DTC Paints a Vivid Picture with "300 Paintings"

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 presents Sam Kissajukian: 300 Paintings – an engaging autobiographical show that shines a light on the journey taken by a specific human and his mind. It is introspective, touching, relatable, humbling, and very funny. Created and performed by Sam Kissajukian, the solo piece was a hit at the 2024 Edinburgh Fringe Festival and off-Broadway.

300 Paintings now running at DTC. Photo courtesy of DTC.

In 2021, Australian Sam Kissajukian decided to quit his life in stand-up comedy, rent an abandoned cake factory, and become a painter. Over the course of a six-month manic episode, he created 300 paintings, unknowingly documenting his mental state throughout the artistic process. In this fascinating and wildly original 90-minute show, Kissajukian brings audiences on a rollercoaster ride that explores the ties between art, mental health, business acumen(?!), and creativity.

“When I saw … 300 Paintings at the Edinburgh Fringe, I was completely captivated by its unique balance of light, unexpected comedy, and genuinely thought-provoking questions about how we value and quantify our lives, emotions, and experiences,” said DTC Producing Artistic Director Mimi Warnick. “Sam creates a truly 360-degree artistic experience, one that is joyful, surprising, and deeply human.”

Alone on a black stage with a large screen backdrop, Kissajukian’s presentation seemed to start in a free-form style, but he soon focused on recounting his incredible story. He involved the audience immediately via his engrossing storytelling method. We were encouraged to audibly react and participate as we stepped into Sam’s World. He told us that back in 2021 he wanted to find more truth in his work and his life, so he decided to paint. He had no prior training in art. None. But he began to paint anyway.

The self-deprecating Kissajukian made fun of many of his early works, particularly the portraits he crafted of fellow comedians. But his later paintings turned out to be good. Really good. He periodically displayed images of his works on the massive screen for all to behold. The man has talent. (The fact that his “Blue Period” – ala Picasso – could be measured in hours is an indicator of how his brain was functioning at the time.)

Kissajukian’s comedic timing and delivery were on point, which could be expected from a former touring stand-up. But he avoided any schlock and kept the audience on his side. We cheered his accomplishments and accepted his stumbles…encouraging him to eventually succeed. There was love and concern in the theater for our new favorite Aussie. We bought into his unusual methodology while understanding that he was a clinically distraught man at the time.

He somehow formed business partnerships that appeared one-sided, but were they? Who was really profiting? What is Sam’s definition of profit? Kissajukian kept hitting us with his outlandish ideas which somehow sounded plausible after he explained himself.

An example of some of the brilliant absurdity which coursed through Kissajukian’s mind was “manifested” in his Museum of Modernia. I won’t spoil the premise or construction of this “structure,” but following Kissijukian down the rabbit hole he constructed was a thrill ride.

Highlights of the experience DTC provides are on-site gallery displays of Kissajukian’s works and the chance to meet the artist afterward. I urge you to come down to the Wilmington Riverfront and appreciate the performance, art, and man behind this unique form of creativity at your earliest convenience.

300 Paintings runs through Sunday, November 8. Showtimes are Wednesdays (2:00pm), Thursdays and Fridays (7:00pm), Saturdays (2:00 & 7:30pm), and Sundays (2:00pm). (There is no matinee Saturday, October 24.) Ticket prices start at $39 and discounts are available.

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 has recommended a minimum attendee age of 13 due to the show’s subject matter and language.

This Production Spells F-U-N from Partners DTC & New Light Theatre

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.

Winner of the Tony and Drama Desk Awards for Best Book, The 25th Annual Putnam County Spelling Bee is a charming and deeply human musical that shines a light on the inner lives of six adolescents vying for the spelling championship of a lifetime. In partnership with New Light Theatre, Delaware Theatre Company (DTC) is proud to present this fan-favorite inside the confines of its Riverfront … “Home. H-O-M-E. Home.”

New Light Theatre presents The 25th Annual Putnam County Spelling Bee

in partnership with DTC. Photo by Joe del Tufo, NüPOINT Marketing.

Featuring a fast-paced, wildly funny, and touching book by Rachel Sheinkin plus a vibrant score by Tony Award–winner William Finn, this bee is one unforgettable experience. The show is about the little wins that carry us through life’s many awkward spells – pun intended.

“DTC is so excited to present New Light Theatre’s production of The 25th Annual Putnam County Spelling Bee,” said Mimi Warnick, DTC's Producing Artistic Director. “We are thrilled to welcome back our audiences for our 47th season with this incredibly entertaining and warm story.”

The setting is a school gymnasium, which Scenic Designer Parris Bradley has done an impeccable job recreating. The ropes, bleachers, trampolines, and other props James B. Saracina has placed at the actors’ disposal are ideally integrated into the action, especially during the musical number “Pandemonium.”

But inanimate objects aside, the stars of the show are the actors. It’s typically difficult for adults to play children without some lapses in technique, but not for this troupe. I was consistently impressed by the depth of preparation each actor brought to his/her/their character. 

Charlie Barney’s Leaf Coneybear is a free spirit with little self-control or social boundaries. Angel Sigala makes William Barfée an introvert, of sorts, until he spells or interacts with enigmatic newcomer Olive Ostrovsky (Felicity Mundy). Hannah Parke makes her character (Logainne Schwartzandgrubenierre) single-minded, but in an elementary school way – more obsessed than truly focused. Boy Scout Chip Tolentino (Adam Hoyak) is aging/maturing out of this type of competition and is at an awkward phase. Marcy Park is the puzzle no one can solve, not even herself. Actress Yi Ming Sofyia Xue plays Park fairly straight up until it’s time for her to release her inner self to the world (“I Speak Six Languages”).

I’ve lauded the acting abilities of the performers, but they also have singing chops. They belt out numbers as soloists or with the company that always fill the room. Kudos to Music Director Tom Mucchetti, Sound Designer Damien Figueras, and the live band for their lively arrangements. Alexa Wilder (bee moderator Rona Lisa Peretti) has an incredible voice that soars to the rafters. Cookie Diorio impressively reveals his classically trained pipes in several numbers as Mitch or other minor characters.

The choreography and characters’ physical interplay in the production are impressive. I mentioned the actors’ abilities to imbue childlike perspectives to their movements and Choreographer Taylor J. Mitchell tapped into that collective talent. Mitchell’s dances are clever and energetic, using child-like motions as well as props. Sigala was light on his feet during “Magic Foot” and the audience floated along with him.

Other show highlights: 

• Each time word pronouncer Douglas Panch (Connor McAndrews) would respond to the speller when asked to “use it in a sentence.” Vice Principal Panch’s answers got more ridiculous and laughable as the show went on. 
• The “Goodbye” song (and solace-filled juice box) that a misspelling would initiate was always funny. 
• When a certain deity (no spoilers!) appeared to offer guidance to Marcy Park.

Note: The performance included four volunteer audience members on stage as spellers. It added to wonderment of the situation. (They all heard the “Goodbye” song and received a juice box from Mitch.)

Show Director and New Light Theatre Artistic Director Lena Mucchetti has put together a strong team to make this production one not to miss. What a way to start the school year!

Supporting New Light Theatre’s mission to raise awareness and support for organizations that deepen our empathy and connection with one another, The 25th Annual Putnam County Spelling Bee has partnered with Children & Families First, an organization providing support and services that children and their families in Delaware need to thrive. 

The 25th Annual Putnam County Spelling Bee runs through Sunday, October 4. Showtimes are Wednesdays (2:00pm), Thursdays & Fridays (7:00pm), Saturdays (2:00 & 7:30pm), and Sundays (2:00pm). (There is no matinee Saturday, September 19.) 

