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Russell Florence, Jr.

Muse Machine delivers bold ‘Woods’

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The Muse Machine presents Into The Woods - January 13-16, 2011The Muse Machine boldly charts its own artistic course with Stephen Sondheim and James Lapine’s masterful Tony Award-winning 1987 fractured fairy tale opus “Into the Woods,” the arts education organization’s 27th annual student musical that opened Thursday, January 13 at the Victoria Theatre.

The definitive Sondheim pedigree of less is more has been given a significant makeover by Muse organizers, which will likely delight the masses and perturb Sondheads. Choreographer Lula Elzy, known for transforming the ordinary, doesn’t hesitate to incorporate movement into these “Woods,” which begins with the cast enjoying the king’s festival accented with villagers twirling ribbons and somersaulting. This unique introduction, dubbed “I Wish,” serviceably energizes the action and reiterates the sense of community that is vital to the piece before the colorful prologue launches the show as intended. Elzy also scores with the inclusion of a celebratory ball prior to the “Ever After” Act 1 finale. However, in Act 2, the added routines steal focus. The “Agony” reprise is interrupted by a puzzling sequence devoted to Sleeping Beauty and Snow White, and “Last Midnight,” typically a prominent vocal showcase, is stripped of its dramatic power by a distracting sea of swirling cloaked dancers.

Still, on the whole, director Rufus Bonds Jr., helming with fluidity, ensures that the witty, thought-provoking characterizations which define “Woods” and its engrossing exploration of consequences, family, fulfillment, loss and survival is not hindered or overshadowed by the choreography. In fact, the principal cast impressively handles the complexities inherent in Sondheim’s brilliant score and Lapine’s insightful libretto.

The very engaging Micah Trout, possessing a lovely tenor, is terrifically understated as the Baker, particularly filling the heartbreaking beauty of “No More” with moving sincerity. Trout is perfectly paired with Mary Kate O’Neill, whose impeccably crafted, pleasantly sung performance as the Baker’s Wife fully reveals the complicated depths of a woman willing to do what it takes in order to have a child. O’Neill and Trout’s charming rendition of “It Takes Two” warmly depicts the excitement of rekindled romance. Samantha Eastman’s penchant for comedy serves her well as the Witch, but she lacks the vocal prowess that could take her crowd-pleasing portrayal and superbly written solos to another level.

“Despite the Muse’s conceptually risky adaptations, ‘Woods’ still resonates…”

In addition, Bradley Farmer, the scene stealing Lina Lamont in last year’s Muse production of “Singin’ in the Rain,” supplies a cheery, radiant elegance as Cinderella and wonderfully executes “On the Steps of the Palace,” one of the most challenging numbers. Equally strong are Carly Snyder as Little Red Ridinghood, Davis Sullivan as Jack, Ian Benjamin as the Wolf, Madeline Shelton as a refreshingly crazed Rapunzel, Trevor Coran as Cinderella’s Prince, Coleman Hemsath as

Rapunzel’s Prince, Noah Berry as the Mysterious Man, Rachel Snyder as Jack’s Mother, Leigha Witt as Cinderella’s Stepmother, Amanda Koslow as Florinda, Kaja Burke-Williams as Lucinda, Rob Mitchell as the Steward, Allison Janney as the Giant, and the narrator team of CJ Destefani, Mitchell Rawlins, Cameron Elliot, Daniel Baughn and the aforementioned Benjamin. Carly Snyder’s marvelously reflective “I Know Things Now,” Sullivan’s endearing “Giants in the Sky” Benjamin’s sharp and funny “Hello, Little Girl” and Coran and Hemsath’s hilarious “Agony” join “On the Steps of the Palace” as excellent, lyric-driven Act 1 highlights.

Musical director David Dusing’s solid orchestra, Paul Wonsek’s attractively detailed set (courtesy of the Pittsburgh CLO), John Rensel’s evocative lighting and David Sherman’s incredibly ominous, thundering sound design are also noteworthy.

Despite the Muse’s conceptually risky adaptations, “Woods” still resonates. The universal epiphany that “wishes come true – not free” certainly stings with truth.

Into the Woods continues through Sunday, January 16 at the Victoria Theatre, 138 N. Main St. Performances will be held today at 3 and 8 p.m. and tomorrow at 2 p.m. Act One: 1 hour and 23 minutes. Act Two: 1 hour and 9 minutes. Tickets are $31-$56. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.ticketcenterstage.com

Mysterious ‘Ravenscroft’ at Dayton Theatre Guild

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In Don Nigro’s pleasant yet prolonged British comedic mystery “Ravenscroft,” crisply directed by Debra Kent at the Dayton Theatre Guild and set on a snowy December night in 1905, Inspector Ruffing, a perceptive, no-nonsense sleuth, has difficulty dissecting the truth inside a remote manor containing five tight-lipped women. His intriguing investigation concerning the death of stableman Patrick Roarke takes a series of humorous turns because each woman, fully content with the secrets and lies they have concocted, is emotionally or sexually connected to the deceased lothario. The blame game among the potential murderesses eventually grows to fever pitch, which leaves Ruffing exasperated beyond belief with very little of his sanity intact.

