Victoria Theatre Association

AUDITIONS FOR SO YOU THINK YOU CAN PLAY THE SCHUSTER

July 22, 2013 By Dayton Most Metro Leave a Comment

AUDITIONS!
SO YOU THINK YOU CAN PLAY THE SCHUSTER
August 10 & 11, 2013
Schuster Center- Mathile Theatre

AUDITION TIMES:
Saturday – 10 a.m.-3 p.m.
Sunday – 12-4 p.m.

HOW TO AUDITION:
Groups and individuals interested in auditioning may call (937) 461-8583 or email [email protected] to reserve a time slot at one of the live auditions. A registration form must be submitted at time of reservation.

Click here for the audition registration form (PDF).

After both auditions, the top 20 (selected by VTA staff) will be posted for limited-time online vote. The 15 finalists for SO YOU THINK YOU CAN PLAY THE SCHUSTER will come together to perform on the Schuster Center’s Mead Theatre stage on Sunday, September 29 for our competition judges and a live audience! First place receives a cash prize of $1,000; second place receives $500; and third place receives $250!

AUDITION/PERFORMANCE REQUIREMENTS:

Any individual/group may audition at one of the two live auditions. All ages are welcome. All talents are welcome, but must be family-friendly. Video or audio auditions are not acceptable.
All individuals/groups must sign a photo/video release to participate. Anyone under the age of 18 must have a parent/guardian present to sign release and participate.
Microphones are NOT available at the auditions.
Each group must be able to set up any equipment, props, or other necessities in 90 seconds. Likewise, each group must be able to strike any equipment, props or other necessities in 90 seconds.
Each performance may only last up to 2 minutes. If a group goes over time, they will be stopped by an official timekeeper.
Each group agrees that their performance will not endanger members of their own group, or groups that follow, by: 1) allowing liquids to be spilled on the stage area; 2) using confetti, glitter or any other material tossed on the stage floor in their act; and 3) involving members of the audience as volunteers unless cleared with VTA staff.
Costumes are encouraged if appropriate.
Pre-recorded music, edited for the group to use in the act, must be given to the VTA on a CD with the appropriate track number indicated. The VTA technical staff will not be responsible for fading or cutting out music.
Special considerations/accommodations will be given to bands that need extra time to set up instruments, and dance groups that need special flooring.
Although we appreciate that your pets have talents, too, animal acts are not permitted.
By checking the box on the registration form, you authorize Victoria Theatre Association to take pictures and/or videos of you (or your child), and all individuals in your group including those under 18 years of age, and to use the photos or videos as necessary for both internal and external purposes. By agreeing to this release, you understand you will receive no form of compensation for pictures or videos of you or your child used by Victoria Theatre Association.

– See more at: http://www.victoriatheatre.com/shows/sytycpts-auditions/#sthash.5j4cZIlp.dpuf

Dreamgirls Review – Victoria Theatre Association – Hard to Say Goodbye

June 6, 2013 By Russell Florence, Jr. Leave a Comment

It’s hard to say goodbye to musical theater as emotionally compelling, humorously spirited, visually appealing and vocally thrilling as the latest national tour of the 1981 Tony Award-winning musical “Dreamgirls,” the terrific season finale of the Victoria Theatre Association’s 2012-13 Premier Health Broadway Series dazzlingly staged by director/choreographer Robert Longbottom at the Schuster Center.
Conceived by Michael Bennett (“A Chorus Line”) and featuring a fantastic score by Henry Kreiger and librettist/lyricist Tom Eyen, “Dreamgirls” is a predominately sung-through, Motown-inspired tale skillfully and breezily chronicling the triumphs and torment of a female R&B trio during the 1960s and 1970s. Loosely based on the tumultuousness associated with Diana Ross and The Supremes, the musical weaves absorbing themes of ambition, disillusionment, greed, image, sacrifice, heartache, love, family and forgiveness into a revealing look at African-Americans desperately pursuing the American dream at any cost during a particularly thorny time when it was very difficult for R&B music to crossover to the pop charts.

(l to r) Tonyia Myrie Rue, Jasmin Richardson and Charity Dawson in Dreamgirls (contributed photo)

Charity Dawson, delivering one of the best performances of the season and blessed with a voice that can be considered an R&B hybrid of Jill Scott and Ledisi, is a marvelous focal point as overbearing, plus-sized diva Effie Melody White. Dawson turns the wonderfully complex Effie into a demanding force to be reckoned with as the lead (and loudest) singer of the Dreamettes who long to become stars but initially settle for singing backup to James Brown-esque showman James “Thunder” Early (the absolutely dynamic JoNathan Michael). When Dawson steps forward near the top of the show to fuel the forceful groove and saucy attitude within “Move (“You’re Steppin’ On My Heart),” there’s no doubt the show is in immensely capable hands. And when Effie’s promising world begins to crack the moment the Dreamettes’ shady manager Curtis Taylor, Jr. (a slick, proper and confidently cool Deonte’ Warren) repackages the group as the Dreams and taps slender Deena Jones (the demure yet determined Jasmin Richardson) to sing lead, Dawson astutely escalates Effie’s heartbreak. In fact, the final 30 minutes of Act 1 are not to be missed as the touching “Family” segues into the driving, spine-tingling title tune (beautifully and gracefully led by Robinson) and ultimately reaches a gripping climax with the fabulous squabble “It’s All Over” and Dawson’s powerhouse rendition of “And I Am Telling You I’m Not Going,” which sparked rapturous applause on opening night long before its iconic final notes. However, I must admit Dawson’s equally visceral “I Am Changing,” featuring one of many stunning costume changes, is a joyously life-affirming Act 2 roof-raiser worth the price of admission. This production, heightened by Longbottom’s superb transitions, also wisely incorporates the soul-bearing ballad “Listen” from the 2006 Academy Award-winning film version, allowing Dawson and Richardson another ample opportunity to showcase their full-throttle vocals within a perfectly honest moment of reconciliation between Effie and Deena.

In addition to the aforementioned Michael’s gospel-tinged vigor in a role he was born to play, excellent featured performances are given by the delightfully spunky
Tonyia Myrie Rue as Lorrell Robinson (the agitated fury within her deliciously fiery rendition of “Ain’t No Party” nearly rises to showstopping proportions), the amiable Terrance Johnson as Effie’s brother C.C., the lovely Kimberly Michelle Thomas as Michelle Morris, and the believably disgruntled Kolby Kindle as Early’s longtime manager Marty whose outright disdain for Curtis is always palpable.
Elsewhere, Shane Sparks, a phenomenal hip-hop choreographer known for his work on “So You Think You Can Dance,” provides sharp and vigorous routines for the male ensemble, particularly the rip-roaring “Steppin’ to the Bad Side.” Costumer William Ivey Long is responsible for an array of utterly gorgeous gowns and other colorful period designs. Robin Wagner’s original, understated scenic design is effectively enhanced by Howard Werner’s large, eye-catching LED panels that winningly expand the storytelling. Ken Billington’s splendid lighting design adds just the right amount of razzle dazzle. Conductor Jon Balcourt leads an outstanding orchestra that rarely pauses throughout this rich musical landscape. In fact, a driving rhythm lightly underscores certain Act 1 book scenes.
Thanks to a vibrant cast and striking new technical elements, “Dreamgirls” remains an infectious crowd-pleaser.
“Dreamgirls” continues through June 9 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: 75 minutes; Act Two: 60 minutes. Tickets are $40-$86. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Victoria Theatre Association Presents PSY + TICKET CONTEST

April 4, 2013 By Dayton Most Metro 1 Comment

The Victoria Theatre Association invites you to tumble down the dark corridors of the human psyche on April 12 and 13 when it presents PSY, a wild commingling of acrobatics and psychology by the same company that brought last season’s successful Traces.

