Russell Florence, Jr.

‘Seussical’ Review – Muse Machine – Oh, What a Circus!

January 18, 2014 By Russell Florence, Jr. Leave a Comment

The circus has come to the Victoria Theatre!
The absolutely delightful centerpiece of the Muse Machine’s breezy production of Stephen Flaherty and Lynn Ahrens’ “Seussical,” the arts education organization’s 30th annual student musical, is “The Circus McGurkus,” a fantastic Act 2 display of fun, mystery and whimsy. Developed by the Muse artistic team in collaboration with Fred Garbo of “Sesame Street” and “The Inflatable Theater Company,” the vibrant number departs its accustomed status as a merely serviceable transition to fluidly emerge as a clever and imaginative playground deserving of an encore. Inflatable objects, plate spinning, hula hoops, rings, juggling, acrobatics, somersaults, cartwheels, unicycles, and more are impressively handled by the highly entertaining cast from various schools across the Miami Valley.

The cast of the Muse Machine’s production of “Seussical” in rehearsal (Photo by Daniel Rader)

Elsewhere, the material isn’t executed with sharp consistency, especially evident when the aforementioned centerpiece suddenly catapults the show’s momentum, but director Joe Deer still coaxes admirable performances from his principals. The naturally endearing William Peters is the personification of kindness, loyalty and perseverance as the genuinely genial Horton the Elephant, who vows to rescue the citizens of Whoville despite overwhelming ridicule from his peers. Mark Howard, a radiant tenor, doesn’t miss a beat as his engaging portrayal of JoJo reveals a confident stage presence far beyond his years. The gangly, playful Sean Cheatwood effortlessly adopts various animated personas as the kooky Cat in the Hat. Dynamic vocalist Jennifer Clemens brings wonderful R&B sass to her role as the Sour Kangaroo. Gwyn Burton, an adorable Gertrude McFuzz, and the bubbly Christine Fiala, an appropriately flashy and vain Mayzie LaBird, are equally appealing. David Emery and Sarah Martin are well-matched as Mayor of Whoville and Mrs. Mayor. The intimidating John Neff commands attention and incites fear as the best General Genghis Kahn Schmitz I have seen. The dastardly Wickersham Brothers, uniquely dressed as street toughs, are cohesively comprised of Kyle Bates, Joel Daniel (also the humorous Grinch), James Fields, Benjamin Green and Christian Johnson. Jeremy Cleary (Vlad Vladikoff), Rollie Fisk (Judge Yertle the Turtle), Cayla Destefani (Bird Girl), Cecily Dowd (Bird Girl), Anna Hlinomaz (Bird Girl), Rachael Horner (Bird Girl), Clare Kneblik (Bird Girl), Callia Tellez (Bird Girl) and Rachel Woeste (Bird Girl) are noteworthy.
Additionally, Lula Elzy’s seemingly non-stop choreography is cute and colorful, particularly the uplifting opening number “Oh, The Thinks You Can Think!” as well as “It’s Possible” and the energetic finale. Music director Timothy Olt leads a strong, steady orchestra. Set designer J. Branson’s large backdrops capture the spirit of the Dr. Seuss books. Many costumes sparkle with personality thanks to coordinators Lyn Baudendistel, Robin Brown, Patty Peters and Alisa Vukasinovich. John Rensel’s lighting design expertly accents varying moods and locales. David Sherman’s sound design specifically impacts during JoJo’s Act 2 military departure, but repeatedly missed cues hindered last night’s performance.
Bookended by a sprinkle of Hollywood star power and an inspired nod to a legendary rock band, “Seussical” awakens the child in all of us with an exuberant charm typifying the Muse pedigree. Step right up!

“Seussical” continues through Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. You can still catch performancestonight at 8 p.m. and Sunday at 2 p.m. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Subject Was Roses’ Review – Dayton Theatre Guild –Bruised But Not Broken

January 17, 2014 By Russell Florence, Jr. Leave a Comment

Angela Riley, Alexander Chilton (center) and Geoff Burkman in the Dayton Theatre Guild’s production of “The Subject Was Roses” (contributed photo)

In the Dayton Theatre Guild’s commendable production of Frank D. Gilroy’s 1965 Tony and Pulitzer Prize-winning World War II-era drama “The Subject Was Roses,” the Cleary family of Bronx, New York is as engrossing, heartbreaking and dysfunctional as ever.

Set over the course of a May weekend in 1946, “Roses” centers on the rocky homecoming of Army serviceman Timmy (Alexander Chilton), who shocks his hardnosed dad John (Geoff Burkman) and doting mom Nettie (Angela Riley) with unexpected habits and beliefs. In fact, much to his parents’ dismay, Timmy isn’t exactly the guileless underachiever who walked out the door with the mission of keeping his country safe and strong. Predictably, war has made him question who he is and what his purpose in life should be. His decision to abandon his faith absolutely infuriates John, a staunch Catholic. Interestingly, Nettie doesn’t necessarily mind Timmy’s agonistic views. She’s more concerned with his drinking and boorish language. But as the wonderfully rich and relatable layers of these troubled, unhappy characters are delicately peeled by director Marcia C. Nowik’s compatible cast, “Roses” fittingly blossoms as a timeless portrait of change and misunderstanding within a wounded home that can only be healed by love.

The excellently authentic and persnickety Burkman embodies the temperamental John, a hard-working, practically uneducated product of the World War I generation, with an easily irritated and frustrated disposition properly masking his inability to communicate. He’s also astute at being harsh without seeming heartless. John scolds Timmy numerous times, but genuine concern dwells amid the sparks. In her firm Guild debut, Riley terrifically expresses the agony, doubt, hurt and regret that has damaged Nettie’s relationship with John, who has been unfaithful. Late in Act 2, with Chilton seated on the floor transfixed on her every word, she truly shines while pensively delivering Nettie’s absorbing monologue detailing her modest upbringing and the chance encounter with John that changed her life for good and bad. Chilton, a knockout last season as Jerry in the University of Dayton’s production of “Zoo Story,” startles at the outset with an oddly calculated demeanor, but his actions are an intriguing maneuver to suggest something is uncomfortably amiss inside Timmy’s world. Bolstered by Burkman and Riley’s ample support, Chilton credibly navigates Timmy’s tender, combative and soul-searching journey with a clear understanding that faults, past or present, cannot be easily remedied.
Additionally, Blake Senseman provides another attractively eye-catching set fashioned here in a quaint, homey sensibility. Costumer Patrick Allyn Hayes counters with fine period attire, especially for Riley. Nick Vanderpool’s lighting design, K.L. Storer’s sound design and Fred Blumenthal’s properties are equally noteworthy attributes of this worthwhile offering.

“The Subject Was Roses” continues through Jan. 26 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: 50 minutes; Act Two: 50 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

‘It’s a Wonderful Life’ Review –Victoria Theatre Association/Human Race Theatre Company – Holiday Warmth on the Radio

December 12, 2013 By Russell Florence, Jr. 1 Comment

The Victoria Theatre Association’s presentation of the Human Race Theatre Company’s production of “It’s a Wonderful Life: A Live Radio Play” provides a delightful throwback to an innocent time of family-friendly entertainment and good old-fashioned vocal versatility.

Breezily adapted by Joe Landry based on the beloved 1946 film of the same name, “It’s a Wonderful Life” is a veritable charmer. The familiar, magical, redemptive saga of George Bailey, the suicidal Bedford Falls, New York resident who grows to appreciate and recognize his blessings on Christmas Eve, tugs the heart with earnest sincerity. George’s journey doesn’t supply dramatic sparks to tear-jerking degrees until after intermission but it is well worth the wait. After all, the story’s enduring, multi-generational appeal resonates so beautifully during the holidays because it allows the audience to examine themselves by way of truly meaningful seasonal themes such as benevolence, faith, family, friendship, forgiveness and gratefulness.

Todd Lawson (center) and the cast of “It’s a Wonderful Life: A Live Radio Play” (Contributed photo by Scott J. Kimmins)

Set inside the local WHIO AM studios on Christmas Eve 1946, the play is firmly guided and realized by director Joe Deer with attractive period flair courtesy of scenic designer Dan Gray and costumer Ayn Kaethchen Wood. The radio format is tricky since it demands considerable engagement from its participants to avoid any hint of detachment. Thankfully, Deer keeps his terrifically compatible cast invested in the material even when they leave the microphones to observe the action on various couches. He also allows certain moments to engross and breathe beyond the radio framework.
The amiable Todd Lawson creates a heartfelt, believably conflicted portrayal of George, growing particularly strong in the compelling Act 2 when George’s guardian angel Clarence shows him what his life and his city would be if he had never been born. The tall, lanky, personable Mark Chmiel (a marvelous Cat in the Hat in the Human Race’s “Seussical”) exudes warmth and concern as the lovable Clarence. The remarkably versatile Susan J. Jacks juggles the amusingly sassy diva traits of Lana Sherwood with multiple roles within the action encompassing a range of ages and personalities from George’s friend Violet to his youngest daughter Zuzu. Betsy DiLellio (a component of the outstanding first national tour of “The Light in the Piazza” starring Christine Andreas) is a lovely, gentle presence as George’s devoted wife Mary. Scott Stoney strikes the perfect mood at the outset as soothing announcer Freddie Filmore and brings apt villainy to his secondary role as the cruel Henry Potter. First-rate Wright State University musical theater students Sean Jones, Cassi Mikat, Zack Steele and Amy Wheeler are sunny and skilled as the Jazz Quartet rendering cute jingles. The fantastic Kevin Anderson shines as the Foley Artist responsible for a slew of colorful sound effects from clinking dinnerware to an umbrella evoking bats. Scot Woolley provides proficient music direction.
As an added bonus, be sure to stay after the curtain call for a holiday sing-a-long. Chmiel’s Ray Bolger-esque take on “White Christmas” is a hoot.

