To be considered in the same exhale as La Barbara or The Divine Miss M suggests not only great artistic achievement but also that indefinable, alluring and intangible “je ne sais quoi.”
Barbara Streisand and Bette Middler are triple threats: they began their careers on stage, ascended quickly to film, then to solo careers.
And though Idina Menzel hasn't yet attained these living legend's Olympian status -- she does, dare it be said, do these stars one better.
She has written her own songs for her debut album “I Stand” for Warner Bros. and is touring in its support. Last year it was the 300 seat Baby Grand for Ms. Menzel. This year it's show time: The full Grand, with all its superb acoustics, will embrace her singular voice and send it resonating through all of us.
Aisle Say had the opportunity to chat with her on her tour bus headed for the Count Basie Theater in Red Bank, N.J.
In 1995, Idina auditioned for the Broadway-bound "Rent" and won the part of Maureen, an outspoken bi-sexual performance artist. The role earned Menzel her first Tony nomination and the musical went on to win four Tony Awards and the Pulitzer Prize. She played the part in the subsequent movie.
I asked her about the emotion of the cast on opening night -- the same day composer and lyricist Jonathan Larson died.
“Chaotic,” Idina explained. “We were all so young. We deeply loved Jonathan not only as a person but for the great gift of music that he bestowed upon us. When we were offstage we were all crying. Right before we went on we wiped our eyes and regained character. We sang our hearts out for Jonathan that night.”
In 2003, Idina originated the role of "the green girl," the misunderstood witch in the hit musical "Wicked" which included her show-stopping performance of the song "Defying Gravity." In 2007, she re-recorded and remixed “Gravity” and the song went on to become a top five hit on the Billboard Dance Chart. Her star turn in "Wicked" won her a Tony Award and huge critical acclaim.
Her growing international following includes a cult-like gay crowd -- she's not sure why, but perhaps due to roles she's played on Broadway, she explains.
There are nine tracks on the new album. She's not sure which she'll do in Wilmington March 27, where she'll be perform with a four-piece combo and two back up vocalists.
"I get bored easy doing the same stuff all the time. But I must say, standing alone in front of a packed audience is a real rush.”
Tuesday, March 24, 2009
Monday, March 16, 2009
Newark Film Festival FREE commercials
Entrepreneur and Newark Film Festival impresario Barry Schlecker is putting out a call to all Delaware filmmakers, videographers and Spike Lee dreamers.
He's got a new innovation for the festival that he says speaks directly to its mission: a free 30-second commercial screened 300 times throughout the week-long event for each sponsor that qualifies by underwriting at a certain level.
“It's a 'value added' proposal for our sponsors and an innovative way to give exposure to local filmmakers,” he says.
This is clearly a win-win: sponsors get a boost and budding film makers get added exposure at the event, which runs Sept. 10-17 at the Newark Cinema Center 3 and Sept. 18-20 at the Delaware Art Museum.
The commercials may very well take on a life of their own, and by their very nature become a draw for the five-year old festival, now a solid player in the city's arts and culture.
Head Newark cheerleader and Mayor Vance Funk is a major Thomas Jefferson fan. He intends to fulfill his 30 seconds of Warhol fame dressed as our country's third President. (Think Rudy Guiliani on Saturday Night Live without the dress.)
The filmmakers will meet with sponsors to determine the commercial's mission, create a story board and plan a shoot -- and the owner of the business may very well be the star of the production.
Ric Edevane, owner of video production company Creative Media Group (cmg-de.com) and president of Delaware Independent Film Makers (Whatsthedif.net), has agreed to vet the commercials for quality control.
Locally produced films have always been a part of the festival (a third of the 30 screened indies and documentaries were produced regionally), but this opens the door for more.
Schlecker is emphatic about embracing local film makers and giving them a forum: "We take pride in this aspect of our mission," he says, and it's working.
“The buzz on the new project has been such a success that we are seeking additional film makers,” says Schlecker. “As Spike Lee said, with the advent of YouTube, everyone with a camera can be a filmmaker.”
