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Band of Brothers

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(L to R) Brandon Andrus, Brad Weinstock, Jason Kappus and Colby Foytik as The Four Seasons in Jersey Boys (Photo by Joan Marcus)

“Jersey Boys,” which captured the 2006 Tony Award for Best Musical and remains one of the most popular jukebox musicals on the Great White Way, enjoyably depicts the triumphs and pitfalls of legendary 1960s hitmakers The Four Seasons.

Sleekly directed by Des McAnuff in one of his finest efforts and presented at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Partners Broadway Series, “Jersey Boys” chronicles the talented blue-collar troupe from their rocky evolution in the 1950s to their 1990 induction into the Rock and Roll Hall of Fame. Instead of adopting the common jukebox trend of shoe-horned songs taking conceptual precedence (a shortcoming of “Mamma Mia!” and “Million Dollar Quartet”), librettists Marshall Brickman and Rick Elice wisely craft terrifically authentic, fully developed central characters (not caricatures) that resonate as strongly as the assortment of pop classics which smoothly accent the story. In addition to constructing infectious momentum in the middle of Act 1 with three knockout numbers in a row (“Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man”), Brickman and Elise’s delightfully personable, occasionally gripping narrative, full of intriguing revelations, evenly spotlights the rise and fall of the group within the appropriate backdrops of spring, summer, fall and winter.

As Frankie Valli (born Francis Castelluccio), the admirable Carlos Valdes possesses a firmly distinctive, Valli-esque falsetto and a delightfully youthful spunk which effectively dissolves as Frankie matures. Delivering superb renditions of “Moody’s Mood for Love” and “Can’t Take My Eyes Off You,” Valdes greatly connects in the darker Act 2 as the philandering Frankie comes to grips with the pains of touring and his fractured relationship with his drug-addicted daughter. Colby Foytik is a charming scoundrel as troublesome Tommy DeVito, whose shady financial dealings plague the troupe beyond belief. The marvelously understated Brandon Andrus, bearing a striking resemblance to Craig Bierko, substantively embodies the unassuming, plain-spoken Nick Massi with a sharply droll attitude. As Bob Gaudio, who composed the hit “Who Wears Short Shorts” at age 15, Jason Kappus endearingly blends with his fellow cohorts, who are crisply choreographed with suave masculinity by Sergio Trujillo.

Barry Anderson (a standout as the Four Season’s flamboyant producer/lyricist Bob Crewe), E. Clayton Cornelious, Kaleigh Cronin, Thomas Fiscella, Natalie Gallo (a lovely inclusion in “My Eyes Adored You”), Ruby Lewis (leading a feisty “My Boyfriend’s Back”) and Christopher Messina are notable in featured roles.

A particular draw for men who enjoy musicals served with testosterone, “Jersey Boys” wholeheartedly entertains as a prime source of toe-tapping nostalgia.

“Jersey Boys: The Story of Frankie Valli & The Four Seasons” continues through Feb. 5 at the Schuster Center, Second and Main Streets. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 60 minutes. Brad Weinstock and Hayden Milanes are also cast as Frankie Valli. Tickets are $42-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Oscar-Worthy Books

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Six of the nine Oscar nominated best films began their lives as novels. Considering the vast majority of movies don’t do their literary counterparts justice, it would be fascinating to see if the Oscar nominated books were as riveting as their films.

The Descendants, a novel by Kaui Hart Hemmings

This debut novel regularly receives four stars and kudos for its humor and heartbreaking emotion. The structure of the movie is faithful to the book, with several characters given more dimension in the book. Several scenes and sections of dialogue are taken directly from the book. It can’t hurt to have nominated George Clooney as Best Actor for the movie as well.

Extremely Loud and Incredibly Close, a novel by Jonathan Safran Foer

A sophomore novel by Foer, Extremely Loud and Incredibly Close follows Foer’s standout novel and accompanying movie, Everything is Illuminated.

Foer’s books are an acquired taste but they are still given more than four stars by most readers. Some complain of the odd passages, overwritten text, and illustrations but the movie seems to make the story accessible to all. Max Von Sydow is nominated for Best Supporting Actor and doesn’t utter a single word in the movie.

The Help by Kathryn Stockett

With another debut novel, Stockett has become the patron saint of thwarted novelists. She famously gave an interview explaining that The Help took five years to write and racked up over 60 rejections before becoming a bestseller and collecting nearly four stars from every review site. Even her husband suggested she abandon the book and move on to something else.

The movie is superbly cast with a trio of fierce actresses, each deserving a nomination. It did gain best actress for Viola Davis (Abilene) and two supporting actress for the stunning Octavia Spencer (Minnie) and Jessica Chastain (Celia). Only Emma Stone was neglected.

Moneyball, novel by Michael Lewis

The only non-fiction book on the list, Moneyball is regularly ranked four stars and above, even by non-sports lovers. The theory heavy book found the heart of the story, replicating the success Lewis had with his other novel turned blockbuster, The Blind Side.

Brad Pitt is nominated for Best Actor, Jonah Hill is nominated for a Best Supporting Actor for his fictional character, Peter Brand, and the movie is nominated for Best Adapted Screenplay.

The Invention of Hugo Cabret, book written and illustrated by Brian Selznick

The children’s book by Selznick is an inventive mix of picture book, children’s novel, graphic novel, and mystery. Hugo, the movie, takes its cues from the cinematic book, delivering a rich ready-made story. It is nominated for both Best Director and Best Adapted Screenplay as well.

War Horse, novel by Michael Murpurgo

Another children’s novel, War Horse was first released in 1982. Adapted into a play first and then into a movie, directed by Steven Spielberg, it is both a moving, brief book and a riveting epic movie.

The book, at only 192 pages, regularly ranks four stars and above and can be enjoyed by both children and adults.

Of the entire Oscar nominated films, what book do you most want to read?

THE ARTIST – Now Playing at THE NEON!

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Hello Everyone,

I’m going to keep this update short and sweet.  I’ve been running around Park City, and I’ve returned to the hotel where the internet connection is terribly slow.

As of today (Jan. 20), THE NEON is now playing one of the best reviewed films of 2011…and in my opinion, it’s fantastic!  Do not miss THE ARTIST – winner of the Golden Globe for “Best Picture – Musical or Comedy.”  For showtimes, please visit www.neonmovies.com.

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

Thanks much…and see you soon!

Jonathan

 

The Power And Light Of Dow Thomas

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Dayton And The World Loses A Comedy Icon

 

Dow Thomas: Comedian & Musician 1953-2012

Sifting through scattered memories, most of which are second hand recollections that occurred before my time, I find myself overwhelmed by a life lived with a manic exuberance. I found out about comedian Dow Thomas’ passing from a friend and regular customer of Wiley’s Comedy Niteclub who called to inform me of the news. I stayed up until around 2:00am poring over the condolences that poured out from all over the country, cascading down from Dow’s Facebook page and other social media outlets. I looked through pictures that I had of Dow, read through transcripts from interviews I had done with him and reflected on conversations that we had had in the past. While many around me knew Dow longer and were closer friends than he and I were, Dow possessed the ability to make you feel that you were the only one in the room. Even during performances where there were a hundred or more people in the room, he made you feel as if you were within his inner circle, that this was an intimate gathering of friends and not just a group of people watching a performance. Even beyond his unerring talent and exuberant imagination, this was his true gift.

Born in Chillicothe and raised in the Akron/Cleveland area, Dow moved to the Dayton area in 1971 to attend Wright State as a theater major, a fitting field of study for someone who had been familiar with the stage for much of his youth. Even though Dow was not a native ofDayton, he embraced the area with the fervor that a lifelong resident should have.

“I didn’t originally come from Dayton. I just kind of adopted the city in 1971. I moved to the area to go to Wright State and I just stayed.” Dow said during one of our conversations. “I ended up living in downtown Dayton. I used to hang out at the Arcade a lot there. I’m a downtown kind of guy.”

Dow Thomas as Cléante in Molière’s Tartuffe

Dow was very active in the drama department while at Wright State, performing in several theater productions, such as Shakespear’s Romeo and Juliet and a pair of Molière’s plays; That Scoundrel Scapin and as Cléante in Tartuffe. In the latter drama, he caught the eye of a fellow student, Rob Haney, which signaled the beginning to a lifelong friendship.

