CTC Paints the Town with Glitz in "Chicago"

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) paints the town with a lively staging of the award-winning musical Chicago. With a book by Fred Ebb and Bob Fosse, music by John Kander, and lyrics by Ebb, Chicago first took the world by storm in 1975 and has endured ever since. Its iterations include an Academy Award–winning film and the current NYC production, which is the longest-running American musical in Broadway history. 

My recommendation is to do “A Little Bit of Good” and head to the Wilmington Riverfront to experience “All That Jazz.”

The cozy Black Box theater at The Delaware Contemporary has been transformed into a social club with a swingin’ band on one side and a Prohibition-era bar on the other. The audience can choose to sit in a standard seat, a chair with a mini cocktail table, or a high top in the back. Performers weave their ways up the center aisle or around the sides in this immersive setting. Sometimes the action isn’t right in front of you.

Dylan Geringer stars as Roxie Hart, the bored housewife-turned-murderess with wannabe chanteuse dreams. CTC Artistic Director Kerry Kristine McElrone stars as Velma Kelly, seasoned vaudeville star and fellow accused killer. The two play well off each other in dialog and song. But it seems like everyone in the cast has those sorts of strong interpersonal stage relationships. It’s an excellent ensemble of notable of CTC fan-favorites including Tonya Baynes, Daryan Borys, Jolene Cuisine, Tommy Fisher-Klein, Autumn Jewel Hudson, Mary Catherine Kelley, Paul McElwee, and Dionne Williford. Making their CTC debuts alongside these veterans are Jonathan Frazier and CTC Board Member Scott Frelick.

McElwee was superb in his smarminess, ruthlessness, and conviction as celebrity lawyer Billy Flynn. His vocals and movements were supremely confident in his songs “All I Care About” and “Razzle Dazzle.” His puppeteering of Roxie during “We Both Reached for the Gun” was a highlight for both McElwee and Geringer.

In a classic show with a stellar score, it’s tough to pick favorites…but I did...I had to. Along with the previously mentioned numbers, “When You’re Good to Mama” (Baynes), “Roxie” (Geringer), “I Can’t Do It Alone” (McElrone), and “Mister Cellophane” (Borys) were standouts. And how Jolene Cuisine belted out “A Little Bit of Good” – while commanding the world to take notice – was amazing.

The cast of CTC's Chicago. Photo by Jim Coarse/Moonloop Photography.

McElrone chose Chicago, in part, as a response to the current times:
“We are a century removed from the era of the play, but in our Roaring Twenties timeline, the power of ‘celebrity’ under the ever-changing ‘rule of law’ are remarkably similar. Times are hard and chaotic,
everyone has an angle, and some
of us are cashing in where they can,” said McElrone. “The media circus
that surrounds every new scandal consumes the public — and ‘nowadays’ we too move on from yesterday’s news in an instant when some fresh outrage shows up. Beneath all the glitz and fun of that other ‘20s is a laser-focused commentary on society’s response to turbulent times.”

Dawn Morningstar’s choreography filled the performance with movements that provided levity as well as menace. Dance Captain Autumn Jewel Hogan didn’t have much space to work with, but created some ebullient dances that complemented the music well. 

Kudos to Joe Trainor’s orchestra of Virginia Cheung, Josh Dowiak, Christopher Ertelt, Kanako Neale, Gary Oberparleiter, Jim Olson, Nate Peterson, and Bryan Tuk. The backing music is critical to underscore moods, support song vocals, and to entertain entre’ act. The musicians performed beautifully; knew when to be subtle; plus ebbed and flowed skillfully with the storyline.

Founded in 1993, City Theater Company performs contemporary comedies, new works, and classic musicals to critical acclaim inside The Delaware Contemporary. 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.

Chicago will run through December 20. Curtain is at 8 o’clock for all performances save for the December 14 Sunday matinee (2 PM). The run time is approximately 2 hours and 20 minutes with a 15-minute intermission. City Theater Company’s home is at The Delaware Contemporary, located at 200 South Madison street, Wilmington, Delaware 19801. 

General admission tickets ($45) can be purchased at the box office or online at www.city-theater.org. Special ticket pricing is available for military personnel ($35) and students ($25). Do check the website for availability, because show tickets are moving faster than Roxie's rising star. 