“It’s a Wonderful Life: A Live Radio Play” continues through Dec. 15 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 80 minutes; Act Two: 35 minutes. Tickets are $40-$86. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Gifts of the Magi’ Review – Dayton Theatre Guild – A Heartwarming Delight

November 27, 2013 By Russell Florence, Jr. Leave a Comment

The Dayton Theatre Guild’s production of “The Gifts of the Magi” features
Back row, l to r: Kelli Locker, Jared Mola, Bobby Mitchum, Shawn Hooks
Front row, l to r: Dave Nickel, Megan Kuchan (Contributed photo)

The Dayton Theatre Guild provides an absolutely charming production of Randy Courts and Mark St. Germain’s 1984 off-Broadway musical “The Gifts of the Magi.”
Set in New York City circa 1905 and based on O. Henry’s short stories “The Gift of the Magi” and “The Cop and the Anthem,” the musical, delicately directed with precision by Kathy Mola, nicely balances two engaging, straightforward tales. The primary story chronicles the love and hardships of Jim and Della Dillingham, a sweet couple struggling to make ends meet as Christmas approaches. In order to provide each other with a present, both make a great sacrifice, which ultimately reflects the spirit of the biblical example set by the Magi. The secondary, more consistently lighthearted account involves Soapy Smith, a gallantly good-natured bum whose only desire is to be arrested in order to obtain food and shelter during the holidays. The wonderfully meaningful, life-affirming journeys of Jim, Della and Soapy, combining rewarding themes of faith, family, forgiveness, friendship and goodwill as narrated/guided by amiable newsboy Willy Porter, epitomize the true significance of the season.
In addition to grasping the harmonic challenges within the tuneful score, particularly accented with beguiling ballads, Mola’s cohesive cast offer highly enjoyable portrayals. Shawn Hooks and Meagan Kuchan, making their Guild debuts, are very compatible as the Dillinghams. The mature Hooks, given a poignant moment of reflection in “How Much to Buy My Dream,” doesn’t diminish Jim’s serious frustration of being unemployed, a topical element deeply felt today as it did when the “Magi” story was first published in 1903. The gentle Kuchan delivers her most touching performance to date as the devoted, encouraging Della. Some of her best scenes stem from Della reminding Jim that money isn’t the foundation of a home and pondering life with a different hairstyle in “The Same Girl.” As Soapy, who quips at one point that he’s been “cursed with good fortune,” the delightful Dave Nickel treads carefully in terms of the music, but his humorous character choices are endearingly sound. Versatile partners Jared Mola (in his local musical theater debut) and Kelli Locker terrifically embody different personalities and disguises as The City: Him and The City: Her. As Willy, Bobby Mitchum is so effortlessly excellent in his Guild debut I’m tempted to brand this production as simply “Bobby Mitchum: Live at the Guild.” Willy isn’t a flashy or grueling role, but surely requires a considerably strong tenor with a thoroughly appealing ability to connect with the audience. The magnetic Mitchum, blessed with a voice that soars while containing enormous warmth, unquestionably fits the bill right at the outset leading a gorgeous rendition of the alluring title song, one of many numbers propelled with beautiful flourishes courtesy of music director Luke Williams.

In addition, costumer Linda Sellers supplies striking period attire. Blake Senseman is responsible for an equally attractive set evoking turn of the century New York. Courtney Wheeler’s choreography is apt and colorful, specifically “Christmas is to Blame.” Nick Vanderpool’s suitable lighting design and Deirdre Bray Root’s fine properties are also noteworthy components of this utterly heartwarming treat.

“The Gifts of the Magi” continues through Dec. 8 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 1: 45 minutes; Act 2: 40 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org.

‘The Wild Party’ Review – Wright State University – Love and War

November 22, 2013 By Russell Florence, Jr. Leave a Comment

(l to r) Law Dunford, Paige Dobkins, Kelsey Pohl and Mark Beyer in Wright State University’s production of “The Wild Party” (Contributed photo)

The excellent local premiere of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name, intimately electrifies at Wright State University.
Presented inside the black box Herbst Theatre, “Wild Party” focuses on the destructive, unstable relationship between vaudeville performers Queenie and Burrs. In an attempt to escape the monotony of their damaged existence, they decide to host a party in their Manhattan apartment. A colorful array of eccentric characters immerse themselves in drugs, booze and sex, including Queenie’s narcissistic best friend Kate, but everyone is thrown for a loop when the sophisticated Mr. Black, Kate’s mysterious date, becomes smitten with Queenie. What was intended to be a frivolous evening of decadence evolves into a dangerously heated game of survival as deep-seated jealousy and smoldering romance collide with tragic results.

In order to ground the show in period and tone, Lippa freely incorporates lines from March’s evocative poem, a conceptual element evident in Michael John LaChuisa’s musically challenging but masterful Tony-nominated version of “Wild Party,” which also opened in 2000. However, it’s difficult to find three-dimensional characters here aside from the four principals. There are many engaging contributors to the revelry at hand, but not enough backstory to propel them beyond the surface.

Nevertheless, Lippa’s catchy score, paying homage to the Jazz Age while embracing the contemporary, is the main attraction, particularly the salsa-tinged “Raise the Roof” and the gospel-flavored “Wild, Wild Party,” choreographed with crisp exuberance by Dionysia Williams. At the same rate, his introspective ballads are equally strong, especially the haunting, soulful quartet “Poor Child.” On the whole, the music is vibrantly performed by conductor Ian Benjamin’s five-piece band and well taught by musical director Sherri Sutter.

Director Jamie Cordes, whose first-rate artistic team includes set designer Ryan Sess, lighting designer Kody Lupori and movement coach Marya Spring Cordes (who directed WSU’s outstanding “Grand Hotel” last season), offers his most striking staging to date. Effectively capturing a few scenes in shadow for moody allure, he keeps the action fluid and gripping with a pinch of suspense as testy situations swell throughout the evening. He also ensures the compelling characterizations of the four leads, generating major sparks whenever the action focuses on them, are balanced by the sharply comedic turns of the terrific supporting and ensemble players.

The beguiling, effervescent and heartbreaking Paige Dobkins truly shines as the emotionally conflicted Queenie, especially as Mr. Black’s sincere advances cause her to question the life she has made with Burrs. Dobkins’ lovely rendition of “Maybe I Like It This Way” particularly resonates late in Act 1. Fine tenor Mark Beyer, who impressively understudied the role of the Baron in “Grand Hotel,” wonderfully inhabits the cruel, moody Burrs without going over the top or seeming false. It’s easy to label Burrs as a maniacal bully, but Beyer digs deep to reveal a more complex image of a man struggling with serious emotional and psychological wounds. As the calm, cool Mr. Black, Law Dunford possesses an intoxicating chemistry with Dobkins while exemplifying how to be suave without appearing slick. The marvelous Kelsey Pohl, remarkably making her presence known with the aptly titled “Look at Me Now,” lights up the stage as Kate, who pines for Burrs. Accented by a showstopping rendition of “The Life of the Party,” Pohl’s breakthrough performance, full of attack and uninhibited glee, paints an exceptionally vivid portrait of a desperate woman recklessly pursuing a love she can never obtain.

Elsewhere, Mathys Herbert and Kevin Ferguson (two additional highlights of “Grand Hotel”) hilariously intertwine as the flamboyantly fierce D’Armano duo. The tough, no-nonsense Tommy DiMassimo and the endearing Emsie Hapner are winningly paired as boxer Eddie and his dim-witted sweetheart Mae. Emma Jordan commands attention as lesbian Madelaine True, humorously desiring “An Old-Fashioned Love Story.” Brandon Ramos (Sam Himmelsteen), Tyler Simms (Max), Alyson Snyder (Dolores), Liz Romey (Nadine), Victoria Gilman (Jackie) as well as ensemble members Lauren Schorr, Bradley Farmer and Abby Murray Vachon add spice and personality to this captivating experience.

“The Wild Party” continues through Nov. 24 in the Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are Nov. 22 and 23 at 8 p.m. and Nov. 23 and 24 at 2 p.m. The production runs 2 hours and 23 minutes including one 15-minute intermission. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500. Patrons are advised the musical contains adult language and themes.

