Sinclair Community College provides a commendably performed, terrifically designed presentation of “The Crucible,” Arthur Miller’s marvelous 1953 Tony Award-winning parable of 1950s McCarthyism set in Salem, Massachusetts circa 1692.

“The Crucible,” a well-timed season opener for Sinclair considering Wright State University’s production of Miller’s “Death of a Salesman” last month, centers on a God-fearing community grappling with issues of intolerance and morality as accusations of witchcraft by a group of vengeful teenage girls spreads like wildfire. Despite an opening half hour mired in ponderous pacing and off-kilter chemistry, director Stephen Skiles’ staging, neatly confined within Terry Stump’s excellently stark, wooden set expertly lit by Gina Neuerer, ultimately coalesces with gripping results.

As this powerfully relevant tale of betrayal, deceit and hypocrisy unfolds, Chris Hahn’s breakthrough performance as John Proctor firmly remains a towering depiction of a flawed man completely engulfed in rage, bewilderment and regret while circumstances implode beyond his control. Totally grounded and convincing as an earnest, rustic, hard working husband and father reaching his emotional and spiritual breaking point, Hahn wonderfully conveys the disgust and guilt that defines John’s infidelity with vindictive ringleader Abigail Williams (Angela Dermer) and the cold distance fueling his strained marriage to the plain Elizabeth (Allison Husko).

Additional standouts include Kes-lina Luoma as the conflicted Mary Warren, the splendidly sharp, authoritative Patrick Hayes as the unyielding, merciless Deputy-Governor Danforth, John Ray as the inquisitive, eventually distraught Reverend John Hale, and the simply fascinating Tametha Divvleeon as Tituba. Possessing an authentic dialect in her dynamic stage debut, Divvleeon supplies the first theatrical fireworks of the evening during Tituba’s passionate response to claims she conjured the devil in the forest. Embracing the sheer emotional drama of the moment for all its worth, she attacks center stage, arms outstretched and audibly winded, with a strikingly compelling intensity that seems to overtake every fiber of her being. It is an unforgettably riveting highlight within a production that unnervingly and upsettingly provokes just as Miller intended.

The Crucible continues through Oct. 22 in Blair Hall Theatre, Building 2, at Sinclair Community College, 444 W. Third St. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 68 minutes; Act Two: 68 minutes. Tickets for the Downtown Dayton Thursday performance are $20 for adults and $15 for students and seniors. Tickets for Friday and Saturday are $15 for adults and $10 for students and seniors. For additional information, visit www.sinclair.edu/tickets

“The New Mel Brooks Musical Young Frankenstein,” presented in its local premiere at the Schuster Center by the Victoria Theatre Association’s Good Samaritan and Miami Valley Hospitals Broadway Series, lacks the comedic ingenuity and melodic strength of Brooks’ historic, lucrative 2001 adaptation of “The Producers,” but it’s still a highly entertaining, impressively designed show that remains faithful to the classic 1974 film.

Adapted in 2007 by Brooks and Thomas Meehan based on Brooks’ Oscar-nominated screenplay co-written by Gene Wilder, “Young Frankenstein” tells the funny if slight story of New York brain surgeon Frederick Frankenstein (pronounced “Fronkensteen”) who travels to spooky Transylvania to claim his inheritance. Along the way, with able support from his trusty sidekick Igor, sexy assistant Inga and his legendary grandfather’s ex-lover Frau Blucher, Frederick heeds his ancestors’ advice and creates a monster. Naturally, his monstrous handiwork wreaks havoc across the countryside, eventually kidnapping and falling in love with Frederick’s glamorous fiancée Elizabeth.

The nostalgic appeal that stems from being reunited with the film’s clever jokes and sight gags (such as the gigantic door knockers, revolving bookcase and horse whinnies at the sheer utterance of Blucher’s name) is a huge plus because Brooks and Meehan have difficulty expanding and sustaining the plot’s momentum over two and a half hours. They particularly opted not to spoof musical theater conventions a la “The Producers” or provide a deeper backstory for the characters. In fact, there really isn’t anything fresh that revitalizes this tale besides its original songs, solely composed by Brooks, which are merely serviceable rather than sensational. In turn, as in the film, the finest moment belongs to Irving Berlin’s “Puttin’ on the Ritz,” brilliantly conceived by director/choreographer Susan Stroman and sharply recreated by choreographer James Gray. The imaginatively show-stopping number, worth the price of admission and just as good here as it was on Broadway thanks to a razzle dazzle ensemble, nearly rivals Stroman’s exuberant staging of “Springtime for Hitler” from “The Producers.”

