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‘The Wiz’ – Sinclair Community College – Ease On Into the Groove

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Sinclair Community College delivers an incredibly appealing production of composer Charlie Smalls and librettist William P. Brown’s Tony Award-winning 1975 musical “The Wiz.”

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Sinclair Community College’s production of “The Wiz” features Vanae Pate as Dorothy along with (left to right) Brennan Paulin as the Tin Man, David Brandt as the Lion, and Naman Clark as the Scarecrow. (Contributed photo by Patti Celek)

A delightfully soulful retelling of L. Frank Baum’s classic novel “The Wonderful Wizard of Oz,” “The Wiz” presents a refreshing African-American spin on the universal tale of friendship, self-discovery and inner strength. Thankfully, director Chris Harmon doesn’t shy away from embracing the plentiful R&B vibes permeating nearly every inch of the peppy, marvelously tuneful material performed by an over 40-member cast. In fact, he astutely brings the music to the forefront by consistently placing the actors beyond the proscenium to perform at the edge of the stage and also having them occasionally venture into the aisles for greater immediacy. Harmon also enjoyably spoofs the show’s ‘70s sensibilities. When the smooth grooves of “A Rested Body is a Rested Mind” particularly arises late in Act 2, a group of male dancers (dressed in hip period attire by costumer Kathleen Hotmer) channels “Saturday Night Fever” and recalls the satiric savvy of the hilarious Broadway musical “Xanadu.” By and large, this “Wiz” doesn’t take itself too seriously which certainly keeps spirits high and the laughter contagious.

 
As the innocent, impressionable Dorothy, the lovely Vanae Pate brings an introspective sweetness to her fine solos (the stirring “Be a Lion” is beautifully motivating) and an engaging sense of wonder overall. Even so, she also understands the importance of not having Dorothy be a pushover as she comprehends and navigates her new surroundings. Naman Clark (Scarecrow), Brennan Paulin (Tin Man) and David E. Brandt (Lion) shine individually and collectively. Brandt particularly offers a breakthrough performance geared toward the Lion’s idiosyncrasies and insecurities with a slick New Jersey salesman persona thrown in for good measure. Sha-Lemar Davis is a bundle of energy and sass as the kooky Addaperle, the Good Witch of the North. The feisty, vocally strong Samantha Wright-Norman, clad in fiery red, wonderfully dominates as the larger-than-life Evillene, the Wicked Witch of the West. As Glinda, the Good Witch of the South, Anna Masla charms with beguiling delicacy and vocal passion while rendering the gorgeous ballad “Believe in Yourself.” Malcolm Walker, mesmerizing in the rousing, gospel-driven “Y’all Got It!,” exuberantly embodies the eccentric, intimidating titular role accented by clever shades of Bob Fosse and James Brown. The cast also features Shaun Diggs as the Gatekeeper, Erin Waldon as Aunt Em, Nabachwa Ssensalo as the Kalidah Queen, Maegan Lopez as Lord High Underling, and the cutely cohesive Yellow Brick Road comprised of André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry.

 
In addition, choreographer Rodney Veal expertly creates flavorfully retro routines with contemporary flourishes. The uplifting, liberating “Everybody Rejoice” is a lively, toe-tapping standout, but the terrific inclusions of Stivers School for the Arts dancers as the Tornado, Poppies and Winged Monkeys and the South Dayton Dance Theatre troupe as the Emerald City Dancers are added benefits. Music director David McKibben, scenic designer Terry Stump’s scaffolding set, Gina Neuerer’s vibrant lighting design, and Dr. Kenneth Kohlenberg’s excellent 17-piece orchestra are also noteworthy elements of this truly entertaining showcase. From now until Saturday consider Sinclair your prime ticket to Funkytown.

 

“The Wiz” continues through Oct. 17 in Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 80 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $15 for students and seniors with the exception of the special Throwback Thursday performance (which will be American Sign Language interpreted) when all seats cost $10. For tickets or more information, call Sinclair Box Office at (937) 512-2808 or visit www.sinclair.edu/tickets.

 

‘Pippin’ Review – Victoria Theatre Association – All the Right Moves

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Exhilarating acrobatics and fantastic choreography catapults the outstanding national tour of “Pippin” to marvelously magical heights at the Schuster Center as the launch of the Victoria Theatre Association’s 2015-2016 Premier Health Broadway Series.

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The cast of the national tour of “Pippin” (Photo by Terry Shapiro)

Based on its 2013 Tony Award-winning Broadway revival and originally staged and choreographed by the legendary Bob Fosse in 1972, “Pippin,” featuring a book by Roger O. Hirson and score by Stephen Schwartz, tells a humorous and fanciful tale of the titular son of Charlemagne. Following college graduation he boldly pursues a quest for absolute fulfillment. However, his complicated yet committed soul-searching gets the best of him as he battles war, the flesh, revolution, politics, and domestication. Even so, he’s faithfully guided by the captivating and mysterious Leading Player fervently reminding him of his purpose while keeping the audience amused and occasionally diverted with sardonic glee.

 
Hirson’s cynical edge (which Fosse would effectively use as a model three years later when co-writing the libretto for “Chicago” with Fred Ebb) and Schwartz’s radiant score have always been a strong match, but director Diane Paulus, who rightfully won the Tony for this staging, resurrects the material anew with a brilliantly inspired circus concept. Truly adhering to the enticing lyrics driving the groovy opening number “Magic to Do,” Paulus, with tremendous assistance from Montreal’s Les 7 doigts de la main troupe co-founded by Gypsy Snider, heightens the action with an assortment of thrilling, death-defying routines. Having cast members perform various acts of magic and athleticism not only speaks to the fun and danger of life in general but fittingly reflects the evolution of Pippin’s eye-opening journey as he simultaneously matures as a man and, particularly in the eyes of the audience, entertainer.

 
The uniformly terrific cast is blessed with first-rate principals. As the beguilingly suave Leading Player, Gabrielle McClinton, a knockout triple threat, crisply commands with intuitiveness, sass and ferocity, specifically filling “On the Right Track” with a soulful pop vibe. Amiable Brian Flores, freshly graduated from the University of Michigan, conveys a charmingly boyish sensibility in the titular role while bringing introspective joy to such songs as “Corner of the Sky,” “With You” and “Morning Glow.” John Rubenstein, the original Pippin and a Tony winner for “Children of a Lesser God,” effortlessly embodies the kooky Charles the Great (Charlemagne) with spirited humor and deftly imposing resonance. Priscilla Lopez, the original Diana in “A Chorus Line” and a Tony winner for “A Day in Hollywood/A Night in the Ukraine,” absolutely enchants as Pippin’s delightfully earthy grandma Berthe in the “No Time at All” sequence spotlighting her fascinatingly flexible trapeze act. As Pippin’s conniving stepmother Fastrada, the elegant, statuesque Sabrina Harper dazzles in “Spread a Little Sunshine” complete with eye-popping costume changes resulting in a scintillating red dress and dance number recalling “The Music and the Mirror” from “A Chorus Line.” Handsome Erik Altemus enjoyably reprises his Broadway portrayal of Pippin’s vain, treacherous brother Lewis. The attractively earnest Bradley Benjamin warmly interprets the comical, sensitive widow Catherine, notably joining Flores late in Act 2 for a gorgeous, ‘70s folk-acoustic rendition of “Love Song.” Jake Berman humorously startles as Catherine’s persnickety son Theo.

 
In addition, Fosse’s choreography, specifically his iconic “Manson Trio” routine in the “Glory” sequence sparkling with the mesmerizing slinkiness of McClinton and two ensemble Players, is superbly authenticated in his definitive style by Tony nominee Chet Walker. The exemplary, Tony-nominated circus locale/design is courtesy of scenic designer Scott Pask, lighting designer Kenneth Posner, and costumer Dominique Lemieux. Musical director Ryan Cantwell leads a vibrant, top-notch orchestra.
From start to finish this “Pippin” excels to the hilt. Get your tickets!

 
“Pippin” continues through Oct. 11 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 pm, and Sunday at 2 and 7:30 pm. The production is performed in 2 hours and 35 minutes with one 15-minute intermission. Tickets are $25-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Columnist’ Review – Dayton Theatre Guild – Power and Secrecy Inside the Beltway

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The intriguing double life of prominent Republican syndicated columnist Joseph Alsop (1910-1989) provides the thought-provoking basis for David Auburn’s engrossing 2012 drama “The Columnist,” currently receiving an excellent local premiere at the Dayton Theatre Guild.

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The cast of Dayton Theatre Guild’s production of “The Columnist” includes back row (left to right) Alexa Storar, Rick Flynn, Dakota Dulco, Jenna Gomes; Front row: David Shough, Wendi Michael, (Not pictured: Chris Petree and Ryan Shannon). (Contributed photo)

As he ascended in fame and influence in Washington, D.C. from the 1940s through the late 1960s, Joe hid his sexuality, a fact Auburn frankly details at the outset which depicts the legendary writer awakening from a tryst with a handsome tour guide in a Moscow hotel circa 1954. Afterward Joe is busted by the K.G.B, but his closeted identity looms within the entire proceedings, based on real events and predominately taking place in his posh Georgetown residence (attractively designed by Les Dersham) during the hopeful and ultimately tumultuous 1960s. Joe’s fascinating complexity (he particularly entered a marriage of convenience) bolstered by his fervent support of the Vietnam War certainly stirs emotions within this insightful character study. Even so, Auburn, best known as the Tony and Pulitzer Prize-winning author of “Proof,” astutely dissects Joe’s political views, especially foreign policy concerns, to balance the storytelling with intellectual bite. One of the most interesting facets of Joe’s conservative playbook rests in his peculiar distaste for Dwight Eisenhower and great affection for Franklin D. Roosevelt and John F. Kennedy. In fact, Kennedy’s assassination proves pivotal here implying how persuasive Joe, who prided himself on promoting Lyndon Johnson as a vice presidential pick, would have been during Kennedy’s second term as matters at home (civil rights) and abroad (Vietnam) escalated.

