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‘In the Heights’ Review – Muse Machine – This Is America

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Recognizing and respecting other cultures is what truly makes America great. Don’t believe me? Check out Muse Machine’s exhilaratingly joyful production of In the Heights, a wonderfully touching, relatable, topical, and tuneful look at the Hispanic experience in New York City’s Washington Heights neighborhood.
The winner of the 2008 Tony Award for Best Musical and the 36th annual Muse student musical, In the Heights, written by Pulitzer Prize winners Lin-Manuel Miranda (Hamilton) and Quiara Alegría Hudes (Water by the Spoonful), excellently examines love, fear, financial woes, disillusionment, regret, and hope within a small yet busy block of close-knit family and friends. Dominican Republic native and bodega/convenience store owner Usnavi (Nate Saner), holding down the fort with his cousin Sonny (Chavin Medina) while caring for his Abuela Claudia (Gabby Casto), is the central focal point, propelling the immigrant narrative forward in humorous and insightful ways. Elsewhere, cab company owners Kevin and Camila Rosario (Michael Taylor and Sara LiBrandi) have difficulty coming to terms with the news that their beloved daughter Nina (Julie Murphy) hasn’t adjusted to life at Stanford University. Beautician Daniela (Courtney Collinsworth), Daniela’s assistants Vanessa (Charlotte Kunesh) and Carla (Chynia Crane), Kevin and Camila’s faithful employee and Nina’s love interest Benny (Desmond Kingston), Piragua Guy (Nick Bradley), and Graffiti Pete (Quinn Bennett) along with his trusty sidekick Pete (Darian Watson) also accent the colorful action, occurring over an eventful Fourth of July weekend in 2008.

The cast of Muse Machine’s production of “In the Heights” performs “Carnaval del Barrio.” (Photo by Ben Morrison)

Under the breezy, thoughtful co-direction of Jeffrey Polk and longtime Muse choreographer Lula Elzy, the winning principal cast and large ensemble supply strong, witty and mature performances. In a striking Muse debut, the charismatic, sensitive Saner delivers a breakthrough portrayal grounded in authority, vulnerability and a specific mastery of Miranda’s hip-hop lyrics in a manner that would make Jay-Z, Kanye West and Twista very proud. Medina, a standout in past seasons with Dare to Defy Productions and Epiphany Lutheran Church, is back in top form yet refreshingly stretching his gifted abilities in a looser fashion to believably interpret Sonny’s street-savvy swag. The endearingly earnest Castro powerfully renders Pacienca y Fe (Patience and Faith), a signature flashback detailing Abuela Claudia’s thought-provoking account of her Cuban immigrant past. Taylor, a memorable Curly in Carroll High School’s Oklahoma! last year, and LiBrandi, whose remarkable 2018 portrayal of Dolly Levi has already gone down in Muse history, are credibly concerned and compatible. LiBrandi especially ignites Act 2 with a fierce rendition of Enough, which finds Camila caught in the middle of the stubbornness between her husband and daughter. Murphy, a tender Laurie in the Human Race Theatre Company’s 2018 production of Brighton Beach Memoirs, and Kingston, seen as Sam in last year’s Muse production of Mamma Mia! offer pleasant vocals, particularly Murphy’s heartrending Everything I Know and their lovely duet When You’re Home. Kunesh, an outstanding Sophie in Mamma Mia!, absolutely dazzles vocally (It Won’t Be Long Now is an early highlight), choreographically (The Club) and in costume (her snazzy collection of Project Runway-esque day and evening wear are courtesy of Nikki Sherck and Alisa Vukasinovich). Collinsworth, receiving fine support from the appropriately ditzy and enjoyably strut-happy Crane, is as delightfully sassy here as she was last year as Tanya in Mamma Mia! Bradley, a vibrant, athletic tenor, brings sunny optimism to the cheery Piragua.

Courtney Collinsworth (center as Daniela) leads “Carnaval del Barrio” with Desmond Kingston (far left as Benny) and Chynia Crane (far right as Carla) in Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

Additionally, Elzy unsurprisingly pulls out the stops as a hip-hop and Latin-infused storyteller. Along with the aforementioned Pacienca y Fe, in which she injects dramatic 1940s scorn into Abuela Claudia’s memories of perseverance, and The Club, a fantastic, character-conscious routine soaring with lively thrills on the level of The Dance At The Gym from West Side Story, her spirited creations of 96,000 and Carnaval del Barrio are flavorful testaments to her diverse expertise in fluidity, movement and rising momentum. In fact, the particularly electrifying, flag-adorning Carnaval del Barrio contains a cavalcade of eye-catching moments, including some cool hip-hop moves performed on the upstage stoop.

