Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

dayton theatre guild

‘Mr. Rickey Calls a Meeting’ Review – Dayton Theatre Guild – Great Debate

By

Brooklyn Dodgers owner Branch Rickey’s crucial, monumental decision to integrate Major League Baseball by signing Jackie Robinson is the fascinating catalyst of Ed Schmidt’s relevant and riveting 1989 drama Mr. Rickey Calls a Meeting, impressively presented by the Dayton Theatre Guild.

(left to right) Robert-Wayne Waldron (Joe Louis), Saul Caplan (Branch Rickey), Shaun Diggs (Jackie Robinson), Edward Hill (Paul Robeson), Franklin Johnson (Bill “Bojangles” Robinson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Shaun Diggs (Jackie Robinson) opposite Edward Hill (Paul Robeson) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Set in April 1947 at New York City’s Roosevelt Hotel (spaciously designed by Chris Harmon) six days before Robinson made his major league debut at age 28, this imaginary Meeting overseen by Rickey (Saul Caplan) with Robinson (Shaun Diggs) as sidekick involves key input from three influential African-American icons: Joe Louis, the world’s heavyweight champion (Robert-Wayne Waldron); popular vaudeville entertainer Bill “Bojangles” Robinson (Franklin Johnson); and celebrated actor-activist Paul Robeson (Edward Hill). Rickey desperately seeks the trio’s support before announcing his decision, but intriguing questions and motives loom large, particularly regarding the future of the Negro National League. Sparks quickly fly and particularly compelling subtext arises when conversation shifts toward the African-American community’s reluctance to trust powerful white males to keep their promises. Rickey provides a unique opportunity to change the course of sports history for African-American athletes, but his chief desire for “slow, orderly, long-term progress” in which “long-term, lasting change happens one man at a time” sounds like defeatism to those in the room, particularly in the eyes of Robeson, a former Rutgers football player. Ultimately, a harsh reality isn’t lost on Jackie. “It ain’t up to us,” he reminds his fellow legends. “It never was. It never will be.”

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill “Bojangles” Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Historical characters are the centerpiece, but director Rick Flynn effectively opted not to cast actors who are literal representations. Just as Chevy Chase hilariously embodied President Gerald Ford on Saturday Night Live, the essence of the characters takes precedence over exact physical likeness. Caplan, authoritatively intimidating, wonderfully captures the spirit of Rickey’s ambitious aims, including his genuine admiration for Jackie and a slew of strict rules as well as an unyielding determination to embrace baseball open-mindedly. Diggs, believably athletic, paints an excellently vivid portrait of a man refusing to limit his talents, his American Dream, in spite of an onslaught of racism. Hill, in a dynamic breakthrough performance, is a sophisticated voice of reason and ridicule, sometimes unnervingly in the same breath. Johnson, bubbly, agile and raspy, credibly evokes Robinson’s happy-go-lucky showmanship. Waldron, gruff and imposing, is enjoyably understated. Robert Culpepper, charmingly wide-eyed and crisply costumed in period by Carol Finley, completes the cast as excitable, starstruck bellhop Clancy Hope. Interestingly, based on the standout merits of Caplan and Hill, this Meeting would be just as gripping as an intimate two-hander. After all, Rickey and Robeson’s dueling perspectives from politics to power plays deserves expansion, particularly Robeson’s defiant view that Rickey waited 40 years too late to integrate. I suspect Schmidt was heavily inspired by August Wilson’s Fences when writing Robeson’s fiery arc, which includes many Troy Maxson-esque sermons fueled by issues of class, identity, race, and resentment.
African-American athletes have come a long way since Robinson paved the way, but that doesn’t mean the fight for social justice is over. It’s important for owners and players across all leagues to continue to make strides for the sake of future generations, especially minorities longing to join a coaching staff or become an executive. If not, inequality, in words famously sung by Robeson, just keeps rolling along.

Mr. Rickey Calls a Meeting continues through Feb. 9 at Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Fridays; 5 p.m. Saturdays; and 3 p.m. Sundays. The production runs 90 minutes without intermission. Tickets are $13-$20. Patrons are advised the show contains strong language. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org

 

Review Roundup – Young at Heart Players and Dayton Theatre Guild

By

Calendar Girls

Women raising funds by raising eyebrows is the heartwarming thread binding the love, humor, bravery, and sass within Tim Firth’s 2008 British comedy Calendar Girls, pleasantly presented by the Young at Heart Players at the Dayton Playhouse.

(left to right) Heather Martin (Celia), Gayle Smith (Jessie), Amy Askins (Cora), Kerry Simpson (Annie), Becky Howard (Chris), Fran Pesch (Ruth), and Michael Plaugher (Lawrence) appear in Young at Heart Players’ presentation of Calendar Girls. (Contributed photo)

Firmly directed by Annie Pesch and expansively adapted from the 2003 film of the same name, Calendar Girls is based on the 1999 true story of a group of Yorkshire women who produced a cheeky nude calendar to raise money for leukemia research under the auspices of the Women’s Institutes. In the play, which is often very funny although there are many sentimental scenes, sensitive Annie (Kerry Simpson in her finest role to date) and outspoken Chris (a vibrantly earthy Becky Howard) spearhead the calendar, a lighthearted tribute to Annie’s late husband John (an endearing Jim Spencer) with proceeds going toward purchasing a new couch for the WI waiting room. Annie and Chris’ friends are initially unsure about shedding their clothes, but ultimately all agree and the calendar becomes an enormous success, bolstering the Yorkshire village of Knapely to international notoriety. Along the way, feelings are bruised and friendships are tested, but positive public reaction to the cause, the sheer power of sisterhood, and the fond remembrance of John’s gentle spirit prevails. In fact, one of the play’s best moments involves numerous letters descending from the sky serving as beautiful reminders of the ladies’ impact and influence.
In addition to expertly staging the poignancy of the aforementioned scene as well as John’s heartbreaking exit, Pesch smoothly guides the playful frenzy of the Act 1 finale, the pivotal photo shoot overseen by Lawrence (a fittingly bashful Michael Plaugher). This delightful moment exemplifies how well Simpson and Howard are connected with and supported by principals Amy Askins (pianist Cora), Gayle Smith (amiable Jessie), Heather Martin (sophisticated Celia), and Fran Pesch (reticent Ruth). The appealing cast, one of the largest assembled by YAH, includes Cheryl Mellen (Marie), Kelli Locker (Brenda Hulse and Elaine), John Spitler (Rod), Jane E. McBride (Lady Cravenshire), and Brian Buttrey (Liam).

