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‘Why We Tell the Story’ Review – Epiphany Lutheran Church – Songs in the Key of Life

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Musical revues are like politics. Sometimes they can become extremely divisive. If the songs favor progressive choices, there’s great risk in throwing the conservative-leaning fans into a tizzy because they didn’t hear tunes from The Sound of Music or anything written before the dawn of television. On the other hand, if a program is full of Golden Age standards, those who know Hamilton like their back of their hand will be bored to death. But in spite of boldly embracing progressive tastes, including numbers from Broadway flops and little-known off-Broadway properties, the Epiphany Players Drama Ministry of Epiphany Lutheran Church miraculously manages to please both sides of the musical theatre aisle with Why We Tell the Story, the troupe’s 29th annual summer presentation featuring nearly 70 performers.

The Epiphany Players Drama Ministry of Epiphany Lutheran Church presents Megan Wean Sears and David Brush’s original musical revue “Why We Tell the Story: Broadway Songs and Stories” through July 21. The show features songs from “Cats,” “Dear Evan Hansen,” “Sweeney Todd,” “The 25th Annual Putnam County Spelling Bee,” “West Side Story,” “Wicked,” and more. (Contributed photo)

Conceived and created by director/choreographer Megan Wean Sears and music director David Brush, Why We Tell the Story is an enjoyably breezy, eclectic array of 26 songs simply reflecting the emotional ups and downs of life. In fact, the title is borrowed from the spirited finale of lyricist Lynn Ahrens and composer Stephen Flaherty’s 1990 musical Once On This Island, joyously presented by Epiphany in 2014. In the song, Ahrens pinpoints seven reasons why the journey of life is ripe for storytelling, specifically addressing pain, love, grief, hope, and faith. Sears and Brush admirably selected a variety of tunes that fit contextually for the seven sections. Composers Jason Robert Brown, Lin-Manuel Miranda, Benj Pasek, Justin Paul, Stephen Schwartz, and Stephen Sondheim are notable for being chosen more than once.

The large, multi-generational, vocally stunning cast confidently, energetically and tenderly inhabits the wide-ranging material. Near the outset, during Life Is Why, Jackie Darnell, Bridget Miley and John Benjamin terrifically convey the heartache and nuances within The I Love You Song from The 25th Annual Putnam County Spelling Bee. Next, as Pain Is Why leaps forth, a defiant Ella Brunt leads the children’s ensemble (cutely clothed in schoolhouse uniformity by Kim Harvey and Lori Watamaniuk) in a rousing Revolting Children from Matilda. The Ballad of Sweeney Todd from Sweeney Todd, headlined by an imposing Brian Hoff, concludes the section with appropriately eerie resonance. Love Is Why charms due to the graceful elegance of Sarah Portman, Meredith Russ, Mary Bryan, Abbey Fry, Zoe Miller, Kathy Meyer, and Margo Russ dancing to She’s Got a Way from Movin’ Out (warmly accented by Andrew Hackworth’s saxophone solo), Jack Issler and Kara Miller’s touching You Matter to Me duet from Waitress, and John Benjamin and Brett Greenwood’s poignant Dear Theodosia from Hamilton. Grief Is Why includes Kathy Meyer’s wistful, commanding, go for broke Memory from Cats, Reese Hornick’s firm Everlasting from Tuck Everlasting, Michael Shannon’s reflective yet dynamic Dust and Ashes from Natasha, Pierre and the Great Comet of 1812, and the truly marvelous trio of Margo Russ, Jessica Pettit and Andrew Gochenaur incredibly attacking the anguish, glee and resentment fueling Superboy and the Invisible Girl from Next to Normal, an encore-worthy rendition on par with the original Broadway cast.  

