WDL's “Elephant Man” compelling yet uneven
John Merrick was an English man in the late 1800's with severe deformities who was exhibited as a human curiosity. He began to develop abnormally during the first few years of his life. His skin appeared thick and lumpy, he developed an enlargement of his lips, and a bony lump grew on his forehead. One of his arms and both feet became enlarged and at some point during his childhood he fell and damaged his hip, resulting in permanent lameness. When he was 11, his mother died and his father soon remarried. Rejected by his father and stepmother, he left home. He had no formal education.
His true story is one not of bitterness toward the life thrust on him, but redemption of the soul.
Rookie director Andrew Chambliss fortunately surrounded himself with a few community theatre veterans to produce a drama as variegated as Merrick's own skull. His pacing was a bit slow. Theatres, to reduce set costs, are employing slides back lit on screens to create the period feel. Chambliss' choices were good but projecting them on the walls of WDL took away from the action on stage. While I have no doubt the director researched the original novel thoroughly, neither I nor my companion could understand the relevance of the two “Pinhead” girls to the plot.
Merrick (Craig Stump), sans makeup, was excellent in his portrayal; exhibiting anguish, pain, heartbreak and humility. Frederick Treves (Edward Emmi) displayed his character's hypocrisy with panache and a consistent accent. Mrs. Kendal (Nance Weber) can always be counted on for a strong performance.
Til April 2. WilmingtonDramaLeague.org 764.11172
World Premiere at The Barnstormers in Ridley Park
Aisle Say has til now never ventured just two exits into PA from 95 to visit Barnstormers, but it has long been a venue for many accomplished Delaware theatre people.
We all like Shakespeare's prose. Even more than that, we all like to make fun of trailer parks and their stereotypical inhabitants. (Though never willing to admit this in any watering hole in Greenville, Aisle Say has been fascinated with women in spandex, hair curlers, chewing 4 sticks of gum while decimating the English language out of one side of their mouth. )
The collision of this irresistible force and immovable object occurs with the World Premiere of “Shakespeare in the Trailer Park.” Veteran Director Marsha Amato-Greenspan leads a cast with Delaware ties, including the much-too-cute-for-her-own-safety Dina Bogina, Cindy and Bill Starcher, Tim Sheridan, Nancy Kersey and Karyn Fry.
Til April 10. BarnstormersTheater.com 610.461.9969
First State Ballet to stage The Adventures of Pinocchio at The Grand
Contrary to opinion from Aisle Say's two ex's, he will not be dancing the title character in 1st State Ballet's current production.
On April 8 and 9 on the main stage of Wilmington’s Grand Opera House, First State Ballet Theatre, Delaware’s professional ballet company, will present, The Adventures of Pinocchio, another FSBT world premiere by internationally acclaimed choreographer Viktor Plotnikov.
Based on the famed children’s story by Carlo Collodialso made popular as a Disney classic children’s moviePlotnikov’s Pinocchio is set to exciting and familiar opera highlights including the works of Donizetti, Gounod, Rossini, Verdi and others. The 60 plus person cast will wear spectacular new Plotnikov-designed costumes now being created in Russia.
TicketsattheGrand.org 877.37 GRAND
Showing posts with label first state ballet theater. Show all posts
Showing posts with label first state ballet theater. Show all posts
Sunday, April 10, 2011
Thursday, December 16, 2010
Moon & Stars Align with REP's "Midsummer"
Dear Tom Carper, Chris Coons (the luckiest politician in DE), John Carney, Jack Markell, Beau Biden (the UNluckiest politician in DE), UD Pres Patrick Harker and Vance Funk, Mayor of Funkytown,
(In one of the hundreds of jobs Aisle Say has had over his career, one was a news picker for a politician. Whenever the boss's name appears in print, the 'picker' must diligently cut and paste and place said article for further review.)
So, now that I have the attention of these esteemed gentlemen, let me humbly suggest one institution in the state which truly makes us 'World Class' – the UD REP Ensemble.
Aisle Say has had the privilege of seeing all but 3 of their productions in the 3 years of their existence. Relative to what trod the boards pre- REP, their body of work is inspiring.
Producing Artistic Director Sandy Robbins told me The Roselle Center for the Arts sits a few miles outside of the perimeter of the prestigious Philadelphia-based Barrymore Awards. Pat Harker, hey bro, you taught at Penn. Make a phone call, dude. That glass case in the theatre lobby soon would be brimming.
I travel to Philly frequently. While The Walnut stages musicals and The REP stages classics, every minute detail of the latter's work is superior. REP shows would be winners on Broadway.
As a writer, I absolutely wretch at the phrase “can't put it into words,” or when an athlete says, “it hasn't sunk in yet.” Yet, one could attend ' A Midsummer Night's Dream' multiple times and still not absorb all the nuances of this spellbinding and bewitching entertainment.
