Dear Tom Carper, Chris Coons (the luckiest politician in DE), John Carney, Jack Markell, Beau Biden (the UNluckiest politician in DE), UD Pres Patrick Harker and Vance Funk, Mayor of Funkytown,
(In one of the hundreds of jobs Aisle Say has had over his career, one was a news picker for a politician. Whenever the boss's name appears in print, the 'picker' must diligently cut and paste and place said article for further review.)
So, now that I have the attention of these esteemed gentlemen, let me humbly suggest one institution in the state which truly makes us 'World Class' – the UD REP Ensemble.
Aisle Say has had the privilege of seeing all but 3 of their productions in the 3 years of their existence. Relative to what trod the boards pre- REP, their body of work is inspiring.
Producing Artistic Director Sandy Robbins told me The Roselle Center for the Arts sits a few miles outside of the perimeter of the prestigious Philadelphia-based Barrymore Awards. Pat Harker, hey bro, you taught at Penn. Make a phone call, dude. That glass case in the theatre lobby soon would be brimming.
I travel to Philly frequently. While The Walnut stages musicals and The REP stages classics, every minute detail of the latter's work is superior. REP shows would be winners on Broadway.
As a writer, I absolutely wretch at the phrase “can't put it into words,” or when an athlete says, “it hasn't sunk in yet.” Yet, one could attend ' A Midsummer Night's Dream' multiple times and still not absorb all the nuances of this spellbinding and bewitching entertainment.
There were as many stars in this show as those in the midsummer night.
Scenic design is by Takeshi Kata, who takes her cue from the omnipresence of the moon in Shakespeare's most popular tale. Kata's moon not only emits light but serves as a lair for the delightful and intimidating Hippolyta/Titania (Jasmine Bracey), who like many of the leads, play two roles.
Puck (Ben Charles) worked assiduously at turning events preposterously. He is not only a skilled actor but an astonishing (and brave) athlete, gracefully flown over the Kata's moon by Foy, the same firm that harnessed Mary Martin and Cathy Rigby.
Theseus/Oberon (Mic Matarrese) was regal in both roles. Grandiloquent of voice and grand of poise, posture and presence.
The four lovers Hermia (Sara Griffin), Helena (Caroline Crocker), Demetrius (Mathew Simpson), Lysander (Cameron Knight) were gleeful and sensuous and, by the by, great comic artists.
And now to the Mechanicals, in what was the most outrageous Pyramis & Thisbe scene Aisle Say has ever witnessed. Poor Quince (Steve Tague) in that ridiculous wig trying to keep control of the out of control Bottom (Stephen Pelinski). The laughs kept cascading as sure as the rhythm of incoming waves. Pelinski has affected this 'who me?” look plastered on his malleable mug and the audience gladly submits their collective will to Bottom's mayhem.
The phantasmagoric fairy costumes created by Martha Hally have never seen an equal on a Delaware stage. I would request the name of the hallucinogen she took so that I could be half as creative.
The fairy platoon was so very concise in their movements, owing to the playful choreography of Joann Browning.
This show will be imprinted in the mind of the audience for a lifetime.
Through December 12. Rep.udel.edu 302.831.2204
FIRST STATE BALLET NUTCRACKER
Delaware's only professional ballet company keeps throwing their creative net around the state. Longtime (and passionate) President of the Board Robert Grenfell and Artistic Director Pasha Kambalov hauled in a leviathan for this year's performances; The Delaware Symphony.
Heretofore, Tchaikovsky's music was pre-recored. Having our live symphony in attendance will energize not only the dancers but also the audience.
David Amado has shown a propensity in the last two years to broaden DSO's reach. He is making his troupe more accessible and the rewards are plentiful. Aisle Say attended a recent concert by Natalie Merchant. I felt the symphony was many times more exciting than this one note artist.
Just this past weekend DSO backed up Gary Brooker of Procul Harem, in concert for the Grand Gala; a spectacularly great party.
And, the orchestra was recently nominated for their first Grammy, a Latin dominated CD entitled Interchange. On a podcast by the DE Division of Arts, Exec Director Lucinda Williams pointed out that their label is from the most prestigious producing company of their genre.
Says Amado,”Collaborating with FSBT is thrilling for us. Normally we partner with other musicians. This new 'conversation', i.e. between the dancers and the orchestra is totally different. Both sides are energized and we become a living breathing organism. I think the audience senses this as well.”
Adding to the coup of partnering with DSO, First State Ballet is adding to this embarrassment of riches by inviting the Wilmington's Childrens Chorus to sit on either balcony sides and sing at appropriate times during the ballet. As Grenfell quips,”the music will be surround sound stereo!”
At The Grand Opera House Dec 17 @ 7pm; Dec 18 @ 2pm and 7pm; Dec 19 @ 2p FirstStateBallet.org Tix: 302.652.5577
Thursday, December 16, 2010
Merry Xmas to Christine O'Donnell, DelDot and Pervert Priests
Aisle Say's Annual Christmas Paean to Delaware, Small Wonder
“O Christine O, O Christine O”
( to the tune of “O Christmas Tree”)
O Christine O, O Christine O!
Our state you so embarrass
O Christine O! O Christine O!
Republicans you so harass
Your only job is candidate
Your resume is pure bull...&*%
O Christine O, O Christine O!
Have you a gray cell working?
O Christine O, O Christine O!
No pleasure thou can'st give me;
You say that mice have human brains
“Pleasure oneself?” “One must abstain!”
O Christine O, O Christine O!
No pleasure thou can'st give me.
O Christine O, O Christine O!
I wouldn't walk in your shoes
O Christine O, O Christine O!
You made the R's sing the blues
In early years you tried witchcraft
No wonder they all think you're daft
O Christine O, O Christine O
I wouldn't walk in your shoes
O Christine O, O Christine O!
You were a TV talking head
O Christine O, O Christine O
I watched debates with fear and dread
You say your funds were misconstrued
Your former staff got really screwed.
O Christine O, O Christine O
You were a TV talking head
O Christine O, O Christine O
You cursed the State for bailin'
Don't want no mini Palin!
