Russell Florence, Jr.

‘The Breakfast Club’ Review – Playground Theatre – This Is Our Youth

December 17, 2014 By Russell Florence, Jr.

Playground Theatre arrives on the local arts scene with an entertaining, emotionally honest production of John Hughes’ iconic 1985 dramedy “The Breakfast Club” at Rosewood Arts Centre.
Breezily directed in vignette style by co-founder/artistic director Jenna Burnette, who also adapts the witty if dated script, “Breakfast Club” grabs hold without letting go because it remarkably mirrors our own lives in its thought-provoking message of tolerance. This delightfully funny and occasionally poignant character study of teenage stereotypes circa 1984 provides an engaging, soul-searching opportunity to look back at our youth. It allows us to question who we were and perhaps what we could have done differently when meeting others whose appearance, views or personality were vastly different than ours.

Photo caption Playground Theatre’s production of “The Breakfast Club” features (top row l to r) Titus Wolverton, Jason Antonick, Christopher Hahn, (front row l to r) Lisa Glover, Timothy Walling-Moore, and Kirsten Johnson (Contributed photo)

Symbolically bound together during a nonchalant Saturday detention at Shermer High School overseen by Assistant Principal Richard Vernon (Jason Antonick, fittingly stern and agitated) with occasional assistance from trusty janitor Carl Reed (Rick Burnette, amiably observant), outspoken rebel John Bender (co-founder/artistic director Christopher Hahn), popular and privileged Claire Standish (Lisa Glover), brainy Brian Johnson (Timothy Walling-Moore), athletic Andrew Clark (Titus Wolverton), and oddball Allison Reynolds (Kirsten Johnson) despise and disagree until they realize how much they have in common from peer pressure to family dysfunction. It’s no surprise how fast they release their emotional baggage, but Hughes, a master of adolescent angst, absolutely understood that each character’s evolution was paramount. The feeling of not living up to their true potential, the constant search for acceptance, or better yet, the inability to become their own person due to parental expectations become key concerns, especially as this fascinating group attempts to gel in their pursuit of maturing into well-rounded, confident individuals with a better understanding of their purpose.
Burnette, who makes fine use of the space and often refreshingly brings the action right into the audience, quickly establishes a nostalgic tone (“Don’t You Forget About Me” opens the show). However, there are times when she sticks too closely to the film. Although I specifically like her handling of the gang’s humorous hallway chase, Bender’s gym confrontation with Vernon in particular is an exact replica right down to the fake throws and basketball roll. By and large, more originality would have been greatly beneficial throughout. Even so, her direction is firmer in the quieter, reflective moments when character development takes precedence.

Burnette’s principals are uniformly terrific. Hahn, displaying intimidating bravado, purposefully commands attention with overbearing arrogance, but doesn’t discount the vulnerability permeating within Bender’s dark despair and hopelessness. Glover, pretty in pink, strongly breaks Claire’s emotional shell when she opens up about her isolation and mindless social circle. Wolverton, tough yet approachable, is compelling during Andrew’s confession of bullying a classmate in a locker room simply to please his father. The wonderfully pleasant Walling-Moore charms with comedic timing. Johnson, a newcomer who delivers a sharply kooky breakthrough performance, notably shines when Allison confronts Andrew about his shortcomings and ultimately admits the pain of being ignored by her parents.
Thanks to its enjoyable debut, Playground Theatre is a company to watch.

“The Breakfast Club” continues through Dec. 20 at Rosewood Arts Centre, 2655 Olson Dr., Kettering. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. The show is performed in 75 minutes without intermission. Playground Theatre is asking for a $10 suggested donation at the door. For more information, visit www.theplaygroundtheatre.org. Patrons are advised the production contains adult language and themes.

‘Bare’ Review – Sinclair Community College – The Heart Wants What it Wants

November 15, 2014 By Russell Florence, Jr.

The confusion, elation and heartbreak of secret love propels Jon Hartmere and Damon Intrabartolo’s powerful, provocative melodrama “Bare: A Pop Opera,” commendably presented in a student-produced production inside the Black Box Theatre of Sinclair Community College.
At St. Cecelia’s co-ed Catholic boarding school, popular Jason (Bobby Mitchum) and timid Peter (A.J. Breslin) choose to keep their passionate relationship private. They can’t seem to overcome strict religious doctrine, administrative wariness, parental passiveness, and the unpredictability of their fellow students basically driven by sex, drugs and ridicule. Still, considering the lengths society has taken to be more LGBT-friendly since “Bare” premiered Off-Broadway 10 years ago, Jason and Peter’s predicament feels dated and slightly forced. Even so, the core theme of true love attempting to endure in the face of adversity and personal reticence still resonates throughout this sung-through affair fluidly helmed by guest director Chris Harmon.

(center l to r) A.J. Breslin and Bobby Mitchum lead the cast of “Bare: A Pop Opera” (Contributed photo by Scott J. Kimmins)

Mitchum and Breslin, passing the crucial test of being compatible as believably bonded soul mates, are equally terrific in emotionally demanding roles that find both very honest and vulnerable. Mitchum, in fantastic voice, effortlessly balances Jason’s natural charm and ugly shadiness, particularly as situations turn against him beyond his control in the more dramatically fulfilling Act 2. The wonderfully sensitive Breslin, a standout last season in Sinclair’s “A Shayna Maidel,” offers an excellent evolution as Peter openly comes to terms with his sexuality despite specific indifference from his mother Claire (Kira Miller). “Best Kept Secret,” “Ever After,” and the title tune are among the songs that receive heartfelt treatments from this fine duo.
Additionally, Natalie Sanders delivers one of her strongest performances as the loose, immature Ivy, who stars opposite Jason in the school production of “Romeo and Juliet” and falls in love with him unaware of his attachment to Peter. In Act 2, Sanders, who also provides efficient scenic design, delivers a knockout, full-throttle rendition of “All Grown Up” that places her in the running as Dayton’s equivalent to Idina Menzel. Anna Sheldon also shines as the humorous, harsh Nadia, Jason’s sister and Ivy’s nemesis. Stephanie Radford is an appealing fit as the kindly, sassy Sister Chantelle, the school drama director and Peter’s source of encouragement. Greyson Calvert (Matt), Skyler McNeely (Priest), Woody Hieb (Lucas), and Hayley Penchoff (Diane) are admirably firm in featured roles. Amber Butler, Jennifer Smith, Brooke Watson, Andre Tomlinson, David Brandt, Bryana Bentley, and Matt Poliachik complete the cohesive cast.
Harmon’s artistic vision is particularly accented by David McKibben’s apt music direction, choreographer Rodney Veal’s flavorful routines, Heather Johnson’s suitable costumes, and Marissa Childress’ splendidly evocative, introspective lighting.
“Bare” doesn’t break new ground and feels startlingly unresolved, but it’s a thought-provoking showcase signifying the importance of tolerance.

“Bare: A Pop Opera” concludes Sat. Nov. 15 at 8 p.m. in the Black Box Theatre, Building 2, Sinclair Community College, 444 W. Third. St., Dayton. The production is performed in 2 hours and 20 minutes including one 15-minute intermission. Tickets are $15. Patrons are advised the show continues adult language and themes. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets

‘Smokey Joe’s Cafe’ Review – Victoria Theatre Association – Baby, That Is Rock and Roll

November 14, 2014 By Russell Florence, Jr.

The 20th anniversary national tour of the enjoyably entertaining musical revue “Smokey Joe’s Cafe,” housed at the Victoria Theatre courtesy of the Victoria Theatre Association’s Premier Health Broadway Series, thrives on warmhearted nostalgia and incredibly melodic songs by iconic tunesmiths Jerry Leiber and Mike Stoller.

The cast of Smokey Joe’s Cafe (Contributed photo)

Nominated for seven Tony Awards in 1995 including Best Musical and the record holder as Broadway’s longest-running musical revue, “Smokey Joe’s Cafe” places the music front and center as is typical of the somewhat polarizing revue format. There is no story, arc or framework here –just 39 breezy numbers reflecting the legacy lyricist Leiber (who passed away in 2011) and composer Stoller fashioned beginning in the 1950s. Working with a diverse range of artists including Elvis Presley, The Drifters, The Coasters, The Clovers, Ben E. King, and Peggy Lee during their stellar career, the duo molded the blueprint for earnestly straightforward, toe-tapping songs about love, longing, hope, unity, and good old-fashioned rock and roll.
Fluidly directed and energetically choreographed by Chet Walker, who co-conceived and co-choreographed the 1999 Tony-winning revue “Fosse” and received a Tony nomination for choreographing the 2013 Tony-winning revival of “Pippin,” “Smokey Joe’s Cafe” features a colorful and vocally strong 15-member ensemble. In a pleasant change of pace which serves as a significant draw for this tour, the aforementioned, legendary Coasters are occasionally spotlighted throughout the production although they do not represent the original troupe. Even so, it is refreshing to hear such classics as “Yakety Yak,” “Charlie Brown,” “Dance With Me,” and the title tune sung by the close knit, impressively harmonic quartet consisting of Dennis Anderson, Primo Candelara, Joe Lance Williams, and Eddie Whitfield.