It’s tough to top Superboy and the Invisible Girl, but Hope Is Why majestically closes Act 1 with a knockout Till We Reach That Day from Ragtime superbly led by Meghan Rupper. Surprisingly, Sears leaves the song’s relevant message to the imagination (footage of Charlottesville, Pulse Orlando, Sandy Hook Elementary School, or Marjory Stoneman Douglas High School would’ve been a huge asset), but the number, heightened by Matthew Benjamin’s striking lighting design, is a highpoint nonetheless despite the missed opportunity for multimedia. After intermission, Hope Is Why continues its dominance with a thrilling One Day More from Les Misérables (Meredith Russ is particularly strong in the role of Éponine), Taryn Lightcap, Abbey Fry and Margo Russ delightfully joining forces for the comical I Know It’s Today from Shrek the Musical, the phenomenal return of Rupper absolutely slaying The Wizard of I from Wicked as if Schwartz secretly wrote it just for her and she’s already in negotiations to play Elphaba in the film version, and the splendid, costume-savvy Tonight Quintet from West Side Story wonderfully led by Kathy Meyer (in fiery red as Anita along with the Sharks), Andrew Gochenaur (in optimistic yellow as Tony), Megan Rehberg (white and yellow as Maria), and Mitchell Goecke (in blue as Riff along with the Jets).

In addition, Faith Is Why consists of Liza Russ’ spunky My Grand Plan from The Lightning Thief, Meredith Russ’ beautifully complex Breathe from In the Heights, and Jackie Darnell’s soaring, operatic I Still Believe from Amazing Grace. Lastly, You Are Why centers on Samuel Layman’s heartfelt lead vocals on the introspective You Will Be Found from Dear Evan Hansen featuring Siobhan McAleer, Eric Pettit and Zoe Miller and incorporating attributes each cast member associates with themselves such as compassionate, kind, determined, and worthy.

In a break from tradition, this show is only slated for one weekend. So, go ahead and quickly plan to escape the heat at Epiphany. You’ll be glad you did.

Why We Tell the Story continues Saturday, July 20 at 8 p.m. and Sunday, July 21 at 2:30 p.m. at Epiphany Lutheran Church, 6430 Far Hills Avenue, Centerville. Act One: 55 minutes; Act Two: 37 minutes. Advance ticket sales are $15 for adults, $10 for students (any age) and seniors (60 and older), $5 for children 5 and under, and $20 for front row. Tickets sold at the door are $17 for adults, $12 for students (any age) and seniors (60 and older), $7 for children 5 and under, and $22 for front row. For tickets or more information, call (937) 433-1449 ext. 105 or e-mail drama@epiphanydayton.org.

 

‘The Secret Garden’ Review – Epiphany Lutheran Church – The Girl Who Lived

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If a young girl hadn’t survived a cholera outbreak, a grieving father and son wouldn’t have been able to reconnect and find ultimate joy and peace within The Secret Garden, the 28th annual summer musical of the Epiphany Players Drama Ministry of Epiphany Lutheran Church in Centerville.

(left to right) Marisha Oswoski (Ayah), Tommy Cole (Dickon), Liza Russ (Mary Lennox), Margo Russ (Martha), and Meredith Russ (Fakir) are featured in Epiphany Lutheran Church’s production of The Secret Garden. (Contributed photo)

Adapted in 1991 by librettist/lyricist Marsha Norman and composer Lucy Simon based on the 1911 novel of the same name by Frances Hodgson Burnett, The Secret Garden offers a family reunion through a dark lens circa 1906. Upon the death of her parents in Bombay, India, headstrong 11-year-old Mary Lennox is sent to Yorkshire, England to live with her emotionally detached uncle Archibald Craven, whose life has been shaken by the death of his wife Lily who died giving birth to their sickly son, Colin, who is often hidden from sight. As Mary becomes more inquisitive about her new dwellings in haunted Misselthwaite Manor, she discovers a garden beloved by Lily which begins a rejuvenation process surpassing expectations.

