Over the Moon About WDL's Production

By Christine Facciolo

Ever wonder what goes on in the Green Room before a theatrical performance? Moon Over Buffalo offers a peek…plus a whole lotta laughs at Wilmington Drama League.

The year is 1953. The setting is Buffalo, New York (“Scranton without the charm.”) A touring company is performing Edmond Rostand’s Cyrano de Bergerac and Noel Coward’s Private Lives at the Erlanger Theater. George and Charlotte Hay (Alan Harbaugh and Sabrina Justison) boast a long-standing marital and acting partnership, both of which have frayed at the edges. Then they learn that the great film director, Frank Capra, needs to re-cast a movie he’s making and is flying in from New York City to see them perform. This could be just what they need to recoup the stardom they’ve lost and feel they so richly deserve.

But first…

George has impregnated Eileen (Carolyn Peck), a young actress in the troupe. When Charlotte finds out, she tells him she’s fed up with his infidelity and is leaving him for their lawyer, Richard (Shawn Klein). Meanwhile, Rosalind Hay (Patricia Egner) has arrived to introduce her parents to her fiancé, Howard (Andrew Dluhy), a TV weatherman. He’s a geeky but affable TV weatherman who just happens to be a big fan of her parents. He loves Rosalind but is absolutely clueless about what’s going on, Rosalind, for her part, was in love with Paul (Luke Wallis), the Hays’ theatre manager, who still has feelings for her. Adding to the merriment is Ethel (Patricia Lake), Charlotte’s deaf-as-a-post stage mother who hates the boards George treads on and nearly brings him down with one innocent-looking coffee pot. Comic misunderstandings and mistaken identities abound.

Ken Ludwig’s 1995 madcap farce is still fresh in 2017 and just the ticket for an evening full of fun and laughter. Let’s not forget that this play was worthy enough to lure Carol Burnett back to Broadway after a 30-year absence and, if you didn’t know better, this superb production might have you believe you’re sitting in a theatre on the Great White Way. It’s that good.

Harbaugh and Justison simply melt into their roles. Harbaugh is brilliant as the very inebriated George. Peck applies just the right amount of affect to her role as the pregnant and distraught ingénue. Dhuly is convincingly clueless as the action swirls around him. Egner, Klein and Wallis know every nuance of their characters. Lake is downright hilarious as the hard-boiled stage mother/mother-in-law from hell.

Kudos to the directorial team of Gene Dzielak and Melissa Davenport (as well as mentor/director Ken Mammarella) who pulled everything together. Also deserving of a standing ovation are Helene and Tony DelNegro for their retro 1950s backstage set, Cara Tortorice for her fabulous costumes and Lee Jordan for choreographing the playful duel between the Hays.

This one is not to be missed.

See www.wilmingtondramaleague.org. 

Deconstructing the Piano Quintet with DSO

By Christine Facciolo
“The Piano Quintet – Deconstructed” was the theme for the season-opening concert of the Delaware Symphony Orchestra’s Chamber Series Tuesday, October 17, in the Gold Ballroom of the Hotel du Pont in Wilmington.

The concert featured an eclectic slate of works by Mozart, Ravel and Brahms as it showcased the talents of some of the most select members of the orchestra’s string section as well as principal pianist Lura Johnson.

It’s always a pleasure to hear musicians of this caliber perform in an intimate setting, and they did not disappoint.

The first half of the concert featured a pair of duos in keeping with the theme of the program.

The concert opened with a performance by violinist Lisa Vaupel and violist Elizabeth Jaffe of Mozart’s String Duo in G major, a work Mozart is said to have ghost-written for Michael Haydn who was having problems filling a contractual obligation to Mozart’s former employer—and arch nemesis—the Archbishop Colloredo.

Vaupel and Jaffe gave a lively reading of this much-performed work, with brisk tempos in the outer movements and much sensitivity in the slow movement.

Violinist David Southorn and cellist Philo Lee tackled one of the 20th century’s masterpieces of the duo genre: the Sonata for Violin and Cello by Maurice Ravel. This work generated lots of intermission discussion among concertgoers who expected something like the sultry and sensuous Bolero rather than this lean and linear work.

