Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

Arts & Entertainment

McCoy on Movies: Ghostbusters: Frozen Empire

By

“Frozen Empire” shows latest “Ghostbusters” adventure not completely thawed out as much as it should be.

The teaser poster for GHOSTBUSTERS: FROZEN EMPIRE. Credit: Sony Pictures Publicity.

 

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Emily Alyn Lind, Logan Kim, Celeste O’Connor, Annie Potts, Kumail Nanjiani, James Acaster, Dan Akroyd, Ernie Hudson and Bill Murray with William Atherton

DIRECTOR: Gil Kenan
THE BACK STORY: Picking up after the events of Ghostbusters: Afterlife, GHOSTBUSTERS: FROZEN EMPIRE finds Gary Grooberson (Paul Rudd) now living with his girlfriend Callie Spengler (Carrie Coon), her now 18 and clamoring to be an adult son Trevor (Finn Wolfhard) and daughter Phoebe (McKenna Grace). Gone is the family house in the middle of nowhere Oklahoma, however, as the quartet is now living inside the Ghostbusters’ old firehouse in New York City. 
 
It’s a good thing, too, because it seems that something strange is always popping up, much to the chagrin of now Mayor Walter Peck (William Atherton). The organization’s longstanding oldest human nemesis, Mayor Peck is tired of the Ghostbusters’ constant destruction despite their work to constantly save the city, which is why he’s always looking for a way to shut them down. 
 
Phoebe, however, is dealing with her own problems. Informed she can’t be out working due to only being 15, Phoebe feels extremely out of place not being able to do anything, especially since it seems no one truly understands her. That’s why when she is greeted by a teenage spectre in the form of Melody (Emily Alyn Lind), she is happy for a newfound friend, even if they exists on two literally different astral planes.
 
There is something Phoebe, Gary, nor the rest of her family know, however … For while Raymond Stantz has been keeping up his fascinations with his occult book store and Peter Venkman is off doing Peter things, Winston Zeddmore (Ernie Hudson) has been using his company to study ghosts up close and personal. The research has brought about many revelations in ghost containment, which is good given that the old firehouse unit may be reaching capacity.
But what does any of that have to do with Nadeem Razmaadi (Kumail Nanjiani) and the strange brass ball that used to belong to his grandmother that he just sold to Ray? Let’s just say whatever is inside definitely wants to get out and turn the world into its own frozen empire …
 
THE REVIEW: After the maligned release that was 2016’s Ghostbusters installment, 2021’s Ghostbusters: Afterlife was a refreshing installment that honored the past films while carving out its own niche. In short, it felt like a new chapter in a story that enhanced it, capturing the sentimental and sweet with the funny and sarcastic.
 
GHOSTBUSTERS: FROZEN EMPIRE, however, by and large mostly just feels like a sequel. Save for the teenage coming of age elements of Grace’s character’s story – Is she out of place because she’s smarter than most of the adults? Is her relationship with Melody one that would be romantic if possible? – the story moves along, but lacks anything that makes it feel like other than what it is: A sequel that is okay but not on par with its predecessor. 
 
Many of the jokes feel like heavy-handed, well worn gags, the villain is almost an afterthought up until the last 20 minutes and Nanjiani feels a little out of place. The film’s narrative is also guilty of doing a lot of telling versus showing to keep things moving along and Murray dare I say feels like he’s just going through the motions when he’s onscreen. Then again, the visuals are nice, Grace does a lot of heavy lifting to give the film some sort of emotional center and the aforementioned last 20 minutes is an entertaining climax. 
 
That all being said, unless you are a diehard Ghostbusters fan (note: the author would include himself in that mix), you won’t really feel like you’re missing anything if you don’t catch FROZEN EMPIRE on the big screen. It’s a perfect Saturday afternoon movie for when you’re at home cleaning the house or not doing anything else, but if you’re worried whether or not you need to rush out to catch the latest installment, the answer sadly is no.
 
I ain’t afraid of no ghost, but I am afraid that the latest installment is more “okay” than it is spell-binding. 

 

 
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

This Must Be the Party — A Tribute to the Talking Heads

By

This ain’t no party, this ain’t no disco, this ain’t no fooling around — except it is a party, it is a disco, and there is a fair amount of fooling around.

This Must Be the Party — a Dayton, Ohio all-stars celebration of the music of Talking Heads — is on Saturday, March 30 at The Brightside Music & Event Venue. 

From its impetus at the now-defunct Oddbody’s in 2017 to the Brightside ballroom in recent years, this annual stage show recreates the frenetic mannerisms of David Byrne and the rest of the Heads from Jonathan Demme’s 1984 concert film, Stop Making Sense.

