City Theater Company Takes You in Search of "The Real" with "Passing Strange"

Passing Strange at City Theater Company runs through December 21.
Photos by Joe del Tufo/Moonloop Photography.

By Holly Quinn
Holly is a longtime reviewer of Delaware theater; in addition to Delaware Arts Info, she has contributed to The News Journal and Stage Magazine. She is the lead reporter for Technical.ly Delaware.

Passing Strange, the layered rock musical by Stew, is a Christmas show. At least tangentially. I'd never looked at it that way, but as it's City Theater Company's December production, I wondered if they were simply being alternative in a season when a lot of arts lovers need a break from the Christmas Carols and Nutcrackers.

After seeing it, it occurred to me how well it fits during this turbulent holiday season. It tackles race and revolution, but it all comes down to love.

Even viewed as a (tangentially) Christmas show, Passing Strange is about as far from traditional as possible. It's the story of a young African American man trying to figure himself out in the suburbs of Los Angeles in the 1970s, and, later, in Europe in the 1980s. It has an all-Black cast that includes a small ensemble that plays multiple characters with wildly different personalities, from members of the protagonist’s childhood Baptist church to members of his teenage punk rock band to his "found families" in Amsterdam and West Berlin.

Youth often found himself — quite by his own choices — part of white spaces, but the ensemble doesn't shift to white actors for those roles, a detail of the show established before the show hit off-Broadway. As such, it’s a story about Black experience that never centers on whiteness, even when Youth exists as the only Black person in a space.

Dominic Santos, a respected veteran of Delaware theater at this point, plays Youth from the age of 14 to his early 20s, and does a terrific job of developing the character on stage as he tries to find his identity. Youth feels out of place in Black spaces — a crush tells him he needs to be “more Black” (but not so much that he can’t follow a path to suburban comfort), while his choir leader shows him the misery of not being your real self.

Eventually Youth does act “more Black” — for Berlin radicals who fetishize oppression and lavish him with the attention he craves.

Meredith Bell, former lead singer for Palaceburn, hits the right emotional notes as the vivacious and long-suffering Mother; Chris Banker, last seen at CTC in Pub Plays, is almost simply part of the soundtrack for much of the show. As the tension in the story builds, so does the Narrator’s place in it.

This show requires an extremely tight ensemble, and this production has it in Jared Chichester, Dana Hoffman, Kyleen Shaw and Philip Anthony Wilson. A mix of newcomers to the Wilmington stage and familiar faces (Shaw was last seen at CTC in Lizzie), the casting couldn’t be more on point. Each plays three to four distinct roles, and each shine in all of them. Part of the fun — and this show is definitely fun, even while dealing with some heavy emotional subject matter — is waiting to see how the ensemble actors will change from arc to arc as Youth goes on his journey.

So, how is this story about a young, sometimes misguided man navigating a world he struggles to fit into a Christmas show? I won’t give too much away, but a pivotal moment in the story that centering on family and the holidays is the catalyst to the emotional climax about love, loss and forgiveness. But don’t let that deter you if you’re avoiding traditional holiday shows. This is one not to miss.

See city-theater.org.

At the '80s Altar with "The Wedding Singer"

By Mike Logothetis

Theater is designed to entertain…And Wilmington Drama League’s production of The Wedding Singer does just that. You’ll definitely leave your seat satisfied and with a smile on your face.

The Wedding Singer is a 2006 musical based on the 1998 Adam Sandler film with book by Tim Herlihy and music by Matthew Sklar. The plot is fairly simple and straightforward, but the actors make this production charming and fun. Tight direction by Lauren Hope Gates keeps the action and humor flowing.

Set in 1985, the story is focused on titular wedding singer Robbie Hart (Anthony Vitalo), who provides the soundtrack to receptions in the small town of Ridgefield, New Jersey.  Robbie and his band open the show with the rollicking It’s Your Wedding Day, where his charisma shines.  Robbie proudly tells the crowd of his upcoming nuptials to Linda (Laura Velarides) the next day.  New waitress Julia Sullivan (Emily Elborn) is charmed by Robbie’s kindness, but is pining for her own eventual wedding to Wall Street banker Glen Guglia (Nick Castillo).

