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Kevin Moore

Theater Brings Hope, Happiness and Healing to A COVID Weary World.

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For my husband and I, it was a trip to Columbus to see CATS (not a personal favorite, but wanted to see a real show) that made me realize the need we all have for live performance. Watching the quintessential ‘MEMORY’ belted with sheer perfection by Tayler Harris (Taylerharris.com) as Grizabella, something came over me….true tears streaming down my face! I MISSED THIS! We all missed real people, doing real songs on a real stage. No streaming necessary. From that moment, I thought, ‘How Do Our Resident Dayton Artists Explain this Visceral Response People are Having to Seeing Theater Again?‘

And I gathered a stellar cast….PHILIP DRENNEN, TINA MCPHERSON,  BRIAN SHARP, JAMIE PAVLOFSKY & KEVIN MOORE.

(Note: The interview questions are answered by corresponding initials of each respondent.)

Why do you feel that people are having such an emotional response to theater’s return, not only in NYC, but around the world?

Tina McPherson

PD: The escape that we enjoy in theater was stripped from us. There is a resilience to theater and the people who participate in it.  When we were not available to perform, or to be with each other, it hurt!

KM: Theater is LIFE-SIZED! Theater is living and breathing. Being detached from that live performance is not only disappointing, it’s a punch to the GUT. To work hard and then see COVID have us postpone or close again, it created such anxiety.

JP: People react with that depth because there is nothing like a performance right before your eyes.

BS: I think for some people arts are a vital part of their lives and purpose. Seeing it open again is energizing.

Almost daily, FACEBOOK and IG feature stories of understudies and swings jumping in to save shows affected by COVID. Can you relate to the sentiment of these ‘HEROES?’

Kevin Moore (& Scott Stoney)

TM: They are extremely talented and driven, the hardest working people in show business. They might cover between 3-8 roles and get called upon within an hour’s notice.

BS: In the MUSIC MAN, the understudy was given 4 hours to learn all she had been studying (blocking, choreography, etc…) and did it without missing a beat. Not only is that quite an accomplishment for the actor but it also puts the rest of the cast at ease knowing the show goes on as expected.

KM: I’ve been that person….one time, we had an actor with a debilitating migraine and Scott Stoney and I split up the part between the dancing and the dialog! And in a touring West Side Story, as an understudy, I was called up for two roles.

PD: …and it’s a ton of work, I am going in to a role for my most recent show as an understudy. It is what we do to ensure things work!

Local theater has faced many challenges during the Pandemic. What do you say to ‘hungry audiences’ ready to return to see shows?

PD: Even before the pandemic, safety is always at the forefront of what we do in the theater. Still is.

KM: Everyone just needs to find their level of comfort. Obviously, we are hopeful everyone is vaccinated, boosted, masked….we all must be responsible during this time.

Brian Sharp

BS: …and please come see the shows. Send a donation, buy a ticket, buy a gift certificate. Tell your friends! We need the audience. Small, local arts organizations have suffered significantly financially.

JP: We can’t wait to see you….grab a mask and spend a few hours with us!

What show in particular would you love to see in-person as a tribute to a return to live theater?

PD: BEAUTIFUL. I really want to see the Carole King musical as a friend of mine is in the production.

KM: DEAR EVEN HANSEN. I have tried to see this show a few times, on Broadway, off-Broadway…now it’s coming to the Schuster and I won’t be here! I know the powerful story. It’s just nagging at me that I have not seen it live.

JP: SUNDAY IN THE PARK WITH GEORGE, since we recently lost Sondheim. RAGTIME, for its timely message. ON THE

Jamie Pavlofsky

TOWN since it is a love letter to NYC.

BS: In NYC, I’m dying to see MUSIC MAN. I want to see COMPANY. I need to feel the crowd and the excitement of BROADWAY. It gives me energy to bring home…and locally I want to see all that I can!

TM: I am happy to see ANY show being produced in these extraordinary times. I will say that is the bigger challenge to a theater when you have a large cast. There is more opportunity for people to become ill, so safety is, again, the top priority!

Finally, Dayton is alive with the Arts! Why do you feel other places around the country look at Dayton as a ‘Beacon of Light’ for the performing arts?

TM: When I worked at Dayton Live, I remember casts would come from all over the place to our little town and say ‘all my friends say you haven’t lived until you’ve played Dayton!’ It’s true. We are a welcoming, creative community.

Philip Drennen

PD: I think it’s because we start young in Dayton. Muse Machine, area school programs, youth theaters…So many opportunities for kids!

JP: I think we have a spirit that attracts artists to come and be with us so they can soak up the great energy we have in Dayton!

BS: We can thank Kettering and Patterson for believing that having a strong arts community would attract the right executives and their families to the arts organizations!  It has long been said (and true) that Dayton has more theater than Cincinnati and Columbus combined.