Nigro’s script isn’t tight (Act 1 is sluggishly drawn out and the final 15 minutes feel strained), but is effectively inhabited by a very appealing cast with credible diction. Robb Willoughby is marvelously stern and perturbed as Ruffing. Rachel Wilson, one of the best chameleon actresses at the Guild, brings elegance, wit and intuitiveness to her role as Marcy Kleiner, an Austrian governess with a shady past. Wendi Michael, oozing haughty sophistication, equally shines as the widowed Mrs. Ravenscroft, who doesn’t hesitate to protect and ridicule her flighty, imaginative daughter Gillian (the perky Danielle DeLorme). As a pair of servants, Jenna Burnette (Dolly) and Jennifer Lockwood (Mrs. French) offer hearty laughs, especially in the more exciting Act 2. Lockwood is particularly responsible for molding the climax and delivers her suspenseful revelations with a tender sincerity that softens Mrs. French’s tough exterior.

Further, the production’s refined classiness extends to the attractive work of set designer Blake Senseman, costumer Carol Finley and hair and wig designer Greg Smith.

“Ravenscroft” admirably ushers in a new theatrical year while proving the search for truth, no matter how confusing, upsetting or frustrating, can be a real drag.

Ravenscroft continues through Sunday, January 23 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: 70 minutes: Act Two: 55 minutes. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

Marsha Hanna Memorial Open House

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Human Race Theatre Company artistic director Marsha Hanna, a cornerstone of the Dayton arts community who lost her battle with esophageal cancer Monday, January 3 at the age of 59, will be remembered with a Memorial Open House Saturday, February 5 from 11 a.m. to 4 p.m. at the Loft Theatre, 126 N. Main St.

Hanna, a Tiffin, Ohio native and theater graduate of Bowling Green State University, had served as artistic director of the Human Race since 1990 and a resident director since its founding in 1986. She was a fan of such language-driven playwrights as Richard Greenberg, Cormac McCarthy and August Wilson, and produced more than 100 shows.

Hanna predominately helmed productions for the Human Race yet guest directed at Indianapolis’ Phoenix Theatre, La Comedia Dinner Theatre, Sinclair Community College, the University of Cincinnati, the University of Dayton and Wright State University to name just a few. Her numerous directing credits included “A Christmas Carol,” “Art,” “Brother Wolf,” “Copenhagen,” “Crimes of the Heart,” “Every Good Boy Deserves Favour,” “I Hate Hamlet,” “Quilters,” “Take Me Out,” “The Dazzle,” “The Elephant Man,” “The Sunset Limited” and “You Can’t Take It With You.”

Prior to joining the Human Race, Hanna served as a drama specialist with the City of Dayton, Division of Recreation, volunteered at the Dayton Playhouse, Dayton Theatre Guild and Fairborn Playhouse, and co-founded Illumination Theatre. In 2003, she was inducted into the Dayton Theatre Hall of Fame. Last year, she received the Ohio Governor’s Award for Arts Administration, an honor shared with Human Race executive director Kevin Moore. Additionally in 2010, she staged the regional premiere of David Hare’s thought-provoking drama “The Vertical Hour” and co-directed the return engagement of Ron Hutchinson’s “Gone With the Wind”-themed comedy “Moonlight and Magnolias” with Jake Lockwood. Fittingly, her final production was a triumph: the collaborative Human Race/Wright State regional premiere of Tracy Letts’ Tony and Pulitzer Prize-winning dramatic epic “August: Osage County” which she co-directed with Scott Stoney.

A Marsha Hanna Memorial Fund will be created in conjunction with the Human Race’s 25th anniversary 2011-2012 season. Details about donating to the fund and its purpose will be announced at a later date.

Top 10 Theater in 2010: Dayton and NYC

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The cast of The Light in the Piazza

THE GEM CITY

1. “The Light in the Piazza”

This captivating, underrated romantic musical set in 1950s Italy based on Elizabeth Spencer’s novella and featuring a challenging yet ravishing Tony Award-winning score by Adam Guettel (Richard Rodgers’ grandson) took Wright State University’s musical theater program to astonishing heights. WSU’s truly outstanding, gorgeously designed Ohio collegiate premiere of “Piazza,” which I saw three times, contained a knockout cast, a splendid orchestra, and conceptually refreshing contributions from director Joe Deer. If you missed Blaine Boyd’s incredibly passionate, vocally sublime portrayal of Fabrizio Naccarelli, he’s starring in WSU’s “Jekyll & Hyde” next month. Get your tickets now.

August: Osage County

2. “August: Osage County”

Tracy Letts’ Tony and Pulitzer Prize-winning epic received a fantastic collaborative presentation from the Human Race Theatre Company and Wright State University. The professional and student actors seamlessly joined forces at WSU under the direction of Marsha Hanna and Scott Stoney to inject striking depth and newfound comic relief into Letts’ acclaimed saga of a dysfunctional Oklahoma clan coping with the loss of its patriarch. The volatile, multifaceted performances of Susanne Marley (Violet Weston) and Kristie Berger (Barbara Fordham) were unquestionably superlative.

