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March 26, 2023

The Chestertown Spy

An Educational News Source for Chestertown Maryland

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Arts Arts Lead Arts Arts Portal Lead

Spy Arts Diary: B’way in B’more, Photo Art in DC and Music All Over

March 25, 2023 by Steve Parks Leave a Comment

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We’re halfway through the EGOT season now. EGOT, of course, stands for the top four performing arts prizes. T.V.’s Emmys aren’t awarded until September. Of local interest, the recent Grammys included a triumph for Michael Repper, music director of Easton and Delmarva’s Mid-Atlantic Symphony Orchestra. The Oscar presentations passed without a major incident. So that leaves the Tony Awards with the top prize of Best Musical. It will be announced on May 2, with the awards show on Sunday, June 11.

If you haven’t already, you can catch up on the big winner from the 2022 Tonys.

“Hadestown,” with music, lyrics, and book by Anais Mitchell, inspired by one of Greek mythology’s greatest hits, “Orpheus and Eurydice.” It tells the story of a hungry girl who seeks nourishment by working in Hell’s underworld, from which her equally impoverished lover tries to rescue her; his ardor expressed in moving songs and ensuing dancing. It’s a love story burnished in Hades. Whether you believe in Hell or not, it’s a damn good tale and has been for a thousand years.

You can still catch the reigning Best Musical Tony winner at Broadway’s Walter Kerr Theatre. But the national tour arrives closer to home – downtown Baltimore – with eight performances April 11-16, starting at 8 Tuesday through Saturday, plus a 2 p.m. Saturday matinee and shows at 1:00 and 6:30 p.m. Sunday at France-Merrick Performing Arts Center’s Hippodrome Theatre.

france-merrickpac.com

***

“In the face of severe economic dislocation, widespread civil disorder, and Prime Minister [Margaret] Thatcher’s controversial policies, these artists declared: ‘This is Britain!’”

That’s the concluding statement posted at the entrance to the National Gallery of Art’s photography exhibition, which takes its title from a generation of artists’ symbolic declaration. These are images from the “Iron Lady” period – 1975-1900 – when Thatcher served first as leader of Britain’s Conservative party (the Tories) and, beginning in 1979, as the U.K.’s first female prime minister and its longest-serving PM of either gender in the 20th century. But today, these still images bring to mind current news videos we see from France. 

The National Gallery photos are primarily of people coping with poverty, discrimination, but also resentment by a white working class against immigrants of color or neighbors of a different race or religion and even women of their own kind or sons and daughters who don’t believe in love, marriage, and a baby carriage. Sound familiar? 

The Thatcher era covered the Catholic v. Protestant “Troubles” in Northern Ireland, record unemployment due to parliamentary cancellation of the “welfare state,” along with mining closures, nuclear power plants, and urban riots. These profound changes inspired such artistic responses as punk rock and a photographic revolution advancing free speech through visual expressions that cannot be censored this side of pornography.

Examples: Vanley Burke’s 1970 black-and-white “Boy with Flag” shot in Handsworth Park, Birmingham, England, site of hellfire riots 15 years later. He’s a black male child sporting a Union Jack on his bike. He could even be one of those pictured strolling down the street in Birmingham with a white friend, passing an overturned burning truck as if it were an everyday occurrence. Apparently, it was in this 1985 shot by Pogus Caesar. Meanwhile, life goes on amid chaos, as suggested in Sirkka-Liisa Konttinen’s “Young Couple in a Backyard on a Summer’s Day.” A naked man approaches a woman known to him who appears apprehensive, perhaps because a child standing next to them tries to look away.

Other images are accompanied by long titles that give away the photographer’s intent, such as a black-and-white image of a man of privilege seated disconsolately in an exclusive members club with a news rag in his lap. It’s Karen Knorr’s 1981 “Newspapers are no longer ironed. Coins are no longer boiled. So far have Standards Fallen.” 

Moving on to color photography, Sunil Gupta’s 1988 “Untitled #1” presents a gay couple posing across the Thames from Parliament. Text imposed in a break separating part of the image states: “I call you my love though you are not my love, and it breaks my heart to tell you.” Guess which guy is thinking that to himself. I say the one on the right.

My favorite photo commentary on the Thatcher rule is Chris Steele-Perkins’ color sight gag titled “Hypnosis Demonstration: Cambridge University Ball,” 1989. All those gathered look like standing-dead zombies. Speaking of the truly dead, the most evocative of the wasted lives from “The Troubles” is Pogus Caesar’s 1985 “Belfast Mourners & Press at the Funeral of 3 Republican Servicemen,” a black-and-white of a casket being lowered into a grave. For what? Christians at war with one another? No different, we suppose, than Muslim Shiites and Sunnis.

May France fare better in its current “troubles.”

“This Is Britain: Photographs from the 1970s and 1980s” through June 11, National Gallery of Art’s West Building, Constitution Avenue, Washington, D.C., nga.gov

                                                                                                             ***

April will bloom with premieres and major concerts, digital and live, for most of the national and regional classical music orchestras near home or within relatively easy driving distance.

* The Mid-Atlantic Symphony Orchestra wraps up its 2022-23 season with three concerts beginning at 7 p.m. Thursday, April 27, at Chesapeake College’s Todd Performing Arts Center on the Wye Mills campus, followed at the same hour on April 29 at Cape Henlopen High in Lewes, Delaware, and 3 p.m. on April 30 at Ocean City Performing Arts Center. The program for all three concerts opens with Grammy-winning music director Repper conducting Shostakovich’s Cello Concerto No. 1 in E-flat Major with solo cellist Dominique de Williencourt. Dvorak’s Symphony No. 9 from “The New World” follows intermission.  

midatlanticsymphony.org

 
* The Annapolis Symphony Orchestra’s Masterworks’ subscription season resumes at 8 p.m. Friday and Saturday, March 31 and April 1 at Maryland Hall in the capital city, and 2 p.m. April 2 at North Bethesda’s Music Center at Strathmore. The “Two Romantics” concert features guest violinist Esther Yoo performing Prokofiev’s Violin Concerto No. 1 in D Major, Opus 19, followed by Brahms’ Symphony No. 2 in D Major, Opus 73.

annapolissymphony.org

* The Baltimore Symphony Orchestra presents blockbuster concerts promoted as “Joshua Bell Plays Mendelssohn,” owing to the superstar violinist’s highly deserved reputation for eloquent interpretation of the 19th-century German composer’s poetic concerto. The concerts – 8 p.m. Friday, April 21, and 3 p.m. Sunday, April 23, at Baltimore’s Meyerhoff Hall, and at the BSO’s second home, the Strathmore, at 8 p.m. Saturday, April 22. Russian-born conductor Anna Rakitina leads the orchestra in a program that opens with “When the World as You Know It Doesn’t Exist” by Pulitzer-prize winner Ellen Reid who, at 40, is young for such an accomplished composer. Next, Bell performs the Mendelssohn Violin Concerto ahead of the concert finale: Elgar’s “Enigma,” Variations on an Original Theme.

bsomusic.org

* The National Symphony Orchestra presents a special family concert: the world premiere of “This Is the Rope: A Story From the Great Migration” at 2 and 4 p.m. Sunday, April 2, at Washington’s Kennedy Center. Written and narrated by Jacqueline Woodson on commission by the NSO, it’s the story of a little African-American girl who finds a rope under a tree in South Carolina before the family migrates north. She later learns the history behind the rope that will be handed down from generation to generation.

