A few times a year, the Spy makes it a point to check in with the Oxford Community Center’s Liza Ledford. The OCC is indeed a thriving community-supported arts program for the town’s relatively small number of residents. but the reality is that due to its extraordinary programming, whether it be theatre, art, music, or lectures, the OCC is a remarkable standout on the entire Mid-Shore.

That’s one of the many reasons the OCC received a rural development grant to upgrade its technology, allowing for even high-end profile music events, including a new jazz series under the directorship of Al and  Marty Sikes this year.

In our chat with Liza, she highlights this bold new initiative as well as other special events that will make Oxford once again a Shore favorite in 2024.

This video is approximately five minutes in length. For more information about the Oxford Community Center, please go here.

Born in Guatemala, Jose Ramirez came to the United States in 2012 hoping for a better life and hoping to make that life through making his art. He had studied art in Guatemala between 2007 and 2009, beginning his career as a professional artist in 2009 after attending the Manuel Herrarte Lemuz art school in Chiquimula, Guatemala. He says that he was from a small town in the country, about the size of Cambridge, that had no galleries .  “Galleries were for the big cities, and even then there were not many opportunities to sell.”

Ramirez defines his art as “more traditional,” and he prefers to draw from life, not memory.  He aspires “not to a photo realistic painting but rather to capture the feeling evoked” in him by his subject.  He counts Monet as one of the painters he finds inspiring, because Monet painted outdoors, which he prefers to do himself.  He also uses a lot of color in his paintings, and credits Renoir for his love of color.  While his art does not support him here (yet), he says that living here has given him the opportunity to keep getting better at his art by providing lots of opportunities to paint outdoors with plein air folks.  He is a member of the Plein Air Painters of the Chesapeake Bay based in Easton.   On his website, photos of his work are accompanied by ribboned awards in various shows, attesting to his accomplishments.

“Plein Air” simply means painting outdoors with the artist’s subject in full view.  Plein Air Easton is the largest and most prestigious juried plein air painting competition in the United States, and Ramirez has also participated with The Working Artists Forum shows held at the same time as the Plein Air festival there. 

Ramirez says he was surprised to find that The Working Artist Forum was composed mostly of women.  He notes that in Guatemala, professional painting is done mostly by men.

In October and November of 2023, the Dorchester Center for the Arts invited Ramirez to participate in a solo show.  As part of the show, he held a well-attended demonstration of how he paints larger paintings using a watercolor sketch.    I attended that demonstration and was taken with how comfortable he was at the easel, sketching in the painting first and then speaking to the use of color and light in that painting.

Ramirez notes that he always carries a sketchbook, brushes and a small watercolor pallet with him everywhere he goes since he never knows when he will be taken with a scene or have time to sit and sketch something that will later find it’s way to a larger, framed painting.  He works on these larger paintings indoors in inclement weather, which allows him to work at his art all year round.

His watercolor sketchbook is impressive all by itself, and while the paintings are small, they are complete in themselves, perfectly capable of being framed as works of art on their own.  Ramirez says he has been known to sell the sketches, which take as little as 20 minutes and up to an hour to complete, unframed if they catch someone’s eye.

“A lot of people think I am a watercolor artist,” says Ramirez.  “But my larger paintings are done in oil.  I like the process, the ability to do many layers in oil which you cannot do in watercolor.  You can also take a rag and wipe away something you don’t like, which you can’t do with watercolors.  Switching from watercolor to oil is also a good practice in being present with what I am creating because with watercolor, I work from light colors to dark colors, while with oils I work dark colors to light colors.  I have to pay attention to what and how I am creating.”  He says that painting soothes him and helps him to remain calm.

Ramirez has been juried into shows in Annapolis and Columbia, MD, in addition to multiple shows around the Eastern Shore.  He notes that he has applied to several shows already for this year and is waiting to hear back.  He expects to be showing in Oxford at the Fine Arts Show, May 17 – 19 this year, as he was accepted in 2022 and 2023 and did very well there, selling eight of his paintings in 2023.  His traditional land- and waterscapes find an appreciative audience of art lovers there.  This show, held at the Oxford Community Center, attracts clients from “Baltimore-Washington, Philadelphia, Virginia and New York” according to its website.

In addition to his landscapes, Ramirez accepts commissions for portraits of people and of favorite pets clients want to remember.

Expecting his first child any day now, Ramirez says that may slow him down a little as he works into the new routine a baby brings to the house.

You can  reach Ramirez by email:  [email protected], find him on FaceBook under his name , Jose Ramirez (and keep up with his prolific sketches and paintings), and on Instagram at joserami9779.  You will find more of his work and information on shows in which he has participated on his website:  https://joserami439.faso.com/about

Tammy Vitale. an artist herself, has fallen in love with all the facets of art available in Cambridge/Dorchester County, and wants the rest of the world to get to know and love the arts and artists of this area as much as she does. Cambridge artists (broadly defined) are invited to contact her [email protected], subject line “Arts.”

