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INSIDE JOB & Big Announcements! (NOWHERE BOY is leaving)

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Hello Everyone.

I just returned from almost 5 full days in NYC – a perfect getaway. That said, I haven’t had a chance to see NOWHERE BOY (the period film about the young John Lennon) yet, but the few folks I’ve spoken with today have loved it. Unfortunately, the movie didn’t perform well enough to stick around. Thursday, November 11 at 5:00 will be your last chance to see it at THE NEON.
On Friday, we open INSIDE JOB. If you’ve been to THE NEON in the past few weeks, I’m guessing you’ve seen the trailer. This film has been given a 100% review from THE NEW YORK TIMES, VARIETY, THE WALL STREET JOURNAL, CHICAGO-SUN TIMES, THE BOSTON GLOBE and more!

Synopsis for INSIDE JOB: “Producer/director Charles Ferguson (NO END IN SIGHT) speaks at length with journalists, politicians, and financial insiders in order to offer a clearer picture of the economic meltdown that hit America starting in 2008. Academy Award winner Matt Damon narrates this unflinching look at the deep-rooted corruption that has left millions of middle-class Americans jobless and homeless as the major corporations get bailed out while paying millions in bonuses.” (Jason Buchanan, American Movie Guide)
www.sonyclassics.com/insidejob

There’s only 1 film left in Living City’s Festival tribute to Jeff Bridges.
RANCHO DELUXE (sponsored by CityWide Development) – Nov. 15 at 7PM
Single tickets will be $8 each – available before the show.

The Ohio Liberty Film Festival starts this week at multiple venues. This is the second year for the festival, and more information can be found by clicking HERE.
The Liberty Film Fest ia a “…celebration of freedom and liberty. The underlying idea is that man’s great achievements, whether artistic, scientific or intellectual, have come about through the exercise of freedom and opportunity. The intent will be to showcase films that show the positive use of freedom, and also the negative outcomes and conditions related to the suppression of freedom.” (taken from Liberty Film Fest’s website)
Here’s a detail I didn’t know until recently. All screenings are FREE!
Films screening at THE NEON are:
RESCUE DAWN – Thursday, November 11 at 2:30pm
THE BEST YEARS OF OUR LIVES – Thursday, November 11 at 7:30
ONE FLEW OVER THE CUCKOO’S NEST – Sunday, November 14 at 2:30

On Thursday, November 18 at 8PM, New York director Gary Beeber (a Dayton native) will bring his movie DIRTY MARTINI AND THE NEW BURLESQUE to town – “a feature-length, independent documentary that explores the outrageous world of the performers who created the ‘new burlesque’ scene in New York City. Get to know Miss Dirty Martini and her friends Julie Atlas Muz, World-Famous *BOB*, Bambi the Mermaid, Tigger!, Scotty the Blue Bunny, and many other cult stars. The movie’s seductiveness comes from its sexy acts as well as its dark exploration of the performers’ struggle to pay their bills, quest for stable love relationships and inability to envision the future after burlesque. The relationship between sex work, burlesque and feminism are discussed. As a classically trained dancer, Dirty Martini has struggled since childhood to overcome criticism of her size. Like Bette Midler, she began her career as part of the downtown drag scene where she
was accepted for her talent. She went on to develop her act in the East Village drag clubs where the gay community appreciated her glamour and kitsch.
Dirty Martini redefines female beauty and allows other women, of all shapes and sizes, to feel uninhibited in expressing their raw sexuality.” (taken from press notes) In addition to the documentary, Beeber is also rounding up regional Burlesque stars to put on a show for attendees – including Champagne Shock, Viva Valezz!, Pandora Foxx and Nina Cherry. Check out a teaser trailer by clicking HERE. Advanced tickets for this event are $15 and are available at THE NEON’s box office. Tickets on the day of the show will be $20.

THE RUBI GIRLS have unveiled their 2011 wall calendar, and they’re now available in our lobby. Calendars are just $20 each, and 100% of that amount will go to charities in the Miami Valley. If you still need a 2011 calendar…or you’re looking for a fun, unique gift…check out the calendar next time you’re here. Last year’s edition sold out, and this year’s edition is even more wonderful. Hurry down.

As of right now, we are set to have the exclusive opening for Danny Boyle’s new film 127 HOURS – featuring a fantastic, lead performance by James Franco – on November 24. We need to make the Thanksgiving weekend a huge success, so please consider planning a screening of this incredible new film (which will certainly show up during Academy Award nominations) during your holiday plans!

We hope to see you very soon.

Take care,
Jonathan

SHOWTIMES for November 12 – November 18:

WAITING FOR SUPERMAN (PG) 111 minutes
Friday, Saturday, Sunday: 12:30, 2:50, 5:10, 7:30, 9:45
Monday: 2:50, 5:00, 9:45
Tuesday, Wednesday: 2:50, 5:10, 7:30, 9:45
Thursday: 2:50, 5:10, 7:30

INSIDE JOB (PG-13) 108 Minutes
Friday, Saturday: 12:20, 2:40, 5:00, 7:20, 9:40
Sunday: 12:20, 5:10, 7:20, 9:40
Monday, Tuesday, Wednesday: 2:40, 5:00, 7:20, 9:40
Thursday: 2:40, 5:00, 9:40

ONE FLEW OVER THE CUCKOO’S NEST (NR) 133 Minutes
(Liberty Film Fest)
Sunday: 2:30

RANCHO DELUXE (NR) 93 minutes
(Living City)
Monday: 7:00

DIRTY MARTINI AND THE NEW BURLESQUE (NR)
(documentary + Live Burlesque Show)
Thursday: 8:00

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

Nov. 19 LEBANON
Nov. 24 127 HOURS
Dec. 3 THE GIRL WHO KICKED A HORNET’S NEST
Dec. 17 TAMARA DREW
Dec. 22 BLACK SWAN
Dec. 24 MADE IN DAGENHAM
TBD: THE KING’S SPEECH & RABBIT HOLE

Expressing Herself with Song – Tony Award winner Sutton Foster bound for Springfield

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Sutton FosterIn the hearts of many musical theater enthusiasts, Sutton Foster is in a class all her own.  A genuine triple threat with a radiant personality and a terrific belting voice, Foster, 35, continues to be one of the most sought after and admired actresses working on the Great White Way. Her star-making, Tony Award-winning performance in 2002’s Thoroughly Modern Millie cemented her leading lady status within the New York theater scene, and she further displayed her charm and versatility in Little Women (2005, Tony nomination), The Drowsy Chaperone (2006, Tony nomination), Young Frankenstein (2007) and Shrek the Musical (2008, Tony nomination). Last spring, she particularly wowed theatergoers with her strikingly nuanced portrayal of Fay Apple in the excellently conceived concert presentation of Stephen Sondheim’s Anyone Can Whistle at New York’s City Center, which, in my book, is in the running as one of the best NYC productions of 2010.

Having ended her first foray off-Broadway in Paul Weitz’s dark comedy Trust opposite Zach Braff (Scrubs), the Statesboro, Georgia native and sister of Tony nominee Hunter Foster (Urinetown) is on tour in support of her beguiling 2008 debut CD optimistically entitled Wish (Ghostlight Records). The CD is an infectiously intimate collection ranging from Duke Ellington tributes (“I’m Beginning to See The Light,” “I Like the Sunrise”) and bygone chestnuts (“Warm All Over,” “My Romance,” “Once Upon a Time,” “Come the Wild, Wild Weather”) to pop numbers (“Up on the Roof,” “Sunshine on My Shoulders”) and little known gems (“Danglin’,” “My Heart Was Set on You,” “Flight”).

On Saturday, November 13 at Springfield’s Kuss Auditorium, Foster will sing selections from Wish in addition to songs she introduced on Broadway. She will be accompanied by her musical director Michael Rafter (Swing!, Thoroughly Modern Millie, Everyday Rapture), and expect a few surprises along the way.

In advance of her concert, presented by the Springfield Arts Council, Foster discussed her craft and career.

onStageDayton: What does musical theater mean to you?

Sutton Foster: It’s everything to me. It’s my true passion…and honestly has changed my life. I’ve had moments in the theater, both as an audience member and on stage, where I have been transported. It’s powerful. To express yourself with song is very powerful.

OSD: What are some of your favorite musicals?

SF: Sweeney Todd is my all-time favorite. I also love Spring Awakening, The Light in the Piazza, West Side Story.

OSD: Do you have any musical theater influences?

SF: Patti LuPone has been a huge influence in my life. I used to listen to her sing over and over again in my room and try and sing like her.

OSD: How did it feel to win the Tony for Thoroughly Modern Millie? What did that win signify?

SF: It was a dream come true. I still to this day can’t believe that happened and that I now have a Tony in my apartment. I used to practice my Tony Award speech in my bedroom when I was a kid…I guess (winning) signified that I had made it in some way, but I think, more importantly, it signified to my family, especially my extended family, that maybe I could make a career out of doing this.

OSD: What are some of the most eye-opening experiences you’ve had thus far in your career?

SF: I think, how hard it is…the sacrifices you have to make to do eight shows a week. How ‘unglamorous’ it can be at times…how it can be difficult to deal with being criticized publicly. But it’s also a beautifully small, supportive community, and I have made friends and relationships that I’ll have for a lifetime.

OSD: Are you excited to play the iconic Reno Sweeney in the Broadway revival of Anything Goes this spring? Do you have an idea as to how you plan to portray the role?

SF: We don’t start rehearsals until January so I’m still very much in the early stages. But I’m thrilled and honored to take on this challenge.

OSD: Are there any dream roles you’d like to perform in the future?

SF: One of my favorite shows is Me and My Girl. I’d love to play Sally in that…or The Baker’s Wife in Into the Woods.

OSD: Can you share a little about the genesis of your Wish CD? What do the songs represent as a whole? Did you always intend to create an eclectic song list rather than a CD devoted to show tunes?

SF: I think when my music director Michael Rafter and I started looking at songs we chose material that spoke to us personally, and that is why the list is a bit eclectic. We really wanted our ‘first album’ to be true to us and where we were when we recorded it. We started working together on Millie back in 2001, and started working toward an album back in 2004, so this has been years in the making. And I think it’s my proudest achievement thus far.

OSD: Are there any tunes from Wish that hold a special meaning or are personal favorites?

SF: “Sunshine on My Shoulders.” I’m a huge John Denver fan, and I knew I wanted to include one of his songs on the album. And Michael wrote the arrangement for the song and it was just perfect. I also love the duet “Flight” that I sing with Megan McGinnis.

OSD: What are your thoughts on the current state of musical theater? Are new voices being heard?

SF: Well, I think they have been. Tom Kitt – Next to Normal – Lin Manuel Miranda – In the Heights…new shows like Bloody Bloody Andrew Jackson. I think the envelope is being pushed now more than ever.

OSD: Do you have any words of wisdom for aspiring musical theater performers?