Then again, This Must Be The Party might be closer to a Heads’ show than Demme’s documentary since the Dayton stage show also includes “Cities” and the mashup of “Big Business/I Zimbra”: songs that were part of the Heads’ 1983 performance but not the theatrical release.

From setlist to wardrobe to props to choreography, This Must Be The Party is as faithful to the show as Byrne was to (allegedly) snorting stimulants. But filling the many big suits of David Byrne takes a certain level of commitment.

“Nobody wanted to be David Byrne all night,” said Libby Ballengee, booker for The Brightside and owner-operator at Venus Child Productions. “That’s when we cooked up the idea of having multiple David Byrnes, literally just for stamina because there’s so much running on stage.”

Donning the loose-fitting gray Byrne suits this year are Nathan Peters (Turboslacker), Eric Cassidy (Human Cannonball), Matt Byanski (Nasty Bingo), and Asche Pooler (Abertooth Lincoln) as the newest member of the group, graciously taking the place of the late Brian Spirk who passed away unexpectedly in October.

“Brian was an immensely talented and beautiful soul,” said Brian Hoeflich, drummer for This Must Be The Party. “We hope to honor him by continuing this show and spreading the joy that he spent so many years bringing to everyone.”

Here are a few David Byrnes on being David Byrnes:

Eric Cassidy: “I think that being David Byrne for the night is the most fun you can possibly have entertaining people. Just like actual David Byrne, the crowd will follow you to some weird places. And the more you give, the more you get back from the crowd. Walking out in front of one of the best bands that you have ever heard is so empowering. They got the crowd moving. They got ME moving. And I can ride that wave and use it to explore the stage with dance that is partly inspired by the original show, and also kind of my own thing. And the songs are just so good and well-known. It’s a blast!”

Matt Byanski: “It’s an honor and a challenge. The coat is great — the pants need to stay on! Suspenders are your friend!”

Asche Pooler: “I can’t tell you honestly in context just yet (because it is my first year) but I can tell you this: the rehearsals alone are so incredible to be a part of and watch, so I have an immense feeling that the actual show will be something to behold as well. I’m realizing that David and I have more in common as “weird” sort of musicians while doing it. So, in short, it feels good, man.”

Another addition to this year’s show is keyboardist Damien Dennis, alongside the return of backup singer Mykal who was an integral part of past performances.

Alongside the musicians mentioned above, the cast for This Must Be The Party includes Khrys Blank, Nathan Lewis, Patrick Himes, Chris Corn, and Erich Reith.

“We hope to eventually develop a theater stage version of the show,” Hoeflich said. “With projection screens and mobile instrument risers — just like Talking Heads did originally.”

Every year, the show grows nearly indistinguishable from Byrne’s original concept. So even if this is not your beautiful house and this is not your beautiful wife, This Must Be The Party. It’s once in a lifetime and it happens once a year.

This Must Be the Party — A Tribute to the Talking Heads, a Venus Child Production, is on Saturday, March 30 at the Brightside Music & Event Venue (905 E 3rd St, Dayton, Ohio 45402). Doors are at 8 p.m. Funky esoteric post-rock trio The Social Q opens the show at 8:30 p.m.

Tickets are $20 and available at VenuePilot.

Five Lesbians Eating A Quiche at the PNC Annex

By

It’s 1956 and The Susan B. Anthony Society for the Sisters of Gertrude Stein are having their annual quiche breakfast. As the assembled five women await the announcement of the society’s prize-winning quiche, the atomic bomb sirens sound! Has the Communist threat come to pass? How will the women respond as their idyllic town and lifestyle faces attacks?

Recommended for ages 14+. Sexual content, intense themes, and strong language.

Heart-Warming ‘One Life’ is a Beacon of Hope for the Modern World.

By

We need heroes these days. People to take us from this incessant era of anger, heart-ache and the fake bliss that is social media. We need people who think beyond themselves. People who look to help others in the face of evil and terror. Our time, this time in the world is not anything new or out of the ordinary. There will always be poverty, war, homeless and HATE. We have those in check, and so, what we need are heroes like the one depicted in ‘One Life,’ a film now showing at the Neon Movies.

