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‘Bright Star’ Review – Epiphany Lutheran Church – A Story You Won’t Forget

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Margo Russ (Alice Murphy) in Epiphany Lutheran Church’s production of “Bright Star,” continuing through July 18. (Photo by Megan Wean Sears)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Numerous hymns speak to perseverance and questioning life’s outcomes. The following lyric is from one of my favorites:

And we wonder why the test
When we try to do our best
But we’ll understand it better by and by

It’s in the understanding – no matter how many years it takes, no matter how confusing or worrisome it weighs on the mind– that we ultimately discover what our trials and tribulations were all about. And, sometimes, we are inspired beyond belief.

In composer/librettist Steve Martin and composer/lyricist Edie Brickell’s heartwarming and heartbreaking Tony Award-nominated 2016 musical Bright Star, currently receiving an outstanding local premiere courtesy of the Epiphany Players Drama Ministry of Epiphany Lutheran Church, an array of folksy North Carolinians come to terms with the choices, regrets and sorrows of the past. A few individuals are also unknowingly intertwined, raising the stakes which result in a payoff so neat and tidy it seems far-fetched. Nonetheless, this story of love, loss, faith, forgiveness, hope, miracles, and redemption is compelling.

Terrifically directed and choreographed by Megan Wean Sears, Bright Star is set in the mid-1940s with flashbacks to the early 1920s. The focal point is Alice Murphy (Margo Russ, excellently authoritative and narratively inviting), the no-nonsense editor of The Asheville Southern Journal who sees potential in aspiring writer Billy Cane (charming Tommy Cole in great voice). As Alice mentors Billy, who recently served in World War II, the action shifts to her rebellious upbringing in Zebulon as a spunky 16-year-old (fiery, feisty knockout Charlotte Kunesh, fittingly dressed in red, white and blue symbolizing the firework she is) smitten with handsome Young Jimmy Ray Dobbs (Nick Abouzeid in a breakthrough portrayal), son of Mayor Josiah Dobbs (gritty Christian Schaefer). The flashbacks are central to the tale’s impactful resonance. However, unlike the Broadway production in which I doubted the realism of older characters portraying their younger selves, it is a thrill to see Sears approach her staging by mirroring the conceptual allure of Stephen Sondheim’s 1971 gem Follies, a musical in which past and present walk side by side.

Martin, the Hollywood icon who began playing the banjo as a teenager, and Brickell, who leapt onto the music scene in the 1980s with her folk/rock band New Bohemians, create a tuneful, toe-tapping and often lovely score perfectly suited to the Appalachian landscape. Highlights include engaging opener If You Knew My Story, lively hoedown Woah, Mama, cheery Sun’s Gonna Shine, uplifting At Long Last (given a stirring, full-throttle treatment by Russ), and bouncy title number (brilliantly staged with road trip whimsy as Billy travels from Hayes Creek to Asheville).

In another agreeable departure from the Broadway production, Sears places the entire cast on stage throughout to attentively observe the action. In fact, I don’t believe anyone is positioned in the same spot twice, a subtle feat. Her decision not only guarantees seamless fluidity, especially for scene changes, but effectively fuels the story’s intimate emphasis on family and community. Due to the significance of the flashbacks, it is imperative to spotlight Kunesh and Abouzeid’s impressively expressive work in their Epiphany debuts. Without delving into plot specifics, Kunesh’s passionate and riveting contributions to Please Don’t Take Him, a total departure from Young Alice’s free-spirited sass, exemplifies her mastery of character and purpose (which she also exhibited in Muse Machine’s Mamma Mia! and In the Heights). Abouzeid, humorously reflecting on Those Canaan Days four months ago as Dan in Alter High School’s Joseph and the Amazing Technicolor Dreamcoat, has suddenly transitioned into a genuine leading man. The dynamic heartache he displays in Heartbreaker, interpreting lyrics about parenthood to gripping effect, is an incredible sign of his maturity as a young actor.

Elsewhere, praiseworthy performances extend to the delightful Riley Francis as Billy’s childhood friend Margo (providing a sweetly yearnful rendition of inner monologue Asheville), John Benjamin as Daddy Cane, Brett Greenwood as Daddy Murphy, Jessica Pettit as Mama Murphy, Kath Meyer and Desmond Kingston as Journal employees Lucy Grant and Daryl Ames (Meyer’s feminine flair electrifies boozy ensemble number Another Round), Nicholas Bradley as Jimmy Ray Dobbs (joining Russ for a tenderly poignant I Had a Vision), Sara LiBrandi as Florence, Katie Kress as Edna, Bobby Morgan as Mayor Dobbs’ slick sidekick Stanford Adams, Caleb Campbell as Max, Brady Kress as Dr. Norquist, Larry Klueber as Stationmaster, Sandy Schwartzwalder as Government Clerk, Martha Armstrong-Benjamin as Well-Dressed Woman, and John Morgan as Young Daddy Cane.

The appealing cast includes Quinn Bennett, Andrew Gochenaur, Reese Hornick, Laura Morgan, Eric Pettit, Megan Rehberg, Liza Russ, and Meredith Russ.

Sears’ expert artistic team includes set designer Seth Wade, costumer Kim Harvey, lighting designers Matthew Benjamin and Gabe Reichert (supplying beautifully evocative hues), sound designer Ryan Burgdorf, and properties designers Jason Hamen and Adrienne Ausdenmoore.

Music director David Brush leads a fantastic bluegrass band consisting of fiddler Bebe Blumenthal, guitarist Jay Brunner, cellist Bryce Kessler, bassist Joshua Neiman, drummer Joshua Riedy, pianist Damien Stout, violinist/violist Alice Wagoner, and banjoist David Wells. Perhaps Epiphany should consider Oklahoma! next summer if only to reunite these dandy, down-home musicians.

This year marks the 30th anniversary of the Epiphany Players Drama Ministry, an outreach artistically spearheaded for many years by the late Kay Frances Wean. Bright Star is another luminous, vocally strong, must-see testament to the caliber of artistry I have come to expect from the troupe. Always have, always will.

Bright Star continues through Sunday, July 18 at Epiphany Lutheran Church, 6430 Far Hills Avenue, Centerville. Performances are 7:30 p.m. Friday; 2:30 p.m. and 7:30 p.m. Saturday; and 2:30 p.m. Sunday. The production runs 2 hours and 30 minutes including one 15-minute intermission. Reserved seating is $15. For tickets, visit epiphanydayton.org/summer-musical. For additional information, visit call (937) 433-1449 ext. 103 or email drama@epiphanydayton.org.

 

 

‘The Last Five Years’ Review – Dare to Defy Productions – The Way They Were

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Welcome back? As various re-openings occur throughout the city despite the ongoing presence of COVID-19, Dayton’s 2020-2021 theater season officially launches with Dare to Defy Productions’ vocally superb presentation of The Last Five Years. Jason Robert Brown’s heartwarming yet heartbreaking 2002 musical continues through July 11 at The Brightside Music and Event Venue.

Brent and Abby Hoggatt star as Jamie Wellerstein and Cathy Hiatt in Dare to Defy Productions’ presentation of “The Last Five Years.” (Contributed photo)

Set in New York City and simultaneously told chronologically and in reverse, this breezy, intimate, compelling, and smart one-act two-hander details the humorous yet troublesome relationship between struggling actress Cathy Hiatt (full-throttle Abby Hoggatt) and aspiring novelist Jamie Wellerstein (endearing Brent Hoggatt). The engaging, relatable story of optimism and woe begins with Cathy’s sorrowful reflections at the end of their marriage while Jamie’s perspectives joyously start not long after they have met. The couple only meets in the middle at their wedding, exquisitely represented by the gorgeous ballad The Next Ten Minutes. Over the course of 16 skillfully detailed and descriptive songs, an entire relationship arises with an emotional resonance that cuts to the core, proving the cold hard fact that some soulmates come with an invisible expiration date.

My journey with this material dates back to the spring of 2001 when I saw the original production at Northlight Theatre in Skokie, Illinois outside Chicago. The show was so fresh that during a post-show talkback Brown realized he made a significant error in Cathy and Jamie’s timeline, proving the challenge that comes from attempting unorthodox storytelling. And for all of the brilliance overflowing throughout Lauren Kennedy and Norbert Leo Butz’s performances, they were not an actual complex married couple. They were simply great actors interpreting a complex married couple. I mention the original production to specifically highlight how rare it is to see The Last Five Years elevated by the presence of real-life spouses, a substantial reason why the performances of Dare to Defy resident ensemble members Abby and Brent are not only outstanding but undeniably special.

Under the gentle, fluid, flashback-inspired direction of Mackensie King, who previously helmed this show for Dare to Defy in 2015, Abby and Brent, layering their work with authentic love, wonderfully embody Cathy and Jamie’s enjoyable idiosyncrasies and destructive despair. Whether conveying the difficulties Cathy endures while longing for a professional breakthrough or the conflicted betrayal weighing heavily on Jamie’s mind having slept with another woman, this dynamic duo leaves nothing undone. And musically, they soar. At the outset, Abby marvelously sets the tone with Still Hurting and winningly lightens the mood with A Part of That, A Summer in Ohio, When You Come Home to Me, and Goodbye Until Tomorrow. Brent’s delightful charm fuels Shiksa Goddess, Moving Too Fast, playful Schmuel Song, and colorfully conversational A Miracle Would Happen, but he’s equally adept stretching his acting muscles delivering the angrier, wounded If I Didn’t Believe In You and Nobody Needs To Know. Still, there is one number in this production deserving of utmost attention. Sometimes musical theatre only requires a terrific actress to sit in a chair and belt her heart out. As so, Abby’s phenomenal rendition of I Can Do Better Than That, reverberating through The Brightside’s rafters and probably out onto East Third Street, is a stunningly impactful moment worthy of an encore.
Elsewhere, King, who also serves as sound designer, assembles a fine artistic team including music director Norman A. Moxley II and lighting designer Derryck J. Menard. Moxley’s lovely five-piece orchestra consists of pianist Dean Brown, bassist Phillip Detty, violinist Josh van Tilburgh, cellist Tom Watts, and guitarist David Wells. Brown (driving the Billy Joel-esque groove of Moving Too Fast) and van Tilburgh (beautifully stirring the emotional undercurrents of The Schmuel Song and I Can Do Better Than That) excellently repeat their duties from the 2015 production.
Medically, I can’t say if it is in your best interest to see The Last Five Years. Dare to Defy has gone to great lengths in their social distancing precautions, but the choice to attend is yours. However, professionally and theatrically, I can assure you the production is worthwhile. After all, Abby sings the hell out of the score.

The Last Five Years continues at 8 p.m. Friday and 2 and 8 p.m. Saturday at The Brightside Music and Event Venue, 905 E. Third St., Dayton. The production is performed in 85 minutes without intermission. Tickets are $18-$25. A portion of ticket sales will be donated to the Black Lives Matter Movement. For tickets, visit https://broadwaytrivia2d.simpletix.com/e/55037. Seating is limited.

In addition, Dare to Defy has created the following safety plan for actors and audience:

  • Six (or more feet) between each ticket group
  • Capping ticket sales 18.5 percent of venue’s audience capacity
  • All audience members required to wear masks
  • No intermissions/longer intermissions
  • Extra sanitizing before and after shows. (The Brightside has purchased a sanitizing spray machine that quickly sanitizes the air and surfaces for added safety).
  • Checking temperatures at the door
  • All tickets must be purchased online to ensure a completely no-touch ticketing process
  • Spacing the audience more than 35 feet away from the actors
  • The blocking of the show is close and intimate in a safe manner
  • All crew will be masked and socially distanced

 

Saluting Dayton’s 2019-20 Theater Season

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Let’s be real. Dayton’s 2019-2020 theater season didn’t turn out the way anyone expected.
While many of us were busy going about our lives filling late winter weekend plans with the exciting prospect of attending numerous shows around town, who could have foreseen COVID-19? The coronavirus pandemic, a silent game-changer demanding social distancing, has totally upended our local economy, drastically altering the arts landscape in unimaginable fashion. In fact, the Dayton Playhouse recently announced an in-person hiatus until the 2021-2022 season, and it is not out of the question that multiple organizations, including Dayton Live and its reliance on direct-from-Broadway national tours, will remain dark this fall, hoping for a winter rebound at the earliest. Nevertheless, to borrow a phrase from Betty Comden and Adolph Green, “let’s be glad for what we had.” So, here is my annual salute to the outstanding experiences over the past 12 months on a variety of stages and, for the first time, a few virtual platforms.