Calendar Girls continues through Nov. 25 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Act 1: 63 minutes; Act 2: 50 minutes. Tickets are $15 for adults and $12 for seniors. Tickets may be purchased at the door. For reservations, call (937) 654-0400. For more information, visit youngatheartplayers.com. Patrons are advised the production contains adult language and partial nudity.


The Man Who Killed the Cure


Typically, Bravo’s The Real Housewives of Atlanta has absolutely nothing to do with the stage, but a notable storyline has brought a refreshing level of depth to the popular franchise.

(left to right) Ryan Shannon (Carmichael and others), Scott Madden (Long John Nebel and others), Melissa Kerr Ertsgaard (Charlotte and others), J. Gary Thompson (Max Gerson), David Williamson (Rudy Heller), and Kristyna Zaharek (Helga and others) appear in Dayton Theatre Guild’s production of The Man Who Killed the Cure. (Photo by Debra Kent)

In the latest episode, NeNe Leakes’ husband Gregg, diagnosed with stage 3 colon cancer in May, visited his doctor for a checkup, anxiously awaiting the assessment. When told he should begin another round of chemotherapy for precautionary measures, Gregg asked his doctor about alternative treatments, an idea his doctor openly opposed. Weighing his options, he decided against chemotherapy. While watching this emotional exchange, I couldn’t help but think of Luke Yankee’s controversial drama The Man Who Killed the Cure, a thought-provoking tale of family, friendship, betrayal, and hope commendably presented in its Midwestern premiere by the Dayton Theatre Guild under the fluidly character-conscious direction of Jeff Sams (also responsible for efficient scenic design).
Set in Germany and New York in the 1930s and 1940s (sound designer K.L. Storer supplies a superb period soundtrack), Cure is based on the life of Max Gerson, one of the fathers of natural healing terrifically portrayed by J. Gary Thompson. The play examines how all hell broke loose within the medical community when Max discovered an all-natural cure for cancer in the late 1940s. Was Max merely a quack for suggesting treating ailing patients with apples? Some were intrigued by his forward-thinking findings, including prominent radio personalities such as Long John Nebel (an admirable Scott Madden), but the majority sought to bring him down personally and/or professionally, even to the point of poisoning.

One of Max’s conspirators was his former partner Rudy Heller, the titular role, a self-described Judas and Brutus, portrayed by an equally winning David Williamson. Rudy saved Max’s life in Germany during World War II and was pleased to join forces with him as up-and-coming Manhattan doctors, but he chose to separate when Max’s reputation grew problematic despite only one patient dying under his care over a span of 10 years compared to Rudy’s 24. Rudy’s decision also stemmed from being blackmailed by powerful pharmaceutical companies, represented here in the form of Carmichael, portrayed by a charmingly cunning Ryan Shannon (a standout last season in the Guild’s local premiere of Marjorie Prime).
Yankee, providing fascinating projections, aspires to absolute balance in his perspectives, but Rudy just isn’t as interesting or engaging as Max. Rudy is primarily written from a narrative focus, but I wonder how the play would evolve without the narration. Perhaps Yankee believed there could be some redemption in Rudy if he established a relationship with the audience at the outset. Even so, Rudy oddly becomes a nastier and more vindictive curmudgeon along the way, which doesn’t necessarily help his case in the end. At the same rate, I’m left a bit puzzled by meek Max, who seems too clear-cut and is often overshadowed by the flashier presence of Rudy. Did Max ever have serious doubts about his alternative methods? Did he battle any personal demons? In terms of dramatic structure, a more complex, multifaceted look at his life at home and in the midst of medicine would give this play significant bite.
In addition, I find the inclusion of Rudy’s shrewd, sexual mistress Helga (Kristyna Zaharek in a breakthrough performance) forced, especially when situations turn and Helga suddenly falls for Max who has no idea she’s working for and being abused by Rudy. Yankee could also do without his insertion of Hedda Gabler, spotlighting the progression of Rudy and Helga’s relationship and featuring the versatile Melissa Kerr Ertsgaard. By and large, it’s an inconsequential scene unintentionally questioning Cure’s talky nature.

No matter your opinion on the delicate subject of cancer treatment, you’ll be glad to know Yankee understands everyone must ask themselves what is best for the betterment of their body. Cure isn’t as excellent as his Last Lifeboat, a hit for the Guild in 2016, but it celebrates a decent man nonetheless.

The Man Who Killed the Cure continues through Nov. 25 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Friday, 5 p.m. Saturday and 3 p.m. Sunday. Act 1: 60 minutes; Act 2: 65 minutes. Tickets are $15. For more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the production contains adult language.

‘The Little Foxes’ Review – Dayton Theatre Guild – Southern Scoundrels

By

Lillian Hellman’s riveting 1939 drama The Little Foxes excellently launches the Dayton Theatre Guild’s 2018-2019 season.
Set in the Alabama spring of 1900, this compelling, three-act saga – methodically directed by Kathy Mola, beautifully costumed by Carol Finley, and attractively designed by Chris Harmon – concerns greed spinning out of control among a dysfunctional, power-hungry family. Brothers Oscar and Benjamin Hubbard (Saul Caplan and Dave Nickel, respectively) along with their sister Regina Giddens (Cheryl Mellen) are excited to invest in a new cotton mill, but Regina can’t sign on because her late father didn’t see fit to leave her on equal financial footing with them. As so, she turns to her sickly husband Horace (Don Campbell) for approval, but he has other ideas in mind. Still, Regina has the last laugh in a shockingly disgraceful display of betrayal and revenge opening the door to a future likely to leave her abandoned, regretful and paranoid despite her bank account.

