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Schuster Center

The ‘Lion King’ remains a Creative Masterpiece.

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Simba and fans!

I have always had a love/hate relationship with Disney musicals, but let’s give this one what it is due…..there’s a sense of divinity in this classic. Is it the rhino… the elephant baby, the plethora of herded animals…or what about the ballet of birds, the hideous hyenas….so much to sit and marvel! Disney went all the way in and with the ingenious use of costuming and a fabulous musical score, I kindly tip my safari hat to this one.

Watching the audience was, in itself, a treat. Children with mouths wide open as actors paraded a few times down the aisles. Adults laughing at the jokes keenly written for their pleasure. The ROAR of the crowd when that final curtain comes down, and you ‘feel the love tonight!’

‘Lion King‘ doesn’t sugar-coat the story either…as broadway can sometimes do. The heart-breaking circumstances that lead us through the ‘sibling rivalry’ of Scar and Mufasa; the desperation of needing to find purpose in Simba; and the undying support of Nala….what a VOICE! There are strong players throughout the production. Rafiki, Pumbaa and Timon delight the captive audience. Zazu flies in and out just enough to move the plot forward.

All that aside, take a minute and really watch what’s happening in this cavalcade…..the technology that makes it GOOOOOOO! Look to Scar’s mask, the lionesses’ choreography, the endless puppetry..It’s a GAS, just ask Pumbaa! During the show, a young girl sat directly in front of me. Her excitement was palpable. She believed what was on that stage…it was real. These characters, be they men, women or beast, were at the Schuster Center and they were ALIVE. Their story was important and needed to be heard….and she listened. As we made our way out, her grandmother asked ‘Well, what did you think?’ Her eyes, still large from the sights, ‘I’m so glad he got to be King! He’s a good lion.’

And there it is….in true Disney fashion…a reason to believe  that all is well in the world. At least it is at the Schuster for a few more nights!!!

For more information click here:

The Lion King

 

 

 

 

Starbucks Now Open at Schuster Center

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Dayton Live has added a coffee shop to their portfolio, opening a Starbucks inside of the Wintergarden.  Located in the space that once housed the CitiLites restaurant, they will be serving up caffeine seven days a week. On show nights they will stay open until showtime.

 

Schuster Performing Arts Center
138 N Main Street
Dayton, OH 45402

Hours:

Mon – Fri 6:30 am to 6:30 pm
Sat & Sun 8 am to 8 pm

Rike’s Holiday Windows Tradition Continues

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Dayton Live is pleased to announce that Yes, Virginia, the Rike’s Holiday windows will be on display for the public this holiday season – with restrictions and cautionary procedures in keeping with Montgomery County Health Department and CDC guidelines. The newly redesigned windows were revealed last season for the enjoyment of families from all over the Miami Valley.

Designed by critically acclaimed theatre and opera scenic designer and Dayton native Adam Koch, along with partner Steven Royal, the windows featuring animated elves, animals and other figures have been a holiday tradition for countless Dayton families since the elves first appeared in the windows of Rike’s Department Store in the 1940s.

In 2018, two of the redesigned windows, “The Nutcracker” and “The North Pole,” debuted to the delight of thousands of visitors. Four more windows were revealed in 2019: “Woodland,” ”Silent Night,” “Snow Day,” and “Christmastime,” each with characters from the original windows as well as some newly discovered and donated figures. The boxes were constructed by internationally acclaimed set and stage designers, Scenic Solutions from West Carrollton, Ohio, with costumes created by the Dayton Sewing Collaborative.

The schedule for viewing the windows will be different this year due to COVID-19 restrictions and CDC guidelines. Patrons may register for a specific viewing time slot during the three-week schedule: December 2-6, December 9-13, and December 16-20. Hours will vary by day. Masks and social distancing will be required, and extended sanitizing regimens will be in place. For complete details on cautionary measures and to register for a time slot, go to daytonlive.org/holiday.

 

About Designer Adam Koch

 

Over the past several years, Adam Koch’s definitive set designs for theatre, opera and nightlife have been seen in New York City and across the country. Theatre credits include commercial productions at The Goodman Theatre, The Apollo Theater, New World Stages, and Theatre Row NYC, as well as Signature Theatre, Ford’s Theatre, Ogun quit Playhouse, Lyric Theatre of Oklahoma, Syracuse Stage, Portland Stage, Geva Theatre Center, Paper Mill Playhouse, Bucks County Playhouse, Serenbe Playhouse, Casa Manana, Playhouse on the Square, 1st Stage, The Human Race Theatre Company, TheEngeman Theater, Mazeppa Productions, Algonquin Arts Theatre, Metro Stage, Bristol Riverside Theatre, The Gateway Playhouse, Vital Theatre Company, Brevard Opera Festival, Manhattan Youth Ballet, Wright State University, Queens College, and Montclair State University.

 

A 2015 Helen Hayes nominee for Outstanding Set Design (1st Stage Theatre’s Bat Boy), a 2015 Syracuse SALT Award nominee (Syracuse Stage’s Hairspray), and a 2009 Helen Hayes nominee for Outstanding Set Design (Signature Theatre’s Kiss of the Spiderwoman). A recipient of both the USITT Oren Parker Award for Excellence in Scene Design, and the 2007 Kennedy Center Design Fellowship. Adam is a graduate of Carnegie Mellon University and a member of the Andrew Carnegie Society. Mr. Koch is a credited contributor to the widely used collegiate textbook Scene Design and Stage Lighting by R. Craig Wolf & Dick Block (Wadsworth 2009 – 2014).

How to Score a $20 Ticket for RENT!

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Victoria Theatre Association announced today that seats in the first rows of the orchestra section will be available for $20 for every performance of the Premier Health Broadway Series presentation of RENT, the Pulitzer Prize and Tony Award®-winning musical.   The $20 tickets are available for in-person purchases at the Ticket Center Stage Box Office located in the Wintergarden of the Benjamin & Marian Schuster Performing Arts Center on the day of each performance only, two hours prior to the show.  The $20 tickets are limited to two tickets per person.

