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 wilmington Drama League. Show all posts
Showing posts with label wilmington Drama League. Show all posts
Sunday, April 10, 2011
Thursday, November 4, 2010
Razzle Dazzle with Wilm Drama League's CHICAGO
“Chicago” is the grandest community theatre production Aisle Say has witnessed in the past five years. Jody Anderson is unequivocally the most talented choreographer in the state. Anderson has taken a coterie of dedicated amateur hoofers and molded them into a razzling dazzling unit that pays homage to the singular talent of Broadway legend Bob Fosse; he of the thrusting pelvis, rounded shoulders and signature bowler hat.
Director Matt Casarino's exemplary cast includes wonderful singers, beginning with the leads Velma (Barbara Wright) and Roxie (Ashley Harris), extending to Mama Morton (Rebecca Gallatin) and then to the chorus. Christopher Tolomeo leads a great band excelling at the period music of the roaring '20's; all perched atop the set – always on stage but never intrusive to the progress of the plot.
Most of us have seen the movie. Aisle Say believes the stage show to be more endearing and certainly funnier. Son Grant accompanied me on opening night. He commented that he had to keep focused for so many exciting twists and turns were happening with such fluidity. That is a credit to both the director and the choreographer. He also commented on the quality that WDL produces, hearkening back to last season's “Rent”.
I loved the entire cast but Harris was most wonderfully perfect as Roxie, the doe-eyed murderess. How in the world could this harmless looking naif be so cold-blooded? “Chicago” is predominantly a woman-driven show with Velma and Roxie. Billy Flynn (Jeff Santoro) played the ultimate legal sleezeball hotdog with relish. He was having too much fun in the role. (Minor costume point. Would have loved to see him in a double breasted stripe suit with those '20's era black & white shoes).
Billy was appropriately condescending to Amos (Edward Elder), Roxie's long suffering husband. He continually referred to him as “Andy”, a running joke that was undoubtedly lost on those in the audience younger than 50. Amos, the poor schlub, had his moment, though. His “Mr. Cellophane” was a show stopper. The fellow can hold a note!
Fred Casely (Chris Turner) was very funny in the role of the deceased. He is the only one in the cast who did not seek out Anderson's help with choreography.
If you are seeing only one musical this year...this is the one!
Through November 13. 302.764.1172 WilmingtonDramaLeague.org
RAIN: A Tribute to The Beatles
Aisle Say fervently believes The Beatles had more to do with the dissembling of the Berlin Wall than Ronald Reagan. The stone monolith demarcating Berlin was not high enough to block radio waves emanating from The West. Communist kids were just like the rest of us kids back then; “All You Need Is Love” was a global rallying cry.
Many of the tunes from the mightiest canon in popular music history will be performed four times at The DuPont Theatre on November 12-14.
One might entitle the show a Baby Boomer's delight. My compadres in Boomerism can count their watershed events on one hand. One of mine is Ed Sullivan and The Beatles on 9 February 1964. One can only guess the numbers of Americans tuning in that night. Oh, and those teenyboppers in the audience crying, you remember, the ones with the horned rimmed glasses.
RAIN: A Tribute to The Beatles, was born as a bar band in Southern California in the '70's Founder Mark Lewis had struck a nerve; surrounded himself with electrifying musicians and still here after 40 years. Lewis comments that they will be on Broadway after the first of the year.
The group has 200 tunes in their repertoire, spanning from Uncle Ed to Abbey Road, through psychedelia, to the rooftop: 'Hard Days Night', 'Revolver','Sgt Pepper', 'Magical Mystery Tour', 'The White Album'. My oh my, the passages of time, the memories.
“Rain” is a multi-media, multi-dimensional experience...a fusion of historical footage and hilarious television commercials from the 1960s lights up video screens and live cameras zoom in for close-ups.
The tunes are sung live and note for note. There is nothing pre-recorded.
