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Sundance Hit MARTHA MARCY MAY MARLENE Opens Tomorrow at THE NEON!

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Hello Everyone,

Schedule-wise, we’ve got an odd week coming.  On Friday, we will open the Sundance hit MARTHA MARCY MAY MARLENE.  We’ll also hold both MARGIN CALL and TAKE SHELTER…but only for part of the week.  On Wednesday (Nov. 23) we will open THE DESCENDANTS…but I’ll wait until next week’s update to tell you lots more about that film (if you can’t wait, check out the official site).

Synopsis for MARTHA MARCY MAY MARLENE:  “MARTHA MARCY MAY MARLENE is a powerful psychological thriller starring Elizabeth Olsen as Martha, a young woman rapidly unraveling amidst her attempt to reclaim a normal life after fleeing from a cult and its charismatic leader. Seeking help from her estranged older sister Lucy and brother-in-law, Martha is unable and unwilling to reveal the truth about her disappearance. When her memories trigger a chilling paranoia that her former cult could still be pursuing her, the line between Martha’s reality and delusion begins to blur.” (Fox Searchlight)  I had the chance to briefly speak with Elizabeth Olsen at this year’s Toronto Film Festival.  She was quite approachable and grounded, but I can tell that she’s going to be a big star.  Her performance in this film is fantastic!  Many people are calling the film “This year’s WINTER’S BONE.”  Click this LINK to visit the film’s official website.

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And don’t forget that we’ll be hosting holiday films on Saturdays in December…sponsored by The Downtown Dayton Partnership, DP&L and THE NEON.  The movies begin at noon and are free for children 12 and under; other tickets are only $2 each.  On December 3, we will play MIRACLE ON 34th STREET (original 1947 version).  On December 10 – POLAR EXPRESS.  And lastly, on December 17, we will play A CHRISTMAS STORY.  All of these movies will be presented via digital video projection.

Here’s some great news.  THE ARTIST, an absolutely delightful film, has been scheduled to open exclusively at THE NEON on December 25!  If you watch CBS Sunday Morning, you more than likely saw the segment this past weekend.  If you don’t know anything about the film, check out the trailer for this black & white treat.

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Hope to see you very soon,

Jonathan

 

SHOWTIMES for Fri. Nov 18 – Tue. Nov 22:

MARGIN CALL (R) 1 Hrs 47 Min

Friday,Saturday, Sunday:  12:20, 2:40, 7:20

Monday & Tuesday:  2:40, 7:20

TAKE SHELTER (R) 2 Hrs

Friday,Saturday, Sunday:  5:00, 9:40

Monday & Tuesday: 5:00

MARTHA MARCY MAY MARLENE (R) 1 Hr 42 Min

Friday,Saturday, Sunday:  12:45, 3:00, 5:15, 7:30, 9:50

Monday & Tuesday:  3:00, 5:15, 7:30

COMING SOON:

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

In some cases, titles may disappear.

Nov. 23  THE DESCENDANTS

TBD   THE SKIN I LIVE IN

TBD   MELANCHOLIA

Dec. 16   WEEKEND

Dec. 25   THE ARTIST

TBD   THE HEDGEHOG

Victoria Theatre Association Presents: Les Miserables

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(Read our On Stage Dayton review of Les Misérables by Russell Florence, Jr.)

Victoria Theatre Association announces the cast for Cameron Mackintosh’s new 25th anniversary production of Les Misérables premiere Dayton engagement at the Benjamin & Marian Schuster  Performing Arts Center, November 22-27, 2011. The all new production of Les Misérables features glorious new staging and spectacular reimagined scenery inspired by the paintings of Victor Hugo.  To purchase tickets, visit www.ticketcenterstage.com, call 937-228-3630, or visit Ticket Center Stage Box Office, located in the Wintergarden of the Schuster Center. Ticket prices start at $40.00.  For more information on the production, engagement dates, and locations please visit www.LesMis.com. For a video sneak peek of the New 25th Anniversary Production of Les Misérables, please visit www.LesMis.com/watch.

J. Mark McVey portrays the fugitive Jean Valjean.  He is joined by Andrew Varela as Javert, Richard Vida as Thénardier, Shawna M. Hamic as Madame Thénardier, Betsy Morgan as Fantine, Jeremy Hays as Enjolras, Chasten Harmon as Éponine, Max Quinlan as Marius and Jenny Latimer as Cosette.  Maya Jade Frank and Juliana Simone alternate in the role of Little Cosette/Young Éponine.  Anthony Pierini and Sam Poon alternate in the role of Gavroche.

The New York Times calls Les Misérables “an unquestionably spectacular production from start to finish.” The London Times hails the new show “a five star hit, astonishingly powerful and as good as the original.”  The Star-Ledger says “a dynamically re-imagined hit.  This Les Misérables has improved with age” and NY1-TV proclaims “this new production actually exceeds the original. The storytelling is clearer, the perspective grittier and the motivations more honest. Musical theatre fans can rejoice: Les Miz is born again.”

“I’m delighted that 25 years after Les Miz originally opened in London the audience for this marvelous show is bigger and younger than ever before,” said producer Cameron Mackintosh. “Over the years I have seen many successful but visually different productions, so it has been exciting to draw inspiration from the brilliant drawings and paintings of Victor Hugo himself, integrated with spectacular projections.  The new Les Miz is a magnificent mix of dazzling images and epic staging, driving one of the greatest musical stories ever told.”

Based on Victor Hugo’s classic novel, Les Misérables is an epic and uplifting story about the survival of the human spirit.  The magnificent score of Les Misérables includes the classic songs “I Dreamed a Dream,” “On My Own,” “Stars,” “Bring Him Home,” “Do You Hear the People Sing?,” “One Day More,” “Empty Chairs at Empty Tables,” “Master Of The House” and many more.

Cameron Mackintosh’s new production of Boublil and Schönberg’s Les Misérables has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer from the original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and original adaptation by Trevor Nunn and John Caird. The original Les Misérables orchestrations are by John Cameron with new orchestrations by Christopher Jahnke and additional orchestrations by Stephen Metcalfe and Stephen Brooker.  The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and additional costumes by Christine Rowlands, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and projections by Fifty-Nine Productions.

Les Misérables originally opened in London at the Barbican Theatre on October 8, 1985, transferred to the Palace Theatre on December 4, 1985 and moved to its current home at the Queen’s Theatre on April 3, 2004 where it continues to play to packed houses. When Les Misérables celebrated its 21st London birthday on October 8, 2006, it became the World’s Longest-Running Musical, surpassing the record previously held by Cats in London’s West End.

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In celebration of its 25th anniversary, the legendary musical Les Misérables made theatrical history with an international first – three different productions in London at the same time. The Original Production (still playing to packed houses at the Queen’s Theatre), the acclaimed New 25th Anniversary Production at the Barbican (where the show originally premiered) and a celebratory concert at The O2 Arena.  The O2 Concert was presented in over 500 cinemas throughout the United States on November 17, 2010 and is now available on Blu-ray DVD through Universal Studios Home Entertainment.

The Broadway production of Les Misérables originally opened at the Broadway Theatre on March 12, 1987 and transferred to the Imperial Theatre on October 17, 1990 running for 6,680 performances.  The US National Tour began in November 1987 and visited over 150 cities before closing in St. Louis, MO in 2006.  Broadway audiences welcomed Les Miz back to New York on November 9, 2006 where the show played the Broadhurst Theatre until its final performance on January 6, 2008. To date, Les Misérables remains the 3rd longest-running Broadway production of all time.

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Seen by nearly 60 million people worldwide in 42 countries and in 21 languages, Les Misérables is undisputedly one of the world’s most popular musicals ever written, with new productions continually opening around the globe, with seven more currently scheduled. There have been 36 cast recordings of Les Misérables, including the multi-platinum London cast recording, the Grammy Award-winning Broadway cast and complete symphonic albums and the soon to be released live recording of the New 25th Anniversary Production. The video of the 10th Anniversary Royal Albert Hall Gala Concert has sold millions of copies worldwide, making it one of the best-selling musical videos ever in the UK. There are over 2,500 productions of the Les Misérables School’s Edition scheduled or being performed by over 125,000 school children in the UK, US and Australia, making it the most successful musical ever produced in schools. Cameron Mackintosh is currently developing a film of Les Misérables with Working Title and Universal.

