Russell Florence, Jr.

Saluting Dayton’s 2012-13 Theater Season

June 28, 2013 By Russell Florence, Jr. 3 Comments

James Oblak with “Princeton” and Annie Kalahurka, Brett Travis and Andrew Ian Adams in Avenue Q.
Photo by Scott J. Kimmins

From a glamorous Berlin hotel to a den of blood-thirsty vampires, Dayton’s 2012-13 theater season contained a slew of high quality, entertaining components.
Currently enjoying great success with the hilariously naughty “Avenue Q,” the Human Race Theatre Company impeccably produced a splendidly character and ensemble-driven, marvelously choreographed “Oliver!,” a wonderfully transformative journey that absolutely typified the joy of embracing musical theater anew. The organization’s decision to promote and encourage new plays was also evident, specifically its Midwest premiere of Janece Shaffer’s funny and poignant relationship comedy “Managing Maxine” which could be a huge hit in regional theaters across the country. The Victoria Theatre Association’s Premier Health Broadway Series deserves praise as well for delivering first-rate national tours of “The Addams Family,” “American Idiot,” “Dreamgirls” and “Rock of Ages” to name a few. Interestingly, the Victoria’s brief engagement of the delightfully risqué “Spank! The Fifty Shades Parody” was a bold move that paid off tremendously.
Within community theaters, the Dayton Playhouse had a very commendable season bookended by two strong Sondheim presentations (“Side by Side by Sondheim” and “A Funny Thing Happened on the Way to the Forum”) and heightened by the totally refreshing, delectably spooky thrill ride that was “Dracula.” The Dayton Theatre Guild, a haven for eclectic premieres, gathered fine ensembles for its engrossing productions of “100 Saints You Should Know,” “Ghosts” and “The Pillowman.” Playhouse South continued its pleasant upswing with “Legally Blonde” and “Little Shop of Horrors.” The consistently imaginative Zoot Theatre Company particularly excelled with “The Hobbit.”
On collegiate stages, Wright State University effortlessly restored “1913: The Great Dayton Flood” and pulled out the stops for an absolutely elegant, vocally striking production of “Grand Hotel: The Musical.” Sinclair Community College primarily scored with a very touching local premiere of “Intimate Apparel” and a cohesively joyful “Godpsell.” The University of Dayton supplied an impressive, fascinating look at Edward Albee’s “The American Dream” and “Zoo Story.”
On Saturday, August 3 at Sinclair Community College’s Charity Early Room, Dayton’s theater community will gather for the 10th annual DayTony Awards, honoring the achievements of designers, performers and productions across the area as voted on by 10 participating collegiate and community theaters. The event will be held in conjunction with the 12th annual Dayton Theatre Hall of Fame induction celebrating scenic and lighting designer Darrell Anderson, actor/designer/director Chris Harmon, producer John Kenley and director Kay Frances Wean. Kenley and Wean will be posthumously inducted.
Assessing the 75 shows I saw over the past 12 months, here are my picks (winners are in bold) for the season’s outstanding artists and productions.

l to r) Bruce Cromer, Richard B. Watson, Alan Bomar Jones and Julia Pace Mitchell in Race
Photo by Scott J. Kimmins

BEST PROFESSIONAL PRODUCTION OF A PLAY
Lombardi, Human Race Theatre Company
Managing Maxine, Human Race Theatre Company
Race, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
Avenue Q, Human Race Theatre Company
Next to Normal, Human Race Theatre Company/Victoria Theatre Association
Oliver!, Human Race Theatre Company

BEST PROFESSIONAL TOURING MUSICAL
The Addams Family, Victoria Theatre Association
Dreamgirls, Victoria Theatre Association
Hair, Springfield Arts Council
Mary Poppins, Victoria Theatre Association
Rock of Ages, Victoria Theatre Association

Jared Mola in Dracula
Photo by Art Fabian

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
100 Saints You Should Know, Dayton Theatre Guild
Dracula, Dayton Playhouse
Ghosts, Dayton Theatre Guild
The Hobbit, Zoot Theatre Company
The Pillowman, Dayton Theatre Guild

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
A Funny Thing Happened on the Way to the Forum, Dayton Playhouse
Legally Blonde, Playhouse South
Little Shop of Horrors, Playhouse South
Side by Side by Sondheim, Dayton Playhouse
Thoroughly Modern Millie, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
1913: The Great Dayton Flood, Wright State University
The American Dream/Zoo Story, University of Dayton
Intimate Apparel, Sinclair Community College
The Miracle Worker, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Funny Girl, Wright State University
Godspell, Sinclair Community College
Grand Hotel: The Musical, Wright State University
Spring Awakening, Wright State University

(l to r) Jenna Rubaii and Thomas Hettrick in American Idiot
Photo by John Daughtry

BEST NEW WORK
Gingerbread Children, Human Race Theatre Company
Managing Maxine, Human Race Theatre Company
Nureyev’s Eyes, Dayton Playhouse FutureFest
Spank! The Fifty Shades Parody, Victoria Theatre Association
Under a Red Moon, Human Race Theatre Company

BEST SPECIAL THEATRICAL EVENT
Ain’t Misbehavin,’ Central State University, Dayton Contemporary Dance Company and Zoot Theatre Company
American Idiot, Victoria Theatre Association
Crazy for You, Muse Machine
Into the Woods, Wright State University Senior Class
Spank! The Fifty Shades Parody, Victoria Theatre Association

BEST LEADING ACTOR IN A PLAY
Alex Carmichal as Count Dracula, Dracula
Alexander Chilton as Jerry, Zoo Story
Edward Furs as Vincent Lombardi, Lombardi
Patrick Hayes as Katurian K. Katurian, The Pillowman
Jared Mola as Osvald Alving, Ghosts
Richard B. Watson as Jack Lawson, Race

(l to r) Kate Mueller and Cyndii Johnson in The Miracle Worker
Contributed photo

BEST LEADING ACTRESS IN A PLAY
Cassandra Engber as Anna Reardon, And Miss Reardon Drinks a Little (Dayton Theatre Guild)
Lisa Howard-Welch as Helene Alving, Ghosts
Cyndii Johnson as Anne Sullivan, The Miracle Worker
Marcy McGuian as Marie Lombardi, Lombardi
Jana Robbins as Maxine Levine, Managing Maxine
Marva M.B. Williams as Esther Mills, Intimate Apparel

BEST LEADING ACTOR IN A MUSICAL
Brad Mattingly as Pseudolus, A Funny Thing Happened on the Way to the Forum
Con O’Shea-Creal as Bert, Mary Poppins
James Oblak as Princeton and Rod, Avenue Q
Jesse Sharp as Gomez Addams, The Addams Family
Desmond Thomas as Seymour, Little Shop of Horrors
Gary Troy as Fagin, Oliver!

BEST LEADING ACTRESS IN A MUSICAL
Charity Dawson as Effie Melody White, Dreamgirls
Melissa Hall as Fanny Brice, Funny Girl
Katie Pees as Kate Monster and Lucy T. Slut, Avenue Q
Trisha Rapier as Diana Goodman, Next to Normal
Sara Sheperd as Nancy, Oliver!
Carly Snyder as Polly Baker, Crazy for You

BEST SUPPORTING ACTOR IN A PLAY
Bruce Cromer as Charles Strickland, Race
Alan Bomar Jones as Henry Brown, Race
Sean Jones as John H. Patterson, 1913: The Great Dayton Flood
Charles Larkowski as Pastor Manders, Ghosts
Jared Mola as Robert Renfield, Dracula
Matthew W. Smith as Eliot, Opus (Dayton Theatre Guild)

(l to r) Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle and Corinne Engber in 100 Saints You Should Know
Photo by Craig Roberts

BEST SUPPORTING ACTRESS IN A PLAY
Catherine Collins as Mrs. Dickson, Intimate Apparel
Jenna Gomes as Grandma, The American Dream
Barbara Jorgensen as Coleen, 100 Saints You Should Know
Caitlin Larsen as Mother, Frau Graf and Kathryn, Gingerbread Children
Julia Pace Mitchell as Susan, Race
Sherri Sutter as Dotty Otley and Mrs. Clackett, Noises Off (Brookville Community Theatre)

BEST SUPPORTING ACTOR IN A MUSICAL
Ian DeVine as Jack, Into the Woods
Drew Helton as Moritz Stiefel, Spring Awakening
Joseph Medeiros as the Artful Dodger and Widow Corney, Oliver!
JoNathan Michael as James “Thunder” Early, Dreamgirls
Christopher G. Smith as Ken Page, Ain’t Misbehavin’
Justin Talkington as Eddie Ryan, Funny Girl

BEST SUPPORTING ACTRESS IN A MUSICAL
Michelle Liu Coughlin as Christmas Eve, Avenue Q
Elana D. Elmore as Muzzy Van Hossmere, Thoroughly Modern Millie
Jennifer Fogarty as Wednesday Addams, The Addams Family
Kelli Locker as Herself, Godspell
Shawn Storms as Gary Coleman, Avenue Q
Michelle Weiser as Rose Brice, Funny Girl

BREAKTHROUGH MALE PERFORMANCE
Darren Brown as Rudolf Nureyev, Nureyev’s Eyes
Jon Hacker as Melchoir Gabor, Spring Awakening
Mathys Herbert as Otto Kringelin, Grand Hotel: The Musical
Joseph Risner as Michael, The Pillowman
Maximillian Santucci as Garrett, 100 Saints You Should Know
David Thomas as Jimmy Smith, Thoroughly Modern Millie

BREAKTHROUGH FEMALE PERFORMANCE
Taryn Lemmons as Elizaveta Grushinskaya, Grand Hotel: The Musical
Katie McCarthy as Elle Woods, Legally Blonde
Abby McLean as Millie Dillmount, Thoroughly Modern Millie
Cari Meixner as Audrey, Little Shop of Horrors
Kate Mueller as Helen Keller, The Miracle Worker
Hayley Penchoff as Katherina, The Taming of the Shrew (Sinclair Community College)

(l to r) Joseph Medeiros and Blaise Bouschard in Oliver!
Photo by Scott J. Kimmins.

