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‘Magnificent Hubba Hubba’ wins Dayton Playhouse FutureFest

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2017 FutureFest winner Olga Humphrey of New York City (Photo by Art Fabian)

New York City playwright Olga Humphrey’s kooky comedy “Magnificent Hubba Hubba,” chronicling the fierce rivalry between elderly professional female wrestlers, received top honors Sunday, July 23 at the 27th annual Dayton Playhouse FutureFest of new, unproduced plays held July 21-23.

Set in San Diego and inspired by the 2004 documentary “Lipstick & Dynamite, Piss & Vinegar: The First Ladies of Wrestling,” “Hubba Hubba” reunites hardnosed, vulgar Lucille (a.k.a. The Magnificent Hubba Hubba) and genteel Alice (a.k.a. Headlock Liplock) for a full-throttle smackdown for the ages. As their contentious relationship transpires among a gaggle of eccentric characters, introverted teenager Roy weaves his way into their lives as an unexpected confidant, especially for Lucille whose estranged granddaughter Lulu is the object of Roy’s affection.

Melissa Ertsgaard (Referee), Becky Howard (Lucille), Thomas L. Troutman (Roy), and Fran Pesch (Alice) in “Magnificent Hubba Hubba” (Photo by Art Fabian)

“Magnificent Hubba Hubba” scored highest among six plays, evenly split as a staged reading or fully staged performance, based on judging criteria including dramatic concept, character/language, plot, and page-to-stage. Forty percent of the vote was based on the judges’ initial reading of the script. The remaining 60 percent derived from the judges’ revised ranking at the festival. This year’s professional adjudicators were New York-based journalist Peter Filichia, New York-based director/producer/writer Ashley Rodbro, Texas-based director/producer/writer Helen Sneed, Eileen J. Morris, Artistic Director of the Ensemble Theatre in Houston, Texas, and James Vagias, Co-Founder and Producing Artistic Director of the American Theater Group in South Orange, New Jersey. The play was also named this year’s Audience Favorite.

“These characters are easy to love,” Morris said of Humphrey’s script. “The language is varied and delightfully intriguing. You definitely see the emotional arcs of the characters.”
“There is something believable about this play’s universe,” Sneed added. “This play could have a real life, a real future and extended life, not just in the professional world but the non-professional world. It’s a standout comedy.”
“It’s a real laugh-fest,” echoed Vagias.

Cast of “Magnificent Hubba Hubba” (left to right): Hannah Stickel, Shanna Camacho, David Hallowren, director Annie Pesch, playwright Olga Humphrey, Thomas L. Troutman, Fran Pesch, Becky Howard, and Melissa Ertsgaard

“I’m really shocked,” reflected Humphrey who received the top prize of $1,000. “One of my favorite things is going to a new city and hearing my work done. I enjoyed all the playwrights and hearing our perspectives. I was so impressed with all of the plays. They were so strong and there was a really high bar. We experienced great writing. It’s very exciting to have a comedy honored. I’m really excited about that. I couldn’t have asked for a more wonderful birth of this play.”

Under the lively, flavorfully authentic, how-in-the-world-did-she-pull-it-off direction of Annie Pesch, the production’s stellar, fully staged presentation Saturday, July 22 was led by the outstandingly committed duo of Becky Howard as Lucille and Fran Pesch as Alice. Funny and savvy support stemmed from Thomas L. Troutman as Roy, Hannah Stickel as Lulu, David Hallowren as Zane/Announcer, and Melissa Ertsgaard and Shanna Camacho in various roles. Jeff Sams notably served as wrestling coach and assisted Annie Pesch with fight choreography. As Humphrey develops her work, she should consider fleshing out or eliminating the prickly relationship between Lulu and Roy, a subplot too prominent to remain unengaging. Also, creating a surprisingly tender Act 2 moment for Lucille and Alice, establishing a sense of sisterhood addressing the hard knocks of competing in the wresting world, would be a refreshing addition in terms of broadening the play’s depth. Still, “Magnificent Hubba Hubba” is the epitome of unforgettable. After all, I saw things I can never unsee which is part of its offbeat charm.

The 2017 FutureFest playwrights/finalists (left to right): Desiree York, Angela J. Davis, Olga Humphrey, Vince Gatton, J. Thalia Cunningham, and Mark Cornell (Photo by Art Fabian)

The praiseworthy remaining finalists chosen from across the country were: “On Pine Knoll Street,” a touching family dramedy about aging, connection and forgiveness by Mark Cornell of Chapel Hill, North Carolina delicately directed fully staged by Richard Lee Waldeck on Friday, July 21; “First, Do No Harm,” a drama about race and healthcare by J. Thalia Cunningham of Delmar, New York directed as a staged reading by Jackie Darnell on Saturday, July 22; “Wake,” a fascinating contemporary ghost story about marriage, sacrifice and the beguiling power of storytelling by Vince Gatton of New York City directed as a staged reading by Tim Rezash on Saturday, July 22; “The Spanish Prayer Book,” a drama concerning history and ethics by Angela J. Davis of Los Angeles, California directed as a staged reading by KJ Melson on Sunday, July 23; and the Maya Angelou and social justice-inspired racial drama “The Puppeteer,” an excellently sweeping, gripping and relevant account of identity and struggle within the African-American experience from the glories of the Harlem Renaissance to the angst of the Trump Era by Desireé York of Rancho Santa Margarita, California strikingly directed fully staged with cultural flair by Kip Moore on Sunday, July 23. Each playwright was awarded $100.

The remaining commendable casts were: “On Pine Knoll Street,” featuring Renee Franck-Reed as Thelma, Cheryl A. Mellen as Marilyn, John-Michael Lander as Curtis, Kari Carter as Kristie, and Raef Norgaard as Mitchell; “First, Do No Harm,” featuring A. Slate as Dr. Elissa Kerry, Shanna Camacho as Dr. Alison Taylor, Joyce Barnes as Mattie Clester, Kip Moore as Dwayne Hatcher, Jennifer Lockwood as Female Actor, Keshawn Mellon as Male Actor, and Charlotte Harris as Narrator; “Wake,” featuring Brian Sharp as Dan, Mark Sharp as Eric, Michael Groomes as Terrell, Shyra Thomas as Esme, and Jason Penix as Charlie; “The Spanish Prayer Book,” featuring Jim Lockwood as Jacob Adler, Cynthia Karns as Joan Adler, Kerry Simpson as Michaela Adler, Matthew Lindsay as Julien Nazir, Jonathan Horwitz as Alexander Adler/Christopher Howell, Karin Henhapel in multiple roles, understudies/stage readers Michael Juergens and Niccole Sue Ann Wallace, and guitarist Richard Prigozen; and “The Puppeteer,” dynamically led by versatile newcomer Carolyn L. Seymour (remarkably conveying various ages and emotions while navigating a journey spanning nearly 100 years) as Constance/Connie and featuring Jacob Smith as Robert/Christopher, Michael Schumacher as Ernie/Mr. Hotchkiss, Chelsey Hall as Miss Dunston, Corrine Duperree as Mrs. Covington, Tamar Fishbein as Ms. Jenkins, and Vicki Thompson Tuccillo as Ms. Evans.

Carolyn L. Seymour delivered a standout, multi-generational performance as Constance/Connie in Desiree York’s powerful and timely racial drama “The Puppeteer” (Photo by Art Fabian)

Additionally, the festival kicked off Thursday, July 20 with a special staged reading of Filichia’s new play “Adam’s Gifts,” a contemporary, endearing, briefly unnerving, and uniquely non-seasonal update of “A Christmas Carol” with nods to “Oliver Twist” and “Pygmalion.” Directed by Tina McPhearson and narrated by Kelli Locker, the fine cast featured Saul Caplan as illiterate slumlord William Pront, Matthew Lindsay as William’s overworked employee Jason Romano and mobster Sam Falcon, Tori Kocher as sassy spiritual guide Glynis, Cassandra Engber as Jason’s ex-wife Lisa Pinewski and William’s former flame Mary Chalmers, and a heartfelt Jack Lockwood in a breakthrough performance as Jason and Lisa’s sickly son Adam Romano and impressionable Young William, raised by Sam amid troubling circumstances.

Mark your calendars: The 28th annual FutureFest will be held July 20-22, 2018. For more information, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “The Puppeteer”
2. “Magnificent Hubba Hubba”
3. “Wake”
4. “On Pine Knoll Street”
5. “First, Do No Harm”
6. “The Spanish Prayer Book”

 

 

‘Jesus Christ Superstar’ Review – Epiphany Lutheran Church – The Man and His Movement

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Texting isn’t mentioned in the Bible. However, it figures prominently within Jesus of Nazareth’s final days as winningly interpreted in the Epiphany Players Drama Ministry of Epiphany Lutheran Church’s wonderfully contemporary production of composer Andrew Lloyd Webber and lyricist/librettist Tim Rice’s classic 1971 rock opera “Jesus Christ Superstar,” the organization’s 27th annual summer musical.

 

Kean Petrello (Jesus Christ), Laura Jacobs (Mary Magdalene) and Brianna Russ (Judas Iscariot) are featured in Epiphany Lutheran Church’s production of Andrew Lloyd Webber and Tim Rice’s classic rock opera “Jesus Christ Superstar” (Contributed photo)

Directed with stirring immediacy and intensity by Megan Wean Sears, “Jesus Christ Superstar” leaps forth as compelling and thought-provoking as today’s headlines. Set in contentious New York City (representing our currently divisive America), the show first and foremost uncomfortably stings as it should while remaining a cautionary tale of human folly. All the vital events leading to Jesus’ crucifixion and death are colorfully, grippingly and passionately executed by the 61-member cast. However, Sears takes the action to a fascinating new level with the aid of savvy multimedia/projections expertly designed by Bobby Morgan. Part of her artistic intent ponders what it would be like if Jesus was among us now, energizing “a movement of both rebellion and compassion.” In turn, seeing a throng of texts pop up on a big screen in excitable “Dear Evan Hansen”-esque fashion, including “I’m right next to JC,” makes the material feel instantly fresh. By the time apostle Simon Zealotes tweets a call to revolution in Times Square, it is an undeniable hallmark of Sears’ forward-thinking storytelling. And I dare not spoil how a certain cable news network vividly accents the drama or how a certain late night TV talk show host is flavorfully parodied. Bottom line: Sears has created one of the most relevant productions of “Jesus Christ Superstar” the Miami Valley has ever seen.

Still, without credible performances the production would lack true connection. Thankfully, the Epiphany talent pool, double-cast per tradition, delivers once again. Kean Petrello, a pop tenor tailor-made to play the kindhearted Jesus, genuinely exudes warmth, concern and soulfulness throughout. He offers a powerful yet introspective rendition of “Gethsemane” and brings great anger and overwhelming dismay to “The Temple.” As Judas Iscariot, dynamic vocalists Desmond Thomas and Brianna Russ are equally vibrant yet shady antagonists. Even so, due to the sheer rarity of a woman in the role, Russ receives special mention for exploring betrayal, fear, insecurity, and jealousy with marvelous complexity and a fitting punk-rock edge. In addition to jumping octaves like it’s a walk in the park in such numbers as “Heaven on Their Minds,” “Damned for All Time/Blood Money,” “The Last Supper,” “Judas’ Death,” and “Superstar,” the astute choices she makes in the pivotal Jesus-Judas power struggle and conveying Judas’ peculiar distrust and dislike of Mary Magdalene are simply remarkable. As Mary Magdalene, Kara Miller and Laura Jacobs offer beautifully sincere renditions of “I Don’t Know How to Love Him.” The genteel and introverted Miller interestingly contrasts the more expressive Jacobs, keenly aware of Russ’ vindictive Judas. Justin Matthews and Christian Schaefer excellently stir the conflicted emotions within Pontius Pilate, filling “Pilate’s Dream” with quiet melancholy and injecting ample bewilderment and rage into “Trial By Pilate.” Timmy Seiler and Chris Scharf are playful yet tough as flamboyant showman King Herod in “King Herod’s Song,” the only opportunity for Sears to choreograph with snazzy levity. Bridget Miley and Lily Cutler (Peter) and Meghan Rupper and Andrew Gochenaur (Simon Zealotes) are firmly grounded apostles. (Rice’s decision not to elaborate on Jesus’ relationships with his chosen 12 remains a script shortcoming). Imposing bassists David Egbert and Nick Kress (Caiaphas), crisply stern Rachel Woeste and Margo Russ (Annas), and terrifically menacing Brian Hoff, Kellie Dabb (someone please cast her as Madame Thenardier in “Les Misérables”) and Sam Layman (Priests) are also noteworthy along with lovely featured dancer Marisha Osowski.

