Dancing Backwards by John Fiorillo - FutureFest 2010

FutureFest 2011

Dayton Playhouse

This weekend, the Dayton Playhouse will present its 21st annual FutureFest of new plays, one of the most highly anticipated and widely regarded events in the local arts community.

This uniquely structured, nationally recognized festival, co-founded by Dayton Theatre Hall of Fame members Dodie Lockwood and John Riley, openly nurtures the artistic growth of emerging playwrights from across the country and internationally. Within three days, six original, previously unproduced works are showcased fully staged or as staged readings followed by adjudications from theater professionals. Patrons are also encouraged to offer opinions, fueling the weekend’s considerably engaging atmosphere.

How It Works by Carey Pepper

The adjudicators will consist of longtime New York-based judges David Finkle, Helen Sneed and Eleanore Speert along with Robert Koon, resident playwright/dramaturg of the Chicago Dramatists and a 2002 FutureFest finalist for “Vintage Red and the Dust of the Road,” and D. Lynn Meyers, producing artistic director of Ensemble Theatre of Cincinnati. Each play will be judged on criteria including dramatic concept/theme, plot/story development, dialogue/language and character development.

Refuge by Marc Comblatt

Since its inception, FutureFest has been an advantageous launching pad for playwrights hoping to raise their profile. The most successful example in recent years is unquestionably attributed to Brooklyn playwright Beau Willimon, a former political staffer who took the 2005 FutureFest by storm with “Farragut North,” a marvelous political drama. “Farragut North” arrived off-Broadway at New York’s Atlantic Theater Company in 2008 and was recently adapted (and re-titled) for the big screen by Willimon, Grant Heslov and Oscar winner George Clooney as “The Ides of March.” Shot on location in the Cincinnati area and prominently previewed in the July 26 edition of USA Today, “The Ides of March,” which will premiere at the Toronto International Film Festival in September, is officially scheduled for an October 7 release. The film has already received buzz as a major contender for the Golden Globes and Academy Awards. Molly Smith Metzler, also of Brooklyn, is equally noteworthy. Metzler’s terrific relationship-driven comedy drama “Carve” was a highlight of the 2009 FutureFest and her latest work, “Close Up Space,” will be presented off-Broadway at New York’s Manhattan Theatre Club this fall starring Emmy and Tony winner David Hyde Pierce.

This year’s promising contenders were chosen from over 240 submissions. Each finalist recently reflected on their work with onStageDayton in advance of the festival.

2011 FutureFest Performance Schedule

Friday, July 29

8 p.m.

“Drawing Room,” an introspective look at a Supreme Court sketch artist.

Playwright: Mark Eisman of New York City

Cast: Mark Jeffers, Annie Pesch and Rachel Wilson

Director: Matthew Smith

Production format: Fully staged

Since cameras invaded our courtrooms some 20 years ago, I have missed the artists’ renderings which often accompanied the most notorious (and yes, most dramatic) legal spectaculars. The brilliantly colored chalks and pencils have been replaced by the dullness of reality TV. The sketch artists have been forced to scramble and compete against each other, as only the federal courts (with its terrorist defendants) and the Supreme Court (with its familiar cast of characters) remain camera free. When their art is threatened, the characters in ‘Drawing Room’ must confront the realities of their own lives. Life in the theater has never been easy for playwrights.  Over the same 20 years, it’s become increasingly difficult due primarily to economic ‘realities.’

~Mark Eisman

Saturday, July 30

10 a.m.

“Roosevelt’s Ghost,” a drama centered on the special assistant to President Franklin D. Roosevelt convicted of perjury and accused of being a member of the Community Party.

Playwright: Dayton native and Woodland Hills, California resident Michael Feely, who won the 2009 FutureFest for “Night and Fog” and was a 2006 finalist for “Bookends.”

Cast: Debra Kent, Charles Larkowski, Jennifer Lockwood, Dave Nickel, David Shough, Michael Stockstill and Debra Strauss

Director: Saul Caplan

Production format: Staged reading

‘Roosevelt’s Ghost’ is (very) loosely based on the Alger Hiss case. It concerns a man, Charles Castle Hunt, who stood at the pinnacle of power until he was accused of treason and espionage for the Soviet Union and convicted of perjury in 1951. It is now 1968 and he’s come home both to vindicate himself by publishing his memoirs and to reconnect with the family he abandoned after his fall. The play is about many things. It is, on one level, about the events of the ’50’s and ’60’s, similar to the other two plays that have appeared in FutureFest, that I believe draw a bright red line through Vietnam to our current involvement in Iraq and Afghanistan. On another level, however, it’s a far more personal play, about family, about what fathers owe their sons and, equally important, what sons owe their fathers. It’s about husbands and wives, what they give each other and what they take from each other. And, lastly, it’s about love, how it sustains us, can let us down and, ultimately, can lift us up.

~Michael Feely

3 p.m.

“The Haven,” a contemporary comic drama concerning a broken marriage and the possibilities of connection.