 


Director Doug Lloyd’s cast is superbly led by David Shough, whose outstanding Guild staging of “Outside Mullingar” two months ago is still the talk of the town. The effortless Shough, tailor-made for the role, marvelously inhabits Joe as a combative, prickly, slick, vain, stodgy, and wounded quandary. Even when Auburn’s script becomes a bit heavy-handed late in Act 2 when Joe has a blast from the past, Shough avoids overkill and sustains credibility. Wendi Michael, beautifully costumed in period attire by Carol Finley, brings tenderness and fitting agitation to her portrayal of Susan Mary Alsop, Joe’s loving yet insecure wife particularly in charge of hostess duties. Rick Flynn, in one of his finest performances, is equally impactful as Joe’s younger brother Stewart who shared a column with him in their early days. Dakota Duclo, charming with a tinge of cunning ambition and dubiousness, delicately embodies Russian informant Andrei. Jenna Gomes, very strong as Susan Mary’s daughter and future hippie Abigail, and Chris Petree as pushy New York Times reporter David Halberstam also contribute to the production’s appeal along with Alexa Storar as Young Abigail and Ryan Shannon as Philip.
It helps to have some affinity for politics and American history when viewing “The Columnist,” but its age-old themes of power and secrecy thoroughly resonates to the fullest.

 

“The Columnist” continues through Oct. 18 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. The play is performed in 2 hours with one 15-minute intermission. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

 

‘The K of D, An Urban Legend’ Review – Magnolia Theatre Company – Captivating Storytelling

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Dayton native Annie Pesch, a Wright State University alumna whose professional credits include Human Race Theatre Company, Actors Theatre of Louisville, Cleveland Play House, and Chicago Dramatists, portrays 17 characters in Magnolia Theatre Company’s local premiere of Laura Schellhardt’s 2008 mystery/drama “The K of D, An Urban Legend” (Contributed photo)

An outstanding Annie Pesch inhabits 17 colorful characters in Magnolia Theatre Company’s terrific local premiere of Laura Schellhardt’s humorous and gripping 2008 ghost story “The K of D, An Urban Legend” continuing through Sunday, Oct. 4 inside the black box Mathile Theatre of the Schuster Center.

 
One-person shows always demand immense versatility, energy and breadth of scope, particularly when the material requires the actor to embody multiple ages and personalities. Thankfully, Pesch, having already proven her worth in this realm years ago in Dayton Theatre Guild’s “The Belle of Amherst” and Wright State University’s “Fully Committed,” steps up to the plate once again with dynamic intuitiveness and captivating ease. This time, she specifically portrays The Girl, the central storyteller of this spooky summertime tale set in nearby rural St. Marys concerning Charlotte McGraw, a quietly introverted young girl kissed by her twin brother Jamie before he dies. The legend in question stems from the belief that whatever Charlotte kissed from that moment on also dies. As Charlotte and her particularly quirky friends (all distinctively and emotionally realized by Pesch) come to terms with witnessing tragedy firsthand, Schellhardt spins a beautifully poetic and engrossing web of mystery and danger. In fact, one of Pesch’s finest, darkest characterizations is of menacing hillbilly Johnny Whistler, the crude, reckless driver who killed Jamie and especially intimidates the muted Charlotte when he becomes her next door neighbor.

 
In addition to ensuring the tireless Pesch confidently conveys various identities, director Kimberly Borst, who staged “Pride and Prejudice” and “Songs for a New World” at Sinclair Community College last season, fluidly heightens the play’s intimacy by bringing her as close to the audience as possible and never having her remain stationary for lengthy periods. Movement is key and a refreshing plus throughout. Borst also receives impressively atmospheric support from a first-rate artistic team including lighting designer Jessy Henning, sound designer Emily Hutton (notably offering wonderfully eerie and impactful contributions), set designer Tristan Cupp, and costumer/Magnolia founder Gina Handy.

 
So, does Charlotte truly have the kiss of death? Clear your schedule this weekend and find out. After all, Pesch, Borst and the increasingly promising Magnolia Theatre Company have crafted a solid, engaging, fast-paced, and breathtaking experience.

 

 

“The K of D, An Urban Legend” continues today at 2 and 8 p.m. and Sunday at 2 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 75 minutes without intermission. Tickets are $20 general admission and $15 for military, educators and students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Great Gatsby’ Review – Wright State University – Man of the Moment

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Frank Loesser had it wrong. There’s wonderful music in the very sound of Gatsby, a name immediately conjuring images of power, prestige, wealth, infatuation, and mystery. As the seductive, titular focal point of F. Scott Fitzgerald’s classic 1925 novel, widely considered one of the greatest ever written, millionaire Jay Gatsby’s transformative history and romantic obsession is not lost in Wright State University’s current presentation. However, there are moments of detachment that could use a jubilant Jazz Age lift.

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Ben Tracy as Nick Carraway and the cast of Wright State University’s production of “The Great Gatsby” (Photo courtesy of W. Stuart McDowell)

Breezily adapted by Simon Levy and directed by W. Stuart McDowell, “The Great Gatsby” embraces the effervescence of the Roaring Twenties in its fascinating account of love lost yet regained on Long Island as Gatsby reunites with beautiful socialite Daisy Buchanan, his one true love, after nearly five years. But trouble looms as Daisy’s brutish, bigoted husband Tom continually despises Gatsby’s advances and his bootlegging despite his own indiscretion with Myrtle Wilson, the long-suffering wife of a local mechanic. As Daisy becomes increasingly torn by her past and present passions, her cousin Nick Carraway, a meek, impressionable salesman from Minnesota and Gatsby’s wartime buddy, immerses himself into Gatsby’s exciting universe, narrating his eye-opening experiences with great wonder and ultimate dissatisfaction.

McDowell, known for helming history-conscious plays from “Les Misérables” to “Titanic” on a grand, sweeping scale, surprisingly dials it back here creating one of his most straightforwardly intimate, script-driven, scaled-down productions. His directorial flair is evident (the perpetual presence of Daisy’s green light, the lovely descending wardrobe in the Act 1 finale, Act 2’s climatic car accident, the finale scene recalling “Sunset Boulevard”), but a consistent sense of opulence and frivolity is missing which is unfortunate since this flashy material speaks to exuberant excess. Granted, McDowell wonderfully energizes the action with colorful flapper routines choreographed by Greg Hellems, but there aren’t enough of these lively depictions, especially in the slow-going, emotionally insular Act 1.

Nonetheless, McDowell’s period-appropriate cast, beautifully costumed by Mary Beth McLaughlin and dialect coached by Deborah Thomas, amiably embodies their iconic roles. The handsome Connor Lysholm is an understatedly suave, fittingly enigmatic Gatsby heightened with brooding magnetism and a dangerous edge. The striking Caitlin Geisser, truly compatible with Lysholm, is the epitome of sophisticated privilege although at times she seems overly self-absorbed to the point of coldness. The tough, intimidating Joey Logan gruffly fits the bill as arrogant, hotheaded Tom. As Nick, the very personable, vulnerable Ben Tracy narrates with joy and yearning in a delicate capacity as onlooker and participant. As Myrtle, the sultry, impressively authentic Madeline Sensenstein commands attention late in Act 2 opposite Christian Schaefer as Myrtle’s husband George. The fine players include Chelsea Hauptstueck (Jordan Baker), Nathan Pecchia (Meyer Wolfsheim), William Mendleson (Chester McKee), Brittany Williams (Lucille McKee), Taylor Benjamin (Michaelis), Zac Pruett (Waiter/Cop/Photographer), and flappers Danielle Bessler, Carrie Vobroker, Hannah Williamson, and Halee Aguenstein.

By and large, the essence of greatness permeates this “Gatsby” as a decent start to WSU’s 41st season.
“The Great Gatsby” continues through Oct. 4 inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are today at 8 pm, Saturday at 2 and 8 pm and Sunday at 2 pm. The production is performed in 2 hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

‘Carousel’ Review – Dayton Playhouse – You Love Who You Love

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Adrienne “Adee” McFarland (Julie Jordan) and Jeff Sams (Billy Bigelow) in Dayton Playhouse’s production of “Carousel” (Photo by Art Fabian)

In the Rodgers and Hammerstein repertoire the governess with the cute kids always seem to grab the most attention. But what about their darker, practically forgotten collaboration about the ill-fated New England couple unable to make the most of their life together? Yes, it’s time to become reacquainted with or introduced to “Carousel,” the heartrendingly beautiful 1945 musical drama enjoyably mounted by the Dayton Playhouse with vocally impressive flourish.

 
Based on Hungarian playwright Ferenc Molnár’s 1909 play “Liliom,” “Carousel” primarily examines romance from the sheer hopefulness that comes with believing in the idea of a healthy, fruitful relationship no matter how fragile the foundation. Meek millworker Julie Jordan (Adrienne “Adee” McFarland) and charismatic if erratic carousel barker Billy Bigelow (Jeff Sams) are polar opposites who wouldn’t appear to be compatible, but their attraction is evident when they fall for each other after the local carnival shuts down for the night. Throughout the groundbreaking Act 1 sequence commonly referred to as the “bench scene,” a triumph of book and score culminating in the ravishing ballad “If I Loved You,” Julie and Billy swiftly transform from loners to lovers, a fascinatingly impulsive display carrying great promise at greater risk. Even as they enter a hard scrabble marriage hindered by financial woes and specifically splintered by abuse (a prickly, uncomfortable element oddly romanticized by the wholly sentimental, optimistic Hammerstein) this duo feels destined for despair and heartbreak. Still, their engaging, tragic journey is entirely compelling and particularly powerful as Billy gets a chance to redeem himself following his suicide in the aftermath of a botched robbery.

