Russell Florence, Jr.

’26 Pebbles’ Review – Human Race Theatre Company – Healing in the Aftermath

February 8, 2017 By Russell Florence, Jr.

The tragic December 14, 2012 shooting at Sandy Hook Elementary School in Newtown, Connecticut, which took the lives of 20 children and six adults, is examined with relatable earnestness and resilience in Eric Ulloa’s touching if uneven new play “26 Pebbles,” currently receiving its professional premiere from the Human Race Theatre Company.

All photo’s courtesy of Scott J. Kimmins

Six months after the incident, Ulloa, a New York actor and playwright recently featured in the entertaining new Gloria and Emilio Estefan bio- musical “On Your Feet!,” traveled to Newtown for answers. Angry and frustrated, he sought solace in discovering how the quaint community was affected by such a heinous act. He held over 60 interviews with various residents which became the catalyst for the monologue-heavy, one-act play.
Ulloa has said “26 Pebbles” can be viewed as a contemporary offshoot of Thornton Wilder’s classic drama “Our Town,” but I find its theatrical DNA akin to Moises Kaufman and the Tectonic Theater Project’s Matthew Shepard-inspired, interview-driven drama “The Laramie Project.” In fact, his play could use more of the realistic bite and edge which gives “Laramie” its palpable sting. I understand his desire to keep the structure Americana-infused with the folksy charm of Grover’s Corners, but it’s not an absolutely engaging decision. In fact, the opening sequence, set in a town hall, is a cutesy introduction that doesn’t go anywhere. Practically 15 minutes is spent convincing the audience why Newtown is a fantastic and welcoming place to live (even a meteor shower is praised) when five minutes or less would have sufficed. Thankfully, the action quickly kicks into gear (and scenic designer Scott J. Kimmins’ wonderfully efficient set terrifically disconnects) when reflections of the shooting occurs. The sea of frantic responses, the disbelief of New England utopia coming under siege, is very invigorating, providing some of director Igor Goldin’s strongest moments of stagecraft.

Now I understand there might be reticence in Ulloa dwelling on 20-year-old shooter Adam Lanza, but this play finds its footing in its insightful debate of what went wrong inside Lanza’s home and inside his psyche. Everyone knows blame makes for great drama. After all, we wouldn’t feel the same about the Wingfields or the Tyrones or the Maxsons without it. So, it’s not surprising Lanza’s mental illness, detachment, isolationism, his upbringing as a child of divorce, the laundry list of weapons in his possession, and even his good qualities provide compelling fodder. Also, when one woman suggests it takes a village to raise a child, it intriguingly brings into question Newtown bearing responsibility for Lanza’s behavior. It is a thought-provoking nugget gently raising the stakes for the play. It’s perfectly fine to know Newtown received over 63,700 teddy bears, but darker, uncomfortable shades shouldn’t be ignored, especially in the pursuit of the impactful.
Goldin’s excellently chameleonic sextet, nicely dressed in upper-middle class everyday fashion courtesy of costumer Jessica Pitcairn, weaves through multiple roles with fluidity and magnetism. Christine Brunner is warmly winning as an Australian adjusting to life in America (whenever the Oscar-nominated film “Lion” is adapted for the stage I hope she receives a call to play the Nicole Kidman role). A very chipper Caitlin McWethy is an appealing fit in her primary narrative role recalling the Stage Manager in “Our Town.” Scott Hunt, who recently gave one of the finest performances of his career as Molina in Columbus’ Short North Stage’s central Ohio premiere of “Kiss of the Spider Woman: The Musical,” is very endearing as a concerned rabbi wishing he could have mentored Lanza. Jason Podplesky also showcases genuine sensibility in a fatherly capacity. Jennifer Joplin and Gina Handy are delightfully paired as entrepreneurs Jerian and Starr who provide healing and angel readings. John Rensel’s expert lighting design and Jay Brunner’s evocative music and gripping sound design are noteworthy.
Ulloa states “26 Pebbles” is not about the victims, but perhaps it should be. As issues of gun violence continue to swell, especially in this divisive age of President Trump and Secretary of Education Betsy DeVos, it’s time for a statement to be made. Placing a litany of inspirational words on a chalkboard is a feel-good solution, but there are other steps worth exploring. His well-meaning play, conceived during Obama era optimism, concludes lovey-dovey, but has the potential to make a courageous and riveting ripple throughout the nation if given a deeper look at current anxieties.

“26 Pebbles” continues through Feb. 19 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 90 minutes without intermission. Tickets are $20-$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 [email protected]. 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 with a spokesperson from Sandy Hook Promise following the Sunday, Feb. 12 performance

‘Luna Gale’ Review – Dayton Theatre Guild – Little Girl Lost

January 31, 2017 By Russell Florence, Jr.

The battle for custody of a 6-month-old baby girl entices with compelling magnetism in Rebecca Gilman’s 2014 contemporary drama “Luna Gale,” currently receiving an outstanding local premiere at the Dayton Theatre Guild and directed with superb, true-to-life delicacy by Debra Kent.

(front row left to right) Andrew Poplin as Peter, Kayla Graham as Karlie, Cheryl Mellen as Caroline, (back row left to right), John-Michael Lander as Pastor Jay, Cassandra Engber as Cindy, Heather Atkinson as Lourdes, and Timothy Moore as Cliff comprise the cast of the Dayton Theatre Guild’s local premiere of Rebecca Gilman’s contemporary drama “Luna Gale” (Photo by Craig Roberts)

Misunderstanding, confusion, regret, and hope bolsters this fascinating tale fueled by Caroline, a veteran social worker in Cedar Rapids, Iowa trying to place the title character, neglected by her drug addicted teen parents Karlie and Peter, in the best environment. Fully invested in her job almost to her detriment, Caroline is thrown for a loop when Luna’s grandmother Cindy, Karlie’s estranged mom, reveals her devout evangelical beliefs during her request for permanent adoption. Finding Cindy’s motives off-putting, Caroline tries to figure out how the recently rehabilitated Karlie and Peter can stake their case. What transpires unfolds as an intriguing war of ideology and responsibility as matters of love and devotion as well as the complicated search for the truth leaps to the forefront with riveting flourish.
As Caroline, the terrifically formidable Cheryl Mellen gives one of her finest, most multifaceted performances. Cool, strict, empathetic, and splendidly investigatory, Mellen conveys the total breadth of a complex woman trying to cope with bureaucracy at work and the pain of her emotionally scarred past while fighting for what is right no matter how dicey the result. Appealing Guild newcomers Kayla Graham and Andrew Poplin deliver breakthrough performances as the troubled Karlie and Peter, providing skillful transformations as both characters progress over time. In particular, Graham’s edginess, frustration and anguish typifies Karlie’s despair while perfectly contrasting Poplin’s affable, caring and mature attributes signaling Peter’s potential as a meaningful father and provider. As the faith-based Cindy, Cassandra Engber is wonderfully credible and passionately outspoken in her heated exchanges with Mellen. She’s also strong in her brief appearance opposite Poplin in his knockout moment late in Act 2 gently revealing a key moment in Karlie’s life that contributed to her downward spiral unbeknownst to Cindy. Timothy Moore, in a refreshing change of pace from his previous string of well-meaning good guys, is flawlessly snide as Cliff, Caroline’s overbearing, ruthless supervisor. John-Michael Lander is also winningly grounded as Cindy’s cheery, Joel Osteen-esque minister Pastor Jay. Heather Atkinson, memorable earlier this season alongside Engber in the Guild’s “The Last Lifeboat,” solidly completes the cast as Lourdes, one of Caroline’s wayward if superfluous clients intended to provide insight into her weighty workload and messy upbringing.
Additionally, the intimate world of the play is efficiently brought to life by set designer Blake Senseman, costumer Kristine Caffrey, lighting designer Tony Fende, Deidre Root and Debra Strauss’ properties, and K.L. Storer’s effective soundtrack, a source of rich musical commentary that remains a hallmark of his collaborations with Kent (which extends to her equally marvelous Guild productions of “Time Stands Still” and “Good People”).
Gilman’s plays include “Spinning Into Butter,” which received its local premiere at the Human Race Theatre Company in 2001, and “Boy Gets Girl,” which received its local premiere at the Guild in 2003. “Luna Gale,” among her most relatable works, captivatingly brings harsh realities to the surface with the promise and anticipation of reunion and new beginnings.

“Luna Gale” continues through Feb. 5 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: 60 minutes; Act Two: 60 minutes. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the play contains adult language.

‘Xanadu’ Review – Dayton Playhouse – Fun Frivolity

January 27, 2017 By Russell Florence, Jr.

