Album Review: Glim Dropper - Heartsick Phenomenon

By Guest Blogger, Don Tyler
Don is an aspiring writer living in Pike Creek with his two cats, Sam and Dave. He enjoys finding good coffee and even better live music.

There's been an incredible crop of talent popping up in the Wilmington region in the last couple of years, and one name that keeps coming up is Glim Dropper. This infectious trio from Philly is making a second home in Delaware after two successful performances at The WIlmo Rock Circus in 2012 & 2013, wowing audiences both years. And in September, they took their rightful place as winners of Delaware’s premier music competition, Musikarmageddon, after their second place showing in 2012. And now this…

Simply put, their new album, Heartsick Phenomenon, is an amazing record. The 10 songs on this album are simultaneously fresh and familiar. Driving and dreamy, melodramatic and melodic, it just hits you with hook after hook. Dan Kauffman’s vocals glide across the landscape in smooth arcs in a way that’s both inviting and introspective. Dan’s bass work on the album is surprisingly complex while complementing the arrangements without being overbearing. Live, he handles both of these roles with ease.

Ben Geise uses the guitar to drive the pieces and helps create their overall sound with a smart balance of effects. At times, overdriving riffs are juxtaposed against a wall of delay and reverb that helps draw you into the narrative. For audiophiles, it just creates another layer to the already engaging album. Ben was named WSTW’s Hometown Heroes Best Guitarist two years in a row, and it’s a deserving recognition.

All of this happens over the solid drumming of Rob Schnell. Rob’s drumming is intelligent and a perfect match for Dan and Ben. Finding the right moments to pop, while recognizing when to hold back and let the song do the work. His choices show that drumming is more than just speed or power, though he offers up plenty of both over the course of the album.

Rob kicks things off with the title track, a short welcome to the record that never relaxes in its enthusiasm. They then dive into Shanghai, which dives right into one of their strongest melodies from beat one. They take a dreamy breath that pulls you in during Night Doctor with one of Dan’s most enticing vocal performances, then take it up a notch with The Velvet Way To The Grave. Then comes the unexpected: A beautifully crafted acoustic piece called Hangman that is both haunting and optimistic. Second Sleep is a great complex tune. It ditches any sense of formula and dances around the beat in a way that keeps your guard up. They follow this up with two straightforward songs: the upbeat First World Problems and the mellow intensity of Better Life. Strangelove is for the rhythm addicts. A 12/8 gallop that uses the triplets to fool your brain into thinking it’s in 4/4, and using the intensity of that pulse during the verses to build the tension before resolving back to the 12/8. Brilliance. The album closes with the moody and reflective Another One, which gently lets you down off of this 41-minute ride.

If you haven’t seen Glim Dropper live, I highly suggest it, and when you do, buy this album and hand it to the person next you. Then buy one for yourself.

HIGHLIGHTS: Heartsick Phenomenon; Shanghai, Second Sleep, Strangelove.

See www.glimdropper.com. 

An Afternoon of Colorful Music with Mélomanie

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com.
 
On Sunday afternoon, March 9 at the Delaware Center for Contemporary Arts, Mélomanie, Delaware's half-and-half chamber group (half baroque, half new music) played its third performance of its third program of the season. Themed "Ultraviolet," the program celebrated beloved longtime Wilmington Friends School music teacher Violet Richmond with the premiere of Ultraviolet, written in her honor by local composer Mark Hagerty. His piece Context also received its premiere, along with music by 18th Century composers G.P. Telemann and Anna Bon and 20th Century American composer, Alec Wilder. The virtuoso guest percussionist was Chris Hanning — a star in the international drumming firmament, and who, like Mélomanie flutist Kim Reighley, is on the faculty of West Chester University. Reighley also had a big day, performing in all five works on the program. 

Anna Bon di Venezia traveled with her parents as a prodigy, attended the music school where Vivaldi taught, and became a professional in the court in Bayreuth, Germany. While containing few surprises, her D major flute sonata is an extremely well-crafted example of the gallant style, which sounded beautiful on Reighley's wooden baroque flute, balanced so well with its harpsichord and baroque 'cello accompaniment. Telemann's A minor Paris Quartet, which opened the second half, was full of charming surprises, especially in its Coulant (flowing) middle movement — basically a set of variations interspersed with a beautiful ritornello. The unaccompanied flute and violin duet was striking, as was a solo variation, performed by Christof Richter on baroque violin. Viola de gamba player Donna Fournier also got a feature, and the tasteful continuo was provided by harpsichordist Tracy Richardson and Douglas McNames, baroque 'cello.

It was a rare treat to hear two new works by Mark Hagerty, a composer who has contributed so much to Mélomanie's repertoire, including his gorgeous Trois Rivieres, featured on the group's Florescence CD. I confess I'm a fan of Hagerty's work and have poured over his fascinating recordings. So it was a special pleasure to hear two works in which he seems to have broken new ground, also distinguished by the fact that Context and Ultraviolet have a virtually opposite point of view. Both use modern instruments, the former for alto flute and harpsichord, and the latter for the entire Mélomanie quintet with the addition of percussion. 