BEST DIRECTION OF A PLAY
D. Tristan Cupp and J. Gary Thompson, The Hobbit
Tony Dallas, The American Dream/Zoo Story
Richard E. Hess, Race
Natasha Randall, The Pillowman
David Shough, Dracula

BEST DIRECTION OF A MUSICAL
Kimberly Borst, Godspell
Marya Spring Cordes, Grand Hotel: The Musical
Joe Deer, Avenue Q
Alan Souza, Oliver!
Scott Stoney, Next to Normal

BEST CHOREOGRAPHY
Debbie Blunden-Diggs, Ain’t Misbehavin’
Lula Elzy, Crazy for You
Spencer Liff, Oliver!
Robert Longbottom and Shane Sparks, Dreamgirls
Suzanne Winland, Grand Hotel: The Musical

BEST SCENIC DESIGN OF A PLAY
Michael Amico, The Miracle Worker
Chris Harmon, Intimate Apparel
Josh Hollister, Ghosts
David Shough, Dracula
Terry Stump, The Taming of the Shrew (Sinclair Community College)

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, Avenue Q
David A. Centers, Oliver!
D. Tristan Cupp, Ain’t Misbehavin’
Pam Knauert Lavarnway, Grand Hotel: The Musical
Terry Stump, Godspell

BEST COSTUME DESIGN OF A PLAY
Carol Finley and Robin Farinet, Ghosts
Kathleen Hotmer, The Taming of the Shrew (Sinclair Community College)
Mary Beth McLaughlin, The Miracle Worker
Barbara Pontecorvo, Dracula
Shirley P. Wasser, The Hobbit

BEST COSTUME DESIGN OF A MUSICAL
D. Bartlett Blair, Grand Hotel: The Musical
William Ivey Long, Dreamgirls
Carrie Robbins, Irving Berlin’s White Christmas (Victoria Theatre Association)
Molly Walz, Oliver!
Ayn K. Wood, Ain’t Misbehavin’

BEST LIGHTING DESIGN OF A PLAY
Anita Bachman and David Shough, Dracula
Andy Balmert, The Hobbit
John Falkenbach, Ghosts
Danielle Ferguson, The Miracle Worker
John Rensel, Under a Red Moon

BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin, Grand Hotel: The Musical
Robert L. Clements, Joseph and the Amazing Technicolor Dreamcoat (Cedarville University)
Erin Jones, Spring Awakening
Natasha Katz, Mary Poppins
John Rensel, Oliver!

(l to r) Jamie McQuinn, Brad Bishop, Brad Mattingly and Saul Caplan in A Funny Thing Happened on the Way to the Forum
Photo by Art Fabian

BEST SOUND DESIGN OF A PLAY
Ben Borton, Kyle Himsworth and Matthew J. Evans, The American Dream/Zoo Story
Bob Kovach and David Shough, Dracula
James Dunlap, The Miracle Worker
John Lamm, The Hobbit
Andrew Stroud, 1913: The Great Dayton Flood

BEST SOUND DESIGN OF A MUSICAL
Craig Cassidy, The Addams Family
James Dunlap, Grand Hotel: The Musical
Kyle Himsworth, bare: a pop opera (University of Dayton)
Brian Retterer, Oliver!
Brian Ronan, American Idiot

BEST VIDEO/PROJECTION DESIGN OF A PLAY
Shaunn Baker, Lombardi
Danielle Ferguson, 1913: The Great Dayton Flood
Stephanie Lefeld, The American Dream/Zoo Story

(l to r) Tonyia Myrie Rue, Jasmin Richardson and Charity Dawson in Dreamgirls
Contributed photo

BEST VIDEO/PROJECTION DESIGN OF A MUSICAL
Darrel Maloney, American Idiot
Zach Rosing and Ben Phillippe, Avenue Q
Howard Werner, Dreamgirls

BEST ORCHESTRA
Ain’t Misbehavin,’ Musical Director: Ramon Key
Crazy for You, Musical Director: Timothy Olt
Dreamgirls, Musical Director: Jon Balcourt
Funny Girl, Musical Director: Scot Woolley
Grand Hotel: The Musical, Musical Director: Scot Woolley

BEST PROPERTIES
Sarah Gomes, The Hobbit
Jennifer Kramer, Intimate Apparel
John Lavarnway, The Miracle Worker
Wendi Michael, Stefanie Pratt and Deidre Root, And Miss Reardon Drinks a Little (Dayton Theatre Guild)
Heather Powell, Oliver!

SPECIAL ACKNOWLEDGMENTS

Andrew Ian Adams and Annie Kalahurka as the Bad Idea Bears in Avenue Q
Amanda Barker, Gabe Bowling and Alice Moran in Spank! The Fifty Shades Parody
Director Joe Beumer, lighting designer David Corson, musical director Ben Spalding’s orchestra and the cast of Centerville High School’s production of Sweeney Todd
Jim Brown as Audrey II (Voice), Little Shop of Horrors
Kathy Clark and Laura Dell’s vocal interpretations in Side by Side by Sondheim
D. Tristan Cupp’s puppet design for A Midsummer Night’s Dream (Zoot Theatre Company), Avenue Q and The Hobbit
Scenic designer Gion DeFrancesco, puppet designer Patrick Hayes and Maximillian Jansen as Rapunzel’s Prince for Miami University’s production of Into the Woods
Bryon Dobbs and Nancy Perrin’s piano accompaniment for Side by Side by Sondheim
The cast of Gingerbread Children: Andrew Ian Adams, Kay Bosse, Jamie Cordes, Charity Farrell, Caitlin Larsen, Jacob McGlaun, Robin Post, Matthew W. Smith, Scott Stoney and K.L. Storer
Bob Crowley’s Tony Award-winning sets for Mary Poppins
Geoffrey Garratt’s recreation of Matthew Bourne’s choreography for Mary Poppins
Stacy Gear’s choreography for A Chorus Line (Beavercreek Community Theatre)
Helen Gregory’s music direction for Oliver!
Patrick Hayes’ makeup effects for 100 Saints You Should Know
E. Cameron Holsinger’s recreation of Jerry Zaks’ direction for The Addams Family
Adam John Hunter’s recreation of Kristin Hanggi’s direction for Rock of Ages
Michael Mayer’s direction, Steven Hoggett’s choreography, Christine Jones’ Tony Award-winning set design and Kevin Adams’ Tony Award-winning lighting design for American Idiot
W. Stuart McDowell’s recreation of his staging for1913: The Great Dayton Flood
Gregory Meeh’s special effects for “The Addams Family”
Jared Mola’s makeup effects for Dracula
Director Fran Pesch and the cast of Love, Loss, and What I Wore: Amy Askins, Barbara Jorgensen, Elena Monigold, Annie Pesch and Gayle Smith (Young at Heart Players)
The male ensemble of Oliver!: Nicholas Belton, Blaise Bouschard, Ian Devine, Adam Lendermon, Joseph Medeiros, Chris Shea, Jonah Sorscher, Scott Stoney and Gary Troy
Chris Newman’s prologue illustrations for Dracula
Stephen Schwartz, Debbie Gravitte and Scott Coulter in Stephen Schwartz & Friends (Wright State University CELIA Distinguished Visiting Artist Series)
The Rock of Ages band under the musical direction of Brandon Ethridge
Ben Riddlebarger’s artwork for The Pillowman
Stivers School for the Arts’ productions of Godspell and Teach Me How to Cry
J. Gary Thompson’s original music for The Hobbit
Earnest Tremble’s piano accompaniment for Ain’t Misbehavin’
Basil Twist’s puppetry for The Addams Family
Shirley P. Wasser’s contributions as puppet artisan for Avenue Q

Avenue Q Review – Human Race Theatre Company – Irreverent Joy (TICKET CONTEST)

June 10, 2013 By Russell Florence, Jr. 1 Comment

The cast of The Human Race Theatre Company’s Avenue Q. Photo by Scott J. Kimmins

If you’ve ever wondered why the Human Race Theatre Company continues to be heralded as one of the finest theater troupes in Southwest Ohio, take time to catch its splendidly hilarious production of “Avenue Q,” the risqué recipient of 2004 Tony Awards for Best Musical, Book and Score.

