DAM Presents American Moderns, 1910 - 1960: From O'Keefe to Rockwell

Green, Yellow and Orange, 1960, Georgia O'Keefe

Organized by the Brooklyn Museum and co-curated by Karen Sherry, Margaret Stentz, and the Delaware Art Museum's Dr. Heather Campbell Coyle, American Moderns, 1910 - 1960: From O'Keefe to Rockwell asks the question "what is American modern art?" -- then proceeds to push the definition beyond the expected. Covering the first half of the 20th Century, the exhibition focuses on the early defining moments of modern art in the United States, with work that precedes the Digital Age.

The mix of artists, from big names such a Georgia O'Keefe, Grandama Moses, and Brandywine Valley superstar N.C. Wyeth to important but less recognized artists such as Marguerite Thompson Zorach and Ernest Crichlow, encompass a broader spectrum of American Modern artists, showcased in several categories. Visitors move from Cubist Experiments, with its Pablo Picasso influence; Still Life Revisited, where new techniques were applied to an old style; Nature Essentialized, celebrating nature often with the help of modern technology such as air travel and photography; Modern Structures, capturing and reflecting images of modern urban and rural life; Engaging Characters, with a focus on "the human spectacle"; and Americana, which asks "What makes America America?" through styles such as folk art and illustration.

Manhattan Mosaic, 1947,
George Copeland Ault

Where American Moderns pushes through the barriers of modern art is with its inclusion of popular illustration artists such as Norman Rockwell and Wyeth; such respect for illustration artists is nothing new for the Delaware Art Museum, but it's a respect, especially in the Modern Art world, that is still just starting to catch on.

The inclusion of folk art, such as Morris Hirscfield's "Girl with a Dog," by contrast, brings a style of art not found in DAM's permanent collection.

The exhibition, which runs through the holidays and closes on January 5, 2014, is a must-see for American Art lovers, Modern Art lovers, and anyone interested in learning more about either.

OperaDelaware Delights with L'Elisir d'amore

Opera fans have a lot to be excited about with OperaDelaware's production of L'Elisir d'amore (The Elixir of Love), Gaetano Donizetti's comic two-act opera, with two performances at The Grand on October 11 and 13. Conducted by Maestro Jerome Shannon, with a truly stellar cast of performers, including rising star tenor William Davenport, nationally-known soprano Sharin Apostolou, and Metropolitan Opera baritone Trevor Scheunemann, L'Elisir d'amore will not disappoint those who already love the genre.

William Davenport as Nemorino. Photo: Mark Garvin 

For those who find the idea of the opera intimidating, L'Elisir d'amore is also the perfect opera for new fans, because it's just really a lot of fun, with fast pacing, a clear storyline, romance and lots of laughs. Of course, the music is stunning, with Davenport and Apostolou leading the story of a young man and woman playing the game of love.

The tale centers around Nemorino (Davenport), and Adina (Apostolou), who have known each other since childhood, though Nemorino is poor and Adina is from a higher class. Adina loved Nemorino as a little girl, but young Nemorino blew it when he found himself distracted by a baker passing with fresh pastries. That fateful doughnut would follow him to adulthood, when beautiful Adina, all grown up, shows little interest in him -- or anyone in particular, really. When she is courted by the flashy soldier Belcore (Scheunemann), Nemorino confesses his love to her, she tells him that true love doesn't exist, and he should be like her and date around. A scammy traveling salesman, Dr. Dulcamara (Stephen Eisenhard, basso buffo), sells Nemorino a phony love elixir. His behavior after drinking the elixir starts to intrigue Adina, she decides to make him jealous, leading to a comical chain of events as the couple tries desperately to get the other to fall in love with them.

Scheunemann, Apostolou, Davenport. Photo: Mark Garvin

Don't worry if you don't speak Italian -- the opera is subtitled on screens on either side of the stage.

Every aspect of the opera, from the magnificent stage sets to the lush costumes, come together to create an experience that's as magnificent visually as it is to the ear. Bring the family, bring your friends, but don't miss this one-weekend-only event.

For tickets, go to operade.org.

Celebrating 20 Years of CTC with the Epic Jesus Christ Superstar

Photo: Joe Del Tufo

In its 20 years of existence, City Theater Company has established itself as a top provider of live theater in Wilmington, while staying just as edgy and cool as it was when it was a burgeoning company. It still calls Opera Delaware's tiny Black Box Theater (one of my personal favorite theater spaces) home. I remember my first visit to a CTC show at the Black Box in the '90s -- I'd recently moved back to Delaware from Philly, the show was Assassins, if I recall, and it was the show that convinced me that you really don't have to go to the big city to see the kind of intimate, offbeat theater that excited me. It was a pretty big deal.

In the past few years, it's been rare that I've missed a CTC show. Remember Reckless? Cruel, Calm and Neglected? Bloody Bloody Andrew Jackson, Bat Boy and Xanadu? Good times.

For its 20th birthday CTC decided to go big: a birthday celebration and fundraiser concert at World Cafe Live at the Queen, featuring Andrew Lloyd Weber and Tim Rice's epic 1970 rock opera concept album Jesus Christ Superstar in its entirety. Having spent my own slightly-past 20th birthday this year with Ted Neeley (who played Jesus in the 1973 film and on stage for decades) in concert at Delaware Theater Company, I was not about to miss this.

CTC's special Superstar live concert was produced and conducted by Joe Trainor, who also -- get this -- sang the part of Judas. Simultaneously. Judas, if you don't know, is the lead, along with Jesus. As soon as I saw Righteous Jolly's name in the lineup in the promo materials, I knew he was going to be Jesus, and I knew he was going to pull it off. CTC fans will remember that Jolly played Andrew Jackson in Bloody Bloody. As Jesus, he stayed in character, bringing the presence the part demands, even as a concert.

The remaining parts, many of which have featured solos, were filled by some of the best local talent, including CTC regulars Kerry Kristine in the female lead role of Mary Magdalene, Adam Wahlberg as Pilate, T.S. Baynes as Simon, Steven Weatherman as Herod, Lew Indellini as Annas, Frank Schierloh and Troy Shaeffer as Priests, and Bill Wilmore, whose bass delivery of Caiaphas was as good as any I've ever heard. The Chorus, made up of Dylan Geringer, Petra Deluca, Emma Orr, Clayton Stacey, and Dana Michael did a standout job, too -- you can't underestimate the importance of a good chorus. Along with a tight 5-piece band, Trainor's production was everything I'd hoped it would be. The only bad thing? It was a one-night-only-event. I'd see it again, no question.

The good news is, Season 20 starts up in December, with CTC's version of Gypsy, followed by The Best of 2.0 Ten-Minute Play showcase, and Bomb-itty of Errors in the spring. For more information, go to city-theater.org.