Festival Playhouse of the Creative Arts Center

‘Les Misérables’ Review – Wright State University – Stunning Success

March 27, 2014 By Russell Florence, Jr. Leave a Comment

Mark Beyer as Enjolras (center) and the cast of Les Miserables (contributed photo)

Wright State University delivers an outstanding local collegiate premiere of Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer’s “Les Misérables,” the popular, unabashedly sentimental 1987 Tony Award-winning pop opera based on Victor Hugo’s legendary 1862 novel exploring the human condition through plight and promise within turbulent France.
Inspired by the harrowing June revolt of 1832 (the French Revolution concluded 33 years prior), “Les Miz” hasn’t lost one morsel of its angst-ridden, melodramatic urgency under W. Stuart McDowell’s excellently firm, fluid and inventive direction. As a throng of fascinating, emotionally-charged characters leap forth spanning nearly 20 years, McDowell ensures every individual is clearly defined and every moment counts. Incorporating unique flourishes beyond the use of a turntable, a signature component of Trevor Nunn and John Caird’s original iconic stagecraft, he allows the show to resonate anew with a skillful grasp of atmosphere and tone. In addition to sprinkling the action with red, white and blue in a patriotic nod to the French flag, the opening seconds single-handedly stimulates the ensuing drama with a fresh grip by reiterating the magnitude of the story in a historical context. McDowell’s large, passionate cast, vocally on par with WSU’s fabulous productions of “The Light in the Piazza” and “Grand Hotel,” is powerfully led by Andrew Quiett as ex-convict Jean Valjean. Quiett gave one of the finest performances of this season last fall as Jud Fry in “Oklahoma!,” and his return is equally praiseworthy as he fills Valjean’s redemptive journey with engrossing humility and searing potency, especially in his gorgeously heartfelt “Bring Him Home.” At the same rate, Law Dunford, in a breakthrough performance benefitted by non-traditional casting, truly captivates as Inspector Javert, a devout Christian whose unforgiving heart and obsessive drive clouds his judgment as he relentlessly pursues Valjean. Instilling fear with a marvelously formidable demeanor and razor sharp intensity, Dunford avoids morphing into a one-dimensional antagonist by astutely interpreting Javert’s harsh convictions from the perspective of duty and principle instead of blatant vengeance.

Andrew Quiett as Jean Valjean (contributed photo)

Quiett and Dunford are explosive adversaries (“Confrontation” is a knockout), but the featured players are very strong as well. The lovely, disenchanted Amy Wheeler is heartbreaking as the doomed Fantine, treating “I Dreamed a Dream” with sorrowful, lyric-driven, speak-sung eloquence. Ian Benjamin and Cassie Mikat playfully coalesce as the treacherous Thenardiers seeking to thwart Valjean. As lovebirds Marius and Cosette, an appealingly resolute Zack Steele and sweetly genteel Kaitlyn Sage beautifully intertwine although Steele (filling “Empty Chairs at Empty Tables” with poignant solemnity) finds more depth in his portrayal than Sage who is saddled with thinner material. As the street-tough Eponine, hopelessly in love with Marius, the luminous Liz Romey blossoms into a superb storyteller in her fantastic “On My Own” radiating with anger, yearning and an eerily extended silence illustrating Eponine’s loneliness on the streets of Paris. Terrific tenor Mark Beyer brings fiery zeal to his striking, comforting portrayal of student rebel leader Enjolras.
Additionally, as Young Cosette, Emma Fry refreshingly embraces “Castle on a Cloud” as the haunting lullaby it was written to be by adding a few chilling inflections. Connor Iverson is a scrappy, spunky Gavroche. Abbey Fry is a delightful Young Eponine, particularly aiding in the frenzied swindling throughout “Master of the House” expertly choreographed by Dionysia Williams. Drew Bowen is delectably creepy opposite Wheeler as the cruel Factory Foreman and snobbish Bamatabois. Bowen also shines as Jean Prouvaire alongside Connor Lysholm (Combeferre), Brandon Kinley (Feuilly), Jordan Adams (Courfeyrac), Bailey Olean (Joly), Keaton Eckoff (Grantaire), and Jim Miller (Lesgles) as the defiant rebels of the ABC Café stirring the souls of their countrymen upon the death of General Lamarque (an advocate of the poor) in the rousing “Do You Hear the People Sing?” Bradley Farmer and Paige Dobkins are among the standouts of the female ensemble fiercely attacking “Lovely Ladies.” The cast also includes Bailey Edmonds, Peter Cutler, Caitlyn Geisser, Emsie Hapner, Haley Iverson, King Jones, Owen Kresse, Kody Mullins, Kate Mueller, Kelsey Pohl, Brandon Ramos, Tyrell Reggins, Alyson Snyder, MacKenzie Stephens, Ben Tracy, Abby Murray Vachon, Jake West, Sabria Wynn, and Meredith Zahn.