Robbie ends up being left at the altar with only a note from Linda claiming that she wants to be the wife of a rock star and not just a wedding singer.  Meanwhile, an anxious Julia goes out to dinner with Glen, hoping that he will ask for her hand in marriage, which he does (“Pop!”).

Robbie falls into a deep depression, but is emotionally supported by his bandmates Sammy (Joseph Cartagena) and George (Patrick Yarrington).  Even Robbie’s roommate grandmother (Suzette Burgess) steps in to help right the sinking ship.  But it’s not enough, as an angry Robbie takes out his situation on an unsuspecting wedding party (Casualty of Love).

With a new aversion to weddings, the band shifts its focus to bar mitzvahs (Today You Are a Man).  After one bar mitzvah, Julia convinces Robbie to help her plan her wedding because her fiancé Glen is busy with his job.  Robbie is a natural helping Julia customize her wedding day – and a true connection between the two is formed.

Julia’s cousin and best friend Holly (Meg Cranney) convinces Julia that she needs to practice her wedding kiss.  Robbie and Julia awkwardly and lovingly kiss, only to be interrupted by the reality that Julia is marrying Glen.  After seeing the passion in Robbie’s kiss, Holly decides that she should go out with him.  The four of them go on a double date in New York City where Robbie learns that Glen is a serial cheater.  During the date, Robbie also realizes that he is in love with Julia, but can offer her very little in comparison to Glen’s material success.

As expected, we never see much chemistry between the kindhearted Julia and bombastic Glen.  Unfortunately, the script doesn’t allow us to see much attraction development between Julia and Robbie until the aforementioned kiss and in Act 2 when the lovers sing the duet If I Told You. Oddly, the star couple sing most of their traditional duets (physically) apart until the beautiful Grow Old With You late in the show.  But the audience does root for Robbie and Julia to be together in the end.

All the songs when Robbie is “in character” as a wedding singer are top notch.  Vitalo has a powerful voice plus his natural charm makes you understand how his character is so beloved as a small-time entertainer.  Elborn provides girl-next-door sweetness as Julia and adapts her lovely voice to both quiet or dynamic moments.

Cartagena’s Sammy is a funny portrayal of a 1980s wanna-be lothario.  The men’s song Single was a show highlight.  Yarrington is always comedic relief as George.  His Hebrew “prayer” is a riot!  Velarides plays Linda in an over-the-top way which works every time she’s on stage.  Her performance of Let Me Come Home is a rowdy delight.

All these celebrations and outings require guests and the marvelous ensemble cast more than just fill the seats.  Choreographer Dominic Santos saturates the stage with dancers who energize the story and the action.  Kudos to the ensemble performers for their enthusiasm and the times they take on bit roles.

Back to the action… Robbie tries to change himself for Julia by asking Glen for a job at his firm.  Sammy tries to woo Holly (Right in Front of Your Eyes), who is starting to see past his flaws (and mullet).  Linda is starting to have second thoughts about ending her relationship with Robbie.  Most importantly, Julia realizes she’s in love with Robbie.  But she and Glen have hopped a plane to Las Vegas to elope.

Can Robbie get to Sin City and profess his love before Julia gets married?  I think you know the answer, but the conclusion is absolutely worth seeing.  It’s as good as “a Sgt. Slaughter body slam” and includes all sorts of 80’s celebrity cameos.

This production of The Wedding Singer at Wilmington Drama League runs through May 6 at its Lea Boulevard location in Wilmington.  Tickets cost $12-20 for both evening and matinee shows.  Friday and Saturday performances are at 8 p.m. and the Sunday matinee is at 2 p.m.

It’s a show you can “enjoy down to your pancreas.”

See www.wilmingtondramaleague.org

Finally, Some American Idiots with Something to Say (or Sing)

By Guest Blogger, Dan Sanchez

Dan holds a BA in Theatre Production from the University of Delaware and has studied theatre around the world. Dan has worked extensively both onstage and behind the scenes across the Mid-Atlantic Region with theaters such as Three Little Bakers, The Candlelight Theatre, the Philadelphia Theatre Project, The Milburn Stone Theatre and Phoenix Festival Theater. 

“If you don’t like sex, drugs, rock-and-roll, and cursing, you’re in the wrong show,” said Wilmington Drama League's Stage/Production Manager, Kathy Buterbaugh during her Saturday, June 10, curtain speech. “This is a 90-minute show without an intermission; so I hope you have three beers because once this thing starts, it just goes!”

