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Human Race Theatre Company

Human Race Playreading Goes Virtual

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While the COVID-19 pandemic may have closed down live performances, The Human Race has not let it stop them from presenting their Playreading Series – this time as a virtual reading of a new play by Yellow Springs playwright Robb Willoughby called Look Into My Eyes. This streaming reading will benefit The Foodbank, a vital organization solving hunger in the Miami Valley – especially now!

top row (l to r) Lauren Kampman, Saul Caplan (Director), Libby Holley Scancarello middle row (l to r) Caitlin Larsen, Barbara Dirr, Jeff Sams bottom row (l to r) Scott Stoney, Jeremy Todd Farley, Robb Willoughby (Playwright)

“We have been rehearsing on Zoom for our typical 11 hours,” reported Human Race Artistic Director Kevin Moore. “A director, a playwright and seven actors working very hard to communicate this funny and sweet story in the “Brady Bunch” little boxes format.  It’s not easy. We miss the live interaction and the reaction of an audience, which always fuels a performance. But we all felt it was necessary to keep the creative work flowing, even during these challenging times. And since we had to cancel several of our Pay What You Can performances which have supported The Foodbank for decades,” continued Moore, “it seemed right to support them while they strive to meet the additional demand this pandemic has caused.”

The play centers around two unique siblings. Billie can read people’s futures – has been doing it for years. Her brother, Lonnie, can hear people’s thoughts – and it is driving him crazy. But when a dangerous, dark cloud of a person comes in for a tarot reading, the sister/brother team must join forces to warn the innocent and expose the guilty. The plot thickens, zany characters run amuck, and mystery abounds. Will they save the day in time? Find out for yourself.

Directed by Saul Caplan, the cast includes Human Race Resident Artists Caitlin Larsen and Scott Stoney, Barbara Dirr, Libby Holley Scancarello, Jeff Sams, Lauren Kampman and Jeremy Todd Farley.

The performance will be streamed starting at 8pm on Saturday, May 16, and ending on Wednesday, May 20th at 8om, so you can view at your leisure. Tickets are available at DaytonLive by calling 937-228-3630, or visit The Human Race website at www.humanracetheatre.org  Tickets start at $10, with all proceeds going to The Foodbank.

Human Race Announces 2020 – 2021 Loft Season

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The Human Race, Dayton’s premier professional theatre company, is excited to announce the 2020-2021 Season at the Loft Theatre. This, their 34th season of producing in the Miami Valley, emphasizes The Human Race’s mission – to explore the human experience and promote enlightenment, inclusion and understanding through quality entertainment – with their Dayton Premieres.

“Every show this season is a first in Dayton,” states Human Race Artistic Director and Founding Member, Kevin Moore. “This includes a collaborative world premiere, as well as multiple regional and local premieres that will stimulate the conscience of our community and the talents of our artists.”

”We are very excited about our 34th season because it exemplifies the work we are known for” said Executive Director, Kappy Kilburn. “It’s all new, smart, funny, touching, insightful, important and thought provoking.”

The 34th season kicks off early this year, in August, with the mysterious comic-drama, Now And Then by Sean Grennan. Then in October, they’ll rock the Loft Theatre with Airness, a new play by Chelsea Marcantel that follows whacky participants in the Air Guitar World Championship.  The winter brings us the thoughtful and timely drama of a family dealing with a transgender child, Everything That’s Beautiful by Elyzabeth Gregory Wilder.  Spring blooms with laughter as the O’Shea family must confront the Incident At Our Lady Of Perpetual Help by Katie Forgette.  And closing the season in June is a new musical, co-written by a WSU grad and Human Race alum, Christian Duhamel, and composer Edward Bell – the title says it all – My 80-Year-Old Boyfriend.

Plus, there are two Human Race “Extras” this season.  The first is the eight-organization collaborative performance, The Art Of Us: A Dayton Mosaic on September 12 and 13 at the Schuster Center – which will include the commissioned World Premiere performance of “Miriam.”  And in December, the Dr. Seuss lampoon Who’s Holiday will play December 10-27 in the Loft Theatre for a hysterical look at what became of “Cindy Lou Who.”

Subscription renewal packets will be available at all performances of Gloria: A Life.  Subscribers will have until May 3rd to renew their subscriptions.  Subscribers will also be able to add the “Extras” at a special rate, but these are limited time offers.  The Art Of Us: A Dayton Mosaic discount is availble through May 30, 2020;  Who’s Holiday discount is available through August 17, 2020.

New subscribers can join anytime and enjoy all the benefits as well as the early discount ticket prices to the two “Extras.”  Contact Ticket Center Stage at 937-228-3630 or www.ticketcenterstage.com.

Join Dayton’s professional theatre for a season of Dayton Premieres.

Full descriptions of each show is included below.

The Human Race Theatre Company

2020-2021 Loft Theatre Season – Dayton Premieres

NOW AND THEN by Sean Grennan    Aug 20 – Sept 6, 2020

Sometimes what happens after last-call just might change your life forever.  One night in 1981, just as Jamie is closing the bar where he works, a desperate last-minute customer offers him and his girlfriend Abby two thousand dollars to sit and have a drink with him.  Who wouldn’t take it? As the trio swaps stories and Jamie considers the decisions he faces about his musical career and his future with Abby, the young couple begins to realize that this older man is unusually invested in their choices…and the reason he gives them is completely unbelievable. But when a very displeased second stranger arrives, the unbelievable begins to look like it just might be true. Now and Then is a heartfelt romantic comedy about the costs of the choices we make, and the people who make them with us.

AIRNESS by Chelsea Marcantel         Oct 15 – Nov 1, 2020

When Nina enters her first air guitar competition, she thinks winning will be easy. But as she befriends a group of charismatic nerds all committed to becoming the next champion, she discovers that there’s more to this art form than playing pretend; it’s about finding yourself in your favorite songs, and performing with raw joy. Will Nina be able to let go and set herself free onstage? Following her mission to shred or be shredded, Airness is an exuberant reminder that everything we need to rock is already inside us. A comedy about competition, completion, and finding the airness inside yourself.

EVERYTHING THAT’S BEAUTIFUL by Elyzabeth Gregory Wilder     

Feb 18 – Mar 7, 2021

When Luke and Jess decide to allow their 8-year-old Morgan, who was assigned  male at birth, to identify as female, they relocate in order to give the family a clean start. Luke takes a job at the local waterpark, where he meets Gaby, the girl in the mermaid tank. With money tight, Jess starts working at a local coffee shop where she meets Will. These new relationships provide an escape from an already complicated family life. But when an accident threatens to expose the truth about Morgan, tensions run high. Luke finally admits the real reason they moved, a confession that could potentially destroy their family. Faced with losing his child and his family, Luke must decide what’s worth fighting for.

INCIDENT AT OUR LADY OF PERPETUAL HELP by Katie Forgette                         Apr 15 – May 2, 2021

A money-strapped family tries to cope in 1973. 19-year-old Linda O’Shea is our narrator and she is attempting to re-enact the most turbulent day of her life, but her family keep interrupting to tell their side of the story.  The 70s were a time of old school living; no social media, and public ridicule in a close-knit community was the ultimate nightmare. When her parents ask her to explain to her younger sister about the birds and the bees, somehow the blunt explanation is overheard by the parish priest and he is not amused. When he confronts her parents about the “corruption of their eldest daughter’s very soul,” all “holy Hell” and hysteria breaks loose in this nostalgic comedy.

MY 80-YEAR-OLD BOYFRIEND: A New True Musical       Jun 10 – 27, 2021

Book & Lyrics by Christian Duhamel          Music & Lyrics by Edward Bell

Originally Conceived & Performed by Charissa Bertels

In this delightful new musical, Charissa, a quirky, twenty-something actress, meets Milton, a quick-witted, eighty-something millionaire who loves Schubert, Shakespeare, and Dallas BBQ. From a chance encounter to the unlikeliest of friendships, Charissa discovers there’s much she can learn from her surprising new companion. Based on the true story of performer Charissa Bertels, My 80-Year-Old Boyfriend reveals the thrill of chasing a dream, the power of living in the now, and all that can happen when we let ourselves say “yes.”

HUMAN RACE EXTRAS

THE ART OF US: A DAYTON MOSAIC                  Sept 12 and 13, 2020

The 2020–2021 season offers a truly spectacular event showcasing eight of Dayton’s cultural treasures. This collaborative performance highlights the Bach Society of Dayton, Dayton Contemporary Dance Company, Dayton Ballet, Dayton Opera, Dayton Philharmonic, Dayton Gay Men’s Chorus, Muse Machine and The Human Race Theatre Company. The Art of Us is made possible with generous support from the Miriam Rosenthal Foundation for the Arts.

This once-in-a-lifetime event at the Schuster Center will include The Human Race, DCDC and Dayton Ballet performing together in a new work, Dancing Dreams, and a commissioned world premiere that will feature performers from all eight organizations.

A special price of $25 for any seating is available to Human Race subscribers through May 30, 2020.

WHO’S HOLIDAY by Matthew Lombardo                   Dec 10 -27, 2020

Our special holiday show is a wildly funny and heartfelt adults-only comedy that tells the story of Cindy Lou Who as she recalls that Christmas Eve she first met the Grinch and the twisted turn of events her life has now taken.

You saw her last when she was just two
Celebrate the holidays with Cindy Lou Who
Pull up a seat and fill up your cup
‘Cause your favorite little Who is all grown up

A special price of $30 for any seating is available to Human Race subscribers through August 17, 2020.

(Rated R for adult language and sexual innuendo)

‘The Cake’ Review – Human Race Theatre Company – It’s Not Well with Her Soul

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A mind is a terrible thing not to change. However, for most of her life, Della Brady, North Carolina bakery proprietor extraordinaire, has been inclined to follow the directions, making sure everything is exactly right for herself and her loyal customers. In fact, she’s become so impressive at her craft she excitedly anticipates her upcoming appearance on “The Great American Baking Show.” But the crucial day one of her special customers asks if she would bake her wedding cake, a customer she has known since birth, Della finds it difficult to oblige simply because she disagrees with her lesbian lifestyle. The crisis of conscience that ensues provides the compelling fodder for Bekah Brunstetter’s comedic, gripping and thought-provoking 2018 contemporary dramedy The Cake, excellently presented in its local premiere by the Human Race Theatre Company at the Loft Theatre.

