King Lear Gets the Royal Treatment by The REP

By Mike Logothetis

The timeless tragedy King Lear takes center stage at the Resident Ensemble Players (REP) for the month of April, bringing William Shakespeare’s powerful work to life in an unforgettable performance. Directed by Jackson Gay, the show captivated the audience with its gripping exploration of power, family, and the fragile line between sanity and madness.

Set in a world of political intrigue, King Lear tells the story of an aging monarch who divides his kingdom among his three daughters, only to be betrayed by those he trusts most. As Lear navigates the betrayal, the consequences of his decisions lead to a heart-wrenching unraveling of his family and his sanity. 

“The hubris of our leaders, and ourselves, is a major theme in King Lear,” shares Gay. “And, more importantly, what good men and women do or not do when confronted with the need to speak truth, often at great personal cost. Our inclination to believe and listen to flatterers, instead of heeding the sometimes hard to swallow truth, is something we can all be guilty of at times.”

When powerful Kings cave into flatterers, do you think loyal men will be afraid to speak out against it? – Earl of Kent (Act 1, Scene 1)

Standout performances by Joseph Castillo-Midyett (Fool), Michael Gotch (Edmund), and Stephen Pelinski (King Lear) were only parts of the wholly satisfying, almost-immersive theater experience. Castillo-Midyett’s Fool pranced and flopped while spewing pearls of wisdom wrapped in silly words. Gotch showed the conniving nature of Edmund through his dastardly actions and effective soliloquies. 

Pelinski’s Lear began with powerful decisiveness before the poor king can no longer do anything for himself. Watching the once-respected/feared leader fall into irreparable madness through heartbreaking scenes was truly affecting. Pelinski had the audience in the palm of his hand as his character’s mental faculties disappeared over successive scenes – his once imposing figure reduced to a shell of a man. While he once aggressively tore down palace curtains, he later slept humbly on a hovel floor.

To call attention to these three actors is not to diminish the performances of the rest of the cast. The ensemble was locked in and moved in concert with one another and the dynamic set. Kudos to Scenic Designer Riw Rakkulchon for creating an impressive stage with large moving pieces which set the tone for each scene. The mammoth sizes of the industrial-style blocks ultimately make every character appear small…almost petty. The bold angular lines of the blocks are reminiscent of those erected by fascist leaders a century ago in Europe – they are stark and foreboding. The storm scenes were incredible with the crashes of lightning; the claps of thunder; the rolling mist; and the downpour from above.

This production is one not to miss. King Lear’s themes of loyalty, justice, and the corrupting nature of power are particularly resonant in today’s world, making this play an essential theatrical experience for audiences of all ages.

‘Tis the times’ plague, when madmen lead the blind. – Earl of Gloucester (Act 4, Scene 1)

The cast includes REP company members Pelinksi*; Gotch*; Elizabeth Heflin* (Regan); Hassan El-Amin* (Earl of Gloucester); Kathleen Pirkl Tague* (Goneril); Lee E. Ernst* (Earl of Kent); Mic Matarrese* (Edgar); and Steve Tague* (Duke of Albany). Guest actors include Castillo-Midyett*; Erin Partin* (Cordelia); Alan Ross* (Duke of Burgundy); Jeorge Bennett Watson* (Duke of Cornwall); Tamil Periasamy* (King of France); and Dan Domingues* (Oswald). *Member of Actors’ Equity Association.

The creative team includes Gay; Rakkulchon; Kim Krumm Sorenson (Costume Designer); Paul Whitaker (Light Designer); Megumi Katayama (Sound Designer); Denise O’Brien (Wig Designer); and Lee E. Ernst (Fight Choreographer).

Performances of King Lear run through Sunday, April 27. Informal talkbacks with the cast take place following the evening performances on Thursday, April 17, and Friday, April 25. Two “Prologues” occur on Saturday, April 19, and Sunday, April 27. Tickets prices range from $20-39 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 hours and 45 minutes with one 15-minute intermission between acts. Warning: This production includes violence, theatrical fog, and strobe lights.

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. 

Visiting (and Laughing) with CTC and Vanya and Sonia and Masha and Spike

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high-quality performances.

The cast of CTC's Vanya and Sonia and Masha and Spike.
Photo by Joe del Tufo/Moonloop Photography.