Director Jeff Whiting, working with Stroman’s fantastic original design team consisting of scenic artist Robin Wagner, costumer William Ivey Long, lighting designer Peter Kaczorowski and sound designer Jonathan Deans, dutifully recreates her witty, vaudevillian vision and coaxes first-rate performances across the board. A.J. Holmes is a perfectly high strung Frederick with an appropriately astute Gene Wilder sensibility. The scene-stealing Christopher Timson portrays Igor with terrifically impish enthusiasm. The lovely Elizabeth Pawlowski is an adorably sweet Inga. Pat Sibley, an effortless comedienne with great timing, is a delightfully authentic Frau Blucher. The imposing Rory Donovan effectively juggles the Monster’s humorous and threatening characteristics. Lexie Dorsett, suitably swanky and divalicious as Elizabeth, hilariously emphasizes the innuendo within “Deep Love.” Britt Hancock shines in the dual roles of Inspector Kemp and the Hermit. As Victor, Frederick’s grandfather, Wright State University alumnus Jerome Doerger notably leads the jubilant “Join the Family Business.”

“Young Frankenstein” isn’t on par with “The Producers,” but it’s a naughty roll in the hay intended to tickle your funny bone as only Brooks can.

The New Mel Brooks Musical Young Frankenstein continues through Oct. 9 at the Schuster Center, Second and Main Streets. 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: 75 minutes; Act Two: 55 minutes. Tickets are $37-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University opens its 37th season with an emotionally compelling production of Arthur Miller’s “Death of a Salesman,” the 1949 Pulitzer Prize-winning tragedy about the downward spiral of a hapless breadwinner and his hopelessly dysfunctional family.

Guest artist Scott Stoney of the Human Race Theatre Company – who co-directed and appeared in the fantastic WSU/Human Race regional premiere of “August: Osage County” last season – simply delivers one of his most electrifying performances as the iconic Willy Loman, the terribly flawed patriarch wallowing in the depths of despair whose specific inability to salvage the past and reshape his murky future fuels the gripping potency within this three-hour memory play. From the moment Stoney sluggishly steps into the spotlight with two suitcases and an exasperated weariness in his eyes, Willy’s incredibly multifaceted persona captivates with aplomb. Without resorting to histrionics or detrimentally appearing larger-than-life, Stoney consistently produces visceral shockwaves as Willy’s prickly stubbornness, volatile uproars and heartbreaking regret palpably connect without letting go. However, it’s not just the flashy, intense scenes that are impactful. Late in Act Two, in a sublime, tear-jerking moment conceived by Greg Hellems in his impressive straight play directorial debut, Stoney gently reciprocates a loving embrace that speaks volumes in advance of Willy’s subsequent epiphany. It is a touching hallmark of this production and an image you’ll never forget.

Equally superb guest artist Lee Merrill, a WSU musical theater professor with extensive opera and musical theater credits across the country, marvelously epitomizes the devoted selflessness of Linda Loman, the good housewife willing to stand by her man and embrace his shortcomings even when she’s rudely berated. In Act One, Merrill splendidly heightens the meaningfully profound dialogue encompassing Linda’s legendary assertion that “attention must be paid.” Toward the conclusion, she wonderfully sheds Linda’s coy demeanor with thrilling rage and is completely devastating in the gut-wrenching final minutes that still packs a wallop after all these years.

Stoney and Merrill are winningly and respectively supported by Patrick Ross and Zach Schute as Biff and Happy Loman. Ross, utterly convincing as a star high school athlete ruined by his own immaturity and the earth-shattering horror of his father’s infidelity, dynamically conveys Biff’s fiery temperament and soul-searching insecurity. Schute is an amiable fit as the philandering Happy, who assumes the role of mediator during frequent family arguments that erupt here with strikingly combative, fist-pounding fury.