Blessed with brilliantly witty songs by Robert Lopez (“The Book of Mormon”) and Jeff Marx and a terrifically frank, clever and insightful book by Jeff Whitty (“Bring it On: The Musical”), “Avenue Q” tells a deliciously irreverent story of growing up, making mistakes, assessing regrets, falling in love, embracing identity and discovering purpose within a whimsical New York City neighborhood (impeccably designed with eye-catching graffiti and inspired nuances by Dick Block) where humans and puppets coexist. Borrowing a sunny “Sesame Street” framework, the breezy, R-rated musical dares us to examine our own beliefs and principles by poking fun at everything from racism and poverty to collegiate concerns and gay Republicans. Sometimes the bold, raunchy material is tough to swallow or outright jaw-dropping, but it can also break your heart with striking maturity, particularly when the ups and downs of a budding relationship are treated with deeply palpable poignancy.

James Oblak with “Princeton”, Shawn Storms and Katie Pees with “Kate Monster”. Photo by Scott J. Kimmins.

The musical’s surefire comedic foundation and knockout entertainment value hasn’t diminished in the consistently reliable hands of director Joe Deer, who also helmed impressive productions of “Crazy for You” (Muse Machine) and “Spring Awakening” (Wright State) this season. Deer not only provides fluidly energetic choreography, allowing this version to surpass the original Broadway production in terms of movement and old-fashioned showmanship, but ensures his skillfully zany cast of eight steps up to the challenge of creating believable, emotionally sound characters. The material feeds the temptation to go over-the top, but it’s wonderful to see this joyfully compatible ensemble, especially those operating and voicing multiple puppets charmingly created in the Jim Henson vein by Zoot Theatre Company co-founder/ artistic director D. Tristan Cupp and adorably clothed by Shirley P. Wasser, aim for greater by achieving genuine, heartfelt sparks without aimlessly wallowing in silly, overdone caricature.

Annie Kalahurka with the girl “Bad Idea Bear”, Katie Pees with “Kate Monster”, James Oblak with “Princeton” and Andrew Ian Adams with the boy “Bad Idea Bear”. Picture by Scott J. Kimmins

The immensely engaging, effortlessly multi-tasking James Oblak, a pleasant tenor, delivers one of the best performances of the season in the dual roles of Princeton and Rod. As the sincere, soul-searching Princeton, a liberal arts graduate in need of a life coach, Oblak appealingly explores the character’s puzzling uncertainty about his future and masters the romantic awkwardness that keeps him from obtaining true happiness. But as the uptight, snarky Rod, a closeted banker who loves Broadway musicals and secretly pines for his straight roommate, he pulls out the stops by commanding the stage with a mere glance or stance. Oblak simply attacks the fussy role with marvelously expressive vitality in which every fiber of his being encompasses denial, elation and heartbreak, particularly in his fantastic rendition of “My Girlfriend, Who Lives in Canada,” Rod’s amusing and ultimately shameful post-wedding meltdown.
An absolutely heartwarming Katie Pees is equally versatile as Kate Monster, the genial kindergarten teaching assistant attracted to Princeton, and Lucy the Slut, a saucy, curvaceous chanteuse longing to make her prey feel “Special.” Pees, a gifted comedienne who can make anyone laugh with the smallest inflection, seamlessly operates Kate while voicing Lucy in some instances, but her endearing interpretation, firmly grounded with a relatable earnestness on par with Oblak’s portrayals, is most notably solidified in her beautifully tender rendition of Kate’s lovelorn ballad “There’s a Fine, Fine Line,” which can be considered the unofficial anthem of the dating world.

James Oblak with “Rod”, Brett Travis and Andrew Ian Adams with “Nicky”, Shawn Storms, Michelle Liu Coughlin and Michael Thomas Walker. Photo by Scott J. Kimmins.

Excellently detailed, full-fleshed featured performances are given by the amiable Brett Travis as Rod’s laidback roomie Nicky and porn-adoring Trekkie Monster, the carefree Michael Thomas Walker as aspiring comedian Brian, the utterly delightful and occasionally fiery Michelle Liu Coughlin as Brian’s Asian wife Christmas Eve, the comically upbeat, sarcastic Shawn Storms as building superintendent Gary Coleman, and the super cute duo of Andrew Ian Adams and Annie Kalahurka as the Bad Idea Bears.
John Rensel’s proficient lighting design, Janet G. Powell’s appropriately understated costumes, musical director Sean Michael Flowers’ well balanced six-piece orchestra, and Zach Rosing and Ben Phillippe’s outstanding video design accent this must-see Human Race season finale.
For now “Avenue Q” is where you’ll want to be.

“Avenue Q” continues through June 29 at the Loft Theatre, 126 N. Main St., Dayton. Performances are June 16 and 23 at 2 p.m., June 11, 18 and 25 at 7 p.m., and June 12-15, 19-22 and 26-29 at 8 p.m. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $41-$45. The production contains adult language/content. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org

A Funny Thing Happened on the Way to the Forum Review – Dayton Playhouse – Comedy Tonight

June 7, 2013 By Russell Florence, Jr. Leave a Comment

(l to r) Jamie McQuinn, Brad Bishop, Brad Mattingly and Saul Caplan in A Funny Thing Happened on the Way to the Forum (Contributed photo by Art Fabian).

Need a good laugh? Do yourself a favor and check out the Dayton Playhouse’s highly entertaining production of composer Stephen Sondheim and librettists Burt Shevelove and Larry Gelbart’s 1962 Tony Award-winning musical “A Funny Thing Happened on the Way to the Forum.”
A charmingly witty romp set in ancient Rome and adapted from the Roman comedies of Plautus, “Forum” centers on the madcap mayhem surrounding Pseudolus, a slave whose only chance at freedom rests with his ability to ensure his dim-witted master Hero falls in love with Philia, the genial virgin next door. It’s a tough assignment considering Philia is promised to a powerful warrior, but Pseudolus shrewdly steps up the plate relying on nothing more than a great deal of mischief and pure luck.
Director Jim Lockwood, always adept at comedy, fashions a breezy showcase strictly intended to produce a good time. His lively cast embraces the material with a fun-loving rapport that doesn’t feel calculated or forced. The jokes are a hoot because the laughs are earned beyond the script, similar to the impromptu intuitiveness of a sketch comedy troupe. The cast, winningly handling Sondheim’s tunefully tricky score and nicely costumed by Jennie Hawley, are also in sync with each other, heightening the humor particularly when an actor reacts to another actor’s silly glance or gesture.
Brad Mattingly, a terrific vocalist who would be an inspired choice to portray Sweeney Todd, impressively captures the frenzy, perplexity and persuasiveness within Pseudolus, a role that can be very exasperating and showy in less capable hands. Mattingly’s engaging spirit and sharp comedic timing serves him well as Pseudolus skillfully orchestrates the hilarious madness, which involves mistaken identity, a body snatcher and mare’s sweat. As Hero, Matthew Glenn relies too heavily on his character’s bashful innocence, resulting in a one-dimensional portrayal that goes nowhere. Still, he is physically right for the role and well-matched with the sweetly sensitive Mary Mykytka as Philia. Saul Caplan, embodying Hero’s beleaguered father Senex once more, has the audience under his spell thanks to the impeccable delivery of his one-liners. Soprano Claire Hurley’s delightfully domineering portrayal of Domina, Senex’s wife, is highlighted by her excellently lyric-driven rendition of “That Dirty Old Man.” Brad Bishop has a ball as the frantic and devoted servant Hysterium. Richard Young effortlessly supplies one of his most scene-stealing performances as the hopelessly befuddled Erronius. Jamie McQuinn keeps the comedy at fever-pitch as smarmy courtesan owner Marcus Lycus. As mighty Miles Gloriosus, the perfectly cast Jeff Sams is a brooding, goofy, intimidating and towering presence. Sarah Jordan (Tintinabula), Tamar Fishbein (Panacea), Rikki Overman (Geminae), Kali Jordan-DeBruin (Geminae), Krista Stuber (Vibrata) and Marabeth Klejna (Gymnasia) comprise the appealing courtesans. Naman Clark, Suzanne Clabaugh and Malcolm Casey are an efficiently adaptable trio of proteans.
Additionally, Sandra Hyde supplies playful choreography, especially for the amusing opener “Comedy Tonight” and the Frank Loesser-esque “Everybody Ought to Have a Maid.” Musical director Ron Kindell leads another solid orchestra.

“A Funny Thing Happened on the Way to the Forum” continues through June 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. Act One: 80 minutes; Act Two: 40 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

Dreamgirls Review – Victoria Theatre Association – Hard to Say Goodbye

June 6, 2013 By Russell Florence, Jr. Leave a Comment

It’s hard to say goodbye to musical theater as emotionally compelling, humorously spirited, visually appealing and vocally thrilling as the latest national tour of the 1981 Tony Award-winning musical “Dreamgirls,” the terrific season finale of the Victoria Theatre Association’s 2012-13 Premier Health Broadway Series dazzlingly staged by director/choreographer Robert Longbottom at the Schuster Center.
Conceived by Michael Bennett (“A Chorus Line”) and featuring a fantastic score by Henry Kreiger and librettist/lyricist Tom Eyen, “Dreamgirls” is a predominately sung-through, Motown-inspired tale skillfully and breezily chronicling the triumphs and torment of a female R&B trio during the 1960s and 1970s. Loosely based on the tumultuousness associated with Diana Ross and The Supremes, the musical weaves absorbing themes of ambition, disillusionment, greed, image, sacrifice, heartache, love, family and forgiveness into a revealing look at African-Americans desperately pursuing the American dream at any cost during a particularly thorny time when it was very difficult for R&B music to crossover to the pop charts.

