dayton theatre guild

‘Night Watch’ & ‘Trailer Park’ Reviews – Dayton Theatre Guild & Dare to Defy Productions – Madness & Mayhem

January 12, 2016 By Russell Florence, Jr.

Night Watch
It can be taxing and uncomfortable watching a character implode from mental illness, but there’s enough levity and genuine creepiness to ease the blow as evidenced in the Dayton Theatre Guild’s satisfying production of Lucille Fletcher’s 1972 suspense “Night Watch.”

Photo caption (top row) Andre Tomlinson, Cynthia Karns, Lorin Dineen, Rick Flynn, Julie Hauwiller, (front row) David Shough, and Debra Strauss appear in the Dayton Theatre Guild’s production of “Night Watch” (Contributed photo, not pictured Dave Nickel & Richard Young)

Inside her New York townhouse, the wealthy and extremely unnerved insomniac Elaine Wheeler (a terrifically distraught Debra Strauss) is at her wits end having adamantly believed she’s seen the dead bodies of a man and woman from a nearby tenement building. Prone to fits of unsettled frenzy, Elaine, emotionally scarred from the memories of her first marriage and miscarriage, simply cannot cope with the thought of death in plain sight so close to home. Her supportive yet conniving husband John (a very sly David Shough) continually tries to calm and reassure her but to no avail. However, is Elaine truly unstable? Is her delusional state part of a bigger strategy? Is she merely being taken advantage of by those seeking to lock her away under the assumption she’s losing her mind? These questions are just a few which linger and provoke, fueling Fletcher’s intriguing guessing game. Best known for writing the 1943 radio play “Sorry, Wrong Number,” Fletcher, whose film adaptation of “Night Watch” was released in 1973 starring Elizabeth Taylor, exasperatingly pads this tale with nervous breakdown overkill in Act 1. Nonetheless, she enjoyably raises the stakes in Act 2 with twists and turns that may leave you gasping with shock and delight.

Under the direction of Saul Caplan, occasionally inserting a moody, cinematic underscore to heighten the mystery, the cohesive cast delivers commendable work. Strauss, passionately befuddled and bewildered, brings to heart the agony of a woman at war with herself while relishing the pleasure of matters not always appearing as they seem. Shough, recently memorable at the Guild in “The Columnist,” completely embodies the frustration derived from watching an ill spouse on a dangerous down spiral. Lorin Dineen offers a wonderfully vivid Guild debut as Elaine’s shady best friend Blanche Cook. Rick Flynn, another plus from “The Columnist,” is a pleasantly upbeat Curtis Appleby. Julie Hauwiller, no-nonsense and dubious, is totally grounded as dutiful German housekeeper Helga. Cynthia Karns, in a welcomed return to the Guild, brings inquisitive, supportive earnestness to her gentle portrayal of Dr. Tracey Lake. Dave Nickel, overflowing with blustery agitation, is a fittingly angered Lieutenant Walker who has had enough of Elaine’s constant, hysteric calls to his department. Richard Young (proprietor Sam Hoke) and Andre Tomlinson (Matisse-adoring police officer Vanelli) also appealingly hit the mark in featured roles.

Additionally, Caplan’s artistic team includes scenic designer Fred Blumenthal, costumer Linda Sellers (attractively capturing the essence of the early 1970s specifically for Strauss and Dineen), lighting designer Tony Fende, and sound designer K.L. Storer.

“Night Watch” continues through Jan. 24 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. Act One: 55 minutes; Act Two: 45 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more info, call (937) 278-5993 or visit www.daytontheatreguild.org

THE GREAT AMERICAN TRAILER PARK MUSICAL
Need a good laugh? Make a mad dash to the Mathile Theatre of the Schuster Center to see Dare to Defy Productions’ hilariously entertaining production of composer David Nehls and librettist Betsy Kelso’s irreverent 2005 Off-Broadway satire “The Great American Trailer Park Musical.”

(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)

Spiritedly directed by Matthew Smith, the raunchy, jaw-dropping “Trailer Park” cleverly spoofs the ins and outs of trashy living while also examining the importance of self-esteem and embracing acceptance within a community. Inside North Florida’s Armadillo Acres mobile home park, the nearly 20-year marriage between tollbooth collector Norbert and his agoraphobic wife Jeannie (who hasn’t stepped outside her trailer in nearly 20 years) is turned upside down when sexy stripper Pippi (and I don’t mean Longstocking) moves in next door to escape her ex-boyfriend Duke. As this love triangle evolves, a funny Greek chorus (recalling the R&B trio from “Little Shop of Horrors”) complements the action with engaging sass.

Angie Thacker and Rob Willoughby, authentically compatible, bring sincerity and charm to the insecure Jeannie and the endearingly foolish Norbert, a couple you root for in spite of Norbert’s infidelity. Thacker, effectively conveying Jeannie’s fear and trepidation, notably offers a heartfelt rendition of “Flushed Down the Pipes.” As Pippi, powerful pop vocalist Lisa Glover effortlessly turns up the heat in “The Buck Stops Here” while solidifying the character as a confident, tough young woman one might consider an underdog but never a pushover. Eric Julian Walker (a humorously vengeful Duke) needs to reevaluate his comedic timing, but his over-the-top urgencies are not a detriment. Tia R. Seay (Betty), Tori Kocher (Linoleum) and Hayley Penchoff (Pickles) are an absolutely crowd-pleasing trio full of feisty spunk. The exuberant Seay, another vocal knockout, specifically makes the most of the kookiness within the “Jerry Springer”-inspired dream sequence “The Great American TV Show” and the toe-tapping, disco-flavored “Storm’s A-Brewin,’” the latter concluding with her high notes amusingly wailed to the hilt atop Pippi’s trailer.
In addition to a colorful set by Willoughby and Entertainment Unlimited Events and character-specific costumes courtesy of Bobby Mitchum and Olivia Dakin, the production features light and sound design by Jason Vogel, properties by Dionne Meyer, and music direction by Lorri Topping who leads a fine four-piece band.

“The Great American Trailer Park Musical” continues through Jan. 16 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., and Saturday at 2 and 8 p.m. The production is performed in 100 minutes without intermission. Tickets are $20. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult language and themes.

‘The Columnist’ Review – Dayton Theatre Guild – Power and Secrecy Inside the Beltway

October 5, 2015 By Russell Florence, Jr.

The intriguing double life of prominent Republican syndicated columnist Joseph Alsop (1910-1989) provides the thought-provoking basis for David Auburn’s engrossing 2012 drama “The Columnist,” currently receiving an excellent local premiere at the Dayton Theatre Guild.