Les Misérables is welcomed by Victoria Theatre Association, with the help of Leadership Sponsors WHIO-TV and the WinWholesale and The Win Group of Companies; and, Performance Sponsors WHIO AM/FM and K 99.1.

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TICKET CONTEST

We have a pair of tickets to see Les Misérables on November 23, courtesy of Victoria Theatre Association!  Just fill out the form below and you’ll be entered to win in our drawing on Friday November 18th.  Check back here on the 18th to see if you’ve won – GOOD LUCK!

Contest Closed

Congratulations to Amanda Barhorst, she is our winner!

Dayton librarian’s whale of an art book scores big

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Matt Kish presents “Moby-Dick In Pictures: One Drawing For Every Page”

The legendary 19th-century novel Moby-Dick, or The Whale, is a story of obsession. No one, perhaps, understands that obsession quite so well as a Dayton librarian who spent 543 days creating an illustration for each of Moby-Dick’s pages – and now has the published book to prove it.

Matt Kish, who lives in Columbus, describes the closing months as brutal: “Those final 100 or so pages, when the book itself becomes pretty bleak, I had no personal time whatsoever, and I knew the only way I was going to get my life back was to finish this project.

“The only way through it was to symbolically kill the whale myself. I isolated myself, because I felt I had to save every available ounce of energy for the project. I became just as obsessed with finishing the project as Ahab was with the whale. Thankfully, my wife stayed with me.”

The final drawing emerged Jan. 29, his book contract was completed, and now the only obsession in Kish’s life is dealing with the incredible publicity his project has generated.
“I’m simultaneously excited by it all and overwhelmed and exhausted,” he says.

A whale of a response

How much publicity? Starting just a few days into the project, his posts to a daily blog for friends and family began to be featured on literary and art websites and talked about all over the globe. In December 2009, he was invited to speak about his work in New York.

Within days, even though he hadn’t even reached the halfway mark of the book, he was approached by an agent who almost immediately landed him a publisher.

“It started slow, but then things happened with dizzying speed,” Kish recalls. “This incredibly personal exploration of the novel suddenly had a contract and a deadline.”

He speculates that there’s three reasons for the powerful response.

“Moby-Dick is a cultural touchstone. Even people that haven’t read it, they know the whale, they know Ahab, they know Ishmael, they know that it ends tragically. It’s part of our cultural consciousness. It’s really an American myth.”
The second reason? Kish is not a formally trained artist. Yet his bold, unusual style is immediately gripping, conveying a raw emotional presence with every image. Some pieces are abstract, others intensely detailed. He used spray paint, brushes and ink, ballpoint pens, colored pencil, acrylics, collage, markers, stickers. The quickest took 30 minutes, others took up to 12 hours.

“I know if my work was to be critiqued, there are long lists of errors and completely missing blocks of an art foundation,” Kish says. “I didn’t even attempt to make my illustrations historically accurate. It’s very much about my life, my perspective – it’s influenced by video games I played in the ’80s, comic books from my childhood, covers of progressive rock albums from my dad’s basement. So it’s something that’s never been seen.”
The third reason? The sheer insanity factor of anyone taking on such a monster project.

Life-long connection

“Monster” being the key word. Kish says his lifelong passion for Herman Melville’s 1851 novel began around age 5, when he saw a film version of the story.

“The movie monsters were fictional, but this grabbed me,” he says. “This was a monster that could almost have been real.”

An illustrated children’s version of the story was his next encounter with the white whale; he read the full novel for the first time in junior high. Seven more trips through the book would pass before he started the project.

“What’s odd is that each time I read it, it’s shown me things that almost seem to echo or parallel things happening in my own life — the complexities of growing up and growing old and dealing with life,” Kish says. “In some ways, really grappling with that book requires some life experience.”

In 2009, the former English teacher and bookstore clerk heard about a man illustrating every page of another famous novel.

“I was feeling very creatively restless. I wasn’t really enjoying what I was drawing anymore,” Kish says. “I realized it had been four or five years since I read Moby-Dick, the longest absence in my life. And I thought, ‘I’m just going to jump right in. It’s a way to get me closer to the book, and this is going to keep me inspired artistically.’ And the next day I got started. That was Aug. 5, 2009.”

Two years later, on Nov. 13, Kish will share his creation with readers used to seeing his touch in the DVD, CD and young adult collections. He says he’s not sure what art will flow next for him.

“This project completely shaped and structured my life every day for a year and a half, and that was really trying,” Kish says. “I had an intense sense of relief to finally be done. But I was also really wistful. All those characters had become companions to me.”

To attend

Matt Kish presents “Moby Dick In Pictures: One Drawing For Every Page” at 2 p.m. Sunday, Nov. 13, at the Dayton Metro Library, downtown branch, 215 E. Third St., Dayton. The event is free. Information: 937-463-2665, http://everypageofmobydick.blogspot.com.

Worlds Collide In The Bayou

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Malachi-Phree J. Pate – Yvette Williams – J. Miguel Conrado Rojas (photo by Scott J. Kimmins)

Long before the critically acclaimed Tony Kushner joined the pantheon of great American playwrights with his iconic “Angels in America” saga, he was raised in Lake Charles, Louisiana by musical parents (his father and mother favored woodwinds) who employed an African-American maid. Decades later, exceptionally assisted by composer Jeanine Tesori (“Thoroughly Modern Millie”), Kushner loosely chronicled his impressionable 1960s childhood by providing book and lyrics for the compelling sung-through musical “Caroline, or Change,” a thoroughly engaging, stunningly whimsical tale of personal strife, cultural shifts, race relations, and domestic economics that garnered numerous 2004 Tony Award nominations and currently receives an outstanding local premiere courtesy of the Human Race Theatre Company.

Set in Lake Charles during November and December of 1963, “Caroline” sharply centers on abrasive, divorced African-American maid Caroline Thibodeaux, a hard-working, churchgoing mother of four earning $30 per week from an emotionally scarred Jewish family consisting of recent widower Stuart, his supportive new wife Rose and their young son Noah. Idolized, befriended and innocently pestered by Noah, Caroline (splendidly portrayed by Tanesha Gary of the original Broadway cast) routinely finds solace in the family’s scorching basement while conversing with her faithful posse: a washing machine, radio and dryer. These soulfully inanimate devices provide revealing commentary on a variety of situations chipping away at Caroline’s spirit, particularly her meager finances, troubling history as a battered wife and the danger of defying her employers. Following news of John F. Kennedy’s assassination, situations swell when Rose asks Caroline to keep any spare change she finds in Noah’s pants pockets. What begins as a simple exercise ultimately sparks a clash that brings Caroline, surviving on her last nerve, to a pivotal breaking point psychologically and spiritually.

Unsurprisingly, Kushner’s musical theater debut is not without his standard polemic impulses. His insightful if prolonged libretto, greatly benefitting from its civil rights era backdrop, specifically overreaches when Rose’s outspoken father arrives for Hanukkah and eventually berates the cause of African-American non-violence. Even so, this musical character study, warmly and atmospherically directed by Scott Stoney, is not defiantly agenda-driven, marking a stylistic departure for the sociopolitical Kushner. He creates colliding worlds beyond Northerners and Southerners or whites and blacks. Most significantly, he depicts the judgmental mentality within the black community in terms of class, opportunity, religion and terminology. In turn, profound drama arises, particularly when Caroline, virtually living at a standstill at the age of 39, finds herself at odds with the bold progressiveness of her old friend-turned-college student Dotty Moffett (the wonderfully earthy Taprena Augustine) and her spirited, rebellious daughter Emmie (the absolutely radiant Yvette Williams). In a dynamic, verbally heated sequence, strikingly accented by the anthropomorphoric appearances of the Moon (the winsome Tonya Thompson) and the Bus (booming baritone Dwelvan David, who also portrays the Dryer), Dotty bluntly responds to a furious Caroline with a poetic retort recalling August Wilson: “Sorry you is sick and shame/Sorry you drinkin’ misery tea/Sorry your life ain’t what it should be.” Soon after, their wounds begin to heal in “Moon Trio,” a truly ravishing, quasi-operatic number within a melodically sublime, lyrically beguiling score flavorfully encompassing Yiddish Klezmer, blues, gospel, familiar holiday strains, and Motown-inspired R&B.

