DelShakes' "As You Like It" Tours Community ...and We Like It!

Danielle Leneé as Rosalind and Bi Jean Ngo as Celia.
Photo by Allessandra Nicole.
Courtesy of Delaware Shakespeare.

By Mike Logothetis

The Globe Theatre in London became world renowned by staging William Shakespeare’s histories, tragedies and comedies upon its wooden planks. Shakespeare was a shareholder in the Globe, which meant the more people he got into the building, the more money he made. The Globe became iconic and drew patrons from far and wide to see The Bard’s latest (brilliant) play.

Delaware Shakespeare’s superb production of As You Like It does not have a permanent home like The Globe. Instead, the merry troupe of actors, musicians and staff are traversing Delaware this fall bringing The Bard to locations not typically hip to his iambic pentameter.

Delaware Shakespeare launched its Community Tour last year with Pericles, Prince of Tyre. Community Tour productions play in non-theatrical settings such as multipurpose rooms, cafeterias, gymnasiums and even prisons. The production values are scaled for those spaces, with live music, minimal sets and whatever lighting is available. The year’s production is performed with a cast of eight actors and a musician, which allows for some creative multi-role casting. (In fact, the performance of As You Like It uses an audience member reading from a script to play Hymen in Act V.)

Producing Artistic Director David Stradley told me he looks for spaces that can hold a seated audience between 40 and 120 people in a four-sided arrangement. Stradley stressed that Delaware Shakespeare searches for communities which may be underserved by the arts and whose residents might find difficulty traveling to Rockwood Park for its annual Summer Festival.

The Community Tour is not just making stops, but introducing Shakespeare and the world of live theater to many people who’ve never experienced its wonders. I was pleased to see the actors welcome everyone who entered the cafeteria at Groves Adult High School in Marshallton. Cast members introduced themselves, who they would play, what we might expect, plus exchanged simple pleasantries. In this way, the space became very accessible.

As You Like It follows its heroine Rosalind (Danielle Leneé) and her cousin Celia (Bi Jean Ngo) as they flee the court of Duke Frederick (J Hernandez), who is Celia’s uncompromising father. The pair put on disguises and escape into the nearby Forest of Arden along with court fool Touchstone (Adam Altman). 

 Meanwhile, Rosalind’s suitor Orlando (Trevor William Fayle) has also fled into the woods to escape his exploitive brother Oliver (Jeffrey Cousar). The two lovers cross paths, but Orlando cannot recognize the inspiration for his many romantic poems. A variety of memorable characters also exist in the forest, notably the melancholy traveler Jaques (Liz Filios) who capably utters one of Shakespeare’s most famous speeches (“All the world’s a stage/And one man in his time plays many parts”).

As previously mentioned, there are only eight actors playing the 20-odd roles in As You Like It. It’s marvelous to see Cousar and Hernandez play hot-tempered and then mild, love-struck men in the same production. Altman shined as loyal servant Adam as well as energetic and animated Touchstone. Merri Rashoyan filled four roles (and two genders) skillfully, with her Phebe being a highlight. Only Leneé (Rosalind) and Fayle (Orlando) played one part apiece — but those are meaty parts!

As in any Shakespearean comedy, there is misdirection and love and misplaced blame and redemption — all done wonderfully in this production. A nice touch to the show were the small musical interludes by Joe Trainor (guitar/drum) and Filios (ukulele/accordion). After the show, Trainor told me that Shakespeare had sprinkled partial couplets and text into the script of As You Like It. As no record of a musical score existed, Trainor took it upon himself to compose period pieces to enhance the audience experience. Kudos!

Director Madeline Sayet keeps the pacing brisk and encourages her actors to use the full space. The cast plays to all directions, which connects the action to the audience.

Highlights of the show included the gymnastic wrestling contest between Orlando (Fayle) and Charles (Rashoyan); the ludicrously beautiful facial expressions of actress Bi Jean Ngo; the combined energy of the troupe; the cleverly made trees of Arden; and all those glorious words. If not for Shakespeare’s turns of phrases and rhythmic patterns, his 400-year-old plays would just be old dusty scripts. For instance, Rosalind’s advice on love to Phebe is simply beautiful and timeless.

If, as Rosalind says, “Love is merely a madness,” then I hope newcomers to The Bard fall madly in love with his works, starting with Delaware Shakespeare’s As You Like It.

The autumn Community Tour of As You Like It takes place in venues throughout Delaware from October 25 through November 12. Performances at Baylor Women’s Correctional Institution, Howard R. Young Correctional Institution and Ferris School for Boys are not open to the public. Admission is free with RSVP at info@delshakes.org or 302.415.3373. 

There will also be three ticketed performances ($15-$100) from November 10-12 at OperaDelaware Studios.

See. www.delshakes.org.

Over the Moon About WDL's Production

By Christine Facciolo

Ever wonder what goes on in the Green Room before a theatrical performance? Moon Over Buffalo offers a peek…plus a whole lotta laughs at Wilmington Drama League.