And with organizations like DIF, Edevane says there's support to become a better one. He characterizes DIF as the premiere Delaware group for the serious filmmaker.
“Find talent for your next film, learn new ways to light and shoot a scene, network with some of Delaware's top award-winning filmmakers or just come out and have fun.”
Gordon Delgiorno, DIF's VP, says his goal is to goal is to make DIF the central hub for all film-related business that passes through the state. He has screened two of his feature films in the festival so far. This Newark connection has ongoing work with the city to catalog their year-long events through Film Brothers (FilmBrothers.com), a company he jointly owns with brother Greg.
Many DIF members will participate in the Film Festival plan. While their work is gratis, there will definitely be competition. Schlecker intends to award cash prizes to winners -- who will be judged by audience acclamation.
For more information, visit NewarkFilm.com or call Barry Schlecker (302) 690-5555.
Aisle Say arts critic Greer Firestone knows who's who and what's what in the local theatre scene. His opinings on the business of art come from a half-century in Delaware theatre.
He's got a new innovation for the festival that he says speaks directly to its mission: a free 30-second commercial screened 300 times throughout the week-long event for each sponsor that qualifies by underwriting at a certain level.
“It's a 'value added' proposal for our sponsors and an innovative way to give exposure to local filmmakers,” he says.
This is clearly a win-win: sponsors get a boost and budding film makers get added exposure at the event, which runs Sept. 10-17 at the Newark Cinema Center 3 and Sept. 18-20 at the Delaware Art Museum.
The commercials may very well take on a life of their own, and by their very nature become a draw for the five-year old festival, now a solid player in the city's arts and culture.
Head Newark cheerleader and Mayor Vance Funk is a major Thomas Jefferson fan. He intends to fulfill his 30 seconds of Warhol fame dressed as our country's third President. (Think Rudy Guiliani on Saturday Night Live without the dress.)
The filmmakers will meet with sponsors to determine the commercial's mission, create a story board and plan a shoot -- and the owner of the business may very well be the star of the production.
Ric Edevane, owner of video production company Creative Media Group (cmg-de.com) and president of Delaware Independent Film Makers (Whatsthedif.net), has agreed to vet the commercials for quality control.
Locally produced films have always been a part of the festival (a third of the 30 screened indies and documentaries were produced regionally), but this opens the door for more.
Schlecker is emphatic about embracing local film makers and giving them a forum: "We take pride in this aspect of our mission," he says, and it's working.
“The buzz on the new project has been such a success that we are seeking additional film makers,” says Schlecker. “As Spike Lee said, with the advent of YouTube, everyone with a camera can be a filmmaker.”
And with organizations like DIF, Edevane says there's support to become a better one. He characterizes DIF as the premiere Delaware group for the serious filmmaker.
“Find talent for your next film, learn new ways to light and shoot a scene, network with some of Delaware's top award-winning filmmakers or just come out and have fun.”
Gordon Delgiorno, DIF's VP, says his goal is to goal is to make DIF the central hub for all film-related business that passes through the state. He has screened two of his feature films in the festival so far. This Newark connection has ongoing work with the city to catalog their year-long events through Film Brothers (FilmBrothers.com), a company he jointly owns with brother Greg.
Many DIF members will participate in the Film Festival plan. While their work is gratis, there will definitely be competition. Schlecker intends to award cash prizes to winners -- who will be judged by audience acclamation.
For more information, visit NewarkFilm.com or call Barry Schlecker (302) 690-5555.
Aisle Say arts critic Greer Firestone knows who's who and what's what in the local theatre scene. His opinings on the business of art come from a half-century in Delaware theatre.
Tuesday, March 10, 2009
City Theatre does Matt Casarino's shorts
City Theater, residing at Opera Delaware Studios on S. Poplar, can always be counted on to invent ways to re-invent itself.
The organization's favorite son, playwright Matt Casarino, recently unveiled “Casarino Royale” staging seven (get it, 007) of his short plays, each fronted by an extemporaneous take-off of a Bond movie. Some of these opener skits fell flat, nevertheless, all were enjoyed by the raucous City Theater in-crowd.
