DDOA Distributes $5 Million in Statewide Arts Grants

The content of this post comes from a Delaware Division of the Arts press release...

Whether you live in a city, a small town, or a rural stretch of Sussex County, the arts should be something you can engage with. That is the idea behind the Delaware Division of the Arts’ first round of FY2027 grants: $5,055,797 supporting 127 grants to arts and community organizations that bring performances, classes, and exhibitions to communities in every part of the state. This first round of FY2027 funding includes General Operating Support, Project Support, Arts Stabilization, StartUp, Education Resource, and Arts Access grants.

“A state that values creativity attracts people, jobs, and opportunity, and the arts are one of Delaware’s best investments,” said Governor Matt Meyer. “The arts support thousands of jobs, draw visitors to our towns, and make Delaware a place where people and businesses want to put down roots. And because these grants reach every county, that opportunity belongs to all of Delaware. When we support the arts, we build a stronger state.”

“Access is the whole point,” said Jessica Ball, Director of the Delaware Division of the Arts. “The reach of this funding is what sets it apart. These grants put the arts within reach of Delawareans in all three counties, in cities, small towns, and rural communities alike. They pay for performances, exhibitions, festivals, and classes that any resident can take part in, and they carry the arts into schools, senior centers, and neighborhoods so that no matter where you live, there is something nearby to experience and enjoy. We are grateful to Governor Meyer, Secretary of State Charuni Patibanda-Sanchez, the General Assembly, and the National Endowment for the Arts for their continued support.”

That commitment to access is clearest in Delaware’s classrooms. Sixteen Education Resource grants connect schools with professional teaching artists and arts organizations, providing teacher training and standards-based arts learning for students from Pre-K through 12th grade statewide. It means a young person in any corner of the state can have an arts education experience that builds creativity, critical thinking, and confidence.

The grants also strengthen local economies. Delaware’s nonprofit arts and culture sector generates more than $200 million in economic activity a year and supports over 3,300 jobs, according to a 2023 study by Americans for the Arts. A big share of that comes straight from audiences: people who attend a performance or exhibition spend about $43 a visit at nearby restaurants, shops, and hotels, which adds up to more than $61 million a year statewide, and visitors from out of state spend even more. And nonprofits are only part of the story. Together with Delaware’s for-profit creative businesses, they make up a creative economy worth roughly $3.7 billion in output that claims a larger share of state jobs than traditional industries like agriculture.

Access also means keeping Delaware’s cornerstone institutions open and thriving. From the Delaware Art Museum’s internationally recognized collection of Pre-Raphaelite art to the First State Ballet Theatre, OperaDelaware, the Delaware Symphony Orchestra, the Biggs Museum of American Art, and the Freeman Arts Pavilion, these organizations set a high standard for artistic excellence while serving as gathering places for communities across the state. Together with many other established institutions, they keep Delaware’s cultural traditions vibrant, accessible, and a source of pride for residents and visitors alike.

This year, three organizations – the Nanticoke Indian Association, Imperial Dynasty Arts Program, and Resolution Steel Orchestra – will join the Division’s StartUp program for arts organizations that are new to the Division’s portfolio of grantees. Designed to strengthen arts nonprofits, the program provides financial support, board development training, and technical assistance to help participants operate sustainably and prepare for future eligibility in General Operating Support, Education Resource, or Arts Stabilization grants. StartUp organizations must demonstrate a clear artistic mission, a stable governing board, and a track record of at least two years of public programming. By welcoming these three grantees into the program, the Division is helping to ensure that the arts remain relevant and accessible, and that
Delaware’s portfolio of supported arts organizations can grow, thrive, and contribute meaningfully to the state’s unique cultural life.

All applications underwent impartial peer review by panels of Delaware community members, with oversight by the Delaware State Arts Council, ensuring that diverse perspectives are included in the grant review process.

Members of the public are encouraged to explore upcoming performances, exhibitions, and programs in their communities and see firsthand how these investments strengthen Delaware’s quality of life. Sign up for the Division’s monthly Arts E-News to learn more about events, grant opportunities, and ways to support the arts in Delaware.

Visit DelawareScene.com to see hundreds of arts and culture events statewide. A complete list of FY2027 first-round grant recipients is available at arts.delaware.gov.

The awards include:

• General Operating Support for sixty-eight (68) arts organizations.
• Project Support for twenty-eight (28) community-based organizations that provide arts programming for children and adults with physical or intellectual disabilities; students whose schools are under-resourced and face multiple barriers, individuals and family members dealing with cancer, and young children and community members from across Delaware.
• Four (4) Arts Stabilization projects that support capital improvements and repairs to facilities owned or under long-term lease by arts organizations.
• StartUp support for three arts organizations, Nanticoke Indian Association, Imperial Dynasty Arts Program, and Resolution Steel Orchestra, providing them with a combination of technical assistance, board development training, and financial support necessary to become eligible for General Operating Support grants.
• Sixteen (16) education-based partnerships between Delaware’s schools, arts organizations and artists that provide teacher training and standards-based arts learning experiences for pre-K through 12 students statewide, in alignment with the Delaware Standards for Learning in the Visual and Performing Arts.

Funding comes from the Delaware General Assembly and the National Endowment for the Arts, with Arts Stabilization grants supported through the Arts Consortium of Delaware, Inc. (ArtCo) endowment.

The Division also awards grants on an ongoing basis throughout the year, including Arts Access grants, Artist Residencies, Individual Artist Fellowships, Creative Aging Programs, and Individual Artist Opportunity grants. Full grant descriptions are available on the Division’s website and at the end of the release.

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.