Two Cultures: Many Perspectives

Always during the Wilmington Art Loop something really catches my eye. This time it was Tanya Murphy Dodd’s mixed media artwork entitled Shadows of a Journey and a presentation of photography Socialism of the 21^st Century by Gabriel Pilonieta and his son Esteban Martin Pilonieta Vera. Both exhibits used photography to tell the story of a people.

The muted tones of Tanya Murphy Dodd’s scenes added to their warmth and historical flavor. The artist told us she used family photographs, antique photographs as well as her own. The photographs of soldiers, farm sites, churches and other powerful icons in African-American life are worked into her art and help create images that are rich in story. Dodd often paints into, around and over the photographs, which she uses as a starting point. Be sure to visit the Christina Cultural Arts Center to see this fabulous, unique work. (See image, top.)

See http://tanyamurphydodd.blogspot.com/.

The Market Street Brew Ha Ha seemed the perfect location for the photography of the father and son team, Gabriel Pilonieta, editor of El Tiempo Hispano, and Esteban Martin Pilonieta Vera (EMPV) senior in the BFA program at the University of Delaware. Though I found myself wishing these photographs had been mounted or framed, the tacks holding them in place on the cramped wall seemed apropos. Immigrants from Venezuela, the men, now both living in Delaware, returned to their homeland and took bold, sorrowful pictures of the people and streets of the villages. Often, the photos included images or posters of socialist propaganda juxtaposed with blatant visions of extreme poverty. The wonderful detail of humanity and the vibrant countryside tell the story of a tough struggling people. (See image.)

See http://sefuepalnorte.blogspot.com/.

Hunter Clarke, Mark V Turner & Michael Kalmbach in the April Loop

Walking up the steps of the Mezzanine Gallery of the city’s Carvel Building, I was greeted by a small girl pushing her head through a gap in the railing and calling, “I can see you, Mommy!” I could not see who greeted her, but it was Hunter Clarke, the artist whose exhibit Aerial was opening in the Mezzanine Gallery. She had created a work especially for the small space with high ceilings: strips of vellum painted with bright acrylic silhouettes of predatory birds and what I thought were wolves, but Clarke, who seems to be an animal buff, said, “Actually, they are African dogs.” The piece is entitled Into the woods, 2010 and I hope it gets a new home after this exhibit ends on April 30. Pictured above top is an enlarged version of one of the many very small paintings Clarke grouped in nines. Clarke used bright colors to feature many animals in this exhibit – some acting on their natural predatory instincts, some enduring their fate, and some facing the viewer with a steely stare.

Was delighted by Mark V Turner’s exhibit of acrylic on paneling at the Wilmington Institute. Turner is a member of Delaware by Hand. (See 1/24/10 blog). Visiting artists tried to figure out how he achieved the tactile feel of layers and three dimensional illusion with acrylics. Turner’s vivid portrayals of doors in New Orleans have purples and other outrageous colors which blend into a realistic imagery.

Spectrum: contemporary color abstraction (open until August 1) left me with more questions than answers. I read that curation of this exhibit was started by Carina Evangelista (who is no longer at DCCA). Some local artists were included and others were selected in another way….open competition? Well worth seeing, in particular, Michael Kalmbach’s work on outdoor carpet wrapped in clear plastic and decorated with an abstract of acrylic and chains of dots. Second picture.

See http://www.hunterartist.com/.
See http://www.artsdel.org/.
See http://www.delawarebyhand.org/.
See http://www.markvturner.com/.

A Lively Talk at The Mohawk

On a recent sunny afternoon, I headed down 9th Street to pay a long-overdue visit to the infamous Geoff Blake, otherwise known around town as the statement-making "Red Mohawk". True, he is that, but so much more. My hour-plus visit to his corner gallery, with sounds of early 90s Depeche Mode setting the mood, found us settling into an informal rap session with several of Wilmo's "Who's Whos" and characters alike. It was a blast. Example: As I arrived, an attractive young woman exited, having just finished a photo shoot of sensuous "pinup" shots. ("Does this happen everyday?" I asked.)

Mohawk's a 2005 UD grad in Photography with strong local ties. With Red Mohawk Gallery, he has created an amazing buzz around town, hosting monthly exhibits and events, providing opportunities for artist hangouts and generally serving as one very cool -- and identifiable -- champion of downtown's revitalization efforts. He worked nearly two years as the right-hand man for rock photographer/personality extraordinaire, Mark Weiss, a position which stemmed from a serendipitous visit to Weiss' studio with his musician friends.

In addition to his own work, his gallery currently features pieces by six Delaware College of Art & Design students. He describes his own work as "low-brow pop surrealism with a gritty tone". I describe it as art that will make you do a double-take; you may laugh wildly, you may cringe, you may be puzzled, but you'll take notice.

Blake welcomes emerging and established artists to drop in and show him what they've got. He wants to cultivate partnerships with local photographers to shoot and print at Red Mohawk, and he has a space below the gallery that he'd like to make available as a workspace for other artists. He wants his gallery to be a "...place where good stuff comes out of." Blake notes, "That is kind of the feel for the entire street...we want to create a 'diagonal of cool' here."

As we talked, we were joined by Wes Garnett, Jr. and Steve Roettger -- the guys behind the CoIN Loft -- who agreed with Blake's sentiments. "Your city is defined by your culutre," noted Garnett. "We're trying to create a '3rd Place' here, a neutral spot that is home to the entire community." In my opinion, they're all well on their way. Copper, a restaurant and catering business tied to the already launched CoIN Loft, will open in mid-July. To their description, the focus will be "the people, the libations and the menu". They're all about the partnerships and expanding the buzz, too. "Red Mohawk is all about showing the stuff that young people are into and pricing it so that all people can buy," Garnett said.

Joining us shortly into the conversation was, as Blake referred to him, "the Messiah of 9th Street" Chris Winburn of Preservation Initiatives. Winburn envisions 9th Street as the center for designers, fashion and the like. He heralds the foresight and leadership of Red Mohawk and The CoIN Loft, and hopes their efforts will spur the energy forward.

Finally, just to keep it interesting, we were interrupted by an array of salespeople and a "questionable" female artist. Blake laughs and says that he's also visited by Wayne, a homeless sage who advises him to be wary of Socialists carrying venereal diseases.

As I left, I felt so jazzed about the potential for this end of town led by "Red Mohawk" and his counterparts. Come down to 9th and spend some time...maybe buy some art and enjoy some suds or vino while you're there.

See http://www.redmohawk.com/.
See http://www.thecoinloft.com/.