The Producers

3. “The Producers”

The Dayton Playhouse’s utterly hilarious, magically cohesive production of “The Producers” was a surefire hit at intermission. Director Chris Harmon’s wacky cast, headlined by Saul Caplan and David Sherman, delivered one of the best first acts I have seen at the Playhouse. Among the musical pleasures was the hysterical “Keep It Gay” consisting of Charles Larkowski (Roger DeBris), Jonathan Berry (Carmen Ghia), Nick Moberg (Bryan), Bob Martin (Kevin), Cameron Elliott (Scott), Jeremy King (Sabu) and Betsy Feeser (Shirley). Mel Brooks and Susan Stroman would have been proud.

Dog Sees God: Confessions of a Teenage Blockhead by Sinclair Community College Theatre

Dog Sees God: Confessions of a Teenage Blockhead

4. “Dog Sees God: Confessions of a Teenage Blockhead”

Bert V. Royal’s R-rated parody of the “Peanuts” comic strip was a perfect fit for Sinclair Community College. This humorous yet gripping teen tale, expertly directed by Brian McKnight, featured a winning ensemble accented by the feisty mean girl rapport between Lauren Bernstein (Tricia) and Michelle Faulkner (Marcy).

5. “Seussical”

Director Kay Frances Wean’s energetic, colorful and infectiously joyful staging of Lynn Ahrens and Stephen Flaherty’s tuneful salute to Dr. Seuss will always be a hallmark of the Epiphany Players Drama Ministry at Centerville’s Epiphany Lutheran Church.

'Spring Awakening'

6. “Spring Awakening”

At one time, it seemed inconceivable that Duncan Sheik and Steven Sater’s raw, risqué musical adaptation of Frank Wedekind’s controversial 1891 play would ever be seen on a professional stage in Dayton, Ohio. Thankfully, this Tony-winning gem received a two-night local premiere at the Victoria Theatre. Talk about a step in the right direction.

Urinetown: The Musical

7. “Urinetown: The Musical”

Another well produced comedic achievement for the Dayton Playhouse as directed by Doug Lloyd. I particularly enjoyed “Follow Your Heart,” a highlight of Greg Kotis and Mark Hollmann’s Tony-winning material tenderly rendered with humor and sincerity by James Roselli (Bobby Strong) and Kelsey Hopkins (Hope Cladwell).

A Case For Libel

8. “A Case of Libel”

Henry Denker’s compelling courtroom drama was a first-rate acting showcase at the Dayton Theatre Guild. Under the firm direction of Debra Kent, the climatic face-off between Saul Caplan (Robert Sloane) and David Shough (Boyd Bendix), resulting in Shough’s superb meltdown, was dynamite.

Singin' In The Rain

9. “Singin’ in the Rain”

Guided by a revamped artistic team, the Muse Machine supplied one of its most delightful student productions. Kudos to choreographer Lula Elzy for inserting a large ensemble of tap dancing diction coaches into “Moses Supposes.”

The Syringa Tree

10. “The Syringa Tree”

The SEED Theatre Project, housed at the beautifully spacious Salvation Army Ray & Joan Kroc Corps Community Center, offered a riveting local premiere of Pamela Gien’s one-woman, apartheid-themed drama performed by Robin Smith under the direction of Adam J. Leigh. Smith’s dynamic mastery of character and dialect was remarkable.

Honorable Mention: “Kimberly Akimbo,” Dayton Theatre Guild; “Much Ado About Nothing,” Cedarville University; “Once On This Island,” Sinclair Community College; “Ordinary Days,” Human Race Theatre Company; “The Phantom of the Opera,” Victoria Theatre Association; “Rent,” Encore Theater Company; “The Spitfire Grill,” Beavercreek Community Theatre; “The 39 Steps,” Human Race Theatre Company; “[title of show],” Encore Theater Company; “Wicked,” Victoria Theatre Association

THE BIG APPLE

Scottsboro Boys

Scottsboro Boys

1. “The Scottsboro Boys”

The finest and boldest original musical of the year fittingly marked the final collaboration of John Kander and Fred Ebb (“Cabaret,” “Chicago”). “Scottsboro” drew protest and praise before closing prematurely, but, thankfully, this mesmerizing marvel might have a future on the big screen under the direction of Oscar nominee Lee Daniels (“Precious”).

Angels In America

2. “Angels in America”

Signature Theatre Company’s brilliant off-Broadway revival of Tony Kushner’s thought-provoking masterpiece featured the marvelous NYC acting debut of Zachary Quinto (“Heroes,” “Star Trek”) as Louis Ironson.

3. “La Cage aux Folles”

A blissful, character-driven revival blessed by the terrific teamwork of Kelsey Grammer and sensational Tony winner Douglas Hodge. It’s worth noting that Doug Lloyd will direct “La Cage,” one of Jerry Herman’s best scores, at the Dayton Playhouse this spring.

Fences

4. “Fences”

The amazing, Tony-winning powerhouse duo of Denzel Washington and Viola Davis were a match made in August Wilson heaven.

5. “The Merchant of Venice”

Al Pacino’s commanding and perceptive portrayal of stringent moneylender Shylock gave chilling profundity to one of Shakespeare’s most unnerving plays.