Ticket prices start at $39 and discounts are available. The play is roughly 2 hours 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. For show info and to purchase tickets, call 302.594.1100 or visit delawaretheatre.org. Delaware Theatre Company is located at 200 Water Street in Wilmington.

DTC has suggested a minimum audience-goer age of 13 due to the show’s duration and mild innuendo.

Delaware Division of the Arts Announces New Appointments to the Delaware State Arts Council

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

The Delaware Division of the Arts today announced the appointment of six new members to the Delaware State Arts Council (DSAC), the 16-member citizen advisory council that provides guidance on arts policy and public investment in Delaware’s arts and culture sector.

The Delaware State Arts Council serves as the advisory body to the Delaware Division of the Arts. The Council provides guidance to the Division Director on matters of arts policy and considers matters referred by state leadership. DSAC members also serve as ambassadors for the arts – promoting participation in and appreciation of the arts throughout Delaware.

Newly appointed members include:

New DSAC members (starting top L-R): Itzel Aguilar, Esther Hofknecht,
Michelle Kramer-Fitzgerald, Reggie Lynch, Nataki Oliver, Dr. Malcolm Richardson. 

Itzel Aguilar (Georgetown) – Itzel Aguilar is a first-generation Chicana (Mexican-American) interdisciplinary artist, muralist, and arts advocate from Sussex County, Delaware. Her work explores identity, ancestry, cultural memory, migration, belonging, and healing, drawing from her mestiza and Indigenous heritage and lived experiences. Working across painting, illustration, textiles, natural fibers, clay, pigments, and found objects, Aguilar selects materials for their ability to hold memory through texture, color, and story. She graduated from the Delaware College of Art and Design with a degree in Fine Art and is pursuing her undergraduate in Chicano/a Studies at the University of New Mexico. She recently completed an internship with Mural Arts Philadelphia and is now working as a project-based Artist Assistant. This allows her to strengthen her practice in community-engaged public art and collaborative mural-making.

Esther Hofknecht, MSM-HCA, LEND (Dover) – Esther Hofknecht, MSM, LEND is a Delaware visual and mixed-media artist, writer, storyteller, and trauma-informed teaching artist whose creative practice centers on connection, self-expression, and community. Her multidisciplinary work encompasses visual art, writing, storytelling, and film, often exploring the intersections of creativity and lived experience. Esther is also a dedicated advocate and educator in the areas of mental health, neurodivergence, domestic violence, and intimate partner violence, bringing these perspectives to her artistic and community work. She is passionate about arts accessibility, amplifying diverse voices, and using creativity to foster dialogue, understanding, healing, and connection.

Michelle Kramer-Fitzgerald (Wilmington) – Michelle Kramer-Fitzgerald joined the Delaware Symphony Orchestra in July 2022 as its Director of Marketing & Events. Previously, she owned arts publicity company, Arts in Media, a promotional partner for artists, musicians, and small- to mid-sized arts organizations from 2004 to 2022. Originally from the Pittsburgh area, Michelle graduated in 1992 from Penn State with a degree in Communications. She has been a contributing writer for Out & About Magazine since 2013, and she created and still manages the Delaware Arts Info blog. She has served on committees including the INWilmington Campaign, Christina Cultural Arts Center’s Christi Awards, the Fringe Wilmington Festival, and AIDS Delaware’s Red Ribbon Runway. Michelle lives in the City of Wilmington with her husband, Scott, and their “supermutt,” Eli. In her spare time, she enjoys reading (actual books), painting, and cooking.

Reggie Lynch (Wilmington) – Reggie Lynch was born and raised in the arts community in Delaware and has dedicated her career to ensuring the arts are accessible to everyone. Although her career in museums has taken her to New York, Philadelphia, Los Angeles, and Ohio, she is thrilled to be back in her hometown to rejoin the arts community through her role at Winterthur Museum, Garden & Library. Joining the Delaware State Arts Council has an added layer of meaning for her, as her mother, Nancy Bartoshesky Lynch, was deeply involved with the Council. Reggie lives in Wilmington with her husband and daughter.

Nataki Oliver (Wilmington) – Nataki Oliver is the owner of The Sold Firm Art Gallery and has championed emerging and established artists throughout the tri-state area since 2017. A Fashion Institute of Technology graduate with studies in art history, design, and marketing, Oliver founded her Wilmington, Delaware gallery in 2018 to address gaps in the city’s visual arts community. She has curated exhibitions and art spaces for Bank of America, Delaware State University, Winterthur, The Delaware Contemporary, HBCU Week, and the Philadelphia 76ers. A passionate advocate for visual artists and youth, Oliver created a successful paid to learn, 12-week arts program for Delaware teens empowering young creatives for the past five years while strengthening Delaware’s arts ecosystem.

Dr. Malcolm Richardson (Wilmington) – Dr. Malcolm S. Richardson is an interdisciplinary artist, educator, scholar, and arts advocate whose work is rooted in a passion for educational and artistic development. Based in Wilmington, Delaware, he has dedicated his career to cultivating artists, educators, programs, and communities through meaningful and equitable access to the arts. A former lecturer at Delaware State University in the Philosophical Foundations of Education, Richardson currently serves as an Instructional Coach with Jounce Partners in collaboration with the Wilmington Learning Collaborative and as Voice Faculty with Elevate Vocal Arts, while maintaining an active career as a professional countertenor. He holds a Doctor of Music Education from Liberty University, where his research explored sustainable partnerships between schools and community-based music organizations throughout Delaware. Through this council, Richardson remains committed to strengthening the ecosystems that allow artists, educators, and communities to learn, create, and thrive in harmony.

Council members are appointed by the Governor to renewable three-year terms, with terms staggered to support continuity in leadership and governance.

“State arts council members are essential partners in how the Division serves Delawareans,” said Jessica Ball, Director of the Delaware Division of the Arts. “They bring lived experience, professional expertise, and local insight that strengthen public stewardship – helping ensure our investments are thoughtful, equitable, and responsive to communities across the state. Their guidance shapes real opportunity for artists and arts organizations, and it helps expand access to the arts for residents in every county.”

Mack Wathen, Chair of the Delaware State Arts Council, added: “State Arts Council members translate the value of the arts into action. They elevate community voices, help set priorities, and support decision-making that sustains Delaware’s cultural vibrancy. Their service has a practical impact – stronger arts organizations, more engaged communities, enhanced creative learning and engagement, and a healthier statewide ecosystem where the arts can thrive.”

POTUS Comes to Delaware; Women Rule the Show

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.

POTUS at City Theater Company.
Photo by Moonloop Photography.

Raise “Old Glory” and hang the bunting because City TheaterCompany (CTC) is welcoming POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive to its riverfront stage. The Tony-nominated comedy is an all-female satire of the inner workings of the Executive Branch (on a very bad day). Playwright Selina Fillinger has artfully/crassly tapped into the modern world of American politics with a biting look behind the scenes at the White House.

Cast members Mary Carpenter (Harriet), Jordan Fidalgo (Chris), Karen Getz (Bernadette), Kelsey Hébert (Stephanie), Jessica Jordan (Jean), Heron Kennedy (Dusty), and LaNeshe Miller White (Margaret/FLOTUS) purred like a finely-tuned engine. They consistently hit the gas and sped things up without losing control.

The New York Times originally called the 2022 show “Gleefully filthy,” which is an apt description. The play is rated R for adult content, situations, and (mostly) language. There is a lot of, let’s say, “colorful vernacular” peppered throughout the action. But, vulgarity aside, the dialog is the best part. The repartee is clever and biting and delivered expertly by the cast. Most importantly, it’s funny…very funny.

