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WSU Theatre Presents SWEET CHARITY

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Wright State Theatre presents the swingin’ 1966 dance musical, Sweet Charity, March 18-April 3rd in Wright State University’s Festival Playhouse. This reimagined production brings audiences into the last stages of rehearsal for a 1960s theatre company doing their final run-through of Sweet Charity. Directed by Associate Professor Marya Spring Cordes (Wright State’s The Wolves, Curious Incident…), Music Directed by Instructor F. Wade Russo, choreographed by guest artist Brandon Kelly, with Scenic/Costume design by Instructor Zoe Still, and Lighting Design by Professor Matthew Benjamin, Sweet Charity offers audiences a rare look at one of the great musicals of that era in a fresh new production.

 

Brandon Kelly

Guest Choreographer Brandon Kelly is an accomplished alumnus of Wright State’s BFA Dance program. Area audiences may remember him from numerous WSU Dance Concerts, Festival Playhouse productions of West Side Story and Raisin In The Sun, and for his choreography of our production of Rent. He is now Assistant Choreographer for Broadway’s Come From Away and has created works for numerous national dance companies, themed entertainment and regional theatre productions. Throughout this process, Kelly has travelled back and forth to Wright State University in between rehearsing actors to join the Broadway and touring productions of Come From Away during the recent surge in COVID illnesses all Broadway and touring shows have experienced. About working on this legendary dance musical, Kelly says, “It’s fantastic and terrifying at the same time, because it’s so iconic and so many of the numbers have a huge legacy. There’s a balance I want to find between being true to the characters and to the story and paying homage to the idea of the original production. I know audiences can’t help but want to see certain shapes, certain feelings, certain visuals. I want to do that while still maintaining my choreographic voice and our vision for the production.”

Instead of a traditional orchestra, Music Director F. Wade Russo has created special orchestral and vocal arrangements to help the show feel as if it’s played by a Jazz combo with four vocalists providing accompaniment in a style reminiscent of iconic artists like Lambert, Hendrix and Ross, The Manhattan Transfer or the Swingle Singers. Russo says, “SWEET CHARITY captures the sounds and rhythms of Greenwich Village jazz clubs of the early 1960s. I wanted to create a vocal quartet to enhance the jazz combo sound of the score using close harmony and back-up singing to give dramatic richness to this production.”

Director Marya Spring Cordes has reimagined Sweet Charity to encourage audiences to focus on the story, characters, music and dance in ways most other productions don’t. She says, “It surrounds a character who goes through life on gut instinct. Sometimes her choices pan out, a lot of times they don’t. But her name says it all – Charity Hope Valentine. The play is about how we transcend difficulty in our life, have resilience, persevere, and believe that some good will come of our lives if we keep putting energy in a positive direction.”

Senior Musical Theatre major, Tassy Kirbas, steps into the iconic dance shoes of protagonist, Charity Hope Valentine, an eternal optimist in a hard-luck world. Tassy says, “My favorite element of our production of Sweet Charity is the amount of collaboration, experimentation, gentleness and openness in the rehearsal space while we develop a new version of such an iconic musical that is completely unique to Wright State University. I am feeling warm, full and happy with our Sweet Charity and I can’t wait to share my passion with live audiences!” Audiences will remember Kirbas from her earlier productions at Wright State, including The Addams Family, Theory of Relativity, Mamma Mia! and many student productions.

For tickets, go to www.wright.edu/tdmp or call the Theatre Box Office at (937) 775-2500

 

WSU Big Lens Festival To Be Held at The Drive-In

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Wright State University’s acclaimed Motion Pictures program will present its annual Big Lens Film Festival Thursday, April 22nd at 8pm at Dayton’s Dixie Twin Drive-In.

For the first time, in order to accommodate COVID-conscious viewing requirements, the Big Lens Film Festival will take place outdoor, with audience members viewing from the safety of their cars. Big Lens has become an annual tradition in the regional film community as a celebration of the graduating students being showcased.

This year’s films are the culmination of up to two years of preparation and production – all of it made more challenging by an abrupt halt to production, and then the added requirements of following industry standards for COVID-safe conditions for filming, editing and preparing these premieres. The chance to see these films on a very large screen at Dixie Twin will be a joyful culmination to these filmmakers’ four years as students in the Tom Hanks Center for Motion Pictures.

 

Festival Director, Instructor of Motion Pictures Jeremy Bolden says, “This year’s Big Lens will have films from 2020 graduates, as well as 2021 graduates. Almost everything you’ll see on the screen was either finished, or entirely created during the COVID-19 Pandemic. A large part of the filmmaking process is problem solving, and our students have and continued to put in a tremendous amount of work to create content and tell stories that are important to them.”

The Disaster Mitzvah

Department of Theatre, Dance and Motion Pictures Chair, Joe Deer, says, “The Big Lens Film Festival is always a great event. But, this year is special, seeing a group of students that have banded together to make films while much of their industry has had to go on hiatus. I have such admiration for them and for their gifted faculty and staff, who have gone so many extra miles to make this event possible. I don’t think any of these filmmakers will ever forget this festival.”

This year’s films include:

  • Will I Make it Thru the Springtime, Music Video, Directed by Adam Clark
  • 27 Pages of Notes, Documentary, Directed by Parker Bowling
  • MAGGIE & SARAH, Short, Directed by Ella Price
  • Meat*, Animation, Directed by Vincent Short
  • Sick and Tired, Music Video, Directed by Adam Clark
  • CANVAS, Documentary, Directed by Ryder Caldwell
  • The Disaster Mitzvah*, Animation, Directed by Brandon Werwa
  • DEON, Documentary, Directed by Danny Fain
  • You May Feel, Animation, Directed by Joe Greenwell
  • I’m Lonely Even Though I’m Not Alone, Music Video, Directed by Parker Bowling
  • APOTHEOSIS, Short, Directed by Ella Price
  • Gooey Goats*, Animation, Directed by Ben Young

* Denotes 2020 Graduate.

Graduates of the Department of Theatre, Dance and Motion Pictures who have participated in this festival have gone on to win Emmy and Academy Awards and to lead the film and television industry in Southwest Ohio and the nation.

The Festival screening will take place Thursday, April 22nd, with gates opening at 7:00pm. The showings will begin a sunset (approximately 8pm). A suggested cash/check donation of $10 per person can be made at the gate. Patrons are expected to follow COVID precautions while viewing films at the Dixie Twin Drive-In

This article originally appeared on

‘A Little Night Music’ Review – Wright State University – The Look of Love

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Wright State University closes its 2018-2019 mainstage season with an excellent production of composer Stephen Sondheim and librettist Hugh Wheeler’s sophisticated, biting, naughty, and witty 1973 Tony Award-winning musical romance A Little Night Music.