6. “A View From The Bridge”

Scarlett Johansson won the Tony for her surprisingly strong Broadway debut in this stellar Arthur Miller revival, but it was Liev Schreiber who intensely owned every scene as an emotionally conflicted Brooklyn longshoreman.

American Idiot

7.  “American Idiot”

Green Day’s gripping depiction of angst-ridden disillusionment and soul-searching was a completely visceral and unexpectedly moving experience on stage.

8. “Red”

John Logan’s fascinating, Tony-winning exploration of abstract expressionist Mark Rothko was superbly led by Alfred Molina.

9. “Sondheim on Sondheim”

James Lapine’s eye-opening multimedia musical tribute to the legendary composer fluidly incorporated insightful commentary from the master himself recorded at his home.

Driving Miss Daisy

10. “Driving Miss Daisy”

Alfred Uhry’s beloved Pulitzer Prize winner remains thin and hurried, but has been wonderfully revived nonetheless thanks to the exemplary pairing of James Earl Jones and Vanessa Redgrave. Anyone heading to NYC in the coming months should avoid the imminent flop “Spider-Man Turn Off The Dark” (a boring, musically inept disaster!) and witness the delectable chemistry between two acting titans still at the top of their game.

Honorable Mention: “A Little Night Music” (opened in 2009, but freshly overhauled last summer starring Bernadette Peters and Elaine Stritch); “Anyone Can Whistle” (City Center Encores!); “Bloody Bloody Andrew Jackson”; “Come Fly Away”; “Lend Me A Tenor”; “Million Dollar Quartet”; “Next Fall”; “Spirit Control”; “The Temperamentals”; “Time Stands Still”

Film Review – The King’s Speech

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"The King's Speech" - Grade: A

Colin Firth didn’t receive the Academy Award for his superb portrayal of a suicidal gay professor in Tom Ford’s visually sublime character study “A Single Man,” but he stands a great chance to finally capture the gold for his equally substantive work as Britain’s stammering King George VI in the striking, crowd-pleasing dramatic comedy “The King’s Speech.”

With calculated subtlety and endearing sensibility, Firth dynamically gives his all as the frustrated George, nicknamed Bertie in close circles, who reluctantly became monarch after his lovestruck older brother King Edward VIII (a dashing, magnetic Guy Pearce) abdicated the throne in 1936. In order to properly lead the nation and overcome his debilitating stutter, a hindrance since he was 4 years old, Bertie, still coping with familial baggage from his childhood, turns to amiable yet stern Australian speech therapist and thespian Lionel Logue (a truly splendid Geoffrey Rush in one of his most engaging and expressive performances). Lionel’s unconventional teaching methods and strict demands (the private sessions particularly occur at his quaint office rather than Buckingham Palace) provides an entertaining tug-of-war with Bertie resulting in an unexpected friendship that evolves to nearly tear-jerking proportions at the film’s emotional climax: the titular address Bertie delivers to his countrymen as World War II looms.

Firth and Rush are simply outstanding, delivering multifaceted portrayals that take David Seidler’s formulaic yet engrossing screenplay to deep realms of poignancy. Whenever they share the screen and their infectious chemistry leaps forth, electricity is in the air. Guided with sophistication and warmth by director Tom Hooper (who helmed HBO’s Emmy-winning miniseries “John Adams”), Firth’s sharp complexity and believably fearful reticence effortlessly balances Rush’s calm authority and genuine sincerity, an appealing attribute wonderfully revealed in scenes featuring the Logue household.

“The King’s Speech” succeeds as a feel-good showcase of triumph in the face of adversity.

In addition to Pearce, terrific supporting turns are provided by an exceptionally understated Helena Bonham Carter as Bertie’s loving, supportive wife Elizabeth, who brought Bertie and Lionel together, Michael Gambon as Bertie’s imposing father King George V, Timothy Spall as Winston Churchill, Jennifer Ehle as Lionel’s dutiful wife Myrtle, Claire Boom as Queen Mary, the adorable Freya Wilson as Princess Elizabeth, and Derek Jacobi (used far better here than in Clint Eastwood’s recent flop “Hereafter”) as the stringent Archbishop of Canterbury.

A definite contender for a slew of Oscar nominations next month including Best Picture and beautifully accented by composer Alexandre Desplat’s lilting score, “The King’s Speech” succeeds as a feel-good showcase of triumph in the face of adversity. It is simply one of the best films of 2010.

“The King’s Speech” begins its Dayton engagement Saturday, December 25 at the Neon Movies, Rave Cinema at The Greene, and Regal Cinema.  Preview and trailer can be seen here.

A Field Trip Back In Time – Pat Hazell reflects on ‘The Wonder Bread Years’ at Victoria Theatre

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At the outset of Pat Hazell’s delightful one-man show “The Wonder Bread Years,” he endearingly promises “a field trip back in time.” Fortunately, it doesn’t matter that Hazell is primarily addressing baby boomers for his witty observational humor appeals to multiple ages and demographics, ensuring a hilarious, relatable evening of sunny nostalgia.