Like many of his contemporaries, Ravel searched for new modes of expression and style following the horrors or World War I. And while that drew him to certain aspects of Neoclassicism, he never totally abandoned his use of traditional forms nor did he reject the legacies of his immediate predecessors. Thus, the Sonata for Violin and Cello exhibits the “economy” of late Debussy, the rhythmic drive of Stravinsky and a more contemporary austerity.

Southorn and Lee delivered this demanding work with energy and virtuosic precision, carefully etching and capturing its herky-jerky rhythms and acerbic bi-tonal clashes.

The string players assembled onstage—accompanies by pianist Johnson—after intermission for a performance of Brahms’ Piano Quintet in F minor. This is a large-scale work, dark and dramatic and the ensemble conveyed that Romantic intensity in the outer movements and the relentless third-movement Scherzo, and gave a soulful reading of the Andante.

Yet as heated as the music got, it never lost its transparency. Contrapuntal lines played off against each other without conflict and the several fugato passages were particularly successful. Johnson for her part fit seamlessly into the mix, using the percussive power of her instrument to support rather than dominate. And the felicitous turns in Jaffe’s viola and Lee’s cello were never buried. Still, the ensemble produced a solid, powerful sound.

See www.delawaresymphony.org.

Organist David Schelat Opens Market Street Music's Festival Concerts

By Christine Facciolo

Organist/composer David Schelat explored the Baroque and beyond Saturday, October 14, kicking off a brand new season of Market Street Music at First & Central Presbyterian Church on Rodney Square in Wilmington.

Schelat’s program traced J.S. Bach’s steps back to his admirer Dietrich Buxtehude then forward to  his “rescuer” Felix Mendelssohn as well as offering a sampling of Bach himself.

The first half of the program featured three Baroque “Bs”: Bruhns, Buxtehude and Bach. Their work spanned the years 1664-1750, a time when north German mercantile trade funded both composers and construction of pipe organs on increasingly grander scales.

The music of this period was largely improvisatory and known as stylus fantasticus, characterized by short contrasting episodes and free form. Bruhns’ Praeludium in E Minor exemplifies this style and Schelat delivered it with insight and intelligence, maintaining the thematic material clearly while providing auditory interest in the repeated ornamentation with a variety of colorful registrations.

Buxtehude’s O Morning Star, how fair and bright (Wie schon leuchtet der Morgenstern) again showed Schelat’s expertise with the articulation of Baroque musical gestures.

Bach received his due with a rendering of the Prelude and Fugue in G Major (BWV 541) that was both meaty and full of energy. Tucked between them was the melodic simplicity of the chorale prelude Blessed Jesus, we are here (Liebster Jesu, wir sind hier (BWV 730).

From Spain came Juan Cabanilles’ Corrente Italiana, a mixture of Renaissance and Baroque. Schelat added a subtle touch of percussion to good effect.

There were more surprises following intermission, including an organ sonata by C.P.E. Bach, J.S. Bach’s second surviving son. Although much better known for his harpsichord works, Bach did produce six organ sonatas on commission from Princess Anna Amalia, sister of his then employer, King Frederick the Great of Prussia. The writing is for manuals only, because the Princess was — reportedly — unable to play the pedals.

Schelat offered an effervescent rendering of the Sonata No. 5 in D Major (Wq70), indulging in much hopping between the two manuals — and adding a bit of pedal — to create a sheer delight for the ear.

Another pleasant surprise came with a performance of the Andante sostenuto from Charles-Marie Widor’s Symphonie Gothique. This sweet, meditative piece allowed Schelat to reveal a whole other side to a composer better known for the pyrotechnics of his Toccata in a work we rarely get to hear.

The program concluded with a performance of Mendelssohn’s Sonata in B-Flat Major. Mendelssohn had a great love for Bach and played a major role in his revival. While this music is Romantic in its approach, it displays a certain restraint which is very appealing. Schelat obviously loves this music and that affection came through in this assured and sensitive delivery.

