Reader's Choice – The Most Reprehensible Contemporary Political Scandal

As readers over the past four years gratefully acknowledge, topicality and public interest are paramount to our mission here at Aisle Say. Thereby and therefore and without furthering adieus, we wish to give the readers a forum to express their opinions.
This weeks survey asks: “Rate Your Most Outrageous, Scurrilous, Hypocritical, Unseemly and Ignominious Scandal.”

In no particular order. Place them in YOUR order, #1 being THE WORST!

Eliot Spitzer - NY Governor pays $80,000 for prostitutes and resignation
Arnold Schwarzenegger - “The Sperminator” - pumping more than iron
Bill Clinton - Monica Lewinsky – Girl, launder that blue dress!!!
Mark Sanford - Governor of SC – We are ALL looking for our 'soul mate'
John Edwards - Sympathy for wife's cancer and then “love child” appears
Send your choices in order (with comments) to firestone@delaware.net

The Grand's mantra in 2011-2012 season is to bring world-class entertainment to Wilmington while strengthening local arts and community partnerships.
The three performing arts group that share space at 818 Market St. gave a first ever collaborated preview of their respective seasons. Representatives from OperaDelaware, First State Ballet and DE Symphony orchestra sat with Mark Fields, Managing Director of The Grand to announce both their individual seasons and some collaborations..
It is nothing if not an eclectic program, a broad diversity of that should appeal to virtually every segment. The Grand’s programming lineup will appeal to a wide range of audiences, offering classic rockers, R&B singers, popular comedians, magicians, folk and bluegrass virtuosos, multicultural entertainment, and expanded classical options.
There is obvious crossover with World Cafe Live, 3 blocks down the street, and the two entities must be vigilant to avoid the perception of one grabbing a gig before the other has a chance. One would hope the two institutions work to make Market Street a nexus for entertainment.
The 1300 seat theatre is a tweener; i.e. too small to afford major names. With the deft hand of a surgeon Executive Director Steve Bailey must look at the overall demographics of the market, seek out acts playing Baltimore or Philly and catch fill a spot between those dates and negotiate, negotiate, negotiate.
There are major consequences of The Grand's selections. It's $10 million capital campaign appears is in a holding pattern. Over $4 million was pledged the opening night of the campaign several months ago and it is hovering at $5 million presently.
Hard rocker and harder drinker George Thorogood has a September date. George and Tony Award winner Johnny Gallagher are the two most celebrated attendees of Brandywine High School...and neither graduated.
First State Ballet will stage Don Quixote in October and return with The Nutcracker in December. (Son Grant was 1st State Ballet's first Fritz in the late '90's – the scalawag who breaks sister Clara's nutcracker.)
OperaDelaware is staging far and away its most popular opera, Gershwin's Porgy and Bess in 2012, preceded by The Magic Flute in November.
TheGrandWilmington.org, OperaDE.org FirstStateBallet.com
1-800-37-GRAND ticketsatthegrand.org

Opera Delaware and UD REP Ensemble

The time and energy expended for 3 performances. The professional casts, the orchestra, the sets, the costumes, the lighting, the rehearsals, the EGOS, the DIVAS!
More than a job, staging these impressive productions year in year out is a labor of love for those at Opera Delaware. In decades past, when Aisle Say was actively involved with community theatre, I never auditioned for a show that did not run a minimum of two weekends. All that effort for a couple shows? No thanks. Yet Opera Delaware continues to achieve superb reviews, not only locally but from national publications.
Lee Kimball has a visionary eye, a talent as mysterious as the hairline of Donald Trump. He sees and hears qualities in people who will go on to even greater heights internationally. Laura Pederson, the very wealthy and ergo, very merry widow, has performed in various divertisements at Carnegie Hall. Kimball picked her out as Musetta in OD's La Boheme. Now yet another stepping stone in the soprano's career.
So many operas end with unrequited love, sturm und drang and yes, daggers plunging into assorted beating breasts. In 'The Merry Widow', there are more sanguine expectations.
The government needs Hanna's money to stay in their impoverished country. The politicians wish her to marry Danilo to ensure the same. Aha! It emerges that the two were in love before her marriage, but his uncle interrupted their romance because Hanna had absolutely nothing to her name. Circumstances have changed. Although they still love each other, Danilo refuses to court Hanna because of her fortune and Hanna vows she will not marry him until he says "I love you". Let's get this straight...three little words and the country remains solvent? Get with the program, Danilo!
Long time friend Joan Goodfellow plays Olga. In the '70's Joan was in a movie with Jan Michael Vincent and Robert Ryan entitled 'Buster and Billie'. Jan Michael was Buster, before “Airwolf”.Joan was Billie. Check it on You Tube.
(Rely on Aisle Say for institutional theatrical knowledge!)
OperaDE.org May 1, 6 and 7. 800.37-GRAND

U of D REP Ensemble premieres “O Beautiful”. An Aisle Say Exclusive!

