Green Day's American Idiot Rocks Wilmo's World at City Theater Company

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.

Question: What do you do when you have the equivalent of 20 megatons of highly explosive talent in the form of more than a dozen actor/singer/dancers and a full band with string section to fit onto a stage that’s only big enough to handle a fraction of that talent?

The Cast of CTC's production, Green Day's American Idiot

If you’re Wilmington’s City Theater Company, then you break all of the traditions of staging, set the string section along the side wall, and allow the action to flow through the entire theater space.

In City Theater Company’s production of Green Day’s American Idiot, Director Michael Gray, Music Director Joe Trainor, and Choreographer Dawn Morningstar not only capture the sound and look of the iconic band, but the spirit of punk rock. Just as one does not passively listen to punk, one cannot passively sit and watch this performance. No matter where you sit in the theater, there is some point where you are in the front row of the action.

So, what is this musical about?  Sex, drugs, and rock & roll – check. Friendship, teen angst, disillusionment, self-loathing, war, apathy, longing for reconciliation – check, check and check.

L-R: Tunny (Jake Glassman), Johnny (Brendan Sheehan) & Will (George Murphy)

Through the course of 22 Green Day songs and a small amount of narrative, the audience watches three friends – Johnny (Brendan Sheehan), Tunny (Jake Glassman) and Will (George Murphy) – attempt to deal with their frustration with their suburban fives through resignation, escapism, and submission to patriotism, with the complications of relationships with women playing a significant part in their decisions and coping mechanisms.

And then there’s Johnny’s alter-ego – St. Jimmy, played hauntingly by Adam Wahlberg. St. Jimmy comes across as the embodiment

St. Jimmy (Adam Wahlberg)

of Jack Nicholson, Mick Jagger and James Dean cool with an edge of darkness and insecurity boiling just below the surface.

Leslie Kelly, Amanda Panrock and Grace Tarves play the muses, fantasies, and objects of affection for the trio of friends – and each of their voices communicate a strength that can be expressed best through either punk or opera.

While the music and choreography would be enough to keep any audience member’s attention, this production adds an extra level with video footage shot across the entire stage area thanks to Planet Ten.

There’s a message scrawled across the back of Johnny’s jacket in this production – “Punk’s Not Dead.” It’s safe to say that as long as City Theater Company is putting on this production, that message remains true.

Green Day’s American Idiot can be experienced through April 25 at The Black Box at OperaDelaware Studios on 4. South Poplar Street in Wilmington. Tickets can be purchased at city-theater.org. 

Maggio & Mélomanie Bring Aegean Airs to the DCCA

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.

Composer Robert Maggio

Despite rumors to the contrary, modern classical music can be melodic and fun. The lucky audience at Mélomanie’s concert on Sunday at the Delaware Center for the Contemporary Arts got to hear two such works along with some fine representatives of the Baroque and pre-Classical periods.

The program featured the world premiere of Aegean Airs, a piece written especially for Mélomanie by West Chester, Pa.-based composer Robert Maggio. Maggio has been described as a versatile, passionate and eclectic composer. Not surprising since he grew up listening mostly to rock and Broadway musicals. He did not discover classical music or study “serious” composition until college.

Aegean Airs, which takes its inspiration from the composer’s recent trip to Greece, is unmistakably Maggio. The work consists of seven movements, the theme of which is a Delphic hymn the composer discovered on the Internet. The odd-numbered movements are contemporary arrangements and variations of this hymn, while the even-numbered movements draw on the Greek scales, melodies and rhythms of the pop-folk music the composer heard in Athens, Mykonos and Santorini during the summer.

Maggio and Mélomanie are magical. What better way to introduce a piece whose theme is the blending of the ancient and modern in present-day Greek culture than with an ensemble that blends the old and new in performance?

Alec Wilder (1907-1980) is another “fusion-type” composer whose work combines elements of jazz and the American popular song with classical European forms and techniques. His Suite for Harpsichord and Flute provided the perfect showcase for Kimberly Reighley’s superb talents. She produced a full, rich, luscious sonority, ably interpreting the contrasting moods of the three movements, especially the final one, “Keeping the Blues in Mind.”

J.S. Bach’s Suite in G Major for Unaccompanied Cello showcased the playing of Douglas McNames. The Suites for Cello are among the most popular works by Bach and represent a challenge for every cellist. McNames was more than up to the challenge. The Prelude, one of the most recognizable works for the instrument, was wonderfully spacious. But it was in the dances that he was outstanding, full of understated nuances in rhythm and phrasing.

The “style gallant” was nicely represented by Louis-Gabriel Guillemain’s Sonata III in D Minor. The work attempts to create true “conversations” among the instruments and the result was a truly delightful listen.

Speaking of Bach, the concert opened with an engaging and sublime performance of the Sonata in A Major by the pre-Classical composer Carl Friedrich Abel, close friend and concertizing partner of J.S. Bach’s son, J.C. Bach, and one of the last virtuosos of the viola da gamba.

See www.melomanie.org.

A Musically Nostalgic Trip Through Our Favorite TV Memories

Guest Blogger Rebecca Klug is the Manager of Marketing for the Delaware Center for the Contemporary Arts and an enthusiastic advocate of the community-building power of the arts.

The Rainbow Chorale's As Seen on TV! showcase on Friday, March 27, was an entertaining romp through a range of favorite television theme songs and other classic TV moments. The rustic Arden Gild Hall setting and "heavy hors d'oeuvres" — which turned out to be a table laden with fried chicken, meatballs, mashed potatoes, corn, meatloaf, vegan polenta lasagna and a selection of homey desserts — established a feeling of an old-fashioned community get-together right from the start.

The chorus, under the direction of Elinor Armsby, led off with The Muppet Show Theme and moved on to other iconic openers like All in the Family's Those Were the Days, The Big Bang Theory's History of Everything, the Sesame Street Theme, and a medley of themes from classic shows like Laverne & Shirley, the Brady Bunch, Bonanza and I Love Lucy.

No lyrics, no problem! We heard vocal adaptations of instrumental pieces like the Theme from Star Trek, and — in possibly the strongest performance of the evening — Henry Mancini's Peter Gunn. In addition to full-chorus features, musical numbers ranged from a solo performance of David Bowie's Life on Mars sung by Denise Conner to a female quartet singing I Wish I Were an Oscar Mayer Wiener in barbershop style, to a rousing rendition of Friends' I'll Be There For You sung by a male sextet, all dressed in their respective Friend's part.

Between musical numbers, chorus members performed costumed skits — a conversation between Archie and Edith Bunker, a gender-bending Star Trek episode — and recreated classic commercials like "Where's the Beef?," "Mikey Likes It!," and even Saturday Night Live's "commercial" for New Shimmer Floor Wax/Dessert Topping.

Throughout the concert, the audience participated enthusiastically, overpowering "Ed Sullivan's" stilted introduction with shrieks and shouts of "Beatles!!" during a recreation of the band's famous performance of I Want to Hold Your Hand and singing along (with more energy than accuracy) with Schoolhouse Rock's Constitution Preamble. By the time the chorus closed with The Golden Girls' Thank You For Being a Friend, it felt like a genuine and heartfelt send-off to a room packed with still-laughing supporters.

The Rainbow Chorale, established in 1999, is an inclusive, nonprofit community chorus that provides LGBT individuals, friends and allies an opportunity to perform choral music while serving as a positive force for change.

See www.therainbowchorale.org.