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. 

Maggio & Mélomanie Bring Aegean Airs to the DCCA

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

Composer Robert Maggio

Despite rumors to the contrary, modern classical music can be melodic and fun. The lucky audience at Mélomanie’s concert on Sunday at the Delaware Center for the Contemporary Arts got to hear two such works along with some fine representatives of the Baroque and pre-Classical periods.

The program featured the world premiere of Aegean Airs, a piece written especially for Mélomanie by West Chester, Pa.-based composer Robert Maggio. Maggio has been described as a versatile, passionate and eclectic composer. Not surprising since he grew up listening mostly to rock and Broadway musicals. He did not discover classical music or study “serious” composition until college.

Aegean Airs, which takes its inspiration from the composer’s recent trip to Greece, is unmistakably Maggio. The work consists of seven movements, the theme of which is a Delphic hymn the composer discovered on the Internet. The odd-numbered movements are contemporary arrangements and variations of this hymn, while the even-numbered movements draw on the Greek scales, melodies and rhythms of the pop-folk music the composer heard in Athens, Mykonos and Santorini during the summer.

Maggio and Mélomanie are magical. What better way to introduce a piece whose theme is the blending of the ancient and modern in present-day Greek culture than with an ensemble that blends the old and new in performance?

Alec Wilder (1907-1980) is another “fusion-type” composer whose work combines elements of jazz and the American popular song with classical European forms and techniques. His Suite for Harpsichord and Flute provided the perfect showcase for Kimberly Reighley’s superb talents. She produced a full, rich, luscious sonority, ably interpreting the contrasting moods of the three movements, especially the final one, “Keeping the Blues in Mind.”

J.S. Bach’s Suite in G Major for Unaccompanied Cello showcased the playing of Douglas McNames. The Suites for Cello are among the most popular works by Bach and represent a challenge for every cellist. McNames was more than up to the challenge. The Prelude, one of the most recognizable works for the instrument, was wonderfully spacious. But it was in the dances that he was outstanding, full of understated nuances in rhythm and phrasing.

The “style gallant” was nicely represented by Louis-Gabriel Guillemain’s Sonata III in D Minor. The work attempts to create true “conversations” among the instruments and the result was a truly delightful listen.

Speaking of Bach, the concert opened with an engaging and sublime performance of the Sonata in A Major by the pre-Classical composer Carl Friedrich Abel, close friend and concertizing partner of J.S. Bach’s son, J.C. Bach, and one of the last virtuosos of the viola da gamba.

See www.melomanie.org.

A Musically Nostalgic Trip Through Our Favorite TV Memories

Guest Blogger Rebecca Klug is the Manager of Marketing for the Delaware Center for the Contemporary Arts and an enthusiastic advocate of the community-building power of the arts.

The Rainbow Chorale's As Seen on TV! showcase on Friday, March 27, was an entertaining romp through a range of favorite television theme songs and other classic TV moments. The rustic Arden Gild Hall setting and "heavy hors d'oeuvres" — which turned out to be a table laden with fried chicken, meatballs, mashed potatoes, corn, meatloaf, vegan polenta lasagna and a selection of homey desserts — established a feeling of an old-fashioned community get-together right from the start.

The chorus, under the direction of Elinor Armsby, led off with The Muppet Show Theme and moved on to other iconic openers like All in the Family's Those Were the Days, The Big Bang Theory's History of Everything, the Sesame Street Theme, and a medley of themes from classic shows like Laverne & Shirley, the Brady Bunch, Bonanza and I Love Lucy.

No lyrics, no problem! We heard vocal adaptations of instrumental pieces like the Theme from Star Trek, and — in possibly the strongest performance of the evening — Henry Mancini's Peter Gunn. In addition to full-chorus features, musical numbers ranged from a solo performance of David Bowie's Life on Mars sung by Denise Conner to a female quartet singing I Wish I Were an Oscar Mayer Wiener in barbershop style, to a rousing rendition of Friends' I'll Be There For You sung by a male sextet, all dressed in their respective Friend's part.

Between musical numbers, chorus members performed costumed skits — a conversation between Archie and Edith Bunker, a gender-bending Star Trek episode — and recreated classic commercials like "Where's the Beef?," "Mikey Likes It!," and even Saturday Night Live's "commercial" for New Shimmer Floor Wax/Dessert Topping.