While Context is slow, meditative, with a limited though arresting arpeggiated harmonic palette, enhanced by the lovely timbres of the two instrumentalists, Ultraviolet has many highly contrasted episodes, and a completely unbuttoned point of view, including a rock-out drum solo, thrillingly improvised by Chris Hanning. But that is only one end of the spectrum, because the work begins and ends with the most delicate sounds of the ocean drum — John Cage would have enjoyed that these sounds balanced well with the building's ventilation system. In between there were numerous well-graded explorations, including a quiet shimmer of strings, delicately accented by metal interjections from a flute, a harpsichord string, or a bowed crotale. How surprising it was when a poetic harpsichord cadenza suddenly morphs into an uptempo ensemble romp, or when Reighley picked up her alto flute for a sensuous duet with the middle eastern doumbek drum. And since the theme was color — or anyway the imagined nuances of light frequencies normally invisible — Hagerty managed to excel with a succession of colorful instrumental combinations, often quasi static, but then bursting into rhythmic complexity. Bravo Mark! 

The program concluded with Alec Wilder's Flute and Bongos 1 and 2, composed in 1958, and still fresh and vital. Wilder wrote jazz standards as well as lots of classical chamber music, and we could hear his sophistication in both worlds. Reighley was virtuosic and Hanning's elaborate bongo drum accompaniment was apt and arresting. The drum part was so together with the flute, and so complicated, that I assumed it was all written out and then executed to perfection. Just now I read the program notes and found that Hanning was improvising — wow!

Mélomanie's next program at DCCA is Sunday, May 11, at 3:00pm. 

See www.melomanie.org. 

A Faust for All Tastes and Time

Heinz-Uwe Haus has created a very lively Faust Part I by Johann Wolfgang Goethe and made it both faithful to the original, yet modern in its conception. Man’s asking for more and yielding to temptation is not a time-bound issue. The modern flying and pyrotechnics and magic are only possible in our time, yet how well they are welded to the phantasmagoric effects Goethe had described in his story.

Mic Matarrese as Mephisto

Goethe had developed his Mephisto (Mephistopheles is the name Goethe used which is a badly constructed Greek word intended to mean one who shuns light) as a full-bodied character with emotions and impatience and a deep respect for the Lord whom he considers to be a worthy colleague. And Mic Matarrese (Mephisto) does not disappoint as he wheedles and befriends and convinces and conquers and provides that glorious mix of impatience, charm, and magic which our poor Dr. Faust swallows hook line and sinker.

Faust (Stephen Pelinski) creates a smooth transformation from the dried-up and world-weary professor to the hungry and rejuvenated fool whose appetite for carnal and other delights is whetted by Mephisto’s tricks and promises. Pelinski’s Faust is a cynic whose slow yielding to temptation has a beautifully gradual unveiling. His fascination with Margarete is complex, and he shows that complexity as he struggles with his lust and his love. Margarete/Gretchen (Sara J. Griffin) also makes her character more than just a girl who is duped – she goes through the transformation from lonely cherub to fallen angel slowly and painfully – starting with the joy of love and innocence and falling into sin without losing her unblemished spirit.

The tale is most beautifully told in verse created by Dr. Haus from his own translations and selected public domain translations, and translations by two unidentified UD scholars. The musical interludes are so seamlessly inserted by Ryan Touhey’s keyboard and percussion that it seemed the music was coming from the performers on stage. Mic Matarrese’s perfect gestures as he pulled music out of his walking stick or played the guitar are quite convincing. I will protect the secrets of the pyrotechnics by telling you Celebration Fireworks knows what they are doing and I must compliment FOY and the fearlessness of Elizabeth Heflin as the flying witch, Lee Ernst as the Lord hovering in heaven and Matarrese’s Mephisto buzzing in the rafters of the church.

Credit is due for special effects (hats off to Waldo Warshaw) but I can’t spoil your fun by telling you what they are. You will know when you see the bar scene with Mephisto, Faust and some lively drunken singers. The costumes are quite striking and the transitions as characters change, transform and transmogrify deserve a hand as well. The play runs until March 23, 2014.

See www.rep.udel.edu.

Congrats to DE Arts Info Blogger Jessica Graae for 5 Homey Awards Noms!

Cheers to Wilmington singer-songwriter and Delaware Arts Info blogger, Jessica Graae, whose debut album, Gypsy Blood, has garnered her five nominations at tonight's Homey Awards!

Gyspy Blood is a stirring acoustic album with tracks that delve deep, lyrically and vocally, with themes that range from the hopeful to the melancholy. The darkly atmospheric opening opening track, "Find Me a Rose," has been nominated for Best Song, though it's tough picking a favorite out of the 13 songs (but not impossible: my personal favorite is "Clear as a Line"). You can check out the album on Jessica's Reverbnation page.

The 8th Annual Homey Awards and Concert is happening tonight at World Cafe Live at the Queen, with a live performance of "Find Me a Rose" from Jessica, as well as performances by John Dutton, Amelia Scalies, and BlackRue, and live sets by The Joe Trainor Trio, Glim Dropper, The Great SOCIO, and June Divided.

Congrats to all of the nominees! Check out our rave reviews of fellow nominees Hot Breakfast and Angela Sheik by clicking the links!