‘Oklahoma!’ Review – Wright State University – Sound Territory

November 9, 2013 By Russell Florence, Jr. Leave a Comment

Kate Mueller and Jon Hacker in “Oklahoma!” (Contributed photo)

Rodgers and Hammerstein’s quintessential 1943 musical “Oklahoma!” thoroughly entertains at Wright State University with an impressive balance of lighthearted exuberance and darkly disturbing menace.
This splendidly tuneful musical is often treated with a one-dimensional, overly optimistic slant, but director Greg Hellems, borrowing a page from Trevor Nunn’s masterfully character-driven 2002 Broadway revival of “Oklahoma!,” avoids pigeonholing the colorful yet flawed characters. Deception, longing and despair also factor into their evolution as they anticipate statehood not long after the dawn of the 20th century. Thankfully, Hellems’ fine cast, attractively clothed in period attire by Lisa Loen, creates three-dimensional characterizations radiating with authenticity and purpose.
Based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” “Oklahoma!” concerns the emotionally stubborn romance between farm girl Laurey Williams and cowboy Curly McLain. Laurey and Curly are practically made for each other, but they’re reticent to admit it. However, their relationship is put to the test when surly hired hand Jud Fry sets his eyes on Laurey.
Pleasant tenor Jon Hacker, notably featured last season as Henry in the Human Race Theatre Company and Victoria Theatre Association’s local premiere of “Next to Normal,” portrays Curly with charming bravado and a genuine zest for life. He also instills an appealing sense of security into the role, giving credence to Laurey’s need to view Curly as a protector. Kate Mueller, who delivered a breakthrough performance last season as Helen Keller in WSU’s “The Miracle Worker,” delightfully embraces Laurey’s tomboy sensibilities and has palpable chemistry with Hacker. The score doesn’t rest comfortably in her range (which particularly reduces the passion within “People Will Say We’re in Love”), but she’s great in the book scenes, especially the eye-opening moment Laurey reveals her desires in life. An outstanding Andrew Quiett, whose WSU credits include “Grand Hotel,” “The Miracle Worker” and “Spring Awakening,” completes the central love triangle with a deeply obsessive and intimidating portrayal of the pornography-addicted Jud. I’ve never seen a rancher look as clean as Quiett does here, but he’s absolutely grounded in his complex role adding bouts of frightening anger for good measure. In fact, his superbly compelling rendition of “Lonely Room,” a marvelously ominous ballad and one of the most underrated tunes in the R&H canon, is a truly chilling display heightened by a sky of flaming red courtesy of lighting designer Matthew P. Benjamin.
Excellent turns extend to Caroline Gruber (a caring, strong Aunt Eller), Cooper Taggard (a spirited triple threat who turns the jubilant “Kansas City” into an early winner as dim-witted Will Parker), Kaitlyn Sage (an adorable, hilarious Ado Annie particularly delivering “I Cain’t Say No” as if it were written for her), Sean Jones (sly and funny as Ali Hakim), Drew Bowen (a naturally folksy Cord Elam), Ian Benjamin (enjoyably firm as Andrew Carnes), and Bailey Rose (scoring appropriate laughs as Gertie Cummings). The iconic “Dream Ballet,” strikingly choreographed by Teressa Wyle McWiliams, features fluid partnering by Hannah Aicholtz and Kyle Adam.
In addition to the “Dream Ballet,” McWilliams, paying homage to original choreographer Agnes de Mille while retaining her own distinct vision, pulls out the stops with the aforementioned “Kansas City” (featuring a dance break that would make Kathleen Marshall and Susan Stroman proud) and a wonderfully lively “Farmer and the Cowman.” In an inspired move, scenic designer Pam Knauert Lavarnway primarily sets the show within a large barn, allowing various locales to be viewed with a new perspective. Musical director Scot Woolley conducts another terrific orchestra.

“Oklahoma!” continues through Nov. 10 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are tonight at 8 p.m. and tomorrow at 2 p.m. The production is performed in three hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. The remainder of the run is reportedly sold- out, but call the box office at (937) 775-2500 in the event there is availability.

‘Fiddler on the Roof’ Review – Human Race Theatre Company – Tradition in Transition Ticket Contest

November 8, 2013 By Russell Florence, Jr. 20 Comments

Drew Pulver as Tevye in “Fiddler on the Roof” (
Photo by Scott J. Kimmins)

The Human Race Theatre Company’s refreshingly intimate take on Joseph Stein, Jerry Bock and Sheldon Harnick’s timeless 1964 musical “Fiddler on the Roof” is an enormously pleasant experience inside its cozy Loft Theatre.

Director Kevin Moore deftly and breezily swaps the sweeping heft typically associated with the material for a smaller, character-conscious approach ripe with immediacy and emotional resonance. His communal, campfire-esque concept, carried out by an excellently cohesive cast of 25 including four musicians who double in smaller roles, unquestionably allows the audience to feel as if they’re right in the heart of the tiny village of Anatevka circa 1905. In fact, when one resident wistfully sung about his quaint surroundings while seated in the aisle next to me, I nearly joined in. After all, by that point, this faith-based community grounded in tradition yet rocked by unexpected transition became so relatable that genuine concern for their future well-being was inescapable. But that’s what makes “Fiddler” so special and practically bulletproof as one of the best musicals ever created. You absolutely care about the characters, specifically as stakes are raised in the darker Act 2 marvelously contrasting the sunny prologue bursting with promise, purpose and possibility.

Drew Pulver is a wonderfully earthy, credibly conflicted everyman in the plum role of poor milkman Tevye, the amiable father of five daughters and the popular glue that holds Anatevka (and this musical) together. As Tevye copes with a whirlwind of change and treasures his chit-chats with God, Pulver’s easygoing, mildly contemporary persona and outstanding vocals (“If I Were a Rich Man” doesn’t disappoint) propel his multifaceted characterization. Still, the volatile anger he displays when Tevye dismisses his daughter Chava for wanting to marry outside the faith is a significant revelation. Chills arise as Tevye is suddenly caught in an utterly disgusted, nearly abusive frame of mind unlike any production of “Fiddler” I have seen, including Canada’s Stratford Festival three months ago. The dynamic Rachel Coloff, who appeared in David Leveaux’s mammoth 2004 Broadway revival of “Fiddler,” shines with great sternness and sharp timing as Tevye’s headstrong wife Golde. Coloff is particularly appealing in the loving, temperamental rapport she establishes with Pulver beautifully highlighted in their poignant rendition of “Do You Love Me?”
Christine Zavakos (Tzeitel), Charity Farrell (Hodel), Ashley Campana (Chava), Abby E. Cates (Shprintze) and Hannah Sayer and Jordan Vandersluis (sharing the role of Bielke) are delightful as Tevye and Golde’s children. The sweet, gentle Zavakos, the radiant, vocally stunning Farrell and the intriguing, introverted Campana enjoyably join forces early in the tale for a fun, graceful “Matchmaker, Matchmaker” that typifies their close-knit sisterhood. This winning trio also has engaging partners in Drew Helton, Josh Kenney and Adam Brown, respectively. Helton, a recent Wright State University graduate possessing geeky charm and finding delicious nuances in the script as timid tailor Motel, notably delivers a bubbly, lyric-fueled “Miracle of Miracles” simultaneously warming the heart of Zavakos and the audience. Kenney, a real find as outspoken student Perchik, is fittingly intellectual and fiery while perfectly matched with Farrell. As Fyedka, Brown’s charisma and skillful dancing is a joy.

The cast of “Fiddler on the Roof” in “Tevye’s Dream”
(Photo by Scott J. Kimmins)

Colorfully authentic, fully realized performances are also given by Caitlin Larsen (Yente/Grandma Tzeitel), Saul Caplan (Lazar Wolf), K.L. Storer (Rabbi), Matty Rickard (Mendel), Ryan Heinrich (Mordcha), Eric Byrd (Vanya), Joshua Silver Hughes (Yussel), Adam Lendermon (Sasha), Jeff Sams (Constable), and Linda June Snyder (Shaindel). Larsen’s comedic expertise, Caplan’s joviality, Sams’ cool, imposing demeanor, and Rickard, Byrd, Hughes and Lendermon’s splendid execution of the iconic “Bottle Dance” (one of many crisp, spirited routines marvelously reproduced by Chris Crowthers from Jerome Robbins’ original choreography) are noteworthy.
The production’s superb ambience is heightened by Dick Block’s strikingly detailed set evoking religion, John Rensel’s proficient lighting expertly marking shifts in tone, Tony Ray Hicks’ attractive costumes (originally designed for a 2009 “Fiddler” national tour starring Topol), Nathan D. Dean’s first-rate sound design (“Tevye’s Dream,” featuring Campana as the eerie Fruma-Sarah, is a spooky delight), and music director/guitarist Jay Brunner’s (Nachum) terrific klezmer band (particularly giving Farrell’s gorgeous rendition of “Far From the Home I Love” a tender acoustic flair) featuring Brent Eresman (Seth/clarinet), Joel Greenberg (Zev/mandolin), and brilliant, expressive violinist George Abud (Fiddler). Janet Yates Vogt provides vocal music direction.