The cast of Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

Skillfully directed by Greg Hellems who also provides elegant choreography, A Little Night Music, based on Ingmar Bergman’s 1955 film Smiles of a Summer Night, pinpoints the agitation, hopelessness, jealousy, and sexual frustration among the disenchanted upper class of 1900 Sweden. The primary love triangle concerns legendary actress Desiree Armfeldt (luminous Celia Arthur) who has feelings for her former lover Frederik Egerman (a successful lawyer portrayed with calm, cool and collected authority by Kenneth Erard) and present paramour Count Carl-Magnus Malcolm (a self-absorbed dragoon portrayed by a remarkably pompous and dynamically focused Ross Bloedorn). The fact that both men are in complicated marriages doesn’t bother Desiree, but their devoted wives (lovely Rachel Glynn as virginal Anne and outstanding Isabella Andrews as vindictive Countess Charlotte) ultimately seek to settle the score. Peering on the outside looking in is Frederik’s melancholy son Henrik (believably tortured Aaron Roitman) who pines for Anne yet is often teased by his frisky maid Petra (playful Hailey Noll). Observing these connections are Madame Armfeldt (delightful Heather Cooperman), Desiree’s opinionated mother who reminds her precocious granddaughter Fredrika (beguiling and inquisitive Michaella Waickman), Desiree’s daughter, to keep watch for the night to smile three times; first on the young lovers, then on the fools, and lastly on the old.

Ross Bloedorn (Count Carl-Magnus Malcolm) and Isabella Andrews (Countess Charlotte Malcolm) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

In a stroke of genius, Sondheim musicalizes the material’s dicey entanglements as a series of waltzes, signifying the fluidity and unexpectedness which comes from falling in and out of love. After all, finding the right partner while pursuing or recognizing true love is imperative. Noteworthy standouts within his ravishing score include You Must Meet My Wife (casual small talk smoothly interpreted by Erard and Arthur as Frederik and Desiree’s underlying chemistry takes shape), Liaisons (a storytelling ode to bygone dalliances wistfully sung by Cooperman), therapeutic heart-to-heart Every Day a Little Death (fabulously led by Andrews opposite Glynn as Charlotte recounts Carl-Magnus’ antics with a complex mixture of disgusted agony and honest sincerity), phenomenal Act 1 finale A Weekend in the Country (one of the finest ensemble numbers in the musical theatre canon), The Miller’s Son (fiercely sung by Noll as Petra, fully intent to survive whatever life throws at her, shares perspectives on the various men of her dreams), and Send in the Clowns (gorgeously and purposefully sung by Arthur as Desiree ponders her relationship with Frederik and takes stock of the choices she has made).

Celia Arthur (Desiree Armfeldt) and Kenneth Erard (Frederik Egerman) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

The vocally strong cast, attractively costumed in striking period attire by Courtney Michele and superbly accompanied by musical director Steve Hinnenkamp’s nine-member orchestra, includes Jeremy Farley as Frid, Robin Dunavant as Mrs. Anderssen, Kayli Modell as Mrs. Nordstrom, Emma Buchanan as Mrs. Segstrom, David Emery as Mr. Erlanson, Jonathan Crawford as Mr. Lindquist, Molly Seybert as Malla, Justin Mathews as Bertrand, Savannah Slaby as Osa, and Bridget Lorenz as Swing. In particular, Dunavant, Modell, Buchanan, Emery, and Crawford are wonderful Liebeslieders, an operatic Greek Chorus offering beautiful, insightful commentary in such songs as Remember?, The Sun Won’t Set and Perpetual Anticipation.

Hellems’ expert artistic team includes set designer Pam Lavarnway, lighting designers Matthew Benjamin and Emily Hope, sound designer James Dunlap, voice and speech coach Deborah Thomas, and the late Scot Woolley, who served as musical director at the time of his death Jan. 26 and will be dearly missed.

Aaron Roitman (Henrik Egerman) and Rachel Glynn (Anne Egerman) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

In terms of entertainment, A Little Night Music typically runs the risk of being too blasé, rigid or stuffy, but Hellems, who has handled his share of musical comedy over the years, finds sufficient room for humor amid the angst. And in doing so, this production becomes the perfect marriage of story and song it was written to be.

A Little Night Music, dedicated in memory of Scot Woolley, continues through April 7 in the Festival Playhouse of the Creative Arts Center of Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 95 minutes; Act Two: 60 minutes. Performances are March 30, April 5 and 6 at 8 p.m., March 30, 31, April 6 and 7 at 2 p.m., and April 4 at 7 p.m. Tickets are $5-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/theatre-tickets. Patrons are advised the show contains adult themes.

 

 

LEAN ON PETE Starts Friday + RBG News from THE NEON

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Hello Everyone!

We have to keep moving along at THE NEON! If you still need to see ISLE OF DOGS or YOU WERE NEVER REALLY HERE, Thursday will be you last chance to catch them with us. On Friday, we will open acclaimed filmmaker Andrew Haigh’s lovely new film – LEAN ON PETE. TULLY will stick around for one more week.

Synopsis for LEAN ON PETE: ONE WEEK ONLY! “From acclaimed filmmaker Andrew Haigh (WEEKEND and 45 YEARS), and based on the beloved novel by Willy Vlautin, comes LEAN ON PETE – a deeply moving story about love, loneliness, family, and friendship, told through the unique prism of one boy’s connection to a very special racehorse. Fifteen-year-old Charley Thompson (Charlie Plummer) arrives in Portland, Oregon with his single father Ray (Travis Fimmel), both of them eager for a fresh start after a series of hard knocks. While Ray descends into personal turmoil, Charley finds acceptance and camaraderie at a local racetrack where he lands a job caring for an aging Quarter Horse named Lean On Pete. The horse’s gruff owner Del Montgomery (Steve Buscemi) and his seasoned jockey Bonnie (Chloe Sevigny) help Charley fill the void of his father’s absence – until he discovers that Pete is bound for slaughter, prompting him to take extreme measures to spare his new friend’s life.” Click on this LINK to visit the film’s official site.

The Dayton Jewish Film Festival is down to its last film for this year…and it has already SOLD OUT! But there’s good news if you haven’t purchased your ticket yet. An encore screening of SAMMY DAVIS JR: I’VE GOT TO BE ME has been scheduled for Thursday, May 24 at 7:30. Brochures are available in our lobby, and you can find out more about the films (as well as details about tickets) on the festival’s OFFICIAL SITE.

