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.
Monday, February 23, 2009
Monday, February 16, 2009
"Save The Queen" in Wilmington Delaware
To say the long-vacant Queen Theatre on Market Street is dilapidated is to hint that mother of octuplets Nadya Suleman may have too many kids. To say it is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth.
But years ago I wrote an opinion piece entitled “Save The Queen” (the theatre, not Liz ), calling for its revival. Now the Buccini-Pollin Group is doing just that.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of small-minded Lilliputian thinking. To the contrary, they are the broad-thinking Brobdingnagians of Delaware.
They own most of Market Street. But they realized the cornerstone of their $250 million redevelopment project was a 50,000-square-foot edifice smack in the middle of their properties spanning 10th Street to the Riverfront. The behemoth has sat deteriorating for 49 years.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very, very happenin' live music venue that draws an eclectic array of acts from celebrated artists to emerging ones. It is an investor and will be the operator of the Queen; delivering musical fuel from Philly to energize downtown Wilmington faster than the Alaska pipeline.
Entertainment draws traffic, and eventually the three Big R's: renters, retailers and restaurants.
With its promise of solid economic and cultural development, its no surprise that the City of Wilmington has backed it with $1 million and already grants have been committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. Marshalling the non-profit arm is Wilmington-born Bill Taylor.
Taylor and Chris Buccini are childhood friends that attended Wilmington Friends together, boarding school for high school and went on to Princeton together. But more importantly, Taylor ran the legendary Tipitina's Restaurant in “N'awlins.” More than having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition after after Hurricane Katrina. Among other things, he created Instruments a Comin', which bought new instruments for every New Orleans school. He plans to replicate that kind of effort here.
The Light Up The Queen Foundation will create educational programming to engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, musical instrument distribution, and an artist co-op space are already planned.
And finally, dear readers, an Aisle Say quick quiz: In the movie “Robin Hood,” who served the King's English with more beauty, elegance and grace? Was it Errol Flynn in the '50s or Kevin Costner in the '90s? No question on that one. (Oh, that Midwestern monotone so did not work!) However in “Field of Dreams,” Costner did utter the mantra that will become the Queen's -- “build it and they will come.”
But years ago I wrote an opinion piece entitled “Save The Queen” (the theatre, not Liz ), calling for its revival. Now the Buccini-Pollin Group is doing just that.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of small-minded Lilliputian thinking. To the contrary, they are the broad-thinking Brobdingnagians of Delaware.
They own most of Market Street. But they realized the cornerstone of their $250 million redevelopment project was a 50,000-square-foot edifice smack in the middle of their properties spanning 10th Street to the Riverfront. The behemoth has sat deteriorating for 49 years.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very, very happenin' live music venue that draws an eclectic array of acts from celebrated artists to emerging ones. It is an investor and will be the operator of the Queen; delivering musical fuel from Philly to energize downtown Wilmington faster than the Alaska pipeline.
Entertainment draws traffic, and eventually the three Big R's: renters, retailers and restaurants.
With its promise of solid economic and cultural development, its no surprise that the City of Wilmington has backed it with $1 million and already grants have been committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. Marshalling the non-profit arm is Wilmington-born Bill Taylor.
Taylor and Chris Buccini are childhood friends that attended Wilmington Friends together, boarding school for high school and went on to Princeton together. But more importantly, Taylor ran the legendary Tipitina's Restaurant in “N'awlins.” More than having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition after after Hurricane Katrina. Among other things, he created Instruments a Comin', which bought new instruments for every New Orleans school. He plans to replicate that kind of effort here.
The Light Up The Queen Foundation will create educational programming to engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, musical instrument distribution, and an artist co-op space are already planned.
And finally, dear readers, an Aisle Say quick quiz: In the movie “Robin Hood,” who served the King's English with more beauty, elegance and grace? Was it Errol Flynn in the '50s or Kevin Costner in the '90s? No question on that one. (Oh, that Midwestern monotone so did not work!) However in “Field of Dreams,” Costner did utter the mantra that will become the Queen's -- “build it and they will come.”