Laurie Carter Rose (Della Brady) in the Human Race Theatre Company’s local premiere of Bekah Brunstetter’s 2018 dramedy “The Cake,” continuing in its local premiere through Nov. 17 at the Loft Theatre. (Photo by Heather N. Powell)

Fluidly staged with riveting instincts by Greg Hellems, The Cake doesn’t hold back in its frequent, even-handed debates about life, love, family, marriage, relationships, religion, and society, an array of themes that have served Brunstetter well as co-producer of NBC’s remarkable Emmy-winning drama This is Us, among my utmost favorite shows. As The Cake unfolds, it’s very easy to grasp why Jen – New York-based daughter of Della’s deceased best friend – would risk embarrassment, risk being viewed as undeserving, and journey all the way to the Bible Belt to personally ask Della to do the honors, especially since she has become somewhat of a second mom. At the same rate, it’s very easy to grasp Della’s biblical stance, her fundamental belief that God created marriage between man and woman. Even so, it breaks Jen’s heart knowing Della’s true feelings even though her southern roots are also an intrinsic part of her down to the core, so much so she privately loathes much of her existence within Brooklyn’s literary gay scene. But as Jen’s highly opinionated yet concerned and protective partner Macy reminds her, “nostalgia is not a belief system.” In other words, Jen today is not Jen of long ago. Either Della accepts that or she doesn’t. There are other bakeries and other cakes.
In a marvelous Human Race debut, Laurie Carter Rose, humorous yet moving, is a terrifically conflicted Della, caught in a severe struggle between the heart and the head while trapped in a stagnant marriage. Brunstetter throws in an unnecessary bit of risqué workplace funny business, but Rose rises above the awkwardness and partial nudity to effectively draw the audience into Della’s desperation, her desire to refuel whatever gas is left in her rusty marital tank. Human Race resident artist Tim Lile is also authentically first-rate as Della’s ultra conservative, inadvertently small-minded, I-tell-you-who-to-vote-for husband Tim. Claire Kennedy, previously a knockout in the titular role in the Human Race’s production of Hail Mary!, returns to the Loft with endearingly superb, passionate and relatable finesse. Her expert handling of Jen’s internal tug-of-war, the deep second guessing of who she actually is, increasingly builds and is particularly impactful when Jen reveals specific details to Della about her recurring dream involving heterosexual sex. As outspoken Macy, Candice Handy, in another striking Human Race debut, dynamically ruffles feathers. Macy may be off-putting and overtly political, but Handy is a force to be reckoned with nonetheless, providing a voice of reason that gives the timely, topical play its blunt balance.
Hellems’ production team includes the wonderful contributions of scenic designer Dan Gray (supplying a revolving set beautifully decorated for Della’s shop complete with spiritual décor recalling Kirkland’s), costumer Jessica Pitcairn, lighting designer John Rensel, and sound designer Jay Brunner’s country-infused music slowly evolving into more distorted, haunting strains as conflict increases.

“It just doesn’t sit right with me,” Della says, weighing the big decision at the crux of the play. Thankfully, the choice to see The Cake isn’t difficult at all. Don’t miss it.

The Cake continues through Nov. 17 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, and 7 p.m. Tuesdays and Wednesdays. The play is performed in 90 minutes without intermission. Tickets are $16-$52; The “Sawbuck Sunday” performance, in which tickets are available for $10, is Nov. 3 at 7 p.m. Tickets are available two hours prior to performance for walk up sales only. Other discounts for groups, students and military are also available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org. Patrons are reminded the show contains adult language/situations and partial nudity.

Also, the Human Race is partnering with the Neon Movies for a screening of 2004’s “Saving Face” on Monday, Nov. 4 at 7:30 p.m. “Saving Face” is an Asian and gay-themed story about family secrets.

Dr. Nicole Richter, head of the Tom Hanks Center for Motion Pictures at Wright State University, will lead a discussion following the film with James Hughes, retired WSU literature professor. Tickets are available at the Neon, 130 E. Fifth St., Dayton. For more information, visit humanracetheatre.org or neonmovies.com.

 

‘Around the World in 80 Days’ Review – Human Race Theatre Company – Gleeful Globetrotting

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Forget CBS. The amazing race you need to be concerned about has to do with the Human Race Theatre Company’s outstanding production of Jules Verne’s classic comedy Around the World in 80 Days, a dandy display of engaging storytelling and splendid acting continuing through March 17 at the Loft Theatre.

(left to right) Jared Joplin, Patrick Earl Phillips, Jake Lockwood, Darlene Spencer, and Lovlee Carroll appear in the Human Race Theatre Company’s production of Mark Brown’s adaptation of Jules Verne’s comedy “Around the World in 80 Days,” continuing through March 17 at the Loft Theatre. (Photo by Immobulous)

Under the delightfully imaginative, fluidly comedic direction of Joe Deer, Mark Brown’s adaptation, set in Victorian England circa 1872, is a breezy, enthusiastic adventure spanning Calcutta, Hong Kong, New York City and points in between complete with a typhoon, a runaway train and an elephant. Granted, the iconic hot air balloon featured in producer Mike Todd’s 1956 Academy Award-winning Best Picture isn’t included in Verne’s novel, and is therefore not in the show, but there’s a great deal to enjoy overall as chasing time becomes imperative for Mr. Phileas Fogg. After all, Fogg, portrayed with utmost sophistication and upright seriousness by Jared Joplin, risks his fortune and reputation on his titular wager, ultimately proving that anyone, whether captain or colonel, can be of use if the price is right.

(left to right) Jake Lockwood, Jared Joplin, Lovlee Carroll, Patrick Earl Phillips, and Darlene Spencer appear in the Human Race Theatre Company’s production of Mark Brown’s adaptation of Jules Verne’s comedy “Around the World in 80 Days,” continuing through March 17 at the Loft Theatre. (Photo by Immobulous)

As Joplin leads the way embodying the prickly and eccentric yet generous Fogg, bravely adhering to the notion that “the unforeseen does not exist,” 30 other characters leap forth with infectious glee by a group of four diverse and versatile actors. The energetic, nimble Patrick Earl Phillips displays impressive physicality as the excitedly quirky Passepartout, Fogg’s devoted, impressionable valet. In addition to portraying a beautiful Parsee princess rescued from a sacrificial ritual, Lovelee Carroll, strikingly dressed by costumer Cat Schmeal-Swope, rightfully receives applause near the outset as a chipper newsboy spiritedly detailing Fogg’s itinerary accented by a Family Feud-esque visual. Darlene Spencer brings cool authoritative determination and believably perturbed agitation to her key portrayal of villainous Detective Fix, firmly believing Fogg is a bank robber who must be stopped at all costs. Jake Lockwood, one of the finest improv actors in the region, steals the show with delicious comic timing interpreting a whopping 17 characters including a flirtatious consul and a kooky judge. Lockwood is so good that I’m waiting for someone to write him a one-man play in which he portrays all of the 2020 Democratic presidential contenders. As of this writing, the official list has grown to 12. I’m eager to see what he would do with Sanders, Warren, Harris, Castro, Klobuchar, and Booker. Who needs the Capitol Steps when you have Lockwood?

top to bottom) Darlene Spencer, Jared Joplin, Patrick Earl Phillips, Jake Lockwood and Lovlee Carroll appear in the Human Race Theatre Company’s production of Mark Brown’s adaptation of Jules Verne’s comedy “Around the World in 80 Days,” continuing through March 17 at the Loft Theatre. (Photo by Immobulous)

In addition to essentially creating the world of the show with four chairs, four large trunks and an assortment of luggage along with Heather Powell’s nifty properties, Deer instills a cohesive chemistry among the cast. I particularly enjoyed Phillips and Spencer encircling each other in mystery and fear when Passepartout finally catches on to Detective Fix’s sly plans. Equally noteworthy are Dick Block’s handsome set complete with a huge clock as the stage’s centerpiece, John Rensel’s evocative lighting, John Riechers’ wonderfully eye-catching projection design, and Jay Brunner’s expert sound design featuring tunes by Gilbert and Sullivan which set the proper mood, tone and period.
You have until March 17 to catch this excellent adventure. Don’t miss it!

Around the World in 80 Days continues through March 17 at the Loft Theatre, 126 N. Main St, Dayton. Performances are 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, and 7 p.m. Tuesdays and Wednesdays. Act One: 85 minutes; Act Two: 50 minutes. Cost: $14-$52. Group discounts are available for parties of 10 or more. Student tickets are available at 50 percent off regular adult prices and a student ID must be presented when picking up tickets at the box office. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com

 

‘Banned from Baseball’ Review – Human Race Theatre Company – Measure of a Man

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Induction into the Baseball of Hall of Fame meant everything to Pete Rose in 1989, but Major League Baseball Commissioner Bart Giamatti felt otherwise, choosing to ban him from baseball due to conclusive proof he bet on the game. The events surrounding this historic decision provides the fodder for Patricia O’Hara’s aptly titled drama Banned from Baseball, a nostalgically engaging new play with great potential terrifically presented in its world premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Brian Dykstra, smartly cast, superbly embodies Rose’s folksy, relatable charm and cool, lackadaisical swagger. He portrays the famed Hit King and manager of the Cincinnati Reds as a larger-than-life yet hopelessly aloof showman unable to own up to his shortcomings. In addition to the notion Rose had a gambling addiction, a theme in need of expansion to give the play more depth, O’Hara suggests he didn’t understand or grasp the ethics involved as if merely playing baseball with heart trumped playing with integrity. “I respect the game too much to bet on it,” he says. But in essence he was fooling himself, which makes his fall from grace and delusions of Hall of Fame grandeur a sad, cautionary tale. The final scene, centered on Rose happily signing baseballs in some non-specific memorabilia purgatory, is a striking example of resilience or misery depending on your perspective.

Brian Dykstra as Pete Rose and Marc Moritz as Reuven Katz in the Human Race Theatre Company’s production of Banned from Baseball (Photo by Scott J. Kimmins)

“I don’t like to see a hero fall,” says Giamatti, the former Yale University President and Comparative Literature professor who died of a heart attack at age 51 on Martha’s Vineyard eight days after banning Rose. As he battles with the idea of banishment, Giamatti, played with pleasant understatement by Human Race newcomer Doug MacKechnie, has an odd tendency to only come across as a wholesome philosophical guru. “We betray ourselves when we betray those we serve” is among the sage soundbites O’Hara provides, but perhaps she chose this route because she shares a kinship with his past. After all, she is a professor of English Literature at Franklin & Marshall College in Lancaster, Pennsylvania who specifically teaches Baseball in American Literature and Culture. She even goes so far as to give the level-headed Giamatti a lengthy lecture, addressing the audience straightforwardly with musings on Shakespeare and Machiavelli. However, less would be more, especially when we only receive a glimpse into Giamatti from the vantage point of academia and athletics. It’s possible to become as engrossed in his story as Rose, but as it stands, there aren’t enough complex layers. Perhaps it would be more refreshing if O’Hara dug deeper into his health issues or the few intriguing nuggets of backstory she offers, specifically his intriguing relationship with President George H.W. Bush and contemplation of running for Congress. It’s nice to hear Giamatti speak of “rising to one’s better self to achieve one’s destiny,” but O’Hara would be wise to find another distinct aim for the character other than Moral Compass and a more distinct voice other than campaign speechwriter.