Tickets are just $10. The full list of nominees is after the jump:

Sunshine on Leith Has Its US Debut in Delaware

The Scottish musical Sunshine on Leith, featuring songs by The Proclaimers, has never had a production outside of the United Kingdom -- until now. Under the direction of Allyson Good (the DE Shakespeare Festival's Education Coordinator and Poetry Out Loud State Coordinator), the heartfelt story of love, family, and community made its US debut on the amateur stage of the Wilmington Christian School.

It's a challenging show, not just with the required vocal harmonies and choreography, but because it tackles a modified version of the Leith dialect (the true dialect, Good explains, would be nearly impossible for the audience to understand). It's clear the actors spent a lot of time working on the accents, both in the dialogue and in the song lyrics.

The present-day story centers on Davy (Jeremy Gouveia in the production's standout performance) and Ally (Daniel Jacobson), two friends returning home to the working-class Leith section of Edinburgh after serving in the war in Afghanistan. They land jobs, hang out at the pub, and think about their futures. Davy's sister Liz (standout Katie Barton), who is also Ally's girlfriend, is restless. Through Liz, Davy meets her friend an fellow nurse, Yvonne (Kaylene Mummert), a young English woman, and they fall in love. Meanwhile, Davy and Liz's parents, Rab (Peter Spangler/Isaac Barrick in flasback) and Jean (standout Christina Sanders) hit a rough patch as they celebrate a milestone anniversary.

The youth cast handled the material well, from the stirring opening featuring "Sky Takes My Soul" to the popular "I'm Gonna Be (500 Miles)" in the finale. Though the story is rooted in a community far away, it's one that transcends place and time; Wilmington Christian should be very proud.

Justice Prevails in the Delaware Theater Company’s production of "The Exonerated"

Jessica Blank and Erik Jensen's gripping play The Exonerated explores the unjust treatment six individuals experience with the US legal system. Brilliantly intertwining multiple true stories about individuals who were wrongly charged for murder and sentenced to death, The Exonerated is a 90-minute play that captivates from beginning to end. With a stark tiered set, director David Bradley puts the focus on his actors and the stories they are sharing.

Majority of the play is made up of soliloquies by the ensemble cast. David Alan Anderson, Megan Bellwoar, Akeem Davis, Anthony Lawton, Frank X, and William Zielinski portray the incarcerated characters, along with Tom Byrn, Dan Hodge, Aime Donna Kelly, and Susan Riley Stevens who play various roles, including police officers and spouses of the convicted individuals. Great sympathy is felt for the convicted as they express the sorrow for time lost with their children and loved ones, and
knowing the real murderers are free while they endure imprisonment.

The entire cast gives exceptional performances. Using only chairs as props, the actors have the great task of keeping the audience engaged, which they all successfully accomplish. Not needing a set, the actors fill the stage with their moving stories, which reveal the flawed practices within our justice system and the harsh realities of life in prison.

The previous production I saw of The Exonerated had the cast sitting in a row of chairs reading the script, similar to DCT’s wonderful production of Love, Loss, and What I Wore. However, Mr. Bradley has his actors moving and at times interacting in small scenes. (Only Mr. X wasn’t able to participate in the interaction with his fellow actors. Unfortunately, he fell when exiting the raised stage the day before the performance I attended; leaving him injured. Being a real professional, Mr. X sat in a chair on the side of the stage performing his role as an 18-year-old African-American man who was convicted for a murder based on the color of his skin.) Having the actors in motion added a new element to the play that brought it to life. This production feels complete rather than just a reading.  

The Exonerated runs through March 9, at The Delaware Theatre Company. Visit www.delawaretheatre.org or call 302.594.1100 for additional information and to purchase tickets.

First State Ballet Theatre Unveils a Killer Production in Irene

The World Premiere of Irene, written and composed by Shaun Dougherty and choreographed by Alex Buckner, lived up to expectations (I can honestly say it exceeded mine, and I'm pretty picky when it comes to the vampire genre in general). It's too bad that the production was a one-night-only event. It's the kind of production that needs word-of-mouth and general buzz to draw people who might not ordinarily spend an evening at the ballet, but who would undoubtedly love this show. 

Vampires and ballet go together uncannily well -- there's something about the grace, the fluid movements, and charisma ballet can offer that makes it work really, really well. And with its impeccable choreography, the most violent moments of Irene capture the horror, without even a drop of blood.

The atmospheric, dark score blends classical and contemporary music; the 9-piece orchestra, led by Conductor Clint Williams, is dominated by strings, with Dougherty on electric guitar. This is not what I would call a rock 'n roll ballet any more than it's a traditional one -- but the modern, electric bass and guitar elements give it an edge that fits the gothic style of the story.

Thought it has twists, the story is straightforward enough to follow easily, even for those not accustomed to watching stories told in dance (the beautiful costumes by Joanne Epstein, Traci Eizember and Paige Obara also help keep the characters straight). Emily Shenaut plays Irene, a young ballerina who finds that the prestigious ballet company she's been accepted into is, in fact, a company of vampires, led by Malekeh (Mary Kate Reynolds) and Liam (Leonid Goykhman), with a pair of vampire henchmen lovers, Lily and James (Aubrey Clemens and Jake Nowicki), stalking her throughout as she tries to escape the nightmare Though there is a goth-romantic feel to the story, the vampires are clearly monsters, despite their graceful beauty, and the vampire killings, of which there are several, are so horrific that Irene attempts suicide after witnessing them. Seemingly less monstrous is Maeve (Rie Aoki), Makela's apprentice, who portrays an more innocent and kind spirit -- but are her intentions really to help Irene?

