Russell Florence, Jr.

The cast of The Mystery of Edwin Drood

Beavercreek Community Theatre delivers a zestful, warmly interactive and impressively sung production of Rupert Holmes’ tuneful, rarely staged 1986 Tony Award-winning musical “The Mystery of Edwin Drood,” an audience-friendly show within a show circa 1892 adapted from the unfinished novel of the same name by Charles Dickens.

Crisply directed in a witty tongue in cheek manner by Chris Harmon, also responsible for an attractive set complete with footlights and theater box, this breezy, well cast “Drood” engages from the start as a throng of Victorian performers from The Music Hall Royale casually connects with the audience before launching into the titular tale as an assortment of colorful characters. The love triangle-driven plot centers on crazed choirmaster John Jasper (Jonathan Berry) who, in Phantom-esque fashion, pines for his self-effacing student Rosa Bud (Bethany Locklear), a beautifully demure soul engaged to his carefree nephew Edwin Drood (Amy Leigh). When Edwin inexplicably disappears on Christmas Day, it’s anyone guess as to what happened. Since Dickens was unable to provide closure, the enjoyment of determining the mystery is left entirely in the hands of the audience, a conceptual hallmark ensuring appealing unpredictability.

Despite the fact that a few punch lines in the libretto fall flat or feel forced, Holmes nonetheless interweaves the world of the Music Hall Royale and Dickensian London with great skill, guided with crowd-pleasing vitality by Dean Swann as Chairman William Cartwright/Mayor Thomas Sapsea. Swann, a memorable Dr. Scott in BCT’s “The Rocky Horror Show” who possesses a knack for improvisation, winningly accents his slightly kooky, deceptively calculated portrayal with a jolly Zach Galifianakis sensibility. The equally excellent Berry, effortlessly brooding and primarily known for plays, supplies his most vocally arresting musical theater performance to date. Near the outset, he absolutely solidifies his strikingly unhinged embodiment of Jasper with an intense yet humorous rendition of “A Man Could Go Quite Mad.” Locklear, an outstanding soprano who commands the stage with graceful gentility, is a true find. Her plaintive interpretation of the gorgeous “Moonfall” is absolutely stunning. At the same rate, “The Name of Love,” her duet with Berry aided by John Falkenbach’s fiery red lighting design, pulsates with an alluring seductiveness recalling “The Point of No Return” from “The Phantom of the Opera” and “Dangerous Game” from “Jekyll & Hyde.” Leigh, who doubles as Dick Datchery, particularly fills her titular portrayal with charm, but I wish the excitable sparks prevalent within her stirring rendition of “The Writing on the Wall,” which concludes the show, were consistent in her work throughout.

Additionally, as the seedy Princess Puffer, Pam McGinnis is a reliably earthy joy delivering “The Wages of Sin” and “The Garden Path to Hell.” Charles Larkowski (Rev. Mr. Crisparkle), Shawn Hooks (Neville Landless), Jim Lockwood (Durdles), Bryan Wilcox (Deputy) and Thomas Cole Schreier (Bazzard) are apt comedians. Lindsay Sherman (Helena Landless), Jenna Owens (Wendy) and Tara Nicole Murphy (Beatrice) join Locklear for the lovely “Moonfall Quartet.” Megan Vander Kolk, Michael J. Stockstill, Matt Owens, Nicole Dine, Jennifer Wilson and Jeremy D. King complete the very compatible cast, who are nicely costumed in Victorian garb by Josh Hollister and energetically executes Annette Looper’s commendable choreography.

The Mystery of Edwin Drood, which opened Friday, June 10, will continue through Sunday, June 19 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. Act One: 79 minutes; Act Two: 55 minutes. Tickets are $13 for adults and $11 for students, seniors and BCT members. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org

Greg Smith and Barbara Jorgensen in Southern Comforts

The Young at Heart Players, Dayton’s only senior theater troupe, ushers in its second decade with a heartwarming and humorous production of Kathleen Clark’s 2006 two-hander “Southern Comforts,” presented in collaboration with the Dayton Theatre Guild.

Fluidly directed by YAHP founder Fran Pesch and set in a Victorian home in New Jersey circa 1996, “Southern Comforts,” as seen at its well paced final dress rehearsal, features very charming turns by Barbara Jorgensen and Greg Smith as Amanda Cross and Gus Klingman, a colorfully opinionated duo who learn to love again despite their personal and geographical differences. Clark predictably lays the groundwork for a happy ending in the first scene, but Jorgensen and Smith’s endearing chemistry and sharp characterizations keep the breezy action thoroughly engaging, particularly in the final minutes which provide touching closure.

Jorgensen effortlessly handles the casual ease and subtle complexities inherent in Amanda, a churchgoing chatterbox from Tennessee who loves baseball and still longs for romantic pleasures. She particularly shines with a captivating mix of anger and bewilderment late in Act 2 when Amanda grows perturbed and perplexed about Gus’ decision not to share a burial plot with her. As the strong-willed Gus, a New Jersey native still shaken by his late wife’s unhappiness and emotional detachment, Smith winningly reveals the inner struggle of a man reticent of losing his independence while genuinely longing for meaningful companionship. Although Gus totally desires a new chapter with Amanda, Smith astutely reiterates how difficult compromise can be.

