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‘The Best Little Whorehouse in Texas’ Review – Dayton Playhouse – The Oldest Profession

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It’s easy to dismiss composer Carol Hall and librettists Larry L. King and Peter Masterson’s hit 1978 musical The Best Little Whorehouse in Texas as nothing but a cutesy tale of prostitution. But often overshadowed by the sight of alluring women and the sound of mattresses getting an extreme workout is a highly relevant show about empowerment, family, security, sisterhood, and second chances.

The cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

In the Dayton Playhouse’s very entertaining production fluidly directed by Brian Sharp, a big-haired, wonderfully grounded Tina McPhearson resoundingly leads the way as the resilient, no-nonsense Miss Mona Stangley, proprietor of the Chicken Ranch in Gilbert, Texas in the late 1970s. With faithful support from her trusty sidekick Jewel (delightfully sassy Pamela Byrd) and good-natured Sheriff Ed Earl Dodd (folksy Ted Eltzroth), Miss Mona and her playpen have been able to avoid catastrophic controversy. However, everything unexpectedly crumbles when fiery TV reporter Melvin P. Thorpe (energetic Ron Maurer, far removed from his reserved Tateh in the Playhouse’s Ragtime two years ago) whips the public into a religiously frenzied uproar. Despite Miss Mona’s tuneful opinion that “there’s nothing dirty goin’ on,” Thorpe vows to expose the ranch’s illegal activity, ultimately receiving help from the hopelessly flighty Governor (playful Matt Owens making the most of the silly Sidestep, a highlight of Sandra Hyde’s choreography).
Still, as chaos overwhelms, the heart of the show remains Miss Mona’s gals, an assortment of colorful women from different backgrounds, different homes and different opportunities just trying to get by while feeling protected by their surrogate mother. Kelli Myers (Shy), Adee McFarland (Angel), Shana Fishbein (Eloise), Amber Pfeifer (Taddy Jo), Alicia Walton (Dawn), Shanna Camacho (Durla), Logan Hylinski (Beatrice), Stacey Ward (Ruby Rae), and Sommer McGuire (Linda Lou) are pleasantly unified. Myers, believably evolving from naivete to confidence, and McFarland, beautifully leading the poignant Hard Candy Christmas, are noteworthy in addition to McPhearson’s quietly descriptive account of Miss Mona’s Galveston winter rendezvous late in Act 2.

Pamela Byrd (Jewel) and Tina McPhearson (Miss Mona Stangley) in the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Elsewhere, Jackie Pfeifer (waitress Doatsey Mae) provides a tenderly reflective Doatsey Mae, Mark Diffenderfer (recently memorable in Dayton Theatre Guild’s The Man Who Shot Liberty Valance) brings understated authenticity to the Narrator, Sean Gunther (Senator Wingwoah), John Jeurgens (Mayor Rufus Poindexter), Malcolm Casey (CJ Scruggs), Marabeth Klejna (Announcer), and Cheryl MacGowan (Miss Wulla Jean) add greatly to the material’s humor, and there’s plenty of rowdy fun bursting within the sexually rambunctious Aggies consisting of John Carrington, Samuel Hamilton, Adonis Lemke, Sean Mayo, Ryan Petrie, Bryan Schuck, and Josh Vance. Hamilton, Schuck, Vance, and strong tenor Lemke are also notable as the Dogettes Quartet.

Ron Mauer (Melvin P. Thorpe) and the cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Sharp’s first-rate artistic team includes scenic designer Red Newman, costumer Teresa Kahle, wig designer Steve Burton, lighting designer Richard Lee Waldeck, sound designer Bob Kovach, and music director Ron Kindell. Violinist John Root is particularly excellent among Kindell’s orchestra during Doatsey Mae.

Surprisingly, considering the subject matter, the Playhouse offers a relatively genteel, sexually tame Whorehouse. By no means does this production ever ascend to questionable levels of gritty, carnal ecstasy in tone or characterizations, clearing allowing for a genuinely fun, worthwhile outing.