The chefs at the Hotel du Pont are having some fun with the show as well. They are offering a Beatles themed dinner buffet during the run of the show. The buffet is $30.00. Some of the possibilities include:
“SGT PEPPERS” – PENNE PASTA WITH ROASTED RED PEPPERS, PROSCIUTTO & PEAS
“ELEANOR RIGBYS”- COMPOSED SALADS
“LOVELY RITAS” – CAESAR SALAD
“MEAN MR. MUSTARD” GLAZED PORK LOIN
“OCTUPUSES GARDEN” SEAFOOD STEW
DESSERTS
“Strawberry Fields Forever” Cheese Cake
“Ain’t She Sweet” Crème Caramel
For tix; 302.656.4401 DuPontTheatre.com, For dining: 302-594-3154 or 800-338-3404.
Director Matt Casarino's exemplary cast includes wonderful singers, beginning with the leads Velma (Barbara Wright) and Roxie (Ashley Harris), extending to Mama Morton (Rebecca Gallatin) and then to the chorus. Christopher Tolomeo leads a great band excelling at the period music of the roaring '20's; all perched atop the set – always on stage but never intrusive to the progress of the plot.
Most of us have seen the movie. Aisle Say believes the stage show to be more endearing and certainly funnier. Son Grant accompanied me on opening night. He commented that he had to keep focused for so many exciting twists and turns were happening with such fluidity. That is a credit to both the director and the choreographer. He also commented on the quality that WDL produces, hearkening back to last season's “Rent”.
I loved the entire cast but Harris was most wonderfully perfect as Roxie, the doe-eyed murderess. How in the world could this harmless looking naif be so cold-blooded? “Chicago” is predominantly a woman-driven show with Velma and Roxie. Billy Flynn (Jeff Santoro) played the ultimate legal sleezeball hotdog with relish. He was having too much fun in the role. (Minor costume point. Would have loved to see him in a double breasted stripe suit with those '20's era black & white shoes).
Billy was appropriately condescending to Amos (Edward Elder), Roxie's long suffering husband. He continually referred to him as “Andy”, a running joke that was undoubtedly lost on those in the audience younger than 50. Amos, the poor schlub, had his moment, though. His “Mr. Cellophane” was a show stopper. The fellow can hold a note!
Fred Casely (Chris Turner) was very funny in the role of the deceased. He is the only one in the cast who did not seek out Anderson's help with choreography.
If you are seeing only one musical this year...this is the one!
Through November 13. 302.764.1172 WilmingtonDramaLeague.org
RAIN: A Tribute to The Beatles
Aisle Say fervently believes The Beatles had more to do with the dissembling of the Berlin Wall than Ronald Reagan. The stone monolith demarcating Berlin was not high enough to block radio waves emanating from The West. Communist kids were just like the rest of us kids back then; “All You Need Is Love” was a global rallying cry.
Many of the tunes from the mightiest canon in popular music history will be performed four times at The DuPont Theatre on November 12-14.
One might entitle the show a Baby Boomer's delight. My compadres in Boomerism can count their watershed events on one hand. One of mine is Ed Sullivan and The Beatles on 9 February 1964. One can only guess the numbers of Americans tuning in that night. Oh, and those teenyboppers in the audience crying, you remember, the ones with the horned rimmed glasses.
RAIN: A Tribute to The Beatles, was born as a bar band in Southern California in the '70's Founder Mark Lewis had struck a nerve; surrounded himself with electrifying musicians and still here after 40 years. Lewis comments that they will be on Broadway after the first of the year.
The group has 200 tunes in their repertoire, spanning from Uncle Ed to Abbey Road, through psychedelia, to the rooftop: 'Hard Days Night', 'Revolver','Sgt Pepper', 'Magical Mystery Tour', 'The White Album'. My oh my, the passages of time, the memories.
“Rain” is a multi-media, multi-dimensional experience...a fusion of historical footage and hilarious television commercials from the 1960s lights up video screens and live cameras zoom in for close-ups.
The tunes are sung live and note for note. There is nothing pre-recorded.
The chefs at the Hotel du Pont are having some fun with the show as well. They are offering a Beatles themed dinner buffet during the run of the show. The buffet is $30.00. Some of the possibilities include:
“SGT PEPPERS” – PENNE PASTA WITH ROASTED RED PEPPERS, PROSCIUTTO & PEAS
“ELEANOR RIGBYS”- COMPOSED SALADS
“LOVELY RITAS” – CAESAR SALAD
“MEAN MR. MUSTARD” GLAZED PORK LOIN
“OCTUPUSES GARDEN” SEAFOOD STEW
DESSERTS
“Strawberry Fields Forever” Cheese Cake
“Ain’t She Sweet” Crème Caramel
For tix; 302.656.4401 DuPontTheatre.com, For dining: 302-594-3154 or 800-338-3404.
