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Coming Up in Cincinnati Theatre: Feb. 27-March 4

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…BLINK AND THEY’RE GONE

THE LARAMIE PROJECT

SSCC Theatre

The Story: In October 1998 a twenty-one-year-old student at the University of Wyoming was kidnapped, severely beaten and left to die, tied to a fence in the middle of the prairie outside Laramie, Wyoming. His bloody, bruised and battered body was not discovered until the next day, and he died several days later in an area hospital. His name was Matthew Shepard, and he was the victim of this assault because he was gay.
The Dates: March 2-4, 2012
Tickets and More Information: SSCC Theatre | BTC Listing

…NEW THIS WEEK

Pam McGinnis of Oakwood, Brian Kester of Fairborn & Eric Bracht of Beavercreek rehearse THE BIG PICTURE.

THE BIG PICTURE

Beavercreek Community Theatre

The Story: It’s the summer of 1962, college freshman Billy Carson is spending his first summer home with his mom and best friend. With only a few items to provide clues, Billy sets out with a renewed interest in discovering the father he never knew – B-Movie script writer and war hero, Jack Carson. But when old wounds are opened and new loves are discovered, Billy realizes that coming home is more difficult and ultimately more enlightening than he ever imagined and the sleepy town of Pine Springs, Illinois may never be the same. With script and lyrics by Troy native David Brush and music by Jim Farley of Piqua.
The Dates: March 2-11, 2012
Tickets and More Information: Beavercreek Community Theatre | BTC Listing

BLACKBIRD

The Story: Fifteen years ago, she was twelve and he was forty. Their relationship put him in jail and changed their lives forever. Now she has found him living a different life, under a different name. Will either person ever come to terms with the past? Or will the past consume them both?  Ages 18 and up.
The Dates: March 2-11, 2012
Tickets and More Information: BLACKBIRD blog | BTC Listing

THE DINING ROOM

Stagecrafters

The Story: The play is set in the dining room of a typical well-to-do household, the place where the family assembled daily for breakfast and dinner and for any and all special occasions. The action is comprised of a mosaic of interrelated scenes – some funny, some touching, some rueful – which, taken together, create an in-depth portrait of a vanishing species: the upper-middle-class WASP.
The Dates: March 3-11, 2012
Tickets and More Information: Stagecrafters | BTC Listing

MERRILY WE ROLL ALONG

Cincinnati Playhouse in the Park

The Story: Stephen Sondheim’s remarkable Broadway fable of friendship and the high price of success opens in the present and moves backward in time. The triumphs and failures of a jaded composer and his two closest friends are traced from their estranged ending to their idealistic beginning. Directed by John Doyle, who led Playhouse’s Tony Award-winning production of COMPANY, the performers in this highly anticipated revival will play all of the instruments as they act and sing in one of Sondheim’s most melodic scores. Ages 13 and up.
The Dates: March 3-31, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC Listing

TALLEY & SON

The Drama Workshop

The Story: The time is Independence Day, 1944, the place the parlor of the Talley homestead in Lebanon, Missouri. As World War II rages across the seas, the Talleys are beset with crises of a different sort. Commenting on the action, unseen by the others, is the “ghost” of the second son, Timmy, already a casualty of the Pacific war, although the family has not yet learned of his death.
The Dates: March 2-10, 2012
Tickets and More Information: The Drama Workshop | BTC Listing

Joshua Steele as Ross Gardiner & Mike Moskowitz as Mr. Green in Falcon Theatre's VISITING MR. GREEN.

VISITING MR. GREEN

Falcon Theatre

The Story: After his car narrowly avoids an elderly man wandering into traffic,bright young professional Ross Gardiner has been sentenced to community service;he must visit his almost victim,Mr. Green,once a week for the next six months. Curmudgeonly Mr. Green resists Ross’s help,still overwhelmed with the death of his wife and harboring a deep and painful secret. But Ross has a secret of his own,and together the unlikely companions learn to understand each other and themselves in a humorous and touching story of forgiveness and compassion. This two-man play features real-life grandfather and grandson,  Mike Moskowitz & Joshua Steele
The Dates: March 3-11, 2012
Tickets and More Information: Falcon Theatre | BTC Listing

The First National Tour of WEST SIDE STORY. Photo by Carol Rosegg.

WEST SIDE STORY

Broadway in Cincinnati

The Story: More than fifty years ago one musical changed theater forever. Now it’s back, and mesmerizing audiences once again. From the first note to the final breath, West Side Story soars as the greatest love story of all time. Directed by David Saint, using Tony Award-winning librettist Arthur Laurents’ Broadway direction, West Side Story remains as powerful, poignant and timely as ever. The new Broadway cast album of West Side Story recently won the 2010 Grammy Award for Best Musical Show Album. The Bernstein and Sondheim score is considered to be one of Broadway’s finest and features such classics of the American musical theatre as “Something’s Coming,” “Tonight,” “America,” “I Feel Pretty” and “Somewhere.”
The Dates: Feb. 28-March 11, 2012
Tickets and More Information: Broadway in Cincinnati | BTC Listing

…CONTINUING

Michael Shooner as Man. Photo by Mikki Schaffner.

ST. NICHOLAS

New Edgecliff Theatre

The Story: A burned-out theatre critic becomes infatuated with a young actress. Leaving his wife and children in Dublin to pursue his obsession, things become complicated in London when he finds himself in the employ of a coven of vampires. This wicked and riveting one-man show is sure to captivate audiences. Intended for mature audiences only.
The Dates: Through March 10, 2012
Tickets and More Information: New Edgecliff Theatre | BTC listing | BTC review

Sara Clark as Marianne Dashwood, Giles Davies as Colonel Brandon, Kelly Mengelkoch as Elinor Dashwood & Brent Vimtrup as Edward Ferrars. Photo by Jeanna Vella.

Jane Austen’s SENSE & SENSIBILITY

Cincinnati Shakespeare Company

The Story: When a lack of luck makes for difficult marriage prospects, the Dashwood sisters set sail on the volatile seas of courtship. The sisters soon discover that neither reserved Elinor’s common sense nor impulsive Marianne’s passion offer the key to happiness. Scandalous secrets, burning betrayals, and suave (and some not-so-suave) suitors line the path to true love in this fresh adaptation.
The Dates: Through March 18, 2012
Tickets and More Information: Cincinnati Shakespeare Company | BTC listing

…ENDING THIS WEEK

COLLAPSE

Know Theatre of Cincinnati

The Story: In 2007, the Mississippi River Bridge in Minneapolis collapsed, killing 13 people and injuring another 145. Hannah’s husband David was driving one of the cars that went off the bridge. He is suffering from post-traumatic stress disorder, but refuses to attend a support group. Hannah’s life is falling apart. She can’t get pregnant, she’s one step away from losing her job, and she thinks her husband, who hasn’t been to work for months, may be an alcoholic. COLLAPSE is an uncomfortably funny exploration of the crumbling structures that undergird our bridges, our economy, and our most intimate relationships.
The Dates: Through March 3, 2012
Tickets and More Information: Know Theatre | BTC listing

Chris Blem as The Baker, Victoria Cook as The Witch, Michelle Rombola as the Baker's Wife in CCM's INTO THE WOODS.

INTO THE WOODS

UC CCM Musical Theatre

The Story: Stephen Sondheim’s Tony Award-winning musical follows the journey of a Baker and his Wife on their quest to reverse a curse put on them by the Witch next door, forcing them to face the consequences of their actions. As the fairy tale characters work to fulfill their greatest wishes, they learn a heartwarming moral of the importance of family and community.
The Dates: Through March 4, 2012
Tickets and More Information: UC CCM | BTC listing

RENT

Footlighters, Inc.

The Story: Jonathan Larson’s Pulitzer-prize winning Broadway musical based loosely on Puccini’s opera “La Bohème.” RENT follows a year in the lives of seven friends living the disappearing Bohemian lifestyle in New York’s East Village.
The Dates: Through March 3, 2012
Tickets and More Information: Footlighters | BTC listing

SPEAKING IN TONGUES

Cincinnati Playhouse in the Park

The Story: Love, sex and deceit create the emotional labyrinth in this stylish, noir thriller. This theatrical jigsaw puzzle of parallel stories explores the betrayals of two married couples and the unexpected links among five isolated strangers
The Dates: Through March 4, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC listing

…COMING SOON

THE AFGHAN WOMEN'S WRITING PROJECT presented by Know Theatre of Cincinnati on March 8-11

Know Theatre of Cincinnati

The Dates: March 8-11, 2012
Tickets and More Information: Know Theatre of Cincinnati | BTC listing

COLE

Mariemont Players

The Dates: March 9-25, 2012
Tickets and More Information: Mariemont Players | BTC listing

THE DINING ROOM

Lebanon Theatre Company

The Dates: March 9-18, 2012
Tickets and More Information: Lebanon Theatre Company | BTC listing

THE PRODUCERS

Loveland Stage Company

The Dates: March 9-18, 2012
Tickets and More Information: Loveland Stage Company | BTC listing

STEEL MAGNOLIAS

Covedale Center for the Performing Arts

The Dates: March 8-April 1, 2012
Tickets and More Information: Cincinnati Landmark Productions | BTC listing

 

And The Oscar Goes To…

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A delightful silent film shot in stunning black and white and the moving saga of African-American maids in the Deep South particularly attracted the 6,000 voting members of the Academy of Motion Picture Arts and Sciences who determined nominees for the 84th annual Academy Awards. “Hugo” leads the pack with 11 nominations, but faces stiff competition from “The Artist,” a frontrunner on the verge of a sweep. Equally noteworthy is the best adapted screenplay category which has local ties thanks to “The Ides of March,” co-written by Beau Willimon, George Clooney and Grant Heslov based on Willimon’s fantastic political drama “Farragut North,” the winner of the 2005 Dayton Playhouse FutureFest.
As always, anything is possible when winners will be revealed Sunday, February 26 at the Hollywood and Highland Center in Los Angeles. I’m especially anticipating the overdue return of host Billy Crystal and his signature musical medley of Best Picture nominees. Here are my predictions in the top six categories.

