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‘The Feast’ Review – Playground Theatre – Demons Within

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Ghastly, unearthly sounds shattering the psyche of a struggling New York artist provides the dramatic fuel for Cory Finley’s eerie yet bewildering 2015 Off-Off-Broadway comedic thriller The Feast, currently receiving an excellently chilling local premiere by Playground Theatre in the new PNC Arts Annex.

Rae Buchanan (Anna), Phillip Drennen (Man) and A.J. Breslin (Matt) star in Playground Theatre’s local premiere of “The Feast” Oct. 25-28 in the PNC Arts Annex. (Photo by Knack Creative)

Skillfully co-directed with contemporary horror flourishes and brooding intensity by Playground co-founders Jenna Valyn and Christopher Hahn, The Feast, the Playground’s fourth season opener, brings mental health to the forefront as Matt (a credibly shaken and overwhelmed A.J. Breslin) attempts to figure out why he hears something akin to “a dying whale” coming from his toilet. This is a serious concern, but Finley shortchanges the experience by not allowing a fuller picture into Matt’s background, particularly his childhood. The play’s freak-factor would’ve been raised significantly if, perhaps, Little Matt would’ve appeared to share a few scenes and offer a glimpse into what formulated the demons within. But as it stands, firmly in the present, Matt merely spends most of his time at odds with his girlfriend Anna (a resilient, mysterious Rae Buchanan) and encountering various individuals intent on making his emotionally damaged life more topsy-turvy including a frustrated plumber, an indifferent therapist and a close friend connected inside Manhattan’s thriving arts scene (all marvelously embodied with chameleon fluidity by Philip Drennen). Ultimately, Finley leaves many questions unanswered, opting instead for a plot meandering into predictable boyfriend/girlfriend revenge territory complete with an important meal served on the verge of feeling reminiscent of The Beguiled and Phantom Thread.

Rae Buchanan (Anna) and A.J. Breslin (Matt) are featured in Playground Theatre’s local premiere of “The Feast” Oct. 25-28 in the PNC Arts Annex. (Photo by Knack Creative)

Nevertheless, Valyn and Hahn, making great use of the Arts Annex’s thrust stage, fill the show with enough genuinely creepy moments to startle the senses, specifically bolstered by outstanding lighting design by Derek Dunavent and composer Skyler McNeely’s original soundscape splendidly blending pulsating suspense with rhapsodic melancholy. There is also an absolute whopper in the final seconds that makes this production totally unique and worthwhile, an apt description of the Playground pedigree.

The Feast continues through Oct. 28 in the PNC Arts Annex, Second and Ludlow Streets, Dayton. Performances are 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 65 minutes. Tickets are $15-$20 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting ticketcenterstage.com. Also, some of the various pieces of artwork in the show, which have been created by local artists, will be auctioned in support of Roochute, which “creates conversation about mental health and promotes acts of kindness to the world.” For more information about the auction, visit pgdyt.org/auction. For more information about Playground Theatre, visit theplaygroundtheatre.org.

 

‘The Tutors’ Review – Playground Theatre – Craving Connection

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The local theater scene welcomes 2018 with a bang thanks to Playground Theatre’s outstanding local premiere of Erica Lipez’s 2013 off-Broadway dramedy The Tutors in the Mathile Theatre of the Schuster Center.

(left to right) Ryan Grissett (Milo), Jenna Gomes (Heidi), A.J. Breslin (Joe), Boyang Zhang (Kwan), and Skyler McNeeley (Toby) appear in Playground Theatre’s local premiere of “The Tutors.” (Photo by Knack Creative)

Set in New York City circa 2007, the play revolves around the disillusioned lives of Joe, Toby and Heidi, friends and roommates whose dream of creating a Facebook-esque social networking site has sputtered. In order to pay the bills, they tutor wealthy prep school students. “Our time is coming,” Heidi states. “But the only thing coming is the rent.” Although their dream is built on connection, Lipez powerfully plants their relationship in various modes of disconnect. Heidi, suffering from mental illness, specifically agoraphobia, refuses to leave the apartment and imagines intimacy with an Asian student. Joe, a schemer responsible for naming the website joinme2u.com, seduces his students with drugs in the hope that their parents will become investors in the floundering site. Toby, the closeted and introverted tech expert, appears to be the most grounded but is still coming to terms with his identity and purpose. Disappointed and distressed, lonely and confused, the trio questions their future while craving connection.