Hellems’ firm cast, clothed in Mary Beth McLaughlin’s fine period costumes, also includes Mathys Herbert (sharp and endearing as Biff’s childhood friend Bernard), Jenyth Rosati (effectively seductive and aggravating as The Woman), Jason Collins (first-rate as Charley, Bernard’s father and Willy’s financial saving grace), Andrew Quiett, Tyler Edwards, Tess Talbot, Justin King, Chelsey Cavender, Lauren Bernstein and Ben Street. Scenic designer Don David’s angled concept and Nicholas Crumbley’s moody lighting are atmospherically ideal.

Powerfully relevant in the midst of our current economic crisis, WSU’s “Death of a Salesman” splendidly wounds with a brutal honesty that will leave you breathless.

Death of a Salesman continues through Oct. 2 in the Robert and Elaine Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 83 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The bizarre, hilarious and intriguing life of legendary eccentric soprano Florence Foster Jenkins, Manhattan’s most reliable musical laughingstock from 1912-1944, takes center stage in Stephen Temperly’s 2005 two-hander “Souvenir,” an unforgettable play with music receiving an outstanding local premiere courtesy of the Dayton Theatre Guild.

Subtitled “A Fantasia on the Life of Florence Foster Jenkins,” “Souvenir” inherently fascinates as it warmly if hurriedly chronicles the childlike naïveté, unyielding determination and non-existent talent of its extremely unique leading lady. Jenkins, a wealthy, musically inept socialite, firmly believed she was a remarkable vocalist even though she possessed an embarrassingly awful sound. Mistaking laughs for cheers, she assumed all was well as her popular charity recitals inside the Ritz Carlton ballroom left audiences baffled, delighted and hungry for more. Jenkins’ rise as a phenomenon ultimately led to her 1944 sellout concert at Carnegie Hall, which solidified her spot in the annals of pop culture and particularly left Marlene Dietrich in hysterics.

Personality and psychology factor into the allure of this intimate tale, but musicianship is the key ingredient that binds every element. Temperley smoothly frames the action in flashback from the vantage point of Jenkins’ devoted pianist Cosmé McMoon, a fledgling composer. Struggling to pay his rent, Cosmé agreed to assist and instruct, but remained perplexed and wary of his employer’s mystique. At one point, he admits Jenkins’ folly “was so stupendous you had to admire its scale.” Still, how far was too far? He eventually accepted the reality that she would never be the marvel imagined in her head, but delicate disagreements surfaced regarding their shared love of music. In fact, Cosmé believed notes were “absolute” while Jenkins felt they were merely “guideposts.” In theory, Cosmé is correct, but Jenkins’ view is valid, particularly by today’s debatable standards as pop singers such as Christina Aguilera, Beyoncé, Mariah Carey, Celine Dion and Jennifer Hudson relish the overuse of melisma, a melodic embellishment in which a series of notes are sung on one syllable.

Under Saul Caplan’s humorous yet tender direction, Reneé Franck-Reed and Charles Larkowski wonderfully and affectionately deliver performances so instinctive you’d think Temperley wrote the play specifically for them. Appealingly costumed by Robin Farinet, Franck-Reed, who has notably appeared with the Dayton Opera, Human Race Theatre Company and Cincinnati’s New Stage Collective, brilliantly tackles the crucial believability of singing off-key with terrible pitch and no sense of rhythm. Hearing a fine soprano like Franck-Reed seamlessly destroy classics by Mozart and Verdi is a thrilling hoot. Still, the chatty charm, oddball delusion and striking innocence that kept Jenkins endearing as a consummate non-professional is not neglected in her marvelously grounded performance, which grows heartbreaking when Jenkins finally grasps the truth at Carnegie Hall. Larkowski, in a very engaging Guild debut, blends perfectly with Franck-Reed. In addition to providing terrific accompaniment and sincere narration, he sharply conveys Cosmé’s deep insecurities while fulfilling his pivotal role as Jenkins’ primary motivator, comforter and protector.

