Wowing Us on Wednesdays in Wilmo

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

Wilmo Wednesdays host Melissa Bernard

Here’s a solid Wilmo recipe: Start with a cool venue. Add one comedian and a variety of talented musicians in different styles, mix in an energetic crowd. When done correctly, this concoction yields one great evening of entertainment.

On August 5, Gable Music Ventures cooked up this eclectic blend of talent as part of Wilmo Wednesday at World Café Live at the Queen. Melissa Bernard does an excellent job of entertaining while the acts set up and tear down, making connections with the audience and keeping the evening on track.

Unskilled Labor

NOTE: This is not an open mic night — the evening is a curated showcase of talent from all over the mid-Atlantic  region.  Davey Dickens, Jr., sounds like a cross between Steve Earl and John Prine — an interesting blend of hard-edge country with laid-back folk.  Nave, on the other hand, brought a sophisticated hip-hop performance to the stage.  Gable's own Jeremy Hebbel went beyond his musical talent and shared a part of his soul with the audience.

Then there’s the talent of youth — from Unskilled Labor, consisting of high school students from Delaware All-State Band playing a fusion-rock sound 

Danielle Cuoco

that had many in the audience in awe, to Danielle Cuoco, a 15-year-old who seems ready to take on the music world with gusto — we saw a glimpse of what the future of music can look like, and it is good. Wilmo Wednesday is a place for musicians to connect with audiences in a casual, intimate setting and for audiences to enjoy a variety of talent, from the genres they already enjoy to some they are learning to appreciate.

See www.gablemusicventures.com.

Art POPS in Downtown Wilmo

A rendering of the pop-up gallery to be created in HB DuPont Plaza.

In keeping with this summer's "In the Plaza" arts- and entertainment-related happenings, Downtown Visions is sponsoring a free-standing art gallery and juried exhibition on Thursday, August 6, 4:30-7:30pm in HB DuPont Plaza (corner of Delaware Avenue and Washington Street) in downtown Wilmington.

By constructing a professional art venue in the park, The Shaft Space -- an artistic and curatorial collaboration between regional artists Maiza Hixson and Lauren Ruth -- seeks to generate civic dialogue, community and corporate engagement in the arts. Artists from all backgrounds were invited to submit up to three works for consideration.

As a result, approximately 40 Wilmington artists will display their work in the pop-up gallery at the Plaza. Artists' names to be announced soon.

If you have questions, email theshaftspace@gmail.com or contact Maiza Hixson at 302.415.4674.

Longwood & Brandywiners Team Up for a Fine "Fiddler"

By Guest Blogger, Julia Mason
Julia has been working in the marketing world for over seven years and has a deep passion for Wilmington, Delaware. When she is not working on revitalization efforts and exciting projects for Wilmington with The Buccini/Pollin Group, she enjoys working on her personal project, Positivelyglamorous.com.

Brandywiners' cast of Fiddler On the Roof

The charming and thought-provoking Fiddler on the Roof is now on performance at the magical Longwood Gardens Open Air Theatre.  The talented Brandywiners are putting on the production, and like the Longwood Gardens have a unique history.

The group began in 1932 with the goal to bring joy into people’s lives during the Great Depression. Chick Laird, co-founder of the group, just so happened to also be the favorite nephew of Pierre S. du Pont, owner of Longwood Gardens and the Open Air Theatre, The Brandywiners have been performing there ever since!

Fiddler on the Roof is The Brandywiners 84^th annual performance and all of that experience strongly shows through the play. The jubilant Marissa Broujos’ energy as The Fiddler can be felt strongly throughout the entire show, and her dancing was perfectly on point. William Fellner, as Teyve was impeccable at bringing out the character’s wit. Susan Brown captivated the audience with her motherly yet quick-witted personality. The real head turner was Tricia Beichner, who perfectly carried out the role as old Grandma Tzeital and was both mystifying and terrifying all at the same time!

The entire cast and orchestra did an excellent job and if you haven’t been to The Open Air Theatre to see The Brandywiners, or you haven’t seen Fiddler on the Roof, I would highly recommend attending. The play is just as wonderful as the setting and by being outdoors it somehow brings you that much more entrenched with the performance. The star-filled night sky and fireflies dancing above your heads make it all very enchanting.

P.S. The ending of play is not the end of the show, there is a dazzling fountain display, but I won’t spoil the surprise! You have to go see The Brandywiners yourself!

See www.brandywiners.org.

A Delightfully ‘Shrew-d’ Lesson Under the Stars

By Guest Blogger, Carol Van Zoeren
Carol is a 40+ year veteran of community theater and retired from DuPont.

DelShakes Opening Night in Rockwood Park

Full disclosure – I am a DelShakes groupie. I’ve attended every year since they started, and love everything about it: The Shakespeare factoids to read and pause as you trudge up the hill, the community picnicking, the beautiful setting. It just isn’t summer in Wilmington for me without them.

And the shows! Always good, and this year’s Taming of the Shrew is most delightfully one of the best I’ve seen. Director Samatha Bellomo and the cast expertly tackle the challenges of in-the-round staging, which draws the audience in so we feel we’re part of the action. The vibrant costumes by Kayla Speedy keep it visually interesting while helping guide us through the multiple disguises. And the outsized physical antics and perfect delivery of the Bard’s baudiest lines produce hearty belly laughs.

