Delaware Historical Society Celebrates Harriet Tubman

As part of its Untapped History Series, on Friday, March 24, the Delaware Historical Society presented Harriet Tubman and the Underground Railroad, a one-woman show featuring well-known re-enactor Kathryn Harris, who is the President of the Abraham Lincoln Association and former Library Services Director at the Abraham Lincoln Presidential Library in Springfield, Illinois. (Side note: Prior to the Abraham Lincoln Presidential Library opening in 2004, the Illinois State Historical Library was located underneath the Old State Capitol.)

Delaware Arts Info sat down for a chat with Ms. Harris to discover more about her performance this weekend. Check out our interview below...

*Did you write this piece and what moved you to create it? Or, what is the work's origin and how did you come to find it?

Kathryn Harris as Harriet Tubman

Yes, I wrote the piece. I wrote it around the late 1990's for presentation to an Illinois 5th Grade class as part of their study of the Antebellum and Civil War era. I had "...made another historical woman come alive" for our local Historical Society Cemetery Walk, and the President of the Society, who was also involved with the 5th Grade program, asked if I would make Harriet come alive, as the students wanted to know more about her. Since I was in the Library, I was extraordinarily positioned to have access to resources, including Harriet's 1869 biography by Sarah H. Bradford.

*What drew you to performance of this work? What is your favorite part of the performance?
I was drawn to create this piece in response to the request from my friend and colleague. (She asked me to develop and deliver the presentation as a part of the 5th Grade program.) My favorite part is the Q&A, where I answer in first person narrative, as Harriet. I never know what I'll be asked, so each performance is different.

*Do you have any special inspiration or influence that you tap into in preparation for this piece?
I have admired Harriet Tubman since I was in elementary school, when I read her biography. She was a truly remarkable woman. When given the opportunity, I was eager to develop this presentation. Originally after my monologue, I did not answer questions in first-person, but with the help and encouragement of a theater friend, I grew more comfortable answering questions in that scenario. Of course, all of this was because of my continual reading and research on Harriet.

*Can you talk about Harriet Tubman's connections here in Delaware?
The most significant story that I know about Harriet Tubman's Delaware connections is her relationship with Thomas Garrett and their subsequent relationship with William Still of Philadelphia. Garrett was a staunch and radical abolitionist who was thoroughly committed to the abolition of slavery. He risked his life and livelihood in the fight for abolition, and opened his home as a safehouse for hundreds of fugitives that traveled with Harriet.

*What do you feel is the greatest message or experience that you'd like audiences to take with them after seeing your performance?
After my performance, I hope the audience will not only learn something new about Harriet Tubman, but also that they will respect her commitment to a supremely righteous cause. She valiantly showed that she "...put her feet were her belief was." With a strong faith and trust in God, she tirelessly worked for the greatest possession: LIBERTY and FREEDOM. She was determined to have them or death — that was the only alternative in her view. What a woman! If only everyone today could have the courage of conviction to act for a cause in which they so fiercely believe — how much different would our world be? Sitting on the sidelines does not bring change or make our society better!

See www.dehistory.org. 

The Nymphs and the Shepherd Close Brandywine Baroque's 16-17 Season

By Christine Facciolo

BrandywineBaroque warmed a late winter night and concluded its 2016-17 season with an all-Vivaldi program.

There was no grand thought or theme unifying the concert at The Barn at Flintwoods on March 10, unless it was the sheer delight in virtuosity and the delightfully relaxed approach to the music by all concerned.

The centerpiece of the evening’s program was a performance of La ninfa e il pastore (The Nymphs and the Shepherd). This rare and beautiful gem was composed in 1715 when the thirty-something Vivaldi became music director of the Ospedale della Pieta in Venice, a charitable institution dedicated to the care of orphaned and abandoned girls.