 

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The cast of Dayton Playhouse’s production of “Carousel” (Photo by Art Fabian)

The well-paired, believably bonded McFarland and Sams bring perceptiveness, passion, sincerity, and depth to their vocally challenging roles. In her Playhouse debut, McFarland, a lovely soprano, wisely avoids turning the naïve Julie into a pushover. Her firm interpretation is sweet but resilient. Along the way, she provides a gorgeously lyric-driven rendition of “What’s the Use of Wond’rin’” that begins as cautious sound advice from a long-suffering wife yet evolves into a beautifully stirring declaration of marital commitment. In one of his finest musical theater performances, the fittingly brash, brooding and commanding Sams reveals the flawed complexities within the broken, unhappy and non-skilled Billy, particularly how his bravado masks many insecurities. Also, his dynamically heartfelt rendition of “Soliloquy,” Billy’s contemplative yet soaring examination of life as a father, is delivered with wonderfully expressive transitions, allowing the extensively detailed number to resonate on multiple intriguing levels considering Billy is a rogue who might not have even known his dad.
In addition, the supporting cast is first-rate. As the demure, slightly fussy Carrie Pipperidge, Julie’s sensible best friend and fellow millworker, Krissy McKim-Barker, another lovely soprano, steps into her Playhouse debut with considerable aplomb, especially in her understanding of how much Carrie wants the best for Julie despite the fact that her warnings about Billy, pre and post-marriage, are dismissed. McKim-Barker also has a very amiable partner in Playhouse newcomer Eric Thompson, offering a charmingly confident portrayal of Enoch Snow, the ambitious, no-nonsense fisherman eager to wed Carrie. Thompson, a strong tenor who spins his vocals with a slight crooner sensibility, actually shares the stage with his father J. Gary Thompson, splendidly inhabiting his role as Billy’s smarmy accomplice Jigger Craigin with wit, shrewdness and bite. As Julie’s cousin Nettie Fowler, noted soprano Patricia DiPasquale-Krul, a memorable component of the Playhouse’s production of “A Grand Night for Singing,” provides a plaintively touching rendition of “You’ll Never Walk Alone,” the score’s most enduring number. Janice Lea Codispoti brings suave inquisitiveness to her portrayal of carnival manager Mrs. Mullin, an obsessive, jealous soul whose deep affection for Billy, the man of her disillusioned dreams, never wanes. Brad Bishop as the kindly Starkeeper, Shanna Camacho as the Heavenly Friend, Rick Flynn as David Bascombe, Brooke Netzley as Billy and Julie’s daughter Louise, Matthew Smith as Captain/Principal, and Gem City Ballet dancers Lauren Goodman, Ashleigh Hinson and Olivia Bruno (under the direction of Barbara Pontecorvo) are also noteworthy.
Director Brian Sharp keeps the action fluid and effectively transfers the story, originally set in the late 19th century, to the 1930s thereby heightening the idea of a carnival as a means of escapist entertainment during such straining economic times. However, his staging of the prologue, set to the glorious “Carousel Waltz,” one of Rodgers’ most exemplary compositions, could use more variety and sharper character choices. There is also presentation awkwardness in the Act 2 Dream Ballet (Bruno dances the role of Louise while Netzley looks on) and the emotional final scene which surprisingly doesn’t spotlight Billy, Julie and Louise downstage center. Still, Sharp’s work utilizes the ensemble well and is bolstered by the lively choreography of Paige Hanshaw, especially “June Is Bustin’ Out All Over” and “Blow High, Blow Low.” Chris Newman’s striking set, Terry Kahle’s attractive period costumes, Bryan Miller’s lighting, Bob Kovach’s sound design, and music director Ron Kindell’s excellent orchestra, featuring 16 members of the Miami Valley Symphony Orchestra, add to the production’s atmospheric appeal.

 
There’s nothing wrong with raindrops on roses, but if you’re looking for something more substantive from the virtuoso team who defined Broadway’s Golden Age don’t miss “Carousel.”

 

 

“Carousel” continues through Sept. 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

 

 

 

 

 

 

‘The Full Monty’ Review – Human Race Theatre Company – Measure of a Man

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Pictured (left to right): Richard E. Waits, Matt Welsh, Josh Kenney, Christopher deProphetis, Matt Kopec and Jamie Cordes.

Skin is in at the Loft Theatre. But if seeing a bunch of guys in their undies is the only reason you’re tempted to check out the Human Race Theatre Company’s delightful production of composer David Yazbek and librettist Terrence McNally’s outstanding Tony Award-nominated 2000 musical comedy “The Full Monty” you’ll miss out on the compelling facets that propelled it as one of the finest, relevant and heartwarming musicals of the last decade.
Set in blue-collar Buffalo and based on the 1997 Academy Award-winning British film of the same name, “The Full Monty,” unlike any contemporary musical, skillfully addresses the agony, worry, shame, and disappointment men face when stripped of their livelihoods. Without a job, without a sense of purpose to provide for themselves and their families, what are men to do? Should they pound the pavement hoping something better comes along all the while knowing hope doesn’t equal money? Should they take a job they view as menial just to please their spouse? Should they simply give up? And greater still, what do men become when they’re perceived as lesser? The six insecure, unemployed men at the center of this relatable tale truly bare all for a quick buck a la the Chippendales, but in doing so, and whether it’s the right or wrong decision, they ultimately regain their self-confidence and a clearer understanding of the value of teamwork, which, in this case, helps repair marriages and fuels newfound love.

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(left to right): Matt Welsh, Matt Kopec, Josh Kenney, Christopher deProphetis, Jamie Cordes and Richard E. Waits.


This season opener entertains under the crisp, character-conscious direction of Joe Deer, recently inducted into the Dayton Theatre Hall of Fame. Making good use of the Loft’s immersive capabilities and the sizable space in front of the turntable, Deer delicately balances the humor and seriousness of the material but doesn’t forget the show is a comedy at its core even when it stings. He also coaxes solid performances from a uniquely diverse and funny sextet. In the lead role of divorced dad Jerry Lukowski, Christopher DeProphetis dives admirably into Jerry’s desperation and determination to fight for custody of his son no matter the cost, particularly in the rousing anthem “Man.” As Jerry’s chunky best friend Dave Bukatinsky, the very natural, grounded Matt Welsh is a terrific sidekick prone for comic relief but also strong introspectively. As Jerry’s former boss Harold Nichols, Jamie Cordes humorously conveys an uptight persona in a gutsy departure from past roles. Muse Machine alum Matt Kopec, excellently sensitive as suicidal loner Malcolm MacGregor, supplies a beautiful rendition of the poignant ballad “You Walk With Me” ably assisted by Josh Kenney, a lighthearted bundle of excitable, goofy energy as oddball Ethan Girard. As the elderly, colorful Noah “Horse” T. Simmons, crowd-pleaser Richard E. Waits nearly steals the show proclaiming the joys of being a “Big Black Man.”

 

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Pictured (left to right): Christopher deProphetis, Jamie Cordes, Matt Welsh, Josh Kenney, Richard E. Waits, Matt Kopec and Deb Colvin-Tener.


Elsewhere, Deb Colvin-Tener is a feisty, feel-good support system as rehearsal pianist Jeanette Burmeister, an old-timer who helps Jerry and his cohorts (dubbed Hot Metal) with their clunky routines. Jillian Jarrett is a sensible, tender presence as Pam, Jerry’s ex-wife. Leslie Goddard, a fabulous Agnes Gooch in the Race’s production of “Mame” last season, winningly returns as Dave’s rowdy wife Georgie particularly leading the spirited “It’s a Woman’s World.” Sonia Perez, as Harold’s materialistic wife Vicki, brings spice and energy to “Life With Harold,” and joins forces with Goddard for a lovely reprise of “You Rule My World.” A fearless Richard Jarrett opens the show with sexual gusto as professional stripper Keno. The fine cast also features Peanut Edmonson as Jerry’s son Nathan, Scott Hunt as Pam’s boyfriend Teddy, Scott Stoney as Reg, Andréa Morales as Estelle/Molly MacGregor, Gina Handy as Joanie, Tracey L. Bonner as Susan, Adam Soniak as Marty, and Cassi Mikat as the swing.

 


Choreographer Dionysia Williams, a Wright State University graduate and BalletMet Dance Academy faculty member, offers flavorful, character-specific movement, especially in “Big Black Man,” “Michael Jordan’s Ball,” “The Goods,” and exuberant finale “Let It Go.” Scenic designer Dick Block’s terrifically multipurpose set convincingly establishes a variety of locales. Costumer Janet G. Powell’s choices suitably reflect casual, everyday attire. John Rensel’s expert lighting is heightened to good use in the enticing, teasing final seconds. Musical director Sean Michael Flowers’ offstage, seven-member orchestra makes Yazbek’s sublime music sizzle but is unbalanced and occasionally overpowers the cast, perhaps a reflection of Jay Brunner’s surprisingly iffy sound design.


“The Full Monty” spotlights the camaraderie of a distinct group of men uniting for a common goal but their life-changing journey will have you feeling just as liberated and uplifted.

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HRTC-MONTY-prod-5.jpg Pictured (left to right): Tracey L. Bonner, Gina Handy, Leslie Goddard and Andréa Morales.