Just when you think you have Lipez all figured out, she creates fascinating and thought-provoking detours. Along the way, the trio significantly damages each other while perceiving to cling to their ride or die friendships. But friendships change. Dreams change. One must be willing to navigate a new path sometimes and it’s perfectly fine to break free. They learn this the hard way even when discussions turn destructive and nasty. However, nothing in the play is more beautifully complicated than the final moments of Act 1, a sequence exquisitely directed with overlapping fluidity and sensitivity by Playhouse co-founders Christopher Hahn and Jenna Valyn. Hahn and Valyn’s incredibly intimate atmosphere is notably bolstered by a savvy soundtrack featured during scene changes and Derek Dunavent’s evocative lighting.

Inhabiting Lipez’s relevant world is a cast that ranks among the finest assembled so far this season. A.J. Breslin, meticulously composed and reserved in Playground’s production of Tape a few months ago, is in full attack mode here recalling his strong and defiant performance as Dennis in Playground’s This is Our Youth last season. Breslin doesn’t disguise Joe’s overbearingly snarky qualities, but he’s wise not to make him a complete jerk unworthy of redemption. The radiant Gomes effortlessly navigates Heidi’s whimsical journey with ample humor and drama, a skillful balancing act recalling the arc of the equally unstable Harper Pitt in Angels in America. Skyler McNeely, new to the Playground but recently seen alongside Breslin in Dare to Defy Productions’ presentation of Seussical, is remarkable in one of his best and most vulnerable performances. Conveying tenderness, concern, frustration, and hope sometimes within the same breath, McNeely, astutely accenting his expressive work with a tinge of mystery to keep the audience on its toes, is firmly grounded as the play’s appealing emotional center. Breakthrough performances are offered by Ryan Grissett as Joe and Toby’s privileged and disenchanted pupil Milo and Boyang Zhang who pulls double duty as the real and fictional embodiments of Kwan. Grissett, a recent graduate of Beavercreek High School, gleefully agitates Breslin and McNeely for much of the play but explodes with heartbreaking fury when Milo’s world is flipped upside down especially within his fractured home. Zhang, a Cincinnati-based actor, expertly differentiates cool suaveness and buttoned-up reticence in his dual roles.

Lipez knows of what she writes. She was once a tutor and actually wrote this play while in graduate school at New York University. She also served as producer and writer of such TV series as Lone Star, Suits and Bates Motel. Her captivating look at millennials embracing the digital age without any idea of how to truly connect face-to-face with attention and focus rises as both a cautionary tale and another splendid example of the Playground’s riveting artistry.


The Tutors continues through Jan. 7 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 60 minutes. Act Two: 60 minutes. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are advised the show contains adult language and situations. For more information, visit theplaygroundtheatre.org. Also, you can follow Playground’s Spotify playlist at http://pgdyt.org/tutors-soundtrack. The indie/rock/folk artists featured include Vampire Weekend, Blitzen Trapper, Band of Horses, The Shins, and Arctic Monkeys.

‘Tape’ Review – Playground Theatre – Riveting Reunion

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Stephen Belber’s dark 1999 drama “Tape,” outstandingly produced by Playground Theatre at the Mathile Theatre, pulls no punches in its brutally honest examination of memory, betrayal, infatuation, deception, vindictiveness, jealousy, and sexual assault encompassing the lives of three high school friends. Seeking to uncover truths with jaw-dropping psychological gamesmanship, Belber creates a blistering portrait of humanity that’s messy, nasty and flawed. Through anger and pain, shock and shame, this fascinating character study, set inside a Michigan motel in real time thereby heightening its conversational allure and emotional stakes, reiterates how impossible it is to move forward if you haven’t made peace with the past.

(left to right) A.J. Breslin (Jon), Christopher Hahn (Vince) and Kelsie Slaugh (Amy) star in Playground Theatre’s production of “Tape.” (Photo by Knack Creative)