The top-notch production team includes producer Douglas Merk (securing the original set design by Anna Louizos), musical director Jeffrey Powell (conducting an impressive 15-piece orchestra), lighting designer John Rensel (bringing beautiful awe to a series of fireworks during Blackout) sound designer Ryan Vallo, property master/rehearsal stage manager Shannon Sellars, production stage manager Morgan Jergens, and artistic consultants G. Armando Silva, Joe Deer, Tyson Randolph, and Lynda Casto.

Nate Saner (center as Usnavi) with Chavin Medina (Sonny) and the cast of Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

You will not find this In the Heights ethnically accurate in terms of overall casting. However, the relevancy of its themes, its universal reflections of family, community, legacy, goodwill, and cultural pride wrapped inside the common pursuit of the American Dream, remain terrific hallmarks genuinely stirring the soul.

In the Heights continues through Sunday, Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. today, 3 and 8 p.m. Saturday, and 2 p.m. Sunday. Act One: 70 minutes; Act Two: 50 minutes. Tickets: 27-$65. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com

Muse Machine presents “In The Heights” with bonus Pre-Show Celebration!

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One the Dayton’s most valuable assets is its robust arts community, from visual art, music, and all forms of performing arts. We cultivate that talent in our youth, through innovative programs like Muse Machine, which serves over 75,000 students in southwest Ohio.

Every January, Muse Machine presents a musical that features more than 100 young people from across the Miami Valley. I was re-introduced to these musical performances last year, and I was simply blown away by the talent these teenagers display. There is no doubt, several . are bound for Broadway!

This year Muse Machine presents “In the Heights“, a musical by Lin-Manuel Miranda (creator of Hamilton). The story explores three days of the characters’ lives in the NYC Latino neighborhood of Washington Heights. On the brink of change, friends and family bring their hopes and dreams to life. The score features hip-hop, salsa, meringue and soul music.

The Muse Machine musical has been praised by The Dayton Daily News as “a performing arts all-star effort,” while The Oakwood Register has called it “an evening of true theatrical joy… ” You can see it for yourself Thursday January 16th through Sunday January 19th at the Victoria Theatre in Dayton, Ohio, January 16-19, 2020. Tickets available now through Ticket Center Stage.

Of course attending the performance is a fantastic way to support the organization. If you want to go above and beyond, and have some pre-show fun with fabulous people, consider attending Muse Machine’s annual Social & Show from 5:30 – 7:30 on Friday, January 17, 2020.

There you’ll enjoy cocktails & heavy hors d’oeuvres at Table 33. Each ticket will include food and two drink tickets with choice theatre seating.  It’s an evening you won’t want to miss!  Ticket sales for the Social & Show end January 11, 2020, so don’t delay!

HOW TO GO?

Social & Show Pre-Show Party / Fundraiser

Friday, January 17, 2020

5:30 – 7:30pm
Cocktails & heavy hors d’oeuvres
Table 33 (130 W 2nd St, Dayton OH 45402)

Muse Machine presents the hit musical
IN THE HEIGHTS at 8pm
From Lin-Manuel Miranda, creator of HAMILTON
Victoria Theatre (138 N Main St, Dayton OH 45402)

Each ticket includes food, two drink tickets and deluxe theatre seating (seats will be assigned on a first come, first served basis). $45 Ticket for Social only / $100 Social & Show

For info and registration: http://musemachine.com/social/

In the Heights performances:

Thursday January 16, 2020 7pm

Friday, January 17, 2020 8pm

Saturday, January 18, 2020 3pm

Saturday, January 18, 2020 8pm

Sunday January 19, 20020 2pm

Tickets start at $27 and can be purchased here:  https://my.ticketcenterstage.com/overview/6144?fbclid=IwAR04TtWvd-b5JrnGUPpTueUuNmU0tlgtFZOS2nboT3JzjTZBIG_wUJYA77w

International Tap Dance Sensations Perform Exclusively at The Brightside on Sunday Sept 22nd!

