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‘The Dead Guy’ Review – Dayton Theatre Guild – Reality Bites

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Chris Hahn and Amy Askins in the Dayton Theatre Guild production of “The Dead Guy” (Contributed photo by Peter Wine)

Would you kill yourself on live TV in a manner determined by viewers for the luxury of spending $1 million
in a week? 

Eldon Phelps ponders this intriguing notion hastily in the local premiere of Eric Coble’s fascinating 2005 dark comedy “The Dead Guy,” currently receiving a thoroughly engaging and thought-provoking presentation at the Dayton Theatre Guild deftly directed by Saul Caplan.

At a nondescript bar in the nondescript town of Leadville, unemployed and aloof Eldon (a first-rate, credibly impulsive Christopher Hahn) is persuaded to become the Dead Guy, the focal point of a new reality TV show of the same name created by ruthless producer Gina Yaweth (a splendidly shrewd, fixated Amy Askins). Eldon is the perfect bait because his hopeless indifference about life leads him to believe money and suicide would make him someone to remember in the eyes of his family and community. His logic is terribly flawed, but the decision he faces marvelously addresses the greater concern of desperation within the human condition. What exactly is the price of fleeting fame in today’s society? Have we become numb to entertainment that morphs from frivolous to grotesque? Through Eldon and Gina’s eye-opening perspectives, Coble allows us to fully examine the unsavory yet profitable depths of our media-craved culture and the get-rich-quick schemes that infiltrate the most vulnerable for the titillation of millions.

The very physical Hahn, making his Guild debut following memorable turns at Sinclair Community College,  is totally relatable and fittingly rough around the edges. As Eldon’s outlook and bank account evolves, a mild, transformative “Pygmalion”-esque quality encircles him which Hahn embraces with spunk, charm and maturity. He also finds terrific support in Askins, who winningly conveys Gina’s insatiable quest for ratings which leads her on a very unattractive path. Askins is so convincing and captivating in her juicy role you’ll wonder if she has attended her share of reality TV casting calls in our region.

Caplan’s amiable, compatible cast also includes an enjoyably understated K.L. Storer as Gina’s trusty videographer Dougie, Aaron Brewer as Eldon’s modest brother Virgil, a comical Teresa Connair as Eldon’s outspoken mom Roberta, an engaging Angela Timpone as Eldon’s ex-girlfriend Christy, Wayne Wolfe as an assertive Security Guard, the overdue return of Timothy Walling-Moore (excellent in the Guild’s 2010 local premiere of “Kimberly Akimbo”) as Leon, Carly Risenhoover-Peterson as Sheila, and Jenna Burnette as Nancy. Technical issues hindered the performance attended (the action relies heavily on multimedia and props), but the material’s essence wasn’t diminished thanks to the astute cast.

 

In a savvy move, Gina gives fans of “The Dead Guy” an option for a write-in vote regarding Eldon’s demise. For a split second, I actually thought the vote would be in favor of sparing his life. After all, thanks to Hahn’s fine portrayal, there always seemed to be a glimmer of hope amid the darkness. Well, maybe next season.

 

“The Dead Guy” continues through June 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 50 minutes; Act Two: 55 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

 

‘Beauty and the Beast’ Review – Victoria Theatre Association – Delightful Disney Magic

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Darick Pead and Hilary Maiberger star in Disney’s “Beauty and the Beast” (Contributed photo)

A top-notch national tour of Disney’s “Beauty and the Beast,” the recipient of nine 1994 Tony Award nominations including Best Musical, has arrived at the Schuster Center as part of the Victoria Theatre Association’s Premier Health Broadway Series.

 
Based on the beloved 1991 Academy Award-winning film, one of the best animated movies containing one of the best cinematic scores courtesy of Alan Menken and Howard Ashman, “Beauty and the Beast” wholeheartedly succeeds on the wonderfully relatable portrayals of Hilary Maiberger as bookworm Belle and Darick Pead as the troubled Beast. Maiberger, a lovely soprano and radiant stage presence, earnestly conveys Belle’s life-affirming journey of hope, loss and romance with a thoroughly engaging, gently contemporary sensibility. Astutely interpreting Belle’s introverted persona and the particularly deep hurt she feels upon imprisonment reiterated in the marvelous ballad “Home,” her performance beautifully evolves with striking resiliency and tenderness. At the same rate, Pead is an equally magnetic component displaying a humorously gruff temperament that exceptionally dissolves as the Beast learns to love and desires to be loved in order to break an enchantress’ spell. Pead injects some of the finest comedic bits I’ve seen in the role (the Beast’s pre-dinner hissy fit is inspired), but also supplies great vulnerability, especially in the touching Act 1 finale “If I Can’t Love Her.”

 

Maiberger and Pead are so incredibly compatible you’ll likely find yourself wiping away a few tears when the gorgeous title tune, warmly sung by Kristen Stewart (Mrs. Potts), brings Belle and the Beast together for an elegant dinner and heart-tugging waltz solidifying their unexpected bond.
Elsewhere, and in addition to Stewart, enjoyable supporting portrayals are rendered by Tim Rogan (Gaston), Jordan Aragon (LeFou), Josh Feldman and Jack Mullen (Chip), James May (Cogsworth), Stephanie Moskal (Babette), Hassan Nazari-Robati (Lumiere), Roxy York (Madame de la Grande Bouche), Paul Crane (Maurice), Kieron Cindric (Monsieur D’Arque), and Tony D’Alelio (Carpet). Nazari-Robati in particular winningly leads the exuberantly show-stopping “Be Our Guest” and joyously spine-tingling “Human Again,” two numbers sprightly choreographed by Matt West who also brings colorful, character-conscious flourishes to “Belle” and “Gaston.”
Director Rob Roth, Tony-nominated for his original direction, effortlessly and breezily returns to the material with a complete understanding of the tone and charm of the story and its relationships. He also wisely reassess his original outlook by cutting 10 minutes that used to belong to “No Matter What” and “Maison des Lunes,” new songs Menken wrote with lyricist Tim Rice that didn’t advance the plot. Roth’s splendid creative team includes Tony-winning costumer Ann Hould-Ward, Tony-winning lighting designer Natasha Katz, scenic designer Stanley A. Meyer, sound designer John Petrafesa, Jr., hair designer David H. Lawrence, fight designer Rick Sordelt, puppet designer Basil Twist, and illusion designer Jim Steinmeyer. Music director Kevin Frances Finn conducts a solid, well-balanced orchestra.

 
If feel-good entertainment is your aim don’t miss “Beauty and the Beast.”
Disney’s “Beauty and the Beast” continues through June 1 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. Act One: 80 minutes; Act Two: 50 minutes. Tickets are $40-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

 

‘Oklahoma!’ Review – Dayton Playhouse – Smokehouse Showdown

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Rodgers and Hammerstein’s “Oklahoma!,” the landmark 1943 musical concerning love and statehood circa 1906 in Oklahoma territory based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” thrives on its engaging romance between a stubborn farm girl and her folksy suitor. Even so, there is another relationship, a truly alluring collaboration, key to the appeal of the Dayton Playhouse’s entertaining if off-kilter presentation.

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David Hallowren (left) and Jeff Sams in the Dayton Playhouse production of “Oklahoma!” (Photo by Art Fabian)

 

Late in Act 1, an absolute highpoint, cowboy Curly McClain (an immensely charismatic Jeff Sams) arrives at the pornography-adorned smokehouse of surly ranch hand Jud Fry (an impressive David Hallowren). Both men vow to win the heart of Laurey Williams (Amanda Carter), but Curly particularly knows deep within that Laurey only pines for and intends to be with him. Still, Jud has the upper hand for the time being since Laurey promised to go with him to a box social despite Curly’s bewildered disdain. Under director Brian Sharp’s delicate guidance, the fascinating tug-of-war transpiring here over casual conversation and a few shots of gunfire wonderfully conveys the determination and jealousy fueling Curly and Jud’s inherent friction. In fact, Sams, carefree yet astute, hits all the right marks in an appropriately impromptu fashion while building the morbid gem “Pore Jud is Daid,” a humorously somber portrait of Jud’s demise. Having winningly interpreted Curly’s knack for fantasy in “The Surrey With the Fringe on Top,” Sams conjures another imaginary premise with colorful nuances freshly heightening the tune, particularly as Hallowren ensures the clueless Jud falls for the silly scenario perhaps due to nothing more than momentary masculine companionship. When Curly leaves the smokehouse, after intimidating Jud to the core with his confident swagger, Jud’s pain as an unloved, detached outcast is powerfully examined by Hallowren in his dynamic rendition of the haunting, underrated “Lonely Room” filled with ample heartache, vengeance and frightening decisiveness.

