Live theatre is all about risk. It's in the moment. If a line is missed or a flub occurs in motion picture filming, no big deal; a re-do. In live theatre, however, actors lay it all out there. That's what makes it so exhilarating...and important.
Producer / director Jeff Santoro of the Delaware All State Theatre has led such a life over decades of performing. Three years ago he left the comfortable and nurturing nest of Delaware Children's Theatre and its iconic director Marie Swajeski to strike out on his own and create his own signature.
Jeff and co-producer Deb Johnson 'parented' the organization to give elementary, middle, and high school theatre "geeks" the unique opportunity work on a large-scale musical production in partnership with the world famous DuPont Theatre. Full-time students (up to age 19) from across Delaware and the immediate surrounding area are eligible to participate either as a performer or behind the scenes in a technical capacity.
The first show, “Les Mis” was a slam dunk and huge hit; every child with a voice and Broadway aspirations yearned to be in that cast. The audience could not believe that caliber of performance came from school aged kids. Last year's “West Side Story”, an American classic, drew critical raves. One performer closed that show and his next gig was in the chorus of the Broadway revival of “Bye Bye Birdie”.
So, gentle readers, Aisle Say urges you to support this year's production of the multiple Tony award winner with the unsettling, wince-inducing title, “Urinetown”.
Dismiss the title from your mind. It is irrelevant to the hysterical comedy and melodic tunes that will unfold in front of you.
And now we return to risk management. Santoro knew what he was getting into with the choice of the show. Why, you ask? Why not the safe “Sound of Music” or “Annie'?
Santoro knows that live theatre is about challenge. There is oppressive financial risk as well. In magnum opus understatement, the director says “It's very different from our previous productions” he says. “No serious music or themes. It's a comedy. Something we haven't tried ever, which is definitely a challenge for the student performers. Doing comedy well is an art form, and I am excited to say that the kids and teens are doing a brilliant job and will deliver lots of laughs!”
“Urinetown” was conceived by writer Greg Kotis, when as a poor student traveling in Europe, he encountered a pay-per-use toilet; funny in itself. It's a satirical musical comedy, taking on the legal system, capitalism, social responsibility, politics and bureaucracy...all issues Americans rail about today.
Aisle Say attended a rehearsal last week. I have a bit of knowledge and experience in this arena and can state he has the most accomplished band of talented kids I've ever witnessed.
They come from all over. The numbers from Cab Calloway lead the list but Brandywine High, Mt. Pleasant, McKean, Sallies, Padua, Tatnall, Sanford and a half dozen other schools are represented.
Kudos to DuPont Co for partnering in Jeff Santoro's vision.
Only 4 performances. June 18-26. For tickets DuPontTheatre.com 302.656.4401
Wednesday, June 16, 2010
DE Theatre Co needs to Entertain
It has been eternally hurtful to me that I have never been referred to by either friends or critics as a second coming of Rex Harrison. He of the supremely patrician and proper clipped British high baritone.
Sir Noel Coward stated that Harrison was the 'best light comedy actor in the world, except for me.” Come on.... I did comedy...at Brecks Mill, at Wilmington Drama League, at Candlelight Theatre. Alright, it's not London's East End, but I was aspiring.
My other cross to bear while I was performing was the review after opening weekend. For those baby boomers who remember, actors in the '70's and '80's had to suffer the vitriol of Otto Dekom, the Journal theatre/food/fine art columnist who loved women and took Mephistophelian delight in the literary evisceration of leading men. When I sang my melodic heart out, Dekom would call it recitative, that talk-singie thing that Harrison always did.
Okay, now back to the reason Sir Rex is part of this story. I insist I have many qualities reminiscent of this Academy Award and Tony Award winner. Consider the song from “My Fair Lady” entitled 'I'm An Ordinary Man'. (Many individuals, especially women, have called me ordinary. This again has proved hurtful to me, but I digress.)
With theatre though, I admit to being ordinary. When I attend theatre, I like to laugh. I like to be surprised. I like to be entertained.
Delaware Theater Company parted ways with their Artistic Director Anne Marie Cammarato after six years because not enough people were being entertained.
