dayton theatre guild

Open auditions for Broadway Bound

September 4, 2022 By Dayton937

Open audition notice for Broadway Bound by Neil Simon

Auditions will be held Tue & Wed, Sep 6 & 7, 2022, starting at 7:00 pm both nights.
Production dates: Nov 4-20, 2022

The Dayton Theatre Guild at the Caryl D. Philip TheatreScape
430 Wayne Ave, Dayton OH, 45410
937-278-5993 — www.daytontheatreguild.org

Directed by Marjorie Strader
Produced by Scott Madden

Following Brighton Beach Memoirs and Biloxi Blues, Broadway Bound is the funny and poignant conclusion of Neil Simon’s semi-autobiographical Eugene trilogy. Eugene and his brother Stanley are trying to break into the world of professional comedy writing while coping with their parents’ messy and gut-wrenching split. When their material is broadcast on the radio for the first time, the rest of the family is stunned to hear a comedic rendition of their own trials and tribulations. Broadway Bound gently and humorously looks at the conflict between family loyalties and personal happiness, as well as the challenges we face, even as adults, of breaking out of parent-child patterns that we formed years ago.

Casting Requirements:

• Auditions will consist of cold readings from the script.
• A résumé and headshot are not required but are appreciated.
• Please bring all scheduling conflicts, including weekends, between Sep 8 and Nov 20, 2022.

Masks are strongly suggested for everyone auditioning or otherwise involved..

All cast and crew are required to be vaccinated for COVID-19

-) Eugene:
(23) the play’s narrator. Affable, witty and quick with a joke, Eugene is trying to break into comedy writing with his older brother Stanley. Although he seems care-free, he cares deeply for his family, and through the course of this play, begins to see his parents as actual people with their own stories and heartbreaks.

-) Stanley:
28) Eugene’s older brother. Driven and high-strung, Stanley is the force behind the brothers’ quest to get into show business. Although he bickers constantly with Eugene as they write, he also demonstrates his devotion to his brother and the rest of the family.

-) Kate:
(early 50s) Eugene and Stanley’s mother, Jack’s wife. Strong and hardworking, Kate does everything in her power to put up a happy front and keep her family together and well-fed, even as she is undergoing the pain of her 30-plus year marriage crumbling in front of her.

-) Jack:
(mid to late-50s) Eugene and Stanley’s father, Kate’s husband. Having spent years working in the same job and living in the same neighborhood, he has become tired of the monotony of life…and of marriage.

-) Ben:
(late 70s) Kate’s father. Ben lives with his daughter Kate and her family, while his semi- estranged wife of many years lives with Blanche, another daughter. Ben is an old socialist who doesn’t understand his grandsons’ “comedy.” If it isn’t educating people or making the world a more equitable place, what’s the point? While not an affectionate man, he is there for Kate in his own way.

-) Blanche:
late 40s/early 50s), Kate’s younger sister, Ben’s daughter. A widow who has re-married into money, Blanche visits from her Park Avenue home to attempt to convince Ben to move to Florida with his wife, but Ben can’t see past Blanche’s new wealth and how it clashes with his own socialist views.

For more information, including perusal script, please contact:
Director Marjorie Strader at [email protected]

The show runs weekends Nov 4-20, 2022
First Weekend: Friday 8pm, Saturday 8pm, Sunday 3pm
Second & Third Weekend: Friday 8pm, Saturday 5pm, Sunday 3pm

*Children under seven will not be admitted

Individual tickets on sale now

Adult: $20
Senior (60 or older): $18
Student: $13
Special pricing for groups of 10 or more, call the Box Office at 937-278-5993 for pricing
– http://www.daytontheatreguild.org/ click on “Tickets” link
– or call 937-278-5993
– or at the box office day of the show

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

January 28, 2020 By Russell Florence, Jr.

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

November 22, 2018 By Russell Florence, Jr.

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

August 26, 2018 By Russell Florence, Jr.

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

May 16, 2018 By Russell Florence, Jr.

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

March 31, 2018 By Russell Florence, Jr.

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

February 1, 2018 By Russell Florence, Jr.

