“WHYY, How dare you leave our city”, (to the tune of O Christmas Tree, O Christmas Tree)
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
Without an ounce of pity
You say you're not aband'ing us
And who are we to make a fuss!
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
We put big money in you
O HYY
O HYY
Citizens are left to stew
You say your plans are misconstrued
But bottom line, we all got screwed
O HYY
O HYY
We put big money in you
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
But now it all seems balderdash
Your anchor was a talking head
I tuned at 5 with fear and dread
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
Next stop may be the FCC
O HYY
O HYY
Ted Kaufman's vote may be the key
You state your costs will not allow
But your GM makes 500 thou.
O HYY
O HYY
Next stop may be the FCC
The Dredging of the Delaware River
( to the tune of Deck the Halls With Boughs of Holly”)
Deck the shores with tons of sewage
Folly, folly, folly la la la la.
Underneath Memorial Brid...ge
Folly, folly, folly, la la la la
Trust Army Corps of Engineers?
Folly, folly, folly, la la la la
All we get are haughty sneers!
Folly, folly, folly, la la la la
See the wildlife dead before us,
Folly, folly, folly, la la la la.
Just say no and join the chorus,
Folly, folly, folly, la la la la.
Call Markell to voice displeasure,
Folly, folly, folly, la la la.
No corp'rate greed, no corp'rate treasure,
Folly, folly, folly, la la la la.
Ode to Mike Castle, “Biden's Son is Coming to Town” (to the tune of Santa Claus is Coming to Town”)
You better watch out
Don't sit, don't sigh
Better not flout
Joe's telling you why
Biden's son is coming to town
Beau's making a list
And checking it twice;
Goin' to DC to get some advice
Biden's son is coming to town
Beau sees you when you're polling
Beau knows that you're ahead
First state's... been historic'ly blue
Castle wants to make it red!
O! You better watch out!
You better look spry
Won't be a blow out...
Could make you mince pie
Biden's son is coming to town!
Friday, December 25, 2009
Thursday, December 17, 2009
Media Theatre's Oz is a pot of gold
When Dorothy Gale entered Oz, Judy Garland entered immortality. The movie has been seen by almost every child in the world who has seen a movie. “Rainbow” is the most popular tune ever; a mystical, lyrical and melodic story of a child's spiritual passage from adolescence to adulthood.
The professional cast of The Media Theatre created and evidenced the same love for their characters in this stage production as the iconic film actors did in 1939.
The theatre on Media's main drag is a renovated cinema not unlike The Grand. It was but twenty-five minutes from my home in Brandywine Hundred and most certainly worth the trip.
I attended with my college senior son Grant and elbowed him hard during the “Lollipop Kids” number, portrayed by a gaggle of beaming kids whose delight with being on stage was palpable. Grant had played one of those attitudinal rapscallions when in third grade.
With these characters so imprinted in us, it's a difficult task for the actors not to fall into caricature. All of the major players are Equity actors and have impressive credits, including the prestigious Walnut Theatre and The Prince in Philly. Media actors and productions have won “Barrymores,” the regional Tony's, on many occasions.
With the first four notes of “Rainbow's” lead in out of her mouth, it was evident that Dorothy (Kim Carson) would be an aural delicacy. As Judy preached herself, Carson made the lyrics her own.
Judy was 4'11”. Carson is a tall woman, but this does not seem to matter vis a vis her wide-eyed innocence in this “childlike” role. Her interaction with her compadres down the Yellow Brick Road was delightful. As I surveyed the audience, all had plastered smiles that could not be shaken.
Scarecrow (John Jarboe), Cowardly Lion (Daniel Stanton) and Tin Man (Patrick Ludt) are superior singers and dancers. Ludt, in fact, did a tap dance turn as the Tin Man to great effect. One has great expectations on the entrance of the Lion and that first “put 'em up, put 'em up” monologue. Stanton had the audience doubled over.
Wicked Witch (Kathryn Kendall) was over archingly-nefarious. Her 'dissolution” by Dorothy's pail of water was a clever special effect.
Jitterbug (Joey Tierno) is a recent college grad with a minor in dance. On this night, however, he majored in flips, tricks and leaving the ground for extended periods.
In the program even Toto (Ziva Larsen) had a bio. He most certainly is one of the most laid back Cairn Terriers in stage history, or else on xanax. He is on the majority of the time, is tossed back and forth and nary says a peep (or bark).
Director Peter Reynolds, who serves as director of musical theatre at Temple, did a fluid job with his ensemble cast. The action was forever brisk.
“The Wizard of Oz” speaks to your feelings, not your intellect. It comforts and inspires. Children identify Dorothy with their fears; adults identify with their dreams.
A poor little girl is sent down a perilous path. Along the way she must slay wicked witches and stand up to mighty wizards. We are made to see all the fantastic adventures through Dorothy’s wide and trusting eyes. She makes the unbelievable believable.., the unreal real.
This is a wonderful production for the entire family. Tix are very reasonable.
MediaTheatre.org 610.891.0100
The professional cast of The Media Theatre created and evidenced the same love for their characters in this stage production as the iconic film actors did in 1939.
The theatre on Media's main drag is a renovated cinema not unlike The Grand. It was but twenty-five minutes from my home in Brandywine Hundred and most certainly worth the trip.
I attended with my college senior son Grant and elbowed him hard during the “Lollipop Kids” number, portrayed by a gaggle of beaming kids whose delight with being on stage was palpable. Grant had played one of those attitudinal rapscallions when in third grade.
With these characters so imprinted in us, it's a difficult task for the actors not to fall into caricature. All of the major players are Equity actors and have impressive credits, including the prestigious Walnut Theatre and The Prince in Philly. Media actors and productions have won “Barrymores,” the regional Tony's, on many occasions.
With the first four notes of “Rainbow's” lead in out of her mouth, it was evident that Dorothy (Kim Carson) would be an aural delicacy. As Judy preached herself, Carson made the lyrics her own.
Judy was 4'11”. Carson is a tall woman, but this does not seem to matter vis a vis her wide-eyed innocence in this “childlike” role. Her interaction with her compadres down the Yellow Brick Road was delightful. As I surveyed the audience, all had plastered smiles that could not be shaken.
Scarecrow (John Jarboe), Cowardly Lion (Daniel Stanton) and Tin Man (Patrick Ludt) are superior singers and dancers. Ludt, in fact, did a tap dance turn as the Tin Man to great effect. One has great expectations on the entrance of the Lion and that first “put 'em up, put 'em up” monologue. Stanton had the audience doubled over.
Wicked Witch (Kathryn Kendall) was over archingly-nefarious. Her 'dissolution” by Dorothy's pail of water was a clever special effect.
Jitterbug (Joey Tierno) is a recent college grad with a minor in dance. On this night, however, he majored in flips, tricks and leaving the ground for extended periods.
In the program even Toto (Ziva Larsen) had a bio. He most certainly is one of the most laid back Cairn Terriers in stage history, or else on xanax. He is on the majority of the time, is tossed back and forth and nary says a peep (or bark).
Director Peter Reynolds, who serves as director of musical theatre at Temple, did a fluid job with his ensemble cast. The action was forever brisk.
“The Wizard of Oz” speaks to your feelings, not your intellect. It comforts and inspires. Children identify Dorothy with their fears; adults identify with their dreams.
A poor little girl is sent down a perilous path. Along the way she must slay wicked witches and stand up to mighty wizards. We are made to see all the fantastic adventures through Dorothy’s wide and trusting eyes. She makes the unbelievable believable.., the unreal real.
This is a wonderful production for the entire family. Tix are very reasonable.
MediaTheatre.org 610.891.0100
City Theatre's "Sweeney" is razor sharp
When Director Michael Gray creates a vision for a production, his ratiocination, the way his mind thinks to interpret and stage, is different from you and me. His black box theatre at Opera Delaware Studios on Poplar Street has major limitations, square footage being the most pre-eminent.
But, excluding the UofD REP Company, that being heavily subsidized by the university, his City Theatre's brand is undoubtedly the most avant-garde production company in the state.
Sweeney Todd is both composer Stephen Sondheim's most outrageous and creative work. I saw it on Broadway three times during the '70's, starring Angela Lansbury as the entrepreneurial pie maker who saw opportunity to turn the barber Todd's anger and blood lust into a money making proposition. It's a tale of murder, retribution, cannibalism, swooning melodies and....humor of the blackest kind. “Sweeney” passes on the prospect of any redemption for its leading characters..
Producer Gray certainly cannot pay his actors much but their reputation now is such that his casts are talented stratospherically far above the norm for Delaware theater.
Sweeney (Dale Martin) is maniacally superb as the wronged barber. His darkened eyes are only the first clue of the malevolence in his heart. We feel Sweeney's torment in our own souls as he cries out for the justice that he demands will be his. His deep and rich baritone is superb during “My Friends” and “Pretty Women.”
Mrs. Lovett (TS Barnes) played a beguiling and light-hearted counter to the oppressive Sweeney.
Her costume by Kerry McElrone was derivative of Director Gray's vision. A few times Gray allowed Barnes to go for a cheap topical laugh for the audience's sake, but perhaps Gray felt the mayhem should be relieved somewhat. There were a few instances where she reacted a bit too cozy and conversational with Sweeney, inappropriate to the setting.
“Green Finch and Linnet Bird,” sung by Joanna (Lauren Cupples) is one of my top five least favorite Broadway songs. However, for the first time I actually enjoyed the number. Cupples has a beautiful soprano and is a fine actor as well.
Anthony (Brendan Sheehan) was wide-eyed and sincere and has a wonderful voice, most notably in “Joanna,” clearly one of Sondheim's greatest ballads.
The Beggar Woman (Aileen Goldberg) portrays the over-the-top, deranged character with emotion and energy. Due to the confined nature of the venue, she is directly in our faces. We look in her eyes and know something is wrong with her mental makeup.
Due to the small cast and Sweeney's obsession with skewering as many London citizens as he can get his razors next to neck, many of the cast are murdered several times. Pirelli (Tyler Hoffman) felt Sweeney's wrath I think three times.
The smarmy Judge Turpin (Steven Weatherman) played his character with unctuous glee and was particular effective with Sweeney in “Pretty Women.”
The nine piece orchestra under the direction of Conductor JA Kawarsky, professor of musical theatre at Westminster Choir College of Rider University, was as tight a group as an ensemble from Delaware Symphony. To understate, Sondheim's music is not only difficult to sing but also to play.
As Mrs. Lovett sings to Sweeney, “times is tight Mr. Todd, times is tight,” this could be a metaphor for the arts in Delaware. With quality theater such as the audience enjoyed opening night, City Theater is on the cutting edge.
Til December 19. City-Theater.org
But, excluding the UofD REP Company, that being heavily subsidized by the university, his City Theatre's brand is undoubtedly the most avant-garde production company in the state.
Sweeney Todd is both composer Stephen Sondheim's most outrageous and creative work. I saw it on Broadway three times during the '70's, starring Angela Lansbury as the entrepreneurial pie maker who saw opportunity to turn the barber Todd's anger and blood lust into a money making proposition. It's a tale of murder, retribution, cannibalism, swooning melodies and....humor of the blackest kind. “Sweeney” passes on the prospect of any redemption for its leading characters..
Producer Gray certainly cannot pay his actors much but their reputation now is such that his casts are talented stratospherically far above the norm for Delaware theater.
Sweeney (Dale Martin) is maniacally superb as the wronged barber. His darkened eyes are only the first clue of the malevolence in his heart. We feel Sweeney's torment in our own souls as he cries out for the justice that he demands will be his. His deep and rich baritone is superb during “My Friends” and “Pretty Women.”
Mrs. Lovett (TS Barnes) played a beguiling and light-hearted counter to the oppressive Sweeney.
Her costume by Kerry McElrone was derivative of Director Gray's vision. A few times Gray allowed Barnes to go for a cheap topical laugh for the audience's sake, but perhaps Gray felt the mayhem should be relieved somewhat. There were a few instances where she reacted a bit too cozy and conversational with Sweeney, inappropriate to the setting.
“Green Finch and Linnet Bird,” sung by Joanna (Lauren Cupples) is one of my top five least favorite Broadway songs. However, for the first time I actually enjoyed the number. Cupples has a beautiful soprano and is a fine actor as well.
Anthony (Brendan Sheehan) was wide-eyed and sincere and has a wonderful voice, most notably in “Joanna,” clearly one of Sondheim's greatest ballads.
The Beggar Woman (Aileen Goldberg) portrays the over-the-top, deranged character with emotion and energy. Due to the confined nature of the venue, she is directly in our faces. We look in her eyes and know something is wrong with her mental makeup.
Due to the small cast and Sweeney's obsession with skewering as many London citizens as he can get his razors next to neck, many of the cast are murdered several times. Pirelli (Tyler Hoffman) felt Sweeney's wrath I think three times.
The smarmy Judge Turpin (Steven Weatherman) played his character with unctuous glee and was particular effective with Sweeney in “Pretty Women.”
The nine piece orchestra under the direction of Conductor JA Kawarsky, professor of musical theatre at Westminster Choir College of Rider University, was as tight a group as an ensemble from Delaware Symphony. To understate, Sondheim's music is not only difficult to sing but also to play.
As Mrs. Lovett sings to Sweeney, “times is tight Mr. Todd, times is tight,” this could be a metaphor for the arts in Delaware. With quality theater such as the audience enjoyed opening night, City Theater is on the cutting edge.
Til December 19. City-Theater.org
OLIVER @ The Walnut St. (The title character lacks charisma)
While the production elements of The Walnut are of genuine Broadway quality, these parts do not create a compelling whole for “Oliver”.. Part of the issue is Director Mark Clements parsing of the script thereby creating awkward segues from scene to scene and making for an uneven production.
We all know the story of Charles Dickens' “Oliver Twist”. After Oliver falls in line with The Artful Dodger and Fagin, he is sent out to 'pick a pocket or two'. After our fair haired boy is accused of thievery, the next scene (of this production) miraculously shows him at his grandfather's house. Wow, that was fast. There was scarcely a reason why he went from street urchin to the safe confines of his beneficent grandfather.
Fagin (Hugh Panaro) was the star of the show and came very close to the quintessential Fagin of Ron Moody in the classic movie. The makeup - especially his gnarl y teeth – surely was an hour ritual nightly. Fagin may be the most lovable con man and thief in Broadway musical.
His renditions of “You've Got To Pick A Pocket or Two” and “Be Back Soon” sung to his band of rapscallions, is the perfect concoction of rapacious rascal and loving mentor. “Reviewing The Situation”, a reminiscence of his life and deeds, is poignant. His characterization is worth the admission price alone.
Nancy (Janine DiVita) has many Broadway credits and looks the part of the sensuous lover of evil incarnate Bill Sykes. Her 1830's working class London accent is done to perfection and her songs are delivered with laser true diction. Her voice can hit every octave known to man but she was directed to belt Nancy's signature song “As Long As He Needs Me” whereas a more plaintive, longing interpretation would have been more agreeable. There was “no place to go” in the second act reprise when the belt would have been more logical.
Director Clements interpolated two songs in the show heretofore unsung or unheard. He gave undertaker Mr. Sowerberry (Peter Schmitz) an appropriate ditty, “Where's Your Funeral”; a song that did not deserve its exhumation and should be ceremoniously buried.
The poster for the production featured the face of the movie's Oliver, a move I considered a bit strange. Aisle Say loves kids; he loves kids in theatre. He just did not love this particular Oliver (Gregory Smith). While Smith hit all those high notes a boy can hit before his voice changes, he had neither the charisma nor the innocence nor the naivte that one expects in the role. He looked like he was acting.
The set design by Todd Ivins was superb. He studied the gray, foreboding oppressive nature of the book and the times. The scene at Fagin's hideout was something out of Les Mis and the Tower of London in the final scene appeared as if one might reach out and touch those century old stones.
The Walnut's Ensemble dancing is constantly electric and exciting. In the glorious production numbers “Consider Yourself” and “Omm-Pah-Pah” choreographer Mary Jane Houdina created some enlivening and athletic moves right out of Houdini.
There are two childrens' casts for the show, owing to school responsibilities and the duration of the run. Delawarean Sonny Leo is in the Ensemble and shakes and bakes in that jaunty baker cap of his.
Til January 10. WalnutStreetTheatre.org 215.574.3550
We all know the story of Charles Dickens' “Oliver Twist”. After Oliver falls in line with The Artful Dodger and Fagin, he is sent out to 'pick a pocket or two'. After our fair haired boy is accused of thievery, the next scene (of this production) miraculously shows him at his grandfather's house. Wow, that was fast. There was scarcely a reason why he went from street urchin to the safe confines of his beneficent grandfather.
Fagin (Hugh Panaro) was the star of the show and came very close to the quintessential Fagin of Ron Moody in the classic movie. The makeup - especially his gnarl y teeth – surely was an hour ritual nightly. Fagin may be the most lovable con man and thief in Broadway musical.
His renditions of “You've Got To Pick A Pocket or Two” and “Be Back Soon” sung to his band of rapscallions, is the perfect concoction of rapacious rascal and loving mentor. “Reviewing The Situation”, a reminiscence of his life and deeds, is poignant. His characterization is worth the admission price alone.
Nancy (Janine DiVita) has many Broadway credits and looks the part of the sensuous lover of evil incarnate Bill Sykes. Her 1830's working class London accent is done to perfection and her songs are delivered with laser true diction. Her voice can hit every octave known to man but she was directed to belt Nancy's signature song “As Long As He Needs Me” whereas a more plaintive, longing interpretation would have been more agreeable. There was “no place to go” in the second act reprise when the belt would have been more logical.
Director Clements interpolated two songs in the show heretofore unsung or unheard. He gave undertaker Mr. Sowerberry (Peter Schmitz) an appropriate ditty, “Where's Your Funeral”; a song that did not deserve its exhumation and should be ceremoniously buried.
The poster for the production featured the face of the movie's Oliver, a move I considered a bit strange. Aisle Say loves kids; he loves kids in theatre. He just did not love this particular Oliver (Gregory Smith). While Smith hit all those high notes a boy can hit before his voice changes, he had neither the charisma nor the innocence nor the naivte that one expects in the role. He looked like he was acting.
