The Reedy Point Players Stay Gold with "The Outsiders"

It's not often that I venture south of Wilmington for theater. I go see the Chapel Street Players in Newark on occasion, and I've enjoyed productions at Middletown's Everett Theatre now and then, but one Delaware community theater I had yet to check out was the Reedy Point Players in Delaware City. When I heard they were doing "The Outsiders," based on the book by S.E. Hinton (one of my favorites in any medium), I decided it was time to make the short trip. Just under 30 minutes from Wilmington, RPP is tiny (never a bad thing in my book), utilizing the community center space in the Delaware City Library. "The Outsiders," directed by Erin Miller, centers on Ponyboy Curtis, a bookish 14 year old in 1960s Oklahoma who also happens to run with a gang of greasers -- the poor kids in town who are in a seemingly never-ending battle with a gang of "socs" (rich kids). For Ponyboy, the gang is really just the guys he knows from the neighborhood who look out for each other. He keeps out of trouble, not just because he's a good, honest kid, but also because trouble would mean he'd be removed from the custody of his older brother Darry, who had taken the responsibility of raising him and middle brother Sodapop after their parents' deaths. Unfortunately, trouble finds Ponyboy and his best friend Johnny, a broken boy with a surprisingly old soul. As Ponyboy, Middletown High sophomore Brandon Dawson conveys the character's juxtaposition as the exceptionally intelligent, kind of nerdy kid in the slicked-back hair and blue jeans that defined him as a hoodlum in his time. Any good Ponyboy needs a Johnny who is just as convincing, and Sean Wagner is spot on in what is probably the most challenging role in the play. It's crucial that the audience cares about Johnny, and he, without a doubt, pulled it off. Kevin Austra's Dallas, the bad-boy greaser who would do anything for his friends, hit the right notes, and Dan Davis captured the wisecracking Two-Bit perfectly. Matthew Furman as Darry towers over Dawson, making him an especially imposing figure, especially when he's angry -- but the love he has for his youngest brother came through. Derek Pinchot as Soda and Heather Mickles as Sandy round out the greasers. The socs are a less sympathetic gang, but Cherry Valance (Lauren Bailey), Marcia (Molly Kiefer) and Randy (Max O'Neill) show that they're not monsters, just kids who for the most part are tired of fighting too. They don't really grasp that their upper middle class struggles aren't equivalent to the struggles of the disadvantaged greasers, but Randy points out that the sadistic soc Bob (John Bolduc) was probably the way he was due to being overly spoiled by his parents. It's fair to say there are issues all around. "The Outsiders" combines coming-of-age with tragedy, a story of violence, consequences, heroism and hope that continues to move young readers (and watchers) -- and it translates remarkably well to the stage. RPP's take on it was worth the trip.

It Ain’t Yo’ Mama’s Shakespeare: CTC Straight Killin’ it with 'Bomb-itty'

By Guest Blogger, Amanda Curry

Amanda is the Director of Communications for the Delaware College of Art & Design in Wilmington.

“Pack it up, Pack it in/ Let me begin…”

Yo’ Mama jokes. Adidas track pants and sneaks. Rappin’ and beatboxin’… Shakespeare?! Walking in to CTC’s production of The Bomb-itty of Errors, you’re in for an atmosphere more reminiscent of a strip club/disco than a theater, complete with a DJ droppin’ beats throughout and four poles on stage (and yes, they are used for that purpose...hilariously misused, but you’ll see). This four-actor + DJ production is a fast-paced, high-energy, “add-raptation” of Shakespeare’s Comedy of Errors.  The show is campy, raunchy, fun and hilarious, but, you want to go in with some understanding of Comedy of Errors, otherwise you’ll get totally lost and miss a lot of the funny. And there is a lot of funny.

That said, check out a run(DMC)-down of the plot here. The gist is two sets of identical twins — one pair both named Antipholus and one pair both named Dromio — born to a legendary MC of his time and his wife.  They are forced to give the kids up for adoption and the twins are split — one Dromio and Antipholus grow up in Syracuse and the respective pair in Ephesus — each unaware of their counterpart until the end of the show. The plot gets more complicated as the show goes on, but that’s part of the fun.  As the confusion escalates, so too does the hilarity, as a variety of zany characters are introduced, all played by the same four actors.

The show is an interesting mix of Shakespearean rhyme and modern hip-hop references, set in present day NYC.  Admittedly, I was skeptical at first.  However, I was pretty much won over and thoroughly impressed with all four of the performers’ skills on the mic, as the entire show is rapped/sung.  Shakespeare alone is tough enough to spit out, but rapping Shakespeare?  Impossible.  And these guys really do tackle it like pros.  All four performers play multiple characters, signified by a simple wig/costume piece change. The stage itself — designed by Richard A. Kendrick — is pretty simplistic: the DJ in the middle and two screens on either side.  But the atmosphere is complemented well with occasional strobe lights and red gel cutouts that light up to signify three important locations: home, bar and church (lighting design by Vicki Neal).  Actors move in and out of the playing space to change behind screens, pretty much in view of the audience, so there’s quite a bit of meta-theatre happening. The staging and choreography is fun and funky complete with a whole lot of booty shakin'.  I especially loved the homage to N*Sync with a little “Bye, Bye, Bye” dance.  Mad props to Kerry Kristine McElrone and Lauren Peters for their dope costume design (i.e., choosing the track pants and sneaks that the twins wear).