The work is not an opera but a related dramatic genre — the serenata. Serenatas first appeared in the mid-17th Century and were often composed to mark a festive or celebratory occasion. They usually consisted of two acts presented “in concert” by two or more soloists who did not wear costumes or act. In fact, there was no action to speak of. Rather, serenatas employed laudatory texts that featured discursive debates between allegorical figures. In this instance, the text refers to the trial and imprisonment of Jansenist propagandist Abbe Jean de Tourreil for his refusal to accept papal authority regarding the doctrine of predestination.

The Serenata a Tre: The Nymphs and the Shepherd paints a pastoral scene in which lust triumphs over reason. The lovelorn nymph Eurilla (soprano Laura Heimes) discovers that Alcindo (tenor Tony Boutte) with whom she is smitten is perfect in every respect save one: He is incapable of love. Encouraged by her friend Nice (soprano Julianne Baird) she sets out to correct this flaw. Passion gets rebuffed by false humility, love feigned becomes love in earnest and the chickens come home to roost.

Singers and players gave concertgoers ample opportunity to enjoy Vivaldi’s melodic gifts. The instrumentalists — Eileen Grycky (flute), Martin Davids and Edwin Huizinga (violins), Amy Leonard (viola), John Mark Rozendaal (cello) and Karen Flint (harpsichord) — played with enthusiasm and tonal finesse.

Laura Heimes was a pure-toned Eurilla, singing with lightness and agility while exercising consistent control and vocal precision throughout her impressive range.

Nice was a figure of wisdom as portrayed by Julianne Baird. Her soprano is lush and full-bodied, but she judiciously restrained her instrument to convey a steadfast sagacity.

Tony Boutte was delightful in the role of the hapless protagonist Alcindo who gets his comeuppance at the hands of the cunning nymphs. His tenor was secure and convincing as he negotiated the lion’s share of the virtuosity.

Both acts of the serenata were preceded by performances of flute concertos in G Major (RV 435) and D Major (RV 427). Soloist Eileen Grycky managed everything with her customary technical fluency and charm. These are hardly routine pieces and Grycky points up every turn with playing that uncovers the originality of Vivaldi’s idiom. The accompanying ensemble complemented with playing that was both spirited and superb. 

See www.brandywinebaroque.org. 

Pippin Arrives Larger Than Life at The Playhouse

By Guest Blogger Alessandra Nicole
Alessandra is a writer and photographer-at-large and proud supporter of the local arts community.
 
It is amazing to realize that this larger-than-life show could possibly be contained on our home turf here at The Playhouse. Pippin questions its own existence in a wonderfully tongue-in-cheek way — there are balancing acts, air suspension and gravity-defying flips that left us astonished. The fact that the show's lead Housso Semon as the "Ring Leader" effortlessly dances on high-heeled shoes for lengthy numbers left us feeling a bit lazy in our seats. 

The Cast of Pippin. Photo courtesy of The Playhouse on Rodney Square.

Catchy, interactive songs moved the quirky plot along with honesty and good humor, which also employed subtle (and not-so-subtle) sight gags and double-entendre (that is probably not suited for all ages, although perhaps with the show's sleight-of-hand, such humor wouldn't register with more innocent eyes and ears in the audience).

Director Diane Paulis has garnered several awards for her direction on this dazzling touring production of Pippin, and it's easy to see why — but perhaps the proverbial spotlight should be on this show's stunning lighting design. Kenneth Posner has been nominated for the Tony Award for Best Lighting Design 10 times for various productions including Wicked and Hairspray. His work for Pippin has accentuated the captivating Fosse-esque choreography by Chet Walker, which is easily the number one reason to see Pippin — the energetic and physical feats of acrobatic and dance excellence!

Favorite players that had us talking on the ride home afterward:

• Brendon Schaefer (King Charlemagne) — for his candor, mannerisms and frivolous-yet-mature attitude on ruling a kingdom that could only come from a lifetime of experience. 
• Erica Lee Cianciulli (Fastrada) — for her devious allure and personality in stage movement where she truly made it an extension of her character.
• Rachael Britton Hart (Berthe) — for her pointed, wicked wit and charm; a seasoned flower that gives the newer kids on the block a run for their money. 
• General ensemble cast — for their remarkable adherence to complex choreography and overall magic and verve. 