 

BEST PICTURE

“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

Overlooked: “50/50”; “A Better Life”; “Beginners”; “Bridesmaids,”; “The Conspirator”; “Contagion”; “Drive”; “The Girl with the Dragon Tattoo”; “Harry Potter and the Deathly Hallows: Part 2”; “The Ides of March”; “Like Crazy”; ”Margin Call”; “Melancholia”;  “Super 8”; “Tinker, Tailor, Soldier, Spy”; “Warrior”; “Weekend”;“Win Win”

Will Win: “The Artist”
Should Win/Shocker: “The Help”

I’m still a fan of the Academy’s long-standing tradition of placing five nominees here. Bloating the category to nine still feels excessive. At any rate, “The Artist,” an enjoyable French import saluting bygone Hollywood and the magic of movies, is the clear favorite in the minds of prognosticators and art house aficionados. However, it lacks the gravitas traditionally associated with Best Picture recipients and a compelling emotional center. Did anyone watch “The Artist” and feel a sense of connection? In the scheme of things, it’s important not to underestimate “The Help,” an inherently impactful American tale of triumph in the face of adversity, culturally and financially. Tate Taylor’s wonderfully engrossing adaptation of Kathryn Stockett’s best-seller, the only nominee the majority of America has seen, grossed $170 million. It also sparked a national discussion on civil rights and race relations, fueling the film’s thought-provoking significance in the Obama era. Due to its 10 nominations and critical acclaim, “The Artist” will likely become the second silent Best Picture winner in Oscar history, but I’m hoping “The Help” defies the odds to become the first film since 1932’s “Grand Hotel” to win Best Picture without nominations for direction or screenplay.

 

BEST DIRECTOR

Woody Allen, “Midnight in Paris”
Michel Hazavanicious, “The Artist”
Terrence Malik, “The Tree of Life”
Alexander Payne, “The Descendants”
Martin Scorcese, “Hugo”

Overlooked: J.J. Abrams, “Super 8”; Thomas Alfredson, “Tinker, Tailor, Soldier, Spy”; George Clooney, “The Ides of March”; Stephen Daldry, “Extremely Loud & Incredibly Close”; Drake Doremus, “Like Crazy”; David Fincher, “The Girl with the Dragon Tattoo”; Bennett Miller, “Moneyball”; Mike Mills, “Beginners”; Robert Redford, “The Conspirator”; Nicolas Winding Refn, “Drive”; Steven Soderbergh, “Contagion”; Tate Taylor, “The Help”; Lars von Trier, “Melancholia”; Chris Weitz, “A Better Life”; David Yates, “Harry Potter and the Deathly Hallows, Part 2”

Will/Should Win: Hazavanicious
Shocker: Malik

You can never discount Malik, especially when his exquisite yet polarizing “Tree of Life” gained enough support to be nominated for Best Picture over more commercial fare. Scorcese’s contributions are among his finest, but Hazavanicious skillfully resurrected a forgotten genre with intelligence, flair and whimsy.


BEST ACTOR

Demian Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker, Tailor, Soldier, Spy”
Brad Pitt, “Moneyball”

Overlooked: Antonio Banderas, “The Skin I Live In”;  Asa Butterfield, “Hugo”; Dominic Cooper, “The Devil’s Double”; Daniel Craig, “The Girl with the Dragon Tattoo”; Tom Cullen, “Weekend”; Leonardo DiCaprio, “J. Edgar”; Joel Edgerton, “Warrior”; Michael Fassbender, “A Dangerous Method” and “Shame”; Paul Giamatti, “Win Win”; Ryan Gosling, “Drive” and “The Ides of March”; Joseph Gordon-Levitt, “50/50”; Tom Hardy, “Warrior”; Woody Harrelson, “Rampart”; Thomas Horn, “Extremely Loud & Incredibly Close”; Jeremy Irvine, “War Horse”; James McAvoy, “The Conspirator”; Ewan McGregor, “Beginners”; Chris New,
“Weekend”; Michael Shannon, “Take Shelter”; Jim Sturgess, “One Day”; Anton Yelchin, “Like Crazy”

Will/Should Win: Dujardin
Shocker: Bichir

Two months ago Clooney seemed unstoppable in his quest for a second Oscar. But as silent film star George Valentin, the incredibly expressive and charismatic Dujardin, attacking the Oscar campaign trail with a foreign charm not seen since Roberto Begnini (“Life is Beautiful”), including a visit to “Saturday Night Live,” scooped up precursor victories from the Screen Actors Guild and British Academy of Film and Television Arts. Although Clooney and Pitt delivered solid portrayals and the superbly understated Bichir could have a last-minute surge, Dujardin is a safe bet, particularly when his exceptionally detailed, Douglas Fairbanks-inspired performance wholeheartedly carries the believability of his film.

 

BEST ACTRESS

Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl with the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week with Marilyn”

Overlooked: Kirsten Dunst, “Melancholia”; Vera Farmiga, “Higher Ground”; Anne Hathaway, “One Day”; Felicity Jones, “Like Crazy”; Adepero Oduye, “Pariah”; Elizabeth Olsen, “Martha Marcy May Marlene”; Emma Stone, “The Help”; Tilda Swinton, “We Need to Talk About Kevin”; Charlize Theron, “Young Adult”; Mia Wasikowska, “Jane Eyre”; Rachel Weisz, “The Whistleblower”; Kristen Wiig, “Bridesmaids”; Robin Wright, “The Conspirator”

Will/Should Win: Davis
Shocker: Williams

The heated battle between Davis and Streep isn’t necessarily a nail-biter. Davis is in a Best Picture nominee. Davis has never won an Oscar. Davis received a standing ovation at the Screen Actors Guild Awards. Davis is on the brink of becoming only the second African-American to prevail in this category. Two-time winner Streep, whose excellent embodiment of Margaret Thatcher wasn’t enough to salvage her disjointed film, will undoubtedly return here again and again. In fact, she’ll probably be a serious frontrunner in 2014 for “August: Osage County.” It’s simply time for someone else to bask in the Oscar spotlight. Williams, slowly becoming an Oscar darling, could benefit from vote-splitting among her chief rivals, but expect the Academy to follow SAG and rally behind Davis’ phenomenally complex mix of introverted intensity and heartbreaking emotion as Aibileen Clark. If you’re not sure, just reflect upon “The Help’s” dramatic final minutes. Davis’ knockout confrontation with Bryce Dallas Howard (Hilly Holbrook) and tear-jerking farewell opposite Eleanor Henry (Mae Mobley) is the stuff Oscars are made of. Does Streep compare? Not this year.

 

BEST SUPPORTING ACTOR

Kenneth Branaugh, “My Week with Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max von Sydow,” Extremely Loud & Incredibly Close”

Overlooked: Niels Arestrup, “War Horse”; Jim Broadbent, “The Iron Lady”; Albert Brooks, “Drive”; Jesper Christensen, “The Debt”; George Clooney, “The Ides of March”; Robert Forester, “The Descendants”; Paul Giamatti, “The Ides of March”; Armie Hammer, “J. Edgar”; John Hawkes, “Martha Marcy May Marlene”; Philip Seymour Hoffman, “The Ides of March”; Jeremy Irons, “Margin Call”; Ben Kingsley, “Hugo”; Kevin Kline, “The Conspirator”; Hunter McCracken, “The Tree of Life”; Viggo Mortensen, “A Dangerous Method”; Patton Oswalt, “Young Adult”; Brad Pitt, “The Tree of Life”; Christopher Plummer, “The Girl with the Dragon Tattoo”; Alan Rickman, “Harry Potter and the Deathly Hallows, Part 2”; Stellan Skarsgard, “Melancholia”; Andy Serkis, “Rise of the Planet of the Apes”; Kevin Spacey, “Margin Call”; Corey Stoll, “Midnight in Paris”; Burt Young, “Win Win”

Will/Should Win: Plummer
Shocker: Von Sydow

Two 82-year-old veterans rule this race. Plummer, splendid as the terminally ill Hal Fields who joyously comes out of the closet, has swept the precursors, but faces a surprising challenge from the quietly captivating von Sydow as an elderly mute who joins his grandson for a life-changing exploration through New York after 9/11. Nonetheless, Plummer, who should have been nominated for “The Sound of Music,” will finally and deservedly be an Oscar winner.

