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‘The Last Five Years’ Review – Dare to Defy Productions – The Way They Were

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Welcome back? As various re-openings occur throughout the city despite the ongoing presence of COVID-19, Dayton’s 2020-2021 theater season officially launches with Dare to Defy Productions’ vocally superb presentation of The Last Five Years. Jason Robert Brown’s heartwarming yet heartbreaking 2002 musical continues through July 11 at The Brightside Music and Event Venue.

Brent and Abby Hoggatt star as Jamie Wellerstein and Cathy Hiatt in Dare to Defy Productions’ presentation of “The Last Five Years.” (Contributed photo)

Set in New York City and simultaneously told chronologically and in reverse, this breezy, intimate, compelling, and smart one-act two-hander details the humorous yet troublesome relationship between struggling actress Cathy Hiatt (full-throttle Abby Hoggatt) and aspiring novelist Jamie Wellerstein (endearing Brent Hoggatt). The engaging, relatable story of optimism and woe begins with Cathy’s sorrowful reflections at the end of their marriage while Jamie’s perspectives joyously start not long after they have met. The couple only meets in the middle at their wedding, exquisitely represented by the gorgeous ballad The Next Ten Minutes. Over the course of 16 skillfully detailed and descriptive songs, an entire relationship arises with an emotional resonance that cuts to the core, proving the cold hard fact that some soulmates come with an invisible expiration date.

My journey with this material dates back to the spring of 2001 when I saw the original production at Northlight Theatre in Skokie, Illinois outside Chicago. The show was so fresh that during a post-show talkback Brown realized he made a significant error in Cathy and Jamie’s timeline, proving the challenge that comes from attempting unorthodox storytelling. And for all of the brilliance overflowing throughout Lauren Kennedy and Norbert Leo Butz’s performances, they were not an actual complex married couple. They were simply great actors interpreting a complex married couple. I mention the original production to specifically highlight how rare it is to see The Last Five Years elevated by the presence of real-life spouses, a substantial reason why the performances of Dare to Defy resident ensemble members Abby and Brent are not only outstanding but undeniably special.

Under the gentle, fluid, flashback-inspired direction of Mackensie King, who previously helmed this show for Dare to Defy in 2015, Abby and Brent, layering their work with authentic love, wonderfully embody Cathy and Jamie’s enjoyable idiosyncrasies and destructive despair. Whether conveying the difficulties Cathy endures while longing for a professional breakthrough or the conflicted betrayal weighing heavily on Jamie’s mind having slept with another woman, this dynamic duo leaves nothing undone. And musically, they soar. At the outset, Abby marvelously sets the tone with Still Hurting and winningly lightens the mood with A Part of That, A Summer in Ohio, When You Come Home to Me, and Goodbye Until Tomorrow. Brent’s delightful charm fuels Shiksa Goddess, Moving Too Fast, playful Schmuel Song, and colorfully conversational A Miracle Would Happen, but he’s equally adept stretching his acting muscles delivering the angrier, wounded If I Didn’t Believe In You and Nobody Needs To Know. Still, there is one number in this production deserving of utmost attention. Sometimes musical theatre only requires a terrific actress to sit in a chair and belt her heart out. As so, Abby’s phenomenal rendition of I Can Do Better Than That, reverberating through The Brightside’s rafters and probably out onto East Third Street, is a stunningly impactful moment worthy of an encore.
Elsewhere, King, who also serves as sound designer, assembles a fine artistic team including music director Norman A. Moxley II and lighting designer Derryck J. Menard. Moxley’s lovely five-piece orchestra consists of pianist Dean Brown, bassist Phillip Detty, violinist Josh van Tilburgh, cellist Tom Watts, and guitarist David Wells. Brown (driving the Billy Joel-esque groove of Moving Too Fast) and van Tilburgh (beautifully stirring the emotional undercurrents of The Schmuel Song and I Can Do Better Than That) excellently repeat their duties from the 2015 production.
Medically, I can’t say if it is in your best interest to see The Last Five Years. Dare to Defy has gone to great lengths in their social distancing precautions, but the choice to attend is yours. However, professionally and theatrically, I can assure you the production is worthwhile. After all, Abby sings the hell out of the score.