“To abuse my voice would be unthinkable,” Jenkins proudly declares in one of many witty exchanges. Thanks to a beautifully crafted finale that reveals the music inside her mind and the dynamic duo of Franck-Reed and Larkowski, it is certainly unthinkable for you to miss this absolutely captivating production.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins will continue through Sept. 25 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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The vigorous tribal strains heard at the beginning of the Human Race Theatre Company’s excellent local premiere of Yasmina Reza’s fascinating absurdist comedy “God of Carnage,” the 2009 Tony Award winner for Best Play translated by Christopher Hampton, are not erroneous. In fact, they provide a perfect precursor to the hilariously brutal philosophical war that transpires between two New York couples trying to make amends following a playground brawl involving their sons.

Reza, who won her first Tony in 1998 for the sophisticated and slightly polarizing “Art,” supplies her most commercial, relatable work to date with “God of Carnage,” a sharp examination of self-righteous parenting and affluent arrogance set inside the attractive home of Michael (Tim Lile) and Veronica (Jennifer Johansen). As the uncouth, destructive sparks fly in Michael and Veronica’s battle with Alan (Rob Johansen) and Annette (Jennifer Joplin) as well as each other, it’s easy to pigeonhole the play as needlessly mean-spirited and over-the-top. However, both well-defined couples, who deceptively appear sensible and accepting at the outset, are justifiably cruel and damaged at the core. Underneath their hysterical facades, they have loveless marriages, bleak futures and no intention to truly agree for the greater good. In 90 engrossing minutes, Reza astutely peels away the hypocritical layers of four incredible fools who presume to know everything when in fact they know nothing.

Director Margarett Perry, expertly establishing an uneasy atmosphere that ebbs and flows between awkward tension and frenzied chaos, assembles a naturally compatible, first-rate quartet. The always striking Jennifer Johansen, rivaling the luminous ferocity of Marcia Gay Harden in the extraordinary original Broadway production, is simply outstanding as a domineering, highly intellectual and startlingly overprotective mother whose interest in Africa is particularly challenged beyond her expectations. Lile, so adept at physical comedy, humorously unleashes Michael’s fatherly pride, frustrated disgust and surprising bigotry. Rob Johansen, Jennifer’s real-life husband, provides a fine example of an annoying workaholic lawyer who would rather cling to his cell phone than his wife. Joplin wonderfully reveals the feistiness brewing below Annette’s unassuming persona.

Additionally, David A. Centers’ stylishly sleek set ranks among his best designs. The contributions of costumer Lacee Rae Hart, lighting designer John Rensel, sound designer Matthew P. Benjamin and properties master Heather Powell are also commendable.

“God of Carnage,” opening the Human Race’s 25th anniversary season, will arrive this fall on the big screen re-titled “Carnage,” directed by Oscar winner Roman Polanksi and featuring Oscar nominee John C. Reilly and Oscar winners Jodie Foster, Christoph Waltz and Kate Winslet (see trailer below). Polanksi’s version sounds promising, but the Human Race undoubtedly proves how audacious, entertaining and shocking Reza’s creation can be.

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God of Carnage continues through Sept. 25 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. A special forum discussion will be held following the Sunday, Sept. 18 performance. Tickets are $18.50-$40. However, as part of the celebration of the Human Race’s 25th anniversary season, there is also a ‘25-for-25’ ticket option with the 25 seats at each end of the Loft Theatre available for just $25 at every performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In related news, Jake Lockwood, who has appeared in such Human Race productions as ‘Rounding Third’ and ‘The 39 Steps,’ will conduct a free family improv workshop Saturday, September 24 from 6 to 9 p.m. at the Boonshoft Museum of Discovery’s Dayton Regional Science Festival. The Boonshoft Museum of Discovery is located at 2600 DeWeese Parkway. For more information, call (937) 275-7431 or visit www.boonshoftmuseum.org

Five elderly prostitutes come to terms with their flings, finances and fate in Paula Vogel’s funny, racy, surprisingly touching 2004 comedy “The Oldest Profession,” excellently staged by the Dayton Theatre Guild under Greg Smith’s delicately smooth direction.