Through all of this is a love story between Irene and her boyfriend Ethan (Justin Estelle), who spends most of the story trying to protect or save Irene from the vampires. The audience knows a little more about Ethan than Irene does (I almost wished we didn't), and their arc carries through from beginning to end.

Here's hoping that Irene comes back in future seasons.

Looking for Something Different This Weekend? How About a Vampire Ballet?

"When was the last time you saw a professionally performed classical and contemporary ballet with live musicians about vampires?" asks Shaun Dougherty, creator and composer of Irene, First State Ballet Theatre's unique new production, premiering for one show only this Friday, February 21, at The Grand Opera House.

It's really a rhetorical question. While Wilmington has seen some dark ballet, thanks to Fringe Wilmington, a vampire ballet is something new, made only more enticing by the fact that this is a FSBT original. The story centers around Irene, a beautiful young dancer who joins the most prestigious ballet company in the world and finds herself struggling with mysterious odd rehearsal schedules and constant late-night parties.

Dougherty, a musician who is primarily a jazz and rock guitarist, got hooked on ballet thanks the location of his teaching studio -- inside The Grand, where FSBT is also located.

"I met (FSBT director) Pasha casually, and just started going to all their performances," says Dougherty. "They're a very professional and talented school. Once the ballet idea popped into my head, I literally just walked into their office one day and pitched my idea. After several more chats, we all agreed this is something we can and should do, and here we are!"

Irene aims to bring the beauty of the ballet to a new audience, while appealing to established ballet fans, with a mix of classical and contemporary music and its seductive horror theme.

"There is a lot of talent here in little Delaware," says Dougherty, "and this is what I do -- I write original music and put together shows. This is my love, this is my passion and I want people to enrich their lives with  the beauty of ballet. I'm just along for the ride."

Purchase tickets at ticketsatthegrand.org.

Snapshots from the DE Premiere of Jeremy O'Keefe's Somewhere Slow

Wilmington native Jeremy O'Keefe's second feature film, Somewhere Slow, had its Delaware premiere over the weekend at the Wilmington Drama League, with a red-carpet reception and two big-screen showings. Enthusiastic audiences got the chance to Q&A with O'Keefe and star Graham Patrick Martin ("Major Crimes," "Two and a Half Men"), who shared some behind-the-scenes stories and in-depth conversation about the darkly comic drama. (Fun Fact: in it's earliest incarnation, it was a Rom-Com!) If you missed the screenings of this moving "grown-up coming of age" film (and it really is a great film, regardless of our Delaware bias), it's available now to rent or purchase on iTunes and Amazon Instant Video!

Graham Patrick Martin and Jeremy O'Keefe with WDL Production Manager Kathy Buterbaugh

Martin and O'Keefe's Q&A, with moderator Elizabeth Lockman

Somewhere Slow Q&A, 2/15/14

Hiker’s Art at Blue Ball Barn: Alapocas through the seasons

Program leader Lynn McDowell's Stream and Sky

When Delaware State Park employee Elizabeth Drummond and photographer Lynn McDowell began guiding public nature hikes with photography in mind, the results were a wonderful mix of photographic talent, healthful hikes and…now…a photography exhibit in the Blue Ball Barn  of Alapocas Run State Park.

After a year of Ms. Drummond encouraging people to hike and look carefully and Ms. McDowell telling the hikers to look with a camera, the two realized that they had amassed some impressive photographs.  Their hiker companions used cell phones and digital cameras and brought myriad levels of experience to the project, but the collaboration seems to have inspired one and all to view the seasons with creativity and imagination. 

Gavin's Reaching for the Sky

The youngest photographer whose work is on display is Gavin, 12, who attended the opening with his father and brother.  Gavin had taken a photograph of a dead tree from an angle where you see the trunk, but he managed to get the lacework of black twigs in perfect focus against a purplish blue winter sky.  The quality of the photograph makes it hard to believe he took it with a Panasonic Point and Shoot.



Don Thureau's Snake on the Rocks

On the far wall was a photograph which seemed to be of a swirl of colored autumn leaves.  Up close, you can see it is a snake which photographer Don Thureau photographed just as he extended his bright red tongue as he contemplated his human audience. 

Virginia Lockman's A Spider's Web

With McDowell’s encouragement, Virginia Lockman took a dramatic picture of a spider web.  McDowell decided to bring out the light by spraying the web with droplets of water which made a prismatic effect.

The project truly seems to have taken hold, with the joy and exuberance of both professional and amateur photographers excited to collaborate and capture the beauty of the Delaware State Parks on their hikes. The exhibit will be on display at Blue Ball Barn through March 16.

See DEstateparks.com. 

Don't Miss the Delaware premiere of Jeremy O'Keefe's acclaimed film Somewhere Slow, Benefiting the WDL

Climb out of your snow-and-ice-filled funk this weekend and celebrate the Wilmington Drama League's Delaware premiere of Jeremy O'Keefe's award-winning film Somewhere Slow, starring Jessalyn Gilsig ("Glee," "Nip/Tuck") and Graham Patrick Martin ("Major Crimes," "Two and a Half Men") with Lindsay Crouse and Robert Forster.

