June 1 at New Candlelight. Dueling Divas? Intemperate Egos? Hair pulling in the dressing room? Invectives muttered under one's breath? Cue lines dropped...on purpose?
This event has the potential to be cataclysmic. When one assembles a powerhouse female quartet of Broadway musical veterans in one troupe, can chaos be far behind? Will comedy win over tragedy?
Now that I have your attention, Aisle Say may now continue.
During the past few seasons New Candlelight has staged a diverse array of one night acts; from comics to The Amazing Kreskin. On June 1 four incredibly talented triple threats will mount the stage; four women performing under the moniker... A Broads Way!
Aisle Say has had the opportunity to witness one-half of the group in leading roles in every major musical theatre group in the region. This Broadway revue is packed with show stopper after show stopper with a theme leading from one tune to the next.
I cannot recall Becky Buswell Kotsifas having any part but the lead character. She lent an air of professionalism to my own DE's Best of Broadway in the '90's. After that she assumed starring roles for New Candlelight, The Brandywiners, Three Bakers and Players Club of Swarthmore. The title role in “Evita', Sally Bowles in “Cabaret', Adelaide in “Guys and Dolls”, Grizabella in “Cats”, ...you get the picture.
Mirror image for Debbie Hollingsworth Arnold, who began her musical career under the tutelage of Marie Swajeski, the living legend of Delaware Children's Theatre. Debbie has played Fiona in “Brigadoon”, Marian in “Music Man”, Maria in “Sound of Music” and most recently was Lili/Kate in The Brandywiners “Kiss Me Kate” last summer.
There will be dueling Marians and Roxies, Fionas, Evitas and Gueneveres, for the women have played the same parts in various productions.
Erin Cates Smith's extensive resume includes more opera and operetta: Mabel in “Pirates of Penzance”, Yum Yum in “The Mikado” and Susanna in “The Marriage of Figaro”.
Jennifer Kennard has played the most comedy, with Audrey in “Little Shop” and Fanny Brice in “Funny Girl”.
There must be some dynamic dancing included as well. I know Becky to be explosive and Jennifer played Peggy Sawyer in “42nd Street” where tapping is de riguer.
Catherine Soukop, music director for many shows, will accompany on the piano.
$25.00 tickets. Dessert bar included. Cash bar. Doors open at 7pm
One Night Only. June 1. NCTstage.com 475.2313
The next evening, June 2nd New Candlelight will partner with Delaware Pride for Just Drag: A Summer Masquerade. This wild and exciting night will include professional perfomers: Anita Mann, Karyn Thomas, Shelita Buffet, Gracie Freebush and Jack Daniels. Joining these queens and king will be NCT favorites Peter Briccotto, Billy Hart, Clayton Stacey, Timm Cannon and Colleen McGinnis. Special host will be Melissa Joy Hart. Show will include 2 rounds of BINGO with special prizes and a portion of the proceeds will benefit Delaware Pride.
$45 tickets include full dinner and show. Cash bar also available. Doors open at 6pm for the buffet, show will start at 8pm.
NCTstage.com 475.2313
“Without love, art has nothing to say.” This is only one of the many wise shibboleths from fine artist Carolyn Blish, presently with a one-woman show at Hardcastle Gallery in Centreville DE.
So many achievers of international renown and celebrity can articulate neither the medium in which they perform nor the “why” behind their excellence (athletes and film stars come to mind). Yet Carolyn Blish's raison d'etre comes as trippingly off the tongue as do Letterman's quips or Biden's slips.
Blish loves the late afternoon. “Shadows, especially afternoon shadows, define the shapes of the pictures I paint”, she says. Her inspirations are God, nature and children.
The gallery show lends a symmetry to Blish's career. Decades ago she and her husband were walking down 9th Street in Wilmington and chanced to look in the window of the first Hardcastle Gallery, owned by Bayard Berndt, who as an artist himself, studied under Frank Schoonover and N.C. Wyeth in the Wilmington Academy.
Berndt lent Blish some brushes and paints and gave her a painting to replicate. She was back the next day with an amazing facsimile. Blish did the same thing in succeeding days. Finally Berndt said, “You're too good to copy other peoples' art. Do your own!” This was motivation for two weeks of instruction. After that, her entire body of work drew from her own inspiration.
Tens years and tens of thousands of hours later, Carolyn Blish is one of the most celebrated and prolific artists in the region and is sold internationally.
“I portray my love for beauty that God has put on this earth,” says Blish. “And, having someone else get that glimpse of sensation from it is all the satisfaction I could ask for.”
Each painting must have its own mood. In that mood with the subject before her, Blish develops the singular love affair with the artwork. “Painting is the closest thing to prayer that I know. My faith is the most important substance of my life, and painting reminds me of how all beauty points to God... the Creator of all things beautiful. I believe every work of fine art bears witness to Him.”
The inspirations of Blish's art are Flowers, Seashore, Scriptural, Countryside and Children. She has developed a relationship with The Ronald McDonald House and a portion of the sales go to this charity.
At Hardcastle's Gallery until the end of May HardCastleGallery.com 302.655.5230
CarolynBlish.com
Speak about re-inventing oneself. I first met native Delawarean Barry Schlecker fresh out of UD in 1969. He was an employment counselor in an agency above the old Eckerd's on 9th and Orange St. I was sorely in need of his services.
Barry soon went out and his own and over the next several decades owned as many temporary and permanent employment agencies. Now that I think of it, he was co-best man in both my marriages (although that 'privilege' is most probably not on his resume).
The King of all networkers, Barry's zeal for bringing people together and his fanaticism for movies created the Newark Film Festival, now in its 8th year. That was the portent of things to come.
Four years ago, a fifty year tradition was drawing its last breath. The Brandywine Arts Festival in Josephine Gardens on the Brandywine was canceled for a year due to mismanagement. Schlecker pulled all the necessary parts together and it is now an established post Labor Day tourist destination that pours over $1 million into the local economy over a two day weekend.
A few years past Medicare disbursements, the impresario saw no reason to rest on these accomplishments. He was aware of the great success of the Rockwood Ice Cream Festival created by – and completely funded by - the NCC administration in 1979. When proceeds from real estate transfers went from tsunami flood waters to sun-parched stream, then NCC Executive Chris Coons was forced to cancel the event; amidst much consternation by the Friends of Rockwood and the thousands of families that enjoyed the ol' time event.
Last year Schlecker sought out NCC Executive Paul Clark with an idea for a 'privatized' revival. Clark was interested for he understood the sentiments of his constituents who had enjoyed strolling the sylvan grounds on those very steamy July days.