Vogel, who won the 1998 Pulitzer Prize for her masterfully dark family drama “How I Learned to Drive,” vividly creates a world of tough love and hard knocks for her seasoned ladies of the night, transplanted from the seedy glamour of New Orleans’ red-light district to the competitive hustle and bustle of New York City’s Upper West Side. The action – transpiring on a park bench in the early 1980s – certainly appeals during moments of risqué chitchat, particularly when the women reminisce about the good old days in Storyville with a candor that would make Blanche DuBois blush, but the journey is unquestionably rooted in survival. After all, the ladies have finally realized their reliable clientele are “a dying breed.” Prostitution, no matter your personal feelings, is a business, and Vogel effectively advances the motivations of her colorful characters by molding the play into an eye-opening reflection on aging and security. The economic-driven tale also contains a topical relevance that’s hard to ignore, especially talk of cost-effective strategies in the midst of a debt crisis. As a result of addressing the stakes involved rather than suffocating the audience with a barrage of raunchy jokes, “The Oldest Profession” rises above mere entertainment to a deeper, poignant plateau.

Marcella Balin, Patty Bell, Jackie Engle, Ellen Finch and Marcia Nowik, humorously and provocatively clothed with assistance from Barbara Jorgensen, establish an absolutely endearing sisterhood that speaks volumes. This marvelously naughty, witty troupe also produces huge laughs based on sheer attitude and comedic timing alone. Engle, in a welcomed return to the Guild, oozes Southern gentility as Mae, the stern, no-nonsense madam trying to keep her bickering gals in line even as her health deteriorates. Bell and Finch are respectively delightful as Lillian and Edna, a very amiable duo. Nowik, outstanding in the Guild’s production of “Independence” two seasons ago, is terrifically sharp as the outspoken Ursula, whose forward-thinking suggestions perturb Mae. Balin, in a pleasant theatrical debut, exudes a natural earnestness as the meek yet chatty Vera, a heartbreaking sight in the final minutes.

Musical numbers, playfully choreographed by John Ueber, are also present offering a glimpse of the women in pure seduction mode. Nowik, attacking the spotlight like an older and wiser Sally Bowles, particularly sells Ursula’s contribution with fierce authoritative flair.

The Oldest Profession continues through September 11 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 50 minutes; Act Two: 60 minutes. Tickets are $11-$18. The play contains strong language and adult themes. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

The Muse Machine enters its 30th year with a musically appealing production of “Tonight: The Songs of ‘West Side Story’ & More,” the arts education organization’s 15th annual summer concert which opened Wednesday, August 10 at the Victoria Theatre.

Featuring 200 performers, a conglomeration of Muse students and alumni, “Tonight” – helmed by producer Douglas Merk, choreographer Lula Elzy, music director/conductor Timothy Alt and music director/choir master Ann Snyder – infuses a refreshing range of musical styles and vocal/orchestral arrangements into its predominate salute to Leonard Bernstein’s beloved 1957 work, the first Muse student musical. Stephen Sondheim, who made his Broadway debut writing his masterful lyrics for “West Side Story” at the age of 27, is also recognized with nods to his groundbreaking “Company” (1970), sophisticated “A Little Night Music” (1973) and short-lived “Bounce” (2003). George Gershwin’s iconic “Rhapsody in Blue” (1924), which Bernstein conducted and performed with the New York Philharmonic in 1959, is in the mix as well. Peculiarly, selections from Bernstein’s “Candide,” “On the Town” and “Wonderful Town” are absent.

The breezy concert is not without morsels of awkward musicality and stagecraft, but there are significant highlights nonetheless. Jamard Richardson’s “One Hand, One Heart,” Madeline Shelton’s “Send in the Clowns,” Amber Knicole’s “Somewhere” and Abby Brown and Micah Trout’s absolutely lovely “Tonight” duet are wonderfully poignant and heartfelt. Kaja Burke-Williams, Dan Baughn, Monique Cooper and Odette Gutierrez del Arroyo firmly convey the drama within “A Boy Like That.” Noah Berry, Andrew Koslow and Carly Snyder join Brown, Trout and cast for a strong rendition of the “Tonight Quintet.” On a lighter note, Berry, Koslow and Snyder join Cameron Elliott and Khyrsten Mikel for an impressively smooth a capella version of “Something’s Coming.” Jacob Brown, David Sherman and Ryan Vallo comically fuel a non-traditional “I Feel Pretty.” The Young Ensemble has fun with “Gee, Officer Krupke.”