More than a screening, the premiere is your chance to meet the writer and director, Delaware native Jeremy O'Keefe and star Graham Patrick Martin, while raising funds for the Wilmington Drama League.

Somewhere Slow is O'Keefe's second feature film, and the second to take place at least partially in Delaware (his first feature, Wrestling, was shot on location in Wilmington).

There is no better place than Wilmington Drama League for the Delaware premiere of the film the Los Angeles Times called "frequently affecting and mordantly funny" and the New York Times declared "wonderful."

"The WDL gave me my first opportunity to write and direct back when I was 12, and then each year after that before I went to college," says O'Keefe, who grew up in the Highlands/Trolley Square neighborhood and attended Cab when it was still only a middle school and graduated from A.I. du Pont in 1998. "I directed a young Keith Powell ("30 Rock") in the one-act play festival and a young Aubrey Plaza in my mainstage production of Here's Love -- and it was the belief of the members of the WDL and the community that supports this wonderful and magical theatre that gave me the strength and confidence to pursue the arts at a professional level. I owe any career that I might have to the WDL."

While his debut feature film, Wrestling, was a triumph, Somewhere Slow shows his progression in the industry, as respect for his work continues to grow. The film's stars, who went all-in as producers, make their confidence clear.

"The script grabbed me immediately," says Gilsig. "Sometimes you read something and think, 'I want to go there, I want to explore that story, that world.' Jeremy and I agreed to partner on the project in hopes of pooling our resources and seeing if we could get the film made while retaining the original vision he had. It’s been a long and varied road but entirely rewarding, especially now that it is reaching and audience and they are connecting the story the way I did originally."

Martin, who will be on hand for Q&As after the screenings, was similarly drawn to the script. "It's rare to find a script like this one that felt so raw and real -- there were no gimmicks at all," he says. "It was my first time working as the lead role in a film, which added a certain amount of pressure. Jeremy made me feel completely comfortable and confident in my work. I also loved how he worked more as a collaborator than a director. It was always a group effort and everyone's input mattered to him. That's pretty special."

"I think of the film as a beautiful short story," Gilsig says. "It explores the fantasy of: what if you could just stop the world and step off for a moment? Anna and Travis' love story is unsustainable but it’s a moment in time, and a moment they will be able to refer back to for the rest of their lives. It feels relatable to me. And I hope is an unexpected and effective escape for the audience."

Somewhere Slow premieres in Delaware this Saturday at 8:00 pm and Sunday at 2:00 pm at the Wilmington Drama League. Regular admission is $15; VIP tickets for Saturday evening, including a meet and greet with O'Keefe and Martin, preferred seating, a pre-screening coctkail reception and admission to the after-party, are $50. Proceeds benefit Wilmington Drama League. Purchase tickets via wilmingtondramaleague.org/somewhere-slow/.

A Romantic Russian Afternoon with WCO

The Wilmington Community Orchestra performed the Russian Easter Overture, Opus 36 by Nickolai Rimsky-Korsakov and in doing so showed off some of the talented players. Larry Hamermesh, concertmaster, played his solos with panache and the clarinet work of Anthony Pantelopulos and Michelle Webb was a delight. Melinda Bowman’s soaring and delicate flute lines created a spider web of texture for the orchestra. Barry Morris, Pete Witherell and Jim Yurasek took on the demanding trombone parts with ease and it sounded great. I was also delighted to hear the double basses shine in their rhythmic underpinning to the very striking overture.

Charles Abramovic, piano

But when Charles Abramovic began to play the Piano Concerto No. 1 in E-flat major by Franz Liszt, I could not listen to anything but the amazing piano sounds. Mr. Abramovic is an excellent pianist, but I had heard him play mainly modern piano music before this concert, so I was overwhelmed by his ability to make the piano notes ring and reverberate with the sort of perfect declamatory sound that is so characteristic of romantic music. The concerto is an unbelievable tour de force technically, but Mr. Abramovic seemed unconcerned by notes and dedicated to following the conductor and the orchestra. His dynamic control was superb and he had passages where he had to put a theme forward and have all twenty other fingers play rather quietly in the background. In the finale of the concerto, he played a resounding fortissimo which went deep into the keyboard to produce a ringing and resonant echo for the orchestra. It was quite a feat and he richly deserved the booming applause.

Dr. Schwartz spoke of the excitement of a premier on March 23, when the WCO will host the unveiling of a violin concerto composed specifically for the Wilmington Community Orchestra by English composer David Osbon, who came to hear them last year when they were rehearsing for another concert. The composer will conduct while the conductor plays the concerto.


See www.musicschoolofdelaware.org.

Igor & Elvis...A Pair Not to be Missed!

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com

Tuesday evening's Delaware Symphony concert — the second in its elegant chamber music series in the Hotel DuPont's Gold Ballroom — was perhaps the quirkiest ever presented there. It featured bassoonist Jon Gaarder impersonating Elvis, in full regalia, performing composer Michael Daugherty's Dead Elvis, written in 1993 and incorporating the well-known chant for wrath of judgment day, the Dies Irae. As a former DSO bassoonist myself who performed this work in 2008, I took great pleasure in witnessing the whole wacky spectacle from the outside.