At its core, however, Shrew is a difficult play for modern audiences to square with gender equality. Both Producing Artistic Director David Stradley and Director Bellomo made this point in their program notes. The company’s struggle with threading that needle has really paid off, and I now see the play in an entirely new light.

Most of this challenge falls on the central pair Petruchio (Charlie DelMarcelle) and Katharina (Felicia Leicht), and they succeed.  Their first meeting crackles with breathless attraction, which launches a lovely trajectory for each character. DelMarcelle’s Petruchio is more caring and less cocky. Leicht conveys a delicate vulnerability, even longing, behind her brash exterior. From this grows genuine affection, mutual respect and desire for the others’ happiness. In this context, Katharina’s final monologue is not submission to a conqueror. It is liberation from self-imposed exile. Yeah, I admit I got a little weepy.

The relationships between masters and servants echo this genuine affection. Lucentio (Kevin Hoffmann) trusts his servant Tranio (Ife Foy) with his name and his love life. Petruchio’s poor put-upon servant Grumio (James Kern) always comes through in a pinch. In contrast, the Katharina’s sister Bianca (Tabitha Allen) proves to be disdainful under her “perfect” exterior, especially in a very funny Act 1 scene with her sister and father (Michael Gamache).

It’s a thrill to learn something new about a familiar play. It’s even better learn something new about oneself. DelShakes delivers on both, and proves once again that Shakespeare always has something to teach us. Plus, it’s just really, really fun!

See www.delshakes.org.  

A Ladybug Preview & Album Review

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

Photo courtesy of Nalani & Sarina.

At first listen, Nalani & Sarina’s new EP, Scattered World sounds like a well-blended mix of pop and soul with just the right amount of funk and rap added for extra flavor.

But listen closely and you can hear the influences the identical twins grew up with –stellar lyricists like Leonard Cohen and Bob Dylan, as well as the classical music training they received in childhood.

Like many sibling musicians, Nalani & Sarina Bolton not only blend voices perfectly, but seem to match each other’s energy and style in every track – from the opening anthem “We’ll Be Free” (which promises to be a great number for live performances) to the haunting “Shadows in the shade.”

Themes running through the tracks of Scattered World cover things as difficult as teen runaways and adolescent confusion without family or community support, to a celebration of love and freedom.

Whether you appreciate 60s soul, 70s funk, 80s dance, 90s hip-hop, or modern pop, Nalani & Sarina have something for you musically to enjoy while engaging your mind with thoughtful, well-placed lyrics.

Nalani & Sarina will be playing the Ladybug Festival in Wilmington on Thursday, July 16. The free event features some of the best performers in the mid-Atlantic region.

Find out more about Nalani & Sarina: http://nalanisarina.com/

Find out more about the Ladybug Music Festival: http://theladybugfestival.com/

Summertime Art Looping in the City

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

Pablo Picasso said, "The purpose of art is washing the dust of daily life off our souls."

Wilmington offers that opportunity to "wash the dust off" and appreciate new perspectives every month through the city-wide Art Loop (aka Wilmington's Art on the Town).

July's Art Loop featured more than a dozen exhibitions at places as varied as government buildings, restaurants and community outreach centers. The work displayed is just as eclectic --- from photographs focusing on compartmentalization (Joe Natale at the Grand Opera House, above left) to large murals exploring questions of space, dimension and emotion (Ken Carley at Connections West End, above right).


"Art is not a handicraft," argues Leo Tolstoy, "it is the transmission of feeling the artist has experienced."

Artist Michael Silva (left) uses acrylic, oil and wood burning to transmit his experiences of beauty at the leasing office of 2nd and LOMA, while Jo Worme (right) experiments with a variety of canvases, including boards, to show her ability to capture the feeling of creativity and action at Film Brothers Movie Co-op.

In addition to interesting and engaging visual arts, venues like the Delaware Center for the Contemporary Arts and LOMA Coffee featured live music throughout the evening.

President John F. Kennedy said, "If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him."

The arts, business, non-profit and government communities in Wilmington have demonstrated a commitment to provide artists in the area with the platform to share their considerable talent. It's now up to us, as a society, to do our part. You can start by taking a few moments to simply gaze at the work being created; you just might find the dust of daily life being washed off your soul.


The Wilmington Art Loop is normally held the first Friday of each month. 
 
See www.artloopwilmingtonde.com. 

A Fest of Gore, Splatter and Camp with Bootless' Evil Dead, The Musical

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

Bootless Stageworks production of Evil Dead, The Musical.
Photo by Kent Grant.

You know you're in for a fun theatrical experience when the orchestra is dressed in t-shirts and stage hands have mops at the ready to clear the stage and front row of the splatter and gore sprayed, flung and cascaded over the audience.

And with cheesy grins, knowing winks and truly horrifying puns (as if there's any other kind), the cast and crew of Bootless Stageworks provide that with Evil Dead, The Musical.

From the peppy and poppy opening song "Cabin in the Woods" where our band of happy campers are heading to their Spring Break getaway to the triumphant finale of "Blew That Bitch Away" where our hero is figuratively carried around by customers and fellow employees at the local box superstore, Evil Dead, The Musical entertains and engages the audience.

You need not be familiar with the original 1981 cult classic Evil Dead or the franchise in order to follow and enjoy Evil Dead, The Musical --- but if you're a fan, your heart should jump at some of the iconic poses and lines in this production.