 

Entries will be accepted at the box office beginning two and a half hours before each performance; each person will print their name and the number of tickets (1 or 2) they wish to purchase on a card that is provided. Two hours before curtain, names will be drawn at random for a limited number of tickets priced at $25 each. Only one entry is allowed per person. Cards are checked for duplication prior to drawing. Winners must be present at the time of the drawing and show valid ID to purchase tickets. Limit one entry per person and two tickets per winner. Tickets are subject to availability.

The tradition of these tickets began in 1996 in New York when the show moved to Broadway after a sold-out run in a small downtown theatre.  The producers of the show are committed to continuing the tradition of offering these orchestra seats in each city the show will play.

 

RENT PERFORMANCE AND LOTTERY TIMES

Tues, Jan. 21          Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Wed, Jan. 22    Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Thurs, Jan. 23        Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Fri, Jan. 24             Lottery begins at 5:30 pm. Drawing is at 6 pm.  Show starts at 8 pm.

Sat, Jan. 25         Lottery begins at 11:30 am. Drawing is at noon. Show starts at 2 pm.

                              Lottery begins at 5:30 pm. Drawing is at 6 pm.  Show starts at 8 pm.

Sun, Jan. 26           Lottery begins at 10:30 am. Drawing is at 11 am.  Show starts at 1 pm.

                                  Lottery begins at 4 pm. Drawing is at 4:30 pm.  Show starts at 6:30 pm.

 

 

For general ticket information, call the Ticket Center Stage Box Office at 937-228-3630, (toll-free) 888-228-3630, or visit www.ticketcenterstage.com.

 

‘School of Rock’ Review – Victoria Theatre Association – Redemptive Education

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Musical theatre has always had a deep affection for con artists. Whether it’s Evan Hansen overwhelming the Murphys or Harold Hill spinning River City into a tizzy, dubious individuals ultimately finding some sense of redemption at the hands of those willing to forgive is prime fodder for song. Wannabe rocker Dewey Finn is another example of this special con club as evidenced in composer Andrew Lloyd Webber, librettist Julian Fellowes and lyricist Glenn Slater’s charming and tuneful 2015 Tony Award-nominated musical comedy School of Rock, currently receiving an excellent local premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

 

The national tour and local premiere of Andrew Lloyd Webber’s 2015 Tony Award-nominated musical comedy School of Rock continues through Oct. 7 at the Schuster Center. (Contributed photo)

Based on the 2003 film of the same name starring Jack Black and breezily directed by Laurence Connor, School of Rock applies the tried and true fish out of water scenario to Dewey, who gets more than he bargained for when assuming his sheepish roommate and best friend Ned’s identity when Horace Green Prep School calls for a substitute teacher. He knows nothing about traditional teaching, but is a major aficionado of rock music history which he uses to his advantage. Along the way, his adorably straight-laced and vulnerable students come to realize the importance of rock education while discovering new facets of their inherent purpose and potential as he transforms them into an impressive rock band.

Standing in the shadows of the aforementioned Black but providing a silly level of kooky all his own, Merritt David Janes is a real comedic find. His energetic, no-holds-barred take on Dewey hits all the right notes from delusional absurdity to surprising tenderness. Unsurprisingly, his best musical moments are in the classroom in rousing numbers (exuberantly choreographed by JoAnn M. Hunter) including You’re in the Band and Stick It to the Man. Lexie Dorsett Sharp wonderfully counters Janes as pleasantly uptight principal Rosalie, notably sending the lovely ballad Where Did the Rock Go? through the roof in Act 2. Layne Roate, friendly and supportive, gives a terrific national tour debut as Ned, whose conflicted devotion to Dewey and his domineering girlfriend Patty (Madison Micucci, solid) strikes a chord. The knockout students, playing their own instruments with maturity and finesse and providing a moving rendition of the anthem If Only You Would Listen, consists of Arianna Pereira (Shonelle), Leanne Parks (Katie), Jacob Moran (James), Alyssa Emily Marvin (Marcy), Julian Brescia (Mason), Grier Burke (shy, big-voiced Tomika), Cameron Trueblood (Freddy), Mystic Inscho (Zack), Sammy Dell (Billy), Theo Mitchell-Penner (Lawrence), Sami Bray (hard-nosed Summer), and Gabriella Uhl (Sophie). The versatile adult ensemble consists of Tim Shea, Deidre Lang, Sinclair Mitchell, Jonathon Timpanelli, Patrick Clanton, Liam Fennecken, Elysia Jordan, Hernando Umana, and Melanie Evans.
The first-rate artistic team includes scenic and costume designer Anna Louizos, lighting designer Natasha Katz, sound designer Mick Potter, and hair designer Josh Marquette. Musical director Martyn Axe leads a top-notch orchestra.

Offering hearty laughs while providing meaningful lessons in acceptance and good parenting, School of Rock is a feel-good winner worthy of many gold stars.

School of Rock continues through Oct. 7 at the Schuster Center, Second and Main Streets, Dayton. Act One: 75 minutes; Act Two: 60 minutes. Performances are 8 p.m. Wednesday-Friday; 2 and 8 p.m. Saturday; 2 and 7:30 p.m. Sunday. Tickets are $26-$99. Call (937) 228-3630 or visit ticketcenterstage.com.

 

‘Beautiful’ Review – Victoria Theatre Association – A Tapestry of Melody and Heartbreak

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A striking lesson in perseverance, survival and self-esteem concerning one of pop music’s legendary singer-songwriters, Beautiful – The Carole King Musical warmly and nostalgically satisfies with entertaining, crowd-pleasing familiarity.

Sarah Bockel (Carole King) in Beautiful. Photo by Matthew Murphy.