Flawless accompaniment provided by the company's orchestra worked seamlessly to tell the story within a story of an idealistic boy prince who comes of age while having his life expectations jettisoned for something not only more realistic, but more meaningful than he ever imagined. It is a storyline with which all ages can connect — frustrations and disappointments that come with high ideals in life, landing on the uplifting message to keep imagination alive while accepting and stoking the sparks of love in the day-to-day of this modern life. "True greatness" is rarely in the fiery blaze, more often it is in the quiet whispers of the seemingly mundane, where even the average life is rather extraordinary if only we stop to take stock of it. 

Pippin runs through March 12 at The Playhouse on Rodney Square Tickets range from $40-85 and discounts are available for seniors, groups of 10 or more and children ages 12 and under.

See www.ThePlayhouseDE.org.

(Art) Looping it Up in Wilmo with the Good Girls

By Guest Bloggers the Good Girls — Brenda Joy and Brynn Lee
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.

Artist Kevin Niemi at the Baby Grand Gallery

The Grand Opera House was our starting point, where we viewed Half & Half, a collection of vintage fashion photography and infrared landscapes by Beth Trepper.  Down the hall in the Baby Grand Gallery, we met Kevin Niemi and took in his serene abstracts (photo at right).

Jerry’s Artarama had a mosaic art showing from members of Creative Vision Factory and other contributors.  We spied a flyer pointing us to a tile carving activity at Creative Vision Factory so we headed over and Michael Kalmbach gave us some simple instructions and set us loose to create our own unique art pieces!  The tiles we carved will be fired and installed in a quilt-like mural at Stubbs Elementary School.

Nicholas Irving's
Tree of Decision

Christina Cultural Arts Center did not disappoint with its powerful display of Nicholas Irving’s tree women (photo at left), which we enjoyed to the music and dance taking place in the adjacent, visible (and audible) studio.

In celebration of Women’s History Month, Chris White Gallery offered a two-floor exhibit A Young Woman’s Exploration in Art, the photographic works of the young women of Serviam Girls Academy. LOMA Coffee had live music and showcased the renderings of Jessica Foraker of Open Spaces Artworks, including a piece painted using a credit card.

Brynn getting a "cat-icature" from
artist Malaki Rhoades

LaFate Gallery had a diverse Women’s History Month art show comprised of the works of five women, and 8-year-old Brynn enjoyed having a car — errr — cat-icature personally created for her on the spot by young artist Malaki Rhoades! (photo at right).

2^nd & LOMA, always a buzzing space, featured Denise’s bright acrylic paintings.  

NextFab's 3D print creations

ArtzScape spotlighted the Face to Face exhibit by Zathray Burton.  We ended the evening at The Delaware Contemporary, where we saw the Wilmington IN the Best Light photo contest-winning photography of Brendan Mulrooney. Some 'Loopers tried their hands in a participatory knitting activity and we were mesmerized by NEXTFAB’s 3-D printer working away on a vase while we fancied finished creations (photo at left). The evening highlighted opening receptions for Marilyn Holsing and Laure Drogoul in the Delaware Contemporary's galleries, and it’s always a treat to be able to visit the open artists' studios upstairs!

The chilly winds couldn’t keep us away — we’ve enjoyed countless art loops in all seasons since Brynn was a toddler and are looking forward to Wilmington's next Art on The Town on Friday, April 7!

Beethoven, Brahms and Clyne & Pianist Alon Goldstein at DSO

By Christine Facciolo

Works by Beethoven, Brahms and Clyne kicked off the second half of the Delaware Symphony Orchestra’s 2016-17 season at Wilmington’s Grand Opera House Friday, February 24, 2017.

