Arts & Entertainment

Name: The Beacon
Start: 2026-06-07T15:00:00-04:00
End: 2026-06-07T17:00:00-04:00
Location: Dayton Theatre Guild

Film Review – True Grit (B)

January 15, 2011 By Dayton Most Metro Leave a Comment

True Grit – Christmas, 2010
Rave Motion Pictures
(Huber Heights)
Grade: B

I love Coen brothers movies. Everything they do is entertaining. So, when I see one of their movies and don’t instantly recognize it as terrific, I tend to be disappointed. That’s not to say that their True Grit remake wasn’t good. It was. It’s just that it wasn’t the funniest movie I’ve ever seen, as was The Big Lebowski, wasn’t Fargo perfect, and didn’t leave me fearing an indifferent Universe, Like The Man Who Wasn’t There did.

While I did enjoy True Grit, that feeling of, “I’m all in. I need to find out what happens to the hero,” that typically accompanies a Coen brothers movie was absent. I just wasn’t fully invested in the story. While the circumstances of the characters may have been somewhat uncompelling, the characters themselves were great. Jeff Bridges as tough, drunk U.S. Marshal and remorseless killer, Rooster Cogburn, is fun to root for. Matt Damon unsurprisingly plays likably arrogant well as Texas Ranger LaBoeuf, and the two butt heads throughout their time together as legal authorities with opposing outlooks on the law likely would. Relative unknown Hailee Steinfeld does well to be noticeable on screen alongside movie stars as Mattie Ross, a teenage girl who elicits the help of Rooster to capture her father’s murderer, Tom Chaney. True grit is carried by the performances of these three and the combative, comedic interactions between them. Those looking for a dark, suspenseful take on a timid classic will be surprised to find that True Grit is more of a comedy than anything else.

Smallish yet quality roles by Josh Brolin (Milk, The Goonies), playing Chaney and Barry Pepper (Saving Private Ryan, 61*) as Lucky Ned Pepper, the leader of a group of outlaws with which Chaney has found refuge, give the story energy. Ned Pepper’s rough appearance and demeanor has no doubt convinced Dayton audiences that he’d have no problem fitting in at a local establishment of the same name. Seeing these famous faces get relatively little screen time served as a reminder of the pull of the Coen brothers. I watched the 1969 original for the first time after I saw the remake, and was pleased to see that the original was similarly cast, with Robert Duvall and Dennis Hopper making big impacts despite brief appearances.

Surely, had this movie been made by unknown filmmakers and had I left my unfairly high expectations of the Coen brothers at the door, I’d be speaking about True Grit in more glowing terms. As it stands, I can say that True Grit at least kept my attention and that I’ll carry the same unfairly high expectations with me into the next Coen brothers movie I see.

Brilliance On The Edge Of Night

January 15, 2011 By J.T. Ryder 16 Comments

The Passing Of A Community’s Icon

A seven year old boy sits rapt, wrapped in a heavy quilt in a darkened room, the only light coming from the television, which created sporadic flashes of light and shadow against the living room walls. Vincent Price, Peter Lorre and Boris Karloff are on the screen, emoting Roger Corman’s interpretation of the Raven. In between scenes of decrepit castle chambers and crypts of the unquiet dead, commercials for King Kwik and other local retailers burst forth in chromatically bright colors in stark contrast to the desaturated dimness of the movie.

After the vendors are done hawking their wares, a familiar black and white face appears, a gentle smile plastered across his grease painted visage. Dr. Creep launches into a faux interview or an outlandish skit that, by the grace of it’s own unpolished design, seemed funnier. Whether it was spoofing the movie that was playing or reviewing the disco moves of John Revolting, Dr. Creep, in his signature black top hat and cape, would reassure you that this was all make believe, that nothing could hurt you and that the world of horror was a landscape to be explored and not abhorred.

The nephew of Doug Hobart, a makeup artist and stuntman who had a traveling monster show back in the 1940’s and 50’s called Dr. Traboh’s House of Horrors, Barry Hobart was almost predestined to become Dr. Creep. Hobart was a master control engineer for WKEF-Channel 22 when, in 1971, he suggested a late night hosted horror show to salvage lagging ratings in the late night time slot. After submitting a tape of Dr. Death, the project was well received, yet remained shelved until the following year. On January 1^st, 1972, Dr. Death made his television debut on Shock Theatre. Several shows into the series, the woman in charge of makeup got rid of the vampire teeth and changed Hobart’s costume. A name was drawn out of a hat and Dr. Creep was born.

The comedic aspect of the show was an accident. Props failed, lines were forgotten and effects either didn’t work or went on far longer than intended…which cracked the Creeper up. The whole crew decided to go with the natural flow of things and an organically kitschy comedy of errors ensued from 1972 until 1985. Throughout those years, from being a child all the way into my adult years, I would run into Dr. Creep at various events or in the most unexpected places. I remember going with my mom to the Dairy Queen on Airway Rd. to an autograph signing attended by Dr. Creep, Wolfman Jack and someone who I believe was Elvira, although it could have been one of the other incredibly seductive vampires roaming the countryside at the time. I was at the drive-in on Halloween when they buried Dr. Creep alive as part of a benefit. There was a dusk to dawn showing of B-rated horror films with periodic updates broadcasted by Dr. Creep from beyond the grave. Years later, I was talking to Philip Chakeres, owner of Chakeres’ Theaters, and we got onto the subject of that particular event…

“You were talking about Dr. Creep earlier. Well Steve, the guy who runs the drive-in there, he can tell you better… he said that one time, this drive-in actually buried Dr. Creep.” Chakeres went on to talk about what those kind of evenings entailed. “I mean, there were all sorts of things done. We used to do that stuff and we would give away Dracula Cocktail, which was just Cream Soda, and then when the movie was over, during the dusk to dawn shows, we’d give out coffee and donuts at dawn. There were some times when we ran dusk to dawn shows where the sun would start rising and the credits were still on the screen. Those were the good old days…”

The “good old days” also included a lot of local programming, creating local icons that attained their own, more homespun, brand of celebrity. The King Kwik “Brothers” (Mike Tangi), Steve Kirk, Bob Shreve, Ruth Lyons, Bob Braun, Don Wayne, Uncle Al…the list goes on. At the top of that list sat Dr. Creep. With his kind heart and his patented ‘hoo-ha-ha’ laugh, Dr. Creep was probably the most recognizable local television personality in the Tri-sate area. Black grease painted eyes and white face tended to make you stand out in a crowd…and driving around in a hearse would make an impression as well. He also used his celebrity wisely by offering his services for a slew of charities, such as the Muscular Dystrophy Association, Project Smiles as well as a host of many other, smaller, fundraising events. In interviewing John Higgins, a puppeteer who worked on Shock Theater, Hobart’s generous heart was one of the first subjects he brought up.

“Those years working with Creep on Shock Theatre and Saturday Night Dead were some of the most fun of my working years. Having fun and making a difference in people’s lives were key values he lived by…and we all shared. It was always amazing to see how much everyone loved him, particularly the kids.” Higgins went on to reflect on the oddity of the children’s reaction to the Creeper. “The kids absolutely loved Dr. Creep, someone they, by all rights should have been afraid of, with that white face and black eyes…they must have sensed his very kind heart.”

Dr. Creep and Obieyoyo

On the topic of benefits, John went on to reflect that, “Barry was always soliciting me as puppeteer and director of Night Vision Puppets to do freebie benefits with him for people in need in the community. I’d get Obieyoyo and other characters and appear with Creep and musician friend Garry Pritchett, who appeared a few times on Shock Theatre as the four armed bongo-playing hipster, Octo Rhebop. It was always fun, always for a good cause, and usually never involved any kind of income. That was Barry. He loved helping people, he loved getting friends to help out…and he was fun to work with.”

Dow Thomas, a comedian and writer for Shock Theatre which, by that time, had become Saturday Night Dead, had some insight into Hobart’s unerring compassion…

“The best thing I remember about Barry is that he was always kind. He was a good, I mean serious Christian. He went to church all the time and really cared about people. He did all these benefits and expected nothing in return. Some of them would be long and grueling and he would be hot in that costume, but he would talk to everybody and sign autographs.” Dow added, “He was sincere about it and he has really touched a lot of people’s lives. I think it broke his heart when he lost the show.”