“Southern Comforts” is intended for an older audience, but its tender sentiments and lasting reminder that all relationships must evolve and adapt has unlimited appeal.

Southern Comforts will be staged Friday, June 10 and Saturday, June 11 at 8 p.m. and Sunday, June 12 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave. The play is performed in 90 minutes with one 15 minute intermission. Tickets are $12 for seniors and students and $15 for adults. For more information, visit www.daytontheatreguild.org

Jamie Cordes and Maria Couch in right next to me

Composer Gregg Coffin, familiar to local musical theater aficionados for his masterful portrait of a fractured family (“Convenience”) and zany dose of musically flavorful romance (“Five Course Love”), is in the spotlight once more as the Human Race Theatre Company presents the regional premiere of his genuinely affecting, sung-through opus “right next to me,” a poignant, solemn and timely musical about love, loss and acceptance that in some respects feels as if it’s still a work in progress.

Since its 2009 Human Race workshop, “right next to me” underwent major rewrites resulting in a more succinct vision. It has smoothly advanced from a tale of three interweaving storylines to one that specifically focuses on the depressed, heartbroken Jen (Maria Couch), a widow struggling to move forward a year after her husband, Marine Major David Marshall (Jamie Cordes), was killed in Iraq. With the help of her brother-in-law, Marine Captain Michael Marshall (Jim Poulos), Jen is ultimately able to assess and endearingly reflect on the past and her current state of transition as she joins Michael in scattering David’s ashes at a variety of meaningful places per his request such as a sledding hill, a trestle bridge and an amusement park.

Oddly, the first and second scenes are slow, confusing and musically unexciting. Jen’s loyal friend Trish Holmes (Dana Mierlak) particularly opens the show with a bundle of energy, but there isn’t a clear indication of who she is or why she is an important presence. It is understandable Jen would need someone to confide in, but Trish, a busy supermom, is presently underdeveloped to the point of being superfluous. Mierlak, a fine vocalist, tries to inject depth into the role but her forced efforts, including her comedic timing, fall short under the otherwise fluidly focused direction of Melissa Rain Anderson.

Still, Jen and David’s appealingly surreal exchanges, a series of well-conceived flashbacks and the impactful journey of reconciliation between Jen and Michael evolving from rocky discord to tender hopefulness keep the action emotionally resonant while providing an assortment of tuneful pluses. Coffin, responsible for the expert orchestrations, admirably infuses evocative Middle Eastern inflections into the pop/ballad-friendly score for some of David’s Iraq-inspired numbers, solidly interpreted by Cordes in one of his most striking portrayals. Couch, a naturally emotive actress very compatible with Cordes throughout, especially in the delightful “Two Chilly People,” brings Act 1 to a tear-jerking finish with a beautifully pensive rendition of “I Can’t Believe You’re Gone,” a plaintive anthem detailing Jen’s shell-shocked existence. Poulos, so marvelous in “Convenience” opposite Anderson, equally shines, fully conveying Michael’s conflicted nature and bringing heartfelt sincerity to his desire to follow David’s example and become a better man. He also winningly sings the Billy Joel-esque “Confirm/Deny” and terrific title number, a quietly captivating song that deserves a reprise by Jen in the final scene.

Despite conceptual shortcomings, “right next to me” is one of the most engaging new works of the season. It certainly has the potential to be catapulted from decent to dynamic.

right next to me, which opened Friday, May 27, continues through Sunday, June 12 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There will be special 7 p.m. performances Sunday, June 5 and Tuesday, June 7. Act One: 73 minutes; Act Two: 40 minutes. The Friday, June 3 performance has been designated ‘Blue Star Mothers Night’ in which $10 from each adult single ticket purchase will be donated to the Dayton Chapter of Blue Star Mothers, an organization supporting military personnel and families. In addition, there will be a post-show talkback following the Sunday, June 5 matinee moderated by Human Race marketing director Leigh Allan and featuring composer Gregg Coffin. Before the June 7 performance, the Lite Fare at The Loft event, offering gourmet sandwiches and desserts for patrons in the Loft lobby courtesy of Citilites, will begin at 5:30 p.m. For tickets or additional information, call (937) 228-3630 or visit www.humanracetheatre.org.

In related news, the Human Race’s 2011 Festival of New Musicals will be held August 5-7 at the Loft Theatre. This year’s selections are Love Makes the World Go ’Round: The Songs of Bob Merrill, Pump Up the Volume (presented by Encore Theater Company and based on the 1990 film of the same name) and Play It Cool.

Geoff Burkman and Amy Brooks in Mauritius

Cincinnati native Theresa Rebeck’s terrifically engrossing 2007 comic drama “Mauritius” receives an excellent local premiere at the Dayton Theatre Guild.