Still, the core cast certainly shines individually and collectively. After all, due to the absence of a libretto, it is imperative that the story within each number resonates. Thankfully, every performer is considerably astute about selling the songs, particularly the joy or poignancy in Leiber’s lyrics. Nik Alexander, Malcolm Armwood, Robert H. Fowler, and Caliaf St. Aubyn deliver a fantastic rendition of “On Broadway,” but separately engage as well. Alexander, a prime source of comic relief, charms his way through “Shoppin’ for Clothes” and “Treat Me Nice” which ultimately makes up for his intense yet uncontrolled “I Who Have Nothing.” The wonderfully sincere Armwood aptly tugs the heart with “Love Me” and “There Goes My Baby.” The equally fine St. Aubyn does the same with “Loving You” and “Spanish Harlem.” Fowler finds the playfulness within “Little Egypt.” The admirable Vaden Thurgood effortlessly turns “Jailhouse Rock” into an infectious highlight.
Additionally, Keely Beirne, Yvette Monique Clark, Kathleen McCann, and Erin McGrath unite for an outstanding rendition of “I’m a Woman” that sizzles with sass, but have multiple opportunities to appealingly solo. In addition to nearly bringing down the house with the rousing, gospel-flavored Act 1 finale “Saved,” Clark fuels the emotional potency within the lovely, meaningful reprise of “Fools Fall in Love.” McCann, a powerhouse belter, offers knockout versions of “Don’t,” “I Keep Forgettin,’” and “Pearl’s A Singer.” The very striking McGrath seductively entices with “Trouble” and is also the lively focus of “Teach Me How to Shimmy.” The marvelously magnetic Beirne, adorned with a white feather boa, thrillingly captivates in “Don Juan” (which deservers an encore) only to return more dazzling and mesmerizing in superb lyric-driven form for the bluesy “Some Cats Know.” In the latter number, Beirne’s piercing focus and slinky strut recalls Laura Benanti’s brilliant take on Gypsy Rose Lee in the 2008 Tony-winning revival of “Gypsy.”
Elsewhere, Steve Paladie’s efficient set, Martin T. Lopez’s attractive costumes, and Brian Loesch’s effective lighting are commendable. However, musical director Todd Olson’s terrific band seems oddly cramped. On opening night, specifically at the top of Act 2 when the band was acknowledged with respective solos, it was difficult to see them as a whole. The configuration of the space for this tour is definitely questionable as if it would have been more suited for the Schuster Center.
Nonetheless, “Smokey Joe’s Cafe” supplies carefree, feel-good vibes that will make you appreciate the simpler delights of a bygone era in pop music.

“Smokey Joe’s Cafe” continues through Nov. 23 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 45 minutes; Act Two: 60 minutes. Tickets are $25-$87. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

‘Hot Mikado’ Review – Wright State University – Gotta Dance!

November 5, 2014 By Russell Florence, Jr.

Without a doubt the first pleasant surprise of the fall is the area premiere of Wright State University’s highly entertaining and fabulously choreographed “Hot Mikado,” Rob Bowman and David H. Bell’s little-known 1986 jazz-era twist on Gilbert and Sullivan’s 1885 comic opera “The Mikado.”

Kyle James Adam and Scotti Marie Stoneburner in Wright State University’s production of “Hot Mikado” (Contributed photo)

With great skill and efficiency, Bowman and Bell impressively dusts off this silly, thin tale of love, law and customs in the quaint, cutely named Japanese town of Titipu. Instead of taking a more familiar, traditional approach to the material and Gilbert and Sullivan’s legacy as particularly evident in Mike Leigh’s acclaimed 1999 film “Topsy-Turvy,” this duo fills their adaptation with a colorfully clever assortment of musical flavors from gospel and swing to R&B and rock and roll. By all means, the sheer power of musicianship and distinctive arrangements (catapulted by the expertise of musical director Scot Woolley’s superb orchestra) is a key factor to the show’s conceptual appeal, which brilliantly doubles as a refreshing history lesson in American music and an enjoyable, respectful homage to one of the most beloved works in the Gilbert and Sullivan canon.

Director Greg Hellems, adept at musical comedy, keeps the carefree action breezy and light (think “42nd Street” or “Crazy for You”) aided by the spectacular, Broadway-caliber contributions of ever-reliable choreographer Teressa Wylie McWilliams, who choreographed Hellems’ first-rate “Oklahoma!” last season. Here, McWilliams, in a return to form recalling her outstanding work for WSU’s 2011 production of “Hairspray,” pulls out the stops at the outset as the handsome, agile male ensemble exuberantly performs a slick, seductive and cheery version of “We Are Gentlemen of Japan,” a terrific, tone-setting opener. Her tap-happy routines continue with feverish aplomb with the scintillating, breathtaking, encore-worthy Act 1 finale and the fiery, playful duels within Act 2’s rousing “Mikado Song.”
Drew Bowen delightfully leads the proceedings as the charming Nanki-Poo, a musician in love with the innocent Yum-Yum (the lovely Bradley Farmer) who is actually betrothed to Ko-Ko (the comical Sean Jones in pure vaudeville mode). Bowen and Jones are crowd pleasers, but Farmer deserves special mention for bringing an enchanting grace and a contemporary sensibility to “Sun and I,” an Act 2 highlight and one of the finest songs ever written by Gilbert and Sullivan. This trio receives excellent support from the suave Alimamy Barrie as the Mikado, vocal powerhouse Paige Dobkins as Pitti-Sing, striking tenor Mark Beyer (“Braid the Raven Hair”) as Pish-Tush, the equally amiable Nathan Pecchia as Pooh-Bah and Bailey Rose as Peep-Bo, and the marvelously formidable Jasmine Easler as the fiery Katisha, who vows to make Nanki-Poo her husband. The exceptional Easler, recently featured in WSU’s remarkable “Fences” and conveying a sinister diva mentality recalling Evilene from “The Wiz,” delivers knockout, amazingly soulful renditions of “Hour of Gladness” and “Alone and Yet Alive” that absolutely bring down the house.
The overt beauty within this impressively produced showcase is fueled by the inviting Japanese décor of Pam Knauert Lavarnway’s set, costumer Jeremy W. Floyd’s attractive mix of Cotton Club-esque attire and gorgeous kimonos, and Matthew P. Benjamin’s evocative lighting and projections.
If you don’t have plans to catch “Hot Mikado” before it closes you need to immediately reschedule your agenda. This must-see is too hot to miss.

“Hot Mikado” continues through Nov. 9 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 63 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500.

‘Mame’ Review – Human Race Theatre Company – Live, Laugh, Love

November 5, 2014 By Russell Florence, Jr.

Lisa Ann Goldsmith and Peanut Edmonson in the Human Race Theatre Company’s production of “Mame” (Contributed photo by Scott J. Kimmins)

The Human Race Theatre Company’s warmly intimate production of Jerry Herman, Jerome Lawrence and Robert E. Lee’s endearing and splendidly tuneful 1966 musical “Mame” has a lot of heart but lacks pizzazz at its core.
Based on Lawrence and Lee’s 1956 play “Auntie Mame,” adapted from Patrick Dennis’ 1955 novel of the same name, “Mame” chronicles nearly 20 years in the life of Mame Dennis, a lively, eccentric socialite who throws lavish soirees in her posh Beekman Place apartment no matter the occasion. In 1928, Mame’s unrestrained, attention-seeking existence quickly changes when she becomes the guardian of her timid, sheltered 10-year-old nephew Patrick. As Mame energetically shows Patrick just how eye-opening life can be within colorful Manhattan, an education thriving in the unconventional sense, their tender, loving bond grows stronger even as the ensuing years bring its share of hardships, sorrow, misunderstanding, and disappointment.

Lisa Ann Goldsmith and the cast of Mame. Photo courtesy of Scott J. Kimmins.

As the flashy, larger-than-life Mame, one of the juiciest roles in the musical theater canon, Lisa Ann Goldsmith, previously known at the Human Race for roles in “Macbeth” and “Torch Song Trilogy,” adopts a gentler, subdued and mildly coy approach that feels off-kilter to the jubilant spirit of the brassy material. Mame is fashioned to be an earthy, outspoken and flamboyant center of the universe, but Goldsmith embodies the role as a woman second guessing her extravagant flair rather than a woman completely confident in her own skin. As so, her musical numbers, intended to illuminate Mame’s vivacious electricity, are short on vim and verve. The cheerful vigor and excitement pulsating throughout Herman’s dandy score (“It’s Today,” “Open a New Window,” “We Need a Little Christmas,” “That’s How Young I Feel”) just doesn’t credibly land in her hands which deflates momentum despite assistance from the vocally strong ensemble. Even Mame’s signature torch song “If He Walked Into My Life” startlingly comes and goes as if its mere filler rather than the full-throttle, show-stopping epiphany it was written to be. Goldsmith, stunning in costumer Christie Peitzmeier’s stylish outfits, is comfortable in the book scenes that allow her ample time to mold the nuances of her characterization opposite the earnestly sweet Peanut Edmonson as young Patrick, but her musical numbers, the lifeblood of the show, are not equally assured.
Still, there is consistent, grounded work elsewhere under the fluidly fast-paced and atmospheric direction of producing artistic director Kevin Moore, who astutely conceptualizes the show as a portal into Patrick’s memory and effortlessly scales down its traditionally large framework to incorporate a 20-member cast. Leslie Goddard is outstanding as goofy secretary Agnes Gooch, particularly as Agnes attempts to embrace life to the fullest with great consequence. Torie Wiggins, in a refreshing dose of non-traditional casting, is a real comedic find as prominent theater actress Vera Charles, Mame’s boozy best friend. Jamie Cordes is the epitome of a true Southern gentleman as the wealthy Beauregard Jackson Pickett Burnside, Mame’s husband. Zack Steele supplies charisma and conviction as the adult Patrick although he struggles vocally in his upper register. Annie Pesch (Ito), Scott Stoney (Dwight Babcock), Robb Willoughby (M. Lindsay Woolsey), Marya Spring (Sally Cato), Sherri L. Sutter (Mother Burnside), Sarah Naughton (Gloria Upson), Darrin Murrell (Mr. Upson), Layan Elwazani (Pegeen Ryan), Shavey Brown (Ralph Devine), Cooper Taggard (Gregor), and Michael McCrary (Junior Babcock) solidly perform in flavorful featured roles. Fierce, attractive couple Sarah Agar and Adam Soniak, attacking Katie Johannigman’s sharp choreography as if auditioning to become a part of next season’s “Dancing with the Stars” troupe, exhibit dazzling finesse as a pair of steamy ballroom dancers in “Open a New Window.”

Peanut Edmonson and Lisa Ann Goldsmith in Mame, photo by Scott J. Kimmins.