Even though the films that were shown were creepy and campy, like Curse of Frankenstein or Invasion of the Body Snatchers, the movies actually became a secondary feature to the show. Everyone tuned in to see what kind of Gong Show antics Dr. Creep and the crew would brew up this week. From regular characters like Obieyoyo, Duffy the Dog and Freddie Forefinger and His Phalangic Friends to skits featuring Lester Fern’s Disco Dance Studio or the Flamboyant Frankenstein, viewers were always given some of the most deranged and off the wall comedy available on television.

Dr. Creep And Vampire Friend

“One of the things we did was, I decided to have them tell me what movie they were going to show, and I would write a skit about it. Like, we showed The Valley of the Gwangi, which is about a bunch of cowboys ropin’ and ridin’ dinosaurs and Gwangi is the Tyrannosaurus Rex.” Dow Thomas related. “There’s an old man in it who plays the professor (Laurence Naismith), so I put on my old man mask and a pith helmet and played him, and I’d say things like, ‘I think I have recording of old dinosaur sounds’ and I’d start playing a woman singing and everyone would go, ‘Those aren’t dinosaur sounds! Those are Dinah Shore sounds!’”

Dow’s recollection of this particular episode brought up one of the other key players in the calamitous comedy of Shock Theatre, John Riggi. Riggi has since gone on to write for such comedies as The Dennis Miller Show, The Dana Carvey Show and, most recently, 30 Rock.

“I don’t know if you remember, but the first thing they find in The Valley of the Gwangi is a little horse…eohippus I think is what the professor says it is…it’s a prehistoric animal. Well, they put it into their rodeo act and everyone would come to see this little tiny horse…it’s a weird film. So, they would go from the movie to us doing all of this stupid stuff and it all matched.” Dow went on, saying, “There’s one point where one of the Mexicans in the movie says, ‘Hey gringo! I want my little horse back!’ John Riggi played one of the Mexicans in a skit and I had a big sombrero that Wiley (original owner of Wiley’s Comedy Niteclub) had given me and we put it on John’s head, and then we cut to Riggi in this sombrero saying, ‘I want my little horsey back!’ Dr. Creep finally goes, ‘Okay.’ So here’s Dr. Creep on all fours and John Riggi riding on his back around the studio. I mean, just think about what a good sport Dr. Creep was to get down on all fours and have John Riggi ride on his back like he was a horse.”

There were countless times when the powers that be and the rag tag members of the Shock Theatre brigade locked horns. Sometimes it was a disagreement about a skit’s content, like an incident where they wanted to show a headless Duffy the Dog on an operating table with four sets of feet, one set which would be where his head should have been. Other times it had nothing to do with the crazy house that the show had become, per se, but more to do with the types of personalities that ran the asylum…

“I remember John Riggi and I getting yelled at because we changed the weather map one time. We got up there and started putting a bunch of tornados around Xenia…they were just little magnetized things back in those days.” To sum up the tensions, Dow simply said, “We were hippies in a studio that had rules.”

John Higgins, who acted as producer of Shock Theatre as well as its puppeteer, filled in some of the blanks as far as Hobart’s other duties at the station.

“I love how his friends and colleagues at work almost always called him ‘Creep’…whether Barry was in costume or not. Anyway, Creep was the person who usually taught the new people how to operate the on-air master control. He was patient, calm, and quite adept at this nerve-racking task…and a great teacher.” Higgins went on to remember an amusing incident. “I remember sitting with him in training early one Sunday morning. We were running the Jimmy Swaggart religious show, a program Swaggart paid the station to put on the air. Creep looked at the clock, then said ‘Okay, the tears start in 3 minutes.’ Sure enough, at exactly 22 minutes after the hour, Jimmy Swaggart started crying, asking for contributions from the audience. Apparently it happened each program at exactly the same time; Creep knew the on-air job so well he could have run the station on-air with his eyes closed.”

Trilogy of Terror

Over the years, I have run into Barry Hobart in different locations. Sometimes he was in Dr. Creep’s full regalia, other times he was just simply Barry. I never expected him to remember from one meeting to the next, as each one was separated by a chasm of years. We spoke of different things at each meeting, but an underlying sense of connectivity to the community seemed to prevail over each conversation. In recent years, I had heard and read about his failing health and difficulty in keeping up with his related health care bills. The last time I saw him, he was attending a benefit in his honor at Wiley’s Comedy Niteclub. This was one of several benefits held to aid Barry Hobart with his mounting health care bills. Everybody was more than willing to help someone out in their time of need, especially someone who had given so much over the years, even if it was just a moment of laughter, fending off, for a moment, the darkness of this scary movie that we find ourselves extras in.

That is probably the most important thing that Dr. Creep gave to the community: an alternative to fear. While some may have jumped and cowered with a throw pillow clenched to their face when the voodoo doll came to life in Trilogy of Terror and began chasing Karen Black down the hallway with a knife, soon there would be a respite from the nameless dread, a halo of hilarity to make us feel safe, to make us feel not alone. Barry Hobart was not only an integral part of our community, he created an alternative community populated by people from all walks of life who shared in his skewed embrace of horror shows and campy comedy.

On the afternoon of Friday, January 14^th, 2011, Barry Hobart passed away in a hospice facility. I had just logged onto my computer when I received the phone call telling me of his passing. After I hung up, I held my thoughts in a moment of silence and as I looked upwards, my eyes fell on a photograph of myself and Dr. Creep that was taken at the Wiley’s benefit, which sits upon the top of the armoire that houses my computer. As I looked at it, I became aware of all the other trinkets and other knick-knacks that have collected up there over the years. Books of photographs. A riot helmet from one of my old security jobs. An ashtray full of cigar tubes and bands, the cigars long gone, smoked with some of my closest friends and family. It struck me that all the other items represented momentary epochs in my life. Periods of the past that I have collected totems of so as to remember them clearly. While this may seem silly, the picture of Barry Hobart represents the constants in my life, from the present all the way back to when I was a seven year old boy sitting rapt, wrapped in a heavy quilt in a darkened room…learning a lesson that the darkness can be fended off by the light of one’s compassion.

Muse Machine delivers bold ‘Woods’

January 15, 2011 By Russell Florence, Jr. 2 Comments

The Muse Machine boldly charts its own artistic course with Stephen Sondheim and James Lapine’s masterful Tony Award-winning 1987 fractured fairy tale opus “Into the Woods,” the arts education organization’s 27th annual student musical that opened Thursday, January 13 at the Victoria Theatre.

The definitive Sondheim pedigree of less is more has been given a significant makeover by Muse organizers, which will likely delight the masses and perturb Sondheads. Choreographer Lula Elzy, known for transforming the ordinary, doesn’t hesitate to incorporate movement into these “Woods,” which begins with the cast enjoying the king’s festival accented with villagers twirling ribbons and somersaulting. This unique introduction, dubbed “I Wish,” serviceably energizes the action and reiterates the sense of community that is vital to the piece before the colorful prologue launches the show as intended. Elzy also scores with the inclusion of a celebratory ball prior to the “Ever After” Act 1 finale. However, in Act 2, the added routines steal focus. The “Agony” reprise is interrupted by a puzzling sequence devoted to Sleeping Beauty and Snow White, and “Last Midnight,” typically a prominent vocal showcase, is stripped of its dramatic power by a distracting sea of swirling cloaked dancers.

Still, on the whole, director Rufus Bonds Jr., helming with fluidity, ensures that the witty, thought-provoking characterizations which define “Woods” and its engrossing exploration of consequences, family, fulfillment, loss and survival is not hindered or overshadowed by the choreography. In fact, the principal cast impressively handles the complexities inherent in Sondheim’s brilliant score and Lapine’s insightful libretto.

The very engaging Micah Trout, possessing a lovely tenor, is terrifically understated as the Baker, particularly filling the heartbreaking beauty of “No More” with moving sincerity. Trout is perfectly paired with Mary Kate O’Neill, whose impeccably crafted, pleasantly sung performance as the Baker’s Wife fully reveals the complicated depths of a woman willing to do what it takes in order to have a child. O’Neill and Trout’s charming rendition of “It Takes Two” warmly depicts the excitement of rekindled romance. Samantha Eastman’s penchant for comedy serves her well as the Witch, but she lacks the vocal prowess that could take her crowd-pleasing portrayal and superbly written solos to another level.