The set design by Todd Ivins was superb. He studied the gray, foreboding oppressive nature of the book and the times. The scene at Fagin's hideout was something out of Les Mis and the Tower of London in the final scene appeared as if one might reach out and touch those century old stones.
The Walnut's Ensemble dancing is constantly electric and exciting. In the glorious production numbers “Consider Yourself” and “Omm-Pah-Pah” choreographer Mary Jane Houdina created some enlivening and athletic moves right out of Houdini.
There are two childrens' casts for the show, owing to school responsibilities and the duration of the run. Delawarean Sonny Leo is in the Ensemble and shakes and bakes in that jaunty baker cap of his.
Til January 10. WalnutStreetTheatre.org 215.574.3550
Thursday, November 19, 2009
OLIVER at The Walnut Street Theatre
WALNUT STREET THEATRE'S “OLIVER”: Individual brilliance but unfulfilling as a whole.
While the production elements of The Walnut are of genuine Broadway quality, these parts do not create a compelling whole for “Oliver”.. Part of the issue is Director Mark Clements parsing of the script thereby creating awkward segues from scene to scene and making for an uneven production.
We all know the story of Charles Dickens' “Oliver Twist”. After Oliver falls in line with The Artful Dodger and Fagin, he is sent out to 'pick a pocket or two'. After our fair haired boy is accused of thievery, the next scene (of this production) miraculously shows him at his grandfather's house. Wow, that was fast. There was scarcely a reason why he went from street urchin to the safe confines of his beneficent grandfather.
Fagin (Hugh Panaro) was the star of the show and came very close to the quintessential Fagin of Ron Moody in the classic movie. The makeup - especially his gnarl y teeth – surely was an hour ritual nightly. Fagin may be the most lovable con man and thief in Broadway musical.
His renditions of “You've Got To Pick A Pocket or Two” and “Be Back Soon” sung to his band of rapscallions, is the perfect concoction of rapacious rascal and loving mentor. “Reviewing The Situation”, a reminiscence of his life and deeds, is poignant. His characterization is worth the admission price alone.
Nancy (Janine DiVita) has many Broadway credits and looks the part of the sensuous lover of evil incarnate Bill Sykes. Her 1830's working class London accent is done to perfection and her songs are delivered with laser true diction. Her voice can hit every octave known to man but she was directed to belt Nancy's signature song “As Long As He Needs Me” whereas a more plaintive, longing interpretation would have been more agreeable. There was “no place to go” in the second act reprise when the belt would have been more logical.
Director Clements interpolated two songs in the show heretofore unsung or unheard. He gave undertaker Mr. Sowerberry (Peter Schmitz) an appropriate ditty, “Where's Your Funeral”; a song that did not deserve its exhumation and should be ceremoniously buried.
The poster for the production featured the face of the movie's Oliver, a move I considered a bit strange. Aisle Say loves kids; he loves kids in theatre. He just did not love this particular Oliver (Gregory Smith). While Smith hit all those high notes a boy can hit before his voice changes, he had neither the charisma nor the innocence nor the naivte that one expects in the role. He looked like he was acting.
The set design by Todd Ivins was superb. He studied the gray, foreboding oppressive nature of the book and the times. The scene at Fagin's hideout was something out of Les Mis and the Tower of London in the final scene appeared as if one might reach out and touch those century old stones.
The Walnut's Ensemble dancing is constantly electric and exciting. In the glorious production numbers “Consider Yourself” and “Omm-Pah-Pah” choreographer Mary Jane Houdina created some enlivening and athletic moves right out of Houdini.
There are two childrens' casts for the show, owing to school responsibilities and the duration of the run. Delawarean Sonny Leo is in the Ensemble and shakes and bakes in that jaunty baker cap of his.
Til January 10. WalnutStreetTheatre.org 215.574.3550
While the production elements of The Walnut are of genuine Broadway quality, these parts do not create a compelling whole for “Oliver”.. Part of the issue is Director Mark Clements parsing of the script thereby creating awkward segues from scene to scene and making for an uneven production.
We all know the story of Charles Dickens' “Oliver Twist”. After Oliver falls in line with The Artful Dodger and Fagin, he is sent out to 'pick a pocket or two'. After our fair haired boy is accused of thievery, the next scene (of this production) miraculously shows him at his grandfather's house. Wow, that was fast. There was scarcely a reason why he went from street urchin to the safe confines of his beneficent grandfather.
Fagin (Hugh Panaro) was the star of the show and came very close to the quintessential Fagin of Ron Moody in the classic movie. The makeup - especially his gnarl y teeth – surely was an hour ritual nightly. Fagin may be the most lovable con man and thief in Broadway musical.
His renditions of “You've Got To Pick A Pocket or Two” and “Be Back Soon” sung to his band of rapscallions, is the perfect concoction of rapacious rascal and loving mentor. “Reviewing The Situation”, a reminiscence of his life and deeds, is poignant. His characterization is worth the admission price alone.
Nancy (Janine DiVita) has many Broadway credits and looks the part of the sensuous lover of evil incarnate Bill Sykes. Her 1830's working class London accent is done to perfection and her songs are delivered with laser true diction. Her voice can hit every octave known to man but she was directed to belt Nancy's signature song “As Long As He Needs Me” whereas a more plaintive, longing interpretation would have been more agreeable. There was “no place to go” in the second act reprise when the belt would have been more logical.
Director Clements interpolated two songs in the show heretofore unsung or unheard. He gave undertaker Mr. Sowerberry (Peter Schmitz) an appropriate ditty, “Where's Your Funeral”; a song that did not deserve its exhumation and should be ceremoniously buried.
The poster for the production featured the face of the movie's Oliver, a move I considered a bit strange. Aisle Say loves kids; he loves kids in theatre. He just did not love this particular Oliver (Gregory Smith). While Smith hit all those high notes a boy can hit before his voice changes, he had neither the charisma nor the innocence nor the naivte that one expects in the role. He looked like he was acting.
The set design by Todd Ivins was superb. He studied the gray, foreboding oppressive nature of the book and the times. The scene at Fagin's hideout was something out of Les Mis and the Tower of London in the final scene appeared as if one might reach out and touch those century old stones.
The Walnut's Ensemble dancing is constantly electric and exciting. In the glorious production numbers “Consider Yourself” and “Omm-Pah-Pah” choreographer Mary Jane Houdina created some enlivening and athletic moves right out of Houdini.
There are two childrens' casts for the show, owing to school responsibilities and the duration of the run. Delawarean Sonny Leo is in the Ensemble and shakes and bakes in that jaunty baker cap of his.
Til January 10. WalnutStreetTheatre.org 215.574.3550
JOSEPH at NEW CANDLELIGHT DINNER THEATRE
In 1964, at the wizened age of seventeen, Andrew Lloyd Webber received the following letter from the then twenty one-year-old law student, Tim Rice: “Dearest Andrew, I’ve been told you’re looking for a “with it” writer of lyrics for your songs, and as I’ve been writing pop songs for a while and particularly enjoy writing the lyrics. I wonder if you consider it worth your while meeting me. Tim Rice.”
So that's how immortality is birthed? Andrew thought it worth his while and a year later the two were commissioned by an English prep school to write an end-of-term religious concert. That begat “Joseph...Technicolor, etc”
The religious concept worked and so on to “JC Superstar”. Their last major collaboration was the stunning “Evita”.
New Candlelight Theater launches a joyous and captivating presentation directed and choreographed by legendary Delaware dance instructor/mentor Sonny Leo.
There could be no better show as an introduction for your children and grandchildren. Not only are pre-teens and teens in the chorus, but the entire assemblage's unassailable delight at entertaining embraces the entire audience.
Melissa Joy Hart's Narrator is the provocateur for the proceedings. Her warm contralto is smooth and rich. Aisle Say did not count her octave range but suffice to say it is considerable, concluding with a belt the likes of Ethel Merman.
Edward Egan's (Joseph) costume budget did not break the bank at New Candlelight. (I'll leave that for the show-goers to ponder). He was at once innocent, starry eyed and comprehending of the power of his ability to interpret dreams. His solo “Close Every Door” was outstanding.
Patrick O'Hara (Potiphar) has become a staple character actor at the venue. His malleable face and dancing eyes bring out the comedic nuances of every character he portrays.
New comer Joe Mallon (Pharoah) has arguably the most challenging role in the production, the Elvis impersonation. If that goes awry, then the entire production is faulted. Of the six or seven “Joseph's” I've experienced, Elvis was lame in two. Argh!
Mallon rises to the task “Thank ya, thank ya very much!”. And oh, that wig...one of several donned by Mallon for the show.
Taking the cue from the ...”Technicolor Dream Coat”, Artistic Director and Lighting Designer Chris Alberts continues his mastery of bringing life to the lighting and creating this intangible as an integral player in the production.
I have known Sonny Leo for decades. His infectious personality and his love for 'theatre people' translates to the smiles on the performers faces and their strong desire to please him. Sonny's choreography was both very tight and very creative.
In all the frivolity of the production, however, Sonny as director drew out the poignancy in the scene where Joseph's brothers beseech to save their youngest sibling from death.
This is a wonderful production. A great night out, a great underlying message, a diversity of musical genres as in no other stage show and a great meal!
Til December 20. NewCandlelightTheatre.com 302.475.2313
So that's how immortality is birthed? Andrew thought it worth his while and a year later the two were commissioned by an English prep school to write an end-of-term religious concert. That begat “Joseph...Technicolor, etc”
The religious concept worked and so on to “JC Superstar”. Their last major collaboration was the stunning “Evita”.
New Candlelight Theater launches a joyous and captivating presentation directed and choreographed by legendary Delaware dance instructor/mentor Sonny Leo.
There could be no better show as an introduction for your children and grandchildren. Not only are pre-teens and teens in the chorus, but the entire assemblage's unassailable delight at entertaining embraces the entire audience.
Melissa Joy Hart's Narrator is the provocateur for the proceedings. Her warm contralto is smooth and rich. Aisle Say did not count her octave range but suffice to say it is considerable, concluding with a belt the likes of Ethel Merman.
Edward Egan's (Joseph) costume budget did not break the bank at New Candlelight. (I'll leave that for the show-goers to ponder). He was at once innocent, starry eyed and comprehending of the power of his ability to interpret dreams. His solo “Close Every Door” was outstanding.
Patrick O'Hara (Potiphar) has become a staple character actor at the venue. His malleable face and dancing eyes bring out the comedic nuances of every character he portrays.
New comer Joe Mallon (Pharoah) has arguably the most challenging role in the production, the Elvis impersonation. If that goes awry, then the entire production is faulted. Of the six or seven “Joseph's” I've experienced, Elvis was lame in two. Argh!
Mallon rises to the task “Thank ya, thank ya very much!”. And oh, that wig...one of several donned by Mallon for the show.
Taking the cue from the ...”Technicolor Dream Coat”, Artistic Director and Lighting Designer Chris Alberts continues his mastery of bringing life to the lighting and creating this intangible as an integral player in the production.
I have known Sonny Leo for decades. His infectious personality and his love for 'theatre people' translates to the smiles on the performers faces and their strong desire to please him. Sonny's choreography was both very tight and very creative.
In all the frivolity of the production, however, Sonny as director drew out the poignancy in the scene where Joseph's brothers beseech to save their youngest sibling from death.
This is a wonderful production. A great night out, a great underlying message, a diversity of musical genres as in no other stage show and a great meal!
Til December 20. NewCandlelightTheatre.com 302.475.2313
Opera Delaware's BARBER OF SEVILLE
Celebrating their 65th anniversary, OperaDelaware mounts a no holds barred laugh riot of Rossini's “commedia in two acts."
The opera premiered in 1816 in both Rome and Argentina. One of the distinguishing points of Rossini from other composers of opera was his inspired, song-like melodies, which enabled the general populace to remember the tunes. The two best examples of this is “Figaro, Figaro, Figaro” from “The Barber” and The Lone Ranger and Tonto's classic opener with the overture from “William Tell."
Rossini was a composer with a sense of humor. Artistic director of OperaDelaware and director for this production, Lee Kimball, milked all the elements of humor of the plot and cast a supremely talented and versatile group of singer/actors to bring the opera down to human terms. Kimball even employed harpsichordist David Christopher to enhance the musical environment.
The leads of the voices were individually thrilling and the ensemble pieces were a beauty to behold.
Count Almaviva (John Zuckerman), making his debut here, had performed the role in Virginia, Ohio and with other opera companies. His is a first in my experience of accompanying himself on the guitar while singing. This makes the mise en scene even more emphatic. He knew when to project and when to pull back. His breath control was excellent and his tenor had a brilliant, edgy quality to it.
Rosina (Misoon Ghim) returned to OperaDelaware after playing in the 2007 “Madama Butterfly”. She brought dramatic sensitivity to the role and dancing eyes and subtle and playful expressions to the remonstrances of Dr. Bartolo, (the man she did not want) and Almaviva (the man she did).
Dr. Bartolo (Donald Hartman) was described in “Opera News” as 'one of the best character singers on any opera stage anywhere.” He lived up to the press in this role. His gigantic bass baritone fills The Grand and I think my contacts were vibrating with his timbre. Hartman's mugging in the comic character he portrays is out of Harpo Marx.
Figaro (Brian Carter) also was in his debut here in Delaware. Kimball directed his introduction by having the character walk down the center aisle, playing to the receptive audience.
Chris Alberts, last week reviewed for his lighting design artistry at New Candlelight, created more mastery with the nuances that created the tone of a scene.
Set designer Peter Tupitza has been a scenic artist for both Martin Scorcese and M. Night Shyamalan. This courtyard/palace set done in light blue, had the feel of a cartoon. It was sturdy and workable and worked as the sixth lead actor in a production whose mission was to produce wonder and awe for the ears and belly laughs for the soul.
The production is completed but OperaDelaware's next venture is March 5,6 and 7 @ Opera Studios on the Riverfront. OperaDE.org or 1-800-37-GRAND. OperaDe also has a Youth Opera Program. See the site for details.
The opera premiered in 1816 in both Rome and Argentina. One of the distinguishing points of Rossini from other composers of opera was his inspired, song-like melodies, which enabled the general populace to remember the tunes. The two best examples of this is “Figaro, Figaro, Figaro” from “The Barber” and The Lone Ranger and Tonto's classic opener with the overture from “William Tell."
Rossini was a composer with a sense of humor. Artistic director of OperaDelaware and director for this production, Lee Kimball, milked all the elements of humor of the plot and cast a supremely talented and versatile group of singer/actors to bring the opera down to human terms. Kimball even employed harpsichordist David Christopher to enhance the musical environment.
The leads of the voices were individually thrilling and the ensemble pieces were a beauty to behold.
Count Almaviva (John Zuckerman), making his debut here, had performed the role in Virginia, Ohio and with other opera companies. His is a first in my experience of accompanying himself on the guitar while singing. This makes the mise en scene even more emphatic. He knew when to project and when to pull back. His breath control was excellent and his tenor had a brilliant, edgy quality to it.
Rosina (Misoon Ghim) returned to OperaDelaware after playing in the 2007 “Madama Butterfly”. She brought dramatic sensitivity to the role and dancing eyes and subtle and playful expressions to the remonstrances of Dr. Bartolo, (the man she did not want) and Almaviva (the man she did).
Dr. Bartolo (Donald Hartman) was described in “Opera News” as 'one of the best character singers on any opera stage anywhere.” He lived up to the press in this role. His gigantic bass baritone fills The Grand and I think my contacts were vibrating with his timbre. Hartman's mugging in the comic character he portrays is out of Harpo Marx.
Figaro (Brian Carter) also was in his debut here in Delaware. Kimball directed his introduction by having the character walk down the center aisle, playing to the receptive audience.
Chris Alberts, last week reviewed for his lighting design artistry at New Candlelight, created more mastery with the nuances that created the tone of a scene.
Set designer Peter Tupitza has been a scenic artist for both Martin Scorcese and M. Night Shyamalan. This courtyard/palace set done in light blue, had the feel of a cartoon. It was sturdy and workable and worked as the sixth lead actor in a production whose mission was to produce wonder and awe for the ears and belly laughs for the soul.
The production is completed but OperaDelaware's next venture is March 5,6 and 7 @ Opera Studios on the Riverfront. OperaDE.org or 1-800-37-GRAND. OperaDe also has a Youth Opera Program. See the site for details.
Monday, October 19, 2009
Walnut Street's DIRTY ROTTEN SCOUNDRELS
Seeking respite from the Kanye Wests, Serena Williams, Joe Wilsons and Glenn Becks of the world, Aisle Say traveled to The Walnut Theatre this week, the oldest continuing running theatrical venue in America.
The Walnut produces Broadway quality shows that are often higher quality than touring shows. This “Dirty Rotten Scoundrels” delights -- and does not take itself nearly as seriously as the aforementioned scoundrels.
Walnut Street Theatre presents Dirty Rotten Scoundrels
Through Oct. 25
$10 - $70
215-574-3550 WalnutStreetTheatre.org
Two shameless con-men, (Ben Dibble and Paul Schoeffler) have very different styles. They take a winner-take-all wager over the fortunes of a naïve American soap heiress (Jessica Rush). The first one to "clean her out" can make the other clear out and keep the French Riviera and its unsuspecting tourists to himself.
Dibble's Freddie Benson channels his inner Stan Laurel in some of the most hysterical sight gags Aisle Say has enjoyed. His malleable face and physicality had the audience doubling over.
Schoeffler's Lawrence Jameson was the elegant and suave grifter. In one scene, he donned the mantle of a German psychiatrist and sang “Ruffhousin Mit Shufhausen” with the finely honed accent – quite an accomplishment.
At the helm as director and choreographer is Richard Stafford. The music pulls from a variety of genres, similar to “Joseph and the Amazing Technicolor Dreamcoat.”
Production values at The Walnut are consistently superior. The sets, the costumes and lighting are superb. The female dancing chorus was talented and, to these eyes, the most beautiful array of chorines in the region.
Arts supporters, be vigilant
Continuing the "scoundrel" theme, Aisle Say must make mention of the 11th hour slight of hand by the Pennsylvania legislature to clinch a budget deal. In the end, the agreement hinged on a ticket tax on museum, concert, dance and theatre tickets.
What's that you ask about sports and movie tickets? Oh, they remain untouched.