Seasoned pros with Mr. Coons
You had the nerve to call them goons
O Christine O, O Christine O
You cursed the State for bailin'
O Christine O, O Christine O
You say a Witch is not your case
O Christine O, O Christine O
Please leave our state without a trace
Your money came from out of state
Your ethics you do abdicate
O Christine O, O Christine O
Please leave our state without a trace
“Deck the State with DelDot Land Deals”
(to the tune of “Deck The Halls with Boughs of Holly”)
Deck the state with DelDot land deals
Fa la la la la, la la la la.
Tax money gone and NO appeals
Fa la la la la, la la la la.
Ruthann jets with Greg Tigani
Fa la la, la la la, la la la.
A sweetheart deal in secrecy
Fa la la la la, la la la la.
Years away this Sussex bypass
Fa la la la la, la la la la.
DelDot deals a legal morass
Fa la la la la, la la la la.
See the barren acreage before us
Fa la la la la, la la la la.
Pay their mortgage...it's so egregious!
Fa la la la la, la la la la.
The rich grow rich in merry measure,
Fa la la la la, la la la la.
“Screw those hicks, increase our treasure!”
Fa la la la la, la la la la.
A full accounting, Secretary Wicks
Fa la la la la, la la la la.
Disclose in full and no more tricks
Fa la la la la, la la la la.
“O Come All Ye Acolytes”
(to the tune of “O Come All Ye Faithful”)
O Come All Ye Acolytes
Trusting and religious
O come ye, O come ye to Wilmington.
Come and believe him,
The priest that gives you succor;
O come, let us denounce him,
O come, let us detest him,
O come, let us despise him,
The pervert priest.
O Sing, unwarned parents,
Sing in exultation,
Sing that your son was deemed a ''chosen” one.
Car rides and many ... overnight vacations;
O come, let us recant him,
O come, let us renounce him,
O come, let us revile him,
The pervert priest.
And now, 40 years later
A chance to gain some closure
Who to pay the price for this sad shattered life?
The parish?, the diocese?... roads lead to Vatican City!
O come, let us distrust him,
O come, let us mistrust him,
O come, let us adore him?
The pervert priest
“O Christine O, O Christine O”
( to the tune of “O Christmas Tree”)
O Christine O, O Christine O!
Our state you so embarrass
O Christine O! O Christine O!
Republicans you so harass
Your only job is candidate
Your resume is pure bull...&*%
O Christine O, O Christine O!
Have you a gray cell working?
O Christine O, O Christine O!
No pleasure thou can'st give me;
You say that mice have human brains
“Pleasure oneself?” “One must abstain!”
O Christine O, O Christine O!
No pleasure thou can'st give me.
O Christine O, O Christine O!
I wouldn't walk in your shoes
O Christine O, O Christine O!
You made the R's sing the blues
In early years you tried witchcraft
No wonder they all think you're daft
O Christine O, O Christine O
I wouldn't walk in your shoes
O Christine O, O Christine O!
You were a TV talking head
O Christine O, O Christine O
I watched debates with fear and dread
You say your funds were misconstrued
Your former staff got really screwed.
O Christine O, O Christine O
You were a TV talking head
O Christine O, O Christine O
You cursed the State for bailin'
Don't want no mini Palin!
Seasoned pros with Mr. Coons
You had the nerve to call them goons
O Christine O, O Christine O
You cursed the State for bailin'
O Christine O, O Christine O
You say a Witch is not your case
O Christine O, O Christine O
Please leave our state without a trace
Your money came from out of state
Your ethics you do abdicate
O Christine O, O Christine O
Please leave our state without a trace
“Deck the State with DelDot Land Deals”
(to the tune of “Deck The Halls with Boughs of Holly”)
Deck the state with DelDot land deals
Fa la la la la, la la la la.
Tax money gone and NO appeals
Fa la la la la, la la la la.
Ruthann jets with Greg Tigani
Fa la la, la la la, la la la.
A sweetheart deal in secrecy
Fa la la la la, la la la la.
Years away this Sussex bypass
Fa la la la la, la la la la.
DelDot deals a legal morass
Fa la la la la, la la la la.
See the barren acreage before us
Fa la la la la, la la la la.
Pay their mortgage...it's so egregious!
Fa la la la la, la la la la.
The rich grow rich in merry measure,
Fa la la la la, la la la la.
“Screw those hicks, increase our treasure!”
Fa la la la la, la la la la.
A full accounting, Secretary Wicks
Fa la la la la, la la la la.
Disclose in full and no more tricks
Fa la la la la, la la la la.
“O Come All Ye Acolytes”
(to the tune of “O Come All Ye Faithful”)
O Come All Ye Acolytes
Trusting and religious
O come ye, O come ye to Wilmington.
Come and believe him,
The priest that gives you succor;
O come, let us denounce him,
O come, let us detest him,
O come, let us despise him,
The pervert priest.
O Sing, unwarned parents,
Sing in exultation,
Sing that your son was deemed a ''chosen” one.
Car rides and many ... overnight vacations;
O come, let us recant him,
O come, let us renounce him,
O come, let us revile him,
The pervert priest.
And now, 40 years later
A chance to gain some closure
Who to pay the price for this sad shattered life?
The parish?, the diocese?... roads lead to Vatican City!
O come, let us distrust him,
O come, let us mistrust him,
O come, let us adore him?
The pervert priest
Wednesday, December 1, 2010
Yikes, it's Wanda Sykes at The Media Theatre
A guest artist with a national profile brings great celebrity to a regional theatre. I am a great fan of Wanda Sykes on 'Curb Your Enthusiasm', the chief reason being that she cuts the irascible Larry David no slack.
Those on Media Theatre's email list were reminded almost daily of Sykes' star power.
While admittedly I witnessed the first preview before an audience, Sykes as the dastardly drunk Miss Hannigan came across as comfortable on stage as Tiger Woods in his first news conference after his marital sturm und drang.
She loosened up a bit during 'Easy Street', sung and danced with the entertaining and energetic – while nefarious - twosome of Rooster (Reggie Whitehead) and Lily St. Regis (Janet Rowley). What is normally an over the top show stopper devolved into a boilerplate production number, eliciting but courtesy chuckles from the audience of family and friends.
Aisle Say's overall impression was that Sykes was under rehearsed.
