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Holiday Arts to Warm Your Hearts

Here’s a sampling of the December events in Wilmington

Retelling a Family Classic With the Drama League Family

Wilmington Drama League’s (WDL’s) mainstage collaborates with its children’s theater arm, The Chrysalis Players, to celebrate the season in the timeless tale, A Christmas Carol (Broadway Version), Dec. 15-30.

Based on the Charles Dickens classic, this holiday staple is directed by regional theater maven Jeffrey Santoro—also artistic director of the Delaware All-State Theatre—with music direction by Jake Collins and assistant direction/choreography by Shauna Goodman. A Christmas Carol (Broadway Version) was originally presented in 1994 by Radio City Entertainment at Madison Square Garden, directed by Mike Ockrent and choreographed by Delaware native Susan Stroman.

The theater typically produces a family-themed show around this time of year, notes Kathy Buterbaugh, WDL production manager, often competing in the “buzz” of other local holiday-themed shows. “But it’s always a bit more special when we can connect the excitement and flavor of the season to our stage,” she admits.

When the folks at WDL realized no one was presenting A Christmas Carol locally this season, they jumped at the opportunity. And, Buterbaugh adds, “It takes an amazing team to produce something on this large a scale, and we’re blessed to have exactly that in Jeff, Shauna and Jake, whose combined talents can handle anything.”

To put things in perspective, the cast itself numbers over 50 actors, ranging in age from 7 to 70.
“We’ve assembled some of the best talent around to bring these engaging, robust characters to life,” notes Santoro. “In the uncertainty of today, it’s nice to present a heartwarming, family-friendly production. As Dickens said, ‘No one is useless in the world who lightens the burden of it to anyone else.’ That’s a great lesson for all of us this Christmas season!”

A Christmas Carol tells the story of Ebenezer Scrooge, a wealthy miser who places money above people or happiness. With his trademark “Bah! Humbug!” Scrooge looks down on all things related to celebrating Christmas—until one evening when he is visited by three ghosts who show him the value of kindness, love and family. The production features music by celebrated composer Alan Menken, lyrics by Lynn Ahrens and book by Mike Ockrent and Lynn Ahrens. (Fun fact: Ahrens was a main writer and performer of the beloved ABC-TV series Schoolhouse Rock!)

What is Buterbaugh’s favorite aspect of this grand-scale production? “It’s a tie,” she says. “Journey versus destination. The people involved are amazing—together we sing, dance, build, paint, fall down, get up, share a collective experience. But it’s just as thrilling to share our product with audiences, especially in this season of giving. So, my favorite part? Sharing.”

Wilmington Drama League’s A Christmas Carol (Broadway Version) runs December 15, 16, 22, 28, 29 and 30 at 8 p.m. Matinees are Sunday, Dec. 17; Saturday, Dec. 23, and Wednesday, Dec. 27, at 2 p.m. Tickets are $20 for adults, $17 for seniors/students and $10 for children and can be purchased at wilmingtondramaleague.org.

Delaware Theatre Company’s Side-Splitting Ode to the Bard

Hold onto your codpieces, Wilmington, and get ready for some jolly holiday belly laughs. Delaware Theatre Company re-creates all 37 of Shakespeare’s plays with the madcap romp The Complete Works of William Shakespeare (abridged) [revised], running now through Dec. 23.

Three men—in tights—in about 97 minutes, weave their way through parodies of The Bard’s collection of master works, including Romeo and Juliet, Titus Andronicus, Othello, Hamlet and more. Actor 1 is played by John Zak; Actor 2 by Jeffrey C. Hawkins and Actor 3 by Josh Carpenter.

Director Steve Tague (who himself has portrayed Hamlet, Macbeth and Richard III) will undoubtedly put his own stamp on this beloved spoof. Written by Adam Long, Daniel Singer and Jess Winfield, the play premiered at the Edinburgh Fringe Festival in 1987 and has been the most performed stage parody for the last 20 years.

“The first show I attended at DTC [in 2007] was Steve Tague’s production of Complete Works,” recalls DTC Artistic Director Bud Martin. “I don’t remember laughing so hard at a show before. When I came to work at DTC…I was anxious to have Steve revive that wonderful production for us.” Martin notes that one of the entertaining characteristics of this piece is that it can change every day based on current events. Given today’s pop culture climate, it will likely be much different from the 2007 staging. Kendall Jenner as Juliet? I can’t wait…

Tickets start at $25 and can be purchased at DelawareTheatre.org or by calling 594.1100.