Thursday, September 30, 2010
Where oh where is a News Journal theatre critic?
The other guy in town
Theatre season opened last week in New Castle County with “The Children's Hour” at Wilmington Drama League and “Little Shop of Horrors” at New Candlelight Dinner Theatre. Where was the News Journal?
Matt Casarino of WDL commented that a critic was unavailable but they were thankful for a run up to the production that appeared the week before.
Aisle Say had reported several weeks ago that NJ scribe Tom Butler's last byline was in May.
Historically, from the halcyon days of The Morning Journal and The Evening Journal (yes, I grew up on the banks of the Brandywine with Wilmington's two dailies delivered to our door), reviews would be out the day after opening.
Printed words were offered up by Dr. Jekyll, Phil Crosland, (Pollyanna in a grey flannel suit) or Mr. Hyde on steroids, Otto Dekom. While Crosland's extracts were nowhere near as erudite as those of his colleague, actors breathed a sigh when they saw him rather than 'the malevolent one' in Row C on the aisle. (True story: I played the lead in “Kismet' for The Brandywiners in 1978 at Longwood. Dekom characterized my stage movements thusly: “Firestone bounces around the stage like a Jack-in-The-Box”. (Not a ringing endorsement for a romantic lead!)
Which leads me back to present day and the apparent absence of any critic at the only daily statewide newspaper.
Possibly a decade ago the NJ quit employing full time reviewers. Arts writing is a bit different than other sections in a big time newspaper – or at least one that purports itself to be big time. Editors seek out poor souls who have no life and who are blessed with a modicum of gravitas in both theatre and the written word. The editor then offers him the opportunity to see all the shows he wants for free and revel with his name in the paper!
(Aisle Say's pay is such that he must hitchhike to theatres and is then asked to help recycle programs after each performance.) But... one digresses.
I understand the economics of the times. Seriously folks, it's pretty pathetic when the NJ lets down both the performers and, in fact, its customers by not seeking out a qualified arts critic. How does this square with Delaware being a 'world class destination'?
When the company does finally get one, Aisle Say hopes he/she will have institutional knowledge of the arts in Delaware and not merely be a place holder.
OperaDelaware gets intimate
OperaDelaware has added a Studio Series to its Fall schedule. The cabaret-style evening of opera entertainment will be presented in the intimate surroundings of Opera Studios overlooking the Christina River Leads from future and past productions of OperaDelaware will sing a combination of opera’s greatest hits along with a few interesting selections from operas never performed in their entirety in Wilmington. Guests can sit at V.I.P. tables or in general admission and enjoy a glass of wine or beer while listening to their favorite arias.
“Last year’s Studio Series was a tremendous hit,” says executive director Lee Kimball. “Folks can get their feet wet with opera without having to commit to an entire evening of one opera. We expect they’ll come back for more.”
Jeffrey Miller, OperaDelaware’s associate music director, will accompany the singers and provide interesting commentary.
Soloists will include soprano Youna Yang, who sang the title role of Madama Butterfly and Mimi in La Bohème; soprano Lynne Claire Morse, recently in OD's The Barber of Seville. In all, over fifteen professional singers will be entertaining over the weekend.
Fri., Sept. 23 and Sat., Sept. 24 at 7:30 pm, and on Sun., Sept. 25 at 2 pm, at 4 South Poplar Street, Wilmington. For tickets, call 1-800-37-GRAND
Finally, Director Kimball proudly reports that OD was in the black for this fiscal year. “We cut everything but the quality of our performances!” La Traviata is next on November 7 OperaDE.org
Wilmington Drama League
The influence of the DuPont family and company in the arts is so pervasive. The birth of what was to be their arts legacy was birthed in 1902, when the 3 cousins bought the gunpowder company from the elders.
Chick Laird, one of P.S. Du Pont's nephews, asked to use the stage at Longwood for productions. That has become a much beloved annual trek up Rt. 52.
