The CTC Rocks Bloody Bloody Andrew Jackson

Righteous Jolly. Photo: Joe Del Tufo

It’s the rare production that’s as funny, entertaining, thought-provoking and utterly disturbing as Bloody Bloody Andrew Jackson, City Theater Company’s latest offering, directed by Michael Gray. It’s a rock musical (or, more accurately, an emo musical, complete with punk rock/steampunk styling) about a pretty horrid era in American history, the birth of the Democrat party, and the second-most memorable president of the 19th Century.

As soon as you enter the Black Box, it’s clear that this show is going to be something special. Instead of rows of seating on one side of the room, a narrow stage sits in the center, with tables and seating on either side, neon-lighting and a corner bar, which will become part of the scenery. The audience is warned that the actors will use the entire room (protect your drinks!). It’s easily the coolest stage setup I’ve seen in Delaware.

Jackson, awesomely played by Righteous Jolly, clad in a leather jacket with a shock of purple hair, is a cowboy and a rock star, the voice of the frontier and a stark contrast to the stuffy Washington elite. He’s also a bigot (he especially despises Indians, even though he adopts an Indian child), a ruthless killer and, eventually, a president who sees no use for Congress and the Supreme Court, only the will of the masses he’s rallied. He’s a great politician -- he defines the cult of personality. He rouses the people with speeches on the “common man.” He’s sexy and cool. You really do want to root for him -- and, in fact, the audience joins in on chants of “Jackson!” at one point. Amazing and not a little unsettling, but it’s part of what makes the play great. 

The ensemble. Photo: Joe Del Tufo

While Jolly dominates, BBAJ is an ensemble piece, and the ensemble pulls no punches. Kerry Kristine McElrone is hilariously salacious as Rachel Jackson; Melissa Bernard has some of the funniest moments as various characters, most of them male; Jim Burns brings genuine emotion to the role of Black Fox; Frank Schierloh is a blast as John Quincy Adams; and Maggie Cogwell kills it as the storyteller and (via puppetry) Jackson’s young son Lyncoya. The biggest standout for me -- and let me be clear, no one is a dud -- is Adam Wahlberg, both in the ensemble and as Martin Van Buren, who goes from foppish as Jackson’s political adversary to the only grownup in the room as his vice president.

The music, directed by Joe Trainor, is infectious, with songs ranging from upbeat ensemble songs like “Populism, Yea, Yea!” to the haunting “Ten Little Indians.” Trainor even sings lead on a couple of songs, leaving his spot with the band to take the stage.

Fair warning: In order to portray Jackson with any semblance of historical accuracy, BBAJ is aggressively anti-PC in its humor, and full of profane language. This is not a show for the ultra-sensitive or the faint of heart. Jackson’s abhorrent treatment of the Indians is played for laughs, the Washington elite are portrayed as effeminate as if it’s a character flaw, and self-mutilation is cool (well, it is an emo musical). Pushing the bounds of taste as far as it does helps to keep from over-romanticizing Jackson -- though the play does leave out some unromantic details about his wealth and slave ownership by the time he ran for president (the play does mention that he acquired one slave as a young man, but not that he had well over 100 by the 1820s). Instead, we see his sexier scandals such as his apparent bigamy. And while some historical figure portrayals are unfair (John Quincy Adams as a clueless election-stealing spoiled brat is funny, but in reality he was one of the most fiercely anti-slavery leaders of the early 19th Century), the play doesn’t try to tell you that Jackson was a hero. It goes so far as to note that some historians see him as an “American Hitler.” And yet, on stage, he’s somehow sympathetic. Not because he’s a good man, but because he’s lost so much in his life and quest for the presidency. And he sure does throw a good party.

BBAJ Runs through May 12 at the Black Box. See www.city-theater.org for tickets, including special stage-side VIP seats (drinks included). 

DTC Wears "Crowns" Proudly!

The Delaware Theatre Company (DTC) concludes its 33^rd Season with the gospel musical, Crowns, written by Regina Taylor. The musical's familiar and joyful gospel songs and spirituals transports the DTC audience from a theatre in Wilmington to a southern Baptist church!

The story of Crowns is rather slim, but what can you expect from a musical based on a book of pictures? However, it's the uplifting and sometimes humorous music and performances that make Crowns a stirring and exciting production. The stellar cast directed by DTC favorite, Kevin Ramsey, brings their "A" game to the stage and ignites the theatre to a standing ovation at the conclusion of the show!

