Russell Florence, Jr.

In the delightful musical comedy “The Drowsy Chaperone,” the winner of 2006 Tony Awards for Best Book and Best Original Score which opened Tuesday, March 8 at the Victoria Theatre produced by the Human Race Theatre Company and presented on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospital Broadway Series, a musical theater devotee simply named Man in Chair reflects on his adoration for a 1928 musical of the same name by playing its cast recording for the audience. As an assortment of colorful characters spring to life in his Manhattan apartment, the show-within-a-show marriage of fantasy and reality, meticulously constructed with hilarious, sardonic anecdotes by librettists Bob Martin and Don McKellar, cleverly soars, authentically propelled by Lisa Lambert and Greg Morrison’s bubbly pastiche songs.

This well cast, Broadway caliber presentation, fluidly directed by director/choreographer Kevin Crewell who predominately adapts the original Tony-nominated contributions of Casey Nicholaw, stars Wally Dunn whose outstanding portrayal of Man in Chair contains an easygoing humility and infectious bursts of bliss. Whether sipping on a juice box or gesturing dramatically under a crescent moon, Dunn wholeheartedly embraces the passion and quirks inherent in his unassuming role which is pivotal since the material would be deflated without an enthusiastic, fully committed narrator.

Although the show relies heavily on Dunn’s engaging personality, the featured roles are also winningly performed. Megan Nicole Arnoldy offers lovely vocals and an appealing stage presence as showgirl Janet Van de Graaff, whose impending marriage to Robert Martin (the handsome Robb Sapp) serves as the catalyst for “Drowsy Chaperone.” Sapp particularly shines near the outset with the catchy tap dance number “Cold Feets” opposite the excellent Richard Vida as George, Robert’s best man. Jana Robbins wonderfully tackles the tipsy titular role with boozy flair. Christopher Gurr displays sharp comedic timing as Latin lothario Aldolpho. Saul Caplan is believably exasperated as Janet’s producer Mr. Feldzieg, who spends the proceedings preoccupied with ditzy ingénue Kitty (a period-appropriate Adrienne Gibbons) and two vaudevillian-esque gangsters posing as pastry chefs (a humorously unified Scott Cote and Steven M. Goldsmith). Human Race resident artists Patricia Linhart and Scott Stoney are a charming duo as Mrs. Tottendale and her dutiful Underling. Shawn Storms, as aviatrix Trix, puts her belting voice to good use as she leads the cast in the cheerful “I Do, I Do In The Sky.” J.J. Tiemeyer, Amy Wren, Eric Byrd and Erica Steinhagen are compatible ensemble players.

In addition to incorporating Gregg Barnes’ stylish Tony-winning costumes, the creative sets, nicely modeled after David Gallo’s Tony-winning creations, are designed by J Branson courtesy of Music Theatre of Wichita. John Rensel and Nathan D. Dean respectively supply effective lighting and sound design. Musical director John Faas energetically conducts a terrific orchestra.

Like the Man in Chair, I encourage you to escape from the dreary horrors of the real world and sample the theatrical joy that is “The Drowsy Chaperone.”

The Drowsy Chaperone continues through Sunday, March 20 at the Victoria Theatre, 138 N. Main St. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 105 minutes without intermission. Tickets are $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University admirably delivers Jason Howland, Mindi Dickstein and Allan Knee’s poignant yet unremarkable 2005 musical “Little Women,” based on the classic Civil War-era novel by Louisa May Alcott.

Alcott’s semi-autobiographical coming of age tale centers on the colorful, tightly bonded March sisters of Concord, Massachusetts coping with life on the homefront with their mother while their father serves his country. This sprawling adaptation, which takes a few conceptual liberties, offers heartwarming sentimentality, but particularly lacks a wealth of strong, dynamic, period-appropriate tunes from Howland and Dickstein. Both acts open with lengthy, forgettable numbers emphasizing the adventurous writings of the fiery Jo (Jennifer Lamourt), and there are also songs that could have been discarded in favor of allowing librettist Knee to craft more compelling book scenes. Nevertheless, director Lee Merrill injects joy, sincerity and tenderness into the material which keeps the three hour presentation – which opened Friday, March 4 in the Herbst Theatre fluidly executed by a unified cast, smoothly music directed by Susan Carlock and attractively costumed by Vinicius Vargas – thoroughly engaging.

