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Russell Florence, Jr.

WSU Theater Takes On Grapes of Wrath

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Wright State University presents a riveting, emotional, timely, and ensemble-driven production of John Steinbeck’s The Grapes of Wrath, a powerful story of humanity, tragedy and hope during the Great Depression. Watching the American Family attempt to survive in the face of adversity, especially when dire situations threaten to keep them from moving forward, cuts deep, particularly throughout Act 2.

Marya Spring Cordes provides wonderfully atmospheric, physical and intimate direction including a superb transition when Ma Joad (a strong and earthy Alexia Vlahos) consoles Rose of Sharon (MacKenzie Stephens) as a rousing square dance unfolds. In addition to Vlahos and Stephens, terrific portrayals extend to Dylan Tacker (a very endearing Tom Joad), Louis Kurtzman (ladies’ man Al Joad), Isaac Ingle (continuing his winning patriarch track record as Pa Joad), Eli Davis (kooky Grandpa), Aaron Roitman (strikingly conveying the cheerful and cowardly duality of Connie Rivers, Rose of Sharon’s spineless husband), Nick Martin (mentally challenged Noah Joad and also outstanding as Joe Pitt in a student-produced Angels in America last weekend), Jeremy Farley (a fiery Floyd Knowles), Brynnan McNeill (ultra-religious Elizabeth Sandry), and many more.

Set designer Pam Knauert Lavarnway, lighting designer Emily Hope, projection designer Matthew Benjamin, costumer Elizabeth Bourgeois, sound designer James Dunlap, choreographer Taylor Patrick, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas provide expert work.

Dunlap and Rick Good supply authentically tuneful original folk songs as well. The Grapes of Wrath, featuring a truly unforgettable final scene defining compassion to the utmost, continues through Feb. 11 in WSU’s Festival Playhouse. Tickets run about $20 and can be purchased online here.

 

‘Stella and Lou’ Review – Dayton Theatre Guild – Un-break My Heart

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What becomes of the brokenhearted? In his tender and engaging dramedy Stella and Lou, playwright Bruce Graham firmly believes the emotionally wounded are able to heal with the passage of time but not without significant prodding.

(l to r) Adam Clevenger (Donnie), Amy Taint (Stella) and Geoff Burkman (Lou) appear in the Dayton Theatre Guild’s local premiere of Stella and Lou. (Photo by Craig Roberts)

Directed with gentle realism by J. Gary Thompson in an excellent local premiere by the Dayton Theatre Guild, this charming story of doubts and uncertainties in one’s twilight years, occurring in real time, concerns the friendship between a Philadelphia bar owner and a divorced nurse. Stella (Amy Taint) has had enough of her humdrum life and feels an opportunity to start anew in Florida is her ticket out. “A registered nurse in Florida?,” she quips. “I get off the plane they’re asking for my resume!” However, Stella isn’t sure about venturing into the great unknown alone. So, she asks Lou (Geoff Burkman), still grieving the loss of his wife, Lucille, to join her. With lighthearted assistance from Donnie (Adam Clevenger), one of Lou’s loyal, younger patrons, the play transpires as a quietly engrossing character study detailing the importance of connection, forgiveness, purpose, and choosing to optimistically embrace the future.

 

The expressive Taint, playful, determined and affecting, endearingly captures Stella’s personable spunk and substantial worries. In her capable hands, there’s no denying Stella’s desire to leave the familiar for a fresh start. Yet along the way, her portrayal, which leans toward comedy, dramatically softens and deepens, particularly bringing beautiful credence to Stella’s fear of aging and living a solitary existence. Burkman, seen last season at the Guild as hospital administrator Carr-Gomm in The Elephant Man, is equally sharp and meaningful. Effectively conveying Lou’s beleaguered and weary essence in physicality and conversation, Burkman powerfully uncovers the depths of Lou’s pain as a widower late in Act Two, specifically Lou’s reflections on coming home to an empty house every night and basically resigning himself to a life of endless stagnation. Although Lou is an introvert of his own making, deliberately closing the door to any possibility of romance or companionship, Burkman cracks the character’s tough, unyielding exterior just enough to prove how vital Stella is as the glimmer of hope he’s been waiting for. Clevenger is an admirable presence in a humorous if superfluous role essentially written to digest and counter thoughtful discussions of marriage and relationships. In addition, D. Tristan Cupp’s wonderfully authentic sports bar set is fittingly accented with nifty memorabilia, numerous bottles of alcohol and a dartboard.
Poignant and relatable, Stella and Lou is a refreshing testament to the joy of second chances.

 

Stella and Lou continues through Feb. 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 pm, Saturday at 5 pm, and Sunday at 3 pm. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Beehive’ Review – Dayton Playhouse – Welcome to the ‘60s

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The socially tumultuous but musically wondrous 1960s takes center stage as the Dayton Playhouse presents an entertaining and warmly nostalgic production of the off-Broadway musical revue Beehive.
Created in the 1980s by the late Larry Gallagher, Beehive salutes various female pop artists of the decade from girl groups such as the Chiffons, the Shirelles, and the Supremes to distinctive legends such as Janis Joplin, Tina Turner and Aretha Franklin. Adhering to the standard revue blueprint, the songs are the main attraction. There’s no need for a trite, shoe-horned storyline when a bevy of 30 fantastic hits from toe-tapping confections (It’s My Party, My Boyfriend’s Back, One Fine Day, You Can’t Hurry Love) to soulful anthems (Will You Still Love Me Tomorrow?, Abraham, Martin and John) breezily fuel the show’s feel-good momentum.

(l to r) Madeline Hart (Pattie), Elana Elmore (Gina), Alicia Walton (Jasmine), Tamar Fishbein (Wanda), Kailey Yeakley (Alison), and Shanna Comacho (Laura) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

Director Tina McPhearson (who memorably helmed the Playhouse’s Hairspray) and choreographer Annette Looper (playfully evoking the spirit of American Bandstand and Hullabaloo) seemingly work in tandem to bring lighthearted joy to this fast-moving, audience-friendly outing. McPhearson’s lively and compatible six-member cast, attractively costumed by McPhearson, Kathleen Carroll and Tim Grewe with fabulous wigs by Steve Burton, beautifully blend vocally while enjoying individual opportunities to bask in the spotlight. Tamar Fishbein (Wanda) winningly takes on the role of narrator, gleefully offering commentary on important fashion trends and the significance of certain songs to provide greater context. Playhouse newcomer Kailey Yeakley (Alison) absolutely charms in full debutante mode rendering a lovingly demure and strong version of Where the Boys Are. Madeline Hart (Pattie) also provides a fine Playhouse debut, notably shining with You Don’t Own Me and Son of a Preacher Man. Alicia Walton (Jasmine), a standout earlier this season as Sister Mary Robert in the Playhouse’s Sister Act, returns with a particularly spirited River Deep –Mountain High. Shanna Comacho (Laura) continues her impressive versatility this season with a gently poignant To Sir, With Love (a personal favorite that still sounds as earnest and impactful as the day it was written) and a fully committed, Woodstock-esque embodiment of Somebody to Love, Cry Baby and Me and Bobby McGee. The marvelously expressive Elana Elmore (Gina), trained in opera but skillfully navigating R&B in this instance, delivers a rousing Proud Mary and wonderfully lyric-driven renditions of Chain of Fools and (You Make Me Feel Like) A Natural Woman. She effortlessly interprets Chain of Fools and A Natural Woman with delicate nuances and unique vocal flourishes that make its dual assessments of love, complicated vs. satisfying, arise fresh and new.

l to r) Alicia Walton (Jasmine), Shanna Comacho (Laura), Madeline Hart (Pattie), Tamar Fishbein (Wanda), Elana Elmore (Gina), and Kailey Yeakley (Alison) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

The production is also bolstered by Chris “Red” Newman’s variety show-inspired scenic design, John Falkenbach’s expert lighting, Bob Kovach’s terrific sound design, and conductor Ron Kindell’s well-balanced orchestra.  Accented by amusing photos and commercials of yesteryear, Beehive is a worthwhile trip down memory lane.