(l to r) Tonyia Myrie Rue, Jasmin Richardson and Charity Dawson in Dreamgirls (contributed photo)

Charity Dawson, delivering one of the best performances of the season and blessed with a voice that can be considered an R&B hybrid of Jill Scott and Ledisi, is a marvelous focal point as overbearing, plus-sized diva Effie Melody White. Dawson turns the wonderfully complex Effie into a demanding force to be reckoned with as the lead (and loudest) singer of the Dreamettes who long to become stars but initially settle for singing backup to James Brown-esque showman James “Thunder” Early (the absolutely dynamic JoNathan Michael). When Dawson steps forward near the top of the show to fuel the forceful groove and saucy attitude within “Move (“You’re Steppin’ On My Heart),” there’s no doubt the show is in immensely capable hands. And when Effie’s promising world begins to crack the moment the Dreamettes’ shady manager Curtis Taylor, Jr. (a slick, proper and confidently cool Deonte’ Warren) repackages the group as the Dreams and taps slender Deena Jones (the demure yet determined Jasmin Richardson) to sing lead, Dawson astutely escalates Effie’s heartbreak. In fact, the final 30 minutes of Act 1 are not to be missed as the touching “Family” segues into the driving, spine-tingling title tune (beautifully and gracefully led by Robinson) and ultimately reaches a gripping climax with the fabulous squabble “It’s All Over” and Dawson’s powerhouse rendition of “And I Am Telling You I’m Not Going,” which sparked rapturous applause on opening night long before its iconic final notes. However, I must admit Dawson’s equally visceral “I Am Changing,” featuring one of many stunning costume changes, is a joyously life-affirming Act 2 roof-raiser worth the price of admission. This production, heightened by Longbottom’s superb transitions, also wisely incorporates the soul-bearing ballad “Listen” from the 2006 Academy Award-winning film version, allowing Dawson and Richardson another ample opportunity to showcase their full-throttle vocals within a perfectly honest moment of reconciliation between Effie and Deena.

In addition to the aforementioned Michael’s gospel-tinged vigor in a role he was born to play, excellent featured performances are given by the delightfully spunky
Tonyia Myrie Rue as Lorrell Robinson (the agitated fury within her deliciously fiery rendition of “Ain’t No Party” nearly rises to showstopping proportions), the amiable Terrance Johnson as Effie’s brother C.C., the lovely Kimberly Michelle Thomas as Michelle Morris, and the believably disgruntled Kolby Kindle as Early’s longtime manager Marty whose outright disdain for Curtis is always palpable.
Elsewhere, Shane Sparks, a phenomenal hip-hop choreographer known for his work on “So You Think You Can Dance,” provides sharp and vigorous routines for the male ensemble, particularly the rip-roaring “Steppin’ to the Bad Side.” Costumer William Ivey Long is responsible for an array of utterly gorgeous gowns and other colorful period designs. Robin Wagner’s original, understated scenic design is effectively enhanced by Howard Werner’s large, eye-catching LED panels that winningly expand the storytelling. Ken Billington’s splendid lighting design adds just the right amount of razzle dazzle. Conductor Jon Balcourt leads an outstanding orchestra that rarely pauses throughout this rich musical landscape. In fact, a driving rhythm lightly underscores certain Act 1 book scenes.
Thanks to a vibrant cast and striking new technical elements, “Dreamgirls” remains an infectious crowd-pleaser.
“Dreamgirls” continues through June 9 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $40-$86. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Next to Normal Review – Human Race Theatre Company/Victoria Theatre Association – The Scars of Dysfunction & Grief

May 11, 2013 By Russell Florence, Jr. Leave a Comment

Composer Tom Kitt and lyricist/librettist Brian Yorkey’s acclaimed, marvelously melodic 2009 pop/rock musical “Next to Normal” receives a solid, touching and vocally strong local premiere at the Victoria Theatre courtesy of the Human Race Theatre Company in conjunction with the Victoria Theatre Association.
Winner of the Pulitzer Prize as well as the Tony Award for Best Original Score, “Normal,” firmly and briskly staged by choreographer and co-music director Scott Stoney, paints a humorous, heartbreaking portrait of depression, dysfunction and mental illness within a modern suburban family torn apart by severe loss, disillusionment and resentment. Borrowing a clever past-meets-present conceptual device akin to Stephen Sondheim and James Goldman’s 1971 musical “Follies,” “Normal” potently addresses the emotional disarray that occurs when tragic memories and unsettled anguish overtake the mind. Everyone comes to terms with bereavement in their own way, but sometimes sorrow has no cure. Although this musical intriguingly delves into numerous facets of medical treatments with comic and catastrophic results, it also suggests starting over is the best solution of all no matter how hard it is on the loved ones left behind to pick up the pieces.

Trisha Rapier, engaging and wide-eyed with a natural penchant for comedy, is wonderfully powerful and believably
complex as Diana Goodman, the fragile mom whose bipolar disorder pulverizes her family’s foundation. The grueling range of angst-ridden, unstable emotions Rapier conveys in this vocally challenging, predominately sung-through piece grows particularly impressive in Act 2 when Diana finally begins to make sense of the past in the aftermath of shock therapy. She also sings her musical numbers with great accuracy and passion, particularly providing first-rate renditions of the folk-tinged “I Miss the Mountains,” enraged “You Don’t Know” and amusingly manic “Didn’t I See This Movie?” Tenor Jamie Cordes, very compatible with Rapier, is more suited to opera and bygone musical theater than contemporary pop/rock musical theater but offers a commendable, appropriately straight-laced portrayal of Dan, Diana’s supportive yet emotionally wounded husband. Emily Price, endearing and vulnerable, fits the bill as Natalie, Diana and Dan’s hopelessly frustrated, relatively forgotten teen daughter wary of falling in love with the nerdy Henry, appealingly portrayed by Jon Hacker. Eric Michael Krop, obtaining quite a workout repeatedly ascending and descending David A. Centers’ efficient three-story set, thrillingly drives the pulsating rock vibe within the score with refreshing new twists, especially in “I’m Alive,” as the ominous and briefly dashing Gabe. J.J. Tiemeyer completes the cast with sensitivity and bravado in his dual roles as Doctor Madden and Doctor Fine.
Additionally, co-music director Jay Brunner leads an outstanding, well balanced orchestra. John Rensel’s evocative lighting design and Lowell A. Mathwich’s attractive costumes are added benefits. Brian Retterer’s sound design became problematic on opening night but was not a total hindrance.

It will always be difficult for any professional production of “Next to Normal” to equal or surpass the off-Broadway and Broadway productions conceived for and starring West Carrollton High School alumna and Tony Award winner Alice Ripley. Ripley’s definitively visceral and unhinged portrayal of Diana off-Broadway still lingers with me to this day. Even so, the Human Race and Victoria have impressively joined forces to produce a high quality, emotionally fulfilling presentation worthy of your patronage.

“Next to Normal” continues through May 19 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 55 minutes. Tickets are $40-$86. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: Mary Poppins (Victoria Theatre Association) – Mixed Magic

April 19, 2013 By Russell Florence, Jr. 1 Comment

Eleven years ago I interviewed Sir Cameron Mackintosh, the legendary, influential British musical theater producer of “Cats,” “Les Miserables” and “The Phantom of the Opera,” during his visit to Dayton to oversee the launch of his reconceived production of “Miss Saigon” at the Victoria Theatre. At the end of our conversation, he shared his excitement about a new collaborative project with Disney he hoped would become a reality, a musical version of 1964’s beloved film “Mary Poppins” that would adhere not only to the film but the original books by P.L. Travers. In 2004, his dream came true when “Mary Poppins” opened in London, winning two Olivier Awards in the process. The show subsequently moved to Broadway in 2006, receiving seven Tony Award nominations including Best Musical and playing more than 2,600 performances before closing last month.

It’s great that Dayton audiences can finally see and judge Mackintosh’s approach as the latest, extravagant national tour of “Mary Poppins,” the timeless Victorian London tale of the enchanting titular nanny, flies into town for its local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series. However, if you’re expecting a consistently feel-good, scene-by-scene replica of the film you’ll be disappointed. Most of Richard M. Sherman and Robert B. Sherman’s incredibly delightful songs are intact, but this darker, moody interpretation, assuredly directed by Anthony Lyn incorporating new, impressively Sherman-esque songs by George Stiles and Anthony Drewe, predominately spotlights the emotionally cold rigidity within the Banks household, consisting of the properly uptight Chris Hoch as uncaring banker George, the lovely Kerry Conte as George’s longsuffering wife Winifred, and the chirpy if nearly unintelligible Madison Ann Mullahey and Lucas Schultz who performed the roles of bratty Jane and Michael on opening night.

Focusing on the Banks’ discord is appropriate, but Academy Award and Emmy Award-winning librettist Julian Fellowes (“Gosford Park,” “Downton Abbey”) has difficulty juxtaposing cheerless domesticity and themes of capitalism and feminism with the abundantly cheery charm derived from magical Mary (a pertly sophisticated, humorously meticulous Madeline Trumble, vocally upstaged by Conte). Nearly every scene in the Banks residence that doesn’t involve Mary lacks elation. The family ultimately grows closer and more broad-minded with wonderful poignancy, particularly as Jane and Michael learn a valuable lesson in benevolence, but their journey isn’t without tediousness, a problem extending to George’s static scenes at the bank lacking vim and verve.