The Best Little Whorehouse in Texas continues through Sept. 29 at 8 p.m. Friday and Saturday and 2 p.m. Sunday at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 80 minutes; Act Two: 40 minutes. Tickets are $20 for adults and $18 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit daytonplayhouse.com. Patrons are advised the show contains adult content, language and situations.

 

‘Beehive’ Review – Dayton Playhouse – Welcome to the ‘60s

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The socially tumultuous but musically wondrous 1960s takes center stage as the Dayton Playhouse presents an entertaining and warmly nostalgic production of the off-Broadway musical revue Beehive.
Created in the 1980s by the late Larry Gallagher, Beehive salutes various female pop artists of the decade from girl groups such as the Chiffons, the Shirelles, and the Supremes to distinctive legends such as Janis Joplin, Tina Turner and Aretha Franklin. Adhering to the standard revue blueprint, the songs are the main attraction. There’s no need for a trite, shoe-horned storyline when a bevy of 30 fantastic hits from toe-tapping confections (It’s My Party, My Boyfriend’s Back, One Fine Day, You Can’t Hurry Love) to soulful anthems (Will You Still Love Me Tomorrow?, Abraham, Martin and John) breezily fuel the show’s feel-good momentum.

(l to r) Madeline Hart (Pattie), Elana Elmore (Gina), Alicia Walton (Jasmine), Tamar Fishbein (Wanda), Kailey Yeakley (Alison), and Shanna Comacho (Laura) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

Director Tina McPhearson (who memorably helmed the Playhouse’s Hairspray) and choreographer Annette Looper (playfully evoking the spirit of American Bandstand and Hullabaloo) seemingly work in tandem to bring lighthearted joy to this fast-moving, audience-friendly outing. McPhearson’s lively and compatible six-member cast, attractively costumed by McPhearson, Kathleen Carroll and Tim Grewe with fabulous wigs by Steve Burton, beautifully blend vocally while enjoying individual opportunities to bask in the spotlight. Tamar Fishbein (Wanda) winningly takes on the role of narrator, gleefully offering commentary on important fashion trends and the significance of certain songs to provide greater context. Playhouse newcomer Kailey Yeakley (Alison) absolutely charms in full debutante mode rendering a lovingly demure and strong version of Where the Boys Are. Madeline Hart (Pattie) also provides a fine Playhouse debut, notably shining with You Don’t Own Me and Son of a Preacher Man. Alicia Walton (Jasmine), a standout earlier this season as Sister Mary Robert in the Playhouse’s Sister Act, returns with a particularly spirited River Deep –Mountain High. Shanna Comacho (Laura) continues her impressive versatility this season with a gently poignant To Sir, With Love (a personal favorite that still sounds as earnest and impactful as the day it was written) and a fully committed, Woodstock-esque embodiment of Somebody to Love, Cry Baby and Me and Bobby McGee. The marvelously expressive Elana Elmore (Gina), trained in opera but skillfully navigating R&B in this instance, delivers a rousing Proud Mary and wonderfully lyric-driven renditions of Chain of Fools and (You Make Me Feel Like) A Natural Woman. She effortlessly interprets Chain of Fools and A Natural Woman with delicate nuances and unique vocal flourishes that make its dual assessments of love, complicated vs. satisfying, arise fresh and new.

l to r) Alicia Walton (Jasmine), Shanna Comacho (Laura), Madeline Hart (Pattie), Tamar Fishbein (Wanda), Elana Elmore (Gina), and Kailey Yeakley (Alison) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

The production is also bolstered by Chris “Red” Newman’s variety show-inspired scenic design, John Falkenbach’s expert lighting, Bob Kovach’s terrific sound design, and conductor Ron Kindell’s well-balanced orchestra.  Accented by amusing photos and commercials of yesteryear, Beehive is a worthwhile trip down memory lane.

Beehive continues through Sunday, Feb. 4 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The musical is performed in 90 minutes without intermission. Tickets are $16-$18. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.