Directed with gripping tension by Playground co-founder Jenna Valyn, this intimate outing smoothly evolves from the casual small talk of its more humorous opening moments to a pulse-pounding climax of destructive volatility. Playground co-founder Christopher Hahn fills his astute portrayal of brutish Vince, a volunteer firefighter and dope dealer still searching for his true calling, with sharp sarcasm and passionate unpredictability. In addition to embracing Vince’s man-child essence to the hilt (notice how he makes flushing drugs down the toilet seem utterly devastating), he winningly conveys Vince’s faux nobility when attempting to be the hero of this tale. The dynamically expressive A.J. Breslin shines as Jon, a budding filmmaker whose decision to be “a little rough” one evening 10 years ago comes back to haunt him. Masterfully composed in his early scenes, Breslin eventually erupts with fierce ferocity during Vince and Jon’s pivotal argument involving a taped confession of rape. Due to his proficiency of duality, I absolutely believed the seemingly reserved Jon was capable of producing “violent tendencies” just as much as bad-boy Vince. The magnetic, quietly commanding Kelsie Slaugh delivers a breakthrough performance as the highly perceptive Amy, a local assistant district attorney and Vince’s bygone girlfriend who takes matters into her own professional hands as the horror of what happened (or didn’t happen) with Jon comes into focus. Cunningly and charmingly acknowledging Amy as the smartest and savviest adult in the room, Slaugh particularly mesmerizes in her cutthroat delivery of Amy’s incredibly stinging reprimand to Jon which internally beats him to a pulp. It is the defining moment of the play and rightfully so.


The Playground relishes in edgy, gritty plays addressing the harsh realities of life. “Tape,” bound to incite thought-provoking discussion, continues the organization’s impressive artistic track record while indicating a refreshing desire to broaden its base and brand as it opens its fourth season. Enter Room 32 if you dare.

 

“Tape” continues today at 2 and 8 pm and Sunday at 2 pm inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 70 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For more information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations. You can also follow Playground’s Spotify playlist at http://bit.ly/tape-soundtrack.

 

‘Jailbait’ Review – Playground Theatre – Dangerous Game

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Every day is Saturday. This no holds barred philosophy seems to suit 15-year-old sophomores Emmy and Claire, a naive duo on the prowl for unassuming older men in Deirdre O’Connor’s riveting contemporary dramedy “Jailbait,” which receives an outstanding local premiere in the Mathile Theatre of the Schuster Center courtesy of millennial-centric Playground Theatre.

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(left to right) Christopher Hahn (Mark), Lisa Glover (Emmy), Mike Beerbower (Robert), and Jenna Gomes (Claire) star in Playground Theatre’s local premiere of Deirdre O’Connor’s contemporary dramedy”Jailbait” (Contributed photo)

Instead of clinging to the innocence of youth, the reticent Claire (an expertly cautious and emotionally wounded Jenna Gomes) and confidently sly Emmy (magnetically effervescent Lisa Glover) dress up in their sexiest attire (the beginning of Claire’s transformation greatly impacts the dynamics of the opening scene) to meet thirtysomething friends Mark (Playground co-founder Christopher Hahn in skillful attack mode) and Robert (an endearingly square Mike Beerbower) at a club. Arrogantly brutish Mark, the epitome of a player, and sensitive Robert, still reeling from a bad breakup and particularly suffering from commitment issues, have no idea they’re stepping into dangerous territory, fueling the action and its momentum to the hilt.

 
When situations go too far, everything crashes in a heartrendingly predictable sea of anger, guilt, shame, and tears. How could it not? Even so, O’Connor daringly and vividly weaves themes of intimacy, connection and the complexities of adulthood into a frankly conversational, real-time framework. Desperation, enticement and sexual politics play out with snappy language that shocks and titillates often in the same breath. The game being played only transpires in one night but is potent enough to leave you questioning the depths some are willing to take to simply hit it off with a stranger. As Mark warns Robert in a moment of indecision, “Don’t think of it as lying. Think of it as improv in a bar.”

 
Staged with superbly character-conscious, slice of life realism by Playground co-founder Jenna Valyn, “Jailbait” soars as the radiant cast sharply uncovers varying degrees of deception and desire. Hahn, savvy enough to display Mark’s vulnerabilities, has a fun, brotherly rapport with Beerbower and smoothly engages with the fabulously flirtatious Glover. Having memorably appeared in two Dare to Defy Productions this season, Glover is a knockout once more navigating Emmy’s arc ranging from drunken daze to tempting tease to regretful confidant. Gomes and Beerbower’s charming awkwardness in their first meeting appealingly lays the groundwork for a pivotal, confrontational exchange, grippingly performed by the duo, which brings the hard truth to the surface. Additionally, the excellent sound design, specifically in the club scenes, complements the cast without overpowering them. R&B beats pulsate underneath the dialogue, but every word can be heard, which is an impressive feat.