There were as many stars in this show as those in the midsummer night.
Scenic design is by Takeshi Kata, who takes her cue from the omnipresence of the moon in Shakespeare's most popular tale. Kata's moon not only emits light but serves as a lair for the delightful and intimidating Hippolyta/Titania (Jasmine Bracey), who like many of the leads, play two roles.
Puck (Ben Charles) worked assiduously at turning events preposterously. He is not only a skilled actor but an astonishing (and brave) athlete, gracefully flown over the Kata's moon by Foy, the same firm that harnessed Mary Martin and Cathy Rigby.
Theseus/Oberon (Mic Matarrese) was regal in both roles. Grandiloquent of voice and grand of poise, posture and presence.
The four lovers Hermia (Sara Griffin), Helena (Caroline Crocker), Demetrius (Mathew Simpson), Lysander (Cameron Knight) were gleeful and sensuous and, by the by, great comic artists.
And now to the Mechanicals, in what was the most outrageous Pyramis & Thisbe scene Aisle Say has ever witnessed. Poor Quince (Steve Tague) in that ridiculous wig trying to keep control of the out of control Bottom (Stephen Pelinski). The laughs kept cascading as sure as the rhythm of incoming waves. Pelinski has affected this 'who me?” look plastered on his malleable mug and the audience gladly submits their collective will to Bottom's mayhem.
The phantasmagoric fairy costumes created by Martha Hally have never seen an equal on a Delaware stage. I would request the name of the hallucinogen she took so that I could be half as creative.
The fairy platoon was so very concise in their movements, owing to the playful choreography of Joann Browning.
This show will be imprinted in the mind of the audience for a lifetime.
Through December 12. Rep.udel.edu 302.831.2204
FIRST STATE BALLET NUTCRACKER
Delaware's only professional ballet company keeps throwing their creative net around the state. Longtime (and passionate) President of the Board Robert Grenfell and Artistic Director Pasha Kambalov hauled in a leviathan for this year's performances; The Delaware Symphony.
Heretofore, Tchaikovsky's music was pre-recored. Having our live symphony in attendance will energize not only the dancers but also the audience.
David Amado has shown a propensity in the last two years to broaden DSO's reach. He is making his troupe more accessible and the rewards are plentiful. Aisle Say attended a recent concert by Natalie Merchant. I felt the symphony was many times more exciting than this one note artist.
Just this past weekend DSO backed up Gary Brooker of Procul Harem, in concert for the Grand Gala; a spectacularly great party.
And, the orchestra was recently nominated for their first Grammy, a Latin dominated CD entitled Interchange. On a podcast by the DE Division of Arts, Exec Director Lucinda Williams pointed out that their label is from the most prestigious producing company of their genre.
Says Amado,”Collaborating with FSBT is thrilling for us. Normally we partner with other musicians. This new 'conversation', i.e. between the dancers and the orchestra is totally different. Both sides are energized and we become a living breathing organism. I think the audience senses this as well.”
Adding to the coup of partnering with DSO, First State Ballet is adding to this embarrassment of riches by inviting the Wilmington's Childrens Chorus to sit on either balcony sides and sing at appropriate times during the ballet. As Grenfell quips,”the music will be surround sound stereo!”
At The Grand Opera House Dec 17 @ 7pm; Dec 18 @ 2pm and 7pm; Dec 19 @ 2p FirstStateBallet.org Tix: 302.652.5577
(In one of the hundreds of jobs Aisle Say has had over his career, one was a news picker for a politician. Whenever the boss's name appears in print, the 'picker' must diligently cut and paste and place said article for further review.)
So, now that I have the attention of these esteemed gentlemen, let me humbly suggest one institution in the state which truly makes us 'World Class' – the UD REP Ensemble.
Aisle Say has had the privilege of seeing all but 3 of their productions in the 3 years of their existence. Relative to what trod the boards pre- REP, their body of work is inspiring.
Producing Artistic Director Sandy Robbins told me The Roselle Center for the Arts sits a few miles outside of the perimeter of the prestigious Philadelphia-based Barrymore Awards. Pat Harker, hey bro, you taught at Penn. Make a phone call, dude. That glass case in the theatre lobby soon would be brimming.
I travel to Philly frequently. While The Walnut stages musicals and The REP stages classics, every minute detail of the latter's work is superior. REP shows would be winners on Broadway.
As a writer, I absolutely wretch at the phrase “can't put it into words,” or when an athlete says, “it hasn't sunk in yet.” Yet, one could attend ' A Midsummer Night's Dream' multiple times and still not absorb all the nuances of this spellbinding and bewitching entertainment.
There were as many stars in this show as those in the midsummer night.