Lines like, “I need all of them first!” (Harriet), “No howling at the White House!” (Jean), and “We all serve in different ways” (Dusty) had the audience in stitches. The constant attacks on Jean’s wardrobe delivered laughs over and over – “…Jackie O meets Carl Sagan” (Bernadette).

The pacing of the show is quick. The snappy dialog and interwoven plot points come fast. Kudos to Director Kristin Finger for keeping everything on track; although parts of the second act seemed a tad chaotic. But, then again, that’s the nature of the play. Strap in and enjoy the ride!

I don’t want to discount the heaps of physical comedy on display. Whether it was Dusty’s blue-lipped cheerleading routine, Chris’s endless lactation issues, or Stephanie’s “Power Stance,” these women kept bringing the laughs.

There was a real sense of sisterhood, even though internal rivalries and external issues kept impeding their collective goal of “progress for women.” They were in the same mess together and needed their collective powers to right the ship. Can they pull it off? Do your duty as an American: Buy a ticket and find out!

There are some short musical interludes between scenes and featured songs by local artists Grace Vonderkuhn, Hot Breakfast, and Nitro Nitra, which were great to hear. In fact, the POTUS program has QR links to the soundtrack (Spotify and Apple Music).

POTUS will run through March 7. Curtain is at 8:00pm for all performances except for the Sunday (March 1) matinee, which starts at 2:00pm. The run time is approximately 1 hour and 50 minutes with a 15-minute intermission. City Theater Company’s home is at The Delaware Contemporary – located at 200 South Madison, Wilmington, Delaware 19801. 

General admission tickets ($45) can be purchased at the box office or online at city-theater.org. Special ticket pricing is available for military personnel ($35), seniors ($35), and students ($25). All shows feature free admission to the museum galleries, and a cash bar is available. The Delaware Contemporary offers free parking and is a short walk from the Joseph R. Biden Amtrak train station. Please call the box office at 302.220.8285 or email info@city-theater.org for details.

Founded in 1993, City Theater Company performs contemporary comedies, new works, and classic musicals to critical acclaim inside The Delaware Contemporary. Both institutions are invested in promoting the work of local and emerging artists, advancing opportunity and growth by and for the community, and welcoming all those looking to experience art.

– “FML” (Harriet)

The REP's Newest Production Asks Us, "What IS Art"?

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.

The University of Delaware Resident Ensemble Players (REP) proudly presents the Tony- and Molière-winning dark comedy ART at the Roselle Center for the Arts in Newark. The 1994 play was written by Yasmina Reza and translated from the original French by Christopher Hampton. ART offers a witty and incisive look at friendship, honesty, significance, and the surprising power of a single piece of art.

The story focuses on three friends who find themselves at odds after one (Serge) purchases an expensive, all-white painting. Throughout the show, the three characters argue fiercely — and amusingly — over their visceral responses to the painting and the others’ reactions to it.

Though it makes several appearances during the play, the white painting is, in effect, a MacGuffin — i.e. a catalyst for the action. “The Antrios,” as it is often called, amplifies hidden tensions within this longstanding three-way friendship.

But the audience’s first impression is the commanding set by Christopher and Justin Swader. The unadorned walls (and our view of them) are angular and imposing…almost monolithic. The industrial lighting by Dawn Chiang adds to the feeling that these men are small in comparison to the disarray they’ve conjured between themselves.

These are not obscure personas, but fairly regular folks trying to make heads or tails of the everchanging world. Serge is an aesthete whose life has been mostly comfortable. Marc is a realist with a stern outer layer he uses for protection. Yvan is an easy-going person on the outside with insecurities swirling below the surface. 

The “deconstruction” of the central piece of artwork devolves to comic effect as the trio grapples with the larger question of how to maintain personal relationships through a prolonged three-pronged argument. When Yvan tries to play peacemaker, he is derided by the others as a “coward” and an “amoeba,” and even suffers a minor injury when he tries to defuse a brief scuffle.

ART stars REP stalwarts Hassan El-Amin as Marc, Lee E. Ernst as Yvan, and Stephen Pelinski as Serge. All three actors imbue their characters with staunch individuality and some compassion. They are a talented trio whose banter is natural and pointed, helping the audience believe their characters are really friends – but also scathing critics.

The intertwining theme of value versus values runs deep because true friendship is not superficial. These characters care about each other, but life has intervened, which often makes the simple more complex. Director Michael Gotch allows his actors to interact and soliloquize (under spotlight) easily and comfortably. Gotch’s pacing keeps us fixated by the changes these friends are going through. There was excellent switching between edgy discourses, comic dialog, and character asides.

“This is a masterpiece of a play, really — one of those rare ones where everything the author’s given you works,” says Gotch. “It’s in some ways a perfect play: it’s funny, it’s insightful and it manages to entertain on so many levels. In a world where it seems everything around us is a Rorschach test and wildly different opinions clash on social media 24/7, this play isn’t just entertaining, it’s also timely. But mostly it’s an incredibly fun, perfectly compact, and surprisingly sharp ride to enjoy.”

The funniest scene is when Yvan delivers his pre-wedding monologue, listing all that is going wrong regarding printed invitations and family dynamics. Ernst drew us into his character’s angst while humoring us with mundane decisions which are slowing driving Yvan mad.

Another funny micro-scene was an unspoken one where the three protagonists munch on olives after arguing well past the dinner hour. The pinging of the pits into a metal bowl was effectively comical, realistic, and surreal.

After the show, it is inevitable to ponder status and potential changes within one’s own friendship groups. A significant question being: Are interpersonal conflicts organic or are they initiated?

This production of ART runs now through March 1. Tickets range from $20-39 (+fees) with discounts available for students, seniors, plus University of Delaware faculty and staff. 

Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at 302.831.2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12:00pm to 5:00pm. The one act show runs approximately 90 minutes.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling (302)831-2204 or emailing cfa-boxoffice@udel.edu. 

“You should never leave your friends unchaperoned.” – Marc

DDOA Announces 2026 Delaware Individual Artist Fellows

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

The Delaware Division of the Arts (DDOA) announced the 2026 recipients of its Individual Artist Fellowships, recognizing 27 Delaware artists for exceptional artistic quality and awarding $184,000 in individual artist grants. 

The Division received 246 applications from Delaware musicians, writers, and folk, media, and visual artists — an unprecedented level of interest in the program. Since 2020, the Division of the Arts has granted more than $950,000 to Delaware artists through the Individual Artist Fellowship program.

Work samples were reviewed by out-of-state arts professionals, who evaluated demonstrated

creativity and skill within each artist’s discipline. Twenty-seven artists were selected for fellowships across three categories — 1 Master Fellow, 14 Established Fellows, and 12 Emerging Fellows — and the Division also named 5 runners-up, each of whom will receive an honorarium. This year, DDOA increased the fellowship funding pool by 20% in response to the strong demand.

Awards are provided in three categories: $12,000 for the Master Award, $8,000 for the Established Professional Award, and $5,000 for the Emerging Professional Award. 

Fellowship support is intentionally flexible, enabling artists to advance their work in ways that best fit their practice. Fellows are also required to offer at least one public exhibit or performance during the upcoming year, ensuring Delawareans have opportunities to experience the work their state is investing in. 

The 2026 fellows reside throughout Delaware, including Georgetown, Middletown, Bear, Townsend, Newark, Magnolia, Bethany Beach, New Castle, Rehoboth Beach, Farmington, Lewes, Milford, Smyrna, and Wilmington.

The Delaware Division of the Arts 2026 Individual Artist Fellows are listed below...