Yolanda, played by Ashlei Dabney, is a street-wise teenager living in Brooklyn with her family. After Yolanda's brother is killed, Yolanda is sent to live in the south with her grandmother (Mother Shaw), played by Barbara D. Mills.  Mother Shaw and her friends teach Yolanda about the historical and contemporary social functioning of the hats they wear to church and around town. Of course, life-lessons are taught through these stories.

The ensemble cast of six women and one man has a great rapport. Their soaring voices deliver such classics as "Oh When the Saints" and "I've Got Joy Like a Fountain". The lady sitting next to me couldn't resist singing along!  Ms. Mills' performance is stellar: she has a commanding, matriarchal presence that is needed in the portrayal of a good Christian southern woman who dons many hats. Listening to her sing is like being saved.  A performance that is not to be missed!

Oh, I can't forget to mention the crowns! Designed by Brian Strachan, the hats are large and colorful to match the stories of the women who wear them! The gorgeous hats will be sold at the end of the run, with the proceeds benefiting DTC.

  

Crowns runs through April 29th. For more information visit www.delawaretheatre.org or call 302.594.1100. 

Distant Voices: Bringing them Closer

I left Distant Voices Touring Theatre’s afternoon salon with a lot to think about. Like most people, I had learned about the internment of Japanese Americans during World War II in school. Yet the group’s vivid portrayal of Hiroaki Nishimura’s experience as an internee communicated this despicable chapter in our country’s history in a very personal, poignant way.

Founded in 1999 by Julie Nishimura and Danny Peak, the theater group produces and tours original plays based on American social justice events and issues. Actors Michelle Jacob Stradley, David Stradley and Danny Peak create the scene of Hiroaki Nishimura’s stark existence as a prisoner. Julie Nishimura plays a touching and powerful accompaniment on the piano. The music is by composers such as Copland, Debussy and Gershwin. Nishimura also plays compositions commissioned from Robert Hogenson, which are based on Japanese children’s music and folk songs.

Hiroaki Nishimura was interned in 1942 along with about 110,000 other Japanese Americans and Japanese. Though he becomes just “number 14786” to the US Government, he still takes pride in his country, celebrating the 4^th of July along with fellow internees. It is not until 1960 that he is repatriated as an American citizen. The play, based on writings from his diary, details his dehumanizing experience.

The story of Hiroaki Nishimura, Julie Nishimura’s father and Danny Peak’s father-in-law, is an also an excellent teaching resource. The group has toured extensively in colleges and schools in this country and to the Artslink Festival in England. They have been recognized by Pacem in Terris with the Peacemakers Among Us award.

The group also performed portion of September Echoes, commission by Saints Andrew and Matthew church in Wilmington. The play deals with the repercussions of 9/11, while exploring themes of racism and human rights. Michelle Jacob Stradley plays Nadin Hamoui, a young Syrian-American who is jailed along with her mother, who eventually dies. The parallels between the internments of the Japanese Americans and the treatment of Arabs and Arab Americans are unmistakable.

With their thought provoking and moving pieces, perhaps Distant Voices Touring Theatre might help keep history from repeating itself.

The group will perform Distant Voices in its entirety at the Newark Public Library on April 29 at 2:00.

For more information about Distant Voices Touring Theatre: http://dvtt.net/home.htm

CAPE benefits Newark

Living in Newark has considerable perks. One day I can listen to collaborative pianist Roger Vignoles on CDs owned by the Newark Free Library and the next day I can hear him live at Gore Recital Hall thanks to the sponsorship of the University Faculty Senate Committee on Cultural and Public Events (CAPE).

Roger Vignoles is one of the greatest living collaborative pianists of our time and he certainly proved it in his accompaniment of UD faculty member Robert Brandt in the Winterreise by Franz Schubert.

This rather underadvertised concert had a small audience -- the most vocal of whom seemed to be baritone Dr. Robert Brandt’s students. But those who missed this evening missed hearing a perfectionist. Mr. Vignoles’ technical skills are so solid that he is able to concentrate on the finer points of absolute dynamic control – final chords which he dared to make so soft that the notes risked not speaking – yet they did. His remarkable concentration made incredible changes of mood and tone within the rich variations of the music Schubert used for the twenty-four cloyingly romantic poems by Wilhelm Müller.

Dr. Brandt is also quite fluent in German which makes for a convincing portrayal of ideas expressed in colloquial fluency. His voice is quite rich and strong and he still seemed fresh and energetic even after singing for over an hour with no break.

