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Arts & Entertainment

AlphaTrips: CHICago is CHIC again!

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   It’s time to travel again….and even though I use AlphaTrips to highlight cities and towns close to our beloved Dayton, it’s time to TRAVEL beyond. 4 and a half hours from Dayton’s city center is one of America’s great big cities…CHICAGO! Flanked by the beauty of Lake Michigan, highlighted by the amazing skyscrapers, filled with world-class hotels and dotted with more parks than you can shake a stick at…Chicago is vibrant again. Gone are the annoying masks, plastic dividers, and spacing that kept us all at bay. Back is an oasis for shoppers, a playground for water lovers, and a fulfillment for music and art aficianados.

“The trick is to take what the media says with a grain of salt.” Says Mischa K, a local food vendor and lifelong dweller. “We are facing what all big cities are facing. This need to make everyone feel that Netflix is better than the Lincoln Park Zoo. I mean, come on!” Mischa is not alone. While visiting the Windy City, I chatted it up with others…sentiments the same! “Magnificent Mile has seen some closures, but all-in-all, the street is packed with visitors, and you can’t find a restaurant with availability.” Says Fred H. “I dunno, I keep hearing the same stories about Miami, NYC and LA….so we are in good company.” laughs Dan D. “You adjust. You find a way to make the new way of doing things a better way of doing things. We are still Midwest…people are still as friendly as it gets here!”

For me and the gang I traveled with, we found a ton to do! Plopping ourselves at the Viceroy on State Street…we were near the beating heart of the town. A short walk to Michigan Ave. and you could feel it…life is BACK! On the streets families with popcorn, lovers holding hands and obnoxious drivers laying on their horns in hopes they get much needed attention! Shopping felt good…no clicking Amazon for a new shirt, but rather, trying it on…and having the clerk find a better size…HEAVEN! (By the way, Ralph Lauren’s POLO on Michigan is a must now….WOW…packed and pretty!!) Starbucks three level signature store is bit much, but its worth a drop in. To be real, I was more interested in finding the old hotels with those dimly lit bars, and amazing Old-Fashioneds…and they didn’t disappoint! (Champagne stops are a good idea as well.)

The Aquarium, the zoo, the beach, the pier…all in full-swing and ready to take on your family with new sites to see as well. And, honestly, is there any city near us with a more diverse collection of architecture!! STUNNING STUFF!  One place I always enjoy is Andersonville. Filled with shops from the sublime to the silly, the area boasts a lot of great variety. Take a minute to grab a drink at Lady Gregory’s, Farragut’s or Hopleaf Brewery! Feeling adventurous? Sneak into Simon’s (Oldie but goodie)!

Dining is also back in Chicago. We ate dinner at Somerset, a patio restaurant, with great people-watching in the Gold Coast. After dinner, take the elevator to the 18th floor to Devereaux…this pool-side party place is inviting and sophisticated. Of course, I could list dozens of places to find food, and everyone would have an opinion how right or wrong I was…with that, I will say, there is something for everyone in Chi-Town! (We loved grabbing a coffee at Whispers and sitting in the triangular garden among the college kids and locals.)

It’s time peeps! Grab your pet (they were everywhere)…pack your car (or just buy everything there)…and put on your walking shoes (we averaged 15,000 steps a day)….and head NorthWest(ish) to one of America’s Best….the city of BIG SHOULDERS….CHICAGO!

 

 

 

 

 

Spotlight on the Dayton Theatre’s 2023-2024 Seasons- Part 1

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With all of the local theaters in town, we thought we would spotlight their upcoming seasons. This will give you plenty of time to fill your calendars and purchase season tickets. This week we are throwing the spotlight on Beavercreek Community Theatre and TheatreLab Dayton. 

We begin with Beavercreek Community Theatre located at The Lofino Senior Adult Enrichment and Cultural Arts Center 3868 Dayton-Xenia Road, Beavercreek, OH 45432.

For the 2023-2024 Season BCT has acquired two musicals and three plays. They will open with Bright Star, which was inspired by a true story, and features a score by Steve Martin (Yes, THAT Steve Martin, and Edie Brickell). It is a story of love and redemption. This production will be directed by Jeff Sams. Bright Star September 1-10, 2023.

The second show will be The Ginger-Bread Lady, by Neil Simon. This dramatic comedy garnered a Tony Award and a Drama Desk award for Maureen Stapleton as Evy Meara. Debra Kent will direct. October 27- November 5, 2023.

January 26 – February 4, 2024 will be Private Lives, written by Noel Coward and directed by Tim Rezash. This Comedy of errors tells the story of a divorced couple that end up honeymooning at the same hotel with their new spouses.  “A brilliant comedy. A very funny play.” – Newsweek 

In the spring, April 19-28, 2024 the play One Man, Two Guvners will take the stage. Directed by Dayton Theatre Hall of Fame member, Doug Lloyd, One Man, Two Guvners written by Richard Bean is a classic comedy of love, heroes, villains and confusion. “If you’re not having a good time at this show, you may be on the wrong medication.” —The Hollywood Reporter. 

Closing their season BCT has chosen the musical The Hello Girls, Music, Lyrics, & Book: Peter C. Mills and Book: Cara Reichel. This musical tells the story of the first women soldiers in World War 1. Directed by Matt Owens this show will run June 21-30, 2024. 

You can purchase season tickets for Beavercreek Community Theatre here: Bctheatre.org

TheatreLab Dayton, formerly Dare 2 Defy (D2D), has made quite the transformation over the last three years. They focus on showcasing the talented performers here in the Dayton area, and strive to create a safe space all while pushing the boundaries of what musical theatre can be. Their 2023-2024 season is called The Art of Making Art.  Every single show in the season is either about making theatre in some way or the art of storytelling.