Additionally, the Stivers Jazz Orchestra skillfully steps into the spotlight with “Cool” and “Dance at the Gym.” Stivers string bassist Erica Harvey winningly accents the country-tinged “Jet Song” featuring Shelbi August. Elzy’s choreography, created in the style of Jerome Robbins, particularly sparkles in “Dance at the Gym” as well as “Prologue” and the spirited “America” finale, splendidly led with character-driven zest by Mary Kate O’Neill.

The evening’s centerpiece unquestionably arises from guest artist/renowned pianist Leon Bates’ fantastic, passionate delivery of “Rhapsody in Blue” alongside the Muse orchestra. Bates effortlessly tackles the exhilaratingly evocative composition with playful nuance, lilting beauty and confident gusto, attributes that earned him and the orchestra a well-deserved standing ovation. Bernstein and Gershwin would be proud.

Tonight: The Songs of West Side Story & More continues today at 8 p.m. at the Victoria Theatre, 138 N. Main St. Tickets are $20-$52. The concert is performed in 100 minutes without intermission. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Ohio, specifically Dayton, is regarded as the birthplace of aviation so it isn’t surprising that “Jinxed,” a 1930s account chronicling pioneering colleagues Amelia Earhart and Jackie Cochran written by Stacey Luftig of New York City, received top honors at the Dayton Playhouse’s 21st annual FutureFest of new works, held July 29-31.

Luftig’s historically engaging if considerably cinematic and conceptually conventional tale – which challenged pre-conceived notions of Earhart’s legacy while shedding intriguing light on the relatively forgotten Cochran – garnered the highest scores based on criteria such as dialogue, plot, dramatic concept/theme and page-to-stage. The play’s enjoyable staged reading presentation, fluidly directed by Richard Brock, was marvelously heightened by a fierce, strikingly full-fledged performance by Kate Smith as the abrasive, tough-talking, determined, troubled and unabashedly self-absorbed Cochran, the first woman to break the sound barrier and an influential component in Earhart’s celebrated yet shaky career. Brock’s strong cast included Wendi Michael (an appealing Earhart), Michael Taint, Matt Turner, Franklin Johnson, Cynthia Karns and Mike Rousculp.

Longtime adjudicator Helen Sneed praised the material for its “great exposition” and “magnificent language.” “(‘Jinxed’) has elements of Greek tragedy and history combined,” echoed Eleanore Speert, founder and president of Speert Publishing who returned for her 10th FutureFest. “This play is about fame and what happens to the famous,” added David Finkle, senior theater critic for Theatermania.com. “(Luftig) should sell it to Lifetime.” The panel included 2002 FutureFest finalist Robert Koon of Chicago Dramatists as well as Dayton Theatre Hall of Fame member Dr. Robert W. MacClennan, professor emeritus of Sinclair Community College.

“So many things about FutureFest blow me away,” Luftig reflected. “So much generosity from so many people in such a short time. The planning and coordination that go into putting up three staged readings and three productions in one weekend – each for a single performance – it’s staggering. But you know what’s most amazing to me? An inspired director and a group of seven talented actors rehearse my play for six weeks, three nights a week. They read biographies of the real people my characters are based on. They stop rehearsals and debate, 10 or 15 minutes at a time, about this line or that line and what it means to the play. They devote the energy to create real relationships so that I could see my play not only live, but breathe. The designers give me lighting, a simple, elegant set, and sound effects – the sound of airplanes and radio announcers so critical to realizing my story. As if this weren’t enough, smart, sophisticated theater professionals – five of them! – give me constructive criticism, analysis and encouragement. And then the audience challenges me with their questions and their honest reactions. All these people, this fabulous community, do all these things because they love theater and to help me, a playwright they had never heard of, hear and see my work. And instead of getting an award, they give one to me. I am overwhelmed.”

The remaining contenders, selected from over 240 submissions, were: “Drawing Room,” an introspective examination of art and artists by Mark Eisman of New York City; “Roosevelt’s Ghost,” a politically charged drama by Dayton native and 2009 FutureFest winner Michael Feely of Woodland Hills, California; “The Haven,” a wonderfully contemporary, intimate, witty, relationship-driven character study by Richard Etchison of Los Angeles, California that could be a refreshing addition to the Chicago, New York or L.A. theater scene; “Allegro Con Brio,” a farce by Dayton resident Nelson Sheeley of Sinclair Community College; and “A Woman on the Cusp,” a mental illness-themed drama by two-time FutureFest finalist Carl L. Williams of Houston, Texas.