Additionally, Dick Block’s terrific set features a revolving layout for Mame’s apartment as well as large, colorful postcard backdrops. John Rensel’s expert lighting heightens various locales from the coziness of Mame’s bedroom to the Shubert Theater stage in New Haven, Connecticut. Musical director John Faas, a Herman aficionado, leads a well-balanced and peppy seven-member off-stage orchestra.
Captivating joy has always been a primary component to the success of Herman’s most beloved musicals. Whether it’s a matchmaker descending a staircase to the delight of admiring waiters or the euphoric empowerment shared between drag queens, Herman’s sunny, feel-good repertoire absolutely uplifts the spirit. In order for the inherent joy within “Mame” to shine with credible magnetism this production needs to dig deeper.

“Mame” continues through Nov. 23 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Sunday and Tuesday evenings at 7 p.m., and Sunday matinees at 2 p.m. Act One: 80 minutes; Act Two: 65 minutes. Tickets are $40-$50. Prices vary depending on performance date. Discounts are also available. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org

DMM Ticket Giveaway

If you’d like a chance to win a pair of tickets to see this classic show, just like this post, fill out the form below and leave a comment about why we should pick you as a ticket winner! We’ll announce our winner late night on Thurs, Nov 6th.

Thanks to all who entered! Congrats to Doug Kershner, Renee Reed and Diane Carter, our ticket winners!

‘Good People’ Review – Dayton Theatre Guild – Boston Bliss

October 10, 2014 By Russell Florence, Jr.

The Dayton Theatre Guild, who staged memorable local premieres of “Fuddy Meers” and “Kimberly Akimbo” by Pulitzer Prize winner David Lindsay-Abaire (“Rabbit Hole”), delivers a splendid local premiere of “Good People,” Lindsay-Abaire’s 2011 Tony Award-nominated working-class dramedy about misunderstanding, regret and neighborhood pride in South Boston’s Lower End a.k.a. Southie.
Delicately directed with impressive authenticity by Debra A. Kent, this terrifically insightful, humorous and engrossing character study concerns the resilient yet brash Margaret “Margie” Walsh, a down-on-her-luck single mom of a handicapped adult whose search for employment reunites her with her high school boyfriend Mike, a successful doctor. When Margaret realizes just how far removed Mike has become since their youth, sparks fly with the underlying knowledge that everybody’s perspective of the past is never the same no matter how hard you choose to see it differently.

(l to r) The cast of the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s “Good People” features Alexander Chilton as Stevie, Shyra Thomas as Kate, Rachel Wilson as Margaret, Heather Martin as Dottie, Shawn Hooks as Mike, and Wendi Michael as Jean.

Rachel Wilson and Shawn Hooks deliver their finest performances as the central couple who could have been more than fleeting lovers. Marvelous in dialect and conviction from start to finish, Wilson effortlessly navigates a beautifully complex, fully-realized journey in which you not only feel but absorb Margaret’s desperation and helplessness due to past mistakes and circumstances beyond her control. Hooks, amiable and sharp, avoids embodying his role with a chip on his shoulder which allows Mike to come forth as genuine and rightfully perturbed when his Southie allegiance is called into question. Wilson and Hooks worked very well together last season in the Guild’s entertaining “Expecting Isabel,” and they unite deeper here to palpable proportions with an entirely real, unforced chemistry.

Additionally, four fantastic featured performances delightfully propel the story, containing discussions of bingo, neighborhood lore and political incorrectness in typically peculiar Lindsay-Abaire fashion. Heather Martin, in a welcomed return to the Guild, injects sassy spunk into her portrayal of Margaret’s outspoken landlady Dottie, who earns extra money with her kooky crafts. Wendi Michael is an absolutely understated joy as Jean, Margaret’s direct, encouraging friend who seems to know more about the colorful ongoings within Southie than anyone. Alexander Chilton, bringing authority and concern to the pivotal opening scene he shares with Wilson, is also winningly understated as the good-natured Stevie, Margaret’s former boss-turned-bingo partner. In a remarkable Guild debut, the magnetic Shyra Thomas nearly steals the show as her breakthrough portrayal of Mike’s elegant, sophisticated wife Kate pokes holes into and ultimately reexamines Margaret and Mike’s relationship with surprising results that in turn forces her to see her privileged world in a new light.

Kent’s first-rate artistic team includes scenic designer Blake Senseman, lighting designer Jason Vogel, sound designer K.L. Storer (who once again assembles outstanding, story-driven musical selections for scene changes), costumer Linda Sellers, property masters Senseman and Deidre Bray Root, and dialect coach D’Arcy Smith.
Considering the fact that there’s a little bit of good in everyone, don’t skip the invitation Lindsay-Abaire and the Guild extends to become acquainted and captivated by six intriguing individuals whose distinct lives mirror ourselves and those we love.

“Good People” continues through Oct. 19 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. Act One: 55 minutes; Act Two: 55 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

‘Pride and Prejudice’ Review –Sinclair Community College –Inclusive Austen

September 30, 2014 By Russell Florence, Jr.

Film and TV actress Keke Palmer made headlines three weeks ago when she became the first African-American Cinderella on Broadway in “Rodgers and Hammerstein’s Cinderella.” But you don’t have to go to New York City to witness that kind of unique, outside the box casting. After all, Sinclair Community College’s wonderfully charming production of Jane Austen’s “Pride and Prejudice” takes a similarly non-traditional approach that allows the classic tale to refreshingly breathe anew.
Elegantly directed with beautifully fluid transitions by Kimberly Borst, “Pride and Prejudice,” breezily adapted by Joseph Hanreddy and J.R. Sullivan, brings the lovely Ariqa Bowens and handsome Shaun Diggs to the thoroughly engaging forefront as prickly adversaries-turned-lovers Elizabeth Bennet and Mr. Darcy. As Austen’s enlightening study of class, manners, privilege, and romance transpires, Bowens and Diggs delicately convey the cool repartee required to sell the complexity of their iconic roles. Bowens, graceful and intuitive in her breakthrough performance, particularly shines during Elizabeth and Darcy’s first awkward dance (which Borst astutely heightens by freezing the world around them) as well as Elizabeth’s late evening showdown with Darcy’s haughty, imposing aunt Lady Catherine de Bourgh (a perfectly stern and conceited Anna Sheldon). Diggs, the brooding epitome of male detachment, effectively softens Darcy’s aloof heart as he grows to care for and adore the incredibly headstrong Elizabeth.

(center left to right) Shaun Diggs as Mr. Darcy, CJ Suchyta as Sir William Lucas and Ariqa Bowens as Elizabeth Bennet in Sinclair Community College’s production of Jane Austen’s “Pride and Prejudice.” (Contributed photo by Patti Celek)

In addition to the aforementioned Stern, Bowens and Diggs are strongly supported by the particularly appealing contributions of the marvelously understated Charles Larkowksi as the kindly Mr. Bennet, the delightful Kate Gieselman as meddling Mrs. Bennet, the sweet and sensitive Cassidy Rowley as Jane Bennet, Jasmine Barrett as the reserved Mary Bennet, Degreona Herrod as the humorously overlooked Kitty Bennet, the spiritedly perky Hayley Penchoff as Lydia Bennet, the amiable Woody Hieb as Mr. Bingley, the dynamically icy Ashlee Ferrell as Caroline Bingley, the magnetic Kevin Manley as Mr. Wickham, CJ Suchyta as Sir William Lucas, Natalie Sanders as Lady Lucas, and the scene-stealing Austin DeVaughn who reinterprets minister Mr. Collins with a comical outspokenness and a deliberately passionate cadence steeped in the traditions of the African-American church. The fine cast also features Aeriel Aniballi (Mrs. Reynolds),Matt Poliachik (Ensign Denny) , David Brandt (Fitzwilliam), James Butler (Servant), Greyson Calvert (Servant), Rebecca Henry (Servant), Jesse MaGill (Captain Carter), Kira Miller (Mrs. Gardiner), Leah Mikesell (Georgiana Darcy), Andre Tomlinson (Servant), Ella Wylie (Anne de Bourgh), and Jessica Zula (Charlotte Lucas).
Austen’s world is exquisitely realized from a design standpoint by Chris Harmon’s stunning estate set (one of his finest creations) featuring nearly 20 portraits, Kathleen Hotmer’s attractive period costumes, Michelle Sampson’s first-rate wig and hair creations, Jennifer Kramer’s properties, and Daniel Brunk’s evocative lighting and sound.
“Pride and Prejudice” purists will have qualms with Sinclair’s showcase which unabashedly takes liberties with the authenticity of early 19th century England. Even so, the inclusive magic of theater proves its rejuvenating worth nonetheless in one of the best and most enjoyable productions I have seen at Sinclair.

“Pride and Prejudice” continues through Oct. 4 at Sinclair Community College, Blair Hall Theatre, Building 2, 444 W. Third St., Dayton. Performances are Wednesday at 10 a.m., Thursday at 7 p.m., and Friday and Saturday at 8 p.m. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $15 for seniors and students. All Thursday tickets (Downtown Dayton Thursday Night) cost an additional $10 each and include pre-show county picnic buffet dinner beginning at 5:30 p.m. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

‘Fences’ Review – Wright State University – The American Family in Conflict

September 25, 2014 By Russell Florence, Jr.

August Wilson’s tremendously visceral 1987 Tony and Pulitzer Prize-winning drama “Fences,” among the finest inclusions in his remarkable 10-play “Pittsburgh Cycle” chronicling the African-American experience in the 20th century, opens Wright State University’s 40th anniversary season with emotionally riveting resonance.

Photo caption (l to r) Jasmin Easler, Law Dunford and Tyrell Reggins in Wright State University’s production of August Wilson’s Tony and Pulitzer Prize-winning drama “Fences” (Contributed photo)

Beginning in 1957 and spanning nearly eight years in the life of a middle class African-American family in Pittsburgh, “Fences,” splendidly and poignantly co-directed by W. Stuart McDowell and Sheila Ramsey, centers its thought-provoking account of race, regret, responsibility, faith, struggle, and sacrifice on Troy Maxson (Law Dunford), a dysfunctional, disillusioned former Negro League baseball hotshot. In the Maxsons backyard, where the engrossing action transpires, loudmouth Troy is king of his castle, a welcomed escape from his daily grind as a sanitation worker longing for a promotion. A habitual storyteller still harboring daddy issues from his scarred childhood, Troy tends to be unbearably over-the-top for the sake of attention, but his larger-than-life persona is nonetheless a huge factor to his appeal not only in the eyes of his loyal friend and fellow ex-convict Jim Bono (Brandon Kinley) but his devoted second wife Rose (Jasmin Easler). But it takes Troy’s son Cory (Tyrell Reggins) to make him realize the weight of his flawed existence when Cory asks to join his school’s football team, an idea that infuriates Troy due to the unfulfilled potential of his own athletic career lingering in the recesses of his mind.

