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Adults Only Who’s Holiday Opens At The Loft Theatre

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If playwright Matthew Lombardo’s searing look at actress Tallulah Bankhead in Looped was the main course, then his spicy confection about Cindy Lou Who inWho’s Holiday! – playing this December at The Human Race – is the decadent dessert we have been waiting for.   Called a “raunchy riff on Dr. Seuss,” Who’s Holiday! is a wildly funny and heartfelt adult-only comedy about grown-up Cindy Lou Who, as she recalls that Christmas Eve when she first met the Grinch and the twisted turn of events her life has since taken.  Who’s Holiday! will fill the Loft Theatre with laughter, starting tonight and run through December 19, 2021.

“We have a bit of history of finding those off-center, holiday shows that make us laugh” states Human Race Artistic Director and Founding Member, Kevin Moore. “I recall the naughty elf in Santaland Diaries, and the crazy residents from A Tuna Christmas.  Who’s Holiday! continues this tradition.  It is definitely an irreverant, “adults-night-out.”

Actress Alex Sunderhaus (Cincinnati native – Wright State graduate – and last appeared on the Loft stage as the loveable dog Sylvia) is taking on the bottle-blond role of Cindy Lou Who, as she prepares for a holiday party in her trailer just outside of Whoville, and reminisces about that fateful Christmas eve.

Who’s Holiday! is directed by Human Race Resident Artist and Wright State Artistic Director Joe Deer.  Our Production Stage Manager is Jacquelyn Duncan; Costume Design by Zoe Still;  Scenic Design by Scott J. Kimmins;  Lighting Design by John Rensel;  Sound Design by Alexander Koker.

Tickets are on sale through Dayton Live box office, 937-228-3630, or online at www.humanracetheatre.org  All audiences are required to wear masks.

‘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

 

‘Hello, Dolly!’ Review – Muse Machine – Embracing Life & Looking Swell

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If you thought the Muse Machine pulled out the stops last year with Hairspray, wait until you get a load of its equally enthusiastic and marvelous production of composer Jerry Herman and librettist Michael Stewart’s 1964 Tony Award-winning classic Hello, Dolly!, the arts education organization’s 34th annual student musical continuing through Sunday, Jan. 14 at the Victoria Theatre.

The cast sings “Put On Your Sunday Clothes” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

It is customary for this feel-good show to specifically spotlight the inherent charm, quick wit and gleeful mischief of one beloved woman who has the pleasure of being serenaded by a throng of overjoyed waiters. However, the Muse universe rightfully abides by a different pedigree. In fact, over 170 students from across the Miami Valley have cohesively united to bring the entire musical comedy genius of the material to life with a refreshing level of ensemble-friendly, production-savvy magic. By and large, the Muse’s Dolly! concerns the journey of a woman who is more of a catalyst than a centerpiece. It’s a departure from the norm, especially if you saw the current Broadway revival starring Bette Midler, but you wouldn’t want it any other way within the spirited context of what the Muse does best.

Sara LiBrandi (Dolly Gallagher Levi) and restaurant staff in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

Based on Thornton Wilder’s The Matchmaker and set in 1890s New York, this tale is an engaging account of widow Dolly Gallagher Levi, the most celebrated matchmaker in New York City. Although she already paired wealthy Yonkers businessman Horace Vandergelder with lovely Manhattan milliner Irene Molloy, Dolly actually has her eyes and pocketbook set on Horace. Using her meddlesome skills to the utmost with sly instinct and skillful improvisation, she ultimately obtains her goal while encouraging those around her to embrace life to the fullest and never underestimate the power of love.

