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Dean Martin Tribute Show at Mamma DiSalvos

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Mamma DiSalvo’s will host a Tribute to Dino, a Dean Martin Dinner Show on Wed, Sept 27th from 6:30-9pm.

“THAT’S PRETTY DAMN GOOD, KID!”

Those were the words of Dean Martin in 1981 whenfeatured performer, FELIX J. DENEAU, JR., joined him on stage at Las Vegas‘ MGM Grand for his impersonation of Dean.

Felix continues his endearing appreciation for Dean’s legendary talent through his production BACK TO THE DEAN MARTIN SHOW – A TRIBUTE TO DINO

 

Dinner will include a house salad, fresh bread, choice of one of the entrees below and  two glasses of red or white house wine.

Orange Roughy
Served with a side of angel hair tossed in olive oil,garlic

Prime Rib served with a side of sautéed broccoli aglia olio

Chicken Scallipini served on pasta with a white wine & caper sauce

 Tickets are $69 per person plus tax and gratuity. Call 299-5831 for reservations. Act quickly- we expect a total sell out!

 

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

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

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

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

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

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

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

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

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

 

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

 

 

 

 

 

 

 

’26 Pebbles’ Review – Human Race Theatre Company – Healing in the Aftermath

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The tragic December 14, 2012 shooting at Sandy Hook Elementary School in Newtown, Connecticut, which took the lives of 20 children and six adults, is examined with relatable earnestness and resilience in Eric Ulloa’s touching if uneven new play “26 Pebbles,” currently receiving its professional premiere from the Human Race Theatre Company.

All photo’s courtesy of Scott J. Kimmins

Six months after the incident, Ulloa, a New York actor and playwright recently featured in the entertaining new Gloria and Emilio Estefan bio- musical “On Your Feet!,” traveled to Newtown for answers. Angry and frustrated, he sought solace in discovering how the quaint community was affected by such a heinous act. He held over 60 interviews with various residents which became the catalyst for the monologue-heavy, one-act play.

Ulloa has said “26 Pebbles” can be viewed as a contemporary offshoot of Thornton Wilder’s classic drama “Our Town,” but I find its theatrical DNA akin to Moises Kaufman and the Tectonic Theater Project’s Matthew Shepard-inspired, interview-driven drama “The Laramie Project.” In fact, his play could use more of the realistic bite and edge which gives “Laramie” its palpable sting. I understand his desire to keep the structure Americana-infused with the folksy charm of Grover’s Corners, but it’s not an absolutely engaging decision. In fact, the opening sequence, set in a town hall, is a cutesy introduction that doesn’t go anywhere. Practically 15 minutes is spent convincing the audience why Newtown is a fantastic and welcoming place to live (even a meteor shower is praised) when five minutes or less would have sufficed. Thankfully, the action quickly kicks into gear (and scenic designer Scott J. Kimmins’ wonderfully efficient set terrifically disconnects) when reflections of the shooting occurs. The sea of frantic responses, the disbelief of New England utopia coming under siege, is very invigorating, providing some of director Igor Goldin’s strongest moments of stagecraft.


Now I understand there might be reticence in Ulloa dwelling on 20-year-old shooter Adam Lanza, but this play finds its footing in its insightful debate of what went wrong inside Lanza’s home and inside his psyche. Everyone knows blame makes for great drama. After all, we wouldn’t feel the same about the Wingfields or the Tyrones or the Maxsons without it. So, it’s not surprising Lanza’s mental illness, detachment, isolationism, his upbringing as a child of divorce, the laundry list of weapons in his possession, and even his good qualities provide compelling fodder. Also, when one woman suggests it takes a village to raise a child, it intriguingly brings into question Newtown bearing responsibility for Lanza’s behavior. It is a thought-provoking nugget gently raising the stakes for the play. It’s perfectly fine to know Newtown received over 63,700 teddy bears, but darker, uncomfortable shades shouldn’t be ignored, especially in the pursuit of the impactful.