 

BEST SUPPORTING ACTRESS

Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

Overlooked: Kathy Bates, “Midnight in Paris,”; Sandra Bullock, “Extremely Loud & Incredibly Close”; Jessica Chastain, “The Debt,” “Take Shelter” and “The Tree of Life”; Marion Cotillard, “Midnight in Paris”; Judi Dench, “J. Edgar”; Dagmara Dominczyk, “Higher Ground”; Elle Fanning, “Super 8”; Charlotte Gainsbourg, “Melancholia”; Bryce Dallas Howard, “The Help”; Anjelica Houston, “50/50”;  Allison Janney, “The Help”; Keira Knightley, “A Dangerous Method”; Helen McCrory, “Hugo”; Carey Mulligan, “Drive” and “Shame”;  Vanessa Redgrave, “Coriolanus”; Maya Rudolph, “Bridesmaids”; Amy Ryan, “Win Win”; Sissy Spacek, “The Help”; Marisa Tomei, “The Ides of March”; Cicely Tyson, “The Help”; Emily Watson, “War Horse”; Naomi Watts, “J. Edgar”; Evan Rachel Wood, “The Conspirator” and “The Ides of March”; Shailene Woodley, “The Descendants”

Will/Should Win: Spencer
Shocker: McTeer

This is a terrific slate, particularly the inclusions of breakthrough talent Chastain and the strikingly transformative McTeer. Still, Spencer’s marvelous Minny Jackson was a luminously earthy, comedic and dramatic force to be reckoned with. Hopefully she will make Oscar history by joining Davis to become the first African-American duo to take leading and supporting honors. Davis and Spencer’s probable acceptance speeches could be very powerful so you might want to keep some tissues handy.

 

The 84th annual Academy Awards, hosted by Billy Crystal, will be telecast live on ABC Sunday, February 26 at 8:30 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, The Little Art Theatre, 247 Xenia Ave. in Yellow Springs, and FilmDayton will host Oscar parties Sunday evening. For information about the Neon’s festivities, call (937) 222-7469 or visit www.neonmovies.com. For Little Art inquiries, call (937) 767-7671 or visit www.littleart.com. For FilmDayton’s festivities, which will be held at Geez Grill and Pub, visit www.filmdayton.com

 

PINA is visceral tour de force must see film for everyone

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Having reviewed dance in Dayton for DMM for the last season and a half I have always talked about my love and passion for all things related to dance. This passion has driven me literally to commute to Columbus for three years for a Masters Degree in dance. I have sacrificed my paycheck to send a needy student away to a summer dance program to give them a chance. I am willing to get up at the crack of dawn to read dance articles and watch YouTube clips of companies from around the world. I have drawn the ire from some people in this community because of my honest and less than salutatory reviews of our local dance companies. It is obvious my passion is deep and resolute.

After seeing Pina I feel the sacrifice and passion are vindicated. This was more than a film about dance it was a visceral journey to a world that we so rarely get to see and inhabit. It is a world in which the singularity of Pina’s vision as an art maker (choreographer is just too limiting of a term) is brilliantly mapped out by the legendary filmmaker Wim Wenders with such loving and passionate detail. It is fascinating hearing her dancers speak about their lives with her, the company is still in existence and performing her work even though she passed away in 2009. They tell us how she did not need to over explain her process, that they [the dancers] will get it. You will get it to as a audience. Seeing that their commitment has an almost quasi-religious fervor, that they are missionaries for the high priestess that was and is Pina Bausch, was inspiring.

But what stood out to me the most was the assemblage of her stage works for the film. The carefully chosen locations for outside performances, which were juxtaposed against the staged works was fluid. It made you feel as a viewer that the level she is operating at as an art maker transcends the confines of mere mortal comprehension and limitations of the proscenium stage. This is heady stuff but it is also rooted in the emotive and spiritual realm that only a genius can tap into for artistic inspiration. We have to acknowledge in a world were everyone thinks they are special and worthy, that we are not, when faced with the staggering creative abilities of Pina Bausch. It is humbling. I couldn’t breathe after seeing this film. I ran through a gambit of emotions just walking to my car, culminating in tears.

I have said in several reviews and speaking at the last installment of Pecha Kucha that the Dayton Arts community needs to step it up. I have been very critical of the arts patrons for not educating themselves about the world outside the bubble of Dayton. Here is a golden opportunity if you are willing to take the journey. Jonathan and the crew at the Neon Movies have provided us with a venue to view brilliance. There are no more excuses.

After seeing this masterpiece (which I am planning to see again at least two more times), I am even more committed to this crusade for “quality” being the lynch pin of the art viewing experience in our community. So dance community of Dayton, I am serving notice. In the immortal words of Bette Davis, “Fasten your seatbelts, it’s going to be a bumpy night!” This film is here for a limited one-week engagement if you miss it, shame on you. This is the level we should all be striving for as art makers and patrons. It took a movie to give me the visceral dance experience that I have desperately wanted to see on our local stages.

Straighten Up and Fly Right

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The world premiere of “Tenderly: The Rosemary Clooney Musical” reveals a tunefully appealing dose of nostalgia in search of a shaper narrative.
Written by Cincinnati-based composers Janet Yates Vogt and Mark Friedman (“Green Gables”) and produced by the Human Race Theatre Company at the Victoria Theatre, “Tenderly” tolerably tackles the triumphs and pitfalls that framed the career of the legendary singer-actress from Maysville, Kentucky. Widely known for the cheeky hit “Come On-A My House” (among 15 songs featured in this one-act), Rosemary rose to fame in the 1954 film “White Christmas” and several TV variety shows of the era, but her rocky upbringing (she regarded her grandmother’s house as home), relationship woes (she married and divorced Tony and Oscar winner Jose Ferrer twice, a union which produced five children) and personal destruction (pill addiction) are the key compelling factors attempting to propel this project past mere jukebox musical thrills.
Vogt and Freidman introduce Rosemary at age 40 in 1968, a month after she heard the shots which killed Bobby Kennedy at the Ambassador Hotel in Los Angeles. While performing at a Reno, Nevada club she had a nervous breakdown which led to her hospitalization and eight years of psychoanalysis therapy. Oddly, Vogt and Freidman’s decision to begin the show with Rosemary’s frazzled, mean-spirited breakdown (which occurs while she happily sings “Come On-A My House”) produces one of the most jarring, disconcerting openings I have seen. I don’t doubt the moment’s authenticity, but it cruelly pulls the rug out from under the audience when the musical’s tone is freshly gestating. In addition to a revamped opening, the material would be better served as a one-woman outing. Rosemary’s amiable doctor doubles as various individuals in her life, but it’s an occasionally distracting, needlessly cutesy device that hinders her thoughts being front and center. I’m instantly reminded of how well the Human Race’s 2009 production of “Ethel Waters: His Eye is on the Sparrow” flowed as Ethel’s experiences vividly resonated with greater depth in her own words.
Despite navigating through conceptual shortcomings and appearing roughly 10 years too young, Muse Machine alumna Tory Ross (Broadway’s “9 to 5: The Musical” and “Cry-Baby”) wonderfully excels as Rosemary. Delicately guided by director Kevin Moore and admirably supported by Scott Stoney, the vibrant, funny Ross warmly embraces Rosemary’s lighthearted persona and grows believably tortured as her downward spiral and resentment of success takes shape. Most importantly, she delivers terrific vocals. Instead of outright impersonation, Ross astutely adopts the legend’s familiar phrasing and lyric-driven flair, particularly delivering marvelous renditions of “When October Goes,” “Hey There,” “Mambo Italiano,” “Slow Boat to China,” “Count Your Blessing Instead of Sheep” (beautifully lit by John Rensel in a soft pink hue), and the gorgeously lush title tune. The final numbers, “What Are You Doing the Rest of Your Life?” and “From This Moment On,” are given upbeat jazz treatments, expertly performed by music director Scot Woolley’s orchestra, perfectly evoking Rosemary’s breezy technique.
“Tenderly” hasn’t reached its potential, but hearing Ross execute some of the timeless standards in the Great American Songbook is a significant plus.
“Tenderly: The Rosemary Clooney Musical” continues through March 4 at the Victoria Theatre, 138 N. Main St. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 90 minutes without intermission. Tickets are $40-$83. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Dayton Art Institute Announces 2012 Vectren Jazz & Beyond Series

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Fareed Haque

The Dayton Art Institute has long been a home for jazz in the Miami Valley with the Vectren Just Jazz series performances taking place on the first Thursday of March – November (save for July when they take a month off).  This year the series is being renamed the Vectren Jazz & Beyond Series and will feature performances from some established favorites as well as some newer artists.  All performances are 5:30-830pm in the Dayton Art Institute’s Shaw Gothic Cloister. Admission is free for museum members or $8 for non-members.

The 2012 Vectren Jazz & Beyond Season Lineup:

March 1: Fareed Haque Trio
April 5: Kick-N-Flava
May 3: Chicago Afrobeat Project
June 7: Soul Express
August 2: Dayton Jazz Orchestra
September 6: Rob Dixon Quartet
October 4: MathGames!
November 8: Puzzle of Light

DPO presents Queen: A Rock and Symphonic Spectacular (Ticket Contest)

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(see ticket give-away details below)
So, you want to start a rock band? The four of you’ve got piano, drums, bass, and lead guitar covered. And you all do vocals…well. All you need is a name. Let’s see…how ‘bout Smile? Yeah, that’s it, Smile. That’s a name that will echo down the corridors of time and everyone will know and remember. Smile.

Sounds a bit on the weird side, eh? Who in their right mind would ever name a rock band Smile?

Guitarist Brian May and drummer Roger Taylor, that’s who. Names sound familiar? They should, and they are because of a fan of theirs, a pianist by the name of Farrokh Bulsara. Brian and Roger played in a band called – wait for it – Smile.

Farrokh was certainly no dummy. He joined the band, and his first order of business was to change its name…and his. Taking his inspiration from the line “Mother Mercury, look what they’ve done to me” in the song My Fairy King, he renamed himself Freddie Mercury. And he came up with a new name for the band, one he thought “…very regal obviously, and it sounds splendid. It’s a strong name, very universal and immediate.” The name? Queen.