Beehive continues through Sunday, Feb. 4 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The musical is performed in 90 minutes without intermission. Tickets are $16-$18. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.

 

‘Hello, Dolly!’ Review – Muse Machine – Embracing Life & Looking Swell

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If you thought the Muse Machine pulled out the stops last year with Hairspray, wait until you get a load of its equally enthusiastic and marvelous production of composer Jerry Herman and librettist Michael Stewart’s 1964 Tony Award-winning classic Hello, Dolly!, the arts education organization’s 34th annual student musical continuing through Sunday, Jan. 14 at the Victoria Theatre.

The cast sings “Put On Your Sunday Clothes” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

It is customary for this feel-good show to specifically spotlight the inherent charm, quick wit and gleeful mischief of one beloved woman who has the pleasure of being serenaded by a throng of overjoyed waiters. However, the Muse universe rightfully abides by a different pedigree. In fact, over 170 students from across the Miami Valley have cohesively united to bring the entire musical comedy genius of the material to life with a refreshing level of ensemble-friendly, production-savvy magic. By and large, the Muse’s Dolly! concerns the journey of a woman who is more of a catalyst than a centerpiece. It’s a departure from the norm, especially if you saw the current Broadway revival starring Bette Midler, but you wouldn’t want it any other way within the spirited context of what the Muse does best.

Sara LiBrandi (Dolly Gallagher Levi) and restaurant staff in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

Based on Thornton Wilder’s The Matchmaker and set in 1890s New York, this tale is an engaging account of widow Dolly Gallagher Levi, the most celebrated matchmaker in New York City. Although she already paired wealthy Yonkers businessman Horace Vandergelder with lovely Manhattan milliner Irene Molloy, Dolly actually has her eyes and pocketbook set on Horace. Using her meddlesome skills to the utmost with sly instinct and skillful improvisation, she ultimately obtains her goal while encouraging those around her to embrace life to the fullest and never underestimate the power of love.

Breezily directed with ample humor and earnest sensitivity by Joe Deer, this fast-paced outing is impressively led by Sara LiBrandi, a truly delightful and determined Dolly. LiBrandi’s breakthrough performance, mesmerizing in its maturity especially in frequent asides focused on Dolly’s late husband Ephraim, wonderfully conveys Dolly’s pivotal epiphany in Before the Parade Passes By. As hard-nosed Horace, the comical Jake Jones is an excellently stubborn authoritarian and relishes the playfulness of It Takes a Woman alongside the male ensemble. The admirable Steven Greenwalt and endearing Tommy Cole, a great dancer, are a respectively appealing duo as best friends Cornelius Hackl and Barnaby Tucker, Horace’s dutiful employees. Kiama Wa-Tenza is an absolutely radiant Irene, exuding sophisticated elegance and offering a gorgeously introspective rendition of Ribbons Down My Back. The bubbly Ana Smith is tailor-made for Minnie Fay, Irene’s talkative and easily excitable sidekick. Ben Kneblik is a perfectly agitated Ambrose Kemper. Charlotte Kunesh wails with humorous abandon as Ermengarde, Horace’s distressed niece and Ambrose’s girlfriend. Diane Isom scores big laughs as the over-the-top Ernestina. The striking David Shockey commands attention as Rudolph, head waiter of the posh Harmonia Gardens restaurant. Principals also include Fischer Barnett as an enraptured Head Cook and exasperated painter, Melanie Dodson as the kindly Mrs. Rose, Michael Taylor as a sympathetic Judge, and Darian Watson as a befuddled Court Reporter.

The male ensemble sings “It Takes a Woman” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

In addition, choreographer Lula Elzy delivers some of her finest and liveliest work, particularly building Before the Parade Passes By with exceptionally astute scope (including a cute group of flag-waving kids) and filling the rousing title number with jubilantly cheery gusto and the unique sight of adoring female staff. The New Orleans native also choreographs a nifty curtain call which fittingly pays tribute to Louis Armstrong’s classic rendition of the title song and the exuberant jazz essence of the Big Easy. Bruce Brockman’s grand sets and Dixon Reynolds’ colorful period costumes, coordinated by Toni Donatio Shade and Alisa Vukasinovich, are courtesy of Music Theatre Wichita. John Rensel supplies expert lighting design. Musical director Sean Michael Flowers leads a vibrant orchestra.
In spite of winter’s bitter chill, whirl away your worry and see this outstanding, life-affirming presentation which ranks among the best in Muse history.

 

Hello, Dolly! continues today at 3 and 8 pm and Sunday at 2 pm at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 65 minutes. Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com.

 

‘The Tutors’ Review – Playground Theatre – Craving Connection

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The local theater scene welcomes 2018 with a bang thanks to Playground Theatre’s outstanding local premiere of Erica Lipez’s 2013 off-Broadway dramedy The Tutors in the Mathile Theatre of the Schuster Center.

(left to right) Ryan Grissett (Milo), Jenna Gomes (Heidi), A.J. Breslin (Joe), Boyang Zhang (Kwan), and Skyler McNeeley (Toby) appear in Playground Theatre’s local premiere of “The Tutors.” (Photo by Knack Creative)

Set in New York City circa 2007, the play revolves around the disillusioned lives of Joe, Toby and Heidi, friends and roommates whose dream of creating a Facebook-esque social networking site has sputtered. In order to pay the bills, they tutor wealthy prep school students. “Our time is coming,” Heidi states. “But the only thing coming is the rent.” Although their dream is built on connection, Lipez powerfully plants their relationship in various modes of disconnect. Heidi, suffering from mental illness, specifically agoraphobia, refuses to leave the apartment and imagines intimacy with an Asian student. Joe, a schemer responsible for naming the website joinme2u.com, seduces his students with drugs in the hope that their parents will become investors in the floundering site. Toby, the closeted and introverted tech expert, appears to be the most grounded but is still coming to terms with his identity and purpose. Disappointed and distressed, lonely and confused, the trio questions their future while craving connection.

Just when you think you have Lipez all figured out, she creates fascinating and thought-provoking detours. Along the way, the trio significantly damages each other while perceiving to cling to their ride or die friendships. But friendships change. Dreams change. One must be willing to navigate a new path sometimes and it’s perfectly fine to break free. They learn this the hard way even when discussions turn destructive and nasty. However, nothing in the play is more beautifully complicated than the final moments of Act 1, a sequence exquisitely directed with overlapping fluidity and sensitivity by Playhouse co-founders Christopher Hahn and Jenna Valyn. Hahn and Valyn’s incredibly intimate atmosphere is notably bolstered by a savvy soundtrack featured during scene changes and Derek Dunavent’s evocative lighting.

