Assassin: A Gripping Tale of Morality, Choice and Redemption

By Christine Facciolo

You don’t have to be a football fanatic to appreciate the Delaware Theatre Company’s production of Playing the Assassin.

That’s because Playing the Assassin isn’t really about football — per se.

Playing the Assassin by David Robson.
Photo courtesy of Delaware Theatre Company.

Still there’s plenty of up-close body-slamming action in the form of a spirited — and sometimes disturbing — debate about sports ethics, morality, choice, responsibility, family, race and just about anything else the play’s two characters care to toss into one intermission-less act of conversation/altercation.

The work by Wilmington-based playwright David Robson premiered last year at Rockland County, New York’s Penguin Repertory Theatre under the direction of Joe Brancato, who reprises those duties here in Delaware as do other members of his team, including actors Ezra Knight and Garrett Lee Hendricks.

Knight turns in a gripping performance as Frank, a now-retired football legend whose dirty on-the-field tactics earned him the nickname “The Assassin” and who was responsible for inflicting a devastating in-game injury on an opposing player, rendering him paralyzed from the neck down.

The action takes place in a modern yet not-quite-five-star hotel suite in downtown Chicago. Frank has been flown in by a segment producer from CBS Sports for a much-hyped pre-Super Bowl sit-down with the player he injured years ago.

Robson bases the plot on a real-life incident. During a 1978 pre-season game, Oakland Raider Jack Tatum plowed into New England Patriot Darryl Stingley rendering him a quadriplegic. The two men never spoke again. The incident became a symbol of violence in football, tainting Tatum’s legacy right up to his death in 2010. (The incident was prominently displayed in the headline to his obituary.)

Playing the Assassin is the product of Robson’s musings about what might have taken place if the two players had met and attempted a reconciliation.

Hendricks plays Lewis, the suited-up, buttoned-down, eager-to-please (if somewhat green) producer charged with convincing Frank to sign a contract for the no-holds-barred interview which is to include an apology. Lewis seems a bit too interested in the details of the accident, the reason for which comes through later in the play. What follows is a cat-and-mouse game between the vainglorious Frank and the persistent Lewis, culminating in a demonstration of Frank’s tackling prowess which turns shockingly violent.

Frank grows increasingly suspicious of Lewis, accusing him of lying about the other party’s willingness to participate in the interview. In the midst of it all, we learn that Frank has written his memoirs which make no mention of the tragic incident that captured international media attention.

Both actors manage worthy and durable performances as their characters evolve through a series of striking revelations and twists of fate that at times seem strained and contrived.

Knight is a standout in the meatier of the two roles. He deftly combines the swagger of his past glory with the stark reality of his diminished physicality and a deep-seated guilt and anger over an incident that has shadowed him and tainted his legacy.

Hicks initially presents Lewis an affable production assistant but gradually blends in a hostility that presages a deep-seated resentment and belligerence.

Robson does not directly address some of the weightier issues facing football today, namely, fan complicity in the glorification of gridiron violence and the league’s failure to prepare players — especially injured players — for life after the big leagues.

But then, Robson didn’t set out to write a play about football. Just a story about two men who at the sound of the two-minute warning need to make a play for redemption before the clock runs out.

Playing The Assassin runs at Delaware Theatre Company through November 8.

Bootless Delivers Theater for Sci-Fi Geeks, with Star Wars, a New Musical Hope

By Guest Blogger, JulieAnne Cross
JulieAnne is a Wilmington-area do-gooder, specializing in public relations, communications and events, with a focus on the dining industry. Her first arts job was in the opera industry two decades ago, and she famously states that her “only talent is pushing pencils.”

As a regular patron of Bootless Stageworks’ productions, I look forward to seeing the schedule every year. Familiar pop culture stories appear in some shape or another, year after year: Evil Dead (four times now?), Terminator the Second, Musical of the Living Dead, Texas Chainsaw Musical, Jerry Springer, the Opera. I had seen a Bootless production of Star Wars, a New Musical Hope in 2012 and when they announced its return, I was certain I’d see it again.

Although I’d never honor myself with the label of 'sci-fi geek,' the Star Wars movies have, for years, created a common ground for family-time entertainment choices with my now 14-year-old son. While he was all weapons and action figures and play fighting, I was all art and theater and film, and Star Wars was a terrific compromise. Nevertheless, he became my “theater buddy” from a young age, seeing countless Shakespeare productions, literary classics and Broadway hits starting around age 4. Whimsical productions, such as what Bootless offers, ensured there was some payoff for him during those awkward years when I had to push a little harder to get my theater buddy on board with my entertainment plans.

This production was a musical parody of Star Wars, Episode IV: A New Hope, scripted by local playwright, Jeremy Gable, and with music by Timothy Edward Smith and Hunter Nolen. The cast consisted of Caleb Duffy (Luke), Shaun Yates (Obi-Wan Kenobi), James Fuerst (Darth Vader), Ryan PJ Mulholland (Han), Maria Leonetti (Leia), Christopher Waters (C3P0), and Bob Ferst (a 7-foot-tall Chewbacca) as well as Wes Belli, AJ DellAversano, Bob Demarco, Mark Dixon, Mariza Esperanza, Robin Fanelli, Shamus Halloran, Shawn Kline, Andrew Laino, Tom McCarthy, Sean McGuire, Samantha Moscony, James Scotland, Luka Villani and Sedric Willis. Rosanne Dellaversano directed.

What I’ve come to expect from Bootless when they stage a parody is home-spun special effects created with a sustainable, 80-seat theater budget. There is a certain level of amusement that comes from seeing how Bootless delivers on something a Hollywood director had tens of millions to spend on. (Oh, the amount of cardboard used in Terminator the Second! Such a contrast to the Shakespearean dialogue.) I’d like to think I can suspend disbelief more easily for a sustainable budget than I can for a behemoth, and I know I’m not the only one who loved Bootless’ solution to the car chase challenge in Terminator the Second.

For Star Wars, the MOE 365 FIRST Robotics Team created a robotic R2D2. It was thrilling to see it roll out of stage right unassisted on opening night, and none too surprising to hear the mechanical parts struggling as it failed to roll back out again at the end of the scene. To be clear: PLEASE TRY THIS AGAIN NEXT TIME, BOOTLESS! I love your risk-taking and whimsy and I’d rather see Anthony crouching down to save R2 from falling over during the scene than see you not take the risk.

Bootless made effective use of several video projections, and a simple structure representing the cockpit of the Millennium Falcon did the trick for travel scenes. Otherwise, the staging was fairly sparse; given the number of people who needed to be on stage together during some scenes, this was understandable. The trash compactor scene was well-executed with the old Kuroko-holding-a-moving-wall trick.