And history proved the band to be everything Freddie felt its name implied.

As music lovers, we tend to make things easy on ourselves and pigeonhole our favorite performers into narrow, easily defined categories. That is one thing no one will ever be able to do with Queen.

Follow the band’s musical progression.

When Queen formed in London in 1971 (John Deacon, replacing Smile bassist Tim Staffell, joined Freddie, Brian, and Roger), it began performing tunes influenced by progressive rock, but the band steadily moved forward into more predictable and marketable songs, adding more diversity and inventive styles into its music.

In 1973 the group launched its debut album named (what else?) Queen, influenced by heavy metal and progressive rock. With 1974 came Queen II (clever titling, what?), that featured lengthy, complicated sections, a fantasy-theme to some lyrics, instrumental genius, and The March of the Black Queen, a six-minute-long marathon with no song structure or chorus.

The members were becoming musicians.

Ragtime, heavy metal, ballads, British music hall, and Caribbean music all found their way into the group’s 1974 Sheer Heart Attack album. Testing the water with these diverse genres, Queen began to move away from its progressive roots toward a more airplay-friendly style. And the cut Killer Queen became the group’s breakthrough hit, rising to number two in the UK and number 12 in the United States.

In 1975 A Night at the Opera carried on the musical experimentation Sheer Heart Attack had begun. One of Freddie Mercury’s compositions even featured a harp and vocal harmonies dubbed over. Another song, Bohemian Rhapsody, became the only single ever to sell a million copies…twice, prompting the group to produce a video to go with the single. A video some have touted to have been the first “true” music video ever produced.

1976 saw Queen recording A Day at the Races; inspired by gospel, the album’s big hit Somebody to Love featured Mercury, May, and Taylor singing on multiple tracks to create the sonic illusion of a 100-voice gospel choir.

The 1977 studio album News of the World featured songs written for live performance, including We Will Rock You and We Are the Champions. Doubtless the group couldn’t foresee these two cuts becoming lasting international sports anthems.

1978’s Jazz included the hit singles Fat Bottomed Girls. Another notable track from Jazz, Don’t Stop Me Now, provides another example of the band’s energetic vocal harmonies.

In 1984 The Works featured the successful single Radio Ga Ga, not to be confused with, well, you know…

1986’s A Kind of Magic included another musical breakthrough; Who Wants to Live Forever? featured an orchestra conducted by Michael Kamen.

Music of Queen

Queen released The Miracle in 1989, which used a pop-rock sound mixed with a few heavy numbers and produced the hit I Want It All.

In 1991, Mercury died of bronchopneumonia, a complication of AIDS, and Deacon retired in 1997. For the last two albums made while Mercury was still alive, the band credited all songs to Queen, rather than specific members of the group, freeing them of internal conflict and differences.

On Saturday, March 10 in the Schuster Center at 3pm and 8pm, ­as part of their Rockin’ Orchestra Series, Assistant Conductor Patrick Rey­nolds and the Dayton Philharmonic Orchestra present Queen: A Rock and Symphonic Spectacular. With guest artists Music of Queen, a full rock band and stars from the London West End smash hit musical We Will Rock You, the DPO and over 70 performers on stage will perform all of Queen’s classic hits, including the hit singles I mentioned previously.

And keep the hit-making trail Freddie and the boys started blazing 40 years ago alive.

And hotter than ever.

See more details at the Dayton Philharmonic Website

Ticket Contest

The anticipation for this show was so high that the 3/10 8pm show was SOLD OUT!  So, DPO just added a matinee show for 3pm on 3/10… and we have ticket pairs for that show to give away!  Starting on Wednesday February 29th, we’ll announce one random winner every day for the following 7 days!  All you have to do isthis article and share with your FB friends, and then comment below and name your favorite Queen song.  Good luck!

UPDATE:

And… Congratulations to our winners – enjoy the show!

Heather Chandler
Jennifer Larew
Brian Kesson
Gina Kay Landis
Dan Forshaw
Jamie Werling
Mike Reitz

“Pina” A must see film for lovers of dance and film!

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It is not very often that I get to write about dance presented in a different medium. But a film like Pina is an exception worthy of all of the attention and buzz. This incredible documentary is of the works of Pina Bausch, one the most stunningly original artistic voices of our lifetime. Ms. Bausch agreed to work with the brilliant film director Wim Wenders, who was inspired to create the film after seeing a performance of her company Tanztheater Wuppertal Pina Bausch. Filmed in 3-D and 2-D, this is a dazzling treat no matter the cinematic format. In the film, you will get the opportunity to see her work as presented on the stage and also re-staged for non traditional spaces, including the outdoors. The visceral nature of her work was ripe for this cinematic love poem. Her singular vision is something to behold. Do not be surprised if you encounter all of the dancers from our community in the audience. They are delirious with excitement to experience this film. I can think of no better endorsement.

[yframe url=’http://www.youtube.com/watch?v=CNuQVS7q7-A’]

To learn more about the company and Pina Bausch go to:

http://www.pina-bausch.de/en/index.php

Pina is currently in the running for a Best Documentary Oscar at the 84th Annual Academy Awards being presented this Sunday. And honestly when can you say you have seen one of the oscar nominated films in this category?

PINA opens Feb. 24 at the Neon Movies and showtimes are below:
Fri, Sat, Sun (Feb 24-26)
2:45, 5:00, 7:20, 9:30

PINA Starts Friday + New Oscar Party News!

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Hello Everyone,

We think that ALBERT NOBBS still has a little business in it, but we really need to get moving.  Therefore, we will hold ALBERT for one screening a day through Sunday…but Sunday will be the film’s last day.  Now that we’re exclusive on THE ARTIST, our ticket sales flew back up this weekend…so we’re going to continue hodling it steady.  On Friday, we open one of my absolute favorite films of the past few years – PINA.  PINA is stunning and lovely, and it’s also Oscar-nominated.  We hope you’ll hurry to see it before our Oscar Party on Sunday night.  (PINA will be presented at THE NEON via traditional 35mm, 2D projection.)

Synopsis for PINA: “In his exhilarating new film, German master Wim Wenders (WINGS OF DESIRE, THE BUENA VISTA SOCIAL CLUB) captures the brilliantly inventive dance world of legendary choreographer Pina Bausch. Wenders had conceived with Bausch a dance film like none seen before, one which would put the viewer deep inside Bausch’s playful, thrillingly unpredictable pieces. After her untimely death in 2009, Wenders continued with the project, turning it into the most exciting tribute he could imagine. Sensual and visually stunning, PINA takes the audience into Bausch’s work in her imaginative sets (a gliding monorail, a bare stage covered with chairs, a towering man-made waterfall) and powerfully rendering the beauty and sheer physicality of the dances and dancers of her Tanztheater Wuppertal ensemble.”  (Taken from Sundance Selects)

[yframe url=’http://www.youtube.com/watch?v=CNuQVS7q7-A’]

On Saturday, The Junior Leaguers Club, Inc. will host a benefit screening of THUNDER SOUL.  “THUNDER SOUL follows the extraordinary alumni from Houston’s storied Kashmere High School Stage Band, who return home after 35 years to play a tribute concert for the 92-year-old “Prof,” their beloved band leader who broke the color barrier and transformed the school’s struggling jazz band into a world-class funk powerhouse in the early 1970s.” (taken from press notes)  Adult tickets (which include a glass of wine as well as soda & popcorn) are $30 each.  Student tickets (which include soda and popcorn) are $15 each.  For more information, please call (937)219-7501.  Proceeds from this event will go to The Junior Leaguers Scholarship Fund.  To check out more about THUNDER SOUL, visit the official site.

In regards to the Oscars, we’re getting set for our annual party this Sunday!  Once again, our friends at ThinkTV will help us to get a strong signal for the broadcast, and our friends at Square One Salon & Spa will give us a nice gift basket for our grand prize.  In addition, we’ll be giving out dvds, screenplays and soundtracks throughout the evening for randomly drawn correct guesses.  You must be present to win any prizes, and seating will begin at approximately 7pm – admission is FREE!  Ballots are already available in our lobby.  Here’s the new twist:  At any time on Sunday, you can personally drop off your ballot at THE NEON (you can’t drop off ballots for numerous people – only one per person).  Your ballot will be numbered in the order in which it is collected (ON SUNDAY).  When we begin seating at approximately 7:00pm, we will begin seating in numerical order.

Green Earth Outdoors has rented our space for a special screening of GREEN FIRE on Thursday, March 1 at 7:30.  “GREEN FIRE explores the life and legacy of famed conservationist Aldo Leopold and the many ways his land ethic philosophy lives on in the work of people and organizations all over the country today. The film shares highlights from Leopold’s life and extraordinary career, explaining how he shaped conservation and the modern environmental movement. It also illustrates Leopold’s continuing influence, exploring current projects that connect people and land at the local level.  Green Fire proceeds will support Five Rivers MetroParks ‘Leaf’ a Legacy Reforestation program that aids in the protection of native trees and local forest ecosystems damaged by non-native invasive species.”  (description taken from press release)  Tickets are $5 each and are currently available on the official site or by calling (502)558-8970.  Remaining tickets will be available at THE NEON’s box office on the night of the event.

Last week, I announced that we would start selling biscotti again at THE NEON – this time from a local baker, Thistle Confections by Hilary.  I’m now pleased to announce that customers are loving it!  We ordered twice as much this week, so we hope you’ll keep ordering it!