Sharply staged with subtle nuances by Saul Caplan, “Mauritius” concerns the sibling rift between half-sisters Jackie (a dynamic Amy Brooks) and Mary (a firmly unyielding Teresa Connair) who differ on the sentimental value of a family stamp collection they possess following their mother’s death. In Jackie’s eyes, the rare collection –  potentially worth $6 million and containing a one-penny and two-penny “Post Office” stamp printed incorrectly in 1847 on the titular island near Madagascar – is the quick answer to her financial problems, but Mary feels it should be preserved in a museum as a tribute to her late grandfather. This intriguing conflict is the source of the play’s emotionally compelling pulse yet the astutely woven inclusion of three colorful stamp aficionados broadens the material past familial baggage in an attempt to raise its suspenseful stakes while addressing the complex delicacy associated with bargaining and negotiating.

Brooks, in a strikingly meticulous performance rivaling Alison Pill’s turn in the original Broadway production, embodies Jackie with marvelous tenacity and gumption. With casually instinctive yet passionate flair, she transforms Jackie into a formidable force and an impressively quick study into the world of stamp collecting. She also beautifully reveals the hurt and agony set into motion by Mary’s absence as their mother grew ill and during her youth, winningly implying late in the play that Jackie was abused by her father. Still, one of her finest moments, arriving at the end of Act 1 as Jackie and Mary reach a breaking point in their struggle to compromise, is splendidly shared with Connair, who avoids seeming prudish or uncaring in a role that is borderline icy and detached.

Additionally, Geoff Burkman absolutely shines as the foul-mouthed, easily irritable and incessantly stringent Sterling, an intimidating businessman who craves the art of the deal and prefers to call the shots. Burkman’s piercingly calm and cool delivery of Sterling’s enticing monologue about commerce and the stark reality of transactions, in which “the rules become your enemy,” is a magnetic high point. Alex Carmichal is equally convincing as Sterling’s less menacing colleague Dennis. Pat Santucci completes the cast as Philip, an ethically challenged philatelist at the center of one of the play’s juicy twists.

Choosing to live in the past or present is a key concern in this appealing creation from Rebeck, a Pulitzer Prize finalist for “Omnium Gatherum” who recently wrote the pilot episode for next season’s NBC Broadway-themed series “Smash.” Jackie and Mary’s bickering battle tears them apart, but witnessing their journey is well worth your time.

Mauritius, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 54 minutes; Act Two: 53 minutes. Tickets are $10-$17. The play contains adult language. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Photo Credit: Cory MacPherson

Wright State University supplies a breezy and joyful production of the tuneful tap dance extravaganza “42nd Street,” Michael Stewart, Mark Bramble, Harry Warren and Al Dublin’s hokey yet engaging Depression-era love letter to musical theater based on the 1933 film of the same name.

Much of the success of this highly entertaining showcase, attractively designed by costumer D. Bartlett Blair and scenic artist Tamara L. Honesty, stems from the indelible influence of choreographer Rick Conant, who has staged numerous productions of “42nd Street” across the country and internationally specifically recreating the original choreography of the legendary Gower Champion (“Bye Bye Birdie,” “Hello, Dolly!”). From the rousing tap frenzy of the opening “Audition” and the circular fluidity of “Getting Out of Town” to the cheery exuberance of “We’re In the Money” and the carefree flair of “Lullaby of Broadway,” Conant winningly upholds Champion’s legacy without embellishment. He also seamlessly shares directing credit with Joe Deer, who astutely chose to produce the original 1980 script which is tighter and more succinct than the 2001 revival extraneously equipped with additional scenes/songs.

Conant and Deer’s wonderfully spirited cast is impressively headlined by amiable triple threat Alyssa Hostetler who was born to play Peggy Sawyer, the unassuming hoofer from Allentown, PA who becomes the saving grace of the Broadway-bound musical comedy “Pretty Lady.” Hostetler’s humility and naietve are pleasant attributes as Peggy faces her share of adversity, but her particularly fantastic tap abilities is a hallmark of the opening scene and remains a knockout. Valerie Reaper’s beautiful vocals add to the enjoyment of her deliciously biting yet vulnerable portrayal of aging diva Dorothy Brock. Reaper’s renditions of “Shadow Waltz” and “I Know Now” are as lovely as “About a Quarter to Nine” which she shares with Hostetler. Jason Collins, a firm baritone, is a natural fit as the demanding producer-director Julian Marsh, but he occasionally flubbed his dialogue at the performance attended which lessened Julian’s self-assured persona.

