#delphi borich

[havanasroses]

INTO THE WOODS (2022) dir. Lear deBessonet

📸: @bikinibottomdayz

[medium-observation]

May Release!

Camelot - Fourth Broadway Revival

April 16, 2023 - Medium Observation

Video | Matinée

Cast:

Andrew Burnap (Arthur), Phillipa Soo (Guenevere), Jordan Donica (Lancelot Du Lac), Dakin Matthews (Merlyn/Pellinore), Taylor Trensch (Mordred), Marilee Talkington (Morgan Le Fey), Camden McKinnon (Tom of Warwick), Anthony Michael Lopez (Sir Dinadan), Fergie L. Philippe (Sir Sagramore), Danny Wolohan (Sir Lionel), Delphi Borich (Lady Sybil), Holly Gould (Page), Tesia Kwarteng (Lady Catherine), James Romney (Page), Ann Sanders (Clarius), Paul Whitty (Dap)

Notes:

Nice Video, shot from the side. the set obstructs the back of the stage but nothing is really missed. some nice wideshots and zooms.

NFT Date: November 1, 2023

Screenshots: https://flic.kr/s/aHBqjAAU5m

Video is $18

Beetlejuice - First US National Tour

February 18, 2023 - Medium Observation

Video

Cast:

Justin Collette (Beetlejuice), Isabella Esler (Lydia Deetz), Britney Coleman (Barbara Maitland), Will Burton (Adam Maitland), Jesse Sharp (Charles Deetz), Kate Marilley (Delia Deetz), Juliane Godfrey (u/s Miss Argentina), Abe Goldfarb (Otho), Brian Vaughn (Maxie Dean), Karmine Alers (Maxine Dean/Juno), Jackera Davis (Girl Scout), Matthew Michael Janisse (s/w Ensemble)

Notes:

Extremely nice video, of Juliane's Miss. Argentina Debut. some washout but only in extreme wideshots. Overall a fantastic capture from the middle mezz in Rochester!

NFT Date: November 1, 2023

Screenshots: https://flic.kr/s/aHBqjAsY7c

Video is $20

Videos can be purchased through me at mediumobservationtrading@gmail.com

[tenaciouspostfun]

Austen's Pride and Diary of A Madman.

Two Reviews of Two Great Shows.

By Robert M Massimi.

In a one night performance of this wonderful rendition of "Jane Austen" called "Austen's Pride" at the beautiful Carnegie Hall, it was filled with great stars both on stage and in the audience. The story for the most part remained the same, however, set to an orchestral backdrop, the actors sang and acted with script in hand. Directed magnificently by Igor Goldin, the story-line and actors, for the most part, moved graciously about the stage. The first act at one and a half hours was a tad to long, but its rapid fire second act at fifty minutes more than made up for it.

Two actors stood out tonight... Mamie Parris (Jane Austen) and Carson Elrod (Mr. Collins and Mr. Gardiner). The two can flat out act. Ms. Parris singing voice is something to witness! She is one of the best actors that I have seen in a long time! Her movements, the "business" that she give is outstanding!

While the cast is steep, Olivia Hernandez, Beth Leavel, Etai Benson, Delphi Borich and Michele Ragusa are all incredible actors and make this a musical to be seen.

Pleasurable too are the costumes that Becky Flaherty provided to us. Capturing the period piece, Flaherty's costumes were as elegant as they were insightful. In this period piece, we never left the time period that Flaherty provided us in dress.

In the choice of music Matt Perri too brings us back in time. The charming forceful vocalists belted out these incredible songs with gusto, and leaving the audience in rapture all evening.

I am not sure if this musical will come to Broadway, I think this show works better at the Park Avenue Armory, however. The big stage, the big audience area makes it a natural fit. The Armory fits this shows personality.

in capturing the spirit of "Jane Austen", "Austen's Pride" is sure to resurface somewhere, and it should. It is simply to good a show not to! I only hope that they bring back the cast, or most of it anyway because this is a classy hit!

....................................................................................................................

Diary of A Madman at The Russian Arts Theater and Studio.

At Pushkin Hall on the Upper West Side you will find an off off Broadway play that is just delightful! Gogol, who wrote "Diary of A Madman" was put forth on stage by The Russian Arts Theater and Studio.