Life got you down? Head over to the Dayton Playhouse for a delightful dose of feel-good nostalgia in the form of “Xanadu,” the hilarious 2008 Tony Award-nominated musical comedy continuing its local premiere through Feb. 5.

The Dayton Playhouse continues its local premiere of the 2008 Tony Award-nominated musical comedy “Xanadu” through Feb. 5. (Photo by Art Fabian)

Based on the campy 1980 movie musical of the same name starring Olivia Newton-John and breezily directed by Tina McPhearson, “Xanadu” brings Greek mythology to Los Angeles circa 1980. Beautiful muse Clio attempts to rejuvenate the creative impulses within struggling chalk artist Sonny Malone, whose artistic dream is to open a roller disco. Disguised as an Australian named Kira, Clio throws herself into her mission but not without interference. Her jealous, spiteful sisters Melpomene and Calliope try to thwart matters, but ultimately the bonds of true love and the sheer joy of artistic inspiration prevails.
Douglas Carter Beane’s snappy libretto, full of clever one-liners and tongue-in-cheek barbs, warmly pokes fun at the movie’s cheesy lore. Due to the weaknesses of the screenplay, Beane’s savvy decision to revise the tale with an emphasis on Greek mythology, musical theater conventions, and a cute pop culture sensibility is a welcomed relief. Still, the singular asset of the material remains the incredibly tuneful pop/rock/disco numbers by Academy Award nominee John Farrar (“Hopelessly Devoted to You”) and Jeff Lynne (of ‘70s rock band Electric Light Orchestra, a 2017 Rock and Roll Hall of Fame inductee). Memorable songs such as “I’m Alive,” “Magic,” “Suddenly,” “All Over the World,” and the dandy title tune are still hummable treats after nearly 40 years. I wish the cast would have attacked the score with more power and punch (it’s impossible to hide behind these songs), but any moments of vocal timidity are not a grave misstep.
Desmond Thomas, an engagingly dim-witted surfer dude-esque Sonny, and Playhouse newcomer Ellie Krug, a high school senior impressively navigating the whimsicality of Clio/Kira, are compatible lovebirds. Thomas is the stronger singer (rock ballad “Don’t Walk Away” is a highpoint), but Krug’s winsome vibrancy and grasp of many funny nuances is highly commendable. As Melpomene and Calliope respectively, standouts Amy Askins and Tamar Fishbein are a wonderfully comedic and vindictive duo, specifically offering a terrific take on “Evil Woman” winningly setting the show’s goofy tone. David Shough is fittingly sophisticated and silly as Danny McGuire, a real estate developer torn by greed and allured by memories of Kira in his youth. In particular, “Whenever You’re Away From Me,” a ‘40s flashback between Danny and Kira excellently choreographed by Annette Looper, finds Shough and Krug dazzlingly joined by a smoothly suave John Nussbaum as Young Danny. In multiple roles, Adee McFarland, Shanna Camacho, and Richard Lee Waldeck enjoyably complete the cast, a cohesive troupe impressively roller skating with a fair amount of ease and most significantly in the upbeat finale. Waldeck, as Cyclops, and Nussbaum, as a roller skating Centaur, notably add to the hysterical joy of “Have You Never Been Mellow.”
In addition to Looper, McPhearson’s first-rate artistic team includes music director Judy Manksy (leading a firm four-piece band), scenic designer Chris Newman (his colorful creation of Pegasus brings giddy charm to Krug’s rendition of “Suspended in Time”), lighting designer John Falkenbach, sound designer Bob Kovach, dialect coaches Fran Pesch and Annie Pesch, and costumers/wig makers Steve Burton and Tim Grewe (in collaboration with McPhearson).
For all its zany kookiness, “Xanadu” manages to deliver a warmhearted reminder that absolute fulfillment or contentment simply comes from loving someone and creating art. So, forget your Sunday clothes. Put on your leg warmers, roller skates, and glitter for an entertaining trip down memory lane.

“Xanadu” continues through Feb. 5 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The production is performed in 100 minutes without intermission. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘Hairspray’ Review – Muse Machine – You Can’t Stop the Joy!

January 14, 2017 By Russell Florence, Jr.

Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2002 Tony Award-winning musical comedy “Hairspray” is a glorious hit all over again thanks to the Muse Machine’s truly delightful, impressively cast and genuinely crowd-pleasing production continuing through Sunday, Jan. 15 at the Victoria Theatre.

(left to right) Amber Butler (Little Inez), Ana Smith (Penny Pingleton), Mark Antony Howard (Seaweed J. Stubbs), and Kyle Bates (Link Larkin) perform “Run and Tell That” in the Muse Machine’s production of “Hairspray.” (Contributed photo)

“Hairspray” is the arts education organization’s 33rd annual student musical and features 170 Muse students from across the Miami Valley. Based on the 1988 John Waters film of the same name, the show cleverly uses humor and cultural/societal attitudes to examine important and delicate subjects from racism and discrimination to body image and identity in segregated 1962 Baltimore. It speaks volumes that Tracy Turnblad’s fiery quest to integrate “The Corny Collins Show” is bolstered by the African-American community particularly because of the bond shared among them as outsiders. There is a warmhearted appeal in the foundation of “Hairspray,” but it’s hard to ignore Tracy’s tenacious boldness of accomplishing the impossible primarily for the sake of others. It would’ve been easy for co-director Joe Deer and co-director/choreographer Lula Elzy to gloss over some of the prickly paths along Tracy’s journey to avoid ruffling anyone’s feathers. However, sufficient time is spent focusing on the pivotal adversity Tracy endures ultimately allowing her to become a stronger, more confident young woman unafraid to change her world.
Inclusion is a key factor in the storytelling which inherently provides Muse Machine the opportunity to present one of its most terrifically diverse casts. The very endearing, vocally firm Kaite Hubler is spunky and steadfast as the plus-sized Tracy, effortlessly pulling the audience into the action at the outset proclaiming “Good Morning Baltimore.” As Tracy’s devoted yet introverted mom Edna, Muse newcomer Fischer Barnett delivers an utterly believable, breakthrough performance that will be discussed for years to come. Thanks to his marvelously grounded maturity, Barnett (a freshman!) astoundingly interprets Edna’s anxieties, longings, desires, and nuances as her sheltered existence unexpectedly blossoms with fresh possibilities. Jack Lewis, a standout last season in Dayton Playhouse’s “The Diary of Anne Frank” and Dayton Theatre Guild’s “Last Gas,” is wonderfully zany as Tracy’s dad/joke shop proprietor Wilbur, particularly joining Barnett for a lovingly comedic rendition of “Timeless to Me.” As aspiring singer Link Larkin, Tracy’s handsome object of affection and a popular component of “Corny Collins,” Kyle Bates (notably offering a seductively suave rendition of “It Takes Two” hilariously concluding with quick coldness) masters Link’s charming duality as an amusingly square heartthrob. Clare Kneblik as intolerant, unethical “Corny Collins” producer Velma Von Tussle and Lauren Eifert as Velma’s equally malicious daughter Amber are first-rate villainesses and vocalists. Jack Blair is perfectly chipper as forward-thinking showman Corny Collins. Ana Smith, another great vocalist, is a true find and a natural comedienne as Tracy’s goofy best friend Penny Pingleton. As dance-happy Seaweed J. Stubbs, Penny’s boyfriend, Mark Antony Howard electrifies with a fantastically energetic rendition of showstopper “Run and Tell That.” As Seaweed’s mom/R&B music celebrity Motormouth Maybelle, splendidly sassy Kennedy Cook, another knockout Muse newcomer and a dynamic vocalist, brings down the house with a spine-tingling, standing ovation-worthy rendition of the emotional, gospel-infused anthem “I Know Where I’ve Been.” Winning featured portrayals extend to Amber Butler as the plucky Little Inez, Adam Clark as the excitable Mr. Pinky, Jacob Jones as Mr. Spritzer, Mackenzie Wolcott as Prudy Pingleton, Michelle Strauss as Gym Teacher/House of Detention Matron, and Hannah Bradshaw, Mae’Lesha Cooper, Aliya Johnson, Nivella Ochen, and Kiama Wa-Tenza as the elegant, Motown-esque Dynamites soulfully belting “Welcome to the ’60s.” The cute array of “Baltimore Kids” featured in the show is also noteworthy.
In addition, Elzy’s rip-roaring, flavorful choreography authentically and vibrantly captures the spirit and grooves of the 1960s. In fact, there’s a fitting homage to Tina Turner within exuberant finale “You Can’t Stop the Beat.” Tiia E. Torchia’s colorful period costumes (expertly coordinated by Toni Donato Shade and Alisa Vukasinovich), J. Branson’s striking sets, and music director Sean Michael Flowers’ professional-caliber orchestra are added benefits. Missed cues dampened John Rensel’s lighting design and David Sherman’s sound design on opening night but the errors weren’t a major hindrance.
One of the hallmarks of this infectiously joyful “Hairspray” is certainly its scope and size. What a treat to see Muse Machine uniquely fill the entirety of the Victoria stage to make Baltimore look and feel like a credible, thriving city, specifically propelling “Good Morning Baltimore” into one of the finest, excellently active opening numbers the organization has conceived. The impact is on par with longtime Muse director/choreographer Nat Horne’s stylish execution of opener “A Weekend at Hareford” in 1997’s “Me and My Girl.”
Having seen 21 Muse musicals, trust me when I say “Hairspray” is absolutely one of the best. Bravo!