The Last Five Years continues at 8 p.m. Friday and 2 and 8 p.m. Saturday at The Brightside Music and Event Venue, 905 E. Third St., Dayton. The production is performed in 85 minutes without intermission. Tickets are $18-$25. A portion of ticket sales will be donated to the Black Lives Matter Movement. For tickets, visit https://broadwaytrivia2d.simpletix.com/e/55037. Seating is limited.

In addition, Dare to Defy has created the following safety plan for actors and audience:

  • Six (or more feet) between each ticket group
  • Capping ticket sales 18.5 percent of venue’s audience capacity
  • All audience members required to wear masks
  • No intermissions/longer intermissions
  • Extra sanitizing before and after shows. (The Brightside has purchased a sanitizing spray machine that quickly sanitizes the air and surfaces for added safety).
  • Checking temperatures at the door
  • All tickets must be purchased online to ensure a completely no-touch ticketing process
  • Spacing the audience more than 35 feet away from the actors
  • The blocking of the show is close and intimate in a safe manner
  • All crew will be masked and socially distanced

 

‘A New Brain’ Review – Dare to Defy Productions – Pain and Glory

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In the opening minutes of William Finn and James Lapine’s 1998 musical A New Brain, fledgling composer Gordon Michael Schwinn suddenly realizes something is wrong with his body, specifically his head. He is ultimately diagnosed with an arteriovenous malformation (AVM), a troubling predicament requiring a craniotomy, but his fascinating journey from overwhelming fear to contented recovery provides many quirky, riveting and tender pleasures as terrifically envisioned by Dare to Defy Productions at the PNC Arts Annex.

(left to right) Abby Hoggatt (Nancy), Brandon Leatherland (seated, Mr. Bungee), John Woll (Richard), Brent Hoggatt (Roger), Bobby Mitchum (Gordon Michael Schwinn), Danielle Ruddy (Rhoda), Garrett Young (Minister), and Lindsay Sherman (Mimi) are featured in Dare to Defy Productions’ presentation of A New Brain. (Contributed photos)

(left to right, back row) Lindsay Sherman (Mimi), Danielle Ruddy (Rhoda), (left to right, front row) Brent Hoggatt (Roger) and Bobby Mitchum (Gordon Michael Schwinn) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Skillfully directed by Philip Drennen and based on Finn’s battle with AVM, “A New Brain” thrives on the importance of connection and relationships as Gordon (outstandingly heartfelt and understated Bobby Mitchum) fights for his life while consumed with professional and personal strife. His severe bout of writer’s block doesn’t abandon him in the hospital, impairing obligations to his friend/co-worker Rhoda (playfully stern Danielle Ruddy) as well as his demanding boss/children’s TV show host Mr. Bungee (comical, sprightly and haunting Brandon Leatherland). At the same traumatic rate, he is bombarded by his fussy mother Mimi (fittingly overbearing Lindsay Sherman, admirably disguising her youth) and conflicted about the depths of his love for boyfriend Roger (handsome tenor Brent Hoggatt in full swoon mode). Rhoda, Mr. Bungee, Mimi, and Roger take precedence, but Finn and co-librettist Lapine smartly expands the engaging narrative to include the enthusiastic, concerned hospital staff (exuberant Zach King as Dr. Jafar Berensteiner, sterling soprano Abby Hoggatt as thin nurse Nancy, charming John Woll in a delectable breakthrough portrayal of nice nurse Richard, and kindly Garrett Young as Minister) and a mysterious, no-nonsense, entrepreneurial Homeless Lady (overly presentational but vocally beguiling Vanae Stevee Pate) who primarily interacts with Gordon and Roger but is still a nifty part of the whole.

Reality and fantasy enjoyably collide throughout, allowing Drennen to remarkably pull out the stops with a rarity known as good old-fashioned musical staging. In Gordo’s Law of Genetics, a funny look at Gordon’s family medical history, he offers an homage to A Chorus Line as the delightful cast joins forces to sing amazing vocal arrangements courtesy of Jason Robert Brown (Songs for a New World, Parade, The Bridges of Madison County). Immediately afterward, he marvelously conceives And They’re Off, a compelling number detailing Gordon’s unhealthy relationship with his abusive, deadbeat, horse gambling-addicted father. Heightened by fantastic, volatile chemistry between

Bobby Mitchum (Gordon Michael Schwinn) and Garrett Young (Minister) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Sherman and King, the scene essentially morphs into a full-throttle mini-musical. Other knockouts, accented by Ara Beal’s expert lighting design, include Whenever I Dream (featuring Mitchum and Ruddy’s homage to Chicago) and The Music Still Plays On (beautifully sung by Sherman with a breathtaking, torch song-esque poignance recalling Losing My Mind from the equally surreal Loveland sequence in Follies).