The spunky Lamourt doesn’t possess the vocal range required to belt her big solos, particularly the musical’s signature anthem “Astonishing,” but she effectively relies on her acting strengths to convey Jo’s spitfire determination to become a successful author while simply embracing the independent woman she is. In a welcomed touch of non-traditional casting, Ria Villaver effectively transitions from bratty immaturity to attractive sophistication as Amy. Kathleen Ferrini is nicely understated as Meg. Darien Crago is lovely as the quiet, reserved Beth and also serves as choreographer, specifically staging “Five Forever” with carefree enthusiasm. These ladies form a naturally compatible connection with Madeleine Casto, excellently commanding as the affectionately stern Marmee. Additionally, Michelle Weiser is terrifically authoritative as the society-driven Aunt March, and Lauren S. Deaton, a standout in productions at Sinclair Community College, fares well as boarding house owner Mrs. Kirk.

The men of “Women” are equally appealing. Casey Jordan creates a pleasant rapport with Lamourt in the charming yet underwritten role of Professor Bhaer. Fine tenor Zach Cossman is an endearing presence as Laurie, who pines for Jo yet ultimately falls for Amy. Jason D. Collins, marvelously paired with Casto in “August: Osage County” earlier this season, offers another satisfying turn as Mr. Laurence. The adorably meek Justin Talkington nearly steals the show as John Brooke, Laurie’s tutor smitten with Meg.

Little Women continues through Sunday, March 13 in the downstairs Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 70 minutes. Tickets are $7-$10. For tickets or more information, call (937) 775-2500.

In related news, WSU’s 2011-12 mainstage season will consist of Death of a Salesman (directed by Greg Hellems and tentatively featuring Scott Stoney and Lee Merrill), Hairspray (directed by Joe Deer and choreographed by Teressa Wylie McWilliams), Rent (directed by W. Stuart McDowell), The Merchant of Venice (directed by Sandra Crews) and The Phantom of the Opera (directed by W. Stuart McDowell). Part 2 of Bruce Cromer’s adaptation of Barnaby Rudge will be featured in the Herbst Theatre along with two productions yet to be determined which will be respectively directed by Marya Spring Cordes and Jamie Cordes. The mainstage and Herbst selections are subject to change.

Wright State University commendably stages William Inge’s 1953 Pulitzer Prize-winning romantic drama “Picnic,” an authentically engaging slice of life about family, friendship, love and regret boiling over on a hot Labor Day weekend in 1950s Kansas.

The tall, lanky and handsome Riley Able is a personable focal point as Hal Carter, a drifter who sets hearts aflutter in the shared backyard of Flo Owens (Tess Talbot, reminiscent of a young Judith Ivey) and Helen Potts (an excellent Kelsey Hopkins). Hal, a former football hero with a troubled past, has grown accustomed to making women swoon, but finally finds what he’s looking for in Flo’s pretty daughter Madge (Stephanie Tucker), the girlfriend of wholesome Alan Seymour (Greg Mallios), Hal’s college friend.

“Picnic,” which opened Thursday, February 17 delicately directed by Marya Spring Cordes, thrives on its central love triangle, and there is palpable chemistry between Able and Tucker, particularly during an impromptu dance that hints at the sexual fireworks to come. Tucker fully conveys Madge’s soul-searching essence and supplies an emotional tug-of-war as her pivotal choice of suitor begins to blur. The moment of truth arises in a flustered frenzy which Tucker wonderfully infuses with touching optimism. The appealing Able, astutely remembering Hal doesn’t feel comfortable being “natural,” exudes a charming, sunny bravado that rarely wanes. Mallios, an effectively straight-laced contrast, is especially strong late in the play when Alan’s aims turn to betrayal.

Along withMallios,  Talbot and Hopkins (who is heartbreaking in the final minutes when Helen recalls her fondness for Hal), fine featured portrayals stem from the delightful Chelsey Cavender as sassy tomboy Millie Owens, Becca Frick and Dani Cox as respective teachers Irma Kronkite and Christine Schoenwalder, Joey Monda as paperboy Bomber and the voice of Helen’s mother, and Valerie Reaper as the opinionated Rosemary Sydney, who fears growing old and is desperate to wed Howard Bevans (Zach Schute). The ladies are particularly clothed in striking period designs by D. Bartlett Blair, and Nicholas Crumbley’s lovely lighting design is also a plus.

Picnic continues through Sunday, February 27 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m., Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 80 minutes; Act Two: 38 minutes. Tickets are $17 and $19. For tickets or more information, call (937) 775-2500.

