The Rocky Horror Show ROCKS Newark!

The Chapel Street Players' (CSP) 49^th FUNdraiser production is the horror-comedy midnight musical, The Rocky Horror Show. Richard O'Brien's cult classic camp fest is about two conservative lovebirds (Brad Majors and Janet Weiss) who get entangled with a group of out-of-this-world freaks, led by the self-proclaimed sweet transvestite Dr. Frank N' Furter.

After leaving their friends' wedding, Brad decides to pop the question to Janet. After she accepts his marriage proposal, the two decide to visit Dr. Scott, the man (or in this production, woman) who introduced them in his science class. On their way, a flat tire cuts their journey short, and they walk to an ominous castle for assistance. Greeted by Riff Raff, the menacing butler, the two ultra-conservative lovers are then led through the spooky castle and its array of weirdo servants/inhabitants (Riff Raff's sister Magenta, the brokenhearted Colombia, and the Usher and Usherette) and through the classic audience-participation number - "The Time Warp" - before meeting the nefarious master of the house.

Afterward, Frank N' Furter appears and asks the couple to be his guests as he reveals his latest creation - a boy toy Adonis for his carnal pleasures. Unable to escape, Brad and Janet stay - and begin to question their traditional values regarding sex and love - and even take part in some of the evening's shenanigans.

Andrew John Mitchell directs this amazing production with a tight hand, something this show needs otherwise it could become total chaos. He has assembled a fantastic cast (Michael Parillo as Frank N' Furter, Justin Walsh as Brad, Caitlin E. Adams as Janet, Thomas Russell as Riff Raff; Lucy Marie Smith as Magenta; Laura Dunbar as Colombia; Dennis Conner as the creature (Rocky); Renee G. O'Leary, the only cast member to appear in every CSP FUNdraiser production, as Dr. Scott; Brett Pearson as Colombia's love interest and Frank N' Furter's foe, Eddie; A.J. LoPorto as the Usher; and Suzanne Stein as the Usherette.  Ms. Stein also finely choreographed the production. This cast ROCKS CSP! Even if the show was bad, which it's not, the price of admission would be well worth seeing Ms. O'Leary's costume at the end of the second-act. Everyone in the Delaware theater community knows that she is a great performer, but in this production she also proves she's a real "trouper."

The cast brings the musical to life on a spectacular multipurpose set by Christina Bartley. The set evokes a grand movie palace, with a mad scientist's laboratory.

The Rocky Horror Show ends June 23. Get your tickets now, because you don't want to miss this FUN! Also, take an extra $5.00 with you, so you can buy a goody-bag with all the items you need to participate in the show; besides throwing the goody-bag's items, don't be surprised if audience members are shouting comments during the show. All you ROCKY "non-virgins" know what I'm talking about! For information and tickets, visit www.chapelstreetplayers.org or call 302.368.2248.

Delaware Chamber Music Festival-Satisfying Cravings

Living in Delaware, I find myself craving classical music. The Delaware Chamber Music Festival (DCMF) has been satisfying the community's cravings for 27 years and is a staple of the local classical musical diet. Even on a beautiful Father's Day afternoon, the concert hall at The Music School of Delaware was nearly full. The quartet: Barbara Govatos, violin, Hirono Oka, violin, Burchard Tang, viola and Clancy Newman, cello.

Sylvia Glickman's Carved in Courage, arranged for string quartet by Tony Finno, is part of a trilogy Glickman dedicated to the holocaust.  Barbara Govatos, DCMF musical director, explained the significance of the work and its references to the Danish resistance movement during WWII.  The movements---Premonitions, Preparations-Frøde Jacobsen-Resistence Leader, Krystalgade Synagogue and Dr. Køster of Bispebjerg Hospital, Rescue by the Sea-Jens Møller, fisherman/rescuer and The Afterward---each conveyed an important emotional and musical message, with the Danish National Anthem triumphantly finding its way in at the very end.   Lyrical and full of passion, Glickman's work was beautifully played.  My grandfather, who had been part of the Danish resistance movement, was captured, imprisoned and tortured by the Nazis.  I know he would have been deeply moved by this tribute.

As guest artist, pianist Julie Nishimura performed in Wolfgang Amadeus Mozart's Piano Trio in B flat major, K. 502.  Nishimura's beautiful playing was balanced perfectly with the lovely sounds produced by violinist Barbara Govatos and cellist Clancy Newman.  Mozart always delights with his usually light, joyous themes and brief departures to more pensive territory. 

Ending the program was Claude Debussy's String Quartet in G minor.  Though Debussy was born 150 years ago, his quartet seems to structurally, harmonically and melodically belong to a later era.  The players exploited every dynamic and nuance of Debussy's often brooding music.

Be sure to catch The Delaware Chamber Music Festival's last concerts of the season on June 22, 2012 at 7:30 pm and June 24, 2012 at 3:00 pm, also at The Music School of Delaware.

http://www.dcmf.org/

The future of the Delaware Symphony

The one benefit of the Delaware Symphony’s declaration of a suspended season for 2012-2013 has been the excellent and prolific coverage of their plight in the News Journal.  Never before has the DSO had so much press!

Perhaps this will get some people talking about solutions for the 2012-2013 season.  In such a crisis situation, the best thing to start with is to count assets and liabilities.  Executive Director Lee Williamson was quite right to declare a state of emergency, but the latest suggestions of a cure might kill the patient, so could we please go back to some sensible solutions?

Listing the assets of the DSO would take much more space than this blog usually devotes to a single article, but a few essentials must be listed.  The excellent musicians who are currently in the Delaware Symphony (and many from the past who stuck it out when the DSO was but a fledgling of its current musical achievement) have migrated to Wilmington and the surrounding area because of the symphony.  Yes, they had to take other jobs to support themselves and to be able to play in a symphony.  (Note here that even to play in a regional symphony and even to qualify to play in the DSO when it was NOT as good as it is now, the musicians had to be of a very high quality.)