kennedy-center.org/nso

* In a concert that could not be closer to home, the renowned Philadelphia Orchestra performs Tchaikovsky’s masterpiece “Pathetique” (also known as his Symphony No. 6). Nathalie Stutzmann conducts the program that opens with another Tchaikovsky, Polonaise from his “Eugene Onegin” opera. The concert – recorded at the 2022 Bravo! Vail Music Festival in Colorado is offered on the orchestra’s Digital Stage. Streaming starts at 8 and 11 p.m. Wednesday, April 12 through April 19.
phil.orch.org

                                                                    ***
For an altogether different musical vibe, Easton’s Avalon Theatre brings award-winning blues and soul artist Shemekia Copeland to its main stage at 8 p.m. Saturday, April 8. Winner of the 2021 B.B. King Entertainer of the Year Blues Music Award, Copeland is up for four 2023 Blues Music nominations, including Album of the Year for her Grammy-nominated “Done Come to Far.” Hailed as her generation’s “Queen of the Blues,” Copeland’s 2019-22 album trilogy, culminating with “Done Come to Far,” was preceded by “America’s Child” and “Uncivil War.” In them, she tackles sobering human rights issues while mixing in bits of enlightened humor and a sense of hope. The 44th annual Blues Music Awards will be presented on May 11 in Memphis. 

avalonfoundation.org

Steve Parks is a retired New York arts writer and editor now living in Easton.

 

Filed Under: Arts Lead, Arts Portal Lead

Delmarva Review – Skimmers: A Love Story in Three Parts by Patty McLaughlin

March 25, 2023 by Delmarva Review Leave a Comment

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Author’s Note: “When our children were young, we would spend our summers on Virginia’s Eastern Shore — a much different world from our suburban Delaware existence. Of course, children grow up and away. That is the plan. Writing about this magical time together helps me feel closer to these far-away adults and reminds me to be grateful. Grateful for past adventures and future possibilities.”

Skimmers: A Love Story in Three Parts

I.

WE FIRST MET THESE BIRDS at the end of a hot summer day. Coastal Virginia hot, when it feels like you’re breathing through and wearing a wet wool blanket. We’ve been outside for most of the day. Laughing. Swimming. Fishing. A little sunburnt. Sure, we used sunscreen, but how can you protect so many freckles? Have we had dinner? I hope so, because salt and crumbs are the sole survivors in our Ziploc snack bags. We are quieter now, moving toward stillness and the evening. We take longer breaths. 

The sun is low and dipping behind the water. That time of day when sunglasses make the world a little too dark, yet without them, we all squint. Look at these colors. Everything washed with a pearl finish. Pearly green water meets pearly blue sky. A thin, nearly invisible line marks the horizon between the two. 

The birds are busy. Ospreys high and terns lower, both diving for supper. The noisy gulls provide our summer soundtrack. We sort of miss them when they are silent. Sort of. 

Then we see them. Something different. Steady horizontal flight. Black backs on a white body contrast with this pearly scene. Flying so close to the water their bill drags through it. Rhythmic. Focused. Truly skimming this thin line between sky and bay. And that crazy bill. Red with black. They turn together, ignoring the people, the boats, the gulls. Skimming the surface, riding the in-between. One two three four strokes and turn. One two three birds. 

We inhale. We stare. We hold our breath.

I look at our son and daughter. The dusk glow gives them rosy halos. They are following the flight, and I am following them. 

We exhale, widen our eyes, raise our eyebrows, and look at each other. We remain quiet, our expressions asking the questions—Did you see what I just saw? Did you see those birds? 

We are smitten with these creatures. 

Related to gulls and terns, black skimmers (Rynchops niger) are found exclusively in the Americas and nest on Virginia’s sandy shoreline. 

Resting on the shore, their size (medium) and coloration (black and white) combine to blend them into the shorebird background scenery. They might be easy to miss. Look a little closer, though, and the bill emerges as a differentiating feature. Awkward. Heavy. This is definitely not a gull. (The genus name, Rynchops, is derived from ancient Greek for bill and face.) With a pair of binoculars, you may get a good look at the eyes. Large pupils help maneuver during low light. Keep the binoculars steady, and if you’re lucky, you might see the eyes close vertically to slits to protect from the harsh sun. They are ready for whatever light they encounter. 

Once on the move, no binoculars are needed to witness awkward anatomy morph into graceful flight. The skimmer’s strong wings are set high on the body. Long upstrokes and short downstrokes keep the bird merely inches from the water. Now we begin to understand that bill. A skimmer flies so close to the water that its larger lower mandible drags the surface. Once the skimmer feels a fish, the upper mandible clamps shut. Small groups of skimmers will often fly in lines, turning in unison, back and forth over the same area. Many scientists believe that this rhythmic patterning actually lures in fish. Skimmers are considered crepuscular, meaning they are most active at twilight. Bright light isn’t needed for their technique, and evening fishing usually promises calmer water and more surface prey. Fishing by feel. A uniquely skimmer approach. No other birds behave in this way. 

The urge to dive must be strong. I respect the courage of the tern and the power of the osprey. They need to know exactly where to go and then commit to it with their full body. The skimmer, however, seems more accepting of the present moment, more likely to say—Let’s enjoy the water. The air. The in- between. Let’s just see what will happen. 

II .

ASSATEAGUE. WALLOPS. ASSAWOMAN. Metompkin. Cedar. Parramore. Hog. Cobb. Wreck. Shipshoal. Myrtle. Smith. Fisherman. 

These islands form a seventy-mile outer barrier along Virginia’s Eastern Shore from the Maryland-Virginia line south to the mouth of the Chesapeake Bay. South of Wallops, there is no road access; boat travel is the only way to visit. The islands are harsh natural environments. Homes and other structures that were built by hopeful settlers have long ago succumbed to wind and waves. The narrow sandy stretches earn their “barrier” title by absorbing storm waves and tides, protecting the marshes and mainland behind them. 

These islands and their accompanying bays became our family’s summer escape—our wildness, our adventure. 

During the school year, we lived in suburban Delaware— famous for tax-free shopping and now Joe Biden. Good schools and generous employers made it a wise choice, a safe choice for our family—albeit a little stiff, a little stale. 

Summers always offer an awakening, a welcome respite from routine. Wherever it happens. However, the time is spent. Summer takes the lid off most pots, relieving some built-up pressure and hopefully stirring some stuck routines. Our summers did that and more as we headed south for a season of adventure and possibilities on Virginia’s Eastern Shore. 

True, there is nothing on television. Grouchy reception allows us one or two stations at best, and only if it isn’t windy. And yes, school friends are four hours away. Soon enough, that will matter. But not yet, not now. We had all we needed and wanted—books and boats and time. Time to stay up late, and time to sleep in. Time to explore, to get muddy and messy. 

Sometime before our two beautiful children grew into adults that moved away, before they became teenagers that pushed away, lived the sweet spot of Shell Beach. 

Who wants to go to Shell Beach today? While the short answer is always a quick “yes,” the longer response involves variations on the theme of “have you seen my stuff?” and “can you help me find it?” Hats, sunglasses, and sweatshirts enjoy their own summer adventure by hiding from us. 

With more than three years and several inches in height over her brother, our daughter often assumes a natural leadership role and today helps him collect what is needed. I know we are almost ready when she asks, “Is it the last minute yet? I’m going to the bathroom at the last minute.” 

Bags finally packed with towels, buckets, and extra clothes, we trailer our small gray skiff to Gargatha Landing, always with a stop for our traditional Fig Newtons. 