The finale of the Victoria Theatre Association’s 2017-2018 Premier Health Broadway Series continuing through Sunday, May 27 at the Schuster Center, Beautiful, sleekly directed by Marc Bruni with crisp period choreography by Josh Prince, showcases King from her early songwriting days in 1959 to her career breakthrough writing 1971’s best-selling album Tapestry, which received four Grammys including Album of the Year, Record of the Year, and Song of the Year. Librettist Douglas McGrath smoothly juggles King’s pioneer composing against the backdrop of her rocky marriage to Gerry Goffin, her equally talented collaborator who battled mental illness and had difficulty being grounded in marriage life. King’s ability to ultimately use the pain of her relationship as fodder for her incredibly relatable Tapestry tunes is a testament to her artistic genius, which was also greatly admired by her close friends and fellow songwriters Cynthia Weil and Barry Mann.

Sarah Bockel marvelously inhabits King’s down-to-earth charm and distinct vocal phrasing, especially her interpretations of classics such as So Far Away, Will You Love Me Tomorrow, It’s Too Late, You’ve Got a Friend, (You Make Me Feel Like) A Natural Woman, and the bouncy, inspirational, gospel-tinged title tune. McGrath wholesomely fashions King without imperfection, a considerable flaw, but it’s easy to see why she was so loved and respected by her peers nonetheless thanks to Bockel’s endearing magnetism. The handsomely brooding Andrew Brewer lends great support as the conflicted Goffin, constantly craving more as musical trends change throughout the 1960s. The sardonic Sarah Goeke and comical Jacob Heimer are wonderfully paired as Weil and Mann. James Clow (producer Don Kirshner), Suzanne Grodner (Genie Klein), McKynleih Alden Abraham (Janelle Woods), and Nathan Scherich (Nick) are very effective and purposeful in smaller roles. Many ensemble members shine as well when the focus turns to specific acts such as the Drifters, the Shirelles and the Righteous Brothers whose careers were bolstered by King, Goffin, Weil, and Mann, specifically John Michael Dias and the aforementioned Scherich’s fantastic rendition of You’ve Lost That Lovin’ Feeling.

(l to r) James Clow (Don Kirshner), Jacob Heimer (Barry Mann), Sarah Bockel (Carole King) and Sarah Goeke (Cynthia Weil) perform “You’ve Got a Friend” in Beautiful. Photo by Matthew Murphy.

Without a doubt, King’s empowerment to believe in her potential paved the way for Carly Simon, Joni Mitchell, Janis Ian, Tracy Chapman, Sheryl Crow, Lauryn Hill, Alanis Morissette, Norah Jones, India Arie, Duffy, Adele, Sara Bareilles, and many more. Beautiful certainly resonates as a meaningful tribute to her influential legacy.

Beautiful continues Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $26-$119. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

‘The Sound of Music’ Review – Victoria Theatre Association – Embracing Love

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The national tour of Rodgers and Hammerstein’s 1959 classic The Sound of Music, the groundbreaking duo’s final collaboration, is a vocally stunning, strongly acted showcase courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

Jill-Christine Wiley as Maria Rainer and the von Trapp children (Photo by Matthew Murphy)

Jill-Christine Wiley brings great joy and endearing naiveté to her terrific portrayal of Maria Rainer, the troublemaking Postulant of Nonnberg Abbey sent to become governess to Captain Georg von Trapp’s seven children. Effortlessly soaring through such iconic numbers as Do-Re-Mi, The Lonely Goatherd and the title number, she radiates warmth, kindness and concern, personable ingredients necessary for Maria to be the life-changing force for good in the von Trapp household.

The handsomely brooding Mike McLean is a fine fit as Georg, effectively transforming from an emotionally scarred and grieving disciplinarian into a loving father. His beautifully tender rendition of Edelweiss, dramatically framed within Nazi flags, is an Act 2 highpoint. Dynamic soprano Lauren Kidwell conveys gentle compassion and sharp authority as Mother Abbess, bringing down the house with a gorgeous rendition of Climb Ev’ry Mountain at the end of Act 1. Keslie Ward (Liesl), Landon Brimacombe (Friedrich), Maya Karp (Louisa), Arick Brooks (Kurt), Katie Grgecic (Brigitta), Amaryllis C. Miller (Marta), and Sophia Massa (Gretl) are adorably cohesive as the von Trapp children. Ward particularly separates from the pack to enjoyably duet with Chad P. Campbell (Rolf) for Sixteen Going On Seventeen. Pleasant duo Melissa McKamie (Elsa Schraeder) and Jake Mills (Max Detweiler) give sophisticated flair to the underrated How Can Love Survive? and No Way To Stop It. Numerous featured roles are winningly executed as well.

In addition, this Broadway-caliber production, helmed by Matt Lenz recreating Jack O’Brien’s original elegant staging which previously contained refreshing non-traditional casting in principal roles, features a knockout artistic team. The group includes scenic designer Douglas W. Schmidt, costumer Jane Greenwood (providing astute evolutions in Rolf’s attire from messenger boy to Nazi loyalist), lighting designer Natasha Katz, sound designer Shannon Slaton, and choreographer Jonathan Warren recreating Danny Mefford’s original routines. Music director/conductor Michael Uselmann leads a first-rate orchestra.

Schmaltz often undercuts the potency within this meaningful account, adapted by Howard Lindsay and Russel Crouse based on The Trapp Family Singers by Maria Augusta Trapp. Nonetheless, O’Brien’s idea to re-approach the show by reiterating the importance of love entering the hearts of a family who desperately need it serves as a fulfilling foundation. As Georg tells Maria, “You’ve brought music back into my home.” Perfect for families, The Sound of Music is a sheer delight.

 

The Sound of Music continues Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 90 minutes; Act Two: 47 minutes. Tickets are $45-$114. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

The Merry Makover For The Rikes Holiday Windows

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The Rike’s Department Store displays are in the Schuster Center’s Wintergarden through Jan 4.