 
Accented with “Alice in Wonderland” subtleties and a cool Spotify playlist, this terrific experience is one of the finest of the fall. Don’t miss it.

 

“Jailbait” continues through Dec. 4 at in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. For additional information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations.

 

Saluting Dayton’s 2015-16 Theater Season

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10443106_10152241549014755_6691478090546029427_oAmerica’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

Looking back, let’s start with the bold, risk-taking Playground Theatre, a millennial-focused troupe changing the landscape of Dayton theater with an edgy off-Broadway vibe. Case in point: An exceptionally acted, up close and personal local premiere of Reasons to Be Pretty, Neil LaBute’s scathing account of image, regret, deception, and disillusionment directed with razor sharp tension and riveting intimacy by David Brush. Fine premieres thrived elsewhere at community theaters thanks to the Dayton Theatre Guild’s lovely Outside Mullingar and Last Gas as well as Young and Heart Players’ kooky, introspective Circle Mirror Transformation. As for musicals, Dayton Playhouse scored with challenging classics 1776 and Carousel while Beavercreek Community Theatre offered highly engaging accounts of The Addams Family and Spring Awakening

Collegiate theaters also hit the mark with a solid slate of musicals. Wright State University’s Chicago, The Music Man and Miss Mayor showcased the superior quality audiences have come to expect while Sinclair Community College notably produced an infectious, playful and soul-stirring Wiz. Drama standouts included University of Dayton’s captivatingly poignant staging of the Holocaust drama And A Child Shall Lead (co-produced by Zoot Theatre Company), Sinclair’s terrifically ensemble-driven One Flew Over the Cuckoo’s Nest, and Clark State Community College’s commendable Angels in America: Millennium Approaches.

On professional stages, the fantastic return engagement of The Lion King gave the Victoria Theatre Association late-season momentum, but the production was actually one of an assortment of outstanding national tours this season including A Night with Janis Joplin, Once, Pippin, The Book of Mormon, and The Bridges of Madison County. Human Race Theatre Company specifically excelled with a wonderfully haunting and heartfelt Glass Menagerie. Feminine-centric Magnolia Theatre Company produced a splendid local premiere of the engrossing one-woman show K of D, but also greatly entertained with the delightful cabaret Broadway Beveled. Dare to Defy Productions pulled out the stops with American Idiot, but also impressed with the hilarious Great American Trailer Park Musical and snazzy, dance-heavy Wild Party.
Assessing the 65 shows I saw this season, I congratulate the following winners (in bold) and nominees.

glass menagerie

Jennifer Joplin, Claire Kennedy and Scott Hunt in the Human Race Theatre Company’s production of “The Glass Menagerie” (Photo by Scott J. Kimmins)

reasons to be pretty

(l to r) Brett Hill, Jenna Burnette, Christopher Hahn, and Kaleigh-Brooke Dillingham in “Reasons to Be Pretty” (Photo by Rachel Katz)

BEST TOURING PRODUCTION
The Book of Mormon, Victoria Theatre Association
The Bridges of Madison County, Victoria Theatre Association
Disney’s The Lion King, Victoria Theatre Association
Once, Victoria Theatre Association
Pippin,Victoria Theatre Association
Rodgers and Hammerstein’s Cinderella, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Glass Menagerie,Human Race Theatre Company
The K of D, An Urban Legend, Magnolia Theatre Company
Master Class, Human Race Theatre Company
Steel Magnolias, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
A Christmas Story: The Musical, La Comedia Dinner Theatre
American Idiot, Dare to Defy Productions
The Full Monty, Human Race Theatre Company
The Great American Trailer Park Musical,Dare to Defy Productions
The Wild Party,Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
Circle Mirror Transformation, Young at Heart Players
Fools,Undercroft Players
Last Gas,Dayton Theatre Guild
Outside Mullingar, Dayton Theatre Guild
Reasons to Be Pretty, Playground Theatre