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

January 3, 2018 By Lisa Grigsby

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.

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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.

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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!

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

May 27, 2017 By Russell Florence, Jr.

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

March 31, 2017 By Russell Florence, Jr.

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

January 31, 2017 By Russell Florence, Jr.

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

October 22, 2016 By Russell Florence, Jr.

DRACULA
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

August 30, 2016 By Russell Florence, Jr.

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.

(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.

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.

Saluting Dayton’s 2015-16 Theater Season

June 29, 2016 By Russell Florence, Jr.

America’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

Looking back, let’s start with the bold, risk-taking Playground Theatre, a millennial-focused troupe changing the landscape of Dayton theater with an edgy off-Broadway vibe. Case in point: An exceptionally acted, up close and personal local premiere of Reasons to Be Pretty, Neil LaBute’s scathing account of image, regret, deception, and disillusionment directed with razor sharp tension and riveting intimacy by David Brush. Fine premieres thrived elsewhere at community theaters thanks to the Dayton Theatre Guild’s lovely Outside Mullingar and Last Gas as well as Young and Heart Players’ kooky, introspective Circle Mirror Transformation. As for musicals, Dayton Playhouse scored with challenging classics 1776 and Carousel while Beavercreek Community Theatre offered highly engaging accounts of The Addams Family and Spring Awakening

Collegiate theaters also hit the mark with a solid slate of musicals. Wright State University’s Chicago, The Music Man and Miss Mayor showcased the superior quality audiences have come to expect while Sinclair Community College notably produced an infectious, playful and soul-stirring Wiz. Drama standouts included University of Dayton’s captivatingly poignant staging of the Holocaust drama And A Child Shall Lead (co-produced by Zoot Theatre Company), Sinclair’s terrifically ensemble-driven One Flew Over the Cuckoo’s Nest, and Clark State Community College’s commendable Angels in America: Millennium Approaches.

On professional stages, the fantastic return engagement of The Lion King gave the Victoria Theatre Association late-season momentum, but the production was actually one of an assortment of outstanding national tours this season including A Night with Janis Joplin, Once, Pippin, The Book of Mormon, and The Bridges of Madison County. Human Race Theatre Company specifically excelled with a wonderfully haunting and heartfelt Glass Menagerie. Feminine-centric Magnolia Theatre Company produced a splendid local premiere of the engrossing one-woman show K of D, but also greatly entertained with the delightful cabaret Broadway Beveled. Dare to Defy Productions pulled out the stops with American Idiot, but also impressed with the hilarious Great American Trailer Park Musical and snazzy, dance-heavy Wild Party.
Assessing the 65 shows I saw this season, I congratulate the following winners (in bold) and nominees.

Jennifer Joplin, Claire Kennedy and Scott Hunt in the Human Race Theatre Company’s production of “The Glass Menagerie” (Photo by Scott J. Kimmins)

(l to r) Brett Hill, Jenna Burnette, Christopher Hahn, and Kaleigh-Brooke Dillingham in “Reasons to Be Pretty” (Photo by Rachel Katz)

BEST TOURING PRODUCTION
The Book of Mormon, Victoria Theatre Association
The Bridges of Madison County, Victoria Theatre Association
Disney’s The Lion King, Victoria Theatre Association
Once, Victoria Theatre Association
Pippin,Victoria Theatre Association
Rodgers and Hammerstein’s Cinderella, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Glass Menagerie,Human Race Theatre Company
The K of D, An Urban Legend, Magnolia Theatre Company
Master Class, Human Race Theatre Company
Steel Magnolias, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
A Christmas Story: The Musical, La Comedia Dinner Theatre
American Idiot, Dare to Defy Productions
The Full Monty, Human Race Theatre Company
The Great American Trailer Park Musical,Dare to Defy Productions
The Wild Party,Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
Circle Mirror Transformation, Young at Heart Players
Fools,Undercroft Players
Last Gas,Dayton Theatre Guild
Outside Mullingar, Dayton Theatre Guild
Reasons to Be Pretty, Playground Theatre