It’s no surprise “Fiddler” has endured for generations. The Human Race keeps the musical’s tuneful, meaningful legacy alive with stripped down potency accenting the fact that it’s never too late to reexamine a classic.

“Fiddler on the Roof” continues through Nov. 30 at the Loft Theatre, 126 N. Main St., Dayton. Performances are Nov. 8-9, Nov. 13-16, Nov. 20-23, Nov. 27, 29-30 at 8 p.m.; Nov. 10, 17, 24 and 30 at 2 p.m.; and Nov. 26 at 7 p.m. The Nov. 12 and 19 performances are sold out. Act One: 95 minutes; Act Two: 50 minutes. Tickets are $21-$45. Call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org.There will also be a special Sing-a-Long “Fiddler” concert Dec. 1 at 2 p.m. Song lyrics will be provided. All tickets are $18.

MostMetro.com wants has a pair of tickets to share with our readers. If you’d like to see the show on us, like this story, and tell us inthe comments why we should send you, then fill out the form below. We’ll announce our winner on Sunday![form 55 “DMM Contest Entry – Generic”]

‘The Rocky Horror (Puppet) Show’ Review – Zoot Theatre Company –A Strange, Sexual & Unforgettable Journey

October 17, 2013 By Russell Florence, Jr. 8 Comments

JJ Parkey as Dr. Frank ‘N’ Furter in Zoot Theatre Company’s production of “The Rocky Horror (Puppet) Show” (Contributed photo by Dawn Ruggles)

Babies, don’t you panic. Over at the Frankenstein place (a.k.a. the Dayton Art Institute), Zoot Theatre Company’s production of Richard O’Brien’s “The Rocky Horror (Puppet) Show” is a totally commendable experience absolutely blessed by a singular sensation in high heels and fishnets.

O’Brien’s envelope- pushing yet enduring 1973 tale of an innocent couple’s sexual awakening inside a demented castle is so full of sci-fi gobbledygook and campy silliness that it’s imperative for an ensemble to completely dive in no holds barred. The balancing act of staying rooted in character while not taking anything seriously is the key to inhabiting this thin, outlandish romp. Thankfully, director/musical director John Faas assembles an amusing, eager, passionate and vocally admirable team who spiritedly attack the material for all its worth. I question Faas immediately exaggerating tone by having the cast interact with each other and the audience during the nostalgic opener “Science Fiction Double Feature” (which oddly detracts from his inspired addition of projections and show credits displayed center stage), but he shapes a smoother, hilariously carnal course thereafter that aims to please.
In fact, the course at hand, which rightfully encourages audience participation, is brilliantly taken to another dimension the jaw-dropping moment JJ Parkey arrives as Dr. Frank ‘N’ Furter, the mad scientist and sex-craved megalomaniac thrilled to have created the perfect man. Decadently costumed by Ayn Wood as a glam rock god and strutting around the stage as if it’s his own personal runway, Parkey, totally aware that Frank craves attention and respect, sends the pulsating “Sweet Transvestite” through the roof to fearsome, commanding and delectably bitchy degrees. It is a truly astonishing moment that not only seems to stop time, but remarkably recalls the uninhibited raw power of his fierce, haunting portrayal of Hedwig in Encore Theater Company’s 2011 production of “Hedwig and the Angry Inch.” Still, the most alluring aspect of his thrillingly domineering and delightfully comedic embodiment of Frank is his freedom to be as assertively over-the-top as he wants without the risk of overpowering his fellow actors. He can simply savor the role for the showy spectacle it was intended to be. By time he raises the roof again late in Act 2 with a soaring rendition of “I’m Going Home” while channeling the divas of yore with old-fashioned Hollywood glamour, you’ll find it hard to imagine anyone else leading this show.
Elsewhere, the bespectacled, multi-tasking Ray Zupp is a naturally endearing and humorously dopey Brad Majors, who shares Walter White’s fondness for tighty whities. The equally pleasant Beth Conley is a genuinely green and gullible Janet Weiss, but her “Touch-A-Touch-A Touch Me” epiphany could be more vigorously vivacious. Anyone who saw Riley Able’s breakthrough performance as handsome, shirtless, muscular drifter Hal Carter in Wright State University’s 2011 production of “Picnic” will not be surprised he’s playing the handsome, shirtless, muscular Rocky. There is more to Able than his physique (seven months ago he was a sophisticated Baron in WSU’s dazzling “Grand Hotel”), but right now he’s turning heads as a thoroughly entertaining doofus in tight gold shorts and that ain’t no crime. Matt Zanfagna (Riff-Raff), Alison Koch (Magenta) and Stephanie Jenkins (Columbia) are a fittingly creepy, mischievous and subservient trio although the committed Koch has a tendency to scream-sing, leaving most of her lyrics incomprehensible. Natalie Houliston is an unbridled joy exhibiting sharp comedic timing in the dual roles of Dr. Scott and Eddie, particularly leading a rousing “Hot Patootie” that is among the many exuberant numbers choreographed by Shawn Storms. Julia Gomez, Chelsea Hauptsteuck, Philip Stock and Ben Tracy keep the debauchery alive with seductive magnetism as the Phantoms. Eric Antz, Juliet-Howard Welch and Michael Stockstill are the silently proficient trio operating puppets (designed by Zoot artistic director D. Tristan Cupp) representing the remnants of Frank’s bizarre handiwork. Andrew Ian Adams also exhibits skilled puppetry while fluidly guiding the proceedings with engagingly ghoulish glee as the Narrator.
J. Gary Thompson’s sound design proved very problematic at the performance attended, but Wood’s sexy costumes, Zupp’s efficient sets, John Rensel’s atmospheric, Technicolor rock concert lighting, and Edward Wooten’s satisfying band are more gratifying technical components.
Bound to please die-hard fans and curious newbies, this “Rocky” will be remembered for expanding Zoot’s artistic capabilities and allowing the phenomenal Parkey to deliver one of the best performances of 2013.

“The Rocky Horror (Puppet) Show” continues through Nov. 2 in the NCR Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park N, Dayton. Performances are Oct. 25-27 and Nov. 1-2; Friday and Saturdays at 8 p.m. and Sundays at 2 p.m. There will also be a special midnight performance Oct. 26. Act One: 40 minutes; Act Two: 55 minutes. Tickets are $12-$20. Visit www.zoottheatrecompany.org for tickets or more information. Patrons are advised the musical is recommended for ages 16 and older due to strong language and adult themes.

DMM has 3 pairs of tickets to give away to some of our lucky winners to see The Rocky Horror (Puppet) Show. If you’d like to be our guest just like this review and comment on why you should win and fill out the form below! We’ll post our winners here Thursday night!

Congrats to our winners: Harvey from Huber Heights, Debbie from Kettering and Beth from Springfield! Enjoy the show!

‘Time Stands Still’ Review – Dayton Theatre Guild – Not So Safe and Sound

October 11, 2013 By Russell Florence, Jr. 1 Comment

(l to r) Cassandra Engber, Kelli Locker, Alex Carmichal and David Hallowren in the Dayton Theatre Guild’s production of “Time Stands Still” (Contributed photo)

The horrors and wounds of war pervade the homefront in Donald Margulies’ gripping 2010 Tony Award-nominated drama “Time Stands Still,” a compelling character study about relationships, career and worldviews currently receiving an excellent local premiere at the Dayton Theatre Guild.