Whether humorously dreaming of Nat King Cole in “Gonna Pass Me a Law” or executing a powerhouse rendition of Caroline’s emotional aria “Lot’s Wife,” Tanesha Gary, masterly comprehending the vocally demanding complexities of the score, firmly humanizes a character some might perceive as excessively cold, prideful or standoffish. (A male equivalent would be Leo Frank, the protagonist of the underrated Jason Robert Brown/Alfred Uhry musical “Parade”.) In a refreshing departure from Tony nominee Tonya Pinkins’ imposing yet harsh portrayal, Gary doesn’t overplay Caroline’s tough rigidity, which can be intimidating and downright chilling, most notably in her climatic Act 2 exchange with Noah (the endearing, focused Brendan Plate). Caroline, suffocated by her stubbornness, may never be the life of the party, but she isn’t a woman made of stone. In every inch of Gary’s skillful performance, it is possible to connect on some level with the substantial weight of Caroline’s painful struggles and deep disenchantment which keep her from experiencing and obtaining her idea of fulfillment.

Additionally luminous within the intimate world of “Caroline” are the pleasant Brittany Campbell as the Washing Machine, amiable Adrienne Gibbons Oehlers as Rose, a convincingly detached Bruce Sabath (of the 2007 Tony Award-winning actor/musician revival of “Company”) as Stuart, the delightfully compatible Kay Bosse and K.L. Storer as Grandma and Grandpa Gellman, the vigorous Saul Caplan as Mr. Stopnick, the adorable Malachi-Phree J. Pate and J. Miguel Conrado Rojas (who winningly step into the spotlight for the infectious “Roosevelt Petrucius Coleslaw”), respectively, as Caroline’s young sons Jackie and Joe, and the terrifically magnetic Ashanti J’Aria, Kimberly Shay Hamby and Shawn Storms as the Radio. J’Aria, Hamby and Storms, supplying a lovely version of the beautifully harmonic gem “Salty Teardrops” late in Act 2, synchronize in the aisles with fetching finesse thanks to choreographer Teressa Wylie, who captures the girl group essence of the 1960s with similar pizzazz in Wright State University’s current production of “Hairspray.” Dan Gray’s attractive set effectively incorporating a turntable, Kristine Kearney’s fine period costumes, John Rensel’s expert lighting design, Nathan D. Dean’s crisp sound design evocatively summoning the outdoors, and music director Scot Woolley’s commendable offstage orchestra also heighten the production’s immense appeal.

“Change come fast and change come slow but change come Caroline Thibodeaux,” warns the Moon. Transition, in all forms, is an inescapable fact of life uniquely addressed in the remarkably relevant “Caroline, or Change,” which blew me away when I saw its off-Broadway incarnation and subsequent Broadway transfer. Without question, the Human Race has created an equally unforgettable, must see presentation.

“Caroline, or Change” continues through Nov. 20 at the Loft Theatre, 126 N. Main St. Performances are Wednesdays-Saturdays at 8 p.m. and Sunday at 2 p.m. Act One: 60 minutes; Act Two: 65 minutes. A special post-show discussion will be held following the Nov. 13 performance. Tickets are $15.50-$40. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

MARGIN CALL Opens Friday at THE NEON!

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Hello Everyone,

Opening weekend of TAKE SHELTER was perfect.  We had a couple full houses, and folks have really been liking the film.  Many thanks to all of you who attended our special Q&As with Tyler Davidson – having the chance to pose questions and gain further insight into the film was a great opportunity, and I’m so glad many of you were able to come out.

TAKE SHELTER will hold over for another week, and we’ll open a new film about the 2008 Wall Street collapse – MARGIN CALL – on Friday (the cast of this film is enough reason to see it…but the reviews are great, too).  If you still need to see THE WAY, Thursday will be your last chance to see it at THE NEON.

Synopsis for MARGIN CALL:  “This tense Wall Street thriller follows the staff of a high-powered brokerage firm in the 24 hours before the stock market crash of 2008. Featuring an all-star cast, Margin Call was one of the most talked about films of the Sundance Film Festival and was also the Opening Night selection of New Directors/New Films.” (Roadside Attractions)  Click this LINK to visit the film’s official website.

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The Ohio Liberty Film Festival is gearing up for its third year this November.  With numerous presenters and sponsors, the festival is able to make admission free to all of their screenings.  Click this LINK to see the entire line-up for various venues around town.  The following are movies that will play at THE NEON:  Friday, Nov. 11 at 3:00 – THE GREAT DICTATOR (The Charlie Chaplin classic).  Saturday, Nov. 12 at 1:30 – AS FAR AS MY FEET WILL CARRY ME. Sunday, Nov. 13 at 1:30 – PATTON.

There is only 1 film left for Living City’s VAMPIRE retrospective.  Single tickets will be available at the door before the screening for $8 each.  BRAM STOKER’S DRACULA (1992 – 35mm) will play November 14 at 7:30.

“Help support DATV and be inspired by short films that aim to make a difference in our lives. DATV presents the MEDIA THAT MATTERS SHORT FILM SHOWCASE on Thursday, November 17th at 7:30pm…The festival features 12 jury selected short films that tackle a broad range of social issues with humor, humanity and honesty in 12 minutes or less.  Special thanks to our sponsor Merrill Lynch Global Wealth Management OGDM Group – Centerville, Ohio…Proceeds from the event will benefit DATV.  DATV’s mission is to be a community forum that empowers all citizens to learn, create and express their ideas through electronic media…”  (taken from press notes)  Visit the official site for this event.  Tickets are already available at our box office for $10 each.

The rest of November is great!  With MARGIN CALL, MARTHA MARCY MAY MARLENE (the huge Sundance hit – being called “this year’s WINTER’S BONE”) and THE DESCENDANTS (an incredible film directed by Alexander Payne & starring George Clooney), I think we’ll be seeing a lot of you over the coming weeks!

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And don’t forget that we’ll be hosting holiday films on Saturdays in December…flyers are in our lobby now, and I’ll give you a full update next week.

For remaining showtimes for this week visit our site.

Hope to see you very soon,

Jonathan

SHOWTIMES for Nov 11 – Nov 17:

MARGIN CALL (R) 1 Hrs 47 Min

Friday: 12:20, 2:45, 5:00, 7:20, 9:40

Saturday, Sunday: 2:45, 5:00, 7:20, 9:40

Monday – Wednesday: 2:45, 5:00, 7:20

Thursday: 2:45, 5:00

TAKE SHELTER (R) 2 Hrs

Friday – Sunday: 12:30, 5:10, 7:30, 9:50

Monday: 2:50, 5:10

Tuesday – Thursday: 2:50, 5:10, 7:30

OHIO LIBERTY FILM FEST

The Great Dictoator (125 minutes) – Fri. at 3:00

As Far As My Feet Will Carry Me (158 min) – Sat. at 1:30

Patton (172 min) – Sun. at 1:30

BRAM STOKER’S DRACULA (R) 2 Hrs 8 Min

Monday: 7:30

MEDIA THAT MATTERS (NR)

Thursday: 7:30

COMING SOON:

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

In some cases, titles may disappear.

Nov. 18  MARTHA MARCY MAY MARLENE

Nov. 23  THE DESCENDANTS

Dec. 16   WEEKEND

 

 

 

 

 

TBD   THE ARTIST

TBD   THE SKIN I LIVE IN

 

TBD   MELANCHOLIA

TBD   THE HEDGEHOG

American Chronicles: The Art of Norman Rockwell – at DAI

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(from The Dayton Art Institute)

Norman Rockwell painted the best of America, creating indelible images of the lives, hopes, and dreams of Americans in the 20th century. Those images continue to resonate with subsequent generations, well into the 21st century.

 

"Checkers"

The Dayton Art Institute will celebrate the life and work of Norman Rockwell with the special exhibition American Chronicles: The Art of Norman Rockwell, presented by PNC. The exhibition opens Saturday, November 12 and runs through February 5, 2012.