As his hair grew, so did Dow’s creative yearnings. He began playing music around town, playing at venues that are but a mere memory to most Daytonians.

“I started my shows at the Upper Krust on North Main St. for ten dollars a day. I liked being up on North Main because I liked to go to shows and Gilly’s used to be up on North Main and there was also The Tropics and Suttmiller’s, which was fun for me to go see supper club type comedians like Jerry Van Dyke or Pete Barbutti and those kind of guys.”

Even though many venues and stages were opening themselves up to Dow’s music and acting, this was still not enough to contain Dow’s imaginative energies. He started sneaking his oddly skewed humor into his songs and banter with the audience.

A poster from 1972 for the Upper Krust

“I was actually doing comedy in 1972, but at that time there weren’t any comedy clubs, so I was just doing comedy along with music. I would get hired as a musician/entertainer and just add in the comedy in between songs.” Dow reflected. “I would always put on masks and stuff…I just can’t help myself from clowning around. I’d have the gig and eventually I had bands, but when I clowned around, everyone clowned around with me. What was always part of the show was me being stupid. It was what I said in between songs and me ruining songs, like singing like a dog and getting a ‘bark along’ going.”

In those days, you may have seen Dow tooling around town in his hearse, decked out like a Bohemian undertaker, black clad and sporting his ubiquitous top hat, running from gig to gig. He played with Astrid Socrates for seven years (creatively billed as Astrid & Dow) as well as drummer Doug Buchanan Tim McKenzie on lead guitar during yet another incarnation of his ingenuity. He was a featured act at The Trolley Stop, Clancy’s, the Iron Boar and Bogey’s.

Comics don’t need to spend actual time together to feel like brethren or family.  We are constantly accruing that common experience that instantly bonds us all separately and continually.  But, few of us are as pure, kind, original, and superbly funny as Uncle Dow.  I feel forever indebted to him for making it possible for me to ever start and I know that anyone who knew him feels like they, too are some of the luckiest people alive.  Uncle Dow made people laugh, but even more so he made them feel alive and always made them smile. ~Ryan Singer

“I’ll never forget the day Dow Thomas and my path crossed. I was part owner of a night club called Bogey’s onWatervliet Ave. in Dayton when Dow and Jeffro stopped in after buying guitar strings at Ace Music.” Mike Adams reminisced recently. “Things weren’t going very well at the bar and we couldn’t afford a barmaid or a cook so I was working. Dow Thomas ordered two drinks and asked for a menu and ordered a sandwich. Upon serving him he asked who owned the place and I confessed. He asked how things were going and I said not to well. He said he could tell. He asked if I had ever heard of Dow Thomas and I said yes but had never seen him and he told me I was talking to him. He offered to do a show one night a week for free as long as I didn’t interfere with him trying new material. I lost a lot of money owning that bar but memories like this makes the money seem irrelevant.”

Dow also frequently played in a bar onPatterson Road called the Iron Boar and becoming steadfast friends with the owners, Dan and Jodi Lafferty.

“We used to do a Gong Show at the Iron Boar and it was fun because we’d have some guy come up and go, ‘I’m going to do my imitation of a lobster’ and we’d go, ‘Good!’  So he’d put claws on and hop around like a freak…it was just so stupid!” Dow began chuckling to himself on the phone before going on. “I used to do a thing called Punt The Fish and I’d yell out, ‘It’s time to…’ the audience would scream, ‘Punt the Fish!’ I had this rubber fish and audience members would come up and kick this fish and we’d measure it off with toilet paper and the one who kicked it the farthest won. One night I had this woman up on stage and she kicked the fish and it went into the propeller of the ceiling fan and came back and smacked me in the face. Everybody was just laughing and I stood up and screamed, ‘Disqualified!’ It was all just so stupid, but you’ll never be able to have a moment like that ever again.”

In ’91 when I took over Jokers Comedy Café, Dow was running the open mic night.  I’d never heard of Dow and looking at this man in a black trench coat and top hat, I have to admit my first impression was not great-   he’s gonna be dark and sarcastic and egotistical, I thought.  I could not have been more wrong!  Dow loved being on stage and his joy radiated through the crowd. He would have an audience pounding their table to Power & Light, and tossing paper plates across the room as he sang Sail Cats. ~Lisa Grigsby

The comedy began usurping the music and Dan Lafferty began booking ventriloquists, jugglers and other oddball acts to fill out the shows.

“I used to have people like Jay Haverstick, who owned Jay’s Seafood, he would come and see my shows. So would Mike Peters. They would be out late at night and they would just say, ‘Hey! Let’s go and see what crazy Dow is doing!’” Dow said during another conversation. He went on, describing another huge change that was bout to occur in his life. “But there wasn’t a comedy club, so I left forL.A.I gave them (the Lafferty’s) a one year’s notice (laughing) and said, ‘In a year, I’m going toL.A.’ and that’s when we turned it into a comedy club.”

Eventually, the Lafferty’s decided to change not only the whole format of the club to comedy, but the name itself. In an unexplainable instance where someone could legitimately name a comedy club Lafferty’s, Dan decided to use his nickname instead, dubbing the newly restructured club Wiley’s.

Dow, true to his word, eventually left forLa-LaLand, seeking his fame and fortune, both of which proved to be elusive in the land of silicone and sunshine. He found that the venues that were available to him were less than conducive to his creative talents. At one point, he found himself doing sets between bouts at a boxing match and, towards his triumphant return toDayton, he was unceremoniously replaced with disco music at a Newport Beachclub. Yet the comedy scene was heating up nationally and Dow was riding the cusp of this chaotic wave. The shows were not the structured tight sets that we witness now in the clubs, but were given to more improvisational melees and surprise guests.

“There were these guys like Rich Purpura, who was a comedy/magician, and Tim Walko, a guitarist, and they were both fromChicago. We’d do a show, just packing the place, but at the end, we’d just get up there and jam and kept the show going and clown around with each other.” Dow said. “By then, we were just trying to make each other laugh, and that’s what the audience liked. It was kind of like. It was kind of like having the Rat Pack or something. It was that kind of feel, where everybody’s in the groove. Back then I could have Emo Philips come in and do twenty minutes and then I’d get a chance to go to the bathroom. Then maybe Judy Tenuta would come in and do twenty to thirty minutes and then I’d get a chance to go to the bathroom. For me, I thought it should go on all night.”

Rob Haney

Another person that benefitted from the burgeoning comedy scene was Rob Haney, a newly touring comic and future owner of Wiley’s Comedy Niteclub.

“Rob Haney came up to me one time and said, ‘Can I get up and do some time? I just got back from The Comedy Store.’ He had just done some showcasing there…which surprised me because Rob was a bouncer in a bar I used to work at.” Dow recalled that, “When I first met him, he was a doorman at a place called The Bar inWest Carrollton. It was a rough little joint that ended up being Omar’s for a while. It was an old basement bar and the family that owned it was pretty rugged. I actually had guns pulled on me in that bar. I’ve seen him mace guys and throw guys out…he’s a pretty tough guy. He had like shoulder length hair at the time and pretty well built, so it was a different Rob Haney that came up to me with short hair and asked if he could do like twenty minutes and I said, ‘Sure!’ I let him up at the Trolley Stop and I had a gig there like six nights a week…it was crazy.”

Another iconic staple of the Miami Valley that Dow had a huge role in was with his friend Dr. Creep (Barry Hobart) and Shock Theater. The inception of Shock Theater was supposed to be actually scary, as an accompaniment to the B-rated horror flicks that they screened, but the campy ineptness and irrepressible humor of Dr. Creep and the people that worked on the show quickly made the show a campy carnival for all of those late night viewers.

“I ended up getting on just about every television show in Dayton, but I got with Dr. Creep in the late seventies when it was called Saturday Night Dead because they had him on after Saturday Night Live, so it was kind of a neat spot.” Dow went on to say, “So I wrote The Ballad of Dr. Creep and went on there with my girlfriend at the time, Astrid Socrates and also with a bunch of my friends and we did skits.”