Living “on the sorrow of strangers,” accomplished photojournalist Sarah Goodwin (a dynamically passionate Cassandra Engber) returns from Afghanistan physically and emotionally scarred having survived complications from a roadside bomb. However, recuperating inside her Brooklyn loft (marvelously designed with eye-catching personality by Blake Senseman) becomes problematic when her longtime live-in boyfriend/freelance writer James Dodd (an effortlessly firm Alex Carmichal) disagrees with her decision to take on another assignment nearby. Encouraged by her editor Richard Ehrlich (an affable David Hallowren) and his sunny younger girlfriend Mandy Bloom (a top-notch Kelli Locker), Sarah feels comfortable about stepping back behind the camera to aid a worthwhile story. But it’s not just the assignment causing friction for Sarah and James. The real turbulence stems from Sarah’s romantic indiscretion in Afghanistan with her interpreter Tarek, a revelation that smoothly propels Margulies’ thought-provoking tug of war to heartbreaking degrees.
Having recently seen the magnificent Broadway revival of Tennessee Williams’ “The Glass Menagerie,” I’m reminded of how powerful it is for a playwright to create a silent character who lingers in the mind while serving as a launching pad for conflict. Amanda Wingfield and her troubled offspring are forever encumbered by the painful memories of the unseen husband and father who “fell in love with long distance.” In Margulies’ equally dysfunctional exploration of memory, Tarek is the invisible catalyst that rips Sarah and James apart although he isn’t entirely to blame. It’s totally apparent the duo may not have been perfect for each other in the first place. Prone to bickering and misreading, Sarah and James seem to be part-time soul mates. James wants kids and marriage. Sarah, deep down on the inside, prefers adventure and independence. They want to make their relationship work, but it’s not borne of a healthy desire to be fully compatible. Even when Sarah ridicules James for wavering in his writing pursuits she takes on the persona of a scolding mother. I’m sure the duo longs to be happy and values the idea of being together forever, but without the ability to recognize each other’s faults and be absolutely supportive their relationship will continue to disintegrate into a series of dead ends.
Splendidly guided by director Debra Kent, Engber and Carmichal, who should be among the first actors to receive resident artist status if the Guild ever chooses to go that route, are utterly captivating and combative. Engber, just as good as Laura Linney who originated the role, particularly impresses while professing Sarah’s Act Two agony of remaining true to her profession as death and decay literally stare her in the face. Carmichal, astutely emphasizing James lackadaisical, slacker qualities, rises to the occasion with volatile verve early in Act Two as a drunk James erupts while arguing with Mandy. Hallowren effectively engages as the underwritten yet concerned Richard. Locker discovers meaningful layers within the seemingly naïve Mandy instead of resigning the character to a one-dimensional existence.
Additionally, Kent’s exemplary creative team includes lighting designer David Corson, costumer Linda Sellers, prop masters Senseman and Deidre Bay Root, sound designer K.L. Storer, and makeup/wig designer Patrick Hayes. What a specific pleasure it is to know this production involves Corson, a University of Cincinnati-College Conservatory of Music student whose phenomenal lighting of Centerville High School’s “Sweeney Todd” last season ranked on par with the best lighting designs on Broadway. Corson’s contributions are more subtle here, but his decision to open certain scenes with illuminated laptops is a wonderfully contemporary, introspective touch. Also, Senseman and Root sprinkle Sarah and James’ loft with a vivid assortment of artifacts as well as a mounted bicycle and a weather trunk as a coffee table. Storer is particularly responsible for compiling one of the best soundtracks I have heard at the Guild to accompany scene changes.

“We’re supposed to capture the truth – not stage it,” says a defiant Sarah in defense of her career. Thanks to the Guild, the truth has never felt so real.

“Time Stands Still” continues through Oct. 20 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: 53 minutes. 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

‘Monty Python’s Spamalot’ Review – Sinclair Community College – Royal Romp

October 10, 2013 By Russell Florence, Jr. Leave a Comment

Rehearsals for Sinclair Theatre’s SPAMALOT include knights Sir Lancelot (Chris Delanis), Sir Galahad (Michael Dean Conley), Sir Bedever (Patrick Greco), Sir Robin (Stephen Kallenberg), King Arthur (Skyler McNeeley) and Patsy (C.J. Suchtya). Photo by Patti Celek

Laughs abound in Sinclair Community College’s breezy, highly entertaining production of Eric Idle and John Du Prez’s 2005 Tony Award-winning Best Musical “Monty Python’s Spamalot,” “lovingly ripped off” from the cult classic 1975 film “Monty Python and the Holy Grail.”

This boldly irreverent and witty showcase, grounded in broad, silly British humor with playful nods to pop culture and musical theater conventions, follows the misadventures of King Arthur and the Knights of the Round Table in their kooky quest for the Holy Grail. Avid Python fans will be pleased that many familiar characters and sequences remain intact from the sight of killer rabbits and flying cows to the nastiness of taunting Frenchmen and the peculiar desires of the Knights of Ni. However, Idle and Du Prez’s critical Act Two decision to stray from the film’s framework and push the envelope with jabs targeted at the Jewish and gay community is more jarring and deflating than hysterical, particularly since “Spamalot” has moved on from the comforts of a diversified Broadway audience. Regardless, guest director Gina Kleesattel (responsible for reenergizing musical theater at the University of Dayton with notable productions of “The 25th Annual Putnam County Spelling Bee,” “Bat Boy” and “Urinetown”) certainly keeps the action crisp, fluid, fast-paced and lighthearted, which is all you can ask for a show that doesn’t rely on plot and treats absurdity as the norm.
The uniformly terrific, male-dominated cast, a welcomed blend of Sinclair and University of Dayton performers, is led by Skyler McNeely, who brings a delightful amount of self-effacing charm and cluelessness to his plum role of King Arthur. The vocally alluring Natalie Sanders, who memorably portrayed Jesus in Sinclair’s “Godspell” last season, solidly returns as amusing diva Lady of the Lake, a new addition to the Python universe that motivates Arthur and his loyal followers with soulful appeal. Stephen Kallenberg (Sir Robin) greatly impresses in the energetic “You Won’t Succeed on Broadway.” The handsome, versatile Chris Delanis winningly tackles an assortment of roles including Sir Lancelot, the French Taunter and the Knight of Ni. Michael Dean Conley oozes pompous swagger as Sir Galahad and shares one of his best moments opposite Sanders in the inspired “Phantom of the Opera” parody “The Song That Goes Like This.” Patrick Greco is an amiably understated Sir Bedevere. CJ Suchtya delivers one of his strongest performances as Arthur’s devoted Patsy, particularly joining McNeely for fine renditions of the comical duet “I’m All Alone” and the upbeat “Always Look on the Bright Side of Life.” Additional featured support stems from Bryan Bryk (gleefully leading “I Am Not Dead Yet” as Not Dead Fred), John Dunn (a standout in Sinclair’s “The Laramie Project” whose pleasant evolution continues as the Historian and other roles), and the pitch-perfect Brennan Paulin as the sheltered and demure Prince Herbert. Effective ensemble players include AJ Breslin, Tray Shelton, Anna Sheldon, Aeriel Aniballi, Jasmine Barrett, Maggie Carroll, Samantha Creech, Jennifer Smith and Coartney Freeland.
The wacky world of “Spamalot,” encompassing medieval England with a pinch of Las Vegas and Studio 54 for extra measure, is colorfully and atmospherically first-rate thanks to scenic designer Terry Stump, costumer Kathleen Hotmer, lighting designer Joe Beumer (particularly heightening Sanders’ dynamic rendition of “The Diva’s Lament”), sound designer Dan Brunk and property designer Jennifer Kramer. Rodney Veal’s flavorful choreography is an exuberantly fun mixture of soft-shoe, cheerleading, disco and old-fashioned Broadway showmanship. Daniel Greene provides music direction, but Dr. Kenneth Kohlenberg leads a wonderful orchestra that is an added plus to what is surely one of the best musicals Sinclair has produced.

“Monty Python’s Spamalot” continues through Oct. 12 at Sinclair Community College, Blair Hall Theatre, Building 2, 444 W. Third St., Dayton. Performances are today at 7 p.m., Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 65 minutes. Tickets are $15 for adults and $10 for seniors and students. All Thursday tickets (Downtown Dayton Thursday Night) cost an additional $5 each and include pre-show appetizers and cash bar beginning at 6 p.m. in the Blair Hall Theatre lobby. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

‘Harvey’ Review – Wright State Unviersity – Enigmatic Elwood

September 27, 2013 By Russell Florence, Jr. Leave a Comment

(l to r) Renika Williams, Taylor Montgomery and Cameron Blankenship in Wright State University’s production of “Harvey” (contributed photo)

If you thought Mary Chase’s 1944 Pulitzer Prize-winning comedy “Harvey” was a bygone relic that couldn’t possibly be fulfilling or substantive in this day and age, check out Wright State University’s excellent production radiating with refreshing depth, vivacity and non-traditional casting.

Director Brian McKnight, returning to WSU for the first time since 2010’s “All My Sons,” particularly doesn’t forget to paint Chase’s sturdy canvas with great poignancy, especially when the utterly charming and entirely enigmatic Elwood P. Dowd (the incredibly delightful Cameron Blankenship) pensively reflects on the peculiar bond he shares with his titular best friend. Of course, it’s important to note the friend in question is a 6-foot-tall invisible white rabbit. Even so, Blankenship’s captivating, meaningful delivery, subtly heightened by Erin Jones’ lighting design, makes you believe every morsel of Elwood’s truth no matter how implausible. When Elwood talks about his ability to turn strangers into friends whenever Harvey is by his side, even when those connections are short-lived due to what he believes is envy, it automatically tugs the heart. The question of sanity is certainly a prime target of discussion and laughs throughout, but McKnight, staging scenes very well on Michael Amico’s striking double sets, astutely knows that understanding Elwood’s odd behavior and motives, seemingly born out of grief and maintained by the constant need for alcohol, also plays a significant part, especially in the engrossing, darker Act 2.
The bouncing, smiling, carefree Blankenship, short in stature but enormous in spirit, is supported by a terrific, lively ensemble attractively clothed in period attire by D. Bartlett Blair. Taylor Montgomery, a vibrant, physical comedienne, is wonderfully befuddled and exasperated as Veta Louise Simmons, Elwood’s society-driven sister who is so infuriated with Harvey that she checks Elwood into Chumley’s Rest Sanitarium. Montgomery notably provides a hilarious entrance near the top of Act 2 followed by a similarly amusing interpretation of Veta’s traumatic experience of having been mistakenly admitted to the sanitarium. Still, her finest moment occurs with a credible, touching conversion toward the end of Act 2 in the play’s key scene that finds Veta clearly comprehending the magnitude of a world without Elwood’s genial essence. The lovely, perky Renika Williams is firm and funny as Myrtle Mae Simmons, Elwood’s agitated niece who specifically finds her mother’s sanitarium incident titillating. Zack Steele, handsome and affable, is a perfect fit for the empathetic yet curious Dr. Lyman Sanderson, the hotshot psychiatrist who wrongly commits Veta and ushers in the play’s chaos. Jim Miller is authoritative and pleasingly goofy as Dr. William Chumley. Anita Hill is enjoyably forthright as Ruth Kelly, a nurse who pines for Sanderson. Tommy Dimassimo commands attention as Omar Gaffery, a stern judge who is also a portal into Elwood’s sociable existence pre-Harvey. The tall, imposing Stephen Kell is very intimidating as sanitarium worker Duane Wilson, a tough guy unafraid to handle a patient. Katie Post (Miss Johnson), Delee Cooper (Mrs. Ethel Chauvenet), Cassi Mikat (Betty Chumley) and Brandon Kinley (E.J. Lofgren) are equally strong and impactful members of this breezy showcase.