The national tour cast of the 2018 Tony Award-winning revival of “Once on This Island.” (Photo by Joan Marcus)

Reflecting on current sentiment across the country, specifically the multiracial acknowledgment of the Black Lives Matter movement and the ongoing fight for racial justice, I’m pleased Dayton was ahead of the curve this season recognizing, producing and promoting Black-themed works. The Human Race Theatre Company provided an elegant Lady Day at Emerson’s Bar & Grill starring Tanesha Gary as legendary Billie Holiday. In addition to Dayton Playhouse’s regional premiere of Aaron Sorkin’s refreshingly progressive adaptation of To Kill a Mockingbird, Massachusetts playwright Jared Eberlein took top honors at the Playhouse’s FutureFest for his historical drama Fall With Me, centered on a Black family in 1930s Baltimore. Dayton Live, which notably supplied The Color Purple national tour which I missed, offered a striking Ohio premiere of the Tony Award-winning, Caribbean-flavored Once on This Island, a musical beautifully illuminating the power of love and communal storytelling within racial division. Dayton Theatre Guild delivered Mr. Rickey Calls a Meeting, detailing the fictional yet riveting conversation between Black icons debating Jackie Robinson breaking the color barrier in Major League Baseball. Xenia Area Community Theater and the National Afro-American Museum and Cultural Center joined forces to educate and enlighten with the Ohio premiere of The Face of Emmett Till, a poignant tale of history, heartbreak, hate, and hope. Unmistakably, Emmett Till holds significant relevance as the deaths of George Floyd, Ahmaud Arbery, Breonna Taylor, Rayshad Brooks, and Elijah McClain among others have brought greater attention to the unjust treatment of Blacks in America.

Elsewhere, I was impressed with Wright State University’s wonderful knockouts both comical (Peter and the Starcatcher, The Addams Family, Into the Woods) and thought-provoking (The Wolves, An Enemy of the People, Into the Woods), Muse Machine’s timely, incredibly joyous In the Heights, Human Race Theatre Company’s terrifically compelling regional premieres of The Cake and Gloria: A Life, Dare to Defy Productions’ engagingly heartfelt A New Brain, Playground Theatre and University of Dayton’s atmospheric Midwest premiere of Virginia playwright Ingrid DeSanctis’ whimsical yet gripping religious and relationship-driven dramedy Stained Glass, and the Tennessee Williams-inspired debut of The Virtual Theatre.

I congratulate the following winners (in bold) and nominees. Looking toward the future with Betty and Adolph in mind, I trust we’ll catch up at the theater some other time.

BEST TOURING PRODUCTION
The Book of Mormon, Dayton Live
Once on This Island, Dayton Live
Rent, Dayton Live 
The SpongeBob Musical, Dayton Live

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Cake, Human Race Theatre Company
Gloria: A Life, Human Race Theatre Company
Lady Day at Emerson’s Bar & Grill, Human Race Theatre Company

Laurie Carter Rose (left as Della) and Claire Kennedy (Jen) in the Human Race Theatre Company’s production of “The Cake.” (Photo by Heather N. Powell)

 

 

 


BEST PROFESSIONAL PRODUCTION OF A MUSICAL
A New Brain, Dare to Defy Productions
Elf the Musical, La Comedia Dinner Theatre


Bobby Mitchum (center as Gordon Michael Schwinn) and the cast of Dare to Defy Productions’ presentation of “A New Brain.” (Contributed photo)


BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Face of Emmett Till, Xenia Area Community Theater and The National Afro-American Museum and Cultural Center
Icebergs, Dayton Theatre Guild
Mr. Rickey Calls a Meeting, Dayton Theatre Guild
On the Horizon, Dayton Playhouse
Still Alice, Young at Heart Players
To Kill a Mockingbird, Dayton Playhouse

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in the Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
The Best Little Whorehouse in Texas, Dayton Playhouse
Chicago, Springboro Community Theatre
Freaky Friday, Beavercreek Community Theatre
Man of La Mancha, Dayton Playhouse
The Marvelous Wonderettes, Springboro Community Theatre
The Wizard of Oz, Brookville Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
An Enemy of the People, Wright State University
Bang, Bang, You’re Dead!, Sinclair Community College
Peter and the Starcatcher, Wright State University
Slut, Sinclair Community College
Treasure Island, Sinclair Community College
The Wolves, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
The Addams Family, Wright State University
Into the Woods, Wright State University
Joseph and the Amazing Technicolor Dreamcoat, Sinclair Community College

BEST VIRTUAL PRODUCTION
A Streetcar Named Desire, The Virtual Theatre
Beyond Glory, Renegade Stage
Cat on a Hot Tin Roof, The Virtual Theatre
The Glass Menagerie, The Virtual Theatre
Look Into My Eyes, Human Race Theatre Company

(from left) Claire Kennedy (Blanche DuBois), Chelsey Cavender (Stella Kowalski) and Rene Millan (Stanley Kowalski) in The Virtual Theatre’s production of “A Streetcar Named Desire.” (Contributed photo)

BEST SPECIAL THEATRICAL EVENT
Gratitude Project Brings the Arts to Life!, Oral Funk Theatre and Productions
In the Heights, Muse Machine
Stained Glass, Playground Theatre and University of Dayton
Why We Tell the Story: Broadway Songs and Stories, Epiphany Lutheran Church

BEST NEW WORK
Shelli Pentimall Bookler’s On the Horizon, Dayton Playhouse FutureFest
Ingrid DeSanctis’ Stained Glass, Playground Theatre and University of Dayton
Norman Mathews’ Drone, Dayton Playhouse FutureFest
Robert Weibezahl’s Which Way the Wind Blows, Dayton Playhouse FutureFest
Robb Willoughby’s Look Into My Eyes, Human Race Theatre Company
Desireé York’s Fractured, Dayton Playhouse FutureFest

BEST LEADING ACTOR IN A PLAY
Saul Caplan as Branch Rickey, Mr. Rickey Calls a Meeting
Shaun Diggs as Jackie Robinson, Mr. Rickey Calls a Meeting
Will Graber as Peter, Peter and the Starcatcher
Ryan Hester as Tom Wingfield, The Glass Menagerie (Xenia Area Community Theater)
Nick Martin as Dr. Thomas Stockmann, An Enemy of the People
Maximillian Santucci as Calder, Icebergs


Nick Martin (center as Dr. Thomas Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Contributed photo)

 

BEST LEADING ACTRESS IN A PLAY
Bryana Bentley as Joey, Slut
Rae Buchanan as Jewels, Stained Glass
Lindsay Cardoza as Scout Finch, To Kill a Mockingbird
Cassandra Engber as Alice, Still Alice
Jennifer Johansen as Gloria Steinem, Gloria: A Life
Laurie Carter Rose as Della, The Cake

BEST LEADING ACTOR IN A MUSICAL
Jordan Matthew Brown as Elder Cunningham, The Book of Mormon
Hunter Minor as Gomez, The Addams Family
Bobby Mitchum as Gordon Michael Schwinn, A New Brain
Lorenzo Pugliese as SpongeBob SquarePants, The SpongeBob Musical
Tim Rezash as Cervantes/Alonso/Quixote, Man of La Mancha
Liam Tobin as Elder Price, The Book of Mormon

Hunter Minor (center as Gomez) and the cast of Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

BEST LEADING ACTRESS IN A MUSICAL
Megan Arseneau as the Baker’s Wife, Into the Woods
Casey Borghesi as the Witch, Into the Woods
Courtnee Carter as Ti Moune, Once on This Island
Robin Dunavant as Morticia, The Addams Family
Tina McPhearson as Miss Mona Stangley, The Best Little Whorehouse in Texas
Sarah Viola as Aldonza/Dulcinea, Man of La Mancha

BEST SUPPORTING ACTOR IN A PLAY
Will Graber as Peter Stockmann, An Enemy of the People
Samuel Hamilton as Dill, To Kill a Mockingbird
Louie Kurtzman as Hovstad, An Enemy of the People
Tim Lile as Tim, The Cake
S. Francis Livisay as Reed, Icebergs
Josh McCabe as Black Stache, Peter and the Starcatcher

BEST SUPPORTING ACTRESS IN A PLAY
Burgess Byrd as Woman 2, Gloria: A Life
Candice Handy as Macy, The Cake
Lauren Kampman as Molly, Peter and the Starcatcher
Claire Kennedy as Jen, The Cake
Rachel Oprea as Herself, Still Alice
Hayley Penchoff as Mayella Ewell, To Kill a Mockingbird

BEST SUPPORTING ACTOR IN A MUSICAL
Philip Boykin as Tonton Julian, Once on This Island
Kyle Ramar Freeman as Asaka, Once on This Island
Mark Antony Howard as Rapunzel’s Prince and Granny, Into the Woods
Andy Huntington Jones as Elder McKinley, The Book of Mormon
Chavin Medina as Sonny, In the Heights
William “Kip” Moore as the Padre, Man of La Mancha

Nate Saner (center as Usnavi) with Chavin Medina (Sonny) and the cast of Muse Machine’s production of “In the Heights.” (Contributed photo)

BEST SUPPORTING ACTRESS IN A MUSICAL
Tamyra Gray as Papa Ge, Once on This Island
Charlotte Kunesh as Vanessa, In the Heights
Sara LiBrandi as Camila Rosario, In the Heights
Hailey Noll as Little Red Riding Hood and Rapunzel, Into the Woods
Meghan Rupper as Featured Soloist, Why We Tell the Story
Michaella Waickman as Wednesday, The Addams Family

BREAKTHROUGH MALE PERFORMANCE IN A PLAY
Brian Buttrey as George Stewart, On the Horizon
Ben Evory as Jim O’Connor, The Glass Menagerie (Xenia Area Community Theater)
Cole Frasher as Aslasken, An Enemy of the People
Samuel Hamilton as Jimmy Gibson, On the Horizon
Edward Hill as Paul Robeson, Mr. Rickey Calls a Meeting
Christopher Wells as Billing, An Enemy of the People

BREAKTHROUGH FEMALE PERFORMANCE IN A PLAY
Kristin Curby as Laura Wingfield, The Glass Menagerie (Xenia Area Community Theater)
Lauren Eifert as No. 7 – Striker, The Wolves
Michelle Hayford as Little Mermaid and The Women, Stained Glass
Hailey Marshall as Catherine Stockmann, An Enemy of the People
Margo Russ as No. 11 – Midfield, The Wolves
Annika Whetsone as Petra Stockmann, An Enemy of the People

Michelle Hayford portrayed Val, Mrs. Clifton, Rose, Sandy, and the Little Mermaid in the University of Dayton and Playground Theatre’s production of “Stained Glass.” (Photo by Knack Creative)

BREAKTHROUGH MALE PERFORMANCE IN A MUSICAL
Austin Gladstone as the Wolf and Cinderella’s Prince, Into the Woods
Jared Levy as Jack and the Steward, Into the Woods
Erik Moth as Fester, The Addams Family
Nate Saner as Usnavi, In the Heights
Rafael Santillan as Potiphar, Joseph and the Amazing Technicolor Dreamcoat
John Woll as Richard, A New Brain

BREAKTHROUGH FEMALE PERFORMANCE IN A MUSICAL
Gabby Casto as Abuela Claudia, In the Heights
Logan Hylinski as Velma Kelly, Chicago
Lillian Robillard as Ellie Blake, Freaky Friday
Molly Seybert as Cinderella, Into the Woods
Jenna Vance as Miss Almira Gulch/Wicked Witch of the West, The Wizard of Oz
Kailey Yeakley as Roxie Hart, Chicago

BEST ACTOR IN A VIRTUAL PRODUCTION
Chris Bishop as Big Daddy, Cat on a Hot Tin Roof
Scott Christian as Harold “Mitch” Mitchell, A Streetcar Named Desire
Ryan Imhoff as Tom Wingfield, The Glass Menagerie
René Millán as Stanley Kowalski, A Streetcar Named Desire
Jeff Sams as Theo, Look Into My Eyes
Michael Wright as Brick, Cat on a Hot Tin Roof

Ryan Imhoff portrayed Tom Wingfield in The Virtual Theatre’s production of “The Glass Menagerie.” (Contributed photo)

BEST ACTRESS IN A VIRTUAL PRODUCTION
Rachel Barkalow as Maggie, Cat on a Hot Tin Roof
Chelsey Cavender as Stella Kowalski, A Streetcar Named Desire
Merrie Drees as Laura Wingfield, The Glass Menagerie
Claire Kennedy as Blanche DuBois, A Streetcar Named Desire
Caitlin Larsen as Zelda, Look Into My Eyes
Rhonda Lucas as Big Mama, Cat on a Hot Tin Roof

BEST SOLO PERFORMANCE
Tanesha Gary as Billie Holiday, Lady Day at Emerson’s Bar & Grill
Annie Pesch as Laurel and others, Fractured

BEST DIRECTION OF A PLAY
Marya Spring Cordes, Gloria: A Life
Bruce Cromer, Peter and the Starcatcher
Michelle Hayford, Jenna Valyn and Chris Hahn, Stained Glass
Greg Hellems, The Cake
W. Stuart McDowell, An Enemy of the People
Annie Pesch, On the Horizon

