Regional theatres, both community and professional, were as anxious as expectant fathers in a delivery room, or perhaps more to the point, all Flyers fans, when rights became available for “Rent.”
The show is a seminal event for musical theatre ages, on the Great White Way's Mt. Olympus alongside “Showboat” - whom some believe to be the greatest American musical; “Oklahoma”, the first production to have songs move plot along; “Gypsy,” to my mind the most fully integrated musical; “West Side Story,” brilliant choreographer by Jerome Robbins and music by Leonard Bernstein and a neophyte named Stephen Sondheim; “Sound of Music," the most popular movie musical by far and spoofed in hysterical 'sing a longs'; “Hair," one other topical event ripped from the life and times of American culture; “Les Mis,” the all time ALL time most popular show. (No need discussing this. We've all seen it)
But, dear and committed Aisle Say readers, you should see “Rent” as well, and you should see it at The Media Theatre. The theatre cognoscenti knows “Rent.” They've seen it several times. But it's really a populist show and should be devoured by the masses that watch “Sound of Music” and “My Fair Lady.” This production will move you; by song, by passion, by evoking the oppressive malaise we ALL endured during the AIDS scare of the '90's.
There are some special shows that bond the ensemble into one joyous and selfless entity. 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.
This was a challenging assignment for artistic director of the theater and director Jesse Cline. Broadway shows of the '50's are so much easier to direct. The protagonist sings the tune either solo on stage or with very little background distraction. The show demands (and Cline complied) with a very naturalistic approach. Normally actors 'cheat' toward the audience to declaim their lines and sing their tunes. The ensemble spoke directly to one another, no 'cheating' allowed. Much movement, much energy, much dynamism.
Aisle Say feels remiss without acclaiming the entire cast; they were all that talented, dedicated and in love with what they were creating on stage. The vast majority of them are N.Y. actors who journeyed to Media. Okay, perhaps they had nothing going on at the moment, but young talented types are dedicated to be in “Rent,” that's what the concept, the power and the music means to them.
The two main lovers, Roger (Patrick Ludt) and Mimi (Eileen Shibley) were superb. Shibley especially had that Greenwich Village edge to her that rocked the audience. That's good, this being a rock opera.
Maureen (Chloe Patellis) was the best “Maureen” I have seen – and how many liver pills has Carter? Her “Over The Moon” was worth the price of admission. Maybe Aisle Say is too shallow, for I have never understood how the song itself fit into the show, but...whatever...it's a show stopper.
Media Theatre is only twenty minutes away on the Blue Route. The main street is fun and full of ethnic dining. Would this were the way in Wilmington.
Tuesday, June 1, 2010
Thursday, May 27, 2010
New Candlelight Dinner Theatre - All Shook Up
New Candlelight Theatre has gone political; a first for live theatre in Delaware. The current production, “All Shook Up," a rollicking rock n' roll romp rooted in the music of Elvis, would hardly be conjured as a platform for R and D discourse.
How does Aisle Say come to this conclusion? Why else would director Chris Alberts parade Mayor Matilda Hyde (Gerri Weagraff) as a small town Sarah Palin? Weagraff's very humorous impersonation certainly gives Tina Fey a run for her money...and even the former Governor/present FaceBook gadfly herself, you betcha! Weagraff talks down to her stage husband Sheriff Earl (Joe Kinsolving) just as you would suspect Palin barks at her own hubby.
Weagraff is even costumed in a red (state) suit, Palin's color of choice. (This is her 41st show at Candlelight. )
Paul Weagraff joins his wife on stage as a father who could have used some quality time watching Dick Clark's American Bandstand. Weagraff's character dances as one might imagine Dustin Hoffman's character doing so in “Rainman.”
Let us dispense with analysis of the plot, it being as diaphanous as the wings of a butterfly; as substantial as cotton candy.
But the full crowd on opening night (including two bus tours) was not there for sturm und drang. They were there for the music and the show is a compilation of Elvis' greatest hits. Shoehorned into the plot are “Jailhouse Rock,” “Heartbreak Hotel,” “Hound Dog,” “Blue Suede Shoes,” “Can't Help Falling in Love” and “Burning Love,” among others.