So, back to the re-inventing theme. From employment mogul to festival entrepreneur, Schlecker's vision for the festival is “Old Fashioned Family Picnic”. He will be bringing artists, antiquers and retailers to a long line of tents that he calls “Main Street Rockwood”.
The old fashioned fun includes sack races, 3-legged races and – here's a revelation - ice cream eating contests.
“My mission,” says Schlecker, “is to help small businesses get exposure with perhaps over 15,000 people over a two day weekend. Where else can they create that traffic?”
Already he has signed 5 local dairies for the signature ice cream. They include the popular Woodside, Hy-Point and the new UD Creamery.
Over 20 local restaurants will be offering their specialty items. A brew pub in planned with local craft beers only. Music will be provided by regional indie bands and curated by Gable Entertainment. Blue grass music is on the docket as well.
Here's the scoop. The festival will be held July 7and 8 from 11am to 6pm on Saturday and closing an hour earlier on Sunday. The entrance fee is $5.00 for adults and $1.00 for children under 12.
Interested vendors should call Barry directly at 302.690.5555
RockwoodIceCream.com NewarkFilm.com BrandywineArts.com
Irving Berlin, Cole Porter and Jerome Kern, among others in the pantheon of American musical theater, conceded that George Gershwin was “The Master”.
No other composer achieved greatness in three distinct genres: Broadway; “Embraceable You”, “I Got Rhythm”, “Fascinatin' Rhythm” and scores of others; Symphonic; “Rhapsody in Blue”, “American In Paris” and Opera, the seminal “Porgy and Bess.”
Consider the times...early 1930's. Segregation. Separate water fountains. Separate entertainment venues. Separate but (allegedly) Equal education. This musical pioneer, whose Jewish parents emigrated from Russia and ended up in NYC, read a novel, “Porgy” by Southerner DuBose Heyward and was inspired to write the first American opera. (Heyward eventually shared lyricist duties with George's brother Ira.) The cast was to be completely black. To understate, this was revolutionary thinking...and nerve.
So inspired was he that he went to the source. He spent the summer of 1933 on Folly Island in South Carolina living amongst the Gullah Negroes. Their language was a mix of creole and African. More to Gershwin's interest was the fervor of their church services and their distinctive way of rhythmic “shouting” during their spirituals, a technique he wished to include in his opera. History has it that he became so adept at “shouting' himself that he was granted membership in the church.
Even with the imprimatur of the Gershwin name, George and lyricist brother Ira still had a difficult time producing the show on Broadway. The premiere in 1934 was received with mixed reviews. In 1935 an international tour was mounted to include Stalinist Russia, a closed society similar to North Korea today. Russians had never seen people of color. Not only were they astounded by their talent but the cast was accosted on the streets with citizens wanting to touch their skin to see first hand if the color would rub off.
Along with the classics “Summertime”, “Bess You Iz My Woman”, “It Ain't Necessarily So” that he composed, Gershwin could very well have inserted existing Negro spirituals. The vast majority of his audience would not have known the difference. He chose not to compromise. He wrote everything, including the ensemble numbers. He was quoted as saying he wished his show to be of one whole cloth.
There is a local connection to OperaDelaware's “Porgy”. George wrote the character of Sportin' Life around the charismatic and Hi De Ho scat singing hipster Cab Calloway. Calloway was later to tour with a production in 1952.
“Porgy and Bess” is an American classic. It's glorious music and its fascinating and flawed inhabitants of Catfish Row should be heard at least once in one's life. And speaking of classics, these performances will be the grand finale of the uomo universale who has gained OperaDelaware national fame. After many years Lee Kimball in retiring. He is the director of this production.
Bon Voyage, Lee!
OperaDE.org Sunday May 6 @ 2pm, Friday May 11 and Saturday May 12 @ 7:30pm
For tickets TicketsAtTheGrand.com 800.37.GRAND
Governor Jack Markell has been a fervent advocate of international trade. Last year I was in attendance at a reception at Buena Vista for 40 business execs from China. Markell had traveled there previously to scout out trading partners. The Chinese contingent was led by none other than the Secretary of International Commerce.
This past week I attended an event at DuPont CC “Experience The Taste of Chile”, hosted by the Chilean and American Chamber of Commerce. Wine tasting began the event and one was able to imbibe for an hour and a half....more than enough time to ensure all wines were savored!
This South American country with a lot of length but not much breath imports 75% of its fruit through the Port of Wilmington. That's a nice bit of business. To provide the exclamation point on the millions of dollars transacted, the list of speakers was impressive: Jack Markell once again (dusting off his high school Spanish, Senator Tom Carper and the newly ensconced Chilean Ambassador to the US, Felipe Bulnes. Coincidentally, Markell had spent 6 months in Chile in a private sector job.
The entree (scrumptious) was Aqua Chile Verlasso Salmon. Last summer, DuPont and AquaChile announced a partnership to join together the collective innovation and aquaculture expertise of the companies to sustainably raise fish and provide nutritious protein for a growing population. DuPont has developed a protein to feed the salmon.
Aiding Delaware businesses is World Trade Center Delaware in downtown Wilmington. WTCDE, headed by Rebecca Faber, is a private-sector, non-profit organization dedicated to working with small and medium sized companies to help them grow in Delaware by accessing global markets. They offer a variety of resources, from seminars on various aspects of international business to region-specific roundtables with other companies and area experts, to one-on-one assistance through the import or export process. They are a one-stop shop for your trade needs. WTC Delaware is a member of the World Trade Centers Association, the only international business association in the world, made up of over 320 WTCs in over 96 countries, representing well over 800,000 businesses worldwide. In short, WTC Delaware is here to make it easier for smaller companies to “play” on a more level scale with larger corporations with far greater resources.
Shunning the label as Dickensian era bean counters, the folks at WTCDE know how to party and rumba and hoot and holler. Their 2nd Annual “World Trade In Motion” will take place at The Queen on May 23. It will be a night to celebrate the acheivements of local companies doing international trade and support WTCDE's mission.
Here's where the rumba and hoot and holler come in. For entertainment, Ms Faber and her staff chose two exotic, exciting, yes exhilarating groups: The Uzbek Belly Dancing Duo (Uzbekistan) and Philly Bloco, a Brazilian Drum Core Band. I saw Philly Bloco at the flagship World Cafe Live in Philly 2 years ago. That thumping percussive beat pin balled through my nervous system for two days after. Their accompanying dancers replicated those moves from Rio's Carnevale...wearing approximately the same amount of clothes.
May 23 will be about world trade and word entertainment. Any small company with global vision should attend. Invitees include members of the diplomatic community, goverment officials and cultural attaches. This is a great affair to begin to access global markets.
There are over 320 WTC's in 96 countries representing 800,000 businessses.
