Russell Florence, Jr.

‘Shepherd’s Bush’ wins Dayton Playhouse FutureFest

July 26, 2016 By Russell Florence, Jr.

The cast of “Shepherd’s Bush” (front row left to right) Scott Knisley, David Shough, (back row left to right) Ella Wylie, Brian Sharp, and Bonnie Froelich (Photo by Art Fabian)

“Shepherd’s Bush,” a captivating, humorous, romantic, and heartbreaking look at the relationship between celebrated, closeted British novelist E.M. Forster and policeman Bob Buckingham in 1930s England, received top honors Sunday, July 24 at the 26th annual Dayton Playhouse FutureFest of new, unproduced plays.
Elegantly written with cinematic tendencies by Scott C. Sickles of Forest Hills, New York, “Shepherd’s Bush” daringly explored the love between two men at a time when homosexuality was illegal in Great Britain. As Forster and Bob’s fascinating relationship progressed, Bob grew fearful and married May, a young nurse. Still, even as the Buckinghams started their life together in the titular West London neighborhood, Forster and Bob’s bond remained strong for decades in spite of secrets and lies which brought Forster and May great heartache.
The production’s excellent staged reading, fluidly directed by Michael Boyd and stage managed by Logan Dabney, featured terrifically cohesive portrayals by David Shough as Forster, Scott Knisely as Bob, Ella Wylie as May, Playhouse board president Brian Sharp as Forster’s close friend J.R. Ackerley, and Bonnie Froelich as Forster’s mother Lily. As this promising play develops, Sickles should specifically consider delving deeper into Bob’s quandary of identity, sexuality and torment, but at the same rate, he has absolutely established an engaging, Oscar Wilde-esque foundation, particularly within his witty characterizations of Forster, Ackerley and Lily. In fact, the deliciously persnickety Lily recalls the domineering Lady Bracknell of Wilde’s “The Importance of Being Earnest.”
“Sometime in the mid-‘90s, in a Barnes and Noble in downtown Pittsburgh, I happened upon a book called ‘The Gay Fireside Companion,’” recalled Sickles, a Pittsburgh native and the recipient of two Writers Guild of America Awards as part of the writing team of the daytime drama “General Hospital” as well as multiple Emmy and WGA Award nominations for “General Hospital” and “One Life to Live.” “It was an alphabetical listing of people, places and events in gay history. I came across the entry ‘Buckingham, Bob,’ thought it was an interesting name and began to read. I discovered that Bob was Forster’s much younger paramour and a policeman to boot, that he married a woman (whose name is not including in the listing) and that Forster eventually died in the Buckingham home holding the wife’s hand. My actual thought at the time was, ‘That’s how I’m going to die; holding the hand of the wife of the man I love.’ The rest is history.”
“Shepherd’s Bush” scored highest among six works presented July 22-24 based on judging criteria including dramatic concept, character/language, plot, page to stage, and the next 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, New York-based adjudicators were journalist Peter Filichia, 1995 FutureFest-winning playwright Craig Pospisil (“Somewhere in Between”), actress/director/producer Jana Robbins, director/producer/writer Ashley Rodbro, and director/producer/writer Helen Sneed.
“‘Shepherd’s Bush’ is a very valuable play about the games people play and still have to play,” Filichia noted. “This is a play that needs to be seen.”
“There is phenomenal writing in this play,” exclaimed Sneed. “It’s fabulous and contains well-written symbolism.”
“I absolutely loved this play,” Robbins echoed. “I was deeply moved by it. It captures love that is a marriage of both the heart and the mind. This play has fully-fleshed characters and lovely dialogue. I see it as a film.”

2016 Dayton Playhouse FutureFest-winning playwright Scott C. Sickles of Forest Hills, New York (Photo by Art Fabian)

“First of all, I am beyond honored,” reflected Sickles who received the top prize of $1,000. “It’s very exciting to receive recognition for a play I originally started writing in 1995. In the late ‘90s, we did a lot of readings of it, both for development and in hopes of getting it produced. While audiences responded well, producers and theaters were just not interested. I kept it on ice until two years ago when I submitted it to the Gulfshore Playhouse New Works Festival. Being selected for FutureFest gave me the opportunity to hear the new draft. The adjudicators gave me great feedback, so now I’m ready to make some adjustments and send it out into the world again. It’s my hope that having the Dayton Playhouse FutureFest win attached to it will encourage more theaters to read the play and consider it for their seasons. Bottom line, though, FutureFest confirms for me that after being dormant so many years ‘Shepherd’s Bush’ still has a life! That makes me so happy.”
Additionally, “Memories of the Game,” an emotionally gripping account of Alzheimer’s disease, euthanasia and addiction rattling an African-American family by Kristy Sharron Thomas of North Hollywood, California, was named Audience Favorite. The outstanding, fully staged presentation, directed by Robb Willoughby and accented with haunting transition music, featured knockout performances by Franklin Johnson as Kenneth McIntosh (an electrifying portrayal that will be talked about for years to come), Marva M.B. Williams as Karen McIntosh, Nabachwa Ssensalo as Sharon Evans, and Andre Reece Tomlinson as Michael McIntosh.

2016 Dayton Playhouse FutureFest finalists: (front row left to right) Adrienne Earle Pender, Gwendolyn Rice, Kristy Sharron Thomas, (back row left to right) Scott C. Sickles, W. L. Newkirk, and Christopher G. Smith (Photo by Art Fabian)

The remaining finalists chosen from across the country in a festival that notably embraced works about historical figures were: “N,” a study of race and theatrical history concerning Eugene O’Neill’s groundbreaking 1921 drama “The Emperor Jones” by 2002 FutureFest finalist Adrienne Earle Pender of Willow Spring, North Carolina and directed by Cara Hinh; “[Miss],” the story of Dr. Frances Kelsey’s struggle with the William S. Merrell Company over the introduction of thalidomide into the United States by W.L. Newkirk of Celebration, Florida and briskly directed by Cynthia Karns; “The Violin Maker,” a story of family and tradition by Christopher G. Smith of Rochester, Minnesota and co-directed by Saul Caplan and Debra Strauss; and “The Griots,” a story of race and legacy by Gwendolyn Rice of Middleton, Wisconsin and directed by longtime FutureFest planning committee member Fran Pesch. Each finalist was awarded $100. Also, this year marked the first time there were three female playwrights in contention.
The remaining casts comprised a refreshing, diverse blend of FutureFest returnees and newcomers. “N” featured Shaun Diggs as Charles Gilpin, Shyra Thomas as Florence Gilpin and Sean Gunther as Eugene O’Neill. “[Miss]” featured Jennifer Lockwood as Dr. Frances Oldham Kelsey, Ted Eltzroth as Dr. Raymond Stehle/Dr. Joseph Murray, Jon Edward Cox as John, Anna Masla as Betty, a scene-stealing Charles Larkowski as repugnant Dr. Raymond Pogge, Renee Franck-Reed as Gertrude, Jennie Hawley as Mary, and Mark Anderson as Dr. Eugene Geiling/Dr. Ray Nulsen. “The Violin Maker” featured an earthy Dave Nickel as Wilhelm Mosel, Jess MaGill as Karl Mosel and Bryana Bentley as Angela Brunelle. “The Griots,” authentically designed by Chris “Red” Newman and attractively costumed by Carol Finley and Sandy Lemming, featured David E. Brandt as John Holt, Judi Earley as Ada Coalson and a vibrant Annie Pesch as Lizzie Dupree.
“I was mighty impressed with the other plays and playwrights,” Sickles added. “There was a great eclecticism in the playwrights’ voices, subjects and styles. Best of all, we all got along and, despite it being a competition, were very supportive of each other.”
Most importantly, the Playhouse’s reputation for providing an extremely hospitable experience for the finalists hasn’t waned. Sickles says the dedication and commitment of festival volunteers left an indelible impression.
“I have friends who are past FutureFest finalists,” he explained. “They told me it would be a great experience and that the theater would ‘treat you like royalty.’ They undersold it! From my perspective, the whole festival ran like a well-oiled machine from the time I got picked up at the airport all the way through the post-fest shindig. They kept us incredibly well hydrated, well fed and well caffeinated. Royalty isn’t treated this well!”
Mark your calendars: The 27th annual FutureFest is slated for July 21-23, 2017. Anyone interested in submitting a play must do so before Oct. 31. For more information, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “Shepherd’s Bush”
2. “Memories of the Game”
3. “[Miss]”
4. “The Griots”
5. “The Violin Maker”
6. “N”

‘Big Fish’ Review – Epiphany Lutheran Church – Tall Tales Terrifically Told

July 21, 2016 By Russell Florence, Jr.

There’s no one like Edward Bloom, the traveling salesman and small town savior from Alabama who crossed paths with witches, mermaids, werewolves, and giants. His life sounds totally far-fetched, but getting to know the man behind the myths is great fun as seen in Epiphany Lutheran Church’s absolutely heartwarming local premiere of librettist John August and composer Andrew Lippa’s 2013 adaptation of “Big Fish.”
The 26th annual summer musical presentation of the Epiphany Players Drama Ministry, “Big Fish” is a whimsical account based on the 1998 novel of the same name by Daniel Wallace and the acclaimed 2003 Tim Burton film written by August. The relatively easygoing yet ailing Edward, happily married to the former Sandra Templeton, is thrown for a loop when his son Will presses him for answers to the fascinating tall tales he’s heard since he was a child. In his attempt to appease the soon-to-be-married Will, Edward proudly recalls his glory days, but his trips down memory lane are not without heartache or disagreement. As Edward nears the end of his life, Will, expecting a child of his own, ultimately grasps the importance of his wife Josephine’s reminder that “if you understand the stories, you’ll understand the man.”

When I saw “Big Fish” on Broadway, I can honestly tell you it was a big flop. Lippa’s flavorful songs were a saving grace (gorgeous ballad “I Don’t Need a Roof” is among the top tier of an underrated score), but an overblown design and lopsided conception (Norbert Leo Butz oddly and perplexingly portraying Edward from child to adult) chipped away at the material’s believability and resonance. Thankfully, Epiphany’s breezy staging, delightfully directed and choreographed by Megan Wean Sears, significantly alters the show’s pivotal generational scope by having three actors portray Edward and two actresses portray Sandra. Granted, Epiphany encourages large casts (this year’s company totals 75 and is double-cast per tradition), but in recognizing the possibilities afforded to multiple actors, Sears has truly changed the show for the better despite artistic liberties.
John Benjamin (an endearing, vocally strong everyman) and Brady Kress (a folksy charmer) bring authority and tenderness to the good-natured Edward with both interpretations culminating poignantly in Act 2’s deeply moving finale “How It Ends.” As the ever-supportive Sandra, Kandis Wean Gibson (recalling the depth and musicianship of role originator Kate Baldwin) and Kellie Daab (lovingly warm) are respectively and engagingly paired with Benjamin and Kress. In the middle of Act 1, when the action appealingly turns to Edward’s popular teenage years in his hometown of Ashton, Desmond Thomas (a chipper All-American) and Eric Thompson (a radiant pop tenor who will hopefully land a record deal one of these days) take the spotlight with terrific vibrancy. The teenage Sandra is wonderfully embodied by triple threats Brianna Russ (opposite Thomas) and Abby Kress (opposite Thompson). The bruised, frustrated Will arises with impactful introspection thanks to Jeffrey Mack (offering a soaring, lyric-driven rendition of “Stranger”) and Timmy Seiler (very contemplative and vulnerable). Kathy Meyer and Lily Cutler are sweetly sincere as Josephine.