“Harvey” continues through Sept. 29 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy, Fairborn. Performances are today at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 55 minutes; Act Two: 65 minutes. Tickets are priced at $22 for adults and $20 for students and seniors. For tickets or more information, call (937) 775-2500.

‘Hairspray’ Review – Dayton Playhouse – The Beat Goes On

September 20, 2013 By Russell Florence, Jr. 2 Comments

The cast of the Dayton Playhouse’s production of ‘Hairspray’ (photo by Art Fabian)

After Wright State University staged “Hairspray” in the fall of 2011, I didn’t think any theater troupe in town would touch the show for at least five years. The sheer electricity of that indelible production, which I saw three times, whisked me immediately back to July 26, 2002 when I saw a preview of “Hairspray” on Broadway before the critics heralded it as the hit it was bound to be. Even so, the Dayton Playhouse refreshingly and assuredly steps up to the plate to present a wholeheartedly entertaining version that certainly ranks among the best musicals the organization has produced.
Crisply directed by Tina McPhearson and set in1962 Baltimore, “Hairspray,” winner of eight 2003 Tony Awards including Best Musical, centers on spunky, plus-sized teenager Tracy Turnblad (an innately appealing Tamar Fishbein). Tracy’s humble world changes forever when she joins the merry dance troupe of the local “Corny Collins” TV show. Her lively personality and funky moves helps her catch the attention of the show’s heartthrob Link Larkin (the handsome, sensitive Ben Douglas), but situations escalate when she vows to racially integrate the program.
Fishbein charms throughout as Tracy evolves into a courageous visionary for equality, a key element deftly explored in Mark O’Donnell and Thomas Meehan’s terrific libretto adapted from the 1988 John Waters film of the same name. There are occasional glimpses of exhaustion in her portrayal which diminishes her vocal capacity, but she’s an admirable singer nonetheless, particularly filling the dreamy “I Can Hear the Bells” and the reprise of “Good Morning Baltimore” with great tenderness. Fishbein is also wonderfully supported by Brian Sharp, warmly feminine, affably understanding and very funny as Tracy’s insecure mom Edna, and Jim Lockwood, who delivers one of his finest performances as Tracy’s kooky dad Wilbur. Sharp and Lockwood’s close-knit partnership culminates in a truly effervescent, meaningfully touching version of “Timeless to Me,” composers Marc Shaiman and Scott Wittman’s nod to unwavering love.
An assortment of excellent featured turns are given by reliable triple threat Desmond Thomas as Seaweed J. Stubbs, knockout vocalist Crystal Williams as Motormouth Maybelle, the absolutely dynamic Kelli Locker as Velma Von Tussle (on par with Linda Hart who originated the role), the spirited Dean Swann as Corny Collins, the amiable Amanda Carter as Amber Von Tussle, the magnetic Amber Butler as Little Inez, the versatile Marabeth Klejna and Rod Wood in multiple roles, and an utterly hilarious Tori Kocher in a breakthrough performance as Tracy’s zany best friend Penny Pingleton.
The cohesive, sunny ensemble, energetically executing Annette Looper’s choreography flavorfully capturing the period, consists of Naman Clark, Malcolm DeSean Casey, Erica Savage, Sydney Thomas, Alyssia Blake, Andrew Reese Tomlinson, Alissa Peppo, Paige Combs, Daveed Abrams, Andrew Wood, Allison Eder, James Branham, Melanie Barrett and Zack Conway.
McPhearson’s impressive technical team includes scenic designer Chris Newman (colorfully recalling David Rockwell’s original work), costume/wig designers Steve Burton and Tim Grewe, and lighting designer Anita Bachmann. Musical director Judy Mansky leads a firm orchestra particularly accented by the skillfulness of drummer Thomas Varner.
Attempting a character-specific, ensemble-driven show like “Hairspray” is a huge undertaking for a community theater, but the Playhouse effortlessly rises to the occasion. Long before the cast says goodbye with the infectious “You Can’t Stop the Beat,” one of only a few songs in contemporary musical theater to live in the pop culture mainstream, you’ll be glad “Hairspray” returned with unbridled glee.

“Hairspray” continues through Sept. 22 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $17 for adults and $15 for students and seniors. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

‘Becky’s New Car’ Review – Human Race Theatre Company – Navigating a Midlife Crisis

September 19, 2013 By Russell Florence, Jr. Leave a Comment

Margaret Knapp, David Sitler and Michael Richey, photo courtesy of Scott J. Kimmins

“When a woman says she wants a new car, she wants a new life.” Becky Foster, a middle class wife and mother grappling with middle-age self-worth, intriguingly heeds this opinion in Steven Dietz’s aptly titled 2008 comedy “Becky’s New Car,” the Human Race Theatre Company’s engaging if lightweight season opener fluidly directed by Marya Spring Cordes.

At the outset, Becky, delightfully portrayed by a very personable and relatable Margaret Knapp, warns the audience they might have issues with her likability. In other words, the woman brushing up on her housecleaning before heading to her office manager job at a car dealership will evolve in ways that could startle or be off-putting. And it is Becky’s honest, direct, conversational allure that keeps her on the audience’s side, especially when she decides to take a leap of faith that shakes her family’s foundation with hurtful repercussions. I’m not sure how many women would follow Becky’s example of disregarding their marriage when charmed by a rich widower, but Dietz’s clever decision to demolish the fourth wall allows the audience to at least sympathize with her humorous yet bothersome predicament. By allowing the audience to comment on the action and occasionally join Becky on stage, an unspoken bond is established that breeds understanding. Dietz could have planted more substantive fireworks in the mildly tedious Act 1, but there’s no denying the engrossing tension that occurs in the darker Act 2 when Becky’s deception is revealed forcing her to face the music.
Knapp, navigating a convincing sea of frustrated, perplexed emotions, receives stellar support from an authentic supporting cast. As Becky’s easygoing, hardworking husband Joe, David Sitler excellently crafts a journey firmly built on trust that is eventually replaced with heartache and pain with a pinch of vengeance. Wright State University alum Gregory Mallios is sharp and amiable as Becky and Joe’s son Chris, a grad student still determining his path no matter how smart he thinks he is. Michael Richey is hilariously aloof as wealthy Walter Flood, an older gentleman smitten with Becky but not completely over the loss of his wife. Thanks to Richey’s sweet, innocent demeanor it is entirely believable that Becky would turn her world upside down for Walter, who is so far removed from the middle class that he’s humorously astounded by the concept of pizza delivery. Human Race resident artist Patricia Linhart makes a welcomed, commanding return to the Loft Theatre stage as the jaded, privileged Ginger, Walter’s acerbic friend who longs to be useful while wishing she were the center of his attention. Jason Podplesky, adept at physical comedy, is a bundle of energy as Becky’s co-worker Steve Singletary. Leslie Goddard is lovely as Walter’s spoiled daughter Kensington who finds the man of her dreams in one of the play’s crafty twists.
In addition, Tamara L. Honesty’s wonderfully colorful, expansive and inspired set, expertly lit by John Rensel, astutely signifies the varying directions within Becky’s conflicted existence. Linhart and Goddard are particularly costumed in striking black cocktail dresses in Act 2 courtesy of Christie Peitzmeier.
Later this season, the Human Race will stage two fascinating plays that are more indicative of their pedigree: Harvey Fierstein’s “Torch Song Trilogy” and Jon Robin Baitz’s “Other Desert Cities.” Until then, you’re encouraged to ride shotgun with Becky Foster. Hold on tight.

“Becky’s New Car” continues through Sept. 29 at the Loft Theatre, 126 N. Main St., Dayton. Performances are Wednesdays-Saturdays at 8 p.m.; Sundays at 2 p.m. and Tuesdays at 7 p.m. Act One: 53 minutes; Act Two: 60 minutes. Tickets are $36-$40. There are also a limited number of $25 tickets available for each performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.humanracetheatre.org or www.ticketcenterstage.com.