Inhabiting Lipez’s relevant world is a cast that ranks among the finest assembled so far this season. A.J. Breslin, meticulously composed and reserved in Playground’s production of Tape a few months ago, is in full attack mode here recalling his strong and defiant performance as Dennis in Playground’s This is Our Youth last season. Breslin doesn’t disguise Joe’s overbearingly snarky qualities, but he’s wise not to make him a complete jerk unworthy of redemption. The radiant Gomes effortlessly navigates Heidi’s whimsical journey with ample humor and drama, a skillful balancing act recalling the arc of the equally unstable Harper Pitt in Angels in America. Skyler McNeely, new to the Playground but recently seen alongside Breslin in Dare to Defy Productions’ presentation of Seussical, is remarkable in one of his best and most vulnerable performances. Conveying tenderness, concern, frustration, and hope sometimes within the same breath, McNeely, astutely accenting his expressive work with a tinge of mystery to keep the audience on its toes, is firmly grounded as the play’s appealing emotional center. Breakthrough performances are offered by Ryan Grissett as Joe and Toby’s privileged and disenchanted pupil Milo and Boyang Zhang who pulls double duty as the real and fictional embodiments of Kwan. Grissett, a recent graduate of Beavercreek High School, gleefully agitates Breslin and McNeely for much of the play but explodes with heartbreaking fury when Milo’s world is flipped upside down especially within his fractured home. Zhang, a Cincinnati-based actor, expertly differentiates cool suaveness and buttoned-up reticence in his dual roles.

Lipez knows of what she writes. She was once a tutor and actually wrote this play while in graduate school at New York University. She also served as producer and writer of such TV series as Lone Star, Suits and Bates Motel. Her captivating look at millennials embracing the digital age without any idea of how to truly connect face-to-face with attention and focus rises as both a cautionary tale and another splendid example of the Playground’s riveting artistry.


The Tutors continues through Jan. 7 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 60 minutes. Act Two: 60 minutes. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are advised the show contains adult language and situations. For more information, visit theplaygroundtheatre.org. Also, you can follow Playground’s Spotify playlist at http://pgdyt.org/tutors-soundtrack. The indie/rock/folk artists featured include Vampire Weekend, Blitzen Trapper, Band of Horses, The Shins, and Arctic Monkeys.

‘Urinetown’ Review – Wright State University – Playful Parody

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Wright State University delivers a delightful production of composer/lyricist Mark Hollmann and lyricist/librettist Greg Kotis’ 2001 Tony Award-winning Urinetown: The Musical, a smart, witty and irreverent spoof of musical theater and corporate greed.

David Emery (Bobby Strong) and cast spoof Les Miserables in Wright State University’s production of Urinetown: The Musical. (Photo by Courtney Michele Zimmerman)

More topical than ever as talk of corruption fills the headlines, Urinetown concerns a terrible water shortage in a Gotham-esque city. A 20-year drought has made private toilets illegal so all must pay to pee. The evil Caldwell B. Cladwell, CEO of Urine Good Company who has fond if salacious memories of the scandalous “stink years,” has set a price for the use of public toilets. However, when he implements a fee hike the good-natured Bobby Strong rallies his fellow citizens to take action. A comical revolt ensues, ultimately raising the stakes for Bobby and his particularly budding attraction to Cladwell’s lovely if simple daughter Hope.

Over the years, director Lee Merrill has staged serious material such as Sweeney Todd, The Magic Fire and The Miracle Worker, but she lets loose here in the black box Herbst Theatre with an exhilarating frivolity recalling her outstanding production of The Gondoliers 11 years ago in the Herbst. She gives her exemplary cast permission to go big and broad, but her wonderfully environmental and intimate staging (featuring evocative lighting design by Emily Hope and a multi-level set by Pam Knauert Lavarnway complete with an assortment of empty water bottles) isn’t an over-the-top free-for-all. In fact, the show’s inherent silliness (and there’s plenty of it) is often dialed back to great effect, allowing for moments of earnest sensitivity and vulnerability within the realm of kooky parody. She also deserves credit for allowing certain lines to refreshingly resonate that might have been buried, hurried or thrown away in previous productions. In other words, you will not miss one of Cladwell’s cronies telling someone with all seriousness that he was once a “good girl.”

This vocally strong production, exceptionally and energetically choreographed with inspired touches by Jessica Eggleston, is a true ensemble showcase with numerous standouts. The physically imposing David Emery winningly portrays the kindhearted Bobby Strong as a valiant hero with an endearingly daft persona. In the same spirit, Celia Arthur, as Hope, supplies attractive gentility and dim-witted charm (notice how she greets the citizens in the opening title number). Arthur and Emery notably unite for a beautifully layered rendition of “Follow Your Heart,” one of many terrific tunes in the score, which predominately serves as a savvy homage to Kurt Weill and Bertolt Brecht’s The Threepenny Opera. Emily Chodan is authoritative and very funny as Penelope Pennywise, Bobby’s strict boss at Amenity No. 9, the “poorest, filthiest urinal in town.” As Cladwell, Tristan Allen exuberantly revels in the role’s despicable glee with giddy flamboyance. The marvelously expressive Alejandra Solis perfectly captures the innocence and insights of the wiser-than-her-years Little Sally. Ian Ashwell and Kyle Sell are respectively compatible and sardonic as Officers Lockstock and Barrel. The cast, properly socio-economically costumed by Jonah Larison and accompanied by music director Sherri Sutter’s solid if small three-piece orchestra, includes Ethan Evans (Senator Fipp), Hunter Minor (a fierce Mr. McQueen), Christian Schaefer (Old Man Strong), Sam Maxwell (a fittingly hot-tempered Hot Blade Harry), Mikalya Shepherd (Old Woman), Casey Borghesi (Josephine Strong), Brynnan McNeill (Little Becky Two Shoes), Rachel Woeste (Mrs. Millennium), Kaitlyn Campbell (Soupy Sue), Lauren Kampman (Cladwell’s Secretary), Veronica Brown (Tiny Tom), Grant Measures (Dr. Belleaux), Nick Martin (Robbie the Stockfish), and Eric Thompson (Billy Boy Bill).

 

Urinetown concludes today at 2 p.m. in the Herbst Theatre of the Creative Arts Center, 3640 Col. Glenn Hwy., Dayton. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call the Box Office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information.

 

In related news, a special student-produced local premiere of Lisa Kron and Jeanine Tesori’s acclaimed 2014 Pulitzer Prize-nominated and 2015 Tony Award-winning musical Fun Home will be held today and tomorrow at 8 p.m. in the Director’s Lab of the Creative Arts Center. Based on Alison Bechdel’s 2006 graphic memoir of the same name, this humorous and thought-provoking coming-of-age tale will be directed by Megan Valle. There is free admission.

 

‘Little Women’ Review – Dare to Defy Productions – Home, Love, Family

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Dare to Defy Productions’ heartwarming production of Little Women: The Musical engagingly resonates in the Mathile Theatre of the Schuster Center.

(left to right) Lindsay Sherman (Meg March), Melissa Hall (Jo March), Samantha Creech (Amy March), and Jessi Stark (Beth March) are featured in Dare to Defy Productions’ presentation of Little Women: The Musical through Dec. 9 in the Mathile Theatre of the Schuster Center. (Contributed photo).

At its core, composer Jason Howland, lyricist Mindi Dickstein and librettist Alan Knee’s 2005 adaptation of Louisa May Alcott’s beloved 1868 novel is an unabashedly hurried affair. This coming-of-age Civil War-era tale of the four March sisters – Meg, Jo, Amy and Beth – and their devoted Marmee coping with life on the homefront never really settles down enough to fully grasp the depth of the relationships and situations. In an attempt to cover as much of the book as possible, the passage of time is accelerated and sufficient character development is sacrificed. In fact, Amy’s transformation from childish brat to sophisticated world traveler is a huge stretch. Even so, the colorful and inspiring March women remain a relatable quintet bolstered and bonded by a compelling journey of love, loss, identity, and sisterhood.