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
1776, Dayton Playhouse
The Addams Family,Beavercreek Community Theatre
Carousel, Dayton Playhouse
Spring Awakening, Beavercreek Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
A Streetcar Named Desire, Wright State University
And A Child Shall Lead, University of Dayton with Zoot Theatre Company
Angels in America: Millennium Approaches, Clark State Community College
The Great Gatsby, Wright State University
One Flew Over the Cuckoo’s Nest, Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Chicago, Wright State University
Miss Mayor, Wright State University
The Music Man, Wright State University
Once Upon a Mattress, University of Dayton
The Wiz, Sinclair Community College

Dayton native and Wright State University grad Annie Pesch Contributed photo

BEST SPECIAL THEATRICAL EVENT
A Night with Janis Joplin, Victoria Theatre Association
American Mosaic, Dayton Philharmonic Orchestra, Dayton Opera, Dayton Ballet, Human Race Theatre Company, Muse Machine, DCDC, and Bach Society of Dayton
An Evening with Jason Robert Brown, Wright State University Musical Theatre Initiative
Mary Poppins, Muse Machine
Tarzan,Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Anthony Reilly, Outside Mullingar
Saul Caplan as Roy Cohn, Angels in America: Millennium Approaches
Tommy DiMassimo as Stanley Kowalski, A Streetcar Named Desire
Christopher Hahn as Greg, Reasons to Be Pretty
Scott Hunt as Tom Wingfield, The Glass Menagerie
David Shough as Joseph Alsop, The Columnist (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY
Christine Brunner as Truvy, Steel Magnolias
Jenna Burnette as Steph, Reasons to Be Pretty
Teresa Connair as Rosemary Muldoon, Outside Mullingar
Jenna Gomes as Becky, Slowgirl (Dayton Theatre Guild)
Ellie Margolis as Blanche DuBois, A Streetcar Named Desire
Annie Pesch as The Girl, The K of D, An Urban Legend

BEST LEADING ACTOR IN A MUSICAL
Christian Johnson as Bert, Mary Poppins
Nathan Robert Pecchia as Harold Hill, The Music Man
Layne Roate as Johnny, American Idiot
Andrew Samonsky as Robert Kincaid, The Bridges of Madison County
Jeff Sams as Billy Bigelow, Carousel
Cody Jamison Strand as Elder Cunningham, The Book of Mormon

BEST LEADING ACTRESS IN A MUSICAL

Pictured: Carolyn Popp, Christine Brunner, Caitlin Larsen, Patricia Linhart and Maretta Zilic

Kaitlyn Davidson as Ella, Rodgers and Hammerstein’s Cinderella
Mackenzie Lesser-Roy as Girl, Once
Gabrielle McClinton as Leading Player, Pippin
Bailey Rose as Roxie Hart, Chicago
Brianna Russ as Mary Poppins, Mary Poppins
Elizabeth Stanley as Francesca Johnson, The Bridges of Madison County

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Martin Lowy, And A Child Shall Lead
Sean Frost as Louis Ironson, Angels in America: Millennium Approaches
Cody Lewis as Harold “Mitch” Mitchell, A Streetcar Named Desire
Dave Nickel as Tony Reilly, Outside Mullingar
John Spitler as Dr. Zubritsky, Fools
Drew Vidal as Jim O’Connor, The Glass Menagerie

BEST SUPPORTING ACTRESS IN A PLAY
Megan Cooper as Theresa, Circle Mirror Transformation

The cast of Dayton Playhouse’s production of “1776” (Photo by Art Fabian)

Kaleigh-Brooke Dillingham as Carly, Reasons to Be Pretty
Claire Kennedy as Laura Wingfield, The Glass Menagerie
Caitlin Larsen as Ouiser, Steel Magnolias
Pam McGinnis as Freida, The Tale of the Allergist’s Wife (Dayton Playhouse)
Rachel Wilson as Cherry-Tracy Pulcifer, Last Gas

