"HONK" If You Like DTC's New Family Production -- We Do!

By Guest Bloggers Erin, Ellie & Maggie Lacey
Erin is a mom of 4 kids and works as a Business Processor for Point to Point Wealth Management in Wilmington. When not at work or home, she can usually be found costuming her kids' shows at the Delaware Children's Theater. Ellie is an 8th Grade Vocal Major and Maggie is a 7th Grade Piano major at Cab Calloway School of the Arts.

Have you ever felt like an ugly duckling, like you are different and you don’t fit in? That pretty much describes me from age 9 to age 16. Gangly, with a bad perm and glasses, I devoured stories like The Ugly Duckling to help keep the hope alive that some day I would fit in. 

The HONK cast rehearses "Wild Goose Chase" at Delaware Theatre Company. 
Photo by Ann Marley.

Because of this, I was very excited to get to meet two of the stars of Delaware Theatre Company’s Honk: The Ugly Duckling Musical to hear about what makes this show so special. I was extra excited to have my daughter Ellie with me to ask all the questions.

Kim Carson from Hellertown, Pennsylvania, plays Ida, a mom trying to keep her ducks in a row. Camiel Warren-Taylor from West Chester, Pennsylvania, is “Downy”, Ugly’s sassy sister.  Kim is a veteran of DTC and is the winner of the 2018 Barrymore Award for Outstanding Performance in a Musical as Helen in Fun Home at the Arden Theatre Company. 

She said that being a mom to 2-year-old Johnny has made her understand her role as Ida, Ugly’s mother, in a different way. “Bud [our director] asked me if I would be as emotional when Ida thinks Ugly is dead, and I think that those emotions are just so much closer to the surface now” she said. Camiel likes how Ugly handles the teasing and taunting from the others. She said that she has been teased for her name, but she as she says, “There is a reason for my difference and it makes me special.” Camiel is a spitfire with big dreams, and I can’t wait to see her make her DTC debut.

My daughter Ellie, at age 14, is in 8th Grade, and from what I can tell, middle school hasn’t gotten easier since I was an ugly duckling. She loves this show because of its message of inclusion and forgiveness. “More than ever, we need to accept people for who they are and celebrate diversity,” she says. “It’s important for parents to know that their kids will be all right, even if they are different.”

Honk: The Ugly Duckling Musical is the kind of show that is so entertaining that you don’t really notice you are getting a lesson along with it. The music is interesting enough to keep adults' attention and kids will love the adorable characters. 

Honk: The Ugly Duckling Musical opens April 17 and runs through May 12, 2019. Delaware Theatre Company is offering a “relaxed performance” on April 30 for ducklings and their families who would like a sensory-friendly performance. 

Tickets start at $25 ($20 for student tickets with valid ID) and can be purchased at www.delawaretheatre.org or by calling 302.594.1100.

Remembering Victims of Gun Violence Through Moving Spirituals Performance

By Christine Facciolo

Countertenor Augstine (Gus) Mercante offered some perspectives on his long — and sometimes complicated — relationship with the African American spiritual in the program notes of his March 31 concert, There's a Man Going 'Round: Remembering Victims of Gun Violence, as part of The Arts at Trinity series at Trinity Episcopal Church in Wilmington.

He first fell in love with the repertoire when at age 16 he auditioned for All-State Chorus. Burleigh’s Sometimes I Feel Like a Motherless Child was the audition piece. Years later, he submitted the work to fill the English Art Song requirement for a voice competition and was shocked when one of the judges told him that white singers shouldn’t sing spirituals in a concert setting.

Countertenor Gus Mercante accompanied by pianist
Hiroko Yamazaki. Photo courtesy of Gus Mercante.

Fast forward to the summer of 2006. Mercante was studying at the Mozarteum when he got an invitation from internationally acclaimed mezzo-soprano Grace Bumbry to sing for her in her apartment. After they sang for each other, he asked her if she though white people should be sing spirituals. She looked right at him and said: “Anyone with a soul can sing a spiritual.”

Mercante certainly has soul, plus a robust high male voice of unique strength and deliberate, rhapsodic lyricism and expression. Mercante does not just sing a song, he brings it to life. (Note: If you haven’t seen him perform a comic English opera with Brandywine Baroque, definitely put it on your to-do list.)

The program, dedicated to the victims of gun violence, opened on an appropriately somber and sorrowful note with two selections from Bach Cantatas: Wir mussen durch viel Trubsal and Kreuz und Krone sind verbunden.

Mercante raised the specter of death with a dynamic rendering of the Schubert Lied Der Tod und das Madchen, with dramatic vocal characterizations of Death and the Maiden.

Less dramatic, but equally powerful, were Faure’s setting of the Verlaine poem "Clair de lune,” Nocturne Op. 43, No. 2 — kudos to Mercante for including this much-neglected song — and Schubert’s Im Abendrot, all of which juxtaposed the melancholy of the characters with the beauty and grandeur of the moon and the sunset.

The first half of the concert wrapped up with two contemporary selections: the resigned simplicity of William Bolcom’s Waitin’ (from Cabaret Songs) and H. Leslie Adams’ Prayer (from Nightsongs) which Mercante delivered with maximum emotional impact through dynamic contrast and textual clarity.

The second half of the program, which was devoted to spirituals, opened with Mercante processing into the sanctuary singing the traditional Guide My Feet. The set included Burleigh’s Sometimes I Feel Like a Motherless Child, which sparked Mercante’s interest in the Negro spiritual. This set contained some very moving performances, notably a powerful rendering of the apocryphal There’s a Man Going ‘Round and Crucifixion, which nearly brought some audience members — including this one — to tears.

And if you closed your eyes, you might have sworn it was the late Marian Anderson singing Burleigh’s My Lord, What a Morning.

The concert concluded on a triumphant note with the glorious Ride On, King Jesus.

Mercante was ably supported by Hiroko Yamazaki at the piano, while Sherry Goodill and Marion Yager Hamermesh of the Hanover Dance Collective brought visual interest and kinetic energy to select songs.

Apply to the Boysie Lowery Living Jazz Residency

Post content from a press release from Light Up the Queen Foundation...

A friendly reminder that Light Up the Queen will be accepting applications for the Boysie Lowery Living Jazz Residency through Sunday, April 7, 2019 until 11:59pm (EST). 

If someone you know is a jazz composer/performer between the ages of 17-25, this is for them. The Boysie Lowery Living Jazz Residency is designed to give participants an intense learning experience that will help them find their sound, mature as a musician, and make lasting connections with like-minded peers.

The residency program will include numerous performance opportunities, with a final concert to be formed on June 23 — the last day of the program — at 3:00pm at The Queen Theater in downtown Wilmington.

This year's residency will be from June 9-23, 2019 and is fully subsidized, meaning housing and meals are included. Want to learn more about the program and apply?

Visit https://lightupthequeen.org/boysie-lowery-living-jazz-residency/.