“Despite the Muse’s conceptually risky adaptations, ‘Woods’ still resonates…”

In addition, Bradley Farmer, the scene stealing Lina Lamont in last year’s Muse production of “Singin’ in the Rain,” supplies a cheery, radiant elegance as Cinderella and wonderfully executes “On the Steps of the Palace,” one of the most challenging numbers. Equally strong are Carly Snyder as Little Red Ridinghood, Davis Sullivan as Jack, Ian Benjamin as the Wolf, Madeline Shelton as a refreshingly crazed Rapunzel, Trevor Coran as Cinderella’s Prince, Coleman Hemsath as

Rapunzel’s Prince, Noah Berry as the Mysterious Man, Rachel Snyder as Jack’s Mother, Leigha Witt as Cinderella’s Stepmother, Amanda Koslow as Florinda, Kaja Burke-Williams as Lucinda, Rob Mitchell as the Steward, Allison Janney as the Giant, and the narrator team of CJ Destefani, Mitchell Rawlins, Cameron Elliot, Daniel Baughn and the aforementioned Benjamin. Carly Snyder’s marvelously reflective “I Know Things Now,” Sullivan’s endearing “Giants in the Sky” Benjamin’s sharp and funny “Hello, Little Girl” and Coran and Hemsath’s hilarious “Agony” join “On the Steps of the Palace” as excellent, lyric-driven Act 1 highlights.

Musical director David Dusing’s solid orchestra, Paul Wonsek’s attractively detailed set (courtesy of the Pittsburgh CLO), John Rensel’s evocative lighting and David Sherman’s incredibly ominous, thundering sound design are also noteworthy.

Despite the Muse’s conceptually risky adaptations, “Woods” still resonates. The universal epiphany that “wishes come true – not free” certainly stings with truth.

Into the Woods continues through Sunday, January 16 at the Victoria Theatre, 138 N. Main St. Performances will be held today at 3 and 8 p.m. and tomorrow at 2 p.m. Act One: 1 hour and 23 minutes. Act Two: 1 hour and 9 minutes. Tickets are $31-$56. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.ticketcenterstage.com

2 Hits and Events Galore at THE NEON!

January 15, 2011 By Jonathan McNeal Leave a Comment

Hello Everyone.

It’s been a long, long time since we’ve had two hits with such longevity. We’re going to hold onto both BLACK SWAN and THE KING’S SPEECH for another week…and we’re currently planning to open MADE IN DAGENHAM on January 21. That said, the Golden Globes this Sunday may end up moving our entire schedule around for the coming weeks…and the upcoming Oscar nominations will also play a part. I’ll keep you posted.

BLACK SWAN Official Site. THE KING’S SPEECH Official Site.

In the next few weeks, we have numerous special events. In each case, THE NEON has been rented by a person or an organization. Ticket prices are then set by that lessee in accordance with their mission. Here are details that are ready for the press:

“Jasmine “Jazz” Taylor, a 2006 alumnus of Stivers School of the Arts and graduate of The Fashion Institute of Design and Merchandising (FIDM) in Los Angeles, will premiere the DVD of a fashion show fundraiser that helped further her educational development. The fashion show involved the community and showed the world that dreams can come true if you believe. The show focused on the “A Touch of Jazz” fashion line along with two new up and coming designers: Jamila Jones and Jamae Abney. In addition to the designers, local students were featured; doing anything from dancing, singing, and rapping, to modeling and playing instruments.
Unwrapping The Dream Fashion Show DVD Premiere Release is an opportunity for fashion show participates to fellowship with their peers, family, and friends while watching themselves on the big screen. It will be held Sunday January 16, 2011 at THE NEON – tickets are just $5.” (taken from press notes)

On Wednesday, January 19 at 7:00pm, cityfolk will present a free screening of BILL MONROE: FATHER OF BLUEGRASS MUSIC. “Steve Gebhardt’s film blends footage from rare 1990s performances by the founder of bluegrass music with a trove of interviews with Monroe, Emmy Lou Harris, Ricky Skaggs, Dolly Parton, Paul McCartney and many more. Gebhardt and scriptwriter and bluegrass expert Larry Nager will be on hand to discuss the making of the movie and Monroe’s vast legacy…General admission seating for this screening is available on a first-come, first-served basis.” (taken from press notes) Steve Gebhardt has directed and/or produced numerous music-based documentaries, including LADIES AND GENTLEMEN: THE ROLLING STONES, IMAGINE, and JOHN LENNON LIVE IN NEW YORK CITY.

“RIDE THE DIVIDE, which was named best adventure film at the 2010 Vail Film Festival, is an inspiring journey about the world’s toughest mountain bike race, which traverses over 2,700 miles along the Continental Divide in the Rocky Mountains. The film weaves the story of the three characters’ experiences with immense mountain beauty and small-town culture as they attempt to ride from Banff, Canada, to a small, dusty crossing on the Mexican border. The tests of endurance and the accomplished moments throughout Ride the Divide prompt us to reflect on our inner desires to live life to the fullest.” The film will play One Night Only – Wednesday, January 26 at 7:30.
Advanced tickets – ($10 each + $1 processing) are only available by visiting this link. Tickets the day of the show will be available at the door for $15 each.

On Thursday, February 3 at 7:15, come to THE NEON for PK Night Dayton, Volume 6. PechaKucha Night was devised in Tokyo in 2003 as an event where people meet, network, and share their creative endeavors with a lively audience. PK Nights are now held in hundreds of cities, inspiring creative people worldwide. The name comes from the Japanese term for the sound of “chit chat”, and rests on a presentation format that is based on a simple idea: 20 images x 20 seconds. It’s a format that makes presentations concise, and keeps things moving at a rapid pace. PechaKucha Night Dayton is on its sixth volume, with presentations from Samantha Enslen, Reade Faulkner, Theresa Gasper, Sherif Hedayat, Sharon Howard, Brandy King, Jay King, and Chris Wire. Following the presenations, stick around for a screening of the thought-provoking and motivating documentary DIVE! Grocery stores around the country are filling their dumpsters with food. Not rotten, spoiled food, but billions of pounds of good, edible food. Follow filmmaker Jeremy Seifert and his circle of friends as they dumpster dive in the back alleys and gated garbage receptacles of L.A.’s supermarkets. In the process, they uncover thousands of dollars worth of good food and an ugly truth about waste in America: grocery stores know they are wasting and most refuse to do anything about it. The cost for this entire event is $5. Presentations start at 7:15 and DIVE! starts at 9:00.

The line-up of films in the coming weeks at THE NEON looks terrific, and there are several that I can’t wait to share with the community. We hope to see you soon.

Take care,
Jonathan

SHOWTIMES for January 14 – January 20:

BLACK SWAN (R) 1 Hr 48 Min
Friday, Saturday: 12:20, 2:40, 4:50, 7:20, 9:40
Sunday: 12:20, 2:40, 7:30, 9:40
Monday: 3:10, 5:40, 8:00
Tuesday – Thursday: 2:40, 4:50, 7:20

THE KING’S SPEECH (R) 1 Hr 51 Min
Friday, Saturday, Sunday: 12:10, 2:30, 5:00, 7:30, 9:50
Monday: 3:00, 5:30, 8:00
Tuesday: 2:30, 5:00, 7:30
Wednesday: 2:30, 4:50
Thursday: 2:30, 5:00, 7:30

UNWRAPPING THE DREAM – FASHION SHOW DVD RELEASE (NR)
Sunday: 5:30

BILL MONROE: FATHER OF BLUEGRASS MUSIC (NR)
Wednesday: 7:00

COMING SOON:
As always, all dates are tentative. Some of these dates will change.
In some cases, titles may disappear.

Jan. 21 MADE IN DAGENHAM
Jan. 28 I LOVE YOU PHILIP MORRIS
Feb. 4 THE ILLUSIONIST & ANOTHER YEAR
TBD: RABBIT HOLE, BIUTIFUL, SOMEWHERE
BLUE VALENTINE, TINY FURNITURE & BARNEY’S VERSION

Coming Up in Dayton Theatre – 01/13 – 01/26

January 13, 2011 By Dayton937 Leave a Comment

Muse Machine: Into the Woods / Photo Credit: Muse Machine

Thursday, January 13, 2011 – Wednesday, January 26, 2011

At tonight’s rehearsal for the show I’m stage managing, we ran Act I in its entirety for the first time. Sitting with my prompt book and taking notes, I couldn’t help but feel hopeful at the way this collection of scenes and songs we’ve been working on since November, in some small way at least, is becoming a show. It’s exciting, but also intimidating. Somehow it’s 2011 already, time to start meeting those resolutions and accomplishing things. The holidays are over and things we began last year, when 2011 seemed some part of the future, are now part of the present. Some days I feel like life is moving too quickly, and it’s all I can do just to keep up.