(left to right) Scott Hunt as Fay Vincent, Doug MacKechnie as Bart Giamatti, Marc Moritz as Reuven Katz, and Brian Dykstra as Pete Rose in the Human Race Theatre Company’s production of Banned from Baseball (Photo by Scott J. Kimmins)

Nevertheless, director Margarett Perry, in her 10th production for the Human Race, skillfully keeps every character (costumed in stylish vintage suits by Janet G. Powell) impactful, amiable and conflicted. She primarily ensures Dykstra and MacKechnie are compatible without seeming combative, a tricky balance considering the high stakes involved for their characters. She also gives the supporting players ample room to shine. Scott Hunt (nearly unrecognizable as hardnosed Deputy Commissioner Fay Vincent vowing to keep baseball pure), Marc Moritz (Rose’s sophisticated lawyer Reuven Katz desperately trying to make him see reason on multiple issues), and K.L. Storer (John Dowd, Special Counsel to the Commissioner) are an excellent trio, injecting their performances with nuance, persistence and clear devotion to their respective sides. Longtime Cincinnati Reds sportscaster Marty Brennaman notably provides enjoyable voiceovers throughout the play, which features an eye-catching Riverfront Stadium backdrop from set designer Tamara L. Honesty as well as proficient lighting by John Rensel and first-rate sound design and original music by Jay Brunner.

One of the play’s best scenes belongs to Dykstra. With poignancy, Rose recounts, with awestruck wonder, the night he broke Ty Cobb’s record and received a call from President Ronald Reagan in the joyous aftermath. It’s a loving look at “Charlie Hustle” in all his humble glory. But the root of O’Hara’s astute fairness rests with the sheer reality of Rose’s legacy. If baseball is indeed part of the national character, as she suggests, it’s only proper to examine what Rose did and why he did it. Who he was and what he could be. Sometimes you must simply separate the man from the mystique. Well, that’s life at the old ball game.

Brian Dykstra as Pete Rose in the Human Race Theatre Company’s production of Banned from Baselball (Photo by Scott J. Kimmins)

Banned from Baseball continues through Sept. 23 at the Loft Theatre, 126 N. Main St., Dayton. The play is performed in 100 minutes without intermission. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesday evenings; and 2 p.m. Sunday matinees. Tickets are $37-$55 adults; $34-$48 for seniors; and $19.50-$27 for students. Prices vary depending on the day of the week and seating location. Group discounts available for parties of 10 or more – contact Betty Gould at (937) 461-8295 or Betty.Gould@victoriatheatre.com.

“While We’re on the Subject” post-show talkback will be held following the Sunday, Sept. 16 2 pm performance; Prior to the Tuesday, Sept. 18 7 pm performance is “Beer, Here!,” which will begin at 5:30 pm. Additional information and details for “Beer, Here!” and a special Offstage Experience can be found online at humanracetheatre.org.

 

‘Brighton Beach Memoirs’ Review – Human Race Theatre Company – Timely Tenderness

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In Neil Simon’s wonderfully endearing 1983 semi-autobiographical dramedy Brighton Beach Memoirs, situations involving a report card, a first date, a tense dinner, a lost salary, a heartbreaking letter, and more poignantly arise as remarkably presented by the Human Race Theatre Company at the Loft Theatre.

Richard Buchanan (Stanley Jerome), Eric Deiboldt (Eugene Jerome) and Rory Sheridan (Jack Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

Splendidly directed with captivating realism by Marya Spring Cordes and set in 1937 Brooklyn, Brighton Beach Memoirs finds Simon borrowing from the best. As the relatable, fussy and close-knit Jerome family deals with sacrifice while their patience wears thin in cramped quarters (Dan Gray’s outstanding two-story set oozes intimacy in spite of its size), Simon’s comedic sensibilities are expectedly substantial from colorful talk of liver and cabbage to the glories of baseball and raging hormones. Still, it’s easy to recognize the folksy ferocity and poetic beauty of Tennessee Williams, Arthur Miller and Lorraine Hansberry when the compelling story shifts to dramatic conflicts centered on workplace woes, sibling turmoil, health concerns, financial burdens, and the growing possibility of additional family members abroad arriving at a moment’s notice to escape the Nazis. Over the course of a breezy three hours, Cordes handles Simon’s delicate balancing act with seamless finesse, allowing for fascinating sequences when certain characters are not the central focus. In fact, some of the most expressive interplay occurs upstairs while the main action transpires below. Cordes’ cinematic mastering of the seen and unseen – having an actor pause in a hallway, creep downstairs to assess commotion, or quietly contemplate alone in a bedroom – fuels the production’s genuine look at a blended family constantly in motion.

Eric Deiboldt (Eugene Jerome) in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

The charming Eric Deiboldt truly radiates as 15-year-old Eugene, Simon’s lively alter ego and the familiar catalyst of his Eugene Trilogy (including Biloxi Blues and Broadway Bound). Using his spunky physicality to the utmost while displaying marvelous narrative skills and command of Simon’s intricate rhythms, Deiboldt exuberantly engages as Eugene’s pivotal coming-of-age twists and turns. As Eugene’s restlessly discontented older brother Stanley, the handsome and impressive Richard Buchanan vulnerably conveys Stanley’s uncertainty of his place in the world as he faces the responsibilities of adulthood. An emotional Lisa Ann Goldsmith fiercely inhabits the headstrong Kate, a stern matriarch blessed in the present but bruised by the past. The terrific Rory Sheridan is equally strong as Jack, the hardworking patriarch who values the importance of family and desperately tries to keep his intact, especially in a tear-jerking scene in Act 2. Sonia Perez brings lovely complexity to her portrayal of Blanche Morton, Kate’s widowed sister still trying to navigate life and parental obligations while longing to break free and start anew all the same. The vibrant Katie Sinicki, a Wright State University junior acting major, offers a breakthrough portrayal of Blanche’s feisty daughter Nora, particularly shining opposite Perez in a heated, Gypsy-esque showdown that never resorts to overblown melodrama. Oakwood High School student Julie Murphy also delights as Nora’s sickly sister Laurie, an introverted bookworm and the only underwritten role in the play which is odd considering the depths of the other characters. Nonetheless, this show is perfectly cast and the Human Race should honestly consider reuniting Cordes and her actors for Broadway Bound in the 2019-2020 season.

In addition to Gray’s set, a character of its own, the production is artistically bolstered by David Arevalo’s attractive period costumes ranging from casual adolescent attire to snazzy evening wear, John Rensel’s expertly mood-capturing lighting, Jay Brunner’s first-rate sound design and enjoyable original music, and Heather Powell’s nifty properties including an authentic sewing machine.

Eric Deiboldt (Eugene Jerome) and Lisa Ann Goldsmith (Kate Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

A widowed schoolteacher once reminded a group of inquiring ladies to cling very close to those you love. Considering the nation’s current chaotic climate, specifically families breaking apart by their own free will or through government decree, Brighton Beach Memoirs, an All-American defense of immigration, is suddenly more relevant than ever before. “The world doesn’t survive without families,” Kate declares. See for yourself why she’s right, and in doing so, you’ll experience one of the best productions in Human Race history.

 

Brighton Beach Memoirs continues through April 22 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the April 15 performance. Act One: 85 minutes; Act Two: 70 minutes. Tickets are $35-$40 for adults; $32-$37 for seniors; and $17.50-$20 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘Sex with Strangers’ Review – Human Race Theatre Company – Time’s Up?

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Jennifer Johansen (Olivia) and Ben Palacios (Ethan) star in the Human Race Theatre Company’s local premiere of Sex with Strangers. (Photos by Scott J. Kimmins)

Harvey Weinstein. Kevin Spacey. Charlie Rose. Matt Lauer. Russell Simmons. Casey Affleck. James Franco. Al Franken. Roy Moore. Donald Trump. Ethan Strange. Ethan Strange? You haven’t heard of Ethan Strange? Well, let me fill you in. Ethan is the fictional best-seller who slept with random women for a year, posted his titillating sexcapades on his blog, secured half a million followers, and ultimately wooed Hollywood. However, when faced with the potential love of his life, can Ethan overcome his bad boy reputation and scandalous past which sought pleasure in demeaning young women? This is one of many pertinent and engrossing questions former House of Cards writer Laura Eason poses in her provocative and topical 2014 off-Broadway dramedy Sex with Strangers, currently receiving a first-rate local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Ben Palacios, just as handsome and chiseled in face and abs as he was three years ago as spunky Spike in the Race’s production of Vanya and Sonia and Masha and Spike, was absolutely born to play man-child Ethan. Playful yet aggressive, self-absorbed yet attentive, and immature yet shrewd, Palacios creates a fascinating enigma, which makes it very difficult to figure out how Ethan should be perceived. Is he a lost cause? The eternal frat boy who won’t grow up? Can he be held accountable? Can he be redeemed? Can all the women from his past be believed?  Regardless, and perhaps most importantly, Palacios is attractive, seductive, sly, and convincing throughout to allow you to believe any woman could fall under Ethan’s magnetic spell. After all, his sex appeal is a crucial catalyst driving this steamy play considering Ethan meets failed novelist Olivia while snowbound at a bed and breakfast in rural Michigan, cozily conceived by scenic designer Eric Moore. After a few moments of cutesy small talk overflowing with unmistakable chemistry, sparks and clothing fly, smoothly overseen with passionate intimacy by director Greg Hellems and accented with pulsating music by sound designer Jay Brunner.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Portrayed by the luminous Jennifer Johansen, a memorable Masha opposite Palacios in the aforementioned Vanya, Olivia arises as a strong, complex woman who doesn’t need the validation and encouragement Ethan readily offers. “I hate to reminisce about sex,” she boldly states, which is the polar opposite of Ethan’s perspective on the subject. Olivia’s genuine passion for literature, from the smell of old books to reflection on great authors, fuels her contentment despite a fading career and recently resorting to teaching to pay the bills. When Ethan invites her to self-publish under a pseudonym on a brand new literary app he’s created, the temptation is real. But why would she fall so easily for Ethan’s emotional and professional advances, essentially being made into his online image? Is she tempted by the allure of a breakthrough or simply the allure of a younger man? Johansen’s performance encompasses both temptations beautifully. In fact, when Olivia discovers the depth of Ethan’s abuse, particularly the fact that he left intoxicated girls unconscious in their own vomit, there’s still something within her that leads you to believe the last straw will never truly be the last straw. Ethan has grown too palpable, exciting and electric. All of these emotions are on display in Johansen’s superb body language as the play reaches its suspenseful conclusion.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Some plays mature with time and Eason’s work certainly has. What are we to make of her compelling look at ambition, betrayal, friendship, romance, and unbridled sexuality as powerful men across the country have been accused of demoralizing and sexually harassing women in many industries from the soundstage to the boardroom? If you’re looking for an entertaining, thought-provoking outing, consider the intellectual and physical heat of Sex with Strangers.