I will leave this flailing in the hair vest with one final comment; she should talk-sing her one solo 'Little Girls'. This is an effective device for non-singers made famous by Rex Harrison in “My Fair Lady”. (Sykes is on hiatus during the run of the show and the role will be taken by popular and experienced Philly actor Mary Martello.)
Annie (Tori Heinlein) fared well with the iconic 'Tomorrow' and even better with 'Maybe'. (At ten years already an Equity card carrier!) Her constant attention to her red wig was distracting and the strong chemistry that should be evident between she and Warbucks (Paul Jackel) registered a 'luke' on Aisle Say's 'warm' index.
Overall, the production lacked pace and energy. Rhythm was off by a half step. The scenes with the orphans and any time Rooster (Whitehead) was on stage created much anticipated and appreciated energy. Whitehead's credits include the character of Sportin Life in Gershwin's 'Porgy and Bess', America's first opera. He brought that same Sammy Davis, Jr.-type dynamics to this role.
The singing star was Grace (Eliza Matthews) performing back to back shows at Media. She was last seen as Emma in their sizzling 'Jekyll & Hyde' . At that show Aisle Say gushed over her light lyric soprano / soubrette like an expectant school boy at the sophomore prom. Matthews has no solo in this production but is is evident her control is as tight as the spiral from Michael Vick to DeSean Jackson.
One of the most creative aspects of the show was delivered by scenic designer Robert Klimowski. He used very descriptive Depression era images on a rear projected screen; an inexpensive yet effective vehicle to create mood. As a result, we were embraced with the atmosphere of that difficult time in American history.
Through January 16. MediaTheatre.org 610.891.0100
For those of you who remember my Delaware's Best of Broadway, we are returning to Bella Vita at Cavaliers Country Club on February 17 at 1:30pm and February 18 at 8pm. My professional singers will be performing a cabaret/concert of Broadway's show stoppers, including tunes from Les Mis, Phantom, Carousel, Showboat, etc. Buffet and two hours of entertainment. Carl Immediato of the iconic 3 Little Bakers Dinner Theatre is Marketing Director at the venue. Group rates.
BellaVitaccc.net 731.5600.
Those on Media Theatre's email list were reminded almost daily of Sykes' star power.
While admittedly I witnessed the first preview before an audience, Sykes as the dastardly drunk Miss Hannigan came across as comfortable on stage as Tiger Woods in his first news conference after his marital sturm und drang.
She loosened up a bit during 'Easy Street', sung and danced with the entertaining and energetic – while nefarious - twosome of Rooster (Reggie Whitehead) and Lily St. Regis (Janet Rowley). What is normally an over the top show stopper devolved into a boilerplate production number, eliciting but courtesy chuckles from the audience of family and friends.
Aisle Say's overall impression was that Sykes was under rehearsed.
I will leave this flailing in the hair vest with one final comment; she should talk-sing her one solo 'Little Girls'. This is an effective device for non-singers made famous by Rex Harrison in “My Fair Lady”. (Sykes is on hiatus during the run of the show and the role will be taken by popular and experienced Philly actor Mary Martello.)
Annie (Tori Heinlein) fared well with the iconic 'Tomorrow' and even better with 'Maybe'. (At ten years already an Equity card carrier!) Her constant attention to her red wig was distracting and the strong chemistry that should be evident between she and Warbucks (Paul Jackel) registered a 'luke' on Aisle Say's 'warm' index.
Overall, the production lacked pace and energy. Rhythm was off by a half step. The scenes with the orphans and any time Rooster (Whitehead) was on stage created much anticipated and appreciated energy. Whitehead's credits include the character of Sportin Life in Gershwin's 'Porgy and Bess', America's first opera. He brought that same Sammy Davis, Jr.-type dynamics to this role.
The singing star was Grace (Eliza Matthews) performing back to back shows at Media. She was last seen as Emma in their sizzling 'Jekyll & Hyde' . At that show Aisle Say gushed over her light lyric soprano / soubrette like an expectant school boy at the sophomore prom. Matthews has no solo in this production but is is evident her control is as tight as the spiral from Michael Vick to DeSean Jackson.
One of the most creative aspects of the show was delivered by scenic designer Robert Klimowski. He used very descriptive Depression era images on a rear projected screen; an inexpensive yet effective vehicle to create mood. As a result, we were embraced with the atmosphere of that difficult time in American history.
Through January 16. MediaTheatre.org 610.891.0100
For those of you who remember my Delaware's Best of Broadway, we are returning to Bella Vita at Cavaliers Country Club on February 17 at 1:30pm and February 18 at 8pm. My professional singers will be performing a cabaret/concert of Broadway's show stoppers, including tunes from Les Mis, Phantom, Carousel, Showboat, etc. Buffet and two hours of entertainment. Carl Immediato of the iconic 3 Little Bakers Dinner Theatre is Marketing Director at the venue. Group rates.
BellaVitaccc.net 731.5600.
Monday, November 29, 2010
John & Lena O'Toole receive Lifetime Standing O's
While attending Wilmington Drama League's “Chicago” two weeks ago, John and Lena O'Toole, co-founders of Arden's Candlelight Dinner Theatre walked in. Son Grant and I walked over to say hello.
“Oh, you're reviewing tonight, Greer?” asked Lena.
John smiled and lamented...“too bad I never had a chance to play Billy Flynn (Richard Gere in the movie). I would have been perfect.
“Oh, John”, replied Lena, “you won't be getting reviewed again.”
That comment was my cue for this ode to the O'Toole's. Neither John nor Lena had ever been reviewed for the profound impact their life's work had on community theatre in Delaware and, equally important, the lives of the hundreds of actors they touched.
John O'Toole and Julian Borris had attended high school together in Wilmington. In early 1969 they came up with the idea to renovate the Robin Hood Dell and transform it into the state's first dinner theatre. They did not share the secret with wives Lena and Annabelle until the day they opened the creaky doors of that Arden landmark.
“The place was a complete disaster,” recalls Lena. “Dust and cob webs everywhere, peeling paint, ivy growing through the walls, muck on the floors and 200 seats in complete disrepair that were bolted to the floor. It had been a barn before Robin Hood Dell and aside from the absence of farm animals, looked that way that day.”