DSO Music Director David Amado characterized the program as containing two sunny works by two of music’s more morose composers (Beethoven and Brahms) and a mournful one by a more sanguine one (Anna Clyne).

The primary work of the night was the Symphony No. 2 in D Major by Johannes Brahms. After waiting many years to complete his inaugural symphony, Brahms produced the second one in nearly a fortnight during the summer of 1877 while visiting the Austrian town of Portschach am Worthersee. Its bucolic character has invited comparisons with Beethoven’s Sixth.

The composer’s Alpine setting is felt from the opening notes, before the violas and cellos develop a variation of his famous lullaby melody for most of the first movement. Amado was masterful in bringing out the rich textures and contrasts between drama and reverie that characterize the movement, the longest in any of Brahms’ symphonies.

The inner movements were equally strong. The cellos played to the enigmatic Adagio, while the strings and winds danced playfully in the delicate Allegretto grazioso.

The energy of the final movement presented Amado with another opportunity to play up the shifting dynamics of the work. The return of the Alpine elements signaled that we had come full circle and the symphony wrapped with a glorious burst from the trombones bringing the audience to its feet.

Israeli pianist Alon Goldstein was the featured artist in Beethoven’s Piano Concerto in C Major. The concerto, dedicated by Beethoven to his pupil, the Countess of Bratislava, has been described as Mozartean in character. However, the Beethoven concerto is much more Romantic than Classic in style, as evidenced by its expanded orchestration, virtuosity and abrupt harmonic shifts.

Goldstein gave a fiery rendering of the concerto, performing the fast outer movements at brisk tempos with sparkling fingerwork. Likewise, he tossed off the torrent of notes in the first-movement cadenza with effortless virtuosity.

But Goldstein showed he was no mere musical acrobat. His playing was full of lyrical warmth and rhythmic flexibility, especially in the contemplative slow movement cast in the dark, distant key of A-flat Major.

Beethoven’s First Piano Concerto is a tough one to top in an encore, but Goldstein pulled it off with another fiery performance of the first of Alberto Ginastera’s three Argentinian Dances.

The concert opened with a sensitive performance of Within Her Arms, by young British composer Anna Clyne. This short (15-minute) work for string orchestra is an earnest, yet not overwrought, memorial to her mother who died in 2009. Based on a touching poem of comfort by Vietnamese Buddhist monk Thich Nhat Hanh, the work begins with a stately processional, builds to an urgent climax and then returns to its opening serenity.

Amado led the 15 string players drawn from the ranks of the DSO through a moving performance of the sorrowful work. The ensemble brought a sensitivity to the music as well as to each other, blending the wispy counterpoint with bold, bass-anchored lines to produce chamber music at its finest.

See www.delawaresymphony.org. 

Delaware Student to Compete in National 2017 Poetry Out Loud Finals

2017 Poetry Out Loud State Champion
Cecilia Ergueta.

Information in this post courtesy of a release from the Delaware Division of the Arts...
From a competitive field of 13 Delaware high school students, Cecilia Ergueta, a junior from Wilmington Friends School, earned the title of 2017 Poetry Out Loud Delaware State Champion at the state finals held in Smyrna, Del. on Feb. 28. The first runner-up was Shalyn Littlejohn from Hodgson Vo-Tech High School and the second runner-up was Sam McGarvey from Tall Oaks Classical High School.

Ergueta’s final recitation, The True-Blue American by Delmore Schwartz, earned her high marks with the judges. The full poem can be found on the Poetry Foundation’s website.

For her winning presentation, Ergueta will receive $200 and an all-expense-paid trip to Washington with a chaperone to compete at the national championship on April 25 & 26. Wilmington Friends School will receive a $500 stipend for the purchase of poetry materials. Shalyn Littlejohn, the first runner-up will receive $100, and Hodgson Vo-Tech High School will receive $200 for its school library.