WTCDE.com
For May 23 event: wtcde.com/assets/docs/WTiM_Flyer.pdf
Rumor has it that Al Capone and George “Bugsy” Moran will be in visiting Wilmington next Saturday eve at the DCCA on the Riverfront . Moran, (they don't call him Bugsy for nuttin') is still holding a grudge over that little incident in the Chicago garage on St. Valentine's Day.
Be prepared. Their cohorts, Frank “The Enforcer” Nitti and Machine Gun Jack McGurn may be packing heat.
The Delaware Center for the Contemporary Arts on the Riverfront annually conceives an exciting theme for their fund raiser. Unlike most non-profits where the leitmotif is left to table top enhancements or cutesy boutonnieres , DCCA follows through from the top down and bottoms up, wanting the guests to be immersed and interactive.
Next Saturday from 8 to 12 is MIDNIGHT IN WILMINGTON: A 1920'S ART SALON.
Not only are the party goers encouraged to attend in Roaring '20's attire, the entertainment, the drinks, the entire ambiance will be that of a an upscale salon of the Prohibition era. The world loves gangsters and their gun molls. Choose your costumes accordingly!
Period jazz entertainment will be provided by the e. shawn qaissaunee quartet qnd the U of Delaware's Bootleg Duo. Ken and Rosanna Richards, owners of the Blue Ballroom in Independence Mall, have been both sponsors and performers at past DCCA fund raisers. This year the dance pros will be giving Charleston lessons.
One of the highlights will be a special performance by the international star Madame Xavia Yvonne Zentropay. This may be singularly worth the admission price.
Specialty drinks will be prepared by mixologists from Catherine Rooney's Hummingbird to Mars with Lucid Absinthe who also is a sponsor of the event.
Guests will admire vintage cars and will also enjoy sketch artists, photo opportunities, mediums, and 1920s character celebrities as well as tasty bites inspired by the roaring '20s. The party benefits the education and exhibition programs.
A portion of ticket sales will benefit AIDS Delaware.
Saturday April 28 TheDCCA.org 302-656-6466 x 7103.
About the DCCA
The DCCA, a non-collecting art museum founded in 1979, presents over 30 exhibitions annually of regionally, nationally, and internationally recognized artists that explore topical issues in contemporary art and society, as well as symposia, lectures and tours. The DCCA rents individual studios to more than 25 artists, who also exhibit regularly within its galleries and throughout the region. The DCCA presents a variety of educational and outreach programs, including program that integrate contemporary arts into the public school curriculum, and artists' residencies that
feature collaboration with underserved community groups. The center is housed in a renovated industrial building at 200 South Madison St. in the heart of the rejuvenated Wilmington Riverfront.
Growing up in homogenous/ white bread/cracker early '60's Brandywine Hundred, the churchgoers I knew all dressed pretty much the same...DuPont buttoned down.
After church, once a month we would visit an aunt in a poor section of Wilmington. If the timing was right, my nose would be pressed to the car window as we drove past the Baptist church on the corner. The preposterousness of the hats on the women made quite an impression on a pre-adolescent.
Half a century later the mystery is solved. I understand the plumage.
Blacks had few places to congregate. Church was the one and only community center. It's difficult for whites to comprehend, for we had so many more avenues of social intercourse.
The hats of the women - their CROWNS – was a statement, an identity, a signature of wealth. Says Mother Shaw (Barbara D. Mills, of Chester) “I'll lend my children before I lend my hats!”. Says Mabel (Joilet F. Harris) “”Don't touch my hat. NO touching!” The bigger, the more pastel, the more angular, the more trapezoidal, the more cantilevered, the more feathers, the more sequins..all for the better.
Director/Choreographer Kevin Ramsey has produced a number of shows at DTC: A Cappella Humana, Chasin' Dem Blues, Sam Cooks: Forever Mr. Soul. Neither plot nor character development has been his strong suit. He remains consistent in this production.
Ramsey's hook goes this way: accentuating a particular piece of Afro-Amercian culture and then building a show around that with popular and representative music. Next he then gathers emotive and persuasive singers to tell the story in song.
Ramsey's program notes refer to the traditions of the Gullah Negroes of South Carolina. Having written a musical around George Gershwin's music, I recall that The Master himself spent a summer with the primitive Gullahs in research for “Porgy & Bess”.
Ramsey builds a production in episodes with a skeletal story line. Yolanda, (Ashlei Dabney) a teenager, comes to live with her grandmother. She is searching for her own identity. She begins the program attired in camouflaged and sings a rap tune. Rap is not a show stopper in predominately white live theatre, so thankfully that is the only one to which we fall victim. It is predictable when understanding the writer's mission for the show. The other 2 dozen selections for music are superb; soul embracing and roof raising.
The glory is in the singers and the songs and the joy they bring to their characters. Ramsey brought back Man (Doug Askew), the clarion voice of “Chasin' Dem Blues”. His voice has the evangelical edge so supremely congruent with the vision.
This exuberant cast brought the full house into their world. Hand clapping and swaying was abounding. My companion stated, “I came in a white woman. I left a black woman!”
The rest of this talented and spirited cast of hat queens Jeannette (Lauren Blackwell, of Baltimore), Wanda (Kimberly S. Fairbanks, of Lansdowne), Velma (Donna Jones, of Wilmington) – sporting feathered to flowered hats, pillboxes to turban, had their day in the sun
Overworked and slight recognition is the burden of most costume designers. Not in this production!. Brian Strachan, resident designer at DTC, most assuredly had a great time researching and then building the production's multitudinous crowns. His creations were an actor as sure as were those who danced and exalted on stage.
Through April\ 29 DelawareTheatre.org 594.1107
DTC ED Mary Ann Ehlshlager is departing after 4 years to become the Managing Director of Seattle Children's Theatre. A national search is on for her replacement
The popular “Summer On The Stage” program is signing applicants. It is a full day enrichment program for kids 8-15. Instruction and performance are part of the plan. Visit the site for info.
DTC has instituted “Bring A Teen”., designed as a way to foster an appreciation on live theatre. Every adult who purchases a regular-priced ticket can receive one freebie for a teenager 13-19.
THE DuPONT STORY
A Family A Company
The Greatest (Delaware) Story Ever Told
---- EMBRACE THE HISTORY OF OUR STATE ----
No family or company has impacted a state as has the du Pont family and The DuPont Company in Delaware
– Playwright, actor, singer and native Delawarean Greer Firestone has created a 1 man Multi-Media Living History presentation.