Barry Hobart (Dr. Creep) And Dow

“You know, what’s funny about that whole thing is that they became the number one, locally produced television show while I was writing for them. They would go, ‘Okay, we’re showing Dracula: Prince of Darkness’ and we made up the Bat Photo Studio and all of the prints would come out really dark, and customer’s would comment, ‘Wow! These prints are really dark!’ and I’d go, ‘Well, I am Dracula: Prints of Darkness! Sometimes I accidently cut their heads off!’ and I’d hold up a severed head. It was just stupid stuff like that.” With a tinge of regret, Dow added, “Of course, Joe Smith said, ‘No, you can’t do this and you can’t do that.’ He was an integral part of the studio there, so I got censored quite a bit and got into a little bit of trouble. I remember John Riggi and I getting yelled at because we changed the weather map one time. We got up there and started putting a bunch of tornados around Xenia…they were just little magnetized things back in those days. We were hippies in a studio that had rules.”

Dow played some forty different clubs in the MiamiValley the years that he was here and developed a huge fan base locally as well as in other cities that he performed in. In 1997, he moved to Florida with his wife Kay and they took up residence at some of the local clubs near their new home. Even after his departure, Dow was voted Dayton’s Best Comedian for two year’s running. He would still make frequent sojourns to Ohio, usually performing at Wiley’s one to two times a year, creating comedic chaos with his skewed humor and especially with his song Sailcats, in which he would cajole the audience into throwing paper plates in lieu of flattened kittens as the song implied. The staff would usually find the last paper plate stuck in the rafter shortly before Dow’s next scheduled appearance.

Dow Thomas At Dirty Little Secret Sanitarium Show

I contacted Dow in February of 2011 to ask if he would perform at my upcoming Dirty Little Secret Sanitarium show in May. He was eager to do the show because of the variety aspect of the event, but was reluctant in some ways, feeling that it would be a conflict of interests with his Wiley’s appearances. Rob Haney assured him that there would be no conflict and he agreed to do the show. That evening became an impromptu reunion of sorts in honor of Dr. Creep as not only had Dow worked closely with him, but so had some of the other performers slated for that evening. Thomas Nealeigh from FreakShow Deluxe had worked with Dr. Creep as had A. Ghastlee Ghoul. Our emcee for the evening was Dr. Creep’s protégé  Baron Von Pork Shop and some of the members of Team Void had recorded music for Shock Theater’s DVD’s. Dow had a blast at the show and had garnered yet a few more fans for his cult of comedy.

I contacted him again this past December to see if he wanted to be part of the Dirty Little Secrets Sick Of Santa Show and he readily agreed. We spent the rest of the conversation talking about old horror movies and other trivialities. On the night of the show, December 28th, 2011, his wife Kay showed up at the club saying that Dow was really sick and would be unable to perform. Seeing the look on her face and knowing Dow’s penchant for performing, I knew then that it was ore serious than she was letting on. The next evening, Dow arrived at Wiley’s to do his Thursday night set and we could all tell that something was wrong. The current owner, Rob Haney, and other staff and friends finally convinced Dow he needed to seek medical attention. He was admitted toMiamiValleyHospital and, two days later was released. He performed the New Year’s Eve show as well as the shows the following week.

His last show on January 7th, 2012 was astounding. Offstage, he seemed somewhat fragile, but as soon as he was on stage, that glimmer came into his eyes and the casual smirk shown across his face. He performed Sailcats and wheedled the audience into throwing the paper plates once again, daring any one of them to land one of them on his top hat. It was a picture perfect performance where someone actually landed a paper plate onto his top hat. The show ended with a standing ovation for our Uncle Dow, with audience members shouting out their approval and appreciation for Dow’s show.

After the show, Dow was surrounded by family and friends, well wishers and fans. It was the way of Dow: that feeling that you just needed to be near him and everything would be alright. You would be safely ensconced in his world.

Shortly after returning to Akron, Dow was hospitalized. He died January 18th, 2012. The outpouring of condolences and memories was immediate and Dow’s Facebook page became a makeshift memorial for a legion of stunned fans and friends to share their grief as well as their memories.

I think now of the boarded up Upper Crust, the warped wooden floors of the Trolley Stop, the comfortably worn carpet of the Wiley’s stage and I can hear the clank of glasses against the cascading laughter and see Dow with a mischievous gleam in his eyes as he dons a mask and unleashes a dialogue of absurdity in the voice of Lon Chaney. I can see him on stage doing what he did best: fashioning a world without limits, pushing the envelope until it bent and combining chords to nonsensical songs that bring laughter to all who are compelled to bang their glasses on the table and sing along. I see him smile down from the stage wearing a paper plate atop his felted hat, an improvised halo for our imaginative jester.

Read my previous article from 12/2010 – “Dow-Town Dayton”

This Syd Wasn’t Vicious. This Syd Was Visionary.

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DPO presents The Music of Pink Floyd with Windborne

At times, genius has been known to border on insanity.

Though some consider that statement a myth, recent research out of Sweden argues  that it could be true. Case in point: Pink Floyd co-founder and rock legend Syd Barrett.

Pink Floyd set the standard for progressive and psychedelic rock. Often times their lyrics were downright thoughtful, the art on their albums inventive, their sound untested, and their live performances sophisticated and intricate. As a result, they achieved worldwide success selling over 200 million albums and earning induction into the Rock and Roll Hall of Fame.

None of which would have been possible without the innovative genius of Syd Barrett.

In 1965, the four members of the original band (Roger Waters, Nick Mason, Richard Wright, and Syd) were all students. Sid’s drive and leadership led to the release of two singles that made the charts, Arnold Layne and See Emily Play, followed by their first album, The Piper at the Gates of Dawn. Guitarist/vocalist David Gilmour joined Pink Floyd in December 1967. Not long after, suffering from failing mental health Syd left the group.

Along with the problems that marked Syd’s changed nature the group had lost the benefit of his genius. For example, he had written two original songs (Butterfly and Lucy Leave) for their first demo tape; played around with lengthy instrumental jaunts and  elementary slide-and-colored-light shows. Syd’s personal moves on stage were high-spirited, improvised, and bordering on inspired madness. Madness that began to have a detrimental effect on the group’s future.

Syd began abusing LSD.

At one concert, guitar around his neck, Syd simply stood still on stage with his arms hanging down. While taping for The Pat Boone Show, Syd mimed a song perfectly in rehearsal then stood perfectly still during the take.

Pink Floyd was at its wits end. It added David Gilmour as its fifth member, hopefully to  cover for Syd’s foul-ups and – as a last resort – keep Syd on solely to write. Frustrated with his new role on the sidelines, Syd started teaching the band a new song, Have You Got It Yet? It couldn’t; whether purposely or not, Syd kept changing the arrangement on each performance, and the group couldn’t learn it.

In March 1968, Syd left Pink Floyd. He had been the creative genius behind the group. Now he couldn’t even remember he had left, turning up for a play date every now and again, bewildered as to what was happening. When Pink Floyd was working on a new album, Syd showed up unannounced and left without saying goodbye. Except for a run-in between Waters and Syd a few years later, none of the group ever saw him again.

In the 35 years since having left the group, Syd had all but disappeared. He dabbled with painting and spent most of his time gardening. On July 7, 2006, 60-year-old Syd Barrett died at his home in Cambridgeshire, England. No Pink Floyd members attended his funeral.

Syd is gone, but his genius remains.

The British national press has praised his contributions to music.

David Bowie has called Syd Barrett a major inspiration.

A teenage The Edge (of U2 fame) bought his first delay pedal after hearing the opening to Animals.

The Pet Shop Boys paid homage to The Wall during a performance in Boston.

Foo Fighters, Dream Theater, Porcupine Tree, The Mars Volta, Tool, Queensryche, Scissor Sisters, Rush, Radiohead, Gorillaz, Mudvayne, Nine Inch Nails, Primus and Smashing Pumpkins, some of whom have recorded Pink Floyd covers, have all been influenced by Syd Barrett.