They will jump in with the musical The Producers, Book by Mel Brooks Thomas Meehan, Music and Lyrics by Mel Brooks. Based on the 1968 Film, The Producers will be presented in the beautiful Victoria Theater September 15 and 16, 2023 and will be directed by TheatreLab’s Angie Thacker. 

 

For Halloween they’ve selected the thriller Misery written by William Goldman and based on the novel by Stephen King, the story begins when a writer is “rescued” by one of his biggest fans, who soon has very strong opinions of his latest novel which leaves the writer writing for his life. This production will go up in October 2023.

[title of show] Music and Lyrics by Jeff Bowen, Book by Hunter Bell is quite literally about writing a new musical. TheatreLab is incredibly passionate about new and unproduced works and this show directly speaks to that cause. “Sly, sassy, inspired.” – Entertainment Weekly. This production will take place in January of 2024. 

The musical Into the Woods, Book byJames Lapine, Music and Lyrics byStephen Sondheim is a classic tale, one that TheatreLab has produced before.  TheatreLab’s Mackenzie King stated,  “It felt right to bring it back this season because we plan to attack it in an entirely new way- really digging into our mission of creating familiar art in a way audiences haven’t seen before.” You will be able to catch this audience favorite in March of 2024. 

Lastly, wrapping up their season will be the musical Once; Book by Enda Walsh, Music and Lyrics by Glen Hansard Markéta Irglová. Based on the Motion Picture Written and Directed by John Carney. This show will beautifully bookend the TheatreLab Dayton’s season in May of 2024. 

You can purchase season tickets for TheatreLab Dayton’s Season here: https://www.theatrelabdayton.org/season-memberships

Celebrate Dayton Dance Initiative’s 5th Anniversary

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Celebrate Dayton Dance Initiative’s 5th Anniversary Season with our most ambitious show yet! Making Moves: The CoLAB is a true laboratory of ideas, bringing together 22 Dancers and 8 Artistic Collaborators for ONE epic performance. This show features live music, painting, and spoken word alongside the talented dancers of DDI. Experience dance up close and personal at the intimate PNC Arts Annex. Q&A with the artists at each show.

PRIDE Community Day

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As part of Pride Month celebrations, the DAI will welcome all in the community to the museum on Sunday, June 25, with a special Pride Community Day.
On Pride Community Day, the museum will offer free admission to the collection galleries and a unique Pride Gallery Guide celebrating LGBTQIA+ artists in the collection. Read more about exhibitions. The museum is open from noon to 5 p.m. on June 25.

Dave Chappelle Brings Back Comedy In The Cornfields

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The first set of comedy shows for Wirrig Pavilion in Yellow Springs have been announced. Thursday, July 6th through Saturday, July 8th
shows, with tickets going on sale Monday, June 26th at 10am at Ticketmaster. Tickets are sold in pairs and are currently posted at $300/pair, which includes shuttle service for parking.

Tips from Ticketmaster to help you purchase your tickets.

Arrive 10 minutes early and complete these steps so you’re ready to go before the sale begins:

  • Sign in to your account in advance to speed up your purchase later.

  • Check that your payment info is current so you can breeze through checkout.

Drinks with Dignitaries at the Neon’s Patio Parties!

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Nothing says summer like a patio, a bar and bunch of friends! For the Neon Movies, the time has come to turn their patio into the Place to Be Seen! Starting this Friday, June 23rd, the Neon Movies kicks off its Summer Patio Parties with special guests, The Boys Behind the RubiGirls! “Last year, we started having our board members on the patio serving beers and popcorn and just having a good time with the community. This year, we want to continue that and add even more energy!” says Jonathan McNeal, the Neon‘s manager. “We are ready for some vibrancy at this busy corner.” (5th Street and Patterson.)

RubiGirls to kick-off parties on 6/23.

 

 

 

The theater, which sits just outside the Oregon District, is a beloved treasure in the Dayton Community. Having parties on the patio can only enhance its charm. “We have such a great beer selection. And it is ever-changing. Of course, we have favorites like Sam Adams Cherry Wheat, Goose Island Neon Beer Hug, Shiner Box Peach Wheat Ale, and a local gem (From Springfield) Mother Stewart’s Disco Dancer. And there is more than beer at the Neon! There is also wine and plenty of other options!” McNeal shared that DORA being expanded could be a great boost to business. “I think people will more easily see that it it reaches outside of 5th Street. That’s good for us!”

Dayton’s Beloved Neon!

 

The patio parties are scheduled to run through August, but….”If the momentum is good, we will go on into the Fall.” McNeal added. Popcorn, a DJ and even some upcoming trivia will take part at the events. What really stands out is the guest hosts this summer. “We have plenty of fun hosts and hostesses. Mark Allan (Channel 2)  and his wife Lisa; Our County Commissioners, Judy Dodge, Carolyn Rice and Debbie Lieberman; Juliette Fromholt (WYSO); Sabrina Cox (Haus of Sequins); Brian and Mark Sharp; Michael Roediger (DAI); Former Mayors Rhine McLin and Nan Whaley. Just to name a few.”

The Parties start at 5:30pm pm on scheduled Fridays and end at 7:30pm. All parties are weather permitting. And since our weather has been anything but normal, keep in mind the Neon sells their fabulous Hoodies and Tees!! Also of note, the Neon is also exploring the idea adding an awning to the patio in the future. (Great donation opportunity!)

Barbie comes in July!

Beyond rubbing elbows with Dayton’s Dignitaries, the Neon, is of course, a cinema. Like other art forms, the theater can engage the community in many ways. This summer looks promising for movies as well. Asteroid City is opening this weekend, (the new Wes Anderson film); the much anticipated Barbie arrives in July; The League, which highlights Dayton’s role in the Negro leagues and Miracle Club which stars favorites Laura Linney, Maggie Smith and Kathy Bates.