Sams and Hallowren are a significant pairing primarily because of Carter’s vocal limitations hindering the cohesion she tries very hard to maintain opposite the more vocally firm Sams. Carter is an endearing presence and gives credence to Laurey’s hopeful yearnings, but the score is simply beyond her range, particularly “Many a New Day” and “People Will Say We’re in Love.” As ruthless peddler Ali Hakim, Christopher Delanis (an amusing Hero in the University of Dayton’s recent “A Funny Thing Happened on the Way to the Forum”) is equally uneven, providing an overly meek, tentative and exasperated portrayal absent of salesman-like savvy and go-getting vigor. Even “It’s a Scandal! It’s an Outrage!,” Ali’s signature tune, falls flat despite cheery backup from the male ensemble.
Nonetheless, this production has its share of strong principals and featured performers. As Aunt Eller, the outstanding Karen Righter provides a wonderfully earthy sparkle, specifically bringing substantive radiance to Eller’s words of wisdom directed to Laurey late in Act 2. Kelli Locker is chock-full of fiery abandon as the hopelessly flirtatious Ado Annie Carnes. Matthew Glenn is a delightfully dimwitted Will Parker. Shawn Hooks is effectively authoritative and sly as Andrew Carnes. Ben Douglas (Ike Skidmore) and Zack Conway (Slim) pleasantly partner as Will’s friends. The absolutely luminous Tiffany Cichanowicz captivates as Dream Laurey in the favorably abridged Dream Ballet, beautifully choreographed by Barbara Pontecorvo.
Notable choreography is also offered by Paige Hanshaw, especially in the rousing “The Farmer and the Cowman.” In-demand scenic designer Chris Newman returns to the Playhouse to create a striking set depicting an authentic homestead essence. Kathleen Carroll supplies fine period costumes. John Falkenbach’s lighting design aptly captures varying moods. Musical director Ron Kindell leads another terrific orchestra.

 

“Oklahoma!” continues through May 18 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: 50 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com.

In addition, the Friday, May 16 performance will be “Western Wear Night.” Patrons are encouraged to dress in their favorite farmer or cowboy/cowgirl attire. In addition, two special picnic hampers, containing gift certificates for fried chicken and other picnic delicacies from Benjamin’s Restaurant and sweet treats and coffee from Winans Fine Chocolates and Coffees, will be raffled, as a fundraiser, during all performances and awarded after the closing performance Sunday, May 18. Raffle tickets will be $1 or six for $5.

 

In related news, the Dayton Playhouse’s 2014 FutureFest of new plays will be held Friday, July 25-Sunday, July 27 at the Playhouse. From a total of 151 submissions across the country, the six finalists are: “Masterwork” and “The Paymaster” by Dayton native M.J. Feely (a previous winner and third playwright to have two plays in final six), “Sugarhill” by Linda Ramsay-Detherage, “The Humanist” by Kuros Charney (previous semi-finalist), “The Killing Jar” by Jennifer Lynne Roberts, and “Wash, Dry, Fold” by Nedra Pezold Roberts (previous semi-finalist). Auditions will be held Sunday, June 1 at 2 p.m. (all plays), Monday, June 2 at 7 p.m. (fully staged plays) and Tuesday, June 3 at 7 p.m. (staged readings). Anyone interested in directing or serving as a member of the production staff should e-mail FutureFest program director Fran Pesch by May 15 at [email protected]. FutureFest weekend passes will go on sale Wednesday, June 11. Single tickets will go on sale Tuesday, July 1. For more information, visit www.daytonplayhouse.com

 

 

‘An Inspector Calls’ Review – Dayton Theatre Guild – Evening Confessions

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The cast of “An Inspector Calls” (Contributed photo)

J.B. Priestley’s 1945 drama “An Inspector Calls” is an engrossing, humorous, well-acted, and handsomely designed display at the Dayton Theatre Guild.

Breezily presented in three acts, Priestley’s thorough if heavy-handed chastisement of the privilege and personality of the upper class, an obvious portal into his own staunch views of socialism, concerns the Birling family of Brumley, England circa spring 1912. Inside their beautifully decorated dining room (superbly envisioned with dramatic flair by Chris Newman), the Birlings (attractively costumed with period panache by Carol Finley) gather for a dinner party celebrating Sheila Birling’s engagement to Gerald Croft. But joyful optimism suddenly subsides when the mysterious Inspector Goole arrives to aggressively interrogate everyone about their connection to the suicide of Eva Smith, a factory girl employed by Arthur, the family patriarch. It’s a stretch to assume the entire Birling clan came in contact with Eva (also known as Daisy Renton), but Priestley masterfully weaves credibility by building his case on classism. Goole adamantly feels the Birlings took advantage of Eva simply due to her status, particularly her monetary woes that ultimately lead her on a destructive path.
Director David Shough (responsible for last season’s impressive, tech-savvy production of “Dracula” at the Dayton Playhouse) once again utilizes music to heighten emotions. In this instance, flavorful strains give the drama a pinch of extra spice while simultaneously poking fun at its mystery/thriller essence. More importantly, Shough skillfully coaxes excellent, captivating portrayals from the principal players radiating with genuine passion and sophisticated authenticity.
The formidable Dave Nickel, intimidating and resolute, commands attention and vigorously propels the drama as Inspector Goole. Nickel is specifically astute at scolding in a manner that doesn’t feel excessive or cumbersome. Charles Larkowski, effortlessly firm, expertly embodies Arthur’s brash, forthright, capitalist mindset, which splendidly sets the play’s tone as a reflection of the ostentatious spirit of his fellow industrialists. “We don’t guess, we have experience, we know,” boasts Arthur ominously less than a month before the Titanic sails on her ill-fated maiden voyage. Larkowski also shows great vulnerability as accusations rise within Arthur’s imploding world. The remarkable Annie Branning, in her Guild debut, exquisitely counters as Sybil Birling, Arthur’s dutiful, headstrong wife who takes Goole to task with powerfully defensive pizzazz. As Sheila, Caitlyn Maurmeier, in another fine Guild debut, showcases a lovely evolution from innocence to spitefulness as her relationship with Gerald slowly disintegrates. Maximillian Santucci (a standout last season in the Guild’s local premiere of “100 Saints You Should Know”) underplays appealingly as Gerald, tenderly recounting his compelling history with Eva/Daisy in Act 2. As Eric Birling, Leonardo Santucci, delivering a breakthrough performance, oozes fiery contempt in Act 3 opposite Larkowski in an intense father-son showdown. Christina Tomazinis (as maid Edna) and Jamie McQuinn (as a Beggar) are underutilized but nonetheless serve as intriguing kindred spirits within the action.
“We don’t live alone,” Goole declares whether the Birlings like it or not. Without a doubt, “An Inspector Calls” prompts us to value sympathy and compassion in a world that continually places more significance in individualism.

 

“An Inspector Calls” continues through May 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 40 minutes; Act Two: 42 minutes; Act Three: 37 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

In related news, the Dayton Theatre Guild’s 2014-15 season will consist of Lee  Blessing’s “Nice People Dancing to Good Country Music” (Aug. 22-Sept. 7, directed by Ralph Dennler), David Lindsay-Abaire’s “Good People” (Oct. 3-19, directed by Debra Kent), Amy Herzog’s “4000 Miles” (Jan. 9-25, directed by Kathy Mola), Eugene O’Neill’s “Desire Under the Elms” (Feb. 27-March. 15, directed by Craig Smith), Jane Martin’s “Criminal Hearts” (April 17-May 3, directed by Saul Caplan), and George Bernard Shaw’s “Heartbreak House” (May 29-June 14, directed by Patrick Hayes).

