OperaDelaware's Transformative Macbeth in Verdi Translation

By Guest Blogger, Bradford Wason. Brad is the Founder and Director of 23rd & 5th Design Group and currently works with DMG Marketing in Greenville. He is also on the faculty of Delaware College of Art & Design, and is an ardent Wilmington Arts & Culture supporter.

To say I was a little excited for Verdi's interpretation of Macbeth – presented by OperaDelaware – would be an understatement.  I grew up on Shakespeare, and Macbeth has always been a particular favorite of mine.  It has a little bit of everything that makes for good drama: love, violence, blood, war, mystery and intrigue.  The characters are full of depth, secrets and desire, all of which translates beautifully into an opera that Giuseppe Verdi carefully crafts.  The precise execution (no pun intended) by OperaDelaware leaves you a little breathless, after listening to the likes of Courtney Ames (Lady Macbeth), Ben Wager (Banquo), Jason Wickson (Macduff) and Grant Youngblood (Macbeth).

The show opens with a child-like lullaby from the orchestra, conducted by Giovanni Reggioli, visually complemented by a rolling fog across the dramatically lit stage, and strong rock-like structures jutting from the ground. It's here that we get the first look at a series of amazing period costumes meticulously crafted fabricated by AT Jones & John Lehmeyer. They skillfully combined modern elements such as re-imagined UGG boots for Malcolm, and other ingenious illusions. These meticulous technical details should not be missed, as they only amplify the drama and passionate performances that are played out over the next four acts of Verdi's Macbeth.

The audience gets their first taste of the amazingly talented artists early in the show, with a soliloquy from Courtney Ames as Lady Macbeth. It's in this tender moment we see her sheer passion for Macbeth juxtaposed by a devious demeanor for the downfall of King Duncan, and quick succession of her husband. Ms. Ames leads the audience on the riveting journey, through summoning the power of dark aid, contriving against the King and questioning the very action and commitment of Macbeth. The scene comes to a close with a distraught Macbeth, hands dripping of Duncan's blood. (Props again go to the technical crew for pretty darn realistic stage blood. These small details sell the moment of desperation playing out before your eyes. in close, Lady Macbeth conjures the idea that water will wash away their wicked deed, and all it brings.

As Act II comes to a close, the reprise by the cast, with highlights from Mr. Wager, Mr. Youngblood and Mr. Wickson set the stage for what lies ahead after intermission. The voiceless ghost of Banquo provides an uneasy tenor for Macbeth as he reconciles his devilish deeds amongst a host of honored guests and members of his court.  At a runtime close to three hours, the show felt more like a sitcom you wanted to binge-watch for the entire day, rather than the dramatic opera it was.

Prepare to sit on the edge of your seat and clear your throat to proudly yell Bravo! during the second half. The deserving monologue by Mr. Wickson during an otherwise grievous moment was one such moment, when several audiences members vocalized their admiration for his raw talent. Before I get too ahead of myself, it's worth stopping to admire some other magnificent talent in this show, and the voices of Eric Bash (Doctor), Helen Huse Ralston (Lady in Waiting), and Toffer Mihalka (Malcolm). The second half of the opera is fraught with drama, intrigue and dark overtones with more mischief from the witches, and Macbeth's foretold future.

While revisiting the witches, Macbeth learns that after his failed attempt on Malcolm (Duncan's son), the lineage of the Kings to come will certainly be from Malcolm, although he is falsely assured that his demise will not happen from any man born from a Woman. Feeling an odd sense of security in his fragile state Macbeth falls to his ills, sending Lady Macbeth into a fit and dark downward spiral.  Director Cynthia Du Pont Tobias should be applauded during this particular scene, as a series of future kings is marched, one-by-one, slowly across the stage in front of a speechless Macbeth. This dramatic moment defines the devilish actions of the first half, with a glimmer of hope for Scotland that lies with Malcolm and Macduff.

