Greg Smith and Barbara Jorgensen in Southern Comforts

The Young at Heart Players, Dayton’s only senior theater troupe, ushers in its second decade with a heartwarming and humorous production of Kathleen Clark’s 2006 two-hander “Southern Comforts,” presented in collaboration with the Dayton Theatre Guild.

Fluidly directed by YAHP founder Fran Pesch and set in a Victorian home in New Jersey circa 1996, “Southern Comforts,” as seen at its well paced final dress rehearsal, features very charming turns by Barbara Jorgensen and Greg Smith as Amanda Cross and Gus Klingman, a colorfully opinionated duo who learn to love again despite their personal and geographical differences. Clark predictably lays the groundwork for a happy ending in the first scene, but Jorgensen and Smith’s endearing chemistry and sharp characterizations keep the breezy action thoroughly engaging, particularly in the final minutes which provide touching closure.

Jorgensen effortlessly handles the casual ease and subtle complexities inherent in Amanda, a churchgoing chatterbox from Tennessee who loves baseball and still longs for romantic pleasures. She particularly shines with a captivating mix of anger and bewilderment late in Act 2 when Amanda grows perturbed and perplexed about Gus’ decision not to share a burial plot with her. As the strong-willed Gus, a New Jersey native still shaken by his late wife’s unhappiness and emotional detachment, Smith winningly reveals the inner struggle of a man reticent of losing his independence while genuinely longing for meaningful companionship. Although Gus totally desires a new chapter with Amanda, Smith astutely reiterates how difficult compromise can be.

“Southern Comforts” is intended for an older audience, but its tender sentiments and lasting reminder that all relationships must evolve and adapt has unlimited appeal.

Southern Comforts will be staged Friday, June 10 and Saturday, June 11 at 8 p.m. and Sunday, June 12 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave. The play is performed in 90 minutes with one 15 minute intermission. Tickets are $12 for seniors and students and $15 for adults. For more information, visit www.daytontheatreguild.org

Jamie Cordes and Maria Couch in right next to me

Composer Gregg Coffin, familiar to local musical theater aficionados for his masterful portrait of a fractured family (“Convenience”) and zany dose of musically flavorful romance (“Five Course Love”), is in the spotlight once more as the Human Race Theatre Company presents the regional premiere of his genuinely affecting, sung-through opus “right next to me,” a poignant, solemn and timely musical about love, loss and acceptance that in some respects feels as if it’s still a work in progress.

Since its 2009 Human Race workshop, “right next to me” underwent major rewrites resulting in a more succinct vision. It has smoothly advanced from a tale of three interweaving storylines to one that specifically focuses on the depressed, heartbroken Jen (Maria Couch), a widow struggling to move forward a year after her husband, Marine Major David Marshall (Jamie Cordes), was killed in Iraq. With the help of her brother-in-law, Marine Captain Michael Marshall (Jim Poulos), Jen is ultimately able to assess and endearingly reflect on the past and her current state of transition as she joins Michael in scattering David’s ashes at a variety of meaningful places per his request such as a sledding hill, a trestle bridge and an amusement park.

Oddly, the first and second scenes are slow, confusing and musically unexciting. Jen’s loyal friend Trish Holmes (Dana Mierlak) particularly opens the show with a bundle of energy, but there isn’t a clear indication of who she is or why she is an important presence. It is understandable Jen would need someone to confide in, but Trish, a busy supermom, is presently underdeveloped to the point of being superfluous. Mierlak, a fine vocalist, tries to inject depth into the role but her forced efforts, including her comedic timing, fall short under the otherwise fluidly focused direction of Melissa Rain Anderson.

Still, Jen and David’s appealingly surreal exchanges, a series of well-conceived flashbacks and the impactful journey of reconciliation between Jen and Michael evolving from rocky discord to tender hopefulness keep the action emotionally resonant while providing an assortment of tuneful pluses. Coffin, responsible for the expert orchestrations, admirably infuses evocative Middle Eastern inflections into the pop/ballad-friendly score for some of David’s Iraq-inspired numbers, solidly interpreted by Cordes in one of his most striking portrayals. Couch, a naturally emotive actress very compatible with Cordes throughout, especially in the delightful “Two Chilly People,” brings Act 1 to a tear-jerking finish with a beautifully pensive rendition of “I Can’t Believe You’re Gone,” a plaintive anthem detailing Jen’s shell-shocked existence. Poulos, so marvelous in “Convenience” opposite Anderson, equally shines, fully conveying Michael’s conflicted nature and bringing heartfelt sincerity to his desire to follow David’s example and become a better man. He also winningly sings the Billy Joel-esque “Confirm/Deny” and terrific title number, a quietly captivating song that deserves a reprise by Jen in the final scene.

