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Let’s Hear It for the ‘Boyz’

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Let’s Hear It for the ‘Boyz’

By Russell Florence, Jr.

Encore Theater Company supplies a thoroughly enjoyable production of Kevin Del Aguila, Gary Adler and Michael Patrick Walker’s critically acclaimed, long-running 2005 off-Broadway musical “Altar Boyz,” a breezy, funny, high spirited and occasionally touching pop parody conceived by Marc Kessler and Ken Davenport.

Staged at Sinclair Community College’s Blair Hall Theatre, “Altar Boyz” is presented as a final concert engagement for a contemporary Christian quintet (four Catholics, one Jewish) committed to “praising the Lord with funk and rhyme” while delivering their “Raise the Praise Tour” across the country. In the hands of a less sensitive creative team, this good-natured, witty tale might have uncomfortably resorted to the relentless backhanded spoofing associated with “The Book of Mormon,” but the material doesn’t offend. In fact, it deliciously satirizes religion and the boy band concept with equal punch. Some of the best jokes actually derive from the stereotypical nature of the band members, who are sharply written and easily relatable in their varying circumstances.

Drew Bowen, a standout Roger in Encore’s production of “Rent” last season, is incredibly credibly charming as lead singer Matthew, specifically wooing the ladies with the lovely ballad “Something About You.” As the fiery Juan, Zack Steele offers impressive diction and a confident aura of brooding machismo. Zach King effectively portrays Abraham with understated humor. Andrew J. Koslow, a Muse Machine alumnus returning home to offer one of his best performances, is simply excellent as the effeminate Mark, who pines for Matthew and was once confronted by “Episcopalian thugs.” As the rather dense Luke, Korey Harlow doesn’t possess a vocal range on par with his fellow actors, but his terrific dancing and bad boy persona are great assets.

Director-choreographer Lauren Morgan’s contributions are energetic and fluid, particularly her staging of “Rhythm in Me” and “The Miracle Song.” Music director Mark Barnhill leads a balanced on-stage band. Assistant director-choreographer Rodney Veal offers spooky, surreal projection design.

If you’re in the mood for lighthearted fun, “Altar Boyz” fits the bill.

Altar Boyz, which opened Thursday, June 16, concludes tonight at 8 p.m. in Blair Hall Theatre, Building 2, at Sinclair Community College, 444 W. Third St. The musical, featuring Encore co-founder/artistic director David Brush as the voice of God, is presented in 70 minutes without intermission. Tickets are $15. For tickets or more information, call (937) 512-2808, visit www.encoretheatercompany.com or e-mail [email protected]

An Entertaining Dickensian Delight

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The cast of The Mystery of Edwin Drood

Beavercreek Community Theatre delivers a zestful, warmly interactive and impressively sung production of Rupert Holmes’ tuneful, rarely staged 1986 Tony Award-winning musical “The Mystery of Edwin Drood,” an audience-friendly show within a show circa 1892 adapted from the unfinished novel of the same name by Charles Dickens.

Crisply directed in a witty tongue in cheek manner by Chris Harmon, also responsible for an attractive set complete with footlights and theater box, this breezy, well cast “Drood” engages from the start as a throng of Victorian performers from The Music Hall Royale casually connects with the audience before launching into the titular tale as an assortment of colorful characters. The love triangle-driven plot centers on crazed choirmaster John Jasper (Jonathan Berry) who, in Phantom-esque fashion, pines for his self-effacing student Rosa Bud (Bethany Locklear), a beautifully demure soul engaged to his carefree nephew Edwin Drood (Amy Leigh). When Edwin inexplicably disappears on Christmas Day, it’s anyone guess as to what happened. Since Dickens was unable to provide closure, the enjoyment of determining the mystery is left entirely in the hands of the audience, a conceptual hallmark ensuring appealing unpredictability.

Despite the fact that a few punch lines in the libretto fall flat or feel forced, Holmes nonetheless interweaves the world of the Music Hall Royale and Dickensian London with great skill, guided with crowd-pleasing vitality by Dean Swann as Chairman William Cartwright/Mayor Thomas Sapsea. Swann, a memorable Dr. Scott in BCT’s “The Rocky Horror Show” who possesses a knack for improvisation, winningly accents his slightly kooky, deceptively calculated portrayal with a jolly Zach Galifianakis sensibility. The equally excellent Berry, effortlessly brooding and primarily known for plays, supplies his most vocally arresting musical theater performance to date. Near the outset, he absolutely solidifies his strikingly unhinged embodiment of Jasper with an intense yet humorous rendition of “A Man Could Go Quite Mad.” Locklear, an outstanding soprano who commands the stage with graceful gentility, is a true find. Her plaintive interpretation of the gorgeous “Moonfall” is absolutely stunning. At the same rate, “The Name of Love,” her duet with Berry aided by John Falkenbach’s fiery red lighting design, pulsates with an alluring seductiveness recalling “The Point of No Return” from “The Phantom of the Opera” and “Dangerous Game” from “Jekyll & Hyde.” Leigh, who doubles as Dick Datchery, particularly fills her titular portrayal with charm, but I wish the excitable sparks prevalent within her stirring rendition of “The Writing on the Wall,” which concludes the show, were consistent in her work throughout.

Additionally, as the seedy Princess Puffer, Pam McGinnis is a reliably earthy joy delivering “The Wages of Sin” and “The Garden Path to Hell.” Charles Larkowski (Rev. Mr. Crisparkle), Shawn Hooks (Neville Landless), Jim Lockwood (Durdles), Bryan Wilcox (Deputy) and Thomas Cole Schreier (Bazzard) are apt comedians. Lindsay Sherman (Helena Landless), Jenna Owens (Wendy) and Tara Nicole Murphy (Beatrice) join Locklear for the lovely “Moonfall Quartet.” Megan Vander Kolk, Michael J. Stockstill, Matt Owens, Nicole Dine, Jennifer Wilson and Jeremy D. King complete the very compatible cast, who are nicely costumed in Victorian garb by Josh Hollister and energetically executes Annette Looper’s commendable choreography.

The Mystery of Edwin Drood, which opened Friday, June 10, will continue through Sunday, June 19 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. Act One: 79 minutes; Act Two: 55 minutes. Tickets are $13 for adults and $11 for students, seniors and BCT members. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org

Courthouse Square performers add entertainment to lunch hour

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Free pizza is served to the crowd in the square.

Now that the rain has finally stopped, Courthouse Square is the place to be weekdays at noontime.

Starting June 21 and lasting through Sept. 15, The Square is Where … will feature a variety of performers. Entertainment booked to date includes belly dancers, jugglers and a saxophonist.  The festivities will occur around noon on most Tuesdays through Fridays.

Spectators can enjoy the show while grabbing lunch served by food vendors. Additionally, the YMCA will be hosting practice yoga and Zumba classes, perfect for those looking to recharge during their lunch breaks.

The Square is Where … is inspired by Affair on the Square, an event that took place more than a decade ago.

Now the Downtown Dayton Partnership and Montgomery Country are presenting The Square is Where … is a part of the Greater Downtown Dayton Plan to encourage growth and development in the city center.

“We’re trying to show there is a thriving, vibrant downtown during the work day,” says Krystal Luketic, special event coordinator for the Downtown Dayton Partnership.

As details become available, a complete schedule will be posted on www.DowntownDayton.org and www.mcohio.org. Any local performers interesting in entertaining on the square should contact Ashleigh Nunamaker at 937-224-1518, ext. 235 or [email protected].

Bicycle Dreams Coming To Dayton

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(from Garry Harrington – promoter for Bicycle Dreams)

Bicycle Dreams, the award-winning feature-length documentary about the Race Across America (RAAM), will premiere at several cities along the route of the epic 3,000-mile bicycle race that will be held for the 30th year in 2011. This year’s race begins on June 14 in Oceanside, California, and will end 10 days later in Annapolis, Maryland.

To commemorate the 30th edition of what is considered by many the most challenging sporting event in the world, Bicycle Dreams will follow alongside the racers by showing the film in 10 cities along the route, including Dayton. The film will be shown at The Neon at 130 E. 5th St. at 7:30 p.m. on Wednesday, June 22.