Throughout the concert, the audience participated enthusiastically, overpowering "Ed Sullivan's" stilted introduction with shrieks and shouts of "Beatles!!" during a recreation of the band's famous performance of I Want to Hold Your Hand and singing along (with more energy than accuracy) with Schoolhouse Rock's Constitution Preamble. By the time the chorus closed with The Golden Girls' Thank You For Being a Friend, it felt like a genuine and heartfelt send-off to a room packed with still-laughing supporters.

The Rainbow Chorale, established in 1999, is an inclusive, nonprofit community chorus that provides LGBT individuals, friends and allies an opportunity to perform choral music while serving as a positive force for change.

See www.therainbowchorale.org. 

Hands Applaud Lips Together Teeth Apart at WDL

By Guest Blogger, Hope R. Rose

Hope is a freelance photographer and photojournalist. She has been published in Next Level Magazine, Delawareblack.com, el Hoy and other regional publications.

I clutched my pearls at the beginning scenes of Wilmington Drama League’s performance of Lips Together, Teeth Apart (LTTA). The actors spewed uncomfortable words. The diverse audience did not know how to react at such horrific words. Most wanted to laugh but saw that we had neighbors that might not find the humor in it.

The play was directed by Rebecca May Flowers and assistant directed by Ivy Brock. LTTA was written by Terence McNally and takes place with two heterosexual couples spending Fourth of July weekend in a beach house on the very gay-friendly Fire Island. Main character Sally has inherited the beach house from her gay brother who recently passed away due to complications from AIDS.

As the play goes on, you laugh at the characters' close-mindedness. You realize that they live their lives as "what is right is who they are."  What’s wrong is people who are gay, other ethnicities, etc. They fail to acknowledge their own fragilities. They all live in isolation. All around them are people who are enjoying the festivities of the holiday weekend, and they are spending a miserable weekend together, isolated, because they are unable to find anything to celebrate about themselves.

The play continues at the Drama League until Sunday, March 29. Check out this introspective performance that examines the lack of diversity that some people live and their (resultant) isolated lives.

See www.wilmingtondramaleague.org.

DSO Delivers Body and Soul

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

Great composers have a gift for looking backward as they push forward.

The Delaware Symphony Orchestra, under the direction of Music Director David Amado, presented works by three such composers Friday, March 13, at the Laird Performing Arts Center at Tatnall School.

The program featured works by Johannes Brahms (Variations on a Theme by Haydn), Gerald Finzi (Clarinet Concerto) and Jean Sibelius (Symphony No. 2). Brahms knew his Baroque and Classical music well. His love of the old masters was instilled in him by his first important teacher, Eduard Marxsen. Brahms himself would go on to advise younger composers to obtain a thorough grounding in counterpoint. This work frequently refers back to earlier eras of music, using complex counterpoint in places, yet it remains firmly rooted in the late Romantic style.

Finzi’s Clarinet Concerto is everything that the Brahms isn't: Reserved and contemplative. Not surprising, since the composer was seriously traumatized by the deaths of three of his elder brothers in World War I. (He would leave London after the World War II to live in the country, devoting himself to composition, growing rare apples and editing the works of earlier little-known composers.) His work combines influences from the Baroque as well as English folk music tradition, yet like Brahms, his unique personal style shines through.

Sibelius’ Second Symphony is the first major step on a journey that would culminate in the Seventh Symphony which marked his true ambition: The fusing of form and content into an organic and natural unity.

The orchestra was fully engaged from the first note of the Brahms, infusing the graceful march-like theme — which actually is not by Haydn but apparently enough like him to have fooled both Brahms and Haydn scholar Karl Ferdinand Pohl — with a hymn-like solemnity that pervaded the entire work.

Eight compact and wonderfully diverse variations follow, expressing dark brooding mystery in some and joyful exuberance in others. The entrance of the strings in the first variation fast forwards the listener from the 18th Century to late Romanticism. The boisterous variation 6 has all the character of the hunt with horns coming to the fore. The finale is a stirring passacaglia itself a set of variations with the larger variations after which the theme returns triumphantly in full orchestral mode — replete with triangles and piccolos. If ever there was a transcendental moment in music, this is it.

The result was a transparency of sound which kept all the parts in balance and playing off each other nicely.