“I'm An Ordinary Theatre Go-er” (with apologies to Sir Rex)
Well after all, Ms. Cammarato, I'm an ordinary man,
Who desires nothing more than an ordinary laugh,
to burst out loud in great surprise, and be not considered as strangely daft...
An average man am I, of no eccentric whim,
Who works hard by day, seemingly on the brink,
When I go out, please DON'T make me think
Well... just an ordinary man...
Aisle Say, in different incarnations, has followed Delaware Theatre Company since its opening night over 3 decades ago at a converted firehouse on French Street in Wilmington. With all due respect to the talent and the passion over these many years, I always thought the programming was over the top on social consciousness. I felt that if I did not acquiesce to the theatrical pounding and preaching served up with the vast majority of their productions that maybe I was not a good person. Not knowing where to turn, I stayed away...as did many in the past years.
It's June. The theatre season opens in September. Cammarato chose all the shows for the next season and was to direct three of them. Aisle Say hopes her choices are reconsidered. We need DTC. It was the Lewis & Clark of the Riverfront. It has been an integral part of our cultural environment. It has changed peoples lives for the better. It has also put patrons, too many patrons, to sleep. Please, please.... ENTERTAIN US.
Sir Noel Coward stated that Harrison was the 'best light comedy actor in the world, except for me.” Come on.... I did comedy...at Brecks Mill, at Wilmington Drama League, at Candlelight Theatre. Alright, it's not London's East End, but I was aspiring.
My other cross to bear while I was performing was the review after opening weekend. For those baby boomers who remember, actors in the '70's and '80's had to suffer the vitriol of Otto Dekom, the Journal theatre/food/fine art columnist who loved women and took Mephistophelian delight in the literary evisceration of leading men. When I sang my melodic heart out, Dekom would call it recitative, that talk-singie thing that Harrison always did.
Okay, now back to the reason Sir Rex is part of this story. I insist I have many qualities reminiscent of this Academy Award and Tony Award winner. Consider the song from “My Fair Lady” entitled 'I'm An Ordinary Man'. (Many individuals, especially women, have called me ordinary. This again has proved hurtful to me, but I digress.)
With theatre though, I admit to being ordinary. When I attend theatre, I like to laugh. I like to be surprised. I like to be entertained.
Delaware Theater Company parted ways with their Artistic Director Anne Marie Cammarato after six years because not enough people were being entertained.
“I'm An Ordinary Theatre Go-er” (with apologies to Sir Rex)
Well after all, Ms. Cammarato, I'm an ordinary man,
Who desires nothing more than an ordinary laugh,
to burst out loud in great surprise, and be not considered as strangely daft...
An average man am I, of no eccentric whim,
Who works hard by day, seemingly on the brink,
When I go out, please DON'T make me think
Well... just an ordinary man...
Aisle Say, in different incarnations, has followed Delaware Theatre Company since its opening night over 3 decades ago at a converted firehouse on French Street in Wilmington. With all due respect to the talent and the passion over these many years, I always thought the programming was over the top on social consciousness. I felt that if I did not acquiesce to the theatrical pounding and preaching served up with the vast majority of their productions that maybe I was not a good person. Not knowing where to turn, I stayed away...as did many in the past years.
It's June. The theatre season opens in September. Cammarato chose all the shows for the next season and was to direct three of them. Aisle Say hopes her choices are reconsidered. We need DTC. It was the Lewis & Clark of the Riverfront. It has been an integral part of our cultural environment. It has changed peoples lives for the better. It has also put patrons, too many patrons, to sleep. Please, please.... ENTERTAIN US.
Tuesday, June 1, 2010
RENT is showcased at Media Theatre
Regional theatres, both community and professional, were as anxious as expectant fathers in a delivery room, or perhaps more to the point, all Flyers fans, when rights became available for “Rent.”
