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
Showing posts with label university of delaware rep. Show all posts
Showing posts with label university of delaware rep. Show all posts
Friday, April 22, 2011
Wednesday, February 16, 2011
REP Ensemble's 'Glass Menagerie" is transparent
The UD REP Ensemble stages Tennessee Williams' “The Glass Menagerie” in a set resembling a shadow box. The personalities of the characters cast oppressive shadows over one another as well. The themes are heavy: failures of capitalism, failures of the family structure and broken promises by fathers and sons.
It is considered Williams' most autobiographical play. The playwright's birth name was Thomas and the scene is a dingy apartment in St. Louis, similar to his own childhood environs. The son and brother in the play Tom (Michael Gotch) is the narrator and the tale is a recollection of his memories with his Mother and his sickly and mentally ill sister Rose.
In the play the Mother's name became Amanda (Kathleen Pirkl Tague) and Rose would become Laura (Carine Montbertrand).
Amanda's husband abandoned the family long ago. Although a survivor and a pragmatist, Amanda yearns for the illusions and comforts she remembers from her days as a fêted Southern belle. She yearns especially for these things for her daughter Laura, a young adult with a crippled foot and tremulous insecurity about the outside world.
Tom works in a warehouse, doing his best to support them. He chafes under the banality and boredom of everyday life and spends much of his spare time watching movies in cheap cinemas at all hours of the night. Amanda is obsessed with finding a suitor for Laura, who spends most of her time with her collection of glass animals, both cold and fragile.
Tom eventually brings a nice boy named Jim home for dinner at the insistence of his mother, who hopes Jim will be the long-awaited suitor for Laura. Laura realizes that Jim is the man she loved in high school and has thought of ever since. After a long evening in which Jim and Laura are left alone by candlelight in the living room, Jim reveals that he is already engaged to be married, and he leaves. Amanda is furious with Tom, accusing him of knowing beforehand this night would be a waste. The outburst is the turning point for Tom. After a lifetime of boredom, mediocrity and dashed dreams, he comes to a crushing decision. He walks down the fire escape from the apartment for the last time to seek his fortune on his own, never to return.
This was a different 'Menagerie' than Aisle Say has past witnessed. Normally Laura is on stage continually, seemingly 'Rain Man-esque 'possessed' by her inanimate figurines. Also, there is more laughter in this production. One can argue that compelling drama and riveting dialogue are the parents of great laughter. (Gotch confided in me afterwards that, due to the weather, this was the first performance in front of an audience. The cast had no clue about audience reaction.)
While it is Tom's memory that creates the chassis, Amanda's character provides both steering and motor for the vehicle. Pirkl gives us a flawless portrayal of a woman on the edge of desperation: eking out a bare subsistence, fixated on a suitor for Laura and fantasizing on a past life with a handsome and charming husband (whose portrait dominates the wall).
We see in Gotch's Tom the despair and frustration of a misbegotten life. We hear the resignation in his voice.
Montbertrand plays against character as Laura. (At least against characters Aisle Say has seen her play the past three years!) She does understatement exceedingly well; a slight turn of the head to signify insecurity, a glazed expression to express less than full mental acuity.
Jim (Erik Mathew) is the sole PTTP actor in the show, the others being full time REP Ensemble. He brings great energy to the role and, in his character, an Everyman type of sanity which plays against the repressions and hangups of the other three. He is a big man and exerts strong stage presence.
Pttp.udel.edu 302.831.2204 Thru 27 February
Aisle Say's quill pen is out of ink. The review of the SPECTACULAR and dare I say, 'Cat'aclysmic production of 'Cats' at New Candlelight must wait until next week. However, you should not wait to call 475.2313 for tickets.
It is considered Williams' most autobiographical play. The playwright's birth name was Thomas and the scene is a dingy apartment in St. Louis, similar to his own childhood environs. The son and brother in the play Tom (Michael Gotch) is the narrator and the tale is a recollection of his memories with his Mother and his sickly and mentally ill sister Rose.
In the play the Mother's name became Amanda (Kathleen Pirkl Tague) and Rose would become Laura (Carine Montbertrand).
Amanda's husband abandoned the family long ago. Although a survivor and a pragmatist, Amanda yearns for the illusions and comforts she remembers from her days as a fêted Southern belle. She yearns especially for these things for her daughter Laura, a young adult with a crippled foot and tremulous insecurity about the outside world.
Tom works in a warehouse, doing his best to support them. He chafes under the banality and boredom of everyday life and spends much of his spare time watching movies in cheap cinemas at all hours of the night. Amanda is obsessed with finding a suitor for Laura, who spends most of her time with her collection of glass animals, both cold and fragile.
Tom eventually brings a nice boy named Jim home for dinner at the insistence of his mother, who hopes Jim will be the long-awaited suitor for Laura. Laura realizes that Jim is the man she loved in high school and has thought of ever since. After a long evening in which Jim and Laura are left alone by candlelight in the living room, Jim reveals that he is already engaged to be married, and he leaves. Amanda is furious with Tom, accusing him of knowing beforehand this night would be a waste. The outburst is the turning point for Tom. After a lifetime of boredom, mediocrity and dashed dreams, he comes to a crushing decision. He walks down the fire escape from the apartment for the last time to seek his fortune on his own, never to return.
This was a different 'Menagerie' than Aisle Say has past witnessed. Normally Laura is on stage continually, seemingly 'Rain Man-esque 'possessed' by her inanimate figurines. Also, there is more laughter in this production. One can argue that compelling drama and riveting dialogue are the parents of great laughter. (Gotch confided in me afterwards that, due to the weather, this was the first performance in front of an audience. The cast had no clue about audience reaction.)
While it is Tom's memory that creates the chassis, Amanda's character provides both steering and motor for the vehicle. Pirkl gives us a flawless portrayal of a woman on the edge of desperation: eking out a bare subsistence, fixated on a suitor for Laura and fantasizing on a past life with a handsome and charming husband (whose portrait dominates the wall).
We see in Gotch's Tom the despair and frustration of a misbegotten life. We hear the resignation in his voice.
Montbertrand plays against character as Laura. (At least against characters Aisle Say has seen her play the past three years!) She does understatement exceedingly well; a slight turn of the head to signify insecurity, a glazed expression to express less than full mental acuity.
Jim (Erik Mathew) is the sole PTTP actor in the show, the others being full time REP Ensemble. He brings great energy to the role and, in his character, an Everyman type of sanity which plays against the repressions and hangups of the other three. He is a big man and exerts strong stage presence.
Pttp.udel.edu 302.831.2204 Thru 27 February
Aisle Say's quill pen is out of ink. The review of the SPECTACULAR and dare I say, 'Cat'aclysmic production of 'Cats' at New Candlelight must wait until next week. However, you should not wait to call 475.2313 for tickets.