The sun bakes the parking lot, and there are no trees to shade us. We are patient but uncomfortable as the ritual of launching the boat unfolds. Put the plug in. Undo the straps. Bags in the boat. Hand signals to back up the truck—not too much, a little more, a little more, you’re good now. 

It’s low tide, so once in the boat, we are looking up at the tall green marsh grasses. Each time we launch, the creek looks a little different. Today, we are riding low on Gargatha Creek, taking the turns wide. As we pick up speed, the kids and I yell into the wind and try to match the engine’s noise. The boat bounces us, and anything not secured might fly away. Our daughter’s thick mane of red hair whips around her face. A gust snatches her hat, but she catches it just in time. Our son sees this and quickly removes his Michigan hat. “No way I’m losing this,” he mutters. It’s a beloved accessory, especially after weeks of folding the brim to create the perfect angled look. 

We pull up on the creek side of the island, close to the inlet. Just a low stretch of sand here. One anchor in the sand and one in the water. We tease and tug and adjust until it is just right. Just enough slack. Just enough tension. 

We’ve arrived. 

Metompkin Island will always be Shell Beach to us. On our first visit a few years back, we discovered it was impossible to walk there without stepping on seashells. Sometimes angel wings, sometimes sand dollars. Often jingle shells, limpets, moon snails, scallops, and slipper shells. And always whelk shells. So many whelks. Knobbed and channeled, from thumbnail to nearly forearm length, their colors all the more beautiful because they are muted. You have to look closely to appreciate the pale mauves and peaches swirled with creams and grays. 

Our first few trips there, we wanted them all. We quickly filled buckets with whelk shells, emptied them into the boat, then filled again. It took a full summer of frenzied collection to exhaust the urge to own the beach. Now we limit ourselves to one or two perfect treasures each. Today’s contest has our son and daughter scouring the beach for both the smallest and the largest whelks they can find. 

We leave our shoes and bags near the boat and begin to walk toward the inlet. Dad drops his fishing bucket in the sand and scouts a good place to cast. He tells us he’ll catch up with us later. The kids and I walk along the inlet and turn towards the ocean beach. 

The Atlantic Flyway is an important north–south highway for migrating birds and it passes right over Virginia’s coast. The shape of the Delmarva peninsula, in general, and Virginia’s barrier islands, in particular, create a unique funneling section of the flyway. In the spring and fall, over one hundred thousand birds, from the largest hawks to the smallest songbirds, pass through for a quick rest-and-recovery feed stop. 

But it is summer now, and migration is over. Local birds have settled in to court, mate, nest, and create families. Plovers like to nest on Shell Beach, along with oystercatchers, terns, knots, and, oh yes, our beloved skimmers. So many birds. Being such a critical nesting habitat, the dunes on Shell Beach are closed to foot traffic during nesting season. That’s no problem for us. We walk along the edge of the surf and keep our feet wet. 

Our son is the first to hear a strange buzzing. “What’s that? Listen, guys.” 

We pause our shell scavenging. Initially, the sound is faint, but with just a few steps toward drier sand, it quickly crescendos into a din. Mostly higher pitches, but with lots of different calls. Somewhere in that cacophony is a lower tone. Sounds like a hacking cough to me. Those must be our skimmers. Their strange barking cry has earned them the nickname “seadogs” in some regions. 

We walk just a few steps toward this rowdy avian orchestra, being careful not to get close to any protected areas. We know better. We don’t want to disturb these shorebirds during their vulnerable nesting time. 

And then, finally, we see them. So many birds. There must be hundreds of them. Most are standing sentry on sand. A few are taking short flight above the dunes. Even without binoculars, we can identify some of the larger species: laughing gulls, oystercatchers, and, oh yes, our beautiful black skimmers. 

Skimmers seem to follow the “strength in numbers” motto. They nest in large social groups, often near tern colonies. Terns— island bullies who are small and yet quite aggressive—help protect their nesting neighbors from predators. And the bullies are here in force today. A handful quickly take flight together while we watch our skimmers. They separate from the mob of birds and fly a little closer to us. 

These are least terns, identified by their compact size, yellow bill, black cap, and white forehead. They are hovering near us, almost hummingbird-like, watching us watch them. 

They begin making a strange chirp-like noise, sounding like a frustrated teacher reprimanding the class with a tsk-tsk. 

How cute, I mistakenly think. 

Their reprimands quickly become louder, however, and the tsk-tsk chirping even more insistent, more annoyed. They move in and hover even closer to us. 

I see my son’s worried face and my daughter’s raised eyebrows. 

Before the kids even get a chance to ask, “Are we okay?” the terns begin to repeatedly dive-bomb the sand near us, and with each dive, they move in that much closer. The air around us swirls with buzzing and diving small bodies. 

Reflex kicks in, and our bodies react. 

“Aaaah!” we all scream, covering our heads with our hands and sprinting away from the tern attack. We run toward the inlet and don’t slow until we no longer hear the tsk-tsk reprimands. By the time we stop, we’re winded from running and laughing. The terns are nowhere in sight. We feel equally triumphant, silly, and safe. 

The children’s patience for birding, however, is now understandably gone. It’s hard to follow up the tern debacle with simply standing still and watching skimmers from a distance. 

It’s a short walk to Dad and his fishing gear. The kids move on, but I remain. They are drawn to flight, and I am drawn to the nest. 

I wait, and I watch. Once the terns settle down again, I can get a better look at the adult skimmers. They seem to be standing, guarding their nests, but even with binoculars, I can’t see much detail. Skimmer eggs and nests are nearly impossible to spot. Look for them, and you won’t find any traditional nests here made of twigs, protected high in a tree. On barrier islands, vegetation is scarce, and trees are notably absent. So skimmers nest directly on the sand: vulnerable, exposed. Males scrape saucer-shaped depressions that typically hold four brown-spotted cream eggs. Both parents tend to the eggs, and after about three to four weeks of incubation, the hatchlings emerge. 

Don’t be fooled by a baby skimmer’s appearance of maturity. Despite the hatchlings’ open eyes, and their ability to immediately stand, these down-covered chicks are quite dependent on their parents. Both parents work together to feed and protect their babies for about a month. After four weeks, the young skimmers begin to fly, and after about five weeks, they can fly well enough to fish for themselves. Family units stay together for the season, with the young birds growing stronger and sharpening their fishing skills. 

As I watch, four adult skimmers fly to the surf. Strong black wings. Rhythmic, graceful flight. Up down, up down, and turn. They stay in a line, working the water for a few minutes before returning to their hungry hatchlings. A brief pause on the sand, then they’re off again. I understand this parental imperative. 

The sun is high now, and I’m getting uncomfortably hot. I turn from my vigil and head toward the inlet to find the kids fishing with their dad. 

Everyone is looking a little weary. Time to go home. 

It’s a short walk along the creek side of the island to where we anchored. We load our bags, then climb back into the boat. Our son wins the contest for largest whelk. Our daughter, the smallest. All is well. 

Anchors and lines stowed, we head back. The tide is up now; we ride higher and can see farther where we are going. The wind has picked up, too. We’ve got a bit of chop. Our daughter bounces on the front bench, and our son gets sprayed in the back. Both sensations are welcome, so there is no haggling over seating arrangements. We are subdued, the fast turns provide a breezy refreshment we enjoy privately. Quietly. 

Back at the landing, our ritual unfolds in reverse with hand signals and tie-downs. We load our bags into the truck, and try to wipe sand from our feet before getting in. We’re tired, though, and there’s just too much stuck between our toes. Good enough. 