From Russia to Delaware, with Love

People in Wilmington are always talking about the city’s small-town feel. Take that small community, and divide it many times over, and you have the dimensions of a very dense, interconnected Arts community thriving in Delaware and Greater Philadelphia.

Fellow blogger Margaret Darby and I were recently at the Exchange on Market after our performance at the Wilmington Library. We struck up a conversation with two dashingly handsome and personable waiters, Jake Allison and Nukri Mamistvalov, who turned out to be dancers from First State Ballet Theatre. They encouraged us to attend their upcoming performance of Swan Lake.

Graciously, the company’s artistic director, Pasha Kambalov invited me to attend a dress rehearsal of the famous ballet, choreographed to Pyotr Illyich Tchaikovsky’s glorious music. This vibrant young company has its roots in the Donetsk Ballet. Originally the Russian Ballet of Delaware, the company celebrates its tenth anniversary this season. Pasha Kambalov and his wife Kristina, ballet school director, are co-founders of the growing company, which is based at the Grand Opera House.

Swan Lake is the epitome of true classic ballet: graceful lines and delicate beauty based on a tragic fairy tale. Angela Zintchenko was lovely as the ill-fated Odette-Odile, paired with Justin Estelle, a convincing Prince Siegfried. Outstanding was Mamistvalov as the villain Von Rothbart as he cut an evil swath through the stage with his mysterious black-feathered costume. During a dress rehearsal, one often gets to see a director’s vision in its final stages of realization. Because it was the company’s first rehearsal for the production on the main stage, Pasha Kambalov was tweaking the spacing and overall look of the production. His gentle, yet firm direction to the dancers resulted in refined and beautifully spaced tableaus.

Next year, the company’s production of The Nutcracker will include a live performance by The Delaware Symphony Orchestra, since last year’s collaboration on the selections from the work was so successful.

See: http://www.firststateballet.com/.

Ten Months: Connecting with Wilmington’s Voices

Under siege and starving for change: that’s how our city is portrayed in Anna Marie Cammarato’s Ten Months, The Wilmington Voices Project, at the Delaware Theatre Company. The bare, white scaffolding onstage—intended to represent ongoing urban development—underscores the empty, gritty feeling of many Wilmington streets. Projected family snapshots, videos and archival photographs from the Historical Society of Delaware created a rich, striking sense of people and place. Wilmington is “a city with a broken heart,” as one character suggests. Cammarato, who conceived and directed this powerful production writes, “I cannot think of a better forum than our theatre to show everyone that there is poetry, pain, sorrow and true beauty in our everyday thoughts, conversations and dreams.”

The docudrama takes us through the heyday of Market Street with its upscale department stores and lively crowds, to the riots of 1968 and subsequent national guard occupation (lending to the title “10 Months”), the days of “white flight” and to the present—when shootings and violence are a stark reality, juxtaposed with the serenity of newly rebuilt neighborhoods. Using interviews, poetry and material from the Facebook page Tired of All the Killings in Wilmington :(. Cammarato creates a riveting, multi-faceted drama. Adding to the rich tapestry of the evening was the Delaware Historical Society’s lobby exhibit Full Circle: A History of Change on Market Street, which featured photographs of the street from over the years.

Three actors, Ben Cherry, Taïfa Harris and Erin Moon, each play several roles: teenage, middle-aged and older “voices” of different races, genders and backgrounds. The actors are moving and convincing as they glide effortlessly into the different personas. The two white Middle Voices have names, yet the African-American is simply “Woman,” perhaps suggesting both the facelessness and universality of her story: she stands each day on a city street, holding a poster of her murdered son, asking passersby to look at his picture and think about the meaning of his life and death. Her words become a theme, a stark reminder of the city’s brutal, senseless violence that weaves through the play, as she repeats her story like a chant.

After the show, I had the pleasure of speaking to Taïfa Harris, NYC-based actress. Her excitement about the production and her experience of Wilmington was contagious, and she encouraged us to return for the second act of the show, which includes an informal discussion with some of the people interviewed for the project. Though one audience member I spoke to felt the show perpetuated the misconception of Wilmington being an uninhabitable city, I found the production to be honest, poignant and, yes, full of hope.

See http://www.delawaretheatre.org/.

Reaching Through Roots

The Delaware Symphony Orchestra’s New World, New Music concert took us across the ocean, borders and back to our American soil. It was the ensemble’s premier of Chris Thile’s Mandolin Concerto, “Ad astra per alas porci” (To the stars on the wings of a pig). Also on the program were Aaron Copland’s El Salón México and Antonin Dvořák’s beloved From the New World (Symphony No. 9, op. 95, E minor).

Informative and light-hearted, the pre-concert talk by Music Director David Amado and Mark Mobley, Director of Community Engagement, included information about the upcoming season, and the DSO’s first CD, (This fabulous CD scheduled to be released this week, features the LA Guitar Quartet and music of Joaquin Rodrigo and Sergio Assad.)
During these forums, I always learn some interesting details about performance practice or musicology not found in the program notes: Amado talked about the pleasures of collaborating with composers and performers and the challenges of reading and interpreting Dvořák’s messy manuscripts.

If ever there were a way to combine bluegrass, “classical” music, jazz and rock n’ roll, Chris Thile has found it in his Mandolin Concerto. The first movement, “A March, a Waltz and a Jig” introduced us to the variety of sounds he is able to pull from this diminutive instrument. Slightly amplified, Thile whips out a partly improvised cadenza. As a siren from the street chimed in, a wide smile spread across Thile’s face. It continued on, weaving itself into the texture of the music. After the concert, he told me he thought for a split second the siren might have been an instrument entering just a half step under pitch. As a veritable “Jimi Hendrix” on the mandolin, Thile often seemed surprised by his own prowess, and the instrument almost appeared to be playing him. The second movement, “Air on the F Train” (clearly a play on words- who isn’t dying for air on the F Train?), embodied the lurching of that old train on its tracks. The melodies, weaving up and down and back again, came to a peaceful resolution. In the last movement “The Fifth Glass” the orchestra itself became a large mandolin as the playful repartee between instruments and sections mirrored that of the soloist. Thile graced the audience with a striking rendition of the Gigue from Bach’s Violin Partita in D minor. His phrasing was both stylistically appropriate and deeply musical, even though he had joked the string section to put on their invisible earmuffs.