Goldin’s excellently chameleonic sextet, nicely dressed in upper-middle class everyday fashion courtesy of costumer Jessica Pitcairn, weaves through multiple roles with fluidity and magnetism. Christine Brunner is warmly winning as an Australian adjusting to life in America (whenever the Oscar-nominated film “Lion” is adapted for the stage I hope she receives a call to play the Nicole Kidman role). A very chipper Caitlin McWethy is an appealing fit in her primary narrative role recalling the Stage Manager in “Our Town.” Scott Hunt, who recently gave one of the finest performances of his career as Molina in Columbus’ Short North Stage’s central Ohio premiere of “Kiss of the Spider Woman: The Musical,” is very endearing as a concerned rabbi wishing he could have mentored Lanza. Jason Podplesky also showcases genuine sensibility in a fatherly capacity. Jennifer Joplin and Gina Handy are delightfully paired as entrepreneurs Jerian and Starr who provide healing and angel readings. John Rensel’s expert lighting design and Jay Brunner’s evocative music and gripping sound design are noteworthy.

Ulloa states “26 Pebbles” is not about the victims, but perhaps it should be. As issues of gun violence continue to swell, especially in this divisive age of President Trump and Secretary of Education Betsy DeVos, it’s time for a statement to be made. Placing a litany of inspirational words on a chalkboard is a feel-good solution, but there are other steps worth exploring. His well-meaning play, conceived during Obama era optimism, concludes lovey-dovey, but has the potential to make a courageous and riveting ripple throughout the nation if given a deeper look at current anxieties.


“26 Pebbles” continues through Feb. 19 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 90 minutes without intermission. Tickets are $20-$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 with a spokesperson from Sandy Hook Promise following the Sunday, Feb. 12 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.

 

Free Cab Rides Back for Holiday Weekend

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4th of july 2016 flyerMontgomery County Prosecuting Attorney Mat Heck, Jr. is pleased to announce that with support from Heidelberg Distributing Company and AAA Miami Valley, the ArriveSafe program will be providing free cab rides home for
Montgomery County residents this July 4th holiday weekend.
Since Prosecutor Heck began ArriveSafe in 2007, nearly 5,200 free cabs rides have been provided to Montgomery County residents. Removing just one impaired driver from the streets may save a life – maybe even your own.

Last year in Ohio, there were 1,110 lives lost in traffic crashes. About 30% of those deaths were in alcohol-related traffic crashes. Montgomery County had 23 alcohol-related traffic crash deaths. All of those injuries and deaths were completely preventable – if the driver had simply made the smart decision to not drive while impaired.

ArriveSafe will be offering free cab rides home for Montgomery County residents from 6
p.m. Friday, July 1, 2016 through 6 a.m. Tuesday, July 5, 2016.
Prosecutor Heck added, “Enjoy this July 4th holiday weekend, but celebrate responsibly.
Arrange for safe transportation with a designated, sober driver or call ArriveSafe at 449-
9999 and request a free cab ride home. We will pay the fare up to $50.”

McCoy on Movies: Captain America

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Marvel’s first Avenger returns for another spectacular superhero adventure in Civil War

“… And we say, we like Pepsi better than Coke! What?! ‘Dem’s fighting words!” L to R: Black Panther/T’Challa (Chadwick Boseman), Vision (Paul Bettany), Iron Man/Tony Stark (Robert Downey Jr.), Black Widow/Natasha Romanoff (Scarlett Johansson), and War Machine/James Rhodey (Don Cheadle) prepare to square off against their fellow superheroes in a scene from CAPTAIN AMERICA: CIVIL WAR. Credit: Film Frame..© Marvel 2016.


WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Chris Evans, Robert Downey, Jr., Chadwick Boseman, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Tom Holland, Elizabeth Olsen, Paul Bettany, Martin Freeman, Emily VanCamp, Sebastian Stan and Anthony Mackie with Frank Grillo, William Hurt, Marisa Tomei, Daniel Brühl and John Kani.

WRITER(S): Christopher Markus and Stephen McFeely (screenplay); Mark Millar (comic book); Joe Simon and Jack Kirby (characters) 

DIRECTOR(S): Anthony & Joe Russo

WEB SITE: http://marvel.com/captainamericapremiere
60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): Following up after the events of Avengers: Age of Ultron and Ant-Man, Captain America: Civil War does something most Marvel movies don’t do: Flashing back in time to 1991 to find Joseph Buchanan “Bucky” Barnes in the control of Hydra agents being read a seemingly innocuous series of words that have a very specific purpose: Triggering the “Winter Soldier,” a near-unstoppable one-man killing machine capable of crimes on command.