The cast of Dayton Theatre Guild’s production of “The Columnist” includes back row (left to right) Alexa Storar, Rick Flynn, Dakota Dulco, Jenna Gomes; Front row: David Shough, Wendi Michael, (Not pictured: Chris Petree and Ryan Shannon). (Contributed photo)

As he ascended in fame and influence in Washington, D.C. from the 1940s through the late 1960s, Joe hid his sexuality, a fact Auburn frankly details at the outset which depicts the legendary writer awakening from a tryst with a handsome tour guide in a Moscow hotel circa 1954. Afterward Joe is busted by the K.G.B, but his closeted identity looms within the entire proceedings, based on real events and predominately taking place in his posh Georgetown residence (attractively designed by Les Dersham) during the hopeful and ultimately tumultuous 1960s. Joe’s fascinating complexity (he particularly entered a marriage of convenience) bolstered by his fervent support of the Vietnam War certainly stirs emotions within this insightful character study. Even so, Auburn, best known as the Tony and Pulitzer Prize-winning author of “Proof,” astutely dissects Joe’s political views, especially foreign policy concerns, to balance the storytelling with intellectual bite. One of the most interesting facets of Joe’s conservative playbook rests in his peculiar distaste for Dwight Eisenhower and great affection for Franklin D. Roosevelt and John F. Kennedy. In fact, Kennedy’s assassination proves pivotal here implying how persuasive Joe, who prided himself on promoting Lyndon Johnson as a vice presidential pick, would have been during Kennedy’s second term as matters at home (civil rights) and abroad (Vietnam) escalated.

Director Doug Lloyd’s cast is superbly led by David Shough, whose outstanding Guild staging of “Outside Mullingar” two months ago is still the talk of the town. The effortless Shough, tailor-made for the role, marvelously inhabits Joe as a combative, prickly, slick, vain, stodgy, and wounded quandary. Even when Auburn’s script becomes a bit heavy-handed late in Act 2 when Joe has a blast from the past, Shough avoids overkill and sustains credibility. Wendi Michael, beautifully costumed in period attire by Carol Finley, brings tenderness and fitting agitation to her portrayal of Susan Mary Alsop, Joe’s loving yet insecure wife particularly in charge of hostess duties. Rick Flynn, in one of his finest performances, is equally impactful as Joe’s younger brother Stewart who shared a column with him in their early days. Dakota Duclo, charming with a tinge of cunning ambition and dubiousness, delicately embodies Russian informant Andrei. Jenna Gomes, very strong as Susan Mary’s daughter and future hippie Abigail, and Chris Petree as pushy New York Times reporter David Halberstam also contribute to the production’s appeal along with Alexa Storar as Young Abigail and Ryan Shannon as Philip.
It helps to have some affinity for politics and American history when viewing “The Columnist,” but its age-old themes of power and secrecy thoroughly resonates to the fullest.

“The Columnist” continues through Oct. 18 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 2 hours with one 15-minute 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

‘Outside Mullingar’ Review – Dayton Theatre Guild – Learning to Love

August 29, 2015 By Russell Florence, Jr.

The Dayton Theatre Guild’s 71st season opens with an outstanding local premiere of John Patrick Shanley’s 2014 Tony Award-nominated dramedy “Outside Mullingar,” a poignant look at romance between fortysomethings on a cattle and sheep farm in rural Ireland.

(l to r) Dave Nickel as Tony Reilly, Mike Beerbower as Anthony Reilly, Teresa Connair as Rosemary Muldoon, and Connie Fowler Strait as Aoife Muldoon in the Dayton Theatre Guild’s local premiere of John Patrick Shanley’s 2014 Tony Award-nominated romantic comedy “Outside Mullingar” (Contributed photo)

Deftly directed by David Shough, “Outside Mullingar,” sharing an Irish kinship to the plays of Martin McDonagh in terms of intimate authenticity, carries itself as contemporary (it begins in 2008) although it has a wonderful throwback quality at its core as if it could have been written 40 years ago. Neighbors Anthony Reilly and Rosemary Muldoon have been lifelong pals but due to mutual awkwardness and fear they never acted upon their obvious attraction, especially the shy, introverted and virginal Anthony whose heart remains crushed by the rejection he faced as a teenager from local lass Fiona. It is only through prodding and encouragement from the determined Rosemary, particularly in the excellently written final scene, that Anthony is able to release himself from his lonely, emotional shell and simply accept the possibilities a meaningful relationship can bring. As so, I can’t help but link Anthony to Robert in Stephen Sondheim’s “Company” considering both bachelors ultimately realize “alone is alone – not alive.”

Shanley, very adept at creating gender conflicts as evidenced in his Academy Award-winning screenplay for “Moonstruck” and his Tony and Pulitzer Prize-winning drama “Doubt,” is truly at his best when Anthony and Rosemary’s bickering, flavorful bond is front and center. Less successful is his subplot about property and family rivalry commonly addressed by Anthony’s gruff father Tony and Rosemary’s gentle mom Aoife. The strip of land dividing the two farms has significance as backstory but doesn’t necessarily engage. Even so, Tony and Aoife are genuinely charming catalysts for comedy with a slight Archie and Edith Bunker sensibility.

Mike Beerbower, in his remarkable Guild debut, fully embraces Anthony’s idiosyncrasies and good-natured persona to deliver a terrifically sensitive and endearing portrayal packaged in fidgety beauty. The stellar Teresa Connair, in one of her most expressive, intuitive and understated performances, captivates to the hilt especially as the opinionated, feisty and humorous Rosemary (who particularly feels the Bible should be renamed “The Book of Ugly Stories”) tries to dissect Anthony’s indifference throughout and strongly advises Tony not to be so unsympathetic about Anthony and his commitment to the Reilly farm. Dave Nickel, who appeared in Shough’s production of “An Inspector Calls” last season, is delightfully persnickety overall but becomes particularly powerful toward the end of the play in a tear-jerking scene with Beerbower that finds Tony in need of late night confession. Connie Fowler Strait, in her enjoyable Guild debut, tenderheartedly accents the cast as the likable if underwritten Aoife.

In addition, Shough serves as co-scenic designer with Chris Newman, who returns to the Guild having terrifically designed “Heartbreak House” and “An Inspector Calls.” The efficiently cozy unit sets they created breezily serve the material and are swiftly handled by the stage crew in some of the finest scene changes ever witnessed at the Guild. In fact, the nearly breathtaking final transition feels impressively cinematic. Shough also serves as lighting designer and effectively partners with K.L. Storer to contribute sound design.

“You can’t live against your life,” Rosemary warns Anthony. There is compelling truth in her statement and the overriding fact that this crowd-pleasing production is absolutely unforgettable.

“Outside Mullingar” continues through Sept. 6 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. Call (937) 278-5993 or visit www.daytontheatreguild.org.

‘4000 Miles’ Review – Dayton Theatre Guild – Someone to Watch Over Me

January 14, 2015 By Russell Florence, Jr.

Jared Mola as Leo Joseph-Connell and Barbara Jorgensen as Vera Joseph in rehearsal for the Dayton Theatre Guild’s local premiere of Amy Herzog’s dramatic comedy “4000 Miles.” (Contributed photo)

The Dayton Theatre Guild enters 2015 with a solid local premiere of Amy Herzog’s 2013 Pulitzer Prize-nominated dramatic comedy “4000 Miles,” an emotionally awkward and surprisingly poignant depiction of two headstrong individuals in need of stability and protection.