Julian was to be artistic director; Lena was given bookkeeping; John was to be production manager, press aid and a very literal chief cook and bottle washer. Annabelle Borris was assigned to be Annabelle.
The bank account opened with $7.20. The partners came up with the idea of selling $50 shares. That accumulated roughly $10,000; not a lot to begin a business. John was in real estate and Julian was in radio sales. Each family had 4 kids. There was no way they could quit their full-time jobs.
But eventually word got out in the community about this new dinner theatre. Lena recalls that people came by to say they loved the idea and wanted to volunteer.
“Cathy, our daughter brought several girls from Ursuline Academy to help paint,” she said.
John gives credit to Julian for the idea of the first show, “Forum."
“I had never heard of the show," he said. "It was the first time it would be performed in the state.”
Opening was to be September of 1969. Due to an ever increasing number of problems, however, the date was pushed back to Thanksgiving.
“A very, very cold Thanksgiving,” chimes in John. “We had no heat backstage. If you know 'Forum,' the girls (courtesans) run around with hardly anything on. They would dash offstage and crowd in front of a commercial construction heater we borrowed, reduce their goose bumps for a split second and prance back on stage.”
The ticket price for dinner and theatre that night was $7.50. (Liquor was BYO and was to remain that way until 1981.) 'Forum' was a boffo success. Many cast members became stalwarts for years at Candlelight. One in particular, Don Parkhill, played Senex, the discombobulated father searching for his son and instructed by Pseudolis (Borris) to walk seven times around Rome. Parkhill's hilarity became a mainstay for the next decade. I personally saw the show about eight times and still chuckle to this day.
Through Facebook I reached out to many actors over the 31 years of John and Lena's grand experiment. Overwhelmingly, the comment was “family." Julian was a mite intimidating. The O'Tooles created a loving, nurturing environment where everyone was respected. For many, it was their initial foray into the magical world of live theatre.
From Claudia Carlson (Aisle Say states one of the most beautiful voices ever to grace the stage): My husband Joe and I were just talking wistfully about our Saturday nights at Candlelight. John would set out bread and cold cuts and potato salad for the cast. He always spoiled Joe with extra pickles and Joe's favorite cheese. Such a simple pleasure but it brought such joy to us all. Those touches made us feel a part of the family. That doesn't happen anywhere else.
On the acting front, John and Lena were always my biggest fans and gave me the courage to take risks. I knew I was doing a good job if I got a glimpse of Lena at the office door. She would always stop what she was doing to catch her favorite parts of the show. She told me she never missed me singing "Rose's Turn." "Gypsy" was my final show with John and Lena. They will always have a special spot in this Mama's heart.
From Tom Marshall, presently directing all Concord High shows: I'll never forget working with Julian on "Mame." He never knew his lines and would make them up on stage. You never knew what was going to come out and he got mad at you if you looked like a deer in headlights. After a tirade from Julian, John and Lena were always there to boost you up. It became a second home to me and it was because of the two of them.
From Sue Hornung, lead in several shows through the decades: John and Lena created a theatre family at Candlelight...a family that provided training for future professionals such as Sue Stroman (whose had a so-so career on Broadway...Ha!). Some of the best Delaware actors were part of Candlelight – Jean Bovard, Luanne Sereduke, Terry Johnson, to name a few.
My best friend Ted Meyermann was playing the Paul Lynde (father) role in "Bye Bye Birdie" in 1998. The kid playing the son, Randolph, dropped out two weeks before opening. Ted made a bee line to my house to ask if then 10-year-old Grant could do the role. It was a no-brainer for me, but convincing his mother was another issue. Ted launched into a passionate argument. After ten minutes Grant's Mom relented.
“Okay, okay, Ted. Please stop crying!”
As they did Saturday evenings after every show for 31 years, John and Lena laid out sandwiches and cokes for the cast. The first couple of Saturdays I would come right after the show to schmooze with everyone. This infuriated Grant.
“These are my friends. This is my cast. You are not allowed to come pick me up until midnight!" he implored. "And another thing. Don't come in. Stay in the car!”
I was stunned by the emotion of this normally sweet and mild mannered kid. Then, aha!. Grant, like all the kids who ever performed at Candlelight, felt territorial of these new friends and this new found world of off-center "theatre people."
Oddball remembrances from Aisle Say:
*
John's handwritten programs in the '70s. (Many times he would misspell an actor's name from one show to the next. If you were Polish, good luck on getting your name correct!)
*
The bathrooms through the '70s! Oh, boy!
*
Waiting tables for tips
*
John and Julian's "Abbott and Costello" act during intermission
*
The rubber chicken that had to make an appearance in every show
*
In each role John played, there was a touch of his favorite character Luther Billis from "South Pacific." (I say that with great affection.) As Billis, though, no one ever wore his coconut breastplates with greater pride.
Well, Lena, so you were wrong. John was in fact reviewed once again...along with what is probably your first review. Aisle Say humbly speaks for all Candlelight alum over 31 years: The O'Tooles deserve a lifetime standing ovation.
The collective love for your "theatre family" is the grand legacy you leave. As La Merman (the woman who could hold a note longer than the Chase Manhattan bank) sang: “Who could ask for anything more!”
“Oh, you're reviewing tonight, Greer?” asked Lena.
John smiled and lamented...“too bad I never had a chance to play Billy Flynn (Richard Gere in the movie). I would have been perfect.
“Oh, John”, replied Lena, “you won't be getting reviewed again.”
That comment was my cue for this ode to the O'Toole's. Neither John nor Lena had ever been reviewed for the profound impact their life's work had on community theatre in Delaware and, equally important, the lives of the hundreds of actors they touched.
John O'Toole and Julian Borris had attended high school together in Wilmington. In early 1969 they came up with the idea to renovate the Robin Hood Dell and transform it into the state's first dinner theatre. They did not share the secret with wives Lena and Annabelle until the day they opened the creaky doors of that Arden landmark.
“The place was a complete disaster,” recalls Lena. “Dust and cob webs everywhere, peeling paint, ivy growing through the walls, muck on the floors and 200 seats in complete disrepair that were bolted to the floor. It had been a barn before Robin Hood Dell and aside from the absence of farm animals, looked that way that day.”