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The Brightside is proud to present, The Tap Factor in “Soul’d Out!” a live music event featuring Tap dance sensations Christopher Erk, Derick K. Grant, Anthony J. Russo, and Jabu Graybeal. They invite you to share an evening with these four globetrotting Tap dancers as they give their only public performance locally after spending a month touring their show ‘Feet Speak” throughout Dayton area public schools on behalf of the Muse Machine. Accompanied by Dayton’s own Premium-Blend Music, this highly energetic and collaborative dose of music and Tap dance is a “don’t miss” event for all ages!

3 ticket options available for this show:
$20 General Admission advance ticket ($25 day of show)
$40 ticket plus Meet & Greet
$50 ticket plus Tap class and Meet & Greet

Schedule:
4:30-5:15 – All-inclusive Tap dance class – no experience necessary ($50 ticket option – includes all below too)
5:15-6:00 – Sound Check + Meet & Greet / Photo Op ($40 ticket option – includes performance too)
6:00-6:30 – General Admission Doors
6:30-8:00 – Performance ($20 ticket adv / $25 day of show)

More about performers and The Tap Factor:
– Christopher Erk (New York City/Los Angeles) – Performed in the Off-Broadway touring production of Tap Dogs; Founding Artistic Director of the Tap Factor; Absinthe, Caesar’s Palace Las Vegas; Scott Bradlee’s Postmodern Jukebox

– Derick K. Grant (Boston/New York City) – Performed in Broadway’s original cast, Bring in ‘da Noise, Bring in ‘da Funk; Creator of Imagine Tap

– Anthony J. Russo (St. Louis/New York City) – performed in Off-Broadway touring production of Tap Dogs; Cirque du Soliel; Founder of Tapademics; Absinthe, Caesar’s Palace Las Vegas

– Jabu Graybeal – Recipient of the Young Arts Award; Member of the North Carolina Youth Ensemble; Highlight in Dance Spirit Magazine as one of “Tap’s Next Generation of Stars”

The Tap Factor is performing on Sunday September 22, 2019 at The Brightside in downtown Dayton. PHOTO BY SARAH BABCOCK

– The Tap Factor was founded in Dayton by former resident Christopher Erk over ten years ago. While teaching at Wright State University, Sinclair Community College, Dayton Dance Conservatory and beyond, participants would meet weekly at the Tap Factor’s Front Street studio where donation-based Tap classes evolved into a local community of dancers that could be found sharing their joy for Tap at city events throughout the year. Since then, they have taken to the stage collaborating with organizations such as Best Buddies, the Boys and Girls Club of America, with performances at Carnegie Hall and more. Check out the Tap Factor’s journey online by visiting www.thetapfactor.com

‘Mamma Mia!’ Review – Muse Machine – Smiling, Having Fun

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My, my, the Muse Machine has officially come a long way in the course of 35 years of producing its annual student musicals. Once upon a time, Broadway’s Golden Age was consistently embraced by the arts education organization, presenting a string of classics such as Damn Yankees, Guys and Dolls, Mame, The Music Man, My Fair Lady, Oliver!, On the Town, The Pajama Game, Peter Pan, and South Pacific. Recently, the tide shifted toward contemporary fare such as Mary Poppins, Seussical and an extraordinary Hairspray. This time around at the Victoria Theatre, the Muse sticks to current trends with Mamma Mia!, the 1999 Olivier and Tony Award-nominated ABBA tunefest written by Catherine Johnson that has captivated audiences around the world from the stage to the multiplex. Yet in doing so, they’ve somehow made a strikingly adult-oriented show concerning significant issues of promiscuity as easy to swallow as Mary’s spoonful of sugar.

(center) Melanie Dodson (Donna Sheridan) and (center right) Charlotte Kunesh (Sophie Sheridan) and the cast of the Muse Machine’s production of “Mamma Mia!” (Contributed photo)

After all, to discuss Mamma Mia! and not mention its glorification of sex would be comparable to ignoring Jud Fry’s bedroom beauties in Oklahoma! or the rise of the Nazis in The Sound of Music. In other words, it comes with the territory, specifically as single mother Donna Sheridan (believably perturbed and conflicted Melanie Dodson) and her only daughter Sophie (outstanding Charlotte Kunesh) attempt to navigate complicated issues of romance past and present. Over the years, the Muse has become very savvy at tailoring shows with Oz-like fervor (pay no attention to the giddy teenage girls exclaiming “gimme, gimme, gimme a man after midnight”) to the point that the sheer joy and charm exploding throughout certain scenes, certain songs, carries a lot of weight. And it’s a very delicate balancing act by the way, especially when dealing with, to borrow a phrase, curious children beginning to grow. Lay All Your Love On Me? No worries. It’s just an innocent moment of playful banter between Sophie and her devoted fiancé Sky (handsome Regin Potter). Does Your Mother Know? No worries. Forget the extremely flirtatious, hot and heavy subtext and just be in awe of Courtney Collinsworth’s fiery strength as middle age divorcée Tanya who isn’t shy about her feminine instincts. The Muse hasn’t gone so far as to gloss over all of Benny Andersson and Björn Ulvaeus’ lyrical intentions, but it’s important to know this version is understandably unable to be contextually truthful.