For remaining showtimes for this week, please visit www.neonmovies.com.

Thanks for your continued support.

We hope to see you soon,

Jonathan

P.S.  We now have TWITTER.  If you use this application, we hope you’ll follow us @neonmovies

 

SHOWTIMES for Fri. February 24 – Thur. March 1:

ALBERT NOBBS (R) 1 Hrs 53 Min

Friday, Saturday, Sunday:  12:20

PINA (PG) 1 Hr 43 Min

Friday, Saturday, Sunday: 2:45, 5:00, 7:20, 9:30

Mon – Thur: 2:45, 5:00, 7:20 

THE ARTIST (PG-13) 1 Hr 40 Min

Friday: 12:40, 2:50, 5:10, 7:30, 9:30

Saturday: 2:50, 5:10, 7:30, 9:30

Sunday: 12:40, 2:50, 5:10

Monday – Wednesday: 2:50, 5:10, 7:30

Thursday: 2:50, 5:10

COMING SOON:

As always, all dates are tentative.  Many of these dates will change.

In some rare cases, titles may disappear.

TBD   THE HEDGEHOG 

TBD   SHAME

TBD   PARIAH 

March 9   A SEPARATION 

March 23   IN DARKNESS

March ?   WE NEED TO TALK ABOUT KEVIN

April ?  FOOTNOTE

Coming up in Dayton Theatre: Feb. 22-26

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Hey, Dayton Most Metro readers. My name is Sarah and I’m new here, but I’m totally jazzed to be joining Russell Florence, Jr., Shane Anderson and Rob Bucher in reporting all about the theatre happenings in our fair burg! I’ll be leaving reviews and all that good stuff up to the wonderful Mr. F, and I’ll concentrate mostly on bringing you news and updates on what’s coming up and what’s going down. I’ve been around theatre in Dayton for a good while, so hopefully what I’ve got to say will be useful and entertaining. With that out of the way, I bring you my first update:

…NEW THIS WEEK

Tenderly: The Rosemary Clooney Musical

The Victoria Theatre Association / Human Race Theatre Company

The Story:   The Victoria Theatre Association’s Premier Health Partners Broadway Series presents the world premier of Tenderly: The Rosemary Clooney Musical. Produced by the Human Race Theatre Company, this engaging new musical features beloved and classic songs as it follows the highs and lows of the career and personal life of this legendary singer.
Tenderly.

Dates:  February 21st and runs through March 4th, with performances at 8 pm Tuesday to Friday, Saturday at 2 pm and 8 pm and Sunday at 2:00 pm and 7:30.

Tickets and More Information: Victoria Theatre Association | On Stage Dayton Preview | On Stage Dayton Review

 

Children of Eden

Playhouse South

The Story: Don’t want to wait til May for your Stephen Schwartz fix? Don’t worry! Playhouse South will be producing the stirring and entertaining musical Children Of Eden starting February 24th and running through March 10th. Act I of this Old-Testament treat introduces us to Father, Adam, Eve and a chorus of Story-Tellers, while Act II spins the tale of Noah, his family and their ark. Familiar themes made fresh again.

Dates: February 24th – March 10th

Tickets and More Information:  Playhouse South Website

 

…CONTINUING

Almost, Maine

Sinclair Community College

The Story: Like finding a leftover piece of Valentine’s Day candy a week later, Sinclair keeps the love alive by bringing Almost, Maine to the Blair Hall stage. This series of vignettes about love and life are set in the fictional town of Almost, Maine, where the aurora borealis sheds its ethereal light over hearts that are broken and, maybe, mended.

Dates: February 24th – March 3rd

Tickets and More Information: Sinclair Website

 

…COMING SOON

Wicked

Victoria Theatre Association

The Story:  Having finished the hugely successful run of Jersey Boys, The Schuster Center stage will be dark (for theatre performances at any rate) for a little while as they await the triumphant return of Stephen Schwartz’s mega-blockbuster musical Wicked which storms back into Dayton on May 30th. If you’re interested, mark your calendars that tickets will go on sale May 19th, and are bound to sell quickly once again.

Dates: May 30 – June 24 (Tickets will go on sale May 19th)

Tickets and More Information: Victoria Theatre Association Website

Gem Of The Ocean

The Human Race Theatre Company

The Story: Next up on the Loft Theatre stage is August Wilson’s Gem Of The Ocean. Each of the 10 plays in Wilson’s renowned “Pittsburgh Cycle” takes place in a different decade in an urban, African American neighborhood. Gem Of The Ocean, set in 1904, is first chronologically despite having been one of the last pieces Wilson wrote. Gem opens March 29th and runs through April 15th and features several well-known Dayton-based actors including Human Race Theatre Company Resident Artists Alan Bomar Jones and Scott Stoney.

Dates: March 29th – April 15th

Tickets and More Information: Human Race Theatre Company Website

 

Bus Stop

The Dayton Playhouse

The Story: A small, Midwestern town in the grips of a snowstorm is the unassuming setting for Dayton Playhouse’s next offering, the gripping Bus Stop by William Inge. A group of strangers stranded by the storm prove that a lot can happen in just one night. Bus Stop opens Friday, March 16th and runs two weekends, closing Sunday, March 25th.

Dates: March 16 – March 25

Tickets and More Information: Dayton Playhouse Website

Incidentally, The Dayton Playhouse just closed the crowd-pleasing musical comedy Nunsense, but isn’t quite done with singing Sisters yet this season. Auditions for the (rightly) classic musical The Sound of Music will be held on Monday and Tuesday, February at 27th and 28th at 7 pm. Those auditioning should prepare a song (an accompanist will be provided) and will be asked to read from the script.

 

The Big Picture

Beavercreek Community Theatre

The Story: BCT is hard at work preparing another world premier, this one of an original musical from Dayton-area writers David Brush and Jim Farley. The Big Picture takes us back to the summer of 1962 in Pine Springs, Illinois, where a college freshman learns that coming home is never as simple as you think it will be.

Dates: March 2 – March 11

Tickets and More Information:  Beavercreek Community Theatre Website

 

Urinetown

University Of Dayton

A city in the grips of a devastating, decades-long water crises that forces the government to impose bans on that most private of experiences, our bathroom time? Sounds dramatic, no? No! As you’ll learn when UD brings us Urinetown, a truly delightful piece of musical theatre about what happens to this city and its citizens. When water is at a premium, a lot of dirty laundry can get aired.

Dates: March 21 – March 30

Tickets and More Information: UD Theatre Program Website

 

 

That about wraps it up for now – mark your calendars for all this great stuff and feel free to comment here if I forgot something or shafted your favorite theatre!

Coming Up in Cincinnati Theatre: Feb. 20-26

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…BLINK AND THEY’RE GONE

FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF

Miami University

The Story: The lives of seven women are rolled into one expressive voice in this unique and triumphant tale. From the agony of self-awareness to overcoming love loss, these women search for self through music, dance, laughter and pain. This highly acclaimed, award–winning play promises to excite, inspire, and transform the spirit.
Dates: Feb. 22-26, 2012
Tickets and More Information: Miami University | BTC listing

GOOD BOYS AND TRUE

Mad Anthony Theatre Company

The Story: The privileged life of a brilliant, athletic, popular and charming prep-school senior threatens to collapse when a disturbing videotape is found on campus. As the resulting scandal takes unexpected turns, his mother must sort fact from fiction and confront unsettling truths about her son, herself and their life. Contains adult themes and language.
Dates: Feb. 22-26, 2012
Tickets and More Information: Mad Anthony Theatre Company| BTC listing

DOG SEES GOD: Confessions of a Teenage Blockhead

Xavier University Players

The Story: CB begins to question the existence of an afterlife when his dog dies from rabies. His best friend is a burn-out; his sister has gone goth; his ex-girlfriend has recently been institutionalized; and his other friends are too inebriated to give him any sort of solace. Rated R.
Dates: Feb. 23-26, 2012
Tickets and More Information: Xavier Univeristy Players | BTC listing

A COUPLE OF BLAGUARDS

Irish American Theater Company

The Story: Follows the trials of the young McCourts in poverty-stricken Limerick, Ireland, to their journey to the U.S. and Brooklyn, New York, where the young men learn to incorporate the day-to-day lessons of their hard Irish past.
The Dates: Feb. 24-26, 2012
Tickets and More Information: Irish American Theater Company | BTC listing

…NEW THIS WEEK

Chris Blem as The Baker, Victoria Cook as The Witch, Michelle Rombola as the Baker's Wife in CCM's INTO THE WOODS.

INTO THE WOODS

UC CCM Musical Theatre

The Story: Stephen Sondheim’s Tony Award-winning musical follows the journey of a Baker and his Wife on their quest to reverse a curse put on them by the Witch next door, forcing them to face the consequences of their actions. As the fairy tale characters work to fulfill their greatest wishes, they learn a heartwarming moral of the importance of family and community.
The Dates: Feb. 23-March 4, 2012
Tickets and More Information: UC CCM | BTC listing

ST. NICHOLAS

New Edgecliff Theatre

The Story: A burned-out theatre critic becomes infatuated with a young actress. Leaving his wife and children in Dublin to pursue his obsession, things become complicated in London when he finds himself in the employ of a coven of vampires.
The Dates: Feb. 23-March 10, 2012
Tickets and More Information: New Edgecliff Theatre | BTC listing

…CONTINUING

COLLAPSE

Know Theatre of Cincinnati

The Story: In 2007, the Mississippi River Bridge in Minneapolis collapsed, killing 13 people and injuring another 145. Hannah’s husband David was driving one of the cars that went off the bridge. He is suffering from post-traumatic stress disorder, but refuses to attend a support group. Hannah’s life is falling apart. She can’t get pregnant, she’s one step away from losing her job, and she thinks her husband, who hasn’t been to work for months, may be an alcoholic. COLLAPSE is an uncomfortably funny exploration of the crumbling structures that undergird our bridges, our economy, and our most intimate relationships.
The Dates: Through March 3, 2012
Tickets and More Information: Know Theatre | BTC listing

RENT

Footlighters, Inc.