Julian was to be artistic director; Lena was given bookkeeping; John was to be production manager, press aid and a very literal chief cook and bottle washer. Annabelle Borris was assigned to be Annabelle.
The bank account opened with $7.20. The partners came up with the idea of selling $50 shares. That accumulated roughly $10,000; not a lot to begin a business. John was in real estate and Julian was in radio sales. Each family had 4 kids. There was no way they could quit their full-time jobs.
But eventually word got out in the community about this new dinner theatre. Lena recalls that people came by to say they loved the idea and wanted to volunteer.
“Cathy, our daughter brought several girls from Ursuline Academy to help paint,” she said.
John gives credit to Julian for the idea of the first show, “Forum."
“I had never heard of the show," he said. "It was the first time it would be performed in the state.”
Opening was to be September of 1969. Due to an ever increasing number of problems, however, the date was pushed back to Thanksgiving.
“A very, very cold Thanksgiving,” chimes in John. “We had no heat backstage. If you know 'Forum,' the girls (courtesans) run around with hardly anything on. They would dash offstage and crowd in front of a commercial construction heater we borrowed, reduce their goose bumps for a split second and prance back on stage.”
The ticket price for dinner and theatre that night was $7.50. (Liquor was BYO and was to remain that way until 1981.) 'Forum' was a boffo success. Many cast members became stalwarts for years at Candlelight. One in particular, Don Parkhill, played Senex, the discombobulated father searching for his son and instructed by Pseudolis (Borris) to walk seven times around Rome. Parkhill's hilarity became a mainstay for the next decade. I personally saw the show about eight times and still chuckle to this day.
Through Facebook I reached out to many actors over the 31 years of John and Lena's grand experiment. Overwhelmingly, the comment was “family." Julian was a mite intimidating. The O'Tooles created a loving, nurturing environment where everyone was respected. For many, it was their initial foray into the magical world of live theatre.
From Claudia Carlson (Aisle Say states one of the most beautiful voices ever to grace the stage): My husband Joe and I were just talking wistfully about our Saturday nights at Candlelight. John would set out bread and cold cuts and potato salad for the cast. He always spoiled Joe with extra pickles and Joe's favorite cheese. Such a simple pleasure but it brought such joy to us all. Those touches made us feel a part of the family. That doesn't happen anywhere else.
On the acting front, John and Lena were always my biggest fans and gave me the courage to take risks. I knew I was doing a good job if I got a glimpse of Lena at the office door. She would always stop what she was doing to catch her favorite parts of the show. She told me she never missed me singing "Rose's Turn." "Gypsy" was my final show with John and Lena. They will always have a special spot in this Mama's heart.
From Tom Marshall, presently directing all Concord High shows: I'll never forget working with Julian on "Mame." He never knew his lines and would make them up on stage. You never knew what was going to come out and he got mad at you if you looked like a deer in headlights. After a tirade from Julian, John and Lena were always there to boost you up. It became a second home to me and it was because of the two of them.
From Sue Hornung, lead in several shows through the decades: John and Lena created a theatre family at Candlelight...a family that provided training for future professionals such as Sue Stroman (whose had a so-so career on Broadway...Ha!). Some of the best Delaware actors were part of Candlelight – Jean Bovard, Luanne Sereduke, Terry Johnson, to name a few.
My best friend Ted Meyermann was playing the Paul Lynde (father) role in "Bye Bye Birdie" in 1998. The kid playing the son, Randolph, dropped out two weeks before opening. Ted made a bee line to my house to ask if then 10-year-old Grant could do the role. It was a no-brainer for me, but convincing his mother was another issue. Ted launched into a passionate argument. After ten minutes Grant's Mom relented.
“Okay, okay, Ted. Please stop crying!”
As they did Saturday evenings after every show for 31 years, John and Lena laid out sandwiches and cokes for the cast. The first couple of Saturdays I would come right after the show to schmooze with everyone. This infuriated Grant.
“These are my friends. This is my cast. You are not allowed to come pick me up until midnight!" he implored. "And another thing. Don't come in. Stay in the car!”
I was stunned by the emotion of this normally sweet and mild mannered kid. Then, aha!. Grant, like all the kids who ever performed at Candlelight, felt territorial of these new friends and this new found world of off-center "theatre people."
Oddball remembrances from Aisle Say:
*
John's handwritten programs in the '70s. (Many times he would misspell an actor's name from one show to the next. If you were Polish, good luck on getting your name correct!)
*
The bathrooms through the '70s! Oh, boy!
*
Waiting tables for tips
*
John and Julian's "Abbott and Costello" act during intermission
*
The rubber chicken that had to make an appearance in every show
*
In each role John played, there was a touch of his favorite character Luther Billis from "South Pacific." (I say that with great affection.) As Billis, though, no one ever wore his coconut breastplates with greater pride.
Well, Lena, so you were wrong. John was in fact reviewed once again...along with what is probably your first review. Aisle Say humbly speaks for all Candlelight alum over 31 years: The O'Tooles deserve a lifetime standing ovation.
The collective love for your "theatre family" is the grand legacy you leave. As La Merman (the woman who could hold a note longer than the Chase Manhattan bank) sang: “Who could ask for anything more!”
Wednesday, November 24, 2010
Aisle Say - Dec 2009. I enjoyed writing this
“WHYY, How dare you leave our city”, (to the tune of O Christmas Tree, O Christmas Tree)
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
Without an ounce of pity
You say you're not aband'ing us
And who are we to make a fuss!
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
We put big money in you
O HYY
O HYY
Citizens are left to stew
You say your plans are misconstrued
But bottom line, we all got screwed
O HYY
O HYY
We put big money in you
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
But now it all seems balderdash
Your anchor was a talking head
I tuned at 5 with fear and dread
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
Next stop may be the FCC
O HYY
O HYY
Ted Kaufman's vote may be the key
You state your costs will not allow
But your GM makes 500 thou.
O HYY
O HYY
Next stop may be the FCC
The Dredging of the Delaware River
( to the tune of Deck the Halls With Boughs of Holly”)
Deck the shores with tons of sewage
Folly, folly, folly la la la la.