Soon our children will be pulled into migration mode—off to college, to jobs, to kids of their own. But not yet. Not today. 

We return. Back to our shelter. Our home. 

For us, it is still nesting time. 

III.  

BEAUTIFUL FLIGHT. Rhythmic wing beats.

Up down. Up down and turn.

Up down and keep going.

Migration pulls our Virginia skimmers south, to overwinter and fatten on the southeastern coasts, from Florida all the way to Central and South America. Global habitat loss is a pervasive and powerful threat to all wildlife, and despite Virginia’s protected nesting grounds, skimmers are not immune. Vulnerable, but not considered endangered, skimmers are classified by the Commonwealth of Virginia as a “species of greatest conservation need” and by the United States Fish and Wildlife Service as a “species of high concern.” Both are curious but rather benign designations with little accompanying policy protection. Labels that seem to translate loosely to “let’s just keep an eye on them.” 

Better than nothing, I suppose. 

Migration pulled our children from home as well. Which is as it should be. 

Our daughter followed the Atlantic Flyway a few hundred miles north for love and work and family. Her nurturing role continues—for her spouse, her children, and her students. Middle schoolers can challenge even the most experienced educators, but she offers her classroom a successful and dynamic mix of empathy, respect, and humor. 

Our son flew against the prevailing westerlies to establish his nest, finding love and purpose three thousand miles away. The Michigan hat is long gone, but his deep compassion remains and is now fully matched with self-confidence. A powerful mix. He is drawn to union organizing and is fully committed to helping workers find and strengthen their voices. 

True, neither of them is endangered, but they will always remain my “species of concern.” 

I see them all much less often now, kids and skimmers alike. 

Behind our current home, our floating dock lazily rides the three-foot tidal pulse of Mattawoman Creek, a small finger-like extension of Chesapeake Bay. At high water, we have just enough depth to launch our small Whaler. Low tide reveals mud flats and secrets that were covered only hours ago: oyster clumps, raccoon tracks, and fiddler crab holes. We watch great blue herons and great egrets feeding in the shallows. Our skimmers are nowhere in sight. They much prefer to keep their feet clean and out of this soft marshy muck. 

Certainly, memories loom larger as visits become less frequent. It’s been many years since our last Shell Beach adventure. I can always close my eyes, though, and see freckled faces warmed by the sun. Kids exploring and splashing. Skimmers feeding with that meditative movement—up down, up down, and turn. Skimming versus diving. 

Diving requires a goal that is clearly defined and aggressively pursued. I would like to say my diving days are over, but that isn’t fully true. I’m learning to let go, but I still feel the seductive pull of a well-crafted list and the inflated satisfaction of items ticked off. 

Increasingly, though, my lists shorten. Skimming makes ever more sense. Recognizing the tension between possibilities. Enjoying the transitions. Sea and air. Land and sea. Pulling tight and letting go. Nesting and migrating. Childhood and adulthood. Adulthood and elderhood. Skimming the in-between. Up down, up down, and turn. Let’s see where this will take us today. 

⧫

Patty McLaughlin is a retired educator, currently living on the Eastern Shore of Virginia. Delmarva Review is pleased to publish her first essay in its 15th anniversary edition. 

Delmarva Review selects the best of new poetry, fiction, and nonfiction from thousands of submissions during the year. Designed to encourage outstanding writing from authors everywhere, the literary journal is a nonprofit and independent publication. Support comes from tax-deductible contributions and a grant from Talbot Arts with funds from the Maryland State Arts Council. Website: www.DelmarvaReview.org

 

Filed Under: Delmarva Review, Top Story

Chesapeake Lens:  “They’re Back!” By Paul Fine

March 25, 2023 by Chesapeake Lens Leave a Comment

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Nothing announces spring like the return of our ospreys from their winter habitats. This pair makes repairs their nest on the Miles River. “They’re Back!” by Paul Fine.

Filed Under: Chesapeake Lens, Top Story

Journey Into the Imagination with the 2023 Chesapeake Film Festival

March 24, 2023 by Chesapeake Film Festival Leave a Comment

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Save the dates! The 2023 Chesapeake Film Festival (CFF) will be LIVE Saturday, Sept. 30 and Sunday, Oct. 1 at two historic venues in Easton, MD.  The Festival goes VIRTUAL October 2 through 8, bringing you more fabulous films to watch anytime, anywhere.

As we roll out our new brand “This year’s theme, Journeys into the Imagination, captures the essence of our Festival.  While the films reflect the imagination of the filmmakers, they also fuel our own imagination with insights into ourselves and our world,” said Festival Director Cid Collins Walker.

The hybrid festival begins with a LIVE weekend (Sept. 30 and Oct. 1) featuring screenings, discussions and events at the Avalon Theatre and Ebenezer Theatre, as well as an Opening Day VIP Reception at the Academy Art Museum.  As viewers take their seats in these beautifully restored venues, they are transported into the glory days of theatre.

“We want people to come for an immersive experience,” explained CFF Executive Director Nancy Tabor. “The venues, the social functions, the discussions, and the beauty of the Eastern Shore all add to the pleasure of watching great films.”

The VIRTUAL Festival (Oct. 2-8), which follows the LIVE Festival, gives film lovers another week of outstanding films to watch at their convenience.  Viewers can screen films from a variety of genres including narratives, documentaries, shorts and animations.  Take five minutes to watch a pithy short film or grab some popcorn and treat yourself to a fabulous full-length feature!

Films for both the LIVE and VIRTUAL FESTIVALS are reviewed and selected by a distinguished panel of jurors.  The Chesapeake Film Festival favors independent films with exceptionally high production values that tell a great story; films that educate, entertain, and enlighten.

INVITING ALL FILMMAKERS TO SUBMIT THEIR WORK

Dozens of superb submissions are already in for the 2023 LIVE and VIRTUAL Chesapeake Film Festival! But there is still time for filmmakers to submit their best work via FilmFreeway.  To qualify, films must be submitted by May 15 and completed after June 1, 2019.

CFF showcases films from seasoned professionals, emerging filmmakers, and students. For the first time, the Chesapeake Film Festival will be awarding a $500 prize for the best student short film.  To qualify for that prize, filmmakers must be enrolled in undergraduate studies at a college or university.

A Passion for Oysters

Films are selected for their creativity and originality, story and direction. Generally, films that are not available online – or at least not until after the Chesapeake Film Festival – are given priority for the LIVE Festival.  Highly-rated films that can be shared universally are selected for the VIRTUAL Festival that provides filmmakers and our audience with a global reach.

“We want to give our LIVE audience the opportunity to see great films that can’t see anywhere else,” explained CFF Festival Director Cid Collins Walker. “But there are exceptions to that guideline. For example, last year, we screened Roman Holiday, a 1953 film that introduced Audrey Hepburn to the world.  But we had the honor of having producer Catherine Wyler, the daughter of the legendary director William Wyler discuss the film and her father’s other Oscar-winning classics.”

Collins Walker has invited many more award-winning filmmakers to participate in the 2023 LIVE Festival.  “Talking with the people behind the scenes – the directors, cinematographers, the musicians and other wizards of the industry – is a rare and special opportunity.”

The final deadline for submitting films to the 2023 Chesapeake Film Festival is May 15 either via our website at www.chesapeakefilmfestival.com or on our webpage at FilmFreeway.com Filmmakers will be notified of the jury’s decisions by June 15.