All shows feature admission to the adjacent museum galleries, and a cash bar (with a signature drink) is available. The Delaware Contemporary offers free parking and is a short walk from the Joseph R. Biden Amtrak train station. Please call the box office at 302.220.8285 or email info@city-theater.org for details.

Note: This show is rated PG-13 due to adult themes, (simulated) murder, plus sexual and suggestive content. 

“Razzle dazzle 'em / Give 'em an act with lots of flash in it / And the reaction will be passionate” — Razzle Dazzle

Kick Up Your Heels with Wilmington Drama League's Snazzy "Kinky Boots"

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 cast of WDL's Kinky Boots. Photography by Rich Lee. 

The Wilmington Drama League is staging an enthusiastic rendition of the much-beloved show Kinky Boots at its refurbished theater on Lea Boulevard. If the standing ovation the players received on Opening Night is any indication, this production is one the reader should make plans to experience!

Kinky Boots is an award-winning musical with music and lyrics by Cyndi Lauper and book by Harvey Fierstein. Based on the 2005 British film of the same name – written by Geoff Deane and Tim Firth (and mostly inspiredby true events) – the musical tells the incredible story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they aren’t so different plus are stronger together than apart.

Disparate Charlie (Stephen Piergrossi) and Lola (Aubrey Murphy) connect over two common bonds – shoes and people. Charlie is as loyal to his factory workers as Lola is to her “Angels” – drag performers like her who form her family. They are also true to themselves – who they are and what they aspire to be. 

Piergrossi and Murphy leapt off the stage with powerful voices and sincere emotions that kept the audience rapt. Piergrossi excelled with his touching solo “The Soul of a Man.” It seemed like every Lola song morphed into an epic disco number with bright lights, a chorus of dancers, and a party atmosphere. Murphy held the audience in a trance with her subtle yet strong movements and pointed dialog. You really can’t take your eyes off her. “Celebrate yourself triumphantly,” she says…and does.

Kudos to director/choreographer Patrick Murray for filling every inch of the multi-level modular stage (by Aaron Cook) with dancers, props, and overall action. I especially enjoyed the slapping fans, elevated conveyor belt catwalking, and the visuals during the boxing match. Timothy Cannon and Laurene Eckbold must be cited for the costuming of everyone in the show, but especially Lola and her Angels. The sassy Angels were played by Cannon, Tommy Fisher-Klein, Keian Hagstrom, Todd Hartsock, Galen Keliikuli, and Ricky López.

The crux of any show is the interaction between characters on stage and with the audience. There’s no room for “stupid hubris” (Charlie) and the actors bear all for us to appreciate. At the same time, the core for any musical is the performance of the songs. While many of the songs feel the same, the high energy and quality of the vocals elevate the musical numbers into crowd-pleasers. Simply put, this production of Kinky Boots has you rooting for all sides to win from the get-go. The coda “Raise You Up/Just Be” got the crowd up and moving in their seats for a rollicking finale.

I’d be remiss if I didn’t single out solid performances by Meghan Arters (Nicola) and Catherine Callahan (Lauren) as Charlie’s romantic interests. Both portray characters with kind souls who have no real malice toward people when things aren’t quite going their way. They’re both strong actresses and singers whose postures and authenticities shone.

Performances of Kinky Boots run from March 8 through 17 on Friday and Saturday nights (8 pm) plus two Sunday matinees (2 pm). Tickets prices are $25 with senior/student tickets $20 and children (12 or younger) $15. Group ticket rates are also available through the box office. Tickets can be purchased online at wilmingtondramaleague.org; by contacting the box office at 302.764.1172; or visiting in person at 10 Lea Boulevard. The show runs approximately 2.5 hours with one intermission.

The Wilmington Drama League seats 260 patrons, including six wheelchair bays. The newly revamped theater is equipped with an ADA compliant entrance ramp and bathrooms. “Flex Tickets” are also an option for those who plan to watch several WDL shows, but maybe not all of them. Inquire at the box office. 

