The urgent letter 10,000 Grand Opera House supporters received last week was disturbing. Patrons were asked to donate $150 each by July to underwrite a budget shortfall of $500,000.
The prospect of The Grand shuttering its doors is preposterous. It is our Empire State Building, our Golden Gate Bridge.
Executive Director Steve Bailey has not suggest the institution is about to close, but the implications are clear. And perceptions rule, so it is surprising that this financial hiccup was not resolved behind closed doors.
The Grand, along with seven other statewide arts institutions, receives payment from The Arts Stabilization Fund, a state/corporate endowment. They all rely on this endowment to maintain their facilities, and we all know about equity loss these days.
In the midst of a a lot of bad news for the arts, there are a few bright spots. The Grand's letter comes the same week that Aisle Say reported that three quarters of the $24 million needed has been committed for The Queen Theatre, a long-vacant entertainment venue three blocks south of the Grand that a public-private partnership hopes to revive as a hip, new "World Cafe Live South" of sorts.
Rob Buccini, whose development company has invested loads to revive Market Street, and who owns The Queen, recently called this latest venture "the most important project we have ever done.” If Buccini makes a comment like that, well, break out the silver shovels for the photo op.
Hopes are high for The Queen's success. But as Buccini has also said, the viability of Wilmington's arts and entertainment life depends on creating and maintaining a critical mass. It's time to consider new strategies to ensure the future of the arts. How about a co-op for economies of scale discounts for all institutions? What about consolidation: move some institutions into available space in others?
This may be blasphemy to suggest, but, for example, the Delaware Center for Contemporary Art on the Riverfront has a prime location any developer would love. What about moving to some of The Grand's empty floors? More traffic for both could result.
Film making is art. Wilmington University has a strong program. The city should entice them to move that division to Market Street. More blasphemy, perhaps, but it would fill some of Buccini-Pollin's empty space, and more importantly, it would bring more of a critical ingredient – students – to downtown to join Delaware College of Art and Design's students already there. Critical mass, once again. Creative partnerships, too?
The Grand's Bailey could work a deal with Sandy Robbins of the University of Delaware Professional Theater Training Program to drive traffic to the little-used downtown 300-seat facility. There is no finer acting in the state than the theatre training program and their newly-established professional group, the Resident Ensemble Players. Their home base is at Hartshorn Hall in Newark, so expanding its productions to Wilmington might draw a crowd who won't drive south.
Monday, February 23, 2009
Monday, February 16, 2009
"Save The Queen" in Wilmington Delaware
To say the long-vacant Queen Theatre on Market Street is dilapidated is to hint that mother of octuplets Nadya Suleman may have too many kids. To say it is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth.
But years ago I wrote an opinion piece entitled “Save The Queen” (the theatre, not Liz ), calling for its revival. Now the Buccini-Pollin Group is doing just that.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of small-minded Lilliputian thinking. To the contrary, they are the broad-thinking Brobdingnagians of Delaware.
They own most of Market Street. But they realized the cornerstone of their $250 million redevelopment project was a 50,000-square-foot edifice smack in the middle of their properties spanning 10th Street to the Riverfront. The behemoth has sat deteriorating for 49 years.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very, very happenin' live music venue that draws an eclectic array of acts from celebrated artists to emerging ones. It is an investor and will be the operator of the Queen; delivering musical fuel from Philly to energize downtown Wilmington faster than the Alaska pipeline.
Entertainment draws traffic, and eventually the three Big R's: renters, retailers and restaurants.
With its promise of solid economic and cultural development, its no surprise that the City of Wilmington has backed it with $1 million and already grants have been committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. Marshalling the non-profit arm is Wilmington-born Bill Taylor.
Taylor and Chris Buccini are childhood friends that attended Wilmington Friends together, boarding school for high school and went on to Princeton together. But more importantly, Taylor ran the legendary Tipitina's Restaurant in “N'awlins.” More than having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition after after Hurricane Katrina. Among other things, he created Instruments a Comin', which bought new instruments for every New Orleans school. He plans to replicate that kind of effort here.
The Light Up The Queen Foundation will create educational programming to engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, musical instrument distribution, and an artist co-op space are already planned.