(left to right) Maximillian Santucci (Leo Hubbard), Gail Andrews Turner (Addie), Saul Caplan (Oscar Hubbard), Libby Holley Scancarello (Birdie Hubbard), Jeff Sams (William Marshall), Cheryl Mellen (Regina Giddens), and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

Mola skillfully handles the play’s juicy melodrama, coaxing performances from her cohesive cast that are grounded rather than overdone. Caplan (in a refreshing departure from comedic roles) and Nickel (very impressive) are terrifically devious cohorts.

Libby Holley Scancarello (Birdie Hubbard) and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

In particular, Nickel wonderfully juggles Benjamin’s smooth charisma and furious rage. Mellen dynamically thrives in Act 3 as Regina’s manipulative instincts hit overdrive, but I would’ve liked to have seen the same kind of ferocity applied from her first entrance. Campbell, in one of his finest roles, offers a superb showdown with Mellen late in Act 2 when Horace finally realizes the scope of Regina’s ambition. As Regina’s fragile, alcoholic sister-in-law Birdie Hubbard, Oscar’s wife, the outstanding Libby Holley Scancarello exceptionally explores Birdie’s inability to break free from the monsters surrounding, suffocating and destroying her. She fills the overlooked, ostracized, battered, and abused character with expressive angst throughout, specifically her captivating monologue reflecting on the first time Birdie met Oscar, a day that led to her dreadful unhappiness for the next 22 years. By and large, Scancarello is just as marvelous and vital here as she was as Mrs. Sylvia Fowler in the Dayton Playhouse’s 2017 production of The Women.

In addition, Maximillian Santucci shines as Oscar and Birdie’s hopelessly inept and immature son Leo, Hannah Stickel supplies gentle innocence and acute perceptiveness as Regina and Horace’s daughter Alexandra, Jeff Sams effortlessly charms while hobnobbing in a den of deceivers as Chicago industrialist William Marshall, and Gail Andrews Turner and Steve Easterling are fittingly sharp as Regina and Horace’s dutiful servants Addie and Cal. Turner notably contributes to an engaging discussion at the top of Act 3 focusing on the play’s friendlier characters taking a respite from familial squabbles and wickedness.

Without question, The Little Foxes remains a relevant cautionary tale of pursuing the American Dream with backbiting, destructive intentions. God bless the U.S.A.

 

The Little Foxes continues through Sept. 2 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Friday, 5 p.m. Saturday, and 3 p.m. Sunday. The play is performed in three acts running 40 minutes each with two intermissions. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

Review Roundup: ‘Little Mermaid’ at Dayton Playhouse and ‘Bakersfield Mist’ at Dayton Theatre Guild

By

Disney’s The Little Mermaid

(l to r) Steven Lakes (King Triton), Abby Stoffel (Ariel) and Chavin Medina (Flounder) appear in Dayton Playhouse’s production of Disney’s The Little Mermaid. (Photo by Art Fabian)


There’s a lot of cute charm under the sea as the Dayton Playhouse presents composer Alan Menken, librettist Doug Wright, and lyricists Howard Ashman and Glenn Slater’s 2008 musical adaptation of Disney’s The Little Mermaid.
Based on the tale by Hans Christian Andersen and directed by Matthew Smith, The Little Mermaid splashes forth as a decently sweet diversion admirably led by Abby Stoffel as the lovely Ariel, daughter of King Triton (Steven Lakes, looking toned and sounding great). Curious about the human world and longing to leave her ocean home, Ariel falls for handsome prince Eric (strong tenor Garrett Young), but is ultimately lured by treacherous sea witch Ursula (a deliciously evil Angelé Price in one of her finest performances) seeking to usurp Triton’s throne.

Stoffel is pleasant as the main focus (her tender rendition of “Part of Your World” is an early highlight), but the support she receives from Price as well as the entertaining trio of William ‘Kip” Moore (Sebastian), Samantha Creech (Scuttle), and Chavin Medina (Flounder) absolutely bolsters the action, which also features an energetic Brad Bishop as excitable Chef Louis (“Les Poissons”).
Smith’s artistic team includes music director Lorri B. Johnson-Topping (ensuring If Only Quartet is the standout it was written to be), scenic designer Chris “Red” Newman (whose imaginative instincts extend to filling Ariel’s hideaway with an array of eye-catching knickknacks), costumer Janet Powell (supplying  colorful contributions although Ariel’s skirt could be more elegantly distinguished), lighting designer Richard Lee Waldeck (utilizing warm ocean-inspired blues and greens), choreographers Kiersten Farmer and JuanGabriel Encarnacion, sound designer J. Gary Thompson, and projection designer Ray Zupp.

Interestingly, this feel-good production feels artistically at war with itself. Some moments reveal the Playhouse overstepping its bounds in terms of what they can do with space while other moments suggest they simply didn’t go far enough. Regardless of cohesive issues, if you loved the movie you’ll love this show.

Disney’s The Little Mermaid continues through May 20 at the Dayton Playhouse, 1301 E. Siebenthaler, Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. Tickets are $20 for adults and $18 or seniors, students and military. For more information, call (937) 424-8477 or visit daytonplayhouse.com.

 

Bakersfield Mist

Charles Larkowski (Lionel Percy) and Rachel Oprea (Maude Gutman) star in Dayton Theatre Guild’s production of Bakersfield Mist. (Photo by Craig Roberts)


Artistic authenticity and personal integrity are key factors fueling Stephen Sachs’ timely and topical 2014 two-hander Bakersfield Mist, which has received a firm local premiere at the Dayton Theatre Guild.

Fluidly directed by Doug Lloyd and set in Bakersfield, California, this relatable yet relatively thin dramedy concerns unemployed Maude Gutman (Rachel Oprea), a loud-mouthed loner thrilled to have discovered what may or may not be a Jackson Pollock original. For verification purposes, Maude invites sophisticated Lionel Percy (Charles Larkowski), former director of New York’s Metropolitan Museum of Art, to her trailer park. Tension ensues, sparks fly, and feelings are hurt, but the old-fashioned reminder that polar opposites can find common ground ultimately arises.

