Thursday, December 8, 2022

Local Arts Administrator Tapped for National Leaders of Color Fellowship

Emari Vieira-Gunn, Director of Community Engagement at The Grand.
A portion of this post content comes from a press release from the Delaware Division of the Arts...

Delaware Arts Info sends warm congratulations to Emari (Mari) Vieira-Gunn, Director of Community Engagement at The Grand Opera House in Wilmington, on being accepted into the National Leaders of Color Fellowship program.

The first cohort of the National Leaders of Color Fellowship (LoCF) program was recently selected, representing 53 leaders from across the United States. The cohort will participate in a strategic leadership development program for Black, Indigenous, and People of Color (BIPOC) leaders who are committed to the advancement of cultural equity in the arts that emphasizes policy and data in the arts, leadership, culture of care, and strategic foresight through an advocacy lens. Using a cohort structure, the program, administered by the Western States Arts Federation, emphasizes experiential learning, community building, and service to the field. 

We sat down with Mari to chat about her new appointment and her goals ahead.
 
*Why did you want to be part of this Fellowship?
My initial interest in the fellowship, honestly, stemmed from being encouraged by my
supervisor, Pam Manocchio — Executive Director, Grand Opera House — to apply for the fellowship. After receiving the preliminary information, I quickly learned that the fellowship was focused on creating a space for BIPOC leaders, specifically working in the arts sector, to further develop professionally. 

I believe the intentionality of this fellowship is what truly intrigued me. Having the opportunity to participate in a program, specifically focused on the experiences and professional development of BIPOC leaders in the arts sector was something I deeply saw value in and wanted to be a part of. I feel both humbled and honored to have been accepted as the fellow to represent the First State in this inaugural cohort.

*What does this fellowship entail and what does it mean to you?
This is an eight-month fellowship being held online from October 2022 through May 2023.Having the opportunity to learn and dialogue openly with colleagues and faculty who share similar experiences and/or are able to offer me advice/feedback, is an immensely prodigious opportunity. In the short two months since the program has begun, I feel that I’m more equipped to dialogue and advocate for diversity, equity and inclusion in our arts-focused work. I am deeply excited about this opportunity to further develop professionally as a millennial, black, female leader in the arts community.

*What are your goals as a member of this Fellowship and how do you see it reflecting in your role at The Grand?
As a member of the fellowship, I hope to further develop my skillset as it relates to being intentional in my work, collaborating with others, and conducting reoccurring analysis on the work we do. One lesson I learned early on from one of my primary school teachers was to “lean into discomfort." Leaning into what initially feels “uncomfortable” has always proven to provide me with deeper understanding and comfort in that I tried something unfamiliar to me and grew because of it.

*What are you focusing on with regard to your new role at The Grand?
In my new role as Director of Community Engagement here at the Grand, I hope to continue the community-focused work that’s already being done and add to it, based on what our community tells us it’s in need of. I feel the best way to serve a body or community of people, is to reach out and ask what the needs are.

*What are your immediate and longer-term professional/personal goals?
My immediate goal is to continue listening. I think it would be less than productive for me to start in this new position and implement change immediately. I plan to continue having discussions with community partners, patrons, members of the community, even those who’ve never stepped foot inside the Grand and discuss what they need from us as an organization.

I think then, long-term, intentional and strategic goals can be developed and implemented. I am confident that we continue the 150+ year legacy of the Grand its work in the Wilmington community and beyond.

Monday, November 28, 2022

Irving Berlin’s "White Christmas" is a Holiday Spectacular!

by Charles "Ebbie" Alfree, III

Based on the beloved Paramount Pictures film, Irving Berlin’s White Christmas follows two friends and performers, Bob Wallace (Chris Fitting) and Phil Davis (Bryan Jeffrey), from their time serving in World War II in 1944 with General Waverly (Paul McElwee) to appearing on The Ed Sullivan Show in 1954, and eventually ending up at a Vermont inn after meeting Betty and Judy Haynes (Rebecca Schall and Deirdre Treacy), a sister nightclub act.

Complicated romances ensue, and a slew of Vermonters and show people from New York City are introduced. A series of comical and heartwarming situations lead to the grand, happy finale that leaves the audience ready to enjoy the holiday season!

The show is full of Mr. Berlin’s most iconic songs, sumptuously performed by the stellar cast under the fine music direction of Julia Kershetsky and stirring choreography by Jody Anderson. With numbers including Happy Holidays, Sisters, Snow, and of course, the title song, it’s hard not to smile, tap your toes, and dare I say — sing along! The show includes an exciting, seven-minute tap number; I Love a Piano, choreographed by Scott Jacobs and led by Ms. Treacy that brings down the house!

Director Rebecca May Flowers' pacing is perfect for the delightful show. She’s assembled a great group of artists both on and behind the stage. The four leads are fantastic! Mr. Fitting and Mr. Jeffery are charming and they expertly play off of each other.

Bob is the more serious, business-minded of the two, while Phil is a fun-loving go-with-the-flow kind of person. Both men bring much enjoyment to their songs, especially when performing together during Happy Holiday/Let Yourself Go.

