UD REP Ensemble: THE CRIPPLE OF INISHMAN

After witnessing a number of Irish penned plays at UD REP Ensemble, Aisle Say comes to the conclusion this 'Sons of Erin' author/playwright fellowship are a most schizophrenic lot. From George Bernard Shaw, Samuel Beckett to the more contemporary Gabriel Bryne, Brian Friel and now to 'Cripples' author Martin McDonagh, their love for their land is 'just complicated'!

“What would heaven be like? It can't be more beautiful than Ireland.” The writers love the beauty, revere the simple folk but rail at their passiveness against the ruling classes (UK), extol Catholicism in one breathe but are horrified by the oppressiveness it demands relating to one's feelings.

I am amazed and disconcerted by the lack of young people in the audience. The REP is a laboratory for students of theatre. Pretty words on a sheet are one thing. The REP actors give the written word flesh and blood and by the art and character they create, the drive those words without abandon into your soul.

So it is with “The Cripple of Inishman”.Directed at a pretty pace by J.R.Sullivan, the story takes place on a small island. Author McDonagh attacks the stereotypical portrayals of the Irish and their culture like Seinfeld goes after George Costanza. “I've seen nicer eyes on a goat!” “I'll be laying off the whiskey now and again....and at breakfast.” “Did you ever see the Virgin Mary thinkin' aloud? It didn't do her much good, now did it?”

The first reaction to this beautiful theatre is the consistency of dialects. Steve Tague – also a REP actor – has been an exquisite teacher of dialects since the groups inception.

The second reaction is the contortions that Billy (Michael Gotch), the Cripple, must put himself through to realistically portray a seriously handicapped person. His entire hand appeared to have no attending ligaments. Mammy (Carine Montbertrand) continues to astound comically. She is a latter day Imogene Coca.

Teachers, bring hither your students.

Through Feb 12. www.rep.udel.edu 832.2202

WALNUT STREET THEATRE – THE MOUSETRAP

Speak about a kid who stepped in it. Over 60 years ago Agatha Christie's daughter birthed a boy. As a present, Agatha said, “Oh, I'll give him the rights to my new whodunit, 'The Mousetrap' Nothing will come of it.”

On this, the 60^th anniversary of the world's longest running play (24,500), Mousetrap Productions has licensed 60 productions world-wide. Walnut Street is one of the few US venues. Seeing it live is the only way audiences can experience the mystery for their has never been a film adaptation.

There lurks a murderer amongst this group of strangers trapped by a snowstorm in the manor house. With each performance, audiences are pledged not to divulge the culprit.

The Walnut's production qualities continue to be excellent. The scenic design by Glen Sears gives off that musty air of the glory of a wood paneled manor house of centuries past.

Mollie Ralston (Jennie Eisenhower – yes, David and Tricia Nixon Eisenhower's daughter) is one of the most gifted triple threats in the region. She's too pretty and talented to be the murderer...but just could be.

Christopher Wren ( Eric Bryant) plays a very flamboyant boarder at the manor. His mannerisms are quite amusing and reminds one of the foppish valet character in 'The Producers.” Christopher does have motivation indeed! He is constantly being criticized for his limp wrists.

Inspector Giles Ralston (Dan Hodge) sports a terrific Cockney accent. But...sacre bleu...he cannot be culpable, he's a law enforcement officer.

'The Mousetrap' is one for the bucket list. Next up is 'Ethel', the life of Ethel Waters.

Running thru March 4. WalnutStreetTheatre.org 215.574.3550

DE Division of Arts Grants...and more

No need to rehash the value of a vibrant arts community for this or any state. Kudos to Governor Markell and the General Assembly for providing level funding while the National Endowment of the Arts has reduced their offerings to us by 10%. (One wonders how many Tomahawk missiles cascading down on Gadhafi and costing $1 million each that 10% would take up...1,maybe 2?)
In reviewing the Aisle Say column from 2009 on the grants, here are some comparisons:
'09 – 88 organizations received 118 grants. This year the total was 99 grants from about the same amount of money; $1.5 million.
DE Center for Contemporary Arts received a total of $95,000.00 in three categories, $9,000.00 less than The Grand. Relative to total traffic between the two, there is disproportion there.
Opera Delaware received $63,000.00; DAM, $98,000.00; DE Symphony, $99,000.00
Joyful surprises :-) : The always innovative DE Theatre Company, maximizing their tiny black box stage to hallucinogenic proportions, received a whopping $95,000. Wilmington Drama League, an energetic community theatre here for 7 decades, $33,000.00. The UD's PTTP REP, the best theatre in the state and running in parallel universe to the best in NY, was the recipient of $17,000 for “Project Support”. With the quality they provide in every aspect, that money probably covers the cost of costumes for 2 shows.
Morose surprises :-( : New Candlelight Musical Theatre must not have applied. With the Twiggy sized margin they work in, they need – and deserve the money...more than, say the DE Dance Studio, which for years running has received $32,000. Same this year. They scarcely have an impact past the mums and dads and grandparents that sit through the yearly recitals. I am calling for Beau Biden to investigate this. This grant has inside job, “Bridge to Nowhere” written all over it. YMCA Delaware, catering to thousands upon thousands more, received $2,000.00 for their dance and drama program. First State Ballet received only $17,000.00; not much for DE's only professional ballet company. (Perhaps they should hire DE Dance Co's bag man.)
More morosity: Dover's Schwartz Center, a rehabilitated Victorian Grand Opera House-like theatre (with not much grand about it) was a public private initiative 15 years ago. “Rehab it and they will come.” They didn't. It sits empty the majority of the time yet still received $41,000.00, I assume to pay energy costs.

Soon the theatre season starts with a vengeance. UD's REP Ensemble opens with Lillian Hellman's classic, “The Little Foxes”. The second show is “Noises Off”, a play-within-a play offering the hysteria of Groucho, Chico and Harpo. Lola will get what she wants at New Candlelight in Sept with “Damn Yankees.”
Opera Delaware's main stage productions are “THE MAGIC FLUTE” Oct. 30m, Nov. 4 & 5, 2011 and “PORGY AND BESS” May 6m, 11 & 12, 2012. The NY Times reported a new version of “Porgy” will open at The American Repertory Theatre in Boston and move to Broadway. Written in 1934 by a man the likes of Irving Berlin called 'The Master”, this first and greatest American opera broke more boundaries than Jesse Owens. The songs are transcendental.