"The Little Mermaid" makes for a Delightful Afternoon at the Delaware Children’s Theatre

The Little Mermaid is such a delightful show for the whole family and a great way for parents to introduce their children to theater. This exciting production will enchant both the young and the young at heart!

Lynne Lew at Scuttle and Sarah Robertson as Ariel.

Director Tom Marshall has assembled a wonderful cast and crew to bring this Disney favorite to the stage here in Wilmington. With a captivating “underwater” set designed by Cam Hay and sea-like animals and mythical sea creatures created through gorgeous make-up design by Kellye Porter-Martin, fabulous wigs and hair designed by Debbie Norkavage, and inventive costumes designed by Nancy Kennard (I especially enjoyed the “umbrella jellyfish”), the setting and characters made famous in the 1989 animated film truly come to life.

I’m sure most people are familiar with the story about a princess mermaid (Ariel) who lives with her father (King Triton) and six older sisters in the vast ocean, but is intrigued by humans and has become more interested in their lifestyle than her own. This intrigue intensifies when Ariel saves the dashing Prince Eric from drowning after being overthrown from his ship during a storm. Since King Triton doesn’t trust humans and believes they are at fault for his wife’s untimely death, Ariel is forbidden to go to the ocean’s surface with her friends and is meant to stay in her aquatic home and concentrate on her singing – a talent she shared with her deceased mother. Wanting an opportunity to be with Eric, Ariel defies her father and makes a deal with his evil sister Ursula – a sea urchin that has been banished by Triton to live far under the dark sea.

The wicked deal allows Ariel to become human for three days, but she will be mute and her voice will be kept by Ursula. In order to remain human and to regain her voice, the prince must kiss her before the three days are up, or Ursula will keep her voice and Ariel will become one of Ursula’s slaves. 

Now human, Ariel is spending time with the prince and becoming acquainted with her new lifestyle. Ariel is doing her best to get Eric to kiss her, but time is running out! You probably know how it ends, but just in case you don’t…I won’t ruin it for you. You’ll have to see the show for yourself

Sarah Robertson leads the cast as the curious and adventurous Ariel. She is charming as the innocent young mermaid and has a gorgeous voice that sweetly soars throughout the theater. Ashley Baker is frighteningly good as Ursula. She has an amazingly strong voice that evokes fear in the audience. Conner Malley as Prince Eric and Jonathan Dalecki as King Triton are captivating and have a great presence on stage. Lynne Lew (Scuttle – the sea bird), Adelaide Nourie (Flounder) and Will Rotsch (Sebastian – the crab) bring great humor and excitement as the friends who share in Ariel’s adventures.

   

Don’t miss this classic musical with memorable songs written by Alan Menken and Howard Ashman. Like me, I’m sure you’ll find yourself singing along to “Under the Sea” and “Kiss the Girl,” among many others! The Little Mermaid closes on October 30. 

For tickets and additional information visit www.dechildrenstheatre.org. 

The Music School of Delaware Opens Season with a "Musical Bounty" for Fans

By Christine Facciolo

The Music School of Delaware opened its 2016-17 season Wednesday, September 28, 2016 by gifting its supporters with gorgeous renderings of two of the best loved works for string orchestra: Grieg’s Holberg Suite and Tchaikovsky’s Serenade for Strings in C Major.

Maestro Simeone Tartaglione conducted a string orchestra composed of music school faculty and three invited guests violists Sheila Browne and Marka Stepper and bassist Arthur Marks.

The program opened with Grieg’s Holberg Suite for String Orchestra. Composed to honor the memory of 18th Century Norwegian writer Ludvig Holberg, Grieg cast the work in the musical language of the 18th Century. Tartaglione applied a light touch, playing up the individual character of each of the work’s dance-like movements.

Following the brisk opening Praeludium was a stately Sarabande featuring a lovely dialogue between cellists Lawrence Stomberg and Eric Coyne. The Gavotte recalled the formality of the court while the Musette contrasted with a folksong quality. The deeper strings imparted a profound solemnity to the Air, one of Grieg’s most beautiful creations.  The concluding Rigaudon paid tribute to Norwegian folk violinists as it featured some virtuosic bowing by concertmaster Stefan Xhori.