Readers may recall that NCT dissolved its relationship with Actors Equity; an albatross in these financial times. The transition to this first show after the break is seamless on all levels of stage craft. It's very evident the entire ensemble loves to perform.
While the dancers were enthusiastic in every number, choreographer Dann Dunn's body of work in this production was neither as tight nor as creative as with his past work at NCT.
Chad (Rick Fountas) wisely did not attempt a caricature of The King. Fountas has a well-situated rock voice, great leading man stage presence and has sung in similar rock shows such as “JC Superstar,” “Joseph...Dreamcoat” and “Pippin.”
Two vocal standouts are both newcomers to NCT. Sylvia (Erienne Poole) has a soaring soprano. Her credits include Effie in “Dreamgirls.” Effie sings “And I Tell You I'm Not Going”, one of the all time Broadway show stoppers. The NCT audience witnessed some of that power in “There's Always Me.”
Natalie Hailer/Ed (Sara Schmuckler) plays a cross dresser. Why? (See above for my analysis of this profound and pithy plot.) More importantly, the actor can sing. She does estimable work with Elvis' canon. Her voice has a vibrant edge to it. “Fools Fall in Love” was her finest.
Lorraine (Alexis DeDonato) began with NCT as a dancer. Over the past few shows Aisle Say has seen her evolve into a fine singer and comedienne.
Jim Weber, former music director of Three Little Bakers', is MD for the show.
Group rates available.
Until June 19. NewCandlelightTheatre.com 475.2313
How does Aisle Say come to this conclusion? Why else would director Chris Alberts parade Mayor Matilda Hyde (Gerri Weagraff) as a small town Sarah Palin? Weagraff's very humorous impersonation certainly gives Tina Fey a run for her money...and even the former Governor/present FaceBook gadfly herself, you betcha! Weagraff talks down to her stage husband Sheriff Earl (Joe Kinsolving) just as you would suspect Palin barks at her own hubby.
Weagraff is even costumed in a red (state) suit, Palin's color of choice. (This is her 41st show at Candlelight. )
Paul Weagraff joins his wife on stage as a father who could have used some quality time watching Dick Clark's American Bandstand. Weagraff's character dances as one might imagine Dustin Hoffman's character doing so in “Rainman.”
Let us dispense with analysis of the plot, it being as diaphanous as the wings of a butterfly; as substantial as cotton candy.
But the full crowd on opening night (including two bus tours) was not there for sturm und drang. They were there for the music and the show is a compilation of Elvis' greatest hits. Shoehorned into the plot are “Jailhouse Rock,” “Heartbreak Hotel,” “Hound Dog,” “Blue Suede Shoes,” “Can't Help Falling in Love” and “Burning Love,” among others.
Readers may recall that NCT dissolved its relationship with Actors Equity; an albatross in these financial times. The transition to this first show after the break is seamless on all levels of stage craft. It's very evident the entire ensemble loves to perform.
While the dancers were enthusiastic in every number, choreographer Dann Dunn's body of work in this production was neither as tight nor as creative as with his past work at NCT.
Chad (Rick Fountas) wisely did not attempt a caricature of The King. Fountas has a well-situated rock voice, great leading man stage presence and has sung in similar rock shows such as “JC Superstar,” “Joseph...Dreamcoat” and “Pippin.”
Two vocal standouts are both newcomers to NCT. Sylvia (Erienne Poole) has a soaring soprano. Her credits include Effie in “Dreamgirls.” Effie sings “And I Tell You I'm Not Going”, one of the all time Broadway show stoppers. The NCT audience witnessed some of that power in “There's Always Me.”
Natalie Hailer/Ed (Sara Schmuckler) plays a cross dresser. Why? (See above for my analysis of this profound and pithy plot.) More importantly, the actor can sing. She does estimable work with Elvis' canon. Her voice has a vibrant edge to it. “Fools Fall in Love” was her finest.
Lorraine (Alexis DeDonato) began with NCT as a dancer. Over the past few shows Aisle Say has seen her evolve into a fine singer and comedienne.