In the end, the work does have a direct link to Haydn: In the code of the finale, Brahms quotes directly from the second movement of Haydn’s Clock Symphony which he regarded as one of the greatest symphonic movements of the Classical period.

The Finzi Clarinet Concerto was the astute choice of DSO’s principal clarinetist Charles Salinger. His virtuosic playing did this imaginative but rarely performed work proud, being properly assertive in the opening movement and delightfully playful in the rondo-finale. Both soloist and strings were most impressive in their execution of the concerto’s beautiful second movement.

The highlight of the evening was a glorious rendering of the Sibelius Symphony No. 2. In accordance with the composer’s intentions, Amado kept themes restrained in the first three movements, including the touching elegy embedded in the third movement, beautifully introduced by principal oboist Jeffrey O’Donnell.

This restraint gave way to the rising power of the finale, sending the orchestra soaring with a pronounced sense of majesty and bringing the audience to its feet.

See delawaresymphony.org. 

Rock, Rap and a Guy in Sheep's Clothing. Just Another Night in Wilmo

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.

We’re just over half way through Gable Music’s Singer Songwriter Showcase at World Café Live at the Queen when Rick Sabatini looks out at the audience and says, “You just watched a white guy in a sheep costume play a rap song with an acoustic guitar.”

Go ahead, re-read that statement.

Rick Sabatini was that performer, and he was one-sixth of the entertainment provided.

The format — gathering six quality performers to play two 15-minute sets each — has been used and perfected by Gable co-founders Gayle Dillman and Jeremy Hebbel over the past few years.

“The whole thing is a mix of meticulous planning with a good amount of serendipity,” said Hebbel, who has been reviewing applications from musicians from around the country trying to decide which performers to bring to the area for which venues. Hebbel says he and Dillman are now getting more than 50 serious applications a week.

As a prime example of serendipity — the fact that Rick Sabatini was booked at the last minute after another performer fell ill.s

All of the performers Friday traveled some distance to play for the Wilmington audience – Nelly’s Echo, Danny Whitecotton, Brian Dolzani, James Hearne and Stewart Lewis came from places like Connecticut, New York, Pennsylvania, Maryland and Texas.

Throughout the evening, we found ourselves entertained by a variety of musical styles, stories, observations and group dynamics as each musician seemed to be encouraged by the others.

What the audience gets from a Gable Singer Songwriter Showcase is a night of great entertainment from a mix of seasoned professionals and promising newer artists who all seem to be committed to providing a quality show for an appreciative audience.

The next Singer Songwriter Showcase is coming up on Friday, April 17. Do yourself a huge favor and get your tickets now. 

See queen.worldcafelive.com. 

Striking Performance, Powerful Subjects Found in "Searching for Self"

By Guest Blogger, Hope R. Rose
Hope is a freelance photographer and photojournalist. She has been published in Next Level Magazine, Delawareblack.com, el Hoy and other regional publications.

A past performance by Pieces of A Dream dance company.

Expectations and assumptions were not just what I found, as I rushed down to Wilmington Drama League to catch “Searching for Self,” performed by Pieces of a Dream modern dance company.

I assumed and expected to see the athleticism, skewed forms of ballet, along interpretation of some familiar music. I assumed it would be some familiar protagonist, supporting dancers, lights, fabric and all that other good stuff seen in other past dance performances.  What I did NOT expect was the challenge of taking on hidden topics of suicide, depression, along with current social issues that we as a society are “dealing with.”  It was definitely a performance that I am still “thinking” about and how I wish more youth had an opportunity to see.

The choices of music spanned from jazz, folk, hip-hop, rock. The performance was the eighth annual concert performance for Wilmington, hosted at the Wilmington Drama League on March 6 & 7, 2015.

Ashley SK Davis is the Executive and Artistic Director and brainchild for this premier modern dance company. She continues to grow and exceed my assumptions and expectations, every time I witness their performances.

See www.piecesofadream.org.

Check out the Chorale Scene Across All Three Counties (VIDEO)

Content originally posted by ContentDelaware.org.

The Delaware Division of the Arts is dedicated to nurturing and supporting the arts to enhance the quality of life for all Delawareans. 

Take a whirlwind tour of the thriving community chorale scene in all three counties in Delaware, with behind-the-scenes visits to the Delaware Choral Society, Rainbow Chorale, and the Southern Delaware Chorale. 