Nonetheless, director Rufus Bonds, Jr,, returning at the helm for the first time since Muse’s 2012 production of The Wizard of Oz, has a firm handle on the material, establishing wonderful pacing and strong character development. I was particularly moved near the outset by Thank You for the Music, sweetly sung with luminous yearning by Kunesh as Sophie acknowledges Donna’s musical and parental influence while simultaneously being grateful to finally meet and potentially have a meaningful relationship with her three possible dads Sam Carmichal (tenderly authoritative Desmond Kingston, offering an excellently sensitive rendition of Knowing Me, Knowing You), Harry Bright (chipper Michael Taylor) and Bill Austin (comical Steven Greenwalt). Equally impressive is Bonds’ endearing rock concert treatment of Super Trouper, heightened by John Rensel’s fantastic lighting, showcasing Donna, Tanya and Rosie (terrific Sara LiBrandi) nostalgically reuniting as Donna and The Dynamos surrounded by an adoringly enthusiastic crowd. His work is also cohesively in step with choreographer Lula Elzy, celebrating her 20th anniversary with Muse. Elzy’s jubilant, carefree routines, dabbling in both 1970s and 1990s sensibilities, regularly escalates as the 100-member cast excitedly builds the spirited urgency of Money, Money, Money, Gimme, Gimme, Gimme, Voulez-Vous, the title number, and the infectiously feel-good curtain call/encore.

Courtney Collinsworth (Tanya) and the cast of the Muse Machine’s production of “Mamma Mia!” perform “Does Your Mother Know?” (Contributed photo)

Additionally, appealing featured performances are given by Trinity Wolff (Ali), Julie Murphy (Cassie), Marisha Osowski (Lisa), Macy Patton (Nina), Bryce Galvan (Pepper), exuberant Nick Bradley (Eddie), and delightfully understated Fischer Barnett (Father Alexandrios). Musical director Jeffrey Powell’s orchestra includes standout drummer Raymon King-Redding II. Costumers Toni Donato Shade and Alisa Vukasinovich supply colorful and attractive period and contemporary outfits (Kunesh’s final look is a subtle knockout). Muse alum Ryan Vallo’s top-notch sound design is a feat considering the production’s scope. Muse alum Adam Koch’s grand Mediterranean set design awash in coastal blue is courtesy of Maine’s Ogunquit Playhouse.

It’s too soon to say whether or not Muse will continue its examination of adult-themed stories (is Cabaret, Hair or Rent in the pipeline?), but for now, I absolutely encourage you to have the time of your life at Mamma Mia!

Mamma Mia! continues through Jan. 13 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. Friday; 3 and 8 p.m. Saturday; and 2 p.m. Sunday. Act One: 60 minutes; Act Two: 50 minutes. Tickets are $27-$65 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting ticketcenterstage.com.

Muse Machine Presents “Mamma Mia” – plus a Friday Social & Show Special

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Poster image by Desmond Kingston, student at Stivers School for the Arts and Mamma Mia! cast member.

Muse Machine is one of those organizations that you can’t help but support and champion. This regional organization has become one of the nation’s most celebrated arts education organizations, serving nearly 77,000 area students and teachers annually throughout central and southwestern Ohio and Kentucky since 1982.

Muse Machine is a place where imagination and inspiration meet teaching and learning. This organization helps every young person begin a fulfilling lifelong journey as an arts maker, learner, audience and patron; every teacher engaging deeply with artists, arts professionals and artistic work; and every family creating vivid memories of shared arts experiences.

Part of the Muse experience is not only in classroom, or seeing professional artists, but actually creating productions themselves. They pull from all areas of the Miami Valley to produce top quality performances that showcase the best of our upcoming talent!

This January you have the opportunity to see one such production, and help support these rising stars! From Jan 10th-13th, Muse Machine will perform the hit musical Mamma Mia at the Victoria Theatre. There is also a very special Social & Show pre-show on Friday January 11th, that is a very fun way to further support this amazing arts organization (see details below).