The announcement came a day after the world-renowned Philadelphia Orchestra pleaded to the public to cover a $15 million shortfall.
Ironic juxtaposition. One of the most vulnerable – yet most vital – sectors of society is dealt another blow. This is a significant tax that hits arts organizations squarely in the gut. Cultural venues had already lost significant state and local funding. This additional tax will further depress the sector.
The Walnut Theatre, for example, now has a budget deficit. It generates $10 million in ticket sales annually. The sales tax would amount to $700,000, and Walnut President Bernard Havard said it would mean all educational programming will be eliminated, and called the move retrograde and destructive.
This news is important for Delawareans to know. We cannot allow our own legislators to even consider such shenanigans.
WHYY watch?
Aisle Say was the first to report on the outrageous salary of WHYY's CEO. This information came on the heels of the decision to close the Wilmington studios. WHYY now has a weekly news review at 10 p.m. Fridays, just when everyone wants to sit down and watch a rehash of week-old news.
Rep. Pete Schwartzkopf told me that “he raised hell about this man's money when he was on the Joint Finance Committee.” The $500,000 Grant in Aid WHYY received last year has thankfully been reduced to $100,000.
The Walnut produces Broadway quality shows that are often higher quality than touring shows. This “Dirty Rotten Scoundrels” delights -- and does not take itself nearly as seriously as the aforementioned scoundrels.
Walnut Street Theatre presents Dirty Rotten Scoundrels
Through Oct. 25
$10 - $70
215-574-3550 WalnutStreetTheatre.org
Two shameless con-men, (Ben Dibble and Paul Schoeffler) have very different styles. They take a winner-take-all wager over the fortunes of a naïve American soap heiress (Jessica Rush). The first one to "clean her out" can make the other clear out and keep the French Riviera and its unsuspecting tourists to himself.
Dibble's Freddie Benson channels his inner Stan Laurel in some of the most hysterical sight gags Aisle Say has enjoyed. His malleable face and physicality had the audience doubling over.
Schoeffler's Lawrence Jameson was the elegant and suave grifter. In one scene, he donned the mantle of a German psychiatrist and sang “Ruffhousin Mit Shufhausen” with the finely honed accent – quite an accomplishment.
At the helm as director and choreographer is Richard Stafford. The music pulls from a variety of genres, similar to “Joseph and the Amazing Technicolor Dreamcoat.”
Production values at The Walnut are consistently superior. The sets, the costumes and lighting are superb. The female dancing chorus was talented and, to these eyes, the most beautiful array of chorines in the region.
Arts supporters, be vigilant
Continuing the "scoundrel" theme, Aisle Say must make mention of the 11th hour slight of hand by the Pennsylvania legislature to clinch a budget deal. In the end, the agreement hinged on a ticket tax on museum, concert, dance and theatre tickets.
What's that you ask about sports and movie tickets? Oh, they remain untouched.
The announcement came a day after the world-renowned Philadelphia Orchestra pleaded to the public to cover a $15 million shortfall.
Ironic juxtaposition. One of the most vulnerable – yet most vital – sectors of society is dealt another blow. This is a significant tax that hits arts organizations squarely in the gut. Cultural venues had already lost significant state and local funding. This additional tax will further depress the sector.
The Walnut Theatre, for example, now has a budget deficit. It generates $10 million in ticket sales annually. The sales tax would amount to $700,000, and Walnut President Bernard Havard said it would mean all educational programming will be eliminated, and called the move retrograde and destructive.
This news is important for Delawareans to know. We cannot allow our own legislators to even consider such shenanigans.
WHYY watch?
Aisle Say was the first to report on the outrageous salary of WHYY's CEO. This information came on the heels of the decision to close the Wilmington studios. WHYY now has a weekly news review at 10 p.m. Fridays, just when everyone wants to sit down and watch a rehash of week-old news.
Rep. Pete Schwartzkopf told me that “he raised hell about this man's money when he was on the Joint Finance Committee.” The $500,000 Grant in Aid WHYY received last year has thankfully been reduced to $100,000.
U of D REP serves up best theatre in the state
Newark, Del. —
The University of Delawares Resident Player's Ensemble begins its second season with a stirring and contemplative one-man tour de force, “I am my own Wife” by Doug Wright.
For 90 minutes, professional actor Michael Gotch transfixes the audience in his portrayal of 35 characters including Charlotte von Mahlsdorf, a transvestite who lived and survived in East Germany during the oppressive regimes of Hitler and Communism.
It's a true story, leaving the audience to decide for themselves the virtues and vices of this alleged Stasi (Communist secret police agent) von Mahlsdorf. His renditions include SS officers, American soldiers, German news anchors, Japanese, Indians and a motley crew of fellow travelers of this “amasser of antique gramophones, records, clocks and furniture” in Germany's Golden Age.
Aisle Say normally rolls its eyes at one-man productions, “Mark Twain Tonight” being the exception. But Gotch had his characters and their voices so tightly woven and focused that the recent packed house at the intimate Studio Theatre of the gorgeous Roselle Center for the Arts was totally absorbed.
Ninety minutes of seamless characters changes (with an intermission) did not deter.
In 1934, at age six, Lothar Berfelde realized he was born in the wrong body and “escaped” the stirrings within him by listening to and collecting gramophones and records. At age 15 he changed his name to Charlotte and managed to avoid the Nazi's sweeping arrests of nearly 100,000 homosexuals.
Charlotte's home became a museum and an underground meeting place for the East Berlin gay community for three decades. In 1993 she was recognized by the German government with the prestigious Order of Merit, in honor of the cultural contribution of her museum.
Gotch first performed this show at the Milwaukee Repertory Theater from whence Sandy Robbins snatched this consummate actor for UD REP. Gotch was an MFA grad of the Professional Actors Theatre Program here in Newark.
The entire second season of REP and its Professional Theatre Training Program deserve our joyous support. Aisle Say said last year, that this group is unequivocally the greatest production company in Delaware.
With each opening curtain, they sustain this mantle.
This year some of America's beloved classics will be produced at below standard prices, through the production values are those of Broadway shows. Case closed.
Sandy Robbins, the visionary behind the program, synthesizes why live theatre is so invaluable.
“Live theatre offers us a great many important, even necessary experiences,” she says. “It allows us to see issues of the day in a new light. A play can touch the hearts and remind us of the blessing of being alive when nothing in our daily lives occurs as uplifting.”
President Harker has created the concept of a “Path to Prominence” for all things UD.
One can only imagine his auditors' collective paroxysms when they analyze the costs of the production versus the revenue generated. Yet there is no greater tribute to this man's vision than each and every production of Sandy Robbins' players.
Upcoming shows include “Cat on a Hot Tin Roof,” “Death Of A Salesman,” “Dancing at Lughnasa” and “Two Gentlemen of Verona.”
Aisle Say plans to have an aisle seat.
For more information, call 302.831.2204, or visit PTTP.udel.edu
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
The University of Delawares Resident Player's Ensemble begins its second season with a stirring and contemplative one-man tour de force, “I am my own Wife” by Doug Wright.
For 90 minutes, professional actor Michael Gotch transfixes the audience in his portrayal of 35 characters including Charlotte von Mahlsdorf, a transvestite who lived and survived in East Germany during the oppressive regimes of Hitler and Communism.
It's a true story, leaving the audience to decide for themselves the virtues and vices of this alleged Stasi (Communist secret police agent) von Mahlsdorf. His renditions include SS officers, American soldiers, German news anchors, Japanese, Indians and a motley crew of fellow travelers of this “amasser of antique gramophones, records, clocks and furniture” in Germany's Golden Age.
Aisle Say normally rolls its eyes at one-man productions, “Mark Twain Tonight” being the exception. But Gotch had his characters and their voices so tightly woven and focused that the recent packed house at the intimate Studio Theatre of the gorgeous Roselle Center for the Arts was totally absorbed.
Ninety minutes of seamless characters changes (with an intermission) did not deter.
In 1934, at age six, Lothar Berfelde realized he was born in the wrong body and “escaped” the stirrings within him by listening to and collecting gramophones and records. At age 15 he changed his name to Charlotte and managed to avoid the Nazi's sweeping arrests of nearly 100,000 homosexuals.
Charlotte's home became a museum and an underground meeting place for the East Berlin gay community for three decades. In 1993 she was recognized by the German government with the prestigious Order of Merit, in honor of the cultural contribution of her museum.
Gotch first performed this show at the Milwaukee Repertory Theater from whence Sandy Robbins snatched this consummate actor for UD REP. Gotch was an MFA grad of the Professional Actors Theatre Program here in Newark.
The entire second season of REP and its Professional Theatre Training Program deserve our joyous support. Aisle Say said last year, that this group is unequivocally the greatest production company in Delaware.
With each opening curtain, they sustain this mantle.
This year some of America's beloved classics will be produced at below standard prices, through the production values are those of Broadway shows. Case closed.
Sandy Robbins, the visionary behind the program, synthesizes why live theatre is so invaluable.
“Live theatre offers us a great many important, even necessary experiences,” she says. “It allows us to see issues of the day in a new light. A play can touch the hearts and remind us of the blessing of being alive when nothing in our daily lives occurs as uplifting.”
President Harker has created the concept of a “Path to Prominence” for all things UD.
One can only imagine his auditors' collective paroxysms when they analyze the costs of the production versus the revenue generated. Yet there is no greater tribute to this man's vision than each and every production of Sandy Robbins' players.
Upcoming shows include “Cat on a Hot Tin Roof,” “Death Of A Salesman,” “Dancing at Lughnasa” and “Two Gentlemen of Verona.”
Aisle Say plans to have an aisle seat.
For more information, call 302.831.2204, or visit PTTP.udel.edu
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
Monday, September 14, 2009
The Queen Theatre Groundbreaking
“A year from now, downtown Wilmington will be a different place.”
Bill Taylor, Light Up The Queen Foundation executive director ended our conversation last week on this confident note. A testimony to his vision or his hubris? Time will tell.
The Queen breaks ground on its $24 million renovation 10 a.m. Oct. 2, Aisle Say is the first to report. A spate of dignitaries with ceremonial hard hats and silver tipped shovels will be on display that day followed by what Taylor describes as “the biggest street party in the history of Wilmington.”
A great accomplishment, this fund raising, this corralling of public and private resources, this incorporation of Hal Real of Philly's World Cafe Live into the entertainment mix.
But it's not about the money, and the single biggest threat to its success has never been material.
It's always been that amorphous dreaded "perception" of downtown after dark -- the same problem that has hovered above Market Street for decades like the wispy apparitions from “Ghostbusters.”
Is Wilmington safe after 5 p.m.?
This is the fundamental issue that must be resolved to the public's satisfaction. Nothing else comes close. And perception, dear readers, is most difficult to quantify and reconcile. The question has haunted downtown since Rob and Chris Buccini were in lower school at Wilmington Friends and our riverfront was a desolate toxic graveyard of shipbuilding sites.
Steve Bailey, The Grand executive director, says the facts are clear: Wilmington is a much safer downtown than the majority of cities its size. Even so, people are fearful.
Thus, Taylor's adamant statement that substantive relief – think John Wayne as a calvary captain in “Fort Apache” – is over the horizon.
“We have made a major investment in safety and police protection,” he says. “There will be police patrolling on foot and bike. When The Queen opens, there will be security guards in and around the venue at all times. Our success is based on safety.”
Buccini Pollin Group has invested tens of millions of dollars in the city. They have staked their personal reputations on downtown's success.
For Rob Buccini, The Queen, at 5th & Market streets is the centerpiece of downtown, linking their Residences of Rodney Square apartments to Justison Landing and their high rise and low rise developments on the Riverfront. Even now, construction is in full swing to turn the Great Room of The Residences into a new restaurant, The Publick House. Across the street at the former WSFS headquarters, the BPGroup is deciding what to do with this property. Once proposed as a boutique hotel, those plans have been dropped.
The 18-month Queen construction project will eventually house a venue for 800 guests and a restaurant serving 200 -- not unlike the World Cafe Live in Philly. There will be private event spaces on the Market Street side and studios for a WXPN satellite radio station. Giving back with a plethora of education is in the mix as well.
For more information, visit LightUpTheQueen.org
Bill Taylor, Light Up The Queen Foundation executive director ended our conversation last week on this confident note. A testimony to his vision or his hubris? Time will tell.
The Queen breaks ground on its $24 million renovation 10 a.m. Oct. 2, Aisle Say is the first to report. A spate of dignitaries with ceremonial hard hats and silver tipped shovels will be on display that day followed by what Taylor describes as “the biggest street party in the history of Wilmington.”
A great accomplishment, this fund raising, this corralling of public and private resources, this incorporation of Hal Real of Philly's World Cafe Live into the entertainment mix.
But it's not about the money, and the single biggest threat to its success has never been material.
It's always been that amorphous dreaded "perception" of downtown after dark -- the same problem that has hovered above Market Street for decades like the wispy apparitions from “Ghostbusters.”
Is Wilmington safe after 5 p.m.?
This is the fundamental issue that must be resolved to the public's satisfaction. Nothing else comes close. And perception, dear readers, is most difficult to quantify and reconcile. The question has haunted downtown since Rob and Chris Buccini were in lower school at Wilmington Friends and our riverfront was a desolate toxic graveyard of shipbuilding sites.
Steve Bailey, The Grand executive director, says the facts are clear: Wilmington is a much safer downtown than the majority of cities its size. Even so, people are fearful.
Thus, Taylor's adamant statement that substantive relief – think John Wayne as a calvary captain in “Fort Apache” – is over the horizon.
“We have made a major investment in safety and police protection,” he says. “There will be police patrolling on foot and bike. When The Queen opens, there will be security guards in and around the venue at all times. Our success is based on safety.”
Buccini Pollin Group has invested tens of millions of dollars in the city. They have staked their personal reputations on downtown's success.
For Rob Buccini, The Queen, at 5th & Market streets is the centerpiece of downtown, linking their Residences of Rodney Square apartments to Justison Landing and their high rise and low rise developments on the Riverfront. Even now, construction is in full swing to turn the Great Room of The Residences into a new restaurant, The Publick House. Across the street at the former WSFS headquarters, the BPGroup is deciding what to do with this property. Once proposed as a boutique hotel, those plans have been dropped.
The 18-month Queen construction project will eventually house a venue for 800 guests and a restaurant serving 200 -- not unlike the World Cafe Live in Philly. There will be private event spaces on the Market Street side and studios for a WXPN satellite radio station. Giving back with a plethora of education is in the mix as well.
For more information, visit LightUpTheQueen.org
Friday, August 21, 2009
Thoroughly Modern Millie dated
There must have been a fire sale recently at Music Theater International, licensor of American musicals, with serious price slashing for “Thoroughly Modern Millie.”
Why else would so many theatres across the nation be staging a musical with a plot so byzantine and songs so absurdly below George Gershwin's brilliance -- a show that would normally be dropped like third period algebra?
But even The New Candlelight Theatre is running it. Aisle Say is not criticizing Candlelight by any means. With dinner theatre profit margins what they are, management must do whatever it needs to survive.
New Candlelight Dinner Theatre presents Thoroughly Modern Millie
Through Oct. 10
Aug. 23 Special: Buy one matinee buffet/show combo, get one half off
For times & tickets: NewCandlelighttheatre.com 302.475.2313
In this case, they have done it with surprising originality and fresh humor.
"Millie," set in 1922, tells the story of a young woman who has just come to New York City in search of a new life, just as women were entering the workforce and the rules of love and social behavior were changing forever.
In this rendition, the always-energetic Candlelight cast has provided Aisle Say with a first in our career as an audience member: an amusing duet done completely in Chinese (well, pidgin Chinese) by Brian Peeke and Reza Mirsajadi.
Onstage
The show features a hilarious Gilbert and Sullivan patter song takeoff, “The Speed Test” sung by Millie (Erica Scanlon Harr), Graydon (Patrick O'Hara) and the ensemble.
Director Micki Sharpe's portrayal of an Oriental landlord brought visions of Charlie Chan movies before PC. Her accent was inconsistent and she actually pronounced several “r's.”
Harr and Dorothy Brown (Megan Pisors) far and away hold the honors vocally in their ingénue parts, while Jillian Pirtle as Muzzy Van Hossmere – a character that appears from left field further substantiating the lunacy of the story – is part Bessie Smith, part Josephine Baker as a nightclub chanteuse.
Harr, (Laurey in NCT's “Oklahoma”) has a beautiful musical theatre voice, while Pisors is more operatically trained. The two make for an interesting combination. For those familiar with Mama Rose's show-stopping number from “Gypsy” entitled “Rose's Turn,” Harr had a similar tour de force with “Jimmy” to end Act I.
Behind the scenes
Pirtle's costumes were period-specific and gorgeous.
Choreographer Valerie Smith Byron's inventive choreography made the most of 11 talented tappers, and dancers doing different moves in the same music.
Artistic Director Chris Alberts continues to impress with both his stylistic set design and enchanting ability to make effects that one would not think possible through lighting.
Why else would so many theatres across the nation be staging a musical with a plot so byzantine and songs so absurdly below George Gershwin's brilliance -- a show that would normally be dropped like third period algebra?
But even The New Candlelight Theatre is running it. Aisle Say is not criticizing Candlelight by any means. With dinner theatre profit margins what they are, management must do whatever it needs to survive.
New Candlelight Dinner Theatre presents Thoroughly Modern Millie
Through Oct. 10
Aug. 23 Special: Buy one matinee buffet/show combo, get one half off
For times & tickets: NewCandlelighttheatre.com 302.475.2313
In this case, they have done it with surprising originality and fresh humor.
"Millie," set in 1922, tells the story of a young woman who has just come to New York City in search of a new life, just as women were entering the workforce and the rules of love and social behavior were changing forever.
In this rendition, the always-energetic Candlelight cast has provided Aisle Say with a first in our career as an audience member: an amusing duet done completely in Chinese (well, pidgin Chinese) by Brian Peeke and Reza Mirsajadi.
Onstage
The show features a hilarious Gilbert and Sullivan patter song takeoff, “The Speed Test” sung by Millie (Erica Scanlon Harr), Graydon (Patrick O'Hara) and the ensemble.
Director Micki Sharpe's portrayal of an Oriental landlord brought visions of Charlie Chan movies before PC. Her accent was inconsistent and she actually pronounced several “r's.”