The exhibition, organized by the Norman Rockwell Museum, explores Rockwell’s unparalleled role as an iconic American storyteller. American Chronicles features 42 original artworks from the Norman Rockwell Museum’s collection, including well-known images such as Triple Self-Portrait (1960), Girl at Mirror (1954), Going and Coming (1947), and Art Critic (1955). The exhibition also includes cover sheets of all 323 Saturday Evening Post covers created by Rockwell. His work for the Post spanned a remarkable 47 years, and the artist became a household name in the process.

Expertly weaving both narrative and painterly images, Rockwell was a consummate visual storyteller with a finely honed sense of what made an image successful in the rapidly changing era of mass media. Rockwell’s unique artistic legacy, established during 65 years of painting, offers a personal chronicle of 20th century life and aspirations that has both reflected and profoundly influenced American perceptions and ideals.

"Mine America's Coal"

American Chronicles traces the evolution of Rockwell’s art and iconography throughout his career – from carefully choreographed reflections on childhood innocence in paintings such as No Swimming (1921) to powerful, consciousness-raising images like The Problem We All Live With (1964), which documented the traumatic realities of desegregation in the South.

The exhibition also includes materials from the Museum’s archives that demonstrate how Rockwell worked, from preliminary sketches, photographs, color studies, and detailed drawings to the finished painting. Commentary focusing on recurring personal themes, artistic and cultural influences, and the commercial climate that influenced Rockwell’s creative process will be woven throughout the exhibition.

 

"Going and Coming"

Related Events and Programs

The Dayton Art Institute is planning a number of special events and programs in conjunction with American Chronicles. These include a Veterans Day Program on November 11, talks, workshops, the popular Tour and Tea programs, and a special visit by Ruby Bridges, the subject of Rockwell’s painting The Problem We All Live With.

Visitors to American Chronicles will also have the opportunity to have their pictures taken in front of a life-size Saturday Evening Post cover. Props will be available for those who want to create a Rockwell-inspired scene. Photos will be posted to the museum’s Flickr and Facebook pages.

For more about related events and programs, visit www.daytonartinstitute.org/rockwell or call the museum at 937-223-5277 to request a copy of the exhibition brochure.

How To Go:

"No Swimming"

American Chronicles: The Art of Norman Rockwell is on view at The Dayton Art Institute from November 12 – February 5, 2012.

Admission is $15 for adults, $13 for seniors (60+), students (18+ w/ID) and active military, $10 for youth (ages 7-17) and free for children (ages 6 & under). Museum members are free for their first visit, $10 for return visits. Exhibition tickets include admission to the museum’s permanent collection.

Exhibition audio guides, providing commentary on Norman Rockwell’s life and work, are available at the Visitor Services Desk for an additional $5.

Group tour packages are available, including docent-led tours of the exhibitions and boxed lunches from the museum’s Cafe. Group tickets (groups of 10 or more) are $13 per person. Information about group tours is available by contacting Mary Eberle, at 937-512-0152 or [email protected].

For more about the exhibition and other programs at The Dayton Art Institute, go to www.daytonartinstitute.org or call the museum at 937-223-5277. Be sure to also visit The Dayton Art Institute’s Facebook and Twitter pages for additional information and offers. On Twitter, look for the hashtag #rockwelldai.

Film Review – Take Shelter (A)

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Michael Shannon as Curtis

If you enjoy edge-of-your-seat psychological thrillers, I suggest you stop reading right now and go see Take Shelter. In one of the best movies I have seen all year, Michael Shannon (The Runaways, Revolutionary Road) gives a truly unforgettable performance as Curtis, a husband and father who believes he is struggling with a newly formed mental illness……but is he?

Director Jeff Nichols brings to the screen a multifaceted story, reaching many levels of human emotion. Curtis deals with things we all experience: strained relationships, unemployment, and the death of loved ones. But do we handle these issues while suffering from apocalyptic hallucinations, delusions and freakish nightmares? The line between what is reality and what is in the mind is completely blurred, and Curtis digs himself into a deeper and deeper hole (literally and figuratively).

Unable to communicate with his wife, Curtis delves further into a dark place, fearing the end of the world. The anxiety and terror overcomes every aspect of his life and causes him to make major changes that no one understands. Piece by piece, Curtis’s life begins to fall apart, and his solitary journey continues into despair.

This movie is the definition of the drama genre, and I am not exaggerating when I say my heart was pounding the entire time. The tension and apprehension that these characters convey is contagious and the last scene will…… well, you will just have to find out. Rachel Gearhardt, a senior college student who saw the movie on opening night adds, “The ending was the culmination of what was a very intense and thought-provoking movie.”

Aside from the high caliber cast, the film’s original music by David Wingo was nothing short of haunting. Paired with the incredible special effects done by the same company that worked on Avatar and The Curious Case of Benjamin Button, this movie is a recipe for a suspenseful experience you will not soon forget.

One of the more remarkable things about production that I learned in a post-film Q&A session with producer Tyler Davidson was that this picture was shot in a mere 24 days. Davidson mentioned that the film was produced entirely out of order and some of the work days lasted an entire 24 hours. There is no way an audience could ever tell that time was such an issue because the quality of production goes above and beyond. Jonathan McNeal, owner of The Neon, who attended the Toronto Film Festival and viewed 34 films over the span of just nine days ranked it among his top three favorites. The film has been nominated for six awards and won at the Cannes Film Festival and the Hollywood Film Festival.

A few words of advice for when you “take shelter” at The Neon, don’t forget your gas mask.

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Between a Rock and an Eternally Hard Place

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DPO presents a musical metaphor for our technology-dependent world

When I was a kid, it wasn’t all that unusual for one kid to call down his or her wrath on another. If you were really P-O’d at Bobby or Suzy, you might say something like, “I hope you fall down a deep well full of spiders that crawl in your ears and up your nose and suck your brains right out of your skull.”

Talk about spite.

And before you think such curses are child’s play, consider this: folklore is crammed with stories of people who actually did things as bad as that…and worse. For example….

In Greek mythology, there was a god named Prometheus, who committed an unpardonable crime – he brought fire to the world. For his crime, he was bound to a rock, where a giant bird picked away at his vitals in perpetuity. (They were eternally renewed and eternally destroyed each day.) Yeeeech!

After all, what was there for the gods to be so upset about? It was fire, for Pete’s sake. It heats homes, cooks food, melts metal. All good things. But obviously the gods had a different take on it.

And a brilliant American musical composer had a different take on it as well. He saw fire as representing technology, technology that has expanded for the last 500 years and drastically changed our society. Need an example?

Not quite 50 years ago, most businesses hired top- and middle-management personnel (mostly men) and supplied each with a secretary (mostly women), who performed all the clerical duties for the manager. Then technology, in the form of room-sized computers with all their support machinery (keypunch machines, optical character readers) changed the nature of the secretaries’ clerical duties to mostly those of a data entry clerk.

Not long after, managers found computer terminals on their desks replete with word processing and spreadsheet software. And looked up to see their secretaries were no longer there. An entire segment of the country’s workforce had disappeared; the company retained one secretary in each department, gave her the title of Administrative Assistant, and tasked her with hassling the various managers’ travel itineraries. In a short while, even she would disappear.

And the managers, both male and female now and armed with the new technology, became quasi-secretaries. As time passed and computer technology became infinitely smaller and more powerful it became all too prevalent for companies to dismiss large portions of their managerial staff and double the workload of those remaining. Why? To save money and increase profits.

And because they could.

Their managerial staff each had computers of their own so small that, if the managers couldn’t get all their work done in the 60-80 hours they spent in the office each week, they could simply take their computers (and their smart phones and tablets) home with them and do their work there. On their “free” time.

The American composer to whom I referred earlier is William Bolcom, a professor of composition at the University of Michigan. And his musical portrayal of the story of Prometheus follows in the footsteps of such other brilliant composers as Ludwig von Beethoven and Franz Liszt. But with a decidedly 21-st Century twist.

“We in the West have brought ourselves to a level of technical sophistication unknown to any other era,” Bolcom wrote in 2010. “We’ve wedged our way into almost-divine capability, unlike Prometheus who as a god was born with it – but at a price. We are now all Prometheus, chained to our rock of technological dependency; there is no question that our unprecedented advance has given the world enormous benefits we have no desire of relinquishing – nor should we – but we are enjoined to see the dark side of this bounty.”