City Theater Company's final producton of the 24-25 season is Vanya and Sonia and Masha and Spike, written by the late Christopher Durang and named the 2013 Tony Award for Best Play. The show revolves around three middle-aged siblings — Vanya and Sonia — who live together, and Masha, who supports them and is coming for a visit.

It was evident that director Joseph Pukatsch had a clear vision for the show, as everything worked seamlessly with each other, from the set by scenic designer Rick Neidig (which was beautiful and the set dressings had me believing I was looking at an old family home) to costumes and props by Coco G. Robocheaux and Jennifer Youngblood, respectively, the vision was clear.

The casting of Vanya and Sonia and Masha was perfection. The chemistry between them was electric, and their banter was as believable as a trio of actual siblings.

Vanya, the brother who is the most reserved of the three siblings and at least outwardly, is content with the way life is, is portrayed by Paul McElwee. McElwee performed the character with a sincere subtleness that had me watching his reactions to the unfolding story more often than not. Between his facial expressions and impeccable delivery, McElwee embodied the character perfectly.

and Sonia, the adopted sibling who is struggling with where she is in life and what she has, or rather has not accomplished, is portrayed by Jennifer Youngblood. Youngblood was a standout in this role; her comedic timing and ability to shift moods seamlessly without a hint of what was to come kept the character feeling fresh, relatable, and funny.

and Masha, the third sibling, and the successful actress, returning to the family home for a visit was portrayed by Kerry Kristine McElrone. McElrone’s range of emotion was astounding, from happy to jealous to sad, she easily portrayed them all believably.

and we cannot forget the final titular character, Spike, the young aspiring actor that Masha has been dating, played by Jordan Eck. Eck was hysterical as Spike, and his physical comedy was outstanding. He had me laughing out loud multiple times throughout the show.

Remaining cast members include Mary Catherine Kelley, as Cassandra the housekeeper who, like her namesake, believes she can see the future, and Mikala Plymer as the neighbor girl and would-be actress Nina. Both actresses were excellent additions to the cast.

Vanya and Sonia and Masha and Spike is presented by City Theater Company. The show runs through Saturday, April 12, at The Black Box at The Delaware Contemporary, 200 S. Madison Street, Wilmington, DE 19801. Tickets are $48.75 with student and military discounts available. They can be purchased at www.city-theater.org. 

The show runs just over 2 hours plus a 15-minute intermission.

The REP Captivates with Stephen King's "Misery"

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high quality performances.

The Resident Ensemble Players present their first show of 2025 with the production of Misery directed by Michael Gotch.

Misery, written by William Goldman, is based on Stephen King's novel of the same name. This psychological thriller follows author Paul Sheldon, portrayed by Mic Matarrese, who is rescued from a car crash and then held captive by his “number one fan,” Annie Wilkes, portrayed by Kathleen Pirkl Tague.

Misery is playing at The REP through March 2.

Everyone involved in this production deserves the highest praise. Everything worked together to make the show feel incredibly genuine —
from the scenic and lighting design to the costumes and special effects (some of which
I am still trying to figure out how they managed to pull off.)

The set looked like it could have been pulled directly from rural Colorado and placed onto the Thompson Theater stage. Every room was impeccably designed, but I particularly enjoyed the intricacies of the living room set's decor. The decision to use a rotating set cannot be faulted, as the rotation at times built upon the suspense being created on stage.

The sound design in this show, done by Ryan
P. McGinty, was almost like another character. The music choices underscored each scene in a way that perfectly highlighted the actors, while also elevating and heightening the emotional effect for the audience. This began from the time the house opened as the ambient sound recording playing peaked my attention and began creating an almost eerie, unsettling feeling, preparing the audience for the mood of the show.

Kathleen Pirkl Tague’s portrayal of Annie Wilkes was sublime. She was an absolute star. Her ability to change demeanor on a hairpin without any foreshadowing left me feeling surprised every time her mood shifted. The nuance in her delivery from the very first line had me enamored. 

Mic Matarrese as Paul Sheldon perfectly balanced Tague as his portrayal evolved from a patient to a man fighting for his freedom. Matarrese had convinced me he was feeling every ounce of pain that his character endured.

Misery runs through March 2. Tickets can be purchased online at www.rep.udel.edu, by calling the Box Office at 302.831.2204 or visiting in person Tuesday through Friday from 12:00-5:00pm. Ticket prices range from $20-$39 with discounts for seniors and students. The show runs two hours including a 15-minute intermission.

Learn more about The REP at www.rep.udel.edu.