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‘Restoration!’ Review – Wright State University – New Stage, New Age

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Everything old is somewhat new again as Wright State University opens its 42nd season with a terrifically acted and designed quasi-world premiere of “Restoration!,” an adaptation of William Shakespeare’s 1606 dark tragedy “King Lear” inspired by Irish poet Nahum Tate’s sunnier and redemptive 1681 adaptation “The History of King Lear.”

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Wright State University opens its 42nd season and newly renovated Creative Arts Center with “Restoration!” through Oct. 2. The historical drama is based on “The History of King Lear” by Nahum Tate, an adaptation of William Shakespeare’s “King Lear.” (Contributed photo by W. Stuart McDowell)

Written and directed by W. Stuart McDowell, Artistic Director of WSU’s Department of Theatre, Dance and Motion Pictures, “Restoration!” aptly reflects the exhilaration and progressiveness of the Restoration Period. This era welcomed a resurgence of enlightened and thought-provoking English literature and drama specifically the reopening of theatres which had been closed since 1642. Women were allowed to perform on stage for the first time as well. Opening only 65 years after Shakespeare’s death, Tate’s version proved controversial with its lighter additions including an endearing romance between valiant Edgar and Lear’s bold daughter Cordelia, two characters who never meet in Shakespeare’s version. However, these insightful changes mirrored the hope and promise of the era especially Lear being restored to the throne just as Charles II was restored to the British monarchy. Tate’s successful version was performed for nearly 160 years and was notably seen in Williamsburg, Virginia in 1771 by George Washington.
McDowell’s history with “Restoration!” harkens back to his career in New York City spearheading the Riverside Shakespeare Company, a troupe he co-founded in 1977 with his wife Gloria Skurski. Originally adapted in 1985, the play was a hit and the critics heralded it as “a ‘Lear’ for our times.” Even so, McDowell continued to rethink his script over the years and revised the premise which adopts an inviting play-within-a-play framework. The production is set at the first rehearsal of “The History of King Lear” as legendary actor Thomas Betterton faithfully guides his players through the fresh script. Some cast members are wary of tackling “King Lear” anew because they feel Shakespeare and his words are immortal, but a vivid reminder slices doubt, “let the theater set the example for what should be – not what is.” Incorporating charming conceptual touches such as a harpsichord, imaginative sound effects including a wind machine, and colorful period-flavored songs co-created by Sandy Bashaw, McDowell winningly crafts an engaging world of pomp and circumstance, choral glee, familial deceit, sword fights, and sibling catfights befitting the Restoration Period and Shakespeare’s fascinating characters. Costumer Christie Peitzmeijer’s beautiful period attire, David J. Castellano’s efficient raked stage complete with footlights, Matthew P. Benjamin’s exceptionally evocative lighting design, Bruce Cromer’s robust fight choreography, Ryan Burgdorf’s sound design, and Deborah Thomas’ dialect coaching also impress in setting the proper tone and look of this historical drama.
McDowell’s cast of 18 is uniformly strong and distinctly sophisticated. Fine principals include the delightfully energetic Joey Logan as the jovial, determined and passionate Thomas Betterton/King Lear, the dynamic duo of Katlyn Tilt and Julia Gomez as conniving sisters Goneril and Regan, beguiling ingénue Katie Sinicki as Cordelia, Christian Schaefer as Cornwall, Josh Beasley as Gloucester, Jake West as Kent, appealingly earnest WSU newcomer Ross Bloedorn as the noble, crazed Edgar, Dana Bixler tenderly rendering “Long Live the King” as the Fool, and an outstandingly cunning and suave Connor Lysholm as the villainous Edmond. Lysholm, a brooding Jay Gatsby last season in McDowell’s staging of “The Great Gatsby,” injects great nuance (notice how he caresses Lear’s throne chair in Act 1) while displaying a contemporary-esque mastery of the text. He also embraces his treacherous role with a pompous, intimidatingly cool swagger effortlessly transforming the raked stage into a raked runway with every stride and strut. His knockout portrayal clearly indicates how fantastic he would be as King George III in “Hamilton.” Hopefully a smart casting director will someday agree. The cast includes Mallory Kraus, Kenneth Erard, Brynnan McNeill, Jeremy Farley, Isaac Ingle, Zack Pruett, Danni Hepp, and Madeline Musico.
Commemorating the 400th anniversary of Shakespeare’s death and remaining impactful since the idea of “madmen leading the blind” hasn’t lost its cultural or political sting in 2016, “Restoration!” elegantly excels with joy, humor and heart.