(NOTE: We’ll stop here and reiterate that this article is not about Psy, the Korean “Gangnam Style” superstar, nor will he be performing in Dayton this month.)

Written and staged by Shana Carroll (who also staged the Cirque du Soleil performance at the 2012 Academy Awards), PSY features an 11-member cast displaying inspired acts based on psychological disorders, beginning in therapy sessions that jump off the couch and into the air in a combination of acrobatics, circus acts, and street dance. House music, obsessive-compulsive disorder, trapeze work–PSY runs the whole gamut. The Boston Herald said, “Watching PSY is like having the front-row seat to someone’s fever dream. … [It] raises the bar on what cirque nouveau can do — not just physically but emotionally.”

An audience favorite on the show’s tour is Olga Kosova, who plays Suzi, a young woman with anger management issues and perform’s two of the evening’s most dangerous acts involving throwing knives and a dazzling aerial rope routine with no visible safety structures.

Kosova, born in Kiev and raised mostly in the U.S., began in rhythmic gymnastics before transitioning into aerial rope and Chinese acrobatics training with Master Lu Yi at San Francisco’s Circus Center, and performed with several circus and acrobatics groups before training at the National Circus School in Montreal.

“Suzi has intermittent explosive disorder,” Kosova said. “That disorder is characterized by anger management issues and are destructive, but after their rage episodes, they’re usually very apologetic and embarrassed. Suzi’s a little angry and hyperactive, and has a very strong personality. She’s not destructive in the show, but does get very, very angry. I try to find the humorous aspect of it too, and so she’s very giggly. The rope routine is the climax of her character’s anger explosion.”

“The throwing knife routine morphs out of a flashback to a birthday party where a game of Pin the Tail on the Donkey kind of becomes something else,” she said. “I started working with knives first in dancing. I learned trapeze and aerial rope, and then picked up dancing knives because they’re very similar to dancing with clubs in rhythmic gymnastics, so I just transferred my knowledge. As far as throwing knives, a few years ago I saw a wonderful French film called The Girl on the Bridge, and it involved knife throwing. It looked exciting, so I contacted a friend who worked with them and started to train.”

Kosova, who will tour with PSY through spring, said, “I really love that when people watch the show, they find at least one character they can relate to, and I think there’s a little of us in every one of the characters. It really depends on what you read into the scenes. There’s a lot of commentary about the seriousness of what’s going on, but also the absurdity and the humor. And it’s awesome seeing how the circus aspect is worked in.”

PSY will be performed at 7:30 p.m. on Friday, April 12, and 8 p.m. on Saturday, April 13. Tickets are $39 – $61. For tickets or discount information, call (937) 228-3630 or visit victoratheatre.com.

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TICKET CONTEST

Contest closed – congratulations to our winners!

Aja Delaney

Sarah Muench

Melisa Bissell

William Daniels Jr

Experience The Beatles with RAIN

March 20, 2013 By Dayton Most Metro Leave a Comment

Victoria Theatre Association presents the internationally-acclaimed Beatles concert, EXPERIENCE THE BEATLES WITH RAIN. Direct from their phenomenally successful Broadway engagement. RAIN returns to Dayton on March 26-27 at 8 p.m. at the Benjamin & Marian Schuster Performing Arts Center. Tickets are on sale now at the Ticket Center Stage Box Office, by phone at (937) 228-3630, toll-free (888) 228-3630 or online athttp://www.ticketcenterstage.com.

As “the next best thing to seeing The Beatles!” (Associated Press), RAIN performs the full range of The Beatles’ discography live onstage, including the most complex and challenging songs that The Beatles themselves recorded in the studio but never performed for an audience. In addition, new songs are being included with the launch of the 2012 Tour. Together longer than The Beatles, RAIN has mastered every song, gesture and nuance of the legendary foursome, delivering a totally live, note-for-note performance that’s as infectious as it is transporting. From the early hits to later classics (“I Want To Hold Your Hand”, “Hard Day’s Night”, “Sgt. Pepper’s Lonely Hearts Club Band”, “Let It Be”, “Come Together”, “Hey Jude” and more), this adoring tribute will take you back to a time when all you needed was love, and a little help from your friends!

Like The Beatles, the onstage members of RAIN are not only supreme musicians, but electrifying performers in their own right.

“Just turn off your mind, relax and float downstream for a quick fix of nostalgic cheer!”
– Entertainment Weekly

Single tickets for EXPERIENCE THE BEATLES WITH RAIN start at just $21 and are on sale now at the Ticket Center Stage Box Office, by phone at (937) 228-3630, toll-free (888) 228-3630 or online at http://www.ticketcenterstage.com. Ticket Center Stage Box Office hours are Monday – Friday 10 a.m. – 6 p.m., Saturday noon – 4 p.m., and two hours prior to each performance.
http://www.raintribute.com

ON STAGE DAYTON REVIEW: American Idiot (Victoria Theatre Association) – Ode to Billie Joe

March 13, 2013 By Russell Florence, Jr. Leave a Comment

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

Much has been said about Green Day frontman Billie Joe Armstrong’s shocking meltdown at the I Heart Radio Musical Festival last fall in addition to his rehab stint for alcoholism and addiction, but his raw musical genius is of utmost importance in this context. After all, Green Day’s bold, provocative “American Idiot,” a 2010 Tony Award nominee for Best Musical expertly derived from the band’s profound 2004 Grammy-winning album of the same name, has arrived at the Victoria Theatre with astounding electricity rivaling the Broadway production.

Helmed and co-adapted by Michael Mayer – who astonishingly did not receive a Tony nomination for his brilliant stagecraft fluidly accented by Steven Hoggett’s vigorous choreography – “American Idiot” is a non-stop, 90-minute kick in the gut depicting post-911 America, particularly the George W. Bush administration, as a well of political lies within a sea of media overkill, an image superbly presented as the curtain slowly rises on an eye-catching multitude of television sets before the pulsating title number fittingly sets the rock concert tone of the evening. Armstrong’s terrifically blunt and poignant songs, co-written with band mates Mike Dirnt and Tré Cool and including tunes from the band’s 2009 Grammy-winning “21st Century Breakdown,” exhilarates and educates with overwhelming energy and attitude as “the land of make believe who don’t believe in me” takes its toll on the youth of Jingletown U.S.A., particularly three close-knit friends longing for purpose despite deep disillusionment stirring within their suburban hell consumed by “signs leading to nowhere.” The angst-filled, in-your-face numbers, presented with impeccably smooth transitions, are distinctively Green Day, especially lively anthems such as “Holiday” and “Know Your Enemy,” but certain passages delightfully recall Andrew Lloyd Webber’s “Jesus Christ Superstar” (“I Don’t Care”), Jonathan Larson’s “Rent” (“Before the Lobotomy”) and the Beatles (“Last Night on Earth”).