Tartaglione conducted with authority and passion as he led the orchestra through Tchaikovsky’s Serenade for Strings in C Major, an intensely personal work that the composer intended as homage to Mozart whom he viewed as the “Christ of music.” The Serenade is in a vastly different league than the Holberg: Rich in harmonic and melodic invention, it is also more abstract in character and hence more enduring.

The Serenade is Tchaikovsky at his brilliant best and Tartaglione and the musicians did it proud with flair, charm and beauty of tone. The orchestra was nimble and agile in its execution of the second movement — the Valse — with its numerous and sudden harmonic shifts. The third movement — the Elegie with its fugal elements — was ensemble playing at its best. The Finale was played with great virtuosity, bringing the concert to a close with rousing applause.

See www.musicschoolofdelaware.org. 

Market Street Music's Season Opens with Pyxis Piano Quartet

Pyxis Piano Quartet (L-R): Jie Jin, cello; Luigi Mazzocchi, violin;
Hiroko Yamazaki, piano & Amy Leonard, viola.

By Christine Facciolo
Pyxis Piano Quartet opened a new season of Market Street Music Festival Concerts Saturday, October 1, 2016 with its usual combination of superb playing and interesting programming. The ensemble consisted of Luigi Mazzocchi, violin; Amy Leonard, viola; Jie Jin, cello and Hiroko Yamazaki, piano.

The bulk of the program featured two works written a century apart: Mozart’s Piano Quartet No. 2 in E-flat Major (K. 493) and Richard Strauss’ Piano Quartet in C Minor, Op. 13.

Luckily for us, when Mozart’s publisher canceled his commission for a series of piano quartets, the composer had already completed the second quartet and it was published by another firm in 1786. K.493 is one of Mozart’s greatest compositions and a classic of the genre with its pristine form, gracious themes and exquisite interplay between instruments.

The first movement — Allegro — begins intensely but offers gracious themes throughout. The Larghetto is a richly conceived slow movement featuring an exquisite interplay among piano and strings. The third movement Rondo — Allegretto — is full of fire and energy with a prominent piano.

Pyxis was most sympathetic to this spacious and outgoing work. Particularly attractive were the gently springy rhythms and exquisite phrasing of the strings in the first movement and Yamazaki’s beautifully shaped phrasing in the Larghetto.

Whereas Mozart wrote his quarter at the height of his musical maturity, Strauss was a mere 20 and very much in the thrall of Brahms when he composed his work. The result is an unusual fusion of musical personalities: the gravitas of Brahms and the fire and impetuousness of the young Strauss. Rich and dark, the work is full of blazing energy.

The playing has all the attributes you would expect from Pyxis: impeccable intonation and fluid tempos that allowed the music to flow in unbroken phrases. The players were individually excellent, as was Mazzocchi’s rendering of the main theme of the Andante and Yamazaki’s voicing of the chords supporting him. But they are at their best when they function as an ensemble, as in the tight Scherzo or the virtuosic interplay of the closing Vivace.

The evening opened sans piano with the playful Mozart En Route (A Little Traveling Music) by Aaron Jay Kernis, past recipient of the A.I. duPont Composer’s Award. Inspired by a letter from Mozart to his father, in which he complains of being jostled during a particularly rough carriage ride, Kerns’ short (three-minute) string trio takes listeners on a whimsical musical trip from Salzburg to Nashville and back. Thematic variation is the rule as familiar-sounding pop styles interweave with the classical tradition with several quotations from Mozart’s Divertimento for Strings, K. 563.

See www.marketstreetmusicde.org.

A Review of Rehoboth Art League's 7th Juried Exhibition

By Guest Blogger, Stan Divorski 

Stan Divorski is an artist and avid art and photography collector who lives in Lewes, Delaware. He has a PhD in Psychology from Northwestern University, a Certificate in Painting and Drawing from the Corcoran College of Art and Design in Washington DC and has studied modern art curating at the Chelsea College of Arts in London.