CLICK HERE TO WATCH THE CONTENT DELAWARE VIDEO>>>

Bootless Stageworks' "Bug" is a Creepy-Crawly Experience!

Melissa Kearney, Geremy Webne-Berhman,
David Hastings and Heather Ferrel in Bug.

I LOVE Tracy Letts! He’s a masterful playwright who’s biting humor peeks through the dark depths of his plays. His psychological thriller, Bug is quite an experience. The play is an engrossing piece of theater -- questioning how far someone will believe in another person’s distorted reality, because of the need to connect with another human.

Director and Scenic Designer Rosanne DellAversano has created a grim environment, which is needed for this ominous tale. Her vision keeps the audience engaged and questioning what will happen next.

Set in a Motel 6-like room in Oklahoma, where a honky-tonk waitress, Agnes White (Heather Ferrel) lives, drinks and does drugs with her friend, Roni (Melissa Kearney), and hides from her abusive ex-husband (David Hastings) who has recently been released from jail. One day Roni visits Agnes and brings a man, Peter (Geremy Webne-Berhman), whom she has recently met. While Roni leaves, Peter stays and begins a fast and tumultuous relationship with Agnes.

Peter has a questionable past. He believes the military has contaminated his body and is now conspiring against him. He draws the lonely and vulnerable Agnes into his twisted world. His reality becomes an escape for Agnes, who is trying to forget her melancholy past and connect emotionally and physically with a new man.

Ms. Ferrel and Mr. Webne-Berhman are compelling as Agnes and Peter. She evokes great sadness and despair, while he evokes madness and fear; think Norman Bates, appearing innocent, but truly menacing. Mr. Webne-Berhman’s glaring eyes easily make the skin crawl -- like feeling a bug walking up your arm. However, it is hard to understand him towards the end of the play, due to his lisp caused by his character’s self-induced mouth-infliction.

Bug is not for the faint of heart, but it is a unique play that will ignite great conversation after leaving the theater. Bug runs through March 14, at St. Stephen’s (1301 Broom Street, Wilmington).

See www.bootless.org.

Angela Sheik Rocks the Queen

This post appears courtesy of IN Wilmington's blog - view the original post here...

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.

If the only thing Angela Sheik had to offer was her vocal range, it would be worth going to her show.

If the only thing Angela Sheik had to offer was her quirky-yet-profound songwriting style, it would be enough to draw an audience.

But, when you add in the talent of playing multiple instruments, both performing and engineering magical soundscapes while engaging the audience with fun asides and deep revelations, then you find words like “genius” and “brilliant” woefully inadequate to describe the talent of Angela Sheik...

Sheik started her concert Saturday evening at World Cafe Live at the Queen without introduction, fanfare, or words. While the overflowing crowd was caught up in conversation, Sheik made adjustments to her instruments and microphones, then started tapping her microphone in rhythm, laying down the first track of what was soon to become a multi-layered musical piece that silenced the crowd as they realized an alchemist was on stage adding ingredients to a formula that transformed seemingly simple sounds into auditory gold.

The last time Sheik played material from her latest project before a Wilmington crowd, she did so with the help of more than a dozen other musicians. This time she was trying to produce the same sounds solo – playing all of the instruments and feeding them through her loop machine, then adding her rich vocals.

The question is, how many instruments does Angela Sheik use in a performance like this? And the answer depends on your definition of instrument. Keyboard, accordion, xylophone, flute, auto harp, triangle, theremin – yes, those count. But what about the tapping on the microphone that sounds like a bass drum? What about the loop machine? Is that an instrument? What about when all of the music is fed through the theremin? Does it become a different instrument? And what about the point where Sheik instructs the audience to get out their smart phones, go to AngelSheik.com, scroll down the right column and click on the red box that says “play along” so they can pick a track to play while she sings “Evening Calls”? Does each phone count as an instrument?

Sheik's music explores a variety of themes, from love and loss to the struggle with ego – all in a way that forces the listener to engage as more of a participant rather than passively listening. Sheik takes the audience to new and different places throughout her show – and the audience seems to enjoy every turn and discovery.

See angelasheik.com. 