A Holiday Mash-Up of Two Musical Favorites

The Cartoon Christmas Trio performs with members of the Wilmington Children’s Chorus at The Queen. Photo courtesy of Rob Swanson

Two popular local ensembles join forces this season in a holiday and nostalgia-filled musical extravaganza. Bring the entire family to enjoy the Cartoon Christmas Trio accompanied by the Wilmington Children’s Chorus at the Delaware Art Museum on Sunday, Dec. 17, at 7 p.m.

Since its inception in 1995 by bassist Rob Swanson, the trio’s focus has been classic soundtracks of holiday cartoon music, especially that of the beloved A Charlie Brown Christmas. The trio is Jimmy Coleman on drums, Jeff Knoettner on piano and Swanson on double bass. Recently, the trio has been adding the voices of children’s choirs to complete the original vision of the music from the Charlie Brown special.

“I believe it’s now the fourth year we’ve worked with the kids [from WCC],” says Swanson. “We’re very excited to collaborate again.”

Tickets are $10 and are available at delart.org. A cash bar and light fare will also be available for purchase.

A Stirring Holiday Story in Vivid Color

For more than 25 years, Christina Cultural Arts Center has partnered with Philadelphia’s renowned Eleone Dance Theatre to bring Wilmingtonians a dazzling blend of music, dance and spoken word with the distinctive holiday musical Carols in Color. Now, Carols returns for a one-night-only performance at The Grand Opera House Sunday, Dec. 10, at 4 p.m.

Carols in Color retells the story of the birth of Christ according to the Gospel of St. Matthew using contemporary music, exuberant dance and powerful narration. It was originally based on the piece Black Nativity by Langston Hughes and a 1960s musical adaptation by Vinette Carrol.

Carols was first produced in 1992 by Philadelphia-based director, choreographer and arranger Leon Evans and continues today under the artistic direction of Shawn-Lamere Williams with executive direction by Sheila A. Ward and the musical direction of Patrick Crawford.

Tickets are $25-35 plus fees for adults and $16 plus fees for students, and can be purchased at TicketsattheGrand.org or by calling 800.37.GRAND.

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Train of Thought

Branagh’s star-studded version of Christie is beautiful, fun

I’ll confess to a latent fondness for mystery novels, and especially that of Dame Agatha Christie, whose books were perennial take-aways from the public libraries of my childhood. Nothing quite tickled my adolescent fancy as depictions of veddy, veddy British manor life contrapuntally laced with the frisson of cold-blooded murder. So I was intrigued by the plan to remake one of Miss Agatha’s classic stories, Murder on the Orient Express, with Kenneth Branagh as director and star (in the role of the Belgian mastermind detective Hercule Poirot).

Branagh, who is most renowned as an actor and director of Shakespeare both on stage and on screen (his cinematic Henry V surpassed Olivier’s, in my opinion), is, nevertheless, no stranger to the mystery thriller genre. One of his first directing efforts was Dead Again, a stylish film noir detective story, and he played sleuth Kurt Wallander for several years on PBS. So, the man knows his way around a whodunit.

This new adaptation hews fairly closely to the details of the original novel. A disparate group of travelers, ostensibly strangers to one another, are journeying together on the luxury train that once linked Istanbul and Paris. One of the passengers, Edward Ratchett (Johnny Depp), a dislikable and shady American businessman, is found stabbed to death in the middle of the trip. Fortunately, Monsieur Poirot is on hand to solve the crime.

The tropes of the genre are quite familiar: A series of interviews revealing possibly incriminating details; protestations of innocence; a few bursts of menace; more than a few coincidences. And eventually, an astonishing solution by the master detective.

Branagh is aware, of course, of the pitfalls of any such mystery plot, and especially this one, a cultural touchstone known by so many. So, Branagh the director dresses the movie in sumptuous sets and costumes, reveling in the exotic locales of Jerusalem, Istanbul, and the Eastern European countryside through which the train travels. He also delights film fans by filling the cast with good-looking stars such as Depp, Michelle Pfeiffer, Judi Dench, Josh Gad and Penelope Cruz.

And Branagh the actor creates a Poirot quite distinct from the prim, fussy characterization of David Suchet on TV and Albert Finney in the 1974 big screen version. Branagh’s Poirot is tired, brooding and equivocal, though he also does possess a most opulent mustache.

The film is beautiful to look at, and also entertaining. The direction is assured and accessible, though this viewer wished that the director was a little less in love with his own sorrowful visage on camera.

None of the performances, beyond Branagh’s, are particularly noteworthy because none of them are any more than archetypes, nor do any of them have much time on screen. Each star gets a little turn, and then the story must chug along.