Schelat reached into his own catalog for an encore with a performance of Kokopelli, a whimsical piece dedicated to the flute-playing trickster deity who represents the spirit of music and who presides over childbirth and agriculture. Schelat wrote the piece for the Fred J. Cooper Organ Book, which was commissioned by the Philadelphia chapter of The American Guild of Organists to celebrate the 10th anniversary of the organ in the Kimmel Center’s Verizon Hall.

See www.marketstreetmusicde.org. 

The Grand Celebrates One-Day Ticket Sales Record

This post content courtesy of an October 10 press release from The Grand Opera House...

Photo courtesy of The Grand Opera House.

The Grand staff and board, under the Executive and Programmatic leadership of Mark Fields and Stephen Bailey, is excited to announce that the performance arts company has set a one-day ticket sale record, selling over 6,000 tickets on Monday, October 9, 2017.

“We are bowled away by these results,” says Mark Fields, “it is another example of how The Grand’s quality programming has attracted new and returning patrons to this beautiful building.”

Currently, The Grand has over 70 shows on sale, ranging from America’s Got Talent finalist TAPE FACE (10/14), to long-time comedy icon SINBAD (12/15), music mavens STRAIGHT NO CHASER (11/29), and Broadway’s finest like THE WIZARD OF OZ (11/14-11/19) and MOTOWN (5/1-5/6).

“I highly encourage you to look at our new and improved website at TheGrandWilmington.org to see all of our offerings this season!” says Fields. “The Grand’s website, newly launched on October 1, is much faster and user-friendly than our previous.  It is mobile friendly, removing the need for our Grand Smart Phone App, and it provides search capabilities never before offered to our patrons.  Even better – it combines the two separate sites that were previously The Grand and the Playhouse – providing patrons the ability to buy tickets across our Music & Variety and Broadway series.”

Tickets can be purchased online at TheGrandWilmington.org, by phone at 302.652.5577 or by visiting The Grand’s Box Office at 818 North Market Street, Wilmington, Delaware.

Music School Opens Season with All-Bach "Thank You" Concert

By Christine Facciolo

If it were possible to gather together composers — both living and dead — and ask them who they thought was the greatest composer of all time, chances are one name would surface more than others: J.S. Bach. And with good reason. Bach is one of the few — maybe the only — composer to succeed in combining masterful craftsmanship with such profound expressivity.

TheMusic School of Delaware used the artistry of J.S. Bach to say thank you to its patrons for their generosity on Wednesday, October 4, as it opened another season of its Music Masters Concert Series with an all-Bach program.

Maestro Simeone Tartaglione led a 15-member chamber orchestra comprised of music school faculty and guest artists.

Tartaglione bookended the program with two works from Bach’s most imaginative and celebrated oeuvre: the Brandenburg Concertos. The concert opened with a formidable rendering of the short but robust third Brandenburg. Bach composed two substantial movements for this work, leaving the players to improvise a transitional movement, for which he provided only two chords.

Tartaglione and his players executed the Allegro movements at an authentically robust tempo. Bach’s contrapuntal mastery was vividly brought out by this ensemble that interacted with each other like the cooperative soloists Bach intended them to be.

Concerto No. 5, however, makes demands on the harpsichord soloist that far exceeds anything else in the repertoire. As Tartaglione pointed out, this work is, for all intents and purposes, the first keyboard concerto.

Bach gives the harpsichord (here in the capable hands of Tracy Richardson) a most unusual role: it starts out playing a basso continuo, proceeds to play solo melodies in dialogue with the flute (Dr. Lynne Cooksey) and violin (Christof Richter) and then gets carried away with virtuosic scales that leave the others in the dust. Richardson delivered with great panache and rhythmic sensibility, showing what top-tier musicianship can bring to a familiar work.

Christof Richter soloed in a polished performance of the Violin Concerto in E Major. The opening is Bach at his sunniest, and Richter and the group exuded pure joy as they eased into the mellow mood this music demands. The expressive Adagio was exquisite as it contrasted a dark intensity with moments of golden light. The finale was cheerful and full of energy.