BEST SUPPORTING ACTOR IN A MUSICAL
Tim Rezash as John Dickinson, 1776
John Rubenstein as Charles, Pippin
Tyler Simms as Amos Hart, Chicago
J. Gary Thompson as Jigger Craigin, Carousel
Malcolm Walker as The Wiz, The Wiz
Richard Young as Benjamin Franklin, 1776

BEST SUPPORTING ACTRESS IN A MUSICAL
Cecily Dowd as Winifred Banks, Mary Poppins
Lisa Glover as Whatsername, American Idiot
Priscilla Lopez as Berthe, Pippin
Krissy McKim-Barker as Carrie Pipperidge, Carousel
Tia R. Seay as Betty, The Great American Trailer Park Musical
Megan Valle as Jacqueline “Jacq” Greer, Miss Mayor

(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)

BREAKTHROUGH MALE PERFORMANCE
Evan Benjamin as Jack, Into the Woods (Dare to Defy Productions)
David E. Brandt as The Lion, The Wiz
Brett Hill as Kent, Reasons to Be Pretty
Dakota Mullins as Tommy Djilas, The Music Man
Thomas Cole Schreier as St. Jimmy, American Idiot
Eric Thompson as Enoch Snow, Carousel

BREAKTHROUGH FEMALE PERFORMANCE
Bryana Bentley as Rose, Fences (The Signature: A Poetic Medley Show/Sinclair Community College)
Caroline Chisholm as Velma Kelly, Chicago
Natalie Girard as Evelyn “Evie” Ensler (a.k.a. Helen Hensler), Miss Mayor
Adrienne (Adee) McFarland as Julie Jordan, Carousel
Vanae Pate as Dorothy, The Wiz
Madeline Sensenstein as Myrtle Wilson, The Great Gatsby

BEST DIRECTION OF A PLAY
Kimberly Borst, The K of D, An Urban Legend
David Brush, Reasons to Be Pretty
Greg Hellems, The Glass Menagerie
David Shough, Outside Mullingar
Jerome Yorke, And A Child Shall Lead

BEST DIRECTION OF A MUSICAL
Marya Spring Cordes, The Music Man
Joe Deer, Chicago
Chris Harmon, The Wiz
Megan Wean Sears, Tarzan
Angie Thacker, American Idiot

BEST CHOREOGRAPHY
Lula Elzy, Mary Poppins
Lisa Glover, The Wild Party
Kimberly Isaacs, American Idiot
Teressa Wylie McWilliams, Chicago
Rodney Veal, The Wiz
Dionysia Williams, The Music Man

BEST SCENIC DESIGN OF A PLAY
Bruce Brown, Last Gas
Matthew J. Evans, And A Child Shall Lead
Chris Newman, The Tale of the Allergist’s Wife (Dayton Playhouse)
Chris Newman and David Shough, Outside Mullingar
Terry Stump, One Flew Over the Cuckoo’s Nest

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, The Full Monty
Adam Koch, Chicago
Pam Knauert Lavarnway, The Music Man
Terry Stump, The Wiz
Ray Zupp, Tarzan

BEST COSTUME DESIGN OF A PLAY
Donna Beran, And A Child Shall Lead
Carol Finley, The Columnist (Dayton Theatre Guild)
Mary Beth McLaughlin, The Great Gatsby
Janet G. Powell, Steel Magnolias
Emily Sollinger, A Streetcar Named Desire

BEST COSTUME DESIGN OF A MUSICAL
Kathleen Carroll, 1776
Kathleen Hotmer, The Wiz
Maria Klueber and Lori Watamaniuk, Tarzan
Christie Peitzmeier, The Music Man
Michelle Sampson, Chicago

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UD’s production of AND A CHILD SHALL LEAD. Photo by: Tony Beran

BEST LIGHTING DESIGN OF A PLAY
Jadon Bischoff, Slowgirl (Dayton Theatre Guild)
Daniel Brunk, One Flew Over the Cuckoo’s Nest
Jessica Ann Drayton, A Streetcar Named Desire
Matthew J. Evans, And A Child Shall Lead
Jessy Henning, The K of D, An Urban Legend

