The Bard Meets the Tomahawk Man

By Guest Blogger, JulieAnne Cross
JulieAnne is a Wilmington-area do-gooder, specializing in public relations, communications and events, with a focus on the dining industry. Her first arts job was in the opera industry two decades ago, and she famously states that her “only talent is pushing pencils.”

Delaware Shakespeare Festival’s annual “Shakespeare/Poe, Readings from the Dark Side” began its two-week run on October 16. The fourth annual event has expanded the series’ reach with a 10-show run, with each of the three distinct, historic locations –Rockwood Mansion (Wilmington), Read House (New Castle) and the Stone Stable (Odessa) – set for a limited capacity of 30. I have attended past readings at Rockwood, and can attest that the Victorian setting creates a perfect mood for the gothic-themed selections, and no doubt the colonial settings do the same.

The selections for the hour-long reading included some works familiar to returning patrons, but the theme was newly expanded to include gothic literary royalty: Ann Radcliffe and Mary Shelley.

• Opening of The Black Cat – Edgar Allan Poe
• Macbeth – William Shakespeare, Portions from Act 1 Scene 1 and Act 4 Scene 1
• The Mysteries of Udolpho – Ann Radcliffe, Excerpt from Volume 2, Chapter 6
• Cymbeline – from Act 2 Scene 2
• Portions of The Pit and The Pendulum – Poe
• Richard II – Richard monologue from Act 3 Scene 2
• Portions of The Invisible Girl – Mary Shelley
• Annabel Lee – Poe
• Shakespeare or Poe? Audience Quiz
• The Raven – Poe
• Hamlet/Raven Mash-up (You have to hear this one to appreciate it!)
• The Tempest – Caliban Monologue from Act 3 Scene 2

The handful of readings that repeated from 2014 were, in my opinion, critical to the series theme. It just wouldn’t be a Poe reading without the melodic (and short) Annabel Lee and it wouldn’t be Halloween season without The Raven and the Wyrd Sisters from Macbeth making an appearance. I was shocked to learn my companion had never heard Poe’s haunting love poem, but not surprised that it made an impact.

The readings from new authors were well received. The Invisible Girl gave me the kind of willies one gets from a supernatural story, whereas The Mysteries of Udolpho recalled the kind of terror Julia Roberts’ character experienced in Sleeping with the Enemy. Invisible in this case carries both a literal and metaphoric meaning that will be familiar to feminist sympathizers.

The cast consisted of James Kassees, Danielle Lenee, Matthew Mastronardi, and Megan Slater, with Mastronardi accompanying on the cello. Mastronardi’s arrangements and original compositions, including sound effects, were only applied to a handful of the readings, but to terrific effect, particularly Poe’s The Pit and The Pendulum (my favorite Poe story, which, admittedly, I failed to read in favor of the Vincent Price movie version).

David Stradley (who directed the production and assembled the readings) cleverly breaks up the longer readings using the four diverse voices, and the individual cast members effectively project multiple characters in rapid succession when called for.

The guest experience was enhanced with the offering of a hot, mulled cider. I was pleased to have a chance to stretch my legs, despite there being no intermission, thanks to a quiz-off between another patron and me; we took turns listening to a line of text and guessing whether it was Shakespeare or Poe.

My 14-year-old son has attended readings before, but this was my husband’s first reading. The pace is quick, and it would be a great entrée into theater for most newbie patrons. As far as children, the content is no scarier than Scar or Ursula or Jafaar, and regularly exposing a young mind to the linguistics of centuries past may make high school Shakespeare assignments easier. I strongly encourage you to buy a ticket for the mini-goth, zombie lover or emo baby in your life – the Hamlet/Raven Mash-up should be right up their alley.

Other than a generally excellent setting, there are no lighting effects, which could be interesting in future years. The nearby parking was full, ostensibly due to activity in an adjacent building, but there is a convenient drop off point for passengers, and handicap spaces were still available nearby.

DelShakes puts on similar events around Valentine’s Day, with a “Shakespeare + St. Valentine” program planned for 2016. I’m glad the format fits with other holidays. Otherwise, I’d be awaiting the fifth annual Halloween-time reading like a kid anticipating, well, Halloween.

Some tickets remain available for late October dates. Click here to order.

