Go "Backstage" and Discover a New Film by Kevin Austra

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.

Theater is a world of its own. A multi-faceted realm where reality intersects with fantasy and art is given life. It isn’t easy. Anyone who has gone through the rigors of cold readings, callbacks, and the emotional roller-coaster associated with awaiting a casting decision can attest. Actors are not simply reciting words; they are giving of themselves to bring their characters to life. It’s a wonderful, collaborative, and exhausting process. It is agony and ecstasy. Directors have the arduous task of taking the script and translating their vision into blocking. Set Designers must bring the bare stage to life. Costume Directors must outfit an entire troop in keeping with the theme of the show, often using a shoestring budget. In essence, every theater is a community theater. Months of work go into production — most of it happening before Opening Night. But what of the drama that happens behind the curtain?

Backstage is a film that exposes the gritty underside of theater with a careful mix of humor and drama. An unnamed theater group is working hard on their winter show, Romeo and Juliet. Among the cast is newcomer Sam, whose struggles with bringing his character to life will strike a familiar chord with many neophyte thespians. Sam is the everyman, a complicated person with a backstory that is cleverly revealed throughout the film.Among the players, each one represents an archetype of the theatrical world. There are stars, prima donnas, hams, and old hands. There is the frustrated Director, the sanguine Stage Manager, and the interfering Board Member. While the principal focus of the dramatic arch is Sam, the ensemble characters stand out with their own stories.

The cast of Kevin Austra's new film, Backstage.
Photo provided by Kevin Austra.

Backstage is an independent film by Kevin Austra, shot entirely inside the iconic Everett Theatre in Middletown, Delaware. Utilizing a cast of local actors, the film examines the complex dynamics of the theater itself. While there are points where the timing seems slightly off, and some of the lines are rushed, the performances are nuanced and poignant. Among the more memorable moments is a conversation in which a more experienced performer explains why he accepted the relatively minor role of Montague even though he thinks he deserves a larger role. Confronting a younger performer, whose inclusion in the cast was the result of his association with a prominent board member, the older actor explains that at the end of the day, the theater is where he wishes to be. His job may pay the bills, but the theater is his life.

This alone underscores the reason actors, directors, stage crew, and those who run the theater do what they do for little to no pay. It’s not about the money, it’s about the art. There are moments in the film where it seems as if the characters have lost their direction, and the plot seems to grind to a halt. This can only be deliberate, as the tone change represents a transition into the more serious aspects of the drama.

Find out more about the filmmaker at www.kevinaustra.com.

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

Maiss Hussein is Poetry Out Loud's Delaware Finalist

The content of this post comes from a release from The Delaware Division of the Arts...

Senior Maiss Hussein (pictured at right) from Paul M. Hodgson Vo-Tech High School has been named the Delaware State Finalist for the national Poetry Out Loud competition. Maiss will represent Delaware and advance to the Poetry Out Loud: National Recitation Contest, National Finals in Washington, DC on April 30-May 2, 2024, where $50,000 in awards and school stipends will be distributed.

Hussein is currently in the dental program and plans to attend Dental Hygiene school. She loves poetry and has always had an interest in literature. Recently, she has started to write her own poetry. Hussein also works with her school's Diversity, Equity, and Inclusion (DEI) program, which correlates with her interest in literature and culture. She has great pride in her Palestinian heritage and loves to find connections between her culture and poetry.

Photo by Sam Wilson, Moonloop Photography

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

Delaware Shakespeare Announces New Leadership

The contents of this post comes from a press release from Delaware Shakespeare... 

Delaware Shakespeare will begin 2024 with two dynamic arts leaders heading up the state’s largest professional Shakespeare company:

• Mariah Ghant, now the artistic associate and literary manager for the Wilma Theater in Philadelphia, will become Delaware Shakespeare’s artistic director.
• Robert Tombari, now the program director of Goshen Theater in Goshen, Indiana, will step into the role of managing director.

DelShakes' new Managing Director, Robert Tombari,
and new Artistic Director, Mariah Ghant. 