Given the strictures of the genre, Murder on the Orient Express is a trip worth taking, but perhaps not one you will remember vividly a few months from now.

Also playing in December: It’s last chance for Oscar releases with I Tonya, a fictionalized version of the Tonya Harding story, Dec. 8; The Greatest Showman with Hugh Jackman as P.T. Barnum, Dec. 20; Jessica Chastain in Molly’s Game, Dec. 25; and Film Stars Don’t Die in Liverpool, starring Annette Bening, Dec. 29. Oh, and a little sci-fi sequel, Star Wars: The Last Jedi, opens Dec. 15.

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This Month At Theatre N

Jane

Jane Goodall with a chimp family. Photo courtesy of National Geographic Studios

This enthralling documentary centers on recently discovered film footage of naturalist Jane Goodall from the early years of her landmark chimpanzee research in Gombe National Park in Tanzania. Directed by Brett Morgen, the film reveals new information and insight into one of the most familiar figures in natural science and her passionate dedication to study. At Theatre N, Dec. 8-10.

Also at Theatre N in December: Sean Baker’s touching tale of marginalized citizens living in the shadow of Disney World, The Florida Project, Dec. 1-3; Victoria and Abdul, directed by Stephen Frears, Dec. 8-10; and a pair of documentaries Dec. 15-17, Bill Nye: The Science Guy and Frank Serpico. For specific dates and times, visit theatren.org.

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The War On Words

A monthly column in which we attempt, however futilely, to defend the English language against misuse and abuse

This is the worst!

CBS NFL color analyst Dan Fouts recently called a penalty “the worse I’ve ever seen.” Meanwhile, Mike Missanelli, sports talker on 97.5 The Fanatic, tweeted about turnovers during a Philadelphia 76ers game: “2 TOs at the worse time!”
They’re not alone; many people mistake worse, the comparative adjective, for worst, the superlative. If something is as bad as it can be, use worst.

Department of Redundancies Dept.

Susan Monday, on her WDEL talk show: “It was a repeat performance from before.”
And reader Dan Hamilton says a New York Times editorial used the term “partisan gerrymander” four times. Gerrymander means “to manipulate the boundaries of (an electoral constituency) to favor one party or class”—thus eliminating, as Dan points out, the need to call it partisan.

Media Watch

• Headline from the Wilmington News Journal, courtesy of reader Joan Burke: “Man critically wounded after being found stabbed.” Which prompts this from Joan: “So how does that work? Did they wound him after they found him?”
• Similarly, a reader submits this from a USA TODAY story: “Five suspected terrorists were fatally killed by the police.” Thus killing them twice?
• A WNJ story described UD’s football victory over Richmond as a “penultimate win.” Like many people, the writer thinks that penultimate means the absolute best, when it actually means, simply, next to last. Reader Julian Baumann, Jr., who also spotted the gaffe, comments: “UD fans surely hope not.”
• And reader Luann Haney came across this in a WNJ story about the shooter who killed three people in Maryland before being apprehended in Delaware: “He also had multiple traffic offenses from attempting to allude Maryland State Police.” Allude means to suggest or call attention to indirectly. What was meant here was elude.
• We end with a minor transgression by Christine Brennan, USA TODAY sports columnist: “But more than half our nation’s population has no idea how big of a deal this was.” Of is totally unnecessary in that phrase, and is avoided by the best writers and speakers.
Most Common Mistake
Let us now address the most common punctuation gaffe committed by Americans: placing periods and commas outside quotation marks. Such placement is correct in Britain and virtually everywhere else in the world, but here in the good ol’ US of A, periods and commas go inside quotation marks. It seems counter-intuitive, we know, and that’s why so many people do it. Here are examples:
Wrong: She said, “I’m going to the store”. Calling his action “a mistake”, the politician apologized.
Right: She said, “I’m going to the store.” Calling his action “a mistake,” the politician apologized.

Stranger Things

. . . not just the name of a popular Netflix series, but also a descriptor for the way we sometimes treat words. Examples:
• Overheard in the Brandywine YMCA sauna (usually a veritable bastion of eloquence and wisdom): “I may be touting my own horn here, but . . .” The man meant “tooting.” He was touting his expertise.
• Overheard on the street: “I’m going to videotape that with my cell phone.” Smartphones have a video recording function, but there is no tape involved.
• A friend reports that “action” is frequently used as a verb in his workplace: “You need to action this.” “This is for him to action.” Please, stop with the corporate corruption of language!