“The Full Monty” continues through Oct. 4 at the Human Race Theatre Company’s Loft Theatre inside the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Tuesdays at 7 p.m., Wednesdays-Saturdays at 8 p.m., and Sundays at 2 and 7 p.m. Act One: 85 minutes; Act Two: 65 minutes. Tickets are $20-$40 but discounts are available. Patrons are advised the show, intended for mature audiences, contains adult language and themes as well as a bit of full frontal male nudity. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

‘Into the Woods’ Review – Dare to Defy Productions – It Takes Time

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Dare to Defy Productions beckons the imagination with its stark, minimalist production of composer Stephen Sondheim and librettist James Lapine’s 1987 musical dramedy “Into the Woods,” but the attempt doesn’t coalesce.

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Presented at the Victoria Theatre under the direction of Mathys Herbert, this “Into the Woods” appears to be pulling in different directions with musical awkwardness and structural unpreparedness resting underneath the surface. Part of the problem lies in the odd conceptual atmospherics (there are no woods in these “Woods”) which confines the action within an ominous, nondescript locale with columns, tattered draperies, candelabras, and a large clock accented by an array of baskets, boxes, cabinets, suitcases, trunks, and trinkets signifying a cluttered attic or an abandoned house. However, this impressively detailed creation, attractively designed by Ray Zupp, suggests a setting more appropriate for Sondheim’s “Follies,” his beautifully melancholy 1971 musical about chorus girls reuniting one last time on the stage of a soon-to-be-demolished theater. Perhaps if Herbert opened the show with his cast taking the stage as random individuals eager to put on “Into the Woods” in a dilapidated setting instead of what seems like ghosts or mannequins merely being awakened in the dark by a spooky stranger waving a flashlight it would have made for a more effective transition into the tale, especially to avoid alienating newbies unfamiliar with the show’s foundation.
As the musical’s insightful, thought-provoking plot weaves an introspective, profound course through the desires and regrets of multiple fairy tale characters, particularly stressing the importance of community, sacrifice and survival, the players run the gamut from admirable to ambiguous. Considering the strengths of the cast – a fantastic conglomeration of actors from Wright State University, Sinclair Community College, Dayton Playhouse, Dayton Theatre Guild, Playhouse South, and more – issues of cohesion wouldn’t appear to be a concern but that isn’t the case. Perhaps some members needed time to find or fine-tune their character arcs or simply become more comfortable with the score. Sondheim isn’t easy, and there were many missed cues on opening night, orchestra included. And in terms of musicianship, I’m still wondering why Mimi Klipstine, offering a terrifically commanding and emotionally grounded portrayal of the Witch, was told to bring the gorgeous “Children Will Listen” to a slow, terrible halt before the finale?

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If only this production featured more surprising, inspired, character-conscious moments of pure exhilaration specifically evident in Evan Benjamin’s thrilling rendition of “Giants in the Sky,” a knockout example of attacking an incredibly descriptive lyric with all the expressive astuteness one can muster (while filling the space!) in order for the audience to completely immerse themselves in every ounce of the journey presented. Thanks to Benjamin’s absolutely radiant breakthrough performance, the trepidation and joy within Jack’s life-changing beanstalk journey is a truly dynamic highlight. Along with Benjamin and Klipstine, estimable work extends to Zupp in a sweetly understated turn as the cursed yet determined Baker longing to be a father while coping with his past, a spunky Tori Kocher as Little Red Riding Hood, a regally vain Amy Askins as Cinderella’s Stepmother, pretty soprano Jackie Darnell as humorous, sheltered Rapunzel, Mackensie Vonderbrink as Cinderella’s conceited stepsister Florinda, and the quiet strength of Zoot Theatre Company puppeteer Eric Arntz as Jack’s faithful pet cow Milky White.
In addition to Zupp, Herbert’s commendable artistic team includes lighting designer Sammy Jelinek (certainly bringing her evocative expertise to “Last Midnight”), costumer Carolyn McDermott (particularly dressing Natalie Sanders in a lovely silver and gold gown as Cinderella), puppet builder Danielle Robertson, and sound designer David Meyer. Also, Herbert’s decision to showcase the vengeful Giant (intimidatingly voiced by Tia Seay) as a shadow puppet is inspired.
Dare to Defy doesn’t overreach with “Into the Woods,” but if given a few more days or midnights this show could have ascended to greater heights.

 

 

“Into the Woods” continues today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 85 minutes; Act Two: 60 minutes. Tickets are $25-$50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Outside Mullingar’ Review – Dayton Theatre Guild – Learning to Love

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The Dayton Theatre Guild’s 71st season opens with an outstanding local premiere of John Patrick Shanley’s 2014 Tony Award-nominated dramedy “Outside Mullingar,” a poignant look at romance between fortysomethings on a cattle and sheep farm in rural Ireland.

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(l to r) Dave Nickel as Tony Reilly, Mike Beerbower as Anthony Reilly, Teresa Connair as Rosemary Muldoon, and Connie Fowler Strait as Aoife Muldoon in the Dayton Theatre Guild’s local premiere of John Patrick Shanley’s 2014 Tony Award-nominated romantic comedy “Outside Mullingar” (Contributed photo)

Deftly directed by David Shough, “Outside Mullingar,” sharing an Irish kinship to the plays of Martin McDonagh in terms of intimate authenticity, carries itself as contemporary (it begins in 2008) although it has a wonderful throwback quality at its core as if it could have been written 40 years ago. Neighbors Anthony Reilly and Rosemary Muldoon have been lifelong pals but due to mutual awkwardness and fear they never acted upon their obvious attraction, especially the shy, introverted and virginal Anthony whose heart remains crushed by the rejection he faced as a teenager from local lass Fiona. It is only through prodding and encouragement from the determined Rosemary, particularly in the excellently written final scene, that Anthony is able to release himself from his lonely, emotional shell and simply accept the possibilities a meaningful relationship can bring. As so, I can’t help but link Anthony to Robert in Stephen Sondheim’s “Company” considering both bachelors ultimately realize “alone is alone – not alive.”

 
Shanley, very adept at creating gender conflicts as evidenced in his Academy Award-winning screenplay for “Moonstruck” and his Tony and Pulitzer Prize-winning drama “Doubt,” is truly at his best when Anthony and Rosemary’s bickering, flavorful bond is front and center. Less successful is his subplot about property and family rivalry commonly addressed by Anthony’s gruff father Tony and Rosemary’s gentle mom Aoife. The strip of land dividing the two farms has significance as backstory but doesn’t necessarily engage. Even so, Tony and Aoife are genuinely charming catalysts for comedy with a slight Archie and Edith Bunker sensibility.

 
Mike Beerbower, in his remarkable Guild debut, fully embraces Anthony’s idiosyncrasies and good-natured persona to deliver a terrifically sensitive and endearing portrayal packaged in fidgety beauty. The stellar Teresa Connair, in one of her most expressive, intuitive and understated performances, captivates to the hilt especially as the opinionated, feisty and humorous Rosemary (who particularly feels the Bible should be renamed “The Book of Ugly Stories”) tries to dissect Anthony’s indifference throughout and strongly advises Tony not to be so unsympathetic about Anthony and his commitment to the Reilly farm. Dave Nickel, who appeared in Shough’s production of “An Inspector Calls” last season, is delightfully persnickety overall but becomes particularly powerful toward the end of the play in a tear-jerking scene with Beerbower that finds Tony in need of late night confession. Connie Fowler Strait, in her enjoyable Guild debut, tenderheartedly accents the cast as the likable if underwritten Aoife.

 
In addition, Shough serves as co-scenic designer with Chris Newman, who returns to the Guild having terrifically designed “Heartbreak House” and “An Inspector Calls.” The efficiently cozy unit sets they created breezily serve the material and are swiftly handled by the stage crew in some of the finest scene changes ever witnessed at the Guild. In fact, the nearly breathtaking final transition feels impressively cinematic. Shough also serves as lighting designer and effectively partners with K.L. Storer to contribute sound design.

 
“You can’t live against your life,” Rosemary warns Anthony. There is compelling truth in her statement and the overriding fact that this crowd-pleasing production is absolutely unforgettable.

 

 

“Outside Mullingar” continues through Sept. 6 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m.  The play is performed in 1 hour and 40 minutes without intermission. Tickets are $20 for adults, $18 for seniors and $13 for students. Call (937) 278-5993 or visit www.daytontheatreguild.org.

‘The Book of Mormon’ Review – Victoria Theatre Association – Irreverent Bliss

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Genuine hilarity abounds within Trey Parker, Matt Stone and Robert Lopez’s masterfully irreverent, jaw-dropping, unabashedly vulgar, and delightfully tuneful musical “The Book of Mormon,” the 2011 Tony Award winner for Best Musical currently having an outstanding local premiere at the Schuster Center as a special Star Attractions courtesy of the Victoria Theatre Association.

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David Larsen (Elder Price, center) and the cast of “The Book of Mormon” (Contributed photo by Joan Marcus)

Primarily taking direct and often startling jabs at the formation and followers of the Church of Jesus Christ of Latter-Day Saints, Parker and Stone (the naughty provocateurs behind the wit and popularity of “South Park”) with astute aid from Lopez (who brought raunchiness back to the Great White Way with gusto thanks to his co-creation of “Avenue Q”) fashion a bold, no-holds-barred satiric universe rarely attempted in the world of commercial musical theater. As the Mormon faith is dissected with humorous, eye-opening bluntness, these revelatory collaborators, knowing full well that Mormon skewing would be entirely one-dimensional, skillfully expand the storytelling at hand by spoofing everything from pop culture and musical theater conventions to African stereotypes and Jeffrey Dahmer’s salaciousness. Even so, the central relationship between two young missionaries sent to spread their faith to a Ugandan village remains sharply focused and meaningful as themes of friendship, courage, perseverance, and self-discovery resonate with absurdity and heart under the vibrant, fast paced co-direction of Parker and Casey Nicholaw.