 

 

‘Bring it On’ Review – Victoria Theatre Association – Smells Like Teen Spirit

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showFun, sassy exuberance is the bill of fare at the Schuster Center as the appealing national tour/ local premiere of “Bring it On: The Musical” charms and entertains.
Presented as a special Star Attractions courtesy of the Victoria Theatre Association, “Bring it On,” a 2013 Tony Award nominee for Best Musical, effectively adheres to the silly, fluff-filled cinematic franchise of the same name launched in 2000 starring Kirsten Dunst. Popular Truman High School cheerleader Campbell (truly delightful triple threat Nadia Vynnytsky) is thrown for a loop when she’s suddenly redistricted to urban Jackson High School. In an attempt to assimilate as best as possible, Campbell joins Jackson’s flavorful hip-hop crew led by the fiery, no-nonsense Danielle (a marvelously commanding, vocally strong Zuri Washington). However, Campbell’s insistence that Jackson create a squad that can match the Truman team, now led by the wholesome yet treacherous sophomore Eva (a fittingly coy Emily Mitchell, who was replaced in Act 2 at the performance attended by the comical Mia Weinberger), is a morale-boosting decision that ultimately evolves with disheartening repercussions which shape the musical’s engaging viewpoints of friendship, disloyalty, identity and forgiveness.
Tony-winning librettist Jeff Whitty (“Avenue Q”) crafts a thoroughly engaging and witty look at contemporary high school life although Truman lacks the personality and depth of Jackson. The catchy, tuneful score, co-composed by Tony and Pulitzer Prize winner Tom Kitt (“Next to Normal”), Tony nominee Amanda Green (“Hands on a Hardbody”) and Tony winner Lin-Manuel Miranda (“In the Heights”), contains too many similarly introspective ballads for Campbell, but the upbeat, hip-hop-infused numbers are scintillating, especially “Do Your Own Thing,” “We Ain’t No Cheerleaders,” “Friday Night Jackson,” and “It’s All Happening.”
In addition to the aforementioned principals, excellent performances extend to the hilariously spunky Maisie Salinger as Campbell’s goofy friend Bridget, the terrifically spicy Sharrod Williams as the uniquely flamboyant La Cienega, Jennifer Geller as La Cienega’s lively cohort Nautica, Bailey Purvis as Truman mean girl Skylar, the charismatic Tyler Bertolone as Campbell’s unpretentious love interest Randall, Andy White as Campbell’s dopey ex-boyfriend Steven, and Erin L. Fleming (Twig) and AJ Lockhart (Cameron) as playful Jackson students.
Tony-winning director/choreographer and Cincinnati native Andy Blankenbuehler (“In the Heights”) keeps the fast-paced action breezy and fluid. His sharp vision is nicely complemented by Jeff Sugg’s eye-catching video design, David Korins’ efficient sets, Jason Lyons’ expert lighting, Cody Spencer’s first-rate sound design, and Andrea Lauer’s colorful costumes. Still, Blankenbuehler absolutely pulls out the stops with his jaw-dropping competition routines spotlighted in “What I Was Born to Do,” “Legendary,” “Cross the Line,” and the title number. When this cast flies into the air with zestful abandon, “Bring it On” thrillingly soars.

 

“Bring it On: The Musical” concludes tonight at 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 58 minutes; Act Two: 60 minutes. Tickets are $25-$70. Students are encouraged to take advantage of the student rush discount for half off tickets. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit www.ticketcenterstage.com

 

 

 

 

 

 

‘Memphis’ Review – Victoria Theatre Association – Music of the Soul

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Jasmin Richardson and Joey Elrose in Memphis (Contributed photo)

The current national tour of Joe DiPietro and David Bryan’s “Memphis,” recipient of the 2010 Tony Award for Best Musical, vigorously thrills with potency and heart in its firm local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Set in the 1950s and based on a concept by George W. George, “Memphis” centers on the forbidden interracial romance between kooky DJ Huey Calhoun (an immensely amiable Joey Elrose) and R&B nightclub singer Felicia Farrell (a radiant Jasmin Richardson). Huey, an uneducated outcast who feels a deep kinship to black music culture, longs to turn Felicia into a star thanks to the popularity of his radio show, but his dream isn’t universally embraced. In fact, Huey and Felicia face significant challenges as they seek to make their relationship work in a segregated climate. Huey’s mother and Felicia’s brother particularly express their contempt, fueling the production’s forthright authenticity to appropriately shocking degrees. Even so, Huey and Felicia’s charming, heartbreaking journey smoothly drives the action, accented by a very tuneful score and complex characterizations.
The endearing, goofy Elrose injects great persistence, determination, arrogance and stubbornness into the socially awkward Huey, loosely inspired by trailblazer Dewey Phillips who was the first DJ to play Elvis Presley’s debut record. Elrose specifically gives Huey’s passionate anthem “Memphis Lives in Me” an aptly earnest treatment. Vocal powerhouse Richardson, fierce and vivacious with an appealing Diana Ross sensibility to boot, provides dynamite renditions of “Make Me Stronger,” “Colored Woman,” “Someday” and “Love Will Stand When All Else Falls.”
Well-defined, engaging supporting portrayals are offered by RaMond Thomas as Felicia’s hardnosed, overprotective brother Delray, D. Scott Withers as Huey’s boss Mr. Simmons, Kyshawn K. Lane as the timid Gator, Jerrial T. Young as the bubbly Bobby, and Pat Sibley as Huey’s bigoted Mama. Thomas’ fiery “She’s My Sister” and Sibley’s humorous “Change Don’t Come Easy” fittingly add spice and color to their solid work.
Christopher Ashley’s original direction and Sergio Trujillo’s original choreography is smoothly, respectively recreated by Adam Arian and Jermaine R. Rembert. Rembert’s contributions distinctively retain Trujillo’s astuteness and vivacity, especially the exuberant “Radio” skillfully commenting on race through dance in an inspired manner not seen since Jerry Mitchell’s exhilarating choreography for “Hairspray.”
David Gallo’s terrifically stark sets, Paul Tazewell’s attractive period costumes, Howell Binkley’s expert lighting, and conductor Alan J. Plado’s first-rate orchestra are additional attributes of this energetic showcase.
“Memphis” continues through April 13 at the Schuster Center, Second and Main Streets, Dayton. Performances are today at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘Other Desert Cities’ Review – The Cost of Thriving **Ticket Contest**

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HRTC ODC Prod Photo 1Painful lies and political allegiances consume the dysfunctional Wyeth family of Palm Springs in Jon Robin Baitz’s compelling 2011 Tony Award and Pulitzer Prize-nominated drama “Other Desert Cities,” commendably staged by Margarett Perry in its local premiere by the Human Race Theatre Company.
On Christmas Eve 2004, envisioned within beautifully stylish surroundings by set designer Tamara L. Honesty, the Wyeths are far from merry and bright. Republican hotshots Polly and Lyman fiercely clash with their liberal, emotionally scarred daughter Brooke, a novelist who plans to publish her scandalous “Love and Mercy: A Memoir” that startlingly reveals some unsettling truths about her privileged upbringing. More concerned with perception than reality, Polly and Lyman quickly scold and threaten Brooke, calling her characterizations of their friends “grotesque” in the hope she will postpone or completely scrap her plans. “You’d still be my daughter, but the meaning of it would change,” warns Polly in particular before planting a chilling kiss on her cheek that speaks volumes. However, Brooke finds favor and encouragement from her recovering alcoholic aunt Silda, Polly’s liberal sister, as well as her easygoing brother Trip, who has become somewhat of a black sheep due to his frowned upon association with reality television.

 

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Baitz’s battle of wills, sometimes unnecessarily overtly political, is tightly drawn in Act 1 giving the audience a productive pathway into rooting for or against Brooke’s mission. Even so, he masterfully raises the stakes by fashioning a more engrossing Act 2 crafted around a secret that would destroy the family if the public ever knew. Carefully taught “how to control things” by none other than Nancy Reagan, Polly and Lyman ultimately risk everything to explain the cost of thriving, the ability to navigate among certain circles without blemish in order to fuel discretion and protect image.
An exceptionally domineering Kate Young and admirable Scott Stoney compatibly blend as the core couple whose scorn sets the action in motion, far more noticeable as a driving force here than the original Broadway production which tipped the scales in favor of Brooke (Rachel Griffiths, an alumna of Baitz’s terrific ABC family drama “Brothers & Sisters”) and Silda (a phenomenal Judith Light). Young and Stoney memorably partnered under Perry’s direction nine years ago in the Human Race’s splendid local premiere of “The Retreat from Moscow” (Young’s electrifying portrayal of a rejected wife remains among the best I have seen on a local stage) and their welcomed reunion is long overdue. Skillfully attacking her role with incredible nuances and an impressive proficiency of language, Young is a force to behold as Polly spews her opinionated, often politically incorrect views while ruling the roost. Stoney, in a less showy capacity, becomes too stiff when exuding Lyman’s rigidity, but amiably showcases the character’s softer side when revealing his genuine love and concern for Brooke.