Beautifully staged by Megan Wean Sears and David Brush, skillfully keeping Lily at the communicative heart of the action as she interacts with those she left behind, this splendidly sung presentation features a large, doubled cast of nearly 70 actors. Lily Nevers and Liza Russ bring great spunk and clear focus to their sprightly portrayals of Mary. David Sievers and Michael Shannon are in wondrously resounding voice as Archibald. Eric Pettit and Chavin Medina, equally expressive and very touching in the Come to My Garden sequence, shine as Colin. John Benjamin and Brett Greenwood are properly stern and dismissive as Dr. Neville Craven, Archibald’s brother assigned to Colin’s care. Rachel Woeste and Margo Russ are delightful as Martha, specifically providing wonderfully lyric-driven renditions of Hold On that cut deep as Martha passionately encourages Mary to remain positive despite adversity. Jack Issler and Tommy Cole proudly proclaim Winter’s On The Wing with vim and verve as the playful Dickon, Martha’s brother. The operatic Megan Rehberg and Kara Miller, strikingly costumed by Kim Harvey and Lori Watamaniuk, give Lily profound presence. Kean Petrello (Captain Albert Lennox), Mia Bridgman and Laura Jacobs (Rose Lennox), Sandy Schwartzwalder and Sophia LiBrandi (Mrs. Medlock), John Morgan and Brady Kress (Ben Weatherstaff), Martha Armstrong-Benjamin and Leighanna Hornick (Mrs. Winthtop), Meredith Russ (Fakir), and Marisha Oswoski (Ayah) are also noteworthy.

In addition to Sears filling her choreography with distinct Indian influences for Russ and Oswoski and energetic spirit for the aptly titled Come Spirit, Come Charm, the excellent artistic components include D. Tristan Cupp’s three-tiered, marvelously detailed storybook scenic design, Matthew Benjamin’s outstanding lighting bridging the present and past in stunning fashion akin to Stephen Sondheim’s Follies, and music director Kandis Gibson’s firm orchestra. However, diction and sound problems were an occasional distraction.
In its heartwarming account of acceptance, loss, forgiveness, healing, and remembrance, The Secret Garden opens our eyes to the power of miracles and the vital necessity of family and friends.

The Secret Garden continues through July 22 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 pm, and Sunday at 2:30 pm. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

‘Jesus Christ Superstar’ Review – Epiphany Lutheran Church – The Man and His Movement

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Texting isn’t mentioned in the Bible. However, it figures prominently within Jesus of Nazareth’s final days as winningly interpreted in the Epiphany Players Drama Ministry of Epiphany Lutheran Church’s wonderfully contemporary production of composer Andrew Lloyd Webber and lyricist/librettist Tim Rice’s classic 1971 rock opera “Jesus Christ Superstar,” the organization’s 27th annual summer musical.

 

Kean Petrello (Jesus Christ), Laura Jacobs (Mary Magdalene) and Brianna Russ (Judas Iscariot) are featured in Epiphany Lutheran Church’s production of Andrew Lloyd Webber and Tim Rice’s classic rock opera “Jesus Christ Superstar” (Contributed photo)

Directed with stirring immediacy and intensity by Megan Wean Sears, “Jesus Christ Superstar” leaps forth as compelling and thought-provoking as today’s headlines. Set in contentious New York City (representing our currently divisive America), the show first and foremost uncomfortably stings as it should while remaining a cautionary tale of human folly. All the vital events leading to Jesus’ crucifixion and death are colorfully, grippingly and passionately executed by the 61-member cast. However, Sears takes the action to a fascinating new level with the aid of savvy multimedia/projections expertly designed by Bobby Morgan. Part of her artistic intent ponders what it would be like if Jesus was among us now, energizing “a movement of both rebellion and compassion.” In turn, seeing a throng of texts pop up on a big screen in excitable “Dear Evan Hansen”-esque fashion, including “I’m right next to JC,” makes the material feel instantly fresh. By the time apostle Simon Zealotes tweets a call to revolution in Times Square, it is an undeniable hallmark of Sears’ forward-thinking storytelling. And I dare not spoil how a certain cable news network vividly accents the drama or how a certain late night TV talk show host is flavorfully parodied. Bottom line: Sears has created one of the most relevant productions of “Jesus Christ Superstar” the Miami Valley has ever seen.