 

Granted, not every number in Finn’s score, firmly in the hands of music director Norman Moxley II’s seven-piece orchestra, is a home run. In fact, The Homeless Lady’s Revenge and Mimi’s emotional breakdown Throw it Out are lifted from true accounts, but feel thematically superfluous and stalling. Regardless, Drennen, who impressively staged the challenging Violet last season for Dare to Defy, has an incredible knack for storytelling. Once again, he instills his savvy, lyric-conscious expertise among his cast, even in the smallest moments (Hoggatt, conveying complete serenity, sincerely delivers one of the most gorgeously introspective renditions of I’d Rather Be Sailing I have heard).

A New Brain, one of the best productions in Dare to Defy history, is an inspiring testament to the beauty of second chances, the power of perseverance, the joy of artistic rejuvenation, the support of family and friends, and the enduring gift of time. Even when your very existence hangs in the balance, don’t give in. Life is worth fighting for. Hold fast to the promise of spring.

 

A New Brain concludes today at 2 and 8 p.m. in the PNC Arts Annex, 46 W. Second St., Dayton. The show is performed in 100 minutes without an intermission. Tickets are $18-$30. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘Annie’ Review – Dare to Defy Productions – Timeless Optimism

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Like her or loathe her, Annie is back and she’s a knockout.

Closing a stellar season for Dare to Defy Productions, perhaps its greatest season thanks to the particularly dynamic Assassins and Violet in recent months, composer Charles Strouse, lyricist Martin Charnin and librettist Thomas Meehan’s 1977 musical arises as a surefire winner at the Victoria Theatre. Under the breezy, thoughtful direction of Dare to Defy founder/executive director Rebecca Norgaard, little orphan Annie’s literal rags-to-riches story, a tale of the haves and the have nots set during the Great Depression wonderfully bolstered by her single hope of finding her parents, captures the heart with a sunny, timeless optimism that never grows old.

The adorable Sophie Caton, a true find, perfectly captures Annie’s innate ability to meaningfully connect with those around her. Even in the make-or-break opening seconds Caton understands the importance of Annie as a magnetic mediator, ensuring she commands respect while keeping the peace as her fellow orphans taunt and tease out of jealousy. More significantly, she never discounts Annie’s desire for family, firmly grasping every wishful notion tucked within Maybe which allows the tune to gently soar as the prayerful lullaby it was written to be.

As Annie’s familiar journey evolves, Norgaard’s terrific cast, attractively costumed with a keen socioeconomic eye by John Faas (notice the tatters in Hooverville), fits the bill. The admirable Steven Lakes is firmly authoritative as wealthy Oliver Warbucks, especially undergoing a believable change of heart regarding living for and loving someone besides himself, but I definitely would’ve cut his Act 1 number Why Should I Change a Thing, which brings the action to a screeching halt. The lovely Allie Haines is a graceful Grace Farrell, offering motherly warmth to Caton while being astute about Grace’s attraction to Warbucks. Natalie Houliston’s outstanding portrayal of Miss Hannigan, in which every comedic ounce of the character’s agonizing, loveless hell is on clear display and not just during Little Girls, ranks among her best performances, a memorable list which includes Nancy in Oliver! and the Adult Women in Spring Awakening. Humorous duo David McKibben (suave Rooster) and Lindsay Sherman (ditzy Lily) enjoyably join Houliston for an infectious, vaudeville-esque Easy Street. Philip Drennen (who appeared as Charles Guiteau in the aforementioned Assassins and directed the aforementioned Violet) is only noted in the program as Bert Healy and Franklin D. Roosevelt, and while he is excellently versatile in those roles, his sharp finesse among the ensemble in We’d Like to Thank You Herbert Hoover, I Think I’m Gonna Like It Here, and NYC proves what a singular talent he is. Sadie Hornick (Molly), Julia Stubbs (Kate), Abriella Ruby (Tessie), Caroline Kaibas (Pepper), Jewel Timpson (July), and Morgan Tracy (Duffy) are delightful as the principal orphans, filling It’s the Hard-Knock Life with defiant glee and bringing high-kicking energy to You’re Never Fully Dressed Without a Smile, two numbers among many fabulously choreographed with exuberant spunk and joyful flair by Jessica Eggleston. Noteworthy performers include Zach King as Bundles and Ickes, Mackensie King as Hooverville’s top chef Sophie, Michael Robinson as stern policeman Ward, and Brennan Paulin as Drake. Additionally, the aforementioned McKibben pulls double duty as scenic designer (projections are a huge asset), Kris Smolinksi provides lighting design, Danielle Ruddy supplies properties, Jessi Lyn Stark serves as musical director, and Judy Mansky conducts an impressively solid, well-balanced orchestra.


