Arts & Entertainment

Jana Robbins and Steve Vinovich in "Managing Maxine" (Photo by Scott J. Kimmins)

Janece Shaffer has created one of the most fascinating females to grace a new play.

In Shaffer’s cute, funny, touching and refreshingly adult comedy “Managing Maxine,” receiving a wonderful Midwest premiere deftly directed by Marya Spring Cordes and attractively designed by Tamara L. Honesty for the Human Race Theatre Company, writer/professor Maxine Levine, newly 70, desires to love again. However, her mission is rather complicated, which is typical of romance whether teenage or septuagenarian. Since Maxine hasn’t dated since the Kennedy Administration and suffers from a Blanche DuBois aversion to natural light, her courage and self-esteem has understandably depleted. But despite the idiosyncrasies within her brash, loveable, stern and endearing temperament, she meets her white knight in the form of the exciting yet practical retired judge Arthur Rinzler. Maxine and Arthur’s relationship naturally blossoms with the potential for marriage, but questions and expectations regarding their respective children/families emerge to chip away at their bond. More importantly, Arthur is reticent to evolve and loosen the feelings he still has for his late wife, a concern deeply testing the couple.

Shaffer, boldly showcasing geriatric bedroom naughtiness with blush-worthy verve (“I think I need to take a breath mint to my upper thigh”), relies heavily on asides, which has a tendency to diminish narrative appeal as scenes progress. Still, her three-dimensional Maxine is superbly realized by New York-based actress and Tony nominated producer Jana Robbins (“Ragtime”). Robbins, who possesses a Linda Lavin quality and left an indelible impression as the tipsy titular character of the Human Race’s 2011 production of “The Drowsy Chaperone,” has been associated with “Maxine” since the play’s 2009 world premiere at Atlanta’s Alliance Theatre. From the inviting first scene, which finds Maxine nervously giddy about her first date with Arthur, it’s apparent how tailor-made the role is for her and how exceptionally she executes the emotional highs and lows, particularly becoming heartbreaking late in Act 2 when Maxine strips down in an honest moment of traumatizing self-examination. She’s also a first-rate comedienne who understands the importance of keeping Maxine’s humor level-headed instead of teetering into the cartoonish, over-the-top realm.

Steve Vinovich, whose extensive stage and screen credits includes Jerry Herman’s ill-fated but tunefully rich 1979 musical “The Grand Tour” and the films “The Santa Clause” and “Awakenings,” is simply terrific as Arthur. Genially seductive and totally charming, Vinovich keeps his innate chemistry with Robbins at fever pitch. He also establishes a warmly sincere and protective rapport with Michelle Zimmerman, who makes a fine return to the Human Race as Arthur’s disapproving, icy daughter Ivy.

Additionally, Debra Whitfield and Tim Lile are excellent as Maxine’s fussy daughter Emmie and discontented son-in-law Larry trying to rekindle their loveless marriage, a relatable subplot that evolves with potency and never feels inconsequential. “Try to remember what it was like in the beginning” is not only sound advice intended for Emmie and Larry but for anyone who has ever said “I do.” Kay Bosse and Scott Stoney respectively provide great comic relief and brief yet striking moments of depth as Maxine’s amiable neighbor Joanne and Arthur’s earthy buddy Louis.

The Human Race has broadened its support of new plays this season and certainly found a gem in “Maxine,” which warmly suggests it’s never too late to love and be loved. By and large, this crowd-pleasing play seems bound for Broadway and could be another Tony nominated vehicle for Robbins.

“Managing Maxine” continues through Sept. 23 at the Loft Theatre, 126 N. Main St., Dayton (click here for full schedule). Act One: 60 minutes; Act Two: 55 minutes. Tickets are $19.50-$40. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit http://humanracetheatre.org

Shawn Hooks (l) and David Moyer rehearsing "Side by Side by Sondheim" (Contributed photo)

Two months ago at the Smith Center in Las Vegas I attended an incredibly informative forum featuring acclaimed lyricist/composer Stephen Sondheim, who boldly awakened the complex possibilities of adult musical theater storytelling throughout the 1970s.

Questioned by moderator Michael Kerker of ASCAP (American Society of Composers, Authors and Publishers), a very humble, surprisingly candid Sondheim reflected on his groundbreaking legacy with a wide range of anecdotes, particularly shedding light on supervising the original cast recording of “West Side Story” in Leonard Bernstein’s absence, coping with Jule Styne’s peculiar approach to rewrites during their “Gyspy” collaboration, and enduring a rocky relationship with Richard Rodgers during their creation of 1965’s “Do I Hear a Waltz?,” which he admittedly agreed to do entirely out of obligation to his mentor Oscar Hammerstein II. In fact, Sondheim submitted humorous yet derisive lyrics for the bouncy Act 2 duet “We’re Gonna Be All Right” that were scrapped purely based on the disapproval of Rodgers’ wife. According to Sondheim, his lyrics “hit too close to home.”

Thankfully, you can hear “We’re Gonna Be All Right” as originally intended in the musical revue “Side by Side by Sondheim,” a special presentation opening the Dayton Playhouse’s 2012-13 season. Created in London in 1976 and transferring to Broadway a year later receiving five Tony Award nominations including Best Musical, “Side by Side” consists of nearly 30 songs and encompasses nearly 20 years of Sondheim’s repertoire from his early, aforementioned collaborations (writing only lyrics) to his definitive works such as “A Funny Thing Happened on the Way to the Forum,” “Company,” “Follies,” “A Little Night Music” and “Pacific Overtures.” “Anyone Can Whistle,” “Evening Primrose” and “The Seven-Per-Cent Solution,” three little known projects, are also included.

Director Brian Sharp, establishing a smooth fluidity, seamlessly expands, with assistance from musical director Ron Kindell, the original concept of three singers to six. Laura Bloomingdale, Carol Chatfield, Kathy Clark, Bonnie Dobbs, Shawn Hooks and David Moyer blend beautifully while embracing Sondheim’s tricky lyrical and rhythmic challenges with just a few stumbles along the way. The lyrically sublime Bloomingdale (supplying an absolutely lovely “I Remember” and a delectable “Ah, Paris”) and Clark (a back-to-back knockout with “Anyone Can Whistle” and “Send in the Clowns” in addition to “The Boy From”) are standouts, but Moyer’s heartfelt “Marry Me A Little,” Hooks’ personable “Could I Leave You?,” Chatfield’s heartbreaking “Losing My Mind,” and Dobbs’ operatic flourishes within the saucy “I Never Do Anything Twice” are certainly noteworthy.

However, in a startling move, Ned Sherrin’s original continuity/narration has been altered with references to Sondheim’s later works (such as “Into the Woods”) which have nothing to do with the revue’s framework. Saul Caplan is an enjoyably easygoing narrator, but his comments are oddly disjointing. Moreover, a bizarrely reprehensible moment arrives at the climax of Act 2. Dobbs delivers “I’m Still Here,” a powerful “Follies” anthem of survival pinpointing Herbert Hoover and the Great Depression among America’s social landscape, with new, contemporary lyrics referencing Botox, O.J. Simpson, George Bush and Barack Obama. Why the Playhouse would cheapen one of Sondheim’s most respected, beloved songs is a total mystery. It is simply one of the worst, most blatantly pointless artistic decisions the Playhouse has ever made.

Even so, considering the strengths of the vocalists and the fantastic piano accompaniment of Bryon Dobbs and Nancy Perrin, “Side by Side” remains a clear testament to Sondheim’s distinctive, alluring and timeless career.

“Side by Side by Sondheim” continues through Sept. 16 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $15-$17. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.