Russell Florence

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

March 24, 2017 By Russell Florence, Jr.

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

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

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

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

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

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

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

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

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

‘Hail Mary!’ Review – Human Race Theatre Company – An Education

November 7, 2016 By Russell Florence, Jr.

Mary Wytkowski, a feisty novice unashamed to ruffle feathers in a climate built on long-standing ideologies and rigid structure, is a truly fascinating brew of complexity, boldness and hope in Tom Dudzick’s surprisingly engrossing comedy “Hail Mary!,” currently receiving a terrific local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Set in 2003 at Saint Aloysius Catholic Elementary School in upstate New York, “Hail Mary!” is a smart and savvy reminder of how consequential words can be especially when addressed to impressionable third-graders. When Mary tells one of her students that God’s feelings cannot be hurt, she is scolded by Mother Regina Marie, overseer of novice management, for creating an atmosphere of “dangerous ideas.” Viewing theology from a progressive mindset, Mary is fueled by the desire to have students openly question, to simply use their brains, which is in direct contrast to Mother Regina Marie’s orthodox perspective. In turn, these two distinctly staunch women, bonded by faith yet torn by principle, passionately engage in a full-scale philosophical and spiritual tug-of-war. For every defiant declaration Mary delivers (“morals change as the times change”), Mother Regina Marie astutely counters (“God’s thoughts come first. His ideas take precedence always”). In an attempt to keep the play from being bogged down in dogma, Dudzick inserts a humorous love story (the father of one of Mary’s students is her old flame), but it’s the central conflict that fuels the play’s pulse. And for added measure, director Margarett Perry skillfully balances the continually shifting comedic and dramatic flow, recalling her fine work helming the varied layers and nuances in the Human Race’s 2015 production of “Vanya and Sonia and Masha and Spike” at the Victoria Theatre.

Claire Kennedy thrillingly embraces the titular role with dynamic acumen and fiery attack as if she spent weeks in religious fundamentalism debate prep before rehearsals began. A student of the classics (her Shakespearean training is apparent), Kennedy, who portrayed meek wallflower Laura Wingfield in the Human Race’s “The Glass Menagerie” nine months ago, once again brings her marvelous versatility to the forefront. Her well-defined characterization of a woman who can be a trusted ally and a hard-nosed agitator sometimes in the same captivating breath is simply remarkable. Jennifer Dorr White supplies great intimidation and unexpected heartbreak as Mother Regina Marie, particularly in the heated Act 2 which uncovers her past in touching detail and gently humanizes her along the way. The charmingly chipper Joshua Levine is a bundle of joy as Joe Sykarczek, a widowed carpenter who falls back in love with Mary while wanting the best for his son, academically and spiritually, in the way he alone feels is correct. The reliably comical Andréa Morales as Mary’s spunky pal Sister Felicia and Human Race resident artist Scott Stoney as the kindly Father Stanley provide wonderful support. Stoney particularly has some very winning emotional moments whenever Father Stanley reflects on his genuine admiration for Mary’s opinionated bravado, referring to her at one point as “a lighthouse” and “our hope for the future.” It’s hard to disagree.

Scenic designer Eric Moore’s colorfully cute classroom, accented with images of inspirational spiritual leaders and adorned with inspirational spiritual reminders, is an inviting haven of learning proclaiming “a peaceful world” on the chalkboard. The expert artistic team includes costumer Janet G. Powell, lighting designer John Rensel, and sound designer Jay Brunner.

Hail Mary!” notably marks the third Dudzick work the Race has produced following “Over the Tavern” in 2008 and “Miracle on South Division Street” in 2014. This play is certainly Dudzick’s finest and most thought-provoking, creating an educational experience that makes you sit up and lean forward as it pulls you further into its enlightening battle of wills. In fact, when Mary addresses 9/11, speaking to the idea that there’s no such thing as absolute right or wrong, her views will linger in the recesses of your mind.
What does the future hold for Mary Wytkowski? Priesthood? The presidency? It’s difficult to tell because she dreams big. But if you want to get to know this marvel of a woman, and you most certainly should, class is in session until Nov. 20. Don’t be tardy.

“Hail Mary!” continues through Nov. 20 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Nov. 10-12 and 17-19 at 8 p.m.; Nov. 8, 15, and 16 at 7 p.m.; and Nov. 13 and 20 at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; $17.50-$25 for students. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail [email protected]. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘Sweeney Todd’ Review – Human Race Theatre Company – Dark Victory

September 13, 2016 By Russell Florence, Jr.

The Human Race Theatre Company opens its 30th anniversary season with a wonderfully immersive and impressive production of composer Stephen Sondheim and librettist Hugh Wheeler’s 1979 Tony Award-winning masterpiece “Sweeney Todd: The Demon Barber of Fleet Street.”