And finally, dear readers, an Aisle Say quick quiz: In the movie “Robin Hood,” who served the King's English with more beauty, elegance and grace? Was it Errol Flynn in the '50s or Kevin Costner in the '90s? No question on that one. (Oh, that Midwestern monotone so did not work!) However in “Field of Dreams,” Costner did utter the mantra that will become the Queen's -- “build it and they will come.”
But years ago I wrote an opinion piece entitled “Save The Queen” (the theatre, not Liz ), calling for its revival. Now the Buccini-Pollin Group is doing just that.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of small-minded Lilliputian thinking. To the contrary, they are the broad-thinking Brobdingnagians of Delaware.
They own most of Market Street. But they realized the cornerstone of their $250 million redevelopment project was a 50,000-square-foot edifice smack in the middle of their properties spanning 10th Street to the Riverfront. The behemoth has sat deteriorating for 49 years.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very, very happenin' live music venue that draws an eclectic array of acts from celebrated artists to emerging ones. It is an investor and will be the operator of the Queen; delivering musical fuel from Philly to energize downtown Wilmington faster than the Alaska pipeline.
Entertainment draws traffic, and eventually the three Big R's: renters, retailers and restaurants.
With its promise of solid economic and cultural development, its no surprise that the City of Wilmington has backed it with $1 million and already grants have been committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. Marshalling the non-profit arm is Wilmington-born Bill Taylor.
Taylor and Chris Buccini are childhood friends that attended Wilmington Friends together, boarding school for high school and went on to Princeton together. But more importantly, Taylor ran the legendary Tipitina's Restaurant in “N'awlins.” More than having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition after after Hurricane Katrina. Among other things, he created Instruments a Comin', which bought new instruments for every New Orleans school. He plans to replicate that kind of effort here.
The Light Up The Queen Foundation will create educational programming to engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, musical instrument distribution, and an artist co-op space are already planned.
And finally, dear readers, an Aisle Say quick quiz: In the movie “Robin Hood,” who served the King's English with more beauty, elegance and grace? Was it Errol Flynn in the '50s or Kevin Costner in the '90s? No question on that one. (Oh, that Midwestern monotone so did not work!) However in “Field of Dreams,” Costner did utter the mantra that will become the Queen's -- “build it and they will come.”
Sunday, February 8, 2009
The Queen Theatre Wilmington Delaware
In 1997 I wrote an opinion piece in the News Journal entitled “Save The Queen” (the theatre, not Liz ). The Buccini-Pollin Group has done just that.
To say The Queen is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth. To say The Queen is dilapidated is to hint that Nadya Suleman may have too many kids.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of Lilliputian thinking. To the contrary, they are the Brobdingnagians of Delaware. They own most of Market Street. But they realized that the cornerstone of their $250 million redevelopment project was a 50,000 square foot edifice sitting right in the middle of their properties at 10th & Market to the Riverfront. The behemoth had sat vacant for 49 years.
Entertainment draws traffic...and eventually the three Big R's: renters, retailers and restaurants.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very very happenin' live music venue. World Cafe, a non-profit, draws an eclectic array of acts – blues, rock, folk and world music; from celebrated artists to emerging ones. This theme will be followed in Wilmington.
I attended World Cafe last weekend to see a local Brazilian drum group. They rocked the place. Food and libations are available after a slight cover.
In fact, World Cafe Live is an investor in The Queen and will be the operator; delivering musical fuel from Philly as fluidly as the Iraqi pipeline. (well, ok, that's not a great analogy).
Brought in from New Orleans to marshal the project is Wilmington-born Bill Taylor. Taylor went to school with Chris Buccini but more importantly he ran the legendary Tipitina's Restaurant in “Nawlins”. In addition to having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition. Www.tipitinas.com
Says Taylor, “after Katrina we created a fund raiser called “instruments a comin”. The end result was that the Foundation bought new instruments for every New Orleans school.” Other endeavors of the Foundation will be incorporated in the mission of The Queen and Taylor intends to “take the successes in New Orleans and replicate them here.”
$18 million of the $25 million project is raised says Taylor. The Queen's own Foundation, Light Up The Queen” is up and running. The City of Wilmington invested $1 million and grants are committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. The completed project will include a main performing hall with dining, a second stage for live music in a casual dining venue, banquet/event space on the upper floors and a studio for regional broadcast of WXPN.