Dr. Lynne Cooksey was equally impressive in the Suite No. 2 in B Minor. Cooksey played with style and agility, executing the piece’s fast passages with note-perfect ease, playing a lovely duet with the cello in the sixth-movement Polonaise, producing lovely sighing effects in the Menuett and pulling out all the stops in the appropriately fast final-movement Badinerie, earning her a round of enthusiastic applause from the very appreciative audience.    

  

 See www.musicschoolofdelaware.org.  

A Mapcap Musical Romp Opens Brandywine Baroque's Season

By Christine Facciolo

There’s no denying Karen Flint’s contribution to the cultural life of our region.

Brandywine Baroque orchestra members rehearse "The Woodman."
Photo courtesy of Brandywine Baroque.

As founding artistic director of Brandywine Baroque, harpsichordist Flint consistently presents programs that feature works by the well-known and not-so-well-known — though no less worthy — composers of the period. Moreover, her collection of rare (and playable) harpsichords draws devotees and scholars from around the country and the world to the Centreville venue, The Barn at Flintwoods.

Flint and company opened the 2017-18 season with a performance of as rare a gem as any: The Woodman (1791) by English opera composer William Shield. This all-but-forgotten work is so obscure that Flint and fellow harpsichordist Janine Johnson had to prepare an orchestration from a piano/vocal reduction, the only existing score for the opera.

Shield is one of those composers whose legacy history seems to have erased. Born in 1748 in Swalwell, Shield arrived in London in 1772 to play the violin in the Coven Garden Orchestra. In 1791, he met Haydn who attended a performance of The Woodman. That meeting inspired him to compose more operas and stage works. Shield’s work as a composer got him noticed in royal circles and in 1817 he was appointed “Master of the King’s Musick.”

Like many of his contemporaries, Shield looked toward folk music for source material. In

fact, it was once thought that he wrote Auld Lang Syne, the melody of which appears toward the end of the overture to his Rosina opera. It is now thought that both he and Burns borrowed the melody — or at least the outline of it — from an old folk tune.

Shield’s work is considered to be the forerunner of the modern musical comedy. The Woodman contains features associated with later English comic opera, including spoken dialogue, a frothy theme and the use of popular and folk melodies. The music is pastoral, even bubbly, with flashes of coloratura.

The plot is a madcap thicket of love found, lost and recovered. Emily (Laura Heimes) has fallen in love with Wilford (Stephen Ng) but his nasty uncle does not approve and sends him off to Europe. When Wilford returns, Emily has fled to the forest where three other men fall in love with her. Mistaken identities and all sorts of mischief follow in this lively romp through the woods capped off by a female archery contest for a price heifer.

Flint assembled a stellar cast of singers and musicians for this superb rendering of this woefully overlooked gem. Heimes is vocally striking — as usual — in her portrayal of Emily. Ng brings a full-bodied tenor and lovelorn urgency to Wilford, her lost love.

Bass Daniel Schwartz excelled in his portrayal of the upright and kindly Fairlop, the woodman, while sopranos Abigail Chapman and Rebecca Mariman were convincing as his daughters, the steady Dolly and coquettish Polly, respectively.

Baritone James Wilson played the lecherous Sir Walter to the hilt accompanied by his ever-loyal sidekick Medley in the capable hands and voice of tenor Andrew Fuchs.Tenor Lawrence Jones displayed a much misplaced confidence as he assisted Wilford in his quest to find Emily.

But it was countertenor Augustine Mercante, wigged in bight orange ringlets, who elicited the most laughter in his portrayal of Miss Dinah “Di” Clackit. Mercante not only possesses a sumptuous voice but also impeccable comedic timing that never missed a beat.

Musicians from the ensemble also took part in the action with non-singing roles: flutist

Eileen Grycky, violist Amy Leonard, double bassist Heather Miller Landin served as archers (Grycky also played Bridget the maid). Violinists Martin Davids and Edward Huizinga played Filbert, the Gardener and Bob, respectively.