– Touring Delaware schools...how YOU can be a part
Choose a CLASSROOM of up to 40 students - $200.00
Your Company: Company slide inserted in power point. Invitation to attend
Choose a SCHOOL – 20 Presentations throughout year - $3500.00
YOUR Company - 3 slides inserted; company rep can be introduced; recognition on FB group; 1 gratis show for your company or other designated event; recognition in press releases
Choose a DISTRICT – 50 presentations throughout year - $7500
YOUR Company - All of above; 3 gratis shows per year
Choose the STATE! - Named Sponsor throughout for 1 year - $25.000.00
YOUR Company - All above + study guide to be given to each class with your logo attached. Wilmington is 'Sister City” to Nemours France. We will be hosting a contingent from Nemours next spring. Your company representatives will be invited. Call for further benefits of Named Sponsor
We will make arrangements with the administration and the classroom teacher(s) to schedule the 45 minute presentation with Q & A to follow. You and staff will be invited.
First Person (costume) portrayal of E.I du Pont (1802) & P. S du Pont (1902)
8 years of writing and research. Original photos from Hagley collection in power point with both photos and motion pictures.
Adheres to DE DOE Social Studies, Visual & Performing Arts and English Language Arts Standards. Full “Unit of Instruction” for 6 weeks prior. Show will be culmination of Unit of Instruction prepared by DOE.
Available for individual presentations.
Fort DuPont Society – 501(c)3 – non-profit and tax exempt
Greer Firestone 302.494.3133 greerfirestone@gmail.com
GreerFirestone.com Facebook.com/The DuPont Story - over 750 members
First State Ballet Theatre is excellence defined. They've staged every major name ballet in the decade of existence. Saturday at 7:30 and Sunday at 2pm is the Delaware Premiere of GISELLE. FSBT never disappoints.
FirstStateBallet.com For tickets ticketsatthegrand.org
For the past 30 years I have headed up my high school reunions from the land of the fearsome Bulldog in Brandywine Hundred.
At our 45th 2 years ago, we counted 6 high school sweethearts that were still together. I asked the women from two of the couples what they would change in their lives. Both replied quite emphatically, “Nothing”.
Nothing? It is not that I do not believe the ladies. It is to me such a surreal declaration. Not only is Aisle Say 0-2 in marriages, but I have screwed up so many things in my life that if I had as many appendages with which to count my woulda, coulda, shouldas, I would be quite the attraction in a circus side show; next to the pin head hermaphrodite Siamese twins and the bearded tattoo lady (although being inked up now has somehow lost its edge).
I've been fired from several jobs, I've felt some people have dealt with me unjustly and have acted out, I've desperately hated an individual for a time, I was the guest of honor on several arranged pity parties.
In the end, what does it really matter? You get up the next morning, shake off the PTSD and forge on. Is there any other alternative...that's legal and keeps you out of prison?
I have been lucky enough to be able to write arts columns for the past decade and a half. I pride myself on having more institutional knowledge of the performing arts scene in NCC that anyone. Most of the “players” are friends, if not colleagues.
On 1 April I received a FB message from a theatre buddy. “Chris Alberts is no longer at New Candlelight.” First shock. Then I remembered the date. He got me. Ha.
The reason I was initially stunned was the unequivocal panache that Alberts brought to NCT as Producing Artistic Director. To wit: my reviews in the past two years. Alberts and his team produced superior shows and I feared that the high caliber would become degraded.
I visited Alberts' FB page and...sacre bleu...it was true. Was the non-profit board of NCT drinking Kool Aid at their meetings?
I called Chris. Two days later I met with representatives of the NCT board. Why? You may have the smidgen of sense by now that I am performing arts advocate. I love NCT and its rich legacy over 43 years and the lives it has changed.
I know both sides of the issue. And you know what....who the hell cares? Certainly in six months no one will. NCT will be here producing wonderful entertainment. Alberts will be doing the same.
This leads me back to the thoughts that began this column. I pray that this is a would, coulda, shoulda with a happy ending. Don't let all these very talented people go their separate ways and wallow in their own pity parties. These collective talents are simpatico. They do great things together.
Don't tell me that Chris and his wife Jackie love live theater any more passionately than do the NCT board members. I won't believe it. All involved are good people. New Candlelight is an incredible jewel in Delaware. The productions are fervent and frenzied....and fun!. It gives memories (free) and builds bonds (free) that are imprinted for life.
Yes, feelings were hurt...on both sides. Here's the remedy. Let's do a collective primal scream. Good...do we feel better now? In the words of urban philosopher/felon Rodney King “...can't we all just get along?” Let get the party's together. Someone make the move. Sonny Leo comes to mind. Bingo.
If everybody remembered the past, nobody would ever forgive anybody.
NCT is the greatest theatrical value in the state. In fact, everyone who reads this is commanded to bring a party of six to the next show. Please believe I will be checking up on this.
Aisle Say review of The Wedding Singer is on their front page. It runs through 20 May. Next up is Bye Bye Birdie
NCTstage.org 302.475.2313
The 50th Anniversary issue of flagship monthly periodical DE Today is appropriately burnished in gold. Equally germane is its theme: “50 people who have shaped our lives over the five decades.”
As with any subjective tribute for the living and posthumous, there were a few queries as to why he or she made this esteemed list. One would imagine there was ardent debate over the past months in office boardrooms.
For the lion share, the choices were astute. The brilliance came in not having DE Today reporters do the resumes that accompanied the photos. Publisher Rob Martinelli and editor Maria Hess asked those close to the person or the career to be the spokesman. This gave substance to the recipient's life's work.
There were a few from the second smallest state that changed history. Not in any particular order:
Judge Murray Schwartz for the US District Court in DE – desegregation of schools
Roxanna Arsht – DE's first female judge, prime mover for the state's Planned Parenthood, philanthropist for Christiana Care's Surgicenter
Louis Redding – DE first black lawyer and player in the landmark US Supreme Court Brown vs Board of Education
John Rollins, Sr – defining extreme entrepreneurialism...Donald Trump sans some ego.
Gerret and Tatiana Copeland – keeping philanthropy in the state and friends to our cultural heartbeat. The Grand owes them a special debt.
Gov Russ Peterson – Passage of the Coastal Zone Act ensured he would be a one term governor by way of disgruntled and powerful corporate interests.
Joe Biden of course was represented. He had the grace and class to send a video to the 50th Anniversary gala put on by Martinelli.
Aisle Say's own linkage to Biden and DE Today was set in 1972, before the Martinelli clan bought the magazine (and its considerable debt). As a freelance reporter I was assigned to do profiles on the two Dem candidates for US Senate: incumbent Cale Boggs and brazen whippersmacker Joe Biden. Joe sat with me for two hours and connected like I was his long lost Siamese twin. Next I called Boggs' office. He said he had no time for the interview.
Hubris redux decades later from Sen Bill Roth vs Tom Carper. I got to interview Phyllis Diller as well, although using her name and that of Bill Roth in the same paragraph seems strange - even to one such as myself.