 
David Larsen and Cody Jamison Strand are exceptionally and respectively paired as the bubbly, optimistic Elder Price and his  simple sidekick Elder Cunningham. Larsen, terrifically chipper and believably wholesome, and Strand, goofy and grounded, perfectly capture the oddity and unease of polar opposites thrust into an atmosphere beyond their imagination heightened by a despicable warlord, female circumcision, infant rape, and AIDS. Strand’s portrayal is showier due to the juiciness of his material, but Larsen’s charm, vulnerability and strong tenor (particularly showcased in his knockout rendition of Act 2 anthem “I Believe”) ensures balance. This dynamic duo is tremendously supported by an assortment of first-rate featured players specifically the radiantly sweet Candace Quarrels as sensitive, impressionable villager Nabulungi, the energetic and flamboyant Daxton Bloomquist as closeted Elder McKinley (“Turn it Off,” his Mormon ode to suppressed feelings, is an absolute razzle dazzle hoot), Marcus Terrell Smith as Nabulungi’s amiable father/village prefect Mafala, and the wonderfully intimidating David Aron Damane as the evil General.

Candace Quarrels (Nabulungi) and Cody Jamison Strand (Elder Cunningham) in “The Book of Mormon” (Contributed photo by Joan Marcus)

Candace Quarrels (Nabulungi) and Cody Jamison Strand (Elder Cunningham) in “The Book of Mormon” (Contributed photo by Joan Marcus)

In addition, Nicholaw’s fantastically clever choreography utilizes the same kind of funny, character-infused movement seen in his sprightly routines for “Monty Python’s Spamalot” and “Something Rotten!” The shockingly joyful “Hasa Diga Eebowai” and “Joseph Smith American Moses” as well as the phenomenally conceived “Spooky Mormon Hell Dream” are three of the most creative moments you will ever see in a contemporary musical. The production is also greatly accented by Scott Pask’s striking sets depicting Salt Lake City, Orlando and Uganda, Ann Roth’s imaginative Ugandan costumes, Brian MacDevitt’s evocative lighting, and music director David Truskinoff’s firm, full orchestra including six local musicians.

 
“The Book of Mormon” isn’t for the easily offended, but if you’re simply looking to be entertained to the hilt you cannot let your weekend pass by without seeing this one-of-a-kind, Broadway-caliber experience.

 

“The Book of Mormon” continues through August 23 at the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. The production is performed in 2 hours and 30 minutes with one 15 minute intermission. Tickets are $43-$132. Patrons are advised the show contains strong adult language. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

‘Tarzan’ Review – Epiphany Lutheran Church – Earthy Excellence

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Dayton’s 2015-2016 theater season has been impressively ushered in by Epiphany Lutheran Church as evidenced in the Epiphany Players Drama Ministry’s delightfully touching and vibrant production of Disney’s “Tarzan,” the organization’s 25th anniversary presentation.

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Photo caption Rachel Woeste and Jeffrey Mack lead the Flora Cast as Jane and Tarzan in Epiphany Lutheran Church’s production of “Tarzan” (Contributed photo)

Adapted by Tony Award-winning playwright David Henry Hwang (“M. Butterfly”) based on the 1999 Academy Award-winning film of the same name and the novel by Edgar Rice Burroughs, “Tarzan” reiterates the power of love and family in its engaging tale of a boy raised by apes in West Africa following the death of his parents who ultimately realizes and comes to terms with his true identity. The core struggle between Tarzan’s ape parents Kala and Kerchak, particularly Kerchak’s reluctance to embrace Tarzan as his own, is a prime source of drama within a story that tends to be a bit stiff and occasionally slow-moving, but Hwang specifically keeps tensions high late in Act 2 when the Brits visiting the jungle on expedition reveal dastardly intent. Also, pop legend Phil Collins satisfactorily fleshes out the material by adding nine pleasant if unremarkable new tunes to the five strong numbers he wrote for the film including “You’ll Be In My Heart,” “Two Worlds” and “Trashin’ The Camp.”

 


Director/choreographer Megan Wean Sears, delivering incredibly earthy, fully grounded and believably primate movement, crisply guides over 60 actors, a fascinating sight common to Epiphany’s long-standing tradition of casting everyone who auditions. Her sharp routines are an exuberant plus (“Trashin’ The Camp” is an upbeat Act 2 opening romp), but the terrifically authentic world she creates (heightened by great flying effects courtesy of ZFX) and the first-rate character development she ensures equally speaks to her artistic strengths.

 
The handsome Jeffrey Mack, leading the Flora Cast in the titular role and given a tremendous entrance to boot, exhibits wonderful physicality, solid, pop-infused vocals, credible complexity, and deep expressiveness in one of his most challenging and finest performances. Rachel Woeste brings pert sophistication to her firm portrayal of biologist Jane Porter, Tarzan’s love interest and educator. Brianna Russ, poignant and purposeful, fully inhabits the affectionate Kala, beautifully joining forces with Mack for a tender reprise of “You’ll Be In My Heart.” Justin Matthews is a very formidable, no-nonsense Kerchak. Kyle Bates is enjoyably chipper as Jane’s professor-father. Margo Russ has a ball as Tarzan’s energetic gorilla sidekick Terk. Tom Klosterman oozes arrogant menace as devious hunter Clayton. Liza Russ (an adorable Young Tarzan), Lindsay Rich (Young Terk), Eric Strange (Snipes), Meredith Russ (Leopard), Timmy Seiler (Tarzan’s Father), and Meghan Rupper (Tarzan’s Mother) are also noteworthy in featured roles.

 
Additionally, Sears’ creative team is outstanding across the board. Ray Zupp’s richly detailed set is an adventurous playground complete with ropes, netting and slides. Matthew P. Benjamin’s lighting design effectively conveys many evocative tones. Stellar costumers Maria Klueber and Lori Watamaniuk, clothing the majority of the cast in ruffled black, vividly establish a jungle essence. Musical director David Brush steadily leads a fine off-stage orchestra.

 
If you’re searching for an entertaining outing with a sincere message I assure you this immersive “Tarzan,” absolutely surpassing its overblown and mediocre 2006 original Broadway production, seals the deal. By all means it is a striking testament to the pedigree of Epiphany’s rich theatrical legacy.

 

“Tarzan” continues through July 19 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One: 55 minutes; Act Two: 60 minutes. Patrons are advised the show is double-cast particularly starring Fauna Cast members Kean Petrello and Cecily Dowd at the Thursday and Sunday performances. Tickets are $15 for adults, $10 for students and seniors (60 and over), and $5 for children (5 and under). For tickets, call (937) 433-1449 ext. 105. For more information, visit www.epiphanydayton.org or e-mail [email protected]. Also, every summer a charitable organization is selected to receive a portion of the proceeds. This year’s beneficiary is the Haitian Timoun Foundation. Visit www.htflive.org for more information.

 

 

 

Saluting Dayton’s 2014-15 Theater Season

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Friendship among witches, a delightful journey to Neverland, a Boston single mother awaiting opportunity, a modern family attempting connection at a New York hospital, an ogre in love, and African-American stories of faith and redemption were some of the key contributors to Dayton’s engaging 2014-15 theater season.

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The cast of Human Race Theatre Company’s “Crowns” (Photo by Scott J. Kimmins)

The Human Race Theatre Company’s roof-raising production of Crowns was a hallmark for professional offerings, but the organization was equally blessed by a luminous world premiere of Michael Slade’s Broadway-worthy dramedy Family Shots, John Murrell’s engrossing two-hander Taking Shakespeare, and Caleb Damschroder and Eric Ulloa’s lovely new musical Molly Sweeney. The Victoria Theatre Association notably scored with the popular return of Wicked and the pleasantly surprising and impressive spoof America’s Got Downton, Luke Kempner’s tour-de-force salute to hit TV drama Downton Abbey. Dare to Defy Productions, a troupe on the rise, certainly flexed its artistic muscles with a string of strong shows heightened by savvy casting. Emerging, female-driven Magnolia Theatre Company arrived with aplomb in the form of an excellent Parallel Lives.

Further, Playhouse South reminded theatergoers of the unbridled, inclusive joy of community theater in its absolutely radiant Shrek The Musical, one of the finest shows produced by the organization closely followed by its sharp staging of The 25th Annual Putnam County Spelling Bee. Dayton Theatre Guild’s admiration for Pulitzer Prize-winning playwright David Lindsay-Abaire surfaced once more with a fantastic local premiere of the blue-collar Good People, which contained elements that matched the original Broadway production. Newly formed Playground Theatre commendably premiered with a nostalgic staging of The Breakfast Club. Undercroft Players, another emerging company with promise, brought great laughs and heartfelt warmth to Weekend Comedy. Beavercreek Community Theatre definitely succeeded with Sweeney Todd and Avenue Q. Dayton Playhouse, bolstered by the presence of scenic designer Chris Newman throughout the season, provided an attractive look at The Fantasticks.

On collegiate stages, Wright State University tremendously hit the mark as expected. In addition to WSU’s stellar Fences which provided the long-awaited directorial return of Sheila Ramsey in collaboration with WSU chair W. Stuart McDowell, director Joe Deer spearheaded a marvelously magical Peter Pan and a breathtaking musical showcase starring Tony Award-winning legend Leslie Uggams. Elsewhere, Sinclair Community College dazzled with its stunning, non-traditional Pride and Prejudice and vibrantly feel-good Charlie Brown Christmas. The University of Dayton thoroughly charmed with A New Brain.

Nationally, it was particularly thrilling to see Muse Machine and Oakwood High School alum Micah Stock take the New York theater community by storm thanks to his hilarious Broadway debut as Gus P. Dowd in the revival of Terrence McNally’s comedy It’s Only a Play. The 26-year-old Stock, a gifted artist, received a Tony nomination and Theatre World Award for his outstanding performance.
Assessing the 75 shows I saw this season, I congratulate the following winners (in bold) and nominees.