 

After two successful special screenings, WE’RE DOING FINE is coming back for one more show this Saturday. Audiences loved seeing Dayton all aglow on the big screen, and we’ve had several requests to play the film one more time during the day. So we’ve added a screening – you’ll have one more chance to catch it at THE NEON. We will screen WE’RE DOING FINE on Saturday, May 12 at Noon, and tickets are just $7.50 each. Tickets for this encore screening are only available in-person at THE NEON’s Box Office!

“It’s now official: Big things come in small, un-hyped packages. LIVES WELL LIVED, the inspiring film about women and men aged 75-100 who have more energy, creativity and optimism than any superhero, just rolled over the results for recent Oscar winners in its theatrical premiere. LIVES WELL LIVED celebrates the incredible wit, wisdom and experiences of adults aged 75 to 100. Through their intimate memories and inspiring personal histories encompassing over 3000 years of experience, forty people share their secrets and insights to living a meaningful life. These men and women open the vault on their journey into old age through family histories, personal triumph and tragedies, loves and losses – seeing the best and worst of humanity along the way. Their stories will make you laugh, perhaps cry, but mostly inspire you.” (Shadow Distribution) Director Sky Bergman will be here for this special one-time screening on Sunday, May 13 at 3:00. Tickets, just $7.50, are now available at THE NEON’s box office. Tickets are selling quickly. Get yours early!

“LUNAFEST returns to Dayton for the 9th year, bringing nine new short films by, for and about women from around the world. This year’s unique films range from animation to fictional drama, covering topics such as women’s health, body image, relationships, cultural diversity and breaking barriers. From the comedy of a young Indian-American woman who wants to follow her dreams to the harrowing first-person account of a young girl’s escape from Boko Haram, each story will inspire and enlighten. All proceeds from LUNAFEST will go to the Ohio Domestic Violence Network and to Chicken & Egg Pictures, a nonprofit organization that supports women nonfiction filmmakers whose artful and innovative storytelling catalyzes social change. The festival is sponsored locally by Dayton Women’s Rights Alliance. Tickets are $10.00 ($5.00 students) with donations over this amount gratefully accepted. Tickets can be purchased in advance for this popular one-time showing which sold out last year.” (Dayton Women’s Rights Alliance) Tickets available now at THE NEON’s Box Office or via this LINK. LUNAFEST will screen on Sunday, May 20 at 3:00.

On Thursday, May 17 at 7:30, Mike Shea is bringing his latest film to THE NEON. “MONARCH is a neo-noir mystery short about a detective trying to make sense of the drug dealing underworld of a small mid-western city. This film was shot all around Dayton, OH’s legendary Oregon District. The cast is comprised entirely of comedians from the Dayton area starring in almost exclusively dramatic roles. The story itself is based on writer/director Michael Shea’s 2017 docu-drama THE CROSS AT THE GEM. This film was submitted (in a condensed 5-minute cut) to the 2018 Lander University 2WK Film Festival in Greenwood, SC. At this special one-night event, the audience will be treated to an opening performance from some of the cast and crew, a screening of the original 2017 film THE CROSS AT THE GEM as well as the premiere of the full director’s cut version of the film MONARCH. The premiere will close with a Q&A session with the whole cast and crew. Tickets are $5 and are available at THE NEON box office. Fans can also qualify for fun rewards and prizes by supporting the film’s GoFundMe campaign at this official site LINK.”

“On Wednesday May 23, Jewish Family Services of Greater Dayton and St. Paul’s Episcopal Church will host a screening of the film NEWTOWN. This documentary chronicles the aftermath of the deadliest mass shooting of schoolchildren in American history: a shooting that took the lives of 20 elementary children and 6 educators in Newtown, CT on December 14, 2012. Now in the wake of the Parkland shooting and the many others that pass by us in the media, it is critical that we keep the conversation going. For every community – for the Dayton community – how do we keep our children safe? Please join the community on hand to watch the movie, listen to reflections by the film’s director, Kim Snyder, and take part in a panel discussion to explore safety strategies for our communities.” Admission is Free, and tickets will be given on a first come, first served basis the night of the screening.

“The student filmmakers of Wright State University’s award-winning Motion Pictures Program will premiere their new thesis films at the 2018 BIG LENS FILM FESTIVAL at THE NEON on May 27. This year’s films dive into a number of contemporary issues and themes, including coming of age stories, cyberbullying, severed familial relationships, racial tensions, aging, conquering fears and more. Short films from Wright State’s Department of Theatre, Dance and Motion Pictures have screened at top film festivals, including Sundance, and been Student Academy Award Nominees. This year’s festival will have two scheduled screenings of the films. The first screening starts at 5:30pm and the second will begin at 8pm, both ending with Q&A with the directors of the films.” Tickets are available now for $10 at THE NEON’s box office. For more information about the films, cast and crew, please click on this LINK.

On Wednesday, May 30 at 7:30, we will have a special, customer appreciation screening of a truly special film. BARAKA is a film that played at an older incarnation of THE NEON before I took over management more than 17 years ago. “Featuring no conventional narrative, this film presents footage of people, places and things from around the world. From chaotic cities to barren wilderness, the movie takes viewers around the globe to witness a variety of spectacles in both natural and technological realms.” (google) You won’t want to miss your chance to see this astonishing film on the big screen. Tickets will be free and given on a first come, first served basis. We will begin giving out tickets at 6:30 on May 30 – one ticket per customer.

In the coming weeks, we will have some very special documentaries that I think will be loved by so many of you. First off is RBG – a film about a living legend and icon, Supreme Court Justice Ruth Bader Ginsburg. This film is set to open on the evening of May 17 (showtime below). Later in June, we’ll have WON’T YOU BE MY NEIGHBOR? – a fantastic documentary about PBS’s Mister Rogers – a true humanitarian and American treasure. Because we think you’ll embrace these films so much, we have assembled a bit a merchandise that ties in with each film. These little gift items will be perfect for Mother’s Day, Father’s Day, birthdays, or just to treat yourself. Be sure to check out our display case next time you’re in.

Thank you for your continued support!
We hope to see you this weekend,
Jonathan

SHOWTIMES for Wednesday, May 9 – Thursday, May 17:

ISLE OF DOGS (PG-13) 1 hr 41 Min
Wednesday & Thursday (May 9-10): 5:15
FINAL DAY – May 10!