Wednesday, January 12, 2011
BestofBroadwayProductions.com and other ruminations
In the early weeks of January, Aisle Say has little to do but thirst for the second part of the theatre season. His idle mind causes him to ruminate on a veritable devils' playground of national issues.
My editor may arch his eyebrow over this diversion below, but I suggest that arts columnists – who witness the ills of society play-acted on stage - have world perspectives. One might say that, but then again, one might be stretching the argument. In any case, I pontificate on two ingrained problems in America, certainly neither one original with me:
1. Flat Tax Income Tax: A statement from a national taxpayer advocate multiplied the IRS' own estimates of how much time individuals and businesses spend complying with the code. 6 million hours annually. That's the equivalent of 3 million workers toiling full time for a year. This adds to US productivity?
2.Congressional Term Limits: Of the 27 Amendments to the Constitution, seven took 1 year or less to become the law of the land. Why? The people demanded it. They were fed up. There is a grass roots movement afoot for Congressional Term Limits: 12 years max! Either two 6 year Senate terms and six 2 year House terms. The Congressman has no tenure and no pension. No self-voted pay raises. Current Congress health care plan is abolished. They pay like everyone else.(There's a concept!) Serving in Congress is an honor, not a career. One would consider this amendment would greatly reduce the inflammatory posturing and vitriol of the past 4 years.
Okay, Editors, now back to my day job....Thankfully! A preview of the upcoming months of local groups
1.New Candelight Theatre is staging two shows never before produced in the state. “Cats” runs from 28 Jan to 20 March. Producing Artistic Director Chris Alberts, who designs lights, should be lit up with this challenge. “The Full Monty”, opening 8 April, centers on four down and out steel workers from Buffalo NY who are desperate for cash. They turn to stripping to earn an income. The show is rated R for language and nudity. No one under 17 even allowed. That's a long way from the recent “Suessical”. NCTStage.org 302.475.2313
2.The Resident Ensemble Players (REP) of the U of D open 2011 with the Tennessee Williams' classic, “The Glass Menagerie”. Two of my favorite REP actors, Carine Montbertrand and Michael Gotch are lead characters. Both play 'distracted', 'obsessed', 'unhinged','psychotic' so exceedingly well. (The 'why' of it will be left for a future column.) Following in quick succession is “All The King's Men” on 17 Feb. This is the compelling drama of The Kingfish, Mississippi's Huey Long. Long was a power broker and supreme wheeler dealer in the LBJ matrix. Vietnam brought LBJ to his knees. With Long it was greed and hubris – the middle name of most politicians. His fall from grace was both extraordinary and tragic. I would imagine that Sandy Robbins chose this show to engage the audience with thoughts of current political shenanigans. Pttp.udel.edu 302.831.2204
3.Wilmington Drama League. Choreographer Jody Anderson returns for “Five Guys Named Moe” opening 21 Jan. The difficult to watch but absorbing “The Elephant Man' opens 18 March. The cast has not been publicized but for the lead character, here is an opportunity for a tour de force. WilmingtonDramaLeague.org 302.764.1172
4.Delaware Theatre Company opens with “Lucy” on 19 Jan. Vivian, a brilliant scientist, is called to take care of her estranged daughter, 13 year old Lucy. The child is autistic. One would think mother/daughter dynamics are played out and perhaps some answers and insights about this dreadful and challenging condition. DelawareTheatre.org 302.594.1100
5.Best of Broadway Productions. Join my newly revamped singing Ensemble at Bella Vita at The Cavalier's Country Club. Four outrageously talented singers and Broadway tunes. A grand and sumptuous buffet from former 3 Bakers chef John Obykhan. 17 Feb at 11:30am and 18 Feb . at 8pm. BellaVitaccc.net 302.731.5600
My editor may arch his eyebrow over this diversion below, but I suggest that arts columnists – who witness the ills of society play-acted on stage - have world perspectives. One might say that, but then again, one might be stretching the argument. In any case, I pontificate on two ingrained problems in America, certainly neither one original with me:
1. Flat Tax Income Tax: A statement from a national taxpayer advocate multiplied the IRS' own estimates of how much time individuals and businesses spend complying with the code. 6 million hours annually. That's the equivalent of 3 million workers toiling full time for a year. This adds to US productivity?
2.Congressional Term Limits: Of the 27 Amendments to the Constitution, seven took 1 year or less to become the law of the land. Why? The people demanded it. They were fed up. There is a grass roots movement afoot for Congressional Term Limits: 12 years max! Either two 6 year Senate terms and six 2 year House terms. The Congressman has no tenure and no pension. No self-voted pay raises. Current Congress health care plan is abolished. They pay like everyone else.(There's a concept!) Serving in Congress is an honor, not a career. One would consider this amendment would greatly reduce the inflammatory posturing and vitriol of the past 4 years.
Okay, Editors, now back to my day job....Thankfully! A preview of the upcoming months of local groups
1.New Candelight Theatre is staging two shows never before produced in the state. “Cats” runs from 28 Jan to 20 March. Producing Artistic Director Chris Alberts, who designs lights, should be lit up with this challenge. “The Full Monty”, opening 8 April, centers on four down and out steel workers from Buffalo NY who are desperate for cash. They turn to stripping to earn an income. The show is rated R for language and nudity. No one under 17 even allowed. That's a long way from the recent “Suessical”. NCTStage.org 302.475.2313
2.The Resident Ensemble Players (REP) of the U of D open 2011 with the Tennessee Williams' classic, “The Glass Menagerie”. Two of my favorite REP actors, Carine Montbertrand and Michael Gotch are lead characters. Both play 'distracted', 'obsessed', 'unhinged','psychotic' so exceedingly well. (The 'why' of it will be left for a future column.) Following in quick succession is “All The King's Men” on 17 Feb. This is the compelling drama of The Kingfish, Mississippi's Huey Long. Long was a power broker and supreme wheeler dealer in the LBJ matrix. Vietnam brought LBJ to his knees. With Long it was greed and hubris – the middle name of most politicians. His fall from grace was both extraordinary and tragic. I would imagine that Sandy Robbins chose this show to engage the audience with thoughts of current political shenanigans. Pttp.udel.edu 302.831.2204
3.Wilmington Drama League. Choreographer Jody Anderson returns for “Five Guys Named Moe” opening 21 Jan. The difficult to watch but absorbing “The Elephant Man' opens 18 March. The cast has not been publicized but for the lead character, here is an opportunity for a tour de force. WilmingtonDramaLeague.org 302.764.1172
4.Delaware Theatre Company opens with “Lucy” on 19 Jan. Vivian, a brilliant scientist, is called to take care of her estranged daughter, 13 year old Lucy. The child is autistic. One would think mother/daughter dynamics are played out and perhaps some answers and insights about this dreadful and challenging condition. DelawareTheatre.org 302.594.1100
5.Best of Broadway Productions. Join my newly revamped singing Ensemble at Bella Vita at The Cavalier's Country Club. Four outrageously talented singers and Broadway tunes. A grand and sumptuous buffet from former 3 Bakers chef John Obykhan. 17 Feb at 11:30am and 18 Feb . at 8pm. BellaVitaccc.net 302.731.5600
Thursday, October 14, 2010
"Importance of Earnest" at UD REP
“The Importance of Being Earnest” is Oscar Wilde's most popular oeuvre and one of the most brilliant comedies in the English language. Wilde enjoyed satirizing late Victorian (1894) morals, manners and society; accomplished most notably in the glittering (and withering) aphorisms of Lady Bracknell. ( "Relations are simply a tedious pack of people, who haven’t got the remotest knowledge of how to live, nor the smallest instinct about when to die." )
He also relished the conceit of switched identities. The play's two protagonists, Jack Worthing (Cameron Knight) and Algernon (Andrew Goldwasser) engage in "bunburying" (the maintenance of alternate personas in the town and country) which allows them to escape Victorian social mores.