Additionally noteworthy among a fine cast are Bobby Klosterman and John Morgan as Young Edward, Liam Utt and Curtis LeMieux as Young Will, Eric Pettit and Eryn Barrett as Will’s son, Brian Hoff and Mikey Fried as Karl the Giant, the flamboyance of Justin Matthews and Bobby Morgan as Amos Calloway, the fieriness of Margo Russ and Mia Bridgman as The Witch, Chris Scharf and Nick Kress as Don Price, Jessica Pettit and Kate Barrett as Jenny Hill, Bridget Miley and Laura Jacobs as teenage Jenny, the fancifulness of Sarah Crawford and Marisha Osowski as The Mermaid, Olivia Engler and Jessica Pettit as the USO Singer leading patriotic Act 2 opener “Red, White and True,” and Brianna Mallare and Maria Jasek as Sandra’s friends who join her for the cutesy “Little Lamb from Alabama.”

Along with the unified joy bursting throughout ensemble numbers “Be the Hero,” “Showdown” and “Out There on the Road,” Sears particularly creates a fierce routine for the Witches (dramatically clothed in black hooded capes by the consistently remarkable duo of Maria Klueber and Lori Watamaniuk for “I Know What You Want”) and a jubilant tap dance (“Red, White and True”). Still, prepare to be blown away by the breathtaking beauty of Act 1 finale “Daffodils,” teen Edward and Sandra’s heartfelt duet bolstered by the dazzling elegance of female dancers surrounding them while sprinkling the stage with daffodils. It is simply one of the most stunningly romantic sequences you’ll see on any stage this year.

In addition to Klueber and Watamaniuk, the first-rate production team includes music director David Brush, scenic designers Matt Carson and Tristan Cupp (providing an eye-catching proscenium featuring images of Edward’s various adventures and encounters), sound designer Chris Pentecost, lighting designer Ryan McCoy, prop designers Adrienne Ausdenmoore (Drama Ministry Chair) and Jason Hamen, assistant director/choreographer Sarah Egbert, and dance captain Abby Kress.

The proverbial love of storytelling and the desire to live one’s life bigger are vital attributes fueling this study of family, friendship and legacy. Edward Bloom may be a fantastical soul, but he’s relatable nonetheless. In fact, you may see one of your relatives or perhaps yourself within him. As Sandra reminds Will, “There is magic in the man, please find it while you can.” Kudos to Epiphany for bringing truly wondrous magic to a show that would still be running on Broadway if it had incorporated Sears’ inspired vision.

“Big Fish” continues through July 24 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: 70 minutes; Act Two: 55 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), and $5 for children (5 and under). For tickets call, call (937) 433-1449 ext. 105. For additional information, visit www.epiphanydayton.org or e-mail [email protected]. In addition, every summer a charitable organization is selected to receive a portion of the proceeds. This year’s beneficiary is the Storybook Project, a ministry centered on ensuring incarcerated parents have the opportunity to read to their children. Volunteers from Epiphany record these parents reading a children’s book of their choosing and a personal message to the child. Epiphany volunteers have been visiting prisoners since 2001 and have sent over 10,000 recordings and books.

Russell Florence Jr. Reacts to the Emmy Nominations

July 14, 2016 By Russell Florence, Jr.

Emmy nominations are revealed! What a fantastic slate! Diversity was key. I’m thrilled The Americans finally entered the Outstanding Drama category since Matthew Rhys and Keri Russell should have been nominated years ago for Brothers & Sisters and Felicity. Hopefully, the Academy will add The Walking Dead to the Drama race one of these days. Also thrilled to see strong showings for the extraordinary People vs. O.J. Simpson as well as American Crime and Fargo (despite Connor Jessup being overlooked for his marvelous work on AC).

Game of Thrones did very well as expected with a surprising nod for Kit Harington and well-deserved nods for the “Battle of the Bastards” episode as I recently predicted. It’s a shock but not a surprise that Orange is the New Black was ignored across the board for its weak third season from last summer, but hopefully, the Academy will find the excellent fourth season a worthy comeback when marking ballots next year.

On the comedy side, Blackish did very well with Tracee Ellis Ross deservedly receiving a nod for Outstanding Comedy Actress, a category rare for black actresses to squeeze into. The final season of The Good Wife was overlooked for Outstanding Drama and major acting nods which was a bit of a surprise, but at least Downton Abbey & Maggie Smith wasn’t forgotten. Unfortunate Regina King wasn’t nominated for The Leftovers and Ben Whishaw wasn’t nominated for London Spy, but it’s wonderful that Ellen Burstyn received a guest actress nod for House of Cards (HOC did very well in the guest acting field).

RuPaul nominated as Outstanding Reality Host for Drag Race was a pleasant, overdue surprise, and it’s also nice to see Jesse Plemons (Fargo), Tracy Morgan (Saturday Night Live) and Constance Zimmer (UnReal) remembered. And what an awkward twist of fate that James Corden and not Stephen Colbert received a nod for Outstanding Talk Show. Even though The Wiz Live was overlooked in favor of Grease Live for Outstanding Special Class Program, Beyonce’s Lemonade competing against The Kennedy Center Honors for Outstanding Variety Special certainly speaks to the spectrum of variety. So, hold up! On Sunday, Sept. 18, find out if the Emmy voters love your favorite shows like you love them.

COMEDY

BEST COMEDY SERIES
“Black-ish”
“Master of None”
“Modern Family”
“Silicon Valley”
“Transparent”
“Unbreakable Kimmy Schmidt”
“Veep”

BEST COMEDY ACTOR
Anthony Anderson (“Black-ish”)
Aziz Ansari (“Master of None”)
Will Forte (“The Last Man on Earth”)
William H. Macy (“Shameless”)
Thomas Middleditch (“Silicon Valley”)
Jeffrey Tambor (“Transparent”)

BEST COMEDY ACTRESS
Ellie Kemper (“Unbreakable Kimmy Schmidt”)
Julia Louis-Dreyfus (“Veep”)
Laurie Metcalf (“Getting On”)
Tracee Ellis Ross (“Black-ish”)
Amy Schumer (“Inside Amy Schumer”)
Lily Tomlin (“Grace and Frankie”)

BEST COMEDY SUPPORTING ACTOR
Louie Anderson (“Baskets”)
Andre Braugher (“Brooklyn Nine-Nine”)
Tituss Burgess (“Unbreakable Kimmy Schmidt”)
Ty Burrell (“Modern Family”)
Tony Hale (“Veep”)
Keegan-Michael Key (“Key and Peele”)
Matt Walsh (“Veep”)

BEST COMEDY SUPPORTING ACTRESS
Anna Chlumsky (“Veep”)
Gaby Hoffmann (“Transparent”)
Allison Janney (“Mom”)
Judith Light (“Transparent”)
Kate McKinnon (“Saturday Night Live”)
Niecy Nash (“Getting On”)

BEST COMEDY GUEST ACTOR
Larry David (“Saturday Night Live”)
Peter MacNicol (“Veep”)
Tracy Morgan (“Saturday Night Live”)
Martin Mull (“Veep”)
Bob Newhart (“The Big Bang Theory”)
Bradley Whitford (“Transparent”)

BEST COMEDY GUEST ACTRESS
Christine Baranski (“The Big Bang Theory”)
Tina Fey and Amy Poehler (“Saturday Night Live”)
Melora Hardin (“Transparent”)
Melissa McCarthy (“Saturday Night Live”)
Laurie Metcalf (“The Big Bang Theory”)
Amy Schumer (“Saturday Night Live”)

BEST COMEDY DIRECTING
“Master Of None,” “Parents”
“Silicon Valley,” “Daily Active Users”
“Silicon Valley,” “Founder Friendly”
“Transparent,” “Man On The Land”
“Veep,” “Kissing Your Sister”
“Veep,” “Morning After”
“Veep,” “Mother”

BEST COMEDY WRITING
“Catastrophe,” “Episode 1”
“Master Of None,” “Parents”
“Silicon Valley,” “Founder Friendly”
“Silicon Valley,” “The Uptick”
“Veep,” “Morning After”
“Veep,” “Mother”

DRAMA

BEST DRAMA SERIES
“The Americans”
“Better Call Saul”
“Downton Abbey”
“Game of Thrones”
“Homeland”
“House of Cards”
“Mr. Robot”

BEST DRAMA ACTOR
Kyle Chandler (“Bloodline”)
Rami Malek (“Mr. Robot”)
Bob Odenkirk (“Better Call Saul”)
Matthew Rhys (“The Americans”)
Liev Schreiber (“Ray Donovan”)
Kevin Spacey (“House of Cards”)

BEST DRAMA ACTRESS
Claire Danes (“Homeland”)
Viola Davis (“How to Get Away with Murder”)
Taraji P. Henson (“Empire”)
Tatiana Maslany (“Orphan Black”)
Keri Russell (“The Americans”)
Robin Wright (“House of Cards”)

BEST DRAMA SUPPORTING ACTOR
Jonathan Banks (“Better Call Saul”)
Peter Dinklage (“Game of Thrones”)
Kit Harington (“Game of Thrones”)
Michael Kelly (“House of Cards”)
Ben Mendelsohn (“Bloodline”)
Jon Voight (“Ray Donovan”)

BEST DRAMA SUPPORTING ACTRESS
Emilia Clarke (“Game of Thrones”)
Lena Headey (“Game of Thrones”)
Maggie Smith (“Downton Abbey”)
Maura Tierney (“The Affair”)
Maisie Williams (“Game of Thrones”)
Constance Zimmer (“UnReal”)

BEST DRAMA GUEST ACTOR
Mahershala Ali (“House of Cards”)
Hank Azaria (“Ray Donovan”)
Reg E. Cathey (“House of Cards”)
Michael J. Fox (“The Good Wife”)
Paul Sparks (“House of Cards”)
Max Von Sydow (“Game of Thrones”)

BEST DRAMA GUEST ACTRESS
Ellen Burstyn (“House of Cards”)
Allison Janney (“Masters of Sex”)
Margo Martindale (“The Americans”)
Laurie Metcalf (“Horace and Pete”)
Molly Parker (“House of Cards”)
Carrie Preston (“The Good Wife”)

BEST DRAMA DIRECTING
“Downton Abbey,” “Episode 9”
“Game Of Thrones,” “Battle Of The Bastards”
“Game Of Thrones,” “The Door”
“Homeland,” “The Tradition Of Hospitality”
“The Knick,” “This Is All We Are”
“Ray Donovan,” “Exsuscito”

BEST DRAMA WRITING
“The Americans,” “Persona Non Grata”
“Downton Abbey,” “Episode 8”
“Game Of Thrones,” “Battle Of The Bastards”
“The Good Wife,” “End”
“Mr. Robot,” “eps1.0_hellofriend.mov”
“UnREAL,” “Return”

TV MOVIE/LIMITED SERIES

BEST LIMITED SERIES
“American Crime”
“Fargo”
“The Night Manager”
“The People v. O.J. Simpson”
“Roots”

BEST TV MOVIE
“A Very Murray Christmas”
“All the Way”
“Confirmation”
“Luther”
“Sherlock: The Abominable Bride”

BEST MOVIE/MINI ACTOR
Bryan Cranston (“All the Way”)
Benedict Cumberbatch (“Sherlock: The Abominable Bride”)
Idris Elba (“Luther”)
Cuba Gooding Jr. (“The People v. O.J. Simpson”)
Tom Hiddleston (“The Night Manager”)
Courtney B. Vance (“The People v. O.J. Simpson”)

BEST MOVIE/MINI ACTRESS
Kirsten Dunst (“Fargo”)
Felicity Huffman (“American Crime”)
Audra McDonald (“Lady Day at Emerson’s Bar and Grill”)
Sarah Paulson (“The People v. O.J. Simpson”)
Lili Taylor (“American Crime”)
Kerry Washington (“Confirmation”)

BEST MOVIE/MINI SUPPORTING ACTOR
Sterling K. Brown (“The People v. O.J. Simpson”)
Hugh Laurie (“The Night Manager”)
Jesse Plemons (“Fargo”)
David Schwimmer (“The People v. O.J. Simpson”)
John Travolta (“The People v. O.J. Simpson”)
Bokeem Woodbine (“Fargo”)

BEST MOVIE/MINI SUPPORTING ACTRESS
Kathy Bates (“American Horror Story: Hotel”)
Olivia Colman (“The Night Manager”)
Regina King (“American Crime”)
Melissa Leo (“All the Way”)
Sarah Paulson (“American Horror Story: Hotel”)
Jean Smart (“Fargo”)