Kyle Hackett "Forward Restraint"

The Rehoboth Art League’s 7th Regional Juried Biennial Exhibition is a significant step in the League’s continuing evolution to a regional art force. The work is bold, resolutely modern and abstract.

The juror, George Ciscle, focused on the unique and mastery of technique. His emphasis on craft is part of what makes the exhibit current. After decades of the art world emphasizing concept over technique, the quality of execution is increasingly valued. Kyle Hackett’s oil painting “Forward Restraint” was chosen as Best in Show partly because it stood out from the crowd of portraits and partly because of the artist’s command of his medium. In his detached view of the subject, Hackett distresses part of the sitter’s face and leaves part of the background apparently unfinished, reminding us that this is his interpretation of the subject, not a copy of reality. 

Brook Hedge’s “Still Standing,” a deeply emotional photograph of a gradually subsiding barn garnered an Award of Excellence. Achieving her effects “in camera” rather than through post-processing in Photoshop, she demonstrates mastery of her medium. Harold Ross’ “Still Life with Pencil Sharpener and Steel Ball” initially appears to be an example of the “Photorealism” paintings of the 1960s and 70s. In fact, it is a meticulously crafted digital photographic print comprising 30-plus layers of imagery. It bears greater relationship to the Dutch Masters than to photorealism.

Amani Lewis "The Conversation"

“Relevance,” the relationship of art to social issues, is increasingly part of the art world’s language. Amani Lewis’ “The Conversation” examines the current status of African Americans. The central figures in her creation appear to be involved in a calm exchange, but are superimposed over images of angry protest. Protesters can be seen through the figures themselves, illustrating how social upheaval penetrates individual existence. Digitally cut and pasted images printed on canvas worked over with paint evoke the screen printed posters of 20th Century protest movements. 

George Thompson’s painting “Sometimes ‘IT’ Percolates uphill” depicts the permanent and reflexive damage to the earth of individual acts of pollution. He has chosen a jewel-tone palette rather than the “earthier” palette expected. It is up to the audience to decide whether this choice works against the artist’s intent or leads to closer exploration. George J.E. Sakkal’s photo collage “Climate Change: Earth at the Beginning of the End” depicts the detritus of western existence in a small, densely packed image that invites the viewer to practically stick their nose into the swirling mess.

Some current perspectives in contemporary art are not evident here. On display is what

Sondra Arkin "Shadow Drawing"

some would dismissively refer to as “wall art.” Missing are “installations” which become part of or transform the gallery space. The closest examples are Sondra Arkin’s Award of Excellence winning “Shadow Drawing,” and Jihyun Vania Oh’s “Trace My Memory.” Ms. Arkin’s wall-mounted wire sculpture is a delicate spiderweb of geometric forms that creates a shadow drawing on the gallery wall. Ms. Oh’s sculpture of leather, paper and other materials -- resembling a post-apocalyptic gas mask -- snakes up a corner of the gallery, stepping from wall to wall. Her ‘s is the only piece that seeks to directly engage the audience by encouraging viewer interaction. Below the work is a small sign that invites the viewer to “Open me.” Pulling a small metal ring opens a trap door, revealing a pop-up that transformed my understanding of the work.

Missing in their entirety from the exhibition are examples of video and performance art.

It is estimated that there are more than 2.5 million professional artists in the US -- nearly 1% of the population. Taking into consideration the additional number of amateur artists, it is easy to understand the challenge for artists to have their work seen and sold. George Ciscle’s curation demonstrates the value of artists who analyze what has gone before, both in terms of technique and theory, and seek that unique variation that lifts one’s work above the fray. The exhibit is among the best that I have seen at the RAL, but still leaves room to grow.

See www.rehobothartleague.org.

Mélomanie Opens 23rd Season with "Personal" Performance

By Christine Facciolo

Mélomanie devoted the opening concert of the 2016-17 season — its 23^rd — to the appreciation of the viola da gamba and its music.

