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‘Magnificent Hubba Hubba’ wins Dayton Playhouse FutureFest

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

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

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

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


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

‘Ragtime’ Review –Dayton Playhouse – The American Experience

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

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

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

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

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

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

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

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

 

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

‘Xanadu’ Review – Dayton Playhouse – Fun Frivolity

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

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

Based on the campy 1980 movie musical of the same name starring Olivia Newton-John and breezily directed by Tina McPhearson, “Xanadu” brings Greek mythology to Los Angeles circa 1980. Beautiful muse Clio attempts to rejuvenate the creative impulses within struggling chalk artist Sonny Malone, whose artistic dream is to open a roller disco. Disguised as an Australian named Kira, Clio throws herself into her mission but not without interference. Her jealous, spiteful sisters Melpomene and Calliope try to thwart matters, but ultimately the bonds of true love and the sheer joy of artistic inspiration prevails.

Douglas Carter Beane’s snappy libretto, full of clever one-liners and tongue-in-cheek barbs, warmly pokes fun at the movie’s cheesy lore. Due to the weaknesses of the screenplay, Beane’s savvy decision to revise the tale with an emphasis on Greek mythology, musical theater conventions, and a cute pop culture sensibility is a welcomed relief. Still, the singular asset of the material remains the incredibly tuneful pop/rock/disco numbers by Academy Award nominee John Farrar (“Hopelessly Devoted to You”) and Jeff Lynne (of ‘70s rock band Electric Light Orchestra, a 2017 Rock and Roll Hall of Fame inductee). Memorable songs such as “I’m Alive,” “Magic,” “Suddenly,” “All Over the World,” and the dandy title tune are still hummable treats after nearly 40 years. I wish the cast would have attacked the score with more power and punch (it’s impossible to hide behind these songs), but any moments of vocal timidity are not a grave misstep.

Desmond Thomas, an engagingly dim-witted surfer dude-esque Sonny, and Playhouse newcomer Ellie Krug, a high school senior impressively navigating the whimsicality of Clio/Kira, are compatible lovebirds. Thomas is the stronger singer (rock ballad “Don’t Walk Away” is a highpoint), but Krug’s winsome vibrancy and grasp of many funny nuances is highly commendable. As Melpomene and Calliope respectively, standouts Amy Askins and Tamar Fishbein are a wonderfully comedic and vindictive duo, specifically offering a terrific take on “Evil Woman” winningly setting the show’s goofy tone. David Shough is fittingly sophisticated and silly as Danny McGuire, a real estate developer torn by greed and allured by memories of Kira in his youth. In particular, “Whenever You’re Away From Me,” a ‘40s flashback between Danny and Kira excellently choreographed by Annette Looper, finds Shough and Krug dazzlingly joined by a smoothly suave John Nussbaum as Young Danny. In multiple roles, Adee McFarland, Shanna Camacho, and Richard Lee Waldeck enjoyably complete the cast, a cohesive troupe impressively roller skating with a fair amount of ease and most significantly in the upbeat finale. Waldeck, as Cyclops, and Nussbaum, as a roller skating Centaur, notably add to the hysterical joy of “Have You Never Been Mellow.”
In addition to Looper, McPhearson’s first-rate artistic team includes music director Judy Manksy (leading a firm four-piece band), scenic designer Chris Newman (his colorful creation of Pegasus brings giddy charm to Krug’s rendition of “Suspended in Time”), lighting designer John Falkenbach, sound designer Bob Kovach, dialect coaches Fran Pesch and Annie Pesch, and costumers/wig makers Steve Burton and Tim Grewe (in collaboration with McPhearson).

For all its zany kookiness, “Xanadu” manages to deliver a warmhearted reminder that absolute fulfillment or contentment simply comes from loving someone and creating art. So, forget your Sunday clothes. Put on your leg warmers, roller skates, and glitter for an entertaining trip down memory lane.


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

Casting 20 Women ages 20’s-60’s For Dayton Playhouse Show

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The Dayton Playhouse is pleased to announce auditions for the comedy of manners, The Women to be held on Monday and Tuesday, January 23 & 24, 2017.  Auditions will be at 7 pm each evening at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, Ohio 45414.   The director of this production will be Robb Willoughby.  The play is written by Clare Boothe Luce. Performances will be March 10-19, 2017.

The Women is a 1936 American play.  It is an acerbic commentary on the pampered lives and power struggles of various wealthy Manhattan socialites and up-and-comers and the gossip that propels and damages their relationships. While men frequently are the subject of their lively discussions and play an important role in the action on-stage, they are strictly characters mentioned but never seen.

The director will be casting 20 Women ages 20’s-60’s (good actresses of all shapes, colors and sizes, ten of these actresses will play “multiple parts”) and 1 Young Girl age 10-12.  Those auditioning will be asked to read from the script.  If possible, bring a resume and definitely be prepared to list all conflicts between January 23 and March 19. Questions should be sent to Robb Willoughby Willobee2000@aol.com.

Casting Call for Neil Simon’s Proposals at Dayton Playhouse

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proposals-fjkertis-yd3The Dayton Playhouse is pleased to announce auditions for the comedy-drama Proposals to be held on Monday and Tuesday, September 19 & 20, 2016. Auditions will be at 7 pm each evening at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, Ohio 45414. The director of this production will be Jim Lockwood. The play is written by Neil Simon. Performances will be November 4 through 13, 2016.

