Bootless Stageworks' "Bug" is a Creepy-Crawly Experience!

Melissa Kearney, Geremy Webne-Berhman,
David Hastings and Heather Ferrel in Bug.

I LOVE Tracy Letts! He’s a masterful playwright who’s biting humor peeks through the dark depths of his plays. His psychological thriller, Bug is quite an experience. The play is an engrossing piece of theater -- questioning how far someone will believe in another person’s distorted reality, because of the need to connect with another human.

Director and Scenic Designer Rosanne DellAversano has created a grim environment, which is needed for this ominous tale. Her vision keeps the audience engaged and questioning what will happen next.

Set in a Motel 6-like room in Oklahoma, where a honky-tonk waitress, Agnes White (Heather Ferrel) lives, drinks and does drugs with her friend, Roni (Melissa Kearney), and hides from her abusive ex-husband (David Hastings) who has recently been released from jail. One day Roni visits Agnes and brings a man, Peter (Geremy Webne-Berhman), whom she has recently met. While Roni leaves, Peter stays and begins a fast and tumultuous relationship with Agnes.

Peter has a questionable past. He believes the military has contaminated his body and is now conspiring against him. He draws the lonely and vulnerable Agnes into his twisted world. His reality becomes an escape for Agnes, who is trying to forget her melancholy past and connect emotionally and physically with a new man.

Ms. Ferrel and Mr. Webne-Berhman are compelling as Agnes and Peter. She evokes great sadness and despair, while he evokes madness and fear; think Norman Bates, appearing innocent, but truly menacing. Mr. Webne-Berhman’s glaring eyes easily make the skin crawl -- like feeling a bug walking up your arm. However, it is hard to understand him towards the end of the play, due to his lisp caused by his character’s self-induced mouth-infliction.

Bug is not for the faint of heart, but it is a unique play that will ignite great conversation after leaving the theater. Bug runs through March 14, at St. Stephen’s (1301 Broom Street, Wilmington).

See www.bootless.org.

Angela Sheik Rocks the Queen

This post appears courtesy of IN Wilmington's blog - view the original post here...

By Guest Blogger, Ken Grant

Ken Grant has worked in Delaware media, politics, and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

If the only thing Angela Sheik had to offer was her vocal range, it would be worth going to her show.

If the only thing Angela Sheik had to offer was her quirky-yet-profound songwriting style, it would be enough to draw an audience.

But, when you add in the talent of playing multiple instruments, both performing and engineering magical soundscapes while engaging the audience with fun asides and deep revelations, then you find words like “genius” and “brilliant” woefully inadequate to describe the talent of Angela Sheik...

Sheik started her concert Saturday evening at World Cafe Live at the Queen without introduction, fanfare, or words. While the overflowing crowd was caught up in conversation, Sheik made adjustments to her instruments and microphones, then started tapping her microphone in rhythm, laying down the first track of what was soon to become a multi-layered musical piece that silenced the crowd as they realized an alchemist was on stage adding ingredients to a formula that transformed seemingly simple sounds into auditory gold.

The last time Sheik played material from her latest project before a Wilmington crowd, she did so with the help of more than a dozen other musicians. This time she was trying to produce the same sounds solo – playing all of the instruments and feeding them through her loop machine, then adding her rich vocals.

The question is, how many instruments does Angela Sheik use in a performance like this? And the answer depends on your definition of instrument. Keyboard, accordion, xylophone, flute, auto harp, triangle, theremin – yes, those count. But what about the tapping on the microphone that sounds like a bass drum? What about the loop machine? Is that an instrument? What about when all of the music is fed through the theremin? Does it become a different instrument? And what about the point where Sheik instructs the audience to get out their smart phones, go to AngelSheik.com, scroll down the right column and click on the red box that says “play along” so they can pick a track to play while she sings “Evening Calls”? Does each phone count as an instrument?

Sheik's music explores a variety of themes, from love and loss to the struggle with ego – all in a way that forces the listener to engage as more of a participant rather than passively listening. Sheik takes the audience to new and different places throughout her show – and the audience seems to enjoy every turn and discovery.

See angelasheik.com. 

Sinkane Brings A Distinctive Music Experience to Arden

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.

Delaware’s local venue, The Arden Gild Hall, was honored to have Sinkane grace the stage on Friday, February 13. Sinkane is the stage name for Sudan native, Ahmed Gallab. He was accompanied by two backup guitarists and a drummer. The quartet’s individual skills accented one another perfectly. Sinkane’s unique musical style was introduced by Brooklyn band, Cookies. Their electronic style worked well with the electronic aspect of Sinkane, but Cookies’ female vocals and more pop sound contrasted in an interesting way.

I think that one of the most interesting parts of Arden Concert Gild performances is the variety. This was especially the case for Sinkane; I saw audience members ranging from teenagers to elders, all enjoying the music together. If you have never been to Arden’s Gild Hall, it is essentially an open room with a stage. For this performance, the room was about one-third chairs and the rest was open for dancing and roaming. I thought that this gave the show a laidback feel but let the audience appreciate the music more. Specifically, a few especially excited dancers enjoyed themselves in the back of the room.

Describing Sinkane’s musical genre is a near impossible task. I can say with ease that I have never heard anyone that has the same style or skillset as him and his band. According to wikipedia he is categorized as “krautrock, free jazz, and funk rock with Sudanese pop.” To tear that apart a little, krautrock is a style of rock with a more electronic sound. Although Gallab grew up in Sudan, he was born in London. This could explain his reasoning for the aspect of krautrock in his music, which has European roots. Free jazz is essentially a more unconventional style of jazz that fits well with the other genres of his music. The most complex part of his music style would have to be the Sudanese pop. This clearly was influenced by his Sudanese heritage. Sudanese pop is a blend of traditional Sudanese music -- violin, bongo, etc. -- combined with influences from American pop stars.

I thought that Sinkane’s distinct sound was not to be missed and their music combined with the atmosphere of the Gild Hall made for a perfect winter night. Sinkane and Cookies truly set high expectations for future performers soon to come to the Hall. I don’t think that Sinkane was for everyone just because of his “out-there” style, but I believe that anyone who is open to new music should really give him a listen. Spending my Valentine’s Eve with Sinkane was an excellent decision and, as an Ardenite, I hope to see him and the band return in the future.

See www.ardenconcerts.com.