W. Stuart McDowell retired June 30 having chaired Wright State University’s Department of Theatre, Dance and Motion Pictures for 22 years. He also directed 26 productions including “An Enemy of the People.” (Contributed photo)

BEST DIRECTION OF A MUSICAL
Michael Arden, Once on This Island
Joe Deer, The Addams Family
Philip Drennen, A New Brain
Tina Landau, The SpongeBob Musical
Lee Merrill, Into the Woods
Jeffrey Polk and Lula Elzy, In the Heights

BEST LOCAL CHOREOGRAPHY
Chris Beiser, Elf the Musical
Kara Castle, Chicago
Jessica Eggleston, Joseph and the Amazing Technicolor Dreamcoat
Lula Elzy, In the Heights
Sandra Hyde, The Best Little Whorehouse in Texas
Dionysia Williams, The Addams Family

BEST TOURING CHOREOGRAPHY
Camille A. Brown, Once on This Island
Christopher Gattelli, The SpongeBob Musical
Casey Nicholaw, The Book of Mormon
Marlies Yearby, Rent

BEST SCENIC DESIGN OF A PLAY
Dan Gray, The Cake
Chris Harmon, The Musical Comedy Murders of 1940 (Dayton Theatre Guild)
Scott J. Kimmins, Lady Day at Emerson’s Bar & Grill
Pam Knauert Lavarnway, Peter and the Starcatcher
Carleigh Siebert, The Wolves
Terry Stump, Treasure Island

Will Graber (center as Peter) and the cast of Wright State University’s production of “Peter and the Starcatcher.” (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
David J. Castellano, The Addams Family
Dane Laffrey, Once on This Island
Anna Louizos, In the Heights
Red Newman, The Best Little Whorehouse in Texas
Jonathan Sabo, Man of La Mancha
David Zinn, The SpongeBob Musical

BEST COSTUME DESIGN OF A PLAY
David M. Covach, Lady Day at Emerson’s Bar and Grill
Carol Finley, The Musical Comedy Murders of 1940 (Dayton Theatre Guild)
Kathleen Hotmer, Treasure Island
Ayn Kaetchen, Gloria: A Life
Tatyana Kowalski, An Enemy of the People
Michelle Sampson and Victoria Gifford, Peter and the Starcatcher

BEST COSTUME DESIGN OF A MUSICAL
Kevin Alberts, Joseph and the Amazing Technicolor Dreamcoat
Theresa Kahle, Man of La Mancha
Clint Ramos, Once on This Island
Nikki Sherck and Alisa Vukasinovich, In the Heights
Zoë Still, The Addams Family
David Zinn, The SpongeBob Musical

BEST LIGHTING DESIGN OF A PLAY
Malia Dalba, An Enemy of the People
Matthew Evans, Stained Glass
Gabriel Hrin, Treasure Island
Autumn Light, Peter and the Starcatcher
John Rensel, Lady Day at Emerson’s Bar & Grill
Richard Lee Waldeck, Decision Height (Dayton Theatre Guild)

BEST LIGHTING DESIGN OF A MUSICAL
Kevin Adams, The SpongeBob Musical
Ara Beal, A New Brain
Matthew P. Benjamin, The Addams Family
Jules Fisher and Peggy Eisenhauer, Once on This Island
Jessy Henning, Joseph and the Amazing Technicolor Dreamcoat
Richard Lee Waldeck, Man of La Mancha

Daria Pilar Redus as Sandy Cheeks and Lorenzo Pugliese as SpongeBob SquarePants in “The SpongeBob Musical.” (Photo by Jeremy Daniel)

BEST SOUND DESIGN OF A PLAY
Dan Brunk, Treasure Island
Jay Brunner, Lady Day at Emerson’s Bar & Grill
James Dunlap, An Enemy of the People
Chris Hahn, Stained Glass
Lara Sagraves, Peter and the Starcatcher
K.L. Storer, Decision Height (Dayton Theatre Guild)

BEST SOUND DESIGN OF A MUSICAL
James Dunlap, The Addams Family
Bob Kovach, Man of La Mancha
Aaron Poland and James Dunlap, Into the Woods
Shannon Slaton, Once on This Island
Walter Trarbach, The SpongeBob Musical
Ryan Vallo, In the Heights

BEST ORCHESTRA
The Addams Family (Music Director: Wade Russo)
In the Heights (Music Director: Jeffrey Powell)
Lady Day at Emerson’s Bar & Grill (Music Director: Deron B. Bell Sr.)
Man of La Mancha (Music Director: Sarah Plaugher)
Once on This Island (Music Director: Steven Cuevas)
Rent (Music Director: Mark Binns)

BEST PROPERTIES
Mikayla Burr, The Cake
John Lavarnway, An Enemy of the People
John Lavarnway, The Addams Family
Deirdre Root, Icebergs
Terry Stump, Treasure Island
Terry Webb, Peter and the Starcatcher

BEST PROJECTION DESIGN
John Riechers, Gloria: A Life
Mike Taint, The Glass Menagerie (Xenia Area Community Theater)

Jennifer Johansen (center as Gloria Steinem) and the cast of the Human Race Theatre Company’s production of “Gloria: A Life.” (Photo by Heather N. Powell)

 

ADDITIONAL CAST ACKNOWLEDGMENTS

  • The cast of A New Brain: Bobby Mitchum as Gordon Michael Schwinn, Vanae Stevee Pate as Homeless Lady, Danielle Ruddy as Rhoda, Abby Hoggatt as Waitress/Nancy, Brandon Leatherland as Mr. Bungee, John Woll as Richard, Zach King as Dr. Jafar Berensteiner, Garrett Young as the Minister, Brent Hoggatt as Roger Delli-Bovi, and Lindsay Sherman as Mimi Schwinn
  • The cast of A Streetcar Named Desire: René Millán as Stanley Kowalski, Claire Kennedy as Blanche DuBois, Chelsey Cavender as Stella Kowalski, Scott Christian as Harold “Mitch” Mitchell, Matt Guion as Steve, Jody Hart as Eunice, and Usman Enam as Pablo/Young Collector
  • The cast of The Addams Family: Hunter Minor as Gomez, Robin Dunavant as Morticia, Michaella Waickman as Wednesday, Erik Moth as Fester, Dylan Tacker as Lurch, Amanda Astorga as Grandma, Eric Thompson as Lucas, Emma Bratton as Alice, Nick Martin as Mal, Parker Kaibas as Pugsley, Male Ancestors: Marcus Antonio, Tommy Cole, Mitchell Lewis, Jake Siwek, and Jeremy Weinstein, Female Ancestors: Lauren Eifert, Tassy Kirbas, Emma Metzger, Maggie Musco, and Jeannie Sincic, and Swings Matthew Shanahan and Sophie Hardy
  • The cast of An Enemy of the People: Nick Martin as Dr. Stockmann, Hailey Marshall as Catherine Stockmann, Annika Whetstone as Petra Stockmann, Will Graber as Peter Stockmann, Christopher Wells as Billing, Cole Frasher as Aslaksen, Louie Kurtzman as Hovstad, Aidan Lord as Morten Kiil, Jake Siwek as Captain Horster, Matthew Shanahan as Ejlif Stockmann, Mikey Fried as Morten Stockmann, Dylan Roll as The Drunk, Male Ensemble members Kyle Channell, Xiao Ni Denker, Branden Fisher, Chap Hollin, Theo Karras, Kevin Lausche, Alex Tischer, Female Ensemble members Abbie Bookman, Abby Choi, Amanda Jacobson, Alexis Muhlenkamp, Brie Parsons, and Swings Nick Salazar and Sydney Freihofer
  • The cast of Bang, Bang, You’re Dead!: Christopher Koehler as Josh, Devontae Wheaton as Michael, Rebecca Shelley as Katie, Raushawn Parker as Matt, Leia Gaddis as Jessie, Katelyn Pennington as Emily, Robert Shutts as Actor 1/Judge/Principal, Christopher Leavitt as Actor 2/Prisoner/Drummer, Sabrina Smith as Actor 3/Witness/Jury Forewoman, Kiarra Matos as Actor 4/Prosecutor, and Darion Roberts as Actor 5/Defender
  • Miss Mona’s Girls of The Best Little Whorehouse in Texas: Kelli Myers as Shy, Adee McFarland as Angel, Alicia Walton as Dawn, Shanna Camacho as Durla, Logan Hylinski as Beatrice, Stacey Ward as Ruby Rae, and Sommer McGuire as Linda Lou
  • The cast of Beyond Glory: Ben Rinehart as Lewis L. Millet, Hector Cafferata and Daniel Inouye; Fernando Romero as Clarence Sasser and Vernon Baker; and Don Hurst as John Finn, James Bond Stockdale and Nick Bacon
  • The cast of Cat on a Hot Tin Roof: Rachel Barkalow as Maggie, Michael Wright as Brick, Chris Bishop as Big Daddy, Rhonda Lucas as Big Mama, Tyler Owen Parsons as Gooper, Hannah Brown as Mae, Bob McClain as Reverend Tooker, and Usman Enam as Doc Baugh
  • The cast of Decision Height (Dayton Theatre Guild): Heather Atkinson as Rosalie Hartson, Janell Blanks as Ziggie Lewis, Susie Gutierrez as Carol Henderson, Kat King as Mildred Simmons, Amy Leigh as Alice Hawkins, Wendi Michael as Mrs. Deaton, Carly Laurette Risenhoover-Peterson as Norma Jean Harris, Amanda Schrader as Virginia Hascall, and Samantha Stark as Edith “Eddie” Harknell
  • The cast of Drone: Shanna Camacho as Diwa Kahn, Ray Geiger as Lieutenant Mike Powell, Becky Howard as TV Announcer, Elise Laskowski as Kristen Powell, Brendan Milligan as Arman Kahn, Fran Pesch as Farishta Kahn, Karen Singh as Salar Kahn, Jefferson Smith as Robbie Powell, Mike Taint as Colonel Andrew, and Lynn Vanderpool as Sergeant Tonya Spanger
  • The cast of The Face of Emmett Till: Mendu Khanyile as Mamie Till-Bradley, John Lawson as JW Milam, Bendali Eugene as Emmett Till, Daria Dillard Stone as Mahalia Jackson, Marquesha “Free” Martin as Chorus, Dawn Andrews as Chorus, Carter Hume as Roy Bryant, Charlotte Harris as Rosa Parks/Reporter, Marceia Cornwell as Musician/Man at the Party, Matthew Benefiel as Gerald Chatham, Ronnie Copeland as Mose Wright, Olivia Ekler as Carolyn Bryant, Vincent Moorman as Henry Spearman, Yvette Watson as Alma Spearman, Kyle Mercuri as Mrs. Burke/Juanita Milam, Amanda Walton as Lawyer Whitten, Trenton Spencer as Roy Wilkins, Eberechukwu S. Cooper as Willie Reed/AA Raynor, Troy Reaves as Maurice, Edith Waugh as Senator James Eastland/Judge Swango, Timothy Hall-Norman as Man at the Party, and understudies RJ Geier and Akil R. Sharif
  • The cast of The Glass Menagerie (Virtual Theatre): Merrie Drees as Laura Wingfield, Chase Engel as Jim O’Connor, Rose Vanden Eynden as Amanda Wingfield, and Ryan Imhoff as Tom Wingfield
  • The cast of Gloria: A Life: Jennifer Johansen as Gloria Steinem, Burgess Byrd as Woman 2, Rae Buchanan as Woman 5, Eileen Earnest as Woman 6, Sherman Fracher as Woman 3, Andréa Morales as Woman 4, and Aurea Tomeski as Woman 1
  • The cast of The Humans (Beavercreek Community Theatre): Jim Spencer as Erik Blake, Jenni Cypher as Diedre Blake, Lynn Vanderpool as Aimee Blake, Natalie Marie Ruscello as Brigid Blake, Kathy Campbell as Fiona “Momo” Blake, and Jose Gutierrez del Arroyo as Richard Saad
  • The cast of Icebergs: Sha-Lemar Davis as Abigail, Lorin Dineen as Molly, S. Francis Livisay as Reed, Maximillian Santucci as Calder, and Titus Unger as Nicky
  • The principal cast of In the Heights: Quinn Bennett as Graffiti Pete, Nick Bradley as Piragua Guy, Gabby Casto as Abuela Claudia, Courtney Collinsworth as Daniela, Chynia Crane as Carla, Steven Greenwalt as Jose, Leila Halili as Yolanda, Desmond Kingston as Benny, Charlotte Kunesh as Vanessa, Sara LiBrandi as Camila Rosario, Chavin Medina as Sonny, Julie Murphy as Nina Rosario, Nate Saner as Usnavi, Michael Taylor as Kevin Rosario, and Darian Watson as Pete
  • The cast of Into the Woods: David Bays as Narrator/Mysterious Man, Molly Seybert as Cinderella, Jared Levy as Jack/Steward, Bridget Lorenz as Jack’s Mother/Cinderella’s Stepmother, Jonathan Crawford as the Baker, Megan Arseneau as Baker’s Wife, Elisabeth Mies as Florinda/Sleeping Beauty, Andrea Gutierrez as Lucinda/Snow White, Hailey Noll as Little Red Riding Hood/Rapunzel, Casey Borghesi as the Witch, Delaney O’Toole as Cinderella’s Mother/Milky White/Giant, Austin Gladstone as Wolf/Cinderella’s Prince, and Mark Antony Howard as Granny/Rapunzel’s Prince
  • The cast of Look Into My Eyes: Barbara Dirr as Billie, Libby Holly Scancarello as Gloria, Scott Stoney as Lonnie, Jeff Sams as Theo, Lauren Kampman as Lily, Jeremy Todd Farley as Junior, and Caitlin Larsen as Zelda
  • The cast of The Marvelous Wonderettes: Amy Brady as Suzy, Lindsey Cardoza as Betty Jean, Mary Nunnery as Missy, and Natalie Ruscello as Cindy Lou
  • The cast of Mr. Rickey Calls a Meeting: Saul Caplan as Branch Rickey, Shaun Diggs as Jackie Robinson, Edward Hill as Paul Robeson, Robert Culpepper as Clancy Hope, Robert-Wayne Waldron as Joe Louis, and Franklin Johnson as Bill “Bojangles” Robinson
  • The cast of The Musical Comedy Murders of 1940 (Dayton Theatre Guild): Brad Bishop as Kelly, Melissa Ertsgaard as Bernice, Charles Larkowski as Roger, Jennifer Lockwood as Marjorie, K.A. Mercuri as Helsa, George Merusi as Eddie, Lolli Mitchell as Nikki, Dave Nickel as O’Reilly, Jeff Sams as Ken, and Lynn Vanderpool as Elsa
  • The cast of On the Horizon: Brian Buttrey as George Stewart, Samuel Hamilton as Jimmy Gibson, Matthew Lindsay as Captain Stanley Lord, Brandon Shockney as Herbert Stone, Jefferson Smith as Cyril “Sparks” Evans, and Will Taylor as Charlie Groves
  • The Gods of Once on This Island: Jahmaul Bakare as Agwe, Kyle Ramar Freeman as Asaka, Tamyra Gray as Papa Ge, and Cassondra James as Erzulie
  • The cast of Peter and the Starcatcher: Will Graber as Peter, Lauren Kampman as Molly, Julie Deye as Ted, Dean McKenzie as Prentiss, Kaitlyn Campbell as Mrs. Bumbrake/Teacher, Louis Kurtzman as Lord Aster, Christopher Wells as Scott, Sophie Kirk as Alf, Kenneth Erard as Slank/Hawking Clam, Ethan Evans as Grempkin/Mack/Sanchez/Fighting Prawn, Jake Jones as Smee, and Josh McCabe as Black Stache
  • The cast of Slut: Bryana Bentley as Joey, Callista Kinney as Jane, Kylee Pauley as Anna, Kiarra Matos as Danielle, Rebecca Shelley as Sylvie, Rachel Charles as Leila, Alexis Paige as Dominique, Leia Gaddis as Julie, Sabrina Smith as Grace, Cormari Pullings as Christina, Lilly Robillard as Natalie, Kasaahn Johnson as George, Devante Wheaton as Luke, and Matt Poliachik as Tim
  • The cast of Stained Glass: Amy Askins as Mom, A.J. Breslin as James, Rae Buchanan as Jewels, Jada Gee as Tinkerbell, Chris Hahn as Moses, Michelle Hayford as Little Mermaid/Val/Mrs.Clifton/Rose/Sandy, Chris Jones as Pinocchio/Gabe, Jillian Mitchell as Cinderella, and Jenna Valyn as Tess
  • The cast of Still Alice: Cassandra Engber as Alice, Rachel Oprea as Herself, Steve Strawser as John, Brandon Shockney as Thomas, Chelsey Hall as Lydia, Cher Collins as Dr. Tamara/Beth, and Shawn Hooks as Dr. Davis/Dan
  • The cast of Which Way the Wind Blows: Spencer Berta as Paul Travis, Benjamin Jones as Paul Travis and Peter Freeman, Cynthia Karns as Carol O’Neill, Charles Larkowski as Marty O’Neill, Jennifer Lockwood as Peggy O’Neill, Michael Markus as Gerald Freeman, Krissy McKim-Barker as Thalia Whetstone, and Chavin Medina as Marty O’Neill
  • The principal cast of The Wizard of Oz: Elainah Skaroupka as Dorothy, Adonis Lemke as Scarecrow/Hunk, Kendal Garrett as Tinman/Hickory, Mark Van Luvender as Cowardly Lion/Zeke, Jenna Vance as Miss Almira Gulch/Wicked Witch of the West, Callista Kinney as Glinda, Bill Stewart as Professor Marvel/Oz Guard/The Wizard of Oz, Sheryl Koontz as Aunt Em, and Bill Bicknell as Uncle Henry
  • The cast of The Wolves: Mady McCabe as No. 00 – Goalie, Megan Ledford as No. 02 – Defense, Lauren Eifert as No. 7 – Striker, Julie Deye as No. 08 – Defense, Margo Russ as No. 11 – Midfield, Jessica Greenwald as No. 13 – Midfield, Bridget Lorenz as No. 14 – Midfield, Tina Hohman as No. 25 – Defense, Caroline Utz as No. 46 – Bench, and Sophie Kirk as Soccer Mom