It is rare I think to write about film. It’s always ‘iffy’ to go there. But, if you like a recommendation, here it is. Sitting at 93% on Rotten Tomatoes, ‘One Life’ is proving to be that little film with a big heart, and a big consensus “You should see it…”

Anthony Hopkins (the perfect pick) stars in the film,  along with Helena Bonham-Carter (a role made for her) and Johnny Flynn (such a strong, staid performance.) Flynn plays the younger Nicky Winton. the hero of our story. Winton was instrumental in saving lives during the occupation of Czechoslovakia. His focus was on the children, who needed an escape from the oncoming Nazi regime. 5 decades later, Hopkins, the elder Winton, reflects on, and is haunted by, what became of those children. And we are in for an emotional roller-coaster, as the story unfolds, almost told too conventionally….Here is what happened, and here is why it mattered. But within that conventional style, we are given the facts, and the faces of heroes. (Bring your Kleenex) It all comes together with the film’s defining moments, and our hearts are, alas, FULL!

Though there will be times when you want to push the needle forward more quickly and with more finesses in the film, it’s the beauty of the actors’ performances that keep us engaged. The children in the film alone seem like seasoned performers, tugging at our heart-strings, yet never letting us forget the horror they are facing. The atmosphere, both in flashbacks and in the later years, is well-executed….there are definite ‘moods’ to both.

The film is directed by James Hawes, (the Challenger Disaster, 2013). His modest story-telling in ‘One Life‘ again retains his desire to get the story right…and let the reality in that, do the work. The movie is based on the book ‘ If It’s Not Impossible…: The Life of Sir Nicholas Winton.’ by Barbara Winton.

For Winton, it was always about doing what’s right by people. Within the hour and 45 minute film, you cannot help but think about our world….anti-semitism, invasion, refugees, and of course, the misplaced children. Injustice…I mean isn’t that what always brings about rising heroes…in film and in life. You will leave the theater, teary-eyed and wondering who will save us from ourselves…in our ‘One Life?’

Catch ‘One Life’ at the Neon until 3/28! Info Below:

https://www.neonmovies.com/home

 

McCoy on Movies: THE AMERICAN SOCIETY OF MAGICAL NEGROES

By

Writer/director Kobi Libii strikes a strong social cord with satirical exploration of American society’s relationship to African-Americans with debut feature

“I heard the NPR reviewer didn’t like our movie … Looks like we better send them a magical Negro of their own …” Aren (Justice Smith) looks on as Roger (David Alan Grier) prepares to show him how to diffuse a potentially dangerous interaction in a scene from writer/director Kobi Libiii’s THE AMERICAN SOCIETY OF MAGICAL NEGROES. Credit: © 2024 Focus Features. All Rights Reserved. 
WATCH THE TRAILER HERE:
 

KEY CAST MEMBERS: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Micaela Watkins and Nicole Byer

DIRECTOR: Kobi Libii
THE BACK STORY: Ahh … The magical negro. First coined by Spike Lee in response to all the black characters that would appear in movies for no other purpose than to serve as a spiritual Jiminy Cricket or Tinkerbell to the lead white protagonist, the magical negro has existed in many forms on screen.
 
But what if they existed in real life? In writer/director Kobi Libii’s documentar-er, social satire, they are.
 
THE AMERICAN SOCIETY OF MAGICAL NEGROES stars Justice Smith (The Get Down, Jurassic World: Fallen Kingdom) as Aren, a yarn sculptor – yes, yarn – who’s career is going nowhere. He is, however, good at one very specific thing: Making white people feel comfortable around him … If they even notice he’s in the room, that is. That skill is what catches the attention of Roger (David Alan Grier), a bartender at the art gallery at which Aren is showing his work, which leads to him revealing a secret …
Roger is part of the aforementioned American Society of Magical Negroes, a collective of black people with magic powers which they use to keep white people happy and achieving their dreams. Why? Because in doing so, they help reduce the chances of other black people from getting unjustly fired from jobs, arrested – or worse. Showing Aren what he can do after inadvertently helping save him from a potential drunken Karen, Roger brings him to the secret society’s headquarters where he gets the full rundown. Skeptical at first, Aren eventually relents and decides to join up as Roger’s protege.
On assignment, Aren gets paired up with Jason (Drew Tarver), a depressed tech bro who works at a Facebook-esque social media company. And things are going well enough … Until they aren’t. Why? Because of the presence of Lizzie (An-Li Bogan), Jason’s boss. She’s cool, she’s hip, she’s smart and she’s funny … And she’s the same girl for whom Aren also has eyes.
Knowing that magical negroes must always put their clients’ happiness first before their own, Aren finds himself at a crossroads: Does he sacrifice the first person who’s made him feel good about himself or preserve the safety of all black people in America? For if one magical negro blows their assignment, all of their fellow negroes’ magic will cease to work.
 