Still, the production’s finest elements, capturing the film’s joyful allure, are the splendid ensemble numbers choreographed by Geoffrey Garratt (skillfully adapting Matthew Bourne’s marvelous original routines) and featuring outstanding triple threat Con O’Shea Creal as amiable chimney sweep Bert. The visually stunning “Jolly Holiday” (transforming a drab London park into a colorful wonderland), the heartwarming, gestural jubilance of “Supercalifragilsticexpialidocious,” and the remarkably rousing “Step in Time” (which finds Creal dancing on the proscenium in awe-inducing fashion) are totally worth the price of admission. There’s also ample whimsy in “Practically Perfect,” “A Spoonful of Sugar,” “Let’s Go Fly a Kite” and “Anything Can Happen.” Equally noteworthy are the gorgeous “Feed the Birds” and enjoyably sinister “Brimstone and Treacle,” performed by excellent understudy Elizabeth Ann Berg seamlessly pulling double duty as the endearing Bird Woman and nasty nanny Miss Andrew. “Playing the Game,” a bedtime nightmare bringing Jane and Michael’s toys to life, is an unnecessary addition contributing to an overlong Act 1.

Considering the elaborate scope of this tour, I’m surprised it doesn’t match the razzle dazzle of the Broadway production, which memorably flew Mary into the audience as a knockout conclusion. Even so, Bob Crowley’s superb Tony Award-winning storybook sets in addition to Crowley’s attractive costumes, Natasha Katz’s striking lighting design, Paul Groothuis’ first-rate sound design, and musical director Daniel Bowling’s fine orchestra are considerable pleasures.

In spite of its flaws, “Mary Poppins” remains an entertaining, family-friendly spectacle. Mackintosh wouldn’t have envisioned it any other way.

“Mary Poppins” continues through April 21 at the Schuster Center, Second and Main Streets, Dayton. Performances continue tonight at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 1 and 6:30 p.m. Act One: 75 minutes; Act Two: 65 minutes. Tickets are $52-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

ON STAGE DAYTON REVIEW: The Retreat from Moscow (Dayton Playhouse) – The Thrill is Gone

April 19, 2013 By Russell Florence, Jr. 1 Comment

(l to r): Matthew Lindsay, Chuck Larkowski and Jennifer Lockwood rehearsing The Retreat from Moscow

The Dayton Playhouse marks a refreshing return to serious drama with a beautifully commendable presentation of William Nicholson’s quietly compelling British marital study “The Retreat from Moscow.”

Nominated for three 2004 Tony Awards including Best Play, “Retreat” depicts the heartbreaking disintegration of the 33-year marriage between Edward, a history professor obsessed with Napoleon’s 1812 retreat from Moscow, and Alice, a poetry aficionado unable to cope with reality. Jamie, Edward and Alice’s only child, is predictably caught in the emotional crossfire to assess his parents’ differing viewpoints without taking sides. Nicholson (“Shadowlands”) uses the titular history lesson as a striking metaphor for survival, particularly as Edward chooses to seek love in the arms of another woman while Alice tries her best to simply move on.

Chuck Larkowski is perfectly cast and touching as the meek, wounded Edward who never really felt comfortable with or respected by Alice. There’s no second guessing as to whether or not Edward has reached the point of no return because Larkowski never wavers in the character’s determination or desires. You may not agree with Edward’s infidelity, but there’s no denying the visceral impact stemming from understanding his point of view, which is brilliantly expressed from start to finish. At the same rate, Jennifer Lockwood doesn’t miss a beat as the fiery, bewildered Alice, who feels her marriage is “struggling to be born” after three decades when faced with its demise. Lockwood could have played her juicy, antagonistic role as a relentlessly emotional train wreck, but wisely avoids the sentimental trap. On the contrary, she fills her Alice’s distressing nature with enough underlying resilience to convey the notion that she will not be entirely defeated even as she faces living alone. Lockwood is particularly strong when addressing Alice’s shock of hearing Edward disregard the many years of marriage she helped build. Matthew Lindsay is an amiable Jamie, but could have treated the character’s prized, beloved status in the sight of his parents with more emotive velocity instead of understated indifference.

Director Dodie Lockwood, providing a seamlessly fluid experience with a slightly haunting allure and a few genuine moments of levity, never allows her cast to leave the stage. Her wonderfully astute decision effectively magnetizes the family dynamics at hand with inescapably palpable potency.

“The Retreat from Moscow” continues through April 21 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: 65 minutes; Act Two: 50 minutes. Tickets are $17 for adults and $15for seniors and students. Call (937) 424-8477 or visit www.daytonplayhouse.org.

ON STAGE DAYTON REVIEW: Godspell (Sinclair Community College) – Unified Joy

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

Cast of Sinclair’s production of Godspell (photo by Patti Celek)

Sinclair Community College delivers a highly admirable production of composer Stephen Schwartz and librettist John-Michael Tebelak’s 1971 biblical musical “Godspell,” an upbeat, poignant look at the last days of Jesus Christ based on the Gospel of St. Matthew.

Incorporating fine musical revisions from the 2011 Broadway revival of “Godspell,” directly Kimberly Borst offers a sprightly, enthusiastic staging set within an urban playground excellently designed by Terry Stump. Borst’s breezy approach serves the insightful, parable-driven material well as her energetic 17-member cast delivers a consistent display of unified joy. The imperative example of diverse individuals of various backgrounds coming together to learn and grow from the teachings of Christ is evident here from the start with a strong version of “Tower of Babel,” crisply executed with fine assistance from Dan Brunk’s sound design capturing nearly every overlapping lyric in the frenzied number. As various philosophies are passionately spouted, the ensemble terrifically transitions from individualism to harmony before the tuneful proclamation of “Prepare Ye.”

The vocally appealing Natalie Sanders (a memorable component of Playhouse South’s production of “Children of Eden” last season) takes on the plum role of Jesus with a warm and inviting girl next door sensitivity. Sanders could be less presentational and calculated in her actions, but her genuineness is commendable. She also establishes an amiable, non-antagonistic chemistry with Jordan DuVall as Judas in addition to providing a tenderly optimistic rendition of “Beautiful City.”

Elsewhere, there are noteworthy performances from the fierce Kelli Locker (“Bless The Lord”), vocally striking Marcus Bedinger (“All Good Gifts”), sunny Hayley Penchoff (“Day by Day”), and the engaging pair of Destre Inlow (“We Beseech Thee”) and Skyler McNeely (“Light of the World”). Choreographer Rodney Veal creates many flavorful routines. Musical director Daniel Greene leads a solid offstage orchestra.

“Godspell” continues through April 13 in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. Performances are today and Saturday at 8 p.m. Act One: 60 minutes; Act Two: 38 minutes. Tickets are $15 for adults and $10 for students and seniors. For tickets or more information, call (937) 512-2076. For more information, visit www.Sinclair.edu/tickets

ON STAGE DAYTON REVIEW: Race (Human Race Theatre Company) – A Most Incendiary Topic

April 12, 2013 By Russell Florence, Jr. Leave a Comment

Cast of RACE (left to right) Bruce Cromer, Richard B. Watson, Alan Bomar Jones and Julia Pace Mitchell (photo by Scott J. Kimmins)

Let’s face it. In the proverbial melting pot that is the United States of America, racism is absolutely inescapable every day of every month of every year. In fact, this week’s hot-button racial controversy involves the release of country superstar Brad Paisley’s new CD featuring a collaborative tune with rapper LL Cool J entitled “Accidental Racist.” Whether race is embraced or sidestepped, it will always be a divisive magnet.

So it’s not surprising the topic inspired Pulitzer Prize-winning playwright David Mamet (“Glengarry Glen Ross”), the icon of dramas consumed with men behaving badly while speaking profanely. In his 2009 legal character study “Race,” receiving a riveting local premiere at the Human Race Theatre Company sharply directed by Richard E. Hess, he boldly confronts the subject with the deliberate aim of clearing the air. With brash fury, Mamet has come to realize in matters of prejudice avoidance leads to nowhere.

The prickly, extremely heated office debate between two cynical lawyers – one white, the other black – defending a wealthy white businessman accused of raping a young black woman tackles stereotypes and deep-seated acuities with stinging perceptiveness. You may not agree with the assessments deliberated and you may even be outright offended in the process, but Mamet daringly provokes thought nonetheless in his familiarly distinct, no holds barred manner. However, it’s not just the core rape dispute that finds Mamet at his investigatory best. He shrewdly expands his juicy, fast-moving script to explore the testy waters of race in employment applications, which allows the intermissionless play to resonate on a more personable level beyond the predictably titillating areas of sex and violence.