The Avengers, however, have their own problem in the modern world: The Sokovia Accords, a document that 117 countries have come together to sign in favor of get the team under control given all the collateral damage they have done in New York, Washington, D.C., Sokovia and most recently Lagos in dealing with Brock Rumlow (Frank Grillo), which has earned the ire of King T’Chaka (John Kani), ruler of Wakanda (the African nation where the vibranium comes from. If you don’t know what vibranium is, you’re watching the wrong movie. Anyway …)


Iron Man’s human alter ego Tony Stark (Robert Downey, Jr.) knows which side he is on. It’s the same one his best friend James “Rhodey” Rhodes a.k.a Iron Patriot (Don Cheadle), Black Widow (Scarlett Johansson), the Vision (Paul Bettany) and now Secretary of State Thunderbolt Ross (William Hurt) is on: Putting the Avengers in check and signing off on the document. Unfortunately, Steve Rogers a.k.a. Captain America (Chris Evans) is not – and neither is Wanda Maximoff a.ka. the Scarlett Witch (Elizabeth Olsen), Sam Wilson a.k.a. the Falcon (Anthony Mackie) nor the now-retired Clint Barton (Jeremy Renner). But despite their objections, the countries are going to sign the document, making it a foregone conclusion that the world’s protectors must play by the rules or be subjected to the law lie anyone else when they wantonly break it. 


Then there’s a bombing in Geneva the day the accords are to be signed, which kills King T’Chaka, much to chagrin of his son T’Challa (Chadwick Boseman). And to make things worse, the Winter Soldier is believed to be the culprit. So now, with the world placing blame on the Avengers for even more trouble, the suspected bomber being Steve Rogers’ former best friend Bucky Barnes who’s been on the run since the events of the last Captain America film. So now, Captain America is trying to protect his friend and fight off the Sokova Accords, while Iron Man is trying to bring Cap in before the government does – and not in a nice fashion. And therein lies a bit of a conflict in terms of how far will someone go for friendship and does the end justify the means when people are dying in the process?


And that would be bad enough … But since no one is quite sure what in the world Helmut Zemo (Daniel Brühl) is up and why, Captain America is going to have his hands full if he is to prevent the world from falling apart. 

WHO WILL LIKE THIS FILM THE MOST? Fans of just about every other Marvel movie; Chris Evans fans; Robert Downey, Jr. fans; Chadwick Boseman fans; people who were worried about how Black Panther and Spider-Man would fit into the mix; people who love Stan Lee’s cameos 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Pretty much anyone who still thinks D.C. makes better movies than Marvel and/or anyone who doesn’t like superhero movies 
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? OK, show of hands – How many of you would have picked the Captain America franchise to be the one to turn out three terrific (dare I say classic) superhero films when you heard about Marvel Studios’ plans to make films centered around its core Avengers characters? Exactly. For while Captain America might be the oldest, he certainly was never considered to be the coolest of the bunch in the comic book world. 


Now, not only is Captain America an essential part of the Marvel Universe, he’s possibly its on-screen MVP, with Civil War being another top notch on his belt – or shield, as the case may be. 

Say what you want about superhero movies; there is no way – and if I was to channel my inner Dwayne Johnson, no way! – Civil War would work without the actors behind the characters layering and committing their respective selves to their roles as well as they do in the movie. Fortunately, directors Joe and Anthony Russo and their cast continue their excellent precedent set in The Winter Soldier by ACTING AS IF THEY ARE ADJUSTING TO THE WORLD and NOT AS IF THEY ARE ACTING IN A SUPERHERO MOVIE. If you’ve seen last summer’s disastrous Fantastic Four reboot, you know exactly what I mean. Instead of acting like they are doing something heroic, Evans, Downey, Jr. and company are simply trying to do what each thinks is best to secure the world. Yes, there are moments of cracking jokes and some really dynamic action sequences, but none of it would matter if the characters were not presented in a fashion were you felt their highs, lows and the relationships between them felt as real as possible. Civil War delivers on all those fronts to the point where you are emotionally invested in their individual outcomes, which is enhanced by the storytelling which never drags, features major incomprehensible sequences (looking at YOU, Batman Vs. Superman) and manages to tie up most if not all of its loose ends well. 


