A DTC World Premiere in "The Chequerboard Watch"

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

Delaware Theatre Company (DTC) is proud to present the World Premiere musical The Chequerboard Watch in its home on the Wilmington Riverfront. A quick primer: “Chequerboard Watch” was a 19th Century term for a mixed-race sailing crew often made up of British, Irish, African, Caribbean, and Spanish sailors. This particular “Chequerboard Watch” features original music alongside traditional shanties and naval work songs.

DTC's World Premiere of The Chequerboard Watch. Photo by Matt Urban. 

DTC’s Producing Artistic Director and show co-creator Mimi Warnick had an epiphany in the Fall of 2020 and said: “Let’s create [a] sea shanty musical!” She added, “The sea shanty…[is] a work song for all people.”

From November 2020 to January 2024 the creative team of Jack Denman, Eyakeno Ekpo, Selena Seballo, and Warnick developed the idea, story, and script. The book and lyrics are credited to Seballo while Denman composed and arranged the music. After much refinement, they are now ready to bring The Chequerboard Watch from page to (our local) stage.

Most of the action takes place at sea where usual social constructs and rules are blurred. What sometimes can be seen as weaknesses on land are more often strengths at sea. An expected smooth voyage to South Australia quickly goes cockeyed due to the captain’s orders going against the natural rhythms of the sea and, ultimately, the well-being and safety of his crew.

The show’s website (www.chequerboardwatchmusical.com) summarizes the plot thusly: Set against the stirring soundscape of sea shanties, The Chequerboard Watch tells the tale of a crew of sailors on a challenging voyage aboard the 19th century clipper ship, the Blue Jacket. At its heart, it is a story about unlikely friendships forged between mariners from different nationalities, races, and walks of life. Despite the divides of class and race that separate them on land, their shared voyage erodes barriers as they depend on camaraderie to endure harsh conditions at sea. As the crew’s Captain wrestles to uphold maritime traditions against changing tides, he struggles to maintain his bond with his forward-thinking First Mate who eyes the future promise of steamships. Meanwhile, a young privileged landlubber, banished from home, finds guidance and kinship with a sailor ostracized by society. When the sailors reach their destination, they find themselves transformed by their odyssey, minds opened by their shared humanity. Blurring harsh class, racial, and gender divides, The Chequerboard Watch celebrates the culture of seafaring life that united motley crews in solidarity and sacrifice. It also examines the universal struggles to find human connection and dignity.

The excellent cast features Mark Aldrich (Billy), Marcus A. Brooks (Ansel), Will Stephan Connell (Giuseppe), Tom Geiger (James Farrell), Cullen Hussey (Bosun), Philipe Jean-Louis (Enoch), Beatrice Owens (Mister Kit), Jordan Michael Owens (Soloman), Nichalas L. Parker (Francis), Eric Peters (Philip), and Kevin Toniazzo-Naughton (Captain Edwards).

Captain Edwards is a towering figure who commands fealty from his crew, but withholds important information from them. As his plans disintegrate in real time, he lashes out in forms of intimidation and blackmail. His line, “No curse will rival my rage,” landed sharply.

Ship “Shantyist” Billy has a romantic view of the sailing the high seas. His sentiments like “There’s nothing a shanty can’t set right” and “The secret of the sea is the song” [paraphrase] keep morale bright when situations darken the voyage.

The off-stage musicians kept the beat and kept the show’s momentum moving forward, but sometimes overwhelmed the on-stage dialog. The best songs have Afro-Cuban rhythms with foot-tapping dance accompaniment. Examples of these are “Hold di Faith, Hold di Line” and “Congo River / Wana No Ufok Mfo / John Canoe.” Ensemble song “John’s a Dilly Dally” is another strong number.

Sea shanties don’t have the same structures as traditional musical numbers. This is a plus for this show in that the audience can’t rely on an accepted format. This keeps the viewer/listener focused on the  lyrics and delivery. One minor effect of this, however, is that the nature of the songs makes some scene transitions uneven.

Krista Franco’s set is a wonder of planking and rigging. When an epic storm besets the Blue Jacket, the effects made it feel like we were all being tossed and turned by powerful winds and waves. After the ship and her crew emerge mostly intact, the musical finale got the audience clapping along and we all seemed to be “Among Brothers.”

Warnick – also the production’s director – believes that Wilmington offers a lot for productions with an eye on a Broadway run, including its experience in premiering new works and its proximity to New York City, with its legions of actors and technical experts.