“Yes Mamet” satirized playwright David Mamet's fascination with the “F word.” Casarino even coined a new term, “mametized,” signifying its continued use as noun, verb, adjective and adverb to describe pain, pleasure, hate and love. With such an emphatic and flexible word, really, I ask, how can anyone be offended?
In “Midnight Train To George,” T.S. Barnes (Kim) and Valerie Hutchinson (Raye) play women in a chance encounter on a train who had engaged in a menage a trois with the unseen (but happily contented) George. Their various stages of denial, recognition, embarrassment and resolution were superbly woven in a playlet of only 10 minutes.
While Barnes is a very good actress, I was especially impressed with Hutchinson. It is rare that an actor makes the audience feel so completely at home, comfortable in her skin and confident in her character. This is a gift.
On the writing side, the specific sexual encounter need not have been mentioned: prurience reaches greater heights in the imagination. Hints were dropped all along. We got the picture.
“Green Eggs and Mamet” saw a return to the aforementioned author and was the highlight of the evening. Jim Burns (Sam) played a smarmy con man the likes we haven't encountered since James Woods' slimy character in DeNiro and Sharon Stone's movie “Casino.”
Gordon Holmes (Man) was not to be deceived and parried Sam's grifter banter with aplomb. The dialogue was masterful and wildly inventive. “Green Eggs” refers to the author's conceit of lifting some of the rhythmic and rhyming beat from the Dr. Seuss classic. Pairing “desk” to “grotesque” was hysterical. The dialogue also reminded me of the ribald nature of Chaucer's Canterbury Tales.
A few of Casarino's plays have been picked up by licensing bureaus and have been presented internationally. Huzzahs to him.
The show runs through March 14. For more information, visit City-Theater.org.
The organization's favorite son, playwright Matt Casarino, recently unveiled “Casarino Royale” staging seven (get it, 007) of his short plays, each fronted by an extemporaneous take-off of a Bond movie. Some of these opener skits fell flat, nevertheless, all were enjoyed by the raucous City Theater in-crowd.
“Yes Mamet” satirized playwright David Mamet's fascination with the “F word.” Casarino even coined a new term, “mametized,” signifying its continued use as noun, verb, adjective and adverb to describe pain, pleasure, hate and love. With such an emphatic and flexible word, really, I ask, how can anyone be offended?
In “Midnight Train To George,” T.S. Barnes (Kim) and Valerie Hutchinson (Raye) play women in a chance encounter on a train who had engaged in a menage a trois with the unseen (but happily contented) George. Their various stages of denial, recognition, embarrassment and resolution were superbly woven in a playlet of only 10 minutes.
While Barnes is a very good actress, I was especially impressed with Hutchinson. It is rare that an actor makes the audience feel so completely at home, comfortable in her skin and confident in her character. This is a gift.
On the writing side, the specific sexual encounter need not have been mentioned: prurience reaches greater heights in the imagination. Hints were dropped all along. We got the picture.
“Green Eggs and Mamet” saw a return to the aforementioned author and was the highlight of the evening. Jim Burns (Sam) played a smarmy con man the likes we haven't encountered since James Woods' slimy character in DeNiro and Sharon Stone's movie “Casino.”
Gordon Holmes (Man) was not to be deceived and parried Sam's grifter banter with aplomb. The dialogue was masterful and wildly inventive. “Green Eggs” refers to the author's conceit of lifting some of the rhythmic and rhyming beat from the Dr. Seuss classic. Pairing “desk” to “grotesque” was hysterical. The dialogue also reminded me of the ribald nature of Chaucer's Canterbury Tales.
A few of Casarino's plays have been picked up by licensing bureaus and have been presented internationally. Huzzahs to him.
The show runs through March 14. For more information, visit City-Theater.org.