The year 1965 was a very big deal in my life. I graduated from Easton Jr.-Sr. High School at what is now Easton Middle School across Peach Blossom Road from Easton YMCA and St. Mark’s United Methodist Church, where I attended Sunday school. My graduation date also corresponded with the Rolling Stones’ release of “(I Can’t Get No) Satisfaction.” And it was the time of my first paycheck in a career that spanned 55 years and still counting if you include my current free-lance forays. What I remember of that time and place is that entering the new Chesapeake Bay Maritime Museum was like wandering into the front yard of my grandfather’s farmhouse on Dutchman’s Lane. Only in this case, the lane was paved with pebbled stoneage.

Now, there’s a brand new gateway to the treasures of this museum dedicated to a way of life, a way of sustenance for landlubbers and watermen alike. My folks milked cows and grew corn. Here at the maritime museum, we celebrate those who harvested oysters and crabs–rockfish, too. What is new about the museum today is its entryway into a world most of us know, even lifelong Eastern Shore folks, only from restaurants and seafood aisles in supermarkets. I remember days when tides flowed out so fast that you couldn’t catch crabs fast enough to count. But we never did that for a living. We sold milk to Breyer’s ice cream on refrigerated trucks that hauled it back to Philadelphia. I was a farmboy and can’t tell you how I ended up reviewing musical theater, except that it was a lot less messy than milking 60 cows twice a day. 

What I so appreciate about the brand-new Visitors Center of Chesapeake Bay Maritime Museum is that it invites you into this realm most of us know little about firsthand. You drive into the museum’s main entrance, and there’s a parking lot, of course, and on summer weekends, it may be filled to the gills, as you might say in fish parlance. The exhibit now on display for an entrance fee, “Water Lines: Chesapeake Watercraft Traditions,” gives you a sense of what it takes to make a living by this means or to enjoy the sport of sailing, racing, or whatever on the bay. After that museum-style introduction, walk out onto the campus vista in front of you – the St. Michaels Harbor and Miles River, from which the British couldn’t shoot straight because they aimed too high due to lighting that fooled them. 

If you haven’t already done so, be sure not to miss the exhibit in the Steamboat Building just to your left as you exit the Visitors Center toward the harbor. “The Changing Chesapeake” is a wake-up call to what awaits us if we pay no attention to climate change. It’s a no-brainer to figure out that areas closer to sea level are at risk of inundation. It’s no exaggeration, for instance, that a quarter of Dorchester County will be under water within the lifetime of our next generation.

OK, so that’s a bummer for sure. But there may still be time to do something about it. And just to show what the historic spirit of St. Michaels is about, check out The Fool’s Lantern restaurant, paying tribute to the Revolutionary War diversion that spared the town of hostile onslaught. Talk about making America Great Again. Hey, you did that a long time ago, St. Michaels, so do it again. The sea is rising–time to rise again to the occasion.

cbmm.org

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John Gallagher Jr. in Swept Away at Arena Stage

For a very different sea-going adventure, here’s your chance to see the next big – possibly – musical Broadway hit, “Swept Away,” with music and lyrics by The Avett Brothers. This East Coast premiere with a book by John Logan, whose Broadway credits include “Red” about the artist Mark Rothko, is directed by Michael Mayer, a Tony winner for directing “Spring Awakening,” which also won John Gallagher Jr. a Tony for featured actor in a musical. Gallagher now stars in the lead role in “Swept Away,” based on the story of an ill-fated 19th-century voyage out of New Bedford, Mass., ending in unspeakable tragedy that may or may not offer a chance at redemption. The show runs through Jan. 14 at Arena Stage in Washington, D.C. A review by the Washington Post said “Swept Away” has “proved itself worthy of a Broadway christening.” For Gallagher, a native of Wilmington, Delaware, this would be his fifth Broadway credit in a leading or major supporting role.arenastage.com