ADDITIONAL ARTISTIC ACKNOWLEDGMENTS

  • Joyce Barnes’ direction of The Face of Emmett Till
  • Matthew P. Benjamin and Gabe Reichert’s lighting design for The Wolves
  • Brad Bishop as Pedro in Man of La Mancha
  • Casey Borghesi’s renditions of Stay with Me and Last Midnight in Into the Woods
  • Nick Bradley’s rendition of Piragua in In the Heights
  • Jay Brunner’s score for The Cake
  • David Brush’s music direction for Why We Tell the Story 
  • Steve Burton’s wig design for The Best Little Whorehouse in Texas
  • Pamela Byrd as Jewel in The Best Little Whorehouse in Texas
  • Lindsey Cardoza’s rendition of That’s When the Tears Start in The Marvelous Wonderettes
  • Courtnee Carter’s rendition of Waiting for Life in Once on This Island
  • The cast of In the Heights performing Carnaval del Barrio
  • Gabby Casto’s rendition of Pacience y Fe in In the Heights
  • Ronnie Copeland’s delivery of the Why I Live in Mississippi monologue as Mose Wright in The Face of Emmett Till
  • Marya Spring Cordes’ direction of The Wolves
  • Jonathan Crawford and David Bays’ rendition of No More in Into the Woods
  • Jackie Darnell, Bridget Miley and John Benjamin’s rendition of The I Love You Song in Why We Tell the Story 
  • Philip Drennen’s musical staging of A New Brain including And They’re Off
  • Matt Ebright’s musical direction of Peter and the Starcatcher
  • Ted Eltzoth as Sancho in Man of La Mancha
  • Lula Elzy’s choreography of 96,000, The Club and Carnaval del Barrio in In the Heights
  • Rick Flynn’s direction of Mr. Rickey Calls a Meeting
  • Kyle Ramar Freeman’s rendition of Mama Will Provide in Once on This Island
  • Jeannine E. Geise as Katherine Blake in Freaky Friday and Matron Mama Morton in Chicago
  • Chris Harmon’s set for Icebergs and Mr. Rickey Calls a Meeting
  • Kim Harvey and Lori Watamaniuk’s costumes for Why We Tell the Story
  • Brent Hoggatt’s rendition of Sailing in A New Brain
  • The Hope Is Why portion of Why We Tell the Story: Meghan Rupper (lead vocals) and cast singing Till We Reach That Day; Michael Shannon, Jack Issler, Kara Miller, Meredith Russ, Samuel Layman, Brett Greenwood, John Benjamin, Martha Armstrong-Benjamin (lead vocals) and cast singing One Day More; Meghan Rupper’s rendition of The Wizard and I; Taryn Lightcap, Abbey Fry, and Margo Russ’ rendition of I Know It’s Today; and Kathy Meyer, Andrew Gochenaur, Megan Rehberg, Mitchell Goecke (lead vocals), and ensemble singing Tonight Quintet
  • Jack Issler and Kara Miller’s rendition of You Matter to Me in Why We Tell the Story
  • Callista Kinney as Narrator in Joseph and the Amazing Technicolor Dreamcoat
  • Micah Koverman as Jim Hawkins in Treasure Island
  • Charlotte Kunesh’s rendition of It Won’t Be Long Now in In the Heights
  • John Lawson as Vernon Dupace, Stewart and Mr. Leonce in Quilt – A Musical Celebration (INNOVAtheatre)
  • Samuel Layman, Siobhan McAleer, Eric Pettit, Zoe Miller and cast rendering You Will Be Found in Why We Tell the Story
  • Adonis Lemke as Horace Gilmer in To Kill a Mockingbird
  • Sierra Leone’s poem Vision Perfected for A Night of Symphonic Hip Hop with Wyclef Jean (Dayton Philharmonic Orchestra)
  • Sara LiBrandi’s rendition of Enough in In the Heights 
  • Matthew Lindsay as Atticus Finch in To Kill a Mockingbird
  • Sean Mayo as Bob Ewell in To Kill a Mockingbird
  • W. Stuart McDowell’s staging of the Act 1 deluge finale (featuring Will Graber) and Act 2 town hall meeting (entire company) in An Enemy of the People
  • Hunter Minor’s rendition of Not Today in The Addams Family
  • Hunter Minor and Robin Dunavant’s Tango De Amor in The Addams Family
  • Bobby Mitchum and cast rendering Heart and Music, Gordo’s Law of Genetics, And They’re Off, and I Feel So Much Spring in A New Brain
  • Leslie Monnig’s costumes for The Wizard of Oz
  • The Musicians of Lady Day at Emerson’s Bar & Grill: Pianist Keigo Hirakawa (as Jimmy Powers), percussionist Deron B. Bell Sr., and bassist Eddie Brookshire
  • Matt Neal’s direction of A Streetcar Named Desire and Cat on a Hot Tin Roof
  • Rodney Neal’s technical direction for The Virtual Theatre
  • Gina Neuerer’s direction of Slut
  • The Orchestra of Into the Woods: Music director/keyboardist Melissa Yanchak, cellist Emsie Hapner and keyboardist David Hapner
  • Tonya Oslack (Shirley) and company rendering A Fifth of Beethoven in Disaster! (La Comedia Dinner Theatre)
  • Matt Owens (Governor) and company rendering The Sidestep in The Best Little Whorehouse in Texas
  • Vanae Stevee Pate’s renditions of Change and Homeless Lady’s Revenge in A New Brain
  • Annie Pesch’s direction of Still Alice
  • Annie and Fran Pesch’s dialect coaching for Drone and On the Horizon
  • Janet G. Powell’s costumes for Nevermore (Beavercreek Community Theatre)
  • John Rensel’s lighting design for In the Heights
  • Margo Russ, Jessica Pettit and Andrew Gochenaur’s rendition of Superboy and the Invisible Girl in Why We Tell the Story
  • Megan Wean Sears’ direction and choreography for Why We Tell the Story
  • Molly Seybert’s rendition of On the Steps of the Palace in Into the Woods
  • Michael Shannon’s rendition of Dust and Ashes in Why We Tell the Story 
  • Brian Sharp as Judge Taylor in To Kill a Mockingbird
  • Michael Shepherd’s fight choreography for The Face of Emmett Till
  • Lindsay Sherman’s rendition of The Music Still Plays On in A New Brain
  • David Shockey as Joseph and his renditions of Close Every Door and Any Dream Will Do in Joseph and the Amazing Technicolor Dreamcoat
  • G. Armando Silva, Joe Deer and Tyson Randolph’s creative contributions for In the Heights
  • G. Armando Silva and Lynda Casto’s Spanish language coaching for In the Heights
  • Aiyana Smash as Mimi Marquez and her rendition of Out Tonight in Rent 
  • Dawn Roth Smith’s direction of Man of La Mancha
  • Daria Dillard Stone’s vocals in The Face of Emmett Till
  • Scott Stoney’s direction of Lady Day at Emerson’s Bar & Grill
  • Amy Taint as Amanda Wingfield in The Glass Menagerie (Xenia Area Community Theater)
  • David Thomas as Buddy in Elf the Musical
  • Deborah Thomas’ dialect coaching for Peter and the Starcatcher
  • Sahe West as Tom Robinson in To Kill a Mockingbird
  • John Woll’s renditions of Eating Myself Up Alive and You Boys Are Gonna Get Me In Such Trouble in A New Brain
  • Michelle “Elle” Zimmerman as the Moderator for Gloria: A Life

The cast of Dayton Playhouse’s production of “Man of La Mancha.” (Photo by Art Fabian)

Hans Unser named Dayton Theatre Hall of Fame inductee

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Hans Unser, who has been involved with local theatre for nearly 20 years, is the 2020 Dayton Theatre Hall of Fame inductee.