Jim Weber, former music director of Three Little Bakers', is MD for the show.
Group rates available.
Until June 19. NewCandlelightTheatre.com 475.2313
Wednesday, May 12, 2010
UD's "The Resistible Rise of Arturo Ui"
A cunning and ingenious conceit. From the fecund mind of German playwright Bertolt Brecht sprang an allegory of Hitler's rise to power. The setting was not Germany, but Chicago in the wild wild west of Prohibition and The Great Depression. The protagonist was not Der Fuhrer but a takeoff of Scarface Al Capone, Public Enemy #1, the charismatic colossus of crime. The farce is entitled “The Resistible Rise of Arturo Ui.”
For two years Aisle Say has bellowed to all within earshot of this remarkable gem in our midst is this REP Company. The acting, the direction, the sets, the costumes, the pathos, the sturm und the drang of their productions distances them from other groups in the state as does the night the day.
This play is not done often. It must be coddled in the hands of experts.
You should see this production. You will never forget it; a concoction of perfect play and perfect acting ensemble.
Capone and Hitler had many similarities. Aside from the obvious ruthlessness, paranoia and megalomania, they dominated other men by appealing to their inner man.
“Arturo” is a laugh riot. There are surprise moments catching you unawares and you will bend over in laughter. Most recently a production was staged with Al Pacino in the title role. However, a woman, Carine Montbertrand, plays Arturo here. I commented to her that her facial mannerisms reminded me of Al Pacino as Big Boy Caprice in the movie “Dick Tracy”.
This is an important play. There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices.
All the characters and groups in the play had direct counterparts in real life; all of Hitler's henchmen. In fact, he wrote it in 1941for the American stage, knowing it would never be staged in Germany during his lifetime. If it had, his lifetime would have been abbreviated.
The play is similar to the classic Charlie Chaplin film, “The Great Dictator”. Brecht was a Chaplin hero. Unfortunately so was Hitler.
The play also uses frequent references to Shakespeare and other writers to further its didactic messages. To highlight his evil and villainous rise to power Ui is compared to Shakespeare's “Richard III” and “MacBeth” in both the introductory prologue and in Scene 14 when he experiences similar visitations from the ghosts of his victims as Richard and Macbeth do; while Hitler's own learned prowess at public speaking is referenced by Ui receiving lessons from an actor which include him reciting Mark Anthony's famous speech from “Julius Caesar”.
Over two years the REP has never delivered a mulligan. Aisle Say has seen them all save for “Death of A Salesman”. (I was depressed during that run and needed no further provocation to mine my neurosis.) Support live theatre in the state. This specific theatrical resource is a tribute to what live theatre can achieve.
Til May 16 Pttp.udel.edu 302.831.2204
For two years Aisle Say has bellowed to all within earshot of this remarkable gem in our midst is this REP Company. The acting, the direction, the sets, the costumes, the pathos, the sturm und the drang of their productions distances them from other groups in the state as does the night the day.
This play is not done often. It must be coddled in the hands of experts.
You should see this production. You will never forget it; a concoction of perfect play and perfect acting ensemble.
Capone and Hitler had many similarities. Aside from the obvious ruthlessness, paranoia and megalomania, they dominated other men by appealing to their inner man.
“Arturo” is a laugh riot. There are surprise moments catching you unawares and you will bend over in laughter. Most recently a production was staged with Al Pacino in the title role. However, a woman, Carine Montbertrand, plays Arturo here. I commented to her that her facial mannerisms reminded me of Al Pacino as Big Boy Caprice in the movie “Dick Tracy”.
This is an important play. There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices.
All the characters and groups in the play had direct counterparts in real life; all of Hitler's henchmen. In fact, he wrote it in 1941for the American stage, knowing it would never be staged in Germany during his lifetime. If it had, his lifetime would have been abbreviated.
The play is similar to the classic Charlie Chaplin film, “The Great Dictator”. Brecht was a Chaplin hero. Unfortunately so was Hitler.