Based on Christopher Bond’s play of the same name, “Sweeney Todd” marvelously intertwines horror, humor, love, regret, revenge, and suspense into its Victorian account of a crazed barber/ex-convict destroying the society that cheated him. The disturbing, cannibalistic nature of Sweeney’s dastardly deeds, fueled by his kooky accomplice Mrs. Nellie Lovett, a pie shop proprietor in Fleet Street, always provides a riveting centerpiece for this ingenious thriller. However, director Scott Stoney refreshingly opts for more than a mere bloody fright fest. By digging deeper into characterization and the humanity of those inhabiting Sweeney’s dark world, Stoney creates one of the most relevant versions of the show I have seen heightened by a striking intimacy that can only be felt within the confines of the Loft Theatre. In fact, due to certain moments staged on platforms located on opposite sides of the venue, the material has never felt more immediate or engrossing. Some organizations would scoff at the notion of producing such an unnerving musical with an approachable mindset, but Stoney’s boldness, insisting the audience follow every morsel of the action, invites an experience unlike any other. But you wouldn’t want to be kept at a distance anyway considering the fantastic attributes of his vocally sublime cast.

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Jamie Cordes plays the title role in “Sweeney Todd.”

Resonant baritone Jamie Cordes, featured as sailor Anthony Hope in the Human Race’s 1996 production of “Sweeney Todd” at the Victoria Theatre starring Stoney, understands the fine line associated with portraying the complex Sweeney, one of the most challenging roles ever conceived. If he aimed too psychotic he’d wallow in overblown histrionics. If he aimed too melodramatic he’d wallow in maudlin shallowness. Thankfully, the evil he concocts is a fetching brew of creepily confident swagger, authoritative menace, distressed paranoia, wounded remorse, and disturbing joy. Toward the end of Act 1, Cordes respectively brings Sweeney’s magnetism and terror to the compelling forefront with splendid renditions of the ravishing ballad “Pretty Women” (terrifically shared with David McDonald as the corrupt Judge Turpin who sent Sweeney to jail on a trumped-up charge and adopted his daughter Johanna while he was incarcerated) and utterly alarming “Epiphany,” one of the scariest songs in the musical theatre canon tailor-made to rip through the fourth wall. Fine comedienne Rebecca Watson (Broadway’s “By Jeeves”) is equally razor sharp as Mrs. Lovett, the Sondheimian equivalent to Shakespeare’s Lady Macbeth. There’s a comical world-weariness in her portrayal befitting Lovett’s down-and-out nature (she’s responsible for “The Worst Pies in London”), but Watson specifically magnetizes as the deceitful Lovett lures Sweeney deeper into vengeance if only to secure his love. I haven’t seen an actress skillfully weigh Lovett’s self-absorbed matters of pleasure and profit since being blown away by Imelda Staunton’s fiery portrayal in London’s West End four years ago.
Elsewhere in principal roles, strong tenor Zack Steele is an engagingly sensitive and lovestruck Anthony (his rendition of “Johanna” is beautifully emotive), Kimberly Hessler, well-paired with Steele, supplies lilting operatic strains as the lovely, sheltered Johanna (her rendition of the gorgeous “Green Finch and Linnet Bird” holds many colors), Craig McEldowney is a deliciously flamboyant and spiteful Adolfo Pirelli, DJ Plunkett brilliantly conveys tenderness, vulnerability, spunk, and dread as Pirelli’s humble assistant Tobias Ragg (his moving rendition of “Not While I’m Around” is a genuine heartbreaker), Aaron Vega is a delightfully snide and vindictive Beadle Bamford (his clear falsetto is put to great use in “Ladies in Their Sensitivities”), Christine Zavakos is a playful yet foreboding Beggar Woman, and Scott Hunt (Tobias in the 1996 production) is an appropriately malevolent Jonas Fogg. The fantastic and impactful ensemble, connected through Tracey Bonner’s character-conscious choreography and blessed with phenomenal vocal power as well as a unified versatility to fluidly transform whether as mourning Londoners or hysteric lunatics, consists of Gina Handy, Drew Helton, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter (Johanna in 1996 production), and Kandis Wean.
Additionally, scenic designer Dan Gray’s efficient, revolving set is bolstered by a throng of windows evoking the Industrial Revolution. Janet G. Powell’s attractive period costumes distinctly range from drab to swanky (notice Sweeney, Lovett and Tobias’ fancy attire at the top of Act 2). John Rensel’s lighting design marvelously captures varying moods, specifically sending chills up my spine when a barrage of lights ominously beam through the windows at the conclusion of Sweeney and Lovett’s cheerfully eerie “A Little Priest” signaling the beginning of the end for customers along Fleet Street. Music director Sean Michael Flowers leads an eight-piece band that occasionally feels distant but is well-balanced nonetheless despite a few timing glitches on opening night. Jay Brunner’s unsettling sound design aids in spooky ambiance but was also shaky on opening night.
One of the production’s final, lasting images involves a young man contemplating an evil plunge into darkness. It is a chilling reminder giving credence to Sondheim’s probing question which should never be taken lightly: “Isn’t that Sweeney there beside you?” After all, anyone at any time has the potential to simply snap. Attend this tale and rediscover why.

