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

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.

High Heels and High Notes: Kinky Boots at DTC

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

With equal parts sass and sizzle, Delaware Theater Company’s production of Kinky Boots took the stage Saturday night. It was a sold-out crowd for the most anticipated musical of the season. Based on the 2005 film, Kinky Boots is a musical comedy centered on the unlikely pairing of boot-maker Charlie and drag queen Lola. The premise alone is unique enough to tantalize this theatergoer. I was already clutching my pearls. 

Kinky Boots playing now at DTC. Photo by Matt Urban, NüPOINT Marketing

What happened on the stage Saturday evening was nothing short of magical. Kinky Boots is more than a show, it’s an experience. It’s something that speaks to the dreamer within us all. It’s a challenge to live one’s truth.

With a short expository song introducing the characters as young men, the show quickly escalates into a fast-paced riotous explosion of emotions. When Charlie is forced to take over the family business, he is unprepared for the rocky road ahead of him. The factory that has been in his family for four generations is in danger of closure due to shaky economic times. Realizing his family firm will not survive, Charlie informs his employees that he must let them all go. In a shocking and hilarious reversal, each employee gives Charlie a microeconomics lesson that motivates him to find a new way of doing business. A chance encounter with Lola outside a drag club in London creates a partnership that rocks the industry.

The Delaware Theater Company partnered with New Light Theater to bring about this amazing production. Every aspect of this production was carefully managed to provide an awe-inspiring theatrical experience. The stage itself was its own character, contributing to the mood of the performance. 

 A two-story rendering of the factory floor with movable equipment pieces and a second-story office provide a bold visual. The use of a long slanting staircase allowed for emotional moments during solo numbers, juxtaposing a physical descent with an emotional revelation. The stage is a prime example of a great use of space and brought an added undercurrent to the production.

There are no stars in this production. By that I mean everyone stands out in their own way. There are main characters, tertiary figures, and ensemble members — all of whom are amazing in their contributions. Adam Hoyak (Charlie) transforms from reserved and uncertain to passionate and determined. Rachel Maselek (Lauren) is not only hilarious in her role but manages to bring an equal amount of comedy and longing to her numbers as she gradually falls for Charlie. Cookie Diorio (Lola) has a stage presence that can be felt in the dark and a voice that resonates to the back of the house. The Angels were more than backup dancers, they were a show of their own. The ensemble factory members each brought character traits to their silent yet vital roles.

Kinky Boots was a wonderful and unique breath of fresh air in a world where entertainment consists of zombies, viral pandemics, dystopias, and other apocalyptic ephemera. 

Additional performances of Kinky Boots are:

• Wednesday, October 2, @ 2:00pm
• Thursday, October 3 @ 7:00pm
• Friday, October 4 @ 7:00pm
• Saturday, October 5 @ 2:00pm
• Saturday, October 5 @ 7:30pm
• Sunday, October 6 @ 2:00pm
• Wednesday, October 9 @ 2:00pm
• Thursday, October 10 @ 7:00pm
• Friday, October 11 @ 7:00pm
• Saturday, October 12 @ 2:00pm
• Saturday, October 12 @ 7:30pm
• Sunday, October 13 @ 2:00pm

Ticket prices range from $32-$90. Visit DelawareTheatre.org to purchase!