Scenic design is by Takeshi Kata, who takes her cue from the omnipresence of the moon in Shakespeare's most popular tale. Kata's moon not only emits light but serves as a lair for the delightful and intimidating Hippolyta/Titania (Jasmine Bracey), who like many of the leads, play two roles.
Puck (Ben Charles) worked assiduously at turning events preposterously. He is not only a skilled actor but an astonishing (and brave) athlete, gracefully flown over the Kata's moon by Foy, the same firm that harnessed Mary Martin and Cathy Rigby.
Theseus/Oberon (Mic Matarrese) was regal in both roles. Grandiloquent of voice and grand of poise, posture and presence.
The four lovers Hermia (Sara Griffin), Helena (Caroline Crocker), Demetrius (Mathew Simpson), Lysander (Cameron Knight) were gleeful and sensuous and, by the by, great comic artists.
And now to the Mechanicals, in what was the most outrageous Pyramis & Thisbe scene Aisle Say has ever witnessed. Poor Quince (Steve Tague) in that ridiculous wig trying to keep control of the out of control Bottom (Stephen Pelinski). The laughs kept cascading as sure as the rhythm of incoming waves. Pelinski has affected this 'who me?” look plastered on his malleable mug and the audience gladly submits their collective will to Bottom's mayhem.
The phantasmagoric fairy costumes created by Martha Hally have never seen an equal on a Delaware stage. I would request the name of the hallucinogen she took so that I could be half as creative.
The fairy platoon was so very concise in their movements, owing to the playful choreography of Joann Browning.
This show will be imprinted in the mind of the audience for a lifetime.
Through December 12. Rep.udel.edu 302.831.2204
FIRST STATE BALLET NUTCRACKER
Delaware's only professional ballet company keeps throwing their creative net around the state. Longtime (and passionate) President of the Board Robert Grenfell and Artistic Director Pasha Kambalov hauled in a leviathan for this year's performances; The Delaware Symphony.
Heretofore, Tchaikovsky's music was pre-recored. Having our live symphony in attendance will energize not only the dancers but also the audience.
David Amado has shown a propensity in the last two years to broaden DSO's reach. He is making his troupe more accessible and the rewards are plentiful. Aisle Say attended a recent concert by Natalie Merchant. I felt the symphony was many times more exciting than this one note artist.
Just this past weekend DSO backed up Gary Brooker of Procul Harem, in concert for the Grand Gala; a spectacularly great party.
And, the orchestra was recently nominated for their first Grammy, a Latin dominated CD entitled Interchange. On a podcast by the DE Division of Arts, Exec Director Lucinda Williams pointed out that their label is from the most prestigious producing company of their genre.
Says Amado,”Collaborating with FSBT is thrilling for us. Normally we partner with other musicians. This new 'conversation', i.e. between the dancers and the orchestra is totally different. Both sides are energized and we become a living breathing organism. I think the audience senses this as well.”
Adding to the coup of partnering with DSO, First State Ballet is adding to this embarrassment of riches by inviting the Wilmington's Childrens Chorus to sit on either balcony sides and sing at appropriate times during the ballet. As Grenfell quips,”the music will be surround sound stereo!”
At The Grand Opera House Dec 17 @ 7pm; Dec 18 @ 2pm and 7pm; Dec 19 @ 2p FirstStateBallet.org Tix: 302.652.5577
Thursday, November 27, 2008
Community News - First State ballet theatre
n West Berlin, June 1987 came the immortal words “If you seek peace, if you seek prosperity for the Soviet Union; if you seek liberalization, come here to this gate. Mr. Gorbachev, open this gate. Mr. Gorbachev, tear down this wall!”
While I always felt The Beatles and their anthem of “All You Need is Love” had more to do with turning stones to dust in the wind than President Ronald Reagan's pontifications, his speech was considered a turning point in the Cold War.
The era of perestroika was upon us, and Russian cultural groups began tours of the United States.
Leaving Moscow in 1991, one such group was a ballet company with an amalgam of performers from the St. Petersburg Ballet and The Bolshoi. Arriving in Philadelphia, they performed their first night, to wake up the next morning with news that their visas had been revoked and they were stranded. Some were accompanied by wives and children.
A Wilmington-based doyenne of the arts brought them here and reached out to her corporate friends to create what was to become The Russian Ballet Theatre of Delaware. Through the '90s, the group performed at The Grand such staples as Romeo & Juliet with Prokofiev's music and an annual Nutcracker. It was mainly through the largess of MBNA that this occurred.
The money dried up in the late 1990s, and the acclimated former Russian citizens became Delaware citizens. They were through with the tortuous assaults on the body and the low pay of the struggling artist.
That is, all but one.