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. Delaware's statewide competitors included students Andrew Dingwall, Cecilia Ergueta, Jane Krukiel, Tania Laurent, Glynnis Leach, Carly Lepore, Shalyn Littlejohn, Sam McGarvey, Shannon Murray, Natalie Nwanekwu, Mollie Russell, Nick Thompson and Ryan Washington.

The Delaware Division of the Arts sponsors the Poetry Out Loud: National Recitation Contest program in Delaware schools and the state finals. Competition begins at the classroom level in the fall and culminates with the state finals each spring. Twenty schools and over 2,000 Delaware students participated in the Poetry Out Loud program in the current academic year. The Poetry Out Loud: National Recitation Contest competition is presented in partnership with the National Endowment for the Arts and the Poetry Foundation. 

Delaware Arts Info sends Cecilia all good wishes for a great performance in the national spotlight! GO DELAWARE!

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.

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.

See www.city-theater.org.

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.

Mélomanie Premieres Local Composer's Work, Features Violin Duos in February Performance

By Christine Facciolo

Mélomanie opened the second half of its 2016-17 season with an eclectic program that showcased the talents of two virtuoso violinists and featured the World Premiere of a commissioned work by organist/conductor David Schelat.

Violinists Daniela Pierson and Christof Richter. Photo by Tim Bayard.

The ensemble welcomed Daniela Pierson, principal violist with Philadelphia’s Tempesta di Mare and conductor of that city’s Musicopia String Orchestra. In addition, she has performed on violin or viola with many early music groups including New Society, New York Collegium and Washington Cathedral Baroque Orchestra.

Pierson teamed with Melomanie resident violinist Christof Richter to perform selections from Bela Bartok’s 44 Duos for 2 Violins, which were interspersed throughout the program. Although the composer never intended these pedagogical exercises to be played in concert, these fine artists performed with a style and accuracy that helped to reveal composer’s limitless imagination and his ability to write in the historic styles of Eastern and Central European ethnic groups.

Pierson said the duo chose to perform the selections on Baroque violins rather than modern instruments because, as she explained in an interview during the concert, that’s probably the way the composer heard the original folk melodies.

Pierson and Richter also delivered an outstanding and refined interpretation of Les Folies d’Espagne by the Italian Jean-Pierre Guignon, who brought that country’s musical style to Paris via the famed Concert Spirituel.

Pierson and Richter were joined by Tracy Richardson on harpsichord and gambist Donna Fournier in a performance of Archangelo Corelli’s Sonata de Chiese in A Major, the last of the set of twelve published as Op. 3 in 1689. Though modest, the music of this Italian composer-violinist was key to the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin and in the coalescing of modern tonality and functional harmony.

Pierson and Richter engaged in a lovely duet in thirds during the second movement. Fournier provided heroic support, confidently executing demanding semiquavers. The piece concluded with three short Allegros, the last of which an attractive fugue in gigue form.

By far, the lengthiest work on the program belonged to Couperin’s well-known La Piemontoise, the fourth Ordre from Les Nations, his masterful dictum on the merger of the French and Italian styles. The concert opened with the Italianate sonata of the ordre and closed with its elaborate French dance suite. Mélomanie executed the ornamentation crisply and with ease, and did a beautiful job with Couperin’s harmonic color.

Just a Regular Child for flute and harpsichord by organist/conductor David Schelat added a charming levity to the program. Schelat introduced the work by explaining how he took inspiration from growing up as a regular kid in a regular home in a regular town in Ohio. The work consisted of three movements. “Rough and Tumble” and “Full of the Old Nick” conjure up the delightful — and sometimes misguided — energy of a very active and curious child while the loping melody of “Dreaming” catches him in his quieter moments.

Schelat wrote to flutist Kimberly Reighley’s amazing virtuosity, and she did not disappoint. Reighley executed the first and last movements with a pearly lightness and purity of tone while rendering a gauzy quality to the middle movement. Richardson supplied the contemporary harmonies which gave the work a mischievous quality.

See www.melomanie.org. 

Powerful Show, Powerful Message from DTC

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.