The show is a seminal event for musical theatre ages, on the Great White Way's Mt. Olympus alongside “Showboat” - whom some believe to be the greatest American musical; “Oklahoma”, the first production to have songs move plot along; “Gypsy,” to my mind the most fully integrated musical; “West Side Story,” brilliant choreographer by Jerome Robbins and music by Leonard Bernstein and a neophyte named Stephen Sondheim; “Sound of Music," the most popular movie musical by far and spoofed in hysterical 'sing a longs'; “Hair," one other topical event ripped from the life and times of American culture; “Les Mis,” the all time ALL time most popular show. (No need discussing this. We've all seen it)
But, dear and committed Aisle Say readers, you should see “Rent” as well, and you should see it at The Media Theatre. The theatre cognoscenti knows “Rent.” They've seen it several times. But it's really a populist show and should be devoured by the masses that watch “Sound of Music” and “My Fair Lady.” This production will move you; by song, by passion, by evoking the oppressive malaise we ALL endured during the AIDS scare of the '90's.
There are some special shows that bond the ensemble into one joyous and selfless entity. There is no doubt this cast loves one another and will remember this experience the rest of their lives. We saw it in their faces.
This was a challenging assignment for artistic director of the theater and director Jesse Cline. Broadway shows of the '50's are so much easier to direct. The protagonist sings the tune either solo on stage or with very little background distraction. The show demands (and Cline complied) with a very naturalistic approach. Normally actors 'cheat' toward the audience to declaim their lines and sing their tunes. The ensemble spoke directly to one another, no 'cheating' allowed. Much movement, much energy, much dynamism.
Aisle Say feels remiss without acclaiming the entire cast; they were all that talented, dedicated and in love with what they were creating on stage. The vast majority of them are N.Y. actors who journeyed to Media. Okay, perhaps they had nothing going on at the moment, but young talented types are dedicated to be in “Rent,” that's what the concept, the power and the music means to them.
The two main lovers, Roger (Patrick Ludt) and Mimi (Eileen Shibley) were superb. Shibley especially had that Greenwich Village edge to her that rocked the audience. That's good, this being a rock opera.
Maureen (Chloe Patellis) was the best “Maureen” I have seen – and how many liver pills has Carter? Her “Over The Moon” was worth the price of admission. Maybe Aisle Say is too shallow, for I have never understood how the song itself fit into the show, but...whatever...it's a show stopper.
Media Theatre is only twenty minutes away on the Blue Route. The main street is fun and full of ethnic dining. Would this were the way in Wilmington.
The show is a seminal event for musical theatre ages, on the Great White Way's Mt. Olympus alongside “Showboat” - whom some believe to be the greatest American musical; “Oklahoma”, the first production to have songs move plot along; “Gypsy,” to my mind the most fully integrated musical; “West Side Story,” brilliant choreographer by Jerome Robbins and music by Leonard Bernstein and a neophyte named Stephen Sondheim; “Sound of Music," the most popular movie musical by far and spoofed in hysterical 'sing a longs'; “Hair," one other topical event ripped from the life and times of American culture; “Les Mis,” the all time ALL time most popular show. (No need discussing this. We've all seen it)
But, dear and committed Aisle Say readers, you should see “Rent” as well, and you should see it at The Media Theatre. The theatre cognoscenti knows “Rent.” They've seen it several times. But it's really a populist show and should be devoured by the masses that watch “Sound of Music” and “My Fair Lady.” This production will move you; by song, by passion, by evoking the oppressive malaise we ALL endured during the AIDS scare of the '90's.
There are some special shows that bond the ensemble into one joyous and selfless entity. There is no doubt this cast loves one another and will remember this experience the rest of their lives. We saw it in their faces.
This was a challenging assignment for artistic director of the theater and director Jesse Cline. Broadway shows of the '50's are so much easier to direct. The protagonist sings the tune either solo on stage or with very little background distraction. The show demands (and Cline complied) with a very naturalistic approach. Normally actors 'cheat' toward the audience to declaim their lines and sing their tunes. The ensemble spoke directly to one another, no 'cheating' allowed. Much movement, much energy, much dynamism.
