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Tim Rezash

Rezash brings ‘Carnage’ and love of Directing to DPH!

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     Dayton Playhouse Presents ‘God of Carnage!’

For Tim Rezash, there is no place like home….and that means Dayton and its fabulous Playhouse! His next big directing project is ‘God of Carnage’ which will take the stage in March! I was lucky enough to gather info from the Daytonian about his love of theater, desire to direct and connection to DPH.

JS: So Tim, let’s hear a little about you….and your connection to the Dayton Playhouse.

TR: I have been affiliated with DPH for over 30 years, though in two separate periods of time.  I first moved to Dayton in 1984, following graduate school, and auditioned for Company at the former DPH building on Third Street.  I was cast, and stayed with DPH until moving from the area in 1992, mostly acting but a couple directing things thrown in.  I returned about eight years ago and was able to “rehome” myself with the group, serving on the board, various committees, acting, and directing what will soon be five plays since coming back.

JS: And your return to DPH has been celebrated! I know in talking with a few of the cast members for your upcoming ‘God of Carnage’ they are thrilled to be working with you….and they speak highly of your directing style. Why did you choose ‘God of Carnage?’

TR:  I have been in love with this play since I first saw it in New York.  It was with the first replacement cast and they, and the play, were riveting.  It’s one of those plays where you know that things are “going to end badly,” as one of the characters says toward the end of the play, but the ride is so fun that you can just strap yourself in and enjoy!  Each character takes their own journey, the stakes are high, and the dialogue is fast paced and exciting.

                                                                        Cast of ‘Carnage’ preparing for the show!

JS: Ok, so now my interest is piqued! What can I, actually the audience in general….what can they expect from this revered play?

TR:  A lot of laughs, the ability to empathize with each character (at least for a while, until they say something to ruin it for you), and some interesting thoughts about how people view the world and the masks they put on.  The play’s slug line is “A comedy of manners. . .without the manners.”  Sort of says it all. . .

JS: Who doesn’t need to laugh? So you have had quite a lot of theater experience. What are some of the highlights in your background?

TR:  I have bachelor’s degrees in both acting and directing, as well as a few advanced degrees in the social sciences.  For about eight years, beginning in my mid-thirties, I was a professional actor and director in the Chicago area, including an almost two year stint in “Shear Madness,” one of the longest running plays in many cities across the country.  While performing in the Charlotte, NC area, I was twice the recipient of the Metrolina Theatre Association’s Best Actor Award for performances in Glengarry Glen Ross and Doubt.  Since returning to Dayton, I have been a four-time recipient of the DPH Blackburn Award for Excellence in Directing, as well as a two-time recipient of Blackburn Awards for Excellence in Acting for performances in 1776 and The Man of LaMancha.

                                        Rezash’s Strong performance in ‘Man of La Mancha!’

JS: To have a director in any theater with that kind of talent and experience is just a huge WOW! With that in mind and knowing your great love of acting…what pulls you toward directing ‘Carnage’?

TR: I find it fascinating to have the opportunity to read a play and to later have the chance to help breathe life into it on the stage.  I’m sure there’s a little bit of control freak in me, but I do enjoy the collaborative process of working with so many people to make a performance happen. I love directing ‘God of Carnage.’ and I would say what I would love to direct is whatever is next!

JS: Thank you Tim! Don’t miss this Dayton!

You can catch ‘God of Carnage’ weekends from March 10-19.

Showtimes are Fridays and Saturdays at 8:00; Sundays at 2:00.

Tickets: Adults $20
Seniors/Students/Active Military $18
Dayton Playhouse
1301 E. Siebenthaler
Dayton OH

 

 

 

‘Man of La Mancha’ Review – Dayton Playhouse – A Quest Fulfilled

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The artistic stars have aligned at the Dayton Playhouse as evidenced in its impressively grounded production of librettist Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion’s 1965 musical Man of La Mancha, astutely directed with clarity and commendable atmospherics by Dawn Roth Smith.