Deftly directed by Kristofer Green (making fine use of Zach King’s efficient unit set), this vocally strong showcase contains a terrific cast. Melissa Hall (a complex knockout last summer as unstable Harper Pitt in Columbus’ Short North Stage’s Angels in America) is dynamic as the determined, feisty Jo who dreams of literary greatness. With captivating expressions and spitfire fortitude, the ever-present Hall completely embodies Jo’s willingness to overcome adversity and take the world by storm. She also supplies wonderfully introspective renditions of “Astonishing” and “The Fire Within Me,” the show’s dual centerpiece anthems. Lindsay Sherman, known mostly for comedic roles, is effectively grounded as the mature, romantic Meg who ultimately falls for the friendly John Brooke (amiable Jonathan Collura). Samantha Creech, who recently delivered a breakthrough performance as Shelley Parker in Dare to Defy’s Bat Boy, delightfully portrays Amy with a nod to Lily Tomlin’s iconic Edith Ann. Jessi Stark, appealingly understated as soft-spoken, ill-fated Beth, joins Hall for the truly touching duet “Some Things Are Meant To Be,” a vividly acted moment acknowledging death while treasuring every bit of time left. Lorri Topping, in a welcomed return to the stage, affectionately portrays the resilient Marmee, specifically delivering an emotional “Days of Plenty” which finds Marmee trying to make peace with grief. A.J. Breslin as charmingly smitten Laurie Laurence, Ted Elzroth as persnickety Mr. Laurence, Becky Howard as fussy Aunt March, and Justin King as introverted Professor Bhaer are equally first-rate. The production also contains lively yet fittingly minimal choreography by Tracie Books, attractive period costumes by Jordan Norgaard, lighting design by Derryck Menard, music direction by David McKibbben, and a steady if occasionally overpowering orchestra under the leadership of Judy Mansky.

With potent reminders fueling the importance of family, forgiveness, benevolence, and kindness, Little Women is the perfect vehicle to usher in the holiday season.

 

Little Women: The Musical continues Friday at 8 p.m. and Saturday at 2 and 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $16.50-$25. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or ticketcenterstage.com.

 

‘Tuesdays with Morrie’ Review – Young at Heart Players – Life Lessons

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Young at Heart Players presents an excellently heartrending production of Mitch Albom and Jeffrey Hatcher’s stage adaptation of Albom’s 1997 best-seller “Tuesdays with Morrie” at the Dayton Playhouse.

(left) Patrick Allyn Hayes and Jamie McQuinn star in Young at Heart Players’ production of “Tuesdays with Morrie.” (Photo by Fran Pesch)

Fluidly co-directed by YAH founder Fran Pesch and her daughter Annie Pesch, this effectively scaled down two-hander absolutely thrives on the terrific performances of Patrick Allyn Hayes as sports reporter Albom and a remarkable Jamie McQuinn as Albom’s former sociology professor Morrie Schwartz. Believably bonded in the past and present, Hayes and McQuinn forge a fascinating journey unabashedly sentimental at its core but also very enlightening. Significant and meaningful life lessons arise notably rendered by McQuinn with eloquent earnestness.

The story is based on Albom’s endearing reflections with Schwartz, whom he visited over the course of 14 Tuesdays while working for the Detroit Free Press. He hadn’t seen Schwartz since graduating from Brandeis University 16 years prior, but his travels from Michigan to Massachusetts became an important lifeline particularly as drama at work threatened to consume him. As Schwartz battles Amyotrophic Lateral Sclerosis (ALS), also known as Lou Gehrig’s Disease, Albom ultimately realizes the importance of living life to the fullest.

In his first major leading role, McQuinn soars in a quietly astute performance blending charm and whimsy with beautiful sensitivity in a father figure capacity. As Schwartz’s health deteriorates, the script naturally allows McQuinn to become more profound and he certainly succeeds in doing so. When Schwartz reminds Albom to “forgive everyone everything” before it’s too late, it’s difficult not to fall under McQuinn’s gentle and inspiring spell. At the same rate, Hayes, in one of his most vulnerable, emotional and understated performances, equally resonates. He displays great narrative skill and appealingly reiterates Albom’s openness to learn and really grasp Schwartz’s morsels of goodness with each meeting. Hayes and McQuinn are also required to go out of their comfort zones a bit (Hayes mimics playing piano; McQuinn attempts a few dance steps) but do so admirably.

“When you age you grow and when you grow you learn,” says Schwartz. This Thanksgiving, let us be thankful for the special teachers who made a difference in our lives. Be sure to stop by the Playhouse and spend time with one of the greats.

 

“Tuesdays with Morrie” continues through Nov. 26 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. The play is performed in 90 minutes without intermission. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. For reservations, call Fran Pesch at (937) 654-040. For additional information, visit youngatheartplayers.com

 

‘Fiddler on the Roof’ Review – Wright State University – The Winds of Change

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There are some very special musicals that have stood the test of time because no matter how often you see them they still remain fresh, profound and necessary. Case in point: composer Jerry Bock, lyricist Sheldon Harnick and librettist Joseph Stein’s 1964 classic Fiddler on the Roof, terrifically presented by Wright State University in the Festival Playhouse of the Creative Arts Center.

Halle Augenstein as The Fiddler in Fiddler on the Roof (Photo by Erin Pence)

The sheer magnetism of Fiddler occurs in its tuneful prologue. An entire town pauses to joyfully share what you should know about their lives, responsibilities, hopes, religion, and traditions. But what they don’t know is that their little spot of the world – the tiny village of Anatekva on the eve of the Russian Revolution circa 1905 – will ultimately and drastically transform beyond comprehension. Girls will be taught to read. Men will dance in public with women. A daughter will chose to love outside her faith despite ridicule. Anatekva itself will cease to exist. And along the way, there is great anticipation of how poor dairyman Tevye and his family will cope with the winds of change.

 


Josh Beasley’s playful, lighthearted and physical portrayal of Tevye fittingly conveys the role’s affectionate qualities as a loving father whose frequent chats with God give him purpose and direction. Megan Valle, stern yet comedic as Tevye’s wife Golde, exudes strength and authority, but also conveys tender sensitivity. In fact, during one of the most gorgeously staged renditions of Sunrise, Sunset I have seen, Valle spins her introspective lines into beautiful morsels of bewilderment brought about by the passage of time. Kayli Modell (Tzeitel), Danielle Bessler (Hodel), Emma Buchanan (Chava), Michaella Waickman (Shprintze), and Dana Bixler (Bielke) are uniformly dynamic as Tevye and Golde’s daughters. In particular, Modell is a refreshingly headstrong Tzeitel and Bessler delivers a phenomenally lyric-driven Far From the Home I Love absolutely testifying to the fact that Hodel’s unwavering love for her family will burn bright no matter where she resides (“I must go” never sounded so sure or lovingly defiant). Aaron Roitman (Motel), Kyle Miller (Perchik), and knockout dancer Philip Stock (Fydeka) are equally and respectively appealing as the suitors of Tzeitel, Hodel and Chava. Roitman’s awkward charm, Miller’s determined spirit (Now I Have Everything leaps forth as a meaningful epiphany), and Stock’s fiery flair are fine attributes. The cast also contains notable portrayals from Isabella Andrews as an appropriately nosey and concerned Yente, Joe Green as a firmly grounded Lazar Wolf, Joey Kennedy making the most of the easily perturbed Mendel in unexpected ways, Justin Matthews as the intimidating Constable, Louis Kurtzman as the Rabbi, the aforementioned Bixler as Grandma Tzeitel, Halle Augenstein as the Fiddler, and Rachel Mary Green who blends opera, pop and R&B with ghoulish glee as the frightening Fruma Sarah in Tevye’s Dream.