The musicians themselves have fanned out and many have started some ‘side jobs’ that have produced excellent public school music programs.  Just to cite a few:  Martin Beech, Associate Principal Second Violin, conducts the orchestra at the Kennett High School  and Kennett Middle School in nearby Kennett Square, Pennsylvania.  .Mr. Beech started teaching 38 years ago, taking over when there were only 12 string students district-wide.  Today, the district has a full-time music teacher for the elementary schools and Mr. Beech has string lessons, full orchestra class, string ensemble and string chamber groups at both the high and middle school.  The orchestras grew from 45 students in each school to about 75 students today.   Rosaria Macera, violin, is director of the orchestra at Newark High School.  Since Newark High is a choice school, kids bus from all over the district because they want a chance to play in an orchestra. Ms. Macera’s orchestra has become an exacting, award-winning program which has attracted the attention of Maestro Simeone Tartaglione of the Newark Symphony Orchestra.  He has invited many of Ms. Macera’s students to participate in coordinated activities with his symphony.  These two examples of ‘side jobs’ of Delaware Symphony members shows how deeply the DSO musicians affect our community far beyond their roles as symphony musicians.

Maestro David Amado is also a tremendous asset of the Delaware Symphony.  He is talented, has local roots, and he has taken the DSO to greater heights than they have known in their entire 100-year history.  Credit must be given not only to Maestro Amado’s predecessors for providing him with a very good orchestra to begin with, but also to the musicians who patiently played and improved and stayed with an orchestra that, quite frankly, wasn’t all that hot forty years ago.  It took a great deal of faith for many people to persevere to create the orchestra we have today.  Maestro Amado is still here with us and is under contract, so he is a current asset.  He is also devoted to the DSO and their progress and his reputation will be strongly influenced by what happens in the coming season.   Rest assured that he will be energetically fighting for the DSO’s survival.

Maestro Amado and others have also created assets in their connections to other institutions in Delaware.  There have been many coordinated programs between the University of Delaware Music Department and the DSO – some fine performances with Dr. Paul Head’s University Chorale which brought in large audiences.  There was a coordinated New Year’s Eve Gala at the Delaware Art Museum; there have been many education programs from visits to schools, to family concerts, to hosting 90-plus girl scouts to earn their music badges. 

Last and not least are the audience members.  As Harry Themal correctly pointed out in his June 11 editorial in the News Journal, they are ‘aging and dwindling’, but they are not dead!  And I might add that the audiences who filled the Grand for the pops and youth concerts are not really all that aging and dwindling.  Must the DSO tell them to look for other entertainment in the 2012-2013 season?  In doing so, the DSO would be telling local area restaurants, hotels, cafes and parking facilities to expect hundreds fewer customers on symphony nights.

For the liabilities, we should list not just the actual money owed, but the loss of goodwill created by forcing the DSO to cancel the scheduled artists for the 2012-2013.  Wise though the decision may have seemed at the time,  the cost of cancellation in most cases is a hefty fee which would have been better spent in asking that artist to retool and use a piece from their repertoire that would have fit a smaller chamber orchestra or group.  This would have not only been a better cost outcome, but it would have sent the message that artists can count on the DSO as a potential employer, even if they could not finance the original schedule with full orchestra.

Another liability is the loss of faith and trust of the musicians.  The potential earnings lost by the sudden suspension vary from musician to musician, but the loss of trust in the DSO is the same.  This is a tremendous hurdle for David Amado. He has built up the musicians’ trust over a number of years and he and the orchestra members have developed a rapport which has resulted in some excellent performances.  The board and executive director have done him a great disservice by being too quick with the knife.

The absence of a development director is a liability.  To say you have no season and no planned concerts and still want donations is a nonstarter.  To say you want donations and have no one to coordinate them is another nonstarter.  Cutting this off is cutting off the water and roots of your tree.  If the board does not correct this, they might as well chop it down.

If the community wants to retain the magnificent quality of the Delaware Symphony Orchestra and the associated effects of parallel events created by the DSO and its members, they must stop the bleeding and start tending this incredible oak which has been growing for the past one hundred years.  Insist that the symphony regroup, have smaller concerts and spend a year not suspended but reduced.  Give Maestro Amado enough budget to get as many of his musicians performing as possible.  Get a development director to send those musicians EVERYWHERE.  Have that person tap into grants from everything from special education to reading promotion to musical paper dances. Connect to untapped groups rather than sending profuse and expensive mailings to people who just attended a concert.  Send out complimentary tickets to every major company and hotel in the county to grab those potential audiences who are not already there.  Do whatever you have to do.    

But don’t stop the music.

Star Wars: A New Musical Hope for Bootless

Star Wars: A New Musical Hope, Bootless Stagework's much-anticipated summer show, was timed perfectly. Opening just a week after the Wizard World Philadelphia Comic Con, with its light sabre training classes and the famous 501st Legion of Imperial Storm Trooper costume players, area fans are still mentally in a galaxy far far away -- and Star Wars the Musical is a nice way to top it off.

Don't expect 501st-level costuming (although some of the costumes, most notably Chewbacca and a motorized R2D2, are amazing) -- that's not what this show is about. Adapted by Jeremy Gable, it's a campy parody of Episode IV (known simply as Star Wars to anyone over the age of 30) set to music. Sort of a cross between "Family Guy's" Blue Harvest and a Broadway musical. Funny one-liners are woven into faithful stage incarnations of movie scenes, with original songs by Timothy Edward Smith and Hunter Nolan. Whether you find the gags funny depends a lot on your relationship with the film -- fans will follow the humor easily, while I imagine anyone who isn't well familiar with the series is likely to be lost.

Some of the gags, especially involving John Rachlin's Darth Vader and Christopher Todd-Waters as C3PO, are very successful; others, like Han Solo (Ryan Mulholland) declaring that he has a "case of the Mondays" are a bit too corny, even for goofy comedy. The show actually works best when it's not trying to be funny -- an original "filler" scene featuring Princess Leia (Maria Leonetti) in her cell after her planet has been destroyed, the confrontation between Obi-Wan (Shaun Yates) and Darth Vader, and the Rebel Squadron's climactic mission, are definite highlights. The laughs are there, though -- my 12-year old son laughed throughout. The show features some stellar vocal talent, but at the end of the day, this is a show geared toward Star Wars fans before lovers of musical theater.