BEST LIGHTING DESIGN OF A MUSICAL
Matthew Benjamin, American Idiot
Jacob Brown, The Music Man
Sammy Jelinek, Into the Woods (Dare to Defy Productions)
Gina Neuerer, The Wiz
John Rensel, Mary Poppins

BEST SOUND DESIGN OF A PLAY
Megan Banfield, And A Child Shall Lead
Jay Brunner, The Glass Menagerie
Emily Hutton, The K of D, An Urban Legend
Alex Koker, A Streetcar Named Desire
K.L. Storer, Last Gas

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Wiz
James Dunlap, Chicago
Emily Hutton, The Music Man
Chris Pentecost, Tarzan
Ben Selke, A Night with Janis Joplin

BEST ORCHESTRA
A Night with Janis Joplin (Music Director: Mark Berman)
The Bridges of Madison County (Music Director: Keith Levenson)
Chicago (Music Director: Scott Woolley)
Mary Poppins (Music Director: Claude Lucien Thomas)
The Wiz (Music Director: David McKibben; Conductor: Dr. Kenneth Kohlenberg)

BEST PROPERTIES
Jason Hamen and Adrienne Ausdenmoore, Tarzan
Jennifer Kramer, The Wiz
Heather Powell, Steel Magnolias
Shannon Sellars, Mary Poppins
Mo Stinehart, And A Child Shall Lead

ADDITIONAL ACKNOWLEDGMENTS

David Alfano’s video and projection design for And A Child Shall Lead
Lynn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich’s costume coordination for Mary Poppins
Brad Bishop as Gomez Addams and Becky Barrett-Jones as Morticia Addams in The Addams Family
Jay Brunner’s incidental music for The Glass Menagerie
David Brush and Chris Harmon’s respective reconfigurations of the Mathile Theatre and Beavercreek Community Theatre for Reasons to Be Pretty and Spring Awakening
Steven Burton and Tim Grewe’s wig design for 1776
The Tony-winning creative team for The Lion King: Director/designer Julie Taymor, scenic designer Richard Hudson, lighting designer Donald Holder, and choreographer Garth Fagan
The creative team for Miss Mayor: Christian Duhamel (music and lyrics), Ellie Margolis (book) and Greg Hellems (concept/additional book)
Micah Koverman as Colin in The Secret Garden (Playhouse South)
Bob Crowley’s Tony-winning scenic design, Natasha Katz’s Tony-winning lighting design, John Tiffany’s Tony-winning direction, and Steven Hoggett’s movement for Once
Tristan Cupp’s puppet design for And A Child Shall Lead
Cicily Daniels, Tawny Dolley, Q. Smith, and Jennifer Leigh Warren as the Joplinaries in A Night with Janis Joplin
Mary Bridget Davies’ Tony-nominated portrayal of Janis Joplin in A Night with Janis Joplin
Elis Davis, Jordan Adams, Connor Lysholm, and Kyle Krichbaum as The Quartet in The Music Man
Jonathan Deans and Garth Helm’s Tony-nominated sound design, Paul Kieve’s illusions, Dominique Lemieux’s Tony-nominated costumes, Scott Pask’s Tony-nominated scenic design, Diane Paulus’ Tony-winning direction, Kenneth Posner’s Tony-nominated lighting design, Gypsy Snider’s circus creation, and Chet Walker’s Tony-nominated choreography for Pippin
Jasmine Easler as Oprah Winfrey in Miss Mayor
Carol Finley’s costumes for Five Women Wearing the Same Dress (Beavercreek Community Theatre)
TJ “Tyler” Fortson, Katelyn Gross, Ashlee Ferrell, and Maximillian Santucci in Quid Pro Quo (Sinclair Community College)
Mierka Girten as Maria Callas, musical director Sean Michael Flowers’ accompaniment and Cassi Mikat as Sharon Graham in Master Class
Jose Gutierrez del Arroyo as Franklin Shepard in Merrily We Roll Along (Beavercreek Community Theatre)
Chris Harmon’s scenic design for California Suite, Five Women Wearing the Same Dress and Spring Awakening (Beavercreek Community Theatre)
William Ivey Long’s Tony-winning costumes and Josh Rhodes’ choreography for Rodgers and Hammerstein’s Cinderella
Jeffrey Mack as Tarzan in Tarzan
Gary Minyard’s fight choreography for She Kills Monsters (Sinclair)
Wendi Michael’s scenic design for Slowgirl (Dayton Theatre Guild)
Jared Mola as Nat Paradis and Rick Flynn as Guy Gagnon in Last Gas
The Murderesses of “Cell Block Tango” in Chicago (Caroline Chisholm, Alex Caldwell, Haylee Dobkins, Alyson Snyder, Megan Valle, and Meredith Zahn)
Chris Newman’s scenic design for The Diary of Anne Frank (Dayton Playhouse)
Casey Nicholaw’s Tony-winning choreography of The Book of Mormon
Annie Pesch and Fran Pesch’s rendition of “No More” in Broadway Beveled: A Feminine Cabaret
Micah Stock as Tom Wingfield (The Glass Menagerie) in American Mosaic
Matthew Tabor’s Hungarian dialect coaching for Chicago
Deborah Thomas’ dialect coaching for The Great Gatsby
André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry as The Yellow Brick Road in The Wiz
ZFX, Inc.’s flying effects for Tarzan