Musically, the score drives with urgency under the direction of David Brush and his solid seven-piece offstage band. Some liberties have been taken with the score (the title tune is briefly introduced as a bluesy rock ballad) but these unique choices fuel the production’s character-driven pulse nonetheless. At times, the band sounds more distant than they are, but at the same rate, they don’t overpower the cast either which is an asset. Set designer Tristan Cupp’s gritty, urban vibe, Matthew Benjamin’s reliably evocative lighting, Maria Klueber and Lori Watamainiuk’s astutely assorted attire (casual wear for Jesus and the apostles; traditional biblical garment for Mary Magdalene; sophisticated business wear for the priests; stylish black and purple for Pontius Pilate), and Adrienne Ausdenmoore and Jason Hamen’s props effectively aid the storytelling. Ben Hale and Brayden Rittner’s sound design is unfortunately spotty so the cast should try to sing-out and enunciate more assuredly in order for the audience not to lose any of Rice’s witty lyrics.

If a “radical son of God” actually took this country by storm, a country enamored with cries of fake news and an insatiable desire to follow the latest social media celebrity, it’s not entirely clear how situations would transpire. But if you’re able to witness this “Superstar,” you’ll be treated to profound perspectives about faith, grace, hope, deceit, love, and sacrifice set against the backdrop of current angst that will linger in your mind for years to come. Don’t miss it.

 

“Jesus Christ Superstar” continues through July 23 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One and Act Two run roughly 50 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. Patrons are advised the show is double-cast (Jeffery Mack covers the role of Jesus). For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

 

Saluting Dayton’s 2016-17 Theater Season

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Productions centered on a sadistic barber wreaking havoc in Victorian London, stubborn Iowans forever changed by a charming con artist, America coping with race relations in turn of the century New York and 1960s Baltimore, a progressive novice sending shockwaves throughout a Catholic elementary school, an iconic record company reshaping the landscape of American music, and a legendary ship deemed unsinkable were among the best of Dayton’s 2016-17 theater season.

Jamie Cordes and Rebecca Watson in the Human Race Theatre Company’s Sweeney Todd (Photo by Scott J. KImmins)

On professional stages, the Human Race Theatre Company’s 30th anniversary season was memorably illuminated by Scott Stoney’s immersive, ensemble-friendly Sweeney Todd (attended on opening night by Academy Award nominee Jesse Eisenberg of The Social Network) and the local premiere of Hail Mary!, a pleasantly surprising and gently thought-provoking character study. Hail Mary! was specifically bolstered by Claire Kennedy’s masterfully complex portrayal of a woman challenging authority for the betterment of her students.

 

(left to right) Gabriella Whiting, Allison Semmes and Tavia Rivee in Motown the Musical (Photo by Joan Marcus)

Elsewhere, the Victoria Theatre Association offered outstanding national tours with Motown particularly rising to the top thanks to a splendidly versatile, crowd-pleasing cast. Dare to Defy Productions gave local talent exciting platforms to rediscover and reinterpret tried and true material (Mackensie King’s Children of Eden strikingly emphasized family ties and generational repercussions as never before). Female-centric Magnolia Theatre Company offered a riveting local premiere of tense parent-teacher conference drama Gidion’s Knot. Reliably edgy Playground Theatre delivered a local premiere of Jailbait overflowing with gripping realism as its searing account of love, deceit and embracing adulthood stirred to the core.

 

(left to right) Mike Beerbower, J Gary Thompson, Matt Lindsay, Cassandra Engber, and Zach Katris in the Dayton Theatre Guild’s The Last Lifeboat (Photo by Craig Roberts)

At community theaters, strong musicals as well as a fine balance of classic and contemporary fare enticed. Dayton Theatre Guild’s eclectic impulses served them well with local premieres of The Last Lifeboat, Luna Gale and Wonder of the World (heightened by sitcom savvy knockout Kari Carter) in addition to a mesmerizing Elephant Man accented by Jared Mola’s remarkable physicality. Dayton Playhouse scored with Ragtime, The Women, Xanadu, and another enjoyably competitive FutureFest (last year’s winner Shepherd’s Bush is now titled Nonsense and Beauty; powerfully acted Memories of the Game was named audience favorite). Senior-themed Young at Heart Players delighted with the overdue return of the adorable First Kisses, a 2003 FutureFest finalist. Brookville Community Theatre supplied a whimsically entertaining Beauty and the Beast. Beavercreek Community Theatre’s artistic risks paid off with a lovely, vocally impressive Nine (brought to life by Jeffrey Murphy in the vibrantly elegant spirit of original director Tommy Tune) and a commendable local premiere of Bonnie and Clyde.

Highlights from area colleges included Wright State University’s tap-happy No, No, Nanette and beautifully staged/designed Shakespearean play-with-music Restoration!, Cedarville University’s rousing and heartwarming Music Man, and Sinclair Community College’s darkly atmospheric Dracula. Other notables across the city included the Muse Machine’s tremendously feel-good Hairspray (featuring marvelously mature newcomer Fischer Barnett), Epiphany Lutheran Church’s better-than-Broadway Big Fish (expertly conceived by Megan Wean Sears), and under-the-radar-but-dynamic Standing on Ceremony (Sinclair), Hello Again (Wright State), and Four Women: A Tribute to Nina Simone & The Black Arts Movement (Oral Funk Poetry Productions and University of Dayton).

Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

BEST TOURING PRODUCTION
42nd Street, Victoria Theatre Association
Elf, Victoria Theatre Association
Jersey Boys, Victoria Theatre Association
Kinky Boots, Victoria Theatre Association
Motown the Musical, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Gidion’s Knot, Magnolia Theatre Company
Hail Mary!, Human Race Theatre Company
Jailbait, Playground Theatre
This is Our Youth, Playground Theatre
Thurgood, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The 25th Annual Putnam County Spelling Bee, Dare to Defy Productions
Children of Eden, Dare to Defy Productions
Dogfight: The Musical, Dare to Defy Productions
Guys and Dolls, Dare to Defy Productions
Sweeney Todd: The Demon Barber of Fleet Street, Human Race Theatre

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Elephant Man, Dayton Theatre Guild
First Kisses, Young at Heart Players
The Last Lifeboat, Dayton Theatre Guild
Luna Gale, Dayton Theatre Guild
Vanya and Sonia and Masha and Spike, Beavercreek Community Theatre
The Women, Dayton Playhouse

Rachel Joy Rowland, Robbie Lindmark and the cast of Cedarville University’s The Music Man (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Disney’s Beauty and the Beast, Brookville Community Theatre
Bonnie and Clyde, Beavercreek Community Theatre
Nine, Beavercreek Community Theatre
Ragtime, Dayton Playhouse
Xanadu, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
A Midsummer Night’s Dream, Sinclair Community College
Angels in America: Perestroika, Clark State Community College
The Children’s Hour, Wright State University
Dracula, Sinclair Community College
Restoration!, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
9 to 5, Wright State University
Heathers, Wright State University
The Music Man, Cedarville University
No, No, Nanette, Wright State University
The Toxic Avenger, Sinclair Community College

BEST SPECIAL THEATRICAL EVENT
Big Fish, Epiphany Lutheran Church
Four Women: A Tribute to Nina Simone & The Black Arts Movement, Oral Funk Poetry Productions and University of Dayton
Hairspray, Muse Machine
Hello Again, Wright State University
Standing on Ceremony: The Gay Marriage Plays, Sinclair Community College

BEST NEW WORK
Daniel Goldstein’s Family Ties, Human Race Theatre Company
W.L. Newkirk’s [Miss], Dayton Playhouse FutureFest
Scott C. Sickles’ Shepherd’s Bush, Dayton Playhouse FutureFest
Kristy Sharron Thomas’ Memories of the Game, Dayton Playhouse FutureFest
Eric Ulloa’s 26 Pebbles, Human Race Theatre Company

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Robert, Jailbait
A.J. Breslin as Dennis, This Is Our Youth
Franklin Johnson as Kenneth McIntosh, Memories of the Game
Alan Bomar Jones as Thurgood Marshall, Thurgood
Jared Mola as John Merrick, The Elephant Man
Leo Santucci as Dracula, Dracula

Claire Kennedy in the Human Race Theatre Company’s Hail Mary! (Photo by Scott. J. Kimmins)

BEST LEADING ACTRESS IN A PLAY
Jenna Gomes as Claire, Jailbait
Amy Handra as Heather Clark, Gidion’s Knot
Claire Kennedy as Mary Wytkowski, Hail Mary!
Cheryl Mellen as Caroline, Luna Gale
Andréa Morales as Corryn Fell, Gidion’s Knot
Marva Williams as Karen McIntosh, Memories of the Game

BEST LEADING ACTOR IN A MUSICAL
Jamie Cordes as Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street
Robbie Lindmark as Harold Hill, The Music Man
Ron Mauer as Tateh, Ragtime
Kip Moore as Coalhouse Walker, Jr., Ragtime
Timothy Ware as Lola, Kinky Boots
Ray Zupp as Eddie Birdlace, Dogfight

BEST LEADING ACTRESS IN A MUSICAL
Esther Hyland as Eve, Children of Eden
Rachel Jensen as Mother, Ragtime
Mackensie King as Rose Fenny, Dogfight
Allison Semmes as Diana Ross, Motown the Musical
Maddie Vaughn as Veronica Sawyer, Heathers
Rebecca Watson as Mrs. Lovett, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTOR IN A PLAY
Ross Bloedorn as Mr. Smith/Edgar, Restoration!
Geoff Burkman as Carr Gomm, The Elephant Man
Christopher Hahn as Mark, Jailbait
Charles Larkowski as Joe, Standing On Ceremony: The Gay Marriage Plays
Connor Lysholm as Mr. Jo Williams/Edmund/Bastard, Restoration!
Maximillian Santucci as Van Helsing, Dracula

BEST SUPPORTING ACTRESS IN A PLAY
Catherine A. Collins as Clemma Diggins, Proposals (Dayton Playhouse)
Lisa Glover as Emmy, Jailbait
Debra Kent as Sonia, Vanya and Sonia and Masha and Spike
Heather Martin as Mrs. Kendal, The Elephant Man
Libby Scancarello as Mrs. Sylvia Fowler, The Women
Jennifer Dorr White as Mother Regina Marie, Hail Mary!

