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WSU’s The Wolves Review

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Sarah DeLappe’s outstanding 2017 Pulitzer Prize-nominated drama “The Wolves,” a contemporary, coming-of-age character study about a girls’ indoor soccer team, has received an excellent local premiere at Wright State University.

(left to right) Bridget Lorenz, Jessica Greenwald, Julie Deye, Margo Russ, Mady McCabe, Lauren Eifert, Caroline Utz, Tina Hohman, and Megan Ledford are the titular team in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Photo by W. Stuart McDowell)

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

Mady McCabe (No. 00 – Goalie) in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

Breezily directed by Marya Spring Cordes with an astute awareness of peaks, valleys and subtleties within casually overlapping conversation (an equally significant attribute of her 2018 Human Race Theatre Company production of Brighton Beach Memoirs), The Wolves features wonderfully compatible actresses. The strong, believably athletic cast consists of quietly reserved and focused Mady McCabe (No. 00 – Goalie) endearingly sweet Megan Ledford (No. 2 – Defense), sensitive Julie Deye (No. 8 – Defense), snarky jokester Jessica Greenwald (No. 13 – Midfield), formidable Bridget Lorenz (No. 14 – Midfield), terrifically firm Tina Hohman (No. 25 – Defense and Team Captain), effective outsider Caroline Utz (No. 46 – Bench), poignant Sophie Kirk (Soccer Mom), and breakthrough performers Lauren Eifert (dynamic as the competitive, intimidating and foul-mouthed No. 7 – Striker) and Margo Russ (vibrant as the opinionated, commanding and current affairs-savvy No. 11 – Midfield).
In addition to providing scene changes fittingly set to tuneful female empowerment anthems from pop divas Beyoncé, Ariana Grande and Demi Lovato, Cordes assembles a top-notch production team. Carleigh Siebert’s eye-catching set, expertly co-lit by designers Matthew J. Benjamin and Gabe Reichert, supplies a huge, ascending AstroTurf design complete with large netting in front of the stage, heightening the action’s immediacy. Costumer Victoria Gifford appropriately ensures athletic uniformity. James Dunlap’s sound design is clear and crisp.

The cast of Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

There’s a reason why The Wolves is one of the most popular plays in the country. Akin to Academy Award nominee Greta Gerwig (Lady Bird, Little Women), DeLappe has a unique, cross-generational gift for witty, whip-smart dialogue and creating relatable angst among women that is incredibly entertaining and palpable. So, make sure you catch this singular experience. These ladies are in it to win it.

The Wolves continues through Feb. 16 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy., Dayton. Performances are 7 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 95 minutes without intermission. Tickets are $15-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp. Patrons are advised the play contains strong language.

‘9 to 5’ – Wright State University – Divine Vengeance of the Corporate Sisterhood

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Broadway is abuzz about a certain matchmaker’s overdue return, but the Dolly I’d like to bring to your attention can be found atop center stage at Wright State University’s first-rate production of the 2009 Tony Award-nominated musical comedy “9 to 5” inside the Festival Playhouse of the Creative Arts Center.

(center) Meredith Zahn as Judy Bernly, Bailey Edmonds as Violet Newstead, and Natalie Girard as Doralee Rhodes in Wright State University’s production of Dolly Parton and Patricia Resnick’s 2009 Tony Award-nominated musical comedy “9 to 5” (Photo by Erin Pence)

No, Dolly Parton isn’t actually roaming or haunting the CAC these days, but her gleefully earthy, videotaped narration is a huge part of the great charm abundantly flowing from this delightfully humorous yet incredibly stinging satire of female empowerment in the workplace circa 1979. It’s true this show would be just fine without Dolly (her narration was not part of the Broadway production), but she will always represent the film’s nostalgic appeal nonetheless due to her iconic, toe-tapping title tune, one of the best movie songs never to win an Academy Award.