In addition to the cast of “Jinxed,” standout performers in the festival, which remained entertaining despite the lack of air conditioning, included: Mark Jeffers, Annie Pesch and Rachel Wilson of “Drawing Room”; Debra Kent, Charles Larkowski, David Shough and Michael Stockstill of “Roosevelt’s Ghost”; Megan Cooper, Danny Lipps, Deirdre Bray Root and Richard Young of “The Haven”; Cheryl Mellen of “Allegro Con Brio”; and Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer of “A Woman on the Cusp.” Also, Drawing Room” was terrifically accented by Terry K. Hitt, Patrick Hayes, Wendi Michael and Jacqui Theobald’s illustrations as well as Kirk Sheppard’s photography.

In a rare turn of events, according to FutureFest program director Fran Pesch, determining the audience’s favorite play has become problematic. “With approximately 75 percent of passholders returning ballots, it is impossible to name a definite audience favorite this year,” she said. “Three plays came within four votes of each other: ‘Jinxed,’ “The Haven’ and ‘Roosevelt’s Ghost.’”

My FutureFest rankings:

1. “The Haven”

2. “Roosevelt’s Ghost”

3.  “Jinxed”

4. “Drawing Room”

5. “A Woman on the Cusp”

6. “Allegro Con Brio”

For additional information, call the Dayton Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

Terrific vocals, effectively ominous Nazi overtones and a delightful lead performance are great assets to Epiphany Lutheran Church’s sufficient 20th anniversary production of Rodgers and Hammerstein’s “The Sound of Music.”

Lovely soprano Michele Borns – simply excellent in Epiphany’s productions of “Jane Eyre” and “The Music Man” – was born to play Maria, the bubbly, devout postulant-turned-concerned governess. Borns delivers all of her musical numbers with winsome appeal and supplies a convincing evolution from spunky innocence to confident maturity. She doesn’t receive much support from an awkward Wayne Ulman as Captain Georg Von Trapp, but her vital scenes opposite Von Trapp’s seven children (enjoyably and compatibly portrayed by Erin Ulman, Timothy Seiler, Abby Kress, Nick Kress, Megan Ulman, Emily Kennebeck and Abbey Fry) are authentic, warm and humorous, especially “Do Re Mi,” “My Favorite Things” and Annette Looper’s colorfully choreographed “The Lonely Goatherd.”

Renee Franck-Reed, another standout soprano, is also strong as the kind, practical Mother Abbess. Franck-Reed’s firm rendition of “Climb Ev’ry Mountain” certainly brings Act 1 to an emotionally fulfilling finish. Ian Benjamin (Rolf) joins Ulman for a very charming “Sixteen Going on Seventeen.” Megan Rehberg (Baroness Schraeder) is properly sophisticated and attractively costumed by Maria Klueber and Lori Watamaniuk. Ralph Bordner (Max Detweiler), Sandy Schwartzwalder (Frau Schmidt), Chace Beard (Franz), Michael Shannon (Herr Zeller), Martha Armstrong-Benjamin (Sister Berthe), Becki Foster (Sister Margaretta) and Allison Tura (Sister Sophia) and the beautifully harmonious Nun Choir are also noteworthy.

Director Brett Greenwood astutely heightens the inherently sappy yet solid material with chilling archival footage of Hitler’s dark reign. Musical director John Benjamin leads a steady orchestra. Bruce Brown creates another crafty, eye-catching set design.

The Sound of Music continues through Sunday, July 24 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Act One: 1 hour and 45 minutes; Act Two: 55 minutes. The production is double-cast. The cast reviewed will perform Friday, July 22 and Saturday July 23 at 8 p.m. The second cast, starring Kandis Wean as Maria, will perform Saturday, July 23 and Sunday, July 24 at 2:30 p.m. Tickets are $15 for adults and $10 for children 12 and under in addition to seniors 60 and older. For tickets or more information, call Jane Lane at (937) 433-1449 ext. 105 or send her an e-mail at [email protected]. A portion of the proceeds will support the Leukemia & Lymphona Society in honor of the late Kay Frances Wean, longtime director of the Epiphany Players Drama Ministry.