SF: Don’t be an asshole. Respect your teachers, your peers…and take opportunities…you always have more to learn.

See event details on the DMM Event Calendar

Sutton Foster sings ‘Someone Else’s Story’

Playbill Video Cue & A: Sutton Foster

What: An Evening with Sutton Foster

When: Saturday, November 13 at 8 p.m.

Where: Kuss Auditorium, Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield

Cost: Adults $30-$50; Students (age 22 and under) $20-$40. Tickets can be purchased by calling (937) 328-3874 or visiting online at www.SpringfieldArtsCouncil.org. Group discounts available by calling (937) 324-2712.

Through Conquests And Crusades…To Chunkin’

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Talking Trébuchets With Dayton’s Own American Chuckers

Regardless of one’s own opinion on violence, weapons of war often bring about a sense of awe just with their cunningly destructive force. One of the weapons of war that never fails to fascinate is the trébuchet, a mechanical siege engine dating back, in a less sophisticated form, to the 5th century B.C. The trébuchet, through the aid of engineering, became fearsome engines of war, growing larger, delivering a more devastatingly larger payload with more range and accuracy, playing a pivotal role during both Crusades and then all the way into the late 1400’s. With the advent of gunpowder, the trébuchet faded away as a weapon of war, its last known use being in 1521 during a siege of an Aztec capital. The first shot, however, managed to do nothing more than to fling the payload high into the air…until gravity took over, sending the payload plummeting straight down, destroying the trébuchet itself.

This is an illustrative point about how much mechanical engineering and applied mathematics are needed to not only manufacture the siege machine, but to fine-tune the trajectory so that you don’t create a scenario that looks as if it was intended for a Warner Bros. cartoon. In recent years, trébuchets have been used more for recreational purposes, flinging anything from flaming pianos to small cars far afield for the amusement of onlookers.

The premier event for this spectator sport is the Punkin’ Chunkin’ World Championships hosted by the World Championship Punkin’ Chunkin’ Association (WCPCA) and has been held in Bridgeville, Delaware since 1986. The WPCA is a nonprofit organization which raises money for scholarships and charitable organizations through this event. They break the machines up into categories, including air cannons, centrifugals, catapults and trébuchets. I was able to speak recently with Patrick Imlay, the team captain of Dayton’s own American Chucker. The first thing I asked him was about the design of Team American Chucker’s trebuchet, which did not follow the mechanics of a historical trebuchet.

“It’s called a floating arm trebuchet, so the weight comes straight down and the arm actually rolls across a rail to make the arm go forward.” Patrick went on to describe the engineering principles and physics behind the machine. “If the weight falls in a straight line, that gives you more efficiency. If a weight swings along an arc, like a traditional trébuchet, that is less efficient. So, the higher the weight falls, the more energy you get out of the weight and the straighter the weight falls, the more energy you’ll get. With our machine, what it is doing is accelerating at about 9.8 meters per second squared and from the time it’s released, it’s accelerating downward, so the higher we can get it, the more acceleration and velocity we will get and the more energy we will have to throw with.”

Even though I flunked remedial math in high school, I was fascinated with the physics behind what most would be happy to view as a devastatingly ass kickin’ machine. Imaly stated that some of the refitting that they were doing on the trébuchet for this year’s competition dealt with increasing the weight and reinforcing the machine to be able to withstand the aforementioned weight.

“What the weight does is, the bigger the arm is, if there is more weight, it helps the arm turn the corner without slowing down. More weight creates more momentum, which means that as you try to turn a heavier, longer arm, with more weight you will turn it equally as fast. There’s a certain point where, if you have enough weight, you’ll turn that corner regardless of the size of the arm. There’s a trade off between the amount of weight you lift up and the structure that it’s going to take to lift all that weight, and the structure that you want to have in place to handle all of that weight that is falling.” As an example, Imlay then explained, “So, if you put 30,000 lbs fifty feet up in the air and drop it, your system has to be able to handle all of that force or you have to transfer all that force to the pumpkin. If you have a misfire, you have 30,000 lbs of weight coming down onto something. Most of what we do to tune the machine is to keep it light and efficient.”

All this talk gave me the urge to take my silverware and make a makeshift trébuchet to launch some chicken wings onto that table over by the door. You know, the one with the guy talking annoyingly loud on his cell phone. In fact, I have had fleeting dreams of building a trébuchet for home use. I have fantasized about being able to launch my lawn clippings several blocks over with the hopes of making a bulls-eye onto that guy’s house who lets his dog crap in my yard.

Okay, back to the competition. The Punkin’ Chunkin’ World Championships has become a big thing in the last ten to fifteen years, gaining more attention and coverage form the media outlets. The Science Channel has even dedicated a whole show to the competition, which airs on Thanksgiving. As the attention has increased, so has the level of competition.

“Right! Just in one class there were eighteen machines and there were easily sixty machines out there at that contest. The first day last year (2009), they barely got all the competitors done. It went all morning, through the day until dark.” Imlay added that, “The second and third day went pretty quick about having the next team ready and putting them on the clock. They put you on the clock and then you have to fire within that window, then they measure the throw…their pretty methodical about structure of going down the line.”

In 2009, American Chucker entered the competition for the first time and managed to walk away with second place. With each competitor allowed to have three throws, after which the distance is measured and recorded. American Chucker’s throws were relatively consistent, being 1,427.28 ft, 1,424.27 ft and 1,885.99 ft. In contrast, the first place winner, Yankee Siege’s numbers were rather erratic, which were 1,298.16 ft., 1,869.32 ft. and it’s winning throw of 2,034.21 ft. Imlay explained to me the reason for Yankee Siege’s inconsistent throws.

“It’s weight is called a hinged swinging weight, so there’s a fixed pivot point and then the weight basket is hinged so that it can drop farther, but in the end, when you watch the machine throw, it continues with this violent rocking and that is all the energy that is left in that machine while, with our machine, the load comes straight down and kind of bounces once and that is all the energy that is left.” Imlay went on to say that, “Because of the way Yankee Siege is built and how inefficient it is, they end up dropping a lot of weight…twelve tons of weight…and they end up with a lot of left over energy in the machine which means that the whole machine has to be bigger and stronger so that the weight doesn’t break it.”

Since our conversation had been almost exclusively focused on the physics of punkin’ chunkin’, I decided to ask a more personal question to end out interview: Had Imlay ever thought about duct taping a co-worker, family member or friend up and launching them form the American Chucker?

“No.” he said, then after a moment of thought added, “Maybe some of the people on the team have thought about doing that to me.”

Even though the 2010 Punkin’ Chunkin’ World Championships are already over, I will not reveal the results. This will not stop me, however, from making sucker bets with my family on Thanksgiving Day while we watch the program on the Science Channel at 8:00 pm, which will be hosted by Jamie and Adam from the Mythbusters.

Turning the Table on the Critic

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Russell Florence, Jr. Theatre Critic - Dayton, Ohio - onStageDayton on DaytonMostMetro.comA Discussion with Russell Florence, Jr.

DaytonMostMetro.com/onStageDayton’s newest contributor!

We are pleased to announce our newest contributor to DaytonMostMetro.com, Russell Florence, Jr.!  The addition of Russell to the onStageDayton team means that DMM will not only be the place to go for previews and announcements about Dayton area theatre activities and events, but also your destination for theatre reviews as well!.

We are certainly honored that Russell has chosen to work with us at onStageDayton.  He is well known around the Miami Valley theatre scene, having written for such publications as Dayton Daily News, Impact Weekly and, most recently, Dayton City Paper.  In an effort to introduce Russell Florence, Jr. to our DMM readers, we asked him to respond to a few questions.

Russell, Welcome to DaytonMostMetro.com! We are thrilled that you will be joining our group of onStageDayton contributors. We’d like to take a couple of moments to “turn the tables” on you…and ask YOU a few questions!

OSD:  You have been a pretty recognizable personality around the local theatre scene for quite some time now.   What was the first review you wrote in a major Dayton area media outlet? What memories do you have of that experience?

Titanic - a new musical - logoRF:  My first review was in 2001 courtesy of Impact Weekly, formerly the Dayton Voice. I reviewed the national tour of Titanic at the Victoria Theatre. The production definitely struck a chord. I’ve always loved Maury Yeston’s grand, operatic score.

OSD: In your years reviewing productions in the area, what changes have you witnessed in the Dayton area theatre scene?

RF:  Primarily, Dayton’s theater community has been more open and receptive to risk, which I find extremely refreshing. At one time, there were only a handful of theaters willing to break from mainstream tastes, but multiple troupes, from the suburbs to downtown, are embracing challenging, thought-provoking, and edgy material. Many organizations are currently planning their 2011-2012 seasons as well. I’m excited to discover what’s in store!

OSD: Every community would love to know that their local theatre climate is a microcosm of the national one…in what ways is this true (or untrue) of the Dayton community?

RF:  The ongoing support and encouragement of new voices in musical theater has been particularly wonderful. From professional theaters to collegiate and community theaters, Dayton audiences are being treated to important works and witnessing the rise of many up and coming composers with clear potential. It’s great that there are so many theater organizations in the Gem City with close connections to some of the best and brightest talents working in the industry.

OSD: What are two currently running shows in New York (Broadway or Off-Broadway) that make you feel optimistic about the future of American theatre?

Scottsboro Boys - logoRF:  John Kander and Fred Ebb’s The Scottsboro Boys and Tom Kitt and Brian Yorkey’s Tony and Pulitzer Prize-winning Next to Normal are two examples of compelling, conceptually dynamic musical theater that will hopefully inspire other artists to pursue the same.

OSD: You’ve had the opportunity to interview quite a few big names in theatre…who still makes you “starstruck”?

Stephen SondheimRF:  I’m very fond of my 2002 interview with producer Cameron Mackintosh (who was in Dayton for the non-equity launch of Miss Saigon at the Victoria Theatre), but in terms of “starstruck,” I’ve crossed paths with and spoken briefly to Stephen Sondheim on two occasions and couldn’t move afterward!

OSD: Tell us, and our onStageDayton readers, a guilty pleasure that you just might be a little bit ashamed to admit…

RF:  Waiting at the stage door to have my Playbill signed and chat with cast members after seeing a Broadway show remains tempting!

Make sure you visit DaytonMostMetro.com – onStageDayton regularly for the latest in theatre news!  Russell will be contributing his first preview later this week, and reviews of local productions will begin soon!  Additionally, David, Shane & Katherine will continue to highlight upcoming local performances and audition notices.

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

SA/DB

onStageDayton on DaytonMostMetro.com - Shane Anderson, David Brush, Katherine Nelson & Russell Florence, Jr.Russell Florence, Jr. is a member of the American Theatre Critics Association and the Drama League. In addition to his role as arts and culture editor of Dayton City Paper and theater critic for Dayton City Paper and Impact Weekly, he served as a Dayton Daily News freelance writer and editorial page contributor. He has also written features for such theater publications as Spotlight Ohio and The Sondheim Review.