Michaella Waickman (Shprintze), Emma Buchanan (Chava), Kayli Modell (Tzeitel), Danielle Bessler (Hodel), and Dana Bixler (Bielke) in Fiddler on the Roof (Photo by Erin Pence)

Director W. Stuart McDowell incorporates a few touches from Broadway’s stunning 2016 Tony-nominated Fiddler revival (for example, featuring all of Tevye and Golde’s daughters in Matchmaker), but adds specific elements of his own which broaden the story’s scope. In addition to allowing Tzeitel one last chance to take a snapshot of the mind while in her family’s presence, McDowell astutely aims for deeper resonance in the exceptional final sequence. Seeing the citizens of Anatevka separate to start their lives anew gives haunting credence to the current plight of refugees throughout the world. In fact, there is a brief, awe-inspiring moment implying that Tevye and his family have arrived in New York City as the spirit of the Fiddler guides them from above. McDowell’s first-rate artistic team includes choreographer Teressa Wylie McWilliams (an exuberant To Life and lively series of Wedding Dances, the aforementioned Tevye’s Dream, and luminous Chava Sequence are among her excellently character-focused routines), set designer David J. Castellano, lighting designer Matthew P. Benjamin, costumer Naomi Reisner, sound designer Ryan Burgdorf (expertly crafting the destruction pivotal to the distressing Act 1 finale), dialect coach Deborah Thomas, and music director Scot Wolley who conducts a superb onstage orchestra.

Now more than ever, it’s time to reassess the relatable potency and urgent relevancy of this marvelous tale of family, community and hope.

Fiddler on the Roof continues through Nov. 19 in the Festival Playhouse of the Creative Arts Center, 3640 Col. Glenn Hwy., Fairborn. Act One: 100 minutes; Act Two: 45 minutes. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

In related news, Broadway producer and author Jack Viertel will speak at Wright State University on Tuesday, Nov. 28 courtesy of the Musical Theatre Initiative. Viertel is Vice-President of Jujamcyn Theatre, one of Broadway’s largest and most successful producers, the artistic director of Encores series at New York City Center, and author of the book The Secret Life of the American Musical. Viertel, a member of MTI’s advisory board, will give a talk on his book from 10 a.m. to noon in the Creative Arts Center’s Jubilee Theatre (Directing Lab) and from 1 to 3 p.m. will give an interview and discussion with MTI Director, Joe Deer, in the same space. All events are free and open to the public.

‘The House’ Review – Human Race Theatre Company – Suburban Hysteria

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A bitter real estate feud fuels the hilarious hijinks within Brian Parks’ kooky 2014 one-act comedy “The House,” currently receiving an outstanding Midwest premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Pictured (left to right): Vince Gatton, Alex Sunderhaus, Caitlin Larsen and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

Sharply staged with sitcom-esque flair by Margarett Perry, “The House” is a funny yet often uncomfortably nasty look at humanity at its worst. Martyn and Shanny Redmond sold their lovely dream home (attractively designed by Ray Zupp) to overeager thirtysomethings Fischer and Lindsay Libett, but are terribly concerned when the Libetts reveal their desire to make some previously unannounced home improvements. The Redmonds simply can’t fathom the idea of their history being destroyed for the sake of a breakfast nook among other questionable plans. In turn, absolute chaos erupts into a full-throttle tailspin ranging from outlandish accusations and hurt feelings to the mutilation of a large teddy bear (one of Heather Powell’s many great props including an asbestos-ridden pipe).

Thanks to Perry’s wonderfully crisp pace and character-conscious direction, Parks’ rapid fire dialogue doesn’t drag. Plus, the Race has assembled an exemplary quartet who gives their all to a deceptively demanding play that requires total physical commitment. Race resident artists Caitlin Larsen and Scott Stoney are delightfully compatible as the emotionally conflicted Redmonds, happily married but unable to let go of the things they believe their lives are built upon. Zany and unhinged, Larsen is a joy to behold. Due to her incredibly astute portrayal, it’s apparent long before the final seconds that Shanny is an unstable force to be reckoned with. Stoney’s role isn’t as showy as Larsen’s, but he enjoyably conveys Martyn’s sensible nature, especially his knack for mediation, as situations spiral out of control.  Dynamic duo Vince Gatton and Alex Sunderhaus are also perfectly cast as the Libetts, a pair of go-getters who have a lot to learn about compromise. Gatton, a New York-based actor/playwright whose promising new play “Wake” was featured last summer in the Dayton Playhouse FutureFest, terrifically reveals the privileged ugliness festering within Fischer’s personable aura. Sunderhaus, spinning comedic gold even when walking across the stage to obtain keys, effortlessly delivers one of her finest performances, particularly as the seemingly conservative Lindsay becomes increasingly cutthroat and loosens her inhibitions in the process.

Pictured (left to right): Vince Gatton, Caitlin Larsen, Alex Sunderhaus and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

“The House” could be considered a glorified “Saturday Night Live” sketch, but it’s an unforgettably wild ride with surprisingly thought-provoking undertones. Climb aboard, hold on tight, and watch the insults fly.

 

“The House” continues through Nov. 19 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Tuesday and Wednesday at 7 pm, Thursday, Friday and Saturday at 8 pm, and Sunday at 2 pm. The play is performed in 90 minutes without intermission. Tickets are $40 for adults, $37 for seniors and $20 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com.

‘Tape’ Review – Playground Theatre – Riveting Reunion

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Stephen Belber’s dark 1999 drama “Tape,” outstandingly produced by Playground Theatre at the Mathile Theatre, pulls no punches in its brutally honest examination of memory, betrayal, infatuation, deception, vindictiveness, jealousy, and sexual assault encompassing the lives of three high school friends. Seeking to uncover truths with jaw-dropping psychological gamesmanship, Belber creates a blistering portrait of humanity that’s messy, nasty and flawed. Through anger and pain, shock and shame, this fascinating character study, set inside a Michigan motel in real time thereby heightening its conversational allure and emotional stakes, reiterates how impossible it is to move forward if you haven’t made peace with the past.

(left to right) A.J. Breslin (Jon), Christopher Hahn (Vince) and Kelsie Slaugh (Amy) star in Playground Theatre’s production of “Tape.” (Photo by Knack Creative)

Directed with gripping tension by Playground co-founder Jenna Valyn, this intimate outing smoothly evolves from the casual small talk of its more humorous opening moments to a pulse-pounding climax of destructive volatility. Playground co-founder Christopher Hahn fills his astute portrayal of brutish Vince, a volunteer firefighter and dope dealer still searching for his true calling, with sharp sarcasm and passionate unpredictability. In addition to embracing Vince’s man-child essence to the hilt (notice how he makes flushing drugs down the toilet seem utterly devastating), he winningly conveys Vince’s faux nobility when attempting to be the hero of this tale. The dynamically expressive A.J. Breslin shines as Jon, a budding filmmaker whose decision to be “a little rough” one evening 10 years ago comes back to haunt him. Masterfully composed in his early scenes, Breslin eventually erupts with fierce ferocity during Vince and Jon’s pivotal argument involving a taped confession of rape. Due to his proficiency of duality, I absolutely believed the seemingly reserved Jon was capable of producing “violent tendencies” just as much as bad-boy Vince. The magnetic, quietly commanding Kelsie Slaugh delivers a breakthrough performance as the highly perceptive Amy, a local assistant district attorney and Vince’s bygone girlfriend who takes matters into her own professional hands as the horror of what happened (or didn’t happen) with Jon comes into focus. Cunningly and charmingly acknowledging Amy as the smartest and savviest adult in the room, Slaugh particularly mesmerizes in her cutthroat delivery of Amy’s incredibly stinging reprimand to Jon which internally beats him to a pulp. It is the defining moment of the play and rightfully so.