The domineering Dunford, a fantastic Inspector Javert last season in “Les Misérables,” substantially storms into Wilson’s marvelously authentic world with colorful wit and blustery bravado. Commanding yet intuitive, Dunford is a force to be reckoned with because he brings volatile truth to Troy’s complex journey migrating from reasonable provider one minute to arrogant jerk the next. His dynamically intense moments opposite the sensitive Reggins specifically packs a punch. Still, as Wilson intended, the play doesn’t belong to Dunford by any means. Above all, in Act 2, the outstanding Easler, in a breakthrough performance rooted in a calm sensibility that astutely builds to searing proportions, passionately conveys Rose’s disgust and disappointment upon being told of Troy’s infidelity. Easler’s expert handling of Rose’s explosive monologue, a beautifully written passage detailing her encumbered upbringing and the desires she cast aside for the greater good, becomes a thrilling heartbreaker. The terrific chemistry she nurtured with Dunford from the outset makes the heated moment all the more palpable and profound.
This impressive production, dedicated in memory of the legendary Ruby Dee and co-sponsored by Wright State’s Bolinga Black Cultural Resources Center, also features firm portrayals by charismatic Korey Smith as slick loafer Lyons (Troy’s oldest son from a previous marriage), very endearing Christian Henderson as the mentally challenged Gabriel (Troy’s brother), Ocean Brown and E’Draya Caldwell as cutely inquisitive Raynell (Troy’s daughter), and the aforementioned, amiably easygoing Kinley.

McDowell and Ramsey’s exemplary, Broadway-caliber artistic team includes scenic designer Ryan Sess, lighting designer Sammy Jelinek, costumer Mary Beth McClaughlin, and sound designer Emily Hutton. The duo also supplies inviting music for scene changes ranging from soft jazz to soul-stirring gospel.

Wilson, who passed away in 2005, mastered language, tone and relationships. His insightful depiction of blacks attempting to thrive in an uncertain, unjust America will be felt for generations to come because his plays simply contain a universality that actually transcends race. Do not miss Wright State’s electrifying tribute to his legacy.

“Fences” continues through Sept. 28 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday and 2 and 8 p.m., and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 seniors and students. For tickets or more information, call the WSU box office at (937) 775-2500. Patrons are advised the production contains adult language and situations.

‘How to Succeed in Business Without Really Trying’ Review – Dayton Playhouse – Corporate Charm

September 12, 2014 By Russell Florence, Jr.

Photo caption (Center left and right) R.J. Steck, Jim Lockwood and the cast of the Dayton Playhouse’s production of “How to Succeed in Business Without Really Trying.” (Photo by Art Fabian)

The Dayton Playhouse’s 2014-15 season is off to a promising start thanks to its delightful staging of Frank Loesser, Abe Burrows, Willie Gilbert and Jack Weinstock’s 1962 Tony and Pulitzer Prize-winning musical satire “How to Succeed in Business Without Really Trying.”

Based on the 1952 book by Shepherd Mead and directed by Jeff Sams, this “Succeed” succeeds primarily because it doesn’t have to survive on the confident shoulders of R.J. Steck, a tall, lanky and personable presence who conveys the proper amount of gumption and shrewdness as window washer-turned-corporate honcho J. Pierrepont Finch. Steck charmingly handles Finch’s fascinating ascension within the World Wide Wicket Company circa 1965, a goofy, dated playpen where men behave badly and women long for marriage. However, as with any star-driven musical from “Mame” to “Fiddler on the Roof,” it’s important for the lead to be supported. It’s satisfying to know Steck is surrounded by a strong ensemble and featured performers despite the cast overtly skewing younger than most productions of this show.
Brad Bishop is a hoot as philandering company president J.B. Biggley, particularly mastering Biggley’s idiosyncrasies and no-nonsense attitude while validating how easily manipulated he is. He also memorably partners with Steck for a comical rendition of “Grand Old Ivy” reminiscent of the 2011 Broadway revival starring Daniel Radcliffe. Lovely vocalist Taylor Winkleski is sweet and appealing as Rosemary Pilkington, the secretary smitten by Finch. The playful Tori Kocher, a breakthrough performer last season as Penny Pingleton in the Playhouse’s “Hairspray,” shines again as a wonderfully witty Smitty, Rosemary’s close friend and fellow secretary. Desmond Thomas, precise and intuitive, schemes with glee as Bud Frump, Biggley’s jealous nephew and Finch’s nemesis. As dim-witted vamp Hedy LaRue, Hannah Thompson cutely seduces and entraps. Jim Lockwood is terrifically distinctive as Mr. Twimble and Wally Womper. J. Gary Thompson (Bert Bratt), Richard Young (Milt Gatch), Rebekah Skaroupka (Miss Jones), and Steve Peters (Voice of the Book that gives Finch the tricks of the trade) commendably round out the principals. The enjoyable ensemble consists of Maggie Carroll, Malcolm Casey, Naman Clark, Janice Lea Codispoti, Paige Combs, Allison Eder, Karla Enix, Tyler Henry, Marabeth A. Klejna, Matt Lindsay, Grace Lindsley, Joe Meyer, Trevor Meyers, Jim Spencer, Sydney Thomas, John-Michael Vanover, Stacy Ward, and Andrew Wood.
From a notable musical standpoint, the Act 1 finale spotlighting Steck, Winkleski and Thomas will send you into intermission with a smile due to their very pleasant harmony and the strength of Nancy Perrin’s fine orchestra.
Elsewhere, choreographer Annette Looper supplies another series of energetic and flavorful routines as evidenced in the hilarious frenzy of “Coffee Break,” the mindful caution of “A Secretary is Not a Toy,” and the rousing unity of “Brotherhood of Man.” Chris Newman, the Playhouse’s resident scenic designer this season, supplies a colorfully authentic workplace complete with an efficient elevator and large walls cleverly serving as office doors. Kathleen Carroll’s attractive costumes are also era-appropriate. John Falkenbach’s lighting design, K.L. Storer’s sound design, Melanie Davis’ properties, and Steve Burton and Tim Grewe’s wig and hair design are added benefits of this thoroughly entertaining production.

“How to Succeed in Business Without Really Trying” continues through Sept. 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors and students. The production is performed in 3 hours including a 15-minute intermission. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘Miracle on South Division Street’ Review – Human Race Theatre Company – Kitchen Table Revelations

September 11, 2014 By Russell Florence, Jr.

The charming Nowak family of Buffalo, New York receives a rude awakening in Tom Dudzick’s lighthearted and lightweight 2013 comedy “Miracle on South Division Street,” currently receiving a breezy regional premiere at the Loft Theatre courtesy of the Human Race Theatre Company.
Strongly Catholic and affectionately Polish, the Nowaks have been tending to their late patriarch’s shrine to the Virgin Mary for decades. Built in 1943, the 17-foot-tall shrine (which Buffalo native Dudzick based on a local legend) was established after Grandpa Nowak had a vision of the Virgin Mary in his barbershop, which now serves as a soup kitchen. The shrine has been an inspirational source of faith, hope and goodwill for the downtrodden city with the likelihood of a miracle not out of the question. However, the Nowaks are completely and humorously thrown for a loop due to a pivotal deathbed confession. As they attempt to make sense of what appeared on the surface to be utterly preposterous, the close-knit family grows to understand the importance of change, growth and tolerance, which all families must face during times of overwhelming joy or nerve-rattling dysfunction.

(Left to right): Lauren Ashley Carter, Kyle Nunn, Wendy Barrie-Wilson and Jennifer Joplin in the Human Race Theatre Company’s production of “Miracle on South Division Street.” (Photo by Scott J. Kimmins)

Director Richard E. Hess, a Buffalo native, coaxes warm authenticity, sprightly energy and a loving rapport from his delightfully compatible four-member cast who are absolutely comfortable within the confines of Eric Moore’s attractively homey kitchen set. As devoted mom Clara, tough yet compassionate, Wendy Barrie-Wilson (marvelous as Sister Aloysius in the Human Race’s 2009 local premiere of “Doubt,” directed by Hess) is a great source of genuine motherly concern, but also supplies funny doses of utter dismay as Clara’s world, particularly the traditions she holds close to her heart, collapses. As eldest daughter Beverly, an underwritten component with a penchant for bowling, Jennifer Joplin (equally radiant in “Doubt” as Sister James) is fittingly agitated and shocked as the big news resonates. As amiable son Jimmy, Kyle Nunn, very appealing and down-to-earth, provides fine comic relief as the only Nowak who couldn’t be more thrilled about the revelation at hand since it ensures a brighter future far more than he imagined. As youngest daughter Ruth, an aspiring actress whose actions propel the play, Lauren Ashley Carter is believably apprehensive yet totally engaging as Ruth brings her family together to announce the various aspects of the secret. Carter also shares a terrifically layered moment with Barrie-Wilson toward the conclusion which refreshingly takes the sitcom-esque proceedings to a deeper emotional plateau.
This “Miracle” takes a while to reveal itself as the amusing diversion it is, but it will make you appreciate the universal commonality of family all the same.

“Miracle on South Division Street” continues through Sept. 21 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.; Sunday at 2 p.m. The play is performed in 80 minutes without intermission. Tickets are $27-$45, but discounts are also available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

‘Nice People Dancing to Good Country Music’ Review – Dayton Theatre Guild – Lone Star Connections

August 30, 2014 By Russell Florence, Jr.