The film, which has won numerous awards at film festivals all over the world, “is an up-close look at what RAAM riders go through,” says Stephen Auerbach, the director and producer of Bicycle Dreams. “They deal with searing desert heat, agonizing mountain climbs, and endless stretches of open road. And they do it all while battling extreme exhaustion and sleep deprivation. It’s a great subject for a film.”

“Bicycle Dreams is a spectacular and heartfelt film that offers a riveting portrait of extreme courage in the face of inhuman obstacles,” writes TheLoveOfMovies.com. “It is an artistic triumph that renewed my belief in the power of desire and the strength of the human will.”

The upcoming tour of the film is scheduled to coincide with the 2011 Race Across America, which begins on June 14 when riders leave from Oceanside, California. Bicycle Dreams will be shown in Flagstaff, Arizona; Durango, Colorado; Wichita, Kansas; Columbia, Missouri; St. Louis, Missouri; Indianapolis, Indiana; Dayton, Ohio; and Cincinnati, Ohio, during the RAAM’s run across the United States. The race is expected to end on or about June 24.

“We are very excited to be able to bring Bicycle Dreams to so many locations along the route that have never had access to the film before,” says Auerbach. “Viewers will be overwhelmed by the amount of pain and suffering these riders go through, and they will be able to see it all first-hand in the days following the film when the 2011 racers come through their towns.”

To capture the mammoth scope of the race, Auerbach worked around the clock with a complement of 18 cameras. Embedded camera operators traveled inside the racers’ support crew vehicles, gaining unprecedented access to the cyclists and their teams. Their footage captured emotional and physical breakdowns, late-night strategy sessions, and great moments of personal triumph, all in intimate detail. Auerbach then took on the enormous task of editing hundreds of hours of material and forming it into a powerful and inspiring look inside the most difficult race on the planet.

Bicycle Dreams has won major awards at the Fallbrook and Breckenridge film festivals, as well as the Yosemite, Grand Rapids, Red Rock and All Sports LA film festivals, among many others.

Most recently the film added the Best Foreign Film trophy from the Krasnogorski International Festival of Sports Films in Moscow and was also invited to be included in the 2011 World Cinema Showcase in New Zealand as well as the Mountain Film Festival in Istanbul, Turkey. And before that it made its Australian debut at the Big Pond Film Festival in Adelaide.

Critical acclaim for the film continues to pour in from all sources.

“An astonishing documentary.  This film is a ride of many stark contrasts; when it ended I felt both shattered and triumphant. I realized I was experiencing its genius. A central theme of Bicycle Dreams is the profoundly inspiring strength of the human in facing monumental challenge and tragedy. Bicycle Dreams is a race of truth.” –  Pez Cycling.

“This film isn’t for those who want to shy away from the tragic side of the human experience, unwilling to risk the cracking of their shell of denial, not willing to risk their coping mechanism,” writes Cycling-Review.com. “Bicycle Dreams captures the human condition like few other films. Bicycle Dreams moves us to break through the barrier of the fear of death. I have seldom found a film that captures this ‘life drama’ as powerfully as does Bicycle Dreams.”

Adds Podium Café, “Bicycle Dreams is the ultimate inner journey. If you thought the life of a cyclist was an internal struggle, wait until you see what Auerbach unearths in this film. Bicycle Dreams is an unprecedented exploration of the subject of the suffering on the bike.”

About.com writes, “As we fall deeper and deeper into Bicycle Dreams, what we witness grows more terrifying, yet more compelling. Auerbach’s masterful direction exposes the raw lessons that drive people to push beyond the limits of human endurance. Revealing what lies at the heart of every impossible human endeavor is what Bicycle Dreams is all about.”

And finally, Bicycle Touring Pro comments, “If you’ve ever dreamed of challenging yourself to a place far beyond what you previously thought was possible, Bicycle Dreams is a film you must see. It’s beautiful, thought provoking, exciting, emotional and scary. The experience of watching this film will leave you with a new perspective on life that will remain with you for a very long time to come.”

Bicycle Dreams also has been named one of the top 10 adventure films of all time by both The Matador Network and Playground Magazine.

The upcoming nationwide tour to be held in conjunction with the 2011 Race Across America will include a screening at the Neon in Dayton at 7:30 p.m. on Wednesday, June 22.

Tickets are $10 in advance and $15 at the door. To purchase advance tickets go to www.imathlete.com/events/bicycledreams. For more information on the film, go to www.bicycledreamsmovie.com or find us on Facebook.

[yframe url=’http://www.youtube.com/watch?v=y1ZWZrKSxxs’]

Performance, visual arts bring ‘cultural experience’ to Loft Theatre

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Tripple Croxx Entertainment, OFP Productions and the Human Race Theatre Company, present The Signature’s “Poetic Soul Fusion” show June 17.

The night, hosted by national slam poet Will Evans, will include appearances by HBO Def poet Sunni Patterson, acoustic soul singer Ken J. Martin and internationally renowned violinist Shaw Pong Liu. The performances will also recognize Black Music Month, Juneteenth and the accomplishments of the late Gil Scott-Heron.

Sierra Leone, producer of The Signature, says the show synthesizes performance and visual arts and will have something for everyone.

“It’s a cultural experience,” she says. “But we want to pay homage to other things taking place as well.”

Patterson, the featured artist, brings her New Orleans heritage into her music by adding some soulful flavor. She is known for both her visionary styling and her powerful delivery. With a resume that includes appearing on BET’s “Lyric Café,” and HBO’s “Def Poetry,” Patterson promises to bring a show-stopping performance.

Leone says through The Signature, artists like Patterson and can reach people.

“We believe creative art is the tangible element that connects us to our humanity,” says Lee Croxx, CEO of Tripple Croxx Entertainment.

The show will be held at The Loft Theatre, 126 N. Main St. Doors open at 8:30 p.m., and cocktails will be available before the show. Tickets for The Signature cost $15 in advance and $20 at the door. They are available at www.ticketcenterstage.com. 937-228-3630.

Behind the Masks – The Lion King

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Disney’s The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Nick Cordileone & Ben Lipitz

Disney’s THE LION KING

The Victoria Theatre Association

I have a confession to make:  I, Shane Anderson, admittedly know very little about The Lion King.  In fact, I know very little about most of the Disney films and musical adaptations.  I’ve certainly seen some, but I have no children of my own, therefore I typically don’t choose to spend my entertainment budget on a movie ticket to a film marketed to kids.  I get it…I get it… I hear that they are terrific for anybody at any age, but I don’t have that added motivation of a really excited 5 year old persuading me to go catch the latest Disney princess or talking/singing animal movie.

Characters from Disney's Lion King, as interpreted by Noah, age 5

The Lion King mask illustration by Noah, age 5

So, since I am not the Disney aficionado that many Americans are, I had to do a little research about Disney’s THE LION KING, which just rolled into town and opened at the Schuster Center this evening.  So what else was I to do?  I called up my favorite nephew, 5 year old Noah.

First bit of information I needed, was what is the plot of this show? Noah replied with a knowing smile (did I sense the slightest amount of a smirk at his silly Uncle Shane?) that THE LION KING is all about this baby lion named Simba, who’s daddy Mufasa dies because of a bad lion named Scarrrr (grrrRR..!), then the Pumbaa and Timon (not sure which is which, but one is a warthog with big horns) come in and sing Hakuna Matata and then Simba gets big and the girl lion tells Simba to come back and be king.  Oh, and be careful of the 3 Hyenas, they laugh.

Ok, stay clear of the laughing Hyenas.  Of course I already knew a little bit about this classic musical adaptation, it is a legendary production that very successfully melded together a very cool artistic vision with the business sense of a major corporate producer.  I know that it was directed by the very talented Julie Taymor.  I realize that even though the musical premiered on Broadway nearly fourteen years ago,  it is still selling tickets both on the “Great White Way” and in multiple touring companies.  This collaboration between a truly gifted artist and a major corporate entity has been highly successful, with no signs of slowing down.  I knew all of that, but this is one highly acclaimed Broadway spectacle that I have yet to experience, and I am thrilled that the show will be spending four weeks right here in Dayton, Ohio!