Mark your calendars! Enter the Velvet Ropes! Plop under an Umbrella! Enjoy the Patio Parties at the Neon!

The Neon Movies is located at 130 East 5th Street. Plenty of Parking across the street at the former Greyhound Lot. For more information call 937.222.8452. or neonmovies.com

 

McCoy on Movies: Asteroid City

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Wes Anderson’s latest film lands with a crater-like thud of jumbled, unfulfilling quirks and boring execution and familiarity

“Hello? Otto? I don’t know A Man Called Otto – this is a entirely different cinematic story, sir!” Auggie Steenbeck (Jason Schwartzman) chats with the father (Tom Hanks) of his now-deceased wife about his current plight in the mysterious desert town of ASTEROID CITY. Credit: © Courtesy of Pop.87 Productions/Focus Features 

 

WATCH THE TRAILER HERE:

 
DIRECTOR: Wes Anderson

KEY CAST MEMBERS: Jason Schwarzman, Scarlett Johansson, Tom Hanks, Jeffery Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Ethan Josh Lee, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan and Jeff Goldblum

THE BACK STORY: A story within a story, ASTEROID CITY begins with a narrator (Bryan Cranston) who introduces us to Conrad Earp (Ed Norton), a 1950s-era playwright in the throes of his latest work: “Asteroid City,” a desert town somewhere in between California, Nevada and New Mexico (presumably near Route 66) famous for its asteroid crater. A group of high school geniuses is about to converge on the one gas station, one diner and 10-spot motel town (population 87) for the awarding of a scholarship, which will be presented by General Grif Gibson (Jeffrey Wright).
Driving one of the geniuses is Auggie Steenbeck (Jason Schwartzman), a man accompanied by his three aspiring witch elementary school age daughters named after constellations and Woodrow (Jake Ryan), his eldest child that has already figured out what his dad needs to tell the family: Their mother died three weeks ago. But once their car breaks down and the town mechanic (Matt Dillon) says it’s gone for good, that prompts Auggie to call his father in law Stanley (Tom Hanks) to pick up the girls while his son attends the high school event.
Also attending the gathering? Film actress Midge Campbell (Scarlett Johansson) with her estranged genius daughter (Maya Hawke), Roger Cho (Steven Park) with his school newspaper genius son Ricky (Ethan Josh Lee) and J.J. Kellogg (Liv Schreiber) with his “someone dare me” son Clifford (Aristou Meehan).
Outside the pages of “Asteroid City,” however, the production team has its own issues as its director (Adrien Brody) is going through a personal turmoil and Earp is having trouble getting his story to progress.

 

THE REVIEW: I am going to open this in the tone and pace of a standard Wes Anderson character.
At 6:30 p.m., the screening started.
At 6:36 p.m., I checked my watch as I knew I was in for a long cinematic experience.
At 6:52 p.m., I contemplated leaving the theater and acting as if I had achieved something in true Wed Anderson character fashion, knowing I would be exposed by my fellow critics would not let me get away with my actions.
At 7:06 p.m., I nearly fell asleep until I felt my body slump in my non-reclined Barcalounger
At around 7:50 p.m., something interesting happened. There was also a moment of nudity that, while unnecessary, broke up the monotony of the pretentious, self-indulgent, quirky for the sake of quirky characters with dialogue that is supposed to feel artistic and stylish but in reality is overwrought if not also often nonsensical.
At about 8:10 p.m., I began preparing for the eventual summation scenes that, despite so much build up, will have hardly any true resolution and the film will just end awkwardly.
By 8:30 p.m., my nightmare was over, serving as a reminder to never give it to the temptation to watch another Wes Anderson film again only to realize I will somehow likely be suckered back in this vicious cycle yet again.
Wes Anderson aren’t about anything but Wes Anderson. The characters are always the same. The may vary in terms of age, ethnicity or sexual orientation, but THEY. ARE. ALL. THE SAME. They speak in ways no human being would ever speak, both in terms of vocabulary, sentence structure or the way they interact with one another, from their clipped, hushed tones to the robotic, emotionally unavailable yet wishing they could be mannerisms.
There is always a child that is smarter than an adult (a staple of an Anderson composition). There is always a person trying to control something that is not in their control (in this instance, it’s Wright as a general trying to keep order in a small desert town, Schwartzman as a new widow and Hanks as his estranged father in law) … And there is always a woman who or two that is beautiful but is very self-aware of how their physical presence is harmful to themselves or others (see Johansson’s character as a mother) … There’s also always Jason Schwartzman and Tilda Swinton.That’s just a fact.
Asteroid City isn’t just bloated by the staples of Anderson’s films. It’s also got the story within a story thing happening and one is far more interesting than the other, which simply seems to serve no purpose than to find a way for Cranston to provide his best Rod Serling imitation while Norton channels his best Truman Capote. It’s never feels like an homage, however – it just exists. And therein lies the problem.
As is the case with so many of Anderson’s films – The Fantastic Mr. Fox standing out as exception more and more with each new release – these stories just exist. There is nothing captivating, enthralling, enticing, exploratory or exciting. They just take up space on the screen like the characters often do in each other’s realities. That’s before you get into the whole discussion of how the story-within-a-story doesn’t work one iota, instead becoming a jumbled ensemble (an Anderson staple on steroids in ASTEROID CITY) with characters just taking up time and energy that should have been devoted to focusing on just a few to make a better film. (I don’t know what it is that makes actors go “I can have four lines for a non-memorable character in a 2-hour Wes Anderson movie?! I’ll take it!” but given that he repeatedly can find big names that will do it, I’m just happy he directs movies instead of political campaigns.)
It’s like being in a coffee shop with a hipster who is annoyed with other hipsters trying to be the ultimate hipster to establish their dominance … Only for those hipsters to be attempting the exact same thing to the chagrin of everyone else in the room who just wanted fresh java to start their day. Wes Anderson movies are only for people who like complaining about people who don’t “get” Wes Anderson movies, which reinforces Wes Anderson’s want and desire to make them regardless of whether he actually should.
In the end, the reality of Anderson’s latest work is this: 20+ plus years of watching the same movie has left this reviewer with a strong desire for an asteroid to obliterate whatever scripts he has waiting in the wings.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

What are UAFs and LAAs?