As the fraught 2024 presidential season opens with the Republican-only Iowa caucus on Jan. 15, a commentator with a sharp sense of humor and a perspective from outside an exclusively American perspective may be just the ticket. Not that Trevor Noah is on anyone’s ticket for president or VP. As a native of South Africa, the TV star who succeeded Jon Stewart on “The Daily Show” is constitutionally ineligible for those offices. But Baltimore’s Hippodrome Theatre of the France-Merrick Performing Arts Center has just the ticket for his particular illumination, with shows running Jan. 11-14. Not that his commentary is apolitical. Noah offers an effectively non-partisan perspective, however socially relevant his views may be. Whether you agree or not, it’s refreshing to laugh at each other’s foibles and consider that disagreement does not make folks of an opposite opinion your sworn enemy.
france-merrickpac.org
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Main Street Gallery in Cambridge opens the new year with an aptly named show called “Serendipity,” dictionarily defined as “unplanned fortunate discovery.” First, if you’re unfamiliar, Main Street in Cambridge does not exist. The town’s only artist-owned-and-operated gallery is located on Poplar Street downtown. “You may discover a beautiful painting at a significant discount,” says director Linda Starling, “or a unique piece of knitwear perfect for a cold winter day.” Whatever the serendipitous surprises, the show and sale runs Jan. 4-Feb. 25, with Second Saturday of the month events planned for Jan. 13 when the gallery will stay open 5-8 p.m. during Cambridge’s Ice and Oyster Festival, and again for the same hours, Feb. 10 for pre-Valentine’s observance. Light refreshments and a chance to hear artists present brief chats about their works will be part of both free winter receptions.
mainstgallery.net
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“Come to the Cabaret” at Church Hill Theatre. No, this is not a preview performance of the John Kander and Fred Ebb masterpiece to be revived once more on Broadway in April. But it is a chance to support a worthy local theater company with a one-night-only performance by local artists in a cabaret-style show preceded by an open-bar cocktail hour. It begins at 6:30 with curtain an hour later for $50 admission. Unlike the Broadway “Cabaret,” no Nazis or gorillas allowed.
churchhilltheatre.org
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If you catch Improv Easton’s free First Night Talbot show at 7:45 p.m. at the Avalon Theatre’s Stoltz Listening Room – you may be inspired to see if you’re up to the improvisational challenge yourself. The next “Try-It” night is 6 p.m. on Jan. 16. Sign up by emailing [email protected]. Follow Improv Easton on Facebook or Instagram.

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

Academy Art Museum (AAM) is currently hosting an exhibition that challenges traditional notions of sculpture. Sebastian Martorana: Public/Private finds humanity – mostly in marble – and offers museum-goers a glimpse into the artist’s unique perspective. 

The exhibit name is more than just a window into Martorana’s dual artistic focus. It also explains how most artists find an approach to their work. “There are those pieces that are inspired by public things, things outside of ourselves,” said Martorana, “and then artworks that are inspired by things that are really much more personal; individual things that are more home and family oriented.” The decision to showcase Martorana’s work in two individual yet interconnected gallery spaces at AAM reflects this dichotomy of an artist who is interested in the intricate nuances of the human condition and the sociopolitical realities of our lives.

In one gallery, you will encounter “Trumppet,” a provocative cartoonish bust in white marble mounted on cedar wood. Across the room, “Permanent Separation Anxiety” depicts a squished teddy bear carved from smudged, salvageable marble. Neither could be classified as huggable.

Yours, Mine, Ours

A lighter atmosphere will be found in the adjoining gallery with pieces such as “Baby Boots on the Ground” and “Work Mittens,” alongside busts of the “Friendly Ghost” and “Kermit” (the Muppet frog). The showstopper, “Yours, Mine, Ours,” is where the artist’s playfulness collides with precision – hyperrealistic marble bath towels hang on metal racks so convincingly, you almost want to reach out. Resist. However, touching (or sitting) is encouraged with “New Construction,” a marble-imitating-brick-imitating bench in the middle of the gallery floor. 

Martorana passion for sculpting came about not through being inspired by other artists in his family – there were none – but through exposure to art books, museums, and images of Renaissance-era stone carvings. While growing up in Northern VA, his passion for art blossomed thanks to the Virginia Governor’s School Program, a publicly funded summer program. This was followed by a Bachelor of Fine Arts in Illustration from Syracuse University, including a semester in Florence. He earned his Master of Fine Arts at the Maryland Institute College of Art’s Rinehart School of Sculpture. Beyond creating commissioned architectural sculptures and more expressive personal works, he is an adjunct professor at the Maryland Institute College of Art. 

Free Sample Bucket

And it is here that he passes on an important life lesson for those students who want to experience the success he has: “I tell them, being an artist is expensive. So, find a job that accentuates or subsidizes that interest instead of a completely separate job. It’s difficult if you are trying to make it as an artist and also have to work full-time in an office, grocery store, or coffee shop. Those are exhausting jobs and don’t necessarily have anything to do with your creative process. If you want to be a metal worker, a sculptor, a welder, or weaver or something like that, find a job that is in some way in that field.”

Martorana speaks from experience. After college, he became a full-time apprentice in a stone shop outside Washington, D.C. The immersive experience allowed him to master the technical aspects that enabled him to translate his creative vision into marble.

Much of Martorana’s stone carries a history of its own. Rather than faultless blocks from suppliers, the artist sources architectural salvage from Baltimore’s ‘perpetual cycle of construction and decay.’ “The stone has its own unique narrative,” he said, “another interesting layer, conceptually.” Using recycled material lends depth to his exploration of the public and private worlds. From this storied stone, Martorana creates an array of textures, examples of which can be seen at the AAM academy. 