Alex Nee, charming, funny and touching, excellently leads the uniformly outstanding cast as Johnny (a.k.a. Jesus of Suburbia), the product of a broken home scarred by the memories of a parent who constantly killed his self-worth. Nee typifies the desperation of a suffocated suburban kid hoping for something better on the outside. The endearing Thomas Hettrick is a fine Tunny, who joins Johnny on a spirited adventure only to become fixated on a handsome celebrity figure (“Favorite Son”) that encourages him to join the military with heartbreaking results. Casey O’Farrell wonderfully completes the trio as the homebound Will, who suffers “Too Much Too Soon” with his pregnant girlfriend Heather (the humorous Kennedy Caughell).

Elsewhere, Trent Saunders thrills as the scarily intense St. Jimmy, Johnny’s drug dealer. Alyssa DiPalma properly supplies sass and tenderness as Whastername, Johnny’s love interest. As the Extraordinary Girl, the lovely Jenna Rubaii joins Hettrick for a beautifully exquisite aerial ballet during the evocative “Extraordinary Girl.” Jared Young, Carson Higgins, Aurie Ceylon, and Daniel C. Jackson are very effective in featured roles.

Unfortunately, the only drawback to this splendid showcase, which includes Christine Jones’ Tony-winning set design and Kevin Adams’ Tony-winning lighting design, is the Victoria itself. The show, specifically its towering sound equipment, is simply too large for the stage, leaving poor sightlines for practically anyone sitting in the right orchestra.

Nonetheless, like “Hair,” “Jesus Christ Superstar” and “The Who’s Tommy,” Green Day’s “American Idiot” firmly stands as another mesmerizing, thought-provoking testament to the powerful influence of rock music in the musical theater universe.

Green Day’s “American Idiot,” presented in 90 minutes without intermission, continues Wednesday, March 13 and Thursday, March 14 at 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Tickets are $46-$67. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show is recommended for ages 17 and up and includes strong language and adult themes.

Here is an audience reaction, courtesy of Victoria Theatre Association

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Annie Griffiths: A Camera, Two Kids and a Camel + TICKET CONTEST

March 8, 2013 By Dayton Most Metro Leave a Comment

Photographer ANNIE GRIFFITHS kicks off the second event of the 2012-2013 FIFTH THIRD BANK NATIONAL GEOGRAPHIC LIVE SERIES on March 11 at 7p.m. in the historic Victoria Theatre. This thrilling event is presented by Victoria Theatre Association and Five Rivers MetroParks. Tickets are available at the Ticket Center Stage Box Office, by phone at (937) 228-3630, (888) 228-3630 or online at www.ticketcenterstage.com.

In this presentation, audiences get an inside look into the life of ANNIE GRIFFITHS and how she maintains balance and joy of creating a meaningful life. Griffiths will share stories about her international travel, the people she met, as well as show photographs that documented her experience. Her presentation of A CAMERA, TWO KIDS, AND A CAMEL along with her sense of humor and touching stories will excite the audience and give them an insider’s look into her life and world.

Along with her magazine work, ANNIE GRIFFITHS has a passion for photographing people and places in need around the world. She is founder and executive director of Ripple Effect Images, a team of journalists who document the climate change and its effects on people in need, especially women, and the programs that empower these women through the developing world. One of the first women photographers hired to work for National Geographic, ANNIE GRIFFITHS ‘ photographs have appeared in LIFE, Geo, Smithsonian, Stern, and Time, as well as her own two books, “ A Camera, Two Kids and a Camel” and “Simply Beautiful Photographs.”

Single tickets for the ANNIE GRIFFITHS lecture start at just $20 and are on sale now at the Ticket Center Stage Box Office, by phone at (937) 228-3630, toll-free (888) 228-3630 or online at www.ticketcenterstage.com. Ticket Center Stage Box Office hours are Monday – Friday 10 a.m. – 6 p.m., Saturday noon – 4 p.m., and two hours prior to each performance.

Green Day’s American Idiot comes to Dayton + TICKET CONTEST

March 8, 2013 By Dayton Most Metro 25 Comments

Alex Nee (Johnny) and company in AMERICAN IDIOT

The Victoria Theatre Association continues to expand its boundaries in bringing the best of Broadway to Dayton, and will provide a musical theatre experience of a different kind with Green Day’s rock opera American Idiot, playing at the Victoria Theatre March 12 – 14.

A story very much of this era, American Idiot is the tale of three young men who’ve been friends all their lives. The story finds them on the brink of adulthood, and soon they’ll have to decide whether they’ll strike out into the world to follow their hearts or take an easier path and remain in the comfort of the suburbs. The cynicism, ennui, black humor, and paranoia of youth in post-9/11 America is front and center in this Tony- and Grammy-winning show.

The musical is based on punk band Green Day’s multi-platinum 2004 album by the same name. Director Michael Mayer (Spring Awakening) approached the band with the idea of translating it to the stage, and in April 2010, it opened on Broadway with music by Green Day, lyrics by frontman Billie Joe Armstrong, and a book by Armstrong and Mayer. The production ran for one year, with 421 performances logged by the final curtain.

Ensemble cast member Dustin Harris Smith said, “Someone who doesn’t know Green Day will still have a good experience with this show. Right from the start, it’s an explosion, and as long as you — or your parents — don’t mind the F word, then it’s perfectly accessible. It’s definitely not for everybody, but we see people of all ages in the audience and they really enjoy it. The other day, we had a seven-year-old girl in the front row, and we were very happy to have her. As long as the parents are there to accept it, we’ll be happy to yell at your child. Or,” he added, “your grandmother!”

The New York-based actor also occasionally takes on the role of Tunny, one of the lead trio who joins the military and goes off to war. Musical theatre has already taken him abroad as Bobby in an Edinburgh production of Urinetown, and he performed in The Who’s Tommy and other shows during his educaton at NYU and was paid a visit by a casting director while he was still in school. Several callbacks later, he was cast, and workshops of the touring version began in May 2012 as Smith prepared to graduate.

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

“I call myself The Thrasher,” Smith said, “because I do a lot of the high-octane support in the show. I’m in almost every number backing the three leads and thrashing around. I give all my energy for every performance, which is weird on two-show days, when I have to give 200% of myself. We call them ‘two dow shays,’ because at the end of the day, you’re so exhausted nothing works right or makes sense anymore. When we leave the theater around 11 p.m., most people are going out partying. My party is with my pillow!”

“We just finished our 117th performance,” he said by phone from Hartford, Connecticut. “There’s a lot of belting and screaming, and we do it healthily and have to take care of our voices, but every now and then someone has to take a performance off just based on the wear and tear of the show. There are a few people in the company who have never called out, and,” he added with a laugh, “there is something very wrong with them, and they are freaks.”

When not involved with theatre, Smith has a very unique pursuit as a passionate board game enthusiast with a dream of owning his own game company.

“I’ve produced five or six board games that I’m trying to get play-tested to maybe start a company,” he said. “It’s a small passion I don’t usually tell people about, but it’s very fun for me. Board games are a great way to be face to face with people you know, or don’t know, and get to know how they think.

As his own personal favorite game, Smith is particularly fond of the classic Stratego.

“I’m a big strategy guy,” said Smith, “and if I can get in the head of the person I’m playing, it’s a small victory. The deception and randomness is something I love, that anyone can lay their pieces down in any order, and it becomes kind of a logical guessing game, like chess.”

Smith’s tour with American Idiot will take him all over the United States before wrapping in September after lengthy stints in Tokyo and Seoul.

“We’ve had our share of season ticket holders,” he said, “who are just there to experience something they’ve never experienced, and boy, this is it. The show is filled with spectacle, and there’s a bit of acrobatics… It’s almost like reliving the ’70s era of rock concerts, in a way, but it’s also a very moving piece. I’ve gotten to watch it twice myself, and I laughed and cried both times.”