 

Additionally, Jennifer Joplin brings intensity, compassion and wit to the tenacious Brooke in a solid portrayal effortlessly escalating to heartbreaking degrees when her dreams are unexpectedly shattered. As Silda, Sherman Fracher surprisingly stops short of taking her juicy role to sardonic, Edward Albee-esque proportions but provides apt comic relief and an astute understanding of her character’s familial disdain and discontent. Aaron Vega, humorous and impactful, turns Trip into an engaging, entertaining mediator.
“I don’t like weakness,” says Polly during one of her diatribes. “You can die from too much sensitivity in this world.” It’s clear the Wyeths may never recover from their self-inflected wounds. Thankfully, Baitz and the Human Race certainly make their journey rewarding and unforgettable.

“Other Desert Cities” continues through April 13 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m. Act One: 65 minutes; Act Two: 47 minutes. Tickets are $36-$43 (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 www.ticketcenterstage.com or www.humanracetheatre.org

TICKET CONTEST:

We’ve got 2 pairs of ticket to giveaway for Other Desert Cities.  To enter our drawing, just like this article, comment below on why you should win and fill out the form below.    Contest now closed.  Congratulations to Jamie McQuinn and Vicki Thompson.

 

 

 

‘Les Misérables’ Review – Wright State University – Stunning Success

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Mark Beyer as Enjolras (center) and the cast of Les Miserables (contributed photo)

Wright State University delivers an outstanding local collegiate premiere of Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer’s “Les Misérables,” the popular, unabashedly sentimental 1987 Tony Award-winning pop opera based on Victor Hugo’s legendary 1862 novel exploring the human condition through plight and promise within turbulent France.
Inspired by the harrowing June revolt of 1832 (the French Revolution concluded 33 years prior), “Les Miz” hasn’t lost one morsel of its angst-ridden, melodramatic urgency under W. Stuart McDowell’s excellently firm, fluid and inventive direction. As a throng of fascinating, emotionally-charged characters leap forth spanning nearly 20 years, McDowell ensures every individual is clearly defined and every moment counts. Incorporating unique flourishes beyond the use of a turntable, a signature component of Trevor Nunn and John Caird’s original iconic stagecraft, he allows the show to resonate anew with a skillful grasp of atmosphere and tone. In addition to sprinkling the action with red, white and blue in a patriotic nod to the French flag, the opening seconds single-handedly stimulates the ensuing drama with a fresh grip by reiterating the magnitude of the story in a historical context. McDowell’s large, passionate cast, vocally on par with WSU’s fabulous productions of “The Light in the Piazza” and “Grand Hotel,” is powerfully led by Andrew Quiett as ex-convict Jean Valjean. Quiett gave one of the finest performances of this season last fall as Jud Fry in “Oklahoma!,” and his return is equally praiseworthy as he fills Valjean’s redemptive journey with engrossing humility and searing potency, especially in his gorgeously heartfelt “Bring Him Home.” At the same rate, Law Dunford, in a breakthrough performance benefitted by non-traditional casting, truly captivates as Inspector Javert, a devout Christian whose unforgiving heart and obsessive drive clouds his judgment as he relentlessly pursues Valjean. Instilling fear with a marvelously formidable demeanor and razor sharp intensity, Dunford avoids morphing into a one-dimensional antagonist by astutely interpreting Javert’s harsh convictions from the perspective of duty and principle instead of blatant vengeance.

 

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Andrew Quiett as Jean Valjean (contributed photo)

Quiett and Dunford are explosive adversaries (“Confrontation” is a knockout), but the featured players are very strong as well. The lovely, disenchanted Amy Wheeler is heartbreaking as the doomed Fantine, treating “I Dreamed a Dream” with sorrowful, lyric-driven, speak-sung eloquence. Ian Benjamin and Cassie Mikat playfully coalesce as the treacherous Thenardiers seeking to thwart Valjean. As lovebirds Marius and Cosette, an appealingly resolute Zack Steele and sweetly genteel Kaitlyn Sage beautifully intertwine although Steele (filling “Empty Chairs at Empty Tables” with poignant solemnity) finds more depth in his portrayal than Sage who is saddled with thinner material. As the street-tough Eponine, hopelessly in love with Marius, the luminous Liz Romey blossoms into a superb storyteller in her fantastic “On My Own” radiating with anger, yearning and an eerily extended silence illustrating Eponine’s loneliness on the streets of Paris. Terrific tenor Mark Beyer brings fiery zeal to his striking, comforting portrayal of student rebel leader Enjolras.
Additionally, as Young Cosette, Emma Fry refreshingly embraces “Castle on a Cloud” as the haunting lullaby it was written to be by adding a few chilling inflections. Connor Iverson is a scrappy, spunky Gavroche. Abbey Fry is a delightful Young Eponine, particularly aiding in the frenzied swindling throughout “Master of the House” expertly choreographed by Dionysia Williams. Drew Bowen is delectably creepy opposite Wheeler as the cruel Factory Foreman and snobbish Bamatabois. Bowen also shines as Jean Prouvaire alongside Connor Lysholm (Combeferre), Brandon Kinley (Feuilly), Jordan Adams (Courfeyrac), Bailey Olean (Joly), Keaton Eckoff (Grantaire), and Jim Miller (Lesgles) as the defiant rebels of the ABC Café stirring the souls of their countrymen upon the death of General Lamarque (an advocate of the poor) in the rousing “Do You Hear the People Sing?” Bradley Farmer and Paige Dobkins are among the standouts of the female ensemble fiercely attacking “Lovely Ladies.” The cast also includes Bailey Edmonds, Peter Cutler, Caitlyn Geisser, Emsie Hapner, Haley Iverson, King Jones, Owen Kresse, Kody Mullins, Kate Mueller, Kelsey Pohl, Brandon Ramos, Tyrell Reggins, Alyson Snyder, MacKenzie Stephens, Ben Tracy, Abby Murray Vachon, Jake West, Sabria Wynn, and Meredith Zahn.

 

les mis barricades

The rebels at the barricades in Les Miserables (contributed photo)

The marvelous tech artists accenting this experience with color, dimension, nuance, realism and vigor include scenic designer Pam Knauert Lavarnway, lighting designers Matthew P. Benjamin and Erin Jones, costumer D. Bartlett Blair, sound designer James Dunlap, musical director Scot Woolley, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas.
“Les Miz” dynamically champions freedom and faith, but it also serves as an impressive landmark in the history of WSU’s musical theater department and one of the best productions the Miami Valley will witness in 2014.

 

“Les Misérables” continues through April 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 27, April 2 and 3 at 7 p.m., March 28, 29, April 4 and 5 at 8 p.m., and March 29, 30, April 5 and 6 at 2 p.m. The production, running slightly over three hours including one 20-minute intermission, is sold-out. For more information or to inquire about ticket availability, contact the WSU box office at (937) 775-2500.

 

‘I Love You, You’re Perfect, Now Change’ Review – Dare to Defy Productions – Love Is In The Air

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Bobby Mitchum and Jackie Darnell get some Legal Assistance from Mackensie Vonderbrink in “I Love You, You’re Perfect, Now Change” (Contributed photo)

It can be extremely challenging for emerging troupes to stake their claim within Dayton’s continuously expansive theater scene. However, Dare to Defy Productions has done so with highly entertaining ease as evidenced in its very charming production of “I Love You, You’re Perfect, Now Change,” Joe DiPietro and Jimmy Roberts’ hit 1996 off-Broadway musical revue.
Presented in the Mathile Theatre of the Schuster Center fashioned in a colorful 1950s, Roy Lichtenstein–inspired decor by set designer Ray Zupp, “I Love You…” paints an amusing, appealing portrait of the relatable ups and downs of love and relationships from dating disasters and personal insecurities to wedding jitters and family squabbles.