Aisle Say feels remiss without acclaiming the entire cast; they were all that talented, dedicated and in love with what they were creating on stage. The vast majority of them are N.Y. actors who journeyed to Media. Okay, perhaps they had nothing going on at the moment, but young talented types are dedicated to be in “Rent,” that's what the concept, the power and the music means to them.
The two main lovers, Roger (Patrick Ludt) and Mimi (Eileen Shibley) were superb. Shibley especially had that Greenwich Village edge to her that rocked the audience. That's good, this being a rock opera.
Maureen (Chloe Patellis) was the best “Maureen” I have seen – and how many liver pills has Carter? Her “Over The Moon” was worth the price of admission. Maybe Aisle Say is too shallow, for I have never understood how the song itself fit into the show, but...whatever...it's a show stopper.
Media Theatre is only twenty minutes away on the Blue Route. The main street is fun and full of ethnic dining. Would this were the way in Wilmington.
Thursday, May 27, 2010
New Candlelight Dinner Theatre - All Shook Up
New Candlelight Theatre has gone political; a first for live theatre in Delaware. The current production, “All Shook Up," a rollicking rock n' roll romp rooted in the music of Elvis, would hardly be conjured as a platform for R and D discourse.
How does Aisle Say come to this conclusion? Why else would director Chris Alberts parade Mayor Matilda Hyde (Gerri Weagraff) as a small town Sarah Palin? Weagraff's very humorous impersonation certainly gives Tina Fey a run for her money...and even the former Governor/present FaceBook gadfly herself, you betcha! Weagraff talks down to her stage husband Sheriff Earl (Joe Kinsolving) just as you would suspect Palin barks at her own hubby.
Weagraff is even costumed in a red (state) suit, Palin's color of choice. (This is her 41st show at Candlelight. )
Paul Weagraff joins his wife on stage as a father who could have used some quality time watching Dick Clark's American Bandstand. Weagraff's character dances as one might imagine Dustin Hoffman's character doing so in “Rainman.”
Let us dispense with analysis of the plot, it being as diaphanous as the wings of a butterfly; as substantial as cotton candy.
But the full crowd on opening night (including two bus tours) was not there for sturm und drang. They were there for the music and the show is a compilation of Elvis' greatest hits. Shoehorned into the plot are “Jailhouse Rock,” “Heartbreak Hotel,” “Hound Dog,” “Blue Suede Shoes,” “Can't Help Falling in Love” and “Burning Love,” among others.
Readers may recall that NCT dissolved its relationship with Actors Equity; an albatross in these financial times. The transition to this first show after the break is seamless on all levels of stage craft. It's very evident the entire ensemble loves to perform.
While the dancers were enthusiastic in every number, choreographer Dann Dunn's body of work in this production was neither as tight nor as creative as with his past work at NCT.
Chad (Rick Fountas) wisely did not attempt a caricature of The King. Fountas has a well-situated rock voice, great leading man stage presence and has sung in similar rock shows such as “JC Superstar,” “Joseph...Dreamcoat” and “Pippin.”
Two vocal standouts are both newcomers to NCT. Sylvia (Erienne Poole) has a soaring soprano. Her credits include Effie in “Dreamgirls.” Effie sings “And I Tell You I'm Not Going”, one of the all time Broadway show stoppers. The NCT audience witnessed some of that power in “There's Always Me.”
Natalie Hailer/Ed (Sara Schmuckler) plays a cross dresser. Why? (See above for my analysis of this profound and pithy plot.) More importantly, the actor can sing. She does estimable work with Elvis' canon. Her voice has a vibrant edge to it. “Fools Fall in Love” was her finest.
Lorraine (Alexis DeDonato) began with NCT as a dancer. Over the past few shows Aisle Say has seen her evolve into a fine singer and comedienne.
Jim Weber, former music director of Three Little Bakers', is MD for the show.
Group rates available.
Until June 19. NewCandlelightTheatre.com 475.2313
How does Aisle Say come to this conclusion? Why else would director Chris Alberts parade Mayor Matilda Hyde (Gerri Weagraff) as a small town Sarah Palin? Weagraff's very humorous impersonation certainly gives Tina Fey a run for her money...and even the former Governor/present FaceBook gadfly herself, you betcha! Weagraff talks down to her stage husband Sheriff Earl (Joe Kinsolving) just as you would suspect Palin barks at her own hubby.