Thrown in the grand introduction of a major character seamlessly into the mix and the interpolation of the one that many fans wanted to see in the main Marvel universe and Civil War hits high marks at every turn. Instead of being a typical good-vs-evil story, this is a battle of principles that turns high stakes and adds to the overall Marvel canon. Evans holds the Captain America mantle with ease and aplomb as the moral center while Downey, Jr. serves as the hotheaded-even-though-he’s-calmer-and-less-impulsive perfect adversary (even though both should be concerned with someone else). Meanwhile, Bettany brings the Dr. Manhattan-like (yes, I DID mention a D.C. Comics character in a Marvel review in a positive sense!) nature of the Vision to life better than he did in Age of Ultron and Boseman does a strong job of establishing the man you can now look forward to seeing in two years in his own solo flick. 


While the film is fairly serious in tone, subject matter and its battles, Civil War does feature some great joke exchanges of near Deadpool like quality (but NOT subject manner and language!) Rudd delivers “giant” comic relief as Scott Lang (a.k.a. Ant-Man) and Tom Holland may have found a way to master a role that some may have thought near impossible for another actor to make his own.  To say much more about that would ruin how well things are tied together and excel … And that would be enough to cause a war between myself and anyone who reads this review.


But if you’re still reading this, you likely haven’t figured out you need to just go see the movie, I’m not sure what I can say that will. For Captain America: Civil War is another great Marvel flick – and one worthy of your time and interest … If you’re into that sort of thing.


OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

‘Carousel’ Review – Dayton Playhouse – You Love Who You Love

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Adrienne “Adee” McFarland (Julie Jordan) and Jeff Sams (Billy Bigelow) in Dayton Playhouse’s production of “Carousel” (Photo by Art Fabian)

In the Rodgers and Hammerstein repertoire the governess with the cute kids always seem to grab the most attention. But what about their darker, practically forgotten collaboration about the ill-fated New England couple unable to make the most of their life together? Yes, it’s time to become reacquainted with or introduced to “Carousel,” the heartrendingly beautiful 1945 musical drama enjoyably mounted by the Dayton Playhouse with vocally impressive flourish.

 
Based on Hungarian playwright Ferenc Molnár’s 1909 play “Liliom,” “Carousel” primarily examines romance from the sheer hopefulness that comes with believing in the idea of a healthy, fruitful relationship no matter how fragile the foundation. Meek millworker Julie Jordan (Adrienne “Adee” McFarland) and charismatic if erratic carousel barker Billy Bigelow (Jeff Sams) are polar opposites who wouldn’t appear to be compatible, but their attraction is evident when they fall for each other after the local carnival shuts down for the night. Throughout the groundbreaking Act 1 sequence commonly referred to as the “bench scene,” a triumph of book and score culminating in the ravishing ballad “If I Loved You,” Julie and Billy swiftly transform from loners to lovers, a fascinatingly impulsive display carrying great promise at greater risk. Even as they enter a hard scrabble marriage hindered by financial woes and specifically splintered by abuse (a prickly, uncomfortable element oddly romanticized by the wholly sentimental, optimistic Hammerstein) this duo feels destined for despair and heartbreak. Still, their engaging, tragic journey is entirely compelling and particularly powerful as Billy gets a chance to redeem himself following his suicide in the aftermath of a botched robbery.