The Chequerboard Watch wraps up its Wilmington run on Sunday May 3. Showtimes are Wednesdays (2:00pm), Thursdays and Fridays (7:00pm), Saturdays (2 & 7:30pm), and Sundays (2:00pm). Ticket prices start at $39 and discounts are available. 

The play is roughly 2 hours and 30 minutes long with one 15-minute intermission. Join DTC for Viewpoints every Wednesday starting 45 minutes before the start of the show. Talkbacks – Q&As with the creative team – occur Thursdays after the final curtain. Call 302.594.1100 or visit delawaretheatre.org to purchase tickets or for performance information. 

Delaware Theatre Company is located at 200 Water Street on the waterfront in Wilmington.

Remember: “No Man is Greater Than the Sea.”

Family Matters at The Rep with Vanya and Sonia and Masha and Spike

By Jeff Gudzune

Jeff writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

What family doesn't have its ups and downs and crippling neuroses? Delaware's own Resident Ensemble Players explores the complex relationship between three middle-aged siblings with an equal mix of comedy and maudlin reflection. 

Vanya and Sonia and Masha and Spike is a wild ride through complicated family dynamics, midlife regrets, and eccentricities. Boasting a highly talented cast of performers, Vanya and Sonia and Masha and Spike dives face-first into the archetypal drama of a family that long ago stopped talking to one another and now only talks at one another.

The REP's production of Vanya and Sonia and Masha and Spike.
L-R: Mic Matarrese, Elizabeth Heflin, Kathleen Pirkl Tague,
Carine Montbertrand, Lee E. Ernst, Charlene Hong White.
Photo courtesy of The REP.

Set in a quiet Pennsylvania cottage, the play follows middle aged siblings Vanya (Lee E. Ernst) and Sonia (Kathleen Pirkl Tague) who have spent much of their lives watching the world, and their own ambitions, pass them by. Their mundane existence is disrupted when their glamorous movie-star sister, Masha, arrives unexpectedly with her much younger boyfriend, Spike.

Masha (Elizabeth Heflin) is a success. She reminds her siblings of this fact on numerous occasions. Vania and Sonya have failed to thrive. They live their lives in the state of ubiquitous intellectual paralysis, floating through their days expressing regrets in overlapping monologues. 

Due to a career downturn, Masha is trying to bolster her public image by restyling herself as a serious actress while slimming down financially. She intends to sell the family home, possibly putting her other siblings out on the street.

Assisting the family in taking care of the property is Cassandra (Carine Montbertrand), a Russian housekeeper who is often dramatically struck with bizarre and rambling prophecies. Much like the tragic Greek figure for whom she is named, Cassandra's predictions are often dismissed as the ravings of an eccentric old lady. Spike (Mic Matarrese) is narcissus personified; in love with himself and blissfully unaware of his own personal failings. He is a free spirit, wandering around the stage in his underpants and flirting shamelessly with the shy but intellectual Nina (Charlene Hong White).

The set is breathtaking; an entire house planted on the stage. Actors ascend and descend the staircase as if they really are inhabiting the upper levels of the house. Musical interludes provide theme and tone throughout, indicative of emotional changes as the play progresses. The often referenced, yet never seen Blue heron serves as a metaphor for the emotional development of the characters as they navigate the complexities of their family dynamics.

Each performer brings a unique flavor to the role, standing out at pivotal moments throughout the play. Vanya consumes most of the second act in a dramatic and often painful reflection on letting go of the past. Masha's pain is poured forth with devastating reality while Sonia reveals her own personal struggles. Nina and Spike are not simply disposable side characters, but emotional archetypes in and of themselves. Cassandra is comic relief, but also a powerful unifying force.

Vanya and Sonia and Masha and Spike runs April 9-26 at the Roselle Center for the Arts in Newark, Delaware. The cast includes The REP company members Lee E. Ernst (Vanya); Elizabeth Heflin (Masha); Mic Matarrese (Spike); Kathleen Pirkl Tague (Sonia), Carine Montbertard (Cassandra) and Charlene Hong White (Nina). 

The creative team includes Steve Tague (Director); Brittany Vasta (Scenic Designer); Celeste Jennings (Costume Designer); Matthew Richards (Lighting Designer); and Eileen Smitheimer (Sound Designer).

Visit https://www.udel.edu/academics/colleges/cas/units/departments/theatre-and-dance/resident-ensemble-players/ for tickets and details. 