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CONTEST CLOSED

Congratulations to our ticket winner: Mikee Huber

ON STAGE DAYTON REVIEW: The Addams Family (Victoria Theatre Association) – Ghoulishly Good

March 8, 2013 By Russell Florence, Jr. Leave a Comment

It’s wonderful to know top-drawer musical comedy is alive and well at the Schuster Center thanks to the outstanding local premiere of “The Addams Family,” the absolutely hilarious 2010 musical inspired by the legendary creations of cartoonist Charles Addams in “The New Yorker” and presented on the Victoria Theatre Association’s Premier Health Broadway Series.

Completely retooled with new songs and tighter character development since its messy 2009 pre-Broadway Chicago tryout (which I loathed) and subsequently shaky Broadway mounting, “The Addams Family” finally gels as its wonderfully witty absurdity, surprisingly touching tenderness and enchanting whimsy clearly, cleanly coalesces. Walking the fine line of glorifying and poking fun at death without being in poor taste, librettists Marshall Brickman and Rick Elice (“Jersey Boys”) have streamlined the material to focus on the coming-of-age subtext stemming from the quickie engagement between morbid Wednesday Addams (a marvelously intense Jennifer Fogarty) and her new boyfriend Lucas Beineke (an appealing Bryan Welnicki). Brickman and Elice oddly glosses over the fact that Wednesday and Lucas seem too young for marriage, but the utter shock of the engagement serves its pivotal purpose nonetheless, especially when Wednesday begs her easygoing dad Gomez (terrific comedian Jesse Sharp) not to tell her assertive, perceptive mom Morticia (the cool, statuesque KeLeen Snowgren) about her big news. As Gomez and Morticia cope with Wednesday’s budding relationship and the arrival of Lucas’ straight-laced parents from Ohio, the notion of what one considers “normal” takes on deep, relatable significance. After all, despite serious eccentricities or overt dysfunction in any family, love can prevail if accepting and appreciating someone’s differences is a priority. And in this breezy tale, tunefully broadened by composer Andrew Lippa’s nifty Tony-nominated score recalling Mel Brooks’ clever ditties for “The Producers” and “Young Frankenstein,” the transformative power of acceptance proves monumental.

Wright State University alum E. Cameron Holsinger skillfully recreates Jerry Zaks’ sharp, fast-moving direction, coaxing excellent portrayals across the board. Sharp, who deserves his own sitcom, maintains a very charming, eager-to-please disposition throughout while believably conflicted and moved as Wednesday’s engagement consumes Gomez’s thoughts. He also has a delightful chemistry with Snowgren, who never allows Morticia’s iciness to supersede her underlying warmth. Fogarty, an impressive vocal knockout who nearly stops the show with a dynamic rendition of “Pulled,” is equally well suited with Welnicki, who particularly joins her for the catchy “Crazier Than You,” a strong pop number that humorously raises the stakes of Wednesday and Lucas’ affection even though their dating history could certainly benefit from more backstory. Shaun Rice endearingly guides the proceedings as the peculiarly moon-adoring Uncle Fester. Jeremy Todd Shinder’s portrayal of devious Pugsley Addams strikes a chord during “What If,” a cute song about Pugsley and Wednesday’s unique bond. Scene-stealer Amanda Bruton is a downright hoot as the daffy, vulgar Grandma. Dan Olson, who is given a prime moment to shine during the finale, scores many laughs as imposing butler Lurch. The appropriately uptight Mark Poppleton and genially offbeat Blair Anderson are great as Mal and Alice Beineke. Ensemble members James Michael Avance, Chloe O. Davis, Jake Delaney, Lexie Dorsett, Aaron Fried, Elizabeth Hake, Katie Mebane, Julia Lancione, Galloway Stevens, and Julio Cataono Yee unobtrusively weave in and out of the action as the Addams ancestors.

Additionally, Jonathan Ritter recreates Sergio Trujillo’s original choreography with finesse, specifically the amusingly energetic opening number “When You’re an Addams” and Sharp and Snowgren’s sultry “Tango de Amor.” James Kronzer’s set design modifications of Julian Crouch and Phelim McDermott’s original creations retain a stately allure. Crouch and McDermott’s costumes are also attractive. Natasha Katz’s lighting design is strikingly moody. Basil Twist and Gregory Meeh respectively supply eye-catching puppetry and special effects.

Trust me when I say “The Addams Family” would still be playing on Broadway if this splendid cast and revised script were involved. Peering into the dark side has never been more delectably entertaining.

“The Addams Family” continues through March 10 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: 65 minutes; Act Two: 50 minutes. Tickets are $15-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Family Matters – The Addams Family musical scares up laughs at the Schuster

March 6, 2013 By Dayton Most Metro Leave a Comment

They say you can never go home again, but that’s not always true. From March 5 – 10, people in the Dayton area can return to one of everyone’s favorite childhood haunts, Addams Manor, as the hit Broadway musical The Addams Family takes up residence at the Schuster Center. And whether you grew up with their New Yorker cartoons, the original 1960s sitcom, the ‘90s films, or any of the various animated and live-action spinoffs over the decades, you know that once you’ve met these characters, they’re always a part of you.

A beloved staple of American pop culture, the Addams Family has walked among us for 75 years, tracing back to their first appearance — unnamed but looking essentially as we know them today — in The New Yorker as drawn by cartoonist Charles Addams. The artist was best known for his one-panel illustrations in the famed magazine; frequently accompanied by a devastatingly witty one-liner, the humor in his work tended toward jet-black macabre. The familiar Family characters populated a total of 150 single panel cartoons, and approximately half of them were published in the 50 years between their debut and the artist’s death in 1988.

In 1964, ABC debuted (the same week as CBS’ similarly freaky The Munsters, no less) a sitcom based on the characters, which gave them names and fleshed out their lives and connections. Though it only ran for two seasons (ending, also, the same week as The Munsters in 1966), it remained a cult hit that rose from the grave again and again. There was the failed 1973 pilot for
The Addams Family Fun-House, a musical comedy variety show(?!) with Jack Riley and Liz Torres as Gomez and Morticia, comedian Stubby Kaye as Fester, and Butch Patrick (Eddie Munster!) as Pugsley. There was an animated appearance on an episode of The New Scooby Doo Movies, with most of the original series cast voicing the characters…which led to a 1973-75 Saturday morning cartoon produced by Hanna-Barbera. Oddly enough, this show featured the family cruising the country in a Victorian mansion-type RV — oh, and eight-year-old Jodie Foster voicing Pugsley. In ‘77, the live-action series cast reunited for a (dreadful) TV-movie, Halloween with the New Addams Family.

The casts of the 1966 TV series and the 1991 film

And then, they returned to the A-list. Paramount’s 1991 big-screen take on the characters was a smash hit and introduced the characters to a new generation. Helmed by the late Raul Julia’s gleefully madcap Gomez and Academy Award winner Anjelica Huston’s seductively steely Morticia, the movie spun off another Saturday morning cartoon and a popular sequel, Addams Family Values, as well as launching the career of Christina Ricci, who played Wednesday.