Daugherty chose the same instrumentation as Stravinsky's Soldier's Tale, a septet mixture of woodwinds, brass, strings, and percussion, the work which comprised the second half of Tuesday's concert. And speaking as primarily a composer now, I can continue to wonder — how did Stravinsky do it? There is a certain thinness in the texture with so few colors from each family of instruments, but this results in a wonderful clarity, a bracing zap to the ear of each instrument's declamation.

Perhaps the most poignant and plaintive movement was the duet for Gaarder's bassoon and Jonathan Troy's clarinet — so few notes and so much expression. The chorales near the end were gorgeous, but how 'bout the romping rhythms of the marches, the ragtime, and other dances? DSO concertmaster David Southorn was brilliant in the athletically demanding violin part; in time his Tango may become even more sly. All this is in the service of a Russian folk tale, a version by Swiss author C. F. Ramuz, originally in French. Conductor David Amado explained how the standard English translation can sound stilted and even boring, and so Amado undertook his own edited revision, very successful to this listener.

I particularly enjoyed the use of lots of rhyming, and also references to our time and place- the soldier marches "between Lums Pond and Bear," and at another point is treated to chicken wings. Three readers told the story: OperaDelaware's Brendan Cooke as the soldier, joined by two Delaware Theater Company executives, Bud Martin as a wittily sarcastic Devil, and Charles Conway as the Narrator. The large audience was uninhibited in both laughter and applause.

For Dead Elvis, Gaarder chose a sparkly white jumpsuit, white shoes, a thick (not really greasy) wig, and giant shades. He sauntered on stage with characteristic Elvis gestures and wiggles, and also smoothed his locks during the music's sudden pregnant pauses. The music is a study in zany extremes, the bassoon screaming to its ultimate high E or plummeting to its grotesque low B-flat. The tiny E-flat clarinet screeches, the trombone wails its glissandi, the drummer, the DSO's veteran master Bill Kerrigan, flails his collection of bells and other high-pitched gadgets.

I highly recommend this most entertaining and musically rewarding show which will be repeated Friday night, January 31 at 7:30 PM at the Queen Theater, World Cafe Live. The next two DSO concerts at the Hotel DuPont are on February 25 and April 1.

See www.delawaresymphony.org.

Exploring & Exalting Spirituals in Concert at SsAM

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com

The fourth annual spirituals concert at Wilmington's  Episcopal Church of Saints Andrew and Matthew was heard by a large and appreciative audience on Sunday evening, January 26. Led by the church's music director David Christopher, the varied program featured choral music, two vocal soloists, The Chamber Choir of the Wilmington Children's Chorus, as well as Christopher performing organ solos. His relaxed presentation of each piece kept the whole audience in his hand, providing fascinating background about the music's African-American roots, including the Go Down Moses organ fantasia by the late Nigerian-American composer Fela Sowande, who left no device untried, from Bach to Max Reger, from tragic to triumphant.  

Included was a nod to the choral tradition of Fisk University — Rockin' Jerusalem by John Wesley Work III. The program also included masters of the genre Harry T. Burleigh (the sung version of Go Down Moses) and William Grant Still (Here's One). While most of the selections were part of the older spiritual tradition, one selection was, in Christopher's word, "gospelized," Mark Hayes' dancing version of This Little Light of Mine. The evening's two soloists were the church choir's irrepressible Tina Betz and the young professional mezzo and UD graduate, Melody Wilson. Wilson possesses a rich colorful voice, especially in the middle register. This spring, Wilson will participate in the recording of Terence Blanchard's jazz opera Champion. Wilson will sing in the chorus, also serving as understudy to Denise Graves.  

The Wilmington Children's Chorus, under the direction of Kimberly Doucette, sang André Thomas' Keep Your Lamps, accompanied by the solo djembe drum of associate director Phillip Doucette. The young group of about 40 sang with wonderful precision and tone — even the young bass singers sounded convincing and full. The djembe part seemed to be intended to give life and variety to the many verses in slow tempo, but nevertheless came off as an add-on, somewhat out of the style of the song.  

The church choir was augmented by members of Christopher's Delaware Valley Chorale. It was a pleasure to see seasoned artists like Dana Robertson there to add luster to the music. Audience participation was also part of the mix, and Clayton White's arrangement of Ain-a that Good News from Horace Boyer's African-American Hymnal (LEVAS II) was a stand out. Christopher told me afterward that he was impressed and delighted by the big sound of the audience's voices!

Exploring the Excitement and Angst of Turning 13

13, The Musical by Jason Robert Brown (music and lyrics) and Dan Elish and Robert Horn (book) is the story of a 12-year-old New York City boy (Evan) who's preparing for his Bar Mitzvah while hisparents are preparing for divorce. Due to the circumstances, Evan and his mother are forced to move to an Indiana suburb. While adjusting to life in a predominately Christian 'burb, he's also trying to make new friends who will attend his Bar Mitzvah. The problem is -- will he settle for only inviting his unpopular new friends or try to impress the cool kids to attend? 