The cast of Evil Dead, The Musical. Photo by Kent Grant.

The plot is your basic "friends go camping, discover book that unleashes evil, fight evil and create much blood and gore in the process" story. For anyone who has seen a trailer for any movie featuring young people, camping and a scream, there is no such thing as a "spoiler" in describing this play --- and the writers capitalize on that from the beginning with lines like, "We're five young people headed to a deserted old cabin in the woods... what could possibly go wrong?"

Ryan PJ Mulholland does a great job of channeling Bruce Campbell as Ash, the hero who knows how to handle just about any weirdness that comes his way. Justin Walsh takes the best friend role of Scott to new levels during in his duet with Mulholland "What the F*** was That?"

The dialog, singing, dancing and splattering is all handled deftly by the talented cast. The special effects put together by John and Roseanne DellAversano are impressive and fun to watch. Music Director James Fuerst increases the energy on stage and adds elements to the show that no pre-recorded music could offer.

Just in case the title, descriptions of gore and song titles haven't conveyed the message yet, this is not a show for children nor for those who find themselves offended by salty language.

Evil Dead, The Musical runs July 17 and 18 at Bootless Stageworks theater located in The Annex @ St. Stevens, 1301 Broom Street in Wilmington. 

See www.bootless.org.

Music & Pet Lovers Unite: Mozart, Debussy & Beach to benefit DHA!

This event gets "four paws up" from DEWEY the ART DOG (who is also a rescue)...

Delaware Humane Association is excited to present an evening for animal lovers and music lovers alike! Violinist Andrew Irvin and pianist Hiroko Yamazaki will perform masterpieces for violin and piano of Mozart, Debussy and American romantic composer Amy Beach. The performance is on Tuesday, July 7, 7:30pm at First & Central Presbyterian Church, 1100 N. Market Street in downtown Wilmington.

A free-will offering will be accepted, and all proceeds will benefit Delaware Humane Association. Click here for the recital program and more information about the musicians.

Wrap-Up: 30 Years of Musical Magic from DCMF

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

Where has the time gone? The Delaware Chamber Music Festival (DCMF) has just wrapped up its 30th anniversary season.  The DCMF has been called one of the state’s

“best kept secrets.” Personally, I think there are far too many “best kept secrets” on the local arts scene.

DCMF Music Director and Violinist Barbara Govatos promised a program worthy of the milestone, and she did not disappoint with set lists that blended the traditional and the contemporary, old favorites and some genuine surprises. Where else would one see two double bassists over two weekends?

The first concert (Friday, June 12) opened with Rossini’s String Sonata No. 2 in A Major. Bright, breezy and charming — he wrote it when he was 12 — it nevertheless requires precision, subtly graded dynamics and purity of tone — all qualities brought by the festival quartet with deft support from debuting guest double bassist Xavier Foley.

A nice contrast was achieved with a Piano Trio by cellist-composer Gaspar Cassado. It is explicitly and ethnically Spanish from its very first chords. Pianist Marcantonio Barone, cellist Clancy Newman and Govatos are persuasive advocates of this piece that Govatos “discovered” on YouTube, and their playing is first class. The evening ended with a performance of Schubert’s much loved “Trout” Quintet. The ensemble built through the introduction to the opening Allegro with a strong sense of where the music should go, continuing with lively rhythms and balance: Again, Foley is present but never weights the players down.

The second concert (Sunday, June 14) opened on a pensive note with a performance of Heidi Jacob’s Winter Light. Inspired by the Bergman film, “In Winter Light,” this serial work has a mournful somberness about it and a highly expressive — not to mention challenging — string part brilliantly executed by Govatos. Collaborating on piano with Govatos was the composer’s husband, Charles Abramovic.

The mood considerably lightened when Abramovic and Russian pianist Alexandre Moutouzkine sat down at the concert grands to perform Brahms’ joyful “St. Anthony Variations.” Abramovic reminded the audience that the work was originally scored for two pianos and played for the first time by the composer and his close friend Clara Schumann. This was a truly superb performance, capturing all the color one would hear in the orchestrated version. I don’t think Brahms and Schumann could have performed it any better.

They then switched pianos for a performance of Brubeck’s jazz ballet Points on Jazz, a work that had personal significance for both performance. Moutouzkine recalls playing it with his mother, while Abramovic remembers Brubeck from an LP his parents owned. Like fusion cuisine, fusion music isn’t for everyone, but to quote Duke Ellington, "...there are only two kinds of music: good and bad." And this was definitely good and well-played.

The third concert (Friday, June 19) carried the theme “A Little Night Music” and featured the festival debut of double bassist Brent Edmondson, a Newark, Del. native.

One would expect to hear Mozart’s iconic Serenade in G Major, Eine Kleine Nachtmusic —always a pleasure — but not before something a bit more contemporary in the form of George Crumb’s Four Nocturnes (Night Music II) for Violin and Piano. This is truly night music: delicate and serene. The violin is heard in the highest register with wide-ranging intervals from time to time. There are long silences and occasional hints of birdsong. Only in the second Notturno does the music become a bit edgy. Govatos and Barone do the honors of exploiting the various timbres of their respective instruments: plucking, rapping on crossbeams, touching the strings on nodal points or simply depressing the keys.