My funniest DE Today assignment was that of Peter Lupus, the strong man of the Mission Impossible TV series. He was in the state to promote fitness centers. A photographer was with us and I suggested to Lupus that he 'dead lift” me; in other words I would be a stiff 170 lb weight that he would raise with both arms over his head. That picture appeared in the magazine and Lupus later called me and asked for a copy. DE Today continues without my antics.
For all the 50 recipients of this anniversary issue, visit www.DelawareToday.com or of course, your local store.
Aisle Say Exclusive: New York Times columnist, Pulitzer Prize winner author and visionary Tom Friedman interviewed DE Governor Jack Markell in his latest book just now hitting the stands.
“That Used To Be Us: How America Fell Behind in the World We Invented and How We Can Come Back”. The book discusses the challenges of globalization, the revolution in information technology, the nation’s chronic deficits and its pattern of energy consumption—and then spells out what we need to do now to rediscover America and rise to this moment.
It's evident Friedman thinks Markell is a psycho-cybernetics style thinker. Perhaps education was discussed. Our Governor is making a name for himself well beyond the rather odd semicircular boundary separating DE and PA.
One of the projects that soon will have a substantial impact on our state is Markell's educational initiative entitled DE STEM Council. (Science, Technology, Engineering, Mathematics).
K-12 STEM education is an approach to teaching and learning that emphasizes integration of these four studies. It fosters creativity and innovation while developing communication, collaboration and critical thinking skills.
Markell states in the STEM Annual Report that US achievement in math and science is lagging behind Europe and Asia. The ACT boards survey states that only 30% of HS grads are considered college-ready in science and only 45% are ready in math. That's pathetic for the so-called greatest nation on earth and – one may extrapolate – why the urgency of the above mentioned Friedman book.
Co-chaired by two very passionate educators, Sen Ted Kaufman (if memory serves the only engineer in the modern US Senate) and Jud Wagner, STEM Program Mgr for the Brandywine District, the council is made up of representatives of the three resultant beneficiaries: K-12 students, higher education and the DE business community.
STEM skills are required to compete in the 21st century. It's as simple as that. We need more STEM teachers, particularly in engineering and technology.
Delaware is positioned to be a leader with the project. The ground breaking for Bloom Energy next week is a prime example. We need the kids now to be trained to take these positions as adults. If we are to compete, Delaware curriculum must offer coursework that better aligns with those needs.
A solid STEM foundation in primary and secondary schools allied with similar studies in college greatly increases one's chances of obtaining a satisfying and well paying career. And, if Delaware's workforce is educated and well-prepared, we will attract even more business. It is all synergistic.
Says Teri Gray, President of the state board of education and PhD analytical chemist for DuPont, “...it is imperative that STEM courses are extended to real world scenarios with students rooted in project-based learning. Equally, educators must promote understanding of how STEM is relevant to and touches our daily lives – from food production and safety, water quality, health care, transportation, communications, you name it.”
And near and dear to the DNA of Aisle Say, co-chair Wagner suggests that the humanities and the arts must be integrated in STEM. “Many times it is the experiences in the arts that inspire our most creative and innovative scientists and engineers. STEM education allows students to see and experience these connections.”
Herein lies the reason that STEM is promoted by none other that DuPont Company President Ellen Kullman. Two representatives from the DuPont Center for Collaborative Research & Education are on the STEM Council. They are joined by representatives from other science companies, the majority of higher learning institutions in the state and even some like minded hs students.
There is substantial linkage to Delaware's corporate legacy. In 1902 when P.S, A.I and Coleman du Pont took over the reins, they quickly determined that it was risky being in the gunpowder business. Not only due to the inherent danger of the product but also the prospect of all the eggs in one basket.
A year later the X station opened with but 3 chemists. “Research”, said P.S., “is the future of the company. It is more important than profits.” The chemical behemoth which was to become DuPont Company changed the fate of every Delawarean...even to this day. The STEM Council has a vision...much like the Triumphant Trio 110 years ago.
For all the Luddites who have recently littered the Letter to the Editor pages decrying the Brandywine District referendum: BSD personnel make up a large part of this forward looking Council. The aforementioned Wagner along with Dr Michelle Kutch, BSD supervisor of curriculum and teacher John Singer of P.S du Pont Middle School. Mr Singer is district department chair and recipient of DE Technology Education Teacher of the Year.
Visit Stem.delaware.gov
Producing Director Chris Alberts is a savvy arbiter of talent. When he requires a more classic Broadway musical feel, he calls choreographer Sonny Leo. If the genre is more over the top or down and dirty hell-bent, unrelenting rock n' roll, it's Dann Dunn.
I referred to Aisle Say's notes on Dunn's work on NCT's “Cats“Choreographer Dann Dunn done damn good!”. In “Wedding Singer”, Dunn's dancers are dynamite. Their explosive energy is a thunderous clash of the meeting of heaven and earth.
In the past two years NCT's dancing has been superb. Taking a cue from Michael Jackson's “Thriller” video, Wedding Singer's “Casualty of Love” is the most inventive, kinetic, demonic and, yes, 'thrilling' production number I've ever seen at NCT.. After a slow half of Act I, this got everyone who had a pulse engaged. Alberts' lighting added to the shock and awe.
How Dunn got 15 + terrific dancers doing this on the tiny stage without hurting one another adds to the wonderment.
Robbie (Chris Baron), the title character, is a charming and likable guy who considers himself somewhat of a loser. He sings, dances and does a passable air guitar.
` The plot is predictable in that he meets his eventual match Julia (Michelle Cabot) in scene one. There is a chemistry between the two, most notably in “Come Out Of The Dumpster”. Cabot's voice is tinny in the upper ranges.
Sammy (Anthony Connell) has an uncommon way about him. Few actors have been gifted with such a strong sense of stage presence. I would use the term “The Natural”. There was no second on the stage that I ever felt he was anything but wholly identified with the character...and this 'character' wore heels and sported a wig a la early Lenny Kravitz. I considered Connell excellent as the lead in the previous “Saigon” and will be interested in seeing him on stage again. Mentioning this to my dear sister Liz on the way home, she had similar sentiment.
Linda (Kaylan Wetzel) deserved “featured' performer as the woman who left Robbie at the altar. “Let Me Come Home” was dazzling in both voice and dance. She left nothing to the libidinous imagination. I recall mentioning Wetzel as the female lead in “Footloose”....”she elevated testosterone levels both on stage and with all males in the audience over 13.”. As Linda...ditto with an exclamation!