The concert featured Mélomanie Executive Director and Co-Artistic Director Tracy Richardson on harpsichord and the ensemble’s virtuoso gambist Donna Fournier in performance at the Wilmington Friends School in Alapocas. The concert was titled “Up Close and Personal,” and that’s exactly what it was, with the audience seated on stage with the performers.

First things first: As Fournier pointed out, a viola da gamba is not a fretted cello, even though it may resemble one. A cello has four strings while a viol usually has six, like a guitar, or seven. But unlike a guitar, the viol’s frets are not permanently set, but rather made of gut and tied on, like a lute, and thus movable.

The viol is also tuned differently from the cello. Viols are tuned in fourths with a third between the third and fourth strings, just like a lute. Cellos are tuned in fifths. Viols are bowed like cellos but the bow is held underhand rather than overhand.  Another difference: The viol is much quieter than the cello. In fact, they were too quiet to be effective in large orchestras or big concert halls and fell out of favor after the 18th Century.

The program featured a sampling of works by the major gambist/composers, including Marin Marais, Carl Friedrich Abel, Tobias Hume, Gottfried Finger, Georg Philipp Telemann and Johannes Schenck. Contemporaries continuing the tradition included Mark Hagerty and Mark Rimple — the latter a former gamba student of Fournier and now a professor of Music Theory and Composition at West Chester University.

The program also featured a nice balance between solo works — including a recently discovered work by Telemann — and those with basso continuo.

And who better to deliver these works than Fournier, undoubtedly the most accomplished gambist in the region and quite possibly beyond.  Fournier’s tone is sumptuous; her intonation perfect.  The wistful notes and rich depth of the bow across the gamba were complemented by the distinctly sharper sounds of Richardson’s harpsichord.  And just when you thought Fournier couldn’t play any faster, louder or softer — she did!

Particularly arresting was Fournier’s and Richardson’s execution of the expressive lines of Marin Marais’ Suite in A Major.  The deliberate Prelude paved the way for the stately Allemande and the determined Chaconne.  Their rendering of Johannes Schenck’s Sonata No. 1 in D Minor was also expertly done, with the composer’s highly disparate stylistic palette played up to maximum effect. An equally vigorous delivery was given to Mark Hagerty’s Civilisation (2001), which imagined how Baroque might have been played in the 21st Century had not it taken a “wrong turn” in the 18th Century.

Fourier showed off her improvisatory skills in Abel’s Prelude in D Minor, and her technical virtuosity in Finger’s Divisions on a Ground and Mark Rimple’s contemporary Dementanz from Sonata Circumdederunt Me.  Her performance of A Question and an Answer by English eccentric Captain Tobias Hume was clever and witty.  Fournier also treated the audience to a performance of a recently discovered Fantasia by Telemann, applying herself to the wealth of musical ideas contained in the piece.

See www.melomanie.org. 

A Delicious War Erupts at the Delaware Theatre Company

The North American premiere of Warren Adler’s tour de force black comedy The War of the Roses opens the Delaware Theatre Company (DTC’s) 2016-17 season. This devilishly witty play exposes the dark side of divorce and invites the audience to savor in its mayhem.

Christina DeCicco & Jake Noseworthy play the doomed couple.

The story is mostly told through flashbacks while the couple – Jonathan Rose, a high-powered Washington, DC lobbyist and his “arm candy” wife Barbara – are meeting with their lawyers to discuss divorce. The play takes the audience on a journey from their first encounter as naïve, idealistic 20-somethings at an auction to the deconstruction of their 18-year marriage in their lavish home.

Over the past 18 years, Jonathan has become successful in the DC political scene, while Barbara (who quit college to marry the then-struggling law student) has accompanied her husband to countless business dinners and parties, while raising their two children. She completed decorating their grand home with fine furniture and art and now she’s ready for a new project – making and selling her gourmet pâté.  Jonathan is not interested in supporting his wife’s new venture; instead, he wants her to remain the perfect wife and mother. Unhappy with his lack of support, Barbara begins to fall out of love and eventually wants a divorce.