Schubert explores the music of the night in his mystical Notturno, a single movement for piano trio in which the strings — Govatos and Newman — matched the gentility of Barone’s piano work. Their pizzicato was delicate throughout — not the standard pluck-away — as the musicians found their way through the muscularity of the dotted rhythms and the sonorous and lyrical slow bits.

Many have been fascinated with Boccherini’s La musica notturna delle strade di Madrid with its vivid evocation of bells, beggars, drums and the rosary. Here the quartet with the participation of Edmondson dispatched it with an elegant precision.  Barone provided an interlude of pure piano simplicity with his masterful performances of Faure and Chopin nocturnes.

The festival concluded on Sunday, June 21, with the core quartet taking on a musically and emotionally challenging set. Czech folk rhythms, national fervor, memories of youth and private anguish — the composer is coming to terms with his deafness — unite in the intimacy of Smetana’s String Quartet No. 1, From My Life. From the opening impassioned viola solo executed here by Burchard Tang to the closing pages of the finale which reduxes the dramatic falling fifth of the opening and introduces a whistling high E which signals the tinnitus that plagued the composer later in life, the quartet drills into Smetana’s anguish, creating the shivers it should.

Janacek’s First Quarter (Kreutzer Sonata) draws loosely on themes from Tolstoy’s novella: suspected betrayal, regret and disillusionment. This is music that can turn on a dime from introspection to unbridled exhibition, using small but potent motifs, a dazzling array of rhythms and an equally broad range of coloristic techniques and a chromaticism firmly rooted in the early 20th Century. The playing is positively explosive, concluding a strong season on an equally strong note.

See www.dcmf.org.

Enjoy a Raucous Romp with Killer Rabbits, Knights Who Say "Ni" and Coconuts...It's SPAMALOT!

By Guest Blogger Carol Van Zoeren
Carol is a 40+ veteran of community theater and a retired chemist and retired from being a middle manager at DuPont.

Delaware All-State Theater (DAST) has done it again, with a raucous and hysterical romp through Monty Python with Spamalot, now playing at Tatnall’s gorgeous Laird Theater. Like All-State Choir, All-State Band, etc, DAST draws on the best talent from any and all area high schools. And boy, does it show! 

Every young person on stage – whether lead, featured role or ensemble – is more than up to the task of this challenging show. This is most notable with King Arthur (Jameson May), his squire Patsy (Will Rotsch) and his merry band of knights (Keelin Reilly, Duncan Smith, Julian Manjerico and Benjamin von Duyke). It would be difficult for any single high school or community theater to pull together such a group of guys like these six. Each is a “triple threat.” 

I expected good singing and acting. Their dancing was a delightful revelation. When I noticed they were wearing tap shoes my heart fluttered, and when they broke out in a time step, I nearly embarrassed myself. The show has only one female lead, the Lady of the Lake. Seeing Lyndie Moe’s performance, I’m not surprised she won the role. Vocal chops, check. The trick is to diva it up without becoming annoying. Well done, m’lady!

Spamalot also has some terrific featured roles, including Fred (Christopher Cooke), Minstrel (Jacob Tracey), Herbert (James Christopher). Every featured performer shone in his (yes, they’re all male roles) moment in the spotlight. And contributed to the fabulous ensemble.

Choreography by Shauna Goodman was exciting and well executed. Costumes by Tim Cannon were perfect – OMG “Come out, French People!” was hysterical. The live orchestra under Clint Williams’ direction and with many student players was spot, spot on. Cute cell phone bit, too.

But overall, I have to commend Jeff Santoro for guiding his young actors well. Spamalot demands that the actors go to the edge, but not past it. It’s a knife edge. At one extreme, young performers often shy away from the comedy and pull their punches. I didn’t expect that to be an issue with these seasoned actors, and it wasn’t. On the other hand, there’s a risk of taking the comedy past the point where it serves the story and tries to serve actor instead (for example, by punching a joke too hard) which breaks the connection with the audience.

I half expected that – but for the most part every character served the story and not themselves. If it were a drama, I would call this nuanced performance. But, with Spamalot, uh, “nuance” is not a word that springs to mind. Rather, I would say…craft. Well done!

See dastonline.org.

Lear Fills Arden's Village Green with Tragedy (and Comedy)

By Guest Blogger Carol Van Zoeren

Carol is a 40+ veteran of community theater and a retired chemist and retired from being a middle manager at DuPont.

 James Kassees (Kent), Kerry Kristine McElrone (Goneril) &
Greg Tigani (Lear). Photos: Pete Lounsbury Photography.

It’s not summer unless I see some Shakespeare outdoors. Thankfully, our area offers two great opportunities every summer: Delaware Shakespeare Festival at Rockwood in July and the Arden Shakespeare Guild, now performing King Lear in North Wilmington. 

Greg Tigani (Lear) &
Lily Ozer (Cordelia).

King Lear has always been one of my favorites. I’m sure it dates back to my college days. I’d read a few plays and, well...meh. But freshman year, my professor showed us a video of the NYC Shakespeare in the Park production. When that sexy bad boy Edmund – the breeze billowing his rakishly long hair – bellowed “Wherefore bastard, why base”…um…I was…ah…let’s just say “undone.” 

Shakespeare on the page ain’t nothin’ compared to Shakespeare on the stage! And Arden’s production certainly delivers! Full disclosure: I’m friends with a lot of the people involved, and I know how talented they are. Director Mary Catherine Kelley has a dream cast, and my expectations were high. 