In 1975 even Pink Floyd paid tribute to Syd with the album Wish You Were Here.

Syd is gone, but the genius of his visionary music and concert techniques lives on.

On Thursday, February 9 at 8 pm ­in the Schuster Center, the Dayton Philharmonic Orchestra will present The Music of Pink Floyd with Windborne, the second concert in the DPO’s Rockin’ Orchestra Series.  (Click for Tickets)

Conductor Brent Havens and rock ensemble Windborne Music will join the DPO and bring the full glory of Pink Floyd’s sound to the Mead stage, deftly melding rock with orchestra in a setting of mesmerizing visual effects.

Syd would have approved.

 

Enchanting Entertainment

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MUSE MACHINE Wizard of OZThe Muse Machine delivers a first-rate, crowd-pleasing production of L. Frank Baum’s “The Wizard of Oz,” the arts education organization’s 28th annual student musical presented at the Victoria Theatre.

Over 100 Muse students from across the Miami Valley are featured in director Rufus Bonds, Jr.’s faithful, fluid and fast-paced staging of the beloved 1939 film, adapted by John Kane for the Royal Shakespeare Company and fueled with fantastic tunes by Harold Arlen and E.Y. Harburg. In addition to strong, engaging portrayals by key players and music director Timothy Olt’s steady orchestra, a truly vibrant ensemble executes Lula Elzy’s lively choreography with unified joy, especially in the absolutely adorable Munchkinland sequence, sprightly “Merry Old Land of Oz” and exuberant “Jitterbug.”
As Dorothy Gale, Madeline Shelton impresses far beyond her lovely rendition of “Over the Rainbow.” Fully present in each moment and particularly careful not to underplay the pivotal Kansas scenes, Shelton astutely showcases the spectrum of Dorothy’s capricious personality from bratty insensitivity to poignant self-awareness. She is also firmly supported by a delightful trio consisting of the amiably understated Dan Baughn (Hunk/Scarecrow), very endearing Davis Sullivan (Hickory/Tin Man), who delivered a breakthrough performance as Jack in last year’s Muse production of “Into the Woods,” and charming, fittingly Bert Lahr-esque Jeremiah Plessinger (Zeke/Cowardly Lion).
Further, Odette Gutierrez del Arroyo is terrifically intimidating as Miss Gulch/Wicked Witch of the West, Cameron Hale Elliott distinctively tackles the roles of Professor Marvel, Emerald City Guard and The Wizard of Oz, Paige McDonald and Patrick Espy are believably bonded as Aunt Em and Uncle Henry, Kaja Burke-Williams, Carly Snyder (a phenomenal Little Red Ridinghood in “Into the Woods”) and Ellen Geiselman hit the mark as feisty, sashaying trees, and Hayley Penchoff, possessing a striking Billie Burke sensibility and timbre, shines as Glinda.
Equipped with colorful sets and costumes provided by Music Theatre of Wichita, this thoroughly entertaining “Oz,” dynamically accented with whimsical and ominous flourishes courtesy of sound/film designer David Sherman, is an enchanting example of the Muse pedigree.

“The Wizard of Oz” continues through Jan. 15 at the Victoria Theatre, 138 N. Main St. Performances are Saturday at 3 and 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 60 minutes. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Two Twenty-Somethings Revitalize 78-Year Musical Tradition

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DPO presents Concertmaster’s Choice at site of Orchestra’s birth

To paraphrase Daphne du Maurier, “Last night I dreamt I went to Viterbo again.”

Viterbo is a little town among the hills forty miles north of Rome. It’s the site of a five-sided villa built in the Renaissance for the use of Cardinal Alexander Farnese. And, while I’ve never actually been to Viterbo, I have been to a building that very much resembles the Cardinal’s villa – the Dayton Art Institute.

Standing sentinel over the Miami River at the intersection of Belmont and Riverview Avenues, the 92-year-old Dayton Art Institute – or DAI – is a classical example of the Italian Renaissance architectural style that echoes the romance and beauty of the villa in Viterbo.

And the DAI is also the home of a time machine…of sorts – the Renaissance Auditorium. To attend a concert there is to step back in time to an era when grace and civility were hallmarks of a society that treasured its music and its musical heritage. And the trip begins at the entrance to the DAI.

Whether you enter from the parking lot on the Forest Avenue side or through the magnificent main entrance atop a set of two Italianate balustraded steps, you get the feeling that you are about to experience something special. Walking through either of the two high, entablature-topped, carved walnut doors to the Renaissance Auditorium, you’re suddenly transported back to 16th-century Italy.

Three tapestries adorn the Auditorium’s composite limestone brick walls, the base of which is green marble. In an opera setting for 500 concertgoers, a sloping floor makes the entire room feel smaller and considerably more intimate than its size would suggest.

The room is done in the Italian manor, with a painted ceiling of twenty alternating octagonal and rectangular Italian walnut coffers (ornamental sunken panels) with carved step molding. The four corners of the ceiling contain octagonal panels that echo the building’s design and represent the Arts of Sculpture, Painting, Music, and Literature. The ceiling’s center panel contains a dramatically lit sky scene, and the proscenium arch that surrounds the stage appears to be marble, but is actually painted walnut.

And, acoustically, there’s not a bad seat in the house.

Stand at stage center and talk in a normal tone of voice, and you can be heard clearly from the furthest points in the room. That’s the Auditorium’s finest feature. It was specifically designed for music, plays, and non-political lectures.

And the classical music heard here, totally unenhanced electronically, is the way the composers expected it to sound, the way you would have heard it had you been alive at the time of its composition. That includes not only small ensembles and chamber music groups, but full symphony orchestras as well.

In fact in 1933, two years before it formally incorporated, founder Paul Katz (then only 26) and the Dayton Philharmonic Orchestra (DPO) used the Auditorium to practice before performing two concerts there in June. After moving to Memorial Hall, the DPO continued to use the Auditorium as a rehearsal site until the 1960s.

On Thursday­, January 26 at 8pm, the DPO will perform in the Renaissance Auditorium once more in Concertmaster’s Choice, represented solely by DPO Concertmaster Jessica Hung accompanied on piano by Zsolt Bognár (his first name is pronounced “Zholt”; the Zs sounds like the “s” in pleasure). Like Paul Katz when he first performed there, both these musicians are in their twenties.

But Jessica’s performed there before. “I performed in the Renaissance Auditorium at the Dayton Art Institute for my recital last season,” she states, “and it is a very special place.”

And she has performed in enough places to make an accurate comparison. Violinist Jessica Hung is Concertmaster of not only the DPO, but she also serves as Concertmaster of the Annapolis Symphony Orchestra and previously held the same position in the Chicago Civic, Northwestern University, Cleveland Institute of Music (CIM), and Ashland Symphony Orchestras. She was also Assistant Concertmaster with the Akron Symphony Orchestra.

“As a relatively new member of Dayton’s artistic community, it is an honor to be part of the city’s rich cultural history and to perform live right in the footsteps of my predecessors, surrounded by great works of both traditional and modern art.”

Zsolt Bognár joins Jessica for this engagement, adding his sensitive accompanist’s skills to four works for violin and piano by Beethoven, Franck, Prokofiev, and Gershwin.

­Born in Urbana, Illinois, in 1982, Zsolt carries triple citizenship in the United States, the European Union/Hungary, and the Philippines. In 2007 he was the recipient of a Distinguished Fellowship Award to the Music Academy of the West in Santa Barbara, where he worked with Jerome Lowenthal and won the Carlisle Medal from the Wideman Competition the same year.

“I first performed with Zsolt before I actually met him,” Jessica remembers. “He is a few years older than I and had won the CIM Concerto Competition, and I happened to be in the orchestra that was accompanying him on Tchaikovsky’s Piano Concerto No. 2 in G major.  I thought his playing was phenomenal – technically superb, but most importantly characterized by real emotional depth, which I value in any musician. I was so spellbound by his cadenza (long solo section) at the concert that I almost forgot to come in afterwards!  Later, we met through a mutual friend and simply became good friends.”