In related news, Wright State is in need of storage space for sets and props. “We want  and need to recycle our sets, reuse major portions in future shows, as a major way of economizing and being more green,” said W. Stuart McDowell, chair and artistic director of WSU’s Department of Theatre, Dance and Motion Pictures. McDowell, who will stage WSU’s Ohio collegiate premiere of Andrew Lloyd Webber’s The Phantom of the Opera in spring 2012, can be reached by phone at (937) 775-3784 or by e-mail at stuart.mcdowell@wright.edu

Despite the fact that Larry Shue decided to use the Ku Klux Klan as the momentum-killing dark underbelly of his 1983 Southern fried farce “The Foreigner,” it doesn’t deter the amusement of Sinclair Community College’s entertaining presentation, which opened Friday, February 18 nimbly directed by Nelson Sheely.

The charming Isaac Hollister is perfectly cast as Charlie, the unassuming titular Englishman who visits a quaint fishing lodge (rustically designed by Terry Stump) to escape the worry of his wife’s ailing health. The opening minutes are slow, but the comedy kicks into gear once the colorfully unsuspecting folks at the rural Georgia lodge are told Charlie is from a faraway country and doesn’t speak English. It’s a treat to see Hollister exude a sense of timid bewilderment, particularly in moments of eavesdropping, that delightfully evolves into sly confidence as Charlie settles into his surroundings and ultimately becomes an unlikely hero. He is particularly terrific uttering gibberish in Act 2.

Melissa Kerr Ertsgaard, one of Sinclair’s most versatile performers, returns with another strong turn as Betty, the hospitable lodge owner who wants nothing more than to ensure Charlie’s comfort even while screaming in his face. Steven Brotherton, a standout in Sinclair’s marvelous production of “Dog Sees God” last season, is likeable once more as the dim-witted Ellard, who humorously becomes Charlie’s English teacher. As Ellard’s sister Catherine, Sarah Parsons forms a pleasant rapport with Hollister and is well-matched with Nicklaus Moberg as David, a minister with evil on his mind. Travis Clyburn energetically tackles the stereotypical Owen, David’s redneck partner in crime. Chris Hahn has fun as Froggy, Charlie’s British confidant. Aisha Ahmed, Nicole Dine, Lyrit Ertsgaard, Katie Kluck, Rebecca Knowles and Josh Smith complete the cast.

The Foreigner continues through Saturday, February 26 in Blair Hall Theatre, Building 10, 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: 70 minutes. Act Two: 60 minutes. All seats are reserved and cost $15 for adults and $10 for students and seniors. All Thursday tickets cost an additional $5 and includes pre-show appetizers and cash bar. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/arts

The delightfully meddlesome world of Mrs. Dolly Gallagher Levi, the matchmaking busybody of 1890s New York who can incite applause by her sheer presence and reputation, comes alive with lighthearted warmth and sophisticated finesse in Cedarville University’s exceptional production of Jerry Herman and Michael Stewart’s 1964 musical “Hello, Dolly!,” adapted from Thornton Wilder’s “The Matchmaker” and elegantly directed by Robert and Ruth Clements.

Pleasantly interpreting Herman’s sunny songs along the lines of an actress who sings, Jessica Diane Hickling, a superb Annie Sullivan in Cedarville’s production of “The Miracle Worker” last season, astutely inhabits the title role with a strikingly clear and cunning grasp of Dolly’s meticulous and strategic aims centered on her desire to wed wealthy Yonkers curmudgeon Horace Vandergelder (a believably aggravated Alexander James Mol). Hickling is a knockout whenever Dolly’s mind games take precedence, especially in the hilarious Act 2 dinner scene at the ritzy Harmonia Gardens restaurant, and she expertly builds her funny, sincere and incredibly engaging portrayal to a life-affirming plateau that duly reflects Dolly’s inspirational epiphany of living to the fullest and being willing to love again after years of merely existing in “a personal haze.”

“Dolly” has always required a strong leading lady, but stronger featured portrayals as well which is absolutely the case here. The very endearing, brotherly duo of Gabriel Pyle and Josiah Hutchings respectively shine as Vandergelder’s humble, sheltered employees Cornelius Hackl and Barnaby Tucker. Pyle, a charming bundle of nerves and a joy to watch, wonderfully conveys Cornelius’ newfound confidence and rebelliousness, and also crafts an adorable romance with sweet soprano Anna Zavodney as millinery shop owner Irene Molloy. He notably joins Zavodney for a lovely rendition of “It Only Takes a Moment,” poignantly delivering the tune’s terrific monologue with an expressive self-awareness. The energetic, goofy Hutchings provides great comic relief and is perfectly matched with the bubbly Lindsay McGee as Minnie Fay, Irene’s perky assistant. The laughs continue with solid work from Joshua McLeod as Ambrose Kemper, Grace Pilet as Ermengarde, Amy Brown as Ernestina, Benjamin Isaac as Rudolph, Samantha Sumler as Mrs. Rose and Matthew Glenn Scheerschmidt as an overly emotional Judge.