The cast of Dayton Playhouse’s Ragtime (Photo by Art Fabian)

BEST SUPPORTING ACTOR IN A MUSICAL
Mark Antony Howard as Seaweed J. Stubbs, Hairspray
Brett Norgaard as Leaf Coneybear, The 25th Annual Putnam County Spelling Bee
Remy James Patterson as Marcellus Washburn, The Music Man
DJ Plunkett as Tobias Ragg, Sweeney Todd: The Demon Barber of Fleet Street
Layne Roate as Boland, Dogfight
Aaron Vega as The Beadle, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTRESS IN A MUSICAL
Natalie Girard as Heather Chandler, Heathers
Becky Howard as Emma Goldman, Ragtime
Krissy McKim-Barker as Mrs. Potts, Disney’s Beauty and the Beast
Tia Seay as Sarah, Ragtime
Sherri Sutter as Rona Lisa Peretti, The 25th Annual Putnam County Spelling Bee
Kimberly Warrick as Guido’s Mother, Nine

BREAKTHROUGH MALE PERFORMANCE
Fischer Barnett as Edna Turnblad, Hairspray
Naman Clark as Jerry, Standing on Ceremony: The Gay Marriage Plays
Brent Hoggatt as Chip Tolentino, The 25th Annual Putnam County Spelling Bee
S. Francis Livisay as Tom, Standing on Ceremony: The Gay Marriage Plays
Andrew Poplin as Peter, Luna Gale
Andre Reece Tomlinson as Michael McIntosh, Memories of the Game

BREAKTHROUGH FEMALE PERFORMANCE
Kari Carter as Cass Harris, Wonder of the World
Kennedy Cook as Motormouth Maybelle, Hairspray
Kayla Graham as Karlie, Luna Gale
Abby Land as Marcy Park, The 25th Annual Putnam County Spelling Bee
Nabachwa Ssensalo as Sharon Evans, Memories of the Game
Sarah Zaffiro as Sarraghina, Nine

BEST DIRECTION OF A PLAY
Kimberly Borst, Dracula
Michelle Hayford, Gidion’s Knot
W. Stuart McDowell, Restoration!
Margarett Perry, Hail Mary!
Jeff Sams, The Last Lifeboat
Jenna Valyn, Jailbait

BEST DIRECTION OF A MUSICAL
Rebecca Baker, The Music Man
Joe Deer and Lula Elzy, Hairspray
Mackensie King, Children of Eden
Jeffrey Murphy, Nine
Megan Wean Sears, Big Fish
Scott Stoney, Sweeney Todd: The Demon Barber of Fleet Street

BEST CHOREOGRAPHY
Carrie Anthony, The Music Man
Michael Baxter, No, No, Nanette
Lula Elzy, Hairspray
Michelle Lynch, Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
Megan Wean Sears, 9 to 5
Nabachwa Ssensalo, Michael Shepherd and Michael Groomes, Ragtime

BEST SCENIC DESIGN OF A PLAY
Chris Harmon, Dracula
Chris Newman and David Shough, The Elephant Man
Chris Newman, Proposals (Dayton Playhouse)
Jeff Sams, The Last Lifeboat
Terry Stump, A Midsummer Night’s Dream

The cast of Wright State University’s Restoration! (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
J. Branson, Hairspray
Bob Clements, The Music Man
Dan Gray, Sweeney Todd: The Demon Barber of Fleet Street
Kacie Hultgren, 42nd Street
Pam Lavarnway, No, No, Nanette

BEST COSTUME DESIGN OF A PLAY
N. Lynn Brown, The Elephant Man
Carol Finley, The Last Lifeboat
Kathleen Hotmer, Dracula
Kathleen Hotmer, A Midsummer Night’s Dream
Christie Peitzmeijer, Restoration!

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, No, No, Nanette
Maria Klueber and Lori Watamaniuk, Big Fish
Janet G. Powell, Sweeney Todd: The Demon Barber of Fleet Street
Rebekah Priebe, The Music Man
Tiia E. Torchia, Toni Donato Shade and Alisa Vukasinovich, Hairspray

BEST LIGHTING DESIGN OF A PLAY
Matthew P. Benjamin, Restoration!
Daniel Brunk, Dracula
Travis Dwire, Gidion’s Knot
John Falkenbach, The Last Lifeboat
Jennifer Watson, The Children’s Hour

BEST LIGHTING DESIGN OF A MUSICAL
Jadon Bischoff, The Toxic Avenger
Bob Clements and Megan Howell, The Music Man
Jessica Ann Drayton, No, No, Nanette
Derryck Menard, Dogfight
John Rensel, Sweeney Todd: The Demon Barber of Fleet Street

BEST SOUND DESIGN OF A PLAY
Jay Brunner, Family Ties
Jay Brunner, On Golden Pond
Ryan Burgdorf, Restoration!
Isaiah Parnell, Dracula
K.L. Storer, The Last Lifeboat

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Toxic Avenger
Jay Brunner, Sweeney Todd: The Demon Barber of Fleet Street
James Dunlap, Heathers
Bob Kovach, Xanadu
Sam Partridge, The Music Man

BEST ORCHESTRA
Children of Eden, Musical Director: Lorri Topping
Hairspray, Musical Director: Sean Michael Flowers
The Music Man, Musical Director: Jeff Beste; Orchestra Conductor: Carlos Elias
No, No, Nanette, Musical Director: Scot Woolley
Ragtime, Musical Director: Ron Kindell

BEST PROPERTIES
Sarah Gomes, Dracula
John Lavarnway, Restoration!
Marly Masterson, The Last Lifeboat
Victoria Osewski, The Elephant Man
Heather Powell, Sweeney Todd: The Demon Barber of Fleet Street


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Family Ties: Thea Brooks as Mallory, Sara Mackie as Jennifer, Eve Plumb as Elyse, Maggie Lou Rader as Ellen, Lawrence Redmond as Steven, and Jim Stanek as Alex
  • The cast of Hello Again: Celia Arthur as The Whore, Philip Stock as The Soldier, Rachel Green as The Nurse, Kyle Miller as The College Boy, Megan Valle as The Young Wife, Kyle Krichbaum as The Husband, Zach Fretag as The Young Thing, Eli Davis as The Writer, Robin Dunavent as The Actress, and Christian Schaefer as The Senator
  • The cast of The Last Lifeboat: Matt Lindsay as J. Bruce Ismay, Heather Atkinson as Mrs. Ryerson and Others, Mike Beerbower as William Randolph Hearst and Others, Cassandra Engber as Vivian Hilliard and Others, Zach Katris as Phillip Franklin and Others, Heather Martin as Florence Ismay and Others, Kerry Simpson as Margaret Ismay and Others, and J. Gary Thompson as Thomas Ismay and Others
  • The cast of Nine: Brice Thomas as Guido Contini, Micah Koverman as Young Guido, Shannon Carlson as Luisa, Hayley Penchoff as Carla, Danielle DeLorme as Claudia, Kimberly Warrick as Guido’s Mother, Joyce Murphy as Liliane La Fleur, Cynthia Karns as Lina Darling, Courtney Kakac as Stephanie Necrophorus, Meghan McConnell as Our Lady of the Spa, Sarah Zaffiro as Sarraghina, Renee Franck-Reed as Renata, Aeriel Aniballi as Annabella, Krista Ann Werts as Francesca, and Jack Lockwood and Max Kieselhorst as Young Guido’s school mates
  • The cast of On Golden Pond (Human Race Theatre Company): Kaleb Barlow as Billy Ray, Charlie Clark as Charlie Martin, Ken Early as Bill Ray, Dale Hodges as Ethel Thayer, Jennifer Joplin as Chelsea Thayer Wayne, and Joneal Joplin as Norman Thayer
  • The cast of Vanya and Sonia and Masha and Spike: Cassandra Engber as Masha, Debra Kent as Sonia, Charles Larkowski as Vanya, Cassidy Manley as Nina, Erin McGee as Cassandra, and Ryan Petrie as Spike; Also, Charles Larkowski’s interpretation of Vanya’s tirade
  • The cast of The Women: Rachel Oprea as Mary, Tori Toccillo as Nancy, Yara Khalil as Peggy, Libby Scancarello as Sylvia, Amy Taint as Edith, Jenna Gomes as Crystal Allen, Renee Franck-Reed as Countess De Lage, Marcia Nowik as Mrs. Morehead, Ashley Sisson as Jane, Danikah Skaroupka as Little Mary, and ensemble members Tamar Fishbein, Carrin Ragland, Heather Carrell, Caitlin Blackford, Becky Howard, Cheryl Mellen, Lindsey Cardoza, and Tiffany Williams
  • The ensemble of Sweeney Todd: The Demon Barber of Fleet Street: Gina Handy, Drew Helton, Scott Hunt, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter, and Kandis Wean
  • Children of Eden’s Storytellers: Lisa Glover, Kaitlyn Hiltibran, Zach King, Danielle Kubasky, Bobby Mitchum, Brennan Paulin, T.C. Schreier, Tia Seay, Angie Thacker, Desmond Thomas, Jesse Daniel Trieger, and William Boatwright
  • Lola’s Angels in Kinky Boots: Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson
  • Amy Askins as Melpomene, Tamar Fishbein as Calliope, and John Nussbaum as Young Danny and Centaur in Xanadu
  • Sandy Bashaw and W. Stuart McDowell’s music for Restoration!
  • Kyle Bates as Link Larkin, Jack Blair as Corny Collins, Amber Butler as Little Inez, Adam Clark as Mr. Pinky, Lauren Eifert as Amber Von Tussle, Kaite Hubler as Tracy Turnblad, Clare Kneblik as Velma Von Tussle, Jack Lewis as Wilbur Turnblad, Ana Smith as Penny Pingleton, and Michelle Strauss as Gym Teacher/Matron in Hairspray
  • Kyle Bates as Billy Crocker and Cecily Dowd as Reno Sweeney in Anything Goes (Centerville High School)
  • N. Lynn Brown’s costumes for Nine
  • Jay Brunner’s original music for On Golden Pond
  • Saul Caplan as Roy Cohn and Jared Mola as Prior Walter in Angels in America: Perestroika
  • Circus 1903, Victoria Theatre Association
  • Sarah Clark as Belle, Preston Eberlyn as The Beast, and Andrew Sollenberger as Lumiere in Disney’s Beauty and the Beast
  • William G.L. Courson’s flying direction, Kaoime E. Malloy’s blood and special effects, Gina Neuerer’s projection design, Gary Minyard’s fight choreography, and Brooke Watson’s wig and makeup design for Dracula
  • Bailey Edmonds as Violet Newstead, Natalie Girard as Doralee Rhodes and Meredith Zahn as Judy Bernly in 9 to 5
  • Sean Michael Flowers’ musical direction of Hello Again
  • Nick Garvin’s piano accompaniment for Dogfight
  • Ray Geiger as Tom Durnin and Karen Righter as Karen Brown-Canedy in The Unavoidable Disappearance of Tom Durnin (Dayton Theatre Guild)
  • Lisa Glover’s choreography for Children of Eden, Dogfight and Guys and Dolls
  • Chester Gregory as Berry Gordy, Jarran Muse as Marvin Gaye, David Kaverman as Smokey Robinson, Emilio Sosa’s costumes, and Patricia Wilcox and Warren Adams’ choreography in Motown the Musical
  • Patrick Allyn Hayes’ Toxie mask and suit design for The Toxic Avenger
  • Tamara L. Honesty’s set design for Family Ties
  • In the roles of Sky Masterson and Sarah Brown, Bryan Hupp and Esther Hyland’s rendition of “I’ve Never Been in Love Before” in Guys and Dolls
  • Barbara Jorgensen as Peg Concannon and Fred Blumenthal’s scenic design in The Outgoing Tide (Dayton Theatre Guild)
  • Theresa Kahle’s costumes and Steve Burton’s wig designs for Ragtime
  • Debra Kent as Alexandra Benton and Robb Willoughby as Chris Benton in The Velocity of Autumn (Undercroft Players)
  • Matt Lindsay as Quince/Prologue, Tristan Rivera as Snug/Lion, Jonathan Kelly as Bottom/Pyramus, Elisha Chamberlin as Flute/Thisby, and Spencer Boden as Snout/Wall in A Midsummer Night’s Dream
  • TJ Montgomery as Clyde Barrow, Kami Flanders as Bonnie Parker, Sam Hamilton as Buck Barrow, Jackie Darnell as Blanche Barrow, Aaron Brewer as Ted Hinton, and Josh Clifford as Preacher in Bonnie and Clyde
  • Dakota Mullins as Billy Early and his execution of “Call of the Sea” in No, No, Nanette
  • Annie Pesch as Mary and J. Gary Thompson as John in First Kisses
  • Rachel Joy Rowland as Marian Paroo and Jonathan Kimble as Winthrop Paroo in The Music Man
  • Megan Wean Sears’ choreography for Big Fish
  • Tia Seay as Crystal, Samantha Wright-Norman as Ronnette, and Courtney Dortch as Chiffon in Little Shop of Horrors (Dare to Defy Productions)
  • David Shough as E.M. Forster and Brian Sharp as J.R. Ackerley in Shepherd’s Bush
  • Randy Skinner’s Tony Award-nominated choreography (recreated by Stephanie Brooks) and Roger Kirk’s Tony Award-nominated costumes for 42nd Street
  • John Slate and David Hapner’s piano accompaniment for No, No, Nanette
  • Debra Strauss as Barbara, Helicopter Pilot, Waitresses, and Janie in Wonder of the World
  • Christopher Tierney as Johnny Castle, Jillian Mueller as Frances “Baby” Houseman, Jennifer Mealani Jones as Penny Johnson, and Jon Driscoll’s video and projection design in Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
  • Andrea Wilborn as Sarah’s Friend leading “Till We Reach That Day” in Ragtime
  • Zoot Theatre Company’s collaborative Angels in America with Columbus’ Short North Stage featuring puppet design by Tristan Cupp

 

 

 

‘Circus 1903’ Review – Victoria Theatre Association –Under the Big Top

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In the mood to embrace the fantastical?