The Light Up The Queen Foundation will be responsible for creating educational programming that will engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, distribution of musical instruments, and an artist co-op space are already planned.
To promote the project, Taylor is staging a series of gigs at the Crosby-Hill Building at 605 Market St. Singer Sharon Little appears February 19. The next day, the 20th, Taylor is hosting the “1st Annual Mardi Gras on Market Street.” This is a fund raiser for The Queen. The entertainment includes legendary musicians from New Orleans. Party goers are encouraged to come in costume. Www.LightUpTheQueen.org
To say The Queen is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth. To say The Queen is dilapidated is to hint that Nadya Suleman may have too many kids.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of Lilliputian thinking. To the contrary, they are the Brobdingnagians of Delaware. They own most of Market Street. But they realized that the cornerstone of their $250 million redevelopment project was a 50,000 square foot edifice sitting right in the middle of their properties at 10th & Market to the Riverfront. The behemoth had sat vacant for 49 years.
Entertainment draws traffic...and eventually the three Big R's: renters, retailers and restaurants.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very very happenin' live music venue. World Cafe, a non-profit, draws an eclectic array of acts – blues, rock, folk and world music; from celebrated artists to emerging ones. This theme will be followed in Wilmington.
I attended World Cafe last weekend to see a local Brazilian drum group. They rocked the place. Food and libations are available after a slight cover.
In fact, World Cafe Live is an investor in The Queen and will be the operator; delivering musical fuel from Philly as fluidly as the Iraqi pipeline. (well, ok, that's not a great analogy).
Brought in from New Orleans to marshal the project is Wilmington-born Bill Taylor. Taylor went to school with Chris Buccini but more importantly he ran the legendary Tipitina's Restaurant in “Nawlins”. In addition to having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition. Www.tipitinas.com
Says Taylor, “after Katrina we created a fund raiser called “instruments a comin”. The end result was that the Foundation bought new instruments for every New Orleans school.” Other endeavors of the Foundation will be incorporated in the mission of The Queen and Taylor intends to “take the successes in New Orleans and replicate them here.”
$18 million of the $25 million project is raised says Taylor. The Queen's own Foundation, Light Up The Queen” is up and running. The City of Wilmington invested $1 million and grants are committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. The completed project will include a main performing hall with dining, a second stage for live music in a casual dining venue, banquet/event space on the upper floors and a studio for regional broadcast of WXPN.
The Light Up The Queen Foundation will be responsible for creating educational programming that will engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, distribution of musical instruments, and an artist co-op space are already planned.
To promote the project, Taylor is staging a series of gigs at the Crosby-Hill Building at 605 Market St. Singer Sharon Little appears February 19. The next day, the 20th, Taylor is hosting the “1st Annual Mardi Gras on Market Street.” This is a fund raiser for The Queen. The entertainment includes legendary musicians from New Orleans. Party goers are encouraged to come in costume. Www.LightUpTheQueen.org
Big River review at Wilmington Drama League
“Dang me”. “Dang Me”. Roger Miller would have been proud of the Wilmington Drama League's production of “Big River'. Miller, composer of “Dang Me” and “King of the Road”, ventured onto Broadway by setting his music to Twain's “The Adventures of Huckleberry Finn”.
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
Wilmington Music School has new name
I recently spoke to a Brandywine Hundred mother who spoke glowingly of her children's experience in the Kindermusik program at the (newly renamed) Music School of Delaware
“Like any language, the earlier the better,” she said. "Kindermusik was rhythm, keeping time, beauty, discipline, respect, appreciation and care for the instruments. The music, the teachers, other students, performing, actually learning to read and write music and then the big added bonus of developing math skills.
“It was one of the very best things I ever did for the kids,” she said of the school, formerly named the Wilmington Music School/Delaware Music School, with branches in Wilmington and Milford. "Really, on so many levels a great thing.”
My son Grant, now 20, took lessons from flautist instructor Lynne Cooksey at the Wilmington Music School for seven years when he was in elementary and middle school. Cooksey continues at the school and is a long term member of the Delaware Symphony. The discipline and problem solving skills learned serves him well today. Our family was on financial aid with the school, a factor that the school understands is necessary to encourage children to reach their full potential.
Kate Ransom, president and CEO for ten of the school's 84 years, has led its expansion on many fronts. Of the more than 800 community music schools in the nation, it is one of only 30 that is fully accredited.