Take a Heroic Trip with DTC in the U.S. Premiere of "Glory Ride"

By Mike Logothetis

Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

Delaware Theatre Company (DTC) takes its audience on a thrilling ride of defiance, sacrifice, and hope during World War II. Based on a true story, Glory Ride reveals the secret life of legendary Tour de France champion Gino Bartali, who conspired with the Cardinal of Florence to save hundreds of persecuted innocents from Mussolini’s Fascist Blackshirts. 

Glory Ride, now playing at DTC.  Photo courtesy of DTC.

Cycling thousands of miles, this unlikely team created the fastest resistance network the world never knew about...until now. Following a sold-out London debut, the piece is proudly making its U.S. Premiere at DTC, transporting audiences to the hills of Tuscany for an unforgettable, emotional adventure.

DTC’s Producing Artistic Director Mimi Warnick said: “Audiences may know Gino Bartali as a celebrated cyclist, but his impact during World War II went far beyond sport. DTC is proud to produce this new musical and invite audiences to be part of its future.”

Warnick added that Wilmington itself offers a lot for productions with an eye on a Broadway run, including its experience in premiering new works and its proximity to New York City, with its legions of actors and technical experts.

Right out of the gate, one is mesmerized by the imposing set by Beowulf Boritt. A circular screen commands the center of the action with angular beams radiating from it like a sun or a bicycle cog with its many teeth. All were constructed with an emphasis on symmetry and simplicity – a la fascist architecture. 

Images are projected on all free surfaces and from above onto the rotating stage floor. Kudos to Nicholas Hussong for the visuals, especially the rose window. It’s all very impressive and integrates wonderfully with Director Michael Bello’s grand vision. The story is incredible. The courage of Bartali and others is inspiring. The musical is uplifting even if some don’t make it out alive.

The book is by Victoria Buchholz and her father Todd Buchholz with music and lyrics by the younger Buchholz. While not memorable in a classic way, the songs serve an emotional purpose and showcase the lovely voices of the cast. None is more powerful than Bri Javis’s, who played Sister Maria. All songs in this production are sung live by the cast, which works in the confines of the cozy Riverfront theater.

The excellent cast is comprised of Matthew Amira (Bartali), Jared Zirilli (Il Lupo), Gavin Gregory (Cardinal Dalla Costa), Neal Mayer/Matthew Michael Janisse (Giorgio Nico), Javis, Patrick Oliver Jones (Commander Graziani), Sean Luc Rogers (Mario), Stephanie Prestage (Adriana), Willem Ford Butler, Elbi Cespedes, Chris Marsh Clark, Lincoln Cohen, David Hoffman, Cody Howard, Isabella Kaplan, Corinne Munsch, Michael Notardonato, Matthew Rella, Trevor Michael Schmidt, Scott Silagy, Everett Sobers, and Brooke Sterling.

Amira portrays Bartali as a simple man with a caring heart and conflicted loyalties. His voice could boom and focus attention on himself or meld tenderly with duet partners like Prestage. His song “King of the Mountains” is a highlight, especially with the accompanying choreography by Denis Jones. Jones utilizes props, the screens, and the rotating stage to perfection throughout the show. The effects are wonderful. The musical number “Ad Astra” aligned the stage direction, choreography, and lighting (Cory Pattak) in perfect harmony.

But the overarching question posed by the show is: “What is glory?” Bartali has experienced it by winning the Tour de France. Mario never had it until his wartime heroics provided it to him. The humble Cardinal and his bookkeeper Nico don’t want it to draw attention to their mission of saving those whom the authorities would like to see eliminated. The pursuit or avoidance of glory has different value for the characters and they struggle one way or the other to achieve their goals.

“Glory Ride isn’t just a race. It’s proof that one quiet act of courage can outrun evil,” said co-author Todd Buchholz.

Bravo to the entire production team, staff, musicians, and actors for this extremely satisfying theater experience.

Glory Ride finishes its run on Sunday, March 15. Showtimes are Wednesdays (2:00 & 7:00pm), Thursdays and Fridays (7:00pm), Saturdays (2:00 & 7:30pm), and Sundays (2:00pm). Ticket prices start at $39 and discounts are available. 

The play is roughly 2 hours and 25 minutes long with one 15-minute intermission. Join DTC for Viewpoints every Wednesday, starting 45 minutes before the start of the show. 

Talkbacks – Q&As with the creative team – occur Thursdays after the final curtain. Call 302.594.1100 or visit www.delawaretheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.

DTC recommends this show for children aged 12 and up due to its length and subject matter. More about Glory Ride can be found on its website: www.gloryridemusical.com.