The cast of Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

As is typical with any production of La Mancha, set in a dingy dungeon of despair during the Spanish Inquisition, the engaging, inspirational and dark material lives and breathes on the merits of whomever portrays Miguel de Cervantes/Don Quixote and Aldonza. Thankfully, Tim Rezash and Sarah Viola are firmly at the helm, delivering winning performances layered in deft characterization and vocal assurance. Rezash, instilling noble passion within The Impossible Dream and heartwarming yearning within Dulcinea, wonderfully commands and stimulates the interests of Cervantes’ fellow prisoners, drawing them into the valiant, illusion-driven world of Don Quixote with playful imagination and spirited hope. Viola, an accomplished soprano and a luminous Eliza Doolittle in the Playhouse’s My Fair Lady last season, returns with aplomb, providing gorgeous renditions of It’s All the Same, What Does He Want of Me? and gripping Aldonza.

Ted Eltzroth (left, Sancho) and Tim Rezash (Cervantes/Quixote) in Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

Elsewhere: Ted Eltzroth offers dopey charm as Cervantes’ faithful sidekick Sancho Panza; William “Kip” Moore supplies fun and flair as the Padre (notably interpreting To Each His Dulcinea with gentle grace); Charles Larkowski is a delightfully gleeful Barber; Brad Bishop, in a refreshing departure, is believably formidable as brutish, violent Pedro; Danny Klingler brings appealing sophistication to the Duke/Carrasco/Knight of Mirrors; lovely sopranos Bryn Corbett (Antonia) and Kate Young (Housekeeper) join Klingler and Moore for a terrifically sung and staged I’m Only Thinking of Him; and Lindsey Cardoza (Maria) and dancer Kiersten Farmer (Moorish Lady) uniquely entertain. The admirable company, attractively costumed by Theresa Kahle, includes Richard Lee Waldeck (Captain), Kevin Rankin (Governore/Innkeeper), John Wysong (Jose/Mirror Guard), Stephen Gogol (Tenorio/Mirror Guard), Jamison Meyer (Paco/Moorish Man), Jamie McQuinn (Juan/Moorish Man), and Michael Plaugher (Anselmo/Mirror Guard).

Sarah Viola (Aldonza) and the male ensemble of the Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

In addition to Jonathan Sabo’s excellent scenic design and the evocative lighting design of the aforementioned Waldeck, Smith’s first-rate production team includes choreographer Jeffrey M. Payne, sound designer Bob Kovach, properties designer Laura Rea, and music director Sarah Plaugher, leading a fine orchestra.
La Mancha is really staged these days, so I highly recommend taking the time to catch this classic, which has been treated with great respect and reverence at the Playhouse.

Man of La Mancha continues through Feb. 2 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. The production is performed in two hours without intermission. Tickets are $18-$20. Call (937) 424-8477 or visit daytonplayhouse.com.

 

‘Sister Act’ Review –Dayton Playhouse – A Joyful Noise

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She’s fabulous, baby. I’m referring to Tia Seay, a consistent bright spot in many featured roles transitioning into a leading lady with passion, power and purpose in the Dayton Playhouse’s highly entertaining production of Sister Act, fluidly directed by Tim Rezash.

Tia Seay (left, standing, as Deloris Van Cartier), Brian Sharp (center as Monsignor O’Hara) and the Nun Ensemble of Dayton Playhouse’s production of Sister Act. (Photo by Art Fabian).

Whether managing a trailer park, resorting to goofy antics to win quick cash, narrating on Skid Row, or ill-fatedly embracing hope at the dawn of the 20th century, Seay has delivered time and time again with vivid expression, solid stage presence and terrific vocals. So, it’s perfectly fitting she’s finally received an incredible star vehicle catered to her naturally inherent gifts of comedy and soul.