“This is thankfully not the first time that I have worked with another soloist in a duo-recital setting,” Zsolt remarks. “Musical friendships are the most rewarding aspect of a performing artist’s activities, and a number of my musical partnerships from student days were not only rewarding, but several of my musical friends went on to hold major orchestral positions.”

Zolt has  known Jessica through school for about five years, and they met through friends. “Performing on stage with friends is my favorite way to make music – it becomes about sharing,” he states, “It’s a back-and-forth between the performers and the audience. Musical phrases and ideas take on a new meaning and authenticity when heartfelt, which is so much easier to sense when on stage with a close friend and musical colleague.”

Especially in the warm, resonant ambiance of the Dayton Art Institute’s Renaissance Auditorium…

Concertmaster’s Choice

Thursday­, January 26, 2012
6:30 pm, Dayton Art Institute Renaissance Auditorium ­

BEETHOVEN Sonata for Violin and Piano No. 4 in A minor NOTES
FRANCK Sonata for Violin and Piano in A major NOTES
PROKOFIEV Sonata for Violin and Piano No. 1 in F minor NOTES
GERSHWIN (arr. HEIFETZ) Three Preludes for Violin and Piano NOTES

JESSICA HUNG concertmaster WEBSITE
ZSOLT BOGNAR piano WEBSITE 
Click for Tickets

A Lovely Night

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The incredibly tuneful and timeless legacy of American musical theater pioneers Richard Rodgers and Oscar Hammerstein II is saluted in Walter Bobbie’s 1994 Tony Award-nominated revue “A Grand Night for Singing,” fluidly staged and choreographed by Richard Croskey at the Dayton Playhouse.

Infused with romantic ambience and sophistication, “Grand Night” breezily spotlights the joy, sentimentality and wit that colored the dynamic duo’s groundbreaking collaboration, spanning 16 years (1943-1959) and 11 productions (“Oklahoma!” to “The Sound of Music”). Instead of adopting the engagingly anecdotal, composer-driven blueprint of “Side By Side By Sondheim,” the 1977 Tony Award-nominated revue that inserts facts and tidbits to create an expansive, eye-opening narrative, Bobbie links each song by varying relationship-driven themes such as budding love, hurtful rejection and parental tenderness. His decision isn’t conceptually substantive, especially for R&H fans desiring to know more about them as songwriters and producers, but is an accurate reflection of the title, a clear reminder that the music is paramount.

Consisting of 38 songs and an unnecessary intermission, “Grand Night” unfolds as a familiar and eclectic hodgepodge. As with most revues, some of my favorites didn’t make the cut (in this instance, the long list includes “A Cockeyed Optimist,” “A Fellow Needs a Girl,” “Getting to Know You,” “I Am Going to Like It Here,” “I Whistle a Happy Tune,” “In My Own Little Corner,” “Mister Snow,” “My Lord and Master,” “People Will Say We’re in Love,” “That’s for Me,” “The Next Time It Happens,” “What’s the Use of Wond’rin’,” “You Are Beautiful,” “You Are Never Away,” “Younger than Springtime” and “You’ll Never Walk Alone”). Still, I particularly admire the refreshing twists within Fred Wells’ intricate music arrangements, the obscure “All At Once You Love Her” from 1955’s “Pipe Dream,” and the five chestnuts from 1947’s underappreciated “Allegro,” particularly “I Know It Can Happen Again” and sublime “So Far.”

Cast of "A Grand Night for Singing"

Croskey’s cast, backed by musical director Ron Kindell’s excellent orchestra complete with harp, cello and grand piano, is comprised of an admirable, cohesively interactive quintet. Carol Chatfield offers lovely renditions of the aforementioned “Allegro” tunes and a very heartfelt “Something Wonderful.” Kathy Clark winningly handles such strong character numbers as “A Wonderful Guy,” “The Gentleman Is A Dope” and “If I Loved You.” Patricia DiPasquale-Krul, who joins Chatfield and Clark for a jazzy version of “I’m Gonna Wash That Man Right Outta My Hair,” pensively interprets “Do I Love You Because You’re Beautiful?” Tom Lehmann, sweetly partnered with DiPasquale-Krul for “When The Children Are Asleep,” supplies an absolutely striking, encore-worthy rendition of the gorgeous ballad “Love, Look Away,” lushly accented by cellist Anna Brossart. Matthew Bone is occasionally pitchy yet specifically succeeds with “This Nearly Was Mine.”

The prickly Rodgers and the sensitive Hammerstein might have been unlikely partners, but “Grand Night” warmly ensures their indelible handiwork, unabashedly heightening the thrill of beautiful mornings and enchanted evenings, will remain impactful for generations to come.

“A Grand Night for Singing” continues through Jan. 15 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 46 minutes; Act Two: 36 minutes. Tickets are $10-$15. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org

Stepping in the Spotlight

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DPO gives the ultimate team player the ball

Christina Coletta

She is hardly a rookie.

She received her first musical instruction in public school, studied privately with Youngstown State University Professor of Music Michael Gelfand, and became a Bachelor of Music and Artist Diploma student of Lee Fiser at the Cincinnati College-Conservatory of Music.

She served as Principal Cellist of the CCM Philharmonia, performed as soloist with the Starling Chamber Orchestra, appeared in a live interview and performance for a WGUC broadcast,  and attended the Chautauqua Music Festival studying there and performing in master classes.

She has performed with the Columbus Symphony Orchestra, served as interim Principal Cellist with the Cincinnati Chamber Orchestra, and frequently served as an extra musician with the Cincinnati Symphony Orchestra, performing with the orchestra on its 2008 European and China tours.

The Cincinnati Enquirer has praised her for her “beautifully felt” playing. A passionate chamber musician, she has performed with the Amicus Chamber Players and is a member of Concert:Nova, a Cincinnati-based chamber music ensemble dedicated to presenting chamber music in fresh, exciting, and unexpected ways.

She is also a founding member of the Duveneck String Quartet and has performed with them throughout the Cincinnati and Dayton areas.

She is hardly an ingénue. But, for all her experience and ability, she remains just out of the range of the spotlight.

She is Christina Coletta, Assistant Principal Cellist of the Dayton Philharmonic Orchestra. And on Sunday, January 22 at 3 pm in the Dayton Masonic Center, when the DPO presents the second concert in its Graeter’s Symphony Sundaes Series, Christina will do something she’s never done before.

She will headline.

“This is the first time I’ve headlined a DPO concert,” Christina states, “although I was the guest cellist with the DPO Principals Quartet for the Schubert Cello Quintet at the Schuster Center a couple seasons ago. I’m incredibly excited to be performing as a soloist this season! This piece, the Brahms Double concerto for cello and violin, is one of the greatest pieces of music in the concerto repertoire. Beyond the unusual use of not one, but two soloists, it has a fabulous orchestral accompaniment, rich and textured.  It’s very much a three-part partnership between violin, cello and orchestra.”

Kirstin Greenlaw, DPO Principal Second Violinist, performs the violin solo. The program also includes Beethoven’s Fourth Symphony.

“There’s nothing “secondary” about the accompaniment (on the Brahms Double concerto), and I love that,” she remarks. “It’s also a fascinating piece of music in that Brahms composed it as a musical olive branch to an estranged, yet dear, friend, the great violinist Joseph Joachim. There are many moments in the piece where the cello most certainly represents Brahms, and the violin is Joachim. Their friendship suffered as a result of Joachim’s divorce, during which Brahms sided with the Joachim’s wife. That’s such an important piece of information to the listener, because – while this piece is not “programmatic” – it is the result of a situation that is still relevant today.”

Kirstin Greenlaw

“The one thing I wish I could express to modern listeners, and especially to people who think that classical music is irrelevant, is that this music was born from the same circumstances that drive modern music. Someone fell in love, their heart got broken, and in the aftermath a symphony was written. It’s no different than when Taylor Swift writes a song today. I wish more people understood that. I think there’d be more connection between the listener and the music if they did. And consequently more desire to explore what classical music has to offer a twenty-first-century listener.”

This is not the first time Christina has performed with fellow orchestra member Kirstin Greenlaw.