Annie was conceived during a time of tremendous friction in our country. It ultimately served as a beacon of hope as Americans yearned for better following the Watergate impeachment proceedings and Nixon’s resignation. Flash forward to today’s headlines, it’s not hard to find talk of tremendous friction and impeachment once again. So, it looks as if we still need Annie perhaps now more than ever. Whether the Deal is New or Green, let’s get to work, keep the faith, and hold onto the promise of tomorrow.

Annie continues today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 80 minutes. Act Two: 55 minutes. Tickets are $22.50-$54.50. Call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

Dare To Defy Presents Bat Boy: The Musical

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Dare to Defy announces its next production: BAT BOY: THE MUSICAL. Story and book by Keythe Farley and Brian Flemming; music and lyrics by Laurence O’Keefe; directed and choreographed by Michael Mizerany; music direction by Sean Laperreque; produced by Bill Connard & Jennie Gray Connard.

From the composer of Legally Blonde: The Musical (Laurence O’Keefe), comes a love story with a bite. Dare to Defy Productions is thrilled to be producing the comedy-horror “Bat Boy: The Musical.” At the helm is Daytony and Blackburn award-winning director/choreographer Matthew Smith, who suggested the show specifically for Dare to Defy as the perfect company for this raw, edgy, bloody comedy/thriller.

Based on the 1992 best-selling Weekly World News cover story, depicting a photo of Bat Boy, showing his grotesque screaming face, BAT BOY: THE MUSICAL is a musical comedy/horror show about a half-boy/half-bat creature who is discovered in a cave near Hope Falls, West Virginia. For lack of a better solution, the local sheriff brings Bat Boy to the home of the town veterinarian, where he is eventually accepted as a member of the family and taught to act like a “normal” boy by the veterinarian’s wife and teenage daughter. Bat Boy is happy with his new life, but when he naively tries to fit in with the narrow-minded people of Hope Falls, they turn on him after hearing the shocking story of Bat Boy’s unholy origin.

The show deals with themes such as acceptance, xenophobia, hypocrisy, revenge, forgiveness, but most importantly that we all have a darker side that drives our more animalistic urges. Should we fear these basic human instincts or embrace the “beast within” to get by in the world?

*This production contains adult themes including partial male nudity, sexual situations, violence, and some gore.

DMM Ticket Giveaway:
We’ve got several pairs of tickets to share for this show.  If you’d like a chance at them, like & share this story, and leave a comment below that will make us want to choose you!

BAT BOY: The Musical runs at the Mathile Theatre inside the Benjamin and Marian Schuster Center 1 West 2nd St Dayton OH October 27th at 8 PM, October 28th at 2 PM and 8 PM and November 3 at 8 PM. Visit www.ticketcenterstage.com or call (937) 228-3630 for tickets!

This is Our Time…. To See Footloose

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16212858751549812525One of the most explosive movie musicals in recent memory bursts onto the live stage with exhilarating results. When Ren and his mother move from Chicago to a small farming town, Ren is prepared for the inevitable adjustment period at his new high school. What he isn’t prepared for are the rigorous local edicts, including a ban on dancing instituted by the local preacher, determined to exercise the control over the town’s youth that he cannot command in his own home.