Monday, March 2, 2009
Aisle Say - Of Mice and Men
It's the economy, stupid! Some say if it doesn't turn soon, we're headed for a depression. Some are already there: I'm depressed. You're depressed. So why attend "Of Mice and Men," a production set in the Depression (The Great One) with a plot about forlorn folk whose dreams of finding a “stake” are as devalued as our 401k's?
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
As guest director Adrian Hall explains “theatre is a living, breathing experience that happens now, not as a repository of the past...and that illumination for the audience is primary to the actors' mission.”
Sandy Robbins, Artistic Director of the Resident Ensemble Players (REP), asserts that live theatre is not fundamentally commercial or a product; that it satisfies an essential human need and is as critical to a civilized society as a hospital or a university.
Robbins chose Steinback's classic for it is a metaphor of our present predicament, where humans still have hope, and that despite adversity one can realize his own American Dream.
The two itinerant workers, Lenny (Mark Corkins) and George (Michael Gotch) lead the REP's supremely talented and versatile professional cast. Lenny is the “Rainman” of the 1930s: strong of back and slow of wit. His physical strength unwittingly has resulted in his doing some “bad things” in the past. George is Lenny's life rudder, attempting to keep him out of harm's way. The prospect of a “stake,” an opportunity to realize their dream of land ownership appears, only to be dashed by Lenny's inadvertent “bad thing.”
Stephanie Hansen's set design details the era's hardscrabble existence of ranch life. Clips of FDR and Shirley Temple cast on a scrim evoke relevance to the present financial woes we face as a nation.
Robbins' REP theatre, the professional arm of the University of Delaware's Professional Theatre Training Program, is a sparkling gem of First State theatre. We should be proud of them and support them. For more informaion, visit pttp.UDel.edu, or call 831-2204.
One Acts at the Drama League
The Wilmington Drama League's Evening of One Act Plays was a potpourri of three original productions and a classic. The winner of the weekend festivities goes on to state competition.
I found it amusing to hear friends and family (read klacks) applaud and hoot when no one else in the audience is so inclined. That's the preciousness of community theatre. In “The Other Doctor Cramer,” actor Sara Truit's words were garbled when attempting to do two things at one time: eat pizza and recite dialog. The director should have reminded her to fake the former and articulate the latter.
Satre's “No Exit” reminded the audience of the author's cynical dialectic that hell is nothing more than other people: the real torture we suffer resides in the mind, from which there is “no exit.” The four-person cast of Ted Harting, Ron Ozer, Louise Craigen and Heather Ferrel was superb. Director Sean Kelly gets my vote for Best Director. His blocking was terrific and he kept the energy flowing in a production that could very easily have been mired in pedantry.
I think, though, that playwright Matt Casarino's “Larry Gets The Call” won the honors. Original plays often excite the audience more than established classics. Casarino's concept and dialog were clever and entertaining. Veteran theatre maven Tina Sheing played a self-effacing and hip God. She explained away the Adam/Eve apple parable by an off-handed, “Oh, that? I totally made that up!” Chris Turner gave a very convincing performance as well.
For those who missed Casarino, or can't get enough of his work, "Casarino Royale," a night full of his plays, runs through March 14 at City Theatre in the Opera Delaware Studios, 4 S. Poplar St. in Wilmington. All shows start at 8 p.m. General seating tickets are $20. Visit city-theater.org for more information.
Monday, February 23, 2009
Arts alive in economic downturn
The urgent letter 10,000 Grand Opera House supporters received last week was disturbing. Patrons were asked to donate $150 each by July to underwrite a budget shortfall of $500,000.
The prospect of The Grand shuttering its doors is preposterous. It is our Empire State Building, our Golden Gate Bridge.
Executive Director Steve Bailey has not suggest the institution is about to close, but the implications are clear. And perceptions rule, so it is surprising that this financial hiccup was not resolved behind closed doors.
The Grand, along with seven other statewide arts institutions, receives payment from The Arts Stabilization Fund, a state/corporate endowment. They all rely on this endowment to maintain their facilities, and we all know about equity loss these days.