Additionally, in 1933 Laird gathered together a group of community theatre advocates and created what was to be Wilmington Drama League. They have been in that same building on Lea Boulevard since 1941. I played a Japanese peasant boy in “Teahouse of the August Moon” in 1957. My father was my peasant father and my mother (in very serious miscasting) was a geisha girl.
The fanatics (there is no other word) that volunteer at WDL are singular folk and are to be commended for the outrageous hours they work at their craft.
“The Children's Hour” opened last weekend and will run until October 2. Next up is “Chicago” on October 29. WilmingtonDramaLeague.org
Theatre season opened last week in New Castle County with “The Children's Hour” at Wilmington Drama League and “Little Shop of Horrors” at New Candlelight Dinner Theatre. Where was the News Journal?
Matt Casarino of WDL commented that a critic was unavailable but they were thankful for a run up to the production that appeared the week before.
Aisle Say had reported several weeks ago that NJ scribe Tom Butler's last byline was in May.
Historically, from the halcyon days of The Morning Journal and The Evening Journal (yes, I grew up on the banks of the Brandywine with Wilmington's two dailies delivered to our door), reviews would be out the day after opening.
Printed words were offered up by Dr. Jekyll, Phil Crosland, (Pollyanna in a grey flannel suit) or Mr. Hyde on steroids, Otto Dekom. While Crosland's extracts were nowhere near as erudite as those of his colleague, actors breathed a sigh when they saw him rather than 'the malevolent one' in Row C on the aisle. (True story: I played the lead in “Kismet' for The Brandywiners in 1978 at Longwood. Dekom characterized my stage movements thusly: “Firestone bounces around the stage like a Jack-in-The-Box”. (Not a ringing endorsement for a romantic lead!)
Which leads me back to present day and the apparent absence of any critic at the only daily statewide newspaper.
Possibly a decade ago the NJ quit employing full time reviewers. Arts writing is a bit different than other sections in a big time newspaper – or at least one that purports itself to be big time. Editors seek out poor souls who have no life and who are blessed with a modicum of gravitas in both theatre and the written word. The editor then offers him the opportunity to see all the shows he wants for free and revel with his name in the paper!
(Aisle Say's pay is such that he must hitchhike to theatres and is then asked to help recycle programs after each performance.) But... one digresses.
I understand the economics of the times. Seriously folks, it's pretty pathetic when the NJ lets down both the performers and, in fact, its customers by not seeking out a qualified arts critic. How does this square with Delaware being a 'world class destination'?
When the company does finally get one, Aisle Say hopes he/she will have institutional knowledge of the arts in Delaware and not merely be a place holder.
OperaDelaware gets intimate
OperaDelaware has added a Studio Series to its Fall schedule. The cabaret-style evening of opera entertainment will be presented in the intimate surroundings of Opera Studios overlooking the Christina River Leads from future and past productions of OperaDelaware will sing a combination of opera’s greatest hits along with a few interesting selections from operas never performed in their entirety in Wilmington. Guests can sit at V.I.P. tables or in general admission and enjoy a glass of wine or beer while listening to their favorite arias.
“Last year’s Studio Series was a tremendous hit,” says executive director Lee Kimball. “Folks can get their feet wet with opera without having to commit to an entire evening of one opera. We expect they’ll come back for more.”
Jeffrey Miller, OperaDelaware’s associate music director, will accompany the singers and provide interesting commentary.
Soloists will include soprano Youna Yang, who sang the title role of Madama Butterfly and Mimi in La Bohème; soprano Lynne Claire Morse, recently in OD's The Barber of Seville. In all, over fifteen professional singers will be entertaining over the weekend.
Fri., Sept. 23 and Sat., Sept. 24 at 7:30 pm, and on Sun., Sept. 25 at 2 pm, at 4 South Poplar Street, Wilmington. For tickets, call 1-800-37-GRAND
Finally, Director Kimball proudly reports that OD was in the black for this fiscal year. “We cut everything but the quality of our performances!” La Traviata is next on November 7 OperaDE.org
Wilmington Drama League
The influence of the DuPont family and company in the arts is so pervasive. The birth of what was to be their arts legacy was birthed in 1902, when the 3 cousins bought the gunpowder company from the elders.