This being the fourth year of the existing MFA class, Artistic Director Sandy Robbins has integrated the students with the professionals of the REP Ensemble. Of all the productions witnessed by Aisle Say over the past 2 ½ years, “Earnest” was not particularly well cast and did not play to the strengths of the collective ensemble.
Goldwasser lacked the air of upper crust, the insouciant demeanor of the landed gentry and one born with a platinum spoon affixed firmly in mouth. Knight, on the other hand, projects an irrepressible glee in the service of his character. "Gwendolen, it is a terrible thing for a man to find out suddenly that all his life he has been speaking nothing but the truth. Can you forgive me?" Knight's movements and diction is superb, the latter aided in part by Director Steve Tague, himself a member of the REP and company diction and vocal coach.
Sandy Robbins eschews type casting his troupe. That is why last season's Maggie (The Cat on the Hot Tin Roof) is Lady Bracknell (Elizabeth Heflin). Wilde, through Bracknell, serves up some of the most clever opprobriums in English literature. Heflin did not maximize the opportunity.
Gwendolyn Fairfax (Caroline Crocker) and Cecily Cardew (Meaghan Sullivan), women who wish very much to be wedded to a man – any man – with the respectable name of Ernest.
For both women, appearances and style are important. Gwendolen must have the perfect proposal performed in the correct manner and must marry a man named Ernest simply because of the name's connotations. She believes in appearances, upper-class snobbery, correct behavior, and the ability to discuss, ad nauseam, the trivial. As such, Crocker can deliver a laugh line.
Cecily projects a woman a bit more sheltered than Gwendolyn and her character comes across as a naif. Both women are excellent and their interpretations make it clear they possess the common sense their suitors lack.
Two of the stars of the production are costumes and sets. Costume designer C. David Russell's achievements are simply spectacular. He puts Lady Bracknell in sumptuous overstuffed gowns suitable to her overstuffed personality. Aisle Say was reminded of The Queen of Hearts from “Alice In Wonderland”. Russell's choice of colors, his avid research to the Victorian period, his selection of gowns and suits is wondrous.
Paul Wonsek, Scenic and Lighting Designer deserves huzzahs commensurate with Russell. One could almost smell the lilacs in the lush country garden design.
Throughout REP's two years of existence, there has always been microscopic attention to detail with both sets and costumes. Sandy Robbins knows these intangibles are 'actors' as well.
Aisle Say suggests fiercely a season subscription to REP is a great value! It's unquestionably the best theatre in the state and the University should lobby to become part of the Philadelphia based Barrymore Awards.
Through November 6. Pttp.udel.edu 831.2204
Addenda: This the 5th month of no performing arts reviewer from the state's only daily newspaper. How can we be defined as a “World Class Destination” with no full – or even part time - theatre critic?
He also relished the conceit of switched identities. The play's two protagonists, Jack Worthing (Cameron Knight) and Algernon (Andrew Goldwasser) engage in "bunburying" (the maintenance of alternate personas in the town and country) which allows them to escape Victorian social mores.
This being the fourth year of the existing MFA class, Artistic Director Sandy Robbins has integrated the students with the professionals of the REP Ensemble. Of all the productions witnessed by Aisle Say over the past 2 ½ years, “Earnest” was not particularly well cast and did not play to the strengths of the collective ensemble.
Goldwasser lacked the air of upper crust, the insouciant demeanor of the landed gentry and one born with a platinum spoon affixed firmly in mouth. Knight, on the other hand, projects an irrepressible glee in the service of his character. "Gwendolen, it is a terrible thing for a man to find out suddenly that all his life he has been speaking nothing but the truth. Can you forgive me?" Knight's movements and diction is superb, the latter aided in part by Director Steve Tague, himself a member of the REP and company diction and vocal coach.
Sandy Robbins eschews type casting his troupe. That is why last season's Maggie (The Cat on the Hot Tin Roof) is Lady Bracknell (Elizabeth Heflin). Wilde, through Bracknell, serves up some of the most clever opprobriums in English literature. Heflin did not maximize the opportunity.
Gwendolyn Fairfax (Caroline Crocker) and Cecily Cardew (Meaghan Sullivan), women who wish very much to be wedded to a man – any man – with the respectable name of Ernest.
For both women, appearances and style are important. Gwendolen must have the perfect proposal performed in the correct manner and must marry a man named Ernest simply because of the name's connotations. She believes in appearances, upper-class snobbery, correct behavior, and the ability to discuss, ad nauseam, the trivial. As such, Crocker can deliver a laugh line.
Cecily projects a woman a bit more sheltered than Gwendolyn and her character comes across as a naif. Both women are excellent and their interpretations make it clear they possess the common sense their suitors lack.
Two of the stars of the production are costumes and sets. Costume designer C. David Russell's achievements are simply spectacular. He puts Lady Bracknell in sumptuous overstuffed gowns suitable to her overstuffed personality. Aisle Say was reminded of The Queen of Hearts from “Alice In Wonderland”. Russell's choice of colors, his avid research to the Victorian period, his selection of gowns and suits is wondrous.
Paul Wonsek, Scenic and Lighting Designer deserves huzzahs commensurate with Russell. One could almost smell the lilacs in the lush country garden design.
Throughout REP's two years of existence, there has always been microscopic attention to detail with both sets and costumes. Sandy Robbins knows these intangibles are 'actors' as well.
Aisle Say suggests fiercely a season subscription to REP is a great value! It's unquestionably the best theatre in the state and the University should lobby to become part of the Philadelphia based Barrymore Awards.