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There are 59 UAF’s and 4600 LAAs in the United States—Culture Works is one of only 28 agencies that are both a UAF and an LAA.  Culture Works, our local United Arts Fund, raises money through the annual Campaign for the Arts. The campaign is more than just a fundraiser, it’s also a community engagement program. Collaborating with community businesses, artists, and arts organizations, Culture Works bring arts experiences into workplaces across the region, showcasing the richness and diversity of arts offerings in our region. The Campaign invites intentional investment by community stakeholders, people like you. Your gift makes it possible for Culture Works to offer general operating support grants to arts organizations in our region. Operating support is crucial to maintaining a vibrant arts community because no matter how much program funding an organization receives, one cannot run programs without staff, or lights. 

The campaign provides community engagement in the workplace, but also on the grantmaking side of the program. Culture Works distributes campaign funds using an outcomes-based grants funding process, like those used by the Ohio Arts Council and the National Endowment for the Arts. Under this model, a panel of citizens evaluates applications in a public review, using an established scoring rubric. This process provides fairness, transparency, and accountability for the applicants and the community a voice in cultural investment. Panelists see firsthand the impact our community dollars have on our arts organizations and the impact the arts have on our community. 

Culture Works, our Local Arts Agency, advocates for the arts in our region, representing arts organizations and artists on a local, state, and national level, asserting the importance of the arts in community development and economic growth. As our LAA, Culture Works forges partnerships that help to grow our creative economy. For example, Culture Works secured $500,000 in American Recovery Plan funds for regranting to arts organizations and artists in our region. Only 66 Local Arts Agencies were awarded such funding from the National Endowment for the Arts. 

Edgemont Solar Garden

Culture Works has also received a National Endowment for the Arts Our Town Creative Placemaking grant. We’ve partnered with the Greater Edgemont Community Coalition to create a public artwork for the grounds of the Edgemont Solar Garden that articulates Edgemont’s community identity and brings attention to the Greater Edgemont Community Coalition’s mission to address food scarcity and nutritional education.  The Edgemont Solar Garden invites participation from the wider community at events, like their “Spring into Summer” event on Saturday June 24, 2023. from 12-4.p.m.  Artists from the Our Town project will be on site talking to members of the community about Edgemont and the Solar Garden to gather inspiration and members of the Edgemont Solar Garden leadership will be on hand to share and showcase their sustainability initiatives.   

Culture Works believes we should support the arts because the arts support us.  The arts are good for us—they enlighten, entertain, foster innovation, and generate income. The arts contribute 4.3% of the nation’s economy—a larger share of GDP than oft reported sectors such as agriculture, transportation, and construction. In our region, the arts generate 214 billion dollars annually. Culture Works, like UAFs and LAAs across the country, is working to bring the arts into bigger community conversations and undertaking bigger community challenges.  We believe that our community benefits and will continue to benefit from exploring, planning, implementing, and integrating the arts into our region as a whole.

According to Americans for the Arts, seventy-four percent of people believe the arts unite us.  Culture Works sees that impact in our community. Our region has many communities, like Edgemont, communities individual in character and diverse in culture, heritage, ethnicity, and experiences. The arts show us how we are connected, they reveal our shared humanity, celebrate our differences, and unite us, and change us from many communities into one. By supporting Culture Works, you support the arts, and person by person, community by community, gift by gift, the arts will change the world. 

Culture Works Campaign for the Arts is running now through June 30. https://cultureworks.org/support-the-arts/  Thank you for supporting the arts. 

If You Love Theatre, Dayton Has Plenty Of Options!

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If you are looking for entertainment, the Dayton Theatre scene has you covered.

Beavercreek Community Theatre will open Twelfth Night this weekend. It’s  a funny, funky musical interpretation of a Shakespeare classic romantic comedy about mistaken identity and self discovery.  Directed by Matt Owens, with Musical Direction by Charles Larkowski, this show will run through June 25th.

Over at The Dayton Theatre Guild, the intense drama Hedda Gabbler, Directed by David Shough continues through Sunday, and is not to be missed. Returning from her honeymoon, Hedda finds herself already bored of her husband, and longing for the days when she was free to exercise her wild and independent whims. With the return of an old flame and a proposition from an amorous judge, she begins a dangerous game, amusing herself by manipulating and destroying everyone around her in an attempt to regain control of her life.

 

Brian Sharp brings the touching play, The Interview to the Westminster Dinner Theatre,  which is sold out.

 

Over at The Dayton Playhouse the campy, not for the easily offended Evil Dead, The Musical directed by John Detty takes the stage Friday, June 16 and runs through  Sunday June 25.

Five college students go to an abandoned cabin in the woods, and accidentally unleash an evil force that turns them all into demons. It’s all up to Ash (a housewares employee, turned demon-killing hero), and his trusty chainsaw to save the day. Blood flies. Limbs are dismembered. Demons tell bad jokes…and all to music. This show is rated R.