The play also uses frequent references to Shakespeare and other writers to further its didactic messages. To highlight his evil and villainous rise to power Ui is compared to Shakespeare's “Richard III” and “MacBeth” in both the introductory prologue and in Scene 14 when he experiences similar visitations from the ghosts of his victims as Richard and Macbeth do; while Hitler's own learned prowess at public speaking is referenced by Ui receiving lessons from an actor which include him reciting Mark Anthony's famous speech from “Julius Caesar”.
Over two years the REP has never delivered a mulligan. Aisle Say has seen them all save for “Death of A Salesman”. (I was depressed during that run and needed no further provocation to mine my neurosis.) Support live theatre in the state. This specific theatrical resource is a tribute to what live theatre can achieve.
Til May 16 Pttp.udel.edu 302.831.2204
Tuesday, May 4, 2010
DE Children's Museum opens on Wilmington Riverfront
The Delaware Children's Museum opened last weekend at the site of the previous Big Kahuna, across from Frawley Stadium. However, this new tourist destination will serve up more grand slams to the mired Riverfront than their athletic-themed neighbor.
The DCM covers all the bases regarding a desperately needed new market along the Christiana – that being children. Prior to last Saturday the Riverfront was a glut of restaurants, a retail vision that failed miserably due to poor access planning, condos that had to be auctioned off and a state of the art conference center lacking a necessary ingredient; a contiguous hotel.
The A list of politicians spoke at the opening: Senator Carper, Congressman Castle and Chris Coons. Carper, who was given deserved credit for flattening speed bumps during the fifteen year process stated, “Along with a lot of children in the First State, I have been waiting for this day for a long time. I am thrilled to be here to celebrate the long-anticipated opening of Delaware’s first and only museum for children. This museum—with its focus on energy, science, technology and our environment—literally will change the lives of tens of thousands of young people in the years ahead. Their eyes will be opened to possible careers in fields where our nation’s needs are great. They will go on to become scientists, engineers, biologists, researchers, inventors and much more. The Delaware Children’s Museum will be more than just a fun place to visit. It will be much more than just a children’s museum. It will also serve as a bridge to the future; a brighter future for young boys and girls today and for generations to come.”
Five possible locations were considered for the venue. Then one fortuitous day two years ago The Big Kahuna surprisingly shuttered its doors. Voila! A huge footprint of concrete became available. Timing is everything they say. The landmark volcano became extinct and was replaced by exhibits such as:
ECOnnect - hands on activities for kids to get in touch with their environment.
Bank On It - another hands on exhibit dealing with money management.
Studio D - where kids can exhibit their artistic creativity
Stratosphere – an enclosed 30 foot diameter climber
Training Wheels – exploring trains, cars and things that go
The Power of Me – The power of the human body
The economic impact is considerable. The Association of Children’s Museums indicates that 35% of children’s museums are flagships in downtown revitalization projects. (Aisle Say this is sounding good!) It will employ 28 full time people.
Economic studies project that the DCM will bring in 135,000 visitors to the Riverfront annually – 362 days a year. It is estimated that for every $13.00 spent within the museum, guests spend another $12.00 on restaurants, shops, gas stations and other services that accommodate these families.
General admission is $12.00 per person (children under 12 months are free). A full general admission membership is available. Open 9am to 4:30pm
DelawareChildrensMuseum.org
The DCM covers all the bases regarding a desperately needed new market along the Christiana – that being children. Prior to last Saturday the Riverfront was a glut of restaurants, a retail vision that failed miserably due to poor access planning, condos that had to be auctioned off and a state of the art conference center lacking a necessary ingredient; a contiguous hotel.
The A list of politicians spoke at the opening: Senator Carper, Congressman Castle and Chris Coons. Carper, who was given deserved credit for flattening speed bumps during the fifteen year process stated, “Along with a lot of children in the First State, I have been waiting for this day for a long time. I am thrilled to be here to celebrate the long-anticipated opening of Delaware’s first and only museum for children. This museum—with its focus on energy, science, technology and our environment—literally will change the lives of tens of thousands of young people in the years ahead. Their eyes will be opened to possible careers in fields where our nation’s needs are great. They will go on to become scientists, engineers, biologists, researchers, inventors and much more. The Delaware Children’s Museum will be more than just a fun place to visit. It will be much more than just a children’s museum. It will also serve as a bridge to the future; a brighter future for young boys and girls today and for generations to come.”