The Story: Jonathan Larson’s Pulitzer-prize winning Broadway musical based loosely on Puccini’s opera “La Bohème.” RENT follows a year in the lives of seven friends living the disappearing Bohemian lifestyle in New York’s East Village.
The Dates: Through March 3, 2012
Tickets and More Information: Footlighters | BTC listing

Sara Clark as Marianne Dashwood, Giles Davies as Colonel Brandon, Kelly Mengelkoch as Elinor Dashwood & Brent Vimtrup as Edward Ferrars. Photo by Jeanna Vella.

Jane Austen’s SENSE & SENSIBILITY

Cincinnati Shakespeare Company

The Story: When a lack of luck makes for difficult marriage prospects, the Dashwood sisters set sail on the volatile seas of courtship. The sisters soon discover that neither reserved Elinor’s common sense nor impulsive Marianne’s passion offer the key to happiness. Scandalous secrets, burning betrayals, and suave (and some not-so-suave) suitors line the path to true love in this fresh adaptation.
The Dates: Feb. 17-March 18, 2012
Tickets and More Information: Cincinnati Shakespeare Company | BTC listing

Bruce Cromer as Pete & R. Ward Duffy as Leon in PIP's SPEAKING IN TONGUES. Photo by Sandy Underwood.

SPEAKING IN TONGUES

Cincinnati Playhouse in the Park

The Story: Love, sex and deceit create the emotional labyrinth in this stylish, noir thriller. This theatrical jigsaw puzzle of parallel stories explores the betrayals of two married couples and the unexpected links among five isolated strangers
The Dates: Through March 4, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC listing

…ENDING THIS WEEK

The cast of Falcon Theatre's THE 39 STEPS. Donnie McGovern, Dan Doerger, Mike Hall & Elizabeth Molloy.

THE 39 STEPS

Falcon Theatre

The Story: What do you get when you combine the genius of Alfred Hitchcock,the zany humor or Monty Python and the boundless energy of four incredibly versatile actors? You get one hysterical parody of all the great Hitchcock film thrillers.
The Dates: through Feb. 25, 2012
Tickets and More Information: Falcon Theatre | BTC listing

ADAPTATION and NEXT

Oxford Area Community Theater (OxACT)

The Story: An evening of two one-act plays. ADAPTATION is a contest in which players advance through the seven ages of man. The play creates a picture of man from birth until death, with all its madness, familiarity, and nonsense. NEXT is set in an Army Induction Center, where an overweight, overage and overwrought draftee has reluctantly reported for his physical after being mistakenly called by the draft. A battleof-wits is waged between Marion Cheever, determined to avoid military service, and the career officer, just as determined to sign him up.
Dates: Through Feb. 26, 2012
Tickets and More Information: OxACT | BTC listing

COME BACK TO THE 5 AND DIME JIMMY DEAN JIMMY DEAN

Village Players

The Story: In a small town store in West Texas, the Disciples of James Dean gather for their 20th reunion. Now middle aged women, they were teenagers when Dean filmed Giant two decades ago. One of them has a child whom she says was conceived by Dean on the set. The ladies’ reminiscences mingle with flash backs to their youth
The Dates: Through Feb. 17-25, 2012
Tickets and More Information: Village Players | BTC listing

Buz Davis as Gus, Rachael Christianson as Valentine, Micheal Bath as Lubbock, Adam Marzheuser as Alex & Reggie Willis as Mr. Barcroft in The Clifton Players' DISGRUNTLED EMPLOYEES.

DISGRUNTLED EMPLOYEES

The Clifton Players

The Story: A comedy set in a single branch of the United States Postal Service along “Tornado Alley” in Oklahoma. These characters are the sorters, handlers of each letter, parcel, and package on route to its destination. It is an endless task. It takes guts, determination and SELF DELUSION. The moment leaves you wondering who could go “postal” first.
The Dates: Through Feb. 26, 2012
Tickets and More Information: Clifton Performance Theatre | BTC listing

THE DIXIE SWIM CLUB

Sunset Players

The Story: Five Southern women, whose friendships began 33 years ago on their college swim team, set aside a long weekend every August to recharge their relationships. Free from husbands, kids and jobs, they meet at the same beach cottage on North Carolina’s Outer Banks to catch up, laugh and meddle in each other’s lives.
The Dates: Through Feb. 25, 2012
Tickets and More Information: Sunset Players | BTC listing

Lauren Hayes, Zak Schneider, Chandler Taylor Wesley Carman, Katharine Moser and Jordan K. Pruitt in NKU's THE FARNSWORTH INVENTION. Photo by Mikki Schaffner.

THE FARNSWORTH INVENTION

Northern Kentucky University

The Story: Philo Farnsworth, a boy genius from Rigby, Idaho who, at age 22, invented television only to become involved in an all-or-nothing legal battle with David Sarnoff, the young president of RCA and America‘s first communications mogul. In this classic tale of little guy versus the corporate machine, Farnsworth not only fights for his rights but for his slice of the American Dream.
The Dates: Feb. 16-26, 2012
Tickets and More Information: Northern Kentucky University | BTC listing

THE ODD COUPLE (Female Version)

Fairfield Footlighters

The Story: Neat-nick and soon-to-be-divorced Florence Unger moves in with her housekeeping-challenged friend Olive Madison in Neil Simon’s feminine take on his classic play.
The Dates: Through Feb. 26, 2012
Tickets and More Information: Fairfield Footlighters | BTC listing

…COMING SOON

THE BIG PICTURE

Beavercreek Community Theatre

The Dates: March 2-11, 2012
Tickets and More Information: Beavercreek Community Theatre | BTC listing

BLACKBIRD

The Dates: March 2-11
Tickets and More Information: Official page | BTC listing

BLITHE SPIRIT

Troy Civic Theatre

The Dates: March 2-10, 2012
Tickets and More Information: Troy Civic Theatre | BTC listing

THE DINING ROOM

Stagecrafters

The Dates: March 3-11, 2012
Tickets and More Information: Stagecrafters | BTC listing

THE LARAMIE PROJECT

SSCC Theatre

The Dates: March 2-4, 2012
Tickets and More Information: SSCC Theatre | BTC listing

MERRILY WE ROLL ALONG

Cincinnati Playhouse in the Park

The Dates: March 3-31, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC listing

TALLEY & SON

The Drama Workshop

The Dates: March 2-10, 2012
Tickets and More Information: The Drama Workshop | BTC listing

VISITING MR. GREEN

Falcon Theatre

The Dates: March 3-11, 2012
Tickets and More Information: Falcon Theatre | BTC listing

WEST SIDE STORY

Broadway in Cincinnati

The Dates: Feb. 28-March 11, 2012
Tickets and More Information: Broadway in Cincinnati | BTC listing

Balance Brings Surprises At DCDC Concert

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“Familiar Crossings” the latest offering from The Dayton Contemporary Dance Company brought together works from the African-American choreographic legend Donald McKayle, contemporary master Ronald K. Brown, to the up and coming choreographic voice of Robert Priore and the Artistic Director Debbie Blunden Diggs. As the concert was structured or “programmed” this allowed for a viewing experience that was much more balanced artistically and contextually than their previous outing.

I believe that this balance, or mixture of older repertory works and newer works in the life of any dance company, depends on the commitment to the “ why” of presenting the historically significant choreographic works. In the case of The Donald McKayle’s masterpiece Rainbow ‘Round my Shoulder would have significantly benefited from the consideration of this essential question. Many dance companies struggle in dealing with this responsibility. New York City Ballet and Alvin Ailey are two organizations that deal with the weight and burden of said responsibility of performing iconic historical works of revered dance titans. The difficulty often lies in the lack of context for the audience of the importance and significance that it might possess. So the burden falls on the artist to present the work as potent and fully measured as possible.

Rainbow ‘Round My Shoulder was first premiered in 1959, a time period in America’s cultural history in which the depiction of the deeply rich source material of African American life was not always being represented on our artistic stages. The chain- gang imagery of incarcerated black men is a powerful image that served its intended purpose to expose and generate a dialogue on race relations. As I was watching the work I immediately thought of an exhibition of James Pates visual art that is being presented at Bing Davis’s Ebonia Gallery (Check it out if you can), a powerful tour de force collection that conjures up these similar questions of identity and representation.

Donald McKayle

The opening imagery of the five men linked hand in hand speaks to the invisible bind that connects all of us as human beings. It is meant to jolt us and transport us to an unfamiliar cultural and psychological landscape. While this performance did not initially possess that power, it grew to possess it by the end. While the men performing possessed an impressive physicality. I felt as if something was missing on a spiritual/psychological level that this piece inherently possesses and requires. The literal primal cries of incarceration/ entrapment still provoked a response, which speaks to the artistic mastery of Donald McKayle’s choreography.