THE REVIEW: THE AMERICAN SOCIETY OF MAGICAL NEGROES is a social satire. For many people of color, however, watching the film may feel more akin to watching a documentary. For in touching upon how fictional characters have navigated white society for years dating back to the early 1900s, the film subtlety touches on real aspects of the modern experience, especially in how a post-2020 has made it even more necessary. 
 
Validating how cool a non-POC is due to their outfit, knowledge of 90s hip-hop or sneaker collection? Check. Being the black friend they can speak they can “speak honestly” with without fear of retribution? Check. Explaining that someone isn’t a bad person just because they had no clue about something that culturally affects and/or has been affected black people for eons that they’ve clearly ignored all the signs of, dialogue about and/or protests? Check.
Why do I say all these things? Because these are things that I personally have experienced, which is something I’m quite confident I’m not alone in experiencing. And with his debut feature THE AMERICAN SOCIETY OF MAGICAL NEGROES, writer/director Kobi Libii brings those feelings to the forefront for the entire world to see in humorous, yet heartfelt fashion.
Some may take issue with the underlying romantic comedy notions – let alone Smith’s character falling for a non-black female lead. That idea, however, undercuts one of the prime stories present in the film that is also present for many black people in real life: Just being free to do, say, think whatever and fall in love with whomever you like without worrying about how someone else – in this instance, white people – are going to react to or feel about it.
In turn, one can live their life how they see fit instead of always trying to appease someone else out of fear of retaliation, inferiority complexes and/or hatred for their simple achievements. Don’t believe me? Take a look at the average headline with the dreaded letters “DEI” in the title. Whereas some outright refuse to acknowledge a system that has benefitted them, others take the stance of, “If someone else is getting closer to me socially/economically/civil rights-wise, I MUST be losing my status at the top of the food chain.” With THE AMERICAN SOCIETY OF MAGICAL NEGROES, Libii dives deep into corporate structure and shows how its the subtle things that people may not even realize that can have significant, lasting impact in both a positive and unfortunately more often than not, negative sense.
Smith is perfect as a nondescript everyman, the type that would hear “I don’t even think of you as black” as if that is some sort of complement from start to the film’s apex. But in watching him navigate the world around him, his slow own self-denial of his situation evolves into revelations that might feel revelatory to some and shocking-for-not-being-able-to-see-it-until-its-pointed-out-in-blatant-fashion to others. This in turn makes his relationship with Bogan’s character such a joy to watch – for despite being two people who would seemingly be from very different worlds, their connection to each other is so undeniable it’s a pleasant reminder of what the human experience should be in a world where, unfortunately, it just isn’t.
Of course, David Alan Grier is excellent in his role as the wise, old sage trying to guide his young apprentice. For a man well-known for his comedic prowess dating back to the late 80s/early 1990s – YES, In Living Color really is more than 30 years old – watching him delve expertly between comedic and dramatic has always been one of if not his best skill. THE AMERICAN SOCIETY OF MAGICAL NEGROES gives him a chance to do so adeptly as he showcases his range.
Sadly, in the wake of the stellar American Fiction – doesn’t it feel like that’s going to be the “here’s your good black film, now let us just acknowledge that and move on?” movie of 2024 following the Academy Awards – THE AMERICAN SOCIETY OF MAGICAL NEGROES is likely to get lost in the shuffle. Some of that may be due to its title; some of it may be due to lack of starpower and buzz it has … And some may be to general disinterest.
Then again, come to think about it – general disinterest in the African American experience is quite an American experience, which kind of explains how we got here in the first place, don’t ya think?