 

Sex with Strangers continues through Feb. 18 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursday, Friday and Saturday evenings; 7 p.m. Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the Feb. 11 performance. Act One: 60 minutes; Act Two: 45 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; and $17.50-$25 for students. There are a limited number of $12 and $25 side area seats available for each performance. Call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the play contains partial nudity, strong language and adult themes.

 

 

DAYTON LGBT FILM FEST Heading Into 12th Year!

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What do Bette Midler, Danny Glover, Danny DeVito, Laura Linney, Ian McKellen and Laverne Cox all have in common? They all have films playing at The Dayton LGBT Film Festival this year!

Titles are locked down, marketing materials are ready to go, and visiting artists are securing their travel plans for The 12th Annual Dayton LGBT Film Fest – taking place next month at THE NEON in Downtown Dayton.

During the weekend of Oct. 13-15, the festival will screen 17 films (a combination of shorts and features) with ties to the LGBT community – ranging from American comedies to International dramas…from narratives to documentaries. Directors, stars and other creative individuals from a handful of the selections are slated to attend.

One special guest will be Jill Alexander, an accomplished actress and co-star of SENSITIVITY TRAINING (pictured above on the left). The committee selected the film from over 100 submissions this year and was unaware (until after booking the film) that Alexander grew up right here in the Miami Valley and attended Beavercreek High School. The festival is thrilled to bring Alexander back home to share her work with the community and her family.

On Friday, October 13, attendees of the Opening Night Film FREAK SHOW will be invited to the Opening Night Party at The Mudlick Tavern – just a few blocks from THE NEON. For $8, guests will see the movie and then enjoy a complimentary cocktail and appetizers – this is certain to be a very hot ticket.

Though festival passes sold out in record time this year, patrons will have a chance to get single tickets for each of the screenings beginning Friday, September 8. Details about the films and how to get tickets can be found on the official site – www.daytonlgbt.com

Sponsors for this year’s festival include PFLAG Dayton, The Dayton Gay Men’s Chorus, Sue Spiegel & Lisa Hanauer, The Human Race Theatre Company, Miami Valley Fair Housing, AARP Ohio, The Greater Dayton LGBT Center, MJ’s On Jefferson, Johnny Dangerously, Equitas Health, David Lauri, Square Once Salon & Spa, Marion’s Piazza, Ken Byers, Kurt Fleagel & Warren Riffle, and Westminster Financial.

THE NEON is located at 130 E. 5th St in downtown Dayton. For additional information, visit the official site – www.daytonlgbt.com – or call THE NEON at (937)222-8452.

Saluting Dayton’s 2016-17 Theater Season

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Productions centered on a sadistic barber wreaking havoc in Victorian London, stubborn Iowans forever changed by a charming con artist, America coping with race relations in turn of the century New York and 1960s Baltimore, a progressive novice sending shockwaves throughout a Catholic elementary school, an iconic record company reshaping the landscape of American music, and a legendary ship deemed unsinkable were among the best of Dayton’s 2016-17 theater season.

Jamie Cordes and Rebecca Watson in the Human Race Theatre Company’s Sweeney Todd (Photo by Scott J. KImmins)

On professional stages, the Human Race Theatre Company’s 30th anniversary season was memorably illuminated by Scott Stoney’s immersive, ensemble-friendly Sweeney Todd (attended on opening night by Academy Award nominee Jesse Eisenberg of The Social Network) and the local premiere of Hail Mary!, a pleasantly surprising and gently thought-provoking character study. Hail Mary! was specifically bolstered by Claire Kennedy’s masterfully complex portrayal of a woman challenging authority for the betterment of her students.

 

(left to right) Gabriella Whiting, Allison Semmes and Tavia Rivee in Motown the Musical (Photo by Joan Marcus)

Elsewhere, the Victoria Theatre Association offered outstanding national tours with Motown particularly rising to the top thanks to a splendidly versatile, crowd-pleasing cast. Dare to Defy Productions gave local talent exciting platforms to rediscover and reinterpret tried and true material (Mackensie King’s Children of Eden strikingly emphasized family ties and generational repercussions as never before). Female-centric Magnolia Theatre Company offered a riveting local premiere of tense parent-teacher conference drama Gidion’s Knot. Reliably edgy Playground Theatre delivered a local premiere of Jailbait overflowing with gripping realism as its searing account of love, deceit and embracing adulthood stirred to the core.

 

(left to right) Mike Beerbower, J Gary Thompson, Matt Lindsay, Cassandra Engber, and Zach Katris in the Dayton Theatre Guild’s The Last Lifeboat (Photo by Craig Roberts)

At community theaters, strong musicals as well as a fine balance of classic and contemporary fare enticed. Dayton Theatre Guild’s eclectic impulses served them well with local premieres of The Last Lifeboat, Luna Gale and Wonder of the World (heightened by sitcom savvy knockout Kari Carter) in addition to a mesmerizing Elephant Man accented by Jared Mola’s remarkable physicality. Dayton Playhouse scored with Ragtime, The Women, Xanadu, and another enjoyably competitive FutureFest (last year’s winner Shepherd’s Bush is now titled Nonsense and Beauty; powerfully acted Memories of the Game was named audience favorite). Senior-themed Young at Heart Players delighted with the overdue return of the adorable First Kisses, a 2003 FutureFest finalist. Brookville Community Theatre supplied a whimsically entertaining Beauty and the Beast. Beavercreek Community Theatre’s artistic risks paid off with a lovely, vocally impressive Nine (brought to life by Jeffrey Murphy in the vibrantly elegant spirit of original director Tommy Tune) and a commendable local premiere of Bonnie and Clyde.

Highlights from area colleges included Wright State University’s tap-happy No, No, Nanette and beautifully staged/designed Shakespearean play-with-music Restoration!, Cedarville University’s rousing and heartwarming Music Man, and Sinclair Community College’s darkly atmospheric Dracula. Other notables across the city included the Muse Machine’s tremendously feel-good Hairspray (featuring marvelously mature newcomer Fischer Barnett), Epiphany Lutheran Church’s better-than-Broadway Big Fish (expertly conceived by Megan Wean Sears), and under-the-radar-but-dynamic Standing on Ceremony (Sinclair), Hello Again (Wright State), and Four Women: A Tribute to Nina Simone & The Black Arts Movement (Oral Funk Poetry Productions and University of Dayton).

Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

BEST TOURING PRODUCTION
42nd Street, Victoria Theatre Association
Elf, Victoria Theatre Association
Jersey Boys, Victoria Theatre Association
Kinky Boots, Victoria Theatre Association
Motown the Musical, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Gidion’s Knot, Magnolia Theatre Company
Hail Mary!, Human Race Theatre Company
Jailbait, Playground Theatre
This is Our Youth, Playground Theatre
Thurgood, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The 25th Annual Putnam County Spelling Bee, Dare to Defy Productions
Children of Eden, Dare to Defy Productions
Dogfight: The Musical, Dare to Defy Productions
Guys and Dolls, Dare to Defy Productions
Sweeney Todd: The Demon Barber of Fleet Street, Human Race Theatre

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Elephant Man, Dayton Theatre Guild
First Kisses, Young at Heart Players
The Last Lifeboat, Dayton Theatre Guild
Luna Gale, Dayton Theatre Guild
Vanya and Sonia and Masha and Spike, Beavercreek Community Theatre
The Women, Dayton Playhouse

Rachel Joy Rowland, Robbie Lindmark and the cast of Cedarville University’s The Music Man (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Disney’s Beauty and the Beast, Brookville Community Theatre
Bonnie and Clyde, Beavercreek Community Theatre
Nine, Beavercreek Community Theatre
Ragtime, Dayton Playhouse
Xanadu, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
A Midsummer Night’s Dream, Sinclair Community College
Angels in America: Perestroika, Clark State Community College
The Children’s Hour, Wright State University
Dracula, Sinclair Community College
Restoration!, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
9 to 5, Wright State University
Heathers, Wright State University
The Music Man, Cedarville University
No, No, Nanette, Wright State University
The Toxic Avenger, Sinclair Community College

BEST SPECIAL THEATRICAL EVENT
Big Fish, Epiphany Lutheran Church
Four Women: A Tribute to Nina Simone & The Black Arts Movement, Oral Funk Poetry Productions and University of Dayton
Hairspray, Muse Machine
Hello Again, Wright State University
Standing on Ceremony: The Gay Marriage Plays, Sinclair Community College

BEST NEW WORK
Daniel Goldstein’s Family Ties, Human Race Theatre Company
W.L. Newkirk’s [Miss], Dayton Playhouse FutureFest
Scott C. Sickles’ Shepherd’s Bush, Dayton Playhouse FutureFest
Kristy Sharron Thomas’ Memories of the Game, Dayton Playhouse FutureFest
Eric Ulloa’s 26 Pebbles, Human Race Theatre Company

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Robert, Jailbait
A.J. Breslin as Dennis, This Is Our Youth
Franklin Johnson as Kenneth McIntosh, Memories of the Game
Alan Bomar Jones as Thurgood Marshall, Thurgood
Jared Mola as John Merrick, The Elephant Man
Leo Santucci as Dracula, Dracula

Claire Kennedy in the Human Race Theatre Company’s Hail Mary! (Photo by Scott. J. Kimmins)

BEST LEADING ACTRESS IN A PLAY
Jenna Gomes as Claire, Jailbait
Amy Handra as Heather Clark, Gidion’s Knot
Claire Kennedy as Mary Wytkowski, Hail Mary!
Cheryl Mellen as Caroline, Luna Gale
Andréa Morales as Corryn Fell, Gidion’s Knot
Marva Williams as Karen McIntosh, Memories of the Game

BEST LEADING ACTOR IN A MUSICAL
Jamie Cordes as Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street
Robbie Lindmark as Harold Hill, The Music Man
Ron Mauer as Tateh, Ragtime
Kip Moore as Coalhouse Walker, Jr., Ragtime
Timothy Ware as Lola, Kinky Boots
Ray Zupp as Eddie Birdlace, Dogfight

BEST LEADING ACTRESS IN A MUSICAL
Esther Hyland as Eve, Children of Eden
Rachel Jensen as Mother, Ragtime
Mackensie King as Rose Fenny, Dogfight
Allison Semmes as Diana Ross, Motown the Musical
Maddie Vaughn as Veronica Sawyer, Heathers
Rebecca Watson as Mrs. Lovett, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTOR IN A PLAY
Ross Bloedorn as Mr. Smith/Edgar, Restoration!
Geoff Burkman as Carr Gomm, The Elephant Man
Christopher Hahn as Mark, Jailbait
Charles Larkowski as Joe, Standing On Ceremony: The Gay Marriage Plays
Connor Lysholm as Mr. Jo Williams/Edmund/Bastard, Restoration!
Maximillian Santucci as Van Helsing, Dracula

BEST SUPPORTING ACTRESS IN A PLAY
Catherine A. Collins as Clemma Diggins, Proposals (Dayton Playhouse)
Lisa Glover as Emmy, Jailbait
Debra Kent as Sonia, Vanya and Sonia and Masha and Spike
Heather Martin as Mrs. Kendal, The Elephant Man
Libby Scancarello as Mrs. Sylvia Fowler, The Women
Jennifer Dorr White as Mother Regina Marie, Hail Mary!