Breezily directed with ample humor and earnest sensitivity by Joe Deer, this fast-paced outing is impressively led by Sara LiBrandi, a truly delightful and determined Dolly. LiBrandi’s breakthrough performance, mesmerizing in its maturity especially in frequent asides focused on Dolly’s late husband Ephraim, wonderfully conveys Dolly’s pivotal epiphany in Before the Parade Passes By. As hard-nosed Horace, the comical Jake Jones is an excellently stubborn authoritarian and relishes the playfulness of It Takes a Woman alongside the male ensemble. The admirable Steven Greenwalt and endearing Tommy Cole, a great dancer, are a respectively appealing duo as best friends Cornelius Hackl and Barnaby Tucker, Horace’s dutiful employees. Kiama Wa-Tenza is an absolutely radiant Irene, exuding sophisticated elegance and offering a gorgeously introspective rendition of Ribbons Down My Back. The bubbly Ana Smith is tailor-made for Minnie Fay, Irene’s talkative and easily excitable sidekick. Ben Kneblik is a perfectly agitated Ambrose Kemper. Charlotte Kunesh wails with humorous abandon as Ermengarde, Horace’s distressed niece and Ambrose’s girlfriend. Diane Isom scores big laughs as the over-the-top Ernestina. The striking David Shockey commands attention as Rudolph, head waiter of the posh Harmonia Gardens restaurant. Principals also include Fischer Barnett as an enraptured Head Cook and exasperated painter, Melanie Dodson as the kindly Mrs. Rose, Michael Taylor as a sympathetic Judge, and Darian Watson as a befuddled Court Reporter.

The male ensemble sings “It Takes a Woman” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

In addition, choreographer Lula Elzy delivers some of her finest and liveliest work, particularly building Before the Parade Passes By with exceptionally astute scope (including a cute group of flag-waving kids) and filling the rousing title number with jubilantly cheery gusto and the unique sight of adoring female staff. The New Orleans native also choreographs a nifty curtain call which fittingly pays tribute to Louis Armstrong’s classic rendition of the title song and the exuberant jazz essence of the Big Easy. Bruce Brockman’s grand sets and Dixon Reynolds’ colorful period costumes, coordinated by Toni Donatio Shade and Alisa Vukasinovich, are courtesy of Music Theatre Wichita. John Rensel supplies expert lighting design. Musical director Sean Michael Flowers leads a vibrant orchestra.
In spite of winter’s bitter chill, whirl away your worry and see this outstanding, life-affirming presentation which ranks among the best in Muse history.

 

Hello, Dolly! continues today at 3 and 8 pm and Sunday at 2 pm at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 65 minutes. Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com.

 

TedXDayton Speakers Announced

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tedx-dayton-marvTEDxDayton organizers have released the speaker lineup for the 2016 signature event, which will take place on Friday, Oct. 14, at the Victoria Theatre in Dayton. As in previous years, organizers anticipate a fast sell-out. Only 16 percent of unsold tickets remain.

“There’s a lot of energy building in our community,” said TEDxDayton co-chair Ron Rollins. “People want to have challenging conversations about where we’re headed, and they’re looking for new ideas. This event brings new perspectives to the table and asks questions we haven’t thought to ask.”

Nineteen speakers will present on this year’s theme—SEARCH. “This year’s theme really captures the spirit of TED,” said TEDxDayton chair Diane Farrell. “We attract an active audience. They inquire. They investigate. When they enter the theatre on Oct. 14, they won’t just be expecting entertainment, they’ll be seeking information, inspiration, and connection—and with this year’s powerful speakers, that’s what they’re going to find.”