Step right up as the Victoria Theatre Association concludes its 2016-2017 Premier Health Broadway Series with a crowd-pleasing Midwest premiere of “Circus 1903” at the Schuster Center.

Circus 1903

A nostalgic ode to P.T. Barnum’s legacy and influence, “Circus 1903,” which premiered in Australia last year and had its American debut in Los Angeles in February, is not a play or musical. Arriving in town mere days after the 71st annual Tony Awards, the show may feel jarringly out of place to theatergoers accustomed to traditional Broadway Series programming. Nonetheless, it is a very entertaining and flashy theatrical depiction of a traveling circus, showcasing marvelous international talent fully prepared to amaze and astound with vibrant, death-defying displays under the direction of Neil Dorward (“The Illusionists”).

Act One standouts include dynamically jaw-dropping contortionist Senayet Assefa Amara (The Elastic Dislocationist) and lovely aerialist Elena Gatilova (Lucky Moon).

In the far stronger and better paced Act Two, exuberant speed juggler Francois Borie (The Great Gaston), skillful acrobats Anny Laplante and Andrei Kalesnikau (Les Incredibles), and handsome foot jugglers Alejandro and Ricardo Rossi (Fratelli Rossi) notably provide breathtaking, encore-worthy routines of astounding athleticism and showmanship.

The entire proceeding is admirably guided by the grandfatherly charm, narrative magnetism and quick wit of David Williamson as Ringmaster Willy Whipsnade. Williamson’s pleasant banter with impressionable youngsters bolsters the show’s heartwarming nature.

A show within a show

By and large, a lack of story structure is an issue and the show-within-a-show concept would be better served in a one-act format. Even so, the superb talent, mostly derived of generations of circus families from Mexico to Russia, and unique puppetry, under the direction of Mervyn Millar, are worth the price of admission. In fact, the show’s two puppet elephants are the brainchild of London-based Significant Object, the creative puppeteers behind acclaimed drama “War Horse.” Todd Edward Ivins’ eye-catching set, Angela Aaron’s attractively colorful turn of the century costumes, Paul Smith’s dazzlingly evocative lighting, and composer Evan Jolly’s dramatic score are added benefits fueling the captivating look and feel of a bygone era.

It can be argued “Circus 1903” is a programming option more inclined to suit a Las Vegas hotel than a Broadway touring house, but it’s certainly a worthwhile, family-friendly, thrill-inducing spectacle.

“Circus 1903: The Golden Age of Circus” continues through June 18 at 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 and 7:30 pm. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

Circus 1903 flies into the Schuster Center!

 

 

 

 

‘First Kisses’ Review –Young at Heart Players – Through the Years

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Jay D. Hanagan’s wonderfully endearing two-hander “First Kisses,” a humorous and touching love story spanning 60 years and a memorable finalist in the 2003 Dayton Playhouse FutureFest, receives a terrific staging courtesy of the senior-themed theater troupe Young at Heart Players at the Dayton Playhouse.

J. Gary Thompson and Annie Pesch portray lifelong friends John and Mary in the Young at Heart Players production of Jay D. Hanagan’s tender dramedy “First Kisses” (Contributed photo by Fran Pesch)

Annie Pesch and J. Gary Thompson are delightfully cast as Mary and John, childhood friends who blossom into spouses while sharing the intimacy of a shack in the woods where they converse and reflect. Portraying a range of ages from 11 to 72 would appear to be a challenging or daunting task, but not for this talented and compatible duo. In fact, Pesch’s ability to vibrantly tap into her inner child with exuberant precociousness and playful spunk certainly aids in setting the correct tone in the opening minutes. Still, both actors bring impressive nuance and versatility to the proceedings, deftly directed by Young at Heart founder Fran Pesch. Thompson is particularly great in a scene which finds the emotionally reserved John finally expressing his love for Mary while hilariously tipsy. Annie, who memorably originated the role of Mary in the FutureFest staged reading also directed by Fran, notably ages gracefully throughout. She finds multiple opportunities to convey meaningful depth whether interpreting Mary’s uncertainties as a spouse or quietly absorbing a life well lived in her golden years. More importantly, Pesch and Thompson are equally captivating in the show’s finest and most dramatic scene involving Mary and John discussing the shakiness in their marriage centered on John’s desire to catch up with his ex-fiancé.
“First Kisses,” nicely accented by Fran Pesch’s set design, Sandy Lemming and Pesch’s costumes, and John A. Falkenbach’s lighting design, is a simple yet charming look at the power of love and the dedicated commitment it takes to make a relationship work and endure. By and large, Mary and John heartwarmingly prove first kisses can last a lifetime.


“First Kisses” continues through Sunday, June 11 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 40 minutes; Act Two: 50 minutes. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. Reservations can be made by calling Fran Pesch at (937) 654-0400. For additional information, visit www.youngatheartplayers.com. Patrons are advised the production contains some adult language.

‘Family Ties’ Review – Human Race Theatre Company – Seems Like Old Times

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Let’s talk TV. In case you hadn’t heard, reboots are the latest nostalgic trend taking pop culture by storm. In fact, a resurrected “Twin Peaks” is currently spooking Showtime, the Disney Channel repackages “That’s So Raven” as “Raven’s Home” next month, deliciously glamourous “Dynasty” will be rebranded for a new generation this fall on the CW, and plans are ongoing for Emmy Award-winning “Roseanne” to return next year to ABC or Netflix. At a time when investing in the untested comes with sizable risk, it is apparent producers are more willing to embrace tried and true projects, particularly derived from titles engrained in the psyche for decades.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

One of those ready-made titles hoping to make big theatrical waves in the future is “Family Ties,” the popular sitcom (1982-1989) concerning the lovable and intellectual Keaton family from Columbus, Ohio. Starring Michael J. Fox, who won three Emmys for his portrayal of Alex P. Keaton, the show, created by Gary David Goldberg, brought relatable wholesomeness and humor to the table with entertaining political and cultural bite. Whenever he wasn’t perturbing his sisters Mallory and Jennifer, conservative Alex enjoyed a battle of wills with his ex-hippie, liberal parents Steven and Elyse. But at the end of the day, their bond always remained heartwarmingly intact.
“Family Ties” is the most recent TV property (now in the hands of CBS) being translated to the stage following a laundry list of classics such as “Cheers,” “Happy Days” and “I Love Lucy” among others. It has received a world premiere courtesy of the Human Race Theatre Company at the Loft Theatre produced by special arrangement with Araca Media & Entertainment. Written by Daniel Goldstein, who helmed an exhilarating and underrated 2011 Broadway revival of “Godspell,” the one-act play borrows certain episodes from the series (most notably “The Real Thing” in which Alex meets his future girlfriend Ellen Reed) as the foundation to tell a fresh story of reunion, forgiveness and heartbreak. Set 20 years later at the Keaton residence circa 2008 (minus little brother Andy Keaton serving overseas in the Peace Corps), the tale centers on Alex’s homecoming detailing exciting news of a run for Congress as well as the announcement he’ll soon be a father. However, laughter and reminiscing ultimately gives way to tragedy, a pivotal component Goldstein doesn’t have a tight grip on. Alex’s arrival contains a great deal of odd insensitivity which seems illogical considering the play’s trajectory toward bereavement. In turn, a series of flashbacks doesn’t necessarily help set the proper groundwork for the play’s plot twist, leaving portions of the dizzying action confusing and perplexing. In many respects, Goldstein wants “Family Ties” to feel emotionally akin to “Next to Normal,” another tale of close-knit family dynamics and underlying sorrow, but it’s a precarious notion. After all, no one wants to feel cheated by conceptual trickery so a better grasp of how this show navigates its time traveling structure is imperative.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

Nevertheless, director Kevin Moore, fluidly helming with an excellent awareness of sitcom sensibilities, assembles an enjoyably cohesive sextet paying fine homage to the essence of their familiar characters. Immensely charming Jim Stanek (who gave a definitive rendition of “Love, I Hear” as Hero in the 1996 Tony Award-nominated revival of “A Funny Thing Happened on the Way to the Forum”) is a thoroughly engaging focal point as Alex, particularly embodying Fox’s quirky persona with energetic glee (notice the way he bounces atop the kitchen counter in true Fox fashion). As Elyse, sitcom icon Eve Plumb, the unforgettable Jan Brady of “The Brady Bunch,” skillfully interprets the speech patterns and tenderly authoritative spirit of Meredith Baxter-Birney while offering a solidly endearing portrayal all her own. One of Plumb’s finest dramatic moments occurs opposite Stanek in flashback when Elyse and Alex debate Alex’s decision to celebrate his 18th birthday with his buddies in West Virginia, a firm reminder of the importance of checks and balances between parents and children. Lawrence Redmond lovingly conveys sincerity and gentleness as Steven and is especially strong in a scene detailing how Steven’s views of fatherhood were affected by his emotionally detached dad. Thea Brooks (whiny Mallory) and Sara Mackie (lively Jennifer) establish an appealing sisterhood. Maggie Lou Rader, mesmerizing in three flashbacks opposite Stanek at his most charismatic, truly delights as Ellen, Alex’s eventual wife.
In addition, set designer Tamara L. Honesty impeccably recreates the Keaton home from the stained glass front door to the linoleum kitchen floor. Janet G. Powell’s contemporary and period attire admirably accent the play’s tone despite the script unfortunately not allowing many costume changes. John Rensel’s lighting design and Jay Brunner’s sound design are expertly rendered, particularly Brunner marvelously turning back the hands of time with radio-inspired finesse. The production also effectively incorporates “Without Us,” the beautifully melodic “Family Ties” theme song, and Billy Vera and The Beaters’ romantic ballad “At This Moment.”

 

Eve Plumb and Jim Stanek Photos courtesy of Scott J. Kimmin

Personally, I’d be head over heels if someone decided to dramatize “Little House on the Prairie,” “Felicity,” “Sex and the City” or “Downton Abbey” to name only a few. So, if you’re a longtime fan of “Family Ties,” I totally understand why you would want to take advantage of catching up with characters who feel like old friends. Just be aware the play is in need of a hiatus in order to determine a clearer, more focused path on the road to substantively fulfilling resonance.

 

“Family Ties” continues through June 25 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. The production is performed in 80 minutes without intermission. Tickets are $12-$40. 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 a post-show talk-back following the Sunday, June 11 performance.

 

‘Wonder of the World’ Review – Dayton Theatre Guild – The Great Escape

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A frustrated and sheltered wife’s decision to turn over a new leaf reaches exciting, shocking, hilarious, and absurd proportions in David Lindsay-Abaire’s whimsical 2001 off-Broadway comedy “Wonder of the World,” excellently produced in its local premiere by the Dayton Theatre Guild.

Photo caption (left to right) Richard Young (Glen), Marcella Balin (Karla), Ian Manuel (Kip Harris), Kari Carter (Cass Harris), Scott Madden (Captain Mike), Debra Strauss (multiple roles), and Kerry Simpson (Lois Coleman) are featured in the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s comedy “Wonder of the World” (contributed photo by Craig Roberts)

The absolutely splendid Kari Carter, delivering a knockout Guild debut, impressively drives this kooky if uneven vehicle as the disillusioned yet determined Cass Harris, a free-spirited and conflicted soul longing for adventure and renewed purpose after leaving her husband Kip. Bound for Niagara Falls with a notepad detailing over 280 goals from learning Swedish to wearing velvet, Cass ventures forth to correct mistakes in her life with the hope of finding opportunities to explore possibilities in an attempt to live to the fullest. As is typical in the bizarre and dysfunctional Lindsay-Abaire universe, Cass comes in contact with an assortment of funny eccentrics such as a suicidal alcoholic, goofy private investigators and a clown therapist. His roadmap ultimately grows disjointed (an overlong group therapy scene within the framework of “The Newlywed Game” deflates Act 2), but he appealingly injects great promise into Cass’ journey of self-discovery nonetheless by the end of the play. In fact, the action wonderfully culminates on the rushing waters of Niagara Falls imaginatively staged by director Saul Caplan with black-clad stagehands (the Invisibles) in full view of the audience assisting the action (per the Kabuki tradition of Kuroko).