Star Wars: A New Musical Hope runs through June 17 at OperaDelaware's Black Box theater. Tickets are available through Brown Paper Tickets.

Tartaglione and the Titan

Maestro Simeone Tartaglione

Simeone Tartaglione has worked for two years to get the Newark Symphony to reach beyond their already fairly high level of achievement and on Sunday, May 20, he showed a large audience that he has come far in achieving that goal.

Alyssa Blackstone

Concerto winner Alyssa Blackstone was extremely confident and businesslike in her approach to the Violin Concerto No. 5 in A minor, Opus 37 by Henri Vieuxtemps.  Ms. Blackstone has no problem projecting above the orchestra, even in the lower register of the violin. She has been studying with Sylvia Ahramjian and has reached a high level of technical proficiency.   Her technique and physical strength in playing are the tools she will need as she begins to work on the subtler nuances of phrasing and interpretation in college.

The second piece on the program was the titan to which I refer in the title:  Gustav Mahler’s Symphony No. 1 in D Major.  This symphonic poem, called The Titan by the composer, is such a difficult one for any orchestra that few put it on the program.  The very large orchestration is the first hurdle:  eight horns and quadruple woodwinds. It is hard to gather the musicians or even fine a venue with space for all those musicians – but Maestro Tartaglione recruited enough players to get the mammoth Mahler sound.  There were small areas which were a bit rough, but all in all the mood of the performance evoked what I had been hearing on a CD of Zubin Mehta conducting the same piece with the Israel Philharmonic Orchestra.

The highlight of the Mahler performance was the third movement’s wild and raucous funeral dirge based on a wood engraving showing animals as pallbearers for a hunter’s funeral.  The reversal of roles was reflected in a reversal of the expected music – Mahler based the dirge on the German folk version of the tune we know as Frère Jacques and added jazzy, irreverent klezmer interludes.  The orchestra followed Maestro Tartaglione in this ironic and abruptly changing music with ease, dipping into the whirling tunes smoothly and tunefully – even playfully. 

The crashing and clashing symbols and timpani were spot on (with excellent playing by percussionists Debra Bialecki and S. Mordecai Fuhrman on timpani and Gordon Engelgau on cymbals as well as Sergei Dickey on bass drum), but I could have done with a little less thunderous affect.

Next year’s music will seem like easy street now that they played the Mahler.  Maestro Tartaglione and the Newark Symphony deserve congratulations on a great achievement.

See www.newarksymphony.org. 

Reporting from the Grand Opera House Stage

The Grand Opera

On Monday, May 14, I hurried home from work, wolfed down a cold supper and zoomed off to the Grand Opera House.  Dr. Tim Schwarz had offered the Wilmington Community Orchestra a chance to warm up in the hall so we could get the feel of it before the concert.  Unfortunately, when I arrived to warm up, the people in charge would not let me touch the piano, so I sat on the bleachers and played air piano during the warm up.

After the air warm-up, I zipped over to the Sarah Bernhardt Room – a beautifully paneled side-room on your left as you enter the Grand Opera House.  There was a short chamber concert before the orchestral performance which was a great program performed mainly by the adult members of the Wilmington Community Orchestra and some of their friends.  A flute trio by Kaspar Kummer, a modern tango for strings, the first movement of the Beethoven Wind Octet in E-Flat Major, Opus 103,  a movement of the Duo for Violin and Viola in G Major by Mozart and a wind quintet by Darius Milhaud called La Cheminée du Roi René.  Note:  Bassoonist Jennifer Hugh came in as a last minute sub and did a great job in both the chamber works and the symphonic works and she has a heavy gig this coming Sunday in the Newark Symphony.  Brava!

Then I followed the crowd back to the main hall for the concerto winner performances.  The orchestra sounded fantastic in the Grand – man, do they have wonderful acoustics.  I enjoyed hearing the young concerto winners.  Marius Sander(student of Eliezer Gutman)  played the first movement of the Mendelssohn Violin Concerto in E Minor, Opus 64,  Madeline Cheong (student of Jennifer Chen) played the Mendelssohn Piano Concerto in G Minor, Opus 25 and Alexis Meschter (student of Lee Snyder) played the Violin Concerto No. 4 in D Minor by Henri Vieuxtemps.

I went to the beginning of the intermission chamber concert – an excellent rendition by some young students of the MozartQuintet for Clarinet and Strings, K 581, but left early to check out the stage.  First of all, since the stage hands moved the piano, I had no idea if I would be able to see the conductor from wherever they put it.  Secondly, I feared that I would not be able to get on the stage after the chorus and all the musicians were in place.

I went and dutifully tested the piano bench, closed to half stick so the lid wouldn’t block my view of the conductor and tested a few quiet notes which sounded amazingly loud from the stage.  I couldn’t start practicing full force because the audience had already started to come back in.  So, nerves up and move on.

I enjoyed watching the Delaware Children’s Chorus come shyly on stage from my offstage vantage point.  They were trying so hard to do the right thing and were small and adorable.  Dr. Schwarz mouthed the words for them to help as they sang.  Then the Delaware Women’s Chorus joined them on stage.

Next was my gig on the piano so I went on stage from the piano side (no percussion to stumble over on that side) and survived my piece.  I rushed off and went under the grand in the cavernous passage to the steps to the front lobby.  I was delighted to have seen the backstage that all my friends use before they play with the Delaware Symphony.

See www.musicschoolofdelaware.org. 

Cunningham Piano Generously Supports a Dream Recording Project…All Here in Delaware!