“After a months-long search, the board and I are incredibly excited to welcome Mariah and Robert to Delaware, and to introduce our audiences to them,” said Julie Russ, president of the board of Delaware Shakespeare. “Individually, they impressed us with their talent, their passion, and their drive to continue the work that David Stradley has pursued over the last decade. Together, they’ll be unstoppable.”

Delaware Shakespeare audiences will recognize Ghant as having played Hippolyta/Titania in the company’s A Midsummer Night’s Dream at Rodney Square, and last summer as the title role in Macbeth. She has served a term on the Delaware Shakespeare Artistic Squad and has held various arts administration roles in Philadelphia, as well as being a former Arden Theatre Company Apprentice (Class 26), a member of Theatre Contra, and an improviser with ComedySportz Philly. Originally from the suburbs of Chicago, she is an alumna of Vassar College.

"I have a strong desire to continue making meaningful art for the Delaware community, a vibrant collection of folks and organizations who have embraced me and my artistry,” Ghant said. “This is a team and an organization that has an incredible opportunity to develop theatre for everyone in the community, and I look forward to the journey ahead!"

Tombari has been the program director of Goshen Theater since 2022. Robert and his partner, Peter, are both from Spokane, Washington. While living in Washington, Robert co-founded The Spokane Shakespeare Society, served as board president of Stage Left Theater, and was the executive director of Spokane Ensemble Theatre. He has previously served on the board of Goshen Pride, and is a current board member/production team member of The Cursed Players based in Los Angeles. He received his BA in Performance from Boise State University, and his MFA in Acting from The Royal Birmingham Conservatoire.

“It’s exciting to be joining such an amazing organization as Del Shakes,” Tombari said. “The work that previous leadership, board members, artists, creatives, and volunteers have done for this organization shows me how community minded and forward thinking it is, and I am excited to continue to work for and with my new community.”

David Stradley has led Delaware Shakespeare as the company’s producing artistic director since 2011, spearheading a period of exponential growth that saw the creation of the Delaware Shakespeare Community Tour and art programming throughout the state. He will step down from his role at the end of the year.

"I'm elated that Mariah and Robert have said 'yes' to leading Del Shakes during its continued evolution as a community-centered theatre company,” Stradley said. “It's been an honor to work with Mariah as a member of the Artistic Squad and watch her lead a wide variety of programs that spoke to a broad mix of Delawareans. And I can already tell that Robert is going to be a force upon his arrival in Wilmington, embracing the opportunity to provide theatre for as many of his new neighbors as possible. I look forward to supporting them both, and joining you all as audiences for the thrilling experiences that are coming our way."

Ghant and Tombari will announce plans for the 2024 season of Delaware Shakespeare early next year.

About Delaware Shakespeare
Now in its twenty-first season, Delaware Shakespeare creates year-round professional theatre and learning programs for residents and friends of the State of Delaware. At Del Shakes, people from all walks of life celebrate and explore their shared humanity through the lens of Shakespearean work.

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.

The REP Heats Up the Stage with New Production

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) deliver suspense, intrigue, and stage magic with John Ball’s In the Heat of the Night. Adapted by Matt Pelfrey from the book that inspired the 1967 Oscar-winning film, In the Heat of the Night is compelling theater with themes that often touch on modern ones.

Detective Tibbs and Officer Sam Wood driving to the scene
of the crime. Photo courtesy of The REP.

Set in the early 1960s, the piece tells the story of a white man is discovered dead in tiny Argo, Alabama. Local police arrest the only stranger in town — a black man named Virgil Tibbs (Hassan El-Amin). Little do they know that their suspect is an expert homicide detective from California. Left with no witnesses, no motives, and no clues, Detective Tibbs becomes this racially tense community’s only hope of solving the brutal murder.

El-Amin is excellent in portraying Tibbs as thoughtful and strong in a setting where the color of his skin can (and does) lead to dehumanizing actions by those around him. Tibbs is always trying to be the bigger man, upholding the honor of his person and race despite overt attacks against both. (Be prepared for onstage violence and strong language which includes racist, antisemitic, and homophobic slurs.)

