Mamma Mia...That's Some Fun Set to Music!

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.

Lord Byron said, “All tragedies are finished by a death, all comedies are ended by a marriage.”

The US Touring Company of Mamma Mia. Photo provided.

Of course, when your play’s first act is set on the day before the wedding and the second act is set on the wedding day itself and you add in the music of Abba, a cast of vocal and physical acrobats with hundreds of costumes and more than 30,000 rhinestones – then you get a dose of fun that infects The Playhouse on Rodney Square and spills joyously out onto Market Street. Welcome to the traveling production of Broadway's smash, Mamma Mia!

The story centers around several trios of characters – from young Sophie Sheridan (Kyra Belle Johnson) and her friends Ali and Lisa (Kat Borrelli and Christina Eskridge) planning for Sophie’s wedding, to Sophie’s mother Donna (Eris Fish) and her lifelong friends Tanya and Rosie (Laura Michelle Hughes and Sarah Smith) still struggling to figure out how to have a successful relationship. Then, there’s the three men from Donna’s past – Sam, Bill, and Harry (Chad W. Fornwalt, Ryan M. Hunt and Andrew Tebo) – who are invited to the festivities under false pretenses.

Wedding drama is always fun to watch from the outside – but in this case the drama isn’t created by a young couple unsure about their future, but rather a young bride seeking answers about her past and the generation before working through their various regrets and lingering questions.

All of the performers capture the essence and effervescence of Abba while exposing a deeper layer of emotion (hope, longing, resignation, desire).

You don’t have to be intimately familiar with the music of Abba to be caught up in the fun of this production. For those who grew up with the music, this is a great trip along memory lane; and for those who didn’t, this show could turn them into new fans of the Swedish pop phenomenon.

The staging for this production seems deceptively simple at first, but becomes incredibly versatile as two pieces transform the set from indoor, outdoor, and alleyway locations on a small Greek island.
Make no mistake – this production delivers fun and gets the audience smiling, laughing, clapping, and yes, even dancing.

If you’ve gone to see a blockbuster film in the past few years, you know that you probably shouldn’t leave until all of the credits have run, as more and more movies offer nice little "surprises" at the end. Likewise, do not assume that when the cast offers their bows at the end of this musical that the entertainment is over. Stay where you are and enjoy – you won’t be sorry!

Mamma Mia is playing at The Playhouse on Rodney Square March 4-6.

See http://duponttheatre.com/mamma-mia.

DSO & Brasil Guitar Duo Wow Audiences with US Premiere

By Christine Facciolo
The Delaware Symphony Orchestra (DSO) both secured a place in music history and established itself as a strong contender for a 2017 Grammy nod with this weekend’s performance and recording of three double guitar concerti, including the US Premiere of El Libro de Los Signos (The Book of Signs) by Cuban composer and cultural icon, Leo Brouwer.

Lending their virtuosic playing to the project was the Brasil Guitar Duo, the stunning collaboration of the supremely musical Joao Luiz and Douglas Lora. Endowed with extraordinary professionalism and technical mastery, these two young talents — who met as teen-aged guitar students in Sao Paolo — have earned critical acclaim for the sensitivity, refinement and mutual respect they bring to every performance.

The near sell-out crowd was especially hushed during their performance. One might attribute that to the fact that they knew recording was in progress. But it’s more likely they were simply in awe of this breathtaking display of artistry.

Luiz and Lora introduced themselves to the audience with a masterful performance of the unaccompanied Sete Aneis (7 Rings) by Brazilian composer Egberto Gismonti (b. 1947). This one-movement composition in Rondo form is based on the “choro,” one of the first forms of Brazilian urban music, which made its way to Rio de Janeiro from Africa in the mid-19th Century. The work is a study in contrasts and the duo accommodated. A wistful opening morphed into a blazing pizzicato passage before wrapping up with a lyrical and tender finish.

Next came the much-anticipated US Premiere of El Libro de los Signos (The Book of Signs) by Brouwer (b. 1939), widely considered to be the most significant living composer of art music for the guitar. This work — scored for two guitars and string orchestra — features music from Brouwer’s Afro-Cuban roots mixed with traditional form. The work was composed in 2003 at the behest of Greek guitarist Costas Cotsiolis and John Williams, and premiered in January 2004 at the Megaron Theatre in Athens. According to the composer, its language uses sounds to explore its rest-motion ambivalence.

The first movement features a series of variations on a theme by Beethoven. The second gives the same treatment to a more lyrical theme. The third — and most virtuosic — exhibits more of the Cuban influence. Brouwer achieves a seamless web of sound by the interplay of passages that at times have the guitars sounding like the orchestra and at other times having the orchestra play in the style of a guitar.