Sunday, February 8, 2009
The Queen Theatre Wilmington Delaware
In 1997 I wrote an opinion piece in the News Journal entitled “Save The Queen” (the theatre, not Liz ). The Buccini-Pollin Group has done just that.
To say The Queen is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth. To say The Queen is dilapidated is to hint that Nadya Suleman may have too many kids.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of Lilliputian thinking. To the contrary, they are the Brobdingnagians of Delaware. They own most of Market Street. But they realized that the cornerstone of their $250 million redevelopment project was a 50,000 square foot edifice sitting right in the middle of their properties at 10th & Market to the Riverfront. The behemoth had sat vacant for 49 years.
Entertainment draws traffic...and eventually the three Big R's: renters, retailers and restaurants.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very very happenin' live music venue. World Cafe, a non-profit, draws an eclectic array of acts – blues, rock, folk and world music; from celebrated artists to emerging ones. This theme will be followed in Wilmington.
I attended World Cafe last weekend to see a local Brazilian drum group. They rocked the place. Food and libations are available after a slight cover.
In fact, World Cafe Live is an investor in The Queen and will be the operator; delivering musical fuel from Philly as fluidly as the Iraqi pipeline. (well, ok, that's not a great analogy).
Brought in from New Orleans to marshal the project is Wilmington-born Bill Taylor. Taylor went to school with Chris Buccini but more importantly he ran the legendary Tipitina's Restaurant in “Nawlins”. In addition to having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition. Www.tipitinas.com
Says Taylor, “after Katrina we created a fund raiser called “instruments a comin”. The end result was that the Foundation bought new instruments for every New Orleans school.” Other endeavors of the Foundation will be incorporated in the mission of The Queen and Taylor intends to “take the successes in New Orleans and replicate them here.”
$18 million of the $25 million project is raised says Taylor. The Queen's own Foundation, Light Up The Queen” is up and running. The City of Wilmington invested $1 million and grants are committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. The completed project will include a main performing hall with dining, a second stage for live music in a casual dining venue, banquet/event space on the upper floors and a studio for regional broadcast of WXPN.
The Light Up The Queen Foundation will be responsible for creating educational programming that will engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, distribution of musical instruments, and an artist co-op space are already planned.
To promote the project, Taylor is staging a series of gigs at the Crosby-Hill Building at 605 Market St. Singer Sharon Little appears February 19. The next day, the 20th, Taylor is hosting the “1st Annual Mardi Gras on Market Street.” This is a fund raiser for The Queen. The entertainment includes legendary musicians from New Orleans. Party goers are encouraged to come in costume. Www.LightUpTheQueen.org
To say The Queen is cavernous is akin to suggesting the Grand Canyon is a mere slice in the earth. To say The Queen is dilapidated is to hint that Nadya Suleman may have too many kids.
No one can accuse Mayor Baker's two best friends – Rob and Chris Buccini – of Lilliputian thinking. To the contrary, they are the Brobdingnagians of Delaware. They own most of Market Street. But they realized that the cornerstone of their $250 million redevelopment project was a 50,000 square foot edifice sitting right in the middle of their properties at 10th & Market to the Riverfront. The behemoth had sat vacant for 49 years.
Entertainment draws traffic...and eventually the three Big R's: renters, retailers and restaurants.
The model for the renovated Queen is Philadelphia's World Cafe Live, a very very happenin' live music venue. World Cafe, a non-profit, draws an eclectic array of acts – blues, rock, folk and world music; from celebrated artists to emerging ones. This theme will be followed in Wilmington.
I attended World Cafe last weekend to see a local Brazilian drum group. They rocked the place. Food and libations are available after a slight cover.