Ah, Those Advertisers

Advertising and advertisers have never been great respecters of correct usage (“light beer has less calories”), and two current commercials reinforce that observation:
• Home Mattress Center urges consumers: “Lay down on our mattresses.” Our question: lay what down? To lay is to put or set something down. To lie (the verb needed here) is to recline.
• And Corropolese Bakery & Deli in Norristown is back with its commercial on Philly radio about “a kindler, gentler time.” Kindler: not a word, at least not in this sense. It’s the rarely used noun form of kindle. Kinder is meant here.

Word of the Month

mammothrept
Pronounced MAM-uh-thrept, it’s a noun meaning a spoiled child or a person of immature judgment.

The holidays are here, and The War on Words book makes a great stocking stuffer. Buy it at Ninth Street Books in Wilmington, the Hockessin Book Shelf, on Amazon, or by calling O&A at 655-6483.

Seen a good (bad) one lately?
Send your candidates to ryearick@comcast.net

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The Four-Legged Star of The Wizard of Oz

The tour stops in Wilmington through Nov. 19, and its leading pup is causing quite the buzz

Toto isn’t in Kansas anymore. In fact, he’s here in Wilmington through Sunday, Nov. 19, on The Wizard of Oz tour, making the Playhouse on Rodney Square one of its nearly 100 stops.

“Toto” – aka Murphy, a 4-and-a-half-year-old white Brussels Griffon/Cairn Terrier mix – falls seamlessly into character, says Murphy’s owner and the show’s musical director, Lizzie Webb. An impressive feat, especially since he has no special training.

His illustrious career began on Feb. 5, 2016, when Webb adopted him from the ASPCA in Chandler, Ariz. He was immediately welcomed by the theater world, where Webb has served as adjunct professor of Musical Theater at the University of Montana, as well as directing and writing shows for Zootown Cabaret, and music-directing mainstage shows like this one. Back then, Murphy started out as a trusty backstage companion to cast and crew and a pit orchestra puppy, sleeping at Webb’s feet while she played piano and conducted shows.

“He was very calm, and handled everything really well,” says Webb. “During the very next show that called for a dog, I asked the director if he wanted to use Murphy.”

He got the role. He’d be Willoughby in Mary Poppins, and later went on to play Toto on a tour prior to this one.

Now, Murphy’s a veteran performer. But during that first Wizard of Oz show, when the audience clapped wildly for him upon his entrance on stage side-by-side with the leading lady, he succumbed to the glory of his newfound fame. He ran off the stage and straight into the crowd to greet his adoring fans – with “Dorothy,” red heels flying, in pursuit down the aisles.

Perhaps wiser now that he’s nearing 5 – or maybe he’s been seasoned by tour life – he’s unperturbed by distractions. “He’s extremely calm and laidback,” says Webb. “Every once in a while he’ll look and see me in the front, but then he gets his focus back.”

His main role during performances consists of being held by the actress playing Dorothy, which he loves, says Webb, so it’s a win-win. During this tour, Webb’s favorite moment of him is during the opening scene; when Dorothy performs “Somewhere Over the Rainbow,” he attentively watches her sing.

“He’s so sweet and it really adds to the song and it makes it that much more special,” says Webb.

Off-stage, the pup is just as beloved. On the road he has full run of the tour bus, says Webb, and he divides his time wandering from lap to lap, cuddling with any of the 40 cast and crew members.

Murphy’s life is more glamorous than most humans could hope for. “He has his own all-access pass on his leash so that he can get into the theaters,” says Webb. “One of our hotels set up a [dog] bed and silver dishes for him. Today, we got to tour Independence Hall and he got to see some history in Philadelphia.”

Truly, can you think of a better rags-to-riches tale? He even has his own hashtag, #montanamurphy.

Travel down the Yellow Brick Road and beyond with Dorothy, Toto and their friends the Cowardly Lion, Tin Man and Scarecrow in this production, featuring special effects, choreography and classic songs. This spectacular celebration of the iconic 1939 MGM film The Wizard of Oz will blow you away from the moment the tornado touches down and transports you to Oz, complete with munchkins and flying monkeys. Tickets range from $40-$75. Performance times are: 2 p.m. and 7:30 p.m. Nov. 15; 7:30 p.m. Nov. 16; 8 p.m. Nov. 17; 2 and 8 p.m. Nov. 18; 2 p.m. Nov. 19.

Get tickets here. 

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For the Record: With John Lodge

At 72, John Lodge can look back on an extraordinary life as a musician who has played bass and sung and written songs for The Moody Blues since 1966.

Having sold more than 70 million records worldwide with The Moody Blues and with the band recently earning a nomination into the Rock & Roll Hall of Fame, Lodge certainly has earned the right to rest on his laurels.