When you know a story as well as I know Star Wars, it can be challenging to stay “in the moment” and one’s mind focuses on funny little details. I could not figure out why the heck Obi-Wan’s sleeves were tucked into his robe, until he “disappeared” through the left curtain, leaving his robe in the familiar puddle that marked his mortal exit in the film. I’m laughing now as I write about it…very cute. Other costuming and staging details that entertained: the brown creature consuming a dead Greedo in the Cantina, the purposely repeated scenes with the same two actors behind the bar/control panel, the tiny skeletons after the Tattooine slaughter, Luke’s blindfolded piñata-esque training scene. The Chewbacca costume was excellent, and Ferst managed his stilts masterfully. I was certain C3PO was going to inadvertently drop trou, a couple of the Stormtroopers had camel-toe, and I really wanted Leia to have boots instead of ballet flats, but we’re talking about sustainable theater, not obsessive cosplay.

I recall past productions where Bootless incorporated live music and I look forward to more of that; if a theater has to use canned music, making sure it works well is key, and I don’t recall any technological distractions, volume was just right, speaker quality was good, etc. Lighting was equally digestible.

Bootless had artist Blair Webb drawing live on site, having designed the promotional art of the production. The costumed cast came out after the show for photo opportunities. These were extra special touches for sci-fi fans and theater lovers alike. The stage speech was intentionally drawn out: a large party was stuck in traffic and their post-start arrival would have been disruptive to the rest of the audience.

Although I enjoyed some of their previous venues, it is nice the Bootless has found a stable home at St. Stephen’s Church. Online ticketing now includes seat selection, which is extraordinary for a theater this size. Pricing is affordable. I have never yet had difficulty finding parking in the vicinity of 13th and Broom. All in all, Bootless consistently offers a good customer experience. (Not to mention their traditional “splatter zone” seating for gore-themed productions.)

The run for this show has ended, but be sure to check out Bootless’ production of The Light in the Piazza – a “nearly operatic” musical, including some Italian language singing –starting November 6. 

See www.bootless.org. 

Mélomanie and The (Conscious) Universe Come Together

By Christine Facciolo

Mélomanie performs with guest artists
Kevin J. Cope, composer/guitarist and Todd Thiel, cello. 

Music and physics have a long and storied relationship. The Greeks used musical constructions to explain the orbits of the planets. Even today, popular science books like Brian Greene’s The Elegant Universe use musical analogies to explain string theory.

So it came as no surprise when composer/guitarist Kevin J. Cope told the audience for Mélomanie on Sunday that his passion for physics and cosmology provided the inspiration for "Conscium Universum (The Conscious Universe)," the work written especially for and premiered by the ensemble at its October concerts.

The composition features musical depictions of four major discoveries: The Copernican Revolution (multiple, revolving melodies); Einsteinian Relativity (rhythms that illustrate time slippage); Quantum Mechanics (melodic particles tossed among the instruments) and Hubble’s Law (simple melodies that slowly drift away from each other).

Needless to say, the musicians had a lot of fun with this piece, especially Richardson who played a “drunk dance” on the harpsichord in the second section.

The concert also featured Cope performing another of his compositions, “Kuitra,” for solo guitar. The guitar is not an instrument that gets a lot of attention from contemporary classical composers. Many are wary of its idiosyncrasies and limitations, unless, of course, like Cope, they hold a master’s degree in guitar performance.

Kuitra is a mesmerizing piece, written at a time when Cope had an abiding interest in Arabian harmonies. But not so much that he wasn’t averse to season it with a bit of the Latin.

Mélomanie violinist Christof Richter and guest cellist Todd Thiel teamed up to offer a picture of Hungary with a performance of Hungarian Folk Melodies by Bela Bartok. These duos are relatively modest Bartok but each has so much dimension and incident that it constitutes a remarkably miniature world. Richter and Thiel play in full classical tone but without smoothing over the rough edges, imparting a rustic quality to the performance.

Richardson and Cope came together to perform two rarely heard gems from the Beethoven catalog: the Sonatina in C Minor and the Adagio in E-Flat Major. These pieces were originally scored for harpsichord and mandolin, an instrument that was enjoying a period of popularity among the cultured nobility when Beethoven was a young composer. Both are charming pieces that reveal the nature of salon music in 18th Century Vienna and the budding talents of the young composer.

Rounding out the program were a Sonata in A Minor by Telemann whose chamber works were well-known for their considerable panache and Quantz’s Quartet No. 5 in C Major, a splendidly vigorous and inventive contrapuntal work, quite different in style from his rather gallant flute concertos.

The ensemble performs the concert again on Sunday, October 25, at the Smyrna Opera House, in partnership with Gable Music Ventures. Tickets for that performance are still available at www.brownpapertickets.com. 

See www.melomanie.org. 

The Bard Meets the Tomahawk Man

By Guest Blogger, JulieAnne Cross
JulieAnne is a Wilmington-area do-gooder, specializing in public relations, communications and events, with a focus on the dining industry. Her first arts job was in the opera industry two decades ago, and she famously states that her “only talent is pushing pencils.”

Delaware Shakespeare Festival’s annual “Shakespeare/Poe, Readings from the Dark Side” began its two-week run on October 16. The fourth annual event has expanded the series’ reach with a 10-show run, with each of the three distinct, historic locations –Rockwood Mansion (Wilmington), Read House (New Castle) and the Stone Stable (Odessa) – set for a limited capacity of 30. I have attended past readings at Rockwood, and can attest that the Victorian setting creates a perfect mood for the gothic-themed selections, and no doubt the colonial settings do the same.

The selections for the hour-long reading included some works familiar to returning patrons, but the theme was newly expanded to include gothic literary royalty: Ann Radcliffe and Mary Shelley.

• Opening of The Black Cat – Edgar Allan Poe
• Macbeth – William Shakespeare, Portions from Act 1 Scene 1 and Act 4 Scene 1
• The Mysteries of Udolpho – Ann Radcliffe, Excerpt from Volume 2, Chapter 6
• Cymbeline – from Act 2 Scene 2
• Portions of The Pit and The Pendulum – Poe
• Richard II – Richard monologue from Act 3 Scene 2
• Portions of The Invisible Girl – Mary Shelley
• Annabel Lee – Poe
• Shakespeare or Poe? Audience Quiz
• The Raven – Poe
• Hamlet/Raven Mash-up (You have to hear this one to appreciate it!)
• The Tempest – Caliban Monologue from Act 3 Scene 2

The handful of readings that repeated from 2014 were, in my opinion, critical to the series theme. It just wouldn’t be a Poe reading without the melodic (and short) Annabel Lee and it wouldn’t be Halloween season without The Raven and the Wyrd Sisters from Macbeth making an appearance. I was shocked to learn my companion had never heard Poe’s haunting love poem, but not surprised that it made an impact.