Imaginative costumes and props transported the audience from Centreville to an 18th Century English forest.

See www.brandywinebaroque.org. 

Audiences Enjoy 'Up Close & Personal' Look at Mélomanie's First Performance

Harpsichordist Tracy Richardson and Violinist Christof Richter
of Mélomanie. Photo by Tim Bayard.

By Christine Facciolo
Mélomanie members Christof Richter (violin) and Tracy Richardson (harpsichord) combined their talents to showcase the versatility of the violin in a program that featured works by the well-know, the not-so-well-known and the downright quirky. The concert, called 'Up Close & Personal: The Violin,' took place on Saturday, September 30, at Old Town Hall in downtown Wilmington.

Despite the role it plays in the modern orchestra and the repertoire that’s grown up around it, the violin was considered a “low-brow” instrument, played largely from memory throughout the late 16th and early 17th Centuries. But once written music appeared, the violin became a major driver in the development of instrumental music as a whole.

Saturday’s performance opened with a performance of Johann Paul von Westhoff’s Partita 6 in D Major for solo violin. Unlike his contemporary Heinrich Biber, little attention has been paid to von Westhoff. But lesser-known hardly means insignificant. In fact, it is very likely that von Westhoff met J.S. Bach during their time in Weimar, and that these Partitas were a direct inspiration for Bach to compose his sonatas and partitas for solo violin.

Richter performed with a natural and effortless charm, concluding with an exhilarating reading of the Gigue.

Heinrich Biber — von Westhoff’s more famous contemporary — was represented with a performance of Sonata 4 in D Minor (The Presentation) from his Rosary Sonatas. This ever-intriguing work is the finest example of Biber’s exploration of scordatura, alternate tunings of the violin strings that produce otherworldly sonic textures and performance challenges. The Presentation is a chaconne and variations tuned to D minor. Tuning the top string down a step and the bottom string up one produced an alto-like quality, where one would expect soprano brilliance. Richter’s execution of these blazing virtuosic variations was breathtaking, making the listener long for a full performance of this work.

The Italian Baroque was represented by Biagio Marini’s Romanesca Variations and Giuseppe Tartini’s Sonata in G Minor (The Devil’s Trill). “Romanesca” is actually a song form popular in the period 1550-1650, characterized by a sequence of four chords which form the groundwork for improvisation (think: Greensleeves). The work consists of four variations and two dances, the gagliarda and corrente. Richter and Richardson took a spirited approach with regard to tempo and meter long before the dance variations impose triple meter toward the end.

Richter imbued Tartini’s Sonata with the appropriate pyrotechnics: delicate turns and swift runs, dark moods, commanding multiple stops and double-note trills. And while the work can be performed solo, the inclusion of the continuo added depth and harmonic texture.

Richter and Richardson made a fine duo in Mozart’s Sonata in G Major (KV 301). Richter’s intonation is always exact and his articulation in the fastest passages clear and precise. These sterling qualities were matched by Richardson’s accompaniment on harpsichord, which she notes was still in use alongside the up-and-coming fortepiano during this time.

No Mélomanie concert would be complete without some contemporary offerings. In an afternoon of surprises, there were some pretty interesting choices. Schnittke’s Suite in Old Style is a wry nod to the Baroque — actually a pre-Classical-style pastiche of movements drawn from the composer’s film scores. Unlike a true Baroque suite, though, there is little for the soloist to show-off. Richter brought a fragile delicacy to the final movement, Pantomime, the only movement performed in this program.

Richter and Richardson offered yet another interesting piece from a most marginalized 20th Century composer, Josef Matthias Hauer. Hauer’s claim to fame (or infamy) is that he developed his own 12-tone system, publishing his findings in 1919 slightly ahead of rival Schoenberg. But whereas Schoenberg manipulated tone rows, Hauer based his atonality on systematically organized chords.