Chick Laird, one of P.S. Du Pont's nephews, asked to use the stage at Longwood for productions. That has become a much beloved annual trek up Rt. 52.
Additionally, in 1933 Laird gathered together a group of community theatre advocates and created what was to be Wilmington Drama League. They have been in that same building on Lea Boulevard since 1941. I played a Japanese peasant boy in “Teahouse of the August Moon” in 1957. My father was my peasant father and my mother (in very serious miscasting) was a geisha girl.
The fanatics (there is no other word) that volunteer at WDL are singular folk and are to be commended for the outrageous hours they work at their craft.
“The Children's Hour” opened last weekend and will run until October 2. Next up is “Chicago” on October 29. WilmingtonDramaLeague.org
Tuesday, February 9, 2010
WDL's RENT is passionate
Ah, yes the cognoscenti know them. Those “theatre people”, both professional or community players who enhance both their lives and ours creating entertainment in live theatre. There are some special shows that bond the ensemble into one joyous and selfless entity.
“Funny Thing... Forum”, “The Fantasticks”, “Joseph...Dreamcoat” are three. Add one more... now that “Rent”has become available for licensing. Most definitely this last title has an edgier message than, say Forum, where Pseudolus (the Zero Mostel character) runs around ogling skimpily dressed courtesans. “Rent” deals with AIDS and is set in the '90's when all of us felt the Black Death had converged on the world.
There is no doubt this cast loves one another and will remember this experience the rest of their lives. We saw it in their faces.
Director Chris Turner has done a magnificent job in casting and staging this Delaware premiere. This is rock opera (think JC SUPERSTAR). It is more difficult a task to keep a large cast moving and relating to the lyrics of the music when there is no dialog. Turner kept his cast engaged and credible and made us feel the power of the lyrics and the emotion.
Another interesting element of the direction was Turner's naturalistic approach. Normally actors 'cheat' toward the audience to declaim their lines and sing their tunes. Turner had his ensemble speak directly to one another, no matter even if a back was turned away.
Turner was able to break down inhibitions of his cast; another achievement. To understate, the dancing at times becomes very suggestive and kisses are exchanged between members of the same sex. Yet, it all flowed and was organic.
This is a rock opera. It is loud. This is an enclosed space. The five person on stage band headed by Matt Caserino did a fantastic job with the work. Yes, once in a while the sound overpowered the lyrics.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini's La Boheme. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
Roger (Brendan Sheehan) had just come off an evocative performance of Anthony in City Theatre's “Sweeney Todd”. He sang beautiful ballads there. The young man not only is a thoughtful actor but exhibited huge rock pipes in an outstanding performance.
Tom (Timothy Lamont Cannon) and Angel (Matt Bennis) even more than the characters Roger and Mimi are the heart of the show. The feeling the two shared for one another was palpable. When Angel succumbs to AIDS, Tom's reaction glazed the eyes of more than one audience member.
Maureen (former Miss Delaware Laura Moss) gives a stirring over the top rock edged rendition of “Over The Moon.”
WDL is to be congratulated for this production. It is a daring and provocative affair. The cast, under Music Director Casarino, handles the shows most popular tunes “Without You”, “One Song Glory”, “Light My Candle” and the most mesmerizing “Seasons of Love” with love and tenderness.
One of the highest compliments that Aisle Say can deliver is that he would see this again.
Til February 13 WilmingtonDramaLeague.org 764.1172
“Funny Thing... Forum”, “The Fantasticks”, “Joseph...Dreamcoat” are three. Add one more... now that “Rent”has become available for licensing. Most definitely this last title has an edgier message than, say Forum, where Pseudolus (the Zero Mostel character) runs around ogling skimpily dressed courtesans. “Rent” deals with AIDS and is set in the '90's when all of us felt the Black Death had converged on the world.
There is no doubt this cast loves one another and will remember this experience the rest of their lives. We saw it in their faces.
Director Chris Turner has done a magnificent job in casting and staging this Delaware premiere. This is rock opera (think JC SUPERSTAR). It is more difficult a task to keep a large cast moving and relating to the lyrics of the music when there is no dialog. Turner kept his cast engaged and credible and made us feel the power of the lyrics and the emotion.