The readings from new authors were well received. The Invisible Girl gave me the kind of willies one gets from a supernatural story, whereas The Mysteries of Udolpho recalled the kind of terror Julia Roberts’ character experienced in Sleeping with the Enemy. Invisible in this case carries both a literal and metaphoric meaning that will be familiar to feminist sympathizers.

The cast consisted of James Kassees, Danielle Lenee, Matthew Mastronardi, and Megan Slater, with Mastronardi accompanying on the cello. Mastronardi’s arrangements and original compositions, including sound effects, were only applied to a handful of the readings, but to terrific effect, particularly Poe’s The Pit and The Pendulum (my favorite Poe story, which, admittedly, I failed to read in favor of the Vincent Price movie version).

David Stradley (who directed the production and assembled the readings) cleverly breaks up the longer readings using the four diverse voices, and the individual cast members effectively project multiple characters in rapid succession when called for.

The guest experience was enhanced with the offering of a hot, mulled cider. I was pleased to have a chance to stretch my legs, despite there being no intermission, thanks to a quiz-off between another patron and me; we took turns listening to a line of text and guessing whether it was Shakespeare or Poe.

My 14-year-old son has attended readings before, but this was my husband’s first reading. The pace is quick, and it would be a great entrée into theater for most newbie patrons. As far as children, the content is no scarier than Scar or Ursula or Jafaar, and regularly exposing a young mind to the linguistics of centuries past may make high school Shakespeare assignments easier. I strongly encourage you to buy a ticket for the mini-goth, zombie lover or emo baby in your life – the Hamlet/Raven Mash-up should be right up their alley.

Other than a generally excellent setting, there are no lighting effects, which could be interesting in future years. The nearby parking was full, ostensibly due to activity in an adjacent building, but there is a convenient drop off point for passengers, and handicap spaces were still available nearby.

DelShakes puts on similar events around Valentine’s Day, with a “Shakespeare + St. Valentine” program planned for 2016. I’m glad the format fits with other holidays. Otherwise, I’d be awaiting the fifth annual Halloween-time reading like a kid anticipating, well, Halloween.

Some tickets remain available for late October dates. Click here to order.

See www.delshakes.org. 

First State Ballet Brings Delaware A "Beauty" of a Performance

By Christine Facciolo

First State Ballet Theatre, under the artistic direction of Pasha Kambalov, held the audience spellbound as it opened its 2015-16 season — its 16th as a professional company — with a gorgeous production of The Sleeping Beauty on Saturday, October 17 at The Grand Opera House in Wilmington.

With music by Pyotr Ilyich Tchaikovsky and choreography by Marius Petipa, this beloved ballet has captivated audiences for more than a century. Generations have thrilled to its royal celebrations, magnificent castle scenes, magic spells, the battle of good and evil and the triumphant victory of everlasting love.

No ballet tests a company’s technical mettle more than The Sleeping Beauty, and this performance featured three hours of dazzling choreography, intricate pointe work and soaring jumps.

The story gets off to a wonderful start as a sorority of fairy godmothers arrives at Baby Princess Aurora’s christening, bestowing on her all the gifts she will need in life. These masterful ballerinas glided across the stage with such grace and ease that it looked effortless.

The plot gets rolling after the passage of 16 years when the court celebrates the now marriageable Aurora’s birthday. The lovely and lissome Mary Kate Reynolds reprises her role as the condemned princess, displaying all the sprightliness and joy one would expect of a teenage character in the bloom of life. She seemed to hover in the air, skimming the stage with a light pas de chat. The role calls for a master turner and Reynolds executed every pirouette with grace and precision.

The handsome Justin Estelle danced the role of Prince Desire who kisses and awakens Aurora from a 100-year sleep, imposed by the slighted evil fairy Carabosse (danced by a deliciously diabolical Aubrey Clemens). From the moment he appeared in the hunting scene, Estelle commanded the stage with a proper air of aristocracy and exciting yet tasteful and elegant dancing. His gravity-defying feats were among the most impressive highlights of the ballet. There was no shortage of chemistry between him and Reynolds.

And there was much more to appreciate, whether it is in the wisdom and dreaminess of Lauren Frere’s Lilac Fairy, the lightness of Rie Aoki and Leonid Goykhman’s “Bluebird pas de deux,” the playfulness of The White Cat (Angela Zielen) and Puss-in-Boots (John Brewer) or the engaging Master of Ceremonies (Jake Nowicki). Jake Allison and Anna Carapellotti offered a proud and dignified King Florestan XIV and Queen, respectively.

Aside from the breathtaking dancing, the costumes were true stand-outs in this production, perfectly complementing the performers, from the Lilac Fairy’s sparkling purple tutu to the dark robes of the evil Carabosse and her minions.

This “Sleeping Beauty” was a magnificent piece of art, from slumber to awakening.

See firststateballet.com. 

Delaware Historical Society Series on African-American Leaders Continues

The Delaware Historical Society’s Center for African American Heritage announces its October Voices of the Elders program, highlighting the life and career of Mayor George C. Wright, Jr. 

Throughout 2015, the Voices of the Elders series has documented and shared the stories of a prominent African American leaders in Delaware through short films and mini-exhibitions. Past elders featured in this series have included Esthelda Parker Selby, Dr. Joseph E. Johnson, Canon Lloyd Casson and the late James H. Gilliam, Sr. The series will conclude on December 10, 2015.

George C. Wright, Jr. has a long history of service in the State of Delaware. He became the first African American to be elected mayor when he became the Mayor of Smyrna in 1982. Mayor Wright held the office of Mayor until 1995 when he decided not to run for another term. Before becoming mayor, he served on the Smyrna Town Council for six terms, beginning in 1969. Mayor Wright also acted as the executive director of the Delaware League of Local Governments and was the chief of staffing for civilian personnel at the Dover Air Force Base from 1956-1989.
On Thursday, October 22, there will be a reception beginning at 5:30pm, followed by a film screening and program at 6:30pm. The event will be held in the Copeland Room of the Delaware History Museum, at 504 N. Market Street in downtown Wilmington. Free parking is provided by Colonial Parking in the 6th and Shipley Street lot.