‘The Trip to Bountiful’ Review –Dayton Theatre Guild – Homeward Bound

April 30, 2016 By Russell Florence, Jr.

Carrie Watts, a feisty widow, takes matters into her own hands by embarking on a bittersweet journey to her past in Horton Foote’s tender, touching drama “The Trip to Bountiful,” set in 1953 Texas and admirably presented by the Dayton Theatre Guild through Sunday, May 1.

Before Carrie (Gayle Smith) ventures on her titular excursion to her childhood home, which is the absolute heart and soul of the play, Foote humorously reminds us why on earth she’d want to take such a leap of faith. It seems as if she’s simply had enough of being a bother, a sheer inconvenience, to her dutiful son Ludie (Ray Geiger) and persnickety daughter-in-law Jessie Mae (Amy Askins) inside their cramped Houston apartment. Although she provides Ludie and Jessie Mae with a portion of her monthly government check, Carrie realizes her life and what she can contribute is worth so much more than a dollar amount. She can’t even sing her favorite hymn, “No Not One,” without Jessie Mae scolding her. So, with great conviction and determination, she boldly bolts from the apartment, her prison of conflict and confinement, to find some semblance of peace and happiness in her beloved Bountiful, a small town 12 miles from Harrison. Situations don’t go according to plan, but there is a feeling of contentment within Carrie’s spirit nonetheless as she comes to terms with an emotional tug-of-war derived from battling memory and reality.

(front row left to right) Angela Dermer, Gayle Smith, Amy Askins, (top row left to right), Ryan Shannon, Scott Madden, and Ray Geiger comprise the cast of the Dayton Theatre Guild’s production of “The Trip to Bountiful” (Photo by Craig Roberts)

The delightfully folksy Smith lovingly conveys Carrie’s endearing resilience, particularly as others attempt to set her back. In Smith’s capable hands, particularly in Act 2’s dramatic passages, it’s easy to understand why Carrie longed to break free and make a change if only to restore her dignity and purpose. The effectively understated Geiger delicately uncovers Ludie’s relatable agitations and disappointments, specifically his concerns about job security and not having fathered a child. A terrifically overbearing Amy Askins ensures Jessie Mae’s insensitivity doesn’t dissipate, but she also paints a vivid portrait of a cooped up housewife longing for more (particularly time with her husband and friends) who needs to flee just as much as Carrie. In addition, Angela Dermer charmingly portrays the kind if underwritten Thelma, a military wife who befriends Carrie. Scott Madden (Sheriff) and Ryan Shannon (Roy/Harrison Ticket Man) aid in authenticity.
Director Craig Smith doesn’t guide the slow-going, off-kilter Act 1 with enough flavorful interplay between Smith, Geiger and Askins, but his vision for Act 2 establishes stronger connections, specifically his staging of the poignant final scene. His commendable artistic team includes scenic designer Del Johnston, lighting designer Scott Wright, costumer Carol Finley, and sound designer K.L. Storer.