Performed without intermission, Bakersfield is at its best when Maude and Lionel stop slinging insults and fully embrace the idea of connection. Both have emotionally scarred pasts, particularly Maude, and during these prized instances of vulnerability the play becomes more credible. After all, I question the believability of Lionel choosing to stay long past his welcome, especially when he’s on his way out the door only to be pulled in by Maude’s admiration for Law & Order. Even so, Larkowski particularly and marvelously delivers a passionate monologue professing Lionel’s love of art, and Oprea handles Maude’s investigatory brashness with earthy aplomb. In addition, Maude’s visually kooky world, encompassing beer bottle wind chimes, hamburger salt and pepper shakers, and a random bowling pin, is wonderfully realized by scenic designer Patrick Allyn Hayes with set dressing by Hayes, Deirdre Root, Mark Mickle, and Rick Flynn.

In our current political climate, and depending on your perspective, there’s something truly inspirational or truly unnerving about Maude. She seems to boldly represent those who feel they’ve been left behind, the ignored underdogs longing for what’s owed them. Laugh if you will but as the midterm election approaches, Sachs supplies a surprisingly cautionary tale of America’s great divide.
Bakersfield Mist continues through May 27 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Fridays, 5 p.m. Saturdays, and 3 p.m. Sundays. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

‘The Other Place’ Review – Dayton Theatre Guild – The Great Darkness

By

In Sharr White’s riveting 2011 drama The Other Place, excellently presented by the Dayton Theatre Guild in its local premiere, successful neurologist Juliana Smithson faces the toughest battle of her life. Although she appears to be on top of the world, she realizes, at only 52, that her mental state is extremely fragile and beyond repair.

Jamie McQuinn (Ian) and Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Delicately directed with smooth transitions by Kathy Mola, The Other Place unfolds as an engrossing mystery, an intimate character study, and a visceral psychological drama. Events transpire non-linear, blurring the past and present, which forces the audience to take notice of even the slightest details. As Juliana attempts to disprove reality, she battles her husband, filing for divorce, and her doctor, trying to decipher the depths of her illness. The disappearance of her daughter is also a major factor, a major source of heartache, lingering throughout.
As the distraught Juliana, Amy Askins, last seen at the Guild in The Trip to Bountiful and commonly known for her comedic instincts, delivers her most powerful and dramatic performance. Serving as the play’s narrator, an astute choice by White allowing the audience to keep Juliana’s perspective paramount, she offers an engaging yet stinging flair. She is often personable yet occasionally explosive, a veritable loose cannon in many respects but understandably so considering the sheer complexity of dementia. Askins is particularly dynamic in two scenes accented by the admirable Jamie McQuinn as Ian, Juliana’s husband, and the beguiling Kayla Graham, a befuddled stranger offering compassionate understanding. The former concerns ongoing frustration about Juliana’s daughter (allowing McQuinn one of his strongest moments) while the latter centers on Juliana’s impromptu visit to the titular abode (designed as a fragmented remembrance by Chris Harmon) recalling better days for her and her family. Mark Sharp is also featured in various roles as The Man, particularly notable as a gentle presence in the final moments. The production also incorporates projection coordination by Gary Thompson and lovely beach photography and modeling by Cole Reamey and Rachel Mola, respectively.

Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Although White unfortunately doesn’t venture into enough of Juliana and Ian’s backstory, he nonetheless paints an emotional and relatable portrait of what happens when the mind betrays.

The Other Place continues through April 1 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m., and Sunday at 3 p.m. The play is performed in 80 minutes without intermission. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Stella and Lou’ Review – Dayton Theatre Guild – Un-break My Heart

By

What becomes of the brokenhearted? In his tender and engaging dramedy Stella and Lou, playwright Bruce Graham firmly believes the emotionally wounded are able to heal with the passage of time but not without significant prodding.

(l to r) Adam Clevenger (Donnie), Amy Taint (Stella) and Geoff Burkman (Lou) appear in the Dayton Theatre Guild’s local premiere of Stella and Lou. (Photo by Craig Roberts)

Directed with gentle realism by J. Gary Thompson in an excellent local premiere by the Dayton Theatre Guild, this charming story of doubts and uncertainties in one’s twilight years, occurring in real time, concerns the friendship between a Philadelphia bar owner and a divorced nurse. Stella (Amy Taint) has had enough of her humdrum life and feels an opportunity to start anew in Florida is her ticket out. “A registered nurse in Florida?,” she quips. “I get off the plane they’re asking for my resume!” However, Stella isn’t sure about venturing into the great unknown alone. So, she asks Lou (Geoff Burkman), still grieving the loss of his wife, Lucille, to join her. With lighthearted assistance from Donnie (Adam Clevenger), one of Lou’s loyal, younger patrons, the play transpires as a quietly engrossing character study detailing the importance of connection, forgiveness, purpose, and choosing to optimistically embrace the future.

 

The expressive Taint, playful, determined and affecting, endearingly captures Stella’s personable spunk and substantial worries. In her capable hands, there’s no denying Stella’s desire to leave the familiar for a fresh start. Yet along the way, her portrayal, which leans toward comedy, dramatically softens and deepens, particularly bringing beautiful credence to Stella’s fear of aging and living a solitary existence. Burkman, seen last season at the Guild as hospital administrator Carr-Gomm in The Elephant Man, is equally sharp and meaningful. Effectively conveying Lou’s beleaguered and weary essence in physicality and conversation, Burkman powerfully uncovers the depths of Lou’s pain as a widower late in Act Two, specifically Lou’s reflections on coming home to an empty house every night and basically resigning himself to a life of endless stagnation. Although Lou is an introvert of his own making, deliberately closing the door to any possibility of romance or companionship, Burkman cracks the character’s tough, unyielding exterior just enough to prove how vital Stella is as the glimmer of hope he’s been waiting for. Clevenger is an admirable presence in a humorous if superfluous role essentially written to digest and counter thoughtful discussions of marriage and relationships. In addition, D. Tristan Cupp’s wonderfully authentic sports bar set is fittingly accented with nifty memorabilia, numerous bottles of alcohol and a dartboard.
Poignant and relatable, Stella and Lou is a refreshing testament to the joy of second chances.