The Playground relishes in edgy, gritty plays addressing the harsh realities of life. “Tape,” bound to incite thought-provoking discussion, continues the organization’s impressive artistic track record while indicating a refreshing desire to broaden its base and brand as it opens its fourth season. Enter Room 32 if you dare.

 

“Tape” continues today at 2 and 8 pm and Sunday at 2 pm inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 70 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For more information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations. You can also follow Playground’s Spotify playlist at http://bit.ly/tape-soundtrack.

 

‘Blues for an Alabama Sky’ Review – Sinclair Community College – Captivating Relevance

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The fascinating and heartbreaking shift from the height of the influential Harlem Renaissance to the beginning of the Great Depression serves as the pivotal foundation of Pearl Cleage’s powerful 1995 drama Blues for an Alabama Sky, excellently presented by Sinclair Community College in Blair Hall Theatre.

(left to right) Justin Lampkins as Guy, Shaun Diggs as Leland, Erin McGee as Delia, S. Francis Livisay as Sam, and Bryana Bentley as Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Inspired by Harlem Renaissance poet Langston Hughes’ autobiography The Big Sea, Blues for an Alabama Sky chronicles African-American life in the Harlem summer of 1930 (scenic designer Terry Stump wonderfully conjures the essence of 125th St.) as a place of promise, purpose and pitfalls. Due to the Great Migration of blacks from the South in the early 20th century, Harlem overflowed with enlightening and progressive black voices, straight and gay, male and female, in visual and performing arts, allowing whites a chance to understand the black experience as never before. Even health care activist Margaret Sanger, a birth control pioneer, sought support from blacks as the Renaissance grew into a movement so expansive Josephine Baker dictated fashion trends from Paris. Granted, not every legend from this crucial period is namedropped in the play (Zora Neale Hurston, James Weldon Johnson, Paul Robeson, Fats Waller, and Duke Ellington are among those surprisingly absent), but Cleage still creates an intimate, colorful and extremely tight-knit look at five African-Americans trying to carve a path as the country faces economic disaster. “The Depression has killed all the night life in Harlem,” says aspiring singer Angel, an unchurched, down-on-her-luck, ex-Cotton Club performer clinging to the prospect of something greater at a time when jobs are scarce. So, what do you do when singing the blues gives you the blues? Angel ultimately realizes there’s only one thing she can do: survive.

Bryana Bentley as aspiring blues singer Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Director Kimberly Borst, whose knack for fluidity impresses once again, creates a communal experience so strong essentially every scene arrives with utmost expectancy. She has also assembled a vibrantly heartfelt ensemble clearly selling the play’s emotional highs and devastating lows. The luminous Bryana Bentley, a vision in costumer Kathleen Hotmer’s attractive period attire, interprets Angel’s complexities with a beguiling mix of passion, anger, arrogance, intimidation, and vulnerability. Her portrayal often stings and seduces in the same breath. Shaun Diggs, in one of his finest performances, is terrific as the religious, judgmental, unyielding, and naïve Leland Cunningham who arrives in Harlem from Tuskegee, Alabama unprepared for the cultural explosion encircling him. After Leland falls head over heels for Angel and learns a few hard truths, Diggs isn’t afraid to show the darker feelings festering underneath Leland’s gentlemanly qualities. The outstanding Justin Lampkins delivers a breakthrough performance as bubbly Guy, Angel’s loyal roommate, confidant and costumer inspired by the beauty and glamour of Josephine Baker. Marvelously embodying Angel’s desire to take Paris by storm as Josephine’s designer, the sophisticated Lampkins invigorates each moment with effortless command of period nuances and a naturally effervescent flair. The endearingly sensitive Erin McGee as progressive social worker Delia hoping to open family planning clinics and amiable S. Francis Livisay as Harlem Hospital physician Sam are very compatible in matters of health and romance.

Blues for an Alabama Sky is a captivating examination of love, loss, discrimination, sexual harassment, intolerance, deception, identity, faith, tragedy, and hope. It’s a historical throwback undeniably educational, meaningful and relevant today. Whether you’re contemplating what your future holds as far away as Europe or as close as your windowsill, always dare to dream.

 

Blues for an Alabama Sky continues through Oct. 14 in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. Act One: 75 minutes; Act Two: 60 minutes. Performances are Friday and Saturday at 8 p.m. Tickets are $15-$18. For tickets or more information, call (937) 512-2808 or visit sinclair.edu/tickets.

‘You Can’t Take it With You’ – Wright State University – The American Family

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The delightfully chaotic Sycamore household remains a charming portrait of unconditional love and appealing diversity as evident in Wright State University’s lighthearted and attractively designed staging of George S. Kaufman and Moss Hart’s 1937 Pulitzer Prize-winning comedy “You Can’t Take it With You.”

(left to right) Kyle Krichbaum (Mr. DePinna), Mackenzie Kasbaum (Essie Carmichael), Christian Henderson (Donald), Jeremy Farley (Ed Carmichael), Logan Kitchens (Paul Sycamore), Danni Hepp (Penelope Sycamore), Zach Fretag (Boris Kolenkhov), George Heddleston (Tony Kirby), Katie Sinicki (Alice Sycamore), and Isaac Ingle (Martin Vanderhof/Grandpa) are featured in Wright State University’s production of “You Can’t Take it With You” (Photo by Erin Pence).

In the midst of the kookiness at the center of this character-specific romp about a close-knit family with big personalities and zany hobbies is a thoroughly engaging love story merging two distinctively opposite families. The bond between middle class Alice Sycamore (cute and coy Katie Sinicki evoking 1930s nuances) and her Wall Street boyfriend Tony Kirby (dashing, amiable George Heddleston) absolutely holds the emotional core of this relatable if overstuffed classic together as their relationship blooms, fractures and heals. When Tony’s uptight parents visit the Sycamores for dinner, situations turn prickly and uncomfortable (Alice scolding her family for their odd behavior always stings), but the truths that arise from misunderstanding give value to the show’s embrace of universal acceptance.

Director Joe Deer, in his first non-musical outing for WSU, keeps the pace brisk and the comedic timing sharp overall, specifically staging a joyful Act 2 finale complete with fireworks and confetti. However, there are a few offbeat moments when laughs are forced or completely over-the-top, notable miscues particularly apparent in Christine Fiala’s erratic take on alcoholic diva Gay Wellington. Even so, Deer coaxes strong portrayals from many principals. Standout work extends to a terrifically heartfelt Isaac Ingle as Grandpa Martin Vanderhof (whose unique views on income tax and living life to the fullest are hallmarks of the script), Danni Hepp as Penelope Sycamore (her savvy handling of the play’s significant “personality game” is a highlight), bubbly Mackenzie Kasbaum as aspiring ballerina Essie Carmichael, adorably square Jeremy Farley as Essie’s husband Ed, Kyle Krichbaum as eccentric Mr. DePinna, the imposing Zach Fretag as passionately earthy artist-instructor Boris Kolenkov, the wonderfully resonate duo of Kenneth Erard and Heather Cooperman as the Kirbys, Kennedy Cook (a senior at Stivers School for the Arts) as dutiful Rheba, and Christian Henderson as Rheba’s boyfriend Donald. The cast includes Alexia Vlahos as Grand Duchess Olga Katrina, Logan Kitchens as Paul Sycamore, Nick Wasserbauer as Henderson, Thomas Sheffer as G-Man, Jake Siwek as Mac, and Dean McKenzie as Jim.

Additionally, Deer’s fantastic artistic team includes scenic designer David J. Castellano (his handsomely detailed and colorful set is a character of its own), costumer Courtney Zimmerman (providing eye-catching period outfits), lighting designer Jennifer Watson, sound designer Silas Sheckels, dialect coach Deborah Thomas, and properties master John Lavarnway (supplying an authentic printing press).