Chief Gillespie (Lee E. Ernst) is a key antagonist to Tibbs. He dislikes both the situation and the race of the man who’s been tasked to help him solve the murder. But with each passing day, a modicum of respect creeps into the Chief’s interactions with Tibbs. Ernst does well as an often-flustered man who should control more than he does but is always being told otherwise. Ultimately, even after Tibbs “starting to grow” on him, Gillespie can’t bring himself to shake the man’s hand whose respect he’s earned.

While this story hits all the checkboxes for an entertaining detective story, it’s also an undeniable social commentary. Director Cameron Knight said, “We are at a moment in our country, with our art, politics, and even our interactions, where we operate in extremes: extreme rage, patriotism, protesting, etc.”

“For many, it makes any conversation of our history; our journey to this moment and how we deal with each other a delicate subject and often avoided. I believe we must be able to go towards difficult, uncomfortable conversations and at times, actions, in order to grow positively. We are fractured as a society and if we don’t begin to confront our past and the needs of our future, we are on a path towards despair.”

“This play offers a glimpse into the many levels of corruption that exist within our culture and institutions, shows the harsh and firm mindsets that are at odds, and invites us to examine who we want to be. Do we want to grow, or do we merely want to win?”

Hats off to the creative team for making the production a multimedia feast for the senses with articulating stage parts, 3-D dynamic curtains, and graphic video enhancements. Britton Mauk (Scenic Designer), Dawn Chiang (Lighting Designer), and Patrick W. Lord (Projection Designer) took the collective vision of Director Knight plus Interim Producing Artistic Director Steve Tague and did an amazing job.

Standout performers include Michael Gotch as conflicted policeman Sam Wood and Stephen Pelinski as both defiant Harvey Oberst and eerily protective Mr. Purdy. If this were a classic melodrama, we’d all boo and hiss at Mic Matarrese for his strong work as Pete — a cop and Klansman whose segregationist beliefs are pungently strong.

Performances of In the Heat of the Night run through November 19 in the Thompson Theatre at the Roselle Center for the Arts on the University of Delaware’s Newark campus. Tickets prices are $30-39 with discounts available for students, seniors, and University of Delaware faculty and staff. 

Tickets can be purchased online at 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 12:00 to 5:00pm. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission.

The Thompson Theatre in the Roselle Center for the Arts is ADA-compliant and 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 the number above or emailing cfa-boxoffice@udel.edu.

The DSO Invites Audiences to Dance in the Aisles for ¡Musica Bravo!

The content of this post comes from a press release from the Delaware Symphony Orchestra...

The Delaware Symphony Orchestra (DSO) continues its 118th season with a performance of ¡Musica Bravo! on Friday, November 10, 7:30pm at The Grand Opera House in Wilmington and Sunday, November 12, 2:30pm at Cape Henlopen High School in Lewes.

The DSO welcomes guest condcutor Michelle Di Russo
& guest guitarist João Luiz for its November concerts. 

The concert welcomes guest conductor Michelle Di Russo and guitarist João Luiz in a performance that features Latin- and Hispanic-inspired works. Di Russo will be the first female conductor to take the DSO podium in several decades.

“If I could pick a program that represents my absolute love for music, it would be this one,” says Di Russo. “I believe it truly showcases where my passion for music and my roots connect through classical music.”

Di Russo is certain this program will resonate with both first-time concertgoers and experienced music lovers. “This program will make you fall in love with the hypnotic, beautiful Latin and Hispanic melodies and rhythms,” she says. “I am also happy that I get to share music by Argentinian composer Alberto Ginastera. It is extremely special for me to be able to perform music from my country.”

Di Russo, who is of Argentinian/Italian descent, is known for her compelling interpretations, passionate musicality, and championing of contemporary music. She currently serves as Associate Conductor of the North Carolina Symphony in Raleigh, N.C.

Guest artist João Luiz — half of the Brasil Guitar Duo who have performed previously with the DSO — joins the Symphony on Spanish acoustic guitar to bring the sounds of Rodrigo's Concierto de Aranjuez to life. The program also includes works by Márquez, de Falla, Rimsky-Korsakov, and the aforementioned Ginastera.