Reservations are required and can be made by calling (302) 655-7161 or emailing deinfo@dehistory.org.

This program is a collaboration between the Delaware Historical Society’s Center for African American Heritage, WITN22, and the Wilmington City Council.

Wilmo Creative District: Artist Opportunities

Information provided here courtesy of Wilmington Renaissance Corporation.

For more detail, email Caitlin@BigIdeasWilmington.com.

Celebrating 30 Years of Renaissance Music with Its "Pied Pipers"

Piffaro, The Renaissance Band. Photo by Sharon Torello.

By Christine Facciolo

Devotees of Renaissance music packed the chapel at Christ Church in Greenville Sunday to celebrate the opening of Piffaro’s 30th Anniversary Season, welcome back old friends and memorialize the passing of another.

The internationally acclaimed “Pied Pipers of Early Music” broke out shawms, dulcians, sackbuts, recorders, krumhorns, bagpipes, lutes, guitars, harps and a variety of percussion for a lively and diverse retrospective of their “greatest hits” from one of music’s most cosmopolitan and vibrant periods. (Fans were also invited to curate the program by voting at the ensemble’s website, www.piffaro.org.)

Repertoire spanned 15th Century motets by the Low Countries’ Heinrich Isaac to a chaconne by 17th Century Spaniard Juan Aranes. Other composers featured on the program were Ludwig Senfl, Thomas Weelkes, Nicolas Gombert, Jakob Arcadelt as well as the ubiquitous Anonymous.

The Renaissance set the stage for much of what lay ahead in Western music. Increasingly freed from medieval constraints, music became a vehicle for personal expression and composers found ways to make their music expressive of the texts they were setting.

“La Guerra” by Mateo Flecha is a striking example. Here life’s struggles cast in terms of war and victory are conveyed through constantly changing meters, textures and tonality, all of which were executed to perfection.

Throughout the Renaissance, dance music flowered and thrived and was composed — or more likely improvised — by many people. The Suite of Dances by Tylman Susato is a fine representative of some of the outstanding dance music of the late Renaissance. Piffaro’s joyous playing had toes tapping and heads bobbing to the infectious rhythms, making for a fitting close to the two-hour program.

There were more subdued moments as well, such as harpist Christa Patton and lutist Grant Herreid duetted on the poignant La Rossignol, an Elizabethan piece originally written for two guitars. Patton recalled that the piece was used in the 1970s PBS special on Elizabeth I during the scene when the monarch and her fiancé were to meet in secret in a church to exchange vows but somehow missed each other.

A touch of sadness pervaded the concert as the ensemble remembered their late colleague Tom Zajac who passed away on August 31. The recorders captured the meditative quality of Nicolas Gombert’s Musae jovis to profound effect, balancing shades of mourning with moments of light and serenity. Gombert wrote the majestic requiem as a lament on the death of his teacher, polyphonic master Josquin des Prez.

The concert was also a reunion of sorts, as former ensemble members Adam and Rotem Gilbert (1989-2007), Eric Anderson (1989-1995) and George Hoyt (1996-1999) returned to join the milestone celebration.

See www.piffaro.org. 

A Trip to Winterthur Now Just Might be Better than "Breakfast at Tiffany's"...

By 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.

Well by Fence window, design attrib. to Agnes Northrop (1857–1953), 

Tiffany Studios, New York, ca. 1910. 

The Neustadt Collection of Tiffany Glass, Queens, New York N86.W.9

Rarely has there been an American artist as innovative and creative as Louis Comfort Tiffany. Son of Charles Lewis Tiffany, founder of the renowned jewelry and silver firm, Tiffany (1848-1933) chose to chart his own artistic path rather than settle into the family business.

Tiffany’s career spanned from the 1870s through the 1920s, embracing virtually every artistic and decorative medium: painting, interiors, lighting, metalwork, pottery, enamels, jewelry, glass and mosaics.

Of all his artistic endeavors, though, it is his work with stained glass — especially lamps — that has earned him the greatest recognition. Winterthur Museum, Garden & Library is celebrating that legacy with the dazzling display “Tiffany Glass: Painting with Color and Light” which runs through January 3, 2016.

The exhibit features items from the collection of Egon and Hildergard Neustadt, who began acquiring the works in 1935 following the death of Tiffany and the demise of his studios in Corona, Queens, New York.

Tiffany began his artistic career as a painter but by 1875 had developed an interest in glassmaking. His constant drive to innovate led to the development of a new technique for making stained glass which had remained essentially unchanged since medieval times, when artisans applied paint to clear glass before firing and leading. Tiffany created and patented a radical new process called opalescent glass, in which several colors are combined and manipulated to produce a rainbow-range of hues and three-dimensional effects.

The windows — Tropical Landscape (ca. 1910), Well by Fence (ca. 1910) and Grape Vine and Lemon Trellis — which greet visitors to the exhibit, are breathtaking examples of Tiffany’s ability to “paint” with glass.

Tiffany looked to nature as the primary source of design inspiration. Nowhere is Tiffany’s mastery for translating nature into glass more apparent than in his iconic lamps. We see them in pictures and on television but only deliberative observation can reveal the complexity of the shapes of the blossoms and the unruly growth patterns of the flowers as well as the nuances of color and texture.

Lampshades of all shapes and sizes are adorned with profusions of peonies, pond lilies, poppies, poinsettias, dragonfly and wisteria.

Supplementing the exhibit is an educational display showing the painstaking and labor-intensive process that goes into making a Tiffany lampshade as well as sheets of original Tiffany glass.

The exhibit also recognizes key figures who worked at the Tiffany Studios and their contributions: chemist Arthur J. Nash (1849-1934) and leading designers Agnes Northrop (1857-1953), Clara Driscoll (1861-1944) and Frederick Wilson (1858-1932).

There is also a primer on forgery with three fakes on display and tips on how to spot the imposters.

A secondary exhibit, “Tiffany: The Color of Luxury,” offers a fun look at the iconic retail operation. It features one of Tiffany’s own paintings as well as fine stationery, silver wedding gifts, diamond engagement rings and brooches. There’s even a silver telephone dialer and — of course, the “Tiffany Blue Box”— the most recognized and desirable retail container in history.

See www.winterthur.org.

Delaware & American Craft Week Kicks Off Tomorrow!

Celebrating artisans and art organizations throughout the state of Delaware who enrich and contribute to the economic fabric and vibrancy of Delaware.