Amado created an onstage utopia with his interpretation of Dvořák’s symphony. Dvořák bends and twists distinctly African American sounding melodies into brooding large swaths of sound. His style is reminiscent of Brahms’: a tragic melody tries to interrupt the calm setting, with brass and timpani taking over. The entire orchestra seemed to be joined by some invisible forces and the beauty of the music was sometimes heart breaking. The audience rose to their feet at the end of the concert, and it was clear the players had enjoyed their experience. As I left the Grand Opera House, Doris Loder (Viola) told me the Dvořák touches the soul, and that she was so glad have the opportunity to play the concert again on Saturday.

See: http://www.desymphony.org/

Going Local, Going Original!

Kicking off a marathon month of original works, Bootless Artworks presented Simply Short: An Evening of One Acts. City Theater Company follows up with By George! a collection of short plays by the company’s resident playwright and actor, George Tietze. Rounding off this exciting month, the Delaware Theatre Association will present the daylong DTA Fest at Middletown’s Everett Theater on March 27.

Bootless Artworks’ presentation of Amanda Healy’s Coffee and Rain, directed by Malika Oyetimein, is a drama that unfolds on a New York City street and explores a difficult mother-daughter relationship. The Homeless Man, played by Brooks Banker, controls the setting as he snaps his fingers, adding wise, magical commentary and giving depth to the work.

Joseph Pukastch’s hilarious Nectar provides a window into a support group for those with bizarre sexual fetishes. Andrew Mitchell as Joshua is wildly funny as he exposes his “vegesexual” desire for fruit plates and salads. Puktasch, who also directs the production, has a gift for rich, playful language. He leaves us wondering about the “teasing with a tilapia” and the havoc “otherness” and obsession can wreak in a person’s life.

Prelude to a Kiss is a sweet drama of love gone wrong between a man and his new bride. Artfully pared down to a one-act format by director Rosanne DellAversano, the play is moving as it touches on themes of lost love and innocence. Lindsey Burkland (Rita) was lovely as both the young bride and her “body-snatched” double. Along with Nectar, this Prelude will be presented at the DTA Fest.

In BY GEORGE, Tietze’s short plays are billed as comedies, though some of the material is distinctly dark. He doesn’t shy away from difficult or squirm-worthy subjects. The opening piece, G Dub, directed by Kevin Regan, is a farcical scene of George Washington and his lackeys paddling across the Delaware. As George, Brian Couch is vain and absurd. Like Pukastch, Tiezte gets mileage out of “therapy” theme: In his two-person play A to Z, directed by James Kassees, Kate Brennan is the unloved, misunderstood wife (She) who tries techniques she has learned in couples therapy on her beleaguered husband (He), played by Anthony Bosco. The actors handle Tiezte’s rapid-fire repartee and shifts in power with finesse, and the scene comes to an interesting climax and somewhat unexpected resolution.

Outstanding was Voodoo Barbie, a dark and almost unwieldy comedy, directed by Todd Holtsberry. Melissa Dammeyer’s portrayal of a drunken, abandoned wife (Rachel) is both comical and heart-wrenching. Lucy Charles is wonderful as Margie, the forgotten daughter who acts out scenarios using her forbidden Barbies and serves a commentator on her parents’ pathetic lives. Kevin Regan appears only at the end of the play as the personified voice of Bob, the wretched husband and father who is the drama’s center. His remorse is so complete, his voice so sincere, that we almost wish Rachel would pick up the phone and let him back into their lives.

See DTA Fest: http://www.everetttheatre.com/EverettTheatre_pages/Events_shows/Special_events.html

See Bootless Artworks: www.bootless.org

See City Theater Company: http://city-theater.org/

DCAD Makes History with Wilmington's Skyline

On a beautiful bright Saturday morning, 262 people-young and old-gathered on the seventh floor of the Renaissance Centre on King Street to help break the Guinness World Record for “The Most People Contributing to the Same Painting Simultaneously.” Sponsored by the Delaware College of Art and Design, the group effort was coordinated to surpass a record set in 2008 by 152 people in Germany. Jessica Sturgis, the college’s Director of Communications invited me to the event, which was coordinated by Valerie Jermusyk, the school’s Director of Development.

Long strips of paper had been rolled out on the floor and tables in this L-shaped room that boasted a glorious view of entire downtown area. The riverfront, the newly revived LOMA district, the Delaware Memorial Bridge and the Courthouse were visible from this swanky loft-like space. Each person was asked to sign in, take a paintbrush, and wait for directions.

As part of the College’s first ever alumni and family weekend, the event was so well-attended they ran out of standard paintbrushes, and some people had to use the tiny doll-sized ones that came with the miniature watercolor sets given as party favors. Treviss Givens (’09 Animation) was there with his daughter, who was having a wonderful time, along with the other children. A freelance web designer, he was happy to be part of the effort.

As the start time approached, some people became very territorial about their plot of paper. When I tried to squeeze in, a couple told me, “Oh no, you can’t paint here. We’re putting the Chase Center right here on the corner.” Once the start time was announced, everyone was required to paint for three minutes without stopping. When the painting was finished, the experimental band, CoCoSyn performed and everyone enjoyed lunch. Wilmington looks forward to making history!

See http://www.dcad.edu/.

Art Loop Scoop: 3.5.10

It was a beautiful Friday night for the March Art Loop in Wilmo—people all over the streets, and it was a fantastic sight! The hubby and I started our night with a quick stop at Kathleen Buckalew's exhibit at Gallery 919. After soaking in her sharp, luminous infrared and inkjet images of the historic site of the Dupont's Powder Mill Hagley, we headed to Wilmington Library for a performance by vocalist/guitarist Jessica Graae and pianist Margaret Darby.

This dynamic duo collaborated on a diverse program including Rodgers & Hammerstein selections from Carousel, works from Brahms as well as Danish composer Carl Nielsen, and finishing with Spanish Renaissance songs. Jessica’s strong yet soothing vocals blended naturally with Margaret’s skilled playing. Their lilting sound carried throughout the expanse of the building, drawing in a solid crowd of patrons as soon as they entered the doors. Four Brahms’ pieces, in German (and how hard is that to sing?), seemed effortless between the two. In Von ewiger Liebe, voice and piano together would grow then subside, ebb and flow like waves. Both women were so expressive in their performances; they drew me into the emotion of each piece and their enjoyment in playing them. I hope we’ll enjoy them on more Loops to come!

Other highlights of Loop night: The artwork of Carl Lightburn, Sr., at the Grand, with my favorite piece, Madrinas Journey. The abstract of mixed greens, browns, and yellows had a shadowy figure at its center, seeming to stand strong against the swirling winds of color.

Onto Christina Cultural Arts Center and the intricately detailed and impactful mixed media/wood images by Tanya Murphy Dodd; welcoming us through the doors was the rhythmic sound of a drumming class going on upstairs.