“The most beautiful thing in the world is a [red!] shoe.” – Lola

CTC's "HAIR" a High-Energy Show with a Still Resonant Message

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.
If you've been to a City Theater Company production lately, you know there are certain things you can expect

Photo by Joe del Tufo

• Innovative and intimate staging
• Great music
• A high-energy cast that delivers the goods

This ensemble cast captures the spirit of rebellion and freedom from the 1960s and re-creates the confusion, conflict, and strange sense of hopefulness from the era.One word of warning for those unfamiliar with the musical -- there's not much of a plot to follow. A good portion of the first act serves as an introduction to our central characters, Claude (Brendan Sheehan), Berger (Jeff Hunsinger) and Woof (Adam Montgomery) -- followed by declarations by song on everything from the Vietnam War to drug use to open sexuality.

While there are a few winks and nods to current cultural conflicts, this production of Hair remains firmly planted in the Age of Aquarius.

The timeless elements remain as poignant as ever -- the conflict between a young adult and his parents, the search for an identity and a group of friends, and the difficulty of intimacy in the midst of open relationships.

Director Michael Gray and choreographers Tommy Fisher-Klein & Dawn Morningstar turned the entire room into the stage, allowing the actors to interact with the audience at a new level.

Of course, it's the 40+ songs that drive Hair, and music director Joe Trainor takes advantage of this position, exploring every facet of the musical styles featured from doo-wop to country to rock to the experimental psychedelic sounds of the 60s.

Back to the ensemble: Through most of the production, the audience sees, hears and experiences all 13 actors/singers/dancers as their lines, voices and bodies flow, merge and intertwine. The voices are both powerful and refined, expressing the boldness of youth with just the right amount of underlying uncertainty.

If you lived through the 60s and want to take a trip down memory lane, this production will have you smiling fondly at the passion of youth. If you're younger, you might be able to see how this musical paved the way for musicals like Rent and Green Day's American Idiot.

Hair is playing April 1-9 at the Black Box at 4 South Poplar Street in Wilmington. For tickets, go to city-theater.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 

Exploring the Excitement and Angst of Turning 13

13, The Musical by Jason Robert Brown (music and lyrics) and Dan Elish and Robert Horn (book) is the story of a 12-year-old New York City boy (Evan) who's preparing for his Bar Mitzvah while hisparents are preparing for divorce. Due to the circumstances, Evan and his mother are forced to move to an Indiana suburb. While adjusting to life in a predominately Christian 'burb, he's also trying to make new friends who will attend his Bar Mitzvah. The problem is -- will he settle for only inviting his unpopular new friends or try to impress the cool kids to attend? 

13, The Musical has a simple story that's been told before, but it's pure FUN with an infectious Top 40 style score. The all-teen cast provides a great opportunity for parents to introduce theater to 'tweens and young teens alike. But, don't worry parents — there are plenty of gags and jokes for both the young and the young at heart to enjoy! 

Director Nick D'Argenio has assembled an extremely talented group of teens — Amanda DeFilippis (Kendra), Branden Fletcher (Richie), Karalyn Joseph (Patrice), Katie Loftus (Cassie), Kyra McKillip (Charlotte), Wyatt McManus (Eddie), Lyndie Moe (Lucy), Nolan Moss (Simon), Gianni Palmarini (Evan), Felipe Rocha (Brett), Will Rotsch (Archie), Evelyn Schiavone (Molly), and Jacob Tracey (Malcolm) — and gives all of them the opportunity to take center stage and shine. 

Palmarini is an exceptional performer who perfectly conveys Evan's conflicted feelings of wanting to fit in with the in-crowd, but yet wanting to remain loyal to his underdog friends (Patrice and Archie). Palmarini is a true triple threat, commanding the stage but never upstaging his fellow cast members. Joseph as Evan's outcast friend Patrice captures the strengths and insecurities of the character. She's working on having a friendship with Evan, but doesn't let down her guard or sacrifice her own convictions in the process. Rotsch as the terminally ill, yet confident underdog, Archie is hysterical, especially during the number "Terminal Illness" when he comically uses his illness to convince Evan's mother to purchase tickets for an R-rated horror movie for the protagonist's popular friends. 

Although the cast has a scaled-down set for its performance, the boisterous choreography by Tommy Fisher-Klein keeps the show flowing. Mr. Fisher-Klein merges current dance steps with flips and other acrobatic moves that delight the audience. With musical direction by Anthony Vitalo, 13, The Musical's infectious score will have you smiling and wishing you were 13 again! 