Shane Anderson & David Brush work with locally based Encore Theater Company.Katherine Nelson, a senior theatre major at Cedarville University, serves as the Literary Intern for ETC.  The local theater company recently moved into the new arts collective space in the Oregon Arts District, along with Zoot Theatre Co & Rhythm In Shoes. Encore Theater Company has a mission to help develop new works of musical theater, most recently Next Thing You Know and The Proof, two new musicals in development.

Dayton Philharmonic Rocks – Broadway Style

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The Dayton Philharmonic’s 2010-2011 Kettering Health Network SuperPops Series will continue with a fast-paced revue of the best of contemporary musical theatre titled “Broadway Rocks!” on Friday and Saturday, November 12 & 13, at 8 p.m. both nights at the Schuster Center.

Four top-notch Broadway vocalists – Rob Evan, Capathia Jenkins, Doug LaBrecque, and Anne Runolfsson – will join the DPO for inspired performances of the best in up-tempo hits from smash shows such as Wicked, Jesus Christ Superstar, Tommy, Phantom of the Opera, Hairspray, The Wiz, Mamma Mia and more. Each guest artist brings an impressive list of leading-role performances in popular Broadway musicals. Together, they will light up the stage in a dynamic revue that will leave audiences breathless!

Robert Evan starred in the original Broadway cast of Jekyll & Hyde, playing the title roles for three years and over 600 performances. His rendition of This Is the Moment has been heard at numerous prestigious events including the 2001 Inaugural Gala for President George W. Bush, the Millennium Independence Day US Naval Revue aboard the USS JFK for President Clinton, the Millennium World Forum Conference with guest speaker Mikhail Gorbachev, the 1998 Goodwill Games, the New York City Mayor’s Inaugural Gala, the 1998 and 1999 NY Yankees World Series Celebration at City Hall, The Georgia Music Hall of Fame Awards Telecast, the Today Show, and Monday Night Football. Robert has starred around the world in the all-new Jekyll & Hyde: The Concert, having enjoyed a 16-show run in Seoul, South Korea’s Olympic Hall.

Capathia Jenkins was born and raised in Brooklyn who made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway revival of Godspell, where she wowed audiences with her stirring rendition of ‘Turn Back, O Man’ which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. Ms. Jenkins then created the roles of ‘The Washing Machine’ in Caroline, Or Change and ‘Frieda May’ in Martin Short-Fame becomes me where she sang ‘Stop the Show’ and brought the house down every night.

In 2007 she went back to Off-Broadway and starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. Most recently she was seen in Nora Ephron’s Love, Loss, and What I Wore.  She has appeared with the Cleveland Orchestra, National Symphony, Utah Symphony, Minnesota Orchestra, Atlanta Symphony, Edmonton Symphony, San Diego Symphony and the Hong Kong Philharmonic.

Doug LaBrecque thrilled theater audiences as The Phantom and Raoul in the Harold Prince production of The Phantom of the Opera. In addition, Mr. LaBrecque has starred on Broadway as Ravenal in the Hal Prince revival of Showboat, a role he also performed in Canada and Chicago. He was featured in Oscar Hammerstein’s 100th Birthday Celebration on Broadway at The Gershwin Theatre, and toured nationally with Les Miserables. Regionally, Mr. LaBrecque has performed leading roles in Candide, A Chorus Line, and Man of LaMancha among others. A graduate of the University of Michigan, he was featured in the world premiere of A Wonderful Life, written by Sheldon Harnick and Joe Raposo, and starred in the premiere revival of Kurt Weill and Alan Jay Lerner’s Love Life.

An active concert performer, Mr. LaBrecque has been a soloist with some of the world’s finest symphony orchestras, including The San Francisco Symphony, The Israel Philharmonic (Tel Aviv), The Chicago Symphony, The Cleveland Orchestra, The Atlanta Symphony, The National Symphony, among many others. In the last few years, Mr. LaBrecque’s U.S appearances have included Seattle Symphony, Detroit Symphony, , Houston Symphony, Baltimore Symphony, Pittsburgh Symphony, New Jersey Symphony, Dallas Symphony, Utah Symphony, and with Marvin Hamlisch both at the Ravinia Festival with The Chicago Symphony, and at Carnegie Hall with The New York Pops.

Anne Runolfsson is one of those rare artists whose unique versatility has allowed her a distinguished career not only in the theater but also in recording studios, intimate cabaret spaces, and concert halls throughout the world. The New York Times proclaimed, “Ms. Runolfsson has a flexible virtuosity, between ethereal melodiousness and piercing big-moment resonance,” while the LA Times has called her “A savvy and thoughtful performer.”

She recently completed a two-year run on Broadway as the tempestuous diva, Carlotta Giudacelli in Andrew Lloyd Webber’s Phantom of the Opera, the longest running show in Broadway history. Hal Prince referred to her performance as a “revelation.” Prior to that she made a splash in Victor/Victoria where she had the honor of standing by for Dame Julie Andrews and Liza Minelli. She performed the title role over 120 times to great acclaim and went on to recreate the role in the National Tour which began in Seattle and Houston. Other Broadway and National Tour credits include: the role of Gretta Conroy in James Joyce’s The Dead, Fantine in Les Miserable, Roxane in Cyrano-The Musical, Lili in The Secret Garden, and Aspects of Love. Off-Broadway and Regional credits include: Listen to My Heart (Studio 54), Rags, Jack’s Holiday, Cather County, A Little Night Music, Showboat, and Funny Girl.

She has appeared as a soloist at Carnegie Hall, Radio City Music Hall (with Tenor Jose Carreras), The Kennedy Center, Town Hall, the Concertgebouw in Amsterdam, The National Theater in Iceland, Rainbow and Stars, The Russian Tea Room, Bay Street Theater, The Pump Room, The Cinegrill, The 92nd st. Y, and with The National Symphony, The Boston Pops, The Jerusalem Symphony, The Orchestra of St. Lukes, The National Symphony of Canada, The Hong Kong Philharmonic, The Cincinnati Pops, Oklahoma City Philharmonic, The Buffalo Philharmonic, and the Symphony orchestras of San Francisco, Baltimore, Pittsburgh, Seattle, Indianapolis, Toronto, Milwaukee, Utah, Detroit, Dallas, Houston, Columbus, San Diego, Colorado, Minnesota, and St. Louis, among many others.

Patrick Reynolds, Assistant Conductor of the DPO, will conduct. The concerts will also feature the Dayton Philharmonic Chorus, under the direction of Hank Dahlman.

Tickets for the concerts range from $22 – $76 and are available by calling (888) 228-3630 or by ordering on the web at www.daytonphilharmonic.com.

WAITING FOR SUPERMAN and the Young John Lennon biopic

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Hello Everyone.

2 new films open this Friday at THE NEON.  We’ve had more calls about WAITING FOR SUPERMAN than any other film in recent months, and NOWHERE BOY – a film about the young John Lennon – is certainly a crowd-pleaser. We hope you’re making plans to see us this weekend!

Synopsis for WAITING FOR SUPERMAN: “Filmmaker Davis Guggenheim reminds us that education “statistics” have names: Anthony, Francisco, Bianca, Daisy, and Emily, whose stories make up the engrossing foundation of WAITING FOR SUPERMAN. As he follows a handful of promising kids through a system that inhibits, rather than encourages, academic growth, Guggenheim undertakes an exhaustive review of public education, surveying “drop-out factories” and “academic sinkholes,” methodically dissecting the system and its seemingly intractable problems.” (Sundance Film Festival) http://www.waitingforsuperman.com/

Synopsis for NOWHERE BOY: “The drama tells the story of Lennon’s teenage years and the start of his journey to becoming a successful musician. The story also examines the impact on his early life and personality of the two dominant females in his childhood – his Aunt Mimi, and his mother, Julia. In addition, the film shows the first meeting of Lennon with future Beatle Paul McCartney, and the development of their friendship and musical partnership. British actor Aaron Johnson portrays Lennon, and Thomas Brodie Sangster plays Paul McCartney. Aunt Mimi is portrayed by Kristin Scott Thomas and Anne-Marie Duff plays Julia.” (Wikipedia)  http://nowhereboy.com

Only 2 films left in Living City’s Festival! Here are the remaing films in the Jeff Bridges retrospective:
THUNDERBOLT AND LIGHTFOOT (sponsored by Jeff Martin Florist) – Nov. 8 at 7PM
RANCHO DELUXE (sponsored by CityWide Development) – Nov. 15 at 7PM
Single tickets will be $8 each available before each show.

The Ohio Liberty Film Festival starts next week at multiple venues. This is the second year for the festival, and more information can be found by clicking  http://www.ohiolibertyfilmfestival.com/aboutthefestival.htm.  The Liberty Film Fest ia a “…celebration of freedom and liberty. The underlying idea is that man’s great achievements, whether artistic, scientific or intellectual, have come about through the exercise of freedom and opportunity. The intent will be to showcase films that show the positive use of freedom, and also the negative outcomes and conditions related to the suppression of freedom.” (taken from Liberty Film Fest’s website)

Films screening at THE NEON are:
RESCUE DAWN – Thursday, November 11 at 2:30pm
THE BEST YEARS OF OUR LIVES – Thursday, November 11 at 7:30
ONE FLEW OVER THE CUCKOO’S NEST – Sunday, November 14 at 2:30

On Thursday, November 18 at 8PM, New York director Gary Beeber (a Dayton native) will bring his movie DIRTY MARTINI AND THE NEW BURLESQUE to town – “a feature-length, independent documentary that explores the outrageous world of the performers who created the ‘new burlesque’ scene in New York City. Get to know Miss Dirty Martini and her friends Julie Atlas Muz, World-Famous *BOB*, Bambi the Mermaid, Tigger!, Scotty the Blue Bunny, and many other cult stars. The movie’s seductiveness comes from its sexy acts as well as its dark exploration of the performers’ struggle to pay their bills, quest for stable love relationships and inability to envision the future after burlesque. The relationship between sex work, burlesque and feminism are discussed. As a classically trained dancer, Dirty Martini has struggled since childhood to overcome criticism of her size. Like Bette Midler, she began her career as part of the downtown drag scene where she
was accepted for her talent. She went on to develop her act in the East Village drag clubs where the gay community appreciated her glamour and kitsch.
Dirty Martini redefines female beauty and allows other women, of all shapes and sizes, to feel uninhibited in expressing their raw sexuality.” (taken from press notes) In addition to the documentary, Beeber is also rounding up regional Burlesque stars to put on a show for attendees. More details will be available in the coming days, but for now you can check out a teaser trailer by clicking  HERE.  Advanced tickets for this event will cost $15 – and will be available this weekend at THE NEON’s box office. Tickets on the day of the show will be $20.

We hope to see you very soon.