In the play’s haunting, heartbreaking final moments, Carrie stands in front of her Bountiful home with immense fondness and pride. What she views as a sight of magnificent glory would appear to the average person as nothing more than a symbol of deterioration, dilapidation and neglect. But if beauty is truly in the eye of the beholder, I proudly side with Carrie.

“The Trip to Bountiful” continues today at 5 p.m. and tomorrow at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Both acts run roughly 55 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

‘Slowgirl’ Review –Dayton Theatre Guild – Redemptive Reunion

March 4, 2016 By Russell Florence, Jr.

Greg Pierce’s quietly compelling 2012 two-hander “Slowgirl,” a contemporary tale of reunion and redemption, has received a terrific local premiere at the Dayton Theatre Guild.

Peter Wallace (Sterling) and Jenna Gomes (Becky) star in the Dayton Theatre Guild’s local premiere of “Slowgirl” (Photo by Craig Roberts)

Delicately directed by Rick Flynn, this character study examines the loving yet stained relationship between retired lawyer Sterling (Peter Wallace) and his 17-year-old niece Becky (Jenna Gomes). The relatively content Sterling moved to the tiny town of Los Angeles, Costa Rica following his divorce and a highly publicized bad business deal. He is unexpectedly thrust into parental mode when Becky, suspended from school, arrives at his quaint bungalow (attractively designed by Wendi Michael and evocatively lit by Jadon Bischoff) seeking solace having been at the center of a tragedy with her classmates. Sterling’s wisdom and Becky’s obliviousness predictably clash within the context of the generation gap, but as their differences evolve into similarities common ground is formed with palpable introspection.
The awkward title refers to the nickname insensitive Becky and her foolish friends gave to Marybeth, a disabled girl they took advantage of at a house party. Pierce, nephew of Tony and Emmy winner David Hyde Pierce (“Frasier,” “Curtains”), is at his thought-provoking best exploring Becky’s mishandling of the situation and its impending consequences, material which could be fodder for another play entirely. On the contrary, Sterling’s uncertainties about his family and career are less impactful. Even so, there is enough give and take in the Sterling-Becky dynamic to steadily propel this intermission-less outing as ruminations on spirituality, sex, death, denial, forgiveness, miscommunication, and facing fears take shape.
Wallace, last seen at the Guild in the comedy “Leaving Iowa,” brings understatedly engaging appeal to the low-key Sterling who comes to realize his great escape to Costa Rica damaged his family more than he imagined. Most of the action places Sterling in the position of an understanding observer, but when certain conversations swell, particularly when Becky’s behavior takes its toll, Wallace hits hard with ample rage. Gomes, one of Dayton’s finest young chameleon actresses seen earlier this season at the Guild in “The Columnist, “once again delivers a marvelously grounded, character-specific portrayal. Her seemingly effortless work aptly conveys Becky’s outspoken, selfish tendencies, extreme insecurities, and worrisome millennial angst. In fact, Gomes’ brilliantly enigmatic approach to Becky’s life-altering predicament concerning Marybeth packs a considerable punch.
In related news, the Guild’s 2016-17 season will consist of “The Last Lifeboat” (Aug. 19-Sept. 4, 2016, directed by Jeff Sams), “The Outgoing Tide” (Oct. 7-23, 2016, directed by Kathy Mola), “The Unavoidable Disappearance of Tom Durnin” (Nov. 18-Dec. 4, 2016, directed by Margie Strader), “Luna Gale” (Jan. 20-Feb. 5, 2017, directed by Debra Kent), “The Elephant Man” (March 17-April 2, 2017, directed by David Shough) and “Wonder of the World” (May 12-28, 2017, directed by Saul Caplan).
“Slowgirl” continues through March 13 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. The play is performed in 1 hour and 40 minutes without intermission. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are reminded the play contains adult language and themes.

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Greg Pierce’s quietly compelling 2012 two-hander “Slowgirl,” a contemporary tale of reunion and redemption, has received a terrific local premiere at the Dayton Theatre Guild.

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