Next stop: the New Wilmington Art Association Group Exhibition. NWAA shows are always hopping and this one was no exception, drawing a widely varied crowd. Pieces that particularly struck me: Felise Luchansky’s Redemption, a mixed-media piece composed of S&H green stamps, bingo markers & other 50s kitsch; Esteban M. Pilonieta Vera’s A Hunger Artist (Dedication to Kafka), a found art piece including porcelain, mud, hay and—believe it— horse manure! A bonus with this visit: A tour of the soon-to-be-open Shipley Lofts, which provide affordable downtown housing for artists. We saw two semi-complete units, and the huge windows, open layout and exposed brick really gave the feel of a Manhattan loft. The place was packed with onlookers, all excited about the buzz this place is creating.

End of the night found us sharing a bottle of tempranillo and tapas at Orillas, and that, too, was filled to capacity. Wilmingtonians, this truly is an exciting time for the Arts and nightlife in our city!

It's Kids' Stuff....with the Arts!

WCC SUMMER CAMP
Despite the winter weather, it's time to start thinking about WCC Summer Camp. This year, we will offer two camps, our Annual Summer Day Camp for treble singers who have completed grades 2-8 and a new Advanced Vocal Camp for advanced male and female singers ages 13-18.

This year's Summer Day Camp for singers who have completed grades 2-8 is scheduled for June 21-25. In addition to choral rehearsals and musicianship training, campers learn new skills in recorder and percussion classes and take the afternoons off for some fun activities like swimming and bowling. After one week, we put it all together for a Friday noontime concert for family and friends and follow it up with an old-fashioned cookout. Older singers can apply to be camp interns.

The new Advanced Vocal Camp is designed for the advanced high school singer who is considering a vocal major, minor, or participation in a college-level choir or opera/musical theatre program while pursuing a non-music major. This one week camp emphasizes solo and choral repertoire, performing and auditioning skills, musicianship skills and staging skills. Highlights include master classes with performing arts professionals and a final performance for family and friends.

Campers do not need to be members of the WCC, so bring a friend! Camp brochures, registration forms and financial aid applications are available and enrollment has already begun.

See http://www.wilmingtonchildrenschorus.org/.

OPERADELAWARE'S YOUTH PROGRAM presents DISNEY'S MULAN JR.
Mulan Jr. is based on the Disney production. Music & lyrics by Matthew Wilder and David Zippel, Stephen Schwartz, Jeannine Tesori & Alexa Junge. Adapted and arranged, with additional Music and lyrics by Bryan Louiselle. Mulan Jr. is presented through special arrangement with Music Theatre International (MTI). Mulan Jr. is part of THE BROADWAY JUNIOR COLLECTION.

Three shows are available: Friday, March 5th, 7:00 pm, Saturday, March 6th, 4:30 pm & 7:00 pm at the Tatnall School’s Laird Performing Arts Center, 1501 Barley Mill Road, Wilmington, Delaware 19807. Tickets are $10 general or $15 for reserved seating. Available at the door or to guarantee a seat, purchase online at: https:\\operadelaware.ticketleap.com. Directed by Kathy Cammett, with Music Direction by Yoonhak Baek.

See http://www.operade.org/.

An Artist Breaks with Tradition to Find Truth

At six, the artist clearly knows he is not Picasso, and not Chagall: “My name is Asher Lev,” he tells his uncle as the play unfolds. The painter’s quest for powerful artistic expression drives a wedge between him and his Hasidic roots. Guided by his heart and his paintbrush, Asher learns to show the painful truth in his works.

Aaron Posner’s artful adaptation of Chaim Potok’s novel, presented in by the Delaware Theatre Company is a co-production with the Round House Theatre of Bethesda, Maryland. This tightly-wound tale, directed by Jeremy Skidmore, gets to the heart of Asher’s conflict with beautifully acted scenes and well-crafted dialogue. Potok grapples with some heavy thematic material: the artist’s role in society and his responsibility to his own culture.

In a way, the story is a “play within a play”. The age-old Pygmalion theme runs through the story: Asher is mentored by Jacob Kahn (played by Adam Heller), a famous artist who views the young prodigy as his own marble, ripe for sculpting. When Asher realizes he cannot distract his mother from her sorrow by painting the birds and flowers she requests, he is already well on his way to painting the ugly truth, and Kahn guides him in expressing his perceptions of the world, his family and culture on the canvas.

Alexander Strain is moving in his portrayal of the young artist. He conveys with finesse the character’s bewilderment at his talent, wonderment of his neighborhood with its endless subjects for sketching, as well as his devotion to his parents. Though the actor never leaves the stage, he transports us, scene by scene to different locations and times in his life. After his beloved uncle Yitschock dies, Asher becomes unable to paint for three long years. His mother, played by a sympathetic and versatile Lisa Bruneau, bemoans the loss of his art. Bruneau handles her role as a traditional Hasidic wife and mother who is torn by her son’s unquestionable talent and the rift it causes with her rigid scholar husband. As Anna, Kahn’s assistant and manager, Bruneau’s change in posture and behavior was so striking, I had to look in the program just to be sure there wasn’t a forth actor.

Each time Asher parts with a painting, he parts with a piece of himself, and it is painful for him. The audience is completely willing to believe the attic room, which never changes configuration- is his parents home in Brooklyn, his teacher’s studio, and the artist’s childhood bedroom. The painted canvasses stacked along the walls and the spattered paint and the gloomy windows and skylights remind us we are in an artist’s den, and perhaps metaphorically, in his mind. The canvasses he does show us are all blank, allowing the words to paint images for us.

As Asher’s stern father, Aryeh, Heller is unbending and almost cruel. The actor shines as Kahn, the crass mentor, whose thick slab of Brooklyn accent and self-observations bring comic light to the show. Heller’s subtle changes in voice and posture age his characters and help bring to life this story of self-discovery and artistry.

For more tickets and information, and to learn about DTC’s other exciting productions and events go to: http://www.delawaretheatre.org.

Photo Credit: Matt Urban

Photography Brings a Community Together

Photography is something most of us engage in. We take pictures of our friends, family and pets. We’re all artists, to some degree: find the subject, check the lighting, focus the camera (or phone) and snap---Instant art! Something everyone can relate to and almost anyone can do.

To paraphrase Calvary Community Series program director Kathryn Jakabcin: this series aims to find a common place with religion, art and humanity. The Photography Contest & Exhibit, now in its 4^th year, is described as “an opportunity to share our creativity and spend and afternoon viewing our photographs”. And that is exactly what happened. In the intimate space where the works were displayed, it was impossible not to strike up conversations with the other viewers and participants. We marveled at the close-up shots of tiny woodpeckers, the capture of motion or the interesting angles and patterns the artists had found.

