The Newark Symphony Orchestra: A Crowd-Pleasing Season Opener!

What a relief — classical music is not dead! The Independence School's 900-seat auditorium was nearly full for the Newark Symphony Orchestra's season opening concert.  The program, which included Aaron Copland's Fanfare for a Common Man, Antonin Dvořák's Cello Concerto in B minor, op. 104 and Brahms' Symphony No. 4 in E minor, was a crowd pleaser.

Newark Symphony Orchestra, led by Simeone Tartaglione

The Newark Symphony's Music director, Simeone Tartaglione conveyed his musical ideas passionately and precisely as the community orchestra's leader.   With Copland's Fanfare for a Common Man, he showcased the group's excellent and strong brass section. 

Cellist Ovidiu Marinescu wowed the audience with his virtuosic playing in Dvořák''s challenging and soulful Cello Concerto in B minor.   The concerto, which is not unlike Brahms' concerti and symphonies, is full of longing and tragedy.  Masterfully constructed, the concerto showcases the soloist and allows him to lead the orchestra.

Tartaglione's love for Brahms — and Brahms' Fourth Symphony in particular — was evident in his conducting and in his pre-performance discussion.  An optimist, his discussion highlighted the salvation in Brahms' triumphant themes, which juxtapose the deeply tragic ones.   Once again, the brass, joined by an equally stellar woodwind section, excelled in the performance of this rich symphonic work.   But there is no happy ending with Brahms: A composer who felt more deeply or understood the human condition more thoroughly has never existed.  
See www.newarksymphony.org.

Bootless Gets Rowdy with Jerry Springer

Robert Bove as Jerr

If you’re familiar with Wilmington’s Bootless Stageworks, you know it never shies away from controversial work — and JERRY SPRINGER, THE OPERA (featuring Delaware Arts Info Blog's own Jessica Graae!) is one of the most no-holds-barred shows they’ve done yet. The British opera (based, of course, on the American “trash-TV” show) has met with protests in the UK since it opened in 2003, offending the religious and sensitive while simultaneously racking up awards. The Bootless production takes the relatively large-scale show and capsulizes it into an intimate, almost interactive event in OperaDelaware’s tiny Black Box theater.

A couple of things to know about JERRY SPRINGER: First, it’s a true  opera -- almost. All of the characters sing all of their lines in operatic style with two exceptions: Jerry himself, and his Security guy Steve. And second, there is more profanity, sexual innuendo, culturally insensitive language and stereotyping than any other show I can think of off hand. And that doesn’t even include the portrayals of God, Jesus and Satan in the third act. Expect it to be extremely funny, expect it to be dark, expect plenty of social commentary, but don’t expect political correctness.

As Jerry, 2012 WMGK Comedy Contest winner Robert Bove effectively  takes a central role in the middle of the madness that is his show, with its frenzied audience and parade of lying, cheating guests, all of whom are on the show to reveal a dark secret (or two) to their partners. Catfights, pole-dancing, and emotional solos ensue. When one guest is revealed to be a member of the KKK, things turn violent, moving the action to Purgatory and, eventually, Hell.

The stellar casts features some of the region’s brightest rising opera  singers, including Jessica Graae, Elizabeth Zell, Michael Popovsky, Kimberly Christie, Michael Gamache and Cynthia Ballentine, as well as local musical theater denizens Colleen McGinnis, Nichalas Parker, Geoff Bruen, and Robb Russ. Every character (and each actor plays at least two) has their “Jerry Springer Moment” where he or she gets to steal the scene — or at least co-steal it.

The live orchestra, led by James W. Fuerst, blended with the voices  without overpowering them nearly perfectly — no small feat in such a small room, with actors who are not mic’d.

Hearing beautiful singing voices use extremely profane language is a  big part of the show’s appeal — it’s a juxtaposition that never fails to entertain (though a lot of classic operas are full of similar scandals, so it’s both modern-day parallel and juxtaposition). For this, alone, I would recommend the show. But the JERRY SPRINGER is also more than a freak show — it’s an honest commentary on the cult of “junk” culture that goes deeper than you might expect.

Jerry Springer, The Opera runs through Saturday, October 20. Reserve tickets at bootless.org.

(This review also appears in Stage Magazine)

TV Stars Grace the Delaware Theatre Company's Stage

The Delaware Theatre Company (DTC) opens its 2012 - 2013 season with the Delaware premiere play, The Outgoing Tide, by Bruce Graham and directed by Bud Martin, who is celebrating his first season as the Executive Director of DTC.  The three-person play stars three celebrated television actors: Michael Learned (The Waltons), Ian Lithgow (3^rd Rock from the Sun), and Peter Strauss (The Jericho Mile).

The three actors make up the Concannon family; Mr. Lithgow plays Jack, the grown son of Gunner (Mr. Strauss) and Peg (Ms. Learned). Gunner, the now retired South Philly, blue-collar worker who later owned his own trucking business and married his teenage sweetheart, has summoned Jack to Gunner's and Peg's retirement home on the Chesapeake Bay. Gunner has a proposal to make to both Peg and Jack that will forever change their lives.

The three actors are stellar in this thought provoking dramedy. Mr. Lithgow gives a subtle, but effective performance as Jack. Through flashbacks during the play, the audience gains a better understanding of Jack's inner turmoil and Mr. Lithgow handles the role beautifully. Ms. Learned gives a commanding performance as Peg. Peg, a devout Catholic, is dedicated to her family and their wellbeing. She's trying to keep everyone happy and healthy, while maintaining her sanity. However, with a husband like Gunner, that's not always easy. Gunner, like Peg, is also dedicated to his family, but he's confronted with a life-altering dilemma that can't be ignored.

Mr. Strauss gives a dynamic performance as the family's patriarch; a one time city boy who is now an aging fisherman. Mr. Strauss fully captures Gunner's South Philly background, perfectly adopting the accent and movement of the character. He may be known for his television and film work, but in this play Mr. Strauss proves that he belongs on the stage! Besides the three exemplary performances, Scenic Designer, Dirk Durossette, creates a gorgeous set that serves as the interior and exterior of the Concannon's residence. The set truly evokes a cottage-like home on the Chesapeake (my Dad owns a home in that area)! 

See The Outgoing Tide now through October 28, at DTC before it moves to 59E59 Theaters in New York. For tickets, visit DelawareTheatre.org or call 302.594.1100. 

Pictured: Ian Lithgow (Jack), Michael Learned (Peg) and Peter Strauss (Gunner)

Photography by Matt Urban