13, The Musical runs through February 2, at the Wilmington Drama League. Visit Wilmingtondramaleague.org or call 302.764.1172 for additional information and tickets. 

Take a Trip to Avenue Q — "Q" Stands for Quirky & Quite Funny

We were drawn to the Wilmington Drama League by the intrigue of what a pal described as “…an adult version of Sesame Street.” How could we pass that up?

Avenue Q: The Musical — book by Jeff Whitty and music and lyrics by Robert Lopez and Jeff Marx — opened off-Broadway in March 2003 and subsequently won Tony® Awards for Best Musical, Best Score and Best Book.  In short, it’s the story of a dysfunctional mix of people and puppets who whine, curse, say racist things, drink, surf the ‘Net for porn, and have puppet sex.  But it’s also a tale of friendship, community, relationships and the love that holds it all together.  Welcome to Avenue Q, a place where humans and puppets live in hilarious harmony and Gary Coleman — yes, Gary Coleman — is the building Super.

As the show begins, we meet Princeton (played splendidly by Jason Tokarski, who gives the puppet a boyish, naïve charm), a recent college grad who moves to the big city. Since he’s an English major without a job, he can’t afford to live anywhere but the apartments on Avenue Q.  Here, meets his new “family” — an entertaining array of human and puppet neighbors including Brian (Shawn Kline) and Christmas Eve, his Asian-American therapist fiancée (Suzanne J. Stein); roommates Rod and Nicky (Ernie-and-Bert types played by Jim Burns and Anthony Vitalo, respectively); Trekkie Monster (Nick D’Argenio) and his friend-maybe-more Kate Monster (no relation to Trekkie; not all monsters are related…what are you, racist?). Their lives' complexities ensue, as they all try to find their ‘purposes’ in life.

Kate Monster (Regina Dzielak) is a gentle, compassionate creature that longs for career success, to fulfill her dreams and to find love. Dzielak plays her with humor and vulnerability, her voice sweet and lovely as she sings about Princeton’s “Mix Tape” and the place between friendship and love in “There’s a Fine, Fine Line.”

There were highlights aplenty for me, including Burns’ role as Rod, the impossibly-uptight-possibly-gay-Republican roomie to Vitalo’s Nicky. Burns’ performance — especially in “If You Were Gay” and “My Girlfriend, Who Lives in Canada” — was ROFL funny.  Also delivering side-splitting laughs is Nick D’Argenio as Trekkie Monster, with inappropriate interjections and his performance in “The Internet is for Porn.”  He’s every guy’s guy in a Cookie Monster form.  And, stealing more than one scene are Katie Brady and Chrissy Stief as the Bad Idea Bears — they’re cute, they're cuddly, they’re pure evil and they’re funny as hell.

Tommy Fisher-Klein has a solid comedic performance as “Gary Coleman,” sliding in and out of scenes with quick-witted jabs and reactions that make you laugh out loud. He gives us another highlight (and set-up to the aforementioned puppet sex) with “You Can Be as Loud as the Hell You Want (When You’re Making Love).” The entire scene had the audience hooting.

As mentioned, the cast is a mix of real-life actors and actors, dressed in black to minimize “obstruction,” maneuvering large-scale hand puppets.  At times, it was a bit challenging for me to shift between watching the puppets versus the actors themselves.  However, the performer who made it most seamless was Shelli Ezold as Lucy the Slut.  Ezold does an incredible job in her movement and manner, placing your focus on Lucy’s, um, assets while delivering a power-packed sexpot of a character with her gorgeous, sultry voice.  

Directed by Wayne Meadows, the show is accented with “Sesame-like” multimedia features, as well as fun audience interaction, and I was pleased to see that Meadows chose a live orchestra for music.  The first act moves quickly with the most raucous songs and activity; the second act is a bit slower but still enjoyable.  We sat in the front center row, but I don’t recommend it for everyone…I think the sightlines are a bit better further back in the theater. (Although you’ll miss getting picked on by the cast, which was a riot.) 

While I don’t necessarily wish I lived on Avenue Q, I absolutely loved visiting with its quirky residents, who made me glad that my life doesn’t suck as much as theirs.  Decide for yourself — the show runs through October 6!

See wilmingtondramaleague.org.