“Hairspray” continues through Jan. 15 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit ticketcenterstage.com. The production, produced by Douglas Merk, is dedicated to Michael Kenwood Lippert, Director of the Preschool and Elementary School Program and Program Artist for Muse Machine.

‘The 25th Annual Putnam County Spelling Bee’ – Dare to Defy Productions – A Very Nice Beginning

January 9, 2017 By Russell Florence, Jr.

The “Bee” is back and charming as ever thanks to Dare to Defy Productions.
Composer William Finn, librettist Rachel Sheinkin and conceiver Rebecca Feldman’s entertaining and tuneful 2005 Tony Award-winning musical comedy “The 25th Annual Putnam County Spelling Bee” has been a popular, ensemble-driven choice for many area theaters over the years. After all, the witty material’s clever brew of zaniness, eccentricity and tenderness is innately appealing in a kooky fashion. So, it’s no surprise Dare to Defy is the latest troupe to provide their own take, a firm, fast-paced, excellently character-conscious outing ranking among its finest presentations.

(l to r) Brent Hoggatt (Chip Tolentino), Jamal Caan (Mitch Mahoney), Laura Falb (Olive Ostrovsky), Sherri Sutter (Rona Lisa Perretti), Brennan Paulin (William Barfee) Abby Land (Marcy Park), Tori Kocher (Logainne Schwartzandgrunenierre), Brad Bishop (Douglas Panch), and Brent Norgaard (Leaf Coneybear) appear in Dare to Defy Productions’ presentation of “The 25th Annual Putnam County Spelling Bee.” (Contributed photo)

Formulated from Feldman’s improvisational play “C-R-E-P-U-S-C-U-L-E” originally performed by the New York-based improvisational troupe The Farm, “Spelling Bee” chronicles the promise, skepticism, joys, and woes of six children (played by adults) attempting victory at the spirited competition spearheaded by Rona Lisa Perretti (Sherri Sutter) and Vice Principal Panch (Brad Bishop) with assistance from “Comfort Counselor” Mitch Mahoney (Jamal Caan). The eager finalists are Leaf Coneybear (Brett Norgaard), returning champ Charlito “Chip” Tolentino (Brent Hoggatt), Logainne Schwartzandgrunenierre (Tori Kocher), Marcy Park (Abby Land), Olive Ostrovsky (Laura Falb), and William Barfée (Brennan Paulin). All can be considered oddballs, but they’re nonetheless bonded by a deep admiration for words. We may not understand why they’re so enamored with language, but they create relatable connections in other areas including fears of not being good enough, the temptation of overachieving, and the anxiety of familial strife in a broken home. In these moments, we see ourselves in their angst thereby rooting for them to the fullest.

Casting is paramount in order for this show to have the perfect tone to suit an assortment of extremely specific characters. Thankfully, Dare to Defy assembles a winningly cohesive ensemble under the direction of Matthew Smith, a memorable Barfée (pronounced Bar-FAY) in the Dayton Playhouse’s 2011 production seamlessly balancing pandemonium with softer, sensitive touches. Dare to Defy newcomer Falb, a standout last season as Wendla in Beavercreek Community Theatre’s “Spring Awakening,” is very sweet and endearing as the introverted Olive. The wonderfully goofy and warmly openhearted Norgaard delivers one of his best performances as the loveably insecure Leaf. Kocher, a reliable comedienne, is sharply grounded in Logainne’s confidence and fortitude as a fiery, outspoken go-getter. The effectively perturbed Paulin is a hoot and avoids overplaying William’s unique “magic foot” spelling method. Striking vocalists Hoggatt and Land, recently seen as lovebirds Japeth and Yonah in Dare to Defy’s outstanding “Children of Eden,” are terrific as the ultimately bewildered Chip and reserved overachiever Marcy. Land’s rendition of “I Speak Six Languages” complete with athletic showmanship is particularly impressive. Sutter, a beautiful soprano, is enjoyably chipper and nurturing as host/former spelling bee champ Perretti, particularly joining Caan (in one of his strongest portrayals) for a splendid rendition of the gorgeously haunting and soulful duet “The I Love You Song.” The delightfully droll Bishop has an easy rapport with Sutter and relishes the interplay he shares with audience members invited to join the fun with the cast. Musical director Charles Larkowski’s commendable orchestra and choreographer Jessica Eggleston’s energetic choreography are additional assets.

By and large, this “Spelling Bee” is a very nice beginning to all the theatrical experiences awaiting us in 2017.

“The 25th Annual Putnam County Spelling Bee” continues through Jan. 14 in the Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park North. Performances are Friday and Saturday at 8 p.m. The production is performed in 100 minutes without intermission. Tickets are $15-$30. For tickets, call the Dayton Art Institute at (937) 223-4278 or visit daytonartinstitute.org. The production is not recommended for anyone younger than 13. For additional information, call (937) 999-9949 or visit d2defy.com

‘Jailbait’ Review – Playground Theatre – Dangerous Game

December 3, 2016 By Russell Florence, Jr.

Every day is Saturday. This no holds barred philosophy seems to suit 15-year-old sophomores Emmy and Claire, a naive duo on the prowl for unassuming older men in Deirdre O’Connor’s riveting contemporary dramedy “Jailbait,” which receives an outstanding local premiere in the Mathile Theatre of the Schuster Center courtesy of millennial-centric Playground Theatre.

(left to right) Christopher Hahn (Mark), Lisa Glover (Emmy), Mike Beerbower (Robert), and Jenna Gomes (Claire) star in Playground Theatre’s local premiere of Deirdre O’Connor’s contemporary dramedy”Jailbait” (Contributed photo)

Instead of clinging to the innocence of youth, the reticent Claire (an expertly cautious and emotionally wounded Jenna Gomes) and confidently sly Emmy (magnetically effervescent Lisa Glover) dress up in their sexiest attire (the beginning of Claire’s transformation greatly impacts the dynamics of the opening scene) to meet thirtysomething friends Mark (Playground co-founder Christopher Hahn in skillful attack mode) and Robert (an endearingly square Mike Beerbower) at a club. Arrogantly brutish Mark, the epitome of a player, and sensitive Robert, still reeling from a bad breakup and particularly suffering from commitment issues, have no idea they’re stepping into dangerous territory, fueling the action and its momentum to the hilt.

When situations go too far, everything crashes in a heartrendingly predictable sea of anger, guilt, shame, and tears. How could it not? Even so, O’Connor daringly and vividly weaves themes of intimacy, connection and the complexities of adulthood into a frankly conversational, real-time framework. Desperation, enticement and sexual politics play out with snappy language that shocks and titillates often in the same breath. The game being played only transpires in one night but is potent enough to leave you questioning the depths some are willing to take to simply hit it off with a stranger. As Mark warns Robert in a moment of indecision, “Don’t think of it as lying. Think of it as improv in a bar.”

Staged with superbly character-conscious, slice of life realism by Playground co-founder Jenna Valyn, “Jailbait” soars as the radiant cast sharply uncovers varying degrees of deception and desire. Hahn, savvy enough to display Mark’s vulnerabilities, has a fun, brotherly rapport with Beerbower and smoothly engages with the fabulously flirtatious Glover. Having memorably appeared in two Dare to Defy Productions this season, Glover is a knockout once more navigating Emmy’s arc ranging from drunken daze to tempting tease to regretful confidant. Gomes and Beerbower’s charming awkwardness in their first meeting appealingly lays the groundwork for a pivotal, confrontational exchange, grippingly performed by the duo, which brings the hard truth to the surface. Additionally, the excellent sound design, specifically in the club scenes, complements the cast without overpowering them. R&B beats pulsate underneath the dialogue, but every word can be heard, which is an impressive feat.

Accented with “Alice in Wonderland” subtleties and a cool Spotify playlist, this terrific experience is one of the finest of the fall. Don’t miss it.

“Jailbait” continues through Dec. 4 at in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. For additional information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations.

‘Elf’ Review – Victoria Theatre Association – Christmas Cheer

November 25, 2016 By Russell Florence, Jr.