Friendly Ghost

However, his artistic abilities extend beyond marble and include granite, limestone, slate, and sandstone. He admits that ‘”The type of stone I pick for a sculpture is sometimes defined by the stone itself.” Besides sculpture, he is also adept in wood carving, architectural design, and letter carving, the latter a skill that also sets him apart from others. “Easily 50% or more of my annual revenue,” he said, “is carving letters. There are a lot of carvers that only do letter carving but not sculpture; there are a lot of carvers that only do sculptural architectural work, not letter carving. But the lettering is just often what’s needed for a project. So I’ve done a lot of it. Besides, it’s a very demanding discipline. If you screw something up, it’s really obvious.” Martorana generally avoids using letters to define his artwork, although one of his lettered pieces is in the exhibition. “I’ve always wanted my work to be more global, universal, in the sense that anyone can look at them and hopefully draw something out of it. If I’m writing something in English, only English-speaking viewership will be able to understand what I’m doing.”

Clearly, there is no lack of understanding of the depth of Martorana’s portfolio. It includes significant projects for the U.S. Federal Reserve and St. Patrick’s Cathedral, as well as exhibitions in galleries and museums. Notably, his sculpture, “Impressions,” was featured in the exhibition “40 Under 40: Craft Futures” at the Renwick Gallery of the Smithsonian American Art Museum over a decade ago, when he was still in his 20s. The piece is now part of the Museum’s permanent collection. “To have any artwork in that collection in those buildings is certainly very, very surreal,” he said. “That show was an incredible experience and definitely opened opportunities.” 

You can say that one of the doors it opened was the Academy Art Museum’s. But as pleased as they are to include his work, he is equally enthused about AAM. Their motto of ‘Where Art is for Everyone’ resonates strongly with him. “It’s really easy to say but a lot harder to do. In recent years, many museums have moved to this model. But it’s harder for a smaller private museum to have free entry for everyone all the time. I took it for granted to be able to go to D.C. and walk into places that were completely free. The Academy Museum is doing that same thing, and it’s a real rarity that I hope people appreciate and take advantage of because it’s just not as common as you think.”

So go check out Sebastian Martorana: Public/Private. See how Martorana infuses life into the cold and unyielding medium of marble. Don’t be surprised if what you ultimately find is a glimpse of humanity and the connections binding us. And if Martorana has ignited your artistic spark, then take advantage of another ember he’s giving you. As you leave the gallery, by the door, there is a paint bucket, ‘Free Samples,’ the sign says. Reach in, take home a piece of marble, and tell your own story.

Sebastian Martorana: Public/Private running through March 24, 2024, at Academy Art Museum, 106 South Street, Easton, Md. Admission is Free.

You could call it a Sunday service, but if there was any sermon involved, it was largely unspoken. 

Chesapeake Music’s “Salute to Don Buxton” – presented by a stellar organization that would not exist without him – reminded me of religious services in the same space that was once the Ebenezer Methodist Church sanctuary, except that this event seemed personally inspired rather than worshipfully so. No choir, no organist at any Sunday service I can recall attending as a teen or tween in the late ’50s/early ’60s could hold a celestial candle to what I experienced on behalf of Buxton, retiring 38 years after he and his wife Meredith founded Chesapeake Music. (Full disclosure: What did I know when I was 10 or 13? Mostly, I couldn’t wait for it to be done.)

But in this case, much of the near-capacity audience on a rainy Sunday afternoon hung around long after the last note played, not so much for the champagne toast in Buxton’s honor but for a chance to speak to him, shake a hand, or just exchange memories with others about the musical legacy he has made possible.

So while the video tribute to Buxton that opened the program was a collective testament – from founding musicians to financial collaborators who contributed to the cultural landscape of a primarily rural mid-Shore region – the music was worth more than any thousand words I might bore you with. I’ll try to illuminate instead economically.

The concert, as billed, consisted of the Robert Schumann Piano Quartet in E-flat Major, which pianist Diane Walsh, who has played in Chesapeake Music’s Chamber Music Festival since its second season, described the piece as a complicated but – oh, let’s not give away the ending – romance. Robert – we suspect no one called him Bobby unless it was Claire – wanted to marry the young woman forbidden by her father to wed. The challenge went all the way to the courts, which, due to the slow wheels of justice, took the case almost to Claire’s 21st birthday, when her father’s blessing was legally irrelevant. Doesn’t sound so romantic, does it? But it’s just such stuff of life that inspires artistic masterpieces.

As played by Walsh on piano, and Marcy Rosen on cello, who performed in the inaugural Chesapeake Music Chamber Festival, and now co-artistic director Catherine Cho on violin, and fellow festival veteran Todd Phillips on viola, the performance of Schumann’s quartet was brought to vibrant new heights. I’ve always thought Schumann’s chamber works – not without exception – are superior to his complete symphonies. The emotion evoked in this piece attempts to transcend the complexity of what the composer must have felt in creating it. 