The duo rounded out their portion of the concert with a performance of the Concerto Caboclo for two guitars and orchestra composed especially for them by fellow Brazilian Paulo Bellinati (b. 1950). The duo honored their idol — who was in attendance — with a masterful performance.

Bellinati draws on Brazil’s rich musical heritage, infusing it with contemporary harmonies and techniques. The opening movement is most unusual for a concerto. In place of a fast-paced Allegro, the soloists enter with a cadenza in which they share musical materials much like a conversation. The orchestra entered only to be interrupted by another cadenza. Even as the movement increased in intensity, the music never lost the relaxed and lyrical feel of the coutryside.

The second movement (Adagio) was inspired by the Brazilian songs known as modas de viola. In keeping with the question-and-answer structure of these songs, one could frequently hear rhythmic ostinatos used in one guitar as accompaniment for the other. More ostinatos are heard in the final movement, which featured catchy rhythms and flashy fingerwork. Maestro David Amado’s meticulous direction of the orchestra’s dynamic levels ensured that the soloists were never overpowered.

The second half of the program was devoted to a performance of Hector Berlioz’s Symphonie fantastique, an opium-filled tale of love, obsession, betrayal and murder. In his pre-concert remarks, commented on how Berlioz, who made significant contributions to the modern orchestra with his “Treatise on Instrumentation,” took an abstract form — the symphony — and used it to tell a story. And while symphonies that followed a program had existed before, most notably Beethoven’s Pastoral, Berlioz took the process to its logical conclusion with every note geared to the specifics of his p lot. That accomplishment as well as his use of the “idée fixe” would go on to inspire composers like Wagner and Liszt.

This truly iconic work poses a challenge to any conductor: Do you play the music and let the story take care of itself, or do you help it along? Amado’s reading is absolutely on the right side of sentimentality. His interpretation bristled with desire and intention. The first movement was playful and flirtatious. The ball waltzed itself into sheer delirium. As the music turned dark, Amado followed suit: the rhythms were unyielding; the mocking of Berlioz’s hero filled with spite. He kept the momentum going beyond the March to the Scaffold. The Witches’ Sabbath with its growly brass and tense strings sustained the nightmare to the very end. And let’s not forget the punctuation of the requiem Dies Irae by The Bells of Remembrance, which are featured in each concert of the DSO’s Classics Series this season.

See www.delawaresymphony.org.

Isn't it grand? Isn't it great? "Chicago" at The Playhouse certainly is!

Full disclosure: This is one of my favorite musicals*, largely for its incredible music and choreography.

*After initially learning about legendary choreographer Bob Fosse via Paula Abdul’s 1989 music video homage, I had to seek out all things Fosse-related. Later, I found Chicago and was completely taken by it. 

The cast of Chicago. Photo by Jeremy Daniel

The longest-running American musical in Broadway history, the production features music and lyrics from iconic partners Kander & Ebb, book by Fred Ebb and Bob Fosse, and a storyline that delivers all the salaciousness we adore (maybe "nowadays" more than ever): scandal, sex, murder, media frenzy, a perverse craving for celebrity.

To me, this show is quintessential Broadway – the way I envision shows might have been during the “old days” – no monstrous sets, flashy light shows or rock star-penned scores, but rather about the raw energy generated from dynamic music and choreography, and compelling characters. It delivers in every aspect.

The production set is stark, the costumes black and scanty yet sleek, the cast steamy and sexy. Hoots and cheers come from the crowd throughout the evening, but especially for the sizzling signature opening, All That Jazz, that sets the tone for the entire show. 

Tonight, the capacity crowd is noticeably heavy with women – I’m imagining groups of GNOs giggling madly at the “justified” murderesses of the Cell Block Tango in a warped female-empowerment moment.

Terra C. MacLeod plays a slick Velma Kelly – the former Vaudeville star serving time for the double-murder of her hubby and sister – with a perfect balance of sass and snark. You can almost feel yourself agreeing with her and Mama as they lament, “Whatever happened to class?”

Dylis Croman as Roxie Hart.
Photo by Jeremy Daniel.

Dylis Croman expertly plays up the unrefined Roxie's conniving and relentless nature, a woman who’ll not be stopped in her quest for fame – by a jilting lover, dull (if still-loving) husband or jealous inmate. The only thing that could stop her is the worst fate of all – waning public interest.