Sharply directed by Kathy Mola with an excellent grasp of tone,”4000 Miles” concerns 21-year-old college student Leo Joseph-Connell who travels by bike from Seattle to New York’s Greenwich Village to visit his 91-year-old grandmother Vera. Grief, tragedy, uncertainty, and disillusionment cause Leo to seek temporary solace, but misunderstandings are ultimately unavoidable, especially since it seems Leo, still trying to find his purpose in life, and Vera, suffering from dementia, can be irritable relatives. Affection just doesn’t come easy to them, and in turn, Herzog threatens to keep the audience at a cool distance due to prickly quarrels. Still, their complex relationship evolves for the better when vulnerability arises, particularly as Leo reveals the details of his best friend’s death which occurred on his excursion. Inevitably, Vera, on the brink of requiring a caregiver, comes to understand how difficult it is for young adults to remain planted when Leo rejects her offer to extend his stay in her cozy apartment, attractively designed by Fred Blumenthal and accented by Wendi Michael.

Jared Mola, superb earlier this season as Roy in the Guild’s “Nice People Dancing to Good Country Music,” and Barbara Jorgensen, a longtime Guild member inducted last year into the Dayton Theatre Hall of Fame, create terrifically grounded portrayals that sting and soothe. The energetic, engaging Mola inhabits Leo with a defensive, easily agitated edge signifying how troubled and confused he is underneath his tough exterior, especially when Leo’s journey involves the odd reality that he kissed his sister at a party. Mola, wonderfully astute, not only fills this quandary with believable ambiguity, but particularly captivates in his marvelous delivery of Leo’s heartbreaking monologue reflecting on the final moments he shared with his friend. The magnetic Jorgensen, conveying a feeble, sluggish sensibility, greatly appeals with outspoken charm, genuine feistiness, and a gentle awareness that Vera is heading into her twilight years with dignity and grace. Appealing Guild newcomers Lindsey Kortyka (as Leo’s testy ex-girlfriend Bec) and Anna Prince (very funny as Amanda, Leo’s boozy date) complete the cast in thankless, underwritten roles.

“4000 Miles,” a hit among regional theaters, is mildly puzzling in terms of its dramatic structure, but the Guild’s breezy presentation is delightfully first-rate.

“4000 Miles” continues through Jan. 25 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 two acts which run roughly 45 minutes each. 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 show contains adult language and themes.

‘Good People’ Review – Dayton Theatre Guild – Boston Bliss

October 10, 2014 By Russell Florence, Jr.

The Dayton Theatre Guild, who staged memorable local premieres of “Fuddy Meers” and “Kimberly Akimbo” by Pulitzer Prize winner David Lindsay-Abaire (“Rabbit Hole”), delivers a splendid local premiere of “Good People,” Lindsay-Abaire’s 2011 Tony Award-nominated working-class dramedy about misunderstanding, regret and neighborhood pride in South Boston’s Lower End a.k.a. Southie.
Delicately directed with impressive authenticity by Debra A. Kent, this terrifically insightful, humorous and engrossing character study concerns the resilient yet brash Margaret “Margie” Walsh, a down-on-her-luck single mom of a handicapped adult whose search for employment reunites her with her high school boyfriend Mike, a successful doctor. When Margaret realizes just how far removed Mike has become since their youth, sparks fly with the underlying knowledge that everybody’s perspective of the past is never the same no matter how hard you choose to see it differently.

(l to r) The cast of the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s “Good People” features Alexander Chilton as Stevie, Shyra Thomas as Kate, Rachel Wilson as Margaret, Heather Martin as Dottie, Shawn Hooks as Mike, and Wendi Michael as Jean.

Rachel Wilson and Shawn Hooks deliver their finest performances as the central couple who could have been more than fleeting lovers. Marvelous in dialect and conviction from start to finish, Wilson effortlessly navigates a beautifully complex, fully-realized journey in which you not only feel but absorb Margaret’s desperation and helplessness due to past mistakes and circumstances beyond her control. Hooks, amiable and sharp, avoids embodying his role with a chip on his shoulder which allows Mike to come forth as genuine and rightfully perturbed when his Southie allegiance is called into question. Wilson and Hooks worked very well together last season in the Guild’s entertaining “Expecting Isabel,” and they unite deeper here to palpable proportions with an entirely real, unforced chemistry.

Additionally, four fantastic featured performances delightfully propel the story, containing discussions of bingo, neighborhood lore and political incorrectness in typically peculiar Lindsay-Abaire fashion. Heather Martin, in a welcomed return to the Guild, injects sassy spunk into her portrayal of Margaret’s outspoken landlady Dottie, who earns extra money with her kooky crafts. Wendi Michael is an absolutely understated joy as Jean, Margaret’s direct, encouraging friend who seems to know more about the colorful ongoings within Southie than anyone. Alexander Chilton, bringing authority and concern to the pivotal opening scene he shares with Wilson, is also winningly understated as the good-natured Stevie, Margaret’s former boss-turned-bingo partner. In a remarkable Guild debut, the magnetic Shyra Thomas nearly steals the show as her breakthrough portrayal of Mike’s elegant, sophisticated wife Kate pokes holes into and ultimately reexamines Margaret and Mike’s relationship with surprising results that in turn forces her to see her privileged world in a new light.

Kent’s first-rate artistic team includes scenic designer Blake Senseman, lighting designer Jason Vogel, sound designer K.L. Storer (who once again assembles outstanding, story-driven musical selections for scene changes), costumer Linda Sellers, property masters Senseman and Deidre Bray Root, and dialect coach D’Arcy Smith.
Considering the fact that there’s a little bit of good in everyone, don’t skip the invitation Lindsay-Abaire and the Guild extends to become acquainted and captivated by six intriguing individuals whose distinct lives mirror ourselves and those we love.

“Good People” continues through Oct. 19 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. Act One: 55 minutes; Act Two: 55 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

‘The Dead Guy’ Review – Dayton Theatre Guild – Reality Bites

June 5, 2014 By Russell Florence, Jr. Leave a Comment

Chris Hahn and Amy Askins in the Dayton Theatre Guild production of “The Dead Guy” (Contributed photo by Peter Wine)

Would you kill yourself on live TV in a manner determined by viewers for the luxury of spending $1 million
in a week?

Eldon Phelps ponders this intriguing notion hastily in the local premiere of Eric Coble’s fascinating 2005 dark comedy “The Dead Guy,” currently receiving a thoroughly engaging and thought-provoking presentation at the Dayton Theatre Guild deftly directed by Saul Caplan.
At a nondescript bar in the nondescript town of Leadville, unemployed and aloof Eldon (a first-rate, credibly impulsive Christopher Hahn) is persuaded to become the Dead Guy, the focal point of a new reality TV show of the same name created by ruthless producer Gina Yaweth (a splendidly shrewd, fixated Amy Askins). Eldon is the perfect bait because his hopeless indifference about life leads him to believe money and suicide would make him someone to remember in the eyes of his family and community. His logic is terribly flawed, but the decision he faces marvelously addresses the greater concern of desperation within the human condition. What exactly is the price of fleeting fame in today’s society? Have we become numb to entertainment that morphs from frivolous to grotesque? Through Eldon and Gina’s eye-opening perspectives, Coble allows us to fully examine the unsavory yet profitable depths of our media-craved culture and the get-rich-quick schemes that infiltrate the most vulnerable for the titillation of millions.
The very physical Hahn, making his Guild debut following memorable turns at Sinclair Community College, is totally relatable and fittingly rough around the edges. As Eldon’s outlook and bank account evolves, a mild, transformative “Pygmalion”-esque quality encircles him which Hahn embraces with spunk, charm and maturity. He also finds terrific support in Askins, who winningly conveys Gina’s insatiable quest for ratings which leads her on a very unattractive path. Askins is so convincing and captivating in her juicy role you’ll wonder if she has attended her share of reality TV casting calls in our region.
Caplan’s amiable, compatible cast also includes an enjoyably understated K.L. Storer as Gina’s trusty videographer Dougie, Aaron Brewer as Eldon’s modest brother Virgil, a comical Teresa Connair as Eldon’s outspoken mom Roberta, an engaging Angela Timpone as Eldon’s ex-girlfriend Christy, Wayne Wolfe as an assertive Security Guard, the overdue return of Timothy Walling-Moore (excellent in the Guild’s 2010 local premiere of “Kimberly Akimbo”) as Leon, Carly Risenhoover-Peterson as Sheila, and Jenna Burnette as Nancy. Technical issues hindered the performance attended (the action relies heavily on multimedia and props), but the material’s essence wasn’t diminished thanks to the astute cast.