The story unfolds on a Greek island paradise. A mother and daughter’s world turns upside down on the eve of a wedding, in this tale of love, laughter and friendship woven around the story-telling magic of ABBA’s timeless songs! Over 60 million people around the globe have fallen in love with the characters, story and music that make Mamma Mia! the ultimate feel-good show!

How To Go?

Thursday January 10th 7pm; Friday January 11th 8pm; Saturday January 12th 3pm and 8pm; and Sunday January 13th 2pm.

All performances take place at the Victoria Theatre

Tickets range from $27-$65 and are on sale now, exclusively through Ticket Center Stage – via box office at the Schuster Center, phone: 937-228-3630, or online here.

Social & Show Special

In an attempt to bring awareness of Muse Machine to a new audience, there will be a Social & Show pre-performance reception from 5:30-7:30pm at Table 33. Please visit www.musemachine.com/social for tickets and information.

 

 

Acclaimed Jazz Musicians Perform With Muse Machine

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When great jazz musicians from New York City and New Orleans team up with local artists and Muse Machine performers for a one-night-only concert, there’s only one thing you can say – The Joint Is Jumpin’.

Muse Machine performers (foreground, L-R, Ana Smith and Mark Antony Howard); photo by Faye Sommers

“The musicians were returning to the area from Jazz at Lincoln Center and Jazz Power Initiative in NYC to collaborate on another project and they suggested the concert – we’d have been crazy to pass up that opportunity!” said Muse producer Douglas Merk. “These artists have experiences and careers that literally span the globe. Bringing them together with Muse performers and Dayton audiences for a creative outburst is simply exciting.”

 

Guest artists include drummer Alvin Atkinson, Jr., multi-instrumentalist Michael Bashaw, bassist Eddie Brookshire, vocalist/saxophonist Camille Thurman, trumpeter Ashlin Parker, pianist/vocalist Eli Yamin and jazz combo Nausikaa. More information about the performers is available at musemachine.com.  New Orleans-based choreographer Lula Elzy returns to insure the space is dancing and literally jumping to styles from standards to New Orleans to Latin American.

 

Muse Machine presents The Joint Is Jumpin’ at The Loft Theatre on Wednesday, July 18, 2018 at 7:00pm and 8:30pm. Tickets are $25 and $35 and are on sale exclusively through Ticket Center Stage: 937-228-3630 or musemachine.com.

 

Muse Machine is a nationally recognized arts education organization, providing creative experiences and resources for young people of the Miami Valley for the past 36 years. Since 1982, they have engaged thousands of students through academic-relevant lessons, workshops and in-school projects along with the highly acclaimed annual student musicals and concerts produced for the Miami Valley.

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

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

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

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

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

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

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

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

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

 

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

 

‘Hairspray’ Review – Muse Machine – You Can’t Stop the Joy!

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Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2002 Tony Award-winning musical comedy “Hairspray” is a glorious hit all over again thanks to the Muse Machine’s truly delightful, impressively cast and genuinely crowd-pleasing production continuing through Sunday, Jan. 15 at the Victoria Theatre.

(left to right) Amber Butler (Little Inez), Ana Smith (Penny Pingleton), Mark Antony Howard (Seaweed J. Stubbs), and Kyle Bates (Link Larkin) perform “Run and Tell That” in the Muse Machine’s production of “Hairspray.” (Contributed photo)