Sinkane Brings A Distinctive Music Experience to Arden

By Guest Blogger, Alex del Tufo
Alex is a high school student attending Wilmington Friends School with an interest in journalism as a major. She is an editor for her school newspaper, has served as an intern at Out and About magazine and has written for WXPN’s website. Alex hopes to expand her love of music and writing through helping with our blog.

Delaware’s local venue, The Arden Gild Hall, was honored to have Sinkane grace the stage on Friday, February 13. Sinkane is the stage name for Sudan native, Ahmed Gallab. He was accompanied by two backup guitarists and a drummer. The quartet’s individual skills accented one another perfectly. Sinkane’s unique musical style was introduced by Brooklyn band, Cookies. Their electronic style worked well with the electronic aspect of Sinkane, but Cookies’ female vocals and more pop sound contrasted in an interesting way.

I think that one of the most interesting parts of Arden Concert Gild performances is the variety. This was especially the case for Sinkane; I saw audience members ranging from teenagers to elders, all enjoying the music together. If you have never been to Arden’s Gild Hall, it is essentially an open room with a stage. For this performance, the room was about one-third chairs and the rest was open for dancing and roaming. I thought that this gave the show a laidback feel but let the audience appreciate the music more. Specifically, a few especially excited dancers enjoyed themselves in the back of the room.

Describing Sinkane’s musical genre is a near impossible task. I can say with ease that I have never heard anyone that has the same style or skillset as him and his band. According to wikipedia he is categorized as “krautrock, free jazz, and funk rock with Sudanese pop.” To tear that apart a little, krautrock is a style of rock with a more electronic sound. Although Gallab grew up in Sudan, he was born in London. This could explain his reasoning for the aspect of krautrock in his music, which has European roots. Free jazz is essentially a more unconventional style of jazz that fits well with the other genres of his music. The most complex part of his music style would have to be the Sudanese pop. This clearly was influenced by his Sudanese heritage. Sudanese pop is a blend of traditional Sudanese music -- violin, bongo, etc. -- combined with influences from American pop stars.

I thought that Sinkane’s distinct sound was not to be missed and their music combined with the atmosphere of the Gild Hall made for a perfect winter night. Sinkane and Cookies truly set high expectations for future performers soon to come to the Hall. I don’t think that Sinkane was for everyone just because of his “out-there” style, but I believe that anyone who is open to new music should really give him a listen. Spending my Valentine’s Eve with Sinkane was an excellent decision and, as an Ardenite, I hope to see him and the band return in the future.

See www.ardenconcerts.com. 

Visual Interpretations of Oscar Wilde's Salome at Delaware Art Museum

Salomé, 2011, Barry Moser

Oscar Wilde had quite a reputation as a provocateur in late 19th Century Victorian England -- and it's that reputation, as well as his wit and his sexuality, that people commonly remember today, even moreso than his work.

In the early 1890s, shortly after the publication of his famous (and only) novel "The Picture of Dorian Grey," Wilde became a success as a playwright. The one-act play  "Salomé" was written in French after a conversation about the Biblical story of John the Baptist inspired him. Wilde, of course, was Irish, and he usually wrote in English. He chose the language because of his love of France -- the country he would retire to after he served jail time for “gross indecency with other men” just a few years later.

“Salomé” is short and brutal, centering around a beautiful young woman living with the stigma of her mother's accused incestuous marriage to get stepfather, Herod II. When John (referred to as C) insults her mother and spurns her, she exacts her revenge: When Herod offers her anything she wants if she dances for him, she chooses Jokanaan’s head on a platter. Literally.

Salomé Kisses the Head of Iokanaan, 2011, Barry Moser

The Dancer's Reward, 1906, Aubrey Vincent Beardsley 

Salome was first published in English in 1894, translated by by Wilde's lover, Lord Alfred Douglas, and with illustrations by Aubrey Beardsley. The translation was more flowery than Wilde's style, the illustrations, compared to “the scribbles a precocious schoolboy” by Wilde himself, are sometimes over the top. In 2011, Salome was re-translated by Joseph Donohue, in a style that most agree more closely fits with the way Wilde originally wrote it in French. The illustrations for this version are by Barry Moser; the etchings, in contrast with Beardsley’s style, have an almost photo-realistic look.