Robert Tietze (Edgar),
James Kassees (Kent),
Greg Tigani (Lear) &
Tim Donovan (Fool).

I consider Shakespeare productions a success if I learn, if I see, if I feel, something new, different and/or deeper than I had before. This production took me deeper into the heartbreak the characters inflict upon one another. I saw how Goneril’s and Regan’s deceitful natures poisoned everyone they touched and eventually, each other. I saw how crushed Gloucester was to realize he had placed his trust in the wrong son. I saw how Lear crumbled when he realized that words of love mean nothing. And I saw the helpers – Kent, Edgar, Cordelia – all of whom had to remove themselves from this poisonous atmosphere, whether geographically or by disguise, to protect the ones they loved. 

Emma Orr (Regan).

And more down to earth, in my 40+ years of community theater, I’ve always felt that the hallmarks of a really good production are how deep is the bench, how good is the chorus, are the smaller roles just throwaways, or are they fully fleshed out? I’d never thought about Goneril’s and Regan’s husbands, but for the first time I saw them. And I saw the huge difference between them. 

OK, logistics. Arden's Frank Stephens Memorial Theater is directly under the flight path of the Philly airport. In addition, there was a fireworks display going on somewhere nearby. The cast adjusted admirably, increasing the volume when there was aural competition. But how fabulous to have these “natural” sound effects for “Blow winds and crack your cheeks”?

My only serious logistical quibble was a certain shakiness with lines. Not because I know the play inside and out – I don’t. But being an actress myself, I recognize the full cast "deer in the headlights" look when you don’t know when, what, or how your next cue is going to come. Maybe this will get better later in the run.

See http://ardenclub.org/shakespeare-gild. 

The Grand Announces 2015 Summer Children's Theater Schedule

This information taken from release courtesy of The Grand Opera House...

The Grand Opera House is pleased to announce its 2015 schedule for Summer Children Theater that will celebrate 20 years of free entertainment for the kids! Over the past two decades, The Grand has served more than 200,000 children from across the region and we're still going strong! The Grand’s Summer Children’s Theater presents a variety of fun and engaging performances each season with free admission (a suggested donation of $5 per person is requested for reserved seating).

This year promises more exciting performances for all ages – with comedy and juggling, music and dancing, unique adventures and larger-than-life characters! The shows are designed to introduce children to the excitement of live entertainment. Most shows are appropriate for children from preschool through middle school, and all of them are perfect for schools, summer camps, daycares, and families. The Grand also offers the chance for local students to audition with Missoula Children’s Theatre and perform on The Grand’s stage.  All shows are performed at The Grand, 818 N. Market Street in Wilmington.

2015 Summer Schedule
MARK NIZER 4D – A new dimension in entertainment!
Thursday, July 2, 10:00am & 1:00pm

HOT PEAS ‘N BUTTER – As seen on Nick Jr!Thursday, July 9, 10:00am & 1:00pm

REGGY’S CARIBBEAN ADVENTURE – Reggy the Purple Party DudeThursday, July 16, 10:00am & 1:00pm

JACK AND THE BEANSTALK – Delaware Children’s TheatreThursday, July 23, 10:00am & 1:00pm

BLACKBEARD THE PIRATE – Missoula Children’s TheatreFriday, July 31, 1:00pm & 7:00pm

Running time for all shows is approximately one hour. Tickets are only $5 (suggested donation), and seats may be reserved by making your donation in advance. If you prefer to bring your donation on the day of the show, you will be given the best seats available at the time of your arrival.

To make a reservation with your advance donation, visit The Grand’s website at www.TheGrandWilmington.org/SCT to download and complete a reservation form, then return with your payment. For other questions, please contact Nora Reilly at (302)658-7897 ext. 3201 or nreilly@grandopera.org.

See www.TheGrandWilmington.org. 

Penn's Place Seeks New Artisans!

The Artisans Gifts & Gallery — part of Trader's Cove at Penn's Place — has served as an artisan small business incubator and retail shopping experience since July 2010. Located in the former William Penn Bed & Breakfast, directly across the street from the Court House Museum and central location of Delaware's National Park in Old New Castle, it has become a shopping destination for unique, handmade gifts and accessories.

Trader's Cove at Penn's Place is now seeking a few new artisans and craftspeople to fill available gallery/display space in the artist co-op.  The space can be filled by one or more artisans sharing the footprint.  Monthly rent is $167 and includes the following amenities:

• Includes A/C, heat, water, electric and trash removal
• Each room is equipped with its own A/C unit 
• Free Wi-Fi thoughout the building
• Website promotion and cooperative marketing efforts to promote your business 
• Access to Color Printer at no additional charge
• Break Room: Private room with table and 4 chairs, bathroom, closets, mini refrigerator and microwave
• Trader’s Cove: A Best of Delaware Winner coffee shop located in the building to attract additional traffic to Penn’s Place
• The Muse: A LIVE Entertainment Venue/Private Event space also designed to drive more traffic to the location 
• Cooperative Coverage: We understand that you have demands on your time outside of Penn’s Place. We cover for each other and communicate on everything...together we are greater than the sum of our parts to help grow your business
• Collaborative Effort: Meaning we are always open to new ideas and input 

The space is a cooperative effort; each occupying artist is expected to volunteer time in working in the gallery (artist themselves or their representative). Required time is one day per week (approximately 5-7 hours).

