Showing posts with label Wilmington. Show all posts
Showing posts with label Wilmington. Show all posts

Saturday, December 9, 2023

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

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


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

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

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

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

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

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

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

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

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

Monday, December 12, 2022

Delaware Art Museum Launches Initiative to Preserve Public Art

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

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

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

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

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

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

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

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

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

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

*What are your goals for the first year of this project? Where is your first area of work based?
Some of our goals for the first year are:
  • to have our participants graduating feeling confident in the skills they’ve learned in conservation;
  • to have 30 works from Wilmington’s outdoor gallery properly maintained and documented so that we can create a living archive of our city’s public art;
  • to connect our participants with local services and help provide them with continued support after graduating.
We are still working on our curriculum. However, I anticipate that the first area we’ll be working is the DelArt campus where One Way, 2008 by Chakaia Booker and Monumental Holistic No. VII, 1980 by Betty Gold live in our sculpture garden.

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

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

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

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

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

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

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

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

Thursday, April 21, 2022

Celebrating 12 Years of Film Brothers' Festival of Shorts

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

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

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



Friday, August 27, 2021

Artist Sug Daniels Celebrates New Music, EP Release

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

Artist Sug Daniels. Photo by Nathalie Antonov.
I was thrilled to chat with Sug about music, community, and creativity during a pandemic...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Find more music & info about Sug HERE!

Friday, June 25, 2021

Joseph Hodge Named Music Director of Wilmington Community Orchestra

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

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

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

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

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

Tuesday, February 23, 2021

Exhibit at The Sold Firm Features Works of Incarcerated Artist

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

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

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

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

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

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

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

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

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

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

*What advice can you give to other justice-involved individuals?
Holding yourself accountable will prove to be beneficial in the growth process. If you're experiencing an injustice, educate yourself and make it a fair fight. Adding other than self to the thought process will produce different results.

*What are your goals 
 artistic and personal  now and post-incarceration?
As an artists, I want to continue to make people feel; personally, I want to educate self before I medicate others. After my release, I want to continue to live life with purpose. 

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

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

Tuesday, October 2, 2018

Delaware Ensemble ‘Launches' to Space for Opening Season Performance


This post content comes from a release from Melomanie...

Mélomanie — the Delaware music ensemble known for ‘provocative pairings’ of baroque and contemporary works — celebrates its 26th season with a Launch Party & Concert on Sunday, October 7, at 3:00pm in their new performance home, Old Town Hall of the Delaware Historical Society in downtown Wilmington.

The event, which leads off at 2:00pm with a wine & cheese reception and tours of the Delaware Historical Society, will feature the Delaware Premiere of two pieces — Hubble's Eye by Christopher Cook and Café au Triolet by Cynthia Folio. Hubble’s Eye will be performed with accompanying video projection of photos taken by the Hubble Deep Space Telescope.

Additional music on the program includes baroque works Sonata Sesta in D Major by Jean-Daniel Braun and La Sultane for baroque ensemble by François Couperin.

Tickets for the performance are $25; $15 students age 16 & older; youth through age 15 are admitted free. Tickets can be purchased at melomanie.org or at the door via cash or credit. The Delaware Historical Society is located at 505 N. Market Street in downtown Wilmington.

This season, Mélomanie will present new music by composers Suzanne Sorkin, Richard Belcastro, Roberto Pace, Christopher Cook and Larry Nelson. From the baroque era, they will perform works of Couperin, Telemann, Abel and Rameau throughout the season. Also new this year is a special collaboration with Delaware jazz composer Jonathan Whitney and his quintet