Under the direction of Alekseyn Burago, this play captures the spirit of the book (which I also enjoyed immensely). Burago is particularly deft with showing us how the madman starts to spiral out of control. He shows us glimpses of the madman at first and then bringing his madness full force by the end of the show.

What better way to see this show in a warm, small theater that let's us sit in on this man who is running about, giving us insights into his crazy mind. The staging of this play too is warm, economical, and creative. This is what off off Broadway used to be! A person in the 80's and 90's could often find a hidden gem like this; not so much anymore.

Without a program I am at odds to tell you who from whom, but I will tell you the lead actor- the madman, turns in a performance for the ages! He is animated, deep and lite hearted all at the same time. The supporting cast too are excellent. As dogs, marionettes and various other roles, the support keeps us laughing, holding our breath and admiring the vast talents of these actors.

At two hour almost, it would have been better structured for an intermission. The theater was unbearably hot at certain points and it made it difficult to concentrate at times. An intermission would have given the audience a chance to really focus on just how insane this man became.

I look forward to visiting this theater in the future and get a chance to see some of the other great Russian writers of the past. Small, but cozy, this theater and theater company does it first rate!

Fine Art

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About the Creator

Robert M Massimi.

I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 12 shows on and off Broadway. I've seen over700 shows

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[poc-dreamcast]

Delphi Borich as Giselle in an Enchanted musical

Note: Go check out her videos of her as Ariel!

[dailypocsix]

Delphi Borich as Katherine Howard

information:

Name: Delphi Borich

DOB: Unknown

Nationality: American, Japanese

Ethnicity: Japanese

Credits: Rodgers & Hammersteins Cinderella (Cinderella u/s), Beauty And The Beast (Belle), Spring Awakening (Wendla)

[musical-dreamcasts]

Hamilton - Delphi Borich as Elizabeth Schuyler Hamilton, requested by anon

Birthday: Unknown

Birth Place: Tokyo, Japan

Theatre credits include: Understudy Ella (Cinderella), Belle (Beauty and the Beast), Wendy Darling (Peter Pan), Christmas Eve (Avenue Q), Wendla Bergmann (Spring Awakening), Juliet Capulet (Romeo and Juliet)

(Pictured on the right is Rachelle Ann Go, who played the role in the original West End cast)

[everything-lauramkelly]

~ I Can't Resist a Redcoat - Austen's Pride: A New Musical of Pride and Prejudice ~

@ The 5th Avenue Theatre, Seattle, WA

featuring Delphi Borich (Lydia Bennet), Cayman Ilika (Cassandra Austen), Laura Michelle Kelly (Jane Austen), John Donovan Wilson (George Wickham), Matt Gibson, Christopher C. Minor, Gabriel Navarro & Lucas Thompson as the Redcoats

[broadwaytwinsies]

[newyorktheater]

Jeremy Konopka, Uton Evan Onyejekwe, Bob Gaynor, Mary Callanan, Joe Joseph, Jonathan Spivey. Photo credit: Michael Kushner

Before the musical “’68” begins, newspaper headlines are projected on the stage a, marking some of the tumultuous events in the year 1968 — the assassinations of Martin Luther King Jr and Robert F Kennedy, campus protests and city riots across the United States….and the events surrounding the 1968 Democratic National Convention in Chicago.

But, despite the title of their musical,  which is an entry in the New York Musical Theater festival, librettist/lyricist Jamie Leo and composer Paul Leschen focus on just one of those events; the NYMF program bills “’68” as “inspired by the volatile events of the 1968 Democratic Convention and their place in history and our future.”

It’s a smart choice and in itself an ambitious undertaking. What happened in Chicago, from the contentious politicking inside the International Amphitheatre tothe demonstrations and police violence in the parks and streets outside, is in many ways emblematic of that chaotic era.