Proposals, which is Neil Simon’s 30th play, takes us back to 1953 with the Hines family, in the yard of their modest Poconos cottage. Family may be a misnomer; businessman Burt Hines and his wife, Annie, are divorced and Annie has remarried. Their daughter, Josie, is still resentful of the time Burt spent building his business, and not paying attention to her. The African-American caretaker of the cottage, Clemma, literally takes better care of the family than they take of themselves.

Of course, Clemma has her own tragedy, having been left by her man, Lewis, seven years before. It now appears that Lewis is headed back to the cottage to try to make up for lost time. Burt’s daughter Josie has just broken her engagement to Ken, an intense Harvard law student, and she yearns for his buddy, Ray, an aspiring writer with whom she had a brief affair. Ray shows up with a striking but dim-witted model on his arm, and Vinnie, a young Miami gangster adds a note of hilarity to the gathering.

The director will be seeking to fill the following roles:

Clemma Diggins mid 40s African-American. She is the story’s narrator, maid and caretaker of Hines family.

Burt Hines mid-50s, a heart attack survivor, a successful businessman, and a failed family man, his wife Annie has divorced him and remarried.

Josie Hines Burt and Annie’s early 20s daughter; dumps her fiancé at the beginning of the play; worries she may be becoming her mother; her dad.

Ken Norman Mid-20s Harvard law student, Josie’s recently dumped fiancé.

Ray Dolenz mid-20s, acting golf pro, an unpublished author, and Josie’s former boyfriend.

Annie Robbins Late 40s, but still trim. Burt’s former wife, now remarried.

Vinnie Bavasi Josie’s young mob-connected friend and would-be suitor from Miami. He has a language all his own.

Sammii Early 20s, Ray’s girlfriend, model-like beauty, not too bright.

Lewis Barnett early 50s African-American, Clemma’s man who left seven years ago, and has returned intent on re-establishing the relationship; now blind in one eye, with one crippled hand.

Auditions will consist of readings form the script. If possible, bring a resume and definitely be prepared to list all conflicts between September 19 and November 13. For further information contact Jim Lockwood at jeckleday@msn.com.

The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414. For additional information regarding the Dayton Playhouse visit www.daytonplayhouse.com. The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, an annual festival of new plays.

 

The Classical Musical Camelot Open Dayton Playhouse Season

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A shot from rehearsal with Chuck Larkowski (left) playing Pellinore and Mark VanLuvender playing King Arthur.

The Dayton Playhouse will open its 2016-2017 season with the classic musical Camelot, book and lyrics by Alan Jay Lerner and music by Frederick Loewe. According to Dayton Playhouse Board Chair, Brian Sharp, “We are excited to introduce director Ranger Puterbaugh to the Dayton Playhouse audience. We love adding bright, young talent with fresh ideas to our directing pool.” Puterbaugh is a Language Arts teacher and director of the Drama Club at Northmont High School. His recent directing credits include The Addams Family, Moon Over Buffalo, and Children of Eden. Musical director for the production will be Brennan Paulin. Production dates for Camelot are September 16 – October 2 (Fridays through Sundays).

 

Camelot is the timeless legend of King Arthur brought to the stage. Based on the classic work The Once and Future King, Camelot was a successful Broadway show before being turned into a musical movie in 1967. The story begins with a young Arthur nervous to meet his new wife, Guinevere. Before disappearing forever, Merlin offers some last advice, and Arthur sets out to build the ideal society of knights. With the help of Guinevere, Lancelot, and Pellinore, Arthur begins his quest to establish the Knights of the Round Table. However, it’s not long before old sins and new betrayals threaten to undo all the things they’ve built. This musical blends humor with drama in a wonderful story of chivalry and the legacy we leave behind.HPIM3729

Performances will be September 16 – October 2, 2016. Friday and Saturday performances are at 8 p.m. and Sunday matinees are at 2 p.m. The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, Ohio 45414.

Tickets for the production are available at www.daytonplayhouse.com. The cost is $18 for adults and $16 for seniors, students and military.   You also have the option to purchase a season pass for all 5 shows of the season for $75 for adults, $70 for students.  Group rates are available when purchasing 10 or more tickets.

Season subscriptions may be purchased through the box office, 937-424-8477, which is staffed Mondays, Wednesdays 1:30pm-4:30pm. Messages may be left for the box office at any time  and calls will be returned.

The rest of the shows for the season include Neil Simon’s Proposal in November, Xanadu will be this winter, The Women will be a March show and Ragtime will wrap the season in May.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, an annual festival of new plays.

 

‘Shepherd’s Bush’ wins Dayton Playhouse FutureFest

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cast of shepherd's bush

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.”

futurefest winner

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.

futurefest finalists

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”

 

Call for FutureFest Actors!

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DP_mask_LogoThe Dayton Playhouse will hold auditions for it’s annual “FutureFest” new play festival on the following dates:  May 30 & 31 at 7 p.m. Fully staged plays will audition on Monday and staged readings on Tuesday.

FutureFest is a festival of previously unproduced plays, which have been submitted from playwrights across the United States.  Hundreds of submissions are read and the top six are selected to be performed at the festival.  Playwrights of these plays will attend the festival, as will five adjudicators from across the country.  Three plays will be performed as staged readings and three will be fully staged over the 3-day festival.  Feedback will be given by adjudicators and audience members and a festival winner will be selected.  This year marks the 26th FutureFest, which is the largest new play festival in the country sponsored by a community theatre.

The finalists in this year’s “FutureFest” include:

Memories of the Game (fully staged)

Synopsis:   Memories of the Game centers on the McIntosh household, an African-American family of four, who must struggle with the father’s progressing Alzheimer’s disease, while grappling with their own demons and strained family dynamics.