“Kirstin and I have been playing chamber music together for over ten years,” Christina notes. “I first played with her when we performed the Brahms Clarinet Quintet with Principal Clarinetist John Kurakowa for a DPO lunchtime concert at the Victoria Theater. We have since played regularly together as members of the Duveneck String Quartet and most recently as the Trillium Quartet with DPO violist Belinda Reuning Burge and violinist Sujean Kim. So, obviously we totally enjoy working together and respect one another immensely as musicians, colleagues, and dear friends.  Kirstin is a fabulous violinist and performer, and I’m so excited to be playing this wonderful piece, written by Brahms with friendship in mind, with her.”

I asked Christina for her impressions of what DPO musicians are like and her general observations on the life of a musician who plays for more than one musical organization.

“Well, I think that’s a two-part question,” she replied. “First, DPO musicians are some of the most talented and committed musicians I have ever worked with. I have had the privilege of playing with several “bigger” orchestras in my career, and I honestly wouldn’t trade my current colleagues for anything. There is a sense of camaraderie and genuine high regard for one another that is not found everywhere in the classical music world.”

“Now, onto the second part of my answer. DPO musicians are also some of the hardest working musicians I know. Most of us have to play in several ensembles, teach, or have second jobs in other fields, as DPO is still a per-service ensemble and doesn’t yet provide benefits. So, I would say that DPO musicians are extremely busy and motivated people, juggling families, work, and their artistic passions.”

And on Sunday, January 22, Christina Coletta will take her artistic passion with her where it deserves to be seen and heard.

In the spotlight.

Greenlaw and Coletta at Center Stage
One Call Now presents Graeter’s Symphony Sundaes Series
Sunday, January 22 ~­ 2012
Dayton Masonic Center, 3 pm

BRAHMS Double Concerto
BEETHOVEN Symphony No. 4

NEAL GITTLEMAN conductor
KIRSTIN GREENLAW principal violinist
CHRISTINA COLETTA assistant principal cellist

 Click for Tickets

Open Auditions for Bus Stop at Dayton Playhouse

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The Dayton Playhouse will be holding auditions for Bus Stop on Monday, January 30 and Tuesday, January 31.  The play will run at the Dayton Playhouse Mar 16 – 25, 2012.  Auditions will begin at 7:00 p.m. both nights and will consist of cold readings from the script.  Some scripts are available for perusal in advance by contacting the director.

Bus Stop is a 1955 play by William Inge (the 1956 movie is only loosely based upon the original play). The action of the play takes place in a diner about 30 miles west ofKansas City in early March 1955. A freak snowstorm has halted the progress of the bus, and the eight characters (five on the bus) have a weather-enforced layover in the diner from approximately 1 to 5 a.m. Romantic, or quasi-romantic, relationships ensue between Grace and Carl, Professor Lyman and Elma, and Cherie and Bo. Virgil and Will are the older authority figures outside the relationships.

Character Descriptions:

Grace Hoylard  Owner of the diner, a “grass widow”. She is fortyish, and pretty in a fading, hard-bitten way. She has a passionate side to her nature, loving a good fight and the attentions of a good man.

Elma Duckworth An intelligent, but naive and impressionable high school girl. She is Grace’s waitress.

Will Masters The local sheriff. Tough as nails and brusque in manner, but goodhearted and a staunch Christian, described as a “deacon of his church”. A highly “moral” man in the general sense of the word.

Dr. Gerald Lyman A college philosophy professor who is articulate and charming but cannot hold a position, partially due to his resistance to any kind of authority, and partially due to his unfortunate taste for young women. He also has an obvious drinking problem.

Cherie A pretty young woman who comes from a difficult “hill folk” background, and has left her innocence far behind. She is an aspiring nightclub singer, but has never worked in any establishment above the level of “cheap dive”.

Bo Decker A brash young cowboy with boorish manners that hide a naivete almost as profound as Elma’s. He has convinced himself that Cherie will be his bride, though Cherie wants nothing to do with him.

Virgil Blessing (would be nice if actor also played the guitar) An older, wiser cowboy who has become a father figure to Bo (who was orphaned at the age of ten) as well as Bo’s head ranch hand.

Carl The bus driver, who has an ongoing “just passing through” relationship with Grace. As referenced repeatedly, this is purely sexual in nature.

The Dayton Playhouse is located at 1301 East Siebenthaler Ave, Dayton, OH45414.  For questions about the play, contact Matthew Smith at 937- 270-2794..  For information about the Dayton Playhouse, visit www.daytonplayhouse.org , or call the Dayton Playhouse at 937-424-8477.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions toMiamiValleyaudiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, a festival of new plays.

Holding Steady and New News at THE NEON

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Hello Everyone,

We had a very solid opening for TINKER TAILOR SOLDIER SPY, and I want to thank all of you who came out to support opening weekend at The Neon!  TTSS will stick around, and we are going to hold MY WEEK WITH MARILYN for one more week (Jan. 19 will be MARILYN’s final day).  Unfortunately, I have to report that we needed to move the opening date of CARNAGE, but the distributor didn’t want to wait for us…so we have to pass on playing it.  That said, the road will be clear for us to open THE ARTIST on January 20 as planned.

Click HERE for TINKER TAILOR’s official site.

[yframe url=’http://www.youtube.com/watch?v=6SRGi6GCt4k’]

On Saturday, January 28 at 3:00, our large auditorium has been rented to screen CALL OF THE SCENIC RIVER: AN OHIO JOURNEY.  “This film is the story of Ohio’s most natural waterways. Although few people realize that Ohio was the first state to declare a Scenic Rivers Program in March of 1968, Ohio’s program continues to lead river conservation because of it’s respect of private property, it’s commitment to designating the most ecologically intact systems, and it’s popular volunteer opportunities. Filmed by Ohio cinematographers, Mike King and Adam White, with underwater footage by Tom Mayor, – alumni of Wright State University’s Motion Picture Program – the film captures the stunning and natural beauty of these watershed eco-systems. A portion of the proceeds will benefit Rivers Unlimited, the nation’s oldest river conservation organization. RSVP and tickets ($10/ticket) may be purchased from the film’s website – CLICK LINK.”  (taken from press notes)

On Saturday, February 25 at noon, 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.

On Sunday morning, I’ll be heading to a conference for operators and owners of arthouse cinemas from across the country.  The conference is in Utah, so I’ll stick around for the first couple days of the Sundance Film Festival, too.  Please keep the staff nice and busy while I’m gone.

See you soon,

Jonathan

 

SHOWTIMES for

Fri. January 13 – Thur. January 19:

TINKER TAILOR SOLDIER SPY (R) 2 Hrs 07 Min

Friday, Saturday, Sunday:  1:15, 4:15, 7:15, 9:45

Monday: 3:30, 5:45, 8:15

Tuesday – Thursday:  2:30, 5:15, 8:00

MY WEEK WITH MARILYN (R) 1 Hr 39 Min

Friday: 12:50, 3:00, 5:10, 7:20, 9:30

Saturday: 12:50, 5:10, 7:20, 9:30

Sunday:  12:50, 3:00, 5:10, 7:20, 9:30

Monday: 3:30, 5:45, 8:00

Tuesday – Thursday:  3:00, 5:10, 7:20

COMING SOON:

As always, all dates are tentative.

Many of these dates will change.

In some cases, titles may disappear.

Jan. 20   THE ARTIST

TBD   THE HEDGEHOG

TBD   SHAME

TBD   A DANGEROUS METHOD

TBD   A SEPARATION

Follow the Yellow Brick Road

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MUSE MACHINE Wizard of OZMunchkins are gleefully rejoicing, Dorothy’s ruby pumps sparkle and Toto is behaving like a pro. The magical journey to Oz is taking shape as the Muse Machine, Dayton’s premier arts education organization celebrating its 30th anniversary, puts the finishing touches on its highly anticipated presentation of L. Frank Baum, Harold Arlen and E.Y. Harburg’s “The Wizard of Oz,” the Muse’s 28th annual student musical slated for January 12-15 at the Victoria Theatre.