In a savvy move, Gina gives fans of “The Dead Guy” an option for a write-in vote regarding Eldon’s demise. For a split second, I actually thought the vote would be in favor of sparing his life. After all, thanks to Hahn’s fine portrayal, there always seemed to be a glimmer of hope amid the darkness. Well, maybe next season.

“The Dead Guy” continues through June 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 50 minutes; Act Two: 55 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

‘An Inspector Calls’ Review – Dayton Theatre Guild – Evening Confessions

April 25, 2014 By Russell Florence, Jr. Leave a Comment

The cast of “An Inspector Calls” (Contributed photo)

J.B. Priestley’s 1945 drama “An Inspector Calls” is an engrossing, humorous, well-acted, and handsomely designed display at the Dayton Theatre Guild.

Breezily presented in three acts, Priestley’s thorough if heavy-handed chastisement of the privilege and personality of the upper class, an obvious portal into his own staunch views of socialism, concerns the Birling family of Brumley, England circa spring 1912. Inside their beautifully decorated dining room (superbly envisioned with dramatic flair by Chris Newman), the Birlings (attractively costumed with period panache by Carol Finley) gather for a dinner party celebrating Sheila Birling’s engagement to Gerald Croft. But joyful optimism suddenly subsides when the mysterious Inspector Goole arrives to aggressively interrogate everyone about their connection to the suicide of Eva Smith, a factory girl employed by Arthur, the family patriarch. It’s a stretch to assume the entire Birling clan came in contact with Eva (also known as Daisy Renton), but Priestley masterfully weaves credibility by building his case on classism. Goole adamantly feels the Birlings took advantage of Eva simply due to her status, particularly her monetary woes that ultimately lead her on a destructive path.
Director David Shough (responsible for last season’s impressive, tech-savvy production of “Dracula” at the Dayton Playhouse) once again utilizes music to heighten emotions. In this instance, flavorful strains give the drama a pinch of extra spice while simultaneously poking fun at its mystery/thriller essence. More importantly, Shough skillfully coaxes excellent, captivating portrayals from the principal players radiating with genuine passion and sophisticated authenticity.
The formidable Dave Nickel, intimidating and resolute, commands attention and vigorously propels the drama as Inspector Goole. Nickel is specifically astute at scolding in a manner that doesn’t feel excessive or cumbersome. Charles Larkowski, effortlessly firm, expertly embodies Arthur’s brash, forthright, capitalist mindset, which splendidly sets the play’s tone as a reflection of the ostentatious spirit of his fellow industrialists. “We don’t guess, we have experience, we know,” boasts Arthur ominously less than a month before the Titanic sails on her ill-fated maiden voyage. Larkowski also shows great vulnerability as accusations rise within Arthur’s imploding world. The remarkable Annie Branning, in her Guild debut, exquisitely counters as Sybil Birling, Arthur’s dutiful, headstrong wife who takes Goole to task with powerfully defensive pizzazz. As Sheila, Caitlyn Maurmeier, in another fine Guild debut, showcases a lovely evolution from innocence to spitefulness as her relationship with Gerald slowly disintegrates. Maximillian Santucci (a standout last season in the Guild’s local premiere of “100 Saints You Should Know”) underplays appealingly as Gerald, tenderly recounting his compelling history with Eva/Daisy in Act 2. As Eric Birling, Leonardo Santucci, delivering a breakthrough performance, oozes fiery contempt in Act 3 opposite Larkowski in an intense father-son showdown. Christina Tomazinis (as maid Edna) and Jamie McQuinn (as a Beggar) are underutilized but nonetheless serve as intriguing kindred spirits within the action.
“We don’t live alone,” Goole declares whether the Birlings like it or not. Without a doubt, “An Inspector Calls” prompts us to value sympathy and compassion in a world that continually places more significance in individualism.

“An Inspector Calls” continues through May 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 40 minutes; Act Two: 42 minutes; Act Three: 37 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

In related news, the Dayton Theatre Guild’s 2014-15 season will consist of Lee Blessing’s “Nice People Dancing to Good Country Music” (Aug. 22-Sept. 7, directed by Ralph Dennler), David Lindsay-Abaire’s “Good People” (Oct. 3-19, directed by Debra Kent), Amy Herzog’s “4000 Miles” (Jan. 9-25, directed by Kathy Mola), Eugene O’Neill’s “Desire Under the Elms” (Feb. 27-March. 15, directed by Craig Smith), Jane Martin’s “Criminal Hearts” (April 17-May 3, directed by Saul Caplan), and George Bernard Shaw’s “Heartbreak House” (May 29-June 14, directed by Patrick Hayes).

‘Expecting Isabel’ Review – Dayton Theatre Guild – Whatever It Takes

March 13, 2014 By Russell Florence, Jr. 1 Comment

The cast of Expecting Isabel includes (back row l to r) Rick Flynn, Dorothy Michalski, Ellen Ballarene, Joshua Lisec, Amy Taint (front row l to r) Rachel Wilson and Angela Timpone. Not featured: Shawn Hooks and Angele Price. (Contributed photo)

Lisa Loomer tackles the very delicate subject of infertility with humor and tenderness in her eye-opening 1998 contemporary comedy “Expecting Isabel,” breezily directed by Robb Willoughby at the Dayton Theatre Guild.

