Bootless Delivers Theater for Sci-Fi Geeks, with Star Wars, a New Musical Hope

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.”

As a regular patron of Bootless Stageworks’ productions, I look forward to seeing the schedule every year. Familiar pop culture stories appear in some shape or another, year after year: Evil Dead (four times now?), Terminator the Second, Musical of the Living Dead, Texas Chainsaw Musical, Jerry Springer, the Opera. I had seen a Bootless production of Star Wars, a New Musical Hope in 2012 and when they announced its return, I was certain I’d see it again.

Although I’d never honor myself with the label of 'sci-fi geek,' the Star Wars movies have, for years, created a common ground for family-time entertainment choices with my now 14-year-old son. While he was all weapons and action figures and play fighting, I was all art and theater and film, and Star Wars was a terrific compromise. Nevertheless, he became my “theater buddy” from a young age, seeing countless Shakespeare productions, literary classics and Broadway hits starting around age 4. Whimsical productions, such as what Bootless offers, ensured there was some payoff for him during those awkward years when I had to push a little harder to get my theater buddy on board with my entertainment plans.

This production was a musical parody of Star Wars, Episode IV: A New Hope, scripted by local playwright, Jeremy Gable, and with music by Timothy Edward Smith and Hunter Nolen. The cast consisted of Caleb Duffy (Luke), Shaun Yates (Obi-Wan Kenobi), James Fuerst (Darth Vader), Ryan PJ Mulholland (Han), Maria Leonetti (Leia), Christopher Waters (C3P0), and Bob Ferst (a 7-foot-tall Chewbacca) as well as Wes Belli, AJ DellAversano, Bob Demarco, Mark Dixon, Mariza Esperanza, Robin Fanelli, Shamus Halloran, Shawn Kline, Andrew Laino, Tom McCarthy, Sean McGuire, Samantha Moscony, James Scotland, Luka Villani and Sedric Willis. Rosanne Dellaversano directed.

What I’ve come to expect from Bootless when they stage a parody is home-spun special effects created with a sustainable, 80-seat theater budget. There is a certain level of amusement that comes from seeing how Bootless delivers on something a Hollywood director had tens of millions to spend on. (Oh, the amount of cardboard used in Terminator the Second! Such a contrast to the Shakespearean dialogue.) I’d like to think I can suspend disbelief more easily for a sustainable budget than I can for a behemoth, and I know I’m not the only one who loved Bootless’ solution to the car chase challenge in Terminator the Second.

For Star Wars, the MOE 365 FIRST Robotics Team created a robotic R2D2. It was thrilling to see it roll out of stage right unassisted on opening night, and none too surprising to hear the mechanical parts struggling as it failed to roll back out again at the end of the scene. To be clear: PLEASE TRY THIS AGAIN NEXT TIME, BOOTLESS! I love your risk-taking and whimsy and I’d rather see Anthony crouching down to save R2 from falling over during the scene than see you not take the risk.

Bootless made effective use of several video projections, and a simple structure representing the cockpit of the Millennium Falcon did the trick for travel scenes. Otherwise, the staging was fairly sparse; given the number of people who needed to be on stage together during some scenes, this was understandable. The trash compactor scene was well-executed with the old Kuroko-holding-a-moving-wall trick.

When you know a story as well as I know Star Wars, it can be challenging to stay “in the moment” and one’s mind focuses on funny little details. I could not figure out why the heck Obi-Wan’s sleeves were tucked into his robe, until he “disappeared” through the left curtain, leaving his robe in the familiar puddle that marked his mortal exit in the film. I’m laughing now as I write about it…very cute. Other costuming and staging details that entertained: the brown creature consuming a dead Greedo in the Cantina, the purposely repeated scenes with the same two actors behind the bar/control panel, the tiny skeletons after the Tattooine slaughter, Luke’s blindfolded piñata-esque training scene. The Chewbacca costume was excellent, and Ferst managed his stilts masterfully. I was certain C3PO was going to inadvertently drop trou, a couple of the Stormtroopers had camel-toe, and I really wanted Leia to have boots instead of ballet flats, but we’re talking about sustainable theater, not obsessive cosplay.