 

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Alyssa Fox (l) and Carrie St. Louis in “Wicked” (Photo by Joan Marcus)

BEST TOURING PRODUCTION
4 Girls 4, Springfield Arts Council
America’s Got Downton, Victoria Theatre Association
Nice Work If You Can Get It, Victoria Theatre Association
Smokey Joe’s Cafe, Victoria Theatre Association
Wicked, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Crowns, Human Race Theatre Company
Family Shots, Human Race Theatre Company
Parallel Lives, Magnolia Theatre Company
Taking Shakespeare, Human Race Theatre Company
Vanya and Sonia and Masha and Spike, Human Race Theatre Company and Victoria Theatre Association

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL,
Altar Boyz, Dare to Defy Productions
The Last Five Years, Dare to Defy Productions
Molly Sweeney: A Musical, Human Race Theatre Company
Nunsense, Dare to Defy Productions
Rent, Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
4000 Miles, Dayton Theatre Guild
The Breakfast Club, Playground Theatre
Good People, Dayton Theatre Guild
Heartbreak House, Dayton Theatre Guild
Weekend Comedy, Undercroft Players

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Avenue Q, Beavercreek Community Theatre
The Fantasticks, Dayton Playhouse
Shrek The Musical, Playhouse South
Sweeney Todd, Beavercreek Community Theatre
The 25th Annual Putnam County Spelling Bee, Playhouse South

BEST COLLEGIATE PRODUCTION OF A PLAY
A Charlie Brown Christmas, Sinclair Community College
 Fences, Wright State University
Pride and Prejudice, Sinclair Community College
Romeo and Juliet, Wright State University

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The cast of Wright State University’s “Peter Pan” (Contributed photo)

BEST COLLEGIATE PRODUCTION OF A MUSICAL
A New Brain, University of Dayton
bare: a pop opera, Sinclair Community College
Hot Mikado, Wright State University
Peter Pan, Wright State University
Sondheim on Sondheim, Wright State University

BEST NEW WORK
Caleb Damschroder and Eric Ulloa’s Molly Sweeney: A Musical, Human Race Theatre Company
Luke Kempner’s America’s Got Downton, Victoria Theatre Association
Linda Ramsay-Detherage’s Sugarhill, Dayton Playhouse FutureFest
Michael Slade’s Family Shots, Human Race Theatre Company

BEST SPECIAL THEATRICAL EVENT
America’s Got Downton, Victoria Theatre Association
An Evening of Rodgers and Hammerstein, Dayton Performing Arts Alliance
An Evening with Leslie Uggams, Wright State University and Victoria Theatre Association
Oliver!, Muse Machine
Once On This Island, Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Corbin Bleu as Aaron Baker, Family Shots
Law Terrell Dunford as Troy Maxson, Fences
David Hallowren as Jim Stools, Nice People Dancing to Good Country Music (Dayton Theatre Guild)
Luke Kempner in multiple roles, America’s Got Downton
Jon Kovach as Murph, Taking Shakespeare
Jared Mola as Leo Joseph-Connell, 4000 Miles

BEST LEADING ACTRESS IN A PLAY
Gina Handy in multiple roles, Parallel Lives
Barbara Jorgensen as Vera Joseph, 4000 Miles
Johanna Leister as Prof, Taking Shakespeare
Andréa Moralés in multiple roles, Parallel Lives
Rachel Wilson as Margaret Walsh, Good People
Colleen Zenk as Marsha Baker, Family Shots

BEST LEADING ACTOR IN A MUSICAL
Ian Benjamin as Jamie Wellerstein, The Last Five Years
Mark Beyer as Roger Davis, Rent
A.J. Breslin as Peter, bare
Bruce Cromer as Captain Hook and Mr. Darling, Peter Pan
Rollie Fisk as Fagin, Oliver!
Bobby Mitchum as Jason, bare

BEST LEADING ACTRESS IN A MUSICAL
Kelsey Pohl as Cathy Hiatt, The Last Five Years
Angelé Price as Sister Hubert, Nunsense
Brianna Russ as Nancy, Oliver!
Alyson Snyder as Peter Pan, Peter Pan
Carrie St. Louis as Glinda, Wicked
Lindsie VanWinkle as Molly Sweeney, Molly Sweeney

BEST SUPPORTING ACTOR IN A PLAY
A.J. Breslin as Snoopy, A Charlie Brown Christmas
Randy Brooks as Sam Baker, Family Shots
David Jennings as Man, Crowns
Stephen Kell as Mercutio, Romeo and Juliet
Jared Mola as Roy Manual, Nice People Dancing to Good Country Music (Dayton Theatre Guild)
Jeff Sams as Hector Hushabye, Heartbreak House

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The cast of Dayton Theatre Guild’s “Good People (Contributed photo)

BEST SUPPORTING ACTRESS IN A PLAY
Joilet F. Harris as Mother Shaw, Crowns
Wendi Michael as Jean, Good People
Annie Pesch as Joyce Anderson, Family Shots
Lorrie Sparrow-Knapp as Lady Utterword, Heartbreak House
Shyra Thomas as Kate, Good People
Torie Wiggins as Mabel, Crowns

BEST SUPPORTING ACTOR IN A MUSICAL
Drew Bowen as Mark, Altar Boyz
Jim Brown as Lord Farquuad, Shrek The Musical
Charles Larkowski as Judge Turpin, Sweeney Todd
Nathan Pecchia as himself, Sondheim on Sondheim
Tyler Simms as Smee, Peter Pan
Michael Stockstill as Adolfo Pirelli, Sweeney Todd

BEST SUPPORTING ACTRESS IN A MUSICAL
Jasmine Easler as Katisha, Hot Mikado
Jenna Gomes as Mimi Schwinn, A New Brain
Megan Kuchan as Logainne Schwartzandgrubenniere, The 25th Annual Putnam County Spelling Bee
Cassi Mikat as herself, Sondheim on Sondheim
Tia Seay as Donkey, Shrek The Musical
Shawn Storms as Joanne Jefferson, Rent

BREAKTHROUGH MALE PERFORMANCE
Christopher Delanis as Gordon Michael Schwinn, A New Brain
Austin DeVaughn as Mr. Collins, Pride and Prejudice
Jose Gutierrez del Arroyo as Leaf Coneybear and Carl Dad, The 25th Annual Putnam County Spelling Bee
Zach King as Shrek, Shrek The Musical
Alan Ruddy as Princeton, Avenue Q
Isaac Tobler as Tom Collins, Rent

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The cast of Wright State University’s “Fences” (Contributed photo)

BREAKTHROUGH FEMALE PERFORMANCE
Ariqa Bowens as Elizabeth Bennet, Pride and Prejudice
Jasmine Easler as Rose, Fences
Esther Hyland as Princess Fiona, Shrek The Musical
Kirsten Johnson as Allison Reynolds, The Breakfast Club
Pamela Matheson-Jones as Mrs. Nellie Lovett, Sweeney Todd
Meghan Rupper as Mama Euralie, Once On This Island

BEST DIRECTION OF A PLAY
Debbie Blunden-Diggs and Scott Stoney, Crowns
Kimberly Borst, Pride and Prejudice
Debra A. Kent, Good People
W. Stuart McDowell and Sheila Ramsey, Fences
Kevin Moore, Family Shots

BEST DIRECTION OF A MUSICAL
Joe Deer, Peter Pan
Greg Hellems, Hot Mikado
Becki Norgaard, Shrek The Musical
JJ Parkey, Rent
Megan Wean Sears, Once On This Island

BEST CHOREOGRAPHY
Debbie Blunden-Diggs, Crowns
Lula Elzy, Oliver!
Greg Graham, Peter Pan
Teressa Wylie McWilliams, Hot Mikado
Megan Wean Sears, Once On This Island

BEST SCENIC DESIGN OF A PLAY
David A. Centers, Vanya and Sonia and Masha and Spike
Chris Harmon, Pride and Prejudice
Chris Newman, Heartbreak House
Ryan Sess, Fences
Terry Stump, A Charlie Brown Christmas

BEST SCENIC DESIGN OF A MUSICAL
Chris Harmon, Sweeney Todd
Pam Knauert Lavarnway, Hot Mikado
Pam Knauert Lavarnway, Peter Pan
Chris Newman, The Fantasticks
Ray Zupp, Rent

BEST COSTUME DESIGN OF A PLAY
David J. Castellano, Pride and Prejudice (Wright State)
David M. Covach, Crowns
Patrick Allyn Hayes and Kelsey Shaffer, Heartbreak House
Kathleen Hotmer, Pride and Prejudice
Mary Beth McLaughlin, Fences

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The cast of Playhouse South’s “Shrek The Musical” (Contributed photo)

BEST COSTUME DESIGN OF A MUSICAL
Carol Finley, Sweeney Todd
Jeremy W. Floyd, Hot Mikado
Maria Klueber and Lori Watamaniuk, Once On This Island
Lead costumer Meagan Kuchan and costume team (Melissa Fogle, Kathleen Carroll, Donna Cason, Summer Lehman, Rachel Annabo Smith, Maggie Carroll, Mary Nunnery, Aurora Nunnery, Rachel LaFountain Earich, Jordan Norgaard, Jenni Cypher, Tonia Scearce, Ian Meadows, Jess Evans), Shrek The Musical
Janet G. Powell, The Fantasticks

BEST LIGHTING DESIGN OF A PLAY
Daniel Brunk, Pride and Prejudice
Sammy Jelinek, Fences
Tim Mascall, America’s Got Downton
John Rensel, Taking Shakespeare
Nick Vanderpool, George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)

BEST LIGHTING DESIGN OF A MUSICAL
Anita Bachmann, The Fantasticks
Matthew P. Benjamin, Hot Mikado
John Falkenbach, Sweeney Todd
Sammy Jelinek, Peter Pan
Bryan Miller, Once On This Island

BEST SOUND DESIGN OF A PLAY
Daniel Brunk, Pride and Prejudice
Jay Brunner, Taking Shakespeare
Jay Brunner, Crowns
Emily Hutton, Fences
K.L. Storer, George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)

BEST SOUND DESIGN OF A MUSICAL
Keith Caggiano, Nice Work If You Can Get It
James Dunlap, Sondheim on Sondheim
Matt Korb, Hot Mikado
Chris Pentecost, Once On This Island
Mason Wisecup, Peter Pan

BEST ORCHESTRA
Hot Mikado (Music Director: Scot Woolley)
The Last Five Years (Music Director: Dean Brown)
Nice Work If You Can Get It (Music Director: Charlie Reuter)
Oliver! (Music Director: Claude Thomas)
Once On This Island (Music Director: David Brush)

BEST PROPERTIES
Heather Campbell Martin, The Fantasticks
John Lavarnway, Peter Pan
Heather Powell, Taking Shakespeare
Blake Senseman and Deidre Bray Root, Good People
Shannon Sellars, Oliver!