Down-to-earth Manhattan couple Nick and Miranda, respectively relatable as an aspiring sculptor and greeting card writer, eagerly endeavor to have a child, but face continuous obstacles along the way. In addition to coping with colorful input from Nick’s larger-than-life Italian family and Miranda’s tipsy mother, the duo attempts everything from marriage counseling and support groups to fertility drugs and medical tests incorporating animal experiments. In fact, their painstaking pursuit leads them to separation, particularly as Miranda seeks solace with her mom while Nick moves back in with his animated brood. Even so, in spite of disappointing setbacks, they remain committed to their ultimate desire to start a family, a decision that eventually leads them on the complicated yet fulfilling road to adoption.
Rachel Wilson and Shawn Hooks are believably compatible in the leading roles. Quickly pulling the audience in at the outset during Miranda’s revealing opening monologue, Wilson delivers a firm, appealing portrayal. Her performance possesses the engaging complexity and tangible exasperation required to bring credence to the play’s most fascinating character, an emotionally scarred woman with a rocky family history who honestly hadn’t thought about having a child. Hooks, amiable and supportive in a less flashy role, earnestly conveys Nick’s genuine longing to become a father, especially in Act 2 as his benevolent impulses gets the best of him.
Loomer, perhaps best known as the co-screenwriter of “Girl, Interrupted,” propels the comedy by having the ensemble portray multiple characters. Ellen Ballerene (Tina), Rick Flynn (Sal), Joshua Lisec (Dominic), Dorothy Michalski (Yolanda), Angelé Price (Pat), Amy Taint (Lila), and Angela Timpone (Isabel) step up to the plate beyond stereotypical caricature. Most of their moments are geared toward comic relief, but Price deserves special mention for bringing substantive poignancy to her portrayal of Lupé, an overburdened Hispanic mom faced with a critical decision.
One day amid a parade of baby carriages, Miranda is gently reminded “everything you went through was part of the path.” Parenthood certainly spurs challenges and Loomer cautiously advises to expect the unexpected.

“Expecting Isabel” continues through March 16 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. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more info: Call (937) 278-5993 or visit daytontheatreguild.org

‘The Subject Was Roses’ Review – Dayton Theatre Guild –Bruised But Not Broken

January 17, 2014 By Russell Florence, Jr. Leave a Comment

Angela Riley, Alexander Chilton (center) and Geoff Burkman in the Dayton Theatre Guild’s production of “The Subject Was Roses” (contributed photo)

In the Dayton Theatre Guild’s commendable production of Frank D. Gilroy’s 1965 Tony and Pulitzer Prize-winning World War II-era drama “The Subject Was Roses,” the Cleary family of Bronx, New York is as engrossing, heartbreaking and dysfunctional as ever.

Set over the course of a May weekend in 1946, “Roses” centers on the rocky homecoming of Army serviceman Timmy (Alexander Chilton), who shocks his hardnosed dad John (Geoff Burkman) and doting mom Nettie (Angela Riley) with unexpected habits and beliefs. In fact, much to his parents’ dismay, Timmy isn’t exactly the guileless underachiever who walked out the door with the mission of keeping his country safe and strong. Predictably, war has made him question who he is and what his purpose in life should be. His decision to abandon his faith absolutely infuriates John, a staunch Catholic. Interestingly, Nettie doesn’t necessarily mind Timmy’s agonistic views. She’s more concerned with his drinking and boorish language. But as the wonderfully rich and relatable layers of these troubled, unhappy characters are delicately peeled by director Marcia C. Nowik’s compatible cast, “Roses” fittingly blossoms as a timeless portrait of change and misunderstanding within a wounded home that can only be healed by love.

The excellently authentic and persnickety Burkman embodies the temperamental John, a hard-working, practically uneducated product of the World War I generation, with an easily irritated and frustrated disposition properly masking his inability to communicate. He’s also astute at being harsh without seeming heartless. John scolds Timmy numerous times, but genuine concern dwells amid the sparks. In her firm Guild debut, Riley terrifically expresses the agony, doubt, hurt and regret that has damaged Nettie’s relationship with John, who has been unfaithful. Late in Act 2, with Chilton seated on the floor transfixed on her every word, she truly shines while pensively delivering Nettie’s absorbing monologue detailing her modest upbringing and the chance encounter with John that changed her life for good and bad. Chilton, a knockout last season as Jerry in the University of Dayton’s production of “Zoo Story,” startles at the outset with an oddly calculated demeanor, but his actions are an intriguing maneuver to suggest something is uncomfortably amiss inside Timmy’s world. Bolstered by Burkman and Riley’s ample support, Chilton credibly navigates Timmy’s tender, combative and soul-searching journey with a clear understanding that faults, past or present, cannot be easily remedied.
Additionally, Blake Senseman provides another attractively eye-catching set fashioned here in a quaint, homey sensibility. Costumer Patrick Allyn Hayes counters with fine period attire, especially for Riley. Nick Vanderpool’s lighting design, K.L. Storer’s sound design and Fred Blumenthal’s properties are equally noteworthy attributes of this worthwhile offering.

“The Subject Was Roses” continues through Jan. 26 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. Act One: 50 minutes; Act Two: 50 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

‘The Gifts of the Magi’ Review – Dayton Theatre Guild – A Heartwarming Delight

November 27, 2013 By Russell Florence, Jr. Leave a Comment

The Dayton Theatre Guild’s production of “The Gifts of the Magi” features
Back row, l to r: Kelli Locker, Jared Mola, Bobby Mitchum, Shawn Hooks
Front row, l to r: Dave Nickel, Megan Kuchan (Contributed photo)

The Dayton Theatre Guild provides an absolutely charming production of Randy Courts and Mark St. Germain’s 1984 off-Broadway musical “The Gifts of the Magi.”
Set in New York City circa 1905 and based on O. Henry’s short stories “The Gift of the Magi” and “The Cop and the Anthem,” the musical, delicately directed with precision by Kathy Mola, nicely balances two engaging, straightforward tales. The primary story chronicles the love and hardships of Jim and Della Dillingham, a sweet couple struggling to make ends meet as Christmas approaches. In order to provide each other with a present, both make a great sacrifice, which ultimately reflects the spirit of the biblical example set by the Magi. The secondary, more consistently lighthearted account involves Soapy Smith, a gallantly good-natured bum whose only desire is to be arrested in order to obtain food and shelter during the holidays. The wonderfully meaningful, life-affirming journeys of Jim, Della and Soapy, combining rewarding themes of faith, family, forgiveness, friendship and goodwill as narrated/guided by amiable newsboy Willy Porter, epitomize the true significance of the season.
In addition to grasping the harmonic challenges within the tuneful score, particularly accented with beguiling ballads, Mola’s cohesive cast offer highly enjoyable portrayals. Shawn Hooks and Meagan Kuchan, making their Guild debuts, are very compatible as the Dillinghams. The mature Hooks, given a poignant moment of reflection in “How Much to Buy My Dream,” doesn’t diminish Jim’s serious frustration of being unemployed, a topical element deeply felt today as it did when the “Magi” story was first published in 1903. The gentle Kuchan delivers her most touching performance to date as the devoted, encouraging Della. Some of her best scenes stem from Della reminding Jim that money isn’t the foundation of a home and pondering life with a different hairstyle in “The Same Girl.” As Soapy, who quips at one point that he’s been “cursed with good fortune,” the delightful Dave Nickel treads carefully in terms of the music, but his humorous character choices are endearingly sound. Versatile partners Jared Mola (in his local musical theater debut) and Kelli Locker terrifically embody different personalities and disguises as The City: Him and The City: Her. As Willy, Bobby Mitchum is so effortlessly excellent in his Guild debut I’m tempted to brand this production as simply “Bobby Mitchum: Live at the Guild.” Willy isn’t a flashy or grueling role, but surely requires a considerably strong tenor with a thoroughly appealing ability to connect with the audience. The magnetic Mitchum, blessed with a voice that soars while containing enormous warmth, unquestionably fits the bill right at the outset leading a gorgeous rendition of the alluring title song, one of many numbers propelled with beautiful flourishes courtesy of music director Luke Williams.