I recall past productions where Bootless incorporated live music and I look forward to more of that; if a theater has to use canned music, making sure it works well is key, and I don’t recall any technological distractions, volume was just right, speaker quality was good, etc. Lighting was equally digestible.

Bootless had artist Blair Webb drawing live on site, having designed the promotional art of the production. The costumed cast came out after the show for photo opportunities. These were extra special touches for sci-fi fans and theater lovers alike. The stage speech was intentionally drawn out: a large party was stuck in traffic and their post-start arrival would have been disruptive to the rest of the audience.

Although I enjoyed some of their previous venues, it is nice the Bootless has found a stable home at St. Stephen’s Church. Online ticketing now includes seat selection, which is extraordinary for a theater this size. Pricing is affordable. I have never yet had difficulty finding parking in the vicinity of 13th and Broom. All in all, Bootless consistently offers a good customer experience. (Not to mention their traditional “splatter zone” seating for gore-themed productions.)

The run for this show has ended, but be sure to check out Bootless’ production of The Light in the Piazza – a “nearly operatic” musical, including some Italian language singing –starting November 6. 

See www.bootless.org. 

Mélomanie and The (Conscious) Universe Come Together

By Christine Facciolo

Mélomanie performs with guest artists
Kevin J. Cope, composer/guitarist and Todd Thiel, cello. 

Music and physics have a long and storied relationship. The Greeks used musical constructions to explain the orbits of the planets. Even today, popular science books like Brian Greene’s The Elegant Universe use musical analogies to explain string theory.

So it came as no surprise when composer/guitarist Kevin J. Cope told the audience for Mélomanie on Sunday that his passion for physics and cosmology provided the inspiration for "Conscium Universum (The Conscious Universe)," the work written especially for and premiered by the ensemble at its October concerts.

The composition features musical depictions of four major discoveries: The Copernican Revolution (multiple, revolving melodies); Einsteinian Relativity (rhythms that illustrate time slippage); Quantum Mechanics (melodic particles tossed among the instruments) and Hubble’s Law (simple melodies that slowly drift away from each other).

Needless to say, the musicians had a lot of fun with this piece, especially Richardson who played a “drunk dance” on the harpsichord in the second section.

The concert also featured Cope performing another of his compositions, “Kuitra,” for solo guitar. The guitar is not an instrument that gets a lot of attention from contemporary classical composers. Many are wary of its idiosyncrasies and limitations, unless, of course, like Cope, they hold a master’s degree in guitar performance.

Kuitra is a mesmerizing piece, written at a time when Cope had an abiding interest in Arabian harmonies. But not so much that he wasn’t averse to season it with a bit of the Latin.

Mélomanie violinist Christof Richter and guest cellist Todd Thiel teamed up to offer a picture of Hungary with a performance of Hungarian Folk Melodies by Bela Bartok. These duos are relatively modest Bartok but each has so much dimension and incident that it constitutes a remarkably miniature world. Richter and Thiel play in full classical tone but without smoothing over the rough edges, imparting a rustic quality to the performance.

Richardson and Cope came together to perform two rarely heard gems from the Beethoven catalog: the Sonatina in C Minor and the Adagio in E-Flat Major. These pieces were originally scored for harpsichord and mandolin, an instrument that was enjoying a period of popularity among the cultured nobility when Beethoven was a young composer. Both are charming pieces that reveal the nature of salon music in 18th Century Vienna and the budding talents of the young composer.

Rounding out the program were a Sonata in A Minor by Telemann whose chamber works were well-known for their considerable panache and Quantz’s Quartet No. 5 in C Major, a splendidly vigorous and inventive contrapuntal work, quite different in style from his rather gallant flute concertos.

The ensemble performs the concert again on Sunday, October 25, at the Smyrna Opera House, in partnership with Gable Music Ventures. Tickets for that performance are still available at www.brownpapertickets.com. 

See www.melomanie.org. 

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.