Weagraff is even costumed in a red (state) suit, Palin's color of choice. (This is her 41st show at Candlelight. )
Paul Weagraff joins his wife on stage as a father who could have used some quality time watching Dick Clark's American Bandstand. Weagraff's character dances as one might imagine Dustin Hoffman's character doing so in “Rainman.”
Let us dispense with analysis of the plot, it being as diaphanous as the wings of a butterfly; as substantial as cotton candy.
But the full crowd on opening night (including two bus tours) was not there for sturm und drang. They were there for the music and the show is a compilation of Elvis' greatest hits. Shoehorned into the plot are “Jailhouse Rock,” “Heartbreak Hotel,” “Hound Dog,” “Blue Suede Shoes,” “Can't Help Falling in Love” and “Burning Love,” among others.
Readers may recall that NCT dissolved its relationship with Actors Equity; an albatross in these financial times. The transition to this first show after the break is seamless on all levels of stage craft. It's very evident the entire ensemble loves to perform.
While the dancers were enthusiastic in every number, choreographer Dann Dunn's body of work in this production was neither as tight nor as creative as with his past work at NCT.
Chad (Rick Fountas) wisely did not attempt a caricature of The King. Fountas has a well-situated rock voice, great leading man stage presence and has sung in similar rock shows such as “JC Superstar,” “Joseph...Dreamcoat” and “Pippin.”
Two vocal standouts are both newcomers to NCT. Sylvia (Erienne Poole) has a soaring soprano. Her credits include Effie in “Dreamgirls.” Effie sings “And I Tell You I'm Not Going”, one of the all time Broadway show stoppers. The NCT audience witnessed some of that power in “There's Always Me.”
Natalie Hailer/Ed (Sara Schmuckler) plays a cross dresser. Why? (See above for my analysis of this profound and pithy plot.) More importantly, the actor can sing. She does estimable work with Elvis' canon. Her voice has a vibrant edge to it. “Fools Fall in Love” was her finest.
Lorraine (Alexis DeDonato) began with NCT as a dancer. Over the past few shows Aisle Say has seen her evolve into a fine singer and comedienne.
Jim Weber, former music director of Three Little Bakers', is MD for the show.
Group rates available.
Until June 19. NewCandlelightTheatre.com 475.2313
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, May 4, 2010
DE Children's Museum opens on Wilmington Riverfront
The Delaware Children's Museum opened last weekend at the site of the previous Big Kahuna, across from Frawley Stadium. However, this new tourist destination will serve up more grand slams to the mired Riverfront than their athletic-themed neighbor.
The DCM covers all the bases regarding a desperately needed new market along the Christiana – that being children. Prior to last Saturday the Riverfront was a glut of restaurants, a retail vision that failed miserably due to poor access planning, condos that had to be auctioned off and a state of the art conference center lacking a necessary ingredient; a contiguous hotel.
The A list of politicians spoke at the opening: Senator Carper, Congressman Castle and Chris Coons. Carper, who was given deserved credit for flattening speed bumps during the fifteen year process stated, “Along with a lot of children in the First State, I have been waiting for this day for a long time. I am thrilled to be here to celebrate the long-anticipated opening of Delaware’s first and only museum for children. This museum—with its focus on energy, science, technology and our environment—literally will change the lives of tens of thousands of young people in the years ahead. Their eyes will be opened to possible careers in fields where our nation’s needs are great. They will go on to become scientists, engineers, biologists, researchers, inventors and much more. The Delaware Children’s Museum will be more than just a fun place to visit. It will be much more than just a children’s museum. It will also serve as a bridge to the future; a brighter future for young boys and girls today and for generations to come.”
Five possible locations were considered for the venue. Then one fortuitous day two years ago The Big Kahuna surprisingly shuttered its doors. Voila! A huge footprint of concrete became available. Timing is everything they say. The landmark volcano became extinct and was replaced by exhibits such as:
ECOnnect - hands on activities for kids to get in touch with their environment.