Further, Katy Russell and Alexandra Turner supply flavorful, sharp and unified choreography from the pageantry of “Put On Your Sunday Clothes” and the farcical “Motherhood March” to the waltz-filled “Dancing” and the frenzied “Waiter’s Gallop” that precedes the iconic title number which arises with considerable flair.

In addition to directing, the Clements are respectively responsible for the production’s outstanding set and costume design. Robert supplies a dazzling chandelier for Harmonia Gardens, and Ruth’s marvelously authentic contributions remain eye-catching at every turn. For the ensemble-friendly “Sunday Clothes” she specifically dresses the ladies in a colorful sea of blue, burgundy, green, pink, purple and yellow and places the men in crisp white tuxedos.

In a rare move for a big, brassy show geared toward a large orchestra, Herman’s score, conducted by Beth Cram Porter, is played by only four musicians (two pianos, percussion and bass). Even so, this significant alteration gives each number a surprisingly appealing parlor quality proving how effectively Herman captured the essence of the late 19th century.

A hit from start to finish, Cedarville’s thoroughly entertaining “Dolly” is not only the must-see of the week, but one of the best productions of the season.

Hello, Dolly! continues through Saturday, February 12 in the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Thursday at 10 a.m. and 8 p.m., Friday at 8 p.m. and Saturday at 2 and 8 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $10-$15. For tickets or more information, call 1-866-612-0014 or visit www.cedarville.edu. In related news, Cedarville’s 2011-12 season will consist of Agatha Christie’s And Then There Were None (October 2011), Arthur Miller’s The Crucible (February 2012) and Neil Simon’s A Star-Spangled Girl (April 2012).

The Human Race Theatre Company offers an effortlessly enchanting, stunningly designed presentation of William Shakespeare’s comedy “Twelfth Night,” a multilayered tale of gender reversal, mistaken identity, mismatched romance and unabashed silliness that opened Friday, January 28 at the Loft Theatre.

Aaron Vega, a Wright State University musical theater graduate and, at 28, the youngest director to stage a Human Race production, elegantly helms with a fresh and impressive awareness of the play’s conceptual intricacies and sparkling language. His decision to transport the setting from traditional Illyria to America during the Roaring Twenties is certainly a clever choice strikingly conveyed throughout the action by the cool, suave presence of pianist-vocalist-composer Christian Duhamel as witty clown Feste. Still, his astute attention to establishing the various pursuits of the Bard’s appealing characters, inhabited by a stellar cast, elevates the material beyond the unique era presented.

Claire Kennedy, who proved her worth as an expressive Bard interpreter in Wright State’s 2006 production of “As You Like It,” was born to play lovestruck intermediary Viola, who is separated from her presumably dead twin brother Sebastian (the amiably unassuming Justin Flagg) and ultimately develops feelings for Duke Orsino (an earnestly understated David Dortch) while disguising herself as his devoted pageboy Cesario. Kennedy, whose plaintive rendition of “Danny Boy” is an emotional highpoint, looks perfect in the role (gender bending was a signature fad of the ‘20s after all) and assumes a charming, adaptable masculinity (notice her uncertainty as to how she should hold a cigar) that grows more endearing when Cesario is wooed by the formidable Lady Olivia (a feisty Sara Mackie), Orsino’s object of affection.

Wonderfully cohesive comic relief, occasionally delivered in the audience, is supplied by the uninhibited Tim Lile as Olivia’s loutish and unapologetically flatulent uncle Sir Toby Belch, Josh Stamoolis as goofy Sir Andrew Aguecheek, Jennifer Johansen (a remarkable Lady Capulet in the 2008 Human Race production of “Romeo and Juliet”) as Olivia’s cunning maid Maria, and Scott Stoney as the humble Malvolio, who is humorously tricked into thinking Olivia is in love with him. Kevin Malarkey as Valentine and Matthew M. Moore (who directed an excellent “Much Ado About Nothing” last season at Cedarville University) as Sea Captain/Anthonio complete the cast.