45 Seconds From Broadway Review – Dayton Theatre Guild – Scenes From a Polish Restaurant

August 31, 2013 By Russell Florence, Jr. Leave a Comment

The cast of the Dayton Theatre Guild’s production of “45 Seconds From Broadway” (Contributed photo)

Three months ago playwright Tony Kushner and director George C. Wolfe, two Tony-winning masters associated with the acclaimed epic drama “Angels in America” and the musical gem “Caroline, or Change,” met for lunch at the Café Edison, a quaint Midtown Manhattan restaurant located inside the Hotel Edison. As Kushner and Wolfe’s intriguing powwow progressed, I couldn’t help but wonder if they were discussing separate projects or perhaps a new collaboration. But the notion of seeing or overhearing influential artists during a casual, pre-show lunch typifies the cozy, touristy, cross-generational appeal of the Café Edison, a former ballroom commonly known within the New York theater community as the Polish Tea Room. And as the attractive setting for Neil Simon’s funny but flawed 2001 comedy “45 Seconds From Broadway,” the restaurant, particularly its Theatre District ambiance and hospitality, has been favorably brought to life in the Dayton Theatre Guild’s entertaining, often hilarious local premiere.
Directed by Fred Blumenthal and transpiring in four seasonal scenes, “Broadway” could be easily regarded as much ado about nothing. People enter the Polish Tea Room. People leave the Polish Tea Room. Looking for a substantive plot? Not here. In fact, Simon doesn’t provide much closure or significant backstories for most of the characters, predominately consisting of one-dimensional stock characters seemingly inspired by industry folks he must have known over the years. All in all, this mindless, mildly offensive play is second or third-rate Simon. Even so, it remains a Neil Simon creation at its core. You are guaranteed hearty laughs at the mention of a grape. You are guaranteed to be in the company of a few delightful oddballs. You are guaranteed a good time.
The effortlessly jovial Saul Caplan, one of the best Simon interpreters in the Miami Valley, has a ball (without becoming crude or off-putting) as the talkative, wise-cracking Mickey Fox, a legendary comedian in the abrasive vein of Jackie Mason or Don Rickles. Mickey has been approached by a humble British producer (a genially understated K.L. Storer, also providing terrific sound design) to do a London engagement, but is ultimately taken aback by the arrival of his brother Harry (Steve Kantor, nicely paired with Caplan). Sibling disharmony has always been an enticing signature within Simon’s repertoire, particularly “Broadway Bound,” but here it shrivels with overlong tedium. Thankfully, there’s more to enjoy elsewhere in the play as ruminations on love, culture and showbiz are addressed from an assortment of colorful supporting characters.
Debra A. Kent and Debra Strauss are respectively wonderful as gossipy theater enthusiasts Arleen and Cindy, a tight-knit, opinionated duo so infectious I wish Simon would have structured the play around them. Kent’s description of Arleen’s attendance at a backer’s audition from hell is an absolute highlight. Patty Bell and John Spitler, another dynamic duo, are also winning as eccentric couple Rayleen and Charles. Bell, sophisticatedly aloof, will surely give you the giggles in Act 1 when she gingerly dictates Rayleen’s persnickety tea preferences. Spitler, primarily mute and remarkably restrained throughout, exudes hysterical stillness. Dave Nickel and Terry Larson hit the mark as humble married proprietors Bernie and Zelda. Marcus L. Simmons II, adopting a firm dialect, is an endearing presence as burgeoning African playwright Solomon Mantutu. Mary Mykytka as ingénue Megan Woods and Gail Andrews Turner as Broadway star Bessie are amiable in vastly underwritten roles.

Blumenthal’s vision is marred by pacing concerns, particularly stemming from the inability to allow conversations to credibly overlap as in any busy restaurant, but he scores points for dressing and designing one of the finest sets produced by the Guild since relocating to Wayne Avenue. The patrons of the Café Edison would be proud.

“45 Seconds From Broadway” continues through Sept. 8 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m.; Saturdays at 5 p.m. and Sundays at 3 p.m. The performance runs 2 hours and 25 minutes with one 15 minute intermission. Friends of the Guild are also featured as extras in certain scenes throughout the course of the run. Tickets are $18 for adults; $16 for seniors; $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

‘King’s Face’ and ‘Position’ Tie for Historic FutureFest Win

August 1, 2013 By Russell Florence, Jr. Leave a Comment

2013 Dayton Playhouse FutureFest-winning playwrights Hal Borden (left) and Steven Young (Contributed photo by Art Fabian)

History was made Sunday at the Dayton Playhouse as the organization’s 23rd annual FutureFest of new plays gave top honors to Steven Young’s fascinating historical drama “The King’s Face” and Hal Borden’s hilariously topical comedy “A Position of Relative Importance.”
Last weekend’s jaw-dropping yet welcomed tie primarily reflected the refreshing strengths and enormous potential of this year’s six diverse, developing finalists, which included the cross-cultural dramedy “Veils” by Tom Coash of New Haven, Connecticut, quirky abstract art-centered dramedy “The One with Olives” by Sam Havens of Houston, Texas, psychological drama “On the Road to Kingdom Come” by 2009 FutureFest winner and Dayton native Michael Feely of Woodland Hills, California, and the gay marriage-themed comedy “St. Paulie’s Delight” by J. Joseph Cox of Chicago, Illinois. Each contender was judged on criteria including character development, conflict, dramatic structure, plot, page-to-stage and the next stage. The adjudicators consisted of New York-based trio Helen Sneed, Eleanore Speert and David Finkle along with 1997 FutureFest winner Faye Sholiton of Cleveland and 2002 FutureFest finalist Robert Koon of Chicago.

Charles Larkowski (left) and Josh Katawick in “The King’s Face” (Contributed photo by Art Fabian)

“The King’s Face,” an engrossingly intimate two-hander superbly directed with palpable unease by Geoff Burkman, concerned the true story of Prince Harry of Monmouth, who was struck by an arrow during the 1403 battle of Shrewsbury. Inside a chamber at Kenilworth Castle, London surgeon and counterfeiter Jonathan Bradmore had the enormously difficult task of attempting to save Harry’s life by meticulously extracting the arrowhead from his skull while simultaneously saving his own.
As the sickly, agitated and paranoid Harry, Josh Katawick delivered a tremendously mature, extraordinarily emotional performance. Consistently discovering delicious nuances inside Young’s beautifully descriptive language, particularly when Harry recounts the elation and horror of battle, Katawick took his lines to Shakespearean heights while remaining astutely connected to the doubt, fear and panic boiling beneath Harry’s youthful bravado. At one point, Harry awakened from a terrible nightmare executed so brilliantly by Katawick you could feel every morsel of his anguish.

Charles Larkowski (left) and Josh Katawick in “The King’s Face” (Contributed photo by Art Fabian)

At the same rate, the outstanding Charles Larkowski, an absolute natural as Bradmore, effortlessly supported Katawick, genuinely yet cautiously fueling Bradmore’s desire to create a connection and establish trust with his future king. Adopting the warm, personable tones in his narrative duties that served him well as Cosmé McMoon in the Dayton Theatre Guild’s 2011 production of “Souvenir,” Larkowski excellently blended the roles of father, brother, therapist, priest and teacher as the play’s vivid portrait of friendship evolved.
“I enjoyed every minute of the whole process of putting (the play) together,” said Larkowski, a retired music historian who ensured all of the music in the play had a connection to Henry V. “I found both characters to be interesting and even enigmatic in certain ways. Bradmore’s professed aloofness and professionalism are a wonderful contrast to Henry’s more fiery or mercurial nature. Also noteworthy is the play’s range from highly intellectual/abstract content to the immediate, physical and visceral, which makes audiences think and squirm in their seats multiple times before the evening ends. I’ve been really overwhelmed by the response to this play. It’s definitely one of my most memorable theatrical experiences.”

“This play has a heart and a head,” said Sneed. “It is very original and highly dramatic with extreme theatricality. It is one of the best examples of a play staying in period but (remaining) accessible. I felt like I was watching a very good example of a playwright being a master of his universe.”

“This play could be performed anywhere,” said Sholiton. “It is a fully realized piece with stunning, brilliant writing.”

“I was astonished by the acting,” added Finkle, who rated the performances on par with the best of John Gielgud, Kenneth Branagh and Laurence Olivier. “This was a superlative production.”
“The actors were very attentive to the heighted language and dialect needs of the script,” said Young, a Dallas-based playwright. “They fully embraced the physical demands of (Harry’s) injury as well as the psychological state of a wounded warrior. I thought Geoff Burkman had a fantastic sense of the pacing, mood and arc of the play. Also, the simplicity of the production values supported the performances, but allowed the acting and text to remain in the forefront. Given the response of the adjudicators I was pleased they touched on the relationship of the characters, the search for a father figure, the nature of leadership and war.”