Highly entertaining and a great big bundle of fun, “Elf the Musical,” based on the popular 2003 Will Ferrell film of the same name, absolutely makes the season bright at the Schuster Center as a Project Unlimited Star Attractions courtesy of the Victoria Theatre Association.

The latest national tour of “Elf the Musical” continues through Nov. 27 at the Schuster Center courtesy of the Victoria Theatre Association. (Contributed photo)

Breezily directed by Sam Scalamoni and equipped with exuberantly crisp choreography by Connor Gallagher, this family-friendly tale concerns Buddy, an orphan inadvertently taken to the North Pole as a baby having tumbled into Santa’s bag of toys. Now an adult, Buddy has difficulty fitting in among the elves due to his huge size and poor toy-making skills. Upon realizing he’s actually human, Buddy is given permission by Santa to journey to New York City to find his long-lost father, a prominent publishing executive. As Buddy takes the Big Apple by storm in search of his true identity, he rejuvenates the city with his deep admiration for the joys of the season and falls in love in the process. This endearing tale, cleverly adapted by Tony Award-winning librettists Thomas Meehan (“Annie,” “The Producers,” “Hairspray) and Bob Martin (“The Drowsy Chaperone”), is bolstered by a tuneful, lively and poignant score by Matthew Sklar and Chad Beguelin (“The Wedding Singer”). Standout selections include peppy trio “Happy All The Time,” “Sparklejollytwinklejingley,” and “The Story of Buddy the Elf” as well as heartwarming ballad “A Christmas Song.”
As the tall, outgoing Buddy, Spenser Micetich brings wonderful earnestness, sensitivity and humor to the role without venturing into Ferrell’s overly animated psyche. The delightful Daisy Carnelia is a fittingly cynical Jovie, a department store worker eventually wooed by Buddy’s charm and innocence. Carnelia’s rendition of the scorned “Never Fall in Love” is a particular knockout. Mark A. Harmon brings rigid authority and pleasant bewilderment to his portrayal of Walter Hobbs, Buddy’s snippy, overworked father. Rachel Bahler and Wyatt Rogers shine as Walter’s wife Emily and son Michael, illuminating astonishment to the hilt in the upbeat duet “There Is A Santa Claus.” Firm featured performances extend to Mark Fishback (an enjoyably relatable Santa), Morgan Billings Smith (kooky secretary Deb), Darius J. Manuel (an appealing Store Manager), and Randy Charleville (Walter’s stern boss Mr. Greenway). The nifty ensemble supplies terrific characterizations from spirited elves to jaded New Yorkers.

Additionally, Christine Peters’ splendid storybook sets, Gregg Barnes’ colorfully character-specific costumes, Paul Miller’s expert lighting, Shannon Slaton’s fine sound design, and conductor Shane Parus’ first-rate orchestra accent this Broadway-caliber production perfectly timed to the start of the holiday season.
“Elf the Musical” continues through Nov. 27 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: 65 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.

‘Ripcord’ Review – Young at Heart Players – Ruthless Roommates

November 20, 2016 By Russell Florence, Jr.

One-upmanship among widows at a New Jersey senior living facility provides the lighthearted and surprisingly touching crux of Pulitzer Prize winner David Lindsay-Abaire’s 2015 Off-Broadway comedy “Ripcord,” currently receiving a pleasantly humorous local premiere at the Dayton Playhouse courtesy of Young at Heart Players, a senior troupe founded by Fran Pesch entering its 16th season.

Fran Pesch (Marilyn Dunne) and Gayle Smith (Abby Binder) co-star as roommates at odds in Young at Heart Players’ local premiere of David Lindsay-Abaire’s comedy “Ripcord” (Photo by Art Fabian)

In this breezy, socially conscious battle of wills staged with astute tone by Annie Pesch, intimidating, tightly-wound bookworm Abby Binder (Gayle Smith) and chatty go-getter Marilyn Dunne (Pesch) are roommates at serious odds. Abby, a retired teacher, shudders at the thought of sharing her digs, especially since its luxuries include a large window and a beautiful view of a park. Ultimately, these polar opposites make a pivotal bet which fuels the play’s silly, dangerous fire. If Abby can make the cheerfully chipper Marilyn angry, Marilyn will move to another room. If Marilyn can make the emotionally rigid Abby scared, she can stay in the room and switch beds so she can have the prized view. In Lindsay-Abaire’s typically kooky fashion, what transpires is an outlandish series of practical jokes ranging from spontaneous skydiving (hence the title) to a fake robbery with a wacky trip to a haunted house thrown in for good measure. Still, as the competition grows crueler with personal stings, a meaningful dose of heartache arises, adding greater, relatable resonance to a play that could’ve been overly repetitive or merely trivial.

Smith, a standout last season in the Dayton Theatre Guild’s production of “The Trip to Bountiful,” is equally strong here capturing the full spectrum of Abby’s persnickety, perturbed, lonesome, and occasionally foul-mouthed aura. She’s really compelling late in Act Two when Lindsay-Abaire wonderfully reveals the pain of Abby’s past scarred by vanished dreams and desires. The delightfully perky Pesch has a ball embodying Marilyn’s joy and keen perceptiveness. There were a few awkward timing issues between Smith and Pesch at the performance attended, but their chemistry didn’t falter on the whole. In addition, Mark Anderson supplies amiable charm as facility aide Scotty, Angela Timpone and John-Michael Lander are zestfully spirited as Marilyn’s daughter Colleen and son-in-law Derek, and J. Gary Thompson, reliably seamless when required to juggle multiple roles, heightens the drama as Benjamin, an estranged, troubled man seeking reconciliation. The personality-tinged scenic design is also noteworthy, particularly the excellent contrast of Abby’s dour décor opposite Marilyn’s colorful accents. In fact, Marilyn’s array of photos and a specific piece of artwork from her grandson says everything about how much she is treasured by her family and why that level of unconditional love likely infuriates Abby to the bone.
Within the fascinating realm of the Lindsay-Abaire universe, “Ripcord” doesn’t strive to be as profound or riveting as “Rabbit Hole” and “Good People” or as darkly funny as “Fuddy Meers” and “Kimberly Akimbo.” It simply lives in an engagingly obtainable world of its own as a revealing reminder of the universal importance of connection, forgiveness and hope.

“Ripcord” continues through Nov. 27 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: 50 minutes; Act Two: 45 minutes. Tickets are $15 for adults and $12 for seniors/ students. Seating is general admission. Tickets may be purchased with cash or check only. For more information, call (937) 654-0400 or visit online at www.youngatheartplayers.com. Patrons are advised the show contains some strong language not suitable for younger audiences.

‘Hail Mary!’ Review – Human Race Theatre Company – An Education

November 7, 2016 By Russell Florence, Jr.

Mary Wytkowski, a feisty novice unashamed to ruffle feathers in a climate built on long-standing ideologies and rigid structure, is a truly fascinating brew of complexity, boldness and hope in Tom Dudzick’s surprisingly engrossing comedy “Hail Mary!,” currently receiving a terrific local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Set in 2003 at Saint Aloysius Catholic Elementary School in upstate New York, “Hail Mary!” is a smart and savvy reminder of how consequential words can be especially when addressed to impressionable third-graders. When Mary tells one of her students that God’s feelings cannot be hurt, she is scolded by Mother Regina Marie, overseer of novice management, for creating an atmosphere of “dangerous ideas.” Viewing theology from a progressive mindset, Mary is fueled by the desire to have students openly question, to simply use their brains, which is in direct contrast to Mother Regina Marie’s orthodox perspective. In turn, these two distinctly staunch women, bonded by faith yet torn by principle, passionately engage in a full-scale philosophical and spiritual tug-of-war. For every defiant declaration Mary delivers (“morals change as the times change”), Mother Regina Marie astutely counters (“God’s thoughts come first. His ideas take precedence always”). In an attempt to keep the play from being bogged down in dogma, Dudzick inserts a humorous love story (the father of one of Mary’s students is her old flame), but it’s the central conflict that fuels the play’s pulse. And for added measure, director Margarett Perry skillfully balances the continually shifting comedic and dramatic flow, recalling her fine work helming the varied layers and nuances in the Human Race’s 2015 production of “Vanya and Sonia and Masha and Spike” at the Victoria Theatre.