Bank On It - another hands on exhibit dealing with money management.
Studio D - where kids can exhibit their artistic creativity
Stratosphere – an enclosed 30 foot diameter climber
Training Wheels – exploring trains, cars and things that go
The Power of Me – The power of the human body
The economic impact is considerable. The Association of Children’s Museums indicates that 35% of children’s museums are flagships in downtown revitalization projects. (Aisle Say this is sounding good!) It will employ 28 full time people.
Economic studies project that the DCM will bring in 135,000 visitors to the Riverfront annually – 362 days a year. It is estimated that for every $13.00 spent within the museum, guests spend another $12.00 on restaurants, shops, gas stations and other services that accommodate these families.
General admission is $12.00 per person (children under 12 months are free). A full general admission membership is available. Open 9am to 4:30pm
DelawareChildrensMuseum.org
The DCM covers all the bases regarding a desperately needed new market along the Christiana – that being children. Prior to last Saturday the Riverfront was a glut of restaurants, a retail vision that failed miserably due to poor access planning, condos that had to be auctioned off and a state of the art conference center lacking a necessary ingredient; a contiguous hotel.
The A list of politicians spoke at the opening: Senator Carper, Congressman Castle and Chris Coons. Carper, who was given deserved credit for flattening speed bumps during the fifteen year process stated, “Along with a lot of children in the First State, I have been waiting for this day for a long time. I am thrilled to be here to celebrate the long-anticipated opening of Delaware’s first and only museum for children. This museum—with its focus on energy, science, technology and our environment—literally will change the lives of tens of thousands of young people in the years ahead. Their eyes will be opened to possible careers in fields where our nation’s needs are great. They will go on to become scientists, engineers, biologists, researchers, inventors and much more. The Delaware Children’s Museum will be more than just a fun place to visit. It will be much more than just a children’s museum. It will also serve as a bridge to the future; a brighter future for young boys and girls today and for generations to come.”
Five possible locations were considered for the venue. Then one fortuitous day two years ago The Big Kahuna surprisingly shuttered its doors. Voila! A huge footprint of concrete became available. Timing is everything they say. The landmark volcano became extinct and was replaced by exhibits such as:
ECOnnect - hands on activities for kids to get in touch with their environment.
Bank On It - another hands on exhibit dealing with money management.
Studio D - where kids can exhibit their artistic creativity
Stratosphere – an enclosed 30 foot diameter climber
Training Wheels – exploring trains, cars and things that go
The Power of Me – The power of the human body
The economic impact is considerable. The Association of Children’s Museums indicates that 35% of children’s museums are flagships in downtown revitalization projects. (Aisle Say this is sounding good!) It will employ 28 full time people.
Economic studies project that the DCM will bring in 135,000 visitors to the Riverfront annually – 362 days a year. It is estimated that for every $13.00 spent within the museum, guests spend another $12.00 on restaurants, shops, gas stations and other services that accommodate these families.
General admission is $12.00 per person (children under 12 months are free). A full general admission membership is available. Open 9am to 4:30pm
DelawareChildrensMuseum.org
RENT at Media Theatre
Patrick Ludt, who plays Roger in The Media Theatre's “Rent,” opening May 5, suggests that this iconic rock musical is his era's “Hair.”
That comparison brought back vivid images in this columnist's cerebellum. As a struggling actor in NYC in 1971, I responded to an open audition for “Hair.” Thinking myself brilliant to avoid the certain rush, I arrived at the venue two hours early. By that time, the line was already twice around the block...and NYC blocks are huge! The guy in front of me let out exactly one syllable of the song “Oklahoma” (the “O”) and was cut off with an abrupt, “We'll call you”!
There is more to this forlorn tale for Aisle Say readers, but one that I will leave for a later time.
The East Village in the early 1990's; a district and a nation devastated by crime, drugs and worse, the AIDS epidemic. This was the scourge of the century; fear, dread and discrimination were knee jerk responses to the questions surrounding the disease and the fact that it was mostly attached to the homosexual community.