The orchestra will repeat this performance in Sussex County, travelling to Cape Henlopen High School on Sunday, November 12, for a 2:30 p.m. concert.

“We're very excited to bring you this dynamic program and welcome to the stage guest conductor Michelle Di Russo,” said Chief Executive Officer, J.C. Barker. “Don't miss these concerts. You will be dancing in the aisles!"

Subscription packages and single tickets for all concerts are available. Visit DelawareSymphony.org or call 302.656.7442 for more details.

Bootless Splatters You with Fun in Its Zombie Apocalypse Musical

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.

Bootless Stageworks' Night of the Living Dead! The Musical! takes audiences on a rip-roaring journey beyond the grave. The show is an exuberant, campy rock musical version of George Romero’s iconic 1968 horror film. Seven hopeful survivors of a recent zombie apocalypse are trapped in a farmhouse trying desperately to escape with their lives. The ever-growing horde of zombies outside forces our protagonists to act quickly and decisively, even if those choices aren’t the wisest.

Show creator Jordan Wolfe delivers with crisp, clever dialogue and some jaunty tunes. Director Rosanne DellAversano keeps things tight through the almost 2-hour run time. The songs range from rock to jazzy-pop to more traditional musical theater fare. Night of the Living Dead! The Musical! is a hysterical, hummable doomsday adventure, complete with Bootless’ infamous “Pit Splatter Zone.”

Full disclosure for those in the “Pit Splatter Zone:" This is a messy show with fake blood splattering all around.

Bootless is not responsible for damage to clothing or any other personal items. It is strongly recommended that you don’t bring purses, bags, or anything else that can’t get wet, dirty, or needs to be left on the floor. Ziplock bags are suggested for cell phones. Bring your own poncho or other covering as Bootless does not offer or sell such items. If you're sitting in the new comfortable tiered seats, there’s no need to worry about protecting yourself or your personal items.

The story begins when Barbara (Mariza Eperanza) and her brother Johnny (John Jerbasi) are attacked by a zombie while visiting a graveyard with only “Babs” escaping to a nearby farmhouse. There she finds six other living humans hiding from roaming gangs of the undead. She falls for the de facto leader Ben (Antoine Martinez-Jones), who has plenty of swagger. Dippy couple Tom (Jose Bernard) and Judy (Lauren Knecht) plus a three-person family believe taking refuge in the basement is the best way to ride things out while Ben thinks escaping to the nearby town is optimal. Harry (Dale Martin) and his alcoholic wife Helen (Adrienne Baranowski) only want what’s best for their young daughter Betty-Lou (Meg Arters). Between the infighting and the waves of attacking zombies, tension and angst run rampant.

Having said that, the show is a musical comedy, so these tough times are sprinkled with lots of songs and jokes. Standout numbers include “What Could Go Wrong Today” (ensemble), “The Juice” (Helen), and “Doctor’s Orders” (Dr. Greishen and Dr. Gretchen). Meg Arters delivers in a big way from her knees in the reprise of “Night of the Living Dead!” before the company joins in. Arters acting from her knees (playing a little girl) is one of the great sight gags in the show. From Ben’s poor job boarding up the windows to Helen juggling liquor bottles to blood splattering all over those in the front rows, the show commands your attention. Perhaps the best “special effect” comes early when Babs is running away from an attacking zombie through the woods.

There are plenty of funny one-liners and song lyrics peppered throughout the show. Some get lost in the theater space, but most come through. Sage words from Harry like “Never inconvenience yourself” or Judy’s battle cry “Namaste, bitches!” are just a couple of examples. The lyric that evoked the most laughs came via radio news announcer Robin Graves (Abbey Ketterling) who sings to her audience, “You’re [expletive]!” The closing stanza of “The Love Song” has the lines “I hope my love won’t trigger your gag reflex” and “Swallow my love.” Yeah, it’s an adult show.

Bootless Stageworks sells alcohol (beer, wine, and liquor) from a fully stocked bar. In fact, there is a proposed drinking game for the show which has patrons drink every time the actors say “Babs” or “basement.” The atmosphere is a mature one, so you might want to leave younger children at home with a sitter. 