Further, terrific tenor Zach Cossman has slight difficulty balancing the charm and vanity within “Pretty Lady” leading man Billy Lawlor, but he is certainly smooth and debonair while leading the elegant “Dames” and winningly shares the spotlight with Hostetler in a captivating tap sequence during the title number. Hilary Fingerman and Joey Monda are naturally comedic and likable as Maggie Jones and Bert Barry, co-writers of “Pretty Lady.” Alex Sunderhaus, Darien Crago and Sarah Agar are respectively animated, endearing and vivacious as chorines Anytime Annie, Phyllis and Lorraine. Sunderhaus notably joins Monda for a very cute and playful rendition of “Shuffle Off to Buffalo.” Ian Blanco truly shines in “Audition” as choreographer Andy Lee. Alex Horton (Abner Dillon), Riley Able (Pat Denning) and Blaine Boyd (Mac) are solid in additional supporting roles.  Musical director Rick Church leads an outstanding orchestra.

If you’re looking for an upbeat escape featuring some of the finest dancing seen on any stage this season, don’t hesitate to buy a ticket to “42nd Street.”

42nd Street, which opened Thursday, May 12, continues through Sunday, May 29 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m. (May 18 only), Thursday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The Dayton Playhouse has a history of embracing challenges, but the organization overreaches and stumbles with a shaky season-ending production of Jerry Herman and Harvey Fierstein’s 1983 musical “La Cage aux Folles,” based on the 1973 play by Jean Poiret.

At its core, “La Cage” is a funny, touching and thought-provoking portrait of a family at odds, but it is also a bold look into a world of mystery, seduction and sensuality, pivotal elements missing in director Doug Lloyd’s dispassionate staging saddled with low energy. The titular St. Tropez nightclub specifically thrives on its entertaining chorus line of Cagelles yet the lukewarm individuals cast in the daring roles fail to typify the troupe’s “notorious” and “dangerous” reputation. Timidity and trepidation is not an option for the Cagelles, and although no one expects the Playhouse to produce an expert quality of drag on par with “RuPaul’s Drag Race” (did anyone tell Dayton’s own India Farrah about “La Cage” auditions?), their underdeveloped presence is problematic despite the effort. Without setting the proper tone at the forefront with credible Cagelles, towering examples of individuality and pride defiantly proclaiming “We Are What We Are,” “La Cage” simply loses its identity, morphing into a show that is more about costumes than character.
Even so, the production is primarily and respectively kept afloat by the admirable, witty contributions of Michael Boyd and Richard Croskey in the central roles of La Cage owner/emcee Georges and his female impersonator lover Albin. Croskey, particularly appealing as the flamboyant drag queen Zaza while delivering the saucy title number and the riveting anthem “I Am What I Am,” provides big laughs early in Act 2 when Albin is encouraged to discover his masculinity. This duo establishes a compatible bond and convey genuine parental concern when Georges and Albin’s son Jean-Michel (Zach King) announces his engagement to Anne Dindon (Sarah Parsons), the daughter of unabashedly conservative parents.
In notable featured roles, King, so wonderful ushering in “Springtime for Hitler” in the Playhouse’s marvelous production of “The Producers” last summer, struggled vocally at the performance attended, but is well paired with the winsome Parsons and effectively reiterates Jean-Michel’s insistence that the Dindons meet his parents in the traditional sense by requesting the presence of his estranged birth mother Sybil. Duante Beddingfield is a prime source of comic relief as the fussy Jacob yet his excitable nature  feels out of sync because of the off-kilter dynamic among the cast. At the same rate, due to the show’s sheer unevenness, Jeff Campbell and a particularly terrific Karen Righter are able to steal the show as the uptight Edouard and Marie Dindon. Chris Hammond is very engaging as the bubbly Jacqueline.
Elsewhere, set designer Chris Harmon offers one of his most colorful, efficient creations. Choreographer Stacy Gear’s routines are intended to be lively, but lack zest in execution. Stephanie Dickey, Karen Dickey and Kaitlyn Osborn are responsible for the costumes. Music director Ron Kindell leads a steady off-stage orchestra.
This “La Cage” is underwhelmingly stuck in neutral, reticent to truly sparkle and come alive, but perhaps all involved will coalesce to embrace and simply sell the delightful musical theater magic within the material before the production must sashay away.

La Cage aux Folles, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 65 minutes. Tickets are $10-$15. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org. In related news, the Playhouse’s 2011-12 season will consist of Jekyll & Hyde, Abie’s Irish Rose, Scrooge, Nunsense, Bus Stop and The Sound of Music.

Stephen Schwartz

Alexandra Finke of Centerville and Mimi Klipstine Dick of West Milton took top honors at the Human Race Theatre Company’s fourth annual Stephen Schwartz Musical Theatre Scholarship competition Tuesday, April 26 at the Loft Theatre.

Named in honor of the prolific composer of such musicals as “Godspell,” “Pippin,” “The Prince of Egypt” and “Wicked,” the competition, truly competitive and musically engaging, featured six collegiate and four high school students who prepared a Schwartz selection and a show tune from another composer.

Finke, a Muse Machine alumna and a junior at the University of Michigan who performed “Corner of the Sky” (“Pippin”) and “Pulled” (“The Addams Family”), received a $2,500 scholarship. She was also co-winner of the 2008 inaugural competition. “It’s a huge honor,” Finke said. “It was wonderful to perform with such amazing singers. It’s great that the Human Race Theatre Company provides such opportunities.”