 

Framing the show as vignettes keeps the witty action inviting and steadily paced, but there are signs the material has become dated since it was famously heralded as “‘Seinfeld’ set to music.” After all, Sharon Stone isn’t an apt lyric choice these days when referring to film bombshells. Nevertheless, that is a minor quibble among an otherwise playfully sound and surprisingly tender examination of the pursuit men and women undergo in order to find and cherish The One.

Director Rebecca Norgaard, Dare to Defy founder/CEO, assembles a totally engaging, vocally strong ensemble consisting of Jackie Darnell, Bobby Mitchum, Zach King and Mackensie Vonderbrink, familiar faces from Kettering’s Playhouse South. Inhabiting more than 50 roles, the cast, impressively accompanied by pianist Julia Brown and violinist Josh Vantilburgh, is versatile and sharply prepared which isn’t surprising considering this production was previously held in January and February at Mimi’s Café in Beavercreek. When featured as a foursome, the cast’s noteworthy moments include opening number “Cantata for a First Date,” funny double bill “Single Man Drought”/”Why? Cause I’m a Guy,” and the equally comical “Hey There, Single Gal/Guy” that hilariously musicalizes a breakup from a parental perspective. Individually, they firmly step into the spotlight with character-conscious intent. Darnell, a fine soprano, supplies a beautifully gentle “I Will Be Loved Tonight” and is also an operatic joy during “He Called Me.” Mitchum, one of the best tenors in town, fills the moving ballad “Shouldn’t I Be Less in Love with You?” with compellingly mature wonder. King, a source of comic relief, scores big laughs with “The Baby Song.” Vonderbrink, in one of her most endearing appearances, fully embraces “Always a Bridesmaid” with lovelorn radiance.
Dare to Defy’s promising path has only begun, but if the company’s future productions are as good as “I Love You…” I have a feeling audiences will keep coming back.

 

“I Love You, You’re Perfect, Now Change” concludes today in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are at 2 and 8 p.m. Act One: 57 minutes; Act Two: 55 minutes. Tickets are $20 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about Dare to Defy auditions and its 2014 season (featuring “You’re A Good Man, Charlie Brown,” “Altar Boyz,” “Rent” and “Nunsense”) visit daretodefyllc.com, call (937) 999-9949 or send an e-mail to [email protected].

 

 

 

 

 

 

‘Expecting Isabel’ Review – Dayton Theatre Guild – Whatever It Takes

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The cast of Expecting Isabel includes (back row l to r) Rick Flynn, Dorothy Michalski, Ellen Ballarene, Joshua Lisec, Amy Taint (front row l to r) Rachel Wilson and Angela Timpone. Not featured: Shawn Hooks and Angele Price. (Contributed photo)

Lisa Loomer tackles the very delicate subject of infertility with humor and tenderness in her eye-opening 1998 contemporary comedy “Expecting Isabel,” breezily directed by Robb Willoughby at the Dayton Theatre Guild.

Down-to-earth Manhattan couple Nick and Miranda, respectively relatable as an aspiring sculptor and greeting card writer, eagerly endeavor to have a child, but face continuous obstacles along the way. In addition to coping with colorful input from Nick’s larger-than-life Italian family and Miranda’s tipsy mother, the duo attempts everything from marriage counseling and support groups to fertility drugs and medical tests incorporating animal experiments. In fact, their painstaking pursuit leads them to separation, particularly as Miranda seeks solace with her mom while Nick moves back in with his animated brood. Even so, in spite of disappointing setbacks, they remain committed to their ultimate desire to start a family, a decision that eventually leads them on the complicated yet fulfilling road to adoption.
Rachel Wilson and Shawn Hooks are believably compatible in the leading roles. Quickly pulling the audience in at the outset during Miranda’s revealing opening monologue, Wilson delivers a firm, appealing portrayal. Her performance possesses the engaging complexity and tangible exasperation required to bring credence to the play’s most fascinating character, an emotionally scarred woman with a rocky family history who honestly hadn’t thought about having a child. Hooks, amiable and supportive in a less flashy role, earnestly conveys Nick’s genuine longing to become a father, especially in Act 2 as his benevolent impulses gets the best of him.
Loomer, perhaps best known as the co-screenwriter of “Girl, Interrupted,” propels the comedy by having the ensemble portray multiple characters. Ellen Ballerene (Tina), Rick Flynn (Sal), Joshua Lisec (Dominic), Dorothy Michalski (Yolanda), Angelé Price (Pat), Amy Taint (Lila), and Angela Timpone (Isabel) step up to the plate beyond stereotypical caricature. Most of their moments are geared toward comic relief, but Price deserves special mention for bringing substantive poignancy to her portrayal of Lupé, an overburdened Hispanic mom faced with a critical decision.
One day amid a parade of baby carriages, Miranda is gently reminded “everything you went through was part of the path.” Parenthood certainly spurs challenges and Loomer cautiously advises to expect the unexpected.

 

“Expecting Isabel” continues through March 16 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more info: Call (937) 278-5993 or visit daytontheatreguild.org

 

 

 

 

 

 

And The Oscar Goes To…

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It’s time to find out which films and artists will reap Oscar gold according to the over 6,000 voting members of the Academy of Motion Picture Arts and Sciences who determined nominees for the 86th annual Academy Awards. American Hustle and Gravity tie with 10 nods, but 12 Years a Slave follows with nine. Additionally, local filmmaker Julia Reichert, an Emmy winner and three-time Oscar nominee, served as associate producer of Prison Terminal: The Last Days of Private Jack Hall, nominated in the documentary short subject field.

Anything is possible when winners will be revealed tonight at the Dolby Theatre in Los Angeles. Here are my predictions in the top six categories.


BEST PICTUREgravity
12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
The Wolf of Wall Street

Overlooked: 42, Ain’t Them Bodies Saints, All is Lost, August: Osage County, The Bling Ring, Blue is the Warmest Color, Blue Jasmine, Enough Said, Frances Ha, Fruitvale Station, Inside Llewyn Davis, Lee Daniels’ The Butler, Lone Survivor, Mud, The Place Beyond the Pines, Prisoners, Saving Mr. Banks

Could Win: Gravity or Hustle
Should Win/Will Win: 12 Years a Slave

By and large, it’s a three-way race between Gravity, Hustle and Slave. Hustle, David O. Russell’s clever, entertaining 1970s throwback, had momentum in January during the height of awards season, but passion seems to have cooled. Gravity captivated with stunning visuals and special effects recalling Stanley Kubrick’s iconic 2001: A Space Odyssey, but its screenplay wasn’t nominated, tainting its overall impact. Slave is overtly chilling and tough to watch, but it’s also the most emotional, profound and significant when categorizing the kind of prestige film that typically grabs this coveted honor. In a close call, Slave feels on the verge of making Oscar history as the first best picture winner to chronicle the African-American experience.

BEST DIRECTORwww.indiewire
Alfonso Cuarón, Gravity
Steve McQueen, 12 Years a Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle
Martin Scorcese, The Wolf of Wall Street

Overlooked: Woody Allen, Blue Jasmine, J.C. Chandor, All is Lost, Joel Coen and Ethan Coen, Inside Llewyn Davis, Ryan Coogler, Fruitvale Station, Sofia Coppola, The Bling Ring, Lee Daniels, Lee Daniels’ The Butler, Paul Greengrass, Captain Phillips, Spike Jonze, Her, Jean-Marc Vallée, Dallas Buyers Club, Denis Villeneuve, Prisoners

Could Win: McQueen
Should Win/Will Win: Cuarón

McQueen crafted an indelible look at the horrors of slavery, especially plantation life, but Cuarón will be duly recognized for his technological, visionary artistry.

BEST ACTOREXCLUSIVE: Matthew McConaughey and Jared Leto film scenes together for The Dallas Buyers Club in New Orleans.
Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetl Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club

Overlooked: Casey Affleck, Ain’t Them Bodies Saints, Chadwick Boseman, 42, Idris Elba, Mandela: Long Walk to Freedom, Tom Hanks, Captain Phillips, Oscar Isaac, Inside Llewyn Davis, Hugh Jackman, Prisoners, Michael B. Jordan, Fruitvale Station, Robert Redford, All is Lost, Forest Whitaker, Lee Daniels’ The Butler

Could Win: DiCaprio
Should Win: Ejiofor
Will Win: McConaughey

Ejiofor’s powerful, splendidly nuanced portrayal is the lifeblood of Slave and there is a late surge for DiCaprio’s finest work to date, but McConaughey will likely prevail for his physical and professional transformation as AIDS activist Ron Woodroof.

