A Wild Trip to Neverland with Peter and the Starcatcher

The cast of WDL's production, Peter and the Starcatcher. 

Photo by John McCafferty, MJ Mac Productions.

By Mike Logothetis
“No man is an archipelago.” That’s one pearl of wisdom I learned at the Wilmington Drama League’s production of Peter and the Starcatcher – a wildly theatrical “origin story” of one of literature’s favorite mischievous boys, Peter Pan.

Adapted from Dave Barry and Ridley Pearson’s best-selling 2004 novel, the 2011 play was conceived for the stage by directors Roger Rees and Alex Timbers and written by Rick Elice, with music by Wayne Barker. The Tony Award-winning show upends the century-old story of how a miserable orphan came to be “The Boy Who Wouldn’t Grow Up.”

WDL director Rebecca May Flowers utilizes a competent ensemble cast to fully realize the wackiness of the storyline set in the late 19th Century. Creative props and acute stage timing make sure the action never stops. Though Peter and the Starcatcher often employs 21st Century terms, it’s still set at a time when duty often clouded emotion, plus gender and class were defining/limiting characteristics.

It took about 10 minutes for the show to congeal into a coherent plot after unevenly developing the setting and characters with first- and third-person dialog coupled with breaking of the fourth wall. It’s a little much to grasp to start a play, but the WDL does well with what is provided in terms of script. Once the audience is set on who’s who and what’s what, the cast takes us on an enjoyable romp through all sorts of adventures. You won’t need to know “Norse Code” to appreciate the treasures of this production.

The fantastical story includes a spunky girl, an ocean voyage, a cargo of something called stardust, pirates, a shipwreck, mermaids, islanders, and three orphans – one of whom is without a name. While the tale is linear in its construction, the action gloriously yanks us from side to side with funny situations, physical comedy, and hilarious malapropisms.

Molly Aster (Talia Speak) is at the center of it all. Teenage Molly is dutifully bound to her father, Lord Aster (Tony DelNegro), but has a strong independent streak which leads her to discover Ted (Catherine Enslen), Prentiss (Lauren Unterberger), and an unnamed boy (Gianni Palmarini) detained in the cargo hold of a ship called the Neverland. Scheming Captain Slank, played by an excellent Ruthie Holland, has plans to sell the boys and profit from the secret cargo of stardust he’s deviously acquired.

Meanwhile, Lord Aster is aboard the Wasp protecting a trunk containing what he believes is the stardust. When pirates raid the Wasp in search of the magical cargo, both Lord Aster’s and Molly’s plans fly out the window. Molly is compelled to free the boy captives on the Neverland, protect the precious cargo, and save her imprisoned father on the Wasp. Poor nanny Mrs. Bumbrake (Kathy Harris) cannot keep up with her charge, the energetic Molly, but thankfully finds comfort in the arms of flatulent sailor Alf (Catherine Glen). Their love story is a successful comedic side plot within a comedy.

The pirate captain Black Stache (Alfred Lance) is a cyclone of chaos who is “all swash and no buckle.” Lance is outstanding and every time he prowls the stage, your eyes fixate on him. “Now you’re likely wondering, can the fellow before you be entirely evil? Can no compassion uncrease this furrowed brew?” Black Stache says. “Brow,” his pirate lieutenant Smee (Molly Pratzner) corrects. It’s clever wordplay like this that makes this show a must-see. (There’s even a wonderful poetry battle built into the show!)

A special bond grows between Molly and the unnamed boy – who later receives the moniker “Peter Pan” in an interesting and magical way. Molly, Peter and the two other orphans make their way through varied obstacles (e.g., a shipwreck) and antagonists, like the island native Mollusks who menacingly chant Italian food names.

I won’t reveal any spoilers, but I will insist that you are comfortably in your seat at the start of the second act so as not to miss the opening number involving almost everyone in the show. The ensemble cast play multiple roles and is rounded out by Hayley Hughes, Autumn Moore, and Felicia Walker.

Sean Flowers’ scenic design and clever props allow toy ships to become real ones, umbrellas to form a jungle, ropes to define portals, and a blue glove to morph into a bird. It’s all very effective.

Pianist/percussionist Tom Mucchetti provides timely accompaniment to the action on stage while sitting in the middle of all the madness.