In this month of celebrating arts and humanities, Delaware is prepped to welcome American Craft Week! What began as a small, grassroots effort to enhance the knowledge and appreciation of handmade craft now celebrates its fifth anniversary. American Craft Week is a well-established, national event celebrating the tradition of American craft in artists' studios, galleries, museums, schools, and festivals.


In celebration of craft in America, American Craft Week will present a Masterpiece exhibit and sale -- an online exhibition featuring one-of-a-kind work by one exceptional craft artists from each of the 50 states and Washington, DC.

An architect who creates wearable art, Arden Bardol of Dover will represent Delaware in this nationwide event. The exhibition will be available online now through October 11.

Delaware's 2015 Individual Artist Fellow in Craft, James Ulry, will have an exhibit at the Dover Art League during October, and events will be held throughout Delaware in celebration of American and Delaware Craft Weeks.

Listen here to the WILM "State of the Arts" Podcast interview with Esther Lovlie, Lorin Felter and Hilary LaMotte Burke about Delaware Craft Week, all of whom were instrumental in getting Delaware Craft Week into the public's consciousness.

Join the Delaware Craft Week Facebook page and support local artists!

Nadjah Nicole Brings Down the House at "The Voice'"

Photo: NBC

Huge congratulations to another Delawarean making her voice heard in the entertainment industry!

Singer Nadjah Nicole (aka Nadjah Nicole Pennington) wowed the celebrity judges of NBC's "The Voice" during her appearance last week, where she sang Janelle Monáe's song,Tightrope. The 23-year-old Claymont resident has regularly performed around the First State, in Gable Music Venture events like Ladybug Music Festival and World Cafe Live at the Queen singer-songwriter showcases.

She returns home this weekend to celebrate her slam-dunk performance. Nicole is headlining at the World Cafe Live at the Queen's downstairs stage on Friday, October 2 in a show by Gable Music Ventures. She'll be backed by her four-piece band and a pair of back-up singers. Tickets for that show are available HERE.

• Check out a recent interview with Nadjah Nicole by Dominick 'King Dom' Draper in 55 Hours last weekend. 
• Read Ryan Cormier's News Journal coverage of her appearance on "The Voice" here.
• See her knock-out performance on "The Voice" HERE!

Maurice Hines Is Tappin’ Thru Life with an Energetic Stop at DTC

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.

Vegas met vaudeville Saturday night when the Delaware Theatre Company opened its 37th season with Maurice Hines Is Tappin’ Thru Life.

Hines, the older brother of the late great tap meister, Gregory Hines, is a consummate artist in his own right: a Tony Award nominee as well as celebrated singer, dancer, choreographer and director who has graced stages both here and abroad.

Hines is one entertainer who knows how to work a room. His smile and energy are infectious and he clearly has a respect and admiration for his fans that has — sadly — become a rare commodity in today’s world of entertainment.

He kicked the evening off with effusive praise for Wilmington, its people and the DTC, both in word and song with I’ve Never Been in Love Before. You got the impression that there was nowhere in the world he’d rather be than right here and the sold-out crowd loved it.

But Hines doesn’t just talk the talk, he walks the walk, sometimes literally. He talked about how he ate at Harry’s Seafood Grill on the Riverfront with Bud Martin, DTC’s executive director. Reports of “Hines sightings” abound as he hoofs about town.

Hines talks and sings about his childhood, his relationship with his brother, the influence his parents had on his career and life, all the while getting superb backing from the nine-member Diva Jazz Orchestra, a distaff powerhouse ensemble.

Tappin’ Thru Life is much more than a chronological recounting of a life’s events. It is, as Hines points out, a love letter to his mother who, unlike his skeptical father, never doubted that her talented toddlers were destined for the world stage. “My father was just along for the ride,” he quipped.

We see photos of the lovely Alma Hines in her wedding gown and decked out in a stylish fur on the porch with his father. “Isn’t she beautiful?” Hines asked the audience as he gazed lovingly at the faded black-and-white images.

Hines also gets misty-eyed when talking about his brother. He regrets the argument they once had that caused them to be estranged for 10 years. But once they reconciled, they were inseparable until Gregory’s passing in 2003 at age 57. “I miss my brother,” he said before singing My Buddy.

Hines’ personal history is interspersed with social comments regarding integration and segregation. He tells of the time he and his brother received an invitation from Tallulah Bankhead to visit her whites-only hotel in Las Vegas. (She threatened to boycott her own show if management objected.) The brothers swam in the pool then had to watch as the proprietors drained the water after they exited. Hines punctuated the story with a heartfelt rendition of Nat “King” Cole’s signature song Smile.

There were magical moments as well. Like the time he met Frank Sinatra, the reigning king of Las Vegas, in Sammy Davis Jr.’s dressing room. And if that wasn’t enough excitement, Dean Martin, the indisputable “king of cool” himself, appeared at the door. “Jay-Z and P. Diddy think they’re cool baby, but Dean Martin was the coolest man I’d ever seen,” he said.

Much of the dialogue and comments between the band and the audience is ad-libbed, making for a comfortable interaction in the intimate venue.

Hines shares the stage with the Manzari Brothers, photogenic siblings who appeared with him in “Sophisticated Ladies.” Their relentlessly high-voltage performance provided the perfect complement to Hines’ cool and relaxed elegance.

The audience erupted when nine-year-old Jake Sweeny, who studies tap at the Delaware Arts Conservatory, joined the Manzaris in a fast and furious battle of the taps.

The band is big, bold and brassy. Horns blare and pianist Jackie Warren shows her instrument no mercy as she pounds away at the keys. Music Director Sherrie Maricle delivered a jaw-dropping drum solo during a performance of Duke Ellington’s Caravan.

Played and sung numbers included big-band favorites like It Don’t Mean a Thing, to Broadway’s I’ve Grown Accustomed to Her Face, and Luck Be a Lady, to the rock era’s Love the One You’re With.

Hines closed the show with a love song to the audience, Too Marvelous for Words, and after five standing ovations, the audience obviously felt the same about him.

See www.DelawareTheatre.org. 

Celebrate Wilmo's Creative District at the 7th Street Arts Bridge Kick-Off

Information taken from press release courtesy of Wilmington Renaissance Corporation...

Creative District Wilmington is excited to host 7th Street Arts Bridge Kick-Off on Friday, October 2 from 5:30-8:00pm at the new Inspire Lot located at 215-219 W. 7th Street between Orange and Tatnall Streets.

Music by Jea Street and JaE, hip-hop performance by Street Xpressions, food trucks, hands-on art projects and more! Be sure to add this to your schedule while enjoying the first Friday Art on the Town Art Loop! There is no admission cost for the 7th Street Arts Bridge Kick-Off. Performances run from 6:00-8:00pm. In case of inclement weather, a decision will be made by Noon on October 2. Music provided by Gable Music Ventures.