The contest had six categories: Action, Architecture, Landscape, Nature, People and Still Life. Contest judge Helen Gerstein, whose own award-winning work was displayed along the walls of the room, evaluated more than 75 entries according to composition, lighting, originality and overall beauty. Her comments were specific, and probably quite helpful to the photographers. For example, she commented on how the shadow of a kitten slightly obscured the face of the subject, or how a seed tray with plant labels showed busy-ness, but seemed to lack a central focus. Gerstein’s analytical comments were spot on, and her own work, including several portraits, was stunning in its beauty, simplicity and clean lines.

Some of my favorite shots were those of scenes from the Nemours mansion, Longwood, Bombay Hook or even our recent blizzard. It reminds me---and others---not only of the artistry we have here in our state, but also of the stunning vistas that are waiting to be photographed.

Next up in the Series on March 14 at 2:00 pm: Happy Birthday Chopin, featuring faculty artists from the Music School of Delaware.

(Photograph credit: Kathryn Jakabcin's Bombay Heron-First Prize, Nature Category)

See www.calvaryhillcrest.org/pages/CommunitySeries.htm.

To learn more about Helen Gerstein: http://www.delawarephotographicsociety.org/gallery/helen_gerstein/gallery

Newark Symphony Chamber Series - Baroque Masters

Mounds of snow did not keep more than 150 people from bundling into the United Methodist Church of Newark on Saturday, February 13 to hear the chamber ensemble of the Newark Symphony Orchestra play Baroque masterpieces, but the snow did rob them of some players who were also in Wilmington Community Orchestra’s concert rescheduled for the same evening. Oh, winter weather woes!


The ensemble found their verve on the Marc-Antoine Charpentier Noëls sur les instruments, adopting the dancing lilt of the notes inégales, which music director Nicole Aldrich explained were part of Charpentier’s instructions – to vary the rhythm according to good taste.


Aldrich also noted that the word Baroque was more of an insult than a compliment, coming from the Portuguese word barocco, which meant a bulbous pearl. In their day, people spoke of songful music and the new Baroque. So, Aldrich quipped, calling something Baroque was like saying ‘What’s with young people’s music these days?’


Hard to imagine that Bach’s audience could have felt that way when you hear the Magnificat, with the fine Newark Symphony Chorus’ on-cue attacks and enunciation. And the five young soloists from the University of Maryland were lively and strong singers as well.


The chamber ensemble also shone in the Bach – from Sue Ritter’s oboe duo with second soprano Katherine Sanford to the excellent bass lines played by Jennifer Hugh on bassoon, Leon Daniels on cello and Felix Cohen on double bass.


The next performance of the Newark Symphony Orchestra will be Sunday, March 7, at 3 p.m. at the Independence School.


See www.newarksymphony.org

Dinotopia is Dinotastic!

Picture at right: The Excursion, from Dinotopia: The World Beneath. James Gurney (born 1958). Oil on board mounted to plywood, 28 x 42 inches. Collection of the artist. © 1995 James Gurney. All rights reserved.

The drawings showed people and dinosaurs living side by side, but of course this was an impossibility…

Not so at the Delaware Art Museum’s newest exhibit, Dinotopia: The Fantastical Art of James Gurney, on view now through May 16.

Gurney’s drawings from his Dinotopia book series tell the tale of explorer Arthur Denison and his son, who stumble upon a world where dinos and humans dwell peacefully together: A stunning, color- and texture-rich depiction of a culturally integrated, socially responsible, incredible utopia. The concept as a whole truly spoke to me, with a powerful message easily translatable in today’s world. Gurney’s stories are equally appealing to children and adults, and feature an artistically and architecturally rich land, varying in ethnic groups (and species) and historical eras---all living in harmony.

Each piece exhibits amazing details in color and shadow; the dinos’ bodies are stippled with texture and striking hues. Gurney’s influence from both the pre-Raphaelites and artist Howard Pyle is strongly evident. Gurney uses many fascinating techniques in his work: Rembrandt’s “dark against light, light against dark”, to draw the eye’s focus and provide three-dimensional depth to his work; and a technique he calls “spokewheeling”, in which he employs the use of lines to direct the viewer’s eye to a particular area of the piece, as in the piece Stormy Sea.

Gurney intended his works to both stand alone and tell the story, and as such, the exhibit includes several intriguing additions, such as a “photograph” of Arthur Denison and his son, as well as a model of their expedition “journal”.

A few of my favorite pieces: Up High, a vivid portrayal of resident children riding on the backs of Brachiosaurs in celebration of their “hatchdays”; Waterfall City, an expansive piece showing the “great learning center” of Dinotopia; and Clean Teeth, a whimsical drawing, highlighting some “everyday activity” in the world of human and dino.

There’s no better reason to head to the Delaware Art Museum with your children, nieces, nephews, or simply solo…This exhibit will make you gasp, smile, giggle and contemplate the implausible: A peaceful coexistence between seemingly improbable worlds.

Gurney will be on hand at the museum on Sunday, February 7, with a lecture at 2pm and a book signing at 4pm. He is also slated to present demonstrations for six regional schools at the museum next week; hopefully, your child’s is on the list!

BONUS: On my way out, I ran into guest curator Judith Schwab, who is putting together the Outlooks exhibit, Women Collared for Work, which will open (hopefully) for this Friday’s Art on the Town. Back from 5 years in Florida, Schwab (who turns 75 this month) has lovingly constructed this exhibit, with folk-art flair and a broad range of media, with a very personal touch. “I wanted to create a show that puts everything in my life together through art,” Schwab noted. And what better way to do that than look to those she admires---her artist friends. “All the women in this show have work that has impacted mine,” she says. Brave the weather and see this exhibit, on view through March 21.

See http://www.delart.org/.

Sneak Peak – Wilmington Community Orchestra

A cold Monday evening finds about 50 people on the stage of the Music School of Delaware rehearsing for the Wilmington Community Orchestra performance this Sunday, February 7.

Tim Schwarz, conductor, starts the rehearsal right on time and the dancing lilt of the Bach Orchestral Suite in D Major starts to warm the hall. The three trumpets and two oboes give the smaller orchestra a festive sound.