Fourteen years since opening on Broadway, where it continues to reign as the dominant musical theater standard-bearer for kids and adults alike, Disney’s “The Lion King” finally arrives in Dayton to unsurprisingly close the 2010-11 season on a marvelous high note overflowing with visually stunning pizzazz and uniformly excellent performances.

“The Lion King,” based on the 1994 animated film of the same name and presented by the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series, is the technically brilliant brainchild of director Julie Taymor and a recipient of six 1998 Tony Awards including Best Musical. The production simply astounds at the outset due to the incomparable pageantry of “Circle of Life,” one of the finest opening numbers ever created. Within five applause-inducing minutes of spine-tingling splendor, a whimsical actor-puppet assemblage of birds, elephants, gazelles, giraffes, rhinoceroses, zebras and more gather together on stage and off. Although this ingeniously conceived prologue feels slightly rushed here and could benefit from more processional surprises in the aisles, a concern I’ve had with previous “Lion King” tours over the years, it is a crowd-pleasing hallmark worth the price of admission.

Elsewhere, Taymor’s finesse as an avant garde visionary stunningly elevates the action from her incorporation of shadow puppets to moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning). Still, her artistic wizardry, particularly her fascinating mask/puppet designs co-created with Michael Curry that never hide the actors, doesn’t overshadow the material, a significant attribute oddly ignored during her muddled creation of “Spider-Man: Turn Off the Dark.” After all, this engaging yet character-overloaded tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father certainly resonates on its own without flashy conceptual interference as formulated by librettists Roger Allers and Irene Mecchi, who remain faithful to the charm and heartbreak of the original screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An assortment of strikingly authentic and atmospheric African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Oscar winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs, which include the Oscar winning “Can You Feel the Love Tonight.” Curiously, “The Morning Report,” a breezy ditty by John and Rice written for the stage version, has been cut from Act 1 but is not a detrimental loss.

Jelani Remy brings terrific soul-searching introspectiveness to his portrayal of Simba, who mistakenly flees Pride Rock in shame and ultimately confronts his past along the way. Remy’s achingly tender rendition of “Endless Night” is a truly compelling Act 2 highpoint. Dionne Randolph is fittingly regal yet compassionate as Mufasa, Simba’s imposing father. J. Anthony Crane embodies Simba’s treacherous uncle Scar with cool understatement and appealing sarcastic malevolence. Brenda Mhlongo, a joyful and playful Rafiki, particularly ushers in a dynamically uplifting version of “He Lives in You” opposite Remy late in Act 2. The delightful Tony Freeman, an expert puppeteer, exudes tightly wound sophistication as the fussy yet devoted Zazu. As Timon and Pumbaa, Nick Cordileone and Ben Lipitz respectively fulfill their comic relief duties with carefree zest. Andrew Arrington (Banzai), Monica L. Patton (Shenzi) and Ben Roseberry (Ed) are a compatible trio of silly hyenas. Syndee Winters, a fiercely determined Nala, supplies a lovely rendition of “Shadowlands.” Dusan Brown, Jerome Stephens, Jr., Monique Lee and Madai Monica Williams respectively alternate the roles of Young Simba and Young Nala. Tryphena Wade as Sarabi and Sharron Williams as the Cheetah are also noteworthy.

In addition to Taymor’s dazzling costumes, a particular explosion of color in the eye-catching “One by One,” Richard Hudson and Donald Holder are respectively responsible for an utterly remarkable set and lighting design. Garth Fagan’s spirited choreography is energetically executed with precision and passion. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.

Whether you’re interested in seeing “The Lion King” for the first or fifth time, it remains an awesome spectacle not to be missed.

Disney’s The Lion King, which opened Thursday, June 16, continues through Sunday, July 10 at the Schuster Center, Second and Main Streets. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 1 and 6:30 p.m. Act One: 68 minutes; Act Two: 60 minutes. Tickets are $32-$141. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In addition, the Downtown Dayton Partnership and Victoria Theatre Association have partnered with local businesses to offer special discounts for Lion King ticket holders. For a complete list of promotions, along with parking information and more, visit www.downtowndayton.org