From the start, you can feel the urgency of what the couple felt for each other, tempered only by the paternal opposition they faced. Notes of despair emerge in the second movement, particularly on the cello, but later, in defiance, they are expressed on violin/viola determination. The third movement’s opening love-lost lamentation mellows into an irresistible romantic heart-plucking cello expectation. As promised by musical foreplay, the finale is more assertive and triumphant.

Not satisfied with this 30-minute tribute to Buxton, the quartet rewarded their standing ovation with an encore, Dvorok’s Quartet in D-flat Major, which together with the Schumann would comprise at least full symphonic or quartet concert post- or pre-intermission concert.

This brings us to Don Buxton’s other significant contributions to classical musical resonance on the Delmarva Peninsula. He was also the first musical director of the Mid-Atlantic Symphony Orchestra, now the only such professional symphony orchestra south of Wilmington in this region, and by all means worthy of his progeny, now led by Grammy-winning maestro Michael Renner.

Fittingly, Buxton got — almost — the last word on stage when he asked his wife Meredith somewhere in the Ebenezer audience: “What’s the one word you never taught me to say?” Her answer: “No!” In this case, I feel sure from the full-house laughter it produced that Meredith Buxton would agree that her “no” was in no way a negative.

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

Installation from “Dominion,” by Marty Two Bulls Jr.

In the last speech he delivered in Memphis the night before he was assassinated, the Rev. Dr. Martin Luther King Jr. recalled his Birmingham, Alabama nemesis, segregationist commissioner of public safety Bull Connor, siccing dogs and fire hoses on civil rights marchers. King proclaimed: “There was a certain kind of fire that no water could put out. And we went before the fire hoses; we had known water. If we were Baptists or some other denomination, we had been immersed. If we were Methodist and some others, we had been sprinkled, but we knew water.” 

Approaching a half-century after his April 4, 1968, murder, Atlanta’s High Museum of Art mounted a photographic testimonial to the authenticity of the nonviolent civil rights movement launched by King. I say “authenticity” because so much of what is fact and history today is questioned by those who would have us erase the reality that many African Americans who may or may not feel disadvantaged today are the progeny of those who were captured, transported across the Atlantic, and sold into slavery. Book banners and others seek to conceal parts of history that reflect poorly on the American dream, saying they want to spare young white people any hint of guilt or shame. But no one is blaming white children or adults, generations removed from the slave trade in America. But the truth still matters. And always will.

The exhibit that opened at Easton’s Academy Art Museum in this 55th year since the Rev. King’s murder records the struggle for justice by African-Americans who, especially in the South, never escaped the enforced disenfranchisement of Jim Crow “laws” rolling back the Civil War Proclamation of Emancipation.

Civil Rights Photography Then and Now

Upon entering the AAM’s Lederer Gallery, we see Burk Uzzle’s black-and-white photo of black Americans attending a march for striking sanitation workers in Memphis, where King showed up in support. Three blocks away, Uzzle also photographed white men lined up along the strikers’ march route. Meanwhile, Ernest Withers captures a still shot of strikers holding signs reading, “I am a man.” And then, mere hours later, news photographer Steve Schapiro records for the historic record a press conference outside the Lorraine Motel after King’s murder. King . was 39 at the time of his violent death. A series of funeral photos by Uzzle, Doris Derby, and Benedict Fernandez follows, picturing Coretta Scott King and two of their young sons. Also pictured are Robert Kennedy and his wife, Ethel. Kennedy was assassinated barely two months later, and to put a perspective on how relatively recent this hateful political slaughter occurred, Ethel, at age 95, is still among us. 

About halfway around the Lederer Gallery, the civil rights theme takes a distinct turn, marked by a demarcation from black-and-white to a 1956 color photograph by Gordon Parks of a segregated drinking fountain in Mobile, Alabama, starkly labeled as “Colored Only” and “White Only.” The visual record that follows depicts the discrimination and deprivation that motivated the movement toward equal but not separate treatment – from lunch-counter sit-ins in Portsmouth, Virginia, to the summer of 1965 “Freedom Bus Riders” in Oxford, Ohio. While the historical records of these photos, including uncredited newspaper stills, are important from an artistic perspective, one of the most unforgettable is James Korales’ “Selma to Montgomery March, 1965,” projecting a long line of citizen soldiers for equality moving along a steep ridge cast against a storm-threatening sky.

Across the hall in the Healy Gallery, the exhibit continues with Morton Broffman’s photo of a woman sobbing after reading a newspaper headline: “SEN. KENNEDY SHOT IN HEAD.” Hours after that front-page extra edition was printed, Bobby Kennedy died. Another Broffman photo of NAACP marchers in Washington, D.C., shows a placard proclaiming, “You Can Kill a Man, but You Can’t Kill an Idea.” 