Broadway beckoned, and after more than three years of development, The Addams Family slithered onto the stage in April 2010 with the picture-perfect casting of Tony and Emmy winners Nathan Lane and Bebe Neuwirth heading the cast. It was a success, running for 725 performances and snagging two Tony nominations (Best Score, and Best Featured Actor in a Musical for Kevin Chamberlin as Fester) and eight Drama Desk nods. (Interesting piece of trivia: Cassandra “Elvira” Peterson was in talks to take over the role of Morticia when the show closed.) Now, touring productions of the musical are planned for almost every continent.

In the musical, we meet the family at a time of great conflict. This premise will be familiar to anyone who’s seen La Cage Aux Folles, also known as The Birdcage: 18-year-old Wednesday invites her boyfriend to dinner to meet her folks. Unfortunately, he’s also bringing his folks, who happen to be a couple of bland, uptight buzzkills from — of course — Ohio. She begs her family to act “normal,” a word which, of course, carries a somewhat different meaning to the Addamses…

The show, written by Marshall Brickman and Rick Elice (Jersey Boys) with music by Andrew Lippa (The Wild Party), has been significantly reworked for the tour version, which differs a good bit from the original Broadway incarnation. Four-time Tony winner Jerry Zaks guided an extensive revision that cut three songs, added three new ones, and restructured two others. Storylines were changed and rebuilt as well, including some major changes that removed a plot twist involving the family’s giant pet squid. The effort paid off, fashioning a tighter, fast-moving, more character-driven show that places Gomez and Morticia front and center and ties everything together in a more organic fashion.

Shaun Rice as Uncle Fester

The jovial Uncle Fester is our guide for the evening’s events, which provide plenty of the expected laughs and romance while also showing off these classic characters in ways we’ve never seen before. Happy-go-lucky Gomez seems to ruin everything he touches and can’t please anyone. Eternal beauty Morticia, approaching middle age, fears growing older, and the two find themselves having their first marital spat and staring into a half-empty nest as their firstborn prepares to take flight. We see Wednesday as an adult with her well-known independent streak now influenced by the realization that the real world and the world she grew up in are two very different things. Pugsley is afraid that if he loses his sister, there’ll be no one to torture him anymore. And, perhaps most touching of all, this incarnation of Fester is almost childlike in his innocence and unconditional love.

It works, and it makes for a terrific evening of theatre. The script is packed with huge belly laughs and so many throwaway gags that by the time you finish laughing at one, you’ve likely missed two more. The in-law characters have depth and humor (Blair Anderson as Alice is particularly dynamite in her showcase number). Jennifer Fogarty’s deadpan delivery and incredibly strong voice make Wednesday a real standout. And Amanda Bruton nearly steals the whole show as Grandma, played like a salty, funky, ancient hippie just old enough to not care what comes out of her mouth. Jesse Sharp as Gomez drives the proceedings with boundless energy and zest, bringing the house down with his mindless comedic rants and witty asides. He and Bruton easily score the biggest and longest laughs of the evening, while Shaun Rice’s joyous, soulful Fester unexpectedly forms the heart of the show.

“He’s a little different from how we’ve seen him in the movies and the TV show,” said Rice. “He’s more similar to the original comics. He’s very sweet and is kind of the narrator of the show. Each character has their own sort of musical style in terms of the songs they do, and he has this kind of old-timey, song-and-dance, vaudeville style. There’s a wonderful song in Act Two where Fester sort of interrupts the action to tell us about the love of his life that really shows him at his best.”

Rice started out doing theatre in the Tampa Bay area at a very young age, then began directing before enrolling in the American Academy of Dramatic Arts in New York. And this isn’t his first experience bringing a treasured ‘60s sitcom to the stage: Rice put in some time playing Jonas “The Skipper” Grumby in Gilligan’s Island: The Musical back in the ‘80s.

“This show has been my proudest achievement so far,” he said. “It’s been fantastic. The Addams Family is so iconic. I grew up watching the Hanna-Barbera cartoon, and of course, I saw the movies as an adult, and it’s just a dream come true to be part of such an iconic thing in pop culture. These characters are so simple and silly in some ways, but they’re also more than that because they represent that part of us that never quite fit in. Everyone loves this family. When certain characters show up, the audience just goes nuts for them, and we don’t have to spend a lot of time laying groundwork or explaining who we are. The minute we walk out onstage, you know where you are and who you’re with, and you can really feel how excited and comfortable the audience is being with these characters again. It’s so much fun.”

Actor Jesse Sharp as Gomez

“People just eat it up,” said Jesse Sharp, who plays Gomez. “I’ve been on a couple of Broadway tours before and never had audiences react to a show the way they do here. I like that it’s a very sweet family show, but it’s also a comedy. People can expect to have an easy, good time.”

Frazier Park, California native Sharp studied acting at UCLA while performing sketch and improv comedy before relocating to New York to pursue musical theatre and eventually landing in classical theatre doing the Shakespeare festival circuit. His pet creation, the raucous Hamlet Project (“basically a drinking game version of Hamlet we do in bars”) caught on big enough in L.A. that it now has a spinoff version in Chicago and is continuing to expand.

And in the meantime, he’s spending the next year and a half traveling the U.S., Canada, and Asia with the world’s favorite ghoulish gaggle.

“I’ve played a lot of best friends and funny sidekicks during my career, so playing Gomez has been a real highlight. Our tour is still just getting started. It’s still early on for us, and down the line, we’re heading to a part of the world I’ve never been to, and we just go onstage and have fun every night. I’m incredibly excited.”

The Addams Family runs March 5 – 10 at the Schuster Center. Tickets are $40 – $96. For military and student and more information, visit http://www.victoriatheatre.com/shows/the-addams-family/ or call (937) 228-3630.

Awesome Audra: A Chat with Audra McDonald

February 28, 2013 By Russell Florence, Jr. Leave a Comment

Luminous soprano and Broadway sensation Audra McDonald, one of the finest actresses/vocalists of her generation, will be in concert Friday, March 1 in celebration of the Schuster Center’s 10th anniversary. McDonald, 42, has received five Tony Awards for her outstanding work in “Carousel,” “Master Class,” “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess.” She has also been nominated for her splendid performances in “Marie Christine” and “110 in the Shade,” and memorably appeared in Lincoln Center Theater’s production of “Henry IV” and the Public Theater’s “Twelfth Night.” In addition to portraying Dr. Naomi Bennett on ABC’s “Private Practice” for four seasons, she has been featured in television adaptations of “A Raisin in the Sun,” “Annie” and “Wit,” receiving an Emmy nomination for the latter. She also won two Grammy Awards for “Rise and Fall of the City of Mahagonny.”

In advance of her highly anticipated concert, accompanied by the Dayton Philharmonic Orchestra for the first time since 2005, the very engaging McDonald discussed her distinguished career and future plans.

Q: On Feb. 11 you were honored by the Drama League for your contributions to Broadway. How did it feel to be saluted in such a grand fashion by so many of your colleagues?

A: It was amazing! I wept, laughed and screamed the entire evening. To see people I love, people I adore, people I’ve worked with, people I want to work with attending the event was really overwhelming.

Q: When you reflect on your legacy, particularly your multiple Tony victories and nominations, does it seem like a blur? What does it all mean to you at this point in your career?

A: It does seem like a blur. When you’re in a show, your mind is on the show and you’re living another life on stage. Then the Tonys come, it happens, and then it’s gone. You’re a pumpkin again. But when I accumulate it all it feels like a big, fantastic blur. The biggest memories I have of the Tonys is the emotions of how it all felt. And at the end of it, you still have to go on with your daily life.

Q: But when you look at your hardware, your five Tonys, does it give you greater motivation? You could certainly win five more Tonys in the future.