Disney's The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Ben Roseberry

I got the opportunity to spend some time chatting with three cast members of the show on the phone last week.  The cast was in Toronto, Canada, where they had an extended stay.  I spoke with vocal ensemble member and “Sarabi” understudy Electra Weston, Ben Roseberry who portrays “Ed” the laughing hyena, and the ever-popular Ben Lipitz who livens up the stage as “Pumbaa”  the optimistic warthog.

I asked the group of actors about touring with Disney Theatricals, working with Taymor and what the experience is like in a production that thrills audiences of all ages.

The first thing of note is the appreciation the actors express for the company itself.  “It is the best contract I’ve ever worked for,” Roseberry declares, “we are in each city for four weeks or more.” All three of the actors pointed out the fact that through Disney’s intention to keep the company in a city for an extended run of at least four weeks, allows the actors time to settle in and actually experience each city. Most other touring shows will have shorter runs, some as little as a day in each city, which leave the actors living out of their suitcase.  Roseberry, an aviation enthusiast, says that he is very excited to have time in Dayton to explore the Aviation Trail, Hall of Fame and Wright Brother sites.

Disney's The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Electra Weston

A surprise to me was the fact that the touring company has the opportunity to make their own housing arrangements, some choosing extended stay hotels, others are able to find short-term furnished apartments.  Electra Wilson indicated that in her four years on the tour, she’d never stayed in a hotel.  She ships her bicycle and typically manages to find an apartment within biking distance to the venue.  This gives her the opportunity to become a member of the community, if only for a short time.

I was curious to know more about the experience of being onstage for these actors, what it was like to be on the other side of the curtain.  The technical aspects of performing the show utilizing these puppets and intricate scenic elements must certainly be an incredible thing to watch not only from the audience perspective, but also from backstage.

All three actors found their roles very taxing, but for very different reasons.  Weston says that her most difficult transition into the role was the English language. She had previously been a part of the German company of the show, so even though she is American, she found it difficult to sing her parts in English.  She had to relearn the show in her native tongue, and had a tough time doing so!

“I can’t say it’s a bigger thrill than what the audience is experiences, but it certainly is comparable.” says Ben Lipitz, ” Performing in The Lion King is a rare experience in theatre, it is a landmark event for the audience, as a performer I have to take the storytelling very seriously.  We have a responsibility to live up to the expectations [of the audience].  It is a privilege to tell this story”

“It took a good eight weeks of performing for the role to get in my body.” Roseberry said he was very nervous performing in his “Ed” the hyena puppet for the first several weeks he was on tour.  He pointed out that he had to learn to harness that nervous energy, translating it into a good energy.  Additionally he spent hours in front of a mirror learning how to operate the hyena puppet in as many expressive ways as possible, since the character does not speak, but simply communicates through laughter.  (btw…”Ed” is not “stupid”, but rather he is “verbally challenged”)

Ben Lipitz has been with the show for nine years, both on Broadway as well as the touring company.  He recounted that while his very first entrance on stage in this show was very exciting, that the thrill continues to this day.  Ben’s experience as an actor (on stage, film & television, including a role on The Sopranos) didn’t really prepare him for operating the puppet, especially Pumbaa which weighs in heaviest at 46 pounds.  Creating the physical articulation with the puppet is his biggest challenge, but also the biggest reward.

Disney's The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Ben Lipitz

The beauty of Julie Taymor’s design is the duality of the character on stage.  You see the actor manipulating the puppet, but you also see the humanity within the animal character.  The actors praise the brilliance of Taymor’s vision and her famous “hands-on” approach to direction an upkeep of her vision.  They report that there is a touring director and staff that continually monitor the show, maintaining the quality of the performance.  This team works with the cast so that what we see in Dayton is precisely the same as the original intent of every step, word and note performed when Julie Taymor’s vision became reality in 1997.  Taymor will even  stop in to check on the show herself occasionally to be sure that her vision is never compromised (though this hasn’t happened recently due to her involvement in another theatrical project).

“I have been truly touched by how inspiring working with Julie is,” claims Lipitz, “[it is] her spirit and her energy.  She is a gifted, visionary artist.”

While THE LION KING is a very complex machine of a show, with many moving parts and people manipulating every aspect of it, it is also child’s play.  Experiencing this show on our side of the curtain will certainly be exciting, but imagine how thrilling it must be to make it all happen behind the scenes.  These actors spoke as if it was truly an honor to tell this story, and be a part of the magic daily.

Before I got off the phone with Pumbaa, I had one more question I was required to ask.  Noah wanted to know “what do you do with your horns?” Pumbaa claimed that his daily regimen included trying not to stay up too late, staying out of the sunlight and plenty of moisturizer.  Pretty good advice for all you warthogs reading this.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

Disney's THE LION KING - Victoria Theatre Association, Dayton, OhioDisney’s THE LION KING

Wednesday, June 15 through Sunday, July 10, 2011

at The Schuster Center’s Mead Theatre – Performance Times Vary

Tickets range from $27 – $141

Tickets are ONLY available through Ticket Center Stage.

Visit the  Schuster Center box office in downtown Dayton or order by phone, at (937) 228-3630 or toll free (888) 228-3630. Ticket Center Stage hours are Monday-Friday, 10 a.m. – 6 p.m., Saturday, noon – 4 p.m., and two hours prior to each performance.

Tickets may also be purchased online at www.ticketcenterstage.com.

For more information about Victoria Theatre Association visit www.victoriatheatre.com.

Downtown Dayton Partnership and the Victoria Theatre Association have teamed up to provide roaring deals and promotions for the The Lion King patrons.  Read more about these exiting offers HERE.

The Lion King - ROARING DEALS - Dayton, Ohio

Click for details.

Sing it Strong, Sing it Loud

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Altar Boyz

ENCORE THEATER COMPANY

The quintessential Boy Bands: upbeat (and often emotional) music… slick choreography… the perfect individual and group images… slightly-too-perfect rhymes… the Soul Sensor DX-12? Well, maybe not for any other boy band, but for the Altar Boyz, it’s key! During the final concert of their “Raise the Praise” tour, the Boyz seek to reduce the number of burdened souls in the audience (indicated by the number on the Sensor) to zero.

“Jesus called me on my cell phone / No roaming charges were incurred / He told me that I should go out in the world / And spread His glorious word”

Altar Boyz, presented in real time as that concert, is a satirical, “foot-stomping, rafter-raising musical comedy,” and the fictitious Christian boy band includes five Ohio members: Matthew, Mark, Luke, Juan, and Abraham (who, actually, is Jewish). Some of the Boyz’ signature hits include “Rhythm in Me,” “The Calling,” and “I Believe.” Directed and choreographed by Lauren Morgan and musically directed by Mark Barnhill, this Dayton premiere kicks off Encore Theater Company’s summer season, and runs for one weekend only, June 16 – 18.

“We think that church is super fine / We are the Altar Boyz / We love the wafers and the wine / We are the Altar Boyz / And I think / You’ll find….. We’re gonna altar your mind!”

This show is unique in that each cast member must be a triple-strength performer, because everyone is acting, singing, and dancing for nearly the entire show! Therefore, learning the show has been hard work, but the actors I spoke with were excited about the challenges they’ve faced and the strides they’ve taken as performers. The cast includes students and/or Dayton residents Drew Bown, Andrew Koslow, Korey Harlow, Zack Steele, and Zach King, with a special appearance by local Muse Machine alumnus and Broadway performer Tyler Maynard as “the Voice of God.”

“When I hold your body next to mine / it feels so good / and feels so right / and it also makes my Levis feel real tight… / and I know that there is something about you, baby…/ Girl, you make me want to wait.”

Not only does the cast play a great team onstage, but everyone has an excellent collaboration as well. Each of the cast members are or have studied some type of theatre at the collegiate level, and most are new to Encore Theater Company’s mainstage; however, they’ve all contributed unique talents and abilities to make this show strong and fluid, to refine timing of the show’s extensive humor and rehearse even the most difficult 5-part harmonies. Koslow, who plays Mark, explained in an interview with onStageDayton,

Andrew Koslow, "Mark"

“The most rewarding thing for me about this show is how much we’ve truly banded together (pardon the pun) to make this show happen. We’ve run into a thousand road blocks, from losing cast members to sometimes only having two Boyz available for certain rehearsals due to commitments to other shows. Despite all that, we’ve put together an incredible and entertaining show… I truly couldn’t be prouder of our entire cast and production team.”