At a time when our great nation is wounded by tragedy and divided by policy and presidency, “You Can’t Take it With You” represents the best of America. After all, we are our better selves whenever we can accept each other’s differences and unite.

 

“You Can’t Take it With You,” dedicated to Dr. Mary Donahoe, Professor Emeritus, continues through Oct. 8 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday and Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The production runs 2 hours and 35 minutes with two intermissions. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

 

‘Sister Act’ Review –Dayton Playhouse – A Joyful Noise

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She’s fabulous, baby. I’m referring to Tia Seay, a consistent bright spot in many featured roles transitioning into a leading lady with passion, power and purpose in the Dayton Playhouse’s highly entertaining production of Sister Act, fluidly directed by Tim Rezash.

Tia Seay (left, standing, as Deloris Van Cartier), Brian Sharp (center as Monsignor O’Hara) and the Nun Ensemble of Dayton Playhouse’s production of Sister Act. (Photo by Art Fabian).

Whether managing a trailer park, resorting to goofy antics to win quick cash, narrating on Skid Row, or ill-fatedly embracing hope at the dawn of the 20th century, Seay has delivered time and time again with vivid expression, solid stage presence and terrific vocals. So, it’s perfectly fitting she’s finally received an incredible star vehicle catered to her naturally inherent gifts of comedy and soul.

In this breezy 2011 adaptation of the 1992 hit film of the same name, featuring music by Alan Menken, lyrics by Glenn Slater, and a book by sitcom vets Cheri and Bill Steinkellner (Cheers), Seay portrays disco diva Deloris Van Cartier, a struggling Philadelphia nightclub entertainer seeking fame in the late 1970s. When Deloris accidentally witnesses a murder at the hand of her gangster boyfriend Curtis, she’s sent to a local convent for her protection. She humorously clashes with the stern Mother Superior, but ultimately discovers the value of sisterhood when she transforms the convent’s inadequate choir into an overnight sensation.

Seay’s charm, wit and warmth is put to great use as Deloris hilariously fumbles her way through the convent lifestyle like a fish out of water. But don’t get me wrong. She’s not a jokester stuck on autopilot for two-and-a-half-hours. On the contrary, she calculatingly builds her portrayal with nuance and depth, most significantly in her beautiful rendition of the introspective title song which serves as Deloris’ epiphany. Seay also receives pleasant support from an appropriately strict and bewildered Cathy Long as Mother Superior in addition to the truly praiseworthy team of Alicia Walton as introverted Sister Mary Robert (her Life I Never Led is a tender standout), Shanna Camacho as bubbly Sister Mary Patrick, Donna Cason as no-nonsense Sister Mary Lazarus, Dawn Roth-Smith as Sister Mary Theresa (Rezash gives her a very funny stage cross), and the mostly mute Elaine Smith (who nearly brought tears to my eyes in a brief yet heartfelt exchange with Seay) as the eccentric Sister Mary Martin-of-Tours. The colorfully cohesive Nun Ensemble, bringing wonderful vibrancy to Menken and Slater’s marvelous Raise Your Voice, disco-driven Take Me to Heaven and Spread the Love Around, and lovingly Disney-flavored Bless Our Show, consists of Zenobia Curtis, Andrea Wilburn, Amber Pfeifer, Nelani Huntington, Carrin Ragland, Lindsey Cardoza, Elizabeth Lindon, Rebekah Skaroupka, Angelé Price, and Marabeth Klejna.

(left to right) Tia Seay (Deloris Van Cartier), Donna Cason (Sister Mary Lazarus), Shanna Camacho (Sister Mary Patrick), and the Nun Ensemble of Dayton Playhouse’s Sister Act. (Photo by Art Fabian)

Interestingly, the men take a backseat in this musical (a script flaw resulting in underwritten roles), but Rezash allows each an opportunity to shine. Brian Sharp is deliciously dry as the financial-focused Monsignor O’Hara. William “Kip” Moore, memorably partnered with Seay last season in the Playhouse’s Ragtime, gives ominous weight to Curtis’ vengeance. Moore’s rendition of the lyrically clever, R&B-inspired When I Find My Baby is a real hoot. Naman Clark is delightfully earnest as insecure Eddie, the police officer overseeing Deloris’ case smitten with her ever since she led an all-black version of Funny Girl in high school. Trevaun Tolbert as TJ, William “Beau” Boatwright as Joey, and Juan Gabriel Encarnacion as Pablo are crowd-pleasers as Curtis’ kooky henchmen. Also notable are versatile Steve Strawser as Eddie and Solid Gold-esque Kiersten Farmer adding pizazz as Fantasy Dancer.

Rezash’s first-rate production team includes scenic designer Chris “Red” Newman, costumer Elaine Smith (filling the finale with glitz and glamour), lighting designer John Falkenbach, properties designer Tina McPhearson, choreographer Michael Groomes, sound designer Bob Kovach (conveying the convent’s acoustics with finesse), and musical director Ron Kindell who leads a steady nine-piece orchestra.

Bolstered by Seay’s outstanding performance, this feel-good show is a fun kickoff to the Playhouse’s 2017-2018 season. Do yourself a favor and go see Sister Act!

Sister Act continues through Oct. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton.
Act One: 70 minutes; Act Two: 55 minutes. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.
 

 

‘Legendale’ Review – Human Race Theatre Company – Reality Bites

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The Human Race Theatre Company enters its 31st season with the American premiere of composer/librettist Andrea Daly and lyricist/librettist Jeff Bienstock’s charmingly relatable and delightfully tuneful musical Legendale, an original story of a disillusioned gamer escaping the monotony of the real world by embracing the exciting camaraderie of the virtual world.

Twentysomething IT manager Andy survives everyday boredom and stresses by playing the titular online role-playing game even at his thankless job at Magnets “n” More. After all, in Legendale, Andy is the master of his domain, calling the shots and attempting new levels and challenges. In fact, the thought of winning a new competition with the grand prize of a million dollars and the title “Lord of Legendale” has him poised for greatness. However, when saddled with competing as a milkmaid (all other avatars were taken) his hopes are quickly deflated. But along the way, and from an unlikely source, Andy discovers the value of perseverance and self-esteem as romance and adventure spark refreshing possibilities.

Daly and Bienstock jump-started Legendale in 2015 when the show was featured in the National Alliance for Musical Theatre’s Festival of New Works. Following a December 2016 workshop at the Human Race, it received its world premiere at Denmark’s Fredericia Teater. As it currently stands, the best attribute of the material, outside the realm of introducing musical theater to an untapped niche market, is its pop-infused if ballad-heavy score. Standouts include fantastic opener When We Play, introspective Dead Again, catchy anthem Lord of Legendale, striking duets Here and Now and Anticipation, and spirited Why Not Me? The score is splendidly orchestrated by Tony Award winner Bruce Coughlin (The Light in the Piazza, one of the most gorgeously orchestrated musicals of all time).

On the other hand, the book is underdeveloped. Andy is a likable focal point with palpable strife, but his scope is oddly limited. Whenever Andy is in Legendale, marvelously and inventively conceived by projection designer David Bengali (Dear Evan Hansen), the kookiness of the avatars and their situations only appeal for brief periods. As so, there needs to be additional investment in Andy and his backstory. Who is he? What makes him tick? What happened in his life pre-Legendale? He’s certainly more than a mere gamer and his journey should address matters greater than the fascination of online game culture. Perhaps the appearance of a Young Andy or Andy’s parents would better address any semblance of a past. Further, perhaps Andy shouldn’t live alone. It would be interesting to see his existence expand to include a roommate or an ex-girlfriend. Daly and Bienstock pepper their script with sound ideas recalling Dear Evan Hansen, She Loves Me, The Wizard of Oz, and Grey Gardens, but they’ve only begun to scratch the surface of millennials seeking connection in the digital age.