Toward the end of his life, Hauer wrote a collection of short (the longest runs five minutes) pieces called Zwolftonspiel, literally 12-tone games. Richter and Richardson collaborated on the one dated 26 August, 1948. This music is a welcome respite from the angular tones of Schoenberg’s serialism, and Richter and Richardson captured its joy and playfulness in this very capable rendering.

See www.melomanie.org. 

Delaware Theatre Company's 'Wicked' Opener

Jake Blouch, Rob Riddle, Christopher Sapienza (front), and Joelle Teeter, Rajeer Alford,
Clare O’Malley, Kevin Toniazzo-Naughton, and Melissa Joy Hart (back).
Photo by Mark Miller.

By Mike Logothetis
Just after you’ve settled into your seat at the Delaware Theatre Company (DTC), you’ll find yourself staring into a dark tunnel with a train coming toward you at breakneck speed. The locomotive seemingly thunders right into the audience and kicks off the electric new musical, Something Wicked This Way Comes.

Based on the classic best-selling novel by Ray Bradbury, director/choreographer Rachel Rockwell deftly steers this delightful new musical about a traveling carnival’s mysterious visit to a small Illinois town. Neil Bartram (music and lyrics) and Brian Hill (book) have composed this coming-of-age thriller that draws heavily on the supernatural.

The story revolves around young heroes Will (John Francis Babbo) and Jim (Sawyer Nunes), who are constantly bored in tiny Greentown. Compounding their perpetual search for adventure is each boy’s lack of a loving father figure – Jim’s has left and Will’s doesn’t seem to acknowledge the son living under his own roof. Veteran television and stage actor Stephen Bogardus portrays Will’s dad Charles as a quiet and unhappy man who yearns for his deceased wife Beth’s (Clare O’Malley) company, not his living son’s. 

But things are soon to change…

Foretold by a narrator (Steve Pacek), who steps in and out of the stage action, trouble is coming to Greentown in late October 1938. The strange but kind man hands the lads a lightning rod to protect them during the storm that will blow into their lives soon. (Somethin’ is comin’/The wind doesn’t lie)

What’s comin’ is a traveling show that suddenly appears in town and is led by mysterious ringmaster Mr. Dark (Rob Riddle). Mr. Dark seems to prey on human insecurities and the townsfolk flock to the carnival tents to fulfill their inner desires. Riddle is the standout performer in this show. His maleficent actions and full baritone are sinfully delightful. Like in a silent movie, you want to both boo and hiss Mr. Dark while simultaneously cheering the entertainment of his villainy.

Bartram’s music and lyrics work to advance the story and include ballads, upbeat numbers, and operatic melodies which are effective as solos, duets, and chorus numbers. While you won’t go home humming any of the tunes from the show, you will be skipping happily out of the theater from the enjoyment of the experience.

The show is dazzling because of projection designer Shawn Sagady and the technical wizards from Freckled Sky. The multimedia creatives have pulled out all the stops with immersive special effects that will wow any theater-goer. Scott Davis has designed a brilliant set that combines a Norman Rockwell-like town with a sinister carnival. Whether mesmerized in a hall of mirrors or receiving 200,000 volts of electricity or engaged in a rooftop battle with an evil balloonist(!), these technical geniuses have outdone themselves. The action, blocking, and timing have to be perfect for these visual marvels to be successful – and they are. The set, actors, music, and effects are wonderfully synchronized.

The Cooger and Dark’s Pandemonium Shadow Show song (none of the songs are listed in the program) was a highlight of the show. The carnival is rolled out to the people of Greentown with rousing choruses, snappy movement, and breathtaking special effects.

The ensemble cast is first-rate and most of the actors have secondary roles as townsfolk like barber Mr. Crosetti (Christopher Sapienza), tobacconist Mr. Tetley (Jake Blouch), and schoolteacher Miss Foley (Marian Murphy). Meghan Murphy plays the blind soothsayer known as the “Dust Witch” to wicked perfection.

Through a series of startling discoveries and harrowing experiences, Charles eventually gains self-awareness, faith, and a backbone as the story progresses. The boys fight to save their futures, their relationships, and their lives from all kinds of nefarious attacks the “Autumn People,” led by Mr. Dark, throw at them. In the end, the town is saved as is Charles’ paternal bond with Will. But for this show, it’s the journey not the destination that is most appreciated.