13, The Musical has a simple story that's been told before, but it's pure FUN with an infectious Top 40 style score. The all-teen cast provides a great opportunity for parents to introduce theater to 'tweens and young teens alike. But, don't worry parents — there are plenty of gags and jokes for both the young and the young at heart to enjoy! 

Director Nick D'Argenio has assembled an extremely talented group of teens — Amanda DeFilippis (Kendra), Branden Fletcher (Richie), Karalyn Joseph (Patrice), Katie Loftus (Cassie), Kyra McKillip (Charlotte), Wyatt McManus (Eddie), Lyndie Moe (Lucy), Nolan Moss (Simon), Gianni Palmarini (Evan), Felipe Rocha (Brett), Will Rotsch (Archie), Evelyn Schiavone (Molly), and Jacob Tracey (Malcolm) — and gives all of them the opportunity to take center stage and shine. 

Palmarini is an exceptional performer who perfectly conveys Evan's conflicted feelings of wanting to fit in with the in-crowd, but yet wanting to remain loyal to his underdog friends (Patrice and Archie). Palmarini is a true triple threat, commanding the stage but never upstaging his fellow cast members. Joseph as Evan's outcast friend Patrice captures the strengths and insecurities of the character. She's working on having a friendship with Evan, but doesn't let down her guard or sacrifice her own convictions in the process. Rotsch as the terminally ill, yet confident underdog, Archie is hysterical, especially during the number "Terminal Illness" when he comically uses his illness to convince Evan's mother to purchase tickets for an R-rated horror movie for the protagonist's popular friends. 

Although the cast has a scaled-down set for its performance, the boisterous choreography by Tommy Fisher-Klein keeps the show flowing. Mr. Fisher-Klein merges current dance steps with flips and other acrobatic moves that delight the audience. With musical direction by Anthony Vitalo, 13, The Musical's infectious score will have you smiling and wishing you were 13 again! 

13, The Musical runs through February 2, at the Wilmington Drama League. Visit Wilmingtondramaleague.org or call 302.764.1172 for additional information and tickets. 

Mousetrap at the Resident Ensemble Players

Monkwell Inn

Forty-nine years after I first saw this play at the Ambassadors in January 1965, it seemed just as fun. The beautiful set with the magically realistic snowfall outside the large French windows made me think of the AmbassadorsTheatre and seeing Agatha Christie four rows ahead of us and stage-whispering, ‘Mama, that’s Agatha Christie’ so loudly that the graceful lady waved her fashionably gloved hand in recognition.

Steve Tague kept everything as it had been in 1965: the luxuriously rambling manor, the period clothes and the cheerily British murderers – Christie style indeed. Elizabeth Heflin as Mollie Ralston and Mic Matarrese as Giles Ralston set the scene and helped the audience put their clocks back to the 1950s. The cold and snow were not a difficult sell after the past week’s storms. C. David Russell’s set was just right and the sound of the radio was audible, radio-like and spot-on with the absolutely essential cues and set-ups (compliments to Eileen Smitheimer and crew for the sound design and execution).

Mrs. Boyle

Jeffrey C. Hawkins animated the stage as Christopher Wren – putting a manic tension into the mix and letting us enjoy Agatha Christie’s wit and social sarcasm, but it took the entrance of the spinsterish and unpleasable Mrs. Boyle (Kathleen Pirkl Tague) and Major Metcalf (Stephen Pelinski) to get us all the way back to Christie-land. From then on, the audience was completely convinced and in the time and mood.

The names of the cast were, of course, quite familiar to those who attend plays at the REP, but I did not even recognize a whit of any previous roles by Deena Burke as she embodied the prickly Miss Casewell. Her manliness and moodiness brought back a time when we just judged people for what they presented and not what we imagined. By the time the ebullient Mr. Paravicini burst in, I was transported to the days when sitting by the snowy window with tea and a book by Agatha Christie was a winter dream come true. The play runs until February 9 with a post-show cast talk on Thursday, January 30. Sold out on February 1.

See www.rep.udel.edu. Photos courtesy of UD REP's Facebook page.

Bootless Brings Monty Python's "Not the Messiah" Oratorio to Town for a Praise-worthy Fundraiser

Some companies put on The Messiah for Christmas. Bootless Stageworks, always marching to its own drummer, is putting on Not the Messiah (He’s A Very Naughty Boy), an Oratorio by Eric Idle and John DuPrez, based on Monty Python's Life of Brian, in late January. We had the opportunity to sit in on an early rehearsal for the show, conducted by Bootless Music Director James W. Fuerst and featuring two dozen singers from Bootless, NewArk Chorale and other area theater companies as well as 20 orchestra musicians from Bootless, Wilmington Community Orchestra, Newark Symphony, Diamond State Concert Band, First State Symphonic, Chesapeake Brass Band and University of Delaware Orchestra. Everyone involved in this fundraising production is doing it on a volunteer basis, and the enthusiasm for the piece shows through. You may remember soloists Geoff Bruen, Kimberly Christie, Cynthia Ballentine, and Michael Popovsky from Bootless' 2012 production of Jerry Springer: The Opera (among other area Opera Productions), and Justin Walsh from the always-popular Evil Dead: The Musical. That so many talented folks have come out to donate their time is a testament to both the appeal of Not the Messiah and the small theater company that has not been without its struggles in the past couple of years.