Act II introduces characters outside of the farmhouse like Dan the Science Man (Jerbasi), Holden D’Séance (Henry Stenta), doctors Greishen and Gretchen (Baranowski and Knecht), and Sheriff Tractor (Benji Deivert).

Jerbasi shines in his delivery of “Radiation” while Stenta is cool in his TV hosting duties. Sheriff Tractor is a flawed but funny man who even leads the ensemble in a County Western line dance during “This Ain’t My First Rodeo.”

Live musical accompaniment is provided by The Zombie Loving Band – Joe Eigenbrot, Jim Fazzino, John Hutchinson, and Deb Bialecki – under the direction of James W. Fuerst. 

Do our heroes escape with their lives and sanity? Will you leave the show covered in fake blood? Come to Bootless Stageworks and find out!

The remaining performance schedule of Night of the Living Dead! The Musical! is Friday, October 6, and Saturday, October 7, at 8:00pm. Tickets start at $28 and patrons can opt (or not) to sit in the “Pit Splatter Zone." Tickets can be purchased via Bootless' website or by calling 302.887.9300. There is one 15-minute intermission. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

“They’re coming to get you, Barbara!”

Oskar Stenmark Jazz Trio Opens The Arts at Trinity Series

The Arts at Trinity (TAAT) opens its 23-24 season on Friday, September 29, at 7:30 pm with a free performance by the Oskar Stenmark Jazz Trio, which comes to Wilmington from Sweden via New York City!

The overarching lyrical feel of Oskar’s music has a distinctive Nordic flavor, but the rhythms and harmonies come straight out of the NYC music scene. Jazz greats Art Farmer, Bill Evans and Stan Getz took interest in mixing Swedish folk music with jazz. Oskar’s trumpet playing takes this concept to a new level with his innovative mix of folk, jazz and improvisation.

Trumpeter Oskar Stenmark and his trio perform at Trinity tonight.
Photo courtesy of the artist.

Born and raised in Sweden, Oskar spent his early years in jazz clubs and the Gothenburg Symphony Hall before moving to NYC to obtain his master’s in jazz performance from the Manhattan School of Music. Oskar, tenth generation musician in his family, is joined by pianist Alex Pryrodny and bass player Evan Gregor as they open The arts at Trinity's 2023-2024 Concert Season.

This free performance will be held at Trinity Episcopal Church, 1108 North Adams Street in downtown Wilmington. Light refreshments will be served on the outside patio before and after the concert.

Celebrating "Noises" Produced by Delaware Theatre Company

By Mike Logothetis

Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Five Delaware Arts Organizations Receive Special Presenter Initiatives Grants from MidAtlantic Arts

The contents of this post originate from a press release from the Delaware Division of the Arts...

Mid Atlantic Arts, in partnership with the Delaware Division of the Arts, has announced over $102,000 in grants, across five states, through the 2023-2024 Special Presenter Initiatives program.

The Special Presenter Initiatives program provides funding to small and mid-size presenting organizations in Delaware, the District of Columbia, Puerto Rico, the U.S. Virgin Islands, West Virginia, and the Native nations that share this geography. The program supports presenting projects with professional touring artists and ensembles from anywhere worldwide. The supported projects include public performances as well as community engagement activities that enhance the performance experience and offer meaningful exchanges between touring artists and a presenter’s community.

The artistic engagements proposed by applicant presenters are diverse in performance genre and artist identity. Examples of Special Presenter Initiatives engagement and community exchange include Delaware-based, groundbreaking female Kora player Sona Jobarteh will be presented in her home state by Arden Club, along with her band, to share her evolution of the African musical tradition through performances and an open Q/A and sound-check.

African Kora virtuoso Sona Jobarteh will appear at Arden Concert Gild this season, as part of Arden's 
Mid Atlantic Arts grant. 

“We congratulate the grantees of the 2023-2024 Special Presenter Initiatives program,” said Jessica Ball, the Director of the Delaware Division of the Arts. “These grants will play a pivotal role in bringing exceptional artists and diverse performances to the First State. Our mission at the Delaware Division of the Arts is to foster artistic excellence and enrich the cultural landscape of Delaware, and these grants align perfectly with that goal. We are excited to witness the meaningful exchanges between touring artists and our communities, and we look forward to the transformative impact these performances will have on our state.”