When stars like Mr. Vignoles are lured to a tiny town like Newark, it means the music department at the University of Delaware has reached a level of sophistication which can only be attributed to their excellent staff and to the economic power of the University Faculty Senate Committee on Cultural and Public Events.

Go CAPE!

Pop-rock Musical, Next to Normal, Soars at The Everett Theatre!

Next to Normal is one of the bravest musicals I have ever seen. The compelling show tackles mental illness, a subject that's not usually explored in musical theater.

The musical, with music by Tom Kitt and book & lyrics by Brian Yorkey, focuses on a suburban family in crisis and coping with the matriarch's battle with mental illness. Like most mothers and wives, Diana is trying her best to love and raise her children, while being a dutiful wife; unlike some mothers and wives, she's also living with bipolar disorder.

With the help of her husband (Dan) and her doctors (Dr. Fine and Dr. Madden), Diana is trying to manage her high and low periods and manic situations. However, the stress of her illness is affecting her relationships, especially with her teenage daughter (Natalie), a genius and musician. Natalie, who recently started dating her first boyfriend (Henry), is at an age when she needs her parents' guidance. Unfortunately, Diana and Dan are consumed with Diana's situation and are not able to give their daughter the attention she needs. Diana and Dan's son (Gabe) on the other hand, is elusive and "not exactly always around." The family contends with the many therapy options for Diana's illness and the stress of living with someone who is not always able to control her actions and moods.

Next to Normal is written from the point of view of Diana's, as well as the rest of the family, allowing the audience to gain a better understanding of what a person with mental illness and his/her family members experience. Director, Jeffrey Santoro handles the show with great sensitivity, but he doesn't hold back. He takes on the stressful situations in the show with great vigor and his actors follow his lead. Karen Murdock electrifies as Diana. She's stunning in a role that calls for her to delve deep inside to find the many emotions and feelings that her character experiences, regardless as to how dark they may be at times. Patrick O'Hara as Dan, Alyssa Lewis as Natalie, and Tyler DeFriece give powerful and heartbreaking performances as Diana's family. They walk a tightrope of trying to maintain stable lives while trying to care for Diana. Dale Martin, Jr. as both Dr. Fine and Dr. Madden and Alexander Vanderlek as Henry also give solid performances.

Next to Normal is a show that shouldn't be missed. Hopefully, people will not only be entertained by the musical, but also gain a better understanding of mental illness and the impact it has on the family unit.

The final performances for Next to Normal at The Everett Theatre (47 West Main Street, Middletown, DE) are March 16^th and 17^th, at 8:00 PM and March 18^th, at 3:00 PM. A talkback with the cast and NAMI Delaware staff members will follow the March 18^th performance. Visit www.EverettTheatre.com or call 302.378.7038 for tickets.

February was Full of Album Writing in Delaware!

2012 FAWM'ers onstage at The Queen

I've said it a hundred times, but it begs repeating: There is so much talent here. And all the evidence you needed was in the house at World Cafe Live at The Queen on Sunday evening. Fourteen local singer-songwriters showcased their talents at the February Album Writing Month (FAWM) Showcase---nine as first-time participants.  Our local "FAWM'ers" hailed from throughout New Castle County and surrounding areas like Landenberg, West Chester & Philly.

Their charge?  Compose 14 songs in 28 (well 29, really) days, then show us what they've got. And, show us they did! The line-up and styles were so diverse, there really weren't any that I didn't enjoy, from a much-respected artistic POV.  Each artist presented three original songs, most accompanied by guitar or piano; several collaborated on pieces, enhancing the whole group vibe of the project.  It was thrilling to see so many artists connecting to and being inspired by one another---kinda like the final show of a "Songwriter's Camp".

But I have to give you some faves, so here goes.  First, I have to shout-out to first-time FAWM-er and Delaware Arts Info blogger, Jessica Graae.  She said she was nervous, but onstage she certainly didn't let on.  I loved her second song, Waiting Patiently, a heart-wrenching widow's tale, although I would loved to have heard the potential composition about searching for a bathroom on the Jersey Turnpike.

Although we arrived at the end of his set, I loved Michael Natrin's voice and snapped up his free CD to enjoy what I missed. (I'll have to report back on that later, sorry Michael.)  My gal pal and her daughter cracked up at Nancy Huebner and her dog Rusty's lovesick tale: The Doggie Dance, and we all belly-laughed through Todd Chappelle's musical romps: Beige, That's My Soup and More Than Bacon.  Erin Magnin, who collaborated on a few numbers throughout the night, struck me with her beautiful ode to a girl who paints her dreams on her body (Violet's Dreams); she simply drew me into Violet's world and made me wish I could do the same!