In fact, World Cafe Live is an investor in The Queen and will be the operator; delivering musical fuel from Philly as fluidly as the Iraqi pipeline. (well, ok, that's not a great analogy).
Brought in from New Orleans to marshal the project is Wilmington-born Bill Taylor. Taylor went to school with Chris Buccini but more importantly he ran the legendary Tipitina's Restaurant in “Nawlins”. In addition to having some of the best music in a city known for its music, Tipitini's had a foundation that helped to rescue the city's tradition. Www.tipitinas.com
Says Taylor, “after Katrina we created a fund raiser called “instruments a comin”. The end result was that the Foundation bought new instruments for every New Orleans school.” Other endeavors of the Foundation will be incorporated in the mission of The Queen and Taylor intends to “take the successes in New Orleans and replicate them here.”
$18 million of the $25 million project is raised says Taylor. The Queen's own Foundation, Light Up The Queen” is up and running. The City of Wilmington invested $1 million and grants are committed from The Longwood Foundation and The Welfare Foundation. (Thank you P.S duPont of Longwood Gardens fame).
World Cafe will follow its successful paradigm of a non-profit/for profit partnership. The completed project will include a main performing hall with dining, a second stage for live music in a casual dining venue, banquet/event space on the upper floors and a studio for regional broadcast of WXPN.
The Light Up The Queen Foundation will be responsible for creating educational programming that will engage and serve the community, exploring a range of cultures and perspectives. Workshops, master sessions, distribution of musical instruments, and an artist co-op space are already planned.
To promote the project, Taylor is staging a series of gigs at the Crosby-Hill Building at 605 Market St. Singer Sharon Little appears February 19. The next day, the 20th, Taylor is hosting the “1st Annual Mardi Gras on Market Street.” This is a fund raiser for The Queen. The entertainment includes legendary musicians from New Orleans. Party goers are encouraged to come in costume. Www.LightUpTheQueen.org
Big River review at Wilmington Drama League
“Dang me”. “Dang Me”. Roger Miller would have been proud of the Wilmington Drama League's production of “Big River'. Miller, composer of “Dang Me” and “King of the Road”, ventured onto Broadway by setting his music to Twain's “The Adventures of Huckleberry Finn”.
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
Community theatre is a training ground for young talent; nurturing aspiring actors and building people skills these kids learn to sculpt their character. In reading the individual credits in the program, I was struck by how many of the performers commented “...this cast is a blast. Thank you all.”
There were a few teenagers from this show who have the talent and drive to
Kevin Shotwell (Huck) has a sincere face and impressive acting ability and stage presence for a 17 year old in a major role. And, he can harmonize. That's difficult. “River In the Wind”, a haunting tune and certainly the most memorable, was evocative with Timothy Cannon, playing Jim, the runaway slave. Cannon was himself quite expressive in his rendition of “Free At Last.”
Matsy Stinson (Mary Jane Wilkes) is a high schooler going from one show to the next, building repetoire and experience. Her voice was quite strong but she shifted a bit too quickly emotionally in a scene at her father's funeral and the meeting with Huck.
Sam White (Young Fool) showed a dancing expertise not witnessed before and I see development in him as well. He mentioned in his credits that it was not a real stretch for him to play the part.
Paul Weagraff, as the very comical “Duke”, had an opportunity to exhibit his Shakespearean chops. Weagraff has been in every show ever staged...or so it seems.
Weagraff, whose daytime job is Director of the DE Division of the Arts, mentors novice actors.
If one recalls passages from this Great American book, the “N” word is used throughout. Director Deb Johnson stood tall and kept the text in tact. She assembled an interracial cast. In a scene between Huck and Jim, Huck is surprised that Jim is emotional about being separated from his family. Says Huck, “It didn't seem natural, niggers feeling the same as whites.”
Twain remarks on his take on racism: “ I have no color prejudices nor creed prejudices. All I care to know is that a man is a human being, and that is enough for me; it can't be any worse.”