Colorful characters attempting connection fuels Lee Blessing’s folksy1983 comedy “Nice People Dancing to Good Country Music,” the name of the Houston bar at the center of this simplistic summertime diversion at the Dayton Theatre Guild.

Tough, hot-tempered ex-biker Jim Stools (David Hallowren) owns the bar in question which has undergone a renovation at the hands of his girlfriend Eve Wilfong (Angela Riley). Looking to appeal to the heart as well as the wallet, Eve brings a renewed sense of identity to the establishment, a more welcoming sense of purpose because she feels “there is a power in a message.” While monitoring the bar’s clientele, Eve does her best to offer words of wisdom to her worrisome, peculiar niece Catherine Empanger (Sara Naderer), a novice nun prone to profane outbursts beyond her control. While Eve and Catherine strengthen their bond, dim-witted ditch-digger Roy Manual (Jared Mola) persistently woos Catherine.

(l to r) David Hallowren, Noah Walters and Jared Mola in the Dayton Theatre Guild’s production of “Nice People Dancing to Good Country Music”
(Contributed photo by Craig Roberts)

Small talk about life and love is huge in this lesser glimpse into Blessing’s character-conscious universe, which can be a source of enlightening, thought-provoking dramas (“A Walk in the Woods,” “Going to St. Ives”) or poignant family fare (“Independence,” “Eleemosynary”). The goal of “Nice People” is to merely entertain, which it does, although I wonder what this play could have been if given room to grow more cohesive beyond Blessing’s odd decision to separate genders for the majority of the action, particularly devoting the entire first act to Jim and Roy’s momentum-stalling ruminations on trucks, women and academia.

Thankfully, director Ralph Dennler’s excellently authentic cast smoothly grasps the eccentricities and nuances within this relatable tale. Hallowren, gruff yet astute in one of his strongest leading performances, epitomizes the frustration of a man who allowed a woman to change his existence for the better even though he may not appreciate it every single second of every day. The terrifically earthy Riley, injecting her dialogue with a gentle, Southern wistfulness recalling Horton Foote or Tennessee Williams, captivates as Eve honestly discusses her past heartache and ultimate liberation in an attempt to make Catherine view the world differently. In her Guild debut, the delightful Naderer brings a proper amount of reticence and perplexity to her portrayal of a tightly-wound woman yearning for more. As Roy, the splendid Mola, one of the best chameleons in the Miami Valley, avoids becoming a tiresome, backwards caricature by completely immersing himself into his gawky role physically and mentally. With charming moxie and geeky bravado, Mola keeps Roy’s quest for love incredibly endearing. As Jason, Eve’s mischievous son and Jim’s menace, Noah Walters, in his Guild debut, does an amiable job in an underwritten capacity. Additionally, Blake Senseman’s commendable scenic design is greatly accented by a weathered pickup truck center stage that seemingly becomes Hallowren’s annoying sidekick.

“Nice People” lacks impactful vim and verve, but fine acting and an engaging atmosphere keeps this breezy production fittingly lighthearted.

“Nice People Dancing to Good Country Music” continues through Sept. 7 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 35 minutes; Act Two: 60 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Tender ‘Sugarhill’ Wins Dayton Playhouse FutureFest

August 2, 2014 By Russell Florence, Jr.

Playwright Linda Ramsay-Detherage (Contributed photo by Art Fabian)

Playwright Linda Ramsay-Detherage of Detroit received top honors Sunday, July 27 at the 24th annual Dayton Playhouse FutureFest of new plays for her World War II-era Southern family dramedy “Sugarhill,” a compelling exploration of race, heartbreak and hope.
Set in the fictional titular Louisiana town in December 1941, “Sugarhill,” also named the Audience Favorite, scored highest among a commendable field of six original, developing plays adjudicated within criteria including theme, style/language, dramatic structure, character development, story/plot, pacing, page-to-stage, and the next stage. Delicately directed by Debra Kent, the engaging, whimsical play, which requires the audience to take a great leap of faith in its final moments, featured an excellently authentic cast consisting of Cassandra Engber as the grieving, mentally unstable Marietta Trudeau, Dave Nickel as Civil War veteran and Marietta’s imposing grandfather Captain John Youngblood, Lynn Kesson as the family’s devoted French nurse Yvette Degas, Franklin Johnson as black runaway Mr. Franklin, an impressively tranquil Rick Johns as Marietta’s injured, unresponsive husband Tom, Cheryl Mellen as Marietta’s testy sister-in-law Laurel, and Jamie McQuinn as Laurel’s merciless husband Davis. The family ultimately defies the racist Jim Crow laws of the period due to the transformative nature of Mr. Franklin’s impactful presence and influence in their lives.

“It really feels wonderful and I’m very delighted that so many people were entertained by ‘Sugarhill,’” said Ramsay-Detherage, who received a $1,000 prize for her accomplishment. “It’s so nice to have been able to put something beautiful out there for an audience. Good plays, especially the ones I have had the good fortune of performing in, tend to be less about what the characters are thinking and more about what their behavior is. It’s up to the actors and directors to figure out what their inner life is. My job was to look at the situation of the play and also find the right time period. I really wanted to create a character that lived through the Civil War and came out of it with some kind of positive conclusion. How long does it take to change your point of view over owning slaves? Does it take 100 years when it’s all ingrained in you? So, it suited my purposes to create a character who remembered the Civil War while also creating someone like Marietta who experienced electroshock therapy, which began in 1937. In the end, I chose to set ‘Sugarhill’ right before Pearl Harbor started because the characters being unaware that event is coming changes the way we see their point of view.”
As a professional actress, Ramsay-Detherage has participated in many staged readings, but viewing the FutureFest experience left an indelible mark. After all, the Playhouse’s mission to produce six plays in three days, a daunting task overseen by FutureFest program director Fran Pesch, places the organization in a league of its own within the national theater scene.
“I’ve never seen a theater do what the Playhouse did in my entire life,” she said. “The atmosphere is so full of love as well. My fellow playwrights felt the same.”
“There were some well-written, directed and performed scripts over the weekend so we had our work cut out for us,” added Kent, who staged last year’s FutureFest co-winner “A Position of Relative Importance.” “But my cast’s love for our play never faltered. They were focused and ready to go at performance time. I am so proud of them and their dedication. During rehearsals, there was more than one discussion about the futuristic or magical quality in our play. Neither my cast nor I had a problem believing in the magic. The actors portrayed the characters in the play as real people with real problems. We all need some magic in our lives from time to time. Sometimes things happen that we cannot explain.”
Kent, who will stage the local premiere of David Lindsay-Abaire’s “Good People” for the Dayton Theatre Guild this fall, particularly embraced FutureFest with familiar excitement. She enjoys the discoveries that arise from working with a fresh script.

The cast of “Sugarhill” (l to r): Jamie McQuinn, Cheryl Mellen, Franklin Johnson, Lynn Kesson, director Debra Kent, Dave Nickel, Rick Johns, and Cassandra Engber. (Contributed photo by Art Fabian)

“I have been fortunate to direct a couple of terrific new plays for FutureFest,” she said. “I love the thought that my actors and I are breaking new ground and putting a brand new work on its feet for an audience to see. We break open a new script and look for the treasures and new ideas the playwright has given us. There is such love for the craft in the FutureFest crowd, and it comes not only from the playwright but also the people on the stage, behind the scenes and from the audience. Not everyone would give up literally weeks of time to rehearse a play that will only be seen once or purchase a ticket to see six full-length plays in just one weekend. FutureFest attendees are exceptional theatergoers.”
Chosen from 151 submissions from across the country, the remaining finalists were: “Wash, Dry, Fold,” a terrific account of Louisiana sisters coping with past heartache while caring for their disgruntled uncle emotionally wounded by the Vietnam War by Nedra Pezold Roberts of Atlanta; “The Humanist,” a contemporary, intelligent and stinging look at the foibles and tenacity of a humanities professor by Kuros Charney of New York City; “The Killing Jar,” a story of art and feminism by Jennifer Lynne Roberts of San Francisco; and Dayton native/Woodland Hills, California resident M.J. Feely’s “The Paymaster,” an Irish-centric story of heritage and loyalty, and “Masterwork,” concerning an ailing playwright’s final endeavor.
This year’s adjudicators were Roger Danforth (artistic director of the Drama League Directors Project), David Finkle (theater critic for “Huffington Post”), Faye Sholiton (a Cleveland playwright who won the 1997 FutureFest for “The Interview”), Helen Sneed (who has held numerous artistic posts in New York City and has judged FutureFest for over 20 years), and Eleanore Speert (Speert Publishing).
In addition, first-rate performances extended beyond “Sugarhill.” Sharp, wonderfully layered portrayals were delivered by Mike Beerbower, Megan Cooper and J. Gary Thompson (“The Paymaster,” directed by Saul Caplan), Sarah Gomes, the aforementioned Thompson, Annie Pesch, Jon Hung, and Geoff Burkman (“The Killing Jar,” directed by Kathy Mola), Dorothy Michalski, Stefanie Pratt, David Williamson, Wendi Michael, and Scott Knisley (“Wash, Dry, Fold,” directed by Teresa High), Shawn Hooks, Jennifer Lockwood, the aforementioned Pesch, and Matt Lindsay (“The Humanist,” directed by Jim Lockwood), and Charles Larkowski, Debra Strauss, Val Beerbower, the aforementioned Mellen, and Dave Gaylor (“Masterwork,” directed by Fran Pesch).
For more information about FutureFest, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “Wash, Dry, Fold”
2. “Sugarhill”
3. “The Humanist”
4. “The Killing Jar”
5. “The Paymaster”
6. “Masterwork”

‘Once On This Island’ Review – Epiphany Lutheran Church – Vibrant Storytellers

July 18, 2014 By Russell Florence, Jr.