 

“Restoration!” continues Oct. 1at 8 p.m. and Oct. 2 at 2 p.m. inside the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/boxoffice

 

 

 

 

‘The Great Gatsby’ Review – Wright State University – Man of the Moment

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Frank Loesser had it wrong. There’s wonderful music in the very sound of Gatsby, a name immediately conjuring images of power, prestige, wealth, infatuation, and mystery. As the seductive, titular focal point of F. Scott Fitzgerald’s classic 1925 novel, widely considered one of the greatest ever written, millionaire Jay Gatsby’s transformative history and romantic obsession is not lost in Wright State University’s current presentation. However, there are moments of detachment that could use a jubilant Jazz Age lift.

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Ben Tracy as Nick Carraway and the cast of Wright State University’s production of “The Great Gatsby” (Photo courtesy of W. Stuart McDowell)

Breezily adapted by Simon Levy and directed by W. Stuart McDowell, “The Great Gatsby” embraces the effervescence of the Roaring Twenties in its fascinating account of love lost yet regained on Long Island as Gatsby reunites with beautiful socialite Daisy Buchanan, his one true love, after nearly five years. But trouble looms as Daisy’s brutish, bigoted husband Tom continually despises Gatsby’s advances and his bootlegging despite his own indiscretion with Myrtle Wilson, the long-suffering wife of a local mechanic. As Daisy becomes increasingly torn by her past and present passions, her cousin Nick Carraway, a meek, impressionable salesman from Minnesota and Gatsby’s wartime buddy, immerses himself into Gatsby’s exciting universe, narrating his eye-opening experiences with great wonder and ultimate dissatisfaction.

McDowell, known for helming history-conscious plays from “Les Misérables” to “Titanic” on a grand, sweeping scale, surprisingly dials it back here creating one of his most straightforwardly intimate, script-driven, scaled-down productions. His directorial flair is evident (the perpetual presence of Daisy’s green light, the lovely descending wardrobe in the Act 1 finale, Act 2’s climatic car accident, the finale scene recalling “Sunset Boulevard”), but a consistent sense of opulence and frivolity is missing which is unfortunate since this flashy material speaks to exuberant excess. Granted, McDowell wonderfully energizes the action with colorful flapper routines choreographed by Greg Hellems, but there aren’t enough of these lively depictions, especially in the slow-going, emotionally insular Act 1.

Nonetheless, McDowell’s period-appropriate cast, beautifully costumed by Mary Beth McLaughlin and dialect coached by Deborah Thomas, amiably embodies their iconic roles. The handsome Connor Lysholm is an understatedly suave, fittingly enigmatic Gatsby heightened with brooding magnetism and a dangerous edge. The striking Caitlin Geisser, truly compatible with Lysholm, is the epitome of sophisticated privilege although at times she seems overly self-absorbed to the point of coldness. The tough, intimidating Joey Logan gruffly fits the bill as arrogant, hotheaded Tom. As Nick, the very personable, vulnerable Ben Tracy narrates with joy and yearning in a delicate capacity as onlooker and participant. As Myrtle, the sultry, impressively authentic Madeline Sensenstein commands attention late in Act 2 opposite Christian Schaefer as Myrtle’s husband George. The fine players include Chelsea Hauptstueck (Jordan Baker), Nathan Pecchia (Meyer Wolfsheim), William Mendleson (Chester McKee), Brittany Williams (Lucille McKee), Taylor Benjamin (Michaelis), Zac Pruett (Waiter/Cop/Photographer), and flappers Danielle Bessler, Carrie Vobroker, Hannah Williamson, and Halee Aguenstein.