Jailhouse matron “Mama” Morton, played with command and style by Roz Ryan, lights up the crowd with her rendition of When You’re Good to Mama. (Incidentally, Morton now holds the record for most performances in a musical by a leading actress.) 

Other standout characters, of course, are the orchestra, who kept the audience animated, even dancing out the doors at the end; the compassionate Mary Sunshine (with a hilarious surprise), played by D. Ratell; and Billy Flynn, played by Tom Hewitt, who held an impressively looooooooong note in his number, All I Care About, to renewed cheers and hoots.

From the first notes of All That Jazz to the final sparkly curtain, Velma, Roxie and company kept us revved, rapt and ready to “paint the town” with them in their twisted pursuit of fortune and fame. This beloved musical is a night on the town you simply can't miss. 

Chicago runs at The Playhouse on Rodney Square through February 28.

See http://duponttheatre.com.

Hannah Sturgis to Represent Delaware in National Poetry Out Loud Competition

Content of this post was taken from a Delaware Division of the Arts press release...

Delaware's Poetry Out Loud Champion, Hannah Sturgis.
Photo by Kathleen Buckalew.

Hannah Sturgis, a junior from Polytech High School, earned the title of 2016 Poetry Out Loud Delaware State Champion at the state finals held in Smyrna, Delaware, on February 23. The first runner-up was Brandon Dawson from Middletown High School, and the second runner-up was Jordan McMillan from Sanford School. More than 18 students competed in the Delaware finals.

Hannah Sturgis’s final recitation, Infelix by Adah Isaacs Menken, earned her high marks with the judges. The full poem can be found on the Poetry Foundation’s website.

For her winning presentation, Hannah Sturgis will receive $200 and an all-expense-paid trip to Washington, DC, with a chaperone to compete at the national championship May 2-4, 2016. Polytech High School will receive a $500 stipend for the purchase of poetry books. Brandon Dawson, the first runner-up will receive $100, and Middletown High School will receive $200 toward the purchase of poetry books.

The Poetry Out Loud state competition, sponsored by the Delaware Division of the Arts in partnership with the National Endowment for the Arts and the Poetry Foundation, is part of a national program that encourages high school students to learn about great poetry through memorization, performance, and competition.

See. www.artsdel.org. 

Welcome to Lully's World via Brandywine Baroque

By Christine Facciolo
Jean Baptiste de Lully’s death is legendary among musicians: While beating time on a staff during a performance of his Te Deum in 1687, he suffered a fatal injury. The wound he suffered to his foot developed gangrene. Three months later on March 22, Lully died.

Lully’s music did not die that day, though. His stylistic monopoly remained secure for decades after his death. His influence in the writing of opera led to a century of French opera in his style. The two-part “French Overture” he invented spread across Europe, influencing both Bach and Handel.

Brandywine Baroque paid tribute to that legacy by “Celebrating the World of Lully” on Sunday, February 21, at The Barn at Flintwoods. The ensemble included harpsichordists Karen Flint and Joyce Chen, violinists Mark Davids and Mandy Wolman, flutist Eileen Grycky, gambists John Mark Rozendaal and Donna Fournier and soprano Laura Heimes.

The major work of the program was Francois Couperin’s L’Apotheose de Lully, in which the composer portrays the ascent to Parnassus of his predecessors, Lully and Corelli. Apart from being intended as a compliment to the two composers, one might also view this work as an attempt to settle the debate raging in the musical world over the conflicting merits of the French and Italian styles.

This is indeed music with a history (and some humor) as little Italianate gestures recall that Lully, the quintessential French composer was himself Italian-born. The desired rapprochement occurs when Lully and Corelli meet on Parnassus and are persuaded by Apollo that a union of their respective styles would amount to nothing less than unparalleled musical perfection.

The music is indeed wonderful. The combination of violins, keyboard, flute and viol da gamba gave the impression that no other group of instruments could be more fitting. The performance was easy on the ears, luxurious yet intimate.

While the program did not feature a work by Lully himself, it did include a selection from Deuxieme Suite a 3 violes, Livre 4 by his student virtuoso violist Marin Marais, who also served in the court of Louis XIV. Gambists John Mark Rozendaal and Donna Fournier excelled in this contrapuntal work representing the peak of the established French musical tradition.

The richness and splendor of French Baroque sacred music — at times gravely somber and spectacularly exuberant — was amply demonstrated in Pierre Bouteiller’s motet O felix et dilecte conviva and Rene Drouard de Bousset’s Abraham, a rare example of a cantata spirituelle so popular in the late court of Louis XIV. Laura Heimes’s crystalline and precise soprano blended beautifully with the instrumentalists in both works.