From marauding pirates and jungle natives to unwilling comrades and unlikely heroes, Peter and the Starcatcher playfully explores the bonds of friendship, duty, and love. Don’t miss out on the adventure!

This production of Peter and the Starcatcher at Wilmington Drama League runs through November 19 at the theater on Lea Boulevard in Wilmington. Tickets cost $10-15 for both evening and matinee shows. Performances are at 8:00pm on November 10, 11, 17 and 18 and at 2:00pm on November 12 and 19.

“TTFN!” – in other words, “Ta-ta for now!”

See www.wilmingtondramaleague.org.

Mélomanie Premiere Celebrates a Milestone for Local Couple

By Christine Facciolo
Mélomanie celebrated its 25th anniversary at its season-opening concert at The Delaware Contemporary on Sunday, October 29, 2017.

And what better way to mark a Silver Anniversary than with a World Premiere of a composition commissioned to commemorate the Golden Anniversary of a couple known for their devotion to Mélomanie. But more about that later...

Flutist and Mélomanie co-artistic director Kimberly Reighley opened the program with the shimmering notes and flowing contours of Ingrid Arauco’s Silver (Variation diabellique). This was a fitting choice for this particular occasion, as the Delaware-based Arauco composed the piece to mark the 25th anniversary of another ensemble, Philadelphia’s Network for New Music.

Reighley was then joined by Mélomanie harpsichordist and co-artistic director Tracy

Richardson for a talk about the ensemble’s beginnings and accomplishments with Jennifer Margaret Barker, professor of music theory and composition at the University of Delaware.

Reighley and Richardson then came together in a lovely performance of the Sonata in G Minor attributed to J.S. Bach but now believed to be by his son C.P.E. This is a charming work that features a true interplay between flute and harpsichord. The lilting Adagio gives much melodic interest to the harpsichord while the flute plays long notes. The last movement features an extended harpsichord solo which gave listeners the opportunity to hear Richardson’s consummate technique and clear, crisp sound.

Equally charming was Abel’s Quartet in G Minor. This work — scored for flute, violin, viola da gamba and cello — is one of a collection of 10 quartets for this instrumentation. Published in 1794, it is the only quartet to have survived with this specific scoring.

This two-movement work typifies the sort of music one might have heard in the intimate setting of the home of a patron. The performance was very smooth. The players exhibited a fine sensitivity to each other, creating a nice set of interactions that brought out the nuances of this delicately wrought music.

The second half of the program was taken up with the World Premiere of Up to the Light by Mark Hagerty. This was Hagerty’s fourth commission for Mélomanie and one of his most interesting and inventive. The 25-minute work was commissioned by Mona Bayard for her husband Tim Bayard in celebration of their 50th wedding anniversary. Tim is a founding board member of Mélomanie, and both he and Mona are active supporters of and volunteers in the arts and education.

Up to the Light is a work scored for flute, violin, viola da gamba, cello, harpsichord and vibraphone. Hagerty included the vibraphone in a nod to Tim Bayard’s deep appreciation of jazz. Here it was played by guest percussionist, Chris Hanning.

Up to the Light is a musical description of a journey from a troubling experience to one of a positive feeling, all the while retaining the pain of the earlier trauma. In this work, sonorities (i.e., specific harmonies and their arrangements and tone colors), rather than traditional melodies, convey the emotion experienced during the journey.

The work presents three major statements of these sonorities, at the opening, the midpoint and the end. Sandwiched between these statements are passacaglias — sometimes strict, sometimes informal — based on a melody introduced by the flute.

Especially effective was the incorporation of a single orchestral bell, which added a somber or joyous tone, depending on the musical context.

Hagerty indulged Tim Bayard’s love of jazz by skillfully folding the timbre of the vibraphone into the texture and by the subtle introduction of jazz-influenced harmonies into the tonal fabric of the work.

See www.melomanie.org. 

DelShakes' "As You Like It" Tours Community ...and We Like It!

Danielle Leneé as Rosalind and Bi Jean Ngo as Celia.
Photo by Allessandra Nicole.
Courtesy of Delaware Shakespeare.

By Mike Logothetis

The Globe Theatre in London became world renowned by staging William Shakespeare’s histories, tragedies and comedies upon its wooden planks. Shakespeare was a shareholder in the Globe, which meant the more people he got into the building, the more money he made. The Globe became iconic and drew patrons from far and wide to see The Bard’s latest (brilliant) play.