The first pair of twins we meet are Dromio of Syracuse (played by Chris Banker) and Antipholus of Syracuse (played by Dyan Geringer).  Patrick O’Hara and Brendan Sheehan play the respective pair of Antipholi and Dromio(i?) of Ephesus. It was hard to choose a favorite performer/scene, as all four do a pretty commendable job of keeping you laughing for nearly two hours.  DJ Swizzul (Trent Marsh) on the turntables during the entire show provides the perfect accompaniment for these four.  Dylan Geringer (a CTC "regular") shines as the one female cast member, especially as the character of Hendelberg, a Jewish rapper/jeweler with a knack for hilariously awful “yo’ mama” joke telling.  She’s such a versatile performer and her comic timing is spot-on, as was consistent with all four actors. Patrick O’Hara plays a cross-dressing Luciana, and his interchanges with the super-funny Brendan Sheehan as a sassy Adriana, wearing a yellow sports bra and donning a red wig, are phenomenally witty, silly and fun.  More characters are introduced, including an Irish cop, a Rastafarian herbal doctor, a nerdy bike messenger, and a stripper named Desi, just to name a few.  Under Michael Gray’s direction, assisted by Tommy Fisher-Klein, the speed and seamlessmness with which the performers switch characters is nothing short of impressive.

Bomb-itty is totally irreverent and although maybe not appealing to your grandmum — unless she's a sassy, rappin’ grandma, a la The Wedding Singer — it would be entertaining to the teens in your life.  Or, looking for a fun date night? Then, get-thee-to-Bomb-itty-and-you-will-see-some-hilar-ity.  Just be sure to read that synopsis first…ya heard?!  Check it: Bomb-itty runs now through May 17 at the Black Box at OperaDelaware Studios.

See www.city-theater.org. 

The Wit (and Will) of an Astounding Performance

“How are you feeling today?” This question is asked repeatedly during the University of Delaware’s Resident Ensemble Players’ production of Margaret Edson’s tour-de-force play, Wit. If Kathleen Pirkl Tague — who portrays the plays central character Vivian Bearing, Ph.D. — would answer, I hope she would say, "I accomplished greatness."  Because, under the superb direction of Sanford Robbins, Ms. Tague gives one of the best, if not the best, performances I have seen this theater season.

Vivian, a well-respected, 50-year-old university professor of 17^th Century poetry, is diagnosed with stage-four metastatic ovarian cancer at the beginning of the 100-minute play. Once she receives the diagnosis, her intellect takes over and she begins analyzing each term spoken by her doctor (Harvey Kelekian, M.D. played by Lee E. Ernst) and researching the disease. Vivian is a strong-willed, independent person, and through flashbacks we see her match wits with everyone — from her father when she was a child to her college professor when she was a young lady to the present with her oncologist and his clinical fellow (Jason Posner, M.D., played by Michael Gotch). Posner also happens to be one of her former students. 

Vivian’s parents are deceased and she never married or had children. Her marriage is to her career, which leaves her without any human support while enduring an experimental chemotherapy treatment. However, she does develop a friendship with an unlikely person — her nurse (Susie Monahan, R.N., B.S.N., played by Jasmine Bracey) — who doesn’t know anything about poetry, but does know about being kind and respecting her patient’s wishes.

Wit doesn't promise its audience a happy ending; it doesn't sugarcoat the struggles of battling cancer. It’s a rough play, but the playwright managed to weave a great deal of humor into her text. The humor helps to alleviate the tension and sadness you feel as you follow the lead character on her dour journey.  

Ms. Tague’s performance is astonishing. She creates this complex character, evolving from an in-control professor passionate about research to a person dependent on others and becoming the subject of her doctor’s research. She tires of being asked, “How do you feel today,” by her medical team. (She's dealing with cancer, how do they expect her to feel?) Her usual is“Fine.” However, she knows she’s not fine and there is only one outcome for her.

Mr. Gotch gives a stellar performance as Posner, who is uncomfortable having to examine his former professor, but is willing to go against her do not resuscitate wishes  to continue researching the experimental treatment Vivian is receiving. Bracey’s character Susie stops Posner from resuscitating Vivian during one of the most traumatic scenes during the play. Ms Bracey is astounding as Susie. She and Mr. Gotch’s performances during the final scene are as intense as riding in a car when the brakes give out.

Don’t miss this production. It’s rare when you see such a satisfying, thought-provoking play that keeps your interest from beginning to end!

Wit plays at the Roselle Center for the Arts until May 10^th. Visit www.rep.udel.edu or call 302.831.2204 for tickets.