In addition, costumer Linda Sellers supplies striking period attire. Blake Senseman is responsible for an equally attractive set evoking turn of the century New York. Courtney Wheeler’s choreography is apt and colorful, specifically “Christmas is to Blame.” Nick Vanderpool’s suitable lighting design and Deirdre Bray Root’s fine properties are also noteworthy components of this utterly heartwarming treat.

“The Gifts of the Magi” continues through Dec. 8 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. Act 1: 45 minutes; Act 2: 40 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org.

‘Time Stands Still’ Review – Dayton Theatre Guild – Not So Safe and Sound

October 11, 2013 By Russell Florence, Jr. 1 Comment

(l to r) Cassandra Engber, Kelli Locker, Alex Carmichal and David Hallowren in the Dayton Theatre Guild’s production of “Time Stands Still” (Contributed photo)

The horrors and wounds of war pervade the homefront in Donald Margulies’ gripping 2010 Tony Award-nominated drama “Time Stands Still,” a compelling character study about relationships, career and worldviews currently receiving an excellent local premiere at the Dayton Theatre Guild.

Living “on the sorrow of strangers,” accomplished photojournalist Sarah Goodwin (a dynamically passionate Cassandra Engber) returns from Afghanistan physically and emotionally scarred having survived complications from a roadside bomb. However, recuperating inside her Brooklyn loft (marvelously designed with eye-catching personality by Blake Senseman) becomes problematic when her longtime live-in boyfriend/freelance writer James Dodd (an effortlessly firm Alex Carmichal) disagrees with her decision to take on another assignment nearby. Encouraged by her editor Richard Ehrlich (an affable David Hallowren) and his sunny younger girlfriend Mandy Bloom (a top-notch Kelli Locker), Sarah feels comfortable about stepping back behind the camera to aid a worthwhile story. But it’s not just the assignment causing friction for Sarah and James. The real turbulence stems from Sarah’s romantic indiscretion in Afghanistan with her interpreter Tarek, a revelation that smoothly propels Margulies’ thought-provoking tug of war to heartbreaking degrees.
Having recently seen the magnificent Broadway revival of Tennessee Williams’ “The Glass Menagerie,” I’m reminded of how powerful it is for a playwright to create a silent character who lingers in the mind while serving as a launching pad for conflict. Amanda Wingfield and her troubled offspring are forever encumbered by the painful memories of the unseen husband and father who “fell in love with long distance.” In Margulies’ equally dysfunctional exploration of memory, Tarek is the invisible catalyst that rips Sarah and James apart although he isn’t entirely to blame. It’s totally apparent the duo may not have been perfect for each other in the first place. Prone to bickering and misreading, Sarah and James seem to be part-time soul mates. James wants kids and marriage. Sarah, deep down on the inside, prefers adventure and independence. They want to make their relationship work, but it’s not borne of a healthy desire to be fully compatible. Even when Sarah ridicules James for wavering in his writing pursuits she takes on the persona of a scolding mother. I’m sure the duo longs to be happy and values the idea of being together forever, but without the ability to recognize each other’s faults and be absolutely supportive their relationship will continue to disintegrate into a series of dead ends.
Splendidly guided by director Debra Kent, Engber and Carmichal, who should be among the first actors to receive resident artist status if the Guild ever chooses to go that route, are utterly captivating and combative. Engber, just as good as Laura Linney who originated the role, particularly impresses while professing Sarah’s Act Two agony of remaining true to her profession as death and decay literally stare her in the face. Carmichal, astutely emphasizing James lackadaisical, slacker qualities, rises to the occasion with volatile verve early in Act Two as a drunk James erupts while arguing with Mandy. Hallowren effectively engages as the underwritten yet concerned Richard. Locker discovers meaningful layers within the seemingly naïve Mandy instead of resigning the character to a one-dimensional existence.
Additionally, Kent’s exemplary creative team includes lighting designer David Corson, costumer Linda Sellers, prop masters Senseman and Deidre Bay Root, sound designer K.L. Storer, and makeup/wig designer Patrick Hayes. What a specific pleasure it is to know this production involves Corson, a University of Cincinnati-College Conservatory of Music student whose phenomenal lighting of Centerville High School’s “Sweeney Todd” last season ranked on par with the best lighting designs on Broadway. Corson’s contributions are more subtle here, but his decision to open certain scenes with illuminated laptops is a wonderfully contemporary, introspective touch. Also, Senseman and Root sprinkle Sarah and James’ loft with a vivid assortment of artifacts as well as a mounted bicycle and a weather trunk as a coffee table. Storer is particularly responsible for compiling one of the best soundtracks I have heard at the Guild to accompany scene changes.

“We’re supposed to capture the truth – not stage it,” says a defiant Sarah in defense of her career. Thanks to the Guild, the truth has never felt so real.

“Time Stands Still” continues through Oct. 20 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. Act One: 55 minutes; Act Two: 53 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Coming Up in Dayton Theatre 10/4 – 10/13

October 3, 2013 By Sarah Caplan Leave a Comment

Welcome back, theatre lovers! Let’s see what there is to choose from for the next two weeks!

Opening This Weekend

Time Stands Still

The Dayton Theatre Guild

The Skinny: Seriously wounded in Afghanistan, photographer Sarah is brought home to recuperate by her writer and live-in boyfriend, James. She is soon visited by her editor and his new and much younger girlfriend. He sees her work and wants a book. And James wants something altogether more conventional.

Dates: Opening Friday, 10/4 and running three weekends to close Sunday, 10/20.

Tickets: Please visit the Theatre Guild website at www.daytontheatreguild.org

SPAMalot

The Skinny: This musical is lovingly ripped off from the motion picture “Monty Python and The Holy Grail”. It’s the story of King Arthur and his Knights of the Round Table as they embark on their quest for the Holy Grail. Flying cows, killer rabbits, the lady of the lake and show-stopping musical numbers are just part of this hilarious, yet highly irreverent parody.

Dates: Opening this Friday, 10/4 and running two weekends, to close on Saturday, 10/12.

Tickets: Please visit the Sinclair website; http://www.sinclair.edu/arts/theatre/box-office/index.cfm

The Art of Self-Defense

The Undercroft Players

The Skinny: A funny, wise, and ultimately powerful depiction of five modern women who casually meet in a T’ai Chi class, and who eventually, through growth, discovery and mutual support, change the quality of their lives.

Dates: One weekend only, this Friday, Saturday and Sunday.

Tickets: This piece is being produced at First Lutheran Church Corner of First St. and Wilkinson St. Downtown Dayton. 7 pm Friday and Saturday and 3 pm Sunday. Tickets are $5 at the door.

