A Dazzling ‘Circus’ Comes to Delaware Theatre Company

By Charles "Ebbie" Alfree, III

The Delaware Theatre Company (DTC) ends its 2016-17 season with the American premiere of the London smash hit family musical, Hetty Feather. Emma Reeves’ adaption of Jacqueline Wilson’s beloved book about a headstrong orphan girl’s adventure to find her true home will delight young theater goers. However, the mature themes of abandonment and loss in the story will also intrigue adult audience members.

The Cast of Hetty Feather. Photo by Matt Urban, Mobius New Media.

Hetty, played by the wonderful Clare O’Malley, is on a quest through Victorian England searching for her birth mother. Being an unwed woman during this time, Hetty’s distraught and sadden mother had no choice but to leave her infant daughter at London’s Foundling Hospital (a public institution for abandoned children).

Shortly after arriving at the hospital, Hetty is sent to a foster home in the countryside where she spends the first six years of her life. The headstrong heroine never loses her insatiable desire to find her birth mother, even though she forms a strong bond with her foster mother and three brothers. While living with her foster family, Hetty develops a keen imagination that will later serve her well.  

Hetty, like all foundling children, must return to the hospital following her sixth birthday. Under the stern supervision of Matron Bottomly (chillingly played by Michael Philp O’Brien), life at the hospital is cruel and unforgiving. Living in such harsh conditions, Hetty becomes even more driven to find her legitimate place in the world, but to get there she must go on a journey that will take her to bleak places where she must face tumultuous situations.

Photo by Matt Urban, Mobius New Media.

Director Bud Martin has created a charming, yet sinister, production that at times delights as well as frightens. His brilliant ensemble cast creates their characters on a circus set which provides a great juxtaposition to Hetty’s plight.

O’Malley and O’Brien — along with their stellar co-stars (Terry Brennan, Dave Johnson, Rachel O’Malley, and Karen Peakes) — have the daunting task to act their parts while performing circus stunts. For most of the show, the actors are hanging from flowing sheets or a ring that dangles above the center of the stage. It’s amazing how effortlessly they make it look to stay in character as they climb, swing and perform high above the stage.The cast is flawlessly costumed by Katie Sykes. Her understated costumes, some including a hint of a clown suit, not only capture the grim look of the poor during the Victorian period, but also let her circus set shine. The stage was built so the fantastic musicians (Liz Filios and Josh Totora) have an area to create mood music and flow easily in and out of scenes. In addition to playing their instruments, Filios and Totora provide the vocals for most of Bendi Bower’s score, leaving the actors to focus on their characters and circus stunts.

Hetty Feather isn’t your traditional family show or musical, but that makes it a special treat for the whole family. DTC recommends the show for children ages 7 and up. Hetty Feather runs through May 14. 

For tickets and additional information, call 302.594.1100 or visit www.delawaretheatre.org.

Artists Take Note: Choosing the Right Company to Move Your Art Supplies

By Guest Blogger, Aimee Lyons
Ms. Lyons created DIYDarlin to share her knowledge and serve as a forum to learn from other DIYers.

Photo via Pixabay.

Are you faced with the task of moving your entire art studio? If so, you probably have some questions about finding the right moving company for your supplies. Below are six proven steps to find the right professional movers for you.

1. Research Your Options 
Make your decision long before your actual move by starting the process at least a month beforehand. Research your options online and learn about moving companies in your community. Some of these companies may specialize in moving expensive or specialized equipment. Keep your eye on these businesses in particular. Make a list and carefully narrow it down to three or four moving companies.

2. Conduct Interviews 
From there, you’ll need to conduct interviews. These interviews can be with a manager or an expert mover. Either way, get in touch with someone who is familiar with the history and capabilities of the business. During your conversation, ask about specific equipment and how it should be handled. Take note of the methods and care each company is willing to provide. Ask how many movers will be available for your moving date, and how many of them have experience with art supplies. You should write down a complete list of questions and bring it during your interview so you don’t miss anything important.

3. Weigh Pros and Cons 
Once you have answers from each moving company, weigh the pros and cons of each option. Which benefits are most important to you, and which matter less? Are there are cons that you consider deal breakers? Maybe you don’t want to work with a company that has little experience moving expensive artwork and equipment. You could also insist on a company that has specific movers that specialize in heavy pieces. Cross out any companies that have deal-breakers. Then, determine which two businesses have far more pros than cons. Move forward with these two in mind.

4. Find Referrals or Past Clients
Now that you’ve chosen two companies, you’ll want to do some additional research to make sure your artwork and supplies will be in capable hands. Look up reviews online or talk to past clients. You can also ask around town for information. If you hear negative reviews, don’t quit right away. Only walk away if you hear consistently negative reviews or a particular awful review from a credible source. Every company has at least one person in the “dislike” pile. Once you’ve spoken with a number of people, consider dropping a business and making your choice. If you can’t, move on to the next step.

5. Provide Inventory 
Next, you’ll need to provide a list of expensive or breakable items for each company to inspect. If they have any questions, comments, or concerns, let them know to contact you. This ensures the movers will know what to expect when they arrive on the big day. It will also give you a chance to gauge how much each business cares, based on their reaction to your list. This should help you make your final choice.

6. Make Your Choice 
By the time you choose a business, you should have at least a week left before the move. This will give the manager or employees time to go over your inventory. The time has come to finally make a decision. Which company has your best interests in mind and makes you feel the most confident about the moving process? Move forward with that business.

By the time you make it through this list, you should feel solid about your decision to hire a professional moving company for your artwork and supplies. Your equipment will be moved and ready for action before you know it.

DSO Chamber Series Features Brass

By Christine Facciolo

Symphonies by Haydn and Schubert got a well-deserved reception at the penultimate concert of the Delaware Symphony Orchestra’s chamber series at the Hotel du Pont’s Gold Ballroom on Tuesday. March 21, 2017.

It was a trombone concertino by Swedish composer Lars-Erik Larsson, though, that piqued the interest of concertgoers. Little surprise there. Compositions featuring solo trombone are rarities on classical music programs. But the trombone has come a long way. No longer does it have to remain content to sit at the back of the orchestra idly counting rests. The repertoire for it has grown — albeit slowly.

Natalie Mannix, principal trombone for the DSO, was outstanding in this relatively obscure Mid-20th Century work. Her playing was sensitive and passionate; her tone noble and commanding. In the second movement, her instrument vocalized a soulful melody across a wide range of pitches and dynamics. The orchestra provided proper support. The third movement displayed a tongue-in-cheek humor: Its ponderous notes poking fun at the pompous blasts of the outer movements.

Schubert’s much-loved Symphony No. 5 in B flat needs no further introduction. Maestro David Amado’s intimate rendering harkened back to the kind of performance Schubert’s family orchestra might have given. The result was a clarity that revealed the composer’s often overlooked skills as a contrapuntist as well as the delightful writing for the horns. Cellos and basses were also given a real presence here. Add to that sensible tempos — has the trio section of the third movement ever been more lovingly played? — and the right touch of the dramatic and you had one of the most graceful and charming interpretations anyone could ask for.

The concert opened with performance of Haydn’s Symphony No. 59 in A major (the Fire Symphony). This is indeed a fiery work, with many traits placing it squarely in the composer’s so-called Sturm und Drang group of symphonies: Driving rhythms, unusual harmonic schemes and sudden contrasts in orchestration and dynamics. Amado gave free rein to the horns, allowing them to deliver all the effects Haydn conjured up for them. Throughout the work, these spectacularly difficult parts were played by John David Smith and Lisa Dunham with remarkable accuracy and skill.

See www.delawaresymphony.org.