KM: It’s ‘In The Water.’ Seriously. We are where five rivers meet and with that comes an incredible energy. Home to inventions, patents, creativity….there is an openness here, and acceptance of creative people. Edgar Casey said ‘Dayton is a Karma Center.’ It has

a natural energy…and I believe it!

A huge thank you to our resident theater folks….and now,  let’s all get back to the theater…so that, as Grizabella reminds us….we can ‘Let the Memory LIVE AGAIN!’

 

 

 

 

 

 

 

 

 

 

 

Human Race Theatre Company Debuts New Streaming Production

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The Human Race Theatre Company is excited to announce that you can experience the magic of local professional theatre from the comfort of your home. Love, time, and starting over is at the heart of Now and Then by Sean Grennan, filmed on location at Dayton’s own Mudlick Tap House, kicking off our 35th season by continuing our tradition of celebrating the best our community has to offer. It will be available exclusively on the streaming platform Broadway On-Demand starting April 28, 2021 – the 35th birthday of The Human Race.

 

In the face of an unprecedented year, we’ve needed to be more creative than ever before.  “Our timing of this first production marks both our commitment to keeping our artists safe while also celebrating our 35 years as Dayton’s professional theatre company,” states Human Race Artistic Director and Founding Member, Kevin Moore.  “Unlike previous ‘pandemic projects,’ this production is fully staged on location and filmed by another first for us.  This allows us to share our work with our audience while keeping everyone safe until we can return to in-person performances at the Loft Theatre.”   Local production company WorldStage Media did the filming.

The play takes us to a neighborhood bar in 1981 where Jamie is closing up when a last-minute customer enters and offers Jamie and his girlfriend Abby $2,000 to sit and have a drink with him.  Who wouldn’t take it?  But the unusual conversation, and the appearance of a second customer, make the unbelievable begin to look like it just might be true.

Director Marya Spring Cordes has assembled an amazing quartet of actors.  Playing the couple Jamie and Abby are a real-life married couple, Justin McCombs and Maggie Lou Rader. And as the unexpected customers are Human Race Resident Actor and Founding Member Scott Stoney, and local actress Libby Holley Scancarello.

The fifth character in the play is the bar, and we are grateful to Mudlick Tap House for providing the location for our production.  Our Director of Photography, Editor and head of film production is Shaunn Baker of WorldStage Media. Our production Stage Manager is Jacquelyn Duncan. Costume by Janet G. Powell;  Scenic Elements and Props by Alexander Capeneka; Lighting by John Rensel;  Sound by Jay Brunner.

Now and Then will be available on the Broadway on Demand platform from April 28 – May 9, 2021.  Current subscribers will receive an email with their personal link to watch the show.  Single tickets now available at Broadway on Demand by using this link:  https://livestream.broadwayondemand.com/human-race/

 

‘Mame’ Review – Human Race Theatre Company – Live, Laugh, Love

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mame

Lisa Ann Goldsmith and Peanut Edmonson in the Human Race Theatre Company’s production of “Mame” (Contributed photo by Scott J. Kimmins)

The Human Race Theatre Company’s warmly intimate production of Jerry Herman, Jerome Lawrence and Robert E. Lee’s endearing and splendidly tuneful 1966 musical “Mame” has a lot of heart but lacks pizzazz at its core.
Based on Lawrence and Lee’s 1956 play “Auntie Mame,” adapted from Patrick Dennis’ 1955 novel of the same name, “Mame” chronicles nearly 20 years in the life of Mame Dennis, a lively, eccentric socialite who throws lavish soirees in her posh Beekman Place apartment no matter the occasion. In 1928, Mame’s unrestrained, attention-seeking existence quickly changes when she becomes the guardian of her timid, sheltered 10-year-old nephew Patrick. As Mame energetically shows Patrick just how eye-opening life can be within colorful Manhattan, an education thriving in the unconventional sense, their tender, loving bond grows stronger even as the ensuing years bring its share of hardships, sorrow, misunderstanding, and disappointment.

HRTC MAME Prod Photo 3

Lisa Ann Goldsmith and the cast of Mame. Photo courtesy of Scott J. Kimmins.