Ms. Schall and Ms. Treacy are superb. Both are fabulous as the sisters who steal the men’s hearts. Ms. Schall’s rendition of Love You Didn’t do Right by Me is heartbreakingly beautiful.

Ms. Treacy is exceptional as the feisty Judy. Her dancing is exquisite. Once she steps on top of the piano and continues tapping during the I Love a Piano number, she becomes a star!

The cast is rounded out by a great ensemble, including the wonderful Mr. McElwee as the general who now owns the inn and hysterical Trudy Graboyes as Martha Watson, the inn’s front desk clerk and one time Broadway performer.

With the work of Lighting Designer, Matthew J. Kator; Scenic Designer/Scenic Artist, Jeff Reim; and Props/Set Designer, Amanda Gillies, the stage becomes an enchanting winter wonderland with a Christmas tree and snow! Since The Candlelight Theatre is housed in the former Harvey Barn, the whole space seems to be a part of the show!

The cast is beautifully dressed by costumer Timothy Lamont Cannon. Ms. Schall’s and Ms. Treacy’s final gowns are breathtaking! Wig, Hair, and Makeup Stylist, Clayton Stacey brilliantly complements Mr. Cannon's costumes. His wigs are gorgeous! Both men perfectly capture the 1950s time period with their work.

Get into the holiday spirit by seeing White Christmas in an actual barn at The Candlelight Theatre! The show runs through December 23. Visit www.candlelighttheatredelaware.org for information and tickets.

Tuesday, November 8, 2022

A Taste of "Arsenic and Old Lace" at The REP

By Mike Logothetis
Theater reviewer 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.


Arsenic and Old Lace playing now through November 20.
Photo courtesy of The REP.
The University of Delaware’s Resident Ensemble Players (REP) kicks off its 2022-23 season with the great American farcical black comedy, Arsenic and Old Lace by Joseph Kesselring.

This enduring play, originally staged on Broadway in 1941, continues to astound audiences with its ingenious and brilliant construction. The current production at the REP carries on the grand tradition of the show and entertains from opening curtain to curtain call.

“Some of you may have heard the pandemic radio version of the play and now you can see the real thing. It’s about two older women that relieve older gentleman of their loneliness by killing them with arsenic. You can think of it as a euthanasia comedy.”
— Steve Tague, the REP's new Interim Producing Artistic Director.

The show revolves around the odd members of the Brewster family in their stately Brooklyn home. Mortimer Brewster (Mic Matarrese) is living a happy life in the large old mansion. He has a good job as a drama critic at a prominent New York newspaper and he’s just become engaged to his neighbor Elaine Harper (Erin Partin). His spinster aunts Abby (Kathleen Pirkl Tague) and Martha (Elizabeth Heflin) dote on him and are adored by the community. They even look after and protect Mortimer’s quirky brother Teddy (Lee E. Ernst) who believes he is Teddy Roosevelt.

Mortimer’s world is turned upside down when he discovers that his dear aunts have been quietly poisoning lonely old men and burying them in the basement for years. Aside from this new revelation, long lost maniacal brother Jonathan (Stephen Pelinski) returns on the night that the aunts are planning to bury their newest victim. His somewhat unwilling partner Dr. Einstein (Michael Gotch) adds ghoulish layers to Jonathan’s mysterious past. Mortimer must rally to help his aunts, foil his brother’s nefarious plans, and protect his fiancĂ© – all while trying to maintain his own sanity. Even the local cops (Rob Hancock and John Plumpis) become part of the action, both good and bad; albeit unwittingly. Put it this way, the plot is always swirling… As Abby Brewster says, “How delicious!”

The beautiful set design and construction is the first thing that catches the eye upon entering the theater. It is a wonder of planning and carpentry that includes fine wooden details, wallpaper, portraits, animal heads, and doors…so many doors. Kudos to Stefanie Hansen and her crew.

The actors all shine, but the menace is real when Pelinski’s Jonathan looms on stage. Matarrese does a great job of looking peaceful one minute and utterly distressed the next. His physical and mental exhaustion from the escapades he faces puts the audience on his side. 

The show is funny throughout, but the comedic highlights mostly happen in the second act with many quick and clever jokes. Aunts Abby and Martha (Heflin and Tague) always aim to please and drop some great deadpan one-liners while doing so. The old women just want what’s best for everyone they meet, even believing that serving their killer elderberry wine is a neighborly service. It is, but solely for our entertainment!

My suggestion is to plan an evening out in Newark to enjoy some great theater, but watch out for the apparent kindness of elderly female strangers.

Arsenic and Old Lace will run through November 20 at Thompson Theatre inside the Roselle Center for the Arts (CFA) on the campus of the University of Delaware. Evening shows start at 7:30 and curtain is at 2 for matinees. The performance runs approximately 2 hours and 40 minutes, with two 10-minute intermissions. 

Tickets ($35-39) can be purchased at the theatre box office or online. Please call the box office at (302) 831-2204 or e-mail cfa-boxoffice@udel.edu for information. 

For more information, visit www.rep.udel.edu.