The Chesapeake Film Festival is sponsored by Enel North America, Bluepoint Hospitality, Shared Earth Foundation, Maryland State Arts Council, Artistic Insights Fund, Talbot Arts, the Maryland Film Office, Fairfield Inn & Suites Marriott, Porch, and Hire A Helper. We invite other organizations and individuals to join our team. Your funds help us raise the bar even higher on an already stellar series of events.

For more information about sponsorships or to donate, please visit chesapeakefilmfestival.com or contact Executive Director, Nancy Tabor at 443-955-9144.

Filed Under: Arts Notes Tagged With: Arts, Chesapeake Film Festival, local news

Tidewater Camera Club April Speaker Meeting

March 24, 2023 by Spy Desk Leave a Comment

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On April 3rd, 2023, at 7 PM, professional photographer Howard Clark will present a program to the Tidewater Camera Club entitled “Getting from Good to Great”. This program illustrates the numerous “elements” of photography that could either enhance or degrade images. Of course, the standard elements of good composition (leading lines, s-curves, repeating details, balance, et al.), are at the top of the list. However, the effects of weather, location, camera position, or time of day, can also be major contributors to image success. Our images can also benefit from subjective elements such as humor, mystery, or surprise. Howard’s lecture illustrates all of these and many more. It ends with a look at about 15 high-quality images – giving the audience an opportunity to consider which elements may have contributed to their success. Please note: the focus of this 200-slide lecture is on capturing, creating, or improving our images rather than processing them. The program will take place from 7 PM to 8:30 PM and will include time for questions, discussion and a couple of short breaks. This will be a two-part program with Howard critiquing images on May 1st submitted by club members by April 23rd. More information about the May event is on the TCC website: https://tidewatercameraclub.org

Howard Clark has over 55 years of experience with “enthusiast” and professional level gear. Landscapes and scenics account for most of his images, and water appears in about 80% of those. He participates in two camera clubs and two art associations and has exhibited photos in 35 different galleries around D.C. Solo exhibits account for 12 of the 35. In 2020, Howard began a new career as an Adjunct Professor of Photography at Frederick Community College.

Date: April 3, 2023

Time: 7-8:30 PM

Place: Universal Unitarian Church, 7401 Ocean Gateway, Easton, MD 21601

Topic: Getting from Good to Great

Filed Under: Arts Notes Tagged With: Arts, local news

Looking at the Masters: Camille Claudel

March 23, 2023 by Beverly Hall Smith 1 Comment

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Camille Claudel (1864-1943) was born in the Aisne region of northern France into a family of priests, farmers, and the gentry. Her father was a banker. From 1869 until 1876, Claudel was educated at the school run by of Sisters of Christian Doctrine. The family moved to Paris when Claudel was seventeen years old. She showed a strong interest in art, but her mother disapproved of her “unladylike desire to become an artist.” Her father was more encouraging and showed her work to the sculptor Alfred Boucher, who said she was talented and should be encouraged.

Camille Claudel (L), Jessie Lipscomb (R) (188s)

Claudel began to study with Boucher in 1881 at the Academie Colarossi, a progressive school. Female students were accepted and even allowed to work from nude male models. In 1882 Claudel rented a studio with Jessie Lipscomb and two other women sculptors. Boucher won the Prix de Rome, an Academy prize that allowed the winner to study in Italy for a number of years. Before leaving he asked fellow sculptor August Rodin to look at Claudel’s work. She began working in his studio in 1883; she was his student, his model, his muse, and eventually became his lover, although he had a life-long partner Rose Beuret.

Claudel and Rodin had a passionate love affair from 1883 until 1891, when their relationship began to deteriorate. Claudel’s family disapproval of her life style, and she was forced to leave the family. Claudel had an abortion in 1892. She ended the affair and moved into her own studio. Claudel and Rodin continued to work together and to see each other until 1898. He famously claimed, “I have shown her where to find the gold in art, but the gold she has found was in herself.”

“The Waltz” (1905)

Claudel was successful as a sculptor, and in 1891 she was selected to be a jurist at the National Society of Fine Arts. Her first plaster model of “The Waltz” was reviewed in 1892 by art critic Armond Dayot, who was working as an inspector for the French Ministry of Beaux-Arts. The figures were originally two nudes, and Dayot found the movement and modeling praiseworthy. However, he found it not appropriate for public display.

Claudel reworked “The Waltz” (1893) by draping the lower torso of the female with an elegant flowing skirt. Dayot described the additions as “a gracious intertwining of superb shapes balanced in a harmonious rhythm among swirling drapes.” He stated that Claudel had great talent. However, when “The Waltz” was presented to the 1893 Salon of the Société National des Beaux-Arts, the authorities criticized its “violent sense of reality” and dismissed it. Claudel made several adjustments to the model over many years. The man once kissed the neck of his partner, but in this piece he gently kisses her cheek.

“The Waltz” (1905) (detail)

“The Waltz” (1905) is considered by art historians to be one of Claudel’s most personal works. Like most of Claudel’s sculptures, the work was not cast into bronze until 1905. However, the subject was influenced by her relationship and possible affair with the composer Claude Debussy. The two shared several interests in common, and music historians often speculate which of Debussy’s musical works were directly influenced by the relationship. After Claudel ended the relationship, Debussy wrote: “I weep for the disappearance of the Dream of his (the male figure) Dream.” Debussy kept a small model of “The Waltz” on his piano until his death. 

“The Wave” (1897)

Claudel and Debussy both admired the work of Degas and of the Japanese Ukiyo printmaker Hokusai. “The Wave” by Hokusai inspired Claudel’s “The Wave” (1897) (onyx, bronze, marble) (24.5’’ x22.2’’). In her work three female figures, cast in bronze, hold onto each other as the wave, carved from onyx, is about to crash over them. Not often employed by sculptors, the use of multiple media adds color to the work. The yellows, greens, and browns of the onyx also reference the colors in Hokusai’s print. The work may speak to the dark destiny of drowning; however, it may also be seen as women frolicking in the waves. Combined with ”The Gossips” (1897), a multimedia work of similar design and composition, the subject matter is lighter.  Her use of multimedia may be inspired by the sculptures of Charles Cordier, a popular contemporary sculptor, who used multicolored marbles.

Claudel with model of “Perseus and the Gorgon” (1897)

The plaster model for “Perseus and the Gorgon” (1897) (77’’x 43.7’’ x 35.4’’) was exhibited in the Salon de la Société National des Beaux-Arts in 1899. Rodin continued to aid Claudel financially, and he negotiated with the director of the Société to allow Claudel to show this piece in the 1899 Salon. Claudel hoped the model would lead to a commission. The Countess Arthur de Maigret commissioned a marble copy for her mansion in Paris. The work took four years to complete. Claudel was assisted by Francois Pompon who worked in their studio from 1890-1895. The marble sculpture was presented at the 1902 Salon. Unfortunately, the commission for the marble sculpture had been cancelled as a result of Rodin’s withdrawal of support because he was angered at seeing Claudel’s sculpture “The Age of Maturity.”

“Perseus and the Gorgon” (1905)

Claudel’s selection of a subject from Greek mythology, rather than a theme of her own creation, was likely a result of her financial struggles. Perseus and the Gorgon was typically an Academy subject. The young Perseus was tasked with bringing back the head of Medusa, the monster whose hair was made of snakes and who instantly turned anyone who looked upon her to stone. He was assisted in this task by several of the Olympian gods; Athena gave him a shield, Hermes gave him winged sandals so he could fly a long distance to find her, Hades gave him a cloak of invisibility, and Hephaestus gave him a sword. Claudel depicts Perseus looking into the mirrored surface of the shield to see Medusa, rather than looking directly at her and being turned to stone.  The dead body of Medusa lies at Perseus’s feet. From her severed neck were born two miraculous animals.  One was the winged horse Pegasus whose wings Claudel depicts as the horse is being formed.