Based on the popular 1980 film of the same name starring Parton, Lily Tomlin and Jane Fonda, “9 to 5,” featuring a libretto by original screenwriter Patricia Resnick, bluntly examines discrimination and sexism as Violet Newstead, Doralee Rhodes and Judy Bernly join forces to put their “sexist, egotistical, lying, hypocritical bigot” boss Franklin Hart, Jr. in his place. During a night of partying, the trio playfully imagines how they’d kill Franklin, but through a series of accidental shenanigans they eventually kidnap him and smoothly turn Consolidated into a rejuvenated utopia of productivity, positivity and promise. One of the joys of Resnick’s witty and relevant script stems from the ladies joining in solidarity to accomplish the seemingly impossible. Sure, one of them could have taken the lead and received the credit, but the fact that the three of them became stronger together as friends, women and brave examples makes all the difference in the world.

Firmly directed with a keen comical eye by Greg Hellems, assuring the action is continually bolstered by Violet, Doralee and Judy’s compatibility, the production is enjoyably and respectively led by Bailey Edmonds, Natalie Girard and Meredith Zahn. The lovably stern Edmonds, notably beginning Act 2 with a snazzy rendition of “One of the Boys,” one of many new tuneful if generic songs Parton wrote for the stage version, effectively interprets Violet’s desire for advancement having been bypassed for promotions by those she particularly trained. Girard, a recent knockout as Heather Chandler in “Heathers: The Musical,” completely inhabits the required Southern delicacy and spitfire attack necessary to portray the bubbly vivacious Doralee. She effortlessly accomplishes the amazing feat of being on par with the original actress actually present in spirit. Does it get any better than that? In addition to her hilariously impeccable delivery of Doralee’s fiery speech putting to rest a workplace rumor, Girard supplies dynamic vocals during introspective moments (“Backwoods Barbie”) and spirited anthems (“Shine Like the Sun,” “Change It”). Zahn, elegantly dancing up a storm earlier this season as Lucille Early in “No, No, Nanette,” endearingly conveys Judy’s sweet naivety and specific determination to start anew, leading to a wondrously life-affirming rendition of “Get Out and Stay Out” late in Act 2 that nearly stops the show.

Elsewhere, Joey Logan is despicably good as the one-dimensional, utterly insensitive Franklin, shrewdly and eerily injecting shades of President Trump when the mood suggests. Emily Chodan scores big laughs as nosey secretary Roz Keith who secretly pines for Franklin with sensual abandon in the aptly titled “Heart to Hart.” Zach Fretag (Violet’s love interest/co-worker Joe), David Emery (Doralee’s husband Dwayne), Joey Kennedy (Violet’s son Josh and a standout among the male ensemble in “One of the Boys”), Eli Davis (Judy’s ex-husband Dick), Mackenzie Kasbaum (tipsy Margaret), and Cody Westbrook (Tinsworthy in the deliciously playful vein of Leslie Jordan) are notable among an excellent ensemble cast.

Choreographer Megan Wean Sears’ lively and character-conscious routines, Michael S. Brewer’s efficient set design, Jessica Drayton’s expert lighting, Emily Sollinger’s colorful period attire, and music director Scot Woolley’s rip-roaring orchestra are also noteworthy.

Women have made significant strides in the nearly 40 years since “9 to 5” took America by storm, but there’s still room for growth from equal pay to reproductive health care to the presidency. Let us aim to keep moving forward until the tide turns and rolls everyone’s way.

 

“9 to 5: The Musical”continues through April 2 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 30 at 7 p.m.; March 24, 25, 31, and April 1 at 8 p.m.; and March 25, 26, April 1 and 2 at 2 p.m. Act One: 80 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/theatre-tickets.

 

 

 

 

 

 

 

‘The Music Man’ Review – Wright State University – Amazing Americana

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Threats of trouble arouse the small town of River City, Iowa in Meredith Willson and Franklin Lacey’s classic 1957 Tony Award-winning musical comedy “The Music Man,” but there are no signs of distress in Wright State University’s fantastic presentation running through April 3 in the Festival Playhouse.