Harr and Dorothy Brown (Megan Pisors) far and away hold the honors vocally in their ingénue parts, while Jillian Pirtle as Muzzy Van Hossmere – a character that appears from left field further substantiating the lunacy of the story – is part Bessie Smith, part Josephine Baker as a nightclub chanteuse.
Harr, (Laurey in NCT's “Oklahoma”) has a beautiful musical theatre voice, while Pisors is more operatically trained. The two make for an interesting combination. For those familiar with Mama Rose's show-stopping number from “Gypsy” entitled “Rose's Turn,” Harr had a similar tour de force with “Jimmy” to end Act I.
Behind the scenes
Pirtle's costumes were period-specific and gorgeous.
Choreographer Valerie Smith Byron's inventive choreography made the most of 11 talented tappers, and dancers doing different moves in the same music.
Artistic Director Chris Alberts continues to impress with both his stylistic set design and enchanting ability to make effects that one would not think possible through lighting.
Thursday, August 6, 2009
An S.O.S for Delaware's cultural flagship
What if you woke up and The Grand was shuttered? What would be the repercussions for our arts scene and Wilmington's revitalization?
A meteor is hurdling toward Earth, stamped with the address 818 N. Market Street and there is no superhero in sight.
Grand Executive Director Steve Bailey said he agonized over the decision to send thousands of appeal letters out to previous supporters detailing how bad things are at the First State's cultural flagship, which houses OperaDelaware, First State Ballet and Delaware Symphony. It was a courageous move, and there was passion in his voice during our recent conversation when he said the solicitations were "a referendum on whether The Grand survives."
The "yes" vote will be counted in dollars.
Bailey faced a formidable task when he came onboard our flagship: The Grand and a myriad of statewide non-profits had just bid a tearful goodbye to munificent benefactor Charlie Cawley and his considerable bankroll. Then there was the tanking economy, perennial perceptions of danger in downtown Wilmington after dark, and cleaning up residual messes and sour feelings left by previous Grand administrator Ken Wesler, a pompous court lackey to the imperial Cawley.
Yet even in those choppy waters, Bailey set a course for success, according to Director of Production Rick Neidig.
“We are expanding our mission. Our ticket sales have increased. We have instituted Summer Children's Theatre, children's' workshops, Summer Steel (learning to play the steel drums), and Stages of Discovery School Matinées throughout the year," Bailey told me.
Bailey's job description has changed from overseeing operations as executive director to become the all-consuming job of fund raiser No. 1. For any executive who has been through this cycle, we understand how enervating this is.
If The Grand shutters, fellow citizens, we are burnt toast. Wilmington Renaissance Corporation can rent a 1-800-Pack Rat for their move and the Buccini brothers bright idea of "lighting up" The Queen will dim.
It's bad enough when a restaurant or retailer closes, but that's Triple A baseball: The Grand is Major League. If we do not support The Grand -- Delaware's Eiffel Tower, our Tower of London, our Statue of Liberty -- we can kiss goodbye those grand pronouncements by city and state officials about our being a “world class destination,” because folks, we will have no class.
To find out how to support The Grand, call 302-658-7897 or visit GrandOpera.org.
A meteor is hurdling toward Earth, stamped with the address 818 N. Market Street and there is no superhero in sight.
Grand Executive Director Steve Bailey said he agonized over the decision to send thousands of appeal letters out to previous supporters detailing how bad things are at the First State's cultural flagship, which houses OperaDelaware, First State Ballet and Delaware Symphony. It was a courageous move, and there was passion in his voice during our recent conversation when he said the solicitations were "a referendum on whether The Grand survives."
The "yes" vote will be counted in dollars.
Bailey faced a formidable task when he came onboard our flagship: The Grand and a myriad of statewide non-profits had just bid a tearful goodbye to munificent benefactor Charlie Cawley and his considerable bankroll. Then there was the tanking economy, perennial perceptions of danger in downtown Wilmington after dark, and cleaning up residual messes and sour feelings left by previous Grand administrator Ken Wesler, a pompous court lackey to the imperial Cawley.
Yet even in those choppy waters, Bailey set a course for success, according to Director of Production Rick Neidig.
“We are expanding our mission. Our ticket sales have increased. We have instituted Summer Children's Theatre, children's' workshops, Summer Steel (learning to play the steel drums), and Stages of Discovery School Matinées throughout the year," Bailey told me.
Bailey's job description has changed from overseeing operations as executive director to become the all-consuming job of fund raiser No. 1. For any executive who has been through this cycle, we understand how enervating this is.
If The Grand shutters, fellow citizens, we are burnt toast. Wilmington Renaissance Corporation can rent a 1-800-Pack Rat for their move and the Buccini brothers bright idea of "lighting up" The Queen will dim.
It's bad enough when a restaurant or retailer closes, but that's Triple A baseball: The Grand is Major League. If we do not support The Grand -- Delaware's Eiffel Tower, our Tower of London, our Statue of Liberty -- we can kiss goodbye those grand pronouncements by city and state officials about our being a “world class destination,” because folks, we will have no class.
To find out how to support The Grand, call 302-658-7897 or visit GrandOpera.org.
Thursday, July 30, 2009
The Brandywiners and DE Shakespeare Co
The weather has been unkind to open air theater this week. We had the opportunity to attend both The Brandywiners' “Camelot” at Longwood and Delaware Shakespeare Company's “Twelfth Night" at Rockwood Mansion Park. On starry, starry summer nights their productions are treats for the senses and live theater, but each succumbed to inclement weather on their opening weekends.
The Broadway opening of Camelot was in 1960. After initially faltering at the box office, the show became a notable hit after it was publicized that the show's original cast album was favorite bedtime listening in the White House of President John F. Kennedy. Forever afterward, the name "Camelot" has been associated with the Kennedy administration.
The group with me at Longwood was particularly impressed with Ted Harting's King Arthur. While in real life Harting could be Erin Cates Smith's (Guenevere) father, the May-December differential was believable owing to the politics of arranged marriages between European royals. Perhaps dying his hair would have brought the two together a farthing more in stage years.
We empathized with Harting's strong portrayal of an insecure, self-doubting king thrust into the responsibility.
Smith's soprano voice and lilting, insouciant air as The Queen was perfect for a character who loves her king in spirit but loves his best friend in more earthy ways. That rift is discovered by the evil Mordred and rends all the good Arthur's Round Table to wrought.
Jeffrey Chapman as Lancelot was as strong vocally as any “Lance” that has trod the voluminous Longwood stage, but the chemistry between him and Guenevere was as unlimber as his jousting pole, used with dexterity versus less talented and less self-absorbed knights. Sir Pellinore (Tom Cates) was great comic relief and is emerging as one of the best character actors in the region.
With the mission to make “CAM-E-LOT...a more congenial spot” in terms of developing darkness, the decision for an 8:30 curtain was made. The first act was not over until 10:10; making for a long night.
Til August 1. Brandywiners.org or (800) 338-6965.
DELAWARE SHAKESPEARE COMPANY
Great credit must be extended to Molly Cahill Govern, artistic director of Delaware Shakespeare Festival. She and her society of passionate volunteers have had all the right moves since their 2003 premiere.
They persuaded NCC Exec Chris Coons to allow the group use of Rockwood Mansion as their venue and then bring along The Greenery as their caterers for picnicking; they stage a show orientation an hour before curtain to acclimate those lesser students of Shakespeare to the night's proceedings; they instituted a comedy pre-show (by Acting Apprentices) to warm us up and they even have Shakespeare-themed arts and crafts for children.
Aisle Say remembers my parents taking me to The Brandywiners when we sat on blankets, as guests do presently with DE Shakespeare.
Another sign of a growing reputation is the outreach to trained actors from around the region. The company has reached out to a number of Villanova U theater grads and the quality is exhibited on stage. Also, they have been accepted into the prestigious Philly area Barrymore Awards.
Govern said they their attendance last year reached 2,500, sure to be exceeded this year if Saturday night's crowd is any indication. Aisle Say suggests they connect with DE Theatre Co. Their product is comparable to that of the latter group.
'Til August 1. DelShakes.org or at the door. Curtain at 7:30 but come an hour early for the orientation. It will further your understanding.
The Broadway opening of Camelot was in 1960. After initially faltering at the box office, the show became a notable hit after it was publicized that the show's original cast album was favorite bedtime listening in the White House of President John F. Kennedy. Forever afterward, the name "Camelot" has been associated with the Kennedy administration.
The group with me at Longwood was particularly impressed with Ted Harting's King Arthur. While in real life Harting could be Erin Cates Smith's (Guenevere) father, the May-December differential was believable owing to the politics of arranged marriages between European royals. Perhaps dying his hair would have brought the two together a farthing more in stage years.
We empathized with Harting's strong portrayal of an insecure, self-doubting king thrust into the responsibility.
Smith's soprano voice and lilting, insouciant air as The Queen was perfect for a character who loves her king in spirit but loves his best friend in more earthy ways. That rift is discovered by the evil Mordred and rends all the good Arthur's Round Table to wrought.
Jeffrey Chapman as Lancelot was as strong vocally as any “Lance” that has trod the voluminous Longwood stage, but the chemistry between him and Guenevere was as unlimber as his jousting pole, used with dexterity versus less talented and less self-absorbed knights. Sir Pellinore (Tom Cates) was great comic relief and is emerging as one of the best character actors in the region.
With the mission to make “CAM-E-LOT...a more congenial spot” in terms of developing darkness, the decision for an 8:30 curtain was made. The first act was not over until 10:10; making for a long night.
Til August 1. Brandywiners.org or (800) 338-6965.
DELAWARE SHAKESPEARE COMPANY
Great credit must be extended to Molly Cahill Govern, artistic director of Delaware Shakespeare Festival. She and her society of passionate volunteers have had all the right moves since their 2003 premiere.
They persuaded NCC Exec Chris Coons to allow the group use of Rockwood Mansion as their venue and then bring along The Greenery as their caterers for picnicking; they stage a show orientation an hour before curtain to acclimate those lesser students of Shakespeare to the night's proceedings; they instituted a comedy pre-show (by Acting Apprentices) to warm us up and they even have Shakespeare-themed arts and crafts for children.
Aisle Say remembers my parents taking me to The Brandywiners when we sat on blankets, as guests do presently with DE Shakespeare.
Another sign of a growing reputation is the outreach to trained actors from around the region. The company has reached out to a number of Villanova U theater grads and the quality is exhibited on stage. Also, they have been accepted into the prestigious Philly area Barrymore Awards.
Govern said they their attendance last year reached 2,500, sure to be exceeded this year if Saturday night's crowd is any indication. Aisle Say suggests they connect with DE Theatre Co. Their product is comparable to that of the latter group.
'Til August 1. DelShakes.org or at the door. Curtain at 7:30 but come an hour early for the orientation. It will further your understanding.
Tuesday, July 21, 2009
The Making of "Down At Mama Jones'"
Four years ago, composer Larry Kerchner gave me a CD of ten tunes he wrote. That artistic endeavor, penned in a creative frenzy, was the birthing ground for what I hope will become a First State first on Broadway.
Larry, like Broadway icons Stephen Sondheim and Cole Porter, writes both music and lyrics. To put that fact into perspective, in the famed duo Rogers and Hammerstein, Rodgers wrote the music, Hammerstein the words, Kander the music, Ebb the lyrics, Lerner more words and Loewe more music.
A Wilmington based artist, Larry's resume includes two Grammy nominations, years as head composer for Ringling Bros., work on The Tonight Show and commercials with McDonald’s, Coke and 7-Up. We first met years ago at Candlelight Dinner Theater when our kids were in “Bye Bye Birdie.”
Those ten fully-orchestrated tunes came to life through a high-energy eight-member jazz band, resplendent with intricate sax and trumpet solos and profound - but not complex - lyrics. To me, a writer, there was a theme that drove this twelve cylinder race car.
I have had had some success taking songs from Gershwin, Porter and Judy Garland's signature standards and writing musical revues around them. After hearing the CD perhaps a zillion times and being rendered speechless by it's originality, I asked Larry if I could have the privilege of writing a musical engendered from his lyrics.
My first concept was a show entitled Capone: The Rat-A-Tat-Tat-Tat Musical. The world loves gangsters, right? In preparation, I got a DVD of one of my fave childhood TV shows, “The Untouchables,” and set the scene in a glitzy speakeasy bordering Capone's South Side and enemy Bugsy Moran to the north. It was to be set on Feb. 13, 1929 -- the next day having singular significance to the racketeers' careers.
Larry was happy that I was taking the project but nixed the Capone idea, as the music centered around the late 1930s to the 1950s.
Back to the drawing board.
If you Go...
'Down At Mama Jones'
Aug. 25, 7 p.m.
Brandywine Hundred Library
For musical theatre lovers, expect lively discussion about every aspect of mounting a show from concept to completion.
(302) 494-3133 producer@delaware.net
Around this time, fellow Brandywine High grad Sue Cerceo was looking for a project. I gave her Larry's CD and within a few hours she was back to me exclaiming “This music is awesome ... and, just as important, it's new! Broadway needs original work!”
If you saw the Tony Awards, you know there is a dearth of "new" on Broadway and an abundance of revival material. What we're making is not only original, with great music, dance and storyline, it will also be Delaware's first completely homegrown Broadway musical.
Sue's connections in musical theatre are as capacious as are Larry's in musical composition. She had been Wardrobe Supervisor for an eight year tour of "Les Mis," hitting every major city in America and Canada. She has toured with “Phantom,” “Wicked” and most recently “Hair Spray.” She created the wardrobe head position at The Academy of Music and most recently worked at that same venue with the tour of “Grease.”
Over the past two months, Sue and I collaborated on an entirely new storyline. Our setting is a glitzy New York City nightclub called Mama Jones' and the title is “Down At Mama Jones'.” Larry's sizzling title tune opens the show.
The three of us plan to showcase the production regionally and mount a tour. Sue has sent the CD to Broadway friends and many wish to take part. One such colleague is Charlo Crossley, late of the “Hairspray” tour and previously one of Bette Midler's backup trio, The Harlettes.
For a preview behind the scenes look at that making of a musical, we are starting a documentary package of “The Making Of 'Down At Mama Jones',” starting right here in northern Delaware. For those who love musical theatre, there will be lively discussions and interaction.
Larry, like Broadway icons Stephen Sondheim and Cole Porter, writes both music and lyrics. To put that fact into perspective, in the famed duo Rogers and Hammerstein, Rodgers wrote the music, Hammerstein the words, Kander the music, Ebb the lyrics, Lerner more words and Loewe more music.
A Wilmington based artist, Larry's resume includes two Grammy nominations, years as head composer for Ringling Bros., work on The Tonight Show and commercials with McDonald’s, Coke and 7-Up. We first met years ago at Candlelight Dinner Theater when our kids were in “Bye Bye Birdie.”
Those ten fully-orchestrated tunes came to life through a high-energy eight-member jazz band, resplendent with intricate sax and trumpet solos and profound - but not complex - lyrics. To me, a writer, there was a theme that drove this twelve cylinder race car.
I have had had some success taking songs from Gershwin, Porter and Judy Garland's signature standards and writing musical revues around them. After hearing the CD perhaps a zillion times and being rendered speechless by it's originality, I asked Larry if I could have the privilege of writing a musical engendered from his lyrics.
My first concept was a show entitled Capone: The Rat-A-Tat-Tat-Tat Musical. The world loves gangsters, right? In preparation, I got a DVD of one of my fave childhood TV shows, “The Untouchables,” and set the scene in a glitzy speakeasy bordering Capone's South Side and enemy Bugsy Moran to the north. It was to be set on Feb. 13, 1929 -- the next day having singular significance to the racketeers' careers.
Larry was happy that I was taking the project but nixed the Capone idea, as the music centered around the late 1930s to the 1950s.
Back to the drawing board.
If you Go...
'Down At Mama Jones'
Aug. 25, 7 p.m.
Brandywine Hundred Library
For musical theatre lovers, expect lively discussion about every aspect of mounting a show from concept to completion.
(302) 494-3133 producer@delaware.net
Around this time, fellow Brandywine High grad Sue Cerceo was looking for a project. I gave her Larry's CD and within a few hours she was back to me exclaiming “This music is awesome ... and, just as important, it's new! Broadway needs original work!”
If you saw the Tony Awards, you know there is a dearth of "new" on Broadway and an abundance of revival material. What we're making is not only original, with great music, dance and storyline, it will also be Delaware's first completely homegrown Broadway musical.
Sue's connections in musical theatre are as capacious as are Larry's in musical composition. She had been Wardrobe Supervisor for an eight year tour of "Les Mis," hitting every major city in America and Canada. She has toured with “Phantom,” “Wicked” and most recently “Hair Spray.” She created the wardrobe head position at The Academy of Music and most recently worked at that same venue with the tour of “Grease.”
Over the past two months, Sue and I collaborated on an entirely new storyline. Our setting is a glitzy New York City nightclub called Mama Jones' and the title is “Down At Mama Jones'.” Larry's sizzling title tune opens the show.
The three of us plan to showcase the production regionally and mount a tour. Sue has sent the CD to Broadway friends and many wish to take part. One such colleague is Charlo Crossley, late of the “Hairspray” tour and previously one of Bette Midler's backup trio, The Harlettes.
For a preview behind the scenes look at that making of a musical, we are starting a documentary package of “The Making Of 'Down At Mama Jones',” starting right here in northern Delaware. For those who love musical theatre, there will be lively discussions and interaction.
Aisle Say - Club Phred in Hockessin
When last we left Fred Dawson, majordomo of local sensation cover band Club Phred, he was lying prostrate in front of his wife Louise, begging for a band room in their Hockessin home. Growing weary of his whimpering, the dear lady - a long suffering soul - finally acceded to his importuning.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
-----
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
-----
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
Wednesday, July 8, 2009
The Brandywiners stage CAMELOT at Longwood Gardens
C'est moi, c'est moi, Aisle Say, and I exclaim The Brandywiners, sans doubt, is the patriarch of Delaware community theatre.