The 2023-2024 grantees from Delaware include:

• Arden Club, Inc., Wilmington presenting Lankum, Ireland
• Arden Club, Inc., Wilmington presenting Sona Jobarteh, DE
• Christina Cultural Arts Center, Inc., Wilmington presenting Stacey Harcum, DE
• Cityfest, Inc., Wilmington presenting Gerald Veasly Electric Mingus Project, PA
• Coastal Concerts, Inc., Lewes presenting JiJi, Guitar and Danbi Um, Violin, NY
• Coastal Concerts, Inc., Lewes presenting Michelle Cann, PA
• Delaware Symphony Orchestra, Wilmington presenting André Raphel, PA

“Mid Atlantic Arts plays a vital role in bringing exceptionally talented artists to our community through their generous support,” said Delaware Symphony Orchestra CEO J.C. Barker. “Not only does their assistance enable the DSO to showcase these important artists, but it also provided the necessary resources to foster a collaboration with young talents at the Music School of Delaware. This partnership created invaluable opportunities for aspiring young musicians to learn from a musical virtuoso.”

“CCAC is humbled and honored to be the recipient of a Special Presenter Initiative Grant from Mid Atlantic Arts,” said Christina Cultural Arts Center Executive Director James Rhodes. “As we continue to move beyond shuttered venues and welcome visitors back to CCAC, this funding allows us to engage dynamic artists from around our region and across the country to reconnect with our thousands of supporters.”

Ron Ozer from the Arden Concert Gild stated, “the Special Presenters grant allows Arden Concert Gild to take bigger risks booking unusual eclectic but top tier artists from around the world, such as Lankum, in one of only 5 appearances across the US in one week in 2023.”

Carol Dennis, Executive Director of Coastal Concerts stated, “I’m a strong believer that music has a special way of inspiring and transforming our lives in a multitude of ways. The Mid Atlantic Arts Special Presenter Initiative Program is a remarkable program that allows us to enrich the lives of the youth and adults in southern Delaware by supporting the presentation of our educational outreach programs and concerts by renowned musicians.”

About the Delaware Division of the Arts
The Delaware Division of the Arts is an agency of the State of Delaware. Together with its advisory body, the Delaware State Arts Council, the Division administers grants and programs that support arts programming, educate the public, increase awareness of the arts, and integrate the arts into all facets of Delaware life. Funding for Division programs is provided by annual appropriations from the Delaware General Assembly and grants from the National Endowment for the Arts, a federal agency. For more information about the Delaware Division of the Arts, visit arts.delaware.gov or call 302-577-8278.

About Mid Atlantic Arts
Mid Atlantic Arts supports artists, presenters, and organizations through unique programming, grant support, partnerships, and information sharing. Created in 1979, Mid Atlantic Arts is aligned with the region’s state arts councils and the National Endowment for the Arts. We combine state and federal funding with private support from corporations, foundations, and individuals to nurture diverse artistic expression while connecting people to meaningful arts experiences within our region and beyond. To learn more about Mid Atlantic Arts visit www.midatlanticarts.org.

Macbeth Comes to Life in Innovative DelShakes Production

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 ensemble fights for Scotland. Photo by Alessandra Nicole.

Macbeth comes to life in an innovative production by Delaware Shakespeare in its 21st year of outdoor theatre at beautiful Rockwood Park. Utilizing two stages keeps the action moving as theater patrons descend the chute of bloody tragedy that is “The Scottish Play.” (Actors dare not speak its name during a production run.) Director AZ Espinoza has their cast enter and exit both stages from a variety of angles which changes the audience’s collective perspective as scenes change.

“By the pricking of my thumbs, Something wicked this way comes.” — The Witches

The classic Shakesperean tale of Macbeth exposes the damaging physical and psychological effects of political ambition to those who seek power. Consumed by ambition and spurred to action by his wife, celebrated general Macbeth (Mariah Ghant) slays King Duncan (Katherine Perry) and takes the Scottish throne for himself. But he is quickly consumed by guilt and suspicion of those closest to him.