“Hairspray” is the arts education organization’s 33rd annual student musical and features 170 Muse students from across the Miami Valley. Based on the 1988 John Waters film of the same name, the show cleverly uses humor and cultural/societal attitudes to examine important and delicate subjects from racism and discrimination to body image and identity in segregated 1962 Baltimore. It speaks volumes that Tracy Turnblad’s fiery quest to integrate “The Corny Collins Show” is bolstered by the African-American community particularly because of the bond shared among them as outsiders. There is a warmhearted appeal in the foundation of “Hairspray,” but it’s hard to ignore Tracy’s tenacious boldness of accomplishing the impossible primarily for the sake of others. It would’ve been easy for co-director Joe Deer and co-director/choreographer Lula Elzy to gloss over some of the prickly paths along Tracy’s journey to avoid ruffling anyone’s feathers. However, sufficient time is spent focusing on the pivotal adversity Tracy endures ultimately allowing her to become a stronger, more confident young woman unafraid to change her world.
Inclusion is a key factor in the storytelling which inherently provides Muse Machine the opportunity to present one of its most terrifically diverse casts. The very endearing, vocally firm Kaite Hubler is spunky and steadfast as the plus-sized Tracy, effortlessly pulling the audience into the action at the outset proclaiming “Good Morning Baltimore.” As Tracy’s devoted yet introverted mom Edna, Muse newcomer Fischer Barnett delivers an utterly believable, breakthrough performance that will be discussed for years to come. Thanks to his marvelously grounded maturity, Barnett (a freshman!) astoundingly interprets Edna’s anxieties, longings, desires, and nuances as her sheltered existence unexpectedly blossoms with fresh possibilities. Jack Lewis, a standout last season in Dayton Playhouse’s “The Diary of Anne Frank” and Dayton Theatre Guild’s “Last Gas,” is wonderfully zany as Tracy’s dad/joke shop proprietor Wilbur, particularly joining Barnett for a lovingly comedic rendition of “Timeless to Me.” As aspiring singer Link Larkin, Tracy’s handsome object of affection and a popular component of “Corny Collins,” Kyle Bates (notably offering a seductively suave rendition of “It Takes Two” hilariously concluding with quick coldness) masters Link’s charming duality as an amusingly square heartthrob. Clare Kneblik as intolerant, unethical “Corny Collins” producer Velma Von Tussle and Lauren Eifert as Velma’s equally malicious daughter Amber are first-rate villainesses and vocalists. Jack Blair is perfectly chipper as forward-thinking showman Corny Collins. Ana Smith, another great vocalist, is a true find and a natural comedienne as Tracy’s goofy best friend Penny Pingleton. As dance-happy Seaweed J. Stubbs, Penny’s boyfriend, Mark Antony Howard electrifies with a fantastically energetic rendition of showstopper “Run and Tell That.” As Seaweed’s mom/R&B music celebrity Motormouth Maybelle, splendidly sassy Kennedy Cook, another knockout Muse newcomer and a dynamic vocalist, brings down the house with a spine-tingling, standing ovation-worthy rendition of the emotional, gospel-infused anthem “I Know Where I’ve Been.” Winning featured portrayals extend to Amber Butler as the plucky Little Inez, Adam Clark as the excitable Mr. Pinky, Jacob Jones as Mr. Spritzer, Mackenzie Wolcott as Prudy Pingleton, Michelle Strauss as Gym Teacher/House of Detention Matron, and Hannah Bradshaw, Mae’Lesha Cooper, Aliya Johnson, Nivella Ochen, and Kiama Wa-Tenza as the elegant, Motown-esque Dynamites soulfully belting “Welcome to the ’60s.” The cute array of “Baltimore Kids” featured in the show is also noteworthy.
In addition, Elzy’s rip-roaring, flavorful choreography authentically and vibrantly captures the spirit and grooves of the 1960s. In fact, there’s a fitting homage to Tina Turner within exuberant finale “You Can’t Stop the Beat.” Tiia E. Torchia’s colorful period costumes (expertly coordinated by Toni Donato Shade and Alisa Vukasinovich), J. Branson’s striking sets, and music director Sean Michael Flowers’ professional-caliber orchestra are added benefits. Missed cues dampened John Rensel’s lighting design and David Sherman’s sound design on opening night but the errors weren’t a major hindrance.
One of the hallmarks of this infectiously joyful “Hairspray” is certainly its scope and size. What a treat to see Muse Machine uniquely fill the entirety of the Victoria stage to make Baltimore look and feel like a credible, thriving city, specifically propelling “Good Morning Baltimore” into one of the finest, excellently active opening numbers the organization has conceived. The impact is on par with longtime Muse director/choreographer Nat Horne’s stylish execution of opener “A Weekend at Hareford” in 1997’s “Me and My Girl.”
Having seen 21 Muse musicals, trust me when I say “Hairspray” is absolutely one of the best. Bravo!

“Hairspray” continues through Jan. 15 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit ticketcenterstage.com. The production, produced by Douglas Merk, is dedicated to Michael Kenwood Lippert, Director of the Preschool and Elementary School Program and Program Artist for Muse Machine.