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

Artist of the week: Elisha Frontz

By

Elisha makes mixed-media art at Front Street, in her studio on the first floor of the 100 Building that she shares with Kate Santucci. The first time I met Elisha she wasn’t making visual art. She was singing with the Blue Heron Trio. The group has been on hiatus since 2022 but you can still hear Elisha sing online.
May be an image of 1 person and dirndl
I asked about her shift from making music to making her multi-media art.
“I’ve always been interested in both visual art and music,” Elisha told me. “My mother tells me that even as a toddler I would pound on the piano and then run to a piece of paper where I was making a drawing. In high school and college I loved my art classes but also found time to sing in different bands. When I finished art school, where I majored in sculpture, I started singing with the Blue Heron Trio.”
“When the pandemic hit there were no live music bookings to be had, so I started making visual art again. Then in 2022 one of the members of our trio died. After 12 years of working so closely together the three of us were like family. I haven’t sung since his memorial service. I’ll probably sing again someday, but right now I spend my time making mixed media visual art.”
“I currently have a show now at Emporium Wines and Underdog Cafe in Yellow Springs, and our studio is open on First Friday and Third Sunday art events.”
I asked Elisha to tell me more about the visual art she’s making.
“In art school I loved making sculptures,” she told me “but sculptures can be hard for people to incorporate into their living space. I decided to make work that has a sculptural feel but that hangs on the wall. “
“I start by making a wooden panel. Then I create a watercolor painting that is exactly the size and shape of the panel on thick watercolor paper. Then I typically add other materials. In recent work I’ve been adding sewing patterns. Finally I do the sewing. I love the texture that hand stitching with metallic thread adds to a piece, even though the process seems to take a very long time.”
Maybe it’s because I’m listening to Elisha sing as I write these words, but I see the influence of music in Elisha’s visual art. There’s a rhythm and a flow like the cadence of a song. Take a look at more of her work and see if you agree, either at https://billfranz17.com/ or https://www.elishafrontzart.com/ or in her studio at the next First Friday or Third Sunday event.
More on Elisha’s visual art tomorrow. More photos at https://billfranz17.com/

Ride The Cyclone Musical

By

A new musical by Jacob Richmond and Brooke Maxwell that has become a viral TikTok sensation! It’s the hilarious and outlandish story of six teenagers from a Canadian chamber choir whose lives are cut short in a freak accident aboard a roller coaster. When they awake in limbo, a mechanical fortune teller invites each to tell a story to win a prize like no other — the chance to return to life.  A funny, moving look at what makes a life well-lived! (Ride the Cyclone contains adult and “teen age” humor, including references to sex, drugs, and violence.) $18 adults/$15 students & seniors. TUESDAY STUDENT MADNESS — ONLY $10 FOR STUDENTS  http://www.sinclair.edu/tickets

If you’re heading to ‘HADESTOWN’….’Wait For Me!’

By

 

For those of us who went through mythology classes, we know the story. We know the beginning, the middle, and yes, the END! THAT ENDING! Like most of the Dayton audience, I felt the need to change it up…to make it different….to stop the inevitable….but ‘It’s a sad song, and we’re gonna sing it anyway!’ From the jump, ‘Hadestown‘ dives right into the story. Our focus falls to Orpheus (J Antonio Rodriguez…with a falsetto like no other)  and his love for Eurydice (Amaya Braganza, with her smooth, solid voice). The tale is rough and wrought with issues…hunger, poverty and longing. It grinds…until the frenetic Persephone makes her entrance. The character, one for the mythological ages, is played with an almost gymnastic quality by Lana Gordon. (She will wow you in the second act!) If you recall, Persephone lives half of the year with her hubs Hades (Matthew Patrick Quinn…who adds an emotional quality to his character, which I’ve not seen in previous performances). Their troubled relationship ebbs and flows throughout, delivered with voice and VOICES!

The story moves on the ‘track’, taking us from Eurydice‘s strife of freezing and needing sustenance; through Orpheus‘ idealism and hope to bring Spring along; Persephone‘s time ‘down below’ casting the world into cold and dark; and Hades strict control of his underworld, where lyrics on building walls, and silencing uprisings seem timely, today!

As the train continues forward…barreling into hell, we wish we could stop things…the decisions Eurydice‘s makes for her future; the anger Hades feels for the world he cannot control; the choice of Orpheus to take the ‘test!’ (DON’T DO IT!!). And throughout, there is this emotional current pulling at our heartstrings as we go. (There were tears from many in the audience as fate deals us that ‘blow.’) All the while, we relate. We relate to the themes whispering in our ears….doubt, worry, survival. Those voices brought to life through strong vocals from the Fates ( Marla Louissaint, Hannah Schreer & Lizzie Markson.)

Throughout our show, the onstage musicians take us on a musical ride that truly is dynamic. They are, each and every one, masters of their craft. You almost want a concert featuring…well…just them! And along with them is Hermes (played by the endearing Will Mann). He connects so well, reminding us that this not gonna be easy!

No doubt, the story could drag, but the visuals (the lighting, the special effects), the set (with its nod to New Orleans) and the sounds (especially during the beloved ‘Why we Build The Wall’) keep us enthralled and engaged. It is hard to let your attention wander.

Look, this isn’t your run of the mill Broadway show. It’s obscure, and handles political issues seamlessly. It has songs that are beyond our everyday Broadway experience (‘Doubt Comes In‘, ‘Our Lady of the Underground‘, ‘Hey, Little Songbird‘) It tackles a classic tale with hope for a resolution, and then takes us where we knew were going all along. It’s eerie and odd, beautiful yet broken.