The windows date back to 1943 when NCR put five scenes from “A Christmas Carol” in the windows of its New York offices. They were moved to Rike’s Department store in Dayton at Second and Main in 1945. That site is now home to the Schuster Center.

Now, every year from the day after Thanksgiving until the turn of the new year, you can visit them in the Schuster Center Wintergarden.  After January 4, the windows need to be refurbished

The setup, teardown, and visits by more than 8,000 people every year have taken their toll.

The goal is to raise $63,000 to replace the current boxes, purchase an additional one for recently donated elves, and refresh the holiday décor.

If you’d like to contribute to keeping these windows a part of Dayton’s holiday celebration go to https://victoriatheatre.com/support/how-to-give/ read about “The Merry Makeover.”

‘The Lion King’ Review – Victoria Theatre Association – Amazing Artistry

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Disney’s “The Lion King” still has a mighty roar.

lion king

Photo caption Mukelisiwe Goba as Rafiki in Disney’s “The Lion King” (Photo by Matthew Murphy)

Five years after its sold-out premiere engagement at the Schuster Center, this global phenomenon, winner of six 1998 Tony Awards including Best Musical and the season finale of the Victoria Theatre Association’s Premier Health Broadway Series, returns to Dayton to deliver its incomparable blend of atmospheric splendor and imaginative razzle dazzle. The latest national tour treads a delicate course (the energy level on opening night was surprisingly off-kilter), but it satisfies visually nonetheless bolstered by terrifically firm performances.
Gifted director/designer Julie Taymor certainly broke the mold devising “Circle of Life,” a mesmerizing, tear-jerking and applause-inducing procession of birds, elephants, giraffes, rhinoceroses, zebras, and more revealing a key component to her marvelous vision. Stressing duality, particularly in the superb masks co-created by Michael Curry, she offers what she calls “the double event,” which enables the audience to see the characters as animal and human simultaneously. What a sight to behold! Her avant-garde pedigree also elevates the action from her clever use of shadow puppets to vivid moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning).

 
Still, in a testament to the strengths of the story, this engaging if character-overloaded and awkwardly cutesy tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father resonates beyond the technical wizardry. Librettists Roger Allers and Irene Mecchi retain the charm and heartbreak of the original 1994 screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An array of strikingly authentic and distinctive African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Academy Award winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs including the Academy Award-winning “Can You Feel the Love Tonight.” In an attempt to make Act 1 tighter and breezier, “The Morning Report,” an upbeat but superfluous tune written for the stage version by John and Rice, remains cut as it was in the previous tour.

 
The very entertaining, roughly 50-member cast is uniformly strong. As the villainous Scar, Patrick R. Brown, approaching the role with a Rex Harrison, sing-speak sensibility, is deliciously sarcastic and vain. As Mufasa, the dynamic Gerald Ramsey, offering a moving rendition of “They Live in You,” is a comforting and dignified authoritarian. The delightful Mukelisiwe Goba wholeheartedly embraces the show’s flavorful African essence as kooky, wise shaman Rafiki. Aaron Nelson brings warmth and conviction to his portrayal of the spirited, soul-searching Simba, particularly in his tender rendition of “Endless Night.” Nick Cordileone (Timon), Drew Hirshfield (Zazu), Ben Lipitz (Pumbaa), Keith Bennett (Banzai), Tiffany Denise Hobbs (Shenzi), and Robbie Swift (Ed) provide witty comic relief, especially Cordileone and Hirshfield who find refreshing new avenues to explore within the silliness. Nia Holloway (Nala) nearly stops the show with her heartfelt interpretation of the gorgeously evocative ballad “Shadowland.” BJ Covington and Savanna Fleisher respectively provide spunk and sass as Young Simba and Young Nala, roles shared by Julian Rivera-Summerville and Imani Pullum.
In addition to Taymor’s astonishing costumes, a particularly radiant explosion of color in “One by One,” Richard Hudson and Donald Holder respectively supply a truly magnificent set and lighting design. In fact, over 700 lighting instruments were used to create the show’s lighting plot. Garth Fagan’s crisp, exuberant choreography effortlessly captivates. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.
Seen by more than 85 million theatergoers worldwide and blessed with stagecraft that will leave you breathless, “The Lion King” is an extraordinarily eye-catching spectacle unlike any other. Don’t miss it.

 

Disney’s “The Lion King” continues through July 3 at the Schuster Center, Second and Main Streets, Dayton. Performances are Tuesdays-Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $25-$157. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Cinderella’ Review – Victoria Theatre Association – A Lovely Night

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Marvelously inventive costumes, gorgeous vocals, terrific performances, and timely social themes fuel the outstanding national tour of the 2013 Tony Award-winning Broadway revival of “Rodgers and Hammerstein’s Cinderella,” continuing through Sunday at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Cinderella 3
Fluidly directed with subtly substantive flair by Mark Brokaw and cleverly reconceived with contemporary flourishes by Douglas Carter Beane (“Xanadu”), “Cinderella,” originally written for television in 1957, is new and improved for all the right reasons. What used to feel merely sweet and safe arises with inspired twists and a refreshingly current vivacity specifically as the musical’s look at finding The One and the townspeople’s quest for revolution respectively conjures the giddy awkwardness of “The Bachelor” and the excitement of Bernie Sanders’ stump speeches. As this romantic tale evolves, Ella (as she’s known here) truly desires to wed royalty, but she wants to change her world in the process. After she appears at the swanky ball (a sumptuous sequence heightened by choreographer Josh Rhodes’ dazzling waltzes) and cheerfully adjusts everyone’s perspective by flipping a cruel game of ridicule (a fascinating addition to this updated version), Ella eventually raises the stakes by returning to face Prince Topher in an attempt to make him understand what is really happening outside the palace walls. Her bold tenacity coupled with a determination to make her dreams come true makes her wonderfully three-dimensional. Thanks to Beane, a comic master bolstered by Rodgers and Hammerstein’s delightfully tuneful foundation, the Cinderella ideal has never been more compelling or progressive than in this production’s captivating depiction of her conviction, strength and kindness.