The REP Ensemble -sans doubt the best theatre in Delaware – is diverging from its norm of classics from the Masters: Shakespeare, Shaw, Miller, Moliere, et al.
Three years in existence, Producer/Director Sandy Robbins mounts a new show, “O Beautiful” by Theresa Rebeck. Aisle Say has missed but a few of their offerings and has become friends with some of the passionately committed actors.
This will be an interesting piece for the audience and a watershed for the Ensemble. Not only must the piece reach the classically high standards of Sandy Robbins, but the play was written exclusively for them and their talents. A wonderfully intriguing challenge to succeed.
The production has been in a one year evolution. The author worked with the Ensemble actors over this time and asked for their input. It was re-written 7 times before rehearsals began. As a writer who has been there, that is a mix of both omniscient opportunity and unadulterated drudgery.
Robbins knows this show will be controversial. (But, then, what else is theatre about?) Quotes Robbins,”...it is comic, it is dramatic. It is thought provoking. In this era of divisiveness, it is a call for compassion and debate. The resolve is working together.”
Through May 15. Pttp.Udel.edu 831.2204

World Cafe Live opens in Wilmington

World Cafe Live at The Queen Opening

Wow.!!! That was a party...the likes of which downtown Wilmington has not seen since the '70's rehabilitation of The Grand Opera House. The scintillating atmosphere reminded Aisle Say of the time he sneaked into NYC's legendary Studio 54 during its heyday in the '70's.
Energy of the packed house for the opening of The Queen on April 1 could very well have levitated the building. The guests were expectant of how this was to reinvent the former – the emphasis on former - urban equivalent of Death Valley. Euphoria overwhelmed developer Chris Buccini. There had been legions of naysayers on this project. He proved them wrong in a manner befitting royalty. This weekend was transformative for the city and the state.
The hallowed Queen, for decades a dilapidated and dank cavern reaching from Market to King Sts, has been transmogrified into a state of the art hall for music, food, drink and meetings. The pathways to the various spaces reminds one of the Roman catacombs, quickly opening up to a destination of an intimate bar or tricked-out conversation space. The interior design has retained the most interesting aspects of its original stature from over 100 years ago. The oversized original murals are so very cool. The meeting spaces on the 3rd and 4th floors look out over Market Street through 10 foot clerestory windows.
While sold as a VIP night (which one must question for I was allowed in without a disguise), I can testify that I recognized only about 25% of the assemblage...and I'm a native!. Considering this will open Wilmington to completely new audiences, that's a very good thing!
Our city has never seen such diversity in live programming as is promoted on their web site. Saturday mornings are devoted to children's events. All told, over 200 gigs have already been booked. Timidity is not in the vocabulary of this organization: jazz, blues, bluegrass, open mic, classical, folk, new world, you name it. The seating is flexible to cater to both large and small groups of guests at an event.
While The DuPont Theatre's mission does not conflict with World Cafe Live, there is overlap with The Grand. I would hazard a guess and suggest that the latter's demographics are a bit older. The artists at The Grand enjoy more national and international cachet, but that does not suggest that World Cafe is nothing if not Tonto with his ear to the ground listening for new talent. (Not many have heard of Josh Ritter, the entertainer at last week's donors-only soirée. That man is a pure poet and Aisle Say has a Pandora station dedicated to his music. It was announced that evening that philanthropist Tatiana Copeland gave $1 million in matching funds).
My point is regarding the bigger picture. Over one weekend World Cafe is the new elephant on Market Street. It is absolutely essential that the World Cafe and The Grand work together. The powers that be should have weekly powwows. In the past, Mayor Baker has trumpeted “world class city” for Wilmington. Until this weekend, that was all smoke and mirrors. Now we can make that phrase reality.
The Grand and The Queen have historic interiors, great acoustics, centuries old tradition and strong and passionate leaders. The mission must be to complement. Everyone benefits with a coordinated plan; the institutions, the musicians and most assuredly all Delawareans.
http://queen.worldcafelive.com/

Aisle Say wishes to thank Jayne Armstrong, District Director of the SBA for her “Great Idea For Delaware. We will run it next week. If you have a Great Idea, let everyone else know it. firestone@delaware.net

Opera Delaware gets Intimate!