But after 50-plus years in the music business, he decided September of 2016 was the right time to embark on his first solo tour—eight club dates in the UK.

With last year’s release of his second solo album, 10,000 Light Years Ago, Lodge didn’t want to make the same mistake he did after releasing his first, Natural Avenue. He never toured after releasing that album 38 years ago.

“I always felt like I hadn’t completed that circle, really,” Lodge says, during an Oct. 20 phone interview. “So when I recorded my new album, 10,000 Light Years Ago, I was determined to go on the road and perform not only that album, but also songs from The Moody Blues that I’ve never played [live] before.”

Now he is bringing the tour to the U.S., with a stop here at The Queen on Sunday, Nov. 5. In addition to cuts from the solo album, Lodge also will be performing songs that can be heard on his new concert recording, Live in Birmingham, which was recorded on the last night of his UK tour in the town where he was born.

The Birmingham Town Hall show was especially significant, for it was there, as a as a 13-year-old boy, that he sat in the front row of the balcony and watched Buddy Holly perform for the first time in his life.
“Buddy Holly was the biggest influence in my career completely,” Lodge says. “People talk about rock ‘n’ roll, and I say, ‘Yeah, I was into rock ‘n’ roll from Day One.’ But Buddy Holly really tuned my music.

“What I wanted to do with my live album was for me to stand on that stage where Buddy Holly was and almost look back up at the balcony and see a young Johnny Lodge looking down. So that sort of completed a circle.”

Here are Lodge’s takes on his favorite Buddy Holly album and a few other records that have been on his turntable—or on his mind —recently and most resoundingly:

The Crickets – The “Chirping” Crickets
[This is] the album that really changed my life from a musician’s point-of-view, as a 13-year-old boy with a six-string guitar for the first time. There was a program in England called Jukebox Jury that played new records, and they played a record by Buddy Holly and the Crickets called “That’ll Be the Day.” I was just absolutely intrigued.

I tried to find it—it took me ages—two months I think, before that album was actually available in the UK.

It’s a go-to album, because of the double-tracking of guitar parts and the bass playing. It’s stand-up bass, but it’s really interesting the ways the bass and guitars work together.

The wonderful thing about Buddy Holly is that basically up until then, rock ‘n’ roll was 12 bars or eight bars. But Buddy Holly just changed everything by putting minors in there; putting sevenths in there; not playing 12 bars; putting guitar solos in there; different rhythms. Chirping Crickets was all of that.

Every time I play that album, it magically transports me back to that time. It reminds me of everything that got me hooked on rock ‘n’ roll. And the English version of rock & roll, I might say. I know Buddy Holly was American, but somehow he translated so well into the Englishness of rock ‘n’ roll.

John Lennon – Imagine
It’s just such a brilliant, brilliant album. Everything about it. The way it was played, the musicianship, and some wonderful songs on that album, like “Jealous Guy.” There’s a string part in that song. It just comes in once, and every time I hear that—there’s just something magic about that album.

Nina Simone – Baltimore
Nina Simone’s voice is unbelievable, and the orchestration on that album is beautiful. What I love about that album is that is the different way in which each song is approached. You’ve got sort of West Indian music in there, but you also have wonderful orchestrations in the song about a father going to Paris. If people want to listen to a fantastic album, listen to Baltimore.

Her voice just transcends everything to me, it’s pitch-perfect. There’s a melody in her voice. If there’s anybody who wants to be a fantastic singer, find the melody in your voice. It’s not so much about trying to hit the highest note possible and singing it as loud as possible. It’s about getting that melody, where you actually draw people into that melody. And her voice just draws me in every time.

B.B. King and Eric Clapton – Riding with the King
I love going to the Delta in America. All of that area, through Helena and Memphis and Tupelo, with Elvis [being born there]. When I was in Memphis once, I remember going to this rib shack. And they had all this wonderful music playing, Robert Johnson and other great blues artists. Then they played a track from this album, Riding With The King, which had just come out. To me, bringing those two musicians together in that rib shack was just brilliant.

I play that album a lot. We grew up with Clapton. Our first tour in America was with Clapton. The Moody Blues played our first concert, believe it or not, in Paris with Cream.

B.B. King and Eric Clapton, just playing against one another on this album, it’s just a great album. To me, it brings together the blues from the Delta and English blues.

John Lodge – Live From Birmingham
It was released today, so I have to mention it! [laughs]

The reason it’s a go-to album is that I’ve had to listen to it so much just to make sure the mix is right, and the mastering is right, and the pressing is right. [laughs again]

I’m so pleased with the guys in the band. They played so well. It was only one show. We didn’t go back into the studio [to do overdubs] at all. Everyone just gave their all with this record.