Since Barbara worked years creating the perfect home, she feels that Jonathan should be the one to leave…but Jonathan has no plans to move.  To try and rectify the problem, Jonathan and Barbara are instructed by their lawyers to annoy the other one to the point that one of them will leave. The couple goes beyond annoying each other and begins a battle royal when their children leave for camp, escalating into a full-fledged war of will and wit. Director Bud Martin has a keen ability to execute dark, menacing scenes while finding the humor in them. Thankfully, he has a stellar cast ready to tackle the physical and emotional challenges this piece demands.

Jack Noseworthy and Christina DeCicco are spectacular as Jonathan and Barbara. They are tasked with making their characters likeable while demonstrating appalling behaviors, a feat not easily done. These seasoned actors understand the importance of fully developing their characters so the audience connects with them and finds humor in their despicable actions.

  

Lenny Wolpe as Jonathan’s lawyer, Goldstein, and Cameron Folmar, as Barbara’s lawyer, Thurmont, are also delightful. Mr. Wolpe, a rabbi-turned-lawyer, provides Jewish proverbs to help guide Jonathan through the divorce, while the waspy Thurmont seems to get bored with Barbara’s antics, focusing more on sporting activities while meeting with her. The rest of the ensemble cast including Adam Altman, Eric Kramer, Brian McCann, Kerry Kristine McElrone, and Karen Peakes are hysterical as members of the DC elite during an explosive dinner party scene.

As with most recent DTC productions, the set is an important character. Designer Paul Tate DePOO III has meticulously created the Rose’s magnificent two-story home from the fine furnishings to the gigantic crystal chandelier that plays an important part in the outcome of the war. Unfortunately, the gorgeous set is destroyed by the end of the play – much like the characters’ marriage.

The War of the Roses is the perfect guilty pleasure. Don’t miss it before it closes on October 2^nd. For tickets and additional information, visit www.delawaretheatre.org.   

Ladybug Festival Hits Milestones, Announces Exciting Strides

Just over a month ago, something truly breathtaking happened in the 2nd & LoMa (Lower Market Street) area of downtown Wilmington (catch a glimpse of it all in the video at right) --- over 7,000 people from neighborhoods throughout our city joined with folks as far as Baltimore and New York City to celebrate women in music.  For readers unfamiliar with Wilmington's Ladybug Festival, here’s a quick rundown. 

Back in 2011, local entertainment company Gable Music Ventures wanted to produce an event to serve as a free, local alternative to the newly announced Firefly Festival. Why? Gable owners Gayle Dillman and Jeremy Hebbel had heard from musicians and fans alike a need for more presence for Delaware artists and an affordable musical festival option. 

2016 Ladybug Festival. Photo by Moonloop Photography.

Gable Music dove into action, delivering a free, live music "block party" in just six weeks, with 20 local female artists in five locations on Lower Market Street in Wilmington. The concept proved a hit, especially under its moniker of Ladybug --- the official state bug of Delaware. 

The Festival's popularity has grown each year, and 2016 was a groundbreaking year for Ladybug in attendance and scope: Ten stages of music ran throughout the day with headlining national acts Mary Lambert and Caroline Rose.  The generous outpouring of support from the community over the past 5 years has led to a pivotal decision from Gable: To expand the event into a two-day festival in Summer 2017.

The decision comes as a result of astounding response from artists across the country, notes Dillman, with nearly 3,000 artists showing interest.  Gable will take on the Herculean task of paring the list down to just 55 artists, when the event will take place on Thursday, July 20 and Friday, July 21.

The expanded footprint Gable will present also has plans for educational seminars on Friday, July 21, with music industry professionals coming together to mentor Delaware artists. Friday evening will be another musical block party, celebrating women at a yet-to-be-determined location.

Thanks to Drexel alumna Erica Dillman, who attended this summer's Ladybug Festival with associate Tristan Seyek, for capturing and sharing the wonderful video footage here! 