That commitment and collaboration have paid off: Zack Steele, who plays Juan, praises,

Zach Steele, "Juan"

“[Altar Boyz] will have [audience members] crying from laughing so hard. The script is bulletproof and the Boyz’ chemistry on stage will carry you on a journey all the way through curtain call. The singing is great and the satire is ever-present.”

Koslow added,

“I truly believe there is something for everyone in this show, and no one can prove me wrong unless they come and see for themselves.”

“You know The Bible tells you God’s the one that made you / So get out on the dance floor And shake what He gave you!”

So, whether you’re holding onto music of the early ‘90s or just love to make fun of boy bands, Altar Boyz is the perfect show for you. Don’t miss it!

Tickets & Performance Information

Altar Boyz – June 16 – 18, 8:00 pm

Encore Theater Company

Performances will be held at Sinclair Community College’s Blair Hall Theatre. Tickets are $15 and can be reserved through http://brushfire.e-vent.info/Events/Sinclair/Default.aspx, by contacting (937) 512-2808 (be sure to leave a message) or [email protected]

For more information, check out the Altar Boyz blog or Encore Theater Company.

~KN

The Independent Shadow Cinema – Underground No More

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Zombies, Lesbian Vampires and Mexican Wrestlers..Oh My!


Having grown up nurtured by Dr. Creep on Shock Theater, fighting sleep while watching the dusk to dawn horror fests at the Captain Kidd and Belmont Drive-In Theaters and relishing the peculiarities found at the bottom of bargain bins full of obscure DVDs, I felt an immediate understanding of what he is trying to create with the Independent Shadow Cinema. Andy himself is quite an accomplished aficionado within  the world of the weird, having worked with Dr. Creep, being one of the people behind the annual Horrorama charity film festival and directing six of his own horror genre films, including The Mutilation Man, The Atrocity Circle and Black Sun.

While other people may look down their collective noses at people like us for being drawn towards entertainment that they would deem sophomorically disgusting or visual training manuals for psychopaths, we know that those kind of people are eaten first by the zombie hordes, usually in a humorous manner, thus stripping them not only of their flesh, but also their self deluded decorum.

What Andy Copp is trying to bring to the screen, as well as to the darkened streets of Dayton, is a world unseen by the masses. A world of the uncanny, the unbridled, the uninhibited. A world shown is a series of stroboscopic scenes splashed with copious amounts of arterial red. With the Independent Shadow Cinema, Andy is trying to breathe life into the self indulgently dying corpse of local cinema and allowing it, for a moment, to live within the minds of an audience hungering for visions of the weird and wonderful.

J.T.: I guess the first question would be: What was the impetus to start the Independent Shadow Cinema?
Andy: Well, the idea came out of me wanting to do the old school midnight movies that I grew up going to. The ones like Flicker Palace had years ago and Page Manor had back in my college days. There hasn’t been anything like that in a long time and back in the nineties, I worked at the Neon Movies as one of the managers back before the switchover and I brought in a lot of movies from Hong Kong and things like that and they were really successful. I realized that there was an audience for it here in town, but there was nothing catering to that right now and there hasn’t been since I had done it in the nineties. I’m also one of the guys that run Horrorama (Horrorama is a charity movie marathon that has been active since 1997) and we have a dedicated audience here in town that comes to that event every year. Since I had worked with Englewood Cinema with Horrorama, I approached Mike who runs things there and presented the idea of running underground midnight movies and he said, “Well, let’s try to do this then” and so we went ahead and launched it. So we went for it, trying to bring more interesting movies that you’re not going to see anywhere else, like the old midnight pulp movie shows, and to give the people something interesting to do on Friday nights.

J.T.: Are you targeting more of the grind house/horror show genre?
Andy: A little bit. Right now, what I’m doing is I’m bringing in a lot of the really obscure, indie/underground stuff, but the people who are interested in that type of thing are also going to be interested in the grind house/exploitation films and people who like that are going to like the stuff that we’re currently playing. The stuff that we’re playing right now is pretty obscure and relatively unknown, but definitely, that’s the crowd we’re going for.

J.T.: What do you have coming up for the next show?
Andy: On Friday, we have a movie that was made in 2000 called Meatmarket and it’s a zombie flick…actually, it’s a really wild zombie flick. It’s got everything. It’s got zombies, lesbian vampires, Mexican wrestlers and things blowing up. It’s a movie that aims to please. It was made in Canada for just under $2,000. It’s incredibly low budget, but you wouldn’t know that by watching it because the production values are really high. That’s the kind of stuff that we’ve been showing: the stuff that’s made for peanuts, but that are incredibly ambitious.

J.T.: What’s the main message that you want to get out?
Andy: That we’re here and that we’re doing something different. In Dayton, there’s always this grumbling that there’s nothing interesting going on; “Oh, Dayton doesn’t have anything cool or different!” but here we are on Friday nights with these kick ass, interesting movies that you probably haven’t heard of that are definitely satisfying. For five bucks, you can see some wicked ass movie that will leave you feeling satisfied. Also, the way I have structured it, there’s always a free movie, a second feature, and I never say what it is so it’s always going to be a surprise. So, from 11:30pm until 2:30am, you get two crazy movies for five bucks.

J.T.: Now, with most people’s experiences of midnight movies is limited to Rocky Horror Picture Show, are there people that show up with a certain amount of misconceptions?
Andy: Right! This isn’t Mystery Science Theater 3K or Rocky Horror Picture Show. I’m not inviting people to come and yell and throw things and make fun of these films…that’s not our thing. This is to come and appreciate something unusual and have a good time. I don’t want this to be Troll 2. These are genuinely interesting movies, so if people are coming to make fun of them, I’m not so interested in them being there, but if they are there to find something that they have never seen or experienced, then those are the people we are looking for. Also, with the more people that we can get to come out, the more crazier and bigger movies that we’ll be able to bring in. There’s a whole world of these types of movies that just don’t make it to Dayton. The Gateway in Columbus plays new movies like this every Saturday night. If we raised our audience numbers, we’d be able to get movies like Hobo With A Shotgun or The Troll Hunter…we just can’t afford those right now.

The next Independent Shadow Cinema event is scheduled for Friday June 17th at 11:00pm at the Englewood Cinemas, 320 West National Rd, Englewood, Ohio and will feature the zombie movie Meatmarket along with an as yet to be announced second feature.

Film Review – Midnight in Paris (B-)

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Midnight in Paris
@ The Neon
June 12, 2011
Grade: B-

Woody Allen’s getting a little long in the tooth to play opposite beautiful, young actresses these days, so he had Owen Wilson do it for him in “Midnight in Paris.” Wilson stars as Gil, a Hollywood screenwriter who, though successful, feels unfulfilled as a wannabe Hemingway. The ever-present romantic in Gil sees a business trip with his fiancee, Inez (Rachel McAdams) and her parents as an opportunity to “walk the streets of Paris in the rain” and to work on his novel. Inez and her conservative family have other ideas. So, when Gil finds himself walking the streets lost and alone late one night, he finds himself magically transported to 1920s Paris, a time and place occupied by his heroes, F. Scott Fitzgerald (Tom Hiddleston), Ernest Hemingway (Corey Stoll) and other artistic and literary gods.

Taking advantage of a film phenomenon that could be described as Groundhog Day combined with Field of Dreams, Gil discovers that every night at midnight he’s able to hobnob with the most influential people of the early 20th century. As if finding himself in his ideal place and time in all of human existence isn’t gift enough, Gil quickly meets and is accepted into the elite 1920s social circle that includes Zelda and Scott Fitzgerald, Hemingway, Cole Porter, Pablo Picasso and many other people you’ve heard of. Gil even gets Gertrude Stein (Kathy Bates) to proofread his manuscript.