Something Wicked This Way Comes is DTC’s fourth development of a new musical following Because of Winn-Dixie, Tappin’ Thru Life and Diner. This is a World Premiere event, so some tweaking may take place during this initial run or after its completion.

The performance schedule of Something Wicked This Way Comes is: Wednesdays (2:00pm), Thursdays (7:00PM), Fridays (8:00PM), Saturdays (2:00 & 8:00pm) and Sundays (2:00pm) through October 8. Tickets start at $25 with group (10+) and student discounts available. There will be pre-show Viewpoints on September 27 at 1:15pm, plus post-show talkbacks on September 28 and October 5. The running time is just over 2 hours with one 15-minute intermission. 

Call 302.594.1100 or visit DelawareTheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.

OPENING NIGHT: Delaware Symphony Orchestra

By Christine Facciolo

Delaware Symphony Orchestra
Photo by Joe del Tufo/Moonloop Photography

Classical music devotees savored a Fifth of Beethoven at The Grand Friday, September 15, as the Delaware Symphony Orchestra kicked off what promises to be one of the most ambitious seasons in its 111-year history.

But before the orchestra rolled up its sleeves for the Beethoven, it offered up some lighter fare, courtesy of Prokofiev and Mozart.

Prokofiev subtitled his Symphony No. 1 (1917) the “Classical Symphony,” in homage to Haydn. Prokofiev’s ability to blend his 20^th Century voice with the style of the great classicist is indeed remarkable, making this one of his most popular works.

  

The piece is usually performed by a large modern orchestra. But here, the orchestra was pared down appropriately, giving the music a lighter texture. The string work throughout was captivating. The Gavotte proceeded with its dislocated tune and plodding rhythm, while the final movement bubbled along at an exhilarating pace, producing many admiring smiles and enthusiastic applause.

Mozart’s Concerto for Flute, Harp and Orchestra (K.299/297c) was the companion piece on the first half, an apt choice, since Haydn influenced Mozart as well as Prokofiev. Amado partnered DSO principals Kimberly Reighley (flute) and Sara Fuller (harp) who gave a poised yet exuberant reading of this finely wrought work. The orchestra carried out its supporting role with as much commitment as if it were center-stage, befitting the intimate nature of the piece, especially the flowing Andantino.

After intermission, Amado and the orchestra got down to business with a performance of Beethoven’s Fifth, certainly the most well-known – possibly the most beloved – work ever created.

Familiarity can breed contempt but not in this case. As Amado pointed out, there is always something new and interesting to discover in Beethoven’s Fifth. First, were those introductory notes really the hammer blows of fate knocking at the composer’s door? Probably not. A theory developed in the 1990s holds that those famous fortissimo phrases were influenced by Luigi Cherubini’s “Hymn du Pantheon.” Cherubini was a prominent composer during the French Revolution. Beethoven was a passionate supporter of the revolutionary ideals of liberty, equality and fraternity.

  

Amado also pointed out the symmetry within the symphony’s first eight notes as well as the thematic and harmonic relationships between its movements.

  

If you listen to the Fifth largely on recordings, it’s easy to forget host thrilling a live performance ca be. This was a beautifully focused, fully energized performance of the Fifth with all the necessary elements in place: sonorous strings, flawless brass playing, full-bodied winds and above, a sense of drama and grandeur. The insistent C on the timpani had a palpable presence here, offering am effective set-up for the glorious, fortissimo rising chords that usher in the finale. 

For full season info, see www.delawaresymphony.org. 

Sisters are Slayin’ It in City Theater Company's 'Lizzie'

By Mike Logothetis

As my theater companion and I rose enthusiastically for a well-deserved standing ovation to City Theater Company's cast of LIZZIE, I smiled and told him, “Sisters are slayin’ it for themselves.”  He laughed and nodded and told me to write it down. It’s a corny homage to the Eurythmics, but it fits.