‘Mary Poppins’ Review – Muse Machine – Wondrous Whimsy

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muse mary

The Muse Machine presents “Mary Poppins” through Sunday at the Victoria Theatre. Alter High School senior Brianna Russ stars as the high flying, “practically perfect” nanny. (Contributed photo)


In wonderfully uplifting fashion, the mighty Muse Machine has done it again. The arts education organization supplies an outstanding, heartwarming and smile-inducing presentation of the 2006 Tony Award-nominated adaptation of Disney and Cameron Mackintosh’s “Mary Poppins,” the Muse’s 32nd annual student musical continuing through Sunday at the Victoria Theatre.

Featuring 150 Muse students from across the Miami Valley and based on the beloved 1964 Academy Award-winning film of the same name and the books by P.L. Travers, “Mary Poppins” absolutely shines due to the simple fact that cohesiveness reigns supreme. Even the Muse’s eye-popping ability to fill the Victoria stage with students galore isn’t cause for crowded concern. In fact, there are so many students featured this time a large ensemble of youngsters confidently storm the aisles to great effect during the climax of the Act 1 showstopper “Supercalifragilisticexpialidocious,” the largest musical number in Muse history. Thankfully, co-directors Lula Elzy, Joe Deer and Douglas Merk, creating one of the breeziest “Poppins” I have seen, once again have a clear understanding of what suits the organization in terms of character and scope.

This touching tale of love, family and reconciliation, adapted by librettist Julian Fellowes (“Downton Abbey”) and set in 1910 England, is remarkably led by Brianna Russ in the sophisticatedly chipper titular role and striking tenor Christian Johnson as friendly chimney sweep Bert. A knockout last year as Nancy in the Muse’s terrific “Oliver!,” the vocally strong Russ returns with aplomb, conveying a beguiling blend of sternness, gleefulness and warmth. Johnson’s breakthrough portrayal recalls the high-kicking magnetism of Gavin Lee who originated Bert in London’s West End and on Broadway. A charming narrator and an agile triple threat, Johnson particularly impresses with aerial acrobatics in the marvelously rhythmic “Step in Time,” one of the most glorious numbers Elzy has choreographed in her 17 years with Muse. He is also vibrantly partnered with Russ in such songs as “Jolly Holiday” and the aforementioned “Super…”

Additionally, the Banks household, forever changed by Mary’s magical influence, is enjoyably grounded in the radiant performances of Mitchell Rawlins (effectively displaying the frustration and transformation of the uptight George), Cecily Dowd (fascinatingly mature beyond her years as the concerned Winifred), Megan Braun (Jane), and the adorable Jamey Paul (Michael). Well-matched Lindsey Smith (Mrs. Brill) and Rollie Fisk (Robertson Ay) provide delightful comic relief. Jack Blair (Northbrook), Leo Deer (Von Hussler), Katie Hubler (Bird Woman), James Fields IV (Neleus), Tyler Hanson (Constable), Jack Lewis (a humorously elderly Bank Chairman), and Mackenzie Wolcott (a formidable Miss Andrew) are noteworthy.

Accented by musical director Claude Lucien Thomas’ robust orchestra, John Rensel’s expert lighting design, and an array of fantastic, colorful period costumes courtesy of coordinators Lyn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich, “Mary Poppins” is a wondrously whimsical theatrical experience not to be missed.


 

“Mary Poppins” continues through Jan. 17 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are today at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com

 

Muse Machine Celebrate Songs from Elton John & The Lion King

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MuseConcert2015(2)Young singers, dancers and musicians from across the greater Miami Valley will celebrate and reimagine the work of renowned pop star and composer Elton John in a special concert event as Muse Machine’s Your Songs takes the Victoria Theatre stage for one night only on Thursday, August 6 at 8:00pm. Popular hits like “Tiny Dancer,” “Bennie and the Jets,” and “Rocket Man,” as well as music from the Disney movie turned Broadway hit, The Lion King. Your Songs pairs new arrangements with original concepts that may take the audience by surprise, but will leave them remembering why they loved Sir Elton’s music so much in the first place.

 

Said producer Doug Merk, “Elton’s music has already been reimagined by other pop, jazz and R&B musicians, and there’s a reason that happens. This music stands the test of time.” With the help of some 150 performers, including elementary and high school students as well as Muse Machine alumni, Your Songs aims to continue a tradition of creative reinterpretation.

rehearsal photos 07/30/15

rehearsal photos
07/30/15

“There will be moments in the show that give a nod to Elton and to The Lion King, but most of the show, in true Muse Machine fashion, goes in new, funny and moving directions,” says Merk.

As the concert’s title might suggest, some of the music in Your Songs was selected by the general public, who voted for their favorite selections from Elton John’s substantial catalog on Muse Machine’s website.