Cast:  2m, 2f

  • Kenneth McIntosh: mid-late 60s, African-American, big personality, loving father and husband, loves the game of football.
  • Karen McIntosh: early 60s, African-American, faithful wife and mother, loves her family.
  • Sharon Evans: mid 30s, African-American, the good child, always willing to help, dealing with a great loss.
  • Michael McIntosh: early 30s, African-American, a drug addict who uses his family for money to feed his habit. Has a good soul that has been lost.

[Miss] (fully staged)

Synopsis:  Frances Oldham Kelsey saved an estimated 20,000 American children from crippling deformities by battling the William S. Merrell Company over the release of thalidomide in the United States from September 1960 to November 1961. Merrell’s brand of thalidomide, called Kevadon, was one of the first two drugs Dr. Kelsey was given upon starting her career at the FDA.  Despite constant threats and intimidation, Dr. Kelsey stubbornly refused to approve the drug because she had concerns about its possible effect on the fetus. When the story broke that thalidomide had caused a world-wide epidemic of infant deformities and death, Dr. Kelsey learned that Merrell had been distributing the drug without approval through a sham investigational study. The fall-out from this revelation combined with the heroism of Dr. Kelsey’s actions caused the United States to reform its regulation of prescription drugs.

Cast:  6m (4m with doubling), 4f

  • Dr. Frances Oldham Kelsey:  40s for most of the play, FDA investigator
  • Dr. Raymond Stehle: McGill professor
  • Dr. Eugene Geiling: University of Chicago professor
  • John: husband of Betty
  • Betty: pharmaceutical rep
  • Dr. Joseph Murray: Merrell contact man
  • Dr. Raymond Pogge:  Merrell medical director
  • FDA staff: female
  • Mary: pharmaceutical rep
  • Dr. Ray Nulsen: physician

The Griots (fully staged)

Synopsis:  Set in rural Georgia in the late 1930s, The Griots focuses on an elderly African-American woman (Ada) who grew up in slavery, a young woman who is the descendant of the plantation owner’s family (Lizzie), and a young white man from Ohio (John) who has been sent to the South to interview ex-slaves as a part of the WPA Writers’ Project. As John gains Ada’s trust over a period of several weeks, her stories turn from quaint tales of happy field hands, to brutal accounts of violence and intolerance. And when her tales contradict Lizzie’s family legends, exposing the truth may have too great a cost.

Cast:  1m, 2f

  • Lizzie Dupree:  mid 20s, pleasant looking, Caucasian. Lizzie has grown up in rural Georgia, in a relatively affluent family.
  • John Holt: mid 20s, a somewhat bookish Caucasian man who has grown up in a Quaker family in Ohio.
  • Ada Coalson:  elderly, African-American, a former slave who now lives alone in a cabin on the land that used to be part of Lizzie’s great grandfather’s plantation.

Shepherd’s Bush  (staged reading)

Synopsis:  England, 1930: renowned man-of-letters E. M. Forster, 52, meets and falls in love with 28 year old policeman, Bob Buckingham. Their secret romance blossoms until police scrutiny inspired Bob to court and eventually marry May, a young nurse. Jealousy and rivalry evolves into a lifelong friendship with surprising consequences.

Cast:  3m, 2f

  • Bob Buckingham: 28 to 68, roguish young policeman with aspirations of being more.  Forster’s friend and lover. Darkly handsome, masculine, athletic and temperamental.  Bob is very physically affectionate.
  • May Buckingham: 23 to 62. Formerly May Hockey. Bob’s fiancée and later his wife. A nurse. Strong willed, direct and patient. Never wears make-up.
  • E. M. Forster: 51 to 91.  The writer. Acerbic, witty, generous, either a cynical romantic or a romantic cynic.
  • J. R. Ackerley: Friend of Forster & the Buckinghams. Strikingly handsome and distinguished radio producer and writer. Flamboyant homosexual.
  • Lily Forster: 70s-80s, E. M. Forster’s mother. A very strong, often overbearing woman.

N   (staged reading)

Synopsis:  “N”   explores both the personal relationship and the working relationship from the opening of The Emperor Jones in 1920 through the last major revival of the play  of African-American actor Charles S. Gilpin and playwright Eugene O’Neill, 1926.

Cast:  2m, 1f

  • Charles S. Gilpin: 35-40 (40 at the start of the play), African-American, Charles is an average size and build, but he has confidence, and a presence. He’s intelligent, somewhat sophisticated, and always looks sharp.  Charles lives and dies by his emotions but also knows how to live in his very segregated times.
  • Eugene O’Neill: 35-40 (37 at the start of the play), Caucasian. O’Neill, the brooding master playwright, early in his career. He is brilliant, cynical, and dryly sarcastic; he doesn’t smile or laugh easily so when he does it is noticeable.
  • Florence Gilpin: 25-30 (30 at the start of the play), African-American, Charles’s wife. She’s pretty and curvy.  She is the woman behind the man who is proud of the man she loves but tries to keep him grounded.

The Violin Maker (staged reading)

Synopsis:  The Violin Maker is the story of Karl Mosel, who after his father’s death, tries to learn from his grandfather the family trade of Violin making.  Ultimately he must decide whether he will continue the 300 year old family tradition or let the family legacy go.

Cast:  2m, 1f

  • Wilhelm Mosel:  80s, a Master violin maker.
  • Karl Mosel:  early 20s, Wilhelm’s grandson.
  • Angela Brunelle:  20s, an intern.

Auditions will consist of cold readings from the scripts.

Auditions will be held at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton, OH 45414.   Those auditioning should bring a list of any scheduling conflicts through July 24.  Rehearsals are typically in the evening, or on weekends.