Still, without credible performances the production would lack true connection. Thankfully, the Epiphany talent pool, double-cast per tradition, delivers once again. Kean Petrello, a pop tenor tailor-made to play the kindhearted Jesus, genuinely exudes warmth, concern and soulfulness throughout. He offers a powerful yet introspective rendition of “Gethsemane” and brings great anger and overwhelming dismay to “The Temple.” As Judas Iscariot, dynamic vocalists Desmond Thomas and Brianna Russ are equally vibrant yet shady antagonists. Even so, due to the sheer rarity of a woman in the role, Russ receives special mention for exploring betrayal, fear, insecurity, and jealousy with marvelous complexity and a fitting punk-rock edge. In addition to jumping octaves like it’s a walk in the park in such numbers as “Heaven on Their Minds,” “Damned for All Time/Blood Money,” “The Last Supper,” “Judas’ Death,” and “Superstar,” the astute choices she makes in the pivotal Jesus-Judas power struggle and conveying Judas’ peculiar distrust and dislike of Mary Magdalene are simply remarkable. As Mary Magdalene, Kara Miller and Laura Jacobs offer beautifully sincere renditions of “I Don’t Know How to Love Him.” The genteel and introverted Miller interestingly contrasts the more expressive Jacobs, keenly aware of Russ’ vindictive Judas. Justin Matthews and Christian Schaefer excellently stir the conflicted emotions within Pontius Pilate, filling “Pilate’s Dream” with quiet melancholy and injecting ample bewilderment and rage into “Trial By Pilate.” Timmy Seiler and Chris Scharf are playful yet tough as flamboyant showman King Herod in “King Herod’s Song,” the only opportunity for Sears to choreograph with snazzy levity. Bridget Miley and Lily Cutler (Peter) and Meghan Rupper and Andrew Gochenaur (Simon Zealotes) are firmly grounded apostles. (Rice’s decision not to elaborate on Jesus’ relationships with his chosen 12 remains a script shortcoming). Imposing bassists David Egbert and Nick Kress (Caiaphas), crisply stern Rachel Woeste and Margo Russ (Annas), and terrifically menacing Brian Hoff, Kellie Dabb (someone please cast her as Madame Thenardier in “Les Misérables”) and Sam Layman (Priests) are also noteworthy along with lovely featured dancer Marisha Osowski.

Musically, the score drives with urgency under the direction of David Brush and his solid seven-piece offstage band. Some liberties have been taken with the score (the title tune is briefly introduced as a bluesy rock ballad) but these unique choices fuel the production’s character-driven pulse nonetheless. At times, the band sounds more distant than they are, but at the same rate, they don’t overpower the cast either which is an asset. Set designer Tristan Cupp’s gritty, urban vibe, Matthew Benjamin’s reliably evocative lighting, Maria Klueber and Lori Watamainiuk’s astutely assorted attire (casual wear for Jesus and the apostles; traditional biblical garment for Mary Magdalene; sophisticated business wear for the priests; stylish black and purple for Pontius Pilate), and Adrienne Ausdenmoore and Jason Hamen’s props effectively aid the storytelling. Ben Hale and Brayden Rittner’s sound design is unfortunately spotty so the cast should try to sing-out and enunciate more assuredly in order for the audience not to lose any of Rice’s witty lyrics.

If a “radical son of God” actually took this country by storm, a country enamored with cries of fake news and an insatiable desire to follow the latest social media celebrity, it’s not entirely clear how situations would transpire. But if you’re able to witness this “Superstar,” you’ll be treated to profound perspectives about faith, grace, hope, deceit, love, and sacrifice set against the backdrop of current angst that will linger in your mind for years to come. Don’t miss it.

 

“Jesus Christ Superstar” continues through July 23 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One and Act Two run roughly 50 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. Patrons are advised the show is double-cast (Jeffery Mack covers the role of Jesus). For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.