Underneath Memorial Brid...ge
Folly, folly, folly, la la la la
Trust Army Corps of Engineers?
Folly, folly, folly, la la la la
All we get are haughty sneers!
Folly, folly, folly, la la la la
See the wildlife dead before us,
Folly, folly, folly, la la la la.
Just say no and join the chorus,
Folly, folly, folly, la la la la.
Call Markell to voice displeasure,
Folly, folly, folly, la la la.
No corp'rate greed, no corp'rate treasure,
Folly, folly, folly, la la la la.
Ode to Mike Castle, “Biden's Son is Coming to Town” (to the tune of Santa Claus is Coming to Town”)
You better watch out
Don't sit, don't sigh
Better not flout
Joe's telling you why
Biden's son is coming to town
Beau's making a list
And checking it twice;
Goin' to DC to get some advice
Biden's son is coming to town
Beau sees you when you're polling
Beau knows that you're ahead
First state's... been historic'ly blue
Castle wants to make it red!
O! You better watch out!
You better look spry
Won't be a blow out...
Could make you mince pie
Biden's son is coming to town!
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
Without an ounce of pity
You say you're not aband'ing us
And who are we to make a fuss!
O HYY
O HYY
How dare you leave our city
O HYY
O HYY
We put big money in you
O HYY
O HYY
Citizens are left to stew
You say your plans are misconstrued
But bottom line, we all got screwed
O HYY
O HYY
We put big money in you
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
But now it all seems balderdash
Your anchor was a talking head
I tuned at 5 with fear and dread
O HYY
O HYY
Each month we get a call for cash
O HYY
O HYY
Next stop may be the FCC
O HYY
O HYY
Ted Kaufman's vote may be the key
You state your costs will not allow
But your GM makes 500 thou.
O HYY
O HYY
Next stop may be the FCC
The Dredging of the Delaware River
( to the tune of Deck the Halls With Boughs of Holly”)
Deck the shores with tons of sewage
Folly, folly, folly la la la la.
Underneath Memorial Brid...ge
Folly, folly, folly, la la la la
Trust Army Corps of Engineers?
Folly, folly, folly, la la la la
All we get are haughty sneers!
Folly, folly, folly, la la la la
See the wildlife dead before us,
Folly, folly, folly, la la la la.
Just say no and join the chorus,
Folly, folly, folly, la la la la.
Call Markell to voice displeasure,
Folly, folly, folly, la la la.
No corp'rate greed, no corp'rate treasure,
Folly, folly, folly, la la la la.
Ode to Mike Castle, “Biden's Son is Coming to Town” (to the tune of Santa Claus is Coming to Town”)
You better watch out
Don't sit, don't sigh
Better not flout
Joe's telling you why
Biden's son is coming to town
Beau's making a list
And checking it twice;
Goin' to DC to get some advice
Biden's son is coming to town
Beau sees you when you're polling
Beau knows that you're ahead
First state's... been historic'ly blue
Castle wants to make it red!
O! You better watch out!
You better look spry
Won't be a blow out...
Could make you mince pie
Biden's son is coming to town!
Thursday, November 11, 2010
Characters are Footloosical in "Suessical, the Musical"
Quotes Dr. Suess, “So the writer who breeds more than he needs, is making a chore for the reader who reads.”
Therefore, says I, ...“the words I pen in my column Aisle Say... will be nifty and utmost thrifty. In fact, I'll cut by fifty-fifty!”
In this first ever production of “Suessical, the Musical” at New Candlelight, the actors, with an age range beginning at 6 and going skyward, are given the opportunity to which all thespians aspire; i.e. playing over-the-top, fantastical cartoon characters.
In the music and frivolity is both simple charm and moral lessons, perfect for your children and grandchildren. This is both an ideal bonding experience for the kids and you and also a memorable holiday treat. And, for only $5.00, you can treat your child to a very cool Dr. Suess hat!
At our preview night dining with my dear (and most assuredly non-grinch) sister Liz, perhaps 25% of the house were kids, squealing at the antics of the characters, the dazzling colors and originality of Timothy Lamont Cannon's costumes and the star light special effects of Director and Lighting Designer Chris Alberts.
Gentle readers, this is not some kiddified production. The excellent music is by Ahrens and Flaherty, the duo who gave you the Broadway blockbuster “Ragtime.” Standing out is a lilting and inspirational ballad 'Solia Sollew' that is hypnotically harmonized by the ensemble. You have never heard it for it cannot be extrapolated from the show. It has character references and too integrated in the rather non-nonsensical plot. (This IS Dr. Suess, remember. And the show was co-conceived by Monty Python Eric Idle...enough said!)
The Master of Ceremonies/Ringmaster is The Cat in the Hat (Paul Goodman). A new father himself, this role has given the veteran actor even more a sensitivity of the joy and innocence of childhood and he plays the part with a sparkle in his eye, urging the young JoJo (Zachary Pennington) “On the Thinks You Can Think.” Pennington is an eighth grader at Springer. Many of the kids attend Cab Calloway School for the Arts.
Horton (David Snyder) is making his NCT debut as an elephant. He has a sweet and endearing voice, this loyal character to his friends, “...I meant what I say and I say what I meant. An elephant's faithful, one hundred per cent.”
Gertrude McFuzz (Erica Scanlon Harr) is a delight to watch in her ever expanding and contracting bird costume (yet another bravo to Costumer Cannon). We have heard her clear soprano as Dorothy in “Oz” and Laurey in “Oklahoma”. Harr exemplifies, along with Mrs. Mayor (Lindsay Mauck), Sour Kangaroo (Erienne Poole) and Mayzie (Kaylan Wetzel), the talented core of performers that Chris Alberts has assembled over the past two years or so. Aisle Say is waiting for “Dreamgirls” for Poole and “Guys and Dolls' for Wetzel, two shows perfect for their rich voices.
For the half dozen or so kid performers, they will remember this adventure with Dr. Suess the remainder of their lives. Zoe McLane (age 6?), playing 'ill Roo (think Mini Me), to Sour Kangaroo. Zoe started at NCT Summer Camp and now has progressed to a main stage production. In her credits she writes, “I want to thank my Mom and Dad for listening to me rehearse and rehearse over and over and over again.! OKAY! FINE, and to Zach, my brother – there I said his name!