And Bolcom’s Prometheus is a dark, and challenging, work.

Its musical materials are twisted, dissonant, uneven. The pianist represents Prometheus, and the chorus sings the text of Lord Byron’s poem of the same name. The orchestra is frenzied and explosive. The music gradually becomes more poetic, a salute to the spirit of mankind. Colorful. Peaceful.

Hopeful.

Promethean Exploits
 11/18 & 11/19 at 8 pm
 Schuster Center
Click For Tickets

On Friday and Saturday, November 18 and 19 at 8pm in the Schuster Center, the Dayton Philharmonic Orchestra presents Promethean Exploits, a program that features Beethoven’s Prometheus Overture, Bolcom’s Prometheus, Liszt’s Prometheus Symphonic Poem, and Beethoven’s Symphony No. 8. Guest pianist Jeffrey Biegel and the 120-plus members of the Dayton Philharmonic Orchestra Chorus, selected from singers from all over the Miami Valley, join Music Director Neal Gittleman and the DPO.

“When I was requested to write the present work for the same forces as Beethoven’s Choral Fantasy,” Bolcom writes, “I felt the piano part would be ideal in portraying Prometheus’ eternal agony; my Prometheus is perhaps the antithesis of the joyous mood of the Beethoven but is not devoid of hope, particularly if it points us to begin to understand our situation. This piece is dedicated to that hope.”

You Can’t Stop The Bliss

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Beth Conley in Hairspray

Pure theatrical joy fills Wright State University’s fantastic production of Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2003 Tony Award-winning musical “Hairspray.”

Radiantly performed by one of the most strikingly synchronized ensembles WSU has assembled, this funny, provocative, tuneful and uplifting tale of race and tolerance in 1962 Baltimore, based on the 1988 John Waters film of the same name, totally magnetizes with a breathtaking energy that rivals the original Broadway production. The ideal blend of Joe Deer’s vigorous direction and Teressa Wylie McWilliams’ marvelously sharp and spirited choreography remarkably produces non-stop, smile-inducing thrills effortlessly catapulting this showcase into the rare local realms of musical comedy heaven. The sheer exuberance of “Good Morning Baltimore” and “The Nicest Kids in Town,” the brilliantly precise “I Can Hear The Bells,” the flavorfully decade-inspired “Welcome to the 60’s,” the soulful exuberance of “Run and Tell That,” the seamlessly fluid transitions within “The Madison,” and the incredibly infectious finale are just some of the showstoppers worthy of endless encores.

The wonderfully vibrant Beth Conley endearingly portrays plus-sized teenage heroine Tracy Turnblad, who faces adversity while attempting to integrate the popular Corny Collins TV show. Tracy’s staunch desire to change the world in spite of numerous obstacles is not lost in Conley’s appealing performance complete with conviction, spunk, commendable vocals and fine dancing. Drew Helton equally shines as Edna, Tracy’s plain-spoken mother notably self-conscious about her weight. Exuding convincing femininity in drag, the hilarious Helton conveys a sweet sensitivity that humorously evaporates whenever his voice dips into a threatening lower register. He also establishes a bubbly rapport with the delightful Casey Jordan as Edna’s goofy husband Wilbur. They particularly interpret “Timeless to Me” beyond mere clowning to impressively depict a genuine reflection of an affectionate, enduring love between a man and a woman.

The cast of Hairspray

Jordan’s fellow featured players also provide strong, well crafted characterizations. Charming triple threat Ian DeVine dazzles as heartthrob Link Larkin, a budding pop artist forever changed by Tracy’s love and defiance. DeVine, a dynamite dancer compatibly paired with Conley, supplies a crisp, seductive rendition of “It Takes Two.” DeShawn Bowens, another fiery dancer, hits the mark as Seaweed J. Stubbs, who falls for Tracy’s ditzy best friend Penny Pingleton, amusingly embodied by Melissa Hall. Kylie Santoro and Nikki Nathan are deliciously and respectively vengeful as Velma and Amber Von Tussle, a cunning mother/daughter team seeking to destroy Tracy. The handsome James Oblak oozes charisma as Corny Collins. Aziza Macklin brings a sunny groove to her vocally demanding role as rhyming radio personality Mothermouth Maybelle. Dani Cox is enjoyable as Maybelle’s daughter Little Inez. Terrific chameleons Justin Talkington and Chrissy Bowen nearly steal the show in multiple roles. As the glamorous Dynamites, Jessica Horton, Cyndii Johnson and Taylor Montgomery beautifully capture the Motown essence fueling “Welcome to the 60’s.” Hannah Aicholtz, Alimamy Barrie, Ian Blanco, Zach Cossman, Kevin Ferguson, Darius Fincher, Kenneth Foster, Jon Hacker, Jessica Horton, Derrick Jordan, Taryn Lemmons, Layne McDuffie, Amy Murphy and Sierra Stacy complete the highly entertaining cast.

Act 2 opener “The Big Dollhouse” is curiously cut, but it is a minor quibble within a staging splendidly accented by Pam Knauert-Lavarnway’s eye-catching, nostalgic scenic design, Matthew P. Benjamin’s colorful lighting design and musical director Rick Church’s top-notch orchestra. There is also a topical relevance that resonates here in the midst of our current climate, specifically as Maybelle reminds Tracy and others to stay strong in their quest for change prior to the gospel power ballad “I Know Where I’ve Been.” Her inspirational words are intended to address civil rights yet could be a rallying cry for the Occupy Wall Street movement.

“Hairspray” is a familiar title for many Miami Valley theatergoers, but WSU’s version contains an inherently youthful enthusiasm unmatched by any previous production of the show in our area. Bravo!

“Hairspray” continues through Nov. 13 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursdays at 7 p.m. Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Act One: 73 minutes; Act Two: 50 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.

In related news, Wright State’s 2012-13 mainstage season will consist of “The Miracle Worker,” “Funny Girl,” “Witness for the Prosecution” and “Grand Hotel: The Musical.”

Dayton Playhouse’s “Master Harold… and the boys”

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L to R – Robert-Wayne Waldron as Willie; Ray Zupp as Hally; and Franklin Johnson as Sam

(from Dayton Playhouse)

You’re invited to share a wonderful evening of theatre and support the Dayton Playhouse.  Director Matthew Smith and his experienced cast will present the play Master Harold… and the boys as a Playhouse fundraiser.  The Play is written by Athol Fugard and is published by Samuel French.  This dedicated cast and crew have mounted the play on their own, in support of the Playhouse.

According to Brian Sharp, chairman of the Dayton Playhouse board, “We couldn’t be more excited about seeing this talented cast on our stage and we really appreciate their efforts in supporting the Playhouse.  This is a wonderfully moving play that everyone should see.   Our thanks go to Matt Smith and everyone who helped with this production.”

The story: Sam and Willie, two middle-aged African men have always been a part of seventeen-year-old Hally’s life, bonding despite the color barrier that could have easily separated them. With Hally’s tyrannical father on his way home after a stay at hospital, tension runs high and actions are regretted. A story about loyalty, acceptance and the pain involved with breaking the cycle of racism and violence.  Master Harold… and the Boys is a poignant drama highlighting important issues that still exist in today’s global society.

Smith has cast Franklin Johnson, of Dayton, in the role of Sam.  Robert-Wayne Waldron, also of Dayton, will play Willie, and Ray Zupp, of Vandalia, plays Hally.

The production is one weekend, November 4-6.  Friday and Saturday performances are at 8:00 p.m. and Sunday at 2:00 p.m.  The play will be presented at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, OH 45414.  Tickets are $10 general admission and may be reserved online at www.daytonplayhouse.org, or by calling the Dayton Playhouse box office 937-424-8477.  Box office hours are Monday, Wednesday and Friday from 2:00 -5:00 p.m. This show is not recommended for children under the age of 17 due to adult themes.  All proceeds from this non-season show will benefit the Dayton Playhouse.