Dick, a senior at the Interlochen Arts Academy who performed “Defying Gravity” (“Wicked”) and “Blow, Gabriel, Blow” (“Anything Goes”), received a $1,000 scholarship. Equally thrilled as Finke, Dick looks forward to pursuing her musical theater aspirations in college. “It feels amazing!,” she said. “I love musical theater. I want to be on Broadway – that’s the dream.”

The remaining finalists were Joanna Draper of Oakwood High School, Bradley Farmer of Springboro High School, Mary Kate O’Neill of Kettering-Fairmont High School, Jamard Richardson of the University of Oklahoma and Wright State University students Blaine Boyd, Alyssa Hostetler, Jenyth Rosati and Lucian Smith. Each finalist received marvelous accompaniment courtesy of music director-pianist Julie Spangler of the University of Cincinnati-College Conservatory of Music. Human Race resident artist Scott Stoney served as acting coach. Nathan D. Dean handled sound duties.

In addition to Finke and Dick’s radiant performances, musical highlights included Boyd’s dynamic “Proud Lady” (“The Baker’s Wife”), Draper’s cute and coy “Times Like This” (“Lucky Stiff”), Farmer’s perfectly perky “Popular” (“Wicked”), Hostetler’s magnetic “The Wizard and I” (“Wicked”), O’Neill’s outstanding deliveries of “Ain’t It Good” (“Children of Eden”) and “The Worst Pies in London” (“Sweeney Todd”), Richardson’s cool and smooth “It Ain’t Necessarily So” (“Porgy and Bess”), Rosati’s tender “Where Is the Warmth?” (“The Baker’s Wife”) and Smith’s gently authentic “With You” (“Pippin”).

Judges were Human Race producing artistic director Kevin Moore, Human Race resident artist Patricia Linhart of the University of Cincinnati-College Conservatory of Music and Victoria Theatre Association vice president of programming Tina McPhearson. The audience also provided a collective vote. Dayton Philharmonic Orchestra music director Neal Gittleman hosted the festivities, which included an intriguing preview of scenes from Schwartz’s first opera “Seance on a Wet Afternoon.”

For more information, visit www.humanracetheatre.org

Alan Bomar Jones (left) and Scott McGowan in Permanent Collection

The Human Race Theatre Company, a continual advocate of potent works spotlighting the African-American experience, returns to the hot button topic of race with an outstanding presentation of Thomas Gibbons’ museum drama “Permanent Collection,” which appropriately opened at the Loft Theatre the day after probable presidential hopeful Donald Trump reassured the country of his great relationship with “the blacks.”

Delicately yet crisply directed by Schele Williams, responsible for the Human Race’s marvelous 2009 production of “Ethel Waters: His Eye Is On The Sparrow,” “Permanent Collection” examines a controversial 2003 feud, loosely based on a true account and ensuing documentary, between two hardnosed men that forever changes Pennsylvania’s Morris Foundation. Exclusively tucked away in the suburbs of Philadelphia with a by-appointment-only admission policy, the Foundation, beautifully conceptualized by scenic designer Tamara L. Honesty, is caught in a period of major transition following the untimely death of its creator/benefactor Alfred Morris (Scott Stoney, playfully shrewd and spry). Alfred peculiarly willed his vast art collection, primarily known for its Impressionist and Post-Impressionist treasures to be displayed without interference, to a historically black college who chose former corporate executive Sterling North (a tremendous Alan Bomar Jones) as the Foundation’s new director. Sterling, a Jaguar-driving African-American who has endured his share of prejudice, doesn’t ruffle feathers until he contemplates diversifying the museum’s 23 galleries by displaying eight pieces of African art found in storage. This bold idea deeply troubles the Foundation’s veteran curator Paul Barrow (Scott McGowan, a terrific adversary) who feels any disruption to the collection completely violates Alfred’s intent. As Sterling and Paul debate the preservation of legacy versus advancing the Foundation’s future, Gibbons credibly creates a volatile den of racially charged hostility that manages to sustain its neutrality, leaving the engrossing guessing game of right or wrong in the eye of the beholder.

When tempers rise and the race card is dealt, Gibbons predictably takes Sterling’s angry black male mentality too far, but Jones, magnetically commanding the stage with every move and gesture, rises above the tired stereotype with an impeccably crafted portrayal dynamically conveying Sterling’s dignity, intelligence, tenacity, wit and forward-thinking perspective. There is so much more to Sterling than mere rage and resentment, and I shudder to think what would have transpired in the hands of a lesser talent. McGowan, commendably holding his own in the face of the intimidating Jones, conveys Paul’s proficiency as an art aficionado with full veracity. He also excellently adopts a fiery persona in Act 2 when Paul, having sued Sterling for libel when called a racist in the local newspaper, leads various demonstrations against the Foundation after prodding from highly perceptive reporter Gillian Crane (Christine Brunner at her finest).