“Sweeney Todd: The Demon Barber of Fleet Street – A Musical Thriller” continues through Oct. 2 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Act One: 90 minutes; Act Two: 60 minutes. Performances are 8 p.m. Sept. 15-17, 22-24, and 29-Oct. 1; 7 p.m. Sept. 13-14, 20-21, 27-28; and 2 p.m. Sept. 18, 25 and Oct. 2. Tickets are $12-$50 (prices vary depending on performance date). There are a limited number of $12 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the production contains adult language and themes.

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

September 16, 2015 By Russell Florence, Jr.

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

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

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

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

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

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

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

And The Oscar Goes To…

March 2, 2014 By Russell Florence, Jr. Leave a Comment

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

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

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

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

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

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

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

Could Win: McQueen
Should Win/Will Win: Cuarón

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

BEST ACTOR
Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetl Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club

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

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

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

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

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

Could Win: Adams
Should Win/Will Win: Blanchett

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

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

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

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

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

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

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

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

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

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

Turning the Table on the Critic

November 9, 2010 By Dayton Most Metro 7 Comments

A Discussion with Russell Florence, Jr.

DaytonMostMetro.com/onStageDayton’s newest contributor!

We are pleased to announce our newest contributor to DaytonMostMetro.com, Russell Florence, Jr.! The addition of Russell to the onStageDayton team means that DMM will not only be the place to go for previews and announcements about Dayton area theatre activities and events, but also your destination for theatre reviews as well!.

We are certainly honored that Russell has chosen to work with us at onStageDayton. He is well known around the Miami Valley theatre scene, having written for such publications as Dayton Daily News, Impact Weekly and, most recently, Dayton City Paper. In an effort to introduce Russell Florence, Jr. to our DMM readers, we asked him to respond to a few questions.

Russell, Welcome to DaytonMostMetro.com! We are thrilled that you will be joining our group of onStageDayton contributors. We’d like to take a couple of moments to “turn the tables” on you…and ask YOU a few questions!

OSD: You have been a pretty recognizable personality around the local theatre scene for quite some time now. What was the first review you wrote in a major Dayton area media outlet? What memories do you have of that experience?

RF: My first review was in 2001 courtesy of Impact Weekly, formerly the Dayton Voice. I reviewed the national tour of Titanic at the Victoria Theatre. The production definitely struck a chord. I’ve always loved Maury Yeston’s grand, operatic score.

OSD: In your years reviewing productions in the area, what changes have you witnessed in the Dayton area theatre scene?

RF: Primarily, Dayton’s theater community has been more open and receptive to risk, which I find extremely refreshing. At one time, there were only a handful of theaters willing to break from mainstream tastes, but multiple troupes, from the suburbs to downtown, are embracing challenging, thought-provoking, and edgy material. Many organizations are currently planning their 2011-2012 seasons as well. I’m excited to discover what’s in store!

OSD: Every community would love to know that their local theatre climate is a microcosm of the national one…in what ways is this true (or untrue) of the Dayton community?

RF: The ongoing support and encouragement of new voices in musical theater has been particularly wonderful. From professional theaters to collegiate and community theaters, Dayton audiences are being treated to important works and witnessing the rise of many up and coming composers with clear potential. It’s great that there are so many theater organizations in the Gem City with close connections to some of the best and brightest talents working in the industry.

OSD: What are two currently running shows in New York (Broadway or Off-Broadway) that make you feel optimistic about the future of American theatre?

RF: John Kander and Fred Ebb’s The Scottsboro Boys and Tom Kitt and Brian Yorkey’s Tony and Pulitzer Prize-winning Next to Normal are two examples of compelling, conceptually dynamic musical theater that will hopefully inspire other artists to pursue the same.

OSD: You’ve had the opportunity to interview quite a few big names in theatre…who still makes you “starstruck”?

RF: I’m very fond of my 2002 interview with producer Cameron Mackintosh (who was in Dayton for the non-equity launch of Miss Saigon at the Victoria Theatre), but in terms of “starstruck,” I’ve crossed paths with and spoken briefly to Stephen Sondheim on two occasions and couldn’t move afterward!

OSD: Tell us, and our onStageDayton readers, a guilty pleasure that you just might be a little bit ashamed to admit…

RF: Waiting at the stage door to have my Playbill signed and chat with cast members after seeing a Broadway show remains tempting!

Make sure you visit DaytonMostMetro.com – onStageDayton regularly for the latest in theatre news! Russell will be contributing his first preview later this week, and reviews of local productions will begin soon! Additionally, David, Shane & Katherine will continue to highlight upcoming local performances and audition notices.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

SA/DB

Russell Florence, Jr. is a member of the American Theatre Critics Association and the Drama League. In addition to his role as arts and culture editor of Dayton City Paper and theater critic for Dayton City Paper and Impact Weekly, he served as a Dayton Daily News freelance writer and editorial page contributor. He has also written features for such theater publications as Spotlight Ohio and The Sondheim Review.

Shane Anderson & David Brush work with locally based Encore Theater Company.Katherine Nelson, a senior theatre major at Cedarville University, serves as the Literary Intern for ETC. The local theater company recently moved into the new arts collective space in the Oregon Arts District, along with Zoot Theatre Co & Rhythm In Shoes. Encore Theater Company has a mission to help develop new works of musical theater, most recently Next Thing You Know and The Proof, two new musicals in development.