In 1932 Frances Tatnall, of The Tatnall School fame, convinced Chick Laird, a duPont family scion with direct lineage to founder Eleuthere Irenee, that the time was right for community theatre in Wilmington. Laird had the brainstorm to travel out Route 52 to ask his favorite uncle for a place to play. The uncle was P.S. Du Pont and the sylvan stage was Longwood Gardens. (Laird went on to co-found both The Wilmington Drama League and The Brecks Mill Cronies, but they are stories for another day at Aisle Say.)
The Longwood stage is a magical place to perform and a requirement for a young singer or dancer's resume. Great memories are birthed here. On a starlit summer night, there is no more ideal place to see live theatre. For the actors, the backstage underground dressing rooms are a vertiginous labyrinth of passages.
Aisle Say has had the opportunity to appear in a few productions over the decades. I recall, during a '91 performance of "Kismet," that a light mist began falling before a solo. The director handed me an umbrella and said “the show must go on.” I opine that politics has factored in for a reprise of "Kismet." It's tough when a war is being fought and one of the production numbers of the show is “Baghdad.”
The most scenically appropriate shows at Longwood are "Brigadoon," "Carousel" and "Camelot." The natural splendor magnify and enrich the settings of these lush productions.
Lerner and Lowe's "Camelot" opened in 1960 with an otherworldly cast of Richard Burton, Julie Andrews and Robert Goulet.
As we know, The Brandywiners stage large musicals only...with the largest casts in the region. Many amateurs re-visit productions over the decades; some return to the same roles. So it is this year.
Ted Harting, this year's Arthur, first played the role in 1981. His Lancelot was Jim Smith, the current director, who elevated himself from knight to king in 1993.
Two newcomers round out the leads, both of whom have substantial operatic backgrounds. Erin Cates Smith (Guenevere) has a Masters in Vocal Performance and has sung leads in "The Mikado" and "Pirates of Penzance" (coincidentally the very first Brandywiners show). Aisle Say last saw Wilmington native Jeffrey Chapman (Lance) in OperaDelaware's "Marriage of Figaro" and "La Boheme" at The Grand. Specifically, the songs “C'est Moi,” “The Simple Joys of Maidenhood” and “If Ever Would I Leave You” fit well with operatic voices.
Both Jim Smith and Music Director Lawler Rogers had long and distinguished careers as educators in the Brandywine School District. Rogers was music director for the recent "Carousel" and "Oklahoma" and has worked with OperaDelaware and Delaware Symphony.
The ticket purchase includes entrance to the world renown Longwood Gardens, so come early.
The show runs July 23 – August 1. For tickets, call 478-3355 or visit Brandywiners.org
In 1932 Frances Tatnall, of The Tatnall School fame, convinced Chick Laird, a duPont family scion with direct lineage to founder Eleuthere Irenee, that the time was right for community theatre in Wilmington. Laird had the brainstorm to travel out Route 52 to ask his favorite uncle for a place to play. The uncle was P.S. Du Pont and the sylvan stage was Longwood Gardens. (Laird went on to co-found both The Wilmington Drama League and The Brecks Mill Cronies, but they are stories for another day at Aisle Say.)
The Longwood stage is a magical place to perform and a requirement for a young singer or dancer's resume. Great memories are birthed here. On a starlit summer night, there is no more ideal place to see live theatre. For the actors, the backstage underground dressing rooms are a vertiginous labyrinth of passages.
Aisle Say has had the opportunity to appear in a few productions over the decades. I recall, during a '91 performance of "Kismet," that a light mist began falling before a solo. The director handed me an umbrella and said “the show must go on.” I opine that politics has factored in for a reprise of "Kismet." It's tough when a war is being fought and one of the production numbers of the show is “Baghdad.”
The most scenically appropriate shows at Longwood are "Brigadoon," "Carousel" and "Camelot." The natural splendor magnify and enrich the settings of these lush productions.
Lerner and Lowe's "Camelot" opened in 1960 with an otherworldly cast of Richard Burton, Julie Andrews and Robert Goulet.
As we know, The Brandywiners stage large musicals only...with the largest casts in the region. Many amateurs re-visit productions over the decades; some return to the same roles. So it is this year.
Ted Harting, this year's Arthur, first played the role in 1981. His Lancelot was Jim Smith, the current director, who elevated himself from knight to king in 1993.
Two newcomers round out the leads, both of whom have substantial operatic backgrounds. Erin Cates Smith (Guenevere) has a Masters in Vocal Performance and has sung leads in "The Mikado" and "Pirates of Penzance" (coincidentally the very first Brandywiners show). Aisle Say last saw Wilmington native Jeffrey Chapman (Lance) in OperaDelaware's "Marriage of Figaro" and "La Boheme" at The Grand. Specifically, the songs “C'est Moi,” “The Simple Joys of Maidenhood” and “If Ever Would I Leave You” fit well with operatic voices.
Both Jim Smith and Music Director Lawler Rogers had long and distinguished careers as educators in the Brandywine School District. Rogers was music director for the recent "Carousel" and "Oklahoma" and has worked with OperaDelaware and Delaware Symphony.
The ticket purchase includes entrance to the world renown Longwood Gardens, so come early.
The show runs July 23 – August 1. For tickets, call 478-3355 or visit Brandywiners.org
Tuesday, June 30, 2009
Club Phred at Hockessin Fire Hall
When last we left Fred Dawson, majordomo of local sensation cover band Club Phred, he was lying prostrate in front of his wife Louise, begging for a band room in their Hockessin home. Growing weary of his whimpering, the dear lady - a long suffering soul - finally acceded to his importuning.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
ALEXEI and RASPUTIN - Book Signing
Brandywine Hundred, Del. —
Aisle Say columnist Greer Firestone will be at Borders Books on Concord Pike July 17 to meet readers and sign his historical novel Alexei and Rasputin.
He wrote the book after an attempt to turn the history and drama of Nicholas and Alexandra into a rock opera failed, he quips.
“I had been a Russian History minor at the University of Delaware and was fascinated by the compelling characters and cataclysmic events surrounding the end of the 300-year Romanov dynasty of Russia," he says.
Alexei and Rasputin
What: book signing with author and Aisle Say columnist Greer Firestone
Where: Borders Books, Concord Pike, Wilmington
When: July 17, 2 p.m.
producer@delaware.net 302-494-3133
Think Nicholas, Alexandra, the four enchanting Grand Duchesses, World War I, the Russian Revolution, and at the center of all these world-changing events was the 14-year-old Alexei, the heir and hemophiliac.
“Hemophilia was a death sentence before hemoglobin. Only Rasputin, 'The Mad Monk' could staunch the flow of blood during a hemophiliac attack,” he says.
The book was written with middle school children in mind, Firestone says, for that was Alexei's age when he and his family were assassinated by Russian revolutionary Vladimir Lenin.
The author will read excerpts from the book, followed by a question and answer time.
Aisle Say columnist Greer Firestone will be at Borders Books on Concord Pike July 17 to meet readers and sign his historical novel Alexei and Rasputin.
He wrote the book after an attempt to turn the history and drama of Nicholas and Alexandra into a rock opera failed, he quips.
“I had been a Russian History minor at the University of Delaware and was fascinated by the compelling characters and cataclysmic events surrounding the end of the 300-year Romanov dynasty of Russia," he says.
Alexei and Rasputin
What: book signing with author and Aisle Say columnist Greer Firestone
Where: Borders Books, Concord Pike, Wilmington
When: July 17, 2 p.m.
producer@delaware.net 302-494-3133
Think Nicholas, Alexandra, the four enchanting Grand Duchesses, World War I, the Russian Revolution, and at the center of all these world-changing events was the 14-year-old Alexei, the heir and hemophiliac.
“Hemophilia was a death sentence before hemoglobin. Only Rasputin, 'The Mad Monk' could staunch the flow of blood during a hemophiliac attack,” he says.
The book was written with middle school children in mind, Firestone says, for that was Alexei's age when he and his family were assassinated by Russian revolutionary Vladimir Lenin.
The author will read excerpts from the book, followed by a question and answer time.
Friday, June 19, 2009
Does Delaware need WHYY's "Delaware Tonight"?
By Greer Firestone
Community News
Posted Jun 01, 2009 @ 12:10 PM
Last update Jun 02, 2009 @ 04:42 PM
Wilmington, Del. —
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.
Community News
Posted Jun 01, 2009 @ 12:10 PM
Last update Jun 02, 2009 @ 04:42 PM
Wilmington, Del. —
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.
West Side Story at the DuPont Theatre
By Greer Firestone
Community News
Posted Jun 15, 2009 @ 09:30 AM
Last update Jun 16, 2009 @ 12:05 PM
Wilmington, Del. —
Jeff Santoro faced nay-sayers and nattering nabobs of negativism (Thanks, Spiro Agnew for that phrase) when he created Delaware All-State Theatre in 2008. Visionaries are frequently derided ... until their “opening curtain.”
Santoro grew up at Delaware Children's Theatre and experienced firsthand the educational, social and developmental beneficence of live theatre. He saw there was All-State Band, a multitude of All-State sports, All-State Chorus, and more. But where was All-State theatre in the mix?
He brought the idea to Carolyn Grubb and John Gardner of The DuPont Theatre, and the entity became the producing partner.
“All-State was created to give elementary, middle, and high school students the opportunity work on a large-scale musical production in partnership with the world famous DuPont Theatre," Santoro says.
Full-time students (to age 19) from Delaware and surrounding areas are eligible to participate either as performers or behind the scenes, and after a rigorous audition process, rehearsals begin.
“We want students to hone their craft,” says Santoro. “To that end, we bring in theatre professionals from around the nation for workshops. This enlightens all of them and adds to the depth of their knowledge.”
The premiere show in 2008 was the most popular musical of all time, “Les Miserables.” Aisle Say heard glowing comments from many of the audience members who saw it: “no way this was a high school production,” “this was as professional as it gets,” and more.
If you go...
DuPont Theatre & Delaware All State Theatre present
West Side Story
8 p.m., June 19, 20, 27, 28
2 p.m., June 21, 28
DuPont Theatre, W. 10th St. at N. Market in Wilmington
$15 - $40
(302) 656-4401
duponttheatre.com
This year's production -- with 30 kids from Delaware, Maryland and Pennsylvania high schools on stage or backstage -- the American classic musical “West Side Story” (score by Leonard Bernstein & Stephen Sondheim) opens this weekend.
West Side is about racism: Puerto Rican v. Anglo. And though it is admittedly difficult for a teenager to spew racist dialog with full fury at a friend, Santoro and his staff demand truth.
When Aisle Say recently attended a rehearsal, Santoro was far from kissy-kissy on those who had not studied or considered their character fully. Sometimes stern, sometimes edgy, but always loving, he counseled the young actors in fulfilling their characterization.
Cassidy Bonilla, who this year graduated from Cab Calloway and last year played Fantine in “Les Mis,” plays Anita.
“I attended Cab for I love theatre. We had wonderful shows there. But All State Theatre is an entirely different level. It is a great honor to be in these productions. What I have learned from Jeff and (assistant director) Deb Johnson, I will remember as long as I live.”
Community News
Posted Jun 15, 2009 @ 09:30 AM
Last update Jun 16, 2009 @ 12:05 PM
Wilmington, Del. —
Jeff Santoro faced nay-sayers and nattering nabobs of negativism (Thanks, Spiro Agnew for that phrase) when he created Delaware All-State Theatre in 2008. Visionaries are frequently derided ... until their “opening curtain.”
Santoro grew up at Delaware Children's Theatre and experienced firsthand the educational, social and developmental beneficence of live theatre. He saw there was All-State Band, a multitude of All-State sports, All-State Chorus, and more. But where was All-State theatre in the mix?
He brought the idea to Carolyn Grubb and John Gardner of The DuPont Theatre, and the entity became the producing partner.
“All-State was created to give elementary, middle, and high school students the opportunity work on a large-scale musical production in partnership with the world famous DuPont Theatre," Santoro says.
Full-time students (to age 19) from Delaware and surrounding areas are eligible to participate either as performers or behind the scenes, and after a rigorous audition process, rehearsals begin.
“We want students to hone their craft,” says Santoro. “To that end, we bring in theatre professionals from around the nation for workshops. This enlightens all of them and adds to the depth of their knowledge.”
The premiere show in 2008 was the most popular musical of all time, “Les Miserables.” Aisle Say heard glowing comments from many of the audience members who saw it: “no way this was a high school production,” “this was as professional as it gets,” and more.
If you go...
DuPont Theatre & Delaware All State Theatre present
West Side Story
8 p.m., June 19, 20, 27, 28
2 p.m., June 21, 28
DuPont Theatre, W. 10th St. at N. Market in Wilmington
$15 - $40
(302) 656-4401
duponttheatre.com
This year's production -- with 30 kids from Delaware, Maryland and Pennsylvania high schools on stage or backstage -- the American classic musical “West Side Story” (score by Leonard Bernstein & Stephen Sondheim) opens this weekend.
West Side is about racism: Puerto Rican v. Anglo. And though it is admittedly difficult for a teenager to spew racist dialog with full fury at a friend, Santoro and his staff demand truth.
When Aisle Say recently attended a rehearsal, Santoro was far from kissy-kissy on those who had not studied or considered their character fully. Sometimes stern, sometimes edgy, but always loving, he counseled the young actors in fulfilling their characterization.
Cassidy Bonilla, who this year graduated from Cab Calloway and last year played Fantine in “Les Mis,” plays Anita.
“I attended Cab for I love theatre. We had wonderful shows there. But All State Theatre is an entirely different level. It is a great honor to be in these productions. What I have learned from Jeff and (assistant director) Deb Johnson, I will remember as long as I live.”
Thursday, June 4, 2009
Does Delaware need WHYY's "Delaware Tonight"?
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.d
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.d
Wednesday, May 27, 2009
Forbidden Brdway at The Walnut in Philly
We are thrilled when a local boy makes good. Sonny Leo, son of Wilmington's legendary dance teacher Anna Marie -- and triple threat performer in his own right -- is starring in The Walnut Street Theatre's "Forbidden Broadway's Greatest Hits."
Sonny and his colleagues were well chosen for this irreverently funny show. It is well worth the drive.
About Forbidden: more than three decades ago, a clever New York wordsmith named Gerald Alessandrini had a novel idea -- to create a show parodying Broadway's memorable tunes and personalities. It became an overnight sensation with both insiders and aficionados.
Broadway greats like Rodgers & Hammerstein, Porter and Sondheim wrote shows with particular vocal skill sets in mind, so Forbidden -- which slices and dices the likes of “Spamalot,” “Chicago,” “Rent” and “Mamma Mia” -- includes many genres and its actors must be ambidextrous in their vocal and acting styles. Thus, each are handed prospects for a tour de force performance.
A taste: “On My Phone” is a takeoff of "Le Mis'" song “On My Own,” telling the sad tale of a bored cast member stranded on the battlements for a half hour and sneaks a call to a friend on her cell phone while playing dead. Thus, Les Mis producer, Cameron Macintosh, was lampooned as the ultimate huckster for marketing every conceivable commercial item from the show (Aisle Say wagers he made more money on the forlorn little waif t-shirt than ticket sales).
Another taste, featuring our own Sonny: in the '60s and '70s two Hispanic singer dancers, Chita Rivera and Rita Moreno were Broadway stars. Rivera played Anita in the stage “West Side Story” and Rita did the role in the movie, and people constantly confused one with the other. The song “Chita and Rita” sprang from this, and Sonny turned a compelling Chita in drag...or was he Rita?
Sonny also delivered brilliantly at Tevye in “Ambition,” a “Tradition” takeoff and as a cute white pussy in “I Enjoy Being a Cat,” a dual parody of both “Cats” and the song from R& H's “Flower Drum Song,” “I Enjoy Being A Girl” -- the anthem that makes feminists shoot smoke from their ears.
Each of the actors had their moments. The versatile Marcus Stevens was haunting as the Phantom. Ellie Mooney's as La Barbra had both voice and distinctive mannerisms down.
Jennie Eisenhower was drop dead hysterical in her overly red-lipsticked, saucer-eyed, cavernous-mouthed representation of Carol Channing -- the "Hello Dolly" performer turned talk show junkie (if one celebrity qualifies as being a caricature of herself, it must be Channing). My fave, though, was Eisenhower's spot on cocaine-induced “Johnny One Note” re-creation of Liza Minnelli. Throughout the tune, she stopped singing to remind the audience that her mother was Judy Garland and had been Dorothy in “Wizard of Oz,” “Did you know that?”
Walnut Street Theatre is celebrating its 200th anniversary this year. Edwin Booth, brother of John Wilkes, played The Walnut. As a certified Broadway junkie, Aisle Say must comment on the cover page of the program by Al Hirschfeld, the NY Times caricaturist whose eight decade career immortalized him on the Great White Way. The shows and performers burlesqued in this current rendition are pictured. Hirschfeld's art style is unique, and he is considered to be one of the most important figures in contemporary caricature.
The show runs through June 28. For more tickets and times, visit WalnutStreetTheatre.org or call (215) 574-3550.
Sonny and his colleagues were well chosen for this irreverently funny show. It is well worth the drive.
About Forbidden: more than three decades ago, a clever New York wordsmith named Gerald Alessandrini had a novel idea -- to create a show parodying Broadway's memorable tunes and personalities. It became an overnight sensation with both insiders and aficionados.
Broadway greats like Rodgers & Hammerstein, Porter and Sondheim wrote shows with particular vocal skill sets in mind, so Forbidden -- which slices and dices the likes of “Spamalot,” “Chicago,” “Rent” and “Mamma Mia” -- includes many genres and its actors must be ambidextrous in their vocal and acting styles. Thus, each are handed prospects for a tour de force performance.
A taste: “On My Phone” is a takeoff of "Le Mis'" song “On My Own,” telling the sad tale of a bored cast member stranded on the battlements for a half hour and sneaks a call to a friend on her cell phone while playing dead. Thus, Les Mis producer, Cameron Macintosh, was lampooned as the ultimate huckster for marketing every conceivable commercial item from the show (Aisle Say wagers he made more money on the forlorn little waif t-shirt than ticket sales).
Another taste, featuring our own Sonny: in the '60s and '70s two Hispanic singer dancers, Chita Rivera and Rita Moreno were Broadway stars. Rivera played Anita in the stage “West Side Story” and Rita did the role in the movie, and people constantly confused one with the other. The song “Chita and Rita” sprang from this, and Sonny turned a compelling Chita in drag...or was he Rita?