BEST MOVIE/MINI DIRECTING
“All The Way”
“Fargo,” “Before The Law”
“The Night Manager”
“The People v. O.J. Simpson,” “From The Ashes Of Tragedy”
“The People v. O.J. Simpson,” “Manna From Heaven”
“The People v. O.J. Simpson,” “The Race Card”

BEST MOVIE/MINI WRITING
“Fargo,” “Loplop”
“Fargo,” “Palindrome”
“The Night Manager”
“The People v. O.J. Simpson,” “From The Ashes Of Tragedy”
“The People v. O.J. Simpson,” “Marcia, Marcia, Marcia”
“The People v. O.J. Simpson,” “The Race Card”

REALITY/VARIETY

BEST REALITY-COMPETITION PROGRAM
“The Amazing Race”
“American Ninja Warrior”
“Dancing with the Stars”
“Project Runway”
“Top Chef”
“The Voice”

BEST REALITY HOST
Tom Bergeron (“Dancing With the Stars”)
RuPaul Charles (“RuPaul’s Drag Race”)
Steve Harvey (“Little Big Shots”)
Heidi Klum and Tim Gunn (“Project Runway”)
Jane Lynch (“Hollywood Game Night”)
Ryan Seacrest (“American Idol”)

BEST STRUCTURED REALITY PROGRAM
“Antiques Roadshow”
“Diners, Drive-Ins, and Dives”
“Lip Sync Battle”
“MythBusters”
“Shark Tank”
“Undercover Boss”

BEST UNSTRUCTURED REALITY PROGRAM
“Born This Way”
“Deadliest Catch”
“Gaycation With Ellen Page”
“Intervention”
“Project Greenlight”
“United Shades Of America”

BEST VARIETY TALK SERIES
“Comedians in Cars Getting Coffee”
“Jimmy Kimmel Live”
“Last Week Tonight with John Oliver”
“Late Late Show with James Corden”
“Real Time with Bill Maher”
“The Tonight Show Starring Jimmy Fallon”

BEST VARIETY SKETCH SERIES
“Documentary Now”
“Drunk History”
“Inside Amy Schumer”
“Key and Peele”
“Portlandia”
“Saturday Night Live”

BEST VARIETY SPECIAL
“Adele Live In New York City”
“Amy Schumer: Live At The Apollo”
“The Kennedy Center Honors”
“The Late Late Show Carpool Karaoke Prime Time Special”
“Lemonade”

For more Creative Arts categories, visit the Emmys website.

Saluting Dayton’s 2015-16 Theater Season

June 29, 2016 By Russell Florence, Jr.

America’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

Looking back, let’s start with the bold, risk-taking Playground Theatre, a millennial-focused troupe changing the landscape of Dayton theater with an edgy off-Broadway vibe. Case in point: An exceptionally acted, up close and personal local premiere of Reasons to Be Pretty, Neil LaBute’s scathing account of image, regret, deception, and disillusionment directed with razor sharp tension and riveting intimacy by David Brush. Fine premieres thrived elsewhere at community theaters thanks to the Dayton Theatre Guild’s lovely Outside Mullingar and Last Gas as well as Young and Heart Players’ kooky, introspective Circle Mirror Transformation. As for musicals, Dayton Playhouse scored with challenging classics 1776 and Carousel while Beavercreek Community Theatre offered highly engaging accounts of The Addams Family and Spring Awakening

Collegiate theaters also hit the mark with a solid slate of musicals. Wright State University’s Chicago, The Music Man and Miss Mayor showcased the superior quality audiences have come to expect while Sinclair Community College notably produced an infectious, playful and soul-stirring Wiz. Drama standouts included University of Dayton’s captivatingly poignant staging of the Holocaust drama And A Child Shall Lead (co-produced by Zoot Theatre Company), Sinclair’s terrifically ensemble-driven One Flew Over the Cuckoo’s Nest, and Clark State Community College’s commendable Angels in America: Millennium Approaches.

On professional stages, the fantastic return engagement of The Lion King gave the Victoria Theatre Association late-season momentum, but the production was actually one of an assortment of outstanding national tours this season including A Night with Janis Joplin, Once, Pippin, The Book of Mormon, and The Bridges of Madison County. Human Race Theatre Company specifically excelled with a wonderfully haunting and heartfelt Glass Menagerie. Feminine-centric Magnolia Theatre Company produced a splendid local premiere of the engrossing one-woman show K of D, but also greatly entertained with the delightful cabaret Broadway Beveled. Dare to Defy Productions pulled out the stops with American Idiot, but also impressed with the hilarious Great American Trailer Park Musical and snazzy, dance-heavy Wild Party.
Assessing the 65 shows I saw this season, I congratulate the following winners (in bold) and nominees.

Jennifer Joplin, Claire Kennedy and Scott Hunt in the Human Race Theatre Company’s production of “The Glass Menagerie” (Photo by Scott J. Kimmins)

(l to r) Brett Hill, Jenna Burnette, Christopher Hahn, and Kaleigh-Brooke Dillingham in “Reasons to Be Pretty” (Photo by Rachel Katz)

BEST TOURING PRODUCTION
The Book of Mormon, Victoria Theatre Association
The Bridges of Madison County, Victoria Theatre Association
Disney’s The Lion King, Victoria Theatre Association
Once, Victoria Theatre Association
Pippin,Victoria Theatre Association
Rodgers and Hammerstein’s Cinderella, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Glass Menagerie,Human Race Theatre Company
The K of D, An Urban Legend, Magnolia Theatre Company
Master Class, Human Race Theatre Company
Steel Magnolias, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
A Christmas Story: The Musical, La Comedia Dinner Theatre
American Idiot, Dare to Defy Productions
The Full Monty, Human Race Theatre Company
The Great American Trailer Park Musical,Dare to Defy Productions
The Wild Party,Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
Circle Mirror Transformation, Young at Heart Players
Fools,Undercroft Players
Last Gas,Dayton Theatre Guild
Outside Mullingar, Dayton Theatre Guild
Reasons to Be Pretty, Playground Theatre

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
1776, Dayton Playhouse
The Addams Family,Beavercreek Community Theatre
Carousel, Dayton Playhouse
Spring Awakening, Beavercreek Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
A Streetcar Named Desire, Wright State University
And A Child Shall Lead, University of Dayton with Zoot Theatre Company
Angels in America: Millennium Approaches, Clark State Community College
The Great Gatsby, Wright State University
One Flew Over the Cuckoo’s Nest, Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Chicago, Wright State University
Miss Mayor, Wright State University
The Music Man, Wright State University
Once Upon a Mattress, University of Dayton
The Wiz, Sinclair Community College

Dayton native and Wright State University grad Annie Pesch Contributed photo

BEST SPECIAL THEATRICAL EVENT
A Night with Janis Joplin, Victoria Theatre Association
American Mosaic, Dayton Philharmonic Orchestra, Dayton Opera, Dayton Ballet, Human Race Theatre Company, Muse Machine, DCDC, and Bach Society of Dayton
An Evening with Jason Robert Brown, Wright State University Musical Theatre Initiative
Mary Poppins, Muse Machine
Tarzan,Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Anthony Reilly, Outside Mullingar
Saul Caplan as Roy Cohn, Angels in America: Millennium Approaches
Tommy DiMassimo as Stanley Kowalski, A Streetcar Named Desire
Christopher Hahn as Greg, Reasons to Be Pretty
Scott Hunt as Tom Wingfield, The Glass Menagerie
David Shough as Joseph Alsop, The Columnist (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY
Christine Brunner as Truvy, Steel Magnolias
Jenna Burnette as Steph, Reasons to Be Pretty
Teresa Connair as Rosemary Muldoon, Outside Mullingar
Jenna Gomes as Becky, Slowgirl (Dayton Theatre Guild)
Ellie Margolis as Blanche DuBois, A Streetcar Named Desire
Annie Pesch as The Girl, The K of D, An Urban Legend

BEST LEADING ACTOR IN A MUSICAL
Christian Johnson as Bert, Mary Poppins
Nathan Robert Pecchia as Harold Hill, The Music Man
Layne Roate as Johnny, American Idiot
Andrew Samonsky as Robert Kincaid, The Bridges of Madison County
Jeff Sams as Billy Bigelow, Carousel
Cody Jamison Strand as Elder Cunningham, The Book of Mormon

BEST LEADING ACTRESS IN A MUSICAL

Pictured: Carolyn Popp, Christine Brunner, Caitlin Larsen, Patricia Linhart and Maretta Zilic

Kaitlyn Davidson as Ella, Rodgers and Hammerstein’s Cinderella
Mackenzie Lesser-Roy as Girl, Once
Gabrielle McClinton as Leading Player, Pippin
Bailey Rose as Roxie Hart, Chicago
Brianna Russ as Mary Poppins, Mary Poppins
Elizabeth Stanley as Francesca Johnson, The Bridges of Madison County

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Martin Lowy, And A Child Shall Lead
Sean Frost as Louis Ironson, Angels in America: Millennium Approaches
Cody Lewis as Harold “Mitch” Mitchell, A Streetcar Named Desire
Dave Nickel as Tony Reilly, Outside Mullingar
John Spitler as Dr. Zubritsky, Fools
Drew Vidal as Jim O’Connor, The Glass Menagerie

BEST SUPPORTING ACTRESS IN A PLAY
Megan Cooper as Theresa, Circle Mirror Transformation

The cast of Dayton Playhouse’s production of “1776” (Photo by Art Fabian)

Kaleigh-Brooke Dillingham as Carly, Reasons to Be Pretty
Claire Kennedy as Laura Wingfield, The Glass Menagerie
Caitlin Larsen as Ouiser, Steel Magnolias
Pam McGinnis as Freida, The Tale of the Allergist’s Wife (Dayton Playhouse)
Rachel Wilson as Cherry-Tracy Pulcifer, Last Gas

BEST SUPPORTING ACTOR IN A MUSICAL
Tim Rezash as John Dickinson, 1776
John Rubenstein as Charles, Pippin
Tyler Simms as Amos Hart, Chicago
J. Gary Thompson as Jigger Craigin, Carousel
Malcolm Walker as The Wiz, The Wiz
Richard Young as Benjamin Franklin, 1776

BEST SUPPORTING ACTRESS IN A MUSICAL
Cecily Dowd as Winifred Banks, Mary Poppins
Lisa Glover as Whatsername, American Idiot
Priscilla Lopez as Berthe, Pippin
Krissy McKim-Barker as Carrie Pipperidge, Carousel
Tia R. Seay as Betty, The Great American Trailer Park Musical
Megan Valle as Jacqueline “Jacq” Greer, Miss Mayor

(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)

BREAKTHROUGH MALE PERFORMANCE
Evan Benjamin as Jack, Into the Woods (Dare to Defy Productions)
David E. Brandt as The Lion, The Wiz
Brett Hill as Kent, Reasons to Be Pretty
Dakota Mullins as Tommy Djilas, The Music Man
Thomas Cole Schreier as St. Jimmy, American Idiot
Eric Thompson as Enoch Snow, Carousel

BREAKTHROUGH FEMALE PERFORMANCE
Bryana Bentley as Rose, Fences (The Signature: A Poetic Medley Show/Sinclair Community College)
Caroline Chisholm as Velma Kelly, Chicago
Natalie Girard as Evelyn “Evie” Ensler (a.k.a. Helen Hensler), Miss Mayor
Adrienne (Adee) McFarland as Julie Jordan, Carousel
Vanae Pate as Dorothy, The Wiz
Madeline Sensenstein as Myrtle Wilson, The Great Gatsby

BEST DIRECTION OF A PLAY
Kimberly Borst, The K of D, An Urban Legend
David Brush, Reasons to Be Pretty
Greg Hellems, The Glass Menagerie
David Shough, Outside Mullingar
Jerome Yorke, And A Child Shall Lead