Speakers include:
Salma Albezreh, Student, Morton Middle School
Tyler Back, CEO, Mitosis & Meiosis
Joe Deer, Professor and Musical Theatre Initiative Director, Wright State University
Neenah Ellis, General Manager, WYSO
Scot Ganow, Attorney, Faruki Ireland & Cox P.L.L.
Cassie Guard, Owner and CEO, Femme Fatale Fitness
Ambassador Tony Hall, Executive Director, Alliance to End Hunger
Ryan Ireland, Publicity and Marketing Coordinator, Greene County Public Library
Moriba Jah, Director, University of Arizona Space Object Behavioral Sciences
Linda Jones, Vice President of Finance and Administration, Software Solutions, Inc.
Darren Kall, Co-founder, Specific Clarity
Heidi Landes, Parent Coach, Courage for Parents.com
Deanna Murphy, Co-founder, Brigid’s Path
Robert Owens, Educational Consultant, Signature Educational Solutions
Lance Salyers, Senior Director, LexisNexis Legal & Professional
Jo’el Thomas-Jones, Community Support Coordinator and Co-founder, Neighborhoods Over Politics
David Webb, President and CEO, The Funk Music Hall of Fame & Exhibition Center
Brenden Wynn, Operations Manager, Providence Medical Group
Jonah Yokoyama, Executive Director, Heartland Trans Wellness Group

 
TEDx is a global program of independently organized events licensed by TED. Visit www.tedxdayton.com or follow TEDxDayton on Facebook or Twitter for more information.
About TEDx, x = independently organized event

In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized. (Subject to certain rules and regulations.)

ON STAGE DAYTON REVIEW: Crazy For You (Muse Machine) – Grand Gershwin

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Musa Machine - Crazy For You(3)

Cast of “Crazy About You”

The Muse Machine supplies an absolutely delightful production of the 1992 Tony Award-winning musical “Crazy for You,” the arts education organization’s 29th annual student presentation firmly staged at the Victoria Theatre with breezy enthusiasm and character-driven assurance by Joe Deer of Wright State University.

Featuring over 100 Muse students across the Miami Valley and nearly 20 George and Ira Gershwin gems, “Crazy for You,” adapted by Ken Ludwig (“Lend Me A Tenor”), is a humorous 1930s account centered on Bobby Child (a very engaging Davis Sullivan). Bobby is a wealthy New York banker and Broadway hopeful sent to foreclose on a rundown theater in the sleepy town of Deadrock, Nevada. In Deadrock, he is immediately smitten by earthy postwoman Polly Baker (an effortlessly radiant Carly Snyder) and ultimately caught up in a hilarious case of mistaken identity that threatens their relationship.

Sullivan and Snyder, a fine duo reuniting in principal roles for the first time since respectively portraying Jack and Little Red Ridinghood in the Muse Machine’s 2011 production of “Into the Woods,” display an infectious chemistry effectively conveying the ups and downs of Bobby and Polly’s bumpy road to love. Sullivan, an adept comedian and commendable song-and-dance man, is particularly impressive when disguised as Broadway impresario Bela Zangler, whose arrival in Deadrock heightens the action in Act 2. Snyder, a true knockout as Little Red, offers an appealing array of emotional layers. She has great fun exhibiting Polly’s rough, no-nonsense demeanor and sunny twang, but a beautiful vulnerability lies within, particularly in her incredibly touching, exceptionally controlled rendition of “Someone To Watch Over Me” filled with hope, humor, wistfulness and yearning.

Additionally, strong featured performances are offered by Jeremiah Plessinger as the flamboyant Zangler, Paige McDonald as Irene, Joel Daniel as the constantly annoyed Lank Hawkins, Philip Stock (Junior), Sean Cheatwood (Mingo), William Peters (Moose) and Rollie Fisk (Sam) who join forces for “Bidin’ My Time” and “The Real American Folksong,” Kaja Burke-Williams as the adorably ditzy Patsy, Christina Fiala as Tess, Laura Walters as Bobby’s strict mother, and Michael Canada, Ellen Geiselman and Joshua Bodey as the Fodors.

Musa Machine - Crazy For You(1)Choreographer Lula Elzy’s graceful, energetic routines authentically reflect the era and the carefree spirit of the West. The exuberantly perky “I Can’t Be Bothered Now,” the lovely “Shall We Dance,” the ensemble-heavy “Slap That Bass” and “Stiff Upper Lip,” and the hoedown-inspired thrills in “I Got Rhythm” (winningly led by Snyder at the close of Act 1) are just some of the highlights of Elzy’s wonderful contributions. Musical director Timothy Olt, astutely incorporating a snippet of “Rhapsody in Blue” when the action briefly returns to the hustle and bustle of New York, leads an excellent orchestra.