As the flashy, larger-than-life Mame, one of the juiciest roles in the musical theater canon, Lisa Ann Goldsmith, previously known at the Human Race for roles in “Macbeth” and “Torch Song Trilogy,” adopts a gentler, subdued and mildly coy approach that feels off-kilter to the jubilant spirit of the brassy material. Mame is fashioned to be an earthy, outspoken and flamboyant center of the universe, but Goldsmith embodies the role as a woman second guessing her extravagant flair rather than a woman completely confident in her own skin. As so, her musical numbers, intended to illuminate Mame’s vivacious electricity, are short on vim and verve. The cheerful vigor and excitement pulsating throughout Herman’s dandy score (“It’s Today,” “Open a New Window,” “We Need a Little Christmas,” “That’s How Young I Feel”) just doesn’t credibly land in her hands which deflates momentum despite assistance from the vocally strong ensemble. Even Mame’s signature torch song “If He Walked Into My Life” startlingly comes and goes as if its mere filler rather than the full-throttle, show-stopping epiphany it was written to be. Goldsmith, stunning in costumer Christie Peitzmeier’s stylish outfits, is comfortable in the book scenes that allow her ample time to mold the nuances of her characterization opposite the earnestly sweet Peanut Edmonson as young Patrick, but her musical numbers, the lifeblood of the show, are not equally assured.
Still, there is consistent, grounded work elsewhere under the fluidly fast-paced and atmospheric direction of producing artistic director Kevin Moore, who astutely conceptualizes the show as a portal into Patrick’s memory and effortlessly scales down its traditionally large framework to incorporate a 20-member cast. Leslie Goddard is outstanding as goofy secretary Agnes Gooch, particularly as Agnes attempts to embrace life to the fullest with great consequence. Torie Wiggins, in a refreshing dose of non-traditional casting, is a real comedic find as prominent theater actress Vera Charles, Mame’s boozy best friend. Jamie Cordes is the epitome of a true Southern gentleman as the wealthy Beauregard Jackson Pickett Burnside, Mame’s husband. Zack Steele supplies charisma and conviction as the adult Patrick although he struggles vocally in his upper register. Annie Pesch (Ito), Scott Stoney (Dwight Babcock), Robb Willoughby (M. Lindsay Woolsey), Marya Spring (Sally Cato), Sherri L. Sutter (Mother Burnside), Sarah Naughton (Gloria Upson), Darrin Murrell (Mr. Upson), Layan Elwazani (Pegeen Ryan), Shavey Brown (Ralph Devine), Cooper Taggard (Gregor), and Michael McCrary (Junior Babcock) solidly perform in flavorful featured roles. Fierce, attractive couple Sarah Agar and Adam Soniak, attacking Katie Johannigman’s sharp choreography as if auditioning to become a part of next season’s “Dancing with the Stars” troupe, exhibit dazzling finesse as a pair of steamy ballroom dancers in “Open a New Window.”

HRTC MAME Prod Photo 6

Peanut Edmonson and Lisa Ann Goldsmith in Mame, photo by Scott J. Kimmins.

Additionally, Dick Block’s terrific set features a revolving layout for Mame’s apartment as well as large, colorful postcard backdrops. John Rensel’s expert lighting heightens various locales from the coziness of Mame’s bedroom to the Shubert Theater stage in New Haven, Connecticut. Musical director John Faas, a Herman aficionado, leads a well-balanced and peppy seven-member off-stage orchestra.
Captivating joy has always been a primary component to the success of Herman’s most beloved musicals. Whether it’s a matchmaker descending a staircase to the delight of admiring waiters or the euphoric empowerment shared between drag queens, Herman’s sunny, feel-good repertoire absolutely uplifts the spirit. In order for the inherent joy within “Mame” to shine with credible magnetism this production needs to dig deeper.

“Mame” continues through Nov. 23 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Sunday and Tuesday evenings at 7 p.m., and Sunday matinees at 2 p.m. Act One: 80 minutes; Act Two: 65 minutes. Tickets are $40-$50. Prices vary depending on performance date. Discounts are also available. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org

DMM Ticket Giveaway

If you’d like a chance to win a pair of tickets to see this classic show, just like this post, fill out the form below and leave a comment about why we should pick you as a ticket winner! We’ll announce our winner late night on Thurs, Nov 6th.

 

Thanks to all who entered!  Congrats to Doug Kershner, Renee Reed and Diane Carter, our ticket winners!

 

‘Play it By Heart’ Review – Human Race Theatre Company – Sing Out, Jeannine!

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play it by heart

Trisha Rapier as country music legend Jeannine Jasper along with J.J. Tiemeyer, Cooper Taggard and Christine Brunner as backup vocalists in “Play it By Heart” (Photo by Scott J. Kimmins)