CD Review: Richard Raw's "Word Warrior"

The opening track of artist and activist Richard Raw’s Word Warrior, called Intro: R.A.P, is a short and detailed history of rap, from Melle Mel to now. It’s a fitting intro, as Raw represents the now in every way --he speaks on racial injustice and the current climate of discord as Black Americans are once again standing up to systemic racism.

That may sound like bleak subject matter, but Raw goes for inspiration as he speaks directly to the Black Community of Wilmington and beyond to Rise Up, Don’t Let Them Take Your Crown, and Shine Yo Light, three melodic tracks that lead into the Afrocentric Chaka Zulu then on to the reggae beat of Word Warrior, featuring Jahiti of BrownFish. True to its name, the title track uses words and rhyme to spread his message of empowerment.

Word Warrior isn’t all about activism; about midway though, it shifts with Cool, followed by what should have been the hit of the summer, At the BBQ featuring Ann Letreece. It’s a celebration of Black culture and community (and, of course, food). Ain’t Nothing Like a Woman is all about respect and love, while Watch Your Health is a hip-hop PSA that reminds folks to eat healthy while still managing to groove. While the topics on the back end are less political, they still focus on the Black experience: Close-knit communities, faith, family, music, and culture.

Raw knows the history of those that came before him, both as a musician and an activist, and he weaves them into the stories he tells with humility. There’s no posturing, no glitz, no hype. In a time when using words against the status quo can be downright dangerous, Raw really is a warrior.

See www.richardraw.com. 

Serafin String Quartet Welcomes Violist Sheila Browne

Post content courtesy of press release from Serafin String Quartet...
Serafin String Quartet (SSQ) is pleased to welcome Shelia Browne as its new violist. Ms. Browne replaces Esme Allen-Creighton, who stepped down after four years with SSQ to pursue a degree in music therapy.

Ms. Browne has also recently been named the new Assistant Professor of Viola at University of Delaware's Department of Music. She joins both the University and the Quartet from her position at University of North Carolina School of the Arts, where she has been on the faculty for 10 years.

The Quartet is delighted that Ms. Browne has accepted the position. They will be working together this summer to prepare for an exciting first season, with performances at the University of Delaware, where the Quartet has recently accepted re-appointment as Quartet in Residence for the next three years.

A preview of SSQ's 2016-2017 season, including performance dates on local series at The Arts at Trinity and The Music School of Delaware, will be announced soon.

See www.serafinquartet.org.

Candlelight (Re)Introduces You to the Classic, "The Music Man"

New Candlelight Theatre's production of The Music Man.
Photo by Ken Grant

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.

Meredith Wilson was born in Mason City, Iowa in 1902 and played flute in John Philip Sousa's band from 1921-1923. He went on to a full and successful career in music, radio and film. This background and experience was clearly the inspiration behind his biggest hit – The Music Man.

The musical is based in the Summer of 1912 and centers on the exploits of a two-bit con man with no expertise who gets the town of River City, Iowa convinced that there's a danger to the town's future and their only hope is to buy what he's selling. Thank goodness we live in 2016 and everyone is too sophisticated to fall for such fear-mongering from such a blatantly dishonest and opportunistic fraud. :)

Fortunately, the good people at The Candlelight Theatre in Arden are able to transport us back in time to enjoy a summer of pageants in the small town that grows to to accept and even live the con man. The con man – "Professor" Harold Hill – is portrayed pitch-perfectly by Bob Miller. Through Miller, the audience can see the gears turning as he charms the town's women and convinces the men to join voices and divert attention away from his lack of credentials.

While the town's transformation occurs at a steady pace throughout the production, Hill's growth is more of a slow burn that reveals itself late in the second act.

The primary inspiration for that growth is the town's librarian and legitimate music teacher, Marion Paroo, played by Lauren Krigel. She exudes strength, smarts and clarity, seeing through Hill's deceptions, but also seeing a way to challenge him into becoming more than he expected.

The more than 20 cast members bring River City to life with voices and choreography that fills the entire theater space.

The heart and soul of The Music Man is, of course, music. With such iconic songs as Trouble, Seventy-Six Trombones, Gary, Indiana and Shipoopi (to name a few), the audience finds itself smiling and toe-tapping during the production.