 

Stella and Lou continues through Feb. 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 pm, Saturday at 5 pm, and Sunday at 3 pm. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

Calling All Actors

By

If your New Years resolution had to do with appearing onstage in a community theater production, this is a great month to work on that. The Miami Valley is lucky to host numerous theaters companies around town and one of these roles just might be hand picked and waiting for you!  The following seven shows are holding auditions this winter for upcoming shows:

​

​Auditions for Almost, Maine

Lebanon Theatre Company

January 7 & * @ 6:00 pm – 9:00 pm

Casting note: Almost, Maine was written with the intent to allow doubling, and can be performed by as few as 4 actors (2 Male, 2 Female). However, the playwright encourages flexibility in the ensemble, and the play can be performed by as many as 19 actors (10 Male, 9 Female). More information on the play can be found here.

Find out more »

Harvey Auditions

Actor’s Theatre Fairborn

January 7 & 8 @ 7:00 pm – 9:00 pm

 We are looking to cast 6 women and 5 men for the show. Auditions will consist of readings from the script.

We hope to see many new faces! Come and enjoy the magic of live theatre!

Find out more »

​

 

Open Auditions for The Other Place

Dayton Theatre Guild

January 22 & 23 @ 2:00 pm – 5:00 pm

The facts blur with fiction and the past collides with the present in this haunting drama.

This will be a challenging project for all involved as the truth is not revealed until the final scene.

Auditions will consist of cold readings from the script.

Find out more »

 

Auditions for A Few Good Men

Dayton Playhouse

January 22 & 23 @ 7:00 pm – 9:00 pm

Dayton Playhouse is excited to announce auditions for the riveting, military drama A Few Good Men. Before Aaron Sorkin created The West Wing, Sports Night, and The Social Network, he took Broadway by storm with his compelling story of honor vs. justice. Auditions will be Monday and Tuesday, January 22-23, 2018 at 7 PM at Dayton Playhouse. Performance dates are March 9-18, 2018. This production will be open to non-traditional racial casting for all parts, but will be adhering to the script for gender casting.

Find out more »

A Streetcar Named Desire Auditions

February 5 & 6 @ 7:00 pm

A tragic and effective drama which is one of the great classics of American theatre, reveals to the very depths the character of Blanche du Bois, a woman whose life has been undermined by her romantic illusions, which lead her to reject—so far as possible—the realities of life with which she is faced and which she consistently ignores. The pressure brought to bear upon her by her sister, with whom she goes to live in New Orleans, intensified by the earthy and extremely “normal” young husband of the latter, leads to a revelation of her tragic self-delusion and, in the end, to madness.

Find out more »

Dirty Rotten Scoundrel Auditions

Brookville Community Theatre
February 27 & 28 @ 7:00 pm – 9:00 pm

Lawrence Jameson makes his lavish living by talking rich ladies out of their money. Freddy Benson more humbly swindles women by waking their compassion with fabricated stories about his grandmother’s failing health. After meeting on a train, they attempt to work together, only to find that this small French town isn’t big enough for the two of them. They agree on a settlement: the first one to extract $50,000 from a young female target, heiress, Christine Colgate, wins, and the other must leave town. A battle of cons ensues that will keep audiences laughing, humming and guessing to the end!

Find out more »

‘Wonder of the World’ Review – Dayton Theatre Guild – The Great Escape

By

A frustrated and sheltered wife’s decision to turn over a new leaf reaches exciting, shocking, hilarious, and absurd proportions in David Lindsay-Abaire’s whimsical 2001 off-Broadway comedy “Wonder of the World,” excellently produced in its local premiere by the Dayton Theatre Guild.

Photo caption (left to right) Richard Young (Glen), Marcella Balin (Karla), Ian Manuel (Kip Harris), Kari Carter (Cass Harris), Scott Madden (Captain Mike), Debra Strauss (multiple roles), and Kerry Simpson (Lois Coleman) are featured in the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s comedy “Wonder of the World” (contributed photo by Craig Roberts)

The absolutely splendid Kari Carter, delivering a knockout Guild debut, impressively drives this kooky if uneven vehicle as the disillusioned yet determined Cass Harris, a free-spirited and conflicted soul longing for adventure and renewed purpose after leaving her husband Kip. Bound for Niagara Falls with a notepad detailing over 280 goals from learning Swedish to wearing velvet, Cass ventures forth to correct mistakes in her life with the hope of finding opportunities to explore possibilities in an attempt to live to the fullest. As is typical in the bizarre and dysfunctional Lindsay-Abaire universe, Cass comes in contact with an assortment of funny eccentrics such as a suicidal alcoholic, goofy private investigators and a clown therapist. His roadmap ultimately grows disjointed (an overlong group therapy scene within the framework of “The Newlywed Game” deflates Act 2), but he appealingly injects great promise into Cass’ journey of self-discovery nonetheless by the end of the play. In fact, the action wonderfully culminates on the rushing waters of Niagara Falls imaginatively staged by director Saul Caplan with black-clad stagehands (the Invisibles) in full view of the audience assisting the action (per the Kabuki tradition of Kuroko).

 
Vividly executing her passionate portrayal with bubbly ease, Carter thrillingly conjures the sitcom-esque vivacity and chatty effervescence of such contemporary comediennes as Sarah Jessica Parker (the original Cass), Lena Dunham, Julie Bowen, and Tracee Ellis Ross. She notably masters the tricky nuances and rhythms enabling the script to remain snappy, witty and conversational while ensuring Cass’ emotional vulnerabilities are evident. As clingy Kip, coping as best as possible with his Barbie fetish, Ian Manuel, in a welcomed return to the Guild, lends very endearing support. He firmly balances Kip’s devotion for Cass with darker undertones giving credence to her choice to seek a new love. Kerry Simpson, in a refreshing principal capacity, is equally winning as Cass’ troubled sidekick Lois Coleman, the aforementioned alcoholic on a mission to become the next Annie Edson Taylor complete with barrel in tow. Marcella Balin and Richard Young are delightfully unified as oddballs Karla and Glen, hired by Kip to track down Cass. Scott Madden is enjoyably pleasant as Maid of the Mist’s Captain Mike, Cass’ desired flame. Debra Strauss is a versatile hoot in multiple zany roles including a helicopter pilot, three waitresses, and a clown. Doug Lowe, Bekki Madden, Carly Risenhoover-Peterson, and Tori T. Tuccillo complete the cast as the dutiful Invisibles, effectively handling the varied moving parts of Richard Lee Waldeck’s efficient set pieces. Linda Sellers’ costumes, Jason Vogel’s lighting design, Ryan Shannon’s sound design, and N. Lynn Brown’s properties and set dressing nicely complement the action.