Trader's Cove at Penn's Place Hours

Thursday: 11:00am-5:00pm

Friday & Saturday: 11:00am-6:00pm

Sunday: Noon-5:00pm

For details on how to apply for artisan space, See http://www.pennsplace.net/sign-me-up.html. 

The Playhouse on Rodney Square Off to a Great Start

Delaware Arts Info is happy to report: According to initial numbers, The Playhouse on Rodney Square has already renewed more than 40% of its current season subscribers in the first three weeks of its renewal campaign. The 2015-16 Season, first unveiled at a launch event at The Playhouse on April 11, includes the Wilmington premiere of Jersey Boys, as well as return engagements of extremely popular past shows such as Annie, Chicago, Mamma Mia!, Blue Man Group and 42nd Street.  This will be the first season under the new management of The Grand Opera House administration.

“We are delighted by this enthusiastic response,” said Mark Fields, Executive Director of The Grand and Playhouse. “The patrons have confirmed our belief that we had put together an appealing, high-quality roster of Broadway favorites.”

The deadline to renew subscriptions is Saturday, May 23. The renewal process will continue through May 23, but interested individuals can order new subscriptions now. To purchase season ticket packages, visit www.ThePlayhouseDE.org or call The Playhouse Box Office at 302.888.0200. Individual tickets will go on sale at a date to be announced.

Delaware Arts Info is hopeful that initial indications of patron interest and enthusiasm will lead to an exciting new chapter in the theater's history. Congrats to The Playhouse staff!

See www.ThePlayhouseDE.org. 

"Powerful, Raw & Visceral" - OperaDelaware's Sultry "Carmen" Hits A Nerve...and Is a Hit

(L-R): Audrey Babcock, Alok Kumar and Victoria Cannizzo star in La Tragedie de Carmen.

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

OperaDelaware’s production of La Tragedie de Carmen is opera at its best: powerful, raw and visceral. Peter Brook et al. have crafted a stripped down version of Bizet’s classic that focuses on the fatal relationships between the gypsy, the soldier, the village girl and the bullfighter.

We all know the story: Carmen (Audrey Babcock) seduces the naïve soldier Don Jose (Alok Kumar) who is being pursued by the innocent Micaela (Victoria Cannizzo). Tragedy strikes when Carmen liases with the bullfighter Escamillo (Michael Mayes). The characters struggle with fate, love, infidelity and jealousy — and in true operatic fashion, most meet their fate by the time the curtain falls.

The opera is sung in French with English translations above the stage to help the audience follow the action.

The 1981 adaptation retains all of the musical treasures — albeit reordered — of the 1875 original: Carmen’s Habanera and Seguidilla, Don Jose’s Flower Song and Escamillo’s swaggering Toreador Song.

But gone are the cigarette girls, the children’s chorus and the other grand trappings of Bizet’s four-act Carmen. Brook’s hybrid — is it an opera? a play with music? — cuts Bizet’s work in half to about 80 minutes, delving into the visceral realism of Merimee’s novel.

The production’s stage design is equally economic: simple sets, lighting and costumes evoke the world of Carmen without distracting from the best part of the production: the singing.

Cannizzo, a soprano, sings with all the desperation and urgency one would expect of a lovesick innocent yet she never fails to fill the theatre with her lush, powerful voice. Too bad we only get to hear her at the beginning and end of Brook’s version.

Babcock, a mezzo-soprano making her OperaDelaware debut, possesses a voice that grabs you and compels you listen. Her voice suits Carmen perfectly; it is fiery, rich and sultry in a most convincing way.

Tenor Kumar sings as if his heart is breaking, evoking sympathy for his dupe of a character. Maybe he’s not as innocent as he seems, but he’s certainly no match for the morally depraved Carmen.

Mayes, also making his OperaDelaware debut, uses his deep, dominating baritone to supply Escamillo with enough sex appeal to balance Babcock’s seductive performance.

And Babcock does deliver one sexy performance. Her stage presence and movements are devilishly defiant, lighting up cigarettes only to blow smoke into the face of her rivals. She shamelessly flirts, only to discard a love interest when another strikes her fancy — even though she has a husband conveniently tucked away. And she is often seen sitting with her legs spread apart, her dress draping between them to maintain some sense of propriety. Now, all this is tame by today’s standards, but in the 19th Century, it was truly shocking.

Feminists may have latched onto Carmen as the epitome of a strong, sexually liberated woman, but Bizet makes it clear: sleep around and you pay the ultimate price.

Because of its brevity, accessible music and age-old plot of fate, love and jealousy, La Tragedie de Carmen gives the uninitiated a great introduction to the world of opera. For veteran opera goers, it offers a fresh look at a classic.

See www.operade.org. 

Another "Provocative Pairing" Season Performance by Mélomanie

Composer Larry Nelson (left) talks about his piece, Moonbow.

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

Mélomanie capped its season with one of its most eclectic programs to date. Sunday’s concert treated its audience to a Delaware premiere, a fiery Latin tango and several interesting representatives of the Baroque era.

Moonbow, the second premiere of the season, is a commission from Larry Nelson, a colleague of Mélomanie flautist Kimberly Reighley at West Chester University. In case you’re wondering, a moonbow is a rainbow produced by light reflected off the surface of the moon (rather than from direct sunlight) refracting off moisture in the air. The subject matter fits nicely with Nelson’s fascination with timbre, a motivating factor in his work.