wsu music man
In this exceedingly charming tale about a con artist reawakening love and possibility within a vulnerable community in July 1912, a first-rate Nathan Robert Pecchia leads the way as Professor Harold Hill, a traveling salesman who decides to go back into his bag of tricks during a seemingly slow period. When all else fails, the creation of a boy’s band is a quick fix for Harold and Pecchia commandingly stirs the pot with deliciously assertive glee. In fact, his rip-roaring rendition of “Trouble,” a rapid-fire, talk-sung gem of commotion, disbelief and hysteria, truly mesmerizes as intended. A few scenes later, he returns with whirlwind gusto to address, in joyfully over-the-top fashion, the sight of “Seventy-Six Trombones,” which finally delivers the gullible town firmly in the palm of his shady hand. Without Pecchia’s confidence, magnetism and vocal prowess, attributes which served him well last season as a member of WSU’s equally thrilling and startlingly under-attended regional premiere of “Sondheim on Sondheim,” this “Music Man” would have been completely lopsided, which is always a huge risk for any organization producing what is essentially one of the most formidable star vehicles in the musical theatre canon.

Elsewhere in River City, Emsie Hapner provides strong moments of warmth and frustration as the terse, talked-about spinster Marian Paroo, a librarian who seeks to destroy Harold but ultimately recognizes him as her soul mate. Some of Willson’s numbers challenge Hapner’s vocal range, particularly the gorgeous soprano grandeur of “My White Knight,” but her grounded interpretation is not short of nuance or credibility overall. As Mrs. Paroo, Cassi Mikat, a recent semifinalist in the national Lotte Lenya Competition who gave one of 2015’s best performances in “Sondheim on Sondheim,” supplies feisty Irish earthiness opposite Hapner in “Piano Lesson” and “If You Don’t Mind My Saying So.” Eric Pettit, a memorable Randy Parker in La Comedia Dinner Theatre’s recent regional premiere of “A Christmas Story: The Musical,” is absolutely endearing as the introverted Winthrop. William Mendleson (an aptly befuddled Mayor Shinn) and Caitlin Geisser (beautifully costumed in pink and turquoise as Eulalie Mackecknie Shinn) are a humorous duo. Knockout dancer Dakota Mullins (in a breakthrough portrayal of Tommy Djilas) and lovely Meredith Zahn (Zaneeta Shinn) tremendously conjure the spirit of Gene Kelly and Cyd Charisse in “Marian the Librarian,” stunningly choreographed with exuberant chaos and elation by Dionysia Williams. The bubbly Kyle Sell (Marcellus Washburn) is a winning sidekick for Pecchia and well-paired with the goofy Emily Chodan (Ethel Toffelmier). As Harold’s enraged rival salesman Charlie Cowell, a wonderfully agitated Ben Tracy brings fiery intimidation to his pivotal testimony late in Act 2. The cohesively harmonic team of Elis Davis (Olin Britt), Jordan Adams (Oliver Hix), Connor Lysholm (Ewart Dunlop), and Kyle Krichbaum (Jacey Squires) are outstanding as the bickering school board-turned-barber shop quartet. Grace Leisch (Mrs. Squires), Lauren Everett (Alma Hix), and Madeline Vaughn (Maud Dunlop) perfectly contribute to the giddy amusement of “Pick-A-Little Talk-A-Little.” Emma Fry (Amaryllis), George Heddleston (Constable Locke/Conductor), Kyle Miller, Zach Fretag, Madeline Musico, Allie Jackson, Abbey Fry, Everett Jones, Philip Stock, Cody Westbrook, Danielle Bessler, Brynnan McNeill, Joey Kennedy, and Taylor Patrick are noteworthy.

Director Marya Spring Cordes, staging an achievement on par with her amazing “Grand Hotel” in 2013, once again proves her strengths for navigating huge, ensemble-driven pieces.

 

Whether molding believable idiosyncrasies among the townspeople or providing a new perspective for Charlie in an inspired moment in the final scene, her vision is sound and inviting. In addition to the rollicking opener “Rock Island,” her handiwork specifically hits the mark in her heartfelt execution of “The Wells Fargo Wagon,” an upbeat testament to the power of expectancy which exceptionally resolves as a tear-jerking reminder that dreams can become reality. The aforementioned Williams, so in sync with Cordes, also shines by evoking legendary choreographers Onna White and Michael Kidd in “Seventy-Six Trombones” and giving “Shipoopi” a very spirited hoedown. Cordes’ top-notch artistic team includes scenic designer Pam Knauert Lavarnway, lighting designer Jacob Brown, costumer Christie Peitzmeier, sound designer Emily Hutton, dialect coach Deborah Thomas, and music director Scot Woolley.