 
Lindsay-Abaire’s plays include his splendid and heartbreaking 2007 Pulitzer Prize-winning drama “Rabbit Hole” in addition to “Fuddy Meers,” “Good People,” “Kimberly Akimbo,” and “Ripcord.” He also wrote the book and lyrics for “Shrek: The Musical” and the book for the musical “High Fidelity.” “Wonder of the World” isn’t a representation of his best work, but Carter’s wondrously wonderful performance specifically resonates as an affirming reminder to always choose to go on when life gets messy.

 

“Wonder of the World” concludes Sunday, May 28 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act 1 and Act 2 are performed in 60 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the production contains adult language, fog effects and the sound of gunshots.

 

 

‘The Elephant Man’ Review – Dayton Theatre Guild – Beauty Underneath

By

Transformation has always been a wondrously inherent part of theater magic. So, without reservation, I assure you Jared Mola’s splendidly visceral and physically impressive embodiment of John Merrick in the Dayton Theatre Guild’s excellent production of Bernard Pomerance’s thought-provoking 1979 Tony Award-winning drama “The Elephant Man” provides one of the finest transformations you’ll see on any stage in the Miami Valley this season.

(l to r) Patrick Hayes as Frederick Treves and Jared Mola as John Merrick in the Dayton Theatre Guild’s production of “The Elephant Man” (Photo by Craig Roberts)

Anyone familiar with Mola’s credits will not be surprised by this latest revelation. After all, he’s already proven his chameleon prowess in a string of dynamically lived-in performances ranging from dim-witted Roy Manual in “Nice People Dancing to Good Country Music” to intensely crazed Robert Renfield in “Dracula,” and most recently, the utterly distressed yet honestly hopeful Prior Walter in “Angels in America: Perestroika.” Still, John Merrick is in a completely different league because of the challenging physicality it requires. Without the benefit of makeup or prosthetics, Mola must become, with every fiber of his being, the startlingly deformed freak show attraction who ultimately and remarkably hobnobbed with the Victorian elite at London Hospital. He smoothly handles the physical stresses of this demanding exercise (you can sense the pain in his crooked posture as well as his curved hands and feet), but he’s savvy enough to ensure his incredibly astute portrayal isn’t just about physique. On the contrary, his compelling work is rooted in nuance, charm, wit, wonderment, and gratitude. As these attributes heighten the potent value of the story’s rags-to-riches allure and telling look at society’s treatment of the “other,” Merrick’s magnetism doesn’t wane. Whether facing ridicule from gawkers or an angry mob or astonishing the upper-class willing to see beyond the surface and into his soul, he commands our attention. We cannot look away, and thanks to Mola, there’s no reason why we should.
Elsewhere, Patrick Hayes, returning to the Guild stage for the first time since 2013’s “The Pillowman,” is greatly inquisitive and concerned if calculatingly cerebral as Dr. Frederick Treves, Merrick’s savior, champion and friend. Hayes navigates his complicated role well, but there are times I wish he wasn’t so emotionally reserved, particularly as Treves grows regretful and hopeless about his own insecurities. The elegant and inviting Heather Martin warmly and sophisticatedly portrays Mrs. Kendal, a celebrated actress guiding Merrick into enlightening conversations about “Romeo and Juliet” and intriguing facets of femininity. As Ross, Merrick’s shady manager, Jim Lockwood is terrifically demanding in an Act 2 showdown with Mola when Ross begs Merrick to return to the freak show. Geoff Burkman brings cool authority and scientific reasoning to his sharp portrayal of Carr Gomm, the administrator of London Hospital influential to securing funding for Merrick to remain at the hospital for life. Kevin Grego, Mark Reuter, Melissa Kerr Ertsgaard, Meredith Hollingsworth, and Lorin Dineen are firm and colorful in multiple roles.
David Shough’s deftly fluid staging, an asset considering the play’s episodic nature, is accented by his fittingly circus-inspired, Merrick-as-the-main-attraction, show-within-a-show concept and co-scenic design with Chris “Red” Newman complete with efficient moving pieces. N. Lynn Brown’s lovely assortment of attractive period costumes and J. Gary Thompson’s sound design are also praiseworthy.
One of the play’s most striking moments involves a clever role reversal in which Merrick offers a lecture on Treves’ deformities. It is the only time Mola appears outside the physical boundaries of the role, giving credence to his fascinating versatility and the overall breadth of his achievement.

 

“The Elephant Man” continues through April 2 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 45 minutes; Act Two: 40 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the play contains brief nudity.

 

 

‘Luna Gale’ Review – Dayton Theatre Guild – Little Girl Lost

By

The battle for custody of a 6-month-old baby girl entices with compelling magnetism in Rebecca Gilman’s 2014 contemporary drama “Luna Gale,” currently receiving an outstanding local premiere at the Dayton Theatre Guild and directed with superb, true-to-life delicacy by Debra Kent.

(front row left to right) Andrew Poplin as Peter, Kayla Graham as Karlie, Cheryl Mellen as Caroline, (back row left to right), John-Michael Lander as Pastor Jay, Cassandra Engber as Cindy, Heather Atkinson as Lourdes, and Timothy Moore as Cliff comprise the cast of the Dayton Theatre Guild’s local premiere of Rebecca Gilman’s contemporary drama “Luna Gale” (Photo by Craig Roberts)

 

Misunderstanding, confusion, regret, and hope bolsters this fascinating tale fueled by Caroline, a veteran social worker in Cedar Rapids, Iowa trying to place the title character, neglected by her drug addicted teen parents Karlie and Peter, in the best environment. Fully invested in her job almost to her detriment, Caroline is thrown for a loop when Luna’s grandmother Cindy, Karlie’s estranged mom, reveals her devout evangelical beliefs during her request for permanent adoption. Finding Cindy’s motives off-putting, Caroline tries to figure out how the recently rehabilitated Karlie and Peter can stake their case. What transpires unfolds as an intriguing war of ideology and responsibility as matters of love and devotion as well as the complicated search for the truth leaps to the forefront with riveting flourish.