This post content generously provided by composer Mark Hagerty from Cunningham Piano’s site

Composer Mark Hagerty

How could you improve on this:  Lifetime Achievement Award–winning composer-pianist Curt Cacioppo recording new music by his award-winning composer friend Mark Hagerty, in one of the best recording spaces in the region(Gore Hall at the University of Delaware), with seven-time Grammy-winning recording engineer Andreas Meyer at the controls? Answer: the perfect piano, a Bösendorfer 280 concert grand.

Cunningham Piano—the Philadelphia region’s premier purveyor of fine pianos and one of the top piano restoration companies in the country—is supporting this project by delivering a magnificent Bösendorfer 280 concert grand to the recording site.  Cunningham Piano has a long relationship with Cacioppo, who is professor of music at Haverford College, where a Bösendorfer Imperial maintained by Cunningham Piano is the instrument on which not only Cacioppo, but also guest artists at Haverford perform, including such noted pianists as Garrick Ohlsson, Claude Frank, Cecil Taylor, and Marian McPartland.  Cacioppo himself has recorded 10 CDs on the instrument.  He is also enjoying his personal 100-year-old Steinway, recently restored by Cunningham Piano. While the Haverford Imperial is undergoing restoration, Cunningham Piano has offered to provide their 280 concert grand for the recording project.

Cacioppo will be recording two recent works by Hagerty.  The Realm of Possibility, written for Cacioppo in 2006, was previewed in extract form by Cacioppo in Turin and Venice. The work, which Cacioppo has termed a “monumental cycle,” consists of an introduction and 10 pieces based on the principal of chaos theory that, in a complex system, identical initial conditions can give rise to different outcomes.  The pieces, all of which are presaged in an introductory “Outburst,” can be combined with one another flexibly, in unlimited combinations.  The second work, dating from 2009, is After Duchamp, a collection of ten pieces, mostly miniatures, which take their cue from artist Marcel Duchamp’s motto “I force myself to contradict myself so as not to follow my own taste.”  Hagerty has pushed the limits of his own artistic principles and esthetics to produce works that extend his range and challenge the listener, not through shocking sounds but through formal and rhetorical provocation or eccentricity.  While After Duchamp is intended for piano or harpsichord (Hagerty is married to harpsichordist Tracy Richardson), The Realm of Possibility is pure piano music.

Hagerty commented, “The tone-color of the Bösendorfer is perfect for this music.  Bösendorfer allows the piano to have so many different shades of color.  I love the bell-like treble, the ‘male chorus’ lower register, and especially, the growling bass.  To have this artist, Curt Cacioppo, who happens to be an old friend, playing my music on this instrument is all I could ask as a composer.”

Hagerty and Cacioppo met in Boston after college graduation, when Cacioppo was completing his PhD at Harvard University, where he studied with such notables as Leon Kirchner and Luise Vosgerchian.  Hagerty elected not to pursue the Harvard graduate program (he notes that saying “no thank you”to the embossed acceptance letter was a hard, fateful, but quick decision) because he did not see himself as a devoted scholar or teacher, unlike Cacioppo, who is both.  The two grew up outside of Cleveland, unaware of each other, and have since shared many humorous recollections about their roots.  Both have lived outside the US, Cacioppo in Italy, and Hagerty in The Netherlands.  This recording project is their first major collaboration, though early in their acquaintance, Hagerty took the tenor solo in the premier of Cacioppo’s Alla Primavera, a “virtuoso madrigal,” and the two read through the song cycles of Robert Schumann.  Cacioppo’s inspirations are often literary—he is a serious reader of Dante—while Hagerty is more inspired by science, nature, and chaotic systems.

Andreas Meyer, recording engineer for the project, has won awards both as composer and as engineer.  He has produced several CDs that feature Hagerty’s works, including the Relâche Ensemble’s “Press Play,” which features High Octane, Mélomanie’s “Florescence,” which includes Trois Rivières, and “Soliloquy,” a two-volume set of Hagerty’s solo suites for harpsichord and cello, performed by Tracy Richardson and Douglas McNames.  Meyer’s production company, Meye rMedia, is preparing to release “Forays,” a collection of some of Hagerty’s virtuoso solo and chamber works.  Cacioppo’s compositions are represented by many recordings on the Navona, MSR Classics, and Capstone labels.

Hagerty’s next recording project is a joint CD with Rio de Janeiro composer Sergio Roberto de Oliveira.  The CD, which will offer percussion-centric works by both composers, is planned for release in late 2012, in conjunction with a concert in Rio.  Hagerty is currently completing a work for cello and piano and is in the midst of a large orchestral project in which he is combining sound sculpture with more traditional expression. Cacioppo is finishing a commission from the Carmel Bach Festival Orchestra, and is at work on a piece for piano and string quartet, which he will play with the Quartetto di Venezia.

Cacioppo and Hagerty express their deep appreciation to Cunningham Piano for providing the ultimate instrument for a project that means so much to both of them.

For more information: www.cunninghampiano.com, www.curtcacioppo.com, www.hagertymusic.com, www.meyer-media.com

Poignant Porgy

When Thomas Blanchard’s crisp xylophone rhythms make you sit up straight and then groove, you know you are in for a strict but jazzy rendition of the original Porgy and Bess at OperaDelaware. Stuart Malina has made sure that the very talented orchestra has clear signals and he also gives them rein to do what they do best.

The opera, written by a white Jew from Brooklyn in the 1930s, has sometimes been labelled too pop and too white, but it is definitely a work written in formal and classical language to evoke, not imitate, the jazzy sound of Harlem and the black spirituals George Gershwin heard in his sojourn to the south as well as telling a story emphasizing the desperation of racism, poverty, discrimination and disability.

The duet between Richard Hobson (Porgy) and Janinah Burnett (Bess) is perhaps the best illustration of the classical structure of the opera. The soprano and baritone have the highest skills and training in vocal control and their voices are matched in strength and quality as they sing together in Bess, Yo’ is my woman now and they also have the stage presence and acting skills to sweep the audience into the romantic haven their relationship represents.