In this breezy 2011 adaptation of the 1992 hit film of the same name, featuring music by Alan Menken, lyrics by Glenn Slater, and a book by sitcom vets Cheri and Bill Steinkellner (Cheers), Seay portrays disco diva Deloris Van Cartier, a struggling Philadelphia nightclub entertainer seeking fame in the late 1970s. When Deloris accidentally witnesses a murder at the hand of her gangster boyfriend Curtis, she’s sent to a local convent for her protection. She humorously clashes with the stern Mother Superior, but ultimately discovers the value of sisterhood when she transforms the convent’s inadequate choir into an overnight sensation.

Seay’s charm, wit and warmth is put to great use as Deloris hilariously fumbles her way through the convent lifestyle like a fish out of water. But don’t get me wrong. She’s not a jokester stuck on autopilot for two-and-a-half-hours. On the contrary, she calculatingly builds her portrayal with nuance and depth, most significantly in her beautiful rendition of the introspective title song which serves as Deloris’ epiphany. Seay also receives pleasant support from an appropriately strict and bewildered Cathy Long as Mother Superior in addition to the truly praiseworthy team of Alicia Walton as introverted Sister Mary Robert (her Life I Never Led is a tender standout), Shanna Camacho as bubbly Sister Mary Patrick, Donna Cason as no-nonsense Sister Mary Lazarus, Dawn Roth-Smith as Sister Mary Theresa (Rezash gives her a very funny stage cross), and the mostly mute Elaine Smith (who nearly brought tears to my eyes in a brief yet heartfelt exchange with Seay) as the eccentric Sister Mary Martin-of-Tours. The colorfully cohesive Nun Ensemble, bringing wonderful vibrancy to Menken and Slater’s marvelous Raise Your Voice, disco-driven Take Me to Heaven and Spread the Love Around, and lovingly Disney-flavored Bless Our Show, consists of Zenobia Curtis, Andrea Wilburn, Amber Pfeifer, Nelani Huntington, Carrin Ragland, Lindsey Cardoza, Elizabeth Lindon, Rebekah Skaroupka, Angelé Price, and Marabeth Klejna.

(left to right) Tia Seay (Deloris Van Cartier), Donna Cason (Sister Mary Lazarus), Shanna Camacho (Sister Mary Patrick), and the Nun Ensemble of Dayton Playhouse’s Sister Act. (Photo by Art Fabian)

Interestingly, the men take a backseat in this musical (a script flaw resulting in underwritten roles), but Rezash allows each an opportunity to shine. Brian Sharp is deliciously dry as the financial-focused Monsignor O’Hara. William “Kip” Moore, memorably partnered with Seay last season in the Playhouse’s Ragtime, gives ominous weight to Curtis’ vengeance. Moore’s rendition of the lyrically clever, R&B-inspired When I Find My Baby is a real hoot. Naman Clark is delightfully earnest as insecure Eddie, the police officer overseeing Deloris’ case smitten with her ever since she led an all-black version of Funny Girl in high school. Trevaun Tolbert as TJ, William “Beau” Boatwright as Joey, and Juan Gabriel Encarnacion as Pablo are crowd-pleasers as Curtis’ kooky henchmen. Also notable are versatile Steve Strawser as Eddie and Solid Gold-esque Kiersten Farmer adding pizazz as Fantasy Dancer.

Rezash’s first-rate production team includes scenic designer Chris “Red” Newman, costumer Elaine Smith (filling the finale with glitz and glamour), lighting designer John Falkenbach, properties designer Tina McPhearson, choreographer Michael Groomes, sound designer Bob Kovach (conveying the convent’s acoustics with finesse), and musical director Ron Kindell who leads a steady nine-piece orchestra.

Bolstered by Seay’s outstanding performance, this feel-good show is a fun kickoff to the Playhouse’s 2017-2018 season. Do yourself a favor and go see Sister Act!

Sister Act continues through Oct. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton.
Act One: 70 minutes; Act Two: 55 minutes. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.