The production would not have been the thunderous success it was were it not for the craftsmanship of Set Designer Peter Tupitiza, Lighting Director Donald Thomas, Stage Manager Emily Butzi, and Technical Director and Set Carpenter Robert Parker. At the close of Macbeth, the stage is transformed with magnificent light and colors, emanating a sense of hope and conviction of justice after Macduff and Malcolm send Macbeth to his grave. Overall this production exceeded my expectations, with its combination of vocal talent, soothing dramatic overtones provided by the orchestra and carefully crafted technical details.

Fear not if you don't understand Italian, or this is your first foray into opera, the show is super-titled by two monitors that flank the stage. And if it is your first opera, Verdi's Macbeth is the perfect show to welcome you to this beautifully crafted medium. OperaDelaware should be commended for their great success and execution of this classic production. 

If you go: Friday, May 10 & Saturday, May 11 at 7:30pm, The Grand Opera House, 818 N. Market Street, Wilmington, DE 19801. For tickets, call the Grand Box Office at 302.652.5577 or purchase online: www.thegrandwilmington.org. Parking is available for free Friday after 6:00pm and all day Saturday on the street; the city-run flat lot on 8th & Orange is open and free after 8:00pm on weeknights and all weekend long. Tickets are $28, $47 and $74, though in the Grand, there really are no bad seats.

City Theater Company’s 19th Season Rolls to a Close with the Outlandish Xanadu

Photo by Joe del Tufo

By Guest Blogger, Amanda Curry

As a child of the '80s (1984, to be exact), I was pretty ‘psych’ed ('80s slang here is vital) to learn that Xanadu at CTC involves roller skates, Greek mythology converging with pop culture, and a whole lotta camp. Camp is good, as long as you know what you’re in for.  Come to the Black Box expecting an enlightening and Earth-shattering theatrical awakening — and this is definitely not the show for you.  But, if you’re ready for the ridiculous, over-the-top, so bad-it’s-good, spandex-y roller derby that is Xanadu, you’re in for a treat. Just be sure to bring your legwarmers (I’m actually not kidding. Donning '80s gear appears to be encouraged). 

Xanadu marks City Theater Company’s last show in its 19^th season and is based on the 1980 Olivia Newton-John cult classic movie of the same name.  The fluffy plot focuses on a Greek muse named Clio, played by the exuberant Jenna Kuerzi (last seen in December at CTC as Shelley in  Bat Boy: The Musical) who comes from Mt. Olympus to Venice Beach, California in 1980 on a mission to inspire the struggling — and comically suicidal — mural artist, Sonny Malone.  Sonny is played by the bright-eyed Billy Kametz, who steals the show with his charming Ralph Macchio physique, boy band-esque voice and “jorts”. (Yes, that’s jeans+shorts.)  Clio shares with her posse of Grecian muse sisters her plans to disguise herself as an Australian roller girl named Kira — complete with a horrendous accent — and appeal to the mortal Sonny in an effort to inspire his art.

Photo by Joe del Tufo

Jealous sisters Calliope and Melpomene conspire to make Clio/Kira fall in love with doe-eyed Sonny and risk eternal banishment into the underworld by Zeus.  The two plotting sisters are played by the other two stand-out performers of the evening: The hilarious Dylan Geringer as Calliope who has all the comic timing of Kirsten Wiig (and pretty bitchin’ dance moves) and Ann Pinto, who boasts a killer voice, as Melpomene.  The most hilariously ridiculous moment of the show is when Calliope backs up her sister in the song “Evil Woman”...Both 'robot’ and ‘running man’ dance moves make appearances.  Need I say more?