The evil character, Crown, (Martin Fisher) has a strong voice and oozes egoism, physical force and venom as he uses liquor, drugs, sex and murder against anyone who gets in his way. Bess tries in vain to resist his powerful sexuality and is doomed by her own desires and weakness.

Larry D. Hylton as Sportin’ Life has the long, lanky triple-jointed dancing legs of Fred Astaire and a voice made for his role. His string-bean thinness adds to the snaky image he manages to portray in the almost loveable gadfly of temptation. Hinton’s Ain’t necessarily so is a show in itself!

Stuart Malina’s conducting is energetic and lets the music flow – from the delightful English horn harmonies in Summertime played beautifully by Lloyd Shorter to Lynn Cooksey’s rhythmic piccolo, to Karen Schubert’s smooth horn to the mellow bass notes of Rose Vrbsky’s bassoon and Douglas Mapp’s double bass. The general orchestra volume can tend to overwhelm some of the singing, but nothing is lost in this production.

The set is also brilliantly designed and constructed for a quick scene change, transforming the Charleston street to indoors in a jiffy – brilliant coordination between designer Cindy DuPont Tobias and builder Robert Parker.

In short, this is a wonderful production and a great sendoff for the tireless Executive Director Leland Kimball. See it now – you won’t regret it. Sunday, May 6, Friday May 11 and Saturday May 12. Note: Friday’s performance has family ticket prices. 1-800-37-GRAND or 302-652-5577.

See www.operade.org.

The Real Delaware Theatre Company

Bud Martin

The Delaware Theatre Company has just hired Bud Martin, the very successful director of Act II Playhouse in Ambler, Pennsylvania to the position of Executive Director. He started his duties on May 1. Mr. Martin inherits a wonderful site with a great deal of goodwill earned by previous prizes and plays and a wonderful education program at the DTC, but he will need our support.

Of course we should be ready to support him by buying tickets for the season he has planned for 2012-2013. The first play starting on October 10 is The Outgoing Tide, a story about a family who plan to deal with illness and their future while vacationing on the Chesapeake Bay. The author, Bruce Graham, is from the Philadelphia area and has won Barrymore awards for best new play twice. A compelling theme, a local playwright and a new director should have us all pull together and fill the house.

Delaware Theatre Company

The next shows will be of a lighter nature, making it even easier to boost ticket sales: Patrick Barlow’s production of A Christmas Carol is a rousing version sure to put the Christmas spirit in us all. Boeing Boeing by Marc Camoletti will also provide comedy for the dreary winter starting January 23. Then the season finishes with My Fair Lady starting on April 17.

Audiences have certainly dwindled for all of the arts in the past few years, and so have the educational programs which introduce our schoolchildren to the arts. DTC’s Charles Conway has been a fearless advocate of taking the theatre to the public – and not just to the fur-coated potential donors. Mr. Conway has won awards for his work with young people with disabilities. The program, Totally Awesome Players, has taken wings since he first designed it. He has also won the 2009 Stevie Wolf Award for New Approaches to Collaboration for his work with the Ferris School for Boys.

Is there a way to help promote these and similar programs in our schools – having kids experience theatre to get a taste of why their teacher makes them read Shakespeare and who they can emulate when they feel the urge to write? Will we provide that solid support that pushed the little firehouse play theatre into the anchor site on the Wilmington Riverfront that has taken root and helped the entire area to flourish?

If we do, then we shall have done what Cleveland Morris had so hoped for when he said of the current site, “Here lies every wonderful opportunity to relish our own city’s colorful past and participate in its even finer future.”

Let’s do it!

See http://delawaretheatre.org/

A Wonderous Exploration of The Planets with The Delaware Symphony Orchestra

Artwork via DSO

Once a season, the Delaware Symphony Orchestra offers a “Family Pops” program, an afternoon of family-friendly selections when children are openly welcome to experience the magic of live symphony. On Saturday afternoon, I brought my 12-year-old son, a budding middle school percussionist, to the Grand Opera House to see The Planets, the 1917 suite by British composer Gustav Holst, conducted by David Amado.


The seven-part tribute to the planets of our solar system (it excludes the home planet Earth and the then-undiscovered Pluto, which works out, since it lost its designation as a planet in 2006) has the feel of a modern science fiction movie score -- and it virtually becomes one, minus the “fiction,” as spectacular real and digitally animated footage from nearly 40 years of space exploration is shown on a big screen over the orchestra. 


Parallels between Holst’s early 20th Century piece and later sci-fi and fantasy pieces are clearly drawn; before the screen is unveiled, the program features popular pieces such as John Williams’ “Adventures On Earth” from E.T., “Star Wars Suite for Orchestra,” and “Double Trouble” from Harry Potter and the Prisoner of Azkaban; as wells as the selections “Over the Rainbow” and George Gershwin’s “I’ve Got Rhythm” by the Wilmington Children’s Chorus, directed by Kimberly Doucette. To experience such familiar pieces played by a live symphony orchestra is real treat, both for kids and for the parents who grew up with most of them.


After a brief intermission, the main event begins. Narrated by David Stradley, who sets up each section with an explanation of of the visuals to accompany the music, The Planets is truly otherworldly, even with footage that is clearly scientific. The amazing sounds and sights make you feel small, as the sheer awesomeness of the solar system is explored. I wasn’t bored for a moment (though my mind did wander as I absorbed the suite, in a good way); my son and niece, who also attended, agreed that the upbeat “Jupiter” and “Uranus” were their favorites. At two hours total, one might expect the young audience members to become restless. If any were, they didn’t cause much of a disruption, making it wonderful way to spend an afternoon, with or without kids.


http://www.delawaresymphony.org/

The CTC Rocks Bloody Bloody Andrew Jackson

Righteous Jolly. Photo: Joe Del Tufo

It’s the rare production that’s as funny, entertaining, thought-provoking and utterly disturbing as Bloody Bloody Andrew Jackson, City Theater Company’s latest offering, directed by Michael Gray. It’s a rock musical (or, more accurately, an emo musical, complete with punk rock/steampunk styling) about a pretty horrid era in American history, the birth of the Democrat party, and the second-most memorable president of the 19th Century.