And, boy, does it! Based on Green Day’s 2004 album American Idiot, Director Chris Turner brings the show to life on the Wilmington Drama League (WDL) stage with a cacophony of song and dance in a story of love, loss and redemption.

Originally conceived as a rock-opera by Green Day frontman Billy Joe Armstrong, the band had always intended for this music be performed on stage a la The Who’s Tommy, and used their 2004 album release as a sort of demo. Flash forward to September 2009: The show is running at the Berkeley Repertory Theatre, California. It was then transferred to the St. James Theatre on Broadway where the musical officially opened on April 20, 2010. The show closed on April 24, 2011 after 422 performances.

The musical won two 2010 Tony Awards for Best Scenic Design of a Musical and Best Lighting Design of a Musical. It was also nominated for Best Musical that same year but lost out to Memphis. In 2011, the Broadway Cast Recording of American Idiot won a Grammy Award for Best Musical Show Album.

The basic storyline of American Idiot is flimsy but familiar: Three young suburbanite kids get bored/feel trapped with their mundane lives – as well as mommy and daddy’s rules – and decide to break free.

Subsequently, one (Will, played by William Bryant) stays home after finding out his girlfriend, Heather, is expecting. Another (Tunny, played by Ben Long) joins the military and is shipped off to war. And, in a role originated by and named for Wilmington native Johnny Gallagher, Jr. (Original Cast of Spring Awakening. TV & Film: The Newsroom, 10 Cloverfield Lane) is Brandon Zebley as Johnny, who yearns to break free and live a less than humdrum life, ultimately turns to drugs.

Rounding out the cast of Wilmington Drama League production is an energetic bunch of local talent: Alexander Cook, Gina Dzielak, Kendra Eckbold, Marion Jackson (Heather), Daulton Mahley, Darby McLaughlin (Whatshername), Ty Pride (Extraordinary Girl), Felipe Rocha, Chrissy Stief and Shane Wilson.

Tony Delnegro’s interactive set features multiple levels, a plethora of flatscreen TVs, graffiti, and gives a sense of an urban everywhere and a dystopian nowhere, providing an ample playground for the shows many locales. Combined with smart lighting design by Aaron Cook and Brian Kavanaugh, this production also employs two projectors focused on the walls of the house to immerse the audience in a world of ever-changing imagery – by Banksy, a city skyline and more – to set the mood perfectly.

The choreography by WDL perennial Dominic Santos manipulates tribal-like movements and punk-rock head-banging to evoke the angst and feelings of disenfranchised young adults.

Standout performances among the talented cast come from the ladies opposite of our main character trio; Marion Jackson as the pregnant and disappointed Heather; Darby McLaughlin as the sultry vixen Whatshername; and Ty Pride as the Extraordinary Girl. Each of these young ladies have angelic voices that effortlessly soar through each song they belt.

The real highlight of this show, however, is the band who rocks out on this non-stop wave of music with the energy and vigor of an actual Green Day concert. But, of particular note, is Music Director/Band Leader, Caty Butler. This young talent takes the stage for the first time in American Idiot as the enticing smack dealer St. Jimmy, a role traditionally played by a man and one she only stepped into a week before opening. Butler outright owns this role and commands the stage with her vocal prowess. I look forward to watching her continue grow as a musician and wait with baited breath to see her onstage as an actor again.

Though I did over hear an older patron ask, “What the hell did I just watch?” after the show, I would say that’s a good indication that this ain’t your NaNa’s Broadway and highly recommend checking out the charismatic production of this high-concept rock-opera before it’s gone.

American Idiot at the Wilmington Drama League runs through June 18. Tickets are available via the Drama League website www.WilmingtonDramaLeague.org or via phone at 302.764.1172.

Welcome to a Perfectly Marvelous Production at Wilmington Drama League

By Guest Blogger, Mike Logothetis
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.

Wilmington Drama League's cast of Cabaret.
Photo courtesy of Wilmington Drama League.