FutureFest performances will be July 22-24.  Weekend passes are $100 and will be available by calling the box office at 937-424-8477. The box office is staffed Mondays and Wednesdays from 1:30 – 4:30 p.m., however messages may be left at any time and calls will be returned.  Tickets to individual performances will be $18.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for “FutureFest,” a festival of new plays.

 

Grover Plays Free Show at Trolley Stop

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Screen Shot 2016-04-26 at 7.32.21 PMInsider tip! There is a FREE show at Trolley Stop this Friday April 29th, 2016 with two incredible bands, Grover and Common Center. Plus that fabulous patio? It’s a no brainer for Friday night fun!

On the fringes of the jam band scene, local rock quartet Grover, blend funk, soul, and jazz, in a down and dirty rock band that comes across unpolished and “garage” as much as they do highly-skilled, almost veteran.

Common Center is a group of individuals from Covington, Kentucky that gather to form a collection of sonic exploration. Their all-original material arises from a vast array of influences morphing together to create a unique sound previously unheard, but longed for, by the ear. They combine powerfully upbeat as well as tranquil themes with mystic, other-world intertwining melodic elements from instrumental and vocal harmonies.

Enjoy a beautiful evening with some of the region’s funkiest talent!

Performance Schedule: 
Common Center – 9:30pm
Grover 11:30pm

Grover performs free at the Trolley Stop (Photo by Dayton Music Connection)

Grover performs free at the Trolley Stop (Photo by Dayton Music Connection)

The Boxcar Suite Celebrates New Life on the Limb EP

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12779290_788187994614930_900709669285513899_oOne of the city’s most beloved local rock bands, The Boxcar Suite are celebrating the release of their newest EP, Life on the Limb, by throwing a huge April Fool’s Day Party with their friends the Nick Frye Band. Join in on the revelry Friday April 1st at The Trolley Stop. Show starts at 9pm.

If you’re not familiar with The Boxcar Suite – it’s long overdue that you get familiar with them! They are likened to Tom Petty, Neil Young, but definitely that Dayton rock’n’roll edge. To get a taste of their newest music, check out their Room Full of Cowards video below.

You can also check out and even snag your own digital copy of the EP on the band’s music site here. And certainly if you get a chance, the best way to experience this band is live!

How to Go: Friday April 1st. Trolley Stop. 9pm. $5 cover.

 

Review Roundup – ‘A Streetcar Named Desire,’ ‘Roar of the Greasepaint…’ and ‘Broadway Beveled’

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A STREETCAR NAMED DESIRE

Wright State University respectably embraces the sexual heat and damaging dysfunction within Tennessee Williams’ splendid 1948 Pulitzer Prize-winning drama “A Streetcar Named Desire.” However, the action, directed by Jason Podplesky, occasionally glides off-kilter, specifically in Act 1 when character-conscious decisions are paramount to ground this searing tale of betrayal and pain.

wsu streetcar

(left to right) Tommy DiMassimo as Stanley Kowalski, Ellie Margolis as Blanche DuBois and MacKenzie Stephens as Stella Kowalski in Wright State University’s production of “A Streetcar Named Desire” (Contributed photo by Chris Snyder)

 

When faded, fragile Southern belle Blanche DuBois (Ellie Margolis) enters the New Orleans home of her sister Stella Kowalkski (MacKenzie Stephens) and brother-in-law Stanley (Tommy DiMassimo), it’s puzzling to see Stella greet Blanche nonchalantly. There should be an immediate connection, an immediate history, established between these two women. Strangely, it seems as if Blanche is initially viewed as an intruder rather than a loved one genuinely seeking solace emotionally and physically. Many scenes later, Stanley overhears Blanche telling Stella how much she despises him, but Stanley’s contemplative reactions are intended to generate sympathy which doesn’t feel authentic to the moment. As one of the most arrogant, disgraceful and crude men ever created, Stanley shouldn’t have to pause to second guess anything because his temperament simply doesn’t call for it. Why should he care about Blanche’s opinion? On the opposite end of the spectrum, the utmost importance of David J. Castellano’s set is to indicate cramped, dingy intimacy, but his design is too clean and spacious. When did the Kowalskis move to the Homearama section of working class Elysian Fields?

Still, these artistic predicaments do not hinder an assortment of powerful performances. The remarkably astute Ellie Margolis (attractively costumed by Emily Sollinger and memorable last season as Lady Catherine de Bourgh in WSU’s “Pride and Prejudice”) impressively navigates the role’s challenging, multifaceted arc especially Blanche’s humorously tipsy tendencies (Margolis’ comedic timing is very enlivening) and heartbreaking unease stemming from the death of her gay ex-husband which still rattles her to the core. The physically imposing DiMassimo (another “Pride and Prejudice” standout as Mr. Darcy) winningly embodies Stanley’s volatile, dangerous and unpredictable brutishness just as Williams intended, particularly as Stanley launches into detective mode setting in motion Blanche’s unfortunate demise. Stephens, pleasantly compatible with DiMassimo, becomes very impactful when Stella reminds Stanley of Blanche’s hardships in an attempt to help fill in the blanks. The dynamic Cody Lewis is a perfectly genial fit as vulnerable bachelor Harold “Mitch” Mitchell, Stanley’s military buddy/co-worker who sides with him when the going gets tough and perhaps lives to regret allowing Blanche to walk out of his life. The cast includes Julia Gomez (particularly terrific as Eunice Hubell in the unnerving final scene), Joey Logan (Steve Hubell), Owen Kresse (Pablo Gonzales), Christian Schaefer (Doctor), Megan Valle (Nurse), Brittany Williams (Neighbor Woman), Nerissa Johnson and Alejandria Solis (beautifully haunting Flower Women), and Ian Patrick Ashwell (Young Collector) along with ensemble members Kenneth Erard, Clint Hinderer, Kat Tilt, Alexia Vlahos, and trombonist Haley Knuth.