In the midst of a a lot of bad news for the arts, there are a few bright spots. The Grand's letter comes the same week that Aisle Say reported that three quarters of the $24 million needed has been committed for The Queen Theatre, a long-vacant entertainment venue three blocks south of the Grand that a public-private partnership hopes to revive as a hip, new "World Cafe Live South" of sorts.
Rob Buccini, whose development company has invested loads to revive Market Street, and who owns The Queen, recently called this latest venture "the most important project we have ever done.” If Buccini makes a comment like that, well, break out the silver shovels for the photo op.
Hopes are high for The Queen's success. But as Buccini has also said, the viability of Wilmington's arts and entertainment life depends on creating and maintaining a critical mass. It's time to consider new strategies to ensure the future of the arts. How about a co-op for economies of scale discounts for all institutions? What about consolidation: move some institutions into available space in others?
This may be blasphemy to suggest, but, for example, the Delaware Center for Contemporary Art on the Riverfront has a prime location any developer would love. What about moving to some of The Grand's empty floors? More traffic for both could result.
Film making is art. Wilmington University has a strong program. The city should entice them to move that division to Market Street. More blasphemy, perhaps, but it would fill some of Buccini-Pollin's empty space, and more importantly, it would bring more of a critical ingredient – students – to downtown to join Delaware College of Art and Design's students already there. Critical mass, once again. Creative partnerships, too?
The Grand's Bailey could work a deal with Sandy Robbins of the University of Delaware Professional Theater Training Program to drive traffic to the little-used downtown 300-seat facility. There is no finer acting in the state than the theatre training program and their newly-established professional group, the Resident Ensemble Players. Their home base is at Hartshorn Hall in Newark, so expanding its productions to Wilmington might draw a crowd who won't drive south.
The prospect of The Grand shuttering its doors is preposterous. It is our Empire State Building, our Golden Gate Bridge.
Executive Director Steve Bailey has not suggest the institution is about to close, but the implications are clear. And perceptions rule, so it is surprising that this financial hiccup was not resolved behind closed doors.
The Grand, along with seven other statewide arts institutions, receives payment from The Arts Stabilization Fund, a state/corporate endowment. They all rely on this endowment to maintain their facilities, and we all know about equity loss these days.
In the midst of a a lot of bad news for the arts, there are a few bright spots. The Grand's letter comes the same week that Aisle Say reported that three quarters of the $24 million needed has been committed for The Queen Theatre, a long-vacant entertainment venue three blocks south of the Grand that a public-private partnership hopes to revive as a hip, new "World Cafe Live South" of sorts.
Rob Buccini, whose development company has invested loads to revive Market Street, and who owns The Queen, recently called this latest venture "the most important project we have ever done.” If Buccini makes a comment like that, well, break out the silver shovels for the photo op.
Hopes are high for The Queen's success. But as Buccini has also said, the viability of Wilmington's arts and entertainment life depends on creating and maintaining a critical mass. It's time to consider new strategies to ensure the future of the arts. How about a co-op for economies of scale discounts for all institutions? What about consolidation: move some institutions into available space in others?
This may be blasphemy to suggest, but, for example, the Delaware Center for Contemporary Art on the Riverfront has a prime location any developer would love. What about moving to some of The Grand's empty floors? More traffic for both could result.
Film making is art. Wilmington University has a strong program. The city should entice them to move that division to Market Street. More blasphemy, perhaps, but it would fill some of Buccini-Pollin's empty space, and more importantly, it would bring more of a critical ingredient – students – to downtown to join Delaware College of Art and Design's students already there. Critical mass, once again. Creative partnerships, too?
The Grand's Bailey could work a deal with Sandy Robbins of the University of Delaware Professional Theater Training Program to drive traffic to the little-used downtown 300-seat facility. There is no finer acting in the state than the theatre training program and their newly-established professional group, the Resident Ensemble Players. Their home base is at Hartshorn Hall in Newark, so expanding its productions to Wilmington might draw a crowd who won't drive south.
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
Subscribe to:
Posts (Atom)