But I was mostly taken in by the voices of Evangelina Guajardo, Chelsea Sue Allen and Matthew Halley. Evangelina's voice was soulful, rich and quietly powerful. Her piece about a young hitch-hiker made my heart ache. Chelsea had the most interesting sound---a deep, smoky, haunting voice that blended well with her guitar-playing and garnered some of the biggest applause of the night. My friend and I were trying to pinpoint who she reminded us of and finally settled on Fiona Apple.  Matthew Halley (and hope he's not offended by this because I intend it as complimentary) had a wonderful, easy-going and mellow/folky sound that reminded me of the 70's songwriters I love: Glen Frey & Don Henley; Dan Fogelberg; England Dan & John Ford Coley.  I loved his collaboration Finding My Feet with Erin Magnin and Em McKeever, the event organizer. The three of them should tour together.

You can check out all the FAWM'ers on the website below.  Hopefully, you'll revisit the project next year and see what else they have in store for us.  In the meantime, seek out these artists and enjoy their talent...they're some of Delaware's hidden gems!

See www.fawm.org.

See The Gingerbread Lady at Chapel Street Players Before She Crumbles!

Although Neil Simon wrote The Gingerbread Lady in 1970, many of its themes - dysfunctional relationships, co-dependency, alcoholism, unemployment, and the fear of growing older - will resonate with today's audiences. All of these topics are fully explored during the dramedy now playing at Chapel Street Players.

Evy, a once celebrated cabaret singer, returns to her New York apartment after a lengthy stay at a rehab. While she is trying to put her life back together, her daughter (Polly) decides to move in with her, her two best friends (Toby, a vain upper crust woman, and Jimmy, a gay unemployed actor) share their hardships with her, and her former lover (Lou, who had left her for a younger woman) re-enters her life. This is a recipe for disaster, especially for someone as self-destructive as Evy.

Susan Boudreaux successfully tackles the difficult task of making the audience like Evy. Evy's self-centered, but she's also vulnerable and childlike. As much as you disagree with her decisions, you also root for her, hoping that by the end she will be on the path to sobriety and happiness and not crumble "like a gingerbread lady". Ms. Boudreaux's co-stars also gave fine performances, especially Ed Emmi as Jimmy and Pat Cullinane as Toby. Both actors brought much-needed comic relief to the play.

Although I enjoyed the performances, I was distracted by the costumes. The play is set in the 1970s, yet the costumes were a mix of apparel from the '80s and '90s. I expected to see leisure suits, bell-bottoms, and groovy clothing from The Brady Bunch era, but the costumes looked like they came from The Facts of Life and Ally McBeal eras.

Regardless, The Gingerbread Lady is a great piece of theater that should be seen before it closes on March 10. For tickets visit www.chapelstreetplayers.org or call 302.368.2248. 

CTC Stays Cruel, Calm & Neglected

Photo: CTC

In his Playwright's Note, David Robson describes his short work as "absurd, profane, silly, bizarre, take-no-prisoners kind of stuff." Cruel, Calm & Neglected is all of those things, and, at its best, is pretty deep, too. Not that the silliest pieces aren't fun. "Mel and Mee" is a sort of twisted Mel Gibson fantasy featuring Melissa Dammeyer and Kate Brennan; in "Head First," Kevin Regan plays a toilet as Andrew Mitchell and Suzanne Jean Stein's Peter and Rachel do an odd (and sort of gross) dance of old and comfortable romance; and "You Rang," featuring Jess Eppler, Jim McCabe and Kevin Regan, is about a cell phone with a soul that once inhabited a training bra. Robson seems to go out of his way to be thought-provoking in "Ed Rex," a well-acted piece featuring Michael Gray as a sleazy (very sleazy) corporate CEO, but, though it has its moments, it ultimately feels a bit heavy-handed.

Where the absurd meets the profound best is in "The Speech," the opening piece. The play starts abruptly, while the house lights are still on and audience members are still chatting. Dylan Geringer is Dani, a young woman giving a speech to her community college class. She's frazzled, can't stay focused, and before you know it, she's happily telling the professor and the class her not-so-happy life story, parts of which are acted out with Todd Holtsberry as her mother and Greg O'Neil as her sort-of boyfriend. It's darkly funny as Dani tries to come to terms with her own potential, and more than a little bit moving. Geringer is perfect in the role.