YOU WERE NEVER REALLY HERE (R) 1 Hr 29 Min
Wednesday (May 9): 3:10, 7:30
Thursday (May 10): 3:10
FINAL DAY – May 10!

TULLY (R) 1 Hr 36 Min
Tuesday-Thursday (May 7-10): 3:00, 5:20, 7:40
Friday (May 11): 12:30, 2:40, 5:00, 7:20, 9:45
Saturday (May 12): 2:40, 5:00, 7:20, 9:45
Sunday (May 13): 12:30, 5:15, 7:30
Monday-Wednesday (May 14-16): 3:00, 5:20, 7:40
Thursday (May 17): 3:00, 5:20
FINAL DAY – May 17!

LEAN ON PETE (R) 2 Hrs 1 Min
Friday & Saturday (May 11 & 12): 1:00, 4:00, 7:00, 9:30
Sunday (May 13): 1:00, 4:00, 7:00
Monday-Wednesday (May 14-16): 2:45, 5:15, 7:45
Thursday (May 17): 2:45, 5:15
FINAL DAY – May 17!

WE’RE DOING FINE (NR) 1 Hr 26 Min
Saturday (May 12): Noon

LIVES WELL LIVED (NR) 1 Hr 12 Min + Q&A
Sunday (May 13): 3:00

MONARCH (NR) new film, short + pre-show
Thursday (May 17): 7:30

RBG (PG) 1 Hr 37 Min
Thursday (May 17) – Preview Screening – 7:45

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear)
May 18 – DISOBEDIENCE
June 1 – POPE FRANCIS: A MAN OF HIS WORD
June 29 – WON’T YOU BE MY NEIGHBOR?
TBD – FOXTROT
TBD – FINAL PORTRAIT

Artist of the Week: Jeremy Long

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I visited Jeremy Long in his studio in the Creative Arts Center at Wright State University.

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As I entered, I saw that Jeremy was working on a small painting of his wife, artist Colleen Kelsey.

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I asked about two photos placed on the wall to the left of his painting of Colleen, where Jeremy could see them as he painted.  “Those photos show details of a piece by the 18th century painter Jean-Baptiste-Simeon Chardin,” Jeremy told me.  “He was able to create remarkably life-like textures in his paintings.   I like to look at his work as I paint just to remind myself of what is possible if I get everything right.”

I noticed another painting of Jeremy’s wife on the floor.

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“That painting is how I managed to first get to know my wife,” Jeremy explained.  “We were both at the Chautauqua School of Art that summer.  I asked her to pose for me, and after a few sittings we started to date.  I never did finish that piece, but Colleen and our children appear in most of my large works.”

I knew that Jeremy was best known for his large paintings (typically 6 foot by 8 foot) which include members of his family.   I asked how long these works take.  In place of a direct answer Jeremy suggested I look at the painting below as he walked me through some of the steps.

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Jeremy told me he started painting on a smaller canvas, possibly 3 feet by 4 feet like this one.  First he paints something abstract, in this case just three bands of color.  Then he adds complexity to the abstract work.   Next he tries adding figures in various configurations in ways that fit his original abstract design.  He also tries out various ways of getting the viewer to look intently at the piece, like the way one of the arms he has drawn on the left might belong to either of two figures.   He changes all or part of the composition many times, until this small canvas has numerous layers of paint and Jeremy has a design to use on the large canvas.

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Painting the large canvas is also time consuming because Jeremy does indirect painting.  That is, he builds the final image by painting several layers of paint, one over another.  The upper layers modify, but don’t completely conceal, the lower layers.

A poster I saw in Jeremy’s office came from a show he recently had at the Bowery Gallery in New York.  The poster featured one of Jeremy’s large paintings.

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I told Jeremy that I thought he had only one son, but the painting showed two young boys.  “I added a son for compositional purposes,” he explained.

Jeremy said a retired gentleman came to the Bowery Gallery show because he was drawn (as I was) to the painting on the poster.  The man had never purchased any art before, but he bought Jeremy’s painting and found a space to hang the 6 foot by 8 foot piece in his small New York apartment.  The man lives alone, but now he shares his small space with a wonderful work of art and with an image of Jeremy’s family.  Somehow that makes all of the time Jeremy put into that painting worthwhile.

I asked Jeremy to pose for a quick portrait.

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Then I left and Jeremy returned to the painting of his wife.

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WSU Theater Takes On Grapes of Wrath

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Wright State University presents a riveting, emotional, timely, and ensemble-driven production of John Steinbeck’s The Grapes of Wrath, a powerful story of humanity, tragedy and hope during the Great Depression. Watching the American Family attempt to survive in the face of adversity, especially when dire situations threaten to keep them from moving forward, cuts deep, particularly throughout Act 2.

Marya Spring Cordes provides wonderfully atmospheric, physical and intimate direction including a superb transition when Ma Joad (a strong and earthy Alexia Vlahos) consoles Rose of Sharon (MacKenzie Stephens) as a rousing square dance unfolds. In addition to Vlahos and Stephens, terrific portrayals extend to Dylan Tacker (a very endearing Tom Joad), Louis Kurtzman (ladies’ man Al Joad), Isaac Ingle (continuing his winning patriarch track record as Pa Joad), Eli Davis (kooky Grandpa), Aaron Roitman (strikingly conveying the cheerful and cowardly duality of Connie Rivers, Rose of Sharon’s spineless husband), Nick Martin (mentally challenged Noah Joad and also outstanding as Joe Pitt in a student-produced Angels in America last weekend), Jeremy Farley (a fiery Floyd Knowles), Brynnan McNeill (ultra-religious Elizabeth Sandry), and many more.

Set designer Pam Knauert Lavarnway, lighting designer Emily Hope, projection designer Matthew Benjamin, costumer Elizabeth Bourgeois, sound designer James Dunlap, choreographer Taylor Patrick, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas provide expert work.

Dunlap and Rick Good supply authentically tuneful original folk songs as well. The Grapes of Wrath, featuring a truly unforgettable final scene defining compassion to the utmost, continues through Feb. 11 in WSU’s Festival Playhouse. Tickets run about $20 and can be purchased online here.

 

‘Fiddler on the Roof’ Review – Wright State University – The Winds of Change

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There are some very special musicals that have stood the test of time because no matter how often you see them they still remain fresh, profound and necessary. Case in point: composer Jerry Bock, lyricist Sheldon Harnick and librettist Joseph Stein’s 1964 classic Fiddler on the Roof, terrifically presented by Wright State University in the Festival Playhouse of the Creative Arts Center.