South of town you’ll find Cyrano de Burger Shack, directed by Jim Brown and Rob Breving at Springboro Community Theatre.

Cyrano is king of the local Burger Shack, but he can’t seem to win the love of his best friend, Roxanne. When Roxanne confesses her crush on the new burger-flipper, Christian, Cyrano decides that playing Cupid is better than sitting out of the game. An updated, modern-day version of Edmond Rostand’s Cyrano de Bergerac, this rollicking musical features hit contemporary pop songs that will have audiences cheering

Sunday In The Park With George at Middletown Lyric Theatre. Sunday in the Park with George, merges past and present into beautiful, poignant truths about life, love and the creation of art. The days leading up to the completion of his most famous painting, A Sunday Afternoon on the Island of La Grande Jatte, Georges Seurat is struggling to make meaningful art and maintaining a relationship with his lover, Dot. Seurat’s artistic ability thrives while his love diminishes. This weekends shows are sold out, but tickets remain for June 23 & 24.

The Human Race continues INDIGO, a world premiere musical making its debut run at The Loft Theatre from June 7-25. Beverly braces for chaos when her mother is diagnosed with dementia and moves in with her and her husband. But when her daughter, a non-speaking autistic teenager, crashes back into her life, Beverly must confront her past mistakes and work to repair the bonds of trust and family. INDIGO is a powerful and heartfelt musical about accepting the mistakes our parents make and challenging ourselves to repair our own.

This powerful and heartfelt musical about breaking through is quickly winning over the hearts of audiences.

McCoy on Movies: THE BLACKENING.

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“Wait … Is that Tucker Carlson at a Kanye West concert?!” A group of old college friends – King (Melvin Gregg), Allison (Grace Byers), Lisa (Antoinette Robinson), Nnamdi (Sinqua Walls), Clifton (Jermaine Fowler), Dewayne (Dewayne Perkins) and Shanika (Xochitl “x” Mayo) in THE BLACKENING. Credit: Glen Wilson © 2023 Lionsgate Publicity
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Tim Story

KEY CAST MEMBERS: Melvin Gregg, Grace Byers, Antoinette Robinson, Sinqua Walls, Jermaine Fowler, Dewayne Perkins and Xochitl “x” Mayo with Deidrich Bader, Yvonne Orji and Jay Pharoah

 

THE BACK STORY: A group of young Black friends decide to meet up at a cabin in the woods to relive their college party days. This includes former thug turned reformed married man King (Melvin Gregg), the biracial Allison (Grace Byers), the lawyer with a penchant for molly (the drug, not a person) Lisa (Antoinette Robinson), Lisa’s old college flame Nnamdi (Sinqua Walls), the nerdy Clifton (Jermaine Fowler), Lisa’s gay best friend Dewayne (Dewayne Perkins) and the always ready to get down for a good Shanika (Xochitl “x” Mayo). Also set to join the party are Morgan (Yvonne Orji) and Shawn (Jay Pharoah)
Problem is, once the gang arrives, they discover very quickly that something is wrong. That’s when they find themselves locked in a room being forced by a terrifying voice coming from a Sambo figure from “The Blackening:” A board game that challenges their knowledge of black history and culture. And once a TV cuts on showing one of their friends in an extremely compromising position, they know just how serious their situation is.

So, what happens when the group is forced to confront their own hypocrisies, idiosyncrasies and culture to ensure they can stay alive? A lot – and since they all can’t die first, a lot of hilarity is set to follow.

THE REVIEW: While it’s not a pure classic (there are some moments that feel like missed opportunities to go even deeper on certain subjects), THE BLACKENING is sure to become a certified ‘hood classic among African Americans. Additionally, the film also carries the potential for a Friday-like following among all those who enjoy African American culture. For with THE BLACKENING, audiences are treated to a look into race (both in terms of what it means to be Black in America and in the eyes of other Black people) set against a cleverly-composed story with enough twists and turns to work on both a horror and comedy level.
In other words, it’s really entertaining and far more poignant than it should be for a 96-minute movie with a largely unknown cast.
Feeling a lot like the best work of Key & Peele within a horror movie context, The Blackening explores familiar territory – politics, what it means to be black, colorism and homophobia within the black community, etc. It does so, however, in a way that is entertaining, smart and multi-faceted, going out of its way to showcase how black people don’t exist as a monolith. In doing so, it also presents opportunities for the audience to examine how they think and act regarding those issues through laughter without being preachy, heavy-handed or depressing.
This wouldn’t be possible, of course, without the cast’s chemistry and the management of director Tim Story (Ride Along, Barbershop and the first two Fantastic Four films). Making fun of the horror movie format while working within it can go terribly wrong if not done properly, as can trying to use humor to make good points. Fortunately the cast passes its vibe check in spades (pun intended given the significant of the popular Black card game to the plot), making the film move at a crisp, suspenseful pace.
What could be better? Well, each character could get a chance to serve as a reflection of the different cross sections of society and the repeated use of the n-word could have sparked a great discussion among the characters. Likewise, some of the film’s subject matter feels a little late to the party in lieu of the fabled work of Chappelle’s Show, the aforementioned Key & Peele and Saturday Night Live‘s phenomenal “Black Jeopardy” sketches starring the late Chadwick Boseman and Tom Hanks. Alas, it’s hard to cram everything into just one movie and projecting the things one would love to see versus what the filmmakers gives will always leave room for a little disappointment.
Still, while it won’t reach Get Out levels of cultural discussion or impact, THE BLACKENING will add to our nation’s ongoing conversation about race, but will do so with a bunch of laughs along the way. It would be very interesting to see a non-black audience watch the film with a black audience watching them and vice-versa as that inherently would spur some great conversations. (I can only imagine the puzzlement of some leading conservatives asking what exactly “the cookout” is and the significance of an invite.)
All that notwithstanding, THE BLACKENING is one hell of a good time at the movies and welcome addition to a cinematic world where far too often the only thing black is the first victim.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

BCT Presents Twelfth Night

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Named one of the best theatrical productions of 2018 by Time, The Hollywood Reporter and The Washington Post, Twelfth Night is a rousing contemporary musical adaptation of Shakespeare’s classic romantic comedy about mistaken identity and self-discovery.