The rebels at the barricades in Les Miserables (contributed photo)

The marvelous tech artists accenting this experience with color, dimension, nuance, realism and vigor include scenic designer Pam Knauert Lavarnway, lighting designers Matthew P. Benjamin and Erin Jones, costumer D. Bartlett Blair, sound designer James Dunlap, musical director Scot Woolley, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas.
“Les Miz” dynamically champions freedom and faith, but it also serves as an impressive landmark in the history of WSU’s musical theater department and one of the best productions the Miami Valley will witness in 2014.

“Les Misérables” continues through April 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 27, April 2 and 3 at 7 p.m., March 28, 29, April 4 and 5 at 8 p.m., and March 29, 30, April 5 and 6 at 2 p.m. The production, running slightly over three hours including one 20-minute intermission, is sold-out. For more information or to inquire about ticket availability, contact the WSU box office at (937) 775-2500.

‘The Magic Fire’ Review – Wright State University – Our Private World

February 7, 2014 By Russell Florence, Jr. 1 Comment

The cast of Wright State University’s production of “The Magic Fire” (Contributed photo)

Wright State University returns to sophisticated fare with a beautifully executed regional premiere of Lillian Groag’s semi-autobiographical, thought-provoking Argentinean drama “The Magic Fire.”

Commissioned and originally produced in 1997 by the Oregon Shakespeare Festival, the engrossing, highbrow “Magic Fire” concerns a close-knit family of European immigrants living in Buenos Aires circa 1952 during the divisive Juan Peron regime. As chaos consumes the streets with ever-present military force, the argumentative, opinionated, opera-adoring Bergs are reticent to join the fray, opting instead to safeguard themselves within their own private world of culture and music they hope cannot be vanquished. The symbolism of their behavior and the play’s title astutely mirrors the final act of Richard Wagner’s opera “Die Walküre,” specifically Wotan’s decision to encircle his sleeping daughter Brünnhilde with an artificial wall of fire that only the bravest of men can penetrate. However, when the brother of the family’s housekeeper seeks shelter in their home, it becomes impossible to ignore the political turmoil swirling in their midst.

Groag’s poetic, female-driven look at differing generations and changing times is simultaneously endearing and confusing in its scope. Her decision to conceive the material as a nearly three-hour memory play lends itself to numerous moments of heartfelt earnestness and subtle grandeur, but the key reason why narrator/protagonist Lise (Layan Elwazani) looks back on her life is muddled. In Tennessee Williams’ “The Glass Menagerie,” one of the greatest memory plays, disillusioned Tom is kicked out of his home by his domineering mother only to be haunted by the memory of his fragile sister, prompting him to reflect. Here, it is a mystery why Lise so emphatically desires nostalgia. Nonetheless, despite conceptual flaws including an abundance of overlapping arcs, director Lee Merill supplies elegant stage pictures bolstered by her innate grasp of classical music and superbly evocative assistance from lighting designer Samantha Jelinek.

The aforementioned Elwazani is an emotionally strong focal point seamlessly weaving in and out of the flashbacks shaped around the events of Lise’s seventh birthday. She also establishes a gentle kinship with the adorably precocious Ally Miller, who portrays young Lise with tenderness and feistiness. As Otto Berg, Lise’s father who fled Nazi-occupied Austria, Mathys Herbert excellently grasps the character’s pivotal choices and deep affection for opera. DeLee Cooper (who also choreographs) is a genial presence as Amalia, Otto’s dutiful wife. Mimi Klipstine completely satisfies as diva Elena Guarneri, Amalia’s actress-sister out of work because she refuses to support Peron. Tommy DiMassimo vigorously inhabits Gianni “Juan” Guarneri, Amalia’s passionate father. Kristina Hopkins is perfectly tipsy as Paula Guarneri, Amalia’s aunt. The terrifically expressive Alyssa Brembeck charms as 98-year-old Mussolini-hating matriarch Maddalena Guarneri, who arrived in Argentina with her husband in 1890. The handsome Stephen Kell is fittingly authoritative and enigmatic as General Henri Fontannes, a Peron loyalist and neighbor of the Bergs specifically drawn to young Lise. Logan Torbet is firm and fiery as newspaper publisher Alberto Barcos, who despises Peron and therefore loathes Henri. Jasmine Easler brings quiet dignity and a no-nonsense sensibility to her role as housekeeper Rosa Arrua. Diana Frankhauser (Clara Stepaneck), Julia Gomez (Leila) and Julian Rojas (Santa Arrua) are noteworthy. Taylor Hinkle portrays young Lise at certain performances. Merrill’s first-rate artistic team includes costumer David J. Castellano, scenic designer Lydia Watson (filling the revolving stage with trunks and crates suggesting a family on the move), sound designer James Dunlap, and dialect coach Deborah Thomas.