But, the shows in Dayton these next few weeks seem perfect for how I’ve been feeling already. From the comedy to the mystery, I think the theatres have hit the vast spread of emotions that come with the new year, and that’s true for other people and situations. So, you should join me in catching one of these shows over the next two weeks – or, if you’re in the mood for a little something more, audition for one of them yourself.

ANOTHER OPENIN’, ANOTHER SHOW

…Shows Opening Soon

I Hate Hamlet

PLAYHOUSE SOUTH

The Story: In this dramatic comedy, television actor Andrew Rally is struggling in his professional and private lives, attempting to play the role of Hamlet (which he hates) and deal with his girlfriend’s unrelenting chasteness. The dilemma deepens when the ghost of John Barrymore appears to try to convince Andrew to persevere in the role… while an old deal-making friend suddenly offers Andrew the chance at a new television deal.

Dates: January 21 – 23, 28 – 29, 2011

Tickets: 888-262-3792

More Information: Playhouse South

…Shows Closing Soon

Into the Woods

Students rehearse for Into the Woods (photo credit Muse Machine).

MUSE MACHINE

The Story: After a Witch curses a Baker and his wife with childlessness, the couple embarks on a quest for special objects from classic fairy tales to break the spell, stealing from and lying to Cinderella, Little Red, Rapunzel, and Jack (of beanstalk fame). But the characters didn’t count on the consequences of their actions or the disasters that would ensue…

Dates: January 13 – 16, 2011

Tickets:(937) 228-3630 or Ticket Center Stage: Muse Machine

More Information: Muse Machine: Into the Woods, DMM Feature, DMM Event

Ravenscroft

DAYTON THEATRE GUILD

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. (DTG)

Dates: January 7 – 23, 2011

Tickets: 937-278-5993 or DTG Box Office

More Information: Dayton Theatre Guild: Ravenscroft, DMM Review, DMM Event

PART OF IT ALL

…Auditions and Casting Calls

Titus Andronicus

SPRINGFIELD STAGEWORKS

William Shakespeare

Auditions: January 17 & 18, 2011, 7:00 pm

Performances: April 14 – 23, 2011

The Story: In this intense Shakespearean classic, Roman war general Titus Andronicus has just returned from battle to find all but four of his twenty sons dead; his ritual sacrifice of the sons of Tamora, Queen of the Goths, earns him her despise and promise of revenge. What follows is an insane struggle of power and betrayal in this gritty tragedy.

Directed by Larry Coressel

More Information: Springfield StageWorks: Auditions

Joseph & the Amazing Technicolor Dreamcoat

PLAYHOUSE SOUTH

Auditions: January 24 & 25, 2011; callbacks January 26

Performances: March 25 – April 9, 2011

The Story: This musical, the first collaboration between Andrew Lloyd Webber and Tim Rice, explores the Biblical saga of Joseph through an exciting variety of musical styles. The prophetic Joseph is sold into slavery by his jealous brothers and taken to Egypt, where he “endures a series of adventures in which his spirit and humanity are continually challenged” as he struggles to survive in a new land and move past his brothers’ betrayal.

Directed by Jennifer Skudlarek

More Information: Playhouse South

ONE SHORT DAY

…Special Events for the Theatrically Minded

3 Mo’ Divas

3 Mo' Divas (Photo Credit Douglas Brown, 2008)

VICTORIA THEATRE ASSOCIATION – SCHUSTER CENTER

The Basics: According to VTA, “Delivering ten musical styles spanning 200 years in one evening, these three ladies–all classically trained vocalists–will raise the roof with their class, sass and style! 3 Mo’ Divas is a one-night-only concert that delivers some stupendous genre-jumping feats, from opera to R&B, from Broadway to blues, from soul to gospel and more.”

Date: January 16, 2011

Tickets: Ticket Center Stage

More information: Victoria Theatre Association: 3 Mo’ Divas , 3 Mo’ Divas official website, DMM Event

Mysterious ‘Ravenscroft’ at Dayton Theatre Guild

January 12, 2011 By Russell Florence, Jr. 1 Comment

In Don Nigro’s pleasant yet prolonged British comedic mystery “Ravenscroft,” crisply directed by Debra Kent at the Dayton Theatre Guild and set on a snowy December night in 1905, Inspector Ruffing, a perceptive, no-nonsense sleuth, has difficulty dissecting the truth inside a remote manor containing five tight-lipped women. His intriguing investigation concerning the death of stableman Patrick Roarke takes a series of humorous turns because each woman, fully content with the secrets and lies they have concocted, is emotionally or sexually connected to the deceased lothario. The blame game among the potential murderesses eventually grows to fever pitch, which leaves Ruffing exasperated beyond belief with very little of his sanity intact.

Nigro’s script isn’t tight (Act 1 is sluggishly drawn out and the final 15 minutes feel strained), but is effectively inhabited by a very appealing cast with credible diction. Robb Willoughby is marvelously stern and perturbed as Ruffing. Rachel Wilson, one of the best chameleon actresses at the Guild, brings elegance, wit and intuitiveness to her role as Marcy Kleiner, an Austrian governess with a shady past. Wendi Michael, oozing haughty sophistication, equally shines as the widowed Mrs. Ravenscroft, who doesn’t hesitate to protect and ridicule her flighty, imaginative daughter Gillian (the perky Danielle DeLorme). As a pair of servants, Jenna Burnette (Dolly) and Jennifer Lockwood (Mrs. French) offer hearty laughs, especially in the more exciting Act 2. Lockwood is particularly responsible for molding the climax and delivers her suspenseful revelations with a tender sincerity that softens Mrs. French’s tough exterior.

Further, the production’s refined classiness extends to the attractive work of set designer Blake Senseman, costumer Carol Finley and hair and wig designer Greg Smith.

“Ravenscroft” admirably ushers in a new theatrical year while proving the search for truth, no matter how confusing, upsetting or frustrating, can be a real drag.

Ravenscroft continues through Sunday, January 23 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 70 minutes: Act Two: 55 minutes. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

Arenacross Comes To Dayton – Win Free Tickets

January 12, 2011 By Dayton Most Metro 8 Comments

High intensity, bar-to-bar dirt-bike racing at its finest is coming to Dayton as the 2011 AMA Arenacross Series brings some heat during the Winter season with its annual visit to the Ervin J. Nutter Center on Saturday, January 22. Tickets for Round 3 of the world’s most intimate form of racing are on sale now at TicketMaster.com and the Nutter Center box office. (special DaytonMostMetro.com ticket promotion info at the end of this article)

Hundreds of the best Arenacross riders from around the globe will compete for their chance to be one of just 32 riders to make a pair of 16-rider main events in the AMA Arenacross and AMA Arenacross Lites classes. The national series travels throughout the country to several of the most renowned arenas in the United States, bringing in 150 truckloads of dirt to sculpt a man made dirt battleground. Technical obstacles, close competition and impressive airtime combine to create one of the most unique spectacles in the sporting world.

Anything can and does happen in Arenacross and the man left standing atop the podium at the end of the night with the coveted trophy will have earned his prize. The defending champion Babbitt’s Monster Energy/TiLube Kawasaki team and riders Chad Johnson, Tyler Bowers and Gray Davenport lead a highly-talented group of riders hungry to claim the prestigious national AMA Arenacross Series title.

Last season in Dayton, 2008 AMA Arenacross Series champion Chad Johnson captured his second win of the season for Babbitt’s Kawasaki. The win helped the two-time series champion stay within striking distance of his teammate and eventual champion Josh Demuth as the battle for the championship came down to the wire.

The AMA Arenacross Series is fun for the whole family! The always popular track walk and post-race autograph session gives an opportunity for fans of all ages to get up close and personal with the stars of Arenacross and get the a coveted autograph from some of the best riders in the world.

A limited number of Gold Circle seating is available. Kid’s seats are just $8 (excluding Gold Circle)! Adults admission starts at just $20! Tickets are available at the Nutter Center box office, all Ticketmaster outlets, and by phone at 1-800-745-3000.