Additionally, the lovely Melissa Joyner radiates with cool sophistication as Kanika Weaver, Sterling’s associate who remains a loyal friend to Paul despite the heat of battle. Joyner is truly compelling late in Act 2 when Kanika, created by Gibbons as a means to explore common ground between the races, weighs her fate and shares an eye-opening epiphany. The likable Sharon Hope portrays Ella Franklin, Alfred’s longtime assistant.

Whether the core issue is race or art, “Permanent Collection,” incredibly relevant while fascinating with mystery, brings thought-provoking awareness to the pitfalls and repercussions of narrow-mindedness. Dissension is an inescapable fact of life, but perhaps after reflecting on the gorgeous universality of such masters as Cezanne, Matisse, Renoir, Seurat and Van Gogh in Gibbons’ captivating context, everyone can agree with Paul’s assessment that “art can make us better human beings – deeper, richer, more alive.”

Permanent Collection, which opened Friday, April 15, continues through Sunday, May 1 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $20.50-$40. A talkback discussion will be held following the Sunday, April 24 performance featuring Will South, chief curator of the Dayton Art Institute. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

Tom Griffin’s humorous and poignant 1987 comic drama “The Boys Next Door,” a story of four mentally disabled roommates and their compassionate social worker, receives an excellently character-driven presentation at the Dayton Theatre Guild.

Director Natasha Randall, subtly inserting Christina Aguilera’s “Beautiful” for topical relevance at one point, deftly establishes the varying tones in the challenging play which encompass moments of utter pandemonium, charming levity and heartrending potency. Whenever the action particularly plummets into chaos, the hyperactive tendencies of the meticulous Arnold Wiggins (Darren Maddox), the childlike Lucien P. Smith (Franklin Johnson), the doughnut-craving Norman Bulanksy (William Fulmer) and the golf-adoring Barry Klemper (Craig Roberts) unintentionally rise to grating levels, but these unique men are endearingly and energetically brought to life nonetheless which is paramount.

Griffin doesn’t provide many conceptual fireworks in the mildly meandering Act 1, but supplies two terrific scenes in the more substantive, emotionally engaging Act 2. The tense arrival of Barry’s abusive, bigoted father, played with casually cruel ease by Mark Jeffers, completely demolishes Barry’s self-esteem and psychological well-being, which Roberts, in perhaps his most sympathetic performance to date, skillfully conveys. Shortly after Barry is reduced to tears, Lucien appears before the state senate in heartbreaking fashion to fight for his benefits. While questioned, Lucien delivers a powerful out of body monologue, a fervent plea for tolerance and understanding which also serves as the highpoint of this production,   superbly and passionately rendered with dignified dynamism by Johnson, whose fully absorbing, applause-inducing portrayal is among the finest of the season.

Jeffers, Roberts and Johnson are fortunate to have the most compelling material, but Maddox, Fulmer and an appealingly understated Jeff Sams as Jack, the friendly caregiver coping with uncertainty in his personal and professional life, are equally solid. The tall, lanky Maddox, wearing a funny assortment of hats throughout, effortlessly lays the quirky groundwork for the play in the opening scene. Fulmer, speaking loudly and vigorously barreling his way through the action, shines during his tender scenes opposite Lisa Sadai as the adorably smitten Sheila. Sams, very good at being totally unpretentious, embodies Jack with a genuinely supportive, paternal temperament which makes the final moments unquestionably touching. Ellen Ballerene and Darren McGarvey effectively portray multiple roles that accent the authenticity of this meaningful and thought-provoking Guild achievement.

The Boys Next Door, which opened Friday, April 1, continues through Sunday, April 17 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: 57 minutes; Act Two: 70 minutes. Tickets are $11-$18. For tickets or more information, visit www.daytontheatreguild.org or call (937) 278-5993.

In related news, the Guild’s 2011-12 season, dubbed Truth and Consequence, will feature Paula Vogel’s The Oldest Profession (Aug. 26-Sept. 11, 2011 directed by Greg Smith), Neil Simon’s Lost in Yonkers (Oct. 21-Nov. 6, 2011 directed by Fran Pesch), Tom Stoppard’s adaptation of Gerald Sibleyras’ Heroes (Jan. 6-22, 2012 directed by Fred Blumenthal), David Davalos’ Wittenberg (Mar. 16-Apr. 1, 2012 directed by Saul Caplan), Lee Blessing’s Going to St. Ives (Feb. 10-26, 2012 directed by Greg Smith) and Horton Foote’s Dividing the Estate (Apr. 27-May 13, 2012, directed by Ralph Dennler). The season extra productions will consist of Stephen Temperley’s Souvenir (Sept. 16-25, 2011), Ed Graczyk’s The Blue Moon Dancing (Dec. 2-8, 2011, directed by Greg Smith) and Neil Bartram and Brian Hill’s The Story of My Life (June 1-17, 2012, directed by Debra Kent). Additional information about the season including audition dates will soon be found online at www.daytontheatreguild.org or by calling (937) 278-5993.