Masters Fellow

• Dennis Beach, Visual Arts: Sculpture, Wilmington

Established Fellows

• Catharine Fichtner, Visual Arts: Painting, Wilmington
• Michael Fleishman, Visual Arts: Works on Paper, Milford
• Yalonda JD Green, Literature: Poetry, Wilmington
• Jim Hawkins, Literature: Playwriting, Smyrna
• Jawanza Kobie, Jazz: Composition, Wilmington
• Erin Magnin, Music: Contemporary Performance, Newark
• Jonathan Chaiim McConnell, Literature: Fiction, New Castle
• Teddy Osei, Visual Arts: Crafts, New Castle
• Martha B. Pitts, Literature: Creative Nonfiction, Middletown
• Alan B. Tuttle, Visual Arts: Painting, Lewes
• Jonathan Whitney, Music: Composition, Wilmington
• Brian Wild, Media Arts: Video/Film, Wilmington
• Rebecca Wilt, Music: Solo Recital, Newark
• Andre’ Wright Jr, Visual Arts: Photography, Wilmington

Emerging Fellows

• Itzel Aguilar, Folk Art: Visual Arts, Georgetown
• J.F. Arsenault, Visual Arts: Painting, Rehoboth Beach
• Deborah E. Baker, Literature: Fiction, Bethany Beach
• Hadrian Cerulean, Literature: Poetry, Wilmington
• Logan Farro, Visual Arts: Painting, Farmington
• Vik Hart, Visual Arts: Works on Paper, Wilmington
• Susan Isaacs, Visual Arts: Sculpture, Wilmington
• Valerie Lane, Literature: Creative Nonfiction, Bear
• Orlando Lewis (aka Raylo), Music: Composition, Townsend
• Adaysela Reyes (aka Dayesla Ixtli), Visual Arts: Interdisciplinary, Newark
• Jonathan Rivera (aka J Pvpi), Music: Contemporary Performance, Magnolia
• David Warren Norbut, Visual Arts: Photography, Wilmington

Runners Up

• Cassandra Lewis Slattery, Established, Literature: Creative Nonfiction, Wilmington
• Carly Maiorano, Emerging, Visual Arts: Painting, Wilmington
• Jennifer Polillo, Established, Visual Arts: Painting, Wilmington
• Jennifer Small, Established, Visual Arts: Painting, Wilmington
• Justin Tanksley, Established, Music: Contemporary Performance, Middletown

To contact an individual artist, email or call Roxanne Stanulis, Program Officer, Artist Programs and Services, Roxanne.Stanulis@delaware.gov or 302.577.8283.

CTC Paints the Town with Glitz in "Chicago"

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.

City Theater Company (CTC) paints the town with a lively staging of the award-winning musical Chicago. With a book by Fred Ebb and Bob Fosse, music by John Kander, and lyrics by Ebb, Chicago first took the world by storm in 1975 and has endured ever since. Its iterations include an Academy Award–winning film and the current NYC production, which is the longest-running American musical in Broadway history. 

My recommendation is to do “A Little Bit of Good” and head to the Wilmington Riverfront to experience “All That Jazz.”

The cozy Black Box theater at The Delaware Contemporary has been transformed into a social club with a swingin’ band on one side and a Prohibition-era bar on the other. The audience can choose to sit in a standard seat, a chair with a mini cocktail table, or a high top in the back. Performers weave their ways up the center aisle or around the sides in this immersive setting. Sometimes the action isn’t right in front of you.

Dylan Geringer stars as Roxie Hart, the bored housewife-turned-murderess with wannabe chanteuse dreams. CTC Artistic Director Kerry Kristine McElrone stars as Velma Kelly, seasoned vaudeville star and fellow accused killer. The two play well off each other in dialog and song. But it seems like everyone in the cast has those sorts of strong interpersonal stage relationships. It’s an excellent ensemble of notable of CTC fan-favorites including Tonya Baynes, Daryan Borys, Jolene Cuisine, Tommy Fisher-Klein, Autumn Jewel Hudson, Mary Catherine Kelley, Paul McElwee, and Dionne Williford. Making their CTC debuts alongside these veterans are Jonathan Frazier and CTC Board Member Scott Frelick.

McElwee was superb in his smarminess, ruthlessness, and conviction as celebrity lawyer Billy Flynn. His vocals and movements were supremely confident in his songs “All I Care About” and “Razzle Dazzle.” His puppeteering of Roxie during “We Both Reached for the Gun” was a highlight for both McElwee and Geringer.

In a classic show with a stellar score, it’s tough to pick favorites…but I did...I had to. Along with the previously mentioned numbers, “When You’re Good to Mama” (Baynes), “Roxie” (Geringer), “I Can’t Do It Alone” (McElrone), and “Mister Cellophane” (Borys) were standouts. And how Jolene Cuisine belted out “A Little Bit of Good” – while commanding the world to take notice – was amazing.

The cast of CTC's Chicago. Photo by Jim Coarse/Moonloop Photography.

McElrone chose Chicago, in part, as a response to the current times:
“We are a century removed from the era of the play, but in our Roaring Twenties timeline, the power of ‘celebrity’ under the ever-changing ‘rule of law’ are remarkably similar. Times are hard and chaotic,
everyone has an angle, and some
of us are cashing in where they can,” said McElrone. “The media circus
that surrounds every new scandal consumes the public — and ‘nowadays’ we too move on from yesterday’s news in an instant when some fresh outrage shows up. Beneath all the glitz and fun of that other ‘20s is a laser-focused commentary on society’s response to turbulent times.”

Dawn Morningstar’s choreography filled the performance with movements that provided levity as well as menace. Dance Captain Autumn Jewel Hogan didn’t have much space to work with, but created some ebullient dances that complemented the music well. 

Kudos to Joe Trainor’s orchestra of Virginia Cheung, Josh Dowiak, Christopher Ertelt, Kanako Neale, Gary Oberparleiter, Jim Olson, Nate Peterson, and Bryan Tuk. The backing music is critical to underscore moods, support song vocals, and to entertain entre’ act. The musicians performed beautifully; knew when to be subtle; plus ebbed and flowed skillfully with the storyline.

Founded in 1993, City Theater Company performs contemporary comedies, new works, and classic musicals to critical acclaim inside The Delaware Contemporary. Both institutions are invested in promoting the work of local and emerging artists, advancing opportunity and growth by and for the community, and welcoming all those looking to experience art.

Chicago will run through December 20. Curtain is at 8 o’clock for all performances save for the December 14 Sunday matinee (2 PM). The run time is approximately 2 hours and 20 minutes with a 15-minute intermission. City Theater Company’s home is at The Delaware Contemporary, located at 200 South Madison street, Wilmington, Delaware 19801. 

General admission tickets ($45) can be purchased at the box office or online at www.city-theater.org. Special ticket pricing is available for military personnel ($35) and students ($25). Do check the website for availability, because show tickets are moving faster than Roxie's rising star. 

All shows feature admission to the adjacent museum galleries, and a cash bar (with a signature drink) is available. The Delaware Contemporary offers free parking and is a short walk from the Joseph R. Biden Amtrak train station. Please call the box office at 302.220.8285 or email info@city-theater.org for details.

Note: This show is rated PG-13 due to adult themes, (simulated) murder, plus sexual and suggestive content. 

“Razzle dazzle 'em / Give 'em an act with lots of flash in it / And the reaction will be passionate” — Razzle Dazzle

"Shrek" the Halls This Holiday Season with Wolf & DTC

By Kelly Paustian
Kelly is a guest blogger who works in the nonprofit field, throws things in dirt to see if they grow, tries her best to raise a small human, occasionally appears on local theater stages, and enjoys a great cup of coffee.

On the outskirts of the Kingdom of Duloc lives Shrek, a big, green, blunt, but completely lovable, ogre. Suddenly, his peaceful swamp is full of fairytale creatures evicted by Lord Farquaad, and chaos (and laughs) ensue. This is the scene for Wolf Performing Arts Center's Production of DreamWorks Shrek the Musical, and it’s a blast for the whole family.

