Bootless Stageworks Hosts Comedy Night

By Mike Logothetis

On Friday night, Trolley Square’s underground theater, Bootless Stageworks, staged a rollicking comedy night open to all ages. Four comedians took the stage to tickle the collective funny bone of about 70 people. The headliner was Stavros Halkias, a New York-based comedian, originally from Baltimore, whose star is quickly rising.

The basement theater space was set up as a nightclub with close to 20 tables facing the intimate stage, which featured a faux brick backdrop. The full bar served beer, wine, liquor, and mixed drinks at very reasonable prices. Snacks could be purchased at the bar or you could nibble on free popcorn at your table.

Local stand-up comedian Brandon Vincent Jackson acted as the emcee for the evening, telling jokes and introducing the three main comics. Wilmington’s Guy Schiavi opened the evening of stand-up with a short 15-minute set that got the audience loosened up.

Second on the docket was the electric Ian Fidance. Fidance is an offbeat yet upbeat stand-up comic, actor, and writer originally from Wilmington who now calls Brooklyn home. The mustached entertainer has grown to be a standout stand-up with a fresh, positive voice in comedy. His own online bio reads: “A delicious cup of tea best drank live, Ian’s comedy has been described as ‘bizarre yet funny’ by The Interrobang.” Fidance’s half-hour routine was energetic and very funny. You can hear some of his musings on his podcast called “Ian Fidance’s Wild World.”

Headliner Stavros Halkias has made appearances on Adult Swim, XM Satellite radio, IFC, and the MSG Network, where he wrote and performed on the Emmy nominated, “People Talking Sports and Other Stuff.” He’s been featured in Tig Notaro’s “Bentzen Ball,” the New York Comedy Festival, and toured nationally with Wham City Comedy, Tom Papa, and Robert Kelly. Halkias is also a co-host of the popular podcast “Cum Town” and widely known for his body-positive Instagram account (@stavvybaby2).

While only 5’7”, Halkias looms larger than that on stage. He has a bearing that oozes confidence and swagger. Halkias commands the stage and your attention, but not in a brash way. His banter and cadence were rhythmic and natural. While most touring artists praise the host city, Halkias repeatedly downplayed Wilmington, its importance, and relevance…and it was funny! “Stav” is obviously very quick-witted and composed several jokes on the fly. He riffed and got the audience to share information and anecdotes. Halkias took those nuggets and spun them into comedic gold.

Yes, things got lewd, but it played into his honesty as a performer. He opened up about his life growing up Greek in Baltimore in a family torn apart by his father’s infidelity. He expounded on his missing front tooth. He repeatedly reminded us of his stature and girth. He regaled us with his successful and failed sexual escapades. All in all, we soaked up his hysterical ponderings and bits for over an hour. After closing the night to roaring applause, a near stampede followed him to the merchandise table for meet-and-greet sessions and selfies. The audience couldn’t get enough of him during or after the show.

Bootless Stageworks performances take place in the basement of St. Stephen’s Lutheran Church at 1301 North Broom Street in Wilmington. The regular company is an ensemble company of skilled emerging artists committed to producing contemporary theater experiences that are stimulating, adventurous, challenging, immediate, and present. Bootless is a collaborative group of self-proclaimed theater geeks that are always looking for the strange, unusual, weird, but always entertaining adventure in live theater, comedy, and music. Visit www.bootless.org for a list of future events and shows at Bootless Stageworks. The next two DE Live Comedy Nights (hosted by Belynda Cleare and Lonnie Webb with DJ E’Nice) are on April 13 and May 25 at 8:30 pm.

Three Delaware Organizations Receive $54,000 in Federal NEA Grants

The content of this post comes from a Delaware Division of the Arts press release...

As the only funder in the country to support arts activities in all 50 states and five U.S. jurisdictions, the National Endowment for the Arts (NEA) announced that three Delaware organizations will receive $54,000 in federal grants. This is the first of two major grant announcements in fiscal year 2019 and includes three of the agency’s funding categories: Art Works and Challenge America to support projects by nonprofit organizations, and Creative Writing Fellowships. Through these grants, the National Endowment for the Arts supports local economies and preserves American heritage while embracing new forms of creative expression.

“The arts enhance our communities and our lives, and we look forward to seeing these projects take place throughout the country, giving Americans opportunities to learn, to create, to heal, and to celebrate,” said Mary Anne Carter, acting chairman of the National Endowment for the Arts.