Halle Augenstein as The Fiddler in Fiddler on the Roof (Photo by Erin Pence)

The sheer magnetism of Fiddler occurs in its tuneful prologue. An entire town pauses to joyfully share what you should know about their lives, responsibilities, hopes, religion, and traditions. But what they don’t know is that their little spot of the world – the tiny village of Anatekva on the eve of the Russian Revolution circa 1905 – will ultimately and drastically transform beyond comprehension. Girls will be taught to read. Men will dance in public with women. A daughter will chose to love outside her faith despite ridicule. Anatekva itself will cease to exist. And along the way, there is great anticipation of how poor dairyman Tevye and his family will cope with the winds of change.

 


Josh Beasley’s playful, lighthearted and physical portrayal of Tevye fittingly conveys the role’s affectionate qualities as a loving father whose frequent chats with God give him purpose and direction. Megan Valle, stern yet comedic as Tevye’s wife Golde, exudes strength and authority, but also conveys tender sensitivity. In fact, during one of the most gorgeously staged renditions of Sunrise, Sunset I have seen, Valle spins her introspective lines into beautiful morsels of bewilderment brought about by the passage of time. Kayli Modell (Tzeitel), Danielle Bessler (Hodel), Emma Buchanan (Chava), Michaella Waickman (Shprintze), and Dana Bixler (Bielke) are uniformly dynamic as Tevye and Golde’s daughters. In particular, Modell is a refreshingly headstrong Tzeitel and Bessler delivers a phenomenally lyric-driven Far From the Home I Love absolutely testifying to the fact that Hodel’s unwavering love for her family will burn bright no matter where she resides (“I must go” never sounded so sure or lovingly defiant). Aaron Roitman (Motel), Kyle Miller (Perchik), and knockout dancer Philip Stock (Fydeka) are equally and respectively appealing as the suitors of Tzeitel, Hodel and Chava. Roitman’s awkward charm, Miller’s determined spirit (Now I Have Everything leaps forth as a meaningful epiphany), and Stock’s fiery flair are fine attributes. The cast also contains notable portrayals from Isabella Andrews as an appropriately nosey and concerned Yente, Joe Green as a firmly grounded Lazar Wolf, Joey Kennedy making the most of the easily perturbed Mendel in unexpected ways, Justin Matthews as the intimidating Constable, Louis Kurtzman as the Rabbi, the aforementioned Bixler as Grandma Tzeitel, Halle Augenstein as the Fiddler, and Rachel Mary Green who blends opera, pop and R&B with ghoulish glee as the frightening Fruma Sarah in Tevye’s Dream.

Michaella Waickman (Shprintze), Emma Buchanan (Chava), Kayli Modell (Tzeitel), Danielle Bessler (Hodel), and Dana Bixler (Bielke) in Fiddler on the Roof (Photo by Erin Pence)

Director W. Stuart McDowell incorporates a few touches from Broadway’s stunning 2016 Tony-nominated Fiddler revival (for example, featuring all of Tevye and Golde’s daughters in Matchmaker), but adds specific elements of his own which broaden the story’s scope. In addition to allowing Tzeitel one last chance to take a snapshot of the mind while in her family’s presence, McDowell astutely aims for deeper resonance in the exceptional final sequence. Seeing the citizens of Anatevka separate to start their lives anew gives haunting credence to the current plight of refugees throughout the world. In fact, there is a brief, awe-inspiring moment implying that Tevye and his family have arrived in New York City as the spirit of the Fiddler guides them from above. McDowell’s first-rate artistic team includes choreographer Teressa Wylie McWilliams (an exuberant To Life and lively series of Wedding Dances, the aforementioned Tevye’s Dream, and luminous Chava Sequence are among her excellently character-focused routines), set designer David J. Castellano, lighting designer Matthew P. Benjamin, costumer Naomi Reisner, sound designer Ryan Burgdorf (expertly crafting the destruction pivotal to the distressing Act 1 finale), dialect coach Deborah Thomas, and music director Scot Wolley who conducts a superb onstage orchestra.

Now more than ever, it’s time to reassess the relatable potency and urgent relevancy of this marvelous tale of family, community and hope.

Fiddler on the Roof continues through Nov. 19 in the Festival Playhouse of the Creative Arts Center, 3640 Col. Glenn Hwy., Fairborn. Act One: 100 minutes; Act Two: 45 minutes. 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. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

In related news, Broadway producer and author Jack Viertel will speak at Wright State University on Tuesday, Nov. 28 courtesy of the Musical Theatre Initiative. Viertel is Vice-President of Jujamcyn Theatre, one of Broadway’s largest and most successful producers, the artistic director of Encores series at New York City Center, and author of the book The Secret Life of the American Musical. Viertel, a member of MTI’s advisory board, will give a talk on his book from 10 a.m. to noon in the Creative Arts Center’s Jubilee Theatre (Directing Lab) and from 1 to 3 p.m. will give an interview and discussion with MTI Director, Joe Deer, in the same space. All events are free and open to the public.

‘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

 

 

 

 

Big Lens Film Festival Sunday at Neon

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The seniors from the award winning Motion Picture program at Wright State University are showcasing their thesis work at the annual Big Lens Film Festival. The film festival is returning on May 1st, 2016 at the Neon in downtown Dayton. There will be work from Joe Cook, Alan Lewin, Mitch Centers, Sydney Waltz, Brian Roll, C. B. Hovey, Jessica Barton, Michaela Scholl, and Eric Risher.
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SSome of the films you can expect to see:

THE TOOTH MAN COMETHAn aging salesman believes that stealing a baby tooth will make him become visible to others.

Director/Writer: Mitch Centers
Produced by: Jessica Barton and Liz Lowe
Director of Photography: Joe Cook

IN A WARM DARK PLACE
“In a Warm Dark Place” is psychological thriller about a mother and her relationship with her newborn son.
Written/Directed by: Sydney Waltz
Produced by: Sydney Waltz & Randy Miller
Cinematographer: Eryn Montgomery

TO CHILDREN ARDENT
Two young brothers turn their game of war into a mission to find out what has happened to their father.
Written by: Joe Cook
Directed by: Alan Lewin
Produced by: Michaela Scholl
Cinematographer: Joe Cook

The past participants in Big Lens Film Festival have won awards at festivals such as Slamdance, Student Academy Award, and Sundance. Tickets are $7 at the door and can be purchased at the Neon starting April 5th. After Big Lens please celebrate with us at our after party at the Dublin Pub from 9:45-12am. Appetizers will be provided and a cash bar will be available.If you would like more information on Big Lens contact Michaela Scholl, Production Manager at 614.302.8916 or BigLensFF2016@gmail.com
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Tom Hanks Fever + Cincinnati & Dayton’s MILES AHEAD at THE NEON!