Three generations of strong Southern women feud and reconcile against the backdrop of changing dynamics within the country music industry in “Play it By Heart,” a promising new musical still navigating its path as evidenced in its Human Race Theatre Company regional premiere at the Loft Theatre.
In this sweet but predictable tale, the legendary Jeannine Jasper (Trisha Rapier), a Grammy and Country Music Association winner with a spot in the Grand Ole Opry on the horizon, yearns for retirement to the chagrin of her overbearing, ruthless stage mom Naomi (Sharva Maynard). As mother and daughter wrangle, Jeannine’s irritated, spoiled younger sister Jamie Lynn (Kathryn Boswell) enters the equation with furious bitterness toward Jeannine. Even so, testy situations for the Jaspers stretch beyond the country charts when Billy Tucker (Paul Blankenship), Jeannine’s former flame, suddenly arrives after 20 years to rekindle their chemistry and plan for the future. Billy’s presence quickly releases painful memories which force Jeannine and Naomi to face the music they’ve desperately tried to silence.
Librettist Brian Yorkey (a Tony and Pulitzer Prize winner for “Next to Normal”) conceives an effective dysfunctional family foundation and has a keen perspective for the marketing-driven essence of current country music (especially Jamie Lynn’s ascension as the latest country-pop sensation), but he peculiarly inserts familiar contrivances. In fact, a major plot twist didn’t produce any noticeable gasps from the audience at the performance attended perhaps because it was already a memorable jaw-dropper in the hands of Lisa Kudrow last season on ABC’s “Scandal.” It also isn’t clear what happened to the show’s villain in Act 2 following a dramatic incident involving Jeannine’s father Buck (Scott Stoney), and there should be less focus on Billy in Act 1 which can be replaced by more meaningful moments for the Jasper women to explore their complex emotions. Granted, one of the best musical numbers from the tuneful composing team of David Spangler, Jerry Taylor and R.T. Robinson is the feisty “Sorry!” featuring the ladies in a heated squabble at the kitchen table, but more attention should be paid. Considering the material already contains mild shades of “Gypsy,” I’d specifically like to see Naomi completely release the obvious demons within her inner Momma Rose by singing a substantial, no-holds-barred 11 o’clock number on par with “Rose’s Turn.” And, yes, this can be done with the elimination of Act 2’s unnecessary, testosterone-driven “Good Ol’ Boys.”
Nevertheless, director Kevin Moore skillfully establishes an authentic tone and brisk pacing in addition to assembling an appealing cast. Rapier, a pleasant vocalist seen last season in the Human Race’s production of “Next to Normal,” is an engaging center bringing credence to Jeannine’s frustration with familial concerns and past mistakes. The outstanding, tough-as-nails Maynard intimidates to the hilt as Naomi tries to keep her family together while elements of her world, particularly her financial security, threaten to dissipate. The radiant Boswell is effortlessly vivacious but grows fittingly intuitive as Jamie Lynn comprehends the weight of her existence. Stoney, fortunate to sing the beautiful title number, supplies gentle authority and tenderness. The charming George Psomas adds flavorful comic relief as Naji Habib, a fish-out-of-water music executive from Dubai overseeing Jeannine and Jamie Lynn’s recording ventures. Blankenship could loosen up a bit but his shy demeanor nicely contrasts the extroverted Jaspers. J.J. Tiemeyer schemes and deceives with sharp intensity as Robbie Wilkins, Jeannine’s tour manager. Tim Lile is wonderfully good-natured as Lyle Mount, Jeannine’s former manager. Christine Brunner and Cooper Taggard complete the cast very well in various roles. Brunner is a hoot as perky reporter Debbie Dean who has a funny breakdown late in Act 2. Taggard enjoyably partners with Boswell for “Do I?,” the catchy Act 2 opener choreographed by Megan Wean Sears with playful sexiness.
In addition to Sears, Moore’s first-rate creative team includes scenic designer Adam Koch (adeptly conveying numerous locales from an auditorium and hospital room to a bar and tour bus interior), costumer Christie Peitzmeier (particularly providing lovely gowns for the ladies and appropriate Western gear for the men), lighting designer John Rensel, sound designer Brian Retterer, and music director Nils-Petter Ankarblom who leads an excellently well-balanced onstage band that never feels intrusive.
At a time when country music is evolving beyond its roots and traditional demographics (Florida Georgia Line’s collaborative “Cruise” with Nelly marked a huge cultural shift), “Play it By Heart” runs the risk of feeling out of step in terms of reaching a broader, diverse audience. Still, this project warmly embraces the power of forgiveness and the importance of family, feel-good components likely to secure interest elsewhere following rewrites.

“Play it By Heart” continues through July 6 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are (Through June 29): Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m.; and (July 1-6): Tuesday-Thursday and Saturday evenings at 7 p.m.; Saturday and Sunday matinees at 2 p.m. Act One: 75 minutes; Act Two: 70 minutes. Tickets are $41-$48 (prices vary depending on performance date and discounts are also available). For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com or humanracetheatre.org.

The Human Race Goes Country with PLAY IT BY HEART **Ticket Contest**

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PIBH Press Photo 1The Human Race Theatre Company wraps up its 27th season with a long-awaited four-week run of the country musical Play It by Heart.  This fully produced regional premiere is the culmination of a four-year collaboration with The Human Race that began with a residency for the writers in 2009 and a reading in the theatre’s summer 2010 Musical Theatre Workshops program. An early version of the musical premiere at Village Theatre in Washington state in 2005.