The current presentation on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series and previously staged at the Loft Theatre in 2002, “The Wonder Bread Years” supplies a fast paced hodgepodge of indelible impressions from Hazell’s humble, middle class upbringing. With an engaging sense of awe and insightfulness, the Nebraska native and former “Seinfeld” writer fondly recalls such topics as show and tell, brown bag lunches, family road trips to odd locales, sitting at the dreaded kids’ table at Thanksgiving, anticipating the ice cream truck in his neighborhood, and wearing recycled Halloween costumes. He also supplies humorous anecdotes about the flyswatter, the coin purse, kid phrases, mottos and jingles, and products such as Kool-Aid, Velvetta cheese, Manwich and SPAM (which he deems “something posing as meat”).

Hazell takes his charming concept further by digging into his family archives and incorporating a slide show that chronicles some of the experiences shared throughout the show. It’s a clever touch and an entertaining crowd pleaser. In fact, the opening slide show of assorted scenes of Americana instantly prepares the audience for Hazell’s wonderful world of reminiscences.

With the holiday season at fever pitch, it’s a perfect time to pause and be reminded of the innocence, magic and surprise of childhood. Don’t hesitate to take a trip down memory lane with Hazell. No one knows the path quite like him.

“The Wonder Bread Years” continues through Sunday, December 19 at the Victoria Theatre, 138 N. Main St. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Tickets are priced at $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Film Review – Black Swan

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Natalie Portman delivers the performance of her career thus far in “Black Swan,” Darren Aronofsky’s remarkably alluring and disturbing psychological thriller set within the beautiful, competitive and treacherous world of dance.

Portman, a captivating, graceful sight in the opening minutes alone, expertly portrays Nina Sayers, a dedicated, motivated and introverted New York ballerina cast in the signature roles of a reconceived presentation of “Swan Lake” (presumably by the New York City Ballet.) At first, the ballet company’s demanding, sexually candid artistic director Thomas Leroy (a brooding and suave Vincent Casell) feels Nina is only suited to play the innocent White Swan, but offers her the role of the seductive Black Swan after she discards her demure persona and bites him during a passionate kiss. Nina’s ascension, greeted with contempt by her fellow dancers, affords Thomas the opportunity to shove older ballerina Beth Macintyre (a terrifically fierce Winona Ryder) into early retirement, a decision that predictably infuriates Beth and traumatizes Nina in turn.

“Her scenes with the magnetic Kunis titillate with sexual chemistry and tension.”

Expectedly, Nina endures many physical and emotional hardships in her quest for perfection, particularly from Thomas’ rigorous tutelage and the uneasy companionship of her doting yet obsessive ex-dancer mother Erica (a marvelously stern Barbara Hershey in what could be perceived as a comeback), but her world is completely turned upside down by the arrival of new company member Lily (Mila Kunis in her best role to date), a talented dancer from San Francisco with mischievous aims. Nina is wary of her laidback yet ambitious rival, but is sucked into her intimidating vortex nonetheless with dangerous, confusing repercussions. At one point, it’s hard to believe Nina would be so willing to agree to a night on the town with Lily mere days before a gala performance, but it fuels Nina’s inability to see matters as they are. Lily’s mind games, professional and sexual, continuously warp Nina’s subconscious, propelling her troublesome, deep-seated paranoia to unsettling degrees.

Portman looks as stunning as ever in rehearsal and performance, a reflection of the training that went into her preparation. The athleticism, the commitment, the bewildered joy of capturing a coveted role, and the torture of attempting greatness is solidly conveyed in her luminous portrayal that manages to be simultaneously lovely and terrifying at times. Her scenes with the magnetic Kunis titillate with sexual chemistry and tension. Opposite Hershey she epitomizes the frustration of young women longing to embrace womanhood even though they remain little girls in the eyes of their mothers.

One wouldn’t expect Aronofsky, the dark auteur behind such films as “Requiem for a Dream” and “The Wrestler,” to embrace theelegant magnificence of ballet, but this slight departure proves to be a fascinating change of pace. In addition to authentically capturing the cold grittiness of the Big Apple, Aronofsky’s character-focused imprint is displayed in the aggressive rehearsal scenes, the fluidity of the performance sequences, the gripping moments of mental horror, his penchant for intimate close-ups and handheld camerawork, and a striking attention to detail encompassing shoe repair, crackling bones, physical therapy, choreographer input and costume fittings. Matthew Libatique’s splendid cinematography also secures a distinct sense of atmosphere from the halls of Lincoln Center to Nina and Erica’s confined Upper West Side apartment.

With Tchaikovsky’s gorgeous strains as an evocative underscore, “Black Swan” takes center stage as a compelling if overly intensified depiction of artistry, madness and mystery wonderfully bolstered by Portman’s breathtaking, Oscar worthy performance.

Grade: A

Rating: R

Length: 1 hour and 48 minutes

“Black Swan” will begin its Dayton engagement at the Neon Movies beginning Friday, December 17.