A photographic series by Sheila Pree Bright references more recent deadly encounters involving civil rights violations, including a protest in Baltimore over the death of Freddie Gray in city police custody. The final image in this civil rights visual essay offers a peaceful footnote. It’s a color photo of a puppy asleep in a pew at the Rev. King’s former church, Ebenezer Baptist in Birmingham. 

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Aside from “A Fire That No Water Can Put Out,” there’s much more to see in new exhibits at AAM. In a show of sculptural pieces – mostly of marble – “Public/Private” by Sebastian Martorana, you’ll recognize the subject of a cartoonish bust in white marble mounted on cedar wood. In case you don’t get it right away, check the title: I won’t give it away here. In the next gallery, adorable baby boots and mittens along with busts of the “Friendly Ghost” and “Kermit” (the Muppet frog) are at the very least smile-worthy.

Moving on to the hallway gallery upstairs, “Immaculate Landscapes” by Brett Weston (1911-1993) takes you on a black-and-white pictorial travelog. Most images are shot in Alaska and Hawaii and points between and beyond. “Ice and Water, Alaska” captures 1970 ice floes that have melted long ago. Pity the polar bears. “Lava, Hawaii,” from 1982, depicts fascinating textures that make you wonder if they were solid or liquid at the time. Some images are cliches from early in his career, such as 1952’s “Farm Landscape,” with cloud formations competing with the pastures and fields below. More appealing is Weston’s “Building Reflection” series of glass-encased urban highrises photographed with fun-house mirror effects.

Before you leave, if you haven’t already done so, see what you make of the immersive “Dominion” installation in the museum’s entryway Atrium. Marty Two Bulls Jr. critiques American consumerism and its harmful environmental effects. He focuses on the barely averted extinction of bison herds that defined the livelihood of the nomadic Oglala Lakota tribe of the Northern Plains. As seen from above, paper cutouts of buffaloes are strewn on walls and windows of the Atrium – with bronze-colored beer bottles suspended as they appear to be falling out of overturned trash cans. Some “buffaloes” are branded with dollar signs, while others are marked with interactive QR codes. Take a picture of one or two on your cell phone to see what you may learn.

Marty Two Bulls Jr. will present an artist’s talk at AAM on March 1.

‘A Fire That No Water Could Put Out’
Photographs from the Civil Rights Movement, through March 10 at the Academy Art Museum, 106 South St., Easton. “King: A Filmed Record . . . Montgomery to Memphis” will be screened, free, on February 17. Also exhibited now are “Sebastian Martorana: Public/Private” through March 24, “Brett Weston: Immaculate Landscapes” through March 31, and “Marty Two Bulls Jr.: Dominion” through September 1, 2024. academyartmuseum.org

The Garfield Center for the Arts production of Little Women is as much about four sisters growing up during the Civil War as it is about the spirit and ingenuity it takes to do community theatre.

Minimalist in budget and set-design—the crew brought in their own furniture!—Louisa M. Alcott’s famous novel adapted by playwright Kate Hammill unfolds with a strong all-women cast and seasoned director in Hester Sachse. Sachse is otherwise immersed in the arts as Deputy Director at the Kent Cultural Alliance.

At least two the actors had never set foot on stage, but according to Sachse, the cast grew into their roles to become a family not unlike their roles as the March sisters. It was that kind familial bond that Sachse says illuminates the story of the four girls making life choices as they grew up.

Published in 1868, Little Women challenged societal expectations for women and emphasized individuality, ambition, and the pursuit of personal goals. Alcott’s portrayal of strong female characters navigating love, career, and family still resonates with readers across generations as a a cultural touchstone, celebrated for its wisdom and the empowerment to forge one’s own path.

“Macy Morris portrays Jo March, Maryanna Shoge appears as Meg, KT Pagano plays Beth, and Izzie Squires Southworth performs the role of Amy. Their mother, Marmee, is played by Minnie Maloney. Sam Holdgreve plays the role of Laurie, Allison Jones appears as John Brooks and Parrot, Cassi Pinder plays Hannah and Mrs. Mingott, and Rebekkah Napier plays Mr. Laurence and Robert March.

The production is assisted by a well-experienced crew of artistic contributors. Costumes are by Connie Fallon. KT Pagano is Fight Captain. Props are by members of the cast and by Hester Sachse, who is also doing the sound and projection designs. GCA Theatre Manager Nic Carter is designing lights. Artist Emily Kalwaitis has contributed artwork to the production, and Natalie Hagan has provided choreography,” Sachse writes.

The Spy caught up with Hester via Zoom to talk about the production.

This video is approximately seven minutes in length. Little Women continue its run weekends through December 17th. Show times are 8pm on Fridays and Saturdays and 2pm on Sundays. Tickets are available on the Garfield Center website, 

Practically everyone who ever heard a Christmas song or tune knows that Irving Berlin wrote “White Christmas” and that Tchaikovsky composed “The Nutcracker Suite.” Although seasonal masterpieces get their due in the Mid-Atlantic Symphony Orchestra’s delightful “Holiday Joy” concert, Leroy Anderson is the star composer in this diverse and illuminating program.