Showcasing WSU’s musical theatre program to the fullest, “Music Man” brings the organization’s mainstage season to a rousing finish.

“The Music Man” continues through April 3 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 25, 26, April 1 and 2 at 8 p.m., March 26, 27, April 2 and 3 at 2 p.m., and March 31 at 7 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 for students and seniors.  For tickets or more information, call (937) 775-2500 or visit wright.edu/theatre-tickets.

 

‘The Great Gatsby’ Review – Wright State University – Man of the Moment

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Frank Loesser had it wrong. There’s wonderful music in the very sound of Gatsby, a name immediately conjuring images of power, prestige, wealth, infatuation, and mystery. As the seductive, titular focal point of F. Scott Fitzgerald’s classic 1925 novel, widely considered one of the greatest ever written, millionaire Jay Gatsby’s transformative history and romantic obsession is not lost in Wright State University’s current presentation. However, there are moments of detachment that could use a jubilant Jazz Age lift.

gatsby

Ben Tracy as Nick Carraway and the cast of Wright State University’s production of “The Great Gatsby” (Photo courtesy of W. Stuart McDowell)

Breezily adapted by Simon Levy and directed by W. Stuart McDowell, “The Great Gatsby” embraces the effervescence of the Roaring Twenties in its fascinating account of love lost yet regained on Long Island as Gatsby reunites with beautiful socialite Daisy Buchanan, his one true love, after nearly five years. But trouble looms as Daisy’s brutish, bigoted husband Tom continually despises Gatsby’s advances and his bootlegging despite his own indiscretion with Myrtle Wilson, the long-suffering wife of a local mechanic. As Daisy becomes increasingly torn by her past and present passions, her cousin Nick Carraway, a meek, impressionable salesman from Minnesota and Gatsby’s wartime buddy, immerses himself into Gatsby’s exciting universe, narrating his eye-opening experiences with great wonder and ultimate dissatisfaction.

McDowell, known for helming history-conscious plays from “Les Misérables” to “Titanic” on a grand, sweeping scale, surprisingly dials it back here creating one of his most straightforwardly intimate, script-driven, scaled-down productions. His directorial flair is evident (the perpetual presence of Daisy’s green light, the lovely descending wardrobe in the Act 1 finale, Act 2’s climatic car accident, the finale scene recalling “Sunset Boulevard”), but a consistent sense of opulence and frivolity is missing which is unfortunate since this flashy material speaks to exuberant excess. Granted, McDowell wonderfully energizes the action with colorful flapper routines choreographed by Greg Hellems, but there aren’t enough of these lively depictions, especially in the slow-going, emotionally insular Act 1.

Nonetheless, McDowell’s period-appropriate cast, beautifully costumed by Mary Beth McLaughlin and dialect coached by Deborah Thomas, amiably embodies their iconic roles. The handsome Connor Lysholm is an understatedly suave, fittingly enigmatic Gatsby heightened with brooding magnetism and a dangerous edge. The striking Caitlin Geisser, truly compatible with Lysholm, is the epitome of sophisticated privilege although at times she seems overly self-absorbed to the point of coldness. The tough, intimidating Joey Logan gruffly fits the bill as arrogant, hotheaded Tom. As Nick, the very personable, vulnerable Ben Tracy narrates with joy and yearning in a delicate capacity as onlooker and participant. As Myrtle, the sultry, impressively authentic Madeline Sensenstein commands attention late in Act 2 opposite Christian Schaefer as Myrtle’s husband George. The fine players include Chelsea Hauptstueck (Jordan Baker), Nathan Pecchia (Meyer Wolfsheim), William Mendleson (Chester McKee), Brittany Williams (Lucille McKee), Taylor Benjamin (Michaelis), Zac Pruett (Waiter/Cop/Photographer), and flappers Danielle Bessler, Carrie Vobroker, Hannah Williamson, and Halee Aguenstein.

By and large, the essence of greatness permeates this “Gatsby” as a decent start to WSU’s 41st season.
“The Great Gatsby” continues through Oct. 4 inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are today at 8 pm, Saturday at 2 and 8 pm and Sunday at 2 pm. The production is performed in 2 hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information