Take care,
Jonathan

SHOWTIMES for November 5 – November 11:

WAITING FOR SUPERMAN (PG) 111 minutes
Friday, Saturday, Sunday: 12:30, 2:50, 5:10, 7:30, 9:45
Monday – Thursday: 2:50, 5:10, 7:30, 9:45

NOWHERE BOY (R) 98 Minutes
Friday, Saturday, Sunday: 12:40, 2:45, 5:00, 7:20, 9:30
Monday: 2:45, 5:00, 9:30
Tuesday & Wednesday: 2:45, 5:00, 7:20, 9:30
Thursday: 5:00

THUNDERBOLT & LIGHTFOOT (R) 115 minutes (Living City)
Monday: 7:00

RESCUE DAWN (R) 126 Minutes (Liberty Film Fest)
Thursday: 2:30

THE BEST YEARS OF OUR LIVES (NR) 172 Minutes
Thursday: 7:30

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

Nov. 12 INSIDE JOB & LEBANON
Nov. 19 TAMARA DREW
Nov. 24 127 HOURS
TBD This Fall: THE GIRL WHO KICKED THE HORNET’S NEST
Dec. 24 MADE IN DAGENHAM
Dec. 24 BLACK SWAN
TBD: THE KING’S SPEECH & RABBIT HOLE

Jimmy Pardo: The Jazz Zinger

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From Comedy Clubs To Conan, This Comedian Is Never Not Funny

After studying for a year at the American Academy of Dramatic Arts in Pasadena, California, Jimmy Pardo decided to go back to his home state of Illinois and entered the comedy scene during the halcyon days of the eighties. Coming up through the ranks, Jimmy went on to become a headliner, appearing in his own Comedy Central half-hour special and making guest appearances on television shows like That Seventies Show and Becker. Always casting a nervous eye on the future, Jimmy has taken a practical approach to his career, creating opportunities for himself instead of waiting for that ephemeral big break. By doing so, Jimmy has created several shows of his own, such as Running Your Trap, You Bet Your Life and a very successful one man show, understatedly titled Attention Must Be Paid: The Jimmy Pardo Story. Not satisfied with becoming stale or behind the times, Pardo hosts a critically acclaimed and wildly successful podcast, Never Not Funny, which is an unscripted talk with various guests from the world of comedy as well as Pardo’s unique humor.

What follows is an (almost) unedited transcript of my most recent interview with the acerbically witty comedian as he was in transit to the world’s best day job…

J.T.: How are you doing?
Jimmy: Good! Jimmy Pardo calling…but obviously you know that.

J.T.: See? I was editing pictures from a pole fitness class. That’s where you rate with me. ‘Pictures of hot, nubile women exercising on stripper poles…what? Jimmy Pardo is on the phone? Well, let me just put these away then!’
Jimmy: Well good for you! And those are ladies you know, right?

J.T.: Yeah.
Jimmy: That makes it hotter, doesn’t it?

J.T.: Yeah, it has that ‘girl next door’ quality to it.
Jimmy: Yeah! Right! I like it. I love the idea of it.

J.T.: Well, how is everything in your world?
Jimmy: Everything is good. As we speak, I am driving to go to work with Conan.

J.T.: That was going to be my first question. I was wondering where that was going to lead because you were there right when the Jay Leno hammer fell.
Jimmy: I was. I was there for the whole seven months of the Tonight Show with Conan O’Brien and, luckily, I got picked up to go to work again. Today is our first test show and, as I said, I’m heading there right now.

J.T.: That is just ultra-cool.
Jimmy: Yeah! I’m really excited about it. I don’t…and if I’m repeating myself, I apologize… this is a great group of people to work with and Conan is just a terrific guy and I’m honored to be part of such a terrific team. I know that sounds like a press release, but I mean it.

J.T.: Oh, well yeah. You know, the way that Conan has handled this whole situation, from beginning to end, has just been classy and funny at the same time. I think that it has boosted his image in a  lot of people’s eyes.
Jimmy: It really has. It’s made him sort of like this underdog/folk hero too. People are like, here’s this guy who, for no reason, got shit on, basically. He was putting on and doing a great show, he was being funny and he was getting the ratings in the demographics that they had told him that they had wanted him to do, and then they went, ‘Yeah, you know what? That’s not what we want after all *click*’ It’s just ridiculous.

J.T.: Yeah, and things went the other way for Leno as well.
Jimmy: Oh, absolutely.

J.T.: On many different levels.
Jimmy: You know, (Leno) didn’t come off well in any of those interviews that he gave, during and post, in my opinion.

J.T.: Well, switching gears, Never Not Funny is doing really well…
Jimmy: We are doing very well and I’m proud to be a part of that as well. I’ve never been prouder of anything than I am about the podcast.

J.T.: Well, I read a while back that it even got a write up in GQ Magazine…
Jimmy: Yeah! They were nice enough to mention us as their Number One Relatively Obscure Thing To be Paid Attention To and hopefully that got us a few more listeners.

J.T.: Well, that’s kind of a left handed compliment, isn’t it?
Jimmy: (Laughing) Yeah, right! Well, you know how everything needs to be snarky, right?

J.T.: Yeah, but it’s like, ‘Should I say thank you or smack the fuck out of someone?’
Jimmy: Yeah, well, you read Entertainment Weekly and everything has to be some backhanded compliment. It just can’t be, ‘Hey! This is great!’ Everything just has to have that subtext of snarkiness to it.

J.T.: Right! You know, when people have asked me to describe your show, I always say…and you might disagree with this…but there seems to be different styles of stage presence and types of delivery, so I put it into musical terms which is to say that there are those whose performance is more like grunge and some that are more like classical jazz. I’ve always describe your act as being like watching classical jazz. It’s almost got that Catskills quality to it.
Jimmy: I don’t, uh…I don’t disagree with anything you have said. In fact, I’m very flattered when people refer to my delivery as jazz because I do think it has some of those elements, if you are trying to compare it to music because it’s got that rhythm and it can take off into another rhythm. No, I one hundred percent agree with you and I appreciate the compliment and I take it as such.

J.T.: Well, how would you describe your act to someone who hasn’t seen you perform?
Jimmy: You know what? I’ve been trying to figure that out for twenty years. How do you put into words the nonsense I do? You know, I used to call it ‘high energy sarcasm,’ or somebody once described it as that in a review of my show and, at the time, I thought it summed up what I do. I still think it does, but when people think of sarcasm, they picture some dour guy, like a guy that just stands there and is mean, bitter and angry…and that is certainly not what I am. But when they said ‘high energy sarcasm’ I thought, ‘Well, that makes sense because I’m also not Dane Cook or Steve Byrne, who are both fine comics. I’m not one of these guys that shits on those guys. But, they are these high energy kind of guys, but they aren’t really sarcastic. So, for me, high energy sarcasm worked, but I do so much improvisation on stage these days that if there was a way to figure out something like, ‘high energy improvisational sarcasm’…but boy, doesn’t that sound like a shit show? (laughing) I don’t know. I really don’t know how to describe it.

J.T.: That’s what I mean. I have a hard time describing your show because you can go from an egocentric dictator at one point directly into some self deprecating rant about yourself.
Jimmy: It’s, uh…you know what? I mean, that’s exactly it too.

J.T.: Maybe highly energetic schizophrenia.
Jimmy: You know, I want to say that somebody used that term to describe my show once before too. A woman in Ann Arbor called me that. But, I don’t disagree with that either. You’re right…I mean the egocentric dictator is kind of rough…but yeah, I turn it around and then I’m the stooge, which I think is necessary because if you’re just up there yelling, you’re just an a-hole, don’t you think? I mean, you have to turn it on yourself at some point. I think some of these young comics don’t realize that part of it. I apologize J.T., but at zero with this question. It’s odd to try and describe what it is that I do. It’s just funny and…I don’t know. I’m a failure. (laughs)

J.T.: Let’s talk about the Never Not Funny podcasts for a minute then. What do you have coming up with that? Any interesting interviews slated?
Jimmy: You know, we have Scott Aukerman makes his return (October 27th) and next week my beautiful wife Danielle Koenig will be on the show. We’re coming to the end of this season, and we’ve had a lot of new guests this season and added some new faces to the show and I already have a lot of new faces lined up for season eight, but I don’t want to give those away because it won’t be a surprise when we do it.

J.T.: That and you’ll jinx yourself and they’ll pull out at the last minute the moment you utter their names.
Jimmy: Oh, of course. The minute you printed their name, that guy would cancel. We also have the Podcast-o-thon coming up the day after Thanksgiving. This year we’re going to go for twelve hours where last year we only went for nine. We raised over twenty-one thousand bucks last year. We’re hoping to best that, but I don’t see that being possible, but I would should love it if it happened. Starting today, as a matter of fact, we began to book the people for that event. I sent out a bunch of invitations to appear for it and hopefully soon they will start to come back to me, so there will be that as well as well as the regulars from the show and we will have a great twelve hour marathon.

J.T.: What is the charity that you are raising money for?
Jimmy: It goes to Smile Train. That’s the charity that goes to Third World countries and fixes cleft palates.

J.T.: Oh yeah!
Jimmy: Yeah, you’ve probably seen the ads like in the back of Parade Magazine.

J.T.: Yeah, some of the most horrific pictures in those ads.
Jimmy: They really are. I picked up Parade Magazine and I saw this ad and it says, ‘Each surgery only costs $250.’ So, I immediately donated…not because I’m this big money guy…I don’t have money to donate, but I was so moved by those horrific pictures that I thought, ‘Jesus Christ! For $250 bucks you can fix this kid’s face? Why not donate?’ Then when it came time last year for the end of the season, we said, ‘Hey, let’s do a marathon podcast just for the fun of it!’ and then I thought, ‘You know what? Let’s do it for this charity.’ So, when we raised this much money…I never…I never felt like I had done something better for the world in my life than giving this much money to save this many kids. It really felt great and hopefully we can do the same this year.

J.T.: Well, I sincerely hope it does as well. With the podcasts getting more popular, are people seeking you out asking to be a guest instead of visa versa?
Jimmy: Oh yeah, yeah, yeah, yeah! People…uh…not so much calling, but if I’m like out at a show, (comedians) are like, ‘Yeah, I’d sure like to show up on that podcast!’ Nine times out of ten, I go, ‘Yeah!’ and walk away and hope they never bring it up again. With the one out of ten, I’ll go back to my co-host producer Matt (Belknap) and tell him, ‘Hey! Kevin Pollak wants to do our show!’ and so it’s like, ‘Great! Let’s book him!’ and we definitely get him on as quickly as we can. But, with all of the requests, sadly, there’s a reason you haven’t been asked my friend. By the way, some of those are really funny people, but not funny in conversation. You know, I used to hear Steve Dahl and Garry Meier do radio out of Chicago and they interviewed Jerry Seinfeld who, at the time my…you know…and man, he was awful!

J.T.: Oh yeah, I’ve seen a ton of interviews where you would have gotten better reactions out of coma patients.
Jimmy: Don’t you think?