The cistern, 2011, Barry Moser

The exhibit starts with Moser's work. This seemed backward to me at first, but as I went through the room, it made sense. Moser's illustrations, placed in chronological order tell the story in images. By the time you get to the last one, you have his idea of what Salomé was really about (the captions on the wall help if you’re not familiar with Wilde’s version of the story). Moser sets a dark mood, featuring a diverse cast of Romans, Nubians, Jews, and Nazarenes. The etchings convey the feel of a stage play, or at least the feeling that real people are being portrayed.

"Let me kiss your mouth," 2011, Barry Moser

“Let me kiss your mouth” shows Jokanaan, the object of Salomé’s desire, despite his almost emaciated appearance, refusing her advances. Wilde plays with sexual objectification — Salomé is seen on both sides of it, and she commands the power position at all times, at least in her own mind. After Moser’s interpretation comes Beardsley’s. The two collections couldn’t be less alike, but, while Moser’s etchings are stunning, Beardsley’s are not inferior — just wildly different.

The Stomach Dance, 1906, Aubrey Vincent Beardsley 

Beardsley’s illustrations have a look that more closely resembles political cartoons, and he was pretty clearly making some statements of his own that weren’t actually in Wilde’s work -- for example, there is homoerotic imagery where there was none on “Salomé,” and Wilde is caricatured more than once (and not in a flattering way). In a couple of instances, Beardsley’s original submissions were rejected for being too bizarre, sexual, or off the map; the Rejected and Accepted versions are displayed together.

The Peacock Skirt, 1906, Aubrey Vincent Beardsley 

Despite Wilde’s criticism’s of Beardsley’s work, the lithographs are quite beautiful and captivating. “The Peacock Skirt” look as if it could be a high fashion illustration, but it does highlight the almost detached interpretation, as it doesn’t directly refer to anything in the play. As an exhibit as a whole, “Salomé” bridges over a century, showcasing a great difference in aesthetic. Some might argue that the Donohue/Moser update righted the wrongs of the 1894 Douglas/Beardsley collaboration -- and there’s little doubt that the update more accurately captures Wilde’s words as they were intended. But to be able to look back on the 1894 artwork in conjunction with Moser’s enhances the timeliness of Beardsley’s work. It was both a reflection of and a rebellion against its time, which is something that can’t be truly captured in the 21st Century.

See www.delart.org. 

Fringe Wilmington Prepares for Its First Film Festival!

This post comes courtesy of a CityFest press release.

The City of Wilmington and Cityfest, Inc., the City’s nonprofit cultural programming organization, are excited to announce the FilmFringe Wilmington Festival that will take place from Tuesday, February 17 to Sunday, February 22, 2015 at Theatre N at Nemours, 1007 North Orange Street, in downtown Wilmington.

The 2015 Film Fringe Wilmington Festival will include the popular annual Extreme Filmmaking competition and screenings of independent films by local, regional, and national filmmakers.  Fringe Wilmington is Delaware’s only multi-day celebration of unconventional art.  In previous years, Fringe has been a single festival in the fall, which included live performances, film and visual offerings.  This year, the Fringe Committee has separated each of the disciplines into their own five day festival, starting with performing arts last November in Live Fringe, followed by Film Fringe in February 2015, and Visual Fringe in May 2015.

Film Fringe kicks off with a free Preview Party, where trailers will be featured for each film of the festival.  The Preview Party will also include a screening of the Extreme 5-minute Filmmaking entries, including an awards ceremony to announce cash prize winners of the contest, as well as Fringe-inspired cocktails by The Painted Stave Distillery of Smyrna, Delaware.

In Film Fringe Wilmington’s inaugural year the committee was excited to receive more quality entries than could be screened in the initial four days of programming allotted.  As a result, the Preview Party has been scheduled for Tuesday, February 17 to allow for a full five days of films. In the day’s following the Preview Party, film novices and enthusiasts may sample a wide variety of film genres, ranging from dramas to documentaries, comedies to action.  A few highlights include an entire evening dedicated to music documentaries on Friday, February 20 and ‘An Afternoon With John Evans’, the world-renowned filmmaker on Sunday February 22. 

Tickets are available on the Fringe Wilmington website at www.fringede.org and will be available at the Preview Party, as well as at the Theatre N box office immediately prior to each showing.  Individual ticket prices are $5.  Audience members can also purchase a 5-film pass for $15 or a 10-film pass for $25.  Fringe Wilmington continues its model of providing 100% of ticket sales to participating filmmakers.