In related news, WSU’s 40th anniversary 2014-15 season will consist of “Fences” (Sept. 18-28, co-directed by W. Stuart McDowell and Sheila Ramsey), “Hot Mikado” (Oct. 23-Nov. 9, directed by Greg Hellems with choreography by Teressa Wylie McWilliams), “Romeo and Juliet” (Nov. 14-23, directed by Sandra Crews in the Herbst Theatre) “Pride and Prejudice” (Jan. 29-Feb. 8, directed by Marya Spring Cordes), the musical “Peter Pan” (Mar. 19-Apr. 5, directed by Joe Deer and starring Bruce Cromer as Captain Hook), and the local premiere of “Sondheim on Sondheim” (Apr. 17-26, directed by Jamie Cordes in the Herbst Theatre).

“The Magic Fire” continues through Feb. 9 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Feb. 5 and 6 at 7 p.m., Feb. 7 and 8 at 8 p.m., and Feb. 8 and 9 at 2 p.m. Act One: 1 hour and 50 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 seniors and students. For tickets or more information, call the WSU box office at (937) 775-2500.

‘Oklahoma!’ Review – Wright State University – Sound Territory

November 9, 2013 By Russell Florence, Jr. Leave a Comment

Kate Mueller and Jon Hacker in “Oklahoma!” (Contributed photo)

Rodgers and Hammerstein’s quintessential 1943 musical “Oklahoma!” thoroughly entertains at Wright State University with an impressive balance of lighthearted exuberance and darkly disturbing menace.
This splendidly tuneful musical is often treated with a one-dimensional, overly optimistic slant, but director Greg Hellems, borrowing a page from Trevor Nunn’s masterfully character-driven 2002 Broadway revival of “Oklahoma!,” avoids pigeonholing the colorful yet flawed characters. Deception, longing and despair also factor into their evolution as they anticipate statehood not long after the dawn of the 20th century. Thankfully, Hellems’ fine cast, attractively clothed in period attire by Lisa Loen, creates three-dimensional characterizations radiating with authenticity and purpose.
Based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” “Oklahoma!” concerns the emotionally stubborn romance between farm girl Laurey Williams and cowboy Curly McLain. Laurey and Curly are practically made for each other, but they’re reticent to admit it. However, their relationship is put to the test when surly hired hand Jud Fry sets his eyes on Laurey.
Pleasant tenor Jon Hacker, notably featured last season as Henry in the Human Race Theatre Company and Victoria Theatre Association’s local premiere of “Next to Normal,” portrays Curly with charming bravado and a genuine zest for life. He also instills an appealing sense of security into the role, giving credence to Laurey’s need to view Curly as a protector. Kate Mueller, who delivered a breakthrough performance last season as Helen Keller in WSU’s “The Miracle Worker,” delightfully embraces Laurey’s tomboy sensibilities and has palpable chemistry with Hacker. The score doesn’t rest comfortably in her range (which particularly reduces the passion within “People Will Say We’re in Love”), but she’s great in the book scenes, especially the eye-opening moment Laurey reveals her desires in life. An outstanding Andrew Quiett, whose WSU credits include “Grand Hotel,” “The Miracle Worker” and “Spring Awakening,” completes the central love triangle with a deeply obsessive and intimidating portrayal of the pornography-addicted Jud. I’ve never seen a rancher look as clean as Quiett does here, but he’s absolutely grounded in his complex role adding bouts of frightening anger for good measure. In fact, his superbly compelling rendition of “Lonely Room,” a marvelously ominous ballad and one of the most underrated tunes in the R&H canon, is a truly chilling display heightened by a sky of flaming red courtesy of lighting designer Matthew P. Benjamin.
Excellent turns extend to Caroline Gruber (a caring, strong Aunt Eller), Cooper Taggard (a spirited triple threat who turns the jubilant “Kansas City” into an early winner as dim-witted Will Parker), Kaitlyn Sage (an adorable, hilarious Ado Annie particularly delivering “I Cain’t Say No” as if it were written for her), Sean Jones (sly and funny as Ali Hakim), Drew Bowen (a naturally folksy Cord Elam), Ian Benjamin (enjoyably firm as Andrew Carnes), and Bailey Rose (scoring appropriate laughs as Gertie Cummings). The iconic “Dream Ballet,” strikingly choreographed by Teressa Wyle McWiliams, features fluid partnering by Hannah Aicholtz and Kyle Adam.
In addition to the “Dream Ballet,” McWilliams, paying homage to original choreographer Agnes de Mille while retaining her own distinct vision, pulls out the stops with the aforementioned “Kansas City” (featuring a dance break that would make Kathleen Marshall and Susan Stroman proud) and a wonderfully lively “Farmer and the Cowman.” In an inspired move, scenic designer Pam Knauert Lavarnway primarily sets the show within a large barn, allowing various locales to be viewed with a new perspective. Musical director Scot Woolley conducts another terrific orchestra.

“Oklahoma!” continues through Nov. 10 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are tonight at 8 p.m. and tomorrow at 2 p.m. The production is performed in three hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. The remainder of the run is reportedly sold- out, but call the box office at (937) 775-2500 in the event there is availability.