We were talking about Nina Simone, [and] trying to find the melody and emotion in the voice. And that’s what you got to do on stage: You’ve got to get that melody in the instruments. It’s not about how loud they play. It’s about that melodic sound that draws you in and captures you.

Bassist John Lodge of The Moody Blues will appear at The Queen on Sunday, Nov. 5. For tickets, go to TheQueenWilmington.com. To order copies of Lodge’s recent releases—and for more tour information—go to JohnLodge.com.

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Small Wonder

Director Todd Haynes explores the power of silence, the wonder of connection

Director Todd Haynes has worked in a variety of cinematic genres and with diverse subject matter over his esteemed indie career. His work includes Superstar, a critique of celebrity culture; Safe, a drama warning of the toxicity of modern American life; Far From Heaven, a technicolor homage to 1950s sexual melodramas; I’m Not There, an unconventional and poetic biography of Bob Dylan; and most recently, Carol, the multi-Oscar-nominated drama about a forbidden lesbian love affair.

There is, however, a thematic through-line in Haynes’ films: a deep sensitivity for those estranged, for whatever reason, from conventional society. In his latest feature, the delicate and lovely Wonderstruck, Haynes again explores what life is like for those out of step with the norm: in this case, two deaf children on their own in New York in two seemingly unrelated stories set 50 years apart.

In 1927, Rose, a child isolated by her deafness from birth, runs away from her suburban home in pursuit of a silent film star, Lillian Mayhew (Julianne Moore), whom she idolizes. Played by newcomer Millicent Simmonds (who is herself deaf) with a mesmerizing screen presence, Rose is looking for a place where she belongs in a society that marginalizes and patronizes the disabled.

Fifty year later, in 1977, Ben (Oakes Fegley) is a lonely Minnesota boy grieving over the recent death of his mother and determined to find the far-away father he has never known. Finding a clue to his dad’s identity in an old book leads him on a quest to New York City, but not before Ben is also struck deaf in a freak lightning accident.

The two mysteries are told in an interspersed fashion—1927 in luminous black and white cinematography and nearly silent, 1977 in lurid pop colors and a noisy and era-appropriate rock soundtrack. And both stories reflect the innocence and resilience of the two young characters at their center.

To reveal more of the plot and the two stories’ connection would be a disservice to Haynes’ and screenwriter Brian Selznick’s thoughtfully constructed gem of a film. Incidentally, Selznick wrote the book on which Wonderstruck is based, and he also wrote the novel that inspired Martin Scorsese’s recent Hugo. The almost magical delicacy of Wonderstruck is given further resonance by cinematographer Edward Lachman’s deft evocation in the two eras and in Carter Burwell’s enchanting film score (which is especially effective in Rose’s story).

Both Simmonds as Rose and Fegley as Ben are natural magnets in front of the camera. Their straightforward, earnest performances carry the film. But, credit also must go to solid supporting work from Jaden Michael as Ben’s friend Jamie; Michelle Williams in a brief but crucial role as Ben’s mother; and Moore, who plays two characters in the movie, one in each era.

Some overly long third-act exposition aside, Wonderstruck is a captivating story about two isolated children who manage to find comfort and connection.

Also appearing at your nearby multiplex in November: Thor: Ragnarok, the latest movie exploration of the Marvel universe (11/3); Wonder, a domestic drama starring Julia Roberts and Owen Wilson as parents of a unique child (11/17); and Coco, a Pixar story featuring an all-Latino voice cast (11/22).

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At Theatre N

78/52

3 Stars

A documentary for the obsessive cinephiles among us, 78/52 dissects the watershed film moment of the shower scene from Alfred Hitchcock’s Psycho. Filmmakers, critics, actors, and family members lovingly break down the brilliance of that short but transformative sequence with a breathless fascination that is both credible (in its sincere geekdom) and incredible (for its unabashed admiration). The title refers to the frenetic 78 shots that Hitchcock, his film editor George Tomasini, and composer Bernard Hermann packed into a 52-second scene from the 1960 film. Filmmaker Alexandre O. Philippe cleverly shoots this documentary in black-and-white, though his strange use of newly shot Psycho-like footage ill serves his paean to the artistry of the Master of Suspense.

Also at Theatre N in November: Lucky, the great Harry Dean Stanton’s last film (11/17 weekend); Dina, a documentary about a couple with psychological and development issues seeking connection (11/17 weekend); and In Between, a feminist drama about three very different Palestinian roommates (11/24 weekend). For specific dates and times, visit theatren.org.

