The bizarre, hilarious and intriguing life of legendary eccentric soprano Florence Foster Jenkins, Manhattan’s most reliable musical laughingstock from 1912-1944, takes center stage in Stephen Temperly’s 2005 two-hander “Souvenir,” an unforgettable play with music receiving an outstanding local premiere courtesy of the Dayton Theatre Guild.

Subtitled “A Fantasia on the Life of Florence Foster Jenkins,” “Souvenir” inherently fascinates as it warmly if hurriedly chronicles the childlike naïveté, unyielding determination and non-existent talent of its extremely unique leading lady. Jenkins, a wealthy, musically inept socialite, firmly believed she was a remarkable vocalist even though she possessed an embarrassingly awful sound. Mistaking laughs for cheers, she assumed all was well as her popular charity recitals inside the Ritz Carlton ballroom left audiences baffled, delighted and hungry for more. Jenkins’ rise as a phenomenon ultimately led to her 1944 sellout concert at Carnegie Hall, which solidified her spot in the annals of pop culture and particularly left Marlene Dietrich in hysterics.

Personality and psychology factor into the allure of this intimate tale, but musicianship is the key ingredient that binds every element. Temperley smoothly frames the action in flashback from the vantage point of Jenkins’ devoted pianist Cosmé McMoon, a fledgling composer. Struggling to pay his rent, Cosmé agreed to assist and instruct, but remained perplexed and wary of his employer’s mystique. At one point, he admits Jenkins’ folly “was so stupendous you had to admire its scale.” Still, how far was too far? He eventually accepted the reality that she would never be the marvel imagined in her head, but delicate disagreements surfaced regarding their shared love of music. In fact, Cosmé believed notes were “absolute” while Jenkins felt they were merely “guideposts.” In theory, Cosmé is correct, but Jenkins’ view is valid, particularly by today’s debatable standards as pop singers such as Christina Aguilera, Beyoncé, Mariah Carey, Celine Dion and Jennifer Hudson relish the overuse of melisma, a melodic embellishment in which a series of notes are sung on one syllable.

Under Saul Caplan’s humorous yet tender direction, Reneé Franck-Reed and Charles Larkowski wonderfully and affectionately deliver performances so instinctive you’d think Temperley wrote the play specifically for them. Appealingly costumed by Robin Farinet, Franck-Reed, who has notably appeared with the Dayton Opera, Human Race Theatre Company and Cincinnati’s New Stage Collective, brilliantly tackles the crucial believability of singing off-key with terrible pitch and no sense of rhythm. Hearing a fine soprano like Franck-Reed seamlessly destroy classics by Mozart and Verdi is a thrilling hoot. Still, the chatty charm, oddball delusion and striking innocence that kept Jenkins endearing as a consummate non-professional is not neglected in her marvelously grounded performance, which grows heartbreaking when Jenkins finally grasps the truth at Carnegie Hall. Larkowski, in a very engaging Guild debut, blends perfectly with Franck-Reed. In addition to providing terrific accompaniment and sincere narration, he sharply conveys Cosmé’s deep insecurities while fulfilling his pivotal role as Jenkins’ primary motivator, comforter and protector.

“To abuse my voice would be unthinkable,” Jenkins proudly declares in one of many witty exchanges. Thanks to a beautifully crafted finale that reveals the music inside her mind and the dynamic duo of Franck-Reed and Larkowski, it is certainly unthinkable for you to miss this absolutely captivating production.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins will continue through Sept. 25 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: 55 minutes; Act Two: 40 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

[yframe url=’http://www.youtube.com/watch?v=6C5PIv_cUjM&feature=player_embedded’]

The vigorous tribal strains heard at the beginning of the Human Race Theatre Company’s excellent local premiere of Yasmina Reza’s fascinating absurdist comedy “God of Carnage,” the 2009 Tony Award winner for Best Play translated by Christopher Hampton, are not erroneous. In fact, they provide a perfect precursor to the hilariously brutal philosophical war that transpires between two New York couples trying to make amends following a playground brawl involving their sons.

Reza, who won her first Tony in 1998 for the sophisticated and slightly polarizing “Art,” supplies her most commercial, relatable work to date with “God of Carnage,” a sharp examination of self-righteous parenting and affluent arrogance set inside the attractive home of Michael (Tim Lile) and Veronica (Jennifer Johansen). As the uncouth, destructive sparks fly in Michael and Veronica’s battle with Alan (Rob Johansen) and Annette (Jennifer Joplin) as well as each other, it’s easy to pigeonhole the play as needlessly mean-spirited and over-the-top. However, both well-defined couples, who deceptively appear sensible and accepting at the outset, are justifiably cruel and damaged at the core. Underneath their hysterical facades, they have loveless marriages, bleak futures and no intention to truly agree for the greater good. In 90 engrossing minutes, Reza astutely peels away the hypocritical layers of four incredible fools who presume to know everything when in fact they know nothing.

Director Margarett Perry, expertly establishing an uneasy atmosphere that ebbs and flows between awkward tension and frenzied chaos, assembles a naturally compatible, first-rate quartet. The always striking Jennifer Johansen, rivaling the luminous ferocity of Marcia Gay Harden in the extraordinary original Broadway production, is simply outstanding as a domineering, highly intellectual and startlingly overprotective mother whose interest in Africa is particularly challenged beyond her expectations. Lile, so adept at physical comedy, humorously unleashes Michael’s fatherly pride, frustrated disgust and surprising bigotry. Rob Johansen, Jennifer’s real-life husband, provides a fine example of an annoying workaholic lawyer who would rather cling to his cell phone than his wife. Joplin wonderfully reveals the feistiness brewing below Annette’s unassuming persona.

Additionally, David A. Centers’ stylishly sleek set ranks among his best designs. The contributions of costumer Lacee Rae Hart, lighting designer John Rensel, sound designer Matthew P. Benjamin and properties master Heather Powell are also commendable.

“God of Carnage,” opening the Human Race’s 25th anniversary season, will arrive this fall on the big screen re-titled “Carnage,” directed by Oscar winner Roman Polanksi and featuring Oscar nominee John C. Reilly and Oscar winners Jodie Foster, Christoph Waltz and Kate Winslet (see trailer below). Polanksi’s version sounds promising, but the Human Race undoubtedly proves how audacious, entertaining and shocking Reza’s creation can be.

[yframe url=’http://www.youtube.com/watch?v=xxX02-KdsXM’]

God of Carnage continues through Sept. 25 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. A special forum discussion will be held following the Sunday, Sept. 18 performance. Tickets are $18.50-$40. However, as part of the celebration of the Human Race’s 25th anniversary season, there is also a ‘25-for-25’ ticket option with the 25 seats at each end of the Loft Theatre available for just $25 at every performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In related news, Jake Lockwood, who has appeared in such Human Race productions as ‘Rounding Third’ and ‘The 39 Steps,’ will conduct a free family improv workshop Saturday, September 24 from 6 to 9 p.m. at the Boonshoft Museum of Discovery’s Dayton Regional Science Festival. The Boonshoft Museum of Discovery is located at 2600 DeWeese Parkway. For more information, call (937) 275-7431 or visit www.boonshoftmuseum.org