Willkommen, bienvenue and welcome to The Wilmington Drama League’s production of the 1967 Tony Award-winning Cabaret. It’s Berlin, soon before World War II, and people should forget their woes at the exciting Kit Kat Klub. But trouble abounds as creativity, possibility and budding romance is swallowed by fear, hate and misfortune. The diverse cast – directed by Dominic Santos with music direction by Caty Butler – takes a modern view of the themes in this classic musical.

If you're unfamiliar with the content and plot, the mature subject matter may not be suitable for younger audiences. Sexuality, abortion, drug use and racism are woven throughout the multiple storylines which result in adult language and situations. But please don’t let this warning stop you from coming to the theater and enjoying an excellent production…just get a babysitter!

Cara Clase as Sally Bowles.

Cabaret kicks off with the Kit Kat Klub’s Emcee welcoming us with the charming Willkomen. Brian Hylton introduces us not only to the club, but to his character and its troupe of risqué entertainers. The company (both male and female dancers) is energetic, attractive and synchronized. The opening number is wonderfully choreographed by Santos, showcasing all of the best attributes – vocal, physical, sensual, and comedic – Pam Atk, Cheynne Banks, Timmy Bradford, William Brock, Heather Wadler, Taylor Walker, Eryka Waller, Austin Whittington, Sedric Willis and Morgan Wright who also appear throughout the show in other roles.

Aspiring young American author, Cliff Bradshaw (Jason Tokarski), arrives to Berlin by train and befriends German passenger Ernst Ludwig (Timothy Sheridan). Ludwig helps him find a room with Fräulein Schneider (Kyleen Shaw), who laments that she has learned to take whatever life offers in her musing, So What?.  Ernst has also sold Cliff on the allures of the Kit Kat Klub. Entranced and flirting with British singer Sally Bowles (Cara Clase) – who performs the racy, flirtatious number Don’t Tell Mama with the Kit Kat Girls – Cliff offers to walk her home. Sally warns him that her boyfriend Max (Sedric Willis), the club’s owner, is jealous so Cliff is surprised when Sally arrives at his room the next day looking for a place to stay. At first he resists, but she convinces him (and Fräulein Schneider) to take her in during the song, Perfectly Marvelous. 

Kyleen Shaw as Fräulein Schneider & Alfred Lance as Herr Schultz.

Meanwhile, an elderly Jewish fruit shop owner Herr Schultz (Alfred Lance) has given Fräulein Schneider a pineapple as a gift, singing It Couldn’t Please Me More. It’s a touching moment at the boarding house that segues into a darker one in the Kit Kat Klub, as a young waiter starts to sing a patriotic anthem to the Fatherland that slowly descends into a Nazi-inspired marching song before arriving at the strident Tomorrow Belongs to Me.

Months later, Cliff and Sally are together and in love. Sally sings of hope that this time her love affair is going to last (Maybe This Time). Sally reveals to Cliff that she is pregnant, but reluctantly decides to get an abortion. Cliff tries to convince her to keep the baby...but he'll need money, since efforts to write his novel have stalled. Ernst offers Cliff a job picking up a suitcase in Paris and delivering it to his “client” in Berlin. 

The Emcee comments on this dubious arrangement between Ersnt and Cliff in the song Money.  This is neither the first nor the last time the ubiquitous Emcee involves himself in the plotlines of other characters and stories in this show. Hylton provides a strong character who moves the plot along with commentary and humor, but reminds us of the seedy elements. His efforts are wildly physical and emotional with impeccable timing, grace and strength. Hopefully, his first WDL role will not be his last!

Meanwhile, Fräulein Schneider has caught one of her boarders, Fräulein Kost (Pam Atk), bringing sailors into her room. Schneider forbids her from doing it again, but Kost threatens to leave and mentions that she has seen Schneider with Schultz in her room. Schultz comes to her reputation's rescue, announcing he and Schneider are to be married – and notes that his proposal was serious in his song, Married.

At Schultz and Schneider’s engagement party, Cliff arrives and delivers the suitcase to Ernst. A tipsy Schultz lets slip to Kost that he is Jewish, who then relays the word to Ernst, who ominously warns Fräulein Schneider that marrying a Jew may not be wise.

The Entr’acte showcases Music Director Butler’s abilities and arrangement skills. The 10-piece ensemble sits on stage and provides the perfect audial and visual components for this production. From the swinging club to the heartfelt songs, the musicians know how to accompany the singer or lead the procession. 