Not exactly a household name, Anderson arranged a medley – first recorded by the Boston Pops in 1950 – into a classical overture he called “A Christmas Festival,” featuring the greatest holiday hits we all know (except maybe only Brits are familiar with “Good King Wenceslas”). After this collection opened “Holiday Joy,” MSO’s Grammy-winning music director confessed his love of Christmas music regardless of his Jewish heritage. Irving Berlin would very likely agree.

Rob McGinniss

On a crowded Avalon Theatre stage with 39 musicians, including Repper, who played two pieces on a keyboard because there was no room for a sit down piano, the orchestra boldly proclaimed that “It’s the Most Wonderful Time of the Year” before another piece by Leroy Anderson riveted our attention thanks to the clarion call of three MSO trumpeters – Luis Engelke, Josh Carr, and Ross McCool. In fact, Anderson’s “Bugler’s Holiday” is more widely associated with Fourth of July fireworks than Christmas stockings hanging from a fireplace mantel. But as performed by the trumpet trio accompanied by a fulsome orchestra, the holiday spirit transposed seamlessly from a key of July to one of December.

But that was hardly the only liberty Repper took in presenting “Holiday Joy.” While the duet from Rossini’s “The Barber of Seville,” starring soprano soloist Claire Galloway and baritone Rob McGinniss, has nothing to do with Christmas or any other holiday – unless there’s one on the Italian calendar I missed – this rendition of a scene from arguably the best comic operas ever created is worth celebrating any day or night it’s performed. Never mind that it’s all sung in Italian, the actorly skills of Galloway and McGinniss translate beyond language barriers, not to mention their sonorous and soaring tones. But if you insist, McGinniss, as Figaro declares, “Women, women – eternal gods!/Who can figure you out?”

The lovely “Christmas Waltz” by Sammy Cahn and Jule Styne and McGinnis’s interpretation of “White Christmas” preceded the “Barber of Seville” diversion that returned to seasonal form with Galloway’s soulful “In the Bleak Midwinter.” Based on a poem by Christina Rossetti, originally titled “A Christmas Carol” before Charles Dickens published his Scrooge salvation saga, it was later set to music by Gustav Holst. 

More cheerfully, we were advised to have ourselves “A Merry Little Christmas” by Galloway and McGinniss, who, it turns out, were classmates with Repper at Baltimore’s Peabody Institute of the Johns Hopkins University Conservatory of Music. 

Not forgetting his heritage, Repper led the orchestra in Robert Wendel’s “Hanukkah Overture,” comprised of liturgical pieces and more widely recognized portions of “Rock of Ages” and “I Have a Little Dreidel,” laced with jazzy overtones suitable for Hanukkah’s eight-night Festival of Lights, beginning this year on Dec. 7.

Leroy Anderson kicks off the second half of “Holiday Joy” with “Sleigh Ride,” which, for my money, is way more jingly than “Jingle Bells.” You’ll be convinced I’m right when you hear it led by Repper in his Santa hat. A nod to the “Nutcracker Suite” is inevitable in any Christmas concert. But the orchestra gave Tchaikovsky’s sumptuous melodies their due with four selections we know from Disney’s “Fantasia,” if not from ubiquitous holiday performances of the ballet. 

Claire Galloway

One of the few sacred songs on the program, “O Holy Night,” just about brought the full house at the Avalon down – you might say on our knees, except there was no room for that at our seats. Galloway brought both reverence and inspiration to the lyrics and their echoes in what believers and non-believers alike have heard and recited most of their lives. Through all three verses, she calibrated her soaring lyric soprano voice to enable a thrilling culmination. 

Next, the program incorrectly listed “White Christmas” a second time. Instead, with Repper at the keyboard, McGinniss sang my (and the music director’s) personal favorite. I have no nit to pick on the baritone’s interpretation of “chestnuts roasting on an open fire” nor Repper’s accompaniment as the rest of the orchestra raptly listened along with the audience. But it’s not possible in my universe for anyone to top Nat King Cole on his simply perfect reading of Mel Torme’s all-time classic, “The Christmas Song.” 

The soprano and baritone returned with a “We Wish You a Merry Christmas,” which, compared to their earlier contributions, amounted to a live singing holiday card. But their finale, narrating the text of Clement Moore’s literally immortal words in “Twas the Night Before Christmas,” showed off the acting skills of McGinniss and Galloway. The orchestra became an extra character in the reading to music composed by Bill Holcombe, with sound-effect punctuations emanating from every section of players. 

After a well-deserved standing ovation, virtually everyone sat back in their seats for a singalong encore of first-verse-only versions of songs everyone who ever observed Christmas knows by heart. The evening fully lived up to its billing: “Holiday Joy.”