(L to R) Back Row: Desmond Thomas, Kathy Meyer, Kandis Wean, Bryan Burckle. Front Row: Brianna Russ in Epiphany Lutheran Church’s production of “Once On This Island”
(Contributed photo by Charles Woodward)

The Epiphany Players Drama Ministry of Centerville’s Epiphany Lutheran Church delivers a wonderfully heartfelt, joyously sung production of the1990 Tony Award-nominated musical “Once On This Island.”
Composed by Tony winners Lynn Ahrens and Stephen Flaherty (“Ragtime”) and adapted from Rosa Guy’s 1985 novel “My Love, My Love,” this Caribbean-immersed show inherently appeals with its straightforward, touching emphasis on a young peasant girl’s coming-of-age. The effervescent yet strong-willed Ti Moune (sprightly portrayed by the winsome Brianna Russ) adores the wealthy Daniel (a charming, sensitive Timmy Seiler) but is tested by her gods to embark on a journey that will ultimately explore the depths of her love. In spite of prejudice and adversity, Ti Moune risks her life for Daniel, propelling engrossing themes of acceptance, sacrifice and hope to compelling degrees.
The musical’s delightful structure requires the action to come forth by way of multiple storytellers, which director/choreographer Megan Wean Sears handles with aplomb as her exuberant cast cheerfully pulls the audience into Ti Moune’s whimsical world. Anyone who saw Sears’ exemplary production of “Joseph and the Amazing Technicolor Dreamcoat” last summer at Epiphany knows how effortlessly she guides a large ensemble, and her 60-member cast of varying ages does not disappoint. The excitement, suspense and tenderness within the tale is not lost as the cast, maintaining credible dialect throughout, grounds the proceedings with an earthy vivacity bolstered by Ahrens and Flaherty’s terrific score marvelously bookended by the ensemble-driven “We Dance” and “Why We Tell the Story.” Sears also provides excellently fluid stagecraft for the bouncy “Some Say” and the dramatic, nearly show-stopping “Pray.”
In addition to the aforementioned Russ and Seiler, Sears’ strong principals are committed and engaging. As the four omnipresent gods, Kathy Meyer (Asaka, mother of the Earth), Desmond Thomas (Papa Ge, demon of death), Kandis Wean (Erzulie, goddess of love) and Bryan Burckle (Agwe, god of water) are a colorfully commanding quartet. The radiant Meyer particularly brings gospel-tinged vivaciousness to the toe-tapping Act 1 finale “Mama Will Provide.” The delectably evil Thomas displays dynamic intensity and powerful vocals. The expressive, graceful Wean is a compassionate presence supplying a beautiful rendition of “The Human Heart” filled with poignancy and soul. Burckle joins Thomas in conveying imposing authority and a fittingly intimidating aura. Elsewhere, the emotional Meghan Rupper (in a first-rate, breakthrough performance) and amiable Michael Shannon gently coalesce as Ti Moune’s devoted parents Mama Euralie and Tonton Julian. Allie Tura (Andrea), Eryn Barrett (Little Girl), Liza Russ (Little Ti Moune), David Egbert (Armand), Hilary Fenwick (Madame Armand), Larry Klueber (Daniel’s Father), Brian Hoff (Gatekeeper), Mia Bridgman (Peasant Girl) and Noah Brush (Daniel’s Son) are equally notable.
Also, D. Tristan Cupp’s exotic scenic design skillfully captures the essence of the French Antilles. Costumers Maria Klueber and Lori Watamaniuk utilize the island motif with personality, particularly the regal garments reserved for the gods. Bryan Miller’s expert lighting, Chris Pentecost’s sound design, and Adrienne Ausdenmoore and Jason Hamen’s efficient props are great assets. Musical director David Brush leads a fine six-piece orchestra adeptly handling the flavorful rhythms within the score.
If you’re looking for a theatrical getaway this weekend, make this “Island” your destination.

“Once On This Island” continues through July 20 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursdays-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One: 45 minutes; Act Two: 35 minutes. Tickets are $15 for adults and $10 for seniors (60 and over) and children (12 and under). Patrons are advised the show is double-cast. For tickets or more information, call (937) 433-1449 ext. 105or visit www.epiphanydayton.org

Saluting Dayton’s 2013-14 Theater Season

July 13, 2014 By Russell Florence, Jr.

Looking back on Dayton’s commendable 2013-14 theater season, appealing stories reflecting cries of revolution, love and forgiveness, identity and family, and relationships beyond repair gave audiences thought-provoking, richly rewarding memories.
Wright State University certainly triumphed with an exceptional Les Misérables which catapulted its musical theater component to astonishing degrees from performance to design. The beautiful complexity of The Magic Fire, the wonderful earthiness of Oklahoma!, and the dynamic electricity within The Wild Party also gave the organization cause to celebrate. Collegiate stages elsewhere saw fine work at Sinclair Community College (fittingly bookended by the riotous Monty Python’s Spamalot and A Flea in Her Ear) and in the University of Dayton’s A Funny Thing Happened on the Way to the Forum featuring the final set design of scenic/lighting designer Darrell Anderson who retired after 40 years of service.
In addition, the Dayton Theatre Guild notably delivered a terrific, well-balanced season heightened by its outstanding, superbly designed local premiere of Time Stands Still, an engrossing drama about a New York couple at odds. The Guild also provided praiseworthy accounts of hypocrisy (An Inspector Calls) and desperation (The Dead Guy). The Dayton Playhouse built momentum last summer with an impressive, historic tie for top honors at FutureFest: A Position of Relative Importance and The King’s Face. Additional Playhouse highlights included The Whales of August (helmed by FutureFest co-founder John Riley), Working, and a very entertaining Hairspray. Brookville Community Theatre’s The Importance of Being Earnest and Lebanon Theatre Company’s Into the Woods flew under the radar but delighted all the same. Leading the pack of special theatrical events, Epiphany Lutheran Church offered an absolutely luminous, smile-inducing Joseph and the Amazing Technicolor Dreamcoat.
Professional companies reaped its share of successes as well. The Victoria Theatre Association’s Premier Health Broadway Series particularly supplied the wondrously inventive local premiere of the Tony Award-winning War Horse and a joyously heartfelt, smartly reconceived national tour of Disney’s Beauty and the Beast. The Human Race Theatre Company brought a refreshingly intimate vision to Fiddler on the Roof and boldly resurrected Torch Song Trilogy with power and passion to enlighten a new generation. The emerging Dare to Defy Productions auspiciously joined the professional ranks with a very winning I Love You, You’re Perfect, Now Change. Zoot Theatre Company took an enjoyable leap into the musical theater realm with The Rocky Horror (Puppet) Show while showcasing its pedigree with an insightful, imaginative Animal Farm.
Assessing the 60 shows I saw this season, I congratulate the following winners (in bold) and nominees.
BEST PROFESSIONAL PRODUCTION OF A PLAY
Animal Farm, Zoot Theatre Company
Other Desert Cities, Human Race Theatre Company
Torch Song Trilogy, Human Race Theatre Company
War Horse, Victoria Theatre Association

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
Fiddler on the Roof, Human Race Theatre Company
I Love You, You’re Perfect, Now Change, Dare to Defy Productions
Play it By Heart, Human Race Theatre Company
The Rocky Horror (Puppet) Show, Zoot Theatre Company

BEST PROFESSIONAL TOURING MUSICAL
Bring it On: The Musical, Victoria Theatre Association
Disney’s Beauty and the Beast, Victoria Theatre Association
Memphis, Victoria Theatre Association
Million Dollar Quartet, Victoria Theatre Association
Sister Act, Victoria Theatre Association

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
An Inspector Calls, Dayton Theatre Guild
The Dead Guy, Dayton Theatre Guild
The Importance of Being Earnest, Brookville Community Theatre
Time Stands Still, Dayton Theatre Guild
The Whales of August, Dayton Playhouse

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
The Gifts of the Magi, Dayton Theatre Guild
Hairspray, Dayton Playhouse
Into the Woods, Lebanon Theatre Company
Working, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
A Flea in Her Ear, Sinclair Community College
A Shayna Maidel, Sinclair Community College
Harvey, Wright State University
The Magic Fire, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
A Funny Thing Happened on the Way to the Forum, University of Dayton
Les Misérables, Wright State University
Monty Python’s Spamalot, Sinclair Community College
Oklahoma!, Wright State University
The Wild Party, Wright State University

BEST NEW WORK
Hal Borden’s A Position of Relative Importance, Dayton Playhouse FutureFest
Marya Spring Cordes and Sean Michael Flowers’ Guarding Gold Street, Human Race Theatre Company
Steven Young’s The King’s Face, Dayton Playhouse FutureFest
Michael Kooman and Christopher Dimond’s The Noteworthy Life of Howard Barnes, Human Race Theatre Company
Tom Coash’s Veils, Dayton Playhouse FutureFest

BEST SPECIAL THEATRICAL EVENT
The Best of Broadway, Dayton Philharmonic Orchestra and Human Race Theatre Company
Black Violin, Victoria Theatre Association
Joseph and the Amazing Technicolor Dreamcoat, Epiphany Lutheran Church
Ragtime, Vandalia Youth Theatre Company
The Signature: A Poetic Medley Show Season 7 Opener, Oral Funk Poetry Productions and Human Race Theatre Company

BEST LEADING ACTOR IN A PLAY
Cameron Blankenship as Elwood P. Dowd, Harvey
Alex Carmichal as James Goodwin, Time Stands Still
Christopher Hahn as Eldon Phelps, The Dead Guy
Josh Katawick as Prince Harry of Monmouth, The King’s Face
Charles Larkowski as Arthur Birling, An Inspector Calls
Jamison Stern as Arnold Beckoff, Torch Song Trilogy

BEST LEADING ACTRESS IN A PLAY
Cassandra Engber as Sarah Goodwin, Time Stands Still
Marcia C. Nowik as Sarah Webber, The Whales of August
Jennifer Joplin as Brooke Wyeth, Other Desert Cities
Taylor Montgomery as Veta Louise Simmons, Harvey
Annie Pesch as Samar, Veils
Kate Young as Polly Wyeth, Other Desert Cities