This “Streetcar” is not without bumps, but arrives at a satisfying finish nonetheless anchored by Margolis’ captivating finesse.


“A Streetcar Named Desire” continues through Feb. 7 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Jan. 30, Feb. 5 and Feb. 6 at 8 p.m., Feb. 3 and Feb. 4 at 7 p.m., and Jan. 31, Feb. 6 and Feb. 7 at 2 p.m. The production runs 2 hours and 50 minutes with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information



THE ROAR OF THE GREASEPAINT, THE SMELL OF THE CROWD

Delightful tunes and a committed cast are great benefits within Dayton Playhouse’s sufficient production of Leslie Bricusse and Anthony Newley’s rarely staged 1965 British musical comedy “The Roar of the Greasepaint, The Smell of the Crowd.”

greasepaint

(left to right) J. Gary Thompson as Sir, Christy Carson as The Kid, Ted Eltzroth as Cocky, and the Urchin ensemble in Dayton Playhouse’s production of “The Roar of the Greasepaint, The Smell of the Crowd” (Contributed photo by Art Fabian)

 

Set at a rocky place at dawn, colorfully realized within a forest setting by scenic designer Chris Newman, “Roar…” symbolically examines status and power between the privileged and downtrodden by way of a continuous, tiresome game of one-upmanship. The wealthy Sir, authoritatively representing the upper class, cruelly and constantly bends the rules to his advantage which absolutely perplexes the meek, kindhearted Cocky, embodying the lower class. As Sir’s treachery and teasing progresses, Cocky realizes he’s been trapped in a foolish, embarrassing exercise. He ultimately seeks to outwit Sir and valiantly regain his self-esteem.
Sir and Cocky’s peculiar relationship runs an odd gamut from charming to deplorable, but director Jim Lockwood commendably keeps spirits high even when the stagnant script dips into racist waters. Bricusse and Newley briefly pulls the rug out from under the audience in Act 2 by having Cocky swap ranks with Sir when an African-American desires to join their offbeat contest. It is an alarmingly uncomfortable moment serving as a cautious reminder that not much has changed in 50 years. Beyond race relations, it is also apparent how relevant this material is in terms of one’s pursuit of happiness. After all, at some point in time, a Sir or Cocky will enter your life determined to keep you from believing in your potential.

J. Gary Thompson (a fittingly arrogant, hypocritical Sir) and Ted Eltzroth (an amiable Cocky) are well-matched and receive the bulk of the dandy score which includes such standards as “A Wonderful Day Like Today,” “The Joker,” “Who Can I Turn To (When Nobody Needs Me),” and “Nothing Can Stop Me Now!” Eltzroth particularly shines in the pulsating “Joker” fueled by firm accompaniment by musical director Judy Mansky’s orchestra, specifically percussionists Zach Green and Felicia Dellis. Admirable featured portrayals are offered by Christy Carson (The Kid, Sir’s trusty sidekick), lovely soprano Krissy McKim-Barker (joining Eltzroth for the beautiful “My First Love Song” as The Girl), Naman Clark (providing an expressive rendition of “Feeling Good” as The Negro), Don Ray (formidable as The Bully), and an engaging ensemble of Urchins consisting of Malcolm Casey, Kathleen Durig, Jamie Pavlofsky, Carrin Ragland, Stacey Ward, and Alicia Walton. Choreographer Allison Eder’s playful routines, particularly in numbers as “It Isn’t Enough” and “Put It In the Book,” are also noteworthy in this showcase bound to appeal to diehard musical theater fans who crave opportunities to see forgotten musicals.


“The Roar of the Greasepaint, The Smell of the Crowd” continues through Feb. 7 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: 70 minutes. Act Two: 50 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


BROADWAY BEVELED

Magnolia Theatre Company, Dayton’s only professional troupe devoted to producing female-centric plays/showcases, closes its second season with a wonderfully entertaining presentation of “Broadway Beveled: A Feminine Cabaret” at the Mathile Theatre of the Schuster Center.

In a fresh, unique twist, all the material in this breezy, intermission-less show (which is so good it should have been extended to two acts) stem from male-centric songs, scenes and monologues. How refreshing it is to see women expressing their viewpoints and nuances inside relationships, debates and yearnings typically revealed by men. In fact, it’s an outright thrill to see director/Magnolia founding artistic director Gina Handy and her enjoyable, elegantly dressed cast storm the stage as a female Congress in the terrific opener “Sit Down, John” (“1776”). But the boldest, most fascinating moments belong to two portions of David Mamet’s testosterone-driven “Glengarry Glen Ross” directed by Andréa Morales featuring Morales, Handy, Mandy Goodwin, Annie Pesch, and Fran Pesch. These diverse women of varying ages and personalities attack Mamet’s rhythms, vulgarity and cutthroat intent with compelling bite.