Delaware Shakespeare will receive a Challenge America grant in the amount of $10,000 to support a touring production of Romeo and Juliet, with related outreach activities. Proposed guest artist Lindsay Smiling will direct the production.

"Delaware Shakespeare is honored to be a recipient of an NEA Challenge America grant which will support our 2019 Community Tour production of Romeo and Juliet,” said David Stradley, producing artistic director of Delaware Shakespeare. “Our tours, bringing professional theatre to the full spectrum of humanity in our community by traveling to non-traditional venues such as prisons, homeless shelters, and mental health facilities, have been transformative for the organization and for audiences. The national recognition and support for this program from the NEA is a welcome affirmation for the vital necessity of this work."

OperaDelaware will receive an Art Works – Opera grant in the amount of $14,000 to support new productions of a new orchestral reduction of Derrick Wang's Scalia/Ginsburg and Gilbert and Sullivan's Trial by Jury as part of the 2018-19 festival.

"We are humbled to receive this support and incredible vote of confidence from the NEA for the fourth year in a row,” said Brendan Cooke, executive director of OperaDelaware. “This year's award allows us to bring Derrick Wang's wonderful opera, Scalia/Ginsburg to Wilmington, with the world premiere of a new orchestration of the work, crafted specifically for our orchestra and the magnificent Grand Opera House."

The State Education Agency Directors of Education (SEADAE), Delaware will receive an Art Works – Arts Education grant in the amount of $30,000 to support professional development training for teachers and teaching artists using the National Core Arts Standards as the basis for assessing student learning in the arts.

“It is a pleasure to be recognized by NEA regarding the work we do in ensuring equitable access to arts instruction across the country,” said Joyce Huser, SEADAE president and education program consultant, fine arts, Kansas State Department of Education. “Through the support of the NEA, all directors of the arts in state departments of education will receive the professional learning they need to support students and teachers across the country.”

The NEA Challenge America category primarily supports small and mid-sized organizations for projects that extend the reach of the arts to underserved populations—those whose opportunities to experience the arts are limited by geography, ethnicity, economics, or disability.

Art Works is the NEA’s principal grantmaking program designed to support artistically excellent projects that celebrate our creativity and cultural heritage, invite mutual respect for differing beliefs and values, and enrich humanity.

Serafin Quartet 'Reunites' Two Celebrated Composers

By Christine Facciolo

Born one year and 300 miles apart, Felix Mendelssohn and Robert Schumann met for the first time in Leipzig on August 31, 1835. The Serafin String Quartet reunited them at Wilmington’s Trinity Episcopal Church with a program of two of their most Beethoven-inspired works: the A minor quartet, Op. 13 (Mendelssohn) and the A major quartet, Op. 41, No. 3 (Schumann). The date was also — coincidentally — the 210^th anniversary of Mendelssohn’s birth.  

Mendelssohn, often referred to as the “classical romantic,” was a most celebrated composer during his lifetime. His stature slipped somewhat during the 20^th Century, but this most underrated of the Romantics is enjoying a resurgence in popularity as many top-flight recordings and performances of his works indicate.

The Serafin Quartet. Photo courtesy of the artists.

Mendelssohn was just 18 years old when he wrote his A minor String Quartet in 1827, which was also the year Beethoven died. The Beethovian influence is evident, as are influences from Mozart and Haydn. The quartet also displays the young composer’s facility with the cyclical technique and exhibits a degree of passion and drama not characteristic of Mendelssohn.

Kate Ransom’s first violin was reliably lyrical and dramatic in the highly expressive opening movement, while the ensemble played as if it were one. The musicians lovingly conveyed the aching sorry of the second movement, a complex and dramatic affair marked adagio non lento (“slow not slow”). Beautifully judged phrasing and dynamics characterized the fiendishly difficult third movement with its contrasting moods.

The finale returned to the emotional world of the first movement. Beethoven’s influence again evident with its stormy recitative over tremolo accompaniment. The Serafin delivered a glowing and energetic performance of this most complex movement yet managed a conclusion that was gentle and calming.

Schumann’s A major quartet was again delivered with tonal precision and blend. In the first movement, the playing was flexible and fluid, capturing the halting nature of the music with its unsettling syncopations. The musicians delivered the fugato and tempo risoluto sections of the second movement with a muscular certainty, while the finale was exuberant and full of toe-tapping dance.