OPERADELAWARE gets Intimate

OperaDelaware has added a Studio Series to its Spring schedule. The cabaret-style evening of opera entertainment will be presented in the intimate surroundings of Opera Studios overlooking the Christina River on Fri., March and Sat., March 19 at 7:30 pm, and on Sun., March 20 at 2 pm, at 4 South Poplar Street, Wilmington.
Leads from future and past productions of OperaDelaware will sing a combination of opera’s greatest hits along with a few interesting selections from operas never performed in their entirety in Wilmington. Guests can sit at V.I.P. tables or in general admission and enjoy a glass of wine or beer while listening to their favorite arias.
“Last year’s Studio Series was a tremendous hit,” says executive director Lee Kimball. “Folks can get their feet wet with opera without having to commit to an entire evening of one opera. We expect they’ll come back for more.”
Jeffrey Miller, OperaDelaware’s Music Director, will accompany the singers and provide commentary.
Soloists will include Susan Nelson and her sister Joanna Gates,who will perform the famous “sister” duet from Cosi Fan Tutte and “Sorgi, O Padre” from Bellini’s Bianca e Fernando; Jeff Chapman, the Count in Le Nozze di Figaro and Marcello in La Boheme; Elisa Matthews, Susanna in Le Nozze di Figaro and Beth in Little Women and members of the Wilmington Childrens Chorus. Guest artists include countertenor Gus Mercante, Lynne Claire Morse and Melody Wilson.
Aisle Say heard Elisa Matthews perform in the musical “Jekyll & Hyde” at Media Theatre. I do not recall my exact quote about her voice, but do remember my very visceral reaction; identical to the swoon cascading over my body when Sarah Brightman first sang “Time To Say Goodbye” to Andrea Bocelli.
For tickets 1-800-37-GRAND

AISLE SAY “Scoop of the Month”

Aisle Say has shown a consistent pattern of scooping our esteemed daily newspaper through his years of bulldogged and unrelenting investigative reporting.
The corporate papers from “The Smartest Guys in the Room” are now ensconced and online at Hagley Museum and Library. A decade ago, the mixture of hubris, auditing corruption, disgraceful corporate governance and Olympian greed brought about the scandal we know as Enron.
Donated by a former board member of Enron, the papers arrived at the Museum in November, were scanned in and made keyword searchable. The minutes are a text for any school of business with a course on deception. Lynn Catanese, Hagley's curator of manuscripts and archives says, “these documents have historical significance to scholars and students”.
Enron was not the biggest bankruptcy in US history, but it destroyed countless lives, made smithereens of Arthur Anderson and engendered the Sarbanes-Oxley legislative reforms. The above titled documentary film was an award winner. I still recall seeing Chairman Ken Lay do his perp walk. President Jeffrey Skilling is still behind bars and in February of this year, his 20 year old son od'd. (Thanks for the legacy, Dad!)
Internal documents may not appear to be as compelling as a quote from Charlie Sheen, but they are 'Winning' in their own right and serve as criterion on how to avoid being the next Enron.
The Library also houses the business records of Avon, Sun Oil, Wawa, Strawbridge & Clothier and, of course, Du Pont Co.
www.hagley.org/library/enron

David Flemng is new Development Director at The Grand

When Dave Fleming was Executive Director of the major performing arts center in Austin TX, Larry Gatlin of The Gatlin Brothers became a friend. Gatlin was waxing philosophic one evening and delivered a phrase that now is prophetic: “You spend half your life trying to get out of town....and the other half fighting your way back.”
Fleming, who was hired as ED of The Grand in 1982, held that position for a decade. He left Wilmington for a bigger theatre and opportunity in New Brunswick NJ. Then on to Austin, Green Bay and the Berkshires as leader of performing arts venues.
Now Dave's Great Mandala brings him back to his hometown and back to The Grand as Development Director.
Though recently living in Massachusetts, Dave and high school sweetheart wife Cathy had kept in touch with Delaware events through the decades. He was aware of the financial stress of The Grand and reached out to friend and colleague ED Steve Bailey. Dave wanted to write a letter to the editor about the desperate need for performing arts in the community. During the conversation, Bailey asked what Dave was doing. “Well, I'm retired....and I am b-o-r-e-d.”
Bailey responded, “Come back to The Grand, man. We need you.”
Dave and I attended Brandywine High together in the '60's. In fact, we were in the first ever Brandywine High Alumni Theatre Association production of “Carnival”., in 1968. (It must be noted that dear sister Liz portrayed 'The Bearded Lady' of the circus, undeniably her most compelling stage role. While she had no speaking lines, Liz brought great pathos to her hirsute character. People talk about it even today.)
In the hippie '70's Dave and I worked together with Earth Shoes in Washington D.C. When I saw him last week at a Grand fund raiser, I exclaimed, 'What in the world are you doing here?”
The House of Medici, the imperious and iron fisted rulers of The Grand during the '90's were long gone. If tar and feathering were legal, their sycophantic Executive Director would have been escorted out of town in this fashion, with Aisle Say leading the charge.
Steve Bailey took over the reins in what Fleming has called “the toughest environment I have ever witnessed. Only now are we seeing the appearance of some light.”
Aisle Say was in attendance the night of the unveiling of the 2011 $10 million capital campaign. Philanthropist Tatiana Copeland announced that she and her husband would donate $1 million each. With others chipping in, that night concluded with 45% of the deal done.
One of Fleming's jobs will be to go after those smaller, annual donors; the ones that were ignored during the Medici era. He understands that The Grand must return to a broad base of support. I need to “make connections”, “bring people back in the fold”.
Regarding The Queen: “It is our greatest fear is that it will not be successful.” The two venues are sharing and comparing notes. With the massive amount of money being poured into The Queen and the hopes for linking Market Street from the Riverfront to Rodney Square, it's failure would be death knell for revitalization.
On the perception of downtown Wilmington, Dave had an interesting take. “Crime occurs when there are few people around. Frankly, the more people on the street, the less likelihood of crime. Therefore, if The Queen brings even more people to their box office, both our entities will prosper...as will our city. Then, that perception will dissipate.”
(Note: I was in a network meeting with Marty Hageman, CEO of Downtown Visions. He had statistics to substantiate that the Market Street hub is the safest place in the city.)
Says Fleming: “I care deeply about live theatre. I love my home town. I love re-connecting with old friends. I think I bring some talents to Steve and The Grand from my own professional experiences. My goal is to put The Grand on a sustainable path.”