J.T.: Yeah, he always just gave really short, deadpan answers.
Jimmy: Just horrible! Not even funny! You’re not promoting your show! You just…showed up! So, again, it’s not an insult to these people when I don’t want to have them on, it’s just I know that they are not going to be right for that format.

J.T.: I’ve always thought that about some of these morning radio shows. There are some absolutely hysterical people that have been on there, but the format kills them.
Jimmy: Right!

J.T.: Ron Shock is a perfect example because he is a brilliantly funny man, but his long drawling type of storytelling does not survive on that ADHD programming format. I mean, before he is 1/16th through a story, someone has already interrupted him and derailed the whole thing…
Jimmy: Exactly! Boy! You’re not kidding either. You’re just derailed and, like in Ron’s case, with that Southern drawl, how do you go back like, ‘Anyhow, what Ah wuz sayin’ wuz…’ It would make you sound like a dick, so you drop it and you’re done. So, instead of coming off with this really funny story, people listening are like, ‘Well, that made no sense! Thank God someone interrupted it!’ Yeah, I agree with you. I one hundred percent agree.

J.T.: By the same token, there are people that are absolutely hysterical on radio, and you would think that their stage show would utilize that improvisation, but after four or five years, it’s the same routine.
Jimmy: (laughing) Right!

J.T.: Well, that’s like that air bass thing you do on Bob and Tom. At least since their program has been picked up for television broadcast by WGN, you can get the more subtle nuances of the air bass performance.
Jimmy: Definitely. You know, as much as I want exposure, the downside is that anytime I go to a Bob and Tom market, there’s always at least one guy that yells out, ‘Air bass!’ It’s like, ‘Okay, there’s no music playing sir. It doesn’t apply to what we are doing currently.’ And by the way, and you know this: They don’t yell out when it’s quiet…they yell it out one word before the punchline. ‘Air bass!’ Yeah, thanks.

J.T.: Well, have you picked up any other air instruments like the accordion?
Jimmy: I have not. I stick strictly with the bass. You know, when you perfect an instrument like that, you don’t want to take away from its uniqueness. How’s that for a ridiculous answer (laughing).

J.T.: What you should do is if someone yells out for air bass, you should just stop what you’re doing and do like a three minute solo without any music or noise whatsoever and then, when you’re done, remind everyone to thank the gentleman after the show for suggesting that encore performance.
Jimmy: Right! I mean, obviously I do other nonsense, like I tap dance for no reason…you know, I’m doing this Cajun character who just shows up out of nowhere now, for no reason.

J.T.: (laughing) I haven’t seen that yet.
Jimmy: Oh, it is the dumbest thing you will see in your entire life. I’m not going to lie to you: I’ve never, in my entire career in comedy, I’ve never heard an audience laugh harder than when I do this dumb Cajun guy. It doesn’t last more than two minutes, because it can’t because it is so ridiculous, but when I do it, I still get spit-takes. I mean, Jesus Christ, I’ve worked my ass off for twenty years and, as it turns out, I do this dumb Cajun guy and he gets the biggest laugh. Fair enough.

J.T.: You caught the Larry the Cable Guy syndrome.
Jimmy: Yeah, right. But I never go more than two minutes because I don’t want to be that guy…you know, with all of his billions of dollars. I don’t want that. No.

J.T.: That’s funny because I just watched the roast of Larry the Cable Guy and Greg Giraldo just tore into him.
Jimmy: He was great, Greg. Everybody says Jeff Ross, they call him the ‘master of the roast,’ but I think Greg was. Don’t you think?

J.T.: Greg’s stuff was brilliant.
Jimmy: Nobody was writing sharper material than Greg.

J.T.: Oh, I mean, Greg Giraldo doing the Flavor Flav roast with, ‘You look like Idi Amin after a three year crack binge on the sun!’ That is an elegant reference.
Jimmy: (laughing) Gorgeous!

J.T.: I got to meet Greg once when he middled for Colin Quinn. I was very surprised. He was a very subdued guy off stage.
Jimmy: You know, it surprised me to. I met him a couple of times at the Montreal Comedy Festival and he’s one of those guys that, like when you see him, with what he does on stage, which is so quick and sarcastic, but off stage, it’s like, ‘Hey man, I’m Greg.’ And it’s like, ‘Oh! Oh good! We’re just people.’

J.T.: If you ever get a chance to, look up Greg’s interview in Psychology Today…it definitely gives some insight into what happened.
Jimmy: Okay. I will definitely look that up when I get home tonight.

J.T.: So, your role on Conan: are you doing the warm up only or are you going to be getting into the writing as well?
Jimmy: You know, I’ll still be just the opening act, but I’m hoping to get in some more sketches this go-round. I did a few for the Tonight Show (with Conan O’Brien) that, due to time constraints, never aired. I am hoping to get in some more sketches and to be a little more involved, but for the most part right now, I’m happy to just go out and be the warm up act and have, quite frankly, the greatest day job in the world.

J.T.: That would be fantastic. Have you been told to keep things in check?
Jimmy: You know what, the only notes that I was ever given, to be honest with you, is just ‘don’t swear.’ That was it.

J.T.: I interviewed Archbishop Schnurr and the whole way to the interview, I’m smoking like a freight train telling myself, ‘Don’t say fuck, don’t say fuck and for fuck’s sake, don’t say goddamn.’ Then I got worried that I had hyped myself up so much that the first words out of my mouth were going to be, ‘Fuck, fuck, fucking, fuckity fuck!’…and then I would go straight to hell.
Jimmy: (laughing) Of course! You know, it’s funny, I did a private gig once, which I can’t stand doing, by the way, and before I went on, the guy goes, ‘The only thing I ask is just  don’t say fuck.’ So I said, ‘Oh, okay.’ So I decided to replace every ‘fuck’ in my act with ‘goddamn.’ As it turns out, that might be a little more offensive to some people. Turns out that saying, ‘This goddamn thing and that goddamn thing’…some people truly get offended by that. Okay, good enough.

J.T.: Now, you’ve played Wiley’s a few times…
Jimmy: This will be my third time there. I used to play Joker’s way back in the day, so when that kind of went down, Rob (Haney) was kind enough to call me up, so I went over there and I love it.

J.T.: Do you think it’s a good room for you?
Jimmy: You know what? I’m a guy that speaks so positively about comedy clubs as opposed to venues, and you have one of each in Dayton. I love Wiley’s and while he might not get the numbers that the other club gets, in my opinion, you’re getting comedy fans as opposed to people who just want a night out. I like a nice 150-200 seat room with the stage right there and the people are right there with you, so you can communicate as opposed to perform. That’s the problem…well, I guess it’s not a problem…well, I kind of think it’s a problem…I think that having the stage and the audience so separated has made some comedians go in the direction of, ‘I should perform! I need to kill!’ as opposed to just worrying about being funny. That’s what I love about Wiley’s…even back in the day when Joker’s was there. There were many years when Joker’s drew tremendous crowds. Then, sadly, it became a place for bachelorette parties and you end up wanting to slam your head against a wall.

J.T.: There’s no competing with a bachelorette party.
Jimmy: The day that someone puts a rule out across the country that bachelorette parties are not allowed at comedy clubs, that guy will be my hero.

J.T.: Speaking of Rob, when he told me he sent you an email warning you that I wanted an interview, he said, ‘Oh, I told him that a local writer wanted to interview him and that you were a big fan of his iPod.’ Rob and technology equals a bad mix.
Jimmy: You know, Rob will send me an email and if it takes me more than one word to respond, he’ll write back, ‘Can you just pick up the phone!’ He’s like a dad in that way. Like a dad…if you picture the stereotypical dad…that’s Rob. ‘I don’t understand this future!’

J.T.: When he said I loved your iPod instead of Podcast, I was like, ‘Yeah, I love how Jimmy’s playlist jumps from Marilyn Manson to Air Supply…it’s such an eclectic mix.’
Jimmy: You know, there’s a good chance that might happen. Yeah, you’ve seen my iPod. You like the way I handle it. You like the case and the clear plastic I put over it to prevent scratches.

J.T.: Well, let’s wrap this up. Is there anything that you want out there that we haven’t covered?
Jimmy: Nah, I think that covers it. In fact, I’m going to be pulling into a garage and I’m probably going to lose you. I sure do appreciate you taking the time to do a story.

J.T.: And I surely appreciate you taking the time to talk with me. I will definitely see you when you get to Wiley’s then.
Jimmy: Fantastic! I look forward to it. Thank you so much and I appreciate it J.T.

You can catch the sweetly sardonic humor of Jimmy Pardo for a limited engagement at Wiley’s Comedy Niteclub (101 Pine St. in the Oregon District) on Friday November 5th at 9:00 pm and for two shows on Saturday, November 6th at 8:00 pm and 10:30 pm. Tickets range from $10 to $12 and, since this is a special show, no coupons, passes or offers can be accepted. Call (937) 224-JOKE to make reservations and for more information, check out Wiley’s website at www.wileyscomedyclub.com or become friends with them on Facebook.

CAIRO TIME, A Coen Bros ReMake, and Lots More!

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Hello Everyone.

We’re moving things along at THE NEON.  If you still need to see NEVER LET ME GO or IT’S KIND OF A FUNNY STORY, you only have Thursday (10/28) to catch them with us (www.neonmovies.com).  On Friday, we start two new films – A WOMAN, A GUN AND A NOODLE SHOP – based BLOOD SIMPLE – a Coen Brothers film (which will only play for one week) and CAIRO TIME – starring one of my all-time favorites – Patricia Clarkson (which may only play for one week).

Synopsis for CAIRO TIME: “A married magazine editor falls for one of her husband’s old acquaintances while vacationing in Cairo in this romantic drama from writer/director Ruba Nadda. Juliette (Patricia Clarkson) is a magazine editor who is happily married to Mark (Tom McCamus), a Canadian diplomat. Their kids are all grown up, and they’ve planned a three-week vacation in Cairo together when Mark gets delayed in the Palestinian territories and Juliette is left to navigate the Egyptian capitol alone. In order to ensure his wife’s safety until he arrives, Mark asks his former security officer and longtime friend Tareq (Alexander Siddig) to be her guide though the city. He never imagined that they would fall in love, but the more time Tareq and Juliette spend together the more difficult is becomes for them to deny their intense attraction to one another.”  (Jason Buchanan, All Movie Guide)

Synopsis for A WOMAN, A GUN AND A NOODLE SHOP: “Wang is a miserable yet cunning noodle shop owner in a desert town in China. Feeling neglected, Wang’s wife secretly goes out with Li, one of his employees. A timid man, Li reluctantly keeps the gun the landlady bought for ‘killing her husband later’. However, not a single move they make escapes the boss’s notice, and he decides to bribe patrol officer Zhang to kill the illicit couple. It looks like a perfect plan: the affair will come to a cruel but satisfying end… or so he thinks, but the equally wicked Zhang has an agenda of his own that will lead to even more violence.” (Sony Pictures Classics)
This film is based on BLOOD SIMPLE – a film by The Coen Brothers.  It was directed by Yimou Zhang – director of RAISE THE RED LANTERN, HERO and HOUSE OF FLYING DAGGERS.