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
1776, Dayton Playhouse
The Addams Family,Beavercreek Community Theatre
Carousel, Dayton Playhouse
Spring Awakening, Beavercreek Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
A Streetcar Named Desire, Wright State University
And A Child Shall Lead, University of Dayton with Zoot Theatre Company
Angels in America: Millennium Approaches, Clark State Community College
The Great Gatsby, Wright State University
One Flew Over the Cuckoo’s Nest, Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Chicago, Wright State University
Miss Mayor, Wright State University
The Music Man, Wright State University
Once Upon a Mattress, University of Dayton
The Wiz, Sinclair Community College

k-of-d

Dayton native and Wright State University grad Annie Pesch Contributed photo

BEST SPECIAL THEATRICAL EVENT
A Night with Janis Joplin, Victoria Theatre Association
American Mosaic, Dayton Philharmonic Orchestra, Dayton Opera, Dayton Ballet, Human Race Theatre Company, Muse Machine, DCDC, and Bach Society of Dayton
An Evening with Jason Robert Brown, Wright State University Musical Theatre Initiative
Mary Poppins, Muse Machine
Tarzan,Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Anthony Reilly, Outside Mullingar
Saul Caplan as Roy Cohn, Angels in America: Millennium Approaches
Tommy DiMassimo as Stanley Kowalski, A Streetcar Named Desire
Christopher Hahn as Greg, Reasons to Be Pretty
Scott Hunt as Tom Wingfield, The Glass Menagerie
David Shough as Joseph Alsop, The Columnist (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY
Christine Brunner as Truvy, Steel Magnolias
Jenna Burnette as Steph, Reasons to Be Pretty
Teresa Connair as Rosemary Muldoon, Outside Mullingar
Jenna Gomes as Becky, Slowgirl (Dayton Theatre Guild)
Ellie Margolis as Blanche DuBois, A Streetcar Named Desire
Annie Pesch as The Girl, The K of D, An Urban Legend

BEST LEADING ACTOR IN A MUSICAL
Christian Johnson as Bert, Mary Poppins
Nathan Robert Pecchia as Harold Hill, The Music Man
Layne Roate as Johnny, American Idiot
Andrew Samonsky as Robert Kincaid, The Bridges of Madison County
Jeff Sams as Billy Bigelow, Carousel
Cody Jamison Strand as Elder Cunningham, The Book of Mormon

BEST LEADING ACTRESS IN A MUSICAL

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Pictured: Carolyn Popp, Christine Brunner, Caitlin Larsen, Patricia Linhart and Maretta Zilic


Kaitlyn Davidson as Ella, Rodgers and Hammerstein’s Cinderella
Mackenzie Lesser-Roy as Girl, Once
Gabrielle McClinton as Leading Player, Pippin
Bailey Rose as Roxie Hart, Chicago
Brianna Russ as Mary Poppins, Mary Poppins
Elizabeth Stanley as Francesca Johnson, The Bridges of Madison County

 

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Martin Lowy, And A Child Shall Lead
Sean Frost as Louis Ironson, Angels in America: Millennium Approaches
Cody Lewis as Harold “Mitch” Mitchell, A Streetcar Named Desire
Dave Nickel as Tony Reilly, Outside Mullingar
John Spitler as Dr. Zubritsky, Fools
Drew Vidal as Jim O’Connor, The Glass Menagerie

BEST SUPPORTING ACTRESS IN A PLAY
Megan Cooper as Theresa, Circle Mirror Transformation

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The cast of Dayton Playhouse’s production of “1776” (Photo by Art Fabian)

Kaleigh-Brooke Dillingham as Carly, Reasons to Be Pretty
Claire Kennedy as Laura Wingfield, The Glass Menagerie
Caitlin Larsen as Ouiser, Steel Magnolias
Pam McGinnis as Freida, The Tale of the Allergist’s Wife (Dayton Playhouse)
Rachel Wilson as Cherry-Tracy Pulcifer, Last Gas

BEST SUPPORTING ACTOR IN A MUSICAL
Tim Rezash as John Dickinson, 1776
John Rubenstein as Charles, Pippin
Tyler Simms as Amos Hart, Chicago
J. Gary Thompson as Jigger Craigin, Carousel
Malcolm Walker as The Wiz, The Wiz
Richard Young as Benjamin Franklin, 1776

 

BEST SUPPORTING ACTRESS IN A MUSICAL
Cecily Dowd as Winifred  Banks, Mary Poppins
Lisa Glover as Whatsername, American Idiot
Priscilla Lopez as Berthe, Pippin
Krissy McKim-Barker as Carrie Pipperidge, Carousel
Tia R. Seay as Betty, The Great American Trailer Park Musical
Megan Valle as Jacqueline “Jacq” Greer, Miss Mayor

trailer-park-copy

(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)