 


The very endearing Kaitlyn Davidson, a lovely soprano particularly bringing sweetness and depth to “In My Own Little Corner,” is an absolutely effervescent Ella. Davidson is well-matched by the handsome and charming Andy Huntington Jones as the relatable, contemplative Topher, a sheltered leader who grows in confidence for his own sake and the future of his country. As Ella’s Fairy Godmother Marie, the humorous, enchanting Liz McCartney provides radiant renditions of “Impossible” and the beautifully soaring “There’s Music in You.” Blair Ross is a superbly stern and malicious Madame, Ella’s wicked stepmother. Kimberly Fauré (kindly Gabrielle) and understudy Summer Broyhill (kooky Charlotte) are compatibly goofy as Ella’s spoiled stepsisters. The amiable David Andino is a spirited Jean-Michel, the sensitive rebel inciting revolt. Blake Hammond is fussy and slick as the treacherous Sebastian, Topher’s royal administrator. As the trusty Lord Pinkleton, Chauncey Packer impressively displays operatic heft while proudly proclaiming “The Prince Is Giving a Ball,” an Act 1 ensemble highlight.

 
Additionally, William Ivey Long’s applause-inducing, Tony Award-winning period costumes are simply stunning, particularly his meticulously crafted outfits for Ella and Marie which transform in full view of the audience. Long’s 330 costumes are notably inspired by French painter Pieter Breughel’s “The Wedding Feast” as well as the French court of Catherine de Medici. Scenic designer Anna Louizos’ colorful storybook sets, Kenneth Posner’s exemplary evocative lighting, Nevin Steinberg’s striking sound design, Paul Huntley’s superb hair and wig design, and music director Valerie Gebert’s excellent orchestra are noteworthy.
Having seen the “Cinderella” revival on Broadway with its original cast and later in its run when Keke Palmer became the first African-American to portray the titular role on the Great White Way, I can say with all honesty that this equally top-notch tour, perfectly timed for Valentine’s Day, is not to be missed.

 

“Rodgers and Hammerstein’s Cinderella” continues through Feb. 14 at 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 and 7:30 p.m.  Act One: 60 minutes; Act Two: 60 minutes. Tickets are $25-$132. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

In addition, a special activity for the week of “Cinderella” is Cinderella’s Clo12671951_10153425950780886_2667580626704899256_oset. Please go through your closets and find new or gently-used prom or formal dresses and bring them to Cinderella and help us make dreams come true for teen girls in Dayton. Victoria Theatre Association has partnered with YWCA Dayton and Girls Inc. to collect prom dresses, evening gowns, party dresses, shoes and accessories (shawls, clutches, jewelry and hair pins/clips etc.) for young ladies who do not have a fairy godmother to provide them with a gown of their dreams.  The collection area will be open starting two hours prior to show time for each performance.

 

$10 Cheap Seats For Upcoming Shows

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Thanks to a sponsorship from Dayton Power & Light Company, you can attend many theater shows at the Schuster Center and the Victoria Theatre.  This CHEAP SEATS program makes available $10 seats (mostly in the balcony) when purchased in advance online.

Here’s how it works:

$10 ticket are available while supplies last or until 48 hours before the performance.  You MUST register here to get access to the CHEAP SEATS.

You can only buy DP&L Company CHEAP SEATS online. They are not available at the Box Office or by phone. DP&L Company CHEAP SEATS can be purchased by clicking the “Buy Now” buttons on this email or by clicking here.

You will not be able to select specific seating locations, they are first-come, first-served and assigned by Ticket Center Stage. If you have special seating needs, please indicate this on your order by selecting the special needs ticket type.

Tickets must be purchased together to be seated together.

You can buy up to four (4) $10 tickets per show. Accounts found to have multiple orders with the total of tickets exceeding will be subject to cancellation.

There is a $2 fee per order.

Your tickets will be available at the Box Office the day of the show, between 10 am and showtime Monday through Friday and two hours prior to your performance on Saturday and Sunday.

CHEAP SEAT PERFORMANCES

Bullets Over Broadway
Schuster Center – Mead Theatre
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Hailed by Time Magazine as “Musical Theatre Gold,” Bullets Over Broadway is the hilarious new musical comedy about the making of a Broadway show. Written by Woody Allen, with original direction and choreography by Susan Stroman, and based upon the screenplay of the acclaimed film by Woody Allen and Douglas McGrath, Bullets Over Broadway is the story of a young playwright who, in desperate need of financial backing for his next show, accepts an offer he can’t refuse from a mobster looking to please his showgirl girlfriend. Don’t miss what The New Yorker exclaims as “a fun machine from start to finish!” Loaded with big laughs, colorful characters, and the songs that made the ‘20s roar, Bullets Over Broadway is bringing musical comedy back with a bang.


Evil Dead The Musicalimage
Victoria Theatre
November 6-8

All the elements of Sam Raimi’s cult classic films combined in one crazy theatrical experience! The only musical where you can choose to sit in the “Splatter Zone” and get drenched from the mayhem, or watch from a safe (and dry) distance. Recommended for ages 17 and up. Explicit language and theatrical gore.


Menopause The Musicalea926455ce9d8b8a87f7519d6ec8fe88
Victoria Theatre
November 21 & 22

The show that’s brought joy to millions worldwide is proving that laughter truly is the best medicine. With a cast of breast cancer survivors and co-survivors, Menopause The Musical® is partnering with Susan G. Komen® to offer inspiration, sisterhood, and hope. Four women at a lingerie sale have nothing in common but a black lace bra AND memory loss, hot flashes, night sweats, not enough sex, too much sex and more! This hilarious musical parody set to classic tunes from the ‘60s, ‘70s and ‘80s will have you cheering and dancing in the aisles! Menopause The Musical®: The Survivor Tour® Benefiting Susan G. Komen® is the first of its kind, donating a portion of every ticket sale directly to the ongoing effort to save lives and end breast cancer forever.