To learn more about Film Fringe Wilmington Festival and see the 2015 Film Fringe Wilmington selections, visit www.fringede.org or call Jeni Barton at 302.576.2135.

WDL's "Leaves" Delivers Powerful, Poignant Message About Illness

By Guest Blogger, Alex del Tufo
Alex is a high school student attending Wilmington Friends School with an interest in journalism as a major. She is an editor for her school newspaper, has served as an intern at Out and About magazine and has written for WXPN’s website. Alex hopes to expand her love of music and writing through helping with our blog.

Wilmington Drama League (WDL) staged another outstanding performance this past weekend. Lucy Caldwell’s Leaves was a brilliant, heartbreaking portrayal of the effects of depression on a young woman and her family.

The play surrounded a seemingly average Irish family and their everyday struggles. It is revealed that the cause of many of their problems is the oldest daughter’s recent suicide attempt. I thought the storyline was extremely unique because of the focus on the effects of mental illness — not only on those who are personally affected by it, but also the impact on those who have known and loved them their entire lives. The damaged relationships and interpersonal disconnects are a side of depression not often discussed or presented. WDL did an excellent job of leaving off the “sugar-coat” to show the audience the truth about the widespread effects of having, or living with a person who has, a mental illness. The downplay of diseases such as depression is an enormous problem that I believe this performance is trying to help eradicate.

I don’t think WDL could have found a better cast to portray the intense roles required for the show. The cast ranged in age from 7th Grader to adult, and each of them equally talented. What made their performances even more impressive was the added Irish accents. Caldwell, the writer of Leaves and an Ireland native, would have been impressed by the authenticity in their portrayal of a typical Irish family.

In addition to the excellent cast, this play was significant for WDL because of the two young directors leading the show. Mollie Montgomery and Cassey Moore — both high school students — co-directed this show without the help of adults. I think this made the actors’ performances even more impressive. Their direction and interpretation was both inspired and unique. I don’t think that many adults have the skills that these two young students have.

An aspect of Leaves that made it particularly outstanding was the display of artwork by Emily Spiegel and Michael Curcio. Emily and Michael were two young local artists recently lost to suicide. Their works were displayed in the front lobby and added a more personal depth to the show that the whole audience could feel. There was also the option to buy tea for $1 to support ContactLifeline, a Delaware-based 24/7 suicide hotline. In addition, $1 from each show ticket was donated to the ContactLifeline. I thought that this was an excellent benefit to a beautiful performance.

I thought this production was excruciating in the most unbelievable way. This show was not for those looking for a relaxing night out. From start to finish, the show was intense and evocative, with glimmers of humor here and there. The ending came off as an "it's all better now" conclusion, but left me wondering what was implied for the character's futures. I think that Wilmington Drama League did an extraordinary job of executing this provocative production.

See www.wilmingtondramaleague.org. 

Nora, the Early Feminist, Shines at DTC

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

A Doll’s House, Henrik Ibsen’s play about a child bride coming to sudden maturity and walking out on her family, caused quite a stir when it opened in 1879.

A century later, Ingmar Bergman — feeling Ibsen didn’t go far enough — reworked the long-winded script into a taut drama with only five major characters and re-titled it simply Nora.

The Delaware Theatre Company’s production of Bergman’s searing reduction grabs viewers from the outset and never lets go.

The play tells the story of the (seemingly) happy marriage of Thorvald and Nora Helmer. Through exposition we learn the backstory: Thorvald was ill and needed a year in Italy to recover. Nora, ever the good wife, took it upon herself to borrow money from the unscrupulous Krogstad whom Thorvald decides to sack when he gets promoted to bank manager. Krogstad decides to blackmail Nora to keep his position because not only is it amoral for a woman to borrow money (plus her husband abhors debt — an odd position for a banker) but he figures out she forged her father’s signature on the note (dated several days after his death).

When the truth comes out, Thorvald flies into a rage and disowns Nora, bemoaning his fate that now he has to acquiesce to Krogstad’s wishes because of her mistake. But Nora’s friend (Mrs. Linde) talks to Krogstad, who turns out to be her long lost love, and he agrees to tear up the promissory note. Thorvald is relieved and contented to go back to the way things were. But Nora has had an epiphany: She realizes she has been little more than a doll to her husband — a pretty doll that performs tricks — and that they are not partners, because a true husband would have taken the blame and defended his wife’s honor. She decides she has to stop being a doll and learn who she really is and what life has to offer. The play ends with a stunning climax which, for its time, was controversial to say the least.