Os Padröes (Portuguese for “The Standards”), a quirky –pop fizzy, Pan-African, world mélange of music and imagery inspired by the works of Willis ”Bing” Davis, was an absolute delight. While I am not familiar with his previous work, Robert Priore brought a unique movement vocabulary that revved up the energy of both the audience and the dancers. I believe that the greatest strength this company possesses lies in its ability to attract fresh choreographic voices. I felt this performance was no exception. Using the bold geometric patterns of Mr. Davis’s painting as a blueprint, Mr. Priore was able to fully integrate his aesthetic into that of his chief inspiration. By having a rotating slideshow of Bing’s paintings projected on the scrim, we were allowed to be lost in the connection between these two artists. While I was watching this performance I was reminded of a portfolio of photographs by Daniel Tamagni, Gentlemen of Bakongo, that I recently reviewed. The photos and accompanying text brought to life the vivid colors and texture of this particular segment of Congolese society that dresses in vibrant and colorful tailored menswear. Juxtaposed against the backdrop of a region still reeling from the effects of civil war. The power of the photographic imagery was jolting and invigorating, much like this choreography. The jittery rhythmic pulses and clever transitional segments were a complete joy. I am sending specific kudos to Kimberly Jones and Jarel Waters for the lovely pas de deux that was a nice humanizing moment in the midst of this energetic work. This was just pure fun.

Common Threads, a world premiere by artistic director Debbie Blunden-Diggs, primary charm lied in its old school choreographic construction and intentions. Here we were presented with a contextual moment in the concert that allowed us to the examine contractions and weighted movement modern dance technique at its purest and most direct usage. A solo male figure dancing against a black background led us through a pretty much straightforward choreographic enterprise that enveloped us into a opaque narrative thread with three women joining him in the proceedings. This was not a work rooted in innovation but rather the significance of how modernism is represented by this mostly Horton technique driven company. This ultimately provides the answer to the question of “why” DCDC can and should matter.

The concert concluded with a re-staging of Children of the Passage, a collaborative work by Donald McKayle and Ronald K. Brown. This piece went through a similar evolutionary performance process that Rainbow ’Round My Shoulder went through earlier in the evening. What brought this rollicking, and what could be very mesmerizing piece into a clearer focus was the presence of Sheri “Sparkle” Williams. I marvel at what a true and mature artistic presence can do to elevate any artistic performance. What Ms. Williams brought to this work goes beyond technical skill, which she still has in abundance. It goes to what I can only describe as a transcendent ability to invigorate even the most sketchy of works with a joyous artistry. Leaving the theatre after witnessing her performance still inspires hope for what this company can and should be.

Boxing in Dayton – From Past History to Present “Knockout”

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On Saturday Night (February 25, 2012), 17 brave locals will enter the ring at historic Memorial Hall in Downtown Dayton to show the boxing skills they’ve learned over the past several weeks, months and even years of training at Drake’s Downtown Gym in the first Dayton Knockout V.I.P. Fight Night!  This highly-anticipated event is presented by AIDS Resource Center Ohio and Dayton History (in collaboration with Drake’s Downtown Gym) with proceeds benefiting these two excellent organizations.  Knockout Tickets are $15 advance/$20 door for General Admission, with limited $25 advance tickets available that include three drink tickets and admission to the Speakeasy Lounge AfterParty featuring Funky G and the Groove Machine.

Knockout V.I.P Fight Night is the first event in the Memorial Hall Theatre since Bill Cosby appeared there in 2001, and an opportunity for Daytonians to revisit the venue in which many big acts have performed over the past decades – not to mention some big boxing events in the early 1900’s.  Continue reading for an interesting look back at Dayton’s boxing legacy, and at the end of this article – a chance to win tickets for the Knockout V.I.P. Fight Night…

Dayton Is Far From Being Down For The Count


A Brief History Of Boxing In Dayton – By J.T. Ryder 

 

 Imagine yourself ascending the wide limestone steps of Memorial Hall in the early to mid 1900’s, with its godlike statuary flanking you and its French Renaissance façade looming before you. It would be easy to be timelessly transported to another era, one of arenas and sporting grounds strewn with the blood and sweat of athletic champions. Even through the thick, stone walls of the hall, you hear the pulsating roar of the crowd that has gathered here to witness yet another pugilistic match between two worthy contenders, a spectacle of violence that sways between splendor and civilized chaos.

As you enter the hall, the haziness of the cigarette and cigar smoke, coupled with the heat of the crowd, drifts through the glare of the primitive klieg lights, giving the hall a cavernous appearance, like a misty vision of Valhalla. The sounds of brutality and bloodshed echo and rebound off the shadowed walls. A sea of boaters, bowlers and fedoras move in an undulating wave as the staccato voice of the bout’s announcer breathlessly shouts out each blow in a stridently clipped voice. Spectators clench betting slips in their hands and cigars between their teeth as they bark out encouragement for their champion and profane epithets towards his challenger. Close up, the ring reveals two opponents, locked in a ballet of darting evasions and devastating blows. These two gloved gladiators are continually caught in the sharply contrasting light of the popping flashbulbs of the eager press’ phalanx Graflex, the photographer’s jockeying for a better position, chronicling the sportsmanlike spilling of blood and hoping to capture either the triumph of the reigning champ or the rise of a new title holder, imprisoning the moment in emulsion.

Gene Tunney & Jack Dempsey at Memorial Hall

There was a time when Daytonwas a Mecca for boxing. There were countless gyms focused on boxing that dotted the city. Individual boxing clubs sprouted up, creating cross town rivalries that defended their honor in the various rings and exhibitions throughout the city. The Dayton Gym Club loomed large within the local and national boxing community. In 1950, it was voted as one of the best fight clubs in the nation and was home to several of the local Golden Gloves teams. From the late 1890’s, nearly two dozen world champions fought at the gym and the World Welterweight title changed hands there when Honey Melody was knocked out in 15 rounds by Frank Mantell, November 1, 1907. Westwood Field was another location that saw it’s share of international boxing stars. On June 25th, 1917, Jack Britton lost his welterweight title to Kid Lewis and later on, in 1918, Jack Dempsey knocked out Terry Keller in five rounds at Westwood.

“Jones failed to display half the ability expected and many fans were highly disappointed with the showing of the Gorilla. The fight was really saved by the constant driving-in tactics of Williams who won seven on the twelve rounds, three being even, Gorilla taking the others.”– Wire Report from Dayton

Until the seating was elevated in the 1940’s, Memorial Hall was the premier site for the local boxing scene. On April 22nd, 1935, Joe Louis knocked out Biff Bennett during an exhibition match at Memorial Hall. During a fight with favored boxer Gorilla Jones on April 22nd, 1930 Tiger Roy Williams won in a twelve round decision at Memorial Hall. Many other boxer fought within the walls of Memorial Hall, including Manuel Castro, Jimmy Kelly, Danny Budd, Joe Glick, Mike Ballerino…the list goes on and on.

The city also spawned some national and international luminaries of the boxing world, including Joe Sekyra, the once top rated light-heavyweight and heavyweight boxer who later went on to train a Dayton Golden Gloves team. There was also the lightweight journeyman Eddie Brandt, who was also the former president of Old Time Boxers’ Club of Dayton. Sugar Costner, who was once the top ranked welterweight, beat Kid Gavilan and Ike Williams before losing to Jake LaMotta and Sugar Ray Robinson. Charles “Buddy” Knox was a heavyweight contender who also trained a Dayton Golden Gloves team. There was also world ranked featherweight Joe Marinelli who defeated two former world champs, Jimmy Perrin and Joey Archibald at Memorial Hall.

Chris Pearson

There are also some very well known boxers from the Dayton area (omitting Buster Douglas’ brief stay here in 1979 while he attended Sinclair Community College). First, there is Chris Pearson, who is actually from Trotwood, but close enough to be counted. Pearson has been labeled by many boxing aficionados as one of the best upcoming middleweight boxers and the one to watch. This south-paw has been a U.S. National Amateur Middleweight Champion gold medalist, a 2-time Silver Gloves Champ, a 4-time Jr. Golden Gloves Champ, an 8-time State Fair Champ, a Jr. Olympic Bronze Medalist, the Ringside World Champion and the National PAL Champion as well as the 2009 Police Athletic League national champion. In his short, burgeoning career, he has beaten four former Olympians (including Brazil’s Yamaguichi Florentino, a veteran of 151 fights) and Bakhyt Sarsekbayev of Kazakhstan, who was the 2008 Beijing Games welterweight gold medalist.

There is also Michael Evans, born July 22nd, 1977 and raised part of the time at his grandma’s apartment in Dayton’s Arlington Court housing project. Through a childhood altercation that led to fisticuffs, Evans got noticed and groomed by the local boxing community. He went on to become a national Police Athletic League champion, held two Junior Olympic titles, won a bronze medal at the Goodwill Games before going on to become the 2005 Golden Gloves champion. This led to him becoming a captain of the Team USA boxing squad, fighting bouts in China, Hungary, Ireland, England (including his sell out event against British Olympian Amir Khan at Liverpool’s famed Olympia ballroom), Japan, Thailand, Germany and all across America, including Madison Square Garden. Shortly before he was to lead Team USA into Russia, Evans was busted for selling crack cocaine to an undercover officer, drawing himself a four year stint at London Correctional Institute.

Next – Dayton native Ron Lyle. Continue reading…

Film Review – Ghost Rider – Spirit of Vengeance (C+)

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I don’t think a movie has ever benefitted more strongly from comparison with its predecessor.