The Living City Film Fest continues next week with a rare 35mm print of a Peter Bogdanovich classic starring Jeff Bridges and Cybill Shepherd!  Here are the remaing films in the Jeff Bridges retrospective:
THE LAST PICTURE SHOW (sponsored by Chisano Marketing) – Nov. 1 at 7PM
THUNDERBOLT AND LIGHTFOOT (sponsored by Jeff Martin Florist) – Nov. 8 at 7PM
RANCHO DELUXE (sponsored by CityWide Development) – Nov. 15 at 7PM
Single tickets will be $8 each available before each show.

“REVELATION, the award-winning short film by writer/director Will Graver, will have its local premiere Saturday, Oct. 30, at 3:30. The majority of the film was shot on the campus of Wright State University last year and features local talent.  In the zombie-filled world of the film, two young people seek shelter on a large college campus where they find a mysterious man living alone in the campus tunnels. Everyone must decide who can be trusted as they struggle to survive the zombie threat.
‘This is a zombie movie with a message,’ said Graver. ‘It’s a social commentary focusing on the importance of human interaction in times of need.’
REVELATION has been an official selection at various film festivals, including Scotland’s Deep Fried Film Festival. It won the award for ‘Best Zombie Film’ at the 2010 Fright Night Film Festival in Louisville, KY.
The premiere will begin at 3:30 p.m. with several locally produced short films. The 28-minute Revelation will be followed by a 15-minute documentary about its production and a Q&A session. The event should last about an hour and a half. Tickets are $5 and can be purchased at The Neon box office.”  (taken from WSU media release)  To watch the trailer for REVELATION, visit http://revelationzombie.com/ .

“In conjunction with a concert taking place at Gilly’s featuring Dave Greer’s Classic Jazz Stompers (the concert takes place on November 12), Cityfolk presents Brigitte Berman’s 1981 documentary on jazz cornetist Bix Beiderbecke – BIX.  Bix was a gifted composer, magnificent cornetist and doomed alcoholic (he died at 28) who battled those demons at a very inopportune time, the prohibition era of bootleg ‘hooch.’  He looms, with Louis Armstrong as one of the two most influential jazz soloists of the 1920s.  The movie captures interviews with boyhood friends from his hometown of Davenport, Iowa, and key musical collaborators such as Hoagy Carmichael.” (taken from Cityfolk press notes)  This film will screen on Wednesday, November 3 at 7PM.  Admission will be free!

On Thursday, November 18 at 8PM, New York director Gary Beeber (a Dayton native) will bring his movie DIRTY MARTINI AND THE NEW BURLESQUE to town – “a feature-length, independent documentary that explores the outrageous world of the performers who created the ‘new burlesque’ scene in New York City. Get to know Miss Dirty Martini and her friends Julie Atlas Muz, World-Famous *BOB*, Bambi the Mermaid, Tigger!, Scotty the Blue Bunny, and many other cult stars. The movie’s seductiveness comes from its sexy acts as well as its dark exploration of the performers’ struggle to pay their bills, quest for stable love relationships and inability to envision the future after burlesque. The relationship between sex work, burlesque and feminism are discussed. As a classically trained dancer, Dirty Martini has struggled since childhood to overcome criticism of her size. Like Bette Midler, she began her career as part of the downtown drag scene where she
was accepted for her talent. She went on to develop her act in the East Village drag clubs where the gay community appreciated her glamour and kitsch.
Dirty Martini redefines female beauty and allows other women, of all shapes and sizes, to feel uninhibited in expressing their raw sexuality.” (taken from press notes)  In addition to the documentary, Beeber is also rounding up regional Burlesque stars to put on a show for attendees.  More details will be available in the coming days, but for now you can check out a teaser trailer by clicking HERE.  Advanced tickets for this event will cost $15 – and will be available this weekend at THE NEON’s box office.  Tickets on the day of the show will be $20.

For the past several weeks, many of you have been asking about WAITING FOR SUPERMAN.  Please help us spread the word that this important film will begin its run on November 5th.

We hope to see you very soon.

Take care,
Jonathan

SHOWTIMES for October 29 – November 4:

YOU WILL MEET A TALL DARK STRANGER (R) 98 Minutes
Friday, Saturday, Sunday: 12:50, 5:10, 7:20
Monday – Thursday: 5:10, 7:20

A WOMAN, A GUN AND A NOODLE SHOP (R) 95 Minutes
Friday – Thursday: 3:00, 9:30

CAIRO TIME (PG) 90 Minutes
Friday: 1:00, 3:10, 5:20, 7:30, 9:40
Saturday: 1:00, 5:30, 7:30, 9:40
Sunday: 1:00, 3:10, 5:20, 7:30, 9:40
Monday: 3:10, 5:20, 9:40
Tuesday: 3:10, 5:20, 7:30, 9:40
Wednesday: 3:10, 5:20
Thursday: 3:10, 5:20, 7:30, 9:40

REVELATION (NR)
Saturday: 3:30

THE LAST PICTURE SHOW (R)  Minutes
Monday: 7:00

BIX (NR) 116 Minutes
Wednesday: 7:00PM

Zombie Film Shot At Wright State To Debut At The Neon

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Press release:

Will Graver (director, producer, writer and editor) will be having the local premiere of his award winning short “Revelation” at The Neon on Halloween weekend. This Ohio production was shot at Wright State University in August 2009, and features numerous talent from the Dayton area.

The premiere will take place at The Neon on Saturday, October 30th at 3:30PM. The afternoon will begin with the screening of several locally produced short films, followed by the 28-minute Revelation, a 15-minute Making Of documentary and ending with a short Q&A session. Admission is $5 per person and tickets will be available at The Neon’s box office. The screening should last around an hour and a half.

Revelation was shot at Wright State University in Dayton, Ohio in August 2009. It went on to receive five official selections in various film festivals across the world (including a screening in Scotland at the Deep Fried Film Festival) and one win where the project took home “Best Zombie Film” at the 2010 Fright Night Film Festival. The cast and crew featured numerous local talent and the production was even covered by the Dayton Daily News.

“This is a zombie movie with a message,” said Graver. “It’s a social commentary focusing on the importance of human interaction in times of need.” Seeking shelter for the night, two survivors stumble upon a man living alone in the tunnels of a large college campus. Over the period of two days they attempt to figure out if the man is a saint or a threat.

See the official trailer here:

Oregon District Hauntfest 2010 – Oregon District’s Biggest Party of the Year!

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2007 Hauntfest (photo credit: Kevin Bonnett)

Those who have been to the annual Oregon District Hauntfest can tell you that it is THE party of the year in the OD.   Starting at 7pm and going through until 1am, Fifth Street is closed to traffic as it is transformed into a Bourbon Street-type atmosphere with the craziest, most elaborate and sexiest costumes you’ll see anywhere in the region.  This year there will be two live bands, belly dancers and fire jugglers on the main stage at Fifth & Pine, semi-professional wrestling at Fifth & Jackson, and a costume contest at 9:45pm with cash prizes for best single and group costumes.

This is the one night of the year that you can drink on the street in the OD, with four different beer stations along Fifth Street that offer draft and bottled beer.  If you’re more of a wine drinker then just head to the Fifth Street Wine & Deli patio, and don’t forget the Monster Smoke Bomb stations!  If you get hungry, don’t worry – lots of food vendors will be on hand, not to mention the many restaurants that will be open.

Organizers recommend that people park in the Transportation Center parking garage, which is just on the other side of Patterson (behind the Neon Movies).   Tickets are $5 before 10pm and $10 after 10pm, and we’re told that most if not all the bars won’t be charging a cover charge before 10pm.  Proceeds will benefit:  Oregon District Business Association, Kettering Children’s Choir, Dayton Ski Club, Oregon Historic District Society, Garden Station and more non-profit groups.

We will have our photogs there as well, so check back here after the event to see pictures of you acting a fool so you can change your Facebook profile picture (warning – not recommended for those currently looking for a job – ha!)

So get down to the OD this Saturday night and get your scare on!

Heywood Holds A Hootenanny

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The Insane Genius Of Heywood Banks

The first time I saw Heywood Banks (aka Stuart Mitchell), it was in the late eighties at Wiley’s Comedy Club at it’s original location on Patterson Rd. right next to The Pony Keg. I had no clue who he was…I just had free tickets. I can’t remember anything about the opening act, but when Heywood appeared on the stage, I knew that things were going to be different. Not different as in “life changing” or radically cutting edge. More like the way one might describe that weird cousin that never leaves his room, is continually clothed in dirty sweatpants and a Transformers T-shirt and keeps a collection of flies that he has caught because they’re his “friends.”

Heywood bounded up onstage in a glaringly mismatched outfit that would make a 1970’s used car salesman jealous. His horn rimmed glasses glinted in the spotlight and across his iridescent green and yellow plaid sport coat. He held within his hand a well worn, yet shiny guitar and a moment of mild trepidation filled my soul as I wondered what form of musical yodeling I would have to endure. Remember; this was the time of Weird Al and Dr. Gonzo and everyone that could play four chords and did not possess the sex appeal and/or impenetrable liver needed to become a rock star fancied themselves a comedian instead.

Luckily, my fears quickly melted away as Heywood launched into a blurred performance that was absolutely relentless. The comedic hits rained down so fast that your brain couldn’t keep up. You found yourself laughing at a subtle play on words or a particularly astute cultural reference from two songs back and ended up kicking your brain and ears into overdrive, feverishly attempting to catch up with Heywood’s maniacal pace.

Heywood Banks and Emmi Rehmert ~ May 2010

Years later, at Wiley’s new location in the Oregon District, I was standing outside smoking when I noticed a disheveled man extricating himself from behind the wheel of his car, which was loaded floor to ceiling with boxes, junk and a precariously placed toaster that was inexplicably jammed against the back window. The man fumbled about with this box and then that one, his hair a wild, untamed gray banner blowing in the wind. As he stood up and pulled at his goatee, I was struck by the fact that if you slammed a Confederate uniform onto his thin frame, he would make a perfect performer for a Civil War reenactment. I felt a pang of shame as I stood there, entertaining such thoughts about someone who clearly had to be homeless. I looked on with pity as he dove into the car, burrowing towards the back to retrieve, of all things, the toaster!

All things became clear as he wrenched his way out of the car and yelled to Rob Haney, the current owner of Wiley’s Comedy Niteclub, “Do you have two forks?”

A musical genius does require his instrument.

Heywood’s last tenure at Wiley’s Comedy Niteclub was a largely sold out affair, with night after night of wall to wall people crowding Wiley’s walls laughing hysterically at Heywood’s musical musings and quick comedic wit. Offstage, Heywood possesses a very amiable personality and has an interest in a wide variety of subjects, including history and prognostications of future events. Night after night, throngs of fans would line up to get an autograph or just to get their picture taken with the uniquely clothed comedian, taking with them a token of a perfect evening of comedy.