Unser, 86, currently serves on the Beavercreek Community Theatre Board of Directors and is the organization’s facilities manager as well. His theatre associations include Dayton Theatre Guild, Town Hall Theatre, Sinclair Community College, Dayton Playhouse, Dare to Defy Productions, and Springfield Arts Council. He has notably assisted in the construction and painting of nearly 100 sets, served on stage crew for numerous shows, and has stage managed others. In particular, he is typically seen atop a 12 foot ladder painting a set, hanging teasers or changing light bulbs.

He moved to Dayton in 1996 from California after retiring from the film industry, first as a film editor. In fact, the Beach Blanket genre contains his handiwork. He eventually formed his own subtitle company. He is also a veteran and received a purple heart during the Korean Conflict.

Due to COVID-19, this year’s DayTony gala and Dayton Theatre Hall of Fame ceremony has been canceled. However, Unser will be honored at next year’s gala. The DayTony Awards for excellence and merit will be announced Saturday, July 25. Organizers say recipients will be able to pick up their awards at the theatres where the performances took place. “We will miss the opportunity to celebrate together this year,” said DayTony President and Dayton Theatre Hall of Fame member Debra Strauss. “But I look forward to how wonderful it will be to honor our friends and colleagues next year.”

Dayton Christian grad fights for COVID-19 testing

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Justin Bellante, a graduate of Dayton Christian High School and former resident of Englewood, is Co-Founder, President and CEO of Atlanta-based healthcare and technology company BioIQ, which recently added antibody testing to its COVID-19 testing platform. (Contributed photo)

As many stay-at-home orders have lifted across the country, the idea of going back to health before going back to work has become pivotal to the national COVID-19 discussion. Among those fighting for the growing need to accelerate widespread testing is Justin Bellante, Co-Founder, President and CEO of Atlanta-based BioIQ.

“How do you get people back to work? We liken it to after 9/11,” said Bellante, a Dayton Christian High School graduate formerly of Englewood. “After 9/11 no one wanted to get on an airplane. And it wasn’t until the TSA was created and so much testing, measurement and screening was (implemented) at airports that enough confidence was provided to the general public that it was safe to get on an airplane again. So, when you think about going back to work it’s really analogous to that. Are we going to, as private employers or public society or governments, start to create an infrastructure and framework where we feel it’s safe to go back to work? And, of course, the most important thing is testing. So, in an ongoing way, you have to know if you’re safe in that environment. The cornerstone of a back to work program has to be ongoing assessment and contact tracing, which has been validated in South Korea and other countries as the recipe to manage the virus until we learn more or develop a vaccine.”

Founded in 2005 in Santa Barbara, California, BioIQ, a healthcare engagement and clinical adherence technology platform company, recently added antibody testing to its numerous COVID-19 initiatives, including saliva RT-PCR diagnostic testing, for health plans, employers and government agencies. The company is particularly conducting quantitative antibody testing, which is done in a laboratory on a large clinical analyzer with an accuracy of 95 percent or more, according to Bellante.

“The RT-PCR test (determines) whether or not someone currently has the virus,” he explained. “The antibody test is more downstream. It determines if someone previously had the virus and if their body produced antibodies to fight the virus. Antibodies last for a long period of time. What’s so interesting about this is we think over time that being able to do two of those antibody tests will help us understand if someone is immune to the condition. Meaning, those are people we would value in society because they can’t get the virus again. But epidemiologists and virologists don’t know right now if you can get it again. Is this like the common cold, which you can catch every couple of months? Or is it like the flu, which you can get for one season, you fight it, and your body builds immunity to that strain until the following flu season when the flu mutates. We don’t know if the coronavirus is going to mutate. Season by season, is it going to be treated the way we treat the flu now? Or can your body even develop enough immunity? There have been cases recently in South Korea in which people had coronavirus, recovered, and two months later got it again. Because testing wasn’t available across the U.S., a lot of people probably had it or think they had it and now they want to know if they had it. It’s too late to do the PCR testing because the virus has probably left their bodies but the antibody testing will tell them if they had it.”
Bellante, who holds a bachelor’s degree and a master’s degree in materials engineering from Case Western Reserve University, also endeavors to bring the company’s initiatives to people on a wider scale. For example, there can be noticeable contrasts between labs with testing capacity in Arizona versus labs in New York lacking capacity.

“Even if you have testing available, it doesn’t mean you’re testing people,” he said. “We’re really focused on leveraging our technology platform to get testing capacity to the people that need them. You have to have workflows to get tests to hospitals, screening tents and critical infrastructure workers at their place of work such as a factory or retail distribution center. Creating workflows to get testing to people is the major challenge. And even in COVID-19 testing, we’re already starting to see disparities and outcomes between different racial, ethnic and socioeconomic groups who are being more impacted.”

With mid-April statistics indicating roughly 3.2 million COVID-19 tests have been conducted across America, which accounts for about 1 percent of the total U.S. population, Bellante is aware of the long road ahead. However, with guidance from a Public Health Advisory Board including Regina Benjamin, the 18th U.S. Surgeon General, he is grateful for the insightful perspectives allowing the company to thrive while helping to save as many lives as possible.

“We are in a crisis,” he said. “This is a pandemic. There are a lot of unknowns in this unprecedented situation. This isn’t going to go away May 1 or May 15 and the world is going to go back to normal. We’re more than likely going to deal with this situation for many months to come. We have to have urgency but not be in emergency mentality. We have to have urgency but we have to be thoughtful.”

‘Gloria: A Life’ Review – Human Race Theatre Company – Lady Liberty

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Gloria Steinem’s influential legacy is on terrifically insightful display at the Loft Theatre courtesy of the Human Race Theatre Company’s timely regional premiere of Emily Mann’s enlightening, thought-provoking and relevant 2018 one-act drama Gloria: A Life.

Gloria Steinem’s life and career is the subject of Emily Mann’s drama “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Contributed photo)

Chronicling the 85-year-old Steinem from her humble beginnings in Toledo, Ohio to her currently impactful stances on advocacy and equality, Gloria: A Life predominately seeks to put to rest preconceived notions about who she is and what she continues to fight for. It’s no surprise her undercover stint as a Playboy Bunny, co-founding of Ms. magazine and definitive impact as leader of the feminist movement typically grabbed the headlines over the decades. However, Mann astutely goes beyond the history and controversy to draw a deeper, relatable portrait of this strong woman greatly motivated by passionate African-American women such as Dorothy Pitman Hughes, Florynce Kennedy, Shirley Chisholm, and Angela Davis who not only dreamed of being a Rockette but was actually reticent to embrace the limelight of activism. In fact, even as she received her share of help and hell at the dawn and height of the feminist movement, she remained haunted by “the unlived life” of her insecure yet talented mother trapped in an unfulfilling marriage. Still, this self-described “hope-aholic” believed in the necessity of people-building, reminding everyone of all backgrounds of their value and self-worth in order to change the world. After all, “don’t agonize – organize” is a fundamental principle applying as significantly to men as it does to women.

Jennifer Johansen (standing in black) as Gloria Steinem and the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

Providing breezy transitions while expansively using the Loft space to the fullest from the rear of the audience to every corner of the stage, director Marya Spring Cordes briskly guides an outstanding, diverse seven-member female cast through various aspects of Steinem’s complex journey. The personable, statuesque Jennifer Johansen winningly embodies the titular role with commanding confidence, narrating the proceedings with elegance, wit and reflective sincerity. The remaining members vividly portray multiple roles: Burgess Byrd brings feisty joy to Hughes and Kennedy and gentle reverence to Coretta Scott King; Sherman Fracher zestfully captures New York Congresswoman Bella Abzug; Rae Buchanan is heartbreaking as Steinem’s mother; Andréa Morales, memorable in the Human Race’s Hail, Mary! and The Full Monty as well as Magnolia Theatre Company’s Parallel Lives and Gidion’s Knot, displays her inherent versatility throughout; Eileen Earnest equally convinces as a spunky kid enamored with Steinem and a prickly mother despising her; and Aurea Tomeski gracefully shines with warm wisdom as Wilma Mankiller, Steinem’s friend, mentor, mother figure, and the first contemporary female Principal Chief of the Cherokee Nation.

(left to right) Eileen Earnest (Woman 6), Sherman Fracher (Woman 3), Andrea Morales (Woman 4), Jennifer Johansen (Gloria Steinem), Rae Buchanan (Woman 5), Burgess Byrd (Woman 2) and Aurea Tomeski (Woman 1) comprise the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

In addition to John Riechers’ exceptional projections – heightening this educational experience with archival footage encompassing cutesy 1950s commercials, eye-rolling Harry Reasoner and Richard Nixon commentary, and a photo of the 127 women currently serving in the United States Congress – the first-rate production team includes set designer Tamara L. Honesty, costumer Ayn Kaethchen, lighting designer John Rensel, sound designer Jay Brunner, and stage manager Jacquelyn Duncan.
At the conclusion, a talking circle forum is moderated by Michelle Zimmerman with the cast. Attendance isn’t mandatory (the play is still a one-act) but I encourage you to stay and be open to discussing your thoughts on Steinem, the play and other topics that arise. The Human Race has offered a safe space which, in many respects, unites the audience in a meaningful way, bringing credence to Steinem’s advice: “Don’t look up – look out –  and find shared power.”

Gloria: A Life continues through March 15 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays; and 7 p.m. Tuesdays and Wednesdays. The play is performed in 90 minutes without intermission. Tickets are $16-$52. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Parents are also cautioned some material may be inappropriate for children under the age of 15.

‘An Enemy of the People’ Review – Wright State University – Bold and Unafraid

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Within the past year, the following organizations and individuals chose to speak up even if there was hell to pay: CNN; MSNBC; The New York Times; The Washington Post; The Intelligence Community Whistleblower; Marie Yovanovitch; William Taylor; Gordon Sondland; Fiona Hill; Alexander Vindman; David Holmes; Joseph Maguire; Michael Atkinson; John Bolton; John Kelly; Lev Parnas; Andrew McCabe; Lisa Page; Adam Schiff; Nancy Pelosi; Mitt Romney; Bernie Sanders; Alexandria Ocasio-Cortez; Ilhan Omar; Ayanna Pressley; Rashida Tlaib; Tulsi Gabbard; Beto O’Rourke; Greta Thunberg; The Hong Kong Protestors; Dr. Li Wenliang; Colin Kaepernick; Wade Robson; James Safechuck; Annabella Sciorra; Stacey Abrams; and Nan Whaley.

Nick Martin (center as Dr. Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Those diverse notables have a kindred spirit in Dr. Thomas Stockmann, the emotional, determined and heroic truth-teller at the center of Arthur Miller’s 1950 adaptation of Henrik Ibsen’s 1882 drama An Enemy of the People, dynamically presented in the Herbst Theatre of Wright State University under the remarkably astute, atmospheric and intimate direction of W. Stuart McDowell. In his small Norwegian town, well-respected Dr. Stockmann is put to the test when his shocking discovery of polluted waters rips his community apart. On the verge of becoming a booming tourist resort thanks to its purported healing waters, the town eagerly awaits reaping financial rewards regardless of whether or not society is destroyed in the process. Despite heated warnings from his brother Peter, the Mayor and chief champion of the town’s impending spa, Dr. Stockmann passionately persists, finding support among the local press but ultimately losing control of the narrative due to an overwhelming majority unwilling to budge. “The public doesn’t want new ideas,” he’s told. “The public is much better off with old ideas.” In addition to environmental issues, the incredibly timely themes bolstering this thought-provoking showcase, expertly staged in-the-round, include freedom of the press, political gamesmanship, corporate corruption, and majority vs. minority friction.