See www.delshakes.org. 

First State Ballet Brings Delaware A "Beauty" of a Performance

By Christine Facciolo

First State Ballet Theatre, under the artistic direction of Pasha Kambalov, held the audience spellbound as it opened its 2015-16 season — its 16th as a professional company — with a gorgeous production of The Sleeping Beauty on Saturday, October 17 at The Grand Opera House in Wilmington.

With music by Pyotr Ilyich Tchaikovsky and choreography by Marius Petipa, this beloved ballet has captivated audiences for more than a century. Generations have thrilled to its royal celebrations, magnificent castle scenes, magic spells, the battle of good and evil and the triumphant victory of everlasting love.

No ballet tests a company’s technical mettle more than The Sleeping Beauty, and this performance featured three hours of dazzling choreography, intricate pointe work and soaring jumps.

The story gets off to a wonderful start as a sorority of fairy godmothers arrives at Baby Princess Aurora’s christening, bestowing on her all the gifts she will need in life. These masterful ballerinas glided across the stage with such grace and ease that it looked effortless.

The plot gets rolling after the passage of 16 years when the court celebrates the now marriageable Aurora’s birthday. The lovely and lissome Mary Kate Reynolds reprises her role as the condemned princess, displaying all the sprightliness and joy one would expect of a teenage character in the bloom of life. She seemed to hover in the air, skimming the stage with a light pas de chat. The role calls for a master turner and Reynolds executed every pirouette with grace and precision.

The handsome Justin Estelle danced the role of Prince Desire who kisses and awakens Aurora from a 100-year sleep, imposed by the slighted evil fairy Carabosse (danced by a deliciously diabolical Aubrey Clemens). From the moment he appeared in the hunting scene, Estelle commanded the stage with a proper air of aristocracy and exciting yet tasteful and elegant dancing. His gravity-defying feats were among the most impressive highlights of the ballet. There was no shortage of chemistry between him and Reynolds.

And there was much more to appreciate, whether it is in the wisdom and dreaminess of Lauren Frere’s Lilac Fairy, the lightness of Rie Aoki and Leonid Goykhman’s “Bluebird pas de deux,” the playfulness of The White Cat (Angela Zielen) and Puss-in-Boots (John Brewer) or the engaging Master of Ceremonies (Jake Nowicki). Jake Allison and Anna Carapellotti offered a proud and dignified King Florestan XIV and Queen, respectively.

Aside from the breathtaking dancing, the costumes were true stand-outs in this production, perfectly complementing the performers, from the Lilac Fairy’s sparkling purple tutu to the dark robes of the evil Carabosse and her minions.

This “Sleeping Beauty” was a magnificent piece of art, from slumber to awakening.

See firststateballet.com. 

Delaware Historical Society Series on African-American Leaders Continues

The Delaware Historical Society’s Center for African American Heritage announces its October Voices of the Elders program, highlighting the life and career of Mayor George C. Wright, Jr. 

Throughout 2015, the Voices of the Elders series has documented and shared the stories of a prominent African American leaders in Delaware through short films and mini-exhibitions. Past elders featured in this series have included Esthelda Parker Selby, Dr. Joseph E. Johnson, Canon Lloyd Casson and the late James H. Gilliam, Sr. The series will conclude on December 10, 2015.

George C. Wright, Jr. has a long history of service in the State of Delaware. He became the first African American to be elected mayor when he became the Mayor of Smyrna in 1982. Mayor Wright held the office of Mayor until 1995 when he decided not to run for another term. Before becoming mayor, he served on the Smyrna Town Council for six terms, beginning in 1969. Mayor Wright also acted as the executive director of the Delaware League of Local Governments and was the chief of staffing for civilian personnel at the Dover Air Force Base from 1956-1989.
On Thursday, October 22, there will be a reception beginning at 5:30pm, followed by a film screening and program at 6:30pm. The event will be held in the Copeland Room of the Delaware History Museum, at 504 N. Market Street in downtown Wilmington. Free parking is provided by Colonial Parking in the 6th and Shipley Street lot.

Reservations are required and can be made by calling (302) 655-7161 or emailing deinfo@dehistory.org.

This program is a collaboration between the Delaware Historical Society’s Center for African American Heritage, WITN22, and the Wilmington City Council.