Composer/lyricist David Spangler brought the script to the attention of Producing Artistic Director Kevin Moore. “After their production at Village, the writers all went off to work on other projects,” says Moore. “Brian had this little show brewing called Next to Normal. In 2006, we workshopped the musical Nefertiti that David had written with Rick Gore. He and I stayed in touch, and in 2009 he told me about Play It by Heart, and that the writers all wanted to get back to it. I read it, listened to the songs and was hooked.”

The 2010 workshop proved to be a hit. “Our audiences loved it,” exclaims Moore. “Over and over I heard, ‘I’m usually not a country music fan, but I really liked this music and this show.’ It’s a universal story that speaks volumes about family and forgiveness—something that resonates with everyone.” He also praises the score for its potential for mass appeal. “It’s filled with so many ‘radio-worthy’ songs. I wouldn’t be surprised if we hear some of them on the airwaves soon.”

ABOUT PLAY IT BY HEART

It’s the passing of the torch in a country music dynasty as superstar Jeannine Jasper’s long career draws to a close. The changing world of the music industry is about to thrust her little sister, Jamie Lynn, into the spotlight. When an old flame comes calling, Jeannine envisions a quiet life offstage, but Jamie Lynn’s wild ways may cut short her time on top. Stage mother Naomi tries to keep control of her daughters until a scandalous secret comes to light and threatens to tear them apart. A musical about heartbreak and healing, this regional premiere comes alive with an exciting original score filled with new songs from the Nashville Sound to New Country by David Spangler, Jerry Taylor and R.T. Robinson and a book by Pulitzer Prize and Tony Award® winner Brian Yorkey (If/Then, Next to Normal, upcoming The Last Ship).

Tickets for the preview performance of Play It by Heart on June 12 are $25 – $40. For all performances June 13 – July 6, tickets are $25 ­– $50, depending on availability, seating location and the day of the week desired. Student tickets are half price with valid ID. Group discounts are available for parties of 10 or more.  All performances are at the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton, Ohio.  Tickets and performance information on Play It by Heart are available at www.humanracetheatre.org or at Ticket Center Stage.

DMM Ticket Contest:

We’ve got 2 pairs of tickets to give away for Play It By Heart to our MostMetro.com readers.  Just like and share this post and fill out the form below to be entered in our drawing.  Of course a comment below of why you should win always goes a long way to sway the judges! 🙂

Ticket contest is now closed. Congratulations to our winners Kate Good & Rob Strobel!

 

 

 

 

Human Race Announces 2014-2015 season

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Season-1415-Header-ImageThe Human Race Theatre Company, Dayton’s only professional regional theatre company, launches its 28th season next September with a richly diverse 6-play combination of productions on its Eichelberger Loft Series. “Selecting the season is one of the hardest, yet most exciting parts of my job,” says Producing Artistic Director Kevin Moore. “Thanks to a wonderful committee of readers, I am able to hand select just the right shows for our audience. It’s a season for everyone, with something old and something new; something funny, and something blue.”

 

The 2014-2015 season includes Miracle on South Division Street, a wholly divine intervention; Mame, a larger-than-life laugh riot; the world premiere of Family Shots, a still life in motion; Taking Shakespeare, a lesson in self-discovery; and Crowns, a celebration of spirit; as well as a special added production of the current Off-Broadway hit Buyer & Cellar, a diva lover’s delight.

 

The six plays perform in The Loft Theatre, The Human Race’s intimate 212-seat downtown performance space, located in the Metropolitan Arts Center at 126 North Main Street. The plays are scheduled for three-week runs and musicals are scheduled for four-weeks, with a number of associated special events: a Thursday night preview performance, preceded by the “Inside Track” discussion with the director; Friday Opening Night with a free post-show party with the cast in The Loft Lobby; Lite Fare at The Loft, a Tuesday night pre-show dining in The Loft Lobby, with food items provided by Citilites Restaurant; a “While We’re on the Subject” talkback following a Sunday matinee; and a Saturday night signed and audio-described performance opportunity.

 

 

THE 2014-2015 EICHELBERGER LOFT SERIES SEASON LINEUP

 

Miracle on South Division Streetmiracle_lg

by Tom Dudzick

September 4 – 21, 2014

60 years ago, Grandpa Nowak had a vision of the Virgin Mary in his Buffalo, New York barbershop and had an unusual statue of her made to commemorate the miracle. For decades, his family has faithfully tended to his quirky shrine—a source of hope and inspiration in an otherwise run-down part of town. That is until a deathbed confession knocks them for a loop in this hilarious hit comedy that proves when it comes to local legends, there’s more than meets the eye.