A: I’m not done yet. There is still more theater I want to do. I don’t ever pursue projects looking for Tonys, but this is what I’ve wanted to do since I was 9 years old. For me, it’s all about looking for the next challenge. For me, the Tonys represent an incredible honor and something for me to be grateful for, but also something that reminds me that I’m lucky to do what I love and I must continue to grow, give back, and continue to live in the world that is theater.

Q: Assessing your many roles, which character or characters were the most challenging?
A: Without a doubt, it would be Bess, particularly in terms of stamina. To be able to sustain the performance and make that journey eight times a week was the most challenging. The hardest character to grasp was Ruth in “A Raisin in the Sun.” I had a hard time succumbing to her sadness and world-weariness.

Q: Do you have any dream roles? Are there roles you haven’t tackled that you would like to pursue?
A: I would like to do more Shakespeare, particularly playing Cleopatra in “Antony and Cleopatra.” As far as musical theater, as long as a role scares me, challenges me, I’m completely open to whatever comes along.

Q: Would you consider starring in another Michael John LaChuisa (“Marie Christine”) musical?

A: Of course. There is some stuff in the pipeline with him. He’s such a prolific writer.

Q: Are there any directors or performers you would like to work with that you haven’t yet?

A: I would like to work with Bartlett Sher (“The Light in the Piazza”), who has been doing fantastic work, as well as Joe Mantello (“Wicked”). I would also like to work with Dan Sullivan (“Twelfth Night”), Lonny Price (“110 In the Shade”), Diane Paulus (“Porgy and Bess”) and Kenny Leon (“A Raisin in the Sun”) again. All of them are directors I admire greatly.

Q: Would you ever consider directing or producing?

A: Maybe directing, but I need to build my confidence. I just started teaching some master classes and really felt quite challenged and fulfilled by it. I would not count out directing in the future.

Q: What are your views on the current state of Broadway? Are improvements needed? What shows are you recommending to friends?

A: I think it’s a very fertile time on Broadway. For a while it seemed as if Broadway was only for superstars and “face projects.” But I feel there is a lot of good stuff out there that isn’t necessarily a star vehicle. For instance, “Once,” which is a tiny little show which had some recognition from the movie but it didn’t have stars in it and took Broadway by storm. There’s room for all of the above, but as long as there are new musicals being produced, and Broadway continues to replenish and nurture, I’m happy.

Q: You have been a trailblazer for non-traditional casting from Broadway to television. Would you like to see more non-traditional casting implemented?

A: Always. I understand that in some cases, like historical pieces, it doesn’t work, but whenever it can be utilized it’s a great thing.

Q: I remember many years ago you were being considered to star in a Broadway revival of “My Fair Lady.”

A: Yes, but some things come into fruition and some things don’t. And now I’m too old!

[yframe url=’http://www.youtube.com/watch?v=nYE-gSTwB20′]

Q: What words of advice do you have for aspiring performers?

A: Always say yes to your artistic instincts. Don’t ever say no to yourself. If you think there’s a role you can play go out and audition for it, work on it, study it. There will be enough people in the business that will say no to you. You cannot be one of those people. Also, I’d advise anyone to get on stage anywhere. It doesn’t have to be on Broadway, but your local church or dinner theater. Get used to being in front of a live audience, which is an experience that is the same as being on Broadway or in your school musical. The dynamic is the same and very important.

Q: You are currently working on your fifth studio album released by Nonesuch Records. What should your fans expect this time around? Will it be musical theater-heavy or are you aiming for more eclectic selections?
A: The new album will have more full-throated singing. It will be Audra full-throttle! My last album was a bit more contemplative, but the new album will have some wonderful older songs, newer songs, and songs from composers I just haven’t sung a lot of like Kander and Ebb.

Q: It’s wonderful to know you will be appearing once more in Dayton at the Schuster Center. What will your program consist of?

A: It’s going to be an eclectic mix, but it’s always nice when you can take advantage of performing with an entire orchestra, which is the case in Dayton. I’ll be singing songs by Stephen Sondheim, Rodgers and Hammerstein, Bock and Harnick, Kander and Ebb, Leslie Bricusse, and Henry Mancini among others. It’s going to be a great concert.

A gala concert starring Audra McDonald will be presented Friday, March 1 at 8 p.m. at the Schuster Center, Second and Main Streets., Dayton. Tickets are $40-$90. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

ON STAGE DAYTON REVIEW: Irving Berlin’s White Christmas (Victoria Theatre Association) – Happy Holiday

November 29, 2012 By Russell Florence, Jr. 1 Comment

(L to R) Mara Davi, David Elder, James Clow and Stefanie Morse in Irving Berlin’s White Christmas (Contributed Photo)

A grand dose of warmhearted nostalgia and fantastic tap dancing fuels the infectious vibrancy within the national tour of the 2009 Tony Award-nominated musical “Irving Berlin’s White Christmas,” the Broadway caliber season opener of the Victoria Theatre Association’s Premier Health Partners Broadway Series presented at the Schuster Center.

Sharply staged by Norb Joerder and faithfully adapted by Tony nominee David Ives (“Venus in Fur”) and Paul Blake from the 1954 Academy Award-nominated film of the same name, “White Christmas” tells an engaging if old-fashioned tale of song-and-dance duo Bob Wallace (James Clow) and Phil Davis (David Elder), close-knit World War II veterans who partner with singing sisters Betty Haynes (Stefanie Morse) and Judy Haynes (Mara Davi) to raise money for a struggling Vermont inn run by Bob and Phil’s stern yet sincere former commanding general. Romance, wisecracks and misunderstanding are key components in the hokey, simple plot greatly accented by some of Berlin’s finest songs. The film’s familiar treasures are here (“Count Your Blessings Instead of Sheep,” “Sisters,” “Snow” and the title song) along with toe-tapping extras from the vast Berlin canon such as “Happy Holiday,” “Love and the Weather,” “Falling Out of Love Can Be Fun” and “I’ve Got My Love to Keep Me Warm.”

Berlin’s tunes, overflowing with charm and tenderness, are certainly a main attraction, but Randy Skinner’s Tony-nominated choreography, brilliantly executed with crisp preciseness and debonair finesse, simply dazzles. The breezy “Let Yourself Go” effortlessly sets a spirited tone for the evening. The elegant, jazzy “Blue Skies” and the terrifically cute “I Love a Piano” are applause-inducing knockouts recalling Skinner’s remarkable contributions to the 2001 Broadway revival of “42nd Street,” which memorably featured Elder, a radiant tenor, as Billy Lawlor.

Further, it’s not surprising this show clicks as well as it does because its leading players, a dandy group of Broadway standouts, are no strangers to the material. Elder portrayed the good-natured Phil on tour three years ago. Clow, Morse and Davi appeared in the Broadway production along with Ruth Williamson (Martha Watson) and Cliff Bemis (Mr. Snoring Man/Ezekiel Foster). When they join forces their chemistry and camaraderie is palpable. In fact, Elder and Davi, exceptional dancers, create Fred and Ginger sparks while gliding across the stage in “The Best Things Happen While You’re Dancing.” Clow (an appealingly awkward Bob) and Morse are equally strong in a classy scene comprising the lovely torch song “Love, You Didn’t Do Right By Me” (beautifully sung by Morse) and “How Deep is the Ocean.” The wonderfully earthy Williamson, a hilarious Eulalie Mackecknie Shinn in the 2000 Broadway revival of “The Music Man,” belts “Let Me Sing and I’m Happy” with gusto. Bemis scores his share of laughs in tailor-made roles. Joseph Costa is austerely authoritative and genuinely touching as General Waverly. Tony Lawson as Ralph Sheldrake, Kilty Reidy in multiple roles and the fittingly precocious, vocally pleasant Andie Mechanic as Susan Waverly are also notable. It’s particularly great to see Wright State University alumna Darien Crago among the first-rate ensemble.