“The Age of Maturity” (1893-1900) (Rodin Museum)

Dating any of Claudel’s sculpture is difficult, as many were conceived and altered over her working lifetime. Claudel started all in plaster, and made copies in marble and bronze. Others were cast in bronze by Eugene Blot in 1905. “The Age of Maturity” (1893-1900) shocked and angered Rodin when he viewed it in 1899. Claudel wrote, “One day when Rodin was visiting me, he suddenly stood still in front of this portrait, contemplating it, gently caressing the metal and weeping…” There are several ways to interpret the entire work. Some believe the first two figures represented a middle-aged man wrestling with the figure of old age, fighting against destiny. Is the young female, originally a separate work titled “The Implorer” (1898), pleading with old age to let the younger man go? Or is this a highly personal representation of their tempestuous love affair? Or, is old age not represented by a male but a female, specifically Rose Beuret, who Rodin chose over Claudel? Or does it have others meanings?

“The Age of Maturity” (1902) (Musee D’Orsay)

“The Age of Maturity” is full of passion, no matter the interpretation, and Claudel’s modeling of the surface is superb. The ripeness and softness of the young woman’s skin is an immediate contrast to the stretched neck tendons, sagging skin, and blood vessels and bones of the middle-aged man’s chest and hand. The face of the old man is a mask of death. This Claudel masterpiece was cast in bronze in 1902, and can be seen in a life-size model in the vast turbine hall of the Musee D’Orsay (first two figures 64’’ tall, single female figure 45” tall). From 1894 until 1898, Claudel had the single female, “The Implorer” (1898) cast into an edition of 59 copies.

Claudel exhibited at the 1903 Salon d’Autumne, an exhibition at the Salon des Artistes Francais. However, she was seen wandering the town, prowling around Rodin’s villa, disappearing for long periods of time, and showing signs of paranoia and schizophrenia. Claudel destroyed many of her works. By 1906, she was living in seclusion in her studio. Her family had never approved her behavior, but her father had always supported her. When he died in March 1913, she was not told of his death. Eight days later, her younger brother Paul admitted her to a psychiatric hospital. If she was able to work, she was fine according to hospital records. She wrote, “I have fallen into an abyss. I live in a world so curious, so strange. Of the dream that was my life, this is my nightmare.” The Paris press, calling her a sculptor of genius, tried in vain to help her.

During the German advance on Paris, Claudel was transferred to another mental asylum farther from Paris. The admittance certificate, dated September 22, 1914, stated she suffered “from a systematic persecution delirium mostly based upon false interpretations and imagination.” Claudel’s mother prevented her from receiving any mail, except from her brother. On several occasions doctors encouraged her mother to have Claudel released. Her mother refused. Over the 30 years of her confinement, her brother Paul visited her just seven times. Her sister Louise visited once. Her mother, who died in 1929, never visited. Fellow sculptor and friend Jessie Lipscomb visited, insisting Claudel was not insane. Camille Claudel died on of an apoplectic stroke on October 19, 1943. She was buried in a communal grave with the bones of destitute persons. The location of her gravesite remains unknown. 

The Camille Claudel Museum in Nogent-sur-Seine was opened in 2017. Approximately 90 statues, sketches, and drawings survive. Twenty additional works from the private collection of Claudel’s sister Louise were sold for $4.1 million in 2017. Rodin and Rose Beuret had a relationship from 1864 until February 1917, when they married. They had one child. Rose died two weeks later. Rodin died on November 17, 1917.

Two of Claudel’s contemporaries, Octave Mirabeau and Louis Vauxcelles, both respected art critics, praised Claudel’s work. Mirabeau called her “a revolt against nature: a woman genius.” Vauxcelles described her as “the only sculptress on whose forehead shone the sign of genius, more virile than many of her male colleagues.”  

Beverly Hall Smith was a professor of art history for 40 years.  Since retiring with her husband Kurt to Chestertown in 2014, she has taught art history classes at WC-ALL. She is also an artist whose work is sometimes in exhibitions at Chestertown RiverArts and she paints sets for the Garfield Center for the Arts.

Filed Under: Arts Lead, Arts Portal Lead

House of the Week:  Sherwood Old and New

March 22, 2023 by Jennifer Martella Leave a Comment

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It was interesting to tour this house as I was an acquaintance of a former owner before it underwent its current renovation to become a licensed, successful Short Term Vacation Rental. I began my tour with a drive past beautiful century-old shade trees, including several majestic Pecan trees, flowering Plum, Pear and Magnolia. The original part of the house was a typical Eastern Shore “L” shape with a  full front hipped roof porch, turned columns and fretwork and a side hipped roof porch facing the driveway parking area. The front elevation shows clues of its Victorian style with the turned columns and pilasters at the house’s front wall, 2/2 windows surrounding the center front door and a gable at the attic level. The exterior color palette of light butter-yellow siding and corner boards, white trim and gray roofing is quite pleasing against its background of green trees and landscaping. 

I would have preferred to see an unchanged rhythm of the second floor original windows but the center window is now half its original size and the shape of the  accent window in the roof gable was changed to a small half-circle shape, set high into the gable. Since there are two other entrance foyers conveniently located at the parking area, I would remove the vestibule that projects onto the front porch, move the pair of entry French doors to the original wall, and add screening to create a wonderful outdoor room. As Mies van der Rohe once wisely said, “Less is more”.

At the rear is a story and a half addition with dormers at the parking area side and a full second floor at the other side, in deference to the massing of the original house. At the main level, the addition contains another foyer with an exterior door and a mini bar tucked between a chimney and the exterior wall. 

At the rear of the addition is a screened porch  leading to the in-ground pool surrounded by landscaping and views of the water. The deep pool surround can accommodate furnishings for both dining and relaxing on chaise lounges.

House of the Week:  Sherwood Old and New

The original part of the house contained a center staircase between two rooms, both with fireplaces on the exterior side walls. One is currently staged as a bedroom and the other as a media room with a large screen TV and built-in millwork next to the fireplace. The firebox is closed off with drywall but retains the original mantel. In all the rooms, the white walls spills onto the hardwood floors through the tall windows for sunny and bright spaces. Behind the front rooms is a foyer facing the side porch, a full bath and separate laundry. The laundry has a door to the exterior for after-pool use and a second staircase to access the upper floor for service. 

The foyer leads to another sitting room that spans the width of the addition and the triple windows on one side opposite the double windows on the other side creates a pleasant spot for quiet conversation. The pantry is notched into the room and creates  

a space below the windows that I envisioned having great potential as a cozy inglenook for a window seat, cushions and pillows opposite other chairs. 

Another foyer with new stairs are opposite the breakfast area that introduces the spacious open plan counterclockwise loop of breakfast-kitchen-dining room-covered porch-living room that clearly is the hub of the house.  

The living room has a fireplace with a rear window overlooking the lawn to the shoreline of Waterhole Cove and three side windows that flood the space with light.  The off-white furnishings and accents of the sofa pillows, the large Oriental rug and the warm wood round

The large diameter wood dining table seats eight and is centered on the pair of sliding doors to the screened porch for water views. The side wall windows are higher so a sideboard could easily be added for serving meals.  The fireplace is centered between the living and dining rooms and is a focal point for both spaces.