The year is 1953. The setting is Buffalo, New York (“Scranton without the charm.”) A touring company is performing Edmond Rostand’s Cyrano de Bergerac and Noel Coward’s Private Lives at the Erlanger Theater. George and Charlotte Hay (Alan Harbaugh and Sabrina Justison) boast a long-standing marital and acting partnership, both of which have frayed at the edges. Then they learn that the great film director, Frank Capra, needs to re-cast a movie he’s making and is flying in from New York City to see them perform. This could be just what they need to recoup the stardom they’ve lost and feel they so richly deserve.

But first…

George has impregnated Eileen (Carolyn Peck), a young actress in the troupe. When Charlotte finds out, she tells him she’s fed up with his infidelity and is leaving him for their lawyer, Richard (Shawn Klein). Meanwhile, Rosalind Hay (Patricia Egner) has arrived to introduce her parents to her fiancé, Howard (Andrew Dluhy), a TV weatherman. He’s a geeky but affable TV weatherman who just happens to be a big fan of her parents. He loves Rosalind but is absolutely clueless about what’s going on, Rosalind, for her part, was in love with Paul (Luke Wallis), the Hays’ theatre manager, who still has feelings for her. Adding to the merriment is Ethel (Patricia Lake), Charlotte’s deaf-as-a-post stage mother who hates the boards George treads on and nearly brings him down with one innocent-looking coffee pot. Comic misunderstandings and mistaken identities abound.

Ken Ludwig’s 1995 madcap farce is still fresh in 2017 and just the ticket for an evening full of fun and laughter. Let’s not forget that this play was worthy enough to lure Carol Burnett back to Broadway after a 30-year absence and, if you didn’t know better, this superb production might have you believe you’re sitting in a theatre on the Great White Way. It’s that good.

Harbaugh and Justison simply melt into their roles. Harbaugh is brilliant as the very inebriated George. Peck applies just the right amount of affect to her role as the pregnant and distraught ingénue. Dhuly is convincingly clueless as the action swirls around him. Egner, Klein and Wallis know every nuance of their characters. Lake is downright hilarious as the hard-boiled stage mother/mother-in-law from hell.

Kudos to the directorial team of Gene Dzielak and Melissa Davenport (as well as mentor/director Ken Mammarella) who pulled everything together. Also deserving of a standing ovation are Helene and Tony DelNegro for their retro 1950s backstage set, Cara Tortorice for her fabulous costumes and Lee Jordan for choreographing the playful duel between the Hays.

This one is not to be missed.

See www.wilmingtondramaleague.org. 

Deconstructing the Piano Quintet with DSO

By Christine Facciolo
“The Piano Quintet – Deconstructed” was the theme for the season-opening concert of the Delaware Symphony Orchestra’s Chamber Series Tuesday, October 17, in the Gold Ballroom of the Hotel du Pont in Wilmington.

The concert featured an eclectic slate of works by Mozart, Ravel and Brahms as it showcased the talents of some of the most select members of the orchestra’s string section as well as principal pianist Lura Johnson.

It’s always a pleasure to hear musicians of this caliber perform in an intimate setting, and they did not disappoint.

The first half of the concert featured a pair of duos in keeping with the theme of the program.

The concert opened with a performance by violinist Lisa Vaupel and violist Elizabeth Jaffe of Mozart’s String Duo in G major, a work Mozart is said to have ghost-written for Michael Haydn who was having problems filling a contractual obligation to Mozart’s former employer—and arch nemesis—the Archbishop Colloredo.

Vaupel and Jaffe gave a lively reading of this much-performed work, with brisk tempos in the outer movements and much sensitivity in the slow movement.

Violinist David Southorn and cellist Philo Lee tackled one of the 20th century’s masterpieces of the duo genre: the Sonata for Violin and Cello by Maurice Ravel. This work generated lots of intermission discussion among concertgoers who expected something like the sultry and sensuous Bolero rather than this lean and linear work.

Like many of his contemporaries, Ravel searched for new modes of expression and style following the horrors or World War I. And while that drew him to certain aspects of Neoclassicism, he never totally abandoned his use of traditional forms nor did he reject the legacies of his immediate predecessors. Thus, the Sonata for Violin and Cello exhibits the “economy” of late Debussy, the rhythmic drive of Stravinsky and a more contemporary austerity.

Southorn and Lee delivered this demanding work with energy and virtuosic precision, carefully etching and capturing its herky-jerky rhythms and acerbic bi-tonal clashes.

The string players assembled onstage—accompanies by pianist Johnson—after intermission for a performance of Brahms’ Piano Quintet in F minor. This is a large-scale work, dark and dramatic and the ensemble conveyed that Romantic intensity in the outer movements and the relentless third-movement Scherzo, and gave a soulful reading of the Andante.

Yet as heated as the music got, it never lost its transparency. Contrapuntal lines played off against each other without conflict and the several fugato passages were particularly successful. Johnson for her part fit seamlessly into the mix, using the percussive power of her instrument to support rather than dominate. And the felicitous turns in Jaffe’s viola and Lee’s cello were never buried. Still, the ensemble produced a solid, powerful sound.

See www.delawaresymphony.org.