Monday, January 30, 2017

Welcome to a Perfectly Marvelous Production at Wilmington Drama League

By Guest Blogger, Mike Logothetis
Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.
Wilmington Drama League's cast of Cabaret.
Photo courtesy of Wilmington Drama League.

Willkommen, bienvenue and welcome to The Wilmington Drama League’s production of the 1967 Tony Award-winning Cabaret. It’s Berlin, soon before World War II, and people should forget their woes at the exciting Kit Kat Klub. But trouble abounds as creativity, possibility and budding romance is swallowed by fear, hate and misfortune. The diverse cast – directed by Dominic Santos with music direction by Caty Butler – takes a modern view of the themes in this classic musical.

If you're unfamiliar with the content and plot, the mature subject matter may not be suitable for younger audiences. Sexuality, abortion, drug use and racism are woven throughout the multiple storylines which result in adult language and situations. But please don’t let this warning stop you from coming to the theater and enjoying an excellent production…just get a babysitter!

Cara Clase as Sally Bowles.
Cabaret kicks off with the Kit Kat Klub’s Emcee welcoming us with the charming Willkomen. Brian Hylton introduces us not only to the club, but to his character and its troupe of risqué entertainers. The company (both male and female dancers) is energetic, attractive and synchronized. The opening number is wonderfully choreographed by Santos, showcasing all of the best attributes – vocal, physical, sensual, and comedic  Pam Atk, Cheynne Banks, Timmy Bradford, William Brock, Heather Wadler, Taylor Walker, Eryka Waller, Austin Whittington, Sedric Willis and Morgan Wright who also appear throughout the show in other roles.

Aspiring young American author, Cliff Bradshaw (Jason Tokarski), arrives to Berlin by train and befriends German passenger Ernst Ludwig (Timothy Sheridan). Ludwig helps him find a room with Fräulein Schneider (Kyleen Shaw), who laments that she has learned to take whatever life offers in her musing, So What?.  Ernst has also sold Cliff on the allures of the Kit Kat Klub. Entranced and flirting with British singer Sally Bowles (Cara Clase) 
– who performs the racy, flirtatious number Don’t Tell Mama with the Kit Kat Girls – Cliff offers to walk her home. Sally warns him that her boyfriend Max (Sedric Willis), the club’s owner, is jealous so Cliff is surprised when Sally arrives at his room the next day looking for a place to stay. At first he resists, but she convinces him (and Fräulein Schneider) to take her in during the song, Perfectly Marvelous

Kyleen Shaw as Fräulein Schneider & Alfred Lance as Herr Schultz.
Meanwhile, an elderly Jewish fruit shop owner Herr Schultz (Alfred Lance) has given Fräulein Schneider a pineapple as a gift, singing It Couldn’t Please Me More. It’s a touching moment at the boarding house that segues into a darker one in the Kit Kat Klub, as a young waiter starts to sing a patriotic anthem to the Fatherland that slowly descends into a Nazi-inspired marching song before arriving at the strident Tomorrow Belongs to Me.

Months later, Cliff and Sally are together and in love. Sally sings of hope that this time her love affair is going to last (Maybe This Time). Sally reveals to Cliff that she is pregnant, but reluctantly decides to get an abortion. Cliff tries to convince her to keep the baby...but he'll need money, since efforts to write his novel have stalled. Ernst offers Cliff a job picking up a suitcase in Paris and delivering it to his “client” in Berlin. 

The Emcee comments on this dubious arrangement between Ersnt and Cliff in the song Money.  This is neither the first nor the last time the ubiquitous Emcee involves himself in the plotlines of other characters and stories in this show. Hylton provides a strong character who moves the plot along with commentary and humor, but reminds us of the seedy elements. His efforts are wildly physical and emotional with impeccable timing, grace and strength. Hopefully, his first WDL role will not be his last!

Meanwhile, Fräulein Schneider has caught one of her boarders, Fräulein Kost (Pam Atk), bringing sailors into her room. Schneider forbids her from doing it again, but Kost threatens to leave and mentions that she has seen Schneider with Schultz in her room. Schultz comes to her reputation's rescue, announcing he and Schneider are to be married 
– and notes that his proposal was serious in his song, Married.

At Schultz and Schneider’s engagement party, Cliff arrives and delivers the suitcase to Ernst. A tipsy Schultz lets slip to Kost that he is Jewish, who then relays the word to Ernst, who ominously warns Fräulein Schneider that marrying a Jew may not be wise.

The Entr’acte showcases Music Director Butler’s abilities and arrangement skills. The 10-piece ensemble sits on stage and provides the perfect audial and visual components for this production. From the swinging club to the heartfelt songs, the musicians know how to accompany the singer or lead the procession. 

Back at the Kit Kat Klub, our Emcee performs a song-and-dance routine with a gorilla in a dress, singing that their love has been met with universal disapproval (If You Could See Her). Encouraging the audience to be more open-minded, the scene is a powerful statement to prejudice and foreshadows the darkness in the remainder of the show.
Fearing the unknown in Germany, Cliff pushes Sally to return with him to America – an idea to which she protests. After they argue, Cliff is offered another "job" by Ernst, ending in Cliff being beaten up by Nazi goons. While onstage, Sally enters to sing “Life is a cabaret...” and cements her decision to live in carefree ignorance and freedom.