As soon as you enter the Black Box, it’s clear that this show is going to be something special. Instead of rows of seating on one side of the room, a narrow stage sits in the center, with tables and seating on either side, neon-lighting and a corner bar, which will become part of the scenery. The audience is warned that the actors will use the entire room (protect your drinks!). It’s easily the coolest stage setup I’ve seen in Delaware.

Jackson, awesomely played by Righteous Jolly, clad in a leather jacket with a shock of purple hair, is a cowboy and a rock star, the voice of the frontier and a stark contrast to the stuffy Washington elite. He’s also a bigot (he especially despises Indians, even though he adopts an Indian child), a ruthless killer and, eventually, a president who sees no use for Congress and the Supreme Court, only the will of the masses he’s rallied. He’s a great politician -- he defines the cult of personality. He rouses the people with speeches on the “common man.” He’s sexy and cool. You really do want to root for him -- and, in fact, the audience joins in on chants of “Jackson!” at one point. Amazing and not a little unsettling, but it’s part of what makes the play great. 

The ensemble. Photo: Joe Del Tufo

While Jolly dominates, BBAJ is an ensemble piece, and the ensemble pulls no punches. Kerry Kristine McElrone is hilariously salacious as Rachel Jackson; Melissa Bernard has some of the funniest moments as various characters, most of them male; Jim Burns brings genuine emotion to the role of Black Fox; Frank Schierloh is a blast as John Quincy Adams; and Maggie Cogwell kills it as the storyteller and (via puppetry) Jackson’s young son Lyncoya. The biggest standout for me -- and let me be clear, no one is a dud -- is Adam Wahlberg, both in the ensemble and as Martin Van Buren, who goes from foppish as Jackson’s political adversary to the only grownup in the room as his vice president.

The music, directed by Joe Trainor, is infectious, with songs ranging from upbeat ensemble songs like “Populism, Yea, Yea!” to the haunting “Ten Little Indians.” Trainor even sings lead on a couple of songs, leaving his spot with the band to take the stage.

Fair warning: In order to portray Jackson with any semblance of historical accuracy, BBAJ is aggressively anti-PC in its humor, and full of profane language. This is not a show for the ultra-sensitive or the faint of heart. Jackson’s abhorrent treatment of the Indians is played for laughs, the Washington elite are portrayed as effeminate as if it’s a character flaw, and self-mutilation is cool (well, it is an emo musical). Pushing the bounds of taste as far as it does helps to keep from over-romanticizing Jackson -- though the play does leave out some unromantic details about his wealth and slave ownership by the time he ran for president (the play does mention that he acquired one slave as a young man, but not that he had well over 100 by the 1820s). Instead, we see his sexier scandals such as his apparent bigamy. And while some historical figure portrayals are unfair (John Quincy Adams as a clueless election-stealing spoiled brat is funny, but in reality he was one of the most fiercely anti-slavery leaders of the early 19th Century), the play doesn’t try to tell you that Jackson was a hero. It goes so far as to note that some historians see him as an “American Hitler.” And yet, on stage, he’s somehow sympathetic. Not because he’s a good man, but because he’s lost so much in his life and quest for the presidency. And he sure does throw a good party.

BBAJ Runs through May 12 at the Black Box. See www.city-theater.org for tickets, including special stage-side VIP seats (drinks included). 

DTC Wears "Crowns" Proudly!

The Delaware Theatre Company (DTC) concludes its 33^rd Season with the gospel musical, Crowns, written by Regina Taylor. The musical's familiar and joyful gospel songs and spirituals transports the DTC audience from a theatre in Wilmington to a southern Baptist church!

The story of Crowns is rather slim, but what can you expect from a musical based on a book of pictures? However, it's the uplifting and sometimes humorous music and performances that make Crowns a stirring and exciting production. The stellar cast directed by DTC favorite, Kevin Ramsey, brings their "A" game to the stage and ignites the theatre to a standing ovation at the conclusion of the show!

Yolanda, played by Ashlei Dabney, is a street-wise teenager living in Brooklyn with her family. After Yolanda's brother is killed, Yolanda is sent to live in the south with her grandmother (Mother Shaw), played by Barbara D. Mills.  Mother Shaw and her friends teach Yolanda about the historical and contemporary social functioning of the hats they wear to church and around town. Of course, life-lessons are taught through these stories.

The ensemble cast of six women and one man has a great rapport. Their soaring voices deliver such classics as "Oh When the Saints" and "I've Got Joy Like a Fountain". The lady sitting next to me couldn't resist singing along!  Ms. Mills' performance is stellar: she has a commanding, matriarchal presence that is needed in the portrayal of a good Christian southern woman who dons many hats. Listening to her sing is like being saved.  A performance that is not to be missed!

Oh, I can't forget to mention the crowns! Designed by Brian Strachan, the hats are large and colorful to match the stories of the women who wear them! The gorgeous hats will be sold at the end of the run, with the proceeds benefiting DTC.

  

Crowns runs through April 29th. For more information visit www.delawaretheatre.org or call 302.594.1100. 

Distant Voices: Bringing them Closer

I left Distant Voices Touring Theatre’s afternoon salon with a lot to think about. Like most people, I had learned about the internment of Japanese Americans during World War II in school. Yet the group’s vivid portrayal of Hiroaki Nishimura’s experience as an internee communicated this despicable chapter in our country’s history in a very personal, poignant way.

Founded in 1999 by Julie Nishimura and Danny Peak, the theater group produces and tours original plays based on American social justice events and issues. Actors Michelle Jacob Stradley, David Stradley and Danny Peak create the scene of Hiroaki Nishimura’s stark existence as a prisoner. Julie Nishimura plays a touching and powerful accompaniment on the piano. The music is by composers such as Copland, Debussy and Gershwin. Nishimura also plays compositions commissioned from Robert Hogenson, which are based on Japanese children’s music and folk songs.