Richard B. Watson, who joined the cast last week replacing an ill Michael Kenwood Lippert, is terrifically combative as Jack Lawson, the sardonic, smug hotshot prepared to win at all costs. Watson supplies a remarkable gusto in his showy, off-putting role which he occasionally flavors with comical facial expressions revealing Jack’s disgust as situations twist and turn. He also pushes the dialogue’s nasty nuances to the hilt, particularly Jack’s infuriated response to the testimony of a hotel cleaning lady he assumes is an illegal immigrant. The equally excellent Alan Bomar Jones effectively counters as confidant and instigator in his firmly grounded portrayal of Jack’s partner Henry Brown, Mamet’s fairly accurate gateway into the black point of view. Bruce Cromer supplies one of his most brilliantly understated performances as the meek and mousy Charles Strickland, whose insistence to talk to the press about his questionable actions is met with disdain by Jack and Henry. Thanks to Cromer’s superb embodiment of Charles’ humility and seemingly Jekyll & Hyde guise the play thoroughly maintains its gripping guessing game foundation. As Susan, Jack and Henry’s intriguing black apprentice, the marvelously forthright Julia Pace Mitchell ensures her sassy, mysterious character is tough enough to be considered on equal footing with her bosses yet fierce enough to be believed as a strong black woman unafraid to rock the boat. Mitchell’s briefly animated interplay with Jones during Susan and Henry’s contentious clash toward the conclusion is also striking, especially considering the foreground of Mark Halpin’s fine set resembles an expansive boxing ring.

Challenging, enlightening and uncomfortable, “Race” packs a dynamic punch you’ll never forget.

“Race” continues through April 21 at the Loft Theatre, 126 N. Main St., Dayton. The play, performed in 85 minutes without intermission, is held Wednesday-Saturday evenings at 8 p.m. and Sundays at 2 p.m. Tickets are $36-$40. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org. Also, 25 special $25 tickets are available at most performances.

ON STAGE DAYTON REVIEW: Grand Hotel: The Musical (Wright State University) – Dazzling Display

March 22, 2013 By Russell Florence, Jr. 1 Comment

(l to r) Justin King, Mathys Herbert, Sierra Stacy, Taryn Lemmons and Riley Able in Grand Hotel

Forget London, Paris or Rome. Berlin beckons for the remainder of March, but a passport isn’t required. Just head to Fairborn where Wright State University brilliantly showcases its musical theater department to the hilt with a chorally sublime, stunningly designed production of “Grand Hotel: The Musical,” inspired by Vicki Baum’s 1929 period novel and adapted from the 1932 Academy Award-winning Best Picture of the same name.

Garnering 12 1990 Tony Award nominations including Best Musical and winning five, “Grand Hotel,” set in 1928 and staged with elegant theatricality by Marya Spring Cordes in the Tony-winning vein of its original director/choreographer Tommy Tune, features a book by Luther Davis (“Kismet”), music and lyrics by Robert Wright and George Forrest (“Kismet”) and additional music and lyrics by Maury Yeston (“Nine,” “Titanic”).

As a revolving door of colorful characters primarily cope with financial concerns fueling their desperation, opulent escapism unites them with results varying from euphoric to tragic. But at the glamorous Grand Hotel, where hot jazz scintillates and endless dance intoxicates, there remains the possibility of a new start, a new romance, a new hope. Even though the guests are experiencing a temporary high, it is worthwhile all the same. In fact, in the beguilingly lush tune “At the Grand Hotel,” dying Jewish bookkeeper Otto Kringelein, the only character you instantly root for marvelously embodied by Mathys Herbert in one of the best performances of the season, offers a stirring testimony to the magnetism of his retreat:

From the hospital to the town of Berlin

I have taken the train here to begin

My new life though quite soon that must end
But until that occurs I do intend to remain

I want to know that I once was here

While all my faculties still are clear

And check into my room as I planned

At the Grand Hotel

The sleek young men, the slender girls, they please my eyes

Perfumes from France and tropic plants around me rise

I listen to the swish of the silk, the tune the fiddle plays,

And I feel gay and warm and free

In this lobby past these gold-covered walls

Past the tapestries hanging I’ll walk miles of halls

I want to know that I once was here

While all my faculties still are clear

And break out of my shell, living swell,

At the Grand Hotel

The cast of Grand Hotel

The unbridled glee and resolve permeating throughout Herbert’s superb rendition of this delectable number is certainly an early hallmark of his delightfully sincere and life-affirming portrayal, culminating with a thrilling rendition of “We’ll Take a Glass Together” complete with a breathtaking transition revealing an expansive view of the hotel. Still, Herbert’s incredible appeal (so much so you’ll wonder why the curtain call doesn’t contain individual bows) doesn’t masquerade the fact that Davis’ dark, melancholy libretto is overstuffed with principal and supporting characters with differing degrees of likability and purpose, which has a tendency to keep the brisk, intermissionless action unfocused or at a chilly distance emotionally. Every subplot isn’t equally engaging or engrossing, which problematically chips away at establishing great depth or concern. Thankfully, each journey is at least interesting while adhering to the core theme of diverse souls intertwining for better or worse in extravagance.

Justin King, droll and sour, sets the proper tone as Colonel-Doctor Otternschlag, the cynical, opinionated overseer. The handsome Riley Able exudes dapper charm and frustrated anxiety as the cash-strapped, indebted Baron Felix Von Gaigern, but has difficulty with the soaring ballad “Love Can’t Happen,” one of Yeston’s most gorgeous yet demanding tunes. Taryn Lemmons, who has received expert dialect coaching from Deborah Thomas and is a bright bundle of promising bliss in “Bonjour Amour,” captivates as aging ballerina Elizaveta Grushinskaya, who visits Berlin on her eighth farewell tour alongside her devoted confidante Raffaela (an excellently understated, vocally enticing Beth Ann Wipprecht), company manager Victor Witt (Ian Benjamin) and Hungarian impresario Sandor (Casey Jordan). Andrew Quiett is fittingly imposing as ethically challenged businessman Hermann Preysing. Sierra Stacy, a fine singer, is attractively poised as Flaemmchen, the genial typist longing to trade her hard knock life for glitzy Hollywood stardom no matter the cost. Jon Hacker is very personable as Erik, the assistant concierge anticipating his son’s birth. Crisp duo Kevin Ferguson and Jordan Adams shine as two African-Americans named Jimmy tunefully considering “Maybe My Baby Loves Me.” Delee Cooper (The Countess) and Drew Bowen (The Gigolo) perform their ballroom routines with mature gusto. Kaitlyn Sage, Lizzy Miller and Amy Wheeler are perfectly perky telephone operators. Jacob Hudilston, Mark Beyer, Tyler Edwards, Cooper Taggard, Hannah Aicholtz, and Bradley Farmer are equally notable among the terrific ensemble.

Additionally, the production’s sleek ambience is cemented in Pam Knauert Lavarnway’s stylish set, D. Bartlett Blair’s lovely period costumes, Matthew Benjamin’s evocative lighting, and guest artist Suzanne Winland’s splendid choreography, particularly rising with an eerie allure during “The Grand Charleston.” James Dunlap’s first-rate sound design and musical director Scot Woolley’s outstanding onstage orchestra are also praiseworthy.

“Grand Hotel” impressively concludes Wright State’s 2012-13 season with a sophisticated finesse recalling its remarkable 2010 production of “The Light in the Piazza.” I can’t wait to book a new reservation because this dazzling display deserves to be seen more than once.

“Grand Hotel: The Musical” continues through March 31 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy, Fairborn. The musical is presented in 120 minutes without intermission. Performances are March 21 and 28 at 7 p.m.; March 22, 23, 29 and 30 at 8 p.m.; and March 24, 30 and 31 at 2 p.m. Tickets are $20 for adults and $18 for students and seniors. For tickets or more information, call (937) 775-2500.

ON STAGE DAYTON REVIEW: Thoroughly Modern Millie (Dayton Playhouse) – Admirable Adventure

March 16, 2013 By Russell Florence, Jr. Leave a Comment

Cast of “Thoroughly Modern Millie” (Photo Credit: Art Fabian)

Millie Dillmount’s endearing quest for love and opportunity in the Big Apple during the Roaring ‘20s is well secured in the Dayton Playhouse’s admirable “Thoroughly Modern Millie,” adapted by Richard Morris, Dick Scanlan and Jeanine Tesori based on the 1967 film of the same name.

Under the direction of Gayle Smith, who replaced director/choreographer Richard Croskey prior to the show’s opening, Playhouse newcomer and pleasant vocalist Abby McLean fits comfortably into the colorful persona of the bubbly yet easily perturbed Millie, who craves a better life than her Kansas hometown can supply. Effectively conveying Millie’s fervent desire to become an assertively empowered woman, McLean is especially winning while navigating the engaging relationships key to the adventure at hand. In fact, McLean’s best scenes occur opposite the amusingly uptight and domineering Ryan Fark as Millie’s stern boss Trevor Graydon and the very appealing and confident David Thomas in one of his best performances as easygoing ne’er-do-well Jimmy Smith. In particular, Thomas and McLean’s beautifully tender rendition of “I Turned the Corner” clearly reenergizes the emotional sparks necessary between Millie and Jimmy for McLean to deliver a joyously heartfelt “Gimme Gimme,” the musical’s capstone.

Additionally, the elegant Elana D. Elmore, attractively costumed by Kathy White, nearly steals the show as sophisticated chanteuse Muzzy Van Hossmere, a role she memorably portrayed five years ago in the Muse Machine’s outstanding production. Elmore’s genuine grace and soaring vocals (she received a B.A. in music vocal performance from Hampton University) are a significant attraction. It’s safe to say no one in this town has sung “Only in New York” and “Long As I’m Here With You” better.