Darby Elizabeth McLaughlin as Lizzie.
Photo by Joe del Tufo/Moonloop Photography.

We had just thoroughly enjoyed a rock opera that tells the tale of the infamous Borden double murders in Fall River, Massachusetts – for which youngest daughter Lizzie was tried and acquitted. The legend of Lizzie Borden is a part of Americana, but I can’t say the general public knows the gory details. (I didn’t.)  This show covers most of the facts and theories surrounding the 1892 axe murders of Lizzie’s father and his second wife in their home.

But LIZZIE is less a history lesson and more a head-banging rock show that somehow includes incredibly tender moments. Lead actress Darby Elizabeth McLaughlin steals the show from three other amazing actresses by portraying Lizzie as confused, angry, demented, caring, conniving, steely and vulnerable.  

McLaughlin showcases her acting chops and wonderful vocal abilities in a space where the audience is so close it’s almost part of the staged action.  We are right there with Lizzie in her torment and famous act of conflict resolution.  McLaughlin’s portrayal of a young tortured soul is eerie and touching.  She impeccably hints at her character’s understanding of how she can escape her dreadful life through an unspeakable act.

But the three supporting actresses – Jill Knapp (Emma Borden), Kyleen Shaw ('Maggie' the maid) and Grace Tarves (Alice the neighbor) – are also outstanding.  Shaw’s Bridget/Maggie is an opportunist who knows all about the goings on in “The House of Borden.”  Meek neighbor Alice is given depth by Tarves, whose voice melds beautifully with that of McLaughlin in several duets.  Knapp’s portrayal of judgmental but caring older sister Emma is strong and her vocals soar in her solos.  Knapp’s frenzied performance of What The Fuck Now, Lizzie?! is a show highlight.

The six-piece Fall River Band was tight and got our toes tapping and heads bobbing during stand-out songs like This Is Not Love and Sweet Little Sister.  Under the direction of Joe Trainor, the talented band is nimble enough to play rock, metal and gospel – like in the song Watchmen For the Morning, where our protagonist gets fitted with a straightjacket.

The cast of CTC's Lizzie (L-R): Kyleen Shaw, Jill Knapp, Darby Elizabeth McLaughlin,
Grace Tarves.  Photo by Joe del Tufo/Moonloop Photography.

Director Michael Gray allows his actresses to roam throughout the American Horror Story-style set and deliver their lines facing any direction.  The employment of wireless microphones allows the performers to quietly deliver some dialog plus fill the room with their powerful singing voices.  Costumers Kerry Kristine McElrone and Lauren Peters have their women dressed in all white, and while some scenes relay a virginal innocence, others evoke images of witches gathered around a cauldron.  One neat visual was Lizzie walking on stools placed before her every step by the other women while contemplating how to “clean a stain.”

The climax and finale of LIZZIE are superb and mesh the closing songs into a medley of sorts.  Thirteen Days in Taunton recalls the Shel Silverstein/Johnny Cash song 25 Minutes to Go in that it is gallows humor at its finest.  All four principles are strong over the final five songs, which cover the murder trial and aftermath.  Chances are you’ll cheer the outcome and want to dance in the aisles like the audience on opening night.

LIZZIE originated in 1990 as a four-song experimental show by writer/director Tim Maner and songwriter Steven Cheslik-DeMeyer.  It took help from Alan Stevens-Hewitt (and almost 20 years!) to fully flesh out the narrative, music and staging of the rock opera.  The 2009 show was nominated for three Drama Desk awards in New York City during its initial run.  The current two-act version at City Theater Company was arranged by the authors in 2013.

The limited run of LIZZIE ends this week with 8:00pm shows on September 13, 14, 15 and 16 in The Black Box at Opera Delaware Studios (4 South Poplar Street, Wilmington, DE 19801).  Tickets are $28 (general admission), $25 (military), $20 (student), and $15 (child age 15 and under) and can be purchased online or at the box office.  There is also a $40 VIP ticket package available.  

Visit city-theater.org for more information, tickets and the remaining CTC season schedule.