Additional standout sequences include Caitlin Larsen Deer’s hilarious “Drowsy Chaperone” monologue, Leah Mikesell, Annie Pesch and Morales’ New Yawkish take on the infectious “Fugue for Tinhorns,” Annie Pesch’s knockout physicality in a monologue from “One Man, Two Guvnors,” Handy’s smooth, pop-flavored “Corner of the Sky,” Megan Rehberg’s plaintive “This Nearly Was Mine,” Linda Kinnison Roth and Katie Momenee’s “Razzle Dazzle,” and an inspired “Rent”/“Newsies” mashup of “One Song Glory,” “King of New York,” and a double “Santa Fe” featuring Jasmine Easler, Annie Kalahurka (who also serves as a comical emcee), Goodwin, Momenee, and Morales. Also, Becca Kloha Strand provides choreography and Rebecca Childs serves as music director.

broadway beveled

(clockwise) Caitlin Larsen Deer, Mandy Goodwin, Fran Pesch, Leah Mikesell, Gina Handy, Annie Pesch, Megan Rehberg, and Andrea Morales are among the ladies of Magnolia Theatre Company’s production of “Broadway Beveled: A Feminine Cabaret” (Contributed photo by Gina Handy)



In an evening filled with joy and tenderness, special mention must be given to Annie and Fran Pesch’s radiant “No More” duet. The bond between mother and daughter cuts deep here as layers of subtext, memories and legacy fuels Stephen Sondheim’s gentle tune with a soaring, tear-jerking resonance. I can only hope Magnolia gives us more “Broadway Beveled” to see next season.


“Broadway Beveled: A Feminine Cabaret” continues through Jan. 31 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Saturday at 2 and 8 p.m. and Sunday at 2 p.m. The production runs 80 minutes without intermission. Tickets are $20 general admission and $15 for military, educators and students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Carousel’ Review – Dayton Playhouse – You Love Who You Love

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CAROUSEL 1

Adrienne “Adee” McFarland (Julie Jordan) and Jeff Sams (Billy Bigelow) in Dayton Playhouse’s production of “Carousel” (Photo by Art Fabian)

In the Rodgers and Hammerstein repertoire the governess with the cute kids always seem to grab the most attention. But what about their darker, practically forgotten collaboration about the ill-fated New England couple unable to make the most of their life together? Yes, it’s time to become reacquainted with or introduced to “Carousel,” the heartrendingly beautiful 1945 musical drama enjoyably mounted by the Dayton Playhouse with vocally impressive flourish.

 
Based on Hungarian playwright Ferenc Molnár’s 1909 play “Liliom,” “Carousel” primarily examines romance from the sheer hopefulness that comes with believing in the idea of a healthy, fruitful relationship no matter how fragile the foundation. Meek millworker Julie Jordan (Adrienne “Adee” McFarland) and charismatic if erratic carousel barker Billy Bigelow (Jeff Sams) are polar opposites who wouldn’t appear to be compatible, but their attraction is evident when they fall for each other after the local carnival shuts down for the night. Throughout the groundbreaking Act 1 sequence commonly referred to as the “bench scene,” a triumph of book and score culminating in the ravishing ballad “If I Loved You,” Julie and Billy swiftly transform from loners to lovers, a fascinatingly impulsive display carrying great promise at greater risk. Even as they enter a hard scrabble marriage hindered by financial woes and specifically splintered by abuse (a prickly, uncomfortable element oddly romanticized by the wholly sentimental, optimistic Hammerstein) this duo feels destined for despair and heartbreak. Still, their engaging, tragic journey is entirely compelling and particularly powerful as Billy gets a chance to redeem himself following his suicide in the aftermath of a botched robbery.

 

carousel 2

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

The well-paired, believably bonded McFarland and Sams bring perceptiveness, passion, sincerity, and depth to their vocally challenging roles. In her Playhouse debut, McFarland, a lovely soprano, wisely avoids turning the naïve Julie into a pushover. Her firm interpretation is sweet but resilient. Along the way, she provides a gorgeously lyric-driven rendition of “What’s the Use of Wond’rin’” that begins as cautious sound advice from a long-suffering wife yet evolves into a beautifully stirring declaration of marital commitment. In one of his finest musical theater performances, the fittingly brash, brooding and commanding Sams reveals the flawed complexities within the broken, unhappy and non-skilled Billy, particularly how his bravado masks many insecurities. Also, his dynamically heartfelt rendition of “Soliloquy,” Billy’s contemplative yet soaring examination of life as a father, is delivered with wonderfully expressive transitions, allowing the extensively detailed number to resonate on multiple intriguing levels considering Billy is a rogue who might not have even known his dad.
In addition, the supporting cast is first-rate. As the demure, slightly fussy Carrie Pipperidge, Julie’s sensible best friend and fellow millworker, Krissy McKim-Barker, another lovely soprano, steps into her Playhouse debut with considerable aplomb, especially in her understanding of how much Carrie wants the best for Julie despite the fact that her warnings about Billy, pre and post-marriage, are dismissed. McKim-Barker also has a very amiable partner in Playhouse newcomer Eric Thompson, offering a charmingly confident portrayal of Enoch Snow, the ambitious, no-nonsense fisherman eager to wed Carrie. Thompson, a strong tenor who spins his vocals with a slight crooner sensibility, actually shares the stage with his father J. Gary Thompson, splendidly inhabiting his role as Billy’s smarmy accomplice Jigger Craigin with wit, shrewdness and bite. As Julie’s cousin Nettie Fowler, noted soprano Patricia DiPasquale-Krul, a memorable component of the Playhouse’s production of “A Grand Night for Singing,” provides a plaintively touching rendition of “You’ll Never Walk Alone,” the score’s most enduring number. Janice Lea Codispoti brings suave inquisitiveness to her portrayal of carnival manager Mrs. Mullin, an obsessive, jealous soul whose deep affection for Billy, the man of her disillusioned dreams, never wanes. Brad Bishop as the kindly Starkeeper, Shanna Camacho as the Heavenly Friend, Rick Flynn as David Bascombe, Brooke Netzley as Billy and Julie’s daughter Louise, Matthew Smith as Captain/Principal, and Gem City Ballet dancers Lauren Goodman, Ashleigh Hinson and Olivia Bruno (under the direction of Barbara Pontecorvo) are also noteworthy.
Director Brian Sharp keeps the action fluid and effectively transfers the story, originally set in the late 19th century, to the 1930s thereby heightening the idea of a carnival as a means of escapist entertainment during such straining economic times. However, his staging of the prologue, set to the glorious “Carousel Waltz,” one of Rodgers’ most exemplary compositions, could use more variety and sharper character choices. There is also presentation awkwardness in the Act 2 Dream Ballet (Bruno dances the role of Louise while Netzley looks on) and the emotional final scene which surprisingly doesn’t spotlight Billy, Julie and Louise downstage center. Still, Sharp’s work utilizes the ensemble well and is bolstered by the lively choreography of Paige Hanshaw, especially “June Is Bustin’ Out All Over” and “Blow High, Blow Low.” Chris Newman’s striking set, Terry Kahle’s attractive period costumes, Bryan Miller’s lighting, Bob Kovach’s sound design, and music director Ron Kindell’s excellent orchestra, featuring 16 members of the Miami Valley Symphony Orchestra, add to the production’s atmospheric appeal.