Photo: CTC

Also strong is "Killing Neil LaBute," in which aspiring playwright James (George Tietze) writes a critical Amazon review of LaBute's new play, and finds himself in an online exchange with the famous (and, apparently, super-sensitive) stage and film writer, played by the hilarious Melissa Dammeyer in a curly wig. Did Robson himself have a little run-in with the real LaBute on Amazon? I don't know, but it's funny, whatever the inspiration.

Cruel, Calm & Neglected will be performed for one more weekend, March 2 and 3, at the Black Box at OperaDelaware in Wilmington. See city-theater.org for tickets.

Pyxis Quartet at the Mainstay

It is so hard to get tickets for the Pyxis piano quartet Kentmere Concerts at the Delaware Art Museum that I traveled to Rock Hall, Maryland to hear them play in the Hedgelawn Classical Music Series at the Mainstay.

The Mainstay, a restored 105-year-old grocery store, may not be the ideal venue for a classical chamber series acoustically, but the homey chairs and sofas, the amiable and knowledgeable concert hosts and the charming atmosphere made up for the informality of the setting, and the Mainstay organization has their own small, well-maintained Kawai grand.

The quartet’s program was both ambitious and eclectic. A little known set of four pieces which Richard Strauss wrote in his teens provided the quartet with an opportunity to create characterizations - from the cello/piano introduction of the Stȁndchen (serenade) to the Middle Eastern rhythms and bowings for the Arabian Dance.

The second piece, the quartet by Joaquin Turina, put the string players to the test. Meredith Amado played very high violin notes effortlessly, with beautiful intonation and control. Jie Jen’s cello had a wonderfully rounded vibrato in the very romantic solo parts. Ms. Jen can make her cello soar to the extremely high registers required in the Turina with great ease.

The Piano Quartet in B-flat Major, Opus 41 by Camille Saint-Saens was a showpiece for pianist Hiroko Yamazaki who glided through the complex fugue of the Andante maestoso ma con moto at a very high speed. Amy Leonard’s viola playing was a beautiful middle voice in the fugal writing for strings and piano. The weaving in and out of voices by each musician provided a beautiful tapestry of sound.

If you can get tickets for the Kentmere Series Concert at the Delaware Art Museum on Friday , February 17, this program is well worth hearing. The Thursday, February 16 concert has been sold out for weeks.

See www.delart.org

See www.pyxispianoquartet.com

Bootless Artworks' Dead Man's Cell Phone

Lindsey Burkland as Jean

As much as I know Bootless Artworks would prefer to have their own permanent theater (and who can blame them?) there’s something exciting about going to a different location for every Bootless play. It’s like an adventure, especially when the theater is an empty storefront in the Shipyard Shops, as it was for last year’s The Pillowman, and as it is for the current show, Dead Man’s Cell Phone.

The makeshift (and I mean that in the best sense of the word) theater has a low stage and about 45 seats on risers, ensuring that there isn’t a bad seat in the house. On Saturday night, the place was packed -- I think they even added a few extra seats. Bootless has been offering online deals for this show, and it seems it’s paying off. After Dead Man’s Cell Phone, I would bet that many of the new patrons will be back.

Directed by Rosanne DellAversano, who also designed the sets and costumes, Dead Man’s Cell Phone tells the story of a woman named Jean (Lindsey Burkland), who finds herself caught up in a whole new life when she starts answering the cell phone of a dead man in a cafe. The dead man, Gordon (Randall McCann), had a mysterious life filled with colorful characters, including his somewhat neurotic firecracker of a mom, played by Ruth K. Brown; his basket case wife, played by Jennifer Huth; his mistress, played by Lauren Ojeda; and his lonesome brother, played by Bob DeMarco. Jean, as the last person to see Gordon alive, delivers them messages of his final thoughts and words -- despite the fact that she never actually spoke to him.

Bob Demarco as Dwight and Lindsey Buckland as Jean

There’s more to Sarah Ruhl’s darkly comic story, as it takes a surreal turn and we learn more about Gordon than the idealized image Jean has built up. At its core, Cell Phone is about yearning to make real connections in an electronic world. It’s funny, well-acted, and fresh -- a bargain at any price.

You can still catch Dead Man’s Cell Phone this weekend through February 4 (the Sunday show has been cancelled). See bootless.org for more information.