Through November 6. Pttp.udel.edu 831.2204
Addenda: This the 5th month of no performing arts reviewer from the state's only daily newspaper. How can we be defined as a “World Class Destination” with no full – or even part time - theatre critic?
Thursday, August 19, 2010
UD REP, Media Theatre, News Journal critic
There is no more visible proof of UD President Harker's “Path to Prominence” than by the REP Ensemble trodding the boards at The Roselle Center for the Arts. Having witnessed every production but one in the past two years, it is difficult to believe that every show is not completely sold. The acting is magnificent, the attention to detail in each technical area – costuming, lighting, set, sound is microscopic.
The season begins in late September with Pinter's “The Homecoming”, a sexually provocative and quite distorted view of family life. Yes, it's a comedy of the laugh out loud variety.
Next up is “The Importance of Being Earnest”. Aisle Say has seen this many times, but did not realize an underlying theme until recently. We know that Oscar Wilde was a flamboyant homosexual in a very repressed England. The character of Bunbury serves as Wilde's taunt at society's hypocrisy. This is certainly one of the cleverest plays ever scribed.
Following this is “Our Town”. (Big saving on the set budget with this show).
“Noel Coward” can be said in the same sentence as “Oscar Wilde” in regards to wordsmithing. Coward was a virtual umo universale of entertainment: actor, director, playwright and composer. “Private Lives” is witty and urbane. A divorced couple meets by chance in a resort hotel. They are both on honeymoons with their second spouses. Dying embers of sparks are re-ignited.
Shakespeare's greatest comedy “A Midsummer Night's Dream” opens in December. Knowing the REP actors as I do, I have put together the cast in my mind. However, Artistic Director Sandy Robbins will most probably surprise me.
Speaking of Robbins, I asked him why the REP was not part of the prestigious Barrymore Awards centered in Philadelphia. The Roselle Center lies 2 miles outside of the perimeter of the organization's footprint. Tickets on sale 23 August. Pttp.udel.edu 831.2204
Media Theatre
The Media Theatre landed a boffo comedienne for their fall production of “Annie”. Wanda Sykes, who ranks as one of Entertainment Weekly’s 25 Funniest People in America, will portray Miss Hannigan from November 23 through December 12. After a brief hiatus, she will return to the musical January 12-16.
Aisle Say was first introduced to her in “Curb Your Enthusiasm”. She was relentless in never giving Larry David a break.
Sykes is nominated for two 2010 Emmy Awards, both for her HBO comedy special “I’ma Be Me”. She portrayed the role of Barb in the hit CBS series “The New Adventures of Old Christine” for five seasons, receiving an Emmy nomination for that as well. She has won four Emmy Awards, in 1999 for Outstanding Writing for a Variety, Music, or Comedy Special for “The Chris Rock Show” and three more (in 2002, 2004, and 2005) for her work on “Inside the NFL”.
She recently wrapped the first season of her late night talk show, “The Wanda Sykes Show”, on FOX. At the annual White House Correspondents Dinner in 2009, Wanda Sykes delivered major laughs while roasting President Barack Obama.
“Annie” should be a hoot. Tickets are on sale now. MediaTheatre.org 610.891.0100
City Theatre
Kudos to City Theatre for the decision to stage the musical “9”. It will be most fun for the male lead; one guy surrounded by 9 gorgeous women! Opening in May.
News Journal Reviewer
Veteran critic Tom Butler has not had a byline in the Journal since May. He is not an employee but an independent contractor. Arts organizations need the exposure that reviewers create. Perhaps Butler is taking a break. If not, though, it is incumbent upon the Journal to hire a good writer with a diverse arts background. A call to the Features editor was not returned.
The season begins in late September with Pinter's “The Homecoming”, a sexually provocative and quite distorted view of family life. Yes, it's a comedy of the laugh out loud variety.
Next up is “The Importance of Being Earnest”. Aisle Say has seen this many times, but did not realize an underlying theme until recently. We know that Oscar Wilde was a flamboyant homosexual in a very repressed England. The character of Bunbury serves as Wilde's taunt at society's hypocrisy. This is certainly one of the cleverest plays ever scribed.
Following this is “Our Town”. (Big saving on the set budget with this show).
“Noel Coward” can be said in the same sentence as “Oscar Wilde” in regards to wordsmithing. Coward was a virtual umo universale of entertainment: actor, director, playwright and composer. “Private Lives” is witty and urbane. A divorced couple meets by chance in a resort hotel. They are both on honeymoons with their second spouses. Dying embers of sparks are re-ignited.
Shakespeare's greatest comedy “A Midsummer Night's Dream” opens in December. Knowing the REP actors as I do, I have put together the cast in my mind. However, Artistic Director Sandy Robbins will most probably surprise me.
Speaking of Robbins, I asked him why the REP was not part of the prestigious Barrymore Awards centered in Philadelphia. The Roselle Center lies 2 miles outside of the perimeter of the organization's footprint. Tickets on sale 23 August. Pttp.udel.edu 831.2204
Media Theatre
The Media Theatre landed a boffo comedienne for their fall production of “Annie”. Wanda Sykes, who ranks as one of Entertainment Weekly’s 25 Funniest People in America, will portray Miss Hannigan from November 23 through December 12. After a brief hiatus, she will return to the musical January 12-16.
Aisle Say was first introduced to her in “Curb Your Enthusiasm”. She was relentless in never giving Larry David a break.
Sykes is nominated for two 2010 Emmy Awards, both for her HBO comedy special “I’ma Be Me”. She portrayed the role of Barb in the hit CBS series “The New Adventures of Old Christine” for five seasons, receiving an Emmy nomination for that as well. She has won four Emmy Awards, in 1999 for Outstanding Writing for a Variety, Music, or Comedy Special for “The Chris Rock Show” and three more (in 2002, 2004, and 2005) for her work on “Inside the NFL”.
She recently wrapped the first season of her late night talk show, “The Wanda Sykes Show”, on FOX. At the annual White House Correspondents Dinner in 2009, Wanda Sykes delivered major laughs while roasting President Barack Obama.
“Annie” should be a hoot. Tickets are on sale now. MediaTheatre.org 610.891.0100
City Theatre
Kudos to City Theatre for the decision to stage the musical “9”. It will be most fun for the male lead; one guy surrounded by 9 gorgeous women! Opening in May.
News Journal Reviewer
Veteran critic Tom Butler has not had a byline in the Journal since May. He is not an employee but an independent contractor. Arts organizations need the exposure that reviewers create. Perhaps Butler is taking a break. If not, though, it is incumbent upon the Journal to hire a good writer with a diverse arts background. A call to the Features editor was not returned.