 

Mameimages-8

Book by Jerome Lawrence and Robert E. Lee
Music and Lyrics by Jerry Herman
Based on the novel by Patrick Dennis, and the play Auntie Mame by Lawrence and Lee

October 30 – November 23, 2014

Mame Dennis is a free-wheeling eccentric without a care until she becomes the guardian of her ten-year-old nephew, Patrick. Now it’s up to her to open new windows and show the boy worlds he never knew existed. Through the Roaring 20s and the Great Depression, Mame teaches Patrick how to “live, live, live”—whether he’s willing or not. It’s the dazzling Broadway musical that proves life’s a banquet, featuring the classic songs “We Need A Little Christmas”, “It’s Today”, “Bosom Buddies” and, of course, “Mame”.

 

A World Premiere Production!

Family Shotsworld-premiere-graphic

by Michael Slade

January 22 – February 8, 2015

Charming family patriarch Sam Baker lies in a hospital bed, recovering from an apparent heart attack, but his wife, Marsha, won’t stop making the crisis all about her—much to the dismay of their son, Aaron. The young photographer wonders why his parents even stay together while dealing with his own issues as a newlywed. Intimate, yet universal, this new work by Michael Slade (Under a Red Moon, Gingerbread Children) is a wildly funny and touching comedy about marriage—its joys, challenges and responsibilities—and what’s worth fighting for.

 

A Special Valentine’s Event!buyerpost

Buyer & Cellar

by Jonathan Tolins

February 12 ­­– March 1, 2015

An out-of-work actor in Los Angeles, Alex takes on the oddest of odd jobs when he’s hired to work in the museum-like basement “mall” of an American entertainment icon’s lavish home. He spends his days alone and in awe, tending to a lifetime of countless mementos, until the lady of the house—the “Funny Girl” herself—appears and they strike up the unlikeliest of friendships. It’s an outrageously unbelievable comedy that will go down “like butta” as one talented performer takes on all the roles, even the dynamic “Babs”.

 

Taking Shakespeareimages-9

by John Murrell

April 16 – May 3, 2015

When a longtime, disillusioned college professor is asked to tutor her dean’s son through his freshman Shakespeare class, she finds it to be as much a test for her as it is for him. Although they seem to have nothing in common, as they explore the Bard’s Othello together, they learn more about each other—and themselves—than either is ready to admit. While they draw strength from the play, they come to understand what it means to live up to expectations.

 

Crowns

by Regina Taylorimages-10

adapted from the book by Michael Cunningham and Craig Marberry

June 11 – July 5, 2015

When troubled Brooklyn teenager Yolanda is sent to live with her church-going grandmother down South after the death of her brother, she finds healing in the personal stories of the ladies of the congregation and the hats that adorn their heads. Through time and space, their intimate histories create a soulful, joyous triumph of song, dance, culture and glorious “hattitude” in this powerhouse gospel musical like no other.

 

SUBSCRIPTIONS AND TICKETS

Subscriptions are available in 3-, 4- and 5-show packages, as well as in Flex Pass plans. Package prices range from $102 – $190, and discounted subscriptions are available for students. Both renewing and new subscribers may place their orders with Ticket Center Stage by calling (937) 228-3630 or by visiting the Schuster Center Box Office. New subscribers will be seated starting May 5. Single tickets to Miracle on South Division Street and Mame go on sale August 5, tickets to Family Shots go on sale October 28, tickets to Buyer & Cellar go on sale December 2, and tickets to Taking Shakespeare and Crowns go on sale February 10. Buyer & Cellar is not part of subscription packages, but subscribers can purchase tickets in advance when renewing or ordering a new subscription. Productions, performance dates and ticket prices are subject to change.

 

More ticketing and performance information on The Human Race Theatre Company’s 2014-2015 and 2013-2014 Loft seasons are available online or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

 The Human Race Theatre Company was founded in 1986 and moved into the Metropolitan Arts Center in 1991, taking up residence at the 212-seat Loft Theatre. In addition to the Eichelberger Loft Season, The Human Race produces for the Victoria Theatre’s Broadway Series, the Musical Theatre Workshop series, and special event programming. The Human Race, under the direction of Producing Artistic Director Kevin Moore, also maintains education and outreach programs for children, teens and adults, as well as artist residencies in area schools, The Muse Machine In-School Tour, and summer youth programs. Human Race organizational support is provided by Culture Works, the Montgomery County Arts and Cultural District, the Shubert Foundation, the Erma R. Catterton Trust Fund, the Jesse & Caryl Philips Foundation Fund for the Development of New Works, the Virginia W. Kettering Foundation and the Ohio Arts Council, which helped fund this organization with state tax dollars to encourage economic growth, educational excellence and cultural enrichment for all Ohioans. The 2013-2014 season sponsor is the Jack W. and Sally D. Eichelberger Foundation of the Dayton Foundation, with additional support from Jim and Enid Goubeaux, KeyBank, the Sam Levin Foundation, Premier Health, Heidelberg Distributing Company and Morris Home Furnishings.