To be able to witness for yourself the frenzied freestyle comedy of Heywood Banks, Wiley’s Comedy Niteclub will be hosting a series of special shows featuring the comedian on  Thursday October 28th at 7:30 pm  and for two shows on Friday October 29th at 7:00 pm and 9:30 pm. Admission is $15 on Thursday and $20 for Friday’s shows. Since this is a special show, no passes, coupons or offers will be accpted. Heywood is best known for his songs Toast!, Big Butter Jesus as well as a score of other tunes, which you can check out on his website at www.heywoodbanks.com .

Spring Awakening Comes To Dayton

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'Spring Awakening' - Nov. 2-3 at the Victoria Theatre

The Tony Award-winning musical Spring Awakening is coming to Dayton next week on November 2nd and 3rd at the Victoria Theatre in Downtown Dayton!  Spring Awakening explores the journey from adolescence to adulthood with poignancy and passion you will never forget and has been called “the best musical of a generation” (NY Observer). Adapted from Frank Wedekind’s play of the same name, with an acclaimed score by Duncan Sheik and Steven Sater, book by Steven Sater and direction by Tony-winner Michael Mayer, Spring Awakening boldly depicts how a dozen young people make their way through the thrilling, complicated, confusing and mysterious time of their sexual awakening.

According to the Victoria Theatre Association, this show is intended for mature audiences only.  Check out the videos below to see a number from the original cast at the 2007 Tony Awards and interviews with the cast and creative team behind Spring Awakening.

Tickets are still available at TicketCenterStage.com, and if you’re a student with a valid student ID then you can get HALF OFF when you buy your tickets at the box office two hours before showtime.

14th Annual Horrorama Film Festival Set To Deliver Thrills, Chills & Squeals

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There are two types of horror movies: the cheaply-produced, teen scream-a-thons that Hollywood has been churning out over the last decade or so, and the classic horror films from classic horror auteurs.  For over a decade, the Horrorama film festival has been serving up the latter, and will continue its annual celluloid celebration of  ghoulishly gruesome gore on Friday, Oct. 29 at Englewood Cinemas.

Four frightening features are lined up for Horrorama 2010:  Sam Raimi’s “Evil Dead II – Dead By Dawn”, Wes Craven’s “The Hills Have Eyes”, “The Asylum of Satan”and the Italian film “Pieces”, which “Hostel” director Eli Roth hails as one of his favorite horror films of all time.

New this year is the Horrorama Short Film Festival, a collection of original film shorts submitted from film makers across the country. Henrique Couto’s “Slay Ride”, Rachel Deacon’s ” A Fever and A River” and Andrew Shearer’s “Half Full” are a handful of the featured short films.

Additionally, costume, screaming and “zombie walking” contests (with prizes) will be held and are sure to keep horror fans shrieking throughout the night.

The doors open around 6 PM, with the film screenings starting at 6:30. Tickets are $11 in advance or $13 the day of the show. All of the proceeds of the 14th Annual Horrorama Film Festival will benefit Dr Creep’s (Barry Hobart) health care fund and The Susan G. Komen Breast Cancer Foundation.

Stay tuned to DaytonMostMetro.com as we’ll have a quick rundown of the all-time favorite horror films of event organizers Andy Copp, Rick Martin and Matt Brassfield.

HORRORAMA 2010 – 14 Years of Fright!

Englewood Cinemas

320 W. National Road

Friday Oct. 29th

For additional information, please visit Horrorama’s facebook page.

Coming Up in Dayton Theatre

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HRTC: The 39 Steps

Human Race Theatre Company: The 39 Steps

WEDNESDAY, OCTOBER 20, 2010 – TUESDAY, NOVEMBER 2, 2010

This is the week for theatre, evidently… looking at the show dates below, you could see a different show during every performance time on every weekend day, and still not be able to catch everything that’s up. Six shows are opening this weekend, and those could keep you busy from now until my next onStageDayton update, let alone trying to fit in closing shows or special events!

So, what are you waiting for? Go get tickets to one (or two or all) of these great shows! After all, there are plenty to choose from…

Another Openin’, Another Show

…SHOWS OPENING SOON

The Sugar Witch

DAYTON THEATRE GUILD

The Story: Dark family secrets are revealed and unusual passions are Sugar Witchignited as a family is forced to confront madness, truth, and the destructive legacy of racism, while the spirits of the dead walk the dark Florida Swamp, haunting the hearts of all who reside there.

Dates: October 22, 23, 29 & November 5 at 8:00 pm; October 30 & November 6 at 5:00 pm; October 24, 31 and November 7 at 3:00 pm

Tickets: DTG Box Office or 937-278-5993

More Information: http://www.daytontheatreguild.org/, DaytonMostMetro Event Calendar

The Diviners

UNIVERSITY OF DAYTON

The Story: In a small Depression era farming community, a boy with the gift of divining water develops a friendship with a drifting, charismatic but disillusioned preacher; when the townspeople embrace the drifter as the answer to their prayers, the choice leads to a tragic climax.

Dates: October 22-23 and 28 – 30, 8:00 pm; October 24, 7:00 pm, in the Kennedy Union Boll Theatre

Tickets and More Information: Kennedy Union box office, 937-229-2545

Messiah on the Frigidaire

BEAVERCREEK COMMUNITY THEATRE (Edge of the Creek)

BCT Spitfire GrillThe Story: After the image of Jesus appears on a trailer park refrigerator, a frenzy of conflict, communion, and good old fashioned commerce is set in motion, as three friends are forced to come to grips with their lowly status in the caste system of the rural south.

Dates: October 22 – 31, Fridays & Saturdays at 8:00 pm and Sundays at 3:00 pm

Tickets: Box office, 937-429-4737

More Information: Beavercreek Community Theatre

The True Story of the Three Little Pigs

TOWN HALL CHILDREN’S THEATRE

The Story: When Piggsylvania’s highest court puts him on trial, things don’t look so good for Alexander T. Wolf when TH: Three Little Pigseveryone from judge Prudence Pig to the court reporter is rooting into the truth about his so-called terrible deeds! In this fresh musical adaptation of the familiar story, audience members (ages 4+) decide the way the story ends.

Dates: October 22 – November 7, 2010: Fridays at 7:00 pm, Saturdays and Sundays at 3:00 pm, with a special family matinee on Saturday, October 23 at 11:00 am.

Tickets: Town Hall Theatre or 937-433-8957

More Information: Town Hall Theatre: The Three Little Pigs, DaytonMostMetro Event Calendar

Flash: A New Musical

CLARK STATE COMMUNITY COLLEGE

The Story: In the premiere of this new musical by CSCC professor and Springfield resident Dan Hunt, Ed, a seemingly normal man, revisits his past when all the highs and lows of his entire life flash before his eyes.

Dates: October 29-31 & November 5-7

Tickets: 937.328.3874 or Clark State

More Information: CSCC: Flash, Flash: the Musical official site

The 39 Steps

HUMAN RACE THEATRE COMPANY

HRTC: The 39 StepsThe Story: Four performers (and 150 characters), an innocent Englishman caught in a deadly ring of spies, and a pair of handcuffs that won’t seem to come off make this combination of Alfred Hitchcock and Monty Python “one of the funniest shows to hit the stage this millennium”!

Dates: October 21 – November 7, 2010

Tickets: HRTC Box Office

More information: Human Race Theatre Company, DaytonMostMetro Event Calendar

…SHOWS CLOSING SOON

Once On This Island

SINCLAIR COMMUNITY COLLEGE

The Story: Ti Moune, a peasant girl, rescues and falls in love with Daniel, a wealthy boy from the other side of the island; when he is returned to his people, the fantastical gods and rulers of the island guide Ti Moune on a quest to test the strength of her love against the powerful forces of prejudice, hatred, and death. (And, ETC/onStageDayton’s very own David Brush directs this musical!)

Dates: October 15 – 23, 2010

Tickets: Sinclair Box Office, (937) 512-2808 or (937) 512-2076

More Information: Sinclair: Once On This Island, DaytonMostMetro Event Calendar

Moon Over Buffalo

PLAYHOUSE SOUTH

The Story: In this farce set in 1953, after rumors begin to swirl that a famous Hollywood director will be auditioning fading acting couple George and Charlotte, misunderstandings ensue and merriment begins.

Dates: October 15 – 23; Fridays and Saturdays 8:00 pm, Sunday 2:00 pm

Tickets: Box Office, 888-262-3792

More Information: Playhouse South, DaytonMostMetro Event Calendar, DMM feature

Part of it All

…AUDITIONS AND CASTING CALLS

In the Spotlight

PLAYHOUSE SOUTH

Auditions: October 25 & 26, 2010 at 7:00 pm, at the Clark Haines Theatre, 3700 Far Hills Dr.

Performance: December 10, 2010

The Basics: Featuring the talents of dancers, singers, actors, and performers of all ages, this show highlights PHS’s 50th Anniversary/2010 season while giving a taste of what’s to come in 2011.

More Information: 888-262-3792, Playhouse South, and DaytonMostMetro Event Calendar

Ravenscroft

DAYTON THEATRE GUILD

Auditions: November 1 & 2, 2010 at 7:00 p.m. at the Dayton Theatre Guild, 430 Wayne Ave.

RavenscroftPerformances: January 7 – 23, 2011

Directed by Debra Kent

The Story: In this comedy about deception and the nature of truth, when Inspector Ruffing is called to a remote English county manor house to investigate the death of Patrick Roarke, he becomes involved in the lives of five alluring and dangerous women who lead him through an evening of contradictory versions of Patrick’s demise, including ghosts, skeletons, and much more than he bargained for.

More Information: Dayton Theatre Guild: Ravenscroft

Christmas Belles

DAYTON PLAYHOUSE

Auditions: November 1 & 2, 2010, at Dayton Playhouse, 1301 Siebenthaler Dr.

Performances: December 17 – 19, 2010

Directed by Wade Hamilton and Brian Sharp

The Story: A church Christmas program spins hilariously out of control in this Southern farce about squabbling sisters, family secrets, a surly Santa, a vengeful sheep and a reluctant Elvis impersonator.

More Information: Dayton Playhouse: Auditions

One Short Day

…SPECIAL EVENTS FOR THE THEATRICALLY MINDED

The Second City: Fair and Unbalanced

THE VICTORIA THEATRE ASSOCIATION

The Basics: The Second City’s Fair & Unbalanced takes unbridled comic pleasure in the Second City: Fair and Unbalancedfoibles of our politicians, celebrities and even our significant others. No institution escapes the satiric eye of The Second City – from the blowhards of the Beltway to the Hollywood elite. Ripped from the stages of Second City’s legendary theatres in Chicago and Toronto, The Second City’s Fair & Unbalanced improv-based sketch comedy is a hilarious ride through present day America.