 

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

The well-paired, believably bonded McFarland and Sams bring perceptiveness, passion, sincerity, and depth to their vocally challenging roles. In her Playhouse debut, McFarland, a lovely soprano, wisely avoids turning the naïve Julie into a pushover. Her firm interpretation is sweet but resilient. Along the way, she provides a gorgeously lyric-driven rendition of “What’s the Use of Wond’rin’” that begins as cautious sound advice from a long-suffering wife yet evolves into a beautifully stirring declaration of marital commitment. In one of his finest musical theater performances, the fittingly brash, brooding and commanding Sams reveals the flawed complexities within the broken, unhappy and non-skilled Billy, particularly how his bravado masks many insecurities. Also, his dynamically heartfelt rendition of “Soliloquy,” Billy’s contemplative yet soaring examination of life as a father, is delivered with wonderfully expressive transitions, allowing the extensively detailed number to resonate on multiple intriguing levels considering Billy is a rogue who might not have even known his dad.
In addition, the supporting cast is first-rate. As the demure, slightly fussy Carrie Pipperidge, Julie’s sensible best friend and fellow millworker, Krissy McKim-Barker, another lovely soprano, steps into her Playhouse debut with considerable aplomb, especially in her understanding of how much Carrie wants the best for Julie despite the fact that her warnings about Billy, pre and post-marriage, are dismissed. McKim-Barker also has a very amiable partner in Playhouse newcomer Eric Thompson, offering a charmingly confident portrayal of Enoch Snow, the ambitious, no-nonsense fisherman eager to wed Carrie. Thompson, a strong tenor who spins his vocals with a slight crooner sensibility, actually shares the stage with his father J. Gary Thompson, splendidly inhabiting his role as Billy’s smarmy accomplice Jigger Craigin with wit, shrewdness and bite. As Julie’s cousin Nettie Fowler, noted soprano Patricia DiPasquale-Krul, a memorable component of the Playhouse’s production of “A Grand Night for Singing,” provides a plaintively touching rendition of “You’ll Never Walk Alone,” the score’s most enduring number. Janice Lea Codispoti brings suave inquisitiveness to her portrayal of carnival manager Mrs. Mullin, an obsessive, jealous soul whose deep affection for Billy, the man of her disillusioned dreams, never wanes. Brad Bishop as the kindly Starkeeper, Shanna Camacho as the Heavenly Friend, Rick Flynn as David Bascombe, Brooke Netzley as Billy and Julie’s daughter Louise, Matthew Smith as Captain/Principal, and Gem City Ballet dancers Lauren Goodman, Ashleigh Hinson and Olivia Bruno (under the direction of Barbara Pontecorvo) are also noteworthy.
Director Brian Sharp keeps the action fluid and effectively transfers the story, originally set in the late 19th century, to the 1930s thereby heightening the idea of a carnival as a means of escapist entertainment during such straining economic times. However, his staging of the prologue, set to the glorious “Carousel Waltz,” one of Rodgers’ most exemplary compositions, could use more variety and sharper character choices. There is also presentation awkwardness in the Act 2 Dream Ballet (Bruno dances the role of Louise while Netzley looks on) and the emotional final scene which surprisingly doesn’t spotlight Billy, Julie and Louise downstage center. Still, Sharp’s work utilizes the ensemble well and is bolstered by the lively choreography of Paige Hanshaw, especially “June Is Bustin’ Out All Over” and “Blow High, Blow Low.” Chris Newman’s striking set, Terry Kahle’s attractive period costumes, Bryan Miller’s lighting, Bob Kovach’s sound design, and music director Ron Kindell’s excellent orchestra, featuring 16 members of the Miami Valley Symphony Orchestra, add to the production’s atmospheric appeal.

 
There’s nothing wrong with raindrops on roses, but if you’re looking for something more substantive from the virtuoso team who defined Broadway’s Golden Age don’t miss “Carousel.”

 

 

“Carousel” continues through Sept. 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

 

 

 

 

 

 