ADDITIONAL ACKNOWLEDGMENTS

  • Tango dancers Sarah Agar and Adam Soniak in Mame (Human Race Theatre Company)
  • Christine Andreas, Faith Prince, Andrea McArdle, and Maureen McGovern in 4 Girls 4 with music direction by John McDaniel
  • Director/choreographer Katie Arber, leading players Isaac Ingle (Seymour) and Cecily Dowd (Audrey), scenic designer Mike Cordonnier, and the cast of Little Shop of Horrors (Centerville High School)
  • Becky Barrett-Jones as Diana Goodman and Desmond Thomas as Gabe Goodman in Next to Normal (Beavercreek Community Theatre)
  • Lyn Baudendistel, Robin Brown, Patty Peters, Toni Donato Shade, and Alisa Vukasinovich’s costumes for Oliver!
  • Keely Beirne’s renditions of “Don Juan” and “Some Cats Know” in Smokey Joe’s Cafe
  • Matthew P. Benjamin’s projections for Hot Mikado
  • Matthew Boston as Vanya, Sherman Fracher as Sonia, Jennifer Johansen as Masha, Ben Palacios as Spike, Alex Sunderhaus as Nina, Torie Wiggins as Cassandra, and director Margarett Perry for Vanya and Sonia and Masha and Spike
  • Gary Briggle, Laura Portune, Gabriel Preisser, and Christina Baldwin in An Evening of Rodgers and Hammerstein
  • Jay Brunner’s incidental music for Taking Shakespeare
  • Alexander Chilton as Stevie, Shawn Hooks as Mike and Heather Martin as Dottie in Good People
  • Megan Cooper as Margaret “Maggie” Pollitt and Chris Harmon’s scenic design for Cat On a Hot Tin Roof (Beavercreek Community Theatre)
  • Bruce Cromer’s fight choreography for Romeo and Juliet
  • Tristan Cupp’s scenic design for Once On This Island
  • Jasmine Easler as Velma, Joy Lynn Jacobs as Wanda, Monette McKay as Yolanda, and Debra Walton as Jeanette in Crowns
  • Sean Michael Flowers’ incidental music for Family Shots and his music direction of Sondheim on Sondheim (featuring a band consisting of guitarist Mark Beyer and cellist Emsie Hapner)
  • Alyssa Fox as Elphaba in Wicked
  • Jill Lynott as Barbara and Geoff Turner and Eric Specht’s special effects for George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)
  • Ellie Margolis as Lady Catherine de Bourgh in Pride and Prejudice (Wright State)
  • Chris Newman’s scenic design and Kathleen Carroll’s costumes for How to Succeed in Business Without Really Trying (Dayton Playhouse)
  • Natalie Sanders’ rendition of “All Grown Up” in bare: a pop opera
  • Parisa Samavati’s rendition of “Forever” in Shrek The Musical
  • Renditions of “Aquarius/Let the Sunshine In” (Tia Seay and ensemble), “Easy to Be Hard” (Emma Jordan), “Where Do I Go?” (Mark Beyer and ensemble), “White Boys” (Raven Thomas), and “Good Morning Starshine” (Mackensie Vonderbrink) in The Music of Hair (Dare to Defy Productions)
  • Michael Stockstill’s makeup design for Shrek The Musical
  • Leslie Uggams and featured performers Jasmine Easler, Mimi Klipstine, Cassandra Mikat, Katie Momenee, Kelsey Pohl, Alyson Snyder, and Abby Murray Vachon with music directors Don Rebic and Scot Woolley in An Evening with Leslie Uggams
  • Scot Woolley’s piano accompaniment for Crowns and Molly Sweeney

 

 

‘Crowns’ Review – Human Race Theatre Company – Feel the Spirit

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A marvelously soul-stirring production of Regina Taylor’s off-Broadway spiritual play-with-music “Crowns” concludes the Human Race Theatre Company’s 2014-15 season at the Loft Theatre.

 

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Adapted from the book of the same name by photographer Michael Cunningham and journalist Craig Marberry, “Crowns” is a fascinating, humorous, potent and celebratory portal into the African-American custom of church hats. Generations of African-American women, harkening to African tradition, have valued and taken pride in wearing their finest, most flamboyant hats to Sunday service, particularly based on biblical statutes written by Apostle Paul in I Corinthians 11 (“But any woman who prays or prophesies with her head uncovered disgraces her head… For this reason a woman should have a symbol of authority on her head…”).

 


Cunningham and Marberry’s flavorful sources (over 50 women were interviewed) provide an engaging hook for Taylor, who weaves a fluid narrative arc from the earthy interviews detailing the comedic (“I’d lend my children before I’d lend my hats. My hats know their way home”) and introspective (“Our hats have already been bought and paid for. All we have to do is wear them”). By and large, Taylor transforms an honest, reflective look at women and fashion into a deeper examination of cultural identity, generational friction and the absorbing power of faith.

 

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In this breezy tale, sharply co-directed by Dayton Contemporary Dance Company artistic director Debbie Blunden-Diggs and Human Race founding resident artist Scott Stoney, troubled Brooklyn teenager Yolanda (a terrifically tough and scarred Monette McKay) is grudgingly sent to live with her churchgoing grandmother Mother Shaw (a fabulous, vocally strong Joilet F. Harris) in Darlington, South Carolina following the death of her brother. The angst-filled, streetwise Yolanda strongly resists her new Southern surroundings, but with perceptive assistance from Mother Shaw and her gaggle of fussy church lady friends, Yolanda, caught between two worlds, comes to terms with the pain of her past and accepts a brighter future guided by God.

 


In addition to Harris (responsible for a rousing “I Am On the Battlefield”) and McKay, Blunden-Diggs and Stoney’s incredible cast of actor-singers fulfill their duties with astounding ease. Jasmine Easler, a true knockout this season at Wright State University, commands attention as the emotional, soul-searching Velma as she fervently sings “His Eye Is On The Sparrow” with searing, roof-raising passion. As the sophisticated Wanda, Joy Lynn Jacobs provides a wonderful lesson in hat etiquette. As the gentle Jeanette, former DCDC member Debra Walton, last seen at the Race in “Children of Eden,” performs a beautiful praise dance during “Oh Lord I’m Waitin’ On You,” one of many numbers expertly choreographed with personality and power by Blunden-Diggs. Torie Wiggins, a hoot this season in the Race’s productions of “Mame” and “Vanya and Sonia and Masha and Spike,” brings the hilarity once again as sassy preacher’s wife Mabel, who shares important advice on how to handle and approach a Hat Queen. David Jennings, responsible for all the male roles, terrifically embodies preachers, fathers and husbands, particularly delivering a dynamic, tear-jerking rendition of the gospel standard “If I Can Help Somebody.”

 


The presentation’s high quality winningly extends to its technical team. Scenic designer Tamara L. Honesty supplies an excellent assortment of sliding panels, swivel racks and stained glass projections. David M. Covach’s colorfully attractive costumes are vivid and pay homage to African ancestry. Musical director Scot Woolley provides superb, joyful piano accompaniment. The contributions of lighting designer John Rensel and sound designer Jay Brunner (incorporating Nigerian music) are equally effective.

 

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Even if you don’t consider yourself remotely religious or have never been curious about African-American women in church hats, you’re bound to find something eye-opening or relatable within the universal context of this production, clearly one of the best shows of the season. Can I get an Amen?

“Crowns” continues through June 28 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday at 8 p.m., Tuesday at 7 p.m.; and Sunday at 2 p.m. Act 1: 55 minutes; Act 2: 40 minutes. Also, Human Race resident artist Alan Bomar Jones also performs the male roles. Tickets are $40-$50, but discounts are available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

 

 

 

 

 

‘Peter and the Starcatcher’ Review – Victoria Theatre Association – Adequate Whimsy

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Oliver Wadsworth and Justine Salata in “Peter and the Starcatcher” (Photo by Alexander Weisman)

The fanciful Peter Pan play-with-music prequel “Peter and the Starcatcher” adequately closes the Victoria Theatre Association’s 2014- 15 Premier Health Broadway Series at the Schuster Center.

Sprightly adapted by Rick Elise based on the 2006 novel of the same name by Dave Barry and Ridley Pearson, this “Starcatcher” primarily presents a unique quandary, specifically for theatergoers expecting to see the national tour of its tremendous Broadway mounting, nominated for nine Tony Awards in 2012 ultimately winning five. When the “Starcatcher” tour folded last year, the Victoria searched for a replacement version. Organizers selected a regional theater production conceived by Salt Lake City’s Pioneer Theatre Company, but the show just doesn’t have the shimmering conceptual sparkle, artistic ingenuity and emotional heft of the Broadway production, which certain patrons fondly recall to this very day.