Coming up in Dayton theatre, 12/14 – 12/23

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Hello again, one and all. I can’t believe that this edition will bring us right up to the edge of Christmas and, ergo, nearly to the dawn of 2013. Things do tend to slow down a bit as we coast into the Holiday Season, most shows are done with their runs before Christmas and new ones don’t really start up again until we get into January. But there are still several offerings out here for you to sample. For starts!

Closing This Weekend!

12 Dancing Princess

Xenia Area Community Theatre (X*ACT)

The Skinny:X*ACT bills this production as a “Holiday family show,” and indeed this story is one that will please the youngest among us. Based on the Brothers Grimm fairy tale, it follows the 12 daughters of a king who are locked in their bedroom each night, and yet appear each morning with shoes worn out from dancing.

Dates: Closing on the 16th.

Tickets: Tickets are available at the door, for more information please visit the X*ACT website, here.

A Christmas Carol

Zoot Theatre Company

The Skinny: Dayton’s puppet theatre company takes on Dickens seasonal classic, delightfully retelling this classic morality play as only Zoot can.

Dates: Closing this weekend, on the 15th.

Tickets: Tickets are available at the Dayton Art Institute website, here.

Scrooge

The Dayton Playhouse

The Skinny: Adapted from the Charles Dickens classic, “A Christmas Carol,” this musical closely follows the classic story with the miserly Ebenezer undergoing a profound experience of redemption over the course of a Christmas Eve night, after being visited by the ghost of his former partner Jacob Marley and the Spirits of Christmas past, present and future.

Dates: Three performances left, closing on 12/16.

Tickets: Tickets are available at the Dayton Playhouse website, here.

Annie

Troy Civic Theatre

The Skinny: The famous musical version of Lil’ Orphan Annie is,indeed, a Christmas-set offering. This show is a heart-warming favorite, sure to please families with kids, or without.

Dates: One more weekend, closing on the 15th.

Tickets: Tickets are available for reservation by calling 937-339-7700. Pricing information can be found at the Troy Civic Theatre website, here.

Continuing!

Oliver!

The Human Race Theatre Company

The Skinny: Christmas Eve in London, 1838. A small group of working-class, wayward souls gather in a tavern to celebrate when a small, unexpected guest prompts a spontaneous telling of the popular Oliver Twist. With traditional music-hall flair, they delve into Charles Dickens’ haunting moral tale as the lines between story and reality blur. Sized perfectly for The Loft Theatre, this reimagining of the classic Tony Award®-winning musical will touch your heart and challenge your spirit. It’s Oliver with a twist, indeed! Dayton Most Metro’s Russell Florence reviewed Oliver! Click here to read it!

Dates: You’ve got several more chances to catch this wonderful production, which runs through the 22nd.

Tickets: Tickets are available through the Human Race Theatre Company website, here.

One Weekend Only!

In The Spotlight!

Playhouse South

The Skinny: Playhouse Souths annual revue-style evening of musical theatre selections, this year entitled “At The Movies” and featuring numbers from musicals, TV shows and movies.

Dates: Two performances only, December 2oth and 21st.

Tickets: Tickets are available at the Playhouse South website, here.

 

So, that all gives you plenty to see up to Christmas eve eve eve (12/22)!  Remember, a night at the theatre is not only a wonderful date, it’s also a splendid holiday gift! There’s 9 days til Christmas and 2 nights of Hanukkah left…head to your favorite theatre box office and buy tickets!

The Shangrila Of Spirit

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Mahalo To Festiki

Several years ago, when Bill Winger opened Daddy Katz in Moraine, I met up with him to try and understand the clientele that he was catering to: the tiki culture. His shop seemed to be a virtual catchall of kitsch, with black velvet Polynesian themed paintings, Surf Ohio clothing, old bicycles and skates, hot rod memorabilia and a variety of other items that seemed to have little or no relation, but at the same time, seemed to encompass a larger cultural statement, all set to a rockabilly/exotica soundtrack. When we first sat down, Bill said:

“It does go back to a much simpler lifestyle. I think people were much more interested in enjoying life. Maybe they weren’t as stressed out. I don’t know, because at that time, I hadn’t even born yet. Now, people who have lived through that time period might tell you something different. But, we look back at those times and thing, ‘God, life was easier back then.’ That’s part of the draw with what’s going on with this.” Bill went on to explain that, “There are large groups that are getting bigger out there that really enjoy the old tiki lounge/bars. They enjoy a properly mixed drink. You go to a lot of restaurants and ask for a Mai Tai and they slam it together and say, ‘Here!’ A real Mai Tai needs to be mixed with proper ingredients and care and served properly. The people who are into the tiki culture appreciate that. I mean, you can tell a properly mixed drink versus this crap that they give you at some bars. According to some of the tiki sites, there are some groups out there. One of the groups is the FOM, the Fraternal Order of the Moai (FOM) and they are an organization which cultivates the old tiki bars and restaurants and the things like the properly mixed drinks and some of the lifestyles that it represents.”