For years, composer Jonathan Larson worked on a pop opera based on Puccini's “La Boheme.” The plot chronicles a group of friends over a year in their struggles against poverty, drug abuse, AIDS and the inability to make 'rent.' (Larson also explained rent was defined as being 'torn' as in 'emotionally wracked.')
The production has only recently become available for rental and Media is the first professional group to license it in this region.
The career of Idina Menzel was made in “Rent.” She met her husband, Taye Diggs, in the show and both did the movie. Menzel, as we know, originated the Wicked Witch in “Wicked” and that scary guacamole painted face.
“Ren,” like “Hair," marks a cultural watershed and will be with us forever. Perhaps the most popular song is “Seasons of Life.” The entire cast harmonizes to sing "Five hundred twenty-five thousand six hundred minutes" (the number of minutes in a common - non-leap - calendar year).
The main question asked is, "How do you measure a year?" Various answers are suggested, from points of the day ("Daylights," "Sunsets," "Midnights") to units of measure ("inches," "miles"), to everyday events ("cups of coffee") to more symbolic concepts ("laughter," "strife"). In the chorus, the song reaches the conclusion that love is the only proper measure of a year in a human life.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
The Media Theatre is a wonderfully refurbished former vaudeville house in picturesque Media, only 20 minutes from New Castle County. There are close by restaurants. Son Grant and I enjoyed a recent “Wizard of Oz,” with a cast replete with many professional credits.
May 5 to June 6. MediaTheatre.org 104 E. State St. (follow the Media Exit off of the Blue Route. 610.891.0100.
That comparison brought back vivid images in this columnist's cerebellum. As a struggling actor in NYC in 1971, I responded to an open audition for “Hair.” Thinking myself brilliant to avoid the certain rush, I arrived at the venue two hours early. By that time, the line was already twice around the block...and NYC blocks are huge! The guy in front of me let out exactly one syllable of the song “Oklahoma” (the “O”) and was cut off with an abrupt, “We'll call you”!
There is more to this forlorn tale for Aisle Say readers, but one that I will leave for a later time.
The East Village in the early 1990's; a district and a nation devastated by crime, drugs and worse, the AIDS epidemic. This was the scourge of the century; fear, dread and discrimination were knee jerk responses to the questions surrounding the disease and the fact that it was mostly attached to the homosexual community.
For years, composer Jonathan Larson worked on a pop opera based on Puccini's “La Boheme.” The plot chronicles a group of friends over a year in their struggles against poverty, drug abuse, AIDS and the inability to make 'rent.' (Larson also explained rent was defined as being 'torn' as in 'emotionally wracked.')
The production has only recently become available for rental and Media is the first professional group to license it in this region.
The career of Idina Menzel was made in “Rent.” She met her husband, Taye Diggs, in the show and both did the movie. Menzel, as we know, originated the Wicked Witch in “Wicked” and that scary guacamole painted face.
“Ren,” like “Hair," marks a cultural watershed and will be with us forever. Perhaps the most popular song is “Seasons of Life.” The entire cast harmonizes to sing "Five hundred twenty-five thousand six hundred minutes" (the number of minutes in a common - non-leap - calendar year).
The main question asked is, "How do you measure a year?" Various answers are suggested, from points of the day ("Daylights," "Sunsets," "Midnights") to units of measure ("inches," "miles"), to everyday events ("cups of coffee") to more symbolic concepts ("laughter," "strife"). In the chorus, the song reaches the conclusion that love is the only proper measure of a year in a human life.
The back story of “Rent” makes it all the more powerful. Composer Jonathan Larson worked for years on this update of Puccini. The night before opening he died of an aneurysm. That's as substantial a piece of Broadway legend as it gets.
The Media Theatre is a wonderfully refurbished former vaudeville house in picturesque Media, only 20 minutes from New Castle County. There are close by restaurants. Son Grant and I enjoyed a recent “Wizard of Oz,” with a cast replete with many professional credits.
May 5 to June 6. MediaTheatre.org 104 E. State St. (follow the Media Exit off of the Blue Route. 610.891.0100.
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