Hiroaki Nishimura was interned in 1942 along with about 110,000 other Japanese Americans and Japanese. Though he becomes just “number 14786” to the US Government, he still takes pride in his country, celebrating the 4^th of July along with fellow internees. It is not until 1960 that he is repatriated as an American citizen. The play, based on writings from his diary, details his dehumanizing experience.

The story of Hiroaki Nishimura, Julie Nishimura’s father and Danny Peak’s father-in-law, is an also an excellent teaching resource. The group has toured extensively in colleges and schools in this country and to the Artslink Festival in England. They have been recognized by Pacem in Terris with the Peacemakers Among Us award.

The group also performed portion of September Echoes, commission by Saints Andrew and Matthew church in Wilmington. The play deals with the repercussions of 9/11, while exploring themes of racism and human rights. Michelle Jacob Stradley plays Nadin Hamoui, a young Syrian-American who is jailed along with her mother, who eventually dies. The parallels between the internments of the Japanese Americans and the treatment of Arabs and Arab Americans are unmistakable.

With their thought provoking and moving pieces, perhaps Distant Voices Touring Theatre might help keep history from repeating itself.

The group will perform Distant Voices in its entirety at the Newark Public Library on April 29 at 2:00.

For more information about Distant Voices Touring Theatre: http://dvtt.net/home.htm

CAPE benefits Newark

Living in Newark has considerable perks. One day I can listen to collaborative pianist Roger Vignoles on CDs owned by the Newark Free Library and the next day I can hear him live at Gore Recital Hall thanks to the sponsorship of the University Faculty Senate Committee on Cultural and Public Events (CAPE).

Roger Vignoles is one of the greatest living collaborative pianists of our time and he certainly proved it in his accompaniment of UD faculty member Robert Brandt in the Winterreise by Franz Schubert.

This rather underadvertised concert had a small audience -- the most vocal of whom seemed to be baritone Dr. Robert Brandt’s students. But those who missed this evening missed hearing a perfectionist. Mr. Vignoles’ technical skills are so solid that he is able to concentrate on the finer points of absolute dynamic control – final chords which he dared to make so soft that the notes risked not speaking – yet they did. His remarkable concentration made incredible changes of mood and tone within the rich variations of the music Schubert used for the twenty-four cloyingly romantic poems by Wilhelm Müller.

Dr. Brandt is also quite fluent in German which makes for a convincing portrayal of ideas expressed in colloquial fluency. His voice is quite rich and strong and he still seemed fresh and energetic even after singing for over an hour with no break.

When stars like Mr. Vignoles are lured to a tiny town like Newark, it means the music department at the University of Delaware has reached a level of sophistication which can only be attributed to their excellent staff and to the economic power of the University Faculty Senate Committee on Cultural and Public Events.

Go CAPE!

Pop-rock Musical, Next to Normal, Soars at The Everett Theatre!

Next to Normal is one of the bravest musicals I have ever seen. The compelling show tackles mental illness, a subject that's not usually explored in musical theater.

The musical, with music by Tom Kitt and book & lyrics by Brian Yorkey, focuses on a suburban family in crisis and coping with the matriarch's battle with mental illness. Like most mothers and wives, Diana is trying her best to love and raise her children, while being a dutiful wife; unlike some mothers and wives, she's also living with bipolar disorder.

With the help of her husband (Dan) and her doctors (Dr. Fine and Dr. Madden), Diana is trying to manage her high and low periods and manic situations. However, the stress of her illness is affecting her relationships, especially with her teenage daughter (Natalie), a genius and musician. Natalie, who recently started dating her first boyfriend (Henry), is at an age when she needs her parents' guidance. Unfortunately, Diana and Dan are consumed with Diana's situation and are not able to give their daughter the attention she needs. Diana and Dan's son (Gabe) on the other hand, is elusive and "not exactly always around." The family contends with the many therapy options for Diana's illness and the stress of living with someone who is not always able to control her actions and moods.

Next to Normal is written from the point of view of Diana's, as well as the rest of the family, allowing the audience to gain a better understanding of what a person with mental illness and his/her family members experience. Director, Jeffrey Santoro handles the show with great sensitivity, but he doesn't hold back. He takes on the stressful situations in the show with great vigor and his actors follow his lead. Karen Murdock electrifies as Diana. She's stunning in a role that calls for her to delve deep inside to find the many emotions and feelings that her character experiences, regardless as to how dark they may be at times. Patrick O'Hara as Dan, Alyssa Lewis as Natalie, and Tyler DeFriece give powerful and heartbreaking performances as Diana's family. They walk a tightrope of trying to maintain stable lives while trying to care for Diana. Dale Martin, Jr. as both Dr. Fine and Dr. Madden and Alexander Vanderlek as Henry also give solid performances.

Next to Normal is a show that shouldn't be missed. Hopefully, people will not only be entertained by the musical, but also gain a better understanding of mental illness and the impact it has on the family unit.

The final performances for Next to Normal at The Everett Theatre (47 West Main Street, Middletown, DE) are March 16^th and 17^th, at 8:00 PM and March 18^th, at 3:00 PM. A talkback with the cast and NAMI Delaware staff members will follow the March 18^th performance. Visit www.EverettTheatre.com or call 302.378.7038 for tickets.

February was Full of Album Writing in Delaware!

2012 FAWM'ers onstage at The Queen

I've said it a hundred times, but it begs repeating: There is so much talent here. And all the evidence you needed was in the house at World Cafe Live at The Queen on Sunday evening. Fourteen local singer-songwriters showcased their talents at the February Album Writing Month (FAWM) Showcase---nine as first-time participants.  Our local "FAWM'ers" hailed from throughout New Castle County and surrounding areas like Landenberg, West Chester & Philly.

Their charge?  Compose 14 songs in 28 (well 29, really) days, then show us what they've got. And, show us they did! The line-up and styles were so diverse, there really weren't any that I didn't enjoy, from a much-respected artistic POV.  Each artist presented three original songs, most accompanied by guitar or piano; several collaborated on pieces, enhancing the whole group vibe of the project.  It was thrilling to see so many artists connecting to and being inspired by one another---kinda like the final show of a "Songwriter's Camp".

