Wednesday, February 22, 2017

20 Years of a Gravity-Defying, Gasp-Inducing Dance Phenomenon

Photo by Rob McDougal.
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.

There's a reason more than 25 million people have come out to see Riverdance over the past two decades. This show brings dance, music, story and song together in a way that leaves the audience with goosebumps, smiles and questions about physics.

The show, featuring a troupe of more than 40 dancers and musicians, started in the mid-90s and centers on the rich tradition of Irish dance with a mix of Russian, Spanish and American tap.

Some statistics about Riverdance since it started in Dublin in 1995:

  • 11,000 performances
  • Performed in more than 467 venues, 46 countries, 6 continents
  • Holds the Guinness World Record for “Longest Riverdance Line” with 1,693 participants
  • 2,000 Irish dancers
  • 20,000 Dance shoes
  • 15,000 costumes
  • 400,000 gallons of water consumed
  • 75,000 gallons of Gatorade consumed
  • 16,250 guitar, bass and fiddle strings replaced
  • 60 marriages between company members
  • 88 Riverdance babies born (so far)
  • 17,500 hours of rehearsal on tour
  • 6,000,000 pounds of dry ice used
  • 70,000 pounds of chocolate consumed by the cast (for energy)
The production is set up as a seamless series of scenes, each with its own mini-storyline. There's expressions of joy, community, flirtation, fun and friendly competition throughout the show. Mostly though, there's a display of dancing ability that leads the audience to gasp in amazement.

One audience member noted that the way the dancers’ legs moved reminded them of marionettes, as if the joints were connecting the thigh and shin in a way that allows the feet to fly in any direction.
The musicianship demonstrated in Riverdance deserves special recognition. The drums, Irish fiddle, saxophone, low whistle and uilleann pipes combine to create a soundscape that carries the audience from the Irish countryside to the city streets of America and back again.

This is a remarkable show that provides quality entertainment for everyone. You don’t want to miss your chance to catch this experience at The Playhouse this week.

See www.duponttheatre.com.


Monday, February 13, 2017

Quasi-History, Laughs Combine in a World Premiere at CTC

Paul McElwee as President Woodrow Wilson.
Photo by Joe del Tufo/Moonloop Photography.
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.

The White House has a total of 132 rooms with 412 doors, 147 windows, and a cadre of servants to keep things running smoothly. Only one of these rooms, two of its doors, two windows, and one servant are needed for After Birth of a Nation to lampoon what might have happened inside the executive mansion on a cold winter’s night over 100 years ago.

Local playwright David Robson has provided City Theater Company a quasi-historical farce loaded with sight gags, cross-dressing, snappy dialog and larger-than-life characters. This World Premiere production keeps the action at a fast pace and will have you laughing out loud at the zany antics. 


We are invited to The Green Room on February 18, 1915, where President Woodrow Wilson (Paul McElwee) has invited filmmaker D.W. Griffith (Jim Burns) to screen his new movie Birth of a Nation at the White House. Trusted adviser Colonel House (Dan Tucker) is trying to improve Wilson’s dovish, professorial image to the nation at a time when the Great War is raging in Europe and former President Teddy Roosevelt is the standard of manliness. Southerner Griffith and northerner House see power within their grasps and form a tentative alliance to use House’s policy ideas and Griffith’s film imagery to transform Wilson into a macho world leader – with them shaping his persona and reaping some rewards.
(L-R): Chris Banker as Clarence Fields, Jim Burns as
D.W. Griffith. Photo by Joe del Tufo/Moonloop Photography.

Meanwhile, First Daughter Margaret Wilson (Dylan Geringer) is a 29-year-old, tee-totaling spinster with dreams of becoming a famous singer; although her morality prohibits her from name-dropping to score coveted auditions.