CTC Producing Artistic Director Michael Gray directs this nine-person roller extravaganza (every part is double-cast with the exception of the primary leads), with musical direction by Joe Trainor and choreography by Dawn Morningstar.  Spatially, the stage is set up almost in the round, with a ramp dividing two parts of the audience and a raised platform in the front. A separate playing space is utilized to the left, all with columns and black cloth that are pulled to reveal the mirrored, shimmering disco — Xanadu — that Clio/Kira inspires Sonny to open.  The end of the show culminates in Zeus lifting Clio’s banishment and, you guessed it, the two lovers reuniting.  But not before Clio/Kira makes a grand entrance on a foam Pegasus pulled by a sassy attendant and the entire cast comes out on roller skates for a final dance party extravaganza. (Complete with a minotaur with pierced nipples.  Also, not kidding.) 

Musically, the band was spot-on and the voices and harmonies were on point.  Additionally, the choreography was quite seamless; not an easy feat when the central character is on roller skates for the majority of the show.  Perhaps the most enjoyable element is that this show winks at its own ridiculousity throughout, even referencing its own double-casting and offering more tongue-in-cheek pop-culture references in one evening than one could possibly imagine.

In short, Xanadu is a whole lot of crazy and a whole lot of fun! Xanadu runs through May 11 at CTC's 'home', The Black Box at OperaDelaware Studios, 4 S. Poplar Street, on the Wilmington waterfront.  Tickets are available online at city-theater.org or at the box office on show nights, but cash or check only are accepted onsite.

See www.city-theater.org.

Temperatures are Rising in the University of Delaware's REP's production of "Fever"

The University of Delaware's Resident Ensemble Players (REP) ends its 2012-13 season with the World Premiere production of Fever, written especially for the REP by Theresa Rebeck. Ms. Rebeck, one of America's most celebrated playwrights and authors, is probably best known for creating the NBC drama Smash.

Fever takes place in a Midwestern bar where the owners, Laila (Elizabeth Hefflin) and Nick (Stephen Pelinski), are faced with a tough decision about the bar's future. Business has been steadily declining, but the bar has been in Laila's family for generations and the actual bar was hand carved by her great-great-great-grandfather, and she is struggling with the idea of selling the business.

 Like most bars, this establishment has its regulars:

• Margo (Kathleen Pirkl Tague) the business woman who's good at what she does, but unhappy with 

     her company's male chauvinistic culture;

• Barry (Steve Tague) the loveable dimwitted man, the type that's always found sitting at the end of 

     the bar;

• Patrick (Mic Matarrese) the down-on-his luck guy who's trying to keep up appearances - show up   

     nightly to drink and chat.

However, our usual suspects' worlds change suddenly when a new couple, Irene (Carine Montbertrand) and Ned (Michael Gotch), dine at the bar one evening and begin arguing over the differing views of men and women, which then spills over into the regulars' conversation. The argument was pretty much standard fare: men feeling superior over women; women fighting to be taken seriously in relationships and the workplace.

The play's not groundbreaking, but it is enjoyable and humorous. It's like an extended episode of Cheers - a slim plot with a bunch of people arguing in a bar. The ensemble cast - which also includes Deena Burke as a broker looking to sell an important piece in the bar - does a fine job developing their characters. Mr. Tague was a particular stand-out. He perfectly captured the guy at the bar that everyone loves and who tries to keep the peace, but still manages to put his foot in his mouth.

The set provides the ninth character in the play. Scenic Designer, Anne Clark, along with the rest of the set crew designed a gorgeous bar. With its intricate carvings and beautiful curves, it does look as if it was carved in the 1800s. There are some FUN additions to the set that I won't give away, but before you leave the theater make sure you check out the bar's entrance/exit for a set piece that's not commonly seen in Delaware bars anymore!

Although the topics of sexism and "men are from Mars, women are from Venus" are familiar, maybe Ms. Rebek is trying to remind us that our society is still struggling with these issues and we need to continue the dialogue for improvement.

Fever at the Thompson Theatre in the Roselle Center for the Arts closes on May, 4. Visit www.rep.udel.edu or call 302.831.2201 for additional information and to purchase tickets.