While Gil’s initial trips back to his personal heaven are productive and fun, (we get to see what a drunken conversation between Ernest Hemingway and Pablo Picasso might look like) the nightly time travels begin to become unnecessary and stagnant, eventually coming off as little more than an effort to drop as many huge names as possible. “You’re T.S. Eliot!”

Each new intellectual giant of the era Gil encounters has less impact than the previous. It’s impossible to develop the hypothetical social behavior of so many complex individuals inside of two hours and introducing so many new characters becomes tiresome. The best and most humorous scenes of the movie involve Gil seeking the advice of Hemingway, as he’s all at once mesmerized by the unlikely circumstances and overwhelmed by Hemingway’s honesty and intensity. Even moviegoers with just a passing understanding of Hemingway’s style like myself will be able to laugh when he passes along advice to Gil on love and life. Stoll’s Hemingway was particularly entertaining and I would’ve preferred a more specific story that allowed Gil to continue to interact with Hemingway and others who could relate to Gil’s predicament. I get why we’re meeting Gertrude Stein, Gil needs help with his novel. But why are we meeting Salvador Dali?

After acquiring the affection of Picasso’s mistress, Adriana (Marion Cotillard), and besting both Picasso and Hemingway in the process (you can just picture Allen smiling as he imagines himself in this scenario), Gil learns from her that even the most interesting people living in the most interesting time can be unhappy in their present. This is a revelation that lets Gil free himself of both his unpromising engagement to Inez and his obsession with his trips to the 20s.

Ultimately, the majority of Midnight in Paris is undeniably fun, often humorous and the performances are good across the board. I just found much of it disappointing due to an engaging, exciting first half that faded away and the unfulfilled potential of the premise.

[yframe url=’http://www.youtube.com/watch?v=BYRWfS2s2v4′]

A Second Chance at Love

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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

And The Tony Goes To…

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Broadway’s 2010-11 season refreshingly became a part of the mainstream due to the ill-conceived travesty known as “Spider-Man Turn Off the Dark,” but the 65th annual Tony Awards, which will be broadcast live Sunday, June 12 on CBS, will fittingly remind everyone that the surprisingly strong season offered a slew of truly outstanding productions, most notably “The Book of Mormon,” the hit musical from “South Park” creators Trey Parker and Matt Stone which leads all shows with 14 nominations. A “Mormon” sweep isn’t likely (there’s no way the costumes in “Priscilla Queen of the Desert” will be overlooked by the 824 voting members), but the evening will certainly produce its share of suspense. Here are my predictions in the major categories.

BEST PLAY

“Good People”

“Jerusalem”

“The Motherf**ker with the Hat”

“War Horse”

Will Win: “War Horse”

Should Win: “Good People”

Two potent British imports and two invigorating contemporary American works comprise one of the strongest Best Play battles in recent memory. Each contender offers a riveting journey, and I wouldn’t be surprised if “Mother” and “Good People” receive Pulitzer Prize consideration next year. In this race, my vote would go to David Lindsay-Abaire’s middle class comic drama “Good People,” a fascinating, timely character study on par with his Pulitzer Prize-winning “Rabbit Hole,” but Nick Stafford’s theatrically thrilling, puppet-driven “War Horse,” a World War I epic based on Michael Morpurgo’s tale of a poor English boy and his beloved horse, is a sentimental crowd-pleaser.

BEST MUSICAL

“The Book of Mormon”

“Catch Me If You Can”

“The Scottsboro Boys”

“Sister Act”

Will Win: “The Book of Mormon”

Should Win: “The Scottsboro Boys”

“The Scottsboro Boys,” John Kander and Fred Ebb’s final collaboration phenomenally directed and choreographed by Susan Stroman (“The Producers”), brought a dark, forgotten period in American history to riveting light boldly framed within the context of a minstrel show. Although “Scottsboro” duly received 12 nominations, took musical theater to daring new heights and featured Kander and Ebb’s finest score since “Kiss of the Spider Woman,” there’s no stopping “Mormon,” a slick, smart and hilarious satire skillfully marrying musical theater conventions with brazen, profane naughtiness.

BEST REVIVAL OF A PLAY

“Arcadia”

“The Importance of Being Earnest”

“The Merchant of Venice”

“The Normal Heart”

Will/Should Win: “The Normal Heart”

“Venice” was particularly luminous and conceptually engrossing, but Larry Kramer’s emotionally charged AIDS-themed drama packs a wallop from start to finish unlike any show this season. Anyone heading to New York City should take time to experience the visceral power of the expertly acted and superbly directed “Normal Heart.”

BEST REVIVAL OF A MUSICAL

“Anything Goes”

“How to Succeed in Business Without Really Trying”

Will Win: “Anything Goes”

Should Win: “How to Succeed”

Due to the presence of Sutton Foster and Cole Porter’s glorious tunes, “Anything Goes” is the frontrunner, but it doesn’t come close to matching the more cohesive, flavorful “How to Succeed.”

BEST LEADING ACTOR IN A PLAY

Brian Bedford, “The Importance of Being Earnest”

Bobby Cannavale, “The Motherf**ker with the Hat”

Joe Mantello, “The Normal Heart”

Al Pacino, “The Merchant of Venice”

Mark Rylance, “Jerusalem”

Will/Should Win: Rylance

This is an extremely tight race. Six months ago I would have told you Pacino was a cinch for his masterfully understated Shylock, but a lot has happened since then. Bedford reinterpreted Lady Bracknell with finesse, Cannavale planted undeniable passion and vigor into his role as a troubled ex-con and Mantello astounded as the volcanic Ned Weeks. Still, Rylance, a Tony winner for “Boeing-Boeing,” delivers a mesmerizing performance of a lifetime as kooky outcast Rooster Cogburn. Rylance also drew acclaim last fall for his performance in “La Bete” so he’s the clear favorite here.

BEST LEADING ACTRESS IN A PLAY

Nina Arianda, “Born Yesterday”

Frances McDormand, “Good People”

Lily Rabe, “The Merchant of Venice”

Vanessa Redgrave, “Driving Miss Daisy”

Hannah Yelland, “Brief Encounter”

Will/Should Win: McDormand

Arianda was perfectly cast in the Judy Holliday mold, Rabe more than held her own opposite Pacino and Redgrave was simply heartbreaking, but the Oscar winning McDormand (“Fargo”) will triumph for her incredibly authentic and marvelously developed portrayal of Margaret Walsh, an unemployed single mother from South Boston who dares to question the genuineness of a successful old friend from her neighborhood.

BEST LEADING ACTOR IN A MUSICAL

Norbert Leo Butz, “Catch Me If You Can”

Josh Gad, “The Book of Mormon”

Joshua Henry, “The Scottsboro Boys”

Andrew Rannells, “The Book of Mormon”

Tony Sheldon, “Priscilla Queen of the Desert”

Will Win: Butz

Should Win: Sheldon

A lot has been said about Daniel Radcliffe being overlooked for “How to Succeed,” but there isn’t anyone here I would eliminate. Henry was terrific in a predominately dramatic role, but his nomination is a win in itself. Gad and Rannells, the best male musical duo since Nathan Lane and Matthew Broderick in “The Producers,” will likely cancel each other out. Sheldon, an Australian stage veteran who received an Olivier Award nomination for the London production of “Priscilla,” brings beautifully substantive depth and feminine believability to his multifaceted portrayal of transsexual Bernadette, but voters might have grown tired of drag considering Douglas Hodge took this category last year as a female impersonator in “La Cage aux Folles.” So look for Butz, a Tony winner for “Dirty Rotten Scoundrels” who can never be discounted, to take the prize for his sharp, comical turn as FBI agent Carl Hanratty.

BEST LEADING ACTRESS IN A MUSICAL

Sutton Foster, “Anything Goes”

Beth Leavel, “Baby It’s You!”

Patina Miller, “Sister Act”

Donna Murphy, “The People in the Picture”

Will Win: Foster

Should Win: Miller

Miller, a sassy vocal powerhouse I adored in the London production of “Sister Act,” gives the finest musical comedy performance in this category thanks to her dynamic, funny and soulful portrayal of disco singer-turned-incognito nun Deloris Van Cartier. Even so, the ever popular, Tony winning Foster (“Thoroughly Modern Millie”) will prevail for her good but not great embodiment of nightclub evangelist Reno Sweeney.