Due to money, NCT is no longer has an Equity relationship. However, under Alberts' tutelage, they have regressed nary a scintilla in production quality. It has been and remains the best value in live entertainment – dinner AND theatre for the price of a theatre ticket.
Will Candlelight succeed? Yes indeed. Yes indeed. 98 and three quarters per cent guaranteed!
Through December 22. 302.475.2313 NewCandlelightTheatre.com
Therefore, says I, ...“the words I pen in my column Aisle Say... will be nifty and utmost thrifty. In fact, I'll cut by fifty-fifty!”
In this first ever production of “Suessical, the Musical” at New Candlelight, the actors, with an age range beginning at 6 and going skyward, are given the opportunity to which all thespians aspire; i.e. playing over-the-top, fantastical cartoon characters.
In the music and frivolity is both simple charm and moral lessons, perfect for your children and grandchildren. This is both an ideal bonding experience for the kids and you and also a memorable holiday treat. And, for only $5.00, you can treat your child to a very cool Dr. Suess hat!
At our preview night dining with my dear (and most assuredly non-grinch) sister Liz, perhaps 25% of the house were kids, squealing at the antics of the characters, the dazzling colors and originality of Timothy Lamont Cannon's costumes and the star light special effects of Director and Lighting Designer Chris Alberts.
Gentle readers, this is not some kiddified production. The excellent music is by Ahrens and Flaherty, the duo who gave you the Broadway blockbuster “Ragtime.” Standing out is a lilting and inspirational ballad 'Solia Sollew' that is hypnotically harmonized by the ensemble. You have never heard it for it cannot be extrapolated from the show. It has character references and too integrated in the rather non-nonsensical plot. (This IS Dr. Suess, remember. And the show was co-conceived by Monty Python Eric Idle...enough said!)
The Master of Ceremonies/Ringmaster is The Cat in the Hat (Paul Goodman). A new father himself, this role has given the veteran actor even more a sensitivity of the joy and innocence of childhood and he plays the part with a sparkle in his eye, urging the young JoJo (Zachary Pennington) “On the Thinks You Can Think.” Pennington is an eighth grader at Springer. Many of the kids attend Cab Calloway School for the Arts.
Horton (David Snyder) is making his NCT debut as an elephant. He has a sweet and endearing voice, this loyal character to his friends, “...I meant what I say and I say what I meant. An elephant's faithful, one hundred per cent.”
Gertrude McFuzz (Erica Scanlon Harr) is a delight to watch in her ever expanding and contracting bird costume (yet another bravo to Costumer Cannon). We have heard her clear soprano as Dorothy in “Oz” and Laurey in “Oklahoma”. Harr exemplifies, along with Mrs. Mayor (Lindsay Mauck), Sour Kangaroo (Erienne Poole) and Mayzie (Kaylan Wetzel), the talented core of performers that Chris Alberts has assembled over the past two years or so. Aisle Say is waiting for “Dreamgirls” for Poole and “Guys and Dolls' for Wetzel, two shows perfect for their rich voices.
For the half dozen or so kid performers, they will remember this adventure with Dr. Suess the remainder of their lives. Zoe McLane (age 6?), playing 'ill Roo (think Mini Me), to Sour Kangaroo. Zoe started at NCT Summer Camp and now has progressed to a main stage production. In her credits she writes, “I want to thank my Mom and Dad for listening to me rehearse and rehearse over and over and over again.! OKAY! FINE, and to Zach, my brother – there I said his name!
Due to money, NCT is no longer has an Equity relationship. However, under Alberts' tutelage, they have regressed nary a scintilla in production quality. It has been and remains the best value in live entertainment – dinner AND theatre for the price of a theatre ticket.
Will Candlelight succeed? Yes indeed. Yes indeed. 98 and three quarters per cent guaranteed!
Through December 22. 302.475.2313 NewCandlelightTheatre.com
Thursday, November 4, 2010
Razzle Dazzle with Wilm Drama League's CHICAGO
“Chicago” is the grandest community theatre production Aisle Say has witnessed in the past five years. Jody Anderson is unequivocally the most talented choreographer in the state. Anderson has taken a coterie of dedicated amateur hoofers and molded them into a razzling dazzling unit that pays homage to the singular talent of Broadway legend Bob Fosse; he of the thrusting pelvis, rounded shoulders and signature bowler hat.
Director Matt Casarino's exemplary cast includes wonderful singers, beginning with the leads Velma (Barbara Wright) and Roxie (Ashley Harris), extending to Mama Morton (Rebecca Gallatin) and then to the chorus. Christopher Tolomeo leads a great band excelling at the period music of the roaring '20's; all perched atop the set – always on stage but never intrusive to the progress of the plot.
Most of us have seen the movie. Aisle Say believes the stage show to be more endearing and certainly funnier. Son Grant accompanied me on opening night. He commented that he had to keep focused for so many exciting twists and turns were happening with such fluidity. That is a credit to both the director and the choreographer. He also commented on the quality that WDL produces, hearkening back to last season's “Rent”.
I loved the entire cast but Harris was most wonderfully perfect as Roxie, the doe-eyed murderess. How in the world could this harmless looking naif be so cold-blooded? “Chicago” is predominantly a woman-driven show with Velma and Roxie. Billy Flynn (Jeff Santoro) played the ultimate legal sleezeball hotdog with relish. He was having too much fun in the role. (Minor costume point. Would have loved to see him in a double breasted stripe suit with those '20's era black & white shoes).
Billy was appropriately condescending to Amos (Edward Elder), Roxie's long suffering husband. He continually referred to him as “Andy”, a running joke that was undoubtedly lost on those in the audience younger than 50. Amos, the poor schlub, had his moment, though. His “Mr. Cellophane” was a show stopper. The fellow can hold a note!
Fred Casely (Chris Turner) was very funny in the role of the deceased. He is the only one in the cast who did not seek out Anderson's help with choreography.
If you are seeing only one musical this year...this is the one!
Through November 13. 302.764.1172 WilmingtonDramaLeague.org
RAIN: A Tribute to The Beatles
Aisle Say fervently believes The Beatles had more to do with the dissembling of the Berlin Wall than Ronald Reagan. The stone monolith demarcating Berlin was not high enough to block radio waves emanating from The West. Communist kids were just like the rest of us kids back then; “All You Need Is Love” was a global rallying cry.