Live Performances
6:00-6:45pm - Jea Street
6:45-7:15pm - Street Xpressions (hip-hop dancers)
7:15-8:00pm - JaE

Sponsored in part by Christina Cultural Arts Center, Cityfest, City of Wilmington, Colonial Parking, Downtown Visions, Gable Music Ventures, Smashed Label, Street Xpressions Arts Organization, Inc., and Wilmington Renaissance Corporation.

Wilmington's Creative District is a part of a national wave of creative placemaking initiatives that seek to transform urban areas. This revitalization project encompasses the area bounded by 4th, 9th, Market and Washington streets. It's driven by collaborative partners: Chris White Community Development Corporation, Christina Cultural Arts Center, City of Wilmington, Interfaith Community Housing of Delaware, Quaker Hill Neighborhood Association and Wilmington Renaissance Corporation. The Creative District is generously supported by Bank of America, Delaware Division of the Arts, Delaware State Housing Authority, Delmarva Power, JPMorgan Chase, Longwood Foundation, TD Bank Foundation and United Way of Delaware.

The Creative District is focused on creative production and consumption, a place where creative entrepreneurs - artists, musicians, designers, tech innovators, makers and manufacturers - and neighborhood residents thrive and where locally designed goods and original works are made and consumed. This revitalization will engage the community - current and future residents, as well as civic and business leaders - In a wide range of initiatives and programs that include; affordable housing, greening and streetscape projects, real estate development, programming and community engagement activities, public art and public performance projects, and centers for creative entrepreneurship.

See CreativeDistrictWilm.com.

Local Performers Have a Bevy of Venues to Get Their Voices Heard

By Guest Blogger, Michelle DiMarino

Students and faculty from The Studio at The Music School of Delaware
perform last year at World Cafe Live at the Queen

Open Mic Nights are popping up throughout New Castle County, giving local musicians, bands, and poets opportunities to show off their original material. Check them out!

"Q's Day" Open Mic Night at Gallucio's – Shawn Qaissaunee hosts the open mic every Tuesday from 8:00-11:00pm and brings along his own band of stellar musicians. Singers with serious pipes but limited instrumental chops get a hand from Shawn and his band. The bass player and drummer may accompany performers who are playing their own instruments for a fuller sound. Gallucio's cozy space lends itself to musical spontaneity. Jazz jams breakout at a moment's notice! Sign-ups begin at 7:30pm, but get there early...spots fill up quickly.
Gallucio's | 1709 Lovering Avenue, Wilmington

Open Mic Night at Argilla Brewing Co. @ Pietro's Pizza – On Sundays from 7:00pm-midnight, Argilla Brewing Co. welcomes local musicians to the smallest brewery in Delaware. They have all the equipment you need – drum kit, guitars, amps and most importantly, a cup holder for your liquid courage on the microphone stand. The low-key atmosphere is perfect to debut a cover of your favorite James Taylor song or an original tune. Small batch craft beer, Ole Smokey Moonshine cocktails and fried pickles will complete your debut evening!

Argilla Brewing Co. @ Pietro's Pizza | 2667 Kirkwood Highway, Newark
Open Mic Night @ The Music School of Delaware – Beginning Thursday, October 8 at 7:00pm, The Music School of Delaware opens its acoustically stellar concert hall to all genres of local musicians and spoken word poets in its first-ever Open Mic Night. The hall has all the features and perks of the big stage – pro-quality lighting rigs, monitors, amps and a seven-foot Steinway grand piano. All participants will also receive a free recording of their performance. Open Mics will be held bi-monthly. Sign-ups begin at 6:30pm.

The Music School of Delaware | 4101 N. Washington Street, Wilmington

WDL's "Memphis" Hits a Powerful Note

By Guest Blogger, Scott Frelick
Scott is a native of Wilmington and has been involved with Wilmington Drama League, The Brandywiners and OperaDelaware. Currently, he is a member of of City Theater Company's Board of Directors. He is also an interior designer, visual artist and Realtor.

Tiffany Dawn Christopher as Felicia Farrell.
Photo courtesy of Kristin Romero Photography.

Memphis the Musical was another outstanding production from The Wilmington Drama League, showcasing the organization's huge step forward in professionalism.

This is a poignant story about the birth of Rock ‘n’ Roll and the breaking of racial barriers to bring a new form of music to the masses.  The theme, though historical, also seemed to touch today's issues of race and intolerance, and marriage equality.

Today, few give a second thought to interracial couples; in the time period of this show (the 1950s) however, Huey Calhoun and Felicia Farrell were almost killed because of their love. The people who were moved by the music just saw love; but in the end, society's prejudices kept this couple apart.  This show proves that music (much like love) is a universal force that knows no boundaries and can connect people by the movement of their souls.  The wonderful messages that resonate in this story are breaking barriers and pursuing dreams no matter the odds.

This show was thoughtfully directed by Dominic Santos, who brought the audience to laughter, tears and joyful exuberance through music. I challenge you not to dance in your seat. The soulful voice of Anthony Vitalo as Huey Calhoun created the breakdown of vocal stereotypes needed to connect these two groups of people. 

Tommy Fisher-Klein as Gator.
Photo courtesy of Kristin Romero Photography.

However, this show belongs to Tiffany Dawn Christopher as Felicia Farrell.  She lit up and owned the stage just like the rising star she portrayed.  Memphis was beautifully supported with the great talents of Daniel Urdaneta, Darryl Thompson, Kathy Buterbaugh -- and an attention-grabbing, standout performance by Tommy Fisher-Klein as Gator. This talented ensemble of singers, dancers, musicians, costumers, set designers and crew helped to make this a truly memorable show.

My only disappointment was that the sound system experienced issues that were annoying and interfered with the show. It was truly a shame to have such glaring technical problems affect the performances of these talented actors and singers.

As a Wilmingtonian who performed on that stage many years ago, I am proud of this production and all who were involved. Memphis the Musical is a must-see for many reasons -- it was certainly “Music of My Soul." The show runs for one more weekend, through September 27. 

See www.WilmingtonDramaLeague.org 

Mélomanie Opens with Two World Premieres & One Breathtaking "Stage"

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 opened its 2015-2016 season at The Delaware Center for the Contemporary Arts on Sunday, September 13, with a celebration of the artistry of flutist Kimberly Reighley. The concert was held in the DCCA's Carol Bieber and Marc Ham Gallery, where the musicians performed directly underneath artist Amie Potsic's beautifully flowing piece, Endangered Seasons.