WIN FREE TICKETS

DaytonMostMetro.com and Dayton Playhouse are giving away SIX PAIRS of tickets to see Master Harold… and the boys! Simply fill out the form below and we’ll draw two winners for each show.  GOOD LUCK!

Congratulations to our winners!

Friday 11/4
Cynthia Pauwels
Bethany Locklear

Saturday 11/5
Kristen Allen
Ria Megnin

Sunday 11/6
Patrick Santucci
Theresa Larson


An Unispiring Start to Dayton Dance Season

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This intrepid reviewer, a lover of the art form of dance in all of its permutations has viewed two concerts for DCDC and Dayton Ballet. Unfortunately, except for a couple of bright spots, this reviewer was left under whelmed to the point of concern.

I am fully aware that we are in perilous times in regards to funding for the arts, and as a native Daytonian I want to provide an enthusiastic, supportive review. I believe that honest dialogue about the works being presented is critical to the growth of beleaguered arts institutions. What was presented artistically by these two venerable institutions left this reviewer with a vexing quandary. I went into both concerts ever hopeful that my willingness to be in the audience would somehow be rewarded with exquisite transporting terpsichorean art that would engage me on so many levels. After attending several concerts by both companies I have shed my naïve beliefs that things will progress.

The DCDC concert, Director’s Cut, held the one choreographic bright spot of both concerts; the invigorating and bracingly contemporary work of Rodney Brown. The rest of the concert consisted of works presented in a collage from the forty years of artistic product from the DCDC legacy of classic works of the modern dance vernacular. My only disappointment in Rodney Brown’s work was that it highlighted the creakiness of everything else on the concert. I am a huge advocate of dance reconstruction and restoration. My love of Balanchine is steadfast and absolute. Unfortunately, watching the historic works of DCDC in this context was like looking at a tenth generation Xerox copy, washed out and barely legible as to render it useless.

Rodney Brown, a former dancer with DCDC, brought to the Dayton dance scene a glimpse of what is happening in the dance world. His work was a strikingly original work with a dance vocabulary shaped and influenced by the Europeans, Wayne McGregor, William Forsythe, Crystal Pite and Pina Bausch and grounded in the asthetitics of the post modernist legend Bebe Miller. Mr. Brown created a world that was both strange as well as unpredictable and utterly captivating. The Nearing was set on a quartet of the men from the company, who never looked better. The movement material was rooted in a relentless repetition that was punctutuated by moments of individual expression. It was like being transported into a dystopian dance drama that reminded me of Fritz Lang’s Metropolis, the 21st century forgotten men. I have not been this captivated since seeing the restaging of Adam Hoagland’s choreography at the Wright State Spring Dance Concert in the spring.

The Haunted series presented by Dayton Ballet contained two highlights; that it was mercifully brief and was at least danced with conviction. Watching this concert I will acknowledge that choreographically Sleepy Hollow was the most accomplished work of the two ballets presented and that is faint praise.

I believe that Dayton Ballet is filled with incredibly gifted performers that are completely invested. My fondest wish is that later in the year they will be showcased in vehicles worthy of those skills and talents.
The problem with both of these ballets resides in the question of “taste levels”. This was a strictly middlebrow production that held little charm or genuine delights to walk away with.
Every major performing arts organization in the United States wrestles with creating work that will attract audiences and fill the coffers, ie., safe entertainment that will appeal to the lowest common denominator. Our dance companies are not immune to this paradox. Yet in appealing to the lowest common denominator they are exposing not only their faults, but also the audience’s as well.

The Dayton arts audiences are complicit in this spiraling artistic bankruptcy. We simply have no concept of what well-produced dance looks like. I will give credit to the valiant efforts to reverse the declining fortunes of two formerly great artistic pillars of community; this is my only act of charity. I am saving my most barbed commentary for the Dayton arts audiences.

All of the art forms that are being presented in our community are typical to any city with a significant population. You have been great in your dutifulness in attending the arts events, purchasing season tickets, and being present. I applaud your levels of support. But are you aware that you are being presented work that is not reflective and indicative of the rest of the world? You are being short changed by not asking for more and knowing the difference.

Professionals in other fields (i.e, the medical fields, accounting & finance) are required to maintain some knowledge and awareness of trends on regional, national and international levels. This is no different for the arts. Yet our arts institutions are caught in a catch-22 in which they want to embrace change and new. We [the audience] are holding the arts back in our community by being so provincial.

Dayton Ballet is 74 years old and is older than New York City Ballet and younger than San Francisco Ballet, and we don’t possess any of the artistic chutzpah or forward thinking of either organization. Dayton Ballet can’t if the audience is not receptive to it. If Alvin Ailey can come back from the brink of collapse then DCDC can do it as well. It requires that you ramp up you skills as an arts patron and embrace quality. Here is what you need.

Knowledge

In the day and age of the lightning fast Internet connections, YouTube is your friend. Instead of wasting so much time on the cute kittens playing with balls of yarn or the ridiculous acts of human vacuity, invest in looking at the work of other dance companies from around the world before your brain rots. I will start you off with a list of companies and choreographers to experience.

Companies

  • New York City Ballet
  • San Francisco Ballet
  • Pacific Northwest Ballet
  • Boston Ballet
  • Houston Ballet
  • Alvin Ailey Dance Theatre
  • Cleo Parker Robinson
  • Lulu Washington

Choreographers

  • Wayne McGregor
  • William Forsythe
  • Bebe Miller
  • Adam Hoagland
  • Paul Taylor
  • Merce Cunningham
  • Pina Bausch

Knowledge Part 2

Read up on dance. Don’t say you love dance and your exposure is restricted to what is being seen on our stages. (And no your nieces or nephews recital does not count). It is time for you to invest a little more effort. There are excellent reviews of dance online in the New York Times. The libraries carry Dance Magazine and you can also rent DVD’s on NetFlix or stream them on Amazon. What have you got to lose?

A civilization is defined by the culture it produces and our community is being defined by the middlebrow entertainment that we seem to continually want to embrace. It is time for the audience to stop being complicit and develop a more sophisticated arts patronage. The artist in this community and this reviewer are desperately waiting for you to play catch up. Rise to the challenge.

I will start sharing my discoveries on the dance front through DMM. I will become your Sherpa guide through the vast terrain of dance material out there on the Internet. Hopefully this will lead us all to a better artistic mountain top. I believe that the arts organizations will figure out how to give you quality artistic productions if people on both sides of the curtain make the investment.

TAKE SHELTER – One of the Best of the Year – Opens Friday!

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Hello Everyone,

I hope you’re making plans to see TAKE SHELTER this weekend (read the DMM Film Review here).  This Ohio-made film was one of my absolute favorites from this year’s Toronto International Film Festival (I screened 34 films over the course of 9 days), and it has been garnering awards and great reviews around the world.  As a special treat, producer Tyler Davidson will be joining us for Q&As following a few screenings…and there’s no additional charge for these tickets (which are on sale now at our box office).  Showtimes with Q&As are noted below.

Thursday will be your last chance to see the charming French film with Gerard Depardieu and Gisele Casadesus – MY AFTERNOONS WITH MARGUERITTE.  Hurry down if you still need to see it.  Though audiences are loving this film, it hasn’t done well enough to stick around.

Synopsis for TAKE SHELTER:  “Curtis LaForche lives in a small town in Ohio with his wife, Samantha, and daughter, Hannah, a six-year-old deaf girl. When Curtis begins to have terrifying dreams, he keeps the visions to himself, channeling his anxiety into obsessively building a storm shelter in his backyard. His seemingly inexplicable behavior concerns and confounds those closest to him, but the resulting strain on his marriage and tension within his community can’t compare with Curtis’s privately held fear of what his dreams may truly signify.” (Sony Pictures Classics)  Visit the film’s official website.

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There are only 2 films left for Living City’s VAMPIRE retrospective…and both will be presented via 35mm.  Single tickets will be available at the door before each screening for $8 each.  Here are the remaining dates and films:

November 7 at 7:30 – INTERVIEW WITH THE VAMPIRE (35mm)

November 14 at 7:30 – BRAM STOKER’S DRACULA (1992 – 35mm).

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The Ohio Liberty Film Festival is gearing up for its third year this November.  With numerous presenters and sponsors, the festival is able to make admission free to all of their screenings.  Click the link to see the entire line-up for various venues around town.