Cedarville University wraps another winning season with an entertaining production of “See How They Run,” Philip King’s simple yet amusing 1944 British farce.

Cohesively directed by Rebecca Baker and attractively designed by Donald N.C. Jones and Robert Clements, the three-act “Run” centers on a flurry of mistaken identity inside the home of Reverend Lionel Toop (Josiah Hutchings, a standout in Cedarville’s marvelous “Hello, Dolly!” two months ago). Lionel’s musically inept wife Penelope (Sara Daransky), a former actress, does her best to keep her sanity intact amid the madness, but it’s a difficult task as the men around her are caught in a whirlwind of confused hilarity while dressed in priestly garb. King strangely builds the farcical essence of the piece with an awkwardly slow progression, which certainly hinders Act 1 from being a total laugh riot, but the sparks begin to fly in Act 2 and truly soar in Act 3.

In addition to Hutchings and Daransky’s admirable performances, “Run” features a strong supporting cast who sharply executes Matthew Michael Moore’s fight choreography and embraces spontaneity while avoiding the temptation to go over the top. The very charming Dylan Cimo naturally embodies the easygoing Corporal Clive Winthrop, who previously starred with Penelope in a production of “Private Lives” and longs for nothing more than his Army uniform once he’s trapped in black. Jordan Link and Eric Rasmussen are respectively and delightfully daft as the Bishop of Lax and Reverend Arthur Humphrey. Allister Littrell brings appealing menace and humor to his role as a foreign Intruder, especially in Act 3 when he humorously tries to fool everyone as Lionel while clinging to Penelope. Keely Heyl, possessing an impressive knack for physical comedy, is outstanding as tightly-wound parishioner Miss Skillon, who is continually shoved in a closet. Perfectly prim and proper at the outset yet completely disheveled toward the end, Heyl notably performs an inspired bit involving a group of coats that would make James Burrows (“Cheers,” “Frasier,” “Will & Grace”) proud. Emily Dykeman scores big laughs as Ida, Lionel and Penelope’s dutiful maid. Ben Lenox offers fine authority as Sergeant Towers in the final moments.

“Run” doesn’t race until Act 2, but serves its overall purpose as playful theatrical escapism.

See How They Run, which opened Thursday, April 7, continues through Sunday, April 17 in the DeVries Theatre of the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Thursday and Friday at 8 p.m. and Sunday at 3 p.m. Act One: 33 minutes; Act Two: 34 minutes; Act Three: 45 minutes. Tickets are $8-$12. For tickets or more information, visit http://www.cedarville.edu/ticketinfo

Jukebox musicals, shows that use preexisting songs to craft a story or revue, remain a popular staple on Broadway despite their artistic and financial unpredictability. Three weeks ago I was dazzled by the pop-friendly extravagance of “Priscilla, Queen of the Desert: The Musical,” a hodgepodge of Madonna, Burt Bacharach, Cyndi Lauper and Donna Summer tunes among others that could possibly receive a Best Musical Tony nomination next month. But even though “Priscilla” proved equally entertaining as still-running jukebox magnets “Jersey Boys,” “Mamma Mia!,” Million Dollar Quartet” and “Rock of Ages,” the genre has had its share of flops (“Good Vibrations,” “Lennon,” “The Look of Love,” “Ring of Fire”). In particular, Twyla Tharp won a Tony for “Movin’ Out,” but stumbled with “Times They Are A-Changin’” and “Come Fly Away.”

Presently, the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series offers the local premiere of 2005’s “All Shook Up,” a comical look at a tiny, traditionalist Midwestern town circa 1954 featuring over 20 songs from the Elvis Presley repertoire. Incorporating a clever nod to “Twelfth Night,” Tony winning librettist Joe DiPietro (“I Love You, You’re Perfect, Now Change,” “Memphis”) admirably balances the jokey silliness of the premise (a cool roustabout has his emotions tested while swiveling his way into the hearts of a conservative community) with period appropriate potency (an engaging subplot examining interracial romance). Some tunes are shoehorned better than others, a typical downside of the jukebox blueprint, but DiPietro specifically scores with the placement of “C’mon Everybody,” in which rebellious Chad (the very charismatic Brian Kess) spins the town into a colorful frenzy, and “It’s Now or Never,” a wonderfully tender moment given to lovebirds Lorraine (Caitlyn Renee) and Dean (Alex Herrera) heightened by cute, spine-tingling stagecraft from director M. Seth Reines who adapts Christopher Ashley’s original concept.