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26004198166_ffa375b1b8_oHello Everyone,

We’re cleaning house this week!  On Friday, we will start two brand new films. First is Don Cheadle’s MILES AHEAD. This film was shot in Cincinnati and Dayton, and many filmmakers and actors from the region participated in the production (I even had the privilege of being an extra for a day back in 2014). In addition, we’ll open A HOLOGRAM FOR THE KING – starring Tom Hanks. Dayton is currently quite excited about Hanks and his attachment to Wright State University. Interestingly, Stuart McDowell of WSU visited Hanks on the set of HOLOGRAM FOR A KING in Berlin. It was during this meeting that Hanks agreed to put his name on the new “Tom Hanks Center for Motion Pictures” at WSU. (Would you like to win an autographed poster? Keep reading.)

Synopsis for MILES AHEAD: “In the midst of a dazzling and prolific career at the forefront of modern jazz innovation, Miles Davis (Don Cheadle) virtually disappears from public view for a period of five years in the late 1970s. Alone and holed up in his home, he is beset by chronic pain from a deteriorating hip, his musical voice stifled and numbed by drugs and pain medications, his mind haunted by unsettling ghosts from the past.” (taken from Sony Classics) Shot in Cincinnati & Dayton, this improvisation on the life of Miles Davis is a treat for music lovers! Click this LINK to visit the film’s official website.

 

Synopsis for A HOLOGRAM FOR THE KING: This film is based on the beloved novel by Dave Eggers and directed by visionary director Tom Tykwer. “Cultures collide when an American businessman (Tom Hanks) is sent to Saudi Arabia to close what he hopes will be the deal of a lifetime. Baffled by local customs and stymied by an opaque bureaucracy, he eventually finds his footing with the help of a wise-cracking taxi driver (Alexander Black) and a beautiful Saudi doctor (Sarita Choudhury).” (taken from Roadside Attractions) Click this LINK to visit the film’s official website. (More about Hanks, HOLOGRAM and WSU below.)

On Monday, April 25 at 7:30, Gathr Films along with Tricia Rau-Hammond will present a one-time screening of the new documentary MILK. “Through an intimate and artistic lens, MILK brings a universal perspective on the politics, commercialization and controversies surrounding birth and infant feeding over the canvas of stunningly beautiful visuals and poignant voices from around the globe. Inspiring, informative, provocative and sensitive, MILK celebrates bringing a new life into this world with a strong call to action and reflection.” (taken from Press Notes) In addition to the screening, the evening will feature a raffle of prizes from Luna Blue’s Boutique. Advanced tickets must be purchased on the Gathr site by following this LINK. If tickets remain, they will be available at our box office one hour before the screening.

“The seniors from the award winning Motion Picture program at Wright State University are showcasing their thesis work at the annual BIG LENS FILM FESTIVAL. The film festival of new work is scheduled for May 1st, 2016 at 7:30. There will be work from Joe Cook, Alan Lewin, Mitch Centers, Sydney Waltz, Brian Roll, C. B. Hovey, Jessica Barton, Michaela Scholl, Eric Risher, and Liz Lowe. Past participants in Big Lens have won awards at festivals such as Slamdance, Student Academy Awards, and Sundance.” (taken from press notes) Tickets are $7 and can now be purchased at THE NEON’s box office.

Thursday, May 5 at 7:30 has been reserved for a showcase of student work from Stivers School for the Arts. I’ll have more details for you soon!

“The Dayton International Peace Museum invites you to save Sunday, May 8, 2016 at 3:00 p.m. for HIP-HOPERATION. In conjunction with our ‘Invent Peace’ theme, this funny documentary follows the Journey of Seniors from New Zealand as they not only learn to dance Hip Hop, but attend a World Hip Hop Dance Championship in Las Vegas. Enjoy their delight in discovering a new world. Suggested Donation: $10 (includes popcorn!) More info at: daytonpeacemuseum.org or call Jerry at 937-999-7314.” (If you liked YOUNG AT HEART – the documentary about seniors singing rock songs – you’ll love this film.) Check out the trailer by clicking this LINK.

Would you like to win a poster from HOLOGRAM FOR THE KING signed by Tom Hanks? During our run of the film, you can enter your name for a chance to win one. Stuart McDowell helped to get posters autographed for us during yesterday’s festivities at WSU with Hanks – a truly fantastic event! Here are a couple photos I took from the ceremony.

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Thanks for your continued support.
I hope to see you soon at THE NEON,
Jonathan

SHOWTIMES for Friday, April 22 – Thursday, April 28:

MILES AHEAD (R) 1 Hr 40 Min
Friday & Saturday (Apr 22 & 23): 12:50, 3:00, 5:10, 7:30, 9:45
Sunday (Apr 24): 12:50, 3:00, 5:10, 7:30
Monday-Thursday (Apr 25-28): 3:00, 5:10, 7:30

A HOLOGRAM FOR THE KING (R) 1 Hr 37 Min
Friday & Saturday (Apr 22 & 23): 12:30, 2:45, 5:00, 7:20, 9:40
Sunday (Apr 24): 12:30, 2:45, 5:00, 7:20
Monday (Apr 25): 3:10, 5:20
Tuesday-Thursday (Apr 26-28): 3:10, 5:20, 7:40

MILK – BORN INTO THIS WORLD (NR) 1 Hr 30 Min
Monday (Apr 25): 7:30
ONE NIGHT ONLY!

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear.)
TBD – THE DARK HORSE
TBD – KRISHA
TBD – THE CONGRESSMAN
May 6 – SING STREET
May 13 – LOVE AND FRIENDSHIP
May 27 – THE MEDDLER
June 10 – MAGGIE’S PLAN
June 17 – DARK HORSE

Adam Pascal Bound for Wright State

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adam pascalTony Award nominee Adam Pascal, one of the finest pop/rock voices in contemporary musical theatre who garnered acclaim in Jonathan Larson’s groundbreaking 1996 Tony and Pulitzer Prize-winning musical “Rent,” will perform a special acoustic concert Wednesday, Dec. 2 at Wright State University.