Blessed with such beloved tunes as “Over the Rainbow,” “If I Were King of the Forest,” “Ding! Dong! The Witch is Dead!” and “If I Only Had a Brain, “Oz” will be comprised of over 100 Muse students from across the Miami Valley on stage, backstage, and in the orchestra pit. Eighty additional youngsters from Dayton Public Schools will be assembled as citizens of Munchkinland. Principals include Madeline Shelton as Dorothy Gale, Dan Baugn as Hunk/Scarecrow, Davis Sullivan as Hickory/ Tin Man, Jeremiah Plessinger as Zeke/Cowardly Lion, Hayley Penchoff as Glinda, Odette Gutierrez del Arroyo as Miss Gulch/Wicked Witch of the West, and Cameron Elliott as Professor Marvel, the Gatekeeper and the title role.

The large scale production, which uses John Kane’s familiar Royal Shakespeare Company adaptation of the iconic 1939 film, notably marks the directorial return of Drama Desk Award nominee Rufus Bonds, Jr. (“The Color Purple,” “The Lion King,” “Parade,” “Rent”) alongside New Orleans-based veteran Muse choreographer Lula Elzy. Muse Machine alum Timothy Olt, who has provided musical arrangements for the Muse summer concerts since 2009, serves as musical director, replacing longtime Muse musical director David Dusing.

With opening night practically within reach, the artistic team meticulously fine-tuned various elements at a recent rehearsal, fueling the Muse’s reputation for producing professional-caliber results. Bonds cautioned Baugn and Shelton to be mindful of the pace when the Scarecrow introduces himself to Dorothy. Following Shelton’s beautifully sincere rendition of “Over the Rainbow,” Olt advised her to use her instincts as a vocalist. During repeated run-throughs of “The Merry Old Land of Oz,” which incorporates twirls, firm arm movements, sharp hand gestures, and Elliott’s skillful tap dancing, Elzy encouraged the ensemble to remember the overall goal. “We’re striving for perfection,” she said. “You’re not performing for the audience, you’re in a scene. You’re having a conversation within the dance.”

Unlike his bold, reimagined approach to “Into the Woods” that startled Sondheim purists last year, Bonds says he purposefully strayed from conceptually tinkering with “Oz.” He approved inserting the jazzy if obscure “Jitterbug,” famously cut from the film yet retained in the score, but assures audiences the show is fundamentally based on the film’s roots and universal message.

“I kept the show as true as I could to the movie,” he said. “It’s what we know. It’s what we love. I didn’t want to put my own spin on it. I want the show to stay true to the integrity of the piece. The show is about possibilities, finding happiness. And happiness leads to finding a home, which is the foundation of your joy.”

Olt, a 1985 graduate of Kettering Fairmont High School and adjunct music professor at Miami University and Ohio Northern University, particularly finds enjoyment in the cast’s openness to discover “Oz” beyond the surface. In fact, he believes the show’s underlying themes continue to resonate with great meaning.

“’The Wizard of Oz’ has always been a part of my life, but when you’re young you don’t catch everything,” he said. “So I saw the movie again not too long ago and noticed issues such as segregation, slavery and discrimination. There really is a lot going on. And it’s great that the cast recognizes this show is more than just a musical.”

Muse memorably presented “Oz” in 1996 featuring a cast that included Tyler Maynard (currently appearing on Broadway in “On A Clear Day You Can See Forever”), Jill Paice (who recently appeared in “Irving Berlin’s White Christmas” at New Jersey’s Paper Mill Playhouse) and Tory Ross (who returns to Dayton next month starring as Rosemary Clooney in the Human Race Theatre Company’s production of the musical “Tenderly”). According to producer Douglas Merk, the organization had not planned to stage the show again, but ultimately felt it was the best option artistically and financially for 2012.

“’The Wizard of Oz’ has a positive message, is perfect for families and seemed to be the most viable for us in these difficult economic times,” he said. “A lot of theaters are struggling right now, but the reaction so far has been great. Many people are thrilled that we are doing it.”

Although the excitement of unveiling “Oz” is apparent for all involved, the fun and solidarity established during the rehearsal process has proven equally gratifying. Fittingly, the joy that will be evident on the Victoria stage will be a genuine reflection of the friendships within the cast.

“The Muse Machine offers the best of both worlds,” said understudy Steven Hix. “It’s about more than just the show. It’s a chance to meet so many special people.”

“The Wizard of Oz” will be presented Jan. 12-15 at the Victoria Theatre, 138 N. Main St. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 3 and 8 p.m. and Sunday at 2 p.m. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

 

The Dramatic Moment & Character Studies at DVAC

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"Peaceful Protests" by Issa Randall

The Dayton Visual Arts Center (DVAC) presents two new exhibitions which celebrate the synergies between Dayton’s ethnic and cultural communities. The Dramatic Moment is a solo exhibition by Dayton artist Issa Randall that presents figures that emerge from layers of torn, burned and collaged paper to create a provocative statement on the power of images. The Dramatic Moment will feature an exhibition brochure with writings by guest essayist Peter Ainsworth, London-based photographer, and the artist. Character Studies, DVAC’s second Members’ show of the season, includes selected works from all mediums that express the spirit of “character.”

Dayton artist, Issa Randall, has a Bachelor’s of Art in Communications from the University of Dayton and Master’s of Art in photography from the University of Arts, London. His work explores many aspects of U.S. society, from the role of politics and media to the effects that life has on ones mental space. His exhibition, The Dramatic Moment, features large-scale mixed-media pieces with arresting surfaces and imagery.

"Don't Burn the Trash" by Issa Randall

Randall, along with new executive director Eva Buttacavoli, will serve as co- jurors for Character Studies. This juried members’ exhibit will feature a variety of artwork by DVAC members that address how we define and identify character.

About REACH Across Dayton

Both exhibitions were organized in partnership with Sinclair Community College and EboNia Gallery for the 19th annual REACH (Realizing Ethnic Awareness and Cultural Heritage) Across Dayton project. Founded by artists and educators Tess Little, Willis “Bing” Davis and former DVAC executive director Paula Recko, this year’s REACH initiatives include Gallery Talks by exhibiting artists at each venue, a community art project of collaborative relief prints organized by “Bing” Davis, and a Studies Conference featuring sessions that explore the theme “In the Spirit of Developing Character” at Sinclair Community College.
The Dayton Visual Arts Center provides art for the community and a community for artists. DVAC receives operating support from the Ohio Arts Council, Culture Works, Montgomery County and the Virginia W. Kettering Foundation. The DVAC gallery, at 118 N. Jefferson St., in downtown Dayton, is free and open to the public five days each week, 11 a.m.- 6 p.m. Tuesday-Saturday. For more information, visit the Web site at www.daytonvisualarts.org or call (937) 224-3822.

Exhibition Dates

Jan. 17-Feb. 24, 2012

Exhibition Programs

Gallery Talk: Character Studies Artists & Community Art Project – Feb. 3, 6:15 p.m.

Gallery Talk: Issa Randall – Feb. 23, 5:30 p.m.

Studies Conference: In the Spirit of Building Character – Feb. 24, 8:30 a.m.-4:30 p.m.

at Sinclair Community College Ponitz Center

Closing Reception – Feb. 24, 5-7 p.m.

Where

Dayton Visual Arts Center

118 N. Jefferson St.

Downtown Dayton

Gallery Hours

11 a.m.-6 p.m., Tuesday-Saturday Closed Sunday & Monday

For more information

(937) 224.3822

www.daytonvisualarts.org

[email protected]

(from DVAC)

‘RED’ to Color the Loft Stage

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PAINTING by Richard Coatney

The New York Times calls RED “intense” and “exciting.”  The Chicago Tribune says it’s “stunning,” “compelling,” and “brilliant.”

The production of RED by The Human Race, Dayton’s own professional theatre company, will add at least one more adjective to the descriptions – “intimate.”  As highly-regarded as the big-stage productions have been, bringing famed artist Mark Rothko’s studio to life in the 219-seat Loft Theatre will make it an even more meaningful and personal event for theatergoers.

“What do you see?” asks Rothko in the opening line, and that line is the running theme of the play – what artists see, how they see it, how they hope viewers of their work will see it. RED manages both to be a look deep into the meaning of art and creation, and a scintillating study of Rothko, his relationship with his (fictional) assistant, Ken, and his conflicted views on commercialism.