The 65th annual Tony Awards, hosted by Emmy winner Neil Patrick Harris, will be telecast live from New York’s Beacon Theatre Sunday, June 12 at 8 p.m. on CBS. Among the scheduled performers is Muse Machine alum Jill Paice of Beavercreek, who will join Harris and an all-star cast in a special selection from the Stephen Sondheim musical Company. For more information, visit www.TonyAwards.com

Coming Up in Dayton Theatre: 06/09 – 06/22

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THURSDAY, JUNE 9 – WEDNESDAY, JUNE 22, 2011

Evil Dead: CATCO

Evil Dead: the Musical at CATCO (Photo Credit Dave Alkire and CATCO-Phoenix)

The unexpected happens a lot in theatre. Everything rarely goes exactly as planned; that is the nature of live theatre, and we have to learn to deal quickly to make things work. And yesterday, the show I’m ASMing (Evil Dead: the Musical at CATCO; it’s a professional show and well worth the drive out to Columbus, so come see it!) was no exception. Halfway through the show, the hinge on the trap door broke when one character stomped to close it; so my crew and I scrambled around backstage alerting actors and shuffling duties so that a crew person could be underneath the door as needed. We averted any potential injuries or changes to the blocking, finished the show well and fully, and fixed the door immediately after.

At first, the thought of problems is irritating. Why can’t things just work all the time? Why can’t we be in control of everything during a show? As Assistant Stage Manager, if something backstage goes wrong, it’s my fault. I really like when the show and the effects run smoothly.

However, thinking about it, I realize a certain exhilaration, too. Having something go wrong, but being able to work together to get past it and make the show work, is a mark of good collaboration and communication within a show. If our cast and crew weren’t working well together, we couldn’t fix problems like the cellar door on the spot. Those elements are part of the very essence of theatre, whether garage, community, or Equity, and seeing them lived out successfully reminds me why I love theatre, and why Dayton theatre is so great. These next couple of weeks, we have venue and artistic collaborations on shows, as well as the individual process of each performance. Support those this weekend, and go see one of these great productions.

Another Openin’, Another Show

…SHOWS OPENING SOON

The Mystery of Edwin DroodEdwin Drood: BCT

BEAVERCREEK COMMUNITY THEATRE

The Story: John Jasper, a Jekyll-and-Hyde choirmaster, desperately loves his music student, Miss Rosa Bud, who is engaged to Jasper’s nephew, Edwin Drood. However, when Edwin Drood disappears mysteriously one stormy Christmas Eve, suspicions abound. In this adaptation of Dickens’ last and unfinished manuscript and a show-within-a-show, audiences choose the ending!
Dates: June 10 – 19, 2011
Tickets & More Information: BC Theatre: Edwin Drood

…SHOWS CLOSING SOON

right next to me

HUMAN RACE THEATRE COMPANY

The Story: A war widow, attempting to cope with her Marine husband’s death in Iraq, goes with her brother-in-law on a quest to scatter her husband’s ashes where he required, remembering and seeing flashbacks along the way in an emotionally moving and uplifting journey. This show premiered in an earlier and very different version as part of the Human Race Musical Theatre Workshops in 2009.
The Dates: May 21 – June 12, 2011
Tickets & More Information: Human Race Theatre Company

…ONE WEEKEND ONLY

Southern Comforts

YOUNG AT HEART PLAYERS and DAYTON THEATRE GUILD

The Story: Some people thrive and grow enervated with change; others, run from any potential unsettlement. In a Victorian era New Jersey, a taciturn Yankee widower and a vivacious Tennessee grandmother find a second chance at love, but the relationship is filled with surprise and unpredictable tribulation. A collaboration between two theatres, “this off-Broadway success is an affecting, late-in-life journey of compromise and rejuvenation, of personal risk and the rewards of change” (DTG).
Dates: June 10 – 12, 2011
Tickets and More Information: Dayton Theatre Guild, DMM Event

Altar Boyz

ENCORE THEATER COMPANY

Altar Boyz

The Story: In this foot-stomping, rafter-raising, musical comedy, a fictitious Christian boy band performs on the last night of their national “Raise the Praise” tour. The Boyz are five all-singing, all-dancing heartthrobs from Ohio: Matthew, Mark, Luke, Juan and Abraham. Performed in Sinclair CC’s Blair Hall Theatre, this show is perfect for those who love (and to love to make fun of) boy bands!
Dates: June 16 – 18, 2011
Tickets and More Information: Encore Theater Company

Part of it All

…AUDITIONS AND CASTING CALLS

Into the Woods: PHS

Into the Woods

PLAYHOUSE SOUTH

Auditions: June 13 & 14
Performances: August 12 – 21, 2011
The Story: After a Witch curses a Baker and his wife with childlessness, the couple embarks on a quest for special objects from classic fairy tales to break the spell, stealing from and lying to Cinderella, Little Red, Rapunzel, and Jack (of beanstalk fame). But the characters didn’t count on the consequences of their actions or the disasters that would ensue…
More Information: Playhouse South: Into the Woods

Harvey

BEAVERCREEK COMMUNITY THEATRE

Auditions: June 13 & 14, 2011
Performances: August 26 – September 4, 2011
The Story: Elwood P. Dowd begins introducing his imaginary friend, Harvey (a six and a half foot rabbit) at a society party; his sister, Veta, can’t tolerate the embarrassment and has him committed to a sanitarium. However, problems arrive when Veta explains that years of living with Elwood have made her see Harvey, too! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion.
More Information: BC Theatre: Auditions

~KN

Whodunit? The Mystery of Edwin Drood

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The Mystery of Edwin Drood - Beavercreek Community Theatre - June 10-19, 2011The Mystery of Edwin Drood

Beavercreek Community Theatre

Win Tickets! Read on!

One hundred forty one years ago today (08 June 1870) Charles Dickens suffered a stroke.  The next day:  dead.  His last novel:  unfinished.

Flash forward those 141 years (+a couple days):  the audiences at Beavercreek Community Theatre will get an opportunity to determine how the plot of  Dickens’ incomplete The Mystery of Edwin Drood concludes.

The Mystery of Edwin Drood - Beavercreek Community Theatre - June 10-19, 2011The novel was adapted into a Tony Award winning musical comedy in the mid-eighties by Rupert Holmes.  The playwright put a unique twist on the show, by writing multiple endings that requires the audience to make choices about various characters and actions, choosing a murderer, a detective and other various participants and events that lead up to the ending.  This sounds like an entertaining whodunit musical for the audience, but on the other side of the curtain…it sounds like a lot of work! Multiple endings to learn, different songs to perfect, and multiple sets of blocking and choreography to refine all must lead to hours upon hours of rehearsal devoted just the last few minutes of the production.

The show is described as a hilariously loony Victorian musical troupe takes over the stage for its production of a flamboyant rendition of an unfinished Dickens mystery.

It’s the story of John Jasper, a Jekyll-and-Hyde choirmaster portrayed by Jonathan Berry of Centerville. He is madly in love with his music student, the fair Miss Rosa Bud, played by Bethany Reid Locklear of Englewood. She, in turn, is engaged to Jasper’s nephew, young Edwin Drood, portrayed by Amy Leigh of Kettering.

onStageDayton contacted director and scenic designer Chris Harmon with a few questions about the show:

onStageDayton:  The Mystery of Edwing Drood is not a title commonly found on season schedules in the area, what drew you to the script?

Chris Harmon, director

Chris Harmon, director

Chris Harmon:  I saw The Mystery of Edwin Drood performed at the Victoria by the Human Race around 1995, I went out and bought the original Broadway cast cd and have listened to it ever since.  Last year I became a member of the play selection committee at BCT and it happened to be on the list and I was immediately interested in directing it.

oSD:  The show has a few unique aspects, such as the audience participation and the “show-within-a-show” concept. What kind of complications did these create for rehearsals?