 
Vividly executing her passionate portrayal with bubbly ease, Carter thrillingly conjures the sitcom-esque vivacity and chatty effervescence of such contemporary comediennes as Sarah Jessica Parker (the original Cass), Lena Dunham, Julie Bowen, and Tracee Ellis Ross. She notably masters the tricky nuances and rhythms enabling the script to remain snappy, witty and conversational while ensuring Cass’ emotional vulnerabilities are evident. As clingy Kip, coping as best as possible with his Barbie fetish, Ian Manuel, in a welcomed return to the Guild, lends very endearing support. He firmly balances Kip’s devotion for Cass with darker undertones giving credence to her choice to seek a new love. Kerry Simpson, in a refreshing principal capacity, is equally winning as Cass’ troubled sidekick Lois Coleman, the aforementioned alcoholic on a mission to become the next Annie Edson Taylor complete with barrel in tow. Marcella Balin and Richard Young are delightfully unified as oddballs Karla and Glen, hired by Kip to track down Cass. Scott Madden is enjoyably pleasant as Maid of the Mist’s Captain Mike, Cass’ desired flame. Debra Strauss is a versatile hoot in multiple zany roles including a helicopter pilot, three waitresses, and a clown. Doug Lowe, Bekki Madden, Carly Risenhoover-Peterson, and Tori T. Tuccillo complete the cast as the dutiful Invisibles, effectively handling the varied moving parts of Richard Lee Waldeck’s efficient set pieces. Linda Sellers’ costumes, Jason Vogel’s lighting design, Ryan Shannon’s sound design, and N. Lynn Brown’s properties and set dressing nicely complement the action.

 
Lindsay-Abaire’s plays include his splendid and heartbreaking 2007 Pulitzer Prize-winning drama “Rabbit Hole” in addition to “Fuddy Meers,” “Good People,” “Kimberly Akimbo,” and “Ripcord.” He also wrote the book and lyrics for “Shrek: The Musical” and the book for the musical “High Fidelity.” “Wonder of the World” isn’t a representation of his best work, but Carter’s wondrously wonderful performance specifically resonates as an affirming reminder to always choose to go on when life gets messy.

 

“Wonder of the World” concludes Sunday, May 28 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act 1 and Act 2 are performed in 60 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. Patrons are advised the production contains adult language, fog effects and the sound of gunshots.

 

 

‘Kinky Boots’ Review – Victoria Theatre Association – Saved By the Heel

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Librettist Harvey Fierstein and composer Cyndi Lauper’s delightfully feel-good 2013 Tony Award-winning Best Musical “Kinky Boots” receives an outstanding local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

The cast of the national tour of “Kinky Boots” (contributed photo)

Based on the 2005 British film of the same name, this upbeat musical comedy of friendship, acceptance and empowerment primarily concerns the economic woes of Price and Son, a shoe manufacturing company in Northhampton, England in dire need of a new target market. Succeeding his deceased father, frequently frustrated Charlie (passionate understudy Ciarán McCarthy) doesn’t have a clue as to what would really spark a turnaround. However, salvation ultimately arrives at the foot of flamboyant drag queen Lola (dynamically fierce Timothy Ware). Lola’s savvy eye for fashion and Charlie’s desire to tap into a niche market and create sexy women’s boots for men provides the lighthearted, opposites attract-driven fuel which keeps the action endlessly entertaining. Still, by no means is this a show without depth or heart-tugging sincerity. After all, Charlie and Lola’s relationship particularly evolves to a better understanding of each other’s faults and similarities, resulting in impactful moments filled with tender respect and occasionally explosive disrespect.

Timothy Ware, currently starring as Lola in the “Kinky Boots” national tour, was the Broadway Lola standby who performed the role 186 times (contributed photo)

McCarthy and Ware compellingly lead this fantastic tour which rivals the original Broadway production in tone and vivacity while retaining Jerry Mitchell’s expert original direction and choreography. McCarthy doesn’t receive the best musical material (in a lopsided decision, Lauper wrote multiple knockouts for Lola), but brings equal amounts of agitation, determination and introspective vulnerability to the forefront nonetheless. He supplies a first-rate performance giving credence to Charlie’s mission to pave his own trail no matter how far it strayed from his father’s vision. The exceptional Ware, the Broadway Lola standby who performed the role 186 times, attacks the Mead Theatre stage as if it were his personal runway with marvelously magnetic flair. In every saunter, swish, sashay, strut, finger snap, and head twirl, Ware thrillingly breathes vivacious life into Lola’s charming aura, particularly in the super sassy “Land of Lola” and “Sex Is in the Heel.” Both disco-flavored numbers are notably heightened by the mesmerizing talents and athleticism of Lola’s Angels (her fellow drag queens) splendidly portrayed by Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson. In addition to showcasing Lola’s natural ability to unify those around her as only she can, Ware’s heartfelt interpretation of “Not My Father’s Son” and roof-raising “Hold Me in Your Heart” endearingly explores Lola’s emotional baggage stemming from being raised by an intolerant father.

 
Elsewhere, excellent featured portrayals are delivered by perky understudy Erica Peck (offering a very playful rendition of “The History of Wrong Guys” in the role of Lauren, a Price and Son employee with a huge crush on Charlie), Katerina Papacostas as Charlie’s fiancé Nicola, Jim J. Bullock as overseer George, Aaron Walpole as bigoted Don, Madge Dietrich as loyal Pat, and Dan Tracy as Charlie’s longtime friend Harry.
The uniformly terrific creative team includes scenic designer David Rockwell, costumer Gregg Barnes (supplying specifically striking attire for Lola and her Angels), lighting designer Kenneth Posner, sound designer John Shivers, hair designer Josh Marquette, and make-up designer Randy Houston Mercer. Music director Roberto Sinha leads a solid orchestra.
If you need a proud and strong reminder that it’s okay to love who you are, let “Kinky Boots” bolster your declaration to just be.

 

“Kinky Boots” continues through May 28 in the Mead Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 pm. Act One: 70 minutes; Act Two: 40 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

 

 

 

‘Ragtime’ Review –Dayton Playhouse – The American Experience

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Musically glorious and undeniably relevant now more than ever, the 1998 Tony Award-winning musical drama “Ragtime” remains an emotionally riveting look at the dawn of the 20th century as evidenced in the Dayton Playhouse’s commendably crowd-pleasing production.

Tia Seay (Sarah) and Kip Moore (Coalhouse Walker, Jr.) sing “Wheels of a Dream” (Photo by Art Fabian)

An epic account of race relations and cultural change set in and around New York beginning in 1902, “Ragtime” skillfully interweaves three compelling, familial stories rooted in the pursuit of the American Dream. White, upper-crust New Rochelle traditionalists, close-knit blacks embracing a new form of musical expression wafting throughout Harlem, and Eastern European immigrants hoping for a better life powerfully collide in a palpable sea of misunderstanding. Pulled apart by their differences, these well-defined groups are vividly accented by historical figures whose legacies defined the era such as magician Harry Houdini, vaudeville star Evelyn Nesbit, financier J.P. Morgan, industrialist Henry Ford, controversial political activist Emma Goldman, and African-American scholar Booker T. Washington.
Librettist Terrence McNally, astutely adapting E.L. Doctrow’s acclaimed 1975 novel of the same name, impressively balances the dramatic arcs of the characters and sweeping themes. In fact, one group isn’t more important or significant than another, which can be considered the true test of the show’s greatness ultimately displayed in its depiction of a lovingly blended family. Further, lyricist Lynn Ahrens and composer Stephen Flaherty’s splendid score, one of the finest of the 1990s, wondrously captivates with thrilling anthems (“Wheels of a Dream,” “Back to Before,” “Make Them Hear You”), tender ballads (“Your Daddy’s Son,” “Gliding,” “Our Children”), and ensemble-driven gems (“Ragtime,” “Crime of the Century,” “Getting Ready Rag,” “Till We Reach That Day,” “Atlantic City”). Due to the cohesive strengths of this Tony-winning creative team, currently represented on Broadway with the outstanding if underappreciated musical “Anastasia,” “Ragtime” is a rare breed of musical in which the show itself is the star.
The sophisticated citizens of New Rochelle leap forth by way of Father (Jeff Sams), Mother (Rachel Jensen), Mother’s Younger Brother (Garrett Young), Grandfather (Brian Sharp), and Little Boy (Avi Gilbert). Musician Coalhouse Walker, Jr. (Kip Moore) and his girlfriend Sarah (Tia Seay) are examples of African-American struggle. Tateh (Ron Maurer) and his Little Girl (Peyton Deutsch) represent the aforementioned throng of immigrants bravely determined to make America their new land of opportunity. When Mother finds Sarah’s newborn baby buried in her garden, an extremely chilling turning point, a flurry of pivotal events unfold. Eventually, Coalhouse, scarred by racism and discrimination, turns to anarchy, Tateh evolves from poor peddler to prominent film director, and Mother turns her reticence into empowerment.

The cast of “Ragtime” perform “New Music” (Photo by Art Fabian)

Moore, an endearing knockout bursting with likability and charm, winningly handles the score’s vocal demands, specifically immersing himself lyrically into “Wheels of a Dream” with aplomb. Seay, well-paired with Moore in a beautifully stylized performance befitting her classical training, renders one of the most heartbreaking, regret-tinged renditions of “Your Daddy’s Son” I have heard (her pause before the final verse is an inspired moment of unrushed potency). Jensen, a Playhouse newcomer and fine soprano, takes time to settle into Mother’s domain, but thankfully trades her presentational instincts for a deeper, more well-rounded characterization as the stakes are raised, solidifying her portrayal with a stirring rendition of “Back to Before.” The terrifically authoritative and hard-nosed Sams, commanding attention with every tap of his cane, gives credence to Father’s annoyed dismay at the world around him as his values are put to the test. Young, another Playhouse newcomer, sincerely conveys Younger Brother’s introverted innocence, but is somewhat of a perplexing paradox throughout due to his inability to break free of the role’s timid shell. Sharp offers delightful deadpan humor as the family curmudgeon. Gilbert, a memorable Randy in La Comedia Dinner Theatre’s regional premiere of “A Christmas Story: The Musical,” brings adorable wonder to the whimsicality inherent within the Little Boy. Maurer, passionately optimistic and frustrated as Tateh’s rocky journey of acceptance transpires, fuels the warmth of “Gliding” and “Our Children” but is also very fun and playful in “Buffalo Nickel Photoplay, Inc.” Maurer also establishes a caring bond with the mostly mute yet winsome Deutsch.
Elsewhere, Becky Howard is wonderfully fiery as Emma Goldman, Hayley Penchoff cutely beguiles as Eveyln Nesbit, and Andrea Wilborn (Sarah’s Friend) absolutely brings down the house at the close of Act 1 leading a soulfully sanctified rendition of “Till We Reach That Day.” Michael Shannon, Brad Bishop and Franklin Johnson are also respectively convincing as J.P. Morgan, Henry Ford, and Booker T. Washington. Michael Plaugher is miscast as Houdini but committed nevertheless. Jack Enix is smile-inducing as Coalhouse Walker III. Renee Franck-Reed, Jamie Pavlofsky, Tim Rezash, and Richard Lee Waldeck effectively bolster the score’s magnitude as an off-stage quartet (Rezash and Waldeck also join the action in featured roles). The large ensemble cast includes Krissy McKim Barker, Damon Barnett, Jr., Shayla James Birdsong, Shanna Camancho, John Carrington, Zenobia Curtis, Jackie Darnell, Shaun Diggs, Juan Gabriel Encarnacion, Kiersten Farmer, Tamar Fishbein, Michael Groomes, Adee McFarland, Robert McAdory, Carrin Ragland, Thomas Schoen, Jai-Ln Stafford, and Malcolm Walker.

 
Matthew W. Smith’s fluid direction is an asset considering the scope of the tale and its many musical numbers. Even when the stage is overcrowded, a strong sense of community remains palpable. In fact, “New Music,” my favorite song in the score, appropriately reaches grand operatic heights as Seay, exhibiting perfect timing and clear purpose, climatically joins Moore for one of the most blissful reunions in the musical theater canon. In addition, choreographer Nabachwa Ssensalo (formerly of Dayton Contemporary Dance Company) and guest choreographers Michael Shepherd and SMAG Dance Collective founder Groomes create flavorfully first-rate routines marvelously demonstrating character-in-dance, specifically the rousing, encore-worthy “Getting Ready Rag” (Groomes, Encarnacion and the ever-reliable Walker, strutting and swaying with finesse, are standouts among the personable Harlem ensemble). Musical director Ron Kindell’s excellent 18-piece orchestra is placed front and center, a great visual due to the score’s magnificent grandeur, but they often overpower the microphoned cast. Theresa Kahle’s attractive period costumes are culturally distinctive, but I’m curious why parasols are absent in “Atlantic City.” Chris “Red” Newman’s efficient set pieces, John Falkenbach’s lighting design, Heather Campbell Martin’s properties, Bob Kovach’s sound design, and Steve Burton’s wig design are equally noteworthy.