When the reverend’s rebellious daughter sets her sights on Ren, her roughneck boyfriend tries to sabotage Ren’s reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story that emerges is of a father longing for the son he lost and of a young man aching for the father who walked out on him.

To the rockin’ rhythm of its Oscar and Tony-nominated top 40 score (the soundtrack album reached number one on the Billboard charts and has sold over 15 million copies!) and augmented with dynamic new songs for the stage musical, FOOTLOOSE celebrates the wisdom of listening to young people, guiding them with a warm heart and an open mind.

Presented at the Victoria Theatre 11/27/2015 at 8 PM and 11/28/2015 at 2 PM and 8 PM, you can reserve your tickets online.

‘Into the Woods’ Review – Dare to Defy Productions – It Takes Time

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Dare to Defy Productions beckons the imagination with its stark, minimalist production of composer Stephen Sondheim and librettist James Lapine’s 1987 musical dramedy “Into the Woods,” but the attempt doesn’t coalesce.

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Presented at the Victoria Theatre under the direction of Mathys Herbert, this “Into the Woods” appears to be pulling in different directions with musical awkwardness and structural unpreparedness resting underneath the surface. Part of the problem lies in the odd conceptual atmospherics (there are no woods in these “Woods”) which confines the action within an ominous, nondescript locale with columns, tattered draperies, candelabras, and a large clock accented by an array of baskets, boxes, cabinets, suitcases, trunks, and trinkets signifying a cluttered attic or an abandoned house. However, this impressively detailed creation, attractively designed by Ray Zupp, suggests a setting more appropriate for Sondheim’s “Follies,” his beautifully melancholy 1971 musical about chorus girls reuniting one last time on the stage of a soon-to-be-demolished theater. Perhaps if Herbert opened the show with his cast taking the stage as random individuals eager to put on “Into the Woods” in a dilapidated setting instead of what seems like ghosts or mannequins merely being awakened in the dark by a spooky stranger waving a flashlight it would have made for a more effective transition into the tale, especially to avoid alienating newbies unfamiliar with the show’s foundation.
As the musical’s insightful, thought-provoking plot weaves an introspective, profound course through the desires and regrets of multiple fairy tale characters, particularly stressing the importance of community, sacrifice and survival, the players run the gamut from admirable to ambiguous. Considering the strengths of the cast – a fantastic conglomeration of actors from Wright State University, Sinclair Community College, Dayton Playhouse, Dayton Theatre Guild, Playhouse South, and more – issues of cohesion wouldn’t appear to be a concern but that isn’t the case. Perhaps some members needed time to find or fine-tune their character arcs or simply become more comfortable with the score. Sondheim isn’t easy, and there were many missed cues on opening night, orchestra included. And in terms of musicianship, I’m still wondering why Mimi Klipstine, offering a terrifically commanding and emotionally grounded portrayal of the Witch, was told to bring the gorgeous “Children Will Listen” to a slow, terrible halt before the finale?

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If only this production featured more surprising, inspired, character-conscious moments of pure exhilaration specifically evident in Evan Benjamin’s thrilling rendition of “Giants in the Sky,” a knockout example of attacking an incredibly descriptive lyric with all the expressive astuteness one can muster (while filling the space!) in order for the audience to completely immerse themselves in every ounce of the journey presented. Thanks to Benjamin’s absolutely radiant breakthrough performance, the trepidation and joy within Jack’s life-changing beanstalk journey is a truly dynamic highlight. Along with Benjamin and Klipstine, estimable work extends to Zupp in a sweetly understated turn as the cursed yet determined Baker longing to be a father while coping with his past, a spunky Tori Kocher as Little Red Riding Hood, a regally vain Amy Askins as Cinderella’s Stepmother, pretty soprano Jackie Darnell as humorous, sheltered Rapunzel, Mackensie Vonderbrink as Cinderella’s conceited stepsister Florinda, and the quiet strength of Zoot Theatre Company puppeteer Eric Arntz as Jack’s faithful pet cow Milky White.
In addition to Zupp, Herbert’s commendable artistic team includes lighting designer Sammy Jelinek (certainly bringing her evocative expertise to “Last Midnight”), costumer Carolyn McDermott (particularly dressing Natalie Sanders in a lovely silver and gold gown as Cinderella), puppet builder Danielle Robertson, and sound designer David Meyer. Also, Herbert’s decision to showcase the vengeful Giant (intimidatingly voiced by Tia Seay) as a shadow puppet is inspired.
Dare to Defy doesn’t overreach with “Into the Woods,” but if given a few more days or midnights this show could have ascended to greater heights.