The cast of Dayton Playhouse’s Ragtime (Photo by Art Fabian)

BEST SUPPORTING ACTOR IN A MUSICAL
Mark Antony Howard as Seaweed J. Stubbs, Hairspray
Brett Norgaard as Leaf Coneybear, The 25th Annual Putnam County Spelling Bee
Remy James Patterson as Marcellus Washburn, The Music Man
DJ Plunkett as Tobias Ragg, Sweeney Todd: The Demon Barber of Fleet Street
Layne Roate as Boland, Dogfight
Aaron Vega as The Beadle, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTRESS IN A MUSICAL
Natalie Girard as Heather Chandler, Heathers
Becky Howard as Emma Goldman, Ragtime
Krissy McKim-Barker as Mrs. Potts, Disney’s Beauty and the Beast
Tia Seay as Sarah, Ragtime
Sherri Sutter as Rona Lisa Peretti, The 25th Annual Putnam County Spelling Bee
Kimberly Warrick as Guido’s Mother, Nine

BREAKTHROUGH MALE PERFORMANCE
Fischer Barnett as Edna Turnblad, Hairspray
Naman Clark as Jerry, Standing on Ceremony: The Gay Marriage Plays
Brent Hoggatt as Chip Tolentino, The 25th Annual Putnam County Spelling Bee
S. Francis Livisay as Tom, Standing on Ceremony: The Gay Marriage Plays
Andrew Poplin as Peter, Luna Gale
Andre Reece Tomlinson as Michael McIntosh, Memories of the Game

BREAKTHROUGH FEMALE PERFORMANCE
Kari Carter as Cass Harris, Wonder of the World
Kennedy Cook as Motormouth Maybelle, Hairspray
Kayla Graham as Karlie, Luna Gale
Abby Land as Marcy Park, The 25th Annual Putnam County Spelling Bee
Nabachwa Ssensalo as Sharon Evans, Memories of the Game
Sarah Zaffiro as Sarraghina, Nine

BEST DIRECTION OF A PLAY
Kimberly Borst, Dracula
Michelle Hayford, Gidion’s Knot
W. Stuart McDowell, Restoration!
Margarett Perry, Hail Mary!
Jeff Sams, The Last Lifeboat
Jenna Valyn, Jailbait

BEST DIRECTION OF A MUSICAL
Rebecca Baker, The Music Man
Joe Deer and Lula Elzy, Hairspray
Mackensie King, Children of Eden
Jeffrey Murphy, Nine
Megan Wean Sears, Big Fish
Scott Stoney, Sweeney Todd: The Demon Barber of Fleet Street

BEST CHOREOGRAPHY
Carrie Anthony, The Music Man
Michael Baxter, No, No, Nanette
Lula Elzy, Hairspray
Michelle Lynch, Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
Megan Wean Sears, 9 to 5
Nabachwa Ssensalo, Michael Shepherd and Michael Groomes, Ragtime

BEST SCENIC DESIGN OF A PLAY
Chris Harmon, Dracula
Chris Newman and David Shough, The Elephant Man
Chris Newman, Proposals (Dayton Playhouse)
Jeff Sams, The Last Lifeboat
Terry Stump, A Midsummer Night’s Dream

The cast of Wright State University’s Restoration! (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
J. Branson, Hairspray
Bob Clements, The Music Man
Dan Gray, Sweeney Todd: The Demon Barber of Fleet Street
Kacie Hultgren, 42nd Street
Pam Lavarnway, No, No, Nanette

BEST COSTUME DESIGN OF A PLAY
N. Lynn Brown, The Elephant Man
Carol Finley, The Last Lifeboat
Kathleen Hotmer, Dracula
Kathleen Hotmer, A Midsummer Night’s Dream
Christie Peitzmeijer, Restoration!

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, No, No, Nanette
Maria Klueber and Lori Watamaniuk, Big Fish
Janet G. Powell, Sweeney Todd: The Demon Barber of Fleet Street
Rebekah Priebe, The Music Man
Tiia E. Torchia, Toni Donato Shade and Alisa Vukasinovich, Hairspray

BEST LIGHTING DESIGN OF A PLAY
Matthew P. Benjamin, Restoration!
Daniel Brunk, Dracula
Travis Dwire, Gidion’s Knot
John Falkenbach, The Last Lifeboat
Jennifer Watson, The Children’s Hour

BEST LIGHTING DESIGN OF A MUSICAL
Jadon Bischoff, The Toxic Avenger
Bob Clements and Megan Howell, The Music Man
Jessica Ann Drayton, No, No, Nanette
Derryck Menard, Dogfight
John Rensel, Sweeney Todd: The Demon Barber of Fleet Street

BEST SOUND DESIGN OF A PLAY
Jay Brunner, Family Ties
Jay Brunner, On Golden Pond
Ryan Burgdorf, Restoration!
Isaiah Parnell, Dracula
K.L. Storer, The Last Lifeboat

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Toxic Avenger
Jay Brunner, Sweeney Todd: The Demon Barber of Fleet Street
James Dunlap, Heathers
Bob Kovach, Xanadu
Sam Partridge, The Music Man

BEST ORCHESTRA
Children of Eden, Musical Director: Lorri Topping
Hairspray, Musical Director: Sean Michael Flowers
The Music Man, Musical Director: Jeff Beste; Orchestra Conductor: Carlos Elias
No, No, Nanette, Musical Director: Scot Woolley
Ragtime, Musical Director: Ron Kindell

BEST PROPERTIES
Sarah Gomes, Dracula
John Lavarnway, Restoration!
Marly Masterson, The Last Lifeboat
Victoria Osewski, The Elephant Man
Heather Powell, Sweeney Todd: The Demon Barber of Fleet Street