The piece consists of 13 sections, each flowing into the next and exhibiting a wide variety of musical styles. There’s a blues chorus, a pensive “cello float” and a very un-Bach-like contrapuntal section requiring each instrument’s participation.

It was pleasing to hear Richardson’s harpsichord step out from its usual supporting role. One section — Angelic over vamp I and II — had the instrument chopping chords that were tonally distinct from the rest of the ensemble. Richardson also concluded the piece, playing in gospel style.

The piece is a demanding one, and each member of the ensemble contributed a strong performance.

Argentina for flute, violin and cello by Christopher Caliendo offered a stark contrast to the introspective quality of Moonbow. Once again, Caliendo proves he knows how to write for the flute. Reighley’s fiery playing carried the piece as it got support from a punchy accompaniment of Latin rhythms provided by violinist Christof Richter and cellist Douglas McNames.

The Baroque was well-represented with works by Boismortier, Telemann and Vivaldi. The participation of guest artist violinist Daniela Pierson allowed the ensemble to program works it would not normally have been able to perform.

Guest violinist Daniela Pierson (right) performs with Mélomanie.  

The concert opened with the Sonata IV in D Major (Op.34/4) by Joseph Bodin de Boismortier. Also known as the “French Telemann,” Boismortier took advantage of the demand for technically accessible and melodious music by the growing population of amateur musicians in the 18th Century. Partly for this reason, his works have not received the respect they deserve. The musicians gave a sparking performance of this short but aesthetically pleasing work that demonstrated the composer’s command of the rules of harmony and counterpoint as well as his gift for melody.

Violinists Richter and Pierson teamed up for Telemann’s Gulliver Suite, another piece written for amateur musicians. Swift’s satire gave Telemann the idea for a programmatic dance suite, each of whose movements recalls Swift’s characters with musical gestures. Richter and Pierson provided a nice interplay in the fifth and final dance — a loure —which contrasted the civilized Houyhnhnms (Richter) with the untamed Yahoos (Pierson).

The concert closed with a performance of Vivaldi’s Sonata XII in D Minor (Folia), which is actually a set of 20 variations on “La folia,” a musical theme dating back to the 15th Century. Like other composers, Vivaldi sought to emulate Corelli’s version as evidenced by his choice of virtuosic flourishes. Vivaldi takes advantage of the extra violin — provided by Pierson — to engage in imitative play.

See www.melomanie.org. 

A Bit of Musical Heaven, Courtesy of Brandywine Baroque

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.
Brandywine Baroque topped off its 2014-2015 season as it has in years past with Harpsichord Heaven, a weekend festival featuring lectures and concerts by noted musicians and scholars from across the U.S. and Canada.

Brandywine Baroque founder and artistic director Karen Flint kicked off Saturday’s “marathon” with a concert of works by Jacques Champion de Chambonnieres, the founder of the French harpsichord school. Each of the 10 visiting harpsichordists then presented 40-minute concerts every hour on the hour. The day culminated with a Bach recital performed by British-born harpsichordist/scholar Davitt Moroney of the University of California at Berkeley.

But if you were pressed for time — or in the mood for something a bit more adventurous — Sunday’s Grande Finale performance was your ticket. This extravaganza brought all 10 musicians up front playing on five vintage harpsichords from The Flint Collection. The concert offered a cross-section of styles from across Europe, including Great Britain, Germany, France and Italy.

Particularly noteworthy were performances of two concerti for two harpsichords. Leon Schelhase and Luc Beausejour performed the Allegro movement of Joseph Schuster’s work in D major while husband and wife harpsichordists Gwendolyn Toth and Dongsok Shin offered the Allegro movement of Johann Gottlieb Graun’s composition in B-flat major.

Flint and Moroney reprised their performance of Nicholas Carleton’s Praeludium and a Verse in D for two to play. Only one part of the manuscript exists, so Moroney supplied his part, providing some interesting facts about the piece to the audience.

It was especially pleasing to hear Flint perform her arrangement of Lebegue’s Les Cloches. Although intended for organ, the composer noted that it was “suitable” for harpsichord, and the shimmering tones of the instrument certainly brought to mind church bells.

Twenty hands on five vintage harpsichords provided plenty of opportunities for performing transcriptions. These included the Entrance of the Queen of Sheba from Handel’s Solomon, the Passsacaille from Handel’s opera Radimisto, and Bach’s Brandenburg Concerto No. 2 in F major.

As always, there was a “surprise” in the final performance, and this year the musicians played their version of musical chairs to Handel’s Hallelujah chorus from the Messiah. At times, it sounded as if the audience was going to break out in a full-fledged Messiah sing- along. As with any game of musical chairs, one of the participants ultimately has nowhere to sit. Here that honor was bestowed on Arthur Haas — who rose to the occasion and “conducted” the final bars of the piece.

See www.brandywinebaroque.org. 

"Because of Winn-Dixie: A New Musical” is far More Than a Children’s Show

The Delaware Theater Company’s final production of the 2014/2015 Season explores death, loss, abandonment, alcoholism, and incarceration -- themes not typically associated with a children’s show. However, Because of Winn-Dixie: A New Musical isn’t a typical children’s show. Yes, the production has a group of talented youth in lead roles; yes, it has a cute dog as the star; and yes, it has a logo that features a little girl about to shake a dog’s paw, but the show has depth and is actually about the impact adult situations have on children.