Consequently, Macbeth is forced to commit more murders and spiral deeper into paranoia and
tyrannical rule. The bloodbath swiftly takes Macbeth and his queen (Ciera Gardner) into the realms of madness and eventual death.

That’s my summary of the plot, but if you arrive at the park early, you can see four actors perform a “Macbeth in two minutes” routine which is hysterical and pretty accurate. Other pre-show entertainment includes a game of “Scottish Ninja Warrior” involving a spirited version of Capture the Flag and a dance-off. There is a nightly “orientation” at 6:50 before the comedy bits and games begin. The actual play runs just under 2.5 hours with one 15-minute intermission.

“What’s done cannot be undone.” — Lady Macbeth

The power of Macbeth resides in our sympathy with those who are spiraling downward. Ghant and especially Gardner take us with them as they journey to deeper and deeper depths of despair. We witness Gardner’s Lady Macbeth gleefully bathing in power yet to be assumed (or earned). We see literal blood on the hands of Macbeth after his unspeakable deeds. The Witches foretold this “violent sorrow” in the opening act, but how things unfold is revelatory.

Hecate (Katherine Perry) and the three witches
(CJ Higgins, Rachel O’Hanlon-Rodriguez,and Kimie Muroya)
greet Macbeth (Mariah Ghant).
Photo by Alessandra Nicole.

Returning to the Witches or Weird Sisters…
they are the best part of the show. CJ Higgins, Kimmie Muroya, and Rachel O’Hanlon-Rodriguez dominate the natural (and supernatural?) setting with their synchronized physical movements, pitter-patter of language, and eerie energy. The arrival of Hecate (Katherine Perry), queen of the witches, only enhances the mystical power of the coven. They also get the benefit of special effects like a smoke machine and spooky audio reverb in their microphones.

Other highlights of the production were the rhythmic dance-style murder of Banquo (Zach Valdez); the ghost of Duncan grabbing his buried crown; the changing of tartans upon new leadership; sword fighting without props; and the diverse cast taking on multiple roles successfully.

Attending performances outside in the round at Rockwood Mansion is a delight that longtime area theater-lovers and budding fans should make plans to experience. The entire Festival area is wheelchair accessible. It is necessary to traverse a gravel walkway and a grass lawn. The seating area is on a grass lawn and patrons should bring their own blankets or chairs. Picnicking is welcomed and light concessions featuring foods from Janssen’s Market will be on sale.

Macbeth runs from July 21 through August 6 with gates opening 75 minutes early for pre-show entertainment and picnics. Curtain is at 7:30 from Wednesdays through Saturdays and at 6 on Sundays. (Timing for pre-show events will alter accordingly for Sunday performances.)

General admission is $25 with discounted tickets for seniors and active military ($22) as well as students ($20). Sundays are Family Nights when children 12 and under are welcomed for free with a paid adult. New this year are “Pay-What-You-Can Wednesdays” where patrons can choose from a variety of ticket prices.

The 2023 Delaware Shakespeare season will include two full productions – the current Summer Festival (Macbeth) and a fall Community Tour (Cymbeline) spanning October 4-22. As usual, the Community Tour will bring high quality Shakespeare performances to non-traditional locations such as homeless shelters, prisons, and community centers.

“For Scotland!” — Company

New Music Venue Opens with Help from Longtime Music Community Member

After 20 years of volunteering as a concert promoter for Arden Gild Hall in North Wilmington's Village of Arden, Ron Ozer has stepped into a professional role in programming at Elkton Music Hall, located just over the state line in Elkton, Maryland. The new venue will open its doors on July 15, 2023. 

The first show at this brand new 300-seat capacity venue — housed in an entirely renovated 100-year-old storefront in the original downtown — will be a celebration of big bands from the Philly and DC areas.

The group Cosmic Guilt, a WXPN favorite (WXPN radio is also supporting this show), brings their Laurel Canyon vibes from Philly to Elkton after selling out two shows in Arden last year. DC-based Oh He Dead comes to Elkton after stellar performances at Peach Festival and SXSW.