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Family Ties: Thea Brooks as Mallory, Sara Mackie as Jennifer, Eve Plumb as Elyse, Maggie Lou Rader as Ellen, Lawrence Redmond as Steven, and Jim Stanek as Alex
  • The cast of Hello Again: Celia Arthur as The Whore, Philip Stock as The Soldier, Rachel Green as The Nurse, Kyle Miller as The College Boy, Megan Valle as The Young Wife, Kyle Krichbaum as The Husband, Zach Fretag as The Young Thing, Eli Davis as The Writer, Robin Dunavent as The Actress, and Christian Schaefer as The Senator
  • The cast of The Last Lifeboat: Matt Lindsay as J. Bruce Ismay, Heather Atkinson as Mrs. Ryerson and Others, Mike Beerbower as William Randolph Hearst and Others, Cassandra Engber as Vivian Hilliard and Others, Zach Katris as Phillip Franklin and Others, Heather Martin as Florence Ismay and Others, Kerry Simpson as Margaret Ismay and Others, and J. Gary Thompson as Thomas Ismay and Others
  • The cast of Nine: Brice Thomas as Guido Contini, Micah Koverman as Young Guido, Shannon Carlson as Luisa, Hayley Penchoff as Carla, Danielle DeLorme as Claudia, Kimberly Warrick as Guido’s Mother, Joyce Murphy as Liliane La Fleur, Cynthia Karns as Lina Darling, Courtney Kakac as Stephanie Necrophorus, Meghan McConnell as Our Lady of the Spa, Sarah Zaffiro as Sarraghina, Renee Franck-Reed as Renata, Aeriel Aniballi as Annabella, Krista Ann Werts as Francesca, and Jack Lockwood and Max Kieselhorst as Young Guido’s school mates
  • The cast of On Golden Pond (Human Race Theatre Company): Kaleb Barlow as Billy Ray, Charlie Clark as Charlie Martin, Ken Early as Bill Ray, Dale Hodges as Ethel Thayer, Jennifer Joplin as Chelsea Thayer Wayne, and Joneal Joplin as Norman Thayer
  • The cast of Vanya and Sonia and Masha and Spike: Cassandra Engber as Masha, Debra Kent as Sonia, Charles Larkowski as Vanya, Cassidy Manley as Nina, Erin McGee as Cassandra, and Ryan Petrie as Spike; Also, Charles Larkowski’s interpretation of Vanya’s tirade
  • The cast of The Women: Rachel Oprea as Mary, Tori Toccillo as Nancy, Yara Khalil as Peggy, Libby Scancarello as Sylvia, Amy Taint as Edith, Jenna Gomes as Crystal Allen, Renee Franck-Reed as Countess De Lage, Marcia Nowik as Mrs. Morehead, Ashley Sisson as Jane, Danikah Skaroupka as Little Mary, and ensemble members Tamar Fishbein, Carrin Ragland, Heather Carrell, Caitlin Blackford, Becky Howard, Cheryl Mellen, Lindsey Cardoza, and Tiffany Williams
  • The ensemble of Sweeney Todd: The Demon Barber of Fleet Street: Gina Handy, Drew Helton, Scott Hunt, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter, and Kandis Wean
  • Children of Eden’s Storytellers: Lisa Glover, Kaitlyn Hiltibran, Zach King, Danielle Kubasky, Bobby Mitchum, Brennan Paulin, T.C. Schreier, Tia Seay, Angie Thacker, Desmond Thomas, Jesse Daniel Trieger, and William Boatwright
  • Lola’s Angels in Kinky Boots: Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson
  • Amy Askins as Melpomene, Tamar Fishbein as Calliope, and John Nussbaum as Young Danny and Centaur in Xanadu
  • Sandy Bashaw and W. Stuart McDowell’s music for Restoration!
  • Kyle Bates as Link Larkin, Jack Blair as Corny Collins, Amber Butler as Little Inez, Adam Clark as Mr. Pinky, Lauren Eifert as Amber Von Tussle, Kaite Hubler as Tracy Turnblad, Clare Kneblik as Velma Von Tussle, Jack Lewis as Wilbur Turnblad, Ana Smith as Penny Pingleton, and Michelle Strauss as Gym Teacher/Matron in Hairspray
  • Kyle Bates as Billy Crocker and Cecily Dowd as Reno Sweeney in Anything Goes (Centerville High School)
  • N. Lynn Brown’s costumes for Nine
  • Jay Brunner’s original music for On Golden Pond
  • Saul Caplan as Roy Cohn and Jared Mola as Prior Walter in Angels in America: Perestroika
  • Circus 1903, Victoria Theatre Association
  • Sarah Clark as Belle, Preston Eberlyn as The Beast, and Andrew Sollenberger as Lumiere in Disney’s Beauty and the Beast
  • William G.L. Courson’s flying direction, Kaoime E. Malloy’s blood and special effects, Gina Neuerer’s projection design, Gary Minyard’s fight choreography, and Brooke Watson’s wig and makeup design for Dracula
  • Bailey Edmonds as Violet Newstead, Natalie Girard as Doralee Rhodes and Meredith Zahn as Judy Bernly in 9 to 5
  • Sean Michael Flowers’ musical direction of Hello Again
  • Nick Garvin’s piano accompaniment for Dogfight
  • Ray Geiger as Tom Durnin and Karen Righter as Karen Brown-Canedy in The Unavoidable Disappearance of Tom Durnin (Dayton Theatre Guild)
  • Lisa Glover’s choreography for Children of Eden, Dogfight and Guys and Dolls
  • Chester Gregory as Berry Gordy, Jarran Muse as Marvin Gaye, David Kaverman as Smokey Robinson, Emilio Sosa’s costumes, and Patricia Wilcox and Warren Adams’ choreography in Motown the Musical
  • Patrick Allyn Hayes’ Toxie mask and suit design for The Toxic Avenger
  • Tamara L. Honesty’s set design for Family Ties
  • In the roles of Sky Masterson and Sarah Brown, Bryan Hupp and Esther Hyland’s rendition of “I’ve Never Been in Love Before” in Guys and Dolls
  • Barbara Jorgensen as Peg Concannon and Fred Blumenthal’s scenic design in The Outgoing Tide (Dayton Theatre Guild)
  • Theresa Kahle’s costumes and Steve Burton’s wig designs for Ragtime
  • Debra Kent as Alexandra Benton and Robb Willoughby as Chris Benton in The Velocity of Autumn (Undercroft Players)
  • Matt Lindsay as Quince/Prologue, Tristan Rivera as Snug/Lion, Jonathan Kelly as Bottom/Pyramus, Elisha Chamberlin as Flute/Thisby, and Spencer Boden as Snout/Wall in A Midsummer Night’s Dream
  • TJ Montgomery as Clyde Barrow, Kami Flanders as Bonnie Parker, Sam Hamilton as Buck Barrow, Jackie Darnell as Blanche Barrow, Aaron Brewer as Ted Hinton, and Josh Clifford as Preacher in Bonnie and Clyde
  • Dakota Mullins as Billy Early and his execution of “Call of the Sea” in No, No, Nanette
  • Annie Pesch as Mary and J. Gary Thompson as John in First Kisses
  • Rachel Joy Rowland as Marian Paroo and Jonathan Kimble as Winthrop Paroo in The Music Man
  • Megan Wean Sears’ choreography for Big Fish
  • Tia Seay as Crystal, Samantha Wright-Norman as Ronnette, and Courtney Dortch as Chiffon in Little Shop of Horrors (Dare to Defy Productions)
  • David Shough as E.M. Forster and Brian Sharp as J.R. Ackerley in Shepherd’s Bush
  • Randy Skinner’s Tony Award-nominated choreography (recreated by Stephanie Brooks) and Roger Kirk’s Tony Award-nominated costumes for 42nd Street
  • John Slate and David Hapner’s piano accompaniment for No, No, Nanette
  • Debra Strauss as Barbara, Helicopter Pilot, Waitresses, and Janie in Wonder of the World
  • Christopher Tierney as Johnny Castle, Jillian Mueller as Frances “Baby” Houseman, Jennifer Mealani Jones as Penny Johnson, and Jon Driscoll’s video and projection design in Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
  • Andrea Wilborn as Sarah’s Friend leading “Till We Reach That Day” in Ragtime
  • Zoot Theatre Company’s collaborative Angels in America with Columbus’ Short North Stage featuring puppet design by Tristan Cupp

 

 

 

‘Family Ties’ Review – Human Race Theatre Company – Seems Like Old Times

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Let’s talk TV. In case you hadn’t heard, reboots are the latest nostalgic trend taking pop culture by storm. In fact, a resurrected “Twin Peaks” is currently spooking Showtime, the Disney Channel repackages “That’s So Raven” as “Raven’s Home” next month, deliciously glamourous “Dynasty” will be rebranded for a new generation this fall on the CW, and plans are ongoing for Emmy Award-winning “Roseanne” to return next year to ABC or Netflix. At a time when investing in the untested comes with sizable risk, it is apparent producers are more willing to embrace tried and true projects, particularly derived from titles engrained in the psyche for decades.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

One of those ready-made titles hoping to make big theatrical waves in the future is “Family Ties,” the popular sitcom (1982-1989) concerning the lovable and intellectual Keaton family from Columbus, Ohio. Starring Michael J. Fox, who won three Emmys for his portrayal of Alex P. Keaton, the show, created by Gary David Goldberg, brought relatable wholesomeness and humor to the table with entertaining political and cultural bite. Whenever he wasn’t perturbing his sisters Mallory and Jennifer, conservative Alex enjoyed a battle of wills with his ex-hippie, liberal parents Steven and Elyse. But at the end of the day, their bond always remained heartwarmingly intact.
“Family Ties” is the most recent TV property (now in the hands of CBS) being translated to the stage following a laundry list of classics such as “Cheers,” “Happy Days” and “I Love Lucy” among others. It has received a world premiere courtesy of the Human Race Theatre Company at the Loft Theatre produced by special arrangement with Araca Media & Entertainment. Written by Daniel Goldstein, who helmed an exhilarating and underrated 2011 Broadway revival of “Godspell,” the one-act play borrows certain episodes from the series (most notably “The Real Thing” in which Alex meets his future girlfriend Ellen Reed) as the foundation to tell a fresh story of reunion, forgiveness and heartbreak. Set 20 years later at the Keaton residence circa 2008 (minus little brother Andy Keaton serving overseas in the Peace Corps), the tale centers on Alex’s homecoming detailing exciting news of a run for Congress as well as the announcement he’ll soon be a father. However, laughter and reminiscing ultimately gives way to tragedy, a pivotal component Goldstein doesn’t have a tight grip on. Alex’s arrival contains a great deal of odd insensitivity which seems illogical considering the play’s trajectory toward bereavement. In turn, a series of flashbacks doesn’t necessarily help set the proper groundwork for the play’s plot twist, leaving portions of the dizzying action confusing and perplexing. In many respects, Goldstein wants “Family Ties” to feel emotionally akin to “Next to Normal,” another tale of close-knit family dynamics and underlying sorrow, but it’s a precarious notion. After all, no one wants to feel cheated by conceptual trickery so a better grasp of how this show navigates its time traveling structure is imperative.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

Nevertheless, director Kevin Moore, fluidly helming with an excellent awareness of sitcom sensibilities, assembles an enjoyably cohesive sextet paying fine homage to the essence of their familiar characters. Immensely charming Jim Stanek (who gave a definitive rendition of “Love, I Hear” as Hero in the 1996 Tony Award-nominated revival of “A Funny Thing Happened on the Way to the Forum”) is a thoroughly engaging focal point as Alex, particularly embodying Fox’s quirky persona with energetic glee (notice the way he bounces atop the kitchen counter in true Fox fashion). As Elyse, sitcom icon Eve Plumb, the unforgettable Jan Brady of “The Brady Bunch,” skillfully interprets the speech patterns and tenderly authoritative spirit of Meredith Baxter-Birney while offering a solidly endearing portrayal all her own. One of Plumb’s finest dramatic moments occurs opposite Stanek in flashback when Elyse and Alex debate Alex’s decision to celebrate his 18th birthday with his buddies in West Virginia, a firm reminder of the importance of checks and balances between parents and children. Lawrence Redmond lovingly conveys sincerity and gentleness as Steven and is especially strong in a scene detailing how Steven’s views of fatherhood were affected by his emotionally detached dad. Thea Brooks (whiny Mallory) and Sara Mackie (lively Jennifer) establish an appealing sisterhood. Maggie Lou Rader, mesmerizing in three flashbacks opposite Stanek at his most charismatic, truly delights as Ellen, Alex’s eventual wife.
In addition, set designer Tamara L. Honesty impeccably recreates the Keaton home from the stained glass front door to the linoleum kitchen floor. Janet G. Powell’s contemporary and period attire admirably accent the play’s tone despite the script unfortunately not allowing many costume changes. John Rensel’s lighting design and Jay Brunner’s sound design are expertly rendered, particularly Brunner marvelously turning back the hands of time with radio-inspired finesse. The production also effectively incorporates “Without Us,” the beautifully melodic “Family Ties” theme song, and Billy Vera and The Beaters’ romantic ballad “At This Moment.”

 

Eve Plumb and Jim Stanek Photos courtesy of Scott J. Kimmin

Personally, I’d be head over heels if someone decided to dramatize “Little House on the Prairie,” “Felicity,” “Sex and the City” or “Downton Abbey” to name only a few. So, if you’re a longtime fan of “Family Ties,” I totally understand why you would want to take advantage of catching up with characters who feel like old friends. Just be aware the play is in need of a hiatus in order to determine a clearer, more focused path on the road to substantively fulfilling resonance.

 

“Family Ties” continues through June 25 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursdays-Saturdays at 8 p.m., Tuesday and Wednesday at 7 p.m., and Sundays at 2 p.m. The production is performed in 80 minutes without intermission. Tickets are $12-$40. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail betty.gould@victoriatheatre.com. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. In addition, there will be a post-show talk-back following the Sunday, June 11 performance.