 

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Dare to Defy
Victoria Theatre
November 27 & 28

Dare to Defy Productions is dancing onto the stage with the four time Tony nominated favorite, Footloose. Footloose is about dance, but it’s also about the conflict between wanting to fit in and the desire to change an intolerable situation.

Teenagers have lots of problems, but Footloose high schooler Ren McCormack really feels put upon. Ren’s dad has deserted the family and he and his mom Ethel are forced to move from that toddlin’ town of Chicago all the way to the nowheresville that is Bomont, described as “a small Midwestern town.”

As well as teenage angst, Footloose, is all about fun and the carefree nature of being a teen, which of course is never fully appreciated at the time.

‘Peter and the Starcatcher’ Review – Victoria Theatre Association – Adequate Whimsy

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Oliver Wadsworth and Justine Salata in “Peter and the Starcatcher” (Photo by Alexander Weisman)

The fanciful Peter Pan play-with-music prequel “Peter and the Starcatcher” adequately closes the Victoria Theatre Association’s 2014- 15 Premier Health Broadway Series at the Schuster Center.

Sprightly adapted by Rick Elise based on the 2006 novel of the same name by Dave Barry and Ridley Pearson, this “Starcatcher” primarily presents a unique quandary, specifically for theatergoers expecting to see the national tour of its tremendous Broadway mounting, nominated for nine Tony Awards in 2012 ultimately winning five. When the “Starcatcher” tour folded last year, the Victoria searched for a replacement version. Organizers selected a regional theater production conceived by Salt Lake City’s Pioneer Theatre Company, but the show just doesn’t have the shimmering conceptual sparkle, artistic ingenuity and emotional heft of the Broadway production, which certain patrons fondly recall to this very day.

Granted, director Jenn Thompson certainly attempts originality, but unfortunately her pacing is off-kilter in a startlingly humdrum Act 1that finds some actors having trouble projecting in the space, a crucial indication this intimate production truly belongs inside the Victoria Theatre. It’s also extremely odd Thompson allows Leo Ash Evens, who excessively portrays the villainous Black Stache (the precursor Captain Hook), to go unrealistically overboard in a defining moment late in Act 2.

Even so, there are consistently firm performances to be found here amid the fascinating, fun, ensemble-driven storytelling. The sharp, physical Rhett Guter winningly charms as the intuitive and vulnerable Boy/Peter. Justine Salata brings poise, humor and spunk to her terrifically astute portrayal of Molly, future mother of Wendy. José Restrepo (Smee), Austin Archer (Prentiss), Jake P. Evans (Ted), Jeff Gurner (Grempkin/Fighting Prawn), and Oliver Wadsworth (Mrs. Bumbrake/the mermaid Teacher) equally shine in featured comedic capacities.

Additionally, the presentation’s attractive technical elements are courtesy of scenic designer George Maxwell, costumer Carol Wells-Day, lighting designer Michael Gilliam, sound designer Joshua C. Hight, and hair/makeup designer Amanda French. Patricia Wilcox’s playful choreography and Tom Griffin’s crisp music direction suitably complement Wayne Barker’s cheery tunes.

“Starcatcher” enchants at its core due to its very engaging, “Wicked”-esque ability to present familiar lore refreshingly, particularly in its stronger Act 2 detailing the genesis of Tinkerbell and the need for a certain hook. However, when you consider the fundamental fact that the Victoria is responsible for and boasts about delivering national tours, watching an out of state regional theater showcase of this work is a disappointing predicament.

 

“Peter and the Starcatcher” continues through June 14 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 58 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

 

 

 

 

Madman Across the Water: The Music of Elton John

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concert_1415_RO2On Saturday, January 31, 2015 at 8 pm in the Mead Theatre of the Schuster Center, the Dayton Philharmonic Orchestra, under the leadership of Conductor Patrick Reynolds, will present Madman Across the Water: The Music of Elton John, featuring rock ensemble Jeans ?n Classics, the second concert in the 2014–2015 Dayton Freight Rockin’ Orchestra Series. Associate Sponsor for this concert is Miller-Valentine Group.

Dayton Philharmonic Orchestra is pleased to announce Dayton Freight as the new title sponsor for its Rockin’ Orchestra Series, which includes four remaining concerts in the 2014-2015 New Horizons Series. “At Dayton Freight, one of the ways we demonstrate how much our customers and employees mean to us is by providing financial support and being an active participant in community initiatives and organizations,” said Mike Cronin, Executive Vice President of Dayton Freight. “We appreciate serving our community wherever and whenever we can, and we are especially proud to support the DPAA as Title Sponsor of the Rockin’ Orchestra Series.”

From Elvis Tribute Shows To Touring Elvis

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It sounds like the beginning of a joke, or some impossible showbiz fairy tale: “Johnny Cash, Elvis Presley, Jerry Lee Lewis, and Carl photoPerkins walk into a recording studio…”

 

And yet, on December 4, 1956, at Sun Records in Memphis, it happened, and they jammed on record together for the first and only time. Perkins, riding the success of “Blue Suede Shoes,” was in with his band to cut some new material. Cash, a fellow Sun artist and a fan of Perkins, dropped by to listen. Sun’s owner, Sam Philips (“The Father of Rock and Roll”), added Lewis to Perkins’ session in search of a more rockabilly sound. Presley, with a girlfriend in tow, stopped by to say hello. And then, magic happened.

 

Before they were famous, it wasn’t unusual for several of these guys to play together at rent parties, in after-hours joints—but this was the only time any such summit was preserved for history.

 

Million Dollar Quartet, the 2010 Broadway musical that dramatizes this meeting, will rock the Benjamin and Marian Schuster Performing Arts Center starting tonight and running June 17 – 22 as part of Victoria Theatre Association’s Premier Health Broadway Series. A litany of classic hits including “Hound Dog,” “I Walk the Line,” “Great Balls of Fire,” “Folsom Prison Blues,” “Fever,” and many more are performed with electric gusto by an unbelievably talented cast of actor/musicians playing their own instruments.