BEST ACTRESS165168_024
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Meryl Streep, August: Osage County

Overlooked: Berenice Bejo, The Past, Adele Exarchopoulos, Blue is the Warmest Color, Greta Gerwig, Frances Ha, Brie Larson, Short Term 12, Julia Louis-Dreyfuss, Enough Said, Emma Thompson, Saving Mr. Banks

Could Win: Adams
Should Win/Will Win: Blanchett

Sentiment could favor Adams, who has been an Oscar darling since she wowed voters in Junebug. Even so, and despite unexpected Woody Allen backlash, this category, as it has since last August, belongs to the brilliant Blanchett whose phenomenally exquisite interpretation of a washed-up Manhattan socialite superbly evoked the riveting complexity of Blanche DuBois.

BEST SUPPORTING ACTORbarkhad abdi captain phillips
Barkhad Abdi, Captain Phillips
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jonah Hill, The Wolf of Wall Street
Jared Leto, Dallas Buyers Club

Overlooked: Bobby Cannavale, Blue Jasmine, Keith Carradine, Ain’t Them Bodies Saints, Steve Coogan, Philomena, Chris Cooper, August: Osage County, Paul Dano, Prisoners,  Dane DeHaan, Kill Your Darlings and The Place Beyond the Pines, Harrison Ford, 42, Ben Foster, Lone Survivor, Will Forte, Nebraska, James Gandolfini, Enough Said, Jake Gyllenhaal, Prisoners, Tom Hanks, Saving Mr. Banks, Matthew McConaughey, Mud, David Oyelowo, Lee Daniels’ The Butler, Sam Rockwell, The Way, Way Back, Geoffrey Rush, The Book Thief

Could Win: Abdi
Should Win: Fassbender
Will Win: Leto

The fact that Abdi received more support from the Academy than Tom Hanks speaks volumes about how much his terrifically authentic performance lingered in the minds of voters. Fassbender, who should have been nominated for best actor two years ago for Shame, took insanity and terror to another dimension as a vicious slave owner. Still, Leto, nearly unrecognizable, seems a sure bet for his gentle, striking portrayal of Rayon, a transgender woman living with AIDS.


BEST SUPPORTING ACTRESSlupita_nyong_o_322x322_0_0_460
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska

Overlooked:  Amy Adams, Her, Nicole Beharie, 42, Melonie Diaz, Fruitvale Station, Jennifer Garner, Dallas Buyers Club, Naomie Harris, Mandela: Long Walk to Freedom, Allison Janney, The Way, Way Back, Scarlett Johansson, Her, Melissa Leo, Prisoners, Margo Martindale, August: Osage County, Juliette Nicholson, August: Osage County, Sarah Paulson, 12 Years a Slave, Lea Seydoux, Blue is the Warmest Color, Octavia Spencer, Fruitvale Station, Emma Watson, The Bling Ring, Oprah Winfrey, Lee Daniels’ The Butler, Alfre Woodard, 12 Years a Slave

Could Win: Lawrence
Should Win/Will Win: Nyong’o

Lawrence ignited the screen with her fiery, flashy turn and probably would be the frontrunner if she hadn’t won best actress last year for Silver Linings Playbook. Expect Nyong’o to reign for her impeccable, heart-wrenching, breakthrough portrayal of the haunting Patsey, a prized and abused slave.

The 86th annual Academy Awards, hosted by Ellen DeGeneres, will be telecast live tonight on ABC at 8:30 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, and FilmDayton will host Oscar parties tonight. For information about the Neon’s festivities, call (937) 222-7469 or visit www.neonmovies.com. For FilmDayton’s festivities, visit www.filmdayton.com.

 

 

Victoria’s 2014-2015 season offers ‘Billy,’ ‘Joseph,’ ‘Mormon’ & More

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Cast members of “The Book of Mormon”
Photo by Joan Marcus

The Victoria Theatre Association combines recognizable titles with fresher fare for a 2014-2015 season absolutely bound to please unlike any other lineup from the organization in recent memory.
The Premier Health Broadway Series, Projects Unlimited Variety Series, Star Attractions and PNC Family Series were announced Thursday, Feb. 13 in the Wintergarden of the Schuster Center. Emceed by Larry Hansgen of WHIO AM/FM, the event incorporated business and community leaders, media personalities and Victoria subscribers in addition to Victoria donors and friends. Attractive promotional banners and an assortment of entertaining production snippets also accented the breezy ceremony.


Curiously, the Star Attractions can be considered the true headliners, especially 2011’s “The Book of Mormon,” the irreverent, naughty, nine-time Tony-winning joy ride from the creators of “South Park” and “Avenue Q.”  The musical, which will only run one week and is sure to quickly sell out, should have jumpstarted the organization’s 2015-2016 lineup (it arrives in August 2015 after all), but kudos to the Victoria for securing such a hot commodity and being willing to push the envelope as never before. Also, Stephen Schwartz’s popular “Wicked” will return to the Schuster Center for the third time and for three weeks. Even so, I’m particularly thrilled for the overdue local premiere of 2010’s “Billy Elliot,” the remarkable 10-time Tony-winning Best Musical based on the outstanding 2000 film of the same name about a young boy’s passion for ballet.

 

The Broadway Series, always the main attraction, supplies a very promising six-show slate. Gilbert and Sullivan’s “The Pirates of Penzance” is an odd inclusion (a tour has launched in celebration of the show’s 135th anniversary), but be thankful for 2012’s five-time Tony-winning play “Peter and the Starcatcher” (a “Peter Pan” prequel full of brilliant storytelling and stagecraft), 2012’s charming Gershwin outing “Nice Work If You Canjoseph Get It,” the tuneful return of 1995’s “Smokey Joe’s Café” (which played the Victoria Theatre during its last engagement well over a decade ago) featuring legendary troupe the Coasters,  a new, vocally enticing production of Tim Rice and Andrew Lloyd Webber’s “Joseph and the Amazing Technicolor Dreamcoat” starring “American Idol” alums/husband and wife Ace Young and Diana DeGarmo, and the Human Race Theatre Company’s local premiere of Christopher Durang’s dysfunctional family comedy “Vanya and Sonia and Masha and Spike,” the 2013 Tony winner for Best Play.


The Variety Series supplies evenings with Songwriters Hall of Fame inductee/singer-songwriter J.D. Souther (ABC’s “Nashville”), mind reader/comedian Eric Dittelman, and the Nobodies of Comedy Tour featuring up-and-coming comedians who have appeared on Comedy Central, “Late Show with David Letterman,” “The Tonight Show with Jay Leno” and “Late Late Show with Craig Ferguson.” The Family Series features Zoot Theatre Company’s production of “The Velveteen Rabbit” in addition to tours of “Pinkalicious: The Musical” and “Robin Hood.”
“Every show and every Season is a leap of faith,” said Victoria and Arts Center Foundation CEO and President Ken Neufeld in a press statement. “Certain shows touch us and inspire us to share the story, the songs and the message with our audience. 2014-2015 will be a season audiences will reconnect with some familiar titles that may surprise them as well as connect with some of the very best work from the contemporary stage for both the Premier Health Broadway Series and Star Attractions.”


Season tickets for the 2014-2015 Broadway Series and Variety Series are on sale now by calling Ticket Center Stage at (937) 228-3630 or visiting online at www.ticketcenterstage.com. Single tickets will go on sale this summer. Single tickets for “The Book of Mormon” and “Wicked” will specifically go on sale in 2015. Additional Star Attractions and Family Series selections as well as the lineups for the Cool Films Series and National Geographic Live! Series will be revealed at a later date.