Another interesting element of the direction was Turner's naturalistic approach. Normally actors 'cheat' toward the audience to declaim their lines and sing their tunes. Turner had his ensemble speak directly to one another, no matter even if a back was turned away.
Turner was able to break down inhibitions of his cast; another achievement. To understate, the dancing at times becomes very suggestive and kisses are exchanged between members of the same sex. Yet, it all flowed and was organic.
This is a rock opera. It is loud. This is an enclosed space. The five person on stage band headed by Matt Caserino did a fantastic job with the work. Yes, once in a while the sound overpowered the lyrics.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini's La Boheme. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
Roger (Brendan Sheehan) had just come off an evocative performance of Anthony in City Theatre's “Sweeney Todd”. He sang beautiful ballads there. The young man not only is a thoughtful actor but exhibited huge rock pipes in an outstanding performance.
Tom (Timothy Lamont Cannon) and Angel (Matt Bennis) even more than the characters Roger and Mimi are the heart of the show. The feeling the two shared for one another was palpable. When Angel succumbs to AIDS, Tom's reaction glazed the eyes of more than one audience member.
Maureen (former Miss Delaware Laura Moss) gives a stirring over the top rock edged rendition of “Over The Moon.”
WDL is to be congratulated for this production. It is a daring and provocative affair. The cast, under Music Director Casarino, handles the shows most popular tunes “Without You”, “One Song Glory”, “Light My Candle” and the most mesmerizing “Seasons of Love” with love and tenderness.
One of the highest compliments that Aisle Say can deliver is that he would see this again.
Til February 13 WilmingtonDramaLeague.org 764.1172
Sunday, January 17, 2010
RENT at Wilmington Drama League with AIDS DELAWARE
RENT, the musical most responsible for helping to increase the popularity of musical theater amongst the younger generation, opens at the Wilmington Drama League opens on January 29.
It is the Delaware premiere of the show that won both a Pulitzer and several Tonies.
Based upon Puccini's “La Boheme”, the setting is transferred from the Parisian tenements to NYC's East Village. The tuberculosis that affects the lead female Mimi is replaced by AIDS. In the mid-'90's the epidemic was at its peak, taking the lives of young and old people alike. Two of the characters have HIV; two are afflicted with full blown AIDS. In fact, WDL has partnered with AIDS Delaware for the production. The production focuses on a community of artists who struggle to survive and “celebrate life in the face of death.”
Idina Menzel was discovered in "Rent," went on to play the guacamole-pussed witch in Wicked and recently performed solo at The Grand in support of her new album.
WilmingtonDramaLeague.org 302.762.1172
An Austrian-American thank you
The Austrian-American Society hosts a “Dankkonzert” (Thank You Concert) at the Music School of Delaware on January 16. The Society was founded decades ago by recently deceased Delaware arts icon Charlotte Shedd. The self-described Grande Dame of Culture had a weekly talk show on WDEL for years. Aisle Say recalls her signature high-pitched screed of a voice provoking seismic shudders in one's body throughout her weekly discourse.
But Shedd's heart was in the right place and for one aspiring singer a year, she offered a life-changing opportunity. The recipient of last year's scholarship will 'sing' her thanks.
Lyric soprano Kelly Curtin won the Society's 2009 scholarship for six week’s study with leading international vocalists and coaches at the prestigious Mozarteum Summer Academy in Salzburg, Austria. While in Salzburg, she studied with world-renowned teachers and performers.
The theme of Miss Curtin’s program is “Night and Dreams.” She will perform songs and arias by American, Austrian, English, French, German and Italian composers including Samuel Barber, Debussy, Fauré, Gounod, Puccini, Respighi, Shubert and Strauss.
The concert is free and open to the public. 3 pm on January 16 @ 4101 Washington St.
The Austrian-American Society's 2010 scholarship competition for instrumental and vocal students of classical music (instrumentalists ages 18-30, vocalists ages 21-35) will be held at the Music School of Delaware at 4101 Washington Street, Wilmington on Sunday, March 21, 2010. The first prize is aforementioned. There are cash prizes for second and third place winners.