White Guy on the Bus proves to be a bold step forward for Executive Director Bud Martin and the rest of Delaware Theatre Company (DTC). While DTC has tackled difficult themes over the years at its cozy theater on the Wilmington Riverfront, this play deals with several serious and challenging topics. In 2016, the Delaware Theatre Company began actively pursuing a path to make the theater a more welcoming place where all stories can be experienced. 

Robert Cuccioli and Danielle Leneé. Photo by Mobius New Media.

Simply put, this is a story that you should experience.

Philadelphia playwright Bruce Graham shines a harsh light on problems in our society –race, class, poverty, privilege, violence, crime, retribution, public education and marginalized lives – in his latest play White Guy on the Bus. Graham’s fearless and incisive play takes a no-holds barred look at hidden and no-so-hidden racism within all of us. Martin’s forthright direction paired with Paul Tate DePoo’s simple yet effective set design subtly complement the actors and story.

The play opens with a middle-aged married couple talking about their respective jobs and the people they deal with on a daily basis. Ray (Robert Cuccioli) is a well-to-do financial manager while Roz (Susan McKey) teaches English at a public school in a blighted neighborhood of Philadelphia. They appear to be a nice, cultured, white couple living on the Main Line with few major worries and an eye toward early retirement.

Their surrogate son Christopher (Jonathan Silver) and his recent bride Molly (Jessica Bedford) join them to sip wine casually on the patio until Roz talks wryly about the racial hostility in her predominantly black school. Students often call her a “white bitch” to her face, which shocks Molly. Meanwhile, Christopher is eager to expound on his doctoral thesis concerning male African-American images in television advertising. He is an outsider looking in, but truly feels he can turn his thoughts on race portrayal by the media into a meaningful doctoral project.

This opening conversation is relatively light, but the subsequent scenes grow deeper, darker, and more complex. We get background information like how Christopher became part of the older couple’s life, how Ray takes pride in his analytical skills (he’s a “numbers man”), and how Roz is helping a 10th-grader learn how to read. But each scene between the four white characters delves into racial discussions where differing opinions and theories are debated.

Sandwiched between these suburban episodes are scenes aboard a city bus where Ray befriends a young black woman named Shatique (Danielle Leneé). She is a nursing student and a single mother who is barely surviving life, but has hope for the future. Ray and Shatique strike up a rapport on their weekly bus rides together. But where exactly are they going?

It is gradually revealed that their destination is a prison where Shatique’s brother is incarcerated. So why is Ray riding the bus?

The plot twist that comes in the closing scene of the first act is alarming. Simply put, the audience is shocked into a new reality. What has transpired to this point must be reevaluated and fully processed before the story can reach a meaningful conclusion.

The drama is intensified in the second act where the story and the dialogue focus on human nature and racial prejudice:

Ray: You know what the problem is with the death penalty in this country?

Shatique: It’s disproportionately given out to black folks?

Ray: Yep. I’m serious. We target the wrong people – wrong crimes. If they had dragged Bernie Madoff into Central Park and hung him from the neck till he was dead – and broadcast it live on CNN in high def – we wouldn’t need the SEC. Nobody’d get out of line on Wall Street ‘cause they’d be scared sh*tless.

White Guy On the Bus aims for social realism and will take you out of your comfort zone with its topics and language, but it is not difficult to follow or watch. Graham’s pithy and direct dialog allows the excellent cast to address the issues head on. There are no metaphors or complex symbolism. What the audience sees is five actors speaking their characters’ minds with conviction and, at times, bravado. They believe what they say because they’ve lived it – or observed it from their unique perspectives. Idealism, appearance, and reality mix. Ray is perfectly gentlemanly until he suddenly isn’t. Shatique has moral sensibility until an indecent proposal is proffered.

The play grants the audience a poignant ending, but one not wholly satisfying to each character. The story begs for post-viewing discussions and the Delaware Theatre Company wisely prepared for that.

