physical comedy to shine while keeping the world grounded in period reality.

Live music by Nero Catalano (Emmett Drueding stood in on Opening Night) and Andrew Nelson added a party atmosphere inside the theater. Scene changes meant live ditties with plot points mixed in with the song lyrics — not to mention guest musicians from the cast. Get ready for an energetic kazoo solo!

The cast regularly breaks the fourth wall with an infectious sense of wink-wink mischief. The audience seems to be intimately involved in the capers on stage, with the actors in on the joke. It’s as if everybody in the theater wants to squeeze one more laugh out of a gag. It’s all very, very funny.

One Man, Two Guvnors is the last show for outgoing Artistic Director Bud Martin. 

The performance schedule of One Man, Two Guvnors is: Wednesdays (2 p.m.), Thursdays (7 p.m.), Fridays (8 p.m.), Saturdays (2 & 8 p.m.), and Sundays (2 p.m.) through February 19. Tickets start at $29 while discounts are available for students, groups, and military members/veterans. The show is roughly two-and-a-half hours long with one 15-minute intermission. 

 There will be pre-show Viewpoints on Wednesdays at 1:15 p.m. 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.

Irving Berlin’s "White Christmas" is a Holiday Spectacular!

by Charles "Ebbie" Alfree, III

Based on the beloved Paramount Pictures film, Irving Berlin’s White Christmas follows two friends and performers, Bob Wallace (Chris Fitting) and Phil Davis (Bryan Jeffrey), from their time serving in World War II in 1944 with General Waverly (Paul McElwee) to appearing on The Ed Sullivan Show in 1954, and eventually ending up at a Vermont inn after meeting Betty and Judy Haynes (Rebecca Schall and Deirdre Treacy), a sister nightclub act.

Complicated romances ensue, and a slew of Vermonters and show people from New York City are introduced. A series of comical and heartwarming situations lead to the grand, happy finale that leaves the audience ready to enjoy the holiday season!

The show is full of Mr. Berlin’s most iconic songs, sumptuously performed by the stellar cast under the fine music direction of Julia Kershetsky and stirring choreography by Jody Anderson. With numbers including Happy Holidays, Sisters, Snow, and of course, the title song, it’s hard not to smile, tap your toes, and dare I say — sing along! The show includes an exciting, seven-minute tap number; I Love a Piano, choreographed by Scott Jacobs and led by Ms. Treacy that brings down the house!

Director Rebecca May Flowers' pacing is perfect for the delightful show. She’s assembled a great group of artists both on and behind the stage. The four leads are fantastic! Mr. Fitting and Mr. Jeffery are charming and they expertly play off of each other.

Bob is the more serious, business-minded of the two, while Phil is a fun-loving go-with-the-flow kind of person. Both men bring much enjoyment to their songs, especially when performing together during Happy Holiday/Let Yourself Go.

Ms. Schall and Ms. Treacy are superb. Both are fabulous as the sisters who steal the men’s hearts. Ms. Schall’s rendition of Love You Didn’t do Right by Me is heartbreakingly beautiful.

Ms. Treacy is exceptional as the feisty Judy. Her dancing is exquisite. Once she steps on top of the piano and continues tapping during the I Love a Piano number, she becomes a star!

The cast is rounded out by a great ensemble, including the wonderful Mr. McElwee as the general who now owns the inn and hysterical Trudy Graboyes as Martha Watson, the inn’s front desk clerk and one time Broadway performer.

With the work of Lighting Designer, Matthew J. Kator; Scenic Designer/Scenic Artist, Jeff Reim; and Props/Set Designer, Amanda Gillies, the stage becomes an enchanting winter wonderland with a Christmas tree and snow! Since The Candlelight Theatre is housed in the former Harvey Barn, the whole space seems to be a part of the show!

The cast is beautifully dressed by costumer Timothy Lamont Cannon. Ms. Schall’s and Ms. Treacy’s final gowns are breathtaking! Wig, Hair, and Makeup Stylist, Clayton Stacey brilliantly complements Mr. Cannon's costumes. His wigs are gorgeous! Both men perfectly capture the 1950s time period with their work.

Get into the holiday spirit by seeing White Christmas in an actual barn at The Candlelight Theatre! The show runs through December 23. Visit www.candlelighttheatredelaware.org for information and tickets.