Twelfth Night tells the story of Viola, a young heroine who washes up on the shores of Illyria, disguises herself as a man, is sent to court a countess and falls hard for a Duke. As she navigates this strange and wonderful new land, she finds her true self and true love in the process.

AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS

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The electrifying, new smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and silky-smooth harmonies, they rose to the top of the charts creating an amazing 42 Top Ten Hits with 14 reaching number one.

Nominated for 12 Tony Awards®, AIN’T TOO PROUD tells the thrilling story of brotherhood, family, loyalty, and betrayal, as the group’s personal and political conflicts threatened to tear them apart during a decade of civil unrest in America.

The unforgettable story of this legendary quintet is set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and so many more.

Written by three-time Obie Award winner Dominique Morisseau, directed by two-time Tony Award® winner Des McAnuff (Jersey Boys) and featuring the Tony-winning choreography of Sergio Trujillo (Jersey Boys, On Your Feet!), AIN’T TOO PROUD launches their first national tour to over 50 cities across America.

McCoy on Movies: The Flash

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“All right … Let’s get out there and revive a cinematic universe!” Credit: © 2023 Warner Bros. Pictures
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Andy Muschietti

KEY CAST MEMBERS: Ezra Miller, Michael Keaton, Ron Livington, Michael Shannon, Sasha Calle, Maribel Verdú, Kiersey Clemons, Ben Affleck … And some other special guests.

 

THE BACK STORY: Barry Allen (Ezra Miller) is a member of the Justice League, the super-powered team of heroes consisting of himself, the cybernetic Victor Stone a.k.a. Cyborg, Diana Prince a.k.a. Wonder Woman, Bruce Wayne a.k.a Batman, Arthur Curry a.k.a. the Atlean known as Aquaman and Clark Kent a.k.a. Kal-El a.k.a Superman. While each has suffered their own traumas, they have each respectively come to accept it, move on and help save the world from numerous threats.
But what would the world be like if they could undo that trauma? Well, in the case of Barry, he discovers that he just might be able to do so.
You see, while in the middle of another superhero quest, Allen discovers that, when fully charged, he can run so fast he can actually travel back in time. That gives the opportunity he’s always wanted: To save his deceased mom (Maribel Verdú) from her murder/fatal accident (it’s never really explained what happened, but you can draw your own conclusion) and clear his father (Ron Livingston) in the process.
Unfortunately for Barry, he is about to learn that messing with the space-time continuum comes with some serious consequences just like Bruce Wayne (Ben Affleck) warned him … And his adventure with Bruce Wayne (Michael Keaton) – and Barry Allen (Miller again) is about to prove with dire consequences.
 

 

THE REVIEW: Warner Bros., the parent company of DC Comics, has had one heck of a time getting there superhero universe off the ground. For every one good movie or TV show they make – Wonder Woman, Harley Quinn & The Birds of Prey, Peacemaker, for example – they seem to make another – Black Adam, Batman vs. Superman, the original cut of Justice League that eradicates any momentum they have. Throw in the fact six actors have played Batman since 1989 (Keaton, Val Kilmer, George Clooney, Christian Bale, Affleck and Robert Pattison) and they’ve all existed in their own worlds (until now) and the lack of a comprehensive plan has made a mess of things. In turn, it’s allowed the competition – Marvel, for those who aren’t good at reading between the lines – to repeatedly do this to them with every release.
What THE FLASH does well, however, is what many of its DC predecessors have not: (1) Develop its lead character (who admittedly at times almost does feel like he is playing second fiddle in their own movie); (2) Tell a story that is compelling due to its depth with visuals that mostly enhance versus detract away from it and (3) Find its emotional center without forcing or shoehorning it in as an afterthought. In turn, the supporting characters actually help enhance the overall quality as opposed to taking away from it and being better than the lead (see Brosnan, Pierce in the aforementioned Black Adam).
Love or hate Ezra Miller for its somewhat polarizing performance in Justice League and/or all his away from a movie set antics, about 25/30 minutes or so into the film, everything just seems to click. He is able to make all of the character’s antics transition and make you forget about him and instead focus on the character, his motivations, flaws and strengths. While fans can (and likely will) continue to debate whether or not he should be recast in future films, this performance is one Miller can truly call their own (Note: Miller uses the they/them/theirs pronouns). Warner Bros. has done a very clever campaign by minimizing Miller in the trailers leading up to the film, but it’s likely that once people see it, most of the harsh fan boy population will just be happy with the finished result enough to cool down.
Is the film perfect? No. Keaton owns all of his moments as the film at times feels more like “The Flash and the Justice League” and is a definite way to set up future DC Multiverse films since the previous ones have, well, failed to do so. Likewise, some of the CGI sequences are very noticeable for their enhancements; if you had a problem with the last two to three Marvel live action releases, be prepared to be taken out of scenes with some of the motions here. That notwithstanding, director Andy Muschietti does bring a visual style that is (1) effective and (2) much needed to make the film work as a whole. Likewise, he and his team are able to provide just the right amount of humor true to what Miller’s take on the character does without being too corny too often and he is able to center the story to keep it from feeling like a series of random events.
Where the DC Cinematic Universe goes from here remains to be seen; if THE FLASH is any indication, however, it seems to finally be finding its footing to go alongside aforementioned The Peacemaker HBO series in moving away from cartoon-ish pulp to grittier fare. They still need to find some villains other than Lex Luthor, Joker, Penguin and General Zod to beef up and raise the stakes, but again, THE FLASH shows things are improving. And in a world where Wonder Woman 1984 exists, that is a very good thing indeed.
The final verdict? Despite a star that has been as problematic as the entire DC Comics cinematic universe has been to date, THE FLASH is the most complete Warner Bros. comic book-based adventure in quite some time. Hopefully, it is a quick step in the right direction … And not a flash in the superhero pan.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: Transformers: Rise of the Beasts