 
Presented by WSU’s Musical Theatre Initiative, Pascal’s visit marks a yearlong celebration of contemporary musical theatre entitled “Musicals Rock!” The Musical Theatre Initiative is an international center at Wright State that celebrates and explores the history, culture and craft of the musical theatre through workshops, conferences and performances.
“This yearlong program, called Musicals Rock!, will immerse students and audiences in the entire world of Broadway pop and rock musicals,” said Joe Deer, distinguished professor of musical theatre and Musical Theatre Initiative director. “This is the sound and style of the new Broadway. And we’re preparing our students to enter that world professionally.”

 
Pascal, 45, is a Bronx native raised in Syosset, New York. In addition to “Rent,” he has appeared on Broadway in “Aida,” “Memphis” and “Chicago.” He also co-produced the hit off-Broadway play “Fully Committed” with fellow “Rent” alum Jesse L. Martin. His latest CD entitled “Blinding Light” is currently in release. His upcoming film projects include “Punk’s Dead” and “The Devil’s Carnival Alleluia.”
In advance of his appearance, Pascal discussed his journey thus far and what he plans to share at Wright State.

Q: Has music always been a part of your life? Who are your musical influences? Did you enjoy musicals growing up?
A: I’ve always loved the Beatles, Billy Joel, Led Zeppelin, Iron Maiden, Judas Priest, Queen, and Journey. I’ve always loved male singers with big powerful voices. I grew up playing in rock bands throughout New York City. I actually grew up with Idina Menzel. I’m also a huge fan of movie musicals like ‘Hair,’ ‘Tommy’ and ‘The Rocky Horror Picture Show.’ I devoured those movies. I loved those movies so much and they had a huge impact on me. After Idina got cast in ‘Rent’ she reached out to me and told me they were opening up the casting of Roger to people who didn’t necessarily have prior theater experience. She said all I had to do was show up with a guitar and sing. The idea of going in and auditioning for something was intriguing. I hadn’t done that before. I had never considered a career in musical theatre. It didn’t occur to me that was something I could pursue. I was so focused on playing in rock bands that nothing else had ever occurred to me what I could do with my voice. Rock music was my passion and I never veered off that course.

Q: Can you explain how it felt to portray Roger Davis in your Broadway debut?
A: Honestly, when I got cast in ‘Rent,’ the show wasn’t the ‘Rent’ it ultimately became. When I was cast off-Broadway in the show it was just a 10-week run of an unknown entity. So, I was certainly excited to be a part of the show, but I wasn’t under the assumption I had been cast in the biggest musical in 20 years. My first thought was how I was actually going to keep my job while rehearsing at night! After my first audition I was given a cassette recording from casting of Jonathan Larson singing ‘One Song Glory.’ I was asked to go home and learn it and come back and sing it. I didn’t know anything about ‘Rent’ or Roger as a character. I must admit it wasn’t a magic moment by any means when I heard the song as if to say it was meant just for me. But ‘Rent’ will always be a major part of my life and career.

Q: You are one of the rare performers to be able to reprise their role on screen. How was the experience?
A: To be able to reprise my role was such a gift. I am so indebted to director Chris Columbus for fighting for us because it rarely happens that an original cast reprises their roles on screen. Chris wanted to maintain that connection to Jonathan Larson and his way to do that was to have us in the movie. We were the people Jonathan chose to embody those characters and in order to honor that Chris put us on screen. It’s great to have had ‘Rent’ be my starting ground which allowed me to go on and grow to do other things. It’s actually taken me 20 years to grow into the actor everyone thought I was when I debuted in ‘Rent.’

Q: In 2000, you portrayed Radames in Elton John and Tim Rice’s ‘Aida.’ What was it like working with Elton John?
A: Elton John has always been one of my idols. With ‘Aida,’ I feel I was just in the right place at the right time. ‘Rent’ opened up the door to a lot of pop/rock musicals. Getting to work with Elton was such a dream come true, but honestly, Elton is not the kind of composer who is involved with the rehearsal process. He writes the songs, sends them to the creative team, and then finds out weeks later what works or doesn’t work. And in retrospect, that’s the way it needs to be with Elton. But I also did a very early workshop of ‘Tarzan’ with music by Phil Collins who was the exact opposite of Elton. Phil was always in the room and very much involved in the creative process. It was really interesting to see somebody who arguably is more of a pop/rock icon come to musical theater from the opposite end of the spectrum.

Q: In 2006, you starred as Freddie Trumper opposite Idina Menzel and Josh Groban in a special concert version of the musical ‘Chess’ (available on CD and DVD) written by Tim Rice and members of ABBA. ‘Chess’ certainly has a cult following and your stellar rendition of “Pity the Child’ was an undeniable highlight. Have you always been a fan of the score?
A: The score for ‘Chess’ is definitely in my top three favorite scores of all time. The score is absolutely brilliant. The show unfortunately has a number of inherent problems with its book which has kept it from becoming the success the music would indicate it would have become. But the concert was magical. I’m so glad to have been a part of it and glad it was recorded.

Q: In January you’ll begin rehearsals as the romantic lead in Seth Rudetsky’s new musical “Disaster!” which opens in March at the Nederlander Theatre where ‘Rent’ played. Are you excited to return to Broadway? What can you reveal about the show?
A: ‘Disaster!’ is an all-out wacky comedy. I am friends with and love everyone in the cast. I did readings of it in New York and L.A. and laughed the whole time watching everyone’s performance. It’s a rare opportunity to be entertained so much by the show that you’re in and other people’s work. In the show some of my numbers include ‘Alone Again (Naturally),’ ‘I’d Really Love to See You Tonight,’ ‘Baby Hold On,’ and ‘Three Times a Lady.’ It’s going to be very special to perform on the stage of the Nederlander again. ‘Disaster!,’ in a way, came to me out of nowhere and now it’s headed to Broadway. I’m probably going to be back in my old dressing room literally 20 years from the day ‘Rent’ opened on Broadway. I’m glad I can sort of represent the ‘Rent’ family and be there in that space on our 20th anniversary.

Q: During your upcoming workshops at Wright State what do you hope to convey or what words of advice are you preparing?
A: I like to be very practical. I’ll be sharing thoughts on auditioning and also sharing opinion and feedback on what the students are working on or helping them select different songs. I also plan to impart any wisdom I have on what it’s like to have a long career in musical theatre. And not necessarily how fun it is but how difficult it is. There are difficulties you face when trying to maintain a sense of joy and sanity in a business that is extremely difficult and painful. I want to stress the reality of what they’re trying to get into.16537 MTI Musicals Rock Box Office Graphics FINAL_0

Q: What do you plan to perform during your acoustic set?
A: I’ll be doing original songs, rearranged versions of Broadway material and covers of pop/rock songs. It’s an eclectic mix of the three.