Granted, director Jenn Thompson certainly attempts originality, but unfortunately her pacing is off-kilter in a startlingly humdrum Act 1that finds some actors having trouble projecting in the space, a crucial indication this intimate production truly belongs inside the Victoria Theatre. It’s also extremely odd Thompson allows Leo Ash Evens, who excessively portrays the villainous Black Stache (the precursor Captain Hook), to go unrealistically overboard in a defining moment late in Act 2.

Even so, there are consistently firm performances to be found here amid the fascinating, fun, ensemble-driven storytelling. The sharp, physical Rhett Guter winningly charms as the intuitive and vulnerable Boy/Peter. Justine Salata brings poise, humor and spunk to her terrifically astute portrayal of Molly, future mother of Wendy. José Restrepo (Smee), Austin Archer (Prentiss), Jake P. Evans (Ted), Jeff Gurner (Grempkin/Fighting Prawn), and Oliver Wadsworth (Mrs. Bumbrake/the mermaid Teacher) equally shine in featured comedic capacities.

Additionally, the presentation’s attractive technical elements are courtesy of scenic designer George Maxwell, costumer Carol Wells-Day, lighting designer Michael Gilliam, sound designer Joshua C. Hight, and hair/makeup designer Amanda French. Patricia Wilcox’s playful choreography and Tom Griffin’s crisp music direction suitably complement Wayne Barker’s cheery tunes.

“Starcatcher” enchants at its core due to its very engaging, “Wicked”-esque ability to present familiar lore refreshingly, particularly in its stronger Act 2 detailing the genesis of Tinkerbell and the need for a certain hook. However, when you consider the fundamental fact that the Victoria is responsible for and boasts about delivering national tours, watching an out of state regional theater showcase of this work is a disappointing predicament.

 

“Peter and the Starcatcher” continues through June 14 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 58 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

 

 

 

 

‘Shrek’ Review – Playhouse South – Come Look at the Freaks

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What makes you special makes you strong. This inspirational mantra, a celebration of self-empowerment and individuality, is the feel-good foundation of Playhouse South’s absolutely delightful production of composer Jeanine Tesori and lyricist/librettist David Lindsay-Abaire’s 2008 tunefest “Shrek The Musical,” based on the 2001 Academy Award-winning film and 1990 novel.

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www.play(left to right) Tia Seay as Donkey, Esther Hyland as Fiona, Zach King as Shrek, Jim Brown as Lord Farquuad and the cast of Playhouse South’s production of “Shrek The Musical.” (Contributed photo)

Being labeled a freak can be cringe-inducing or hurtful, but in this context it’s something to take extreme pride in. After all, swamp ogre Shrek could care less about what people think about him. His primary aim is to protect his humble surroundings, which have been overrun by a bevy of fairy tale characters ousted from their habitats by Lord Farquuad’s startling decree. In order to save his home, Shrek agrees to rescue the lovely, abandoned Princess Fiona and return her to the villainous, diminutive Farquuad, who plans to marry her and rightfully become king of Duloc. But along the way, and with a wisecracking Donkey in tow, Shrek and Fiona grow to a newfound appreciation of love’s fundamental ability to look beyond outwardly appearances and treasure the glories of inner beauty.

 

Director Becki Norgaard, spearheading an entertaining, over 50-member cast, astutely embraces the conceptual challenges within the fanciful yet imbalanced material, particularly hindered by a few frivolous, forced gags from Lindsay-Abaire. Instead of overpowering the stage with elaborate scenery, Norgaard opts for slightly scaled-down sets (efficiently designed by Jim Brown) properly establishing tone while stirring the imagination. Norgaard retains a few elements of the Broadway and national touring productions, but her vision, accented by Annette Looper’s lively choreography, is refreshing overall, especially in such playful numbers as “Travel Song” and “Morning Person.” She also scores points for reimagining the role of the Dragon by placing a clear emphasis on its large, intimidating wings.
Zach King delivers one of his finest, most endearing performances as the titular green outcast. King skillfully conveys the menace, charm, frustration, and vulnerability fashioning Shrek’s amiable journey, heightened by his defiant, powerful rendition of “Build a Wall.” The equally radiant Esther Hyland, perfectly compatible with King, marvelously inhabits the multifaceted Fiona who harbors a secret in her quest for true love. Rising to levels of role originator Sutton Foster, Hyland’s sharp, mature instincts humorously drive “I Know It’s Today” (nicely shared with Cate Shannon and Stephanie Penrod) and heightens her character’s appealing emotional arc as Fiona warms to Shrek’s prickly nature. Strong vocalist Tia Seay, a recent standout in Dare to Defy Productions’ concert version of “Hair,” hilariously and energetically fits the bill as the loudmouth Donkey, quickly bonding and molding an enjoyable rapport with King and Hyland. The aforementioned Brown brings vengeful glee and apt physicality to his wonderfully heartless portrayal of Farquuad. The dynamic Parisa Samavati nearly steals the show belting the soul-flavored, encore-worthy “Forever” as the domineering Dragon smitten with Donkey. Brent Hoggatt (Pinocchio), Mackensie Vonderbrink (Gingy/Rag Doll), Aaron Eechaute-Lopez (Big Bad Wolf), Mary Nunnery (Ugly Duckling), Donna Cason (Wicked Witch), Janelle Chamness (Fairy Godmother), Angie Thacker (Mama Bear), Lisa Glover (Humpty Dumpty), and Aaron Brewer (Mad Hatter) are among the colorfully cheery array of fairy tale cohorts storming the stage to deliver knockout versions of “Story of My Life” and “Freak Flag.”
Additionally, the production is vibrantly and eye-catchingly costumed to the hilt by Meagan Kuchan and her impressive team (Melissa Fogle, Kathleen Carroll, the aforementioned Cason and Nunnery, Summer Lehman, Rachel Annabo Smith, Maggie Carroll, Aurora Nunnery, Rachel LaFountain Earich, Jordan Norgaard, Jenni Cypher, Tonia Scearce, Ian Meadows, and Jess Evans). Music director Lorri Topping and conductor Jason W. Clark expertly handle the melodic, introspective score.

 
In the final minutes of this truly enjoyable showcase comprised of varying ages and backgrounds, I couldn’t help but think of just how magnetic and inclusive community theater can be. It really is a big bright beautiful world always open to accept and embrace the freak within us all.

 

 

“Shrek The Musical” continues through May 17 inside the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 60 minutes. Tickets are $13 for adults, $11 for seniors and military, and $8 for students. For tickets or more information, call 1-888-262-3792 or visit www.playhousesouth.org

‘Grease’ Review – Dayton Playhouse – Lukewarm Nostalgia

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The cast of the Dayton Playhouse’s production of “Grease” (Contributed photo)

The Dayton Playhouse’s entertaining production of Jim Jacobs and Warren Casey’s 1972 musical “Grease” lacks authenticity where it counts.
Most people assume “Grease” is an easy show to do because the tuneful music fuels the story and the characters are instantly relatable. However, you have to rely on specific types to truly sell the cool factor inherent in the comedic material set in and around Rydell High School in the late 1950s. Director Tina McPhearson assembles a committed cast but there’s too much caricature and not enough character evident in key roles to propel the staging beyond its odd spoof mentality. Granted, due to the slightly clunky, vignette-esque storytelling structure of the original libretto (the Playhouse isn’t using the revised libretto incorporating familiar songs from the popular 1978 film) it can be a challenge for some actors to dig deep and find a three-dimensional purpose in their characterizations. Even so, it isn’t an impossible task, particularly when you consider the emotional unease sweethearts Danny Zuko and Sandy Dumbrowski (a mismatched, reserved Bobby Mitchum and Amanda Carter) should be feeling at almost every turn as they clumsily try to make sense of their newfound relationship while coping with peer pressure. In the same regard, there are complex layers simmering within the playful yet testy bond between roughneck Kenickie and his sarcastic girlfriend Betty Rizzo (perplexingly inhabited by a surprisingly off-kilter Desmond Thomas and Kelli Locker) simply left unexplored.
Nevertheless, as the horny Burger Palace Boys and sassy Pink Ladies bicker and banter with risqué tendencies, fully realized portrayals still arise from a few principals. Tyler Henry, even stronger here than in “The Fantasticks” four months ago, is straightforwardly charming as sensitive guitarist Doody. Max Santucci, in his musical theater debut as Sonny LaTierri, solidly creates character in his speaking voice alone without lessening the believability or impact of his performance. Naman Clark (Roger) and the mature-beyond-her-years Tori Kocher (Jan) are a delightful hoot in “Mooning.” Allie Jackson (Marty) and Emily Church (Frenchy) firmly assist in humor and spirit. Appealing supporting work is offered by Theresa Kahle (Miss Lynch), Melanie Barrett (Patty Simcox), Tyler Smith (Eugene Florczyk), Malcolm Casey (Vince Fontaine), William Scarborough (a very suave, period appropriate Johnny Casino), Tamar Fishbein (Cha-Cha DiGregorio), and strikingly smooth tenor Andrew Spoon (Teen Angel).

 
Elsewhere, choreographer Paige Hanshaw’s energetic routines are a huge asset, particularly the high spirited “Alma Mater Parody,” “We Go Together,” “Born to Hand Jive,” and special addition/finale “You’re the One That I Want.” Scenic designer Chris Newman’s retro set wonderfully recalls high school exteriors of yesteryear. Steve Burton, Tim Grewe and McPhearson supply terrific costumes and wigs, especially for the comical “Beauty School Dropout.” Musical director Nancy Perrin leads a small yet steady orchestra.

 
This “Grease” falls short but the songs will keep you engaged nonetheless.

 

 

“Grease” continues through May 17 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 50 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com.