OperaDelaware's "La Traviata" and Phila's 1812 Productions.

From the characters and plot of Puccini's 1896 'La Boheme' came Jonathan Larson's revolutionary rock opera 'Rent'. Julia Roberts' landmark film, 'Pretty Woman', is based loosely on Giuseppe Verdi’s “La Traviata”, to be performed Nov. 7 at 2 pm and Nov. 12 & 13 at 7:30 pm at The Grand.
Making her OperaDelaware debut as Violetta, the prostitute with a heart of gold, is soprano Colleen Daly of Columbia, Md., a graduate of Philadelphia’s prestigious Academy of Vocal Arts. Daly had performed at OperaDelaware’s Studio Series on the Riverfront and Executive Director Lee Kimball enthused, “We heard her voice firsthand in our Studio Series and immediately hired for the main stage opera.”
The opera is a poignant love story drawn from an autobiographical novel by Alexander Dumas about a young man from the country (Alfredo) who falls passionately in love with (this is opera, and passion is historically the main motivator of action) a glamorous Parisian courtesan (Violetta). Against her better instincts, she succumbs to his advances and leaves the glittering Parisian demi-monde to live with him in a secluded country villa.  Their idyllic life is threatened when Alfredo’s father arrives to demand that Violetta leave his son to protect the family honor. Violetta agrees and returns to Paris, where her life falls apart when she contracts tuberculosis. Alfredo returns to care for her, but their reunion is brief and the opera ends tragically. (It didn't end this way with Richard Gere).
Verdi wrote “La Traviata” ( “The Fallen Woman”) at the height of his powers in 1853, and some consider it his most beautiful opera.  Numerous divas have considered it a signature role, most notably Maria Callas. 
Joining Ms. Daly in the production will be tenor Alok Kumar (Alfredo) of Somerville, Mass., who has sung with Santa Fe Opera, Austin Lyric Opera and the Spoleto Festival in Italy.
Kimball, a veritable umo universale of opera – and one of the state's great advocates for the performing arts - normally stage directs. With this production he will be designing the set.
A free lecture will be presented one hour before each performance.  
'La Traviata' will be presented in Italian with instant projected translations in English, call 800-37-GRAND, or go to TicketsAtTheGrand.org.  Student rush tickets at $10 are available one half hour before each performance.
OperaDE.org

1812 Productions – Philadelphia – Plays and Players Theatre 1714 Delancey St
'Why I'm Scared of Dance' – one woman show written and acted and 'danced' by Jen Childs
“Those who can't do”, cries Jen Childs, “mock!” As a child Jen played the flute, but she always dreamed of 'the dance'. Her female cousins were very good dancers, both being long, limber and lithe. Jen was tres short and a bit wide around the buttocks.
Poor Jen's physical characteristics mitigated against a career on pointe. She found her calling in comedy. In this 70 minute tour de force, she mocks not only her stuck up, snotty cousins but herself as well. While 'the dance' is the driver in this original production, the title is a metaphor for anyone who has aspired to greatness in a field where greatness was never to be.
Childs studied with several Philadelphia dancers and choreographers who work in a potpourri of styles. She took to the studio to study basic ballet, hip hop, Broadway jazz, modern and finally improvisational dance. “Each”, she states, “have a special place in my story and a different type of fear connected with them.”
She gamely attempts all of them, but Aisle Say suggests most emphatically she hang up her ballet shoes for good after the run of the show. Of course it was all in fun, 1812 Productions being a strictly comedy house, but Childs displayed most precision with hip hop. At the end of the day, it's not the fear that's extraordinary, it's what you do about it.
Through October 31. 1812Productions.org 215.592.9560

Where oh where is a News Journal theatre critic?