 

‘Hail Mary!’ Review – Human Race Theatre Company – An Education

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Mary Wytkowski, a feisty novice unashamed to ruffle feathers in a climate built on long-standing ideologies and rigid structure, is a truly fascinating brew of complexity, boldness and hope in Tom Dudzick’s surprisingly engrossing comedy “Hail Mary!,” currently receiving a terrific local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

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Set in 2003 at Saint Aloysius Catholic Elementary School in upstate New York, “Hail Mary!” is a smart and savvy reminder of how consequential words can be especially when addressed to impressionable third-graders. When Mary tells one of her students that God’s feelings cannot be hurt, she is scolded by Mother Regina Marie, overseer of novice management, for creating an atmosphere of “dangerous ideas.” Viewing theology from a progressive mindset, Mary is fueled by the desire to have students openly question, to simply use their brains, which is in direct contrast to Mother Regina Marie’s orthodox perspective. In turn, these two distinctly staunch women, bonded by faith yet torn by principle, passionately engage in a full-scale philosophical and spiritual tug-of-war. For every defiant declaration Mary delivers (“morals change as the times change”), Mother Regina Marie astutely counters (“God’s thoughts come first. His ideas take precedence always”). In an attempt to keep the play from being bogged down in dogma, Dudzick inserts a humorous love story (the father of one of Mary’s students is her old flame), but it’s the central conflict that fuels the play’s pulse. And for added measure, director Margarett Perry skillfully balances the continually shifting comedic and dramatic flow, recalling her fine work helming the varied layers and nuances in the Human Race’s 2015 production of “Vanya and Sonia and Masha and Spike” at the Victoria Theatre.

 
hail-mary-press-2-copyClaire Kennedy thrillingly embraces the titular role with dynamic acumen and fiery attack as if she spent weeks in religious fundamentalism debate prep before rehearsals began. A student of the classics (her Shakespearean training is apparent), Kennedy, who portrayed meek wallflower Laura Wingfield in the Human Race’s “The Glass Menagerie” nine months ago, once again brings her marvelous versatility to the forefront. Her well-defined characterization of a woman who can be a trusted ally and a hard-nosed agitator sometimes in the same captivating breath is simply remarkable. Jennifer Dorr White supplies great intimidation and unexpected heartbreak as Mother Regina Marie, particularly in the heated Act 2 which uncovers her past in touching detail and gently humanizes her along the way. The charmingly chipper Joshua Levine is a bundle of joy as Joe Sykarczek, a widowed carpenter who falls back in love with Mary while wanting the best for his son, academically and spiritually, in the way he alone feels is correct. The reliably comical Andréa Morales as Mary’s spunky pal Sister Felicia and Human Race resident artist Scott Stoney as the kindly Father Stanley provide wonderful support. Stoney particularly has some very winning emotional moments whenever Father Stanley reflects on his genuine admiration for Mary’s opinionated bravado, referring to her at one point as “a lighthouse” and “our hope for the future.” It’s hard to disagree.

 
Scenic designer Eric Moore’s colorfully cute classroom, accented with images of inspirational spiritual leaders and adorned with inspirational spiritual reminders, is an inviting haven of learning proclaiming “a peaceful world” on the chalkboard. The expert artistic team includes costumer Janet G. Powell, lighting designer John Rensel, and sound designer Jay Brunner.

 
Hail Mary!” notably marks the third Dudzick work the Race has produced following “Over the Tavern” in 2008 and “Miracle on South Division Street” in 2014. This play is certainly Dudzick’s finest and most thought-provoking, creating an educational experience that makes you sit up and lean forward as it pulls you further into its enlightening battle of wills. In fact, when Mary addresses 9/11, speaking to the idea that there’s no such thing as absolute right or wrong, her views will linger in the recesses of your mind.
What does the future hold for Mary Wytkowski? Priesthood? The presidency? It’s difficult to tell because she dreams big. But if you want to get to know this marvel of a woman, and you most certainly should, class is in session until Nov. 20. Don’t be tardy.

 

“Hail Mary!” continues through Nov. 20 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Nov. 10-12 and 17-19 at 8 p.m.; Nov. 8, 15, and 16 at 7 p.m.; and Nov. 13 and 20 at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; $17.50-$25 for students. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail betty.gould@victoriatheatre.com. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

 

 

‘Sweeney Todd’ Review – Human Race Theatre Company – Dark Victory

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The Human Race Theatre Company opens its 30th anniversary season with a wonderfully immersive and impressive production of composer Stephen Sondheim and librettist Hugh Wheeler’s 1979 Tony Award-winning masterpiece “Sweeney Todd: The Demon Barber of Fleet Street.”

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Based on Christopher Bond’s play of the same name, “Sweeney Todd” marvelously intertwines horror, humor, love, regret, revenge, and suspense into its Victorian account of a crazed barber/ex-convict destroying the society that cheated him. The disturbing, cannibalistic nature of Sweeney’s dastardly deeds, fueled by his kooky accomplice Mrs. Nellie Lovett, a pie shop proprietor in Fleet Street, always provides a riveting centerpiece for this ingenious thriller. However, director Scott Stoney refreshingly opts for more than a mere bloody fright fest. By digging deeper into characterization and the humanity of those inhabiting Sweeney’s dark world, Stoney creates one of the most relevant versions of the show I have seen heightened by a striking intimacy that can only be felt within the confines of the Loft Theatre. In fact, due to certain moments staged on platforms located on opposite sides of the venue, the material has never felt more immediate or engrossing. Some organizations would scoff at the notion of producing such an unnerving musical with an approachable mindset, but Stoney’s boldness, insisting the audience follow every morsel of the action, invites an experience unlike any other. But you wouldn’t want to be kept at a distance anyway considering the fantastic attributes of his vocally sublime cast.

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Jamie Cordes plays the title role in “Sweeney Todd.”

Resonant baritone Jamie Cordes, featured as sailor Anthony Hope in the Human Race’s 1996 production of “Sweeney Todd” at the Victoria Theatre starring Stoney, understands the fine line associated with portraying the complex Sweeney, one of the most challenging roles ever conceived. If he aimed too psychotic he’d wallow in overblown histrionics. If he aimed too melodramatic he’d wallow in maudlin shallowness. Thankfully, the evil he concocts is a fetching brew of creepily confident swagger, authoritative menace, distressed paranoia, wounded remorse, and disturbing joy. Toward the end of Act 1, Cordes respectively brings Sweeney’s magnetism and terror to the compelling forefront with splendid renditions of the ravishing ballad “Pretty Women” (terrifically shared with David McDonald as the corrupt Judge Turpin who sent Sweeney to jail on a trumped-up charge and adopted his daughter Johanna while he was incarcerated) and utterly alarming “Epiphany,” one of the scariest songs in the musical theatre canon tailor-made to rip through the fourth wall. Fine comedienne Rebecca Watson (Broadway’s “By Jeeves”) is equally razor sharp as Mrs. Lovett, the Sondheimian equivalent to Shakespeare’s Lady Macbeth. There’s a comical world-weariness in her portrayal befitting Lovett’s down-and-out nature (she’s responsible for “The Worst Pies in London”), but Watson specifically magnetizes as the deceitful Lovett lures Sweeney deeper into vengeance if only to secure his love. I haven’t seen an actress skillfully weigh Lovett’s self-absorbed matters of pleasure and profit since being blown away by Imelda Staunton’s fiery portrayal in London’s West End four years ago.

14202760_10154615224843013_3259308007451069107_nElsewhere in principal roles, strong tenor Zack Steele is an engagingly sensitive and lovestruck Anthony (his rendition of “Johanna” is beautifully emotive), Kimberly Hessler, well-paired with Steele, supplies lilting operatic strains as the lovely, sheltered Johanna (her rendition of the gorgeous “Green Finch and Linnet Bird” holds many colors), Craig McEldowney is a deliciously flamboyant and spiteful Adolfo Pirelli, DJ Plunkett brilliantly conveys tenderness, vulnerability, spunk, and dread as Pirelli’s humble assistant Tobias Ragg (his moving rendition of “Not While I’m Around” is a genuine heartbreaker), Aaron Vega is a delightfully snide and vindictive Beadle Bamford (his clear falsetto is put to great use in “Ladies in Their Sensitivities”), Christine Zavakos is a playful yet foreboding Beggar Woman, and Scott Hunt (Tobias in the 1996 production) is an appropriately malevolent Jonas Fogg. The fantastic and impactful ensemble, connected through Tracey Bonner’s character-conscious choreography and blessed with phenomenal vocal power as well as a unified versatility to fluidly transform whether as mourning Londoners or hysteric lunatics, consists of Gina Handy, Drew Helton, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter (Johanna in 1996 production), and Kandis Wean.

Additionally, scenic designer Dan Gray’s efficient, revolving set is bolstered by a throng of windows evoking the Industrial Revolution. Janet G. Powell’s attractive period costumes distinctly range from drab to swanky (notice Sweeney, Lovett and Tobias’ fancy attire at the top of Act 2). John Rensel’s lighting design marvelously captures varying moods, specifically sending chills up my spine when a barrage of lights ominously beam through the windows at the conclusion of Sweeney and Lovett’s cheerfully eerie “A Little Priest” signaling the beginning of the end for customers along Fleet Street. Music director Sean Michael Flowers leads an eight-piece band that occasionally feels distant but is well-balanced nonetheless despite a few timing glitches on opening night. Jay Brunner’s unsettling sound design aids in spooky ambiance but was also shaky on opening night.

One of the production’s final, lasting images involves a young man contemplating an evil plunge into darkness. It is a chilling reminder giving credence to Sondheim’s probing question which should never be taken lightly: “Isn’t that Sweeney there beside you?” After all, anyone at any time has the potential to simply snap. Attend this tale and rediscover why.

 

“Sweeney Todd: The Demon Barber of Fleet Street – A Musical Thriller” continues through Oct. 2 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Act One: 90 minutes; Act Two: 60 minutes. Performances are 8 p.m. Sept. 15-17, 22-24, and 29-Oct. 1; 7 p.m. Sept. 13-14, 20-21, 27-28; and 2 p.m. Sept. 18, 25 and Oct. 2. Tickets are $12-$50 (prices vary depending on performance date). There are a limited number of $12 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the production contains adult language and themes.

 

Saluting Dayton’s 2015-16 Theater Season

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10443106_10152241549014755_6691478090546029427_oAmerica’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

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

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

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

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

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

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

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

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

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

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

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

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

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Dayton native and Wright State University grad Annie Pesch Contributed photo

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

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

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

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

BEST LEADING ACTRESS IN A MUSICAL

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


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

 

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

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

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

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

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

 

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

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


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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ADDITIONAL ACKNOWLEDGMENTS

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

‘One Slight Hitch’ Review – Human Race Theatre Company – Wedding Woes

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Cuteness abounds inside the Loft Theatre as the Human Race Theatre Company presents the second professional production of comedian Lewis Black’s comedy “One Slight Hitch.” The play’s Cincinnati setting is cute. The notion of a summer wedding is cute. A slacker ex-boyfriend provoking chaos is cute. A precocious teenager grooving to music on her Walkman is cute. But conceptual issues dampen this flimsy, problematic farce which transpires like an overlong “Saturday Night Live” sketch pushing hard for laughs and relying heavily on nostalgia for appeal.

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Pictured (left to right): Dana Berger, Rita Rehn, Alex Sunderhaus, Cecily Dowd and Brian Dykstra in Lewis Black’s One Slight Hitch.