Italian composers and those writing in the Italian style were equally well-represented. Martin Davids’ violin was crisp and decisive in his rendering of the relatively obscure Francois Francoeur’s I Sonata No. V in A minor. Supporting him were Joyce Chen on harpsichord and Donna Fournier on viola da gamba.

Davids, Wolman and Rozendaal reveled in the playfulness of Tarquinio Merula’s vibrant and imaginative version of the Ciaccona, a dance form that migrated to Italy from Mexico in 1615.

No Baroque program would be complete without a selection by the prolific Georg Philipp Telemann and this concert was no exception. The note-filled Quartet in G major is a perfect display of this polyglot composer’s “mixed taste” style of writing, with its French, German, Italian and Polish influences. The ensemble’s playing — with Grycky as flute soloist — was both energetic and vibrant while deftly weaving together the mixed tastes of this composition.

See www.brandywinebaroque.org.

Women Composers Take Over the Evening at The Music School of Delaware

By Christine Facciolo
For centuries, women composers were little more than a footnote in music history. Considered a novelty, their work rarely left the confines of the drawing room or recital parlor, if they got performed at all. Even the celebrated pianist Clara Wieck Schumann felt compelled to fill her programs with the works of her husband or their friend Johannes Brahms rather than her own.

So it was only fitting that a program honoring women composers open with one of Wieck Schumann’s own compositions, the Scherzo No. 2 in C minor (1845). The little sonic gem received an expansive and probing interpretation from Holly Roadfeldt Wednesday, February 17 at The Music School of Delaware in Wilmington.

The concert, which benefitted the Anthony G. Simmons Scholarship Fund and other scholarships, served to encourage young female musicians by emphasizing the works of living women composers. Roadfeldt remembered her disappointment at hearing one of her students say she felt she could not pursue composition because she was a woman.

Roadfeldt’s muscularity and poetic power were on fine display in three of the four pieces from Joan Tower’s No Longer Very Clear collection. Her fingers never stopped from the moment she placed them on the keyboard for Or Like a…an Engine (1994). Think Ondine from Ravel’s Gaspard de la Nuit. The second piece, Vast Antique Cubes (2000), gave Roadfeldt the opportunity to play in legato before tackling Throbbing Still (2000), Tower’s recollection of the rhythms she experienced growing up in South America. Think Inca Empire meets Stravinsky.

The Serafin String Quartet offered two works by Julia Adolphe. Just twenty-eight years old, Adolphe, a doctoral student in music composition at the University of Southern California, has already achieved considerable success. In 2014 she became one of three young composers chosen to have their work performed by the New York Philharmonic. She is now working on a commission from the Phil, a viola concerto for its principal violist.

Serafin and Adolphe share a passion for exploring new musical worlds. Veil of Leaves (2014) shows Adolphe’s potential for becoming a premier composer for this most intimate of forms. The work begins with the strings in unison but continuously diverges and converges in a swirl of pitch and texture. This is a piece that demands not only supreme musicianship but deep concentration which was etched on the players’ faces.

Between the Accidental (2010) engaged the quartet in a contrapuntal tour de force, juxtaposing jarring dissonances with modal melodies in a netherworld of tonality.

Roadfeldt took the stage again to perform two works by Philadelphia-based composer Kala Pierson. Spark (2014) and Flare (2016), the latter of which received its World Premiere at the concert with the composer in attendance. As their names suggest, these works are rhythmically fluid and vividly expressive — perfectly suited to Roadfeldt’s flair for intensity and meditative focus.

Pianist Jennifer Campbell appeared as both performer and composer, offering Perceptions of Shadows, a work she wrote in 2013. This is an intensely introspective piece, showing that as shadows change with time, so do our perceptions of life’s struggles. This work proves that Campbell is not only an acclaimed pianist but a composer of great insight and sensitivity.

Campbell joined forces with violist Esme Allen-Creighton for a first-rate performance of Rebecca Clarke’s Sonata for Viola and Piano. This work written in 1919 is packed with big-hearted melodies and delicate colors. It’s hard to fathom how and why it missed winning first place in competition and why it doesn’t get more outings than it does.

Allen-Creighton brought together all the right elements — robust sound, free-flowing legato lines, unbridled lyricism as well as a technically assured presentation — to make us want to hear more from an instrument that continues to play, well, second fiddle to the violin. Campbell supplied the virtuosic pianistic accompaniment which was as demanding as any concerto.

See www.musicschoolofdelaware.org.