Holiday Hospitality Served With Love

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Greg Smith in 'Precious Heart'

The Dayton Theatre Guild’s special return engagement of Ted Karber, Jr.’s one-person comedy “Precious Heart” is a totally engaging, surprisingly touching outing thanks to Greg Smith’s effortlessly authentic and sincere turn as chatty spinster Fleeta Mae Bryte.

With natural ease and Southern fried charisma, Smith completely inhabits the colorful, independent Fleeta Mae, a longtime resident of Precious Heart, Texas who takes pride in knowing everything about everybody and still yearns for someone to love. Numerous stories are told over the course of two hours, and Smith wonderfully transitions from topic to topic steadily guided by director Blake Senseman. You’re bound to laugh when Fleeta Mae reminisces about her oddball relatives, the Armadillo War, her desire to become an airline stewardess, or her decision to cast a 14-year-old as the Baby Jesus in a live nativity. Conversely, the pensive moments, such as Fleeta Mae’s contemplation of suicide and bout with breast cancer, provide the compelling ingredient necessary to push the jokey material to a meaningful plateau. Particularly heartwarming are the final minutes which emphasize the universal significance of connectedness.

In addition to his acting duties, Smith, a noted scenic designer, has created an eye-catching set overflowing with kitschy clutter by set decorator Wendi Michael.

“Precious Heart” could have resulted as nothing more than a flamboyant drag act, but Smith transforms the play into something far greater and life-affirming.

“Precious Heart” continues through Sunday, December 12 in the Caryl D. Philips TheatreScape 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. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Have Yourself A Groovy Little Christmas

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8-TRACK: THE SOUNDS OF THE 70'S - The Human Race Theatre Co.Every now and then, the Human Race Theatre Company seeks a departure from the compelling, thought-provoking fare they do well in favor of lightweight, audience-friendly entertainment. A perfect example of this type of programming is currently at the Loft Theatre in the form of “8-Track: The Sounds of the 70’s,” a fast-moving, feel-good musical revue incorporating 50 pop/disco classics that defined the decade.

“8-Track,” created in 2001 by Rick Seeber of “Beehive” fame, cannot escape its theatrical karaoke stigma, but is conceptually effective nonetheless in its War and Peace segment that includes “What’s Going On,” “Peace Train,” “War (What Is It Good For?)” and “Taking It To The Streets.” An additional plus is the common thread of love and relationships weaved throughout the revue that provides emotional highs derived from such standards as “You Light Up My Life,” “Just The Way You Are” and “The First Time Ever I Saw Your Face,” three tunes that received the Grammy for Song of the Year.

Director/music director Scott Stoney’s vibrant, personable and harmonic quartet, flavorfully choreographed by Teressa Wylie McWilliams, colorfully costumed by Janet Powell and attractively presented on Mark Halpin’s sleek set reminiscent of a typical ‘70s variety series, fully adapts to the sentiments in each number. Race favorite J.J. Tiemeyer takes charge at the outset with “Get Ready” and particularly touches the heart with “Don’t Let Me Be Lonely Tonight.” Ebony Blake, returning to the Race for the first time since her dazzling performance in “Nefertiti,” delivers a strikingly contemplative take on “’Til You Come Back To Me” and lets loose with fierce sassiness for “Lady Marmalade” and “Car Wash.” Tenor Jonathan Burke, who uses his falsetto impressively for the obligatory “Stayin’ Alive,” offers solid renditions of “Alone Again (Naturally)” and “Desperado” in addition to playfully evoking Tony Orlando for “Tie A Yellow Ribbon Round the Ole Oak Tree.” Jennifer Wren supplies endearing versions of “I Am Woman” and “We’ve Only Just Begun” and tackles “Don’t Cry Out Loud” with gusto.

Although Seeber oddly overlooked legendary songs from a slew of female icons such as Judy Collins, Crystal Gayle, Janis Ian, Carole King, Anne Murray, Olivia Newton-John, Linda Ronstadt, Diana Ross and Carly Simon, “8-Track” is an upbeat holiday alternative that fulfills nostalgic urges.

“8-Track: Sound of the ‘70s” will continue through Wednesday, December 22 at the Loft Theatre, 126 N. Main St. Performances are Wednesday, December 8-Saturday, December 11 and Wednesday, December 15-Saturday, December 18 at 8 p.m., Sunday, December 12 and Sunday, December 19 at 2 p.m., Monday, December 20 and Tuesday, December 21 at 7 p.m. and Wednesday, December 22 at 8 p.m. A special talkback discussion will be held following the Sunday, December 12 performance. Tickets are $18.50-$40. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org

Farragut North Becomes Ides of March

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Beau Willimon - Playwright

In a surprising turn of events, the eagerly anticipated film adaptation of Brooklyn playwright Beau Willimon’s riveting political drama “Farragut North,” the winner of the 2005 Dayton Playhouse FutureFest, has a new name: “The Ides of March.”

Despite the darker yet catchier revamping, Willimon’s engrossing material, which brilliantly contains shades of David Mamet, still chronicles the downfall of an arrogant press secretary of a governor-turned-Democratic presidential candidate during the frenzied Iowa Caucus. According to Deadline.com, Oscar nominee Ryan Gosling (“Half Nelson”) will star as brazen hotshot Stephen Bellamy, a juicy role previously linked to such Hollywood heavyweights as Leonardo DiCaprio and Jake Gyllenhaal.