CH:  The audience gets to choose the detective, murderer and lovers in the show. There are so many possible combinations which make the show’s ending fresh and new every night. I am lucky to have amazing actors who took the initiative to learn their possible parts so well. The endings can’t help but to be under-rehearsed, since it would be impossible to run them all every night. It saddens me that only having 6 performances, some of the possible murderer’s will not even get a chance.

oSD:  You have developed a terrific reputation as a director and scenic designer in the Miami Valley…what was your approach in your designs for this show? How did you come up with the concept & how do you go about making your design come to life?

The Victoria Theatre stage, Dayton, OHCH:  Drood is set just before the turn of the century in “The Music Hall Royale”.  My inspiration for the set was actually the first place i saw the show, The Victoria Theatre. Drood is a show within a show, so the Grand Drape is used for the scene changes, so I created a music hall thrust to have enough playing space for the actors in front of the curtain. I am a very visual person and when reading a script or listening to the music, I get a picture in mind instantly, the hard part is figuring out how to execute the designs within budget and time frame.

oSD:  What is your next project?

CH:  My next project is directing Camp Rock at Town Hall Theatre (where i am the resident scenic artist).  In community theatre I am directing Evil Dead and Chicago at BCT next season and could not be more excited about it.  I am thrilled to be working with Annette Looper as choreographer for both of these.

The cast of unique and zany characters also includes Bryan Wilcox of Riverside, Jeremy D. King of West Carrollton, Jim Lockwood of Huber Heights, Lindsay Sherman of Bellbrook, Matt Owens of Beavercreek, Tara Nichole Murphy of Miamisburg, Pam McGinnis of Oakwood, Charles Larkowski and Megan Vander Kolk of Fairborn and Dayton residents, Dean Swann, Jenna Burnette, Jennifer Wilson, Michael J. Stockstill, Nicole Dine, Thomas Cole Schreier and Shawn Hooks.

Besides Chris Harmon, the production staff includes Annette Looper of Centerville as choreographer, Dr. James Tipps of Beavercreek as music director, and Kristie Lickliter of Fairborn filling the role of stage manager.

John Falkenbach of Dayton is the lighting  designer,  Brad Mattingly of Franklin is the orchestra director, Hans Unser of Beavercreek is the stage assistant and assistant set builder and Diana Blowers of Beavercreek is the producer.

-SA/BCT Press Release

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

Beavercreek Community Theatre LogoTHE MYSTERY OF EDWIN DROOD – June 10 – 19

8pm on Fridays & Saturdays / 3pm on Sundays

Tickets are $12 for adults and $11 for members, students and senior citizens.

A group discount of $1 per ticket is available to groups of 10 or more, when purchased at the same time for the same performance.

Tickets can be reserved by calling (937) 429-4737 and leaving a message or by e-mailing [email protected]. For more information, visit the theater’s Web site at www.bctheatre.org where tickets can also be purchased online.

Beavercreek Community Theatre is located within the Lofino Adult Enrichment and Cultural Arts Center at 3868 Dayton-Xenia Road in Beavercreek.

The show, which will be presented at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays from June 10 through June 19, is actually a show within the show.

Win Free Tickets!

Beavercreek Community Theatre & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to The Mystery of Edwin Drood! We will be giving away up to SIX pairs of tickets…We’ll select 1 winner (of a set of tickets) for every 5 FB/Twitter Shares! All you need to do is:

  • Share this article on Facebook or Twitter…just click the appropriate button at the top of this page.
  • Fill out the contact form at the bottom of this post.
  • The deadline to enter is Noon on SATURDAY, June 11th.
  • Winners will be selected randomly from all of the entries.

Error: Contact form not found.

Woody’s Latest – Midnight In Paris + Incendies!

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Hello Everyone.

If you haven’t had a chance to see WINTER IN WARTIME, BILL CUNNINGHAM NEW YORK, and/or THE BEAVER, you only have through Thursday (6/9) to see them at THE NEON.  On Friday, we will open the Oscar-nominated political thriller INCENDIES and Woody Allen’s latest film MIDNIGHT IN PARIS (check out the stellar cast in the description below).  Both of these new films come with a great response from critics and audiences alike!

I’m delighted to announce a couple big changes to our calendar.  1) POTICHE has been dated for a one-week engagement.  It will open on June 17.  This was one of my favorites in Toronto last year (I generally don’t respond to comedies the way I do to serious films).  It’s wonderfully charming, and Catherine Deneuve is superb!  2) Due to the success of THE TREE OF LIFE in larger markets, Fox Searchlight has bumped up our opening date.  THE TREE OF LIFE will now open on June 24!

Synopsis for INCENDIES:  “When notary Lebel sits down with Jeanne and Simon Marwan to read them their mother Nawal’s will, the twins are stunned to receive a pair of envelopes – one for the father they thought was dead and another for a brother they didn’t know existed. In this enigmatic inheritance, Jeanne sees the key to Nawal’s retreat into unexplained silence during the final weeks of her life. With Lebel’s help, the twins piece together the story of the woman who brought them into the world, discovering a tragic fate as well as the courage of an exceptional woman.” (Sony Pictures Classics)  Click This Link to visit the film’s official site (the trailer will have your heading to THE NEON this weekend).

[yframe url=’http://www.youtube.com/watch?v=YDf-XuYid1A’]

Synopsis for MIDNIGHT IN PARIS: “Owen Wilson, Marion Cotillard, Rachel McAdams, Kathy Bates, Michael Sheen, Adrien Brody and Carla Bruni star in Woody Allen’s romantic comedy about a family on a business trip in the City of Light. As a young couple engaged to be married experiences a profound transformation during their visit to Paris, an idealistic man with a romanticized view of the city finds that there’s plenty of truth to that old adage about the grass being greener on the other side.” (Jason Buchanon, All Movie Guide)  Click This Link to be directed to the official site for MIDNIGHT IN PARIS.

[yframe url=’http://www.youtube.com/watch?v=BYRWfS2s2v4′]

We’re all set for next week’s screening of WE WERE HERE.  “WE WERE HERE is the first documentary to take a deep and reflective look back at the arrival and impact of AIDS in San Francisco.  It explores how the City’s inhabitants were affected by, and how they responded to, that calamitous epidemic.  Though a San Francisco-based story, We Were Here extends beyond San Francisco and beyond AIDS itself.  It speaks to our capacity as individuals to rise to the occasion, and to the incredible power of a community coming together with love, compassion, and determination.”  WE WERE HERE will screen on June 16 at 7PM.  Tickets are $8 each and are currently available at THE NEON box office.  This screening is sponsored by The Greater Dayton LGBT Center.  Be sure to take a look at thetrailer, and get your tickets early.  After the film, we will have a discussion with representatives from AIDS Resource Center Ohio, Miami Valley Poz 4 Poz, an early HIV/AIDS community educator, and more.  Additionally, we will have the opportunity to see a series of incredible photographs in THE NEON’s lobby.  Here’s the story:Approximately half way through WE WERE HERE, there are several beautiful and chilling photos of a man with AIDS.  These photos were the final project of the late John Davis of Dayton.  His sister contacted me a couple weeks ago and offered us the opportunity to display the entire series.  THE NEON will hang all 17 photographs in our lobby before the screening.

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

THE NEON has been rented out for a special screening of BICYCLE DREAMS. Advance tickets ($10 each + $1 handling fee) must be purchased on-line (visit Link). Remaining tickets will be sold at the door the night of the event for $15 each.  “BICYCLE DREAMS tells the true story of the Race Across America, a 3000-mile bicycle race that challenges riders to cross the country in just ten days. They must overcome searing desert hear, agonizing mountain climbs, and endless stretches of open road, all while battling extreme exhaustion and sleep deprivation. But when tragedy strikes the race, this simple test of human endurance is instantly transformed into something far more daunting. These voyageurs discover what is truly at stake as they pedal on, praying for the deliverance only the finish line can bring. By journey’s end, some are saved, others are lost, but all learn that the fuel that takes a soul toward its own true destiny is desire.” (taken from press notes)

Hope to see you soon,

Jonathan

SHOWTIMES for June 10 – June 16:

MIDNIGHT IN PARIS (PG-13) 1 Hr 40 Min

Friday, Saturday, Sunday: 12:50, 3:00, 5:10, 7:30, 9:45

Monday – Thursday: 3:00, 5:10, 7:30, 9:45

INCENDIES (R) 2 Hr 10 Min

Friday, Saturday, Sunday: 1:00, 4:15, 7:00, 9:30

Monday – Wednesday: 2:45, 5:15, 8:00

Thursday:  2:45, 9:45

WE WERE HERE (NR) 1 Hr 30 Min  + Discussion

Thursday:  7:00

COMING SOON:

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

In some cases, titles may disappear.