Wednesday, May 12, 2010
UD's "The Resistible Rise of Arturo Ui"
A cunning and ingenious conceit. From the fecund mind of German playwright Bertolt Brecht sprang an allegory of Hitler's rise to power. The setting was not Germany, but Chicago in the wild wild west of Prohibition and The Great Depression. The protagonist was not Der Fuhrer but a takeoff of Scarface Al Capone, Public Enemy #1, the charismatic colossus of crime. The farce is entitled “The Resistible Rise of Arturo Ui.”
For two years Aisle Say has bellowed to all within earshot of this remarkable gem in our midst is this REP Company. The acting, the direction, the sets, the costumes, the pathos, the sturm und the drang of their productions distances them from other groups in the state as does the night the day.
This play is not done often. It must be coddled in the hands of experts.
You should see this production. You will never forget it; a concoction of perfect play and perfect acting ensemble.
Capone and Hitler had many similarities. Aside from the obvious ruthlessness, paranoia and megalomania, they dominated other men by appealing to their inner man.
“Arturo” is a laugh riot. There are surprise moments catching you unawares and you will bend over in laughter. Most recently a production was staged with Al Pacino in the title role. However, a woman, Carine Montbertrand, plays Arturo here. I commented to her that her facial mannerisms reminded me of Al Pacino as Big Boy Caprice in the movie “Dick Tracy”.
This is an important play. There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices.
All the characters and groups in the play had direct counterparts in real life; all of Hitler's henchmen. In fact, he wrote it in 1941for the American stage, knowing it would never be staged in Germany during his lifetime. If it had, his lifetime would have been abbreviated.
The play is similar to the classic Charlie Chaplin film, “The Great Dictator”. Brecht was a Chaplin hero. Unfortunately so was Hitler.
The play also uses frequent references to Shakespeare and other writers to further its didactic messages. To highlight his evil and villainous rise to power Ui is compared to Shakespeare's “Richard III” and “MacBeth” in both the introductory prologue and in Scene 14 when he experiences similar visitations from the ghosts of his victims as Richard and Macbeth do; while Hitler's own learned prowess at public speaking is referenced by Ui receiving lessons from an actor which include him reciting Mark Anthony's famous speech from “Julius Caesar”.
Over two years the REP has never delivered a mulligan. Aisle Say has seen them all save for “Death of A Salesman”. (I was depressed during that run and needed no further provocation to mine my neurosis.) Support live theatre in the state. This specific theatrical resource is a tribute to what live theatre can achieve.
Til May 16 Pttp.udel.edu 302.831.2204
For two years Aisle Say has bellowed to all within earshot of this remarkable gem in our midst is this REP Company. The acting, the direction, the sets, the costumes, the pathos, the sturm und the drang of their productions distances them from other groups in the state as does the night the day.
This play is not done often. It must be coddled in the hands of experts.
You should see this production. You will never forget it; a concoction of perfect play and perfect acting ensemble.
Capone and Hitler had many similarities. Aside from the obvious ruthlessness, paranoia and megalomania, they dominated other men by appealing to their inner man.
“Arturo” is a laugh riot. There are surprise moments catching you unawares and you will bend over in laughter. Most recently a production was staged with Al Pacino in the title role. However, a woman, Carine Montbertrand, plays Arturo here. I commented to her that her facial mannerisms reminded me of Al Pacino as Big Boy Caprice in the movie “Dick Tracy”.
This is an important play. There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices.
All the characters and groups in the play had direct counterparts in real life; all of Hitler's henchmen. In fact, he wrote it in 1941for the American stage, knowing it would never be staged in Germany during his lifetime. If it had, his lifetime would have been abbreviated.
The play is similar to the classic Charlie Chaplin film, “The Great Dictator”. Brecht was a Chaplin hero. Unfortunately so was Hitler.
The play also uses frequent references to Shakespeare and other writers to further its didactic messages. To highlight his evil and villainous rise to power Ui is compared to Shakespeare's “Richard III” and “MacBeth” in both the introductory prologue and in Scene 14 when he experiences similar visitations from the ghosts of his victims as Richard and Macbeth do; while Hitler's own learned prowess at public speaking is referenced by Ui receiving lessons from an actor which include him reciting Mark Anthony's famous speech from “Julius Caesar”.
Over two years the REP has never delivered a mulligan. Aisle Say has seen them all save for “Death of A Salesman”. (I was depressed during that run and needed no further provocation to mine my neurosis.) Support live theatre in the state. This specific theatrical resource is a tribute to what live theatre can achieve.
Til May 16 Pttp.udel.edu 302.831.2204
Tuesday, February 9, 2010
UD's REP Ensemble "She Stoops To Conquer"
Great theater is in the minute detail. Comedy is far more difficult than drama to engage an audience. It takes greater nuance to sell a laugh line than one of emotion. It takes a craftsman to deliver that special 'take' or facial expression to provoke surprise and elicit laughter.
Refer to Lucille Ball on a weekly basis in the '50's or Aisle Say's personal favorite, Sally Fields in “Mrs Doubtfire” in the restaurant scene with her children and her beau, played by Pierce Brosnan. Robin Williams cross dressing Nannie is becoming undone. He just saved Pierce's character with a Heimlich maneuver and his prosthetic makeup dissembles in front of the family.
Sallie's character is unable to consciously process what is going on in front of her bulging eyes. She goes through an incredible series of emotions in twenty seconds; from disbelief, to anger, to embarrassment and back again. Now, there's a comedienne at the zenith of her craft.
Admittedly, a long intro to UD REP's “She Stoops To Conquer”, a vibrant and lush production of the classic comedy of manners written by Oliver Goldsmith and first performed in London in 1773. However, erudite, side splitting and breath taking laughter endures through the ages.
Charles Marlow, an aristocrat, (Michael Gotch) travels from city to country to meet and court landowner Mr. Hardcastle's (Mark Corkins) daughter Kate (Elizabeth Heflin). The venerable Mrs. Hardcastle (Kathleen Pirkl Tague) is a stereotypical snooty and condescending self absorbed lady of leisure; (attired in the biggest bustle and Marge Simpson-like wig ever strode upon Delaware stage.)
Marlowe is obsessively uncomfortable around upper class women; stuttering of speech and unable to make eye contact. Yet he is a rogue and scalawag amongst low class women. Kate elects to 'stoop to conquer', pretending to be a serving girl in order to wed the man.
Gotch is a reincarnated “Rain Man'. His 'takes', along with those of Mrs. Hardcastle, are classic; reminiscent of the Sallie Fields/Lucy variety. In the second act, when he is told that the serving girl (Kate) is actually upper class, he had the entire packed audience involuntarily jump forward in their seats with a spontaneous reversion to his first act neuroses.