Back at the Kit Kat Klub, our Emcee performs a song-and-dance routine with a gorilla in a dress, singing that their love has been met with universal disapproval (If You Could See Her). Encouraging the audience to be more open-minded, the scene is a powerful statement to prejudice and foreshadows the darkness in the remainder of the show.
Fearing the unknown in Germany, Cliff pushes Sally to return with him to America – an idea to which she protests. After they argue, Cliff is offered another "job" by Ernst, ending in Cliff being beaten up by Nazi goons. While onstage, Sally enters to sing “Life is a cabaret...” and cements her decision to live in carefree ignorance and freedom.

This is where the effervescent Clase truly shines. To this point in the show, all of her vocal performances were incredibly strong, but her passionate rendition of Cabaret drew the audience into her character’s emotional state. We hung on every note and the haunting pauses between them, empathizing with Sally’s plight. Case was a joy to watch as she took Sally from a blithe nightclub singer to a hardened woman who won’t let the world keep her down. Like Hylton, let’s hope that Clase follows up her WDL debut with an encore.

The next morning, as Cliff is packing to escape Berlin, is visited by Sally, who bears her soul but refuses to leave with him. Cliff departs for Paris, heartbroken and alone (Finale).

Don’t expect a (cathartic) curtain call for this outstanding group of performers. Santos has opted to allow the depressed emotional mood to linger. We only see the cast walk offstage in a dispassionate manner. But the cast, crew and musicians are worthy of hearty applause for their excellent work.

This production of Cabaret at Wilmington Drama League runs Fridays, Saturdays and Sundays through February 5 at its venue on Lea Boulevard in Wilmington. Tickets are $12-20 for both evening (8:00pm) and matinee (2:00pm) performances.

See www.wilmingtondramaleague.org. 

WDL's "Memphis" Hits a Powerful Note

By Guest Blogger, Scott Frelick
Scott is a native of Wilmington and has been involved with Wilmington Drama League, The Brandywiners and OperaDelaware. Currently, he is a member of of City Theater Company's Board of Directors. He is also an interior designer, visual artist and Realtor.

Tiffany Dawn Christopher as Felicia Farrell.
Photo courtesy of Kristin Romero Photography.

Memphis the Musical was another outstanding production from The Wilmington Drama League, showcasing the organization's huge step forward in professionalism.

This is a poignant story about the birth of Rock ‘n’ Roll and the breaking of racial barriers to bring a new form of music to the masses.  The theme, though historical, also seemed to touch today's issues of race and intolerance, and marriage equality.

Today, few give a second thought to interracial couples; in the time period of this show (the 1950s) however, Huey Calhoun and Felicia Farrell were almost killed because of their love. The people who were moved by the music just saw love; but in the end, society's prejudices kept this couple apart.  This show proves that music (much like love) is a universal force that knows no boundaries and can connect people by the movement of their souls.  The wonderful messages that resonate in this story are breaking barriers and pursuing dreams no matter the odds.

This show was thoughtfully directed by Dominic Santos, who brought the audience to laughter, tears and joyful exuberance through music. I challenge you not to dance in your seat. The soulful voice of Anthony Vitalo as Huey Calhoun created the breakdown of vocal stereotypes needed to connect these two groups of people. 

Tommy Fisher-Klein as Gator.
Photo courtesy of Kristin Romero Photography.

However, this show belongs to Tiffany Dawn Christopher as Felicia Farrell.  She lit up and owned the stage just like the rising star she portrayed.  Memphis was beautifully supported with the great talents of Daniel Urdaneta, Darryl Thompson, Kathy Buterbaugh -- and an attention-grabbing, standout performance by Tommy Fisher-Klein as Gator. This talented ensemble of singers, dancers, musicians, costumers, set designers and crew helped to make this a truly memorable show.

My only disappointment was that the sound system experienced issues that were annoying and interfered with the show. It was truly a shame to have such glaring technical problems affect the performances of these talented actors and singers.

As a Wilmingtonian who performed on that stage many years ago, I am proud of this production and all who were involved. Memphis the Musical is a must-see for many reasons -- it was certainly “Music of My Soul." The show runs for one more weekend, through September 27. 

See www.WilmingtonDramaLeague.org