Tickets for all rounds of the 2011 season can be purchased by clicking here. And for a DaytonMostMetro.com $4 discount, enter the promo code MMETRO. (Restrictions: Not valid on Gold Circle seats; limit 4 per transaction; valid on the Sat, JAN.22, 7:30pm performance only)

OR…

WIN FREE TICKETS HERE ON DAYTONMOSTMETRO.COM!

For a chance to win a pair of tickets to see the 2011 AMA Arenacross Series at the Nutter Center, simply click the Facebook Like button to share this article with your FB friends, fill out the form below and leave a comment. We’ll announce 10 winners this coming weekend.

Note – we will not share this info nor make it public. We need your address so we can mail you tickets if you win, and you wont’ receive anything else from us – because hey, postage is expensive these days and we’d rather you just join our FB page!

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Picture Perfect Success: Kristina McBride

January 8, 2011 By Dayton Most Metro Leave a Comment

It shouldn’t be a surprise that Kristina McBride fell into the young adult genre with her first book, The Tension of Opposites. As a high school English teacher in Springboro for eight years, she spent plenty of time around teenagers.

“Plus I can vividly remember the swirl of emotions and conflicts I endured as a teenager. For me, teens come to life in a way that adults just do not. The characters that pop into my head and start talking simply happen to be teens. And then I’m just along for the ride,” said McBride.

And what ride it has been. McBride wrote three full manuscripts which were rejected over 200 times before she landed a literary agent. Even after catching the interest of her dream agent, she still faced almost a year’s worth of additional revisions on The Tension of Opposites. But after the initial struggle, McBride was rewarded with a two book deal after her manuscript went to auction.

“I wish I’d known when I was struggling that I would eventually accomplish my goal of being an agented, published author. But the perks have been amazing! Emails and fan mail feel like little, zero-calorie treats.”

The Tension of Opposites is a novel that examines the cost of friendship when tragedy strikes. When Tessa’s best friend, Noelle, is abducted, Tessa tries to cobble her life back together even as she hides behind her camera lens. When Noelle returns—different and mysterious—both Tessa and Noelle have to learn how to live again.

Strong visual images are the hallmark of the book which plays nicely to the newest trend in book marketing—book trailers. McBride connected with one of her former students, Rocky Smith, who had graduated from Wright State University as a talented filmmaker. They reconnected over Facebook and McBride asked if he’d be interested in helping with the book trailer.

“I initially visualized as a montage of pictures with some text included, all played to some super cool music. Rocky wouldn’t have it,” said McBride. “He insisted that we film a live trailer. I was a little nervous but the finished product has been very well received in the literary world. He told my story in a new way.”

Next on the horizon for McBride—besides promoting her current book—is a second book tentatively slated for a 2011 release.

“When we were in the process of selling The Tension of Opposites, I was lucky enough to experience an auction between three publishing houses. I actually sold two books to my publishing house. My second book, another YA, is a little on the edgy side which is challenging when you’re writing for the 14-and-up age range. You have to be careful not to push the limit.”

Art Is Life-Giving.

January 8, 2011 By Marsha Pippenger Leave a Comment

DMM welcomes our newest columnist Marsha Pippenger who will blog about art in our region.

Some New Year’s Thoughts 2011

Art is life-giving.

It’s an intangible. How can you explain to someone who has never experienced the power of

Medusa-a-Tangled-Web by Marsha Pippenger

a piece of work, something that has sprung from the thought of one human being, brought into existence due to that person’s trials and errors, sweat, mental anguish, trying to get it right, to make physical that which he or she sees in the mind’s eye? Art adds life – to the walls of your home, your cubicle at work, your city parks, the very roadways you travel – breath and thought and feeling and connection, a communication offered from the artist to you.

It was a difficult year, 2010. Many of us felt the negatives of an economy sliding downhill, jobs moving in not equal to the companies moving out, the broad sweep of cuts to the arts because funds are stretched to the nth degree just to cover the most basic of services. Hard decisions have had to be made. We all want to live in a community with plenty of recreational opportunities and cultural offerings. Most of us realize that in our current world we must get creative to provide those amenities when our cities are pushing to fill empty buildings, entice new enterprise, appeal to and keep our young adult residents.

Daniel and the lions den mosaic by K12 Gallery students

This is why we need the life sustaining power of art more than ever, and it is also why it is time for those of us who live and breathe and work in the arts to do more – I know, I know, we all are always being asked to do more – but small things can truly add up to big accomplishments. There is strength in numbers, and while competition is healthy, there really is great power in collaboration.

Dayton is remarkable in its offerings in the arts; it has more than most cities its size (a provable statistic by the way). We have more talented professional artists than most, we have fine galleries that could use more traffic and support, and we have an art institute that rivals those of many larger metropolitan areas. Dayton has been blessed by the philanthropy of past citizens who loved this city and its people; we are still enjoying the fruits of that generosity today. Moreover, we are charged with living up to that legacy. We need to, now more than ever before.

NOW, what is that next step? Patronizing art spaces of course. Listed below (in random order so keep reading) are some fine commercial galleries, museums and art centers where you will find quality original art in a range of prices. It is by no means a definitive list; if you know of others, please add them!

Cannery Art and Design Center, 434 East Third St, Dayton, (937) 313-9883

Visceral Gallery, 65 W. Franklin St,Centerville, (937) 409-0069

Willis Bing Davis Art Studio, 1135 W 3rd St, Dayton, (937) 223-2290

Zig Zag Gallery, 101 E Alex Bell Rd, Dayton, (937) 434-3565

Town & Country Fine Arts Gallery, 300 E Stroop Rd, Dayton, (937) 293-5381

Dayton Visual Arts Center, 118 N Jefferson St, Dayton, (937) 224-3822

High Street Gallery, 48 High St, Dayton, (937) 228-4532

Gallery 510, 510 E 5th St, Dayton, (937) 222-5151

Hotel Gallery, 109 E Main St, Tipp City, (937) 667-3696

Village Artisans Gallery, 100 Corry St, Yellow Springs, (937) 767-1209

Gallery St John, 4400 Shakertown Rd, Dayton, (937) 320-5405

Alley Fine Art & Framing, 269 W Central Ave, Springboro, (937) 748-0822

Dayton Society Of Painters & Sculptors, 48 High St, Dayton, (937) 228-4532

K12 Gallery For Young People, 510 E 3rd St, Dayton, (937) 461-5149

Dayton Art Institute, 456 Belmonte Park N, Dayton, (937) 223-5277

Rosewood Art Centre, 3600 Shroyer Road, Kettering, (937) 296-2400

Springfield Art Museum, 107 Cliff Park Road, Springfield, (937) 324-3729

I Wish. More Than Anything…

January 8, 2011 By Shane Anderson 20 Comments

Into The Woods

THE MUSE MACHINE

Win tickets to this show! Read on…

Once upon a time…

Suzy Bassani had a dream. That dream became a reality in the Muse Machine, a truly unique Dayton area arts organization for kids. A culminating yearly activity is a highly regarded theatrical production featuring nearly 100 talented students on stage, back stage and in the orchestra.

The 2011 selection is the popular Sondheim show Into The Woods. The Tony Award winning show, by Stephen Sondheim (music & lyrics) and James Lapine (book), premiered on Broadway in 1987. That original cast included Broadway legend Bernadette Peters and Joanna Gleason, as well as Dayton native Tom Aldredge.

Just like with the fairytale favorites whose stories intertwine as they venture Into The Woods, new directions are afoot for the Muse Machine as more than 100 area students prepare to present Sondheim’s smash-hit family musical next weekend.

Muse Machine mounts it’s first Sondheim production in a year that celebrates the composer and lyricist’s 80th birthday. The lavish musical, which thrusts characters into situations where their “happily ever after” may not come so easily. Finding familiar characters like Little Red Riding Hood and her wolf, Cinderella and her prince, Jack of beanstalk fame and others faced with new challenges makes the show both unexpectedly funny and surprisingly poignant.

The production will also experience the Muse touch through movement. “Early versions of Into The Woods used very little dance, but we’re going to change that,” said New Orleans choreographer Lula Elzy, who promised surprises in store with each of the show’s tolls of midnight. “It will feel like movement has always been a part of this show!”