David Gaylor (left) and Titus Wolverton in “A Position of Relative Importance” (Contributed photo by Art Fabian)

“A Position of Relative Importance,” Borden’s impressive playwrighting debut which opened the festival Friday, was also a veritable home run. Breezily and sharply directed by Debra Kent, “Position” told the charming story of humble, educated and unemployed Frank (a thoroughly engaging Titus Wolverton) who suddenly advances within a New York City business due to mistaken identity and unexpected bonds. Kent’s terrific cast included David Gaylor, Meagan Kuchan, Jared Mola and Dave Nickel.

“This play is totally wonderful and very fresh,” said Finkle, who noted the script brought to mind musical theater classics “A Chorus Line” and “How to Succeed in Business Without Really Trying. “It’s all very real but also surreal. You never know where the story is going but it’s always a surprise.”
“The characters are sparkling and keep you interested,” said Speert. “It was a lot of fun.”
“Seeing the play on its feet for the first time, I was surprised at how little it surprised me,” said Borden, a Philadelphia trademark lawyer. “To a remarkable degree, what I saw on stage matched what I’d seen in my head when I wrote it even though the script itself says very little about the physical aspects of the production.”

Titus Wolverton (left) and Jared Mola in “A Position of Relative Importance” (Contributed photo by Art Fabian)

Borden was also appreciative of the commitment and generous hospitality displayed by the festival’s numerous volunteers.
“I can’t talk about FutureFest without talking about the devotion of the organizers and volunteers,” he said. “On Saturday, Chuck Larkowski chauffeured a group of writers from the Playhouse to Marion’s Piazza for lunch. By Sunday, he was on stage giving one of the best performances I’ve ever seen in a role he might only play once in his life. I’m not sure that kind of thing happens anywhere else. In three days, I met more interesting people, and made more new friends, than I had in the past three years.”

Mola, likely to receive DayTony Awards this weekend for his knockout performances last season in the Dayton Playhouse’s “Dracula” and the Dayton Theatre Guild’s “Ghosts,” was the only actor featured in two plays. Juggling the roles of marketing whiz Trevor in “Position” and inquisitive young artist Danny in “Olives” may have appeared daunting, but he regards both assignments as an unforgettable introduction.

“From the time I started doing shows in Dayton last year, people have been telling me about how amazing and unique FutureFest is,” said Mola. “Six original plays in 48 hours takes a lot of effort and a lot of love from everyone involved. I can say with only slight hyperbole that the experience was awe-inspiring. It was everything it was built up to be and more. I think ‘Position’ is a really successful comedy because it’s layered with immediate punchlines and setups that build throughout. It’s that kind of intricate ebb and flow that makes writing a tight comedy so difficult, but this was one of those shows where every joke lands. Even as a ‘straightforward’ comedy in a field of shows with more emotional heft and tackling serious subject matter, I’m thrilled the adjudicators knew how rare of a feat it was.”

Additional components of the festival included a slew of fine performances: Risa Hillsman and a truly mesmerizing Annie Pesch in “Veils” (directed by FutureFest program director Fran Pesch); Wendi Michael, Jim Lockwood, Jordan Norgaard, Richard Young, David Hollowren and Cynthia Karns in “The One with Olives” (directed by Nancy K. Campbell); Shawn Hooks, Jennifer Lockwood, K.L. Storer, Heather Campbell Martin and John Bukowski in “On the Road to Kingdom Come” (directed by Saul Caplan); and Rick Flynn, Brian Sharp, Leo Santucci, Travis J. Cook, Naman Clark, Dodie Lockwood, Art Fabian and Kelli Locker in “St. Paulie’s Delight” (directed by Kathy Mola). The striking technical contributions for “The King’s Face” (costume design by Deirdre Root, scenic design by Fran Pesch, lighting design by John A. Falkenbach, props/extractor fabrication by Blake Senseman, prosthetics/makeup by Jacklyn Alexa, and properties by Jim Foreman and Amanday Gray) are equally praiseworthy.
Looking back on the whirlwind weekend, Young and Borden, who will each receive a plaque and $1,000, remain grateful to have been finalists and share the coveted title of outstanding playwright. It’s not out of the question to assume they will spread the word about just how special this nationally recognized festival continues to be.
“FutureFest is a unique event in the theater world and the experience speaks well of Dayton, the Playhouse and the commitment of its leadership and supporters,” said Young. “I found the entire weekend to be inspiring and invigorating.”
“FutureFest was one of the best experiences I’ve had as a writer,” added Borden. “I’m going to have to come back to Dayton some other time of year just to confirm that it’s a real place and not an illusion Fran Pesch pulled out of her magic hat.”
Mark your calendars! FutureFest will return July 25-27, 2014. For more information, visit www.daytonplayhouse.org.

2013 FutureFest Audience Favorite:
“The King’s Face”

My 2013 FutureFest Ranking:
1. “The King’s Face”

2. “A Position of Relative Importance”

3. “Veils”

4. “St. Paulie’s Delight”

5. “On the Road to Kingdom Come”

6. “The One with Olives”

Joseph and the Amazing Technicolor Dreamcoat Review – Epiphany Lutheran Church – Lively Storytelling

July 20, 2013 By Russell Florence, Jr. Leave a Comment

The Epiphany Players Drama Ministry of Epiphany Lutheran Church ushers in Dayton’s 2013-14 theater season with a terrifically joyous, appealingly designed production of Andrew Lloyd Webber and Tim Rice’s 1968 biblical musical “Joseph and the Amazing Technicolor Dreamcoat,” playfully adapted from the Book of Genesis.

Desmond Thomas (center) as Joseph and the cast of Joseph and the Amazing Technicolor Dreamcoat. (Contributed photo)

Director/choreographer Megan Wean sharply fashions one of the most consistently infectious versions of “Joseph” this town has seen. This breezy presentation, fueled by enjoyably energetic routines, produces feel-good vibes from the giddy opening that finds the adorable Children’s Chorus enticed by the Bible’s enchanting allure to the ensemble’s enthusiastic delivery of the pop-friendly “Joseph Megamix” finale. Due to the musical’s engaging storytelling foundation, Wean’s particularly inspired decision to stage the show in-the-round delightfully establishes a warm sense of unity and connection that serves the comical, touching and sung-through material very well. Scenic designer Bruce Brown also deserves credit for creating a spacious set that wonderfully heightens the action thanks to a platform which occasionally rises at center stage to great, spine-tingling effect.
Desmond Thomas, one of last season’s standouts as Seymour in Playhouse South’s production of “Little Shop of Horrors,” supplies pleasant sensitivity and warmth as the meek, misunderstood Joseph, who is beloved by his father Jacob (an admirable Brian Hoff) and sold into slavery by his 11 jealous brothers. Joseph is an oddly introverted character, but Thomas effectively conveys the determination, optimism and prophetic aptitude brewing within that briefly turns vindictive when he is reunited with his brothers. Musically, Thomas offers splendid renditions of “Any Dream Will Do” and the heartbreaking gem “Close Every Door.”

First-rate vocalists Kandis Wean and Erin Ulman expertly split the duties of Narrator. Nicely clothed in white and supporting Thomas with attentiveness and grace, Wean and Ulman have a mutual respect in the spotlight. The expressive Wean is at her lyric-driven best for “Journey to Egypt/Potiphar” and firmly begins Act 2 with an inviting “Pharaoh’s Story.” Ulman, radiant as ever, shines in “Joseph’s Coat” (featuring Timothy A. Guth’s striking lighting design) and the pep rally-tinged “Go, Go, Go Joseph.”
Brett Greenwood (Reuben), Ralph Bordner (Simeon), Chace Beard (Levi), Justin Mathews (Judah), Joshua Huges (Dan), Andrew Beers (Naphthali), Charlie Arthur (Gad), Jeffrey Mack (Asher), Bryan Burckle (Isaachar), Timothy Seiler (Zebulon), and Justin Crichfield (Benjamin) are a humorous and cohesive unit as the brothers. Greenwood adopts an amusing twang for the country-flavored “One More Angel in Heaven.” Arthur also scores as the bespectacled and quirky Potiphar. Hughes, with melodramatic flair, leads an absolutely superb, nearly showstopping rendition of “Those Canaan Days.” Burckle lets loose with gleeful abandon for “Benjamin Calypso.” The charismatic Brandon Crichfield suavely embodies the Elvis-esque Pharaoh throughout the rock and roll-driven “Song of the King.”
Maria Kleuber and Lori Watamaniuk’s colorful costumes, Jason Hamen and Adrienne Niess’ cute assortment of props, and musical director David E. Brush’s steady onstage band are additional pluses within this highly entertaining showcase.

“Joseph and the Amazing Technicolor Dreamcoat” continues through July 21 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m.
Act One: 35 minutes; Act Two: 45 minutes. Jeffrey Mack, memorably seen as Cain in Epiphany’s 2009 production of “Children of Eden,” will particularly portray Joseph at the Friday and Saturday performances. Tickets are $15 for adults and $10 for seniors and children. For tickets or more information, call (937) 433-1449 ext. 105 or visit www.epiphanydayton.org