Then chairs shift as the other members join the group for the Beethoven Symphony No. 1 in C Major, Opus 21. The strings take the challenge of the exposed writing – the seconds opened the Andante cantabile and the firsts start the final movement at a very soft dynamic of challenging scale work which the other sections jump in and imitate in the Allegro molto e vivace. Schwarz illustrates a few points by borrowing concertmaster Larry Hamermesh’s violin and the string players nod. It is a luxury to have a conductor able to demonstrate the sound he wants.

But Schwarz provides a more dramatic demonstration as he plays his own violin while Sam Fuhrman does the cover conducting for the Brahms Concerto for violin, cello and orchestra. Fuhrman does a fine job leading the orchestra which will be conducted by Dr. Richard Prior of Emery University in Atlanta for the Sunday performance. Lawrence Stomberg plays the cello solo part with the strongest and most resonant sounds I have ever heard in person and Schwarz has plenty of power to match that force on the violin.

The Brahms is still running through my head.

See www.musicschoolofdelaware.org.

Two world premieres

Mélomanie played two new works on January 30! To think that a small local group can commission works in these hard times is nothing short of great – and they used a little inventive cooperation to do so. Elaine Funaro, harpsichordist who also heads up a non-profit organization in Durham, North Carolina, which promotes new music for harpsichord (http://www.harpsichord-now.org), joined forces with Mélomanie to commission a new work by Sergio Roberto de Oliveira.

Oliveira’ s work, Angico, was a vivid descriptive piece of the acacia tree which survived a threatened felling. The story gives a vehicle for Oliveira to evoke Brazil with bird songs, angry workers, and traditional rhythms. He skillfully orchestrated his motives on cello, harpsichord, violin and flute. My favorite movement was The construction into which he snuck a few habañera rhythms.

Mark Hagerty’s piece, After Duchamp, was a provocation in keeping with the provocative pairings Mélomanie strives to achieve. He tackled the spirit of Marcel Duchamp’s statement: “I have forced myself to contradict myself in order to avoid conforming to my own taste.” Hagerty decided to go against his natural tendency to write long and serious pieces. For Duchamp, he wrote a frivolous and jocular set of vignettes for harpsichord. His program notes set up the facetious objectives: ‘bird/anger: Two totally unrelated ideas that do not interact musically’ and ‘Werk ohne Opus’ where he takes on the established music world’s pretensions. But how do you praise a composer who is working against his own taste? Do you tell him he achieved the bad taste he was seeking?

And paired with the exciting new pieces were six fugues from Bach’s Art of the Fugue played with subtle dynamics and intonations. The group also played four movements from Louis de Caix d’Hervelois’s Suite No. 1 in G Major for flute and continuo in which they allowed themselves a joyous mood of the dances. Their next performance will be March 13, 2010 at Grace United Methodist Church.

See www.melomanie.org.
http://www.harpsichord-now.org.
http://www.sergiodeoliveira.com.

Brazilian Composer Makes Visit to Delaware Very Personal

Brazilian composer Sergio Roberto de Oliveira travels to Delaware to join the classical/contemporary music ensemble Mélomanie this Saturday evening for the premiere of his work, Angico. Written in fall of 2009, this work is a collaborative commission with Aliénor (of Durham, North Carolina), whose ensemble will perform the piece later in the season. This piece is an intensely personal one, inspired by de Oliveira’s family vacation home in the Brazilian mountains, built as a fulfillment of his mother’s lifelong dream.

The composition pays tribute to the magical house he calls Angico, in honor of the Brazilian acacia tree, the Angico, which graces the property. Just after the house was built, the electrical company threatened to fell the tree. Ultimately, however, the tree sacrificed only one of its branches. It lives on as a witness to the family retreat, Angico, which the composer calls “a place full of peace and joy.”

In four movements, the music engages the audience in a fascinating story: the creation of the universe, the building of his family home, the triumph of the Angico tree over man’s threat, and, finally a celebration of the magical place called Angico.

de Oliveira and second guest composer Mark Hagerty (who will also premiere a piece entitled After Duchamp) will be on hand for Mélomanie's program this Saturday, January 30, at 8:00 pm at Grace Church in Wilmington. A post-concert meet-and-greet will be held at The Maraschino Room, on the 2nd floor of the Washington Street Ale House, just a few short blocks away. Tickets are $20; $15 for student and seniors. Youth under age 15 are free. To reserve, call 302.764.6338.

See http://www.melomanie.org/.

Copeland String Quartet at Church of the Holy City

The Mozart String Quartet in A Major, K 464 is a clean composition with variations and cerebral contrapuntal structure which cellist Mark Ward told the audience was a favorite of Beethoven. Beethoven wrote his Opus 18, Nr. 5 quartet as a reaction to this fascination.

No surprise that the complex nature of this work would intrigue the younger composer. The variations of the Andante movement were a great vehicle for hearing the individual voices as well as the cohesive playing of the group. The low hum of the variation led by Mark Ward’s cello was my favorite. The quartet not only kept the general tone fairly quiet, but their ability to match the classical style of sudden piano and forte made the rendition a palate-clearing starter preceding the Brahms dessert.

And a rich, romantic lush Brahms dessert it was. Eliezer Gutman and Tom Jackson, violins, kept their thirds together quietly and beautifully. Charly Salinger’s smooth clarinet tone resonated in the church and the strings matched his dynamics with ease. Salinger’s ability to change register with no strain makes it thrilling to hear the high tones scoop down to low tones. Nina Cottman played strong middle voices with a strong verve. All five players were able to arc phrases as one and managed to pull their volume down one more infinitesimal dynamic as they ended the last movement.

You can now buy Copeland’s new CD and hear them play the Beethoven Opus 18, Nr. 5 live on April 18.

See www.copelandstringquartet.com.

Museum Day at the DCCA

The DCCA was up, running and full of small children and their families on the second annual open house day for the Brandywine Museums and Gardens Alliance. The children’s comments inspired me as I stood in the Hatch Gallery looking at a joint exhibit by two DCCA studio artists called Fields of Glory/Arenas of Conflict.

Ken Mabrey is a modern impressionist. His oil on linen Till the cows come home captures the light of strong sun – the brightest light that flows through the large farmhouse and makes the dust motes dance. That same sun hits the red roof – glinting just like the real thing. In the corner is the Delaware flag. He includes the state butterfly, the state bird, the state flower and even the state bug. A biplane flies overhead, showing that Delaware once had a big airfield. Mabrey tries to fit the world into his paintings, just as he feels the world invading Delaware.

Greg Barkley’s paintings contrast Mabrey’s. Mabrey uses muted pastel, Barkley wields harsh reds and black.. The painting that wouldn’t let me go was He couldn’t stand on two feet while he lectured about morality. He inserts so many symbols: roosters, Barbie doll girls, snarling dogs. Eerie.