BEST DIRECTION OF A MUSICAL
Marya Spring Cordes, The Music Man
Joe Deer, Chicago
Chris Harmon, The Wiz
Megan Wean Sears, Tarzan
Angie Thacker, American Idiot

BEST CHOREOGRAPHY
Lula Elzy, Mary Poppins
Lisa Glover, The Wild Party
Kimberly Isaacs, American Idiot
Teressa Wylie McWilliams, Chicago
Rodney Veal, The Wiz
Dionysia Williams, The Music Man

BEST SCENIC DESIGN OF A PLAY
Bruce Brown, Last Gas
Matthew J. Evans, And A Child Shall Lead
Chris Newman, The Tale of the Allergist’s Wife (Dayton Playhouse)
Chris Newman and David Shough, Outside Mullingar
Terry Stump, One Flew Over the Cuckoo’s Nest

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, The Full Monty
Adam Koch, Chicago
Pam Knauert Lavarnway, The Music Man
Terry Stump, The Wiz
Ray Zupp, Tarzan

BEST COSTUME DESIGN OF A PLAY
Donna Beran, And A Child Shall Lead
Carol Finley, The Columnist (Dayton Theatre Guild)
Mary Beth McLaughlin, The Great Gatsby
Janet G. Powell, Steel Magnolias
Emily Sollinger, A Streetcar Named Desire

BEST COSTUME DESIGN OF A MUSICAL
Kathleen Carroll, 1776
Kathleen Hotmer, The Wiz
Maria Klueber and Lori Watamaniuk, Tarzan
Christie Peitzmeier, The Music Man
Michelle Sampson, Chicago

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UD’s production of AND A CHILD SHALL LEAD. Photo by: Tony Beran

BEST LIGHTING DESIGN OF A PLAY
Jadon Bischoff, Slowgirl (Dayton Theatre Guild)
Daniel Brunk, One Flew Over the Cuckoo’s Nest
Jessica Ann Drayton, A Streetcar Named Desire
Matthew J. Evans, And A Child Shall Lead
Jessy Henning, The K of D, An Urban Legend

BEST LIGHTING DESIGN OF A MUSICAL
Matthew Benjamin, American Idiot
Jacob Brown, The Music Man
Sammy Jelinek, Into the Woods (Dare to Defy Productions)
Gina Neuerer, The Wiz
John Rensel, Mary Poppins

BEST SOUND DESIGN OF A PLAY
Megan Banfield, And A Child Shall Lead
Jay Brunner, The Glass Menagerie
Emily Hutton, The K of D, An Urban Legend
Alex Koker, A Streetcar Named Desire
K.L. Storer, Last Gas

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Wiz
James Dunlap, Chicago
Emily Hutton, The Music Man
Chris Pentecost, Tarzan
Ben Selke, A Night with Janis Joplin

BEST ORCHESTRA
A Night with Janis Joplin (Music Director: Mark Berman)
The Bridges of Madison County (Music Director: Keith Levenson)
Chicago (Music Director: Scott Woolley)
Mary Poppins (Music Director: Claude Lucien Thomas)
The Wiz (Music Director: David McKibben; Conductor: Dr. Kenneth Kohlenberg)

BEST PROPERTIES
Jason Hamen and Adrienne Ausdenmoore, Tarzan
Jennifer Kramer, The Wiz
Heather Powell, Steel Magnolias
Shannon Sellars, Mary Poppins
Mo Stinehart, And A Child Shall Lead

ADDITIONAL ACKNOWLEDGMENTS

David Alfano’s video and projection design for And A Child Shall Lead
Lynn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich’s costume coordination for Mary Poppins
Brad Bishop as Gomez Addams and Becky Barrett-Jones as Morticia Addams in The Addams Family
Jay Brunner’s incidental music for The Glass Menagerie
David Brush and Chris Harmon’s respective reconfigurations of the Mathile Theatre and Beavercreek Community Theatre for Reasons to Be Pretty and Spring Awakening
Steven Burton and Tim Grewe’s wig design for 1776
The Tony-winning creative team for The Lion King: Director/designer Julie Taymor, scenic designer Richard Hudson, lighting designer Donald Holder, and choreographer Garth Fagan
The creative team for Miss Mayor: Christian Duhamel (music and lyrics), Ellie Margolis (book) and Greg Hellems (concept/additional book)
Micah Koverman as Colin in The Secret Garden (Playhouse South)
Bob Crowley’s Tony-winning scenic design, Natasha Katz’s Tony-winning lighting design, John Tiffany’s Tony-winning direction, and Steven Hoggett’s movement for Once
Tristan Cupp’s puppet design for And A Child Shall Lead
Cicily Daniels, Tawny Dolley, Q. Smith, and Jennifer Leigh Warren as the Joplinaries in A Night with Janis Joplin
Mary Bridget Davies’ Tony-nominated portrayal of Janis Joplin in A Night with Janis Joplin
Elis Davis, Jordan Adams, Connor Lysholm, and Kyle Krichbaum as The Quartet in The Music Man
Jonathan Deans and Garth Helm’s Tony-nominated sound design, Paul Kieve’s illusions, Dominique Lemieux’s Tony-nominated costumes, Scott Pask’s Tony-nominated scenic design, Diane Paulus’ Tony-winning direction, Kenneth Posner’s Tony-nominated lighting design, Gypsy Snider’s circus creation, and Chet Walker’s Tony-nominated choreography for Pippin
Jasmine Easler as Oprah Winfrey in Miss Mayor
Carol Finley’s costumes for Five Women Wearing the Same Dress (Beavercreek Community Theatre)
TJ “Tyler” Fortson, Katelyn Gross, Ashlee Ferrell, and Maximillian Santucci in Quid Pro Quo (Sinclair Community College)
Mierka Girten as Maria Callas, musical director Sean Michael Flowers’ accompaniment and Cassi Mikat as Sharon Graham in Master Class
Jose Gutierrez del Arroyo as Franklin Shepard in Merrily We Roll Along (Beavercreek Community Theatre)
Chris Harmon’s scenic design for California Suite, Five Women Wearing the Same Dress and Spring Awakening (Beavercreek Community Theatre)
William Ivey Long’s Tony-winning costumes and Josh Rhodes’ choreography for Rodgers and Hammerstein’s Cinderella
Jeffrey Mack as Tarzan in Tarzan
Gary Minyard’s fight choreography for She Kills Monsters (Sinclair)
Wendi Michael’s scenic design for Slowgirl (Dayton Theatre Guild)
Jared Mola as Nat Paradis and Rick Flynn as Guy Gagnon in Last Gas
The Murderesses of “Cell Block Tango” in Chicago (Caroline Chisholm, Alex Caldwell, Haylee Dobkins, Alyson Snyder, Megan Valle, and Meredith Zahn)
Chris Newman’s scenic design for The Diary of Anne Frank (Dayton Playhouse)
Casey Nicholaw’s Tony-winning choreography of The Book of Mormon
Annie Pesch and Fran Pesch’s rendition of “No More” in Broadway Beveled: A Feminine Cabaret
Micah Stock as Tom Wingfield (The Glass Menagerie) in American Mosaic
Matthew Tabor’s Hungarian dialect coaching for Chicago
Deborah Thomas’ dialect coaching for The Great Gatsby
André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry as The Yellow Brick Road in The Wiz
ZFX, Inc.’s flying effects for Tarzan

‘Master Class’ Review – Human Race Theatre Company – An Education

June 14, 2016 By Russell Florence, Jr.

Famed opera diva Maria Callas, one of the most gifted performers of the 20th century widely regarded as La Divina, comes alive through a satisfying lens at the Loft Theatre as seen in the Human Race Theatre Company’s production of Terrence McNally’s 1996 Tony Award-winning drama “Master Class.”

Pictured (left to right): Jeremy Carlisle Parker, Mierka Girten and Sean Michael Flowers. Photo courtesy of Scott J. Kimmins.

Fluidly directed by Scott Stoney and set in the mid-1970s, McNally’s work provides a compelling, fantasized look at a voice master class Callas conducts at the Julliard School, based on actual accounts from her 23 sessions held during the 1971-72 school year. The strengths of her remarkable voice long gone having retired in the early 1960s, Callas resorts to teaching to sustain her as she molds the next generation hoping to reach her level of acclaim. In her eyes, artistry, discovery, expression, meaning, intonation, history, truth, and commitment are paramount. While instructing three aspiring singers, she engagingly reflects on her humble beginnings, formidable lessons, supposed rivals, topsy-turvy romances, and lauded roles. But above all, she stresses the importance of education. “You’re not in a theater,” she warns at the outset. “You’re in a classroom.”
Mierka Girten, a Cincinnati native and Wright State University alumna, fittingly embodies the cool, stern, opinionated, and intimidating bluntness overflowing within Callas’ superiority and influence. Sophisticatedly dressed by costumer Hyun Sook Kim in sparkling black attire accented with strings of pearls, Girten, who looks the part and, at 47, is roughly the same age as Callas when she conducted her sessions, astutely relies on vocal dexterities and mannerisms to capture the role’s dramatic sensibilities. As an actress living with multiple sclerosis and its complications, she navigates the role gingerly by using the script and holding notes throughout. Nevertheless, her acting choices are far from precarious, particularly in scenes detailing Callas’ fascinating coaching and the time she recalls her affair with shipping tycoon Aristotle Onassis.
Wonderfully assisted by pianist/musical director Sean Michael Flowers as Emmanuel Weinstock, Girten shines opposite three fantastic vocalists. As confident tenor Anthony Candolino, the charming, sunny Blake Friedman, who appeared as tenor soloist in “Liebeslieder Walzer” with New York City Ballet at Lincoln Center, dynamically interprets a portion of Puccini’s “Tosca,” which Girten guides with delightfully descriptive beauty. Singing Bellini’s “Sonnambula,” Jeremey Carlisle Parker, a Dayton native and University of Cincinnati College-Conservatory of Music alumna, brings personable unease and reticence to her endearing portrayal of timid soprano Sophie De Palma. Recent Wright State University alumna Cassi Mikat, tremendous last season in “Sondheim on Sondheim,” delivers another vocally thrilling performance as the flummoxed yet determined soprano Sharon Graham. Sharon’s shrewd choice of the letter scene from Verdi’s “Macbeth” invigorates Callas to the point of dissecting the piece from entrance to epiphany while conjuring her stellar Lady Macbeth at La Scala.
Stoney, briefly appearing as a stagehand, also assembles a first-rate artistic team including scenic designer Scott J. Kimmins (whose 17th design for the Race exudes the proper look and feel of an academic studio), lighting designer John Rensel, sound designer Jay Brunner, and the aforementioned Friedman as dialect coach. Projections are effectively incorporated as well when Callas recalls her past.
“How can you have rivals when no one else can do what you do?,” Callas colorfully questions. McNally’s striking assessment of one of the world’s singular talents is an insightful guide to grasping her legacy and the music she adored.

“Master Class” continues through June 26 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. June 15-18 and 22-25; 2 p.m. June 19 and 26; and 7 p.m. June 14 and 21. The production runs 2 hours and 10 minutes including intermission. Tickets are $40 for adults, $37 for seniors, and $20 for students. A “While We’re On the Subject” post-show talkback featuring special guest Thomas Bankston, artistic director of the Dayton Opera, will be held following the June 19 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Lion King’ Review – Victoria Theatre Association – Amazing Artistry

June 10, 2016 By Russell Florence, Jr.

Disney’s “The Lion King” still has a mighty roar.