The following are movies that will play at THE NEON:

Friday, Nov. 11 at 3:00 – THE GREAT DICTATOR (The Charlie Chaplin classic)

Saturday, Nov. 12 at 1:30 – AS FAR AS MY FEET WILL CARRY ME

Sunday, Nov. 13 at 1:30 – PATTON

“Help support DATV and be inspired by short films that aim to make a difference in our lives. DATV presents the MEDIA THAT MATTERS SHORT FILM SHOWCASE on Thursday, November 17th at 7:30pm…The festival features 12 jury selected short films that tackle a broad range of social issues with humor, humanity and honesty in 12 minutes or less.  Special thanks to our sponsor Merrill Lynch Global Wealth Management OGDM Group – Centerville, Ohio…Proceeds from the event will benefit DATV.  DATV’s mission is to be a community forum that empowers all citizens to learn, create and express their ideas through electronic media…”  (taken from press notes)  Visit the official site for this event.  Tickets are already available at our box office for $10 each.

We’ve already booked the perfect film for Thanksgiving weekend.  Alexander Payne’s new film THE DESCENDANTS (starring George Clooney) is fantastic!  In fact, I think it’s Payne’s best film yet.  Thanksgiving weekend is a crucial movie-going weekend for cinemas…and we hope you’ll make plans to see this great film with us!  To find out more about the film, visit the official site.

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For remaining showtimes for this week visit our site.

Hope to see you this weekend,

Jonathan

SHOWTIMES for Nov 4 – Nov 10:

THE WAY (PG-13) 2 Hrs 1 Min

Friday, Saturday, Sunday: 12:15, 2:40, 5:00, 7:30, 9:50

Monday: 2:45, 5:10

Tuesday – Thursday: 2:45, 5:10, 7:40

TAKE SHELTER (R) 2 Hrs

* – indicates a screening with special Q&A

Friday: 1:30, 4:15, 7:00*, 9:40

Saturday: 1:30, 4:15*, 7:00*, 9:40

Sunday: 1:30, 4:15, 7:00, 9:40

Monday – Thursday: 3:00, 5:30, 8:00

INTERVIEW WITH THE VAMPIRE (R) 2 Hrs 3 Min

Monday: 7:30

COMING SOON:

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

In some cases, titles may disappear.

Nov. 11   MARGIN CALL

Nov. 18  MARTHA MARCY MAY MARLENE

Nov. 23  THE DESCENDANTS

Dec. 16   WEEKEND

TBD   THE SKIN I LIVE IN

TBD   MELANCHOLIA

TBD   THE HEDGEHOG

Animal Heat That Lasts And Lasts And…

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DPO presents Three Dog Night in season kick-off of Rockin’ Orchestra Series

Exactly how does someone go about starting a rock band?

The most common approach involves amateurs with a burning desire to get into the music business, who meet at someone’s garage or rec room, set up their equipment, and begin by practicing cover songs, popular hits that most know by ear and for which few ever see any written music. Somewhere in the process, one or more of these aspiring rock stars will compose a song or two, and the group will practice performing its new, original music.

I don’t have access to the actual statistics, but I’m willing to bet that the overwhelming majority of these ventures end in years of mutually fond memories and little else. The music business is a hard taskmaster (this said from the perspective of personal experience).

Does it help if those involved in the startup of a rock band have some actual music industry experience? Definitely. A caveat here: there’s music industry experience, and then there’s music industry experience. Here’s a case in point….

It was the ‘60s. A young vocalist named Cory Wells was touring with Sonny and Cher, (music industry experience) when he met Danny Hutton, who had been loading and unloading records at the Disney studio (music industry experience, sort of…) before recording as a solo artist (music industry experience). See my point?

In 1968, they decide to pool their money and their talent and start a rock band of their own. But what to call the group? Hutton and Wells? Wells and Hutton? In the ‘60s, the conventional naming technique of referring to a group’s principal talent in its name had all but disappeared. While such groups as Loggins and Messina; Emerson, Lake and Palmer; and Crosby, Stills, Nash, and Young still followed the convention, the practice began to revert to one of picking highly unusual and often extremely esoteric names for rock bands, e.g., Buffalo Springfield, Jefferson Airplane, Crystal Harp, Steely Dan.

Not to be outdone, Hutton and Wells came up with a name that – while suitably cryptic to comply with the governing fashion – actually had a basis in conventional usage. Well, sort of…. It’s reputed that, on cold nights, Australian aborigines in the outback sleep with their dogs for warmth. The coldest evenings are known as three-dog nights….

Armed with a name that could stand toe-to-toe with the most enigmatic of band names, Three Dog Night went about ensuring that its name would not only be suitably mysterious, but it would also become a hallmark in the world of rock music for outstanding harmonies and arrangements. Virtually unknown itself, Three Dog Night threw in its lot with new and mostly undiscovered songwriters, recording music to the words and melodies of Harry Nilsson, Randy Newman, Elton John, Laura Nyro, Paul Williams, and Hoyt Axton.

And, man, did the evenings ever get warm.

Not to date myself, but I can remember water skiing at Lake Cumberland and Lake Herrington during summer days and joining my Ski Club buddies at night in our campground or in the lodge to enjoy a variety of refreshing liquid beverages and dance to the music of Three Dog Night. I found it amazing how upwards of sixty men and women could dance and – at one and the exact same time, with little or no direction – sing Jeremiah was a bullfrog; he was a good friend of mine completely in tune! Hey, this is my flashback; I can remember it the way I want, right?

Three Dog Night: Live with Orchestra at The Schuster Performing Arts Center
Saturday 11/12/2011 8pm
Click For Tickets

Joy to the World wasn’t the only one of Three Dog Night’s hits we and the rest of the world danced and sang to. After all, the group has had twenty-one consecutive Top 40 hits and twelve straight gold LPs, selling nearly 50 million records by the mid-‘70s. And the group continues to top the list of artists with the best Billboard Top 100 Chart average.

Still as good as ever, the 2011 version of Three Dog Night appears to be tireless. Beside founding members Cory Wells and Danny Hutton on lead vocals and original keyboardist Jimmy Greenspoon, the group now includes guitarist Michael Allsup, with Paul Kingery on bass and vocals and Pat Bautz on drums.

Their concert schedule is, to say the very least, formidable. In the last 25 years, the group has performed over 2,000 shows, including two Super Bowls. They were so busy, in fact, that it wasn’t until 2009 that the group released its first single in all that time, Heart Of Blues backed by the ballad Prayer of the Children. Face it; you rest, you rust.

43 years after it started, Three Dog Night looks back on a career that resulted in a body of work with 21 songs that became Top 40 hits. Reading the names of some of those titles, I can hear the music in my head: Mama Told Me, Joy to The World, Black And White, Shambala, Easy To Be Hard, An Old Fashioned Love Song, One, Eli’s Coming, and Celebrate.

If you want to hear them again, go to the Schuster Center on Saturday, Nov­ember 12 at 8 pm for Three Dog Night: Live with Orchestra. Experience Three Dog Night, backed by Music Director Neal Gittleman and the DPO. It might be cold outside, but don’t worry.

They’ve got the dogs to keep you warm.

November Novel Writing

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November is National Novel Writing Month. Put your leftover Halloween candy to use as midnight fuel for frantic writing sessions and gain an easy excuse out of an awkward family Thanksgiving dinner.

In the month of November, a few hundred thousand aspiring novelist attempt to write 50,000 words in a single month. But it’s not for the faint of art: over 200,000 WriMos attempted the Great American Novel last year but only 37,500 novels were completed.

Success Stories

The event has had its success stories though. New York bestseller Water for Elephants by Sara Gruen began as a NaNoWriMo novel, which transformed into a summer blockbuster featuring Reece Witherspoon and Robert Pattinson. And author Erin Morgenstern became an overnight sensation with her fantastical book, The Night Circus, which earned a six figure advance, starred reviews and a movie deal as well.

NaNoWriMo is free to join at the website. The site is notorious for crashing and running sluggishly during the first week of November due to massive traffic. But the staff at Office of Light and Letters, the creators of the NaNoWriMo project, recently converted to Ruby on Rails to prevent these problems. Registering early is key, as it is hard to play catch up once the month begins.