(center left to right) Malcolm Walker, Kip Moore (Coalhouse Walker, Jr.) and Michael Groomes perform “Getting Ready Rag” with the Harlem ensemble (Photo by Art Fabian)

As our polarized country continues to navigate shifting winds whether cultural (Black Lives Matter) or political (the rise of Trumpism), may “Ragtime” forever stand as a beacon for what makes America truly great.

 

“Ragtime” continues through May 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays; 2 p.m. Sundays. Act One: 95 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.

4 Reasons to Go See ‘Motown’

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The toe-tapping, hand-clapping and incredibly soulful national tour of “Motown the Musical,” presented by the Victoria Theatre Association’s Premier Health Broadway Series, continues through Sunday, April 16 at the Schuster Center.

Chester Gregory (Berry Gordy) and the cast of Motown (Photo by Joan Marcus)

Nominated for four 2013 Tony Awards, “Motown” chronicles the highs and lows of the iconic Detroit-based record label founded by Berry Gordy (vividly portrayed by Chester Gregory of Broadway’s “Sister Act” and “Tarzan”). Using the framework of the label’s famed 25th anniversary concert in 1983, the show depicts how Gordy meticulously molded the careers of some of the most influential African-American artists in recording history including Diana Ross, Smokey Robinson, Marvin Gaye, and Michael Jackson. Nearly 60 classic songs accent the story which breezily follows the label through eventful periods of joy, promise, heartbreak, and turmoil.
Here are four reasons why you should see this entertaining crowd-pleaser, which is notably staged by Dayton native Schele Williams who served as associate director on the original Broadway production working closely with Gordy and director Charles Randolph-Wright.

 

THERE’S MORE TO THE STORY
Based on Gordy’s 1994 book “To Be Loved: The Music, The Magic, The Memories of Motown,” “Motown” is by no means a tribute concert. The music certainly bolsters the action, but Gordy doesn’t cheat the audience by simply letting the songs tell the story. Although he stood by his creed stating “competition breeds champions,” Gordy faced considerable adversity. He frankly details the infighting, jealousy, racism, contractual predicaments, financial calamites, and misunderstandings that occurred. Interestingly, he devotes significant time to his relationship with Diana Ross (a wonderfully engaging and elegant Allison Semmes dazzlingly costumed by “Project Runway” finalist Emilio Sosa), but thankfully other key players get their due. “At Motown, we called ourselves a family,” Gordy says in the show’s production notes. “And we were – a big family.”

ACTORS EMBODY SPIRIT OF LEGENDS

David Kaverman as Smokey Robinson in Motown (Photo by Joan Marcus)


The cast of “Motown,” which includes Wright State University graduate Jeremy Gaston of Springfield, is uniquely required to portray individuals firmly cemented in the hearts and minds of generations of music lovers. Moreover, many of these legendary artists are still alive. However, the challenge is handled skillfully from the aforementioned Gregory and Semmes (who starred in the show’s 2016 Broadway return engagement) to the quietly endearing David Kaverman as tunesmith Smokey Robinson. “Smokey is a cool dude with a poet’s heart,” Kaverman said. “I’m capturing his essence –not impersonating him. Smokey is very charismatic and star quality exudes from him. He did so much for Motown, particularly bringing many acts from the neighborhood to the label like The Supremes. But the director and creative team (stressed the importance) that we are playing real people with real personalities who had real input. Every moment in the show is a moment that actually happened and has weight. Berry Gordy gave us notes on how to portray the characters as well. I also met Smokey Robinson when the tour was in L.A. so it was great to get his stamp of approval.”

 

NOSTALGIA FUELED BY CAVALCADE OF HITS
Martha and the Vandellas said it best: “All you need is music, sweet music.” And you can’t get any better than the cavalcade of hits in this showcase, vibrantly choreographed by Patricia Wilcox and Warren Adams, including “Dancing in the Street,” “Shop Around,” “My Guy,” “You’re All I Need to Get By,” “Please, Mr. Postman,” “Get Ready,” “Ain’t Too Proud to Beg,” “What’s Going On,” “Reach Out (I’ll Be There),” “You’ve Really Got a Hold on Me,” “Stop in the Name of Love,” and “My Girl.” “The music is so nostalgic,” Kaverman noted. “People gravitate toward music they heard in their teens or 20s and that describes our audience. The music really captured a romanticized sense of love as well. The music still pervades our culture today because it’s so good. Whether you hear these songs on the radio or in a grocery store, they will always be with us and in us as Americans.”

 

A SPECIAL SING-A-LONG
Adhering to the fact that music is a universal and unifying language, “Motown” brings the audience to the forefront in Act 2. Semmes’ charming rendition of “Reach Out and Touch” evolves into a heartwarming sing-a-long bound to leave a smile on your face. “Hearing the audience sing and wave their hands is a beautiful moment,” Kaverman said. “People who typically go to church might be used to acknowledging the person next to them, but it rarely happens in the theater. It’s a moment that allows the audience to understand that we’re all in this world and this country and this show together. It’s a message of togetherness that’s very creative.”

 


“Motown the Musical” concludes today at the Schuster Center, Second and Main Streets, Dayton. Performances are at 2 and 7:30 p.m. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘Dogfight’ Review –Dare to Defy Productions – Innocence Lost

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Composers Benj Pasek and Justin Paul and librettist Peter Duchan’s compelling, unnerving and romantic 2012 off-Broadway musical “Dogfight” receives a terrific regional premiere courtesy of Dare to Defy Productions in the Mathile Theatre of the Schuster Center.

Mackensie King as Rose Fenny and Ray Zupp as Eddie Birdlace in Dare to Defy Productions’ presentation of “Dogfight: The Musical” (Contributed photo)

Based on the 1991 film of the same name and set in 1960s San Francisco, “Dogfight,” deftly directed by Angie Thacker, is craftily told in flashback. At the center is a trio of young marines nicknamed The Three Bees: Eddie Birdlace, distraught and disillusioned; Boland, viewing duty to country and comrades as chief above all; and Bernstein, a straight-laced nerd determined to lose his virginity. Before deploying to seemingly uneventful Vietnam, they decide to have one final evening of rowdy fun by coordinating a dogfight, a mean game in which each member seeks to bring the ugliest date to a party and earn the collected winnings. However, when Eddie chooses shy waitress Rose Fenny, he inadvertently makes a much-needed leap into adulthood bolstered by valuable lessons in tolerance and acceptance. In fact, during one pivotal moment, Eddie adamantly tells Rose, “I don’t care what you look like.” She responds, “I wish you would.” At the outset, the story hints that not all will end well for Eddie or his close band of brothers (an unfortunately underwritten group), especially as views of patriotism and Vietnam shift greatly during its course. Nonetheless, there is hope that through Rose’s influence, a redemptive Eddie will become a better man, perhaps fulfilling his purpose beyond what he originally thought possible.

 
Long before Pasek and Paul took Hollywood by storm winning an Academy Award for writing the lyrics to “City of Stars” from “La La Land,” they molded their witty and insightful character-driven songwriting here with many Broadway and pop/rock influences. Eddie and Rose’s “Come to a Party” contains conversational shades of Jonathan Larson’s “Rent.” Rose’s beguiling and introspectively jumpy “Nothing Short of Wonderful” recalls the works of Stephen Sondheim and Adam Guettel. The rousing “Hey, Good Lookin’” and the thrilling yet devastatingly false anthem “Hometown Hero’s Ticker Tape Parade,” defiantly warning “no confetti for the boys who stayed,” fits comfortably into Billy Joel and Jason Robert Brown’s wheelhouse. Pasek and Paul could win a Tony and Pulitzer Prize this spring for their luminous hit “Dear Evan Hansen,” but “Dogfight” remains a signature moment of evolution for their fantastic partnership.

 
The outstanding duo of Ray Zupp and Mackensie King are perfectly compatible while navigating the complexities within Eddie and Rose. Zupp, arrogant yet tender with sharp intensity, truly masters Eddie’s charming duality of appearing brutish with his buddies and outright vulnerable with Rose. He also vividly expresses Eddie’s insecure quandary of holding tightly to his tough guy façade when he’s actually attempting to simply figure out his place in the world. In one of her finest roles, King, appropriately introverted but far from a pushover, accomplishes the feat of ensuring the emotionally wounded Rose is credibly openhearted enough to look past Eddie’s immaturity and recognize his potential. It’s tough to love a jerk, but King’s grasp of Rose’s dilemma and her willingness to forgive resonates.

 
Thacker’s excellent, vocally strong cast is also filled with commendable featured players. The commanding Layne Roate dynamically intimidates with Southern swagger as cocky Boland. Bobby Mitchum, a bundle of energy and nervous trepidation, delights as bespectacled Bernstein. Tia Seay brings comedic flavor to her portrayal of shrewd and savvy Marcy, Boland’s deceitful date. Seay also joins King for a marvelous rendition of the fiery title song in which Marcy and Rose come to terms with the cruelty of the game. David Baker (Stevens), Jesse Daniel (Fector), Brett Norgaard (Gibbs), and TC Schreier provide enthusiastic vigor as fellow marines. Skyler McNeely offers lighthearted levity throughout in multiple roles. Danielle DeLorme (Mama), Samantha Creech (Ruth Two Bears) and Natalie Sanders are also effective, especially Creech’s funny choices during the dogfight.

 
In addition, Zupp’s striking scenic design, complete with a tattered American flag as an ominous backdrop, aptly evokes the memory play concept inherent in the material. Olivia Dakin’s fine assortment of period-appropriate wardrobe includes an endearingly tacky costume party outfit for King. Choreographer Lisa Glover skillfully establishes conversation in dance in the sprightly “Hey, Good-Lookin.’” Along with Lorri Topping’s music direction, the show notably features a six-piece orchestra accented with splendid piano accompaniment from conductor Nick Garvin.

 

“Dogfight” stings but it’s an unforgettable experience. Don’t miss it.

 
“Dogfight: The Musical” continues through April 8 inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 60 minutes; Act Two: 50 minutes. Performances are 8 p.m. Friday and 2 and 8 p.m. Saturday. Tickets range from $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. The production contains adult themes and language. Patrons should also note understudy Jesse Daniel portrays Eddie Birdlace at the Saturday matinee.

‘The Elephant Man’ Review – Dayton Theatre Guild – Beauty Underneath

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Transformation has always been a wondrously inherent part of theater magic. So, without reservation, I assure you Jared Mola’s splendidly visceral and physically impressive embodiment of John Merrick in the Dayton Theatre Guild’s excellent production of Bernard Pomerance’s thought-provoking 1979 Tony Award-winning drama “The Elephant Man” provides one of the finest transformations you’ll see on any stage in the Miami Valley this season.