Having seen every one of the REP Productions in the past 2 years, Aisle Say's great expectations every opening night are never burst. This specific show has had resonance over the past 237 years because it's simply down right funny. It is not only enjoyable but fascinating to see this talented group of actors don completely different characters.
Often in reviews, the technical aspects of the show are dismissed. One would be 'remiss' not to applaud not only the design creativity but also the textures and colors employed by costume designer Matthew LeFebvre. From his bio, it appears he has made a career in the past ten years of designing for classic theatre.
Special effects also were employed with slap stick results. The prim Mrs. Hardcastle is thrown down a deep well and, upon reaching the bottom, water splashes on stage.
Til February 20 Pttp.udel.edu 302.831.2206
INSTRUMENT SALE AT UD THIS WEEKEND
A large selection of Grand pianos, baby grands, violins, guitars, electronic keyboards, etc will be available at very discounted prices this weekend at The Roselle Center for the Performing Arts.
UD does this yearly to rotate into new equipment. 45% of the purchase price is tax deductible.
For info: 731.4137.
Refer to Lucille Ball on a weekly basis in the '50's or Aisle Say's personal favorite, Sally Fields in “Mrs Doubtfire” in the restaurant scene with her children and her beau, played by Pierce Brosnan. Robin Williams cross dressing Nannie is becoming undone. He just saved Pierce's character with a Heimlich maneuver and his prosthetic makeup dissembles in front of the family.
Sallie's character is unable to consciously process what is going on in front of her bulging eyes. She goes through an incredible series of emotions in twenty seconds; from disbelief, to anger, to embarrassment and back again. Now, there's a comedienne at the zenith of her craft.
Admittedly, a long intro to UD REP's “She Stoops To Conquer”, a vibrant and lush production of the classic comedy of manners written by Oliver Goldsmith and first performed in London in 1773. However, erudite, side splitting and breath taking laughter endures through the ages.
Charles Marlow, an aristocrat, (Michael Gotch) travels from city to country to meet and court landowner Mr. Hardcastle's (Mark Corkins) daughter Kate (Elizabeth Heflin). The venerable Mrs. Hardcastle (Kathleen Pirkl Tague) is a stereotypical snooty and condescending self absorbed lady of leisure; (attired in the biggest bustle and Marge Simpson-like wig ever strode upon Delaware stage.)
Marlowe is obsessively uncomfortable around upper class women; stuttering of speech and unable to make eye contact. Yet he is a rogue and scalawag amongst low class women. Kate elects to 'stoop to conquer', pretending to be a serving girl in order to wed the man.
Gotch is a reincarnated “Rain Man'. His 'takes', along with those of Mrs. Hardcastle, are classic; reminiscent of the Sallie Fields/Lucy variety. In the second act, when he is told that the serving girl (Kate) is actually upper class, he had the entire packed audience involuntarily jump forward in their seats with a spontaneous reversion to his first act neuroses.
Having seen every one of the REP Productions in the past 2 years, Aisle Say's great expectations every opening night are never burst. This specific show has had resonance over the past 237 years because it's simply down right funny. It is not only enjoyable but fascinating to see this talented group of actors don completely different characters.
Often in reviews, the technical aspects of the show are dismissed. One would be 'remiss' not to applaud not only the design creativity but also the textures and colors employed by costume designer Matthew LeFebvre. From his bio, it appears he has made a career in the past ten years of designing for classic theatre.
Special effects also were employed with slap stick results. The prim Mrs. Hardcastle is thrown down a deep well and, upon reaching the bottom, water splashes on stage.
Til February 20 Pttp.udel.edu 302.831.2206
INSTRUMENT SALE AT UD THIS WEEKEND
A large selection of Grand pianos, baby grands, violins, guitars, electronic keyboards, etc will be available at very discounted prices this weekend at The Roselle Center for the Performing Arts.
UD does this yearly to rotate into new equipment. 45% of the purchase price is tax deductible.
For info: 731.4137.
Monday, October 19, 2009
U of D REP serves up best theatre in the state
Newark, Del. —
The University of Delawares Resident Player's Ensemble begins its second season with a stirring and contemplative one-man tour de force, “I am my own Wife” by Doug Wright.
For 90 minutes, professional actor Michael Gotch transfixes the audience in his portrayal of 35 characters including Charlotte von Mahlsdorf, a transvestite who lived and survived in East Germany during the oppressive regimes of Hitler and Communism.
It's a true story, leaving the audience to decide for themselves the virtues and vices of this alleged Stasi (Communist secret police agent) von Mahlsdorf. His renditions include SS officers, American soldiers, German news anchors, Japanese, Indians and a motley crew of fellow travelers of this “amasser of antique gramophones, records, clocks and furniture” in Germany's Golden Age.
Aisle Say normally rolls its eyes at one-man productions, “Mark Twain Tonight” being the exception. But Gotch had his characters and their voices so tightly woven and focused that the recent packed house at the intimate Studio Theatre of the gorgeous Roselle Center for the Arts was totally absorbed.
Ninety minutes of seamless characters changes (with an intermission) did not deter.
In 1934, at age six, Lothar Berfelde realized he was born in the wrong body and “escaped” the stirrings within him by listening to and collecting gramophones and records. At age 15 he changed his name to Charlotte and managed to avoid the Nazi's sweeping arrests of nearly 100,000 homosexuals.
Charlotte's home became a museum and an underground meeting place for the East Berlin gay community for three decades. In 1993 she was recognized by the German government with the prestigious Order of Merit, in honor of the cultural contribution of her museum.
Gotch first performed this show at the Milwaukee Repertory Theater from whence Sandy Robbins snatched this consummate actor for UD REP. Gotch was an MFA grad of the Professional Actors Theatre Program here in Newark.
The entire second season of REP and its Professional Theatre Training Program deserve our joyous support. Aisle Say said last year, that this group is unequivocally the greatest production company in Delaware.
With each opening curtain, they sustain this mantle.
This year some of America's beloved classics will be produced at below standard prices, through the production values are those of Broadway shows. Case closed.
Sandy Robbins, the visionary behind the program, synthesizes why live theatre is so invaluable.
“Live theatre offers us a great many important, even necessary experiences,” she says. “It allows us to see issues of the day in a new light. A play can touch the hearts and remind us of the blessing of being alive when nothing in our daily lives occurs as uplifting.”
President Harker has created the concept of a “Path to Prominence” for all things UD.
One can only imagine his auditors' collective paroxysms when they analyze the costs of the production versus the revenue generated. Yet there is no greater tribute to this man's vision than each and every production of Sandy Robbins' players.
Upcoming shows include “Cat on a Hot Tin Roof,” “Death Of A Salesman,” “Dancing at Lughnasa” and “Two Gentlemen of Verona.”
Aisle Say plans to have an aisle seat.