Photo caption Mukelisiwe Goba as Rafiki in Disney’s “The Lion King” (Photo by Matthew Murphy)

Five years after its sold-out premiere engagement at the Schuster Center, this global phenomenon, winner of six 1998 Tony Awards including Best Musical and the season finale of the Victoria Theatre Association’s Premier Health Broadway Series, returns to Dayton to deliver its incomparable blend of atmospheric splendor and imaginative razzle dazzle. The latest national tour treads a delicate course (the energy level on opening night was surprisingly off-kilter), but it satisfies visually nonetheless bolstered by terrifically firm performances.
Gifted director/designer Julie Taymor certainly broke the mold devising “Circle of Life,” a mesmerizing, tear-jerking and applause-inducing procession of birds, elephants, giraffes, rhinoceroses, zebras, and more revealing a key component to her marvelous vision. Stressing duality, particularly in the superb masks co-created by Michael Curry, she offers what she calls “the double event,” which enables the audience to see the characters as animal and human simultaneously. What a sight to behold! Her avant-garde pedigree also elevates the action from her clever use of shadow puppets to vivid moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning).

Still, in a testament to the strengths of the story, this engaging if character-overloaded and awkwardly cutesy tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father resonates beyond the technical wizardry. Librettists Roger Allers and Irene Mecchi retain the charm and heartbreak of the original 1994 screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An array of strikingly authentic and distinctive African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Academy Award winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs including the Academy Award-winning “Can You Feel the Love Tonight.” In an attempt to make Act 1 tighter and breezier, “The Morning Report,” an upbeat but superfluous tune written for the stage version by John and Rice, remains cut as it was in the previous tour.

The very entertaining, roughly 50-member cast is uniformly strong. As the villainous Scar, Patrick R. Brown, approaching the role with a Rex Harrison, sing-speak sensibility, is deliciously sarcastic and vain. As Mufasa, the dynamic Gerald Ramsey, offering a moving rendition of “They Live in You,” is a comforting and dignified authoritarian. The delightful Mukelisiwe Goba wholeheartedly embraces the show’s flavorful African essence as kooky, wise shaman Rafiki. Aaron Nelson brings warmth and conviction to his portrayal of the spirited, soul-searching Simba, particularly in his tender rendition of “Endless Night.” Nick Cordileone (Timon), Drew Hirshfield (Zazu), Ben Lipitz (Pumbaa), Keith Bennett (Banzai), Tiffany Denise Hobbs (Shenzi), and Robbie Swift (Ed) provide witty comic relief, especially Cordileone and Hirshfield who find refreshing new avenues to explore within the silliness. Nia Holloway (Nala) nearly stops the show with her heartfelt interpretation of the gorgeously evocative ballad “Shadowland.” BJ Covington and Savanna Fleisher respectively provide spunk and sass as Young Simba and Young Nala, roles shared by Julian Rivera-Summerville and Imani Pullum.
In addition to Taymor’s astonishing costumes, a particularly radiant explosion of color in “One by One,” Richard Hudson and Donald Holder respectively supply a truly magnificent set and lighting design. In fact, over 700 lighting instruments were used to create the show’s lighting plot. Garth Fagan’s crisp, exuberant choreography effortlessly captivates. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.
Seen by more than 85 million theatergoers worldwide and blessed with stagecraft that will leave you breathless, “The Lion King” is an extraordinarily eye-catching spectacle unlike any other. Don’t miss it.

Disney’s “The Lion King” continues through July 3 at the Schuster Center, Second and Main Streets, Dayton. Performances are Tuesdays-Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $25-$157. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Circle Mirror Transformation’ Review – Young at Heart Players – Games People Play

June 5, 2016 By Russell Florence, Jr.

Yelling gibberish and embodying a baseball glove are among the assignments within a quirky acting class in Annie Baker’s kooky if polarizing 2009 Off-Broadway comedy “Circle Mirror Transformation,” currently receiving an excellent local premiere at the Dayton Playhouse courtesy of Young at Heart Players, a senior-focused troupe founded by Fran Pesch celebrating its 15th anniversary.

(left to right) Steve Strawser as Schultz, Megan Cooper as Theresa, Cheryl Mellen as Marty, David Gaylor as James, and Jordan Norgaard as Lauren in Young at Heart Players’ local premiere of Annie Baker’s 2009 comedy “Circle Mirror Transformation,” the tale of a quirky acting class in Vermont. (Photo by Art Fabian)

Over the course of six summer weeks inside a windowless dance studio in Shirley, Vermont, five people attempt to connect by way of humorous, eye-opening theater games built to expose, entice and entertain. Counting to 10 in an attempt to be “totally present” or acting like a stuffed snake in order to conjure the feeling of being in a childhood bedroom develop as fascinating, playful exercises intended to stretch abilities and vulnerabilities. Some audience members might be perturbed by the detached nature of Baker’s stop-and-start structure, including the constant use of blackouts, but her choices bolster the fantastic realism she establishes from the outset even if the majority of the scenes, which are accented with pauses and improvisation, could be fodder for a “Saturday Night Live” sketch. Even so, Baker, the recipient of the 2014 Pulitzer Prize for her comedy “The Flick,” upholds the perspective of theater games as an expressive guide to understanding how strangers can become friends and gain new perspectives in their lives and the lives of others.

This fast-moving premiere, deftly directed with impressive, character-conscious timing by Annie Pesch and incorporating onstage seating, features a first-rate cast. As drama instructor Marty, Cheryl Mellen is an effortlessly encouraging and motivating presence staunchly proud of redefining the expectations of what an acting class can and should be. Finances and family drama get under Marty’s skin, but Mellen astutely showcases the light and dark sides within the character, particularly as her world comes crashing down late in the play. As Marty’s husband James, who only seems to be in the class to help his wife reach the required number of students, David Gaylor provides amiable support as an eager classmate willing to assist where needed. Megan Cooper is outstanding as the multilayered Theresa, an actress who left New York City to return to Vermont to be near her ailing parents. Conveying glamour, elegance, wit, a tinge of despair, and an emotionally scarred past with ample magnetism, Cooper strikingly illuminates Theresa’s desire for a better, meaningful future. As divorced carpenter Schultz, a timid soul who probably signed up for the class just to meet women, Steve Strawser offers a very endearing and honest portrait of a good-natured man simply yearning for more. Straswer is particularly strong when Schultz attempts to save Marty and James’ marriage and is given the cold shoulder by Theresa. As quiet, reserved high school junior Lauren, Jordan Norgaard strikingly evolves from introverted loner to confident contributor.

In addition to receiving the Obie Award for Best New American Play, “Circle Mirror Transformation” was named one of the Top 10 plays of 2009 by The New York Times and The New Yorker. Baker’s acclaimed material is more interesting than engaging, but a worthwhile look at unconventional unity nonetheless.

“Circle Mirror Transformation” continues through June 12 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Remaining performances are June 11 at 8 p.m. and June 12 at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $15 for adults and $12 for seniors/ students. Seating is general admission both onstage and off. 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 and sensitive topics not suitable for younger audiences.

‘Last Gas’ Review – Dayton Theatre Guild – In Pursuit of Happiness

June 2, 2016 By Russell Florence, Jr.

The Dayton Theatre Guild supplies a terrific local premiere of John Cariani’s surprisingly fascinating and engrossing 2010 comedy “Last Gas.”
On the surface, Cariani’s tale, which takes place over the course of roughly 24 hours, is merely a humorous account of small town life in Maine centered on Paradis’ Last Convenient Store, the last place to get what you need from gas to groceries before the Canadian border to the north and the North Maine Woods to the west. The quaint family business is run by Nat Paradis, a huge Red Sox fan particularly proud of his son Troy and appreciative of the friendship he has with childhood buddy Guy Gagnon. Still, something is truly amiss underneath. After all, Nat, hoping to put to rest what’s ailing him psychologically, has been fixated on advertisements promising various forms of relief. He’s trying to “get back to happy,” but has no idea what that means. Even when his high school sweetheart Lurene Legassey Soloway returns home to attend her mother’s funeral, he still feels incomplete and awkward. However, with intriguing, relatable effectiveness, Cariani uncovers the truth behind Nat’s conflicted persona with the clear understanding that loving yourself is paramount in the pursuit of happiness.

(left to right) Rick Flynn as Guy Gagnon, Rachel Wilson as Cherry-Tracy Pulcifer, Dave Williamson as Dwight Paradis, Jack Lewis as Troy Paradis-Pulcifer, Angela Dermer as Lurene Legassey Soloway, and Jared Mola as Nat Paradis in the Dayton Theatre Guild’s local premiere of John Cariani’s comedy “Last Gas,” a story of discovery and acceptance in small town Maine. (Photo by Craig Roberts)

As Debra Kent’s wonderfully delicate and honest staging fluidly transpires without one morsel of emotional overkill, Cariani’s world vividly arises thanks to a marvelously authentic sextet. Jared Mola, embracing material which pushes him to a refreshingly new level of vulnerability, splendidly embodies Nat’s doubts and insecurities without falling into a stereotypical trap. Rick Flynn, who has had a banner season at the Guild as an actor and director, astutely underplays as the shy, determined Guy. As Nat’s roughneck dad Dwight, David Williamson conveys the character’s old-school charm and unforgiving ferocity with equal vitality. Angela Dermer, recently seen as the kindly Thelma in the Guild’s “The Trip to Bountiful,” firmly radiates joy, perplexity and regret in her multifaceted portrayal of the bubbly, bruised Lurene. The absolutely delightful Rachel Wilson is an offbeat, Coen brothers-esque standout as incredibly stern forest ranger Cherry-Tracy Pulcifer, Troy’s combative, no-nonsense mother who relishes the chance to use and abuse her authority. Jack Lewis, memorably endearing earlier this season as Peter Van Daan in the Dayton Playhouse’s “The Diary of Anne Frank,” is a strong, sensitive presence once more. He’s particularly impactful in Act 2 when introverted Troy unexpectedly opens up to Lurene about his future plans and ongoing familial strife.

Additionally, longtime area scenic designer and Dayton Theatre Hall of Fame member Bruce Brown steps out of retirement to provide an outstanding two-level set, one of the largest in Guild history, complete with back staircase. Brown’s simultaneously large yet intimate design is greatly accented by Deidre Root’s fine assortment of props. Also noteworthy are Margie Strader’s evocative lighting, Kristine Caffrey’s satisfying costumes, dance choreographer Stefanie Pratt’s playful routine for Mola, Dermer and Flynn in Act 2, George Spelvin, Teresa Connair, Joseph Knead, and Barbara Jorgensen’s appealing voiceovers, and K.L. Storer’s hilariously story-specific sound design.

Cariani, raised in Maine, is predominately known in theater circles for his first and widely produced comedy “Almost, Maine,” which also explored themes of love and perception. With unforced, heartfelt potency, “Last Gas” gently resonates as an unexpectedly striking portrait of acceptance and forging a new path.

“Last Gas” continues through June 12 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Act One: 70 minutes; Act Two: 65 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.

‘American Idiot’ Review –Dare to Defy Productions – Explosive Angst

May 21, 2016 By Russell Florence, Jr.

Green Day’s 2010 Tony Award-nominated rock musical “American Idiot,” based on the 2004 Grammy-winning album of the same name with additional tunes from the 2009 Grammy-winning album “21st Century Breakdown,” receives a wonderfully compelling and vigorous presentation courtesy of Dare to Defy Productions at the Victoria Theatre.