(left to right) Annika Whetstone (Petra Stockmann), Hailey Marshall (Catherine Stockmann) and Nick Martin (Dr. Stockmann) in Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

As Dr. Stockmann, towering knockout Nick Martin is a moral pillar of strength and unyielding purpose, stressing the importance of courageously standing in one’s truth specifically in Act 2’s unnerving town meeting. In fact, Martin is so convincingly attacked as The Other I’m surprised McDowell didn’t encourage his cast to shout “lock him up!” for the sake of contemporary rally relevancy. Charismatic, handsome and versatile Will Graber, slickly commanding the stage with top hat and baton in tow as if camouflaging as a genteel Macheath, outstandingly portrays arrogant Peter, who will stop at nothing to see his pet project succeed even if it forever fractures his own family. The splendidly matched Martin and Graber are so believably adversarial yet bonded (at the town meeting, Graber cautiously dials down Peter’s vitriol in an attempt to stop the citizens from resorting to violence against Thomas after getting them revved up) that I found myself wondering about the backstories of their fascinating characters. What fueled their sibling rivalry? Who was the favored son growing up? Is Peter jealous of Thomas for being the patriarch of a loving family? Miller and Ibsen keep matters in the present, but the possibilities of the past entice nonetheless due to Martin and Graber’s skillfully mature finesse.

Nick Martin (Dr. Stockmann), Will Graber (Peter Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Elsewhere in principal roles, Hailey Marshall is supportive yet formidable as matriarch Catherine Stockmann, Annika Whetstone sparkles as Thomas and Catherine’s bright, perceptive daughter Petra, Christopher Wells (Billing) Cole Frasher (Aslaksen) and Louie Kurtzman (Hovstad) are superb as fickle journalists, Aidan Lord exudes elderly credibility as Catherine’s father Morten Kiil, Matthew Shanahan (Ejlif Stockmann) and Mikey Fried (Morten Stockmann) charm as Thomas and Catherine’s rambunctious sons, Dylan Roll offers comic relief as The Drunk, and Jake Siwek tenderly embodies Captain Horster, Thomas’ friend soon journeying to America. The large, terrifically focused ensemble bringing furious rage to the town meeting and whose repeatedly whispered chants against the Stockmanns eerily haunt the recesses of the mind consists of Abbie Bookman, Kyle Channell, Abby Choi, Xiao Ni Denker, Branden Fisher, Sydney Freihofer, Chap Hollin, Amanda Jacobson, Theo Karras, Kevin Lausche, Alexis Muhlenkamp, Brie Parsons, Nick Salazar, and Alex Tischer.
In addition to costumer Tatyana Kowalski’s attractive period designs including Graber’s dapper, runway-ready suit, McDowell’s excellent production team includes scenic designer Carleigh Siebert, lighting designer Malia Dalba, sound designer James Dunlap, dialect coach Deborah Thomas, and properties master John Lavarnway. McDowell also incorporates Academy Award winner Hildur Guonadóttir’s (Joker) Emmy and Grammy-winning music from the HBO series Chernobyl as dramatic underscore and creates a striking, Equus-esque Act 1 finale recalling the visceral sensual nuance of recent Broadway revivals staged by Tony-winning avant garde director Ivo van Hove (A View From the Bridge, West Side Story).
In stinging fashion, walking a delicate tight rope between comedy and drama, impeccable dialogue overflows in this richly resonate play: “You’re an official – you keep your convictions to yourself”; “We live and die on what the outside world thinks of us”; “Without moral authority there can be no government”; “The majority is never right until it does right.” Without a doubt, Miller and Ibsen are speaking to us at this crucial moment in American history. You won’t hear exact references to current affairs but the subtext is absolutely inescapable. After all, you’d be hard-pressed to find a more important piece of theater happening in Dayton right now. In a perfect world, Wright State would take this show on tour to local high schools this spring and be remounted in some capacity this fall in conjunction with a voter registration drive as the presidential election intensifies.

The Ensemble of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Cutting deep as a fiercely urgent call to action, An Enemy of the People is simply one of the best productions of the season.

An Enemy of the People continues through March 1 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 65 minutes; Act Two: 50 minutes. Performances are 7 p.m. Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; and 2 p.m. Sunday. Tickets are $15 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp

‘Joseph’ Review – Sinclair Community College – Favorite Son, Favorite Coat

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Andrew Lloyd Webber and Tim Rice’s delightfully breezy musical Joseph and the Amazing Technicolor Dreamcoat, based on the biblical tale concerning family, faith and forgiveness, receives a joyful, surprisingly moving presentation under the direction of Kimberly Borst at Sinclair Community College.

David Shockey as Joseph in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In the deceptively demanding titular role requiring the utmost in personality and vocals, tenor David Shockey certainly masters the art of charmingly arrogant bravado. In his capable hands, there’s no question that Joseph adores being the center of attention and overzealously embraces his unique gift for interpreting dreams, attributes contributing to his downfall at the hands of his 11 treacherous, non-fashionable brothers. In addition to creating an arc believably grounded in various stages of distress from torture to slavery to imprisonment, Shockey sings terrifically throughout. In fact, he sincerely fuels the emotional drama of the gorgeous ballad Close Every Door and provides a wonderfully touching rendition of the heartwarming finale Any Dream Will Do, giving beautiful credence to Joseph’s enduring hope of one day reuniting with his father Jacob (CJ Suchyta).

Callista Kinney (center) with members of the Women’s Ensemble and David Shockey in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

Furthermore: Soprano Callista Kinney, a memorable Glinda in Brookville Community Theatre’s The Wizard of Oz earlier this season, sings with ease, grace, humor, and passion as the Narrator with a lovely rendition of Pharaoh Story among her many standouts; Joseph’s energetic, dastardly, kooky, and close-knit Brothers, enjoyably coalescing to the hilt for the Parisian-inspired Those Canaan Days, compatibly consist of Russell Paquay (strongly leading Benjamin’s Calypso as Reuben), Patrick Greco (Simeon), Chase Niemitalo (Levi), Kofi Gunter (Napthali), Rafael Santillan (Issachar), Gabriel Hrin (Asher), Matt Poliachik (Dan), Connor Gray (Zebulon), Mark Kreutzer (Gad), Micah Koverman (Benjamin), and Kasaahn Johnson (Judah); Raushawn Parker appears opposite Shockey as the dutiful Guard; The Women’s Ensemble/Wives are effectively portrayed by Rachel Charles, Riley Karr, Zoe Miller, Mackenzie Moore, Alexis Paige, Kylee Pauley, Trinity Rice (the striking soprano of One More Angel in Heaven), and Lilly Robillard; and the adorable, impressively focused Children’s Choir, unexpectedly given a great deal of interactive stage time especially in Borst’s contemporary-centric Prologue, consists of George Giese, Sasha Greco, Maria Greely, Sadie Hornick, Kaydence Kinney, Carmen Medina, and Rachael Updike.

In dual roles, Santillan excellently exudes expressive, masculine flair and fury as sophisticated Potiphar, Pauley seductively lures as Mrs. Potiphar, Gunter and Paquay respectively bond as the inquisitive Butler and Baker, and Greco playfully evokes the spirit of Elvis Presley in the aptly titled Song of the King.

Patrick Greco (Pharoah) leads “Song of the King” in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In addition to an inspired use of the orchestra pit as a storytelling device, Borst assembles a first-rate production team. Choreographer Jessica Eggleston, creating flavorful movement even in the smallest, synchronized instances within Joseph’s Dreams, The Brothers Come to Egypt and Who’s the Thief?, particularly supplies nifty odes to Bob Fosse’s Chicago (Potiphar) and Michael Bennett’s Dreamgirls (Pharaoh Story). Music director David Brush’s solid if muted nine-piece orchestra keeps the dandy score pulsating. Scenic designer Terry Stump’s scaffolding and staircases efficiently aid the action in look and scale. Kevin Alberts’ outstanding costumes including the snazzy titular coat are courtesy of Utah Shakespeare Festival and coordinated by Kathleen Hotmer. Jessy Henning’s vibrant lighting is exemplary, especially the spine-tingling radiance of Joseph’s Coat. Dan Brunk’s sound design and William Bierley’s property design are also noteworthy.
Perfect for families, Joseph stands as a feel-good testament to Webber and Rice’s tuneful legacy plus a valid reason why Sinclair should do more musicals.

Joseph and the Amazing Technicolor Dreamcoat concludes today at 7 p.m. in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Act One: 40 minutes; Act Two: 30 minutes. Tickets: $18 for adults; $15 for students and seniors. For tickets or more information, visit Sinclair.edu/tickets

WSU’s The Wolves Review

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Sarah DeLappe’s outstanding 2017 Pulitzer Prize-nominated drama “The Wolves,” a contemporary, coming-of-age character study about a girls’ indoor soccer team, has received an excellent local premiere at Wright State University.

(left to right) Bridget Lorenz, Jessica Greenwald, Julie Deye, Margo Russ, Mady McCabe, Lauren Eifert, Caroline Utz, Tina Hohman, and Megan Ledford are the titular team in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Photo by W. Stuart McDowell)

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

Mady McCabe (No. 00 – Goalie) in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

Breezily directed by Marya Spring Cordes with an astute awareness of peaks, valleys and subtleties within casually overlapping conversation (an equally significant attribute of her 2018 Human Race Theatre Company production of Brighton Beach Memoirs), The Wolves features wonderfully compatible actresses. The strong, believably athletic cast consists of quietly reserved and focused Mady McCabe (No. 00 – Goalie) endearingly sweet Megan Ledford (No. 2 – Defense), sensitive Julie Deye (No. 8 – Defense), snarky jokester Jessica Greenwald (No. 13 – Midfield), formidable Bridget Lorenz (No. 14 – Midfield), terrifically firm Tina Hohman (No. 25 – Defense and Team Captain), effective outsider Caroline Utz (No. 46 – Bench), poignant Sophie Kirk (Soccer Mom), and breakthrough performers Lauren Eifert (dynamic as the competitive, intimidating and foul-mouthed No. 7 – Striker) and Margo Russ (vibrant as the opinionated, commanding and current affairs-savvy No. 11 – Midfield).
In addition to providing scene changes fittingly set to tuneful female empowerment anthems from pop divas Beyoncé, Ariana Grande and Demi Lovato, Cordes assembles a top-notch production team. Carleigh Siebert’s eye-catching set, expertly co-lit by designers Matthew J. Benjamin and Gabe Reichert, supplies a huge, ascending AstroTurf design complete with large netting in front of the stage, heightening the action’s immediacy. Costumer Victoria Gifford appropriately ensures athletic uniformity. James Dunlap’s sound design is clear and crisp.

The cast of Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

There’s a reason why The Wolves is one of the most popular plays in the country. Akin to Academy Award nominee Greta Gerwig (Lady Bird, Little Women), DeLappe has a unique, cross-generational gift for witty, whip-smart dialogue and creating relatable angst among women that is incredibly entertaining and palpable. So, make sure you catch this singular experience. These ladies are in it to win it.

The Wolves continues through Feb. 16 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy., Dayton. Performances are 7 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 95 minutes without intermission. Tickets are $15-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp. Patrons are advised the play contains strong language.

‘Mr. Rickey Calls a Meeting’ Review – Dayton Theatre Guild – Great Debate

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Brooklyn Dodgers owner Branch Rickey’s crucial, monumental decision to integrate Major League Baseball by signing Jackie Robinson is the fascinating catalyst of Ed Schmidt’s relevant and riveting 1989 drama Mr. Rickey Calls a Meeting, impressively presented by the Dayton Theatre Guild.

(left to right) Robert-Wayne Waldron (Joe Louis), Saul Caplan (Branch Rickey), Shaun Diggs (Jackie Robinson), Edward Hill (Paul Robeson), Franklin Johnson (Bill “Bojangles” Robinson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Shaun Diggs (Jackie Robinson) opposite Edward Hill (Paul Robeson) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Set in April 1947 at New York City’s Roosevelt Hotel (spaciously designed by Chris Harmon) six days before Robinson made his major league debut at age 28, this imaginary Meeting overseen by Rickey (Saul Caplan) with Robinson (Shaun Diggs) as sidekick involves key input from three influential African-American icons: Joe Louis, the world’s heavyweight champion (Robert-Wayne Waldron); popular vaudeville entertainer Bill “Bojangles” Robinson (Franklin Johnson); and celebrated actor-activist Paul Robeson (Edward Hill). Rickey desperately seeks the trio’s support before announcing his decision, but intriguing questions and motives loom large, particularly regarding the future of the Negro National League. Sparks quickly fly and particularly compelling subtext arises when conversation shifts toward the African-American community’s reluctance to trust powerful white males to keep their promises. Rickey provides a unique opportunity to change the course of sports history for African-American athletes, but his chief desire for “slow, orderly, long-term progress” in which “long-term, lasting change happens one man at a time” sounds like defeatism to those in the room, particularly in the eyes of Robeson, a former Rutgers football player. Ultimately, a harsh reality isn’t lost on Jackie. “It ain’t up to us,” he reminds his fellow legends. “It never was. It never will be.”