But there was so much more to see! Andrew Wapinski, another DCCA studio artist, was given a solo show of his Wasteland - gold works covered with shiny epoxy – a big stylistic change from the weather-driven pastels in his last show there.

There are five more exhibits in the downstairs galleries. Particularly interesting is an exhibit of sculptured steel and stone: Journey through Time by Hong-Wen Lin. The exhibit’s presence is due to a coordinated effort with the Council for Cultural Affairs of Taiwan and the Taipei Cultural Center of New York.

See http://www.thedcca.org/.

Delaware by Hand

The Delaware Art Museum sponsored the first juried show by Delaware by Hand, an association of artists all over Delaware. The jurors and curators, Dr. Susan Isaacs of Towson University and Dr. Jacqueline Atkins of the Allentown Art Museum picked fifteen works, all of which were beautifully executed and a delight for the winter weary museum visitor.

The exhibit has a catalog. The photograph of the exquisite quilt by Virginia Abrams entitled Reflections 2 gives a one-dimensional impression of water, but seeing the piece in person shows how the watery reflection appears only as you back away.

Although the recent exhibit had a preponderance of New Castle County artists, the association has artists from all over the state. I went to their web site and picked one from each county.

New Castle County: Paula Camenzind. Camendzind’s work over the past decades and see a maturity of concept and development that stops me in my tracks. Her bulbous vase has a moon crater surface out of which a purple glazed neck peaks out as if the work were a natural geode.

Kent County: William Henry Smallwood. Smallwood’s woodwork began when he wanted to make models for his paintings and the models themselves became a passion for him. Pictured is a stark, simple duck.

Sussex County: Barbara Warden. Warden’s brilliant colored fiber quilts are more portraits than cloth. Her designs have wild colors which she melds into coherent design.

Bravi to the staff of the Delaware Art Museum and Dr. Mary F. Holahan for promoting local artists through their Outlooks program.

See http://www.delawarebyhand.org/.
See http://www.delart.org/.

Jazzing up the Vespers for MLK

Stomping and clapping, we all enjoyed the music together at The Episcopal Church of Saints Andrew and Matthew (SsAM) during the celebration for the life and legacy of Dr. Martin Luther King, Jr. A full church in downtown Wilmington on a rainy, cold Sunday is quite a feat. In addition to the singer, Tiffany Jones, the keyboard player, Jeffrey Knoettner, the drummer, Harry “Butch” Reed and Micah Jones, Bassist, the church’s adult choir and organist/music director, David Christopher, performed. The Reverend Rod Welles opened the evening with the beautiful, powerful words of Dr. King: “When life itself offers on order and meaning, the musician creates an order and meaning from the sounds of the earth which flow from his instrument.”

For a moment, I forgot I was in church. Though we sang the traditional Episcopalian Psalm and intoned chant, with the Bishop of the Diocese of Delaware Wayne Wright sitting nearby, the musicians transported us with their solos and improvisation. Tiffany Jones’ sultry voice was perfect for “Feeling Good”. Her fresh interpretation was a welcome change from the Nina Simone’s doctored-up, almost masculine version of the song.

Keyboardist Jeffrey Knoettner rocked the house in Joe Zawinul’s “Mercy, Mercy, Mercy.” This purely instrumental piece gave him, Harry Reed and Micah Jones a chance to show off their virtuosity and tight ensemble. The Adult Choir seemed to enjoy every moment of the performance, participating with nods and head-bobs, even while they weren’t singing. Reverend Welles invited the audience to join in singing “We Shall Overcome” and spontaneously hands reached out from every direction in the church, to form a giant connecting bond.

It was a fitting tribute for Dr. King---the kind of event you felt he spoke of and envisioned---bringing all people together in celebration and honor.

See http://www.ssam.org/.

Looking Back on 2009...

Like many fans, we enjoyed recalling “standout” moments and people for Arts in 2009. Below are a few we felt were truly impactful.

Arts Allure (by Jessica Graae)
We saw unique approaches in exciting, unusual Arts programs. These organizations in particular made heroic efforts to not only cultivate their fan base, but also take programming risks that may be off the beaten path…

The Delaware Valley Chorale’s season opened with a performance of God’s Trombones by Roy Ringwald. Not often performed, the work based on the poetry of James Weldon Johnson drew a large, appreciative audience. Under the direction of David Christopher, this chorus has grown artistically and vocally. Be sure to catch the Haydn Creation performance in May.
See http://www.delawarevalleychorale.org/.

Bootless Artworks, a theater company performing in Arden Gild Hall, made interesting choices as well. Run by Rosanne DellAversano and Jim Fuerst, the group provides unusual, accessible theater, and secured support to bring works to children and elderly. They reworked The Velveteen Rabbit into a puppet musical and brought the outrageous Evil Dead, The Musical to a packed house nightly. Next up is an evening of One Acts in March.
See http://www.bootless.org/.

City Theater Company raised the bar with creativity and out-of-the-box production. Downtown Wilmington is thirsty for affordable, local theater; CTC quenched that with the brilliant, bloody Sweeney Todd in December. They too, filled the theater and brought edgy drama with excellent singer/actors showcased. March brings By George, One Acts by local playwright George Tietze.
See http://www.city-theater.org/.

Arts Arrivals (by Michelle Kramer-Fitzgerald)
This past year also saw a number of newcomers to the scene, making it an exciting year for us all!

As part of Wilmington's 9th Street revitalization, Geoff Blake & Red Mohawk Gallery are making a big splash. You can't miss the gallery or Geoff....he's the dude with the fiery crimson, spiked hair. Welcome to Wilmington! Although not as new but totally as impactful has been the New Wilmington Arts Association (see below as well), making a way cool path for modern, wacky, arresting, contemporary art all around d'town Wilmo.
See http://newwilmingtonart.blogspot.com/ and http://www.redmohawk.com/

Delaware Art Museum took a bold step forward launching Concerts on Kentmere, featuring its new all-female, ensemble-in-residence, Pyxis Piano Quartet. The events, held in the Pre-Raphaelite Galleries, have drawn sold-out crowds, providing yet another reason for DAM to celebrate its increasing good fortune.
See http://www.delart.org/prog_events/concerts_on_kentmere.html.