The cast of Dare to Defy Productions’ presentation of Green Day’s “American Idiot” (Contributed photo)

Under the terrifically fluid, character-specific direction of Angie Thacker and bolstered by expressively exuberant and physical choreography by Kimberly Isaacs, “American Idiot” certainly retains its post-9/11 sociopolitical sting. However, there is much more within the soul-searching journeys of slacker buddies Johnny, Tunny and Will fueling this version, one of the strongest, seamless and emotionally-driven I’ve seen since the Broadway original. For instance, Johnny (a.k.a. Jesus of Suburbia) is still a disillusioned man-child venturing down a dark path of drug abuse, but he’s also in search of being loved no matter the risk. In the same regard, Tunny is attracted to the idea of joining the military, but is very wary underneath even when he’s in basic training. Will spends most of his time reacting rather than participating (an underwritten misstep in an otherwise sturdy collaboration between Green Day frontman Billie Joe Armstrong and co-librettist Michael Mayer), but his perspective entices nonetheless as his woeful suburban existence with his pregnant girlfriend Heather suffocates and perplexes him. Thanks to Thacker’s desire to go beyond the surface, the fundamental truth that choices have consequences is not lost here by any means. And the vocally strong, communicative ensemble vividly interprets Isaacs’ movement as they drive and push this trio along. With passion and intensity, they are absolutely fascinating extensions of the characters.
Layne Roate (Johnny), Bobby Mitchum (Tunny) and Zach Erhardt (Will) are remarkably paired. In fact, Roate and Erhardt, Dare to Defy newcomers, are very talented guitarists. The tall, lanky and animated Roate fittingly reveals Johnny’s anger and frustration, but greatly captivates in terms of vulnerability. His stellar rendition of “Boulevard of Broken Dreams,” complete with stage pictures recalling “Say Anything” and “West Side Story,” is filled with haunting melancholy, and I also found his plaintive rendition of “Whatsername” beautifully mysterious. Mitchum’s sensitivity propels Tunny’s distressing yet inspirational arc accented by the fiery presence of Maddie Vaughn as the Extraordinary Girl who changes Tunny’s outlook. The contemplative, striking Erhardt leads a pensive “Give Me Novacaine” and turns Will’s anthem “Nobody Likes You” into a powerful epiphany.
Additionally, the supremely fierce Lisa Glover is a highly energetic knockout as the sexual, rebellious Whatsername, Johnny’s love. Glover’s defiant scream in the pulsating “Letterbomb,” her brief appearance in “Boulevard of Broken Dreams,” and her gentle pleading in “21 Guns” (notably shared with Vaughn and a very effective Natalie Sanders as Heather) are highlights. The marvelously menacing Thomas Cole Schreier delivers a breakthrough portrayal of St. Jimmy, the personification of Johnny’s drug addiction, with fantastic renditions of “St. Jimmy” and “Know Your Enemy” containing vocal flourishes that elevate both numbers. The rip-roaring ensemble includes A.J. Breslin (notable in “Holiday”), Aaron Brewer (notable in “Rock and Roll Girlfriend”), Naman Clark, Samantha Creech, Brent Hoggatt (notable in “East 12th St.”), Mackensie King, Zach King, Abby Land, Jeffrey Mack, Skyler McNeely, Laura Moore (notable in “Too Much Too Soon”), Brett Norgaard (notable in “Favorite Son”), Desmond Thomas, Andre Tomlinson, Jenna Valyn, and Ella Wylie.
Thacker’s first-rate artistic team includes scenic designer Ray Zupp (creating a gritty world of dismantling and decay with great use of scaffolding), superbly evocative lighting designer Matthew Benjamin (in a rare departure from his duties at Wright State University), and musical director Lorri Topping who assembles a firmly balanced seven-piece orchestra that doesn’t overpower the actors. There were multiple sound hindrances on opening night, but it didn’t deter momentum.
In the words of Whatsername, there is nothing left to analyze. Go see this show.

“American Idiot” concludes today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 45 minutes; Act Two: 50 minutes. Tickets are $26.50-$51.50. 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 themes.

‘1776’ Review – Dayton Playhouse – Creating America

May 13, 2016 By Russell Florence, Jr.

There’s no need for debate. The Dayton Playhouse’s production of “1776” is a winner.
Librettist Peter Stone and composer Sherman Edwards’ 1969 Tony Award-winning musical has always been one of the most artistically challenging shows ever conceived. In addition to requiring the participation of nearly 25 men, the score’s deceptively complicated demands and the sheer commitment to historical accuracy can take its toll on any organization bold enough to attempt it. In fact, it’s been nearly 20 years since this show was last seen in Dayton courtesy of a stellar national tour at the Victoria Theatre. Nonetheless, when done well, as is evident in Tina McPhearson’s brisk, crisp and jovial staging, you can’t help but be completely enticed by this brilliantly written, three-hour re-enactment of the birth of our nation at the hands of our brave, flawed Founding Fathers.

In May 1776 in Philadelphia, independence is of utmost importance to John Adams of Massachusetts who vows to free the 13 colonies from the grip of Great Britain. However, the Second Continental Congress has had enough of Adams’ grandstanding. So, with fervent persuasion and occasional bullying, he looks to his fellow congressmen to discover who would be most willing to aid in his seemingly impossible dream. The infamous and ingenious Benjamin Franklin of Pennsylvania, the friendly and upbeat Richard Henry Lee of Virginia, and the intellectual and introspective Thomas Jefferson of Virginia become chief players. But in Adams’ valiant quest, dissension comes into view, particularly from the opinion of John Dickinson, Franklin’s cohort in the Pennsylvania delegation along with James Wilson. Dickinson insists independence be voted upon unanimously. Matters become pricklier when hard-nosed Edward Rutledge of South Carolina detests the notion that slavery will be abolished. In order to appeal to the greater good, sacrifices are ultimately made to ensure the promise of life, liberty and the pursuit of happiness.
David Shough, who has had a standout season as an actor, director and designer, is perfectly cast as the hated, volatile Adams. His vocally firm and terrifically complex portrayal is fittingly abrasive but very passionate, which keeps the audience in his corner. A nearly unrecognizable Richard Young delivers one of his finest, most colorful performances as the cheerful Franklin who vividly reminds Adams of what is really at stake as the drama swells late in Act 2. Chris Tuell, a Playhouse newcomer, is enjoyably unobtrusive as the mild-mannered Jefferson. Tim Rezash brings sophisticated sting to the unyielding Dickinson while particularly leading the clever gavotte “Cool, Cool Considerate Men.” Shawn Hooks, as Rutledge, chillingly renders “Molasses to Rum,” one of the most intensely unnerving songs in the musical theater canon. The delightful Gary Watts, another Playhouse newcomer, brings lively glee to “The Lees of Old Virginia.” Charles Larkowski, as president John Hancock, oversees the action with grace and humility with delightful support from Matthew Lindsay as the humorously monotone secretary Charles Thomson. Additionally noteworthy are Brad Bishop as the meek Wilson, John Beck as the sickly Caesar Rodney, Alain Alejandro as Roger Sherman and Mark Reuter as Robert Livingston (a fine duo contributing to “But Mr. Adams”), Jon Horwitz as Dr. Lyman Hall, Steve Thompson as Dr. Josiah Bartlett, John Falkenbach as Stephen Hopkins, Greg Dixon as Lewis Morris, Jamie McQuinn as Rev. John Witherspoon, Brian Laughlin as Col. Thomas McKean, Sean Gunther as George Read, Mark Van Luvender as Samuel Chase, C.J. Suchyta as Joseph Hewes, and Andrew Spoon as the dedicated courier who delivers George Washington’s revealing correspondence from the front lines. Spoon’s beautifully poignant rendition of “Momma, Look Sharp” marvelously closes Act 1 with harmonic assistance from Thomas Caldwell as custodian Andrew McNair and Christian Johnson as Leather Apron. Outside the congressional chamber, an excellently conversational Sherri Sutter fills her radiant portrayal of Abigail Adams with warmth and wit, particularly joining Shough for the lovely duets “Till Then” and “Yours, Yours, Yours.” As Martha Jefferson, Maggie Carroll’s effervescence heightens the gorgeous waltz “He Plays the Violin.”

Pre-production video of 1776 by Art Fabian.
McPhearson, who also supplies props, assembles an artistic team including choreographer Allison Eder, musical director Ron Kindell, scenic designer Chris Newman, costumer Kathleen Carroll (the attractive period outfits for the men and Maggie’s striking gown are eye-catching), wig designers Steven Burton and Tim Grewe, lighting designer Anita Bachmann, and sound designer Bob Kovach. Kindell’s 14-member orchestra sounds tiny and distant but is not a hindrance.
Compromise didn’t come easy 240 years ago and feelings certainly remain strained among current lawmakers. But the suspense leading up to the signing of the Declaration of Independence still resonates to the fullest in this outstanding, rarely staged musical. So, be sure to visit the Dayton Playhouse for a history lesson you’ll never forget. Don’t let another 20 years pass you by.

1776” continues through May 22 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 105 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘The Trip to Bountiful’ Review –Dayton Theatre Guild – Homeward Bound

April 30, 2016 By Russell Florence, Jr.

Carrie Watts, a feisty widow, takes matters into her own hands by embarking on a bittersweet journey to her past in Horton Foote’s tender, touching drama “The Trip to Bountiful,” set in 1953 Texas and admirably presented by the Dayton Theatre Guild through Sunday, May 1.

Before Carrie (Gayle Smith) ventures on her titular excursion to her childhood home, which is the absolute heart and soul of the play, Foote humorously reminds us why on earth she’d want to take such a leap of faith. It seems as if she’s simply had enough of being a bother, a sheer inconvenience, to her dutiful son Ludie (Ray Geiger) and persnickety daughter-in-law Jessie Mae (Amy Askins) inside their cramped Houston apartment. Although she provides Ludie and Jessie Mae with a portion of her monthly government check, Carrie realizes her life and what she can contribute is worth so much more than a dollar amount. She can’t even sing her favorite hymn, “No Not One,” without Jessie Mae scolding her. So, with great conviction and determination, she boldly bolts from the apartment, her prison of conflict and confinement, to find some semblance of peace and happiness in her beloved Bountiful, a small town 12 miles from Harrison. Situations don’t go according to plan, but there is a feeling of contentment within Carrie’s spirit nonetheless as she comes to terms with an emotional tug-of-war derived from battling memory and reality.

(front row left to right) Angela Dermer, Gayle Smith, Amy Askins, (top row left to right), Ryan Shannon, Scott Madden, and Ray Geiger comprise the cast of the Dayton Theatre Guild’s production of “The Trip to Bountiful” (Photo by Craig Roberts)

The delightfully folksy Smith lovingly conveys Carrie’s endearing resilience, particularly as others attempt to set her back. In Smith’s capable hands, particularly in Act 2’s dramatic passages, it’s easy to understand why Carrie longed to break free and make a change if only to restore her dignity and purpose. The effectively understated Geiger delicately uncovers Ludie’s relatable agitations and disappointments, specifically his concerns about job security and not having fathered a child. A terrifically overbearing Amy Askins ensures Jessie Mae’s insensitivity doesn’t dissipate, but she also paints a vivid portrait of a cooped up housewife longing for more (particularly time with her husband and friends) who needs to flee just as much as Carrie. In addition, Angela Dermer charmingly portrays the kind if underwritten Thelma, a military wife who befriends Carrie. Scott Madden (Sheriff) and Ryan Shannon (Roy/Harrison Ticket Man) aid in authenticity.
Director Craig Smith doesn’t guide the slow-going, off-kilter Act 1 with enough flavorful interplay between Smith, Geiger and Askins, but his vision for Act 2 establishes stronger connections, specifically his staging of the poignant final scene. His commendable artistic team includes scenic designer Del Johnston, lighting designer Scott Wright, costumer Carol Finley, and sound designer K.L. Storer.

In the play’s haunting, heartbreaking final moments, Carrie stands in front of her Bountiful home with immense fondness and pride. What she views as a sight of magnificent glory would appear to the average person as nothing more than a symbol of deterioration, dilapidation and neglect. But if beauty is truly in the eye of the beholder, I proudly side with Carrie.

“The Trip to Bountiful” continues today at 5 p.m. and tomorrow at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Both acts run roughly 55 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

‘One Slight Hitch’ Review – Human Race Theatre Company – Wedding Woes

April 12, 2016 By Russell Florence, Jr.

Cuteness abounds inside the Loft Theatre as the Human Race Theatre Company presents the second professional production of comedian Lewis Black’s comedy “One Slight Hitch.” The play’s Cincinnati setting is cute. The notion of a summer wedding is cute. A slacker ex-boyfriend provoking chaos is cute. A precocious teenager grooving to music on her Walkman is cute. But conceptual issues dampen this flimsy, problematic farce which transpires like an overlong “Saturday Night Live” sketch pushing hard for laughs and relying heavily on nostalgia for appeal.