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill “Bojangles” Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Historical characters are the centerpiece, but director Rick Flynn effectively opted not to cast actors who are literal representations. Just as Chevy Chase hilariously embodied President Gerald Ford on Saturday Night Live, the essence of the characters takes precedence over exact physical likeness. Caplan, authoritatively intimidating, wonderfully captures the spirit of Rickey’s ambitious aims, including his genuine admiration for Jackie and a slew of strict rules as well as an unyielding determination to embrace baseball open-mindedly. Diggs, believably athletic, paints an excellently vivid portrait of a man refusing to limit his talents, his American Dream, in spite of an onslaught of racism. Hill, in a dynamic breakthrough performance, is a sophisticated voice of reason and ridicule, sometimes unnervingly in the same breath. Johnson, bubbly, agile and raspy, credibly evokes Robinson’s happy-go-lucky showmanship. Waldron, gruff and imposing, is enjoyably understated. Robert Culpepper, charmingly wide-eyed and crisply costumed in period by Carol Finley, completes the cast as excitable, starstruck bellhop Clancy Hope. Interestingly, based on the standout merits of Caplan and Hill, this Meeting would be just as gripping as an intimate two-hander. After all, Rickey and Robeson’s dueling perspectives from politics to power plays deserves expansion, particularly Robeson’s defiant view that Rickey waited 40 years too late to integrate. I suspect Schmidt was heavily inspired by August Wilson’s Fences when writing Robeson’s fiery arc, which includes many Troy Maxson-esque sermons fueled by issues of class, identity, race, and resentment.
African-American athletes have come a long way since Robinson paved the way, but that doesn’t mean the fight for social justice is over. It’s important for owners and players across all leagues to continue to make strides for the sake of future generations, especially minorities longing to join a coaching staff or become an executive. If not, inequality, in words famously sung by Robeson, just keeps rolling along.

Mr. Rickey Calls a Meeting continues through Feb. 9 at Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Fridays; 5 p.m. Saturdays; and 3 p.m. Sundays. The production runs 90 minutes without intermission. Tickets are $13-$20. Patrons are advised the show contains strong language. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org

 

‘Man of La Mancha’ Review – Dayton Playhouse – A Quest Fulfilled

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The artistic stars have aligned at the Dayton Playhouse as evidenced in its impressively grounded production of librettist Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion’s 1965 musical Man of La Mancha, astutely directed with clarity and commendable atmospherics by Dawn Roth Smith.

The cast of Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

As is typical with any production of La Mancha, set in a dingy dungeon of despair during the Spanish Inquisition, the engaging, inspirational and dark material lives and breathes on the merits of whomever portrays Miguel de Cervantes/Don Quixote and Aldonza. Thankfully, Tim Rezash and Sarah Viola are firmly at the helm, delivering winning performances layered in deft characterization and vocal assurance. Rezash, instilling noble passion within The Impossible Dream and heartwarming yearning within Dulcinea, wonderfully commands and stimulates the interests of Cervantes’ fellow prisoners, drawing them into the valiant, illusion-driven world of Don Quixote with playful imagination and spirited hope. Viola, an accomplished soprano and a luminous Eliza Doolittle in the Playhouse’s My Fair Lady last season, returns with aplomb, providing gorgeous renditions of It’s All the Same, What Does He Want of Me? and gripping Aldonza.

Ted Eltzroth (left, Sancho) and Tim Rezash (Cervantes/Quixote) in Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

Elsewhere: Ted Eltzroth offers dopey charm as Cervantes’ faithful sidekick Sancho Panza; William “Kip” Moore supplies fun and flair as the Padre (notably interpreting To Each His Dulcinea with gentle grace); Charles Larkowski is a delightfully gleeful Barber; Brad Bishop, in a refreshing departure, is believably formidable as brutish, violent Pedro; Danny Klingler brings appealing sophistication to the Duke/Carrasco/Knight of Mirrors; lovely sopranos Bryn Corbett (Antonia) and Kate Young (Housekeeper) join Klingler and Moore for a terrifically sung and staged I’m Only Thinking of Him; and Lindsey Cardoza (Maria) and dancer Kiersten Farmer (Moorish Lady) uniquely entertain. The admirable company, attractively costumed by Theresa Kahle, includes Richard Lee Waldeck (Captain), Kevin Rankin (Governore/Innkeeper), John Wysong (Jose/Mirror Guard), Stephen Gogol (Tenorio/Mirror Guard), Jamison Meyer (Paco/Moorish Man), Jamie McQuinn (Juan/Moorish Man), and Michael Plaugher (Anselmo/Mirror Guard).

Sarah Viola (Aldonza) and the male ensemble of the Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

In addition to Jonathan Sabo’s excellent scenic design and the evocative lighting design of the aforementioned Waldeck, Smith’s first-rate production team includes choreographer Jeffrey M. Payne, sound designer Bob Kovach, properties designer Laura Rea, and music director Sarah Plaugher, leading a fine orchestra.
La Mancha is really staged these days, so I highly recommend taking the time to catch this classic, which has been treated with great respect and reverence at the Playhouse.

Man of La Mancha continues through Feb. 2 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. The production is performed in two hours without intermission. Tickets are $18-$20. Call (937) 424-8477 or visit daytonplayhouse.com.

 

‘In the Heights’ Review – Muse Machine – This Is America

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Recognizing and respecting other cultures is what truly makes America great. Don’t believe me? Check out Muse Machine’s exhilaratingly joyful production of In the Heights, a wonderfully touching, relatable, topical, and tuneful look at the Hispanic experience in New York City’s Washington Heights neighborhood.
The winner of the 2008 Tony Award for Best Musical and the 36th annual Muse student musical, In the Heights, written by Pulitzer Prize winners Lin-Manuel Miranda (Hamilton) and Quiara Alegría Hudes (Water by the Spoonful), excellently examines love, fear, financial woes, disillusionment, regret, and hope within a small yet busy block of close-knit family and friends. Dominican Republic native and bodega/convenience store owner Usnavi (Nate Saner), holding down the fort with his cousin Sonny (Chavin Medina) while caring for his Abuela Claudia (Gabby Casto), is the central focal point, propelling the immigrant narrative forward in humorous and insightful ways. Elsewhere, cab company owners Kevin and Camila Rosario (Michael Taylor and Sara LiBrandi) have difficulty coming to terms with the news that their beloved daughter Nina (Julie Murphy) hasn’t adjusted to life at Stanford University. Beautician Daniela (Courtney Collinsworth), Daniela’s assistants Vanessa (Charlotte Kunesh) and Carla (Chynia Crane), Kevin and Camila’s faithful employee and Nina’s love interest Benny (Desmond Kingston), Piragua Guy (Nick Bradley), and Graffiti Pete (Quinn Bennett) along with his trusty sidekick Pete (Darian Watson) also accent the colorful action, occurring over an eventful Fourth of July weekend in 2008.

The cast of Muse Machine’s production of “In the Heights” performs “Carnaval del Barrio.” (Photo by Ben Morrison)

Under the breezy, thoughtful co-direction of Jeffrey Polk and longtime Muse choreographer Lula Elzy, the winning principal cast and large ensemble supply strong, witty and mature performances. In a striking Muse debut, the charismatic, sensitive Saner delivers a breakthrough portrayal grounded in authority, vulnerability and a specific mastery of Miranda’s hip-hop lyrics in a manner that would make Jay-Z, Kanye West and Twista very proud. Medina, a standout in past seasons with Dare to Defy Productions and Epiphany Lutheran Church, is back in top form yet refreshingly stretching his gifted abilities in a looser fashion to believably interpret Sonny’s street-savvy swag. The endearingly earnest Castro powerfully renders Pacienca y Fe (Patience and Faith), a signature flashback detailing Abuela Claudia’s thought-provoking account of her Cuban immigrant past. Taylor, a memorable Curly in Carroll High School’s Oklahoma! last year, and LiBrandi, whose remarkable 2018 portrayal of Dolly Levi has already gone down in Muse history, are credibly concerned and compatible. LiBrandi especially ignites Act 2 with a fierce rendition of Enough, which finds Camila caught in the middle of the stubbornness between her husband and daughter. Murphy, a tender Laurie in the Human Race Theatre Company’s 2018 production of Brighton Beach Memoirs, and Kingston, seen as Sam in last year’s Muse production of Mamma Mia! offer pleasant vocals, particularly Murphy’s heartrending Everything I Know and their lovely duet When You’re Home. Kunesh, an outstanding Sophie in Mamma Mia!, absolutely dazzles vocally (It Won’t Be Long Now is an early highlight), choreographically (The Club) and in costume (her snazzy collection of Project Runway-esque day and evening wear are courtesy of Nikki Sherck and Alisa Vukasinovich). Collinsworth, receiving fine support from the appropriately ditzy and enjoyably strut-happy Crane, is as delightfully sassy here as she was last year as Tanya in Mamma Mia! Bradley, a vibrant, athletic tenor, brings sunny optimism to the cheery Piragua.

Courtney Collinsworth (center as Daniela) leads “Carnaval del Barrio” with Desmond Kingston (far left as Benny) and Chynia Crane (far right as Carla) in Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

Additionally, Elzy unsurprisingly pulls out the stops as a hip-hop and Latin-infused storyteller. Along with the aforementioned Pacienca y Fe, in which she injects dramatic 1940s scorn into Abuela Claudia’s memories of perseverance, and The Club, a fantastic, character-conscious routine soaring with lively thrills on the level of The Dance At The Gym from West Side Story, her spirited creations of 96,000 and Carnaval del Barrio are flavorful testaments to her diverse expertise in fluidity, movement and rising momentum. In fact, the particularly electrifying, flag-adorning Carnaval del Barrio contains a cavalcade of eye-catching moments, including some cool hip-hop moves performed on the upstage stoop.

The top-notch production team includes producer Douglas Merk (securing the original set design by Anna Louizos), musical director Jeffrey Powell (conducting an impressive 15-piece orchestra), lighting designer John Rensel (bringing beautiful awe to a series of fireworks during Blackout) sound designer Ryan Vallo, property master/rehearsal stage manager Shannon Sellars, production stage manager Morgan Jergens, and artistic consultants G. Armando Silva, Joe Deer, Tyson Randolph, and Lynda Casto.

Nate Saner (center as Usnavi) with Chavin Medina (Sonny) and the cast of Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

You will not find this In the Heights ethnically accurate in terms of overall casting. However, the relevancy of its themes, its universal reflections of family, community, legacy, goodwill, and cultural pride wrapped inside the common pursuit of the American Dream, remain terrific hallmarks genuinely stirring the soul.

In the Heights continues through Sunday, Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. today, 3 and 8 p.m. Saturday, and 2 p.m. Sunday. Act One: 70 minutes; Act Two: 50 minutes. Tickets: 27-$65. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com

‘The Glass Menagerie’ Review – Xenia Area Community Theater – Chemistry by Candlelight

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Sparks both dramatic and dysfunctional fly profoundly in Tennessee Williams’ landmark 1945 semi-autobiographical memory play The Glass Menagerie. However, in the event those sparks lack pizzazz, two significant safety nets typically make up for any shortcomings, which defines Xenia Area Community Theater’s presentation.

(left to right) Amy Taint (Amanda Wingfield), Kristin Curby (Laura Wingfield) and Ryan Hester (Tom Wingfield) in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Ben Evory as Jim O’Connor in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

As the centerpieces of Act 2 under the direction of Mike Taint, Kristin Curby and Ben Evory, both delivering XACT debuts, are worth the wait as Laura Wingfield and Jim O’Connor, also known as the Gentleman Caller. The moment a hearty dinner concludes in the dark and Jim is asked to spend some quality time with hopelessly shy Laura by candlelight, this emotionally mild production suddenly finds its footing, enjoyably transitioning into the heartwarming and heartbreaking reunion Williams intended. In high school, the physically challenged Laura pined for All-American Jim, but her deep insecurities and his overwhelming popularity kept them from becoming more than social acquaintances. As if in a dream, after years of wondering what became of Jim, Laura finally has him all to herself, but the unexpected momentousness of the occasion and the hard truth Jim reveals about his relationship status is ultimately too much for her fragile soul to bear.

Kristin Curby as Laura Wingfield in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Curby, soft-spoken, believably frazzled and nicely costumed by Dee Berdine and Debra Zweber, wonderfully conveys Laura’s expressive arc from reticence (delightfully taking only a pinch of Jim’s chewing gum when offered) to acceptance (energetically recalling Jim’s glory days via her trusty yearbook and lovingly giving him a souvenir from her meaningful glass menagerie). Evory, charismatic, vibrant and sensitive, equally appeals with sharp authenticity recognizing Jim’s delicate balance of attempting to be Laura’s life coach while acknowledging the pitfalls, desires and uncertainty fueling his own topsy-turvy trajectory. In particular, Evory’s effortlessness is an extension of his knack for characterization as a recent graduate of Wright State University’s BFA film program. In fact, his excellent, humorous short film Slushie was featured on opening night of the Dayton LGBT Film Festival last fall.