Mélomanie was founded in 1993 by co-artistic directors and ensemble members, Kimberly Reighley and Tracy Richardson. Mélomanie has delighted audiences throughout the East Coast and internationally with their brand of musical 'provocative pairings'. Mélomanie is: Donna Fournier, viola da gamba; Ismar Gomes, cellos; Kimberly Reighley, flutes; Tracy Richardson, harpsichords; and Christof Richter, violins. Mélomanie's artists also appear as soloists and with orchestras and ensembles in the region, including the Delaware Symphony Orchestra, Reading Symphony, Philadelphia Orchestra, OperaDelaware, Tempesta di Mare, La Bernardinia Baroque Ensemble, and Le Triomphe de l’Amour. In 2014, Mélomanie was invited to Rio de Janeiro to perform in Compositores de Hoje (Composers of Today), an international festival of contemporary music. Mélomanie has recorded works of Telemann on Lyrichord Discs and can be heard on Winterthur's benefit CD, Playing in the Garden: Musical Inspirations from the Winterthur Garden (2008). Their contemporary music CDs, Florescence (2011) and Excursions (2014) from Meyer Media, each feature five pieces written for and premiered by Mélomanie. The ensemble is currently recording their next CD project.

Wednesday, September 19, 2018

Concerts on Kentmere: 10 Years IN & Stronger Than Ever

This post appears courtesy of inWilmDE.com...
By Christine Facciolo

The Delaware Art Museum INvites you to join in celebrating the 10th anniversary season of its’ Concerts on Kentmere series, featuring performances by Pyxis, Wilmington’s premier piano quartet.

The ensemble — Luigi Mazzocchi (violin), Amy Leonard (viola), Jennifer Jie Jin (cello) and Hiroko Yamazaki (piano) — will perform three concerts during the 2018-19 season, the final event featuring a commissioned work by David Schelat.

Commissions are playing a greater role in the Museum’s offerings. “That’s something the Museum is doing across all programs, trying to respond in the moment to art and to current times,” said Jonathan Whitney, performance & community engagement manager at the Museum. “So we’re bringing Pyxis in on that because they’re one of our ensembles.”

The milestone season will also see a closer relationship between Pyxis’ repertoire and the exhibits.

“We met with all the curators last spring before we planned our season because we wanted to see what we had to work with,” said Leonard.

The first concert which takes place on September 27 provides the musical response to the work of conceptual artist Hank Willis Thomas. The commissioned exhibit — “Black Survival Guide, or How to Live Through a Police Riot” — tells the lesser-known stories of the 1968 riots and occupation of Wilmington through a series of fourteen retro-reflective prints drawn from the photographic archives of the Delaware Historical Society and The News Journal. Viewers become “activists” when they apply light to the prints revealing hidden images.

Pyxis will complement the exhibit with a performance of Alfred Schnittke’s Prelude in Memoriam Dmitri Shostakovich. “There are many layers involved and secret meanings and things that aren’t immediately apparent,” said Leonard. “And we’ll be performing it in a very kinetic way, spreading ourselves out in the space.” The program will also feature a performance of Debussy’s cello sonata, a work written as the composer struggled under the physical and psychological oppression of terminal cancer.

The artistic accomplishments of women will be the focus when Pyxis performs on January 10, 2019. “The Feminine Mystique” honors the work of pre-Raphaelite artist and mid-19th Century feminist and women’s rights activist Barbara Bodichon. Leonard and company will offer a musical response with works by such trailblazing composers as Germaine Tailleferre, Rebecca Clarke, Dora Pejacevic and Gwyneth Walker whose “Letters to the World” reflects on the poetry of Emily Dickinson.

“Tailleferre was the only female member of the group known as Les Six and Rebecca Clarke was one of the first women to play in a symphony orchestra,” said Leonard.

Pyxis’ final concert on May 2 will explore the relationship between color and sound. The ensemble will perform vibrant works by Brahms (Piano Quintet in F minor featuring guest violinist Dara Morales of the Philadelphia Orchestra) and Beethoven (the String Quartet in E-Flat Major nicknamed the “Harp” for its use of pizzicato).

The concert will also feature a newly commissioned work by David Schelat. Leonard doesn’t know much about it yet but hopes it’s challenging. “I hope it’s really hard and that he gives us plenty of ‘crunchy’ harmonies.”

Concert dates: Thursdays, September 27, January 10, (Snow date Sunday, January 13), May 2. Prior to each concert, the museum's curator will offer a brief personal insight.

Curator talks begin at 7:30 p.m. Performances begin at 8:00 p.m.