Pictured (left to right): Dana Berger, Rita Rehn, Alex Sunderhaus, Cecily Dowd and Brian Dykstra in Lewis Black’s One Slight Hitch.

Directed by Margarett Perry and written by Black roughly 35 years ago, “One Slight Hitch” brews its frenzy from the relatable vantage point of the Colemans, a close-knit suburban Republican family. On her special day, aspiring writer Courtney (Dana Berger) must choose between her just-came-into-town ex Ryan (Alex Curtis) or her super straight-laced therapist-fiancé Harper (Kyle Nunn). Courtney’s devoted, exasperated parents Doc (Brian Dykstra) and Delia (Rita Rehn) would rather her err on the side of caution (a.k.a. stability), but there’s something about bad boy Ryan that still fuels her fire. As wedding preparations reach fever pitch, and as Courtney’s sisters PB (Cecily Dowd) and Melanie (Alex Sunderhaus) attempt to make sense of the madness around them, Courtney has a life-altering epiphany that brings everything to a screeching halt.

Black, an Emmy and two-time Grammy winner who appeared on Broadway in his 2012 one-man show “Running on Empty,” knows a thing or two about sarcasm and timing having built his career on those comedic attributes. But right from the start his foundation is askew here. At the outset, the story is startlingly told from PB’s perspective as she joyfully reflects on all things 1981. Is a pop culture laundry list really necessary in the first five minutes? Also, and in addition to Black creating two oddly unfunny, momentum-stalling moments in which Doc speaks to Harper’s offstage parents, weak character development particularly hinders Doc and Delia from being anything more than an over-the-top, purely observational combination of confusion and mockery. Trouble is we’ve seen this before from the standard sitcom playbook. A husband frantically attempts to maintain peace while keeping close to the alcohol as his wife freaks out as if the world is coming to an end. And I can’t believe the consistently chipper Harper actually exits the stage twice to the sound of chirping birds. Cue laugh track!

Pictured (left to right): Dana Berger, Rita Rehn, Kyle Nunn, Alex Curtis, Cecily Dowd, Alex Sunderhaus and Brian Dykstra in Lewis Black’s One Slight Hitch.

Script quandaries aside, Perry’s energetic cast doesn’t contain any weak links, an absolute saving grace. The hilariously fussy Berger gives credence to Courtney’s frustrating dilemma. The charming, slovenly handsome Curtis conveys Ryan with an edginess suggesting his troublemaker tendencies and an endearing sensitivity proving why Courtney found him attractive in the first place. The bubbly Dowd, a Centerville High School junior who recently gave a breakthrough performance as Winifred Banks in Muse Machine’s production of “Mary Poppins,” impresses in her professional debut with a sweetly sincere and effervescent aura. Sunderhaus, a Wright State University alumna who appeared last season in the Race’s production of “Vanya and Sonia and Masha and Spike,” injects sass and a tinge of sibling rivalry into her fetching portrayal. Dykstra, seen on Broadway in 2013 opposite Tom Hanks in Nora Ephron’s fascinating Tony-nominated dramedy “Lucky Guy,” effectively channels Black’s intonations and mannerisms. He also conducts the ongoing hysteria with ample vivacity despite his occasionally unrealistic gesturing. The hunky Nunn, a clean-cut, All-American epitome of an Abercrombie & Fitch model seen last season in the Race’s “Miracle on South Division Street,” delightfully contrasts Curtis, particularly shining when Harper attempts to diagnose Ryan in one of the play’s strongest and most revealing moments. Rehn, who appeared on Broadway in such musicals as “Nine” and “A Chorus Line,” relishes Delia’s madcap antics, but beautifully pauses the craziness late in Act 2 when Delia poignantly reminds her daughters of her courtship with Doc and the sacrifices they’ve made.
Ray Zupp’s attractively detailed set strikingly signifies the Colemans’ upper-class status. Janet G. Powell, having costumed “Steel Magnolias” for the Race last fall, eye-catchingly evokes the Greed Decade once more in amusing wedding garb for the ladies complete with huge bows and ruffles. John Rensel’s lighting notably spotlights Dowd in her narrative, music-centric duties. Sound designer Todd Mack Reischman (“Seussical,” “Big River”) returns to the Race to ensure the pulsating vibes of “Bette Davis Eyes” and “Jessie’s Girl” haven’t lost their allure.

Pictured: Rita Rehn and Brian Dykstra in Lewis Black’s One Slight Hitch.

In one of his many brainless retorts, Ryan proudly states, “I haven’t worked it all out but it sounds right.” His credo sums up the essence of this forgettable romp.

“One Slight Hitch” continues through April 24 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. April 13-16 and 20-23; 2 p.m. April 17 and 24; and 7 p.m. April 12 and 19. Act One: 60 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. A “While We’re On the Subject” post-show talkback will be held following the April 17 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Wild Party’ Review – Dare to Defy Productions – Revenge & Revelry

April 9, 2016 By Russell Florence, Jr.

Dare to Defy Productions terrifically explores the brutal depths of an extremely complicated relationship in its vibrant and sexy presentation of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name and staged inside the Mathile Theatre of the Schuster Center.

(left to right) Zach King (Burrs), Laura Ellen Moore (Kate), Natalie Sanders (Queenie), and Desmond Thomas (Black) are a conflicted foursome in Dare to Defy Productions’ presentation of Andrew Lippa’s Jazz Age musical “The Wild Party.” (Contributed photo)

In this Prohibition-era New York tale, Queenie, a sultry dancer, and Burrs, a vaudeville comedian, are dangerous, abusive lovers who have reached an emotional breaking point but can’t bear to live without each other. It’s a messy game, a vicious cycle, which worsens when Queenie asks Burrs to co-host a decadent party in their Manhattan apartment, ultimately exposing him for the louse he is in front of their eccentric friends. But situations take an unexpected turn when Queenie’s self-absorbed, drug-addicted best friend Kate arrives with the mysterious Black who falls hard for Queenie. As Queenie discovers a new soulmate in Black, and Kate attempts to ignite a spark with Burrs, the rowdy festivities tragically spiral out of control.

Lippa received a Tony Award nomination for his 2010 score of “The Addams Family,” but his best work thus far rests here with his tuneful array of vivid character numbers and ensemble-driven delights skillfully secured by music director Lorri Topping’s fine orchestra. In particular, Queenie and Burrs’ songs are engagingly introspective (“Out of the Blue,” “Maybe I Like It This Way,” “What is It About Her?,” “How Did We Come to This”) which enjoyably contrasts spirited anthems such as “Raise the Roof,” “A Wild, Wild Party,” and “Let Me Drown.” As librettist, Lippa’s work isn’t as sharp (some of the minor characters are either underwritten or underwhelming), but his firm, fully fleshed portraits of the two key couples effectively fuels passion and suspense as the dramatic action swells.

Director Mackensie King, guiding a cast of 15, absolutely ensures this party is indeed wild. Taking a cue from Queenie and Kate’s pact to approach the evening with “no limits, no boundaries, no compromise,” King amps up the gaiety, mayhem and danger by seating the audience on three sides for complete, impactful effect. Refreshingly, the audience is treated as intimate participants instead of mere observers. Trust me, when the cast sheds their clothes in Act 2 you might as well forget about your ideas of a comfort zone. Furthermore, choreographer Lisa Glover’s outstandingly vivacious and athletic choreography, filled with a fun, Jazz Age flapper essence and shades of Bob Fosse, works in tandem with King’s vision to splendidly heighten the show’s cheeky energy. My eyes were constantly drawn to nearly every movement particularly within the fascinating opening number chronicling Queenie and Burrs’ history (“Queenie Was a Blonde”) as well as the ensemble standouts “What a Party,” “Raise the Roof,” “The Juggernaut,” and “A Wild, Wild Party.” She also strikingly acts and dances the role of Nadine, a young girl who somehow finds her way into these debauched proceedings. Based on Glover’s fantastic contributions, I feel the urge to predict she will lead and choreograph “Sweet Charity” locally or elsewhere one of these days.
King’s cast is led by the appealing, credibly cohesive duo of Natalie Sanders and Zach King. Sanders, a vocal powerhouse, weaves a beautifully complex arc reiterating Queenie’s mind-boggling battle of being simultaneously disgusted by Burrs yet compelled by his charms. King, impressively expanding the breadth of his abilities, intensely attacks with intimidation and unsettling volatility befitting Burrs’ alarmingly unstable behavior. As Black, strong tenor Desmond Thomas is more sweetly sensitive than suavely seductive, but his chemistry with Sanders poignantly evolves in his heartfelt rendition of “I’ll Be Here.” As the feisty Kate, Laura Ellen Moore lacks full-throttle ferocity (her flashy introductory solo “Look At Me Now” is especially weak) but her vulnerability throughout is a plus. A.J. Breslin (mostly shirtless as knucklehead boxer Eddie) and Hayley Penchoff (ditzy Mae) are adorably spotlighted in “Two of a Kind.” As lesbian Madeline True, Samantha Creech winningly shares her longing for “An Old-Fashioned Love Story.” The flamboyance of Jeffrey Mack (Oscar D’Armano) and Brennan Paulin (Phil D’Armano) propels the comedy within “A Wild, Wild Party.” André Tomlinson (the mute Jackie) partners with Glover for a haunting take on “Jackie’s Last Dance” reflecting Queenie and Burrs’ destructive core. The cast includes Thomas Cole Schreier (Sam), Danielle Kubasky (Dolores), Jamal Caan (Max), and Amanda Carter (Daisy). King’s artistic team includes scenic designer Ray Zupp and lighting designer Derek Dunavent.
If you’re in the mood to let loose, don’t miss this daring, edgy showcase.

“The Wild Party” concludes today at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $21.50. 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 content.

‘Reasons to Be Pretty’ Review – Playground Theatre – Slip of the Tongue

March 26, 2016 By Russell Florence, Jr.

Words hurt. And when it comes to waging a war of words, you can always count on masterfully raw playwright Neil LaBute to go for the jugular. Case in point: “Reasons to Be Pretty,” his vicious yet thought-provoking 2009 Tony Award-nominated tale of relationships gone bad currently receiving a knockout local premiere in the Mathile Theatre of the Schuster Center courtesy of Playground Theatre.

Brett Hill (Kent), Jenna Burnette (Steph), Christopher Hahn (Greg), and Kaleigh-Brooke Dillingham (Carly) star in Playground Theatre’s production of Neil LaBute’s drama “Reasons to Be Pretty” (Photo by Rachel Katz)

Lights up: Greg and Steph, arguing to the profane hilt, explosively dismantle their four-year relationship over an off-the-cuff comment Greg told his best friend Kent about Steph’s appearance. What did he say? He called her face “regular.” As sparks fly, Greg pitifully tries to salvage his insensitive wrongdoing, but it’s too late. Steph has had enough and there’s nothing he can do about it. But as Greg attempts to make sense of this breakup and his meandering lot in life, he’s caught in a precarious firestorm involving Kent and his wife Carly, Steph’s best friend who overheard what Greg said about Steph on that fateful day.

Director David Brush, astutely and fluidly stripping the play down to its gritty, relevant language with an edgy off-Broadway vibe, assembles a truly dynamic quartet. Playground co-founders and real-life couple Christopher Hahn and Jenna Burnette deliver tremendously compatible and visceral portrayals of Greg and Steph that cut deep with earnestness and volatility. Hahn, very engrossing as a millennial underdog, strikingly captures the vulnerability, shock and regret fueling Greg’s journey of self-discovery. In order to become a better man, a mature adult, Greg has to recognize his carelessness in letting his soul mate get away. It’s a tough lesson to learn, but LaBute doesn’t pull any punches as Greg’s fascinating evolution, accented by his desire to leave his dead-end job, climaxes with potent defiance.