Don’t let the WDL’s Parade pass by without seeing it!

The Wilmington Drama League’s latest production, Parade, doesn’t have the story you would expect from a musical with such a joyous name. The musical written by Alfred Uhry and Jason Robert Brown is based on a true crime story that occurred in 1913 in Georgia. The musical explores the sensationalized murder case of a popular thirteen-year-old girl, Mary Phagan on the day of the annual Confederate Memorial Day parade. The young girl’s boss, Leo Frank, a Jewish factory manager from New York, is falsely convicted for the killing by the corrupt local prosecutor, Hugh Dorsey. Frank’s wife, Lucille, will stop at nothing to prove that her devoted and hard-working husband is innocent, even if it requires the assistance of Georgia’s governor.

The amazingly talented Brendan Sheehan, who in my opinion is one of the best local performers in Delaware, gives an incredible performance as Leo. He finds the heart of this character and takes the audience on a journey into one man’s revelations. Sheehan is joined by a stellar cast, including Rebecca Gallatin as Lucille and Jeffrey Santoro as Hugh. Both performers rise to the challenge of this compelling production and also give outstanding performances. Patrick Sutton as Britt Craig, a journalist covering the case, gives a rousing performance in one of the production’s big dance numbers, “Big News!”  

Chris Turner’s direction and interpretation of the tragic musical is superb. The multimedia production includes pictures from the time period projected on a screen at the back of the stage. This added element engages the audience gives an actual glimpse of the early 1900s lifestyle.

Parade runs until February 11, 2012. For information and tickets, visit www.wilmingtondramaleague.org.

Copeland String Quartet with Janet Jackson Witman

Janet Jackson Witman, harpist, was guest artist at Sunday’s Copeland Quartet concert at the Church of the Holy City. Ms. Witman played Aria in classic style by Marcel Grandjany in a version for harp and string quartet. Grandjany, a French harpist who emigrated to North America, wrote this as a concert etude to show the exploits possible with arpeggios on a harp. Ms. Witman executed the arpeggios with clarity, dexterity and a lyrical but gentle sound that resounded in the small church. Since every pew was full, there was little reverberation, yet harp sounded quite clear even in the back pews.

The next piece Ms. Witman chose was a piece that the Pleyel company had commission of Claude Debussy, Danses pour harpe chromatique. As orchestral parts for the harp began to include more and more chromatic passages, Pleyel tried to develop a harp with two sets of strings so the harpist would not need so many pedal changes. Unfortunately, the harpe chromatique did not win over the world of harpists and, like Ms. Witman, they had to learn to make incredibly fast pedal changes rather than deal with so many strings.

The quartet had been more of an accompanying orchestra for the harp in the first two pieces, but the Beethoven ‘harp quartet’, (String quartet No. 10 in E-flat major, opus 74), showed us they were quite capable of taking on more prominent roles. The players gave each voice its own character in Beethoven’s very long coda at the end of the first movement, providing a harmonic balance and shaping each chord with great musical sensitivity. The adagio ma non troppo second movement was a vehicle to show all of the melodic nuances of each of the four instruments – with the presto demanding their precision and alternating and exchanging of melodic phrases with seamless timing and matching lines. For four musicians to trade off a phrase and have it sound as if one person planned the slurs, intonation and dynamics is quite a feat, but nothing compared to their brave finale at the end of the allegretto con variazioni.

They will be at the Church of the Holy Trinity on April 1 or you can hear them by buying one of their two CDs.

See www.copelandstringquartet.com

OperaDelaware Delivers with Oberto

By Guest Blogger, Chuck Holdeman

The Saturday, January 28, performance at the Grand of "Oberto" turned out to be an afternoon of thrilling opera. "Turned out to be" because an un-staged version of Verdi's very first, and almost never performed opera would not necessarily inspire great anticipation. Aida or Traviata anytime, or even Verdi's first hit Nabucco, but Oberto is just not on the radar. At age 26 Verdi must have felt the need to fulfill expectations for what popular opera was supposed to be, and indeed there is quite a bit of music that sounds like that famous opera composer of the preceding generation, Donizetti. But when the overture begins with a trumpet duet, and then later an aria is accompanied with cascading arpeggios from the bassoon, the listener discerns Verdi's originality in orchestration, so appreciated by opera players- I was one of these myself for many years. There are important roles, too, for trombones and tuba, not always heard in 1939 when Oberto was premiered.