Fast forward years later to 2009 and I find myself reviewing an event that fully represented this culture: Festiki. Festiki is the brainchild of Ron Kaplan, a friend of Bill’s and the creator of the cult fashion statement known simply as Surf Ohio. Ron’s concept was that this sense of lifestyle was more of a state of mind rather than a place, which he so eloquently demonstrated with his ubiquitous surfer riding the crest of a mythical Midwestern wave. Last year’s festival kind of came out of nowhere and there were very few people (speaking strictly of those who weren’t already in the loop) who knew exactly what to expect. There was a feeling of trepidation on Ron Kaplan’s part as he sought out sponsors for Festiki’s first outing.

“This is only year two and I can certainly remember last year going to potential sponsors and having many of them cock an eyebrow, saying, ‘Surf Ohio, what?’ or ‘What’s Surf Ohio?’” Kaplan said dryly. “It’s kind of like a joke: if you have to explain the punchline, then it’s most probably a lost cause.”

Yet, against all the fears of failure, the 2009 Festiki, by all accounts, was a huge success. It offered the public a radically different experience from the usual fairway kiosks and funnel cake trailers. Under a vibrant caul of rockabilly/surf sounds, the crowds mingled in a relaxed atmosphere of a shared experience. In relating to the creation of Festiki and the issues he faced the first year, Kaplan explained that:

“Well, I really kind of created it intuitively…the event almost channeled itself through me. As I got the idea for it, like a lot of big ideas, it’s a lot of small ideas over time that come together. I was, though, pleasantly surprised. Given the number of meetings I had with potential sponsors, so many of them looked at me like I was kind of nuts, I thought, ‘Gee, is that going to the public’s perception too?’” Kaplan went on to say that, “I think people got it though, and that’s why they came out in droves. The other thing was just seeing it all unfolding and everybody just having a great time…that was really heartening and I knew then that I absolutely was going to do another one. Of course, I had and have a great group of volunteers and vendors and suppliers helping me.”

This year’s Festiki promises to be bigger and better, without falling into the the cavernous commercial abyss that other festivals seem to fall prey to. Festiki is more of an organically conceptualized event where leisure and relaxation are the key elements rather than a frantic headlong run in an attempt to have fun. At Festiki, one can wander about, checking out the enlightening displays, gaze in awe at the spectacularly detailed award winning sand sculptures created by Ted Siebert, partake in Polynesian inspired cuisine or just lie back and relax as the waves of rocakbilly/surf music wash over you. This is more a communal communion of cultures as opposed to the individual desperation of distraction that passes for entertainment nowadays. During our conversation, Kaplan describes it as “the ultimate staycation.”

“There are a lot of people that can’t take that trip. I mean, you can’t go to the Gulf Coast because it’s all covered in oil, and maybe you can’t afford the condo in Hilton Head this summer for the whole clan, so for ten bucks, at least for a day, you can feel like you went to the shore and kicked back under the rustling palms with your beverage of choice and listened to some great tunes.”

As for the “great tunes,” you can catch The Space Cossacks, a surf revival band out of Washington, D.C. Then there is Vegas 66 from Columbus whose style is given the all encompassing description of “swingin’ surfa-rocka-psycho-punka-jazza-you name it.” Other bands include Tyrd Fyrgysyn and the MasterXploders, the Maderia, Crazy Joe and the Mad River Outlaws and, rounding out the bill, Dayton’s own Nick Kizirnis Band, whose surf music has graced several television shows. Other entertainment included Surfabilly Freakout, a troupe of Djs serving up a distinctively eclectic portion of music ranging from exotica to psychobilly music. The beautifully expressive Leilani Duteil brings the traditional hula dance to Dayton, accompanied by vocals and guitar work of Francis Llacuna and the characteristic sound of the slack key guitar played by O’ahu native, Curtis Silva. The Soul Fyre Tribe lights up the night with their martial arts inspired fire dancing. One thing to keep an eye out for is the unparalleled artistically destructive display presented by Kevin Moore, the “hot rod tiki carver,” who will carve a giant tiki by hand, then set it on fire using the flame thrower dual exhausts of his blacked out rat rod.

Festiki will be held on August 14th from at the historic Old River Park, which is located on River Road, with access to it from behind 1611 S. Main St. Admission is $10 for those 18 and up, $5 for students 10 to 18 and those under 9 are admitted for free. The events start at noon and run until after 10 pm. A portion of the proceeds goes to the Surfrider Foundation, for not only education in surfing activities, but also to keep the coastal areas pristine. Festiki is a production created by Surf Ohio and the Fraternal Order of the Moai. For more information, go to the Festiki website at http://www.fraternalorderofmoai.org/festiki/ .