 

‘Xanadu’ Review – Dayton Playhouse – Fun Frivolity

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Life got you down? Head over to the Dayton Playhouse for a delightful dose of feel-good nostalgia in the form of “Xanadu,” the hilarious 2008 Tony Award-nominated musical comedy continuing its local premiere through Feb. 5.

The Dayton Playhouse continues its local premiere of the 2008 Tony Award-nominated musical comedy “Xanadu” through Feb. 5. (Photo by Art Fabian)

Based on the campy 1980 movie musical of the same name starring Olivia Newton-John and breezily directed by Tina McPhearson, “Xanadu” brings Greek mythology to Los Angeles circa 1980. Beautiful muse Clio attempts to rejuvenate the creative impulses within struggling chalk artist Sonny Malone, whose artistic dream is to open a roller disco. Disguised as an Australian named Kira, Clio throws herself into her mission but not without interference. Her jealous, spiteful sisters Melpomene and Calliope try to thwart matters, but ultimately the bonds of true love and the sheer joy of artistic inspiration prevails.

Douglas Carter Beane’s snappy libretto, full of clever one-liners and tongue-in-cheek barbs, warmly pokes fun at the movie’s cheesy lore. Due to the weaknesses of the screenplay, Beane’s savvy decision to revise the tale with an emphasis on Greek mythology, musical theater conventions, and a cute pop culture sensibility is a welcomed relief. Still, the singular asset of the material remains the incredibly tuneful pop/rock/disco numbers by Academy Award nominee John Farrar (“Hopelessly Devoted to You”) and Jeff Lynne (of ‘70s rock band Electric Light Orchestra, a 2017 Rock and Roll Hall of Fame inductee). Memorable songs such as “I’m Alive,” “Magic,” “Suddenly,” “All Over the World,” and the dandy title tune are still hummable treats after nearly 40 years. I wish the cast would have attacked the score with more power and punch (it’s impossible to hide behind these songs), but any moments of vocal timidity are not a grave misstep.

Desmond Thomas, an engagingly dim-witted surfer dude-esque Sonny, and Playhouse newcomer Ellie Krug, a high school senior impressively navigating the whimsicality of Clio/Kira, are compatible lovebirds. Thomas is the stronger singer (rock ballad “Don’t Walk Away” is a highpoint), but Krug’s winsome vibrancy and grasp of many funny nuances is highly commendable. As Melpomene and Calliope respectively, standouts Amy Askins and Tamar Fishbein are a wonderfully comedic and vindictive duo, specifically offering a terrific take on “Evil Woman” winningly setting the show’s goofy tone. David Shough is fittingly sophisticated and silly as Danny McGuire, a real estate developer torn by greed and allured by memories of Kira in his youth. In particular, “Whenever You’re Away From Me,” a ‘40s flashback between Danny and Kira excellently choreographed by Annette Looper, finds Shough and Krug dazzlingly joined by a smoothly suave John Nussbaum as Young Danny. In multiple roles, Adee McFarland, Shanna Camacho, and Richard Lee Waldeck enjoyably complete the cast, a cohesive troupe impressively roller skating with a fair amount of ease and most significantly in the upbeat finale. Waldeck, as Cyclops, and Nussbaum, as a roller skating Centaur, notably add to the hysterical joy of “Have You Never Been Mellow.”
In addition to Looper, McPhearson’s first-rate artistic team includes music director Judy Manksy (leading a firm four-piece band), scenic designer Chris Newman (his colorful creation of Pegasus brings giddy charm to Krug’s rendition of “Suspended in Time”), lighting designer John Falkenbach, sound designer Bob Kovach, dialect coaches Fran Pesch and Annie Pesch, and costumers/wig makers Steve Burton and Tim Grewe (in collaboration with McPhearson).

For all its zany kookiness, “Xanadu” manages to deliver a warmhearted reminder that absolute fulfillment or contentment simply comes from loving someone and creating art. So, forget your Sunday clothes. Put on your leg warmers, roller skates, and glitter for an entertaining trip down memory lane.


“Xanadu” continues through Feb. 5 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The production is performed in 100 minutes without intermission. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com