Lead dancer Pasha Kambalov, 38, of New Castle County, was not finished. He and dancer Kristina Dippel, who was soon to be his wife, established First State Ballet in Newport in September 1999. Pasha explained the mission. “As in our name, our aim was to be Delaware's ballet company. We would train aspiring pre-professionals and professionals and stage major ballets and mixed-repertory productions in Delaware and beyond.”
Robert Grenfell, 61, of Brandywine Hundred, a retired Verizon executive and student of dance since childhood under the tutelage of the iconic Jamie Jamieson, had performed in all the productions since 1991. He agreed to become president of the non-profit board. Grenfell made a connection with Del Tech Community College in Georgetown. This led to other collaborations and FSBT has been performing statewide now for six years.
“It's been an amazing nine years of both growth and balletic excellence,” says Grenfell. “These kids - many of whom will go on to professional careers - perform to the delight of our audience. We have sent many of our students overseas in international competition.”
FSBT's biggest break came in 2003 with the invitation to base their teaching studio at The Grand. This affiliation, along with partners Opera Delaware and Delaware Symphony, solidified FSBT as an arts institution.
There are two major reasons for even more excitement. They have recently created a professional dance troupe.
“The idea,” says Grenfell, “is to select young (affordable) dancers and cast them in major roles. In a major market, they would be six years in training before they would be given a major role. Think the Blue Rocks at Frawley Stadium.”
The second reason is a certified first scoop for Aisle Say: choreographer Viktor Pilotnikov, a colleague of Pasha, is creating an original work for FSBT based on the sculptures of Charles Parks.
“Years ago,” says Grenfell, “Charles Parks did sculptures of some of our dancers. With this piece, his art takes life.”
In 1990, when Reagan returned to Berlin, former West German Chancellor Helmut Kohl commented, “He was a stroke of luck for the world, especially Europe.” A stroke of luck for us as well in the First State.
While I always felt The Beatles and their anthem of “All You Need is Love” had more to do with turning stones to dust in the wind than President Ronald Reagan's pontifications, his speech was considered a turning point in the Cold War.
The era of perestroika was upon us, and Russian cultural groups began tours of the United States.
Leaving Moscow in 1991, one such group was a ballet company with an amalgam of performers from the St. Petersburg Ballet and The Bolshoi. Arriving in Philadelphia, they performed their first night, to wake up the next morning with news that their visas had been revoked and they were stranded. Some were accompanied by wives and children.
A Wilmington-based doyenne of the arts brought them here and reached out to her corporate friends to create what was to become The Russian Ballet Theatre of Delaware. Through the '90s, the group performed at The Grand such staples as Romeo & Juliet with Prokofiev's music and an annual Nutcracker. It was mainly through the largess of MBNA that this occurred.
The money dried up in the late 1990s, and the acclimated former Russian citizens became Delaware citizens. They were through with the tortuous assaults on the body and the low pay of the struggling artist.
That is, all but one.
Lead dancer Pasha Kambalov, 38, of New Castle County, was not finished. He and dancer Kristina Dippel, who was soon to be his wife, established First State Ballet in Newport in September 1999. Pasha explained the mission. “As in our name, our aim was to be Delaware's ballet company. We would train aspiring pre-professionals and professionals and stage major ballets and mixed-repertory productions in Delaware and beyond.”
Robert Grenfell, 61, of Brandywine Hundred, a retired Verizon executive and student of dance since childhood under the tutelage of the iconic Jamie Jamieson, had performed in all the productions since 1991. He agreed to become president of the non-profit board. Grenfell made a connection with Del Tech Community College in Georgetown. This led to other collaborations and FSBT has been performing statewide now for six years.
“It's been an amazing nine years of both growth and balletic excellence,” says Grenfell. “These kids - many of whom will go on to professional careers - perform to the delight of our audience. We have sent many of our students overseas in international competition.”
FSBT's biggest break came in 2003 with the invitation to base their teaching studio at The Grand. This affiliation, along with partners Opera Delaware and Delaware Symphony, solidified FSBT as an arts institution.
There are two major reasons for even more excitement. They have recently created a professional dance troupe.
“The idea,” says Grenfell, “is to select young (affordable) dancers and cast them in major roles. In a major market, they would be six years in training before they would be given a major role. Think the Blue Rocks at Frawley Stadium.”
The second reason is a certified first scoop for Aisle Say: choreographer Viktor Pilotnikov, a colleague of Pasha, is creating an original work for FSBT based on the sculptures of Charles Parks.
“Years ago,” says Grenfell, “Charles Parks did sculptures of some of our dancers. With this piece, his art takes life.”
In 1990, when Reagan returned to Berlin, former West German Chancellor Helmut Kohl commented, “He was a stroke of luck for the world, especially Europe.” A stroke of luck for us as well in the First State.
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