 
There’s nothing wrong with raindrops on roses, but if you’re looking for something more substantive from the virtuoso team who defined Broadway’s Golden Age don’t miss “Carousel.”

 

 

“Carousel” continues through Sept. 27 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: 90 minutes; Act Two: 60 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 25th Anniversary FutureFest Lineup!

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ff_2015_logo-202x300Dayton Playhouse has sponsored FutureFest, a festival of new and unproduced plays for over twenty five years, put on by a community theater run entirely by volunteers. Each year  in one weekend they showcase six new unproduced plays as chosen by the FF committee from the submissions entered that year. Each play is dramatized as either a staged reading or a full dramatization. Each play is a full length play and they do not limit the subject matter. They bring the playwrights to the festival for the weekend so you can mingle with them and we have talk back sessions with them after their show. Dayton Playhouse brings in adjudicators from around the country to pick the best play and give the playwrights a professional critique in front of the FF audience. It’s a play lover’s dream come true, and an opportunity a playwright can’t get anywhere else.  FutureFest dates for 2015 will be July 17-19

Here are the plays that will be featured this year:

Blue Over You – by Dan Noonan

Where’s Mitzi? What happened to Mitzi?! Francis, an enchanting high school drama teacher, comes home to discover that his wife, Mitzi, is missing. Did she leave because of his infantile behavior, has she run off with the hunky maintenance man, or is something much darker at work here? Join this song-and-dance man as he tries to find Mitzi and woo her back.

Book of Hours – Thomas Klocke

Margins, decorative marginalia, marginalized people.  Every connotation of the word is broached when one 14th century Manuscript Illuminator stands his ground for artistic integrity against the heavy handed censorship of the Church which commissioned the handmade BOOK OF HOURS devotional.  To tell the story, the play crosses centuries and oceans, from the Biblical times of Abraham and his sons to contemporary gay street hustlers just trying to survive in the margins of an uncaring city.

Hail the Conquering Hero – Rich Amada

Tom Azuric is a radio humorist who has toiled for years in various stations around the country until he has finally made it to the biggest U.S. radio market of them all – New York City. However, judging from his demeanor, his family can sense that something is terribly wrong. Despite his professional success, Tom, it seems, has failed to fulfill a promise to his deceased mother, leaving him feeling terribly inadequate. That feeling, coupled with the pressure his
boss is putting on him to engage in some sleazy politics, is pushing Tom to the breaking point.

Return to Goodnight – Jared Robert Strange

Irene Deckard has lost her father, but she may also lose her mind fulfilling his final wishes, which involve bringing his remains from Montana all the way down to Goodnight, Texas, and in the company of her gay ex-husband Casper, no less. It’s all part of a promise they made to her father a long time ago, a promise that will bring them together for the first time in thirty years to face old demons, discover new truths, and maybe – just maybe – rekindle their long-dead friendship.

Smoke – Gloria Bond Clunie

In the drama SMOKE, country store owner Ora Rakestraw wants no parts of the mysterious Wallace Johnson when he descends upon her tiny southern town to organize tobacco workers.  It’s the 1960’s— and though Kennedy orders the Surgeon General to investigate smoking— tobacco is king in Carolina.   The Marlboro Man, Lucky Strikes, and Camels are Kool because they put food on the table for her customers.  As promises are made and secrets revealed, love collides with small town politics in one hot, tumultuous summer!

The Consul, the Tramp, and America’s Sweetheart – John Morogiello

On the eve of World War II, Georg Gyssling, the nazi consul to Hollywood, confronts Mary Pickford, the silent film star and co-founder of United Artists, to stop production on Charlie Chaplin’s controversial first talkie, The Great Dictator. Gyssling succeeds until war is declared and the movie is needed to buck up the allies.

 

Casting requirements for the festival will be posted in advance of the June 1 and June 2 auditions. Check their  Auditions page for details.