For more information, call 302.831.2204, or visit PTTP.udel.edu
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
The University of Delawares Resident Player's Ensemble begins its second season with a stirring and contemplative one-man tour de force, “I am my own Wife” by Doug Wright.
For 90 minutes, professional actor Michael Gotch transfixes the audience in his portrayal of 35 characters including Charlotte von Mahlsdorf, a transvestite who lived and survived in East Germany during the oppressive regimes of Hitler and Communism.
It's a true story, leaving the audience to decide for themselves the virtues and vices of this alleged Stasi (Communist secret police agent) von Mahlsdorf. His renditions include SS officers, American soldiers, German news anchors, Japanese, Indians and a motley crew of fellow travelers of this “amasser of antique gramophones, records, clocks and furniture” in Germany's Golden Age.
Aisle Say normally rolls its eyes at one-man productions, “Mark Twain Tonight” being the exception. But Gotch had his characters and their voices so tightly woven and focused that the recent packed house at the intimate Studio Theatre of the gorgeous Roselle Center for the Arts was totally absorbed.
Ninety minutes of seamless characters changes (with an intermission) did not deter.
In 1934, at age six, Lothar Berfelde realized he was born in the wrong body and “escaped” the stirrings within him by listening to and collecting gramophones and records. At age 15 he changed his name to Charlotte and managed to avoid the Nazi's sweeping arrests of nearly 100,000 homosexuals.
Charlotte's home became a museum and an underground meeting place for the East Berlin gay community for three decades. In 1993 she was recognized by the German government with the prestigious Order of Merit, in honor of the cultural contribution of her museum.
Gotch first performed this show at the Milwaukee Repertory Theater from whence Sandy Robbins snatched this consummate actor for UD REP. Gotch was an MFA grad of the Professional Actors Theatre Program here in Newark.
The entire second season of REP and its Professional Theatre Training Program deserve our joyous support. Aisle Say said last year, that this group is unequivocally the greatest production company in Delaware.
With each opening curtain, they sustain this mantle.
This year some of America's beloved classics will be produced at below standard prices, through the production values are those of Broadway shows. Case closed.
Sandy Robbins, the visionary behind the program, synthesizes why live theatre is so invaluable.
“Live theatre offers us a great many important, even necessary experiences,” she says. “It allows us to see issues of the day in a new light. A play can touch the hearts and remind us of the blessing of being alive when nothing in our daily lives occurs as uplifting.”
President Harker has created the concept of a “Path to Prominence” for all things UD.
One can only imagine his auditors' collective paroxysms when they analyze the costs of the production versus the revenue generated. Yet there is no greater tribute to this man's vision than each and every production of Sandy Robbins' players.
Upcoming shows include “Cat on a Hot Tin Roof,” “Death Of A Salesman,” “Dancing at Lughnasa” and “Two Gentlemen of Verona.”
Aisle Say plans to have an aisle seat.
For more information, call 302.831.2204, or visit PTTP.udel.edu
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
Sunday, April 26, 2009
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
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
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.
Monday, February 23, 2009
Arts alive in economic downturn
The urgent letter 10,000 Grand Opera House supporters received last week was disturbing. Patrons were asked to donate $150 each by July to underwrite a budget shortfall of $500,000.
The prospect of The Grand shuttering its doors is preposterous. It is our Empire State Building, our Golden Gate Bridge.
Executive Director Steve Bailey has not suggest the institution is about to close, but the implications are clear. And perceptions rule, so it is surprising that this financial hiccup was not resolved behind closed doors.
The Grand, along with seven other statewide arts institutions, receives payment from The Arts Stabilization Fund, a state/corporate endowment. They all rely on this endowment to maintain their facilities, and we all know about equity loss these days.
In the midst of a a lot of bad news for the arts, there are a few bright spots. The Grand's letter comes the same week that Aisle Say reported that three quarters of the $24 million needed has been committed for The Queen Theatre, a long-vacant entertainment venue three blocks south of the Grand that a public-private partnership hopes to revive as a hip, new "World Cafe Live South" of sorts.
Rob Buccini, whose development company has invested loads to revive Market Street, and who owns The Queen, recently called this latest venture "the most important project we have ever done.” If Buccini makes a comment like that, well, break out the silver shovels for the photo op.
Hopes are high for The Queen's success. But as Buccini has also said, the viability of Wilmington's arts and entertainment life depends on creating and maintaining a critical mass. It's time to consider new strategies to ensure the future of the arts. How about a co-op for economies of scale discounts for all institutions? What about consolidation: move some institutions into available space in others?
This may be blasphemy to suggest, but, for example, the Delaware Center for Contemporary Art on the Riverfront has a prime location any developer would love. What about moving to some of The Grand's empty floors? More traffic for both could result.
Film making is art. Wilmington University has a strong program. The city should entice them to move that division to Market Street. More blasphemy, perhaps, but it would fill some of Buccini-Pollin's empty space, and more importantly, it would bring more of a critical ingredient – students – to downtown to join Delaware College of Art and Design's students already there. Critical mass, once again. Creative partnerships, too?
The Grand's Bailey could work a deal with Sandy Robbins of the University of Delaware Professional Theater Training Program to drive traffic to the little-used downtown 300-seat facility. There is no finer acting in the state than the theatre training program and their newly-established professional group, the Resident Ensemble Players. Their home base is at Hartshorn Hall in Newark, so expanding its productions to Wilmington might draw a crowd who won't drive south.
The prospect of The Grand shuttering its doors is preposterous. It is our Empire State Building, our Golden Gate Bridge.
Executive Director Steve Bailey has not suggest the institution is about to close, but the implications are clear. And perceptions rule, so it is surprising that this financial hiccup was not resolved behind closed doors.
The Grand, along with seven other statewide arts institutions, receives payment from The Arts Stabilization Fund, a state/corporate endowment. They all rely on this endowment to maintain their facilities, and we all know about equity loss these days.
In the midst of a a lot of bad news for the arts, there are a few bright spots. The Grand's letter comes the same week that Aisle Say reported that three quarters of the $24 million needed has been committed for The Queen Theatre, a long-vacant entertainment venue three blocks south of the Grand that a public-private partnership hopes to revive as a hip, new "World Cafe Live South" of sorts.
Rob Buccini, whose development company has invested loads to revive Market Street, and who owns The Queen, recently called this latest venture "the most important project we have ever done.” If Buccini makes a comment like that, well, break out the silver shovels for the photo op.
Hopes are high for The Queen's success. But as Buccini has also said, the viability of Wilmington's arts and entertainment life depends on creating and maintaining a critical mass. It's time to consider new strategies to ensure the future of the arts. How about a co-op for economies of scale discounts for all institutions? What about consolidation: move some institutions into available space in others?