Just added is beloved Delaware-born stage, film and TV star Johnny Gallagher with a solo acoustic set as the first artist on this new stage.

Ron says he is thrilled to be working with venue owners Ric and Katie to bring major artists like Son Volt, Jerry Douglas, and Low Cut Connie to town!

Tickets are available at elktonmusichall.com.

The Delaware Symphony Orchestra Announces 118th Season of Bold New Artists & Repertoire

A sold-out audience at DSO's March 2023 concert.
Photo by Joe del Tufo.

The content of this post comes from a Delaware Symphony Orchestra press release...

The Delaware Symphony Orchestra (DSO) is proud to announce its 118th season, featuring a captivating lineup of performances. The season will include five Classics Series concerts, three Chamber Series concerts, a return to the Hotel du Pont's Gold Ballroom, and two concerts in Sussex County.

Classics Series: The Classics Series is the DSO’s full-orchestra concert experience with featured guest artists performed at The Grand Opera House in Wilmington and Cape Henlopen High School in Lewes.

Kicking off the series on Friday, October 13, 2023, is Sky, Sea, and Rhapsody. Under the leadership of Music Director Laureate David Amado, the DSO will perform Rachmaninoff's Rhapsody on a Theme of Paganini, featuring acclaimed guest pianist Stewart Goodyear as well as Claude Debussy's timeless masterpiece, La Mer.

In the next Classics concert, ¡Música Bravo!, guest conductor Michelle Di Russo and guitarist João Luiz will take audiences on a vibrant journey through Hispanic and Latin-inspired works by Arturo Márquez, Alberto Ginastera, Manuel de Falla, Joaquín Rodrigo, and Rimsky-Korsakov. The program will be performed in both Wilmington and Lewes, Delaware, on November 10 and 12, 2023.

On January 19, 2024, the New Year commences with From Home to Rome, directed by guest conductor André Raphel and featuring the virtuosic talents of violinist Jennifer Frautschi performing Beethoven’s Violin Concerto. In addition, this concert will feature West Chester native Samuel Barber's Symphony in One Movement and Ottorino Respighi's majestic Pines of Rome.

March 22 and 24, 2024, invites you to A John Williams Celebration — the iconic themes from Star Wars, Harry Potter, E.T. the Extra-Terrestrial, Jurassic Park, and more — led by guest conductor Scott Speck. This program will also be performed in both Wilmington and Lewes, Delaware.

The final Classics concert on April 26, 2024 — Amado Conducts Mahler — welcomes Maestro Amado back to the podium for Gustav Mahler's epic masterpiece, Symphony No. 7 "Song of the Night.”

Chamber Series: The Chamber Series offers intimate concerts, featuring smaller ensembles, at venues including the DuPont Country Club and the Gold Ballroom of the Hotel du Pont.

The first concert, Percussionists of the DSO, on October 24, 2023, promises an unforgettable evening showcasing the artistry and versatility of these DSO musicians. This exciting concert will feature the works of contemporary composers Joe Taylor, Michael Udow, Ney Rosauro, as well as the Baroque genius, G. F. Handel.

On December 12, 2023, we return to the glittering Gold Ballroom of the Hotel du Pont for Holidays at the Hotel, a delightful evening of festive melodies for the entire family, featuring the talents of Delaware's own baritone Grant Youngblood and works by Bach and Tchaikovsky.

On February 13, 2024, the final Chamber concert showcases Music of the African Diaspora. The Musicians of the DSO will perform works by influential composers Valerie Coleman, Samuel Coleridge-Taylor, Adolphus Hailstork, Jessie Montgomery, and Carlos Simon.

“This season represents our most diverse programming yet,” said Executive Director J.C. Barker. “Our audiences have grown significantly this past season, and we cannot wait to share this extraordinary lineup of music and artists with our friends, both old and new! We know this season will deliver performances that audiences of all ages and experience can connect with and enjoy.”

Subscription packages are available now; single tickets for all concerts will be available for sale starting August 15, 2023.

Visit DelawareSymphony.org or call 302.656.7442 for more details.