So why was Oberto so successful yesterday? Wonderful performers! the cast, conductor, chorus, and orchestra. Credit is also due to the co-producers, OperaDelaware and Philadelphia's renowned opera training school, the Academy of Vocal Arts for conceiving of this unique collaboration, a highly satisfying approach to Verdi's neglected first opera. For this concert version, the cast was in formal attire rather than costumes, the large-by-opera-standards orchestra right behind them on stage, the modern convenience of supertitles added much (English with the singing in Italian), and there was also the minimal though complete staging, i.e. acted-out interactions among the five main characters  which made for clear story-telling.

The excellent chorus was a combination of OperaDelaware's own, along side AVA students. They entered and exited as the story required, standing behind the second violins. The four large roles and one smaller one were sung by the greatly talented AVA artists-in-training who already possess big mature voices, with the intensity of fine acting to match. When the curtain calls arrived, it seemed that soprano Michelle Johnson had truly captured the hearts of her listeners, due in part to the conflicted and pathetic vulnerability of her character, Leonora, who, prior to the events depicted, had been seduced and then abandoned by the tenor, Riccardo. The mezzo, Cuniza, is now his fiancee, but becomes Leonora's greatest advocate, via opera's penchant for the absurd yet dramatic. Leonora's father Oberto, the baritone, chooses his passion for revenge rather than entering a briefly open doorway to offering forgiveness, while Cuniza's servant Imelda, played by mezzo Sasha Hashemipour had some beautiful lines to sing, though a bystander to the overblown preoccupations of her employer's circle.

Michelle Johnson possesses a voice of rich timbre which retains its focus and color in the highest register. Verdi's daring two-octave descents revealed an exceptionally strong and expressive low range as well- she has it all. The huge voice of Margaret Mezzacapa who played Cuniza was equally gripping, and her acting matched Johnson's intensity. It was only her character's role as an intermediary among the other principals which limited her effect on the audience. Musa Ngqungwana as Leonora's father Oberto was a strong baritone, whose character starts out wounded, searching for relief. But when his vengeful passion, ultimately leading to his own death, finds its full flower, Ngqungwana gripped the listeners with the force of his character's emotion. Tenor William Davenport, who was having his only shot at performing the role which was rotating through 3 tenors in 4 performances, came off powerfully as Riccardo, a confused young man, first swayed by romance, then by an advantageous betrothal, and tragically by the challenge to duel Oberto, a much older man whom he knew he would in effect murder. Davenport has a Pavaratti-like timbre, as well as many of the affects of an Italian opera tenor. He was a convincing bad-guy, while perhaps not quite convincing us that such a character is as human as the rest of us, not an easy task in many a 19th century opera role.

Another advantage afforded by the concert format was a clear view of conductor Christofer Macatsoris, who is also the general music director for AVA. Without cover of the usual orchestra pit, we could see the drama in his every gesture, the way his baton goes from hand to hand, his expressive fingers and wrists doing much of the work. His involvement with the singers is constant, also finding occasion to cajole lines ascending from the depths of the 'cello section. Macatsoris tensile strength might seem his most prominent feature, still he delights in the airy gestures of the bel canto style. His orchestra of Philadelphia professionals, some of whom are also OperaDelaware regulars, was highly disciplined, responding securely to their demanding maestro. Veteran clarinetist Joseph Smith was particularly expressive, as was flutist David DiGiacobbe, while all the sections maintained uniformly high standards. An opera in two acts, Oberto's intensity rose as each act drew to its close, and it was then, as emotions reached fever pitch, that all the power and imagination of Verdi's nascent talent showed through.

One performance remains, January 31 at the Haverford School's Centennial Hall.

See www.operadelaware.org.

HONK, if You Want to see a Fantastic Family Show!

The Delaware Children’s Theatre, Delaware’s home of storybook productions, has gone to the countryside with its latest production of the family musical, Honk!

Honk!, a musical version of Hans Christian Anderson’s classic The Ugly Duckling, is a lesson in accepting others for who they are and not based on their physical appearance. Ugly, played with great charisma by Tripp Ivie, is a newly born duckling that doesn’t resemble his siblings or the other ducklings in their area.

Ugly’s mother, Ida, played by the talented Lucy Marie Smith, loves him unconditionally and is unfazed by his hideous features. She teaches her son how to swim and advises him to stay away from the sinister Cat, played by the sly Daniel Schmitt.