Sonny also delivered brilliantly at Tevye in “Ambition,” a “Tradition” takeoff and as a cute white pussy in “I Enjoy Being a Cat,” a dual parody of both “Cats” and the song from R& H's “Flower Drum Song,” “I Enjoy Being A Girl” -- the anthem that makes feminists shoot smoke from their ears.
Each of the actors had their moments. The versatile Marcus Stevens was haunting as the Phantom. Ellie Mooney's as La Barbra had both voice and distinctive mannerisms down.
Jennie Eisenhower was drop dead hysterical in her overly red-lipsticked, saucer-eyed, cavernous-mouthed representation of Carol Channing -- the "Hello Dolly" performer turned talk show junkie (if one celebrity qualifies as being a caricature of herself, it must be Channing). My fave, though, was Eisenhower's spot on cocaine-induced “Johnny One Note” re-creation of Liza Minnelli. Throughout the tune, she stopped singing to remind the audience that her mother was Judy Garland and had been Dorothy in “Wizard of Oz,” “Did you know that?”
Walnut Street Theatre is celebrating its 200th anniversary this year. Edwin Booth, brother of John Wilkes, played The Walnut. As a certified Broadway junkie, Aisle Say must comment on the cover page of the program by Al Hirschfeld, the NY Times caricaturist whose eight decade career immortalized him on the Great White Way. The shows and performers burlesqued in this current rendition are pictured. Hirschfeld's art style is unique, and he is considered to be one of the most important figures in contemporary caricature.
The show runs through June 28. For more tickets and times, visit WalnutStreetTheatre.org or call (215) 574-3550.
Friday, May 15, 2009
The Commercial Greening of the World
The twisted troglogdyte rant that global warming is a ruse has about as much credibility as Bristol Palin's call for abstinence when the 19-year-old unwed mother said, “abstinence is the only 100 percent way to prevent pregnancy.”
The diminishing cabal who rails against global warming, like Noah Robinson, an Oregon Institute of Science and Medicine professor who preaches 100 percent abstinence from climate change initiatives, assert that research does not show human use of hydrocarbons is harmful. To the contrary, they claim, increased atmospheric carbon dioxide is helpful (Yeah, great fun for marathon runners at the Beijing Olympics).
Last week, I reported on the state of Wilmington conference. While Aisle Say hopes Wilmington may be deemed “World Class,” that approbation is still down the yellow brick road.
One panel member, Scott Johnson of the development and real estate company McConnell Johnson, is a visionary for the greening of the world. With this company's innovations, we may arrive at the Emerald City before submersion of our coasts by melting ice packs.
Like any owner, they sought to cut energy costs. This financial interest, allied with their own passion, led to SolarDock.com, a subsidiary company that installs a patented solar electric roof racking system.
Ironically, they were the landlord for Astro Power, one of the first U.S. solar companies that went under, and Johnson realized Astro Power's mission and made it his own.
Saab Sports Car Service in Wilmington installed the system last year. Half the cost was covered by state grants. The feds kicked in as well. Today, the SolarDock is generating 80 percent of the company's electricity. Bottom line, Saab will have its investment returned in five years, will bid sayonara to electric bills and, in fact, will be selling electric back to Delmarva. The pollution reduction will be the equivalent of 3 million vehicle miles.
The company is expanding exponentially globally, growing 350 percent this year alone from last.
Astra Zeneca on Concord Pike has a modular installation. SolarDock's biggest is in Madrid at the headquarters of Otis Elevator.
Flat roofs are necessary, so SolarDock deals in commercial only.
The company has resolved many of the issues that were problematic with solar installations, including creating a modular system such that a commercial owner can add photo voltaic cells as the need arises, engineering a mounting system that does not penetrate a roof and violate its warranty and angling the modes so that ice and snow do not stick and reduce electrical production.
All this makes for a low maintenance, high return product that protects our environment.
American innovation has continually led the world. One reads of a daunting issue and considers that someone or some company will come up with a resolution. It appears SolarDock is just one of these valuable – and world class – American success stories.
The diminishing cabal who rails against global warming, like Noah Robinson, an Oregon Institute of Science and Medicine professor who preaches 100 percent abstinence from climate change initiatives, assert that research does not show human use of hydrocarbons is harmful. To the contrary, they claim, increased atmospheric carbon dioxide is helpful (Yeah, great fun for marathon runners at the Beijing Olympics).
Last week, I reported on the state of Wilmington conference. While Aisle Say hopes Wilmington may be deemed “World Class,” that approbation is still down the yellow brick road.
One panel member, Scott Johnson of the development and real estate company McConnell Johnson, is a visionary for the greening of the world. With this company's innovations, we may arrive at the Emerald City before submersion of our coasts by melting ice packs.
Like any owner, they sought to cut energy costs. This financial interest, allied with their own passion, led to SolarDock.com, a subsidiary company that installs a patented solar electric roof racking system.
Ironically, they were the landlord for Astro Power, one of the first U.S. solar companies that went under, and Johnson realized Astro Power's mission and made it his own.
Saab Sports Car Service in Wilmington installed the system last year. Half the cost was covered by state grants. The feds kicked in as well. Today, the SolarDock is generating 80 percent of the company's electricity. Bottom line, Saab will have its investment returned in five years, will bid sayonara to electric bills and, in fact, will be selling electric back to Delmarva. The pollution reduction will be the equivalent of 3 million vehicle miles.
The company is expanding exponentially globally, growing 350 percent this year alone from last.
Astra Zeneca on Concord Pike has a modular installation. SolarDock's biggest is in Madrid at the headquarters of Otis Elevator.
Flat roofs are necessary, so SolarDock deals in commercial only.
The company has resolved many of the issues that were problematic with solar installations, including creating a modular system such that a commercial owner can add photo voltaic cells as the need arises, engineering a mounting system that does not penetrate a roof and violate its warranty and angling the modes so that ice and snow do not stick and reduce electrical production.
All this makes for a low maintenance, high return product that protects our environment.
American innovation has continually led the world. One reads of a daunting issue and considers that someone or some company will come up with a resolution. It appears SolarDock is just one of these valuable – and world class – American success stories.
Sunday, May 10, 2009
The State of Wilmington Delaware May 09
Last week's State of Wilmington 2009 seemed more like a motivational seminar to convince ourselves that we are a World Class city than a budget address.
The event opened with a video retrospective of the last 15 years, then Mayor James Baker and Gov. Jack Markell addressed the 200 mostly business and arts people in attendance.
“States must balance our budgets. We can't print money like Washington,” said Markell. In the midst of the state's economic crisis, he asked for all to work together. And, he had some interesting stats regarding the arts:
* Each $1 state donation to the arts creates $7 in economic activity
* The arts bring $142 million annually to our economy, creating $10 million revenue to the state
Hal Real, founder and president of Philly's World Cafe Live also spoke enthusiastically about Wilmington's Queen Theatre renovation as a World Cafe satellite.
As a native Wilmingtonian, Aisle Say remembers the popcorn machines and the creaky floors of the Dry Goods, motion pictures at The Queen and The Warner, crullers at Federal Bakery and the A & P Market where my mother shopped. My father took me to the ribbon cutting of I-95 and I saw JFK two weeks before the assassination.
Yet for decades, downtown after 5 p.m. has been the urban equivalent of Antarctica.
I asked myself where will the people come from to frequent the revitalized Queen? Real may have suggested the beginning of an answer when he quoted these figures to buttress his case for choosing Wilmington:
* Wilmington is within a 90-minute radius of the nation's greatest population concentration
* World Cafe's radio station, XPN, is the nation's most popular syndicated pop-rock-contemporary show. One would imagine the station will be touting Wilmington heavily.
* World Cafe Live lives off emerging acts -- read: “cheap to book.”
The Philly venue is incredibly profitable and has many community outreach services. Work on the Wilmington extension will begin in 90 days and is estimated to take 20 months to complete.
Other economic tidbits
Christiana Care Vice President of Communications Michelle Schiavone presented an impressive video on the $205 million dollar expansion of Wilmington Hospital. Upon completion, it will be three times the space of the existing hospital, add a new nine-story tower, 13 operating rooms and add 600 new jobs. Completion date is 2012.
Still no concrete word on a hotel to accommodate Chase Center conferees.
A representative from the Riverfront Development Corporation responded to an inquiry regarding an exit from I-95 northbound. It's not going to happen. More likely is an eventual bridge over the Christina River connecting to I-495.
The event opened with a video retrospective of the last 15 years, then Mayor James Baker and Gov. Jack Markell addressed the 200 mostly business and arts people in attendance.
“States must balance our budgets. We can't print money like Washington,” said Markell. In the midst of the state's economic crisis, he asked for all to work together. And, he had some interesting stats regarding the arts:
* Each $1 state donation to the arts creates $7 in economic activity
* The arts bring $142 million annually to our economy, creating $10 million revenue to the state
Hal Real, founder and president of Philly's World Cafe Live also spoke enthusiastically about Wilmington's Queen Theatre renovation as a World Cafe satellite.
As a native Wilmingtonian, Aisle Say remembers the popcorn machines and the creaky floors of the Dry Goods, motion pictures at The Queen and The Warner, crullers at Federal Bakery and the A & P Market where my mother shopped. My father took me to the ribbon cutting of I-95 and I saw JFK two weeks before the assassination.
Yet for decades, downtown after 5 p.m. has been the urban equivalent of Antarctica.
I asked myself where will the people come from to frequent the revitalized Queen? Real may have suggested the beginning of an answer when he quoted these figures to buttress his case for choosing Wilmington:
* Wilmington is within a 90-minute radius of the nation's greatest population concentration
* World Cafe's radio station, XPN, is the nation's most popular syndicated pop-rock-contemporary show. One would imagine the station will be touting Wilmington heavily.
* World Cafe Live lives off emerging acts -- read: “cheap to book.”
The Philly venue is incredibly profitable and has many community outreach services. Work on the Wilmington extension will begin in 90 days and is estimated to take 20 months to complete.
Other economic tidbits
Christiana Care Vice President of Communications Michelle Schiavone presented an impressive video on the $205 million dollar expansion of Wilmington Hospital. Upon completion, it will be three times the space of the existing hospital, add a new nine-story tower, 13 operating rooms and add 600 new jobs. Completion date is 2012.
Still no concrete word on a hotel to accommodate Chase Center conferees.
A representative from the Riverfront Development Corporation responded to an inquiry regarding an exit from I-95 northbound. It's not going to happen. More likely is an eventual bridge over the Christina River connecting to I-495.
Tuesday, May 5, 2009
State of the city of Wilmington
Last week's State of Wilmington 2009 seemed more like a motivational seminar to convince ourselves that we are a World Class city than a budget address.
The event opened with a video retrospective of the last 15 years, then Mayor James Baker and Gov. Jack Markell addressed the 200 mostly business and arts people in attendance.
“States must balance our budgets. We can't print money like Washington,” said Markell. In the midst of the state's economic crisis, he asked for all to work together. And, he had some interesting stats regarding the arts:
* Each $1 state donation to the arts creates $7 in economic activity
* The arts bring $142 million annually to our economy, creating $10 million revenue to the state
Hal Real, founder and president of Philly's World Cafe Live also spoke enthusiastically about Wilmington's Queen Theatre renovation as a World Cafe satellite.
As a native Wilmingtonian, Aisle Say remembers the popcorn machines and the creaky floors of the Dry Goods, motion pictures at The Queen and The Warner, crullers at Federal Bakery and the A & P Market where my mother shopped. My father took me to the ribbon cutting of I-95 and I saw JFK two weeks before the assassination.
Yet for decades, downtown after 5 p.m. has been the urban equivalent of Antarctica.
I asked myself where will the people come from to frequent the revitalized Queen? Real may have suggested the beginning of an answer when he quoted these figures to buttress his case for choosing Wilmington:
* Wilmington is within a 90-minute radius of the nation's greatest population concentration
* World Cafe's radio station, XPN, is the nation's most popular syndicated pop-rock-contemporary show. One would imagine the station will be touting Wilmington heavily.
* World Cafe Live lives off emerging acts -- read: “cheap to book.”
The Philly venue is incredibly profitable and has many community outreach services. Work on the Wilmington extension will begin in 90 days and is estimated to take 20 months to complete.
Other economic tidbits
Christiana Care Vice President of Communications Michelle Schiavone presented an impressive video on the $205 million dollar expansion of Wilmington Hospital. Upon completion, it will be three times the space of the existing hospital, add a new nine-story tower, 13 operating rooms and add 600 new jobs. Completion date is 2012.
Still no concrete word on a hotel to accommodate Chase Center conferees.
A representative from the Riverfront Development Corporation responded to an inquiry regarding an exit from I-95 northbound. It's not going to happen. More likely is an eventual bridge over the Christina River connecting to I-495.
The event opened with a video retrospective of the last 15 years, then Mayor James Baker and Gov. Jack Markell addressed the 200 mostly business and arts people in attendance.
“States must balance our budgets. We can't print money like Washington,” said Markell. In the midst of the state's economic crisis, he asked for all to work together. And, he had some interesting stats regarding the arts:
* Each $1 state donation to the arts creates $7 in economic activity
* The arts bring $142 million annually to our economy, creating $10 million revenue to the state
Hal Real, founder and president of Philly's World Cafe Live also spoke enthusiastically about Wilmington's Queen Theatre renovation as a World Cafe satellite.
As a native Wilmingtonian, Aisle Say remembers the popcorn machines and the creaky floors of the Dry Goods, motion pictures at The Queen and The Warner, crullers at Federal Bakery and the A & P Market where my mother shopped. My father took me to the ribbon cutting of I-95 and I saw JFK two weeks before the assassination.
Yet for decades, downtown after 5 p.m. has been the urban equivalent of Antarctica.
I asked myself where will the people come from to frequent the revitalized Queen? Real may have suggested the beginning of an answer when he quoted these figures to buttress his case for choosing Wilmington:
* Wilmington is within a 90-minute radius of the nation's greatest population concentration
* World Cafe's radio station, XPN, is the nation's most popular syndicated pop-rock-contemporary show. One would imagine the station will be touting Wilmington heavily.
* World Cafe Live lives off emerging acts -- read: “cheap to book.”
The Philly venue is incredibly profitable and has many community outreach services. Work on the Wilmington extension will begin in 90 days and is estimated to take 20 months to complete.
Other economic tidbits
Christiana Care Vice President of Communications Michelle Schiavone presented an impressive video on the $205 million dollar expansion of Wilmington Hospital. Upon completion, it will be three times the space of the existing hospital, add a new nine-story tower, 13 operating rooms and add 600 new jobs. Completion date is 2012.
Still no concrete word on a hotel to accommodate Chase Center conferees.
A representative from the Riverfront Development Corporation responded to an inquiry regarding an exit from I-95 northbound. It's not going to happen. More likely is an eventual bridge over the Christina River connecting to I-495.
Sunday, May 3, 2009
Opera Delaware's "The Marriage of Figaro"
My body shuddered uncontrollably. My entire being was wracked with a pain felt only by Prometheus on the rock. I glanced at this famous quote. Was it true? Could this be so? Was Aisle Say channeling with the great Wolfgang Amadeus Mozart?
“The Marriage of Figaro” the opera by Mozart, was commissioned by his benefactor Emperor Joseph II of Austria. On opening night in Vienna on May 1, 1786, after the Emperor congratulated the composer, he added this caveat: "You must admit, however, my dear Mozart, that there are a great many notes in your score."
"Not one too many, Sire," was Mozart’s reply.
Every week Aisle Say hears the same dispiriting diatribe from my otherwise enchantingly effervescent editor at The Community News.
I hear you, Amadeus, my bro.
But I digress. Joseph II had the last word: upon reflection, he considered the piece inflammatory and banned it in Austria. (It was a tumultuous time in Europe -- only 10 years before the French Revolution, and the title character, a servant, dares to make a fool of a royal.)
Yet, after Mozart's death, "The Marriage of Figaro" became his most popular comic opera, so although Joseph II may have had the last word, Mozart had the last laugh.
OperaDelaware Summer Youth Program
July 13 - Aug. 7
Mon. - Fri, 9 a.m - 4 p.m.
Each week-long session includes rehearsals, workshops and lessons in voice, costumes, movement, and painting. At the culmination of each session, students perform musical or opera scenes.
One-time-only offerings like prop building, dance, stage management, yoga and stage combat may be part of workshops.
No performance experience is necessary.
OperaDE.org
302-658-8063
With good reason. The synopsis reads like a Marx Brothers movie.
The Count’s valet, Figaro, is about to marry the Countess’ maid, Susanna. However, the Count himself has designs on the young girl and wants to exert his ancient “feudal rights” and sleep with her on her wedding night. With the aid of Susanna and the Countess, Figaro hatches a plan to catch the Count and foil his intentions.
Two-and-one-half centuries later, with all its mistaken identities, hiding behind arrases, cross dressing and gorgeous music, "Figaro" -- OperaDelaware's season finale -- promises to be as fresh and fun as ever.
The show runs May 3 at 2 p.m. and May 8 and 9 at 8 p.m. at the Grand Opera House, at 818 N. Market St. in Wilmington. Tickets start at $25. For more information, call 800-37-GRAND or visit TicketsAtTheGrand.org.
“The Marriage of Figaro” the opera by Mozart, was commissioned by his benefactor Emperor Joseph II of Austria. On opening night in Vienna on May 1, 1786, after the Emperor congratulated the composer, he added this caveat: "You must admit, however, my dear Mozart, that there are a great many notes in your score."
"Not one too many, Sire," was Mozart’s reply.
Every week Aisle Say hears the same dispiriting diatribe from my otherwise enchantingly effervescent editor at The Community News.
I hear you, Amadeus, my bro.
But I digress. Joseph II had the last word: upon reflection, he considered the piece inflammatory and banned it in Austria. (It was a tumultuous time in Europe -- only 10 years before the French Revolution, and the title character, a servant, dares to make a fool of a royal.)
Yet, after Mozart's death, "The Marriage of Figaro" became his most popular comic opera, so although Joseph II may have had the last word, Mozart had the last laugh.
OperaDelaware Summer Youth Program
July 13 - Aug. 7
Mon. - Fri, 9 a.m - 4 p.m.