But I have to give you some faves, so here goes.  First, I have to shout-out to first-time FAWM-er and Delaware Arts Info blogger, Jessica Graae.  She said she was nervous, but onstage she certainly didn't let on.  I loved her second song, Waiting Patiently, a heart-wrenching widow's tale, although I would loved to have heard the potential composition about searching for a bathroom on the Jersey Turnpike.

Although we arrived at the end of his set, I loved Michael Natrin's voice and snapped up his free CD to enjoy what I missed. (I'll have to report back on that later, sorry Michael.)  My gal pal and her daughter cracked up at Nancy Huebner and her dog Rusty's lovesick tale: The Doggie Dance, and we all belly-laughed through Todd Chappelle's musical romps: Beige, That's My Soup and More Than Bacon.  Erin Magnin, who collaborated on a few numbers throughout the night, struck me with her beautiful ode to a girl who paints her dreams on her body (Violet's Dreams); she simply drew me into Violet's world and made me wish I could do the same!

But I was mostly taken in by the voices of Evangelina Guajardo, Chelsea Sue Allen and Matthew Halley. Evangelina's voice was soulful, rich and quietly powerful. Her piece about a young hitch-hiker made my heart ache. Chelsea had the most interesting sound---a deep, smoky, haunting voice that blended well with her guitar-playing and garnered some of the biggest applause of the night. My friend and I were trying to pinpoint who she reminded us of and finally settled on Fiona Apple.  Matthew Halley (and hope he's not offended by this because I intend it as complimentary) had a wonderful, easy-going and mellow/folky sound that reminded me of the 70's songwriters I love: Glen Frey & Don Henley; Dan Fogelberg; England Dan & John Ford Coley.  I loved his collaboration Finding My Feet with Erin Magnin and Em McKeever, the event organizer. The three of them should tour together.

You can check out all the FAWM'ers on the website below.  Hopefully, you'll revisit the project next year and see what else they have in store for us.  In the meantime, seek out these artists and enjoy their talent...they're some of Delaware's hidden gems!

See www.fawm.org.

See The Gingerbread Lady at Chapel Street Players Before She Crumbles!

Although Neil Simon wrote The Gingerbread Lady in 1970, many of its themes - dysfunctional relationships, co-dependency, alcoholism, unemployment, and the fear of growing older - will resonate with today's audiences. All of these topics are fully explored during the dramedy now playing at Chapel Street Players.

Evy, a once celebrated cabaret singer, returns to her New York apartment after a lengthy stay at a rehab. While she is trying to put her life back together, her daughter (Polly) decides to move in with her, her two best friends (Toby, a vain upper crust woman, and Jimmy, a gay unemployed actor) share their hardships with her, and her former lover (Lou, who had left her for a younger woman) re-enters her life. This is a recipe for disaster, especially for someone as self-destructive as Evy.

Susan Boudreaux successfully tackles the difficult task of making the audience like Evy. Evy's self-centered, but she's also vulnerable and childlike. As much as you disagree with her decisions, you also root for her, hoping that by the end she will be on the path to sobriety and happiness and not crumble "like a gingerbread lady". Ms. Boudreaux's co-stars also gave fine performances, especially Ed Emmi as Jimmy and Pat Cullinane as Toby. Both actors brought much-needed comic relief to the play.

Although I enjoyed the performances, I was distracted by the costumes. The play is set in the 1970s, yet the costumes were a mix of apparel from the '80s and '90s. I expected to see leisure suits, bell-bottoms, and groovy clothing from The Brady Bunch era, but the costumes looked like they came from The Facts of Life and Ally McBeal eras.

Regardless, The Gingerbread Lady is a great piece of theater that should be seen before it closes on March 10. For tickets visit www.chapelstreetplayers.org or call 302.368.2248. 

CTC Stays Cruel, Calm & Neglected

Photo: CTC

In his Playwright's Note, David Robson describes his short work as "absurd, profane, silly, bizarre, take-no-prisoners kind of stuff." Cruel, Calm & Neglected is all of those things, and, at its best, is pretty deep, too. Not that the silliest pieces aren't fun. "Mel and Mee" is a sort of twisted Mel Gibson fantasy featuring Melissa Dammeyer and Kate Brennan; in "Head First," Kevin Regan plays a toilet as Andrew Mitchell and Suzanne Jean Stein's Peter and Rachel do an odd (and sort of gross) dance of old and comfortable romance; and "You Rang," featuring Jess Eppler, Jim McCabe and Kevin Regan, is about a cell phone with a soul that once inhabited a training bra. Robson seems to go out of his way to be thought-provoking in "Ed Rex," a well-acted piece featuring Michael Gray as a sleazy (very sleazy) corporate CEO, but, though it has its moments, it ultimately feels a bit heavy-handed.

Where the absurd meets the profound best is in "The Speech," the opening piece. The play starts abruptly, while the house lights are still on and audience members are still chatting. Dylan Geringer is Dani, a young woman giving a speech to her community college class. She's frazzled, can't stay focused, and before you know it, she's happily telling the professor and the class her not-so-happy life story, parts of which are acted out with Todd Holtsberry as her mother and Greg O'Neil as her sort-of boyfriend. It's darkly funny as Dani tries to come to terms with her own potential, and more than a little bit moving. Geringer is perfect in the role.

Photo: CTC

Also strong is "Killing Neil LaBute," in which aspiring playwright James (George Tietze) writes a critical Amazon review of LaBute's new play, and finds himself in an online exchange with the famous (and, apparently, super-sensitive) stage and film writer, played by the hilarious Melissa Dammeyer in a curly wig. Did Robson himself have a little run-in with the real LaBute on Amazon? I don't know, but it's funny, whatever the inspiration.

Cruel, Calm & Neglected will be performed for one more weekend, March 2 and 3, at the Black Box at OperaDelaware in Wilmington. See city-theater.org for tickets.