Many of the tunes from the mightiest canon in popular music history will be performed four times at The DuPont Theatre on November 12-14.
One might entitle the show a Baby Boomer's delight. My compadres in Boomerism can count their watershed events on one hand. One of mine is Ed Sullivan and The Beatles on 9 February 1964. One can only guess the numbers of Americans tuning in that night. Oh, and those teenyboppers in the audience crying, you remember, the ones with the horned rimmed glasses.
RAIN: A Tribute to The Beatles, was born as a bar band in Southern California in the '70's Founder Mark Lewis had struck a nerve; surrounded himself with electrifying musicians and still here after 40 years. Lewis comments that they will be on Broadway after the first of the year.
The group has 200 tunes in their repertoire, spanning from Uncle Ed to Abbey Road, through psychedelia, to the rooftop: 'Hard Days Night', 'Revolver','Sgt Pepper', 'Magical Mystery Tour', 'The White Album'. My oh my, the passages of time, the memories.
“Rain” is a multi-media, multi-dimensional experience...a fusion of historical footage and hilarious television commercials from the 1960s lights up video screens and live cameras zoom in for close-ups.
The tunes are sung live and note for note. There is nothing pre-recorded.
The chefs at the Hotel du Pont are having some fun with the show as well. They are offering a Beatles themed dinner buffet during the run of the show. The buffet is $30.00. Some of the possibilities include:
“SGT PEPPERS” – PENNE PASTA WITH ROASTED RED PEPPERS, PROSCIUTTO & PEAS
“ELEANOR RIGBYS”- COMPOSED SALADS
“LOVELY RITAS” – CAESAR SALAD
“MEAN MR. MUSTARD” GLAZED PORK LOIN
“OCTUPUSES GARDEN” SEAFOOD STEW
DESSERTS
“Strawberry Fields Forever” Cheese Cake
“Ain’t She Sweet” Crème Caramel
For tix; 302.656.4401 DuPontTheatre.com, For dining: 302-594-3154 or 800-338-3404.
Director Matt Casarino's exemplary cast includes wonderful singers, beginning with the leads Velma (Barbara Wright) and Roxie (Ashley Harris), extending to Mama Morton (Rebecca Gallatin) and then to the chorus. Christopher Tolomeo leads a great band excelling at the period music of the roaring '20's; all perched atop the set – always on stage but never intrusive to the progress of the plot.
Most of us have seen the movie. Aisle Say believes the stage show to be more endearing and certainly funnier. Son Grant accompanied me on opening night. He commented that he had to keep focused for so many exciting twists and turns were happening with such fluidity. That is a credit to both the director and the choreographer. He also commented on the quality that WDL produces, hearkening back to last season's “Rent”.
I loved the entire cast but Harris was most wonderfully perfect as Roxie, the doe-eyed murderess. How in the world could this harmless looking naif be so cold-blooded? “Chicago” is predominantly a woman-driven show with Velma and Roxie. Billy Flynn (Jeff Santoro) played the ultimate legal sleezeball hotdog with relish. He was having too much fun in the role. (Minor costume point. Would have loved to see him in a double breasted stripe suit with those '20's era black & white shoes).
Billy was appropriately condescending to Amos (Edward Elder), Roxie's long suffering husband. He continually referred to him as “Andy”, a running joke that was undoubtedly lost on those in the audience younger than 50. Amos, the poor schlub, had his moment, though. His “Mr. Cellophane” was a show stopper. The fellow can hold a note!
Fred Casely (Chris Turner) was very funny in the role of the deceased. He is the only one in the cast who did not seek out Anderson's help with choreography.
If you are seeing only one musical this year...this is the one!
Through November 13. 302.764.1172 WilmingtonDramaLeague.org
RAIN: A Tribute to The Beatles
Aisle Say fervently believes The Beatles had more to do with the dissembling of the Berlin Wall than Ronald Reagan. The stone monolith demarcating Berlin was not high enough to block radio waves emanating from The West. Communist kids were just like the rest of us kids back then; “All You Need Is Love” was a global rallying cry.
Many of the tunes from the mightiest canon in popular music history will be performed four times at The DuPont Theatre on November 12-14.
One might entitle the show a Baby Boomer's delight. My compadres in Boomerism can count their watershed events on one hand. One of mine is Ed Sullivan and The Beatles on 9 February 1964. One can only guess the numbers of Americans tuning in that night. Oh, and those teenyboppers in the audience crying, you remember, the ones with the horned rimmed glasses.
RAIN: A Tribute to The Beatles, was born as a bar band in Southern California in the '70's Founder Mark Lewis had struck a nerve; surrounded himself with electrifying musicians and still here after 40 years. Lewis comments that they will be on Broadway after the first of the year.
The group has 200 tunes in their repertoire, spanning from Uncle Ed to Abbey Road, through psychedelia, to the rooftop: 'Hard Days Night', 'Revolver','Sgt Pepper', 'Magical Mystery Tour', 'The White Album'. My oh my, the passages of time, the memories.
“Rain” is a multi-media, multi-dimensional experience...a fusion of historical footage and hilarious television commercials from the 1960s lights up video screens and live cameras zoom in for close-ups.
The tunes are sung live and note for note. There is nothing pre-recorded.
The chefs at the Hotel du Pont are having some fun with the show as well. They are offering a Beatles themed dinner buffet during the run of the show. The buffet is $30.00. Some of the possibilities include:
“SGT PEPPERS” – PENNE PASTA WITH ROASTED RED PEPPERS, PROSCIUTTO & PEAS
“ELEANOR RIGBYS”- COMPOSED SALADS
“LOVELY RITAS” – CAESAR SALAD
“MEAN MR. MUSTARD” GLAZED PORK LOIN
“OCTUPUSES GARDEN” SEAFOOD STEW
DESSERTS
“Strawberry Fields Forever” Cheese Cake
“Ain’t She Sweet” Crème Caramel
For tix; 302.656.4401 DuPontTheatre.com, For dining: 302-594-3154 or 800-338-3404.
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