BEST LEADING ACTOR IN A MUSICAL
Mark Beyer as Burrs, The Wild Party
JJ Parkey as Dr. Frank N. Furter, The Rocky Horror (Puppet) Show
Darick Pead as the Beast, Disney’s Beauty and the Beast
Drew Pulver as Tevye, Fiddler on the Roof
Andrew Quiett as Jean Valjean, Les Misérables
Brian Sharp as Edna Turnblad, Hairspray

BEST LEADING ACTRESS IN A MUSICAL
Rachel Coloff as Golde, Fiddler on the Roof
Paige Dobkins as Queenie, The Wild Party
Hilary Maiberger as Belle, Disney’s Beauty and the Beast
Sharva Maynard as Naomi Jasper, Play it By Heart
Lee Merrill as June, Guarding Gold Street
Jasmin Richardson as Felicia Farrell, Memphis

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Squealer, Animal Farm
Tommy DiMassimo as Gianni “Juan” Guarneri, The Magic Fire
John Hacker as Alan, Torch Song Trilogy
Charles Larkowski as Johnathon Bradmore, The King’s Face
Tray Shelton as Don Carlos Homenides de Histangua, A Flea in Her Ear
John Spitler as Charles, 45 Seconds From Broadway (Dayton Theatre Guild)

BEST SUPPORTING ACTRESS IN A PLAY
Amy Askins as Gina Yaweth, The Dead Guy
Patty Bell as Raylean, 45 Seconds From Broadway (Dayton Theatre Guild)
Annie Branning as Sybil Birling, An Inspector Calls
Debra A. Kent as Arlene, 45 Seconds From Broadway (Dayton Theatre Guild)
Patricia Linhart as Lady Blues/Mrs. Beckoff, Torch Song Trilogy
Debra Strauss as Cindy, 45 Seconds From Broadway (Dayton Theatre Guild)

BEST SUPPORTING ACTOR IN A MUSICAL
Mark Beyer as Enjolras, Les Misérables
Drew Helton as Motel, Fiddler on the Roof
Bobby Mitchum as Willy Porter, The Gifts of the Magi
William “Kip” Moore as Ironworker, Publicist, Retiree and Father/Son, Working
Andrew Quiett as Jud Fry, Oklahoma!
Zack Steele as Marius, Les Misérables

BEST SUPPORTING ACTRESS IN A MUSICAL
Kay Bosse as Nan, Guarding Gold Street
Natalie Houliston as Eddie and Dr. Scott, The Rocky Horror (Puppet) Show
Caitlyn Larsen as Yente/Grandma Tzeitel, Fiddler on the Roof
Kelli Locker as Velma Von Tussle, Hairspray
Liz Romey as Eponine, Les Misérables
Amy Wheeler as Fantine, Les Misérables

BREAKTHROUGH MALE PERFORMANCE
Ian Benjamin as Thenardier, Les Misérables
A.J. Breslin as Duvid Pechenik, A Shayna Maidel
Andrew Briner as John Worthing, The Importance of Being Earnest
Chris Carter as Milky White, Into the Woods
Law Dunford as Inspector Javert, Les Misérables
Leonardo Santucci as Eric Birling, An Inspector Calls

BREAKTHROUGH FEMALE PERFORMANCE
Alyssa Brembeck as Maddalena Guarneri, The Magic Fire
Tori Kocher as Penny Pingleton, Hairspray
Caitlyn Maurmeier as Sheila Birling, An Inspector Calls
Cassie Mikat as Madame Thenardier, Les Misérables
Kelsey Pohl as Kate, The Wild Party
Katrina Pontius as Cecily Cardew, The Importance of Being Earnest

Scott Stoney

BEST DIRECTION OF A PLAY
Geoff Burkman, The King’s Face
Debra A. Kent, Time Stands Still
Lee Merrill, The Magic Fire
Margarett Perry, Other Desert Cities
Scott Stoney, Torch Song Trilogy

BEST DIRECTION OF A MUSICAL
Jamie Cordes, The Wild Party
Gina Kleesattel, Monty Python’s Spamalot
W. Stuart McDowell, Les Misérables
Kevin Moore, Fiddler on the Roof
Megan Wean Sears, Joseph and the Amazing Technicolor Dreamcoat

Teressa Wylie McWilliams

BEST CHOREOGRAPHY
Andy Blankenbuehler, Bring it On: The Musical
Teressa Wylie McWilliams, Oklahoma!
Jermaine R. Rembert, Memphis
Megan Wean Sears, Joseph and the Amazing Technicolor Dreamcoat
Dionysia Williams, The Wild Party

BEST SCENIC DESIGN OF A PLAY
Michael Amico, Harvey
Fred Blumenthal, 45 Seconds From Broadway (Dayton Theatre Guild)
Tamara L. Honesty, Other Desert Cities
Chris Newman, An Inspector Calls
Blake Senseman, Time Stands Still

BEST SCENIC DESIGN OF A MUSICAL
Darrell Anderson, A Funny Thing Happened on the Way to the Forum
Dick Block, Fiddler on the Roof
Pam Knauert Lavarnway, Les Misérables
Chris Newman, Hairspray
Terry Stump, Monty Python’s Spamalot

Carol Finley

BEST COSTUME DESIGN OF A PLAY
D. Bartlett Blair, Harvey
David J. Castellano, The Magic Fire
Carol Finley, An Inspector Calls
Kathleen Hotmer, A Flea in Her Ear
Janet G. Powell, Other Desert Cities

BEST COSTUME DESIGN OF A MUSICAL
D. Bartlett Blair, Les Misérables
Steve Burton and Tim Grewe, Hairspray
Kathleen Hotmer, Monty Python’s Spamalot
Maria Klueber and Lori Watamaniuk, Joseph and the Amazing Technicolor Dreamcoat
Lisa Loen, Oklahoma!

BEST LIGHTING DESIGN OF A PLAY
Daniel Brunk, A Shayna Maidel
David Corson, Time Stands Still
John Falkenbach, The King’s Face
Samantha Jelinek, The Magic Fire
Erin Jones, Harvey

BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin and Erin Jones, Les Misérables
Joe Beumer, Monty Python’s Spamalot
Timothy A. Guth, Joseph and the Amazing Technicolor Dreamcoat
Kody Lupori, The Wild Party
John Rensel, Fiddler on the Roof

K.L Storer

BEST SOUND DESIGN OF A PLAY
Nathan D. Dean, Animal Farm
Richard M. Dionne, Torch Song Trilogy
James Dunlap, The Magic Fire
Fran Pesch, Veils
K.L Storer, Time Stands Still

BEST SOUND DESIGN OF A MUSICAL
Nathan D. Dean, Fiddler on the Roof
James Dunlap, Les Misérables
James Dunlap, Oklahoma!
Kai Harada, Million Dollar Quartet
Cody Spencer, Bring it On: The Musical

BEST ORCHESTRA
Hairspray (Musical Director: Judy Mansky)
Monty Python’s Spamalot (Musical Director: Daniel Greene; Conductor: Dr. Kenneth Kohlenberg)
Les Misérables (Musical Director: Scot Woolley)
Oklahoma! (Wright State) (Musical Director: Scot Woolley)
The Wild Party (Musical Director: Sherri Sutter; Conductor: Ian Benjamin)

BEST PROPERTIES
Jason Hamen and Adrienne Niess, Joseph and the Amazing Technicolor Dreamcoat
John Lavarnway, Les Misérables
John Lavarnway, The Magic Fire
Tina McPhearson and Chris Newman, Hairspray
Blake Senseman and Deirdre Bray Root, Time Stands Still

SPECIAL ACKNOWLEDGMENTS
• Jacklyn Alexa’s prosthetics/makeup, Jim Foreman and Amanda Gray’s properties, Charles Larkowski’s music selections, Fran Pesch’s set design, Deirdre Root’s costumes, and Blake Senseman’s props and extractor fabrication for The King’s Face
• George Abud, Jay Brunner, Brent Eresman, and Joel Greenberg as the kletzmer band of Fiddler on the Roof
• Michael and Sandy Bashaw’s music accompaniment for Fellow Passengers (Dayton Playhouse)
• Julia Brown’s piano accompaniment and Josh Vantilburgh’s violin accompaniment for I Love You, You’re Perfect, Now Change
• Bruce Brown’s scenic design for Joseph and the Amazing Technicolor Dreamcoat
• Tiffany Cichanowicz as Dream Laurey in the Dream Ballet of Oklahoma! choreographed by Barbara Pontecorvo (Dayton Playhouse)
• Deb Colvin-Tener, Jamie Cordes, Marya Spring Cordes, Scott Hunt, Patricia Linhart, Claire Northcut, Katie Pees, Jay Pierce, Scott Stoney, and Michelle Zimmerman in The Best of Broadway
• Megan Cooper, Franklin Johnson and Charles Larkowski as Ebenezer Scrooge and others in Fellow Passengers (Dayton Playhouse)
• John Countryman as Jerry Lee Lewis, Tyler K. Hunter as Elvis Presley, Scott Moreau as Johnny Cash, and H. Bradley Waters as Carl Perkins in Million Dollar Quartet
• D. Tristan Cupp and Leesa Haapapuro’s puppet design for Animal Farm
• Jackie Darnell, Zach King, Bobby Mitchum and Mackensie Vonderbrink in I Love You, You’re Perfect, Now Change
• Fred Garbo, Joe Deer, Lula Elzy, Douglas Merk, and Timothy Olt fashioning “The Circus McGurkus” for Seussical (Muse Machine)
• Director Steven Haines and Bryan Wallingford as the Baker for Into the Woods
• David Hallowren as Jud Fry, Karen Righter as Aunt Eller and Jeff Sams as Curly in Oklahoma! (Dayton Playhouse)
• David Hallowren as Ebenezer Scrooge, Leonardo Santucci as the Ghost of Christmas Present, and Maximillian Santucci as Jacob Marley in A Christmas Carol: A Radio Play (Undercroft Players)
• Mathys Herbert as Otto Berg in The Magic Fire
• Tony Ray Hicks’ costumes for Fiddler on the Roof
• Joshua Hughes’ rendition of “Those Canaan Days” in Joseph and the Amazing Technicolor Dreamcoat
• Director Lisa Howard-Welch and Patti King as Lady Bracknell for The Importance of Being Earnest
• Jux-ta-posed, Sinclair’s presentation of new works, featuring Nelson Sheeley’s The Art of Dying and John Ray’s Gilligan, the Titanic, and Other Small Tragedies
• Annettte Looper’s choreography for Hairspray
• The Muse Machine’s All You Need is Love: The Music of the Beatles and Friends summer concert featuring Amber Knicole’s renditions of “Eleanor Rigby” and “Hey Jude”
• Chris Newman’s scenic design for Fellow Passengers and Oklahoma! (Dayton Playhouse)
• John Riley’s scenic design for The Whales of August
• Director Bijan Sheibani, Handspring Puppet Company’s puppetry, Tony-winning sound designer Christopher Shutt, and Karen Spahn’s adaptation of Paule Constable’s Tony-winning lighting design for War Horse
• Linda Sellers’ costumes for The Gifts of the Magi
• K.L. Storer’s music selections for Time Stands Still
• Deborah Thomas’ dialect coaching and Lydia Watson’s scenic design for The Magic Fire
• Rodney Veal’s choreography for Monty Python’s Spamalot
• Luke Williams’ piano accompaniment for The Gifts of the Magi and Into the Woods
• Ayn Kaetchen Wood’s costumes for The Rocky Horror (Puppet) Show
• Ray Zupp’s set design for I Love You, You’re Perfect, Now Change

‘Play it By Heart’ Review – Human Race Theatre Company – Sing Out, Jeannine!