All the characters are historical figures whose demeanors and true callings are humorously warped to create the premise of this show. Added to the mix are a lascivious southern preacher and his wife – Rev. Richard Gamble (George Tietze) and Cora Gamble (Kerry Kristine McElrone) – plus Russian Ambassador Eugeny Demidov (Jeff Hunsicker). Constantly filling champagne glasses is fictional black servant Clarence Fields (Chris Banker), who futilely acts as the gatekeeper of the room. Clarence also has a sinister agenda which plays out comically throughout the performance. These four characters are artistic constructs to help move the plot along and add more eccentricity to the story, which they do with aplomb.

The plot amusingly weaves from policy talk to social issues to religion to the arts and involves all but one of the characters – introducing the audience to who they are and what their intentions might be. The wacky first act sets up a screwball second where Demidov is inserted into the action to arrive at a satisfying conclusion.

According to Robson, “Margaret is the eye of the storm.” Margaret keeps things relatively sensible until she adds to the madness in the climactic scenes. To wit, Geringer’s exasperation repelling multiple suitors and interjecting herself into world politics are highlights of the show.

Another high point is McElrone as the minister’s wife, who longs to find a new religion – possibly one whose name and tenets she can properly pronounce – and satisfying physical love. Cora’s attempted seduction of Margaret built slowly to a quivering, hilarious climax that had me wishing she had an opportunity to make a second pass at the First Daughter.

Michael Gray directs the action to be quick, with characters entering and departing the stage at a frenetic pace. The set design and lighting by Vicki Neal and Richard A. Kendrick allow the actors to achieve a sense of space while being physically close to each other.

Robson harshly satirizes his subjects, but all of the actors are capable and provide ample character depth along with requisite humor. After Birth of a Nation is a funny look at what might have happened in 1915, but many of the jokes and comical references are topical. Robson has crafted his historical farce for today’s audiences, who should plan to see it.

After Birth of A Nation runs Thursday, Friday, and Saturday evenings at 8:00pm through February 18. Tickets cost $15-28 and the show lasts a jaunty 90 minutes with one 10-minute intermission. 


The Black Box at Opera Delaware Studios is located at 4 South Poplar Street in Wilmington. Alcoholic and non-alcoholic drinks plus snacks are available for purchase inside the theater.

Sunday, February 12, 2017

A Fairytale Updated, but Still Captivates...with Glass Slippers

By Guest Bloggers "The Good Girls" – Brenda Joy and Brynn. Brenda is the Executive Director of Friends of Wilmington Parks and enjoys all things outdoors, too much food and Wilmington's diverse and plentiful arts offerings. Brynn is a 3rd Grader in a Spanish-English immersion program and enjoys arts, crafts and cereal.
  
Hayden Stanes, Tatyana Lubov and the company of 

Rodgers + Hammerstein’s CINDERELLA. © Carol Rosegg

The company of Rodgers + Hammerstein’s CINDERELLA. © Carol Rosegg
Sitting in velvety seats of The Playhouse on Rodney Square, young 8-year-old Brynn exclaims “5 stars!” for this wonderfully refreshing new take on the beloved classic. The plot of Rodgers + Hammerstein's CINDERELLA has been modernized, keeping us guessing with its unexpected twists, yet maintaining the endearing elements of the tale we all cherish. 

The scenery is enchanting, and the musical numbers – which are excellently executed – weave the story through fascinating choreography and captivating costuming.

Many little Cinderellas were spied throughout the audience, beaming in their fancy dresses and sparkly tiaras. None could resist the bright bouquet of ball gowns waltzing in a delightful display across the stage or the glimmering horse-drawn coach or Cinderella’s dazzling Venetian glass slippers.

We were treated to moments of pure magic as instantaneous, inexplicable rags-to-riches transformations took place before our very eyes!

With its lovable and embraceable cast of characters, this production is a pleasure for young and old.

The Magical Rodgers + Hammerstein's Cinderella enjoyed a run at The Playhouse on Rodney Square through Sunday, February 12, 2017.

See http://duponttheatre.com.