Disney’s Resourceful Young Hero & Wise-Cracking Genie Come To Miamisburg

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Aladdin-imageChildrens’ Performing  Arts of  Miamisburg is proud to present Disney’s Aladdin, Jr. Sept 12-21 at the Memorial Auditorium on South Sixth Street at Park in Miamisburg.  This current favorite Broadway  hit is popular with kids of all ages!  Music written by Alan Menken and Lyrics by Tim Rice and Howard Ashman. Additional lyrics and book adapted by Jim Luigs.
With one rub of the magic lamp, you will be transported into a world of color and energy. Hitch a ride on the magic carpet and travel to Agrabah – the City of Enchantment – where every beggar has a story, every camel has a tail and every citizen can sing and dance.  When a street urchin falls for the Sultan’s daughter, it’s love at first sight!  But the power-hungry Jafar has other plans for these two and he will stop at nothing to become Ruler himself!  Enter a cunning and ingenious genie and let the fun begin!
Aladdin Jr performances are Fridays, Sept 12 and Sept 19 at 7:00 pm., Saturdays, Sept 13 and 20 at 2:00 pm and 7:00 pm and  Sundays, Sept 14 and 21 at 3:00 pm.  Tickets are available from the CPAM website  or at the door (subject to availability)  Ticket prices are $13 for adults (19-59)  and  $11 for seniors, students and military. Discount pricing for groups of 10 or more.  All performances are at the MEMORIAL AUDITORIUM South Sixth Street at Park in Miamisburg. For more information, call 937 867 0353.
Children’s Performing Arts of Miamisburg (CPAM) is a non-profit children’s theater dedicated to promote, to all area youth, the appreciation of the performing arts through education, practice and performance. Our goal is to enrich the lives of those participants by strengthening the performing arts community.

 

And The Oscar Goes To…

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It’s time to find out which films and artists will reap Oscar gold according to the over 6,000 voting members of the Academy of Motion Picture Arts and Sciences who determined nominees for the 86th annual Academy Awards. American Hustle and Gravity tie with 10 nods, but 12 Years a Slave follows with nine. Additionally, local filmmaker Julia Reichert, an Emmy winner and three-time Oscar nominee, served as associate producer of Prison Terminal: The Last Days of Private Jack Hall, nominated in the documentary short subject field.

Anything is possible when winners will be revealed tonight at the Dolby Theatre in Los Angeles. Here are my predictions in the top six categories.


BEST PICTUREgravity
12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
The Wolf of Wall Street

Overlooked: 42, Ain’t Them Bodies Saints, All is Lost, August: Osage County, The Bling Ring, Blue is the Warmest Color, Blue Jasmine, Enough Said, Frances Ha, Fruitvale Station, Inside Llewyn Davis, Lee Daniels’ The Butler, Lone Survivor, Mud, The Place Beyond the Pines, Prisoners, Saving Mr. Banks

Could Win: Gravity or Hustle
Should Win/Will Win: 12 Years a Slave

By and large, it’s a three-way race between Gravity, Hustle and Slave. Hustle, David O. Russell’s clever, entertaining 1970s throwback, had momentum in January during the height of awards season, but passion seems to have cooled. Gravity captivated with stunning visuals and special effects recalling Stanley Kubrick’s iconic 2001: A Space Odyssey, but its screenplay wasn’t nominated, tainting its overall impact. Slave is overtly chilling and tough to watch, but it’s also the most emotional, profound and significant when categorizing the kind of prestige film that typically grabs this coveted honor. In a close call, Slave feels on the verge of making Oscar history as the first best picture winner to chronicle the African-American experience.

BEST DIRECTORwww.indiewire
Alfonso Cuarón, Gravity
Steve McQueen, 12 Years a Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle
Martin Scorcese, The Wolf of Wall Street

Overlooked: Woody Allen, Blue Jasmine, J.C. Chandor, All is Lost, Joel Coen and Ethan Coen, Inside Llewyn Davis, Ryan Coogler, Fruitvale Station, Sofia Coppola, The Bling Ring, Lee Daniels, Lee Daniels’ The Butler, Paul Greengrass, Captain Phillips, Spike Jonze, Her, Jean-Marc Vallée, Dallas Buyers Club, Denis Villeneuve, Prisoners

Could Win: McQueen
Should Win/Will Win: Cuarón

McQueen crafted an indelible look at the horrors of slavery, especially plantation life, but Cuarón will be duly recognized for his technological, visionary artistry.