Wednesday, February 14, 2018

New Partnership Enriches Curricula, Arts District

This post content courtesy of a press release from the Delaware College of Art & Design...

A recently launched collaboration between the Delaware College of Art and Design (DCAD) and NextFab makerspaces aims to enhance DCAD’s programs of study, increase NextFab’s footprint on Wilmington’s Creative District and further the redevelopment of the city's downtown.

DCAD, the Mid-Atlantic Region’s only two-year professional art and design college, offers the associate of fine arts degree in animation, fine arts, graphic design, illustration and photography and has served as an anchor institution in the revitalization of Wilmington since its founding in 1997. NextFab, which has three locations in the Mid-Atlantic, provides access to tools, technology, training, events, consulting and capital for creatives of any skill level.

The first phase of the partnership, already under way, provides NextFab memberships to all DCAD faculty to help them develop ways of integrating the latest in traditional and digital technology and artistic innovation into DCAD’s curricula while furthering their own development as artists. Subsequent phases will include field trips to NextFab for students to use the stateoftheart equipment, software and instruction for class assignments and provision of NextFab memberships to all degree-program students for use in completing coursework and for creating extracurricular art and design projects.

DCAD President John Hawkins noted that today’s creatives are highly multi-disciplinary – experts in one or two mediums yet familiar with and possessing a facility with many others. The NextFab collaboration increases DCAD’s ability to further student development in this direction while also giving students the chance to work in an environment characteristic of a contemporary art and design practice; gain exposure to new and evolving mediums and technologies; and connect with a wider network of professional artists and designers.

According to NextFab sales and marketing director Eric Kaplan, the makerspace is eager to play this role.

“Our Wilmington location has been open over six months now, and we’ve been steadily reaching more local creatives,” Kaplan said. “We are incredibly excited to have an official partnership with DCAD that will benefit both students and faculty, and we’re hopeful we can continue to explore ways of integrating technology and innovation into DCAD’s creative curriculum in the future.”

Mayor Michael Purzycki and managing director Carrie W. Gray of the Wilmington Renaissance Corp./Creative District Wilmington recently joined DCAD and NextFab representatives to officially celebrate the launch of the partnership. The event held at NextFab’s Wilmington headquarters including tours of the site and souvenir picture frames designed and crafted by NextFab and filled with artwork created by DCAD students.

“We have the richness of the arts with the richness of technology and the creativity of what is demonstrated right here,” Purzycki said. “I can’t imagine anything better for our city.”

Gray agreed. “WRC helped drive the founding of DCAD, and we led the recruitment of NextFab to Wilmington,” she said. “So now to have a partnership between these organizations is helping to realize the vision for a robust creative community and economy in Wilmington.”

See www.dcad.edu

Thursday, February 11, 2016

Celebrating Black History Month with Programs & Exhibit at DHS

Information for this post was provided by a press release from The Delaware Historical Society...
The Delaware Historical Society (DHS) celebrates Black History Month with special public programs and an exhibit.

LECTURE: Littleton P. Mitchell Fighting for Equality in the Civil Rights Era

Thursday, February 4, 6:00pm
Delaware History Museum
Dr. Leland Ware, the Louis L. Redding Chair and Professor of Law and Public Policy at the University of Delaware, will highlight Delaware civil rights leader Littleton P. Mitchell’s contributions to advancing the cause of equality. Mitchell, president of the Delaware NAACP for 30 years, is known locally and nationally for his personal courage during the Civil Rights Movement. He was also was a member of the famed Tuskegee Airmen during World War II, for which he was awarded the Congressional Medal.


PERFORMANCE: The Folk Music of Africans Americans with Devonna B. Rowe
Tuesday, February 9, 12:30pm | Delaware History Museum
Award-winning performing artist and educator, Devonna B. Rowe, will take the audience on an interactive musical journey through the history of the African American people, exploring traditional African songs and influences on modern American culture. A Delaware Historical Society program with funding support from The Black Heritage Educational/Theater Group.