The other guy in town
Theatre season opened last week in New Castle County with “The Children's Hour” at Wilmington Drama League and “Little Shop of Horrors” at New Candlelight Dinner Theatre. Where was the News Journal?
Matt Casarino of WDL commented that a critic was unavailable but they were thankful for a run up to the production that appeared the week before.
Aisle Say had reported several weeks ago that NJ scribe Tom Butler's last byline was in May.
Historically, from the halcyon days of The Morning Journal and The Evening Journal (yes, I grew up on the banks of the Brandywine with Wilmington's two dailies delivered to our door), reviews would be out the day after opening.
Printed words were offered up by Dr. Jekyll, Phil Crosland, (Pollyanna in a grey flannel suit) or Mr. Hyde on steroids, Otto Dekom. While Crosland's extracts were nowhere near as erudite as those of his colleague, actors breathed a sigh when they saw him rather than 'the malevolent one' in Row C on the aisle. (True story: I played the lead in “Kismet' for The Brandywiners in 1978 at Longwood. Dekom characterized my stage movements thusly: “Firestone bounces around the stage like a Jack-in-The-Box”. (Not a ringing endorsement for a romantic lead!)
Which leads me back to present day and the apparent absence of any critic at the only daily statewide newspaper.
Possibly a decade ago the NJ quit employing full time reviewers. Arts writing is a bit different than other sections in a big time newspaper – or at least one that purports itself to be big time. Editors seek out poor souls who have no life and who are blessed with a modicum of gravitas in both theatre and the written word. The editor then offers him the opportunity to see all the shows he wants for free and revel with his name in the paper!
(Aisle Say's pay is such that he must hitchhike to theatres and is then asked to help recycle programs after each performance.) But... one digresses.
I understand the economics of the times. Seriously folks, it's pretty pathetic when the NJ lets down both the performers and, in fact, its customers by not seeking out a qualified arts critic. How does this square with Delaware being a 'world class destination'?
When the company does finally get one, Aisle Say hopes he/she will have institutional knowledge of the arts in Delaware and not merely be a place holder.

OperaDelaware gets intimate
OperaDelaware has added a Studio Series to its Fall schedule. The cabaret-style evening of opera entertainment will be presented in the intimate surroundings of Opera Studios overlooking the Christina River Leads from future and past productions of OperaDelaware will sing a combination of opera’s greatest hits along with a few interesting selections from operas never performed in their entirety in Wilmington. Guests can sit at V.I.P. tables or in general admission and enjoy a glass of wine or beer while listening to their favorite arias.
“Last year’s Studio Series was a tremendous hit,” says executive director Lee Kimball.  “Folks can get their feet wet with opera without having to commit to an entire evening of one opera. We expect they’ll come back for more.”
Jeffrey Miller, OperaDelaware’s associate music director, will accompany the singers and provide interesting commentary.
Soloists will include soprano Youna Yang, who sang the title role of Madama Butterfly and Mimi in La Bohème; soprano Lynne Claire Morse, recently in OD's The Barber of Seville. In all, over fifteen professional singers will be entertaining over the weekend.
Fri., Sept. 23 and Sat., Sept. 24 at 7:30 pm, and on Sun., Sept. 25 at 2 pm, at 4 South Poplar Street, Wilmington. For tickets, call 1-800-37-GRAND
Finally, Director Kimball proudly reports that OD was in the black for this fiscal year. “We cut everything but the quality of our performances!” La Traviata is next on November 7 OperaDE.org

Wilmington Drama League
The influence of the DuPont family and company in the arts is so pervasive. The birth of what was to be their arts legacy was birthed in 1902, when the 3 cousins bought the gunpowder company from the elders.
Chick Laird, one of P.S. Du Pont's nephews, asked to use the stage at Longwood for productions. That has become a much beloved annual trek up Rt. 52.
Additionally, in 1933 Laird gathered together a group of community theatre advocates and created what was to be Wilmington Drama League. They have been in that same building on Lea Boulevard since 1941. I played a Japanese peasant boy in “Teahouse of the August Moon” in 1957. My father was my peasant father and my mother (in very serious miscasting) was a geisha girl.
The fanatics (there is no other word) that volunteer at WDL are singular folk and are to be commended for the outrageous hours they work at their craft.
“The Children's Hour” opened last weekend and will run until October 2. Next up is “Chicago” on October 29. WilmingtonDramaLeague.org

Upcoming Theatre Season in DE

Aisle Say recently commented on the upcoming seasons of The REP Ensemble of the UD and The Media Theatre. Local houses have some entertaining surprises.