June 17  POTICHE

June 24  TREE OF LIFE

July 1  DOUBLE HOUR

July 8  BUCK

July 15   PAGE ONE: INSIDE THE NEW YORK TIMES

July 15   BEGINNERS

Aug 5   SNOW FLOWER AND THE SECRET FAN

Aug 26   ANOTHER EARTH

An Interview In Five Easy Pieces

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Dave Dugan: Corporate Comic, Stand-Up Comedian And Voice Over Talent

When you see Dave Dugan perform, you may be reminded of some of those well meaning television dads who mete out their sage wisdom in a fumblingly laconic manner, usually with horrific results. His stand up comedy hinges on eloquent misdirection and an ironic demeanor that is somewhat incongruous with the situations he finds himself in. Having done hundreds upon hundreds of voice over gigs, from Midas Mufflers to Microsoft, it’s a good bet that you have heard of Dave Dugan before and just don’t know it. Having seen him perform several times, I wanted to talk with him in more depth about his voice over talents…

J.T.: Since you do so much voice over work, do you have a ritual to prepare for the particular mood or emotion you need to convey?
Dave: Sure, if they want a manly, gritty read, I chop some kindlin’ and gargle some Jack Daniels. If they want me to be all sensitive, I crank up the Tori Amos and shave with a Daisy Razor.

J.T.: Do you ever have to perform a series of intentional “outtakes” just to get some of the funny stuff out of your head so you can do a serious take?
Dave: Recently, I voiced fun facts about California for anyone renting a car in the state to hear on their navigation system. The script was of record length …took 8 days to record! Outtakes were plentiful just to keep from going stir crazy.

J.T.: What is probably the most difficult voice over that you have had to so?
Dave: I auditioned for roles in an Italian animated series that was sold to an American (broadcaster) and therefore needing English speaking voices to translate the original lines. I ended up getting the roles of two characters. One voice was a very screechy, evil bird character and for the audition I went way out of my voice range. Then when it came time to do the actual read for the show, the character had tons of lines. I strained myself big time. Pretty sure I may have collapsed a lung…

J.T.: With your comedy, your approach is so deadpan…do some audiences have difficulty in picking up on the subtleties of your act?
Dave: Sometimes a few audience members just don’t get it… and they are always asked to leave. No, not really…I’m just kidding. I usually try and play off their not following me with a series of random audience involvement comments. After doing standup comedy this long, I know I may have to make adjustments from time to time to please all audiences.

J.T.: What is your ultimate Spinal Tap moment?
Dave: A booker once scheduled me to headline ‘ a club’ in Napa Valley, California. I had visions of smart, jaded audiences sipping fine wine and appreciating my most obscure comments. Turned out to be a biker bar. Before the show was over a biker chick came up on stage and tried to wrestle me to the ground.
To save face, I made cracks about the absurdity of it all, which only seemed to make her angrier. Fortunately, her 300 pound boyfriend found that part of the show amusing and I was allowed to settle up and leave without being maimed or beheaded.

You can check out Dave Dugan live at Wiley’s Comedy Niteclub at 101 Pine St. on Thursday June 9th at 8:00pm, Friday June 10th at 9:00pm and June 11th at 8:00pm and 10:30pm. Tickets range from $5 to $12, but for our DaytonMostMetro.com readers, you can mention you read this article when you make your reservations and receive a two for one admission price.

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Yellow Springs Street Fair is Coming!

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Street Fair is Coming!

Plans for summer events are really brewing around Yellow Springs.  The Chamber is full of signs ready to go out and huge maps of booth positions.  Artists are dropping in with questions.  You can feel the energy in the air.  Street Fair is coming June 11th 9 a.m.-5 p.m.! Everywhere I turn, artists are working feverishly to get a booth full of pottery, sculpture, paintings, hand-crafted clothes, bags or unique jewelry ready for you.

One of my favorites is Jennifer Float’s booth with her colorful and whimsical paintings.  Jenny is a happy painter.  She has a very high “Awww” factor.  Everyone smiles when they see her work.   For the last 2 months, every time I see Jenny shop sitting at Village Artisans (an artist co-op in Yellow Springs) she has half-done canvases stacked on every surface and a brush in hand.  Jenny doesn’t do much sitting when she shop-sits.

So, you probably know about Street Fair, but do you know about some of the other cool events being planned for this summer?  On June 17th, the Friday after Street Fair, is Yellow Springs’ Art Stroll from 6-9 p.m.  One of my favorite shows is happening that night.  Every 2 years is the Miniature Show at “would you could you In A Frame,” at 113 Corry Street. This year, fifty-two artists have created over 100 pieces of fabulous, tiny art. Included are 3-D works, paintings, embroideries, encaustics and more, all no larger than 3 inches x 2 inches.

Art by Lance Rudegeair

The new gallery in town is Springs Gallery in King’s Yard, 220 Xenia Avenue. It will have its Grand Opening celebration during Art Stroll.  I’ve already had a peek inside and  loved the art.  Many of their artists will be present at the opening.

The Yellow Springs Arts Council Gallery, 309 Xenia Ave. is having a great reception that will include art, live music and belly dancing.

Also on Art Stroll night, the Art’s Council in partnership with the Jafagirls is going to have a truly disgusting, Interactive Public Art Project at the Art Park at 100 Corry Street. The world’s first Traveling Gum Wall will be there. This summer and fall the Traveling Gum Wall is going to be popping up all over town, serving as a fundraiser for the Arts Council.  Gum is sold for a buck a piece.  You buy the gum, chew, chew some more, squish it onto the Gum Wall, and then sign the back.

Whoops, almost forgot, the Gum Wall will be at Street Fair too at the Arts Council’s Oasis,  309 Xenia Ave.

Much more is going on during Art Stroll, Art Sale at Village Artisans, live music, beer making demo, wine tasting, Free Art Friday,….

Maybe I better explain Free Art Friday.  It’s a movement around the world to leave art on the streets for anyone to find and take home. It’s been a while since the Jafagirls of Yellow Springs have done a Free Art Friday. But the word is out, Friday the 17th there will be art for the finding.  (Check the trees!)

Quick run down of other offerings for the summer:  Twice a month, 1st and 3rd Saturdays, will be “Dance Piazza” with DJ Juju at the Art Park, 100 Corry Street.

From 7-8 p.m. there are dance instructors to show steps to anyone who wants to join in.  From 8-10 p.m. It’s an international Dance Party with DJ Juju.

Here is a list of the styles of Dance taught for the first hour of each Dance Piazza. The last  two hours dance any which way you please!

  • JUNE 18 – International Folk Dances with Miami Valley Folk Dancers
  • JULY 2 – Bhangra (Punjabi Folk Dance) with Karanvir Singh
  • JULY 16 – Swing Dance with Jill Christie of the Dayton Ballroom Dance Club
  • AUGUST 6 – Mexican Folk Dance with Nuestro Orgullo youth dance troupe
  • AUGUST 20 – Flamenco Dance & Guitar with Mariya Tarakanova & Brent Del Bianco of Flamencotalk
  • SEPTEMBER 3 – West African Drum & Dance with BabaaRitah Clark
  • SEPTEMBER 17 – Appalachian Clogging & Old Time Music with Rick Good (formerly of Rhythm in Shoes) & Friends

July brings : The Cotton Club” a YS Kids Playhouse jazz musical and  the “Yellow Springs Experience.” July 15th –17th three days and nights filled with the “Cirque Carnival,” Live music and Dance, Wellness and Spa Sessions, Nature Hikes and Art Workshops.  Woo hoo!  Tell you more about that later.

See you in the Springs!