Whether you've seen the film, enjoyed the cast album or have yet to experience Meredith Wilson's masterpiece, you should make your way to Arden to enjoy this fun production (and tasty buffet dinner included with your ticket price).

The Music Man plays through August 28 at The Candlelight Theatre.

See www.candlelighttheatredelaware.com. 

Wilmington’s Creative District Unveils Veterans Freedom Mural

Content of this post courtesy of press release from the Creative District Wilmington...

Wilmington Renaissance Corporation (WRC) and Creative District Wilmington dedicated the Veterans Freedom Mural on Tuesday, June 28, 2016 at Marcella’s House in downtown Wilmington. Governor Jack Markell and Secretary of State Jeff Bullock were among the distinguished speakers at the event.

The Veterans Freedom Mural, Getting Back to the World, is the inaugural project for Wilmington’s first-ever free public art training program, entitled Public Art Prep Program (PAPP). Creative District Wilmington and Connections Community Support Programs, Inc., partnered to develop PAPP as an opportunity for local artists to learn new skills as well as expand their experience in neighborhood mural-making by combining community engagement practices and public art-making techniques.

The Veterans Freedom Mural is on the exterior wall of Marcella’s House, a 31-unit veterans’ residential facility owned by Connections Community Support Programs, Inc. at the intersection of 9th and Washington Streets. Mural-making at its core is a community process, and the Veterans Freedom Mural is a collaborative effort that engaged a number of key stakeholders in community planning meetings and community paint days.

Muralist Eric Okdeh was the lead artist on the project, and facilitated workshops where artists observed and learned from his process, practicing the techniques while creating the Veterans Freedom Mural. Okdeh facilitated community engagement meetings, teaching participants how to elicit feedback and distill it into mural imagery. Participants learned how to use the parachute cloth method to create the mural and the actual installation of parachute cloth. They also learned how to create and install glass mosaic. Participants who

completed the Public Art Prep Training workshop series received a non-credit certificate of completion.

See www.creativedistrictwilm.com.

DelShakes' The Comedy of Errors Delivers Madcap Fun Under the Stars

By Guest Blogger, Ken Grant

The Comedy of Errors stage at Rockwood Park. Photo by Alessandra Nicole.

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. 

Before the Stooges and the Marx Brothers, there was The Comedy of Errors.

The play, one of William Shakespeare’s earlier works, is a madcap, slapstick, double mistaken-identity romp.

True confession: While driving to the opening night performance at the beautiful Rockwood Mansion, this reviewer asked his Lovely Bride to pull up the play synopsis on her smartphone and read it to him. Arguably, to offer a written synopsis of the play will lead to frustration and confusion for both writer and reader – The Comedy of Errors simply must be experienced.

And the experience with this cast and musicians under the direction of David Stradley is delightful, fun and surprising.

Luke Brahdt and Brendan Moser play the identical twins – both named Antipholus – separated at birth by shipwreck.Chase Byrd and Sean Close play the identical twins – both named Dromio – separated at birth by shipwreck.

(L-R): Brian Reisman (Dromio of Ephesus), Luke Brahdt (Antipholus
of Ephesus), Abdul Sesay (Officer). Photo by Alessandra Nicole.

Go back and re-read those last two sentences, and you’ll see why a written synopsis can be confusing and frustrating.

[Quick side note]: If you are a high school English teacher who only has your students read Shakespeare’s plays, please stop. Allow the students to experience the power, comedy, drama, tension, fullness, beauty, grittiness and even the silliness of Shakespeare through a live performance or even a video – you will help to shape a better future for all of us. [End of side note.]

The performances by this cast are wonderfully over-the-top, the dialog is downright musical, and the choreography has all of the fun of slapstick with none of the pain.

Everything about this comedy supports the creativity and innovation that is associated with the Delaware Shakespeare Festival: a long runway for a stage with doors on wheels; colorful lighting, costuming that is at once colorful and useful (remember, two sets of twins – the costumes really help in keeping the whole thing straight); and a jazz trio – saxophone, bass, percussion – that perfectly sets and elevates the tone throughout the performance.