WILMINGTON DRAMA LEAGUE
Wilmington Drama League opens September 17 with a classic penned by Lillian Hellman's “The Children's Hour”. The drama is set at an all girls boarding school. An angry student runs away and to prevent being returned fabricates a lie about the two headmistresses and a lesbian affair; destroying the women's careers, their relationship and their lives.
Following in October is one of the great dance musicals of all time, “Chicago”. Original Broadway Director/Choreographer Bob Fosse created – next to Russian ballet legend Petipa - the most celebrated and imitated dance movements of all time. New Candlelight Theatre co-founder Jody Anderson, an extremely talented choreo, is on board. One can expect multitudinous thrusting of pelvises.
764.1172 WilmingtonDramaLeague.org

NEW CANDLELIGHT DINNER THEATRE
New Candlelight commences the fall with “Little Shop of Horrors”, certainly one of the quirkiest plots of any successful Broadway show in history. It's a rock musical, but the rock is from the '60's with Motown and doo wop. A nebbish florist shop employee, Seymour, raises a man eating plant. Aisle Say suggested to the stage Director that his first wife could play the plant. Little Shop opens September 11. The show has some great tunes. 'Suddenly Seymour' is a classic.
Dr. Suess's immortal characters are front and center beginning November 6 with “Suessical The Musical”. The plot follows the adventures of Horton the elephant. Playing until December 22, this would be great family holiday entertainment.
475.2313 NewCandlelightTheatre.org

DELAWARE THEATRE COMPANY
Delaware Theatre Company starts a bit late this season with the opening of “Sylvia” on October 20. Last season DTC staged at least one show if not two with actors playing multiple parts. (saves money!) This plan is revisited with their second production, “Around The World In Eighty Days”, wherein 5 actors portray 39 characters. The pressure is on to have a boffo season.
594.1100 DelawareTheatre.org

GRAND OPERA HOUSE
In this relatively small environment, Aisle Say consistently preaches performing arts collaboration. The 2010 Annual Grand Gala on Saturday, December 4, 2010 will feature a sizzling performance by legendary progressive rock band Procol Harum and the Delaware Symphony Orchestra.
From the first time I heard the ethereal “Whiter Shade of Pale” in 1967, I considered it simply otherworldly. It transcended the hard rock of that era brought to us by Led Zepplin, The Who or The Stones. It provoked me, as a 20 year old, to find out just what a 'vestal virgin' was....and equally challenging, in this year of sexual revolution...to find one.
The tune has been judged the most played recording in UK history.
On November 18, 1971, Procol Harum created a seminal moment in pop-rock history by performing with The Edmonton Symphony Orchestra and the Da Camera Singers at Jubilee Auditorium in Edmonton, Alberta, Canada. Widely credited as the first band to bridge the gap between modern pop-rock and the classical music world, the recording of that concert went on to sell millions of albums and opened the door for the marriage of pop music to symphony programs all over the world.
Steve Bailey, Executive Director of The Grand says “both The Grand and the Delaware Symphony Orchestra (DSO) have been seeking to present a joint event of this magnitude for the past few years. When you have the region’s best and biggest house band, you naturally want to show them off, and there could be no better vehicle than the re-creation of the music from that legendary concert by Procol Harum and The Edmonton Symphony Orchestra.”
The after party at The Gold Ball Room will return local favorite Club Phred, an 8 member '60's-'70's cover band whose great show last year made the feature act, The Brian Setzer Band, appear robotic in comparison. Setzer dialed that one in. Club Phred takes no prisoners.
Call Ivy Lane for tickets, 658.7897 or ilane@grandopera.org TheGrandWilmington.org/Grand_Gala

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.

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.

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.

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

Delaware Division of Arts Grants for 2009

Brandywine Hundred, Del. —

Our state's creativity fills our museums, our libraries, concert halls and community theatres, cinemas and retail shops. These works help to sculpt and define who we are. We must nourish creative thinking.

Arts education is not about creating creative individuals--the First State is awash with them. It is about creating more productive individuals. The benefits in doing so are clear. It's no secret that math is linked to music, that fine art is linked to critical thinking, that acting builds self-confidence.

Yet over the last 15 years, the National Endowment of the Arts' budget has been cut from $175 million to $125 million. Many state and local agencies receive direct funding from NEA. The outgoing President speaks of the importance of his signature educational program, No Child Left Behind. However, one of its unintended consequences was a decline in arts education in schools. Barack Obama and Joe Biden have pledged to turn this around.

On a local level, Gov. Elect Jack Markell will introduce legislation for a Delaware Arts Trust, modeled after the highly successful Arts Stabilization Fund. The latter aims to buttress facilities and maintenance of institutions; the former will be for programming.