 

Pairs of sliding doors lead to the screened porch overlooking the pool, lawn and water.

The spacious galley kitchen has deep blue gray paneled cabinets with accents of a center butcher block island and stainless steel appliances. There is plenty of space for multiple cooks and the island has casters so it could be moved if needed. 

The upper level of the house is cleverly divided into two separate clusters of three suites so two families would have privacy. Each bedroom and bath have their own unique layout. The ensuites in the original part of the house are over the main floor bedroom and the media room, with the third over the side foyer.  Two of the ensuites have water views from the bedrooms.

The addition contains two spacious bedrooms, one next to the rear wall of the original house with a private stair to the small foyer leading to the exterior door or to the laundry so it would be a perfect owners’ suite for a B&B. 

The other is my fave ensuite with the bedroom’s long triple window overlooking the lawn, double windows at one side and a dormer at the other side for sunlight throughout the day.  Connecting these suites is a short hall past the third smaller bedroom, hall bath and storage/service area. 

The 3.94 acre property has water views across the confluence of Harris and Waterhole Creeks. Near the shoreline is a screened Crab Shack and a sandy beach for launching kayaks and canoes. Spacious rooms, including several sitting rooms to accommodate large groups, beautiful wood floors, large windows for sunlight, peaceful and private location. If you have ever dreamed of owning a waterside Vacation Rental or manage a B&B, this one’s for you!

For more information about this property, contact Tom Crouch, who supports the Spy House of the Week, with Benson and Mangold Real Estate at 410-745-0720 (o), 410-310-8916 (c) or  tcrouch@bensonandmangold.com. For more photographs and pricing, visit https://thomascrouch.bensonandmangold.com/ , “Equal Housing Opportunity”. 

Jennifer Martella is an architect with Bohl Architects’ Annapolis office and a referral agent for Meredith Fine Properties. Jennifer is an integral part of Bohl Architects’ design team for projects she brings to the firm. She is also the writer of  Bohl’s website’s  bi-monthly blog “Tango Funhouse” where she highlights the firm’s vision and other fun aspects of life by design. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday.

 

Filed Under: Design with Jenn Martella, Spy Highlights

Elizabeth Song Shines in Her Orchestral Debut with the MSO

March 22, 2023 by Mid-Atlantic Symphony Orchestra Leave a Comment

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Elizabeth Song

The Mid-Atlantic Symphony Orchestra (MSO) is proud to announce the successful orchestral debut of Elizabeth Song, the winner of the MSO’s Elizabeth Loker Concerto Competition this past January. Ms. Song, as the winner of the concerto competition’s first prize, along with a $2,000 cash prize, was the featured soloist in the MSO’s recent March concert series, which took place on Thursday, March 9th in Easton, MD, Friday, March 10th in Ocean Pines, MD, and Saturday, March 11th in Rehoboth Beach, DE.

Ms. Song’s performance of Henri Vieuxtemps Violin Concerto no. 5 in A Minor was nothing short of breathtaking. With her virtuosic technique and musicality, she brought new life to this beloved work, earning thunderous applause and a standing ovation from the audience.

“Elizabeth Song’s performance was a true highlight of our March concerts,” said Michael Repper, Music Director of the MSO. “Her artistry and technical mastery were simply stunning, and it was a privilege to make music with her.”

In addition to Ms. Song’s performance, the MSO’s March concert series featured a diverse program of classical music, including Johannes Brahms’ Tragic Overture and Florence Price’s Symphony no. 1 in E Minor. The MSO was in top form, delivering powerful and nuanced performances under the baton of Maestro Repper.

“We are grateful to our audience for their support of the MSO and the arts in our community,” said Repper. “We are committed to bringing the highest quality classical music to the Delmarva peninsula, and we look forward to sharing more beautiful music with our audience in the future.”

ABOUT ELIZABETH SONG

Elizabeth Song is a thirteen-year-old fourth year Juilliard Pre-College Violin student, and she currently studies with Dr Masao Kawasaki. Previously, she studied with Dr I Hao Lee and Dr.Jiwon Kim. Elizabeth is the current concertmaster of the North Jersey Regions Middle School Orchestra. She is also a Laureate of the Chicago International Violin Competition (2022). As the winner of Juilliard Pre-College under 14 concerto competition, she will perform Joseph Bologne, Chevalier de Saint-Georges Violin Concerto in A major Opus 5 No2 with the Juilliard Pre College String Orchestra on May 13, 2023.

This summer, she will attend the Morningside Music Bridge Program, a full scholarship program at New England Conservatory in Boston.

ABOUT THE MID-ATLANTIC SYMPHONY ORCHESTRA

The Mid-Atlantic Symphony Orchestra (MSO) is the only professional symphony orchestra serving southern Delaware and Maryland’s Eastern Shore with a full season of programs. The MSO is supported in part by the Maryland State Arts Council; the Talbot County Arts Council; the Worcester County Arts Council; the Sussex County, Delaware Council; and the Community Foundation of the Eastern Shore, Inc.

A complete schedule of the 2022-2023 season’s Masterworks and Ensembles programs, venues, times, and other information is available at www.midatlanticsymphony.org.

Filed Under: Arts Notes Tagged With: Arts, local news, Mid-Atlantic Symphony Orchestra

Joe Holt with Scott Robinson at The Mainstay

March 22, 2023 by Spy Desk Leave a Comment

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Scott Robinson

On Friday, April 7, The Mainstay in Rock Hall, Maryland presents another installment in its First Friday with Joe Holt concert presentations. Joe Holt, jazz pianist and accompanist, welcomes a different musical guest at each of his monthly programs. For his April show he welcomes Scott Robinson, one of the most versatile and wide-ranging instrumentalists on the jazz scene today.

Scott has been heard on tenor sax with Buck Clayton’s band, on trumpet with Lionel Hampton’s quintet, on alto clarinet with Paquito D’Rivera’s clarinet quartet, and on the formidable bass sax with the New York City Opera. On these and other instruments including theremin and ophicleide, he has performed with a cross-section of jazz’s greats. A respected performer in all areas of jazz, from traditional to avant-garde, Scott Robinson has arrived at his own unique musical voice which, as once described in a Northsea Jazz Festival program, “combines solid foundations with great daring”.

Scott has been heard numerous times on film, radio and television, and his discography now includes over 165 recordings. His four recording releases as a leader have garnered five-star reviews from Leonard Feather, Down Beat Magazine and other sources worldwide. The newest, Melody from the Sky (featuring the seldom-heard C-Melody saxophone), was recently the subject of a Wall Street Journal article by Nat Hentoff. A busy traveler, Scott has performed in some thirty nations, recently completing tours on five continents in a three-month period. He has performed at Carnegie Hall, at the Village Vanguard, at the Smithsonian Institution, and for the President of the United States. Scott’s group was selected to be the closing act at the Knitting Factory’s Sun Ra Festival in New York City. He was also an invited speaker at the Congressional Black Caucus Jazz Forum in Washington, D.C.

In 1981, he graduated from Boston’s Berklee College of Music, and a year later became, at 22, Berklee’s youngest faculty member.

Scott has been awarded four fellowships by the National Endowment for the Arts, and participated in a number of Grammy-nominated recordings.

Showtime for the live concert event is 8 pm. Tickets are $20 in advance of the show and can be purchased online at mainstayrockhall.org. Phone reservations are accepted by calling (410) 639-9133 (tickets reserved by phone are $25 when paid at the door). The Mainstay is located at 5753 N Main Street in Rock Hall, Maryland. Its regular calendar of local, regional, and nationally touring artists features a live performance every week of the year (February through December) in a variety of music genres.