Claire Kennedy thrillingly embraces the titular role with dynamic acumen and fiery attack as if she spent weeks in religious fundamentalism debate prep before rehearsals began. A student of the classics (her Shakespearean training is apparent), Kennedy, who portrayed meek wallflower Laura Wingfield in the Human Race’s “The Glass Menagerie” nine months ago, once again brings her marvelous versatility to the forefront. Her well-defined characterization of a woman who can be a trusted ally and a hard-nosed agitator sometimes in the same captivating breath is simply remarkable. Jennifer Dorr White supplies great intimidation and unexpected heartbreak as Mother Regina Marie, particularly in the heated Act 2 which uncovers her past in touching detail and gently humanizes her along the way. The charmingly chipper Joshua Levine is a bundle of joy as Joe Sykarczek, a widowed carpenter who falls back in love with Mary while wanting the best for his son, academically and spiritually, in the way he alone feels is correct. The reliably comical Andréa Morales as Mary’s spunky pal Sister Felicia and Human Race resident artist Scott Stoney as the kindly Father Stanley provide wonderful support. Stoney particularly has some very winning emotional moments whenever Father Stanley reflects on his genuine admiration for Mary’s opinionated bravado, referring to her at one point as “a lighthouse” and “our hope for the future.” It’s hard to disagree.

Scenic designer Eric Moore’s colorfully cute classroom, accented with images of inspirational spiritual leaders and adorned with inspirational spiritual reminders, is an inviting haven of learning proclaiming “a peaceful world” on the chalkboard. The expert artistic team includes costumer Janet G. Powell, lighting designer John Rensel, and sound designer Jay Brunner.

Hail Mary!” notably marks the third Dudzick work the Race has produced following “Over the Tavern” in 2008 and “Miracle on South Division Street” in 2014. This play is certainly Dudzick’s finest and most thought-provoking, creating an educational experience that makes you sit up and lean forward as it pulls you further into its enlightening battle of wills. In fact, when Mary addresses 9/11, speaking to the idea that there’s no such thing as absolute right or wrong, her views will linger in the recesses of your mind.
What does the future hold for Mary Wytkowski? Priesthood? The presidency? It’s difficult to tell because she dreams big. But if you want to get to know this marvel of a woman, and you most certainly should, class is in session until Nov. 20. Don’t be tardy.

“Hail Mary!” continues through Nov. 20 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Nov. 10-12 and 17-19 at 8 p.m.; Nov. 8, 15, and 16 at 7 p.m.; and Nov. 13 and 20 at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; $17.50-$25 for students. 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 [email protected]. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘No, No, Nanette’ Review – Wright State University – Nifty Nostalgia

November 1, 2016 By Russell Florence, Jr.

Forget June. Silly, feel-good fun is bustin’ out all over Wright State University’s outstanding presentation of the rarely staged 1971 revision of the 1925 musical comedy “No, No, Nanette” in the Festival Playhouse of the Creative Arts Center.

(left to right) Meredith Zahn as Lucille Early, Dakota Mullins as Billy Early, Brandon Kinley as Tom Trainor, Lauren Everett as Nanette, Kyle Krichbaum as Jimmy Smith, Grace Liesch as Sue Smith, and the cast of Wright State University’s production of “No, No, Nanette” perform “Take a Little One-Step.” (Contributed photo)

Amusingly adapted by Burt Shevelove (“A Funny Thing Happened on the Way to the Forum”), “No, No, Nanette” is an old-fashioned confection about blossoming romance and kooky shenanigans predominately set in Atlantic City circa 1925. Spunky Nanette loves her chipper boyfriend Tom Trainor, but matters grow complicated through various entanglements and goofy misunderstandings particularly surrounding Jimmy Smith, her guardian, and Billy Early, Jimmy’s lawyer. The unabashedly hokey book by Otto Harbach and Frank Mandel communicates the madcap antics with varying success as some jokes hit their target while others land with an awkward thud. Still, the story rests comfortably within Harbach, Irving Caesar and Vincent Youmans’ dandy score. “Too Many Rings Around Rosie,” “Tea for Two,” “I Want to Be Happy,” and “Take a Little One-Step” are among the many musical numbers fantastically choreographed by guest artist Michael Baxter who recently completed his fifth season as resident choreographer of the MUNY in St. Louis. Baxter’s consistently fabulous tap routines and the importance of capturing the essential, cutesy flavor of the Roaring Twenties is expertly overseen by director Joe Deer who keeps the show’s purely escapist pedigree at a deliriously sunny high.
The bright and bubbly Lauren Everett sparkles in the plucky titular role. In addition to her radiant vocals, Everett conveys keen period-flavored nuances and brings heartfelt earnestness to Nanette’s desire to break free from her sheltered existence. Kyle Krichbaum, as lovable scoundrel Jimmy, aptly handles his chief task of providing befuddled comic relief as Jimmy copes with the shock of being confronted by his former flings (Betty from Boston, Winnie from Washington, and Flora from San Francisco enjoyably and respectively played with dim-witted vivacity by Caroline Chisholm, Danielle Bessler, and physical comedienne Megan Valle). As Billy, dynamically debonair leading man Dakota Mullins (a knockout last season as Tommy Djilas in “The Music Man”) impressively demonstrates his finesse as a marvelously mature, Jerome Robbins-esque dancer in “The Call of the Sea,” a remarkable showcase allowing him to display his terrific lines, masculine elegance, and great agility (notice his cartwheel off a piano!). Grace Liesch is fittingly tightly-wound as Jimmy’s wife Sue, but wonderfully loosens up at the show’s climax (in the vein of Sandy Dumbrowski) to lead a rousing rendition of “Take a Little One-Step.” Amiable tenor Brandon Kinley warmly complements Everett in tone as the straight-laced Tom. The humorous Bailey Edmonds is believably agitated as Jimmy and Sue’s long-suffering maid Pauline. Meredith Zahn, as Billy’s wife Lucille, serves feisty sophistication, particularly shining alongside Mullins in the superb duet “You Can Dance with Any Girl” and bringing compelling yearning to torch song “Where Has My Hubby Gone Blues.” The very talented ensemble offers sharp characterizations and heightens the innate effervescence of many spirited numbers including a charming ukulele finale.
Scenic designer Pam Lavarnway supplies a striking art deco creation for Jimmy and Sue’s swanky NYC home and takes an enchantingly quaint approach for their Atlantic City cottage resting beside a lovely cloudburst backdrop. Costumer Elizabeth Bourgeois, in her WSU debut, provides attractively colorful attire perfectly suited to the era. Jessica Ann Drayton’s lighting design, music director Scot Woolley’s splendid 16-piece orchestra, and the exemplary onstage piano accompaniment of dapper duo John Slate and David Hapner (bolstering the score’s bouncy joys on opposite sides of the proscenium) are added delights.
Reminiscent of tap-driven musicals “42nd Street,” “Dames at Sea,” “Crazy for You,” “Thoroughly Modern Millie,” and current hit “Holiday Inn” to name a few, “No, No, Nanette” stands as a vibrantly entertaining homage to bygone Broadway.

“No, No, Nanette” continues through Nov. 13 at the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Nov. 2, 3, and 10 at 7 pm, Nov. 4, 5, 11, and 12 at 8 pm, and Nov. 5, 6, 12, and 13 at 2 pm. The production is performed in 2 hours and 40 minutes including one 15-minute intermission. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures.“No, No, Nanette” stands as a vibrantly entertaining homage to bygone Broadway.

In related news, Tony, Emmy and Academy Award-winning scenic and costume designer Tony Walton will discuss his career on Broadway and in Hollywood at Wright State on Wednesday, Nov. 2. Walton will give a public talk from 10 a.m. to noon in the Festival Playhouse of the Creative Arts Center. Admission is free and open to the public. He will also give a workshop to design and technology students in the Department of Theatre, Dance and Motion Pictures from 1:30 to 3:30 pm. Space is available for limited number of observers to attend the 1:30 p.m. workshop. To attend, contact Amanda Brewer, administrative assistant to the Musical Theatre Initiative, at [email protected] or 775-4204.
Walton’s visit to Wright State in sponsored by the Musical Theatre Initiative (MTI) at Wright State University, an international center dedicated to celebrating and exploring the history, culture and craft of the musical theatre through concerts, conferences, teaching workshops and special events. The Musical Theatre Initiative’s focus this year is on “Legacies,” celebrating the work and careers of the creators of many of musical theatre’s greatest works. In addition to Walton, MTI will welcome Broadway documentarian Rick McKay, who produced and directed “Broadway: The Golden Age”; a master teacher from the Verdon Fosse Legacy project who will recreate one of Bob Fosse’s legendary dances from “Sweet Charity”; and famed lyricist Sheldon Harnick, best known for “Fiddler on the Roof” and “She Loves Me.” Dates and information for these guests will be announced soon.
Past guests of the Musical Theatre Initiative have included Tony and Emmy Award-winner Leslie Uggams, Tony-winning composer Jason Robert Brown, “Rent” star Adam Pascal and more than a dozen renowned teachers.

‘Dracula’ and ‘Outgoing Tide’ Reviews – Sinclair Community College and Dayton Theatre Guild – Potent Productions

October 22, 2016 By Russell Florence, Jr.