Additionally, scenic designer Dick Block, costumer Lowell A. Mathwich and lighting designer John Rensel beautifully evoke the look and feel of the 1920s.

“Twelfth Night” is a lighthearted escape from the winter doldrums that clearly suggests Vega’s first attempt at Shakespeare for the Human Race will not be his last.

Twelfth Night continues through Sunday, February 13 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $15.50-$39. Act One: 70 minutes; Act Two: 55 minutes. A special open forum discussion will be held following the Sunday, February 6 performance. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org. Also, Christian Duhamel will perform a concert of his original songs entitled Here With Me Tuesday, February 8 at 9:30 p.m. at the Neon Movies, 130 E. Fifth St. For more information, visit www.neonmovies.com.

In related news, the Human Race’s 25th anniversary/2011-12 season, an entire slate of local premieres that have collected nearly 25 Tony Award nominations, will consist of Yasmina Reza’s 2009 Tony Award-winning dramatic comedy God of Carnage (Sept. 8-25, 2011), Tony Kushner and Jeanine Tesori’s 2004 Tony Award-nominated musical Caroline, or Change (Nov. 3-20, 2011; directed by Scott Stoney), John Logan’s 2010 Tony Award-winning Mark Rothko-themed drama Red (Jan. 19-Feb. 5, 2012; a partnership with the Dayton Art Institute who will present a Rothko exhibition during the run), August Wilson’s 2005 Tony Award-nominated drama Gem of the Ocean (March 28-April 15, 2012); and Mark Allen, Gaby Alter, Gordon Greenberg and Tommy Newman’s musical Band Geeks (May 31-June 17, 2012; directed by Kevin Moore).

"Spelling Bee" cast; photo credit John Gebhardt

Although William Finn, Rachel Sheinkin and Rebecca Feldman’s 2005 Tony Award-winning “25th Annual Putnam County Spelling Bee” has quickly reached ‘done to death’ status in the Miami Valley, its fifth area presentation courtesy of the Dayton Playhouse, which opened Friday, January 28, is a joyful affair that finds great heart within the high octane, racy humor.

You may have fond memories of seeing this musical about six colorful adolescents nervously yet enjoyably aspiring to spelling perfection presented by the University of Dayton, Victoria Theatre Association, Wilmington College or Wright State University, but there is definite merit in the Playhouse’s well cast, well sung incarnation. Despite a slightly erratic energy level and a few comedic bits that go overboard or grow overlong, director Natalie Houliston, with lively assistance from choreographer Erica Hamilton, credibly establishes a character-driven playground of fun that is particularly magnetic in the more introspective musical numbers and reflective moments.

Lilting soprano Corinne Derusha, naturally embracing the bouncy, emotive musicality within Finn’s terrific score, leads the proceedings as excited host and former champion Rona Lisa Peretti. She also maintains an appealing chemistry with the delightfully droll Errik Hood as Vice Principal Panch. The outstanding Hannah Berry is truly heartbreaking as shy bookworm Olive Ostrovsky, who enters the competition without parental support. Berry has the audience rooting for Olive at the outset when she tenderly sings “My Friend, The Dictionary.” Matthew Smith lets loose with hilarious abandon as the persnickety William “Magic Foot” Barfee, a whiz with an attitude. David Thomas, a good fit as eccentric underdog Leaf Coneybear, brings engaging subtlety to “I’m Not That Smart.” Bobby Mitchum, in his Playhouse debut, sums up the distressed Chip Tolentino with a funny, audience-friendly take on “My Unfortunate Erection.” Charity Farrell winningly returns to the Playhouse as overachiever Marcy Park and delivers a luminously carefree rendition of “I Speak Six Languages.” Lindsay Sherman, clothed in cute polka dots by costumer Erin Winslow, exudes a perfect amount of spunk and desperation as Logainne Schwartzandgrubenierre. As comfort counselor Mitch Mahoney, Muse Machine alum David Stone finally has a role that suits his powerfully soulful tenor. He joins Berry and Derusha for an incredibly passionate, spine-tingling, show-stopping version of “The I Love You Song” that feels as if Finn wrote it just for them.

The 25th Annual Putnam County Spelling Bee continues through Sunday, February 13 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: 60 minutes. Act Two: 53 minutes. Audience participation is encouraged. Tickets are $10-$15. The musical, which contains adult language and themes, is not recommended for children under the age of 13. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org