Reighley — co-artistic director (along with Tracy Richardson) of the ensemble known for its provocative pairings of baroque and contemporary music — was this year’s recipient of the coveted Masters Award for Solo Recital from the Delaware Division of the Arts. The award required her to perform a solo concert.

I once asked a flutist friend if the instrument was tough to play. She responded by saying it was easy to learn but hard to master. Anyone who hears Reighley’s incredibly beautiful playing will soon realize that she is a complete master of the flute.

The program featured various flutes — the piccolo, baroque, modern and alto —demonstrating the range of expression the instrument possesses and the skill Reighley brings to each.

The program was a mostly contemporary one, including the World Premieres of two works composed especially for the occasion: Two Moods by Chuck Holdeman and The Four Gifts of God by the Brazilian composer Sergio Roberto de Oliveira.

Holdeman is one of an increasing number of composers writing for solo piccolo. As its name suggests, Two Moods explores the acoustic possibilities of the instrument. The first employs the “whistle” tones demonstrating how an almost inaudible instrument can still make music. The second returns the instrument to its familiar sprightly self.

Reighley handled this often unpredictable little instrument with precision and grace. Especially impressive were her high notes, which can be difficult for the average flutist to sustain given the need for greater wind speed.

The Four Gifts of God paired Reighley on baroque flute with Richardson on harpsichord. Composer de Oliveira got the idea to identify four elements: common to all religions. He came up with the gifts of Breath, Light, Creation and Action. Reighley mined the instrument’s capacity for otherworldly tones in the primal character of the first section, quickly switching gears for the brighter musical ideas of Light and Action. Of special interest was the Creation movement, where the composer paid tribute to seven of his favorite composers, including Richardson’s husband, composer Mark Hagerty.

Speaking of Hagerty, his contribution to the program was a work titled Sea Level. Written especially for Reighley, the piece offers a soundscape of the burgeoning plant and animal life in and around the canals of the Dutch countryside during an unusually warm April. This work showcased Reighley’s mastery of the alto flute whose mysterious, picturesque tones ably conveyed the score’s changing colors and textures.

Reighley took up the standard concert flute accompanied by Richardson on harpsichord for Jennifer Margaret Barker’s Dumgoyne and Ingrid Arauco’s Florescence. Both demand the soloist to delineate the sharply contrasting musical ideas. Dumgoyne describes Barker’s childhood memories of the sights and sounds of her native Scotland’s most famous hill. Reighley’s playing effectively conveyed the experience of a climb culminating with the calm and peace of a lyrical Scottish song.

Arauco’s work is more abstract than Dumgoyne but nevertheless requires the flutist to engage some pretty aggressive rhythmic patterns as in the second movement which the composer describes as flowing in “an energetic stream of steady sixteenths punctuated by occasionally by assertive, rhythmically jagged figures.”

It wouldn’t be a Mélomanie concert without a Baroque offering, and Reighley and Richardson paired to offer Joseph Bodin de Boismortier’s Sonata II in G Minor.

The concert concluded with an encore performance by Richardson and Reighley of Hagerty’s Contexts, a short piece that looks at what can happen to a simple repeating motif when the harmony and other musical elements change around it.

The full ensemble returns to the DCCA for their next performance on October 18, where they will premiere a piece by guitarist and composer, Kevin J. Cope.

See www.melomanie.org.

A Masterful Performance of 9/11 Remembrance from DSO & Mastersingers of Wilmington

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.

Mozart’s Requiem took on an added poignancy as the Delaware Symphony Orchestra opened its 2015-16 season — the “Season of the Bells” — with a tribute to the September 11th terrorist attacks.

The deeply human drama of the Requiem was a perfect choice for the concert, titled Remembrance and Redemption.

Musicologists often argue about what the work might have sounded like had Mozart lived to complete it, demonstrating what his pupil Franz Xaver Sussmayr did to make the work performable.

DSO Music Director David Amado took a different tack. In his pre-concert lecture, he maintained that whatever the weaknesses and differences in Sussmayr’s work, he did at least know Mozart and his version has endured for more than two centuries.

Whether by sheer artistry or the suggestive power of the occasion — I like to think a bit of both — the musicians and singers seemed at their best in the intimate sections of the Requiem.

The soloists soprano Brenda Harris (who traveled last-minute from Connecticut to fill in for the ailing Mary Wilson), mezzo-soprano Meg Bragle, tenor Brian Downen and baritone Grant Youngblood drew the pathos and solace from the Recordare and the Tuba mirum, the latter graced by a lyrical trombone solo.

The Mastersingers of Wilmington sang with force and assurance, executing complex vocal lines with ease and applying judicious phrasing.

This concert was the first in the five-concert Classics series to feature the Bells of Remembrance, Brother David Schlatter’s poignant memorial to those who lost their lives at Ground Zero including his friend, mentor and fellow Franciscan Father Mychal Judge, the first to die in the terrorist attacks. Amado chose Cesar Franck’s symphonic poem, “Le Chasseur maudit” (The Accursed Hunter) for the bells’ season debut, quipping that he was giving the rarely performed work its Delaware premiere just as he gave it its St. Louis premiere during his tenure with that city’s orchestra. Based on the poem “Der wilde Jager” by Gottfried Burger, the story is a classic tale of disobedience and damnation: a miscreant count chooses hunting over church one Sunday and is condemned to be chased by demons for all eternity.

The horns were resplendent; the call to the hunt in the opening bars was arresting. The alternation between solemn hymns and frantic hunt was powerfully executed. The orchestra’s principal players, especially the winds, provided subtly colored solos. The tolling of the church bells — this time with real bells — was a dramatic and somewhat sinister harbinger of what was to come.

But it was the waves of sound from each section of the orchestra that drove the action, culminating in a massive G minor thwack from the deity.

The concert opened with George Tsontakis’ Laconika (2010), with the composer in attendance. The title is a pun on the Los Angeles Chamber Orchestra’s name (LACO) as well as a nod to the native New Yorker’s Greek heritage, as he explained.

The title also represents the composer’s intent on writing something laconic or Spartan rather than the larger movements he typically favors. As a result, the 15-minute score divides into five, short pop-song sized pieces: Alarming, Lacomotion, Mercurial, Laconicrimosa and Twilight.

This is hardly groundbreaking music — the ear catches more than a few clichés — but Tsontakis somehow manages to keep it sounding fresh and authentic, and the DSO obliges. Apropos this concert, Laconicrimosa, which was written when the composer’s mother was ill, makes reference to the Lacrimosa of Mozart’s Requiem.