Directed by Mark Neveldine from a story by David Goyer (of Blade, Batman Begins and FlashForward fame), Ghost Rider: Spirit of Vengeance is by no means a great film. In fact, it’s rather woefully put together in some ways, and if you’re not a fan of Nicolas Cage I’d skip it altogether, since this is definitely one of his more idiosyncratic performances. But compared to his earlier turn as the skull-faced superhero in 2007, Spirit of Vengeance is a masterpiece.

Cage returns as Johnny Blaze, a former daredevil motorcyclist who sold his soul to the Devil, and is now doomed to transform into the titular demon whenever bad guys are around. On the bum in Eastern Europe, Blaze becomes the (reluctant) guardian angel of a young boy and his mother after being offered a chance to be freed of his curse in exchange for protecting them.

Let’s start with what works. First off, the filmmakers get the tone right this time around. Unlike its often jarringly goofy and light-hearted predecessor, SoV is a darker take on the material, and the change is overwhelmingly for the better. There’s still plenty of humor, of both the intentional and presumably unintentional variety (one scene in particular, featuring Cage at his hammiest as he terrorizes a hapless goon, had the audience at the Rave falling out of their seats), but overall this one is much edgier.

Johnny’s characterization has been much improved as well. Whereas the first film’s version of Blaze seemed to have things pretty well in hand by the time the credits rolled, Johnny 2.0 is a brooding, isolated figure struggling to control his alter ego and desperately searching for a cure, like a supernatural update on The Incredible Hulk.

Finally, the title character himself cuts a much more impressive figure in his second big-screen outing. The first film’s visual effects were underwhelming at best and downright laughable at worst; the transformation sequences were dismal, and the finished product looked like something out of an old Looney Tunes short. In contrast, the Rider looks downright menacing here, with scorched bones, flames that produce actual smoke, and grimy black duds that remind me of Jason in the old Friday the 13th movies. More than anything, he looks like he’s actually there, and that makes all the difference.

The film has its weaknesses, don’t get me wrong. None of the characters besides Blaze are especially well-developed, the villains are one-dimensional mustache twirlers, and the editing during some of the action sequences is confusing and leaves much to be desired. Some of the transitions between scenes are a bit jarring as well. My biggest problem with the film, however, is with the 3-D presentation.

Now, I need to make a confession: this is the first 3-D film I’ve actually seen. So there may be some kind of a learning curve involved, or the conditions at the theater where I saw it may not have been ideal (I was sitting awfully close to the screen, for instance, and I’ve heard the effect works better if you’re sitting somewhere near the middle). Maybe, as a friend of mine suggested after the screening, this particular film simply doesn’t benefit from the process as much as other films would. But, personally, I found the 3-D aspect of the viewing to be distracting and even borderline irritating at times.

First, the glasses. I was aware of the fact that I was wearing them the entire time, and I was constantly aware of the black bars around the perimeter of my vision (especially since I was sitting so close to the screen, which made me have to move my eyes back and forth much more than I’m used to in order to follow the action). Second, while the 3-D looked cool in a few places, it mostly amounted to people standing around on screen and me thinking, “Well, they certainly stand out more against the background than they usually would.” Not nearly cool enough to balance out the inconveniences involved, in other words.

All in all, however, I had a good time watching this film, and it was miles better than the original (for my take on that one, by the way, check out my blog, which is linked on my Contributor page). I give it two-and-a-half out of four flaming skullheads (C+).

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2012 NCAA March Madness in Dayton, OH

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The Road to the Final Four® begins in Dayton, Ohio, with the NCAA Division I Men’s Basketball Championship First Four® games on March 13 and 14 at the University of Dayton Arena. As part of the festivities around the event, the Dayton Local Organizing Committee for the First Four is proud to announce the inaugural NCAA First Four Festival – Dayton on March 11 in Dayton’s Historic Oregon District.

“The University of Dayton Arena is one of the most respected venues in all of college basketball and we look forward to kicking off March Madness with a huge Selection Sunday Celebration” – Greg Shaheen, NCAA interim executive vice president of championships and alliances.

The University of Dayton has hosted the start of the Division I men’s basketball championship each year since 2001, having hosted a single opening-round game from 2001-10. After the tournament expanded prior to the 2011 championship, Dayton was selected to host the inaugural First Four, consisting of four first-round games played over two days. The University of Dayton Arena, which has hosted more NCAA Division I men’s tournament games than any other arena in the country, will host the First Four next month and again in 2013, when it also will host second- and third-round games of the championship. Local fans have helped the University of Dayton regularly rank among the top 30 nationally in Division I men’s basketball attendance.

On Selection Sunday, March 11, thousands will flock to Dayton’s Historic Oregon District for the NCAA First Four Festival – Dayton to kick off the Division I men’s basketball championship. This all-day, free event begins at noon and will feature family activities, a First-4-Miler fun run, food, beverages, large-screen televisions for watching conference tournament championship games leading up to the selection show, live music and educational displays featuring the latest in Air Force technology. The region is the birthplace of aviation and is the home to Wright Patterson Air Force Base. Heated tents and the ability to go in to one of your favorite Oregon District Businesses, who are all gearing up to make this an event you won’t want to miss, are examples of how the weather won’t impact the day’s events.

“Participating with the NCAA during the First Four allows the Air Force to communicate the unique contributions we bring to national security” – Lt General Thomas J. Owen, Commander, Aeronautical Systems Center, Wright Patterson Air Force Base, Ohio.

Purchase your First Four® game tickets at www.NCAA.com/mbbtickets or www.daytonflyers.com or call TicketMaster at 1-800-745-3000. Learn more about the NCAA First Four Festival – Dayton at www.NCAA.com/firstfourdayton.

(from the Dayton Local Organizing Committee for the First Four)

Holier Than Thou

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The Little Sisters of Hoboken are back and aim to please in the Dayton Playhouse’s lively production of Dan Goggin’s simplistically silly 1985 musical “Nunsense.”

Playfully directed by Greg Smith, “Nunsense” concerns the accidentally poisoned deaths of 52 nuns who have not been buried as a whole due to bad financial planning. In order to remedy the situation, five of the 19 survivors stage a small fundraiser that quickly erupts into a jokey talent show filled with goofy antics, naughty puns, adequate tunes, and good-natured audience participation.

Tina McPhearson, a natural comedienne with a zestful personality, is perfectly cast as no-nonsense Mother Superior Mary Regina who attempts to keep the zaniness under control to no avail. In addition to solidifying her appeal with a joyously carefree rendition of “Turn Up the Spotlight,” she’s truly amusing late in Act One letting loose with a nod to “Driving Miss Daisy.” Sherri Sutter, a sweetly ditzy Sister Amnesia even in terms of choreography, turns up the charm for “A Word from Reverend Mother” and gives her lovely soprano an effective country twang for the toe-tapping “I Could’ve Gone to Nashville.” As Sister Robert Anne, an aspiring thespian with a tough edge, the enjoyably droll Amy Askins is adept at impersonation and nails her big solo “I Just Want to Be a Star.” The amiable Kelli Locker is a suitable fit for Sister Mary Leo, the weakest character. In her first local musical role, Ellen Finch warmly embodies the practical Sister Hubert. Finch, particularly fine opposite McPhearson, isn’t the strongest vocalist but manages to end Act One on a high note while leading “Tackle That Temptation With a Time Step.”
If you’re looking for an upbeat diversion this weekend, give “Nunsense” a try.

“Nunsense” continues through Feb. 19 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $10-$15. Act One: 55 minutes; Act Two: 45 minutes. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

Debate Night

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(L to R) Jared Mola and David Shough in Wittenberg (Photo by Craig Roberts)

David Davalos’ intellectually engaging 2008 comedy “Wittenberg,” a delightfully imaginative meeting of the minds between polar opposites John Faustus and Martin Luther, receives a firm regional premiere at the Dayton Theatre Guild.

Crisply directed by Saul Caplan and set at the titular German university circa 1517, “Wittenberg” wittily addressees the fundamental agitation and complexity that arises when deep-rooted viewpoints are challenged to the core. Faustus, dramatized as a sociology professor although famously fictionalized as a scholar-turned-magician who sells his soul to the devil in Christopher Marlowe’s play “The Tragical History of Doctor Faustus,” and Luther, pioneer of the Protestant Reformation and founder of the Lutheran Church dramatized as a theology professor, are relatively cordial colleagues who relish their doctrinal differences. The self-assured, psychoanalytical Faustus (expertly portrayed by a cunning, teasing and intimidating David Shough) adamantly believes in free will (“you are what you choose”) while the constipated, slightly skeptical Luther (Charles Larkowski, terrifically stern and sincere) remains spiritually grounded (“the language of the Lord speaks to our souls not our minds”).
This didactic tug of war is not without odd shifts in tone and certainly could have transpired as a one-act, but Davalos, giving equal credence to both protagonists, interestingly flavors and extends the debate with the insertion of Hamlet (endearing Guild newcomer Jared Mola). Davalos humorously depicts the Prince of Denmark as an undeclared student with a penchant for tennis whose moodiness and startling visions is an effective bit of Shakespearean foreshadowing. Having Faustus and Luther’s eye-opening perspectives permeate in Hamlet’s indecisive, impressionistic mind is a key ingredient to the play’s battle of wills and collegiate authenticity. Lynn Kesson’s admirable portrayals of the female roles and K.L. Storer’s excellent sound design are also noteworthy.

Davalos’ commendable examination of reason vs. faith isn’t compelling, but is a worthwhile draw for theatergoers who prefer to think while being entertained.

“Wittenberg” continues through Feb. 26 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 60 minutes; Act Two: 55 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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