“Night of the Living Dead” turns to Day(ton) for National Premiere

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deadOpening on Halloween, October 31 and running through November 7, The Dayton Playhouse produces the national premiere of George A. Romero’s Night of the Living Dead Live. The Canadian creators/adapters of the stage play share, “Night Of The Living Dead Live is a theatrical tribute to all of the elements that make this cinematic masterpiece so endearing. More than just a recreation of the story, the play celebrates the history and influence of the movie. Done through a series of multiple endings, the characters are all faced with different issues and challenges desperately trying to survive the night. However, their contrasting personalities and agendas always seem to affect the group from working together which leaves us all wondering could anyone survive a Night of the Living Dead?” The team out of Canada was nominated for Best Comedic Play in 2014, so Dayton audiences can expect to laugh and scream in delight.

I reached out to director Geoff Burkman who leads the team producing the National Premiere right here in Dayton. Geoff has a history with Romero – he was cast as a zombie in Romero’s third film (of the five-film series) – Day of the Dead, and Geoff is an experienced zombie. I asked him a few questions about directing this production — the fun of delving into the show and passing along his zombie experience to the next generation.

What can audiences expect by coming to the show?

I’m hoping that audiences can expect a good time watching a genre classic get deconstructed in the most loving way possible….by dismembering it!

Who is the perfect audience for this – theatre-goers, movie buffs, horror hounds?

I think the “perfect” audience for this show is Romero fans with a sense of humor, but I also think that normal theatergoers will also appreciate the zany theatricality of the piece.  I really don’t want to spoil too much. Admittedly, people who have never seen the original film (do such folks exist?) may have a hard time grasping what we’re doing.  They’ll still have fun, though.
In what ways is the stage play similar to the movie and how is it different?
The similarities between the film and this play reside mostly in the iconic characters and the basic plot line and themes, but as the comedic elements begin to intrude and then overwhelm the story, all that goes out the window. That, and they’re both done in black and white.
BurkmanZombieAny personal thoughts on the movie?
Suffice to say, I consider Night of the Living Dead to be a milestone film that impinged on my consciousness at a milestone point in my life, leading inevitably, inexorably, relentlessly, implacably with singularity of purpose and impetus toward the staging of this unique production.  That’s my story and I’m sticking to it!

Why is Dayton the right place for the National Premiere?

Dayton Playhouse has a national reputation for promoting the performing arts, with community theater being no exception, cf. FutureFest.  That said, I ascribe it to karma…

Anything else audiences should know?

There will be blood.

For updated information, visit Dayton Playhouse online or on Facebook. Tickets are available now for this national premiere, but you can win tickets first! Dayton Playhouse is offering a pair of tickets to one lucky Dayton Most Metro reader.  Just fill out the form below and leave us a comment convincing us why you should be our winner.

 

Congrats to Emily!

 

 

Les Miserables Collaboration Creates Big Sound

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LesMizDo you hear the people sing? You will – but it’s this weekend only. Les Miserables is getting a fresh staging and a BIG sound with a collaboration between Dayton Playhouse and Miami Valley  Symphony Orchestra at the Masonic Center for an orchestral and vocal production. The team of Brian Sharp (Director), Erik Strope (Vocal Director), and Ron Kindell (Orchestra Conductor) is working together to bring this show to Dayton. I recently talked to Brian Sharp for some insights into how the production came together and what audiences can expect.

Is Les Mis a personal favorite of yours? Do you remember when you first saw it and how you felt?

I saw Les Mis the first time on Broadway…and loved the music…but was not fond of the original staging, etc.  I always found the music thrilling and emotional.
 Les Mis has been around for a while and is fairly well-known. What makes now the right time for a community theatre to produce it locally in Dayton?

As far as why is this right now…and still appropriate? There is really no way for a community theatre to mount a production this large.  The idea of a partnership was perfect.  It would allow a full symphony and the opportunity to fill the cast with voices from all over the Miami Valley area. The music is timeless…and is much loved!

This is a pretty huge show to tackle. Did you have any concerns with such a big endeavor?

Just the sheer magnitude of the auditions was an undertaking.  We had over 200 people audition and had them scheduled every ten minutes…we auditioned over the course of a week…and then had a follow up chorus audition. There were concerns with rehearsal space because of the size of the cast and orchestra.  Once the auditions were complete…I had no concerns with the voices…these really are the best of the best!

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Brian Sharp

Is this adaptation different than the shows come of our readers may have seen traveling? All the same songs, setting, staging?

This adaptation will be similar to what was seen on the 10th and 25th anniversary shows.  However, there is a twist.  My big concern with this type of version is how do we keep the story clear to the audience. We have worked with a Broadway projection company to use projections that have never been seen anywhere in the Midwest.  It will truly be sensory overload…the visual piece of the costumed actors/singers, the magnificent symphony orchestra and then this visual element is sure to add another amazing element.

Can you tell me about the collaboration between the Playhouse and the MVSO?

The collaboration was just kind of a natural fit. Many of their musicians have played in the pit orchestras for our musicals. This is an opportunity for us to give back.

Does the setting of the Masonic Center add to the drama of the show?

The Masonic Center is grand, and allows us to sell up to 1500 seats per performance, so there are plenty of tickets available. It will definitely add to the performance and they have been fantastic to work with.
Anything else our audiences should know?

I simply hope the community realizes what an opportunity this is for them…we have positioned the orchestra in such a way that the audience will feel up close and personal with the musicians.  This is a production that should not be missed. Tickets are only $20/$18 and that is a bargain for what you will be receiving.

Tickets are available now for the performances Friday, October 24 and Saturday, October 25 (both at 8 p.m.) and Sunday, October 26 at 2 p.m. They can be purchased online at wordpress.thedaytonplayhouse.com. However, a lucky Dayton Most Metro reader will have the chance to win a pair of tickets to see the show!  Just fill out this form below and tell us in the comments why you should win! [form 55 “DMM Contest Entry – Generic”]