The DTC staff had undergone an intensive equality, diversity, inclusion and social justice training prior to this production. The training examined issues of privilege, allyship and diversity with the lens of better providing the staff with the necessary tools to run the Community Discussions that follow every performance. DTC encourages patrons to reflect on White Guy on the Bus after the curtain lowers. These open forums offer an opportunity for the audiences to discuss and relate their experiences to each other. Attendees can feel safe asking difficult questions about the topical references that can be made in their life or community.

There will also be a special Panel Discussion on Race, Equality and Education co-sponsored by DTC and Teach America on Saturday, February 11, at 4:30pm.

The performance schedule of White Guy on the Bus is: Wednesdays (2:00pm), Thursdays (7:00pm), Fridays (8:00pm), Saturdays (2:00 & 8:00pm) and Sundays (2:00pm) through Sunday, February 19. Tickets are $20-65 for both evening and matinee performances. White Guy on the Bus runs approximately 2 hours with one 15-minute intermission. Delaware Theatre Company is located at 200 Water Street in Wilmington.

See www.delawaretheatre.org. 

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.

See www.wilmingtondramaleague.org. 

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.

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. 

A New Space for Creativity in North Wilmington

Jester Park Farmhouse, which will soon become Jester Artspace.

This article is re-posted from an original report by Delaware Public Media, published January 18, 2017...

A group of local artists is stepping up, with support from the New Castle County administration, to create a new space for teaching, creating and enjoying art in North Wilmington.

Local artists and arts advocates Alan Baseden, Susan Benarcik, Kirsten Olson — collectively known as Jester Artspace — have signed a 20-year lease to transform the historic Jester Park Farmhouse into a collaborative artspace.

It's a thrilling new development that will bring workshops, a creative space and public art events to all arts lovers in and around North Wilmington. I, for one, cannot wait to experience it myself!

For the full story, CLICK HERE>>>

Market Street Music Creates a Resource for the Choral Community

Market Street Music's Mastersingers of Wilmington.

With support from the Laffey-McHugh Foundation, Market Street Music is launching a new service to benefit its northern Delaware community and church choirs.

Area choirs will have free access to the almost 1,000 titles in MSM’s choral music library. Titles include sacred anthems, secular choral music and large works (sacred and secular) with orchestra parts, including expensive and hard-to-find items — from unison music to multi-part scores.

Interested groups can email MSM Music Director David Schelat to arrange for borrowing. All scores will be available in the office of First & Central Church.

Lost or severely damaged copies will be charged as: $3.00/octavo copy; $15.00/large work copy. This fine is payable within 30 days. Late return fine is $.25/day.

Check out the Music Lending list for complete details and send an email about what you want to borrow!

P.S. Mastersingers of Wilmington is holding auditions for new community-based amateur singers to join this outstanding ensemble. Information about these auditions may be found at http://marketstreetmusicde.org/choirs/. The audition consists of prepared music (found at our website), vocalizing and sight singing. Audition dates are on the website as well.

DDOA Announces 2017 Awardees

This post taken from a Delaware Division of the Arts press release...

Eighteen Delaware artists are being recognized by the Delaware Division of the Arts for the high quality of their artwork. Work samples from 126 Delaware choreographers, composers, musicians, writers, folk and visual artists were reviewed by out-of-state arts professionals, considering demonstrated creativity and skill in their art form. The 18 selected fellows reside throughout Delaware including Arden, Dover, Hockessin, Milton, Newark, Rehoboth Beach and Wilmington.

Awards are given in three categories – $10,000 for the Masters Award, $6,000 for the Established Professional Award, and $3,000 for the Emerging Professional Award – and Fellows are required to offer at least one exhibit or performance during the upcoming year, providing an opportunity for the public to experience their work. The work of the Fellows will be featured in a group exhibition, Award Winners XVII, at the Biggs Museum this summer. “Individual Artist Fellowship grants provide the recognition and exposure that artists need to successfully promote their work,” said Paul Weagraff, director of Delaware Division of the Arts. “The financial award allows them to pursue advanced training, purchase equipment and materials, or fulfill other needs to advance their careers.”

