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Creative Arts Center

WSU’s The Wolves Review

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Sarah DeLappe’s outstanding 2017 Pulitzer Prize-nominated drama “The Wolves,” a contemporary, coming-of-age character study about a girls’ indoor soccer team, has received an excellent local premiere at Wright State University.

(left to right) Bridget Lorenz, Jessica Greenwald, Julie Deye, Margo Russ, Mady McCabe, Lauren Eifert, Caroline Utz, Tina Hohman, and Megan Ledford are the titular team in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Photo by W. Stuart McDowell)

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

Mady McCabe (No. 00 – Goalie) in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

Breezily directed by Marya Spring Cordes with an astute awareness of peaks, valleys and subtleties within casually overlapping conversation (an equally significant attribute of her 2018 Human Race Theatre Company production of Brighton Beach Memoirs), The Wolves features wonderfully compatible actresses. The strong, believably athletic cast consists of quietly reserved and focused Mady McCabe (No. 00 – Goalie) endearingly sweet Megan Ledford (No. 2 – Defense), sensitive Julie Deye (No. 8 – Defense), snarky jokester Jessica Greenwald (No. 13 – Midfield), formidable Bridget Lorenz (No. 14 – Midfield), terrifically firm Tina Hohman (No. 25 – Defense and Team Captain), effective outsider Caroline Utz (No. 46 – Bench), poignant Sophie Kirk (Soccer Mom), and breakthrough performers Lauren Eifert (dynamic as the competitive, intimidating and foul-mouthed No. 7 – Striker) and Margo Russ (vibrant as the opinionated, commanding and current affairs-savvy No. 11 – Midfield).
In addition to providing scene changes fittingly set to tuneful female empowerment anthems from pop divas Beyoncé, Ariana Grande and Demi Lovato, Cordes assembles a top-notch production team. Carleigh Siebert’s eye-catching set, expertly co-lit by designers Matthew J. Benjamin and Gabe Reichert, supplies a huge, ascending AstroTurf design complete with large netting in front of the stage, heightening the action’s immediacy. Costumer Victoria Gifford appropriately ensures athletic uniformity. James Dunlap’s sound design is clear and crisp.

The cast of Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

There’s a reason why The Wolves is one of the most popular plays in the country. Akin to Academy Award nominee Greta Gerwig (Lady Bird, Little Women), DeLappe has a unique, cross-generational gift for witty, whip-smart dialogue and creating relatable angst among women that is incredibly entertaining and palpable. So, make sure you catch this singular experience. These ladies are in it to win it.

The Wolves continues through Feb. 16 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy., Dayton. Performances are 7 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 95 minutes without intermission. Tickets are $15-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp. Patrons are advised the play contains strong language.

Artist of the Week: Jeremy Long

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I visited Jeremy Long in his studio in the Creative Arts Center at Wright State University.

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As I entered, I saw that Jeremy was working on a small painting of his wife, artist Colleen Kelsey.

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I asked about two photos placed on the wall to the left of his painting of Colleen, where Jeremy could see them as he painted.  “Those photos show details of a piece by the 18th century painter Jean-Baptiste-Simeon Chardin,” Jeremy told me.  “He was able to create remarkably life-like textures in his paintings.   I like to look at his work as I paint just to remind myself of what is possible if I get everything right.”

I noticed another painting of Jeremy’s wife on the floor.

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“That painting is how I managed to first get to know my wife,” Jeremy explained.  “We were both at the Chautauqua School of Art that summer.  I asked her to pose for me, and after a few sittings we started to date.  I never did finish that piece, but Colleen and our children appear in most of my large works.”

I knew that Jeremy was best known for his large paintings (typically 6 foot by 8 foot) which include members of his family.   I asked how long these works take.  In place of a direct answer Jeremy suggested I look at the painting below as he walked me through some of the steps.

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Jeremy told me he started painting on a smaller canvas, possibly 3 feet by 4 feet like this one.  First he paints something abstract, in this case just three bands of color.  Then he adds complexity to the abstract work.   Next he tries adding figures in various configurations in ways that fit his original abstract design.  He also tries out various ways of getting the viewer to look intently at the piece, like the way one of the arms he has drawn on the left might belong to either of two figures.   He changes all or part of the composition many times, until this small canvas has numerous layers of paint and Jeremy has a design to use on the large canvas.

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Painting the large canvas is also time consuming because Jeremy does indirect painting.  That is, he builds the final image by painting several layers of paint, one over another.  The upper layers modify, but don’t completely conceal, the lower layers.

A poster I saw in Jeremy’s office came from a show he recently had at the Bowery Gallery in New York.  The poster featured one of Jeremy’s large paintings.

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I told Jeremy that I thought he had only one son, but the painting showed two young boys.  “I added a son for compositional purposes,” he explained.

Jeremy said a retired gentleman came to the Bowery Gallery show because he was drawn (as I was) to the painting on the poster.  The man had never purchased any art before, but he bought Jeremy’s painting and found a space to hang the 6 foot by 8 foot piece in his small New York apartment.  The man lives alone, but now he shares his small space with a wonderful work of art and with an image of Jeremy’s family.  Somehow that makes all of the time Jeremy put into that painting worthwhile.

I asked Jeremy to pose for a quick portrait.

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Then I left and Jeremy returned to the painting of his wife.

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‘Urinetown’ Review – Wright State University – Playful Parody

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

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

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

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

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

 

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

 

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

 

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

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

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

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

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

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

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

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

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

 

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