Folks in Wilmington lined the muddy Market Street sidewalk in October as Lt. Gov. Matt Denn led the official groundbreaking for the "new" Queen Theater on Market Street. More than 50 years after its initial closing, the re-opening of the immense venue is scheduled for Spring 2011, as part of a partnership with World Cafe Live and WXPN 88.5 FM. We can't wait to see what the future holds.
See http://www.lightupthequeen.org./

Did Wilmington have the chops to put on a Fringe? YOU BET. Tina Betz & Rich Neumann (below) brought their vision of Fringe Wilmington to life in a big way. And it was fringy, with visual installations, film, dance, music and theater events throughout the city. Plans for FringeWilmo 2010 are currently under way.
See www.fringewilmingtonde.com

Arts Angels (by Michelle Kramer-Fitzgerald)
There were folks who dedicated time, energy and vision to the promotion and development of new Arts ventures. We applaud their efforts; hopefully, they’ll inspire others to follow their lead in 2010!

City of Wilmington Cultural Affairs Director Tina Betz and Associate Communications Director Rich Neumann worked tirelessly to bring us Fringe Wilmington. In addition, thanks to Tina's department's efforts, Wilmington's First Night 2010 provided free admission to attendees this year---with great success, despite less-than-stellar weather.

Michael Kalmbach & the NWAA (above) have made contemporary art a force to be reckoned with and celebrated in Wilmington (and beyond). Every month, NWAA events draw increasing crowds and energy to the city, and Michael was honored with a 2009 Christi Award for his efforts and vision. Thanks, Michael!

Among all of this positive energy, Delaware also lost an Arts Angel in 2009: Peggy Amsterdam, former DDOA director and Greater Philadelphia Cultural Alliance leader, passed away just before year’s end.

Arts Allies (by Margaret Darby)
This year, businesses and Arts organizations successfully collaborated in unique and mutually beneficial connections. Smart thinking for each, and lessons that could (and should) be replicated and expanded upon…

Case in point: Veritas, the wine store that opened on Justison Landing this past spring. Owner Venu Gaddamidi jumped right on to Wilmington’s Art on the Town bandwagon, becoming a permanent gallery every first Friday—good for art and good for business! And, if you are like me, you can’t help but buy something on your way out.
See http://www.veritaswineshop.com/.

Terry Foreman, Executive Director of the Newark Arts Alliance, has placed works in restaurants along Newark’s Main Street, providing venues for artists and great atmosphere for businesses. I actually purchased clothes and jewelry at Gecko in Newark when reporting on a jewelry display in that store—which I would not have discovered without the draw of the art.
See http://www.newarkartsalliance.org/

Marilyn P. Whittington, Executive Director of the Delaware Humanities Forum, was brilliant in planning DHF’s Interpreting Dreams: Book & Authors Series at three area venues: Ameritage (now closed), Union City Grill and Washington Street Ale House. Each restaurant provided space for live readings by City Theater Company and discussion with the authors. There was a crowd every time and the restaurants profited from their largesse. A perfect match!
See http://www.dhf.org/.

Clear Space Productions, with Executive Director Ken Skrzesz and Artistic Director Doug Yetter, has such outreach success that it now has a four-year theatre program partnership with Cape Henlopen High School. In March, it was awarded a 21st Century Community Learning Center Grant from the U.S. Department of Education for an after-school enrichment program with H. O. Brittingham Elementary School.
See http://www.clearspaceproductions.org/.

Arts Army (by Michelle Kramer-Fitzgerald)
Amid all of the energy and discussion around the Arts in 2009 came a groundbreaking alliance of statewide Arts organizations, and it couldn’t come at a more appropriate or critical time.

The Delaware Arts Alliance, a consortium of more than 15 Arts organizations throughout the state (and growing), was launched in June. The group is open to membership for both individuals and organizations, and aims to serve as a vehicle for increased awareness, participation and multilevel government/community advocacy for the Arts throughout the state. In these times, it is an exciting and invaluable effort developed by a core group of visionary Arts administrators. I hope that many more organizations—large and small; Arts, business, and corporate—will join the cause. Please support their work to promote and advocate for the importance of the Arts in our community, education, culture and lives!

Born in the 20th Century

On a very cold and dull January Sunday, musicians were busy preparing for a most unusual concert – a gathering of composers, some performing their own pieces, in a church. As our blog has reported before, Calvary Episcopal Church has invited musicians, actors and other artists to show their creativity to their congregation and to the community.

All of the composers on the program were born in the twentieth century, all but Miles Davis are still living. Three of the composers were present and two played in their own works.

Christopher Braddock’s piece, All the days he has seen, was inspired by Winterthur’s Hippocampus and Box Scroll Garden. The guitar, flute and violin trio is a baroque-inspired work but with modern harmony – a muse on what Hippocampus sees during the changing seasons in his reflecting pool.

Chuck Holdeman’s Avant, adage, après for bassoon and piano is a piece in three movements – the first and last movements having a very jazzy and syncopated style and the middle movement made up of sustained chords which the composer used to create an effect of dreamy contemplation.

Kirk O’Riordan’s Pressing forward, pushing back was perhaps a bit too amorphous for my taste – the wild beginning felt like ambulances off to an emergency – with Melinda Bowman, flute and Richard Gangwisch, piano giving it a great run for the money. But O’Riordan told me later that his piece was his expression of how people resist new ideas…and I guess I am guilty of resisting.

Andrea Clearfield (not present) wrote a trio called Spirit Island and two movements were offered, showing off Hiroko Yamazaki’s amazing energy and technique on the piano. Her playing provided a great basis for Jennifer Stomberg’s cello and Melinda Bowman’s flute lines. I found Rowing much more of a structured piece than Variations on a dream.

Hats off to Zachary Crystal for a startlingly surprising soft beginning of Michi by Keiko Abe for solo marimba. Crystal played with four mallets and started and ended so softly that he drew the audience’s attention with a pianissimo and said adieu the same way.

Next month’s community event is a photography contest. Entry forms and rules are on their web site.

See http://www.calvaryhillcrest.org/.

A "One-in-a-Million" Arts Leader

Just before the New Year, the Brandywine Valley lost a true hero in our Arts community. Peggy Amsterdam, former executive director of Delaware Division of the Arts and Director of the Greater Philadelphia Cultural Alliance, passed away after her corageous battle with cancer.

In her long and accomplished career, she was a tireless advocate, a fearless leader, and a real visionary for artists and the Arts. She gave so much to the Arts culture of Delaware and Southeastern Pennsylvania, and we will be forever grateful for her devotion and dedication.

All at Delaware Arts Info and Arts in Media thank you and will miss you terribly, Peggy. You are an amazing person who has left an incredible legacy. Thank you for all you have done and the impact you have made for everyone who loves, supports and participates in the Arts.