Shrek the Musical by Wolf PAC, now playing
at Delaware Theatre Company. 

I took my kiddo, my husband, my bestie, and her crew to the opening performance presented at the Delaware Theatre Company, and and we were hooked from the start!

From the very first moments, we were drawn into the parallel stories of young Shrek and young Fiona, two children cast out by their parents and left to find their own way. The story quickly moves to adult Shrek (played by Cullen Hussey) navigating his new “neighbors” and the unexpected journey ahead.

Shrek doesn’t venture to Duloc to face Lord Farquaad alone. He’s joined by Donkey, brought to life by the incredibly talented Danny Wilfred. Any scene with Donkey earned huge laughs from our group — kids and adults alike. His impeccable comedic timing, boundless energy, and charmingly relentless personality make him both lovably annoying and an undeniable fan favorite.

The duo is soon lured into a side quest by Lord Farquaad, who promises Shrek his swamp back if he rescues Princess Fiona, locked away in a distant tower. Shrek reluctantly agrees, and off they go, sparking a series of adventures full of laughs, heart, and unexpected friendships.

Fiona is brilliantly portrayed by Bridget Gooley, whose vocals are stunning and whose chemistry with both Shrek and Donkey turns this unlikely trio into a team you can’t help but root for. 

A special shoutout goes to Carl Nathaniel Smith, who masterfully takes on the physically demanding role of Lord Farquaad as he spends the entire show on his knees in a cleverly designed costume that creates the illusion of Farquaad’s diminutive stature. 

Part of the cast of Shrek the Musical by Wolf PAC,
now playing at Delaware Theatre Company. 

Add in a misunderstood dragon with a crush on Donkey, castle guards, and a very opinionated gingerbread man, and you have a cast of characters who fully transport the audience into this playful, magical world.

Themes of inequality, acceptance, belonging, and vulnerability weave through the entire production, approached with just the right balance of sincerity and comedy, making it ideal for a family-friendly show. These themes culminate beautifully in the final musical number, “Let Your Freak Flag Fly,” an anthem of self-acceptance that had our whole row smiling and singing along.

From start to finish, the show was an absolute delight. And in the spirit of the holidays, we give this production 11 lords-a-leaping!

DreamWorks Shrek the Musical is running at the Delaware Theatre Company from December 3–21, with both daytime and evening performances available. It’s a fantastic outing for families looking for fun, laughter, and a little heartwarming ogre wisdom.

DDOA Announces 2025 Individual Artist Fellowship Awardees

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

The Delaware Division of the Arts is proud to recognize 21 exceptional Delaware artists as the 2025 Individual Artist Fellows, awarding a total of $158,000 to support their creative pursuits. This year’s application cycle saw an unprecedented 191 applications from musicians, writers, and folk, media, and visual artists across the state. A panel of out-of-state arts professionals rigorously reviewed work samples, evaluating creativity and artistic excellence. The 2025 Fellows represent a diverse range of artistic disciplines and communities, hailing from Bear, Clayton, Dagsboro, Lewes, Milton, Newark, New Castle, Rehoboth Beach, Smyrna, and Wilmington. Fellowships were awarded in three categories: Master (1), Established (11), and Emerging (9), with an additional 13 runners-up recognized for their talent.

Awards are given in three categories: $12,000 for the Masters Award, $8,000 for the Established Professional Award, and $5,000 for the Emerging Professional Award. Fellows are required to offer at least one exhibit or performance during the upcoming year, providing an opportunity for the public to experience their work.

“Individual Artist Fellowship grants recognize Delaware artists for their outstanding work and commitment to artistic excellence. Our commitment to Delaware’s individual artists is at the heart of our work, and this year we’re thrilled to expand our support by increasing the funding pool for the Individual Artist Fellowships by 15%,” says Jessica Ball, Director of the Delaware Division of the Arts. “In response to the unprecedented number of applications, we are introducing a cohort of runners-up who will each receive an honorarium to recognize even more talented artists for their exceptional work and dedication to their craft.”

“Providing unrestricted funding to artists through the Individual Artist Fellowships allows them the flexibility to invest in their craft, explore new ideas, and focus on their work without financial constraints. These grants not only support individual growth but also enrich communities and contribute to the local economy by fostering a thriving cultural ecosystem,” says Program Officer Roxanne Stanulis.

The Masters Fellowship is open to rotating artistic disciplines each year. For 2025, Masters Fellowship applications were accepted in Literary Arts and Media Arts from artists who had previously received an Established Professional Fellowship. In addition to exemplifying high artistic quality, Masters Fellowship applicants must demonstrate their involvement and commitment to the arts in Delaware and beyond.

Viet Dinh is the DDOA 2025 Master Fellow in the field of Literature: Fiction. Dinh was born in Vietnam and grew up in Colorado. He attended Johns Hopkins University and the University of Houston and currently teaches at the University of Delaware. He has received fellowships from the National Endowment for the Arts and the Delaware Division of the Arts, as well as an O. Henry Prize. His stories have appeared in Zoetrope: All-Story, Witness, Fence, Five Points, Chicago Review, the Threepenny Review, and the Greensboro Review, and his debut novel, “After Disasters,” was released in 2016.

Delaware Division of the Arts 2025 Individual Artist Fellows
Masters Fellow
• Viet Dinh, Literature: Fiction, Newark

Established Fellows
• Judy Catterton, Literature: Creative Nonfiction, Rehoboth Beach
• Geraldo Gonzalez, Visual Arts: Works on Paper, Wilmington
• Ananya Goswami, Dance: Choreography, Bear
• Makeda Hampton, Music: Solo Recital, New Castle
• Linda Susan Jackson, Literature: Poetry, Smyrna
• Dennis Lawson, Literature: Fiction, Newark
• Nadjah Nicole, Music: Contemporary Performance, Wilmington
• Damon Pla, Visual Arts: Painting, Dagsboro
• Rob Sample, Visual Arts: Painting, Clayton
• Adam Vidiksis, Music: Composition, Wilmington
• Shannon Woodloe, Visual Arts: Photography, Wilmington

Emerging Fellows
• Paula Brown, Visual Arts Painting, Wilmington
• Renita Coursey, Folk Art: Visual Arts, Wilmington
• Irene Fick, Literature: Creative Nonfiction, Lewes
• Don James, Visual Arts: Photography, Milton
• Tim Lynch, Literature: Poetry, Wilmington
• Maximillian Remmler, Media Arts: Video/Film, Newark
• August Ryan, Literature: Fiction, Wilmington
• Shana Starks aka “Blue Tulip”, Music: Contemporary Performance, Wilmington
• Benjamin Wagner, Literature: Creative Nonfiction, Wilmington

Runners Up
• Mary Jane Arden, Visual Arts: Works on Paper, Wilmington
• Jamie Brown, Literature: Poetry, Milton
• Kimberly Burnett, Literature: Fiction, Rehoboth Beach
• Gale Cornelia Flynn, Literature: Creative Nonfiction, Hockessin
• Alexander Hill, Literature: Poetry, Middletown
• L. Jackola, Literature: Fiction. Middletown
• Blazo Kovacevic, Visual Arts: Interdisciplinary, Newark
• Jennifer Lang, Music: Solo Recital, Wilmington
• Judith Loeber, Visual Arts: Painting, Millsboro
• Chris Morrow, Folk Art: Music, Lewes
• Kiandra Parks, Media Arts: Video/Film, Wilmington
• Christina Peters, Visual Arts: Photography, Newark
• Aki Torii, Visual Arts: Sculpture, Wilmington

Learn more at arts.delaware.gov. 

The Sold Firm Gallery Welcomes New Young Curator

The content of this post comes from an announcement by The Sold Firm...