This may be blasphemy to suggest, but, for example, the Delaware Center for Contemporary Art on the Riverfront has a prime location any developer would love. What about moving to some of The Grand's empty floors? More traffic for both could result.
Film making is art. Wilmington University has a strong program. The city should entice them to move that division to Market Street. More blasphemy, perhaps, but it would fill some of Buccini-Pollin's empty space, and more importantly, it would bring more of a critical ingredient – students – to downtown to join Delaware College of Art and Design's students already there. Critical mass, once again. Creative partnerships, too?
The Grand's Bailey could work a deal with Sandy Robbins of the University of Delaware Professional Theater Training Program to drive traffic to the little-used downtown 300-seat facility. There is no finer acting in the state than the theatre training program and their newly-established professional group, the Resident Ensemble Players. Their home base is at Hartshorn Hall in Newark, so expanding its productions to Wilmington might draw a crowd who won't drive south.
Sunday, January 18, 2009
Aisle Say - Moliere's The Imaginary Invalid
Squeamish on the subject of enemas? Dismissive of the neuroses of hypochondriacs? Slave to the Mt. Olympian dictates of the medical profession? Then I don't prescribe “The Imaginary Invalid” for you. However, if none of this is of consequence and you wish to be enthralled by the most dazzling of sets, gorgeous costumes, impeccable timing, outrageously hysterical dialog and the greatest troupe of actors in Delaware, then behold this masterpiece.
Moliere, one of the greatest writers of comedy in all literature, built the 1672 play on archetypal characters and situations of the commedia dell'arte – Italian street theater. It is fascinating to witness how well the subject matter retains traction today. Physicians are considered ...”hypocrites whose specious babbling offer promises rather than cures.”
Argan (Stephen Pelinski), a chronic hypochondriac, plans to marry off his daughter Angelique (Erin Partin)to a doctor in order to secure permanent medical care for his ever-increasing list of imagined ills. Angelique and Toinette (Carine Montbertrand), the quick witted maid have other ideas.
Argan has chosen the exceedingly dim-witted Thomas Diaforea (Mic Materrese), son of Dr. Diaforea. Materrese generates much laughter with his awkward antics. The actor re-appears in the second act as the hypocritical Dr. Purgatiffe, spouting titanic mock offense that Argan will not agree to the daily doses of enema he prescribes, thereby lining his pockets with gold.
The acting is collectively magnificent. Montbertrand follows her tour de force performance in The Rep's opening production, “The Hostage” with a second stellar and outlandish characterization, reminiscent of Imogene Coca in her zany skits with Sid Caesar. She dazzles the audience in both her accents and her laser quick costume changes.
Michael Gotch is double cast as lawyer Monsieur Shystaire (Say that slowly. The play is ripe with double entendres) and Monsieur Placebeaux, a 17th century EMT. The prop and costume pieces employed by Placebeaux created the same stunning audience sensation as did the song “Springtime For Hitler” in the movie “The Producers” - 300 sets of jaws in the Roselle Center for the Arts thudding to the carpet. Gotch played the part like a man who really gets into his work.
Sara Valentine (Louison), Argan's second daughter, channeled legendary comedienne Fanny Brice portraying her signature character Baby Snooks. Argan accuses Louison of lying and says he must punish her by spanking her with his cane. As she bends down he thinks better of it and ever so delicately taps her. She responds as if she were struck by lightning, screaming bloody murder, just one of the many slapstick gags of this production that continually surprises. z
As Robbins states in the play's program, ...”A play can persuade us, even when everything we face each day seems bleak, that life is actually theatre of the absurd and not tragedy.” In other words, if high health care costs stress you out, treat yourself to this very therapeutic laugh riot. Your heart muscle will benefit.
If I were the artistic director at Cab Calloway, I would be on the phone with The REP's Artistic Director Sandy Robbins pleading for a discount for my kids. Students of theater, lovers of theater of all ages should see this.
Aisle Say abhors “trite”, but is motivated to be so this solitary time: The Rep at the U of D is the state of the “art” in the First State. Til February 4. Call 831.2204 for tix. Www.pttp.udel.edu
Moliere, one of the greatest writers of comedy in all literature, built the 1672 play on archetypal characters and situations of the commedia dell'arte – Italian street theater. It is fascinating to witness how well the subject matter retains traction today. Physicians are considered ...”hypocrites whose specious babbling offer promises rather than cures.”
Argan (Stephen Pelinski), a chronic hypochondriac, plans to marry off his daughter Angelique (Erin Partin)to a doctor in order to secure permanent medical care for his ever-increasing list of imagined ills. Angelique and Toinette (Carine Montbertrand), the quick witted maid have other ideas.
Argan has chosen the exceedingly dim-witted Thomas Diaforea (Mic Materrese), son of Dr. Diaforea. Materrese generates much laughter with his awkward antics. The actor re-appears in the second act as the hypocritical Dr. Purgatiffe, spouting titanic mock offense that Argan will not agree to the daily doses of enema he prescribes, thereby lining his pockets with gold.
The acting is collectively magnificent. Montbertrand follows her tour de force performance in The Rep's opening production, “The Hostage” with a second stellar and outlandish characterization, reminiscent of Imogene Coca in her zany skits with Sid Caesar. She dazzles the audience in both her accents and her laser quick costume changes.
Michael Gotch is double cast as lawyer Monsieur Shystaire (Say that slowly. The play is ripe with double entendres) and Monsieur Placebeaux, a 17th century EMT. The prop and costume pieces employed by Placebeaux created the same stunning audience sensation as did the song “Springtime For Hitler” in the movie “The Producers” - 300 sets of jaws in the Roselle Center for the Arts thudding to the carpet. Gotch played the part like a man who really gets into his work.
Sara Valentine (Louison), Argan's second daughter, channeled legendary comedienne Fanny Brice portraying her signature character Baby Snooks. Argan accuses Louison of lying and says he must punish her by spanking her with his cane. As she bends down he thinks better of it and ever so delicately taps her. She responds as if she were struck by lightning, screaming bloody murder, just one of the many slapstick gags of this production that continually surprises. z
As Robbins states in the play's program, ...”A play can persuade us, even when everything we face each day seems bleak, that life is actually theatre of the absurd and not tragedy.” In other words, if high health care costs stress you out, treat yourself to this very therapeutic laugh riot. Your heart muscle will benefit.
If I were the artistic director at Cab Calloway, I would be on the phone with The REP's Artistic Director Sandy Robbins pleading for a discount for my kids. Students of theater, lovers of theater of all ages should see this.
Aisle Say abhors “trite”, but is motivated to be so this solitary time: The Rep at the U of D is the state of the “art” in the First State. Til February 4. Call 831.2204 for tix. Www.pttp.udel.edu
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