Five possible locations were considered for the venue. Then one fortuitous day two years ago The Big Kahuna surprisingly shuttered its doors. Voila! A huge footprint of concrete became available. Timing is everything they say. The landmark volcano became extinct and was replaced by exhibits such as:
ECOnnect - hands on activities for kids to get in touch with their environment.
Bank On It - another hands on exhibit dealing with money management.
Studio D - where kids can exhibit their artistic creativity
Stratosphere – an enclosed 30 foot diameter climber
Training Wheels – exploring trains, cars and things that go
The Power of Me – The power of the human body
The economic impact is considerable. The Association of Children’s Museums indicates that 35% of children’s museums are flagships in downtown revitalization projects. (Aisle Say this is sounding good!) It will employ 28 full time people.
Economic studies project that the DCM will bring in 135,000 visitors to the Riverfront annually – 362 days a year. It is estimated that for every $13.00 spent within the museum, guests spend another $12.00 on restaurants, shops, gas stations and other services that accommodate these families.
General admission is $12.00 per person (children under 12 months are free). A full general admission membership is available. Open 9am to 4:30pm
DelawareChildrensMuseum.org
RENT at Media Theatre
Patrick Ludt, who plays Roger in The Media Theatre's “Rent,” opening May 5, suggests that this iconic rock musical is his era's “Hair.”
That comparison brought back vivid images in this columnist's cerebellum. As a struggling actor in NYC in 1971, I responded to an open audition for “Hair.” Thinking myself brilliant to avoid the certain rush, I arrived at the venue two hours early. By that time, the line was already twice around the block...and NYC blocks are huge! The guy in front of me let out exactly one syllable of the song “Oklahoma” (the “O”) and was cut off with an abrupt, “We'll call you”!
There is more to this forlorn tale for Aisle Say readers, but one that I will leave for a later time.
The East Village in the early 1990's; a district and a nation devastated by crime, drugs and worse, the AIDS epidemic. This was the scourge of the century; fear, dread and discrimination were knee jerk responses to the questions surrounding the disease and the fact that it was mostly attached to the homosexual community.
For years, composer Jonathan Larson worked on a pop opera based on Puccini's “La Boheme.” The plot chronicles a group of friends over a year in their struggles against poverty, drug abuse, AIDS and the inability to make 'rent.' (Larson also explained rent was defined as being 'torn' as in 'emotionally wracked.')
The production has only recently become available for rental and Media is the first professional group to license it in this region.
The career of Idina Menzel was made in “Rent.” She met her husband, Taye Diggs, in the show and both did the movie. Menzel, as we know, originated the Wicked Witch in “Wicked” and that scary guacamole painted face.
“Ren,” like “Hair," marks a cultural watershed and will be with us forever. Perhaps the most popular song is “Seasons of Life.” The entire cast harmonizes to sing "Five hundred twenty-five thousand six hundred minutes" (the number of minutes in a common - non-leap - calendar year).
The main question asked is, "How do you measure a year?" Various answers are suggested, from points of the day ("Daylights," "Sunsets," "Midnights") to units of measure ("inches," "miles"), to everyday events ("cups of coffee") to more symbolic concepts ("laughter," "strife"). In the chorus, the song reaches the conclusion that love is the only proper measure of a year in a human life.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
The Media Theatre is a wonderfully refurbished former vaudeville house in picturesque Media, only 20 minutes from New Castle County. There are close by restaurants. Son Grant and I enjoyed a recent “Wizard of Oz,” with a cast replete with many professional credits.
May 5 to June 6. MediaTheatre.org 104 E. State St. (follow the Media Exit off of the Blue Route. 610.891.0100.
That comparison brought back vivid images in this columnist's cerebellum. As a struggling actor in NYC in 1971, I responded to an open audition for “Hair.” Thinking myself brilliant to avoid the certain rush, I arrived at the venue two hours early. By that time, the line was already twice around the block...and NYC blocks are huge! The guy in front of me let out exactly one syllable of the song “Oklahoma” (the “O”) and was cut off with an abrupt, “We'll call you”!