DRACULA
Sinclair Community College’s impressively dark and disturbing production of Steven Dietz’s breezily faithful adaptation of Bram Stoker’s classic 1897 novel “Dracula” opens the organization’s 2016-2017 season on a high note.

Directed with striking fluidity and expert tone by Kimberly Borst, this “Dracula” is by no means a campy, overtly melodramatic horror show intended to make you giggle for two hours or confirm your decision to dress up as one of Stoker’s characters for Halloween. On the contrary, it’s an emotionally uneasy and outright eerie experience dramatically diving (and occasionally flying) straight to the core of examining the compelling consequences of incessant desire, unrelenting power, possessive affection, and cruel mind games within society. Thankfully, these gripping factors, revealing many unsettling truths, are executed with committed fervor from one of the most chameleonic ensembles Sinclair has assembled.

The wonderfully versatile Leo Santucci is an astutely brooding knockout navigating the titular vampire’s creepily cunning quests of love and supremacy with a sinister booming voice that’ll send shivers down your spine. He also ensures Dracula’s villainy is far from one-dimensional by layering his language-driven portrayal with melancholy, wistfulness and sly humor. Fine work extends to the dynamic Maximilian Santucci as the stalwart Van Helsing, a first-rate Jonathan Kelly as authoritative John Seward, a delightfully physical Tristan Rivera as insane Renfield (his transition at the outset is an early highlight), Gabriella Neuerer as sophisticated Mina, Sydney Baker as Mina’s spellbound best friend Lucy, Thomas Puckett as Mina’s amiable fiancé Jonathan Harker, Nick Baver and Andre Tomlinson as asylum attendants, and Chelsey Hall and Erin McGee as Dracula’s evil vixens.

Borst’s exemplary artistic team, attractively and atmospherically recreating 19th century London and Transylvania, includes set designer Chris Harmon, costumer Kathleen Hotmer, lighting designer Dan Brunk, projection designer Gina Neuerer, fight choreographer Gary Minyard, flying director William G. L. Courson, VertigoTM’s flying effects, prop designer Sarah Gomes, wig/makeup designer Brooke Watson, blood and special effects designer Kaoime E. Malloy, and sound designer Isaiah Parnell.

If you’re in the mood for thrills and chills, do not miss this terrific fright fest.

“Dracula” continues through Oct. 29 inside Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., and Thursday at 7 p.m. The Sunday and Thursday performances are American Sign Language interpreted. Tickets are $18 adults and $15 student and seniors. Thursday tickets specifically cost $10. For tickets or more information, call Sinclair Box Office at (937) 512-2808 or visit www.sinclair.edu/tickets

THE OUTGOING TIDE
The Dayton Theatre Guild provides a lovely local premiere of Bruce Graham’s thought-provoking 2011 drama “The Outgoing Tide.”

Set in autumn on Chesapeake Bay, evocatively brought to life by scenic designer Fred Blumenthal and sound designer J. Gary Thompson, this poignant and relatable work chronicles the difficult, life-altering choices Gunner and Peg Concannon must face centered on Gunner’s progressive Alzheimer’s. Gunner and Peg have been married for over 50 years, but the time has come for them to take a hard look at what the future must hold. Peg doesn’t mind moving to a senior facility so she can assist Gunner’s need for long-term care, but Gunner vehemently resists. He wants to end his life on his own terms and with dignity. As discussions grow heated and the pain of the past bubbles to the surface, especially as Gunner and Peg’s only son Jack attempts to serve as mediator while coping with his own emotionally fractured household, the play forces us to recognize the value of respecting one’s wishes no matter how distressing or sorrowful.

Under Kathy Mola’s delicate direction, Graham’s trio remarkably connects. Peter Wallace, a standout last season at the Guild in “Slowgirl,” walks the fine line between conveying Gunner’s troubling mental deterioration and amusingly tapping into his opinionated, cantankerous behavior. It’s a tricky game, but Wallace admirably steps up to the plate. As Peg, Barbara Jorgensen delivers another luminous display of outstanding character-specific complexity that will break your heart. Pay heed to her sharp, perceptive work at the top of Act 2, the finest scene in the play addressing Peg’s unwavering commitment to her family, opposite the excellently understated and sensitive Matthew Smith as the conflicted, damaged Jack.
Graham, a film and TV writer who began his playwriting career at the Philadelphia Festival Theatre for New Plays in 1984, notably won Chicago’s Jefferson Award for “The Outgoing Tide.” The Guild winningly charts the play’s emotional course built on the pain of letting go.

“The Outgoing Tide” continues through Oct. 23 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

‘Jersey Boys’ Review – Victoria Theatre Association – Hearty Hitmakers

October 21, 2016 By Russell Florence, Jr.

The terrific national tour of the 2006 Tony Award-winning musical “Jersey Boys” opens the Victoria Theatre Association’s 2016-2017 Premier Health Broadway Series at the Schuster Center.

(left to right) Keith Hines as Nick Massi, Aaron De Jesus as Frankie Valli, Drew Seeley as Bob Gaudio, and Matthew Dailey as Tommy DeVito star as the “Jersey Boys” slated through Oct. 23 at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Humorous, poignant and super cool, “Jersey Boys” takes an engaging look at the highs and lows surrounding iconic hitmakers Frankie Valli and the Four Seasons. The blue-collar troupe, consisting of Valli, Bob Gaudio, Nick Massi, and Tommy DeVito, took the world by storm selling 175 million records throughout the 1960s and 1970s, but it wasn’t an easy journey. DeVito’s massive debts threw the group into a tailspin. The professional chemistry and pivotal collaborative deal between Valli and Gaudio bothered Massi and infuriated DeVito. Instead of merely filling the show with as many hits as possible (the downfall of many jukebox musicals), librettists Marshall Brickman and Rick Elise (“The Addams Family”) astutely realize how dramatic these revelations can be in order to fuel the plot. Topics of love, loss, adultery, family, drugs, and prison also effectively broaden the tale’s scope. In many ways, “Jersey Boys” can be perceived as the male kindred spirit of “Dreamgirls,” an equally vivid and relatable account of a tight-knit music group trying to succeed at all costs in the face of great adversity and infighting.
Briskly directed by Des McAnuff with appealingly masculine choreography by Sergio Trujillo, the production is skillfully led by Aaron De Jesus (Valli), Cory Jeacoma (Gaudio), Matthew Dailey (DeVito), and Keith Hines (Massi). De Jesus, one of the best triple threats to portray Valli, brings his superb falsetto to the forefront in such fantastic performance numbers as “Sherry,” “Walk Like a Man,” and “Big Girls Don’t Cry,” but also displays great tenderness in more moving songs as “My Eyes Adored You” and “Fallen Angel.” The immensely charming Jeacoma expertly conveys Gaudio’s intellectual sensibilities and artistic proficiency. A wonderfully understated Keith Hines shines as the introverted Massi. Matthew Dailey brings authoritative command and smug complacency to the hot-tempered, jealous DeVito. His bond with De Jesus is especially strong considering DeVito took Valli under his wing as a father figure. Enjoyable featured portrayals are offered by Barry Anderson as the flamboyant songwriter/producer Bob Crewe, Kristen Paulicelli as Frankie’s wife Mary Delgado, Leslie Rochette as Frankie and Mary’s daughter Francine, and Jessie Wildman as reporter Lorraine.
Don’t miss this highly entertaining showcase returning to Dayton for the first time since 2012. Oh, what a night indeed.

“Jersey Boys” continues through Oct. 23 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 p.m. The production is performed in 2 hours and 40 minutes with one 15-minute intermission. Tickets are $30-$107. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult language.

’35MM’ Review – Dare to Defy Productions – The Story Within

October 7, 2016 By Russell Florence, Jr.

Composer Ryan Scott Oliver’s 2012 multimedia song cycle “35MM: A Musical Exhibition” receives an admirable treatment from Dare to Defy Productions through Oct. 8 in the Mathile Theatre of the Schuster Center.