The new musical with book and lyrics by Nell Benjamin and music by Tony award winner/recording

The Because of Winn-Dixie cast.

artist Duncan Sheik perfectly incorporates singer/songwriter, country, blues, and gospel styles to propel this coming-of-age story. Opal (Kylie McVey) and her father, Preacher (Clarke Thorell), are adjusting to life after the abandonment of Preacher’s wife/Opal’s mother and a recent move to a small southern town, where Preacher will lead a Baptist church. 

Through Opal’s adventures we meet the quirky townspeople (Miss Franny, The Librarian - Carolyn Mignini; Otis, The Pet Store Man - Christopher Ryan Grant; and Gloria, The Witch - Joilet Harris), the children who Opal befriends (the snooty bookworm Amanda Wilkinson - Leonay Shephard, the young perky Sweetie Pie Thomas - Anya Rothman, and the pesky brother duo Dunlap and Stevie Dewberry - Nicholas Barasch and Evan Dampman), and the children’s parents (single mom of two boys Jeanne Dewberry – Magie Kakis, Amanda’s standoffish parents Carl and Millie Wilkinson – David Jennings and Kimberly Fairbanks, and Sweetie Pie’s good ol’ southern parents Jiggs and Callie Thomas – Brian Michael Hoffman and Jenna Pastuszek), as well as a stray dog (Bowdie) that Opal meets at the local Winn-Dixie grocery store. Opal adopts the dog and appropriately names him after the popular southern grocery chain.

On the outside, life seems to be “normal” for the townspeople and their children, but as the show progresses it’s revealed that each family and/or person is dealing with hardship. Not wanting to face their challenges, the parents ignore the situations and don’t discuss the matters with their children, while the other townspeople are willing to share their adverse stories and become friends with the youth.      

Since the show has a somewhat complex story, director and choreographer Marcia Milgrom Dodge has the difficult task of ensuring Bowdie doesn’t upstage his human co-stars, which could lead to losing the narrative of the show. Thankfully she successfully achieves this task. She manages to give ample time to both Bowdie and his cast mates to shine on the stage, while the story comes to life.

Kylie McVey and Bowdie in Because of Winn-Dixie.

The lead human in the show shines bright, along with the rest of the cast! For being so young, Miss. McVey has a great voice and strong acting chops. She is wonderful as the brave and curious twelve-year-old Opal who longs to connect with her father and gain a better understanding of her mother’s actions. Equally as good is Mr. Thorell as Preacher. He gives a compelling performance as a man who is trying to cope with his wife’s leaving, raising a daughter on his own, and establishing himself in a new community. Their number “Thirteen Things” is touching as Preacher describes his wife’s good and bad virtues to his pre-teen daughter.

Like Miss McVey. Miss Shephard also has a great voice and strong acting chops. With remarkable stage presence, the young actress perfectly captures the feelings of a girl who maintains a tough exterior to shield her inner sadness. The reason for her steel personality is revealed during a duet with Miss McVey (the riveting and haunting number “Not True At All”). While Miss McVey’s character finds solace in her new dog, Miss Shephard’s character finds comfort in her books. Wanting to Read, rather than play with the children of the town keeps her character from establishing relationships with others. The show opens with her reading A Tale of Two Cities and towards the middle of the show she is moving onto Gone with the Wind.

Both Ms. Mignini and Mr. Grant give stirring performances in their respected roles. Ms. Mignini, the wealthy librarian with long southern roots captivates during her number “Sweet Life” -- a reminder that the Civil War wasn’t as glamorous as it is portrayed in books and films. Mr. Grant seamlessly handles his multiple duties; he not only performs the part of Otis, the ex-convict owner of the town pet store, he also plays the guitar and at times interacts with the band.

The highlight of the show is Ms. Harris’s explosive performance as a town outsider, Gloria. The children believe Gloria a witch, because she mysteriously hangs empty bottles on her tree. The unpleasant reasons for hanging the bottles are revealed during her exuberant show stopping number “Bottle Tree Blues”! She brings great humor and style to this dark, but upbeat song.

Of course I have to mention Bowdie as Winn-Dixie. Expertly trained by Tony award winner William

The children of Because
of Winn Dixie.

Berloni, the shaggy dog follows both voice and touch commands (without having to get a treat). Only a person with a cold heart wouldn’t fall in love with the lanky 85 pound standard poodle mix. 

Bowdie is very fortunate to play on a fantastic set by Allen Moyer. With an elevated tier for the band, set pieces easily enter and exit the grocery store-like checkered floor stage. To invoke the southern charm atmosphere, Mr. Moyer has decorated the proscenium of the stage with pictures of Winn-Dixie stores and other southern images.

Make sure you see Because of Winn Dixie: A New Musical before it closes and moves to Broadway. The show runs through May 3, at the Delaware Theatre Company. In honor of producing a show that features a dog, DTC will host three community adoption events between 10:00 AM and 2:00 PM on April 18 (Delaware SPCA), April 25 (Faithful Friends) and May 2 (Delaware Humane Association). A ticket to the show is not required to attend the adoption events. Visit www.delawaretheatre.org  or call 302.594.1100 for additional information and tickets.