Ballads are not the strength of the show. The production numbers were the driving force. The book writer excavated – or should I say exhumed - every catch phrase or cultural icon of the '80's. To wit: Erik Estrada, Wall street felon Ivan Boesky, Michael Milken's junk bonds; even rockers Flock of Seagulls (which providentially ended up in Sammy's hair (Paul Goodman)
When the romantic leads Robbie and Julia end up in a La Vegas wedding chapel, impersonators are part of the party: fake Ronald Reagan offering jelly beans, fake Mr T (will they ever find another use for that wig?), a transvestite fake Tina Turner, fake Cindy Lauder and our table's favorite, fake Imelda Marcos, who incidentally was barefooted! (If you are under 45 you won't get my point).This scene was hysterical, it was ribald and most important....it was silly. In these angst-filled times of Arab Spring, of Kim Khardashian, of Newt (for Newton?) and Mitt (for Mitten?)...well, don't we all deserve as much silliness as can be manufactured? Dear readers, the production line begins at NCT. Grab a seat.
This show has as many lunatic one liners as Aisle Say's all time faves..”Forum” and “The Producers” NCT swings and scores once again.
The dancers deserve a Standing O. Male Dancing Ensemble: Steve Stonis, David Snyder, Billy Hart, David McConney, Rob Rodriquez, Ben Cramer and Dan Sanchez
Female Dancing Ensemble: Kaylen Wetzel, Rachel Beiswenger (Imelda!), Maureen Cotellese (box office maven), Nicole Calabrese, Amanda Grady and Danielle Piccolomini (who emphatically states she is not 12 years old. Yet, to verify I must see a birth certificate...and a notarized one at that!)
THE WEDDING SINGER
Directed by Chris Alberts
March 23-May 20 2012
New Candlelight Theatre
2208 Millers Rd
Wilmington DE 19810
302.475.2313
NCTStage.org
First State Ballet Theatre, Delaware''s only professional ballet troupe, is premiering the first full length “Giselle” ever performed in the state. Continually seeking new challenges, Pasha Kambalov, FSB's Artistic Director, wishes to introduce a younger audience to ballet.
First performed in1841 and under the guidance of perhaps the world's greatest choreographer Marius Petipa of the Imperial Russian Ballet, the ballet tells the story a peasant girl named Giselle whose ghost, after her premature death, protects her lover from the vengeance of a group of evil female spirits called Wilis.
Says long time Board President Robert Grenfell, “with the great popularity of Harry Potter and other books and films of this genre, “Giselle” has similar qualities of witches, hobgoblins and the supernatural.”
It is set in the Rhineland of the Middle Ages. When the curtain rises on the first act, the cottage of Giselle. Duke Albrecht of Silesia, a nobleman who has disguised himself as a peasant named Loys, occupies a cottage nearby. This perennially bad boy Albrecht wished to sow a few wild oats before his marriage to a princess.
Albrecht flirts with Giselle, who falls utterly in love with him. Hilarion, a gamekeeper, is also in love with Giselle and warns the girl against trusting the stranger, but Giselle refuses to listen. Albrecht and Giselle dance a love duet. This loathsome cad Albrecht knows he will never marry Giselle but carries on the affair anyway.
The truth about Albrecht is learned and Giselle goes mad and dies.
In Act II, the Wilis, female spirits who, jilted before their wedding day, rise from their graves at night and seek revenge upon men by dancing them to death. One should not mess with these very p.o.'d Valkyries! This does not portend well for Albrecht.
Giselle is summoned from her grave and welcomed by the supernatural creatures who then quickly disappear. Albrecht enters searching for Giselle's grave, and she appears before him. He begs forgiveness. Giselle, her love undiminished, readily forgives him and the two dance. The scene ends with Albrecht in pursuit of Giselle as she disappears into the forest.
The Wilis are not to be denied and then surround Albrecht and sentence the Rhineland's answer to “Jersey Shores” 'Situation” to death. He begs to be spared. Giselle, (wouldn't you know) protects him from the Wilis when they force him to dance.
Day breaks and the Wilis retreat to their graves, but Giselle's love has saved Albrecht. By not succumbing to feelings of vengeance and hatred that define the Wilis, Giselle is freed from any association with them, and returns to her grave to rest in peace. At least someone has a clear conscience is this drama!
Grenfell states that FSBT is quickly gaining an international reputation. There are now 14 paid dancers and 4 interns. Dancers from Japan, Europe and South America have asked to audition for the troupe. The two main reasons for this acclaim is that the company offers young and talented pros the opportunity to dance important roles in the world's great ballets. This is great for their resume. Additionally, the leadership of the group takes risks to go beyond a continuing rotation of the more more well known ballets; stretching themselves into new frontiers.
The vast majority of FSBT's costumes are built in Russia. Dazzling new costumes for this premiere are being shipped as we speak.
“Giselle” Saturday April 14 at 7pm and Sunday April 15 at 2p.For tickets: 800.37.GRAND Ticketsatthegrand.org FirstStateBallet.com
On February 24, 2012 at 7:00 pm., the company continues its wildly popular “Up Front with FSBT” format (the first “Up Front” in February 2011 was sold out in a matter of days). An informal, in-studio performance of classical and contemporary highlights, “Up Front” is limited to 100 patrons, who will enjoy a catered reception with FSBT’s dancers, staff and board following the show. For tickets, call Business Manager Mary Anne Grenfell at 302-658-7897, ext. 3851.
I have fashioned a mini-career of hustling words for AISLE SAY. With UD REP's “Our Country's Good”, I am forced to laboriously scrape into the stalagmites and stalactites of my mind to express how so very exquisite is this production.
The keen insights of the playwright, the staging of the director and the naturalistic portrayals by this esteemed array of actors brings to Delaware a lifelong memory for theatregoers.
Since the very first production on opening night 3-4 years ago at the sumptuous Roselle Center for the Arts, I stated this is the best theatre in the state. I demean them with this phrase. Most of their productions could be on Broadway or London's West End. Certainly this present one...along with the first year's “Imaginary Invalid”; followed in recent years by “Midsummer Night's Dream” and “Arturo Uri”.
“Country's Good” is even more elevated for there are no stars in this. It is truly an ensemble piece of work. REP Ensemble has been together for so many years over so many productions that the understanding of each other is intimate, unspoken and as deep as the Mariana Trench..
I had never heard of this play. Now, I will never miss a production. As Producing Artistic Director Sandy Robbins has said in past programs, “theatre is a vehicle both to entertain and teach.” This play teaches us all about both essential humanity and the trans formative power of theatre.
The story centers on the decision by the British Governor of the penal colony of Botany Bay Australia (circa 1790) to have convicts stage a play in order to both occupy them and to foster unity amidst the tensions of the new colony. This idea is met with great hostility by the majority of his subordinates and, initially, by the convicts themselves.