(left to right) Zach King, Natalie Sanders, Alan Ruddy, Danielle Kubasky, and Skyler McNeely rehearse Dare to Defy Productions’ presentation of “35MM: A Musical Exhibition,” a song cycle bridging the worlds of music and photography.
Unique in concept but lacking cohesive depth, “35MM” uses a series of eclectic photographs by Matthew Murphy to tell intriguing, hilarious and occasionally confusing tales of romance, connection, disillusionment, and hope. Overall, this vignette-driven showcase is at its best when love dominates the conversation. For instance, a song centered on a photo of a couple at odds on a playground swing set is certainly more enticing than a song built on the oddities of a kooky doll. Perhaps if Oliver would have created his song cycle based solely on the ups and downs of relationships, the results would have been more distinctive and relatable. Some of the songs are not perfectly matched to the photos as well which halts momentum. Nevertheless, his ambitious work beckons the audience to examine the trials and tribulations of life through focus, perspective and the sheer passage of time.
Director AJ Breslin helms Oliver and Murphy’s world with very little interference. Due to the Mathile’s intimacy, this breezy production instantly conjures a cozy, coffee shop vibe which suits the show’s introspective nature and important attention to projections. Breslin’s minimalist, straightforward approach clearly allows each song to speak for itself, but at the same rate it’s difficult to hear some of the more frenzied lyrics. Still, his committed, energetic and passionate five-member cast, taking on the vocal challenges of the harmonically intricate score with vim and verve under the music direction of David McKibben, joins forces with ample opportunities to entertain. Natalie Sanders and Zach King, a volatile Queenie and Burrs last season in Dare to Defy’s “The Wild Party,” winningly reunite for the spirited “Make Me Happy.” Sanders, looking as statuesque as ever in basic black, wonderfully opens the show with “Stop Time” and notably drives the dark high school drama of “The Ballad of Sara Berry” with gusto. It’s also great to see Alan Ruddy and Danielle Kubasky reuniting for the first time since appearing as and Princeton and Kate Monster in Beavercreek Community Theatre’s 2015 production of “Avenue Q,” Ruddy, effectively balancing comedy and poignancy throughout, strongly renders “The Seraph” while Kubasky shines in “Twisted Teeth.” Skyler McNeely, who appeared with Sanders in Sinclair Community College’s 2015 production of “Songs for a New World,” teams with Kubasky for a terrifically emotive rendition of the heartbreaking “Hemming & Hawing” chronicling the twisted complications and imperfections of love. Keyboardist Nick Garvin leads a fine five-piece band.
The contemporary pop/rock/punk essence of “35MM” may not appeal to musical theater fans more inclined to embrace Rodgers and Hammerstein, but it’s a prime example of Dare to Defy’s eagerness to look outside the box.

“35MM: A Musical Exhibition” continues Oct. 7 at 8 p.m. and Oct. 8 at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 80 minutes without intermission. Tickets are $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are reminded the show contains adult language.

‘Restoration!’ Review – Wright State University – New Stage, New Age

October 1, 2016 By Russell Florence, Jr.

Everything old is somewhat new again as Wright State University opens its 42nd season with a terrifically acted and designed quasi-world premiere of “Restoration!,” an adaptation of William Shakespeare’s 1606 dark tragedy “King Lear” inspired by Irish poet Nahum Tate’s sunnier and redemptive 1681 adaptation “The History of King Lear.”

Wright State University opens its 42nd season and newly renovated Creative Arts Center with “Restoration!” through Oct. 2. The historical drama is based on “The History of King Lear” by Nahum Tate, an adaptation of William Shakespeare’s “King Lear.” (Contributed photo by W. Stuart McDowell)

Written and directed by W. Stuart McDowell, Artistic Director of WSU’s Department of Theatre, Dance and Motion Pictures, “Restoration!” aptly reflects the exhilaration and progressiveness of the Restoration Period. This era welcomed a resurgence of enlightened and thought-provoking English literature and drama specifically the reopening of theatres which had been closed since 1642. Women were allowed to perform on stage for the first time as well. Opening only 65 years after Shakespeare’s death, Tate’s version proved controversial with its lighter additions including an endearing romance between valiant Edgar and Lear’s bold daughter Cordelia, two characters who never meet in Shakespeare’s version. However, these insightful changes mirrored the hope and promise of the era especially Lear being restored to the throne just as Charles II was restored to the British monarchy. Tate’s successful version was performed for nearly 160 years and was notably seen in Williamsburg, Virginia in 1771 by George Washington.
McDowell’s history with “Restoration!” harkens back to his career in New York City spearheading the Riverside Shakespeare Company, a troupe he co-founded in 1977 with his wife Gloria Skurski. Originally adapted in 1985, the play was a hit and the critics heralded it as “a ‘Lear’ for our times.” Even so, McDowell continued to rethink his script over the years and revised the premise which adopts an inviting play-within-a-play framework. The production is set at the first rehearsal of “The History of King Lear” as legendary actor Thomas Betterton faithfully guides his players through the fresh script. Some cast members are wary of tackling “King Lear” anew because they feel Shakespeare and his words are immortal, but a vivid reminder slices doubt, “let the theater set the example for what should be – not what is.” Incorporating charming conceptual touches such as a harpsichord, imaginative sound effects including a wind machine, and colorful period-flavored songs co-created by Sandy Bashaw, McDowell winningly crafts an engaging world of pomp and circumstance, choral glee, familial deceit, sword fights, and sibling catfights befitting the Restoration Period and Shakespeare’s fascinating characters. Costumer Christie Peitzmeijer’s beautiful period attire, David J. Castellano’s efficient raked stage complete with footlights, Matthew P. Benjamin’s exceptionally evocative lighting design, Bruce Cromer’s robust fight choreography, Ryan Burgdorf’s sound design, and Deborah Thomas’ dialect coaching also impress in setting the proper tone and look of this historical drama.
McDowell’s cast of 18 is uniformly strong and distinctly sophisticated. Fine principals include the delightfully energetic Joey Logan as the jovial, determined and passionate Thomas Betterton/King Lear, the dynamic duo of Katlyn Tilt and Julia Gomez as conniving sisters Goneril and Regan, beguiling ingénue Katie Sinicki as Cordelia, Christian Schaefer as Cornwall, Josh Beasley as Gloucester, Jake West as Kent, appealingly earnest WSU newcomer Ross Bloedorn as the noble, crazed Edgar, Dana Bixler tenderly rendering “Long Live the King” as the Fool, and an outstandingly cunning and suave Connor Lysholm as the villainous Edmond. Lysholm, a brooding Jay Gatsby last season in McDowell’s staging of “The Great Gatsby,” injects great nuance (notice how he caresses Lear’s throne chair in Act 1) while displaying a contemporary-esque mastery of the text. He also embraces his treacherous role with a pompous, intimidatingly cool swagger effortlessly transforming the raked stage into a raked runway with every stride and strut. His knockout portrayal clearly indicates how fantastic he would be as King George III in “Hamilton.” Hopefully a smart casting director will someday agree. The cast includes Mallory Kraus, Kenneth Erard, Brynnan McNeill, Jeremy Farley, Isaac Ingle, Zack Pruett, Danni Hepp, and Madeline Musico.
Commemorating the 400th anniversary of Shakespeare’s death and remaining impactful since the idea of “madmen leading the blind” hasn’t lost its cultural or political sting in 2016, “Restoration!” elegantly excels with joy, humor and heart.

“Restoration!” continues Oct. 1at 8 p.m. and Oct. 2 at 2 p.m. inside the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/boxoffice

‘Sweeney Todd’ Review – Human Race Theatre Company – Dark Victory

September 13, 2016 By Russell Florence, Jr.

The Human Race Theatre Company opens its 30th anniversary season with a wonderfully immersive and impressive production of composer Stephen Sondheim and librettist Hugh Wheeler’s 1979 Tony Award-winning masterpiece “Sweeney Todd: The Demon Barber of Fleet Street.”

Based on Christopher Bond’s play of the same name, “Sweeney Todd” marvelously intertwines horror, humor, love, regret, revenge, and suspense into its Victorian account of a crazed barber/ex-convict destroying the society that cheated him. The disturbing, cannibalistic nature of Sweeney’s dastardly deeds, fueled by his kooky accomplice Mrs. Nellie Lovett, a pie shop proprietor in Fleet Street, always provides a riveting centerpiece for this ingenious thriller. However, director Scott Stoney refreshingly opts for more than a mere bloody fright fest. By digging deeper into characterization and the humanity of those inhabiting Sweeney’s dark world, Stoney creates one of the most relevant versions of the show I have seen heightened by a striking intimacy that can only be felt within the confines of the Loft Theatre. In fact, due to certain moments staged on platforms located on opposite sides of the venue, the material has never felt more immediate or engrossing. Some organizations would scoff at the notion of producing such an unnerving musical with an approachable mindset, but Stoney’s boldness, insisting the audience follow every morsel of the action, invites an experience unlike any other. But you wouldn’t want to be kept at a distance anyway considering the fantastic attributes of his vocally sublime cast.

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Jamie Cordes plays the title role in “Sweeney Todd.”