This is where the effervescent Clase truly shines. To this point in the show, all of her vocal performances were incredibly strong, but her passionate rendition of Cabaret drew the audience into her character’s emotional state. We hung on every note and the haunting pauses between them, empathizing with Sally’s plight. Case was a joy to watch as she took Sally from a blithe nightclub singer to a hardened woman who won’t let the world keep her down. Like Hylton, let’s hope that Clase follows up her WDL debut with an encore.

The next morning, as Cliff is packing to escape Berlin, is visited by Sally, who bears her soul but refuses to leave with him. Cliff departs for Paris, heartbroken and alone (Finale).

Don’t expect a (cathartic) curtain call for this outstanding group of performers. Santos has opted to allow the depressed emotional mood to linger. We only see the cast walk offstage in a dispassionate manner. But the cast, crew and musicians are worthy of hearty applause for their excellent work.

This production of Cabaret at Wilmington Drama League runs Fridays, Saturdays and Sundays through February 5 at its venue on Lea Boulevard in Wilmington. Tickets are $12-20 for both evening (8:00pm) and matinee (2:00pm) performances.

Calls for Musicians & Visual Artists: Ladybug Festival & The Delaware Contemporary

Info compiled from Ladybug Festival & The Delaware Contemporary notices...

The Ladybug Festival Call for Artists

The annual summertime celebration of female arts and artists (this year expanded to a two-day festival) presented by Gable Music Ventures, has opened its call for artist submissions. The 2017 Ladybug Festival will take place in downtown Wilmington, Delaware on July 20 and 21. Artists interested in being considered for a performance spot should visit the Ladybug Festival website and submit an application!

The Delaware Contemporary Open Call for Artists

Submit your application online by February 22, 2017 to exhibit work in The Delaware Contemporary's 2017 Contemporary Gala Art Auction! The Contemporary Gala is an exciting and elegant evening of music, auctions and unconventional entertainment. Proceeds from the event support our exhibitions and education programs. Artists will have their work featured in our Constance S. & Robert J. Hennessy Project Space gallery for an audience of art enthusiasts and collectors. Contributing artists can opt to receive 50% of the sale price or donate the entire amount to The Delaware Contemporary.

Monday, January 23, 2017

Celebrating "Men Behaving Badly" at OperaDelaware

(L-R): Grant Youngblood, Jeffrey Miller, Ben Wager,
Martin Hargrove, Alok Kumar. Photo courtesy of OperaDelaware.
The hubby and I spent Friday night out with a bunch of truly bad men...and loved every moment!

We attended OperaDelaware's quasi-new programming (it's a few seasons in, although some may not realize) Inside the Opera Studio. The program brings audiences up close and personal to well-known and (perhaps) lesser known — but equally captivating — works from productions both international and U.S. born, under a collective theme. This time, it was "Devils, Drunks and Dastardly Dudes."

OperaDelaware's second-floor rehearsal hall was set with large candlelit tables and rear platform seating facing a small stage under chandeliers, giving the entire night a personal, intimate feel.

Our four featured dastardly dudes were OperaDelaware stars Alok Kumar, Ben Wager, Martin Hargrove and Grant Youngblood in a showcase OperaDelaware General Director Brendan Cooke described as "...men behaving badly."

OperaDelaware Music Director Jeffrey Miller, who was accompanist and creator of the program, also served us well as the entertaining "Master of Ceremonies," introducing each piece with brevity and humor, providing background about the opera and its characters. I enjoyed his discussion, as it helped to set the mood of the performances and give us interesting notes about each piece.

The evening began with tenor Kumar in a selection from Verdi's Rigoletto, in which Miller noted, "The Duke is probably a drunk...but definitely a dastardly dude." I know little about opera, but will say that Kumar's voice was incredible and delivered the perfect power-packed start to the evening.

I will also note that bass Ben Wager has his 'devils' down pat — in works from Faust and Mefistofele, his voice not only conveys the proper dose of darkness, but his spot-on laugh and expression are so entertainingly chilling. "Ben seems to specialize in devils..." laughed Miller after one of Wager's performances. 

Wager and Hargrove also performed the provocative Ella giammai m'amo from Act 3, Scene 1 of Verdi's Don Carlo — what Miller called, "...no exaggeration; the greatest confrontation scene in opera."

Rigoletto gave me another favorite piece, this time from Youngblood and Hargrove — as Rigoletto and Sparafucile, respectively — in the duet Pari siamo!

Artfans who may not know much about opera or who think they may not like opera — these programs are right up your alley. They're the perfect informal (and enjoyably educational) introduction to many different styles, composers and stories.

Bravi, OperaDelaware! Next up for Inside the Opera Studio is the Ladies' Night program running March 3 through 5. Tickets available but seating is limited. 

See www.operade.org