WDL's "Leaves" Delivers Powerful, Poignant Message About Illness

By Guest Blogger, Alex del Tufo
Alex is a high school student attending Wilmington Friends School with an interest in journalism as a major. She is an editor for her school newspaper, has served as an intern at Out and About magazine and has written for WXPN’s website. Alex hopes to expand her love of music and writing through helping with our blog.

Wilmington Drama League (WDL) staged another outstanding performance this past weekend. Lucy Caldwell’s Leaves was a brilliant, heartbreaking portrayal of the effects of depression on a young woman and her family.

The play surrounded a seemingly average Irish family and their everyday struggles. It is revealed that the cause of many of their problems is the oldest daughter’s recent suicide attempt. I thought the storyline was extremely unique because of the focus on the effects of mental illness — not only on those who are personally affected by it, but also the impact on those who have known and loved them their entire lives. The damaged relationships and interpersonal disconnects are a side of depression not often discussed or presented. WDL did an excellent job of leaving off the “sugar-coat” to show the audience the truth about the widespread effects of having, or living with a person who has, a mental illness. The downplay of diseases such as depression is an enormous problem that I believe this performance is trying to help eradicate.

I don’t think WDL could have found a better cast to portray the intense roles required for the show. The cast ranged in age from 7th Grader to adult, and each of them equally talented. What made their performances even more impressive was the added Irish accents. Caldwell, the writer of Leaves and an Ireland native, would have been impressed by the authenticity in their portrayal of a typical Irish family.

In addition to the excellent cast, this play was significant for WDL because of the two young directors leading the show. Mollie Montgomery and Cassey Moore — both high school students — co-directed this show without the help of adults. I think this made the actors’ performances even more impressive. Their direction and interpretation was both inspired and unique. I don’t think that many adults have the skills that these two young students have.

An aspect of Leaves that made it particularly outstanding was the display of artwork by Emily Spiegel and Michael Curcio. Emily and Michael were two young local artists recently lost to suicide. Their works were displayed in the front lobby and added a more personal depth to the show that the whole audience could feel. There was also the option to buy tea for $1 to support ContactLifeline, a Delaware-based 24/7 suicide hotline. In addition, $1 from each show ticket was donated to the ContactLifeline. I thought that this was an excellent benefit to a beautiful performance.

I thought this production was excruciating in the most unbelievable way. This show was not for those looking for a relaxing night out. From start to finish, the show was intense and evocative, with glimmers of humor here and there. The ending came off as an "it's all better now" conclusion, but left me wondering what was implied for the character's futures. I think that Wilmington Drama League did an extraordinary job of executing this provocative production.

See www.wilmingtondramaleague.org. 

Nora, the Early Feminist, Shines at DTC

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

A Doll’s House, Henrik Ibsen’s play about a child bride coming to sudden maturity and walking out on her family, caused quite a stir when it opened in 1879.

A century later, Ingmar Bergman — feeling Ibsen didn’t go far enough — reworked the long-winded script into a taut drama with only five major characters and re-titled it simply Nora.

The Delaware Theatre Company’s production of Bergman’s searing reduction grabs viewers from the outset and never lets go.

The play tells the story of the (seemingly) happy marriage of Thorvald and Nora Helmer. Through exposition we learn the backstory: Thorvald was ill and needed a year in Italy to recover. Nora, ever the good wife, took it upon herself to borrow money from the unscrupulous Krogstad whom Thorvald decides to sack when he gets promoted to bank manager. Krogstad decides to blackmail Nora to keep his position because not only is it amoral for a woman to borrow money (plus her husband abhors debt — an odd position for a banker) but he figures out she forged her father’s signature on the note (dated several days after his death).

When the truth comes out, Thorvald flies into a rage and disowns Nora, bemoaning his fate that now he has to acquiesce to Krogstad’s wishes because of her mistake. But Nora’s friend (Mrs. Linde) talks to Krogstad, who turns out to be her long lost love, and he agrees to tear up the promissory note. Thorvald is relieved and contented to go back to the way things were. But Nora has had an epiphany: She realizes she has been little more than a doll to her husband — a pretty doll that performs tricks — and that they are not partners, because a true husband would have taken the blame and defended his wife’s honor. She decides she has to stop being a doll and learn who she really is and what life has to offer. The play ends with a stunning climax which, for its time, was controversial to say the least.

Bergman’s script focuses on Nora, driving home the divisive (for its time) theme — women’s rights — even though Ibsen claimed he did not seek to promote the women’s rights movement. The play is concise and succinct and the action never abates. Thus the audience feels engrossed in the main story without getting distracted by a welter of subplots.

All five actors worked well as an ensemble. The standout was Kim Carson whose journey from naïf to mature explorer was clear, nuanced and genuine. David Arrow plays a domineering Thorvald who can at the same time be playful and sexy with his wife as he fulfills his role. His anger — laced at times with bewildered incomprehension — is scary but his loss at the end of the play is palpable. Kevin Bergen supplies a death-darkened and doting Dr. Rank; Susan Riley Stevens a world-weary almost embittered Mrs. Linde. Chris Thorn offered an effective Krogstad, ineffably moving at his pivotal points.

Alexis Distler’s set and Esther Arroyo’s costumes were aptly period. Christopher J Bailey’s judicious lighting design supported intensity levels agreeably.

Director Michael Mastro kept the show moving at a brisk pace with a consistent driving energy.

See www.delawaretheatre.org. 

City Theater Company's "Barely Legal" is All About Improv

This review is reposted courtesy of The News Journal. Original article by Holly Quinn published 2/2/14. 

Photo by Joe del Tufo

City Theater Company is celebrating its 21st birthday, and you can join the party at the Black Box at OperaDelaware (still set up Irish Pub style from CTC's recent production of 'James Joyce's The Dead'). 'Barely Legal' is an evening of improv, featuring CTC's own Fearless Improv troupe and a rotation of Philadelphia improv acts, for an unpredictable night of entertainment. READ THE ENTIRE REVIEW >>>