There is more to this forlorn tale for Aisle Say readers, but one that I will leave for a later time.
The East Village in the early 1990's; a district and a nation devastated by crime, drugs and worse, the AIDS epidemic. This was the scourge of the century; fear, dread and discrimination were knee jerk responses to the questions surrounding the disease and the fact that it was mostly attached to the homosexual community.
For years, composer Jonathan Larson worked on a pop opera based on Puccini's “La Boheme.” The plot chronicles a group of friends over a year in their struggles against poverty, drug abuse, AIDS and the inability to make 'rent.' (Larson also explained rent was defined as being 'torn' as in 'emotionally wracked.')
The production has only recently become available for rental and Media is the first professional group to license it in this region.
The career of Idina Menzel was made in “Rent.” She met her husband, Taye Diggs, in the show and both did the movie. Menzel, as we know, originated the Wicked Witch in “Wicked” and that scary guacamole painted face.
“Ren,” like “Hair," marks a cultural watershed and will be with us forever. Perhaps the most popular song is “Seasons of Life.” The entire cast harmonizes to sing "Five hundred twenty-five thousand six hundred minutes" (the number of minutes in a common - non-leap - calendar year).
The main question asked is, "How do you measure a year?" Various answers are suggested, from points of the day ("Daylights," "Sunsets," "Midnights") to units of measure ("inches," "miles"), to everyday events ("cups of coffee") to more symbolic concepts ("laughter," "strife"). In the chorus, the song reaches the conclusion that love is the only proper measure of a year in a human life.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
The Media Theatre is a wonderfully refurbished former vaudeville house in picturesque Media, only 20 minutes from New Castle County. There are close by restaurants. Son Grant and I enjoyed a recent “Wizard of Oz,” with a cast replete with many professional credits.
May 5 to June 6. MediaTheatre.org 104 E. State St. (follow the Media Exit off of the Blue Route. 610.891.0100.
Friday, April 9, 2010
Children's Environmental musical at DuPont Theatre
Ah, but from the mouths of babes, the knowledge one can acquire. Jamie Kleman, a Landenberg, Pa., resident and author of several books for children, asked her then 5-year-old son, Will, what he thought it meant by “going green,” environmentally speaking.
Will, as with many children, associated the phrase with witches, toothsome crocodiles, hissing snakes and your (green) garden variety fearsome monsters.
The seed of a play, thought Kleman...and better yet...a children's musical, “It's Not Mean To Be Green.” The adaptation for the stage was aided by Richard Gaw, an award-winning local playwright and past special sections editor at Community News.
The music was written by Chris Cotter of Pocopson, Pa., Bill Kleman of Landenberg, Pa., and Colin McGetrick, also of West Chester.
“It’s important for parents and teachers to realize that children may not understand the meaning behind what we think are common expressions,” says Kleman, the mother of two. “It’s equally important to teach children at a young age how to care for the environment so they can become responsible stewards in the future—and to do that in a fun, entertaining way.”
The production is rooted in this region, starring child and adult performers and will be staged at The DuPont Theatre April 18-20. Earth Day is April 22. This important national date is a catalyst for discussion on why it's NOT mean to be green, in fact just the opposite.
Aisle Say had an opportunity to see a rehearsal this past week.
The plot revolves around the McDurth family, all save one of whom are active environmentalists. The holdout, son Michael, is the theatrical doppelganger of Will Klerman's 'green' fears. (Christopher Cooke of Wilmington, a fifth grader at Wilmington Montessori School, plays Michael.)
In fact, when Michael's sister Issie (sixth-grader Abby Cocco) announces at the dinner table that she is 'going green,” Michael has bedtime dreams of vampires with apple green complexions and fire-breathing green dragons. Original over-sized puppets were made by a puppet maker in New York especially for this production.
Michael's fears are assuaged through both dance and song by his mother (Donnie Hammond) and father (Tom Wang). Wang is also the director of the production and is a professional actor that has appeared nationally.
Stephen Blahut as The Narrator with a penchant for iambic pentameter rounds out the cast.
The musical’s contributions to the community are not limited to the stage.
