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

Navigating the Rough Crossing with The REP

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 Tom Stoppard absurdist comedy Rough Crossing began its run at the University of Delaware Resident Ensemble Players’ (The REP) campus home this weekend. The show entertains with witty banter and lots of visual pizzaz.

(L-R): Stephen Pelinski, Hassan El-Amin, Mic Matarrese, Elizabeth Heflin, Michael Gotch
star in The REP's production of Rough Crossing. Photo courtesy of The REP.

While its zaniness may go overboard in places, it is a pleasing production which satisfies on multiple levels. Liberally adapted from celebrated Hungarian playwright Ferenc Molnár’s Play at the Castle, the show sees playwrights Sandor Turai (Stephen Pelinski) and Alex Gal (Hassan El-Amin) onboard the SS Italian Castle as they work on their latest musical The Cruise of the Dodo. Both writers are hoping to refresh their careers by working with an up-and-coming composer, the anxious and lovelorn Adam Adam (Michael Gotch).

Adam has a tic which manifests as delayed verbal responses to questions. Naturally, every conversation which includes him loses its way because of his inability to keep up. The nervous Adam is engaged to one of the stars of the show — the glamorous Natasha Navrátilova (Elizabeth Heflin). But when Adam overhears Natasha’s co-star Ivor Fish (Mic Matarrese) agonizingly confess hisunwavering love for her on her cabin balcony 
— “Let the whole world know that I mean nothing to you. I’m a dashed Martini!” — the writers must work to keep Adam engaged and alive. Nautical nonsense ensues on a tropical themed ship set created by scenic designer Stefanie Hansen.

Typically, Stoppard’s work is the star, but for this production the physical theater is the feature. Hansen has created three beautiful and complex settings for the director Ian Belknap to utilize. The most dynamic and lush décor is the setting for Act II: the “Pisa Room.” The performance space has art deco-influenced lines and moving leaning towers (of Pisa). Even the chandeliers sway with the ship’s movements.

In Act II, Natasha and Ivor rehearse their patently awful Dodo dialog in a ridiculous plot which keeps changing, per the direction of Gal and Turai. They take mini smoke and make-up breaks between musical numbers and feedback. Heflin and Matarrese lean into wacky melodrama, prancing around the ship’s rehearsal space and making constant digs at Turai’s ridiculous writing. All the while, the ultimate goal is to get Adam back in a good headspace so they can finish the show.

The running gag for the cabin steward Dvornichek (Lee E. Ernst) is his misunderstanding of Turai’s requests and constantly downing his ordered cognac. Of course, this can only take place after the dim-witted Dvornichek learns proper nautical terminology. As for Gal, the man simply cannot stop grazing on whatever food is present.

Kudos to actor El-Amin for not mumbling lines with a full maw or even choking!

Another highlight is the live music provided by pianist Charlie Gilbert. Gilbert has no lines, but adds accompaniment and interludes during which silent actors Kyle Montanez and Mackenzie Speed entertain. Gilbert can be found either on a rising stage apron or on stage with the cast. The show ends happily in a cabaretstyle finale with curtain call.

Performances of Rough Crossing run November 7-24. Informal talkbacks with the cast take place following the evening performances on Thursday, November 14 and Friday, November 22. Two “prologues” occur on Saturday, November 16 and Sunday, November 24. Tickets prices range from $35-39 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 12:00 to 5:00pm. The show runs approximately 2.5 hours with one 15-minute intermission between acts.

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 the box office or emailing cfa-boxoffice@udel.edu.

“The women and children don’t give an inch on this boat” – Alex Gal

Theater Review: Medea | Resident Ensemble Players

By Steve Lanahan
Theater reviewer Steve Lanahan was born, raised, and lives in north Wilmington. He is a nerd, mead enthusiast, and servant to his cats.

The Resident Ensemble Players (REP) brings the ancient Greek tragedy Medea to the stage at the Roselle Center for the Arts. First produced in 431 B.C.E., this play asks important questions that remain relevant, even in this modern day. What is the role of a woman in society? How far is too far? Are the Fates truly so cruel?

Medea’s (Elizabeth Heflin) nurse (Kathleen Pirkl Tague) opens the performance with the tale of how they came to be in the kingdom of Corinth. She tells of how Jason (Stephen Pelinski) came to Medea’s home of Colchis, how she fell madly in love with him, and her terrible acts on his behalf. They were wed, she bore him two children, and they made a life together in Corinth. Now Jason has betrayed her and intends to marry Princess Creusa, daughter of King Creon (Hassan El-Amin). The nurse does not hold back her anger at Jason or her fear of what Medea will do.

This betrayal leaves Medea heartbroken, ashamed, and furious, and she vows revenge. Her despair and rage are so great that King Creon, fearing for his life as well as his daughter’s, banishes her from his kingdom. She begs him for a single day to prepare for her travels, pointing out that her sons (Nicholas Farrel and James Muzzi), Jason’s sons, would suffer. The king relents and grants her a single day.