Resonant baritone Jamie Cordes, featured as sailor Anthony Hope in the Human Race’s 1996 production of “Sweeney Todd” at the Victoria Theatre starring Stoney, understands the fine line associated with portraying the complex Sweeney, one of the most challenging roles ever conceived. If he aimed too psychotic he’d wallow in overblown histrionics. If he aimed too melodramatic he’d wallow in maudlin shallowness. Thankfully, the evil he concocts is a fetching brew of creepily confident swagger, authoritative menace, distressed paranoia, wounded remorse, and disturbing joy. Toward the end of Act 1, Cordes respectively brings Sweeney’s magnetism and terror to the compelling forefront with splendid renditions of the ravishing ballad “Pretty Women” (terrifically shared with David McDonald as the corrupt Judge Turpin who sent Sweeney to jail on a trumped-up charge and adopted his daughter Johanna while he was incarcerated) and utterly alarming “Epiphany,” one of the scariest songs in the musical theatre canon tailor-made to rip through the fourth wall. Fine comedienne Rebecca Watson (Broadway’s “By Jeeves”) is equally razor sharp as Mrs. Lovett, the Sondheimian equivalent to Shakespeare’s Lady Macbeth. There’s a comical world-weariness in her portrayal befitting Lovett’s down-and-out nature (she’s responsible for “The Worst Pies in London”), but Watson specifically magnetizes as the deceitful Lovett lures Sweeney deeper into vengeance if only to secure his love. I haven’t seen an actress skillfully weigh Lovett’s self-absorbed matters of pleasure and profit since being blown away by Imelda Staunton’s fiery portrayal in London’s West End four years ago.
Elsewhere in principal roles, strong tenor Zack Steele is an engagingly sensitive and lovestruck Anthony (his rendition of “Johanna” is beautifully emotive), Kimberly Hessler, well-paired with Steele, supplies lilting operatic strains as the lovely, sheltered Johanna (her rendition of the gorgeous “Green Finch and Linnet Bird” holds many colors), Craig McEldowney is a deliciously flamboyant and spiteful Adolfo Pirelli, DJ Plunkett brilliantly conveys tenderness, vulnerability, spunk, and dread as Pirelli’s humble assistant Tobias Ragg (his moving rendition of “Not While I’m Around” is a genuine heartbreaker), Aaron Vega is a delightfully snide and vindictive Beadle Bamford (his clear falsetto is put to great use in “Ladies in Their Sensitivities”), Christine Zavakos is a playful yet foreboding Beggar Woman, and Scott Hunt (Tobias in the 1996 production) is an appropriately malevolent Jonas Fogg. The fantastic and impactful ensemble, connected through Tracey Bonner’s character-conscious choreography and blessed with phenomenal vocal power as well as a unified versatility to fluidly transform whether as mourning Londoners or hysteric lunatics, consists of Gina Handy, Drew Helton, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter (Johanna in 1996 production), and Kandis Wean.
Additionally, scenic designer Dan Gray’s efficient, revolving set is bolstered by a throng of windows evoking the Industrial Revolution. Janet G. Powell’s attractive period costumes distinctly range from drab to swanky (notice Sweeney, Lovett and Tobias’ fancy attire at the top of Act 2). John Rensel’s lighting design marvelously captures varying moods, specifically sending chills up my spine when a barrage of lights ominously beam through the windows at the conclusion of Sweeney and Lovett’s cheerfully eerie “A Little Priest” signaling the beginning of the end for customers along Fleet Street. Music director Sean Michael Flowers leads an eight-piece band that occasionally feels distant but is well-balanced nonetheless despite a few timing glitches on opening night. Jay Brunner’s unsettling sound design aids in spooky ambiance but was also shaky on opening night.
One of the production’s final, lasting images involves a young man contemplating an evil plunge into darkness. It is a chilling reminder giving credence to Sondheim’s probing question which should never be taken lightly: “Isn’t that Sweeney there beside you?” After all, anyone at any time has the potential to simply snap. Attend this tale and rediscover why.

“Sweeney Todd: The Demon Barber of Fleet Street – A Musical Thriller” continues through Oct. 2 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Act One: 90 minutes; Act Two: 60 minutes. Performances are 8 p.m. Sept. 15-17, 22-24, and 29-Oct. 1; 7 p.m. Sept. 13-14, 20-21, 27-28; and 2 p.m. Sept. 18, 25 and Oct. 2. Tickets are $12-$50 (prices vary depending on performance date). There are a limited number of $12 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the production contains adult language and themes.

‘The Last Lifeboat’ Review – Dayton Theatre Guild – Human Error

August 30, 2016 By Russell Florence, Jr.

One man’s fateful decision during the frightening chaos of one of the world’s greatest tragedies is only a small part of the immense appeal of Luke Yankee’s compelling 2014 drama “The Last Lifeboat,” currently receiving an outstanding regional premiere as the 72nd season opener of the Dayton Theatre Guild.

(Left to right) Cassandra Engber, J. Gary Thompson, Heather Atkinson, Heather Martin, Mike Beerbower (seated), Kerry Simpson, Matt Lindsay, and Zach Katris in “The Last Lifeboat” (Photo by Craig Roberts)

Yes, Joseph Bruce Ismay, British owner of the White Star Line, notoriously saved himself when the Titanic sank during her maiden voyage in April 1912. But the fundamental events decades before and after, providing the brisk pulse and inherent attraction of the play, offers fascinating insights into a man pigeonholed as a coward throughout history. As depicted by Yankee, balancing years of substantive research with the freedom of artistic liberties, the guilt-ridden Ismay is not portrayed as an entitled villain but simply a victim of circumstance. He was a man who never felt loved or admired by his stern father who particularly scolded him about crying in public. He also had difficulties of discernment when negotiating with rich investors (such as J.P. Morgan) who wanted the Titanic to be constructed in favor of the elite. Survivor’s guilt, legal challenges and relationship challenges took its toll on him as well with his health notably declining in the 1930s due to complications from diabetes. He died of a stroke in 1937 at the age of 74.

In his impressive Guild directorial debut, Jeff Sams brings strikingly cinematic and choreographic fluidity to Yankee’s meticulous handiwork, which covers nearly 60 years and over 50 scenes. Sams specifically injects breathtaking poignancy into the play’s gripping centerpiece, the Act 1 finale centered on Ismay entering the lifeboat. The terrifically versatile cast dramatically unifies in slow motion to convey the sinking as “Nearer, My God, to Thee” fittingly propels emotions. In addition to creating an expert scenic design consisting of trunks, tables, crates, antiques, efficient props, and newspaper renderings, Sams wisely keeps the cast, beautifully costumed in period attire by Carol Finley, on stage at all times. His decision allows the play to maintain an impactful, observational immediacy, drawing the audience further into the storytelling accented with first-rate assistance from lighting designer John Falkenbach and sound designer K.L. Storer. Redundant blackouts chip away at momentum but are not a major hindrance.

Heather Atkinson and Matt Lindsay in “The Last Lifeboat” (Photo by Craig Roberts)

Matt Lindsay (Ismay), Heather Atkinson (Mrs. Ryerson and others), Mike Beerbower (William Randolph Hearst and others), Cassandra Engber (Vivian Hilliard and others), Zach Katris (Phillip Franklin and others), Heather Martin (Florence Ismay and others), Kerry Simpson (Margaret Ismay and others), and J. Gary Thompson (Thomas Ismay and others) firmly fashion wonderfully vivid characterizations. Lindsay has the lion’s share of material and his amiable persona sells Ismay’s good intentions (Yankee is pro-Ismay all the way which will infuriate doubters), but the entire cast has ample opportunity to shine. For instance, as first class passenger Mrs. Ryerson, Atkinson sharply trades the character’s inquisitive playfulness in Act 1 for hardened contempt in Act 2 as she attempts to make sense of losing her husband who valiantly went down with the ship. The compassionate Engber is an endearing source of care and concern as Ismay’s former sweetheart Vivian, a character birthed from Yankee’s imagination. Beerbower, memorably understated last season in the Guild’s local premiere of “Outside Mullingar,” is superbly sly and malicious as newspaper magnate Hearst, particularly in a disheartening Act 2 scene opposite Martin when Florence tries to seduce Hearst to protect Ismay. Thompson, a reliable chameleon, weaves through numerous identities with aplomb but is especially formidable as Thomas, Ismay’s successful yet insensitive father. By and large, this cast is one of the finest ever assembled by the Guild.

Yankee notably attended the Saturday, Aug. 27 performance and participated in a lively and informative talkback to share his thoughts on the creative process. It was apparent how much he admired Ismay’s legacy and the entirety of the Titanic account. As so, in his appreciation of Ismay, responsible for the “largest floating object in the world,” “The Last Lifeboat” stands as a cautionary tale proving that in the midst of great darkness and despair redemption is never too far away.

“The Last Lifeboat” continues through Sept. 4 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: 42 minutes; Act Two: 50 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.