Joining Gosling, who appeared in “The Notebook,” “Lars and the Real Girl” and is currently garnering Oscar buzz for his performance in the indie hit “Blue Valentine,” will be Academy Award winner Marisa Tomei (“My Cousin Vinny”) as a New York Times reporter, Emmy Award winner Paul Giamatti (“John Adams”) as a rival campaign manager, and indie darling Evan Rachel Wood (“Across the Universe,” “Once and Again,” “Thirteen,” “The Wrestler,” “True Blood”) as a campaign intern.

In addition to directing “The Ides of March,” Academy Award winner George Clooney (“Syriana”) will appear as the aforementioned candidate and co-write the script along with Willimon and Grant Heslov. Clooney and Heslov’s script for “Good Night, and Good Luck” received a 2005 Oscar nomination for Best Original Screenplay.

“The Ides of March,” which has the potential to be a major contender at the 2012 Golden Globe Awards and Academy Awards, is inspired by Willimon’s service as a staff member within Howard Dean’s 2004 presidential campaign. Production is reportedly scheduled to begin in February in Michigan and Ohio.

“There will indeed be some shooting of ‘Ides of March’ in Ohio,” said Willimon, 33. “I have no idea what the shooting schedule is, or where, but it would certainly be cool if Clooney shot some scenes in Dayton!”

Willimon’s credits include the Hurricane Katrina-themed drama “Lower Ninth” and the gripping character study “Spirit Control,” an incredibly authentic account of an air traffic controller haunted by a tragedy.

The Courageous Professor Accepts Her Fate

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Wit, by Margaret EdsonIn Margaret Edson’s masterful 1999 Pulitzer Prize-winning drama W;t, Dr. Vivian Bearing, a formidable poetry professor specializing in John Donne’s beautiful metaphysical sonnets, faces the battle of her life: terminal ovarian cancer. As Vivian openly and insightfully addresses the pain, perplexity and torment that stems from her grave diagnosis, a fascinating, meticulously constructed journey of self-awareness and reflection comes into view. The fast-moving story, incorporating a terrific use of flashbacks and overlapping dialogue, fluidly evolves into a touching, powerfully potent portrait of dignity amid despair that particularly manages to explore the sophisticated realms of literature and procedural medicine without leaving you flummoxed.

In the Dayton Playhouse’s commendable yet low-key presentation, which could benefit from more energy in spite of the solemn tone established by director Matthew Smith, Barbara Coriell embodies Vivian’s prickly, language-driven nature with total veracity. She commands attention from her engaging, believably professorial entrance, and astutely proceeds to delicately convey, without overly emotional tendencies, Vivian’s inherent struggle that she must bear as feelings of fear and frustration consume every fiber of her being. Her well-crafted performance never falls short of compelling, whether the focus turns to Vivian’s in-depth dissection of a sonnet or the sudden realization that she has become nothing more than research fodder in the eyes of her impersonal doctors.

Charles Larkowski and Jonathan Berry, silly standouts in the Playhouse’s outstanding production of The Producers three months ago, solidly join forces again in a refreshing dramatic context. Larkowski brings a detached sensibility to his portrayal of the straightforward Dr. Harvey Kelekian. Berry, an absolute chameleon, has the larger role of Dr. Jason Posner, Vivian’s former student who is ultimately derailed by his selfishness.

Admirable featured performances are also offered by Jeri L. Williams as Susie Monahan, Vivian’s compassionate nurse, and Chris Hammond as E.M. Ashford, Vivian’s punctuation-obsessed English professor who made a profound impact on her student.

Gloria Doty, Ellen Ballerene, Marcus Simmons II and Carol Narigon complete the cast.

Unlike Showtime’s new series The Big C, W;t does not tackle cancer lightly. There are moments of levity, but the quietly engrossing material stings with a somber bluntness on the whole. Even so, the payoff is extremely rewarding as Vivian’s courageous example lingers long after the cast has taken their final bows.

W;t continues through Sunday, November 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $10-$15. The play is performed in two hours without intermission. For tickets or more information, call (937) 424-8477 or visit online at www.DaytonPlayhouse.org

onStageDaytonRussell Florence, Jr. is a member of The American Theatre Critics Association and The Drama League. In addition to his role as arts and culture editor of Dayton City Paper and theater critic for Dayton City Paper and Impact Weekly, he served as a Dayton Daily News freelance writer and editorial page contributor. He has also written features for such theater publications as Spotlight Ohio and The Sondheim Review.

Expressing Herself with Song – Tony Award winner Sutton Foster bound for Springfield

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Sutton FosterIn the hearts of many musical theater enthusiasts, Sutton Foster is in a class all her own.  A genuine triple threat with a radiant personality and a terrific belting voice, Foster, 35, continues to be one of the most sought after and admired actresses working on the Great White Way. Her star-making, Tony Award-winning performance in 2002’s Thoroughly Modern Millie cemented her leading lady status within the New York theater scene, and she further displayed her charm and versatility in Little Women (2005, Tony nomination), The Drowsy Chaperone (2006, Tony nomination), Young Frankenstein (2007) and Shrek the Musical (2008, Tony nomination). Last spring, she particularly wowed theatergoers with her strikingly nuanced portrayal of Fay Apple in the excellently conceived concert presentation of Stephen Sondheim’s Anyone Can Whistle at New York’s City Center, which, in my book, is in the running as one of the best NYC productions of 2010.