(l to r) Patrick Hayes as Frederick Treves and Jared Mola as John Merrick in the Dayton Theatre Guild’s production of “The Elephant Man” (Photo by Craig Roberts)

Anyone familiar with Mola’s credits will not be surprised by this latest revelation. After all, he’s already proven his chameleon prowess in a string of dynamically lived-in performances ranging from dim-witted Roy Manual in “Nice People Dancing to Good Country Music” to intensely crazed Robert Renfield in “Dracula,” and most recently, the utterly distressed yet honestly hopeful Prior Walter in “Angels in America: Perestroika.” Still, John Merrick is in a completely different league because of the challenging physicality it requires. Without the benefit of makeup or prosthetics, Mola must become, with every fiber of his being, the startlingly deformed freak show attraction who ultimately and remarkably hobnobbed with the Victorian elite at London Hospital. He smoothly handles the physical stresses of this demanding exercise (you can sense the pain in his crooked posture as well as his curved hands and feet), but he’s savvy enough to ensure his incredibly astute portrayal isn’t just about physique. On the contrary, his compelling work is rooted in nuance, charm, wit, wonderment, and gratitude. As these attributes heighten the potent value of the story’s rags-to-riches allure and telling look at society’s treatment of the “other,” Merrick’s magnetism doesn’t wane. Whether facing ridicule from gawkers or an angry mob or astonishing the upper-class willing to see beyond the surface and into his soul, he commands our attention. We cannot look away, and thanks to Mola, there’s no reason why we should.
Elsewhere, Patrick Hayes, returning to the Guild stage for the first time since 2013’s “The Pillowman,” is greatly inquisitive and concerned if calculatingly cerebral as Dr. Frederick Treves, Merrick’s savior, champion and friend. Hayes navigates his complicated role well, but there are times I wish he wasn’t so emotionally reserved, particularly as Treves grows regretful and hopeless about his own insecurities. The elegant and inviting Heather Martin warmly and sophisticatedly portrays Mrs. Kendal, a celebrated actress guiding Merrick into enlightening conversations about “Romeo and Juliet” and intriguing facets of femininity. As Ross, Merrick’s shady manager, Jim Lockwood is terrifically demanding in an Act 2 showdown with Mola when Ross begs Merrick to return to the freak show. Geoff Burkman brings cool authority and scientific reasoning to his sharp portrayal of Carr Gomm, the administrator of London Hospital influential to securing funding for Merrick to remain at the hospital for life. Kevin Grego, Mark Reuter, Melissa Kerr Ertsgaard, Meredith Hollingsworth, and Lorin Dineen are firm and colorful in multiple roles.
David Shough’s deftly fluid staging, an asset considering the play’s episodic nature, is accented by his fittingly circus-inspired, Merrick-as-the-main-attraction, show-within-a-show concept and co-scenic design with Chris “Red” Newman complete with efficient moving pieces. N. Lynn Brown’s lovely assortment of attractive period costumes and J. Gary Thompson’s sound design are also praiseworthy.
One of the play’s most striking moments involves a clever role reversal in which Merrick offers a lecture on Treves’ deformities. It is the only time Mola appears outside the physical boundaries of the role, giving credence to his fascinating versatility and the overall breadth of his achievement.

 

“The Elephant Man” continues through April 2 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: 45 minutes; Act Two: 40 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the play contains brief nudity.

 

 

‘9 to 5’ – Wright State University – Divine Vengeance of the Corporate Sisterhood

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Broadway is abuzz about a certain matchmaker’s overdue return, but the Dolly I’d like to bring to your attention can be found atop center stage at Wright State University’s first-rate production of the 2009 Tony Award-nominated musical comedy “9 to 5” inside the Festival Playhouse of the Creative Arts Center.

(center) Meredith Zahn as Judy Bernly, Bailey Edmonds as Violet Newstead, and Natalie Girard as Doralee Rhodes in Wright State University’s production of Dolly Parton and Patricia Resnick’s 2009 Tony Award-nominated musical comedy “9 to 5” (Photo by Erin Pence)

No, Dolly Parton isn’t actually roaming or haunting the CAC these days, but her gleefully earthy, videotaped narration is a huge part of the great charm abundantly flowing from this delightfully humorous yet incredibly stinging satire of female empowerment in the workplace circa 1979. It’s true this show would be just fine without Dolly (her narration was not part of the Broadway production), but she will always represent the film’s nostalgic appeal nonetheless due to her iconic, toe-tapping title tune, one of the best movie songs never to win an Academy Award.

Based on the popular 1980 film of the same name starring Parton, Lily Tomlin and Jane Fonda, “9 to 5,” featuring a libretto by original screenwriter Patricia Resnick, bluntly examines discrimination and sexism as Violet Newstead, Doralee Rhodes and Judy Bernly join forces to put their “sexist, egotistical, lying, hypocritical bigot” boss Franklin Hart, Jr. in his place. During a night of partying, the trio playfully imagines how they’d kill Franklin, but through a series of accidental shenanigans they eventually kidnap him and smoothly turn Consolidated into a rejuvenated utopia of productivity, positivity and promise. One of the joys of Resnick’s witty and relevant script stems from the ladies joining in solidarity to accomplish the seemingly impossible. Sure, one of them could have taken the lead and received the credit, but the fact that the three of them became stronger together as friends, women and brave examples makes all the difference in the world.

Firmly directed with a keen comical eye by Greg Hellems, assuring the action is continually bolstered by Violet, Doralee and Judy’s compatibility, the production is enjoyably and respectively led by Bailey Edmonds, Natalie Girard and Meredith Zahn. The lovably stern Edmonds, notably beginning Act 2 with a snazzy rendition of “One of the Boys,” one of many new tuneful if generic songs Parton wrote for the stage version, effectively interprets Violet’s desire for advancement having been bypassed for promotions by those she particularly trained. Girard, a recent knockout as Heather Chandler in “Heathers: The Musical,” completely inhabits the required Southern delicacy and spitfire attack necessary to portray the bubbly vivacious Doralee. She effortlessly accomplishes the amazing feat of being on par with the original actress actually present in spirit. Does it get any better than that? In addition to her hilariously impeccable delivery of Doralee’s fiery speech putting to rest a workplace rumor, Girard supplies dynamic vocals during introspective moments (“Backwoods Barbie”) and spirited anthems (“Shine Like the Sun,” “Change It”). Zahn, elegantly dancing up a storm earlier this season as Lucille Early in “No, No, Nanette,” endearingly conveys Judy’s sweet naivety and specific determination to start anew, leading to a wondrously life-affirming rendition of “Get Out and Stay Out” late in Act 2 that nearly stops the show.

Elsewhere, Joey Logan is despicably good as the one-dimensional, utterly insensitive Franklin, shrewdly and eerily injecting shades of President Trump when the mood suggests. Emily Chodan scores big laughs as nosey secretary Roz Keith who secretly pines for Franklin with sensual abandon in the aptly titled “Heart to Hart.” Zach Fretag (Violet’s love interest/co-worker Joe), David Emery (Doralee’s husband Dwayne), Joey Kennedy (Violet’s son Josh and a standout among the male ensemble in “One of the Boys”), Eli Davis (Judy’s ex-husband Dick), Mackenzie Kasbaum (tipsy Margaret), and Cody Westbrook (Tinsworthy in the deliciously playful vein of Leslie Jordan) are notable among an excellent ensemble cast.

Choreographer Megan Wean Sears’ lively and character-conscious routines, Michael S. Brewer’s efficient set design, Jessica Drayton’s expert lighting, Emily Sollinger’s colorful period attire, and music director Scot Woolley’s rip-roaring orchestra are also noteworthy.

Women have made significant strides in the nearly 40 years since “9 to 5” took America by storm, but there’s still room for growth from equal pay to reproductive health care to the presidency. Let us aim to keep moving forward until the tide turns and rolls everyone’s way.

 

“9 to 5: The Musical”continues through April 2 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 30 at 7 p.m.; March 24, 25, 31, and April 1 at 8 p.m.; and March 25, 26, April 1 and 2 at 2 p.m. Act One: 80 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/theatre-tickets.

 

 

 

 

 

 

 

‘Paris,’ ‘Phantom’ and more headline Victoria season

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A delightful assortment of Broadway crowd-pleasers comprise the Victoria Theatre Association’s very strong 2017-2018 season.

The VTA’s Premier Health Broadway Series, Projects Unlimited Star Attractions, Morris Company Family Series, and National Geographic Live! Series were announced Monday, Feb. 27 in the Mead Theatre of the Schuster Center. Overseen by VTA President and CEO Ken Neufeld who revealed titles along with staff members, the ceremony, framed by the welcoming theme “Our Stages Await,” gathered over 650 Victoria ticket holders, donors, sponsors, and friends.

Phantom of the Opera



The upbeat, six-show Broadway Series consists of Lin-Manuel Miranda’s Hispanic-meets-hip-hop “In the Heights” (the 2010 Tony Award winner for Best Musical), the local premiere of the 2015 Gershwin-inspired musical “An American in Paris” (featuring director/choreographer Christopher Wheeldon’s absolutely gorgeous Tony Award-winning choreography), Rodgers and Hammerstein’s “The Sound of Music” (a brand new production superbly reconceived by Tony Award-winning director Jack O’Brien of “Hairspray”), the local premiere of the charmingly silly 2016 Tony Award-nominated Renaissance spoof “Something Rotten!” (playfully directed and choreographed by Casey Nicholaw of “The Book of Mormon”), the return of Andrew Lloyd Webber’s blockbuster “The Phantom of the Opera” (featuring new staging and design), and the local premiere of the 2014 Tony and Grammy Award-winning hit “Beautiful –The Carole King Musical” (chronicling the rise of King’s career as an iconic songwriter).

Something Rotten!

In addition, the Pittsburgh CLO and Kansas City Starlight’s production of Disney’s “The Little Mermaid” will kick off the Projects Unlimited Star Attractions, a promising slate including the Bollywood-driven “Mystic India,” “A Christmas Carol,” “A Christmas Story” (a collaboration with the Human Race Theatre Company), and the return of illusionist Adam Trent.

Surprise guests included Sarah Bockel who understudies the role of Carole King in the Broadway production of “Beautiful” and Nick Rashad Burroughs currently on tour as the Minstrel in “Something Rotten!” Bockel particularly performed King’s tender ballad “Will You Still Love Me Tomorrow” and toe-tapping “Beautiful.”

“Carole King” is such an inspiration,” Bockel said. “Her lyrics are so simple yet deep that anyone can connect with them. ‘A Natural Woman’ means so many things to so many people, (the feeling) you’re perfect the way you are. This show is about an everyday woman – a daughter, a mom, a wife – who is just trying to live her best life. She’s trying to take care of the people she loves. She’s a woman going through heartbreak but in doing so finds herself.”
‘‘Something Rotten!’ is ridiculously funny,” Burroughs noted. “It’s truly a love letter to musicals that’s lighthearted and tuneful.”

Musical selections were also offered by three students from Wright State University’s Musical Theatre Department. Eli Davis introduced “An American in Paris” and “The Phantom of the Opera.” Lauren Everett performed “My Favorite Things” from “The Sound of Music.” Alejandra Solis performed “Breathe” from “In the Heights.”

 

Premier Health Broadway Series
(all shows at Schuster Center)

 

In the Heights (Oct. 3-8, 2017)

 

An American in Paris (Nov. 7-12, 2017)

 

The Sound of Music (Feb. 13-18, 2018)

 

Something Rotten! (March 20-25, 2018)

 

The Phantom of the Opera (April 11-22, 2018)

 

Beautiful: The Carole King Musical (May 22-27, 2018)

Projects Unlimited Star Attractions
Disney’s The Little Mermaid (Aug. 8-13, 2017– Schuster Center)

 

Mystic India: The World Tour (Oct. 26, 2017 – Schuster Center)

 

A Christmas Carol (Nov. 28-29, 2017 – Victoria Theatre)


The Illusionists Present Adam Trent (Dec. 3, 2017 – Schuster Center)

 

A Christmas Story (Dec 12-17, 2017 – Victoria Theatre)

 

Morris Furniture Company Family Series
(all shows at Victoria Theatre)

 

How I Became a Pirate (Nov. 4, 2017)

 

Mr. Popper’s Penguins (Jan. 20, 2018)

 

Step Afrika! (March 3, 2018)

 

Journey to Oz (April 7-8, 2018)

 

The Olate Dogs Variety Show: Rescue Tour (May 5, 2018)

 

National Geographic Live! Series
(TBA, all lectures at Victoria Theatre)

 


Season tickets are on sale for the Premier Health Broadway Series. New Season Ticket Holders will be seated once current Season Ticket Holders’ renewals are fulfilled. Renewal packets for all current Premier Health Broadway Series Season ticket holders will mail Feb. 28. The deadline for current season ticket holders to request changes to Broadway Season ticket packages is March 13. The deadline to renew 2017-2018 Broadway Season Ticket packages is March 20.  Season Ticket sales for the Morris Furniture Company Family Series and National Geographic Live Series begin later in the spring, as well as new packages for the Projects Unlimited Star Attractions. Additional Star Attractions will be announced at a later date. For more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.victoriaheatre.com

 

 