Delaware Shakespeare’s superb production of As You Like It does not have a permanent home like The Globe. Instead, the merry troupe of actors, musicians and staff are traversing Delaware this fall bringing The Bard to locations not typically hip to his iambic pentameter.

Delaware Shakespeare launched its Community Tour last year with Pericles, Prince of Tyre. Community Tour productions play in non-theatrical settings such as multipurpose rooms, cafeterias, gymnasiums and even prisons. The production values are scaled for those spaces, with live music, minimal sets and whatever lighting is available. The year’s production is performed with a cast of eight actors and a musician, which allows for some creative multi-role casting. (In fact, the performance of As You Like It uses an audience member reading from a script to play Hymen in Act V.)

Producing Artistic Director David Stradley told me he looks for spaces that can hold a seated audience between 40 and 120 people in a four-sided arrangement. Stradley stressed that Delaware Shakespeare searches for communities which may be underserved by the arts and whose residents might find difficulty traveling to Rockwood Park for its annual Summer Festival.

The Community Tour is not just making stops, but introducing Shakespeare and the world of live theater to many people who’ve never experienced its wonders. I was pleased to see the actors welcome everyone who entered the cafeteria at Groves Adult High School in Marshallton. Cast members introduced themselves, who they would play, what we might expect, plus exchanged simple pleasantries. In this way, the space became very accessible.

As You Like It follows its heroine Rosalind (Danielle Leneé) and her cousin Celia (Bi Jean Ngo) as they flee the court of Duke Frederick (J Hernandez), who is Celia’s uncompromising father. The pair put on disguises and escape into the nearby Forest of Arden along with court fool Touchstone (Adam Altman). 

 Meanwhile, Rosalind’s suitor Orlando (Trevor William Fayle) has also fled into the woods to escape his exploitive brother Oliver (Jeffrey Cousar). The two lovers cross paths, but Orlando cannot recognize the inspiration for his many romantic poems. A variety of memorable characters also exist in the forest, notably the melancholy traveler Jaques (Liz Filios) who capably utters one of Shakespeare’s most famous speeches (“All the world’s a stage/And one man in his time plays many parts”).

As previously mentioned, there are only eight actors playing the 20-odd roles in As You Like It. It’s marvelous to see Cousar and Hernandez play hot-tempered and then mild, love-struck men in the same production. Altman shined as loyal servant Adam as well as energetic and animated Touchstone. Merri Rashoyan filled four roles (and two genders) skillfully, with her Phebe being a highlight. Only Leneé (Rosalind) and Fayle (Orlando) played one part apiece — but those are meaty parts!

As in any Shakespearean comedy, there is misdirection and love and misplaced blame and redemption — all done wonderfully in this production. A nice touch to the show were the small musical interludes by Joe Trainor (guitar/drum) and Filios (ukulele/accordion). After the show, Trainor told me that Shakespeare had sprinkled partial couplets and text into the script of As You Like It. As no record of a musical score existed, Trainor took it upon himself to compose period pieces to enhance the audience experience. Kudos!

Director Madeline Sayet keeps the pacing brisk and encourages her actors to use the full space. The cast plays to all directions, which connects the action to the audience.

Highlights of the show included the gymnastic wrestling contest between Orlando (Fayle) and Charles (Rashoyan); the ludicrously beautiful facial expressions of actress Bi Jean Ngo; the combined energy of the troupe; the cleverly made trees of Arden; and all those glorious words. If not for Shakespeare’s turns of phrases and rhythmic patterns, his 400-year-old plays would just be old dusty scripts. For instance, Rosalind’s advice on love to Phebe is simply beautiful and timeless.

If, as Rosalind says, “Love is merely a madness,” then I hope newcomers to The Bard fall madly in love with his works, starting with Delaware Shakespeare’s As You Like It.

The autumn Community Tour of As You Like It takes place in venues throughout Delaware from October 25 through November 12. Performances at Baylor Women’s Correctional Institution, Howard R. Young Correctional Institution and Ferris School for Boys are not open to the public. Admission is free with RSVP at info@delshakes.org or 302.415.3373. 

There will also be three ticketed performances ($15-$100) from November 10-12 at OperaDelaware Studios.

See. www.delshakes.org.