Into The Woods also marks the addition of a new face to the Muse Machine creative team: Rufus Bonds, Jr., familiar to audiences as Collins from the Broadway cast of Rent and Mufasa from the national tour of The Lion King. Bonds comes from the west coast, joining returning NYC music director David Dusing to complete the directing team.

“What’s so beautiful about this experience is the opportunity to work with young adults who bring the perfect marriage of acting and voice to their roles,” said Bonds, who hopes audiences will be surprised by the depth of talent coming from the young performers on stage. “There’s nothing I’ve seen anywhere like this, on any level – students are far ahead of the game with the training they receive here at Muse.”

This is a theatrical opportunity that you don’t get in other cities. The Muse Machine has touched countless lives, including actors, dancers, writers and designers currently earning their living in the arts all over the country, including New York City. The organization’s track record indicates that within a few years, one of these young performers in Into The Woods will very likely be treading the boards of Broadway.

Happily ever after.

UPDATE 1/8/2011 (information from the Muse Machine Facebook Page):

Emmy Award winning actress Allison Janney (The West Wing, Juno, Lost, Hairspray, Finding Nemo, American Beauty and many other film, television and stage credits) joins the cast of Muse Machine’s INTO THE WOODS in an original performance as the voice of the giant!

-SA/Muse Press Release

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

Tickets & Performance Information:

Into The Woods (January 13-16 – various times – at The Victoria Theatre)

Tickets: prices range from $31-$56

Call (937) 228-3630 or by visiting TicketCenterStage.com.

Visit www.MuseMachine.com for more information about The Muse Machine and their programs.

Win Free Tickets!

Muse Machine & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to Into The Woods! We will be giving away up to TEN pairs of tickets for next weekend’s performances! All you need to do is:

Share this article on Facebook or Twitter…just click the appropriate button at the top of this page.
Leave a comment, answering the following question…In just a couple of sentences, change the ending of your favorite classic fairytale.
The deadline to enter is 9AM on MONDAY, January 10th.
Winners will be selected randomly from all of the entries.

THE NEON is Flying High!

January 7, 2011 By Jonathan McNeal Leave a Comment

Hello Everyone.

Since December 25, THE NEON has seen almost 4,000 customers (a 10-day total of 3898, to be exact)! That’s incredible. Once again, I thank you for your support!

We’re going to hold onto both BLACK SWAN and THE KING’S SPEECH for another week…and we’re currently planning to open MADE IN DAGENHAM on January 14.

Here are a few notes on upcoming special events:

“Jasmine “Jazz” Taylor, a 2006 alumnus of Stivers School of the Arts and graduate of The Fashion Institute of Design and Merchandising (FIDM) in Los Angeles, will premiere the DVD of a fashion show fundraiser that helped further her educational development. The fashion show involved the community and showed the world that dreams can come true if you believe. The show focused on the “A Touch of Jazz” fashion line along with two new up and coming designers: Jamila Jones and Jamae Abney. In addition to the designers, local students were featured; doing anything from dancing, singing, and rapping, to modeling and playing instruments.
Unwrapping The Dream Fashion Show DVD Premiere Release is an opportunity for fashion show participates to fellowship with their peers, family, and friends while watching themselves on the big screen. It will be held Sunday January 16, 2011 at THE NEON – tickets are just $5.” (taken from press notes)

“RIDE THE DIVIDE, which was named best adventure film at the 2010 Vail Film Festival, is an inspiring journey about the world’s toughest mountain bike race, which traverses over 2,700 miles along the Continental Divide in the Rocky Mountains. The film weaves the story of the three characters’ experiences with immense mountain beauty and small-town culture as they attempt to ride from Banff, Canada, to a small, dusty crossing on the Mexican border. The tests of endurance and the accomplished moments throughout Ride the Divide prompt us to reflect on our inner desires to live life to the fullest.” The film will play One Night Only – Wednesday, January 26 at 7:30. The official site of the film can be found at www.ridethedividemovie.com.
TICKETS – $10 (+$1 processing) in advance by visiting this site:
http://www.imathlete.com/events/EventStore.aspx?fEID=7982
$15 at door on day of show!

The line-up of films in the coming weeks at THE NEON looks terrific. We hope to see you soon and often.
(And don’t miss THE KING’S SPEECH!!)

Take care,
Jonathan

SHOWTIMES for January 7 – January 13:

BLACK SWAN (R) 1 Hr 48 Min
Friday: 12:20, 2:40, 4:50, 7:20, 9:40
Saturday: 2:45, 4:50, 7:20, 9:40
Sunday: 12:20, 2:40, 4:50, 7:20, 9:40
Monday – Thursday: 2:40, 4:50, 7:20

THE KING’S SPEECH (R) 1 Hr 51 Min
Friday, Saturday, Sunday: 12:10, 2:30, 5:00, 7:30, 9:50
Monday – Thursday: 2:30, 5:00, 7:30

COMING SOON:
As always, all dates are tentative. Some of these dates will change.
In some cases, titles may disappear.

Jan. 14 MADE IN DAGENHAM
Feb. 4 THE ILLUSIONIST & ANOTHER YEAR
TBD: I LOVE YOU PHILLIP MORRIS, TINY FURNITURE, BIUTIFUL, CASINO JACK, BLUE VALENTINE, RABBIT HOLE & SOMEWHERE

Marsha Hanna Memorial Open House

January 7, 2011 By Russell Florence, Jr. Leave a Comment

Human Race Theatre Company artistic director Marsha Hanna, a cornerstone of the Dayton arts community who lost her battle with esophageal cancer Monday, January 3 at the age of 59, will be remembered with a Memorial Open House Saturday, February 5 from 11 a.m. to 4 p.m. at the Loft Theatre, 126 N. Main St.

Hanna, a Tiffin, Ohio native and theater graduate of Bowling Green State University, had served as artistic director of the Human Race since 1990 and a resident director since its founding in 1986. She was a fan of such language-driven playwrights as Richard Greenberg, Cormac McCarthy and August Wilson, and produced more than 100 shows.

Hanna predominately helmed productions for the Human Race yet guest directed at Indianapolis’ Phoenix Theatre, La Comedia Dinner Theatre, Sinclair Community College, the University of Cincinnati, the University of Dayton and Wright State University to name just a few. Her numerous directing credits included “A Christmas Carol,” “Art,” “Brother Wolf,” “Copenhagen,” “Crimes of the Heart,” “Every Good Boy Deserves Favour,” “I Hate Hamlet,” “Quilters,” “Take Me Out,” “The Dazzle,” “The Elephant Man,” “The Sunset Limited” and “You Can’t Take It With You.”

Prior to joining the Human Race, Hanna served as a drama specialist with the City of Dayton, Division of Recreation, volunteered at the Dayton Playhouse, Dayton Theatre Guild and Fairborn Playhouse, and co-founded Illumination Theatre. In 2003, she was inducted into the Dayton Theatre Hall of Fame. Last year, she received the Ohio Governor’s Award for Arts Administration, an honor shared with Human Race executive director Kevin Moore. Additionally in 2010, she staged the regional premiere of David Hare’s thought-provoking drama “The Vertical Hour” and co-directed the return engagement of Ron Hutchinson’s “Gone With the Wind”-themed comedy “Moonlight and Magnolias” with Jake Lockwood. Fittingly, her final production was a triumph: the collaborative Human Race/Wright State regional premiere of Tracy Letts’ Tony and Pulitzer Prize-winning dramatic epic “August: Osage County” which she co-directed with Scott Stoney.

A Marsha Hanna Memorial Fund will be created in conjunction with the Human Race’s 25th anniversary 2011-2012 season. Details about donating to the fund and its purpose will be announced at a later date.

Baron VonPorkchop brings Terrifying Tales of the Macabre to DATV

January 7, 2011 By Juliet Fromholt Leave a Comment

Art by Bruce O. Hughes

In the fine tradition of late night local horror hosts like Dr. Creep and A. Ghastlee Ghoul, a new show called Baron Von Porkchop’s Terrifying Tales of the Macabre is debuting on DATV Saturday, January 8th. Hosted by Baron Von Porkchop, the show will feature a film introduced by the cast and accompanied by skits throughout the evening.

“We are so happy to bring the viewers a show that is very much in the classic style of a horror host program, filled with bad movies and funny segments. We are honored to follow in the big footsteps of Dr. Creep and A. Ghastlee Ghoul in the Dayton area,” says writer, producer, director Matt Brassfield.