FAMILY PROGRAM: The Underground Railroad in Delaware
Sunday, February 28, 1:00pm | Old Town Hall & the Quaker Hill Historic District
Join DHS and Quaker Hill Historic Preservation Foundation for a family event highlighting the Underground Railroad in Delaware. Walk in the footsteps of freedom seekers who passed through Wilmington on their journey to freedom and participate in activities exploring the difficult decisions made by people at that time. The first half of the program takes place in the Quaker Hill Historic District followed by a visit to Old Town Hall at the Delaware Historical Society. There will be family activities at both locations.


EXHIBIT: Dream Quilts The Dream Quilts are on display through the end of February at the Central YMCA in Wilmington, the Walnut Street YMCA in Wilmington and the Dover Public Library. The project was first launched 2012 to inspire a new generation with Dr. Martin Luther King, Jr.’s powerful message from his 'I Have a Dream' speech. After learning about Dr. King’s legacy, school children decorated quilt squares that were later stitched into quilts by A Stitch in Time, an African American quilting group in Dover. In 2014, two of the quilts were exhibited in Vice President Biden’s home at the Naval Observatory during Black History Month.

All programs are free and open to the public, but reservations are requested at deinfo@dehistory.org or 302.655.7161.  The Delaware Historical Society owns and operates the Delaware History Museum; a nationally recognized Research Library; Old Town Hall; Willingtown Square, four 18th Century houses surrounding a picturesque urban courtyard located in Wilmington; as well as the Read House & Gardens located in historic New Castle, recognized as an “American Treasure” by the National Trust for Historic Preservation and the National Park Service; and the Center for African American Heritage, which will be included as part of the expansion of the Delaware History Museum, expected to reopen in spring of 2016.

Saturday, April 11, 2015

Green Day's American Idiot Rocks Wilmo's World at City Theater Company

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.


Question: What do you do when you have the equivalent of 20 megatons of highly explosive talent in the form of more than a dozen actor/singer/dancers and a full band with string section to fit onto a stage that’s only big enough to handle a fraction of that talent?

The Cast of CTC's production, Green Day's American Idiot
If you’re Wilmington’s City Theater Company, then you break all of the traditions of staging, set the string section along the side wall, and allow the action to flow through the entire theater space.

In City Theater Company’s production of Green Day’s American Idiot, Director Michael Gray, Music Director Joe Trainor, and Choreographer Dawn Morningstar not only capture the sound and look of the iconic band, but the spirit of punk rock. Just as one does not passively listen to punk, one cannot passively sit and watch this performance. No matter where you sit in the theater, there is some point where you are in the front row of the action.

So, what is this musical about?  Sex, drugs, and rock & roll – check. Friendship, teen angst, disillusionment, self-loathing, war, apathy, longing for reconciliation – check, check and check.

L-R: Tunny (Jake Glassman), Johnny (Brendan Sheehan) & Will (George Murphy)
Through the course of 22 Green Day songs and a small amount of narrative, the audience watches three friends – Johnny (Brendan Sheehan), Tunny (Jake Glassman) and Will (George Murphy) – attempt to deal with their frustration with their suburban fives through resignation, escapism, and submission to patriotism, with the complications of relationships with women playing a significant part in their decisions and coping mechanisms.

And then there’s Johnny’s alter-ego – St. Jimmy, played hauntingly by Adam Wahlberg. St. Jimmy comes across as the embodiment
St. Jimmy (Adam Wahlberg)
of Jack Nicholson, Mick Jagger and James Dean cool with an edge of darkness and insecurity boiling just below the surface.

Leslie Kelly, Amanda Panrock and Grace Tarves play the muses, fantasies, and objects of affection for the trio of friends – and each of their voices communicate a strength that can be expressed best through either punk or opera.

While the music and choreography would be enough to keep any audience member’s attention, this production adds an extra level with video footage shot across the entire stage area thanks to Planet Ten.

There’s a message scrawled across the back of Johnny’s jacket in this production – “Punk’s Not Dead.” It’s safe to say that as long as City Theater Company is putting on this production, that message remains true.

Green Day’s American Idiot can be experienced through April 25 at The Black Box at OperaDelaware Studios on 4. South Poplar Street in Wilmington. Tickets can be purchased at city-theater.org