A recent merger with Delaware Music School of Milford has created a statewide presence.
“Two years ago the Milford group reached out to us,” said Ransom. “We incorporated them into our administrative and educational structure. Our name change simply reduces ambiguity. Nothing structural has changed, in fact we are all enhanced.”
Many of the faculty members I remember from almost two decades ago remain, a sure sign of stability. More than half have earned either master's or doctoral degrees. This is the asset that Ransom calls “our true substance.” The school offers the only Suzuki Academy in both violin and flute in the region.
“One of the virtues of Suzuki is that young children hear their peers' mistakes and achievements. They don't play in a vacuum, speeding the learning process,” she explained.
Wilmington's location recently added a new wing offering more ensemble and instruction rooms.
The Music School exemplifies the word "community" in their outreach. From early childhood development programs, to individual and group lessons offering both choral and orchestral ensembles, they serve 2,300 children and adults weekly. There are satellite locations throughout the state, and a new innovation offers music school teachers as music components to day care center programming.
More than 75 public performances are staged annually in their 300-seat theater. One is struck by their diversity: Christiana Cultural Arts Center students celebrating West African dance, Indian sitars, Greek songs, Chinese American Community with Dragon and Lion dance, Israeli dance from the Adas Kodesch synagogue.
Truly a polyglot of global music, reflecting the music of the community it serves.
Ransom is not only a teacher at the school but also plays violin in The Serafin Quartet. The quartet will play a concert at First & Central Presbyterian Church on Feb. 22. For more information about the concert, visit www.SerafinQuartet.org. For more information about the Music School of Delaware, visit www.WilmingtonMusic.org or call 762-1131.
“Like any language, the earlier the better,” she said. "Kindermusik was rhythm, keeping time, beauty, discipline, respect, appreciation and care for the instruments. The music, the teachers, other students, performing, actually learning to read and write music and then the big added bonus of developing math skills.
“It was one of the very best things I ever did for the kids,” she said of the school, formerly named the Wilmington Music School/Delaware Music School, with branches in Wilmington and Milford. "Really, on so many levels a great thing.”
My son Grant, now 20, took lessons from flautist instructor Lynne Cooksey at the Wilmington Music School for seven years when he was in elementary and middle school. Cooksey continues at the school and is a long term member of the Delaware Symphony. The discipline and problem solving skills learned serves him well today. Our family was on financial aid with the school, a factor that the school understands is necessary to encourage children to reach their full potential.
Kate Ransom, president and CEO for ten of the school's 84 years, has led its expansion on many fronts. Of the more than 800 community music schools in the nation, it is one of only 30 that is fully accredited.
A recent merger with Delaware Music School of Milford has created a statewide presence.
“Two years ago the Milford group reached out to us,” said Ransom. “We incorporated them into our administrative and educational structure. Our name change simply reduces ambiguity. Nothing structural has changed, in fact we are all enhanced.”
Many of the faculty members I remember from almost two decades ago remain, a sure sign of stability. More than half have earned either master's or doctoral degrees. This is the asset that Ransom calls “our true substance.” The school offers the only Suzuki Academy in both violin and flute in the region.
“One of the virtues of Suzuki is that young children hear their peers' mistakes and achievements. They don't play in a vacuum, speeding the learning process,” she explained.
Wilmington's location recently added a new wing offering more ensemble and instruction rooms.
The Music School exemplifies the word "community" in their outreach. From early childhood development programs, to individual and group lessons offering both choral and orchestral ensembles, they serve 2,300 children and adults weekly. There are satellite locations throughout the state, and a new innovation offers music school teachers as music components to day care center programming.
More than 75 public performances are staged annually in their 300-seat theater. One is struck by their diversity: Christiana Cultural Arts Center students celebrating West African dance, Indian sitars, Greek songs, Chinese American Community with Dragon and Lion dance, Israeli dance from the Adas Kodesch synagogue.
Truly a polyglot of global music, reflecting the music of the community it serves.
Ransom is not only a teacher at the school but also plays violin in The Serafin Quartet. The quartet will play a concert at First & Central Presbyterian Church on Feb. 22. For more information about the concert, visit www.SerafinQuartet.org. For more information about the Music School of Delaware, visit www.WilmingtonMusic.org or call 762-1131.
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