The entire cast play at least two roles of both officers and convicts; Stephen Pelinski, Donte Fitzgerald and Elizabeth Heflin, ply three. Pelinski affects not only varying characterization but three completely different accents.
Playing disparate personalities is sufficiently difficult. Changing costumes from Royal Marine to convict and entrancing and exiting requires Greenwich mean time exactitude. This is where the Ensembles' history with one another bears full fruit. Not a step was stuttered, not a line was dropped, not audience focus lost in this intricate ballet unfolding before our eyes. The chief beneficiary of praise must go to Director Joseph Hanreddy.
My only miniscule problem was understanding the heavy brogue of Deena Burke during her soliloquy as convict Liz Morden.
I do not have sufficient space to describe why each of the professional actors were superb. All but Burke, Fitzgerald and John Plumpis have been with the REP since inception: Steve Tague, portrayed an evil incarnate Major Ross whose diatribes caused me to fear him; Mic Matarrese, who in his role of convict Robert Sideway brought guffaws to the audience in need of some relief; Stephen Pilinki; I'm not sure just what autistic-type aliment his Captain Campbell suffers but his sycophantic portrayal created a strange admixture of pathos, hilarity and disgust. Elizabeth Heflin, handed the assignment of antipodal characters; one a Reverend and the other a convict willing to sell her body for protection. Carine Montbertrand, most evocative as convict Duckling Smith; Kathleen Pirkl Tauge, superb as ever in two roles. Michael Gotch as the thoughtful Lt. Clark, the director of the convict play, who initially wilted under the vitriol of his fellow officers but gained stenght through the power of his own humanity.
Set design by R.H. Graham set the mood even as play goers were filling their seats.
One must leave his meandering mind at home during this play. In saying that I do not mean to infer it is plodding or didactic. It is inestimably uplifting. This play is as indisputably rich as any by Shakespeare or Shaw or Miller or Mamet. Rich in the issues it brings to bear – the function of theatre, punishment/reformation of criminals, colonization and man's treatment of man.
I just called to book another ticket.
Through March 23. Rep.udel.edu 831.2204
No one's irreplaceable, but Lee Kimball's retirement from OperaDelaware will leave a mini Grand Canyon in Delaware's performing arts. The hat rack in his office should be enshrined at the DE Museum of History. What role did he not play over these decades: Artistic Director, General Manager, Set Designer, Singer, Master Collaborator, Innovator, Adjunct Professor of the Performing Ats, wrangler, arbiter of aggrandized egos, diva diffuser.
With every task Lee was unflappable, respectful, kind and the quintessence of class;
He has directed over seventy productions, among them Turandot, Aida, Little Women, The Flying Dutchman, The Magic Flute, La bohème, La traviata, Un ballo in maschera, the world premiere of A Wrinkle in Time (Libby Larsen), and The Hobbit. This spring he will direct a world premiere opera at Philadelphia’s Kimmel Center and three of his productions at Temple University have won national awards for best college production from the National Opera Association.
Lee has a masters in architecture from Penn. He received critical acclaim for his innovative sets for the world premiere of Billy and Zelda among others.
Also a tenor and a student of the late Todd Duncan – yes, the ORIGINAL Porgy in 1935! He has taught acting for singers at the University of the Arts and the University of Delaware. He also teaches a course in introduction to the performing arts for Wilmington University, and has served as an on-site reviewer for the National Endowment for the Arts.
One of his most successful innovations has been the The Studio Series at OperaDelaware Studios on the Riverfront.
Think a Best of Broadway but with show stopping opera ditties. This month 4 professional singers will entertain with selections from opera's Fab Four: Mozart, Puccini, Verdi and Wagner. It's an elegant night. Guests are seated at tables demurely sipping chardonnay, discoursing bon mots and feeling quite aristocratic while hearing these soaring arias, duets and quartets.
The singers:
Newark native Gary Seydell. A March 2011 article in The St. Louis Dispatch described tenor Gary Seydell singing the role of Turridu, as “captivating; his voice pierced each note and rang with brilliant vibrato.”He has performed in regional opera houses throughout the United States and Italy.
Delawarean Margaret Thompson has performed opposite Plácido Domingo and an impressive list of heavy hitters at the Metropolitan Opera, Teatro Real de Madrid, Los Angeles Opera, Washington National Opera, Volksoper Wien, Spoleto Festival and New York City Opera. She has performed at Carnegie Hall, Avery Fischer Hall, Kennedy Center and Lincoln Center among others
Adrienne Danrich’s voice has been described as “Fresh liquid silver” (now there's an image!) and “meltingly tender in its high floating vulnerability”. She made her San Francisco Opera stage debut as Micaela in Bizet’s Carmenafter having covered in two of the companies’ prior seasons as Elizabeth in the French version of Verdi’s Don Carlosand Liù in Puccini’sTurandot. She has performed songs from Porgy & Bess with the San Francisco Symphony.
U of D grad Jeffrey Chapman, baritone, has appeared with the Opera Company of Philadelphia, OperaDelaware, the Florida State Opera, Opera a la Carte, the Repertory Opera Company of Los Angeles, Center City Opera Theater, Choral Arts Philadelphia, the Westfield Symphony, the Gulf Coast Symphony, and the Tallahassee Symphony, among others.
March 23,24 and 25. OperaDE.org 800.37.GRAND You won't want to miss Porgy & Bess in May!
In addition to LA CAGE, composer and lyricist Jerry Herman's Broadway legends include include MAME and HELLO DOLLY.!.
In La Cage, Herman's signature “title tune” was sublimated into a glitzy production number in the first act. But “The Best of Times” and “I Am What I Am” are in the Top 20 of Broadway show stopping numbers...ever; not only due tot he melody and the message, but the nerve it touched relative to the era the show was produced.
LA CAGE It tells the tale of Georges ((George Hamilton) and Albin (Christopher Sieber), gay partners who raised Georges' son Jean-Michel above a nightclub (La Cage) that featured Albin and the chorus members in drag. Jean-Michel has found the love of his life. The problem is that her father was a precursor to Rush Limbaugh. The boy is embarrassed about his father and Albin and seeks to hide the truth from prospective in-laws.
This background is important historically in terms of its premiere in 1983. Soon the scourge of AIDS would appear on the landscape. The show paradees homosexual characters non-stop. There was rampant discrimination against the show. And worst then that, as the '90's progressed and the dreadful unknown of AIDS flashed in front of us nightly, LA CAGE on Broadway lost many of its cast members.
This production is not an atypical scenario. Producers have an idea for a tour. The get a recognized star to headline and gather around him/her a cast; in this case more than competent.