There’s a reason ‘Hadestown‘ can at times be polarizing. Strong feelings on both sides of the aisle. In the words of a friend in attendance ‘I hate unhappy endings.’ To that I say, ‘It’s a sad song, and we’re gonna sing it anyway!’ 

For further information on times and tickets, click below!

https://www.daytonlive.org/events/hadestown/?gad_source=1&gclid=Cj0KCQjwncWvBhD_ARIsAEb2HW8ljCZApo1EYrwidJ44OSIL-nmV5nvo_HqgQhqj3WBzQlcyRhcqsN8aAmS4EALw_wcB

 

 

Free Museum Addmission on Art for All Day

By

On Thursday, March 21, 2024, the Dayton Art Institute (DAI) will welcome all in the community to the museum, free of charge, for a special Art For All day.

On Art for All Days, the museum will offer free general admission to its collection galleries, as well as the Special and Focus Exhibitions The Artistic Life of Aka Pereyma, James Pate, Techno-Cubism: The Art of Line Painting, Telling Stories: World Literature in Art.

James Pate, Techno-Cubism: The Art of Line Painting

The museum will be open from noon to 8 pm on March 21. Throughout 2024, DAI will offer two additional Art for All days. On Sunday, June 30, and Friday, November 15, guests will receive free admission.

For more information about planning a visit, including current museum hours and updates, go to www.daytonartinstitute.org/visitor call 937-223-4ART (4278).  

Hadestown March 12 – 17 at The Schuster

By

Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.

HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never lets go.

Yellow Springs Mini-Film-Fest

By

Eric Mahoney, the filmmaker behind the Yellow Springs Film Festival has just announced he’ll be hosting a one day  “MINI-FEST” on Saturday April 6th at the Little Art Theatre in Yellow Springs!
He shared that this is halfway between last years festival and the Oct 4-6 2024 festival, “so it just seemed to think the mini-fest was a great way to keep the film festival in peoples minds. This will be the first time for folks to see these films and we’re excited to share them with film fans.”

Featuring  films fresh off their premieres at Sundance / SXSW / Venice and see live conversations with visiting Directors. Tickets to all films and events on sale now for all 4 event/screening for $15-20. The Little Art seats just around 100, so buy your tickets online before they sell out.

Saturday, April 6
The Little Art Theatre
247 Xenia Ave
Yellow Springs, OH 45387
Sat, Apr 6, 3:00 PM
The Little Art Theatre • Yellow Springs, OH
9 – 11:30pm EDT
 THANK YOU VERY MUCH (2024) Directed by Alex Braverman

Documentary about performance artist and “song and dance man” Andy Kaufman

The Fourth Annual Dayton Battle of the Bands Finale

By

 

The fourth annual Dayton Battle of the Bands finale takes place on Saturday, March 9, 2024, at The Brightside Music (905 E 3rd St, Dayton, OH 45402), and features six winning bands from each of the playoff rounds.

The finalists from all six weeks include The Bruins (pop/rock), Sheller (alt/punk/metal), Austin Wolfe (Americana/folk), The Shady Pine (country/bluegrass), Melinamarie (hip-hop/R&B), and Freakquency (funk/jam/progressive).

While the finalists were determined in their categories via a combination of audience and judges’ votes, the final round will be 100% determined by the audience. 

“We do ranked-choice voting so that alleviates the popularity contest issue,” said Libby Ballengee, music booker and promoter at The Brightside. “People can come and vote for their fave band, but sometimes everyone loves one band and they get everyone’s 2nd place vote, and that puts them over the top.”

By eliminating the element of bias, relying entirely on the audience feels like an objective method of choosing a winner.

“I don’t know that any panel of judges I could put together would be fair considering we all have genres we like more than others,” said Ballengee.

Previous weeks’ performances were on The Brightside’s smaller Vod-Vil Bar stage, while final competing bands will make their musical cases and perform once more on the Ballroom stage.

Vying for the Grand Prize, the winner gets a free EP recording session with Dayton Sound Studios and the opportunity to perform at Levitt Pavilion Dayton, among other rewards from Little Monster Printing and Dayton’s Original Pizza Factory.

Dayton Battle of the Bands 2023 winner, crabswithoutlegs, a jazzy nine-piece, has quickly become one of Dayton’s darlings, playing the Levitt and becoming a staple act at The Brightside. There’s a good case to be made for the potential of this year’s winner.