68 – a new American musical. Depicted from left: Uton Evan Onyejekwe, Jonathan Spivey, Delphi Borich, Jeremy Konopka, Bob Gaynor, Nicole Paloma Sarro, Jalynn Steele. Photo credit: Michael Kushner

Bob Gaynor, Mary Callanan

Joe Joseph, in 68 A New Musical

‘68 – a new American musical. Depicted from left: Jonathan Spivey, Nicole Paloma Sarro, Joe Joseph, Jeremy Konopka, Delphi Borich, Mary Callanan, Uton Evan Onyejekwe, Jalynn Steele, Bob Gaynor, Maggie Hollinbeck. Photo credit: Michael Kushner

‘68 – a new American musical. Depicted from left: Uton Evan Onyejekwe, Jonathan Spivey, Nicole Paloma Sarro, Bob Gaynor, Mary Callanan, Jeremy Konopka, Jalynn Steele, Maggie Hollinbeck, Delphi Borich, Joe Joseph. Photo credit: Michael Kushner

There are moments in “’68” that get at the era in a winning way. One of the most memorable is the song “Power-less” in which Lonnie (portrayed by Uton Onyejekwe), a black man dressed in the black militant uniform of the day – black leather jacket and black beret – explains why he is supporting Hubert Humphrey for president. Even those who don’t get the humor in the incongruity will appreciate the stirring Soul sound of the song. Indeed, Paul Leschen’s score is largely a pleasing pastiche of a range of 60’s era music, especially some mighty pretty folk songs.

There is much to like in “’68,” thanks in part to a production directed by Joey Murray that is competently staged, well-acted and well-sung.  But as in 1968, so in “’68” (to paraphrase Joan Didion’s quote from a Yeats poem): The center does not hold.

The musical is framed as an oral history project conducted by a librarian named Charlene (portrayed by Broadway veteran Mary Callanan) who has hired an assistant named Gary (Jeremy Konapka) to help her conduct interviews with the various participants. So we see an extended scene from The Festival of Light, a vaudevillian-like demonstration that was held in Chicago’s Grant Park by the Yippies, who nominated a pig named Pigasus for president; we also see “Hippie Sunny” (Delphi Borich) speaking into Charlene’s tape recorder commenting on the event. We see a scene of a police superintendent talking about crowd control with a group of officers, and later, Charlene and Gary’s interviews with Lt. Stubig (Bob Gaynor), a police officer who cracked heads at the festival.  We see Rebeca (Nicole Paloma Sarro), working the phones as a Humphrey campaign aide and talking (and singing) with her colleague Sandy (Maggie Hollinbeck), and then watch while she explains to Charlene how her mother was a political organizer in Mexico who’s become a maid in the Chicago Hilton, and, later, what impact the convention has had on her life. (“It made me sad.”)

Charlene and Gary occasionally debate what they should include and what they should leave out, which fits in with a main theme of the musical – “The Trouble with History” (which is the title of the first song.)  The working philosophy behind the musical is that the everyday people who participated were just as important as the “big name authors and party bosses….

You can bet they’ll have their word

But what about the rest of us?

What’s the chances we’ll get heard?

  This is hard to argue with in theory, but “’68” spends too much time on what feel like extraneous matters. There’s a song about how run-down the hotel where the conventioneers stayed; a song by Gary and Lt. Stubig about the police officer’s daughter, who is also Gary’s ex-girlfriend, leaving them both to live in a commune in Wisconsin; and an out-of-left field scene and song from Charlene recalling Chicago in 1948 and how her father was punished for his activism. The latter two songs seem part of an effort to flesh out Gary and Charlene as characters; the 40’s song, “Price Tag,” has a wonderful Andrews Sister vibe.   Meanwhile, though,  there’s little about what happened at the convention itself, as if that were irrelevant. There’s no effort to dramatize or even mention, for example, the battle for Kennedy delegates between Senator Eugene McCarthy and Senator George McGovern in the wake of RFK’s assassination. There’s little (except for Lonnie’s song) about the moving irony of the candidacy of Hubert Humphrey, who was an outspoken liberal during his entire Senatorial career, yet as Johnson’s vice president, was now viewed as LBJ’s puppet and the war monger candidate. There is nothing about the fight by civil rights activists to seat a more integrated slate of delegates from five states of the South. There is nothing about the impact on the Democratic Party of the political conflicts. Nobody would want gavel-to-gavel coverage – and you can’t include everything in a 95-minute musical — but if we’re promised a musical “inspired by” the Chicago convention, shouldn’t we get some orienting sense of the convention itself, rather than just the disorienting turmoil that surrounded it?