BEST ACTOREXCLUSIVE: Matthew McConaughey and Jared Leto film scenes together for The Dallas Buyers Club in New Orleans.
Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetl Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club

Overlooked: Casey Affleck, Ain’t Them Bodies Saints, Chadwick Boseman, 42, Idris Elba, Mandela: Long Walk to Freedom, Tom Hanks, Captain Phillips, Oscar Isaac, Inside Llewyn Davis, Hugh Jackman, Prisoners, Michael B. Jordan, Fruitvale Station, Robert Redford, All is Lost, Forest Whitaker, Lee Daniels’ The Butler

Could Win: DiCaprio
Should Win: Ejiofor
Will Win: McConaughey

Ejiofor’s powerful, splendidly nuanced portrayal is the lifeblood of Slave and there is a late surge for DiCaprio’s finest work to date, but McConaughey will likely prevail for his physical and professional transformation as AIDS activist Ron Woodroof.

BEST ACTRESS165168_024
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Meryl Streep, August: Osage County

Overlooked: Berenice Bejo, The Past, Adele Exarchopoulos, Blue is the Warmest Color, Greta Gerwig, Frances Ha, Brie Larson, Short Term 12, Julia Louis-Dreyfuss, Enough Said, Emma Thompson, Saving Mr. Banks

Could Win: Adams
Should Win/Will Win: Blanchett

Sentiment could favor Adams, who has been an Oscar darling since she wowed voters in Junebug. Even so, and despite unexpected Woody Allen backlash, this category, as it has since last August, belongs to the brilliant Blanchett whose phenomenally exquisite interpretation of a washed-up Manhattan socialite superbly evoked the riveting complexity of Blanche DuBois.

BEST SUPPORTING ACTORbarkhad abdi captain phillips
Barkhad Abdi, Captain Phillips
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jonah Hill, The Wolf of Wall Street
Jared Leto, Dallas Buyers Club

Overlooked: Bobby Cannavale, Blue Jasmine, Keith Carradine, Ain’t Them Bodies Saints, Steve Coogan, Philomena, Chris Cooper, August: Osage County, Paul Dano, Prisoners,  Dane DeHaan, Kill Your Darlings and The Place Beyond the Pines, Harrison Ford, 42, Ben Foster, Lone Survivor, Will Forte, Nebraska, James Gandolfini, Enough Said, Jake Gyllenhaal, Prisoners, Tom Hanks, Saving Mr. Banks, Matthew McConaughey, Mud, David Oyelowo, Lee Daniels’ The Butler, Sam Rockwell, The Way, Way Back, Geoffrey Rush, The Book Thief

Could Win: Abdi
Should Win: Fassbender
Will Win: Leto

The fact that Abdi received more support from the Academy than Tom Hanks speaks volumes about how much his terrifically authentic performance lingered in the minds of voters. Fassbender, who should have been nominated for best actor two years ago for Shame, took insanity and terror to another dimension as a vicious slave owner. Still, Leto, nearly unrecognizable, seems a sure bet for his gentle, striking portrayal of Rayon, a transgender woman living with AIDS.


BEST SUPPORTING ACTRESSlupita_nyong_o_322x322_0_0_460
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska

Overlooked:  Amy Adams, Her, Nicole Beharie, 42, Melonie Diaz, Fruitvale Station, Jennifer Garner, Dallas Buyers Club, Naomie Harris, Mandela: Long Walk to Freedom, Allison Janney, The Way, Way Back, Scarlett Johansson, Her, Melissa Leo, Prisoners, Margo Martindale, August: Osage County, Juliette Nicholson, August: Osage County, Sarah Paulson, 12 Years a Slave, Lea Seydoux, Blue is the Warmest Color, Octavia Spencer, Fruitvale Station, Emma Watson, The Bling Ring, Oprah Winfrey, Lee Daniels’ The Butler, Alfre Woodard, 12 Years a Slave

Could Win: Lawrence
Should Win/Will Win: Nyong’o

Lawrence ignited the screen with her fiery, flashy turn and probably would be the frontrunner if she hadn’t won best actress last year for Silver Linings Playbook. Expect Nyong’o to reign for her impeccable, heart-wrenching, breakthrough portrayal of the haunting Patsey, a prized and abused slave.

The 86th annual Academy Awards, hosted by Ellen DeGeneres, will be telecast live tonight on ABC at 8:30 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, and FilmDayton will host Oscar parties tonight. For information about the Neon’s festivities, call (937) 222-7469 or visit www.neonmovies.com. For FilmDayton’s festivities, visit www.filmdayton.com.