Applicants must be legal residents of Delaware or reside within 25 miles of Wilmington. For applications and information: Geralyn M. Alexander 3205 Falcon Lane, Limestone Hills Wilmington, DE 19808 or call 302-239-2058. The deadline for receipt of completed applications is 6:00 p.m., March 5, 2010.
Delaware Music School is celebrating its 85th anniversary this year with a big celebration at The Grand. “Einstein's Mozart” will be performed at the school on January 10th at 3PM. It speaks to the inspiration that the former received from the latter. The event features the renown Serafin Quartet and poet Kate Light.
MusicSchoolofDelaware.org 302.762.1132.
It is the Delaware premiere of the show that won both a Pulitzer and several Tonies.
Based upon Puccini's “La Boheme”, the setting is transferred from the Parisian tenements to NYC's East Village. The tuberculosis that affects the lead female Mimi is replaced by AIDS. In the mid-'90's the epidemic was at its peak, taking the lives of young and old people alike. Two of the characters have HIV; two are afflicted with full blown AIDS. In fact, WDL has partnered with AIDS Delaware for the production. The production focuses on a community of artists who struggle to survive and “celebrate life in the face of death.”
Idina Menzel was discovered in "Rent," went on to play the guacamole-pussed witch in Wicked and recently performed solo at The Grand in support of her new album.
WilmingtonDramaLeague.org 302.762.1172
An Austrian-American thank you
The Austrian-American Society hosts a “Dankkonzert” (Thank You Concert) at the Music School of Delaware on January 16. The Society was founded decades ago by recently deceased Delaware arts icon Charlotte Shedd. The self-described Grande Dame of Culture had a weekly talk show on WDEL for years. Aisle Say recalls her signature high-pitched screed of a voice provoking seismic shudders in one's body throughout her weekly discourse.
But Shedd's heart was in the right place and for one aspiring singer a year, she offered a life-changing opportunity. The recipient of last year's scholarship will 'sing' her thanks.
Lyric soprano Kelly Curtin won the Society's 2009 scholarship for six week’s study with leading international vocalists and coaches at the prestigious Mozarteum Summer Academy in Salzburg, Austria. While in Salzburg, she studied with world-renowned teachers and performers.
The theme of Miss Curtin’s program is “Night and Dreams.” She will perform songs and arias by American, Austrian, English, French, German and Italian composers including Samuel Barber, Debussy, Fauré, Gounod, Puccini, Respighi, Shubert and Strauss.
The concert is free and open to the public. 3 pm on January 16 @ 4101 Washington St.
The Austrian-American Society's 2010 scholarship competition for instrumental and vocal students of classical music (instrumentalists ages 18-30, vocalists ages 21-35) will be held at the Music School of Delaware at 4101 Washington Street, Wilmington on Sunday, March 21, 2010. The first prize is aforementioned. There are cash prizes for second and third place winners.
Applicants must be legal residents of Delaware or reside within 25 miles of Wilmington. For applications and information: Geralyn M. Alexander 3205 Falcon Lane, Limestone Hills Wilmington, DE 19808 or call 302-239-2058. The deadline for receipt of completed applications is 6:00 p.m., March 5, 2010.
Delaware Music School is celebrating its 85th anniversary this year with a big celebration at The Grand. “Einstein's Mozart” will be performed at the school on January 10th at 3PM. It speaks to the inspiration that the former received from the latter. The event features the renown Serafin Quartet and poet Kate Light.
MusicSchoolofDelaware.org 302.762.1132.
Monday, March 2, 2009
Aisle Say - Of Mice and Men
It's the economy, stupid! Some say if it doesn't turn soon, we're headed for a depression. Some are already there: I'm depressed. You're depressed. So why attend "Of Mice and Men," a production set in the Depression (The Great One) with a plot about forlorn folk whose dreams of finding a “stake” are as devalued as our 401k's?
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
Sunday, February 8, 2009
Big River review at Wilmington Drama League
“Dang me”. “Dang Me”. Roger Miller would have been proud of the Wilmington Drama League's production of “Big River'. Miller, composer of “Dang Me” and “King of the Road”, ventured onto Broadway by setting his music to Twain's “The Adventures of Huckleberry Finn”.
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
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