Medea only needs one day to plan and take her revenge. Though she struggles with what she feels she must do, Jason helps by coming to chastise her for ruining his plan to give her and their children a better life by marrying this young princess. He feels his betrayal of their marriage is justified by his goals. She names him an oath breaker, and he counters that she got the better end of this deal. After all, he brought her from her barbarian home to civilization, and now she speaks to kings and gods.

In the end, Medea’s revenge takes everything from Jason, even his children. All throughout this chilling tale, the Chorus speaks in despairing tones, taking on the voices of the women of Corinth. They speak in disjointed patterns, sometimes from the sides of the stage, other times on the stage, and later among the crowd. They never hesitate to add context for their reactions nor show horror at what is happening.

Elizabeth Heflin's stunning performance as Medea embodies the range of her suffering. Despair, rage, and grief are plain and raw. Every time Medea steps on to the stage, there is a feeling of dread, because the tragic end is coming. Heflin ensures that none can look away from the wrath of Medea's revenge.

Kathleen Pirkl Tague, as Medea's nurse, sets the tone for the play and leaves dread hanging in her wake. The first to take the stage, her anger at Jason's actions is palpable, eclipsed only by her fear at what Medea might do. In the final lines, she leaves no question that what is to come will be spoken of in horror for all the ages. The performance is powerful, a fitting opening and final note that leaves no choice but to stare this tragedy head on and think about it for days to come.

The simple stage setting focuses attention on Medea’s suffering, King Creon’s fear, and Jason’s unrepentant pride. Theatrical fog hangs about the stage, giving everything a gloomy edge, a feeling intensified by the haunting music. Strobe lights are used in concert with the soundscape to highlight thunder and Medea’s escape.

This tragedy has withstood the test of time, and the REP’s excellent adaption shows that it will continue to endure. The ending is not a happy one, but it is cathartic. The questions this play will raise will continue to haunt us through the ages.

Medea will run Thursday through Saturday at 7:30pm, with an additional show on Sundays at 2pm, until April 30. The run time is approximately 90 minutes with no intermission. The Roselle Center for the Arts is located at 110 Orchard Road, Newark, DE 19716. Visit the REP's website or call the box office at 302.831.2204 for details.

A Faust for All Tastes and Time

Heinz-Uwe Haus has created a very lively Faust Part I by Johann Wolfgang Goethe and made it both faithful to the original, yet modern in its conception. Man’s asking for more and yielding to temptation is not a time-bound issue. The modern flying and pyrotechnics and magic are only possible in our time, yet how well they are welded to the phantasmagoric effects Goethe had described in his story.

Mic Matarrese as Mephisto

Goethe had developed his Mephisto (Mephistopheles is the name Goethe used which is a badly constructed Greek word intended to mean one who shuns light) as a full-bodied character with emotions and impatience and a deep respect for the Lord whom he considers to be a worthy colleague. And Mic Matarrese (Mephisto) does not disappoint as he wheedles and befriends and convinces and conquers and provides that glorious mix of impatience, charm, and magic which our poor Dr. Faust swallows hook line and sinker.

Faust (Stephen Pelinski) creates a smooth transformation from the dried-up and world-weary professor to the hungry and rejuvenated fool whose appetite for carnal and other delights is whetted by Mephisto’s tricks and promises. Pelinski’s Faust is a cynic whose slow yielding to temptation has a beautifully gradual unveiling. His fascination with Margarete is complex, and he shows that complexity as he struggles with his lust and his love. Margarete/Gretchen (Sara J. Griffin) also makes her character more than just a girl who is duped – she goes through the transformation from lonely cherub to fallen angel slowly and painfully – starting with the joy of love and innocence and falling into sin without losing her unblemished spirit.

The tale is most beautifully told in verse created by Dr. Haus from his own translations and selected public domain translations, and translations by two unidentified UD scholars. The musical interludes are so seamlessly inserted by Ryan Touhey’s keyboard and percussion that it seemed the music was coming from the performers on stage. Mic Matarrese’s perfect gestures as he pulled music out of his walking stick or played the guitar are quite convincing. I will protect the secrets of the pyrotechnics by telling you Celebration Fireworks knows what they are doing and I must compliment FOY and the fearlessness of Elizabeth Heflin as the flying witch, Lee Ernst as the Lord hovering in heaven and Matarrese’s Mephisto buzzing in the rafters of the church.

Credit is due for special effects (hats off to Waldo Warshaw) but I can’t spoil your fun by telling you what they are. You will know when you see the bar scene with Mephisto, Faust and some lively drunken singers. The costumes are quite striking and the transitions as characters change, transform and transmogrify deserve a hand as well. The play runs until March 23, 2014.

See www.rep.udel.edu.