The programs of the Mainstay are supported with funds from the Maryland State Arts Council and the Kent Cultural Alliance.

Filed Under: Arts Notes Tagged With: Arts, local news, The Mainstay

Authors & Oysters: David Goodrich

March 22, 2023 by Spy Desk Leave a Comment

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The Bookplate is happily continuing their popular Authors & Oysters event series at The Retriever Bar in 2023. Author Brooks Yeager was featured in the most recent Authors & Oysters event on March 15th. Next up on Wednesday, April 5th at 6pm, all are invited to The Retriever to welcome back author and cyclist David Goodrich as he discusses his latest book, “On Freedom Road; Bicycle Explorations and Reckonings on The Underground Railroad”.

“The traces of the Underground Railroad hide in plain sight: a great church in Philadelphia; a humble old house backing up to the New Jersey Turnpike; an industrial outbuilding in Ohio. Over the course of four years, David Goodrich rode his bicycle 3,000 miles east of the Mississippi to travel the routes of the Underground Railroad and delve into the history and stories in the places where they happened. He followed the most famous of conductors, Harriet Tubman, from where she was enslaved in Maryland, on the eastern shore, all the way to her family sanctuary at a tiny chapel in Ontario, Canada. On Freedom Road: Bicycle Explorations and Reckonings on the Underground Railroad enables us to see familiar places—New York and Philadelphia, New Orleans and Buffalo—in a very different light: from the vantage point of desperate people seeking to outrun the reach of slavery. Join in this journey to find the heroes and stories, both known and hidden, of the Underground Railroad.”

David Goodrich worked at the National Oceanic and Atmospheric Administration, and served as the Director of the UN Global Climate Observing System in Geneva, Switzerland. He retired as head of NOAA’s Climate Observations and Monitoring Program. In addition to his cross-country bicycle trip, he has ridden down the Appalachians and across Montana, South Dakota, France and Spain. His written works include A Hole in the Wind and A Voyage Across an Ancient Ocean. He lives in Maryland.

“On Freedom Road is a vital and accessible text for readers to understand the conditions enslaved people faced when attempting escape.”—Booklist

“Climate scientist Goodrich documents his bike rides along ‘routes of the Underground Railroad’ in this illuminating blend of history and travelog. Throughout, Goodrich reveals how slavery is remembered and misremembered in America, and makes a convincing case that ‘national trauma, like a wound, tends to heal when it’s exposed to air.’ It’s a harrowing yet inspirational ride.” —Publishers Weekly

“A heartfelt reminder of the importance of remembering our past in order to continue to learn from it.”—Kirkus Reviews

For more event details contact The Bookplate at 410-778-4167 or contact@thebookplate.net. This event is free and open to the public. Reservations are not required. The next Authors & Oysters event is scheduled for 4/19 with National Book Award winner, Edward Ball. All events are held in the back room of The Retriever, located at 337 ½ High Street in Chestertown, Maryland. 

Filed Under: Arts Notes Tagged With: Arts, local news, The Bookplate

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Spy Arts Diary: B’way in B’more, Photo Art in DC and Music All Over

We’re halfway through the EGOT season now. EGOT, of course, stands for the top four performing arts prizes. T.V.’s Emmys aren’t awarded until September. Of local interest, the recent Grammys included a triumph for Michael Repper, music director of Easton and Delmarva’s Mid-Atlantic Symphony Orchestra. The Oscar presentations passed without a major incident. So that leaves the Tony Awards with the top prize of Best Musical. It will be announced on May 2, with the awards show on Sunday, June 11. If you haven’t already, you can catch up on the big winner from the 2022 Tonys. “Hadestown,” ... [Continue Story]

Arts Highlights

Looking at the Masters: Camille Claudel

Camille Claudel (1864-1943) was born in the Aisne region of northern France into a family of priests, farmers, and the gentry. Her father was a ... [Continue Story]

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  • Mid-Shore Music: MSO’s Michael Repp Wins Grammy for Youth Symphony Work

Looking at the Masters with Beverly Smith

Looking at the Masters: Adelaide Labille-Guiard   

Adelaide Labille-Guiard (1749-1803) was one of the eight children of Claude Edme Labille and Marie-Anne Saint-Martin. Her father owned a haberdashery ... [Continue Story]

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Design with Jenn Martella

My first introduction to the Chesapeake Bay Maritime Museum was during a visit to my sister over the July 4th weekend in 2003.  We joined the throng ... [Continue Story]

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Weather Report with Cece Storm

The Spy Weather Report with Cecile Storm

The Spy Weather Report forecast and words for September 30 to October 1 “Our revels now are ended. These our actors, As I foretold you, were all ... [Continue Story]

  • The Spy Weather Report with Cecile Storm
  • The Spy Weather Report with Cecile Storm
  • The Spy Weather Report with Cecile Storm
  • The Spy Weather Report with Cecile Storm
  • The Spy Weather Report with Cecile Storm
  • The Spy Weather Report with Cecile Storm

Delmarva Review

Delmarva Review – Skimmers: A Love Story in Three Parts by Patty McLaughlin

Author’s Note: “When our children were young, we would spend our summers on Virginia’s Eastern Shore — a much different world from our suburban ... [Continue Story]

  • Delmarva Review: The Bricks of Baltimore by Michael Salcman
  • Delmarva Review: The Accidental Lion by Nicholas Katsanis 
  • Delmarva Review: Dippin’ Dots by A. J. Granger
  • Delmarva Review: Reasons to Burn Her by Catherine Carter
  • Delmarva Review: Love of Learning by Esther Lim Palmer
  • Delmarva Review: E Duo Unum by Maxine Poe-Jensen
  • Delmarva Review: Hard Drive by Thalia Patrinos
  • Delmarva Review: Learning to Swim by Ellen Sazzman
  • Delmarva Review: Butchery by Josh Trapani
  • Delmarva Review: I Want to Order a Man from the Sweets Catalog, by Fran Abrams

Chesapeake Lens

Chesapeake Lens:  “They’re Back!” By Paul Fine

Nothing announces spring like the return of our ospreys from their winter habitats. This pair makes ... [Continue Story]

  • Chesapeake Lens: Sunrise, Hawk’s Cove by Bob Reynolds
  • Chesapeake Lens: Castle Marina by Jacki Thurman McArdle
  • Chesapeake Lens: The Oysterman by JP Henry
  • Chesapeake Lens: Buyboats by Kim Kelly
  • Chesapeake Lens: Kentmorr Sunset by Susan Hale
  • Chesapeake Lens: Teamwork by Lenny Burton

Arts Notes

Journey Into the Imagination with the 2023 Chesapeake Film Festival

Save the dates! The 2023 Chesapeake Film Festival (CFF) will be LIVE Saturday, Sept. 30 and Sunday, Oct. 1 at two historic venues in Easton, MD.  The ... [Continue Story]

  • Tidewater Camera Club April Speaker Meeting
  • Elizabeth Song Shines in Her Orchestral Debut with the MSO
  • Joe Holt with Scott Robinson at The Mainstay
  • Authors & Oysters: David Goodrich
  • Lecture on the Friendship Between Two Poets
  • Award-Winning Poet to Present Six Poems That Can Save the World
  • The Garfield Center to Open The Mystery “Prescription: Murder” April 14
  • Upcoming Events at the Avalon Theatre
  • Emmanuel Church Organ Concert on March 24th
  • Academy Art Museum Acquires Properties on Talbot Lane

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