As Caroline, the terrifically formidable Cheryl Mellen gives one of her finest, most multifaceted performances. Cool, strict, empathetic, and splendidly investigatory, Mellen conveys the total breadth of a complex woman trying to cope with bureaucracy at work and the pain of her emotionally scarred past while fighting for what is right no matter how dicey the result. Appealing Guild newcomers Kayla Graham and Andrew Poplin deliver breakthrough performances as the troubled Karlie and Peter, providing skillful transformations as both characters progress over time. In particular, Graham’s edginess, frustration and anguish typifies Karlie’s despair while perfectly contrasting Poplin’s affable, caring and mature attributes signaling Peter’s potential as a meaningful father and provider. As the faith-based Cindy, Cassandra Engber is wonderfully credible and passionately outspoken in her heated exchanges with Mellen. She’s also strong in her brief appearance opposite Poplin in his knockout moment late in Act 2 gently revealing a key moment in Karlie’s life that contributed to her downward spiral unbeknownst to Cindy. Timothy Moore, in a refreshing change of pace from his previous string of well-meaning good guys, is flawlessly snide as Cliff, Caroline’s overbearing, ruthless supervisor. John-Michael Lander is also winningly grounded as Cindy’s cheery, Joel Osteen-esque minister Pastor Jay. Heather Atkinson, memorable earlier this season alongside Engber in the Guild’s “The Last Lifeboat,” solidly completes the cast as Lourdes, one of Caroline’s wayward if superfluous clients intended to provide insight into her weighty workload and messy upbringing.

Additionally, the intimate world of the play is efficiently brought to life by set designer Blake Senseman, costumer Kristine Caffrey, lighting designer Tony Fende, Deidre Root and Debra Strauss’ properties, and K.L. Storer’s effective soundtrack, a source of rich musical commentary that remains a hallmark of his collaborations with Kent (which extends to her equally marvelous Guild productions of “Time Stands Still” and “Good People”).

Gilman’s plays include “Spinning Into Butter,” which received its local premiere at the Human Race Theatre Company in 2001, and “Boy Gets Girl,” which received its local premiere at the Guild in 2003. “Luna Gale,” among her most relatable works, captivatingly brings harsh realities to the surface with the promise and anticipation of reunion and new beginnings.


“Luna Gale” continues through Feb. 5 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 60 minutes; Act Two: 60 minutes. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the play contains adult language.

 

‘Dracula’ and ‘Outgoing Tide’ Reviews – Sinclair Community College and Dayton Theatre Guild – Potent Productions

By

DRACULAbe0b5fed-78b4-4420-ba47-3f95f9922ffb
Sinclair Community College’s impressively dark and disturbing production of Steven Dietz’s breezily faithful adaptation of Bram Stoker’s classic 1897 novel “Dracula” opens the organization’s 2016-2017 season on a high note.

Directed with striking fluidity and expert tone by Kimberly Borst, this “Dracula” is by no means a campy, overtly melodramatic horror show intended to make you giggle for two hours or confirm your decision to dress up as one of Stoker’s characters for Halloween. On the contrary, it’s an emotionally uneasy and outright eerie experience dramatically diving (and occasionally flying) straight to the core of examining the compelling consequences of incessant desire, unrelenting power, possessive affection, and cruel mind games within society. Thankfully, these gripping factors, revealing many unsettling truths, are executed with committed fervor from one of the most chameleonic ensembles Sinclair has assembled.

The wonderfully versatile Leo Santucci is an astutely brooding knockout navigating the titular vampire’s creepily cunning quests of love and supremacy with a sinister booming voice that’ll send shivers down your spine. He also ensures Dracula’s villainy is far from one-dimensional by layering his language-driven portrayal with melancholy, wistfulness and sly humor. Fine work extends to the dynamic Maximilian Santucci as the stalwart Van Helsing, a first-rate Jonathan Kelly as authoritative John Seward, a delightfully physical Tristan Rivera as insane Renfield (his transition at the outset is an early highlight), Gabriella Neuerer as sophisticated Mina, Sydney Baker as Mina’s spellbound best friend Lucy, Thomas Puckett as Mina’s amiable fiancé Jonathan Harker, Nick Baver and Andre Tomlinson as asylum attendants, and Chelsey Hall and Erin McGee as Dracula’s evil vixens.

Borst’s exemplary artistic team, attractively and atmospherically recreating 19th century London and Transylvania, includes set designer Chris Harmon, costumer Kathleen Hotmer, lighting designer Dan Brunk, projection designer Gina Neuerer, fight choreographer Gary Minyard, flying director William G. L. Courson, VertigoTM’s flying effects, prop designer Sarah Gomes, wig/makeup designer Brooke Watson, blood and special effects designer Kaoime E. Malloy, and sound designer Isaiah Parnell.

If you’re in the mood for thrills and chills, do not miss this terrific fright fest.

“Dracula” continues through Oct. 29 inside Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., and Thursday at 7 p.m. The Sunday and Thursday performances are American Sign Language interpreted. Tickets are $18 adults and $15 student and seniors. Thursday tickets specifically cost $10. For tickets or more information, call Sinclair Box Office at (937) 512-2808 or visit www.sinclair.edu/tickets

 


THE OUTGOING TIDE
The Dayton Theatre Guild provides a lovely local premiere of Bruce Graham’s thought-provoking 2011 drama “The Outgoing Tide.”