Outgoing Gov. Minner used a meat cleaver with across-the-board agency cuts to achieve a balanced budget. Markell, who argues that some departments are run more efficiently than others and are not deserving of wholesale and arbitrary reductions, is likely to employ a more delicate and judicious slicing. The Delaware Division of the Arts might not have received the unkind $120,000 cut (5 percent) for Fiscal Year 2009 under Markell's scenario.

Its been a shrinking pie, and further, one that's not been cut justly. An examination of who got what in the Division of Arts Grants 2009 grants shows a disproportionate amount of monies to a few non-profits like Wilmington's Delaware Center for Contemporary Arts (DCCA), the Schwartz Center in Dover, and Yorklyn's Center for Creative Arts (CCArts), who attract few guests and have a relatively negligible impact on the cultural landscape. I think the money could have been better served elsewhere.

Eighty-eight organizations received 118 grants -- the vast majority were small and garden variety at $3,000 - $8,000. The largest grants were given to Delaware's large, recognizable institutions: OperaDelaware, Delaware Art Museum, Delaware Symphony and The Grand – ranging from $83,000 to $107,000.

But the DCCA, which averages 10 guests on an Oklahoma land rush type of day, also received $107,000? They do have an outreach education program, but to receive as much as the Grand? Compare that with venues where people actually attend: Delaware Children's Theatre received $2,500. New Candlelight Dinner Theatre received a paltry $5,000.

Then, CCArts got $68,000? That group reports to serve 10,000 in a year, but it is a limited market in a high per capita income locale.

Other inequalities: the Newark based Delaware Dance Company received $40,000.00, while the First State Ballet Theatre, which travels statewide and has a much higher level of training and personnel, received one-half of that.

The most egregious handout, reminiscent of Treasury Secretary Paulson's bailout to Wall Street execs for their severance packages, is the $62,000 hijacked by the Schwartz Center for the Arts in Dover. Renovated in 2001, the Center is billed as the premiere performing arts center in central Delaware. The Schwartz has been a white elephant since the day it opened after its renovation. It does not have sufficient seats to draw even third tier national talent. Listed on its web site presently are a whopping eight performances for 2009; six of which are one-nighters. The Schwartz board should turn over the center to either Wesley or Delaware State for $1, accept reality and be done with the misery. It will never, ever be a success. It's size and location mitigate against it. Aisle Say's olfactory meter smells a political earmark worthy of Senator Ted Stevens' Bridge to Nowhere.

This is the Aisle Say column of the year. I have greatly appreciated the opportunity to comment on the arts.

One last plug...former News Journal reporter Nancy Lynch's “Vietnam Mailbag” has been reported extensively by Community News and elsewhere. The coffee table book compiles letters home from Delawareans as they served in Nam. The quote below, dated Dec. 23,1972, was never published in Lynch's newspaper column but made her book. Navy Seaman Ed Cycyk, a P.S. duPont High grad of 1971, was channeling George Santayana with this comment: “I know this is the season to be jolly, but how can I be happy with all the hatred and discontent in the world. I'm just praying everything will come out alright.” Mr. Cycyk, this letter could very well be postmarked Dec. 23, 2008...from another foreign land with the same plea for peace. Www.VietnamMailbag.com.