Wilmington Music School has new name
I recently spoke to a Brandywine Hundred mother who spoke glowingly of her children's experience in the Kindermusik program at the (newly renamed) Music School of Delaware
“Like any language, the earlier the better,” she said. "Kindermusik was rhythm, keeping time, beauty, discipline, respect, appreciation and care for the instruments. The music, the teachers, other students, performing, actually learning to read and write music and then the big added bonus of developing math skills.
“It was one of the very best things I ever did for the kids,” she said of the school, formerly named the Wilmington Music School/Delaware Music School, with branches in Wilmington and Milford. "Really, on so many levels a great thing.”
My son Grant, now 20, took lessons from flautist instructor Lynne Cooksey at the Wilmington Music School for seven years when he was in elementary and middle school. Cooksey continues at the school and is a long term member of the Delaware Symphony. The discipline and problem solving skills learned serves him well today. Our family was on financial aid with the school, a factor that the school understands is necessary to encourage children to reach their full potential.
Kate Ransom, president and CEO for ten of the school's 84 years, has led its expansion on many fronts. Of the more than 800 community music schools in the nation, it is one of only 30 that is fully accredited.
A recent merger with Delaware Music School of Milford has created a statewide presence.
“Two years ago the Milford group reached out to us,” said Ransom. “We incorporated them into our administrative and educational structure. Our name change simply reduces ambiguity. Nothing structural has changed, in fact we are all enhanced.”
Many of the faculty members I remember from almost two decades ago remain, a sure sign of stability. More than half have earned either master's or doctoral degrees. This is the asset that Ransom calls “our true substance.” The school offers the only Suzuki Academy in both violin and flute in the region.
“One of the virtues of Suzuki is that young children hear their peers' mistakes and achievements. They don't play in a vacuum, speeding the learning process,” she explained.
Wilmington's location recently added a new wing offering more ensemble and instruction rooms.
The Music School exemplifies the word "community" in their outreach. From early childhood development programs, to individual and group lessons offering both choral and orchestral ensembles, they serve 2,300 children and adults weekly. There are satellite locations throughout the state, and a new innovation offers music school teachers as music components to day care center programming.
More than 75 public performances are staged annually in their 300-seat theater. One is struck by their diversity: Christiana Cultural Arts Center students celebrating West African dance, Indian sitars, Greek songs, Chinese American Community with Dragon and Lion dance, Israeli dance from the Adas Kodesch synagogue.
Truly a polyglot of global music, reflecting the music of the community it serves.
Ransom is not only a teacher at the school but also plays violin in The Serafin Quartet. The quartet will play a concert at First & Central Presbyterian Church on Feb. 22. For more information about the concert, visit www.SerafinQuartet.org. For more information about the Music School of Delaware, visit www.WilmingtonMusic.org or call 762-1131.
“Like any language, the earlier the better,” she said. "Kindermusik was rhythm, keeping time, beauty, discipline, respect, appreciation and care for the instruments. The music, the teachers, other students, performing, actually learning to read and write music and then the big added bonus of developing math skills.
“It was one of the very best things I ever did for the kids,” she said of the school, formerly named the Wilmington Music School/Delaware Music School, with branches in Wilmington and Milford. "Really, on so many levels a great thing.”
My son Grant, now 20, took lessons from flautist instructor Lynne Cooksey at the Wilmington Music School for seven years when he was in elementary and middle school. Cooksey continues at the school and is a long term member of the Delaware Symphony. The discipline and problem solving skills learned serves him well today. Our family was on financial aid with the school, a factor that the school understands is necessary to encourage children to reach their full potential.
Kate Ransom, president and CEO for ten of the school's 84 years, has led its expansion on many fronts. Of the more than 800 community music schools in the nation, it is one of only 30 that is fully accredited.
A recent merger with Delaware Music School of Milford has created a statewide presence.