The Sold Firm — located on 8th and Tatnall Streets in the heart of downtown Wilmington — is an intimate contemporary gallery focusing on the curation of emerging artists of several genres and styles who may be unable to exhibit in larger institutions.

Owner and gallerist Nataki Oliver has kept strong to that mission since opening in 2019, while also hosting broader community events and arts-based workforce development opportunities for Wilmington youth. Recently, Oliver was proud to make the below announcement:

"Many teens have come through the gallery as assistants. The journey finding one dedicated to learning smarter who also 'breathes' the arts was the goal. I knew one day the 'Wright' person would walk in and own their place in The Sold Firm Art Gallery.

I am extremely excited to announce that teen is Nia Rae Wright! Nia Rae has been working hard for a year at the gallery. She is more than I expected but exactly what the gallery needs. The most fitting opportunity for Nia Rae is taking the lead as a paid 2025 Guest Curator.

Nia Rae is currently planning the fist exhibit coming in February 2025. The exhibit will exclusively feature selected visual artists over the age of 60 years old. I will be behind her to make sure she has the support to deliver her vision. Please congratulate Nia Rae on being amazing!"

Wright is a 17-year-old junior at Cab Calloway School of the Arts, majoring in Visual Arts and Theatre (Acting). She says that as much as she enjoys her work as a guest curator at the Sold Firm, she doesn't really see herself pursuing gallery managing or owning as a career.

"I started [with The Sold Firm] last November to collect volunteer hours for my school's National Arts Honors Society," Wright says. "but it ended up going beyond that and now I’m [Nataki's] intern/assistant."

Her favorite aspect of the job is definitely the opening night of exhibits and getting to see people come in and look at the art and discuss it with others.

So, with this experience on her resumé, does Wright have any advice for emerging or aspiring artists? "Whatever it is you want to do just go for it," she says, "whether that’s getting your art into a gallery or experimenting with a new medium!"

Delaware Arts Info wishes Nia all the best in her exciting new chapter and thanks The Sold Firm for providing opportunities like this for Wilmington youth to experience and become involved in the arts!

CLICK HERE to see Nia Wright in action at the gallery...

Chapel Street Players Celebrate New Show & New Home

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.

After signing a deal to depart its cramped quarters on North Chapel Street in early 2019, the Chapel Street Players have new digs for their 90th season! The recently completed building features 210 seats – an increase from the former 155 – as well as a large lobby, box office, bar area, and green room. The new theater also has a stage curtain, a modern sound system, more comfortable seats, bigger dressing rooms, and wings for actors to gather while waiting for their cues to go on stage. A 24-foot ceiling allows volunteers to build complex two-story sets. Most importantly, the new location offers plenty of free parking.

While a bit boxy, the new theater is quite beautiful and a deserved home for the long-time community theater. Congratulations to the leadership for all its work in securing the funding, real estate, and partnerships to pull off this monumental move. The capital campaign raised $700,000 over four years to make this all possible. Kudos!

According to CSP President Scott F. Mason: “Due to the rush to get to opening there are more amenities to come such as chandeliers in the lobby, our logo, outdoor signage, an art gallery area, and more. Every show this season will see more and more added to the space.”

(L-R): Michael Anderson, Joel Richard Watson, Connie Regan,

Leslie Green Shapiro, and Nicholas Savino star in CSP's

Footlight Frenzy. Photo provided by Chapel Street Players.

Oh, right…there was a show to put on…a very funny show. Footlight Frenzy is a fast-paced modern farce written by Ron House, Alan Shearman, Bud Slocumb, and Diz White. In a desperate attempt to save their bankrupt “School for Unusual Children,” an inexperienced local group valiantly mounts an ambitious benefit play written by a wanna-be Broadway director. His questionable direction and the group’s dubious talent turn the production into a shambles. 

The wacky story shifts from the dramatic (and at times over-dramatic) tribulations of the performers’ real lives to the play they are performing. The audience sees this entire chaotic story from the best seat in the house – the back of the stage.

The run-up to curtain becomes a disaster as the poorly-conceived play Tarnished Silver is set for its world premiere. Several unseen cast members have quit the production late-on and the shaken director Tony Langdon (Joel Richard Watson) turns to the janitor Benny Dibble (Michael Anderson) to fill in the crucial role of a notorious gangster. (To boot, one of the missing actors is replaced by a telephone!) 

As a young man with no stage experience, Benny hams it up but also comes down with paralyzing stage fright. The ex-actress/singer Laura Becker (Connie Regan) hasn’t trodden the boards in a long time. Laura becomes neurotic as young Debbie Turner (Leslie Green Shapiro) lustily pursues her husband Paul (Tom Hartzell) — a teacher at the school who is always playing catch-up. To add another layer, Debbie’s unrequited lover is the oft-inept janitor Benny.

Meanwhile, Laura’s old flame Alex Malone (Nicholas Savino) is also in the production of Tarnished Silver. His addition just adds froth to the madcap antics. To cope, Laura tries to self-medicate with all sorts of drugs to calm her jangled nerves. You can imagine that doesn’t turn out as expected. 

The jokes come quickly and furiously — both spoken and in the form of physical humor. Highlights include a “toy” dog, a rollicking fight scene, an out-of-place polo match, and the poor (detachable) head of baby Anne. Also, try to keep track of how many gunshots are fired by Debbie — AKA Gwen in Tarnished Silver — to “kill” her fellow actors. Some just won’t die!

Director Brian M. Touchette delivers the action at a rapid clip; although there were times when brief lulls would slow the pace. The cast did a worthy job of acting to the house as well as to the back – where the audience for Tarnished Silver sits. The intertwining plots were sometimes hard to follow, but the jokes never stopped coming.

Performances of Footloose Frenzy run the first two weekends of November. Evening shows on November 8 and 9 are at 8:00pm. A matinee show on November 9 begin at 2:00pm. Tickets are $22 for adults. Students, seniors, and military tickets are $20. Tickes for children under 12 are $12. Purchases may be made at https://chapelstreetplayers.org/footlight-frenzy/ or at the box office, subject to availability. The run time is approximately 2 hours and 20 minutes which includes a 15-minute intermission. 

The new theater is located at 643 Creek View Road in Newark. Free parking can be easily located all around the building. A selection of wine, beer, and cocktails are now available before the show and at intermission from the new concessions booth. Water, soda, and snacks are also offered. Cash or credit cards are accepted. 

Chapel Street Players’ 90th season will continue with performances of Times Square Angel in December, The Foxy Mrs. Bumstead Leigh in February, Steel Magnolias in April and the annual Renee G. O’Leary fundraiser in the spring. A season package costs $70.

Dr. Renee G. O'Leary is the only living person and CSP Board Member who has worked in all five CSP locations! She started as an actress in Mitchell Hall. She is a true legend and made a significant donation to have the hearing assistance system installed in the new space. 

CSP is a 501c3 non-profit all-volunteer organization.

We're Head Over Heels for Bootless' Final Season Kickoff

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.

Bootless Stageworks kicks off its twenty-second and final [sniffle...] season with a lively production of Head Over Heels, a jukebox musical that fuses the plot of The Countess of Pembroke's Arcadia – a 16th Century work by Sir Philip Sidney – and the music of The Go-Go’s.

The multi-faceted love story features the all-female group’s hit songs “We Got the Beat,” “Our Lips Are Sealed,” and “Vacation” plus Belinda Carlisle’s solo efforts “Heaven is a Place on Earth” and “Mad About You.” Many people in the seats sang along to the tunes they loved as radio staples in the 1980s.