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Director Steven Caple, Jr., Anthony Ramos and Pete Davidson finally help Transformers franchise rise to the occasion with latest entry

“PETA is gonna have problem with this, right?!” Cheetor (voiced by Tongayi Chirisa) gets up close and personal with Mirage (voiced by Pete Davidson) as Arcee (voiced by Liza Koshy) looks on in a scene from TRANSFORMERS: RISE OF THE BEASTS. Credit: © 2023 Paramount Pictures. All rights reserved. 
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Steven Caple, Jr.

KEY CAST MEMBERS: Anthony Ramos, Dominique Fishback, Pete Davidson, Colman Domingo, Luna Lauren Velez, Dean Scott Vazquez and the voices of Peter Cullen, Ron Perlman, Peter Dinklage, Michelle Yeoh, Liza Koshy, John DiMaggio, David Sobolov, Michaela Jaé Rodriguez,  Cristo Fernández, Tobe Nwigwe and Tongayi Chirisa 

 

THE BACK STORY: Set in 1994 long before Shia LeBeouf’s Sam Witwicky would ever enter the picture, TRANSFORMERS: RISE OF THE BEASTS finds former U.S. Army private Noah Diaz (Anthony Ramos) trying his best to do right by his family. His hardworking mother (Luna Lauren Velez) is doing the best she can to provide while his 11 year-old brother (Dean Scott Vazquez), whose sickle cell anemia is causing him all sorts of complications.
Not finding opportunities to make the money – or C.R.E.A.M. in accordance with the film’s hip-hop heavy soundtrack – necessary legally, Noah takes a gig to steal a Porsche from a local parking garage. But this is no ordinary Porsche.
That Porsche is Mirage (voiced by Pete Davidson), one of several Autobots living on Earth after the destruction of their home planet Cybertron. Led by Optimus Prime, (voiced by longtime Transformers mainstay Peter Cullen) the Autobots are stuck with no way home since the one thing they need – a key – has been lost forever … Or so they think.
You see, that key was taken and hidden centuries ago by robot gorilla Optimus Primal (voiced by Ron Perlman), leader of the Maximals, robots who took on animal form instead of cars like the Autobots. But like the Autobots, the Maximals have a natural enemy: The Predacons, a race of robots led by the aptly-named Scourge (voiced by Peter Dinklage) that answer to Omnicron (voiced by Colman Domingo of Fear the Walking Dead fame). Why is that important? Because Omnicron is the Transformers equivalent of the Death Star in Star Wars and Galactus in the Marvel Cinematic Universe: A massive villain who consumes planets – like the Maximals home world – to sustain himself.
So … What happens when aspiring museum intern Elena Wallace (Dominique Fishback) inadvertently makes a discovery that threatens life on Earth and every other planet in the galaxy? You’ll have to watch the movie to find out.
THE REVIEW: As a kid, I LOVED Transformers as an animated series. I LOVED original animated adventure, The Transformers: The Movie. I had several of the toys – I have never gotten over my Optimus Prime getting broken in elementary school by another kid nor never getting the Dinobots – comic books and more. So, in 2007, when I heard they were making a live action Transformers movie, I was excited.
Then I saw it … And it absolutely sucked. As did the first sequel, Transformers: Revenge of the Fallen with the two hip-hop robots I joked about on my second stand-up album, Remarkable. And if you think I had similar thoughts about the 2011 sequel Transformers: Dark of the Moon, you’d be right. That’s when I tapped out. Sure, I caught a few minutes of the latter sequels on cable in recent years, but I couldn’t bring myself to watch them.
Needless to say, I walked into the latest sequel – which is actually a prequel to the first live-action film but a sequel to 2018’s prequel Bumblebee (that film was set in 1987, FYI) – with the lowest of low expectations. I came prepared to hate it, to talk about Michael Bay’s love of explosions, the corny jokes and dumb human characters that are inconsequential to all the Battlebots-style goofy sequences on the screen in front of me.
Well, I hate to admit this, but here it goes … I actually liked TRANSFORMERS: RISE OF THE BEASTS … And many audiences will, too.
It only took them several tries, but Paramount Pictures has finally turned out a Transformers movie where the story mostly makes sense, the jokes aren’t cringe-inducing (and dare I say, in a few instances, smart) and the human characters are actually interesting. Even more astounding? The action sequences work and there are is a BIG surprise that could signal the fix of something else much maligned 1980s kids will likely let out an audible gasp in response to it.
I’m not saying RISE is perfect. What I am saying, however, is that this film is enjoyable as everything pretty much works more than it doesn’t. Why? The film inserts the things that many of the others were lacking: Some intelligence and genuine emotion combined with visuals that pop and sequences that bring it all home.
Love him or hate him, Davidson has figured out who he is and is a perfect fit as Mirage and a much-needed balance from the wet blanket of a leader that has defined Optimus Prime throughout the series. Perlman, however, is able to bring some less-depressing leadership qualities to Optimus Primal, teaching the Autobot he was named after a thing or two in the process.
Likewise, Ramos and Fishback bring some much needed humanity (pun intended) to their roles, a quality that has been so forced throughout the Transformers live action franchise it’s not even funny (because it never was). Ramos is infinitely relatable as a character, which makes his journey interesting, a promise he delivers on with a solid performance. Likewise, Fishback’s character is smart but not too smart for the room to the point it’s annoying or silly, just effective and inspiration since the majority of women in this series well … Haven’t exactly been the given the best roles.
While one would be tempted to give credit to Michael Bay for stepping out of the director’s chair and focusing on actors right for the roles instead of familiar names and/or pretty faces, that would simply be too easy and frankly rude. For in the case of director Steven Caple, Jr., you can tell he was like many youths growing up in the 80s and 90s: An actual Transformers fan who saw great potential for the lack action films but knew how important it was to finally do them justice, striking the right balance between humorous and heartfelt as well as intense and interesting.
Given the implications of the film, it remains to be seen where exactly the franchise goes from here. But in much the same fashion that Warner Bros./D.C. is hoping James Gunn can get its comic book movie franchise finally headed in the right, consistent direction, if this is any indication of what’s next, there might be hope yet this series might finally deliver more than meets the eye since what had been previously seen wasn’t worth it.
But for those craving an entertaining Transformers movie, RISE OF THE BEASTS is far more fun than you’d ever expect.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: Spider-Man: Across the Spider-Verse