Dayton Events

Dayton has an active writing community and online forum board for its WriMos. There is an online meeting on October 31st at 11pm to countdown that last sane minutes before kickoff at midnight, where any questions can be answered.

The official launch party is on Saturday, November 5th from 1:00-5:30 pm at the Kettering-Moraine Library. The largest attended meeting, you can meet and greet your fellow Wrimos in person, brainstorm plot, snack on goodies and play Word Wars.

The rest of the month features coffee house meet-ups, word wars online, write-ins and TGIO (Thank God It’s Over) party in early December.

NaNoWriMo operates on an honor system where you log in your words online, to be verified at the end of the month. And whether you win or lose, any word count in the busy of month of November is an accomplishment to be celebrated.

You can join the NaNoWriMo adventure at www.nanowrimo.org. Log onto the Dayton forum to meet more aspiring and established local writers.

Wonderland: It’s Larger Than You Realize

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DPO features multi-talented actress, pop icon, singer, and social advocate Lynda Carter in SuperPops season opener

Where were you in ‘72?

Trick question. Actually, a better one might be “Where were you when you were 21?” In the service? Still in school? Pursuing a career?

Lynda Carter was coming off of four years of uphill climbing chasing the dream of a career in music. She had started in high school singing with Just Us, a makeshift quartet. At 17, she joined The Relatives, an aptly named band consisting of two of her cousins and drummer-cum-actor Gary Burghoff (“Radar” O’Reilly in the television series M*A*S*H). The group performed at the Sahara Hotel and Casino lounge in Las Vegas for three months, during all of which time Lynda had to enter through the kitchen; after all, she wasn’t 21.

Yet.

After a short stint at Arizona State University, Lynda dropped out to sing with a group called The Garfin Gathering with Lynda Carter. Good news: for their first performance the group got booked into a brand new San Francisco hotel. Bad news: the place was so new it didn’t have a sidewalk entrance. Result: they became part of the underground music movement…literally. Their audience consisted mainly of janitors and hotel guests whose cars were parked in the underground garage. She returned to Arizona in 1972, the year she turned 21.

Then things started to happen quickly. Lynda entered a local beauty contest, won, and kept winning until she had become Miss World USA representing the U.S. and reaching the semi-finals of the 1972 Miss World pageant. That’s when most of us first became aware of Lynda Carter.

We started seeing Lynda again, this time on TV in Starsky and Hutch, Cos, and Nakia and in several B-movies. The next time we saw Lynda, 1975, she had become Diana Prince, the alter ego of the title character in the TV series The New Adventures of Wonder Woman, a role that many continue to identify her with. And while that’s a good thing, it presents a most incomplete picture of the depth of artistic talent Lynda actually possesses on so many levels.

Besides the hit TV show, her acting credits span 8 movie and 27 television roles. And that’s just Lynda the actress. There’s also Lynda the singer/musician.

And the body of work she has amassed in that field is equally as impressive.

In the late ‘70s, Lynda recorded Portrait, an album on which she shares credit as co-writer on several numbers. In her appearances on five CBS TV variety specials, she worked with such musical stars as Ray Charles, Merle Haggard, George Benson, Eddie Rabbit, and Kenny Rogers. In the ‘80s, she made singing appearances on the Las Vegas Strip and Atlantic City. In 2005, Lynda appeared as Mama Morton in the West End London production of the musical Chicago. The Chicago: 10th Anniversary Edition CD box set contains her rendition of the song When You’re Good to Mama. In 2007, Lynda began touring the country with An Evening with Lynda Carter, a one-woman musical cabaret show. In 2009, she released her second album At Last; it climbed to tenth on Billboard’s Jazz Album Chart.

Not bad for someone who began her musical career taking singing lessons from a practitioner of homeopathic medicine who lived on an Indian reservation. And therein lays a clue to how Lynda not only developed her musical talent, but also the strength to handle the physical demands of her career.

By her own admission, Wonder Woman “is not a one-note samba.”

In an interview in the April, 2011 issue of Energy Times, Lynda spelled out details of the personal, natural health regimen that has helped her keep her stomach flat, her voice clear, and her strength at optimal levels. It involves taking blood tests to determine a treatment starting point and boosting her immune system with fish oil, vitamin D3, bee pollen, wheatgrass, and herbal teas. Dietary measures include consuming organic berries, almonds, walnuts, pecans, and honey with almond milk for breakfast; noshing favorites include homemade soups, cucumber slices mixed with hummus, salmon, and grass-fed meat and chicken.

And weight-bearing exercise, rowing (on the Potomac River) in a scull, yoga, stretching, and walking comprise her exercise regimen.

She needs to do all this, to keep in shape for her musical career and to keep up a schedule that involves many hours devoted to promoting breast cancer awareness. A stout supporter of the Susan G. Komen Foundation, Lynda has testified before Congress to raise attention to the need for early detection of lung cancer. Her mother had suffered from the need for constant removal of cysts from her breasts, and a friend has died of lung cancer. To debunk the myth that you need to be a smoker to contract lung cancer, Lynda points to the fact that they very air we breathe can be a source of infection. We’ve all read of the dangers of secondary smoke, but Lynda believes that such things as aerosols and pesticides can also be dangerous. And she takes every opportunity she has to warn people of the dangers and enlist support for early detection.

Friday and Saturday, November 4 and 5 at 8pm in the Schuster Center, the Dayton Philharmonic Orchestra presents Lynda Carter: The Wonder of Song. There you can see and hear an artist of not only great beauty and talent, but also of great content and character.

Lynda Carter: The Wonder of Song

November 4 & 5, 2011 at 8 pm

Location: Mead Theatre – Schuster Center

Click for Tickets

Family Matters

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The cast of Lost in Yonkers (Contributed photo)

In the midst of a busy, predominately impressive fall theater season, the Dayton Theatre Guild has effortlessly produced another hit. One month after the luminous local premiere of “Souvenir: A Fantasia on the Life of Florence Foster Jenkins,” the Guild offers an outstanding production of Neil Simon’s 1991 Tony Award and Pulitzer Prize-winning dramatic comedy “Lost in Yonkers.”

A delightfully authentic staging tenderly helmed by Fran Pesch, “Yonkers,” set in 1942-43, charms and captivates as the Kurnitz clan of Yonkers, New York lovingly squabbles with a domineering, opinionated matriarch known for ruling with an iron fist. The fiercely resolute Grandma (exquisitely portrayed with astute perception by Barbara Jorgensen) particularly failed to show a great deal of love for her children, who often describe her as being made of steel due to her harsh German upbringing. Although no one can erase the hurtful feelings  from years of emotional neglect, there is some sense that family wounds will continue to heal based on Grandma’s credo which values strength and survival. As she fittingly reminds her grandson, “It’s not so important that you hate me… It’s only important that you live.”

Jorgensen, as wonderful as she is, doesn’t have to carry the weight of this production on her shoulders. She is truly a key component within an ensemble, which allows her role to properly remain formidable and imposing without becoming overpowering. Philip Stock and Joel Daniel are equally and respectively terrific as Jay and Arty, whose coming-of-age journey under their grandmother’s guardianship frames the action. Perfectly cast as close-knit brothers trapped in a circumstance beyond their control for 10 months, Stock and Daniel endearingly embrace the bluntness, innocence and vulnerability within their colorful characters. Amy Diederich also shines as the incessantly chatty, childlike Bella, Jay and Arty’s doting aunt. Diederich’s superb delivery of Bella’s heartbreakingly poignant Act 2 monologue, in which she shares her desire to become a wife and have a family of her own, will bring tears to your eyes. Saverio Perugini, slick and shady, brings a cool, tough and intimidating edge to Louie, Jay and Arty’s gangster uncle. Rob Breving is nicely understated as Eddie, Jay and Arty’s father. Rachel Wilson delightfully portrays the audibly odd Gert, who prefers silence whenever possible.

In the Guild’s film hands, it’s a comfort to know “Lost in Yonkers” remains a splendid testament to the importance of legacy, unity and forgiveness as well as the invaluable maturity gained from lessons learned.

Lost in Yonkers continues through Nov. 6 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: 60 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org