The feisty Burnette, firing on all cylinders, relishes some of the nastiest writing LaBute has concocted in a brutal scene which finds Steph facing Greg at a mall food court for an airing of grievances that utterly destroys him to the core. Watching Burnette in this gleeful rage will likely send chills down your spine, but she isn’t a one-note scorned woman by any means. Her complex performance softens as Steph continues to cross paths with Greg to the point of her eventually coming to terms with the fact that he wasn’t exactly the guy of her dreams in the first place. He was never going to be the husband, the provider, she hoped for and this epiphany, albeit heartbreaking, is her truth that must be accepted. As the perplexed Carly, Kaleigh-Brooke Dillingham, memorable last fall opposite Hahn in Playground’s local premiere of “Really Really,” weaves a delicate arc bringing credence to her decision to embrace Greg as an unexpected confidant. As the obnoxious, appallingly superficial Kent, a selfish woman-chasing man-child, handsome newcomer Brett Hill magnetically commands the stage with sneering arrogance and intimidation. His final scene opposite Hahn, a cage match of sorts putting Brush’s wonderfully intimate Mathile configuration to great use as never before, becomes a compelling, unnerving battle as frustration and testosterone collide.
“Reasons to Be Pretty” is the third play of four in LaBute’s signature examination of body image including “The Shape of Things,” “Fat Pig” and “Reasons to Be Happy.” Whether or not you agree with his perspectives and the controversies they ignite, “Reasons to Be Pretty” remains a bold testament to his contemporary craft and the millennial anxiety he exposes which Playground Theatre continues to impressively explore.

“Reasons to Be Pretty” concludes today at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 60 minutes; Act Two. 60 minutes. Tickets are $20. For tickets or more information, 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.

In related news, Playground Theatre’s 2016-17 season will consist of “This Is Our Youth” (Sept. 1-4, 2016, directed by John Ray), “Jailbait” (Dec. 1-4, 2016, directed by Burnette) and “Gruesome Playground Injuries” (March 23-26, 2017, directed by Brian DeLuca).

‘The Music Man’ Review – Wright State University – Amazing Americana

March 25, 2016 By Russell Florence, Jr.

Threats of trouble arouse the small town of River City, Iowa in Meredith Willson and Franklin Lacey’s classic 1957 Tony Award-winning musical comedy “The Music Man,” but there are no signs of distress in Wright State University’s fantastic presentation running through April 3 in the Festival Playhouse.

In this exceedingly charming tale about a con artist reawakening love and possibility within a vulnerable community in July 1912, a first-rate Nathan Robert Pecchia leads the way as Professor Harold Hill, a traveling salesman who decides to go back into his bag of tricks during a seemingly slow period. When all else fails, the creation of a boy’s band is a quick fix for Harold and Pecchia commandingly stirs the pot with deliciously assertive glee. In fact, his rip-roaring rendition of “Trouble,” a rapid-fire, talk-sung gem of commotion, disbelief and hysteria, truly mesmerizes as intended. A few scenes later, he returns with whirlwind gusto to address, in joyfully over-the-top fashion, the sight of “Seventy-Six Trombones,” which finally delivers the gullible town firmly in the palm of his shady hand. Without Pecchia’s confidence, magnetism and vocal prowess, attributes which served him well last season as a member of WSU’s equally thrilling and startlingly under-attended regional premiere of “Sondheim on Sondheim,” this “Music Man” would have been completely lopsided, which is always a huge risk for any organization producing what is essentially one of the most formidable star vehicles in the musical theatre canon.
Elsewhere in River City, Emsie Hapner provides strong moments of warmth and frustration as the terse, talked-about spinster Marian Paroo, a librarian who seeks to destroy Harold but ultimately recognizes him as her soul mate. Some of Willson’s numbers challenge Hapner’s vocal range, particularly the gorgeous soprano grandeur of “My White Knight,” but her grounded interpretation is not short of nuance or credibility overall. As Mrs. Paroo, Cassi Mikat, a recent semifinalist in the national Lotte Lenya Competition who gave one of 2015’s best performances in “Sondheim on Sondheim,” supplies feisty Irish earthiness opposite Hapner in “Piano Lesson” and “If You Don’t Mind My Saying So.” Eric Pettit, a memorable Randy Parker in La Comedia Dinner Theatre’s recent regional premiere of “A Christmas Story: The Musical,” is absolutely endearing as the introverted Winthrop. William Mendleson (an aptly befuddled Mayor Shinn) and Caitlin Geisser (beautifully costumed in pink and turquoise as Eulalie Mackecknie Shinn) are a humorous duo. Knockout dancer Dakota Mullins (in a breakthrough portrayal of Tommy Djilas) and lovely Meredith Zahn (Zaneeta Shinn) tremendously conjure the spirit of Gene Kelly and Cyd Charisse in “Marian the Librarian,” stunningly choreographed with exuberant chaos and elation by Dionysia Williams. The bubbly Kyle Sell (Marcellus Washburn) is a winning sidekick for Pecchia and well-paired with the goofy Emily Chodan (Ethel Toffelmier). As Harold’s enraged rival salesman Charlie Cowell, a wonderfully agitated Ben Tracy brings fiery intimidation to his pivotal testimony late in Act 2. The cohesively harmonic team of Elis Davis (Olin Britt), Jordan Adams (Oliver Hix), Connor Lysholm (Ewart Dunlop), and Kyle Krichbaum (Jacey Squires) are outstanding as the bickering school board-turned-barber shop quartet. Grace Leisch (Mrs. Squires), Lauren Everett (Alma Hix), and Madeline Vaughn (Maud Dunlop) perfectly contribute to the giddy amusement of “Pick-A-Little Talk-A-Little.” Emma Fry (Amaryllis), George Heddleston (Constable Locke/Conductor), Kyle Miller, Zach Fretag, Madeline Musico, Allie Jackson, Abbey Fry, Everett Jones, Philip Stock, Cody Westbrook, Danielle Bessler, Brynnan McNeill, Joey Kennedy, and Taylor Patrick are noteworthy.
Director Marya Spring Cordes, staging an achievement on par with her amazing “Grand Hotel” in 2013, once again proves her strengths for navigating huge, ensemble-driven pieces.

Whether molding believable idiosyncrasies among the townspeople or providing a new perspective for Charlie in an inspired moment in the final scene, her vision is sound and inviting. In addition to the rollicking opener “Rock Island,” her handiwork specifically hits the mark in her heartfelt execution of “The Wells Fargo Wagon,” an upbeat testament to the power of expectancy which exceptionally resolves as a tear-jerking reminder that dreams can become reality. The aforementioned Williams, so in sync with Cordes, also shines by evoking legendary choreographers Onna White and Michael Kidd in “Seventy-Six Trombones” and giving “Shipoopi” a very spirited hoedown. Cordes’ top-notch artistic team includes scenic designer Pam Knauert Lavarnway, lighting designer Jacob Brown, costumer Christie Peitzmeier, sound designer Emily Hutton, dialect coach Deborah Thomas, and music director Scot Woolley.
Showcasing WSU’s musical theatre program to the fullest, “Music Man” brings the organization’s mainstage season to a rousing finish.
“The Music Man” continues through April 3 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 25, 26, April 1 and 2 at 8 p.m., March 26, 27, April 2 and 3 at 2 p.m., and March 31 at 7 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 for students and seniors. For tickets or more information, call (937) 775-2500 or visit wright.edu/theatre-tickets.

‘The Bridges of Madison County’ Review – Victoria Theatre Association – Sublime Desire

March 19, 2016 By Russell Florence, Jr.

Andrew Samonsky (Robert Kincaid) and Elizabeth Stanley (Francesca Johnson) appear in the regional premiere of “The Bridges of Madison County” through March 20 at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series. (Photo by Matthew Murphy)

A handsome stranger forever changes the life of an Italian-born Iowa housewife in “The Bridges of Madison County,” a gloriously romantic heartbreaker of a musical written in 2014 by composer/lyricist Jason Robert Brown (“Parade”) and librettist Marsha Norman (“The Secret Garden”) based on the 1992 best-seller by Robert James Waller. As evidenced in its sublime regional premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series, “Bridges,” set in Winterset, Iowa in 1965 and the following years, remains an impactful, fascinating and complex study of desire.

While her husband and children participate in 4-H festivities in Indianapolis, Francesca Johnson anticipates four days of personal downtime from the frenzy of cooking and cleaning. But her seemingly mundane world is turned upside down by the unexpected arrival of Robert Kincaid, a National Geographic photographer on assignment to capture the historic bridges in the area. Robert’s decision to ask Francesca for directions, and Francesca’s willingness to oblige, sets in a motion a palpable whirlwind of conflict. Even Francesca’s well-intentioned neighbors become curious about what’s going on in and around her home. Ultimately Francesca and Robert’s unbridled attraction, bolstered by the possibility of a life together, is crushed by the sheer reality of Francesca’s devotion to her family.
Brown, seen last month in concert at the Victoria Theatre, duly won Tonys for his incredibly passionate, quasi-operatic, choral-soaring score and sweeping orchestrations. In fact, his compelling score, an impressive departure from anything he has written in his usual pop/rock vein, offers some of the finest romantic tunes heard in an original musical since Adam Guettel’s 2005 masterpiece “The Light in the Piazza.” Ravishing songs such as “Falling Into You, “Before and After You,” “One Second and A Million Miles,” and “It All Fades Away” are among the magnetic, introspective numbers revealing the full depth of emotion simmering within Francesca and Robert’s infatuation. In flavorful contrast, Brown winningly provides country/folk and blues numbers for additional characters such as Francesca’s blunt husband Bud and nosy neighbor Marge. Norman, expanding Waller’s template, sufficiently brings more clarity and focus to Bud, Francesca’s children Michael and Carolyn, and the Winterset community as a whole in addition to Francesca’s life in Naples during World War II (stunningly brought to life in the poignant musical flashback “Almost Real”). She oddly rushes the action in Act 2 as characters age and decades fly (the same can be said of her Tony-nominated libretto for “The Color Purple”), but it is not a detriment.
An absolutely revelatory Elizabeth Stanley, a spirited comedienne in many musical comedies from “Cry-Baby” to “On the Town,” delivers one of the most dramatic and vulnerable performance of her career. From the captivating opener “To Build a Home” to the spine-tingling finale “Always Better,” Stanley, possessing a firm Italian dialect and rivaling Kelli O’Hara who originated the role, creates a masterfully nuanced portrait of a woman longing for new love, new awakenings, and a renewed sense of self. An astutely understated and rugged Andrew Samonsky, appealing to the eyes and ears, delicately navigates Robert’s yearnings as not to appear too forward or needy in his pursuit of Francesca. Samonsky’s heartfelt rendition of “It All Fades Away” notably cuts deep with aching epiphany considering the palpable chemistry established with Stanley. Terrific featured roles are offered by Cullen R. Titmas (a no-nonsense yet caring Bud), Mary Callanan (a delightfully earthy Marge especially in the bluesy “Get Closer”), David Hess (Marge’s devoted if underwritten husband Charlie), John Campione (a commanding Michael), Caitlin Houlahan (an endearing Carolyn), and Katie Klaus (excellently versatile as Marian/Chiara/State Fair Singer).
Director Tyne Rafaeli’s skillfully recreates original director Bartlett Sher’s strikingly seamless, community-driven staging complete with omnipresent townspeople silently observing scenes on each side of the stage. Danny Medford’s fluid movement, Michael Yeargan’s simple, suggestive sets, Catherine Zuber’s fine period attire, Donald Holder’s exquisitely evocative lighting design, and musical director Keith Levenson’s marvelous orchestra, amply spotlighting thrilling strings and soulful guitar, heighten the allure of this top-notch, Broadway-caliber tour.
It’s safe to say “Bridges” is primarily familiar due to the lovely strengths of its 1995 Academy Award-nominated film starring Meryl Streep and Clint Eastwood. Still, the intoxicating beauty of Brown’s career-defining score is enough to catapult the material into a refreshingly different dimension that will leave you breathless.

“The Bridges of Madison County” continues through March 20 at the Schuster Center, Second and Main Streets, Dayton. Act One: 75 minutes; Act Two: 55 minutes. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Tickets are $25-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.