This strikingly designed recreation of the Broadway production features attractive costumes by Carrie Robbins, proficient lighting by Ken Billington and Kenneth Foy’s seamless adaptation of Anna Louizos’ colorful sets. Musical director Michael Horsley’s conducts an excellent orchestra.

“Irving Berlin’s White Christmas” continues through Dec. 2 at the Schuster Center, Second and Main Streets. 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: 80 minutes; Act Two: 50 minutes. Tickets are $15-$101. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Roaring Deals for ‘Lion King’ Patrons

June 3, 2011 By DowntownPartnership 1 Comment

When Broadway’s version of Disney’s The Lion King comes roaring into town this month, ticket holders’ royal treatment will extend beyond the theater.

Downtown Dayton Partnership and the Victoria Theatre Association teamed up to provide roaring deals and promotions for the show’s patrons. For a full list of venues with special deals, be sure to check out the Downtown Dayton Partnership’s website, but here are the highlights:

Some restaurants and bars downtown will be serving specialty themed drinks. Feeling parched? Pounce into The Dublin Pub and try its “The Pride of the Pub” drink or swing by De’Lish Café to sample a Mufasa Mojito. If roaming the jungle has your stomach growling, Coco’s Bistro, Citilites and the Dayton Racquet Club will all have themed meal specials.

Looking more meal deals? Numerous restaurants around town — including Boulevard Haus, Blind Bob’s, Thai 9 and The Wine Gallery — will be offering a discounted menu to patrons with Lion King tickets.

For those who seek lodgings fit for a king, look no further than Inn Port Bed & Breakfast Suites, where ticket holders can stay in the King Suite for 20 percent off of its regular price. The Crowne Plaza Hotel also will have discounted room rates.

The royal treatment doesn’t stop there. Bonito and Cannery Art and Design Center both will be offering a 20 percent discount to those who present a Lion King ticket stub. At Omega Music, patrons will receive a 10 percent discount off new CDs and a 15 percent discount off of used music. Additionally, ticket holders will receive $2 off of a ticket to the Dayton Visual Arts Center’s 20^th anniversary celebration.

Tickets are available for Disney’s The Lion King. To purchase tickets and for more information on the show, visit the Victoria Theatre Association’s website or go to www.ticketcenterstage.com. Ticket Center Stage may be reached by phone at 937-228-3630 or 888-228-3630.

Coming Up in Dayton Theatre – 04/21 – 05/04

April 22, 2011 By Dayton937 Leave a Comment

THURSDAY, APRIL 21 – WEDNESDAY, MAY 4

When I was growing up, my grandparents had dinner for our extended family at their home every Easter Sunday, but the highlight of the day was always the Cousins’ Easter Egg hunt. My uncles hid something like five hundred eggs outside, and the race was on to find the most or to find one of the special prize eggs. Now, despite flashes of chilly weather and our constant busyness with school, work, and/or life, somehow Easter is already this weekend.

Easter always seems like a quick holiday, marked by time at the in-laws’ or parents’, consisting of dinner, church, and/or an egg hunt, and lasting for approximately one day. However, a great way to extend that a little is to see a show at some point during the weekend, to make the holiday longer than just dinner. This weekend, both a family show and a mature drama are presented, so whether you’re in the mood to laugh or feel deeply, or just do something besides the typical holiday offerings, check out the productions below!

Another Openin’, Another Show

…SHOWS CLOSING SOON

Permanent Collection

HUMAN RACE THEATRE COMPANY

The Story: Loosely based on a true story, in this play, eccentric collector Alfred Morris pretty much guarantees the collisions when his will stipulates both that his museum go to an historically black college and that the displays be kept precisely as they are – leading to an inevitable battle over African artworks that have been kept in basement storage.(HRTC)
Dates: April 14 – May 1, 2011
Tickets and More Information: Human Race Theatre Company

Phantom Tollbooth

ZOOT THEATRE ASSOCIATION

The Story: In this adaptation of the youth classic performed at the VTA Schuster Center’s Mathile Theatre, after the very bored Milo receives a make-believe tollbooth, he is transported to the Lands Beyond, a fantastic and imaginitive world. He meets Tock the watchdog, the floating Alex Bings (whose legs have not yet grown down to earth), Dynne (a monster made of smoke), and many others, ultimately learning the boundlessness of imagination.
Dates: April 21 – 30, 2011
Tickets & More Information: Victoria Theatre Association , Zoot Theatre Company

…ONE WEEKEND ONLY

Blackbird

DAYTON THEATRE GUILD

The Story: Fifteen years after their affair, two ex lovers meet, and are overwhelmed by guilt, rage, and raw emotions bpertaining to their relationship of years past, when she was twelve and he was forty. After prison and hardship, Ray has finally forged a new life for himself; Una, however, still remembers and definitely wants answers. This award-winning drama “ruthlessly explores the complicated history and bond between a man and a woman as they struggle through a deep exploration into what happened and why it happened, and what it all means now.”
Dates: April 22 – 24, 2011
Tickets & More Information: DMM Preview Article , Dayton Theatre Guild

One Short Day

…SPECIAL EVENTS FOR THE THEATRICALLY MINDED

Big Fat Concert Series, Vol. II: I Feel So Much Spring

ENCORE THEATER COMPANY

The Basics: After a standing-room-only fall concert, ETC is back with a second series and two performances, held this time at the Color of Energy Art Gallery in the heart of the Oregon District. Featuring songs from some of the most innovative new writers, including Derek Gregor and Sam Carner, Jeff Thomson & Jordan Mann (Jonathan Larson
Award-winners), Kyle Jarrow, Benj Pasek & Justin Paul as well as locally-based musical theatre writers, this concert features the best of rising musical theatre.
Dates: April 29 & 30, 2011; 8 pm (venue open at 7:30 pm for cocktails)
Tickets: $5 at the door
More Information: Encore Theater Company

~KN

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

Imagination and Collaboration

April 14, 2011 By Dayton937 Leave a Comment

The Phantom Tollbooth

THE ZOOT THEATRE COMPANY
AND
TOWN HALL THEATRE COMPANY

Theatre at its very essence is collaboration: designers and directors; directors, production team, and actors; artistic and front of house staff; and numerous other people all work together to create art. However, we don’t have to limit collaboration to simply what can be done within a single theatre. Rather, collaborating between theatre groups, working together to put on a show or teach classes or read plays, can greatly expand both audiences and participants.

This weekend, the Zoot Theatre Company and Town Hall Theatre are doing just that in their production of The Phantom Tollbooth. In the story based on Norton Juster’s 1961 classic, young Milo is bored with everything from his toy collection to his life, so extremely that the Demons of Ignorance eagerly wait for him to succumb and urge him not to do anything at all (for that would be dangerous). However, with the arrival of an anonymous package and his entry into the fantastical Phantom Tollbooth, he discovers a new world and embarks on a remarkable journey to save the Kingdom of Wisdom. A funny and entertaining show for all ages, The Phantom Tollbooth is filled with puns and plot elements, such as Milo’s sudden Jump to (the Island of) Conclusions, that are the consequences of interpreting idioms literally.