The tone for the evening was set with a solemn arrangement of The Star Spangled Banner by Otto Werner Mueller, professor of conducting at the Curtis Institute of Music in Philadelphia and Amado’s teacher.

See www.delawaresymphony.org and www.marketstreetmusicde.org. 

Get Engaged This Fall: 2015 Delaware Arts Summit

post content courtesy of DDOA September eNews...

2015 Delaware Arts Summit Registration Opens
Get ready to "Get Engaged" with the arts at the 2015 Delaware Arts Summit on Monday, October 26 at Dover Downs. Detailed information on schedule, speakers and online registration is available at www.artsdel.org/summit. The early-bird deadline is October 1.

Meet Keynote Speaker, Lily Yeh
"I never dreamed that I could change things. Even now, it's not on my agenda to make people's lives better, to revolutionize the system. I don't see myself as a social activist. I am an artist. What I am about is sharing that sense of joy when I am creating with many people, with whoever wants to be a part of that process..." - Lily YehUsing her projects from the inner city of Philadelphia to the genocide-ravaged countryside of Rwanda, Lily Yeh will show the process of transformation on the individual and collective level through the communal act of creating beauty and launching innovative social programs.

See www.artsdel.org/summit.

Meet Marty Lassman & the Music School's New Jazz Choirs

The Music School of Delaware Jazz Choir Director, Marty Lassman

This fall, The Music School of Delaware’s faculty member Marty Lassman leads new jazz choirs for both teens and adults. We caught up with him for a sneak peek at what students can expect. For more information on jazz choirs or other classes and lessons at The Music School of Delaware, call 302.762.1132.

Can you tell us the differences between leading a jazz choir versus a traditional choir? Are there different techniques for singers to learn?

Firstly, thanks for these questions! I should realize that what seems obvious to me is sometimes not as intuitive for non-jazzers. Leading a jazz choir has many similarities to leading a traditional choir, except that in the performance, the focus is on the singers not the director/conductor. The ‘European-based’ method of choirs that we have inherited in our country focuses on how the conductor will interpret the written score.

However, the U.S. model is built upon the concept of independence and freedom, so jazz allows the singer/performer to interpret the music based upon their own experiences and level of expertise with the genre. The novice can sing simple riffs and show off the beauty of their voice. The more experienced jazzer can also use scales, licks and sequences to take the listener into unexpected and delightful aural places.

As for the singing techniques, there are differing opinions. But I agree with Dr. Paul Rardin (who now directs choirs at Temple) who is knowledgeable in both traditional and jazz music. He teaches that tone production is the same for both styles with two exceptions. We sing jazz with the soft pallet dropped (unlike classical music) and with vibrato only used in solos and only for a deliberate effect. There are techniques that we all know from pop music – which originated in jazz – that we use, but basic tone production remains the same. Some directors prefer a brighter vocal tone but I do not. I prefer a traditional non-vibrato choir sound so we can sing in tune on ensemble sections.

Can you give us examples of music you plan to include in the choirs' repertoires?

I am waiting to see what our voicing will be before choosing repertoire – we can adapt to anything – but I intend to include newly composed as well as standard pieces. Members can expect to sing in swing style, Latin (e.g., Bossa Nova) and funk. No one needs prior experience. The complexity of the music will be based upon the level of musicianship we have in the ensembles. We may also sing a few standards in unison, which will provide more opportunities for improvisation.

What are the main things that students should know when preparing to audition for the jazz choirs?

I’ll be listening for the ability to sing in tune and rhythmically. Our unisons must be true unisons. I’m also listening for beautiful tone production. I’m not going to be upset if someone sings wrong notes or words, as long as those notes are in tune and on time. I’m not asking for improvisation as a requirement. Most non-jazzers are terrified to improvise. It is not simply ‘singing what you want.’ There are flexible rules and learnable techniques. I will teach easy ways to get started, so that each singer’s confidence and abilities will grow.

How does the audition process work?

I tried to find the most non-threatening way to audition singers. The singer gets to practice as much as they wish and create their audition ‘tape’ as often as they wish until they are satisfied. There are several specific song selections I’d like singers to use, and all can be found on YouTube. (A list of the songs can be found on the Music School’s Facebook Event for Auditions. Singers can find sheet music for the songs online and can also find recordings, including ones on YouTube, of the songs.

Then, set your recording device – a smartphone, tablet, computer or actual recording machine like Zoom – where it can hear (and optionally, see) you sing while we also hear the YouTube clip. (The clips I chose have the words on the screen to make it even easier!) It really is fun! Then just email the recording of your singing (with the YouTube clip in the background) to the Music School. 

What are your goals for the two choir groups?

I want both groups to have fun and look forward to Wednesday night as their favorite night of the week! Both groups will perform similar literature, but the adult group will be able to learn techniques and become comfortable with literature that can be used in school choirs (or similar) at any skill level. In addition, I am unaware of any community jazz choirs that exist in the state (or tri-state area) for teenagers or adults, so this will be a unique opportunity to have fun while singing music that is suitable not just for concerts but also for ‘events.’

What are some of your favorite works for jazz choir?

More than favorite works, I have favorite arrangers. I am fond of Paris Rutherford’s arrangement of Autumn Leaves because it is challenging, is a great teaching piece and sounds even harder than it is. I also enjoy working on any arrangement written by/for the New York Voices but those are intended for advanced choirs. I also like Rosana Eckert’s arrangement of Sandu because the composer, Clifford Brown, lived in Wilmington and is buried in a cemetery across the street from Cab Calloway School of the Arts. Local roots!

What is your best advice for young or "emerging" singers to improve their craft? 

Learn classical music. The foundations for every genre of the Arts – music dance, visual art, etc. – are all based on fundamental techniques taught by performing, recreating or studying the works of the masters. Additionally, all the fundamentals of music – pitch, rhythm, tone, technique, etc. – are learned through traditional choir work. However, musicians living in our contemporary world also benefit from being versatile enough to do perform any style of music, including jazz and pop.

Martin (Marty) Lassman received his Bachelor of Music Education with a trumpet concentration from the University of Delaware and his Masters of Education with a piano concentration from the University of Iowa. His faculty instruction resume includes work with H.B. DuPont Middle School, Talley Jr. High School, Wilmington Friends School and Cab Calloway School of the Arts. His teaching experience includes band, general music, jazz band, vocal music and jazz choir at Cab Calloway. He is the Past President and Treasurer of the American Choral Directors Association and served on the Jr. High All-State Chorus Committee for violin.