“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
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