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“Hey girl … Just hangin’ out???” Miles Morales (voiced by Shameik Moore) checks in on his surprise visitor Spider-Gwen a.k.a. Gwen Stacy (voiced by Hailee Steinfeld) in a scene from SPIDER-MAN: ACROSS THE SPIDER-VERSE. Credit: © 2023 CTMG, Inc. All Rights Reserved.

 

WATCH THE TRAILER HERE:
 
DIRECTOR: Joaquim Dos Santos, Kemp Powers and Justin K. Thompson

KEY CAST MEMBERS: Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni with Daniel Kaluuya and Oscar Isaac

 
THE BACK STORY: Fifteen year-old Miles Morales (voiced by Shameik Moore) has a lot going on for him. He’s already getting chances like attending Princeton University, his father (voiced by Brian Tyree Henry) is on the verge of getting promoted to police captain, his mother (Luna Lauren Velez) loves him to death and oh yeah – he’s spent the last year+ serving as Brooklyn’s own friendly neighborhood Spider-Man.
Unfortunately, that last part is about to cause him – and a bunch of other people – a LOT of trouble. Why? Because the incident that saved his universe the last time he was facing someone with villainous plans has created a new, more dangerous villain: The Spot (voiced by Jason Schwartzman), a man who, thanks to that super collider that blew up, has turned to a life of crime and seeks revenge on Miles for what he inadvertently made him.
But while Miles may think of The Spot as a “villain of the week,” there’s another group of people – Spider-powered people, as it turns out – that know he is a dangerous anomaly that needs to be stopped. So when Miles old friend Spider-Gwen (voiced by Hailee Steinfeld) shows up out of the blue, he quickly learns that it’s not just a social visit.
It’s time to go Across the Spider-Verse.
THE REVIEW: In short, to use a phrase the young people say, SPIDER-MAN: ACROSS THE SPIDER-VERSE, is “dope AF (and NO, I shan’t explain those last two letters, nor the word ‘shan’t!).
The animation in the film is unlike anything you’ve ever seen and truly brings the characters to life, which is no small feat considering the fact that save for some very smart exceptions, all of them are animated. The Spider-Verse comes alive in each setting the film travels across in its 2 hour and 15 minute runtime, which feels short when the film gets to its Avengers: Infinity War-like ending.
The fact the film is visually stimulating is enhanced by the stellar vocal performances of the film’s cast and smart, engaging pacing/storytelling presented by its trio of directors. Like the film that proceeded it, ACROSS THE SPIDER-VERSE tells engaging stories of parents and children, responsibility, the struggle to deal with loss and grief and accepting your fate versus defining it for one’s self. Throw in the fact the film is able to hit measures of diversity, equity and inclusion in a way that is: (1) Respectful of the various cultures it showcases in a way that is (2) Smart (3) Engaging and (4) Funny in such a way it’s (5) sure to upset the “anti-woke”/keep superheroes male and white crowd and you have an early contender for not only Best Animated Feature at the Academy Awards – an honor it’s predecessor has already taken home – but Best Picture, period.
With so many Spider-Man movies already existing in the 21 years Sony Pictures has owned the cinematic rights to the character, one could be forgiven for thinking there’s not possibly anything left that could be compelling enough to see on screen. ACROSS THE SPIDER-VERSE proves that idea wrong in spades, owning the screen as its own unique-yet-stil-connected-to-everything-else-Marvel entity in the process. From the Easter eggs hidden for long-standing Spider-Man fans, cameo appearances to incorporation of other adventures in the character’s two decades’ plus on screen, the film is both homage to those that have come before it and its own being. That is no easy feat to pull off but one the film does excellently from start to finish much to what most certainly will be Spider-Man fans’ delight.
To say more would be to spoil all the fun – and ACROS THE SPIDER-VERSE might just be the most fun you’ll have at the movies all summer.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

Hedda Gabler Opens This Weekend

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This Broadway adaptation of Ibsen’s timeless drama presents a sympathetic, yet striking and powerful Hedda in the classic tale of her struggle to find a means of escape from a loveless, ordinary existence. Returning from her honeymoon, Hedda finds herself already bored of her husband, and longing for the days when she was free to exercise her wild and independent whims. With the return of an old flame and a proposition from an amorous judge, she begins a dangerous game, amusing herself by manipulating and destroying everyone around her in an attempt to regain control of her life.