2014-2015 Premier Health Broadway Series

 

Joseph and the Amazing Technicolor Dreamcoat (Oct. 21-26, 2014 – Schuster Center)

 

Smokey Joe’s Café (Nov. 11-23, 2014 – Victoria Theatre)

 

The Pirates of Penzance (Jan. 20-25, 2015 – Schuster Center)

 

Nice Work If You Can Get It (Feb. 10-15, 2015 – Schuster Center)

 

Vanya and Sonia and Masha and Spike (March 10-22, 2015 – Victoria Theatre)

 

Peter and the Starcatcher (June 9-14, 2015 – Schuster Center)

 

2014-2015 Star Attractions
Billy Elliot: The Musical (Nov. 28-30, 2014 – Schuster Center)

 

Wicked (Apr. 29-May 17, 2015 – Schuster Center)

 

The Book of Mormon (Aug. 18-23, 2015 – Schuster Center)

 

2014-2015 Projects Unlimited Variety Series

 

Singer/songwriter J.D. Souther (Oct. 10, 2014 – Victoria Theatre)

Mind reader/comedian Eric Dittelman (Feb. 6, 2015 – Victoria Theatre)

 

The Nobodies of Comedy Tour (Apr. 10, 2015 – Victoria Theatre)

 

2014-2015 PNC Family Series

 

The Velveteen Rabbit (Dec. 6, 2014 – Victoria Theatre)

 

Pinkalicious (Feb. 2, 2015 – Victoria Theatre)

 

Robin Hood (May 2, 2015 – Victoria Theatre)

 

 

For more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.victoriaheatre.com

‘The Magic Fire’ Review – Wright State University – Our Private World

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The cast of Wright State University’s production of “The Magic Fire” (Contributed photo)

Wright State University returns to sophisticated fare with a beautifully executed regional premiere of Lillian Groag’s semi-autobiographical, thought-provoking Argentinean drama “The Magic Fire.”

Commissioned and originally produced in 1997 by the Oregon Shakespeare Festival, the engrossing, highbrow “Magic Fire” concerns a close-knit family of European immigrants living in Buenos Aires circa 1952 during the divisive Juan Peron regime. As chaos consumes the streets with ever-present military force, the argumentative, opinionated, opera-adoring Bergs are reticent to join the fray, opting instead to safeguard themselves within their own private world of culture and music they hope cannot be vanquished. The symbolism of their behavior and the play’s title astutely mirrors the final act of Richard Wagner’s opera “Die Walküre,” specifically Wotan’s decision to encircle his sleeping daughter Brünnhilde with an artificial wall of fire that only the bravest of men can penetrate. However, when the brother of the family’s housekeeper seeks shelter in their home, it becomes impossible to ignore the political turmoil swirling in their midst.

Groag’s poetic, female-driven look at differing generations and changing times is simultaneously endearing and confusing in its scope. Her decision to conceive the material as a nearly three-hour memory play lends itself to numerous moments of heartfelt earnestness and subtle grandeur, but the key reason why narrator/protagonist Lise (Layan Elwazani) looks back on her life is muddled. In Tennessee Williams’ “The Glass Menagerie,” one of the greatest memory plays, disillusioned Tom is kicked out of his home by his domineering mother only to be haunted by the memory of his fragile sister, prompting him to reflect. Here, it is a mystery why Lise so emphatically desires nostalgia. Nonetheless, despite conceptual flaws including an abundance of overlapping arcs, director Lee Merill supplies elegant stage pictures bolstered by her innate grasp of classical music and superbly evocative assistance from lighting designer Samantha Jelinek.

The aforementioned Elwazani is an emotionally strong focal point seamlessly weaving in and out of the flashbacks shaped around the events of Lise’s seventh birthday. She also establishes a gentle kinship with the adorably precocious Ally Miller, who portrays young Lise with tenderness and feistiness. As Otto Berg, Lise’s father who fled Nazi-occupied Austria, Mathys Herbert excellently grasps the character’s pivotal choices and deep affection for opera. DeLee Cooper (who also choreographs) is a genial presence as Amalia, Otto’s dutiful wife. Mimi Klipstine completely satisfies as diva Elena Guarneri, Amalia’s actress-sister out of work because she refuses to support Peron. Tommy DiMassimo vigorously inhabits Gianni “Juan” Guarneri, Amalia’s passionate father. Kristina Hopkins is perfectly tipsy as Paula Guarneri, Amalia’s aunt. The terrifically expressive Alyssa Brembeck charms as 98-year-old Mussolini-hating matriarch Maddalena Guarneri, who arrived in Argentina with her husband in 1890. The handsome Stephen Kell is fittingly authoritative and enigmatic as General Henri Fontannes, a Peron loyalist and neighbor of the Bergs specifically drawn to young Lise. Logan Torbet is firm and fiery as newspaper publisher Alberto Barcos, who despises Peron and therefore loathes Henri. Jasmine Easler brings quiet dignity and a no-nonsense sensibility to her role as housekeeper Rosa Arrua. Diana Frankhauser (Clara Stepaneck), Julia Gomez (Leila) and Julian Rojas (Santa Arrua) are noteworthy. Taylor Hinkle portrays young Lise at certain performances. Merrill’s first-rate artistic team includes costumer David J. Castellano, scenic designer Lydia Watson (filling the revolving stage with trunks and crates suggesting a family on the move), sound designer James Dunlap, and dialect coach Deborah Thomas.

In related news, WSU’s 40th anniversary 2014-15 season will consist of “Fences” (Sept. 18-28, co-directed by W. Stuart McDowell and Sheila Ramsey), “Hot Mikado” (Oct. 23-Nov. 9, directed by Greg Hellems with choreography by Teressa Wylie McWilliams), “Romeo and Juliet” (Nov. 14-23, directed by Sandra Crews in the Herbst Theatre) “Pride and Prejudice” (Jan. 29-Feb. 8, directed by Marya Spring Cordes), the musical “Peter Pan” (Mar. 19-Apr. 5, directed by Joe Deer and starring Bruce Cromer as Captain Hook), and the local premiere of “Sondheim on Sondheim” (Apr. 17-26, directed by Jamie Cordes in the Herbst Theatre).

“The Magic Fire” continues through Feb. 9 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Feb. 5 and 6 at 7 p.m., Feb. 7 and 8 at 8 p.m., and Feb. 8 and 9 at 2 p.m. Act One: 1 hour and 50 minutes; Act Two: 45 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.

‘Working’ Review – Dayton Playhouse – It’s a Living

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working

Suzanne Clabaugh and William “Kip” Moore rehearse a scene from “Working” with director Jim Lockwood (Contributed photo)

The Dayton Playhouse delivers an admirable, often touching production of Stephen Schwartz and Nina Faso’s 1978 musical “Working,” based on Studs Terkel’s 1974 book “Working: People Talk About What They Do and How They Feel About What They Do.”

Nearly 30 wide-ranging occupations from a publicist and project manager to a community organizer and fundraiser are the lifeblood of this meaningful, intermissionless outing insightfully conceived from a series of interviews. The allure of the material, including additional contributions by Gordon Greenberg, rests in its endearing simplicity reminding us that every worker contributes to the productivity of our society. Some jobs may seem trivial or underhanded, but all of them undeniably serve a purpose. The dialogue, flowing with smooth transitions by director Jim Lockwood, is peppered with personality and depth by an assortment of terrific songwriters including Schwartz, Craig Carnelia, Mary Rodgers, Micki Grant and James Taylor. The Playhouse uses the revised 2011 version, which particularly trims the cast to six and incorporates new professions (including a Verizon tech support and fast food delivery employee) and two songs from Tony Award-winning composer Lin-Manuel Miranda (“In the Heights”). Interestingly, the revised script also effectively remembers the unemployed.

A true ensemble showcase, “Working” features enjoyable, entertaining portrayals from a vocally sufficient cast. Matt Poliachik incites laughs and groans as a privileged student who seemingly has his life all planned out. He also offers a sincerely plaintive rendition of Carnelia’s wonderful Billy Joel-esque tune “The Mason.” Matthew Clifton is equally humorous as the aforementioned fast food worker and a crazed ex-newsroom assistant. Lynn Kesson, sweet and grounded, particularly joins Clifton for the impactful duet “A Very Good Day,” which focuses on the joys and concerns of an elder care worker and a nanny. Suzanne Clabaugh gives credence to her earthy assignments as a prostitute and cleaning lady. Tori T. Tuccillo adeptly inhabits an agitated school teacher (“Nobody Tells Me How”) and an energetic waitress (“It’s an Art”). In addition to rendering a tender version of Schwartz’s moving “Fathers and Sons,” William “Kip” Moore, in a welcomed return to the Playhouse, simply mesmerizes as a retiree discussing the monotony of his daily routine (“Joe”).
Scenic designer Chris Newman’s metropolitan backdrop, Allison Eder’s understatedly organic choreography, and musical director Lorri B. Topping’s fine onstage band are added benefits.