 

Tickets for Your Songs are available exclusively through Ticket Center Stage at 937-228-3630, online at www.ticketcenterstage.com or at the Ticket Center Stage box office located inside the Schuster Center in downtown Dayton.

‘Seussical’ Review – Muse Machine – Oh, What a Circus!

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The circus has come to the Victoria Theatre!
The absolutely delightful centerpiece of the Muse Machine’s breezy production of Stephen Flaherty and Lynn Ahrens’ “Seussical,” the arts education organization’s 30th annual student musical, is “The Circus McGurkus,” a fantastic Act 2 display of fun, mystery and whimsy. Developed by the Muse artistic team in collaboration with Fred Garbo of “Sesame Street” and “The Inflatable Theater Company,” the vibrant number departs its accustomed status as a merely serviceable transition to fluidly emerge as a clever and imaginative playground deserving of an encore. Inflatable objects, plate spinning, hula hoops, rings, juggling, acrobatics, somersaults, cartwheels, unicycles, and more are impressively handled by the highly entertaining cast from various schools across the Miami Valley.

seussical

The cast of the Muse Machine’s production of “Seussical” in rehearsal (Photo by Daniel Rader)

Elsewhere, the material isn’t executed with sharp consistency, especially evident when the aforementioned centerpiece suddenly catapults the show’s momentum, but director Joe Deer still coaxes admirable performances from his principals. The naturally endearing William Peters is the personification of kindness, loyalty and perseverance as the genuinely genial Horton the Elephant, who vows to rescue the citizens of Whoville despite overwhelming ridicule from his peers. Mark Howard, a radiant tenor, doesn’t miss a beat as his engaging portrayal of JoJo reveals a confident stage presence far beyond his years. The gangly, playful Sean Cheatwood effortlessly adopts various animated personas as the kooky Cat in the Hat. Dynamic vocalist Jennifer Clemens brings wonderful R&B sass to her role as the Sour Kangaroo. Gwyn Burton, an adorable Gertrude McFuzz, and the bubbly Christine Fiala, an appropriately flashy and vain Mayzie LaBird, are equally appealing. David Emery and Sarah Martin are well-matched as Mayor of Whoville and Mrs. Mayor. The intimidating John Neff commands attention and incites fear as the best General Genghis Kahn Schmitz I have seen. The dastardly Wickersham Brothers, uniquely dressed as street toughs, are cohesively comprised of Kyle Bates, Joel Daniel (also the humorous Grinch), James Fields, Benjamin Green and Christian Johnson. Jeremy Cleary (Vlad Vladikoff), Rollie Fisk (Judge Yertle the Turtle), Cayla Destefani (Bird Girl), Cecily Dowd (Bird Girl), Anna Hlinomaz (Bird Girl), Rachael Horner (Bird Girl), Clare Kneblik (Bird Girl), Callia Tellez (Bird Girl) and Rachel Woeste (Bird Girl) are noteworthy.
Additionally, Lula Elzy’s seemingly non-stop choreography is cute and colorful, particularly the uplifting opening number “Oh, The Thinks You Can Think!” as well as “It’s Possible” and the energetic finale. Music director Timothy Olt leads a strong, steady orchestra. Set designer J. Branson’s large backdrops capture the spirit of the Dr. Seuss books. Many costumes sparkle with personality thanks to coordinators Lyn Baudendistel, Robin Brown, Patty Peters and Alisa Vukasinovich. John Rensel’s lighting design expertly accents varying moods and locales. David Sherman’s sound design specifically impacts during JoJo’s Act 2 military departure, but repeatedly missed cues hindered last night’s performance.
Bookended by a sprinkle of Hollywood star power and an inspired nod to a legendary rock band, “Seussical” awakens the child in all of us with an exuberant charm typifying the Muse pedigree. Step right up!

 

“Seussical” continues through Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. You can still catch performancestonight at  8 p.m. and Sunday at 2 p.m. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

 

 

 

Muse Machine’s ‘All You Need is Love’ Invades Victoria Theatre

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fl61jmsf3bgj7ickw245we3ut0c88xadNearly 200 Muse singers, dancers and musicians of all ages perform many of the greatest songs of the last 50 years! From She Loves You to Strawberry Fields Forever to Hey Jude, the music of the Fab Four (along with a few surprises) will be re-imagined in all new ways.

Visit http://www.musemachine.com for additional information &http://www.ticketcenterstage.com to purchase tickets.