If you're ready for a lighthearted, fun, engaging evening, you'll want to get these tickets, pack your lawn chairs or picnic blankets and come out to Rockwood Mansion. Oh, and read the signs on the sidewalk on the way up; there’s some great information there that will make the show that much more enjoyable.

The Comedy of Errors runs for 13 performance this month, Wednesday to Saturday at 7:30pm with gates opening at 6:15pm for preshow entertainment and picnics. Sunday performances begin at 6:00pm (gates open at 4:45pm). No shows are scheduled for Monday or Tuesday nights, although Tuesday, July 26 is a rain date, if needed.

The fourth annual Janssen’s Market Picnic Contest – in which patrons bring their best spreads to compete for the coveted Picnic Contest trophy and bragging rights – will take place on Saturday, July 23. General admission to the festival is $18 (some of the most affordable live theater tickets around). Tickets are $16 for seniors (65+), and active military (and their families), with identification. Student tickets are $14. Children 5 and under are free at every performance.

Every Sunday is Family Night, with special activities for children 12 and under admitted free with a paid adult admission.

See www.delshakes.org.

Delaware Symphony Orchestra Closes Its 16-17 Season at Gold Ballroom

By Christine Facciolo

One of the Delaware Symphony Orchestra’s greatest strengths is its roster of talented musicians that can be called upon to organize performances in a wide range of complexity and moods in a single evening.

The result is often a delightfully strange assemblage of pieces and the orchestra’s final chamber series concert of the season — “David Amado and Friends” — in The Gold Ballroom of the Hotel du Pont was one of the most curious, featuring Schubert’s richly lyrical Piano Trio No. 1 in B-flat Major, Op. 99, Shostakovich’s polystylistic Piano Trio in E minor, Op. 67 and Ysaye’s virtuosic Sonata No. 4 for Solo Violin.

The first item on the program — the Ysaye Sonata — was also the most notable outlier. Though not as well-known as Nos. 2 and 3, this sonata is fiercely expressive and violinist Erica Miller captured its virtuosity perfectly. Her mastery of the instrument was complete: her downbow attacks were strong, her intonation precise. She took a rhapsodic approach to the opening Allemnda, showed a reverent calm in the Sarabande and delivered the pyrotechnics of the Finale with poise.

The rest of the pre-intermission portion of the concert was taken up with the Shostakovich trio, one of his most enduringly popular compositions. It was written in 1944 in memory of one of the composer’s closest friends, polymath Ivan Sollertinsky, who died unexpectedly of a heart attack that same year. Shostakovich had also lived through the siege of Leningrad and his anxiety about death permeates the entire work.

Cellist Naomi Gray opened the trio with a note that would be challengingly high, even for a violin. Gray succeeded in striking a delicate balance between beauty and pain which continued as the other instruments joined in. Violinist Luigi Mazzocchi executed the relentlessly jabbing notes of the second movement without sacrificing clarity or intonation. DSO Music Director David Amado’s dramatic phrasing and scrupulous attention to dynamics carried the third movement which consists of a series of heart-wrenching variations over the piano’s bass line. The work culminates in a dance-like finale which features Shostakovich’s first use of Jewish klezmer music, a reference to the influences of the Holocaust around him. The performance concluded with barely audible notes in each instrument’s highest register, moving the whole affair into a different realm.

After intermission, the musicians offered a glittering performance of Schubert’s Piano Trio in B-flat Major, D. 898. This piece was a perfect showcase for the players’ keen sense of ensemble. The performance was a true dialog between piano and strings as well as between the strings themselves. The first and second movements featured song-like phrases from each other players while the scherzo received a sense of urgency. The Rondo finale was full of surprises as the musicians accommodated the sudden accents, key changes and false endings that permeated the movement.

All in all, the trio played with a joyous emerging that brought Schubert’s trio and the concert — and season — to a rousing conclusion.

See www.delawaresymphony.org.