June 21, 2014 By Russell Florence, Jr. Leave a Comment

Trisha Rapier as country music legend Jeannine Jasper along with J.J. Tiemeyer, Cooper Taggard and Christine Brunner as backup vocalists in “Play it By Heart” (Photo by Scott J. Kimmins)

Three generations of strong Southern women feud and reconcile against the backdrop of changing dynamics within the country music industry in “Play it By Heart,” a promising new musical still navigating its path as evidenced in its Human Race Theatre Company regional premiere at the Loft Theatre.
In this sweet but predictable tale, the legendary Jeannine Jasper (Trisha Rapier), a Grammy and Country Music Association winner with a spot in the Grand Ole Opry on the horizon, yearns for retirement to the chagrin of her overbearing, ruthless stage mom Naomi (Sharva Maynard). As mother and daughter wrangle, Jeannine’s irritated, spoiled younger sister Jamie Lynn (Kathryn Boswell) enters the equation with furious bitterness toward Jeannine. Even so, testy situations for the Jaspers stretch beyond the country charts when Billy Tucker (Paul Blankenship), Jeannine’s former flame, suddenly arrives after 20 years to rekindle their chemistry and plan for the future. Billy’s presence quickly releases painful memories which force Jeannine and Naomi to face the music they’ve desperately tried to silence.
Librettist Brian Yorkey (a Tony and Pulitzer Prize winner for “Next to Normal”) conceives an effective dysfunctional family foundation and has a keen perspective for the marketing-driven essence of current country music (especially Jamie Lynn’s ascension as the latest country-pop sensation), but he peculiarly inserts familiar contrivances. In fact, a major plot twist didn’t produce any noticeable gasps from the audience at the performance attended perhaps because it was already a memorable jaw-dropper in the hands of Lisa Kudrow last season on ABC’s “Scandal.” It also isn’t clear what happened to the show’s villain in Act 2 following a dramatic incident involving Jeannine’s father Buck (Scott Stoney), and there should be less focus on Billy in Act 1 which can be replaced by more meaningful moments for the Jasper women to explore their complex emotions. Granted, one of the best musical numbers from the tuneful composing team of David Spangler, Jerry Taylor and R.T. Robinson is the feisty “Sorry!” featuring the ladies in a heated squabble at the kitchen table, but more attention should be paid. Considering the material already contains mild shades of “Gypsy,” I’d specifically like to see Naomi completely release the obvious demons within her inner Momma Rose by singing a substantial, no-holds-barred 11 o’clock number on par with “Rose’s Turn.” And, yes, this can be done with the elimination of Act 2’s unnecessary, testosterone-driven “Good Ol’ Boys.”
Nevertheless, director Kevin Moore skillfully establishes an authentic tone and brisk pacing in addition to assembling an appealing cast. Rapier, a pleasant vocalist seen last season in the Human Race’s production of “Next to Normal,” is an engaging center bringing credence to Jeannine’s frustration with familial concerns and past mistakes. The outstanding, tough-as-nails Maynard intimidates to the hilt as Naomi tries to keep her family together while elements of her world, particularly her financial security, threaten to dissipate. The radiant Boswell is effortlessly vivacious but grows fittingly intuitive as Jamie Lynn comprehends the weight of her existence. Stoney, fortunate to sing the beautiful title number, supplies gentle authority and tenderness. The charming George Psomas adds flavorful comic relief as Naji Habib, a fish-out-of-water music executive from Dubai overseeing Jeannine and Jamie Lynn’s recording ventures. Blankenship could loosen up a bit but his shy demeanor nicely contrasts the extroverted Jaspers. J.J. Tiemeyer schemes and deceives with sharp intensity as Robbie Wilkins, Jeannine’s tour manager. Tim Lile is wonderfully good-natured as Lyle Mount, Jeannine’s former manager. Christine Brunner and Cooper Taggard complete the cast very well in various roles. Brunner is a hoot as perky reporter Debbie Dean who has a funny breakdown late in Act 2. Taggard enjoyably partners with Boswell for “Do I?,” the catchy Act 2 opener choreographed by Megan Wean Sears with playful sexiness.
In addition to Sears, Moore’s first-rate creative team includes scenic designer Adam Koch (adeptly conveying numerous locales from an auditorium and hospital room to a bar and tour bus interior), costumer Christie Peitzmeier (particularly providing lovely gowns for the ladies and appropriate Western gear for the men), lighting designer John Rensel, sound designer Brian Retterer, and music director Nils-Petter Ankarblom who leads an excellently well-balanced onstage band that never feels intrusive.
At a time when country music is evolving beyond its roots and traditional demographics (Florida Georgia Line’s collaborative “Cruise” with Nelly marked a huge cultural shift), “Play it By Heart” runs the risk of feeling out of step in terms of reaching a broader, diverse audience. Still, this project warmly embraces the power of forgiveness and the importance of family, feel-good components likely to secure interest elsewhere following rewrites.

“Play it By Heart” continues through July 6 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are (Through June 29): Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m.; and (July 1-6): Tuesday-Thursday and Saturday evenings at 7 p.m.; Saturday and Sunday matinees at 2 p.m. Act One: 75 minutes; Act Two: 70 minutes. Tickets are $41-$48 (prices vary depending on performance date and discounts are also available). For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com or humanracetheatre.org.

‘Million Dollar Quartet’ Review – Victoria Theatre Association – That Old Time Rock & Roll

June 19, 2014 By Russell Florence, Jr. Leave a Comment

There’s a whole lotta shakin’ goin’ on at the Schuster Center as the outstanding national tour of “Million Dollar Quartet,” nominated for the 2010 Tony Award for Best Musical and based on a true event, lets loose with feel-good exuberance courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

(l to r) John Countryman, Kelly Lamont, H. Bradley Waters, Corey Kaiser, Scott Moreau, and Tyler K. Hunter (seated) in “Million Dollar Quartet” (Contributed photo)

A jukebox musical written by Colin Escott and Floyd Mutrux unabashedly concerned with tone and era instead of plot or storyline, “Million Dollar Quartet” captures a glimpse of rock and roll history in 100 breezy minutes under Eric Schaeffer’s crisp direction. On Dec. 4, 1956 in Memphis, Tennessee, Sun Records owner Sam Phillips concocted a jam session featuring four titans he discovered: Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley. This immensely talented and unique quartet, whose genuine love of music permeated within their souls, come together at the dawn of their careers, which gives the material an immediately endearing edge beyond the cavalcade of hits. Humorous clashes (primarily instigated by the outspoken Lewis) and interesting tidbits (televangelist Jimmy Swaggart is Lewis’ cousin; Perkins resented Presley for snatching “Blue Suede Shoes,” a hit he wrote and recorded first) keep the action engaging when the fantastic music subsides, but a deeper investigation into the lives and personalities of each artist, including Phillips, would have added considerable substance. Granted, Cash and Perkins provide a relatively juicy slice of drama when revealing their decision to move on from Sun Records, but stakes should have been raised elsewhere. Also, the presence of a random girlfriend for Presley, intended to boost the show’s sex appeal, is particularly superfluous and underwritten.

Nonetheless, this rip-roaring experience thrives on its thoroughly energetic and entertaining foursome who impressively play their own instruments while marvelously embodying the titular legends. Phenomenal pianist John Countryman is a funny firecracker as Lewis, a fiery Southerner longing to write his first hit. Countryman brings incredible passion to “Real Wild Child” and “Great Balls of Fire.” The suave Tyler K. Hunter effortlessly channels the hip-swiveling Presley in “That’s All Right” and “Hound Dog,” but wonderful sensitivity also abounds as he terrifically leads “Memories Are Made of This” and “Peace in the Valley.” As the plain-spoken Perkins, H. Bradley Waters provides satisfying versions of “Who Do You Love?” and “See You Later Alligator.” Scott Moreau is also perfectly cast as the understated Cash, pleasing audiences with toe-tapping renditions of “Folsom Prison Blues,” “Sixteen Tons” and “I Walk the Line.” Vince Nappo brings folksy joy to his portrayal of Phillips, the show’s narrator. As Presley’s current flame Dyanne, Kelly Lamont, who originated the role, seductively captivates in “Fever.” Bass player Corey Kaiser and drummer Patrick Morrow provide first-rate accompaniment.

“Million Dollar Quartet” only scratches the surface of Cash, Lewis, Perkins, Phillips and Presley’s greatness, but it’s an undeniable crowd pleaser just as winning on tour as it was on Broadway.

“Million Dollar Quartet” continues through June 22 at the Schuster Center, Second and Main Streets, Dayton. Performances are today and 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 100 minutes without intermission. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.