Q: What do you hope for the future of American musical theatre?
A: I hope it continues to flourish by inviting new and younger audiences, people that will sort of grow up and grow old being fans of musical theatre. I would also like to see musical theatre return to original content instead of existing commodities like movies and books.  Original shows are always inspiring because the source material was created specifically for the stage. 

Adam Pascal will perform Wednesday, Dec. 2 at 8 p.m. inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Tickets are $5-$10. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/tdmp. In addition, anyone wishing to attend Pascal’s workshops and interviews on campus Tuesday, Dec. 1, which are free and open to the public, must register for each event by contacting amanda.brewer@wright.edu.

 

 

 

 

‘Sondheim on Sondheim’ Review – Wright State University – Let Him Entertain You

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Art isn’t easy but it can certainly be glorious. Case in point: Wright State University’s excellent regional premiere of the 2010 musical revue “Sondheim on Sondheim,” a fascinating, revelatory tribute to Grammy, Oscar, Tony and Pulitzer Prize-winning composer Stephen Joshua Sondheim, who celebrated his 85th birthday last month.

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The cast of Wright State University’s regional premiere of the musical revue “Sondheim on Sondheim,” a celebration of the life and career of composer Stephen Sondheim. (Contributed photo)

Conceived by James Lapine, who shared the Pulitzer with Sondheim as librettist of “Sunday in the Park with George,” “Sondheim on Sondheim” is a marvelous, multimedia rarity in the revue mold. Unlike most revues confined by a song to song format and a thin story structure, this project is astutely constructed around Sondheim’s vivid, humorous and heartbreaking descriptions of his life and career executed within the archival framework of over 100 video segments. Lapine’s documentary-driven decision to allow Sondheim to be as open and vulnerable as possible about himself in addition to the rigors and joys of the collaborative creative process gives the audience an opportunity to connect with the seemingly reserved composer on a deeper, engaging level, particularly as he reflects on his rocky relationship with his cynical, melancholic mother and how he came to terms with his sexuality.

Propelled to prominence in the 1950s by writing lyrics to “West Side Story” and “Gypsy” yet perhaps best known for composing “Send in the Clowns,” Sondheim, a proudly neurotic only child, primarily embraced musical theater due to the encouragement of his mentor and neighbor Oscar Hammerstein II. His legacy as a Broadway composer began with a hilarious bang (“A Funny Thing Happened on the Way to the Forum”), but he ultimately transformed musical theater with exceeding bite and maturity in the 1970s creating such sophisticated, dark, intelligent, and thought-provoking shows as “Company,” “Follies,” “A Little Night Music,” and “Sweeney Todd.” Curiously, this revue doesn’t incorporate any songs from his stellar “Pacific Overtures,” delightful “Dick Tracy” or quirky “Frogs,” but ample room is given to cult favorites such as “Merrily We Roll Along,” “Assassins” and “Passion” as well as a handful of terrific cut songs specifically from “Company.” As an added bonus, it’s refreshing to know Sondheim doesn’t mind poking fun at his genius as evidenced in the original tune “God.”

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Photo by Geek With a Lens Photography

Envisioning the show with an informal, cozy living room approach inside the intimate black box Herbst Theatre, director Jamie Cordes, at his finest when showcasing songs from “Assassins,” “Company” and “Merrily We Roll Along,” assembles an energetic, vocally dynamic cast skillfully interpreting over 40 character-conscious numbers. The spectacular Cassi Mikat, showcasing exquisite lyric aptitude in one of the best performances of the season, takes charge with sublime renditions of “Take Me to the World” (a gem from the little known “Evening Primrose”), “Not a Day Goes By” and “In Buddy’s Eyes.” Just as mesmerizing and vital here as Barbara Cook in the Broadway production, Mikat is such a pro that her truly breathtaking embodiments of “Passion” numbers “I Read” (one of the most challenging arias in the Sondheim canon) and “Loving You” as well as “Send in the Clowns,” the fitting climax of the revue, are enough to tell me she’s immediately ready to offer her own Sondheim showcase at New York’s 54 Below or Joe’s Pub. Katie Momenee, a beguiling mix of delicacy and fieriness, offers a lovely “Good Thing Going” and exuberant deliveries of “The Wedding Is Off” (which became “Getting Married Today”) and “Ah, But Underneath.” Soprano Abby Murray Vachon nicely accents the comedy fueling “The Wedding Is Off” and winningly inhabits the breeziness of “Do I Hear a Waltz?” Kelsey Pohl, so natural and grounded, effortlessly drives the truth permeating “Now You Know” and charms throughout the terrific “Opening Doors,” which Sondheim regards as his most autobiographical song. Strong tenor Nathan Pecchia commands attention while relishing the malevolent rage of “Epiphany” and the eerie moodiness of “The Gun Song.” The very personable Ian Benjamin gives firm, heartfelt versions of “Is This What You Call Love?” and “Being Alive.” Logan Torbet vibrantly tackles “Franklin Shepard, Inc.” The solid, expressive Keaton Eckhoff winningly joins Pohl and Torbet for “Opening Doors,” one of the show’s best sequences along with “Waiting for the Girls Upstairs” and “Something Just Broke.” Ensemble members/understudies Zachary Fretag, Natalie Girard, Caitlin Geisser, and Jim Miller pleasantly support the principal cast albeit in a lesser capacity.

 
Additionally, music director/pianist Sean Michael Flowers leads a small yet superb band including guitarist Mark Beyer and cellist Emsie Hapner. Scenic designer Pam Knauert Lavarnway straightforwardly fills the space with chairs, rugs and a couch but adds two staircases for greater dimension. Costumer Emily Sollinger provides attractive formal wear for the ladies in Act 2. Jessica Drayton’s lighting design and James Dunlap’s sound design are equally fine.

Without a doubt “Sondheim on Sondheim” is an absolute must-see for Sondheim fans, but even if you prefer the company of other composers you will find something appealing in his journey. By and large, getting to know the greatest living composer of American musical theater is an immense treat in WSU’s impressive hands. I’m glad Sondheim is still here fully prepared to give us more to see.

 

“Sondheim on Sondheim” continues through April 26 in the downstairs, black box Herbst Theatre 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. Act One: 65 minutes; Act Two: 65 minutes. Tickets are $12 for adults, $10 for seniors and $5 for students. All shows have general admission seating. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/tdmp.