Date: October 23, 7:30 pm

Tickets: Ticket Center Stage, (937) 228-3630, or (888) 228-3630

More Information: Victoria Theatre Association, DaytonMostMetro Event Calendar

SUBMITTED PRESS RELEASE

Would you like to submit theater news for DaytonMostMetro.com’s onStageDayton features?  Email Shane, Dave & Katherine at [email protected]

~KN

Katherine Nelson is a senior theatre major at Cedarville University who focuses on performance, playwriting, and stage management. She’s the Literary Intern with locally based Encore Theater Company, where contributors Shane Anderson and David Brush also work. The local theater company recently moved into the new arts collective space in the Oregon Arts District, along with Zoot Theatre Co & Rhythm In Shoes. Encore Theater Company has a mission to help develop new works of musical theater, most recently Next Thing You Know and The Proof, two new musicals in development.

Moon Over Buffalo – and FREE TICKETS!

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Moon Over Buffalo

PLAYHOUSE SOUTH

Playhouse South: And Never Been Kissed

Playhouse South: And Never Been Kissed

George and Charlotte Hay are an acting couple (well, theirs is not quite the Lunt-Fontanne partnership) on tour in Buffalo in 1953, performing a repertory of Cyrano de Bergerac and Private Lives. Just after their relationship is threatened when George dallies with a young ingénue, they learn that famed director Frank Capra is coming to Buffalo to see their matinee performance – and possibly star them in his movie remake of The Scarlet Pimpernel. Unfortunately, it seems like everything that could go wrong does, and hilarious misunderstandings ensue.

This and next week, Playhouse South presents that story in the farce Moon Over Buffalo, written by Ken Ludwig (famed author of Lend Me a Tenor). The original production marked Carol Burnett’s return to Broadway and opened in 1995; since it’s been described as a combination of Waiting for Guffman and Noises Off, the show’s humor and success are not surprising.

A common element to Moon Over Buffalo, Waiting for Guffman, and those other shows I mentioned is the community aspect of theatre, which aligns well with PHS’s mission and goals. Actor Megan Cooper, who is new to PHS but very involved in other Dayton theatres (and in leadership with jumpstART), observed that every person in Moon Over Buffalo has a different reason for being in the show and brings a different level of experience, yet are brought together by their common passion for the collaboration and art of theatre. She added, discussing her positive experience with the show,

“People who have that much passion are great to work with.”

PHS considers itself a theatre that hinges on both the passion of participants and audience members, and strives to “get people involved in our love of theatre” (Rob Breving, Publicity).

Cooper (Roz Hay) and Breving (Paul Singer) are both cast members in this production, along with Geoff Burkman (George Hay), Joanne Augenstein (Charlotte Hay), Brad Bishop (Howard), Lisa Carter (Eileen), Terry Lupp (Ethel) and Rick Johnson (Richard Maynard). Dayton theatre veteran Jim Lockwood (2008 inductee into the Dayton Theatre Hall of Fame) directs, and Dawn Roth-Smith produces. Not only are those involved in the production a community, but audience members will find one in this show as well. Breving said,

“Being theatregoers, the audience will relate with the characters or know people like them,”

which promises to make the show even more entertaining for those who come.Playhouse South

Alongside of that “community” emphasis, PHS is really working to move forward in quality and talent, and therefore recently named Dawn Roth-Smith and Human Race resident actor Alan Bomar Jones as co-artistic directors. The theatre hopes that Moon Over Buffalo will engage and connect with audience members and be one step towards achieving those goals.

Those things aside, this show promises to be funny and enjoyable. Breving described,

“The cast has worked very hard and is truly having so much fun… It’s a show for anyone that needs a good laugh and a reminder not to take ourselves too seriously.”

WIN TICKETS TO MOON OVER BUFFALO!

Playhouse South: Rent

Playhouse South: Rent cast

Playhouse South & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to this fun show!  We will be giving away up to three pairs of tickets! All you need to do is:

  • Share this post on Facebook or Twitter…we’ll give away a set of tickets for every 10 ’shares’ on FB/Twtr, up to 3 pairs of tickets.  Just click on the appropriate button below, it’s that easy!
  • Leave a comment, answering the following question…WHERE IS THE MOST UNIQUE PLACE YOU HAVE EITHER “MOONED” SOMEONE….OR BEEN THE UNFORTUNATE VICTIM OF A “MOONING”?
  • The deadline to enter is MIDNIGHT on SUNDAY, October 17th; tickets will be made available for the second weekend of the show.

    • (creativity counts in this forum…but we’ll be selecting winners randomly Monday morning when Bill rolls into the office!)

    Performance Information

    Moon Over Buffalo runs from October 15 – 23, with performances at 8:00 on Fridays/Saturdays and 2:00 on Sunday. Tickets are $12 for adults, $10 for seniors (over 60) and $7 for students. For more information and reservations, please call the Box Office at 888-262-3792 or visit http://www.playhousesouth.org.

    SUBMITTED PRESS RELEASE

    Would you like to submit theater news for DaytonMostMetro.com’s onStageDayton features?  Email Shane, Dave & Katherine at [email protected]

    ~KN

    onStageDayton on DaytonMostMetro.comKatherine Nelson is a senior theatre major at Cedarville University who focuses on performance, playwriting, and stage management. She’s the Literary Intern with locally based Encore Theater Company, where contributors Shane Anderson and David Brush also work. The local theater company recently moved into the new arts collective space in the Oregon Arts District, along with Zoot Theatre Co & Rhythm In Shoes. Encore Theater Company has a mission to help develop new works of musical theater, most recently Next Thing You Know and The Proof, two new musicals in development.

    Never Let Me Go AND The Big Lebowski!

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    Hello Everyone.

    Our 2nd projector is back up and running, so our schedule is back on track!  Thanks for all of your understanding during this frustrating time.  Friday night is the worst time for a projector to go down…it’s too late to order parts, and Tuesday morning seems forever away.

    NEVER LET ME GO – a quiet and gorgeous film that has haunted me since I saw it in Toronto, started on Friday…and has gotten off to a very weak start.  In a recent podcast, Anne Thompson of “Thompson on Hollywood” said, “I embraced its slow pace and its deliberateness…it’s sort of this year’s BRIGHT STAR…with subtle, delicious qualities…”  A few of us at THE NEON have seen the film, and we’ve all responded very well to it.  Don’t let this gem slip by you!  With numbers like this weekend’s, the film won’t stick around too long.

    The film comes highly recommended – based on a book by Kazuo Ishiguro (author of THE REMAINS OF THE DAY) and directed by Mark Romanek (director of ONE HOUR PHOTO).  Don’t miss it!  The cast, the score, the setting – it’s so well done.  Rex Reed wrote, “An imaginative, heartbreaking work of art that blew me away.”  Roger Ebert wrote, “A meditative, delicate film,” and Richard Corliss of TIME wrote, “NEVER LET ME GO is a superb, poignant film about everlasting love.”

    Synopsis for NEVER LET ME GO: “Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) live in a world and a time that feel familiar to us, but are not quite like anything we know. They spend their childhood at Hailsham, a seemingly idyllic English boarding school. When they leave the shelter of the school and the terrible truth of their fate is revealed to them, they must also confront their deep feelings of love, jealousy and betrayal that threaten to pull them apart.” (Fox Searchlight)  Charlotte Rampling and Sally Hawkins also have strong, supporting roles.

    Living City Film Fest is at it again!  This year, the festival will be a celebration of the career of Jeff Bridges.  Here’s the line-up:
    THE BIG LEBOWSKI (sponsored by Dublin Pub) – Oct. 18 at 7PM
    THE FABULOUS BAKER BOYS (sponsored by Downtown Dayton Partnership) – Oct. 25 at 7PM
    THE LAST PICTURE SHOW (sponsored by Chisano Marketing) – Nov. 1 at 7PM
    THUNDERBOLT AND LIGHTFOOT (sponsored by Jeff Martin Florist) – Nov. 8 at 7PM
    RANCHO DELUXE (sponsored by CityWide Development) – Nov. 15 at 7PM
    Single tickets will be $8 each available before each show.  A festival pass (good for the Monday evening screenings) are just $30 and are available at our box office.

    Due to the popularity of THE BIG LEBOWSKI, two additional screenings have been scheduled for this weekend. Friday & Saturday at 10PM!

    On Thursday, Oct. 21, directors Directed by Shawn Fields & C.Winn will once again present their film YOUNG BREAD GETTAS.  This film played at THE NEON in 2007, but the filmmakers are anxious to bring the film back as they prepare to launch the DVD.  “In todays society its all about three things Money,Power, & Respect…” (from the filmmakers)  The film will play at 7:30, and tickets will be $10 each.

    On Saturday, October 23 at 10PM, THE NEON will host a special screening of a film called THE UNIVERSE.  “THE UNIVERSE is a story focused around two misinformed friends trying to solve the mystery of women and attraction. Their encounters with equally misinformed individuals throws them into a surreal adventure of mistaken identity. THE UNIVERSE is a locally shot comedy directed by Dayton native Joseph Anderson and produced by Jarren Summers. (surreal comedy, absurdity)”  Tickets to this screening are $5 each and will be available for advanced purchase at our box office this weekend.

    On October 30 at 3:30, Columbus Filmmaker Will Graver will bring his filmREVELATION and a small collection of local shorts to THE NEON.  More details will be available in the coming days.  For now, you can check out Graver’s website at www.revelationzombie.com.

    On Thursday, November 18 at 8PM, New York director Gary Beeber will bring his movie DIRTY MARTINI AND THE NEW BURLESQUE to town.  In addition to the documentary, Beeber is also rounding up regional Burlesque stars to put on a show for attendees.  More details will be available in the coming days, but for now you can check out a teaser trailer by clicking HERE.  Advanced tickets for this event will cost $15 – and will be available this weekend at THE NEON’s box office.  Tickets on the day of the show will be $20

    We hope to see you this weekend.
    Be certain to check out our coming attractions…I’m very excited about a couple new additions…particularly one for Thanksgiving weekend!

    Take care,
    Jonathan

    SHOWTIMES for October 15 – October 21:

    NEVER LET ME GO (R) 103 Minutes
    Friday, Saturday, Sunday: 12:20, 2:40, 5:00, 7:20, 9:40
    Monday – Thursday: 2:40, 5:00, 7:20, 9:40

    IT’S KIND OF A FUNNY STORY (PG-13) 101 Minutes
    Friday, Saturday: 12:40, 2:50, 5:10, 7:30
    Sunday: 12:40, 2:50, 5:10, 7:30, 9:45
    Monday: 2:50, 5:10, 9:45
    Tuesday & Wednesday: 2:50, 5:10, 7:30, 9:45
    Thursday: 2:50, 5:10, 9:45

    THE BIG LEBOWSKI (R) 117 Minutes
    Friday & Saturday: 10:00
    Monday: 7:00

    YOUNG BREAD GETTAS (NR)
    Thursday: 7:30