Unfortunately, Ugly’s siblings and the other farm animals aren’t as kind as his mother and eventually shun him from their activities. Longing to be accepted, Ugly gives in to Cat’s temptation of a play-date and lunch. However, Ugly doesn’t realize he’s on the menu. Once he understands Cat’s true intentions, he escapes and begins his adventure to find his family. While on his jaunt, he meets some colorful animals, including the snazzy Bullfrog, played effortlessly by Dan Healy, who teach him valuable life lessons. While Ugly is working his way home, his worried mother leaves the family to find him.

Will mother and son find each other? Will Ugly ever become handsome? Does he win the love of his siblings and the other animals? I’m sure you can guess the answers to all of these questions, since this is a children’s show!

The production is delightful! The cast transforms into their respected animal characters and charms the children in the audience. Mr. Schmidt and Ms. Smith give enchanting performances. My eye was particularly drawn to one cast member, Lynne Lew as the pesky duck Henrietta, who shows continuous enthusiasm during the production.

The only issue, as with many community theater productions, is at times the band was louder than the performers, making it difficult to hear the lyrics. Regardless, Tom Marshall has directed a show that will entertain the whole family and teach an important lesson to the young and the young at heart!

The show runs through February 12. For more information visit www.dechildrenstheatre.org.

Time Stands Still at DTC

While photos of the horrors of war draw viewers into places and events with startling intimacy, it's not often that we think about the photographer beyond that decisive moment. Does she have a family? A circle of friends? Does she live in a house in the country or an apartment in the big city? What would it be like if the situations laid bare for the world to see were hers?

"Time Stands Still," in its first regional production since it closed on Broadway in January 2011, turns photojournalism on its head by showing the other side of the camera, it all of its imperfect glory.

Susan McKey, Kevin Kelly, Bruce Graham, and Megan McDermott. Photo by Matt Urban.

This Delaware Theatre Company production is a partnership with the Act II Playhouse in Ambler, PA, the theatrical home of director Bud Martin. Donald Margulies' vision of an intimate and strikingly realistic slice of one photojournalist's life after an injury overseas works incredibly well on the DTC stage -- it's as if you're a fly on the wall.

The play features four characters: Photojournalist Sarah (Susan McKey), her longtime partner James (Kevin Kelly), her friend and editor Richard (Bruce Graham), and Richard's young, bubbly girlfriend Mandy (Megan McDermott). The acting is spot on. As you get to know these people, you start to relate to them on different levels (which characters you relate to most depends a lot on your own experiences and personality). Despite the fact that the subject matter is war, with Sarah having been injured in Iraq, there is no heavy-handed political message. It's a story about people and relationships, of love and loss and passion.

It all takes place in Sarah and James' Brooklyn loft, beautifully designed by Dirk Durossette. It's not a place you'll soon forget.

"Time Stands Still" runs through February 5.  For tickets, visit DelawareTheatre.org.


For more, see my review for STAGE Magazine.

Warm hats and notes for Mėlomanie

Mėlomanie invited guest composer Kile Smith for the premiere of his work The Nobility of Women for harpsichord, ‘cello, viola da gamba, violin, flute and oboe. The work is a series of dances which have both a baroque inspiration and a modern treatment– especially the fanfare of the Overture. Smith’s mastery of detail (his years as librarian of the Fleischer collection made their mark) was evident in his his careful consideration of each instrument as a soloist.

As is their wont, Mėlomanie mixed it up and presented a more modernist work by Mark Hagerty, Variations on a theme by Steely Dan which came out surprisingly well using harpsichord as the keyboard. Priscilla Smith and Kim Reighley were able to trade styles and melodic lines as they followed Hagerty’s merry romp through the gamut of baroque to bop. Doug McNames was also at ease letting loose with his ‘cello acting the dancing double bass and bringing a surprising twentieth century rock style to the fun grouping of baroque players.

Long-time member Donna Fournier played one of her best concerts with her performance of the Suite in D Minor by Joseph Bodin de Boismortier. She has really become a master of the viola da gamba and it was an exhilarating experience to hear her play.

Priscilla Smith brought a very fresh and unadorned mastery of baroque oboe to the fore as she played the beautiful, quiet and almost vibrato-free melodies of Telemann and Couperin. Her youth and talent promise a great deal for her future. She already has an impressive resume of performances as a baroque player.

Mėlomanie accepted donations of gloves, scarves and hats in lieu of tickets to benefit Friendship House.

See www.melomanie.org