The original music from the show is available on CD. Partial proceeds from the song “Pass it On,” available as a download, will go to Project Night-Night (projectnightnight.org), which provides books, bags and blankets to homeless children.
Thanks to funding from Bank of America, 250 tickets to the show are designated for Title I students.
The 15-foot-by-30-foot backdrop was created by Art Therapy Express (arttherapyexpress.org), which serves children with intellectual, physical and emotional disabilities.
Girl Scouts & Boy Scouts get $1 off the $10 ticket price on April 18 at 3 pm., and they earn a patch just for attending the show.
Performances in Delaware elementary schools and in Pennsylvania and Maryland will follow.
Will, as with many children, associated the phrase with witches, toothsome crocodiles, hissing snakes and your (green) garden variety fearsome monsters.
The seed of a play, thought Kleman...and better yet...a children's musical, “It's Not Mean To Be Green.” The adaptation for the stage was aided by Richard Gaw, an award-winning local playwright and past special sections editor at Community News.
The music was written by Chris Cotter of Pocopson, Pa., Bill Kleman of Landenberg, Pa., and Colin McGetrick, also of West Chester.
“It’s important for parents and teachers to realize that children may not understand the meaning behind what we think are common expressions,” says Kleman, the mother of two. “It’s equally important to teach children at a young age how to care for the environment so they can become responsible stewards in the future—and to do that in a fun, entertaining way.”
The production is rooted in this region, starring child and adult performers and will be staged at The DuPont Theatre April 18-20. Earth Day is April 22. This important national date is a catalyst for discussion on why it's NOT mean to be green, in fact just the opposite.
Aisle Say had an opportunity to see a rehearsal this past week.
The plot revolves around the McDurth family, all save one of whom are active environmentalists. The holdout, son Michael, is the theatrical doppelganger of Will Klerman's 'green' fears. (Christopher Cooke of Wilmington, a fifth grader at Wilmington Montessori School, plays Michael.)
In fact, when Michael's sister Issie (sixth-grader Abby Cocco) announces at the dinner table that she is 'going green,” Michael has bedtime dreams of vampires with apple green complexions and fire-breathing green dragons. Original over-sized puppets were made by a puppet maker in New York especially for this production.
Michael's fears are assuaged through both dance and song by his mother (Donnie Hammond) and father (Tom Wang). Wang is also the director of the production and is a professional actor that has appeared nationally.
Stephen Blahut as The Narrator with a penchant for iambic pentameter rounds out the cast.
The musical’s contributions to the community are not limited to the stage.
The original music from the show is available on CD. Partial proceeds from the song “Pass it On,” available as a download, will go to Project Night-Night (projectnightnight.org), which provides books, bags and blankets to homeless children.
Thanks to funding from Bank of America, 250 tickets to the show are designated for Title I students.
The 15-foot-by-30-foot backdrop was created by Art Therapy Express (arttherapyexpress.org), which serves children with intellectual, physical and emotional disabilities.
Girl Scouts & Boy Scouts get $1 off the $10 ticket price on April 18 at 3 pm., and they earn a patch just for attending the show.
Performances in Delaware elementary schools and in Pennsylvania and Maryland will follow.
Walnut Street Theatre's FALLEN ANGELS
The talent of the actors outweigh the writing and story of the play in Walnut Street Theatre's “Fallen Angels” written by Noel Coward, admittedly the quintessential 'umo universale' of the '20's to the '40's.
The author, born in 1899, is an English playwright, composer, director, actor and singer, known for his wit, flamboyance, and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise"
Coward achieved enduring success as a playwright, publishing more than 50 plays from his teens onwards. Many of his works, such as "Hay Fever" (recently performed by UD's REP Ensemble), "Private Lives," and "Design For Living," among others, have remained in the regular theater repertoire.
You may have not heard of “Fallen Angels” prior to this; the primary reason being the excellence of writing and urbanity for which Sir Noel “The Mad Dog Englishman” is known for does not reach the heights in this production.
That is not to say the female leads, Susan Riley Stevens as Julia and Karen Peakes as Jane, do not furiously attack and consume their roles as upper crust matrons in London in the '20's.
