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Maggie Carroll

ON STAGE DAYTON REVIEW: A Chorus Line (Beavercreek Community Theatre) – What They Did For Fun

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Beavercreek Community Theatre - Chorus LineOverreaching can be precarious in the topsy-turvy world of community theater, especially when an organization has to live up to iconic material. A recent case can be found at Beavercreek Community Theatre where James Kirkwood, Nicholas Dante, Marvin Hamlisch and Ed Kleban’s 1975 Tony and Pulitzer Prize-winning “A Chorus Line” receives a bizarre treatment.

Director Doug Lloyd, who rarely missteps when staging musical theater, startlingly assembles a jarring hodgepodge of clashing ages, skills and sizes for this classic look at aspiring hopefuls longing to join an upcoming Broadway musical. Each dancer’s wonderfully insightful background remains attractive as always, but the sheer legitimacy of their world, including the critical proficiency to appear as viable Broadway-caliber dancers, is totally amiss here, cheapening the show’s legacy and intent. In fact, the awkward costuming appallingly suggests the show takes place at some point between 1975 and 2013. It also doesn’t help matters that the pre-recorded use of Hamlisch and Kleban’s dandy score, including such gems as “At the Ballet,” “Nothing,” “What I Did for Love” and “One,” sounds so thin and distant you’d think it was playing in a car stereo in the parking lot.

As for the cast, only Mick Merkle (Larry), Tina de Alderete (Diana), Joshua Hughes (Mark), Sandra Hyde (Sheila), Matt Curry (Richie), Lisa Glover (Connie) and Akayla Crawford (Maggie) walk away marginally unscathed. Matt Owens, who hardly dances even in the crucial opening number, particularly barks and bellows his way through his one-dimensional portrayal of director/choreographer Zach, who has difficulty grasping the job-hungry desperation of his former flame Cassie (an uncomfortable, reserved Kristan Stanforth who truly struggles in “The Music and the Mirror”). Lloyd’s ensemble, attempting Stacy Gear’s Michael Bennett-inspired choreography to the best of their abilities, also includes Lindsay Sherman, Maggie Carroll, Danielle Kubasky, Meagan Kuchan, Brian Kester, Ben Douglas, Nicholas Sutton Brown, Mike Stockstill, Anthony Fende, Gary Watts, Jordan DuVall, Ryan Garner, and Allison Willardson.

I’ve no doubt Beavercreek Community Theatre greatly admires “A Chorus Line.” However, the troupe fails to present it realistically. They haven’t gone as far as to stage an all-black version of “1776” but authenticity matters.

“A Chorus Line” continues through March 10 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. The production is performed in 120 minutes without intermission. Tickets are $13 for adults and $11 for students and seniors. For tickets or more information, call (937) 429-4737 or visit online at http://bctheatre.org

 

 

ON STAGE DAYTON REVIEW: Little Shop of Horrors (Playhouse South)

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Cari Meixner and Desmond Thomas

Cari Meixner and Desmond Thomas in Little Shop of Horrors (Photo by Rob Breving)

Terrific vocalists Desmond Thomas and Cari Meixner are the absolutely delightful beacons of Playhouse South’s decent “Little Shop of Horrors,” set in the 1950s on Skid Row and written in 1982 by composer Alan Menken and lyricist-librettist Howard Ashman based on the 1960 film of the same name.

Under the direction of Jenni Cypher, Thomas, a nice case for non-traditional casting, and Meixner, so kind and touching, were born to play ill-fated lovebirds Seymour and Audrey, florist shop co-workers whose affection for each other grows as big as the infamously blood-thirsty plant Audrey II (amusingly voiced by music director Jim Brown and operated by set designer Kurt Cypher) that ultimately comes between them. By the team this special duo reaches their truly sincere rendition of “Suddenly Seymour” you’ll wish Ashman created a different outcome. Individually, the open, honest Thomas doesn’t lose one ounce of tenderness as he copes with the problems and popularity that comes his way on his quest for revenge. He makes it clear that Seymour’s seedy actions are simply out of overwhelming concern for his beloved, battered Audrey, sentiments beautifully upheld in Thomas’ pleasantly pensive solo within “The Meek Shall Inherit.” He’s also great at the outset, notably fueling the powerful, spine-tingling “Skid Row (Downtown)” with meaningful urgency. Meixner primarily makes her mark musically, particularly delivering the gorgeous ballad “Somewhere That’s Green” with a sweet, music box delicacy that immediately grabs the heart.

Elsewhere, TC Schreier, in his best role to date, accents his personable portrayal of florist shop proprietor Mr. Mushnik with a comical shuffle. Zach King, an enjoyably twisted Orin Scrivello, wisely avoids the temptation to go over the top in “Dentist” and “Now (It’s Just the Gas).” Sarah-Grace Griswold (Ronette), Megan Rademacher (Crystal) and Erika Rogers (Chiffon) offer ample attitude but have a tendency to become pitchy and overly forceful in their R&B inflections. Angie Thacker and Jamal Cann offer humorous support in various roles.

The contributions of choreographer Mackensie Vonderbrink, costumer Maggie Carroll and lighting designer/technical director Jason Vogel are noteworthy. Conductor/keyboardist Brett Greenwood leads a small but steady four-piece orchestra.

“Little Shop of Horrors” continues through March 9 at the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 37 minutes. Tickets are $13 for adults, $11 for seniors and military and $8 students. Call 1-888-262-3792 or visit www.playhousesouth.org. The show contains adult language and themes.