Playwright: Richard Etchison of Los Angeles, California

Cast: Megan Cooper, Danny Lipps, Deirdre Root and Richard Young

Director: Fran Pesch

Production format: Staged reading

Initially, I set out to write a play about one relationship ending and one relationship at the very beginning. A simple exploration of the nature of marriage and love and youth. The ending came to me midway through the writing process. I also wanted to write a realistic play for once. Previously, my plays have some mind-bending, sometimes surreal elements.  In most ways, I succeeded. To me, the theme of this play is that human beings approach both marriage and life with the same attitude: We know it’s going to have its trying moments, moments that take every bit of courage and resolve we have to get through them.  Yes, we (as a people) voluntarily embark on it anyway. When you are young, marriage seems a simple matter. So does life.  But once deep inside of marriage, we learn otherwise. Same as life in general.

~Richard Etchison

8 p.m.

“Allegro Con Brio,” a farce about a musical couple plotting revenge.

Playwright: Dayton resident Nelson Sheeley of Sinclair Community College

Cast: Michael Boyd, Matt Curry and Cheryl Mellen

Director: Nick Moberg

Production format: Fully staged

I got the idea for the play when I turned on the radio and heard one of the Mendelssohn Piano Concertos played faster than anyone should be able to play it.  I wondered what the conversation backstage after the concert between the conductor and the pianist would be. Also, once I got into it, the theme of the piece seemed to shift a bit to include the music critic…how people behave who have unquestioned authority and power in their fields. I love farce and there’s a dearth of good contemporary farce in the American theatre. Farce seems to be the poor stepchild of comedy. My first play ‘…And Call Me In The Morning’ got a begrudgingly good review from The New York Times. Jacques LeSourde liked it and in the review sounded a little embarrassed that he did! So here I am leading a crusade to get those slapstick lovers out of their comedy closet and have a good laugh.

~Nelson Sheeley

Sunday, July 31

10 a.m.

“Jinxed,” a 1930s aviatrix-themed account of Amelia Earhart and Jackie Cochran.

Playwright: Stacey Luftig of New York City

Cast: Franklin Johnson, Cynthia Karns, Wendi Michael, Kate Smith, Mike Rousculp, Mike Taint and Matt Turner

Director: Richard Brock

Production format: Staged reading

Amelia Earhart is an American icon. But only history buffs and aviation fans remember Jackie Cochran, whose rags-to-riches story and groundbreaking achievements in aviation rival those of any pilot, including Amelia. Brash Jackie and sophisticated Amelia were close friends for the last two years of Amelia’s life. Their lives had many parallels: among them, husbands who were tremendously supportive of their careers, a practicing knowledge of ESP and a preoccupation with luck. Their focus on luck is not surprising. The dangers faced by pilots in the 1930s, especially those who sought to set records and win races, were enormous. Forced landings and even crashes were commonplace, airplane parts would malfunction, engines would blow up. Like baseball players, aviators often placed faith in talismans and other superstitions. It is hard to say how much of any aviator’s career at that time depended on skill, and how much on luck. Based on this uncertain balance, a key question arose for the main characters of my play: How far do you go to allow a pilot you love to follow her dreams – knowing that to do so could result in her death?

~Stacey Luftig

3 p.m.

“A Woman on the Cusp,” a drama concerning mental illness and sibling treachery.

Playwright: Two-time FutureFest finalist Carl L. Williams of Houston, Texas (“Under a Cowboy Moon,” 2003; “Coming Back to Jersey,” 2008)

Cast: Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer

Director: Ray Gambrel

Production format: Fully staged

‘A Woman on the Cusp’ started out as a 20-minute one-act for a festival in Houston. I quickly realized the length wasn’t nearly sufficient to explore all the facets of character in this story, as well as the underlying issues of emotional trauma, mental instability, deceit and treachery. A buried subtext concerns how people can do the wrong thing for a right reason or the right thing for a wrong reason. For the full-length play I was better able to develop a backstory for the major character, providing a fuller explanation for her current situation. I could also explore the relationships between and among the characters to a greater degree and with a more gradual revelation of their secrets.  In addition, I changed certain elements of the basic plot as I transitioned the piece to a more complete story. I can’t say that I set out to make any particular point with this play or convey any central message. Mainly I just wanted to engage the audience with these characters and their conflicts. The FutureFest production offers the opportunity of judging to what degree I succeeded.

~Carl L. Williams

The 21st annual Dayton Playhouse FutureFest will be held Friday, July 29-Sunday, July 31 at the Playhouse, 1301 E. Siebenthaler Ave. Weekend passes for all six shows are $90. Single tickets are $17. For tickets or more information, call the Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

-RF

-Photos by Art Fabian (copyright 2010) – submitted by Dayton Playhouse

We encourage local theatre companies to submit calendar items HERE, and official press releases to onStageDayton@DaytonMostMetro.com.

Tickets & Performance Information:

21st Annual Dayton Playhouse FutureFest

July 29-31, 2011

Tickets Prices: $17 for single show tickets / $90 for weekend pass (includes all shows)

Location:  The Dayton Playhouse
1301 East Siebenthaler Ave
Dayton, OH  45414 (map)

Tickets are on sale now through DP’s Online Box Office, or via phone at (937) 424-8477

For more information about The Dayton Playhouse visit http://www.daytonplayhouse.org/

Photo Highlights of 2010 FutureFest

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