BREAKTHROUGH MALE PERFORMANCE
Evan Benjamin as Jack, Into the Woods (Dare to Defy Productions)
David E. Brandt as The Lion, The Wiz
Brett Hill as Kent, Reasons to Be Pretty
Dakota Mullins as Tommy Djilas, The Music Man
Thomas Cole Schreier as St. Jimmy, American Idiot
Eric Thompson as Enoch Snow, Carousel

 

BREAKTHROUGH FEMALE PERFORMANCE
Bryana Bentley as Rose, Fences (The Signature: A Poetic Medley Show/Sinclair Community College)
Caroline Chisholm as Velma Kelly, Chicago
Natalie Girard as Evelyn “Evie” Ensler (a.k.a. Helen Hensler), Miss Mayor
Adrienne (Adee) McFarland as Julie Jordan, Carousel
Vanae Pate as Dorothy, The Wiz
Madeline Sensenstein as Myrtle Wilson, The Great Gatsby

BEST DIRECTION OF A PLAY
Kimberly Borst, The K of D, An Urban Legend
David Brush, Reasons to Be Pretty
Greg Hellems, The Glass Menagerie
David Shough, Outside Mullingar
Jerome Yorke, And A Child Shall Lead

BEST DIRECTION OF A MUSICALwsu chicago
Marya Spring Cordes, The Music Man
Joe Deer, Chicago
Chris Harmon, The Wiz
Megan Wean Sears, Tarzan
Angie Thacker, American Idiot

BEST CHOREOGRAPHY
Lula Elzy, Mary Poppins
Lisa Glover, The Wild Party
Kimberly Isaacs, American Idiot
Teressa Wylie McWilliams, Chicago
Rodney Veal, The Wiz
Dionysia Williams, The Music Man

BEST SCENIC DESIGN OF A PLAY
Bruce Brown, Last Gas
Matthew J. Evans, And A Child Shall Lead
Chris Newman, The Tale of the Allergist’s Wife (Dayton Playhouse)
Chris Newman and David Shough, Outside Mullingar
Terry Stump, One Flew Over the Cuckoo’s Nest

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, The Full Monty
Adam Koch, Chicago
Pam Knauert Lavarnway, The Music Man
Terry Stump, The Wiz
Ray Zupp, Tarzan

BEST COSTUME DESIGN OF A PLAY
Donna Beran, And A Child Shall Lead
Carol Finley, The Columnist (Dayton Theatre Guild)
Mary Beth McLaughlin, The Great Gatsby
Janet G. Powell, Steel Magnolias
Emily Sollinger, A Streetcar Named Desire

BEST COSTUME DESIGN OF A MUSICAL
Kathleen Carroll, 1776
Kathleen Hotmer, The Wiz
Maria Klueber and Lori Watamaniuk, Tarzan
Christie Peitzmeier, The Music Man
Michelle Sampson, Chicago

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UD’s production of AND A CHILD SHALL LEAD. Photo by: Tony Beran

BEST LIGHTING DESIGN OF A PLAY
Jadon Bischoff, Slowgirl (Dayton Theatre Guild)
Daniel Brunk, One Flew Over the Cuckoo’s Nest
Jessica Ann Drayton, A Streetcar Named Desire
Matthew J. Evans, And A Child Shall Lead
Jessy Henning, The K of D, An Urban Legend

BEST LIGHTING DESIGN OF A MUSICAL
Matthew Benjamin, American Idiot
Jacob Brown, The Music Man
Sammy Jelinek, Into the Woods (Dare to Defy Productions)
Gina Neuerer, The Wiz
John Rensel, Mary Poppins

BEST SOUND DESIGN OF A PLAY
Megan Banfield, And A Child Shall Lead
Jay Brunner, The Glass Menagerie
Emily Hutton, The K of D, An Urban Legend
Alex Koker, A Streetcar Named Desire
K.L. Storer, Last Gas

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Wiz
James Dunlap, Chicago
Emily Hutton, The Music Man
Chris Pentecost, Tarzan
Ben Selke, A Night with Janis Joplin

BEST ORCHESTRA
A Night with Janis Joplin (Music Director: Mark Berman)
The Bridges of Madison County (Music Director: Keith Levenson)
Chicago (Music Director: Scott Woolley)
Mary Poppins (Music Director: Claude Lucien Thomas)
The Wiz (Music Director: David McKibben; Conductor: Dr. Kenneth Kohlenberg)