 

The tour cast includes H. Bradley Waters as Carl Perkins, John Countryman as Jerry Lee Lewis (a role that won Levi Kreis a Tony Award), Scott Moreau as Johnny Cash, and Tyler K. Hunter as Elvis Presley.

 

Hunter, a country singer who began doing Elvis tribute shows in his youth, has been part of the M$Q tour for a year and a half.

“I’ve never done any acting before,” he said, “or anything like that. I do country music, but they called and asked if I wanted to audition, so I took a bus to New York.”

 

“It’s a blast,” he said of the show’s process. “When we come into rehearsals, our musical director—Eric Schaeffer, a very talented, smart guy who works the ‘theatre’ side of things—tells us to pick up our instruments and start jamming, like a regular band. Then we throw in the dialogue, and there it is. We’re a band. These guys become like your family, like best friends. It’s a really tight bond.”

 

When the show premiered on Broadway in 2010, New York Magazine called it “a dazzling raucous spectacle that sounds like a million bucks,” but Hunter downplays that, painting a down-home portrait of four scrappy young fellas as regular joes on the cusp of igniting the world.

 

“You get an idea of who these guys are and where they come from, ‘50s Memphis. These are buddies just coming in and hanging—real guys, you know? No different from you or me or anybody else.”

 

He uses that approach to inform his portrayal of Elvis, going for an evocation as opposed to an impersonation. Hunter, who does not resemble Elvis offstage, pulls a transformation onstage and presents a stunning take that evokes The King’s presence.

 

“A wig, some makeup…I dunno,” he said casually. “There are a few guys out there whoreally look like Elvis, but no one’s going to sound exactly like him. I try to do just enough so if you’re sitting back in your seat and catch a glimpse of me, there’s a split second where you think, ‘Wow, that’s Elvis.’ That’s all it takes, that split second. Then they’re on board with you even if you go somewhere they don’t completely expect.”

 

“You know, we think about Elvis, probably one of the most famous people since Jesus Christ, and we forget that he was a real person. These were all real people. They had their feelings hurt, they laughed, they did all the same things as us—they just had really cool jobs. When I’m up there, I try to capture that aspect. At this point, he’s 21 years old. He’s a kid. You remember how you were at 21? That’s what I try to capture.”

 

In Million Dollar Quartet, Hunter-as-Elvis performs songs like “Long Tall Sally” and “Peace in the Valley,” but Hunter dreams of singing his own material someday.

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“I’ll always be an Elvis fan, but I would love to do my own thing. I’ve been writing songs for a little while now, and country music is what I grew up on. It comes naturally when I sing. I’m from Nebraska and kind of a redneck, and it’s just who I am. We’ve got some good people coming together to hopefully make a great album of original country music.”

 

But for now, he knows, The King still reigns.

 

“I definitely am very grateful and fortunate with the job I have, and the fantastic people I work with. We’re playing live music, which is a blast, and we get to pick up our instruments and play every single day. I really enjoy it, especially the finale. That’s when we get to rock out, just let it all hang out for ten or so minutes.”

 

Talented musicians jamming together—that’s what Million Dollar Quartet is all about.

 

“It’s got that raw, bluesy feeling that comes with rockabilly. You get that experience of being a fly on the wall and seeing this really cool moment. It’s not your typical Broadway show. We’re recreating a one-time thing with real people who were just buddies hanging out.”

Performances run from Tuesday, June 17 to Sunday, June 22. Group sales are underway for groups of 20 or more. Groups may call Betty Gould at 937/228-7591 ext. 3074. Tickets start at $25 and are on sale now at Ticket Center Stage, located in the Wintergarden of the Schuster Center, by phone 937-228-3630, toll-free at 888-228-3630 or online at www.ticketcenterstage.com.  For information on the production, visitwww.MillionDollarQuartetLive.com

 

 

Million Dollar Quartet Opens June 17th **Ticket Contest**

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photoThe national tour of the Broadway musical MILLION DOLLAR QUARTET,inspired by the electrifying true story, will make its DAYTON premiere June 17-22 at The Benjamin and Marian Schuster Performing Arts Center as part of Victoria Theatre Association’s Premier Health Broadway Series. Tickets are on sale now at Ticket Center Stage, by calling 937-228-3630, 888-228-3630 or online atwww.ticketcenterstage.com.

 

The international Tony® Award-Winning musical, MILLION DOLLAR QUARTET is set on December 4, 1956, when an auspicious twist fb-wallpaper-cashof fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley together. Sam Phillips, the “Father of Rock ‘n’ Roll” who was responsible for launching the careers of each icon, gathered the four legendary musicians at the Sun Records storefront studio in Memphis for the first and only time. The resulting evening became known as one of the greatest rock ‘n’ roll jam sessions in history.

 

MILLION DOLLAR QUARTET brings that legendary night to life with an irresistible tale of broken promises, secrets, betrayal and celebrations featuring timeless hits including “Blue Suede Shoes,” “That’s All Right,” “Sixteen Tons,” “Great Balls of Fire,” “I Walk the Line,” “Whole Lotta Shakin’ Goin’ On,” “See Ya Later, Alligator,” “Fever,” “Folsom Prison Blues,” “Hound Dog” and more.

 

fb-wallpaper-perkinsPortraying these icons are, H. Bradley Waters as Carl Perkins, John Countryman as Jerry Lee Lewis, Tyler K. Hunter as Elvis Presley and Scott Moreau as Johnny Cash. Vince Nappo plays the “Father of Rock ‘n’ Roll,” Sam Phillips.  The cast also features Kelly Lamont as Dyanne, and musicians Patrick Morrow (Fluke, drums) and Corey Kaiser (Jay Perkins, bass). Rounding out the company are: Andrew Frace, Robby Kipferl,Stephanie Lynne Mason, Sean McGibbon, David Sonneborn, and H. Bradley Waters. 