Nonetheless, off-Broadway director/choreographer John Simpkins, Head of Musical Theatre at Penn State University, brings Legendale forth with considerable style, skillfully contrasting the real and fantasy domains, particularly Legendale’s funny eccentricities. Simpkins’ entertaining, fully committed cast is also a plus. Max Crumm (Danny Zuko in Broadway’s 2007 Grease revival and Scott in the short-lived 2016 musical Disaster!) terrifically embodies the introverted, insecure and geeky Andy, conveying social detachment and the budding hope of relationship with endearing, nuanced finesse. Abby Church, perky and personable, engagingly captures the extremely specific vernacular and physicality of the Legendale universe as comical milkmaid-turned-fierce warrior Zelayna, Andy’s avatar and girl power sidekick. Rachel Flynn exudes lovely sensitivity as timid temp Beth, Andy’s co-worker who shares more in common with him than he initially realizes. Jesse Sharp, an exceptional Gomez Addams in the national tour of The Addams Family, supplies goofy charisma as grandstanding and devious Legendale creator Paul Jansen who particularly persuades Andy to join his tech-savvy team in Silicon Valley. (However, Jansen’s introductory number, I Make the Magic, could be cut.) Travis Mitchell is appropriately hardcore as Steve, Andy’s annoying boss. Nathan Robert Pecchia, Cody Westbrook and Colin Hodgkin, an excellently versatile trio connected to Wright State University, playfully appear in various roles from energetic gamers to freaky brain-craving zombie robots.

Scenic designer Michael Schweikardt’s efficient turntable in addition to a series of video and sliding panels propels the show’s cinematic fluidity, expertly heightened by John Rensel’s lighting design. Costumer Ayn Kaethchen Wood incorporates wardrobe from Denmark designers Anna Juul Holm and Lotte Blichfeldt, but her notable contemporary outfits are precisely true to character especially Andy’s casual attire and Jansen’s flashy pink jeans. Jay Brunner’s first-rate sound design, Heather Powell’s unique properties, and Gina Cerimele-Mechley’s vibrant fight choreography bolster Legendale’s fanciful aura. Music director Scot Woolley leads a remarkably solid and full-sounding seven-piece off-stage band.

Whether it’s the tale of a bachelor willing to give marriage a try or a group of outcasts demanding attention be paid, musicals about connection – to simply belong to someone or something or thriving to become somebody – will always have the power to resonate. “You’re alone. I’m part of a team,” Andy proclaims in a valiant moment of epiphany. “Opportunity is everywhere.” Like Legendale, Andy is still a work in progress, but it’s a pleasure watching him come to terms with the joys of being alive.

Legendale – A New Musical continues through Oct. 1 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursdays-Saturdays at 8 p.m., Tuesday and Wednesday at 7 p.m., and Sundays at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $17.50-$50. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail betty.gould@victoriatheatre.com. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. In addition, there will be Young Professionals Board Game Night Saturday, Sept. 16 at 5 p.m., and a post-show talk-back following the Sunday, Sept. 17 performance. For more information about the Young Professionals Board Game Night, visit the Human Race’s Facebook page at facebook.com/humanracetheatre.

 

 

‘All My Sons’ Review – Dayton Theatre Guild – Love, Loss and Lies

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Attempting to move forward while haunted by the past ultimately pushes the Keller household to the breaking point in Arthur Miller’s acclaimed 1947 drama All My Sons, commendably presented by the Dayton Theatre Guild.

David Williamson (Joe Keller) and Heather Atkinson (Lydia Lubey) appear in the Dayton Theatre Guild’s production of All My Sons. (Contributed photo by Craig Roberts).

Delicately helmed without a hint of melodrama by Debra Kent, this gripping, three-act tale spanning a period of less than 24 hours concerns betrayal, duty, responsibility, regret, and irreparable father-son dynamics, relatable themes Miller would expand upon two years later in his masterpiece Death of a Salesman. Joe, humble patriarch and longtime businessman, and his dutiful wife Kate, still reeling from and utterly consumed by the absence of their eldest son Larry who disappeared in action, await the arrival of Ann Deever, the girl next door from long ago presently pining for Joe and Kate’s youngest son Chris, a valiant serviceman now operating the family business. The notion of marriage is a refreshing plus for this family in dire need of good news, but an ominous cloud looms over them. After all, Joe knowingly shipped defective airplane parts from his factory to the military during World War II, causing the deaths of 21 pilots. He was exonerated but his business partner Steve Deever, Ann’s father, remains incarcerated. When Ann’s bitter brother George arrives for answers, the Kellers are forced to face the ugly truth and accept the brutal, tragic consequences.

Framed within Chris Harmon’s beautifully inviting backyard set and attractively costumed in period attire by Carol Finley, Kent’s cast brings fine vim and verve to Miller’s fantastically layered dialogue overall despite a crucial inconsistent link. As the terribly flawed Joe, David Williamson shrewdly navigates the tricky balancing act of appearing carefree while forever under suspicion. Although Williamson is pretty much happy-go-lucky for the majority of the play, he greatly unleashes Joe’s hard-nosed grit late in Act 2 when Joe defends his choices, including his love of family, opposite an angered Chris. As the charming, honorable Chris, Jeff Sams delivers one of his most emotional performances, wonderfully erupting in a sea of ferocity, pain, disbelief, and horror as the unimaginable becomes reality. Sams has so much fire in his eyes I truly believed Kate’s depiction of Chris’ duality: “In the war they say he was a killer. Here he was afraid of mice.” As Ann, the good-natured woman caught in the middle of brotherly strife, the luminous Kari Carter, looking runway-ready in Finley’s lovely costumes, supplies a beguiling femininity and a keen mediator sensibility as dysfunction threatens the pursuit of new love. The terrifically nuanced Mike Beerbower, determined to destroy but mindful of cordiality, brings pitch-perfect frustration and childlike awe to George’s prickly, tense reunion with the Kellers. Rick Flynn (Dr. Jim Bayless) and Adee McFarland (Sue Bayless) are credibly partnered. McFarland in particular excellently intimidates to the hilt opposite Carter when Sue scolds Ann about Chris’ behavior and admits she actually can’t stand living next to the Kellers. Who knew Miller laid the groundwork for Desperate Housewives? Todd Rohrer (horoscope-adoring Frank Lubey), Heather Atkinson (Frank’s sunny wife and George’s former flame Lydia), and spunky Noah Rutkowski (precocious neighbor kid Bert) are also enjoyable in featured roles. However, Rachel Oprea, a committed but miscast Kate, is out of her depth and doesn’t really settle into the complex magnitude of her role, which has greater significance here due to Kent’s decision to stage, in prologue and echoing the play’s exhilarating 2016 Stratford Festival production, the fierce storm that strikes the tree Kate planted to keep Larry’s memory alive. Kent tilts the play in Kate’s direction, but Oprea lacks variety, vitality and age-appropriate finesse, a surprising turn of events considering how much I’ve praised her versatility over the years. Regardless, as Kate says, “certain things have to be.”

Even so, accented by gently evocative lighting design by Tony Fende (notice Oprea bathed in blue moonlight in the final moments) and moody sound design by K.L. Storer, All My Sons is impactful theater. Miller places a stark mirror to humanity as he questions the true measure of a man living the American Dream.

 

All My Sons continues through Sept. 3 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 55 minutes; Act Two/Three: 70 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.