45 Seconds From Broadway Review – Dayton Theatre Guild – Scenes From a Polish Restaurant

August 31, 2013 By Russell Florence, Jr. Leave a Comment

The cast of the Dayton Theatre Guild’s production of “45 Seconds From Broadway” (Contributed photo)

Three months ago playwright Tony Kushner and director George C. Wolfe, two Tony-winning masters associated with the acclaimed epic drama “Angels in America” and the musical gem “Caroline, or Change,” met for lunch at the Café Edison, a quaint Midtown Manhattan restaurant located inside the Hotel Edison. As Kushner and Wolfe’s intriguing powwow progressed, I couldn’t help but wonder if they were discussing separate projects or perhaps a new collaboration. But the notion of seeing or overhearing influential artists during a casual, pre-show lunch typifies the cozy, touristy, cross-generational appeal of the Café Edison, a former ballroom commonly known within the New York theater community as the Polish Tea Room. And as the attractive setting for Neil Simon’s funny but flawed 2001 comedy “45 Seconds From Broadway,” the restaurant, particularly its Theatre District ambiance and hospitality, has been favorably brought to life in the Dayton Theatre Guild’s entertaining, often hilarious local premiere.
Directed by Fred Blumenthal and transpiring in four seasonal scenes, “Broadway” could be easily regarded as much ado about nothing. People enter the Polish Tea Room. People leave the Polish Tea Room. Looking for a substantive plot? Not here. In fact, Simon doesn’t provide much closure or significant backstories for most of the characters, predominately consisting of one-dimensional stock characters seemingly inspired by industry folks he must have known over the years. All in all, this mindless, mildly offensive play is second or third-rate Simon. Even so, it remains a Neil Simon creation at its core. You are guaranteed hearty laughs at the mention of a grape. You are guaranteed to be in the company of a few delightful oddballs. You are guaranteed a good time.
The effortlessly jovial Saul Caplan, one of the best Simon interpreters in the Miami Valley, has a ball (without becoming crude or off-putting) as the talkative, wise-cracking Mickey Fox, a legendary comedian in the abrasive vein of Jackie Mason or Don Rickles. Mickey has been approached by a humble British producer (a genially understated K.L. Storer, also providing terrific sound design) to do a London engagement, but is ultimately taken aback by the arrival of his brother Harry (Steve Kantor, nicely paired with Caplan). Sibling disharmony has always been an enticing signature within Simon’s repertoire, particularly “Broadway Bound,” but here it shrivels with overlong tedium. Thankfully, there’s more to enjoy elsewhere in the play as ruminations on love, culture and showbiz are addressed from an assortment of colorful supporting characters.
Debra A. Kent and Debra Strauss are respectively wonderful as gossipy theater enthusiasts Arleen and Cindy, a tight-knit, opinionated duo so infectious I wish Simon would have structured the play around them. Kent’s description of Arleen’s attendance at a backer’s audition from hell is an absolute highlight. Patty Bell and John Spitler, another dynamic duo, are also winning as eccentric couple Rayleen and Charles. Bell, sophisticatedly aloof, will surely give you the giggles in Act 1 when she gingerly dictates Rayleen’s persnickety tea preferences. Spitler, primarily mute and remarkably restrained throughout, exudes hysterical stillness. Dave Nickel and Terry Larson hit the mark as humble married proprietors Bernie and Zelda. Marcus L. Simmons II, adopting a firm dialect, is an endearing presence as burgeoning African playwright Solomon Mantutu. Mary Mykytka as ingénue Megan Woods and Gail Andrews Turner as Broadway star Bessie are amiable in vastly underwritten roles.

Blumenthal’s vision is marred by pacing concerns, particularly stemming from the inability to allow conversations to credibly overlap as in any busy restaurant, but he scores points for dressing and designing one of the finest sets produced by the Guild since relocating to Wayne Avenue. The patrons of the Café Edison would be proud.

“45 Seconds From Broadway” continues through Sept. 8 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 performance runs 2 hours and 25 minutes with one 15 minute intermission. Friends of the Guild are also featured as extras in certain scenes throughout the course of the run. Tickets are $18 for adults; $16 for seniors; $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Coming up in Dayton Theatre 5/17 – 5/26 (Plus! FutureFest 2013 News!)

May 17, 2013 By Sarah Caplan Leave a Comment

Welcome back, Theatre lovers!

What’s happening in the theatrical neck of your woods? So glad you asked!

Closing This Weekend!

Next To Normal

The Human Race Theatre Company (@ The Victoria Theatre)

The Skinny: The story of a mother who struggles with bipolar disorder and the effect her illness has on her family. This contemporary Pulitzer Prize and Tony winning musical is an emotional powerhouse that addresses issues such as grieving a loss, ethics in modern psychiatry, and suburban life. With provocative lyrics and a thrilling score, this musical shows how far two parents will go to keep themselves sane and their family’s world intact.

Dates: Closes Sunday 5/19

Tickets: Tickets are available via the Victoria Theatre Association website, here: tickets.

Opening This Weekend

The Pillowman

The Dayton Theatre Guild

The Skinny: With echoes of Stoppard, Kafka, and the Brothers Grimm, THE PILLOWMAN centers on a writer in an unnamed totalitarian state who is being interrogated about the gruesome content of his short stories and their similarities to a series of child murders.

Dates: Opening Friday, 5/17 and running 3 weekends to close on Sunday, 6/2. Remember, at the Guild, the 2^nd and 3^rd Saturdays are at 5 pm.

Tickets: For ticket reservations, please visit the Dayton Theatre Guild website, www.daytontheatreguild.org.

(Note: For mature audiences only. Note: there will be a loud gun shot and a minor amount of smoke on stage during one scene in the performance.)

Currently In Production!

The Sound Of Music

La Comedia Dinner Theatre

The Skinny: A little known musical gem about a would-be nun who battles Nazis. But seriously, folks – this is the well-loved classic, a perennial crowd pleaser. Join The Captain, Maria and all 7 children as they sing, dance and, eventually, cross the Alps.

Dates: Through June 30^th.

Tickets: Please visit La Comedia’s website at www.lacomedia.com

FutureFest 2013!

Announcing the line up of your 2013 FutureFest Finalists!

A Position of Relative Importance by Hal Borden

On the Road to Kingdom Come by Michael Feely

St. Paulie’s Delight by Jacob Cox

The King’s Face by Steven Young

The One With Olives by Sam Havens

Veils by Tom Coash

FutureFest weekend will be July 26^th through 28^th.

Weekend Pass tickets go on sale June 3^rd and will be $95

Single Show Tickets go on sale July 8^th and will be $18

This year’s crop of adjudicators are all familiar, friendly faces:

David Finkle, Rob Koon, Faye Sholiton, Helen Sneed and Eleanore Speert.

Auditions are Monday, June 3^rd for Fully Staged shows, Tuesday, June 4^th for Staged Readings and Thursday, June 6^th for both.

Please see the Dayton Playhouse FutureFest site for more detailed information regarding cast breakdowns and play synopses, here.

Coming up in Dayton Theatre 5/3 – 5/12 (plus Season Announcements!)

May 2, 2013 By Sarah Caplan Leave a Comment

Welcome back friends! We’ve got just a couple things going on the next couple weeks, but we also have SEASON ANNOUNCEMENTS! So exciting!

Closing This Weekend!

‘Til Beth Do Us Part

Brookville Community Theatre
The Skinny: A comedy about love, marriage and trust.
Dates: Running through Sunday, May 5th.
Tickets: For tickets, please call the Brookville Flower Shop at (937) 833-3531.