The creative team might even have gotten away with this odd omission, if “’68” were less diffuse. It’s as if, like the oral historians Charlene and Gary, they argued with one another about what mattered, and then couldn’t decide.

https://soundcloud.com/jamie-leo-988074172/sets/songs-from-68-lyrics-by-jamie-leo-music-by-paul-leschen

  ’68 is on stage at Theatre Row as part of the New York Musical Festival. Remaining performances, todat at 5 and 9, tomorrow (Sunday, July 29) at 5.

NYMF Review ’68: A Musical about the 1968 Chicago Convention and the Limits of History Before the musical “’68” begins, newspaper headlines are projected on the stage a, marking some of the tumultuous events in the year 1968 -- the assassinations of Martin Luther King Jr and Robert F Kennedy, campus protests and city riots across the United States….and the events surrounding the 1968 Democratic National Convention in Chicago.

[havanasroses]

delphi borich as little red riding hood, into the woods

📸: @bikinibottomdayz

[tenaciouspostfun]

In a one night performance of this wonderful rendition of "Jane Austen" called "Austen's Pride" at the beautiful Carnegie Hall, it was filled with great stars both on stage and in the audience. The story for the most part remained the same, however, set to an orchestral backdrop, the actors sang and acted with script in hand. Directed magnificently by Igor Goldin, the story-line and actors, for the most part, moved graciously about the stage. The first act at one and a half hours was a tad to long, but its rapid fire second act at fifty minutes more than made up for it.

Two actors stood out tonight... Laura Michelle Kelly (Jane Austen) and Eric Ankrim (Mr. Collins and Mr. Gardiner). The two can flat out act. Ms. Kelly's singing voice is something to witness! She is one of the best actors that I have seen in a long time! Her movements, the "business" that she give is outstanding!

While the cast is steep, Delphi Borich, Ethan Carpenter, Sarah Rose Davis, Matt Gibson, Olivia Hernandez, Michele Ragusa, John Donovan Wilson are all incredible actors and make this a musical to be seen.

Pleasurable too are the costumes that Nancy Flaherty provided to us. Capturing the period piece, Flaherty's costumes were as elegant as they were insightful. In this period piece, we never left the time period that Flaherty provided us in dress.

In the choice of music Matt Perri too brings us back in time. The charming forceful vocalists belted out these incredible songs with gusto, and leaving the audience in rapture all evening.

I am not sure if this musical will come to Broadway, I think this show works better at the Park Avenue Armory, however. The big stage, the big audience area makes it a natural fit. The Armory fits this shows personality.

in capturing the spirit of "Jane Austen", "Austen's Pride" is sure to resurface somewhere, and it should. It is simply to good a show not to! I only hope that they bring back the cast, or most of it anyway because this is a classy hit!

....................................................................................................................

Diary of A Madman at The Russian Arts Theater and Studio.

At Pushkin Hall on the Upper West Side you will find an off off Broadway play that is just delightful! Gogol, who wrote "Diary of A Madman" was putforth on stage by The Russian Arts Theater and Studio.

Under the direction of Alekseyn Burago, this play captures the spirit of the book (which I also enjoyed immensely). Burago is particularly deft with showing us how the madman starts to spiral out of control. He shows us glimpses of the madman at first and then bringing his madness full force by the end of the show.

What better way to see this show in a warm, small theater that let's us sit in on this man who is running about, giving us insights into his crazy mind. The staging of this play too is warm, economical, and creative. This is what off off Broadway used to be! A person in the 80's and 90's could often find a hidden gem like this; not so much anymore.

Without a program I am at odds to tell you who from whom, but I will tell you the lead actor- the madman, turns in a performance for the ages! He is animated, deep and lite hearted all at the same time. The supporting cast too are excellent. As dogs, marionettes and various other roles, the support keeps us laughing, holding our breath and admiring the vast talents of these actors.

At two hour almost, it would have been better structured for an intermission. The theater was unbearably hot at certain points and it made it difficult to concentrate at times. An intermission would have given the audience a chance to really focus on just how insane this man became.

I look forward to visiting this theater in the future and get a chance to see some of the other great Russian writers of the past. Small, but cozy, this theater and theater company does it first rate!





[everything-lauramkelly]

The cast of Austen's Pride: A New Musical of Pride and Prejudice on their last day of rehearsals in the studio (24 Sep 2019)!