By and large, the essence of greatness permeates this “Gatsby” as a decent start to WSU’s 41st season.
“The Great Gatsby” continues through Oct. 4 inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are today at 8 pm, Saturday at 2 and 8 pm and Sunday at 2 pm. The production is performed in 2 hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

ON STAGE DAYTON REVIEW – 1913: The Great Dayton Flood (Wright State University) – Harrowing History

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Cyndii Johnson and Donnella Barbour (center) and the cast of 1913: The Great Dayton Flood

Cyndii Johnson and Donnella Barbour (center) and the cast of 1913: The Great Dayton Flood

As images of Hurricane Katrina and Hurricane Sandy linger in the recesses of the mind, Wright State University remounts its acclaimed 1996 production of “1913:  The Great Dayton Flood” with compelling performances, soul-stirring music and outstanding atmospherics.

Inspired by Allan W. Eckert’s Pulitzer Prize-nominated novel “A Time of Terror: The Great Dayton Flood” and adapted by W. Stuart McDowell and Timothy J. Nevits, “1913” skillfully and seamlessly chronicles the catastrophic storm which changed the Miami Valley forever in March of that year. In order to gain a deeper understanding of the defining account, which affected a population of 116,000 and killed over 350, McDowell and Nevits interviewed numerous survivors whose captivating stories of heroism, resilience and tragedy terrifically propel the emotional potency within the insightful, moving play, which migrates all the way to the White House and particularly offers an eye-opening, unified portrait of Dayton’s diversity and spirituality at the time. The sheer connection to familiar individuals (John H. Patterson of the National Cash Register Company) and landmarks (the Rike’s building, the Victoria Theatre) are added benefits inherent to the episodic framework, heightened by Michael and Sandy Bashaw’s evocative new music and the colorful, commanding recorded narration of Ossie Davis, Ruby Dee and Dayton native Martin Sheen.

Returning to direct and aided by the cinematic appeal of Danielle Ferguson’s splendid lighting and projection design as well as scenic designer Pam Knauert-Lavarnway’s efficiently shifting platforms, McDowell provides sleek, sweeping staging for over 20 actors portraying over 150 characters. The excellently authoritative Sean Jones shines as the concerned Patterson, who kept NCR at the forefront of relief efforts and helped implement the Miami Conservancy District. Lawrence Dunford, genuine and humorous, absolutely charms as Negro League pitcher W.G. Sloan, a disinclined churchgoer who saved more than 300 people in his rowboat. Caroline Gruber relishes her saucy role as Pearl Street madame Lib Hedges. Cyndii Johnson brings Act 1 to a dynamic close as the staunchly determined Mrs. Stanton, who breaks through the roof of her house alongside her daughter (Donnella Barbour) to escape the rising waters. Tyrell Reggins as Rev. Primus Alston, Jim Miller as George McClintock, Samuel Blackburn and President Woodrow Wilson, Kelsey Pohl as Minnie Althoff, William Mendelson as Ray Stansbury, Ben Tracy as Charles Hopkins, Tyler Simms as Edward Hanley, and Samantha Kerger as Mildred Young are also notable among the endearing cast, tackling multiple roles with interchangeable ease and attractively costumed in period attire by Mary Beth McLaughlin. In addition, Nikki Wetter’s wonderfully choreographed depiction of the fateful weather pattern is vigorously executed at the outset.

As Dayton prepares to commemorate the 100th anniversary of the flood, “1913” remains a crowning achievement not to be missed.

“1913: The Great Dayton Flood” continues through Feb. 10 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. (view performance calendar here).  Act One: 70 minutes; Act Two: 50 minutes. Tickets are $20 for adults and $18 for students and seniors. For more information, call the WSU box office at (937) 775-2500.