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Art for All at The Delaware Contemporary

Nov. 11 showcase for artists offers works for any budget

On Saturday, Nov. 11, The Delaware Contemporary hosts an event that is not only a fundraiser but also a call to action for the community to become art owners as well as art appreciators. The event, SABA III, creates a convivial, arty atmosphere focused on the promotion of art collecting for any budget or environment.

SABA III’s goal is twofold: To provide an opportunity for artists of all ages and stages to showcase their work, and to ignite community interest in collecting by providing affordable pieces for every level of interest.

The event is built around the aura of mystery—the artist of each work in the event is unnamed until the piece is purchased. “The excitement is in the ‘anonymous factor’—whose work are you actually purchasing?” says Kathrine Page, interim Gretchen Hupfel Curator of Contemporary Art. “Works range from those by local art students to emerging and established artists, Contemporary Studio Artists and staff members. The artists’ names will not be revealed until after the artwork has been purchased.”

Each participating artist is tasked with creating a 6×6-inch piece. That size, Page notes, is the “sweet spot” for art donations as well as art collectors. More work can be displayed and accommodated in a variety of spaces in that format, and it’s also easy to install. She says several other galleries and museums use a similar model in their events.

SABA III is more sale than auction—all artwork will be sold on a first-come, first-served basis at a flat price of $25 per piece. The competitive element will be centered around who can get to the artwork first.

Executive Director Joseph J Gonzales is looking forward to the first major fundraising event under his tenure. He’s hoping it will create energy around art, artists and the art of collecting in a competitive environment. “Many arts organizations host events like this not only because they are mission-related and good fundraisers, but equally imperative as fun, festive ‘awareness’ occasions,” says Gonzales. “And bringing people together who love art to compete for ownership makes for an exciting evening.”

“We’re looking forward to a fun frenzy of purchasing during the event,” says Tatiana Michels, The Contemporary’s marketing manager.

Artist Delona Seserman will be participating. “The piece I donated depicts a geographical symbol of our state. It also represents my token of appreciation for the mission of The Delaware Contemporary,” she says. “Come to SABA to see what it is!”

Seserman has been an active studio artist, docent and teaching artist of The Contemporary since her move to Delaware in 2012. She observes first-hand that the organization delivers a complex art experience through annual exhibitions, artist studios and residency, and cultural events that promote the importance of a strong community. “There are not many organizations that can compel so harmoniously the essence of contemporary art in our society as The Delaware Contemporary,” she says.

The evening also includes live music and catering from food truck Pizzeria Pronto. Tickets range from $25-35 with a limited $100 patron preview option available, offering patrons the early chance to preselect works. Get tickets at decontemporary.org.

City Theater Company’s Reverence for Sondheim

The founders of City Theater Company (CTC)—Jon Cooper, Michael Gray and Tom Shade—launched the company in the early ‘90s with a nod to their “dramaturgical touchstone,” Stephen Sondheim. Now, more than two decades (and many tributes) later, CTC presents yet another Sondheim classic with Sunday in the Park with George.

The musical was inspired by French painter Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte. It takes the audience into the world of George (a fictional Seurat), who is fixated on the creation of his masterpiece, and his great-grandson George, himself a cynical contemporary artist.
Brendan Sheehan stars as painter Seurat in a stripped-down take on what it means to create art for both artist and audience. Founding Artistic Director Tom Shade returns to direct alongside Producing Artistic Director Michael Gray.

CTC’s production runs Dec. 1-16 at The Black Box on the Wilmington waterfront. Tickets are $15 (youth to age 15); $20 (students and military personnel with ID) or $40 (VIP) and are available now at city-theater.org.

Filling the Square with Noontime Music

Market Street Music’s venue, First & Central Presbyterian Church, sits on Rodney Square—one of the busiest business and social hubs in our city. Yet many of the countless workers, students, visitors and Wilmingtonians who traverse the square are unaware of the diverse and affordable mid-day musical menu available to them each week.

Now through May of next year, Market Street Music offers a respite from the weekly grind in the form of Thursday Noontime Concerts. The series delivers plenty of musical diversity: Center City Chorale; violin & piano duo Dina Nesterenko and Oksana Glauchko; countertenor Augustine Mercante and pianist Hiroko Yamazaki; Brandywine Harp Orchestra; Cartoon Christmas Trio, and much more. And best of all, it’s free (a suggested $5 donation is welcomed).

Music Director David Schelat notes that the series was developed to help introduce different genres of music. “Thursday Noontimes provide such a sampling of musical styles, listeners can enjoy a half-hour ‘taste’ and see if it’s to their liking,” he says.