“Two years ago the Milford group reached out to us,” said Ransom. “We incorporated them into our administrative and educational structure. Our name change simply reduces ambiguity. Nothing structural has changed, in fact we are all enhanced.”
Many of the faculty members I remember from almost two decades ago remain, a sure sign of stability. More than half have earned either master's or doctoral degrees. This is the asset that Ransom calls “our true substance.” The school offers the only Suzuki Academy in both violin and flute in the region.
“One of the virtues of Suzuki is that young children hear their peers' mistakes and achievements. They don't play in a vacuum, speeding the learning process,” she explained.
Wilmington's location recently added a new wing offering more ensemble and instruction rooms.
The Music School exemplifies the word "community" in their outreach. From early childhood development programs, to individual and group lessons offering both choral and orchestral ensembles, they serve 2,300 children and adults weekly. There are satellite locations throughout the state, and a new innovation offers music school teachers as music components to day care center programming.
More than 75 public performances are staged annually in their 300-seat theater. One is struck by their diversity: Christiana Cultural Arts Center students celebrating West African dance, Indian sitars, Greek songs, Chinese American Community with Dragon and Lion dance, Israeli dance from the Adas Kodesch synagogue.
Truly a polyglot of global music, reflecting the music of the community it serves.
Ransom is not only a teacher at the school but also plays violin in The Serafin Quartet. The quartet will play a concert at First & Central Presbyterian Church on Feb. 22. For more information about the concert, visit www.SerafinQuartet.org. For more information about the Music School of Delaware, visit www.WilmingtonMusic.org or call 762-1131.
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
Sunday, January 4, 2009
A 3rd Financial Revolution Needed for Delaware
So you say you want a Revolution, yeah, yeah, yeah? Delaware has experienced two financial revolutions; 1902 and 1972. Both fundamentally changed the course of our history. We need another one in 2009.
1902 - When the three duPont cousins, A.I., P.S., and T. Coleman bought the 100 year old company, the impact to the state was transcendent. Elderly and infirmed family members wanted to sell the gunpowder works on the banks of the Brandywine to an out-of-state competitor. A I argued that this was his birthright. $2100.00 was the total cash outlay the three whippersnappers paid (attorney fee!); the purchase being in bonds back to the family. That fact, allied with the eventual purchase of the competing company, only added to the legend of this seminal event.
No need to speculate on what Delaware would be without DuPont's presence and philanthropy over 207 years. Ergo...Delaware became the Chemical Capitol of the World...my father had lifetime employment and my dear sister Liz and I grew up in middle class America.
1972 – Another duPont, small “D” - Governor Pete - spearheaded the Financial Center Development Act allowing credit card banks to headquarter here with no cap on usury / interest rates. Ergo...The Credit Card Capitol of the World.
2009 is the time to become The Media Capitol of the US.
Dubai, nestled in the financial crossroads of the Middle East, has created a model whose mission is to become the enabling hub of all things media-relevant in the region, if not the world. It is called Dubai Media City (DMC).
Consider if all land from 4th and Market Streets to include the entire Riverfront became Delaware's “Media City”.
Dubai's vision is to create a world-class environment for every kind of media business, which broadly includes media and marketing services, printing and publishing, music, film, new media, leisure and entertainment, broadcasting and information agencies.
In 1902 the cousins' perspicacity transitioned the company from gunpowder to chemicals. The same visionary thinking was extant in 1972. In Jack Markell we have a non-bureaucratic, “Delaware state of mind”. (First State attributes to The Piano Man).
In Dubai - in this dedicated media zone - all media businesses are given the freedom to create. DMC offers support services, interest breaks on capital improvement, tax-free income, no corporate tax and discounted rentals on office space. Infrastructure considerations include the highest levels of IT and telephony. DMC also offers easy access to decision makers. (That in itself would be a great asset here where “you're only a phone call away”.