“Crazy for You” continues tonight at 8 p.m. and Sunday at 2 p.m. at the Victoria Theatre, 138 N. Main St. Act One: 80 minutes; Act Two: 65 minutes. Tickets are $29-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: Spring Awakening (Wright State University) – Complex Adolescence

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Composer Duncan Sheik and lyricist/librettist Steven Sater’s dynamic “Spring Awakening,” 2007’s Tony-winning Best Musical, receives an outstanding local collegiate premiere at Wright State University.

Based on Frank Wedekind’s banned, controversial 1891 novel of the same name, “Spring Awakening” is a powerfully provocative coming of age tale set in 19th century Germany with contemporary flourishes. In fact, Sheik’s marvelous melodies, evocatively tied to Sater’s poetic lyrics, are written in the pop/alt rock vein. The musical’s riveting potency cuts deep as issues of abortion, abuse, angst, incest, isolation, suicide and more are explored. Staged by Joe Deer in the black box Herbst Theatre with firm, character-driven intimacy, the thought-provoking story of close-knit, inquisitive, sexually curious teenagers caught between childhood innocence and the dawn of adulthood doesn’t miss a beat, particularly as their questions and desires are regrettably disregarded by authority figures.

The central, ill-fated romance involving headstrong Melchoir Gabor (portrayed with great self-awareness and sensitivity by Jon Hacker) and the sheltered Wendla Bergman (an appealing, vocally beguiling Tommi Harsch) is skillfully executed, but Deer heightens the compelling landscape by emphasizing the awkwardness and emotional scars between parents and their children. Chrissy Bowen and Andrew Quiett portray multiple adult roles, but Bowen’s maternal reticence and fierce admonishment as Wendla’s mother and Quiett’s incredibly irascible disgust as the father of troubled Moritz Stiefel (Drew Helton, splendid and heartbreaking) are specifically striking. Moreover, in favor of an introspective approach, Deer lessens the material’s rock concert essence by eliminating hand-held microphones and microphone stands, a definitive concept of the off-Broadway and Broadway productions.

Helton, a wonderful Edna Turnblad in “Hairspray” last season, uniquely interprets Moritz with a stutter, a decision that generates more empathy for the character and reiterates his peculiarities. Helton is also in terrific voice, particularly in the frenzied “Don’t Do Sadness” brilliantly aided by Erin Jones’ lighting design. Ria Villaver, bringing tender fragility to her role as Ilse Neumann, and Paige Dobkins as Martha Bessell weave a gripping tapestry throughout “The Dark I Know Well.” Caroline Gruber, Liz Romey, Justin King, Logan Torbet, Sean Jones, Zach Warner and Lauren Schorr are uniformly strong in such haunting numbers as “Touch Me,” “I Believe” and “The Guilty Ones” in addition to the carefree “My Junk” and rip-roaring “Totally Fucked.” The cast’s heartwarming rendition of “The Song of Purple Summer,” the absolutely beautiful Act 2 finale, is among the best I have heard.

Choreographer Dionysia Williams’ expressively first-rate routines balance succinct rigor and ecstatic exuberance with the gentility of caressing hands and soft candlelight. Zoe Still provides attractive period costumes and dresses her appropriately stark set with flowing tattered fabric. Musical director Sherri Sutter leads a solid five-piece orchestra.

Wright State offers the third “Spring Awakening” Dayton has seen in two years, but the organization has certainly produced a worthwhile winner.

“Spring Awakening” continues through Nov. 18 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. The show contains adult language and themes. Tickets are $10 adults and $7 for students and seniors. All seats are $2 for the Saturday matinee. For tickets, call Victoria Oleen at (937) 775-3789.