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unpublished photos from the Beinecke Library of Yale University.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
Tuesday, March 24, 2009
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.
Idina Menzel at Grand Opera House
To be considered in the same exhale as La Barbara or The Divine Miss M suggests not only great artistic achievement but also that indefinable, alluring and intangible “je ne sais quoi.”
Barbara Streisand and Bette Middler are triple threats: they began their careers on stage, ascended quickly to film, then to solo careers.
And though Idina Menzel hasn't yet attained these living legend's Olympian status -- she does, dare it be said, do these stars one better.
She has written her own songs for her debut album “I Stand” for Warner Bros. and is touring in its support. Last year it was the 300 seat Baby Grand for Ms. Menzel. This year it's show time: The full Grand, with all its superb acoustics, will embrace her singular voice and send it resonating through all of us.
Aisle Say had the opportunity to chat with her on her tour bus headed for the Count Basie Theater in Red Bank, N.J.
In 1995, Idina auditioned for the Broadway-bound "Rent" and won the part of Maureen, an outspoken bi-sexual performance artist. The role earned Menzel her first Tony nomination and the musical went on to win four Tony Awards and the Pulitzer Prize. She played the part in the subsequent movie.
I asked her about the emotion of the cast on opening night -- the same day composer and lyricist Jonathan Larson died.
“Chaotic,” Idina explained. “We were all so young. We deeply loved Jonathan not only as a person but for the great gift of music that he bestowed upon us. When we were offstage we were all crying. Right before we went on we wiped our eyes and regained character. We sang our hearts out for Jonathan that night.”
In 2003, Idina originated the role of "the green girl," the misunderstood witch in the hit musical "Wicked" which included her show-stopping performance of the song "Defying Gravity." In 2007, she re-recorded and remixed “Gravity” and the song went on to become a top five hit on the Billboard Dance Chart. Her star turn in "Wicked" won her a Tony Award and huge critical acclaim.
Her growing international following includes a cult-like gay crowd -- she's not sure why, but perhaps due to roles she's played on Broadway, she explains.
There are nine tracks on the new album. She's not sure which she'll do in Wilmington March 27, where she'll be perform with a four-piece combo and two back up vocalists.
"I get bored easy doing the same stuff all the time. But I must say, standing alone in front of a packed audience is a real rush.”
Barbara Streisand and Bette Middler are triple threats: they began their careers on stage, ascended quickly to film, then to solo careers.
And though Idina Menzel hasn't yet attained these living legend's Olympian status -- she does, dare it be said, do these stars one better.
She has written her own songs for her debut album “I Stand” for Warner Bros. and is touring in its support. Last year it was the 300 seat Baby Grand for Ms. Menzel. This year it's show time: The full Grand, with all its superb acoustics, will embrace her singular voice and send it resonating through all of us.
Aisle Say had the opportunity to chat with her on her tour bus headed for the Count Basie Theater in Red Bank, N.J.
In 1995, Idina auditioned for the Broadway-bound "Rent" and won the part of Maureen, an outspoken bi-sexual performance artist. The role earned Menzel her first Tony nomination and the musical went on to win four Tony Awards and the Pulitzer Prize. She played the part in the subsequent movie.
I asked her about the emotion of the cast on opening night -- the same day composer and lyricist Jonathan Larson died.
“Chaotic,” Idina explained. “We were all so young. We deeply loved Jonathan not only as a person but for the great gift of music that he bestowed upon us. When we were offstage we were all crying. Right before we went on we wiped our eyes and regained character. We sang our hearts out for Jonathan that night.”
In 2003, Idina originated the role of "the green girl," the misunderstood witch in the hit musical "Wicked" which included her show-stopping performance of the song "Defying Gravity." In 2007, she re-recorded and remixed “Gravity” and the song went on to become a top five hit on the Billboard Dance Chart. Her star turn in "Wicked" won her a Tony Award and huge critical acclaim.
Her growing international following includes a cult-like gay crowd -- she's not sure why, but perhaps due to roles she's played on Broadway, she explains.
There are nine tracks on the new album. She's not sure which she'll do in Wilmington March 27, where she'll be perform with a four-piece combo and two back up vocalists.
"I get bored easy doing the same stuff all the time. But I must say, standing alone in front of a packed audience is a real rush.”
Monday, March 16, 2009
Newark Film Festival FREE commercials
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 five-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 five-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.
Tuesday, March 10, 2009
City Theatre does Matt Casarino's shorts
City Theater, residing at Opera Delaware Studios on S. Poplar, can always be counted on to invent ways to re-invent itself.