As for Laura’s overbearing mother Amanda and incredibly disillusioned brother Tom, the central duo driving this landmark drama set in 1937 St. Louis, Amy Taint and Ryan Hester tussle admirably but a fundamental disconnect exists. In his XACT debut, Hester, a notably outstanding George Gibbs in Springfield Stageworks’ Our Town, certainly fares better, giving credence to Jim’s volcanic behavior and overt frustration when pushed to the breaking point and splendidly delivering his quietly reflective and poetic monologues on the deck of the SS Pennwar six years later with great maturity. Conversely, Taint inhabits Amanda with gentle, passive and comedic sensibilities, off-kilter choices diminishing the play’s electricity and Amanda’s inherently dynamic matriarchal strengths. She only rises to an impressive level of domineering authority when Amanda defiantly throws Tom out of her house and her life.

Nevertheless, thanks primarily to Mike Taint’s effective projections and delicately staging one of the greatest scenes in American playwrighting with affection and surprise bolstered by Curby and Evory’s chemistry, this Menagerie still manages to shine.

The Glass Menagerie continues through January 19 at Xenia Area Community Theater, 45 E. Second St., Xenia. Performances are 7:30 p.m. Friday and Saturday and 3 p.m. Sunday. Act One: 75 minutes; Act Two: 75 minutes. Tickets are $17. For tickets or more information, call (937) 372-0516 or visit xeniaact.org.

‘Icebergs’ Review – Dayton Theatre Guild – Tinseltown Anxiety

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Hip thirtysomethings evaluating life and love is the foundation of Alena Smith’s 2016 contemporary comedy Icebergs, currently receiving an enjoyable local premiere at the Dayton Theatre Guild through Sunday, Dec. 15.

(back row left to right) Sha-Lemar Davis (Abigail), Lorin Dineen (Molly), (front row left to right), Maximillian Santucci (Calder), S. Francis Livisay (Reed), and Titus Unger (Nicky) comprise the cast of the Dayton Theatre Guild’s production of Alena Smith’s comedy “Icebergs,” continuing through Dec.15. (Photo by Craig Roberts)

Set in Los Angeles on the Day of the Dead and adeptly directed by Debra Kent with realistic casualness befitting a laid-back get-together among close friends, Icebergs revolves around the latest film project from up-and-coming indie writer/director Calder (Maximillian Santucci, terrifically fretful and passionate). Calder has his heart set on adapting a melancholy memoir about a couple facing adversity at the North Pole, but situations aren’t going according to plan at work or at home. In fact, he’s without a major female star and has begun to second-guess his decision not to have initially offered the role to his aspiring actress wife Abigail (Sha-Lemar Davis, believably distraught and paranoid). As Calder deals with questions surrounding his film and Abigail grows uncertain about her career, their evening is broadened by the eventful arrivals of Calder’s old college buddy Reed (outstanding S. Francis Livisay), Abigail’s longtime friend Molly (quirky yet sophisticated Lorin Dineen) and Calder’s slick, supportive agent Nicky (admirable Titus Unger). Together, this opinionated quintet, nestled comfortably within the attractive suburban chic domain of set designer Chris Harmon, engages in a series of random, thought-provoking topics ranging from earthquakes, climate change and carbon footprints to parenthood, homophobia and social media.

Smith, who notably served as writer and producer of Showtime’s The Affair and also wrote for HBO’s The Newsroom, captures the spirited essence of L.A. to the tee. For example, if you’re a cinefile, you’ll love the references to Jessica Chastain, Kirsten Dunst, the Oscars, and Children of Men among others. But on a deeper level, she effectively uses Calder and Abigail’s marriage to expose the complexities of family planning, specifically whether or not it’s ever an apt time to bring innocent children into a world in which the odds seem stacked against them environmentally and socially. In particular, Davis, smoothly maintaining a sense of depressed unease throughout, excellently accelerates the stakes at play for the future of humanity. Elsewhere, the delightfully charismatic Livisay receives a prime moment of chilling reflection late in Act 2 as the previously upbeat Reed reveals details surrounding the racism he has encountered back home in Missouri.

Icebergs isn’t life-changing theater, but it’s certainly a refreshing change of pace for the Guild, in the midst of celebrating its 75th anniversary season. It’s been a while since this troupe, carrying an affinity for the classics and other works with a tendency to look back, has embraced a script containing a distinctively young, cool, profane, and progressive off-Broadway vibe. Seeing this wonderfully diverse cast feel the groove of Drake’s Hotline Bling is a hopeful sign that the Guild is prepared to take more risks, loosen up, and embrace the possibilities of unchartered territory.

Icebergs continues through Dec. 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Friday, 5 p.m. Saturday and 3 p.m. Sunday. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the show contains strong adult language.

 

 

‘Still Alice’ Review – Young at Heart Players – The Farewell

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Linguistics professor Alice Howland’s life-altering battle with early-onset Alzheimer’s disease grips with heartbreaking poignancy in Christine Mary Dunford’s 2013 drama Still Alice, excellently presented in its regional premiere courtesy of Young at Heart Players at the Dayton Playhouse.

STILL ALICE (left to right) Cher Collins (Dr. Tamara/Beth), Cassandra Engber (Alice), Steve Straswer (John), Chelsey Hall (Lydia), Brandon Shockney (Thomas), Rachel Oprea (Herself), and Shawn Hooks (Dr. Davis/Dan) comprise the cast of Young at Heart Players’ regional premiere of “Still Alice,” continuing through Dec. 1 at the Dayton Playhouse. (Photo by Fran and Annie Pesch)

Based on Lisa Genova’s 2007 novel and notably filmed in 2014 featuring Julianne Moore’s Academy Award-winning performance, Still Alice chronicles the complexities, shock, misunderstanding, and frustration that arises within the Howland family as Alice navigates her journey. As she undergoes a three-year race against time, an imperative component at the root of Annie Pesch’s expert direction, her supportive husband John as well as her two children Thomas and Lydia ultimately come to terms with her farewell. And in a surprisingly refreshing and theatrically fulfilling departure from the film, Alice is joined at nearly every moment by Herself, a character conveying her crucial inner thoughts.

In one of her finest performances, Cassandra Engber, frequently seen over the years with Dayton Theatre Guild, marvelously embodies Alice’s tear-jerking duality, an independent, vibrant intellectual celebrated around the world slowly evaporating into fragments of what she once was. With compellingly believable intent, avoiding melodrama or histrionics, Engber absolutely pulls the audience into the character’s confused angst. Certain situations find Alice inadvertently heading to the office in her pajamas, forgetting a family recipe and failing to recognize her daughter, but she remains a genuine beacon of warmth, love and resilience nonetheless. It’s a delicate balance, but Engber pulls it off splendidly, especially as emotions run high and stakes are raised as the disease takes hold. And as the disease progresses, Pesch and Logan Dabney’s efficient set strikingly disappears bit by bit, heightening the play’s riveting subtext to profound effect.

Additionally, Rachel Oprea is equally impactful and potent as Herself, attempting to make sense of Alice’s new way of living. Engber and Oprea’s terrific chemistry is key to the inherent compatibility unfolding in their insightful scenes, which is particularly notable regarding Oprea, astutely understanding the necessity of allowing Engber to take precedence in their interactions. Steve Strawser, in perhaps his most dynamic, emotional performance, is a relatable source of strength as John, trying to maintain his busy career while taking on the challenging role of chief caregiver at home and at doctor’s appointments. Brandon Shockney and Chelsey Hall are also winning as Thomas and Lydia, whose valiant attempts at caregiving are not effectively aligned with their present paths of fatherhood and a life in the theatre, respectively. Cher Collins (Dr. Tamara/Beth) and Shawn Hooks (Dr. Davis/Dan) complete the cast in very grounded, credibly concerned portrayals. In fact, Hooks is at the center of one of the play’s best scenes which finds Alice and John contemplating advance treatment following a series of memory questions.
“I miss myself,” Alice says. “My used to be self.” Without a doubt, this meaningful play, fittingly offered just in time for the holidays as the pleasures of family and memories become priorities, is an invitation encouraging and inspiring us all to simply embrace life to the fullest each and every day.

Still Alice continues through Dec. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. The play is performed in 100 minutes without intermission. Tickets are $15 for adults and $12 seniors and students (open seating). Call (937) 654-0400 to make a reservation. For more information, visit youngatheartplayers.com.

In addition, a portion of the proceeds will benefit the Miami Valley Chapter of the Alzheimer’s Association.

 

‘Chicago’ Review – Springboro Community Theatre – Jailhouse Jewels

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The heated competition between merry murderesses Roxie Hart and Velma Kelly is back as Springboro Community Theatre continues its inaugural season with an entertaining production of composer John Kander, lyricist/co-librettist Fred Ebb, and co-librettist Bob Fosse’s classic 1975 musical Chicago.

Photo caption(s) (left to right) Logan Hylinski (Velma Kelly) and Kailey Yeakley (Roxie Hart) are featured in Springboro Community Theatre’s production of John Kander, Fred Ebb and Bob Fosse’s classic musical “Chicago” through Nov. 17. (Contributed photo)

The core 1920s battle inside the Cook County Jail as famed veteran Velma is challenged in publicity and attention by upstart Roxie is well-established and believably grounded by Logan Hylinksi and Kailey Yeakley, respectively. Although their youth significantly lessens the level of desperation inherently built inside both roles, they nonetheless bring charisma, passion, sensuality, and spunk to the stage as stakes are raised. Hylinski, agile, sleek and sly with an impressive grasp of the Fosse style, greatly emphasizes Velma’s unexpected change of course having to share her turf and see her reputation disintegrate as Roxie surpasses her. “I Can’t Do It Alone,” Velma’s plea for Roxie’s assistance, showcases Hylinksi to the fullest as a performer while still reflecting Velma’s vulnerability. Yeakley, filling Funny Honey with a pleasant country twang near the outset, shrewdly embraces Roxie as a cold-hearted killer empowered and reveling in her celebratory rise as the Windy City’s latest craze even as she is doted on by her hopelessly gullible husband Amos (endearing Aaron Brewer) and spars with hotshot lawyer Billy Flynn (Steven Lakes, vocally strong yet lacking in layers and specificity). Her playful rendition of Roxie, which includes a fantastic monologue detailing the character’s adulterous backstory, is a particular highlight.

In addition: Jeannine Geise is a delightfully crass Matron Mama Morton (her brutally blunt rendition of Class opposite Hylinski is wonderfully lyric-driven and sarcastic); Donna Cason keeps the action humming in her central role as Emcee; The Cell Block Tango, one of many flavorful Fosse-inspired routines admirably choreographed by Kara Castle, is terrifically rendered by Lily Newman (Mona), Morgan Gruet (Annie), Ryann Davis (June), and Madison Stapleton (Liz) along with the aforementioned Hylinksi and Castle (Hunyak) who are all costumed seductively by Olivia Dakin; standout ensemble members Jeremy Smith (Fogarty/Harrison) and William Boatwright, Jr. (Harry/Aaron) are great assets in spirit, tone and movement; Tim Fingerle (Fred Casely) proves prominent in flashback during Roxie’s climatic trial; Xander Hildenbrandt is a fittingly fiery Go to Hell Kitty; and Megan Blitz, Lauren Ping, and Allie Staples nicely complement as featured dancers. However, as newspaper reporter Mary Sunshine, Jordan Mckinniss stumbles within the tricky parameters of spoof, specifically lacking authenticity and vocal finesse to properly sell the role and its duality. Trust me: A Little Bit of Good is one of the finest character-specific songs in the Kander and Ebb canon and deserves a far better treatment than exhibited here.


In a unique departure from the standard jailhouse setting, director Jenni Cypher frames the show inside a period nightclub, designed by Wayne Myers complete with tables and bar. It’s an interesting concept at times refreshing but occasionally muddled, particularly Act 1 finale My Own Best Friend, a defiant number devoted to Roxie and Velma’s decision to rely on no one but themselves that gets deflated as Hylinski and Yeakley stroll across the stage as some sort of lounge act to satisfy customers. On the other hand, Cypher’s choice to bring the overwhelming fury of The Cell Block Tango directly into the audience notably appeals. Her production team includes music director Judy Mansky, lighting and sound designer Jason Vogel, and properties master Kurt Cypher.

We can learn a lot from the corruption, betrayal, lies, and treachery that make Roxie and Velma household names. With Hylinksi and Yeakley firmly in the driver’s seat, this cautionary tale rightfully stings with relevancy. Buckle up.

Chicago continues through Nov. 17 at Springboro Community Theatre, 115 Wright Station Way, Springboro. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Tickets: $20 for adults; $18 for seniors, students, military, and groups. For tickets or more information, call (888) 262-3792 or visit borotheatre.org. Patrons are advised the show contains adult language/situations.