Note: The “Holiday Joy” concerts are dedicated to longtime MSO patron Norma Redele, who passed away recently. Repper said Redele introduced Jeffrey Parker, the current MSO board president, to the orchestra.

***

The MSO is not done with its season’s greetings after the weekend’s remaining “Holiday Joy” performances. As part of the orchestra’s Ensemble Series, a pair of “Holiday Quintet” concerts will be presented at 7 p.m. Friday, Dec. 15, at Epworth United Methodist Church in Rehoboth Beach and at 4 p.m. Sunday, Dec. 17, at Christ Church in Easton. After that, at the same Easton venue, “A Toast to the New Year” concert, featuring the full orchestra and mezzo-soprano Taylor Hillary Boykins, offers a joyful, tuneful New Year’s Eve celebration starting at 7 p.m., time enough for you to welcome at midnight the year 2024 in your own way. Remember that admission to the MSO concert is separate from the First Night Talbot events happening up and down Harrison Street just outside Christ Church. 

‘Holiday Joy’ Concerts

Thursday night, Nov. 30, at Avalon Theatre, Easton. Also, 7 p.m. Saturday, Dec. 2, Epworth United Methodist Church, Rehoboth Beach, and 3 p.m. Sunday, Dec. 3, Ocean City Performing Arts Center, midatlanticsymphony.org

Steve Parks is a retired New York arts critic now living in Easton.

Delmarva Review, a national literary journal with local roots, announced publication of its 16th edition presenting new poetry, short stories, and creative nonfiction from 72 authors in 23 states, the District of Columbia, and four foreign countries. The review publishes the most compelling new writing selected from thousands of submissions during the year.

“Through the author’s voice, we discover new truths about ourselves,” said Wilson Wyatt, executive editor, from St. Michaels. “Perhaps more than anything this describes our connections with literature and the reasons to pursue the best.”

Since its beginning in 2008, Delmarva Review has published new literary prose and poetry from 550 authors in 47 states, the District of Columbia, and 19 foreign countries. Almost half are from the Chesapeake and Delmarva region. Including 2023, ninety will have been nominated for a Pushcart Prize. Some have attained attention in “best of” anthologies or received public acclaim from other literary critics and editors.

This year’s cover photograph is called “Eye of the Beholder.” It is a fitting description for the Red-tailed hawk’s large “eye,” on the cover, that allows the raptor to focus on its prey with spatial clarity from great heights at high speed.

The review’s editors cull through thousands of submissions to find the best new writing for publication. They read every submission, without regard to an author’s home region or any other factor except the writing quality that makes one gem rise above the rest.

There is no single theme except for the “uncomfortable reality of change.” Topics naturally include dealing with grief, sickness, death, acceptance, love, human freedoms, aging, and life’s uncertainties. Storytelling is always about change.

Delmarva Review was created to offer authors a valued home to publish their best writing at a time when many commercial publications were reducing literary content or closing their doors.

Announcing the Talbot Arts High School Mentorship-Scholarship Winner:

The editors are pleased to include the 2023 winner of the Delmarva Review-Talbot County Youth Writing Scholarship award. In partnership with Talbot County Schools and supported by a grant from Talbot Arts, the review selected a personal essay by Mia Mazzeo, a junior at Easton High School, in Easton, Maryland.

The winning student collaborated with the managing editor, as a writing mentor, to prepare for publication in this issue, and she received a monetary award.

Announcing The Best of the Delmarva Review; Submissions are paused for 2024:

The review is pleased to announce “The Best of the Delmarva Review” anthology will be published in 2024. It will include the editors’ selections of the best poetry, short fiction, and nonfiction published in the review since its founding sixteen years ago.
The normal submissions period will be paused now through 2024 allowing editors to focus on selecting the best work of the 550 writers who have been published in the Delmarva Review since 2008.

Information about the anthology and future submissions will be made periodically on the website.

In addition to Wyatt, the journal’s editorial staff includes Bill Gourgey, managing editor, of Washington, DC, poetry editor Anne Colwell, of Milton, DE, poetry assistant editor Katherine Gekker, of Alexandria, VA, fiction senior editor Harold O. Wilson, of Chester, MD, fiction coeditors Lee Slater, of Norfolk, VA, and Judy Reveal, of Greenville, MD, nonfiction editor Ellen Brown, of Duluth, MN, Gerald F. Sweeney, book review editor, of Easton, MD, and student intern, Sawyer Gourgey, assistant website manager, from Washington, DC.

Biographical information on each member of the editorial staff is listed on the review’s website (see below). All are volunteers who are experienced in their fields.

As an independent, 501(c)(3) nonprofit literary publisher, the journal greatly appreciates the financial support it receives from individual tax-deductible contributions and a public grant from Talbot Arts, with revenues from the Maryland State Arts Council.
The Delmarva Review, Vol. 16, is available in paperback and electronic editions from most major online booksellers. The print edition is also available at regional specialty bookstores. For more information, see the website: DelmarvaReview.org