The Masters Fellowship is open to differing artistic disciplines each year. In Fiscal Year 2017, Masters Fellowship applications were accepted in Folk Arts or Visual Arts from artists who had previously received an Established Professional Fellowship. In addition to exemplifying high artistic quality, Masters Fellowship applicants must demonstrate their involvement and commitment to the arts in Delaware. Listed below are the Delaware Division of the Arts 2017 Individual Artist Fellows and four Honorable Mentions.

Yolanda Chetwynd has been awarded this year’s Masters Fellowship in Visual Arts: Painting. Chetwynd is a practicing artist who has been living in Newark, Delaware since 1987. She holds an advanced painting degree from The Slade School of Fine Art, University College London as well as a Masters in Professional Studies in Art Therapy from The Pratt Institute. An award-winning painter, Chetwynd has been invited to participate in exhibitions locally, nationally, and internationally. She is also devoted to reinforcing the role of art in education. Chetwynd has worked with the Delaware Institute for Arts in Education since 1992 and has collaborated with teachers on over 100 art projects in Delaware classrooms. She was selected as one of eight regional teaching artists from the National Association of Aesthetic Education Institutes to implement a series of national training workshops and served on the team to write the Visual Arts standards for the state of Delaware. Chetwynd has previously served on the boards of directors of Delcaps and the Newark Arts Alliance.

2017 Individual Artist Fellows

Masters Award ($10,000)

• Yolanda Chetwynd (Newark), Visual Arts: Painting

Established Professional Award ($6,000)

• Phillip Bannowsky (Newark), Literature: Poetry
• Arden Bardol (Dover), Visual Arts: Crafts
• Mahasveta (Gitu) Barua (Newark), Literature: Fiction
• Kathryn Canavan (Wilmington), Literature: Creative Nonfiction
• A.T. Moffett (Wilmington), Dance: Choreography
• Hugh Phibbs (Wilmington), Visual Arts: Works on Paper
• Troy Richards (Wilmington), Visual Arts: Painting
• Chad States (Rehoboth Beach), Visual Arts: Sculpture
• Beth Trepper (Wilmington), Visual Arts: Photography

Emerging Professional Award ($3,000)

• Jennifer Borders (Arden), Visual Arts: Sculpture
• Daniel Carunchio (Wilmington), Music: Solo Recital
• Larry Kelts (Newark), Literature: Poetry
• Kathy Maas (Hockessin), Literature: Creative Nonfiction
• Ray Magnani (Newark), Visual Arts: Photography
• Terrance Vann (Wilmington), Visual Arts: Painting
• Aaron Wright (Newark), Literature: Playwriting
• David Yurkovich (Milton), Literature: Fiction

Honorable Mention

• Dennis Beach, Wilmington, Visual Arts: Sculpture
• Luigi Ciuffetelli, Hockessin, Visual Arts: Photography
• Liz Dolan, Rehoboth Beach, Literature: Fiction
• Linda Harris Reynolds, Wilmington, Visual Arts: Work on Paper

To contact an individual artist, please email or call Roxanne Stanulis, Program Officer, Artist Programs and Services,Roxanne.Stanulis@state.de.us or 302-577-8283.  The next deadline for Individual Artist Fellowship applications will be Tuesday, August 1, 2017 by 4:30pm.

The Delaware Division of the Arts is an agency of the State of Delaware. Together with its advisory body, the Delaware State Arts Council, the Division administers grants and programs that support arts programming, educate the public, increase awareness of the arts, and integrate the arts into all facets of Delaware life. Funding for Division programs is provided by annual appropriations from the Delaware General Assembly and grants from the National Endowment for the Arts, a federal agency. For more information about the Delaware Division of the Arts, visit artsdel.org or call 302-577-8278.