Tickets to Dayton Battle of the Bands are $15 in advance and $20 at the door. Doors open at 6 p.m. The show starts at 7 p.m. Each ticketholder will be granted one vote.

The Brightside Music & Event Venue is located at 905 E 3rd St, Dayton, OH 45402.

Ticket link: https://www.venuepilot.co/events/94654/orders/new

Artist of the Week: Kate Huser Santucci Part 2

By

To help me understand how her encaustic paintings are made, I asked Artist of the Week Kate Huser Santucci to walk me through the process using this piece as an example.
“I started with a piece of scrap plywood” she told me. “I taped the edges and put on a layer of encaustic medium (a mixture of beeswax and tree resin). Then I added heat, so that the layer of encaustic medium will firmly grab onto the grain of the wood. After that I could start painting a number of layers of encaustic paint, which is just encaustic medium with pigment added.”
“Every time I add a layer of encaustic paint I heat it with a torch, so that it grabs onto the layers that have been applied. If I add a lot of heat the new layer is smooth. If I use less heat there is more of a texture. At any time, I can scrape off one or more layers in an area, so you can see more of what lies underneath.”
“I set this piece aside at one point because I wasn’t sure where I wanted the painting to go. Then Summer came and I just loved the look of flowers in my yard. I decided to add a flower image to this piece.”
“I used a photo as a reference and did the first layer using a smaller brush and encaustic paint. After that had been fused onto the piece I switched to oil paint with just enough wax in it to allow it to bind with the layers I already had. I started to paint the oil with my finger. If you look closely you can see that I’ve put in reds and oranges and golds and pinks. As a final step I add fine detail with a very small brush.”
For more photos of Kate’s work, and photos of her studio, go to https://billfranz17.com/

Artist of the Week: Kate Huser Santucci

By

I’ve been admiring Kate’s encaustic paintings online for quite a while but only met her last summer. She works at Front Street, in the first floor of the 100 Building, where she shares space with Elisha Frontz.
“In college I started out as a theater major” she told me “and then switched to fine arts and eventually got a degree in sculpture. Then I raised a family for 20 years.”
“About 10 years ago I saw an encaustic piece that I was really drawn to. Its layering gave it a sort of ethereal feel. About that same time a friend told me about an encaustic class being taught in St Joseph, Michigan. I decided to take the class and then just dove into encaustic work. I love the versatility of the medium, the way you can be sculptural or really painterly, the way you can scratch parts off or draw lines on and do all kinds of other things.”
Kate tells me she has a busy exhibition schedule coming up. Her work is being shown this month at Studios on High in Columbus. Then in May through August she’ll fill the walls at Wheat Penny Oven and Bar. In October she has a show at Edison State College in Piqua. Next year she already has two shows planned, plus a residency in France. But my favorite way of seeing her work is to stop by her Front Street studio. She’s working there most days, and is always open for First Friday and Third Sunday.
For more photos of Kate’s work, and photos of her studio, go to https://billfranz17.com/

McCoy on Movies: Drive-Away Dolls

By

Ethan Coen’s latest cinematic escapade one not worth the drive 

 

“Maybe there’s a better movie hiding in this trunk?” Jamie (Margaret Qually) and Marian (Geraldine Viswanathan) take in an unexpected discovery in a scene from co-writer/director Ethan Coen’s DRIVE-AWAY DOLLS, a Focus Features release. Credit: Jojo Whilden © 2023 Paramount Pictures. All rights reserved.
WATCH THE TRAILER HERE:
 

 

 

KEY CAST MEMBERS: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, C.J. Wilson, Joey Slotnick, Colman Domingo, Bill Camp, with Pedro Pascal and Matt Damon


DIRECTOR: Ethan Coen

THE BACK STORY: The scene: Philadelphia 1999, right on the verge of Y2K. Jamie (Margaret Qually) is a free-spirited individual who likes to have sex with any woman she sees fit, much to the chagrin of her police officer girlfriend Sukie (Beanie Feldstein). Marian is a very uptight woman stuck in an office job who can’t seem to move on from her last girlfriend years ago … Which is why she decides to plan a trip to Tallahassee, Fla., to go visit her Aunt Ellis (Connie Jackson). 

Seeing how Sukie has had enough of her cheating, Jamie invites herself along for the ride, determined to get her best friend some romantic action. Problem is, the duo don’t have a way of getting there. That’s when Jamie comes up with the idea to find one via a car delivery service owned by the understated Curlie (Bill Camp). Curlie just so happens to have a Dodge that needs to get to Tallahassee the next day, so the girls take the charge and are off.