Set in autumn on Chesapeake Bay, evocatively brought to life by scenic designer Fred Blumenthal and sound designer J. Gary Thompson, this poignant and relatable work chronicles the difficult, life-altering choices Gunner and Peg Concannon must face centered on Gunner’s progressive Alzheimer’s. Gunner and Peg have been married for over 50 years, but the time has come for them to take a hard look at what the future must hold. Peg doesn’t mind moving to a senior facility so she can assist Gunner’s need for long-term care, but Gunner vehemently resists. He wants to end his life on his own terms and with dignity. As discussions grow heated and the pain of the past bubbles to the surface, especially as Gunner and Peg’s only son Jack attempts to serve as mediator while coping with his own emotionally fractured household, the play forces us to recognize the value of respecting one’s wishes no matter how distressing or sorrowful.

Under Kathy Mola’s delicate direction, Graham’s trio remarkably connects. Peter Wallace, a standout last season at the Guild in “Slowgirl,” walks the fine line between conveying Gunner’s troubling mental deterioration and amusingly tapping into his opinionated, cantankerous behavior. It’s a tricky game, but Wallace admirably steps up to the plate. As Peg, Barbara Jorgensen delivers another luminous display of outstanding character-specific complexity that will break your heart. Pay heed to her sharp, perceptive work at the top of Act 2, the finest scene in the play addressing Peg’s unwavering commitment to her family, opposite the excellently understated and sensitive Matthew Smith as the conflicted, damaged Jack.
Graham, a film and TV writer who began his playwriting career at the Philadelphia Festival Theatre for New Plays in 1984, notably won Chicago’s Jefferson Award for “The Outgoing Tide.” The Guild winningly charts the play’s emotional course built on the pain of letting go.

 

“The Outgoing Tide” continues through Oct. 23 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

 

‘The Last Lifeboat’ Review – Dayton Theatre Guild – Human Error

By

One man’s fateful decision during the frightening chaos of one of the world’s greatest tragedies is only a small part of the immense appeal of Luke Yankee’s compelling 2014 drama “The Last Lifeboat,” currently receiving an outstanding regional premiere as the 72nd season opener of the Dayton Theatre Guild.

last lifeboat

(Left to right) Cassandra Engber, J. Gary Thompson, Heather Atkinson, Heather Martin, Mike Beerbower (seated), Kerry Simpson, Matt Lindsay, and Zach Katris in “The Last Lifeboat” (Photo by Craig Roberts)

Yes, Joseph Bruce Ismay, British owner of the White Star Line, notoriously saved himself when the Titanic sank during her maiden voyage in April 1912. But the fundamental events decades before and after, providing the brisk pulse and inherent attraction of the play, offers fascinating insights into a man pigeonholed as a coward throughout history. As depicted by Yankee, balancing years of substantive research with the freedom of artistic liberties, the guilt-ridden Ismay is not portrayed as an entitled villain but simply a victim of circumstance. He was a man who never felt loved or admired by his stern father who particularly scolded him about crying in public. He also had difficulties of discernment when negotiating with rich investors (such as J.P. Morgan) who wanted the Titanic to be constructed in favor of the elite. Survivor’s guilt, legal challenges and relationship challenges took its toll on him as well with his health notably declining in the 1930s due to complications from diabetes. He died of a stroke in 1937 at the age of 74.

 
In his impressive Guild directorial debut, Jeff Sams brings strikingly cinematic and choreographic fluidity to Yankee’s meticulous handiwork, which covers nearly 60 years and over 50 scenes. Sams specifically injects breathtaking poignancy into the play’s gripping centerpiece, the Act 1 finale centered on Ismay entering the lifeboat. The terrifically versatile cast dramatically unifies in slow motion to convey the sinking as “Nearer, My God, to Thee” fittingly propels emotions. In addition to creating an expert scenic design consisting of trunks, tables, crates, antiques, efficient props, and newspaper renderings, Sams wisely keeps the cast, beautifully costumed in period attire by Carol Finley, on stage at all times. His decision allows the play to maintain an impactful, observational immediacy, drawing the audience further into the storytelling accented with first-rate assistance from lighting designer John Falkenbach and sound designer K.L. Storer. Redundant blackouts chip away at momentum but are not a major hindrance.

 

last lifeboat 2

Heather Atkinson and Matt Lindsay in “The Last Lifeboat” (Photo by Craig Roberts)

Matt Lindsay (Ismay), Heather Atkinson (Mrs. Ryerson and others), Mike Beerbower (William Randolph Hearst and others), Cassandra Engber (Vivian Hilliard and others), Zach Katris (Phillip Franklin and others), Heather Martin (Florence Ismay and others), Kerry Simpson (Margaret Ismay and others), and J. Gary Thompson (Thomas Ismay and others) firmly fashion wonderfully vivid characterizations. Lindsay has the lion’s share of material and his amiable persona sells Ismay’s good intentions (Yankee is pro-Ismay all the way which will infuriate doubters), but the entire cast has ample opportunity to shine. For instance, as first class passenger Mrs. Ryerson, Atkinson sharply trades the character’s inquisitive playfulness in Act 1 for hardened contempt in Act 2 as she attempts to make sense of losing her husband who valiantly went down with the ship. The compassionate Engber is an endearing source of care and concern as Ismay’s former sweetheart Vivian, a character birthed from Yankee’s imagination. Beerbower, memorably understated last season in the Guild’s local premiere of “Outside Mullingar,” is superbly sly and malicious as newspaper magnate Hearst, particularly in a disheartening Act 2 scene opposite Martin when Florence tries to seduce Hearst to protect Ismay. Thompson, a reliable chameleon, weaves through numerous identities with aplomb but is especially formidable as Thomas, Ismay’s successful yet insensitive father. By and large, this cast is one of the finest ever assembled by the Guild.

 
Yankee notably attended the Saturday, Aug. 27 performance and participated in a lively and informative talkback to share his thoughts on the creative process. It was apparent how much he admired Ismay’s legacy and the entirety of the Titanic account. As so, in his appreciation of Ismay, responsible for the “largest floating object in the world,” “The Last Lifeboat” stands as a cautionary tale proving that in the midst of great darkness and despair redemption is never too far away.

 
“The Last Lifeboat” continues through Sept. 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 42 minutes; Act Two: 50 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.