In addition, Khristy Chamberlain is delightful as Natalie Haller, a mechanic smitten with Chad who disguises herself as the macho Ed in an attempt to befriend him. Chamberlain’s endearing spunk is a plus and her belting soprano sparkles throughout “One Night With You,” the particularly feisty “A Little Less Conversation” and “Fools Fall in Love.” Powerful vocalist Brooke Aston, who brings the house down with “There’s Always Me,” is a super sassy Sylvia, Lorraine’s no-nonsense mother. Ben Martin is charming and quite comedic as Dennis, a Shakespearean devotee hopelessly in love with Natalie. The statuesque Hannah Zold is a fine fit as Miss Sandra, Chad’s object of affection who is actually head over heels for Ed. Ellen Karsten is effectively crabby, insensitive and overbearing as Mayor Matilda Hyde, Dean’s mother, and has an amiable sidekick in Ricky Pope as Sheriff Earl. Paul Crane brings humor and warmth to his portrayal of Natalie’s widowed father Jim. Muse Machine and Wright State University alum Matt Kopec is notable among the surprisingly small ensemble joyfully executing Marc Robin’s lively choreography.

Arriving on the heels of the outstanding national tour of “Avenue Q” which played the Victoria Theatre Wednesday, March 30, “All Shook Up” ultimately arises as a breezy, feel-good option ranking among the more tolerable jukebox creations.

All Shook Up, which opened Tuesday, April 5, continues through Sunday, April 17 at the Victoria Theatre, 138 N. Main St. 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: 70 minutes; Act Two: 55 minutes. Tickets are $39-$81. For tickets or more information, contact Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

JJ Parkey as Hedwig

In Encore Theater Company’s authentically raw, terrifically intimate presentation, which opened Thursday, April 7 at Club Vex smoothly directed by Shane Anderson, the remarkable JJ Parkey completely inhabits the witty, glamorous, opinionated, sarcastic, heartbroken and steadfast Hedwig, an “internationally ignored” wannabe rock star born Hansel Schmidt to an East German mother and an American G.I. As Hedwig’s unique tale breezily evolves from his rocky childhood in tumultuous Berlin to life post transgender surgery in a Kansas trailer park as a divorcee and babysitter hoping for stardom, Parkey, unafraid to interact with the audience while strutting through the aisles with fetching flair, becomes a vulnerable, captivating storyteller, particularly in terms of his astute narrative abilities and seamless transitions when embodying other characters, specifically Hedwig’s seductive “Sugar Daddy” Luther and his lover-turned-nemesis Tommy Gnosis. Musically, he fully embraces the grittiness of rock numbers “Tear Me Down,” “The Angry Inch” and “Exquisite Corpse,” leads the snazzy sing-a-long “Wig in a Box” with carefree whimsy, and unhurriedly savors the lyrically introspective beauty of “The Origin of Love” and the poignant “Wicked Little Town,” hauntingly reprised with evocative assistance from lighting designers Brian Cox and Nicholas Crumbley.

This musical is often considered a one-man show, but has always been a solid two-hander due to the presence of Yitzhak, Hedwig’s obsessive, occasionally bickering husband superbly portrayed with crazed, wide-eyed intensity by the mesmerizing Abigail Nessen Bengson, who took Dayton by storm last season as Mimi in Encore’s production of “Rent.” Yitzhak is primarily a reaction role, but Bengson, while never stealing focus from Parkey or reducing the compatible rapport they establish, commands attention with every dynamic, character-specific move she makes. Despite the fact that Parkey sings the lion’s share of the score, Bengson, one of the most vocally dexterous and magnetic singers I have heard, offers wonderful back-up and a few solo moments to be treasured. Her brief and unassuming rendition of “I Will Always Love You” contains soulful inflections that rival Whitney Houston’s definitive interpretation. Equally thrilling is her passionately full throttle and fiery version of “The Long Grift,” Yitzhak’s prime occasion to bask in the spotlight. The number is a hallmark of this production and a joy to behold.

Guitarist Shaun McClain Bengson, Abigail’s husband, is a member of the excellently balanced on stage band led by music director/pianist John Faas and also featuring percussionist Shea Castle and bassist Luke Dennis.

Encore impressively executes Hedwig’s fascinating, humorous and gripping journey of survival. Parkey and Bengson’s outstanding performances are not to be missed.

Hedwig and the Angry Inch continues Friday, April 8 at Club Vex, 101 S. St. Clair St., and Saturday, April 9 at MJ’s Cafe, 119 E. Third St. Performances begin at 8 p.m. The musical, which is performed in 90 minutes without intermission, contains adult language and mature themes. Tickets are $15. For tickets or more information, visit www.encoretheatercompany.com

In related news, Encore’s 2011 summer mainstage series, in association with Sinclair Community College, includes ETC’s Big Fat Concert Series Vol. 2: I Feel So Much Spring-Seasons and Celebrations (April 29-30 at The Color of Energy Gallery), Altar Boyz (June 16-18 at Sinclair’s Blair Hall Theatre), In My Blood (July 14-16 at Sinclair’s Blair Hall Theatre), Pump Up The Volume and The Consequences (Aug. 4-6 at the Loft Theatre in conjunction with the Human Race Theatre Company) and ETC’s Big Fat Concert Series Vol. 3: The Best of Big Fat (TBA).