Despite conceptual shortcomings, “right next to me” is one of the most engaging new works of the season. It certainly has the potential to be catapulted from decent to dynamic.

right next to me, which opened Friday, May 27, continues through Sunday, June 12 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There will be special 7 p.m. performances Sunday, June 5 and Tuesday, June 7. Act One: 73 minutes; Act Two: 40 minutes. The Friday, June 3 performance has been designated ‘Blue Star Mothers Night’ in which $10 from each adult single ticket purchase will be donated to the Dayton Chapter of Blue Star Mothers, an organization supporting military personnel and families. In addition, there will be a post-show talkback following the Sunday, June 5 matinee moderated by Human Race marketing director Leigh Allan and featuring composer Gregg Coffin. Before the June 7 performance, the Lite Fare at The Loft event, offering gourmet sandwiches and desserts for patrons in the Loft lobby courtesy of Citilites, will begin at 5:30 p.m. For tickets or additional information, call (937) 228-3630 or visit www.humanracetheatre.org.

In related news, the Human Race’s 2011 Festival of New Musicals will be held August 5-7 at the Loft Theatre. This year’s selections are Love Makes the World Go ’Round: The Songs of Bob Merrill, Pump Up the Volume (presented by Encore Theater Company and based on the 1990 film of the same name) and Play It Cool.

Geoff Burkman and Amy Brooks in Mauritius

Cincinnati native Theresa Rebeck’s terrifically engrossing 2007 comic drama “Mauritius” receives an excellent local premiere at the Dayton Theatre Guild.

Sharply staged with subtle nuances by Saul Caplan, “Mauritius” concerns the sibling rift between half-sisters Jackie (a dynamic Amy Brooks) and Mary (a firmly unyielding Teresa Connair) who differ on the sentimental value of a family stamp collection they possess following their mother’s death. In Jackie’s eyes, the rare collection –  potentially worth $6 million and containing a one-penny and two-penny “Post Office” stamp printed incorrectly in 1847 on the titular island near Madagascar – is the quick answer to her financial problems, but Mary feels it should be preserved in a museum as a tribute to her late grandfather. This intriguing conflict is the source of the play’s emotionally compelling pulse yet the astutely woven inclusion of three colorful stamp aficionados broadens the material past familial baggage in an attempt to raise its suspenseful stakes while addressing the complex delicacy associated with bargaining and negotiating.

Brooks, in a strikingly meticulous performance rivaling Alison Pill’s turn in the original Broadway production, embodies Jackie with marvelous tenacity and gumption. With casually instinctive yet passionate flair, she transforms Jackie into a formidable force and an impressively quick study into the world of stamp collecting. She also beautifully reveals the hurt and agony set into motion by Mary’s absence as their mother grew ill and during her youth, winningly implying late in the play that Jackie was abused by her father. Still, one of her finest moments, arriving at the end of Act 1 as Jackie and Mary reach a breaking point in their struggle to compromise, is splendidly shared with Connair, who avoids seeming prudish or uncaring in a role that is borderline icy and detached.

Additionally, Geoff Burkman absolutely shines as the foul-mouthed, easily irritable and incessantly stringent Sterling, an intimidating businessman who craves the art of the deal and prefers to call the shots. Burkman’s piercingly calm and cool delivery of Sterling’s enticing monologue about commerce and the stark reality of transactions, in which “the rules become your enemy,” is a magnetic high point. Alex Carmichal is equally convincing as Sterling’s less menacing colleague Dennis. Pat Santucci completes the cast as Philip, an ethically challenged philatelist at the center of one of the play’s juicy twists.

Choosing to live in the past or present is a key concern in this appealing creation from Rebeck, a Pulitzer Prize finalist for “Omnium Gatherum” who recently wrote the pilot episode for next season’s NBC Broadway-themed series “Smash.” Jackie and Mary’s bickering battle tears them apart, but witnessing their journey is well worth your time.

Mauritius, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 54 minutes; Act Two: 53 minutes. Tickets are $10-$17. The play contains adult language. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org