Each week-long session includes rehearsals, workshops and lessons in voice, costumes, movement, and painting. At the culmination of each session, students perform musical or opera scenes.
One-time-only offerings like prop building, dance, stage management, yoga and stage combat may be part of workshops.
No performance experience is necessary.
OperaDE.org
302-658-8063
With good reason. The synopsis reads like a Marx Brothers movie.
The Count’s valet, Figaro, is about to marry the Countess’ maid, Susanna. However, the Count himself has designs on the young girl and wants to exert his ancient “feudal rights” and sleep with her on her wedding night. With the aid of Susanna and the Countess, Figaro hatches a plan to catch the Count and foil his intentions.
Two-and-one-half centuries later, with all its mistaken identities, hiding behind arrases, cross dressing and gorgeous music, "Figaro" -- OperaDelaware's season finale -- promises to be as fresh and fun as ever.
The show runs May 3 at 2 p.m. and May 8 and 9 at 8 p.m. at the Grand Opera House, at 818 N. Market St. in Wilmington. Tickets start at $25. For more information, call 800-37-GRAND or visit TicketsAtTheGrand.org.
Sunday, April 26, 2009
Opera Delaware's "The Marriage of Figaro"
I shuddered when I glanced at that famous quote surrounding the legend of “The Marriage of Figaro”. The opera by Mozart was commissioned by his benefactor Emperor Joseph II of Austria. Now two and one half centuries later, it is OperaDelaware's season finale.
On opening night in Vienna on May 11786, after the Emperor congratulated the composer, he added this caveat: "You must admit, however, my dear Mozart, that there are a great many notes in your score."
"Not one too many, Sire," was Mozart’s reply.
Every week Aisle Say hears the same dispiriting diatribe from my otherwise enchantingly effervescent editor at Community News.
Joseph II had the last word, however. Upon reflection he considered the piece inflammatory to aristocracy and banned it in Austria. The title character, Figaro, a servant, dares to make a fool of a royal! (It was a tumultuous time in Europe, only 10 years before the French Revolution).
After Mozart's death, as we know, it became his most popular comic opera. The synopsis reads like a Marx Brothers movie.
The Count’s valet, Figaro, is about to marry the Countess’ maid, Susanna. However, the Count himself has designs on the young girl and wants to exert his ancient “feudal rights” and sleep with her on her wedding night. With the aid of Susanna and the Countess, Figaro hatches a plan to catch the Count and foil his intentions. Lots of mistaken identities, hiding behind arrases, cross dressing and gorgeous music.
“Figaro” completed in only one month What demons these geniuses possess!
This year’s Summer Youth Opera Program sponsored by OperaDE will run from July 13th, 2009 to August 7th, 2009. Classes will take place Mondays through Fridays from 9:00AM – 4:00PM, with two workshops; each offering a Session A (1 week), and Session B (2 week) option. At the end of each session, the children will perform either musical or opera scenes as a culmination of the lessons and rehearsals they have had all week.
While students are not rehearsing, they cycle in and out of voice, costumes, movement, and painting. One time only offerings such as prop building, dance, stage management, yoga, and stage combat may be offered as part of select workshops. There is no need for performance experience. The lessons will serve as an introduction to theatrical arts for any child interested in theatre, and will also provide enrichment for those experienced in theatre. OperaDE.org or 658.8063
Tickets for “Figaro” May 3 at 2PM, May 8 & 9 at 8PM 1.800.37.GRAND or TicketsAtTheGrand.org
On opening night in Vienna on May 11786, after the Emperor congratulated the composer, he added this caveat: "You must admit, however, my dear Mozart, that there are a great many notes in your score."
"Not one too many, Sire," was Mozart’s reply.
Every week Aisle Say hears the same dispiriting diatribe from my otherwise enchantingly effervescent editor at Community News.
Joseph II had the last word, however. Upon reflection he considered the piece inflammatory to aristocracy and banned it in Austria. The title character, Figaro, a servant, dares to make a fool of a royal! (It was a tumultuous time in Europe, only 10 years before the French Revolution).
After Mozart's death, as we know, it became his most popular comic opera. The synopsis reads like a Marx Brothers movie.
The Count’s valet, Figaro, is about to marry the Countess’ maid, Susanna. However, the Count himself has designs on the young girl and wants to exert his ancient “feudal rights” and sleep with her on her wedding night. With the aid of Susanna and the Countess, Figaro hatches a plan to catch the Count and foil his intentions. Lots of mistaken identities, hiding behind arrases, cross dressing and gorgeous music.
“Figaro” completed in only one month What demons these geniuses possess!
This year’s Summer Youth Opera Program sponsored by OperaDE will run from July 13th, 2009 to August 7th, 2009. Classes will take place Mondays through Fridays from 9:00AM – 4:00PM, with two workshops; each offering a Session A (1 week), and Session B (2 week) option. At the end of each session, the children will perform either musical or opera scenes as a culmination of the lessons and rehearsals they have had all week.
While students are not rehearsing, they cycle in and out of voice, costumes, movement, and painting. One time only offerings such as prop building, dance, stage management, yoga, and stage combat may be offered as part of select workshops. There is no need for performance experience. The lessons will serve as an introduction to theatrical arts for any child interested in theatre, and will also provide enrichment for those experienced in theatre. OperaDE.org or 658.8063
Tickets for “Figaro” May 3 at 2PM, May 8 & 9 at 8PM 1.800.37.GRAND or TicketsAtTheGrand.org
Wednesday, April 22, 2009
Bring the World to Delaware and the World will come to us
A few years ago Gov. Ruth Ann Minner took some heat for spending hundreds of thousands of dollars for the slogan “It's good to be First” (Zzzzzzzz). Today, Aisle Say is offering a new one, gratis: “Bring the world to Delaware and the world will come to us.”
I do come up with some strange thoughts from time to time (email my two ex-wives for details), but I've got one that could help all Delaware visitors bureaus realize the dream of putting our state on the map as a world-class destination. Here's the story...
Years ago, my kids and I loved to watch the World's Strongest Man on television. We loved the competition, the larger-than-life contestants, the bizarre events created to test strength and endurance, and the backdrop of international venues, like Malta, Malaysia, Victoria Falls.
I became so enamored of one Scandinavian behemoth, Magnus Magnuson, that I threatened Grant and Grace that if he won, I would change my name to Magnus Magnuson Firestone. They looked at one another, rolled their eyes and set upon cheering vociferously for the guy from Ireland.
Just for grins, I Googled the title recently to get information about the show's management, and spoke to Barry Frank of IMG Media, owner of the brand. He said it was fortuitous that I called: the ten-day event is filmed in September each year, and plans are still adrift about the upcoming season.
In 2008, the show took place in West Virginia, and Gov. Joe Manchin was so delighted with the coverage that he has signed a deal for the event to return in 2012. Frank gave me the governor's cell number for a reference, I kid you not.
The season's 10 half-hour shows and one hour-long final show are broadcast to 70 countries, reaching 80 million viewers, with an estimated media value of $10 million. The company guarantees a minimum of 45 minutes of local exposure. This means face time for Jack Markell and destination venues that best represent the host venue. Frank even suggested calling in our political howitzer, VP Biden, for the opening ceremonies.
The beach, of course, is a no brainer for contests as a staging venue. Others? How about challengers carrying impossibly heavy weights through the garden labyrinth at Nemours with the mansion as a backdrop. Or, man-power moving a cargo plane at Dover's air base. Try hauling NASCAR autos around the Monster Mile, or carrying “Atlas stones” up the steps at Rodney Square.
The host city's cost is $300,000 plus a ton of gratis hotel rooms, transportation, security and board for contestants and crew.
But if this does not seem like normal thinking, consider that these are not normal times. This is a charismatic event, an internationally-recognized show with great traction, and with this one bold stroke, our tourist destinations would be internationally known.
For more information, visit TheWorldsStrongestMan.com.
I do come up with some strange thoughts from time to time (email my two ex-wives for details), but I've got one that could help all Delaware visitors bureaus realize the dream of putting our state on the map as a world-class destination. Here's the story...
Years ago, my kids and I loved to watch the World's Strongest Man on television. We loved the competition, the larger-than-life contestants, the bizarre events created to test strength and endurance, and the backdrop of international venues, like Malta, Malaysia, Victoria Falls.
I became so enamored of one Scandinavian behemoth, Magnus Magnuson, that I threatened Grant and Grace that if he won, I would change my name to Magnus Magnuson Firestone. They looked at one another, rolled their eyes and set upon cheering vociferously for the guy from Ireland.
Just for grins, I Googled the title recently to get information about the show's management, and spoke to Barry Frank of IMG Media, owner of the brand. He said it was fortuitous that I called: the ten-day event is filmed in September each year, and plans are still adrift about the upcoming season.
In 2008, the show took place in West Virginia, and Gov. Joe Manchin was so delighted with the coverage that he has signed a deal for the event to return in 2012. Frank gave me the governor's cell number for a reference, I kid you not.
The season's 10 half-hour shows and one hour-long final show are broadcast to 70 countries, reaching 80 million viewers, with an estimated media value of $10 million. The company guarantees a minimum of 45 minutes of local exposure. This means face time for Jack Markell and destination venues that best represent the host venue. Frank even suggested calling in our political howitzer, VP Biden, for the opening ceremonies.
The beach, of course, is a no brainer for contests as a staging venue. Others? How about challengers carrying impossibly heavy weights through the garden labyrinth at Nemours with the mansion as a backdrop. Or, man-power moving a cargo plane at Dover's air base. Try hauling NASCAR autos around the Monster Mile, or carrying “Atlas stones” up the steps at Rodney Square.
The host city's cost is $300,000 plus a ton of gratis hotel rooms, transportation, security and board for contestants and crew.
But if this does not seem like normal thinking, consider that these are not normal times. This is a charismatic event, an internationally-recognized show with great traction, and with this one bold stroke, our tourist destinations would be internationally known.
For more information, visit TheWorldsStrongestMan.com.
Sunday, April 19, 2009
Winterthur Museum's Point to Point
Centreville, Del. —
Winterthur's Web site describes founder Henry Francis du Pont as an “avid” antiques collector. Merely “avid"? That's like suggesting that Sir Edmund Hillary was a hiker and Hugh Hefner likes to date!
Obsessed is a better word and he had the wherewithal to fuel it, being the great-grandson of the company's founder.
Henry had an “eye” for American decorative art and a great love of horticulture; the latter being part of the family heritage as stewards of the land, beginning in 1802 with E.I's first gardens at Eleutherian Mills.
From 1920 on, although Winterthur the mansion lacked great historic architecture, du Pont purchased important American interiors and installed them, room by room, within a sprawling addition to the mansion. He then filled these rooms with his burgeoning collection of American decorative arts objects and antiques. Finally, like an English country lord, he exalted in establishing a superlative library.
Today, from a collection of more than 85,000 objects made or used in America between 1640 and 1860, Winterthur curators have crafted displays that focus on specific media. Themes in each gallery are built around such questions as: How were these objects made? How were they used? How do we know what they are? Objects selected range from historic clothing and craftsman's tools to exquisite metalworks, ceramics, and paintings.
Most contemporary Delawareans have no comprehension of the breadth of du Pont family philanthropy and how it has impacted us for over two centuries. Scholars use Winterthur's libraries and it is the state's number one tourist attraction save for the beaches. One hundred fifty thousand people visit Winterthur yearly.
Ten percent of them visit one day - the first Sunday in May - Point to Point!
Thirty-one years ago, board member Greta Layton had an idea to fund raise for the institution's educational programs, public school field trips, UD conservator programs and the like. She had been raised in Virginia horse country. “Let's have races over these rolling piedmont hills,” she exclaimed.
Layton called George “Frolic” Weymouth, a du Pont family member, artist in the Wyeth tradition and owner of several horse drawn carriages (one of which would buy a single family home in Fairfax). Frolic joined the “frolic” and two of the most popular Point-to-Point traditions were birthed.
It is an event unlike any other in Delaware; a place to be and be seen. The wearing of hats by women is a major tradition. Tailgating has grown each year, with not only themes for the day but sumptuous repasts catered by the most prestigious regional restaurants. Adult beverages prevail.
And the races! There are five “flat” horse races and three steeplechase races. The full day includes many events for children: “stick” horse races and treasure hunts. For your pooch there is a opportunity for him to complete an obstacle course.
Communications Manager Vicki Saltzman is excited about an innovation for 2009, the 'Painted Ponies Silent Auction.”
“Twenty three artists have painted rocking horses that will be sold not only at Point-to-Point but also on ebay throughout the day. Some of these works are really breathtaking in their creation. We are thrilled and honored to be working with these artists,” she said.
“But the greatest 'point' of Point-to-Point,” exclaims Saltzman, “is the family traditions that have been established over these years. Parents brought their children who now bring their children. Families gather at Winterthur this May day for their reunions. It's a landmark in their heart.”
Aisle Say Sleuthing: Over the years, perhaps thousands of inquisitive Delawareans have pestered Aisle Say on why Winterthur is blessed with its own ZIP code – 19735. “If them, then why not me! Is this not America”! Saltzman explains that when ZIP codes were first unveiled, the estate already had its own postmistress. They applied for and received their own ZIP. The postmistress survives today...although one doubts it's the original one.
Winterthur's Web site describes founder Henry Francis du Pont as an “avid” antiques collector. Merely “avid"? That's like suggesting that Sir Edmund Hillary was a hiker and Hugh Hefner likes to date!
Obsessed is a better word and he had the wherewithal to fuel it, being the great-grandson of the company's founder.
Henry had an “eye” for American decorative art and a great love of horticulture; the latter being part of the family heritage as stewards of the land, beginning in 1802 with E.I's first gardens at Eleutherian Mills.
From 1920 on, although Winterthur the mansion lacked great historic architecture, du Pont purchased important American interiors and installed them, room by room, within a sprawling addition to the mansion. He then filled these rooms with his burgeoning collection of American decorative arts objects and antiques. Finally, like an English country lord, he exalted in establishing a superlative library.
Today, from a collection of more than 85,000 objects made or used in America between 1640 and 1860, Winterthur curators have crafted displays that focus on specific media. Themes in each gallery are built around such questions as: How were these objects made? How were they used? How do we know what they are? Objects selected range from historic clothing and craftsman's tools to exquisite metalworks, ceramics, and paintings.
Most contemporary Delawareans have no comprehension of the breadth of du Pont family philanthropy and how it has impacted us for over two centuries. Scholars use Winterthur's libraries and it is the state's number one tourist attraction save for the beaches. One hundred fifty thousand people visit Winterthur yearly.
Ten percent of them visit one day - the first Sunday in May - Point to Point!
Thirty-one years ago, board member Greta Layton had an idea to fund raise for the institution's educational programs, public school field trips, UD conservator programs and the like. She had been raised in Virginia horse country. “Let's have races over these rolling piedmont hills,” she exclaimed.
Layton called George “Frolic” Weymouth, a du Pont family member, artist in the Wyeth tradition and owner of several horse drawn carriages (one of which would buy a single family home in Fairfax). Frolic joined the “frolic” and two of the most popular Point-to-Point traditions were birthed.
It is an event unlike any other in Delaware; a place to be and be seen. The wearing of hats by women is a major tradition. Tailgating has grown each year, with not only themes for the day but sumptuous repasts catered by the most prestigious regional restaurants. Adult beverages prevail.
And the races! There are five “flat” horse races and three steeplechase races. The full day includes many events for children: “stick” horse races and treasure hunts. For your pooch there is a opportunity for him to complete an obstacle course.
Communications Manager Vicki Saltzman is excited about an innovation for 2009, the 'Painted Ponies Silent Auction.”
“Twenty three artists have painted rocking horses that will be sold not only at Point-to-Point but also on ebay throughout the day. Some of these works are really breathtaking in their creation. We are thrilled and honored to be working with these artists,” she said.
“But the greatest 'point' of Point-to-Point,” exclaims Saltzman, “is the family traditions that have been established over these years. Parents brought their children who now bring their children. Families gather at Winterthur this May day for their reunions. It's a landmark in their heart.”
Aisle Say Sleuthing: Over the years, perhaps thousands of inquisitive Delawareans have pestered Aisle Say on why Winterthur is blessed with its own ZIP code – 19735. “If them, then why not me! Is this not America”! Saltzman explains that when ZIP codes were first unveiled, the estate already had its own postmistress. They applied for and received their own ZIP. The postmistress survives today...although one doubts it's the original one.
Tuesday, April 14, 2009
Winterthur Museum's Point to Point
Winterthur's Web site describes founder Henry Francis du Pont as an “avid” antiques collector. Merely “avid"? That's like suggesting that Sir Edmund Hillary was a hiker and Hugh Hefner likes to date!
Obsessed is a better word and he had the wherewithal to fuel it, being the great-grandson of the company's founder.
Henry had an “eye” for American decorative art and a great love of horticulture; the latter being part of the family heritage as stewards of the land, beginning in 1802 with E.I's first gardens at Eleutherian Mills.
From 1920 on, although Winterthur the mansion lacked great historic architecture, du Pont purchased important American interiors and installed them, room by room, within a sprawling addition to the mansion. He then filled these rooms with his burgeoning collection of American decorative arts objects and antiques. Finally, like an English country lord, he exalted in establishing a superlative library.
Today, from a collection of more than 85,000 objects made or used in America between 1640 and 1860, Winterthur curators have crafted displays that focus on specific media. Themes in each gallery are built around such questions as: How were these objects made? How were they used? How do we know what they are? Objects selected range from historic clothing and craftsman's tools to exquisite metalworks, ceramics, and paintings.
Most contemporary Delawareans have no comprehension of the breadth of du Pont family philanthropy and how it has impacted us for over two centuries. Scholars use Winterthur's libraries and it is the state's number one tourist attraction save for the beaches. One hundred fifty thousand people visit Winterthur yearly.
Ten percent of them visit one day - the first Sunday in May - Point to Point!
Thirty-one years ago, board member Greta Layton had an idea to fund raise for the institution's educational programs; public school field trips, UD conservator programs and the like. She had been raised in Virginia horse country. “Let's have races over these rolling piedmont hills,” she exclaimed.