BEST PROPERTIES
Jason Hamen and Adrienne Ausdenmoore, Tarzan
Jennifer Kramer, The Wiz
Heather Powell, Steel Magnolias
Shannon Sellars, Mary Poppins
Mo Stinehart, And A Child Shall Lead

ADDITIONAL ACKNOWLEDGMENTS

  • David Alfano’s video and projection design for And A Child Shall Lead
  • Lynn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich’s costume coordination for Mary Poppins
  • Brad Bishop as Gomez Addams and Becky Barrett-Jones as Morticia Addams in The Addams Family
  • Jay Brunner’s incidental music for The Glass Menagerie
  • David Brush and Chris Harmon’s respective reconfigurations of the Mathile Theatre and Beavercreek Community Theatre for Reasons to Be Pretty and Spring Awakening
  • Steven Burton and Tim Grewe’s wig design for 1776
  • The Tony-winning creative team for The Lion King: Director/designer Julie Taymor, scenic designer Richard Hudson, lighting designer Donald Holder, and choreographer Garth Fagan
  • The creative team for Miss Mayor: Christian Duhamel (music and lyrics), Ellie Margolis (book) and Greg Hellems (concept/additional book)
  • Micah Koverman as Colin in The Secret Garden (Playhouse South)
  • Bob Crowley’s Tony-winning scenic design, Natasha Katz’s Tony-winning lighting design, John Tiffany’s Tony-winning direction, and Steven Hoggett’s movement for Once
  • Tristan Cupp’s puppet design for And A Child Shall Lead
  • Cicily Daniels, Tawny Dolley, Q. Smith, and Jennifer Leigh Warren as the Joplinaries in A Night with Janis Joplin
  • Mary Bridget Davies’ Tony-nominated portrayal of Janis Joplin in A Night with Janis Joplin
  • Elis Davis, Jordan Adams, Connor Lysholm, and Kyle Krichbaum as The Quartet in The Music Man
  • Jonathan Deans and Garth Helm’s Tony-nominated sound design, Paul Kieve’s illusions, Dominique Lemieux’s Tony-nominated costumes, Scott Pask’s Tony-nominated scenic design, Diane Paulus’ Tony-winning direction, Kenneth Posner’s Tony-nominated lighting design, Gypsy Snider’s circus creation, and Chet Walker’s Tony-nominated choreography for Pippin
  • Jasmine Easler as Oprah Winfrey in Miss Mayor
  • Carol Finley’s costumes for Five Women Wearing the Same Dress (Beavercreek Community Theatre)
  • TJ “Tyler” Fortson, Katelyn Gross, Ashlee Ferrell, and Maximillian Santucci in Quid Pro Quo (Sinclair Community College)
  • Mierka Girten as Maria Callas, musical director Sean Michael Flowers’ accompaniment and Cassi Mikat as Sharon Graham in Master Class
  • Jose Gutierrez del Arroyo as Franklin Shepard in Merrily We Roll Along (Beavercreek Community Theatre)
  • Chris Harmon’s scenic design for California Suite, Five Women Wearing the Same Dress and Spring Awakening (Beavercreek Community Theatre)
  • William Ivey Long’s Tony-winning costumes and Josh Rhodes’ choreography for Rodgers and Hammerstein’s Cinderella
  • Jeffrey Mack as Tarzan in Tarzan
  • Gary Minyard’s fight choreography for She Kills Monsters (Sinclair)
  • Wendi Michael’s scenic design for Slowgirl (Dayton Theatre Guild)
  • Jared Mola as Nat Paradis and Rick Flynn as Guy Gagnon in Last Gas
  • The Murderesses of “Cell Block Tango” in Chicago (Caroline Chisholm, Alex Caldwell, Haylee Dobkins, Alyson Snyder, Megan Valle, and Meredith Zahn)
  • Chris Newman’s scenic design for The Diary of Anne Frank (Dayton Playhouse)
  • Casey Nicholaw’s Tony-winning choreography of The Book of Mormon
  • Annie Pesch and Fran Pesch’s rendition of “No More” in Broadway Beveled: A Feminine Cabaret
  • Micah Stock as Tom Wingfield (The Glass Menagerie) in American Mosaic
  • Matthew Tabor’s Hungarian dialect coaching for Chicago
  • Deborah Thomas’ dialect coaching for The Great Gatsby
  • André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry as The Yellow Brick Road in The Wiz
  • ZFX, Inc.’s flying effects for Tarzan