Because of the combination of familial and fantastical elements, this show perfectly showcases the expertise of both the Dayton-based Zoot Theatre Company, which focuses on puppet work, and Centerville’s Town Hall Theatre, a professional and quality-driven children’s theatre. ZTC and THT have collaborated equally on a production annually for the past four years; they usually share artistic responsibilities, and selected this show together. This piece is different in that due to the nature and schedule of this piece, ZTC directed and artistically formed The Phantom Tollbooth, while THT handled all the front of house, publicity, and related areas. However, several students and Town Hall regular actors play the childrens’ roles, including the lead of Milo, making this production a successful model of collaboration between two groups, and providing both patron bases with opportunities beyond what either theatre could do alone.

Working together benefits both theatres. Mark Metzger, Artistic Director at Town Hall Theatre, remarked,

“I look for opportunities for our young people to be challenged, and to operate a puppet and receive feedback from professional puppeteers is an opportunity they won’t get anywhere else.”

Working on a production where the puppets take center stage, and other production elements (set, lighting, costumes) support the puppetry, is a great learning experience for student participants and audience members. This is especially beneficial given the prevalence of shows on Broadway – such as The Lion King, Avenue Q, Shrek, and WarHorse – that incorporate similar techniques.

Even if puppet-based shows were not experiencing such popularity, though, because plays are meant to be seen, not just heard, the addition of such a predominant visual element teaches skills applicable to all theatre, and collaborations such as this benefit both organizations. Metzger commented on Zoot’s talent and ability to produce quality theatre, so he had no reservations whatsoever about doing a project where THT’s own artistic involvement was minimized, knowing that the show would be excellent for both theatres.

As a traveling-based rather than single-venue theatre, Zoot finds collaboration extremely important. Working with Town Hall allows them the chance to perform in another space and with a different patron base; they also do a lot of work within schools and help area theaters with puppet-based work when needed, and even within specific shows, place a high emphasis on collaboration. For example, in describing the process through which the theatre designs and creates puppets, Zoot’s Artistic Director Tristan Cupp explained that various artistic staff design, sometimes originating with group discussions and sometimes with a focal designer’s vision, all the while working with the director to make puppets that align with the characters’ and show’s needs. These different processes, and Zoot’s production skills, are very collaborative. Cupp said,

“What’s wonderful is each one of these artists has strengths in different mediums and different styles, which really lends to the variety of puppets and looks and different ideas… You can expand your creative horizons that way, by learning from each other and learning to use different materials and different styles; that’s what’s needed, and it’s really appealing to a lot of artists who want to help us out and be a part of it.”

Part of that collaboration involves the input of visual artists not involved in theatre, which adds diversity and a variety of skills to the art.

Fittingly, then, Zoot has just announced a residency with the Victoria Theatre Association, and their Mathile Theatre at the Schuster Center. In the previous couple of years, Zoot has presented two shows independently at the Mathile, but this residency will provide both groups an opportunity for growth and collaboration. Zoot’s productions fit into two categories, Mainstage and Zoot Tales (child or family oriented), and the residency will introduce more people within those areas to a type of theatre relatively new to Dayton. Now, Zoot will choose a season of three shows to present, and the VTA will provide venue and/or assistance with touring; the Victoria will be able to offer educational initiatives in puppetry through ZTC, which fits nicely with programs such as their Physicians for Kids Discovery Series.

“Puppetry itself is storytelling through a universal language.”

As such a collaborative organization, Zoot is looking ahead to continuing their work with schools and various theatres, and both Town Hall Theatre and the Zoot Theatre Company hope to continue their collaborations together. Cupp noted, “Puppetry itself is storytelling through a universal language,” and the idea of working together on something so universally applicable is beautiful. Collaboration, too, is universal, for we all have a certain connection as imaginative human beings capable of working together because of that humanity. Reflecting this, The Phantom Tollbooth provides an experience and combination unlike anything else in Dayton right now, where audience members truly can experience imagination come to life.

~KN

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

TICKETS AND PERFORMANCE INFORMATION

Dates: April 15 – 17, 2011, at Town Hall Theatre; April 21 – 30, 2011, at the Schuster Center’s Mathile Theatre

Tickets: Town Hall Theatre or Ticket Center Stage (choose appropriate site for venue)

More Information: Victoria Theatre Association: Phantom Tollbooth, Town Hall Theatre, Zoot Theatre Company

Coming Up in Dayton Theatre – 04/07 – 04/20

April 7, 2011 By Dayton937 Leave a Comment

Human Race Theatre Co.: Permanent Collection

THURSDAY, APRIL 7 – WEDNESDAY, APRIL 20

Famous playwright, critic, and essayist George Bernard Shaw (who wrote Arms and the Man, opening this weekend at Clark State) once said, “You see things; and you say, ‘Why?’ But I dream things that never were; and I say, ‘Why not?’” The capacity to imagine and “dream things that never were” is vital to appreciating the arts, for the moment you walk through theatre doors, you become part of a new world and story for the next few hours. From a monster made of smoke to a drag queen with just “an angry inch” to four men running around in various stages of undress and clergy suits, the shows in the greater Dayton area this week are sure to expand your imaginations, while inspiring laughter and thought at the same time. Between special performances and weekend schedules, eight shows and a special event over the next two weeks provides you the opportunity to see a show almost any night you choose. So, this week, see a show or two or eight and enhance your imagination – as Shaw said, “Why not?”

ANOTHER OPENIN’, ANOTHER SHOW

…SHOWS OPENING SOON

The Phantom Tollbooth

ZOOT THEATRE COMPANY with TOWN HALL THEATRE COMPANY

Photo Credit: ZOOT Theatre Company

The Story: In this adaptation of the youth classic, after the very bored Milo receives a make-believe tollbooth, he is transported to the Lands Beyond, a fantastic and imaginitive world. He meets Tock the watchdog, the floating Alex Bings (whose legs have not yet grown down to earth), Dynne (a monster made of smoke), and many others, ultimately learning the boundlessness of imagination.
Dates: April 15 – 30, 2011, at both Town Hall Theatre and the Schuster Center Mathile Theatre
Tickets and More Information: Town Hall Theatre, Victoria Theatre Association , Zoot Theatre Company, and watch for a DMM feature article next week!

See How They Run

CEDARVILLE UNIVERSITY

Students rehearse in preparation for the show. Photo credit: Scott Huck

The Story: Galloping in and out of the four doors of an English vicarage are an American actor and actress, a cockney maid who has seen too many American movies, a staunch parishioner who unknowingly gets into the cooking sherry, and four men in clergyman suits. One is the bishop who really lives there, another is a disguised escaped prisoner, one just dropped in to visit, and the other — well, that’s left for those on stage and the audience to figure out in this WWII-era farce. (CU)
Dates: April 7 – 17, 2011
Tickets and More Information: Cedarville University Production Season, Cedarville University Box Office , and watch for a DMM feature article!

Arms and the Man

CLARK STATE UNIVERSITY THEATRE

The Story: “The Petkoff women inadvertently save an enemy soldier’s life during wartime. After the war, the soldier returns to the Petkoff home only to be reunited with his warring enemies. With classic George Bernard Shaw witticism,”Arm & the Man” shows the foolishness of war against a lush and romantic backdrop.” (CSU press release)
Dates: April 8 – 17, 2011
Tickets and More Information: Clark State box office

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