 

The show is directed by Eric Schaeffer and features a book by Colin Escott and Floyd Mutrux. The design team includes: Derek McLane (scenic design), Howell Binkley (lighting design), Jane Greenwood (costume design),Kai Harada (sound design) and Chuck Mead (musical arrangements and supervision).

 

When the Broadway production opened in April 2010, critics and audiences leapt to their feet in unanimous praise. The New York fb-wallpaper-jerryTimes called the show, “a buoyant new musical that whips the crowd into a frenzy,” New York Magazine labeled it, “a dazzling raucous spectacle that sounds like a million bucks,” and NY1 called it, “90 minutes of platinum grade entertainment.” The musical continued its successful New York engagement at New World Stages through June 2012.

 

The longest-running musical production in Chicago’s history, MILLION DOLLAR QUARTET opened in 2008and continues to perform to packed houses at the Apollo Theatre. The West End production played at the Noël Coward Theatre in London in 2011, and a Las Vegas production began performances at Harrah’s Showroom in Las Vegas in February 2013.

 

fb-wallpaper-presleyMILLION DOLLAR QUARTET won a Tony Award® for Best Performance by a Featured Actor in a Musical and received a Tony Award® nomination for Best Musical and Best Book of a Musical (Colin Escott & Floyd Mutrux). The show received an Outer Critics Circle Award for Outstanding Featured Actor in a Musical, a Drama Desk nomination for Outstanding Musical Revue and three Drama League nominations including Distinguished Production of a Musical and Distinguished Performance.

 

 

Performances run from Tuesday, June 17 to Sunday, June 22. Group sales are underway for groups of 20 or more. Groups may call Betty Gould at 937/228-7591 ext. 3074. Tickets start at $25 and are on sale now at Ticket Center Stage, located in the Wintergarden of the Schuster Center, by phone 937-228-3630, toll-free at 888-228-3630 or online at www.ticketcenterstage.com.  For information on the production, visit www.MillionDollarQuartetLive.com

DMM Ticket Contest:

We’re sending one lucky winner and their guest to opening night on Tues, June 17th.  Like this post, and fill out the form below to be entered in our random drawing.  We’ll announce our winner Sunday. [form 55 “DMM Contest Entry – Generic”]

‘Beauty and the Beast’ Review – Victoria Theatre Association – Delightful Disney Magic

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Darick Pead and Hilary Maiberger star in Disney’s “Beauty and the Beast” (Contributed photo)

A top-notch national tour of Disney’s “Beauty and the Beast,” the recipient of nine 1994 Tony Award nominations including Best Musical, has arrived at the Schuster Center as part of the Victoria Theatre Association’s Premier Health Broadway Series.

 
Based on the beloved 1991 Academy Award-winning film, one of the best animated movies containing one of the best cinematic scores courtesy of Alan Menken and Howard Ashman, “Beauty and the Beast” wholeheartedly succeeds on the wonderfully relatable portrayals of Hilary Maiberger as bookworm Belle and Darick Pead as the troubled Beast. Maiberger, a lovely soprano and radiant stage presence, earnestly conveys Belle’s life-affirming journey of hope, loss and romance with a thoroughly engaging, gently contemporary sensibility. Astutely interpreting Belle’s introverted persona and the particularly deep hurt she feels upon imprisonment reiterated in the marvelous ballad “Home,” her performance beautifully evolves with striking resiliency and tenderness. At the same rate, Pead is an equally magnetic component displaying a humorously gruff temperament that exceptionally dissolves as the Beast learns to love and desires to be loved in order to break an enchantress’ spell. Pead injects some of the finest comedic bits I’ve seen in the role (the Beast’s pre-dinner hissy fit is inspired), but also supplies great vulnerability, especially in the touching Act 1 finale “If I Can’t Love Her.”

 

Maiberger and Pead are so incredibly compatible you’ll likely find yourself wiping away a few tears when the gorgeous title tune, warmly sung by Kristen Stewart (Mrs. Potts), brings Belle and the Beast together for an elegant dinner and heart-tugging waltz solidifying their unexpected bond.
Elsewhere, and in addition to Stewart, enjoyable supporting portrayals are rendered by Tim Rogan (Gaston), Jordan Aragon (LeFou), Josh Feldman and Jack Mullen (Chip), James May (Cogsworth), Stephanie Moskal (Babette), Hassan Nazari-Robati (Lumiere), Roxy York (Madame de la Grande Bouche), Paul Crane (Maurice), Kieron Cindric (Monsieur D’Arque), and Tony D’Alelio (Carpet). Nazari-Robati in particular winningly leads the exuberantly show-stopping “Be Our Guest” and joyously spine-tingling “Human Again,” two numbers sprightly choreographed by Matt West who also brings colorful, character-conscious flourishes to “Belle” and “Gaston.”
Director Rob Roth, Tony-nominated for his original direction, effortlessly and breezily returns to the material with a complete understanding of the tone and charm of the story and its relationships. He also wisely reassess his original outlook by cutting 10 minutes that used to belong to “No Matter What” and “Maison des Lunes,” new songs Menken wrote with lyricist Tim Rice that didn’t advance the plot. Roth’s splendid creative team includes Tony-winning costumer Ann Hould-Ward, Tony-winning lighting designer Natasha Katz, scenic designer Stanley A. Meyer, sound designer John Petrafesa, Jr., hair designer David H. Lawrence, fight designer Rick Sordelt, puppet designer Basil Twist, and illusion designer Jim Steinmeyer. Music director Kevin Frances Finn conducts a solid, well-balanced orchestra.

 
If feel-good entertainment is your aim don’t miss “Beauty and the Beast.”
Disney’s “Beauty and the Beast” continues through June 1 at the Schuster Center, Second and Main Streets, Dayton. Performances are today and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 80 minutes; Act Two: 50 minutes. Tickets are $40-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.