Problem is, that Dodge contains two very special items in its trunk that the hot-headed Flint (C.J. Wilson) and his more even-keeled partner Arliss (Joey Slotnick) are supposed to pick up and drive to Tallahassee. What are they? Well, let’s just say they both once belonged to The Collector (Pedro Pascal) and now, much to his chagrin, they don’t … and The Chief (Colman Domingo) is determined to get them to his client. Who is his client, you ask? Senator Gary Channel (Matt Damon), a conservative, family-oriented politician desperate to get the silver briefcase and its contents back.
 
So what happens when an uptight, introverted lesbian hits the road with her good-time seeking fellow lesbian while unknowingly being pursued by two thugs over 1,000 miles? You’ll have to see the movie to find out.
 
THE REVIEW: Sometimes, you watch movies and go “This isn’t for me.” It happens. Maybe it’s because you don’t like the dialogue. Perhaps its because the subject matter doesn’t interest you. It could even be that the scenario is so ludicrous that unless you see Chris Bridges pop up in between Fast & Furious movies and State Farm commercials, you can’t buy in.
 
In the case of DRIVE-AWAY DOLLS, it’s all three coupled with just the sheer absolute goofiness of the film from start to finish.
 
Alongside his older brother Joel, Ethan Coen has made his fair share of beloved cinematic excursions. This include Fargo, Burn After Reading and No Country for Old Men. With Drive-Away Dolls, Coen has also delivered a film that might become a cult classic among the LGTBQIA+ lesbian community for its depictions sexuality and self-discovery … But not among anyone looking for a good movie.
Save for the scenes feature Beanie Feldstein, the humor – when present – in DRIVE-AWAY DOLLS fails to deliver its intended result. One day, filmmakers will learn quirky for the sake of quirky isn’t comedy; it’s just annoying – and unfortunately, for every one person that find’s Qualley’s character funny, someone else will see that person that ruins a party with their loud, obnoxious and “well, this is happening, so just roll with it” behavior. She is a pure antagonist to the point you often find yourself feeling bad for Viswanathan’s character.
Make no mistake, diversity in mainstream film is an important thing that needs to be encouraged and supported. That being said, DRIVE-AWAY DOLLS at times feels a little more exploitative than inspired in terms of its characters’ sexuality. (Editor’s note: As a heterosexual, cisgender male, I understand I am not the target audience for the film. However, I know that when I’m watching an extended scene that feels like it is included simply for either shock value or the audience’s titilation, it is a bit distracting to say the least.) And in case you needed someone to just say it for you, DRIVE-AWAY DOLLS is NOT going to make any routine Fox News’ watcher’s top 10 list for 2024.
Save for one very poignant sequence of Viswanathan’s and Qualley’s characters respectively coming to truly understand their relationship, a large portion of the film suffers from a Wes Anderson-level of quirky for the sake of quirky with ridiculous characters, dialogue and actions. While the film’s final 20-25 minutes do ramp things up in terms of watchability and enjoyment, the preceding hour is inane enough to make most audiences not care once they arrive.
Here’s to hoping that DRIVE-AWAY DOLLS is the start of more representation of the LGTBQIA+ community on screen but the last time they are showcased in such silly fashion.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

Shipwrecked! An Entertainment: The Amazing Adventures of Louis de Rougemont

By

Join the theatrical quest of deep seas and high comedy! The adventurous Louis de Rougemont invites you to hear his amazing story of bravery, survival and celebrity that left 19th-century England spellbound. Dare to be whisked away in a story of the high seas and all corners of the globe, populated by flying wombats, giant sea turtles and a monstrous man-eating octopus. Shipwrecked examines how far we’re willing to blur the line between fact and fiction to leave our mark on the world.

Recommended if you liked Around the World in 80 Days, The 39 Steps, Peter & the Starcatcher

The show runs Feb 22- March 10th in the Loft Theater. Tickets range from $10-$53 and can be purchased online at Daytonlive.org. Show runtime is 100 minutes.

 

Special Performances

Inside Track: February 22, 7:15 pm.  Join Engagement and Learning Coordinator Tiffany Countryman for a preshow discussion with members of the creative team.

While We’re On the Subject (Post show Talkback):  March 3, 2pm with the cast of Shipwrecked! An Entertainment.

Parent’s Day Out Performance: March 9, 2pm  Drop off is at 1:30pm; allow a few minutes to fill out authorization forms. Purchase your tickets through Dayton Live, and register your children during the checkout process.