Directed by Margarett Perry and written by Black roughly 35 years ago, “One Slight Hitch” brews its frenzy from the relatable vantage point of the Colemans, a close-knit suburban Republican family. On her special day, aspiring writer Courtney (Dana Berger) must choose between her just-came-into-town ex Ryan (Alex Curtis) or her super straight-laced therapist-fiancé Harper (Kyle Nunn). Courtney’s devoted, exasperated parents Doc (Brian Dykstra) and Delia (Rita Rehn) would rather her err on the side of caution (a.k.a. stability), but there’s something about bad boy Ryan that still fuels her fire. As wedding preparations reach fever pitch, and as Courtney’s sisters PB (Cecily Dowd) and Melanie (Alex Sunderhaus) attempt to make sense of the madness around them, Courtney has a life-altering epiphany that brings everything to a screeching halt.

 
Black, an Emmy and two-time Grammy winner who appeared on Broadway in his 2012 one-man show “Running on Empty,” knows a thing or two about sarcasm and timing having built his career on those comedic attributes. But right from the start his foundation is askew here. At the outset, the story is startlingly told from PB’s perspective as she joyfully reflects on all things 1981. Is a pop culture laundry list really necessary in the first five minutes? Also, and in addition to Black creating two oddly unfunny, momentum-stalling moments in which Doc speaks to Harper’s offstage parents, weak character development particularly hinders Doc and Delia from being anything more than an over-the-top, purely observational combination of confusion and mockery. Trouble is we’ve seen this before from the standard sitcom playbook. A husband frantically attempts to maintain peace while keeping close to the alcohol as his wife freaks out as if the world is coming to an end. And I can’t believe the consistently chipper Harper actually exits the stage twice to the sound of chirping birds. Cue laugh track!

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Pictured (left to right): Dana Berger, Rita Rehn, Kyle Nunn, Alex Curtis, Cecily Dowd, Alex Sunderhaus and Brian Dykstra in Lewis Black’s One Slight Hitch.

Script quandaries aside, Perry’s energetic cast doesn’t contain any weak links, an absolute saving grace. The hilariously fussy Berger gives credence to Courtney’s frustrating dilemma. The charming, slovenly handsome Curtis conveys Ryan with an edginess suggesting his troublemaker tendencies and an endearing sensitivity proving why Courtney found him attractive in the first place. The bubbly Dowd, a Centerville High School junior who recently gave a breakthrough performance as Winifred Banks in Muse Machine’s production of “Mary Poppins,” impresses in her professional debut with a sweetly sincere and effervescent aura. Sunderhaus, a Wright State University alumna who appeared last season in the Race’s production of “Vanya and Sonia and Masha and Spike,” injects sass and a tinge of sibling rivalry into her fetching portrayal. Dykstra, seen on Broadway in 2013 opposite Tom Hanks in Nora Ephron’s fascinating Tony-nominated dramedy “Lucky Guy,” effectively channels Black’s intonations and mannerisms. He also conducts the ongoing hysteria with ample vivacity despite his occasionally unrealistic gesturing. The hunky Nunn, a clean-cut, All-American epitome of an Abercrombie & Fitch model seen last season in the Race’s “Miracle on South Division Street,” delightfully contrasts Curtis, particularly shining when Harper attempts to diagnose Ryan in one of the play’s strongest and most revealing moments. Rehn, who appeared on Broadway in such musicals as “Nine” and “A Chorus Line,” relishes Delia’s madcap antics, but beautifully pauses the craziness late in Act 2 when Delia poignantly reminds her daughters of her courtship with Doc and the sacrifices they’ve made.
Ray Zupp’s attractively detailed set strikingly signifies the Colemans’ upper-class status. Janet G. Powell, having costumed “Steel Magnolias” for the Race last fall, eye-catchingly evokes the Greed Decade once more in amusing wedding garb for the ladies complete with huge bows and ruffles. John Rensel’s lighting notably spotlights Dowd in her narrative, music-centric duties. Sound designer Todd Mack Reischman (“Seussical,” “Big River”) returns to the Race to ensure the pulsating vibes of “Bette Davis Eyes” and “Jessie’s Girl” haven’t lost their allure.

 

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Pictured: Rita Rehn and Brian Dykstra in Lewis Black’s One Slight Hitch.

In one of his many brainless retorts, Ryan proudly states, “I haven’t worked it all out but it sounds right.” His credo sums up the essence of this forgettable romp.

 

“One Slight Hitch” continues through April 24 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. April 13-16 and 20-23; 2 p.m. April 17 and 24; and 7 p.m. April 12 and 19. Act One: 60 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. A “While We’re On the Subject” post-show talkback will be held following the April 17 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Glass Menagerie’ Review – Human Race Theatre Company – Dissecting Memory

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Dysfunction reigns and happiness is fleeting within Tennessee Williams’1945 semi-autobiographical drama “The Glass Menagerie,” a powerhouse of a play currently receiving a lovely, attractively designed presentation courtesy of the Human Race Theatre Company at the Loft Theatre.

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Drew Vidal and Claire Kennedy. Photo courtesy Scott J. Kimmins.

Set in a St. Louis apartment in the 1930s, this potent saga of a disillusioned, regretful Southern belle stuck in the past and her two emotionally scarred children meandering in the present never fails to entice. In stark contrast to Williams’ equally marvelous “A Streetcar Named Desire,” a masterpiece primarily fueled by anger, violence and betrayal, “Glass Menagerie” mesmerizes with a gentler magnetism propelled by remarkable poetry and a powerfully relatable familial sting. As Tom Wingfield (Williams’ alter ego) looks back on his troubled life, specifically the squabbles with his overbearing mother Amanda, the overprotection given to his insecure sister Laura, and the pain of being abandoned by his father, he conjures memories which are entirely one-sided and purposefully askew. He opts for “truth in the pleasant disguise of illusion” because it is his most viable means of acceptance. It’s natural to suspect Tom was born to experience more than what St. Louis could offer which makes his ultimate decision to leave his family behind far from outrageous. Even so, he forever remains a prisoner of regret with no escape.

Pensively directed by Greg Hellems, the production is superbly led by Race resident artist Scott Hunt as the frustrated, soul-searching Tom. In one of his finest performances, Hunt, in his first non-musical role on the Loft stage, conveys a tremendous mastery of the text (and its beauty) along with a grounded sense of confinement and yearning which makes the character’s struggles so palpable. Race resident artist Jennifer Joplin, seen as the daughter of a political power couple in “Other Desert Cities” two seasons ago, is too young to be credible as an aging matriarch, but delivers nonetheless in terms of vigor, motherly concern and Southern charm. I would have preferred her portrayal to be more abrasively domineering (which perhaps contributes to the low-wattage electricity of her Act 1 exchanges with Hunt), but at the same rate, it’s refreshing to see this play tilt in Tom’s direction. The luminously expressive Claire Kennedy, a Wright State University alumna with numerous Race credits, dazzles as the introverted, awkward Laura whose passion for her glass menagerie is her only solace. Whether awaiting an autograph or opening a door, Kennedy fills every moment with a captivating, beguiling delicacy. In his Race debut, handsome Drew Vidal (recalling John Krasinksi of “The Office”) terrifically embodies the affable, smooth-talking Jim O’Connor (a.k.a. The Gentleman Caller), a high school alum of Tom and Laura who stops by the Wingfields for dinner only to awaken feelings within Laura she thought would never spring to life beyond her yearbook. Due to Kennedy and Vidal’s exceptional chemistry, Laura and Jim’s Act 2 heart-to-heart conversation by candlelight effortlessly evolves into the splendid centerpiece Williams intended.

 

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Scott Hunt, Jennifer Joplin and Claire Kennedy The Glass Menagerie. Photo courtesy of Scott J. Kimmins.

Hellems’ first-rate artistic team, contributing authenticity and an evocative allure, includes scenic designer Eric Barker, costumer Ayn Kaethchen Wood, lighting designer John Rensel, composer/sound designer Jay Brunner, properties master Heather Powell, and dialect coach Deborah Thomas.

Surprisingly, “Glass Menagerie” marks the first time a play by Williams has been presented in the Race’s nearly 30-year history. Here’s hoping it will not be the last.

 

 

“The Glass Menagerie” continues through Feb. 21 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Feb. 10-13, Feb. 18-20; 2 p.m. Feb. 14 and 21; and 7 p.m. Feb. 16. Act One: 70 minutes; Act Two: 70 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. Select side-area seats available for $25 at all performances. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Group sales: contact Betty Gould at (937) 461-8295 or Betty.Gould@victoriatheatre.com

‘The Santaland Diaries’ Review – Human Race Theatre Company – Unhappy Holidays

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HRTC-SANTALAND-Press-1Christmas can be a time of goodwill but also a living hell as perceived by Crumpet, the Macy’s department store elf at his wits end in David Sedaris’ humorous if thin holiday comedy “The Santaland Diaries” based on his 1992 essay made famous on National Public Radio.

 
Presented as a season extra by the Human Race Theatre Company and adapted as a one-act, one-man play in 1996 by Joe Mantello, “Santaland Diaries” admirably thrives on Crumpet’s naughty, grumpy perspective as a 33-year-old slacker on the verge of reaching rock bottom. “I was $40 away from walking dogs,” he admits before launching into a series of comical and occasionally jaw-dropping misadventures as one of Santa’s busy helpers. Inside the hustle and bustle of Santaland, Crumpet eventually became a whiz at vomit duty and guaranteeing an African-American Santa upon request among other quirky responsibilities.

 
Under the personable direction of Race resident artist Scott Stoney, ensuring the script and scenes flow conversationally and with as much intimacy as possible, Race resident artist Tim Lile (amusingly costumed in gaudy garb by Christie Peitzmeier) exudes delightful exasperation. Lile has always been one of the Race’s funniest actors (he’s particularly comfortable in farce) and his comedic timing is greatly beneficial once again. One of his strongest moments involves Crumpet’s hilarious description of elf training including the use of sign language. And even when the script grows offensive or settles too long in off-kilter language, his delivery is so funny it’s easy to forgive the stinging barbs. In spite of a few moments of uncertainty on opening night when he called for a line, Lile is nonetheless in sync with Crumpet’s irritable aura and certainly fills the Loft stage. Granted, Stoney could have brought the action and set nearer downstage, but his decision isn’t a detriment considering the appeal of scenic designer Scott J. Kimmins’ colorful, retail-inspired winter wonderland complete with oversize throne chair.

 
“Santaland Diaries” may leave you wanting more but it’s an entertaining and welcomed respite from traditional holiday fare.

“The Santaland Diaries” continues through Dec. 19 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 7 p.m. Tuesday-Friday, and 5 and 9 p.m. Saturday. The play is performed in one hour without intermission. Tickets are $24. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.