We understand that George Hamilton has become a parody of himself. He is comfortable in his own skin and that is commendable. He just wasn't comfortable in this role, especially in Act I. His character owns an edgy nightclub in St. Tropez. He is the emcee. Yet the confidence, the savoir faire, the joie de vivre that would be in this character’s DNA was MIA. His singing voice was mediocre and tinny. For one who apparently did ok on Dancing With The Stars, what he was called to do choreo-wise here was underwhelming.
The chemistry between he and his partner Albin did ignite in the second act, especially during “Cocktail Counterpoint”, including most creative staging by director Terry Johnson.
Christopher Sierber, on the other hand, is a verifiable Broadway veteran. The first act closing “I Am What I Am” was powerful and emotive and evokes a personal response whatever one's sexual predilection. It deserved the huzzahs. Composer Herman has an innate ability to build songs; starting a tune a capella and ending with a production number that thunders through the audience like the meeting of heaven and earth.
The flamboyant (male) dancing chorus – the Cagelles - drove the show, wearing their bustiers and flaunting their booties with pride. To call their dazzling costumes by Matthew Wright) peacockish is to understate.
The traveling band performed high up above the stage on either side of the proscenium, a dramatic – and space saving – effect.
Through March 11. DuPontTheatre.com 800.338.0881
DuPont Theatre celebrates its centennial in 2013! The DuPont Building was built by the Triumphant Triumvirate of P.S du Pont, A. I du Pont and Coleman du Pont. Coley wanted to move the headquarters of the company to NYC but acquiesced to his partners. However, he demanded that the structure incorporate a Broadway style theatre.
Much interest has been generated by UD's purchase of the massive 272 acre Chrysler site. I attended a power point presentation by Dr. Kathy Matt, Dean of the College of Health Sciences at which she gave not only the plans for the entire project but also the jaw dropping vision of her own college.
The 3.4 million sq. ft plant was built in 1951 to make US Army tanks. Then it was converted to a Chrysler plant. Aisle Say spent a summer there in the late '60's on the production line putting in seat belts; all the motivation needed for a college degree. I only hope that no one suffered from the errant placement of more than a few screws now and then.
Overall, the acreage will be transformed into a suite of health and wellness activity centers in a walkable, mixed-use campus. There will be access to clinical services, therapy, nutrition advice and exercise training – all on one site. Buildings will model green design.
Slated first for construction is the Health Sciences Building, with spaces for clinics, research and education. “Interdisciplinary” is the operative word here.
A most interesting part of Dr. Matt's traveling show was accomplishments of UD's Early Learning Center, aimed at providing mobility for children who cannot crawl or walk. The staff have created original, groundbreaking work. The research began on the design and development of custom robotic devices. With interdisciplinary collaboration from others in a completely different college, the team is now adapting ride-on toy cars for children as young as 12 months. The babies and toddlers are literally 'driving' their own social and intellectual development, becoming part of the action at home or daycare. What a joy this must be for their parents.
UD developed a program of 'simulation', now supported by US Figure Skating and US Olympic Committee. The simulator explores 'what-if” positioning and movement scenarios. One of the first Olympic skaters to use this technology performed his first quadruple jump after implementing changes suggested by the simulator.
Here's a partnership one might not consider: Patient Program and Theatre Department! Undergraduate theatre minors are trained to portray patients and family members so that health science students can practice in realistic scenarios without compromising the standard of care. Dr Matt commented that a health science student partaking in this “scene” completely freaked out due to the authenticity of the actor patient. Hey....better in that forum than in real life!
The theatre kids, on the other hand, gain valuable experience in portraying the behavior associated with various diseases and disabilities. In one of these students, we may be looking at the next “Rainman” or “My Left Foot.”. Aisle Say could cause a lot of havoc in that classroom! This very practical training has become so successful that it was extended to Christiana Care and Nemours Foundation.
The college is working with Nemours on a two year study of brittle bone disease, an insidious and heart wrenching ailment. One little 8 year old has fractured 30 bones in her tiny body and undergone 4 surgeries so that she may walk.
The college will be offering a new PhD in nursing science to give research-oriented nurses the ability to discover and promote the best clinical practices.
Since our state has no medical school, Dr. Matt has intensified UD's affiliation with Thomas Jefferson Hospital in Philly. Health Sciences is creating a new physician assistant program, where students begin at UD and finish at Jefferson. They are pioneering a new internship with Jeff medical students as well.
Dr Matt is preaching a brave new world of innovative science and is in lock step with President Harker's “Path to Prominence”. The finale of this Science and Technology Center is decades away but the visionaries are here and on the ground digging away
Dr. Matt is seeking corporate partners on various levels and in multitudinous ways. For info, 831.8370.
Udel.edu/chs Udel.edu/scitechsite
As the writer of the Living History presentation The DuPont Story A Family A Company, I am aware of some antagonism from residents of Kent and Sussex counties regarding perceived inequal distribution of philanthropy between Kent and Sussex Counties vs New Castle County.
Let's examine what du Pont has done for the ENTIRE state. This will not include Nemours Foundation, Longwood Gardens, Nemours Mansion, Winterthur and the obvious state and global legacies:
In 1919, "Separate But Equal" was the law of the land. The state legislators had forgotten about the Negro children of Delaware in the building of schools. In fact, regrettably, DE was the only state in the union that had a segregated system for collecting school taxes. Whites' taxes went into wihite schools; blacks' taxes went into black schools. Because the majority of blacks were sharecroppers and tenant farmers, there was scarcely any base from which to educate their children. Federal law stated that blacks should be educated on a Separate but Equal basis. Well, it was separate alright, but hardly equal.
Additionally, all DE children were required to be in school only 90 days a year. With black children, if they were needed for harvesting crops, they simply did not attend.
In 1919 I endowed a trust of $2million to reconstruct dilapidated schools in the state. All told, 89 schools were given major face lifts...with indoor plumbing, heating, desks and other amenitiies.
I built Howard High, the only secondary school for blacks in Delaware. It cost $ 1 million. At the time, it was the best equipped high school for blacks in the nation.
And, he became tax commissioner to rationalize and eliminate the dual tax system.
I would like to think this had long term psychological, social and educational benefits for the black students, With $1 million of his own money, we built Howard High School. When it was completed in 1924 it was the best equipped secondary school for blacks in the nation.
Seaford became the "Nylon Capital of the World" and employed thousands.
For more information about bringing the 1 man multi media presentation THE DuPONT STORY A Family A Company to your school or your venue, connect with Greer Firestone - 494.3133. greerfirestone@gmail.com
Greer Firestone, a Wilmington resident and long-time columnist for GateHouse Media Delaware’s CommunityPub, is a well-known authority on the entertainment scene in Delaware. If you’re wondering what to watch, check out Aisle Say.