Cast of “Thoroughly Modern Millie” (Photo Credit: Art Fabian)

Elsewhere, fine soprano Annie Nereng decently embodies Miss Dorothy Brown, humorously smitten by Graydon. As the dastardly Mrs. Meers, dabbling in the white slavery trade, Cathy Long has a tendency to deliver her lines leisurely, which chips away at the strength of Meers’ magnetism, but her rendition of “They Don’t Know” hits the mark nonetheless. Malcolm Casey (Ching Ho) and Naman Clark (Bun Foo) are obviously miscast as Asian brothers but are commendably focused. Marabeth Klejna adds flavor to the committed ensemble as Miss Flannery, Graydon’s dutiful secretary. Ever-reliable musical director Ron Kindell leads another solid orchestra.

“Thoroughly Modern Millie” continues through March 17 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: 50 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org.

In related news, the Playhouse’s 2013-14 season will consist of “Hairspray” (Sept. 6-22, 2013, co-directed by Tina McPhearson and Fran Pesch), “Deathtrap” (Oct. 18-27, 2013, directed by Jennifer Lockwood), “Fellow Passengers” (Dec. 6-15, 2013, directed by Dodie Lockwood), “Working” (Jan. 31-Feb. 16, 2014, directed by Jim Lockwood), “Whales of August” (March 14-23, 2014, directed by John Riley), and “Oklahoma!” (May 1-18, 2014, directed by Brian Sharp). Season tickets are available for a six-show option of $85 for adults and $75 for students/seniors) or a four-show option of $60 for adults and $55 for students/seniors). For more information, call call (937) 424-8477 or visit www.daytonplayhouse.org.

ON STAGE DAYTON REVIEW: American Idiot (Victoria Theatre Association) – Ode to Billie Joe

March 13, 2013 By Russell Florence, Jr. Leave a Comment

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

Much has been said about Green Day frontman Billie Joe Armstrong’s shocking meltdown at the I Heart Radio Musical Festival last fall in addition to his rehab stint for alcoholism and addiction, but his raw musical genius is of utmost importance in this context. After all, Green Day’s bold, provocative “American Idiot,” a 2010 Tony Award nominee for Best Musical expertly derived from the band’s profound 2004 Grammy-winning album of the same name, has arrived at the Victoria Theatre with astounding electricity rivaling the Broadway production.

Helmed and co-adapted by Michael Mayer – who astonishingly did not receive a Tony nomination for his brilliant stagecraft fluidly accented by Steven Hoggett’s vigorous choreography – “American Idiot” is a non-stop, 90-minute kick in the gut depicting post-911 America, particularly the George W. Bush administration, as a well of political lies within a sea of media overkill, an image superbly presented as the curtain slowly rises on an eye-catching multitude of television sets before the pulsating title number fittingly sets the rock concert tone of the evening. Armstrong’s terrifically blunt and poignant songs, co-written with band mates Mike Dirnt and Tré Cool and including tunes from the band’s 2009 Grammy-winning “21st Century Breakdown,” exhilarates and educates with overwhelming energy and attitude as “the land of make believe who don’t believe in me” takes its toll on the youth of Jingletown U.S.A., particularly three close-knit friends longing for purpose despite deep disillusionment stirring within their suburban hell consumed by “signs leading to nowhere.” The angst-filled, in-your-face numbers, presented with impeccably smooth transitions, are distinctively Green Day, especially lively anthems such as “Holiday” and “Know Your Enemy,” but certain passages delightfully recall Andrew Lloyd Webber’s “Jesus Christ Superstar” (“I Don’t Care”), Jonathan Larson’s “Rent” (“Before the Lobotomy”) and the Beatles (“Last Night on Earth”).

Alex Nee, charming, funny and touching, excellently leads the uniformly outstanding cast as Johnny (a.k.a. Jesus of Suburbia), the product of a broken home scarred by the memories of a parent who constantly killed his self-worth. Nee typifies the desperation of a suffocated suburban kid hoping for something better on the outside. The endearing Thomas Hettrick is a fine Tunny, who joins Johnny on a spirited adventure only to become fixated on a handsome celebrity figure (“Favorite Son”) that encourages him to join the military with heartbreaking results. Casey O’Farrell wonderfully completes the trio as the homebound Will, who suffers “Too Much Too Soon” with his pregnant girlfriend Heather (the humorous Kennedy Caughell).

Elsewhere, Trent Saunders thrills as the scarily intense St. Jimmy, Johnny’s drug dealer. Alyssa DiPalma properly supplies sass and tenderness as Whastername, Johnny’s love interest. As the Extraordinary Girl, the lovely Jenna Rubaii joins Hettrick for a beautifully exquisite aerial ballet during the evocative “Extraordinary Girl.” Jared Young, Carson Higgins, Aurie Ceylon, and Daniel C. Jackson are very effective in featured roles.

Unfortunately, the only drawback to this splendid showcase, which includes Christine Jones’ Tony-winning set design and Kevin Adams’ Tony-winning lighting design, is the Victoria itself. The show, specifically its towering sound equipment, is simply too large for the stage, leaving poor sightlines for practically anyone sitting in the right orchestra.

Nonetheless, like “Hair,” “Jesus Christ Superstar” and “The Who’s Tommy,” Green Day’s “American Idiot” firmly stands as another mesmerizing, thought-provoking testament to the powerful influence of rock music in the musical theater universe.

Green Day’s “American Idiot,” presented in 90 minutes without intermission, continues Wednesday, March 13 and Thursday, March 14 at 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Tickets are $46-$67. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show is recommended for ages 17 and up and includes strong language and adult themes.

Here is an audience reaction, courtesy of Victoria Theatre Association

[yframe url=’http://www.youtube.com/watch?v=5GfRMXGlqMM’]

ON STAGE DAYTON REVIEW: The Addams Family (Victoria Theatre Association) – Ghoulishly Good

March 8, 2013 By Russell Florence, Jr. Leave a Comment

It’s wonderful to know top-drawer musical comedy is alive and well at the Schuster Center thanks to the outstanding local premiere of “The Addams Family,” the absolutely hilarious 2010 musical inspired by the legendary creations of cartoonist Charles Addams in “The New Yorker” and presented on the Victoria Theatre Association’s Premier Health Broadway Series.

Completely retooled with new songs and tighter character development since its messy 2009 pre-Broadway Chicago tryout (which I loathed) and subsequently shaky Broadway mounting, “The Addams Family” finally gels as its wonderfully witty absurdity, surprisingly touching tenderness and enchanting whimsy clearly, cleanly coalesces. Walking the fine line of glorifying and poking fun at death without being in poor taste, librettists Marshall Brickman and Rick Elice (“Jersey Boys”) have streamlined the material to focus on the coming-of-age subtext stemming from the quickie engagement between morbid Wednesday Addams (a marvelously intense Jennifer Fogarty) and her new boyfriend Lucas Beineke (an appealing Bryan Welnicki). Brickman and Elice oddly glosses over the fact that Wednesday and Lucas seem too young for marriage, but the utter shock of the engagement serves its pivotal purpose nonetheless, especially when Wednesday begs her easygoing dad Gomez (terrific comedian Jesse Sharp) not to tell her assertive, perceptive mom Morticia (the cool, statuesque KeLeen Snowgren) about her big news. As Gomez and Morticia cope with Wednesday’s budding relationship and the arrival of Lucas’ straight-laced parents from Ohio, the notion of what one considers “normal” takes on deep, relatable significance. After all, despite serious eccentricities or overt dysfunction in any family, love can prevail if accepting and appreciating someone’s differences is a priority. And in this breezy tale, tunefully broadened by composer Andrew Lippa’s nifty Tony-nominated score recalling Mel Brooks’ clever ditties for “The Producers” and “Young Frankenstein,” the transformative power of acceptance proves monumental.

Wright State University alum E. Cameron Holsinger skillfully recreates Jerry Zaks’ sharp, fast-moving direction, coaxing excellent portrayals across the board. Sharp, who deserves his own sitcom, maintains a very charming, eager-to-please disposition throughout while believably conflicted and moved as Wednesday’s engagement consumes Gomez’s thoughts. He also has a delightful chemistry with Snowgren, who never allows Morticia’s iciness to supersede her underlying warmth. Fogarty, an impressive vocal knockout who nearly stops the show with a dynamic rendition of “Pulled,” is equally well suited with Welnicki, who particularly joins her for the catchy “Crazier Than You,” a strong pop number that humorously raises the stakes of Wednesday and Lucas’ affection even though their dating history could certainly benefit from more backstory. Shaun Rice endearingly guides the proceedings as the peculiarly moon-adoring Uncle Fester. Jeremy Todd Shinder’s portrayal of devious Pugsley Addams strikes a chord during “What If,” a cute song about Pugsley and Wednesday’s unique bond. Scene-stealer Amanda Bruton is a downright hoot as the daffy, vulgar Grandma. Dan Olson, who is given a prime moment to shine during the finale, scores many laughs as imposing butler Lurch. The appropriately uptight Mark Poppleton and genially offbeat Blair Anderson are great as Mal and Alice Beineke. Ensemble members James Michael Avance, Chloe O. Davis, Jake Delaney, Lexie Dorsett, Aaron Fried, Elizabeth Hake, Katie Mebane, Julia Lancione, Galloway Stevens, and Julio Cataono Yee unobtrusively weave in and out of the action as the Addams ancestors.