Brassfield is a local filmmaker who has worked with both Dr. Creep and A. Ghastlee Ghoul and helps organize Horrorama. Brassfield’s company, Bloodline Video recently co-produced a series of DVD reissues of Dr. Creep’s New Shock Theatre series.

The first episode of Baron VonPorkchop’s Terrifying Tales of the Macabre will air Saturday, January 8th at 12:00am on DATV Channel 5 and can be streamed live at www.datv.org. The episode will air again on Monday, January 10th at 1am. For more information, visit the show’s Facebook page.

Impressed

January 4, 2011 By J.T. Ryder 20 Comments

Press Coffee Bar To Hold Premier Art Opening

Black as the Devil, Hot as Hell,
Pure as an Angel, Sweet as Love.
~Charles Maurice de Talleyrand-Perigord

There are things that are serendipitous. There are things that smack of predestination. Then there are things that are just pretty damn creepy. I’m not sure which category this story falls under.

Artwork by Josh Florhe

To introduce this story, I have to backtrack to October of last year when I received a call from my friend, Emanuel, telling me that I had to get down to the old home décor place at the corner of Wayne Ave. and E. Third St. and check out this gallery showing. I made it down there as soon as I could and…no Emanuel…but his phone call had led me to some of the most original artwork I had seen in quite some time. It was a mélange of media ranging from the contrasting screen print designs by Jannell Barker to the found art of Josh Florhe which held the moment of another age within its imagery.

I toured the gallery showing, tellingly titled Shut Up Art, and was amazed at the innate talent that the artists imbued. I began speaking with Janell about various topics, such as , how the exhibition came to be, bartending and even meandering over some of the technical aspects of silk-screening. Before leaving, I promised Janell that I would contact her (as well as some of the other featured artists) soon and we would get something down in print for the group. It was a promise that I fully intended to keep…right up until the moment that life got in my way.

It’s one of those things where unforeseen circumstances throw walls up in front of you and then, the momentum of the moment is lost until, one day, you are paging through one of your notebooks and you see a phone number and a pang of guilt forces you to close the book quickly.

Photo by Brooke Medlin

Fast forward to last week…Wednesday December 29^thto be precise. I was to meet DMM’s Brooke Medlin at a new coffee house called Press Coffee Bar to cover an art exhibition that they were planning. As I ducked inside the building, escaping from the gloomy day above, I was taken in by the warmth of the newly laid wooden floor and the expansive invitation of the room itself. I saw Brooke and another woman crouched in the loft at the rear of the building, which looked out over the whole storefront. I said hello to the bearded gentleman behind the counter and waited for Brooke to come downstairs and fill me in on the details. As I waited, I took in the freshness of the interior. New floors. A newly constructed and conformingly curved coffee bar whose coiled shape and muted tone was a wild variation from the gleaming utilitarian sharpness of the state of the art cappuccino machine. A bearded man behind the counter (who has a name which happens to be Brett Barker) informed me that the machine was made in Florence, Italy and was temperature controlled by a PID computer module that collected data from various sensors and made self correcting adjustments and that it had been used as a demo model at a Seattle coffee festival before arriving in Dayton.

Hearing Brooke and the other woman descending the stairs, I turned around to see…Janell Barker. Dammit, dammit, dammit! I could just hear the snarky remarks that may have been running through her head, remarks that she never said (but justifiably could have!) such as, ‘Do you think you could get this article done in time?’ or saying something to Brooke like, ‘This is the best you could do?’ or even, ‘You’re never going to amount to anything, so you might as well get used to digging ditches!’…sorry, that last one was me channeling my sophomore guidance counselor.

Photo by Brooke Medlin

Apparently harboring no ill will, Janell began preparing a freshly ground cup of coffee for me, which made me groan inwardly, knowing that in moments, I would have to admit that I couldn’t stand the taste of coffee. Telling someone something that will disappoint them after you have already disappointed them is hard. Telling someone something that will disappoint them after you have already disappointed them as they approach you with a scalding hot cup of coffee is just plain scary. I began to quickly understand Al Green’s aversion to grits.

After I made my embarrassing admission, Brett began talking about the types of coffee they would be using, the type of rotating and artisan roasters they would be utilizing and then onto one of Press’ previous events, which was a coffee tasting experience that they call ‘Coffee Cupping.’ These things I will save for a future article, such as the circular pouring of water through a Hario V60 single cup coffee filter to make a perfect cup of java or how one should, “slurp” vigorously when tasting a new coffee to completely saturate the tongue all at once. These things will come later. The thing to concentrate on now is their Premier Opening Art Show.

As Brett and Janell detailed the type of art and the artists that would be showcased, I looked around the vaulted room, taking in the rough edges of the remodeling that had yet to be polished, looking upwards at the newly painted, bare walls, knowing that soon, a clamorous collection of artwork would peer down at the patrons of this little coffee shop, inspiring them with a thirst larger than the one to be quenched by any fancy French pressed brew. The artwork is what motivates us, that brings us together, that allows us to appreciate and accept without the burden of being deigned acceptable by others. The artwork is there as a vehicle for our muse to move us forward. The coffee is there to make us savor the moment.

This is a coffee shop that aspires to be more than just a retail establishment. They want to be part of the community and this art show is the first step in that direction. The Premier Opening Art Show will be held on Friday, January 7^th from 4pm until 12pm at Press, located at 257 Wayne Ave. The show will feature artwork by Rueben Briggs, Eric Patton, Josh Florhe, Kasey Henneman, Jason Watkins, Jeff Richards, Mike Guidone, Jason Goad and Zach Armstrong. Regular store hours will be Monday through Friday from 7am until 8pm and Saturday and Sunday from 9am until 8pm.

Holiday Success at THE NEON! Thank You!!

December 31, 2010 By Jonathan McNeal Leave a Comment

Hello Everyone.

I returned to Dayton on December 24 (after visiting with my folks for a couple days) to find that we had lost exclusivity with our engagement of THE KING’S SPEECH…and I’ll admit I was disappointed and a bit heartbroken. But I shouldn’t have been.
More Daytonians supported THE KING’S SPEECH at THE NEON than at any of the multiplexes…and I thank you for your support! We have had a couple sell-outs and numerous large audiences since the film opened on December 25, and people are absolutely loving the film.
If you haven’t seen it yet, we hope to see you soon!
If you’ve already seen the film, please keep spreading the word…and tell people that THE NEON has the best prices in town.
Visit the official website for the film by clicking this LINK.

BLACK SWAN has flooded the marketplace over the past several days, and our extraordinary ticket sales have started to fall…so we may open MADE IN DAGENHAM a bit earlier than planned (Jan. 7 instead of Jan. 14)…but all that depends on business during the upcoming weekend. I’ll keep you posted.

Here are a couple notes on upcoming special events:

“RIDE THE DIVIDE, which was named best adventure film at the 2010 Vail Film Festival, is an inspiring journey about the world’s toughest mountain bike race, which traverses over 2,700 miles along the Continental Divide in the Rocky Mountains. The film weaves the story of the three characters’ experiences with immense mountain beauty and small-town culture as they attempt to ride from Banff, Canada, to a small, dusty crossing on the Mexican border. The tests of endurance and the accomplished moments throughout Ride the Divide prompt us to reflect on our inner desires to live life to the fullest.” The film will play One Night Only – Wednesday, January 26 at 7:30. Advanced tickets are only available by visiting this LINK. The official site of the film can be found at www.ridethedivide.com.

Have a Safe & Happy New Year!
(And don’t miss THE KING’S SPEECH!!)

Take care,
Jonathan

SHOWTIMES for December 31 – January 6:

BLACK SWAN (R) 1 Hr Min
Friday, Saturday, Sunday: 12:20, 2:40, 4:50, 7:20, 9:40
Monday – Thursday: 2:40, 4:50, 7:20

THE KING’S SPEECH (R) 1 Hr 51 Min
Friday, Saturday, Sunday: 12:10, 2:30, 5:00, 7:30, 9:50
Monday – Thursday: 2:30, 5:00, 7:30

COMING SOON:
As always, all dates are tentative. Some of these dates will change.
In some cases, titles may disappear.