A mash-up of posh and punk, Head Over Heels is an unpredictable romp about what happens when the court of Arcadia is threatened by the mystical Oracle with the loss of its “Beat,” the divine power that ensures the kingdom’s prosperity. In order to save their beloved realm, the royal family embarks on an extravagant journey wrought with mistaken identities, jealous lovers, sexual awakening, scandal, and self-discovery. Not everything and everyone are what they seem.

Diving into the intricacies of the plot would be foolhardy and though some subtle wordplay got lost in the theater space, the audience joyously followed the broad antics of the company.

Will Rotsch was a standout player as the kindhearted shepherd Musidorus. A highlight of the show was a disguised Musidorus tempting both King Basilius (John Jerbasi) and Queen Gynecia (Tara Herweg) simultaneously during the lovely duet “This Old Feeling.” Rotsch’s physical humor – wielding his crook, acting as an Amazon warrior, etc. – and his warm yet powerful vocals made his character one to root for.

Princesses Pamela (Samantha McNerney) and Philoclea (Maria Leonetti) were strong individually and as sisters encouraging each other in their quests for true love. Kudos to Director Andrew Dean Laino for his use of a faux mirror during “Beautiful” when Pamela sings of her beauty while Philoclea is supporting her in their chambers. Leonetti and McNerney have big voices, but use them differently – McNerney tended to be more rock-heavy (“How Much More”) while Leonetti vocalized more gently throughout. Both styles were appropriate for the characters they portrayed.

The Oracle Pythio (Nathan Hale) was a commanding presence with a booming voice while donning Costume Designer Rosanne DellAversano’s extravagant outfits. “Vision of Nowness” was a fun ensemble number led by Pythio as was “Heaven is a Place on Earth” – where a projected screen insinuated some amorous activities afoot.

The cast was rounded out by Aubrey Murphy (Mopsa), Sedric Willis (Dametus), Rosanne DellAversano (Ensemble), Genevieve Francis (Ensemble), Abbey Ketterling (Ensemble), and Jen Rotsch (Ensemble).

Musical standouts included “Our Lips Are Sealed” and “Head Over Heels” but the highpoint was “Mad About You.” Shepherd Musidorus proclaims his unconditional love for Philoclea in a field…with sheep…singing the backup chorus, “Maaaaaad about you,” like baa-ing sheep would sing. The audience ate it up.

Music Director James W. Fuerst led a talented band who both played behind the actors and let those great Go-Go’s riffs break through. There was a lot of foot-tapping going on.

Head Over Heels preaches unconditional love and acceptance of yourself and everyone you know, no matter their gender or sexual identity. And there’s a happy ending. And it has a rockin’ soundtrack.

The performance schedule of Head Over Heels, The Musical is:

• Saturday, September 28 @ 8:00pm
• Sunday, September 29 @ 3:00pm
• Friday, October 3 @ 7:30pm
• Saturday, October 4 @ 8:00pm
• Sunday, October 5 @ 8:00pm

Tickets start at $31 and tickets can be purchased via website (https://www.bootless.org/hoh/) or by calling Bootless Stageworks at 302.887.9300. Tickets are also available at the door, subject to availability. The run time is approximately 2 hours and 15 minutes which includes one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

I encourage you to “celebrate the [final] season” of theater at Bootless Stageworks filled with the “Beat.”

Hassan Najjar Appointed Executive Director of the Biggs Museum of American Art

The content of this post comes from a press release from the Biggs Museum of Art...

The Biggs Museum of American Art is proud to announce the appointment of Hassan Najjar as its new Executive Director. With a distinguished career in the arts and museum management, Najjar's leadership marks the beginning of an exciting new chapter for the Biggs.

Hassan Najjar, Executive Director of the Biggs Museum.
Photo provided by the Biggs Museum. 

Najjar joins the Biggs from the Foothills Art Center in Golden, Colorado, where he served as Executive Director. His tenure at Foothills was marked by transformative initiatives that enhanced the Center's community engagement, expanded its programs, and significantly increased its funding base. Under Najjar's leadership, Foothills Art Center became a beacon of arts and culture in the region, with notable achievements in community-building efforts, responsive programming, and using arts as driver of economic development.  

"We are thrilled to welcome Hassan Najjar to the Biggs," said Wilma Mishoe, President of the Biggs Museum Board of Trustees. "Hassan's vision, experience, and commitment to the arts are exactly what we need to propel the Biggs into a new era. His proven track record of success, particularly at the Foothills Art Center, demonstrates his ability to lead an institution to new heights, and we are confident that his leadership will bring fresh energy and innovation to our museum."

Hassan Najjar's appointment was the culmination of a competitive nationwide search led by Arts Consulting Group (ACG), engaged by the Biggs Museum Board to recruit the next Executive Director of the Museum. Najjar's deep experience in museum management and museum education, board governance, and financial management, combined with his passion for creating inclusive, equitable, and diverse communities, set him apart as the ideal candidate for the role.

In his role as Executive Director of the Foothills Arts Center, Najjar worked in a public/private partnership to rehabilitate historic landmarks and double the size of the facility, demonstrating that he is well-equipped to lead the Biggs through its expansion, which will connect historic buildings on its campus gifted to the Museum from the State of Delaware.

Jorge Zamanillo, President of the American Alliance of Museums, also expressed his enthusiasm for Najjar's new position. "Hassan Najjar is a respected leader in the museum community, and his appointment as Executive Director of the Biggs Museum is a significant win for both the museum and the broader arts community. His innovative approach and dedication to advancing the arts will undoubtedly benefit the Biggs and its audiences. We look forward to seeing the impact of his leadership in Dover."

Najjar's career in the arts spans several prestigious roles, including Executive Director of the Museum Center at 5ive Points in Cleveland, TN, and Assistant Curator of Education at the Hunter Museum of American Art in Chattanooga, TN. His expertise in curating engaging educational programs, managing diverse teams, and securing significant financial support will be invaluable as he leads the Biggs into its next phase.

"I am deeply honored to join the Biggs Museum of American Art as its next Executive Director," said Najjar. "The Biggs is a remarkable institution with a rich history and an exciting future. I look forward to working with the Board, staff, and community to build on the museum's successes and to explore new opportunities for growth and innovation."

Najjar's appointment marks a pivotal moment for the Biggs Museum, as it continues to enhance its role as a cultural leader in Delaware and beyond. His leadership promises to bring new perspectives, dynamic programming, and a renewed commitment to serving the diverse communities of Dover and the surrounding region.

ABOUT THE BIGGS MUSEUM OF ART
The Biggs Museum of American Art is a dynamic, accredited, art museum in Dover, Delaware, founded in 1993 by collector Sewell C. Biggs. The Biggs Museum is nationally recognized for its exceptional collections of American decorative arts of Delaware and the Mid-Atlantic region, and for its collections of American art from 1700 to today. The Museum engages audiences through a compelling program of collection based and temporary exhibitions plus encourages the development of creativity and an appreciation for art by offering a comprehensive slate of educational programming for all ages. The Biggs Museum of American Art is a private, non-profit 501(c) (3) organization.

Visit www.thebiggsmuseum.org to learn more.

Drama League's Women of Carrie: The Musical Make It Scary Good

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.

The Wilmington Drama League is kicking off its 2024/25 season with Carrie: The Musical – a show based on Stephen King’s indelible tale of high school bullying gone wrong. If you expect to find mousy females cowering in the shadows of a Maine hamlet, you are sorely mistaken. The women in this production take it to soaring heights.

The musical focuses on Carrie White (Julia Miller) – an awkward teenage girl with telekinetic powers – whose lonely life is dominated by her oppressive mother, Margaret (Megan Everhart). When she is humiliated by her classmates at the high school prom, she unleashes chaos on everyone and everything out of vengeance. But that’s skipping ahead and missing the wonderful build-up.