Jane and Julia are best friends. They live in the similar, very posh flats and are both married to loving (if slightly inattentive and dull) husbands. “Piff, piff,huff huff and all that, old boy!”
The boys head out for a golfing weekend and they get word that a very dashing and debonair Frenchman - with whom both had affairs before marriage – is arriving in London as the husbands parry forth on the links.
What follows is an extremely funny set of circumstances fueled by not only petty jealousy and misinformation but also champagne, martinis and other alcoholic libations.
Both women have their own style, their proper English accents are superb and they balance their characters with just the right amount of slapstick. They understand the metre and syntax of a laugh line and stretch everything out of a script that asks for some suspension of reality from the audience.
Saunders the maid (Jennie Eisenhower) steals every scene in which she appears. If Coward had known Eisenhower was to play this character, he would have written more for her.
Saunders is the type of maid one would love to employ but would drive you to daily fits of paroxysm. She's precise and excellent in her house duties, but happens to know more facts than you do and is an expert at everything you thought you were excellent at.
Eisenhower, along with the other two women, affect characteristic physical attitudes that bring audience laughter as well. (Eisenhower recently won The Barrymore Award in Philly for “Best Actress in a Musical.” I saw her in that show, “Forbidden Broadway.” She flat out knocked dead her takes on Carol Channing and Liza Minnelli.)
Director Malcolm Black knows that people don't get drunk immediately after the first drink. His leads progressively lose their civility toward each other – and their mounting libidinous desires for the Frenchmen – so slowly, so languidly....just like you and I do it.
Costumes by Ellis Tillman could have been taken from Vogue of the era.
Til May 2 800.982.2787 WalnutStreetTheatre.org
The author, born in 1899, is an English playwright, composer, director, actor and singer, known for his wit, flamboyance, and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise"
Coward achieved enduring success as a playwright, publishing more than 50 plays from his teens onwards. Many of his works, such as "Hay Fever" (recently performed by UD's REP Ensemble), "Private Lives," and "Design For Living," among others, have remained in the regular theater repertoire.
You may have not heard of “Fallen Angels” prior to this; the primary reason being the excellence of writing and urbanity for which Sir Noel “The Mad Dog Englishman” is known for does not reach the heights in this production.
That is not to say the female leads, Susan Riley Stevens as Julia and Karen Peakes as Jane, do not furiously attack and consume their roles as upper crust matrons in London in the '20's.
Jane and Julia are best friends. They live in the similar, very posh flats and are both married to loving (if slightly inattentive and dull) husbands. “Piff, piff,huff huff and all that, old boy!”
The boys head out for a golfing weekend and they get word that a very dashing and debonair Frenchman - with whom both had affairs before marriage – is arriving in London as the husbands parry forth on the links.
What follows is an extremely funny set of circumstances fueled by not only petty jealousy and misinformation but also champagne, martinis and other alcoholic libations.
Both women have their own style, their proper English accents are superb and they balance their characters with just the right amount of slapstick. They understand the metre and syntax of a laugh line and stretch everything out of a script that asks for some suspension of reality from the audience.
Saunders the maid (Jennie Eisenhower) steals every scene in which she appears. If Coward had known Eisenhower was to play this character, he would have written more for her.
Saunders is the type of maid one would love to employ but would drive you to daily fits of paroxysm. She's precise and excellent in her house duties, but happens to know more facts than you do and is an expert at everything you thought you were excellent at.
Eisenhower, along with the other two women, affect characteristic physical attitudes that bring audience laughter as well. (Eisenhower recently won The Barrymore Award in Philly for “Best Actress in a Musical.” I saw her in that show, “Forbidden Broadway.” She flat out knocked dead her takes on Carol Channing and Liza Minnelli.)
Director Malcolm Black knows that people don't get drunk immediately after the first drink. His leads progressively lose their civility toward each other – and their mounting libidinous desires for the Frenchmen – so slowly, so languidly....just like you and I do it.
Costumes by Ellis Tillman could have been taken from Vogue of the era.
Til May 2 800.982.2787 WalnutStreetTheatre.org
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