Freelancers in the industry are given allowances to reside there. In fact, DMC solicits young, talented workers. They understand that the world – per Thomas Friedman - is flat and that we need the perspectives that people from other nationalities bring. Diversity is strength. This environment creates a synergy of inspiring interdependence amongst all the players.
DMC has a Partner Relations Board which constantly seeks and manages feedback from all media “partners”. They develop business opportunities by staging networking events, they analyze partner profiles to identify new opportunities and they develop and nurture the nature of this media zone.
Delaware gave many concessions in 1972 to entice banks to move here. A decade ago Governor Carper was criticized for the tax breaks he gave Astra Zeneca. Governors duPont and Carper realized that short term controversy is worth long term benefits. Both envisioned where the markets were heading and made the call. We're now in the information age and media is at the forefront.
In this Delaware Media City even the Shipyard Shops could be fully tenanted – for the first time! If Markell and the legislature embrace this idea, we could create the third Delaware Revolution. Www.DubaiMediaCity.com
1902 - When the three duPont cousins, A.I., P.S., and T. Coleman bought the 100 year old company, the impact to the state was transcendent. Elderly and infirmed family members wanted to sell the gunpowder works on the banks of the Brandywine to an out-of-state competitor. A I argued that this was his birthright. $2100.00 was the total cash outlay the three whippersnappers paid (attorney fee!); the purchase being in bonds back to the family. That fact, allied with the eventual purchase of the competing company, only added to the legend of this seminal event.
No need to speculate on what Delaware would be without DuPont's presence and philanthropy over 207 years. Ergo...Delaware became the Chemical Capitol of the World...my father had lifetime employment and my dear sister Liz and I grew up in middle class America.
1972 – Another duPont, small “D” - Governor Pete - spearheaded the Financial Center Development Act allowing credit card banks to headquarter here with no cap on usury / interest rates. Ergo...The Credit Card Capitol of the World.
2009 is the time to become The Media Capitol of the US.
Dubai, nestled in the financial crossroads of the Middle East, has created a model whose mission is to become the enabling hub of all things media-relevant in the region, if not the world. It is called Dubai Media City (DMC).
Consider if all land from 4th and Market Streets to include the entire Riverfront became Delaware's “Media City”.
Dubai's vision is to create a world-class environment for every kind of media business, which broadly includes media and marketing services, printing and publishing, music, film, new media, leisure and entertainment, broadcasting and information agencies.
In 1902 the cousins' perspicacity transitioned the company from gunpowder to chemicals. The same visionary thinking was extant in 1972. In Jack Markell we have a non-bureaucratic, “Delaware state of mind”. (First State attributes to The Piano Man).
In Dubai - in this dedicated media zone - all media businesses are given the freedom to create. DMC offers support services, interest breaks on capital improvement, tax-free income, no corporate tax and discounted rentals on office space. Infrastructure considerations include the highest levels of IT and telephony. DMC also offers easy access to decision makers. (That in itself would be a great asset here where “you're only a phone call away”.
Freelancers in the industry are given allowances to reside there. In fact, DMC solicits young, talented workers. They understand that the world – per Thomas Friedman - is flat and that we need the perspectives that people from other nationalities bring. Diversity is strength. This environment creates a synergy of inspiring interdependence amongst all the players.
DMC has a Partner Relations Board which constantly seeks and manages feedback from all media “partners”. They develop business opportunities by staging networking events, they analyze partner profiles to identify new opportunities and they develop and nurture the nature of this media zone.
Delaware gave many concessions in 1972 to entice banks to move here. A decade ago Governor Carper was criticized for the tax breaks he gave Astra Zeneca. Governors duPont and Carper realized that short term controversy is worth long term benefits. Both envisioned where the markets were heading and made the call. We're now in the information age and media is at the forefront.
In this Delaware Media City even the Shipyard Shops could be fully tenanted – for the first time! If Markell and the legislature embrace this idea, we could create the third Delaware Revolution. Www.DubaiMediaCity.com
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