Opening This Weekend!

The Late Edwina Black

Troy Civic Theatre

The Skinny: When a some-what unpopular woman dies, the community feeling is rather less of grief and more of relief. When an autopsy shows her remains full of arsenic, an Inspector must interview the three main suspects and try to figure out what really happened.
Dates: Opening 5/3 and closing Saturday, 5/11
Tickets: Please call the ticket chairman at 937-339-7700

Mid-week Opening!

Next To Normal

The Human Race Theatre Company (@ The Victoria Thatre)

The Skinny: The story of a mother who struggles with bipolar disorder and the effect her illness has on her family. This contemporary Pulitzer Prize and Tony winning musical is an emotional powerhouse that addresses issues such as grieving a loss, ethics in modern psychiatry, and suburban life. With provocative lyrics and a thrilling score, this musical shows how far two parents will go to keep themselves sane and their family’s world intact.

Dates: Opens Tuesday 5/7 and closes Sunday 5/19

Tickets: Tickets are available via the Victoria Theatre Association website, here: Tickets.

Opening Next Weekend!

Jekyll & Hyde

Playhouse South

The Skinny: This dark, gothic musical is based on the Robert Louis Stevenson book The Strange Case of Doctor Jekyll and Mister Hyde. Nominated for several Tony awards, the music is chilling, moving and altogether wonderful.

Dates: Jekyll takes the stage on Friday, 5/10 and will run Fridays and Saturdays through 5/25 with one Sunday matinee on 5/12. What better treat for Mom?!

Tickets: Tickets are available for purchase via the PHS website, here: Tickets

Season Announcements!

Tis the season for season announcements! Theatres are beginning to release their 2013-2014 seasons. Here’s what I’ve got so far!

Dayton Theatre Guild
45 Seconds from Broadway, by Neil Simon
Directed by Fred Blumenthal. Runs Aug 23-Sep 8, 2013

Time Stand Stills, by Donald Margulies
Directed by Debra Kent. Runs Oct 4-20, 2013

The Gifts of the Magi, by Coats & Germain — (The Holiday Extra)
Director to be announced. Runs Nov 22-Dec 8, 2013

The Subject Was Roses, by Frank D. Gilroy

Directed by Marcia Nowik. Runs Jan 10-26, 2014

Expecting Isabel, by Lisa Loomer
Directed by Natasha Randall. Runs Feb 28-Mar 16, 2014

An Inspector Calls, by J.B. Priestly
Directed by David Shough. Runs Apr 18-May 4, 2014

The Dead Guy, by Eric Coble
Directed by Saul Caplan. Runs May 30-June 15, 2014

Dayton Playhouse

Hairspray Sept. 6-22

Directed by Tina McPhearson and Fran Pesch

Deathtrap, by Ira Levine
Directed by Jennifer Lockwood. Runs October 25-November 3rd

Fellow Passengers, by Greg Carter
Directed by Dodie Lockwood. Runs December 6-15

Working
Directed by Jim Lockwood. Runs January 31-February 16

The Whales of August, by David Berry
Directed by John Riley. Runs March 14th-23

Oklahoma!
Directed by Brian Sharp. Runs May 2-18

Beavercreek Community Theatre

Hair
September 13-22

Dog Sees God
October 25-November 3

A Neverland Christmas Carol
December 6-15

‘Till Beth Do Us Part
January 24-February 2

Carrie
March 7-16

Monty Python’s Spamalot
June 20-29

Human Race Theatre Company

Becky’s New Car
September 12-29

Fiddler on the Roof
October 31-November 17

Torch Song Trilogy
January 30-February 16

Other Desert Cities
March 27-April 3

Play It By Heart
June 12-29

Victoria Theatre Association/Broadway Series

War Horse
October 22-27

It’s A Wonderful Life (A Live Radio Play!)
December 3-15

Sister Act
January 28-February 2

Memphis
April 8-13

Beauty And The Beast
May 27-June 1

Million Dollar Quartet
June 17-22

That’s what I’ve got so far — There are more to come, however. It’s gonna be a really good season! I’m already marking my calendars. How about you?

ON STAGE DAYTON REVIEW: 100 Saints You Should Know (Dayton Theatre Guild)

March 2, 2013 By Russell Florence, Jr. Leave a Comment

(l to r): Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle, Corinne Engber in 100 Saints You Should Know (Photo by Craig Roberts)

Kate Fodor’s darkly comedic 2007 character study “100 Saints You Should Know,” currently receiving a fine regional premiere at the Dayton Theatre Guild, brings faith, faithlessness and forgiveness to the forefront in an engaging and compelling fashion under the delicate direction of Ellen Finch.

Alex Carmichal, who left an indelible impression earlier this season as the titular villain of the Dayton Playhouse’s production of “Dracula,” brings understated potency to his excellently conflicted portrayal of Father Matthew McNally, the play’s centerpiece. Grappling with unmentionable desires that betray his duties, a predictable yet reasonable notion, Matthew leaves his parish without a game plan for the future, causing him to question his beliefs as never before while returning to his childhood home for refuge. The reason behind Matthew’s hurried, vague departure, involving the provocative artwork of George Platt Lynes, is reserved for late Act 1, but Carmichal’s astutely perplexing nature remains thoroughly intriguing, especially as Matthew finds solace in reading “Dark Night of the Soul” and comes to grips with the acknowledgement that his spirituality, his connection to God, is completely broken. Amiable cleaning woman and single mom Theresa (a first-rate, emotionally distressed Katrina Kittle) inquisitively looks to Matthew for answers to her burgeoning thoughts of religion, but Fodor primarily keeps their budding relationship and insightful faith discussions ambiguous, which some may find perturbing. After all, this lonely pair feels very bonded as lost souls in search of intimacy and purpose, elements heartwarmingly fueled by Carmichal and Kittle’s innate chemistry.

Kittle also establishes a wonderfully exasperating rapport with the sassy Corinne Engber as Abby, Theresa’s startlingly rebellious, foul-mouthed 16-year-old daughter who deeply resents her and their meager existence. Theresa and Abby’s bickering showdowns are off-putting (Abby is one of the nastiest characters to come along in years), but Kittle and Engber build to a heartfelt climax nonetheless as Abby particularly grows to understand the cost of being utterly mean-spirited for selfish gain. The cast also includes the very endearing Maximillian Santucci as the gawky, gullible Garrett, a sexually confused delivery boy ridiculed by Abby to devastating proportions, and the marvelously grounded Barbara Jorgensen as Matthew’s stern, caring, Scrabble-adoring Irish mother Coleen, who has difficulty grasping his sudden change of heart and the sheer importance of acceptance.

Marcia Nowik’s efficient set as well as Patrick Hayes’ appropriate costumes and believably bloodied makeup for Santucci are also significant as this impactful tale of inner fulfillment runs its surprisingly heartbreaking course.

“100 Saints You Should Know” continues through March 10 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: 45 minutes. Cost: $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org. Also, in conjunction with the Dayton Visual Arts Center, the Guild will display the works of local artist C.A. Tiedemann in its lobby during the run of “100 Saints,” which contains mature subject matter.