Three Little Bakers at baby grand

“Ya gotta have a gimmick!” Words of advice that father Hugo Immediato passed down to daughter Vicki 35 years ago. In fact, Hugo and brothers Nick and Al had two gimmicks. Their own father was a first generation Italian immigrant who passed through Ellis Island and established a bakery in Little Italy. The boys grew up as part of the family workforce.
Their second gimmick was their athleticism. The trio became accomplished acrobats and hungered for the heat of Broadway lights rather than that of the ovens . The Three Little Bakers toured on the post-vaudeville circuit and appeared with multitudinous celebrities including Kirk Douglas and Bob Hope.
Injury precipitated a return to Wilmington. But the three weren't done with show business quite yet.
In 1972, theatre, food and their 'patented' desserts were mixed together in an entertainment souflee with the opening of 3 Bakers Dinner Theatre in Kennett Square. Vicki, now part of the growing second generation and still in college, was conscripted and became hat check girl, bookkeeper and hostess – every night!
The move to Pike Creek Valley and a custom designed building followed in 1983. For over 15 years it was almost impossible for locals to book in the 900 seat theatre. 'Bakers' did not advertise locally. Why bother? Five nights a week an observer would see a dozen tour buses in the parking lot with license plates from NJ, PA, MD and VA.
In the late '90's the market began to change. Casinos opened. The entertainment 'pie' was being cut into several slices. The entire mission of 3 Bakers was based on 'family' shows. Broadway was not churning out thematic clones of 'The Sound of Music', or 'The Music Man'.
“We thought it would go on forever,” says Vicki. “For our guests, we considered ourselves the end of a beautiful day.”.i.e....for travelers who had visited Delaware destinations with their tour guides. The theatre closed two years ago.
The second and third generation Immediato family members have for the most part gone their own ways. Vicki, who became President of the business several years ago, continues the torch at the baby grand.
For the second year, her new company VR Hospitality (under the 3 Bakers banner), is presenting 'Home For The Holidays”. Weber-Prianti Productions, a part of Bakers for 25 years, is producing and directing.
Jim Weber is both director and Music Director, creator of the first Bakers Christmas show in 1990. This month's production is not dissimilar from years past. “The Christmas show”, says Weber, “was consistently our most popular. All of the leads this year performed for years at Bakers and are experienced professionals. We're all family.”
This is a production to bring the entire brood, even the aunt you don't really like. She will appreciate your sacrifice and speak more highly of you.
Tiffany Christopher, returning from last year's show, lights up the stage any time she is featured. Her “Santa Baby” song and dance with 8 rollicking and saucy Santas was 'merrymaking'. 8 year old Lexi Saunders has been an attentive student to choreographer and mom Vicki Saunder's instructions.
News Flash: I have received an email from the North Pole reporting that Santa and Mrs. Claus will be in attendance 1 hour before each show for pictures.
Vicki Winton has a fervent and unequivocal belief that the public still wants family fare. “We are continuing a family tradition set decades ago. The Immediato family to your family.”
In one scene a child queries the existence of Santa. An adult then reads the classic 1897 'Yes, Virginia, There is a Santa Claus.”. Part of the message to Virginia reads “He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to your life its highest beauty and joy. Alas! how dreary would be the world if there were no Santa Claus. It would be as dreary as if there were no VIRGINIAS.” In this world cynicism and sarcasm are a high art form unto themselves. But the thought occurred at that moment, the world would be more dreary if there were no Vicki Immediato Wintons.
Home For The Holidays runs through 27 December. Many performances are matinées – great for grandkids! Group discounts. Call The Grand at 302.652.5577 or www.TicketsAtTheGrand.org

Community News - La Boheme

Donning my Jimmy Olson investigative hat, I posed a query to Lee Kimball. “One hanky?”

Kimball, general and artistic director did not miss a beat. “Two or three minimum. You can loan one to your neighbor.”

“La Boheme is the perfect opera for the first time opera goer,” says Kimball. “It has some of the most beautiful music written for voice; its theme is of youth and artistic risk, of experiencing love and loss for the first time and of sacrifices one makes for one's art. And, as we know, its plot was borrowed and turned brilliantly into the long running Broadway rock opera 'Rent.' ” The success of the stage show spawned the movie.

Giacomo Puccini's masterpiece is set in 1830 in the bohemian section of Paris; the iconic Latin Quarter: 1830 bohemians begat 1960 hippies. An author, a painter, a philosopher, a singer and a seamstress are huddled in a shabby apartment conspiring on how to forage for food and make...rent.

The irony of OperaDelaware is that the organization is better known and respected more outside of the state than by its own residents.

“Consistently,” says Kimball, “we have artistic directors from around the nation attend our performances. Many of our leads have gone on to successful careers, including The Met. OperaDelaware is a showcase for amazing young talent."

All parts are paid in each production, including chorus. Anyone can try out. Kimball auditions not only in Wilmington but also in New York.

“This year we had one singer fly in from California for a 10 minute audition and fly back the same day. That is the reach and the recognition of our group.”

This fact also resonates on the power of regional theatre. Two La Boheme leads live elsewhere: North Carolina and Ohio.

Marcello, the painter, is 22-year old Jeffrey Chapman who grew up in Newark and studied at the UD. Youna Jang, the title character from last year's successful 'Madama Butterfly,' returns as Mimi, the seamstress. Her discovery by Kimball came about from his long time association with the graduate program of Temple University's Department of Music.

“Youna stunned audiences last year. We will be debuting another South Korean tenor from Temple, Injoon Yang, playing Mimi's lover, Rodolfo. This voice will soon be heard in theatres around the world, believe me.” (At his lover's tragic passing, Rodolfo cries out in anguish, weeping helplessly, thereby prompting the implementation of the aforementioned hankies.)

Kimball is proud of the fact that ticket sales - only 30 percent of the organization's budget - are up 25 percent this year. OperaDelaware is one of five beneficiaries of “Arts for Delaware's Future,” a fund headed by arts philanthropist Tatiana Copeland. Kimball reports the group has received a grant of $250,000.00 for a market survey by a major national firm. That's a lot of money. Kimball suggests the aim of the results will be to examine audiences, create focus groups and determine how to motivate various corporate stakeholders for the future of the arts in the state.

Performances are Nov. 2 at 2 p.m. and Nov. 7 and 8 at 8 p.m. The Humanities Forum is funding an hour long lecture on La Boheme before each show. OperaDelaware has connected with The Exchange Restaurant on Market Street for dinners.