Having ended her first foray off-Broadway in Paul Weitz’s dark comedy Trust opposite Zach Braff (Scrubs), the Statesboro, Georgia native and sister of Tony nominee Hunter Foster (Urinetown) is on tour in support of her beguiling 2008 debut CD optimistically entitled Wish (Ghostlight Records). The CD is an infectiously intimate collection ranging from Duke Ellington tributes (“I’m Beginning to See The Light,” “I Like the Sunrise”) and bygone chestnuts (“Warm All Over,” “My Romance,” “Once Upon a Time,” “Come the Wild, Wild Weather”) to pop numbers (“Up on the Roof,” “Sunshine on My Shoulders”) and little known gems (“Danglin’,” “My Heart Was Set on You,” “Flight”).

On Saturday, November 13 at Springfield’s Kuss Auditorium, Foster will sing selections from Wish in addition to songs she introduced on Broadway. She will be accompanied by her musical director Michael Rafter (Swing!, Thoroughly Modern Millie, Everyday Rapture), and expect a few surprises along the way.

In advance of her concert, presented by the Springfield Arts Council, Foster discussed her craft and career.

onStageDayton: What does musical theater mean to you?

Sutton Foster: It’s everything to me. It’s my true passion…and honestly has changed my life. I’ve had moments in the theater, both as an audience member and on stage, where I have been transported. It’s powerful. To express yourself with song is very powerful.

OSD: What are some of your favorite musicals?

SF: Sweeney Todd is my all-time favorite. I also love Spring Awakening, The Light in the Piazza, West Side Story.

OSD: Do you have any musical theater influences?

SF: Patti LuPone has been a huge influence in my life. I used to listen to her sing over and over again in my room and try and sing like her.

OSD: How did it feel to win the Tony for Thoroughly Modern Millie? What did that win signify?

SF: It was a dream come true. I still to this day can’t believe that happened and that I now have a Tony in my apartment. I used to practice my Tony Award speech in my bedroom when I was a kid…I guess (winning) signified that I had made it in some way, but I think, more importantly, it signified to my family, especially my extended family, that maybe I could make a career out of doing this.

OSD: What are some of the most eye-opening experiences you’ve had thus far in your career?

SF: I think, how hard it is…the sacrifices you have to make to do eight shows a week. How ‘unglamorous’ it can be at times…how it can be difficult to deal with being criticized publicly. But it’s also a beautifully small, supportive community, and I have made friends and relationships that I’ll have for a lifetime.

OSD: Are you excited to play the iconic Reno Sweeney in the Broadway revival of Anything Goes this spring? Do you have an idea as to how you plan to portray the role?

SF: We don’t start rehearsals until January so I’m still very much in the early stages. But I’m thrilled and honored to take on this challenge.

OSD: Are there any dream roles you’d like to perform in the future?

SF: One of my favorite shows is Me and My Girl. I’d love to play Sally in that…or The Baker’s Wife in Into the Woods.

OSD: Can you share a little about the genesis of your Wish CD? What do the songs represent as a whole? Did you always intend to create an eclectic song list rather than a CD devoted to show tunes?

SF: I think when my music director Michael Rafter and I started looking at songs we chose material that spoke to us personally, and that is why the list is a bit eclectic. We really wanted our ‘first album’ to be true to us and where we were when we recorded it. We started working together on Millie back in 2001, and started working toward an album back in 2004, so this has been years in the making. And I think it’s my proudest achievement thus far.

OSD: Are there any tunes from Wish that hold a special meaning or are personal favorites?

SF: “Sunshine on My Shoulders.” I’m a huge John Denver fan, and I knew I wanted to include one of his songs on the album. And Michael wrote the arrangement for the song and it was just perfect. I also love the duet “Flight” that I sing with Megan McGinnis.

OSD: What are your thoughts on the current state of musical theater? Are new voices being heard?

SF: Well, I think they have been. Tom Kitt – Next to Normal – Lin Manuel Miranda – In the Heights…new shows like Bloody Bloody Andrew Jackson. I think the envelope is being pushed now more than ever.

OSD: Do you have any words of wisdom for aspiring musical theater performers?

SF: Don’t be an asshole. Respect your teachers, your peers…and take opportunities…you always have more to learn.

See event details on the DMM Event Calendar

Sutton Foster sings ‘Someone Else’s Story’

Playbill Video Cue & A: Sutton Foster

What: An Evening with Sutton Foster

When: Saturday, November 13 at 8 p.m.

Where: Kuss Auditorium, Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield

Cost: Adults $30-$50; Students (age 22 and under) $20-$40. Tickets can be purchased by calling (937) 328-3874 or visiting online at www.SpringfieldArtsCouncil.org. Group discounts available by calling (937) 324-2712.