And The Oscar Goes To…

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After last year’s OscarsSoWhite controversy condemned the Academy of Motion Picture Arts and Sciences, diversity refreshingly steps into the spotlight as the 89th annual Academy Awards honors the best cinema of 2016 Sunday, Feb. 26 at the Dolby Theatre in Los Angeles.
Seven actors and one director of color will compete in the major categories representing a banner year for filmmaking. In an attempt to clean up old voting habits, 683 new members were added to the over 6,000 total membership including production designer Hannah Beachler, a Wright State University alumna. In fact, 46 percent of new members were female while 41 percent represented people of color. More progress should be made (the membership is still 89 percent white and 73 percent male), but the initial effects were noticeable in the nominations and could have greater impact when envelopes are opened.
As always, anything is possible on Oscar night, specifically in terms of the amount of politically-charged acceptance speeches and the suspenseful announcement of best picture. Here are my predictions in the top six categories.
BEST PICTURE
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

Overlooked: 13th; 20th Century Women; American Honey; Arrival; Best Worst Thing That Ever Could Have Happened; The Birth of a Nation; Equity; Free State of Jones; Indignation; Jackie; Krisha; The Light Between Oceans; The Lobster; Loving; O.J. Made in America; Miles Ahead; Race; Remember?; Silence; Sing Street

Will Win: La La Land
Should Win: Moonlight

By and large, the Academy got it right. Nine wonderful films have been recognized and deservedly so. Will Hollywood rally to embrace lighthearted escapism (La La Land), the trials and tribulations of the African-American experience (Fences, Hidden Figures, Moonlight), touching stories of redemption and reunion (Lion, Manchester by the Sea), sci-fi contemplativeness (Arrival), or gripping accounts of battle in war (Hacksaw Ridge) and out West (Hell or High Water)? La La Land, a musical love letter to Los Angeles, seems unstoppable thanks to its imaginative originality and colorful fantasy, but if this category is about which film makes the strongest statement for our times, the coming-of-age Moonlight is a daring achievement for African-American cinema that will be studied for decades. Still, watch out for uplifting and inspiring crowd-pleaser Hidden Figures, the highest-grossing nominee raking in $142 million and counting. An upset is within reason.

BEST DIRECTOR
Damien Chazelle, La La Land
Mel Gibson, Hacksaw Ridge
Barry Jenkins, Moonlight
Kenneth Lonergan, Manchester by the Sea
Denis Villeneuve, Arrival

Overlooked: Andrea Arnold, American Honey; John Carney, Sing Street; Don Cheadle, Miles Ahead; Derek Cianfrance, The Light Between Oceans;; Yorgos Lanthimos, The Lobster; Pablo Larrain, Jackie; Ang Lee, Billy Lynn’s Long Halftime Walk; David Mackenzie, Hell or High Water; Theodore Melfi, Hidden Figures; Meera Menon, Equity; Mike Mills, 20th Century Women; Jeff Nichols, Loving; Nate Parker, The Birth of a Nation; James Schamus, Indignation; Martin Scorcese, Silence; Trey Edward Shults, Krisha; Denzel Washington, Fences

Will Win: Chazelle
Should Win: Jenkins

Chazelle’s particularly skillful homages to bygone Hollywood musicals are of a mature pedigree far beyond his years, but the beautiful subtlety and gripping intimacy Jenkins established took realistic storytelling to captivating heights.

BEST ACTOR
Casey Affleck, Manchester by the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain America
Denzel Washington, Fences

Overlooked: Joe Alwyn, Billy Lynn’s Long Halftime Walk; Don Cheadle, Miles Ahead; Joel Edgerton, Loving; Colin Farrell, The Lobster; Michael Fassbender, The Light Between Oceans; Ralph Fiennes, A Bigger Splash; Ben Foster, Hell or High Water; Andrew Garfield, Silence; Joseph Gordon-Levitt, Snowden;  Tom Hanks, Sully; Alex Hibbert, Moonlight; Tom Hiddleston, I Saw the Light; Stephan James, Race; Logan Lerman, Indignation; Matthew McConaughey, Free State of Jones; Nate Parker, The Birth of a Nation; Chris Pine, Hell or High Water;  Christopher Plummer, Remember?; Trevante Rhodes, Moonlight; Ashton Sanders, Moonlight; Ferdia Walsh-Peelo, Sing Street

Will Win/Should Win: Washington

Last fall, it seemed the splendidly understated Affleck was the clear favorite, but Washington’s dynamic finesse as the scorned and disillusioned Troy Maxson (coupled with the fact that he directed himself) grew too powerful to ignore in the homestretch. Affleck could still prevail, but Washington, in top form, simply delivered one of his most tremendous, roof-raising portrayals, placing him in good standing to become the first African-American actor to win three Oscars and the sixth actor overall to receive three Oscars (joining an illustrious group consisting of Ingrid Bergman, Walter Brennan, Daniel Day-Lewis, Jack Nicholson, and Meryl Streep).

 

BEST ACTRESS
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Overlooked: Amy Adams, Arrival; Kate Beckinsale, Love & Friendship; Annette Bening, 20th Century Women; Emily Blunt, The Girl on the Train; Jessica Chastain, Miss Sloane; Krisha Fairchild, Krisha; Sally Field, Hello, My Name is Doris; Anna Gunn, Equity; Rebecca Hall, Christine; Taraji P. Henson, Hidden Figures; Sasha Lane, American Honey; Susan Sarandon, The Meddler; Tilda Swinton, A Bigger Splash; Alicia Vikander, The Light Between Oceans; Rachel Weisz, Denial

Will Win: Stone
Should Win: Huppert

All signs point to Stone, the darling of the awards season, for solidifying her triple threat status as aspiring actress Mia, but don’t discount French powerhouse Huppert for her compelling yet tremendously cool portrayal of a video game executive provocatively flirting with danger and desire. After all, the foreign voting block cannot be brushed aside considering British theater veteran Mark Rylance’s upset win last year for best supporting actor in Bridge of Spies against Creed favorite Sylvester Stallone. The sheer breadth of Huppert’s mesmerizing work would be a cinch in a less competitive year, but the immensely likeable Stone, so luminous and heartbreaking, will ride La La Land’s palpable momentum.

BEST SUPPORTING ACTOR
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion
Michael Shannon, Nocturnal Animals

Overlooked: Jovan Adepo, Fences; Kevin Costner, Hidden Figures; Garrett Hedlund, Billy Lynn’s Long Halftime Walk; Stephen McKinley Henderson, Fences; Andre Holland, Moonlight; Russell Hornsby, Fences; Jeremy Irons, Race; Richard Jenkins, The Hollars; Jharrel Jerome, Moonlight; Nick Kroll, Loving; Yosuke Kubozuka, Silence; Shia LaBeouf, American Honey; Tracy Letts, Indignation; Mark McKenna, Sing Street; Jack Reynor, Sing Street; Timothy Spall, Denial; Patrick Stewart, Green Room; Aaron Taylor-Johnson, Nocturnal Animals; Ben Whishaw, The Lobster; Mykelti Williamson, Fences

Will Win/Should Win: Ali

A truly excellent group. It’s particularly great to see Patel included having missed the cut here for 2008’s Slumdog Millionaire. Bridges, Patel and newcomer Hedges are major threats, but this category belongs to Ali, whose poignant and soulful portrayal of Juan, a drug dealer-turned-unexpected father figure, fuels Moonlight’s pensive magic.

 

BEST SUPPORTING ACTRESS
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Overlooked: Lucy Boynton, Sing Street; Linda Emond, Indignation; Tyne Daly, Hello, My Name is Doris; Elle Fanning, 20th Century Women; Greta Gerwig, 20th Century Women; Riley Keough, American Honey; Aja Naomi King, The Birth of a Nation; Margo Martindale, The Hollars; Gugu Mbatha-Raw, Free State of Jones and Miss Sloane; Janelle Monae, Hidden Figures; Alysia Reiner, Equity; Kristen Stewart, Billy Lynn’s Long Halftime Walk; Sarah Megan Thomas, Equity; Rachel Weisz, The Light Between Oceans and The Lobster

Will Win/Should Win: Davis

Let’s face it. Davis’ Oscar was probably engraved sometime last month. It’s still shocking she didn’t win for 2011’s The Help. Barring an upset, expect Davis to receive a lengthy standing ovation for her absolutely riveting portrayal of housewife Rose Maxon. Her acceptance speech could be the highlight of the evening. Keep your tissues handy.

The 89th annual Academy Awards, hosted by Jimmy Kimmel, will be telecast live Sun. Feb. 26 on ABC at 8:30 p.m.

 

 

‘The Children’s Hour’ Review – Wright State University – Alternative Facts Run Amok

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Two schoolteachers accused of lesbianism at an all-girls boarding school cannot escape the onslaught of lies encircling them in Lillian Hellman’s provocative, rarely staged 1934 drama “The Children’s Hour,” excellently presented by Wright State University under the delicately firm direction of Marya Spring Cordes.

(left to right) Megan Valle (Mrs. Amelia Tilford), Zac Pruett (Dr. Joseph Cardin), Katie Post (Karen Wright), and Haley Knuth (Martha Dobie) appear in Wright State University’s production of Lillian Hellman’s “The Children’s Hour.” (Contributed photo by Chris Snyder)

Karen Wright (Katie Post) and Martha Dobie (Haley Knuth) are shocked to the core when troublesome 12-year-old student Mary Tilford (Dana Bixler) tells her stern yet doting grandmother Amelia (Megan Valle) what she thinks she heard about their behavior behind closed doors. As Mary’s vicious falsehoods spin out of control, Karen’s engagement to good-natured Dr. Joseph Cardin (Zac Pruett) is put to the test while an infuriated Martha ultimately faces a harsh reality.

 
Hellman’s Pulitzer Prize-nominated script, inspired by an 1810 incident at a school in Edinburgh, Scotland, is very impactful but overlong and a bit stodgy. There’s also a peculiarity in the climax some might find terribly cold or downright humorous depending on one’s mood. Nevertheless, the keen perspectives Hellman presents from bullying to intolerance to same-sex desires to the power of manipulation are truly relevant (and Arthur Miller-esque) in the wake of current societal and political strife.

 
Post and Knuth are heartbreaking and emotionally savvy, giving subtle insight into the depths of Karen and Martha’s relationship without suggesting anything more than friendship. In fact, notice how this talented duo beautifully consoles each other with a blanket in Act 2, a visual that speaks volumes in its warmth and sensitivity. The spiritedly vindictive Bixler, the epitome of a spoiled brat on the verge of utter psychosis, is a tremendous force to be reckoned with as Mary orchestrates her madness. The very endearing Pruett effectively conveys Joe’s loyalty to Karen and his heartfelt understanding of her deep bond with Martha. Valle, a skillful chameleon memorably dynamic last summer as the Mute in Columbus’ Short North Stage’s “The Fantasticks,” marvelously grasps Amelia’s elderly austerity as well as her pivotal uncertainty when faced with Mary’s wild claims.

 
The strong cast includes Caitlin Shiner as Mrs. Lily Mortar, Brynnan McNeill (terrific opposite Bixler) as naïve Rosalie Wells, Madeline Musico (eavesdropping with “Downton Abbey”-style finesse) as Amelia’s maid Agatha, Heather Cooperman as Peggy Rogers, Rachel Woeste as Evelyn Munn, Taylor Patrick as Lois Fisher, Drew Longmore as Helen Burton, Kayli Modell as Catherine, Celia Arthur as Janet, Donnasia Allen as Leslie, and Grant Measures as Grocery Boy.
Cordes’ first-rate artistic team includes scenic designer David J. Castellano (projections heighten his fine work smoothly depicting altering locales), lighting designer Jennifer Watson (evocatively incorporating shadow as the story grows bleak), costumer Naomi Reisner (supplying attractive period attire), and sound designer Rachel Haas.

 
In addition, it’s significant to note “The Children’s Hour,” filmed in 1961 starring Audrey Hepburn and Shirley MacLaine, was the subject of one of the first landmark court cases to address censorship of gay and lesbian subject matter. The show was to play Boston after its acclaimed Broadway run but was banned by the city’s public censor because of its “lesbian content.” In 1936, the play’s producer and the American Civil Liberties Union partnered to challenge the ruling in federal court, marking the A.C.L.U.’s first “gay rights” case and prompting censorship of gay-themed content in the arts to become part of the national conversation.

 
“The Children’s Hour” continues through Feb. 12 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 100 minutes; Act Two: 50 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit wright.edu/theatre-tickets. Patrons are advised the play is intended for adult audiences.