 

 

“Into the Woods” continues today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 85 minutes; Act Two: 60 minutes. Tickets are $25-$50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Last Five Years’ Review – Dare to Defy Productions – Falling In and Out of Love

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Jason Robert Brown’s incredibly emotional and warmly intimate two-person, one-act musical “The Last Five Years” receives an endearingly performed, vocally splendid treatment courtesy of Dare to Defy Productions inside the Mathile Theatre of the Schuster Center.

 
In just 80 compelling minutes, “Last Five Years,” delicately directed with contemplative touches by Mackensie Vonderbrink, paints a fascinating portrait of twentysomething lovebirds in New York City particularly torn apart by differing career paths. Jamie Wellerstein, an emerging writer taking the publishing world by storm, and Cathy Hiatt, a struggling actress longing for her big break, happily meet and eventually marry, but simply cannot make their relationship work. In a clever use of unorthodox storytelling, Brown tells Jamie’s story in standard, chronological fashion while Cathy’s journey progresses from heartbreak to joy. This conceptual device can be confusing, especially if you’re unfamiliar with the material, but it isn’t burdensome. In fact, the opportunity to piece together the entire journey from both perspectives is a fun challenge allowing the action to unfold with attention-grabbing fluidity without fear of becoming stagnant. The dual stories, vividly detailed and remarkably engaging in terms of relatability, appropriately intersect at Jamie and Cathy’s wedding, but separately entice throughout with terrific, character-driven panache by Wright State University acting/musical theater students Ian Benjamin and Kelsey Pohl.l5y
Benjamin, very memorable last season as Thenardier in WSU’s “Les Misérables,” is a strikingly sharp, mature Jamie, impressively navigating the difficulty of appearing adorably lovestruck, energetic and humorous, lovingly supportive, tearfully ashamed, and boldly committed to moving on without seeming arrogant, misunderstood or ambiguous. Musically, Benjamin specifically brings lighthearted spunk to the jaunty “Moving Too Fast” (featuring tremendous piano accompaniment by musical director Dean Brown) and fills the melancholy “Nobody Needs to Know” with ample heartache. Pohl, an awesome Kate last season in WSU’s “The Wild Party,” brilliantly conveys Cathy’s agitation, disgust, hurt, and hopefulness. In particular, her marvelously refreshing rendition of “I’m a Part of That” clearly finds Cathy questioning her place in Jamie’s life. Pohl’s lyric-driven finesse continues with exceptionally honest, wonderfully conversational, encore-worthy versions of “A Summer in Ohio,” “Audition Sequence” and “I Can Do Better Than That.” Due to the considerable technical complexities of Brown’s enthralling, melodic score, a mild hybrid of Stephen Sondheim and Billy Joel sensibilities, it’s great to see Benjamin, Pohl and pianist Brown skillfully rise to the occasion.

 
In addition to scenic designer Chris Harmon’s efficient platforms and large clock reiterating the material’s passage of time, the beautiful contributions of violinist Josh Van Tilburgh, bassist Parisa Samavati and cellist Rebekah Thompson greatly accent the proceedings. However, unfortunate sightlines occur for patrons seated toward the rear of the Mathile due to some numbers performed at the front lower level of the stage.

 
Even so, Dare to Defy, quickly becoming a musical theater force in the Gem City, delivers another hit.

 

“The Last Five Years” continues tonight at 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton, and Tues. Jan. 6 at 7:15 p.m. at Mimi’s Cafe, 4402 Walnut St., Beavercreek. Tickets to tonight’s performance are $20, and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about the Mimi’s Cafe presentation, visit www.d2defy.com.

 

In related news, Dare to Defy’s 2015 season includes “The Songs of Hair in Concert” (March 13 and 14), “Assassins” (July 17-25), “Into the Woods” (Sept. 5 and 6), and “Godspell” (Oct. 9-17).