About a year ago, it looked like Bootless, a nomadic "pop up" theater company, had found a permanent home in Newport, Delaware. The location had one major problem: it lacked a parking lot, and the company couldn't get the go-ahead to build one. Homeless again, Bootless struck a deal with OperaDelaware to utilize its Black Box theater, but scheduling conflicts with that space's longtime resident, City Theater Company, have prevented it from becoming its permanent home (though Bootless' next show, Venus in Furs, will be performed there in March).

For Not the Messiah, the company is utilizing one of Wilmington's best kept secrets: the Down's Cultural Arts Center at Ingleside Retirement Apartments, located at 1005 North Franklin Street."It's a great deal for non-profit organizations," says Bootless Executive and Artistic Director, Rosanne DellAversano. "It's free to use for non-profits. They're working to bring programs to the venue, where a percentage of tickets go to the residents." In addition to enriching the lives of the residents, the venue is open to the public.

Not the Messiah will have just two shows, on Friday January 31, and Saturday February 1. Both shows will be at 7:30 pm. Tickets for are $25 General Admission, $20 for Seniors and Military, and $18 for Students, and include complimentary refreshments at intermission. All proceeds will benefit Bootless Artworks. To purchase tickets, and for more information about Bootless, go to bootless.org.

Our Bloggers' Best Of 2013

Last year was an amazing one for the Arts in Delaware. We had so many great experiences, and we’d like to share some of them with you. Below are each of our blogger’s picks for Delaware Arts Info Blog’s Best Of 2013 (in random order). We hope you’ll check out these organizations in 2014!

Blogger Charles “Ebbie" Alfree, III
My Best of 2013 were Wilmington Drama League’s Avenue Q; Delaware Theatre Company’s Love, Loss, and What I Wore; City Theater Company’s On the Air and First State Ballet Theatre’s A Midsummer Night’s Dream.
 
The Wilmington Drama League did an amazing job producing Avenue Q. The actors, sets, and puppets were superb — it was a perfect production! The wonderful female cast of Delaware Theater Company’s Love, Loss and What I Wore made me laugh and tear up. It’s impossible to not like this wonderful piece of theater about the trials/tribulations and the FUN/happiness of being a woman. It was so refreshing to see a new musical—On the Air—produced by City Theater Company. Joe Trainor and Kevin Regan wrote a witty musical that boasted a fantastic cast. A Midsummer Night’s Dream produced by First State Ballet Theatre was sumptuous. I was enthralled by the stunning dancers who gave enchanting performances while wearing ethereal costumes!

Blogger Margaret Darby
My Best of 2013 were the Delaware Chamber Music Festival, the second University of Delaware Master Series Kavafian Concert and City Theater Company’s production of Gypsy. 

Of the four incredibly excellent concerts of the Delaware Chamber Music Festival, my favorite piece was the Elegiac Trio by Sergei Rachmaninov. The beginning of the piece was a subtle cello bowing so soft, I thought Clancy Newman was simply tuning, until Music Director and violinist Barbara Govatos joined in with a second soft rumble. The University of Delaware Master Players hosted Ani and Ida Kavafian and their excellent pianist, Jonathan Feldman for a concert so good, it kept me in goosebumps for the next three days. As to Gypsy, the cast of City Theater Company gave a small-scale production that had all the pizzazz of Broadway — giving a masterful portrayal of ambition and love with the Company’s signature humor and intensity.
 
Blogger Michelle Kramer-Fitzgerald
My Best of 2013 had to be the Delaware Art Museum’s American Moderns exhibit; City Theater Company’s Jesus Christ Superstar In Concert; Umberto Crenca’s Wilmington visit; and the WSTW Homey Awards at World Cafe Live.

The American Moderns exhibit (which closed on 1/5/14) was a rich, colorful trip through treasured American visual masters, including my all-time inspiration and favorite, Georgia O’Keeffe (seeing her originals, lent from the Brooklyn Museum, nearly took my breath away). The kickoff of City Theater Company’s 20th anniversary season with a blowout performance of Jesus Christ Superstar In Concert was awe-inspiring. Music Director (and role of Judas) Joe Trainor gave us a memorable and standing ovation-worthy celebration of one of Wilmington’s ‘little gems.’ Meeting artist/visionary Umberto Crenca — founder of AS220, an arts non-profit organization in Downtown Providence, Rhode Island — was such a treat. Crenca visited for Wilmington Renaissance Corporation’s Big Ideas Meeting, lending his insights and expertise on ways we can move Wilmo to the next level of a thriving Arts-centric city. In March, the WSTW Homey Awards at World Cafe Live was a power-packed Who’s Who of Awesome Local Music — psyched to see so many of my faves came home with honors. I’ve never felt prouder to be a Delawarean in the Arts in 2013! Now, how can we top it in 2014?!
 
Blogger Holly Quinn
My Best of 2013 included City Theater Company’s Jesus Christ Superstar in Concert; Delaware Theatre Company’s Love, Loss and What I Wore; OperaDelaware’s L’elisir d’Amore (The Elixir of Love); Wilmington Drama League’s Butterflies Are Free; New Candlelight Theater’s A Chorus Line; and Hot Breakfast’s new CD, 39 Summers.

What do YOU want us to cover in 2014? Email Arts in Media with your suggestions!