Additionally, Jonathan Ritter recreates Sergio Trujillo’s original choreography with finesse, specifically the amusingly energetic opening number “When You’re an Addams” and Sharp and Snowgren’s sultry “Tango de Amor.” James Kronzer’s set design modifications of Julian Crouch and Phelim McDermott’s original creations retain a stately allure. Crouch and McDermott’s costumes are also attractive. Natasha Katz’s lighting design is strikingly moody. Basil Twist and Gregory Meeh respectively supply eye-catching puppetry and special effects.

Trust me when I say “The Addams Family” would still be playing on Broadway if this splendid cast and revised script were involved. Peering into the dark side has never been more delectably entertaining.

“The Addams Family” continues through March 10 at the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $15-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: A Chorus Line (Beavercreek Community Theatre) – What They Did For Fun

March 8, 2013 By Russell Florence, Jr. 6 Comments

Overreaching can be precarious in the topsy-turvy world of community theater, especially when an organization has to live up to iconic material. A recent case can be found at Beavercreek Community Theatre where James Kirkwood, Nicholas Dante, Marvin Hamlisch and Ed Kleban’s 1975 Tony and Pulitzer Prize-winning “A Chorus Line” receives a bizarre treatment.

Director Doug Lloyd, who rarely missteps when staging musical theater, startlingly assembles a jarring hodgepodge of clashing ages, skills and sizes for this classic look at aspiring hopefuls longing to join an upcoming Broadway musical. Each dancer’s wonderfully insightful background remains attractive as always, but the sheer legitimacy of their world, including the critical proficiency to appear as viable Broadway-caliber dancers, is totally amiss here, cheapening the show’s legacy and intent. In fact, the awkward costuming appallingly suggests the show takes place at some point between 1975 and 2013. It also doesn’t help matters that the pre-recorded use of Hamlisch and Kleban’s dandy score, including such gems as “At the Ballet,” “Nothing,” “What I Did for Love” and “One,” sounds so thin and distant you’d think it was playing in a car stereo in the parking lot.

As for the cast, only Mick Merkle (Larry), Tina de Alderete (Diana), Joshua Hughes (Mark), Sandra Hyde (Sheila), Matt Curry (Richie), Lisa Glover (Connie) and Akayla Crawford (Maggie) walk away marginally unscathed. Matt Owens, who hardly dances even in the crucial opening number, particularly barks and bellows his way through his one-dimensional portrayal of director/choreographer Zach, who has difficulty grasping the job-hungry desperation of his former flame Cassie (an uncomfortable, reserved Kristan Stanforth who truly struggles in “The Music and the Mirror”). Lloyd’s ensemble, attempting Stacy Gear’s Michael Bennett-inspired choreography to the best of their abilities, also includes Lindsay Sherman, Maggie Carroll, Danielle Kubasky, Meagan Kuchan, Brian Kester, Ben Douglas, Nicholas Sutton Brown, Mike Stockstill, Anthony Fende, Gary Watts, Jordan DuVall, Ryan Garner, and Allison Willardson.

I’ve no doubt Beavercreek Community Theatre greatly admires “A Chorus Line.” However, the troupe fails to present it realistically. They haven’t gone as far as to stage an all-black version of “1776” but authenticity matters.

“A Chorus Line” continues through March 10 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. The production is performed in 120 minutes without intermission. Tickets are $13 for adults and $11 for students and seniors. For tickets or more information, call (937) 429-4737 or visit online at http://bctheatre.org

ON STAGE DAYTON REVIEW: Little Shop of Horrors (Playhouse South)

March 2, 2013 By Russell Florence, Jr. Leave a Comment

Cari Meixner and Desmond Thomas in Little Shop of Horrors (Photo by Rob Breving)

Terrific vocalists Desmond Thomas and Cari Meixner are the absolutely delightful beacons of Playhouse South’s decent “Little Shop of Horrors,” set in the 1950s on Skid Row and written in 1982 by composer Alan Menken and lyricist-librettist Howard Ashman based on the 1960 film of the same name.

Under the direction of Jenni Cypher, Thomas, a nice case for non-traditional casting, and Meixner, so kind and touching, were born to play ill-fated lovebirds Seymour and Audrey, florist shop co-workers whose affection for each other grows as big as the infamously blood-thirsty plant Audrey II (amusingly voiced by music director Jim Brown and operated by set designer Kurt Cypher) that ultimately comes between them. By the team this special duo reaches their truly sincere rendition of “Suddenly Seymour” you’ll wish Ashman created a different outcome. Individually, the open, honest Thomas doesn’t lose one ounce of tenderness as he copes with the problems and popularity that comes his way on his quest for revenge. He makes it clear that Seymour’s seedy actions are simply out of overwhelming concern for his beloved, battered Audrey, sentiments beautifully upheld in Thomas’ pleasantly pensive solo within “The Meek Shall Inherit.” He’s also great at the outset, notably fueling the powerful, spine-tingling “Skid Row (Downtown)” with meaningful urgency. Meixner primarily makes her mark musically, particularly delivering the gorgeous ballad “Somewhere That’s Green” with a sweet, music box delicacy that immediately grabs the heart.

Elsewhere, TC Schreier, in his best role to date, accents his personable portrayal of florist shop proprietor Mr. Mushnik with a comical shuffle. Zach King, an enjoyably twisted Orin Scrivello, wisely avoids the temptation to go over the top in “Dentist” and “Now (It’s Just the Gas).” Sarah-Grace Griswold (Ronette), Megan Rademacher (Crystal) and Erika Rogers (Chiffon) offer ample attitude but have a tendency to become pitchy and overly forceful in their R&B inflections. Angie Thacker and Jamal Cann offer humorous support in various roles.

The contributions of choreographer Mackensie Vonderbrink, costumer Maggie Carroll and lighting designer/technical director Jason Vogel are noteworthy. Conductor/keyboardist Brett Greenwood leads a small but steady four-piece orchestra.

“Little Shop of Horrors” continues through March 9 at the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 37 minutes. Tickets are $13 for adults, $11 for seniors and military and $8 students. Call 1-888-262-3792 or visit www.playhousesouth.org. The show contains adult language and themes.

ON STAGE DAYTON REVIEW: 100 Saints You Should Know (Dayton Theatre Guild)

March 2, 2013 By Russell Florence, Jr. Leave a Comment

(l to r): Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle, Corinne Engber in 100 Saints You Should Know (Photo by Craig Roberts)

Kate Fodor’s darkly comedic 2007 character study “100 Saints You Should Know,” currently receiving a fine regional premiere at the Dayton Theatre Guild, brings faith, faithlessness and forgiveness to the forefront in an engaging and compelling fashion under the delicate direction of Ellen Finch.

Alex Carmichal, who left an indelible impression earlier this season as the titular villain of the Dayton Playhouse’s production of “Dracula,” brings understated potency to his excellently conflicted portrayal of Father Matthew McNally, the play’s centerpiece. Grappling with unmentionable desires that betray his duties, a predictable yet reasonable notion, Matthew leaves his parish without a game plan for the future, causing him to question his beliefs as never before while returning to his childhood home for refuge. The reason behind Matthew’s hurried, vague departure, involving the provocative artwork of George Platt Lynes, is reserved for late Act 1, but Carmichal’s astutely perplexing nature remains thoroughly intriguing, especially as Matthew finds solace in reading “Dark Night of the Soul” and comes to grips with the acknowledgement that his spirituality, his connection to God, is completely broken. Amiable cleaning woman and single mom Theresa (a first-rate, emotionally distressed Katrina Kittle) inquisitively looks to Matthew for answers to her burgeoning thoughts of religion, but Fodor primarily keeps their budding relationship and insightful faith discussions ambiguous, which some may find perturbing. After all, this lonely pair feels very bonded as lost souls in search of intimacy and purpose, elements heartwarmingly fueled by Carmichal and Kittle’s innate chemistry.

Kittle also establishes a wonderfully exasperating rapport with the sassy Corinne Engber as Abby, Theresa’s startlingly rebellious, foul-mouthed 16-year-old daughter who deeply resents her and their meager existence. Theresa and Abby’s bickering showdowns are off-putting (Abby is one of the nastiest characters to come along in years), but Kittle and Engber build to a heartfelt climax nonetheless as Abby particularly grows to understand the cost of being utterly mean-spirited for selfish gain. The cast also includes the very endearing Maximillian Santucci as the gawky, gullible Garrett, a sexually confused delivery boy ridiculed by Abby to devastating proportions, and the marvelously grounded Barbara Jorgensen as Matthew’s stern, caring, Scrabble-adoring Irish mother Coleen, who has difficulty grasping his sudden change of heart and the sheer importance of acceptance.

Marcia Nowik’s efficient set as well as Patrick Hayes’ appropriate costumes and believably bloodied makeup for Santucci are also significant as this impactful tale of inner fulfillment runs its surprisingly heartbreaking course.

“100 Saints You Should Know” continues through March 10 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. Act One: 60 minutes; Act Two: 45 minutes. Cost: $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. Also, in conjunction with the Dayton Visual Arts Center, the Guild will display the works of local artist C.A. Tiedemann in its lobby during the run of “100 Saints,” which contains mature subject matter.