Jan. 7 MADE IN DAGENHAM
Feb. 4 THE ILLUSIONIST & ANOTHER YEAR
TBD: I LOVE YOU PHILLIP MORRIS, TINY FURNITURE, BIUTIFUL,
BLUE VALENTINE, RABBIT HOLE & SOMEWHERE

Top 10 Theater in 2010: Dayton and NYC

December 30, 2010 By Russell Florence, Jr. 2 Comments

The cast of The Light in the Piazza

THE GEM CITY

1. “The Light in the Piazza”

This captivating, underrated romantic musical set in 1950s Italy based on Elizabeth Spencer’s novella and featuring a challenging yet ravishing Tony Award-winning score by Adam Guettel (Richard Rodgers’ grandson) took Wright State University’s musical theater program to astonishing heights. WSU’s truly outstanding, gorgeously designed Ohio collegiate premiere of “Piazza,” which I saw three times, contained a knockout cast, a splendid orchestra, and conceptually refreshing contributions from director Joe Deer. If you missed Blaine Boyd’s incredibly passionate, vocally sublime portrayal of Fabrizio Naccarelli, he’s starring in WSU’s “Jekyll & Hyde” next month. Get your tickets now.

August: Osage County

2. “August: Osage County”

Tracy Letts’ Tony and Pulitzer Prize-winning epic received a fantastic collaborative presentation from the Human Race Theatre Company and Wright State University. The professional and student actors seamlessly joined forces at WSU under the direction of Marsha Hanna and Scott Stoney to inject striking depth and newfound comic relief into Letts’ acclaimed saga of a dysfunctional Oklahoma clan coping with the loss of its patriarch. The volatile, multifaceted performances of Susanne Marley (Violet Weston) and Kristie Berger (Barbara Fordham) were unquestionably superlative.

The Producers

3. “The Producers”

The Dayton Playhouse’s utterly hilarious, magically cohesive production of “The Producers” was a surefire hit at intermission. Director Chris Harmon’s wacky cast, headlined by Saul Caplan and David Sherman, delivered one of the best first acts I have seen at the Playhouse. Among the musical pleasures was the hysterical “Keep It Gay” consisting of Charles Larkowski (Roger DeBris), Jonathan Berry (Carmen Ghia), Nick Moberg (Bryan), Bob Martin (Kevin), Cameron Elliott (Scott), Jeremy King (Sabu) and Betsy Feeser (Shirley). Mel Brooks and Susan Stroman would have been proud.

Dog Sees God: Confessions of a Teenage Blockhead

4. “Dog Sees God: Confessions of a Teenage Blockhead”

Bert V. Royal’s R-rated parody of the “Peanuts” comic strip was a perfect fit for Sinclair Community College. This humorous yet gripping teen tale, expertly directed by Brian McKnight, featured a winning ensemble accented by the feisty mean girl rapport between Lauren Bernstein (Tricia) and Michelle Faulkner (Marcy).

5. “Seussical”

Director Kay Frances Wean’s energetic, colorful and infectiously joyful staging of Lynn Ahrens and Stephen Flaherty’s tuneful salute to Dr. Seuss will always be a hallmark of the Epiphany Players Drama Ministry at Centerville’s Epiphany Lutheran Church.

'Spring Awakening'

6. “Spring Awakening”

At one time, it seemed inconceivable that Duncan Sheik and Steven Sater’s raw, risqué musical adaptation of Frank Wedekind’s controversial 1891 play would ever be seen on a professional stage in Dayton, Ohio. Thankfully, this Tony-winning gem received a two-night local premiere at the Victoria Theatre. Talk about a step in the right direction.

Urinetown: The Musical

7. “Urinetown: The Musical”

Another well produced comedic achievement for the Dayton Playhouse as directed by Doug Lloyd. I particularly enjoyed “Follow Your Heart,” a highlight of Greg Kotis and Mark Hollmann’s Tony-winning material tenderly rendered with humor and sincerity by James Roselli (Bobby Strong) and Kelsey Hopkins (Hope Cladwell).

A Case For Libel

8. “A Case of Libel”

Henry Denker’s compelling courtroom drama was a first-rate acting showcase at the Dayton Theatre Guild. Under the firm direction of Debra Kent, the climatic face-off between Saul Caplan (Robert Sloane) and David Shough (Boyd Bendix), resulting in Shough’s superb meltdown, was dynamite.

Singin' In The Rain

9. “Singin’ in the Rain”

Guided by a revamped artistic team, the Muse Machine supplied one of its most delightful student productions. Kudos to choreographer Lula Elzy for inserting a large ensemble of tap dancing diction coaches into “Moses Supposes.”

The Syringa Tree

10. “The Syringa Tree”

The SEED Theatre Project, housed at the beautifully spacious Salvation Army Ray & Joan Kroc Corps Community Center, offered a riveting local premiere of Pamela Gien’s one-woman, apartheid-themed drama performed by Robin Smith under the direction of Adam J. Leigh. Smith’s dynamic mastery of character and dialect was remarkable.

Honorable Mention: “Kimberly Akimbo,” Dayton Theatre Guild; “Much Ado About Nothing,” Cedarville University; “Once On This Island,” Sinclair Community College; “Ordinary Days,” Human Race Theatre Company; “The Phantom of the Opera,” Victoria Theatre Association; “Rent,” Encore Theater Company; “The Spitfire Grill,” Beavercreek Community Theatre; “The 39 Steps,” Human Race Theatre Company; “[title of show],” Encore Theater Company; “Wicked,” Victoria Theatre Association

THE BIG APPLE

Scottsboro Boys

1. “The Scottsboro Boys”

The finest and boldest original musical of the year fittingly marked the final collaboration of John Kander and Fred Ebb (“Cabaret,” “Chicago”). “Scottsboro” drew protest and praise before closing prematurely, but, thankfully, this mesmerizing marvel might have a future on the big screen under the direction of Oscar nominee Lee Daniels (“Precious”).

Angels In America

2. “Angels in America”

Signature Theatre Company’s brilliant off-Broadway revival of Tony Kushner’s thought-provoking masterpiece featured the marvelous NYC acting debut of Zachary Quinto (“Heroes,” “Star Trek”) as Louis Ironson.

3. “La Cage aux Folles”

A blissful, character-driven revival blessed by the terrific teamwork of Kelsey Grammer and sensational Tony winner Douglas Hodge. It’s worth noting that Doug Lloyd will direct “La Cage,” one of Jerry Herman’s best scores, at the Dayton Playhouse this spring.

Fences

4. “Fences”

The amazing, Tony-winning powerhouse duo of Denzel Washington and Viola Davis were a match made in August Wilson heaven.

5. “The Merchant of Venice”

Al Pacino’s commanding and perceptive portrayal of stringent moneylender Shylock gave chilling profundity to one of Shakespeare’s most unnerving plays.

6. “A View From The Bridge”

Scarlett Johansson won the Tony for her surprisingly strong Broadway debut in this stellar Arthur Miller revival, but it was Liev Schreiber who intensely owned every scene as an emotionally conflicted Brooklyn longshoreman.

American Idiot

7. “American Idiot”

Green Day’s gripping depiction of angst-ridden disillusionment and soul-searching was a completely visceral and unexpectedly moving experience on stage.

8. “Red”

John Logan’s fascinating, Tony-winning exploration of abstract expressionist Mark Rothko was superbly led by Alfred Molina.

9. “Sondheim on Sondheim”

James Lapine’s eye-opening multimedia musical tribute to the legendary composer fluidly incorporated insightful commentary from the master himself recorded at his home.

Driving Miss Daisy

10. “Driving Miss Daisy”

Alfred Uhry’s beloved Pulitzer Prize winner remains thin and hurried, but has been wonderfully revived nonetheless thanks to the exemplary pairing of James Earl Jones and Vanessa Redgrave. Anyone heading to NYC in the coming months should avoid the imminent flop “Spider-Man Turn Off The Dark” (a boring, musically inept disaster!) and witness the delectable chemistry between two acting titans still at the top of their game.

Honorable Mention: “A Little Night Music” (opened in 2009, but freshly overhauled last summer starring Bernadette Peters and Elaine Stritch); “Anyone Can Whistle” (City Center Encores!); “Bloody Bloody Andrew Jackson”; “Come Fly Away”; “Lend Me A Tenor”; “Million Dollar Quartet”; “Next Fall”; “Spirit Control”; “The Temperamentals”; “Time Stands Still”