The organization's favorite son, playwright Matt Casarino, recently unveiled “Casarino Royale” staging seven (get it, 007) of his short plays, each fronted by an extemporaneous take-off of a Bond movie. Some of these opener skits fell flat, nevertheless, all were enjoyed by the raucous City Theater in-crowd.
“Yes Mamet” satirized playwright David Mamet's fascination with the “F word.” Casarino even coined a new term, “mametized,” signifying its continued use as noun, verb, adjective and adverb to describe pain, pleasure, hate and love. With such an emphatic and flexible word, really, I ask, how can anyone be offended?
In “Midnight Train To George,” T.S. Barnes (Kim) and Valerie Hutchinson (Raye) play women in a chance encounter on a train who had engaged in a menage a trois with the unseen (but happily contented) George. Their various stages of denial, recognition, embarrassment and resolution were superbly woven in a playlet of only 10 minutes.
While Barnes is a very good actress, I was especially impressed with Hutchinson. It is rare that an actor makes the audience feel so completely at home, comfortable in her skin and confident in her character. This is a gift.
On the writing side, the specific sexual encounter need not have been mentioned: prurience reaches greater heights in the imagination. Hints were dropped all along. We got the picture.
“Green Eggs and Mamet” saw a return to the aforementioned author and was the highlight of the evening. Jim Burns (Sam) played a smarmy con man the likes we haven't encountered since James Woods' slimy character in DeNiro and Sharon Stone's movie “Casino.”
Gordon Holmes (Man) was not to be deceived and parried Sam's grifter banter with aplomb. The dialogue was masterful and wildly inventive. “Green Eggs” refers to the author's conceit of lifting some of the rhythmic and rhyming beat from the Dr. Seuss classic. Pairing “desk” to “grotesque” was hysterical. The dialogue also reminded me of the ribald nature of Chaucer's Canterbury Tales.
A few of Casarino's plays have been picked up by licensing bureaus and have been presented internationally. Huzzahs to him.
The show runs through March 14. For more information, visit City-Theater.org.
The organization's favorite son, playwright Matt Casarino, recently unveiled “Casarino Royale” staging seven (get it, 007) of his short plays, each fronted by an extemporaneous take-off of a Bond movie. Some of these opener skits fell flat, nevertheless, all were enjoyed by the raucous City Theater in-crowd.
“Yes Mamet” satirized playwright David Mamet's fascination with the “F word.” Casarino even coined a new term, “mametized,” signifying its continued use as noun, verb, adjective and adverb to describe pain, pleasure, hate and love. With such an emphatic and flexible word, really, I ask, how can anyone be offended?
In “Midnight Train To George,” T.S. Barnes (Kim) and Valerie Hutchinson (Raye) play women in a chance encounter on a train who had engaged in a menage a trois with the unseen (but happily contented) George. Their various stages of denial, recognition, embarrassment and resolution were superbly woven in a playlet of only 10 minutes.
While Barnes is a very good actress, I was especially impressed with Hutchinson. It is rare that an actor makes the audience feel so completely at home, comfortable in her skin and confident in her character. This is a gift.
On the writing side, the specific sexual encounter need not have been mentioned: prurience reaches greater heights in the imagination. Hints were dropped all along. We got the picture.
“Green Eggs and Mamet” saw a return to the aforementioned author and was the highlight of the evening. Jim Burns (Sam) played a smarmy con man the likes we haven't encountered since James Woods' slimy character in DeNiro and Sharon Stone's movie “Casino.”
Gordon Holmes (Man) was not to be deceived and parried Sam's grifter banter with aplomb. The dialogue was masterful and wildly inventive. “Green Eggs” refers to the author's conceit of lifting some of the rhythmic and rhyming beat from the Dr. Seuss classic. Pairing “desk” to “grotesque” was hysterical. The dialogue also reminded me of the ribald nature of Chaucer's Canterbury Tales.
A few of Casarino's plays have been picked up by licensing bureaus and have been presented internationally. Huzzahs to him.
The show runs through March 14. For more information, visit City-Theater.org.
Monday, March 2, 2009
Aisle Say - Of Mice and Men
It's the economy, stupid! Some say if it doesn't turn soon, we're headed for a depression. Some are already there: I'm depressed. You're depressed. So why attend "Of Mice and Men," a production set in the Depression (The Great One) with a plot about forlorn folk whose dreams of finding a “stake” are as devalued as our 401k's?
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
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