What the audience will see involves a lot of painting, including preparation of a Rothko-sized canvas.

“It’s a glorious play,” says Human Race Resident Artist Michael Kenwood Lippert, who plays Rothko. “Rothko’s such an interesting character…he wanted people to use as much care looking at his art as he used in creating it.”

“It blew me away,” says Will Allan, who plays Ken. “Rothko’s larger than life, but Ken gives him another insight, while Ken gets invaluable lessons from Rothko.”

Michael Kenwood Lippert

Lippert is a very familiar figure through the Miami Valley, both from his performances with The Human Race, which go back to the company’s original production, Count Dracula, in 1986 and include such hits asOrphans, The Elephant Man, The Speed of Darkness and The Drawer Boy, and from his many years working in area schools for Muse Machine. He was a 2011 Governor’s Award for the Arts winner.

Allan is a local product, a 2005 graduate of Oakwood High School who now works out of Chicago, where he has been in two Jeff Award-winning Best Plays in the past three years (The History Boys and The Goat, or Who is Sylvia?). He recently became an Artistic Associate at Timeline, which the Wall Street Journal calls the Best Theatre Company in America, and was one of the Chicago Tribune’s 2011 Hot New Faces in Chicago Theatre.

“Michael and Will together are just combustible,” says director and Human Race Resident Artist Richard E. Hess, Chair of Drama at the Cincinnati College Conservatory of Music, “It’s fantastic.” Hess knows fantastic – the most recent of his many contributions at The Loft were Doubt, A Parable and I Am My Own Wife.

Mark Rothko

“On its surface, RED is a play about Mark Rothko, and it’s immense enjoyment to see a man like that come to life.” Says Hess. “Below that is the story of a man struggling deeply with immortality, with what one leaves behind. It’s gut-wrenching to watch an artist paved with such humanity.”

RED will include a collaboration with the Dayton Art Institute. During the run, the DAI will have a loaned Rothko work on display, and the institute’s gift shop is offering a 10% discount in January to buyers who show a RED ticket or stub.

Heather Jackson is Stage Manager for RED.  Mark Halpin designed the set, Lacee Rae Hart the costumes, Resident Artist John Rensel the lighting and Rich Dionne the sound, with Heather Powell is the Properties Master.

RED will have a Preview Night at The Loft Theatre January 19, with official Opening Night January 20 and performances through February 5. Tickets are available via www.humanracetheatre.org , by calling Ticket center Stage at (937) 228-3630, or at the Schuster Center Box Office. Student tickets are half price for all performances, and 25 seats at each end of The Loft are being sold for just $25 as part of The Human Race’s 25th Anniversary Season.

(from Human Race Theatre)

TINKER TAILOR SOLDIER SPY Opens Friday at THE NEON!

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Hello Everyone,

It’s time to say farewell to THE DESCENDANTS – one of our big hits from 2011.  If you haven’t seen the film yet (or need to see it again), you only have through Thursday to see it at THE NEON.  On Friday, we will open a film that has been long-awaited by several of you and a “Top 10” for numerous critics – TINKER TAILOR SOLDIER SPY.  For our other screen, MY WEEK WITH MARILYN will hold for another week.

I just found out that we will not be exclusive on TINKER TAILOR.  Though this is a big disappointment, I hope you’ll help us by telling your friends & family to please support this film at THE NEON.  Having a great opening weekend will help send the message to distributors that THE NEON is where people want to see smart, thought-provoking cinema.

Synopsis for TINKER TAILOR SOLDIER SPY: “The time is 1973. The Cold War of the mid-20th Century continues to damage international relations. Britain’s Secret Intelligence Service (SIS), a.k.a. MI6 and code-named the Circus, is striving to keep pace with other countries’ espionage efforts and to keep the U.K. secure. When things go awry, it’s up to top lieutenant, George Smiley, a career spy with razor-sharp senses, to get things back on track.” (Taken from Focus Features)  Based on the 1974 novel by John le Carre that “redefined the spy thriller,”  the new film stars Gary Oldman, John Hurt, Toby Jones, Colin Firth, Tom Hardy and Mark Strong.

Click this link to visit the film’s official site.

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

We have several organizations renting our space for special events in the coming weeks…so I’ll hopefully have more details for you by next week’s newsletter.

We hope to see you this weekend at THE NEON,

Jonathan

 

SHOWTIMES for Friday Jan 6 – Thursday Jan 12:

TINKER TAILOR SOLDIER SPY (R) 2 Hrs 07 Min

Friday, Saturday, Sunday:  1:00, 4:15, 7:15, 9:45

Monday – Thursday:  2:30, 5:15, 8:00

MY WEEK WITH MARILYN (R) 1 Hr 39 Min

Friday, Saturday, Sunday:  12:50, 3:00, 5:10, 7:20, 9:30

Monday – Thursday:  3:00, 5:10, 7:20

COMING SOON:

As always, all dates are tentative.

Many of these dates will change.

In some cases, titles may disappear. 

Jan. 13   CARNAGE

Jan. 20   THE ARTIST

TBD   THE HEDGEHOG

TBD   SHAME

TBD   A DANGEROUS METHOD 

Stivers School for the Arts Jazz Orchestra – Bound for NYC

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(from The Seedling Foundation)

The Stivers School for the Arts Jazz Orchestra is going to New York to perform at Lincoln Center as distinguished student artists with the New York City Jazz Festival.  The festival features the best of college jazz performers plus four selected high school ensembles, and as winners of the 2010 Berklee College of Music National High School Jazz Festival, Stivers was not required to audition for the spot on the New York City Jazz Festival lineup. Festival managers heard the Dayton group in Boston and extended the invitation.

Produced by Manhattan Concert Productions, the New York City Jazz Festival will feature Kurt Elling, the Grammy-winning male vocalist, and Bob Mintzer, multiple Grammy Award winner, composer, arranger and Yellowjackets big band leader. The Stivers Orchestra will participate in pre-performance workshops under the direction of  Festival Artistic Director Steve Zegree – internationally recognized as one of the most respected jazz conductors and active as a pianist, conductor and jazz clinician.

Benefit concert scheduled

The trip depends upon the orchestra raising funds for travel and registration. A benefit concert featuring the Stivers Jazz Orchestra is scheduled for 8:00pm on Saturday, January 21 at Stivers Centennial Hall. The concert will feature one of America’s finest jazz trumpeters, Derrick Gardner. Gardner, who travels with Harry Connick, Jr. and the Count Basie Orchestra, is a distinguished composer, arranger, performer and teacher.  For over 20 years Gardner has headed the Jazz Prophets, a distinguished sextet in the tradition of the funky, soulful jazz sound Cannonball Adderly and Horace Silver. Gardner has also performed with the Smithsonian Jazz Masterworks Orchestra.

General admission tickets for the benefit concert are $10. They can be ordered online at www.theseedlings.org or by calling 937-546-1675. Patron tickets are available at $50. Patrons are invited to a pre-performance reception with Derrick Gardner and will receive reserved seating. Patron tickets qualify for a $25 tax deduction.

Stivers Jazz Orchestra director Claude Thomas said of the Festival invitation, “In September, the Stivers Jazz Orchestra was invited to perform at the New York City Jazz Festival at Lincoln Center’s Allen Room. The invitation followed years of national performances by our Jazz Orchestra at Boston’s Berklee High School Jazz Festival. We have competed at Berklee 3 times and won 3 times,  including 2011.  How do you get to Carnegie Hall? ….. practice. In the jazz world, you ask how do you get to Lincoln Center? The same way, plus playing for the Dayton community like in our January 21st concert to raise travel and registration funds. The Stivers Jazz Orchestra is one of only 4 high schools in the country invited to perform, an unbelievable opportunity and honor for theDayton community, our school and students, past and present who have worked so hard to make this invitation a reality.”

The concert is sponsored by the seedling Foundation, a 501 [c] [3] non-profit organization that supports arts programs at Stivers School for the Arts.

For more information call Bill Pflaum, 937-469-2662.