Bergman’s script focuses on Nora, driving home the divisive (for its time) theme — women’s rights — even though Ibsen claimed he did not seek to promote the women’s rights movement. The play is concise and succinct and the action never abates. Thus the audience feels engrossed in the main story without getting distracted by a welter of subplots.

All five actors worked well as an ensemble. The standout was Kim Carson whose journey from naïf to mature explorer was clear, nuanced and genuine. David Arrow plays a domineering Thorvald who can at the same time be playful and sexy with his wife as he fulfills his role. His anger — laced at times with bewildered incomprehension — is scary but his loss at the end of the play is palpable. Kevin Bergen supplies a death-darkened and doting Dr. Rank; Susan Riley Stevens a world-weary almost embittered Mrs. Linde. Chris Thorn offered an effective Krogstad, ineffably moving at his pivotal points.

Alexis Distler’s set and Esther Arroyo’s costumes were aptly period. Christopher J Bailey’s judicious lighting design supported intensity levels agreeably.

Director Michael Mastro kept the show moving at a brisk pace with a consistent driving energy.

See www.delawaretheatre.org. 

City Theater Company's "Barely Legal" is All About Improv

This review is reposted courtesy of The News Journal. Original article by Holly Quinn published 2/2/14. 

Photo by Joe del Tufo

City Theater Company is celebrating its 21st birthday, and you can join the party at the Black Box at OperaDelaware (still set up Irish Pub style from CTC's recent production of 'James Joyce's The Dead'). 'Barely Legal' is an evening of improv, featuring CTC's own Fearless Improv troupe and a rotation of Philadelphia improv acts, for an unpredictable night of entertainment. READ THE ENTIRE REVIEW >>>

Mélomanie at the DCCA with La Bernardinia Baroque Ensemble

Night Watch by Dan Jackson

A grey Sunday in February brought an overflow crowd to the DuPont 1 Gallery of the Delaware Center for the Contemporary Arts. The big crowd was made to order to create the most wonderful acoustic effect in the small room with the cold hard stone floor, so that Mattheson’s Sonata in G Minor for two harpsichords played by Marcia Kravis and Tracy Richardson sounded clear, crisp, rounded and exciting. Swirls of sounds flew as they traded fast scales and flying double thirds.

After the harpsichord duo, guest artists La Bernadinia Baroque (Donna Fournier, Rainer Beckmann and Marcia Kravis) performed the Ciacona allegro, also a Baroque piece by Benedetto Marcello –Following this, the entire Mélomanie ensemble playing Menuet-Fantaisie – a modern musical interpretation of Baroque music with a recurring motif passed from instrument to instrument, which they had commissioned Anthony Mosakowski to write in 2012. The composer, who introduced the piece, seemed as pleased as the rest of the audience.

The delightful and melodic Allemande and Sarabande, from a different harpsichord duo suite by Mattheson, brought us back to Baroque comfort and lute stops until we were blasted into the 21st century by Tracy Richardson and Rainer Beckman in their interpretation of Liduino Pitombeira’s Sonata for recorder and harpsichord no. 2, Opus 156. Mr. Beckman, who knows Brazil and the composer, introduced the piece and showed that he can make the alto recorder leap forward a few centuries to create a sound reminiscent to honor Stravinsky, Boulez and Bartok.

And, following that tradition of lulling us with Baroque delights and then rocking us out of chairs with modern sounds on Baroque instruments, the two groups played a delightful rendition of a Vivaldi's Concerto in G Minor, RV 107 in which the alto flute (Kim Reighley), soprano and alto recorders (Rainer Beckman) and Baroque violin (Christof Richter) performed as soli and Doug McNames (cello), Donna Fournier (viola da gamba) and Tracy Richardson and Marcia Kravis on harpsichords performed the orchestral continuo.

After the raucous applause for the great sound of the Vivaldi, the larger ensemble played an encore of a Chaconne by Jean Baptiste Lully. The experience was heightened by the surrealistic art of Dan Jackson on display in the gallery – the faces in his works so photographically alive and vivid that they seemed to have been listening as well.

See melomanie.org.