“Working” continues through Feb. 16 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The production is performed in 90 minutes without intermission. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

 

 

 

 

 

‘Torch Song Trilogy’ Review – Human Race Theatre Company – Who Will Love Me As I Am?

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torch song 1

Jamison Stern as Arnold in “Torch Song Trilogy”

Harvey Fierstein’s groundbreaking 1983 Tony Award-winning dramedy “Torch Song Trilogy” captivates with delightful humor and poignant heartbreak in its outstanding Human Race Theatre Company debut.
Skillfully directed by Scott Stoney and intimately transpiring on a revolving set by Scott J. Kimmins, “Torch Song Trilogy” predates AIDS in its blunt, colorful, sexually charged account of larger-than-life Arnold Beckoff, a funny, flamboyant, torch song-adoring Jewish drag queen longing to find Mr. Right in New York City. As the title suggests, Arnold’s saga occurs in three segments spanning seven years. “International Stud,” the boldest portion, launches the show in 1978 centered on Arnold’s attraction to bisexual Ed Reese, a choice that holds immense ramifications. A year later, in “Fugue in a Nursery,” Arnold and his new partner Alan, a young model/hustler, are invited to the country home of Ed and his fiancée Laurel only to have their burgeoning relationship put to the test. Five years later, in “Widows and Children First!,” Arnold, still mourning Alan’s untimely death as a victim of a hate crime, seeks to adopt a gay teenager, which infuriates his intolerant mother. Stoney, avoiding the temptation to go broad or melodramatic, expertly grasps the play’s clever intricacies and varying shifts in tone, particularly providing excellent blocking for Act 2 which symbolically takes place on a large bed with the aforementioned foursome continuously altering positions in bedrooms and other locations.

 

Jamison Stern as Arnold and Jon Hacker as Alan in "Torch Song Trilogy"

Jamison Stern as Arnold and Jon Hacker as Alan in “Torch Song Trilogy”

The fantastic Jamison Stern, a sharp comedian and find singer dives into Arnold’s vivid evolution from independence to fatherhood with great vulnerability. Exposing a gamut of emotions over the course of three and a half hours encompassing racy comic relief and tear-jerking defiance with a terrific rendition of “The Man That Got Away” thrown in for good measure, Stern fuels Arnold’s desire for connection and companionship with sincerity and passion. He has a winning rapport with all of his fellow actors, but his dynamically dramatic work in Act 3 opposite a brutally stern Patricia Linhart as Mrs. Beckoff provides significant sparks that cut deep.

Jamie Cordes, typically seen in musicals, commendably delivers one of his most complex portrayals as the hopelessly mysterious and perturbing Ed. Lisa Ann Goldsmith is an engaging open book as the forgiving and understanding Laurel, who has a history of attracting bisexual men. The endlessly charming Jon Hacker, a Wright State University standout, appealingly embodies Alan as a carefree romantic. As David, a damaged product of foster care who finally finds solace and meaning with Arnold, Philip Thomas Stock, a senior at Stivers School for the Arts, enjoyably fits the mold of a wisecracking teen. In addition to portraying Mrs. Beckoff, Linhart amplifies the potency of Act 1 in Janet G. Powell’s lovely gowns as torch singer Lady Blues, particularly shining with “I Don’t Care Much.”

Jasmion Stern as Arnold and Patricia Linhart as Mrs. Beckoff in "Torch Song Trilogy"

Jasmion Stern as Arnold and Patricia Linhart as Mrs. Beckoff in “Torch Song Trilogy”

“Torch Song Trilogy” transcends sexuality in its pursuit of happiness, but bittersweet feelings remain when you consider what the future held for Arnold as AIDS devastatingly transformed the community he treasured so dearly. But I prefer to believe Arnold is currently supporting the wave of marriage equality and feverishly anticipating the upcoming season of “RuPaul’s Drag Race.” And above all, I hope he’s truly content with someone special who absolutely accepts everything about him – his faults, his goodness, his insecurities, his preferences, his eccentricities, his past – in genuine love.

 

“Torch Song Trilogy” continues through Feb. 16 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m. There is also a 7 p.m. performance Feb. 4. Act One: 55 minutes; Act Two: 60 minutes; Act Three: 80 minutes. There are two intermissions. Tickets are $31-$40 for adults, $29-$38 for seniors and $16.50-$20.50 for students. Discounts are available. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org. Patrons are advised the show contains adult language and content. There is also a special talkback scheduled following the Feb. 9 performance. The Greater Dayton LGBT Center has partnered with the Race to present LGBT Pride Night for the Feb. 11 performance.

 

‘Sister Act’ Review – Victoria Theatre Association – A Joyful Noise

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Sister Act Tour

The cast of “Sister Act: The Musical”

The local premiere and national tour of the immensely tuneful 2011 Tony Award-nominated musical “Sister Act” arrives at the Schuster Center as an uplifting, endearing, silly, and thoroughly entertaining experience.
Presented by the Victoria Theatre Association’s Premier Health Broadway Series and based on the 1992 Whoopi Goldberg film of the same name, “Sister Act” concerns the humorous, redemptive journey of wannabe diva Deloris Van Cartier (amiable understudy Mary Searcy), who is forced to hide in a convent and disguise herself as a nun after witnessing a murder at the hand of her gangster boyfriend Curtis (a sharply menacing Melvin Abston). Along the way, Deloris finds her purpose by transforming the convent’s hopelessly inept choir into an overnight sensation much to the chagrin of the Mother Superior (a splendidly resolute Lynne Wintersteller).

 
This funny, predictable fish-out-of-water premise, adapted by librettists Cheri & Bill Steinkeller (“Cheers”) and Douglas Carter Beane and accented with spirited direction by Jerry Zaks, could use more depth but basically adheres to the foundation of Joseph Howard’s original screenplay, particularly the delightful, clashing exchanges between sassy Deloris and the no-nonsense Mother Superior that shape the show’s themes of love, friendship, sacrifice and forgiveness. Even when a few jokes written for Curtis’ corny cronies misfire, the feel-good spirit of the show never wanes. In fact, the key decision to transplant the material from the early 1990s to late 1970s Philadelphia is an outright winner, specifically from a music standpoint. After all, the main attraction is the fantastic score by lyricist Glenn Slater and Tony- winning and eight-time Academy Award-winning composer Alan Menken. Menken’s marvelous melodies are a delectable, toe-tapping blend of disco (“Take Me to Heaven,” “Sunday Morning Fever”), pop (“Fabulous, Baby!,” “Sister Act”), R&B (“When I Find My Baby,” “Lady in the Long Black Dress”), and peppy show tunes (“It’s Good to Be a Nun,” “Raise Your Voice,” “Spread the Love Around”) with a sunny pinch of Disney thrown in for extra measure (the darling “Bless Our Show”).

In addition to the aforementioned actors and a terrific female ensemble, first-rate performances extend to the supporting players. Chester Gregory reprises the role of insecure police officer Eddie Souther (which he originated) with endless charm, particularly producing a heartfelt, Lou Rawls-tinged version of “I Could Be That Guy” complete with one of the best costume changes in recent musical comedy. Florrie Bagel is a bouncy bundle of gleeful energy as Sister Mary Patrick. As timid Sister Mary Robert, dynamic soprano Ashley Moniz fills “The Life I Never Led” with sincerity and gusto. Richard Pruitt enjoyably embodies Monsignor O’Hara with lighthearted authority.
Scenic designer Klara Zieglerova’s striking stained glass motif, Lez Brotherston’s stylish, era-appropriate costumes, and Anthony Van Laast’s cheery, sprightly choreography also boosts this glitzy showcase that remains as infectious as the first time I saw it in London’s West End in 2009.

 
“Sister Act: The Musical” continues through Feb. 2 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. Act One: 65 minutes; Act Two: 60 minutes. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. There is a special Super Bowl discount for the Sunday evening performance if purchased by Jan. 31 (use code HAILMARY at www.ticketcenterstage.com or call Ticket Center Stage at 937-228-3630).