The doors are open every Thursday at 12:30 p.m., and all are welcome. For more, go to marketstreetmusicde.org.

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Teens Take the Title

Major changes, close-knit friendships and an energetic sound contribute to newest Musikarmageddon victors Rusty Blue

When Rusty Blue was announced as the victorious band at the Musikarmageddon competition on Oct. 14 at the baby grand, members of the group began laughing uncontrollably.

Says bassist Joey Heins: “It was just pure joy. I was trying to stop myself from laughing but I just couldn’t.”

The four-man band received an average score of 93 out of 100 from judges and got nearly half of the audience votes. The remaining three bands—Cologne, TreeWalker and Carrier—were much closer in their scores, with Cologne taking the runner-up spots thanks to a solid fan base. There were approximately 160 people in attendance, one of the largest Musikarmageddon finale crowds.

Judges’ comments about Rusty Blue brimmed with praise: “Solid. Full of energy. An eclectic mix. You’re on the fast track to amazing things,” from Jim Pennington, guitarist of local band The Collingwood; “Who needs an intro with a start like that? Killer. Catchy, interesting, nostalgic,” from Zach Crouch, lead guitarist of last year’s winners Susquehanna Floods; “Great interaction, amazing energy, fun to watch. I’m an instant fan. Classic but innovative,” from area music mainstay Angela Sheik.

The Wilmington alternative rock band has come a long way since forming in 2014 as Over Ripe Banana. Most members hadn’t even reached high school then.

Between then and now, the original line up has shifted—members left, others switched instruments—and the group now consists of Greg Stanard on rhythm guitar and vocals, Joey Heins on bass, Clayton Milano on lead guitar and Damien Pace on drums. The band name first appeared as the title of a song, which, Heins says in retrospect, was “a pretty bad piece of music, but we needed to get rid of Over Ripe Banana if we had any chance of getting a real show.”

At the time, the group did covers, something remembered by Gayle Dillman of Gable Music Ventures, the local event company that promotes original music and runs events like downtown’s Ladybug Music Festival.

“Every month for six months Joey emailed me,” Dillman says. He also sent videos of the band playing—and growth and improvement were immediately palpable. When Rusty Blue shifted to playing original music, Dillman got them a handful of Gable gigs.

“Each time they got better,” she says. “What Joey demonstrated is something many bands have trouble with: patience, perseverance and persistence. Did I mention that Joey was 14 when he started emailing? Who does that? Usually it’s a parent, not a young teen. We knew there was something there.”

All four members of the band are students at Mount Pleasant High School. Photo Ryan Gorman

Songwriting became Stanard’s job, though over time that role has become more collaborative. Someone will write a chorus or verse, someone else will come in with a riff, and everyone discusses the song’s outcome from there.

The band has released one album, Life’s Good. The Musikarmageddon prize package includes a recording session with TribeSound Records (along with 20 custom band t-shirts from Spaceboy Clothing, a photoshoot with Moonloop Photography, and more) so Heins says they’ll definitely be utilizing that studio time to work on their second album in the near future.

Most of Rusty Blue’s songs are rooted in experience, whether about day-to-day life like bike riding adventures or the more abstract, like dreams. But one thing all the songs have in common is that they’re deeply personal.

“I think that’s what makes them so special,” Heins says.

Band members’ chemistry doesn’t stop with collaborative songwriting.

“Our music is complex and we really try our best to play together,” says Heins. “We never let a musical moment go unrecognized if we can help it and I think we all know where everyone’s moments are. We complement each other.”

In the meantime, finding a band-life balance is no easy task. All members, between the ages of 16 and 17, are juniors or seniors at Mount Pleasant High School in Wilmington. They also have jobs, so finding time to practice can be challenging, but it’s a priority—as is building friendships.

“All of us hang out all of the time,” says Heins. “We love to listen to music, ride bikes, take walks, explore interesting places, pretty much anything.”

While graduation is around the corner, Heins says the band is excited for their future of playing together. “This is my first chance to pursue music in a big way and I love that I’m getting this chance with my best friends,” he says. “Our shared musical and personal chemistry is what makes continuing as a band worthwhile to me.”

Heins says Rusty Blue wants to go on tour soon, which he says seems more feasible now than it did even a month ago. With the adrenaline of the Musikarmageddon win, plus the fact that the band has been expanding its show base beyond Wilmington and Philadelphia, things are looking up.

“Rusty Blue’s evolution is everything that Gable wants as a business,” says Dillman. “We started Gable to provide a platform for all ages. The young men have matured, sharpened their skills and have written some amazing original music. And they are all 16 or 17—kind of reminds me of The Districts.”