Carrie: The Musical is playing now at
Wilmington Drama League. Photo courtesy of WDL.

Let’s start with the set. Anthony Delnegro has created an open, barren space with more to it than it seems. Working in tandem with the incredible lighting design by Patrick Yarrington, the stage takes on passive and active roles in the production. It’s impressive when Carrie uses her powers to slam shut the windows at home before an approaching storm.

The cast is small, but tight. Director Lauren Vitalo and choreographer Dominic Santos have their actors moving with purpose and in concert. There is dynamism and action throughout the production. It’s not distracting or frivolous but adds to the building tension within the script.

But the stars of the show are the women. Miller has both the acting and singing chops to portray all the facets of Carrie beautifully. She shines in solos “Carrie” and “Why Not Me?” along with showing a physical transformation of Carrie from outcast to prom queen. Everhart is incredibly menacing yet eerily tender as Carrie’s mom Margaret. Her obsessing over Bible verses to lead her daughter along a righteous path is scary. But her voice melds tenderly with Miller’s in duets “And Eve Was Weak” and “Evening Prayers.” This is not an ideal mother-daughter relationship and the audience feels it.

Natalie Ruth’s portrayal of classmate and Carrie sympathizer Sue Snell is excellent. Vitalo starts the show with a spotlight on Ruth and she doesn’t shy away. Her growing concern for the treatment of Carrie is a thread that is revisited as the show progresses. Her subdued vocals in “Once You See” is a highlight. Hayley Hughes plays the delightfully energetic and wicked antagonist Chris Hargensen. Chris is the cool girl who demands respect and a level of popularity above all others. She riles up the seniors at a party with “The World According to Chris.” Jamie Beth Weist plays the voice of reason in the form of gym teacher Miss Gardner. She recognizes Carrie’s differences and tries to give her confidence. The “Unsuspecting Hearts” duet between the two is a wonderful vocal pairing.

Let me not neglect Ricky Sciavicco as BMOC Tommy Ross. Tommy is popular with everyone and even has depth – “Dreamer in Disguise.” Upon his girlfriend Sue’s urging, he takes Carrie to the prom to give her a sense of normalcy and show that people care for her. Boy, does that act of kindness go wrong…

The book is by Lawrence D. Cohen with lyrics by Dean Pitchford, and music by Michael Gore. It integrates elements from the 1974 King novel and 1976 film adaptation. There is no live orchestra so the actors sing to piped-in music. It doesn’t matter. The synchronization is flawless.

The remainder of the cast is: Lily Abrams, Michael Bly, Lauren Cusick, Allison Graham, Matt Lucatamo, Jane Haracz, Tristan Jenis, Rose Langrehr, Michael McDonald, and Isaac McHugh. They add a solid backdrop when required and move gracefully as scenes progress.

Performances of Carrie: The Musical run from September 13 through 22 on Friday and Saturday nights (8 pm) plus two Sunday matinees (2 pm). Tickets prices are $25 with senior/student tickets $20 and children (12 or younger) $15. Group ticket rates are also available through the box office. Tickets can be purchased online at www.wilmingtondramaleague.org; by contacting the box office at (302)764-1172; or visiting in person at 10 Lea Boulevard. The show runs approximately 2 hours with a 15-minute intermission. Refreshments – including alcohol – are sold at the concessions stand.

The Wilmington Drama League seats 260 patrons, including six wheelchair bays. The theater is equipped with an ADA compliant entrance ramp and bathrooms. “Flex Tickets” are also an option for those who plan to watch several WDL shows, but maybe not all of them. Inquire at the box office.

Don’t let “a curse of blood” keep you away from this production at the Wilmington Drama League. Bring a date and a corsage!

Another Bloody Good Time with Bootless Stageworks

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.

You’ve Got Red on You is a “Rom-Zom-Com” that follows unfocused Shaun as he deals with his job, girlfriend, mother, and stepfather amid an apocalyptic uprising of zombies in London. It’s a campy musical based on the 2004 film Shaun of the Dead and provides lots of laughs plus gallons of fake blood. (More on the blood later.)

Shaun (Shaun Yates) feels he is at his best while downing pints with his slacker friend Ed (Shawn D. Kline) at their favorite pub [(Drinking) At the Winchester]. But Shaun’s best is not good enough for everyone in his life, save for his mother Barbara (Rosanne DellAversano) and Ed. He garners no respect at work; roommate Pete (Jose Bernard) is tired of his antics; girlfriend Liz (Mariza Esperanza) can’t get past his immaturity; stepfather Phillip (Dale Martin) is always judging him; and Shaun just slides through life without any planning or reasonable measure of success.

But when a zombie apocalypse happens, Shaun takes the lead and formulates a strategy for survival [The Perfect Plan]. Shaun and Ed fight their way through streets full of the undead to pick up Liz and her flatmates Diane (Shayna Greenblatt) and David (Benji Deivert). From there, the survivors travel to Shaun’s mother’s house where they discover Phillip has been bitten and will soon turn into a zombie. After reconciling their differences, Phillip dies on good terms with Shaun…before Shaun must kill him again.

Shaun decides the group needs a safe, familiar place where they can hole up and more easily defend themselves — the Winchester! But the living must hike a mile amongst the walking dead to arrive safely at their destination. Failed actress Diane suggests imitating the gait and mannerisms of the enemy to pass safely through them [Walking With The Dead].

The dance choreography during “Walking With The Dead” was fun and lively. Director Rosanne DellAversano keeps things fresh with this production by adding cool slow-motion (and replay!) action as well as pop culture references. There’s even a clever Queen-inspired scene injected into a zombie-killing spree. Since Shaun and Ed are avid gamers, video game music often accompanies kills when the two are bearing weapons to destroy their enemies. Kudos to the “Enzomble” — Abbey Ketterling, Lauren Knecht, Grayson Martin, and Antoine Martinez-Jones — for their portrayals of undead attackers who die again and again while swimming in pools of blood.

Full disclosure for those in the "Pit Splatter Zone:" This is a messy show with fake blood splattering all around. Bootless Stageworks is not responsible for damage to clothing or any other personal items. It is strongly recommended that you don’t bring purses, bags, or anything else that can’t get wet, dirty, or needs to be left on the floor. Ziplock bags are suggested for cell phones. Bring your own poncho or other covering as Bootless does not offer or sell such items. If you are sitting in the comfortable tiered seats, there’s no need to worry about protecting yourself or your personal items.

Once at the Winchester, our heroes fight amongst themselves while battling invading zombies. There are lots of casualties and subsequent blood splattering. Who will ultimately survive? How will the world look after order is restored? Will Shaun and Liz reconcile or split apart? Come to Bootless and find out!

Standout performances by Yates [Random] and DellAversano [A Mother’s Love] provided vocal highlights. Esperanza’s misty, windswept version of A Break-Up Song was both touching and hysterical, thanks to the props department. The ensemble cast works well together whether as friends or foes.

Live musical accompaniment is provided by The Zombie Lovin’ Band — Joe Eigenbrot, Jim Fazzino, Zack Geffre, and Deb Bialecki — under the direction of James W. Fuerst.

The remaining performance schedule of You’ve Got Red on You is: Friday July 19, and Saturday July 20 at 8:00pm. Tickets start at $30 and patrons can opt to sit in the "Pit Splatter Zone" ($38) or not. 

Note: the theater boasts that "...our blood delivery system guarantees the MOST SPLATTER EVER" for those opting to sit up front. Tickets can be purchased at their website (https://www.bootless.org/red-on-you/) or by calling Bootless Stageworks at 302.887.9300.

 Tickets are also available at the door, subject to availability. There is one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

After the show, you can rally at your favorite local Trolley Square pub. If only there were a Winchester nearby… :)