Layton called George “Frolic” Weymouth, a du Pont family member, artist in the Wyeth tradition and owner of several horse drawn carriages (one of which would buy a single family home in Fairfax). Frolic joined the “frolic” and two of the most popular Point-to-Point traditions were birthed.
It is an event unlike any other in Delaware; a place to be and be seen. The wearing of hats by women is a major tradition. Tailgating has grown each year, with not only themes for the day but sumptuous repasts catered by the most prestigious regional restaurants. Adult beverages prevail.
And the races! There are five “flat” horse races and three steeplechase races. The full day includes many events for children: “stick” horse races and treasure hunts. For your pooch there is a opportunity for him to complete an obstacle course.
Communications Manager Vicki Saltzman is excited about an innovation for 2009, the 'Painted Ponies Silent Auction.”
“Twenty three artists have painted rocking horses that will be sold not only at Point-to-Point but also on ebay throughout the day. Some of these works are really breathtaking in their creation. We are thrilled and honored to be working with these artists,” she said.
“But the greatest 'point' of Point-to-Point,” exclaims Saltzman, “is the family traditions that have been established over these years. Parents brought their children who now bring their children. Families gather at Winterthur this May day for their reunions. It's a landmark in their heart.”
Aisle Say Sleuthing: Over the years, perhaps thousands of inquisitive Delawareans have pestered Aisle Say on why Winterthur is blessed with its own ZIP code – 19735. “If them, then why not me! Is this not America”! Saltzman explains that when ZIP codes were first unveiled, the estate already had its own postmistress. They applied for and received their own ZIP. The postmistress survives today...although one doubts it's the original one.
Obsessed is a better word and he had the wherewithal to fuel it, being the great-grandson of the company's founder.
Henry had an “eye” for American decorative art and a great love of horticulture; the latter being part of the family heritage as stewards of the land, beginning in 1802 with E.I's first gardens at Eleutherian Mills.
From 1920 on, although Winterthur the mansion lacked great historic architecture, du Pont purchased important American interiors and installed them, room by room, within a sprawling addition to the mansion. He then filled these rooms with his burgeoning collection of American decorative arts objects and antiques. Finally, like an English country lord, he exalted in establishing a superlative library.
Today, from a collection of more than 85,000 objects made or used in America between 1640 and 1860, Winterthur curators have crafted displays that focus on specific media. Themes in each gallery are built around such questions as: How were these objects made? How were they used? How do we know what they are? Objects selected range from historic clothing and craftsman's tools to exquisite metalworks, ceramics, and paintings.
Most contemporary Delawareans have no comprehension of the breadth of du Pont family philanthropy and how it has impacted us for over two centuries. Scholars use Winterthur's libraries and it is the state's number one tourist attraction save for the beaches. One hundred fifty thousand people visit Winterthur yearly.
Ten percent of them visit one day - the first Sunday in May - Point to Point!
Thirty-one years ago, board member Greta Layton had an idea to fund raise for the institution's educational programs; public school field trips, UD conservator programs and the like. She had been raised in Virginia horse country. “Let's have races over these rolling piedmont hills,” she exclaimed.
Layton called George “Frolic” Weymouth, a du Pont family member, artist in the Wyeth tradition and owner of several horse drawn carriages (one of which would buy a single family home in Fairfax). Frolic joined the “frolic” and two of the most popular Point-to-Point traditions were birthed.
It is an event unlike any other in Delaware; a place to be and be seen. The wearing of hats by women is a major tradition. Tailgating has grown each year, with not only themes for the day but sumptuous repasts catered by the most prestigious regional restaurants. Adult beverages prevail.
And the races! There are five “flat” horse races and three steeplechase races. The full day includes many events for children: “stick” horse races and treasure hunts. For your pooch there is a opportunity for him to complete an obstacle course.
Communications Manager Vicki Saltzman is excited about an innovation for 2009, the 'Painted Ponies Silent Auction.”
“Twenty three artists have painted rocking horses that will be sold not only at Point-to-Point but also on ebay throughout the day. Some of these works are really breathtaking in their creation. We are thrilled and honored to be working with these artists,” she said.
“But the greatest 'point' of Point-to-Point,” exclaims Saltzman, “is the family traditions that have been established over these years. Parents brought their children who now bring their children. Families gather at Winterthur this May day for their reunions. It's a landmark in their heart.”
Aisle Say Sleuthing: Over the years, perhaps thousands of inquisitive Delawareans have pestered Aisle Say on why Winterthur is blessed with its own ZIP code – 19735. “If them, then why not me! Is this not America”! Saltzman explains that when ZIP codes were first unveiled, the estate already had its own postmistress. They applied for and received their own ZIP. The postmistress survives today...although one doubts it's the original one.
Tuesday, March 24, 2009
ALEXEI and RASPUTIN
FOR IMMEDIATE RELEASE
Delaware author Greer Firestone
releases historical novel Alexei and Rasputin
First published in 2000, discovery of the remains of Alexei and sister Marie in 2007 sparked
new international interest in the Romanovs. This caused Firestone to re-edit and include
unpublished photos from the Beinecke Library of Yale University.
The world has long been fascinated with the compelling characters and cataclysmic events
surrounding the end of the 300-year Romanov dynasty of Russia:
· The mystical (and some say mythical) Rasputin and his influence on the teenaged
Alexei, the heir
· The passionate love affair between Tsar Nicholas II and Tsarina Alexandra
· The four lovely Romanov daughter (OTMA): Olga, Tatiana, Marie and Anastasia
· World War I and the Communist Revolution of 1917
Few books have touched on what was the greatest secret of the age; tsarevich Alexei’s curse
of hemophilia, “The Royal Disease.” Entwined in this tale of incalculable wealth and global
dominance is the enigmatic and charismatic Rasputin. Only Rasputin had the power to stop
the flow of blood. Was he a saint or sinner?
Alexei and Rasputin gives a face, a personality and a soul… to the boy who carried on his
small frame two impossible burdens – heir and hemophiliac.
Firestone is available for school and group lectures, as well as book signings.
Alexei and Rasputin
by Greer Firestone
Taken from first person historical accounts,
Alexei and Rasputin is a novel about the boy whose
murder changed the course of the world.
$18.95 + $3.00 shipping
209 Jackson Blvd • Wilmington DE 19803
Contact:
GREER FIRESTONE
producer@delaware.net
BestofBroadwayProductions.com
(302) 494-3133
Delaware author Greer Firestone
releases historical novel Alexei and Rasputin
First published in 2000, discovery of the remains of Alexei and sister Marie in 2007 sparked
new international interest in the Romanovs. This caused Firestone to re-edit and include
unpublished photos from the Beinecke Library of Yale University.
The world has long been fascinated with the compelling characters and cataclysmic events
surrounding the end of the 300-year Romanov dynasty of Russia:
· The mystical (and some say mythical) Rasputin and his influence on the teenaged
Alexei, the heir
· The passionate love affair between Tsar Nicholas II and Tsarina Alexandra
· The four lovely Romanov daughter (OTMA): Olga, Tatiana, Marie and Anastasia
· World War I and the Communist Revolution of 1917
Few books have touched on what was the greatest secret of the age; tsarevich Alexei’s curse
of hemophilia, “The Royal Disease.” Entwined in this tale of incalculable wealth and global
dominance is the enigmatic and charismatic Rasputin. Only Rasputin had the power to stop
the flow of blood. Was he a saint or sinner?
Alexei and Rasputin gives a face, a personality and a soul… to the boy who carried on his
small frame two impossible burdens – heir and hemophiliac.
Firestone is available for school and group lectures, as well as book signings.
Alexei and Rasputin
by Greer Firestone
Taken from first person historical accounts,
Alexei and Rasputin is a novel about the boy whose
murder changed the course of the world.
$18.95 + $3.00 shipping
209 Jackson Blvd • Wilmington DE 19803
Contact:
GREER FIRESTONE
producer@delaware.net
BestofBroadwayProductions.com
(302) 494-3133
New Candlelight Theatre - Footloose
Director, Lighting Designer and Set Designer Chris Alberts has corralled 15 dancers (eight of whom are male, an endangered species) to create one of the most engaging, endearing and uplifting productions at The New Candlelight since the present owners took over four years ago.
Lighting design was one of the major characters of the production, and beautifully framed the virility of this stratospherically enthusiastic and talented cast.
This "Footloose" production is March Madness, dear readers, and Bobby Gouse (in Kevin Bacon's role as Ren McCormick) left it all on the floor, with rock-edged singing and electrifying dancing. I've seen all of New Candlelight's shows the past year, and this dude can dance.
Kaylan Wetzel, as Ren's love interest Ariel Moore elevated testosterone levels both on stage and in the audience.
Even though the plot of the original film, later made into the stage show, was dismissed as pure puffery -- merely a vehicle for the music of Kenny Loggins, Alberts extracted terrific acting from the cast.
Brian Peeke created sidekick Willard Hewitt that will stand as one of New Candlelight's enduring characters. How do you act like a geeky, fumbling but wannabe macho cowboy? Peeke commanded stage presence with each succeeding scene and made Willard very real for us, foibles and all.
Peyton Dixon (Shaw Moore) and Gerri Weagraff (Vi Moore) portrayed the rigid, agonized pastor and dutiful wife. Their voices were terrific and their acting, stellar. The audience witnessed through their eyes and subtle gestures the torment of the loss of their only son years before.
A musical by definition is escapism. But let's face it, behind closed doors most of us have “family issues” that we carry around with us and from which there is no exit. Alberts brought out this piece of humanity in the script. The message was there, but categorically, the director made sure there was a whole lot more more fun than dysfunction.
Candice Brechbiel, Jamie Soltis and Adrienne Bergeron, playing Footloose's version of the Pink Ladies of “Grease,” were entrancing and amusing foils for lead character, Ariel Moore. Their trio of “Somebody's Eyes” was well crafted and their voices harmonized perfectly.
Other hit tunes from the show are “Let's Hear It For the Boys,” “Almost Paradise” and the title tune “Footloose.”
The Candlelight is a small stage serving intimate audiences, first satiated by a sumptuous buffet. My sister and I sat with newlywed first-timers who had recently moved to Wilmington from their homeland China. We regaled them with the 40-year history of Candlelight, and quipped, where can you go for dinner, camaraderie and professional theatre for $55. I hope we turned them into season ticket holders.
For owners Bob and Jody Miller, Aisle Say's suggestion is to lock Chris Alberts and pyrotechnic choreographer Angela Bates Majewski in one of those dank rooms deep in the labyrinthine basement of New Candlelight and bring them up only for succeeding shows.
The show runs through May 30. For more information, visit NewCandlelighttheatre.com or call (302) 475-2313.
Lighting design was one of the major characters of the production, and beautifully framed the virility of this stratospherically enthusiastic and talented cast.
This "Footloose" production is March Madness, dear readers, and Bobby Gouse (in Kevin Bacon's role as Ren McCormick) left it all on the floor, with rock-edged singing and electrifying dancing. I've seen all of New Candlelight's shows the past year, and this dude can dance.
Kaylan Wetzel, as Ren's love interest Ariel Moore elevated testosterone levels both on stage and in the audience.
Even though the plot of the original film, later made into the stage show, was dismissed as pure puffery -- merely a vehicle for the music of Kenny Loggins, Alberts extracted terrific acting from the cast.
Brian Peeke created sidekick Willard Hewitt that will stand as one of New Candlelight's enduring characters. How do you act like a geeky, fumbling but wannabe macho cowboy? Peeke commanded stage presence with each succeeding scene and made Willard very real for us, foibles and all.
Peyton Dixon (Shaw Moore) and Gerri Weagraff (Vi Moore) portrayed the rigid, agonized pastor and dutiful wife. Their voices were terrific and their acting, stellar. The audience witnessed through their eyes and subtle gestures the torment of the loss of their only son years before.
A musical by definition is escapism. But let's face it, behind closed doors most of us have “family issues” that we carry around with us and from which there is no exit. Alberts brought out this piece of humanity in the script. The message was there, but categorically, the director made sure there was a whole lot more more fun than dysfunction.
Candice Brechbiel, Jamie Soltis and Adrienne Bergeron, playing Footloose's version of the Pink Ladies of “Grease,” were entrancing and amusing foils for lead character, Ariel Moore. Their trio of “Somebody's Eyes” was well crafted and their voices harmonized perfectly.
Other hit tunes from the show are “Let's Hear It For the Boys,” “Almost Paradise” and the title tune “Footloose.”
The Candlelight is a small stage serving intimate audiences, first satiated by a sumptuous buffet. My sister and I sat with newlywed first-timers who had recently moved to Wilmington from their homeland China. We regaled them with the 40-year history of Candlelight, and quipped, where can you go for dinner, camaraderie and professional theatre for $55. I hope we turned them into season ticket holders.
For owners Bob and Jody Miller, Aisle Say's suggestion is to lock Chris Alberts and pyrotechnic choreographer Angela Bates Majewski in one of those dank rooms deep in the labyrinthine basement of New Candlelight and bring them up only for succeeding shows.
The show runs through May 30. For more information, visit NewCandlelighttheatre.com or call (302) 475-2313.
Aisle Say - Newark Film Festival
Entrepreneur and Newark Film Festival impresario Barry Schlecker is putting out a call to all Delaware filmmakers, videographers and Spike Lee dreamers.
He's got a new innovation for the festival that he says speaks directly to its mission: a free 30-second commercial screened 300 times throughout the week-long event for each sponsor that qualifies by underwriting at a certain level.
“It's a 'value added' proposal for our sponsors and an innovative way to give exposure to local filmmakers,” he says.
This is clearly a win-win: sponsors get a boost and budding film makers get added exposure at the event, which runs Sept. 10-17 at the Newark Cinema Center 3 and Sept. 18-20 at the Delaware Art Museum.
The commercials may very well take on a life of their own, and by their very nature become a draw for the 5-year old festival, now a solid player in the city's arts and culture.
Head Newark cheerleader and Mayor Vance Funk is a major Thomas Jefferson fan. He intends to fulfill his 30 seconds of Warhol fame dressed as our country's third president. (Think Rudy Guiliani on Saturday Night Live without the dress.)
The filmmakers will meet with sponsors to determine the commercial's mission, create a story board and plan a shoot -- and the owner of the business may very well be the star of the production.
Ric Edevane, owner of video production company Creative Media Group (cmg-de.com) and president of Delaware Independent Film Makers (Whatsthedif.net), has agreed to vet the commercials for quality control.
Locally produced films have always been a part of the festival (a third of the 30 screened indies and documentaries were produced regionally), but this opens the door for more.
Schlecker is emphatic about embracing local film makers and giving them a forum: "We take pride in this aspect of our mission," he says, and it's working.
“The buzz on the new project has been such a success that we are seeking additional film makers,” says Schlecker. “As Spike Lee said, with the advent of YouTube, everyone with a camera can be a filmmaker.”
And with organizations like DIF, Edevane says there's support to become a better one. He characterizes DIF as the premiere Delaware group for the serious filmmaker.
“Find talent for your next film, learn new ways to light and shoot a scene, network with some of Delaware's top award-winning filmmakers or just come out and have fun.”
Gordon Delgiorno, DIF's VP, says his goal is to goal is to make DIF the central hub for all film-related business that passes through the state. He has screened two of his feature films in the festival so far. This Newark connection has ongoing work with the city to catalog their year-long events through Film Brothers (FilmBrothers.com), a company he jointly owns with brother Greg.
Many DIF members will participate in the Film Festival plan. While their work is gratis, there will definitely be competition. Schlecker intends to award cash prizes to winners -- who will be judged by audience acclamation.
For more information, visit NewarkFilm.com or call Barry Schlecker (302) 690-5555.
Aisle Say arts critic Greer Firestone knows who's who and what's what in the local theatre scene. His opinings on the business of art come from a half-century in Delaware theatre.
He's got a new innovation for the festival that he says speaks directly to its mission: a free 30-second commercial screened 300 times throughout the week-long event for each sponsor that qualifies by underwriting at a certain level.
“It's a 'value added' proposal for our sponsors and an innovative way to give exposure to local filmmakers,” he says.
This is clearly a win-win: sponsors get a boost and budding film makers get added exposure at the event, which runs Sept. 10-17 at the Newark Cinema Center 3 and Sept. 18-20 at the Delaware Art Museum.
The commercials may very well take on a life of their own, and by their very nature become a draw for the 5-year old festival, now a solid player in the city's arts and culture.
Head Newark cheerleader and Mayor Vance Funk is a major Thomas Jefferson fan. He intends to fulfill his 30 seconds of Warhol fame dressed as our country's third president. (Think Rudy Guiliani on Saturday Night Live without the dress.)
The filmmakers will meet with sponsors to determine the commercial's mission, create a story board and plan a shoot -- and the owner of the business may very well be the star of the production.
Ric Edevane, owner of video production company Creative Media Group (cmg-de.com) and president of Delaware Independent Film Makers (Whatsthedif.net), has agreed to vet the commercials for quality control.
Locally produced films have always been a part of the festival (a third of the 30 screened indies and documentaries were produced regionally), but this opens the door for more.
Schlecker is emphatic about embracing local film makers and giving them a forum: "We take pride in this aspect of our mission," he says, and it's working.
“The buzz on the new project has been such a success that we are seeking additional film makers,” says Schlecker. “As Spike Lee said, with the advent of YouTube, everyone with a camera can be a filmmaker.”
And with organizations like DIF, Edevane says there's support to become a better one. He characterizes DIF as the premiere Delaware group for the serious filmmaker.
“Find talent for your next film, learn new ways to light and shoot a scene, network with some of Delaware's top award-winning filmmakers or just come out and have fun.”
Gordon Delgiorno, DIF's VP, says his goal is to goal is to make DIF the central hub for all film-related business that passes through the state. He has screened two of his feature films in the festival so far. This Newark connection has ongoing work with the city to catalog their year-long events through Film Brothers (FilmBrothers.com), a company he jointly owns with brother Greg.
Many DIF members will participate in the Film Festival plan. While their work is gratis, there will definitely be competition. Schlecker intends to award cash prizes to winners -- who will be judged by audience acclamation.
For more information, visit NewarkFilm.com or call Barry Schlecker (302) 690-5555.
Aisle Say arts critic Greer Firestone knows who's who and what's what in the local theatre scene. His opinings on the business of art come from a half-century in Delaware theatre.
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